Yogi Ramsuratkumar: Under the Punnai Tree (Prescott,
Ariz: Hohm Press, 2003).
rasa
Rasa (taste) is an important Indian aesthetic con-
cept applied to literature, drama, and occasionally
mythology. Literally, rasa is the taste, savor, or
essence of something. In aesthetics rasa is the
essential sentiment embedded in a work of art that
evokes a corresponding emotion in the reader,
listener, or viewer.
Works of art are often classified according to
their predominant rasa. The literature variously
lists eight to 11 of them. The most common listed
are 10: shringara (love), hasya (mirth), karuna
(pity), raudra (anger), vira (heroism), bhayanaka
(fear), bibhatsa (disgust), and adbhuta (won-
der); some add shanta (tranquillity) and vatsalya
(parental fondness).
Further reading: Hari Ram Mishra, The Theory of Rasa
in Sanskrit Drama, with a Comparative Study of General
Dramatic Literature (Bhopal: Vindhyachal Prakashan,
1964); Tapasvi S. Nandi, The Origin and Development
of the Theory of Rasa and Dhvani in Sanskrit Poetics
(Ahmedabad: Gujarat University, 1973); V. Raghavan,
Abhinavagupta and His Works (Varanasi: Chaukhambha
Orientalia, 1980); ———, The Number of Rasas, 3d
rev. ed. (Madras: Adyar Library and Research Centre,
1975).
rasa lila
The rasa lila, “round of passion” or “play of
passion,” is the circle dance performed by Lord
KRISHNA with the cowherd women (GOPIS). Krishna
stood at the center of the circle and multiplied
himself so that he could dance individually with
each of them. Devotees of Krishna understand this
dance as a metaphor for the relationship between
God and the individual soul. God is complete and
isolated unto himself, while also residing inti-
mately at the center of everyone’s soul.
Further reading: Graham M. Schweig, trans., Dance of
Divine Love: The Rasa Lila of Krishna from the Bhagavata
Purana, India’s Classic Sacred Love Story (Princeton,
N.J.: Princeton University Press, 2005); B. V. Tripurari,
Aesthetic Vedanta: The Sacred Path of Passionate Love
(Eugene, Ore.: Mandala Publishing Group, 1998).Rashtriya Swayam Sevak Sangh (RSS)
(est. 1925)
The Rashtriya Swayam Sevak Sangh (National
Volunteer Corps) was for decades the most impor-
tant organization advocating cultural and political
HINDU NATIONALISM. It still wields influence and
has been involved in a number of violent disputes
with ethnic or religious minorities.
The RSS was first formed in 1925, but the
movement has its origins in the ideology of Bal
Gangadhar Tilak, who was convicted of murder-
ing several British officials at the turn of the 20th
century. Tilak had been influenced by the reform-
ist goals of the reformer Rammohun ROY, but not
by the liberal means that Roy championed.
The RSS was formed as a cultural and social
organization, whose goal was to transform India
from a secular state into a Hindu nation. Some
call it “Hindu fundamentalist,” but in actuality the
ideology of Hindutva, or Hinduness, only relates
to certain aspects of Hinduism. For example,
while the RSS extols many of the achievements of
the Indian past, its doctrines are not based on the
four VEDAS, the most ancient Hindu sacred texts.
The RSS has argued that India fell under British
rule because it lacked discipline and aggressive-
ness. It promotes a hypernationalistic, militaristic
agenda seeking the expulsion of Muslims and the
establishment of Hindu supremacy in India.
RSS rejects the pluralism found in traditional
Hinduism. Instead, it has a goal of creating a sin-
gle Hindu doctrine for India. It also wants to elim-
inate Islam and opposes Buddhism and JAINISM. It
opposes preferences that the Indian government
has extended to the lower CASTES; some of its sup-
port can be attributed to a reaction by higher-casteRashtriya Swayam Sevak Sangh 361 J