This blog is a response to the movie screening task assigned by Vaidehi Hariyani ma'am.
Directed by
Chanya Button
Written by
Eileen Atkins
Chanya Button
Based on
Vita & Virginia
by Eileen Atkins
Produced by
Evangelo Kioussis
Katie Holly
Shashank Shambharkar
Starring
Gemma Arterton
Elizabeth Debicki
Cinematography
Carlos De Carvalho
Vita & Virginia is a 2018 biographical romantic drama film directed by Chanya Button. The screenplay, written by Button and Eileen Atkins, is adapted from the 1992 play Vita & Virginia by Atkins. This film is set in the 1920s, Vita & Virginia tells the story of the love affair between Vita Sackville-West and Virginia Woolf. Set in the 1920s, the writers Vita Sackville-West and Virginia Woolf move in different London circles. When they meet, Vita decides Virginia will be her next conquest. They have an affair against the background of each of their open marriages.
How far do you feel that Orlando is influenced by Vita and Virginia’s love affair? Does it talk only about that or do you find anything else too?
Orlando: The Biography and the movie Vita and Virginia have many things in common but that does not mean that Woolf wrote the biography keeping in mind their relationship. There are many elements which point towards that direction but that's only partly. There is another reason that Woolf was inspired to write Orlando when Sackville-West took her to Knole, to show her the place where she had grown up, that had belonged to the Sackville family for centuries, and as Sackville-West bitterly noted she would have inherited if only she had been born male.
This blog is a response to the activity assigned by Vaidehi Hariyani ma'am. This blog is connected to the study of the poems and songs of Robert Frost and Bob Dylan American poets and lyricists.
Bob Dylan and Robert Frost both use the natural elements and metaphors to give the philosophy of transcendent but they are not the same as the romantic poet who worshipped beauty like a god. Robert Frost and Bob Dylan had something in common both were American, they are famous, they have used elements of nature, and their lyrics are simple and easy to understand.
Bob Dylan:
Robert Dylan (born Robert Allen Zimmerman; May 24, 1941) is an American singer-songwriter. Often regarded as one of the greatest songwriters of all time, Dylan has been a major figure in popular culture during a career spanning more than 60 years. Much of his most celebrated work dates from the 1960s when songs such as "Blowin' in the Wind" (1963) and "The Times They Are a-Changin'" (1964) became anthems for civil rights and anti-war movements. His lyrics during this period incorporated a range of political, social, philosophical, and literary influences, defying pop music conventions and appealing to the burgeoning counterculture.
Robert Frost:
Robert Lee Frost was an American poet. His lifespan is from 1874 to 1963. His works are known for the depictions of rural life and his command of American colloquial speech. He wrote about the setting of rural New England in the early 20th century and the themes in his work were social and philosophical. Robert Frost mostly used the theme of nature for giving philosophical and social messages.
He has received four Pulitzer prizes for poetry and was honoured during his lifetime. Robert Frost was a poet Laureate of Vermont in 1961 and was also nominated for the Nobel Prize Prize in Literature 31 times.
The Road Not Taken
BY ROBERT FROST
Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same,
And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I—
I took the one less traveled by,
And that has made all the difference.
Robert Frost's poem "The Road Not Taken" and Taylor Swift's song "Out of the Woods" are similar cause they include natural images that are similar to one another and both express the same idea.
Out of the Woods by Tylor Swift
Looking at it now
It all seems so simple
We were lying on your couch
I remember
You took a Polaroid of us
Then discovered
(Then discovered)
The rest of the world was black and white
But we were in screaming color
And I remember thinking
Are we out of the woods yet?
Are we out of the woods yet?
Are we out of the woods yet?
Are we out of the woods?
Are we in the clear yet?
Are we in the clear yet?
Are we in the clear yet?
In the clear yet, good
Are we out of the woods yet?
Are we out of the woods yet?
Are we out of the woods yet?
Are we out of the woods?
Are we in the clear yet?
Are we in the clear yet?
Are we in the clear yet?
In the clear yet, good
(Are we out of the woods?)
Looking at it now
Last December
(Last December)
We were built to fall apart
Then fall back together
(Back together)
Ooh, your necklace hanging from my neck
The night we couldn't quite forget
When we decided, we decided
To move the furniture so we could dance
Baby, like we stood a chance
Two paper airplanes flying, flying, flying
And I remember thinking
Are we out of the woods yet?
Are we out of the woods yet?
Are we out of the woods yet?
Are we out of the woods?
Are we in the clear yet?
Are we in the clear yet?
Are we in the clear yet?
In the clear yet, good
Are we out of the woods yet?
Are we out of the woods yet?
Are we out of the woods yet?
Are we out of the woods?
Are we in the clear yet?
Are we in the clear yet?
Are we in the clear yet?
In the clear yet, good
(Are we out of the woods?)
Remember when you hit the brakes too soon?
Twenty stitches in a hospital room
When you started crying, baby, I did too
But when the sun came up, I was looking at you
Remember when we couldn't take the heat?
I walked out, I said "I'm setting you free"
But the monsters turned out to be just trees
When the sun came up you were looking at me
You were looking at me, oh
You were looking at me
(Are we out of the woods yet?)
(Are we out of the woods yet?)
(Are we out of the woods yet?)
(Are we out of the woods?)
I remember
(Are we in the clear yet?)
(Are we in the clear yet?)
Oh, I remember
Are we out of the woods yet?
Are we out of the woods yet? (Yeah)
Are we out of the woods yet?
Are we out of the woods?
Are we in the clear yet?
Are we in the clear yet?
Are we in the clear yet?
In the clear yet, good
Are we out of the woods yet?
Are we out of the woods yet?
Are we out of the woods yet?
Are we out of the woods?
Are we in the clear yet? (Yeah)
Are we in the clear yet? (Yeah)
Are we in the clear yet?
In the clear yet, good
Are we out of the woods yet?
Are we out of the woods yet?
Are we out of the woods yet?
Are we out of the woods?
Are we in the clear yet?
Are we in the clear yet?
Are we in the clear yet?
In the clear yet, good
Are we out of the woods yet?
Are we out of the woods yet?
Are we out of the woods yet?
Are we out of the woods?
Are we in the clear yet?
Are we in the clear yet?
Are we in the clear yet?
In the clear yet, good
I know that Frost's poem The Raod Not Taken and Swift's this song are different in many ways but both are conveying the same idea or both are giving similar pictures to the reader/listener's mind. Frost is talking about two roads one is taken by many in other words it has been used many times thus worn out.
Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Many people are doing the same thing in one or the other way but Frost doesn't want to do that. He is looking for a road that is not worn out. Swift on the other hand is saying that we are in the wood, we are yet to come out of it in other words we are doing the same thing as others
In this blog, I am going to discuss the difference and similarities between war poetry and the poets (selected poems).
What is war poetry:
War poetry is a literary genre that originated during wartime when hundreds of soldiers, and also civilians caught up in conflict, started to write poetry as a way of striving to express extreme emotion at the very edge of experience.
My own understanding of war poetry:
Technically speaking war genre in poetry includes many sub-genres like nationalistic poems, pro-war, anti-war, etc. generally the poems have been mostly written by war veterans and soldiers who fought in the war. But this doesn't mean that only veterans have written about war. War poetry is not necessarily encouraging recruits to fight for their nation which is pro-war poetry, it is also anti-war, like Wilfred Owen's "Dulce et Decorum Est". I think a poet, who is writing about his own experience of fear and terror that war has spread in a true sense can be called war poetry.
Difference between poets:
Poets
Differences
Wilfred Owen
His Personal Experiences, pity, fear and terror of war. considered as Anti-war.
Rupert Brooke
Patriotism and Nationalism, Pro-war.
Siegfried Sassoon
Some poems reflect his disillusionment with the war, the horror and brutality of the trench, using the epistolary technique.
Ivory Gurney
War is a mess, God won't help anybody, if you have to survive then you must other humans, use of monologue narrative style, using some colloquial language
Wilfred Wilson Gibson
Enemies are not the only ones that kill you in the war, his plain style came to be recognized as a principal ‘Georgian’ characteristic
Compare any two poems concerning the subject, style of writing and patriotism.
Dulce et Decorum Est
by Wilfred Owen
Subject:
The subject of this poem is showing the reality of war. The tone of this poem is critical, the poet's voice is bitter. Owen dwells on explicit details of horror and misery to maximise the impact he wishes to have on those who tell the ‘old Lie’. How he addresses as ‘My friend’ those with whom he so strongly disagrees is ironic.
Style:
The poem consists of four stanzas of various lengths. The first 14 lines can be read as a [3sonnet3) although they do not end with a rhyming couplet, and instead, the ABAB rhyme scheme carries on into the separate pair of lines which constitute the third stanza.
Patriotism:
The poem is not at all a patriotic poem rather it is an anti-war poem. It is written in an ironic and bitter tone which is against war. This poem will surely terrify anyone who is showing heroism and courage.
The Soldier by Rupert Brooke
Subject:
“The Soldier” was written by Rupert Brooke in 1914 in a traditional sonnet form. The subject of this poem is love and death which is the two most powerful things that recall the feeling of readers. Death, as he is a soldier going into World War One, and love in the sense of loving his country. The tone is uplifting and idealistic but also self-sacrificial. There is a sense of romantic inevitability about the privilege and duty of dying for one's country
Style:
This poem is written in fourteen lines in a Petrarchan/Italian sonnet form. The poem is divided into an opening octet and then followed by a concluding sestet (the last six lines of a sonnet). In the rhyme scheme of the poem; the octet is rhymed after the Shakespearean/Elizabethan (ABAB CDCD) form, while the sestet follows the Petrarchan/Italian (EFG EFG) form.
Patriotism:
"The Soldier" is a sonnet in which the poet glorifies England during the First World War. The purpose of this poem was to encourage youngsters to fight in the war. It is a deeply patriotic and idealistic poem that expresses a soldier's love for his homeland—in this case, England, which is portrayed as a kind of nurturing paradise.
This blog is the reading or analysing of poems with the help of 'New Criticism' the concept which is believed to be pioneered in "Figurative Analysis" by I. A. Richards. The objective of this blog is to find out the meanings and misunderstandings that are present or a reader gets/imply it by reading the text.
I.A. Richards, in full Ivor Armstrong Richards, (born Feb. 26, 1893, Sandbach, Cheshire, Eng.—died Sept. 7, 1979, Cambridge, Cambridgeshire), English critic, poet, and teacher who was highly influential in developing a new way of reading poetry that led to the New Criticism and that also influenced some forms of reader-response criticism. (Britannica)
"I.A. Richards also takes into account its effects on the readers. For him the real value of a poem lies in the reactions and attitudes it creates, and whether or not it is conducive to greater emotional balance, equilibrium, peace and rest in the mind of the readers. For him, the value of a work of art lies in its power to harmonize and organize complex and warring human impulses into patterns that are lasting and pleasurable."
I A Richards gave four kinds of meaning, Two use of language and four kinds of misunderstanding in his essay.
Four Kinds of Meanings:
Sense- what is said or ‘items’ referred to by a writer.
Feeling- emotions or “an attitude towards it, some special direction, bias or accentuation of interest towards it, some personal flavour or colouring of feeling”.
Tone- writer’s attitude to his readers or audience
Intention- writer’s aim, which may be conscious or unconscious.
Two uses of Language:
The scientific use
Emotive use
Four Kinds of Misunderstanding:
Sense of poetry
Over-literal reading
Defective Scholarship
Difference between the words in poetry and prose
What is new criticism:
New Criticism was a formalist movement in literary theory that dominated American literary criticism in the middle decades of the 20th century. It emphasized close reading, particularly of poetry, to discover how a work of literature functioned as a self-contained, self-referential aesthetic object. The movement derived its name from John Crowe Ransom's 1941 book The New Criticism.
The work of Cambridge scholar I. A. Richards, especially his Practical Criticism and The Meaning of Meaning, which offered what was claimed to be an empirical scientific approach, was important to the development of the New Critical methodology.
New Reading/ Verbal analysis:
At the first glance when we listen to/read this poem we might get an idea that the poetess of this poem is very obsessed with her outfit, 'Sari' to be precise. That would be the first reading of the poem and the reader won't have any ideas about the personal intentions or the emotions of the poet as well as the background like situations in which the poetry has been created. f we look at it that way then this poem will be "Art For Life Sake' but the reader has no idea about that and s/he will take this poem as Art For Art's Sake', this way poet and reader can create misunderstandings.
The reason for these misunderstandings is the lack of a wide range of reading. The reader should be familiar with the metaphor and meaning of the words used in the poem. In the above poem, she portrayed women from all over Indian and every religion to show their strength in the form of Saree and she also connected the poem with the historical and mythical characters like Savitribai Phule, Draupadi's disrobing event, acid attack victim Laxmi Agarwal and Iron lady Irom who protested against government act(AFSPA). Bela Bhatia who works in the Bastar district of Chhattisgarh for human rights and Shabah Haji(social reformer from J&K)The poet also says about fascism that is indicated to the Gulabi Gang(the group of women activists from U.P who wear pink Saree and stand for violence against women ). To understand this poem one must have a wide reading and a good sense of history or else it will be very hard for a reader to grasp the meaning of this poem.
Misunderstandings:
In the first line, she says, "You thought the saree draped on my body is just a shiny cloth..."
Technically a Saree is just cloth, and it can be shiny too but it is cloth.
and she continues, "You thought my saree is a stiff cloth which I wear to do the sexy dance"
saree which is made up of fabric cannot be stiff and if it is stiff then one can't wear it.
"It is that nine-yard cloth in which I have draped my existence/ It is that road which God knows how many times you have trampled over and left"
nine-yard cloth (saree) and the existence is a confusing metaphor.
she later talks about saree being reaped and holes that are being patched by another incident will be hard to grasp if it is in only written form. (The holes and turning it into many pieces is the metaphor for harassment and rapes)
In this poem, I am going to analyse a poem with the help of new criticism and the concept given by I A Richards and connect that with Indian Poetics. The aim of this blog would be to find out the meanings and misunderstandings that are present or a reader gets/imply it by reading the text.
What is new criticism:
New Criticism was a formalist movement in literary theory that dominated American literary criticism in the middle decades of the 20th century. It emphasized close reading, particularly of poetry, to discover how a work of literature functioned as a self-contained, self-referential aesthetic object. The movement derived its name from John Crowe Ransom's 1941 book The New Criticism.
I. A. Richards is considered to be the pioneer in the domain of New Criticism. In his "The Practical Criticism" he gave,
Four Kinds of Meanings:
Sense- what is said or ‘items’ referred to by a writer.
Feeling- emotions or “an attitude towards it, some special direction, bias or accentuation of interest towards it, some personal flavour or colouring of feeling”.
Tone- writer’s attitude to his readers or audience
Intention- writer’s aim, which may be conscious or unconscious.
Two uses of Language:
The scientific use
Emotive use
Four Kinds of Misunderstanding:
Sense of poetry
Over-literal reading
Defective Scholarship
Difference between the words in poetry and prose
Because I could not stop for Death – (479)
-BY EMILY DICKINSON
Because I could not stop for Death –
He kindly stopped for me –
The Carriage held but just Ourselves –
And Immortality.
We slowly drove – He knew no haste
And I had put away
My labor and my leisure too,
For His Civility –
We passed the School, where Children strove
At Recess – in the Ring –
We passed the Fields of Gazing Grain –
We passed the Setting Sun –
Or rather – He passed Us –
The Dews drew quivering and Chill –
For only Gossamer, my Gown –
My Tippet – only Tulle –
We paused before a House that seemed
A Swelling of the Ground –
The Roof was scarcely visible –
The Cornice – in the Ground –
Since then – 'tis Centuries – and yet
Feels shorter than the Day
I first surmised the Horses' Heads
Were toward Eternity –
In this poem, the speaker tells the story of how she was visited by "Death"—personified as a "kindly" gentleman—and taken for a ride in his carriage. This ride appears to take the speaker past symbols of the different stages of life, before coming to a halt at what is most likely her own grave—indeed, it seems she herself is already dead. Much of the poem's power comes from its refusal to offer easy or simplistic answers to life's greatest mystery—what happens when people die—and the poem can be read both as the anticipation of a heavenly Christian afterlife and as something altogether more bleak and down-to-earth.
Now, we all know that eventually we are going to die and death does not wait for anybody. In the poem speaker says,
Because I could not stop for Death –
He kindly stopped for me –
The Carriage held but just Ourselves –
And Immortality.
Death cannot be stopped by anyone and death does not carry us around in the carriage. carrying us around is an archetype, we have listened to this in legends and myths that death is a cruel and evil person.
We slowly drove – He knew no haste
And I had put away
My labor and my leisure too,
For His Civility –
In this stanza, the speaker is describing that death is not hasty and she had put away her labor and leisure just for 'His Civility'. The term His Civility seems odd because it is hard to believe that death would have civility. Further in the poem is a description of the fields and sceneries as the speaker and the death is passing through. The word or rather metaphor 'Gazing Grain' is also confusing because grain cannot gaze.
Long Day's Journey into Night is a play in four acts written by American playwright Eugene O'Neill in 1939–41, first published posthumously in 1956.The play is widely considered to be his magnum opus and one of the finest American plays of the 20th century. It premiered in Sweden in February 1956 and then opened on Broadway in November 1956, winning the Tony Award for Best Play.
O'Neill posthumously received the 1957 Pulitzer Prize for Drama for Long Day's Journey into Night. The work concerns the Tyrone family, consisting of parents James and Mary and their sons Edmund and Jamie. The "Long Day" refers to the setting of the play, which takes place during one day. The play is autobiographical.
The play takes place on a single day in August 1912, from around 8:30 a.m. to midnight. The setting is the seaside Connecticut home of the Tyrones, Monte Cristo Cottage. The four main characters are the semi-autobiographical representations of O'Neill himself, his older brother, and their parents.
Characters:
James Tyrone
Mary Tyrone
Mary Tyrone
Edmund Tyrone
Jamie Tyrone
Cathleen
Eugene Tyrone
Mother Elizabeth
Minor Characters:
Doc Hardy
Captain Turner
McGuire
The Play, Long Day's Journey Into Night is about the guilt and sorrow of major characters namely the Tyrone family but that is Mostly James and Mary Tyrone.
There is a relentless logic in the fact that Eugene O'Neill, America's greatest tragic playwright, ended his career with the writing of a starkly autobiographical play. “Long Day's Journey Into Night” is the story of the four O'Neills—called the Tyrones in the play—at a moment of anguished crisis in the summer of 1912. The play's names and events are, so thinly disguised that there is no disputing the literal nature of its revelations. Like James and Mary Tyrone of “Long Day's Journey,” James and Ella O'Neill fought an endless, losing battle to adjust to each other's totally dissimilar natures.
At the time in which “Long Day's Journey Into Night” is set, James and Ella had settled fatalistically for the cycle of love‐hate, guilt and forgiveness, depicted in the play.
While “Long Day's Journey” is the final, naked revelation of O'Neill's “truth” about his family, it is by no means O'Neill's only significantly autobiographical play.
But it was not until the publication of the play in 1956, three years after O'Neill's death, and the recognition of its autobiographical content, that it became possible to discern how very autobiographical many of his earlier plays had been.
James and Mary Tyrone are shown to be at once deeply in love and irrevocably embattled; Mary dwells on the fact that she has, out of helpless passion, married beneath her. She indulges in self‐pitying monologues. She has tried to understand James's ambition, and his terror at being unable to rise to, and stay at, the top, but she cannot excuse the effect it has had on her. James cannot reach her through the fog of morphine into which she withdraws.
James, for his part, adores her but writhes under her withdrawal and contempt. Ella perceives herself as having been driven to addiction by James. He feels that her weakness has ruined his life. He has had to resign himself to caring for her as one would a child. Just like the mother and father in the play, Jim and Ella drive each other to the brink of madness, but they do not let go. In the end, Jim's hope of rising above the petty cruelties that life has imposed on him is crushed, and he resigns himself to being Ella's nurse.
We can say that these things which are connected to his past that as his family problems and his own experience are portrayed in the play.
Most of the characters are addicted in the play.
What caused them to become addicted?
There are many reasons behind their addiction some of them are: Deception, Loneliness, guilt, moral corruption, and money.
Implicit in the responses to Mary’s drug addiction is the belief that addiction was an indication of a weak moral will. Public disclosure of her behaviour seems to be more threatening to the family than Jamie’s disgraceful drinking, gambling, and whoring. In honest moments, Tyrone recognizes that morphine is a poison and that Mary cannot control her need, but the moral stigma remains. Jamie’s moral descent, buffered by his affection for his brother and mother, is treated as less of a social embarrassment, even by Tyrone.
The Tyrone family is fragmented, and each of its members to some degree is alienated from the rest. The most obvious estrangement exists between Tyrone and Jamie, both of whom allow their bitterness to overwhelm whatever residual love and respect they have for each other. Jamie holds his father’s tightfistedness to blame for Mary’s addiction to morphine, while Tyrone cannot forgive what he sees as his son’s gutter-bound dissolution. The two are barely civil to each other, and knowing the recriminations their encounters habitually bring, they simply try to avoid each other, especially when drink has dissolved their masks of civility.
For Mary one of the reasons for the addiction is the death of her son Eugene and the guilt that she left him alone that's why he died.
This blog is a response to the thinking activity assigned by Dr Dilip Barad sir. In this blog, I am going to present my understanding of 'Indian Poetics'. Which include various schools like Rasa, Dhvani, Alankaar, Auchitya, Vakrokti, and,Riti. Every year our department arranges expert lectures on Indian Poetics by Dr Vinod Joshi sir.
Indian Poetics broadly developed into eight schools - Rasa, Alankara, Riti, Guna/Dosa, Vakrokti, Svabhavokti, Aucitya and Dhvani - corresponding roughly to the western theory of Pleasure, Rhetoric/Figures of speech, Theory of Form, Oblique poetry, Statement poetry, Propriety and Suggestion.
The central tradition of Indian aesthetics originating in Bharata, the first and the oldest known exponent of the dramaturgic school of rasa, enriched by Anandavardhana, an exponent of dhvani theory, Bhamaha, an exponent of the alankara system, Kuntaka, the main proponent of Vakrokti, Vamana, the most notable exponent of aucitya codified by Mammata, Viswanatha and Jaganatha is a veritable treasure house of insights into problems related to the creation, analysis and evaluation of works of literature.
The Indian aesthetics/poetics and western poetics are similar but they differ according to their region, culture, myths and legends. They may differ in many ways but in the end, as the theory of archetype suggests, our bone stricture is the same so in the end, it is the same.
Major schools, thinkers, and texts
Schools
Thinker(s)
Text(s)
Rasa
Bharata
Natyasastra (second century B.C.)
Dhanika-Dhananjaya
Dasarüpaka (tenth century A.D.)
Alamkara
Bhamaha
Kavyalamkara (sixth century A.D.)
Dandin
Kavyadarşa (seventh century A.D.)
Udbhata
Kavyalamkārasārasamgraha (ninth century A.D.)
Rudrata
Kavyalamkara (ninth century A.D.)
Riti
Vamana
Kavyalamkarasutra (ninth century A.D.)
Dhvani
Anandavardhana
Dhvanyaloka (ninth century A.D.)
Abhinavagupta
Abhinavabharati (also for rasa theory)
Mahimabhatta
Vyaktiviveka (eleventh century A.D.)
Vakrokti
Kuntaka
Vakroktijivita (eleventh century A.D.)
Guna-Dosa
Dandin
Kavyadarşa (listed above)
Bhamaha
Kavyalamkara (listed above)
Aucitya
Ksemendra
Aucityaviramarca (eleventh century A.D.)
The eight rhetorical Sentiments (Rasas) recognised in drama and dramatic representation are named, Erotic, Pathetic, Furious, Heroic, Terrible, Odious, and Marvellous. The rasas are created by abiding mental states (sthayibhava). The abiding mental states are
Love: [Śṛṅgāra (શ્રુંગાર)]
Laughter: [Hāsya (હાસ્ય)]
Sorrow: [Kāruṇya (કારુણ્ય)]
Anger: [Raudra (રોદ્ર)]
Energy: [Veer (વીર)]
Fear: [Bhayānaka (ભયાનક)]
Disgust: [Bībhatsa (બીભત્સ)]
Astonishment: [Adbhuta (અદ્ભુત)]
Peace: Santa (શાંત) rasa: A ninth rasa was added by later authors.
