Sahrdayaloka Part 03

Author(s): Tapasvi Nandi
Publisher: L D Indology Ahmedabad
Catalog link: https://jainqq.org/explore/006910/1

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SAHRDAYALOKA [Thought-currents in Indian Literary Criticism] [Vol. I, Part 3] L. D. Series : 143 General Editor Jitendra B. Shah TAPASVI NANDI bhAratIya vidhAmati L. D. INSTITUTE OF INDOLOGY AHMEDABAD - 380 009 For Personal & Private Use Only

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SAHRDAYALOKA [ Thought-currents in Indian Literary Criticism ] [Vol. I, Part-3] L. D. Series : 143 General Editor Jitendra B. Shah TAPASVI NANDI L.D. INSTITUTE OF INDOLOGY AHMEDABAD - 380 009 For Personal & Private Use Only

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L. D. Series : 143 SAHRDAYALOKA [Thought-currents in Indian Literary Criticism ] [Vol. I, Part-3] TAPASVI NANDI Published by Jitendra B. Shah Director L.D.Institute of Indology Ahmedabad First Edition : 2005 ISBN 81 - 85857-25-3 Price: 700/ Typesetting Swaminarayan Mudranalaya Press Shahibaug, Ahmedabad Printer Navprabhat Printing Press Gheekanta Road, Ahmedabad Tel. 25508631 For Personal & Private Use Only

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Publisher's Note We feel pleasure to place before the learned "SAHRDAYALOKA" OR "Thought-currents in Indian Literary Criticism" - (Vol. I) by Prof. Tapasvi Nandi. The author hardly requires any introduction to the learned working in the area of Sanskrit Alamkararsastra or Literary Aesthetics. The work attempts to cover the basic thought - currents prevalent in Sanskrit Literary criticism, trying to unearth the origin and development of each topic beginning with the "Definition and scope of poetry, Sanskrit semantics, the theories of Dhvani, Rasa etc." The author has taken care to record and accept the views of his predecessors in his area of research and has very gratefully acknowledged the honourable acceptance of their views and has also tried to discuss modestly differences of opinion if any, at various places. The whole work presents the material in an historical, critical and comparative perspective. We feel sure that the learned will appreciate his efforts in an unbiased way. Prof. Nandi's observations on Dhvani and Rasa deserve special mention as he has made a special effort to explain how these thought currents which form a special contribution of Indian Literary Aesthetics are relevant even to-day and how they can be applied to the most modern patterns of literature world over, including absurd poetry and absurd theatre as well. The author also proposes to bring out Vol. II covering the area of literary criticism that is not discussed in the present volume, of course, god willing. We are thankful to Prof. Nandi for agreeing with us to publish the present work. We are also thankful to the Swaminarayan press, and all our colleagues in seeing this work through. Hope this work will stand the test of the learned and will fulfil a gap left out by earlier experts. It may be noted that for the sake of convenience, this work is presented in three parts such as, Part I - chs. I-VII (pp. 1-575); Part II - chs. VIII-XIII (pp. 576-1195) and Part III - chs. XIV - XVIII (pp. 1196-1843), with select Bibliography (pp. 1844-1850) appearing at the end of Part III. The Publisher's note, the author's preface - Namaskaromi, contents, detailed contents and abbriviations appear in all the three parts. Jitendra Shah L. D. Institute of Indology, Ahmedabad. For Personal & Private Use Only

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"Namaskaromi...." Salutations to the Divine ! Salutations to my three Maha-gurus; Salutations to my parents, Salutations to all the sources consulted by me And, Salutations to all of you, who are all all sparks of the Divine ! "Aum purnam adah, purnam idam purnat purnam udacyate purnasya purnam adaya purnam eva'va sisyate." "That [Source, which has been drawn upon by me is respectable and] is perfect, This [Work, which is presented before you in this respectable shape] is perfect. Perfect (material-; ideas, inspiration) has been drawn from perfect (respectable, reliable source). After drawing upon perfect (material) from perfect (and respectable source), only the perfect is left behind (before you)." This, in short, is the story of my spiritual endeavour that started on 7th Aug. 2000 A.D. and reached its completion on 20th July, 2003 A.D. The great yogin said, "In the stillness of the night, the eternal speaks." And yes; I do not know when, in the stillness of the night, my eyes kept wide open staring in the darkness around me, and when these thought-currents sneaked into my inner consciousness from various sources-first like light ripples of the quiet and dignified flow of the sacred Ganga, and then like the mighty billows of the stormy Atlantic, dashing against the shores, washing them clean. They settled into my mind and then sank deep into it. I do not know when my eyes were closed and For Personal & Private Use Only

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I was overpowered by sleep, as if embraced by the Divine Grace ! I feel floating in the wide stream, rich in currents and cross-currents, whirls and pulls; deep, full fathom five; quiet and dignified. I feel dragged and dragged, up and down, and then I slip towards the bottom, like in the womb of the mother earth, with a hundred thousand daffodils, red and pink, green, blue, white, violet and goldenon top of the surface ! So, as suggested in the beginning, I have accepted, with gratitude, of course after verifying with the original, the material, line by line, paragraph by paragraph, at times, from the works of my predecessors, who I thought are most reliable, and for whom I have tremendous respect and love in my heart, from their works, dealing with the topics of word and meaning as discussed by the ancients the Mimamsakas, the Naiyayikas and above all the great Vaiyakaranas, - the "prathame hi vidvamsah" as Anandavardhana would call them. I take these works as starting points, and as absolutely relaible sources and they are authored by great scholars such as Dr. P. C. Chakrawarty, Prof. Devasthali and Prof. Dr. K. Kunjunni Raja, Dr. Sri P. Ramchandrudu and some others. At every step, wherever I have sought inspiration and help from these master works, I have clearly indicated my indebtedness. - My work has grown both in size and dignity due to this, like the sacred flow of the Ganga growing vaster and vaster with the waters from the innumerable springs, rivulets and rivers mixing with the main stream; and shooting out from the bosom of the great Nagadhiraja Himalaya. Those who have undertaken the "caturdhama yatra" are a witness to this. By accepting everything from various springs the Ganga has carved out its own identity, sanctity and dignity. Same is the case with this work. owe a lot to the great modern rsi-trayi-i.e. Dr. P. V. Kane, Dr. S. K. De and Dr. V. Raghavan, in particular, who has shaped my views on Bhoja. But it may also be noted that, without showing disrespect, I have ventured to dispute their results, and this happens quite often with Dr. Raghavan, when I feel, on verifying with the original words of Bhoja, that I am on firmer ground. This, the discreet will find out for himself, and there is no doubt about it. But this does not minimize their greatness and my adoration for their lotus-feet. They are the great thinkers spreading light and bearing the torch of Indian Literary Aestetics for the modern scholars, both in east and west alike. Over and above this, I owe everything, i.e. beginning from my initiation into this ancient lore of Sahitya-sastra to whatever I have done till day, in serving its - - For Personal & Private Use Only

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(xi) cause, to my great gurus - the three of them, the 'guru-sikhi-trayi' of professors R. C. Parikh, R. B. Athavale, and Dr. V. M. Kulkarni and especially Dr. Kulkarni; for it is he who even to-day, at the age of 85+ yrs., inspires me, guides me and blesses me and in my moments of personal despondency fills me with warmth, love, guidance and inspiration. I am also indebted to the works of some of my senior contemporaries and to most of them personally also when I have met them, such as Dr. Rama Ranjan Mukherjee, Dr. Mukund Madhava Sharma, Dr. Pratap Bandopadhyaya, Prof. Dr. Satyavrata Shastri, Prof. Rasik Vihari Joshi and my most respected and learned friends such as Prof. Dr. Rewaprasad Dwivedi, Prof. Dr. Kamalesh Dutta Tripathi, the late Prof. Ramcandra Dwivedi (Jaipur), the late Prof. Biswanath Bhattacharya (Shantiniketan), the late Prof. K. Krishnamoorty, Prof. N. P. Unni, Prof. Dr. K. K. Chaturvedi, and prof. Dr. S. D. Joshi, and some very brilliant young friends such as Prof. Dr. Sarojaben Bhate, Dr. C. Ramchandran, Prof. Dr. V. N. Jha, Dr. G. C. Tripathi, Dr. Radhavallabh Tripathi, Prof. M. M. Agrawal Dr. Goparaju, Rama, Dr. Jagannatha Pathak, and the rest. I have met all these dignitaries personally and I stand benifitted. I also will show my respect for Prof. Sri. Ramchandrudu for his great work on Jagannatha. True, my Guru Prof. Athavale taught me some portion of the great R. G., and his work on Pundit Jagannatha is monumental. So, I am made of all these stalwarts. But kindly note that with all this I remain myself, i.e. I have carefully carved out and preserved my identity. If at all I have accepted their ideas and views as sacred mantra, it is because I feel convinced about the same. I feel convinced first about their reliability and integrity, and then their output; their great reputation apart. Believe me, and I am honest, that I have practically verified every source in the original, before putting the stamp of my humble acceptance of their thoughts and writing. It is never a blind acceptance. In the words of Rajasekhara - "tad etad svikaranam, na tu haranam." I have accepted them, for I have found them acceptable, like the great Vagdevatavatara Mammata or the great Kalikala-Sarvajna acarya Hemacandra accepting the dictates of Abhinavaguptapadacarya, or like the latter himself accepting the ruling of his seniors when he says : "urdhvo'rdhvam aruhya yad artha-tattvam dhih pasyati, srantim avedayanti, phalam tad adyaih parikalpitanam viveka-sopana-paramparanam." For Personal & Private Use Only

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However, the discreet will find out that my acceptance ends with the field covering the ancient literature laying down the thoughts of the Mimamsakas, the Naiyayikas and the Vaiyakaranas. With our entry into the wide and open field of Alamkarasastra proper, i.e. with the works of Bharata, Bhamaha and down to Jagannatha, of course including Anandavardhana, Abhinavagupta and Mammata, I have tried to project some original line of thinking that may prove to be of great value to the adhikarins. This is a modest claim but a sure one. I have accepted ideas and also drafting from Gnoli, Masson, Patwardhan, K. Krishnamoothy, and the rest, but with a touch of my own original contribution. I feel I am on absolutely sure and safe ground when I travel through this area of alamkara-Sastra proper, convering nearly two thousand years of creative thinking. My work will surely guide the adhikari aspirant who wants to have a glimpse of the greatness of the Indian acaryas, who have left behind their foot-prints on the sands of literary aesthetics. It may be noted that I have presented the rasa theory in a new perspective, and believe me, this is what I claim for sure, - a perspective which acknowledges the catholicity of rasa theory as it seems to serve the cause even of what they term 'absurd theatre' or 'absurd poetry'. I am sure the discerning will take note of all this and try to evaluate this work in an unbiased way. At the same time may I remind the learned of the words of Jayanta who said, "kutosti nutanam vastu ?", or of the words quoted as above of Abhinavagupta suggesting that all fresh results follow the achievements of the earlier masters, i.e. after climbing the 'viveka-sopana-parampara' one gets into something fresh. So, I invite the sensitive and thoughtful adhikarins to have a soft corner for me and extend their helping hand. The great Mahima observes : (Vyakti-viveka) - "yuktoyam atmasadnsan prati me prayatno na'sty eva taj jagati, sarva-manoharam yat, kecij jvalanti, vikasanty, apare nimilanty 'anye yad abhyudayabhaji jagat-pradipe." The discerning are requested to read every line, before pronouncing a judgement.... I wish that only those, through whose arteries and veins alamkarasastra flows, should venture to review this work. No lesser soul should attempt it. So, we humbly say - "adya pratanyate'smabhih vidusam pritaye muda astadasa'dhikarini mimamsa kavya-vartmani." miks that only those through water beceries and relia arambira For Personal & Private Use Only

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This forms only the first volume of my "Sahrdaya"loka" or "Thought-currents in Indian Literary Criticism." The proposed second volume will try to study the concepts of guna, dosa, alamkara, laksana, aucitya, riti, vitti, kavisiksa and some modern writers on Sanskrit poetics, such as Dr. Rewaprasadjee etc. I sincerely thank the publishers and Shri. Dr. Jitendra Shah the Director, L. D. Institute of Indology, Ahmedabad, for seeing this work through. I also thank his collegues, and also Principal Kanjibhai Patel for kindly co-operating with us. The press - Shri Swaminarayana Mudrana Mandir, of course deserves full praise and thanks for doing its job so carefully. I also thank, Smt. Harsha Nandi, my wife, Smt. Chinmayee M. Rali, my beloved daughter, M. Pharm., Dr. Mayur S. Rali, M.D., D.G.O., my son-in-law, and our two grandsons - Parth who studies medicine, and Mit, doing physiotherapy bearing with me through all the inconveniences caused due to my sadhana, and providing love and inspiration through out the course of these three years when this work was carried out. I also thank the Divine, and our Sadguru Raja-yogi Shri Narendrajee for his blessings and who has also suggested that even after this polite achievement, I have to travel further, through the woods, dark, deep and lovely, before I rest and lay down my pen. Aum ma Aum. iti Sivam... TAPASVI NANDI 19 Aug. 2004 Asopalava, 4, Professors' Colony, Navrangpura, Ahmedabad-380009 (Gujarat State) India. For Personal & Private Use Only

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Ch. No. I II III IV V VI VII VIII IX X XI or "Definition and scope of poetry." (Introduction p. 1-12) Sabda-vyapara-vicara; Sabdavrttis; recognised in the works of earlier alamkarika-s such as Bhamaha, Dandin, Vamana Udbhata and Rudrata [i.e. Anandavardhana's purva"carya-s] 'Pratiyamana artha' Title Implicit sense, as seen in the earlier alamkarika-s such as Bhamaha, Dandin, etc. Sabda-vrttis, the nature of; "Abhidha" Tatparya Laksana Vyanjana Vyanjana-virodha or Contents Opposition to suggestive power Classification of Poetry (form - oriented) Classification of Poetry (contd.) (criticism oriented;) dhvani, gunibhuta-vyangya, citra; or uttama, madhyama, avara, etc. For Personal & Private Use Only Page No. 1-125 126-203 204-229 230-248 249-368 369-453 454-575 576-709 710-778 779-967 968-1041

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Ch. No. XII XIII XIV XV XVI. XVII XVIII Title Dhvani in Kuntaka, Bhoja and others and Gunibhuta-vyangya-kavya and citra-kavya Dhvani and other thought currents such as guna, alamkara, samghatana, riti, vrtti, etc. and also Dhvani-Virodha. The Concept of 'Rasa', as seen in veda and ancient literature and then in Bharata and earlier alamkarikas from Bhamaha to Rudrata Concept of 'Rasa' as seen in Anandavardhana and others posterior to him. Rasa-nispatti-vicara in Abhinavagupta Rasa-nispatti-vicara in Mammata, some others and Jagannatha. Dasa-rupaka-vicara Detailed Contents For Personal & Private Use Only Page No. 1042-1152 1153-1195 1196-1277 1278-1490 1491-1593 1594-1629 1630-1843

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Detailed Contents Ch. I Introduction, p. 1-12; Definition and scope of poetry, p. 12-14; Bhamaha, p. 14; Dandin, p. 24; Vamana, p. 30; Udbhata, p. 36; Rudrata, p. 37; Anandavardhana and his followers, p. 39; Rajasekhara, p. 42; Kuntaka, p. 42; Ksemendra, p. 60; Bhoja, p. 60; Agnipurana, p. 63; Mahimabhatta, p. 64; From Mammata to Visvanatha, p. 81; Mammata, p. 81; Hemacandra, p. 86; Vagbhata I, p. 86; Vagbhata II, p. 87; Jayadeva, p. 87; Visvanatha, p. 91; Vidyadhara, p. 88; Vidyanatha, p. 89; Kesava Misra, p. 97; Jagannatha, p. 101; J.'s criticism of Mammata's definition of poetry, p. 109; J.on Visvanatha's definition of poetry, p. 114, later challanges to J.'s definition of poet ry, p. 115; Kavya-hetu and Kavya-prayojana, p. 119; Ch. II Sabda-vyapara-vicara or Powers of a word; general introduction, p. 126; ancient background, p. 129; word meaning relationship, p. 132; the vakya padiya, p. 134; Mimansakas, p. 137; artha-jnana or determination of sabdartha, p. 142; pravrtti-nimitta of sabda, p. 146; Naiyayikas, p. 148; how is sanketa apprehended, p. 148; Bhartrhari, p. 150; word and its import, p. 153; the vaiyakaranas * patanjali *; mimamsakas; p. 157 different views as mentioned in the V.P., p. 164 Naiyayikas; p. 164 Bharthari's V.P.; p. 165 Alamkarikas; p. 171 Etimologists; p. 175; Short Summary of total heritage; p. 175 Sabda-vrttis as seen in different schools of thought such as the vaivakaranas, mimamsakas etc. p. 181; mimamsakas; p. 192 naiyayikas; p. 198 Navya-Naiyayikas, p. 200 Ch. III. Bhamaha; p. 205 Dandin p. 217 Vamana; p. 220 Udbhata; p. 225 Rudrata p. 226 Ch. IV p. 230; Bhamaha; p. 232 Dandin; p. 242 Vamana, p. 247; Udbhata, p. 247; Rudrata; p. 247 Ch. V General Introduction; p. 250 Abhidha; p. 252 classification p. 252; Jagannatha, Maha-siddhantin; p. 253; Bhoja p. 276; Mukula and others p. 285; Kuntaka; p. 300; Mahima; p. 306, rethinking p. 332 Mammata p. 333 Mammata's definition of abhidh. p. 345; For Personal & Private Use Only

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Hemacandra; p. 347; Jayadeva p. 349; Vidyadhara, p. 358, Vidyanatha, p. 358; Visvanatha p. 359; Kesava, p. 359; Appayya Dixit p. 360. Ch. VI General Introduction, p. 369; Vakya, its import; p. 370; Vakya; definition p. 371; Patanjali, p. 371; naiyayikas p. 371; The grammarians p. 372; what is vakyartha ? p. 374; Mimamsakas p. 377; constitution of a sentence, different views; p. 378; Naiyayikas p. 381; nimitta of vakyartha p. 385; Prabhakara p. 391; alamkarikas; p. 396 the nature and scope of tatparya-vrtti; p. 398 tatparyajnana p. 409; anvita'bhidhanavada and abhihita'nvayavada p. 414; anvitabhidhanavada p. 415; abhihitanvayavada p. 421; tatparya p. 426; dhananjaya/dhanika p. 427; tatparya in Bhoja p. 433; Mammata and his followers p. 444; Ch. VII three conditions p. 454; grammarians p. 455; Patanjali, Gautama p. 458; mukhya, gauna, mimamsakas, p. 459; alamkarikas 482; Mukula 482; Kuntaka 484; Kumarila 485; types of laksana 489; Mukula 492; Mammata 492; gauni, compound words, sentence laksana, Bhartrhari p. 503; Hemacandra p. 521; Bhoja p. 521; I Jayadeva p. 526; Vidyadhara p. 531; Vidyanatha p. 534; Visvanatha p. 534; Kesava 539; Appayya p. 540; Jagannatha p. 550; Ch. VIII vedic sages p. 576; grammarians, mimamsakas, naiyayikas, yaska p. 577; dr. Saroja Bhate p. 578; Panini, patanjali p. 589, Bhartphari, p. 591; Sphotavada and vyanjana p. 599; vyanjana as accepted by Anandavardhana and his followers p. 601; sources; veda p. 602; The Nirukta p. 618; Rk Pratisakhya p. 620; Astadhyayi p. 620; Mahabhasya p. 621; germs of vyanjana in Bhasa, Asvaghosa, Kalidasa etc. p. 622; Anandavardhana; (with Locana); p. 630; Mahima p. 654; Anandavardhana p. 656; Mammata p. 658; abhidhamula-vyanjana, 659; Abhinavagupta; p. 680; Mammata p. 685; Hemacandra p. 687; Jayadeva p. 688; Vidyadhara p. 689; Kesava, p. 690; Vidyanatha p. 690; Visvanatha p. 691; Appayya p. 693; Jagannatha p. 694; Ch. IX. Abhinavagupta p. 711; Mammata p. 726; Mukula p. 748, Kuntaka p. 752, Bhoja p. 752; Mahima p. 752; Dhanika p. 753; Hemacandra p. 772; Vidyadhara p. 773; Vidyanatha p. 773; Visvanatha p. 773; For Personal & Private Use Only

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Detailed Contents Ch. X. Bhamaha p. 780; Dandin p. 785; Vamana p. 795; Rudrata p. 799; Anandavardhana p. 811; Abhinavagupta p. 814; Bhoja p. 816; Bhoja nataka etc., p. 818; nidarsanam p. 820; manthulli p. 821; manikulya p. 822, katha, khanda-katha, upakatha, p. 822; bihatkatha, campu, p. 824; parva-bandha, kandabandha, p. 825; sargabandha, asvasaka-bandha, p. 826; sandhibandha, avaskandhakabandha, kavya-sastra, p. 827; kosa, p. 829; samhita, sahitya-prakasa, p. 830; Abhinavabharati p. 836; uparupakas natika p. 834; Hemacandra p. 851, Natyadarpana 852; Saradatanaya, NLRK. 852, Vagbhata II, "ingabhupala, Vidyadhara, Vidyanatha Visvanatha p. 852; individually considered from Bhoja onwards 853. Ch. XI p. 968; dhvani, dvanyaloka; locanakara p. 975; dhvani-prabheda p. 984; table showing varieties of dhvani p. 988; vyanjaka-mukhena bhedah, p. 999; alamkaras, rasavat etc. p. 1006; vyanjaka-mukhena bhedah, 1009; prabandha as rasavyanjaka p. 1012; suggestivity of vitti, riti, p. 1014; varnas as suggestive of rasa p. 1015; padas - rasavyanjaka, p. 1015; rasa-virodhi, its parihara p. 1016; virodhisamavesa p. 1020; supremacy of rasa in poetry p. 1029; Mammata p. 1030; Hemacandra and Jayadeva p. 1031; Vidyadhara, Vidyanatha Visvanatha, p. 1031; Jagannatha p. 1032; uttamottama, etc. 1032; further classification of dhvani by J. p. 1032; Ch. XII. Dhvani in earlier alamkarikas, Bhamaha and others p. 1043; Kuntaka p. 1045; Bhoja p. 1091; Bhoja-Tatparya, p. 1111; gunibhutavyangya and citra kavya p. 1125; citra kavya p. 1127; gunibhuta - vyangya, Anandavardhana 1127; Abhinavagupta's attitude 1133; Mammata madhyama kavya, etc. p. 1133; Hemacandra, p. 1137; Visvanatha p. 1138; Jagannatha, four-fold scheme p. 1139; Jayadeva p. 1141; Vidyadhara; Vidyanatha; Kesava; citra-kavya p. 1143; Anandavardhana and others p. 1144; Mammata p. 1149; Vidyanatha, p. 1149; Visvanatha p. 1150; Kesava p. 1151; Appayya Diksita p. 1151; Jagannatha p. 1152 Ch. XIII. dhvani and alamkara p. 1154; samghatana p. 1156; riti, vitti, p. 1163; Locana, p. 1165; Mammata p. 1166; Hemacandra p. 1172; Jayadeva p. 1173; Vidyadhara, p. 1174; Vidyanatha p. 1174; Visvanatha p. 1175; Jagannatha p. 1176; Opposition to dhvnikara's For Personal & Private Use Only

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supremacy, p. 1178; Vimarsini, opponents of dhvani p. 1178; Locana p. 1180; refutation, dhvani-twofold- p. 1192; Ch. XIV Rasa in RV. p. 1196; Rasa in Yv. p. 1199; Rasa in Samaveda p. 1199; Rasa in AV p. 1200; Amara, Hemacandra on word 'rasa'; p. 1202; Rasa,various meanings in vedic literature, conclusion p. 1203; NS. I. 7; rasan atharvanad p. 1207; Hymns of AV.; love lyrics p. p. 1217; Rasa in the Upanisads p. 1219; Rasa in the Nirukta; 'Rasa' in Brhaddevata p. 1221; Rasa in Panini and Patanjali p. 1221; Rasa in Asvaghosa, Bhasa, Kalidasa, p. 1224; Rasa in Bharata Muni, NS. p. 1240; Bharata on Bhavas p. 1248; Bhamaha p. 1256; Dandin p. 1262; Vamana p. 1267; Udbhata p. 1268; Rudrata p. 1271; Ch. XIV *; Rasa in Anandavardhana p. 1278; asam'aksyakrama-vyangya (= rasa"di dhvani) with reference to varna etc. p. 1285; and samghatana; types p. 1285; prabandha-suggestive of rasa; p. 1286; rasa"di-dhvani suggested by case-terminations, etc., p. 1287; obstacles in rasa-vyanjana; p. 1288; rasa as aesthetic relish for all art-critics p. 1290; virodhi-rasa-vyavastha; opposite sentiments p. 1291; overcoming opposition between two rasas p. 1293; other concepts, vrtti, etc. and rasa p. 1294; alamkara, guna, dosa and rasa 1298; Mukula and rasa p. 1300; Kuntaka p. 1302; Dhananjaya and Dhanika p. 1310; Mahimabhatta p. 1310; Bhoja p. 1317; Agnipurana p. 1330; Mammata p. 1334; Hemacandra p. 1339; Vagbhata I p. 1340; Vagbhata II, p. 1341; Jayadeva p. 1341; Vidyadhara p. 1342; Vidyanatha p. 1343; Visvanatha II p. 1348; Bhanudatta p. 1363; Kesava Misra p. 1364; Jagannatha p. 1367; Rasa in works on dramaturgy; Dasrupaka; p. 1373; Natya darpana; Ramacandra and Gunacandra; 1388; Bhava-prakasana, p. 1401; Saradatanaya; bhava p. 1402; Saradatanaya on rasa; p. 1426; Nataka-laksana ratna kosa; Sagaranandin p. 1459; Rasarnavasudhakara of Singabhupala p. 1465; Bhava and rasa in Rs. 1465. Ch. XVI. rasa-sutra p. 1492; Lollata 1493; Lollata's view; Locana; refutation of Lollata by Sri. Sankuka; as read in Locana; in Abh. p. 1500; Sri. Sankukas views on rasa-nispatti, Abh. p. 1502; Tota Abh. on Sankuka's view p. 1507; samkhya view in Abh. p. 1516; sankuka's view in For Personal & Private Use Only

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Locana p. 1516; Bhattanayaka's view in Abh. and then in Locana; p. 1518; Abhinavagupta's view on rasa-nispatti; p. 1527; seven obstacles; rasa-vighnas; Abh.; p. 1542; Explanation of rasa-sutra by Abhinavagupta p. 1554; Locana; rasa-nispatti p. 1563; All rasas, blissgiving p. 1578; Santa rasa p. 1578; catholicity of rasa-theory p. p. 1583; Ch.XVII rasa-nispatti-vicara; Mammata to Jagannatha. *; Mammata p. 1594; Jagannatha p. 1601; Ch. XVIII Nataka 1632; Dasarupaka p. 1646; Itivitta p. 1652; artha-praksti sp. 1654; five avasths p. 1658; Sandhis and Sandhyangs p. 1661; artho'paksepakas p. 1666; sandhis and sandhangas, further discussion p. 1670; Natya-darpana p. 1676; Bhavaprakasana *; NLRK. p. 1682; Sahityadarpana *; Rasarnava Sudhakara p. 1696; Sandhyantaras p. 1702; Comparative and critical study of sandhi-s and sandhyanga-s p. 1705; Dr. V. M. Kulkarni's view; sixty four sandhyangas p. 1714; conclusions concerning sandhyangas p. 1736; Bhoja p. 1749; A comparative and critical table of sandhyangas p. 1749; Types of drama; nataka p. 1795; five special types of drama in Bava prakasana 1800; Prakarana p. 1807; Samavakara p. 1811; ihamtga p. 1821; Dima 1825; Vyayoga p. 1828; Utsrstika'nka; p. 1830; prahasana p. 1831; Bhana p. 1834; Vithi p. 1836; For Personal & Private Use Only

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Abbreviations AVM. A-bh AG. A-se. A. Bha B.P. B. Bho. DR. Da. Dha Dhy. Dhv. L. H. (or. H. C.) Abhidhavstta-Matrka of Mukula. Abhinavabharati Abhinavagupta Alamkara-sekhara-Kesava; Anandavardhana Bhamaha Bhava Prakasana Bharata Bhoja Dasa-rupakaDandin Dhananjaya - Dhanika Dhvanyaloka. Dhvanyaloka-Locana-Abhinavagupta's. Hemacandra. Jagannatha K. Krishnamoorthy, Prof. Kavya'lamkara, Bhamaha. Kavya'lamkara-Sutra-vrtti-Vamana's Kavya'nusasana, Hemacandra. Kavya"darsa-Dandin Kavya Prakasa. KumarilaKuntaka, Mimamsa-Sutra. K. Kris. Ka. Ka.Su.Vs. Ka-sa KD. K. P. Ku. K. Mi-Su. For Personal & Private Use Only

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Mbh. M. M. NLRK. N. S. P. PR. RS. R. G. sa Sr.Pra. S.B. Sa Sa S-D. SP. S.K.A. Vag. Vatsya V. J. V. Vya.V. Mahabhasya Mahimabhatta; Mammata. Nataka-Laksana-Ratna-Kosa Natyasastra, Bharata; Panini Punditaraja-Jagannath. Rasa'rnavasudhakara. Rasa-Gangadhara Saradatanaya Srngara-Prakasa; Bhoja Singabhupala Sagaranandin Sa-Sayana (in vedic context) Sahityadarpana-Visvaanatha Sanskrit Poetics, S. K. De. Sarasvati-Kantha"- bharana. Vagbhata II Vatsyayana Vakrokti Jivita; Kuntaka Visvanatha Vyakti-Viveka For Personal & Private Use Only

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SAHRDAYALOKA [Thought-currents in Indian Literary Criticism] Part-III : Part II of this work takes care of the topic of vyanjana', followed by vyanjana. virodha. Then classification of poetry, both outer-form oriented and what we term as criticism based such as dhvani, gunibhuta-vyangya and citra, is taken care of. It may be noted that dasarupaka-vicara is not considered at this juncture but is reserved for part III. The concept of Dhvani was either included in some other concept advanced by some post-Anandavardhana literary critic, or was denounced by some who tried to cut at the root of the very concept of vyanjana-vrtti. But it has been observed that none of these so-called anti-dhvani theorists could over-rule the fact of an implicit sense and the greater fact of 'rasa' in poetry and drama. It has been suggested that the wider and more liberal and perhaps more catholic scheme of vyanjana-dhvani-rasa as advanced by Anandavardhana, Abhinavagupta and their followers down to Jagannatha finally prevailed as the most rational and acceptable doctrine of literary criticism. We do not agree with the vehement attempts by such stalwarts as Dr. Revaprasadjee to denounce vyanjana-dhvani. In fact Anandavardhana, Abhinavagupta and their followers look more humble and genuinlly critical in their exposition. Even Mahima and Dhananjaya/Dhanika his predeccessors were very polite even while disagreeing with the great Dhavanikara. We stand by the most catholic scheme of vyanjana-dhvani-rasa which has the grace and strength to cover in its embrace such attempts as absurd theatre or absurdpoetry. For Personal & Private Use Only

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Chapter XIV The concept of "Rasa" [as seen in the Vedas and Vedic literature. Yaska, Panini; Patanjali; Rasa in earlier poetic works; Bharatamuni and earlier Alamkarikas from Bhamaha to Rudrata."] An attempt is made in this chapter first to examine the semantic history of the word 'rasa' in the earliest available literature of the world, viz. the vedas and then the literature going with the same such as the vedangas, particularly Yaskas Nirukta and the Astadhyayi of Panini, followed by Patanjalis bhasya over the same, and then after searching for the speacial connotation of the word 'rasa' in its aesthetic context, to examine Bharatas Natya-sastra (N. S.) and also the works of the alamkarikas such as the ancients, Bhamaha and the rest, who preceded Anandavardhana. This will serve as a background for the theory of 'rasa' as seen in works of Indian literary aesthetics. Of course, with Bharata onwards we find 'rasa' in the aesthetic sense of artexperience in general and Anandavardhana onwards it remains a matter of discussion whether 'rasa', the supreme aesthetic-experience accepted by one and all, is conveyed through the medium of vyanjana or something else, both in drama and poetry. We will begin with the vedas first. We will also examine the use of the term 'rasa' in actual literatare of earlier Masters beginning with Asvashosa. 'Rasa' is a word of frequent occurrence in vedic and early classical Sanskrit literature. We have the following observation 'Rasa' occurs in the RV. (=Rig Veda) as below : Rv.I. 23.23, "rasena". According to Sayana According to Griffith, jala-saren "essence" 37.5 "rasasya" go-ksira-rupasya; 'rain' 71.5 "rasam" prthivyah sarabhutam havih; 'juice'. 105.2, "rasam" 'purusasya sarabhutam viryam; "bliss of love' 187.4 : "rasah" sad rasah, svadv-amladi; juices 187.5; "rasanam" svadv amladinam; sannam savours of juice For Personal & Private Use Only

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The concept of "Rasa" Rv. V, 43.4; 'rasam'- somasya; 44.13; 'rasavat'- saravat (payah) 44.21, 'rasah'- 'rasaniyah prasasyo rasavan rasa"tmako va (induh) (somah) rasah, soma-rasah 63.8 Rv. VII, 104-10 rasam saram Rv. VIII 1.26 rasinah rasinah rasah rasam - 3.1 3.20 53.3 Rv. IX. 6.6. rasam (somam) 16.1 rasam (somasya) rasam (somasya) 23.5 39.5 rasah 61.17 rasah 61.18 rasah Rv. IX 67.8 67.15 rasam 67.31 rasam 67.32 rasah - 74.9 rasah 76.1 rasah 77.5 rasah 79.5 rasam 84.5 rasah 85.1 86.10 rasah - - * rasa-vat rasavatah * 62.6 rasam (somasya) 62,13 rasam (,, ) 64.24 rasam (,,) 65.15 rasam (,, ) rasa"tmakomrtamayah atmiyam dravam According to Sayana rasah; (somamayah) (somasya) veda-rasa-bhutam (soma-rasah) saram sukta-samgham, vedasaram sukta-samgham (somasya) (rasa"tmakah somah) (rasa"tmakah somah) somam rasa-rupah somah rasasya svamsam pitva rasa-rupah (somah) For Personal & Private Use Only juice sweet-flavoured juice pleasant libations essence savoury savoury juice juice essence juice juice Sap juice 39 33 dr 39 39 According to Griffith juice dw essence essence juice juice dw 39 dr dr 1197 a

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SAHRDAYALOKA 1198 96.21 rasah (somasya) 97.1 rasam atmiyam rasam 97.12 rasena (atmiyena) * 97.14 rasayyah rasena asvadyah juice abounding in sweet flavours essence juice juices of juicy Sap moisture Sap Griffith 'rasa' 97.57 rasena * 109.11 rasam 109.20 rasena (gavyena) 113.2 rasam - 113.5 rasah - 113.5 rasinah rasavatah Rv. X 9.2 rasah (sva-bhutah) 9.9 rasena (sva-rasena) 76.5 rasam (somasya) "Rasa' occurs in the RV. as below : Sayana Rv.I. 112.12 rasam rasa, nadi bhavati rasatah, sabda-karmanah (Nir. 11-25) Rv. IV 43.6 rasaya (rasane) Rv. V. 41.45 rasa sarabhuta bhumih 53.9 rasa nadi-nama etat Rv. VIII. 49.2 rasah jalani 72.13 rasa rasa ajam payasi Rv. IX 41.6 rasanadi rasa Rv. X 75.6 rasaya (nadi) rasa 108.1 rasayah sabdayamanayah rasa antarikse nadyah 108.2 rasayah nadyah rasa 121.4 rasaya raso jalam, tad-vati, rasa rasa nadi; wave rasa river water-brooks river For Personal & Private Use Only

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1199 The concept of "Rasa" "Rasa' occurs in the sukla Yajurveda as below : Yv. I. 21 rasena pistakhya-rasena acc-to Uvata and Mahidhara II. 32 rasaya rasabhutaya 99 vasantaya tatratyah sarah IX. 3 rasah rasah, sarah IX. 3 rasam apam, rasam, saram, XI. 51 rasah apam sarah; XVIII. 9 rasah XIX, 35 rasinah rasavatah somasya XIX. 75 rasam saram XIX 79 rasam XIX 83 rasam XIX 94 rasena (apam) rasena XX. 22 rasase rasena XX. 27 rasah soma-rasah Yv.XXV. 9 rasena XXV. 12 rasaya XXXI. 17 rasat XXXIII. 21 rasah XXXVI. 15 rasah XXXIX. 4 rasah (a-jena) viryena nadya adbhyah sambhitah nadi (somah) (annasya) rasah sarah The Samaveda (SV.) has 'Rasa' at, SV. I. 239 526 558 561 II. 162 240 rasinah rasam rasah rasasya rasah rasa For Personal & Private Use Only

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1200 SAHRDAYALOKA 371 693 241 rasah 360 rasam rasena 381 rasah 428 rasam 578 rasah 627 rasah 648 rasam 649 rasam 650 rasah rasam 743 rasinah 749 rasam 771 rasinah 807 rasayyah 1188 rasah The Atharvaveda (AV.) has 'rasa' as below : AV. I. 5.2 rasah (sayana) sarabhutah amsah I. 28.3 rasasya assg adirupasya sariragatasya AV. II. 4.5 rasebhyah ausadhi-sara bhuta-kasthebhyah 26.4 rasam udakam ca balakaram - rasam eva 26.5 rasam dhanyam rasam 29.1 rase sarabhute manthodake AV.III. 13.5 rasah apam rasah Whitney savour * Sap juices Sap Sap of grain Sap of what is earthly Whitney (pp. 109) observes that the description in pada (almost) For Personal & Private Use Only

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The concept of "Rasa" makes us fancy some kind of mineral water to be had in view) AV. III. 28.4 rasah Sap 31.10 rasena Sap of herbs rasam (The ocean is the atmospheric one and rasa, the heavenly river). Sap juices of the waters, sap (see Av. I. 28.3) Sap AV. IV. 2.5 4.5 15.2 27.2 27.3 35.3 124.1 rasah rasah rasam .laksanam ksirajyadirupah - ausadhinam rasena nadi - rasa apam, amrta"tmakah udakanam rasam dravam (laksanam) rasena svakiyena or aurana i.e. anna rasam AV. V. 13.2 rasam 13.3 AV. VI. 16.1 rasah 78.1 rasena ghrtadina rasena udakanah binduh - svakiyena rasah "" "" vrstayudaka - AV. VII. 94.1 rasena (apam) AV. VIII 4.10 rasam AV. IX 4.5 rasah 8.2 AV. X. 4.18 5.46 6.2 6.22 8.44 AV. XII. 6.4 A XIV. 5.28 39 rasah rasah (poison of the serpant) (,, ) - rasam rasah rasena (,,) (tailatmakah) dadhi-madhu (sarira-saram) apam ausadhinam apam ausadhinam (poison) 99 "" (some mystic sense) For Personal & Private Use Only Sap of herbs Sap juice 32 juice essence essence Sap taste Sap Sap Sap "" "" 39 Sap 1201 ;

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1202 SAHRDAYALOKA AV. XVIII 1.48 rasavan somah, bahurasopetah full of Sap XVIII. 2.24 rasasya deha-sambandhinah Sap rasasya, rudhiradeh 4.23 rasavan - rich in sap 4.81 rasaya - sap AV. XIX 31.4 rasah (plural) - (savours (connected with food) 31.5 rasam . AV. XX. 51.2 rasah - sap of herbs We have listed the occurrences of the word 'rasa' in the vedas. Some more perhaps could be added if they are not mentioned here. It is clear that the word 'rasa' is derived from vras which occurs in the paniniya dhatupatha and is explained as having the senses of 'to make sound', 'to taste', and 'to be oily'; 'rasa sabde' (bhvadi) and 'rasa' asvadana-snehanayoh' (curadi). The root vras has thus three different meanings as noted above. In the first sense it is associated with the river 'rasa' according to Yaska (Nirukta 11.25- rasa nadi bhavati, rasteh, sabdanakarmanah.) The word rasa is used as a name of a particular river or sometimes a river in general. One may say that here too the word may be connected to the sense of being liquid. Rasa in the sense of something liquid is associated with many things like juice or the sap of plants or the milk of the cow or the virile semen of the human body etc. In fact, we find lexicons giving all these various meanings. Amara for example has "rupam sabdo gandha-rasa-sparsac ca visaya ami" (line 291,); and also, "songara"dau vise virye gune rage drave rasah." (line 2789) and also the six-fold tastes- (line 295)Hemacandra adds the following senses : "glhe dhatau (i.e. humours of the body), parade (i.e. mercury), premni, bhave, atmani, and also in the sense of 'sukha.' Thus the word 'rasa' has a very interesting semantic history. We are interested here in finding out how the sense in the physical context gets transmuted into the sense of aesthetic experience i.e. the flavour, or a sentiment or emotion. For Personal & Private Use Only

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The concept of "Rasa" 1203 In the vedic samhitas, as we will go to observe, we find not only the physical sense of something liquid, but also the liquid (i.e. drava) or sap that flows in the plants, animals etc., and also the juice that can be pressed out or extracted. To the later sense of the word, viz. kavya-rasa or natya-rasa (equivalent to kala-rasa), we do not find any clear reference in the vedas. But in one context, we do find it associated with things literary. Let us therefore, take a summary view of the different meanings of 'rasa', first in the vedic samhitas. In the Rv., the word occurs for about fifty-one times. 'Rasa' occurs for about eleven times. The Yv. has ninteen and two occurrences of the words 'rasa' and 'rasa' respectively. The Av. has about thirty-eight occurrences. In the so-called later samhitas some of the mantras are repeated from the Rv. The word 'Rasa' is used for a river, or a flow in general. At Rv. (VIII. 49.2 (valakhilya sukta) we have 'rasah' explained as 'jalani' by the commentator. Waters are termed as the "rasas" of the mountains. Here we see, that the waters of the springs that flow from the mountains are regarded as the sap of the mountains which is extracted from them by Indra and which becomes water. The mantra runs as "satanikeva pra jigati dhusnuya' hanti vrtrani dasuse, gireriva pra rasa pinvire datrani purubhojasah"Thus, we have the double sense of the extracted sap and also water. At Yv. 9.3, we have-apam rasah' and also 'apam rasasya yo rasah'. There are explained by both Uvata and Mahidhara as Vayu' and 'Prajapati' respectively. We may add that here the word 'rasa' seems to carry the sense of "essence" of soul, and consequently the presiding deity. The mantra reads as below : "apam rasamudvayasam surye santam samahitam, apam rasasya yo rasas tam vo glhnamyuttamam upayama glhitosindraya tva justam glhnamyesa te yonirindraya va justatamam." For Personal & Private Use Only

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1204 SAHKDAYALOKA The same sense is repeated at Yv. 19.44, 20.22, and 31.17. Then, thirdly, we have 'rasa' in the sense of the "rasa of herbs". This may be in form of an extracted juice as in case of some, or be just the sap in some plant. In the IXth Mandala of the Rv., it is mostly seen in these senses e.g. at Rv. IX. 66, "tam gobhirvesanam rasam madaya devavitaye, sutam bharaya sam spja." 'Rasa' is extracted juice. And also Rv. IX. 23.5"somo arsati dharnasir dadhana indriyam rasam, suviro abhisastipah." 'rasa' means 'Sap'. Fourtly, we have 'rasa' in the sense of the tastes. Rv. I. 187, 4, & 5 have 'rasah' explained by Sayana as the six tastes such as sweet, sour, etc. Rasah i.e. tastes become in the philosophical darsanas the sense-quality of taste. Rv. I. 187.4 - is "tava tye pito rasa rajamsyanu visthitah, divi' vata iva sritah."So also, Yv. 39.4 has 'rasa' in the same sense and is explained by Mahid hara as "svadutvam". Yv. 39.4 is "manasah kamamakutim vacah satyam asiya pasunam rupamannasya raso yasah srih srayatam mayi svaha." Fifthly, we have 'rasa' with reference to the animals such as a cow, horse etc. With reference to the cow it means milk as at Rv. I. 37.5 : "prasamsa gosvaghnyam krilam yacchardho marutam, jambhe rasasya vavrdhe." 'rasasya goksira-rupasya'-Sayana. For Personal & Private Use Only

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The concept of "Rasa" 1205 At Rv. VII. 104.10 , we have 'rasa' with reference to food, horses, cows and body. Now what exactly is the meaning of 'rasa' in all these cases is not made clear by Sayana, but it may mean "essence". The mantra runs as yo no rasam dipsati pitvo agne, yo asvanam, yo gavam, yas tanunam, ripuh stenah steyakyd da bhrametu ni sa hiyatam tanva tana ca." Rasa of the serpants obviously means poison as at AV. V. 13.2, and 30 Av. V. 13.2 is "yat te apodakam visam tat te etasvagrabham, glhnami te madhyamam uttamam rasam utavamam bhiyasa nesadadu te." Av. N. 27.3 has 'rasa' of a horse. It is explained as speed of the horse by the commentator. This also may be the sense in Rv. VII. 104. 10, as read above. Sixthly, we have 'rasa' of the human body as seen in Rv. VII. 104. 10 above. Rv. I. 105,2 has 'rasa' in the sense of virile semen. It runs as "arthamidvau arthina a jayayuvate patim, tunjate vrsnyam payah paridaya rasam duhe vittam me asya rodasi." We also come across occurrences in which 'rasa' appears as an independent entity e.g. rasah, used in plural, means tastes as explained by Sayana (Rv. I. 1874, and 5) (see above). In the Yajurveda also, one occurrence is noteworthy. Yv. 18.9 reads as urk ca me, suntta ca me, payasca me, rasasca me, ghstam ca me, madhu ca me, sagdhieca me, sapitisca m, krsisca me, jai'tram ca me, audbhidyam ca me yajnena kalpantam. (This is from the Ch. VIII of the famous Rudrastadhyayi) Mahidhara explains 'rasa' as "tatratyah sarah". i.e. 'essence.' For Personal & Private Use Only

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1206 SAHRDAYALOKA In the above quoted mantra, several things are asked for through sacrifice. The occurrence between 'payah' and 'ghitam' may signify the juice of something edible or drinkable. Here, it may be noted however, that rasa is mentioned by itself and something'. It may also be noted that it figures along with 'urj', 'suntta', and 'payas', wherein 'urj may mean strength or vigour either of speech and 'payas' may mean any fluid or juice or vital spirit, power, etc. It might also mean taste, charm, pleasure, delight. Av. X. 8.44 has 'rasena trptah' This is a mystic hymn and 'rasa' may mean the essence of the universe. The mantra runs as : "akamo dhire amrtah svayambhu rasena trpto na kutas canonah, tame vavidvan na bibhaya motyoratmanam dhiram ajaram yuvanam." Here, it may be noted that the sense of satisfaction or fulfilment or even ecstasy is associated with 'rasa'; 'rasa' as causing fulfilment or joy. The eighth interesting use of 'rasa' is seen at Rv. IX. 67.31 and 32, which run as below : "yah pavamaniradhyetyrsibhih sambhitam rasam, sarvam sa- putamasnati svaditam matarisvana." and also, "pavamaniryo adhyetyrsibhih sambhrtam rasam, tasmai sarasvati duhe ksiram sarpimadhudakam." Sayana explains 'rasam' as "veda-sara-bhutam saram sukta-samgham" in the first quotation, and as 'veda-saram sukta-samgham' in the next one. This is applied to pavamani suktas which are studied by the rsis. It is possible here to see a meaning similar to the later meaning in kavya-rasa, i.e. "essence causing joy." For Personal & Private Use Only

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The concept of "Rasa" 1207 Lastly, it will be interesting to note which feelings are associated with 'rasa' Usually we come across qualities of exhileration, joy-giving, taste, flavour, etc. Rv. IX. 6.6. as quoted above speaks of the quality of exhileration caused by rasa; "madaya". Rv. IX. 97.14 has - "rasa'yyah payasa pinvamana irayannesi madhumantam amsum, pavamanah santanimesi krnvann i'ndraya somo parisicyamanah." 'rasayyah' is 'asvadyah', i.e. tasteful, having flavour, etc. The same context associates 'rasa' as causing joy, exhilaration, esctasy or intoxication. Thus 'rasa' is said to be 'madirah' at Rv. IX. 96.21, as read below : "pavasvendo pavamano mahobhih kanikradat pari varanvarsa, krilancamvora visa puyamana i'ndram te raso madiro mamattu." Thus in the vedas, we get 'rasa' not only in the physical sense, but we find the qualities of joy-giving, tastefulness, exhileration, being the essence of the vedas, being the essence of the universe, etc. also attached to 'rasa'. Thus 'rasa in the vedas becomes an object of relish, a joy-yielding essence. These senses make it very easy for the aesthetes to utilise the word for the aesthetic flavour of sentiments and emotions as found is literary and dramatic literature. Here, we may refer to that famous verse of the N.S. (Natya-sastra; Bharata, Edn. G.O.S.) Ch. I., vs. 17, whose purpose is to show relationship of the natyaveda with other vedas and thereby give it vedic prestige. Taken in this light, one may not bother oneself with finding any real basis for the statement. The verse runs as below: "jagraha pathyam rgvedad samabhyo gitam eva ca, yajurvedad abhinayan rasan atharvanad api." (N.S. I. 17) For Personal & Private Use Only

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1208 SAHRDAYALOKA The verse prior to this (N.S. I. 16) reads as - "evam samkalpya bhagavan sarva-vedan anusmaran, natyavedam tatas cakre catur-vedanga-sambhavam." (N.S. I. 16) Abhinavagupta (pp. 14, A.bh. on N.S., G.O.S., Edn. Vol. I., 2nd Edn. '56) explains : evam samkalpya iti - samkalpa-vyapara eva'yam buddhya vedangaikikaralaksano brahmano natya-vedotpadanam. nanu vedasmaranena tatra katham hetuta labdha. aha. caturvedanga-sambhavam, iti. catvaro vedah. anganam pathya"dinam sambhavo yasya. sambhavaty asmad iti sambhavah. ata eva vedacatustayam api yatrangani praty upakaranibhutam iti (sa tathoktah) (14-16). On this, read Madhusudani (Sansk. Comm. by Madhusudana Shastri, pp. 57, Edn. B.H.U. Varanasi, '71) - (Madhusudani covers the N.S., as well as the Abhinavatharati on it. We have quoted the A.bh. on N.S. I. 16. read Madhusudani on it as below.) : (pp. 57, ibid) "nanu ity anena sarvavedan anusmaran natyavedam cakre" ity uktam smaranam tatra natya-veda-karane katham hetur iti sammayitum asankya sama'dhatte - "aha" iti. iha patha dhatau uktam vyaktatvam. visesaprakarena vaktuh kathaneccha prayuktasya svasya pathyasya artharpane arthabodhane ksamatvam samarthanam. kakv adhyaye svarah sapta, alamkarah sat. adigrahanad dvividha kakuh. sad angani. tasya prayojanena tadrsa-ksamatvam bhavati iti hetoh taya samagrya upaskstam sobhitam pathyam kathyate. tac ca pathyam ca natye pradhanyat caturbhyo vedebhyo natya-vedasya nirmanasamaye prathamam upattam. "caturvedanga-sambhavam" iti. catvaro vedah. anganam sambhava utpattisthanam yasya iti caturvedanga-sambhavahtam. ||16|1. A.bh. on N.S. I. 17 (pp. 14, 15, 16, Edn. G.O.S., ibid) reads as : kutra'nge kasya vedasya upayoga iti darsayati - "jagraha pathyam rgvedad iti. iha patha vyaktayam vaci uktam vyaktatvam vivaksa-visistasvartharpanaksamatvam. tac ca kakva-dhyay avaksyamanasvara'lamkaradi-samagri-yojanena bhavati iti tayopaskstam pathyam ucyate. tac ca pradhanyat prathamam upattam. tatha hi vaksyati - For Personal & Private Use Only

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The concept of "Rasa" 1209 "vaci yatnas tu kartavyo naryasyaisa tanuh smota, anga-naipathya-sattvani vakyartham vyanjayanti hi." iti. (N.S. XIV. 2) ata eva abhinayantar bhutarve'pi prthag upattam, tad rgvedad glhitam. tasya traisvarya-pradhanasya stotra dvarena yagopakaritvat. pathyam api traisvaryopetam. kakvabhabhabhyam ca svasvadau (caika-svabhavacca svara"dau) gitarupa" patter iti hi vaksyamah (N.S. 17). pathya-gata-svara-prasangat tad anantaram samabhyo gitam jagraha ity uktam. uparanjakatvena hi pascat tasya abhidhanam nyayyam iti kecit. "gitam pranah prayogasya" iti vaksyamanatvat tad ayattatvad rasa-carvanayah samucitam asya atraiva abhidhanam ity asmad upadhyayah. cakarena etat tulya-kaksyatam aha. evakarena gitamatram tato grhitam "gitisu samakhya" (jaimini - 2/1/36) iti nyayat. tad adhara-dhruvapada-yojanam rgvedad eva iti darsayati. tata eva dhruva'dhyaye vacanas atraiva samgrhitam (?) ghanava-naddha-sama-gana-kriya-pranabhuta-kala-samyatmaka-tala-samanyasvikstam atraiva pravistam (?). adhvaryakarma-pradhane tu yajurvede angakarmanam pradaksina-gamana"di-krama eva prathamam. pathisyati "ya rcah panika" (32/2) iryadi. tata susiratmakam ca'pyatodyam svarapradhanyat. atharvana-vede tu santika-maranadi karmasu tasya ftvijah prastuda anady anubhavanam praja-satru-prabhstina avadhana-grahanadina lohitosnisader nepathyasya tesu tesu ca karmasu visista-prayatna-purusasampadyam-manovastambhatmanah sattvasya sambhavat tatah abhinayanam grahanam. vacikasty abhinayah purvam eva uktah. pradhanyad vibhavanam dhstipramodadi-vyabhicarinam ca paramarthasatam samaharanam pradhanam iti vibhavadi-samagri-rupa-rasatmaka-carvana-sambhava iti tatas tad-grahanam iti na tatastha evaite. ata eva rasyante. tatraiva ca rasyanta iti vaksyamah. tad evam narya"di-rupakopakramam gita"todya-prana'bhinaya-varga-paripusyadrasa-carvana"tmakam para-priti-mayam eva natyam, tatas tad vyutpatir iti natyam eva veda iti kramena pradarsitam, tena upakramya yojana"tmaka-niyoga"tmakasasana-prana-sastra-vailaksyena svayam uparudha-jnanabhidhana-vidah pranaveda-rupata natyasya eva iti siddham." Pundit Madhusundanjee reads slightly differently. His reading is (without, of course revealing his source) : (pp. 66, ibid) - "atharvana-vede tu santika For Personal & Private Use Only

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1210 SAHRDAYALOKA marana"di-karmasu natasya iva tasya rtvijah prastuda-vaisunady anubhavanam praja-satru-prabhrtisu avadhana-grahanadina. pradhana-vibhavanam.dhrtipramoda"di-vyabhicarinam ca paramarthasatam samaharanam pradhanam iti vibhavadisamagrirupa... vaksyamah. tad evam kridaniyaka-upakramam gitatodya-pranabhinaya-varga-paripusyadrasa-carvana"tmakam para-pritimayam eva natyam... pradarsiam." We have indicated where Madhusudanajee differs from the G.O.S. reading. The source of his reading is not known. Perhaps like Kavi of the G.O.S. at places, this is a personal attempt of Madhusudanajee to explain the text but that portion is given as part of the original A.bh. But (pp. 68, ibid) in his Madhusudani Sanskrit Commentary he observes something which is not the source of his reading but which can be taken as his justification. We will look into this, but one thing is clear that perhaps he was not happy with the original G.O.S. reading which he normally follows, and therefore tried to emend the text in his own imaginary fashion. He reads in his Madhusudani (pp. 68, ibid) : "kridaniyakam iti pathah. sukhita-duhkhite irsyadi-vasage loke, yaksa-raksah-prabhrtibhih jambudvipe samakrante sati mahendra-pramukhaih pitamahah uktah-"kridaniyakam icchama iti." aparam vedam seja, iti. sasmara caturo vedan, iti. naryakhyam pancamam vedam setihasam karomyaham iti. natyavedam tatas' cakre iti. naryam upakramanam, tasya adih, prathamyam akhyatum isyate atah kridaniyakopakramam natyam iti siddhantabhutah pathah."... etc. In his Hindi explanatory commentary called 'Balakrida' (pp. 57 Madhusudanjee explains fully the whole portion of the Abh. We will give its summary as follows : From which veda as a source which portion was accepted is explained as follows - Pathya portion was received from the Rgveda. Here, Vpath is in the sense of articulated language. This 'pathya' has a sense of conveying something special.' Thus the portion (of natya) called 'pathya' is capable of conveying its (own) meaning (clearly). This capacity of 'pathya' to convey its own meaning clearly is supported by the discussion of the material connected with 'svara' and 'alamkara' in the chapter on 'kaku'. Thus pronouncement qualified by that material is said to be "pathya". Now this portion called 'pathya' i.e. 'that which is to be spoken, recited' - is principal and hence it is taken up first for consideration. i.e. it is mentioned first in the verse, viz."jagraha pathyam rgvedad..." etc. So, in creating the portions that make for natya, pathya was attempted first by Brahman. This will be supported by For Personal & Private Use Only

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The concept of "Rasa" 1211 a verse later, such as - "vaci yatnas tu kartavyo..." etc. (N.S. XIV. 2). Thus pathya is said to be the body or structure of 'natya' while the rest viz. anga, nepathya and sattva make for the next suggestion of the sentence-sense. Now 'pathya' is said to be principal in 'natya' or drama, and a special effort is to be directed towards the same. It is with this in mind, that in the four-fold acting (abhinaya), eventhough 'pathya' was included in vacika-abhinaya, yet it is mentioned specially separately. This is just to underline its importance. This 'pathya' element was borrowed from Rgveda, which has the three svaras viz. udatta, anudatta and svarita as special characteristic. It is therefore that the rgveda helps the cause of sacrifice through (rks in form of) 'stotra' and 'sastra'. Pathya is also adorned not with just three but seven svaras. These seven svaras, which are said to be the qualities of pathya are - sadja, rsabha, gandhara, madhyama, pancama, dhaivata and nisadha and these are associated with rasas in the following way : "hasya-songarayoh karyau svarau madhyama-pancamau, sadjarsabhau tatha caiva vira-raudradbhutesu tu. gandharasca nisadas ca kartavyau karune rase, dhaivatascaiva kartavyo bibhatse, sa-bhayanake." evam etat svara-yutam kala-tala-layanvitam, dasarupa-vidhane tu pathyam yojyam prayokt;bhih. But it may be noted that the udatta etc. svaras of the veda in natya and they are four such as - "udattas ca'nudattas ca svaritah kampitas tatha, varnas' catvara eva syuh pathya-yoge tapodhanah." For Personal & Private Use Only

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1212 SAHKDAYALOKA "tatra hasya-srngarayoh svaritodattaih, vira-raudra-'abhutesu udatta-kampitain, karuna-bibhatsa-bhayanakesu udatta-svarita-kampitaih varnaih, pathyam upapadayed iti." Thus 'pathya' is of the form of articulated expression and is different in type with reference to children, young people, old men and ladies. It cannot have identity of form or expression in these four types. Following the sastra (or scripture on it), seven svaras are counted in pathya and same is the situation with reference to 'gita' i.e. song also. Thus, both 'pathya' and 'gita' have an identical nature. So, on account of the absence of 'eka-svarya' i.e. 'ekatva' (virtually) and because of identical nature of svaras both pathya and gita will be taken as identical, because svaras will be said to be of the form of gita later. So, there is predominance of svaras in gita, and there is reference to svaras in pathya. So, on account of these 'svaras' being connected somehow with pathya, Bharata has mentioned 'gita' after pathya and said, "gita is derived from samaveda." Some explain this by suggesting that gita is mentioned after pathya because gita makes for the colouring i.e. beautifying of pathya. For later it will be stated that "gita is the life-breath (prana) of abhinaya or acting." It is said - (N.S. XXXII. - 436) - "gite prayatnah prathamam tu karyah sayya hi natyasya vadanti gitam, gite'pi vadyepi ca samprayukte, natyaprayogo na vipattim eti." Our Upadhyaya (says Abhinavagupta) observes that, rasa-experience (rasacarvana) depends on 'gita' and thus with reference to svara in connection with pathya, talking about gita comes next and is proper too. (Now this importance of gita with reference to rasa-carvana is challenged but the importance of gita is proved in a different way as follows.) - This view, viz. that gita is at the basis of rasa-experience is not accepted by the Upadhyaya and hence after ten lines rasa-pratiti is said to follow the presentation of vibhava"di samagri. Now this presentation of vibhava"di samagri is done through the agency of pathya, gita placed in several ragas, abhinaya i.e. acting and (aharya in form of) citra or painting etc. So, it is not whole truth to say that rasa-realisation depends on 'gita' only. 'Ca' and 'eva' in "samabhyo gitam eva ca" are explained as follows. - By 'Ca', it is explained that the sequence of 'pathya' and 'gita' is proper. Both are useful and both are equally important. For the "Kridaniyaka" is both drsya' (= to be viewed For Personal & Private Use Only

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The concept of "Rasa" 1213 or seen) as well as 'sravya' (= to be heard) also. This quality of 'being heard' is common between pathya and gita. So, both are equal in importance. By 'eva' is meant that only 'gita' is borrowed from Samaveda. For 'sama' is the name of giti. "Gitisu sama-akhya" is what Jaimini has to say at Mi. Su. II. i. 36. This 'giti' is dependent on 'dhruva', which again is borrowed from the rgveda. In the dhruvadhyaya which will follow in due course (in the N.S.), here also the same is suggested. Here also 'eva' in 'atraiva' (in the A.bh.) means "api". The term 'samgrhita' means acceptance in form of 'Sanketa'. Madhusudanjee adds that the reading in the A.bh. here should be (pp. 62, ibid, Bala-krida): "ghanavanaddharupam tata-susira"tmakam ca'pi atodyam svara-pradhanyat sama-ganapranabhutam. kriya-mana-bhutakala-rupa-tala-tatsamya"tmaka-samanya-svikrtam vastu atraiva pravistham." 'ghana' is the name of tala which is caused by bronze metal. That which is covered by leather is called 'avanaddha', such as drum etc. 'Tata' is the name of musical instruments such as vina or lute etc. 'Susira' is an instrument with holes in it, e.g. 'vamsi-flute etc. These four types of musical instruments are the life of sama-gana. Hence, they are associated with 'gita'. That they are included in gita suggests that vadya is of the form of some activity i.e. they are 'kriya"tmaka'. It is said, "drdha-hastas-tu tatra syad angulim tatra yojayet." and this is of the form of activity of the body. Singing also is a form of speech where effort is involved. "yam yam gata svaram gacchet tam atodyaih prayojayet." N.S. XXXIV. 34 The musical instruments are thus associated with vocal music. It is also said, "gitam caturvidhad vadyaj jayate coparajyate, priyate ca tato'smabhir vadyam adya nigadyate." "tat tatam susiram ca'vanaddham ghanam iti smrtam, caturdha tatra purvabhyam srutyadi-dvarato bhavet gitam, tatv avanaddhena rajyate, miyate ghanat." For Personal & Private Use Only

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1214 SAHRDAYALOKA In the sixth chapter, the Vadyadhyaya of Sangeeta-ratrakara, it is suggested that from the four-fold musical instruments such as "tata, susira, avanaddha and ghana", through the medium of 'tata' and 'susira' instruments, 'gita' is born with the help of srti, svara, etc. The people are entertained through 'avanaddha-vadya' and 'ghana' helps in measuring the 'gita'. Thus the association of 'vadya' i.e. musical instruments is necessary along with 'gita'. "Tala' is said to be that in which rest all the three viz. gita, vadya and nrtta : "talyate pratisthiyate gitam, nrttam, vadyam ca, yatra. Tala is the measure such as the activity which is laghu, guru, pluta and druta, 'Laya' is similarity between time and activity concerning singing. 'Laya' is the repose or visranti that follows the said activities. Thus 'kriya' and 'kala' are rendered similar. The Sangeeta-ratnakara observes: "talas tala-pratisthayam iti dhator ghan, smrtah, gitam vadyam tatha nrttam yatas tale pratisthitam." kalo laghv adi mitaya kriyaya sammito mitim, gita"der vidadhat talah sa ca dvedha budhaih smrtah" iti. "kriya'nantara-visrantir layah sa trividho matah." iti. Thus it is that even tala and laya also enter into the activity of 'gita'. In the Yv., there is predominance of the activity of the adhvaryu. So in enjoining the activity which is part of a yajna i.e. sacrifice, at times going in to the right 'pradaksina-gamana' is also enjoined. At times it is with reference to the north. At times only standing is enjoined or at times going east or west is also enjoined. This is suggested by the term 'adi' that is read in both the terms "pradaksina"di" and "gamana"di". Thus 'krama' means laying of foot i.e. "pada-viksepa". Thus on account of different activities enjoined the rtviks move around either with or without a red turban (= lohitosnisa). And mind has to be concentrated with a special effort, with this or that act which is enjoined. Only a concentrated (samahita) mind makes for the outcome of "sattva". (i.e. manasah sattvam, For Personal & Private Use Only

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The concept of "Rasa" 1215 ekagrata). It is therefore that acting or abhinaya is said to be accepted from the yajurveda. We know that pathya and gita fall under 'vacika-abhinaya'. Pathya and gita are explained in the beginning and thus vacika-abhinaya is also taken as explained in the beginning. The AV. includes such activities that are termed 'santika', 'paustika', 'marana' and 'mohana'. The rtvik, like an actor or nata, is carefully engaged in activity concerning the peace and nourishment of people. They exhibit happiness such as "prastuda" or "prastuca". In acts connected with the annihilation of enemies, they catch hold of the enemies and the enemies get frustrated - i.e. 'visanna'. Here the reading we get alternatively is "visunna" also, observes Madhusudanjee (pp. 66, ibid). In this reading the dissolution is - "visu nana ancati" and with the help of the vartika viz. "visvag ity uttarapada-lopas' ca-krta-sandheh", no sandhi or joining is caused between "su" and "a" and there is no "yan". Thus prior to sandhi 'ancati' is dropped and we get "na" suffix. Because of "na-tva" we derived "visuna" and with 'an'-suffix we arrived at "vaisuna". A man whose mind runs about in different directions, i.e. whose mind is not concentrated, is said to be "visanna". "Prasada' and 'visada' are said to be two anubhavas or consequents-dhrti, dhairya, pramoda etc. are said to be vyabhicarins or accessories. In poetry the collection of vibhava, anubhava and vyabhicarins from real world is welcome, for the rasa-carvana resulting from the combination of the vibhava"di material results therefrom only. So, the vibhava"dis are mentioned. Now, if it is asked that in the statement "rasan atharvanad api", 'rasa's are mentioned, then why here collection of vibhava"dis is recommended? To this the answer is that these vibhava"dis do not stand independent of the rasas concerned. The context is of rasa only. Thus for aesthetic tasting they i.e. vibhava"dis become instrumental. Alambana, asraya is expected to be there for any relish. There is panini-sutra such as - "upajnopakramam tad acikhyasayam." - Here following the lexicon - upajna jnanam adyam syat' - the beginning (of any activity) is termed "upakrama". When 'prathamya' i.e. the state of being first is to be recommended with any object or activity, then "upajnanta tatpurusa" compound is placed in neuter gender. This is with 'upajnayamana-vastu.' In the same way, with the same object in view, "upakramyamana-vastu", then 'upakramanta-tatpurusa' should be placed in neuter gender. The illustrations are, "paniny upajnam granthah" for Astadhyayi, and "nandopakramam dronah" for drona or measure first used by 'Nanda'. Here the upa-kramyamana-visaya is natya and it was projected as a toy for pleasure - For Personal & Private Use Only

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1216 SAHRDAYALOKA "kridaniyakam". So, "kridaniyakopakramam natyam" is a grammatically correct usage. Hence this reading is correct, argues Madhusudanjee. He prefers this reading to "narya"dirupopakramam" of the G.O.S. (pp. 16, ibid) The gods, such as Indra and others who were tired after killing the demons etc. prayed to Brahma for a "kridanaka" which is both 'drsya' and 'sravya' For their benefit to make for a kridanaka, the Pitamaha derived the first knowledge for natya from all the four vedas, and made the first beginning. Thus 'natya' is 'pitamahopajna' and the meaning of "kridaniyakopakrana" is also made clear. Just as it is stated that 'saujanya-vyavahara' - decent behaviour-started first with you, so it is termed "bhavad upakrama-saujanya-vyavahara", in the same way, natya for first was desired as a play-thing, kridaniyaka and hence was termed "kridaniyakopakrama". This natya is the cause of highest joy, i.e. it is "para-pritimaya" is of the form of highest happiness, and hence 'pathya' and 'pathyoparanjaka . gita', and its tools such as instruments - 'atodya, vadya' etc., are said to be the life "prana" of "natya" and this natya is nourished by four-fold acting i.e. caturvidhaabhinaya and its soul is rasa-relish. Thus from natya is derived the knowledge or information concerning pathya etc. and so natya is termed "veda" i.e. 'jnana' itself. This is shown in due sequence in which pathya, gita, abhinaya and rasa figure respectively. This is the full meaning of the verse viz. "jagraha pathyam rgvedat..." etc. i.e. N.S. I. 17. Thus, the substance of this very famous verse can be read as follows in brief, that it is possible to find some connection with the vedas, (of natya), without streaching the meaning too far, e.g. the mantras of the rgveda are essentially pathya i.e. to be recited or are recitable. This according to Abhinavagupta is due to 'tri-svara' character (i.e. udatta, anudatta and svarita) of rgvedic mantras. This point has been elaborated by Bharata in chapters on vag-abhinaya (i.e. Ch. XVI. G.O.S. Edn.). The relation of gita with the samans of the samaveda (= S.V.) is obvious. Yajurveda (= Yv.) is, as Abhinavagupta observes, "adhvarya-karmapradhana", i.e. in the Yv. the activities of the advaryu, such as the movement towards the right (daksina) etc. are predominant. Essentially, the movements of the different parts of the body have a particular significance in the different ritual activities. So the abhinayas are related to the Yv. As to the relation of rasas with the hymns of the Atharvaveda (Av.), we do not find any obvious relationship. The text of the A.bh. on this point is quoted below and we have attempted to explain the same, perhaps not very satisfactorily, with the help of the Madhusudani and For Personal & Private Use Only

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The concept of "Rasa" 1217 Balakrida of Pundit Madhusudanjee as above. The A.bh. text reads as : (pp. 15, Vol. I.N.S.; G.O.S., ibid): "atharvane tu santika-marana"di-karmasu natasya iva tasyartvijah prastuda-vaisunnady anubhavanam praja-satru-prabhitina avadhanagrahanadina lohitosnisa"der nepathyasya tesu tesu ca karmasu visistaprayatnapurusa-sampadya-manovastambhatmanah sattvasya sambhavat tatah abhinaya nam-a-grahanam. vacikasty abhinayah purvam evoktah. pradhanyat vibhavanam dhrti-pramoda"di-vyabhicarinam ca paramartha-satam samaharanam pradhanam iti vibhava"di-samagri-rupa-rasa"tmaka-carvana-sambhava iti tatas tadgrahanam uktam iti, na tatastha eva ete. ata eva rasyante. tatraiva ca rasyanta iti vaksyamah." The idea seems to be that priests in the various rituals of AV. such as those of santikarma, maranakarma, etc., put on constumes consisting of red turbans and such other things. Through anubhavas they express certain feelings. There is a sort of mental avastambha or resoluteness brought about by special efforts, and therefore there is the exhibition of such a "sattva" or mental disposition. According to Abhinavagupta, this seems to be the connection of rasas with AV. One may imagine a scene in which one of such magical ritual is performed when everybody would be tense with emotion pertaining to a particular act. Abhinavagupta seems to have taken some such performance of the atharvana ritual as a source of emotional ecstasy in rasa. We have seen earlier that though the word rasa occurs at several places in the A.V., we have no clear case of the later meaning of natya-rasa or kavya-rasa. From another point of view, however, we may say that several hymns of the AV., taken by themselves are very impressive love lyrics. The number of such hymns is out thirty-three. They are : AV. I. 34; II. 3; VI. 8; III. 25; VI. 8, 9, 82, 89, 102, 130, 131, 132, 139; VII. 36, (37), 37 (38); 38 (39), etc. etc. A few lines from these may be quoted as below : e.g. AV. VI. 8. "yatha vrksam libuja samantam parisasvaje' eva pari svajasva ma'm yatha kaminyaso yatha manna'paga asah and also, yatha suparnah prapatan paksau nihanti bhubhyam eva' nihanmi te, mano yatha mam kaminyaso yatha manna'paga asah. and also, yatha me dya'vaprthivi sadyah paryeti suryah, eva pa'ryemi te mano yatha mam kaminyaso yatha manna'paga asah." For Personal & Private Use Only

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1218 SAHRDAYALOKA "As the creeper embraces the tree on all sides, thus do thou embrace me, so that thou, shalt love me, so that thou shalt not be averse to me ?" "As the eagle when he flies forth presses his wings against the earth, thus do I fasten down thy mind, so that thou, woman, shalt love me, that then shalt not be averse to me." (2) "As the sun day by day goes about this heaven and earth, thus do I go about thy mind, so that thou, woman shalt love me, so that thou shalt not be averse to me." (3) (Trans. Maurice Bloomfield - "Hymns of the AV." SBE. Vol. XLII.) AV. VI. 131 is a charm to arouse the passionate love of a man, e.g. AV. VI. 131.3 reads as - tatastvam punara'yasi "If thou dost run three leagues away (or even) five leagues, the distance coursed by a horseman, from there thou shall again return, shall be the father of our sons." (Trans. Bloomfied). "yad dhavasi triyojanam pancayojanamasvinam, putra'nam na asah pita." The same note of a passionate woman's longing is heard also in AV. 132. We quote the first mantra that runs as - "yam devah smaramasincan napsvantah sosucanam saha'dhya, tam te tapami varunasya dharmana." "Love's consuming longing, together with yearning, which the Gods have poured into the waters, that do I kindle for thee by the Law of Varuna." (Trans. Bloomfield). AV. VII. 36 is a love-charm spoken by a bridal couple. It runs as - "aksyau nau madhusamkase anikam nau samarjanan, antah krnusva mam hrdi mana innau saha'sati." "The eyes of us two shine like honey; our foreheads gleam like ointment. Place me within thy heard; may one mind be in common to us both." (Trans. Bloomfield). And also, AV. VII. 37 - "abhi tva manujatena dadhami mama va'sasa, yatha'so mama kevalo nanyasam kirtayascana." For Personal & Private Use Only

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The concept of "Rasa" 1219 "I envelope thee in my garment that was produced by Manu (the first man), that thou shalt be mine alone, shalt not even discourse of other women." (Trans. Bloomfield). Instances can be multiplied. It should be noted that scholars are in agreement when they say that these hymns, their ritualistic application apart, should be taken as individual pieces viewed in this light, and away from the ritualistic background; the above quoted instances can serve as beautiful love lyrics. They become the passionate expressions of love, i.e. songara-rasa primarilly in its vipralambha aspect (e.g. Av. VI. 8). There are a few hymns in the RV., such as the dialogues of Pururavas and Urvasi, Yama and Yami, etc. which contain such passionate expressions. But comparatively, speaking, the AV. has more of them. Other bhavas or feelings such as those of bhaya, utsaha, soka etc. also can be found in several other hymns of the AV. One may say, therefore, that the attempt to relate the later rasa-vicara with reference to kavya and narya, to AV. is not unjustified. Rasa in the Upanisads - We come across several occurrences of the word rasa or the different forms of the root vras, in the upanisads. Primarily they are to be seen in two or three different senses. The meaning of a liquid seems to be common to all of them. In the objects of five sense-organs, that which is gathered by the tongue is called 'rasa'. We come across this sense in the Prasnopanisad (4,8) which observes : "rasas ca rasayitavyam" i.e. "when there is taste, it is to be tasted." So also in the Brhadaranyaka Upanisad, (4.5.13). We read "sa yatha saindhavaghanontaro bahyah, krtsno rasaghana eva." "Just as a piece of saindhava salt has nothing like internal or external, but the whole of it is full of taste." In the abovementioned occurrences, rasa is seen in the sense of (physical) taste. In the Prasnopanisad (1.4), we read, "esa hi drsta... rasayita", the word 'rasayita' is in the sense of one who tastes. There are many more occurrences to this effect. In the Mundaka Upanisad, "atas ca sarva osadhayo rasas ca" (2.1.9.), we have 'rasa' in the sense of "sap". Then still further, rasa is seen in the sense of the juices of the trees out of which honey is formed as in the Chandogya Upanisad - (6/9/1): "yatha somya madhu madhuksto nististanti, nanatyayanam vrksanam rasan samavaharam ekatam rasam gamayanti." For Personal & Private Use Only

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1220 SAHRDAYALOKA Then we come across more and more references in the sense of "essence of things", e.g. in the Tittiriyopanisad (1/12): "esa bhutanam prthvi rasah, prthivya apo rasah, apasam osadhayo rasah, osadhinam puruso rasah, purusasya vag rasah, vacam rg-rasah, scah sama rasah, samno udgitho rasah." Now, it may be noted that, along with the sense of "essence", there seems to be other subtle shades of meanings also with reference to rasa in the above quotation. It should be noted, that here, the number of rasas is eight. This is rend in the sentence that follows: "sa esa rasanam rasatamah, paramah, parardhyostamo yad udgithah", i.e. out of these, the Udgitha is the highest and the eighth rasa. Thus the eighth rasa is the 'parama', the highest and it is "udgitha". Very often "aum" in the Upanisads suggests this 'udgitha', the rasa of "saman". We may also take note of the following from the Taittiriya Upanisad - "asad va idam agra asit tato va sad ajayata, tad atmanam svayam a-kuruta tasmat tat sukstam ucyate." iti. yad vai sukrtam. raso vai sah rasam hy evayam labdhva anandi bhavati." (2/7)., i.e. "verily, in the beginning was this 'asat' (i.e. jagat). From it, verily, was 'sar' born. It made itself the atman. So, it is termed 'su-krta'. Verily, it is suksta, verily, it is 'rasa'. On the attainment of rasa, this, verily, becomes joyous." In this famous quotation, also read later by Jagannatha in his Rasagangadhara, Sukta is rasa, and that 'rasa' is a joy-giving factor. This becomes quite clear. But with all this one may feel sceptical in saying that 'rasa' occurs in the Upanisads in the same sense of aesthetic rapture as in Bharata. But it is quite close. And to a certain extent, the use of rasa at one place in the Jaiminiva Upanisad seems to come closer to the sense as seen in Bharata. We will later go to observe that rasa in Bharata has in its meaning the shades of the qualities of taste, essence, etc. as seen in the upanisads. We also see, as in the chandogya Upanisad, that rasa is the combined taste of several ingredients like honey, which is a "samavahara", i.e. a combination or a collection of the juices of many trees. Possibly the eight rasas in the Chandogya might have inspired theorists to imagine eight natya-rasas also. Finally, it may be observed that the above quoted utterance of the Taittiriya-Upanisad, in which 'rasa' is said to be the soul and by its attainment one is said to attain highest joy, may be taken as an original inspiration for the later theorists. For Personal & Private Use Only

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The concept of "Rasa" 1221 "Rasa" in the Nirukta is read as at. rasateh - from Vras (= to make sound), at Nirukta - VI. 21, IX. 11, XI. 25; rasa-dharanam = "holding of juices" - at VII. 11; rasam - "juice", at IX. 53; XI. 29; rasa-haranat - "from extracting juice" - at III. 16; XI. 5; 'rasa' - name of a river; at XI. 25; 'rasah' - 'juices', at IV. 27, VI. 19, VII. 23. rasadanam - "drawing of juices", VII. 11; rasan - juices; II. 14; IV. 27, XI. 23; rasanam - 'of juices'; X, 10; rasani - 'roaring', at XI. 25; 'rasanudanam' - "to release the juices', VII. 10; 'rasanupradanena', "by giving juice' at X. 34; 'rasena', with juice', VI. 15; XII. 1. Thus in Nirukta of Yaska, (circa 700-500 B.C.), we come across as many as thirteen occurrences in different forms of root vras, or word 'rasa', appearing either independently or in a compound. We also come across 'rasa' in the sense of the name of a particular river or a river in general. In all these occurrences, Vras, or the word 'rasa' seems to carry the same sense, as that of, 'to make sound', or "juice', etc. 'Rasa' in the Brhad devata occurs as follows: rasa - I. 68; II. 33; VII. 127 rasadana - II. 6; rasapara-nivasin; VIII. 24. (Here 'rasa' is a river). Thus in the BIhad devata of Saunaka we have 'rasa' occurring either independently, or in a compound. In all these instances, the usual sense of fluid, juice, sap or sense-quality are to be seen. Rasa occurs in the sense of a river. We will now turn first to Panini and Patanjali and then the earlier poets such as Asvaghosa, Bhasa and Kalidasa. Rasa in Panini (Circa 350 B. 6. Keith) and Patanjali (Circa 150 B.C., Keith). With Nirukta and Brhad devat, we come to the close of discussion concerning the meanings of rasa in the vedic literature. With Panini begins our discussion of the meanings of rasa in what we may now call classical sanskrit. There is one reference to 'rasa' in Pa. V. 2.95 - "rasa"dibhayas ca." We cannot be sure as to the senses which Panini might have had in mind when he used the term "rasa"di". For Personal & Private Use Only

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1222 SAHRDAYALOKA In the dhatupatha also, Vras is explained as having the senses of "(rasa) 'sabde', and, "asvadana-snehanayoh", i.e. "to make sound", and "to taste", "to liquify" or 'to make something oily", respectively. In Patanjali we have several occurrences of the Vras, and also of the word 'rasa', either occurring independently, or in a compound. We also come across words such as frasa-vacitva', 'rasa-vacin', 'rasat(d)' and "rasika". Excepting only one occurrence that we will take up in detail as below, in all other cases the usual senses of, 'to make sound', or 'to taste', etc. are seen and also the one of "sensequality" or "juice' is also seen. In Patanjali (Edn. Dr. Keilhorn) we have the following occurrences : Vras - Pa. Su. II. 4.85; line no 16, 17, 17, 17, 20, (pp. 500) Vras - Pa. Su. I. 3.10; line 8, 8, page 268; 1/4/269; 2.4.85; 17, 18, 19, 22 (p. 499) 5, 6, 7, 8, 9, 11, 18; 24 (p. 500); 2, 2, 3, 4, 5, 6, 8, 10; pp. 502 'rasa' - I. 4.110; 18/p. 356; 3, 9/p. 357; IV. 3.155; 9, 15/325 'rasa' - I. 2.64; 5; p. 246; IV. 1.3.7, p. 198 'rasa' I. 2.64; 3.4; p. 246; IV. 1.3, 4, 6/p. 198; V. 1.9; 24, p. 366; 'rasa-vacirva' IV. 4.24; line 18, p. 330; rasa-vacin - IV. 4.24; 18, 19; p. 330; V. 2.107, 5, 5, 6 p. 397; rasadi - V. 2.95; 19, 21; p. 394; rasika - V. 2.95; 21; (p. 394); We will try to look into this data. While commenting on Pa. Su. V. 2.95, as quoted above, Patanjali, referring to the previous sutra i.e. Pa. V. 2.94; 'tad asya'ty asminn iti', asks the question as to why this sutra (i.e. V. 2.95) is added, in as much as complete sense is covered by the previous sutra. A possible answer is that this sutra is mentioned in order to exclude the use of other matup suffixes. But this is not accepted by the Bhasyakara. According to him, there are examples of the use of other 'matvarthiya' suffixes in "rasiko natah", "urvasi vai rupini apsarasam", "sparsiko vayur iti." The passage from the M.bh. (= Mahabhasya) reads as follows : "rasa"dibhayas ca." (Pa. Su. V. 2.95) kim artham idam ucyate, na tad asya'sty asminn ity eva matup siddhah. rasa"dibhyah punarvacanam anya-nivsttyartham rasa"dibhyah punar vacanam kriyate'nyesam matvarthiyanam pratisedhartham. matubena yatha tyadyenye matvarthiyah prapnuvanti te ma bhuvann iti. maitad asti prayojanam, drsyante hy anye rasadibhyo matvarthiyah. rasiko natah, urvasi vai rupiny apsarasam, sparsiko vayur iti." (M.bh. on Pa. Su. 2.95; pp. 394; Edn. Geilhorn). For Personal & Private Use Only

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The concept of "Rasa" 1223 Kasika explains this by saying that the matup suffix is to be used in the qualities grasped by senses. But in the case of rupini, rupika etc., the idea is to suggest not merely rupa grasped by the eye, but beauty. Similarly, in 'rasiko natah', the meaning is not that nata possesses juice tasted by the tongue, but he possesses an emotion or sentiment - "bhava-yogah". The passage from the Kasika runs as below: "rasa"dibhyas' ca pratipadikebhyo matup pratyayo bhavati, tad asya'styasminn ity etasmin visaye. rasavan, rupavan. kim artham ucyate, na purvasutrena matup siddhah ? rasa"dibhyah punarvacanam anya-nivrttyartham; anye matvarthiya ma bhuvann iti. katham rupini kanya, rupiko darakah ? prayikam etad vacanam; iti karano vivaksarthonuvartate. athava guna"di yatra pathyate, tena ye rasanendriyagrahya gunas tesam atra pathah iha ma bhut; rupini, rupika, iti sobhayogah gamyate. rasiko nata ity atra bhavayogah. rasa,-rupa-gandha-sparsas sabda snehagunat ekacah guna-grahanam rasa"dinam visesanam, rasa"dih." - This point is made more explicit by the Tattvabodhini on the Siddhanta Kaumudi. The author Jnanendra-sarasvati observes: "anya-mattvarthiya iti. katham tarhi rupini kanya, rasiko natah iti. atra"huh rasa"digane gunat iti pathyate. tena guna-vacibhya eva anya-mattvarthiyasya nisedha-rupini ity atra tu rupasabdena saundaryam grahyate, tac ca na gunah; rasikam ity atra tu rasa-sabdena bhavo grhyate, na tu rasanagrahyo guna iti. (pp. 303, Edn. '33, N.S. press). From the above discussion we cannot say whether Mahabhasyakara wants to confine the use of matup suffix to the sense-quality of taste only. This is however the distinction made by Kasika and later commentaries. But this much is certain that the Mahabhasyakara uses the word 'rasa' in 'rasiko natah' in the sense of 'bhava' i.e. emotion or sentiment. So, we may say that it is in the Mahabhasva that we meet, perhaps for the first time a clear use of the word 'rasa' in the aesthetic context, i.e. in the sense of "natvarasa" also. Other references in the M.bh., on Pa. III. 1.26, show familiarity of the Mahabhasyakara with dramatic performance or something akin to that. This would suggest that the word rasa in the aesthetic sense must have become current before Patanjali. How long before, we do not have at present the means to indicate. Sources reveal that Panini wrote a mahakavya also and if so, Patanjali must surely have known that and this brings both of them closer to aesthetic rasa. For Personal & Private Use Only

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1224 SAHRDAYALOKA We will now look into the use of 'rasa' and related words if any, in the works of great literary artists such as Asvaghosa (Cir. 100 A.D. keith), Bhasa (Circa 200 A.D. Keith; and Kalidasa (Cir. 400 A.D.; Keith). (We do not have absolute faith in these dates after reading the works of such great scholars as our friend, the late, Prof. Biswanath Bhattacharya of Shantiniketan, (W.Bengal)). From our search thus far, for the use of the word rasa in the aesthetic sense, we may conclude that in the early vedic literature as such, there is no clear indication of it, though there are certain usages as we noted above, which associate 'rasa' with literary works, where the meaning is of 'flavour' as such and the joy incidental to it. But when we come to Panini and Patanjali, particularly the latter, we have a very clear use of the word 'rasa', in the aesthetic sense. Whether this specific use of the word 'rasa' was known to Panini or not, we cannot say. But if the interpretation given by Patanjali also represents the view of Panini, we can say that Panini also had in his mind the aesthetic sense of "rasa", to be distinguished from the sense of 'sense-quality' of 'rasa', i.e. literary taste as distinguished from physical taste of an eatable. We can therefore assume that this specific aesthetic sense of the word rasa must have become current in the literary world of Patanjali or even Panini and then writers that followed them. To be frank, as was pointed out by us under the discussion on vyanjana, even here, Panini and Partanjali while dealing with 'sastra' had no business to talk of 'rasa' in the aesthetic sense and even with this, something positive in that direction has crept in. And if Panini himself also was a writer of a mahakavya, it is not safe to assume that he was totally ignorant of the word 'rasa' taken in its aesthetic context. With this, we will move on to earlier poets and dramatists. We will try to see now from the works of earlier literary artists like Asvaghosa, Bhasa and Kalidasa, whether there is any material for the formation of rasa-theory in the famous rasa-sutra read in the N.S. (Natyasastra) of Bharata. It may be noted that we have no absolute faith in the priority of Asvaghosa to Kalidasa but we go by the generally accepted sequence and in doing so, we do not stand to lose for both of them were at least prior to Bharata, the author of the present available N.S. Again, we do not have faith, and surely so after the findings of our friend Prof. Dr. N.P. Unni., in the fact that all thirteen plays, known as Trivendram plays were penned by Bhasa. But if at all something concrete follows, and we do hope that this will be the outcome of our present attempt - we will just go to suggest how works of these great ancient giants might have guided Bharata or his predecessors in the field of literary and dramatic theory to go for i.e. to formulate what we know as "rasa-theory" to-day. - For Personal & Private Use Only

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The concept of "Rasa" 1225 As the normally accepted date of the now available N.S. of Bharata falls between sometime before A.D. to second century A.D., or to still later times after Christ, the authors under consideration can be said to fall in a period of fluidity regarding the formation of the said rasa theory. We cannot say of these authors that they keep before them and follow rasa-theory in the same way or sense as done by Harsa, the author of Ratnavali, Priya-darsika and Nagananda. By this study we mean just to indicate how works of great poets lying before Bharata or his predecessor, might have influenced or guided him in the formation of the theory of dramatic art, or art in general, i.e. the rasa-theory. The works before Bharata were necessarily those of Asvaghosa, Kalidasa and Bhasa for sure, and also of many literary masters whose works along with names also, are for the present lost to us. It is almost an accepted fact that literary theory draws upon literary practice and in turn influences the same as grammar does upon linguistic usages. That the definitions of Mahakavya and other literary forms as found in the works on poetics by Bhamaha, Dandin and the like, were formulated in view of the master-pieces of Asvaghosa, Kalidasa etc., is an accepted fact. On the same analogy we may say that probably the formation of the famous rasa-sutra in Bharata also might have been y the same fact as that of the careful observation and study of the actual practice of the literary giants who might have preceded him. In view of this, we may try to study the works of Asvaghosa, Bhasa and Kalidasa. We will try to find out if there is any mentioning or clear usage of the so called sastric terms such as 'vibhava', 'anubhava', 'sattvika', 'vyabhicarin', or 'sthayin' etc., which make for actual rasa-realisation in their particular literary work, and which might have thus paved the way in the formation of a theory of rasa, both in natya and kavya, or any fine art in general. Asvaghosa - .' In the Buddha-Carita (= Bu. Ca.) of Asvaghosa, at III. 7, We have the description of Suddhodana bidding farewell to his son Sarvartha-siddha who was starting for his first excursion. The verse reads as : (Edn. Cowell, 1893 A.D.) "atho narendrah sutam agata'sruh sirasy upaghraya ciram niriksya, gaccheti ca"jnapayati sma vaca shehan na cainam manasa mumoca." (Bu. Ca. III. 7) The Sahityadarpana has discussed vatsala rasa with 'Sneha' or 'Vatsalata' as sthayin, putra i.e. son and the like, the alambana vibhava, the cestas, vidya, saurya of the son etc., as the uddipana-vibhava, alingana i.e. embrace, anga-sparsa or For Personal & Private Use Only

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1226 SAHRDAYALOKA touching the limbs, sirasa cumbana, i.e. kissing the head, asru or tear's, etc. as the anubhavas, anista"sanka or imagining the calamity, harsa i.e. joy, etc. as the sancarins or vyabhicarins. We have practically all this in the stanza quoted as above. Bu. Ca. III. 13-22 describe the feelings of women eager to see the prince. Particularly the vyabhicarin called 'avega' or haste or uneasiness i.e. love-torment, is seen prominantly depicted in these verses. Bu. Ca. IV. 25 describes the anubhavas that accompany the songara-rasa in the following words "ta bhrubhih preksitair havair hasitair laditair gataih, cakrur aksepikas cestah bhita-bhita ivanganah." Bu. Ca. IV. 54-61 describe the state of the prince who did not respond to the gestures of the beautiful ladies. We find therein the delineation of 'sama'-sthayin and the realisation of santa-rasa. Bu. Ca. IV. 54 reads as : "evam aksipyamano'pi sa tu dhairya"vstendriyah, martavyam iti sodvego na jaharsa na vivyathe." His friend Udayi finds him thus lost in contemplation, and in order to deviate him from it, starts addressing the prince - "iti dhyana-param drstva visayebhyo gata-sprham, udayi niti-sastrajnas tam uvaca suhsttaya." (Bu. Ca. IV. 62) The feeling of 'nirveda' or despondency finds a beautiful expression in the words of Buddha who says: "jara-vyadhis ca motyus ca yadi na syad idam trayam, mama'pi hi manojnesu visayesu ratir bhavet." (Bu. Ca. IV. 86). Bu. Ca. V. 29, describes the anubhavas of vatsala-rasa as read below : "iti tasya vaco nisamya raja * karineva'bhihato drumas cacala, For Personal & Private Use Only

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The concept of "Rasa" kamala-pratime'nalau grhitva vacanam cedam uvaca baspa-kanthah." Bu. Ca. V. 45 describes the uddipana and alambana vibhavas of srngara-rasa as follows: "tata uttamam uttamanganas tam nisituryair upatasthur indrakalpam, himavacchirasiva candragaure dravinendra"tmajam apsaro ganaughah." Bu. Ca. VII. 1-10, describe the effects on human beings, beasts, etc. when the prince makes an entry into the forest. We come across a beautiful delineation of the sthayibhava viz. 'vismaya' giving rise to 'adbhuta rasa'. Bu. Ca. VII. 7, reads as - "kaccid vasunam ayam astamah syat syad asvinor anyataras cyuto va, uccerur uccair iti tatra vacah tad darsanad vismayaja muninam." Bu. Ca. VIII. 21, 22, provide all the required factors that make for the Karuna-rasa. "vilambakesyo malinambaras' ca niranjanair baspa-hateksanair mukhaih, striyo na rejur mrjaya vinakrta diviva tara rajaniksaya'runah. (VIII. 21) Bu. Ca. VIII. 22 is - 1227 "arakta-tamrais caranair a-nupuraih a-kundalair arjava-kandharair mukhaih, svabhava-pinair jaghanair a-mekhalair a-hara-yoktrair musitair iva stanaih." 'Avega', born of calamity is beautifully illustrated in Bu. Ca. VIII. 20, read as below: "ati-praharsad atha soka-murcchitah kumara-sandarsana-lola-locanah, grhad viniscakramur asraya striyah sarat-payodad iva vidyutas calah." For Personal & Private Use Only (Bu. Ca. VIII. 20)

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SAHRDAYALOKA The sattvika-bhavas such as stambha, vaivarnya etc. that go with the karuna rasa are to be seen in the following verse - hatatviso'nyah sithilamsa-bahavah striyo visadena vicetana iva, na cakrasur na'sru jahur na sasvasur na celurasur likhita iva sthitah." (Bu. Ca. VIII. 25) 1228 We are reminded of, "citrarpita"rambha ivavatasthau." The anubhava of karunarasa, such as daiva-ninda (i.e. censure of fate), bhupata (= falling on earth), krandita (= weeping), etc. are seen in yasodharavilapa in Bu. Ca. VIII. 31-42. Bu. Ca. VIII. 31 reads as - "tatas tu rosa-pravirakta-locana visada-sambandhi-kasaya-gadgadam, uvaca nisvasa-calat-payodhara, vighadha-sokasrudhara yasodhara." Bu. Ca. VIII. 70 reads as - "itiha devi pati-soka-murcchita rorodha dadhyau vilalapa ca'sakrt svabhava-dhira'pi hi sa sati suca dhrtim na sasmara cakara no hriyam." Falling on the earth due to grief is described in the Bu. Ca. VIII. 73, and the wailing on the part of king Suddhodana is described in Bu. Ca. VIII. 75-80. Jadata (= stupour), the sattvika-bhava finds expression in Bu. Ca. VIII. 81, which reads as - "iti tanaya-viyogajataduhkhah ksiti-sadrsam sahajam vihaya dhairyam, dasaratha iva rama-soka-vasyo bahu vilalapa nrpo visamjna-kalpah." (Once again we feel that all this is modelled on Kalidasa). Krodha, the sthayibhava of raudra and the anubhavas that go with that, are described in Bu. Ca. XIII. 28-30. For Personal & Private Use Only

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The concept of "Rasa" 1229 Bu. Ca. XIII. 30 reads as - "mahibhrto dharma-parasca naga mahamuner vighnam a-mrsyamanah, maram prati krodha-vivitta-netra nihsasvasuh caiva jajtmbhire ca." The material for bibhatsa-rasa is supplied in the description of hell in Bu. Ca. XIV. Bu. Ca. XIV. 14 reads as - "kecit tiksnair ayo-damstrair bhaksyante darunaih svabhih, kecid dhrstair ayas-tundair vayasair ayasair iva." So also in canto V, wherein the charms of ladies are described as being ineffective, bibhatsa is suggested. Bu. Ca. V. 61 - "vivrta"syaputa viveddha-gatri prapatad-vaktra-jala, prakasa guhya, apara mada-ghurniteva sisye na babhase, vikstam vapuh puposa." srngara finds beautiful expression in Sau. (= Saundarananda, Edn. Haraprasad Shastri, Bibliotheca Indica, 1910) - IV. 36 - "atha'pyanasyana-visesakayam, mayy esyasi tvam tvaritam tatas tvam, nipidayisyami bhuja-dvayena nirbhisanena"rdra-vilepanena." The vyabhicarin called 'vitarka' finds beautiful expression in Sau. IV. 42 - "tam gauravam buddha-gatam cakarsa bharya'nuragah punar acakarsa, soniscayan na'pi yayau na tasthau turam starangesviva rajahamsah." (We are reminded of the famous expression from Kalidasa - "sailadhirajatanaya, na yayau na tasthau.") For Personal & Private Use Only

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1230 The anubhavas of Karuna are found in Sau. VI. 4 - "sa kheda-samsvinna-lalatakena nihsvasa-nispita-visesakena, cinta-calaksena mukhena tasthau bhartaram anyatra visankamana." And also Sau. VI. 5 reads as - "tatas cirasthana-parisramena sthitaiva paryankatale papata, -tiryak ca sisye pra-vihirnahara sapadukaikardha-vilambha-pada." Avega, is seen in the verses that follow. Vilapa or wailings are seen in verses 1219 in Sau. VI. So also the anubhavas such as ksobha, krandana, etc. are seen in Sau. VI. 24-25. SAHRDAYALOKA Sau. VI. 35 describes vividly all the anubhavas that go with karuna-rasa, as below - "ruroda mamlau virurava jaglau babhrama tasthau vilalapa dadhyau cakara rosam vicakara mayam cakarta vaktram vicakarsa vastram." Thus, in Asvaghosa we come across the actual description of different vibhava"dis that give rise to different rasas, thus providing enough material for the theorists to draw their own conclusions. Again 'rasa' in various forms is seen in Asvaghosa, as at, Bu. Ca. II. 8; III. 51; V. 52 (sa-rasah) Thus, we have rasa and sa-rasah. V. 5 has 'rasa'. Sau. has 'rasa', at - V. 24 - prajnarasah.... rasebhyah, IX. 48 - 'rasa'; XI. 2 'rasa', XI. 49 rasan (= making sound); XVI. 93 'rasena'. Now we will turn to the dramatic works of Bhasa and Kalidasa. Before examining the employment of different emotions, we will look into, the various forms in which the words 'rasa' occurs. Thus, the Trivendrum plays ascribed to Bhasa (Edn. Prof. Deodhar, Poona) - have - rasana; pra-you, (pratijna-yaugandharayana) bhaya-rasam pp. 84; Avi (= Avimaraka), pp. 110; I. 2 adhika-rasah - Avi.; pp. 168 (verse V. 4) guna rasajnasya; Caru. (carudatta-or daridra-ca. I. 2; pp. 197) For Personal & Private Use Only

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The concept of "Rasa" 1231 krida-rasesu-ca. III. 1; pp. 223; etc. In Bhasa's Svapnavasavadattam (= Svapna.), we have the vyabhicarin called smrti illustrated in V. 5, 6; which read as - "smaramy avantyadhipateh sutayah prasthanakale svajanam smarantyah, baspam pravsttam nayananta-lagnam snehan mamaivorasi patayantyah." and also, "bahusopy upadesesu yaya mam iksamanaya, hastena srasta-konena krtam akasa-vaditam." So also, read the following - Raja - "srutisukhaninade katham nu devyah stana-yugale jaghana-sthale ca supta, vihaga-gana-rajo-vilagna-danda pratibhayam abhyusita'sy aranya-vasam." api ca -, asnigdha'si ghosavati, ya tapasvinya na smarasi, "sronisamudvahana-parsva-nipilitani kheda-stanantara-sukhany upaguhitani uddisya mam ca virahe paridevitani vadyantaresu kathitani ca sasmitani." (Svapna. VI. 1 & 2) Also read Avi. II. I, which runs as - "adya'pi hasti-kara-sikara-sitalangim balam bhaya"kula-vilola-visada-netram, svapnesu nityam upalabhya, punarvibodhe, jatismarah prathamajatimiva smarami." All these instances evoke vipralambha songara. We may be able to read the material for karuna-rasa in the speech of Dasaratha (in Pratimanataka, Act. II) for whom Rama is lost for ever. Raja : bhratah ! sumantra ! "kva me jyestho ramah, na hi na hi yuktam abhihitam maya.... kva me jyesto ramah priyasuta, sutah sa kva duhita For Personal & Private Use Only

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1232 SAHRDAYALOKA videhanam, bhartur niratisaya-bhaktir gurujane, kva va saumitrir mam hata-pitskam asanna-maranam, kim apy ahuh kim te sakala-jana sokarnava-karam." The vibhava, anubhava etc. of hasya are seen in the speech of Vasantaka in Svapna. V, where he starts telling a story to Udayana. Vidusakah - bhodu, annam kahaissam atthi naaram bamhadattam nama. tahim kila raa kampillo nama. Raja-kim iti, kim iti ? Vidusakah - (punas tad eva pathati) Raja - murkha, raja brahmadattah nagaram kampilyam ity abhidhiyatam. . Vidusakah - kim raa bamhadatto naaram kampillam ? Raja - evam etat. vidusakah - tenna hi muhuttamam padivelledu bhavam, java otthagaam karissam. raa bahamadatto naaram kampillam (iti bahusah tad eva pathitva) idanim sunodu bhavam... etc. Raudra, with krodha as its sthayin and the enemy as its alambana, the activity of the enemy as its uddipana etc. is seen in the following passage of the Madhyama Vyayoga (= Ma. Vya.) - Bhimah-atha koyam bhimo nama ? "visvakarta sivah krsnah sakrah saktidharo yamah, etesu kathyatam bhadra kena te sadrsah pita ?" Ghatotkacah - sarvaih. Bhimah - dhig anstam etat. Ghatotkacah-katham katham anstam ity aha ? ksipasi me gurum ? bhavatv imam sthulam vrksam utpatya praharami (utpatya praharati) katham anena'pi na sakyate hantum ? kim nu khalu karisye ? bhavatu, drstam, etad girikutam utpatya praharami.... etc. Or, as in Duta-ghatotkaca, wherein we have - Gatotakacah - (sa-rosam) kim duta iti mam pradharsayasi ? ma tavad bhoh, na For Personal & Private Use Only

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The concept of "Rasa" 1233 dutoham - "alam vo vyavasayena, praharadhvam samahatah, jyacchedad durbalo na'ham abhimanyur iha sthitah. mahan esa kaisorakoyam me manorathah, api ca, "daststo mustim uddyamya tisthaty esa ghatotkalah, uttisthatu puman kascid gantum icched yama"layam." etc. etc. Vira-rasa, with 'garva' as its vyabhicarin is beautifully illustrated in Duta-vakya, I. 24, wherein Duryodhana says - bho duta, na janati bhavan rajya-vyavaharam. "rajyam nama nopatmajaih sahrdayair jatva ripun bhujyate, tal loke na tu yacyate, na tu punar dinaya va diyate, kanksa cen nipatitvam aptum acirat, kurvantu te sahasam, svairam va pravisantu santamatibhir justam, samaya"sramam." Or, in the following; read - Duryodhanah - ah kasya vijnapyam ? mad vacanad eva sa vaktavyah - "kim vyartham bahu bhasase na khalu te parusya-sadhya vayam, kopan na'rhasi kimcid eva vacanam yuddham yada dasyati, niryamy esa nirantaram nopasatacchatravalibhir vitas tistha tvam saha pandavaih prativaco dasyami te sayakaih." (Duta-ghasotakala I. 15). Dharma-vira can be read in the following; Salyah - bho angaraja, vancitah khalu bhavan. Karnah - kena ? salyah - sakrena, karnah - na khalu; sakrah khalu vancitah maya aneka-yajna'huti-tarpito dvijaih kiritiman danava-samgha-mardanah, sura-dvipa"sphalana-karkasangulir maya krtarthah khalu paka-sasanah. (Karnabhara, I. 23) and also, Salyah - angaraja, na datavyam. For Personal & Private Use Only

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1234 SAHRDAYALOKA Karnah - Salyaraja, alam alam varayitum. pasya - "siksa ksayam gacchati kala-paryayat subaddha-mula nipatanti padapah, jalam jalasthana-gatam ca susyati hutam ca dattam ca tathaiva tisthati." tasmad glhyatam. (niskrtya dadati) (karnabhara I. 22) Bhayanaka is illustrated in the following; Damodarah - "eta matta-cakora-sava-nayanah prodbhinna-kamra-stanah, kantah prasphurita-dharosta-rucayah visrasta-kesa-srajah, sambhranta galitottariya-vasanas trasakula-vyahitah, tusta mam anuyanti pannagapatim drstvaiva gopanganah." - (Balacarita, IV. 1) Bibhatsa is evoked in Urubhanga I. 11, as below: "ghidhra madhuka-mukulonnata-pingalaksa daityendra-kunjara-natankusa-tiksna-tundah bhanty ambare vitata-lamba-vikirna-paksa mamsaih pravala-racita iva tala-vrksah." Thus, in the Trivendrum plays, we come across illustrations that might have been a source of inspiration to the theorists, of course, in case they are from Bhasa's pen, a fact in which we have only that much faith as has my friend Dr. N. P. Unni. In Kalidasa also we have the same encouragement for the theorists to form their theory. Of course Kalidasa himself seems to be in the know of the eight-fold rasas and their delineation through dramatic art as we will go to observe below. His reference to Bharata is whether to the present available N.S. of Bharata or some older work of an older Bharata; if kalidasa is placed before christ, a theory we have greater faith in; is not very clear. We come across the delineation of different bhavas, anubhavas, etc. that are associated in theory with particular rasas. We find them here also, in the same For Personal & Private Use Only

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The concept of "Rasa" 1235 context. Thus 'avahittha', the vyabhicarin going with songara-rasa finds expression in Ku-Sam. (Kumara-Sambhava) VI. 84 : (References to all the works of Kalidasa are from the second critical Edn. of Kalidasa-Granthavali, Dr. Rewaprasad Dwivedi, Varanasi) "evamvadini devarsau parsve pitur adhomukhi, lila-kamala-patrani ganayamasa parvati." (Ku. Sam. VI. 84) 'Mati' is a vyabhicarin read in Abhi. Sa. I. 21, as - "a-samsayam khsatra-parigraha-ksama yad aryam asyam abhilasi me manah, satam hi sandeha-padesu vastusu pramanam autah-karana-pravrttayah." "Svapna" is a vyabhicarin that is associated with vipralambha-songara and is marked at Megha. (Uttara, 49) : "mam akasa-pranihitabhujam nirdaya"slsa-hetoh, labdhayas te katham api maya svapna-sandarsanesu, pasyantinam na khalu bahuso na sthali-devatanam mukta-sthulas tarukisalayesy asrulesah patanti." All the peraphernelia of vipralambha songara is supplied in the Megha. (Uttara, 47): "tvam alikhya pranaya-kupitam dhaturagaih silayam, atmanam te carana-patitam yavad icchami kartum, asrais tavan muhur upacitair drstir alupyate me, kruras tasminn api na sahate sangamam nau ketantah." The heroine is the alambana-vibhava here, 'tat-pranaya-kopa' is the uddipanabhava, the desire followed by activity in a dream to fall at her feet is the anubhava, censure of destiny is the vyabhicarin, and rati is the sthayin. The uddipana-vibhava for santa is met with in the Abhi. Sa. in I. 7: "nivara suka-garbha-kotara-mukhabhastas tarunam adhah... etc." For Personal & Private Use Only

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SAHRDAYALOKA Unmada'tisaya, a vyabhicarin of vipralambha is seen in the Vikramorvasiyam (= vikramo.) act IV as read in the famous verse, viz. "tisthet kopa-vasat prabhavapihita." etc. 1236 Instances can be muliplied as we find the vibhava"dis of karuna in ajavilapa and rati-vilapa etc. Vira finds expression in Raghu. III. 51. "tatah prahasya'pabhayah purandaram punar babhase turagasya raksita, grhana sastram yadi sarga esa te na khalv anirjitya raghum krti bhavan." Dharmavira is seen in Raghu. II. 57 - "kim apy ahimsyah tava cen mato'ham, yasah-sarire bhava me dayaluh, ekanta-vidhvamsisu madvidhanam pindesv anastha khalu bhautikesu." Thus, such clear practices in the works of the ancients could have inspired the theorists to build up a theory in the form we are familiar with. Actual practice of the great poets could have paved the way to formulation of literary principles, and these in turn could have influenced the posterior literary artists. We will now look into the actual occurrences of the word 'rasa' in Asvaghosa, Bhasa and Kalidasa and we will try to see if there is a clear reference to the aesthetic sense in any occurrence. In the Bu. Ca. of Asvaghosa we come across two occurrences of the word 'rasa' and one of rasa. Rasa at Bu. Ca. V. 5 means "the earth". However, Bu. Ca. V. 62 is noteworthy. It reads as - "iti sattva-kulanurupam vividham sa pramadajanah sayanah, sarasah sadrsam babhara rupam pavanavarjita-rugna-puskarasya." 'sarasah' here is obviously in the sense of 'charged with srngara-rasa'. In the Sau. V. 24, we read 'rasebhyah'; and 'rasah' - sraddha-dhanam sresthatamam dhanebhayah, prajna-rasah trptikaro rasebhyah." For Personal & Private Use Only

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The concept of "Rasa" 1237 "Rasa' in prajna-rasa does not carry the technical sense of aesthetic rapture, but 'rasa' in 'rasebhyah' i.e. 'among all rasas' - may refer to the eight or nine natya/ kavya rasas, or tastes in general. Sau. XI. 2 has, "anistanaiskarmya-rasah", i.e. "one who has no interest in 'naiskarmya' i.e. inaction. The same verse has 'virasah' in the same sense of "having no interest". Sau. IX. 49 has 'rasan' in the sense of "making noise". Sau. XVI. 93 has 'rasan' meaning tastes. Thus in Asvaghosa, we do not come across 'rasa' in the technical sense of kavya/natya-rasa, excepting perhaps at Bu. Ca. V. 62 as seen above. In the Trivendrum plays that are associated with the name of Bhasa we have rasana - pra. yau. III. pp. 84; Edn. ibid bhayarasam-Avi. I. 2 (pp. 110); Edn. ibid adhika-rasah - Avi. V. 4 (pp. 168); Edn. ibid and, krila-rasesu-Ca. III. i. (pp. 223). None of these seems to carry the technical sense of kavya/natya-rasa. In Kalidasa we have several references of the word 'rasa' and some of them are definitely referring to the aesthetic context. Thus, Kalidasa has - : rasam Raghu. I. 18; sama-rasa-Raghu. IV. 18; rasan - Raghu. IV. 66 rasavat - Raghu. VIII. 68 rasakhandana-varjitam - Raghu. IX. 36; abalaika-rasah - Raghu. IX. 43 rasantarani-eka-rasam - Raghu. X. 17 kridarasam - Kum. Sam. I. 29 rasat - Kum. Sam. III. 37 rasatmakasya - Kum. Sam. V. 22 bhavaika-rasam-manah - Kum. Sam. V. 82 For Personal & Private Use Only

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1238 rasantaresu - Kum. Sam. VII. 91, jatarupa-rasa - Kum. Sam. VIII. 36 mula-seka-sarasaih - Kum. Sam. VIII. 38 dhatu-rasa Kum. Sam. VIII. 58 prabha-rasam - Kum. Sam. VIII. 70; ananga-rasa-prasange Ku. Sam. IX. 1 rasena - Kum. Sam. IX. 41, X. 136 rasan, virasam - Kum. Sam. XVI. 12 sarasam Ritu. SC. I. 2 (grisma-varnana) The Abhi. sa. has - - sadayam sundari grhyate raso'sya - Act. III laksarasah - IV. 4; (bhavanesu) rasadhikesu - VII. 20 The Vikramo. has - sragaraika-rasah - I. i asta-rasasrayah - II. 18 rasad rte II. 22 Malavika. has nanarasam - I. 4 rasesu - II. 8 rasajnam IV. 1 Megha. has - - rasa"bhyantarah - I. 28 (purva.) sarasa-kadali. - II. 36 (uttara) The most striking occurrences are as below: Ku. Sam. VII. 91 reads as - "tau sandhisu vyanjita-vrttibhedam rasantaresu pratibaddha-ragam, apasyatam asparasam muhurtam prayogam adyam lalitangaharam." SAHRDAYALOKA For Personal & Private Use Only

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The concept of "Rasa" 1239 Here 'sandhi' refers to the five sandhis. 'Vrtti' refers to kaisiki and the rest. 'rasantaresu' has a clear reference to natya-rasas. Actually a full-fledged theory of natya-sastra is referred to, as it were. Ku. Sam. V. 82 is also especially noteworthy. It has "bhavaika-rasam manasa" obviously in the sense of songara-rasa. The Malavika. has the following occurrence in a clear technical sense : Malavika. I. 4, reads as - "devanam idam amananti munayah krantam kratum caksusam, rudrenedam umaksta-vyatikare svange vibhaktam dvidha, traigunyodbhavam atra loka-caritam nanarasam disyate, natyam bhinna-rucer janasya bahudha'py ekam samaradhanam." Malavika - II. 8 - is "angair antar-nihita-vacanaih sucitah samyag arthah, pada-nyaso layam anugatas tanmayatyam rasesu, sakhayonir mrdur abhinayas tadvikalpa'nu-vittau bhavo bhavam nudati visayad raga-bandhah sa eva." Malavika. IV. is "tam asritya srutipathagatam asayad-baddha-mulah, hasta-sparsair anukulita iva vyakta-romodgamatvat kuryat kantam manasija-tarur mam rasa-jnam phalasya." For Personal & Private Use Only

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1240 SAHRDAYALOKA In all these occurrences 'rasa' carries the technical sense of natya-rasa. In the Vikrama. We have 'rasa' in its technical sense, at I. 8. : asyah sargavidhau prajapatir abhut candro na kanti-pradah, srngaraika-rasah svayam nu madanah maso na puspakarah, veda'bhyasa-jadah katham nu visaya-vyavrtta-kautuhalah nirmatum prabhaven manoharam idam rupam purano munih." at III. 118 - "munina bharatena yah prayogah bhavatisv asta-rasasrayo niyuktah. lalitabhinayam tam adya bharta marutam drastumanah sa loka-palah." and at act III - dvitiyah - "tasmin punah sarasvati-krtakabandhe laksmi-svayamvare, tesu tesu rasantaresu tanmayy asit." Thus, in Kalidasa we have very clear occurrences of the word 'rasa' in the technical aesthetic sense of kavya/natya-rasa. "Rasa" in Bharatamuni. The earliest discussion in the technical sense of aesthetic pleasure or artexperience of the term "rasa" is to be met with in the Na. Sa. attributed to Bharata (Cir. 200 B.C.- 200 A.C.). In fact, the Na. Sa. is also our earliest available written document that discusses such topics of Sanskrit alamkara-sastra as alamkara, guna, dosa, vrtti, riti, etc. It may be noted that the textual criticism of this monumental work is not yet fully carried out. This much however is clear that it contains several strata belonging probably to different ages and probably also to different schools of thought. The major part of this work is in verse. There are however, a few prose passages containing the famous rasa-sutra which may be taken as an early discussion on the subject. However, whatever that may be, we are inclined to take the whole portion, i.e. both prose and verse, as one single harmonious unit, for our discussion here. The anuvamsya aryas and slokas quoted in support of the main text in prose and verse, clarify what is said in the main body of the text. Having described in the first five adhyayas of the Na. Sa., the mythical origin of the science of dramaturgy, its first production, the construction of the different types of theatre buildings, the ceremonial worship of the theatre, the different aspects of purva-ranga, the difference between abhinaya, nrtta and the different For Personal & Private Use Only

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The concept of "Rasa" 1241 varieties of nitta etc., Bharata comes to some of the main themes relevant to the art of dramaturgy. In the sixth adhyaya the sages ask Bharata five questions. Of these the first and the formost are : "ye rasa iti pathyante natye natya-vicaksanaih rasatvam kena vai tesam etad akhyatam arhasi." (S.VI. 2, Na. Sa.) and, (VI. 3a) - "bhavas caiva katham proktah kim va te bhavayanty api." Thus, the understanding of the rasas and the bhavas occupy prominent place in the Na. Sa. The eight rasas and the sthayin, sancarin and satrvikabhavas are enumerated in NS. 16-23, of Ch. VI. Lateron, after having enumerated abhinayas, vrttis, pravrttis, siddhis, four types of musical tones, four types of musical instruments, five types of singing and three types of theatre building, the author proceeds to explain the subject of rasa in prose. First, we will quote the full passage and its translation (by Dr. G. K. Bhat, Bharata-Natya-Manjari, pub. B.O.R.I., Pune, 1975, pp. 82-93). Then we will try to understand it critically. The text reads as follows: (pp. 266 - etc. 4th Edn. G.O.S., - Vol. II; 1992) (Edn. K.Kris.) (i) (rasa-vidhanam) * These sub-titles are cited from Bharata-Natya-manjari, Edn. Dr. Bhat) "tatra rasan eva tavad adav abhivyakhyasyamah. na hi rasad rte kascid arthah pravartate.' atra"ha-rasa iti kah padarthah ? ucyate - asvadyatvat. katham asvadyate rasah. yatha hi nana-vyanjana-samskrtam annam bhunjana rasan asvadayanti sumanasah purusah harsa"dinsca'dhigacchanti tatha nanabhavabhinayavyanjitan vagangasattvopetan sthayibhavan asvadayanti sumanasah preksakah harsadinscadhigacchanti tasman natya-rasa ity abhivyakhyatah. atra'nuvamsyau slokau bhavatah. (32) yatha bahu-dravya-yutair vyanjanair bahubhir yutam, asvadayanti bhunjana bhaktam bhakta-vido janah. For Personal & Private Use Only

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1242 SAHRDAYALOKA (33) bhava bhinaya-sambaddhan sthayibhavans tatha budhah asvadayanti manasa tasman natyarasah smotah." (rasa-bhavayoh anyonya-sambandhah) - atra"ha - kim rasebhyo bhavanam abhinirvrttiruta"ho bhavebhyo rasanam iti. kesancin matam parasparasambandhad esam abhinirvittir iti. tan na. kasmat. drsyate hi bhavebhyo rasanam abhinirvrttir na tu rasebhyo bhavanam-abhinirvrttir iti. bhavanti ca'tra slokah - (34) nana'bhinaya-sambaddhan bhavayanti rasan iman, yasmat tasmad ami bhavah vijneya natya-yoktIbhih. nana-dravyair bahuvidhair vyanjanam bhavyate yatha, evam bhava bhavayanti rasan abhinayaih saha. na bhavahinosti rasah na bhavo rasa-varjitah, paraspara krta siddhis tayor abhinaye bhavet. vyanjanausadhi-samyogo . yatha'nnam svadutam nayet, evam bhava rasas' caiva bhavayanti parasparam. yatha bijad bhaved vrksah veksat puspam phalam tatha tatha mulam rasah sarve tebhyo bhava vyavasthitah tad esam rasanam utpattir-varna-daivata-nidarsanany abhivyakhyasyamah tesam utpatti-hetavas catvaro rasah tad yatha songaro raudro viro bibhatsah, iti. (38) For Personal & Private Use Only

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The concept of "Rasa" (39) (40) (41) atha varnah - (42) (43) srngarad hi bhaved hasyo raudrac ca karuno rasah, virac caiva'dbhutotpattir bibhatsac ca bhayanakah." srngara'nukrtir ya tu sa hasyas tu prakirtitah raudrasyaiva ca yat karma sa jneyah karuno rasah. virasya'pi ca yat karma sodbhutah parikirtitah bibhatsa-darsanam yac ca jneyah sa tu bhayanakah. (45) atha daivatani (44) syamo bhavati srngarah sito hasyah prakirtitah, kapotah karunas caiva rakto raudrah prakirtitah. gauro viras tu vijneyah krsnas caiva bhayanakah, nila-varnas tu bibhatsah zpitas caiva'dbhutah smrtah." - srngaro visnu-devatyo hasyah pramatha-daivatah, raudro rudra'dhi-daivatyah karuno yama-daivatah bibhatsasya mahakalah kaladevo bhayanakah, viro mahendra-devah syad adbhuto brahma-daivatah." For Personal & Private Use Only 1243

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1244 SAHRDAYALOKA (Trans. Dr. G. K. Bhat pp. 83). "Now (in connection with the contents of the sutra-work) we shall first of all explain the rhetorical sentiments. (Rasas) No (literary) import can ever proceed without rhetorical sentiment and aesthetic relish Now, Rasa arises from a (proper) combination of the stimulants (vibhava), the (physical) consequents (anubhava) and the Transient Emotional states. What is the illustrative case ? There we say; Just as by a proper combination of different spicy food-stuffs (vyanjana), leafy vegetables (ausadhi), and other articles of food (dravya), there is a flavour and taste (rasa) produced, in the same way when different emotional states come together, aesthetic flavour and relish are produced. Just as again, on account of such articles of food as molasses and spicy and vegetable stuff, the six (food) flavours and tastes are produced, in the same way, when various emotional states reach the abiding mental conditions, the latter attain the quality of rhetorical sentiment (or become aesthetically relishable) Now, one may ask, : what is this thing that you call 'rasa' ? We way : (it is so called) because it is capable of being tasted (or relished). How is rasa tasted ? Just as people in a contented state of mind (sumanasah), eating the food prepared well (samskrta) with various spicy things taste the (various) flavours (enjoy the various tastes) and obtain delight and satisfaction (harsadin), in the same manner spectators, in the right (receptive] frame of mind (sumanasah), taste the permanent mental conditions, suggested (vyanjita) by the representation (abhinaya) of various emotional states, (the abhinaya) carried out by speechdelivery (vac), physical gestures and movements (anga), and by the physical acting of psychical impacts (sattva), and they obtain pleasure and satisfaction. It is for this reason that they have been explained as "natya-rasa" aesthetic contents and their relish arising from dramatic representation. In the context there are two traditional couplets : (32) Just as connoisseurs of cooked rice (or food, bhakta) when they eat it as prepared with many articles of food with many different spicy things enjoy the flavour and taste, (33) in like manner, the wise (spectators) taste and enjoy in their mind the permanent mental conditions rendered through (lit. well-connected with) the acting of emotional states (bhavabhinaya), For Personal & Private Use Only

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The concept of "Rasa" 1245 (Inter-relation as Bhava and Rasa.) One may ask : Are the emotional states turned out from the rhetorical sentiments, or is it that the sentiments are turned out of the emotional states ? Some opine that they arise from mutual contact. But this is not so. Why? Because, it is a matter of actual perception that the rhetorical sentiments are turned out of the emotional states and not the emotional states are turned out of the sentiments. There are traditional couplets about this. (34) The emotional states are so known by the designers of dramatic art because they (the bhavas) bring to the spectators (iman) an emotional awareness (bhavayanti) of the sentiments as connected with various modes of acting or dramatic representation. (35) Just as, by many articles of food (dravya) of various kinds, the spicy foodstuff (vyanjana : like vegetables, meat, fish) is brought to a (distinct) flavour (bhavyate), in the same way, the emotional states bring the sentiments to the level of (actual) experience when helped by different kinds of acting (or histrionic representation : abhinaya). (36) There can hardly be (the experience of) sentiment without the previous presentation of) an emotional state; nor can there be an emotional state which does not lead to (the experience of a sentiment). During the process of histrionic he two (bhava and rasa) accomplish (their status and function) by (dual) interection. . (37) As the combination of spicy food-stuffs and vegetables leads the (main) cooked food to a (distinct) relishable taste (svaduta), in the same way, the emotional states and sentiments lead each other to the distinct) level of an experience. (38) As from a seed a tree grows, and from the tree flower and fruit, so all the sentiments stand as the root; the emotional states have their settled position for the sake of (tebhyah : i.e. for the purpose of manifesting) the sentiments. Now we will expound the origin, colours, (presiding) deities and illustrations of these Rhetorical Sentiments. The sources of origin of these (sentiments) are the four (basic) sentiments : these (are) as follows: the Erotic, the Furious, the Heroic and the Odious. Here (the following verses occur) : (39) The Comic Sentiment becomes possible from the Erotic, and the Pathetic from the Furious; the origin of the Marvellous (is) from the Heroic, and of the Terrible from the Odious. For Personal & Private Use Only

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1246 SAHRDAYALOKA (40) A mimicry (or imitation) of the Erotic is fittingly (tu) described as the (sentiment of) Laughter. And the consequence of the Furious should be known as the Pathetic Sentiment. (41) In the same way the consequence of the Heroic is properly described as the Marvellous. And the presentation of the odious is to be known likewise as the Terrible. Now the colours : (42) The Erotic (sentiment) is light-green (syama), the comic is described as white (sita), Pathetic is grey (kapota) and the Fearful is described as (rakta). (43) The Heroic is to be known as yellow red (gaura); the Terrible as black, the Odious on the contrary is blue (nila) and the Marvellous (is) Yellow. Now the Deities - (44) The Erotic (Sentiment) has Visnu as its presiding deity; the deity of the Comic is Pramatha; the deity of the Furious is Rudra; the Pathetic has Yama as its deity. (45) The deity of the Odious is Mahakala; the Terrible has Kala as the God; the Heroic, the god Mahendra; the Marvellous has Brahma as its deity." The rest of the Chapter VI. N.S. gives detailed description of the eight cal sentiments, the emotions and consequents connected with them, their divisions, if any, their provenance and modes of acting them. It may be noted that in the translation as attempted by Dr. G. K. Bhat, he has used the term "rhetorical sentiments" for sentiments in general. The latter in our opinion is quite proper and generally accepted. For the sake of a comparative view, we also quote the translation of the same passage by our friend Dr. N. P. Unni as is given below. The discerning reader will go for his own preference. We however choose to be closer to Gnoli in translating the technical terms. Dr. Unni has the following: (Trans. pp. 158 onwards, N.S. Edn. Nag Publishers, '98, Delhi) - (Tatra rasan eva. etc.) "Among these I shall deal with the sentiments at the outset. There could be nothing without the relish of sentiments. The conjunction of Vibhavas (Determinants), Anubhavas (consequents) and Vyabhicaribhavas (Transitory moods) causes the production of Rasas (Sentiments) (in dramatic works and poems). Where is the instance in this connection ? One may ask. Here one may say, - "Just as a good taste is produced by the mixing together of different spices, For Personal & Private Use Only

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ICC. The concept of "Rasa" 1247 medicinal herbs and other articles; just as a confectionary taste (literally six kinds of tastes) is produced by the processing of molasses and other articles along with spices and herbs; the different sthayibhavas (the permanent moods) become rasas (sentiments) when they combine with the different Bhavas (determinants, consequents and transitories). Here is a question - "What is meant by the word Rasa ? The answer is (given as)" Because it can be relished", "How does one relish the sentiment ?" Just as the noble-minded people taste the Rasas when they eat the food prepared with different spices and become joyful, similarly the noble-minded spectators enjoy the sthayibhavas in combination with the representation of speech, limbs and internal faculty suggesting different emotional moods and find extreme happiness. Hence we call them as Naryarasas - sentiments pertaining to dance and drama.. Here there are two conformable stanzas : Just as people who have a special liking for the food enjoy the meals prepared using different matierals and spices, the scholars appreciate by their mind the sthayibhavas (permanent moods) combined with the gestural representation of the moods. Hence these are called sentiments relating to dramatic performance. Here is a question - Do the sentiments give rise to the emotions or the emotions produce the sentiments ? The answer is - some hold that both are the cause and effect due to their close relations. But it is not so. Why? We notice that the emotions culminate in the production of sentiments and not the other way, the sentiments generating the emotions. Here are some stanzas in this regard. The authorities on Narya call the emotional fervour as Bhavas since they help to realise the Rasas connected with the various types of representation. As the spices in combination with the different articles help to produce the dish, the Bhavas help the production of Rasa with proper gesticulations and representations. There is no Rasa without the accompaniment of Bhava, nor there is any Bhava devoid of Rasa. In the matter of representation both of them render mutual help to bring about the achievement. As the spices and herbs give rise to good taste for food, Bhavas and Rasas contribute to their mutual development. As a tree grows out of the seed and as flower and fruits are produced by the tree, Rasas form the basis from which the Bhavas are originated. Thus these stayibhavas are known by the names of Rasas and they should be realised as such." Hence we shall explain the origin, colour, deities, and examples of the various sentiments. There are four sentiments which are considered as basic. They are : For Personal & Private Use Only

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1248 SAHRDAYALOKA Srngara (the Erotic), Raudra (the Furious), Vira (the Heroic) and Bibhatsa (the Disgusting). From Srngara the sentiment of Hasya (the comic) is generated and from Raudra is produced the sentiment of Karuna (the Pathetic), Vira gives rise to Adbhuta (the Marvellous) and Bibhatsa generates the the sentiment of Bhayanaka (the terrible). Hasya consists in the imitation or Srngara and Karuna is the resultant of the sentiment of Raudra. Vira results in the production of Adbhuta and the sight of Bibhatsa transforms into the sentiment of Bhayanaka. The colours assigned to the sentiments are : srngara is green and Hasya is white. Karuna is dove-coloured while Raudra is red. Vira is distinguished by the wheatish brown colour while Bhayanaka is black. The blue colour is assigned to Bibhatsa while Adbhuta is considered to be yellow in colour. The presiding deities of the sentiments are : songara has Visnu as its deity and Hasya has the attendants of Siva. The deities for the other sentiments are Rudra for - Raudra, Yama for Karuna, Mahakala for Bibhatsa and Kaladeva for Bhayanaka, Mahendra for Vira and Brahma for Adbhuta." Both Dr. Bhat and Dr. Unni have done a nice job in translating the original * passage, however, it is for the experts to choose. We will deal with the topic of Rasa nispatti i.e. Rasa-realisation in a separate chapter as it also involves a critical study of the views of different interpreters of the famous sutra. But for the present, we will pick up what Bharata has to say concerning the bhavas in the Ch. VII. N.S. (G.O.S. Edn.). After that we will look into the approach of post-Bharata and preAnandavardhana acaryas i.e. Bhamaha to Rudrata on the topic of Rasa and Bhava. With this we will end this chapter, picking up the thread in the next chapter with the theory of rasa-realisation, beginning with Abhinavagupta and the acaryas he quotes, down to Jagannatha, of course catching up with Kuntaka, Dhananjaya/ Dhanika, Mahima, and Bhoja in the middle. The Ch. VII N.S. (G.O.S.) deals with the topic of Bhavas. But before we deal with the topic of Bhavas, it should be noted that Bharata has mentioned eight rasas and as for the portion or readings concerning the ninth i.e. santa rasa opinion among scholars is divided with reference to the authenticity of that portion. So, we will consider the topic of santa-rasa separately at the end of this chapter while dealing with the number of rasas recognised by various authorities. As for rasanispatti also, beyond the rasa-sutra Bharata does not elaborate over it and it is left to his commentators to deal with the topic of rasa-realisation and rasa-svabhava in greater details later. We will deal with all this in due course. For Personal & Private Use Only

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The concept of "Rasa" 1249 Ch. VII (N.S.) has the following note concerning the bavas which include eight sthayi-bhavas, eight satrvika-bhavas and thirty-three vyabhicaribhavas making a total of 49. Here also later theorists add some more bhavas. This will be discussed later. For the present let us see what Bharata has to say as read below : "bhavan idanim vyakhyasyamah. atra aha-bhava iti kasmat? kim bhavanti iti bhavah ? kim va bhavayanti iti bhavah ? Ucyate. vag-anga-sattvopetan kavyarthan bhavayanti iti bhava iti. bhu karane dhatuh. tatha ca bhavitam vasitam krtam ity anarthantaram. loke'pi ca prasiddham-aho hy anena gandhena rasena va sarvam eva bhavitam iti. tac ca vyaptyartham." (pp. 185, Edn. Unni., ibid) "Now we shall explain the bhavas (emotions). Here it is asked : why are they called bhavas ? Are they called bhavas since they "happen to exist ?" OR, they are called so since they "cause to exist ?" The answer is : They are bhavas since they convey (to the audience) the theme of the poem by means of speech, physical action and mental feelings. The root bhu' means 'to become'. Thus words like 'manifested' 'pervaded', 'performed' etc. are synonymous. It is well known in common parlance that "everything is pervaded by this particular 'smell' or 'taste'. Here the meaning is pervasion." (Trans. Unni., pp. 185, ibid) We prefer Dr. Unni's rendering to that by Dr. Bhat (Ref. 'Bharata-NatyaManjari; B.O.R.I. pub., Poona, '75) Bharata further has - "slokas'ca'tra - "vibhavair ahito yo'rtho hy anubhavais tu gamyate vag-anga-sattvabhinayaih sa bhava iti samjnitah." "vag-anga-mukha-ragena sattvena"bhinayena ca, kaver antargatam bhavam bhavayan bhava ucyate." "nana'bhinaya-sambaddhan bhavayanti rasan iman, yasmat tasmad ami bhava vijneya natya-yoktrbhih." (pp. 186, ibid). (Trans. Unni., pp. 186, ibid) : There are some related stanzas : "The meaning brought about by the Vibhavas (excitants) is suggested by anubhavas (ensuants) by means of production of speech, bodily movements and mental feeling and hence it is termed as bhava (emotion). It is termed as bhava since the intentior of the poet is conveyed through the representation of speech, facial expression and depiction of mental feelings. The various sentiments related to the vivid represetation are conveyed and hence should be understood by dramatists that they deserve the name of bhavas." For Personal & Private Use Only

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1250 SAHRDAYALOKA [It may be noted that at times Dr. Bhat's English rendering seems to be richer but by and large we have a gut feeling that Bharata has found a natural abode in Unni's heart who has rendered the whole of N.S. in English along with some notes from A.bh. So we go with Unni. However, for vibhava. anubhava and wabhicaribhava, we prefer Gnoli's rendering such as determinant. 'consequent and 'ancillary feeling'.) Bharata continues - (pp. 186, Unni, ibid): "atha vibhava iti kasmat? ucyate - vibhavo nama vijnanarthah, vibhavah, karanam, nimittam, hetur iti paryayah. vibhavyate anena vag-anga-sattvabhinaya iti vibhavah yatha vibhavitam vijnatam ity anartha'ntaram. (pp. 187) atra slokah - "bahavo'rtha vibhavyante vag-anga'bhinaya"srayah, anena yasmat tena'yam vibhava iti samjnitah." (Trans. Unni.-ibid pp. 186, 7): "Why is it called vibhava (exitant) ? The answer is - Vibhava (knowledge) Karana (reason), nimitta (instrumental or efficient cause) and hetu (logical reason) are synonyms. Vibhava is called so since through it the representations of speech, bodily gestures and mental feelings are expatiated (Dr. Bhat renders it as (pp. 97, ibid). Vibhava, Karan (cause), nimitta (instrument), hetu (reason) are synonyms. As words, physical gestures and the psycho-physical acting (connected with the representation of stable and transitory mental states] are specifically determined by this (vibhavyante), it is therefore called vibhava.) (Unni) - Vibhavita (conceived) and vijnata (comprehended) are of the same connotation. Here is a stanza : This is called Vibhava since many ideas are represented by the employment of speech and gesticulations of limbs through this. "atha anubhava iti kasmat ? ucyate * anubhavyate anena vag-angasattvakrto'bhinaya iti. atra slokah "vaganga'bhinayeneha yatas tv artho'nubhavyate sakhangopanga-samyuktas tv anubhavas tatah smotah." (Trans. Unni.) : Why is this termed anubhava (ensuant) ? The answer is - it helps the representation of speech, bodily gestures, and mental feelings in performances). Here is a stanza - This is called 'anubhava' since the ideas are For Personal & Private Use Only

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The concept of "Rasa" 1251 represented by speech, bodily gestures and other ancillaries (through these ensuants)." Bharata further suggests that thus the bhavas along with vibhavas and anubhavas have been expatiated. Thus their existence is established. He further discusses the characteristics of these bhavas (= emotions) along with their vibhavas and anubhavas providing illustration where required. Bharata observes that vibhavas and anubhavas are loka-prasiddha i.e. welknown in the world. He does not define them to avoid prolixity as they follow the human nature : "loka-svabhava'nugatatvac ca tayor laksanam nocyate'tiprasanga-nivrttyartham." Bharata now comes to discuss 49 bhavas. Of them eight are basic emotions i.e. permanent moods, thirty three are transitory feelings and eight are internal feelings (or-psycho-physical emotions). Thus 49 feelings and emotions are to be understood as factors that help to suggest poetic sentiment. By these, through proper combination, rasas are caused. There is a stanza - "yo'rtho hrdaya-samvadi tasya bhavo rasodbhavah, sariram vyapyate tena suskam kastham iva'gnina." That meaning which is endearing i.e. closer to heart gives rise to emotions that result in production of sentiment, which pervades the whole body as fire engulfs the dry wood.. Bharata explains that it is true that through the proper combination of vibhavas, anubhavas and vyabhicarins as presented through kavyartha i.e. poetic content, make for the production of sentiments, but it is generally stated that the sthayins or basic emotions attain the status or rasa i.e. poetic relish. This is so, Bharata observes, because this is so observed in normal worldly context also. This is explained by an example. Just as, Bharata observes, among men having common characteristics such as having equal hands, feet, bellies and other limbs only some attain to royal position on account of noble birth, habit, education, cleverness in arts and crafts, while others are rendered to the position of their followers because of meagre intellect, in the same way, vibhavas, anubhavas and vyabhicarins become subservient to the sthayibhavas. Sthayins attain the status of masters as For Personal & Private Use Only

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1252 SAHRDAYALOKA others are dependent on them, and vyabhicarins are like subordinates. Thus other bhavas becoming subordinate to respective sthayins which are principal subserve the latter which attain to the status of rasa. If it is asked if there is any example here, it is stated that, a man having many followers and attendants attains the position and nomenclature of a king, but not others who also possess many servants, however great they may be. Similarly only the sthayin coming in conjunction with vibhavas, anubhavas, and vyabhicarins, gets the name of rasa - "atra"ha-ko drstanta iti. yatha narendro bahujana-parivaro'pi san sa eva nama labhate, na'nyah sumahan api purusas tatha vibhavanubhava-vyabhicari-parivrtah sthayi bhavo rasa-nama labhate." (pp. 189, ibid) A sloka is quoted to the effect that like king among men, and teacher among pupils, the sthayin is always superior among different bhavas. Bharata observes that the characteristics of the bhavas that become rasas have been already stated with illustration. He will now enumerate the general features of the various bhavas, beginning of course, with the sthayibhavas first. Bharata then considers the eight sthayibhavas such as rati and the like, individually with reference to the factors that cause and express them. After this, Bharata takes up the vyabhicarins. He observes: (pp. 196, 197, Unni., ibid): "vyabhicarinah idanim vyakhyasyamah atra"ha vyabhicarina iti kasmat ? ucyate 'vi' 'abhi' ity etav upasargau. cara iti gatyartho dhatuh. vividham abhimukhyena rasesu caranti iti vyabhicarinah. vag-anga-sattvopetan prayoge rasan nayanti'ti vyabhicarinah. atra"ha-katham nayanti'ti. ucyate-loka-siddhanta esah. yatha surya idam dinam naksatram va nayatiti. na ca tena bahubhyam skandhena va niyate. kintu loka-prasiddham etat yathedam suryo naksatram dinam va nayatiti. evam ete. prayogam nayanti'ti vyabhicarina ity avagantavya nama. ta eva samgrahabhihitas trayastrimsad vyabhicarino bhavah. tan varnayisyamah." - (Trans.) "Now we shall deal with the transitory feelings. Here it may be asked why do we call it as "vyabhicari"? The answer is - 'vi' and 'abhi' are prefixes. Root 'car' means to 'move'. Hence those which lead different objects or ideas towards rasa or sentiment are called "vyabhicarins". Here it may be asked - How do they lead? The answer is: It is well-known from the world that "the sun leads this 'day' or 'star'. He does not carry by his arms or by his shoulders. Still it is said in this world that the sun leads the star or the day. Thus these carry forward the performance and are to be designated as vyabhicarins. In the synoptic digest these are enumerated as thirty-three (in number). We will explain them in detail." - - For Personal & Private Use Only

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The concept of "Rasa" 1253 Bharata then deals individually with 33 vyabhicarins such as nirveda and the rest. Bharata observes : "evam ete trayas trimsad vyabhicarino bhava desa-kala'vastha'nurupyena atmagata-paragata-madhyastha uttama-madhyama'dhamaih stripumsaih sva-prayogavasad upapadya iti." (Trans. Unni) "These thirty-three vyabhicarins (transitories) should be represented by people of three types such as superior, middle and lower, in accordance with the suitability of place, time and situation in their actions." (pp. 222, ibid) With this remark Bharata ends his discussion on vyabhicarins and then takes up the consideration of sattvika-bhavas. It may be noted that our respected guru Dr. V. M. Kulkarni (Ref. "outline of Abhinavagupta's Aesthetics." Pub. 98, Ahmedabad) has considered the problem of the nature of Sattvika-bhavas in great detail. Bharata observes (pp. 223, ibid, Unni): atra"ha - kim anye bhavah sattvena vina'bhiniyanta yasmad ucyante ete sattvikah iti ? atrocyate-evam etat. kasmat ? iha hi sattvam nama manah-prabhavam. tac ca, samahita-manastvad ucyate. manasah samadhau sattva-nispattir bhavati iti. tasya ca yo'sau svabhavo romanca'sru-vaivarnyya"di-laksano yathabhavopagatah, sa na sakyonyamanasa kartum iti. loka-svabhava'nukaranac ca natyasya sattvam ipsitam. ko drstantah ? iha hi natya-dharma-pravsttah sukha-duhkha-ksta bhavas tatha sattva-visuddhah karya yatha sarupa bhavanti duhkham nama rodana"tmakam. tat katham a-duhkhitena, sukham ca praharsa"tmakam a-sukhitena abhinayet? etad eva asya sattvikatvam. a-duhkhitena a-prahrstena va'sru-romancau pradarsitavyav iti krtva satrvika bhava ity abhivyakhyatah." (Trans. Unni.) - "Here one may ask-Is it so that the other emotions are represented without the presence of mind, that these are called 'sattvika-bhavas' - the internal feelings that are self-manifested ? The, answer is : yes; it is so. Why ? 'Sattva' means 'a state of mental disposition', or originating from the mind'. And that is evolved through the concentration of the mind. By the concentration of mind sattva is originated. Its natural characteristics are made evident by romanca (horripilation), asru (tears) and vaivarnya (change of colour) (following due emotion), - which could not be evidenced by absentmindedness. Since the nature of the dramatic performance is an imitation of the worldly actions, mental presence is definitely sought for. What is the evidence for this ? Here the emotions like pleasure and pain are to be represented (in dramas) following certain theatrical conventions in such a mentally purified or affected manner so that they may become true to life. Pain or misery calls for crying and For Personal & Private Use Only

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1254 SAHRDAYALOKA how can it be represented by one who does not feel sorrow ? Pleasure is of the nature of excessive joy and how can it be represented by one who does not feel happiness ? So this is what is stated as its mental or internal status. These are called satrvika-bhavas-external manifestations of internal feelings and explained so since feelings like tears and horripilation can be represented (on the stage) by persons who are not at all happy or worried. The eight sattvikas are : "stambhah svedotha romancah svarabhedotha vepathuh vaivarnyam-asru-pralaya ity astau sattvikah matah." Bharata then individually takes up each sattvika bhava and explaines how it can be performed. * Bharata also explains which vyabhicarins and satrvika bhavas would go with which rasa : "ekona-pancasad ime yathavat bhavas tryavastha hy udita mayeha, bhuyas ca ye yatra rase niyojyas srotum arhanti tu vipra-mukhyah." (pp. 226, ibid, Trans., Unni) - "Thus I have shown here forty nine emotions divided into three divisions. Oh best of Brahmins, now it is upto you to listen to the explanation as to which of these pertain to the particular sentiments in its delineation." Bharata then explains and names the vyabhicarins and sattvikas that go with this or that rasa. Bharata ends the chapter with some special observations concerning bhavas and rasas. He observes (pp. 228, 229, Unni. ibid; and also trans) - na hyeka-rasajam kavyam kincid asti prayogatah, "bhavo va'pi raso va'pi pravrttir vsttir eva va., bahunam samavetanam rupam yasya bhaved bahu, sa mantavyo rasah stayi, sesah sancarino matah, dipayancah pravartante ye punah sthayinam rasam. vibhava'nubhava-yukto hyanga-vastu-samasrayah For Personal & Private Use Only

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The concept of "Rasa" 1255 sancaribhis tu samyuktah sthayyeva tu raso bhavet." na hyeka-rasajam kayyam naika-bhavaika-vrttikam. vimarde rangam ayati prayuktam hi prayatnatah "nanabhavartha-sampannah sthayisattva-vicarinah puspavakirna kartavyah kavyesu hi rasa budhaih. evam rasanam bhavanam vyavasthanam iha smstam, ya evam etan janati sa gacchet siddhim uttamam." (Trans. Unni. pp. 228, 229, ibid): "But then there is no such poem which depends on a single sentiment alone. A bhava (emotion) or a rasa (sentiment), a pravrtti (dress) or vitti (style) join together to enhance a particular feeling which then attains the position of a sthayin-permanent mood developing into the status of Rasa, while relegating others to the position of transitories. These enhance the permanent mood to make it a rasa. The permanent mood (sthayi) alone can in conjunction with vibhavas (determinants), anubhavas (ensuants) and vyabhicarins (transitories) transform itself into the state of rasa (sentiment). The actors should bestow particular case to stress the mental involvement in the delineation of the sthayin - the permanent mood, whereas in representation of sancarins-transitories, gestures and posture suffice. There is no poem dealing with a single sentiment, nor dealing a single bhava (emotion) or a vrtti (style); though all of them combine to produce the desired sentiment; permanent moods, internal feelings and transitories possessing different thematic qualities should be arranged in a poem in such a way that they appear as flowers strewn all over to raise them to the position of sentiments. Thus the relative positions of rasas (sentiments) and bhavas (emotions) are explained here. He who understands this properly is sure to achieve supreme success (in performances)." Here ends Bharata's discussion on bhavas, i.e. vibhavas, anubhavas, 33 vyabhicarins and eight sattvikabhavas. In the earlier chapter he had dealt with eight rasas. As suggested by us, Abhinavagupta has gone into greater details concerning the problem of rasa-nispatti, a discussion sparked by different interpretations of Bharata's rasa-sutra by different authorities, and also concerning the subtle nature of sattvikabhavas, as discussed ably by Dr. V. M. will pick up this thread in due course, but for the present we will try to examine what earlier alamkarikas from Bhamaha to Rudrata have to say on rasa, bhava and such related topics. - For Personal & Private Use Only

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1256 SAHRDAYALOKA It may be noted beforehand that the concepts of rasa and bhava and the theories concerning their relish had a hoary past even prior to Bharata and Bharata talks of "kavya-rasa" at innumerable places suggesting that the theory of rasa, that originated perhaps as a theory of art in general was made applicable to dramatic as well as poetic art much earlier than Bharata. So far as his NS. is concerned we find some concepts of literary criticism such as guna, alamkara, laksana and dosa also being considered in a separate chapter to take care of literary value which any normally good written script of a play should possess. Thus, long before Bhamaha, we find literary criticism seen flowered in circles of critics that cared for art in general and literary art in particular. We do not know whether Lollata and the rest who discussed the birth of rasa had which predecessors who shaped their thinking; but one thing is clear that all this had a telling effect on alamkarikas such as Bhamaha and other ancients whose works have come down to us. The general theory of art was made applicable to various literary forms as well and no doubt Bhamaha wanted kavya to be graced by rasa/bhava etc. The vibhavadis for sure, as Abhinavagupta is to explain later, were presented in form of words (i.e. sabda-rupa) in poetry and all alamkarikas even prior to Anandavardhana were aware of it. With this clear understanding we will move to Bhamaha. Bhamaha - As observed earlier, the comparatively simple rasa theory or say arttheory in general presented by Bharata in the NS. becomes the subject matter, later, of fine-analysis and recondite discussion in the hands of writers adept in various darsanas and sastras. Perhaps different darsanika views entered into the discussion of art-theory also and rendered some colour of their own and made the matter quite complicated and subject of intellectual exercise. Abhinavagupta has recorded such views and later alamkarikas and commentators on works on poetics and dramatargy have added to this bulk with Jagannatha perhaps at the end presenting nearly eleven views on rasa-realisation. Abhinavagupta does it both in his A.bh. and also in his Locana on the Dhv. But before we come to study this treatment of rasatheory given by later writers, we will first move to Bhamaha and other known writers upto Rudrata, who were prior to Anandavardhana and see what they have to say in this regard. Bhamaha of course had his predecessors, yes, many of them, and we hardly know anything about their works or views except some names such as 'Medhavin' that he mentions. This perhaps may not be a proper noun. It may be just a reference to some "intelligent" authority. Whatever it may be, Bhamaha, for sure looked into many works of his predocessors, now lost to us. He observes (Bhamaha, V. 69): For Personal & Private Use Only

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The concept of "Rasa" "iti nigaditas tas ta vacam alamkrtayo maya bahuvidha-krtair drstva'nyesam svayam parikirtya ca, pariprathita-vacasah santobhijnah pramanam iha'pare gurutaradhiyam asvaradham manokrta-buddhibhih." He also observes at VI. 64 - "vyalokya matani satkavinam avagamya svadhiya ca kavya-laksma, sujanavagamaya bhamahena grathitam rakrila-gomi-sununedam." Thus it is clear that Bhamaha inherited admired, accepted and then presented in his own way the rich heritage of literary criticism from his predecessors and surely Bharata must have been one of those. He also mentions by name some 'Rajamitra' (Bhamaha, II. 45) Kavya, and also of "sakhavardhana", and some 'Ramasarman' (Bhamaha, II. 58). Medhavi finds mention at "ityevam upamadosa sapta medhavinodita", and at "sankhyanam iti medhavi", etc. 1257 Thus a rich heritage of literary criticism came down to Bhamaha. Now we will try to investigate Bhamaha's attitude towards rasa/bhava etc. At the outset it may be noted that in the earlier alamkarikas such as Bhamaha, Dandin etc. we do not come across any theoratical discussion on rasa-realisation. These earlier writers on poetics had their own concept of kavya as word and sense taken together in general. All that rendered charm to poetry was termed "alamkara" in the wider sense of the term. Thus they thought of poetry first, and then 'beauty' in poetry, i.e. 'alamkara'. Bhamaha names this as "vakrokti" in general, at II. 85 "saisa sarvaiva vakroktir anaya'rtho vibhavyate, yatnosyam kavina karyah kolamkaronaya vina." This is in tune with his expression viz. "vakra'bhidheya-sabdoktir ista vacam alamkrtih." Thus expression of 'vakra' i.e. beautiful word and 'vakra' i.e. beautiful sense makes for poetry in Bhamaha. This 'vakrokti' or expression of beauty is the same as 'atisayokti' or expression of 'atisaya' i.e. 'lokottara' i.e. something special in poetry which distinguishes it from ordinary speech. This is a wider sense given to "alamkara". Later Abhinavagupta in Locana explains 'vibhavyate' as 'that which is turned into a 'vibhava' i.e. 'determinant', which causes 'rasa'. Dandin also, we will For Personal & Private Use Only

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1258 SAHRDAYALOKA go to see, refers to this wider sense of the term 'alamkara' when he says that all factors that make for poetic beauty are called alamkaras - "kavya-sobhakaran dharman alamkaran pracaksate." (Kavyadarsa, II. i.). Vamana also takes the term 'alamkara' in a wider sense when he observes that 'oetry is to be distinguished by alamkara', and 'beauty is alamkara' - (Ka. Su. Vr. I. i. 1, 2) kavyam grahyam alamkarat' and 'saundaryam alamkarah." Thus whatever is a source of charm in poetry is broadly termed 'alamkara' by the ancients. These writers, as observed earlier, could not have been unaware of the concepts and theory of rasa/bhava as propounded by Bharata and his predecessors, as can be ascertained by the definition of 'mahakavya'. It seems they tried to approach this problem of rasa, and its position in poetry, by taking it as 'alamkara' in the wider sense of the term, i.e. as a source of beauty in poetry. This explains the appearance of the whole group of what we may term - "emotion-based alamkaras", such as rasavat, preyas, urjasvi, samahita etc. Thus it may prove interesting to study the treatment of these alamkaras by these earlier alamkarikas in order to trace their attitude towards the - concepts of rasa-bhava etc. in poetry. Bhamaha (I. 21b) describes a mahakavya to be gifted with various rasas : "yuktam loka-svabhavena, rasais ca sakalaih prthak." Thus not only Bhamaha knows of rasa, but he knows of many rasas - perhaps eight, nine or even more. That kavya should inherently describe 'loka-svabhava' also seems to take Bhamaha closer to Bharata who wanted 'natya' as one that concerned itself primarily with 'loka-svabhava', i.e. 'worldly context.' in general. Bhamaha treats the alamkaras such as preyas, rasavat; urjasvi and samahita in the third pariccheda of his Kavyalamkara. His approach to 'rasa/bhava'-concepts is clearly discernible in this treatment of emotion-based alamkaras. Rasavat is defined by Bhamaha at III. 6. In this chapter he treats 23 alamkaras. He mentions these alamkaras in III. 1-5 and begins with 'preyo rasavad urjasvi, paryayoktam samahitam' (III. I. 9). Preyah is taken up at III. 5 but no definition is attempted. Instead, only an illustration is given. Bhamaha observes (III. 5 a, b, c) - "preyo-glha"gatam krsnam avadid viduro yatha - adya ya mama govinda jata tvayi grha"gate, kalenaisa bhavet pritis tavaiv agamanat punah." For Personal & Private Use Only

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The concept of "Rasa" 1259 "Preyolamkara (is seen as when). Seeing Krsna reaching his place, Vidura said, "O Govinda, the pleasure or joy that I experience to-day on your arrival (at my residence), will be experienced again at a time of your arrival (again at my place) - This clearly is an illustration of a 'bhava', i.e. 'ratir deva"di-gata' i.e. an expression of love towards a divinity or personal god. Vidura's love for Krsna is the object of description in this poetry. Krsna is the alambana vibhava, his arrival is the uddipana vibhava, the poetic expression is an anubhava and all this is spurred by due vyabhicarins. Thus the whole complex of bhava-dhvani is narrated in this illustration. Of course no theory is laid down by Bhamaha, but he knows the technical difference between 'rasa' and 'bhava' as explained clearly by later alamkarikas and also by his predecessors such as Bharata and whoever else there might have been. But this 'bhavokti' is termed to be 'preyolamkara' - i.e. an 'alamkara' i.e. a 'source of poetic beauty' by Bhamaha. He may call it this or that, but the fact remains that he is aware of and also appreciative of the presence of what is termed 'bhava' in literary criticism. 'Rasavat' follows similarly at III. 6. again only illustrated and not defined. If III. 5 took care of 'bhava' or 'bhavas' in poetry, III. 6. refers to the presence and due recognition of 'rasa' or 'rasas' in poetry III. 6, reads as - "rasavad darsita-spastasrngara"di-rasam, yatha devi samagamad dharma - (or, cchadma) maskariny atirohita (or .hite.")." - 'Rasavat' is an alamkara, not defined by Bhamaha but only explained by pointing out to a context or an incident. The clear reference is to the incident described in Kumara-Sambhava of Kalidasa when Parvati was taken over by love, shell-shocked at the revelation of the original form of Lord Siva, whom she wanted to be her husband, who threw aside the artificial covering of a mendicant. Bhamaha's words are to be understand as below: "Rasavat occurs as when Devi i.e. Parvati came across (samagamat) (an expression; avirbhavam), graced by clear suggestion of sentiment of love and the like. The 'adi' in 'srngara"di' should refer to the pleasant surprise 'vismaya' leading to 'adbhuta-rasa' as an accompanying or 'gauna' rasa, with love i.e. srngara for Lord Siva as principal i.e. in centre. This happened when the artificial covering of an ascetic arguing against Lord Siva was suddenly forsaken by the Lord and who appeared in His true form. For Personal & Private Use Only

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1260 SAHRDAYALOKA Again here Bhamaha does not define the alamkara but merely presents the full context and its effect, thereby suggesting that 'rati' the basic emotion and 'srngara' the resultant sentiment are but a matter of suggestion through the vibhava"dis. Here Lord Siva is the alambana vibhava for Parvati and throwing away of the the uddipaka. Lajja, avahittha etc. are the accessories and sudden dazed expression and tremour-vepathu are the anubhavas. As truely explained by Tatacarya (Edn. Tiravadi, '34, pp. 64, ibid) there is a clear reference to the Kumarasambhava incident. Tatacarya reads : "cchadma-maskariny atirohite'iti tv atra pathena bhavyam. "svarupam asthaya ca tam krta-smitah, samalalambe vrsaraja-ketanah." "tam viksya vepathumati sarasanga-yastir niksepanaya padam uddhstam avahanti marga'cala-vyatikara" kuliteva sindhuh sailadhirajatanaya na yayau, na tasthau." iti mahakave rasa-syandini suktir atra granthakarasya htdaye sthita. "Urjasvi? is again (Bhamaha, III. 7) not defined, but as in case of the earlier appreciation of bhava and rasa, here also a bhava - "garva" suggesting a bhavadhvani or even vira-rasa later, is only illustrated by citing an incident. The context is that Karna took an aim at Arjuna by placing 'sarpastra' on his bow. The serpent left alive after khandava-vana-burning also seeking revenge took his position on this arrow without being noticed by Karna. Lord Krisna saw all this and saved Arjuna and the aim with that special arrow failed. The serpant now appeared before Karna and requested him to take the aim with the same type of arrow i.e. 'sarpastra' again. Salya also advised Karna to repeat the adventure. But Karna dismisses the serpent and the proposal to take a similar aim with the words." Does Karna take an aim, O Salya, for a second time ?' (No; go away!) For Personal & Private Use Only

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The concept of "Rasa" 1261 Thus in this verse also Bhamaha does not attempt any definition but describes the vibhava'di complex that suggests the feeling of self-respect or pride on the part notion here is purely suggested. The speech of Karna displays a lofty emotion of valour or saurya, perhaps not developed to the capacity of rasa. Thus 'urjasvi' like 'preyas' is a bhava-based alamkara as against rasavat having a fuller expression concerning the suggestion of a sentiment. 'Samahita' (Bhamaha, III. 10) is explained as, "Samahita is illustrated in Rajamitra (a poetic composition); - when ksatriya ladies were going to appease Parasurama, Narada appeared before them."Here Bhamaha refers to a situation wherein the ksatriya ladies, being terrorised by the wrath of Parasurama, who was out to kill their husbands, were making an effort to appease him. Narada arrives and helps them in their cause. Thus the whole incident has some reference to the quelling of the emotion of Parasurama's anger and also to the quelling of the fear on part or the ladies. Thus it is "bhava-santi" or suggestion of the quelling of an emotion. In later alamkarikas, the element of chance on the part of Narada's sudden accidental appearance is given greater importance and this makes for the later alamkara or figure of speech called 'samadhi'. The elements of the quelling of emotion seems to have been ignored. But not so in Bhamaha, who hereby suggests his aquaintance with what is termed as "bhava-santi" in Bharata, and also in later alamkarikas. But this for Bhamaha, is only an "alamkara", a source of beauty in poetry. This observation makes it clear that Bhamaha is not unfamiliar with the idea of rasa bhava in general, though, he nowhere indulges in any theoretical treatment of the same. He thus subsumes the fact of rasa, under what may be termed as 'emotion-based' alamkaras. But it may be noted that Bhamaha's use of the term 'vibhavyate' at II. 85, is explained later by Abhinavagupta in his 'locana' as "vibhavana" i.e. 'sadharanikarana' and 'asvada-yogyi-karana' taken together. Thus we see that the fact of rasa is here treated under the general category of alamkara. We however find that Bhamaha, while describing mahakavya, as observed earlier, certainly draws upon the N.S., and refers to the five sandhis - "pancabhis sandhibhir yuktam" and also to all rasas - "rasais ca sakalaih prthak" (I. 20, 21), as characterising a mahakavya. So, eventhough he has not incorporated or adopted discussions on rasa as read in the NS., he is definite in his view that as in the case of a nataka, the body of a mahakavya, a major composition in poetry, also consists of five sandhis and is pervaded by various rasas. As to naraka (I. 24) he has referred to other works, obviously those on dramaturgy beginning with NS. and any other that may not have come down to us. He observes (I. 24) For Personal & Private Use Only

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1262 SAHRDAYALOKA "natakam dvipadi-samyarasaka-skandhaka"di yat, uktam, tad abhineyartham uktonyais tasya vistarah." He has here taken note of not only nataka but other minor art-forms also as discussed by us in an earlier chapter. Dandin : From the theoretical point of view, Dandin's position seems to be identical with that of Bhamaha, with reference to the topic of rasa and bhava. He also incorporates rasa/bhava etc., under such figures as rasavat, preyas, etc. He speaks of rasa elsewhere also. At I. 51, Kavyadarsa he defines 'madhurya' guna as, "madhuryam rasavat, vaci vastuny api, rasasthitih." i.e. - "that which is having rasa, is madhurya. Rasa resides both in vak i.e. word and sense and also; in 'vastu' i.e. 'content. We do not go deeper in analysing his understanding of where 'rasa' stays, i.e. what exactly is the abode of rasa. But one point is clear that he seems to hold that in poetry both form and content contribute to rasa. 'Rasa in word and object - should mean this. At - II. 292, again he explains 'madhurya' as 'a-gramyata' i.e. 'lack of or absence of vulgarity'. Dandin, II. 292 reads as : "vakyasya'gramyatayonir madhuryam (V1. .ye) darsito rasah, iha tv astarasa"yatta rasavatta smrta giram." Taruna-Vacaspati explains as : "evam songara"dibhih astabhih, purva-darsitena ca a-gramyatarupena rasena navadha rasatvam iti rasavad alamkaram upasamharati; vakyasyeti." - This is not very clear. Or, perhaps Taruna Vacaspati does not know the secret of rasa. Hrdayamgama is perhaps clearer when it observes - "madhuryagune pradarsitah sabdarthayor agramyataya jatah rasah vakyasya bhavati. alamkarataya nirdistam rasavatvam astarasa"yattam eva." But even this does not ring sound. By 'agramyata' of 'sabdarthau', perhaps grammatical correctness or 'sadhutva' of 'vak' is implied. Bhamaha had called it to be "supam tinam ca vyutpattim" which was taken by some as 'alamkrti', but not so by Bhamaha who called it only to be "sau-sabdya". At least a sort of grace descends on language which is grammatically chaste and this may be taken as having a sort of beauty-natural beauty - or 'rasa' - in a figurative way. Perhaps these commentators drive at this. Dandin perhaps does not seem to take 'rasa' in its 'NS. For Personal & Private Use Only

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The concept of "Rasa" 1263 sense' i.e. technical sense, but only in the general sense of say, 'kavya-rasa' or 'poetic beauty in general; in all such occurrences. Hemacandra says the same when he observes : "sruti-varna'nuprasabhyam vag-rasam, a-gramya'bhidheyataya tu vastu-rasah. Manikyacandra also agrees to this (pp. 180, K.P. anandasram edn.) when he observes : "sruti-varna'nuprasabhyam vagrasah, a-gramyataya tu vasturasah. ittham raso dvedha. At III. 149, (Dandin) again "giram rasah" is explained by Tarunavacaspati as 'sadhutvam' only as explained by us above. At. I. 62, (Dandin) which reads as : "kamam sarvopy alamkarah rasam arthe nisincati, tatha'py agramyataiv enam bharam vahati bhuyasa." 'rasa' does not seem to carry any technical connotation, but that of beauty of content and expression'. Dandin like Bhamaha, incorporates rasa-bhava"di under emotionbased alamkaras such as preyas, rasavat, and urjasvi. II. 275 reads as : "preyah priyatara"khyanam rasavad rasa-pesalam, urjasvi rudha'hamkaram yukrotkarsam ca tat trayam." Dandin treats of these figures at II. 275, 294. It may be noted that the 'prabha commentary (Edn. Poona, B.O.R.I. '70) explains Dandin with full knowledge and application of the rasa-theory in NS., as well as in the context of Anandavardhana and Abhinavagupta's views on dhvani. Thus 'prabha' (pp. 257, under II. 275 as quoted above) observes - "trayanam asamlaksyakramatva-rupaika-dharmatvat ekatra nirdesah." Now whether Dandin knew rasa"di-dhvani to be 'asamlaksyakrama and vastu-alamkara-dhvani as "samlaksya-krama" or not, is a position not very clear to us. The fact that Dandin was a predecessor of the Dhvanyaloka suggests that he could not have this technical terminology before him, but on the other hand we cannot even rule out this possibility because Anandavardhana had suggested that 'dhvani' tradition was 'samamnata-purva' and Abhinavagupta had made it clear that this tradition was not caught in 'book-form, prior to the Dhvanyaloka' - 'vina'pi visista-pustakesu vinivesanat.' Thus an oral tradition cannot be ruled out. Perhaps Bhamaha. Dandin and other ancients knew it for sure but did not choose to elaborate 'dhvani' or 'vyanjana' in their works. For Personal & Private Use Only

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1264 SAHKDAYALOKA In Kavyadarsa II. 275-292 at the end of which we find a note such as "iti rasavaccakram" in Prabha-edn., we find the following observations on the part of Dandin : "By preyah is meant a more beautiful or lovelier expression. ['priyatara"khyana' is explained by prabha (pp. 257, ibid) as - 'priyataram bhava bhivyaktya boddhavyasya prityatisayakaram, vaktur va pritya'dhikya-sucakam preyah preyo nama'lamkarah] 'rasavad' is that which is delightful on account of rasa. (i.e. tender due to rasa). ['prabha' observes : (pp. 257, ibid): tatha ca rasa-pesalam rasena ratya"di-sthayibhava-rupena pesalam, sahrdaya"nanda-jananam akhyanam rasavad alamkarah). 'Urjasvi' is that where 'garva' pride or self-respect is conveyed, (prabha, pp. 257, ibid observes : tatha rudhah abhivyaktah ahamkaro garvah yatra tadrsam akhyanam, urjasvi.). These three are having 'utkarsa' or blossoming (of language) and hence deserve to be stamped as 'alamkaras'. Prabha (pp. 257, 258, ibid) observes - "yuktah alamkara-vyapadesopayuktah utkarsah vacyasobha yasmat tat. tat trayam tesam preyah-prabhitinam trayam alamkara-vyapadesarham bhavati ity arthah. sadrsya"dayo vacyartha-sobha-janakatvad yatha upamalam kara"dayo bhavanti, tatha bhava"dayopi tenaiva karanena alarmkara-vyavaharya bhavitum yukta ity arthah." II. 276 cite the illustration viz. "adya ya mama govinda..." etc. This expression contains the 'bhagavad-visayaka-rati-bhava' i.e. 'love for God' on the part of Vidura. As it is conveyed through an artful sentence-structure, it strengthens the beauty of expression towards conveying love for God. II. 277 says that Hari was absolutely pleased - 'su-pritah' - listening to Vidura's apt expression. God is 'bhakti-matra-samaradhya' i.e. to be propitiated by devotion alone. II. 278, 279 also express love for God on the part of king Ratavarma when Lord Siva presented Himself before the king. This expression is also 'priti-prakasanam', an illustration of 'bhava-dhvani'. With II. 280, Dandin turns to 'rasavat' and illustrates all the 'rasas' as 'rasavad alamkara'. II. 280 is an illustration of sambhoga-srngara. This is supposed to be an expression of Udayana at the sight of Vasavadatta whom he had taken as dead. Dandin observes (II. 281) that the 'priti' that was expressed in earlier illustrations has reached the status of 'Stngara'. "prak pritir darsita seyam ratih songartam gata." For Personal & Private Use Only

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The concept of "Rasa" 1265 Thus Dandin, following Bharata, knows the differences between 'bhava' and 'rasa'. Rati with reference to 'deva' i.e. god and the like reaches to the level of bhava (dhvani), but love for the beloved scales the heights of 'songara-rasa'. Dandin calls it to be 'rasavad vacah (= alamkarah)' on account of "rupa-bahulya-yoga' - "rupabahulya-yogena tad idam rasavad vacah" (II. 281 b). Prabha (pp. 265, ibid) explains it as - "rupa-bahulya-yogena rupasya svarupasya bahulyam vibhava'nubhavavyabhicari-bhava"dibhih pariposas tasya yogena sambandhena songara-rasatvam prapta." - In VS. II. 282-291 Dandin illustrates and explains raudra-rasa, and then vira, karuna, bibhatsa, hasya, adbhuta and bhayanaka. With this he completes the discussion on eight rasas as acceptable to him. Perhaps he was not inclined to accept the santa-rasa. He observes at the end of "rasavac cakram", VS. II. 292 : "vakyasya'gramyata-yonir madhurye darsito rasah iha tv asta-rasa"yatta rasavatta smrta giram." 'agranyata' is explained at I. 62-67, 68. Perhaps obscenity concerning theme is not welcome to Dandin. But even grammatical irregularities also should walk in as 'agramyata', for faulty use of language never pleased Bhamaha. Urjasvi (VS II. 293-294) for Dandin, is suggestion of a bhava called 'pride' or 'garva.' Prabha observes : (pp. 272) * "darpasalina ahamkaravata kena'pi pumsa, virena, evam uktva yuddhe niruddhah parajitah parah satruh, muktah, gantum anujnatah. tat tasmad ayam urjasvy alamkaro jneyah. evam adikam yatha atra vira-rasa'vyabhicari garva urjasvitvenoktas tatha anya-rasa'vyabhicari urjasvi bhavati ity arthah." Thus for Dandin preyah, rasavat and urjasvi cover the emotion-based alamkara as in case of Bhamaha. For both Bhamaha and Dandin the instances of rasa and bhava are 'alamkara' of 'vak' i.e. poetry, in the broader sense of the term. It may be noted however, that Abhinavagupta, (pp. 272, A.bh., N.S. Vol. I. G.O.S. 2nd Edn.), while explaining Lollata's view on rasa being "caused by the vibhava"di milieu, observes that earlier writers such as Dandin also held a similar view. "cirantananam ca ayam eva paksah. tatha hi dandina sva'lamkara-laksane abhyadhayi-"ratih songaratam gata, rupa-bahulyoyogena" (iti kavyadarse ii. 281), "adhiruhya param kotim kopo raudra"tmatam gatah", itya"di ca. For Personal & Private Use Only

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1266 SAHRDAYALOKA rupabahulya-yogena' is explained by Taruna-vacaspati as 'by coming together of determinants, etc.' . "tad idam rasavat. rupa-bahulya-yogena vibhava'nubhavavyabhicariyogena ity arthah." The HIdayamgama adds - "rary abhidhanah esa sthayi bhavah motety adina vag arambha'nubhavena anumiyamanaih harsa-dhsti-smrti-vitarka-prabhrtibhih vyabhicaribhih samsrjyamanah karunanantaram srngara"khyam labhate. tena anvitam etat rasavat. We have seen that for Dandin 'preyas' is 'priyatara"khyan.' i.e. felicitous expression (VS. II. 275) and 'rasavat' is where rasa abounds - 'rasapesalam'. Urjasvi nas pride or garva, a bhava as dominant or that expression which has appropriate excellence - 'yukrotkarsa'. We have seen from the illustrations cited by Dandin that it becomes clear that for him, preyas occurs in case of the suggestion of some bhavas. Taruna-vacaspati observes : "deva-guru-pitra"di visayah priti-prakasah preyah." In the same way, urjasvi exhibits a bhava of 'garva' or 'pride'. Thus actually 'rasavat' is concerned with what is later termed as rasa-dhvani, while both preyas irjasvi have a concern, with what is later termed as 'bhava-dhvani', though we keep our fingures crossed and suggest that this later classification was perhaps not fully known to Dandin. Of course Anandavardhana holds that 'dhvani' was "samamnata-purva", but we may not fully endorse Rangacarya Reddi's views expressed in Prabha that rasavat, preyas and urjasvi for Dandin are grouped together because all of them form the varieties of what is called "a-samlaksyakrama-dhvani" - i.e. dhvani with sequence not noticed in it. He observes : yanam a-samlaksya-kramarupaika-dharmatvat ekatra nirdesah." On the contrary we may take these early writers as those who had just, unknowingly, touched the fringes of dhvani - "dhvani dig unmilita api na laksita." Prabha does not identify 'samkaksyakrama'dhvani' elsewhere. But at the same time, we feel that Dr. S. K. De (pp. 212, SKT. Poetics) is surely off the mark when the observes : "But the Rasa in these figures is subordinate to the expressed figure itself which it serves as a means of embellishment, "alamkarataya smotam"; in other words, the rasa is developed not for its own sake, but as increasing the beauty of expression." We fail to agree with this. Nowhere Dandin suggests that "rasa"di' make only for what is technically termed later as "gunibhutavyangya." By "alamkarataya smotam", what Dandin actually means is that here (i.e. in this illustration) karuna rasa becomes the 'alamkara' of kavya. Rasa-bhava"di are accepted - 'smta' - by Dandin as only alamkara of poetry. The term alamkara is to be taken in the wider sense, as already For Personal & Private Use Only

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The concept of "Rasa" 1267 noted by us, as a "kavya-sobhakara dharma" i.e. that characteristic of poetry which makes for poetic beauty. For otherwise, if we follow Dr. De here, we fail to trace any other alamkara either of sound or sense in these illustrations, to which a particular rasa or bhava can be subordinated. Again, Dandin calls 'rasavat to be that which is "rasa-pesala" i.e. that which causes delight due to rasa" (II. 275). It may also be understood that for both Bhamaha and Dandin 'preyask and 'Urjasvi' are concerned with a bhava (or, what may be termed 'bhava-dhvani' in later context). In that case there is no point in counting two alamkaras one each going with 'bhava' of rati with refrence to deva, nopa, guru, or garva-ahamkaragoing with vira-rasa. For us, there is no logic in naming one bhavadhvani as 'prevas' and the other as 'uriasvi'. Or perhaps there can be traced some degree in ascendance of these bhavas. Perhaps uriasvi illustrates 'bhavodava', as termed in later parlance and prevas has 'bhava-samdhi' as its goal, with bhavas such as rati. and wabhicarins as harsa etc. join hands here. We are not very sure about this. Dandin also, like Bhamaha, while describing the characteristics of a mahakavya wants it to be (VS. I. 14-20) "rasa-bhava-nirantaram" (I. 18). (i.e. rasais ca bhavais ca nirantaram, paripurnam-Prabha, pp. 21), and that it should also possess welldefined samdhis. He also, like Bhamaha refers to other works for a discussion on the nature of drama - (misrani nataka"dini, tesam anyatra vistarah VS. I. 31 ab) - Vamana does not treat these alamkaras. He, however, has tried to incorporate rasa in his own way in the fartha-guna' - i.e. excellence concerning sense, viz. 'kanti', which he defines at III. 2-15 as, "dipta-rasatvam kantih." Now, by 'diptarasa' Vamana does not refer only to vira, or raudra rasa but any rasa which is "fully aroused". For, he observes : "diptah rasah srngara"dayo yasya sa dipta-rasah. tasya bhavo dipta-rasatvam kantih." - (vrtti, on III. 2.15). Scholars observe that Vamana seems to make an advance over his predecessors in subsuming rasa under gunas, which for him, form the 'essential characteristic of poetry. 'Gunas' for Vamana are 'nitya-dharmah, as compared to alamkaras that are accidental or impermanent - 'anitya', a distinction, which does not seem to have been either even made or even acceptable to Bhamaha and Dandin alike. We have no great faith in the observation of these scholars, for the predecessors of Vamana had a more catholic concept of alamkara, which was the invariable characteristic of poetry. For them 'gunas' were special alamkaras of this or that 'marga' or style but upama etc. were 'sadharanam alamkarajatam" i.e. beautifying agents common to both the margas or all the margas i.e. poetic styles. For Personal & Private Use Only

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1268 SAHRDAYALOKA Udbhata : In the fourth varga of his Kavyalamkara, he mentions emotion-based figures in the first karika. He defines, what he calls 'preyasvat' in IV. ii as - "ratya"dikanam bhavanam anubhava"di-sucane yat kavyam badhyate sadbhis tat preyasvad udahstam." When great poets compose poem in which 'rati' and such other bhavas are indicated (or suggested) by anubhavas or consequents it is said to be having 'preyas' - i.e. it is 'preyasvar. The Vivrti (Edn. G.O.S., '31) suggests that here 'rati' is to be understood with reference to god, preceptor, king etc. "ratir iha deva-guru nopa"di-visaya glhyate. Pratiharenduraja also explains that this viz. preyasvat is a 'bhavakavya' The N.S. Edn. Bombay, 1928, pp. 56 has - "evam ete bhavanam avagati-hetavas carvarah yad uktam bhattodbhatena - "caturupa bhava". tad esam ratya"dikanam bhavanam pancasat-samkhyanam yany anubhava"dibhis catur samkhyaih samastatvena vyastatvena ca yathayogam sucanani sva-laksana svarupanam samanyavastha"paditanam pratipadanani taih kavyam, upanibadhyamanam preyasvat. 'preyah'-sabdavacyena priyatarena ratya"lambanena vibhavanena ratir upalaksyate. taya ca sahacaryad ratya"dayo bhavah pancasad avagamyante. evam ca bhava-kavyasya preyasvad iti laksanay, vyapadesah. atra ca bhavanam alamkarata, kavyam alamkaryam." 'Preyas' is alamkara and 'preyas-vat kavya is alamkarya for Udbhata as explained by Pratiharenduraja. Vivrtikara (on IV. 2 pp. 32), is also clear that - "kanta-visayayas tu rateh sucane rasavad alamkaro vaksyate." When love is narrated with reference to the beloved it is the province of 'rasavat alamkara. Actually the more we read of Vivrti and also of Laghu-vrtti, we feel that both the Vivrtikara as well as Pratiharenduraja are not great alamkarikas and they do not have a very clear grasp of the basics of aesthetics as explained at the highest level by both Anandavardhana and Abhinavagupta, who are a class by themselves. 'Rasavat is the next alamkara discussed by Udbhata at IV. 3 (or 4) as - "rasavad darsita-spastasrngara"di rasad ayam, For Personal & Private Use Only

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The concept of "Rasa" 1269 sva-sabda-sthayi-sancari vibhava'bhinaya"spadam." "that in which the development of sentiments such as srngara and the like is clearly shown, and in which are included (the indicators such as) a verbal statement of the sentiments, the stayin, the sancarins, vibhavas and abhinaya." Now 'rasavat' is that 'having rasa'. This is different from the earlier alamkara which centres round bhava' and not 'rasa'. But Udbhata seems to believe that 'rasa' can be 'sva-sabda-vacya' and this is absolutely against the dictum of Anandavardhana and Abhinavagupta and their followers. Jagannatha gives a number of views on rasa, where even sthayin, sancurin, vibhava, abhinaya (i.e. anubhava) etc. are also individually taken as rasa or indicators, or suggestors of rasa. So, this theory also is ancient, though immature. Udbata also mentions nine rasas, with 'santa' clearly mentioned as a separate rasa. Poetry as substratum of rasa is said to be 'rasavat' as explained by Vivrtikara (pp. 34) : "tesam aspadam yat kavyam badhyate tat kavyabandhanam rasavat." Pratiharenduraja also observes (pp. 58, ibid) : "etesam ca svasabda"dinam pancanam samasta-rupataya srngara"di-rasa"virbhavo darsyate tat kavyam rasavat, rasah khalu tasya alamkarah." Dr. De, as we had quoted earlier seems to be under the influence of these commentators. Pratiharenduraja is himself perplexed as he knows both Anandavardhana and Abhinavagupta. He can not explain the ancient alamkarikas in their proper context. So, he observes : (pp. 58. ibid) - "rasanam bhavanam ca kavyasobha'tisava-hetutvat kim kavva'lamkaratvam uta kavya-sivitatvam iti na tavad vicaryate grantha-gaurava-bhayat. rasa-bhava-syarupam ca'tra na vivecitam aprakrtatvad bahuvaktavvatvac ca." 'Urjasvi' is explained by Udbhasa in a way which has nothing to do with what Bhamaha or Dandin had to say. For Udbhata, what is later termed rasa"bhasa or bhava"bhasa is said to be 'Urjasvi'. He observes : (IV. 9. pp. 59) "anaucitya-pravrttanam kama-krodha'di-karanat, bhavanam ca rasanam ca bandha urjasvi kathyate." i.e., Urjasvi is "the delineation of sentiments (= rasas), and feeling (= bhavas) which hurt the sense of propriety in their depiction, or which are expressed in For Personal & Private Use Only

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1270 SAHRDAYALOKA passion, anger, etc." This is an entirely novel explanation of Uriasvi. It may also be noted that the use of such terms as, "kama-krodha"di-karanat" perhaps suggests that 'rasa' according to Udbhata as in case of Dandin, is 'caused by factors such as vibhava"dis. Abhinavagupta had tried to read Lollata's view in Dandin. This can be extended to Udbhata also. 'Samahita' (IV. 7 or 14 ?) is defined as : "rasa-bhava-tad abhasa-vrtteh prasama-bandhanam anya'nubhava-nihsunya-rupam yat tat samahitam." i.e. Samahita is, "the description of the quelling of sentiments (rasa), feelings (bhava) or their semblances (abhasas), quite unmixed with other accessories (such as anubhavas). Vivsti (pp. 36, ibid) explains this as - "anaucitya-pravrtta rasa-bhava rasa"bhasa-bhava"bhasa-sabda-vacyah. tena sastra-viruddhanam a-sastraviruddhanam va rasa-bhavanam ya prasantir nibadhyate tat parihararupatvat samahitam. na ca rasantara-pradurbhavo'trety uktam anyasya rasasya anubhavair nihsesena sunyam." The last remark is interesting. The commentator explains that not only there is quelling of emotion or sentiment both authorised and unauthorised makes for samahita, but there should not be the possibility of enhancement of any other rasa also and to guarantee this it is stated that "no other anubhava (or anubhava of no other rasa) should be present here." It may be stated that Udbhata has fully grasped the NS. of Bharata and he knows what Bharata has to say about rasa"bhasa and bhava"bhasa. He also knows about bhava-prasama i.e. quelling of emotion. Pratiharenduraja (pp. 60, ibid) also observes : "ha rasa-bhavanam sastrasamaya a-viruddhena tad-viruddhena ca rupena dvaividhyam uktam. tatra ye sastra-samaya'-viruddha rasabhava terasa-bhava-sabdena'tra vivaksitah. tadviruddhas tu tadabhasah. tesam rasa-bhavanamca ya vrtcih svasrayasambandhatmika, tasyah prasame nibadhyamane samahitalankaro bhavati. tatra hi, tesam rasa-bhavanam samadhanam samadhih pariharo bhavati. Samahitam iti bhave ktah." For Personal & Private Use Only

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The concept of "Rasa" 1271 Thus it appears that Udbhata treats of rasa as a part of alamkara. But he has made a sort of an advance in discussing rasa, eventhough as an alamkara, as can be seen in the definitions of preyasvat and the like. He mentions terms such as 'anubhava' and refers to the 'sva-sabda-vacyatva' of rasa. Thus he seems to have more closely applied Bharata's theory to poetry though even the earlier masters were throughly conversant with Bharata when they described the 'sarga-bandha' as graced by "su-sandhis" and "vividha-rasas". But for Udbhata rasa can be sva-sabdavacya, which is not acceptable to Anandavardhana and his followers though a stray mention of a vyabhicarin or sattvika, or even a sthayin is tolerated as such instances are met with in creations of such greats as even Kalidasa, Bharavi and the rest. Udbhata also mentions 'santa-rasa' which is advocated very passionately by Anandavardhana and Abhinavagupta. Rudrata Coming to Rudrata, we find a still greater advance in the incorporation of ideas pertaining to rasa. The first point to be noted is that he does not include rasavat, preyas, urjasvi etc. in his treatment of alamkaras. At I. 4, in his kavyalamkara, he characterises 'kavya' as 'sa-rasa' i.e. blessed with aesthetic relish or rasa. He observes (I. 4, pp. 4, Edn. Chowkhamba Vidyabhavan, Varanasi, '66 Sri. Ramdev Shukla) - "jvalad-ujjvala-vak-prasarah sarasam kurvan mahakavih kavyam, sphutam akalpam analpam pratanoti yasah parasya'pi." Surely, this applies not only to a maha-kavya but any good composition by a great poet, or a first-rate poet, a mahakavi. It can begin with a muktaka and end with an epic in metrical compositions and anything drafted in prose that bears the charm of poetry, i.e. literature, belles - letters, in general. In the later adhyayas, i.e. Chs. XII-XVI, we find the topic of rasa discussed along with the discussions on the nayakas, nayikas i.e. heroes and heroines etc. Actually Rudrata seems to be the first known alamkarika who seems to include topics treated in greater details in the NS. Of Bharata, in his work on literary aesthetics. This trend flowers in Hemacandra and later in Visvanatha. His justification for bringing in this topic of rasa is as follows: He observes that poetry should incorporate rasas because those who have an aesthetic bent of mind are frightened by the dry teachings of the sastras. They can learn wisdom about the four ideals or ends of life i.e. 'purusarrthas' from poetry which is full of rasas. For Personal & Private Use Only

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m . 1272 SAHRDAYALOKA Rudrata, XII. 1.2, read as - "nanu kavyena kriyate sarasanam avagamas caturvarge, laghu mtdu ca nirasebhyaste hi trasyanti sastrebhyah." tasmat tat kartavyam yatnena mahiyasa rasair yuktam, udvejanam etesam sastravad . eva anyatha hi syat." (XII. 1, 2) Namisadhu observes (on Rudrata, XII. 2) (pp. 373, ibid) that rasas are not considered while dealing with the figures of sense, because poetry has word and sense for its body and vakrokti, vastava, etc. as literary embellishments, while rasas are like beauty, the natural quality (sahajah gunah), and therefore are excluded : "atha alamkara-madhya eva rasah api kim noktah. ucyate-kavyasya hi sabdarthau sariram. tasya ca vakrokti-vastava"dayah kataka-kundala"daya iva krtrima alamkarah. rasas tu saundarya"daya iva sahaja gunah iti bhinnas tat prakarana"rambhah. Thus, as noted earlier, rasas are treated by Rudrata with reference to (kavyaphala) (i.e.) the object of poetry, as derived by connoesseurs. He then directly proceeds with the enumeration or rasas such as - srogara, vira, karuna, bibhatsa, bhayanaka, adbhuta, hasya, raudra, santa, and preyas i.e. ten in all.' (XII. 3) He reads as - "songara-vira-karuna bibhatsa bhayanakadbhuta hasyah, raudrah santah preyan iti mantavya rasah sarve." The order of rasas has hardly any rhyme or rythm. We know that Bharata has given a particular order which is logically explained by Abhinavagupta. At XII. 4, Rudrata suggests that rasas are so termed because they are relished as such - "rasanad rasatvam etesam" : "rasanad rasatvam etesam madhura"dinam ivoktam acaryaih, For Personal & Private Use Only

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The concept of "Rasa" 1273 nirveda"disv api tan nikamam asti iti te'pi rasah." This means that Rudrata accepts a position that even, the 33 vyabhicarins such as 'nirveda' and the like, are also capable of being relished in the same fashion as are the sthayins and therefore the number of rasas may not be limited to just eight, or nine or ten etc. Namisadhu on Rudrata XII. 4, quotes from Bharata and explains Rudrata's stand : "sthayi-bhavanam eva rasanam bhavisyati ity aha - nirveda"disv api tad rasanam nikamam astiti hetos tepi rasa jneyah. yasya tu pariposam na gatas tasya bhava eva te, ayam asayo granthakarasya - yad uta na'sti sa ka'pi cittavrttir ya pariposam gata na rasi-bhavati. bharatena sahrdava"varjakatva-pracuryat saminam ca"srityastau nava va rasa ukta iti." Namisadhu explains that on account of greater number of sahrdayas enjoying eight or nine rasas, and by resorting to the samjna i.e. specific term given to it, Bharata has counted eight or nine rasas. But in fact even Bharata accepts as many rasas as are bhavas that are capable of being fully relished. Thus, this discussion again suggests that Rudrata here treats of rasa-nispatti as seen in Bharata and correlates it with the sahrdava who relishes rasa as a kavya. phala. Perhaps this prepares the background for Anandavardhana and then Abhinavagupta who connect rasa-enjoyment with the connoisseur and that too as a kavya-phala, 'phala' for Rudrata being equated with 'prayojana' in the A.bh. which explains the famous-expression, "kavyartho rasah" as "kavyasya prayojanam rasah", wherein the, term 'artha' is not 'abhidheyavaci but 'prayojanavaci. Rudrata then proceeds to give two varieties of songara viz. 'sambhoga' and 'vipralambha' and then proceeds with different types of nayakas i.e. heroes and his companions. XII. 6 onwards, Rudrata describes the different types of nayikas. The XIIIth chapter is devoted to sambhoga-songara and the XIVth chapter treats of the other variety viz. the vipralambha songara. In the XVth chapter Rudrata describes the other rasas viz. vira, bibhatsa, bhayanaka, adbhuta, hasya, raudra, santa and prayan. After Udbhata. Rudrata is the next known alamkarika who openly accepts the Santa, and is even more generous when he talks of preyan and then the basic possibility of each bhava, sthavin or otherwise flowering into the position of fullfledged rasa. At the end of Ch. XIV he also suggests (XIV. 36) that when either of the two lovers is not interested in the other, it becomes the case of songara"bhasa. For Personal & Private Use Only

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1274 SAHRDAYALOKA Namisadhu introduces XIV. 36 with the remark viz. : anyonya'nurakta-pum-naryoh srngaro'nyathatve tu srngara"bhasa ity aha - "songara"bhasah sa tu yatra virakte'pi jayate raktah, ekasminn aparo'sau na'bhasyesu prayoktavyah." (XIV. 36) i.e. iongara takes place when both a man and woman are involved in love. Otherwise it is 'songara"bhasa' or only false imitation of love. Says he (i.e. Rudrata) - "When the other one is in love eventhough the first one is not in love, it is the case of false appearance of love (i.e., srngara"bhasa). This (i.e songara"bhasa) is not to be practised in case of noble characters (such as king etc.)." Rudrata taking hints from Bharata, then describes ritis and vrttis appropriate to different rasas - (XIV. 37). "iha vaidarbhi ritih pancali va vicarya racaniya, madhura-lalite kavina kavye vstti tu songare." Namisadhu observes : atha'tra ritinam anuprasa-vrttinam ca'vasare visayavisaya-vibhagam aha-(this is followed by the verse quoted as above). This shows that all other thought-currents such as riti, vrtti etc. where supposed to be correlated with rasa in the centre even by Bharata and the early tradition he inherited and also by Rudrata and other ancients who followed Bharata. So, when Anandavardhana and Abhinavagupta in the Dhy. and Locana follow this scheme, it is only a clearer application of Bharata's theory as followed even by the ancients. Rudrata (XIV. 38) also observes : "anusarati rasanam rasyatam asya nanyah sakalam idam anena vyaptam abala-vrddham, tad iti viracaniyah samyag esa prayatnad bhavati virasam eva'nena hinam hi kavyam." The central position of songara-rasa is neatly brought out by Rudrata, and Anandavardhana and Abhinavagupta also prescribe this. It is also suggested by all these authorities that delineation of Stgara requires great care as it is very delicate in nature. The last adhyaya is devoted by Rudrata to different types of prabandhas. For Personal & Private Use Only

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The concept of "Rasa" 1275 It should be noted as already seen by us above, that in the light of the remarks of Namisadhu, Rudrata is inclined to take rasa as "sahaja guna" i.e. 'natural quality of kavya i.e. poetry, as against alamkara which is an artificial (krtrima) device and therefore an external ornament. Vamana was the first to say that gunas are "nitya dharma" i.e. 'permanent quality of kavya, as against 'alamkara' or ornaments i.e. figures of speech that are 'anitya-dharma' or 'impermanent characteristic of kavya. Vamana incorporated rasa in what he termed "kanti guna" which formed one of the essentials of poetry, as compared to alamkara, which is for him, 'external to poetry. Thus we see that the tendency to make rasa as something essential to poetry rather than an alamkara which is external, first originated in Vamana and seems to have been carried on in Rudrata. Of course, we may say in favour of Bhamaha and Dandin that, in their own way they never took 'alamkara' i.e. 'atisaya', i.e. 'vakrata' as external to poetry. "The individual forms or shapes this 'vakrata' takes can be different. What Vamana and later alamkarikas including the dhvanivadins did was that they mistook the variety for the substance; and therefore the impermanancy of a particular expression of vakrata as 'alamkara' and therefore, taking it in a limited sense of the form it takes, took it to be 'a-nitya'. In fact as re-insisted by Kuntaka, it is the 'vakrata', or 'atisaya' or 'alamkaratva' of an alamkara which was favoured by Bhamaha and Dandin. But then Vamana, Rudrata and the Dhvanivadins later had their own way of presentation of poetic beauty and virtually there was nothing different in their views. Rudrata, as noted above, in the last chapter of his work treats of the various types of prabandhas or literary compositions. He observes that the four aims of life (= purusarthas) should be treated in prabandhas with rasas intermixed in them : Rudrata XVI. i. observes : "jagati caturvarga iti khyatir dharma'rtha-kama-moksanam, samyak tan abhidadhat rasa-sammisran prabandhesu." "In the world, the four viz. dharma, artha, kama and moksa are said to be the ends of life. They should be narrated carefully in literary compositions in a way intermixed with rasas." Thus, for Rudrata 'rasa' is the central characteristic of poetry in general which serves the purpose of attainment of the four aims of life. With this, he further notices the varieties of prabandhas in poetry viz. (maha) kavya, and katha, akhyayika etc. Thus major compositions accordings to Rudrata are either in verse For Personal & Private Use Only

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1276 SAHRDAYALOKA or in prose. These two basic types are again subdivided into works having plots imagined by the poets or based on tradition. These again could be mahat i.e. long or laghu i.e. short. Thus by laghu-prabandha he seems to cover any form that can go under 'minor' composition. Rudrata (XVI. 5) observes that the major compositions are such that treat of all the four ends of life in a wider scale, wherein also all the rasas find place with varieties of descriptions (kavyasthanani) in-built in them." : "tatra mahanto yesu ca vitatesv abhidhiyate caturvargah, sarve rasah kriyante kavyasthanani sarvani." by 'kavyasthanani', according to Namisadhu is meant the stuff described such as "puspoccaya-jalakrida"dini." But we can take Rudrata's expression to mean, "sarve rasah kavyasthanani kriyate", i.e. "all rasas are made to be the base of poetry." The minor compositions deal with any one out of the four ends of life, and not all rasas are delineated in it but just one rasa, or failing if many rasas are delineated they do not individually dominate the whole composition, i.e. they occupy portions of the poetic composition or are not fully delineated. Rudrata observes (XVI. 6) : "te laghavo vijneyah yesv anyatamo bhavec caturvargat, a-samagra'nekarasa ye ca samagraikarasa-yuktah." It may noted that Rudrata perhaps does not insist on the size, bigger or smaller of the composition but on the fact that such laghu-prabandhas are they pursue only one end of life. May be large or small size is taken as inherent in these, or perhaps only smaller compositions are intended. Again delineation of all rasas not to their fullest posibility or a single rasa to its fullest possibility are the options. But 'a-samagra' and 'samagra' may have reference not to the complete or incomplete delineation of rasa but to the part of the composition. Thus a prabandha is laghu if it delineates many rasas of equal prominance in various portions of its theme, or is one in which a single rasa emerges as a total effect. se are options which can be thought over while interpreting Rudrata's words. For Personal & Private Use Only

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The concept of "Rasa" 1277 But one thing that emerges as supreme is that for him, no poetry of whatever form is welcome without 'rasa'. While dealing with smaller or minor compositions Rudrata suggests (XVI. 33.34) that in such compositions in prose (or even in verse), the 'karuna rasa' or 'pravasa-srngara' i.e. vipralambha should be delineated : "atra rasam karunam va kuryad athava pravasa-songaram, prathamanuragam athava punar ante nayakabhyudayam." (XVI. 34, Rudrata). With this ends our investigation in the concept of rasa as seen in sources beginning with the Vedas and Vedic literature, down to earlier alamkarikas ending with Rudrata. In the next chapter we will take care of the attitude of the alamkarikas of the Kashmir School of thought, beginning with Anandavardhana and ending with Jagannatha. For Personal & Private Use Only

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Chapter XV "Concept of Rasa" as seen in Anandavardhana and others posterior to him.". Two points have to be borne in mind that, in this chapter, we will not discuss the theory of rasa-ralisation as read in different works such as those of Abhinavagupta, Mammata and the rest, and that we will cover up writers on dramaturgy beginning with Dhananjaya/Dhanika and the rest. For the theory of rasa-realisation and the nature of rasa, number of rasas and santa-rasa we will devote the next two chapters. With Ch. XVIII - 'natakanirnaya' will end the part I of this huge project. As noted earlier, with Anandavardhana, we enter, as it were, into a new era of sanskrit literary criticism. He seems to have fully realised the importance of rasa both in poetry and drama, and tries to give rasa a prominent place while incorporating it in his general scheme of "vyanjana-dhvani-rasa" as applied to poetry in particular. Before we start with any further discussion we have to bear a maior point in mind very clearly that, 'rasa' is not equivalent only to presentation of emotive stuff only, but it involves the total personality of the aesthete, including his intellectual and volitional aspect translated in worldly activity also. Rasa is both 'sui-generis' and 'pari-passu' with any art in general including poetry and drama and the chief distinguishing characteristic of rasa-experience is 'vigalita-vedvantaratva-anubhuti'. i.e. an experience where anything else than the art prescented falls out of the scope of the enjoyer's consciousness for that moment. This was known to Bharata and his predecessors and successors and is very much known to Anandavardhana, Abhinavagupta and a host of other writers in India, who have written with authority on any art-form. With this remark, which we will discuss further in Ch. XVII, we continue our investigation with Anandavardhana. For Anandavardhana then, the soul of poetry is 'dhvani' 'i.e. principal suggested sense', arrived at through the verbal function of vyanjana. This 'dhvani' or the For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1279 principally suggested sense is for him three-fold viz. vastu-dhvani or suggestion of an idea or matter of fact, alamkaradhvani or suggestion of a poetic figure or a descriptive device, and rasa-dhvani or suggestion of sentiment or emotive stuff in general. It may be borne in mind that suggestion of emotive stuff is not congruent to 'rasa', but is one of the aspects of rasa. This rasa-dhvani-both in its emotive context and in its wider context is regarded as the highest type of dhvani by Anandavardhana (= A.). For him, this 'rasa' as seen by us under his treatment of Dhvani (Ref. Ch. XI) is never the object of direct statement i.e. it is never 'sva-sabdavacya', meaning it is never realised just by naming it or using its proper name. Rasa is always realised indirectly, i.e. it is suggested through the delineation of proper vibhava, anubhava and vyabhicaribhava i.e. determinants, consequents and ancillaries, of course described through words, as Abhinavagupta explains in Locana i.e. sabda-samarpyamana-in poetic art. These vibhava"dis are visually presented in dramatic art. They take different forms through different media in various different arts as dance, music, painting, sculpture and the rest. Thus A. seems to have achieved a great point while harmonising the concepts of rasa as seen in the dramatic art or art in general and that of the verbal power, the vyanjana function in poetry. - We have underlined two streams of thought viz. the one pertaining to sabdavrttis, with particular reference to vyanjana and dhvani in literature, and the other pertaining to the origin and development of the concepts of rasa and cognate ideas. In the Dhvanyaloka, we find these two currents meeting and merging with each other in a clear scheme not read as such in the ancient alamkarikas from Bhamaha to Rudrata or others not known to us. A. seems to bring forth, to the best of our knowledge and also to the knowledge of Abhinavagupta, for the first time, a harmonious and integrated theory or vyanjana-dhvani-rasa. We will try to analyse A.'s integrated theory in greater detail. In earlier chapters on vyanjana and dhvani (i.e. Chs. VIII & XI) we have outlined A's theory. A. himself states that he had to lay down clearly the theory of dhvani as its form was negatived by some of his anteriors. But, it may be noted that, as we have not been able to find the earlier theorists who propagated dhvani (as stated by A. in his remark - "samamnata-purvah"), in the same way, we do not know exactly who opposed dhvani prior to him, which prompted him to write his monumental work. We have however, found theories about the two functions of the word viz. primary and secondary i.e. bhakta, without of course putting it systematically, and we have found the seeds of vyanjana in these. We also looked into the various darsanas for For Personal & Private Use Only

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1280 SAHKDAYALOKA different theories of word and meaning that served as a rich heritage and inspiration for A. and his followers. Considering however, A.'s arguments and illustrations to prove the independent verbal function of vyanjana, we cannot deny the possibility that there might have been a tradition among the teachers of poetics or literary critics, which embodies affirmation and denial of vyanjana. These teachers might have been (as seen in the Ch. on vyanjana-virodha, i.e. Ch. IX) his contemporaries or near or earlier predecessors. A. quotes, without naming a verse, with a remark - "tatha ca anyena krta evatra slokah." This verse rediculed the fact of dhvani. The Locanakara identifies the author of this verse as some 'Manoratha kavi' who was A.'s contemporary, i.e. 'samana-kala-bhavin'. If Abhinavagupta is right in this identification, and we have no reason to denounce it, we may conclude that amongst the contemporaries of A., the theory of 'wanian-dhvani-rasa' must have been propounded, denounced and also stoutly defended. But as to teachers earlier than this, of dhvani, we have no independent corroborative evidence. With this general resume we will consider A.'s views. We find that A., by three progressive stages comes to regard rasa as the atman or soul of poetry. The first stage is found in the second karika of the first udyota of the Dhvanyaloka, wherein A. asserts that - "arthah sa-hidaya-slaghyah kavya"tma yo vyavasthitah, vacya-pratiyamana"khyau tasya bhedau ubhau smotau." "That meaning which wins the admiration of refined critics is decided to be the soul of poetry. The 'explicit and the implicit' are regarded as its two aspects." (Trans. K. Kris. pp. 7, ibid). So, to begin with, for A., the meaning that is commended by the cultured critics is the 'soul of poetry in the first stage. Thus poetry has to have beautiful meaning. But the 'vacya' or expressed aspect of the poetic meaning is not investigated by A. saying that it has been explained, i.e. taken care of by many alamkarikas in the form of various figures of speech like simile and others (karika I. 3) ("bahudha vyakrtah sonyaih). But the other aspect of beautiful poetic meaning is explained to be 'implicit' or pratiyamana and this is explained on the analogy of beauty in fairsex' - "lavanyam iva anganasu" (Dhy. I. 4). This implicit sense, like lavanya, is over and above the several parts of the body. He seems to suggest that beauty is For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1281 something which emerges as is were, as totality of effect, as abstraction coming out of the whole and not individual parts. The 'pratiyamana' or implicit sense also emerges as such an effect. This is the second stage in which the importance of the pratiyamana is established. This is followed by a discussion in the gloss i.e. vrtti on Dhv. I. 4, establishing the difference between 'vacya' and 'pratiyamana'. This discussion, as we note from the vrtti, pertains to, of course, with what is technically known as vastu-vyangya, or suggestion of an idea. The second variety of vyangya that he refers to is alamkara-dhvani. It may be noted that this covers not only the field of figures of speech not directly conveyed, but we may say that this can cover all possible newly invented 'vyanjakas' i.e. turns of expression as practiced by modern writers as say, images and symbols and all devices that are practiced in absurd poetry or absurd theatre to-day by most modern writers in various languages including English, French, German and what not. The third variety of 'pratiyamana' is what he lebels as "rasa"di-laksanah" i.e. rasa, bhava, etc. About this variety it is said that it is absolutely different from the 'vacya' i.e. expressed. This third variety of 'pratiyamana' viz. rasa"di-dhvani is presented as the soul of poetry in Dhv. I. 5, which reads as - "kavyasya"tma sa eva'rthas tatha ca"dikaveh pura, kraunca-dvandva-viyogotthah sokah slokatvam agatah." We have noted what Abhinavagupta had stated in his Locana on this. For him it is not Valmiki's individual sense of sorrow, that is referred to here, but generalised sorrow that becomes the object of Valmiki's poetry. This is the third stage. Thus in the karikas (Dhv. I) 2-4, and the vrtti thereon, we find the philosophy of A., regarding the soul of poetry, in a nut-shell. Charming meaning, appreciated by cultured critics is the soul of poetry, but there too the 'pratiyamana' i.e. implicit sense is more important. This is, we may note, A.'s personal bias. In the three varieties of this 'pratiyamana' i.e. implicit sense, the 'pratiyamana rasa' is the soul of poetry, or better say it is the 'soul of soul' dhvaneh atma." This 'rasa' is explained in the vrtti thereon as "kavyasya sa eva arthah sarabhutah.", thus carrying forward the traditional meaning of rasa as the essence in poetry. The implicit sense in general, i.e. the three-fold implicit sense is something For Personal & Private Use Only

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1282 SAHRDAYALOKA quite different from the direct meaning of words. This point he proves by giving illustrations and explains that the expressed and the implicit are different from each other both in nature and scope. We have seen this in greater details earlier in our chapter on dhvani (i.e. Ch. XI). He has illustrated and explained vastu-dhvani in verses such as "bhama dhammia." etc. It may be noted here, that A. clarifies the point that vastu and alamkara dhvanis can be presented by vyanjana as well as direct statement, i.e. abhidha. Thus they can be both, direct meaning i.e. vacyartha as well as indirect i.e. suggested meaning i.e. vyangyartha. But in case of rasadhvani, however, there is a complete break with abhidha. We have suggested that the field of alamkara-dhvani is capable of covering up certain modern devices used in poetic language such as poetic images and symbols, as well as absurd use of language as seen in absurd poetry or theatre. We have dealt with the illustrations of this variety earlier (Ch. XI). We will also repeat that Abhinavagupta has stated that 'alamkaradhvani' is so termed on the analogy of 'brahmana-sramana'. We will now proceed to A.'s discussion on rasa-dhvani and the general position of rasa in poetry. Coming to the principal variety of vyanjana i.e. rasa-vyanjana, we have first to note that in the implication of rasa, there is no room for the direct use of terms such as srngara, karuna, etc. - i.e. directly naming any rasa, or of terms such as rati, hasa, soka, etc., i.e., naming directly any sthayibhava i.e. basic emotion. What is emphasised here is that merely by repeating these words, the sentiment or emotion which is experienced through poetry, is not evoked. Even in cases where such words as hasa, soka, etc. are used, the sentiment concerned has to be evoked by some other means. The delineation of factors that suggest rasa, are technically termed as vibhava, anubhava and sancari-or vyabhicari-bhava as we have learnt from Bharata and his tradition. The doctrine of vibhava, anubhava and vyabhicaribhava is contained in the famous rasa-sutra of Bharata in his N.S. Anandavardhana, not quoting this sutra directly, discusses this point in the following way. The third variety of the implicit sense viz. rasa"di-dhvani can never be expressed directly in words, i.e. it can never be 'sva-sabda-vacya', and it never enters the field of worldly experience, i.e. loka-vyavahara or ordinary parlance as well. It can be the object of art only, as Abhinavagupta explains - "rasas tu natya eva, na loke" (A.bh. on rasa-sutra). This third type of the implied sense viz. rasa-bhava"di-dhvani is seen to shine out as a result of the power of implication based on the expressed i.e. "aksipta-taya." For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1283 It never becomes the object of direct verbal expression and hence it is necessarily distinct from the the expressed sense. If at all it could be the object of the expressed, it might be so alleged either as being denoted by its proper name, or as being expressed through the delineation of setting and the like. If the first alternative be true, there would be no possibility of an experience of sentiments in instances where their proper names are not employed. Never are they so expressed directly by their proper names. Even when the proper names are present, the experience of sentiments, emotions etc., is not due to them but due only to the delineation of a proper setting and the like. The experience of sentiments, emotions etc. is only given a designation by the proper name and are not at all conditioned by it. A. observes (Dhv. I. iv. Vrtti) - "yatra'pyasti tat tatra'pi visista-vibhava"di-pratipadana-mukhenaiva esam pratitih. sva-sabdena sa kevalam anudyate na tu tat-krta, visayantare tatha tasya adarsanat." Thus, in fact we do not have the experience of sentiments, emotions, etc. in all the instances where only proper names are used. Indeed there is not even the slightest experience of the presence of sentiments in a composition which contains only their proper names such as srngara and the like, and without the delineation of vibhava"di at all. That means, on the strength of both positive and negative argument in favour of vibhava"di, the sentiments emotions etc., are exclusively evoked by the latent power of the expressed, and in no way mentioned directly i.e. explicitly. Thus it stands that rasa-dhvani or the third variety of the implicit sense is quite distinct from the expressed sense and is conveyed only through vyajana (Trans. K.Kris.). Its cognition, adds A., however, may appear to be almost simultaneous with the expressed : "yatasca sva'bhidhanam antarena kevalebhyo'pi vibhava"dibhyo visistebhyo rasa"dinam pratitih, kevalac ca sva'bhidhanad a-pratitih, tasmad anvaya-vyatirekabhyam abhidheya-samarthya"ksiptatvam eva rasa"dinam, na tv abhidheyatvam kathancid iti trtiyopi prabhedo vacyad bhinna eva iti sthitam. vacyena tv asya saheva pratitir ity agre darsayisyamah." (vrtti, Dhv. I. 4, pp. 12, ibid) Here, Abhinavagupta (Locana on Dhv. I. 4) (pp. 24, Edn. Nandi, ibid) - observes : "yas tu svapnepi na sva-sabda-vacyo na laukika-vyavahara-patitah, kintu sabdsamarpyamana-hrdaya-samvada-sundara-vibhava'nubhava-samucita-prag-vinivistaratyadi-vasana-'nuraga-sukamara-sva-samvid-ananda-carvana-vyapara-rasaniya rupo rasah, sa kavya-vyaparaika-gocarah rasadhvanir iti, sa ca dhvanir eva iti, sa eva mukhyataya atma iti." For Personal & Private Use Only

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1284 SAHRDAYALOKA Abhinavagupta seems to suggest that this experience of sentiments and the like, or say, aesthetic pleausure, is of the nature of supreme joy. In the minds of all the individuals, there are certain permanent impressions such as rati, hasa etc. engramed from past life and born of the experience of everyday life. When one me dramatic performance, or reads a poem, one experiences the vibhava, anubhava etc., and the permanent fixed emotions are roused to the status of rasa or a sentiment, and the cultured man experiences supreme joy. This rasa then, is of the form of relish and is recognised as the soul of poetry and only this, in reality, is 'dhvani', and is basically the 'soul. Thus rasa is the subject of vyanjana par excellence. A. treats this third variety of rasa"di-dhvani under the subdivision called asamlaksya-krama-dhvani i.e. suggestion with imperceptible sequence. This variety is placed under vivaksitanyaparavacya-dhvani or abhidhamuladhvani, the second variety being samlaksya-krama-dhvani or suggestion with perceptible sequence. The former, i.e. one with imperceptible sequence includes cases of rasa-dhvani, bhavadhvani, tad-abhasa-dhvani, bhavodaya, bhava-samdhi, and bhava-sabalata. (Dhv. II. 3). These have innumerable sub-divisions, but all these are placed under a common head of a-samlaksya-krama-dhvani. The fact of unnoticibility of the sequence of the expressed and the implicit sense is interpreted in another way by saying that both are as if grasped simultaneously. Rasa"dis rise to the status of dhvani only when they are suggested as principal sense. But when rasa, bhava etc. become subservient to the expressed sense, it becomes the province of the alamkaras such as rasavat and the like, according to A. (Dhv. II. 5) and are termed "gunibhutavyangya" poetry. A. is of the opinion that the asamlaksya-krama-vyangya i.e. rasa"di-dhvani is to be found with reference to varna i.e. a letter or syllable, pada or word, vakya or sentence, samghatana or construction or texture, and prabandha i.e. whole composition. Dhv. III. 2 observes : "yas tv alaksya-krama-vyangyo dhvanir varna-pada"disu, vakye samghatanayam ca sa prabandhe'pi dipyate." Abhinavagupta explains that it is to be seen with reference to a part or fraction of a word - "padaikadesa" or two words i.e. 'pada-dvitaya' also : "adi-sabdena padaikadesa-dvitayanam grahanam." (pp. 206, ibid, Locana, Dhv. III. 2.). For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and..... 1285 The varna or syllables also suggest rasa and the like. A. explains this by saying that letters such as s, s, r, yukta varnas, dh, etc. do not promote spngara-rasa, while they are condusive to bibhatsa and the like. (Dhv. III. 3, 4). The suggestion of rasa through pada or a word is illustrated in the verse. "utkampini bhayapariskhalitamsukanta." etc. In this illustration, the word 'te' makes for the suggestion of the karuna-rasa. Abhinavagupta observes : "iti tadiyam saudaryam idanim satisaya-sokavesa-vibhavaram praptam iti." Suggestion through a fraction of a word is seen as in the verse viz. vridayogan natavadanaya...etc. wherein, 'tribhagah', a fraction in the word "cakita-harini-hari-netra-tribhagah" is suggestive. "krtaka-kupitaih baspambhobhih." etc. is an illustration where a sentence or vakya becomes suggestive. This is an illustration of vipralambha-srngara. At times this suggested sense of the type of rasa is mixed with some alamkara also as in the verse, "smara-navanadi-purenodhah." etc. A. mentions three types of "samghatana" or 'texture' viz. asamasa, madhyamasamasa and dirgha-samasa, and he adds that these three varieties rest on gunas i.e. excellences such as sweetness-madhurya-and the like, and make for the suggestion of rasas, the limiting factor with them being the propriety of thespeaker and the subject-matter and also the literary medium adopted, and form of literature. Dhv. III. 5, 6 27 read as - "a-samasa samasena madhyamena ca bhusita . tatha dirgha-samaseti tridha samghatanodita. (Dhv. III. v) gunan asritya tisthanti madhuryadin, vyanakti sa rasan; tanniyame hetur aucityam vaktp-vacyayoh." (III. 6 Dhv.) visayasrayam apy anyad aucityam tam niyacchati, kavya-prabheda"srayatah sthita bhedavati ca sa." (Dhv. III. 7) For Personal & Private Use Only

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1286 SAHRDAYALOKA A. further points out by way of elaboration that in case of karuna and vipralambha, 'asamasa' - samghatana i.e. texture having absence of compounds is favourable. In 'raudra' however, it can be either 'madhyama-samasa' or 'dirghasamasa' i.e. texture having compounds of two, three, four words i.e. middle-sized compounds, or texture having very long compounds is recommended. He also underlines that in all types of texture, the presence of 'prasada-guna' or excellence called perspicuity is a must - "sarvasu ca samghatanasu prasada"khyo guno vyapi." For it is said to be common to all rasas and all types of textures - "sa hi sarva-rasasadharanah sarva-samghatana-sadharanas'ca." A. observes that samghatana or texture may vary with reference to the form of literature such as 'muktaka' or a single independent stanza and the like; or a prose composition etc. 'Prabandha' or a whole composition also becomes suggestive of rasa as illustrated by the Ramayana or the Mahabharata. The theme could be either historical or imagined as the case may be. But it should be properly beautified by the propriety of vibhava anubhava and sancari-bhava. A. (Dhv. III. 10) observes:" "idanim alaksya-krama-vyangyo dhvanih prabandha"tma ramayanamahabharata"dau prakasamanah prasiddha eva. tasya tu yatha prakasanam tat pratipadyate - vibhava-bhava'nubhava sancary aucitya-carunah vidhih kathasarirasya vrttasyotpreksitasya va. (Dhv. III. 10) iti vrtta-vasayatam tyaktvaananugunam sthitim, utpreksya'pyantara'bhistarasocita-kathonnayah, (Dhv. III. 11) sandhi-sandhyanga-ghatanam rasa'bhivyaktyapeksaya na tu kevalaya sastra sthiti-sampadanecchaya. (Dhv. III. 12) uddipana-prasamane yatha'vasaram antara, rasasya"rabdha-visranter anusandhanam anginah. (Dhv. III. 13) For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... "alamkrtinam saktav apya"nurupyena yojanam, prabandhasya rasa"dinam vyanjakatve nibandhanam." (Dhv. III. 14) (Trans. K.Kris., pp. 135, 137 ibid) "Construction of only such a plot, either traditional or invented, as is charming with its decorum (of the accessories of sentiment, viz.,) stimuli of setting, abiding emotions, emotional responses, and passing moods. (III. 10) 1287 "If in a theme, adapted from a traditional source, the poet is faced with siuations conflicting with the intended sentiment, his readiness to leave out such incidents and inventing in their place even imaginary incidents with a view to delineating the intended sentiment: (III. 11)" "The construction of divisions and subdivisions of the plot only with a view to delineating sentiments and not at all with a desire for mere conformity to rules of poetics" (III. 12) "Bringing about both the high tide of sentiment and its low ebb appropriately in the work; preserving the unity of the principal sentiment from beginning to end (III. 13) A discrete use of figures of speech even when the poet is capable of using them in any number; such are the conditions which underlie the suggestiveness of a whole work of literature in regard to sentiments etc." (III. 14) (Trans. K. Kris.) A. has supplied illustrations of all these practical observations. According to him, a whole composition thus not only by itself suggests rasa, but successively by degrees also, through instances of "samlaksya-krama-dhvani" contained in it. : "na kevalam prabandhena saksad vyangyo raso, yavat paramparyena'pi iti darsayitum upakramate", observes the Locanakara, on Dhv. III. 15. A. illustrates this in the speech of Pancajanya in Madhu-mathana-vijaya or as in 'Visama-bana-lila", when Kamadeva meets his friends. Abhinavagupta explains fully how these speeches of Pancajanya, Yauvana, etc., ultimately help the evocation of the principal rasa. It is also found illustrated in the famous "grdhra-gomayu-samvada" in the Mahabharata. Abhinavagupta (Locana, Dhv. III. 15) observes that the santarasa is fully realized here : "sa cabhiprayo vyaktah santarasa eva parinisthitatam praptah" - A. observes that the rasa"di dhvani is also suggested by case-terminations (= sup), conjugational terminations (= tin) number (= vacana), relation (= sambanha), For Personal & Private Use Only

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1288 SAHRDAYALOKA accidence (= karaka sakti), primary and secondary affixes (= krt, taddhitapratyaya), and also compounds (= samasa). (At all places, the translation either follows K.Kris. directly, or is under his influence.) Dhv. III. 16 reads as - "sup-tin-vacana-sambandhaistatha karaka-Saktibhih krt-taddhita-samasais ca dyotyolaksya-kramah kvacit." Upasargas or prepositions and nipatas or indeclinables also make for suggestion of rasa according to A. who illustrates the same with instances from Kalidasa. The next topic that is taken up for discussion concerns with obstacles in rasavyanjana. A. proceeds to mention certain factors that tend to obstruct the realisation of rasa. He says that a good poet should take pains to avoid such factors as may obstruct the rasa being realised in a big composition or even in a single stanza. Dhv. III. 17 runs as : "prabandhe muktake va'pi rasadin bandhum icchata, yatnah karyah sumatina parihare virodhinam. "prabandhe muktake va'pi rasa-bhava-nibandhanam praty adrtamanah kavir virodhi-parihare param yatnam adadhita. anyatha tv asya rasamayah slokah ekopi samyan na sampadyate." (vitti, Dhv. III. 17). The factors that may cause obstruction in rasa-realisation are enumerated as below : (i) sketching the setting and the like of a sentiment that is of the nature quite contrary to the one in hand; (ii) giving a very lengthy description of something even though it is connected with the main sentiment; (iii) abruptly cutting off the delineation of the sentiment or its untimely evocation; (iv) frequent delineation of a sentiment even if it is fully roused; and (v) impropriety with reference to behaviour. For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... Dhv. III. 18 & 19 read as: "virodhi-rasa-sambandhivibhava"di-parigrahah vistarena'nvitasya'pi vastuno'nyasya varnam; akanda eva vicchittir akande ca prakasanam, pariposam gatasya'pi paunah punayena dipanam; rasasya syad virodhaya vrtty anaucityam eva ca." A. elaborates in his vrtti as below: (i) as for example, after delineating the hero and the setting with reference to santa-rasa, if the same person and setting are immediately thereafter described with reference to srngara-rasa, the first blemish occurs. The above is an illustration of vibhava-parigraha with reference to an opposite type of rasa. Vyabhicariparigraha of the opposite type of rasa is seen when anger of a young beloved is being pacified by words that may promote renunciation. Anubhava-parigraha of the opposite type of sentiment is seen when, in case the beloved has picked up a love-quarrel, the hero is described to exibit expressions-anubhavas pertaining to raudra-rasa by getting angry and bashing the beloved and the like. 1289 (ii) The second blemish takes place e.g. when a poet wants to describe a situation with reference to say, the vipralambha srngara i.e. love in separation, and gets lost into a very lengthy description of mountains, forests etc., on account of his love for 'yamaka' and the like. (iii) Abrupt cutting off of the delineation of a contextual sentiment is a fault, said to occur when, e.g. a poet, instead of finding out the way to unite the hero and the heroine, who have come to know each other's longing for each other, describes something else. This occurs, e.g. in Ratnavali, when on coming of Babhravya, Ratnavali is temporarily forgotten! Untimely evocation of sentiment occurs when e.g. eventhough the battle is on, Ramacandra is described to be suffering due to separation from Sita. Or, it is seen in the delineation of srngara on the battle field in the second act of Venisamhara. For Personal & Private Use Only

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1290 SAHRDAYALOKA A. observes that in the instances cited above, there is a clear breach of propriety and it can not be saved by pointing out that the hero is eclipsed by ill fate. ! : "na ca evam vidhe visaye daiva-vyamohitatvam kathapurusasya pariharo, yato rasabandha eva kaveh pradhanyena sva pravsttinibandhanam yuktam." (vrtti, Dhv. III. 19) A. says that the poets should be solely devoted to the suggestion of sentiment and the like. We have taken pains for all this and not merely for the establishment of dhvani alone ! "rasa"di-rupa-vyangya-tatparyam eva esam yuktam iti yatnosmabhir arabdho, na dhvani-pratipadana-matra'bhinivesena." It may be carefully noted that not only for Bharata, his illustrious predecessors and for Anandavardhana/Abhinavagupta and all the followers of the Kashmir school of poetic criticism, but even for literary and art-critics belonging to schools of thought, apparently not in conformity with A. and Abhinavagupta, 'rasa' means not only sentiment such as srngara, karuna, etc., but it has a wider connotation of aesthetic relish, born of chewing i.e. contemplation on the object of art, getting merged into it, i.e. laya, samapatti, nivesa and what not; i.e. total art-experience which removes all consciousness of anything else than the object of art, during the time of its experience (i.e. tatkalikatva), or we may say, it is an art-experience which is "vigalita-vedyantara". This is acceptable to all Indian art-critics, including Kuntaka, Dhananjaya/Dhanika, Mahima, Bhoja, Saradatanaya and all the rest. The discerning will realise .. also uses the term 'rasa' in both these senses; the 'linga' i.e. determining characteristic of this experience being "vigalita-vedyantaratva". (iv) The fourth difficulty arises when rasa that is already fully aroused is repeatedly described as such. Rasa, after being fully aroused by its constituents and after being relished, tends to fade away in the fashion of a fading flower, if evoked repeatedly. (v) Vyavahara-anaucitya i.e. vrtty anaucitya occurs e.g. when a heroine directly talks about her desire to the hero, and not indirectly through proper gestures and the like. Or, it happens when vrttis - dictions - such as kaisiki and he like, as laid down in Bharata, are described not with reference to their proper conditions or context. A. cites some 'parikara' i.e. 'summing-up' verses to support his statements and observes that whatever is laid down by him is in harmony with the opinion of great poets such as Valmiki and the like. For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1291 He further elaborates the topic and gives instruction as to how to delineate factors as are connected with sentiments of the opposite type, i.e. 'virodhirasas'. He observes : (Dhv. III. 20) - "vivaksite rase labda-pratisthe tu, virodhinam badhyanam angabhavam va praptanam uktir a-cchala." Trans. K.Kris. pp. 165, ibid) : "After the intended leading sentiment has been established on a secure footing, there will be no defect in including even hindrances provided that these come either as foils or as ancillaries." A. is of the opinion that after the intended rasa is fully realised, the hindrances can be delineated in a two-fold way as said above. The 'badhyatva' - i.e. serving as foils of the hindrances is said to be there when they are positively over-come by the intended sentiment and not otherwise. Thus delineated they only tend to enhance the intended sentiment or, these factors cease to be hindrances when they are subordinated. They can be subordinated either in a natural way or in an imagined way. In case of natural subordination, there is no case for hindrance e.g., in the description of disease. with reference to the vipralambha-srogara. But if one describes things that are not natural ancillaries e.g. death with reference to love in separation it will create hindrance. A. is of the opinion that even if a poet thinks that death can be possibly described in case of love in separation, he should not do so. For, if the substratum of sentiment is lost, sentiment itself will be totally blasted. And you are not up to promote karuna here. If the poetry is centred round karunarasa, such description is unobjectionable. Or, at times, description of death, in case of srngara, becomes unobjectionable, if there is a chance for an immediate reunion. In case of a prolonged reunion, the evocation of proper sentiment is retarded. The poet should avoid this. A. illustrates the case of "badhyatvena-ukti" i.e. narration as foils of the hindrances in the verse, viz. "kva'karyam sasa-laksmanah..." etc., or as in case of the advice given by the other sage, when Pundarika is lost in love for Mahasveta. The natural subordination is illustrated as in, "bhramim a-ratim alasa-hrdayatam", etc., superimposed subordination is seen as in, "pandu-ksamam vadanam"; etc., or as in, "kopat komala-bahu-lola-bahu-latikam..." etc. Opposite Sentiments. - A. then proceeds to explain how opposite sentiments are to be delineated in a whole composition. He is of the opinion that eventhough For Personal & Private Use Only

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1292 SAHRDAYALOKA it is accepted that the whole work of poetic composition should abound in different sentiments, the poet, desirous of achieving the greatness of his works, would delineate only one sentiment as the principal one. Dhv. III. 21 - observes : "prasiddhepi prabandhanam nana-rasa-nibandhane, eko rasongikartavyah tesam utkarsam icchata." (Trans. K.Kris., pp. 175, ibid): "Though there is a convention that more than one sentiment should find a place in entire works of literature, one of them alone should be made principal by the poet who aims at greatness in his works." The Vstti on Dhv. III. 22 reads as : "prabandhesu prathamataram prastutah san punah punar anusamdhiyamanatvena sthayi yo rasas tasya sakala-bandha-vyapino rasantarair antarala-vartibhih samaveso yat sa nangitam upahanti." . "When a sentiment happens to be intended as primary in a work and is kept up constant by being delineated again and again, its importance cannot be marred at all by the inclusion of other passing sentiments since it underlies all the rest." (Trans. K.Kris., pp. 175, ibid) A. explains it further. He says that just as there can be principal action or plot of a composition even if it gets mixed with other sub-plots, in the same way there can be one principal sentiment (Dhv. III. 23). A. holds that not only sentiments such as vira and srngara or songara and adbhuta can be correlated as principal and subordinate, but also opposite type of sentiments such as sngara and bibhatsa, vira and bhayanaka, santa and raudra, or santa and songara also can be correlated as such, if when one sentiment is principal, the other one is not fully aroused : Dhv. III. 24 observes - "a-virodhi virodhi va rasongini rasantare, pariposam na netavyas tatha syad a-virodhita." (Trans. K.Kris., pp. 177, ibid) : "When a sentiment is delineated in a work as principal one, no other sentiment, whether un-opposed or opposed to it, should be treated elaborately. This will ensure one that no opposition between them will remain anymore." For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1293 Thus, a rasa not of the opposite type as in case of srngara and hasya, need not be fully aroused as compared to the main sentiment. Even if they are equally developed, there is no contradiction, e.g. in the verse, viz. "ekato roditi priya, anyato samara-turya-nirghosah..." etc., or as in kanthat cchitva'ksamalam..." etc. Or, the vyabhicaribhavas with reference to a rasa opposite to the main sentiment, should not be described at length. And in case they are so described, there should be an immediate reversion to the vyabhicaribhavas of the principal sentiment. Or, when a subordinate sentiment is treated fully, it should be, at all events, kept only as a subordinate by constant attention; such other escapes should also be imagined. In case, the subordinate sentiment is of the opposite type, it should be slightly less developed as compared to the main sentiment e.g. in case of santa and srngara. A. then proceeds to lay down the specific means of overcoming opposition between two opposite sentiments. Dhv. III. 25 observes - "viruddhaika"srayo yas tu virodhi sthayino bhavet. sa vibhinna"srayah karyas tasya pose'py a-dosata." i.e. if an opposite sentiment is delineated with reference to the same substratum as that of the principal one, the opposite sentiment should be given a different substratum and thus even if the opposite sentiment is fully treated, there will not be any contradiction, e.g. in case of vira and bhayanaka. If vira is delineated with reference to the hero, bhayanaka should be delineated with reference to the enemy. The opposition between sentiments arises in a two-fold way e.g. one as already seen above, such sentiments as vira and bhayanaka cannot reside in the same substratum, or, the opposition between sentiments may arise when certain sentiments come side by side in the same substratum. Now, in such cases, some other sentiment, not opposite to either, should interveue in between, i.e. it can be sandwiched between the two opposite type of sentiments, (Dhv. III. 26) e.g. in Nagananda, santa and srngara are delineated with adbhuta intervening in between. Dhv. III. 26 reads as : "ekasrayatve nirdoso nairantarye virodha-van, rasantara-vyavad hina raso vyangyah sumedhasa." For Personal & Private Use Only

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1294 SAHRDAYALOKA (Trans. K.Kris., pp. 181, ibid) - "A sentiment which has no opposition due to sameness of substratum, but which becomes an opposite of another (i.e. principal) sentiment coming closely beside it (= i.e. if juxtaposed), should be so conveyed by the intelligent poet that a third sentiment will intervene between these conflicting ones." The vstti on this reads as : "yah punar eka'dhikarnatve nirvirodho, nairantarye tu virodhi, sa rasantara-vyavadhanena prabandhe nivesayitavyah. yatha santasrngarau naganande nivesitau." Thus, the contradiction between two sentiments in one and the same sentence also can be remedied e.g. in the expression, "bhurenu-digdhan navaparijata..." etc. (vrtti. Dhv. III. 27) : "rasantara-vyavahitayor eka-prabandhasthayor virodhita nivartata ity atra na kacid bhrantih. yasmad eka-vakyasthayor api rasayor uktaya nitya viruddhata nivartate." A. is of the opinion that these instructions should be carefully observed more in case of songara which is the most delicate type : (Dhv. III. 28) : "virodham avirodham ca sarvatrettham nirupayet, visesatas tu srngare sukumaratamo hy asau." If the poet is slightly negligent in respect of the delineation of srngara, it is immediately noticed and therefore he has to be very attentive in this task. Other concepts : Having thus disposed of the main topic of rasa-dhvani, A. has to find place for other concepts of literary criticism as discussed by his predecessors. This he does under his wider and catholic scheme of 'vyanjanadhvani-rasa'. For example, he treats the topic of vrttis such as lalita , parusa, upanagarika etc. as given by Udbhata, Rudrata, etc. and ritis such as gaudi and vaidarbhi, as given by Dandin, Vamana etc., in the following way: A. holds that the main task of a great poet lies in a proper marshalling of all the contents and the expressions in the direction of the sentiments and the like. Dhv. III. 32 observes : "vacyanam vacakanam ca yad aucityena yojanam, rasa"di-visayenaitat karma mukhyam mahakaveh." For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1295 vacyanam itivstta-visesanam vacakanam ca tad vinayanam rasa"di-visayena aucityena yad yojanam etan mahakaver mukhyam karma. avam eva hi mahakaver mukhyo waparo vad rasadin eva hi mukhyatava vakyarthikrtya tad-vyaktyanugunatvena sabdanam arthanam ca upanibandhanam." (vrtti, Dhv. III. 32) : (Trans. K.Kris., pp. 189)". "The main business of a first-rate poet is none other than the proper marshalling of both contents, i.e. plots and expressions used in setting them forth, in the direction of sentiments, etc. In other words, the main function of the poet lies only in making (one) sentiment principal throughout the poem and employing both words and senses only in such a way that the sentiment is suggested clearly." A., relating the concept of vrttis as seen in Bharata and others to his main thrust of vyanjana-dhvani-rasa, further observes : "etac ca rasa"di-tatparyena kavya-nibandhanam bharata"dav api suprasiddham eva iti pratipadayitum aha : rasa"dy anugunatvena vyavaharo'rtha-sabdayoh, aucityavan yas ta eta vrttayo dvividhah sthita)." - Dhv. III. 33 (Trans. K.Kris.; pp. 189, ibid): "The following text shows how this idea of writing a poem only with the main intention of suggesting sentiments etc., is a well-known concept even in ancient treatises such as that of Bharata - Vittis (lit. Modes) are said to be of two kinds only because they relate to appropriate employment of senses and sound in keeping with sentiments, etc." (Dhv. III. 33) The vstti on this further observes : "vyavaharo hi vittir ity ucyate. tatra rasa'nuguna-aucityavan vacya"srayo yo vyavaharas ta etah kaisiky adayo vittayah. vacakasrayas copanagarika"dyah. vsttayo hi rasa"di-tatparyena sannivesita kam api natyasya kavyasya ca cchayam avahanti. rasa"dayo hi dvayor api tayor jivabhutah, iti-vstta"di tu sarirabhutam eva." (Trans. K.Kris., pp. 189, ibid) : "Modes of employment are themselves given the designation of "Mode". The mode of employing senses in conformity to sentiment as well as to the consideration of decorum underlies the various (dramatic) modes such as "Kaisiki etc. Similarly, that which relates to sounds underlies the (figurative) modes such as Upanagarika (the urban) etc. Thus mode, properly For Personal & Private Use Only

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1296 SAHRDAYALOKA employed with the soul intention conveying sentiments etc., will lend charm to dramatic as well as poetic works. Sentiments etc., constitute the life-essense of both these modes; plots, etc. serve only as the body." A. clearly states further that, once this theory of poetry is fully understood, even the so called 'modes' relating to the nature of sounds, as well as to the nature of meanings will become intelligible. He adds that when this theory of poetry involving a descrimination of the suggested-suggester relationship is grasped, other categories like literary modes like kaisiki and upanagarika will become quite intelligible. Otherwise modes will remain only incredible like unseen objects, and will not come within the range of personal experience. He observes, 'at Dhv. III. 46 (pp. 260, Edn. K.Kris.) "asphusa-sphuritam . kavya-tattvam etad yathoditam, a-saknuvadbhir vyakartum ritayah sampravartitah." (Trans. K.Kris., pp. 261, ibid) - "Those who were unable to explain properly this essential principal of theory as they had only a glimmer of it (and nothing more), have brought into vogue the theory of styles. The vrtti (pp. 260, ibid) observes : "etad dhvani-pravartanena nirnitam kavya-tattvam a-sphuta-sphuritam sad a-sak nuvadbhih pratipadayitum vaidarbhi, gaudi, pancali ca iti ritayah pravartitah. ritilaksana-vidhayinam hi kavya-tattvam etad a-sphutataya manak sphuritam asid iti laksyate, tad atra aphutataya sampradarsitam ity anyena riti-laksanena na kincit." (Trans. K.Kris. pp. 261, ibid) - "We have explained above the fundamental principle of poetry by using the term 'dhvani'. Since only vague glimmerings of this principles were had by ancient writers, they could not explain it exhaustively and thus did they bring into vogue the theory of three styles, viz., Vaidarbhi, Gaudi, and Pancali. While the theorists of style show only vague flashes of this very principle of poetry, we have very clearly demostrated it in all its bearings and hence there is nothing for us to consider seriously about the theory of styles. A. further observes : (Dhv. III. 47, pp. 260, ibid): "sabda-tattva"srayah kascid artha-tattva-yujo'parah, vittayopi prakasante jnate'smin kavya-laksane." For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1297 (vrtti, on this reads as) - "asmin vyangya-vyanjaka-bhava-vivecanamaye kavyalaksane jnate sati, yah kascit prasiddha upanagarika"dyah sabda-tattva"sraya vittayo, yasca artha-tattva-sambaddhah kaisiky adayas tah samyag riti-padavim avataranti anyatha tu tasam a-drstarthanam iva vrttinam a-sraddheyatvam eva syan na anubhava-siddharvam. evam sphutatayaiva laksaniyam svarupam asya dhvaneh." (Trans. K.Kris., pp. 261, ibid) - "Once this theory of poetry is fully understood, even the so-called "Modes" relating to the nature of sounds as well as to the nature of meanings will become intelligible." (III. 47) "When this theory of poetry involving a discrimination of the suggestedsuggester relationship is grasped, other categories like literary modes, viz. those relating to sound such as upanagarika, as well as those relating to sense such as "Kaisiki', will become quite intelligible (even in the same way as the styles). Otherwise, Modes will remain only incredible like unseen objects, and will not come within the range of personal experience (though there might be testimony of at effect). Therefore, the nature of principal suggestion should be understood clearly." It may be noted here that Dr. K.Kris. translates 'vstti' as 'modes' and so we have kept the term as it is when we quote from him. Elsewhere, we use the term 'diction' for vrtti. 'Vrtti' remains 'vrtti', even when called as 'mode' or 'diction'. When A. observes that 'the nature of principal suggestion 'svarupam asya dhvaneh' is to be understood clearly, he obviously refers to his scheme of vyanjanadhvani-rasa first and then to 'rasa-dhvani' as principal suggested sense, when the term stands not only for suggestion of emotive-stuff i.e. rasa-bhava"di but also for 'rasa' - the ultimate aesthetic pleausre, the 'art-sense' - at the base of all art. A. always expects us to keep in mind this wider connotation even when he talks of rasa as srngara-vira, etc. i.e. sentiments. It is precisely for this purpose that he emphatically establishes "santa-rasa" and he is vehemently supported by Abhinavagupta in both Locana and the Abhinavabharati. By santa-rasa as a 'maha. rasa' what is meant is only the highest aesthetic experience' or 'art-experience and not just evocation of a particular emotion. A. also correlates the concepts of alamkara, guna and dosa with rasa - both in the emotive sense, or in the wider sense of art-experience in general, through his scheme of vyanjana. It may be noted that in the concepts of alamkara, guna, vrtti and riti we can include all newer and newer experiments by literary artists in the direction of what For Personal & Private Use Only

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1298 SAHRDAYALOKA is termed 'symbols' or 'images' or even what is termed as purely 'absurd' in literary or dramatic contexts. A. has kept his doors open for all this but for the present he observes that figures like metaphor and the like, become truly significant, (i.e. will be real ornaments) when they are employed in instances of srngara which is the soul of suggestion, with great descrimination. Again by songara we should understand not only the emotive stuff but also the soul of poetry i.e. art-experience, the wider sense of srngara as taken by Bhoja-raja also - 'raso'bhimano srngarah'. A. observes at Dhv. II. 17. "dhvanyatmabhute songare samiksya vinivesitah, rupaka"dir alamkara-varga eti yatharthatam." For in his earlier karika (i.e. II. 16) he has observed that - "rasa"ksiptataya yasya bandhah sakya-kriyo bhavet, a-prthag yatna-nirvartyah solamkaro dhvanau matah." - i.e. (Trans. K.Kris. pp. 59, ibid) - "Only that is admitted as a figure of suggestive poetry whose employment is rendered possible just by the emotional suffusion of the poet and which does not require any other extra effort on his part." - We may say that for Dr. K.Kris.'s use of words such as "the emotional suffusion of the poet". we would like to read, "the art-experiment of the poet." This will include all amazing experiments such as done by modern literary artists in any spoken to-day. For, this is hinted at by A., when he observes in his vrtti on Dhv. II. 16, when he says - "nispattav ascarya-bhuto'pi yasya-'lamkarasya rasa"ksiptatayaiva bandhah sakya-kriyo bhavet sosminn alaksya-krama-vyangye dhvanav alamkaro matah. tasyaiva rasa'ngatvam mukhyam ity arthah." (Trans. K.Kris., pp. 59, ibid): "Though in the result it might appear very amazing, that figure, whose employment is due only to the poet's over-mastering emotion (i.e. art-sense, experience), regarded as a figure of 'suggestive poetry of undiscerned sequentiality.' The idea is that it alone serves as the best vehicle of sentiment." A. then lays down some guide lines for the use of alamkaras or we may say figurative style or diction in poetry. He holds that the sole consideration is that it is only a means to the delineation of sentiment, or say to bring about art For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1299 experience and that it is never an end in itself. The alamkara should be employed at the right time and should be given up also at the right time. The poet should not feel over enthusiastic in pressing an alamkara too far, even when it is employed. Again, the poet should be keenly watchful in making sure that it remains a secondary element only. These are the various means by which figures like metaphor and the like, become accessories of the suggested sentiment, or better of say, the art-effect attempted. A. observes at Dhv. II. 18-19: "vivaksa tat-paratvena na'ngitvena kadacana, kale ca grahana-tyagau nati-nirvahanaisita. nirvyudhav api cangatve yatnena paryaveksanam, rupaka"dir alamkara-vargasya angatva-sadhanam." A. duly illustrates all this. He also correlates gunas or excellences and samghatana or structure and holds that both should be employed in poetry as to suggest sentiment i.e. to bring home aesthetic pleasure or art-effect (Dhv. III. 6). A. also correlates the topic of dosa or blemishes in poetic art to the general concept of rasa or art-experience, i.e. rasa-vyanjana. He observes at II. 11, that "sruti-dusta"dayo dosa anitya ye ca darsitah dhvanyatmany eva srngare te heya, ity udahrtah." anitya-dosas ca ye sruti-dusta"dayah sucitah tepi na vacye artha-matre, na ca vyangye srngara-vyatirekini, srngare va dhvaner ana"tmabhute. kim tarhi ? dhvanyatmany eva srngare angitaya vyangye te heya ity udahrtah. anyatha hi tesam anitya-dosata eva na syat." (Trans. K.Kris., pp. 53, ibid) - "Defects like 'indelicacy which have been shown to be impermanent (by ancient writers), have been in fact illustrated as blemishes only with references to the erotic sentiment when its nature is suggestion." (Dhv. II. 11). For Personal & Private Use Only

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1300 SAHRDAYALOKA (Vrtti) - 'Impermanent defects like 'indelicacy' which have been mentioned by earlier writers do not become defects at all when they are found in instances of expressed sense only, or even in instances of suggested erotic sentiment, if suggested sentiment is also not of the utmost importance therein, or in instances of sentiments other than the erotic. That the defects are to be avoided as such only when the erotic happens to be principally suggested, becomes clear by the illustration given (by ancient writers themselves). If this were not so, they would not at all be impermanent defects." Thus the concept of blemishes is also correlated to the central concept of artexperience or 'rasanubhuti'. In the treatment of samghatana or construction' the appropriateness of certain types of compounds and that of certain consonents with certain rasas is mentioned, e.g. it is suggested that the use of certain consonants as would be found appropriate i.e. effective for the art-effect of vira, or raudra or bhayanaka, would not prove to be appropriate for the art-effect of say, srngara and karuna. In fact such inappropriate use would amount to a dosa or belmish, with reference to guna, riti or samghatana concerned. Thus, A. integrates the theories of vyanjana and rasa i.e. art-effect into a whole and gives us a complete theory of poetry. He does not discard any concept fl by his predecessors but finds place for them in the wider embrace with his 'rasa' i.e. art-experience in the centre. A. keeps rasa-experience, i.e. art-experience as central and emotive experience for him is part of his wider scheme of vyanjana-dhvanirasa. Visvanatha however insists only on rasa-dhvani and ridicules other art-forms that take care of stylistic and content-based central thrusts, as seen perhaps with the modern artists of to-day practicing 'absurdism' in art. Alamkarikas of the Kashmir school i.e. followers of Anandavardhana and Abhinavagupta, beginning with Mammata down to Jagannatha do not differ basically from A. in their treatment of rasa, but for Mukula. Kuntaka. Mahima. Dhananjaya/Dhanika and Bhoja the central importance of art-effect remains the same, there is quarrel as to the realisation of this effect. They challange Vyanjana and not 'rasa', or art-experience. We will try to see how they differ. Mukula Bhatta - We are dealing here, it may be noted in advance with some of the posterior writers to A., whose works have come down to us and not with those such as Lollata, Sri Sankuka, and Bhatta Nayaka whose works have not reached us, but whose views on rasa-ralisation have reached us through For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1301 Abhinavabharati. We will take care of these when we deal with the theory of artexperience in the next chapter. So, for the present we begin with Mukula. For Mukula, the author of Abhidhavrtta-matrka the whole rasa-bhava"di complex was not unacceptable as he is posterior to Bharata and even A. A number of illustrations that he has cited for this or that variety of abhidha/laksana are read in different context in the Dhv. also. What he opposed was the fact of vyanjana and therefore also the whole edifice of dhvani that rested on vyanjana. He asserted that all the varieties of dhvani can be understood through the functioning of laksana and hence this talk of vyanjana/dhvani made no sense to him. This he asserted even while accepting such terminology as "vivaksita-anyapara-vacya and atyantatiraskrta-vacya, and also sabda-sakti-mulata" and the rest. Actually he twice uses the term 'vyangya' while treating "sambandha-nibandhana-laksana. He observ (pp. 63, edn. Dr. Rewaprasad Chawkhamba Vidyabhavan, Varanasi, 73) - "laksana"tmikayos tu tayor vacyasya a-vivaksitatvam, na tv atyantam tiraskarah, laksyamana-dvarena kathamcit karye anvitatvat. tatra, sambandhanibandhanayam laksanayam avivaksita-vacyatve udaharanam, "ramo'smiti." atra hi rama-sabda-vacyam dasarathi-rupam vyangya-dharmantara-parinatatvat svaparatvena anupattam, tasmad a-vivaksitam, na tvaryantam tiraskstam vyangya-dharma-dvarena vakyarthe kathamcid anvitatvat..." Mukula thus unconsciously accepts A.'s ruling though consciously he rebels against him by not accepting vyanjana and therefore 'dhvani'. He observes : (pp. 66, ibid) : "etac ca sarvam bahuvaktavyatvad iha na nirupyate. laksanamargavagahitvam tu dhvaneh sahrdayair nutanatayopavarnitasya vidyate iti disam unmilayitum idam atroktam. etac ca vidvadbhih kusagriyaya buddhya nirupaniyam, na tu zagity eva'suyitavyam ity alam atiprasangena." . The difficulty with Mukula was that he could not see beyond the sastras. We have all through our presentation maintained that the grammarians and the darsanikas, while treating their sastras, had no business to talk about or even mention vyanjana. They had to deal with only the directly expressed sense with a slight chance of deviation (laksana) if any, which in itself is a 'dosa' - a blemish - in the eyes of the Mimamsakas. But this does not mean that they rejected vyajana in poetry. Even Panini is said to have written a mahakavya and no poetry on earth in any age, any language, could be without vyanjana and vyangyartha. The sastra had concern with the scientific use of language only while the poetic use of language cannot but involve an emotive stance which falls in the ambit of vyanjana alone. For Personal & Private Use Only

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1302 SAHRDAYALOKA So, the net outcome is that Mukula seems to be an innocent soul. Actually he has tried to improve upon A.'s observations at times to no good result. For example, 7. takes 'rasa' to be 'vyangya' or suggested only and also as principal. Rasa is never conveyed through its own naming even in a dream - svapnepi na sva-sabda-vacyah. This is A.'s assertion. Mukula on the otherhand accepts rasa as arrived at through 'aksepa' i.e. implication. Now this term 'aksepa' is used both in the sense of laksana, or implication i.e. 'arthapatti' or even 'anumana' i.e. inference. Mammata uses, this term, and this, not against A.'s own use, in the sense of vyanjana' also. But Mukula uses "aksepa' only either as laksana or arthapatti, he being a dire opponent of vyanjana. Again, for or A., 'rasa' is part of a variety of dhvani which is termed any 'vivaksitanyaparavacya'. This variety is totally away from laksana, and the 'vacya' or expressed meaning in this variety does not change. For A., the variety in which laksana has a role to play is called "a-vivaksita-vacya", in which the 'vacya' or directly expressed sense changes either partially or wholly. For Mukula, however, laksana is also possible in what he terms 'vivaksita-vacya' as well. The illustration s is, "mahati samare satrughnas tvam." He observes : (pp. 65, ibid, under 'kriyayoganibandhana laksana') : "yatra tu nimittasad-bhavad vacyerthe vivaksita eva tasya arthantarasya sabda-saktyantara-mulataya vyavasthitasya a-vyavayah kriyate, tatra tad-viparitataya vacyartha-tiraskriva-vaiparityam. na khalv atra vacyasya arthasya tiraskriya, api tu vivaksitatvam eva, yatha 'mahati samare satrughnas tvam' iti." Actually he could not see beyond the physical limitations of the sastras, which in themselves were never against vyanjana so far as poetry was concerned. Mukula, pleased with his own presentation, at the end of his work declares : "dasavidhena anena abhidha-vrttena samagrasya vak-parispandasya vyapyatvad anena vakarana-mimamsa-tarka-sahitya"tmakesu catursu sastresu upayogat taddvarena ca sarvasu vidyasu sakala-vyavahara-mula-bhutasu prasaranad asya dasavidhasya abhidha-vsttasya sakala-vyavahara-vyapitvam akhyatam. Thus, Mukula does not reject the fact of rasa"di, but he is averse to vyanjana. It may be noted that Mukula has not engaged himself in any theoretical discussion either on the theory of rasa-realisation or on the discussion concerning the nature or number of rasas. Kuntaka : We have examined Kuntaka's general approach to vyanjana and dhvani in earlier chapters. His vicitra-abhidha did not exclude vyanjana and his For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1303 'vakrokti' included both dhvani' and 'rasa'. So, he is neither a die-hard vyanjan.virodhin nor an anti-dhvani theorist. In this light it will prove to be very interesting how he accomodates the fact of rasa in his theory. Kuntaka's (= K.) approach to the fact of rasa is noteworthy. For him, rasa is the highest factor in the poetic art which is of the form of vakrokti. Vakrokti is related to rasa in the same way in which it is related to dhvani. Thus, just as for the dhvanivadin, dhvani is the soul of kavya, and rasa-dhvani is the highest form of dhvani, in the same way, vakrokti is the soul of poetry and rasa is the most important aspect of vakrokti. K. seems to pay great importance to the fact of rasa. He wants poetry to be 'tadvid-ahlada-karini' i.e. such as would delight the critics : VJ. I. I reads as (Edn. K.Kris. Karnatak Uni., Dharwad, '77, pp. 6) "sabdarthau sahitau vakra-kavi-vyapara-salini bandhe vyavasthitau kavyam, tadvid-ahlada-karini." (Trans. K.Kris., pp. 292, ibid) - "Poetry is that word and sense together enshrined in a style revealing the artistic (lit. 'out-of-the-way) creativity of the poet on the one hand and giving aesthetic delight to the man of taste on the other." At VJ. I. 5, while dealing with 'kavya-prayojana' he refers to rasa. He observes : "caturvarga-phala"svadam apy atikramya tad-vidam, kavyamota-rasena'ntas camatkaro vitanyate." (pp. 5, ibid) (Trans. K.Kris., pp. 291, ibid) - "Apart from the enjoyment of the benefits of the four-fold values, there is the immediate sense of delight produced in a reader as a result of his enjoying the nectar of poetry." Again, while talking about sukumara marga, he says that a 'sahrdaya' or a 'tad-vid' is "rasa"di-paramartha-jna." He observes : "bhava-svabhava-pradhanyanyakkrta"harya-kausalah, rasa"di-paramarthajnamanah-samvada-sundarah." (VJ. I. 26) For Personal & Private Use Only

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1304 SAHRDAYALOKA (Trans. K.Kris., pp. 329, ibid): 'Where studious technical skill is superseded by the prominence given to the inner nature of things, where beauty is felt due to sympathy by men of taste who are experts in enjoying sentiments etc..." The vrtti (pp. 46, ibid) reads as: "anyac ca kidrsah ? rasa"di-paramartha-jnamanah-samvada-sundarah. rasah srngara"dayah. tad adigrahena ratya"dayopi grhyante. tesam paramarthah paramarahasyam." (Trans. K.Kris., pp. 332, ibid) : "Further, the style is characterised as that 'where beauty it felt due to empathy by men of taste who are expert in enjoying the essence of sentiments and the like. Sentiments are erotic and so on. By 'and the like', are meant dominant moods such as 'love'. Their essence is their highest secret." While dealing with 'saubhagya' guna, the critics are described as 'sarasa"tma' i.e. ardra-cetas. VJ. I. 56 reads as (pp. 69, ibid) - - "sarva-sampat-parispanda sampadyam sarasa"tmnam, alaukika-camatkara-kari kavyaika-jivitam." (Trans. K.Kris., pp. 355, ibid): "It is something attained by the full co-operation of all the constituent elements and it is something which surely results in an extraordinary aesthetic effect in the mind of the connoisseurs, in short it is the whole and sole essence of poetry." K. also seems to take rasa as the soul of poetry. He declares it categorically that prabandha-vakrata is the highest form of vakrokti. In an antar-sloka i.e. a mnemonic verse, under IV. 26, K. observes: (pp. 283, ibid) "vakratollekha-vaikalyam a-sat-kavye vilokyate, prabandhesu kavindranam kirti-kandesu kim punah." (Trans. K.Kris., pp. 577, ibid) "Absence of literary beauty may be found only in bad literature. How can it even have place in the great works of master-poets, works which are the shiningshoots of their immortal glory ?" These Prabandhas or compositions on which the fame of great poets rests, are full of 'rasa', they are (under IV 4, antara sloka-13): (pp. 252, ibid) For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1305 "nirantara-rasodgaragarba-sandarbha-nirbharah girah kavinam jivanti na kathamatram asritah." (Trans. K.Kris., pp. 544, ibid) : The words of great poets come to life only - "when they contain incidents which are bubbling with sentiments : not when they merely follow the story as found in the source." We can replace the term "sentiments" for 'aesthetic rapture', for this exactly is meant by K., not just the emotive stuff. . Thus for K., 'rasa' is the soul of 'prabandha' or a composition and is one of the aspects of vakrokti. K. thus seems to cover rasadhvani of the asamlaksya-variety also under his larger concept of 'rasa-vakrata'. Rasa for K. is not vacya or expressed. While dealing with the problem of the alamkaras such as 'rasavat and the like, K. laughts at Udbhata's assertion that 'rasa' can be 'sva-sabda-vacya'. Under V.J. III. 11, in his vitti, K. observes : (pp. 146, ibid) - "yad api kaiscit - "sva-sabda-sthayi-sancari-vibhava'bhinaya" spadam" - ity anena purvam eva laksanam visesitam, tatra sva-sabda"spadatvam rasanam a-parigata-purvam asmakam. tatas ta eva rasa-sarvasva-samahita-cetasah tat-parama'rthavido vidvamsa evam prastavyah-kim sva-sabda"spadatvam rasanam uta rasavata iti. tatra purvasmin pakse-rasyanta iti rasas te sva-sabda"spadas tesu tisthantah songara"disu vartamanah santas taj-jnair asvadyante. tad idam uktam bhavati-yat sva-sabdair abhidhiyamanah srutipatham avatarantas' cetananam carvana-camatkaram kurvanti ity anena nyayena ghfta-pura-prabhitayah padarthah sva-sabdair abhidhiyamanas tad asvada-sampadam sampadayanti'ty evam sarvasya kasyacid upabhogasukharthinas tair udara-caritair ayatnena eva tad abhidhana-matrad e rajya-sampat-saukhya-samrddhih prapadyeta iti namas tebhyah." s. K.Kris., pp. 432, ibid) - "Another writer has added to the afore-said definition another qualification, namely, "And which is brought forth by its designation, the dominant emotion, the passing mood, the excitant and gesture." (37) (Udbhata, IV. 3) - Of these, that rasas can be evoked by their designation is something unknown to us so long. Hence these very celebrated specialists on rasa, who claim to know everything of 'rasa' might be asked these questions : Do rasas admit of being For Personal & Private Use Only

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1306 SAHRDAYALOKA designated by their names or does the poem having rasas admit of being so designated ? If the first alternative is accepted by them, the following is our difficulty : Rasas are those which are 'tasted' and these are again contained in their designations such as the word 'erotic', and only as such they become the sources of delight to connoisseurs. To explain further, when words denotin mentioned, as soon as they fall on the ears of sentients, they should start yielding aesthetic delight. By the same token, words like - "ghee-dish", as soon as they are uttered, should be enough to produce the taste of that dish. That way, whatever be the sense-delight desired by a person, that could be easily procured without any effort by those great souls merely uttering the concerned words. They could thus attain without trouble all the joys of an emperor of the three worlds.'We take leave of them with a big salutation." While considering the nature of kavya-vastu or poetic theme, K. takes rasa to be very important. Thus at VJ. III. 10, (vrtti) he observes that 'rasa-nirbharata' or the condition of being drenched in rasa is the principle aspect of poetic context : (pp. 143, ibid) - "tad evamvidham svabhava-pradhanyena rasa-pradhanyena ca, dvi-prakaram sahaja-saukumarya-sarasam svarupam varnana-visaya-vastunah sariram eva alamkaryatam eva arhati, na punar-alamkaranatvam." (Trans. K.Kris., pp. 429, ibid) - "Thus what is beautified and can be regarded as the body of all descriptive art can be only two-fold-containing either the prominence of naturalness or sentiment, both having their own beauty. Neither can ever be regarded as an ornament." K. devides 'kavya-vastu' i.e. poetic context as two-fold, 'cetana' or sentient and 'jada' o insentient, and takes the first one as principal and for that 'rasa-pariposa' or the enhancement or rasa is inevitable. See VJ. III. 7 - and vrtti thereon : (pp. 138, ibid) - "mukhyam a-klista-ratya"dipari-posa-manoharam, sva-jaty ucita-hevaka samullekhojjvalam param." - mukhyam yat pradhanam cetana-sura'sura"di-sambandhi svarupam, tad evamvidham sat kavinam varnana"spadam bhavati sva-vyapara-gocaratam pratipadyate. kidisam ? a-klista-ratya"di-pariposa-manoharam. a-klistah kadarthanavirahitah pratyagrata-manoharo yo ratya"dih sthayibhavas tasya pariposah srngara-prabhrti-rasatva-"padanam, "sthay yeva tu raso bhaved" iti nyayat. tena maharham, manohari." For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and... 1307 (Trans. K.Kris., pp. 424, ibid) - "The first, i.e. the primary kind, is made beautiful by a spontaneous presentation of emotions like love. The second is rendered lovely by a description of the animals etc. in a way natural to their species." (III. 7) (Vrtti) - The primary subject-matter which relates, as we saw, to the sentients like gods and demons, comes within the purview of the poetic activity in the way suggested below. The method is one of spontaneous presentation of emotions like love. The word spontaneous is used to indicate that the emotions like love should be free from banality and very striking by their fresh flavour. When so treated, the emotions are raised to the level of sentiments like the erotic; for the well-known rule states that the dominant emotion itself gets transformed into sentiment. Now this becomes very appealing to the heart. After this K. gives many illustrations of vipralambha and karuna rasas and leaves other rasas to the readers. : (vitti, VJ. IV. 7): "evam vipralambha-srngarakarunayoh saukumaryad udaharana-pradarsanam vihitam. rasantaranam api svayam eva utpreksaniyam." (pp. 140, ibid). For K., the description of 'jada' or 'insentient object becomes interesting on account of its ability to evoke rasa - (vitti, VJ. III. 8, pp. 142, ibid) - "jalanam acetananam salila-taru-kusuma-samaya-prabhstinam evamvidham svarupam rasoddipana-samarthya-vinibandhana-bandhuram varnaniyatam avagahate." (Trans. K.Kris., pp. 428, ibid) - "The treatment of the non-sentients should also conform mostly to the kindling of the sentiments. Objects such as water, tree, spring, etc. are seen serving this purpose." In the same way and for the same purpose, i.e. to evoke rasa, the description of the unimportant sentient objects such as birds and the like, is also welcome. VJ. III. 8 reads as - (pp. 141) : "rasoddipana-samarthyavinibandhana-bandhuram, cetananam a-mukhyanam jadanam ca'pi bhuyasa." K. adds (vstti, VJ. III. pp. 143, ibid as quoted above) that "kavya-vastu' or poeticcontext is two-fold, on account of its being 'svabhava-pradhana' or, -rasapradhana', and that both should be embellished, on account of both of them being "sahaja-saukumarya-sarasa" or full of rasa on account of natural beauty. For Personal & Private Use Only

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1308 SAHRDAYALOKA While discussing different margas also, K. refers to rasa. The sukumara marga is charming (V.J. I. 26) on account of its being favourable to the mental aptitude of those who know the highest object called rasa : VJ. I. 26 reads as (pp. 43, ibid) - "bhava-svabhava-pradhanya-nyakksta"harya-kausalah, rasa"di-paramartha-jnamanah-samvada-sundarah." (Trans. K.Kris., pp. 329, ibid) - "Where studious technical skill is superseded by the prominence given to the inner nature of things, where beauty is felt due to sympathy by men of taste who are experts in enjoying sentiments etc." We can read 'enjoying aesthetic relish-rasa' for just 'sentiments' etc. The vicitra-marga is also 'sarasa"kuta' i.e. accomplished by 'rasa-nirbharabhipraya'. V.J. I. 41 (pp. 53, ibid) reads as - "svabhavah sa-rasa"kuto bhavanam yatra bandhyate, kena'pi kamaniyena vaicitrenopabrmhitah." and also read - VJ. I. 40 (pp. 53) - "pratiyamanata yatra vakyarthasya nibadhyate, vacya-vacaka-vsttibhyam vyatiriktasya kasya cit." (Trans. K.Kris., pp. 339, ibid) (VJ. I. 40) - 'Whrein, further, the intended purport of the whole is communicated by a suggestive use of language, which is distinct from the two wellknown uses, viz. the communicative use of meanings and the denotative use of words; (VJ. I. 41) - Wherein the real nature of things pregnant with sentiments is augmented with a novel-beauty which is unique." The madhyama marga, being a combination of these two, must be necessarily charged with rasa-"rasa-pusta". For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1309 Thus we see that with his theory of Vakrokti' or a striking mode of speech, differing from and transcending the ordinary everyday mode of speaking about a thing, and such that charms by the skill of the poet, K. seems to co sources of charm in poetry, beginning with alamkara, or artistic turn of expression and ending up with dhvani and rasa. As already noted earlier, even 'dyotaka' and 'vyanjaka' words, on account of their quality of the ability to render meaning, - i.e. 'artha-pratiti-karitva', are termed 'vacaka' i.e. 'expressive of meaning', metaphorically. For him also 'rasa' both in the sense of a suggested sentiment as well as the supreme purpose of poetry, aesthetic delight, is the highest goal a poet has to reach. Dr. K.Krishnamoorthy in his learned introduction to "Vakrokti-jivita of Kuntaka" (Pub. Karnatak Uni., Dharwad, Edn. '77) has some special remarks on 'Kuntaka's idea of Rasa in relation to Alamkara' (pp. XXX-XXXIX, ibid, Intro.). On pp. XXXVIII Dr. K.Kris. has interesting note as follows : "As prof. Daniel H. H. Ingalls observes penetratingly, "The word 'rasa' possesses an ambiguity of denotation"; a particular 'rasa' is said to lie in a given literary work as a sweet taste or a bitter taste may lie in a given food or drink. The connoisseur of poetry is also said to have a 'rasa' (a taste) for the poetry he enjoys, much as a wine-taster has a taste of wine." (ft. note - Daniel H. H. Ingalls : An Authology of Sanskrit court Poetry, Cambridge, Mass, 1956, p. 14, note). - After Abhinavagupta the two meanings have been confounded so often that it is difficult to determine - what exactly is meant by any writer in a given context. But Kuntaka is blissfully free from this ambiguity. He restricts his usage of the word 'rasa' to the first meaning only unlike post-Abhinavagupta writers. He invariably uses other words like 'ahlada' to mean the second. But he is second to none in his insistence on a sensitive literary taste in the reader and always describes them with epithets like 'Sahrdaya' or 'tadvid'. And Kuntaka himself reveals a literary taste of the first order among sanskrit literary critics. A careful perusal of the fourth chapter will show how Kuntaka always is concerned with the opt-repeated question - "What has the poet tried to express and how has he expressed it ?" It is the only possible method open for practical criticism. The other side of criticism, viz. fudicial evaluation is also represented by Kuntaka in his observations on the failures of even master poets. Like a modern literary critic, he covers all the parts of poetics which deal with plot, character, and thought in his observations involving 'aucitya' and 'an-aucitya'. He not only asserts a new doctrine, but disengages a new essence which men of taste can relish from the vast riches of Sanskrit literature. The only value he upholds is the aesthetic value of 'vicchitti'." For Personal & Private Use Only

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1310 SAHRDAYALOKA We have stated our position in the chapters dealing with vyanjana and dhvani and have tried to evaluate K.'s achievements. Ingalls as quoted by Dr. K. Kris. as above seems to display a lack of the basic understanding of the meaning of 'rasa'. Bharata and all the alamkarikas posterior to him never take 'rasa' in any physical sense at all. When he gives the illustration, Bharata knows that he has to explain the fact of aesthetic relish by citing from day to day experience and it is here that he is very clear that the taste from food or drink is only "manasa" and those who taste it are termed as "bhunjanas" and not gluttons. We have made it very clear and will make is clearer when we deal with the nature of rasa in greater detail, that is more an experience both exclusive to art - 'Sui generis' and also 'pari passu with art-experience. It is extra-ordinary in its nature and the most important aspect of it is that it is an experience which is said to be exclusive', - 'vigalitavedyantaratva' being its differentiating mark. The whole tradition of Indian artcritics, including literary critics have no illusion about this, be it a Bharata, or a Bhamaha or Anandavardhana or any. 'Rasa' is a 'total experience which involves the emotive, imaginative or intellectual and the practical aspect of the personality of a genuine enjoyer. So, 'rasa' is not only a sentiment', but also 'Supreme delight born of the art-experience. It is in both these senses that the term is known to all art-critics in India and Kuntaka, of course, is one of those. If he defied Anandavardha to some extent, it was because as Dr. K.Kris. observes, he was a predecessor of Abhinavagupta. Had he been posterior to the latter, there would not have been any difficulty for him in accepting 'vyanjana-dhvani-rasa' scheme. To that extent, we take him to be unfortunate. We feel we do not have to controvert Ingalls misunderstanding. Dr. K.Kris. is a name whom we hold in very high estime and when he seems to go rather over-jubilant regarding Kuntaka's achievement, we take it only as an "artha-vada". Dhananjaya and Dhanika :- Whether these two were predecessors of Kuntaka or posterior to him is immaterial here. One thing is certain that these two also challange the concept of vyanjana-dhvani but certainly they accept the fact of 'rasa'. The fourth flash of the Dasa-rupaka is devoted to 'rasa', the realisation of, and its nature. The Avaloka by Dhanika has all the venom against vyanjana and dhvani and both the DR. and its Avaloka advocate the bhavya-bhavaka-sambandha between vibhava"dis and rasa. We have discussed this in full under tatparya and also under vyanjana-virodha. The fact of the supremacy of rasa is welcome to these authors. # For Mahima Bhatta also 'rasa' is as much welcome as it is to Bharata Anandavardhana, Kuntaka, Dhananjaya or any alamkarika worth his salt. 'Rasa' For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1311 both in the sense of an emoive response and also as the highest aesthetic goal that covers up the former also, is acceptable to Mahima also, howsoever an avowed anti-vyanjana and anti-dhvani theorist he may be. Mahima hails 'rasa' in poetry to such an extent that poetry without rasa is no poetry at all for him. He supports a definition of poetry, as a description of vibhava"dis adorned by music and the like : (pp. 102) Edn. Dr. Rewaprasad : yad ahuh - "anubhava-vibhavanam varnana kavyam ucyate, tesameva prayogat tu naryam gita"di-ranjitam." Narya i.e. drama is the representation on stage, of poetry which contains description of vibhava"dis. This representation, Mahima accepts, is one which is adorned by music and the like. Mahima further observes : (pp. 102, ibid) : "evan ca, ye sukumaramatayah, sastra-sravana"di-vimukhah, sukhino raja-putra-prabhrtayah purvatra adhi-krtah, ye ca atyantatopi jada-matayah, tavata vyutpadayitum asakyah, stri-nrya"todya"diprasakta ubhaye'pi tebhimata-vastu-puraskarena guda-jihvikaya rasa-"svadasukham mukhe datva tatra katukousadha-panadav iva pravartavitavyah. anyatha pravsttir eva esam na syat, kim uta vyutpattih. kavya"rambhasya saphalyam icchata tatpravstti-nibandhana-bhavena rasa"tma-katvam avasyam upagantavyam tanmatraprayuktasca dhvani-vyapadesah na ca rasanam vaisistye tad atmanah kavyasya visistatvam iti yuktam vaktum, a-vyapteh. evam hi pratiniyata-rasa"tmana eva tasya dhvanitvam syat, na anyasya anya-rasa"tmanah, vaisistya"bhavat. isyate ca tatra'pi ity avyaptir laksana-dosah." Mahima hereby wants to suggest that kavya, of course adorned by vibhava"dis and therefore codusive to rasa, is meant primarily for the happy-go lucky people such as princes and the like, who are of mediocre intellect and who are averse to listening (or studying) the Sastras. They are the first among those for whom poetry is created. The next come those who are absolutely dull-witted and are incapable of even receiving or enjoying poetry. To activate them, i.e. to guide them to some activity, natya is required, for these people are by nature tuned more towards women, dance and the like, which form part of drama. Both of these are to be activated by placing something they like, i.e. by placing some form of art which is For Personal & Private Use Only

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1312 SAHRDAYALOKA sweet because of its being rasa-oriented. It is like men who are given bitter medicine by coating the same with sweet covering. If this practice is not resorted to, then such people will not be guided to any useful activity at all. And, Mahima underlines, those who want that the poetic activity should be fruitful, have to see to it that poetry is charged with rasa - "rasa"tmakatvam avasyam upagantavyam". It may be very interesting here to note that when Mahima insists of poetry being 'rasa"tmaka', he wants us to understand that 'rasa' here stands for the highest relish, as art-meaning, as the objective of any art. This is as explained by Abhinavagupta who wants us to believe that Bharata when he observes - "kavyartho rasah" means that 'rasa' i.e. highest aesthetic pleasure is the supreme objective of poetry, or any art. As noted by us, all alamkarikas worth their name, know that 'rasa' is not just the emotive experience brought about by a particular set of vibhava"dis ending in the realisation of sentiments, individually known as sragara, hasya, karuna etc. 'Rasa' is beyond sentiments. Mahima holds that if an individual sentiment only is taken as 'rasa' then the term 'kavva' applied to a poetry with srigara, will not be applicable to kavva charged with karuna or any other rasa. Thus there will be 'a-vyapti-dosa', or the fault of the definition being too narrow. Only poetry charged with this wider concept of 'rasa' is said to be 'dhvani' i.e. art of sound. Mahima further notes (pp. 103, ibid) : "ata eva ca na guna'lamkara-samskstasabdartha-matra-sariram tavat kavyam, tasya yathokta-vyangyarthopanibandhe sati visistatvam iti sakyam vaktum. tasya rasa"tmata'bhave mukhya-vittya kavyavyapadesa eva na syat, kim uta visistatvam." Mahima here strongly objects to the view of the dhvanivadins that poetry derives its speciality through the suggested sense (i.e. in form of vastu-dhvani and alamkara-dhvani) over and above by its being qualified by gunas and alamkaras, i.e. its body being made of word and sense graced by excellences and figures of speech. Mahima seems to hold that anything less than 'rasa' will not do and so poetry primarily ceases to be poetry if it does not have rasa for its soul. For Mahima the function of poetry is instruction through entertainment and for this, the presence of rasa is unavoidable. Poetry without rasa is useless as it cannot serve any purpose. It may be noted that Mahima is not concerned with any theoretical discussion concerning rasa-realisation, but his views seem to be closer to Sri. Sankuka who regarded rasa as inferred i.e. anumeya'. For Mahima even vastu-dhvani' and 'alamkara-dhvani' of Anandavardhana are cases of inference. For Mahim, the spectator's apprehension of rasa is a clear case of inference. In this inference, the For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1313 sthayibhava is inferred from the combination of vibhavas, anubhavas and vyabicarins. He observes : (pp. 83, ibid) - "na ca rasa"disvapi vibhava"di-prakasanasahabhavena prakasanam upapadyate. yatas tair eva karana"dibhih krtrimair .vibhava"dy-abhidhanair asanta eva ratya"dayah prati-bimbakalpah sthayibhavavyapadesa-bhajah kavibhih pratipatr-pratiti-patham upaniyamana hrdayasamvada"svadyatvam upayantah santo rasa ity ucyante. na ca karana"dibhih karya"dayah pratibimbakalpah sahaiva prakasayitum utsahante, karya-karanabhava'vasayasyaiva avasadaprasangat. yatra tu tal laksanam, mukhyataya sambhavati tat kavyam eva na bhavati kuta tad-vicesa-dhvani-rupata syat." The language of Mahima carries impressions of Abhinavagupta, but the conclusion is not indentical. He seems to suggest that if vibhava"dis are karana, then their simultaneity-sahabhava- is out of question and so the ghata-pradipanyaya is not acceptable for it will violate the very nature of vibhava"dis as 'cause' element. Thus 'dhvani' can not be a 'kavya-visesa' either. .: Mahima further observes that the manifestor-prakasaka-is two-fold, viz. of the form of an adjunct i.e. upadhi-rupah, or 'svatantra' i.e. independent. Jnana i.e. knowledge, sabda i.e. sound (or word)and pradipa i.e. lamp are of the former type, i.e. they are 'upadhirupa'. 'Dhuma' i.e. Smoke is a manifestor of an independent type i.e. it is 'Svatantra'. In case of rasa-realisation, the first type i.e. upadhirupa will not suit the purpose, for in that case poetry will be restricted only to such objects as are 'pratyaksa' i.e. directly apprehended or 'abhidheya' i.e. directly stated. The other i.e. 'svatautra' is nothing else but of the form of 'linga' i.e. unfailing mark. It is not a 'vyanjaka' i.e. suggester for the notion of suggestion does not apply to this case at all. Even the dhvanikara does not accept, observes Mahima, the simultaneity of the manifestor and the manifested in case of all the three types of dhvani including rasa. If the objector (i.e. dhvanivadin) goes for such a definition of dhvanikavya which may not necessitate the simultaneity of vyangya and vyanjaka, then also there will be over-lapping i.e. ati-vyapti in anumana. Thus Mahima raises two objections to the 'abhivyakti' theory of rasa. 'Abhivyakti' or manifestation implies simultaneity of illumination of the manifestor and the manifested. This is not the case with rasa-apprehension because it takes place only after the apprehension of vibhava"dis. This is accepted by Anandavardhana himself, observes Mahima. Again, he argues further, that manifestation does not require any cognitive relationship like invariable concomittance. A lamp and a pot do not stand in need of a relationship of smoke and fire, related through invariable concomitance. So the acceptance of abhivyakti would mean that rasa is cognised For Personal & Private Use Only

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1314 SAHRDAYALOKA by each and every person, because as in case of lamp and pot, the revealation of rasa"di by vibhava"di does not require any pre-requisites such as knowledge of invariable concomittance. This fails to explain the fact that rasa-pratiti does not occur to one and all but only to the accomplished person, the sa-hidaya, who know the relation between vibhavadis and sthayin concerned. It may be noted that the thrust of Anandavardhana and Abhinavagupta also, in a way would tend to take us to gamya-gamaka-bhava between vibhava"dis and rasa. But the main objection against anumana theory is that anumana is an intellectual process which is totally different in nature from the realisation of aesthetic pleasure. Abhinavagupta therefore observes that if it is a case of anumana, then why not we experience rasa even in ordinary parlance - "laukikepi kim na rasata ?" The second objection to anumana theory is that anumana or inference yields indisputable meaning. But there is no certainly concerning the suggested meaning. Again, anumana being a means of valid knowledge the inferred meaning ought to be valid and real, as such the disputes about its validity would be out of question. This is not the case with the suggested meaning. But Mahima has refuted, to his satisfaction the view that aesthetic pleasure cannot be explained by inference. He seems to refer to Abhinavagupta's dissatisfaction towards inference. He begins with giving the summary of Anandavardhana's views when he had suggested that the two apprehensions of vibhava"di and rasa"di naturally occur in sequence and not simultaneously. Again, A had suggested that when the second apprehension of rasa"di occurs, the first apprehension is not negated but it also continues like the apprehension of lamp along with the apprehension of jar. To this Mahima's reply is as follows - Actually the vyaktivadin when he accepts the sequential apprehensions of the vacya i.e. expressed and the vyangya i.e. suggested, accepts our view-point that there is 'gamya-gamaka-bhava' between the two. A. himself has said in so many terms that the vibhava"dis themselves are not rasa. So, the apprehension of rasa"di is invariably connected with the prior apprehension of vibhava"di, thus the sequence between the two is incontrovertible and is there for sure. That this sequence is not noticed as it is very subtle is a fact and it is therefore that rasa"di are termed "a-samlaksyakrama by A. Mahim, then quotes words from A. which almost take us to believe that even he was not against gamya-gamaka-bhava between these two apprehensions. Mahima quotes A.'s words such as - "punas ca, 'tasmad abhidhana'bhi-dheya-pratityor iva vacya For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1315 vyangya-pratityor nimitta-nimitti-bhavad niyamabhavi kramah. sa tu ukta-yukteh kvacil laksyate kvacit tu na laksyata'iti. - "The apprehension of the setting, etc. is only an invariable condition of all apprehension of sentiments etc., hence we might posit a cause-effect relation to exist between the two apprehensions. There is therefore, bound to be some temporal sequentiality also between the two. But this sequentiality is not noticed since it is minute. Hence it is that we mentioned above that sentiments are suggested only through undiscerned sequentiality." (Trans. K.Kris., pp. 191, ibid) It may be noted that the readings in Dr. K.'s Edn. and in Mahima are slightly different and it will be interesting to study Mahima's quotations from the Dhv. from text-criticism point of view. Of course Mahima does not seem to misquote or twist the text to his advantage. Here of course, Mahima quotes from the vrtti on Dhv. III. 33. (pp. 196, Dr. K.'s Edn., ibid). The english rendering by Dr. K. Kris. renders it as (pp., 197, ibid) : "It is clear therefore, that even as the apprehensions of denotative word (= abhidhana) and denoted sense (= abhidheya) involve a cause-effect relation and consequently temporal sequentiality, so also the apprehensions of the expressed and the suggested involve a cause-effect relation as well as temporal sequentiality. As already illustrated, sometimes it is noticed and sometimes it is not." Mahima, after quoting the words of A., concludes that in view of this he will establish in due course the "linga-lingi-bhava" i.e. a cause-effect relation between the two apprehensions. Thus all varieties of dhvani can be subsumed under inference. (pp. 67, ibid) : "tad evam vacya-pratiyamanayor vaksyamana-kramena linga-lingi-bhavasya samarthanat sarvasyaiva dhvaner anumana'-ntarbhavah samanvito bhavati, tasya ca tad apeksaya maha-visayatvat." The inference or anumana has a wider scope and it covers up, holds Mahima, even such cases of gunibhuta-vyangya as illustrated in figures such as 'paryayokta' and the like. This 'anumana' or inference is of the form of expression and hence we have to understand 'parartha' anumana by it. The mention of three-fold reason or linga is pararthanumana'. People of dull intelligence do not grasp this point. (pp. 6, 7, ibid) - "tacca vacana-vapara-purvakarvat parartham ity ava-gantavyam. tri-rupalinga"khyanam pararthanumanam iti kevalam ukta-naya-anubhijnataya tan na laksayaty avicaksano lokah." Mahima wants to drive at the conclusion that poetic inference is made of aesthetic delight. We do not experience pleasure when we infer feelings like grief in actual life. But, the same causes, effects etc., termed as vibhavas, anubhavas etc. in poetry make for inference of rasa, a blissful experience. Causes in ordinary life For Personal & Private Use Only

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1316 SAHRDAYALOKA and vibhava"dis in poetry are not of identical nature. He quotes the substance of theory which he has inherited. He observes (pp. 71, ibid) - "na ca loke vibhava"dayo bhava va sambhavanti, hetv adinam eva tatra sambhavat. na ca vibhava"dayo hetva"dayasca ity eka eva'rtha iti mantavyam. anye herva"dayonya eva vibhava"dayah. tesam bhinna-laksanatvat. tatha hi." Mahima talks the language of tradition and it includes A. and Abhinavagupta also who claim to interprete Bharata. Mahima holds that the set of causes etc. in ordinary parlance and the vibhava"dis in art not identical. Abhinavagupta had also explained that these are called vibhavas etc. on account of their strength of rendering their object as enjoyable : 'vibhavayan' is explained by him as "asvadayogyi-kurvan." Mahima quotes from Bharata to explain 'vibhava' and also 'anubhava' and also 'vyabhicarins'. The quarrel lies in the fact that the vyaktivadins call this process of relish by the name of vyanjana, while Mahima insists on 'anumiti'. To be fair, as Bhatta Nayaka pointed out 'abhivyakti' is not pure abhivyakti, and Mahima's anumiti is also not pure anumiti. It is just a poetic function which renders the object of its description relishable. Call if by any name, vyanjana' or 'anumiti'. Mahima holds that the vibhava"dis have existence in the realm of inference only and are not objects of reality, as they exist only in poetry or any art-form. They are artificial while causes etc. are real. Only vibhava"dis make for relish i.e. rasa as it is the essence of their nature. They are therefore pratiyamana i.e. implied or 'gamya' i.e. 'inferred' only. Their apprehension is called 'rasa' - relish, which is natural to them. He observes : "(pp. 74, ibid) : "tad evam vibhava"dinam hetva"dinam ca krtrima-a-krtrimataya, kavya-loka-visayataya ca svarupabhede visayabhede ca avasthite sati ekatva-a-siddher yada vibhava"dibhir bhavesu ratya"disveva pratitir upajanyate tada tesam tanmatra-saratvat pratiyamana iti, gamya iti ca vyapadesa mukhya-vsttya upapadyanta eva. tatpratiti-paramarsa eva ca rasa"svadah svabhavika ity uktam." He further adds (pp. 75) : "sopi ca tesam na tatha svadate, yatha tair eva'numeyatam nita iti svabhava eva'yam, na paryanuyogam arhati. tad uktam - "na'numito herva"dyaih svadatenumito yatha vibhava"dyaih na ca sukhayati vacyorthah pratiyamana sa eva yatha." iti. He quotes from the Dhv. in his support. Mahima tries to explain the pleasure in the aesthetic context on the basis of the imaginative existnece i.e. the fictiveness of For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1317 the emotion and not its being a part of real life, and also on the basis of the unexpectedness of its cognition. Dr. C. Rajendran (pp. 122) quotes in support from Dr. V. K. Chari who observes that, "it is the fictive nature of the poetic representation that makes it possible for us to enjoy it with detachment and without the impingement of arthakriya' or 'causal efficiency." All this is stated clearly by A., Abhinavagupta, Kuntaka and all Indian aestheticians who maintain the extraordinary bliss as the outcome of art-experience. Again the suddenness ('sadyah paranirvrti' as Mammata would coin the word) of rasa-experience is in itself a source of delight i.e. Camatkara. Mahima (pp. 59) observes : "tad hi mukhye citrapustaka"dau vyakti-visaye paridrstam eva." Ruyyaka explains (pp. 60, ibid) as - "alekhya-prakhya"dau santam asa'vasthite pradipadina prakasite jhasity adbhutarthaprakasanac camatkaro jayate. tadvad rasa'dav ity upacara-prayojanam'. When a picture is placed in darkness and when suddenly a flash of light reveals it, the result is 'Camatkara' or sudden absolute joy. In the same way rasa"di-prakasana yields instantaneous bliss. The use of the term 'vyakti-visaye' by Mahima may suggest his tacit acceptance of the theory of vyanjana. But actually this is not so, and it is only an appearance. Here vyakti' stands for 'manifestation' and not 'suggestion'. It is clear that Mahima has explained the fact of rasa-experience to his own satisfaction. We will not choose to call it "far from satisfactory" as observed by Dr. . Rajendran (pp. 122, ibid) : For, as observed earlier, if Mahima's anumiti is not 'anumiti' of the darsanas, then Anandavardhana's 'abhivvakti' is also not the abhivvakti of the darsanas. Thus both are different from their original and hence both are 'half-truth' or both are "new truth". Bhoja : We will try to examine Bhoja's position concerning rasa, with reference to both his Saraswati Kanthabharana (i.e. SKA) and also his Stngaraprakasa (Sr. Pra), of course under the shadow of the valuable research of Dr. V. Raghavan. For Bhoja, in poetry which is free from blemishes and is having excellences and figures of speech, there has to be 'rasa-a-viyoga' i.e. "not the absence of rasa." Sr. Pra. XI, pp. 429 has - "nirdosasya gunavato'lamkrtasya ca kavya-sarirasya kaminisarirasya iva saubhagyatisaya-nispattau rasa'viyoga eva prakrstah upayah giyate. Bhoja has discussed the topic of rasa in his own way. From a wider angle as done by Dandin, rasa is also for Bhoja, a 'kavya-sobhakara-dharma' causing beauty in poetry and hence is an 'alamkara'. Bhoja, has included 'rasa' in what he terms 'rasokti'. For him literature is divided into three basic components such as vakrokti, rasokti and svabhavokti. Here, For Personal & Private Use Only

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1318 SAHRDAYALOKA 'rasokti' is the best expression. The SKA. V/8 reads as : "vakroktis' ca rasoktis ca svabhavoktis ca vanmayam, sarvasu grahinim tasu rasoktim pratijanate." (pp. 555, Edn. NS. Bombay, '34) 'Vakrokti' for Bhoja is having predominance of alamkaras. 'Svabhavakti' has gunas as predominant feature while 'rasokti' abounds in 'rasa'. It may be noted that Dr. Rewaprasad Dwivedi in his Sanskrit work viz. "Kavyalamkarakarika" takes exception to the term 'rasokti' with an argument that 'rasa' and 'ukti' are selfcontradictory for 'rasa' is never 'ukta' or directly expressed. But we may, in defence of Bhoja here suggest that even Bhoja does not suggest that 'rasa' is ever 'ukta' or an object of abhidha'. What he means by 'rasokti' is only this much that it is a sort of poetic expression with 'rasa' as its predominent feature, i.e. an 'ukti' charged with rasa. We should not over-read things. For Bhoja is very clear about the importance and the nature of rasa. He observes that like 'presence of excellences' i.e. 'gunayoga', 'rasa-aviyoga' i.e. 'absence of separation from rasa' is a 'nitya'/must' feature of poetry : "nityo hi kavye guna-yoga iva rasa'viyogah." (pp. 437, Ss. Pra.) This 'rasa-a-viyoga' is brought about by two factors, (i) depending on vakya i.e. vakya-visayaka and (ii) depending on prabandha i.e. prabandha-visayaka. The Sr. Pra. (pp. 431) observes, (Ch. XI) : "tayor vakya-visayo'slila-a-mangala-ghrnavad artha-gramyam ity adi dosahanena, dipta-rasatvam kantir ityadi gunopadanena, kaisiki-vaidarbyady alamkara-yogena ca." i.e. The first variety is arrived at by remaining free from blemishes such as aslila, a-mangala, ghrnavad, artha-gramya etc., and by accomplishing excellences such as kanti etc. and also by such embellishments as kaisiki and vaidarbhi, etc. Bhoja holds that "rasa-aviyoga' is brought about by many factors operating together. He gives illustrations from food, dress, cosmetics, music, love etc. He observes : (Sr. Pra.) pp. 431, Ch. XI) : "tatas ca bhojana iva madhura'mla-lavanasalavanam, vesa iva vastra'nulepana-malya-vibhusananam, dhupa iva candana'gurukarpura-sidhrakanam, sangita iva nstta-vadya-pathyanam, premani iva kopa'nunayaprasada-sangama-sukhadinam, garhasthya iva dharmartha-kama-moksasadhana'nusthananam kavya-sarirepi rupaka"dinam samssstir eva visesatah svadamano rasa'viyoga-hetur bhavati. He adds (pp. 435, ibid) that even 'rasa' is alamkara in a wider sense as it makes for poetic beauty - "tatra alamkara-samkarah samsrstir ity eva vaktavye nana-grahanam guna-rasa"dinam apyalamkaratapratipattyartham. tesam api kavya-sobha-paratvena alamkaratvat. For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1319 On pp. 437, Ch. XI Sr. Pra., Bhoja observes that rasa-aviyoga is 'nitya' dharma for poetry. "nityo hi kavye guna-yoga iva rasa'viyogah. gunavato rasavatas ca niscita eva asya prasamsa." From his guna-vicara it follows that he even tries to place rasa in kanti-guna, as done by Vamana. But as read above (pp. 431) he feels "guna'lamkara-sannivesa-visesa-janyatvan nana-lamkara-samsrstav eva that * prakrstatvam labhate." Rasa'viyoga of the type called 'prabandha-visayaka' is also arrived at by the same factors such as 'dosa-hana'. It seems that Bhoja favours an observation that 'rasa' is a total effect of all poetic devices taken together. In short, rasa-aviyoga, is termed as a constant feature - 'nitya' - in poetry and 'rasa' is also in a wider sense an 'alamkara'. To support this Bhoja quotes Dandin 2/275 such as - "preyah priyatara"khyanam rasavad rasa-pesalam, urjasvi rudha'hamkaram yuktotkarsam ca tat trayam." Dandin has termed these three alamkaras as "yuktotkarsa", a term that is explained by Bhoja in his own way. Bhoja's understanding or explanation of the term 'yuktotkarsa' runs as follows : "yuktotkarsam ca tat trayam ity anena a-yuktotkarsanam apy urjasvi-rasavatpreyasam gunatvam eva, na alamkaratvam iti jnapayati." (Sr. Pra. XI, pp. 437, ibid). These three viz. preyas, rasavat and 'urjasvi, in a state wherein they are subdued i.e. in a-yuktotakarsa"vastha are taken as preyas-guna, bhavika-guna and aurjitya-guna. Thus when the three are 'yuktotkarsa' i.e. roused to their fullest capacity, they are termed rasas. Dr. Raghavan also is perturbed by this remark and is ill at ease while explaining this (sec. pp. 431, Sr. Pra. Raghavan). Perhaps it is that Bhoja is inclined to take the same as either 'rasa' or 'guna' as when they are roused to the full capacity (of course by due vibhava"dis) - i.e. yuktotkarsa, or when they are a-yuktotkarsa. The discussion needs greater attention. Seeking inspiration from Dandin, Bhoja describes three stages or 'kotis' of Srngara-rasa acceptable to him. These, are "purvakoti" i.e. primary stage, 'madhyama koti' i.e. the middle position, and 'uttama koti'. i.e. the highest stage. Purva-koti occurs when 'rasa' arises in mind in form of 'mana-maya-vikara', and For Personal & Private Use Only

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1320 SAHRDAYALOKA this is the "rudhahmkarata of urjasvi." Dandin has termed 'rasavat' as 'rasapesala'. This is the second stage wherein ratya"di bhavas reach their highest expression through the proper delineation of vibhava"dis. This is the 'madhyamavastha' of rasa. The third i.e. 'uttara koti', i.e. the highest stage is the stage of 'alamkara' as suggested through the 'priyatara"khyana' called 'preyas'. : "Sr. Pra. XI. pp. 436, ibid) : "tatra urjasvi rudha"hamkaram ity anena atmavisesa-nisthasya utkrsta-adrsta-janmanoneka-janma'nubhava-samskara"saditadralhimnah samagra"tmaguna-sampad-udayatisayahetor ahamkara-visesasya upasamgrahad-ahamkara'bhimana-songara"dyapara-namno rasasya mana-mayavikara-rupena abhimaninam manasi jagratah purvam kotim upavarnayati.... rasavad rasa-pesalam ity anena vibhavanubhava-vyabhicari-samyogad rasanispattir iti ratya"di-rupena anekadha"virbhavato bhivardhamanasya para-prakarsa-gaminah srngarasya madhyamam avastham avasthapayati. ... preyah priyatara"khyanam iry anena ca samasta bhava-murdhabhisiktaya rateh para-prakarsa'dhigamad bhavanapatha`tikrame bhava-rupatam ullanghya premarupena parinataya upadanad bhavantaranam api para-prakarsadhigame rasa-rupena parinatir iti jnapayan ahamkarasyottamam kotim upalaksayati." Perhaps by these three stages Bhoja refers to bhava-dhvani, rasa-dhvani i.e. wherein all the 49 bhavas are raised to the status of rasa, and the highest stage, that we have discussed above as aesthetic pleasure which is supreme, which is 'kavyartha' of Bharata, which is 'santa' of Anandavardhana and Maharasa Abhinavagupta. The third stage is the final stage of art-experience wherein differences of labels such as srngara, karuna, vira etc. that depend on particular set of vibhava"dis mingle and merge into a total art-effect. Thus the madhyama'vastha can be equated with the enhanced stage of bhavas such as rati and the like. Or, perhaps these are only bhavas and are termed rasas metaphorically. But we feel that the explanation of the threefold kotis as suggested by us above suits more not only to Bhoja but to all art-experience. It is suggested by some scholars that this three-fold scheme is inspired by Dandin's treatment of preyah, rasavat, and urjasvi, and that Bhoja also seems to opt for the enhanced stage of a primary feeling being called rasa, and thus getting closer to Lollata also. Or, perhaps this also is not a true interpretation of Bhoja's theory wherein the three stages actually should harmonize, as suggested earlier, with bhava-dhvani, rasadhvani, and ultimate kavyartha i.e. total art-experience or 'Santa'rasa' or 'Maharasa' of Abhinavagupta. For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1321 Or perhaps when Bhoia takes 'prevah privatara"phyana' as purva-koti of rasa he seems to cover up alamkara-dhvani or vakrokti of Kuntaka covering all beautiful expressions leading to both vastu-dhvani and alamkara-dhvani. We keep this point open to debate. But perhaps Bhoja, by his purva-koti, as A. by vastudhvani and alamkara-dhvani, keeps the doors of art-experience open for the inclusion of all modern-most-modern techniques of expression terminating into 'absurd' poetry and 'absurd theatre' also. This point is open to debate. The explanation of the rasa-sutra according to Bhoja falls in the madhyamakoti. Here, he has also explained vibhava, anubhava and vyabhicaribhava. How the combination of vibhava"dis yields rasa is explained by Bhoja as under - Bhoja informs that as the juice comes out of the suger-cane, as oil is squeezed out from the seeds of mustard or rapeseeds, as gold is brought out from raw minerals, as is iron derived from stones, butter from curd, fire derived from a set of special wood, or a machine or friction, in the same way special rasas are born of special emotions such as rati and the like, with the help of special set of vibhava"dis. Thus enhanced emotion such as rati etc., i.e. enhanced with the help of vibhava"dis becomes rasa. Explaining this process of enhancement or upacaya Bhoja observes that as salts when they get mixed up with earth etc. turn other substances into salt, i.e. make them 'atma-rupa', and thus get enhanced, in the same way, the sthayins such as rati etc., turning the vibhava"dis into their own form - atmarupa-get enhanced and are termed rasa. It is suggested by some that Bhoja's idea of rasa-nispatti here is closer to the upacitivada supported by Dandin and Lollata. But its peculiarity is that at the root of this thinking lies the sat-karya-vada of the Samkyas accordings to which karya i.e. effect is believed to be inherently present in a dormant or un-manifest condition in the cause itself. The expression of the un-expressed, the vyakta' phase of the 'avyakta' is the essence of rasa-nispatti-prakriya. Thus rasas inherently dwell in vibhava"dis, of course in an unexpressed form, or un-manifested form, but when these vibhava"di-s combine with the sthayin they get manifested. Bhoja's 'prakarsa' may be equated with Lollata's 'Upacaya'. It may be noted here that by taking sthayin, vibhava, anubhava, and vyabhicarin as rasa in their enhanced stage, Bhoja removes the line of demarcation that divides them. He holds that all 49 bhavas beginning with rati etc., by getting combined with vibhava"di-s, and thereby getting enhanced deserve to be termed For Personal & Private Use Only

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1322 SAHKDAYALOKA "rasa". He observes : (pp. 444, sr. Pra., Ch. XI, ibid) - "ratya"dinam ekonapancasatopi vibhava'nubhava-vyabhicari-samyogat para-prakarsa'dhigamo rasavyapadesarhata rasasyaiva madhyama'vastha, preyah priyatara"khyanam ity upalaksanena yatha rateh prema-rupena parinatis tatha bhavantaranam api parama-paripake pramana-rupena parinatau rasaika"yanam iti rasasya parama kastha iti pratisthitam bhavati." Bhoja's explanation of rasa-sutra pertains to the madhyama'vastha of rasa wherein not only the basic emotions, i.e. ratya"di eight sthayins, but all the forty: nine bhavas enumerated by Bharata are said to be enhanced to the capacity of rasa. But as suggested by us earlier, perhaps this could be equated with the bhava-dhvani. How through the combination of vibhava"dis the bhavas are enhanced to the capacity of rasa is explained by Bhoja by citing many illustrations. His words are : (pp. 444, sl. Pra. Ch. XI, ibid) : "katham punar vibhava'nubhavavyabhicari-samyogad rasa-nispattih? ucyate, yathendu-sannidhes candrakantah syandate, yatha arka-sannidhes suryakantah jvalati, yatha karpura-sannidheh sphatiko viliyate, tatha tebhyas alambanavibhavebhyas tadakara-parinatendriya-buddhy-upadhi-yogino'bhimani-manasas te rati-krodha-soka"dayo bhavah samutpadyante. This explains the role of the alambana-vibhavas. The role of the uddipanavibhavas is explained as (pp. 444, Ch. XI. Sr. Pra., ibid) - "yatha indudaye samudrah ksubhyati, yatha'pathyasevanaya vyadhir abhivardhate, yatha anarya-sannidher asadhuh sutaram duhkhikaroti, tatha tebhays tebhyah uddipana-vibhavebhah, tattad-anubhava-samkara-yogino manasas tat-tat-bhava'bhivrddhaye te te vikara upajayante." He explains the role of anubhavas and vyabhicarins in the words (pp. 445, Sr. Pra., Ch. XI., ibid) : "atha yathaikasya'pi bhuruha"deh kanda-skandha-sakha-vitapadayah prakarah, pallava-patra-puspa-phala-sampad adayo vikarah, ekasya'py ambhasah pavaha"varta budbuda-taranga"dayo vivarta, muktaphala-phena-lavana-karaka"dayo viparinamah, ekasya'pi dhvane tara-madhya-mandra-krsta"dayo bhedah, varna-pada-vakyakujita"vaha-parivaha"dayah skandhah, prana'pana-vyana"dayo'nubandhas tebhyas tebhya upadhibhyo jayante, tathaikasya'pi rati-krodha-sokades tebhyas tebhya upadhibhs te te anubhava vyabhicarinas ca abhyantara bahyasca vyavasthasambhavabhyam upaplavante-tatra bhyantara vyabhicarisu cintautsukya"vegavitarka"dayah bahyah sveda-romanca'sru-vaivarnya"dayah anubhavesva"byantarah For Personal & Private Use Only

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1323 "Concept of Rasa" as seen in Anandavardhana and...... smaraneccha-dvesa-prayantnah bahya mano-vag-buddhisarira"rambhah ta ubhayepy anu kriyamana sattvika"ngika-vacika-citra-samanya'bhinaya-vyapadesam labhante. On pp. 445, he concludes - "atha yatheksubhyo rasah, sarsapebhyas tailam dhatubhyo hiranyam, asmabhyo loham, dadhno navanitam kasthatognis tebhyas tebhyo yantra'gni-mantha-samyogebhyo nispatati tatha svebhyah svebhyo vibhava'nubhava-vyabhicari-samyogebhyah rati-krodha-soka"dibhyas te te rasa nispadyante." Bhoja has some further interesting observations concerning rasa. He observes (pp. 446, Sr. Pra., Ch. XI., ibid): "atha yatha lavana-rasa"dayah sva-samyogino mrdvikadin apyatma-rupatam nayanta upaciyante, tatha ratya"di-janmano rasah ratyadin iva vibhavadin apy atma-rupatam nayanta upaciyante." Also read "atha yatha sarpir-jatu-madhucchista"dinam parthivanam ghana-tuhinakaraka"dinam apyanam trapu-sisa-rajata"dinam taijasanam agni-samyogat dravatam adhis samanyam bhavati tatha vibha'vanubhava-vyabhicarinam rasasamyogad rasata, rasena eva samanyam bhavati." Bhoja suggests that during the moments of art-experience the sensitive enjoyer has no cognition of vibhava"di-s as something separate or independent of the total rasa-experience. He also endorses particular taste from particular combination, though as rasasamanya this event partakes of the total experience. He observes: (pp. 446, ibid) - "yatha iksu-rasebhyo madhu-nispattir yatha madhura"dibhyo sadavotpattir yatha guda"dibhyoh asavotpattis tatha tebhyas tebhyo rasa-samanyebhyah rasavisesa'bhinirvrtih. He believes in a fundamental rasa which has varieties such as rasa"bhasa, bhava, bhava"bhasa etc. He observes; (pp. 446, ibid) : "atha yathaikasya'py agner bhaumadivyaudarya"dayo jatibhedah daha"loka paka"dayo'rthakriyah (= causal effects), dhumarcir-angara"dayovasthah samdrsyante tatha ekasya api rasasya bhava-rasa-tadabhasa"-dayo jatibhedah utkantha'bhisanganirvrttyadayorthakriya utpa'dabhivrddhi-sthairya"dayo'vasthas samupalabhyante." Thus for Bhoja 'rasa-samanya' is the highest art-experience and in the moments when this experience operates, the distinction between sthayin, anubhava, vyabhicarin, etc. melts away. All 49 bhavas deserve to be reckoned as rasa, when enhanced, as they are all 'rasyamana' or 'asvadyamana'. Rudrata (XII. 4) as we know had also taken note of this and had suggested "rasanad rasatvam" of all the 49 bhavas. Bhoja also terms the abhinayas such as vacika, angika, sattvika, aharya and even samanya to be rasa which is wide enough to include even 'nepathya'. For Personal & Private Use Only

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1324 SAHRDAYALOKA Now, a big number of individual rasas prop up and they being "kavya-sobha-kara" are also termed as 'alamkara' in the end. It may be noted that thus rasa-experience in its wider sense is art-experience in general for Bhoja and it is not restricted to mere emotive experience only. This is the case with A. and Abhinavagupta also. Thus 'rasa' is not just the experience of songara and the like alone, but is total artexperience and the result is 'Camatkara' or say 'divine surprise'. Whatever art-expression may be, if it leads to this final stage it is 'rasa'nubhuti' for Bhoja. So, ultimately Bhoja seems to favour one rasa. Innumerable rasas are perhaps only bhavas, or just aspects of a rasa-samanya, and when portrayed in poetry or drama, only one rasa-stngara - which is of the form of bliss - ananda-results. This only is 'rasa'. It results from the tasting of words and meanings portrayed in poetry and drama (or any art). For Bhoja the highest stage or limit of rasa-experience is only one and identical and is termed 'songara' by him. In S.K... (V. i) Bhoja observes : "rasobhimanohamkarah songara iti giyate, yorthas tasya'nvayat kavyam kamaniyatvam asnute." Thus the blissful state that results as an ultimate outcome of any number of rasas experienced, is termed 'songara' by Bhoja. This final stage of bliss - "anandarupata" - is Bhoja's songara' - "eka eva songarah". This bliss is experienced by the soul adorned by I-ness i.e. ahamkara and therefore is not equal to the paramaananda i.e. spiritual bliss of the highest rank. It is slightly lesser and hence 'rasa' is placed along with "ahamkara-abhimana-songara." In his Sr. Pra. (I. 3, pp. 1, Vol. I. Sr. Pra. ibid) - Bhoja observes - "atmasthitam guna-visesam ahamkstasya, songaram ahur iha jivitam atmayoneh, tasya"tma-sakti-rasaniyataya rasatvam, yuktasya yena rasiko'yam iti pravadah." Dr. Raghavan (pp. 452) observes : "It is called songara not only as one that takes man to the acme of perfection, but also because it is Love, it is the very life of Atma-yoni or Kama. Kama is not meant here as sexual love, even as srngara is For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1325 not used by Bhoja here in the sense of love between man and woman and even as Bhoja's Ahamkara here is not egotism." Bhoja, as we have seen, has observed : "sngaro hi nama visistesta-drstacesta'bhivyanjakanam atma-guna-sampadam utkarsa-bijam buddhisukhaduhkheccha-dvesa-prayatna-samskara'-tisaya-hetuh atmano'hamkara-visesah sacetasa rasyamanah rasa ity ucyate-yad astitve rasikah anyathabhave nirasa iti." Thus for Bhoja, the 'aham'-tattva, i.e. I-ness, i.e. its evocation is the very life of 'atma-yoni' or kama, and it takes its birth from the soul.' This self-manifested kama is termed 'srngara', the taste of which is apprehended by the self in the self itself. This taste is rasa. For Bhoja the enlightened cultured person, rasika, with pure conscience does not enjoy the bliss born of the taste of poetry. But this is experienced by the 'ahamkara' - the sense of I-ness that stays in the cultured person. The bliss enjoyed by this I-ness qualified by Abhimana, is higher than worldly pleasure and when it reaches its highest limit of enhancement i.e. when it touches the peak, it is termed songara : "Stngam riyate." There is only one point of this highest bliss and hence Bhoja says: "eka eva srngarah", The highest art-experience is just one and identical. He observes : (Sr. Pra. I. 6) that he calls only one i.e. Srngara, as rasa, of course in his special sense : "songara-vira-karunadbhuta-raudra-hasya-bibhatsa-vatsala-bhayanaka-santa namnah, amnasisur dasa-rasan sudhiyo; vayam tu songaram eva rasanad rasam amanamah." Thus the taste of I-ness - ahamkara - in the soul is the purva-koti and songara is the utimate i.e. parama koti. Bhoja, almost echoing the words of Abhinavagupta saying 'nirvighna samvit' as the highest state of rasa-consciousness, imagines what he terms as "Sengara". "Rasika' for Bhoja is then a cultured person whose I-ness has developed to the extent of rasa-experience. The term 'rasa' attains its true connotation when viewed thus from the point of the 'rasika'. Dr. Raghavan explains that Bhoja has brooded over the concept of rasa keeping in view the 'rasika' in the centre. He explains the term 'rasika' as "rasah asya asti iti", thus 'rasa' is taken as 'guna' i.e. excellence of an individual. Bhoja believes that this rasa-dharma in the 'rasika' is itself "ahamkara". This rasa-ahamkara is seen in individual connoisseur, poet, character, nata or artist and also the spectator. Of course, rasa which is of the form of citta-samvada (i.e. hrdaya-samvada) does not happen with all people with reference to all rasas. It is on account of this that in For Personal & Private Use Only

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1326 SAHRDAYALOKA the works of Bharata and others the characters are classified as uttama, madyama and adhama. Over and above the eight rasas as read in Bharata, Bhoja adds four more such as udatta, uddhata, preyas and santa. Bhoja considers these rasas with reference to the four types of nayaka or hero. The types are dhirodatta, dhira-lalita, dhira-santa and dhiroddhata. Bharata has talks of four prakrti-rasas or basic rasas and four vikrti-rasas i.e. those born of the earlier four. Bhoja does not accept this. He discusses this problem in his own way but it may be observed, as noted by us already, that Bhoja's srngara i.e. abhimana-srngara is very special and is not identical with the traditional concept of srngara as seen in Bharata and the rest. We will try to discuss further the difference between the traditional concept of songara and Bhoja's special songara, as below : Bhoja makes it clear that the songara as imagined or explained by him is only basically the real rasa, and that the songara as explained in other works is no rasa at all. It is merely of the status of a 'bhava' only; i.e. it is only 'rati'. In the same vein, the so called vira-rasa or any other rasa is only a bhava, a basic emotion such as utsaha, or whatever else as the case may be. The so called rasas are only sthayibhavas. When the cultured person, a rasika, relishes these different sthayins, then of course the sthayin concerned is in an enhanced stage with the help of the vibhava"dis, but all of them necessarily do not reach the status of a rasa, i.e. they do not attain to 'rasatva'. They are simply the basic emotions in an enhanced state. Now these enhanced basic emotions jointly merge into a stage called "ahamkara abhimana-songara." Only this is rasa, one and only one! It is enjoyed with the quality of the rasika, that is termed as ahamkara, or his special excellence called 'abhimana'. As the poetic emotion, i.e. bhava in poetry, is caused by bhavana (i.e. it being bhavana-bhavita) it is termed "bhava". This 'bhava' when it reaches its most enhanced stage, it is termed 'rasa'. Bhoja observes : (Sr. Pra. I. 10) : "a-bhavanodayam ananya-dhiya janena yo bhavyate manasi bhavanaya sa bhavah, yo bhavanapatham atitya vivartamana sohamkstau htdi param svadate rasosau." Again, the ratya"di sthayi-bhavas, and harsa-adi vyabhicarins are also not different from one another in their basic nature. All bhavas are of the form of the For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1327 flames of fire, and they tend to give shape of fire in form of songara, to rasa which basically stays as a spark i.e. sphulinga. Just as the flames are many but the fire is one and identical, in the same way emotions such as ratyadi which are enhanced are many, but rasa is only one and is termed 'srngara'. He observes (pp. 431, Sr. Pra., ibid) - "sa songarah, sobhimanah, sa rasah tata ete. ratya"dayo jayante. tais ca'yam prakarsa-praptaih saptarcir arciscayair iva prakasamanah, songarinam eva svadata iti." Bhoja treats all bhavas on equal footing. He observes : (pp. 430, Sr. Pra., ibid) : "nanv astau sthayino' stau satrvikas tyastrimsad vyabhicarina iti bruvate. na tat sadhu. yatomisam anya-tamasyai tena eva parasparam nirvartyamanatvat kascit kadacit sthayi kadacit tu vyabhicari. atovasthanat sarvepy ami vyabhicarinah, sarvepi sthayinah, sattvika api, sarva eva manahprabhavatvat. anupahatam hi manassattvam ity ucyate." We may observe that in the A.bh. on the santarasa, we read the same thought as expressed by Abhinavagupta also that even sthayins also become vyabhicarins and vice-versa. A.bh. reads as (pp. 150, Edn. Nandi. NS. Chs. I, II, III & VI) : "jugupsam ca vyabhicaritvena songare nisedhan munir bhavanam sarvesam eva sthayitva-sancaritva-cittajatva-'nubhavatvani yogyatayopa-nipatitani sabdarthabalakrstany anujanati." (The reading is seen in Masson-Patwardhan). Thus Bhoja presents his own rasa-vicara and accepts virtually the 'rasatva' of only 'srngara' which is certainly not in the traditionally accepted sense. His srngara is not idential with the delineation of srngara as seen in literature, i.e. ratiprakarsa, but is the total effect of a literary work, i.e. it is "kavyartha". In Ch. XI. of his Sr. Pra. Bhoja explains that the termination of rasa i.e. his songara-rasa is in 'prema'. Sungara-rasa as depicted in poetic works haserati' as its basic emotion. This means love between the hero and the heroine. This love is not restricted to man and woman alone but is of the nature of a wider relation such as love for war, love for parihasa i.e. laughter, love for the surprising theme - adbhuta, etc. Now due to the delineation of these variety of love-feelings the general love-feeling that takes shape in the heart of the cultured person, is termed sangara when it is raised to its highest status. The songara of the form of rati-prakarsa is different from this. This is borne out by Bhoja's explanation of the four-fold srngara such as dharma-srngara artha-srngara, kama-srngara and moksa-songara. For Personal & Private Use Only

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1328 SAHRDAYALOKA As observed by us earlier there are three kotis or stages of Bhoja's songara. The taste in form of I-ness or ahamkara is the purva-koti, and the ratyadi-bhavaprakarsa is the madhyama koti of rasa. In the final stage Bhoja incorporates all rasas and all bhavas that give rise to different rasas. This is the stage of "rasa" i.e. "prema-rasa". This is the highest stage, termed "Uttara koti". Bhoja says that this 'rasa' is itself termed 'prema' and the ratya"di bhavas are imagined to terminate in such expressions as rati-priya, rana-priya, etc. Bhoja (pp. 429 Pra., ibid) observes : "rasam tv iha premanam eva amananti. sarvesam api hi ratyadi-prakarsanam rati-priyah, amarsa-priyah, parihasa-priyah, iti premani eva paryavasanat." Abhinavagupta also has a similar observation when he says : "Sarva-rasanam santa-praya eva asvadah.", suggesting thereby a 'maha-rasa'. The 'bhuma' i.e. the highest peak of 'rati', 'hasa', etc. is not rasa for Bhoja, but it is only his 'songara' that is 'rasa' For Bhoja 'rasa' is not just a kavya-rasa but it is an experience which terminates into 'prema' and 'self-realisation'. In short it is divine bliss.' Thus only one rasa, the srngara that Bhoja accepts ultimately becomes 'prema-rasa', which can be bracketted with Abhinavagupta's 'maharasa'. Even Bhoja could have named it as 'maharasa'. But the difficulty is that while Abhinavagupta has equated his 'maharasa' with 'sat-cit-ananda' of Paramatman, and while Jagannatha has called this ananda to be one with the cid-ananda of Paramatman, Bhoja begs to disagree on this count. Bhoja's srngara is of course of the form of, 'paramananda', but it is not exactly the 'sac-cid-ananda' form of paramatman, but it is of the form of paramananda which is born of the sattvaguna of the rasika who is blessed with 'ahamkara-abhimana'. Precisely for this, he terms it as, "sarvatma-sampad-udaya'ti-sayaika-hetuh.", i.e. his srngara drives the rasika to achieve the highest peak of atma-gunas or qualities of soul. Bhoja thus takes his 'eka eva srngara' as a synonym for 'ahamkara"nanda'. We can read Bhattanayaka's influence here, for he also called 'rasa' to be, "brahma"svada sahodara" and not identical with the same. Bhoja also like Bhattahayaka accepts rasa-carvana as taking shape with the help of bhogavyapara. Bhoja's rasa-vicara thus is a new "prasthana", so to say. Though of course, his presentation is not very neat and tidy in the sense that he gives a number of similes, i.e. resorts to metaphorical language to bring home his points. The basic fact about rasa-experience is, as the Kashmir school of thought underlines, "lokottara" phenomenon and therefore no worldly illustrations can explain the same. Even Bharata, when he quotes the illustration of 'sadava"dirasa' is careful in bringing home this point when he insists that rasa-experience is not a physical taste but a 'manasa-bodha'. For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and. 1329 Bhoja's commentator Nssimha-bhatta observes that the songara in kavya results in the relish of bliss only because of a favourable consciousness dawning in the heart of the rasika, and even unhappiness i.e. duhkha turns into 'sukha' or happiness. Through its taste, the 'ahamkara'.of the rasika is aroused and when it reaches, the highest peak it is termed 'songara'. Read, Sr. Pra. pp. 429 ibid : "kim tarhi srngarah ? srngaro hinama visistesta-drsta-cesta'bhivyanjakanam atma-guna-sampadam utkarsa-bijam, buddhi-sukha-duhkheccha-dvesa-prayatna-samskara"dyatisaya-heturatmanohamkara-guna-vicesah sacetasa rasyamanah rasa ity ucyate." - Nrsimha observes : "yena rasyate, yena anukula-vedaniyataya duhkham eva sukhatvena abhimanyate, yena rasikaih ahamkriyate, yena srngam ucchrayo riyate sa khalu tadrsah (srngara-rasah)." From this songara-rasa are born all rasas and bhavas. Bhoja observes that from a single and only element, ahamkara, are born vivartas in form of bhavas : "tad astitve rasiko, tad anyatharve nirasah iti. tad avirbhavahetavas ca tatprabhava eva bhavah. For Bhoja only 'ahamkara' is sthayin and hence is termed 'rasa'. From this one ahamkara-rasa the bhava-prakarsas are born and are termed 'rasa' only metaphorically. Bhoja observes (pp. 430, Sr. Pra., ibid, Ch. XI) : "tatra kecid acaksate. frati-prabhavah sangarah' iti. vayam tu manyamahe. ratyadinam ayam eva prabhava iti. songarino hi ratyadayo jayante, na asongarinah. srngarino hi ramante, smayante, utsahante, snihyantiti. te tu bhavyamanatvad bhava eva, na rasahyavat sambhavam hi bhavanaya bhavyamano bhava eva ucyate. bhavana-patham atitas tu rasa iti. manonukulesu hi duhkhadisv api sukhanubhava'bhimano rasah. sa tu paramparyena sukha-hetutvat ratyadibhumasu upacarena vyayahriyate, ato na ratyadinam rasatvam, api tu, bhavanavisayatvad bhavatvam eva." These upacara-rasas are three-fold viz. prakrsta, bhavarupa and abhasa. Whatever it may be, the bhava remains a bhava only and only metaphorically, due to the entrance of ahamkara in it, it is accepted as rasa, it being rasya-mana i.e. relished. Bhoja increases the number of rasas when he accepts many rasas being born of one fundamental rasa. When these many rasas come together, we arrive at the rasa-samkara. Bhoja observes (pp. 446, ibid) : "atha yatheksurasebhyo madhunispattir, yatha madhuradibhyah sadavotpattir yatha guladibhya asavotpattis tatha tebhyas tebhyo rasa-samanyebhyah rasa-visesa'bhinirvsttih." He also mentions For Personal & Private Use Only

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1330 SAHRDAYALOKA 'jatibhedas' or types of rasas such as bhava, rasa, tadabhasa etc. He also talks of three stages of these such as utpada or janma, abhivrddhi or expansion and sthairya or staying and also takes note of 'phala' such as 'utkantha' and the rest. He observes (pp. 446,. ibid): "atha yathaikasya'pyagner bhauma-divyaaudarya"dayo jatibhedah daha"loka-paka"dayor'thakriyah dhumarcirangara"dayovasthah samdrsyante tathaikasya'pi rasasya bhava-rasa-tadabhasadayo jatibheda utkantha'-bhisanga-nirvrttyadayortha-kriyah utpa'dabhivrddhisthairya"dayo'vasthas samupalabhante." The many rasas as imagined by Bhoja are finally acceptable to him as "alamkara", which for him is basically three-fold such as "vakrokti, svabhavokti and rasokti." He has incorporated all discussion concerning rasa, under 'rasokti'. Under vakrokti and svabhavokti Bhoja has covered up discussions concening 'alamkaras' and 'guna-s'. Thus for Bhoja, guna, alamkara, rasa etc., being kavya-sobhakara are basically 'alamkara' in the wider sense of the term. Thus the whole poetic canvass is created through 'alamkara' and through these alamkaras, 'rasa-aviyoga' is established in poetry. Agni-purana - The author of A.P. (= Agnipurana; references are to "Agnipuranoktam kavyalamkara-sastram"; Edn. Sampurnananda SKt. Uni., Dr. Paras Nath Dwivedi, Varanasi, A.D. 1985); is positively under Bhoja's influence but he has absorbed some ideas from Abhinavagupta also. Ch. IV (Edn. ibid., pp. 71; original ch. 339, Ref. Raghavan) VS. 1-4 begin with the explanation of what is meant by 'rasa'. A.P. (Ch. IV., 1-4) reads as : "aksaram paramam brahma sanatanam ajam vibhum, vedantesu vadanty ekam caitanyam jyotir isvaram. 1 anandah sahajas tasya vyajyate sa kadacana, vyaktih sa tasya caitanyacamatkara-rasa"hvayah. 2 adyas tasya vikaro yah sa mahan iti tu smrtah, tato bhimanas tatredam samaptam bhuvana-trayam. For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1331 abhimanad ratih sa ca pariposam upeyusi, vyabhicarya"di-samanyac chrngara iti giyate. 4 Para-brahama or the Highest Divine is non-perishable, eternal, beyond birth and all-pervading. It is said to be one and only in the Vedanta, is of the form of consciousness, light and is the Supreme Lord. The natural i.e. in-born bliss of that (Supreme Spirit) is manifested only at times. This manifestation (of bliss) is termed 'caitanya', 'camatkara' and 'rasa'. The first change (of form, from the Supreme) is termed "mahar" (tattva). From this proceeds 'abhimana' and in it are covered up the three worlds. From this 'abhimana' springs 'rati', and when this 'rati' is fully enhanced, with the help of accessories or vyabhicarins, it is termed "songara". It may be noted that the A.P. takes 'rasa' to be of the form of 'highest bliss' or 'paramananda'. Brahmasvada is the same as camatkara which again is identical with 'rasa', according to the A.P. This is in conformation with Abhinavagupta. Bhoja on the other hand takes 'rasa' as paramananda-rupa, but for him, this joy is slightly of an inferior type when compared to the joy of consciousness, i.e. cid-ananda of the Supreme Spirit i.e. paramatman. He places it as "ahamkara-abhimana-srngara" in a sort of a composite form. Bhoja believes that from this 'ahamkara' itself all 49 bhavas beginning with rati arise. The A.P. on the other hand, accepts only 'rati' as being caused from this original source and not the other sthayins as well. But when he attaches importance only to songara, he seems to follow Bhoja. Again, A.P. believes that from srngara other rasas emerge as off-shoots. It is observed (VS. 4-6) - tad-bhedah kamam itare, hasya"dya'py anekasah, sva-sva-sthayivisesac ca pariposa"di-laksanah sattva"di guna-santanaj jayante paramatmanah- 5 ragadr bhavati songaro raud as taiksnyat prajayate, For Personal & Private Use Only

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1332 SAHRDAYALOKA virovastambhajah samkocodbhur bibhatsah. 6 It is observed that ahamkara-sangara has many off-shoots such as hasya and the like. These are born due to the peculiarity of individual sthayins raised to the peak, i.e. enhanced. They are born of the extension of the quality of sattva and the like of the paramatman. Thus, songara (in the ordinarily accepted sense) is born of 'raga' or attachment, 'raudra' from fierceness, vira from avastambha i.e. courage or pride or determination, bibhatsa from 'samkoca' i.e. shrinking. Like Bharata, the A.P. then observes that from songara, raudra, vira and bibhatsa are born (the viksti-rasas, such as) hasya, karuna, adbhuta and bhayanaka respectively. The A.P. observes out of their special bhavas are thus born the nine rasas such as srngara, hasya, karuna, raudra, vira, bhayanaka, bibhatsa, adbhuta and santa. The application of these rasas (in poetry, drama or any art-form) is said to take place, according to A.P., with the help of 'abhimana', without which all these are of no consequence. Dr. Raghavan (pp. 495, ibid) observes that A.P. in its Ch. 343, holds rati-songara as enhanced due to dharma, artha, kama and moksa. But here he seems to follow Bharata who has discussed with reference to the ten types of drama, the three-fold srngara such as based on darma, artha and kama. He has also taken note of darma-kama, artha-kama, kama-kama and moksa-kama while treating what is termed, "samanya'bhinaya". On the same footing, A.P. also talks of four-fold 'upaciti'-enhancement of rati-srngara. The A.P. seems to accept rasa as the 'soul of seems there is a special and harmonious combination of both the Kashmir and Malava schools of thought. It may be noted that for the A.P. 'abhimana' is but identical with 'ahamkara'. The term 'abhimana' does not carry the usual sense of 'ego', but is a sort of state wherein the emotions of ordinary world which yield happiness or unhappiness as the case may be, are found to be only relishable, and therefore "abhi-mata" i.e. acceptable. The sukha-duhkha"tmaka worldly experiences become of the nature of bliss and therefore acceptable due to this "abhimana" quality, of the Supreme, i.e. a quality which is 'atma-sthita-guna-visesa'. It is termed rasa because it is "rasyamana" i.e. 'relished'. It is 'srngara' because it takes the enjoyer to the highest peak. Thus the songara of A.P. is not the lust-born love of male and female, but is 'prema' or, 'atmanistha-rati'. For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and..... 1333 The A.P. also discusses the nature of bhavas and their relation with rasa. For the A.P. the kavya-samsara is created by the prajapati named 'kavi'. If he is sensitive-sa-hrdaya - he creates 'sa-rasa' kavya, and if he is 'vi-ragi' or 'ni-rasa', his poetry also will be without rasa. Like Bharata, A.P. also observes (Ch. IV., 28 pp. 89, Edn. ibid) - "na bhavahino'sti raso na bhavo rasa-varjitah, bhavayanti rasan ebhir bhavyante ca rasa iti. 28 We cannot imagine a position when rasa is without bhava or bhava is without rasa. The bhavas cause rasas, and the rasas (in turn) cause the bhavas (i.e. as Abhinavagupta explains, it is with reference to rasas that the bhavas are termed bhavas). The A.P. talks of eight sthayi-bhavas, eight sattvika-bhavas and 33 ns. The causes of the sthayins are termed 'vibhavas' and these are two fold such as the alambana and uddipana-vibhavas. The anubhavas are explained as - (Ch. IV. VS. 60-61, etc.) (pp. 104, ibid) "alambana-vibhavasya bhavair udbuddha-samskrtaih, mano-vag-buddhi-vapusam smrti'ccha-dvesa-yatnatah, arambha eva vidusam anubhava iti smrtah, sa ca'nubhuyate ca anubhava iti nirucyate." i.e. With the help of the enhanced feelings of the alambana-vibhava (i.e. nayaka, nayika, etc.) through the effort of smoti, iccha, dvesa and yatna going with mana, vani, buddhi and sarira respectively, that which is born or effected is termed anubhava. We know that Saradatanaya, as we will go to record later, also speaks of these anubhavas such as mana-arambha-vag-arambha, and buddhyarambha., Thus these anubhavas are prompted as physical actions promoted by mana, buddhi, or Vak. They are placed as this or that variety on account of the part played in majority either by manas, or vag, or buddhi. The buddhyarambha anubhavas are For Personal & Private Use Only

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1334 SAHRDAYALOKA caused by the activity of buddhi and are said to be three-fold such as riti-vrtti and pravstti. A.P. (IV. 70, pp. 108, ibid) observes : "bauddho'padesa-vyaparah sa buddhy-arambha ucyate, tasya bhedas trayas te ca riti-vrtti-pravrttayah." The variants available for 'bauddho.' and 'buddhya"rambha' are, "vacopadesavyapara" and "bauddhaya esa', respectively. Thus predominance of mental activity - manasika-vyapara - is manaarambha-anubhava. This is again two-fold such as paurusa and straina. The first consists of sobha, vilasa etc. the eight qualities. Hava, bhava, hela etc. are straina. The narration of speech is vag-arambha anubhava. It is twelve-fold such as alapa, pralapa, vilapa, etc. The activity promoted by buddhi i.e. intelligence is of three types such as riti-vrtti and pravrtti. The activity based on bodily gestures is termed sarira"rambha-anubhava. This is twelve-fold such as lila, vilasa, vicchitti, etc. etc. The A.P. has correlated these four vyaparas with the four-fold abhinaya i.e. acting. The mana-arambha is connected with sattvika abhinaya, vag-arambha with vacika-abhinaya, buddhya"ramhha and pravrtti are part of this. The sarirarambha is connected with angika-abhinaya. The activities of limbs and parts of limbs fall under this. We have seen above how Mahima, Dhananjaya and Dhanika treat the topic of rasa. After Bhoja and A.P., we will pick up the thread as seen in Mammata, down to Jagannatha wherein the Kashmira School of thought has an upper hand with some minor straying away as seen in the Natyadarpana of Ramacandra and Gunacandra, whose ideas carry some impressions from different sources. Similarly, saradatanaya, Sagaranandin and Rasa'rnava-sudhakara of singabhupala, and then Rupa and Jiva-Goswamin also carry some different traits. We will discuss this as under : Mammata discusses 'rasa' following absolutely the lead of Anandavardhana and Abhinavagupta. Actually we may say that the works of these three form the real "prasthana-trayi" of alamkarasastra. Mammata (= M.) observes that the basic emotion, i.e. sthayin suggested by vibhava"di-s, is rasa. K.P. IV. 27, 28 (pp. 62, 64, Edn. R. C. Dwivedi, pub. Motilal For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1335 Banarasidass, Delhi, '67) read as : "karanany atha karyani sahakarini yani ca ratyadeh sthayino loke tani cen natya-kavyayoh - IV. 27, vibhava anubhavas ca kathyante vyabhicarinah, vyaktah sa tair vibhavadyaih sthayi bhavo rasah smotah." IV. 28 "Now, if the causes, effects and auxiliaries of the basic mental state, such as love, in the world are (found) in poetry and drama, they are spoken of as determinants, ensuants and transitories (respectively). The basic emotion, manifested (= suggested) through these determinants etc., is known as 'rasa'." (Trans. R. C. Dwivedi, pp. 63, 65, ibid). Following his masters Anandavardhana and Abhinavagupta M. is also clear regarding the fact that the vibhava"di-s in themselves are not rasa, but they make for rasa. Rasa is suggested in an unnoticeable sequence by these vibhava"di-s. This rasa is not identical with alamkaras such as 'rasavat and the like. M. observes (vstti, K.P. IV. 25, pp. 60, 61, ibid) : "na khalu vibhava'nubhavavyabhicarina eva rasah, api tu rasas tair ity asti kramah. sa tu na laksyate. tatra ca, rasa-bhava-tad abhasabhava-santyadir akramah, bhinno rasady alamkarad alamkaryataya sthitah." (K.P. IV. 26) adi-grahanat bhavodaya-bhava-samdhi-bhava-sabalatvani. pradhanataya yatra sthito rasa"dis tatra alamkaryah, yathodaharisyate. anyatra tu pradhane vakyarthe yatrangabhuto rasa"dis tatra gunibhuta-vyangye rasavat-preya-urjasvi-samahita"dayo lamkarah. te ca gunibhuta-vyangya bhidhane udaharisyante." (Trans. R. C. Dwivedi, pp. 61, 63, ibid) : " 'Without perceptible', etc., implies - it is not at all that the determinant - ensuant, and the transitory (vibhava, anubhava, sancaribhava) by themselves are rasa, but rasa is (manifested) through these, hence there is sequence but it is not perceived (owing to its quickness). For Personal & Private Use Only

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1336 And there, (K.P. IV. 26) The non-sequential (i.e. a-samlaksya-krama-vyangya) consisting in rasa, emotion, their semblance, pacification of the emotion and the like is different from the figures, such as rasavat, and stands as one to be adorned. By the use of 'and the like', are meant the 'rise of emotion', the 'co-existence of emotions', and the 'variegation of emotions'. Where 'rasa' etc. stand out prominently there it is the object to be adorned as will be illustrated later on. Otherwise, when the meaning of a sentence is prominent and rasa, etc. are subordinate, there is the subordinate, suggested sense (i.e. mediocre poetry) are the figures rasavat, preyas, urjasvi, samahita and others. And these will be illustrated later under the description of the 'subordinate suggested sense'. SAHRDAYALOKA - For M., the worldly basic emotion i.e. laukika or loka-gata sthayin is different from the 'suggested' i.e. 'vyakta'-sthayin. Thus 'rasa', which is of the form of "suggested sthayin", is different from worldly emotion, i.e. it is "sthayivilaksana." In view of this M. quotes the rasa-sutra of Bharata and furnishes all explanations of this sutra as advanced by Bhatta Lollata, Sri. Sankuka, Bhatta Nayaka and Abhinavagupta and proceeds to get engaged in the epistemological consideration of the nature of rasa. All this we will discuss later when we take up the topic of rasa-realisation and the nature of 'rasa'. M. further explains that in the rasa-sutra there is mention of "vibhavaanubhava-and vyabhicarin", the three of them to bring home a point that the mixture of these three taken together, i.e. the whole "samagri" is the cause of rasa, with which it is associated in an invariable relationship. The idea is that individual vibhava, anubhavas or vyabhicarin can stay away separately of a given rasa, but when they are combined in a given form, they make only for a given rasa. The 'Samagri' as a whole is invariably connected with this or that rasa. Yes, poets are masters of themselves and so if in their poetry we come across the delineation of only a particular vibhava, or a particular anubhava or a particular vyabhicarin alone, then the other respective missing members of the combination or samagri are to be imagined by a sa-hrdaya. This means the other factors are implied if not stated directly in a given piece of poetry. Individual vibhavas are likely to go with more than one rasa, but a given combination suggests only a given rasa alone. M. observes (Vrtti, K.P. IV. 28, pp. 72, ibid) : For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... "vyaghra"dayo vibhava bhayanakasya iva vira'dbhuta-raudranam, asrupata"dayo'nubhavah srngarasya iva karuna-bhayanakayoh, cinta"dayo vyabhicarinah srngarasya iva vira-karuna-bhayanakanam iti prthag anaikantikatvat sutre milita nirdistah." (Trans. R. C. Dwivedi, pp. 75, ibid) : "The determinants, tiger and the like, belong to the Heroic, the Wonderful and the Furious, as to the Terrific; the ensuants like the fall of tears belong to the Pathetic and the Terrific, as to the Erotic; the transitories like anxiety to the Heroic, the Pathetic and the Terrific, as to the Erotic. As these are not exclusive (to any particular rasa), they have been mentioned together in the aphorism (of Bharata). 1337 M. mentions the eight rasas as read in Bharata and also mentions santa, the ninth, half-heartedly. M. observes (K.P. IV. 35 a) (pp. 88, ibid) "nirveda-sthayibhava"khyah santopi navamo matah." "Quietism also is the ninth rasa with detachment as its basic emotion." This M. does perhaps under the influence of the DR. of Dhananjaya. Hemacandra follows the lead of the great three i.e. Anandavardhana, Abhinavagupta and Mammata. His disciples Ramacandra and Gunacandra beg to differ in some respect from the Kashmir School of thought. It may be noted that Hemacandra (= H.) in his learned commentary termed 'Viveka' on his own Kavyanusasana, has virtually paraphrased the whole of Abhinavabharati on the rasa-sutra and other portions connected with rasa, bhava etc. He has therefore preserved very reliable readings from the original A.bh. that was available to him. It is therefore that Gnoli, and even Masson and Patwardhan have preferred readings from the A.bh. as presented by H. in his Viveka. Actually my Guru Dr. V. M. Kulkarni has given the reconstructed text of the missing portion of the A.bh. on the Bhavadhyaya i.e. Ch. VII of the N.S. Actually H.'s viveka is the most reliable research tool for fixing up of actual readings from various sources which include not only the great works on Alamkara such as the Vyaktiviveka of Mahimabhatta, but also the great literary works such as those of Kalidasa. Actually in separate research papers read at various venues we have tried to fix up the variants as read in the works of For Personal & Private Use Only

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1338 SAHRDAYALOKA Kalidasa with the help of H.'s viveka. But this apart, H. has the genius of presenting the most difficult topics in a lucid way and his style and presentation in this respect deserve to be placed with the greatest masters of Sanskrit prose such as the great Adi Sankaracarya and the great Anandavardhana. We will deal with all theoretical points concerning rasa-realisation and the like in the chapters 16 and 17 of this volume, and of course H.'s name will figure therein, but for the present we look into only that portion from the text of the Ka. Sa. wherein he discusses the topic of rasa (Ch. II. Ka. Sa. Edn. Parikh and Kulkarni, Bombay, '64. All references are to this edn.) In the second chapter of his Ka. Sa. (pp. 88, ibid) he starts with the topic of rasa for consideration. He observes : (sutra. 26) rasa-laksanam aha"vibhava'nubhava-vyabhicaribhir abhivyaktah sthayi bhavo rasah. (1) vagady abhinaya-sahitah sthayi-vyabhicari-laksanas citta-vsttayo vibhavyante visistataya jnayante yais tair vibhavaih kavya-natya-sastra-prasiddhaih alambanoddipana-svabhavair lalanodya-na"dibhih, sthayi-vyabhicari-laksanam citta vrtti-visesam samajika-janonubhavan anubhavyate saksatkaryate yais tai anubhavaih kataksa-bhuja"ksepa"dibhih, vividham abhimukhyena carana-silair vyabhicharibhir dhrti-smrti-prabhrtibhih, sthayibhava'numapakatvena loke karanakarya-sahacari-sabda-vyapadesyaih, mamaivaite parasyaivaite na mamaite, na parasyaite iti sambandhi-visesa-svikara-pariharaniyama-anavasayat sadharanyena pratitair abhivyaktah, samajikanam vasana-rupena sthitah sthayi ratyadiko bhavo niyatapramatrgatvena sthitopi sadharanopayabalat sahsdaya-htdayasamvada-bhaja, sadharanyena gocari-kriyamanas carvyamanataika-prano, vibhava"di-bhavana-vadhir alaukika-camatkara-karitaya para-brahma'svada-sodaro, nimilita-nayanaih kavi-sahrdayai rasyamanah sva-samvedana-siddho rasah." After this in the Viveka follows the discussion on rasa-nispatti-prakriya, wherein the text of the A.bh. containing the views of Lollata and others is preserved with purest of pure readings. This takes up pp. 89-102 (text, ibid), and then follows in the body of the text the epistemological consideration of the nature of rasa as read in the A.bh. and the K.P., (pp. 103, ibid). This we will pick up later. The portion as quoted above explaining the fact of rasa also contains full impressions of what we read in the A.bh. and also in the K.P. The substance of this paragraph can be explained as follows: For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1339 Hemacandra (= H.) following Mammata (= M.), Abhinavagupta and Anandavardhana (= A.) is very clear that suggested basic emotion "abhivyaktah sthayi bhavah" is "rasa". This is done with the help of 'vibhava"di's. He further explains the terms vibhava etc. as follows. Vibhavas or determinants are so called because through them are caused to be known the sthayin or basic emotions in a very special way : "vibhavyante visistataya jnayante yaih taih vibhavaih" says H. These vibhavas cause the mental states such as sthayins or permanent or basic emotions and vyabhicarins or transitory mental states be known in a very special way. This "very special way" i.e. 'visistataya' means these mental states, though residing in individual 'samajika', are not known or are not brought to light as individual mental states. This means they cease to be personal. There is no cognition such as "these are my feelings or emotions, or these are not my feelings or emotions, or that these are or are not somebody else's feelings and emotions." Actually the cognition of the emotions is so very special that it is cleared of any relation whatsoever with anyone, present or past or even future. This is the magic of the 'vibhavas' or determinants. The power of these vibhava"dis gets rid of any personal relationship between the emotion manifested and any individual. The vibhavas, explains H., are two-fold such as 'alambana' and 'uddipana' i.e. the substrate and the stimulating causes, known both in poetry and drama, such as the hero, heroine etc. and garden etc. These two types of vibhavas are the causes so to say. The 'anubhavas' or consequents or ensuants are factors that cause to apprehend the feelings and emotions. These anubhavas are so to say 'effects', such as the side-glance, and the tossing of arms etc. that cause the feeling of, say love, to apprehend. The samajika is caused to apprehend various emotions and feelings by the physical expression of feelings. The third factor is the vyabhicarins or transitory feelings that go hand in hand with the basic emotions and as explained by M., and these cause to enhance the basic emotions. These three i.e. vibhavas, anubhavas and vyabhicarins are known in ordinary parlance as karana, karya and sahacarins respectively. They stand as factors that help the inference of a particular feeling or emotion in a given person in worldly context. Here, in the context of poetry and drama or art in general, these three factors are revealers or suggesters so to say and not causes that lead to inference. The feelings suggested are not personal feelings of a given person or character. The emotions and feeling thus evoked are so to say de-individualised i.e. "sadharanyena pratita." They are collected in a non-personal form. Emotion thus For Personal & Private Use Only

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1340 SAHRDAYALOKA evoked or suggested by impersonalised vibhava"dis is termed "rasa". The acting in case of drama, or description of acting in case of poetry helps the cause of the vibhava"dis. These abhinayas are four-fold such as acting connected with speech, body, mind and external apparatus, such as stage-decoration, costumes, makeup, etc. This generalised suggested or evoked emotion is enjoyed by the samajika, who himself is also placed beyond personal relationship. The samajika has attained a status wherein he acquires aesthetic sympathy - "sahsdayahrdayasamvada", and thus is beyond personal hates and likes, preferences and prejudices. The emotion thus evoked actually stays in the heart of the samajika as a result of impressions of past births, observes H. But these generalised emotions when suggested by generalised vibhava"dis are free from personal bindings. They are therefore relished, become the object of aesthetic delight. "Relishing' is its life-breath. This relishing lasts till the presentation of vibhava"dis lasts. This relish is of the nature of a-laukika i.e. extra-worldly bliss or camatkara. This enjoyment of suggested basic emotion through means of art i.e. vibhava"dis, is termed "rasa" which is 'sva-samvedana-siddha' i.e. object of extraordinary self-experience. It is located in art only, i.e. it is "sui generis" or exclusive to art. H. observes that the enjoyment called 'rasa'-experience is similar to the taste of ultimate reality - i.e. "para-brahma"svada-sahodara". H. as noted earlier, accepts 'santa' as the ninth rasa without any reservation as seen even in M. we will discuss the problem of santa-rasa, the number of rasas etc. in the next chapter. We will discuss the concept of rasa as seen in the Natyadarpana (= ND.) of Ramacandra and Gunacandra later when we pick up works on dramaturgy. Though of course chronologically the N.D. should follow the Ka. Sa.. but we will pick up this work along with other works on dramaturgy. We could have taken even the DR. of Dhananjaya separately. But on account of the antivyanjana stance, and on account of its earlier date we considered that work earlier. The other works on dramaturgy more or less follow the lead of vyanjana-dhvani-vadins. Even Saradatanaya is not anti-vyanjana-theorist. So, we will now move on to Vagbhata (I), the author of Vagbhatalamkara or karya'lamkara. Vagbhata (V. i) is of the opinion that, even if it is perfectly cooked, food is not palatable without salt, in the same way poetry without rasa is not enjoyable. For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1341 He seems to belong to the tradition of those, including Sankuka perhaps, who hold that the basic emotion i.e. sthayin enhanced by anubhavas, vibhavas, sattvikas and vyabhicarins is rasa : "anubhavair vibhavais ca sattvikair vyabhicaribhih, aropyamana utkarsam sthayi bhavo bhaved rasah." It is interesting to read 'satrvika bhava over and above the three viz. vibhava, anubhava and vyabhicarins. The ND. of Ramacandra and Gunacandra also observe, as we will go to see later that "sritotkarsah sthayibhavah rasah." It may be interesting to note further that Vagbhata (I), at V. 3, enumerates the sthains which go to include 'sama' also. Thus he supports the case of santarasa, as is done by Udbhata. At I. 4, he mentions nine rasas along with santa and observes that these nine are supported by the wise : navaite niscita budhaih." He proceeds to deal with two-fold srngara and then with nayaka. He talks of nine rasas individually also. He does not enter into any theoretical discussion concerning rasa-realisation. Vagbhata (II) follows M. and the Kashmir tradition. He observes (V; pp. 53, Edn. NS., 1915) : "tatra vibhavanubhavair vyabhicaribhis' ca'bhivyakta rati-hasasoka-krodhotsaha-bhaya-jugupsa-vismaya-samah sthayino bhavah, kramena srngarahasya-karuna-raudra-vira-bhayanaka-bibhatsa-adbhuta-santa nava rasa bhavanti. He proceeds to discuss each rasa along with its vibhava"dis. Then he describes the thirty three vyabhicarins, and eight sattvikas. He then talks of rasabhasa and bhavabhasa born of 'an-aucitya'. Then he talks of rasa-dosas and their exceptions, three-fold prakrti or nature, four-fold nayakas, three-fold nayika, the eight avastha or states of nayikas, etc. Jayadeva, in Candraloka (VI 1-3) talks of rasa as follows : alambano'ddipana"tma vibhavah karanam dvidha, karyo'nubhavo bhavasca sahayo vyabhicary api." (VI. i) galad-vedyantarod bhedam hrdayesv a-jadatmanam, For Personal & Private Use Only

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1342 SAHKDAYALOKA milan-malayaja"lepaiva"hladam vikasayan (VI. ii) kavye natye ca karye ca vibhavya"dyair vibhavitah, asvadyamanaika-tanuh sthayibhavo rasah smotah." (VI. iii) Here Jayadeva (= J.) uses the term vibhavita' in the sense of abhi-vyakta'. The rest follows the lead of the Kashmir tradition. He had also noticed, while defining poetry, that the poetic expression has to be accompanied by rasa. He does not go for any theoretical discussion on the nature of rasa. He goes on to deal each rasa individually. He also accepts santa and observes at VI. 13 - "nirveda-sthayikah santah satsanga"di-vibhava-bhuh, ksamadika'nubhavo'yam stambhadi-vyabhicarakah.". Then he talks of sthayins and vyabhicarins, rasabhasa and bhavabhasa, bhavasanti, bhavodaya, bhava-sabalata and bhava-samdhi etc. and then ritis. Vidyadhara in his Ekavali (III. i) following the Kashmir tradition accepts rasa to be collected by vyanjan, and he denounces, after M., the tatparyavada. He also discusses the nature of rasa after M. He establishes that rasa is not inferred, nor recollected (smrti), nor effected (i.e. karya), but is of an extra-ordinary nature. He accepts all rasas including the karuna, to be of the nature of bliss or ananda, and is of the form of happiness and is an experience wherein all consciousness of anything but itself is melted away - 'vigalita-vedyantara'. He takes rasa to be that taste which is born of the perception i.e. suggestion of 'kavyartha' and is born of the bliss of self : "svadah kavya'rtha-sambhedad atmananda-samud-bhavah." The taste is four-fold with reference to the position of the conscience such as ikasa, vistara, viksobha and viksepa. The Vikasa' is explained on the analogy of the blossoming of flowers. Vistara is the expansion like that of a tree. Viksobha or disturbance is like that of an ocean and viksepa is like the hustling due to wind. We may read the impression of the DR. here. The four upadhis of citta of the form of vikasa, vistara etc. are respectively called srngara, vira, raudra and bibhatsa. For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1343 "Upadhi' is explained by Vidyadhara as bhumikasraya - i.e. The basic. The four upadhis are also to be counted respectively in case of hasya, adbhuta, karuna and bhayanaka. All this follows Bharata. Vidyadhara's presentation is clean and lucid. Vidyanatha : The rasa-prakarana, in the Pratapa-rudriya (= PR.) begins with this observation : (pp. 155, Edn. '14, Madras, Chandrasekhara Shastrigal) - atha sarvesam prabandhanam jivitabhutasya rasasya svarupam nirupyate - "vibhavanubhava-sattvika-vyabhicari-samagri-samullasita-sthayibhavo rasah." It may be noted that Vidyanatha calls 'rasa' to be the very life of all poetic compositions. But he is clearer in forming the rasa-sutra with the mention of sattvika-bhavas in the 'samagri' i.e. combination that makes for the blossoming ("samullasita") of the sthayi-bhava, termed rasa (in its 'samullasita' state). He seems to be under the influence of the school of thought as represented by the Agnipurana which also mentions "sattvika-bhava" separately. Kumarasvamin in his "Ratnapana" (pp. 155, 156, ibid) observes : vaksyamana-laksana vibhavadaya eva samagri, taya sarasa-kavya-samg; hitaya, nipuna-nata-pradarsitaya va, samajika-bhavyamanaya samullasita asvadyamano nirbhara'nandah samvid-rupatam niyamanah sann ity uktam bhava-prakase * "prakasananda-cid-rupam rasatam pratipadyate, prakrsyamano yo bhavah sa sthayiti nigadyate', iti. evamvidhah samajika-nistho ratya"disthayibhavo, rasyate asvadyate iti vyutpattya rasa ity ucyate. tad uktam - "rasateh svadanarthatvad rasyanta iti te rasah." Kumaraswamin seems to suggest that the combination i.e. samagri which is of the form of vibhava, etc., - which is presented either by poetry or by the expert actor (in case of dramatic art), - and the samagri which is relished by the samajika gives rise or causes to sprout, the highest joy which is made of consciousness. The Bhavaprakasana is quoted as saying that - "That is called sthayi-bhava which is enhanced and is relished (rasatam pratipadyate) in form of consciousness made of light and bliss." Thus, this type of ratyadi-sthayin, based in the self of the samajika, when enjoyed, or tasted is termed rasa, because of its being "tasted". He quotes a source suggesting that because it is tasted or enjoyed it is termed 'rasa'; the Vras is in the sense of being tasted'. One thing is clear that Vidyanatha, perhaps under the influence of the malava school of thought, uses the terms "samullaita-sthayibhavo rasah". He could have clearly stated "abhivyaktah" or "vyaktah", as he himself, as observed earlier, does accept 'vyangyartha', 'vyanjana' and "dhvani". But his loyalty towards the Malava For Personal & Private Use Only

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1344 SAHRDAYALOKA school of thought is also clear when he quotes from the DR. (pp. 157, ibid): "tatha coktam dasa-rupake - "vibhavair anubhavais ca sattvikair vyabhicaribhih, aniyamanah svadutvam shayi bhavo rasal smetah." He goes on to explain 'sthayibhava' is so termed because it is not over-powered by similar or dissimilar feelings or emotions in the moments of the rasa being experienced. Again he quotes the DR. (pp. 158, ibid) - "sa-jatiyair vijatiyair a-tirasketa-murtiman, yavad rasam vartamanah sthayi bhavah udahstah." Then he mentions nine rasas including the santa and also mentions 'sama' the sthayin of santa, along with the other eight, viz, rati hasa, etc. Here he seems to accept the lead of A. and Abhinavagupta in accepting 'santa' - rasa clearly as an independent rasa. Vibhava (pp. 158, ibid) for him is the cause of the birth of rasa - "rasotpadanakaranam", and is said to be two-fold such as the alambana and uddipana. The alambana-vibhava is said to be "rasa-samavayi-karana" (pp. 159) - Thus it is the inseparable or material cause of rasa. The separable or a-samavayi-karana is the uddipana-vibhava. "itarat karanajatam uddipana-vibhavah." (pp. 159, ibid). He quotes here from "srngara-tilaka". 'Anubhava' is explained as effect - "karya-bhuto'nubhavah" (pp. 159, ibid) The sattvika-bhavas are explained (pp. 159, ibid) as - "atha sattvika-bhavah" - paragata-sukha"dibhavanaya bhavitantah-karanatvam sattvam. tato bhavah satrvikah." 'Sattva' is that state of mind which is pervaded by imaginary feelings of happiness or unhappiness as actually experienced by others. Through this mental state i.e. 'sattva', are born the sattvika bhavas. This means the exhibition of sattvika-bhavas on the part of an expert actor rests on his capacity to identify his mental state with the mental state of someone else, and this requires concentration of mind. Vidyanatha simply enumerates the thirty-three vyabhicarins (pp. 161, ibid). He does not define the same but quotes the K.P. IV - viz. "karanany atha karyani... vyabhicarinah." For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1345 He draws a line of distinction between rasa and rasa"bhasa, when he observes (pp. 162, ibid) - "loke karya-karana-sahakari-sabdavacya nayika-nayaka-kataksa-bhruksepanirveda"dayah, kavya-naryayos tu vibhavanubhava-vyabhicari-sabda-vyapadesya bhavanti. srngara-vira-raudra'dbhutanam lokottara-nayaka"srayatvena pariposatisayah ata eva songarasya mleccha"di-visayatve tv abhasatvam." He further observes : (pp. 162, 3 ibid) - tatha coktam - ekatraiva'nuragas cet tiryan-mleccha-gato'pi va, yosito bahu-saktis ced rasa"bhasas tridha matah." Thus one-sided feeling (ekatra-eva-anuraga, as in case of Ravana's infetuation for Sita), or love with reference to unsophisticated or uncultured people, or love with many ladies (or males also ?) at a time, gives rise to three-fold rasa"bhasa. He also talks of the four viz. bhava-santi, bhavodaya, bhavasamdhi and bhavasabalata with reference to the four states of the vyabhicarins. Then he goes for the explanation and definition of the ratyadi sthayins. He ends here with sama. Sama is defined as 'nirvikara-cittatva' due to 'vairagya"di', wherein. isvaranugraha, satsanga", etc. Then he picks up the eight sattvikas. (pp. 171, ibid). Thirty-three vyabhicarins are the next to be defined and illustrated. (pp. 173-186 ibid). Then he observes (pp. 187, ibid) that as the satrvikas and the vyabhicarins are individually associated with many rasas, no illustration with reference to just one rasa is given. For example all are associated with srngara - "tatra satrvikanam vyabhicarinam ca anekarasa-sadharanatvan na visesam apeksya udaharanam krtam. tatha hi srngare sarvesam anupravesah sambhavati." Then Vidyanatha discusses srngara-cesta such as bhava, hava, hela, etc. which are eighteen in number. Then tvelve states - 'avasthah of songara such as caksuhpriti etc. ending with 'marana' are described with reference to the four-fold expression such as 'ankuritatva', 'pallavitattva', 'kusumitatva' and 'phalitatva'. Then he talks of two-fold songara such as sambhoga and vipralambha (pp. 199, ibid) following again the lead of 'Srngara-tilaka'. The four sub-varieties of the latter, such as abhilasa, irsya, viraha and pravasa are also discussed. Then rasa"bhasa, bhavodaya, bhavasama, bhava-samdhi and bhava-babalata are For Personal & Private Use Only

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1346 SAHRDAYALOKA illustrated (pp. 201-203. ibid). Rasa-samkara is taken up next and illustrated. He means by this the co-existence of rasas in a single verse or composition. He then talks of the substratum of rasa. Here he talks perhaps of worldly rasa as staying in the hero : (pp. 205, ibid): "atra raso nayakasraya eva". But he talks of samajika-gata-rasa also. We feel that in taking rasa to be anukaryarama"dinayaka"sraya, Vidyanatha is under some misconception of rasa. For the followers of the Kashmir School, rasa always resides in art and never in real life. "rasas tu natya eva, na loke" (A.bh. NS. Ch. VI). But Vidyanatha observes : (pp. 205, ibid) :. "atra raso nayaka"sraya eva. yadi param nipuna-nata-cestaya tathavidhakavya sravana-balena ca samajikaih saksad bhavyate, tada paragatasyapi rasasya samyag-bhavanaya paratra niratisaya"nanda-jananam a-viruddham." i.e. For Vidyanatha, rasa primarily resides in the original nayaka. But looking at the imitation by an expert actor, or by listening to poetry describing feelings of others, when men of taste (samajikas) enjoy rasa, it is said to be 'para-gata' also i.e. residing elsewhere and not in the original hero. Then he talks of the rasa, i.e. a-laukika-rasa as residing in the samajikas also on the strength of sadharanikarana. But whatever Vidyanatha writes, as we quote below. suggests only his primary understanding of 'rasa'. Even his commentator Kumaraswamin also, as observed by us elsewhere also, depicts an immature understanding of the fact of rasa. Vidyanatha observes (pp. 205, ibid) "atra raso nayaka"sraya eva. yadi param nipuna-natacestaya tathavidha-kavyasravana-balena ca samajikaih saksad bhavyate tada paragatasya'pi rasasya samyag bhavanaya paratra niratisaya"nanda-jananam a-viruddham." The commentator Kumaraswamin observes (pp. 205, ibid) here - "tair (= if by the samajikas) yadi param saksad bhavyate, kevalam svasambandhitvena anu-samdhiyate ced ity arthah. tarhi putra"dya"nanda-darsane pitra"di-vad atrapya"nanda udetiti bhavah." - All this seems childish. Then says Kumara-swamin, Vidyanatha explains the a-laukika-rasasraya : "atha alaukika-rasasya"srayam aha." "athava iti..." Vidyanatha observes : (pp. 205. ibid) - "athava malaty adi-sabdebhyah yosinmatra pratitau, ravana"di-sabdebhah satru-matra-pratitau ca smrty arudhena tat-tad-yosidvisesena anukaryena samajikasrayatvam na viruddham. The N.D. of Ramacandra and Gunacandra also exhibits immature understanding concerning rasa, in like fashion as done by Vidyanatha. We will consider it later. For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1347 Vidyanatha rules out the case of 'nata' experiencing rasa, for he simply imitates : (pp. 206, ibid) - "natasya anukarana-matra-parataya naiva rasa'sraya-yogyata." But gives some concession as is done by the ND., such as when the nata becomes a 'bhavuka' or a sympathiser like a samajika, he may experience rasa - "tasya bhavukatva'bhyupagame'pi samajikatvam eva" - Thus as a samajika he is entitled to enjoy rasa ! Vidyanatha holds, following Bharata and the rest, that the manifestation of anubhavas (on the part of the actor) depends on expertise due to training, practice etc. He discusses rasa-virodha smoothened by poet's expert handling. He talks of 'rasad rasotpatti', again following the lead of Srngara-tilaka. He talks of vyabhicarins that go with this or that rasa, again following Srngara-tilaka. He observes that (pp. 208, ibid): "bharatiyokta-prakriyaya yady apy eka eva rasas tatha'pi mahakavi-prasiddhaya rasa-samkarah svikriyate." We do not know what he is aiming at by 'bharatiyokta prakriya'. But he seems to recommend that basically there is one rasa but rasas are said to be many with reference to the practice of the great good poets. Here perhaps he shows impressions of both Abhinavagupta and Bhoja. Then talking about rasavad adi alamkaras, Vidyanatha proceeds to observe (pp. 208, ibid) "tatra rasa"der a-pradhanye rasavad ady alamkarah bhavanti. anya'ngatvena rasa-nibandhane rasavad alamkarah, bhava-nibandhane preyo'lamkarah. rasa"bhasabhava"bhasa-nibandhane urjasvi alamkarah. bhava-santi nibandhane samahita'lamkarah. tatha bhavodayo'pi." He seems to follow here the lead of Alamkara-sarvasva. He observes: (pp. 208, ibid): "etad alamkara-sarvasve prapancena uktam." He says that these will be illustrated in the chapter on alamkaras. At the end of the chapter on rasa, he tries to give a sort of summary that helps in apprehending the nature of rasa : All this is mostly under the influence of the Malava School of thought. He observes (pp. 208, 211, ibid): "guna'lamkarasri-krta-parikaro bhavavibhavah sphurat-pradurbhavah kramagalita-vedyantarasukham va duhkham va nibidayaty yunoh sahrdaye tvamanda"nanda"tma parinamati purno rasabharah" raso vakyarthah san vilasati For Personal & Private Use Only

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1348 SAHRDAYALOKA padarthah punarami vibhavadya yasmin kila dadhati visrantim ucitam, ato bhava eva krama-samuditanyonya-vibhava rasibhavam bibhraty atha ca patatam tantavatvaiva. bhave sthayini vardhamana vibhave ratyadike sindhuvat kallola iva sambhavanti vilayam ca"yanti bhava muhuh, nirvedady upabhoga-bhavitanijasvadatireko raso loke syad anukarya eva kathito natye tu samajike." The commentator takes pains to explain that a-laukika rasa is necessarily with reference to the samajika in the opinion of Vidyanatha. He quotes Saradatanaya and Naraharisuri to support his observation. It is clear that both Vidyanatha and his commentator Kumaraswamin are equally not clear about the basic nature of rasa. Visvanatha (= V.) the author of Sahityadarpana is crystal clear in his understanding of the nature of rasa. He accepts the supreme importance of rasa and holds it to be the very soul of poetry: "vakyam rasa"tmakam kavyam"- is his famous definition of poetry. Of course, he recognises rasa as form of dhvani, the 'a-samlaksya-krama' variety as done by A., but he devotes an entire chapter to rasa (= S.D. III.), wherein the has presented the summary and significance of rasatheory as advocated by the great A. and also Abhinavagupta, followed by Mammata. Actually V. has a thorough grasp of the essence of the theory of rasa as against the immature understanding on the part of such followers of the Malava School of thought as Vidyanatha, Kumaraswamin and the rest. Actually, Kuntaka Dhananjaya, Dhanika, Mahima and also Bhoja were never in doubt regarding the basics of the nature of rasa. Only such theorists as Ramacandra, Gunacandra, Vidyanatha, Kumaraswamin, or even the handsome jain monk Siddhicandra had some misconceptions concerning the true nature of rasa. For the present we will consider what V. has to say on this topic. V. begins the Ch. III. of his S.D. with the words : atha koyam rasa ity ucyate - "vibhavena'nubhavena vyaktah sancarina tatha, rasatam eti ratya"dih sthayibhavah sa-cetasam.' This is clearly after M. (K.P. IV. 28). Visvanatha observes that "vyaktah" i.e. suggested basic emotion such as 'rati' - love, and the like, attains to the status of being 'rasa', through the agency of the determinants, the consequents and the " For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1349 assessories or accompanying subordinate feelings. This rati and other basic emotions stay in the cultured enjoyer (= reader or spectator) V. observes that the "satrvika bhavas" being of the form of anubhavas, are not seperately mentioned. We know that this is done by Dhananjaya and some of his followers. V. knows that this suggestion of rasa is not 'manifestation' which is technically of an object which has its independent existence even prior to its moment of manifestation. It is precisely for this reason that Bhatta Nayaka had objected to "abhi-vyakti" as advocated by A. So, to be theoretically clearer, V. suggests that in case of rasa, this abhivyakti is to be understood on the analogy of the formation of curd through milk. Here the sthayin, when 'vyakta' attains to a new form as that of 'curd which is not 'milk'. Actually A., Abhinavagupta and M. meant exactly this when they talked of the "abhivyakta sthayin" being 'rasa'. Suggestion is not manifestation. 'Suggestion' is unique to art. It is "sui generis"; it is exclusive to art, and therefore it is 'lokottara' - Abhinavagupta had observed that as such a thing is not to be seen in the worldly context, it is therefore that it is termed "a-laukika". But sadly Bhatta-Nayaka had not grasped this point and therefore he levelled a criticism on the 'abhivyakti of rasa', which he should not have done. But V. has resorted not to the Vivarta-vada' or the theory on illusory change, but to parinama-vada to explain this fact of abhivyakti. He observes : (S.D., Vrtti, III. i; pp. 70, Edn. Chowkhambha SKT. Samsthan, Varanasi, '85; with Lakshmi Comm.) "vyakto dadhyadi-nyayena rupantara-parinato vyaktiksta eva rasah. na tu dipena ghata iva purya-siddho vyajyate." He quotes Locana to support his observation : "tad uktam locanakaraih - "rasah pratiyanta iti tv odanam pacati itivad vyavaharah." The idea is that when we say that a cook is cooking rice, it is only a metaphorical expression, because the rice-corns when they are cooked are termed rice. Thus 'sthayi is "abhivyakta" - is only a metaphorical expression for the very process is to be understood as rasa-enjoyment. There is no distinction here between the process and object of suggestion. This is a unique phenomenon. So, V. says that 'rasa' is not pre-existent as is the case with a jar lying in darkess and manifested by a lamp. The process of abhivyakti of sthayin is itself rasa. We may add here that the transformation of worldly objects that cause happiness or unhappiness in a form which offers only supreme bliss is also, so to say, "rupantara-prapti". It may be noted that this observation on the part of V., may be taken as his original insight in the nature of rasa. Even Abhinavagupta was at pains to explain this 'abhivyakti' which is not strictly in the philosophical sense i.e. "darsanika" sense For Personal & Private Use Only

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1350 SAHRDAYALOKA as is taken generally. That 'abhivyakti' has to be taken in a loose sense prompted the great Abhinavagupta to concede that rasa may be said to be of course in a loose sense, 'karya' or 'effected', or 'pratyeya' i.e. 'inferred'. Actually no darsanika terminology is perfect enough for its being applied to this fact and process of rasa. It is for this that 'rasa' is termed to be 'a-laukika' i.e. 'extra-worldly'. Visvanatha then proceeds to explain the secret of the word "sthayin" as read in this sutra. He says that in the expression "ratyadih sthayibhavah", the term "sthayibhavah" is already covered up by the mention of "ratyadih", but it is separately mentioned precisely to bring home the fact that 'ratyadi', which are 'sthayin's in one context may become vyabhicarins in another context also. We know that Abhinavagupta had noted this fact while discussing the santa-rasa in his A.bh. The substance is that whatever attains to the position of rasa is only to be taken as 'sthayin'. - "atra ca ratya"di-padopadanad eva prapte sthayitve, punah sthayi-padopadanam ratya"dinam api rasantaresv a-sthayitva-pratipadana'rtham." (vrtti, S.D. III. i., pp. 71, ibid) V. then proceeds to observe (pp. 71, ibid): "asya svarupa-kathana-garbha asvadana-prakarah kathyate." i.e. The mode of enjoyment, which is having the narration of its nature inherent in it, is being stated." The Laxmi tika explains (pp. 71, ibid) - "svarupa-kathanam garbhe yasya sah, asvada-prakarah anubhava"karah asvada-prakara ity aupacarikah prayogah, asvada'bhinnatvat." Visvanatha observes (S.D. III. 2, 3, pp. 71, ibid) "sattvodrekad a-khanda svaprakasananda-cinmayah, vedyantara-sparsa-sunyo brahma"svada-sahodarah - 2 lokottara-camatkara-pranah kaiscit pramatrbhih sva"karavad abhinnatvena ayam asvadyate rasah." - 3 Rasa is relished as non-different from one's own self, according to some connoisseurs. It has extra-worldly supreme delight - camatkara as its life breath. It is akin to the taste of Brahman the supreme spirit. When it is being tasted, the consciousness concerning other worldly objects evaporates for the time being. On account of the exuberance of 'sattva', rasa, of the form of consciousness, supreme For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1351 joy, light and having no parts, is enjoyed by the connoisseurs. Rasa is said to be of the nature of boundless bliss - 'nirbhara"nanda', and hence while its being experienced, there is no knowledge of the difference between knowledge and the object of knowledge. Hence it is termed 'vedyar -sparsa-sunya', and also "brahma" - a-svada-sahodara." V. observes further in the vstti that mind when not in contact with 'rajas' and 'tamas', is termed "sattva". Thus 'sattva' is an internal quality which takes one away from objects that are externally cognised. The exuberance of 'sattava' stiffles 'rajas' and 'tamas' and manifests itself. The cause behind this happening is the study of poetry of extra-ordinary nature. By 'akhanda' or 'one not admitting parts', is meant that it is one cognition offering happy experience wherein the cognition of vibhavadis and ratyadi form an identical unit, an integral whole. They are not cognised in parts. It is 'svayamprakasa' in a sense, says V., to be explained later. When it is said to be 'cinmaya', the suffix 'mayat' is indicative of its own form; i.e. it is of the form of consciousness itself. 'Camatkara' is said to be the life of rasa. It is extra-worldly, i.e. lokottara. Abhinavagupta has given the name of 'camatkara' to a cognition-samvit-which is free from all obstacles - "sakala-vigna-vinirmukta-samvit." Visvanatha explains that the expansion of consciousness of the samajika, which is 'vismaya' or exceptional delight full of extra-ordinary suprise, is termed 'camatkara'. That only is the life of rasa-experience. - (vrtti, S.D. III. 3, pp. 72 ibid) : "camatkaras' citta-vistara-rupo nava'para-parvavah." To support this he quotes an expression of one Narayana, his fore-father. Accordingly 'camatkara' is the essence of rasa. At the centre of this, therefore stands 'adbhutarasa' or 'wonderful rasa. Hence Narayana accepts only the 'wonderful as 'rasa' : "rase saras camatkarah sarvatra'py anubhuyate, tac camatkara-saratve sarvatra'py adbhute rasah. tamad adbhutam eva"ha krti narayano rasam." By 'kaiscit' - "by someone" is meant by those who have accumulated merits in past births. Explaining "svadah kavyartha-sambhedad atma"nanda-samudbhavah," For Personal & Private Use Only

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1352 SAHRDAYALOKA V. observes that by this it is suggested that rasa is identical with the fact of relishing. So when it is said that "rasa is enjoyed", it is only a metaphorical expression for the difference between the object of relish and the activity of relish is only imaginary. The Laxmi commentory observes that the metaphor here is to be understood as in case of the expression viz. "the head of Rahu". (pp. 74, ibid) Visvanatha has suggested that rasa is "svakara-vad abhinna." Mammata, while explaining the views of Abhinavagupta uses the same terminology. In the 'vivsti' commentary, explaining this point, Tarkavagasa (pp. 73, ibid) observes that though the soul and body are different and yet their oneness is mentioned in such expressions that, "I am fat", in the same way, rasa is relished in the absence of the basic difference between the enjoyer and the enjoyed and yet it is said, "rasa is enjoyed (by me)", etc. As in case of the perception of a jar, the difference is projected when it is said, "I know (a jar)" etc., here in rasaconsciousness this difference is not projected because there is non-difference between 'rasa' and its apprehension. This is the essence of the expression "sva"karavad abhinna." Or, it can be explained in a different way also. It is like this. Just as the philosophers who uphold 'parinama-vada', do not accept difference between knowledge and its object, in the same way 'rasa' and its "asvada" or tasting are non-different, i.e. are absolutely identical. Visvanatha presents the epistemological observation concerning the nature of rasa, under the influence of Abhinavagupta and Mammata. S.D. III. 20-28 discuss this point. They read as : "na'yam jnapyah, sva-sattayam pratity avyabhicaratah, yasmad esa vibhava"disamuha'lambana"tmakah. (III. 20 S.D.) tasman na karyah, no nityah, purva-samvedanojjhitah, a-samvedana-kale hi na bhavopy asya vidyate.* (S.D. III. 21) For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1353 (* pp. 88, ibid has this foot-note here : "na ca'nadir anantoyam anityah sambhaved rasah, asya bhanam a-bhanan ca carvana-vasatah param." carvanayam satyam nivsttayam ca, rasasya "tada bhanam a-bhanan ca aviruddham." ity api mula-pathah kvacit kvacid upalabhyate.) na'pi bhavisan, saksadanandamaya-sva-prakasa-rupatvat, karya-jnapya-vilaksana-bhavan no vartamanopi. (III. 22, S.D.) vibhava"di-paramarsavisayatvat sacetasam, para"nanda-mayatvena samvedyatvad api sphutam. (III. 23 S.D.) na nirvikalpam jnanam tasya grahakam isyate, tathabhilapa-samsargayogyatva-virahan na ca. (III. 24 S.D.) savikalpaka-samvedyah saksatkarataya na ca, paroksas tatprakaso na'paroksah sabda-sambhavat. (III. 25). tasmad alaukikah satyam vedyah sahsdayair ayam, pramanam carvanaivatra svabhinne vidusam matam. (III. 26 S.D.) nispattya carvanasya'sya nispattir upacaratah, a-vacyatva"dikam tasya For Personal & Private Use Only

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1354 SAHRDAYALOKA vaksye vyanjana-rupane. (III. 27 S.D.) ratya"di-jnana-tadatmyad eva yasmad raso bhavet, atosya sva-prakasatvam a-khandatvam ca siddhyati." (III. 28 S.D.) (pp. 86-93, ibid) - The substance of the above nine karikas is understood as follows. But prior to that it may be noted that as compared to M. or Abhinavagupta himself, V. has admirably summerised the wisdom of the Kashmir School of thought in flowing and lucid karikas, the substance of which proceeds as - Rasa is not an object of knowledge, i.e. it is not knowable or jnapya, as it is never absent from its own cognition. When rasa is there it is invariably cognised. This is not so with reference to physical objects such as a jar and the like, which, in the absence of light or revealer, ceases to be an object of cognition. In short, rasa is 'pari-passu' with its apprehension. It does not exist beyond the existence or scope of its own apprehension. Physical objects such as a jar, even though existing, may not be apprehended. Rasa can not be said to be of the nature of physical effect i.e. it is not 'karya' or 'caused' either: Rasa can not be said to be caused' or karya, because it is cognised along with the cognition of the combination of the vibhava"dis. If rasa were caused by the vibhava"dis then its cognition would continue even after the cognition of vibhava"dis is over. But this is not so. As Abhinavagupta has put it, rasa is "vibhava"di-jivita'vadhih" - i.e. rasa is apprehended neither a moment before or after the cognition of vibhava"dis. Thus if it were "karya" or caused, during the apprehension of rasa, the cognition of vibhava"dis should cease. The karana-jnana and karya-jnana are never simultaneously cognised. The knowledge of the application of sandal-paste and the knowledge of the feeling of happiness that results from the former are sequential and never simulataneous. But rasa is simultaneously cognised in the same breath as when the vibhava"dis are also cognised. Thus rasa-bodha has no 'vibhava"di-jnana' as its cause. Rasa, says Visvanatha, can not be said to be 'nitya' or eternal, which is 'anadi' and 'ananta' i.e. which has neither beginning nor end. Rasa can not be 'nitya' for we do not apprehend it in moments prior to the apprehension of vibhava"dis. Thus as it is 'bereft of prior cognition' - "purva-samvedanojjhita", it can not be said to be For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1355 nitya. Actually when vibhavadi-s are not cognised, rasa is not experienced as such, i.e. it does not seem to exist in the absence of the cognition of vibhava"dis. If a thing is 'nitya', it continues to exist even in the absence of our apprehending the same. Again, rasa can not be said to be a future entity i.e. that which is to come into existence in future or that which is to be apprehended in times to come. This is not so because rasa is of the nature of an entity made of bliss and light to be experienced directly at a given moment. - "saksad ananda-maya-prakasa-rupatvat." Rasa, thus, being neither 'karya' nor 'jnapya' can not be said to be 'vartamana' i.e. present at a given moment. Rasa can not be said to be existing at a given moment like a jar or a piece of cloch (ghaca or paca). The Laxmi cika (pp. 88, ibid) explains this point as under : "nanu tarhi rasasya vartamanarvam eva angikriyatam ity asankya samadhatte - "karya-jnapyety adi." raso na'pi ghataparadivad vartamano vidyamanarupah siddha iti bhavah. karyam janyam, jnapyam janyabodha-visayibhutam, tayor vilaksana-bhavad apurvatvat. vartamanasya vastunah, karya-jnapya'nyataratva-niyamad iti bhavah. itah prag eva karyatvam jnapyarvam ca rasasya na ity uktam. evan ca, janyo ghatahjnapyopi'ti vartamanatvam tatra, a-janyo'pyakaso jnapyas ca iti vartamanatvam; tatra'pi raso na janya uta na jnapya iti no vartamano'pi iti karika"sayah." . The apprehension of rasa, observes Visvanatha, is neither 'nir-vikalpa' nor 'savikalpa'; i.e. its apprehension is neither non-determinate nor determinate. In nirvikalpajnana or non-determinate perception, there is no knowledge of any relation whatsoever. In Rasa-cognition, however, the collection of vibhava"dis or vibhava"diparamarsa' is cognised. The visista-vaisistya-sambandha is cognised. Nirvikalpajnana is said to be such where any relation is not noticed. In case of rasa-cognition, the apprehension of vibhava"dis and its relation with rasa-bodha are cognised. Lakshmi tika observes (pp. 89, ibid) - "nirvikalpakam jnanam samsarga-anavagahijnanam, tasya rasasya grahakam visayatanirupakam nesyate; raso nirvikalpajnana-visayo na iti bhavah. tat sadhayati hetu-dvayena-vibhava"dinam paramarso visista-vaisistya'vagahi-jnanam sambandha iti yavat, visayo visesya-rupena jneyo yasya tasya bhavas tasmat." The idea is that rasa which is 'sva-prakasa-rupa' is the object of itself only - "sva-prakasa-rupasya svena eva visayikaranad, iti bhavah." Another point is that nirvikalpaka-jnana is "nisprakaraka". No dharma' is cognised here in form of "prakarata". But as rasa is of the nature of highest-bliss, - "paramanandmaya", 'ananda-mayatva' is cognised in it as 'prakarata'. So, rasabodha can not be held to be 'nir-vikalpaka', or non-determinate. For Personal & Private Use Only

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1356 SAHRDAYALOKA Rasa can not be termed to be 'sa-vikalpa-samvedya' i.e. an object of determinate knowledge either because there is absence of the suitability of contact with abhilasa - The Laksmi tika explains (pp. 89, ibid) : "hi tatha hi sa-vikalpakasamvedyanam ghara-pata"dinam vacana-prayoga-yogyata - "ayam ghara' iti, abhilasa-vyavahara-yogyata, tat kavyastha-sabdena asti iti sesah. vyangyatvena rasasya tu na tatha ity arthah." The idea is that whatever are the objects of determinate knowledge are capable of being expressed through words directly such as 'ghata' or a 'jar', 'pata' or a piece of cloth etc. But in case of 'rasa' this sort of capacity of being expressed directly by words is absent, 'Rasa' cannot be named. It is indescribable or "a-nirvacaniya". It can not be said to be 'paroksa' i.e. 'in-direct as it is directly felt, "saksatkarataya". It is neither 'a-paroksa' i.e. 'direct' because rasa-pratiti is caused directly by words in poetry. It is precisely for this situation, observes Visvanatha, that rasa-apprehension has to be classed as 'a-laukika' i.e. extra-worldly. It is in fact apprehended by men of taste. The proof-pramana-for this is the relish-carvana-of rasa by the experts. This 'carvana' is 'sva-abhinna' i.e. not different from its self, i.e. the object. In short in this process of relish or enjoyment there is no virtual difference between the process of relishing and the object of relishing. 'Carvana' itself, is 'asvadana'. 'Rasa' and its 'asvada' are absolutely one and the same. Now, the problem is that if rasa is held to be 'sva-prakasananda-samvit-maya', then how is its 'anubhuti' brought about ? How is it that the rasa-sutra of, Bharata talks of its 'nispatti' i.e. of its being 'caused as an effect ? "The answer is that it is said to be 'nispatti' on account of the process of relishing being caused. Actually 'rasa' is said to be 'nitpanna' or 'caused' only metaphorically. Visvanatha observes : (vrtti - S.D. III. 27, A, pp. 92, ibid) : "yady api rasa'bhinnataya, carvanasya'pi na karyatvam, tatha'pi tasya kadacitkataya upacaritena karyatvena, karyatvam upacaryate." Visvanatha says that rasa 'being indescribable' will be shown while discussing vyanjana - "a-vacyatva"dikam tasya vaksye vyanjana-rupane." (S.D. III. 27B) By "adi", 'laksyatva' i.e. its (not) being an object of laksana or indication also will be discussed there only. For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1357 Visvanatha then picks up yet another point raised by the prima-facie view. The objection could be placed as follows : The objector says that if rasa is said to be the combination of rati etc. and vibhava"dis, then how can we accept 'sva-prakasarva' i.e. self-manifestation of rasa, or also its a-khandatva i.e. non-divisibility ? - "nanu yadi milita ratya"dayo rasas tat katham asya sva-prakasatvam, katham va akhandatvam - ity aha." . "raryadi-jnana-tadatmyad eva yasmad raso bhavet, tato'sya sva-prakasatvam a-khandarvam ca siddhyati." (S.D. III. 28, pp. 93, ibid) As 'rasa' is said to be absolutely identical with the knowledge or apprehension of ratya"di, its 'sva-prakasarva' or the state of being self-evident and its indivisibility -'a-khandatva' stand proved. If the apprehension of ratya"di were different from the fact of manifestation, then only its sva-prakasatva can be challenged. But it is not so, for the apprehension of ratya"di combination is itself the apprehension of rasa. Visvanatha observes (Vitti, on S.D. III. 28, pp. 93) - "yad uktam - yady api rasa'nanyataya carvana'pi na karya, tatha'pi kadacitka-taya karyatvam upakalpya - tad eka"tmani anadivasana-parinati-rupe ratya"dibhavepi vyavahara iti bhavah." . Eventhough carvana or the process of relishing also itself not being different from rasa, cannot be said to be of the form of an effect or karya, but as it happens occasionally, i.e. as it happens only when poetry or art-form is presented and in itself is not a routine occurrence in this work-a-day world, and hence only metaphorically it is said be a "karya" i.e. 'caused'. 'Ratya"di' being 'a-bhinna' or non-different from 'carvana', is also said to be 'karya' metaphorically. This 'ratyadi' is the result of the impressions or vasana having no beginning. Therefore also it is said to be 'karya' only metaphorically. Visvanatha quotes from the A.bh. and observes : "abhinno'pi sa pramatra vasanopanita-ratyadi-tadatmyena gocarikrtah." Those who do not accept the sva-prakasatva of jnana or 'bodha', observes Visvanatha, will be punished by the Vedantins. As 'rasa' is identical with its apprehension - tadatmyad eva - its non-divisibility or 'akhandatva' also stands proved. Rati or other basic emotions and the vibhavadis connected with them are collected by different cognitions individually to begin with, but later they are all fused into one and are cognised as identical and rise to the status of rasa For Personal & Private Use Only

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1358 SAHRDAYALOKA Visvanatha here quotes some samgraha-karika : "vibhava anubhavasca sattvika vyabhicarinah, pratiyamanah prathamam khandaso, yanty akhandatam." He further observes : "paramarthatas tv akhanda eva ayam vedanta-prasiddha-brahma-tattva-vad veditavyah" iti ca. Visvanatha also discusses one subtle point in his vstti on. S.D. III. 3 (pp. 74, ibid) : He observes: "nanu etavata rasasya ajneyatvam uktam bhavati iti vyanjanayasca jnana-visesatvad dvayor aikyam apatitam - "svajnanena'nya-dhihetur siddher'the vyanjako matah, yatha diponyathabhave ko visesosya karakat ?". ity ukta-disa, ghata-pradipavad vyangya-vyanjakayoh parthakyam eva iti katham rasasya vyangyata ? - iti cet... (pp. 74, 75, ibid) - The idea is how is rasa experienced when its asvada is said to be svaprakasananda-samvit-maya ? Vyanjana is also a type of knowledge or apprehension and so it has to be deemed as identical with rasa-bodha. So, how can rasa be said to be suggested or vyanjita ? Vyangya-vyanjaka-bhava is possible only between two different i.e. non-identical objects as in case of a 'ghata' and 'pradipa'. The lamp by revealing itself also reveals the jar, which exists prior to revelation. Hence, lamp is said to be the revealer or vyanjaka or manifestor. It this is not held so, i.e. if the difference between the manifestor and manifested is not accepted, how can we distinguish between the manifestor and a "karaka" hetu or "cause" ? In short there will not be any difference between a vyanjaka-hetu and a karaka hetu. In reply to this objection, Visvanatha quotes from A.bh. viz. "vilaksana eva'yam krti-jnapti-prabhedebhyah svadana"khyah kascid vyaparah." (pp. 75, ibid) i.e. "This process of relish is totally different from both causation and manifestation." Precisely for this, it is termed 'rasana', 'asvadana', 'camatkarana' etc.; terms which are exclusive by themselves. Visvanatha observes that as we are intent upon the usage of terms other than abhidh, etc. (i.e. laksana also), we have called it to be 'suggested': For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1359 "abhidha"di-vilaksana-vyapara-matra-prasadhana - grahilair asmabhi rasa"dinam vyangyatvam uktam bhavatiti." (pp. 75, ibid) Visvanatha observes that rasa is not vacya' i.e. directly stated, not is arrived at by purport i.e. 'tatparya'. He has discussed this while treating vyanjan, and we have examined it in our chapter on vyanjana. He also, following Abhinavagupta holds rasa to be of the nature of pure bliss i.e. "ananda' and rejects the talk of unhappiness following "karuna' etc. In short, he does not believe in the 'duhkhamayatva' of Karuna. As for the substratum of rasa also, he follows Abhinavagupta and holds that only the samajika i.e. a cultured critic or man of taste is the substratum of rasa. The sthayin in a sahrdaya attains to the position of rasa with the help of vibhava"dis. Rasa is not acceptable to him with reference to 'anukarya' or 'anukarta' i.e. the original character or the actor. If for the sake of argument, it is said that the actor enjoys rasa, then for that moment the actor is to be deemed as the samajika or enjoyer, observes Visvanatha. The Samajika i.e. the man of taste, while enjoying art, has no consciousness of the difference between 'anukarya' and 'anukarta', and for this reason also rasa cannot be said to be enjoyed by either the anukarya or the anu-karta. Visvanatha explains that the rasaexperience derived by the 'samajika' is due to the process of 'sadharanikarna' i.e. generalisation' or better say, 'de-individualisation'. He observes (S.D. III. 9-10, pp. 79, ibid): "vyaparo'sti vibhava"der namna sadharani-krtih, tat-prabhavena yasya"san pathodhi-plavanadayah. (S.D. III. 9) pramata tad abhedena svatmanam pratipadyate, nanu katham manusya-matrasya samudra-langhana"dau utsahodbodha, ity ucyate - utsaha"di samudbodhah sadharanya'bhimanatah, nanam api samudra"dilanghana"dau na dusyati. (S.D. III. 10) For Personal & Private Use Only

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1360 SAHRDAYALOKA ratyadayo'pi sadharanyenaiva pratiyanta ity aha - sadharanyena ratyadir api tadvat prativate." Visvanatha explains that there is a power of vibhava"dis called 'sadharani-krti' by name. By the strength of it, the crossing of an ocean, or controlling an ocean etc. becomes possible. With the help of this, the samajika or pramata identifies himself with Rama etc. To a question that how can any (i.e. all) human-beings, afford to have the zeal to cross an ocean etc., the answer is that such an "utsaha' or zeal for a superhuman feat such as crossing an ocean becomes possible in case of anybody through the power of this 'sadharanya' i.e. generalisation. Thus, if men, i.e. ordinary human beings deem themselves as capable of crossing an ocean, it does not incur any blemish because all are charged or tranformed by this 'sadharanya'. Love etc., i.e. ratya"di of the original character such as Rama and the like are also experienced by all spectators or enjoyers of art, by the force of "sadharanya". .. Visvanatha observes that the feeling of love etc., taken personally i.e. svatma-gatatvena, i.e. taken as referring to an individual, will cause shame, uneasiness etc. with reference to individual culture of the enjoyer. If it is held that ratya"di i.e. love etc. are with reference to someone else - "paragatarvena", then no relish will result - "a-rasyata"patah". It is through this power, of 'sadharanya' that all are, as it were involved in whatever is presented and the result is rasa or enjoyment. The vibhava"di-s, he observes, are also experienced in a generalised form, to begin with. The enjoyer - samajka-does not experience the vibhava"dis as connected or not connected personally with him, or with someone else, and in the enjoyment of rasa, there is no determination concerning the nature of the vibhava"dis, i.e. it can be said with precision that they either belong to or do not belong to the self of the enjoyer or someone else. Visvanatha observes : (S.D. III. 12, pp. 81, ibid) : "parasya na parasyeti mameti na mameti ca, tada"svade vibhava"deh paricchedo na vidyate." (S.D. III. 12) For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1361 If it is asked that how can these vibhava"dis be held as 'a-laukika' or extra ordinary?, then it is stated (S.D. III. 13, pp. 81, ibid) - vibhavana"di-vyaparam alaukikam upeyusam, a-laukikatvam etesam bhusanam na tu dusanam. 'adi'sabdad anubhava-sancarane. tatra vibhavanam ratya"der visesena asvadankurana-yogyata-nayanam. anubhavanam evambhutasya ratya"deh samanantaram eva rasa"di-rupataya bhavanam. sancaranam, tathabhutasyaiva tasya samyak caranam." - (pp. 83, vrtti, S.D. III. 13) These vibhava"dis attain to a power called 'vibhavana' i.e. "asvada-yogyikarana" or making themselves suitable of being relished. This vibhavana-vyaparais a-laukika i.e. extra-ordinary, i.e. it is seen in the context of art only. This attainment of `vibhavana-vyapara is, so to say, an ornament a "bhisang", and no a blemish i.e. 'dusana'. By 'adi' in the term "vibhavana"di" is meant 'anubhavana' with reference to 'anubhavas' and 'sancarana' with reference to vyabhicarins. 'Vibhavana', as explained already, is 'making itself an object of relish', and this goes with the basic emotions such as 'ratya"di'. 'Anubhavana' is experiencing such. 'vibhavita' - ratya"di in form of rasa, simultaneously. 'sancarana' is supporting and enhancing 'paripusti-karana' of the basic emotions. - Visvanatha takes an interesting note that worldly cause, effect and assessories are termed vibhava etc., with reference to the apprehension of rasa, and they are all taken as "causes" - "karanany eva" only. The three taken together are to be understood as "cause" for 'rasa'-bodha. He observes: (pp. 82, ibid): (vrtti, S.D. III 13; and S.D. III. 14) "vibhava"dinam yatha-samkhyam karana-karya-sahakaritve katham trayanam api rasodbodhe karanatvam ity ucyate "karana-karya-sancari rupa api hi lokatah, rasodbodhe vibhava"dyah - - karanany eva te matah." (S.D. III. 14) If it is asked that in the rasa-experience if vibhava"dis are 'karana'-cause, then how is it that there is identical cognition of vibhava"dis and rasa simultaneously? For Personal & Private Use Only

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1362 SAHRDAYALOKA the answer is - "pratiyamanah prathamam pratyekam hetur ucyate, tatah samvalitah sarvo vibhava"dih sacetasam." prapanaka-rasa-nyayac, carvyamano raso bhavet." (S.D. III. 15) yatha khanda-marica"dinam sammelanad apurva iva kascid asvadah prapanakarase sanjayate, vibhava"di-sammelanad iha'pi yatha ity arthah. . The idea is that prior to rasa-apprehension all vibhava"dis are said to be "cause", with reference to ratya"di. After this prior individual cognition, through the power of vyanjana they get inter-mixed. On the analogy of "pra-panaka-rasa" i.e. a beverage made of suger, black pepper etc. and other ingredients, the whole complex becomes such in which particularity of these factors melts into one homogenity and the whole is relished as one indivisible unit. This relish is such in which even the separate identity of the process of relish and the object of relish is not preserved. To a question that if the three - i.e. vibhava, anubhava and vyabhicarin - taken together cause rasa then how is it that we have instances of poetry with rasa, where only one or two of these are seen ? The answer is that whatever is seen apparently missing is implied and thus is imagined to be there. The samajika experiences rasa on account of the ratya"di planted in him in form of impressions. This 'vasana' is two-fold viz. 'idanintani' i.e. "present" and 'praktani - belonging to past birth. In the absence of the former, even the Mimamsakas will be able to enjoy rasa, and in the absence of the latter even the samajika - the cultured - will fail to enjoy rasa : S.D. III. 8b reads as : "na jayate tada"svao vina ratya"di-vasanam." - vasana ca idanintani praktani ca, rasa"svadahetuh; tatra yady adya na syat tada srotriya-jaran-mimamsakadinam api sa syat. yadi dvitiya na syat tada yad raginam api kesancid rasodbodho na drsyate, tanna syat. uktan ca, dharmadattena - sa-vasananam sabhyanam rasasya"svadanam bhavet nirvasanas tu rangantahkastha-kudy'asma-sannibhah." (S.D. III. 8, & Vrtti, pp. 78, 79, ibid). For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and..... 1363 Thus Visvanatha has explained the essence of rasa-experience in a neat and lucid fashion, following the lead of the three greats - viz. Anandavardhana, Abhinavagupta and Mammata. Bhanudatta in his Rasa-tarangini (Edn. Grantha Ratna Mala, 1987-'88; also with Hindi Intro. Trans. etc.) deliberates over the process of rasa-realisation. For him, the sthayibhava attained to perfection, with the help of vibhava, anubhava, sattvika-bhava and vyabhicari-bhavas, is rasa. Or, that where the mind reposes with the help of sthayin and vibhavadis, is rasa. Or, the impression - vasana' of the enhanced 'prabuddha' - sthayin, is rasa: (pp. 103, ibid) - "vibhava'nubhavasattvika-vyabhicari-bhavair upaniyamana-paripurnah sthayibhavo rasyamano rasah. bhava-vibhava'nubhava-vyabhicari-bhavair mano-visramo yatra kriyate, sa va rasah. prabuddha-sthayibhava-vasana-va rasah." The mention of sattvikabhava, perhaps under the influence of the DR. and the Malava school of thought could also be due to the fact that for him rasanukula-vikara or bhava is two-fold. Accordingly two types of vikara' are accepted by him; one 'antara' and the other "sarira" or external. The internal change refers to sthayin and vyabicarin and the external vikara or change covers the 'satrvika' and 'anubhava'. Bhanudatta has attempted a threefold explanation of rasa. According to the first explanation the sthayin raised to perfection with the help of vibhava"dis is rasa. This could be under Lollata's influence. In the other explanation, he has called, 'rasa' to be 'the poise, mental-poise' i.e. 'mano-visrama'. We know that Bhatta Nayaka and Abhinavagupta have used terms such as "laya, samapatti, bhoga, visranti", etc. This could have influenced Bhanudatta here. According to the third explanation, rasa is the impression or vasana of the prabuddha-sthayin or enhanced basic emotion. We know that Lollata has suggested that the sthayin staying in form of permanent impression, when enhanced, is termed 'rasa'. But Bhanudatta has something else to be conveyed here. 'Vasana of sthayin and its enhancement' is the order in Lollata. Here the order is reversed. So, Bhanudatta's approach is different. But it is clear that attempting three definitions or tions suggests that Bhanudatta follows nobody's lead, but goes for his own separate identity, which to us looks rather confused. 'Confusion' is no identity for us; whereas 'logical fusion' could be one. Again, Bhanudatta uses the term "upaniyamana" and not "vyajyamana". He also talks of eight rasas, following Bharata, and also of the nispatti or birth of (vikrti) rasas from (prakrti) rasas. Bhanudatta perhaps sides with those confused thinkers like the authors of the Narya-darpana, and Siddhicandra, the authors of "Kavya-prakasa-Khandana", who For Personal & Private Use Only

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1364 SAHRDAYALOKA accept 'rasa' at both the levels i.e. at the "laukika" or worldly context, and also at the "a-laukika" or extra-ordinary i.e. art.context. We know that the Kashmir tradition accepts rasa only at the art context : "rasas tu natya eva, na loke" . observes Abhinavagupta, ruling out any possibility of rasa experience at the gross i.e. worldly lovel. For Bhanudatta, rasa born of worldly context or "laukikasannikarsa" is 'laukika' i.e. worldly. Rasa born of 'alaukika-sannikarsa' is a-laukika. This latter is of the form of knowledge - jnana-only and the former i.e. laukika is six-fold. But for us all this suggests a basic ignorance of the essential nature of 'rasa' which is beyond any physicality. 'Saksat jnana' or direct knowledge', for Bhanudatta follows from the experience of vibhava"dis and the apprehension of knowledge - "jnanabodha" - is accepted to result from the samskaras i.e. impressions left behind by past births. The a-laukika-rasa is again said to be threefold such as, "svapnika", "manorathika" and "aupanayika". Now this third variety is experienced in the camatkara brought about by word and sense in poetry, and also is visualised in drama. However, for him, both laukika and a-laukika rasa are blissful or "anand-rupa" for him. This involves contradiction. For, those who accept rasa at laukika level, have got to take it as 'sukha-duhkha"tmaka'. Of course, the N.D. of Ramacandra and Gunacandra attempt an equillibrium between the two ends by saying on one hand rasa to be 'sukha-duhkha"tmaka', but taking it to be "blissful" on the other, taking into account the effect resulting from the expertise of the poet and the actor - "kavi-nata-gata-kausala." But all this, to us involves clean contradiction and an unsuccessful attempt to patch up two ends which are opposite to each other in nature as light and darkness - "tamah-prakasavadviruddha-svabhava." Thus Bhanudatta's attempt, like that of Rama-candra and Gunacandra to attempt a fusion of two approaches to the nature of rasa, finds no takers after him, doomed as it was in its very birth, being logically and aesthetically unacceptable. He has also talked of eight rasa-drstis with reference to eight rasas, but this point gains importance only from the point of view of acting i.e. abhinaya. In his other work viz. "rasa-manjari", we get only the analysis of the vibhava"dis of the eight songara"di rasas that he accepts. Kesava Misra in his Alamkara-sekhara (A-se) while giving the definition of poetry observes that poetry is vakya or sentence, having rasa and it has to be 'srta' and such which causes special happiness. - "kavyam rasa"dimad-vakyam, srutam, sukha-visesa-krt." - (pp. 2, 2nd NS. edn. Bombey, 1926, A.D.) By 'adi' in 'rasa"di' he suggests the presence of 'alamkara'. In the second marici, (pp. 6, Edn. ibid) he calls For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1365 'rasa' to be the "soul" - atma of poetry. He observes : "ritir uktis tatha mudra vittih kavyasya jivitam, trividhasya'pi dosas tu tyajyah slaghaya dvaye gunah. (II. i) alamkaras tu sobhayai rasa atma, pare manah." tat tad rasopakarinyas tat tad desa-samudbhavah." (II. ii) (pp. 61, ibid) In the 20th Marici, Kesava discusses the topic of rasa (pp. 68-77, ibid). He observes (pp. 68) - "rasa atmety uktam. tasya yatha-atmanam vina sariram aprayojakam tatha rasam vina kavyam." As is body useless without soul, so is poetry of no purpose without rasa. He observes - "sadhu-pake vina svadyam bhojyam nir-lavanam yatha, tathaiva nirasam kavyam, syan no rasika-pustaye." (pp. 69, ibid) "Tasty-food without proper cooking, or food without salt, so is poetry without rasa; not for the pleasure of the man of taste." He further observes (pp. 69, ibid) : "tatra rasatvam angangi-bhava"pannasakala-vibhava"di saksatkaratvam. 'anga"ngi' iti samuha"lambanavaranaya. rasatvam api jatir iti vayam. Thus for Kesava, 'rasatva' i.e. the class of rasa is the fact of experiencing directly the total admixture or causal stuff made of all vibhava"di - i.e. vibhava etc., which are related as principal and subordinate. He observes that the last feature is to avoide (equal) mixture of vibhava"dis. - This is to be understood as follows. The idea seems to be that the sthayin is principal and the rest, i.e. vibhava"di are subordinate and 'rasa' results from this combination of principal and less important stuff. 'Rasa' is said to be 'jati' or class, in view of the total number of eight or more individual rasas. Thus for Kesava, perhaps like Abhinavagupta 'rasa' basically is only one, a single unadulterated aesthetic effect, being called many in view of the different types of combinations brought about by various vibhava"dis i.e. determinants, consequents etc. For Personal & Private Use Only

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1366 SAHRDAYALOKA He seems to summarise the view of Mammata when he says : (pp. 69) - kecir tu - "karanena'tha karyena sahakaribhir eva ca, vyaktatvam niyamanas tu . sthayi-bhavo rasah smetah." "Karana' is such as angana, i.e. a lovely lady (the alambana), yauvana or youth (again, uddipana), etc. "Karya' is explained by sattvika-bhavas such as stambha, sveda etc. karyani - "stambham svedo'tha romancah, svara-bhango'tha vepathuh, vaivarnyam asru-pralaya ity astau sattvika matah." Sahakarinah - udyana"dayah (These are the uddipana-bhavas). Vyabhicarino glanya"dayah. He quotes almost from the DR. when he observes : (pp. 69, ibid) : "vibhavair anubhavais' ca sattvikair vyabhicaribhih, aropyamana utkarsam sthay bhavo rasah smrtah." Then he goes to mention nine rasas such as : "srngara-hasya-karunaraudra-vira-bhayanakah, bibhatsadbhuta-santa"khyah kavye nava rasah smrtah." (XX. i.) (pp. 69, ibid) He further devides srngara as 'sambhoga' and 'vipralambha'. The first is graceful union of two lovers. It is illustrated as based on the heroine as in "sunyam vasagpham." etc. Kesava (pp. 70) then proceeds to give a four-fold classification of nayika. Sambhoga based on hero-nayakasraya is illustrated as in, "tvam mugdhaksi vinaiva kanculikaya..." etc. The hero though manifold is basically four-fold such as anukula, daksina, satha and dhrsta. For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1367 Vipralambha is two-fold such as purvanuraga, mana, pravasa and karuna (XX. 11, pp. 71). He goes on to discuss hasya, karuna etc. also. He also discusses, after tradition, the virodha and a-virodha of rasas (pp. 75, ibid) Then he picks up nine sthayins, the ninth being nirveda. (XX. 31, pp. 76, ibid) The sthayin is defined exactly after the DR. Kesava observes (pp. 76, ibid): viruddhair a-viruddhair va bhavair vicchidyate na yah, atmabhavam nayaty anyan sthayi bhavah sa ucyate." The DR. has "sa sthayi lavana"karah." He then explains each sthayin. He also explains 'anubhava' as "vikaras tu bhava-samsucanatmakah." He goes on to explain satrvikas and vyabhicarins etc. all after the DR. The vyabhicarin is explained as - visesena'bhitah kavye sthayinam bhavayanti ye, anubhava"di-hetun tan vadanti vyabhicarinah." (XX. 36, pp. 72, ibid) Thus vyabhicarins make for a special support of sthayin in poetry and are the cause of the effects called anubhavas. They are enumerated as thirty three after tradition. He talks of bhava-babalata also, but observes that each of these individually portrayed in poetry also are praiseworthy. With this ends Kesava's treatment of rasa. Jagannatha : In the first anana of his R.G., Jagannatha (= J.) enumerates fivefold dhvani (pp. 64, R.G.; Edn. Prof. R. B. Athavale, Pub. Uni. Book. Production Board, Guj., Ahd.; pp. 64). Dhvani for J. is basically two fold such as (1) abhidhamula and (ii) laksanamula. The first one is again three-fold such as rasa, vastu, and alamkara-dhvani. The next one is two-fold such as arthantarasamkramita vacya and atyanta-tiraskrta-vacya. Rasa-dhvani includes the subvarieties such as bhava-dhvani, tad-abhasa, bhavasanti, bhavodaya, bhava-samdhi and bhava-sabalatva. After thus making a brief introduction he straight away begins to discuss the 'rasa', which he terms to be the soul of rasa-dhvani, it being extremely charming (pp. 64, ibid) - "evam panca"tmake dhvanau parama-ramaniyataya rasadhvanes tad atma rasas tavad abhidhiyate." For Personal & Private Use Only

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1368 SAHRDAYALOKA It may be observed that like Visvanatha and Mammata, his predecessors, J. also accepts the lead of Abhinavagupta in explaining the nature of rasa, though of course, he presents a discussion of other views also as presented by Abhinavagupta, and also adds some fresh views concerning rasa. Basically following Abhinavagupta, perhaps he has a fresher presentation and he not only explains the process of rasa-realisation, he goes on to present like Mammata, Hemacandra and Visvanatha, the whole discussion concerning the sthayins, vyabhicarins, etc., the numbers of rasas, etc. all after Bharata and the Kashmere School of thought that he upholds. In short he treats all aspects concerning the so-called rasa-theory. In fact we are devoting a separate chapter on the process of rasa-nispatti and rasasvabhava, in which we will try to analyse the views of Abhinavagupta, both with reference to his Locana and the Abhinavabharati and the views of Mammata, and Jagannatha in this connection. So, for the present we will stop with only quoting J.'s concept of rasa as read in his R.G. (pp. 64, ibid) . "samucita-lalita-sannivesa-caruna kavyena samarpitaih, sahrdaya-hrdayam pravistais tadiya-sahsdayatasahakstena bhavana-vicesa-mahimna vigalita-dusyantaramanitva"dibhir alaukika-vibhavanubhava-vyabhicari-sabda-vyapadesyaih sakuntala"dibhir alambanakaranaih, candrika"di-bhir-uddipana-karanaih, asrupata"dibhih karyaih, cinta"dibhih sahakaribhis ca, sambhuya pradurbhavitena alaukikena vyaparena tatkala-nivartita-anandamsa"varana'jnanena ata eva pramusta-parimita-pramatatva"di-nija-dharmena pramatra sva-prakasataya vastavena nija-svarupa"nandena saha gocarikriyamanah prag-vinivista-vasanarupo ratya"dir eva rasah." The substance of the above passage can be collected as follows : To begin with poetry is rendered beautiful by the presentation in it of the whole context material which is proper and beautiful. The piece of beautiful poetry presents vibhava"di to rasikas. This material enters the heart of the cultured readers or rasikas. They are aided by the quality of sympathy i.e. sa-hrdayata - of the rasikas. This results in a bhavana - a special feature - the power of which sees to it that the object described such as Sakuntala, the wife of Dusyanta, leaves its identity of being the wife of a particular king. In short the 'bhavana' removes particularity of objects described. In short Dusyanta, or Sakuntala leave their individual identity when presented in poetry and when they become objects of a special bhavana or poetic power or happenning. Now these objects that are described in poetry on account of their transformation whereby they loose their identity of being particular man, woman etc., are termed and For Personal & Private Use Only

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"Concept of Rasa", as seen in Anandavardhana and..... 1369 acknowledged as vibhavas, anubhavas and vyabhicarins. These are special terms which are not used in common parlance. They are a-laukika, so to say. Now these objects, originally particular Dusyanta, Sakuntala etc., and now termed alambanavibhava, along with moon-light etc. serving as uddipana-karanas or enhancing factors, and with karya, termed anubhavas such as asru-pata or shedding of tears etc., and vyabhicarins or enriching subordinate feelings such as cinta, or brooding over the lover, etc., combine into a complete complex. With the help of vyanjana i.e. a laukika power of poetry, the material stands to remove the ignorance of the sa-htdaya. This 'ajnanamsa' or layer of ignorance used to cover the ananda-amsa or the basic element of bliss in the consciousness of the enjoyer or sa-hrdaya. This results in the removal on the part of the enjoyer, of the parimita-pramatstva i.e. his limited ego (with all personal worldly limitations). Such a pramata or enjoyer of poetry whose limitation of particularity are removed becomes conscious of the basic emotions such as rati etc. located in him in form of impressions engramed from previous births, along with the bliss of his own self which is self-manifest at that moment. This consciousness of de-limited emotions which are part of his pure self is termed rasa. J. here quotes M. who has already stated : "vyaktah sa tair vibhava"dyais sthayi-bhavo rasah smotah." - i.e. Rasa is basic emotion suggested with the help of - vibhava, anubhava, etc. J. observes that by 'vyaka' is meant 'that which is the object of the process of 'vyakti' i.e. suggestion. This process of suggestion is of the form of consciousness with its cover of ignorance removed. :"vyaktah vyaktivisayikstah. vyaktis ca bhagna"varana cit." (pp. 64, ibid). J. goes to explain further that just as a lamp which is covered, enlightens the objects and itself when the cover is removed, in the same way the self-consciousness of the rasika or the cultured man of taste, causes to manifest ratya"di basic permanent emotions vested as part of his self, along with the vibhava"dis. This self-consciousness not only manifests or suggests these emotions along with the vibhavadis but it also manifests itself. (pp. 64, ibid): "yatha hi sarava"dina pihito dipas tan nivsttau sannihitan padarthan prakasayati, svayam ca prakasate, evam atma-caitanyam vibhava"di-samvalitan ratyadin." J. holds that ratyadi sthayins being of the form of vasana or impressions, are attributes of the self i.e. antahkarana. The attributes of the antahkarana are manifested directly by self-consciousness and hence these ratyadi are called "saksibhasya". This is accepted by all alamkarikas and also the vedantins."antahkarana-dharmanam saksibhasyatva - abhyupagateh." (R.G., pp. 64, ibid). For Personal & Private Use Only

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1370 SAHRDAYALOKA Vibhava"dis are also taken along with ratyadi to be manifested by selfconsciousness, i.e. the saksibhasyarva of vibhava"dis is also accepted though they are not part of individual consciousness, but are external. But they are also said to be saksi-bhasya along with ratya"di on the analogy of physical objects such as horse etc. seen in a dream that become part of consciousness, or like the illusion of silver in mother of pearl. J. further attempts an alternate explanation. In the first explanation it was explained that with the help of extra-ordinary causal factors such as vibhava"dis, an extra-ordinary power called carvana or asvada is caused which makes the sthayin of the enjoyer its object. But in this second attempt this intermediate vyapara is dropped altogether and in order to frame a very short definition of rasa, a sort of correction is introduced in the process of rasa-experience. The new definition is that no newer vyapara called carvana is generated by vibhava"dis, but along with the asvada or taste, there is experience of 'atma"nanda' to the citta-vrtti. Rasa is the name of this experience of atma banda or "bliss of soul". J. observes : (pp. 64, 64, ibid): "yad va. vibhava"di-carvana-mahimna sahrdayasya nija-sahsdayatavasonmisitena tat sthayyupahita-sva-svarupa"nanda"kara samadhav iva yoginas' cittavrttir upajayate, tanmayibhavanam iti yavat. anando hy ayam, na laukika-sukhantara-sadharanah an-antahkarana-vytti-rupatvat. ittham ca abhinavagupta-mammata-bhatra"di-svarasyena bhagna"varana-cidvisisto ratya"dih sthayi Bhavo rasa iti sthitam." The idea is : It may be said that on the strength of vibhava"di-carvana i.e. chewing of determinants etc., (i.e. without accepting an intervening of an extraordinary vyapara or function, but directly) the citta-vrtti of the sahrdaya, aided by the quality of one's own sa-hsdayata or sympathy, attains to the form of the bliss of its own form which is befitting the enhanced sthayin concerned in the case. This means that the mental attitude or citta-vitti becomes blissful or anandamaya or 'tanmaya'. As in case of sa-vikalpa-samadhi or meditation with determinate cognition the mental attitude of a yogin takes the form of 'brahma"nanda', i.e. it makes the brahma"nanda its object, i.e. it is not totally merged in brahman, same is the case here. The idea is that in this rasa-realisation activity, the cit upon the bliss accompanied by the sthayin as its object, but it does not get merged in the bliss. This means there is a sort of distance - tatasthya - between jnata and jneya. The rasika is necessarily conscious of the fact, while enjoying, that the particular rasa is very sweet to his taste. This consciousness is very much there and it is not efaced totally. Now, observes J., it has to be kept in mind, that this ananda' For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1371 is not of the type of other enjoyment felt at ordinary parlance, because this ananda ot of the type of feeling of happiness of the mind, but it is of the form of the self i.e. atman itself. Thus, according to Abhinavagupta or Mammata, rasa is that sthayin which is fully manifested by self-consciousness after the removal of any covering whatsoever. But J. finds difficulty in the above explanation also because he feels that even the above explanation is not in total harmony of the sruti text-viz., "raso vai sah." J. further observes : (pp. 65, ibid) : "vastutas tu vaksya-mana-sruti-svarasyena ratya"dy avacchinna bhagna"varana cid eva rasah" - In fact, taking into account the sruti text (viz. raso rai sah) to be quoted later, the consciousness itself manifested in a form qualified by ratya"di sthayin, is itself rasa. And this rasa is of a special type. The idea is that in the earlier explanation it was stated that ratyadi sthayin qualified by 'cit' or consciousness is rasa. Here it is stated that 'cit' qualified by 'ratyadi' is rasa. Thus this rasa has for its form a sort of speciality in form of a visesya' qualified by a 'visesana'. In normal language this can be explained as follows. There are two elements in the substance called rasa, and they are, (i) ratyadi sthayin and (ii) "cit." The difference in these. two explanations concerns as to which of these two portions forms either the visesya i.e. qualified and the visesana or qualification. So, J. holds that either the 'caitanya' is taken as visesana or visesya, it is clear that taking into account this caitanya-amsa rasa becomes self-manifest or svayamprakasa. But if the ratya"di-amsa is taken into account, rasa will be 'anitya' and ara-prakasa': (pp. 65, ibid) : sarvathaiva ca'sya vieista"tmano visesanam visesyam va cid amsam adaya nityarvam sva-prakasatvam ca siddham. ratyadyamsam adaya nityatvam sva-prakasarvam ca siddham. ratyadyamsam adaya tv anityatvam itarabhasyarvam ca." The enjoyment-carvana - of this rasa (= asvada) means the removal of the lid that covers the caitanya or consciousness : "carvana ca'sya cid-gata-avaranabhanga-eva, prag ukta; tad akara antahkarana-vrttir va." (pp. 65, ibid) - i.e. or, it is already stated that the mental state taking the shape of ratya"di sthayin is itself 'carvana' i.e. 'rasa-carvana". This is different from the samadhi i.e. concentration or meditation of mind in which there is enjoyment of para-brahma after getting merged with it. This is so (= i.e. different), because the bliss of consciousnesscaitanya"nanda-associated with object such as vibhava"di-s, is the alambana or T . For Personal & Private Use Only

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1372 SAHRDAYALOKA support or visaya i.e. object in this carvana. In the sa-vikalpa samadhi pure brahman dissociated with external objects, is the alambana. The difference between rasa-carvana and the savikalpasamadhi of the yogins, is only this much. Rasacarvana is 'bahya-visaya-sahita' and 'yogi-samadhi' is 'bahya-visaya-rahita' : "iyam ca para-brahma"svadat samadher vilaksana, vibhavadi-visaya-samvalita-cidanandaalambanatvat." (pp. 65, ibid). This carvana is caused only by the function of poetry (called vyanjanafunction.) : "bhava ca kavya-vyapara-matrat." J. further elaborates as follows: If it is asked that what is the gurantee - or pramana in the statement that in that (rasa) carvana there is consciousness of the element of happiness, then the reply is our retort i.e. counter question that what is the authority in accepting that there is consciousness of the element of happiness in samadhi or deep concentration also ? If it is said that in case of the latter (i.e. samadhi) there is an authority in the words of the Bhagavad-Geeta which observes : "sukham atyantikam yat tad buddhi-grahyam ati'ndriyam", then we say that even in case of carvana-sukha also there are two supports, one such as the ssti-vakyas viz. "raso vai sah." "rasam hy eva'yam labdhva anandi-bhavati" (taittiriya upa. ananda-valli., anu. 7), and also the second viz. the experience (of bliss) by all the sa-htdayas. J. further observes that (pp. 65, ibid) : "ya iyam dvitiya-pakse tad akara-cittavstry atmika rasa-carvana upanyasta, sasabda-vyapara-bhavyatvat sabdi. aparoksa-sukha"lambanatvac ca a-paroksa"tmika. 'tarvam'-vakyaja-buddhivat. ity ahur abhinavagupta"carya-padah." The idea is that when it is stated that rasa-carvana is of the form of 'ananda"kara-cittavrtti' that carvana, as it is caused by the vyanjana-function of words, it is 'born of words' i.e. "sabdi". Again as saksat-sukha or direct happiness is as base or alambana, it can be said to be of the form of knowledge. As the knowledge brought about by the maha-vakya viz. "tat-tvam-asi" is born of words in a sentence and therefore could be taken as 'sabda' or 'word-born', and as it is of the form of direct experience and is therefore 'direct' or 'a-paroksa', also same is the case with this rasa-carvan, which is both 'sabdi and 'a-paroksa'. This is the view of Abhinavagupta-pada"carya, says J. After this J. discusses other views on rasa-nispatti such as those of Bhatta Nayaka and others. This we will pick up for discussion in the next chapter on 'rasarealisation' as explained by Abhinavagupta, Mammata and the rest. J. of course has For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1373 his own original presentation. He also gives some other views not mentioned directly by his earlier masters, especially the views of 'The Navyas' or moderns. These moderns are not mentioned by name. But our impression is that contrary to the views as expressed by our guru prof. R. C. Parikh in his critical edition of the 'Kavyaprakasa-khandana' of Siddhicandra, we believe that the view of the moderns' was very much in circulation in the circle of literary critics in the times of J. But surely it was not Siddhicandra, as Prof. Parikh wants us to believe. On the contrary Siddhicandra seems to be posterior to J. as he seems to summerise the views as expressed in the R.G. But one thing is certain that the navyas were against taking rasa to be of the form of unaloyed bliss only. They, believed that the nature of rasa is not absolute bliss', but is a sort of a mixture of happiness and unhappiness - i.e. "sukha-duhkha"tmako rasah." This trend was already noted in the A.bh. itself while explaining the 'adi' in "harsadins ca adhigacchanti", the famous words of Bharata. But this view is directly articulated in the Natyadarpana of Ramacandra and Gunacandra, so far as available documents are concerned. The navyas were in favour of this. The navyas had other things also to say about rasa. This will be discussed in all details in the next chapter. For the present in this chapter, we will now turn our attention to some other works on dramaturgy such as the Dasa-rupaka, the Natva-darpana, the Bhava-prakasana, the Rasarnava-sudhakara, and The Nataka-laksana-ratnakosa. Bhanudatta is taken up earlier for his work is not a work on dramaturgy, while Saradatanaya is taken up here for his work is both a work on poetics as well as dramaturgy. We will also deal, by the end of this chapter with Rupa and Jeeva Goswami's work as they have something special to say on rasa. We will begin with the Dasarupaka (DR.) of Dananjaya. The DR. along with the commentary 'Avaloka' of Dhanika is a major work on dramaturgy after the NS. of Bharata. The alamkarikas that preceeded Anandavardhana, i.e. from Bhamaha to Rudrata, had avoided a direct discussion on drsya-kavya i.e. visual art-forms, and also a full discussion on rasa and topics that go with the same. Rudrata of course had something concerning rasa, nayaka, nayika etc., but primarily his work also was not dedicated to dramaturgy and discussion on rasa in the centre. With the DR. and other works on dramaturgy mentioned above, a new trend is seen wherein dramaturgy is in focus as against poetics. Rasa of course is a major topic with these and we will pick up a critical presentation of what these works have to offer, especially concerning the topic of 'rasa'. For Personal & Private Use Only

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1374 SAHKDAYALOKA The fourth flash of the DR. (Edn. The Adyar Library Series Vol. 97, '69; Prof. T. Venkatacarya, with Avaloka of Dhanika and Laghutika, of Bhatta-Nssimha, and also, Edn. (Hindi) - Chawkhamba Vidya Bhavan, Chowk, Benares; '55, Dr. Bholashanker Vyas) begins with the remark : (pp. 167, ref.s are to the Adyar Edition) - atha idanim rasabhedah pradarsyate - "vibhavair anubhavais ca sattvikair vyabhicaribhih, aniyamanah svadyatvam sthayi bhavo rasah smotah." (DR. IV. i) . "sthayi-bhava or the basic emotion brought to the state of being tasted, with the help of vibhava-s, anubhava-s, satrvikabhava-s and 'vyabhi cari-bhava-'s, is rasa." Contrary to Bharata, DR. makes a separate mention of the sattvika-bhavas. Normally the Kashmir School of thought following Bharata chooses to include the - sattvika-bhavas in the anu-bhavas; the former being more concerned with the mental or psychological aspects and the latter being more physical. The Avaloka (pp. 167, ibid) observes : "vaksyamana-svabhavair vibhava'nubhavavyabhicari-sattvikaih kavyopattair abhinayopadarsitair va, srotr-preksakanam antarviparivartamano ratya"dir vaksyamana-laksanah sthayi svada-gocaratam nirbhara"nanda-samvid-atmatam aniyamano rasah. tena rasikah samajikah, kavyam tu tathavidha"nanda-samvid-unmilana-herubhavena rasavat, 'ayur ghrtam' itya"di-vyapadesavat. It may be noted that Dhananjaya does not enter into the topic of how rasa is experienced from poetry or drama. It is Dhanika who elaborately rejects the case of vyanjana as established by the great Anandavardhana and Abhinavagupta representing what we term as the Kashmir School of thought. Dhanika has supported the case of tatparya as against vyanjana. We have discussed his antidhvani and anti-vyanjana approach under both tatparya and vyanjana earlier. So, we will not get involved in that topic anymore but pick up the thread concerning rasa, the number of rasas, vibhava"di etc. as explained and accepted by Dhananjaya in the text of the DR. The DR. IV. 2 speaks of 'vibhava' as two-fold : "jnayamanataya tatra vibhavo bhava-posakst, For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1375 alambanoddipanatva prabhedena sa ca dvidha." That which is known is 'vibhava'. It sustains the bhava. It is two-fold such as 'alambana-vibhava' and 'uddipana-vibhava'. Dhanika explains (pp. 168, ibid, avaloka on DR. IV. 2) 'evam ayam', 'evam iyam' ity atisayokti-rupa-kavya-vyapara"hita-visista-rupataya jnayamano vibhavyamanah san alambanatvena uddipanatvena va yo nayaka"dir abhimata-desakala"dir va sa vibhavah The substance is that we take the characters as depicted either in poetry or presented on stage in a drama, as they are, i.e. 'he is like this', or 'she is like this'. The description of characters in poetry or drama is of course, being poetic, is having a tinge of 'atisayokti' i.e. extra-ordinariness about them. But through this extraordinary description the poet secures the particular form of his characters. The samajika or the cultured reader or spectator accepts the character of Rama or Sita, etc. to be as such i.e. "He (= Rama) is like this", or, "She (= Sita) is like this" etc. Thus the agents which cause the samajika to have this apprehension are termed 'vibhavas' and they are 'alambana' or forming the very base, such as the hero or the heroine etc., and 'uddipana' or enhancing agency such as the surrounding conditions consisting of say, a lovely garden, a moonlit-night, etc. etc. as the context may be. Dhanika quotes Bharata in support suggesting, "vibhava is that the meaning of which is grasped." The two-fold vibhava-s will be elaborated while discussing individual rasas, observes Dhanika. Dhanika silences an objection here. He observes : (pp. 168-9; ibid) - "amisam ca an-apeksita-bahya-satrvanam sabdopadhanad eva asaditatadbhavanam samanya"tmanam sva-sva-sambandhitvena vibhavitanam saksad bhavaka-cetasi viparivartamananam alambana"dibhava iti na vastusunyata. tad uktam bhartpharina - sabdopahitarupams tan buddher visayatam gatan, pratyaksam iva kamsa"dih sadhanatvena manyate." - iti. (V. P. Sadhana-samuddesa - 5) sac sahasri-ksta'py uktam - ebhyas' ca samanyaguna-yogena rasa nispadyante." iti. (N.S., G.O.S., Vol. I. pp. 348)." For Personal & Private Use Only

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1376 The substance of Dhanika's argument is : The objector may say that the vibhava"di-s in poetry are limited to words only. They do not have a real physical existence. In drama also Rama, or Malinitata etc. are also unreal. Thus on account of their not being real, i.e. because of their vastusunyata, they are not directly cognised (i.e. pratyaksa). Thus the vibhava"di-s in kavya can not be associated with "jnayamanatva". To this Dhanika's reply is as follows: Whatever is applicable with reference to vibhava"di-s that are objects of worldly knowledge, is not applicable to vibhava"dis delineated in poetry or drama. With reference to worldly cognition the physical existence of a given object is expected. But vibhava"di-s in poetry do not require physical existence as a pre-condition. For, the apprehension of vibhava"di-s in poetry is brought about by words used in poetry and not by real objects. Again, the objects of worldly knowledge are only particular while those described in poetry are of 'samanya' or 'de-individualised' - form. These vibhavas go with their individual rasas and move in the mind of the connoisseur in such a way that, as it were, he has direct knowledge. Marked with such special features such vibhavas are either 'alambana' or 'uddipana'. The fact is that in the mind of the connoisseur this generalised - samanya-or- 'ideal' - form of vibhava"di-s is apprehended and hence they should not be taken as "vastu-sunya" i.e. unreal. When through words we apprehend some object metally or intellectually, it becomes as if such as "directly apprehended". Bhartrhari also suggests the same thing when he says that, "when words such as 'Kamsa' are used in a sentence, not only the words are utterred but along with that these words make the form of 'Kamsa' etc. the object of our intelligence. Now these "buddhigata kamsa" etc. i.e. Kamsa etc., apprehended by intellect are accepted by us as if they are directly cognised and become 'karma', 'karaka', etc. and thus are apprehended by us as jnapaka' i.e. sadhaka - of our knowledge in form of agent, or object (i.e. karta, karma), etc. Bharata has also said the same thing when he observes that these vibhavas, when generalised - "samanya-guna-yogena" - make for rasas. The DR. IV. 3 observes that - SAHRDAYALOKA "anubhavo vikaras tu bhava-samsucana"tmakah, hetu-karya"tmanoh siddhis tayoh samvyavaharatah." For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and... 1377 'anubhava' is that (external) indication which suggests the (basic) emotion. They are cause (i.e. hetu, vibhava) and effect (= karya, anubhava) of rasa and as they are seen as such (i.e. cause, effect etc.) in worldly context, they are said to be established as such. Hence their definitions are not separately attempted. Dhanika says that because these vibhavas and anubhavas (in poetry) are directly realised as hetu and karya in worldly real context, they are established as hetu and karya in art-context (i.e. poetry, drama etc.) also. He observes : (pp. 171, 172, ibid) : "tayor vibhava'nubhavayor laukika-rasam prati hetu-karya-bhutayoh samvyavaharad eva siddhatvan na prthag-laksanam upayujyate. tad uktam"vibha'vanubhavau loka-samsiddhau loka-yatra'nugaminau loka-svabhava'nugatvac ca na prthag laksanam ucyate." (N.S., G.O.S. Vol. I, pp. 348). Dhananjaya at DR. IV 4 tries to explain as to why a 'bhava' is so termed as "bhava". Why all i.e. sthayin, anubhava, satrvika, and vyabicarins are termed 'bhavas' to begin with ? DR. IV. 4 observes : "sukha-duhkha"dikair bhavair bhavas tadbhava-bhavanam;" In the first karika i.e. DR. IV. i, along with 'vibhava' and 'anu-bhava', 'satrvikas' and 'vyabhicarin-s' were also mentioned. The word 'bhava' is used with all the three viz. sthayin, sattvika and vyabhicarin. So, here Dhananjaya feels it imperative to explain the basic term "bhava". This is defined as - By the happiness or unhapiness as expressed by the 'anukarya' (i.e. original character) as depicted in poetry or drama, the samajika also feels similar happiness or unhappiness etc. in his heart. heart is having the same feeling as expressed by the anukarya of poetry or drama. This identity of the bhava of the anukarya with the bhava of the samajika is termed 'bhava'. Dhanika observes : (pp. 172, ibid) "anukarya"srayatvena upanibadhyamanaih sukha-duhkha"di-bhavais tadbhavasya bhavaka-cetaso bhavanam, vasanam bhavah. tad uktam - 'aho hy anena rasena gandhena va sarvam etad bhavitam, vasitam, iti. yat tu 'rasan bhavayan bhavah' iti, kaver antargatam bhavam bhavayan' iti (N.S. G.O.S. Vol. I., pp. 346) ca, tad abhinaya-kavyayoh pravartamanasya bhavasabdasya pravsttinimitta-kathanam. te ca sthayino vyabhicarinas ca iti vaksyamanah." The substance of what Dhanika wants to convey here may be put as follows. The characters that are imitated in drama are real Rama, Dusyanta etc. The poet depicts feelings of happiness, unhappiness etc. in these characters and they are For Personal & Private Use Only

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1378 SAHRDAYALOKA presented by the actors on stage. When the feelings of these anukaryas are felt, i.e. when their bhavana/vasana is felt by the connoisseur, this bhavana is termed bhava (bhavaka-cetaso bhavanam vasanam bhavah). Dhanika quotes the N.S. here in support. It is stated therein - "oh, by this rasa or gandha, (= fragrance), everything is, as it were, turned into bhava i.e. bhavita. Just as an insence stick, when lighted, turns everything around fregrant, in the same way the happiness etc. of the character makes the spectator feel happiness etc. The heart of the samajika is, as it were, 'vasita' i.e. rendered full of fregrance. The term 'bhava' is explained with the help of another etymology also. It is said, an bhavayan bhavah". i.e. bhava is such that makes the rasas possess those bhavas, (i.e. they are bhavita). It is also said, "Bhava is one which equips the heart of the poet with that particular bhava'. The ancient acaryas have fielded these etymologies of 'bhava'. The etymology given above (i.e. the first) therefore, cannot be accepted, says an objector. To this Dhanika's reply is as follows : These two etymologies (as cited in the N.S.) are for the currency of the term 'bhava' with reference to acting and poetry. The etymology as attempted by Dhanika is with reference to the bhava as is being experienced in the heart of the connoisseur. Thus the etymologies as presented by the NS. are not in contradiction of the one presented by Dhanika with reference to the samajika. There is visaya-bheda in these views and hence no opposition. These bhavas are sthayins and vyabhicarins as will be shown later. DR. IV. 4b, 5a, explain the sattvika-bhava-s as, "prthag bhava bhavanty anye anubhavatve'pi sattvikah, (4b) sattvad eva samutpattes tac ca tadbhava-bhavanam. (5a) Even though the sattvika-bhavas are also anu-bhavas, they are taken as different bhavas. They are called 'bhava', because they are derived from 'sattva' i.e. mental attitude. 'sattva' means experiencing the same feeling by the samajika in his heart, as is experienced by the anukarya i.e. 'rama' etc. Dhanika observes (pp. 173, ibid) : "para-gata duhkha-harsa"di bhavanayam atyantanukula'ntah-karanatvam sattvam yad aha-"sattvam nama manah prabhavam. tac ca samahitamanstvad utpadyate. (N.S. G.O.S. Vol. I. pp. 374). etad eva asya sattvam yat duhkhitena praharsitena va asru-romanca"dayo nirvartyante. For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1379 tena sattvena nirvrttah sattvikah. tad bhava-bhavanam ca bhavah; tata utpadyamanatvad asru-prabhrtayo'pi bhavah, bhava-samsucana"tmaka-vikararupatvac ca anubhava iti dvairupyam etesam." The substance is as follows. 'Sattva' is that special quality of mind when the antahkarana or heart is filled with absolute identical or favourable response on account of unhappiness or happiness seen with reference to somebody else. It is said 'sattva' springs from mind. It is born of concentrated mind. It is the quality of sattva which makes for tears or horripilation when one is either unhappy or happy. Thus sattvika bhavas are those that are displayed with the help of sattva i.e. extreme concentration of mind. Bhava is explained as 'attaining that feeling of someone else'. Tears etc. as born of sattva (i.e. concentration of mind), are also termed anubhavas as they are signs suggesting this or that feeling. Thus sattvika bhavas have a double role and hence are also anu-bhavas as well. DR. IV. 5b-6 describe the eight anubhavas such as stambha, pralaya, romanca etc. DR. explains only stambha which is stupefication of limbs, and 'pralaya' as 'unconsciousness'. The rest, the DR. observes are absolutely clear and need not be explained. The vyabhicarins are explained in the DR. IV. 7 as: visesad abhimukhyena caranto vyabhicarinah, sthayiny unmagna-nirmagnah kallola iva varidhau." By 'visesa' is meant 'abhimukhya' i.e. in consonance with, in front of. So those that take place following the lead of the sthayins are termed vyabhicarins. They are, like upsurging and falling waves in an ocean, also gathering strength and fading away only when respective sthayi-bhava is present. Dhanika explains (pp. 174, ibid) "yatha varidhau saty eva kallola udbhavanti viliyante ca tad vad eva ratya"dau sthayini satyeva avirbhava-tirobhavabhyam abhimukhyena caranto vartamana nirvedadayah vyabhicarino bhavah." Thirty-three vyabhicarins are enumerated following Bharata's lead. They are individually defined in the DR., and Dhanika cites stanzas to illustrate the same. Nirveda and jadata have sub-varieties also. So also srama, dhrti, and trasa. Avega also has a number of sub-varieties. For Personal & Private Use Only

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T 1380 SAHRDAYALOKA Sthayin is defined at DR. IV. 34 (pp. 196, ibid) as - viruddhair a-viruddhair va bhavair vicchidyate na yah, atmabhavam nayaty anyan sa sthayi lavana"karah." That which is not hindered by opposite or non-opposite emotions but leads others to merge with oneself is the permanent basic emotion. It is like an ocean (which leads all that pours into it to merge in itself). Dhanika explains further as follows: (pp. 196, ibid). - "sajatiya-vijatiyabhavantarair atiraskrtatvena upa-nibadhyamano ratya"dih sthayi." He illustrates it from Brhatkatha and also Malati-madhava. Then he discusses the possible nature of 'virodha'. It could be born of the fact that two emotions either cannot be juxtaposed - 'saha-anavasthanam' or there may be absolute contradiction allowing no. co-existence whatsoever - i.e. "badhyabadhaka-bhava". All this seems to follow Anandavardhana's lead. Commenting on "viruddhair a-viruddhair va", Dhanika (pp. 197, ibid) explains : "viruddhair a-viruddhair va bhavaih ya ahitah samskaro na vicchedi bhavati, pratyuta tan sarvan atmabhavam nayati, sa sthayi bhavo lavana"karah." This is illustrated by Dhanika. Anandavardhana's lead is apparent in all this. The sthayi-bhavas are mentioned as eight and the ninth 'sama' is reluctantly mentioned with a remark that - "samam api kecit prahuh pustir natyesu na etasya." (DR. IV. 35 b. pp. 202, ibid). So, both Dhananjaya and Dhanika have no faith in sama, at least so far as dramatic art is concerned. It seems that Mammata, a great protegonist of the Kashmir school, was also impressed by Dhananjaya and Dhanika. Dhanika denounces sama with reference to drama and critically discusses, to his satisfaction, the case of Nagananda. He suggests that the sthayin in this play is "dayavira-utsaha". : (pp. 203, ibid) - "ato dayavirotsahasyaiva tatra sthayitvam srngarasya angatvena, cakravartitva-avyaptes ca nantariyaka-phalatvena a-virodhad abhipsitam. evam ca sarvatra drastavyam iti. paropakarapravrttasya vijigisor nantariyakarvena phalam sampadyate ity aveditam eva prak atostav eva sthayinah." The DR. IV. 36 further disowns 'nirveda' as a sthayin in the words : "nirveda"dir atadrupyad a-sthayi svadate katham, vairasyayaiva tat-posas tena'stau sthayino matah." For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1381 'a-tadrupya' means 'getting over-whelmed by viruddha or a-viruddha' emotions. 'nirveda' has no capacity to absorb the riot run by other emotions. It can not absorb other emotions and cannot see that other emotions get defeated and merged into it. So nirveda can not be called a sthayin. As it is a-sthayin, how can it be relished in form of a rasa ? Actually if nirveda is enhanced in poetry and drama it will cause 'vai-rasya' i.e. negation or demolition of rasa. Dhanika observes : (pp. 204, ibid) : viruddha-a-viruddha-a-viccheditatvasya nirveda"dinam abhavat a-sthayitvam. ata eva te cinta"di-vyabhicaryantarita api pariposam niyamana vairasyam avahanti. na ca nisphalavasanarvam eva etesam asthayitvanibandhanam, hasya"dinam apy a-sthayitva-prasangat. paramparyena tu nirveda"dinam api phalatvat. ato' sthayitvad evai tesam a-rasata." Nirveda, because of the lack of the quality of "viruddha-a-viruddha-aviccheditatva", cannot be a sthayin. It gets removed or 'vicchinna' by other bhavas. Some take nirveda along with 'cinta' etc, the vyabhicarins together and accept its enhancement. But even with the help of a-virodhi-vyabhicarins, nirveda is not enhanced to the capacity of rasa. Now it can be argued that sthayins such etc. also do not have a clear phala or effect, i.e. they also are 'nisphalavasana'. So, even hasya as a rasa also will have to be discarded. Their result also has no contribution whatsoever. On the other hand if closely observed, even nirvedadi are not totally without an effect i.e. they are not nisphalavasana, for nirveda"di become anga - i.e. subservient to any other sthayin which in itself is not 'nisphala'. Thus in sequence - parampara - 'nirveda' also bears some fruit. So 'whatever is 'nisphala' is not a 'sthayin' - is not a rule. Absence of an effect i.e. 'phala-rahitata' cannot be taken as the 'prayojaka' of a sthayin. The actual reason for any emotion not being taken as a sthayin could be only this that it has no capacity to stand the strengh of other emotions, opposite or not opposite. As 'nirveda-adi' lack this quality, they can not be taken as sthayins. So, for Dhanika there are only eight sthayins and eight rasas. After this Dhanika enters into a long discussion as to how rasas are arrived at through 'tatparva' and that projection of wanjana is useless. We have discussed all this in separate chapters earlier and therefore this may not detain us here. The DR. IV. 37 observes : (pp. 211, ibid) : "vacya prakarana"dibhyo buddhistha va yatha kriya, vakyarthah, karakair yukta sthayi bhavas tathetaraih." For Personal & Private Use Only

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1382 SAHRDAYALOKA In a sentence we understand, with the help of context and karakas, a particular ativity as vakyartha, either directly stated as above or as implied through context alone. Thus 'kriya' either directly stated or otherwise is the sentence-sense. In the same way, through vibhavadi-s, sthayin emerges as vakyartha' i.e. tatparyartha or purport in poetry, i.e. in a poetic statement. Sthayi, like implied kriya i.e. buddhistha kriya, is arrived at through context i.e. prakarana"di. Dhanika establishes the supremacy of tatparya-vitti and denounces vyanjana in his Avaloka on DR. IV. 37. The DR. IV. 38-47 discuss the topic of rasa in greater detail. DR. IV. 38-39 (pp. 217) read as - "rasah sa eva svadyatvad rasikasyaiva vartanat na-anukaryasya vittatvat kavyasya a-tatparatvatah." (IV. 38) drastuh pratitir vridersya. . raga-dvesa-prasangatah, S . laukikasya sya-ramani samyuktasyaiva darsanat." - (IV. 39). Rasa is so called because of its being relished and because it is located only in the connoisseur or rasika who is present. Rasa is not said to be present in the 'anukarya' i.e. original character such as Rama, Sita, etc., that are imitated reason is that the 'anukarya' is a matter of past i.e. history. Again poetry is not written to please these historical characters. If rasa were accepted with reference to the anukarya, then as in drama, so also in actual life if a seer sees somebody making love, he should experience rasa. But on the contrary such a sight promotes, with reference to the individual culture of an onlooker, a response of aversion, shame, jealousy, attachment, displeasure etc. as the case may be. Dhanika (pp. 217, ibid) observes in Avaloka : "kavyarthopaplavito rasikavarti ratya"dih sthayi bhavah sa iti nirdisyate. sa ca svadyatam nirbhara"nandasamvidatmatam-apadyamano rasah. rasikavarti vartamanarvat; na anukaryarama"di-varti, vittatvat tasya. For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... atha sabdopahita-rupatvena vartamanasya api vartamanavad avabhasanam ucyate. tatha'pi tad avabhasasya asmada"dibhir anubhuyamanatvad asat-samata eva svadam prati. vibhavatvena tu rama"der vartamanatvad avabhasanam isyata eva. kim ca na kavyam rama"dinam rasopajananaya kavibhih pravartyate. api tu sahrdayananandayitum. sa ca samasta-bhavaka-samvedya eva. yadi ca anukaryasya rama"deh srngarah syat tato nataka"dau taddarsane laukika iva nayake srngarini sva-kanta-samyukte drsyamane srngaravan ayam iti preksakanam pratiti-matram bhavet na rasikanam svadah satpurusananam ca lajjetaresam tv asuya-raga'paharecchadayah prasajyeran. evam ca sati rasadinam vyangyatvam apastam...etc. The DR. IV. 40, 41, 42a - read as : "dhirodattady avasthanam ramadih pratipadakah, vibhavayati ratya"din svadante rasikasya te. (IV. 40 DR.) ta eva ca parityakta -visesa rasahetavah; kridatam munmayair yadvad balanam dvirada"dibhih (IV. 41) svotsahah svadate tadvat srotrnam arjuna"dibhih - 42a DR. 42b reads - 1383 kavyartha-bhavana"svado nartakasya na varyate." (DR. IV. 42b) Dhananjaya is of the opinion that the anukarya such as Rama and the like that are described in poetry, stand for the stage of a dhirodatta and the like (in general). These Rama etc. cause the apprehension of ratya"di in the samajikas who relish the same. These 'rama"di' deprived of their individuality i.e. when they are deindividualised, make for the (enjoyment of) rasa. As children, while playing with earthen toys, say a toy elephant etc., relish their own sthayin such as 'utsaha', in the same way the cultured readers or spectators enjoy their own emotion seeing the emotion of characters such as Arjuna and the For Personal & Private Use Only

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1384 SAHRDAYALOKA like. This, i.e. Arjuna and others presented through art-forms are as unreal as toyelephants in case of children. But, the samajkas derive bliss or ananda through these characters. In DR. 42 b. Dhananjaya says that enjoyment of rasa in case of the actor is not totally rejected. If the actor also enjoys the kavyartha, then in the capacity of a bhavaka he is entitled to enjoyment of rasa. Now Dhananjaya talks of the four types of rasa-experience with reference to the resultant four-fold mental state of the enjoyer. He observes : DR. IV. 43, 44, 45 a read as : "svadah kavyartha-sambhedad atmananda-samudbhavah, vikasa-vistara-ksobha-viksepaih sa caturvidhah." - DR. IV. 43 srngara-vira-bibhatsa-raudresumanasah kramat hasya'dbhuta-bhayotkarsa karunanam ta eva hi. - DR. IV. 44 atas tajjanyata tesam ata evavadharanam. - 45 a "On account of the apprehension of poetic meaning, the special bliss caused in the heart of the connoisseur is termed 'svada' or relish. This relish is said to be four-fold such as (i) when the mind or conscience feels a flash of light as it were, or expansion, or dilation, or shaking i.e. disturbance or movement, i.e. scattering. This happens in case of songara, vira, bibhatsa and raudra respectively and similarly respectively in case of hasya, adbhuta, bhayanaka and karuna also. DR. talks of the four mental attitudes or states of consciousness - citta-bhumayah - that result from a rasa-experience. The next four i.e. hasya etc. also have a similar effect and therefore they are deemed as resulting from the first four respectively. This refers to Bharata's concept of four prakti-rasas and fourvikrti-rasas. Dhanika explains that in Bharata's statement viz. "srngarad hi bhaved hasyah"... etc. the idea is that srngara etc. are the 'hetu' of hasya etc. But they are not related as labsolute karya-karana-bhava because they are caused by other reasons also. Dhanika observes : (pp. 221, ibid) For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1385 songarad hi.: (N.S. G.O.S. 6/39) iti hetu-hetumadbhava eva sambheda'peksaya larsitah. na (tat] karya-karana'bhiprayena. tesam karanantara-janyatvat. Dhanika thus suggests that the rasas are only eight as suggested here. He then discusses how even karuna causes bliss and not unhappiness. In this respect these Malava-School alamkarikas seem to agree with the Kashmir school. After this the DR. once again focuses on santa rasa. It is observed at DR. 45b - sama-prakarso nirvacyo muditades tad atmata - (pp. 223, ibid) Introducing these lines Dhanika observes : (pp. 223, ibid): nanu ca santarasasya an-abhineyatvat yady api natye'nupraveso nasti tatha'pi suksma'tita"divastunam sarvesam api sabda-pratipadyataya vidyamanatvat kavya-visayatvam na nivaryate. atas tad ucyate - As santa-rasa cannot be represented on stage, it is not recognised with reference to drama. But all subtle or past things can be apprehended through words. Thus everything (including santa) can be the object of poetry. DR. 45b therefore suggests that santa rasa, which is of the form of enhancement of sama is indescribable. It is of the form of 'mudita' or joyousness etc. Karika IV. 46 is an attempt to suggest how the combination of vibhava, anubhava and sancarin results in rasa-relish. We may say that the DR. attempts its own explanation of rasasutra. It is observed : padarthair indu-nirvedaromanca"di-svarupakaih kavyad vibhava-sancary anubhava-prakhyatam gataih - IV. 46 bhavitah svadate sthayi rasah sa parikirtitah." IV. 47 a DR. Worldly objects, with reference to poetry (or any art) are termed vibhava etc. With the help of these vibhava"di-s the sthayin is relished as rasa when it is turned ino a state of 'bhava'. Dhanika observes : (pp. 224, ibid, on DR. IV. 46, 47a): "atisayoktirupa-kavyavyapara-ahita-visesaih candra"dyair uddipana-vibhavaih, pramada-prabhrtibhiralambana-vibhavaih, nirveda"dibhir vyabhicari-bhavaih romanca-asru-bhruksepa-kataksa"dyair anubhavaih avantara-vyaparataya padarthibhutaih vakyarthah sthayi bhavo, bhavito bhavarupatam anitah svadate, sa rasa iti prak-prakarana-tatparyam." For Personal & Private Use Only

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1386 SAHRDAYALOKA The idea is that the samajika apprehends the vibhava"di-s in form of padartha i.e. word-meaning, and padartha makes the sthayin situated in the heart of the samajika, an object of bhavana-vyapara. The result is the attainment of bliss in form of relish. This "ananda" in form of "asvada" is rasa. Thus rasa is nothing else but the 'bhavita' state, or the state of relish of the sthayin itself. It seems Dhananjaya is closer to Lollata and Bhatta Nayaka. It may be observed that Bharata had devoted a separate chapter viz. the bhavadhyaya over and above the rasadhyaya for explaining bhava. But the DR. seems to suggest that on account of the basic identity of bhava and rasa, no separate treatment of bhavas along with their vibhava"di-s is considered here. As the vibhavas of both rasa and the related bhava are identical, both rasa and bhava are taken as non-different and hence no separate treatment of bhavas is required as is done by Bharata. DR. IV. 47b observes : "laksanaikyam vibhavaikyad abhedad rasa-bhavayoh." Now onwards, the DR. takes up individual rasas with their varieties if any. Dhanika of course provides poetic illustrations for all rasas, such as srngara, with its varieties and avasthas, vira, bibhatsa, raudra, etc. DR. IV. 84 (pp. 250, ibid) observes that bhavas such as priti, bhakti etc., and rasas such mrgaya, aksa, etc. get included in harsa, utsaha etc. clearly; and therefore are not separately cognised: "priti-bhakty adayo bhava mrgaya'ksa"dayo rasah, harsotsaha"disu spastam antarbhavan na kirtitah." DR. IV. 84 This means that the DR. is in favour of absorbing the love for any game, be it the game of dice, or say cricket or boxing or any, in 'utsaha', the sthayin of vira, while priti or bhakti are taken up under accepted vyabhicarins. In the same vein, harsa, utsaha etc. along with alamkaras, are capable of absorbing the 36 bhusanas (or laksanas), and 21 sandhyantaras. DR. IV. 85 reads: "sad-trimsad bhusana"dini sama"diny eka-vimsatih, For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1387 laksma-sandhyantara"khyani salamkaresu tesu ca." Dhanika observes : (pp. 250, ibid) - "vibhudsanam ca'ksara-samhatis ca, sobha'bhimanau gunakirtanam ca." - ity evam adini sat-trimsat kavya-laksanani, 'sama bhedah pradanam ca' ity evam adini sandhyantarany ekavimsatir upamadisv alamkaresu harsotsahadisv antarbhavanti. tena na prthag uktani." Dhananjaya ends his work with a famous expression that there is no object on earth, howsoever ugly, or even if it be a non-object so to say, which does not attain the status of rasa-bhava. DR. IV. 86 (pp. 250, 251) reads : "ramyam jugupsitam udaram atha'pi nicam, ugram prasadi gahanam vikstam ca vastu, yad va'py a-vastu kavi-bhavaka-bhavyamanam tan na'sti yan na rasa-bhavam upaiti loke." The Laghatika of Bhatta Nssimha adds (pp. 251, ibid) : ramya-jugupsita"dirupam vastu a-vastu.va rasibhuya kavi-bhavena anakrantam loke nasti itya"ha - ramyam iti. It may be observed that after Abhinavagupta these two viz. Dhananjaya and Dhanika have come up with a great contribution in the field of art-criticism. They he court of Munja and were the protegonists of the Malava School of aesthetics with a lot of influence of Bhattanayaka and mighty following in the works of Bhoja and some others. We see how the Malava School has wielded its influence on even Ramacandra and Gunacandra who were disciples of Acarya Hemacandra, an artent follower of the Kashmir School of thought as represented by the great Anandavardhana, Abhinavagupta and Mammata. Even saradatanaya the author of Bhavaprakasana, Sagaranandin the author of Nataka-laksana-ratnakosa, and Singa-bhupala the author of Rasarnava-Sudhakara were influenced by For Personal & Private Use Only

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1388 SAHRDAYALOKA the Malava School in general and perhaps the DR. in particular. So, the DR. along with the Sr. Pra. of Bhoja and the Sahityamimamsa of unknown authorship were great works belonging to the Malava School of aesthetics. We will now move on to the Natyadarpana (= ND.) of Ramacandra and Gunacandra (= R. & G.). Ksemendra's rasa-vicara will be taken up in our proposed Vol. II, when in a separate chapter, we will discuss the concept of 'aucitya'. Natyadarpana (ND.) discusses the concept of rasa in the fourth chapter or 'Viveka': The editions referred to by us are the G.O.S. Edn. '29; and the Hindi N.D. Deptt. of Hindi, Delhi University, Delhi, '91; with Intro., Trans. and explanation by Acarya Visvesvara Siddhanta-Siromani. We have great respect for Visvesvarajee, but the other names associated with this edition do not carry weight whatsoever for us. It may be noted at the outset that the ND. moves away, though not totally, from the Kashmir School, while discussing the topic of rasa. It takes rasa to be of the nature of both happiness and un-happiness - i.e. sukha-duhkha"tmako rasah - and perhaps the forgotten tradition that went with the words of Bharata such as, "harsadinsca adhigacchanti" - is revived here. It may be observed that the ND. has absorbed a number of influences from Dhananjaya's and Bhoja's Malava tradition, and has also restated some elements from Dandin, Lollata, and Sankuka. We will carefully and closely examine what the ND. has to say on rasa. The ND. I. 3 observes that the part of drama is difficult to traverse as it is rendered complex by billows in form of 'rasa'; while the path of poetry is easier on account of its being rendered soft by the use of alamkaras. "alamkara-mrduh panthah katha"dinam su-sancarah, dus-sancaras tu natyasya rasa-kallola-samkulah." It is observed that only he is a poet with the help of whose composition even the mortals drink nectar. His language dances in the area of drama, twisting and whirling with the waves of rasa. sa kavis tasya kavyena martya api sudhandhasah, rasormi-ghurnita natye yasya notyati bharati, (ND. I. 5) For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and... 1389 To glorify the presence of rasa in a poetic composition, the ND. I. 6, 7 read as follows: nanartha-sabda-laulyena paranco ye rasamotat, vidvamsas te kavindranam arhanti na punah katham. I. 6 slesa'lamkara-bhajopi rasa'nisyanda-karkasah durbhaga iva kaminyah prinanti na mano girah." (ND. I. 7) After the glorification of 'rasa' in the first viveka, the N.D. in its third viveka deals with the topic of rasa, theoretically. The definition of rasa at N.D. III. 7 reads as : (pp. 290, Edn. Visvesvara, Hindi) : "sthayi bhavah sritotkarso vibhava-vyabhicaribhih, spasta'nubhava-nisceyah sukha-duhkha"tmako rasah." The basic emotion, when enhanced with the help of determinants and accessories, and when confirmed by clear consequents, an confirmed by clear consequents, and which is of the nature of happiness and unhappiness, is termed 'rasa'. It may be noted that the ND. does not use the term "samyoga" or combination (of vibhava"dis), but instead places the term 'sthayibhava' in the definition. We know that Bharata had not used the term 'sthayin' and had used the term 'samyoga'. The sthayin for the ND. becomes rasa when enhanced by vibhava and vyabhicarins and inferred by clearly marked anubhavas. We may say that by calling the 'sritotkarsa sthayin' i.e. enhanced basic emotion as (identical with) rasa, the N.D. seems to revive the tradition of Lollata for whom upacita-sthayin was rasa. In a way the ND goes with the upacitivada of Lollata, so to say. But it is not just this. Vyanjana is neither opposed nor totally rejected by the ND. Thus the ND. puts in a newer light the whole heritage of dramatic criticism and seems to evolve a sort of synthesis of its own. We may also say that by taking rasa as enhanced sthayin and also by taking rasa to be of the nature of both happiness and unhappiness, the ND. also seems to accept the tradition of "sthayi eva rasah" as against the Kashmir tradition of (laukika) sthayi-vilaksano rasah." For Personal & Private Use Only

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1390 SAHRDAYALOKA 'Sthayin' is explained by the N.D. as : (vrtti, ND. III. 7, pp. 290, ibid) - "pratiksanam udaya-vyaya-dharmakesu bahusv api vyabhicarisv anuyayitaya avasyam tisthati iti sthayi." The permanent basic emotion is one which necessarily stays as constant among many passing feelings (= vyabhicarins) that have rise, fall etc. as their characteristic every moment." Or, say 'ratya"di' is sthayin, with reference to 'glani' etc. the vyabhicarins for only in the presence or absence of the former the latter are present or absent. This ratyadi sthayin when enhanceed, takes the form of rasa. The Vstti (ND. III. 7, pp. 290, ibid) reads further: "vibhavair lalanodyana"dibhir alambanoddipana-rupair bahyair hetubhih, sata eva avirbhavat, vyabhicaribhir glanya"dibhi rasika-manah-sarira-vartibhih, pariposanac ca, sritotkarsah, svikstasaksatkaritva'nubhuyamana vastho, yatha-sambhavam sukha-duhkha-svabhavo rasyate asvadyate iti rasah." Now this "sata eva avirbhavat" is not in tune with the Kashmir School of thought which regards 'rasa' not as pre-existent but only "tatkalika" and "vibhava"di-jivitavadhi". But this trend we see later in Visvanatha and earlier perhaps in the Malava School of thought. ND. is clear that "upacayam prapya rasarupena ratya"dir bhavati", thus favouring upacitivada' basically. The vyabhicarins that enhance this sthayin are those staying in the mind of the 'rasika'. ND. divides, rasas into two such as those like srngara-hasya-vira-adbhuta and santa that promote happiness on account of their determinants etc. being 'ista' i.e. of welcome type. The rest, i.e. karuna, raudra, bibhatsa, and bhayanaka born of unwelcome - an-ista-determinants etc. cause unhappiness and therefore are said to be "duhkha"tmanah." : "tatra ista-vibhava"di-grathita-svarupa-sampattayah songarahasyavira-adbhuta-santah sukha"tmanah. apare punar anista-vibhava"dy upanita"tmanah karuna-raudra-bibhatsa-bhayanakas' catvaro duhkha"tmanah. ND. criticises the view of those who hold all rasas to be of the nature of happiness, because this is against our experience. ND. observes that forget about the second group of rasas - i.e. bibhatsa, bhayanaka, karuna and raudra, to provide happiness when born of real causes - "mukhya-vibhavopacitah", but even when these four are born of vibhava"dis, projected through either poetry i.e. kavya or drama i.e. natya, they cannot cause happiness. Actually they lead to unexpressible unhappy state of mind in case of those who experience the same. It is therefore that people shun or get nervous about such rasas as bhayanaka etc. There can be no mental disturbance by any experience of happiness : "yat punah sarva-rasanam sukha-duhkha"tmakatvam ucyate tatpratitibadhitam. astam nama mukhya-vibhavopacitah, kavyabhinayopacitopi bhayanako For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1391 bibhatsah karuno raudro va rasa"svada-vatam anakhyeyam kam api klesa-dasam upanayati ata eva bhayanaka"dibhir udvijate samajah. na nama sukha"svadad udvego ghatate." (pp. 291, ibid) This is in direct opposition to and flagrant discard of what Abhinavagupta and the Kashmir School of aesthetics has to report on the nature of rasa. Abhinavagupta's words are (A.bh. NS. VI. 31) "asman mate tu samvedanem eva anandaghanam asvadyate, tatra ka duhkha"sanka." ND. seems to follow a line suggested through the words of Bharata in the expression, "harsadin sca adhigacchanti', and explained there by Abhinavagupta that here by 'adin' are suggested both harsa and soka i.e. happiness or bliss and also unhappiness or, sorrow. This line of thinking, perfectly misguided and also supported by some of the moderns such as Siddhicandra in his "Kavya-prakasa-khandana', and also by the 'navyah' to an extent as seen in the R.G., takes its stand on the fallacious assumption that the emotions and feelings as depicted in poetry, drama or any art, are not only the same as met with in the work-a-day world but are absolutely identical in nature i.e. are yeilding both happiness and unhappiness as the case may be, with the worldly emotions and feelings. Actually the Kashmir School has vehemently opposed this conclusion and it is therefore, that for this school 'rasa' is "sthayi-vilaksana" i.e. laukika-sthayi-vilaksana in the sense that it is made of pure bliss - ananda-ghana-- and is experienced in the context of art only : "natya eva rasah, na loke" and not in worldly context at all. This is a fundamental difference between these two schools of thought and we support only Abhinavagupta in this regard. But the ND. seems to be conscious of another fact also and it is that even tragic scenes in a drama are appreciated by men of taste. But they i.e. Ramacandra and gunacandra say that men of taste feel ultimately happy not because of the inherent extra-ordinary bliss-generating nature of rasa, but because at the first phase of experiencing bhayanaka etc. they do feel unhappy but at a later stage they are awestruck i.e. they as it were experience 'camatkara' at the thought of the expert presentation by both the poet who wrote the script and the actor who performed so well as to make it look real. This 'camakara' gives them delight. All this seems childish to us. The ND. to substantiate their belief of rasa being "sukha-duhkha"tmaka', further illustrate from poetry and drama. They say that no sa-hrdaya will enjoy i.e. feel happy at the sight of Sita's abduction, Draupadi's insult, Hariscandra's slavery, or death of Rohitasva. ND. reads as follows : (pp. 291, ibid) : "yat punar ebhir api camatkaro drsyate For Personal & Private Use Only

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1392 SAHRDAYALOKA sa rasa"svada-virame sati yatha'-vasthita-vastu-pradarsakena kavi-nata-saktikausalena. vismayante hi sirscheda-karina'pi prahara-kusalena vairina saundiramaninah. anena eva ca sarvanga"hladakena kavi-nata-sakti-janmana camatkarena vipra-labdhah paramananda-rupatam duhkha"tmakesv api karuna"disu sumedhasah pratijanate. etad asvada-laulyena preksaka api etesu pravartante. kavayas tu sukha-duhkha"tmakasamsara'nurupyena rama"di-caritam nibadhnantah sukha-duhkha"tmaka-rasanu-viddham eva grathnanti. panaka-madhuryam iva ca tiksna"svadena duhkha"svadena sutaram sukhani svadante iti. bi ca sitavah haranam. draupadyah kacambara"karsanam, hariscandrasya candala-dasyam, rohitasvasya maranam, laksmanasya saktibhedanam, malatya vyapadana"rambhanam ity ady abhiniyamanam pasyatam sahtdayanam ko nama sukha"svadah." ? The arguments are advanced on the theory that laukika-rasa and kavyanatya"di-gata-rasa are absolutely identical in nature. The ND. seems to accept 'rasa' - even at worldly level, but we know that the school represented by Abhinavagupta accepts the possibility of rasa in the context of art only. The ND., believes that the actual sorrowful behaviour results with reference to the karuna, as experienced by actual Rama (i.e. real anukarya). This expression of sorrow is of the nature of unhappiness only. If its imitation causes happiness, then it cannot be considered to be actual imitation, for it would look contradictory : "tatha anukaryagatas ca karuna"dayah paridevita'nu(di)karyatvat tavad duhkha"tmaka eva. yadi ca'nukarane sukha"tmanah syur na samyag anukaranam syat. viparitatvena bhasanad iti." (pp. 292, ibid) This shows that the ND. has failed even to understand the true significance of Bharata's words viz. "natyam... bhava'nukirtanam". Gross imitation and artful representation or recreation are never identical. The ND. observes further that when there is experience of happiness even in the context of the karuna. being either staged or described, actually it is a taste of unhappiness only. Only a miserable person will feel happy while listening to the miserable condition of some other unhappy person. He will be unhappy on listening to the joy of somebody else. So, Karuna and such other rasas have to be taken as causing unhappiness. All these arguments may hold good when psychology of 'people in ordinary worldly context is looked into. But only the elect enter the world of art. Only the people blessed with divine sensitivity have an admission in the world of art wherein laws of gross physical world pale into insignificance For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1393 along with the apparent rules of common psychology. The ND. has to learn this or get out of the world of aesthetics. The ND. further notes that the vipralambha-srngara is of the nature of unhappiness due to torment, but as there is inherent possibility of love in union, it is taken, in the end, to be of the nature of happiness. The ND. has to pass this remark because it has branded songara as basically 'sukha"tmaka', and one variety viz. vipralambha is seen apparantely associated with unhappiness due to mental torment, the disunited lovers have to experience. After this the ND. turns its attention to yet another basic question concerning the substratum of rasa. For the ND. rasa is seen primarily in the original characters and then in the spectators, and also in those too who listen (or read) poetry and also compose it. We strongly object to this observation which unholds rasa in actual persons in worldly context. The ND. observes - (pp. 293, ibid) - rasas' ca mukhyalokagatah, preksakagatah, srotr-anusandhayakadvaya-gato va iti." By 'anusandhayaka' we mean the poet who composes poetry. He too may enjoy rasa, we believe, only when purged of all limitations of lower ego. Of course, as a sensitive soul he receives impressions personally from his personal encounter with the context he is involved in, but when he writes poetry his entire limited self is brushed aside and, possessed as it were he is, he presents everything local with a universal colouring. Thus de-individualisation or sadharanikarana operates first at the level of the poet personally, then at the level of the vibhavadi's or the material he presents through his poetic muse, and then this sadharanikarana operates at the level of the enjoyer of art. This secret of art-experience the ND. and its like-thinkers refuse to accept and we feel sorry for the same. In their rasa-karika the authors had suggested that 'rasa' is 'spastanubhava This means that the effects or consequents of the enhanced sthayin indicate the same. The anubhavas make the inference of the enhanced sthayin possible. As the anubhavas help us infer the sthayin concerned, they i.e. the anubhavas have to be clear and unfailing signals that help this inference. Only such signals are taken as unfailing marks : "spastah iti spastah samyan nirnitah. asandigdham hi lingam bhavati. anubhavayanti parasthan api rasan avabodhayanti iti anubhavah. stambha-sveda-asru-ramanca-bhruksepa-adayah. tair yatha sambhavam sat-taya nisceyah." (pp. 293, 4; ibid). The ND. further observes that in poetry and drama the rasa that is apprehended is that rasa which stays in somebody else. Now such an apprehension cannot be For Personal & Private Use Only

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1394 SAHRDAYALOKA direct because the qualities of mind are beyond the grasp of physical organs. So, it has to be indirect. This indirect apprehension is caused only by a medium which in invariably associated with that object. In case of rasa signs having invariable association are only the physical reactions noted in an outward fashion : (pp. 294, ibid) : "iha tavat sarvaloka-prasiddha parasthasya rasasya pratipattih. sa ca na pratyaksa, cetodharmanam atindriyatvat. tasmat paroksa eva. paroksa ca pritipattir avinabhutad vastvantarat. atra ca rase anyasya vastyantarasya asambhavat karyam eva avinakstam." It may be noted that here the ND. tries to explain that the apprehension of rasa staying in somebody else than oneself has to be collected with the help of external signs that follow as invariable results. The characters presented on the stage express their feelings through acting that comprises of exhibiting external effects following invariably from their mental states. But these resultant expressions of the characters become so to say causes for the evocation of rasa in the spectator. This will drive the N.D., and it is absolutely logical, to a conclusion that for the spectator the stuff presented on the stage, i.e. characters, their acting, their feelings inferred from their acting etc. form an indivisible cause - a vibhava which s sthayin in the heart of the spectator. So, actually Bharata's rasa-sutra can be shortened to just this much viz. "vibhavad rasanispattih", wherein this 'vibhava' in the newer and wider sense is made of everything seen on the stage i.e. the characters or alambana, the context or uddipana, their acting suggesting their mental state etc. The milleu or the whole samagri or combination becomes a cause, so to say, a vibhava which stimulates the sthayin of the spectator or art-enjoyer. The ND. believes that an actor or an artist exhibits the signs of his experiencing an emotion even in the absence of actual experience of such a feeling in his case personally. But such effects as exhibited by an artist even in the absence of actual emotion are to be taken only as causes. It should not be said that these artificial exhibition of effects has no invariable relation with a feeling. Actually these effects serve only as cause - vibhava - for the spectators. ND. observes (pp. 295, ibid) : "paragata-vibhavady anukriyayam ca pararanjanartham pravsttasya natasya rasa'bhave'pi stambha-sveda"dayo bhavanti iti, naisam rasa-nantariyakatvam asankaniyam. tesam paragata-rasa-janukatvena akaryatvat. nata-gata hi stambha"dayah preksaka-gatarasanam karanam. preksakagattas tu karyani." Lollata has also indicated this difference between anubhavas as exhibited by an artist and the anubhavas that are connected with rasa, bhava of the character or person concerned. For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1395 The ND. Observes that if the anubhavas seen in a actor are genuine, i.e. are of the form of real karya or effect, then we can imagine the existence of rasa even in an actor. There is no law that debars the actor from experiencing rasa, observes the ND. : "na ca natasya raso na bhavati ity ekantah." (pp. 296, ibid). The harlots, exhibiting love for earning money, at times fall in love genuinely also. Same could be the case with the actor also. Just as a singer, singing to entertain someone else, himself also enjoys his own singing, in the same way the actor can experience rasa while getting one with the character, say Rama, during his imitation of Rama's feelings. ND. observes that the horripilation and the like as observed in a man or woman. or in an actor, or as described in poetry, cause rasa in somebody else. So, these 'anubhavas', causing rasa in others are actually counted in 'vibhavas' or 'cause'. But the anubhavas located or observed in a spectator, or a listener (of poetry), or in a poet (anu-sandhata) or a composer, are results of rasa and as they are sure indicators - nisceyaka - or vyavasthapaka of rasa staying in them, so, they are karya-rupa or of the form of effects : (NP., pp. 296, ibid): "romanca"dayas ca ye stri-pumsa-nata-kavyasthas te paresam rasa-janakatvad vibhava-madhya-vartinah, preksaka-srotranusandhatra"di-sthitas tu rasasya karyani santo vyavasthapakah." The ND. as noted above, accepts rasa at worldly context, of course both with reference to individual and also at a general level. Laukika-rasa at both levels, particular and general, is acceptable to the ND. and this goes diametrically opposite to the theory of the Kashmir School of thought. The ND. observes that when the vibhavas are real and lead the individual sthayin to rasa only in a limited personal context, there the experience of rasa is limited to an individual only. The ND. observes that when love concerns a woman who actually is in love with someone else, the 'rati' that is enhanced in of a general type - "samanaya-visaya-ratih" and hence the taste of songara here is not with reference to a fixed person - i.e. niyatavisaya but is of the 'samanya' type. Now, all this for us falls beyond aesthetics. For us, the primary concern of art is absolute bliss with no personal limitations active at any stage. The full circle of art-experience is made of de-individualisation and has no concern whatsoever with practical context of day-to-day world. The ND. however accepts rasa-experience at the reality level and that too both of the individual and general type. This confounds us totally. The ND. says that when we look at a woman, though unknown to us, getting unhappy owing to a tragedy concerning her kith and kin, we experience general type of enjoyment of karunarasa. This means that sympathy, unselfish of course, for any tragic event in actual For Personal & Private Use Only

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1396 SAHKDAYALOKA reality is taken by ND. as general type of rasa-experience. ND observes : (pp. 297, ibid) - "bandhu-soka"rtam ca rudatim striyam avalokya samanya-visaya eva karuna-rasa"svadah. evam anyesv api rasesu visesa-samanya-visayatvam dostavyam." This observation of ND. goes against our normal practice also. When we witness a tragic accident we say, "how tragic ?". We do not say we enjoy "tragicsentiment". We also do not appreciate love-making in public. It is never termed 'srogara-rasa'. Actually the term 'rasa' means 'asvada' or "carvana" i.e. aesthetic chewing. In practical world we do not relish such situations and certainly will not choose to use the term "rasa" in such contexts. ND.'s observations are absolutely unfounded from practical point of view also. Let us dismiss such a talk as pure, unalloved non-sense. . The ND. further observes that the vibhava-s in poetry and drama that are basically unreal but are presented in such an artistic way) in poetry and acting that they look as it were real. These apparently real but in fact unreal vibhava"dis rough poetry or drama (or any art whatsoever) cause the sthayin to rise to the status of rasa for the listeners, spectators and composers. This 'rasa' is only of the general type. So, ND. is hopefully agreeable to the fact that at least in art there is no scope for rasa-experience of individual type. (pp. 298, ibid) : "ye punar a-paramartha-santopi kavya'bhinayabhyam santa iva upanita vibhavas te srotr-anusandhatr-preksakanam samanya-visayam eva sthayinam rasatvam apadayanti. atra ca visaya-vibhaga-anapeksi rasa"svadapratyayah." Here the apprehension of rasa does not involve any personal consideration. Thank God; at least the authors of ND. accept this much that aesthetic enjoyment through art is beyond personal limitations. We may raise one question here. On an earlier occasion, the authors had argued that who would not be (personally) unhappy witnessing scenes of the abduction of Sita, or the insult of Draupadi, etc.? This observation involves an accepted situation where the spectators individually feel unhappy. This goes against the observation by ND. noted in earlier paragraphs here. This is self-contradiction. Or, the authors may defend their position by saying that Sita or Draupadi is not personally related to the spectator and so the Karuna is here of a 'general nature. But all this is pure none-sense. The ND. exhibits this lack of any sense when it is observed (pp. 298, ibid) : "na hi ramasya sitayam songare anukriyamane samajikasya sita-visayah songarah samullasati api tu samanya-stri-visayah. niyatavisaya-smarana"dina sthayinah pratiniyata-visayatayam tu pratiniyatavisayah rasa"svadah." For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1397 The basic trouble with ND. is that it fails to draw a line of demacration between the world of art and the world of practical reality. ND. seems to take them as one and identical. ND. observes that the reason why when one person enjoys a dramatic scene somebody else does not raise an objection to his enjoying, is that the vibhavadi-s, presented by poetry or drama (or any art) are in fact unreal and as they are common to all, the enjoyment or rasa is not ruled out in case of any individual enjoyer and surely this is not in contradiction to someone else's enjoyment also. : (pp. 298, ibid) : "tatha a-paramarthasaram abhinaya-kavya'rpitanam ca vibhavanam bahu-sadharanatvad ya ekasya rasa"svadah sonya-a-pratiksepa"tma, ity ayoga-vyavacchedena na punar anya-yoga-vyavacchedena." Thus the rasa"svada or art-experience in both practical life or in poetry (i.e. art), is having some location necessarily. For it can not take place in the absence of substratum whatsoever. (Thus, it is either located individually in a person, or in a general nature with many, both in art and reality). ND. observes that total absence of substratum will defeat all mental states. No mental state is possible without its being grounded in a substratum. Rasa is just a variety of mental disposition: (pp. 299, ibid) - "evam ca loke kavye va sarva-rasika-sadharano rasa"svado, na punah sarvatha api adharanullekhi. adharollekha-nirapeksayas cittavstteh kasyascid anupalaksanat. citta-vstti-visesas ca rasah." The ND. again turning its focus on the connoisseur asserts that the stuff that causes the basic sthayin to enhance, i.e. the vyabhicarins or assessories are also to be imagined as staying in the samajika only. These vyabhicarins staying in the samajika enhance the sthayin staying in the same substratum to the capacity of rasa. Precisely because of these they are termed as co-runners - '"sahacarins" of the sthayin. In poetry or drama, the vyabhicarins or anubhavas concerning women etc. - make up a whole to arouse the sthayin in someone else (i.e. samajika) and therefore the whole "samagri" presented through art-medium can be broadly termed "vibhava" i.e. they can be imagined to fall in the scope of 'vibhava'. From the point of view of the lady-character concerned they may be termed "vyabhicarins" etc. (of the heroine), but in reality from the point of view of rasa-experience of the samajika, all these can be covered up by just "vibhava-s". In short, if Bharata had stated, "vibhavad rasa-nispattih" - only, even then it would have been a correct and exact narration of facts. This seems to be the opinion of the authors of the ND. Rea 301, ibid) : "yad apy ucyate "vibhava'nubhava-samyogad rasa-nispattih", iti tatra api anubhava vyabhicarinas ca stry adi-varnaniya-anukarya"peksaya eva drastavyah.". For Personal & Private Use Only

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1398 SAHRDAYALOKA ND. further notes : (pp. 301, ibid) : "tad evam pratyaksa-paroksabhyam gamah sukha-duhkha"tma (i) lokasya, (ii) natasya (iii) & (iv) kavya srotr-anusandhatroh, (v) preksakasya ca rasah. kevalam mukhya-stri-pumsayoh spastena eva rupena raso, vibhavanam paramartha-sattvat ata eva vyabhicarinonubhavasca rasajanyah tatra spasta-rupah. anyatra tu preksakadau dhyamalena eva rupena. vibhavanam a-paramartha-satam eva kavya"dina darsanat. ata eva vyabhicarinonubhavasca rasa'nusarena a-spasta eva. ata eva preksaka"di-gato raso lokottara ity ucyate." Rasa is an experience involving happiness and, or, unhappiness. It takes place with reference to oneself or someone else, and is therefore said to be pratyaksa i.e. direct or paroksa i.e. indirect. It is seen with reference to practical world of reality i.e. loka, and also with reference to the actor, the one who listens to (or reads) poetry, or the composer (i.e. poet, etc.) and the spectator. The rasa in practical life, i.e. loka-gata rasa, is to be understood as pratyaksa or direct and clear i.e. spasta; because the young woman or young man involved therein are real i.e. are actually living persons. The rasa on the otherhand as experienced through the art-medium i.e. poetry or drama, is to be taken as paroksa i.e. indirect and a-spasta or hazy or nebulous, as the characters involved therein are un-real or imaginary. Because of its being hazy or nebulous, this type of rasa is said to be extra-ordinary or "lokottara", observes ND., which also accepts that poetry (or drama) is said to be 'sa-rasa' i.e. 'having rasa', only metaphorically because in fact rasa is a characteristic only of the sentient beings, it being of the form of citta-vrtti or mental despoisition. How can rasa, of the form of an enhanced mental state could be designated as "soul" of poetry/drama which is in-sentient ? The ND. observes (pp. 302, ibid) : "kavyasya ca rasa"virbhavakatvat sarasatvam. na punah kavyam eva rasah, kavye adhare va rasah. sritotkarso hi cetovstti-rupah sthayi bhavo rasah. sa ca a-cetanasya kavyasya atma adheyo va katham syat ? tatah kavya'rthapratipatter anantaram pratipatnnam rasa"virbhavah." ND. further obsrves that those who apprehend poetry enjoy rasa, like happiness, that stays within their self. They do not enjoy rasa as something external such as a sweet-ball etc. : pratipattaras ca atmastham sukham iva rasam asvadayanti. na punar bahistham rasam modakam iva pratiyanti." (pp. 302, ibid) : Thus for ND. rasa-experience is not an external entity but is only subjective and internal. Experience of sweets is different from that of rasa. By the taste of an external item, 'rasa' of the nature of aesthetic chewing is not caused. - "na hi bahisthasya rasasya pratyaya-matrena rasa"svadas' carvana"tmakah samgacchate." (pp. 302, ibid). ND. adds that from poetic content concerning the horrible and the tragic (i.e. For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1399 bhayanaka and karuna) the basic emotions of fear and sorrow (i.e. bhaya and soka) staying in the mind of the apprehender, result in the experience of bhayanaka and karuna rasa. If the sthayin of the apprehender himself does not terminate into the state of rasa, then there is no possibility of the apprehension of rasa which stays outside the self of the enjoyer. For, actually if rasa is noted basically located in the self of the enjoyer than there is no possibility of its being located in either poetry or the artist. For if there is apprehension of something which is non-existent, then even a non-sensitive person will experience rasa : "asatasca api pratyaye ahtdayasya api pratitih syat." (ND. pp. 303, ibid). Thus, after the apprehension of poetry that describes vibhava (etc.), the sthayin of the apprehender himself becomes rasa. It is for this reason that poetry is also said to be "having rasa" (only metaphorically). ND. observes : (pp. 303, ibid) - "tato vibhava-pratipadaka-kavya-pratipatter anataram pratipattur eva sthayi raso (si) bhavati. tad hetutvac ca kavyam rasavad iti." The ND. ends its discussion on rasa with this remark. Hopefully it looks that the authors are concerned more with rasa through art-medium, rather than through real causes in practical world. It may be said to the credit of the authors Ramacandra and Gunacandra that they have discussed the problem of rasa-experience from many angels, both relevant and irrelevant. But they have presented a broad-based theory of rasa to their satisfaction. They being the disciples of Acarya Hemacandra who was a staunch follower and admirer of Anandavardhana, Abhinavagupta and Mammata, and therefore a die-hard supporter of the Kashmir School of aesthetics, these authors showed guts to differ from their great guru. This shows the brighter side of the academic climate in those days in Gujarat and India, where freedom of thought and expression prevailed perfectly and when respect for human values touched the highest peak. After giving the rasa theory the ND. discusses, practically after Bharata and the tradition in dramaturgy in general, the topics such as the nature, number and scope of anubhavas, vibhavas and vyabhicarins. Following Mammata, it looks the ND. observes (pp. 303, ibid, Karika III. 8) : "karya-hetuh-sahacari sthayyadeh kavya-vartmani, anubhavo vibhavasca vyabhicari ca kirtyate." For Personal & Private Use Only

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1400 SAHRDAYALOKA The same explanation of individual terms is also read here under. ND. observes that the stayins, being of the form of consciousness, are said to be 'a-jada' i.e. only sentient, while the vibhavas, anubhavas and vabhicarins are both sentient as well as in-sentient. The anubhava called dhairya, being of the nature of mental state is sentient while perspiration (i.e. 'sveda') being only physical is insentient; sthayin alone which is enhanced, is principal and the rest being covered by the sthayin are all subordinate. ND. also notes, following Abhinavagupta that the whole combination of vibhava"dis goes with this or that rasa invariably, but individual vibhava, anubhava or vyabhicarin may be found with this or that rasa, as the case may be. There is no invariable conomitance between individual vibhava"di and individual rasa. Then ND. talks of the number of rasas to be nine (ND. III. 9, pp. 305). The sequence in the Karika also follows the logic as stated in the A.bh. ND. observes that only these nine rasas deserve to be enumerated as they cause special delight and are related to the ends of life, basically. But reluctantly the ND. mentions that there are other rasas also, but they are subsumed under the said rasas by some learned people : "ete songara"dayo navaiva rasa ranjana-visesena purusarthayogadhikyena ca sadbhih purva"caryair upadistah. sambhavanty apare'pi. yatha garddha-sthayi laulyah, ardrata-stayi snehah, asakti-sthayi vyasanam, a-ratisthayi duhkham, santosa-sthayi sukham ityadi. kecid esam purvesvantarbhavam ahur iti. (pp. 306, ibid) Then the ND. explains and illustrates these nine rasas. Then after Anandavardhana the ND. observes that in poetry poets should be very attentive to rasa-delineation (pp. 318, ibid) "atha kavyesu rasa-nibandhane avahitair bhavyam iti upadisati artha-sabda-vapuh-kavyam rasaih pranair visarpati, anjasa tena sauhardam rasesu 'kavimaninam." (ND. III. 21) ND adds (pp. 320, ND. III. 22) - "na tatha artha-sabdotpreksah slaghyah kavye, yatha rasah, vipaka-kamram api amram udvejayati, nirasam." For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and.... 1401 After Anandavardhana the problem of rasa-virodha is also then discussed. Rasadosas are also enumerated following the lead of Abhinavagupta and Mammata. The Vrtti under ND. III. 23, explains this with illustrations. Nine sthayins, including sama, are enumerated at ND. III. 24 and explained in rty-three vyabhicarins following tradition are enumerated at ND. III. 25-27., followed by explanation of individual vyabhicarins. At times the authors differ from Mammata, and the DR. also. At ND. III. 44, it is observed that among the rasadi-s, there is cause-effect relation with one another also. Anubhavas are taken up next (ND. III. 45) and explained individually (upto ND. III. 49). The third chapter of the ND. ends with a discussion on four-fold abhinaya or acting such as vacika-angika, sattvika and aharya. We will now turn to the Bharaprakasana (= B.P.) of saradatanaya. (sa) (Ref.s are to the two editions viz. Edn. Oreintal Institute, Baroda, 1968, and Edn. Madan Mohan Agrawal., pub. Chowkhamba Surabharati prakashan, Varanasi, '83.). It may be noted that B.P. records a number of dramaturgic traditions even prior to Bharata and the author seems to present some views which do not conform perfectly with the tradition as represented by Anandavardhana and Abhinavagupta, though of course he is quite close to them and Mammata on se many counts. But by and large he seems to represent a tradition that we have termed "Malava School of aesthetics". as represented by the DR. Bhoja, and the Agnipurana also. But one fact emerges that Sa. has incorporated certain thought currents that were obsolete, so to say, when we look into the throbbing tradition of aesthetics that seems to be represented in Mammata and his illustrious followers. As we are committed to the tradition as represented by Anandavardhana, Abhinavagupta and Mammata, we feel that Sa. at times, talks things that look simply unacceptable. But, on the other hand, the fact remains that the so called Malava tradition as preserved in Bhoja, Agnipurana and the rest keeps on making appearance now and then in the works of such authors as Sa., Bhanudeva, or even Jayadeva to an extent. We will try to examine Sa.'s views on rasa and bhava and problems correlated with these topics quite closely, and of course as dispassionately and critically as possible. One thing is certain that Sa. deserves a very close analysis and claims tremendous respect for preserving traditions that seem to be almost pushed out by the juggernaut of what we call the Kashmir School of thought. For Personal & Private Use Only

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1402 SAHRDAYALOKA It may be noted that we will restrict our study of Sa. only to the area of bhava and rasa, though of course Sa. has a number of noteworthly observations in other directions of dramaturgy as well. We have noted his views on sabdasakti-s, especially tatparya and vyanjana, and also on minor art-forms in earlier chapters. His special views on "natyotpatti" etc. need not detain us here, nor his views to correlate 'natya'-tradition with its philosophical or 'darsanika' background. His views on music and dance also form his special contribution. As suggested earlier we are concerned here with what Sa. has to say about 'bhava' and 'rasa'. Before we go for a closer observation citing actual references from his text, we will try to make a general survey of his attitude towards these two basic concepts of Indian Aesthetics. We will go for an in-depth study at a later stage. The first important point that emerges from a casual survay of the contents of his work is that he has paid prime importance to the concept of 'bhava' and has rendered the consideration of 'rasa-tattva' also to a position secondary to 'bhava'. This is evident from the very title of he work which reads as "Bhava-prakasana" or 'Light on Bhava'. For him also, though 'rasa' forms the vital energy, the 'prana' of dramatic art (or any art in general), but 'rasa' has for its cause 'bhava' at its root. 'Rasa' is 'sadhya' or 'end' and 'bhava' is 'sadhana' or 'means' for him, and therefore more important and more basic. It is precisely for this reason that Sa. has taken up first the consideration of the concept of 'bhava', to be followed by the thoughts on 'rasa'. This goes against Bharata who has upgraded 'rasa' when he treated the topic of 'rasa' in the VI th Ch. of his N.S., and followed it with 'bhava', to be discussed in the next Ch., i.e. in Ch. VII of the N.S. This topic is debetable and we will try to examine what logic prompted Bharata to maintain the order of 'rasa-bhava' as against Sa.'s, 'bhava-rasa'. This we will do later. But. Sa. feels that as the position of bavas is permanent in man's mind, heart or consciousness, and through the medium of this bhava alone we arrive at rasaexperience, 'bhava' should come first for treatment. This is Sa.'s logic. Basically this fact cannot be negated if we look at it from an angle Sa. has advocated. But there are loop-holes in this and we will talk of it later. The poet's mental state, which through the medium of the actor bewitches the mind of the cultured spectator or 'samajika', is termed 'bhava'. It is observed by Dr. M. M. Agrawal (pp. 13, Intro. Edn., ibid) that while Bharata has analysed Bhava For Personal & Private Use Only

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1403 "Concept of Rasa" as seen in Anandavardhana and...... from the angle of sensation sa. has done it, over and above from the angle of sensation of happiness and unhappiness, also from the angle of the philosophical tenets of the Samkhya School of thought. We do not get this point clearly. But we will try to explain Bharata's approach and the fallacy in Sa.'s understanding later. Dr. M. M. Agrawal's approach is not acceptable to us for our own reasons. But this does not deter us from appreciating the subtle and analytical approach Sa. has placed before us in considering the topic of 'bhava'. At the out-set we may note that Sa. has explained eight types of uddipana-vibhavas, and four types of anubhavas. We will go into greater details later. One more point to be noted as distinguishing Sa.'s approach is that for him relish of rasa i.e. 'rasa-asvada' is different in type, when we take into account the aptitude, culture, intellectual equipment etc. of the enjoyer. Young people seek passion - physical aspect in the delineation of Srngara, a person with 'money' or wealth at the centre of his psyche will consider achievement of wealth in it, i.e. 'artha-labha' will be sought after by such a person even in Srngara, etc. A brave man has a leaning towards appreciation of adventure only and regards such theme as the best, and a learned man has fascination for philosophical considerations over anything else. This type of subjective and preferential attitude to rasa-relish has - roots, more in psychology, we feel, than in pure aesthetics. Agrawal observes that Bharata's approach to the problem of rasa concerns dramatic art in chief and later writers (on poetics) placed poetry in the centre. But Sa. has a fusion of both these angles. This observation is also debatable. We feel that Bharata kept 'drama' in focus while discussing 'rasa' not because he was ignorant of the applicability of rasa-theory to literature or any other art for that matter. But he did it because his work dealt with drama and dramatic art in particular and hence his application of rasa-theory was drama-oriented. But at a number of places, we have yet to find time to count, Bharata has talked of "kavyarasa" also. That 'rasa' theory was catholic enough to cover all art, including drama, poetry, music, dance, architecture, sculpture, painting and what not, was clear to Bharata and to Anandavardhana and other writers alamkarasastra who applied rasa-theory to poetry. That rasa-theory was germane to all the arts was known to all aestheticians beginning with Bharata down to Jagannatha and even his followers. Sa. is just one of those. We will now first pick up the thread concerning 'bhava', along with a close reference to the text of the B.P. and then 'rasa', applying the same methodology. Our observations are going to be critical and neutral or dispassionate. on For Personal & Private Use Only

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1404 SAHRDAYALOKA Sa. in the first chapter or 'adhikara' states that he studied all relevant sources on dramaturgy and has composed his work. He observes : (pp. 2, G.O.S., Edn., '68; Line 15) - "tayaiva natyavedasya niyuktodhyapane tada, pritas sopi sadasivasya sivayor gaurya matam vasuker vag-devya api naradasya ca muneh kumbhodbhava-vyasayoh sisyanam bharatasya yani ca matany adhyapya tany anjana. sunor apy atha natyavedam akhilam samyak tam adyapayat." saradatanayo devyah tan adhitya ca sannibhau, adaya saram etebhyo hitartham natyavedinam. bhava-prakasanam nama prabandham akarot tada etasmin prathamam bhavas tasya bhedas tatah param... Sa. treated bhava first, along with its subdivisions, and things connected with bhava. B.P. (pp. 3, ibid, reads) : tad avantara-bhedasca, tat tat karyesu kausalam, tat-sadhyo'rthas tatha tesam upakaryopakarita. rasopadanata tesam cara-sthira-vibhagatah tad darsanani, tad drstih drsti-dharmah prthagvidhah. parasparasya samarthyam For Personal & Private Use Only

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1405 "Concept of Rasa" as seen in Anandavardhana and..... sahacaryat kvacit kvacit iti-bhagataya bhava dvadasaite, tato rasah. tadbheda bhedabhedasca tesam janma ca nama ca janakatvam ca janyatvam tesam anyonyatah prthak pradhanetara-bhavasca tesam anyonya-samkarah, tanmelanam ca tat-siddhir vicesah samkarodbhavah. tad vyangyata vacyata ca tan maitri tad-virodhita, tat-kalaniyamas tat-tad-varnas tad-daivatani ca. sthayi-sancari-bhedasca tesam drstayopi ca iti vimsatir uddistah prakara rasa-gaminah. tatah sabdartha-sambandhas tat-prakarah prthag-vidhah, tad-vsttayo rupakani tad-bhedas trimsad atmakah. etair arthaih prabandhoyam yathavat kathyate'dhuna kathyante yentara bhavas tat-tad-arthanusanginah. tatra tatraiva vijneyas te suksmeksikaya budhaih, uddistanam iharthanam laksana-pratipadanam." For Personal & Private Use Only

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1406 SAHDAYALOKA Sa. composed this work called Bhava-prakasana. In this first 'bhava' is treated. Then its divisions and sub-divisions are discussed. Then the expertise needed to present these bhavas with the meaning aimed at by them is discussed and the relation of utility between them is discussed. How bhavas whether 'cara' or 'sthira' become instrumental in rasa is then shown. The appearance, vision connected with the particular bhava, different characteristics of sight, their strength at times due to mutual relation of bhavas, are all discussed. These go to make twelve approaches to the topic of bhava. Then 'rasa' is discussed along with its divisions and sub-divisions (or, varieties and sub-varieties), their birth, name, their mutual causality, their relation of principal and subordinate., their mutual relation due to samkara i.e. mixed type their mixture, their special achievement, mixing up and birth, their suggestivity or capacity of being directly stated, their favourableness (to one another) or opposition, the time, rules, colour, preciding deity, their basic emotion, passing feelings, their drsti etc. are discussed. Thus twenty angles concerning rasa are discussed in the B.P. This is followed by a discussion on the relationship between word and meaning, their varieties, the vsttis, and then of the types, in all thirty, of rupakas and uparupakas. B.P. observes that the definitions of these topics are given either following the order, or the propriety concerned. Subtle observations mark all this presentation. With this, the discussion on bhavas starts (pp. 3, 4, etc., ibid) : "bhavah syad bhavanam bhutir atha bhavayatiti va. padartho va kriya satta vikaro manasothava, vibhavas ca'nubhavasca sthayino vyabhicarinah." Bhava is primarily 'bhavana'. The idea is that through the feelings of happiness and unhappiness of the 'anukarya' Rama and the like, the causing (or rousing) of (identical) bhavas or feelings in the heart of the samajika i.e. man of taste is called 'bhava'. So bhava is "causing i.e. bhavana" of the bhava of the samajika. For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1407 Then two-fold etymology of the term 'bhava' is given, such as (i) bhutih and (ii) 'bhavayati'. 'bhuti' means 'bhavanam' or 'being' (bhu+ktin) 'bhavayati' is that which causes (something else than itself, here the bhavas in the hearts of the samajikas). So that which happens and that which causes to happen are both called "bhava". The first etymology means 'satta' i.e. existence or being'. The second leads us to the 'act of causing' i.e. activity, which causes something else. Bhava in the sense of a 'padartha' i.e. object is called 'vibhava.' In the sense of 'kriya', it is termed anubhava. In the sense of 'satta', or being it is termed 'sthayibhava', i.e. that which stays. In the sense of mental off-shoot it is an impermanent feeling, the 'vyabhicarin'. In the sense of presentation through mental concentration manasa it is a 'sattvika' bhava. B.P. (pp. 4, ibid) observes : "padartho va kriya satta vikaro manasothava vibhavas ca'nubhavasca sthayino vyabhicarinah, sattvikas ceti kathyante bhava-bhedas ca pancadha." Vibhavas are those that make the objects known: "arthan vibhavayanti iti vibhavah parikirtitah." (B.P. pp. 4, ibid) 'anubhava' is explained as "making the known object (= vibhavita artha) anobject of experience." "vibhavitarthanubhutih anubhava iti smrtah." (pp. 4, ibid) Sthayin-s are explained as those 'bhavas' that have stayed in the mind for long, those that are enhanced with the help of related items (= anubandhi-s; here vibhava, anubhava and sancarin-s), and those who attain to the status of rasa, i.e. who are of the form of rasa - "rasa"tmanah." B.P. (pp. 4, ibid) observes: "avasthitas ciram citte sambandhac ca'nubandhibhih, vardhita ye rasa"tmanah te smrta sthayino budhaih." Vyabhicarin-s are those that are by nature not permanent, but appear again and again, i.e. those that sub-serve or move (around) the sthayin-s in the act of the birth of rasa. Sattvika-bhava-s are those that are born of Sattva (i.e. mental concentration) and are two-fold viz. sviya i.e. belonging to self or a-sviya not belonging to self. For Personal & Private Use Only

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1408 SAHRDAYALOKA B.P. (pp. 4 ibid) reads as - "sthayina rasa-nispattau caranto vyabhicarinah, sattvaja ye vikarah syuh sviya'-sviya-vibhagatah ta eva satrvika bhava iti vidvadbhir ucyate." We may say in explaining the terms viz. sthayin, vibhava, anubhava and vyabhicarin, sa. is indebted to his predecessors, though of course, he has the distinction of putting things very succinctly. Bharata explains as - (pp. 344, 5, 346, etc.) (Vol. I. G.O.S., Edn., '56) "bhu iti karane dhatus tatha ca bhavitam vasitam krtyam ity anarthantaram. lokepi ca prasiddham, aho hy anena gandhena rasena va sarvam eva bhavitam iti. tac ca vyaptyartham. slokas catra - vibhavena"hito yortho hy anubhavais tu gamyate, vag-anga-sattva'bhinayaih sa bhava iti samjnitah vaganga-mukha-ragena sattvena'bhinayena ca kaver antar gatam bhavam bhavayan bhava ucyate. 2 nana'bhinaya-sambaddhan bhavayanti rasan iman yasmat tasmad ami bhava vijneya natya-yoktrbhih. 3 atha 'vibhava' iti kasmat. ucyate-vibhavo vijnana'rthah. vibhavah karanam nimittam hetur iti paryayah. vibhavyante'nena vaganga-sattva'bhinaya ity ato vibhavah. yatha vibhavitam vijnatam ity anarthantaram. atra slokah "bahavo'rtha vibhavyante vaganga'bhinaya"srayah, For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1409 anena yasmat tena'yam vibhava iti samjnitah." - 4 atha 'anubhava' iti Kasmat ? ucyate - anubhavyate anena vag-anga-sattva-krto bhinaya iti. atra slokah "vag-anga'bhinayeneha yatas tv arthonubhavyate, sakha'ngopanga-samyuktas tv anubhavas tatah smotah." - 5 .... (pp. 348, ibid) tatra'stau bhavah sthayinah trayas-trimsad vyabhicarinah. astau sattvika iti bhedah. evam ete kovya-rasa'bhivyakti-hetavah ekonapancasad bhavah pratyavagantavyah ebhyas ca samanya-guna-yogena rasa nispadyante. (pp. 355, ibid) - vyabhicarina idanim vyakhyasyamah atra"ha - vyabhicarina iti kasmat ? ucyate - vi abhi ity etav upasargau. cara iti gaty artho dhatuh. vividham abhimukhyena caranti iti vyabhicarinah. vag-anga-satrvoperah prayoge rasan nayanti iti vyabhicarinah. katham nayanti iti. ucyate - 'loka-siddhanta esah. yatha surya idam dinam naksatram va nayatiti. na ca tena bahubhyam skandhena va niyate. kim tu loka-prasiddham etat. yathedam suryo naksatram dinam va nayatiti. evam ete vyabhicarina ity avagantavyah.." Abhinavagupta, Mammata, and Hemacandra follow this. We have explained the DR. earlier. The B.P. has given a further analysis of the vibhavas. Sa. observes that with reference to the eight rasas such as srngara, etc. there are eight types of vibhavas such as : lalita, lalita'bhasa, sthira, citra, khara, ruksa, nindita, and vikrta : (B.P., pp. 4, ibid) : "lalita lalita'bhasah sthiras citrah khara iti, ruksas ca ninditas caiva vikrtas ceti ca kramat, songara'di-rasanam te vibhava namabhih krtah." For Personal & Private Use Only

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1410 SAHRDAYALOKA Sa. observes that - (pp. 4, ibid) "lalita lalita"bhasa bhavah songara-hasyayoh, sthiras citra vibhava ye te vira'dbhutayoh kramat khara rukna vibhavah syu raudrasya karunasya ca bhayanakasya viksta bibhatsasya ca ninditah." These very same when combined into one, two or three different bhavas, are termed uddipanas. Lalita and the rest are explained by Sa. as follows : Those bhavas which are instrumental in enhancing the srngara-rasa, and those that are collected by respective sense-organs, those that create pleasure in mind are called "lalita". The vibavas associated with hasya are either indicated, heard, seen or remembered. They are called "lalita"bhasa". Sthira vibhavas are connected with vira, and they are capable of yielding steadiness. They are also either heard, seen, remembered or meditated upon i.e. thought over. Citra vibhavas go with adbhuta-rasa. They make for supremacy (i.e. aisvarya). They make the heart experience surprise. Those that go to create karuna-rasa are 'ruksa' vibhavas. They torment the sense-organs by the objects that fall within their scope. Khara' vibhavas are those which cause mental timidity instantly when considered. They make for the 'raudra' rasa. The vibhavas of the bibhatsa cause the eyes to be closed immediately and they are never cherished. They are termed "nindita". Vikrta' vibhavas go with the terrible or bhayanaka rasa and when contacted with sense-organs, they cause degeneration. Sa. then takes up alambana vibhavas : (pp. 5, ibid) - "atraivalambana bhavah kathyante rasa-bhumayah, For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1411 anuddista api yatha rasa'nubhava-siddhaye." 'For the success of rasa-experience, the alambana-bhavas, that form the background of rasa, are now stated. The alambana-bhavas that go with srngara are in form of young ladies or young men that are sweet, graceful, handsome etc. Deformed, of ugly shape, and imitating some-one-else's actions are the alambana of hasya, such as 'kuhaka' or cheating, etc. The person who is self-sacrificing, gifted with sattvika qualities, i.e. purity, humility and the like, one who is brave and bold and adventurous and decorated by the scars of weapons forms the alambana of vira-rasa. Persons with deformed figure, irregular dress, abnormal behaviour and movements, etc. are persons who perform illusory performances and are the alambana of adbhuta-rasa. Ferocious figures are the alambana of raudra. Ematiated persons, disheartened souls, weak, dispirited, afflicted with disease and dirty persons are the alambana of karuna rasa. People with figure and dress abhorred, un-welcome behaviour, limbs etc. andafflicted with disease, and pisaca etc. i.e. fiends, goblins, etc. are the alambana of bibhatsa rasa. Those who have entered a deep forest, or have entered a great war, or who have offended their preceptors or seniors or masters or kings are the alambana of bhayanaka rasa. These vibhavas of the type of lalita and the like, with respective alambana bhavas awaken the respective sthayin to the capacity of a rasa. Actually the above is just the summary of the descriptions of srngara"di along with their vibhava"di, as given by earlier masters such as Bharata and the like. The only contribution of Sa. is that he has named them as 'lalita', and the like. Now Sa, picks up the discussion on anubhavas. It may be noted that here he is absolutely influenced by Bhoja. Agnipurana and the so called Malava school of aesthetics. The anubhavas are four-fold accordingly. B.P. (pp. 6, ibid) observes : anubhavas caturdha syan mano-vak-kaya-buddhibhih, For Personal & Private Use Only

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1412 SAHRDAYALOKA i.e. The anubhavas or consequents are four-fold with reference to mind, speech, body and buddhi i.e. intelligence. The B.P. observes that those that fall in the first category are the ten bhavas of a young-lady "mana-arambhanubhava bhava"dya dasa yositam." (pp. 6, ibid) The twelve 'alapa' etc. form the vag-arambha. anubhavas. The ten bhavas such as lila etc. of the young ladies are gatra"rambha'nubhavas. Riti-vrtti and pravrtti are buddhya"rambha'nubhavas : vagarambha'nubhavas ca dvadasa"lapa-purvakah, gatra"rambhanubhavas ca lila"dya dasa yositam. buddhya"rambha'nubhavas ca riti-vrtti-pravittayah. (B.P. pp. 6, ibid) . Stupification i.e. stambha and the rest are the eight sattvika-bhavas. Nirveda or dispondancy and the rest, i.e. the thirty three in all are the vyabhicarins. With reference to young ladies twenty natural i.e. sattvaja alamkaras or ornaments are considered. The bhavas such as lila etc. are of course not sattva-ja i.e. sattvika, but they are counted here on the analogy of "people holding umbrellas are moving" - i.e. 'chatri-nyaya.' So the lila"di bhavas, on account of their carrying the special mark or linga of sattva, are termed "sattvika's. "yauvane satrvajah strinam alamkaras tu vimsatih, tatra lila"dayo bhava yady api syur na sattvikah, chatrinam gativattepi tallingatvena sattvikah. (pp. 6, ibid) - That stuff, observes Sa., that terminates into 'sattva' is termed 'manas'. It is said to be the 'samkalpa' or 'strong determination of both Isvara and liberated souls. The 'sattva' of worldly people acts in form of 'manas' and the wise call this 'manas' by the name of 'sattva' for it takes its form. For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1413 The stuff, caused from 'rajas' is termed 'prana'. For God and liberated souls, it is said to be the cause of activity. It stays in form of 'prana' among worldly people. That which results from 'tamas' is 'vak'. For God and liberated souls it is sweet language, but for worldly people it takes the form of "word" in general. That which is pronounced with feelings of anger etc., and which causes such fruits (i.e. anger etc.) without failing, is the speech of worldly people. That speech which originates from God and liberated souls is termed 'vani, by the wise : B.P. (pp. 6, 7, ibid) - yat sattva-parinami syad dravyam tan mana ucyate, isvarasya ca muktanam tat sankalpo bhavisyati. samsarinam manastvena parinamya pravartate, tat-sattva-parinamitvat sattvam ity ucyate budhaih. yad rajah parinami syad dravyam sa prana ucyate, isvarasya ca muktanam kriyahetuh sa iritah. ... etc. etc. It may be noted that to explain mana-arambha'nubhava, sa. here first explains the mystic background of vak, as used by the Gods, liberated souls and ordinary people. We feel this has hardly any bearing on the aesthetics of mana.-arambha-anubhava. B.P. goes on to add to the above discussion by observing that Ravi, Soma and Vahni are the preciding deities of manas, prana and vak respectively. This order is established by the yogins. This is followed by some other mystic details. After this the B.P. comes to explain and define mana-arambha-anubhava. A clear impression of the DR. is seen here and this we will show later by citing comparision. The B.P. had earlier observed that Ravi, etc. are the presiding deities of manas, etc. The soul takes respective forms of names etc. and is identified with the same. These three viz. manas, prana and vak, as they become instruments for the acts of God, and liberated souls, they are termed deities. That which is 'pranamaya' is termed 'antaryamin' or one who dwells within, and jiva stays in the body. The jiva, by its activities, controls the body and so with the body (as its instrument) becomes the doer of all activity. For Personal & Private Use Only

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1414 SAHKDAYALOKA The doer becomes 'pranamaya' by presiding over and controling the senseorgans, soul, earth etc. (i.e. prthivi, ap, tejas, vayu and akasa), and other deities : This 'pranamaya' neither stays in that doer, nor in the jiva. Whatever is 'manomaya' guides the jivas to activity. The triguna"tmaka buddhi, citta, and ahamkara are the means of all activity for the jivas. From these all bhavas emanate. As the Sun is a witness to all, manas is occupied by the Sun. The manas knows whatever through karas or impressions, and remains pure of all impressions. Such pure mind, along with gunas is termed 'sattva'. B.P. (pp. 7, 8, ibid) reads - "buddhi-citta'hamkrtayah tasya triguna-sambhavah, sarvesam api jivanam sarva-vyapara-hetavah. etebhyah sarva-bhavanam prabhavah samudahstah, adityah sarva-saksitvat mano yat tad adhisthitam. yat-sanskara-vasad vetti sarvam, tat tena nirmalam, tadng eva manah sattvam gunair asprstam ucyate." Now the B.P. gives the definition of mana-arambha-anubhava. It reads as - "tasmad a-vikrtad adyah spando bhava udahstah, cittasya a-vikstih sattvam viksteh karane sati." The first 'spandana' or vibration, born of that sattva which is beyond any change is termed 'bhava'. Sattva is that state of mind which remains unchanged eventhough there are resons for a change. Then from that springs 'bhava' which is like the first change from a seed. Thus a change in mental attitude is termed "bhava". B.P. (pp. 8, ibid) - "tatolpa viktir bhavo bijasya adi-vikaravat, For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1415 ato manovikarasya bhavatvam prakatikstam." This can be read with DR. II. 33b (pp. 112, ibid) : "nirvikaratmakat sattvad bhavas tatra"dya-vikriya." Dhanika writes : (pp. 112, ibid) - tatra vikarahetau saty a-vikara"tmakam sattvam. yatha Kumarasambhave (3/40) - "srutapsarogitirapi... samadhibhedaprabhava bhavanti." tasmada-vikara-rupat sattvat yah prathamo vikarontar viparivarti-bijasya ucchunata iva sa bhavah." Now this exhibition of philosophical information on the part of sa. is not in good taste. Anandavardhana and Abhinavagupta had written a number of philosophical works and were great yogins themselves, but they have never engaged themselves in such showmanship. On the contrary Abhinavagupta clearly says that we do not believe in such activity and do not drag in unnecessarily innocent souls in this sort of a mire. Actually the four-fold anubhavas that the Malava school advocates, are nothing else but pure anubhavas i.e. mental and physical responses to an emotion, with manas, vak gatra and buddhi playing major roles. In fact all activity is having a mixture of all these four factors but here they are named or classed differently taking into account the predominance of this or that element. Virtually anubhavas are 'acting'. The DR. has discussed twenty ornaments of young ladies.. "yauvane sattvajah strinam alamkaras tu vinsatih." (DR. II. 30a, pp. III, ibid) Sa. has utilized all these in his various types of anubhavas, as we will go to observe next. Sa. observes that (according to the tradition as read in Bharata), "vagbhir angair mukha-rasair yas sattvabhinayena ca, bhavayan bahir antassthan arthan bhava udahstah." (pp. 8, ibid) For Personal & Private Use Only

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1416 SAHRDAYALOKA i.e. Bhava is that which causes (or makes 'bhavita') the internal and external items with the help of vak i.e. speech, anga i.e. limbs and the colour of the face - 'mukha-raga'. The B.P. then describes hava, hela, sobha, kanti, dipti, madhurya, pragalbhya, dhairya, and audarya. The DR. had taken the first three as 'sariraja', and the next seven as "a-yatnaja". B.P. following the DR. then describes the ten bhavas such as lila, vilasa, vicchitti, vibhrama, kilikincita, mottayita, kuttamita, bibboka, lalita and vihrta. The DR. calls them "dasa bhava svabhavajah". But the B.P. reads : "sarira dasa yositam." While the DR. had only three viz. bhava, hava and hela as "sarirajah" and the next 'ayatnajah' i.e. svabhavajah, the B.P. has all these ten as "sattvikah". The B.P. (pp. 9, ibid) then explains all these i.e. lila, vilasa, etc. almost after the DR. - The B.P. then observes : (pp. 10, ibid) "ete sadharana sattvagatra"rambha'nubhavayoh, sthairyam gambhiryam acaryaih cittarambhav udahrtau." i.e. These are the common types of both sattva (i.e. mana) arambha-anubhava, and gatra-arambha-anubhava. The acaryas (i.e. Bhoja, here) have counted 'sthairya' and 'gambhirya' as included in citta-arambha-anubhava. These two (i.e. mana-arambha and gatra-arambha.) are seen in a greater proportion in srngararasa and in the mixture of vira-rasa, and adbhutarasa. Elsewhere their abundance is located depending on special purpose or context. Thus in case of srngara-rasa and at places in adbhuta-rasa twenty bhavas of women are observed. The acaryas (i.e. Bhoja) have also mentioned "kridita" and "keli" among gatra-arambhaanubhava : (B.P. pp. 10, ibid) "pracuryam esam songare, viradbhuta-samagame, anyatra tesam samsargavasat karyavasad api." "bhavas tu vimsatis strainah songare kvacid adbhute, kriaitam kelir ity etau gatra"rambhav udahitau." 'krilita' is explained as special sport of the time of childood, youth or adolescence. The same is termed 'keli' with reference to a lover. For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and. 1417 The learned (i.e. Bhoja of course) talks about these two bhavas by the name "gatra"rambha'nubhava". "gatra"rambha'nubhavatva dvitayam kathyate budhai)." (B.P. pp. 10, ibid) The following twelve bhavas are vag-arambha-anubhava. They are - alapa, pralapa, vilapa, anulapa, samlapa, apalapa, sandesa, atidesa, upadesa, apadesa and vyapadesa. Sa. explains them individually. With reference to buddhya"rambha'nubhava, riti is first stated. Riti is use of sentences of speech. It is said to be four-fold : (B.P. pp. 11, ibid) - buddhya"ramba'nubhavesu ritih prathamam ucyate, ritir vacana-vinyasa-kramah, sa'pi caturvidha. Vacana-vinyasakrama' seems to be accepted from Rajasekhara's kavyamimamsa. The four types of riti accepted by Sa. are from the area of vaidarbha, pancala, lata and gaula. Two more are mentioned as "saurastri" and "dravili". Sa. observes that a style or riti of composition is named after the province concerned. At times riti is known on the basis of compounds, sukumarata or felicitous expression, etc. also, and also on the basis of metaphorical expression, alliteration, or even any expression, speaker or any sub-variety etc. also; - B.P. (pp. 11, ibid) : "tatra vaidarbha-pancalalata-gauda-vibhagatah, saurastri-dravili ceti riti-dvayam udahstam. tat-tad-desiya-racanaritis-tad-desa-namabhak, samasa-saukumarya"ditaratmyat kvacit kvacit. upacara-visesac ca prasa'nuprasa-bhedatah." For Personal & Private Use Only

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1418 SAHRDAYALOKA tatha saurastrika bhedad dravilibhedatopi ca. prativacanam pratipurusam tad avantara-jatitah, prokta kavibhis caturvidha ity esa." The manifold riti, in short is said to be four-fold by the wise people. We stop here only, says Sa., for fear of expansion of our work - "grantha-vistara-bhitena maya tabhyo viramyate." (pp. 11, ibid) Vitti' is said to be four-fold with reference to its being originated from rk, yajus, sama and atharvan. They are bharati, sattvati, kaisiki and arabhati. The followers of Udbhata (i.e. Audbhatah) are considering a fifth vitti also, based on meaning; the artha-vrtti. But others (i.e. Bhoja) mention the fifth as visranta' in place of the artha-vstti. B.P. pp. 12, ibid, reads as - "vsttis' caturvidha, rg-yajussama'rtharva-sambhava. "bharati-satrvati-caiva kaisiky arabhatiti ca, audbhatah pancamim arthavrttim ca pratijanate. arthavstter abhavat tu visrantam pancamim pare;" According to a tradition recorded in the NS., the four vrttis originated from the various functions of speech, body and mind, during the fight between Visnu and the demons Madhu and Kaitabha. The Kavyamimamsa calls vitti to be "vilasa-vinyasa-krama". Other traditions concerning the origin of vittis are also noted such as the 'bharatas' promulgated the 'bharati with speech as a predominent element. According to others the four vrttis came out from the four faces of Brahma when he watched a dramatic performance. These, were accompanied by stngara, vira, bibhatsa and raudra rasas. For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... Four pravrttis are enumerated in the B.P. (pp. 12, ibid): "daksinatya tatha"vantya pauratsya ca audra-magadhi, pravrttayas' catasropi vag-arambhah syur ekada." tad-vyaparatmikah prokta vrttayas ca caturvidhah" Now it may be observed that Sa. talks of four pravrttis in between and once again starts talking on vrttis, which are "tad-vyaparatmika" - the expression accepted from the DR. II. 47a- meaning that there are four vrttis (such as kaisiki etc.) based on tad his (= of the hero) behaviour. The B.P. observes that in the four vrttis such as bharati, and the like, the behaviour pattern of the hero is fixed with reference his speech (vacika), mental activity (sattvika), dance form (nrtta), external make-up (aharya) and bodily movement (angika). B.P. observes (pp. 12, ibid) : "tad-vyapara"tmikah prokta vrttayas ca, caturvidhah. vacikam, sattvikam, nrttam aharyam ca tatha"ngikam, yathakramam niyamitam bharaty adyasu vrttisu." Actually the mention of four pravrttis seems to be mis-fit. B.P. again quotes from DR. II. 62 (pp. 131, ibid) - informing us as to which vrtti is fixed with which rasa. (B.P. pp. 12, ibid): ? "srngare kaisiki vire 1419 sattvaty arabhati punah, rase raudre ca bibhatse vrttih sarvatra bharati." Kaisiki goes with srngara, sattvati with vira, and arabhati is fixed with raudra and bibhatsa while bharati is used in the context of all the rasas. The Kavyamimamsa has "tatra vesa-vinyasa-kramah pravrttih, vilasa-vinyasa-kramah vrttih, vacana-vinyasa-kramah ritih. (Ch. III) For Personal & Private Use Only

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1420 SAHRDAYALOKA Sa. again switches over to 'pravrtti' and accepts a verse from the DR. (= DR. II. 63, pp. 132, ibid) This reads (B.P. pp. 12, ibid) as : "desa-bhasa-kriya-vesa-laksanah syuh pravrttayah, lokadevavagamyaita yathaucityam prayojayet." Pravrttis have varieties with reference to desa (= region), bhasa (= language), and kriya (= activity). They are to be understood from worldly context. They are to be employed with reference to the propriety. Thus 'pravrtti' represents local context. Sa. observes that vrttis with their subdivisions are explained by Bhoja, Somesvara and the rest. So, their form is only slightly indicated. The pravrttis concerning particular regions should be understood from experts belonging to those particular regions, but the difference in activity are impossible to know or describe. So the pravrttis and kriyas, whereever found, are to be understood with the help of regional experts. Normally there are seven types of languages, and as many branches (vi-bhasa) of languages also. Magadhi, avantika, pracya, sauraseni, ardha-magadhi, paisachi and daksinatya are spoken in those respective regions. Sakari, abhiri, candali, sabari, dravidi, andhraja, and lowly language - hina of the foresters, are spoken by respective tribes. The types of activities should be looked for, in different regions. All this was discussed with reference to the four-fold anubhavas. The B.P. (pp. 13, ibid) reads - - "ete'nubhavah kavibhir nibandhe yogyakalpitah, abhineya natair natye tat-tad artha'nukulatah." These (four-fold) anubhavas are imagined by wise people for presentation. With reference to the meaning in context, they are to be performed by actors in a drama. Sa. now once again picks up the main thread and talks of vibhava and anubhava following DR. Read B.P. pp. 13, ibid - vibhavah karanam, karyam anubhavah prakirtitah, hetu-karya"tmano siddhis tayoh samvyavaharatah For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1421 jnayamanatay, tatra vibhavah bhava-posa-krt bhavo htdi sthito yena vyajyate ca'nubhavyate. Vibhava is said to be the cause, anubhava is said to be the 'karya', i.e. effect. Their relation of cause and effect is supported by worldly order. Vibhava is that which is known. Vibhava enhances the bhava or (basic) emotion. Bhava stays in the heart. It is suggested as well as effected by that (which is vibhava). Now there is some difficulty in following this line, : bhavo htdi sthito yena vyajyate ca anubhavyate" which is followed by, bhruksepa-kataksadir vibhavo hrdayam sritah, bhavan vyanakti yah soyam anubhava itiritah." We feel that we should read a full-stop after... yena vyajyate. The meaning will be that the emotion staying in the heart of the samajika is suggested by the vibhava' (on the stage, or as described in poetry.). The next line should be read along with "ca anubhavyate" of the earlier line and has to be corrected as, "bhruksepa-kataksadibhir bhavo htdayam sritah." The emotion staying in the heart of the character is also inferred by twisting of eye-brows etc. presented by the actors and these anubhavas also then help in the suggestion of emotions in the hearts of the samajika - "bhavan vyanakti soyam anubhava iti iritah." Bhava, observes Sa. is the mental identity of experience on the part of the samajika, with the unhappiness etc. of characters such as Rama and the like : "ramady asraya-duhkha"der anubhutes tad atmata samajikasya manaso ya sa bhava iti smrtah." For Personal & Private Use Only

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1422 SAHRDAYALOKA Thus (B.P., pp. 13) through their nature vibhavas, anubhavas and bhavas are explained. "evam vibhava'nubhava-bhavah prokta svarupatah." The B.P. (pp. 13, ibid) further observes that when rasa manifests, many other anubhavas are seen. They are said to be the enhaneers of respective rasas (in the samajika). sa. further observes that 'sattva' is three-fold with reference to buddhi, jnana and ananda. This sattva sits upon (i.e. controls) the mind and naturally enjoys the objects that go with respective sense-organs - "manas sattvam adhisthaya tat tad indriya-gocaran, buddhim aslisya visayan anubhunkte svabhavatah, tridha sattvam bhaved buddhi-jnana-ananda-vibhedatah." B.P. (pp. 14, ibid) says that 'sattvika' (bhavas) are so termed because they are caused by 'sattva' - which is a quality (of mind) by which one experiences the same bhava as that of the character observed. These are feelings of happiness or unhappiness of mind. By observing these as related to others the mind experiences the same bhavas for oneself. This is 'sattva' and sattvika-bhavas are born of this sattva i.e. concentration of mind. These sattvikas are also anubhavas, but are termed differently as they are born of sattva i.e. concentration of mind, or concentrated mind. B.P. (pp. 14, ibid) reads as - "tad-bhava-bhavana"tma syat para-duhkha'di-sevaya, parasya sukha-duhkha"der anubhavena cetasah tad-bhava-bhavanam yena bhavet tad anukulatah, tat sattvam tena nirvsttas For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1423 sattvika ity udiritah." anubhavatva-samanye saty apy esam prthaktaya laksanam sattvajattvad hi te'pi stamba"dayah smrtah. Eight sattvikas such as stambha, sveda etc. are counted, and then explained individually. These are seen as enhancers of rasas in poetic compositions in particular. After this, thirty three vyabhicarins are enumerated and individually explained, along with sub-divisions in certain cases. B.P. (pp. 25, ibid) observes that those who are experts in rasa-theory should realise the mutual vibhava'nubhavatva' i.e. cause-effect relation, between sattvika-s and vyabhicarin-s. If some other bhavas are also observed over and above these, they are to be subsumed under these that are mentioned. Other bhavas that are closer to those vyabhicarins considered here are named as vibhavas and anubhavas. The learned should know this mutual relationship among the sthayins also. They (i.e. presented in poetry and drama) should be termed "vibhava-s" in a general sense as they are meant to touch the heart of the samajikas, and for exhibition of excellent acting, and also for enhancement of rasa. The N.D. also has suggested this that the whole mix of vibhavadi-s presented on the stage or through hould be termed "vibhava" in a general sense. When certain vibhavadi-s are ascertained and fixed with reference to certain sthayins, they suggest that fixed sthayin. If this desired result does not follow, it is because of some drawback in their presentation (by poets or artists) B.P. pp. 25 reads as "drastavyam tatra tatraiva sattvika-vyabhicarinam, paraspara-vibhava'nubhavatve rasakovidaih. anyepi yadi bhavah syus citta-vrtti-visesatah, anatarbhavas tu sarvesam drastavyo vyabhicarisu ye bhavas tesu bhavesu For Personal & Private Use Only

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1424 SAHRDAYALOKA pratyasannah parasparam, vibhavato'nubhavac ca, sphurabheda ihoditah. sthayisvapiyam anyonyam prakriya jnayatam budhai). sabhyan rasayitum, abhinaya-caturyartham, rasam ca posayitum kavibhir nibandhaniyas te [ca] vibhava"dayo niyatah. sthayisu bhavesu ye ca vibhava"dayah pratiniyatah, tair eva sati nibandhe bhava-visesah pratiyate tatra. yady anyatha nibandhe, sadharanyena samsayotpatteh doso vibhavyate va, yukta-vibhava"di-vaidhuryat. It may be noted that the concepts of vibhava, anubhava, sthayin, sattvikas and sancarin as read in the B.P. are also under the strong influence of the DR. and quite often the same words are accepted in definitions and elaborations. Sa. observes that the vibhavadis either stated directly or implied help the cause of enhancement of rasa. Vyabhicarins are explained in the same terms as read in the DR. BP. (pp. 25, ibid) reads - visesad abhimukhyena caranto vyabhicarinah sthayiny unmagna-nirmagnah kallola iva varidhau. This is DR. IV. 7 (pp. 174, ibid) Sa. further observes that as waves in an ocean are rising and falling and expanding the glory of the ocean they merge with the me, in the same way the vyabhicarins are rising and merging in the sthayins and thus nourish the sthayin and themselves also and become rasa. For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1425 Sa. again suggests that at times (as in case of nirveda or sama) though they (i.e. vyabhicarins) rise to the capacity of rasa, as they are not steady, they are not useful for the purposes of natya etc. So, those who know natya take only eight as sthayins. Even if sama, wherein all activity ceases, be taken as sthayin, its acting is not possible in a drama as it is without any anubhava. So, according to the seniors (i.e. vrddha-i.e. Bharata) there is no enhancement of rasa (in case of sama) and so only eight sthayins are recognised as useful for drama. Again drawing inspiration from the DR., Sa observes that sthayin is only that which, by imposing its nature or form renders others (= opposite or non-opposite bhavas) one with oneself. It is like waters of the ocean. Eventhough 'nirveda' may be a bhava (= sthayi-bhava), as they are also relished like other sthayins, nirveda and such others can not be taken as sthayins as they like the other eight recognised sthayins, cannot make others (= viruddha or aviruddha) one with oneself like the ocean. So, even if nirveda and others are enhanced, they will bring 'vairasya' or absence or mis-representation of rasa. This is under the influence of DR. IV. 36 (pp. 204, ibid) Sa. thus concludes : (pp. 26, ibid) : ato natyavidam astav eva'tra sthayino matah. So, only eight sthayins are recognised by those who know the dramatic art. Only that bhava, when enhanced becomes rasa, is sthayin. If others also rise to the status of rasa they are to be included or subsumed under these eight only. The activity of bhava is of the form of experience. The expertness in presenting the same should be termed as their enhancement. The sadhya artha - i.e. the end for them is rasa, which is their soul. "tat sadhyo'rtho rasas tesam, tad atma"pattir eva sah." Sa. observes that even vibhava is anubhava and the latter is like vibhava. Both of them are vyabhicarins and the latter are also both of them. Thus they are interrelated. The difference in rasa is brought about by difference in this mutual relation. Their being 'cara' i.e. not constant or 'a-cara' i.e. steady is due to context. Sa. promises to discuss the darsana, drsti, etc. concerning the bhavas later. With this the first adhikara on bhava ends. For Personal & Private Use Only

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1426 SAHRDAYALOKA In the second chapter Sa. picks up discussions on rasa. But before we get into it, we should make our point clear about Sa.'s treatment of giving priority to bhava and therefore discussing the same ahead of the topic of rasa as against Bharata's order of rasa first and Bhava next. Sa. is right and Bharata also agrees to the point that it is the bhava, i.e. sthayi bhava to be precise, that is raised to the capacity of rasa. So, 'bhavebhyo rasah' is a generally accepted theory. In view of this Sa. has treated bhavas first and has also called his work "Bhava-prakasana" suggesting that bhavas are the basis on which the grand edifice of rasa is raised. Bharata knew this. But, even then he has treated rasas first and bhavas next, why ? The reason is obvious. Dramatic art, or literary art or any art worth its name has "rasa" in the centre. 'Rasa' again is something which we experience in the context of art only. Abhinavagupta asserts: "natya eva rasah". Here 'natye' stands for any art. Now whatever is discussed, whichever topic, forms part of the central theme viz. rasa. Nothing, no part, division, sub-division, no nothing concerning art can be discussed without reference to 'rasa' which is the central theme of any art. na hi rasad rte kascid arthah pravartate - asserts Bharata. This means that there is no topic whatsoever, however intimate portion it may be of a given art, can proceed without rasa, i.e. can be discussed without its basic relationship with rasa. Bhavas are also discussed therefore with a view to their being promoters of rasa. - i.e. aesthetic relish. Bhavas are two-fold so to say; viz. the worldly bhavas that are topic of such modern science as psychology and there are bhavas that are stuff for aesthetics. Now the worldly bhavas or normal bhavas that we talk about in all our worldly context, are by nature either giving happiness or unhappiness - i.e. they are sukha-duhkha"tmaka. Whatever gives happiness is welcome to us, and we shun those feelings that cause pain or sorrow, so to say. This is a fact of life. But art is such a medium which transforms the nature of these worldly feelings. All bhavas, when object of art, or when presented through the medium of art are yielding bliss alone and nothing else than that. So, their nature is exclusively blissful. Bhavas remain the same but their nature is transformed in the context of art, here dramatic or poetic art for Bharata and Anandavardhana. Abhinavagupta observes: "asman mate tu samvedanam eva anandaghanam asvadyate, tatra ka duhkha"sanka ?. Bharata also seems to hold the same view for he is very clear that the taste enjoyed by the qualified people is never physical, but only mental - "api tu manasah." No physicality can be dreampt of as having any bearing on art-experience. Thus bhavas, in context of art-experience or rasa'nubhuti, are simply blissful by nature. They are the same bhavas as we come across in routine context but their nature is transformed and thus they are a For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1427 different set of bhavas, a different bunch of feelings not come across in routine experience. Thus these special bhavas earn their speciality, in view of the central theme called 'rasa' or aesthetic experience or art-experience. This is how 'rasa' which is basic to anything connected with art, comes first. Bhavas, a new set of bhavas, - thus follow this basic concept of rasa. Precisely for this Bharata treated 'rasa' first, to be followed by bhavas. The seventh chapter of the NS. deals with bhavas as they are. But when they become art-stuff they change into something "only blissful". So, we feel Sa. is not justified in treating bhavas ahead of rasas. In fact he has missed the very intention of Bharata when the latter places rasas first. We will now discuss the treatment of rasa by Sa. It may be noted that Sa.is, as elsewhere, here also under the tremendous impa ct of the Malaya school as represented by Bhoja, Dhananjaya and Dhanika. Sa. has discussed the topic of rasa keeping both the dramatic and the poetic art in the centre. It may be noted at the outset that he has taken care to note down certain ancient traditions also, even prior to Bharata's, such as those of VeddhaBharata, Vasuki, Padmabhu, Narada, etc. Perhaps by Veddha-Bharata he means the senior Bharata who drafted the larger version of the N.S. The present available N.S. is supposed to contain six thousand verses and 36 or 37 chapters. The longer version is not available to us but was perhaps known to Sa. The anuvamsya verses, or "bhavanti ca atra slokas" i.e. verses, or aryas that appear in the present NS. could be from the earlier NS. of the longer magnitude. In the absence of the name of the author, or perhaps the tradition so named him, Sa. also refers to the author of the longer version as "vrddha-Bharata". We will refer to these details as and when we deal with Sa.'s views. B.P. second chapter begins with etymological explanation of the terms dealing with this or that vyabhicarin. We do not know the exact source of this presentation. It could be Sa.'s own contribution, or he might have accepted it from a source not available to us. Sa. also discusses the mutual relationship between vyabhicarins, sattvika-s, and sthayins etc. They are mutually found to be obliging and or helpful to one another, observes Sa. He says : "evam uktas ca nirvahah sattvika-vyabhicarinam, nirukta yogatah kecid uktah kecic ca rulhitah." (B.P. pp. 32, Line 3-4) (pp. 32; line 5, ibid) upakaryopakaritvam etesam kathyate'dhuna, etc. For Personal & Private Use Only

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1428 SAHRDAYALOKA Sa. explains how various vyabhicarins and sattvikas combine and contribute to th of a rasa, :avirbhavo rasanam syat, sattvikais tu yathoditaih." (pp. 32, line 17, ibid). When rasas are born they are indicated by the vyabhicarins - "jnapaka jayamananam ete syur vyabhicarina)." (pp. 32, line 18, ibid). The anubhavas are indicating - laksayanti - the rasas - "laksayanty anubhavas tu vartamanam tada rasam." (pp. 32, line 19 ibid) Thus the vibhavas and the vyabhicarins deserve a serious study, observes Sa. Some, relying on others, or becoming subordinate to others derive strength among these : "esu kecit sva-samarthyam pusyanty anyasrita api, gunibhutah kadacit tu samarthyam prapayanty ami." evam anyonya-samarthyam darsayanti rasodaye." We do not make out the difference between 'anya-srita' and "gunibhuta". But bhavas show strength by inter-dependence, in the act of the birth of rasa, says Sa. Sa. goes to explain how a certain sthayin accompanied by various sattvikas and vyabhicarins helps the cause of say, sambhoga srngara, or any other contextual rasa. After explaining the association and strength of various bhavas, sa. explains the causality of various sthayins with reference to rasas - (pp. 34, lines pp. 9, 10, B.P.) - "sahacaryam ca samarthyam bhavanam samyag iritam, kathyate sthayibhavanam rasopadana-hetuta." Sa. then explains rati, priti, hasa, utsaha, etc. The etymological explanation of the terms such as rati, hasa etc. are also given. This is of hardly any consequence. After this he comes to the consideration of how these bhavas tend to be rasas, their nature and scope, the nature of rasa, the expression of the state of rasa etc. B.P. (pp. 36, line, 5 ibid): "etesam ca rasa"tmatvam svarupam ca rasasya ca, rasasraya'bhivyaktinam visesah kathyatedhuna." For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1429 "Rasa' is sthayin raised to the capacity of relish, caused by vibhavas, anubhavas, sattvikas and vyabicarins. This is directly accepted from DR. IV. i. Sa. also observes before this that when vibhava"dis are presented in an appropriate way, they cause the sthayin to be known. Along with vibhava"di-s and four-fold acting these sthayins reach the status of a rasa. B.P. (pp. 36, lines 7-10) : vibhava"dyair yathasthana-pravistaih sthayinah smrtah, caturbhis' ca'py abhinayaih prapadyante rasa"tmatam. vibhavair anubhavais ca sattvikair vyabhicaribhih, aniyamanah svadutvam sthayi bhavo rasah smstah." The DR. has "aniyamanah svadyatvam." This is the only difference between the DR. and the BP. Then the BP. accepts parts from the NS. and continues as follows : B.P. (pp. 36, lines - 11-14) reads as - "vyanjanausadhi-samyogah yatha"nnam svadutam nayet, evam nayanti rasatam itare sthayinam sritah." The first half is from Bharata (ref. G.O.S. Edn. Vol. I, pp. 288-289, Ch. VI. 35, etc. etc.) The next half says that the other bhavas lead the sthayin to the status of a rasa, (like ingrediats leading food-stuff to the state of being palatable). The other portion that follows in the B.P. is also under the influence of the NS. The B.P. reads : (lines : 15-22): "yatha nana-prakarair vyanjanausadhaih paka-visesaisca samsketani vyanjanani madhura"di-rasanam-anyatamena atmana parinamanti, tad bhoktrnam manobhis tadrsa"tmataya svadyante, tatha nanaprakarair vibhava"dibhavair abhinayaih saha yatha"rham abhivardhitah sthayino bhavah samajikanam manasi rasa"tmana parinamantas tesam tadatvika-manovitti-bheda-bhinnas tat tad rupena tai rasyante." For Personal & Private Use Only

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1430 SAHRDAYALOKA "nana-dravyausadhaih pakair vyanjanam bhavyate yatha, evam bhava bhavayanti rasan abhinayaih saha." (This is from NS. VI. 37). sa. observes that thus Vasuki has also observed the birth of rasa from bhavas. So, rasas, as the case may be (of individual rasas), are born of bhavas : (BP. pp. 37, lines, 1, 2, ibid) - "iti vasukina 'pyukto bhavebhyo rasa-sambhavah tasmad rasas tu bhavebyo nispadyante yatha'r hatah." Sa. now suggests that the sthayins resting in hero and heroines are enhanced with the help of vibhavas, anubhavas, satrvikas and vyabhicarins. The actors or artists represent them as imitation in drama. These are relished by the samajikas and are hence termed rasas. (B.P. pp. 37, lines 3-8) : "vibhavais'ca'nubhavais ca sattvikair vyabhicaribhih, vardhitah sthayino bhava nayika"di-samasrayah. anukarataya natye kriyamana nata"dibhih, samajikais tu rasyante yasmat tasmad rasah smotah." Sa. enters into, so to say an epistemological investigation in the nature of rasa. He observes that rasa is neither a 'dravya' or an object, nor a 'samanya', or visesa i.e. it is berefect of particularity or class. It is not even a quality - "guna". It is, neither 'karma', activity, nor 'samavaya' or combination or union, nor "another substance." It is a sort of mental attitude, depending on external objects, raised to the highest capacity by vibhava"di-s. This is called 'rasa' by the wise : (BP. pp. 37, line 7-10): na dravyam na ca samanyam na viseso guno na ca, na karma samavayo na na padarthantaran ca sah. For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and.. 1431 vikaro manaso yas tu bahya'rtha"lambana"tmakah vibhava"dya"hitotkarso rasa ity ucyate budhaih." Sa. further adds that even if rasa is said to be mano-vikara or attitude of mind, it has to be a 'padartha' i.e. an object. Six (different) objects making us experience (six) rasas are apprehended and hence 'rasa' itself is different from the objects. But as rasa is manifested through (various forms of) objects, it can be taken as one such (padartha). Thus, rasa though different from padarthas or objects could be also one of those. BP (pp. 37, lines 11-15, ibid) : "raso mano-vikaropi padartha'nyatamo bhavet, padartha sad pramiyante rasasya'nubhava"tmakah. ato rasah padarthebhyo matraya kva'pi bhidyate, dravya'dinam padarthanam tat tad rupataya rasah kva'pi kva'pi prakasena tesam anyatamo rasah." We know that 'padartha' is that which has a name : abhidheyatvam padarthasamanya-laksanam (Tarka-samgraha). Now they are six such as 'dravya, guna, karma, samavaya, .visesa, samanya', Sa. drives home a point while discussing the nature of rasa epistemologically, that 'rasa' is both a 'padartha' as well as it is not a 'padartha'. But here it seems that Sa. confuses between aesthetic entity called rasa and rasa in its physical context such as the six tastes of eatables : We do not feel convinced about Sa.'s approach here. Accepting Bharata as a final authority sa. observes that we will discuss vibhava-s, anubhavas and sthayins for the establishment of rasa, following the lead of Bharata. Though vibhava"di-s, observes sa., have been spoken of earlier by him, according to their respective nature and form, they will be spoken of again from other point of view also; for knowledge (i.e. information) is always useful (anywhere in any form). : (pp. 37, lines 16-19) - For Personal & Private Use Only

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1432 SAHRDAYALOKA "vibhavas c'anubhavasca sthayino rasa-siddhaye kathyante bharatoktena vartmana na'nyatha kvacit. ukta api vibhava"dyah purvatra sva-svarupatah matantarena kathyante jnanam kva'py upayujyate." The vibhava, anubhava, satrvika-bhava, vyabhicari-bhava and sthayins are also narrated following the views of the learned. Accordingly, that which, along with sattva, vak, and anga, make the kavyartha (= meaning or object) of poetry cause to manifest, are said to be bhavas in dramatic theme, by the wise. (B.P. pp. 37, 38, ibid) "yad bhavayanti kavyarthan sattva-vng-anga-samyutan, tasmad bhava iti prajnair ucyante natya-vastusu. Sa. further observes : (pp. 38, ibid, also NS. VII. 2. G.O.S., Vol. I) vag-anga-mukha-ragais ca sattvena abhinayena ca, kaver antargatam bhavam bhavayan bhava ucyate. Through speech, body, facial colour, and sattvika abhinaya (= acting, rmance), that which makes one realise the feeling internal to a poet's heart, is called 'bhava'. Again following NS., Sa. observes that 'that meaning which is brodught about by vibhava, and is inferred by the anubhava along with the help of three-fold acting concerning speech, body and mind, is termed "bhava". (pp. 38, ibid) "vibhavena"hito yorthas tv anubhavena gamyate, vaganga-sattva'bhinayaih sa bhava iti kirtitah." For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1433 Those who know drama observe that 'vibhava' is that which causes to know the acting with the help of speech, body and mind : (BP. pp. 38, ibid) "vag anga sattva'bhinayo yenaiva ca vibhavyate, sa bhavo natya-tattvajnair vibhava iti darsitah." Those who are experts in 'bhava', know that 'nimitta', 'karana', 'hetu' and 'vibhava' and 'vibhavana' are synonyms. "nimittam karanam hetur vibhavas ca vibhavana, ittham vibhava-paryayah kathyante bhava-kovidaih." (B.P. pp. 38, ibid) "Vibhava' means 'vijnana' or knowledge. Knowledge is that which is known. "Vibhava is so called because many objects, resting on three-fold acting of speech, body and mind, are known through it." "vijnana'rtho vibhavah syad vijnanam ca vibhavitam, bahavortha vibhavyante vag-anga'bhinaya"srayah anena yasmat tena'yam vibhava iti samjnitah." (B.P. pp. 38, ibid) All this follows the NS. In the same vein. following the NS. Sa. ex explains 'anubhava' and 'vyabhicari-bhava. B.P. (pp. 38, ibid) : "vag-anga'bhinayeneha yasmad arthonubhavyate, sarvangopanga-sahitah so'nubhavas tatah smotah. avirbhuya tirobhuya caradbhis ca'ntara'ntara, yair raso bhidyate'nekah te smota vyabhicarinah." For Personal & Private Use Only

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1434 SAHRDAYALOKA Those by which the existence of all bhavas is known, are the sattvika-bhavas, as they are born of sattva i.e. concentrated mind. "bhavanam api sarvesam yaih sva-satta vibhavyate, te bhavah sattva-janmanah sattvika iti darsitah." (B.P. pp. 38, ibid) Those that are described in poetry and presented by the actors (on the stage) and those that (finally) stay as rasa (in the hearts of the samajikas) are known to be sthayins. : (B.P., pp. 38, ibid) - "sthitah kavya"disu natair abhinita yatha'rhatah, rasa"tmana'vatisthante satsu ye sthayino'tra te." Sa. further observes that certain bhavas are purely mental, certain bodily, still others are of the speech and some are sattvikas i.e. belonging to sattva, i.e. concentrated mind. (B.P., pp. 38, ibid) bhavah syur manasah kecid angika api kecana vacika api kecit syus satrvika api kecana." Some bhavas are found in objects (dravya) and some among guna and karma. But in all these 'bhava' means 'prayojana' i.e. intention. Prayojana, i.e., 'abhipraya', 'tatparya' or 'phala' also, and also 'bhava' - are all synonyms.' 'Bhava' is a term also used by the wise for 'dravya' (object), kriya (activity), guna (quality), speech (vacah) and manas (= mind). 'Bhava' is a term that conveys 'abhipraya' i.e. opinion, intention etc. Sa. has given different meanings of the term bhava, but all these meanings, we feel are not having the aesthetic context. They are meanings found in general usage. Sa. now comes to the topic of rasa and loosely using the terms observes that all these bhavas are useful in enhancing the rasas in a given context. Enhanced by the vibhavas, nourished by the anubhavas (= now this is a loose usage. He should have said 'inferred by anubhavas), placed in deserving relation by the sattvikas, and For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1435 painted or coloured or decorated by the vyabhicarins, the sthayi-bhavas are the basis of arriving at rasa (B.P. 39, ibid reads) - "ete bhava rasotkarse tatra tatro'payoginah. uddipita vibhavaih svair anubhavaisca positah, bhavais ca sattvikair yogyasamsargair vyabhicaribhih, citritah sthayino bhava rasopadana-bhumayah." When their (= of the sthayins) relishable form is evolved, i.e. relishable through the minds of the spectators, it is said to be of the form of rasa. And, through different types of their forms (or activity) evolved; the dramaturgists call them different rasas. B.P. (pp. 39, ibid) : - "yada tadaisam asvadyamanarupam yad unmisat, manobhih preksakanam tad udesyati rasa"tmana. tatra'ntarasya bheda ye vyaparasyoditah prthak, te sarve natya-tattvajnaih kathyante hi rasa"hvayah." Sa. observes that thus is narrated in general the birth of rasa-s. In these the nature of things or its imitation is seen as presented in a visual way (pp. 39, ibid) : "evam rasanam udayah samanyena samiritah, svabhavo va'nukaro va yasmin drsyataya sthitah." According to the followers of Bharata (i.e. Bharatah), that is the substratum of rasa (i.e. here samajika or nata). But Sa. holds that rasas can never reside in nata or actors. In fact the actors present before the cultured audience, the bhavas that reside in the noble characters, as imagined by the poets in poetry, and to be For Personal & Private Use Only

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1436 SAHRDAYALOKA performed by experts. These are presented in poetry by poets for fame, wealth, pacification of unrest in the kingdom, or for the pacification of obstacles in (religious) activity, and for the achievement of the auspicious. They are presented, as if they are present (or belonging to to-day) by the actors. So, natas do only this and hence, they can never be the substratum of rasa. Sa. observes that mental savour is rasa, and it causes mental pleasure : (pp. 40, B.P. ibid) - "manaso hladajananah svado rasa iti smotah." According to this terminology only Srngara can be called a 'rasa', as it only gives pleasure : songarasya sa yujyeta tasya hlada"tmakatvatah. The rest (i.e. other rasa-s) are called 'rasa' on account of some reason or the other. "anyesam rasata prayah siddha kena'pi hetuna." Just as people enjoy other tastes, beyond the sweet, on account of variety of place and time (i.e. context), in the same way those who are born, or are yet to be born, through their friendship or enmity being carried as impressions (= samskaras) enjoy different rasas such as Srngara, hasya, karuna, etc. - Thus all rasas, getting combined, make for the pleasure of people in context of different time, place etc. B.P. (pp. 40, ibid) observes : songarasya tu yujyeta tasya hlada"tmakatvatah, anyesam rasata prayah siddha kenapi hetuna. yatha nonam tu sarvesam sarvepi madhura"dayah, bhukta rasa"tmatam yanti desa-kala"di-bhedatah, For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1437 tatha jata janisyanto jayamana parasparam, parasparasya sarvatra mitrodasinasatravah, tesu kasya'pi songaro, hasyah kasyacid eva sah, adbhutas sa ca kasya'pi kasya'pi karuno bhavet evam sankarato'nyonyam desa-kala-guna"dibhih songara"dya sadasyanam bhavanti hladana yatah." It is therefore that they are called 'rasas' as they are relished by the cultured : "tasmat samajikaih svadya rasa-vacya bhavanti te." Sa. further observes that due to differences in human nature, and also. differences due to situation etc., and because of the mind being momentary (i.e. its tendency being such), someone tastes a particular one rasa. Hence, all are called by the name of "rasa". This is the opinion of the teachers : "prakrtinam ca bhinnatvad avastha"di-vibhedatah manasah ksanikarvac ca tan ekah svadate yatah, tatopi rasa-vacya syur ity acaryah vyavasthitah. (pp. 40, B.P., ibid) Sa. now picks up another topic. He observes that some accept the suggestivity of rasas while others hold that they are directly stated. Some call them inferred or apprehended and some, only implied. Some take them as meaning of clauses - "avantara-vakyartha", and some as meaning of a maha-vakya (i.e. a complex sentence). Thus the theory is undisturbed by its expression at different places : (pp. 40, B.P. ibid) : For Personal & Private Use Only

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1438 SAHRDAYALOKA "eke rasanam vyangyatvam vacytvam kecid ucire, pratyayyatvam vadanty anye gamyatvam api kecana. tatha'vantara-vakyartham mahavakyarthatam pare evam nyayo no bhidyeta kva'pi kva'pi prakasatah Sa. observes that rasa will be "vyangya' i.e. suggested in the anukarya i.e. original rama"di by the agency of the actors. This is beyond our understa Rasa will be the total sentence-sense when delineated in any particular poem. It can be apprehended-pratyayya-in the nata i.e. artist also on account of the identity of name, i.e. when the nata is called "Rama", rasa is imagined in him also through temporary identity through the name Rama given to him. On an earlier occasion Sa. had denied the possibility of the actor being infused with rasa. Here, he seems to contradict his earlier remark. Or, perhaps here he quotes the opionion of others. Sa. observes that thus the location of rasa has to be imagined by the learned at various substratums. B.P. (pp. 40, 41, Edn. G.O.S., ibid) : "ramadav anukarye tu natair vyangyo bhavisyati, tat tat kavya-nibaddhas tu vakyarthah sa bhavisyati. nama"di-tadatmya"patter nate pratyayya eva sah, evam evohya eva syat tatra tatra vicaksanaih.". Rasa, according to some, is both, when delineated in poetry; an avantaravakyartha and a mahavakyortha i.e. both the meaning of a subordinate clause and also the total meaning of a compound or a complex sentence. tad avantara-vakyartho mahavakyartha eva ca. (B.P. pp. 41, ibid) For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1439 Following his Malava School. Sa, now proceeds to deal with the topic of rasa. He observes that in muktaka i.e. a single-verse or a prabandha, i.e. a composition of larger magnitude, with the help of the difference or varieties of sthayins and sancarins, and with the help of anubhavas of lady-characters (and also of malecharacters, as depicted by the artists), rasa is 'bhavita' i.e. caused, or it is said to be 'vasita' i.e. caused. Through the acting of this or that form (i.e. original characters), rasa is clearly manifested in the cultured spectators (= sabhyesu). This rasa is of the form of consciousness i.e. samvit, and also of the form of prakasa and ananda i.e. light and bliss. (or, it is of the form of flash of consciousness - "samvitprakasa", and bliss - "ananda.). It is apprehended (gamyah) (by the cultured person) an one's own direct experience (sva'nubhutitah) It is also of the form of 'ahamkara' or 'I-ness' and 'abhimana' i.e. something which is abhimata i.e. acceptable and therefore 'abhi-mana'. On account of rasa being of the form of ahamkara-abhimana, it flashes forth in external objects also - (bahya'rthesu). The light (prabha) of knowledge (jnana), the light of bliss, and that of kriya or activity is born of either an external cause or of its own. In view of this, ahamkara-abhimana are explained later. B.P. (pp. 41, ibid) : "muktaka"dau prabandhe ca sthayi-sancari-bhedatah, pramadady anubhavena bhavito vasito rasah.tat tad rupasya abhinayaih sabhyesu vyajyate sphutam, samvit-prakasananda"tma gamyah syat sva'nubhutitah, ahamkara'bhimana"tma bahyarthesu prakasate. ahamkarabhimana"di svarupam kathyate'dhuna. parasmad atmano bhanti jnana"nandakriya-prabhah. For Personal & Private Use Only

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1440 SAHRDAYALOKA Sa. explains that jnana-prabhasa i.e. flash of knowledge is that which pervades the body (or enclosure) of jiva, which is the jewel of consciousness. (caitanya-mani). It is that consciousness which is born of the (para-atma) highest spirit as well as of all objects : "saina para"tmanahsarva-vastuttha cetana bhavet. (pp. 41, ibid) Ananda-prabhasa or the light of bliss is also that which is manifested on all sides of the beings and is connected with their happiness and (happinessyielding) objects. Kriya-prabha is prana or vital air, that stays in all bodies. The highest being is one that causes vibrations in all objects. Jnana-prabha along with anand-prabha is the source of being or 'sattva.' : (B.P. pp. 41, ibid) "jnana-prabhasas caitanya-maneh jivasya sarvatah, sarira-vyapini tatra vyapana bhavati sphutam. saina para"tmanah sarva-vastuttha cetana bhavet, tathakananda-prabhasa'pi purusesu samantatah. abhivyakta sati tesam sukham vaisayikam bhavet. kriya-prabha bhavet pranah sa dehesu pravartate. parama"tma sarva-vastuparispanda-pravartakah, jnana-prabha sa"nanda tasyah sattvam prajayate." From kriya-prabha `rajas' is born. Sakti is born of sattva. Thus it gives birth to the highest - "kriyaprabha rajas sattvac chaktih, syad uttama prasuh." (B.P. pp. 41, ibid) For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1441 'Mano-mayadayah' - i.e. mind and the rest are the substratum of these three 'prabhas. At times they stay independently and at times jointly. Sattva-guna is having a very wide area and in it stays 'rajas'. In 'rajas' stays 'tamas'. Manas stays in atman. As they stay close to each other, they are imagined to be mixed with one another. Sattva stands in the centre and around it stay rajas and tamas. Out of the combination of the gunas are born five 'tan-matra-s' (i.e. sabda, sparsa, rupa, rasa and gandha). Along with these are born the five (maha)bhutas (such as, prthvi, ap, tejas, vayu and akasa). Thus are born these ten objects. Along with five karmendriyas (i.e. hasta, pada, payu, upastha and vak) five jnanendriyas (i.e. caksu, srotra, ghrana, rasana and tvak) and two-fold mind are born. The ten tanmatras along with ahamkara have ten sense-organs as their fall-off (viksti) (or change) "ahamkarena yuktanam tanmatranam yathakramam, dasendriyani kathyante tesam vikrtayas tada." (BP. pp. 42, ibid) Manas is said to be the 'vikrti' of one ahamkara. Vikrti (change, fall-off) is born of praksti (= source). So, it is termed 'mahan'. That prakrti is three-fold i.e. satrviki, rajasi and tamasi. This follows samkhya system - (B.P. pp. 42, ibid) - ahamkarasya caikasya vikrtir mana ucyate, prakster vikrtih, sopi mahan; sa ca tridha bhavet. sattviki, rajasi caiva tamasi ceti; Sattviki determines the objects of senses and so the wise call it to be "buddhi." (adyavasayo buddhih., sankhya-karika, 23). Along with its parts this buddhi alone (acts for the benefit of) all living beings - "svamsaih saha yuta sarva-jivanam upakarika." For Personal & Private Use Only

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1442 SAHRDAYALOKA (B.P. pp. 42, ibid) - Its portions i.e. amsas are of the form of 'vyasti' i.e. individual parts. Its five jnanendriyas i.e. subtle sense-organs are helpers in reviewing the object : "vijnanendriya-pancakam, sahayakam bhavet tat tad visaya"locana"disu." Manas helps (obliges) it by strong will or desire-samkalpa. (samkalpakam manah, samkhya-karika, 27). When a sense-organ has indistinct perception such as, "this object", the mind has a distinct perception in form of its samkalpa such as, "this object is such and such; it is this and not that." etc. Samkalpa thus is special perception in form of visesana-visesya. This is the quality of mind-manas. Direct knowledge 'a-paroksa-jnana' is 'alocana' but 'paroksa' or indirect-perception is 'samkalpa': 'buddhindriyanam sammugdhavastu-darsanam alocanam uktam' (Tattva-kaumudi, edn. Jha, pune, '65, pp. 103) - Ahmkara is that which qualifies buddhi, through 'abhimana'. 'Abhimana' is that cognition such as "this is mine." Thus the cognition of the knower with the object known is termed 'abhimana'. As it is the cause of activity, rajasi (ahamkara) is termed "prana". It helps, by its parts, all beings, itself staying in the heart of all. Karmendriyas help the cause of ahamkara by accepting (i.e. uniting with) its objects. Manas also helps the cause of ahamkara by a desire or samkalpa such as "I should do". Tamasi (ahamkara), due to constant parinama (i.e. changes), in the state of creation, is (called) "kala". Its 'parinama' are the moments (i.e. ksana"di). On account of this all being meet with 'parinama' i.e. changes. In form of vibration (spandana) Kala brings changes in objects and thus in fact helps the cause of jnata i.e. knower, jnana i.e. knowledge or cognition, and jneya i.e. object of knowledge. Sa. observes : "sa kalah spanda-rupena padarthan parinamayan, anugrhnati vettaram vittim vedyan ca, tattvatah." (pp. 43, ibid) Thus, ahamkara is said to be three-fold in view of the three gunas such as sattva, rajas and tamas (pp. 43, ibid): "ahamkaras tridha soyam sattva"di-guna-bhedatah," For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1443 That which is of the 'sattvika' variety due to sattva-guna, has sense-organs as its effects or off-shoots or parts born of it; i.e. resultant items. Thus ahamkara is the cause of indriya-s or sense-organs. From 'tamas' ahamkara spring 'bhutas i.e. the five tanmatra-s are born of tamas ahamkara, which is its cause. Rajas or taijas ahamkara helps the cause of both of these i.e. both the karya-ganas are caused by rajas ahamkara. Samkhya karika, 25 may be read here as - "sattvika ekadasakah pravartate vaikstad ahamkarat, bhuta"des tanmatrah, sa tamasah, taijasad ubhayam." Ahmkara is of three types viz. sattvika, rajasa and tamasa; sattvika variety causes eleven sense-organs, and tamasa causes five tanmatras. Eventhough the rajasa-ahamkara has no independent function, but as sattva and tamoguna are by themselves without any activity, they cannot perform their functions on their own and hence they need the help or assistance of rajasa or rajo-guna which is capable of activity. Thus rajasa-ahamkara helps the cause of both sattvika and tamasa. Rajoguna being active-cancala'-makes the other two also move. Thus by generating activity in the other two, rajasa ahamkara also is a cause in generating the effects brought about by the other two The tendency-vstti or ahamkara is termed abhimana'. This 'abhimana"tmika vrtti' becomes the object of fixed sense-organ : "sa'bhimana"tmika vrttis tat-tadindriya-gocara" (B.P., pp. 43, ibid) : Now the concept of rasa is correlated to this philosophical context. BP. (pp. 43, ibid) observes : "bahyarthalambanavati srngara"dirasa"tmatam yati, tatra vibhava"di bhedad bhedam prayati ca." Relying on external objects, this vstti (i.e. abhimana) takes to srngara"di rasas. This means that the abhimana"tmika vitti, being the object of sense-organs, For Personal & Private Use Only

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1444 SAHRDAYALOKA through external objects, takes the form of songara"di rasa-s. On account of differences of vibhava"di-s, it attains to various types. When, depending, on one's own abhinaya or acting, the 'lalita' - vibhavas, get engaged to respective sthayin along with sattvika-s, anubhava and vyabhicarin-s. there whatever is the result of rati (sthayin) attains the name of srngara-rasa. The samajikas enjoy the same. (B.P. pp. 43, ibid) : "vibhava lalitah sattva'nubhava-vyabhicaribhih, yada sthayini vartante, sviya'bhinaya-samsrayah, tada manah preksakanam, rajas-sattva-vyapasrayisukhanubandhi tatratyo vikaro yah pravartate, Spngara-rasabhikhyam labhate, rasyate ca taih." Thus sa. explains other rasa-s also. When lalita"bhasa (imitation of genuine lalita) vibhava, along with sattva"di bhavas that bring enhancement, alone with acting, enhance the sthayin concerned, the mind of the spectators is in touch of rajo-guna and is blended with tamo-guna also, and resorts to caitanya i.e. consciousness. There whatever vikara - change' of rati is caused, is termed "hasya"rasa. The samajkas relish the same. Thus Sa. explains the formation of vira, adbhuta, raudra, karuna, bibhatsa and bhayanaka-rasas. Sa. observes that this sort of creation of rasas-s is narrated in "yoga-malasamhita", "idrsi ca rasotpattih manovsttis ca, sasvati, kathit, yoga-malayam samhitayam vivasvate." (pp. 45, ibid). We do not know anything about this "yoga-mala" - samhita, which is either a philsophical treatise or a work on dramaturgy. Sa. observes that in 'samhita' (perhaps the same, yoga-mala) Siva has explained fully tandava, lasya, natya and nartana to the Sun-God, i.e. Vivasvan. Sa. then goes on to explain that along with arabhati vitti (style), dance with uddhasa (fast) karanas and angaharas is termed "tandava". The NS. (IV. 30) For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1445 explains that the movement of hands and feet in dance is termed "karana". They are one hundred and eight. Six, seven, eight or nine karanas taken together are termed "anga-hara". They are thirty-two. Read, "hasta-pada-samayogo notyasya karanam bhavet." (NS. IV. 30) and also, "sadbhirva saptabhir va'pi astabhir navabhir tatha, karanair iha samyukta angaharah prakirtitah." (NS. IV. 33) Tandava is of three types such as fast, very fast and fastest or very very fast. Such varieties as, "an-uddhata, uddhata and ati-uddhata" also are noticed. These, Sa. says, will be discussed later. 'Lasya' is a softer form of dance with kaisiki vrtti, gentle angahara and 'laya'rhythem. Sa. talks of its varieties also. That which was associated with "Tandu" sage is called "tandava". After explaining "notya", Sa. says that "natya" is that which is the act of an actor. This is of the form of representation of the padartha/ vakyartha as seen in a drama. (B.P. pp. 46, ibid) - "nataka-sthita-vakyarthapadartha'bhinaya"tmakam, nata-karmaiva naryam syad iti natyavidam matam." 'Nstta' is that which consists of bear movements of hands and feet, i.e. that which is brought about by karanas and anga-haras. Modern 'break-dance' could be placed with 'nttta'. "karanair angaharaisca nirvsttam nsttam ucyate." (B.P. pp. 46, ibid) : 'Nartana' is accompanied by vrttis and instruments and songs. This is qualified by movements of limbs also. This 'nartana' commonly stays in natya, nrtta, lasya and tandava and gundali (a variety of lasya). For Personal & Private Use Only

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1446 SAHRDAYALOKA (B.P. pp. 46, ibid) : "vittibhih sahitam gitam tatha vadya"dibhir yutam, nartanam; gatra-viksepamatram ity ucyate budhaih." etan natye ca nstte ca lasya tandavayor api, gundaly adinu sarvatra sadharanyena vartate." There are eight types of mental behaviour of the samajikas. These eight only are experienced in a drama. The Samajikas know (eight) different rasas through them only. "yatostadha manovittih sabhyanam natya-karmani, astav evanubhuyante tasuktas tai rasah prthak." Sa. thus bases all this, including the discussion on nitta, notya, natya etc. and holding of only eight rasas in a drama, on the DR. Thus he follo tradition. It may be noted that the philosophical concepts of the samkhya system which he narrated as a background to explain ahamkara-abhimana-rasa, seems to be useless. Bhoja also has done such unnecessary exercise. Actually Anandavardhana and Abhinavagupta, who were great 'yogin-s' themselves and very learned philosophers or darsanikas too, refrained from making this "show-off of their learning. For, their prime task was to discuss aesthetics and not philosophy. But very great as they are, they could afford to do away with such a show of pseudoscholarship to which Sa. falls a prey. Sa., following the DR. again rejects the case of santa-rasa with reference to drama. He observes that some theorists mention a ninth mental attitude (i.e. sama), and as a result accept 'santa' as a (ninth) rasa in drama also. But the vakyartha-padartha i.e. the content, such as practicing penance etc., on account of their expectancy of being acted (which in itself is not possible) can not be presented on the stage and hence 'santa' cannot be a rasa in a drama. For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... 1447 (B.P. pp. 47, ibid) : "kecin nava"tmikam ahur manovrttim vicaksanah tatas santo raso natye'py astiti pratijanate." nataka'di nibandhe tu tapas carana-vastuni abhinetum asakyatvat tad-vakyartha-padarthayoh." Sa. observes that sama-sthayin, being enhanced by determinants that may be proper to it, is termed 'santa-rasa' by some experts. But sama is marked by absence of mental digressions. So it can not rise to the capacity of 'rasa'. Hence 'santa' cannot be accepted as rasa (B.P. pp. 47, ibid) - "samas sthayi vibhava"dyair yathasthana-nivesitaih vardhitas ced rasah santah asti'ty udbhavyate kvacit. asya sarva-vikaranam sunyatvad rasa"tmana, parinetum na saknoti tasmat santasya nodbhavah." Hence, holds Sa., natyarasa-s are only eight. This is the opinion of "Padmabhu" i.e. Brahma also, "tasman nalyarasa astav iti padmabhuvo matam." Sa: now records the origin of these concepts, not recorded elsewhere. This is in 'pauranika' style - He observes : In ancient times the origin of rasas was narrated by Vasuki. Narada narrated the same differently. For Personal & Private Use Only

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1448 SAHRDAYALOKA "utpattis tu rasanam ya pura vasukinodita, naradasyocyate saisa prakarantara-kalpita." (pp. 47, ibid) Following Bhoja and elucidating Bhoja's position Sa. observes that mind is in contact with external objects and with its seat in rajo-guna and helped by ahamkara brings out a change-vikara which is termed "songara". bahyartha"lambanavato manaso rajasi sthitat sa'hamkarad vikaro yah sa stngara itiritah. (B.P. pp. 47, ibid) From the same mind, in the absence of rajoguna, but with sattvaguna, 'hasya' is born - "tasmad eva rajohinat sa-sattvad hasya-sambhavah." (pp. 47, ibid) Vira is the change, when mind is in contact with external objects, and is in touch with ahamkara, rajah and sattvaguna. Thus vira results. "ahamkara-rajah-sattvayuktad bahyartha-samgatat, manaso yo vikaras tu sa vira iti kathyate." (pp. 47, ibid) From the same combination as above, but without ahamkara and rajas, is adbhuta born - "tasmad eva'dbhuto jato rajo'hamkara-varjitat." (pp. 47, ibid) But with contact of external objects along with rajas, tamas and ahamkrti, raudra is born as a change from mind : "rajas-tamohamkstibhih yuktad bahyartha-samsrayat, manaso yo vikaras tu, sa raudra iti kathyate." For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and...... (pp. 47, ibid) But from the same combination but without rajas and ahamkara, karuna is born from the mind. "karunas tata eva syad rajo'hamkara-varjitat, cittavasthat tu manaso bahyartha"lambana"tmanah." (pp. 47, ibid) When mind is in contact with external objects and tamas and sattva, bibhatsa is born - tamas-sattva-yutaj jato bibhatsa iti kathyate. (pp. 48, ibid) In the absence of sattva, when mind is covered up by tamas, and in contact with external objects, bhayanaka is born - "sattva-buddhi-vihinat tu manasas tamasa'nvitat, bahyad eva samutpanno 1449 bhayanaka iti'ritah." (pp. 48, ibid) But Santa is born of mind, when there is absence of rajas and tamas and it is seated in sattva and when it is slightly out of contact with external objects : "rajas-tamo-vihinat tu sattva'vasthat sa-cittatah, manag a-sprsta-bahyarthat santo rasa iti'ritah." Though Sa. does not accept santa with reference to drama, he accepts the same in poetry as is done by his mentor Dhananjaya in his DR. Sa. now explains the etymology of the word "srngara" as is done by Bhoja. Sa. observes that whatever is the best form of manifestation of bhavas, such as desa (space), kala (time), vayas (= condition) dravya (physical object), guna (quality), prakrti (nature) and karma (activity) is termed "srnga" i.e. the highest peak. That by which this srnga or highest peak is reached is termed 'srngara". For Personal & Private Use Only

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1450 "desa-kala-vayo-dravyaguna-prakrti-karmanam, bhavanam uttamam yat tu tac chrngam srestham ucyate." iyanti srngam yasmat tu tasmat srngara ucyate." (B.P., pp. 48, ibid) - 'Has' with termination "ap" gives the word "hasa". It means laughter. When 'ghan'-termination operates, we arrive at the word "hasa". Thus from the has, with two terminations we get 'hasa' and 'hasa'. Here there is an alternate granted. Either take has or svan, (= to make noise), we come to the word 'hasya' with the etymology viz. "that for which a person is laughed at - "hasyate asau." So, deformed limb, age (avastha), object (dravya), language (bhasa), -ornament (alamkara), activity (karma) are causes which make a man laugh. Thus it is termed "hasya". * SAHRDAYALOKA Now Sa. explains the etymology of 'vira'. Vra is in the sense of giving alms la also is in the same sense. It is in the sense of 'jnana' or 'khandana' also. The grammarians take V'ra' & V'la' as identical. 'Vira' is therefore one which destroys the opposition - "viruddhan rati hanti it vira-sabdasya nirvahah." (Sa., pp. 48, ibid) Or, that which knows various objects, or beautiful objects, is vira. "vividham vicitram ca lati, janati, krntati" is vira. This is the opinion of some ancient masters. Or, "that which inspires the enemies" is also the etymology of vira - "vidvistan prerayati." The word 'adbhuta' is derived from bhr, with 'utac' termination, along with 'avyaya', meaning 'vismaya' or marvellous. Sa. observes: "vicitra yasya bhavati citta-vrttis tatodbhutah." (pp. 49, ibid) -- "Rudra gives hand" - "rudrah hastam dadati" - This is the derivation of "raudra". The activity or agency has for its cause, what is "raudra". That activity which makes others cry is called "raudra" - 'yat karma radayaty anyan sa raudra iti va bhavet." 'Karuna' is derived as follows - ghrni is used in the sense of compassion, almsgiving, catching etc. "ghrni dhatur - daya-dana-grahanesu ca vartate." For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and... "grhnati datte dayate iti karma ghrner itam." (B. P. pp. 49, ibid) Thus ghrn is used in the sense of compassion, giving alms, and accepting something (grahana). "grhnati datte dayate iti karma".- this is the meaning of 'ghrna' The wise men say that through this activity whatever is the mental attitude that results is termed "ghrna". The grammarians explain "ghrna" as "karuna." So, the composers of nighnu also take 'ghrna' as "karuna". "Karuh" means 'klesa' or unhappiness. That which does not tolerate this "karuh" is 'karuna'. The experience of this feeling of 'karuna' is "karuna" (rasa). The mental attitude which does not bear or tolerate the miseries inflicted by others, is the bhava called "karuna." Thus 'bibhatsa' is explained from badh, with 'san' termination. garha, ninda, bibhatsa, kusta etc. are synomyms. 'ni-bhi'-bhaye-means bhi is for fear. The learned explain the word 'bhaya' as 'calana' (i.e. going away, running away). "bibheti bhayayati anyan karmana iti bhayam." That which is afraid and that which makes others afraid is termed 'bhaya.' That which is born of 'bhaya' and akrosa' is termed "bhayanaka." Wherein changes, both external and internal get mixed and get quiet, that feeling (bhava) is termed santa-(Sa. pp. 50, ibid). "abhyantaras ca bahyas ca vikara yatra samyutah yasya bhavasya samyanti sa santa iti kathyate." Sa. says that derivations of words such as 'srngara' and the like are attempted by him folllowing the line of etymologists who derive words either on the basis of meaning, or roots, or 'vacana', or 'yoga' or through commonness of letters etc. 1451 To us, these derivations of words does not help the cause of aesthetics and therefore, this is a totally futile exercise by Sa. Sa. now turns to an important topic. He says that experts explain differently how the spectators experience the fact of the superimposition of Rama etc. on the actors : (pp. 50, ibid) "ramadya"ropanatma dhih preksakanam nata"disu jayate ya'tra vidvadbhir bahudha sa vivicyate." For Personal & Private Use Only

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1452 SAHRDAYALOKA He follows the views as recorded in the A.bh. First of all he takes up the view of Sri. Sankuka, without naming him. He observes: (pp. 50, ibid) "ramoyam ayam eveti yeyam preksakadhir nate, anukaryepi rama"dau sa samyag iti kathyate." Right-cognition is that which is of the form of "only this (man) is Rama and Rama is only this man." This right-cognition is with reference to the original (anukarya) Rama as well as the actor. This should be the nature of the cognition of the spectator if it is right-cognition. It will be called false cognition if after the first cognition of the actor being taken as Rama, there will subsequently arise a cognition, a stronger one, that he is not Rama. "ayam sa na iti mithyaiva bodhad auttara-kalikat" (pp. 50, ibid) Doubtful-cognition is of the nature of "Is he Rama or not ?" "ayam ramo na vety esa matih syat samsaya"tmika." (pp. 50, ibid). A cognition of similarity on the part of the spectator takes the form of "this actor is like Rama." Thus these are the optional cognitions which a spectator may have with reference to the actor who plays the role of Rama in a drama. But actually the cognition in the context of art is different from all these four types of cognition. This is the view of Sankuka which is explained by Sa. with naming Sankuka. Sankuka holds that art-cognition is different from samyagmithya-samsaya and sadrsya types of cognitions. This art-cognition takes place on the analogy of "citra-turaga" i.e. a painted horse. "citre turaga-buddhya"di nyayenaiva nata"disu dhiya..." (pp. 50, ibid) For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and... 1453 This art-cognition is brought about on the strength of 'kavya'nusamdhana' i.e. repeated encounter with poetry and due to strength of training-siksa-bala; on the part of the actor, who performs his role in an expert way. This the actor presents with the help of vibhava"di-s that are basically artificial, but are tainted by the perception of reality in them. With these vibhava"di-s, through the relation of gamya-gamaka- bhava i.e. relation of inference, a feeling is inferred. This inferred sthayin, on account of its inherent beauty, is relished and this anuksta-anumita-sthayin is termed rasa(according to Sankuka.) : (BP. pp. 50, 51), ibid) : "citre turaga-buddhya"dinyayenaiva nata"disu, dhiya kavyanusamdhanabalac chiksavasad api. nirvartita-sva karya"diprakaryena prakasyate kstrimair api satyatva-bhimana-kalusikstaih, vyapadesyair vibhava"disabdaih samyoga-rupina sa gamya-gamakatvena kvacid apy anumiyate vastu-saundaryatah sopi. rasaniyatvam esyati, anyanumiyamanena sthayitvena vibhavitah. Here, actually the ratyadi is not present and yet it is relished in form of rasa "atrasann api ratya"dih svadyate taih rasa"tmana." (pp. 51, ibid) This is the view of some (=i.e. sri-Sankuka) "evam kecid vadanty etam nate rama"di-semusim." For Personal & Private Use Only

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1454 SAHRDAYALOKA But, sa. further observes, that the Bharatas who know dramaturgy say that this (= as explained by Sankuka) is not so "naivam ity eva bharata natya-vedartha-vedinah." (pp. 51, ibid) Who these Bharata-s are, we do not know. But in the A.bh. we know that the preceptors (=upadhyayah) of Abhinavagupta refuted Sankukas views. Without naming, sa. also presents the views of these Upadhyayas (i.e. Tauta, perhaps). Sa. observes : (pp. 51, ibid) : "naivam ity eva bharata natya-vedartha-vedinah, rama"di-buddhir ya natye preksakanam nata"disu, seyam na samsayamatir na viparyasa-dhir api naiva sadrsya-dhir esa, na citra-turaga"tmikaExperts in dramaturgy hold the view that the cognition of Rama in the actor, by the specators, is not of the form of doubt (=samsaya), nor of the form of similarity (=sadrsya), nor a false cognition(viparyasa). It is not of the form of "citra-turaga" cognition as well. The reason is that, as there is no possibility of a doubt due to factors viz. time and space, it can not be of the form of doubt. Spectators know that Rama happened to be in times and place quite different from the present. So, no doubt of the form of, "Could the actor be Rama ?" can ever take place in the mind of the spectators. On account of subsequent termination of cognition, it certainly can not be a false cognition. The cognition that takes place during performance can not be of the form of similarity for the spectators know that there is no ghost of a chance of similarity between the legendary Rama and the poor actor. Rama is presented through poetry and nata is very much existing before the eyes of the spectators. This can not be a cognition on the analogy of 'citra-turaga' also, for the spectators know the artificiality connected with the horse that is painted in a picture. All painted things are not real but only artificial. The painting again is insantient, while the actor is a santient being. So, on earth, there can never be a For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and... 1455 cognition based on the analogy of a painting. Sa. has beautifully analysad the views of the Upadhyayas (=Tauta) as mentioned in the Abhinava-bharati. Abhinavagupta himself has not presented this analytical presentation of the views of his preceptors. B.P. (pp. 51, ibid) observes : "na samsayasya sanka syad desa-kala"di-bhedatah, na viparyasa-dhih sa syad badhad auttara-kalikat. kavya"dy upanibaddhasya ramades ca natasya ca, sadrsya-dhi-hetv-abhavan na ca sadrsya-dhir bhavet. citre likhita-vastunam manyante krtrima"tmatam, sarvepi yat-tatas citraturaga"tma na dhir bhavet. natades cetanatvena citrasyacetanatvatah, tasmat kadacana kvapi na citra"di-matir bhavet." When the cognition of Rama in the actor is yielding the desired result, then in the absence of badhaka (i.e. refuting cognition), it has to be right cognition. On account of this samyak-pratiti with reference to nata, the spectators are overpowered by rasa. Thus the cognition of Rama with reference to the nata is supported by the result (artha-kriya). (B.P. pp. 51, 52, ibid) - "yada hy artha-kriya-karmasamartha ramadhir nate, tadanim badhakabhavat tasya samyaktvam ucyate. preksakas tad-rasa"vista For Personal & Private Use Only

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1456 SAHRDAYALOKA nate samyak-prayoktari, yat tatortha-kriya-karma samartha ramadhir nate. Sa. now observes that he has thus proclaimed the rise of rasa (=rasodaya), from the point of view of its form (=rasa-svarupa) and its substratum (=rasa"sraya), from Bharatas point of view. Now its manifestation will be discussed : (B. P. pp. 52, ibid) "evam rasanam udayah svarupa"sraya-buddhitah darsito bharatoktah. tasya vrttir nirupyate.".. Now Bhatta- Nayakas view is stated. Sa. observes that - rasa is not apprehended as if it is a tatastha-experience i.e. it is not apprehended through inference, as if no one is personally involved. Nor it is apprehended in a personal way. It is neither directly stated, nor produced at any given moment. With the help of anubhavas presented as if they are genuine (i.e. identical with the origial) by lady-characters etc., the taste is caused, which carries the hearts of the connoisseurs. Due to presentation of bhavas and abhinaya (=acting) in a generalised way, it is conveyed by bhavakatva-vyapara, and is enjoyed by bhogafunction which is of the nature of the experience of blissful consciousness. Thus the relation (between vibhava"di-s and bhava) is said to be "bhoktr-bhogyarthasambandha" This view of Bhatta Nayaka is explained by Sa. without naming the author - "na tatastha-taya na atma-gatarvena pratiyate, na cabhidhiyate kvapi notpadyate kadacana. tadatvikena pramada"dyanubhavena vasitah, svadah sahrdayanam yo hlada"tma hedayamgamah sa bhavabhinayat sadharanikarana-rupaya For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and... 1457 bhavakatva-vyapriyaya bhavyamanah svabhava-vat, bhogena samvida"nandamayenaivopabhuksyate, bhoktr-bhogyartha-sambandha prakaras cabhidiiyate." In the end sa. gives his own rasa-theory. He observes that on account of three tattva-s or entities such as raga (attachment), vidya (knowledge) and kala the selfoperative activity (svatah pravrtti) of purusa i.e. an individual soul takes place with reference to objects of senses-(gocara). With the help of instruments i.e. karanassuch as intelligence (buddhi) etc., this activity begets 'bhoga' i.e. enjoyment and rests (finally) in form of impressions i.e. vasana. There is experience of enjoyment coloured by unhappiness, delusion etc. also. The abhimana which is of the form of happiness is termed 'raga.' Raga is said to be the cause of limiting of the quality of content of a soul.- Through this limitation the soul is attached to objects of senses (Ref. Isvara-pratyabhijnavimarsini, Edn. K. C. Pandey, '50, pp. 237-8; Allahabad). Vidya is that factor which limits the omniscience of a soul. As a result the soul become a knower of "limited objects." (see, Pandey, ibid, pp. 237). Thus 'Vidya' is the upadana-material cause-of raga. With the help of 'vidya' a wise mans knowledge is manifested. "Kala' is the factor which flashes the consciousness covered by 'mala' or covering. The activity of intelligence of the form of happiness and unhappiness is termed "gocara." According to Kashmir Saiva darsana three types of 'mala' go with a soul. They are "anava", "maya" and "karma." Anava-mala is that covering which covers the form of Jiva such as jnatr-i.e. knower and kartr i.e. doer. On account of anavamala, jiva has a limited form. Maya is the apprehension of 'a-vastu' as against 'vastu' i.e. thing in itself. In fact maya is said to be the root-cause of all the three mala-i.e. limitations or covering. Karma-mala is the cause of the birth and enjoyment of fruits of a soul. (See Isvara-pratyabhijna-karika- 2,3,4,5) Thus, observes Sa, through the agency of bhavas or feelings, acquired through successive births, and with the help of intelligence which is instrumental in enjoying these bhavas which are objects, the enjoyment derived is in form of rasa. For Personal & Private Use Only

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1458 SAHRDAYALOKA The ancient masters of Saiva"gamas have delineated this subject in this way. The soul enjoys objects, having sole interest in enjoyment. This the soul does when its consciousness is charged by 'Kala', when it is shown objects by 'vidya', and when t is coloured by 'raga'. With the help of instruments in form of intelligence-the soul enjoys with 'maya' staying in him for all time. The rasika-s thus enjoy the bhogas. The guna-s such as sattva etc. help the cause of buddhi. This enjoyment is rasa. Sa. has thus discussed the nature of rasa-experience from the point of view of saiva-agama. He has discussed the epistemologilal background of rasa-experience. But we feel that this discussion of theory is uncalled for. What matters is only the nature of rasa-experience and not an acount that explains the "making of rasa." The B. P. (pp. 52, 53) read as "raga-vidya-kala-samjnah pumsas tattvais tribhih svatah, pravrttir gocarotpanna buddhya"di-karanair asau, bhogam nispadya nispadya vasana"tmaiva tisthati, duhkha-mohadi-kalusam api bhogyam pratiyate. yat-sukhatvabhimanena sa raga iti kathyate, vidya nameti tattvam yad ragopadanam ucyate. tayabhivyajyate jnanam purusasya vipascita), caitanyasya svabhavatah. abhijvalanahetur ya sa kalety abhidhiyate sukha-duhkha"tmika buddher vittir go-cara ucyate. evam parampara-praptair bhavair visayatam gataih, buddhyadi-karanair bhogan For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and... 1459 anubhunkte rasa"tmana. sivagama-jnair arthoyam evam uktah puratanaih. kalotkalita-caitanyo vidya-darsita-gocarah. ragena ranjitascayam buddhya"di-karanair yutah mayadyavani-paryantam tattva-bhutani sthitam. bhunkte tatra sthito bhogan bhogaika-rasikah puman prerakatvena buddhya"dikarananam punah punah." upakurvanti sattva"di gunas te tatra tatra tu."We will now turn to Nataka-laksana-ratna-kosa (NLRK.) of Sagaranandin, pression is that Sagaranandin has given the summary of what Saradatanaya has presented at length in the BP. Actually the NLRK. has not made any theoretical observations on various views concerning rasa-realisation. It has mostly quoted from Bharata and kept quiet over issues of concern. It speaks of eight rasas only and avoids discussing the case of santa-rasa, altogether. NLRK (Edn. chaukhambha Skt. sansthan, Varanasi, Prof. Babulal Shukla, Shastri, '72) (pp. 182) Karika 190 mentions eight rasas to begin the topic, with introductory words such as- "atha rasah kathyante." After mentioning the eight rasas, the vstti observes : catvara eva va. yatah "songaranuguno hasyah, karuno raudra-karmajah, adbhutah karma virasya bibhatsasya bhayanakah-" This follows Bharatas observation concerning prakrti-rasa-s and vikrti-rasa-s. For Personal & Private Use Only

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1460 SAHRDAYALOKA Descsibing how rasa is arrived at, NLRK. (pp. 182, ibid) Ka. 191 observes : "vibhavasyanubhavasya vyabhicarina eva ca, samyogad unmised bhavah sthayyeva tu raso bhavet." When due to combination of vibhava, anubhava and vyabhicarin a sthayin is enhanced, it becomes rasa. That NLRK. adds 'sthayin' follows DR. and other such sources. Bharata in his rasa-sutra did not mention 'sthayin.' But we cannot say here for certain that the NLRK., by mentioning sthayin is a supporter of Lollata, or a supporter of 'rasa' being of the nature of both 'sukha' and 'duhkha.' We will go ahead with the NLRK. and try to fix its attitude later. After giving the observation as above, NLRK, in its vrtti says that "athava rasas ta bhavas ca ete anyonyopakarat sahabhavena eva pravartamanah siddhim adhirohanti. yatha "na bhava-hinosti raso na bhavo rasa-varjitah, paraspara-kyta siddhir anayoh rasa-bhavayoh." Ka. 192 (NS. VI. 37). This is a quotation from NS. of Bharata. But we are surprised to see that after giving a rasa-sutra (ka. 191), the NLRK. switches over to the problem of the relation between bhava and rasa. Of course the NS. does discuss this topic but here the treatment lacks a proper design and methodology. vrtti (pp. 183) on Ka. 192 observes : anna-vyanjanavat. yatha bhoktur annam vyanjanam upa-kurute, vyanjanam annam, tato rasah syat tathaiva bhavan rasah, rasans ca bhava upakuryuh. This is like food and spices, observes the NLRK. As in case of the food of an enjoyer, spices make it richer and testier, and spices find place because of foodstuff, and by their combination taste is born, similarly, rasa-s and bhava-s help the cause of one another. Now actually this illustration of anna-vyanjana is borrowed from the NS. of Bharata but is applied to a different context. In the NS. the illustration was served only to illustrate, how many things combine and produce a single entity. There was For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and.. 1461 no intention in the NS. to illustate utility of each other to serve the cause of each other, i.e. "parasparopakara." The NLRK. further observes in the vrtti (pp. 183, ibid) : "parasparam sarvada sambaddhah preksakan manasi pramodena upaslisyanto rasa iti vyapadisyante. (=These bhavas, including the sthayin and the vibhavadi-s) ombine with one another and are termed rasas, embracing the spectators with delight in their minds." This is a careful non-committal expression of the NLRK. How the vibhavadi-s combine with the sthayin is not made clear thus implying all the possibilities of janyajanaka-bhava, gamya-gamaka-bhava and vyangya-vyanjaka bhava all in one ! The NLRK. further notes the views of others. (pp. 183, ibid) : "anye tu karyakaranarvam anayoh sat-karya-vadidarsanena angikurvanti-yatra bhavah karyam rasah karanam, dvayam apy etat tulya-kalavasthitya anyonyopasadhayanti." "Others, following the principle of satkaryavada, accept the cause-effect relationship between these two (i.e. rasas / bhavas). Accordingy, the bhava-s are 'effect' and the rasa-s are 'cause'. Both of these, on account of simultaneity, serve the cause of one another (=parasparopakara), and achieve the end resulted from (contribution of) one another." Perhaps the view of the samkhya-theorists on rasa, read in the A.bh. is referred to here. But 'rasa' here is said to be cause' and 'bhava' is mentioned as "effect." This goes against Sa.s view. We had suggested that bhava-s in aesthetic context are considered by Bharata and placed next to rasa for consideration. This way NLRK.s observation can be said to be true, because laukika-bhavas have no bearing on rasa. After this NLRK. treats of individual rasas such as srngara and the like. The vibhava"di-s, the types if any etc. are also mentioned following Bharata and tradition. Sagaranandin (=Sa.) does not consider Santa-rasa, but at the end of the treatment of individual rasas, he, following the lead of Anandavardhana observes : "aksipya sa-vyajam ati-prasaktam rasam rasajnah punar adadita, na catigadham ca, na cati-mandam sandipanam drstam idam rasanam."- Ka. 227 (pp. 191. ibid). If the delineation of rasa is stopped in the middle due to any reason, the knower of rasa should once again start. This delineation should neither be over-done nor should be below normal level. This is the right process of presenting rasas. For Personal & Private Use Only

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1462 SAHRDAYALOKA After this Sa. correlates rasas and vitti-riti-s. He observes : esu ca rasesu songara-karunya-hasa mtdavah bharati-kaisiki-vaidarbharitibhajah raudra-bibhatsa-bhayanakah diptah bharaty-arabhas-visayah gauda-ritibhajah madhyamau virad hutau bharati-satrvati-visayau pancala-riti-bhajau iti." -This passage is clear. The NLRK. now treats of bhava-s etc. Sa. quotes NS. VII. 2 - "vag-anga-sattvabhinayair aharyabhinayair api, kaver antar gatam bhavam bhavayan bhava ucyate." With the help of the (four-fold) acting concerning speech, body, mind and costumes, settings etc., that which brings into focus the internal feeling of a poet is termed 'bhava.' Sa. also quotes NS.VII. 7yortho hrdaya-samvadi tasya bhavo rasodbhavah, sariram vyapyate tena suskam kastham ivagnina." "That meaning which sweeps the heart is the bhava which causes rasa. The body (i.e. the whole self of the rasika) is covered up by that, like fire engulfing dry wood." Sthayin, according to Sa. is- (pp. 192, ibid; Ka. 230) : "bahunam samavetanam rupam yasya bhaved bahu, sa bhavah kathyate sthayi sesas tu vyabhicarinah." When many bhava-s come together, that which comes out as most striking, is called sthayin, and the rest are all accessories. This carries impression of the DR. All these bhavas are resulting from mind, says Sa. They stay in the body which is their natural resort. These bhavas cause the rasa-s to happen and hence are termed bhava-s : "sattva-bhedah bhavanty ete, sarira-prakrti-sthitah, For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and... bhavayanti rasan yasmat tasmad bhavah prakirtitah." (Ka. 231, pp. 192, ibid) Then eight sthayin-s are enumerated but the list begins with hasa, suggesting that the treatment lacks proper method : "haso ratis ca sokas ca krodhotsahau bhayam tatha, jugupsa vismayas ceti sthayibhavah prakirtitah." (Ka. 232, pp. 192, ibid) Vibhava-s are explained in the NLRK (Ka. 233) as "vibhavyante dhigamyante vagangabhinayasritah, ebhir artha yatas tasmad vibhava samudahrtah." vibhava-s are so called because through them, with the assistence of acting concerning speech and body, the meanings are properly conveyed. To explain 'anu-bhava' Sa. quotes NS. VII. 5 - (pp. 192, ibid) "vagangabhinayair ebhir yasmin arthonubadhyate, sarvangopanga-samyuktastv anubhavas tatah smrtah." Anubhava is so called for it conveys (i.e. makes infer) the meaning with the help of acting concerning speech, body etc. The anu-bhava is accompanied by (movements of) all major and minor limbs. 1463 Sa. quotes the opinion of others (pp. 193, ibid) : anyas tv aha- rasopadana-hetur-vibhavah, rasabhivyanjakonubhavah, rasaprapayita bhavah, bhavopakarinah carah sattvikas ca bhava bhaveyur iti. - Others say that-vibhava is the material cause of rasa, anubhava is the suggester (i.e. manifester through inference), bhava is that which causes the rasa (to enhance). The accessories are those that help the cause of (i.e. nourish) rasa. These 'cara' i.e. impermanent accessories are thirty-three. Sa. enumerates the thirty-three vyabhicarins after Bharata. For Personal & Private Use Only

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1464 SAHRDAYALOKA Then individually the vyabhicarins are explained / defined and illustrated, beginning with 'nirveda.' How each vyabhicarin is born of which causes (vibhavas) and how it is presented through acting is also explained. The last vyabhicarin is termed 'saucam'. At times synonyms are given. Eight sattvika-s follow the traditional list. Sa. observes that 'sattva' is that quality which flashes forth other things. The bhava-s born of this quality of 'sattva' are termed 'sattvika-s': "sattvam nama prakasako gunah. tena nirvrttah sattvikah." Sa. here has followed the concept of sattva-guna of the samkhya darsana. Abhinavagupta (G. O. S. Vol. III. pp. 150) explains it as- "sattvajam, manahsamadhanajam. Sa. observes that only to help the cause of sthayin-s, the sattvika-s and vyabhicarin-s operate : "sthayinam eva bhavanam upakaraya sarvada pravartante nivartante sattvika vyabhicarinah." (Ka. 240, pp. 207, ibid), with this the treatment of 'rasa' and 'bhava' is over in the NLRK. We will now pick up the Rasarnava-Sudhakara (=RS.) of Singa-Bhupala (=S. B.) for the treatment of the topics of 'rasa' and 'bhava'. It may noted beforehand that the so called Malava School had its effect more on works concerning dramaturgy, rather than works concerning pure poetics or alamkara-sastra. We cannot trace the origin of this Malava School of aesthetics but it could be parallel to, or even prior to the Kashmir School of thought to which, we feel even Bharata belonged. Saradatanaya has given an account of the origin of drama etc., which is not met with even in Bharata. Bharata, we know, sought the origin of natya from the four vedas. Sa. respects this view but suggests (B. P. pp. 55, 57; 284285, G. O. S. Edn. ibid) that natya originated from Lord Siva, (B. P. pp. 55, line 20)svatantryam esam (=mukhya-rasanam) utpattim itaresam ca sambhavam, vyasa-proktena margena kathayami yatharthatah. kalpasyante kadacit tu For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and... 1465 dagdhva lokan mahesvarah,.... ..... etc- etc. pp. 285- "gaccha brahman puraratim ambika-patim isvaram.... etc. Bharata and others have correlated the origin of drama with Brahma. Again according to Bharata, the sons of Bharata brought 'narya' down to earth from heaven, when they were inspired by Nahusa. For Sa., the credit goes to Manu and not to Nahusa. In short, even if we do not pay attantion to the 'pauranika' account in BP., the fact remains that Sa. talks of a different tradition of art, particularly the dramatic art. But with this was also related the poetic art and hence Sa. treats both of the dramatic and poetic arts together. But he seems to represent in both an older tradition that may go by the name of Malava tradition. Dananjaya and Dhanika, Bhoja, to some extent even Ramacandra and Gunacandra or even their preceptor Hemacandra, and then Saradatanaya(-we may not mention the anonymous work, Sahitya-mimamsa that preceded Ruyyaka), and Sagaranandin and Singa-Bhupala, to an extent even Vagbhata I and II, and also some other Jain writers on Kavi-siksa, and Pratapa-rudra, followed the lead of this Malava-School of thought, which was not favourably inclined to Santa-rasa and talked also of four types of anubhavas such as vag-arambha, gatra"rambha, sattva"-rambha and buddhyarambha types, with the last variety covering riti-vetti-and pravstti. Now with this backgroand we will proceed with the Rasarnava-Sudhakara (RS.) of singa-Bhupala (s. B.), to examine the concepts of 'rasa' and 'bhava' as seen ur references are to the Ananthashayan Edn. (=Trivendrum Edn.) by T. Ganapatishastri, '16.) RS. I. 58 (pp. ibid) observes that rasa in full bloom is the life-breath of natya i.e. dramatic art. Therefore the author takes up its consideration, "rasotkarso hi natyasya pranas tat sa nirupyate." RS. (1. 58b, 59a) defines rasa as, vibhavair anubhavais ca sattvikair vyabhicaribhih, (I. 58b) aniyamanah svadutvam sthayi bhavo rasah smotah. (I. 59A). For Personal & Private Use Only

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1466 SAHRDAYALOKA Sthayin raised to the capacity of relish with the help of determinants, consequents, satrvika-s, and accessories is termed rasa. This is clearly under the influence of the DR. IV. i where in place of 'svadutva' we read 'svadyarva', as under: "vibhavair anubhavaisca satrvikair vyabhicaribhih, aniyamanah svadyatvam , sthayi bhavo rasah smrtah." It may be noted that the RS. has covered up all details concerning the art of drama in three chapters called 'vilasa-s', while the DR. has given four chapters for the same treatment. Both of course basically follow the lead of Bharata, but as noted above they have absorbed greater influence of what we term the Malava School of aesthetics. This need not mean that the Malava School and the Kashmir School to which Bharata seems to belong to. were at daggers drawn against each - other in all respects. No, not so. On the contrary both respected the basic thought currents of rasa and bhava, keeping them in centre. Their approach to certain basics was identical but perhaps the Malava School had a more systematic approach to the concept of anubhava-s, which were four-fold such as vag-arambha, gatra"rambha, citta"rambha (or sattva"rambha) and buddhya"rambha, the last variety included riti-vrtti-pravrtti in its fold. We saw this in Agnipurana and Bhoja but we miss it in the DR. though it is a leading pro-malava-school document. A general tendency is not to accept santa-rasa at least in the context of dramatic art. As for the basic concept of, (laukika) sthayi eva rasah." leading to "sukhadhukha"tmako rasah," and (a-laukika) schayi is rasa, i.e. rasa is (laukika) sthayivilaksana, as it is an "ananda-ghana-samvedanam eva', - individual writers have their own choice. We will go to see what line is picked up by the RS. After defining 'rasa', RS. comes straight away to what is meant by vibhava, and its varieties. RS. (I. 59 b, 60; pp, 9 ibid) observes : "tatra jneyo vibhavas tu rasa-jnapana-karanam, (1, 59. b) budhair jneyoyam alamba uddipanam iti dvidha, adhara-visayatvabhyam nayako nayikapi ca." (I. 60) For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and... 1467 Vibhava is to be acknowledged as the cause of the apprehension of rasa. The wise should know it to be two-fold viz. the base (alamba) and the cause of evocation, i.e. uddipana, or evocater. The first is two-fold from the angle of substratum and object. Both the hero (=nayaka) and the heroine (=nayika) are mutually substratum and object for each other. With this introduction, without going into the nicety of how rasa is born (=rasa-nispatti) and the true nature of rasa, etc. the Rs. deals with the concepts of Nayaka and nayika in all details, as they form the alambana-vibhava causing rasa. Nayaka for RS. is the substratum for rasa and he carries away the heart of the samajika with the help of 'vastu' or dramatic theme. So, he is to be carefully understood by theorists. Rs. I. 56 (pp. 8, ibid) observes "svaccha-svadu-rasa"dharo vastu-cchaya-manoharah, sevyah suvarna-nidhi-vat natyamargasya nayakah." The principal hero of a dramatic piece is one who is associated with the principal out-come or object of the drama and he is said to be not given to misfortune or ultimate defeat or blemishes in character (=a-vyasani). "pradhana-phala-sampannah a-vyasani mukhya-nayakah." This is suggested by the Natya-darpana IV. 7 (G. O. S. Edn.). The RS. goes on describing the general good qualities of the nayaka as mahabhagya, audarya, sthairya, daksata, aujjvalya, dharmikatva, kulinarva, vagmita, krtajnatva, naya-jna-tva, sucita, mana-salita, tejasvita, kala-varva, praja-ranjakata etc. (RS. I. 616-63) (pp. 9 ibid). RS. observes that the nayaka is 'uttama' i.e. of the highest ranking when blessed with all the aforesaid high qualities. If some qualities are missing, he is of the middle order (=madhyamah), and with many good qualities missing (bahu-gunahinah) he belongs to the lowest type (=adhamah) (RS. I. 71, 72a, pp. 13). He is also classified as four-fold such as dhirodatta, dhira-lalita, dhira-prasanta and dhiroddhata i.e. the noble lofty, the one attached to sweet things and fine arts in life, the steady and serious type and the haughty. RS. then discusses these types (I. 73-77 pp. 13-16 ibid). Then types such as 'anukula', satha, dhrsta and daksina For Personal & Private Use Only

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1468 SAHRDAYALOKA (RS. I. 81,a) are mentioned with sub-varieties discussed at length in what follows. The RS. illustrates all this with apt quotations. After this 'upa-pati'-or paramour is described at RS. I. 83 (pp. 18) as one who is served by a woman who crosses all decorum (=langhita"caraya striya) and one who does not observe basic etiquette (vinapi vidhina). His characteristics are also described. Then the helpers of the hero in his love-adventures (=srngara-nayaka-sahayah) are treated. They are pithamarda, vita, ceta, and vidusaka (RS. I. 90-92a, pp. 20, 21, ibid), along with their qualities. With this ends the topic on 'nayaka' or hero. RS. now picks up nayika (1.94, pp. 21, ibid) and gives as many as three hundred and sixty types. Bhanudatta's Rasa-Manjari also discusses this. Basically a noble lady is having the same lofty qualities as are seen in a noble hero. The helpers of the heroine are (RS. I. 160, 1, pp. 37 ibid) duti, sakhi, celi, lingini (a ladymendicant), prati-vesini (lady staying in neighbourhood), dhatreyi, silpakari (=beautician), kumari (an unmarried girl), kathini (a story-teller), karuh i.e. a washer-woman, viprasnika (=a fortune-teller), etc. etc. They are having qualities of the helpers of the hero (=netr-mitra-gunanvitah; RS. I. 161, pp. 37, ibid). With this the treatment of 'nayika'ends. Now RS. picks up uddipana-vibhava with 'songarasya uddipana-vibhava to begin with. They are said to be four-fold-guna-cesta-alamkrtayas tatasthas ca" (RS. I. 162, pp. 38, ibid). Nayaka-Nayika are the direct substratum of rasa. Uddipana-vibhava are the indirect causes of rasa (=a-pratyaksa). RS. obderves (I. 162); "uddipanam caturdha syad alambana-samasrayam, guna-cesta-lamkrtayas tatasthas ceti bhedatah." The first three rest on the alambana, i.e. guna-s, cesta and alamkrti rest in the hero or the heroine. But 'tatastha' is that type such as natural surrounding etc. Bhoja also talks of malya, vastra, vibhusana etc., and also rtu or natural surrounding etc. This is a special quality of The Malava-School. The Kashmir school of aesthetics chooses not to go into minor details like this. The ND.. B.P. PR. also discuss this. Actually though the SD. is primarily committed to the Kashmir School of thought, its treatment of nayaka, nayika, their friends, their qualities etc. is inspired more by the Malava School, though of course, traits of these are noticed in Bharata also. For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and... 1469 The gunas in alambana are : "yauvanam rupa-lavanye saundaryam abhirupata mardavam saukumaryam cety alambana-gata gunah." (R.S.I. 163, pp. 38, ibid) Youth is again said to be fourfold, and with reference to each type the behaviour pattern is different. All these are described in great details. Alamkara is also fourfold with reference to dress (vasas), ornaments (bhusa) garlands (malya) and cosmetics (anulepana) (R.S.I. 187a, pp. 44). "Tatastha' uddipana includes moonlight (candrika), bath-room with shower (dhara-gpha), rising of moon, cooing of a cuckoo, the mango-tree, soft-wind, bees, a bower, a step-well, thundering of clouds, interior of a palace, music, pleasure-mountain, a river etc. (RS. I. 187-9; pp. 45) The 'cesta' includes lila, vilasa, etc. as describad in the 'anubhava'-section With this the topic on vibhava comes to an end. 'Anubhava'- is explained as (RS. I. 190, pp. 48, ibid): "bhavam manogatam saksat svahetum vyanjayanti ye, tenubhava iti khyata bhru-viksepa-smita"dayah." Movement of eye-brows, smile etc. are anu-bhavas i.e. consequents which cause to imagine (or manifest) their cause, viz. the feeling in the mind (or heart), These are said to be four-fold such as those going with citta (i.e. mind, or concentration of mind), gatra (body, limbs), vag (i.e. speech) and buddhi (i.e. intellect). RS. I. 19a, (pp. 48 ibid) observes; "te caturdha citta-gatra vag-buddhya"rambha-sambhavah.". Cittajah bhavah or feelings connected with mental effort are said to be ten : "tatra ca bhavo havo hela sobha ca kanti-dipti ca; pragalbhyam madhuryam dhairyodarye ca cittajah bhavah." (RS. I. 191, pp. 48 ibid) For Personal & Private Use Only

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SAHRDAYALOKA Gatra"rambha anubhava covers all bodily movements. They are also counted as ten such as 1470 (RS. I. 199, pp. 52, ibid) : "lila-vilaso-vicchitir vibhramah kilikincitam, mottayitam kuttamitam bimbo(vvo)ko lalitam tatha, vihrtam ceti vijneya yositam dasa gatrajah." (I. 200 A) The author explains each of these with illustrations. It may be noted that S.B. has taken the twenty anubhavas as enumerated above going with 'citta' and 'gatra', to begin with but after supplying apt illustrations he has called them to be "sattvikaalamkara-s" of the heroine : (RS. I. 209, pp. 57 ibid): "kathitah sattvajah strinam alamkaras tu vimsatih." For Bharata, bhava, hava and hela were three 'anga-ja' alamkaras, and the seven viz. sobha and the rest were a-yatnaja-alamkaras-s. Lila and others, the ten enumerated as 'gatra-ja' are taken here as svabhavaja alamkaras-s. (NS. Ch. XXIV5,6; 12, 13; 24). Dhnanjaya, and Ramacandra/ Gunacandra follow Bharata, while Saradatanaya takes these twenty alamkaras-s as mana-arambha (i.e. citta-arambha) and gatraarambha alamkaras-s. Singabhupala seems to have accepted Saradatanayas approach. Bhoja in his Sr. Pra. enumerates twelve mana-arambha-anubhava-s, including "sthairya" and "gambhirya" in these. RS. has other ideas as seen above. RS. includes 'sthairya' and 'gambhirya' under "dhairya". Thus citta-arambhaanubhavas are ten only for S.B. Bhoja has also enumerated 'kridita' and 'keli' under gatra-arambha which are rejected by RS., according to which 'kridita' is found only in the childhood of a girl and does not deserve to be counted among anubhavas. But we find in normal life that girls, who have entered youth, also undertake 'kridita' and it has a special colouring of youth. 'Keli' is also rejected by RS. (I. 213, 214), but even this rejection does not look logical. For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and... 1471 After describing the satrvika alamkaras-s for nayika, RS. deals with same with reference to a nayaka also. They are enumerated as : (RS. I. 215, pp. 58, ibid). "sobha vilaso madhuryam dhairyam gambhiryam eva ca, lalitaudarya-tejamsi sattva-bhedas tu paurusah."Dhairya, gambhirya, audarya, and teja were treated under nayaka-nirupana. The rest are explained here. Singa-bhupala has taken 'gambhirya' and dhairya as citta-ja, and the six others are gatra-ja. (RS. I. 219, pp. 60) "atra gambhirya-dhairye dve cittaje gatrajah pare, eke sadharanan etan menire citta-gatrayoh."-. For Bharata, Dhananjaya, Ramacandra and Gunacandra, Sagaranandin and Visvanatha these are Sattvika-gunas of the nayaka. Saradatanaya takes these eight anubhava-s going with males, as gatra-arambha-anubhava. Vag-arambha anubhavas of RS., are treated by Bharata as vacika-abhinaya : N.. S. XXII. 51, G. O. S. "kavya-vastusu nirdisto dvadasabhinaya"tmikah."The A.bh,on it reads as-kavyavastusv iti dasa-rupaka-bhedesu dvadasarupobhinaya"tmako vacikabhinayasya bhavah ity arthah."-. For Singa-bhupala, it is termed vag-arambha-anubhava-This is twelve-fold such as (RS. I. 220, 221, pp. 60, ibid) : "alapas ca vilapas ca samllapasca pralapakah, anulapapalapau ca sandesas catidesakah; nirdesas copadesas ca apadeso vyapadesakah, evam dvadasadha prokta vag-arambha vicaksanah." For Personal & Private Use Only

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1472 SAHRDAYALOKA These are individnally explained next. These twelve vag-ambha-anubhava-s are found everywhere in rasa. Bharata mentions them at NS. XXIV. 50, 51. Sa. has also treated these at BP. I. pp. 10, 11. RS. has made the concepts clearer by defining and illustrating them individually. Buddya"rambha-anubhava-s include riti-, vitti and pravstti. (buddhya"rambhah tatha prokta, riti-vstti- pravsttayah" Riti for RS. (I. 227, 228, pp. 64, ibid) is "ritih syat pada-vinyasa-bhangi, sa tu tridha mata, komala, kathina, misra ceti syat, ".... Komala is also termed vaidarbhi as it is popular among vidarbha-people (RS. I. 230 A., pp. 64, ibid). Kathina is also known as "gauli" as it is popular among gauda-people : "kathina sa gaudity ukta taddesa-budha-manojnatvat." (RS. I. 239, pp. 68, ibid).Misra is having balancely mixed qualities of the first two : "yatrobhaya-guna-gramasannivesas tuladhrtah, sa misra saiva pancali ityukta taddesaja-priya." (RS. I. 240, pp. 69, ibid) Misra is also termed Pancali. Over and above this RS. also accepts andhri, lati, and saurastri, as equivalent to Komala with soft letters. (RS. I. 241, 2, 3, pp. 69, ibid). RS. does not give definitions of these as this act may create difficulty in the present work, but recommends that those who are interested in these may look for them further in Bhojas works : "tasam grantha-gadutvena laksanam nocyate maya, bhoja"di-granthakarais tu tad akanksibhir iksyatam." For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and... 1473 (RS. I. 243, pp. 69, ibid) We know that Rajasekara has suggested that, "vacana-vinyasa-kramo ritih, vesa-vinyasa-kramo vsttih, vilasa-vinyasakramo pravsttih." Thus 'vstti' covers costumes and make-up also and pravstti covers the general behaviour-pattern of a given locality, region, province, or country as the case may be. Sanskrit dramaturgy and literary criticism are so broad-based and also catholic in their approach that all these elements are systematically covered and treated under specific heads with meticulous care. Opinions seem to differ concerning minor details. But the approach is absolutely methodical and in keeping with aesthetics. "ingabhupala has named slesa, prasada, samata, madhurya, sukumarata, arthavyaktih, udarata, ojah, kantih, and samadhi as the ten excellences of vaidarbhi riti (R. S. I. 231, pp. 65, ibid). These are individnally explained also. Bharata has also enumerated these ten gunas-and so also Dandin and Vamana have done. Sagaranandin also follows Dandin. Vidyanatha has twentyfour gunas with fourteen more such as udattata, susabdata, preyan, aurjitya, vistara, sammitatva, gambhirya, samksepa, sauksmya, praudhi, ukti, bhavika, gati, and riti. This has likeness with Bhoja. We need not go into greater details as we propose to pick up these concepts of riti, vrtti, pravrtti, guna, dosa, laksana, alamkara etc. in their entirety in the vol. II of this work in separate chapters. Suffice it to say, that RS. has followed Dandin in the concept of guna-s. "Vrtti" is from Vvrt, to behave. With the affix ktin in the sense of bhava, we arrive at the meaning of vartana' i.e. behaviour. The behaviour that goes to achieve the four ends of life is vitti. Anandavardhana observes : "vyavaharo hi vittir ucyate" (Dhv. III. 33, vrtti.) Thus the behaviour which in art imitates normal worldly pattern is vrtti- Natya-vrtti-s are said to be four such as bharati, satrvati, kaisiki and arabhati. Abhinavagupta observes : (NS. XX. i, A.bh., pp. 83, G.O.S.) : "visesena hrdaya"vesena yukta vrttayo natyopakarinyah."- He says that the whole universe is covered up by these four vitti-s, which are operative since of yore, but when practiced in art with a special mental effort, they help the cause of drama through the medium of a poet and an actor. For Singabhupala, vitti is connected with rasa and bhava, both in poetry and in drama, through acting. "natya-kavya-kriya-yogarasa-bhava-samanvitah, For Personal & Private Use Only

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1474 SAHRDAYALOKA sa eva samayo dhatra vittir ity eva samjnitah." (RS. I. 258, pp. 71, ibid). The N. D. and the S.D. also call the vstti-s to be natya-matnkah or natyamatarah as they help the cause of drama. The vrtti-s thus not only help the cause of drama, but also cover the bodily, mental and speech-activities of the hero and other characters. : tad-vyapara"tmika vrtcih, DR. II. 47; Dhanika observes here : "pravsttirupo netrvyapara-svabhavo vittih." Origin of vrtti-s is described in the RS. following the NS. (XXII 1-23) account of the fight betweenVisnu and Madhu Kaitabha. Following the. BP., RS. observes that bharati is born of the Rgveda, satrvati from Yajurveda, kaisiki from the Samaveda and arabhai from the Atharvaveda : (R. S. I. 260, pp. 71 ibid) : "rgvedac ca yajurvedat samavedad atharvanah, bharatyadyah kramaj jata ity anye tu pracaksate."' Bharati is one followed by the Bharata-s : "prayuktatvena bharataih bharatiti nigadyate." (RS. I. 261, pp. 71, ibid). RS. observes that as this is practice in prastavana, it will be treated there in details. NS. DR. and SD. describe this as predominantly in sanskrit, with speech element as principal -vak-pradhana, ta-mayi, to be used by male characters- purusa-prayojy, and Bharataprayukta, but not used by females- "stri-varjita". The four parts of bharati are prarocana, vithi, prahasana and amukha. Satevati is one with sattva-guna as predominant quality. Other qualities are also seen in this. RS. I. 262, pp. 71 observes : "satrvikena gunenapi tyaga-saurya"dina yuta, harsa-pradhana, santyaktasokabhava, ca ya bhavet.". satrvati nama sa vittih prokta laksana-kovidaih." (I. 263 A). For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and... 1475 The four parts of sattvati are samlapa, utthapaka, samghatya and parivartaka. "angany asyas tu catvari samllapotthapakav api, sanghatyah parivartas ca ity esam laksanam ucyate." (RS. I. 263, 264 A., pp. 71, ibid). Kaisiki is (RS. I. 268, 269, pp. 74, ibid) : - "nrtta-gita-vilasa"dimrdu-srngara-cesitaih, samanvita bhaved vrttih, kaisiki slaksna-bhusana." "angany asyas tu catvari narma, tat-purvaka ime spanja-sphotau ca garbhas ca esam laksanam ucyate." Kiasiki is blessed with soft activities of srngara and has four parts or limbs such as narma, narma-spanja, narmasphota and narma-garbha. narma is a-gramya-parihasa i.e. cultured light talk for pleasing the lover. Its subvarieties are also counted. Narma-sphanja is a union which is happy in the beginning and fearsome in the end. Narma-sphota is having some portions of a feeling that suggest srngara. Narma-garbha is the behaviour of the hero or the heroine for achieving ones end. Arabhai vrtti is packed with magical performances, - maya, indrajala, and also full of a variety of fights, cutting and splashing etc. RS. I. 280, 281, (pp. 83, ibid)- observe : "mayendrajala-pracuram citra-yuddha-kriyamayim, chedyair bhedyaih plutair yuktam vrttim arabhatim viduh." anganyasyas tu catvari samksiptir avapatanam, For Personal & Private Use Only

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1476 SAHRDAYALOKA vastutthapana-samphetau iti purve babhasire." The four parts of arabhai are, samksipti, ava-patana, vastutthapana, and sampheta. RS. I. 286 pp. 85 ibid, observes that out of these four, bharati is said to be sabdavrtti and the other three are artha-vrtti-s. RS. also mentions a fifth vrtti viz. a 'misra' or a mixed one which has a mixture of all the four vrttis. This is the view of others. RS. has no faith in this variety. (pp. 86, ibid). RS. has tried to demarcate each vitti with special rasa-s. RS. I. 290, pp. 87, ibid, observes : "kaisiki syat tu songare rase vire tu satrvati, raudra-bibhatsayor vittir niyata"rabhati punah." songara"disu sarvesu rasesvista eva bharati. It may be noted that in the above observation the mention of songara etc. is just a sort of a token. By songara is also meant hasya, by vira, also adbhuta, and by raudra and bibhatsa also karuna and bhayanaka are meant respectively. Thus Kaisiki is fixed for srngara and hasya, satevati for vira and adbhuta, and arabhati goes with raudra, karuna, bibhatsa and bhayanaka-rasa-s. Bharati is common to all rasa-s. RS. criticises Rudrata in this context : kaisikity anuvrttau rudratah "songara-hasya-karunarasatisaya-siddhaye, esa vittih prayatnena prayojya rasa-kovidaih."- iti. "vicara-sundaro naisa margah syad ityudasmahe." -RS. I. 291 B. It may be noted in passing that Rudrata feels that Bharatas suggestion is that the use of the vrtti-s with reference to this or that rasa is based on most For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and... 1477 observations but it is not a fixed rule which can never be altered. This is Rudratas view. RS. does not agree with Rudrata and takes the fixing of vrtti-s to be as tight a regulation as a law of natural sciences. But this may not be so. "Pravstti" is also part of buddhy-arambha-anubhava. It is a technical term. As by 'vrtti' is meant the physical, mental and speech activities of nayaka and the rest, 'pravstti' also stands for the same "vyapara" or activity. But this vyapara is of a different type. From the point of view of difference in country or region, there are seen differences in a hero's language, costume, behaviour pattern etc. These are termed 'pravstti.' Say, for example to crack a joke by speech is vacika-vyapara and it falls under "vaco-hasya-narma" type of kaisiki-vrtti. But this activity of cracking a joke etc. is done in a languague that goes with the hero's region or country. This will fall under "pravrtti." Thus 'pravrtti' is general behaviour-pattern of a particular region or land or country. The NS. observes : (Ch. XIV.36 prose vrtti thereon, pp. 165, G.O.S.) "pravrttir iti kasmat ? ucyate, prthivyam nana-desa-vesa-bhasa-acaravartah khyapayati iti pravrttih." Thus 'pravrtti' is that which reveals the lauguage, behaviour, occupation (=varta,='krsi' etc.), etc. of a given country or region. The poet derives the knowledge of different lauguages or dialects of regions and applies the same in his dramatic creation. Bharata talks of four pravstti-s such as avanti, daksinatya, pancali and audra-magadhi. DR. and BP. almost follow Bharata. RS. also observesI. 294, pp. 88, ibid - that the language (or dialect), costumes and activity of a given region is "pravstti" "tat tad desocita bhasa- kriya-vesah, pravrttaya)." Bhasa is divided by singa-bhupala into pracya (=eastern), avantya, magadhi, bahlika, daksinatya, surasenya and andhramagadhi. Thus it is seven-fold -"saptadha syad". Then there is vibhasa (=minor lauguage) such as sabara, dravida, andhraja, sakara, abhira, candala, and one projected by foresters. These are also seven.. Actually the list can be wider or narrower as to the know-how of a theorist. RS. suggests that there are other vibhasa-s also but as they do not serve the purpose they are not enumerated, (RS. I. 294,-298 A)-"tasam an-upayogitvat natra laksanam isyate." (pp. 88, ibid). Thus, it may be observed that the delineation of the concept of "anubhava" in the RS. is quite exhaustive. It is in keeping with the tradition of what we term the For Personal & Private Use Only

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1478 SAHKDAYALOKA Malava-School of thought as represented in the Agni-purana, Bhoja's works, the DR., etc. RS. has not only quoted various views but has also begged to differ from some predecessors. By and large the presentation is critical and objective. * We how turn to the more important topics of 'Bhava' and "Rasa". We know that for Bharata bhava-s were the instruments that made the samajika-s understand the kavyartha. : "vag-anga-sattvopetan kavyarthan bhavayanti iti bhavah." . (NS. Vol. I. Ch. VII, pp. 76, G.O.S. Edn.) Bharata has, in a way, also advocated the interdependence of bhava and rasa "na bhava-hinosti rasah, na raso bhava-varjitah, paraspara-krta-siddhis tayor abhinaye bhavet." The bhava-s and rasa-s, with mutual dependence, make their presence feel in acting. Abhinavagupta explains that rasa-s make the bhava-s capable or make them deserve the nomenclature of 'bhava'; but of course from bhava-s spring the rasas. "bhava rasan bhavayanti nispadayanti. rasas tu bhavan bhavayanti. bhavan kurvanti. bhava"di-vyapadesyan kurvanti. -ity arthah." (A.bh., NS.) VI. 37.) Bharata has enumerated forty-nine bhavas in all out of which eight are sthayin, eight are satrvikas and thirty-three are vyabhicarin-s. All posterior writers, both on dramaturgy and poetics have followed Bharata in this regard, with very minor additions, alterations, if at all. * The RS. begins its treatment of bhava-s with sattvika-bhava-s (pp. 88, 89, ibid, I. 298B-301, etc.) Those that are born of 'sattva' or mind or "special mental effort, concentration" are termed sattvika-bhava-s. The term 'sattva' means, "to paint (the spectator's mind) with some bhava or feeling." Sattvika-bhava-s normally are seen or produced after the feelings or emotions are created, and in this sense they are also "anu-bhavas" i.e. "those that follow the bhava-s" but they are not termed "anubhava-s" but are given a special name of "satrvika", because they are born of 'sattva' i.e. mind or a special mental effort that is qualified by concentration. To be happy or unhappy following the happiness or unhappiness of others, is a quality called "sattva". This is a special mental state on the part of an artist which is bor of concentration of mind. The mind of the actor, so to say, gets identified with the state of mind of the character concerned. Singa-bhupala accepts this view of For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and... 1479 Bharata and holds that when the mind of the bhavaka-s feels an identical feeling as that of some others (i.e. characters) it is called "sattva"by those who know : RS. I. 298 B (pp. 88) observes : "anyesam sukha-duhkha"di bhavana-krta-bhavanam." RS. I. 299 (pp. 88 ibid) observes : "anukulyena yac cittam bhavakanam pravartate, sattvam tad iti vijneyam prajnaih sattvodbhavan iman." The bhava-s or feelings born of this 'sattva' i.e. special mental quality, are termed 'sattvika'-bhava-s. They are eight such as : "stambha, sveda, romanca, svara-bheda, vepathu, vaivarnya, asru, and pralaya." RS. I. 300-301 (pp. 89. ibid) read as : "sattvika iti jananti bharata"di maharsayah, sarvesam api bhavanam. yaih sattvam pravibhavyate. te bhava bhava-tartvajnalh sattvikah samudiritah, te stambha-sveda-romancah, svarabhedas ca vepathuh. (Rs. I. 300, 301) * vaivarnyam asru-pralayav ity ascau parikirtitah."-(I. 302A) RS. describes each sattvika bhava following Bharata. The cause and expression of each sattvika are meticuleusly discussed, with apt illustrations of all various causes of a given sattvika. With the consideration of sattvika-s, ends the first Chapter or vilasa of the RS. called 'ranjakollasa.' (pp. 97, ibid). In the beginning of the second 'vilasa' of his Rs., Singabhupala starts with the discussion on vyabhicari-bhava-s that are thirty-three following Bharata's lead, For Personal & Private Use Only

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1480 SAHRDAYALOKA The term "vyabhicarin" is explained in the beginning of the chapter. RS. II. 13, pp. 98 read as : "vyabht" ity upasargau dvau visesabhimukhatvayoh, visesenabhimukhyena caranti sthayinam prati.- (RS. I. i) vag anga-sattva-yukta ye jneyas te vyabhicarina). sancarayanti bhavasya gatim sancarinopi te." (II. ii) unmajjanto nimajjantah sthayiny ambunidhav iva, urmivad vardhayanty enam yapti tadrupatam ca te." (II. iii) The term 'vyabhicarin' is derived with the help of 'vi' and 'abhi' as upasarga-s with Vcar-"visesena abhimukhyena caranti" is the explanation. The accessories i.e. vyabhicarins are so called because they move with a special purpose of nourishing towards the basic emotion i.e. sthayin. These, accompanied by acting (in drama, or description of the same in poetry), are known as vyabhicarin-s. They are called sancarin-s also as they become instrumental in the movement of various sthayi bhava-s towards rasa. The sthayin is related to them as ocean to the waves that are rising and falling. These vyabhicarins also come and go, or rise and fall as needed for the promotion of the sthayin towards rasa. They nourish the sthayin and help it to achieve the status of rasa. They are also vyabhicarin-s or not-permanent as there is no permanent relation between a given vyabhicarin and a given sthayin. A given vyabhicarin may be found with a particular sthayin in a given context and the same vyabhicarin may accompany a different sthayin in a different context. These vyabhicarin-s are counted to be thirty-three in the RS., which follows Bharata's tradition here. Each is explained in details with sub-varieties arising from different contexts. For example 'nirveda' is seen because of tatrvajnana, durgati, apad, viprayoga, irsya, etc. It is said to be a sense of frustration or despondency-'naisphalyamati' born of various reasons as above. All are illustrated. In the same way different vyabhicarins having different rensons are all taken into account. For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and... 1481 RS. observes that some other vyabhicarin-s counted by other authorities could be included in these thirty-three, as the case may be. RS. (II. 94b, 95, pp. 139, ibid)observes : "udvega-sneha-dambhersa pramukhas citta-vrttayah, utkesvantar bhavantiti na prthaktvena darsitah." To support his view Singa-bhupala also quotes BP. : "anyepi yadi bhavah syus' cittavrtti-visesatah, antarbhavas tu sarvesam drstavyo vyabhicarisu." But an interesting point is noted by the RS. when (II. 95b, pp. 139-ibid) it observes that these vyabhicarins could also play the role of a vibhava or an anubhava towards one another in a given situation. "vibhava anubhavas ca te bhavanti parasparam." This reminds us of the remark in the A.bh. in the context of Santa-rasa for which Bharata lays down jugupsa (a sthayin) as a vyabhicarin. The cause-effect relation with reference to each vyabhicarin is to be understood, observes RS., following world-order : "karya-karana-bhavas tu jneyah prayena lokatah." (RS. II. 90a; pp.139 ibid). The RS. elaborates this in the vrtti: (pp. 139, 140 ibid): tatha hi, santapasya dainyam prati vibhavatvam, glanim praty anubhavatvam. praharasya pralaya-mohau prati vibhavatvam, augryam praty anubhavatvam. ca. visadasya utpada"vegam pratyanubhavatvam stambham prati vibhavatvam. vyadher glani-stambha-pralayadin prati vibhavatvam. These vyabhicarin-s are again two-fold, observes RS. (at II. 96, 97, pp. 140 ibid) with reference to their independence or dependence. They are said to be independent when not engaged in arouising some other bhava, but once they reach For Personal & Private Use Only

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1482 SAHRDAYALOKA the stage of being subservient to others they are dependent. Perhaps the first case gives rise to what may be taken as bhava-dhvani. : svatantryat paratantryat ca te dvidha vyabhicarinah. (RS. II, 96b) paraposakatam praptah paratantra it iritah, tad abhave svatantra syur bhava iti ca te smrtah"- RS. II. 97.) RS. illustrates this with 'nirveda' being svatantra or otherwise (pp. 140 ibid) With this RS. discusses the problem of Santarasa which is not acceptable. This is in keeping with the Malava tradition. The RS. starts the discussion with these remarks : (pp. 140, 141, ibid): "nanu nirvedasya santa-rasa-sthayitvam kaiscid uktam. katham asya anyonyopakaranatyam iti ced, ucyate- sati khalu grame sima-sambhavana. sthayitvam nama samskara-patavena bhavasya muhur muhur navibhavah. tena nirveda-vasana-vasite bhavaka-cetasi naisphalyena abhimatesu vibhava"disu tatsamagrabhutasya nirvedasya utpattireva na sangacchate, kim punah sthayitvam. kinca a-sati nirveda-sthayini santa-rupo bhavakanam 'svadas citragata-kadali-phala rasa"svada-lampatanam raja-sukanam viveka-sahodaro bhaved iti krtam samrambhena. Singa-bhupala does not accept the santa-rasa for there is no sthayin for this rasa. He says that when there is no village the question of its boundary never arises ! Sthayitva means having fresher and fresher expression when a feeling strongly layed in form of vasana or inpression in mind is aroused due to favourable reasons. In case of the mind of an enjoyer imagined to be pervaded by the impression of nirveda, owing to failure of securing an objective (=nisphalata), the activity of required vibhava"di-s does not start at all. Now nirveda depending on this samagri, of special vibhava"di-s, which is absent, is not at all born to begin with. What to talk of its being raised to the capacity of santarasa ? The relish of santa of the so called enjoyers is equivalent to the relish of painted bananas by royal parrots ! We may say that analogy is not an argument. Actually the RS. only parrots the arguments of some others belonging to the Malava School of thought. Singa-bhupala has refused himself an honest following of A.bh. For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and... 1483 RS. now (II. 98, pp. 141, 2 ibid) comes to the problem of bhava"bhasa. This is done following the accepted lead of the Kashmir School as represented by Anandavardhana and Abhinavagupta. RS. II. 98, observes : "abhasata bhaved esam anaucitya-pravartinam, asatyatvad a-yogyatvad anaucityam dvidha bhavet." Bhava"bhasa is born of impropriety which is two-fold viz. (i) due to its (=bhava's) being unreal or (ii) due to its being improper (to the context). The first type is seen with reference to insentient objects. In the verse viz. "kas tvam bho, kathayami...." etc. actually a tree cannot feel a sensation and the description of despondency with reference to a tree is in itself untrue. The other variety is with reference to the lowly born people with undignified behaviour, and also with reference to birds, beasts etc. RS. II. 99 (pp. 142, ibid) reads as : a-satya-krtam tat syad acetanagatam tu yat, a-yogyatva-kstam proktam nica-tiryan-nara"srayam. RS. talks of four stages of vyabhicarins such as utpatti (=bhavodaya), sandhi, sabalya (=sabalata), and (bhava) santi. (RS. II. 100, pp. 143). RS. picks up the discussion on sthayins at II. 104, and enumerates the eight as established by Bharata : (pp. 145, ibid) : "sajatiyair vijatiyair bhavair ye tv atiraskrtah, ksiradbi-van nayanty anyan svatmatvam sthayino hi te." bharatena ca te kathita rati-haso-tsaha-vismaya-krodhah, sokotha jugupsa bhayam ity astau laksma vaksyate tesam." For Personal & Private Use Only

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1484 SAHRDAYALOKA RS. describes each sthayin individually mentioning different causes that give them birth; e.g. 'rati' is "yunor anyonya-visaya sthayiniccha ratir bhavet, nisargena, abhiyogena, samsargena abhimanatah." (RS. II. 10, 60) upama-dhyatma-visayair * esa syat tatra vikriyah." (RS. II. 1079) :: All varieties are duly illustrated. This pattern continues with other sthayins also. In his treatment Singa-bhupala has controverted the views of Bhoja and others such as Dhananjaya, on minor issues. RS. talks of six stages of rati such as prema, mana, pranaya, sneha, raga and anuraga. This is evquated with the sprouting, blossoming etc. of a flower, fruit etc. All stages are defined and illustrated. Other sthayins are also treated mostly following tradition. Singabhupala refutes the views of Bhoja under rati, of Dhanjaya under jugupsa, and of Sarngadeva under bhaya. He explains the view of Bharata to assert the unitariness -ekatva-of bhaya. He also refuted the sthayitva of 'garva' as accepted by Bhoja. Same is the case with Bhoja's assertion of sneha, dhiti and mati. Bhoja in his Sarasvatikanthabharana V, accepts these four additional sthayins flowering into uddhata, preyas, santa and udatta rasa-s. Actually Bhoja's Sr. Pra. talks of three kotis of rasa, the highest being srngara, which we may equate with the maha-rasa or santa-rasa concept of Abhinavagupta. RS. sums up the discussion on rasa-bhava (RS. II. 159-166a, pp. 172, 3, 4, 5). This of course is followed by consideration of individual eight rasas (RS. II. 166b264) (pp. 175-208, ibid). We will deal with Singabhupala's theoretical concern regarding the nature, substratum etc. of rasa first; RS. II. 159-166a-(pp. 172, 173 ibid) read as : "tad astav eva vijneyah sthayino munisammatah, sthayinostau trayastrimsat sancarinosta sattvikah."- II. 159 For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and... __ 1485 1485 evam ekona-pancasad bhavah syur milita ime. evam hi sthayino bhavan Singa-bhupatir abhyadhat.- II. 160. athainam rasa-rupatvam ucyate Singa-bhubhuja, vidvanmanasa-hamsena rasa-bhava-vivekina. II. 161. ete ca sthayinah svaih svair vibhavair vyabhicaribhih, sattvikair anubhavaieca natabhinaya-yogatah. II. 162 saksatkaram iva"nitaih prapitah svadurupatam, samajikanam manasi prayanti rasa-rupatam. II. 163. The sthayins attain to the status of rasa in the minds of the connoisseurs. With the help of particular vibhava-s. etc., and the acting of the actors, the sthayins are as it were directly experienced-saksatkaram iva anitah-and raised to the status of taste in the minds of the samajikas. They are then termed rasa-s. The illustration is also drawn, to explain this, from Bharata. RS. II. 164, 5 read as dadhya"di-vyanjana-dravyais' cinca"dibhir atha ausadhaih. gula"di-madhura-dravyair yathayogam samanvitaih. - II. 164. yadvat paka-visesena sadava"khyo rasah parah, nispadyate, vibhava"dyaih prayogena tatha rasah. II. 165. The nature of rasa is supreme bliss and it is experienced by men of taste For Personal & Private Use Only

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1486 SAHRDAYALOKA soyam anand-sambhedo bhavakair anubhuyate. II. 166a (pp. 173, ibid) Singabhupala then goes for some discussion in his vitti- (pp. 173, ibid). An objection is raised. It is that rasa-experience in case of a samajika is impractical. Rasa which is of the form of enhancement of sthayin (sthayi-prakarsa) staying in the hero can not be experienced by the samajika (where the sthayin does not stay). To this RS. replies, as follows : Yes, the objection is true. But who the hell accepts rasa with reference to the hero ? For, the particular nayaka can be the substratum of rasa only if he is physically seen, heard or imitated. He is not seen physically. For in that case seeing the hero making love, one would experience shame, disgust, etc. This cannot end in tasting. The second and third options are also not tenable, for they are not present. When the asraya is not there, the things (=rasa) resting on the same cannot exist. Thus nayaka cannot be the substratum of rasa. Even if it is accepted that rasa is located in the hero, it can not be a matter of taste for the samajika. Again, rasa can be said to exist in nata, only on the strength of anubhava-s or by creation of bhavana i.e. sthayin in nata. If the first alternative is accepted, we are likely to go astray, because anubhava-s marked in the nata could be born of his practice and not because of the feeling in his heart. They are thus artificial. Again, if we take the actor as the substratum of rasa, we do not believe rasa to exist in the samajika even if anubhava-s are located in the latter. Thus existence of rasa anywhere on the strength of the presence of anubhava-s stands vitiated and not vindicated. If it is stated that rasa is believed to exist in the actor due to vibhava, then the question to be answered is that whether rasa is located in nata due to the character of Malavika which is enacted (anukarya), or by the lady who presents Malavika and is nata's wife herself ? If rasa-creation in nata is due to anukarya Malavika who is taken as a vibhava, then there is impropriety; for Malavika can be a vibhava only for Agnimitra and never for the actor. If the beloved or wife of the actor, playing the role of Malavika, is treated as vibhava, then no rasa experience will result, for in case of direct physical love-making at reality level only vulgarity will result and not rasa. Thus rasa can neither reside in the anukarya (=original character of Rama and the like) or anukarta (i.e. actor). Singabhupala asserts that rasa can be believed to For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and... 1487 exist only in the samajika, the cultured enjoyer. The objector may raise a point that if rasa is believed to be located in the samajika then the same difficulties will arise. There is lack of propriety-anaucitya-in taking Malavika as the vibhava for samajika, and there is vulgarity or ugliness if the wife or beloved of the samajika is believed to replace Malavika. To remove this crunch Singabhupala has resorted to the views of both the bhuktivadins and also the abhivyaktivadins- He observes: (pp. 173, 174-ibid): "nanu malavika"di-vibhava-visesasya anaucityad bhavasya a-sannihitatvac ca, samajikanam api natavad evam rasasrayatvam prasajyata iti ced, atra kecana samadadhate." "vibhava"di-bhavanam anapeksita-bahya-sattvanam sabdopadanad eva asaditasadbhavanam anukulyapeksaya nissadharananam api kavye natye abhidhaparyayena sadharanikarana"tmana bhavana-vyaparena sva-sambandhitaya vibhavitanam saksad-bhavaka-cetasi viparivartamananam alambanatva"dy avirodhad anaucitya"di-viplava-rahitah sthayi nirbhara"nanda-visranti-svabhavena bhogena bhavakair bhujyate iti." The view of the Bhuktivadin-s (=we know them to be Bhattanayaka and his followers) is that the vibhava"di-s take a generalised form with the help of bhavanavyapara which follows abhidhavyapara. These vibhava"di-s do not bother about external objects and are present only through the agency of words only. In poetry and drama, these vibhava"di-s, though a-sadharana i.e. particular in nature (i.e. though they are presented as individual Rama, Sita etc.), are realised as if in a generalised form through bhavana vyapara which follows the abhidha function. Presented in a generalised form they get related to the samajika as if they are his personal relations (sva-sambandhitaya vibhavitanam). Thus, there is no opposition to these vibhava"di-s that operate in the heart of the bhavaka-s in form of their alambana. Thus the bhavaka, through a vyapara or function called bhojakatva, enjoys the supreme bliss which is of the form of repose of the sthayin which is free from all possible blemishes of impropriety etc. RS. then presents the view of the abhivyakti-vadin-s almost in the words of Abhinavagupta and Mammata. RS. observes (pp. 174, ibid) : ca "anye tv anyatha samadhanam ahuh. -loke pramada"di-karanaih sthayyanumane abhyasa-patavat, sahrdayanam kavye natye ca vibhava"di-pada-vyapadesyaih a-svasambandhitvena ca sadharanyat pratitaih,abhivyaktibhutah, vasanatmakataya sthitah sthayi ratya"dih, panaka-rasa-nyayena carvyamano lokottara-camatkariparamanandam iva kandalayan rasa-rupatam apnoti." For Personal & Private Use Only

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1488 SAHRDAYALOKA The abhivyaktivadins suggest that it is the sthayin of the sahrdaya that is tasted as rasa. The sahsdaya reader or spectator of poetry or drama should be adapt, at wordly level, in infering somebody else's mental feelings through external expressions. Such an expert spectator sees the vibhava"di-s presented through artmedium in a generalised and yet personally connected form. These vibhava"di-s make for the manifestation of the sthayin and all these get combined on the analogy of a beverage which is tasted and which causes extra-ordinary bliss resulting in rasa-experience. RS. has not directly mentioned vyanjana but he does not seem to oppose it either. Singa-bhupala observes that as the bhuktivadin-s and the abhivyaktivadin-s hold rasa to be rested in the samajika, and therefore, he also has no objection to this view : (pp. 174, ibid) - "evanca bhukti-vyakti-paksayor ubhayor api samajikanam rasasrayatvopapatter anyatara-paksa-parigraha"grahad udasmahe."- As both bhuktivadin and abhivyaktivadin accept rasa with reference to the samajika, we (i.e. Singabhupala) do not feel like taking sides. This means both are acceptable to him so far as rasaexperience is accepted by both to rest with the samajika. Thus, RS. has avioded a theoretical position concerning the process of rasa-nispatti but has accepted the general agreement of both the views that rasa rests with the samajika. This means that he is not favourably inclined to the view of Lollata or Sri. sankuka, the former"utpatti-vadinprefering to locate rasa in anukarya, the latter-"anumitivadin" making rasa rest in "anukarta." RS. makes the concluding observation (pp. 174, 175, ibid) favouring the view that the sthayin-s of the samajika-s are enjoyed as rasa, with vikasa. (flashing), vistara (expansion) viksobha (disturbance) and viksepa (movement) as qualifying this experience of rasa. It may be noted that these four citta-bhumi-s are alluded to by Dhananjaya, but Bharata is not against this. RS. Observes : (pp. 174, 175 ibid): "prayena bharatiya-matanusarinam prakriya tu loke karana-karya-sahakarirupatam upagataih kavye natye va rasa-sukti-sudha-madhuri-dhurinair yathoktabhinaya-sametair va, padarthatvena vibhavanubhava-sancari-vyapadesam ca prapitair nayika-nayaka-candra-candrika-malayanil"adi-bhruviksepa-kataksapatasveda-romanca"di-nirveda-visada"di-rupair vasana"tmakair atma-sambandhitvena abhimatair bhavaih dharma-kirti-ratanam sad-anga-natya-samaya-jnanam nikhilakala-kalapa-kovidanam santyakta-matsaranam, sakala-siddhanta-vedinam rasabhava-vavecakanam kavyartha-nihita-cetasam samajikanam manasi mudramudrita-nyayena viparivartita vasitas cabhivardhitah sthayino bhavah kavyarthatvena For Personal & Private Use Only

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"Concept of Rasa" as seen in Anandavardhana and.. 1489 abhimatah bahyartha"lambana"-tmakah santo, vikasa-vistara-viksobhaviksepa"tmakataya vibhinnah, svarupena asvadyamanah paramananda-rupatam apnuvanti iti sakala-sahrdaya-samvedana-siddhasya rasasya prama rena samsadhana-parisramah satrjana-citta-viksobhaya kevalam, na upayogaya iti prakstam anusaramah." This is beautiful prose and makes excellent reading. With this RS. embarks upon the varieties or number of rasa-s which according to it is eight such as songara, hasya, vira, adbhuta, raudra, karuna, bibhatsa and bhayanaka. In these pairs of two, the latter each is derived from the former : "esu uttaras tu purvasmat sambhutah visamat samah-" (RS. II. 167, pp. 175 ibid). RS. observes that as there is much to talk about of srngara and as it pleases all, songara is taken up first for treatment (RS. II. 168, pp. 175, ibid) The varieties sambhoga and vipralamba are accepted by RS. The latter is caused by many reasons. RS. describes all sub-varieties due to various reasons. The word used is "...adibhir vyajyate." But this is not RS.'s commitment to vyanjana; 'vyajyate' here may mean just "manifested." RS. accepts karuna-vipralambha and refutes the views of the DR. in this respect (RS. II. 218, 219, pp. 189, ibid). Hasya is accepted as six-fold. This follows accepted pattern. Vira has three varieties such as dana-vira, yuddha-vira and daya-vira (RS. II. 236, pp. 195, ibid). RS. does not mention any varieties of either adbhuta or raudra; or karuna though Bharata has given three varieties of raudra and karuna. Bibhatsa is also ksobhaja, suddha and udvegi i.e. three-fold for Bharata and Dhananjaya but RS. has not given these varieties. Bhayanaka also is three-fold for Bharata such as vyaja-janya, aparadhajanya and vitrasitaka, but RS. has kept quiet over the varieties. RS. has accepted 'rasa-samkara' in its own way. When there is angangi-bhava located with reference to two rasa-s, it is rasa-samkara for RS. (II. 252, 253, pp. 200 ibid). RS. has no faith in a rasa-samkara wherein two rasa-s of equal prominence are juxtaposed. Singabhupala says that this position is unacceptable as there is no factor which decides in favour of one of the two to be tasted first. - "kecit samanabalayor anayoh sankaram viduh-II. 252b na pariksaksamam idam matam preksavatam bhavet, tulyatve purvam asvadah katarasyety aniscayat." For Personal & Private Use Only

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1490 SAHRDAYALOKA But this argument seems primary. In a given illustration rasa is not to be tasted one by one. As is the case of bhava-sabalata, so is the case of rasa-samkara wherein the man of taste enjoys more than one rasa simultaneously in a given illustration. Rasa-virodha is treated in RS. following the lead of Anandavardhana. (RS. II. 257-261, pp. 200, 201, ibid). Rasa"bhasa for RS. is subordination of the principal rasa, or attaching greater importance to subordinate rasa is also rasa"bhasa. angenangi rasah svecchavitti-vardhita-sampada, amatyena avinitena svamiva-abhasatam vrajet." (Ii. 263, pp. 202, ibid). Rasa"bhasa for RS. is four-fold such as a-raga, aneka-raga, tiryak raga and mleccha-raga. a-raga is lack of love. aneka-raga is when one lady has affairs with many heroes. Even a hero with equal love for many ladies gives rise to aneka raga. Tiryag-raga is expression of love among birds and beasts and mleccha-raga is love for a lowly born. Meanwhile RS. refutes the view of Vidyadhara concerning tiryag-raga. We know that anaucitya-pravrtti is said to be the cause of rasa"-bhasa in view of almost all predecessors of Singabhupala. But Si. and Sa. have different ideas about rasa"bhasa where the pradhanya-apradhanya of angi and anga rasa-s is taken into consideration. This is throwing away tradition. But getting deeper into the four varieties as suggested by the RS. perhaps we arrive at the acceptance of tradition. With this the consideration of the concepts of rasa and bhava in RS. ends. The RS. has some fresh ideas and has remained open to the influence of both the Kashmir and Malava Schools of aesthetics in this respect. Our investigation of Rasa as seen in Anandavardhana and his posterior anthors ends here. For the sake of convenience we have treated writers on dramaturgy at the end of the chapter; those, almost all of them have preceded Visvanatha. In Ch. XVI, we will now discuss the theory of rasa-realisation as seen in Abhinavagupta and then in Mammata and Jagannatha in the following chapter with the status of santarasa at the end of Ch. XVII. For Personal & Private Use Only

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Chapter XVI Rasa-nispatti-vicara in Abhinavagupta It may be noted in the beginning of this duscussion that Abhinavagupta has treated this topic of the process of rasa-realisation both in the Abhinavabharati (A. bh.) on the NS. (Ch. VI) and also in the Locana on the Dhvanyaloka. The treatment in the A.bh. is more exhaustive and hence we will take it as the base of our discussion, but we will also cite paralled treatment as read in the Locana in a comparatively brief way, wherein even names of acarya-s holding this or that view are also not always mentioned. So, keeping the A.bh. in the centre we will continue here. It may be noted that we have dealt with the views of post-Mammata writers as and when they have figured in the earlier chapter. These writers almost echo the views as expressed by Mammata and then Abhinavagupta. Visvanatha as we have seen has been very exhaustive in his treatment but the rest are comparatively brief in their presentation. We have seen Hemacandra also in the earlier chapter but he has a special status in so far as his Viveka commentary presents some genuine readings from the A.bh. which remained doubtful in the G.O.S. Edn. als has preferred to accept Hemacandra's readings and we in our gujarati edn. of the rasadhyaya of the NS. with A.bh. have done the same. We have seen that the theory of rasa forms the central topic of Indian aecthetics with reference to any art such as drama, poetry, music, painting, sculpture, architecture, dance etc. Bharata has shown how the concept of rasa is central to the dramatic art as well as music and dance, and it may be noted that he was very clear that even the art of poetry has rasa at its centre, for he refers at innumerable places to what he terms "Kavya-rasa". Thus 'rasa' was not exclusive to drama only but was the soul of any art. Anandavrdhana advocated the theory of three-fold dhvani with reference to poetry and even here 'rasa-dhvani' captures the central position. All writers who followed the lead of Anandavrdhana and Abhinavagupta in literary criticism, in For Personal & Private Use Only

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1492 SAHRDAYALOKA reality acknowledged "rasa-dhvani" as the soul of poetry, though theoretically trirupa-dhvani was accepted as the soul of poetry. These writers on literary criticism tried to apply, of course keeping Bharata's lead at heart, the rasa-theory to sahitya or poetry. The dhvanivadin-s actually correlated all other concepts of literary criticism such as alamkara, guna, riti, vrtti, dosa, etc. to 'rasa' which was always kept in the centre of consideration. Even Bharata, while discussing laksana-s, alamkara-s, guna-s, etc. suggests that these are to be used in poetry keeping "Kavya-rasa" in the centre. The pure form of rasa is discussed by Bharata in the sixth chapter of his NS. The famous rasa-sutra in the NS. runs as : "vibhavanubhava-vyabhicari-samyogad rasanispattih." The birth of rasa takes place by (=results from) the combination of dererminants, consequents and accessories. Different commentators of the NS. have examined this rasa-sutra carefully and have presented their explanations. We know that a commentary on NS., Abhinavabharati (=A.bh.), of the great -Abhinavagupta, is available in print. Abhinavagupta has taken judicious and unbiased note of different opinions on various topics of the NS. of his predecessors who also commented on the NS. of Bharata. The original commentaries of these presecessors such as Bhatta Lollata, shri Sankuka, Bhatta nayaka and the rest are not available to us. Perhaps the mss. containing the same are lost to us, or some day they may appear before us. But for the present they are as good as lost to us. Abhinavagupta has noted the views of these predecessors on various topics. At times he has discussed at length and even refuted the same. We can reasonably have faith in the fact that these works, in form of commentaries on the NS. were available to Abhinavagupta and also to some of his illustrious posteriors such as Acarya Hemacandra and prior to him even Mammata, the anthor of the Kavyaprakasa. If they were available to Hemacandra, may be they were also available to Dhananjaya, Dhanika and Bhoja also, and also perhaps to Kuntaka and Mahima. But we are not sure of this. But this could have been the academic climate of centuries around 1000 A.D. We also know that after Abhinavagupta who follows the lead of Anandavardhana, many others such as writers from Kuntaka down to Jagannatha and even after him, discussed the topic of rasa and of rasa-nispatti also, in their own way. But most of them such as Mammata, Hemacandra, Vidyadhara, Visvanatha etc. echo the views of Abhinavagupta. Those who tried to dig a new sub-way of their own, leaving the high-way prepared by Abhinavagupta, did not exert great influence on posterity. We have examined quite a few of them earlier. By and large the thought current promoted by Anandavardhana For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1493 Abhinavagupta-Mammata got currency and was firmly established in Indian art criticism in general and dramatic or literary criticism in particular. We will try to examine these views in the light of mainly Abhinavagupta in a balanced, unbiased and critical way. The process of rasa-realisation as reflected in Bharata's rasa-sutra was explained by various commentators whose views, either in brief or at length are presented in the Abhinavabharati. We have no quarrel in believing that the sequence as maintained in the Abh. of these views also reflects the date of these authors. Thus, perhaps Bhatta Lollata comes first as his views are presented at the head of all else, in the Abh. Bhatta Lollata's views are given in the Abh. on pp. 266, NS. vol. I. G.O.S. 4th Edn., '92. Prof. K. Krishnamoorthy. The substance of Lollata's observations on the famous rasa-sutra of Bharata, can be explained as follows; - but before we peoceed with the same, it may be noted that the various views on rasa-nispatti differ on the interpretation of two key words in the sutra, viz. 'samyoga' and 'nispatti'. Acaryas differ in explaining how the combination-samyoga-of vibhava"dis takes place, and how the birth or nispatti of rasa follows. Bhatta Lollata seems to present the following explanation which most of the critical observers name as 'utpatti-vada' but what we have chosen to term "utpatti-upaciti-vada" forreasons we will explain in due course. Lollata observes that the term 'samyoga' or combination appearing in the rasasutra should mean a combination of the vibhava"di-s mentioned in the sutra with "stayin", a term not mentioned by Bharata, but as Lollata wants us to believe, should be added in the rasa-sutra. This combination of vibhava"di-s with sthayin makes for the 'nispatti' i.e. birth, "utpatti"of rasa, according to Lollata. : "vibhava"dibhih samyago'rthat sthayinas tato rasa-nispattih. (pp. 266, ibid); He further observes that 'nispatti' or 'birth' has to be understood in the following way. 'Nispatti' consists of three elements. First comes 'utpatti' i.e. the vibhava-s are the cause of the citta-vstti in form of the basic emotion of sthayin. : "tatra vibhavs' cittavrtteh sthayyatmikaya utpattau karanam." (pp. 266, ibid) : "More precisely, the determinants are the cause of the birth of the feeling, which constitutes the permanent state of mind." (Trans. Gnoli, pp. 25, ("The Aesthetic Experience According to Abhinavagupta"- second Edn., Chowkhamba Sanskrit series office, Varanasi, 1968). How anubhava-s and vyabhicarin-s combine with the sthayin is explicitly explained by Mammata who observes that anubhava-s make for the * (inferred) apprehension of the sthayin and the vyabhicarin-s stand to support the For Personal & Private Use Only

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1494 SAHRDAYALOKA same and make it more enhanced or 'pusta'. Thus Mammata, as observe later, is of the opinion that the three factors viz. vibhava, anubhava and vyabhicarin have their individual special relation- samyoga-with the sthayin and as a result a three-fold nispatti also takes place. Vibhava-s cause the sthayin to appear, anubhava-s make for its inferential existence and vyabhicarin-s make for its enhancement or pusti. Thus nispatti is made up of uttpatti-upaciti-pusti. It is therefore that we have chosen to call Lollata's view by the name of "utpatti-upacitivada." This sounds better than calling it as "utpattivada", which reveals only half truth. Or We may call it by the name "utpatty adi vada." Lollata further explains that here "anubhava-s" are not to be taken as effects of rasa, for how can anubhava-s of the form of 'effect of rasa could find place among the cause element mentioned by the sutra ? : "anubhavas ca na rasa-janya atra vivaksitah, tesam rasa-karanatvena ganananarhatvat." (pp. 266, ibid). So, observes Lollata, these anubhava-s mentioned in the sutra are to be taken as anubhava-s of -the bhava-s. "api tu bhavanam eva."-"The consequents intended by Bharata are not, obviously, those which arise from the rasa-s,- for they cannot be considered as causes of rasa-, but the consequents of the states of mind only," (Trans. Gnoli., pp. 25, ibid); Here what exactly is meant by "api tu bhavanam eva" is not made clear. Gnoli explains (pp. 25, ft. note no 2, ibid): "Rasa will also produce certain effects in the spectators- it will make them mutter in fear, make their hair stand on the end, etc. These effects, (lit. consequents,- anubhava) cannot, of course, be considered as the causes of rasa. The causes of rasa can only be the effects of the permanent mental states." We do not agree with this explanation of Gnoli. As noted above "bhavanam anubhavah" are explained as "sthayinah anubhavah" by Gnoli. Bharata has in the VII th Chapter of the NS., discussed various bhava-s, both sthayin-s, and also sattvika-s and vyabhicarin-s where he has mentioned the anubhava-s or effects of mental states. These are mental states accepted at normal worldly level, i.e. these are laukika-bhava-s which become aesthetic material with reference to rasa only. We believe that the anubhava-s that Lollata wants us to understand as 'cause' element are the anubhava-s as exhibited by the actors playing the role of the characters concerned. Thus they are to be taken virtually as anubhava-s of the alambana-vibhava, i.e. the hero, heroine or any character on the stage, viewing which, a sympathetic response is created in the spectator through "hidaya-samvada." So the anubhava-s of the sthayin should mean the anubhava-s exhibited by the characters i.e. alambaba-vibhava-s- of the For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1495 sthayin staying in their mind. They are part of acting which stimulates sympathetic response in the spectator. Thus there is cause-effect relation between these anubhava-s of the sthayin (of the character) (as exhibited by the actor) and the anubhava-s resulting from spectator's experience of the feeling concerned Dusyanta's physical expressions stimulate Sakuntala's feeling and her physical expressions of that feeling, and vice-versa. The expressions of both Sakuntala and Dusyanta form part of the "cause" that generates sympathetic response in the spectator. This is what Lollata wants to convey. Thus Lollata is clear between the difference between two sets of anubhavas, the first as exhihited on the stage by actors and the second set as resulting on the person of the spectator due to the rasa-experience on his part personally. The former are the 'cause' mentioned in the rasa-sutra. This is the view also of Prof. Dr Kanti Candra Pandey. Anubhava-s are those of the sthayin-s as explained by Gnoli and some others. But they are those expresed by the artists, who play the role of various characters. This is the view of Dr. Pandey with which we feel like agreeing. Another point that Lollata discusses is that both the vyabhicarin-s and the sthayin-s are mental feelings i.e. two cognitions, and hence how is it that they can co-exist ? The answer to this difficulty is that the sthayin-s here are to be taken as existing in form of vasana i.e. latent impression. So, for Lollata, enhanced sthayin - is itself rasa-tena sthayyeva vibhava"dibhir upacito rasah." sthayi bhavatv anupacitah."- By itself the sthayi is 'an-upacita' and is not termed 'rasa'. 'Vasana' or latent impression' is explained by Gnoli in ft. note no.1, pp 26 (ibid) as follows : "It is a general principle of Indian thought that two forms of cognition cannot occur simultaneously (cf. Nyayasutra, I. i. 16) To avoid a contradiction of this rule, Bhatta Lollata remarks that there is nothing to prevent the assumption that the permanent mental state is presented in the state of latent impression (samskara-vasana). The word 'Samskara'" means the impressions (which exist sub-consciously in the mind) of the objects experienced. All our experiences whether cognitive, emotional or conative exist in a sub-conscious state and may under suitable conditions be reproduced as memory (Smrti). The word vasana (Yogasutra, IV, 24) seems to be a later word. It comes from the root Vvas" to stay. It is often loosely used in a sense of samskara, and in Vyasa-bhasya they are identified in IV. 9. But vasana generally refers to the tendencies of past lives most of which lie dormant in mind. Only those appear which can find scope in this life. But Samskara-s are the sub-conscious states which are being constantly generated by experience. Vasanas are innate samskaras not acquired in this life." (Dasgupta H. I. Ph. I, pp. 263). For Personal & Private Use Only

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1496 SAHRDAYALOKA Lollata observes that in the example given by Bharata too, some flavourings appear in a latent state, like the permanent state, and others in an emergent state, like the transitory states. Thus rasa, as observed earlier, according to Lollata, is simply a permanent state, intensified by the determinants, consequents etc.; but, had it not been intensified, it is only a permanent mental state. Lollata also adds that rasa is present both in the person reproduced i.e. original character such as Rama and the like, the 'anukarya', and also in the reproducing actor, the artist who plays the role of a given character, the 'anukarta', by virtue of the power of realisation (of the form of the original, i.e. rupanusamdhana). It may be noted that Lollata broadly terms the three factors of utpatti, pratiti and paripusti by a single term "upaciti." The relation of the sthayin with vibhava"di-s is anya-janaka-bhava", with anubhava-s of "gamya-gamaka-bhava" and with vyabhicarin-s, of "posya-posaka-bhava." Thus it is three-fold, or say, "three in one." The sthayin, which basically by itself is not intensified (an-upacita), becomes rasa, - when thus itensified or enhanced by "vibhava-anubhava and vyabhicari-bhava." Lollata's opinion deserves further scrutiny. Basically he calls the sthayin itself, "sthayi eva", to be rasa, may be in an enhanced form. We know that among theorists of aesthetics, there are two thought currents prevalent and they are diametrically opposite to each other. The first one is the one supported by Lollata and in this tradition, 'rasa' is imagined to be identical with (laukika) stayin (of course in an intensified form). Thus between rasa and sthayin there is difference in 'avastha' i.e. state or position but not in nature i.e. svarupa. This thought-current holds that "sthayi eva rasah." As opposed to this, the other thought-current holds that 'rasa' is "sthayi-vilaksana" i.e. "of a different nature than that of sthayin." The first tradition that takes rasa and sthayin as identical in nature (and not in form), do accept that cause, effect and accessory i.e. karana, karya and sahakarin of the worldly level are the same as the vibhava, anubhava and vyabhicaribhava in art, i.e. in poetry and drama here. These are identical in nature, i.e. there is no svarupabheda or, svabhavabheda between the two sets. The difference is not in basic nature but in name only. Thus for these theorists, the sthayin-s that appear in art-forms such as poetry, drama, etc. are not only the same but are also identical in nature with the sthayin-s as observed in the worldly context. There is no difference in nature between these two sets of laukika-stayin, cause, effect and accessory on one hand and a-laukika (or kavya-natya-gata) sthayin-vibhava-anubhava and vyabhicarin on the other. The two sets are not only identical in form but identical in nature also. This means that the sthayin as presented in the art-form is equally 'sukha-duhkha For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1497 moha"t maka' as the sthayin in worldly context. Thus both are causing happiness or unhappiness as the case may be. They are both "sukha-duhkha -moha"tmaka." Thus these theorists do not maintain that 'rasa' is an apprehension made of "pure bliss", and that it is met with only in an art-form. The other thought current maintains that there is basic difference between the nature of the two sets mentioned above. For these theorists rasa is met with, never in ordinary parlance but only in art- "rasas tu narya eva, na loke." and that for them therefore rasa is an apprehension made of pure pure bliss alone : "asmanmate tu samvedanam eva anandaghanam asvadyate, tatra ka duhkha"sanka ?" -How can we ever imagine even a faint shadow of unhappiness in 'rasa' i.e. "art-experience ?" This second thought-current is supported by Anandavardhana and Abhinavagupta and their followers down to Jagannatha. For the first batch of theorists laukika-bhava-s i.e. feelings met with in normal worldly experience and kavya-natya-gata-bhava-s i.e. feelings delineated through art-medium are identical in form and nature, and for the second batch of therists these feelings are identical in form and name only but never in nature. When presented through are-medium the worldly feelings have their nature completely transformed and they become perennial source of eternal bliss alone. Thus tragic feelings presented through art-medium, which is so to say an alchemy, are transformed into bliss-yielding material.. Thus all rasa-s are said to be 'sukha"tmaka' or anada atmaka or bliss-yielding for these thorists, and therefore they are 'a-laukika' or 'extra-ordinary. They make us experince the state of ananda which is beyond worldly feeling of happiness or 'sukha.' But if this 'a-laukikatva or 'extra-ordinariness' of the feelings presented through art-medium, i.e. poetry and drama here, is removed and thus if worldly feelings causing happiness or unhappiness (laukika-sukha-duhkha"tmaka-bhavas) are identified with rasa of potry and drama etc., then there will arise a situation where 'rasa' or art-experience will have to be taken as one yielding happiness and unhappiness i.e. of the sukha-duhkha-moha"tmaka-svabhava, like worldly experience. Abhinavagupta has opposed this thought current but Lollata perhaps seems to support it and no doubt it was also perhaps even older than Bharata and perhaps also not accepted by him. Bharata seems to refer to this tradition when he uses such terms as "harsadins ca adhigacchanti", i.e. "connoisseurs attain to joy etc." It is this thought-current which is supported by Ramacandra and Gunacandra in their Natyadarpana and later also by Siddhicandra Gani in his Kavya-prakasakhandana. Perhaps this thought-current got currency in Gujarat of those days under some impact of the Malava tradition. For Personal & Private Use Only

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1498 SAHRDAYALOKA Lollata also mentions the substratum of rasa. For him, rasa primarily resides in Rama etc. the anukarya, and through art-ful identification of form (i.e. the power of realisation or, rupanusamdhana). rasa is also imagined to reside in the actor who imitates the original character. The actor is "anu-karta." Now if we look at these observations of Lollata in a casual way, we may feel that Lollata has not concerned himself with, i.e. say he is innocent of, the experience of the connoisseur i.e. spectator, or reader etc. Thus for Dr. Kanticandra Pandey Lollata discussed the topic of rasa only from the point of view of the production of drama. i.e. took care only of the view of the producer alone. But we fail to agree with this observation of Dr. Pandey who also feels that Mammata in his K. P., while placing the view of Lollata has knowingly twisted the text by using such terms as "nartakepi pratiyamanah" We do not accept Dr. Pandey's views when we carefully look into the presentation of Lollata's views by Abhinavagupta. It is impossible to accept that Lollata has no idea whatsoever of the rasa-experience on the part of the connoisseur at all. For, we know that while discussing the term "anubhava" in the rasa-sutra, Lollata makes a remark that these anubhava-s are to be understood as "those of the bhava-s and not as the result of rasa-experience." Thus Lollata very clearly understands the difference between "bhavanam ye anubhavah" which are of the nature of "cause" and "karya-rupa i.e. rasa-janyaanubhava-s" which are of the nature of "effect of rasa". Now if we proceed from this position further, we have to find out where could these "karya-rupaanubhavas" stay. It is obvious that in the absence of no other alternative these karya-rupa-anubhava-s can stay only in the enjoyer i.e. spectator. The cause or karana-rupa-anubhava-s are those of the bhavas i.e. vibhava-s, alambana such as Rama and the like, presented on the stage and the karya-rupa-anubhava-s different from these are marked in the enjoyer as a result - karya-of rasa-experience on his part. Thus it is childish to imagine that Lollata has no idea whatsoever of the artexperience on the part of the enjoyer i.e. "rasika". Of course, this our belief is logical and clear but Lollata has not clearly laid down the same in so many terms. So, we do not agree with Dr. Pandey's another suggestion that Mammata has knowingly twisted the text of the Abh.. by adding the term "prativamanah." Perhaps, Mammata had a better version, an original one, with him. or, he explained the text in a clearer way. Now, as a logical corollary our second observation also stands vindicated that 'rasa' was imagined to be of the nature of both happiness and un-happiness by Lollata, when he accepted rasa at worldly level i.e. in the 'anukarya' or original worldly character like Rama and the like. It is possible to argue that 'anukarya' is the character as portrayed by the poet. But in that case also it becomes equivalent For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1499 to the historical character, if any, not seen physically equally by the spectator. Even if it is argued that the anukarya is not a historical character but a Ramesh or a Suresh or a Sachin imagined to be the hero by the poet, then also for the spectator he is not only a distant person for all time, but a person belonging to the real world and so an individual. To imagine rasa in this 'anukarya' also peters out to the position that rasa is accepted at the worldly level and hence rasa is just an intensified worldly feeling resulting in an experience of happiness, unhappiness and moha or delusion. Abhinavagupta testifies that earlier acaryas such as Dandin also consider upacita or intensified or advanced sthayin as rasa. Thus Lollata's thought current also seems to be quite ancient and was perhaps even known to Bharata. Lollata observes that with the help of 'anusamdhana' rasa is located even in the actor. This term 'anusamdhana' is technical but is left unexplained by Lollata, however commentators on Mammata's Kavyaprakasa try to explain it either as "aropa" i.e. superimposition or 'abhimana' or "I-ness" i.e. sense of "I am Rama" in the actor. Dr. K. C. Pandey tries to explain it as "Yojana" or 'connection' of the individuality of the actor with that of the character. 'Yojana' is also a technical term of the Pratyabhijna darsana used when Jiva correlates itself with Siva. In Lollata's view thus we may find the seeds of "laukikatva" and "sukhaduhkha"tmakatva" of rasa. We may call this opinion as having "realistic" undertone. Lollata also thought that the co-existence of both sthayin and vyabhicarin is possible in a single given moment if the former is taken as 'samskara' or 'vasana' i.e. latent impression. Sri. Sankuka has severely criticised Lollata's view on rasa. It may be noted that Abhinavagupta himself does not directly criticise or find fault with any view expressed by his predecessors. He simply quotes the refutation of an earlier view by a later authority which is prior to him. He does this without passing any comments of his own. On the contrary when he passes epistemological observations on the nature of rasa he seems to accept, or at least does not seem to reject, the opinions of all of his earlier masters. Sri Sankuka's refutation of Lollata's views is quoted in great details by Abhinavagupta. In Sankuka we may find the roots of what later Mahima-bhatta stood for, i.e. of the thought-current of accepting inferential nature of rasaexperience. It is safer for us to believe that Sri Sankuka is the earliest known promulgator of anumiti-vada rather than taking him to be the original promoter of this view. This thought-current also could be still older. We can correlate For Personal & Private Use Only

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1500 SAHRDAYALOKA Sri Sankuka's views with the views of the Naiyayikas as expressed by Anandavardhana under Dhv. III. 33. Before we proceed with Sri Sankuka's views as laid down in the Abh., it will be interesting to quote the same from Locana (on Dhv. II, 4, pp. 108, ibid, Dr. Nandi's edn.), which reads as : "atrocyate-rasa-svarupa eva tavad vipratipattayah prati-vadinam. tatha hi, purvavasthayam yah sthayi sa eva vyabhicari-sampa"dina praptapariposonukaryagata eva rasah. natye tu prayujyamanatvan natyarasa iti kechit. The refutation proceeds in the Locana without mentioning the name of SriSankuka. It reads as (pp. 108, ibid) - "pravaha-dharminyam citta-vrttau citta-vrtteh citta-vrtty antarena kah pariposarthah? vismaya-soka-krodhades ca kramena tavan na pariposah, iti na anukarye rasah anukartari ca tadhatve laya"dy ananusaranam syat. samajikagate va kas camatkarah ?, pratyuta karuna"dau duhkha-praptih. tasman na"yam paksah. kas tarhi ? iha anantyan niyatasya anukaro na sakyah, nisprayojanas ca visistata-pratitau tatasthyena vyutpatty abhavat." The objections raised by Sri Sankuka against Lollata, as read in the Abh. are as follows : (pp. 266, NS. vol. I. G.O.S. ibid): etan na iti sri sankukah. vibhava"dy ayoge sthayino linga-bhavena avagaty anupapatter, bhavanam purvamabhidheyataprasangat; sphita-dasayam laksanantara-vaiyarthyat, manda-tara-tamamadhyasthya"dy ananty apatteh, hasya-rase sodhatva bhava-prapteh, kamavasthasu dasasv asamkhya-rasa-bhava"di-prasangat, sokasya prathamam tivratvam kalat tu mandya-darsanam, krodhotsaha-ratinam amarsa-sthairya-sevaviparyaye hrasadarsanam iti viparyayasya drsyamanatvac ca." "This interpretation, says Sankuka, is unsound. Why ?- (a) Because, without the determinants etc., the permanent mental state cannot be known, for the determinants, etc., are the characteristic signs, i.e. the logical reasons (linga), by means of which knowledge of it is made possible. (b) Because, if the thesis of Lollata is right, Bharata should first have expounded the permanent states and only afterwards the Rasas, (c) Because the second definition of the determinants, etc., in their state of full development, (put forward by Bharata in connexion with Rasas, which according to Bhatta Lollata, are nothing but permanent mental states), would become a useless waste of words. (d) Because, evey feeling would come to be subdivided into an infinity of different gradations, weak, weaker, weakest, indifference, etc. (e) Because, there would no longer be six For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1501 varieties of Comic Rasa (hasya). (f) Because, in the ten states of love (Kama), there would be an infinite number of mental states and of rasas. (g) Because we see that what happens is just the contrary, in the sense that sorrow (soka) is at first intenser and is seen to grow weaker with time, and that in the feelings of anger (krodha), heroism (utsaha), and delight (rati) a diminution is met with when the indignation (amarsa), firmness (sthairya) and sexual enjoyment (seva) are absent." (Trans. Gnoli, pp. 27, 28, 29, ibid). The substance of all this is that without accepting vibhavadi-s as logical reasons or unfailing mark (i.e. linga), the apprehension of rasa, which is "lingin", is impossible, like the knowledge of fire on the mountain without sighting the smoke. Hemacandra has added this remark here : "na hi dhumam vina dharadharantastho vahnir avagamyate." (viveka, Ka, Sa.) Thus acceptance of linga-lingi-bhava between vibhava"di-s and rasa is inescapable. Again, for Lollata rasa is the intensified state of the basic emotion. Thus for him, existence of sthayin-s prior to rasa-s has to be accepted. But, argues Sri Sankuka, if in reality it were so, then Bharata would have taken up first the sthayin-s for consideration, and rasa-s could have followed this consideration. But Bharata has not done this. We know that Bharata first considers the rasa-s in the VI th Ch. of his NS. and then takes up bhava-s for consideration in the next i.e. the VII th Ch. of his NS. This can serve as an answer to Sardatanaya also who prefers to consider bhavas first and discusses rasa later in his Bhava-prakasana. Again, if rasa were only an intensified stage of bhava, then Bharata need not have enumerated the vibhava"di-s of both rasa once, and then again of sthayins next, the vibhava"dis in both the cases being idential. There can not be difference in Vibhava"dis simply because of a different stage of one and the same thing. Hemacandra again clarifies in his Viveka : "na ca utpattau padarthanam karanam abhidhaya pusyatam punah tad utpattikaranam abhidhatavyam vaiyarthya"patteh."- It will be meaningless to explain the causes etc. of one and the same thing twice over. "upaciti" of sthayin, if Again as the enhancement or intensification accepted, has to be in a certain rising order or sequence, and we will also have to accept this rising order or sequence i.e. 'tara-tama-bhava' in case of rasaexperience also. So, we will have to accept many and not just six varieties of hasya or comic, and also will have to accept not just the ten stages of love but innumerable stages of love will have to be accepted. These three arguments virtually suggest one and the same point. Thinking on the same line, we find that in case of sorrow i.e. soka the order is reversed. The force or shock of sorrow is most intense in the first moment and - For Personal & Private Use Only

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1502 SAHRDAYALOKA tends to fade away gradually as time passes. The Soka has a tendency not to get intensified or 'upacita', every next moment but that of fading away gradually in course of time! Thus Lollata's view can not be accepted, suggests Sri Sankuka. From these arguments also, we get an indication that Lollata seems to take the rasas as of worldly nature only. After refuting thus the view of Bhatta-Lollata, Sri-Sankuka presents his own view as follows : (pp. 266, NS. vol. I, ibid) :- "tasmad hetubhir vibhava"khyaih karyais ca vyabhicaribhih, prayatnarjitataya krtrimair api tathanabhimanyamanair anukartssthatvena lingabalatah pratiyamanaih stayi bhavo mukhya-rama"digatasthayy-anukarana-rupah. anukaranarupatvad eva ca namantare rasah." "Therefore, Rasa is simply a permanent mental state of mind, and, more precisely, the reproduction (anukarana) of the permanent state of mind proper to the person reproduced-Rama, etc.; and just because it is reproduction, it is called * by a different word that is 'Rasa'. (p. 29, Gnoli) The substance of Sri Sankuka's theory is that in the process of rasa-realisation the vibhava-s are of the nature of cause i.e. hetu, the anubhava-s are of the nature of karya i.e. effect and the vyabhicarin-s are accessories or 'sahacarin proceed with the theory of Sri Sankuka, it may be observed that actually there are two aspects of his theory and they are 'anuksti' or artful imitation on the part of the 'nata' or stage-artist, and 'anumiti' or (artful) inference on the part of the cultured spectator or reader i.e. samajika. Thus his view, which is normally popularly known as "anumitivada" should be better termed as "anukrti-anumitivada'. This is our opinion. We will now proceed to analyse this anuksti-anumitivada of Sri Sankuka. We have noted above that in this view, the vibhava"di-s are held as cause, effect and accessories. Now the nata or the stage artist accomplishes those vibhava"di-s through his personal effort. Basically the nata or the stage artist has personally nothing to do with the character he is representing on the stage. So, everything with the artist is only acquired and there is nothing that is naturally related to him. He presents the vibhava"di-s on the stage on the strength of the training that he has received and the practice he has put up. "The determinants (= vibhava-s), indeed, can be realized (anusamdhana) through the power (bala) of poetry, the consequents through the skill (siksa) of the actor, and the transitory mental states through the actor's ability to present his own For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1503 artificial consequents. But the permanent mental state cannot be realized, even through the power of poetry." (Trans. Gnoli, pp. 29, 30, ibid) - The Abh. reads (pp. 4, Nandi Edn.) - "vibhava hi kavyabalad anusamdheyah, anubhavah siksatah, vyabhicarinah krtrima-nija'-nubha va"rjanabalat. sthayi tu kavya-balad-api na'nusamdheyah." However, the fact is that the actor, though presents the combination of artificial expressions, these vibhava"di-s, though artificial, do not look like artificial. But they look like natural. Mammata, we will go to observe later, suggests that this apparent naturalness is caused on the strength of the material presented, which, by nature is beautiful - "vastu-saundarya-balat". The naturalness of the vibhava"di-s thus presented is not genuine but only artificial but looks like genuine on the strength of the inherent beauty of the material presented - (krtrimair api tatha anabhimanyamanaih)." With the help of the artificial but skillful presentation on the part of the actor, the samajika is made to infer the feeling staying in the character imitated. This feeling of the character imitated is also of the form of imitation of the feelings of the original character i.e. Rama and the like. Thus the actor is himself not Rama, but we have before us imitated Rama. The feelings the actor presents are also imitation, and this through gestures not genuine but looking natural due to the training he has received and the practice he has put up of presenting the artificial in an artful way so that the whole presentation looks natural. Now with the help of this natural looking artificial presentation of the actor who plays the role of the character, the spectator infers the mental state, which of course is not genuine but could be only of the form of imitation ! Thus this anukrta - anumita-sthayin is rasa according to Sri-Sankuka. The actor imitates the feelings of the original. These imitated feelings are inferred to be there in the character, by the spectator with the help of vibhava"di-s, artificial of course, presented in form of 'cause' or linga. The anukrta-anumita-sthayin is enjoyed by the samajika in form of rasa. As they are anukrta-i.e. imitated, the feelings or bhava-s are termed "rasa". Thus, we can safely call the view of Sri Sankuka by the name of "anukrti-anumiti-vada". The vibhava-s are here in this process, correlated on the strength of poetry, the anubhavas on the strength of the training the actor has undergone and the skill he has acquired thereby, and the vyabicarin-s are artificially presented on the strength of anubhava-s or artful expressions which are not genuine but only astificial. The sthayin is not collected, says Sankuka, even on the strength of poetry, and is only inferred. Precisely for this reason, observes Sri Sankuka, Bharata has not mentioned For Personal & Private Use Only

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1504 SAHRDAYALOKA 'sthayin' in the rasa-sutra. The sthayin of the anukarya can never be grasped in any way. Only its imitation can be inferred. Thus for Sri-Sankuka, 'anukrta-rati' is srngara-rasa." "tena ratir anukriyamana srngara iti tad atmakatvam tatprabhavatvam ca yuktam." (pp. 5, Gnoli.) - "Thus, the Erotic Rasa is simply the permanent mental state of delight imitated; So that [what Bharata said, namely] that Rasas are made up of the permanent feelings and are born of them is quite appropriate too." It may be noted that according to Bharata the erotic and the pathetic rasa-s are born (- prabhava) of the sentiments of delight and sorrow respectively; while instead, the other rasas are made up of them (- atmaka), observes Gnoli. (foot-note 6, pp. 31, ibid). Thus rasa is not of the form of sthayin (as imagined by Lollata) or is not even born of it. From the words "tad-atmakatvam tat-prabhavatvam ca [a]yuktam" and Mammata's note: "vastu-saudaryabala" it is suggested that for Sri-Sankuka, rasa is not sthayi-rupa, but is "sthayi-vilaksana", i.e. 'a-laukika' or extra-ordinary, and not of worldly nature. Sri Sankuka also covers up another point here. For him "anukrta-sthayin" is rasa. But this anu-karana, brought about by the actor, which is inferred-anumita-by the samajika is itself 'mithya' or un-real. So then, how can this un-real cognition bring about the apprehension of the aesthetic experience which is 'real' in its nature ? The answer follows in the following words : "artha-kriya'pi mithya-jnanad drsta yatha - mani-pradipa-prabhayor mani-buddhya'bhidhavatoh mithyajnana visesepi viseso'rtha-kriyam prati." (pramana-vartike prattyaksa-paricchede 57) - "It is found furthermore, that even mistaken cognition is, sometimes, not without causal efficiency (arthakriya) - (Gnoli, Trans. pp. 31) Gnoli does not read the stanza viz. "mani-pradipa-prabhayoh..." etc. in the body of the text but we have incorporated it in bracket in our (i.e. Dr. Nandi's) edition following the G.O.S. Edn., which is retained by Dr. K. Krishnamoorthy also in the '92 Edn. of the N.S. Vol. I. (G.O.S.). Gnoli observes (pp. 31) in the foot-note no. 7. : "To corroborate this statement, Hemacandra quotes here a famous stanza of Dharmakirti. PV. II. 57: "Between two people approaching two lights, the one produced by a jewel, the other by a lamp [without being conscious of what they For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1505 really are, but] with the idea that it is jewel, there exists a difference in respect of causal efficiency, but not a difference of mistaken cognition. This stanza is also quoted by Mahimabhatta, Vyakti-viveka pp. 78. Causal efficiency, the capacity to produce effects (artha-kriya, artha-kriya-karitva) is the basic criterian of every form of right cognition, and, therefore, of the real existence of a thing. When, for example, a man sees a mirage and, on going near it, does not find water which he expected to find, (and cannot, therefore, drink, wash himself, etc.), his perception is a mistaken one; the water which he has seen is not capable of appeasing his desires, of carrying out functions proper to real water. In some cases, however, even the mistaken perception is endowed with causal efficiency. In the present case, for instance, it allows the observing subject to find a jewel which is real, in other terms, it does not delude the expectations of the perceiving subjects. Even a mistake, observes Dharma-kirti, if it does not delude the perceiving subject, is a source of right knowledge. Now, if even a mistaken cognition, observes Sankuka, can be gifted with causal efficiency, then it is all the more reason for a reproduced cognition, i.e. the aesthetic cognition, to be gifted with it. The spectators do not, in fact, remain deluded by this, but find in the spectacle the fulfilment of their desires." It may be observed here that Sri Sankuka here clearly underlines the location of rasa in the samajika or the spectator. But before the samajika or the spectator here is blessed with this aesthetic perception, he has to make certain preparations, so to say. According to Sri Sankuka, the samajika, first of all to begin with, takes the actor to be Rama, or the character portrayed. If he does not take the actor to be Rama, no further step is possible. But this apprehension of Rama-buddhi or Ramatva in the actor or nata, which occurs to the samajika, is of a special type. This apprehension of Ramatva in nata, by the samajika, is not a samyak-pratiti or true apprehension, nor a mathya-pratiti or unreal apprehension. Nor type of samsaya or doubt, nor of similarity either. The samajika does not feel that the actor is "like Rama". The apprehension, or say art-apprehension which is different from all the four types of cognitions viz. samyak, mithya, samsaya or sadrsya, is explained by Sri Sankuka on the analogy of "citra-turaga" i.e. a painted horse. We believe that for Sankuka the apprehension of painted horse is above the apprehensions of the real, unreal, similar or doubtful types. Thus, this special apprehension is a-laukika i.e. extra-ordinary perception which is different from normal worldly perceptions. For Personal & Private Use Only

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1506 SAHRDAYALOKA Now this nata or artist, for whom this special rama-buddhi is caused in the samajika, with the help of vibhava"di-s which are also not real, brings about an artful imitation of the feelings of anukarya or rama"di and the anumiti or inference by the samajika of this imitated feeling is termed 'rasa' by Sri Sankuka. Thus Sri Sankuka draws a neat line of demarcation between what may be called artperception or kalanubhuti and real perception or worldly experience. This throbbing experience, observes Sankuka, cannot be thwarted by any argument, though it (i.e. the art-experience) does not fall in the limits of known types of perceptions. These words are : "na ca'tra nartaka eva sukhiti pratipattih. na'pyayam eva rama iti. na ca'pyayam na sukhiti. na'pi ramah syad va na va'yam iti. na ca'pi tat-sadrsa iti. kintu (samyan-mithya-samsaya-sadrsya-pratitibhyo vilaksana citra-turaga"dinyayena) yah sukhi ramah asav ayam iti pratitir asti. yad aha - "pratibhati na sandeho na tattvam na viparyayah dhirasav ayam ity asti nasav eva'yam ity api., viruddha-buddhi a-sambhedad a-vivecita-samplavah, (viplavah H.C.) yuktya paryanuyujyeta sphurann anubhavah kaya" iti. (pp. 269, G.O.S. Edn. ibid) Gnoli, pp. 32 translates : "Furthermore, here there is none of the following perceptions : "The actor is really happy", "Rama is really that man", "That man is not happy", "Is this Rama or not ?", "This is similar to Rama", but rather the perception : "This is that Rama who was happy." Sankuka himself said : "(Here) there is neither doubt, nor truth, nor error; the notion which appears is, "This is that", not "this is really that." What sort of an argument could disprove an experience evident in and by itself, - an experience wherein, being it devoid of any contradictory idea, one cannot distinguish any error ?" Gnoli adds in foot-note no. 1, (pp. 32) - "Here Mammata quotes and clarifies at the same time A.G. (= Abhinavagupta). "The perception we have", he says, "takes the form : "This is Rama." Like the experience one has when observing a horse in a picture, the aforementioned perception is neither valid perception, nor error, nor doubt, nor similitude. These indeed, take respectively the forms,: "This For Personal & Private Use Only

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A . A Rasa-nispatti-vicara in Abhinavagupta 1507 is really Rama", "Rama is really this", This is Rama" (being vitiated, in a second time, by the perception : "This is not Rama."), "Is this Rama or nor"; "This is similar to Rama." As it is, on the strength of available docume Sankuka is the first to correlate rasa-experience with the samajika. But of course, Bharata had also dropped a hint in this direction when he had observed, : "sumanasah preksakah, harsa"dinsca adhigacchanti." It is like that Sri. Sankuka's tradition is still older. Instead of taking him as the originator of anuksti-anumiti-vada, it is safer to take him as a great supporter and promulgator of this theory. Anandavardhana has refuted anumitivadins who could be the precursors of Sankuka. We had also observed that perhaps even Udbhata was inclined to this view. So, it is acurate to take Sri Sankaka as an important name of this thought-current. He takes the artful imitation of sthayin to be of the form of rasa. The Upadhyayas of Abhinavagupta, here perhaps Tauta (and some others, Induraja ?) have severly criticised Sri Sankuka's views. They hold that all that SriSankuka says is pretty non-sense, and does not deserve serious attention. However, they show certain drawbacks which are noticed at the first observation. They observe : (pp. 268, ibid) : "idam apy antastattva-sunyam na vimarda-ksamam ity upadhyayah. anukarana. rupo rasa iti yad ucyate, tat kim-samajika-pratity abhiprayena, uta nata'bhiprayena, kim va vastu-vrtta-vivecaka-vyakhyatr-buddhi-samavalambanena, "yatha"hur vyakhyatarah khalv evam vivecayanti." (pramana-vartike sva-vrttih, pp. 39, Gnoli's edn.) iti. - "atha bharata-munivacananusarena." (This fourth option of Bharata's opinion is listed together by Gnoli. 'We accept this. But the G.O.S. Edn. takes this line in the beginning of the next para, with other words - "tatra"dyah paksah, a sangatah." The Ka.sa. Viveka, Edn. Prof. Parikh and Dr. Kulkarni, (pp. 93, line 20, ibid) also has the G.O.S. way of presentation. But Pundit Visvesvarajee has also taken this as the fourth alternative and this view is separately mentioned in refutation also.) - Gnoli translates it as (pp. 33, ibid) Before we give Gnoli's translation it may be observed, that he read "upadhyayah" i.e. plural, as done by Manikyacandra. The G.O.S. has Singular. H.C. has "Bhart Totah." Trans. (Abhinavagupta following his master Bhatta Tota, criticises the theory of reproduction, supported by Sankuka.] For Personal & Private Use Only

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1508 SAHRDAYALOKA "This thesis too, my masters say, is without intrinsic value and is capable of resisting a close criticism. Specifically, from what point of view, may we ask, was Sankuka saying that Rasa has the nature of a reproduction? 1. From the point of view of the spectators' perception, 2. Or, that of actor, 3. or that of the critics (vyakhyatr) who analyse the real nature (vastuvrtta) of dramatic presentation) - for it has been said that, "it is in fact, the critics who analyse in this way" - 4. Or, finally following the opinion of Bharata himself? Gnoli observes in foot-note 1, pp. 33, ibid that "The expression, "my masters", observes HC., alludes to Bhatta Tota (or Tauta), who was the direct master of A.G. and, therefore, lived in Kashmir during the second half of the tenth century. Bhatta Tota wrote a work on poetry, The Kavya-kautuka, on which A.G. wrote a commentary (vivarana) which has not yet been found. The confutation of Sankuka given in the following pages, goes back, therefore to Bhatta Tota". We may add that perhaps even Bhatta Induraja also could have been referred to here as one of A.G.'s masters. As regards the third opition, viz. "kim va vastuvrtta-vivecakavyakhyatr-buddhisamavalambanena..." etc. Gnoli elaborates in foot-note 2, pp. 33, as follows: "This quotation is taken from the Sva-vrtti of Dharmakirti to the Svartha'numanapariccheda of the Pramana Vartika (cf. supra, p. 5; ed. Gnoli, p. 39): "vyakhyatarah khalv evam vivecayanti na vyavahartarah te tu sva"lambanam eva'rtha-kriya-yogyam manyamana drsyavikalpyav arthav ekikrtya pravartante." Practical life '(vyavahara)' is based, according to Dharmakirti, on the identification of the thing in se (svalaksana) with its mental image. The mind super imposes (arop) on the thing itself the image that it has of it and the subject believes that he is faced with reality. The difference between the thing itself, which is real and the illusory character of the mental image which has been superimposed upon it, is a theoretical distinction created by the 'critics' and 'philosophers' (vyakhyatr, tattvacintaka). In confuting this concept, A.G. asserts that it is impossible to explain a thing in the theoretical moment by an explanation which contradicts one's awareness of it in practical moment. In other words, the spectators, while they are immersed in the rasa aroused by the spectacle, do not know that they are faced with an imitation. The fact automatically confutes those who sustain the theory that there is an imitation. cf. infra. pp. 40, 41. Now, we will proceed with the refutation of Sankuka as meted out by Tauta. The thrust of Tauta's argument depends on this argument that, when we say For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1509 something to be an imitation or reproduction of something else, the similarity between these two is grasped first, as it is implied. They observe that there is no similarity with the mental feeling of rati or love on one hand and whatever the spectator actually observes on the stage, on the other. These two are totally different. The difference between these two is underlined by Tauta in a darsanika style, i.e. he lays bare the difference between these two from the point of view of nature i.e. svarupatah, and visayatah or scope. The 'svarupabheda' is brought about by bhinnendriya-grahyatva and asrayabheda by the inherent difference in these two being perceived by different sense-organs and by their being located in different substrutum. The person or body of the nata or actor, his physical movements, the items such as crown on his head etc. which he bears on his person etc. are physical objects. Rati, krodha etc. the mental feelings are of the form of mental state or disposition (i.e. citta-vrttirupa). Thus there is difference in nature - svarupabheda-between the two. The apprehension of the body of the actor etc. is done by the sense-organ of sight i.e. eye. The mental feelings such as rati, krodha etc. are observed by antah-karana or internal organs, i.e. conscience. Thus, between the two there is - bhinnendriyagrahyarva - i.e. difference in instrumentality of their observation. Asrayabheda or difference in location is also clear. The first stays on physicality, the other on conscience. Crown and the rest are held on the body, while rati etc. are located in the mind of Rama etc. Thus there is great difference between the original mental feelings and the reproduction on the part of the actor. The substance of Tauta's argument is this that whatever the actor-anukartareproduces is just gross physical. The mental feelings such as rati and the like, which are qualities of conscience i.e. antahkarana - can never be imitated or reproduced by just physical movements. So, it is useless to say that rasa is "imitation or reproduction of mental feelings." In this argument advanced by Tauta, first it is taken for granted that the opponent takes physical presentation as Srngara etc., and then this is refuted as reproduction of the feeling of love. So, the objector tries to improve upon the Siddhantin's faulty observation. The objector, i.e. purva-paksin says that he does not take physical expressions as reproduction, but he takes the mental feeling of the actor, which is realised through physical expression, as imitation or reproduction of the original feeling of the character concerned, here, say, Rama. To this, Tunta's answer is that the mental feeling apprehended in this way is simply that of the actor. How can we arrive in this case at the reproduction of the mental feelings of Rama, when we observe only the For Personal & Private Use Only

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1510 SAHRDAYALOKA feeling of the actor? Thus, simply speaking, whatever is apprehended or perceived cannot be and is not of the nature of reproduction or imitation. The objector had stated that the actor does not reproduce his own natural feeling of love, etc. but reproduces only the feelings of Rama and the like. It is only because of this that the objector has taken the vibhava"di-s to be unreal or artificial i.e. krtrima. Bhatta Tauta now takes this argument for confutation. Tauta argues that if the cultured spectator takes the vibhava"di-s as artificial, then how can artificial vibhava"di's make for the collection of feellings such as rati or love and the like? The objector replies to this that the cultured spectator or bhavaka, does not apprehend rati i.e. the feeling of love and the like, but only its imitation' i.e. 'ratyanukara'. The objector says that he has already stated from the very beginning that this thing happens, with the help of inference or 'anumana' only. Tauta now comes down heavily on the frevolity of the inference of the imitation of rati - "ratyanukara." He observes that we may say that here an inference of rati or feeling of love can take place somehow, but how can an inference of imitation of rati take place? The vibhava"di-s are said to be the causes of rati etc., but not of their imitation. The point is that this "raty anukara" is not the effect of the vibhava"di-s, which are the cause here. We also cannot say that whatever is like rati (= rati-sadrsa) is 'raty anukara' i.e. imitation or reproduction of rati. Similarity will not serve the purpose here. How can we infer japa-flower or jasmine flower which is red like fire or agni, from fog which is like smoke? How can we establish inference i.e. anumana between linga-abhasa or artificial mark cause and "lingiabhasa" i.e. artificial effect. i.e. between artificial proban and probandum. The words in the A.bh. read here as (pp. 268, G.O.S. Edn., pp. 6 Gnoli. We prefer Gnoli's presentation of text): "nanv ata eva tat pratiyamanam ratyanukaranam. mugdhabuddhe karanataraprabhave hi karye, susiksitena tatha jnane vastvantarasya anumanam tavad yuktam. asusiksitena tu tasyaiva prasiddhasya karanasya. yatha vrscika-visesad gomayasyaiva anumanam vrscikasyaiva tat param mithyajnanam. yatra'pi lingajnanam mithya tatra'pi na tad abhasa'numanam yuktam. na hi baspad dhumatvena jnatad anukarana-pratibhasamanad api lingat, tad anukara'numanam yuktam. dhuma'nukaratvena hi jnayamanan niharan nagnyanukara - japapunjapratitir drsta." (Gnoli, prefers H.C.'s readings. We have done the same in our edn. of the N.S.) For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1511 Gnoli translates (pp. 35, 36, ibid): "If you say that for this very reason what is perceived is not delight but the reproduction of delight, this answer, we reply, could only be made by a man of dull wits. For a thing different from the usual one can be inferred from more apparently similar effects, only if the effect, from which it is inferred is really derived from a different cause and is recognised as such by a person of experience. An inexperienced person can infer from them the usual cause only. From some perticular scorpions, for instance, it is legitimate to infer that their cause is cow-dung; and the inference, from them, of another scorpion, as their cause, would be nothing but a false cognition. But when the cognition of logical reason e.g. The Smoke - is erroneous, the inference based on this apparent logical reason will itself be invalid. The inference from mist (whether it be supposed by the observer to be smoke, or whether the latter is aware of its being only a reproduction of the true logical reason) of something which is a reproduction of fire, is nodoubt unsound. Indeed, a veil of mist something which reproduces smoke and is recognised as a reproduction - does not legitimate the inference of a heap of red roses, (we take 'jasmine') namely something that reproduces fire." Gnoli (pp. 35) adds a foot-note here (No. 2) (pp. 35, 36) which reads as - "Bhatta Tota's reply (set out in the following lines) may be summarized: Assuming that the Determinants, etc., are perceived as unreal or artificial (krtrima), they cannot legitimize the inference of either Delight or an imitation of Delight. From a mistaken or apparent logical reason, (e.g. a cone-shaped cloud mistaken for a pillar of smoke; the cone-shaped cloud does not stand in any causeeffect relation to fire, and is thus a mistaken logical reason. We cannot infer fire (in this case, mistaken cognition would occur) nor, still less, anything imitating fire (e.g., as A.G. says, a heap of read roses). A person of experience can undoubtedly infer from two things, which to the layman are apparently the same, the respective causes of each of them (example: the scorpions. According to tradition there are two kinds of scorpions, one kind being bron from other scorpions, and the other kind from dung); but in the present case the logical reason is nevertheless mistaken or apparent (the determinants, etc., are perceived as 'Krtrima') and as such an effect is neither of delight nor of an imitation of the delight. Thus, for a person of experience the inference of something which imitates delight is impossible. The inference of delight made by an inexperienced person is a from of mistaken cognition. H.C. explains ayam bhavah prasiddhad rati-laksanat karanad ratyanukaranam nama karana'ntaram tat-prabhavas ced anubhavah syuh. For Personal & Private Use Only

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1512 SAHRDAYALOKA tathaiva ca visesavida yadi jnayeran tada ratyanukarana-laksanasya vastvantarasya'numanam samanjasam syat, na caivam, tat katham iva ratyanukarana-pratitih. avisesa-vida ca tathavidha'nubhava darsane ratir eva'numiyate tac ca mithyajnanam eva iti." After this Bhatta Tauta also rejects Sankuka's further observation that the 'rama-buddhi' in 'nata' is neither samyak, nor mithya, nor sadisya nor samsayatype. Tauta asks as to when a spectator sees Rama in actor, why should his apprehension not be called 'samyak'i.e. real ? And when after the is over the same, rama-buddhi terminates and at this moment-why should, in view of this, the earlier apprehension be not called mithya or invalid ? - Thus it is both 'tattva' as well as 'viparyaya' i.e. contradiction of the same. Rama is perceived in other actors also. Again Sankuka had stated that on the strength of poetry, determinants are correlated (= anusamdhana). But even this is not true. The actor who recites "seyam mama'ngesu...." etc. never for a moment thinks that sita is his somebody. If this is for the spectators, then the correlation with the sthayin is easier still : "yac ca ucyate vibhavah kavyad anusamdhiyante tad api na vidmah. na hi 'mameyam sita kacit' iti svatmiyatvena pratitir natasya. atha samajkasya tatha pratitiyogyah kriyanta ity etavad eva anusamdhanam, ucyate, tarhi sthayini sutaram anusamdhanam syat. tasyaisa hi mukhyatvena "asminnayam" iti samajikanam pratipattih." (pp. 261, G.O.S. Edn.; pp. 7, Gnoli) - Gnoli translates : (pp. 38, ibid) : "Nor can his other assertion, "The determinats can be recognised through the power of poetry", be successfully explained. Indeed the actor, does not have the perception," Sita is the woman I love", as if that is to say, Sita were a part of his own real life. If it is replied that this is the meaning of the word realisation, i.e. that this is how the determinants are made perceptible to the spectators, then we answer that there ought more reasonably to be, a realization of the permanent state. Indeed the perception of the spectators is concerned, in a primary sense, principally with this and is presented in the form : "that man (is) in this (feeling).". Thus, it is wrong to say that from the point of view of the spectators, rasa is reproduction of the sthayin or the permanent mental state. Tauta now picks up the second alternative. He rejects the proposition that imitation is possible from the point of view of the actor as well. Tauta observes that when the actor performs his role, he is not conscious of the fact that he is imitating For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1513 either Rama or his mental feeling. Even with this, however, if imitation is insisted upon then, the following difficulties will occur. First point is whom does the actor imitate ? It cannot be the original Rama for he is not present at the time when the actor performs. Thus 'anukarana' here cannot have the meaning of "Sadrsakarana" or behaving in a similar way, for it is not applicable here. It is because the actor has not seen Rama personally and in the absence of this fact he cannot imitate Rama. So, the second meaning of anu-karana will follow, i.e. it will mean, "anu=prascat karana" i.e. doing something after something else done earlier. But then this sort of "pascat karana" is possible in worldly context in case of one and all who live after Rama's times. Why only the behaviour of an actor should be singled out as "anu-karana" ? Thus, in case of an actor, neither of the two meanings of "anu-karana" is feasible. But the objector does not leave his point easily. He suggests that while imitating Rama and the like, the actor is imitating the feelings of some noble person. But here the old difficulty will re-arise ! How will the imitation of the feelings of noble characters will be made possible ? If it be said that through anubhava-s the imitation of feelings will be made possible, then the fault of 'vailaksanya' as suggested earlier will re-appear ! If it is said that the actor imitates merely the anubhava-s or physical gestures of a noble character, then it will require further clarification as to which particular noble man or woman is intended here for imitation, for a general reference will not work here. If the objector explains that the actor imitates the anubhava's of someone who weeps like this, or laughs like this, etc., then the very self of the actor also enters in this practice and the whole thing ceases to be an imitation. On the contrary the actor will exhibit his own personal feelings of love, sorrow, etc. After thus rejecting the anukarya-anukartr-bhava, it becomes pertinent for the siddhantin to explain Bharatamani's words such as (pp. 275, Abh.) 'narya' is "lokavitta'nukarana" (NS. I. 112) or 'natya' is "bhava'nukirtana" (NS. I. 107), Abhinavagupta (= A.G.) has discussed this point on pp. 35-37 etc. (NS. Vol. I., G.O.S., ibid) and there he has also quoted the opinion of his guru, Bhatta Tauta, the author of "Kavya-kautaka". There "anukirtana" is explained as "anuvyavasaya" i.e. artful re-creation. Here on pp. 276 also the same context is cited. Abh. observes : "sapta-dvipa'nukaranam" (N.S. I. 117) ity adi tvanyatha'pi sakya-gamanikam iti. tad anukare ca kva namantaram kanta-vesa-gatyanykarana"dau." Gnoli (pp. 41) translates : "The expression met with in Bharata every now and again, "Drama is For Personal & Private Use Only

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1514 SAHRDAYALOKA an imitation of all the forms of existence in the seven islands", etc., can have also other explanations. And even if that was a reproduction, then what would be the difference between it and the reproduction of the attire, the walk, etc. of the beloved one ?". Gnoli observes that (foot-note 4, pp. 41) the text and the translation are both doubtful. But he has obviously missed the point. Visvesvarjee has explained it in a perfect way. When a beloved imitates the style of her lover it is not just imitation but it is something richer and is termed by a different name viz. "lila". In the same way the acting, on the stage is no mere imitation but is 'narya', the dramatic art and is thus given a separate name. Of course Gnoli himself (foot-note 3, pp. 41, ibid) explains that "imitation" must be interpreted as "re-telling", (anu-kirtana), and therefore as a "re-perception" (anuvyavasaya). We use the term "artful recreation" for 'anukarana', and it explains the idea perfectly. This was the fourth option rejected by Tauta. The third option stands rejected of its own. (p. 4 Abhinavagupta quotes the views of Tunta here : "na'pi vastuvitta'nusarena tad anukaratvam a-samvedyamanasya vastuvsttatva'nupapatteh yac ca vastuvrttam tad darsayisyamah - (Gnoli, pp. 9. Reading of H.C. are preferred). Gnoli translates (pp. 40, ibid) : "Nor can it be said that there is a reproduction from the point of view of the nature of things (vastu-vrtta); for it is impossible that a thing which one is not conscious, has a real nature. We shall explain further in what the nature of things consists. Gnoli adds (in foot-note 3, pp. 40, ibid) that here "vastu-vrtta" is to be viewed from the point of view of the analysing mind. Reference is made to I.P.V. II. pp. 179. "samvedana-tiraskarini ka khalu yuktir nama, anupapattis ca bhasamanasya ka'nya bhavisyati ?" Thus, after rejecting all the four options, "citra-turaga-nyaya" is taken up for consideration. It is not proper to accept the manifestation of a bull or a horse on the strength of this maxim. Of course, the lamp brings into light the jar. But just by the combination of colours original bull or cow or horse is not manifested. With lp of the painting only an aggragate similar to a cow is apprehended. The combination of vibhava"di-s can not be said to be similar to delight (= rati). Thus, it is not true to say that rasa is the reproduction of mental states. The Abh. (pp. 270, G.O.S.; pp. 9, Gnoli) reads as : "yac cocyate varnakair haritala"dibhih samyujyamana eva gaur itya"di. tatra yady abhi'vyajyamana ity arthobhipretah, tad asat. na hi sindura"dibhih paramarthiko gaur abhivyajyate, pradipa"dibhir iva: kintu tat-sadrsah samuha-viseso nirvartyate. ta eva hi For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1515 sindura"dayo gava'vayava-sannivesa-sadrsena sannivesa-visesena avasthita gosadrg iti pratibhasasya visayah, naivam vibhava-samuho rati-sadrsata-pratipattigrahyah. tasmad bhava'nukaranam rasa ity asat." Gnoli translates (pp. 41, ibid) : "5-Some people say: "The pigments-orpiment, etc. - undoubtedly compose (samynj) a cow." Now if the word "compose is understood in the sense of manifest (abhi-vyaj)", these people are also in error. For, we cannot say that minium, etc., manifest a real (paramarthika) cow, like the one which might be manifested by a lamp, etc. All they do is to produce (nirvrt) a particular aggregate (samuha) similar to a cow. The only object of the image, "It is like a cow," is simply this minium, etc. applied so as to constitute a particular arrangment (samnivesa) similar to the arrangement of the limbs of a cow. In the case of the aggregate of the determinants, etc., the situation is different : this as we have said - cannot be perceived as similar to delight. Thus, it is not true that Rasa is the reproduction of mental states." . Gnoli adds in foot-note 1, pp. 42, ibid : "The visual arts are regarded in this passage as being of a different order from poetry : The pigments, etc., are material things which imitate a material thing. Very well then, says A.G., all the same, it is impossible that the poetic expression (consisting of determinants etc., i.e. of material elements could imitate mental movement, which is of a spiritual nature." - It may be noted here, that Gnoli (pp. 41, Translation) gives a title : "other theories", and gives no. 5 to the discussion read above in which a painting is rejected as manifestation. Actually, we feel, and this is the feeling of Pandit Visvesarjee also that the lines : "yac cocyate varnakair haritala"dibhih..." etc. have a clear reference to Sri Sankuka's citra-turaga-nyaya. In place of 'turaga' we have "gava"di" here. This is not an independent view rejected by Tauta. So, a separate number, i.e. number '5' given to this view by Gnoli is not justified. The concluding remark proves our point, wherein it is stated "tasmat bhava'nukaranam rasa ity asat." - We know that anukrti-anumiti-vada was supported by Sri. Sankuka and even the maxim that he has quoted is faulty. Tauta wants to expose the hollowness of the maxim also. It need not be taken as a separate view. A separate view however follows now which is very briefly dismissed by A.G. But before we turn to that we may once again take note of the fact that the principal attack of Tauta is directed towards the anukrti-vada of Sri Sankuka. Whatever is presented as a means to rasa-experience is certainly not of the form of an imitation. The cultured tator only sees the attire, the ornaments, crown etc. put on by an actor and listens to his voice. With the help of all these, universalized feelings are suggested. Bhatta Tauta aims to bring this point into relief. For Personal & Private Use Only

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SAHRDAYALOKA Next. A.G, discusses another view in brief. The view holds that the material i.e. combination which is purely external and is capable to cause happiness or unhappiness etc., is itself rasa. Its nature is determined from the point of view of Samkhya philosophy which takes external objects as "sukha-duhkha"tmaka". Vibhava-s in this combination stand as upadanakarana (= dala-sthaniyah) (this explanation was suggested to us by our guru Prof. R. C. Parikh who received this explanation, on his verbal authority, from Pundit Sukhlaljee). The anubhava-s and vyabhicarin-s add only to the flavour - i.e. are samskarakah. The sthayins are born of this combination and are internal and are of the nature of happiness, unhappiness etc. But this view of some who follow Samkhya philosophy is easily put aside by the siddhantin who finds a contradiction between the statement "tatsamagri-janyam, for sthayin-s, and Bharata's statement viz. "sthayibhavan rasatvam upanesyamah," which implies that the sthayin-s are permanently staying in the mind and are not born a new by external factors. The purvapaksin here has to resort to metaphor to explain Bharata's simple statement. Thus, says A.G., we do not go in further refutation of this view as it is useless and foolish to discuss such views which are in apparent contradiction with Bharata's views. - Again, another difficulty of difference in proportion also will arise. Will an added or reduced dose of vibhava"di-s generate larger or lesser quantity of sthayin? This question also will remain unanswered. Abh. pp. 270 reads: "tena sthayibhavan rasatvam upanesyamah ity adav upacaram angikurvata grantha-virodham svayam eva budhyamanena dusana"viskarana-maurkhyat pramaniko janah pari-raksita iti kim asy ocyate. yat tv anyat tat-pratiti-vaisamya-prasanga"di tat kiyad atrocyatam." (pp. 10, Gnoli; this reading follows H.C. We have accepted the same). 1516 Gnoli has a foot-note no. 4, pp. 42, ibid, which reads as: "According to the Samkhya, external objects are a modification of prakrti, which is made up of pleasure, pain and stupor. The external objects are, thus, also themselves made up of pleasure, pain, etc. This conception is emphatically confuted by Dharmakirti, P.V. III, 268 ff." Sri Sankuka's views also find expression in the Locana as below: (Locana, on Dhv. II. 4, pp. 108, Edn. Nandi ibid): "atrocyate - rasa-svarupa eva tavad vipratipattayah prativadinam. tatha hi - purva"vasthayam yah sthayi sa eva vyabhicarisampata"dina prapta-pariposonukaryagatah eva rasah. natye tu prayujyamanatvan natyarasa iti kecit. pravahadharminyam cittavrttau citta-vrtteh citta-vrtty antarena kah pariposarthah ? vismaya-soka-krodha"des ca kramena tavan na pariposah iti na For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1517 anukarye rasah, anukartari ca tadbhave laya"dy ananusaranam syat. samajikagate va kas camatkarah. pratyuta karuna"dau duhkha-praptih. tasman na'yam paksah. kas tarhi ? iha anantyan niyatasya anukaro na sakyah, nisprayojanas ca, visistata-pratitau tatasthyena vyutpatty abhavat. tasmadaniyatavasthatmakam sthayinam uddisya vibha'vanubhavavyabhicaribhih samyujyamanair ayam ramah sukhi iti smoti-vilaksana sthayini pratigocarataya asvada-rupa pratipattir anukartralambana natyaika-gamini rasah, sa ca na vyatiriktam adharam apeksate. kimtv anukarya'bhinna'bhimate nartake asvadayita samajika ity etavanmatram adh. tena natya eva rasah, na anukaryadisv iti kecit. anye tu - anukartari yah sthayy avabhaso bhinaya"di-samagryadi-krto bhittav iva haritala"dina asvavabhasah, sa eva lokatita-taya asvada'para-samjnaya pratitya rasyamano rasa iti natyad rasa nalyarasah." It may be noted that Abhinavagupta's presentation in Locana is less clear as compared to the one we read in the Abh. In Locana AG. does not name particular acaryas clearly. As read above, Lollata's and Sankuka's views are almost placed together in one section and Lollata's refutation is not fully developped. Again AG. actually starts with Bhatta Nayaka's views first in Locana, and this is followed by the passage quoted as above. Again, the passage quoted above has some lines to be read further as : (pp. 108, 110, ibid): "apare punar vibhava'nubhava-matram eva visista-samagrya samarpyamanam tad-vibhavaniya'nubhavaniya-sthayi-rupa-citta-vrttya-ucita-vasana'nusaktam svanirvsti-carvana-visistam eva rasah tan natyam eva rasah. anye tu suddham vibhavam, apare suddham anubhavam, kecit tu sthayimatram, itare vyabhicarinam, anye tat samyogam, eke anukaryam, kecana sakalam eva samudayam rasam ahur ity alam bahuna.". We will go to see later that Jagannatha has given nearly as many as eleven views which follow the above pattern. But the presentation of this topic is less scientific and less methodical in Locana, perhaps because Anandavardhana has not bothered about discussing this topic-Anandavardhana concentrates just on the fact of rasa or rasa-dhvani with which other thought-currents are duly correlated. On the other hand the Abh. has a direct concern with the fact of the process of rasaexperience as Bharata himself has given the rasa-sutra. The Balapriya on Locana (pp. 184, Edn. Chowkhamba, skt. Sr. Benares city, 1940) takes the first view to be that of Lollata: "bhatta-lollatadimatam adau For Personal & Private Use Only

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1518 SAHRDAYALOKA darsayati." "purvety adi". Then Balapriya observes : "matam idam dusayitva prakarantarena vadatam Sri-Sankuka"dinam matam darsayati-pravaha. ity adi. Then what follows is explained in Bala-priya as "sva-mata" i.e. The opinion of Sri Sankuka. Then, without naming (pp. 186; ibid) it is stated "matantaram ahaapara ity adi." With this observation we will now proceed to examine Bhatta Nayaka's view as presented in the Abh. first and then we will also examine how Locana presents the same. Bhatta Navaka starts with rejecting either the 'pratiti' or 'utpatti' of rasa. 'Pratiti' is both direct i.e. pratyaksa or through sabda-pramana, or smrti, or inference. This again is both personal i.e. sva-gata, or impersonal i.e. paragata. In short Bhatta Nayaka rejects the pratiti of rasa and also its utpatti, and thus he is opposed to both Bhatta Lollata and Sri Sankuka. He rejects even 'abhivyakti' i.e. manifestation of rasa. Here, perhaps Anandavardhana and his predecessors -are targeted for it certainly cannot be Abhinavagupta who was later in time and who quotes Bhatta Nayaka at various points. The main thrust of Bhatta Nayaka's argument is that if the apprehension of say, karuna rasa, is said to be with reference to 'sva' i.e. if it is taken to happen individually or at personal level, - atmagatarvena-then the samajika or spectator will have an experience of pain or unhappiness. Of course, those who accept the sukha-duh-kha"tmaka-svabhava of rasa will not find any difficulty in accepting this. But the very fact that Bhatta Nayaka objects to this shows that he too, like Anandavardhana, Abhinavagupta and their followers takes rasa to be of the nature of only bliss, pure and simple ! Or, even from another angle also rasaexperience cannot be understood as happening at personal level i.e. atmagatatvena. The fact is that Sita and others can never be imagined to be related to the samajika or spectator individually. If one's own beloved is placed in place of Sita, then even this is not possible because under the given context, the samajika does not remember one's own beloved. Again, yet another difficulty will arise. When the samajika observes Rama and such other heroes performing superlative exploits such as crossing of ocean etc., the self-"sva" of samajika will not be able to enter in this. The spectator simply cannot imagine that he can even cross the ocean as done by Rama. The samajika has no apprehension of rasa even through 'smrti' or memory. Rama and others were not experienced or seen by the spectator personally on an For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1519 earlier occasion and hence, as Rama and others are not purva-drsta i.e. met with earlier, their 'smarana' or memory is impossible. Only that which is seen or heard or experienced earlier, i.e. only that which is "purva-drsta' can be remembered at a later stage. Again if it is said that here rasa-perception takes place either through direct words or statement, or by anumana i.e. inference., then the answer is that such a perception is without joy, i.e. it is "nirasa" or dry. If rasa-perception is taken to happen in a "para-gata"-way i.e. with reference to someone else, then also the same contingency will occur. Thus, here the anumitivada of Sankuka is also found to be faulty. When Bhatta Nayaka says : "rasah na pratiyate," then this sort of 'pratiti', as observed earlier could be verbal i.e. sabdi, inferential i.e. anumaniki, of the form of memory i.e. smsti-rupa, and of course pratyaksa or direct perception. All these could be with reference to an individual'sva-gata' or with somebody else, i.e. 'para-gata'. Bhatta Nayaka rejects all these types of apprehension or 'pratiti' by a single observation that "rasah na pratiyate." Again, Sri Sankuka's anumitivada is also rejected on the ground that inferential knowledge could be either true or false as the case may be, but is certainly not "beautiful" i.e. "sa-rasa". AG. has also repeated this observation -"laukikanumane tu ka rasata ?-, but we know that Mahima has advocated strongly the case for, . what he terms as "kavyanumiti" as against "trakanumiti", and this kavyanumiti is "sa-rasa." But we know that here practically what happens is that 'kavyanumiti' is certainly not the technical anumiti' of the sastras and is also hardly a diluted or an adulterated mixture, hardly deserving the name of "anumiti." It is a quarrel of name only. Whether you call is to be "vyanjana", which is exclusive to art, here poetry and drama, or call it this loose "kavyanumiti", the result is the same. But Bhatta Nayaka rejects both of them taking both "anumiti" and "abhivyakti" in the strict sense of the darsana-sastra. Bhatta Nayaka feels that if rasa-bodha or apprehension of rasa is caused by direct means i.e. if it is held to be a case of "pratyksa" or direct perception, then there e chances of opposite reactions in case of different persons. People of different culture and taste will feel either lust, shame, disgust etc. : "na ca sabdanumana"dibhyas tat-pratitau lokasya sa-rasata yukta, pratyaksad iva." (Gnoli, pp. 10) : (Translation, Gnoli, pp. 44, ibid,)- "Moreover, even if it is supposed that he (=Rama) is perceived through verbal testimony (sabda), inference (anumana), etc., logically there cannot be any occurrence of rasa in the audience- just as it is not aroused by a thing perceived through direct knowledge. For on the appearance of For Personal & Private Use Only

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1520 SAHRDAYALOKA a pair of lovers united together, the mind of anyone present rather becomes the prey of conflicting feelings (shame, disgust, envy, and so on); and we surely cannot say that the onlooker in such a scene is in a state of Rasa !" - In short, when the samajika or onlooker is himself disturbed by such stray feelings, how can a state of rasa-experience, i.e. absolute bliss, can ever be imagined? Thus 'rasanubhava'- or rasa experience, following direct perception or recollection stands confuted. Bhatta Nayaka also observes here in brief that the same difficullties will arise in case rasa is said to be born or caused i.e. if "utpatti" of rasa is asserted by the purvapaksin. : utpattav api tulyam etad dusanam." (pp. 10, Gnoli, ibid). Bhatta Nayaka also rejects the abhivyakti-vada, perhaps as supported by Anandavardhana, who was his predecessor. He observes: "sakti-rupatvena purvam sthitasya pascad abhivyaktau visayarjana-taratanya"pattih. sva-gata-para-gatatva"di ca purvavad vikalpyam."-"If it is supposed that Rasa first pre-exists in a potential form (sakti-rupatvena) and is later manifested, then the determinants must -necessarily illuminate it little by little. Besides. the difficulties already encountered would recur is Rasa manifested as really present in our own self, or as present in third party?" (Trans. Gnoli. pp. 44, 45 ibid). Gnoli (pp. 45 ibid) here adds a foot-note (no.1): "This objection repeats, mutatis mutandis, the objection of the Buddhists and of the Mimamsakas against the concept of sphota which, according to the grammarians (vaiyakarana) is a vocality, eternal and without parts, distinct from the letters and manifested (vyaj) by these. This eternal vocality causes the cognition of the meaning. This objection is as follows is sphota manifested entirely by the first letter on of a word or not? (a) If sphota is manifested in its entirety, the letters which come after are unnecessary. In other words, the first letter would be capable of rendering perceptible the meaning of the whole word. (b) If sphota is manifested gradually, then it could no longer be without parts. This second alternative is, therefore, in contradiction to the very nature of sphota. The same reasoning is applied by Bhatta Nayaka to Rasa and to the words by which it is manifested." This gradual manifestation of the Rasa has also been criticised by Sankuka, cf. supra, p. 28." (This means that when Sankuka rejects six types of hasya or ten types of Kama, there is a veiled reference to the manifestation theory.) It may be noted here that Bhatta Nayaka, while rejecting the case of "abhivyakti", takes it strictly in the philosophical sense as accepted in the darsanas. Abhivyakti or manifestation means the revelation of only that which pre-exists. Thus, if rasa is said to be abhivyakta or manifested (i.e. abhivyajyate) then it must For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1521 have existed prior-purva-sthiti- to its revelation. May be, it could have existed in form of latent impression i.e "samskara."Now, in normal case, any manifestation of an object depends on the strength of the means or apparatus of manifestation. For example, if light is dim in the beginning and gets brighter and brighter later, then the objects covered in darkness will start appearing more and more clearly as the light increases. Rasa if held to be manifested by vibhava"di-s, then in that case there will arise this contingency of accepting gradual stages of clearer manifestation i.e. "taratamyadosa" will prop us in case of rasanubhuti. Any added dose of vibhava"dis will make for brighter manifestation of rasa, and in fact, theoretically there will be no end to this, or no final stage of rasa-revelation. But we know that in the case of rasanubhati such thing is not observed. Bhatta Nayaka observes that this again can be both sva-gata and para-gata i.e. subjective or neutral as the case may be ! Thus he rejects the case of "rasabhivyakti." But here again we feel that Bhatta Navaka has blundered. He equates the abhivvakti of rasa, practically with the abhiwakti of sphota of the Vaivakaranas or, the abhivvakti as understood by the darsanikas. This means that Bhatta Nayaka seems to take "abhivyakti" strictly in its philosophical-"darsanika-" context and meaning, which means that only a pre-existing object can get manifested. But there is a vital difference between darsanika-abhivyakti and the "abhivyakti" of the alamkarikas of the rasa-dhvani school of thought. It is true that rasa is manifested or is abhivyakta as is the "sphota" of the grammarians, but it is not true to hold that as is "sphota" believed to be "purva-siddha", rasa is also a "purva-siddha" entity. No; never. We do not experience rasa before we move to the theatre and view the performance. For want of any other perfectly suitable technical terminology, rasa is said to be "abhivyakta" in a loose sense, or in a poetic context. It is 'abhivyakti' "sui generis". Again here 'abhivyakti' proves to be as less acceptable as was "kavyanumiti" of Mahima or Sankuka or their predecessors ! For the alamkarikas rasa is apprehended through vyanjana, i.e. it is abhivyakta, but is not purva-siddha ! It is said to be "tatkalikah eva, vibhava"di-jivitavadhih." Thus it is 'abhivyakta' in a loose or, a special sense of the term which Bhatta Nayaka fails to grasp. In Bhatta Nayaka's presentation we come across some terminologies as seen in the Samkhya darsana and hence scholars take him to be a follower of the Samkhya system. But this conclusion is hazardous and is done in a hurry and therefore unsound. In the same vein to stamp Lollata as a mimamsaka, or take Sri Sankuka as a naiyayika is unscientific. Actually many axioms of mimamsa, vyakarana, and nyaya were a common intelletual and cultural heritage and were acceptable to the For Personal & Private Use Only

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1522 SAHRDAYALOKA vedantins as well and also perhaps to the non-vedic disciplines. For example no darsana ever brands "prakrti" to be "caturguna"tmika" as against its being termed "trigunamika" by the Samkhyas. Again, aesthetics has philosophy in its back-drop, but it was never coloured and certainly never vitiated by philosophical bias. Acarya Hemacandra of the Jain faith has no hesitation is following Anandavardhana and Abhinavagupta of the Saiva-Pratyabhijna darsana. Aesthetics never ran a narrow track in India. But an honest effort can be made in the direction of fixing the religious and philosophical faith of a given acarya. At times even aesthetics .was slightly coloured or rendered pink by philosophical tenets as is seen with the great Vaisnava acaryas Rupa and Jiva Goswami-s. Dr. Hiriyanna in his "Art Experience" has taken note of the free movement of aesthetics in India. Or, we may say that as a rich background, not just only this or that darsana, but the whole Indian philosophical climate serves the purpose of indian aesthetics. However, SaivaPratyabhijna darsana had a major say in this business. So, as observed earlier, there can be noted certain technical terminologies in Bhatta Nayaka's presentation. We do not know whether he had with the view of the "Samkhyas" as discussed earlier. But as he is a great supporter of only the blissful nature of rasa, perhaps he had nothing to do with the Samkhyaview which believed in the sukha-duhkha"tmakatva of rasa. We know that the Samkhya discipline accepts three gunas-sattva, rajas and tamas that go with buddhi. 'Tamas' is termal 'moha' or stuper also. We had seen a lot of this in Bhoja in an earlier chapter and certainly the Malava School as represented by Dhananjaya, Dhanika and Bhoja had a lot to do with Bhatta Nayaka also. That way, we will go to see, even Abhinavagupta and his throught-current also had a lot to do with Bhatta Nayaka. So, it is accepted that till there is predominance of 'moha' or stuper over 'buddhi', it cannot observe subtle things, and fails to understand clearly any point. One of the chief targets of art is to lessen or remove totally this veil of moha or studer that colours the intelligence. This thing i.e. removal of moha is done with the help of "dosa-hana" i.e. freedom from blemishes, and "guna-adana" acceptance of excellences. We can see how later Bhoja has taken these qualities as the distinguishing marks of sahitya. This is the case of poetry. In drama, however, removal of moha is effected by the four-fold actingcaturvidha abhinaya. When the curtain of moha-stuper is removed, the processvyapara- of sadharanikarana i.e. de-individualisation starts operating in poetry or drama. Through this sadharanikarana, in poetry and drama, the vibhava"di-s unfold in a de-individualised form i.e. sabharanikrta-svarupa. Through this rasa For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1523 realisation takes place, the enjoyment of which occurs to the samajika through bhojakarva-or the power of enjoyment. Thus 'bhoga' of rasa takes place. In Samkhya darsana, 'bhoga' is explained as the union of purusa and praksti realised in buddhi i.e. intelligence. The purusa gets reflected in the buddhi and enjoys rasabuddhi. This bhoga is imagined to be distinct in nature from anubhava or direct experience, smrti or recollection, etc. On account of the continuence of rajas and tamas in the buddhi at this moment, vaividhya or variety is added in this bhoga. On account of this 'vaividhya' or diversity, we locate druti', 'vikasa' and 'vistara'. Some add 'viksobha' also as a fourth citta-bhumi. This 'bhoga' rests i.e. its 'visranti' takes place in sva-samvit. Thus 'sva-samvit' i.e. one's own consciousness gets characterised by light i.e. prakasa, and ananda or bliss. For this sattva-guna becomes instrumental. Rajas and tamas are subdued at this moment by the predominance of 'sattva'. Thus the nature of 'bhoga' becomes equated with the enjoyment and bliss of parabrahma-"parabrahma"svada-kalpa." The thrust of Bhatta Nayaka's thesis is like this :- In poetry and drama words do not end in abhidha or the power of expression only. They have a capacity to yield deindividualised meaning, i.e. they render the vibhava"di-s sadharanikrta or of de-individualised nature. So rasa, which results from the vibhava"di-s, is enjoyed in a de-individualised form. To put it in a different way, it can be stated that the sthayin caused by a certain imagined individual, place, time, etc., becomes generalised due to the force of generalised vibhava"di-s, and hence the limitations of individuality are removed and the bhavaka is gifted with a sense of the vibhava"dis being his own. This means that the vibhava"di-s are presented as part of his own consciousness i.e. sva-samvid. with the help of poetic word, thus sva-samvit is manifested in full and enjoyment of rasa-rasa-bhoga'-results. Thus in poetry the sabda-vyapara or power of word extends upto "bhoga." Thus generalisation or "bhavakatva" and enjoyment i.e. "bhojakatva" or "bhoga", prove to be the powers of word only. We know the view of Bhatta Nayaka as "bhukti-vada." The opinion of Bhatta Nayaka is presented in the Abh. in the following words : (pp. 10, Gnoli. ibid): "tasmat kavye dosa"bhava-gunalamkara-mayatva-laksanena, natye caturvidhabhinaya-rupena nivida-nija-samkatata-nivarana-karina vibhava"disadharanikarana"tmana, abhidhato dvitiyena amsena bhavakarva vyaparena bhavyamano rasonubhava-smrtya"di-vilaksanena rajas-tamonuvedha-vaicitrya-balad druti-vistara-vikasa"tmana sattvodreka-prakasa"nanda-maya-nija-samvid-vibrantilaksanena para-brahma"svada-savidhena bhojena param bhujyata iti." For Personal & Private Use Only

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1524 SAHRDAYALOKA (Gnoli translates- pp. 45, 46, ibid): "Therefore (our thesis is as follows :- (Rasa is revealed (bhavyamana) by a special power assumed by words in poetry and drama; the power of revelation (bhavana)-to be distinguished from the power of denotation (abhidha)- consisting of the action of generalizing the determinants, etc. This power has the faculty of suppressing the thick layer of mental stupor (moha) occupying our own consciousness : in poetry it is characterized by the absence of defects (dosa) and the presence of qualities (guna) and ornaments (alamkaras); in drama by the four kinds of representation. Rasa revealed by this power, is then enjoyed (bhuj) with a kind of enjoyment (bhoja), different from direct experience, memory etc. This enjoyment, by virtue of the different forms of contact between sattva-and rajas and tamas, is consisting of the states of fluidity (druti), enlargement (vistara) and expansion (vikasa), is characteriged by a resting (visranti) on one's own consciousness (samvit), which due to the emergent state of sattva, is pervaded by beatitude (ananda) and light (prakasa), and is similar to the tasting (asvada) of the supreme brahman." Gnoli has notes (pp. 46, 47, 48 ibid) on sattva, rajas, tamas, prakasa and brahman. They read as : (pp. 46, ft. n. 1 a)- "The light of the self, of the consciousness, does not reveal itself, in the 'samsarika' existence, in immaculate purity, but is conditioned by the three constituent elements (guna) of mental substance (buddhi) sattva, light, luminous and pleasant, rajas, mobile, dynamic and painful, tamas, inert, obstructive, and stupid. These three constituent elements are never present in isolation, but mingled together in unequal proportions. The state of emergence of the element sativa, limpid and mirror-like, coincides with a manifestation, always more distinct and evident, of the light and beatitude proper to the self-these indeed reflect themselves in sattva.I. P. V. V.I. p. 150 : "sattvam prakasarupam nirmala-nabhah-prakhyam, sarvato jalada-patalena iva varana"tmana tamasa samavitam aste. tatra ca maruta-sthaniyam pravitti-svabhavam rajah, kriya"tmakataya kramena tamojaladam apasarayati nyag-bhavayati," "sattva, which is made up of light, like the immaculate ether, is completely enshrouded by tamah, the principle of obstruction, as by a blanket of cloud; Rajah, which is made up of action and is, therefore, imbued with activity, serves as a wind, which, little by little, brushes away, dissipates, the cloud-bank of tamas." The three constituent elements, sattva, rajas and tamas, are associated with three states of consciousness called, respectively, expansion (vikasa). provoked by an absolute predominemce of sativa, fluidity (druti), determined by a contact of sattva with rajas, and dilatation (vistara) determined by a contact of sattva with tamas. For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1525 The conception of the three gunas, belonging, in particular, to the samkhya and yoga systems, is accepted, without notable modifications, by the whole of Indian Thought... (b)- Druti, vistara and vikasa are each connected with certain Rasas by later Indian theorists. Druti is the pure state of consciousness of srngara, karuna and santa; Vistara of vira, raudra and bibhatsa; Vikasa of hasya, adbhuta and bhayanaka. cf. Dhv. A. L. Comm., p. 206. Rajah predominates in druti, tamas in vistara, and sattva in vikasa. M.C., p. 74 : yada hi rajaso gunasya drutih, tamaso vistarah, sattvasyati-vikasah, tadanim bhogah svarupam labhate. "It is when rajas is in fluidity, tamas in dilatation, and sattva in full expansion that fruition is realized." ft. note 1, pp. 47, on "prakasa"-reads as : "1-a)- The expression sattvodreka is reproduced almost without change by Mammaa., p. 74- sattvodreka-prakasa"nandamaya-samvid-vieranti-laksanena. It has been commented upon in several ways. I have followed, in the translation, the commentary of Vidyacakravartin (K. P., Trivendrum Sanskrit Series, LXXXVII) : sattvodrekat yau prakasa"nandau tanmayyam samvidi samadhi-vstti-rupayam ya yoginam visrantir vigalita-sakalasrama nistarangenavasthitih tat-sadrsena. M. C. p. 74 comments on: sattvodrekena prakasah prakato ya anandah tanmayi ya samvit tasyam visrantih, sa satattvam paramartho yasya sa tatha. Referring to Rasa, A.G. says in Dh. A.L., p. 183, that it is "rajastamo-vaicitryanuviddha-sattvamaya-nija-cit-svabhava-nirvstivisranti-laksanah." The famous definition of the aesthetic experience given by Visvanatha in his Sahityadarpana, adds nothing to the conception of A. G. and Bhatta Nayaka. Visvanatha says: "sattvodrekad akhanda-svaprakasananda- cinmayah, vedyantara-sparsa-sunyo brahma"svada-sahodarah. lokottara-camatkara-pranah kaiscit pramatrbhih, svakaravad abhinnatvenayam asvadyate rasah." "Rasa is tasted by the qualifind persons (i.e. qui rationem artis intelligunt). It is tested by virtue of the emergence of sattva. It is made up of a full intelligence, For Personal & Private Use Only

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1526 SAHRDAYALOKA Beatitude, and salf-luminosity. It is void of contact with any other knowable thing, twin brother to the tasting of brahman. It is animated by a camatkara of nonordinary nature. It is tasted as if it were our very being, in indivisibility." cf. the translation of A. K. Coomaraswamy. The Transformation of Nature in Art, Harvard, 1934, pp. 48 ff. Coomaraswamy translates camatkara with "lightingflash." According to Visvanatha, sattva is nothing but the mind or inner sense (manah) devoid of any contact with rajah and tamah. (b) - The terminology used by Bhatta Niyaka and referred to by A. G. is exactly analogous to that used by Bhoja, in his definition of the-Sa"nanda-samadhi. : yada tu rajas-tamo-lesanu-viddham antahkarana-sattvam bhavyate tada gunabhava citisakteh subha-prakasa-mayasya sattvasya bhavyamanasyodrekat sa"nandah samadhir bhavati. (Bhoja : Vrtti. I. 17). "When the matter of concentration (bhavana is commented on by Bhoja." bhavana bhavyasya visayantara-pariharena cetasi punah punar nivesanam) is the sattva tinged by rajah and tamah proper to -the inner sense, then by virtue both of the subordinate state of the self, and of the emergence of sattva, which is made up of bliss and light and is the matter of concentration, that which is called 'Sa"nanda-samadhi' occurs. This passage is also quoted by Pandey I. Aes., p. 189. On "para-brahma"svada-savidha," Gnoli adds ft. note 1, pp.48 ibid as follows :: "Bhatra Nayaka was perhaps the first to associate aesthetic experience with mystical experience. The aesthetic state of consciousness is no longer associated with the limited "T"; during the aesthitic experience the subject is completely absorbed in the object contemplated, and the whole of the reality which surrounds him disappears from his view. The same thing, mutatis mutandis occurs in mystical experience; in this sense, aesthetic experience is similar (savidha, sa-brahmacarin, sahodara) to experience of the Absolute or of the brahman. Bhatta Nayaka and A.G. (A.G. also accepts Bhatta-Nayaka's opinion; Dh. A.L. p. 190, "parabrahma"svadasabrahmacaritvam castv asya rasa"svadasya), however, do not fail to emphasize the unmistakable characteristics of each. Bhatta Nayaka says (Dh. A. L., p. 91). "vag-dhenur dugdha etam hi rasam yad bala-trsnaya, tenasya samah sa syad duhyate yogibhir hi sah." "This rasa (aesthetic experience) is poured forth spontaneously by the word which is like a cow, for love of her children, for this reason it is different from that For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1527 which is (laboriously) miked by yogins."- Cf. also A.bh. p. 5- On the opinion of A.G., infra. pp. 82-84. Two stanzas which reflect the same idea and which are certainly from Bhatta Nayaka, are quoted by Mahimabhatta (Vyaktiviveka), p. 94 (see the translation in the Introd. p. XXVI): "pathyad atha dhruvaganat tatah sampurite rase, tada"svada-bharaikagro hrsyaty antarmukhah ksanam." tato nirvisayasyasya svarupavasthitau nijah, vyajyate hlada-nisyando yena trpyanti yoginah. The association between these two states also appears in the affinities of the terms which designate them: visranti, nirvrti, laya, nirvesa, samapatti, camatkara, etc." We may observe here that Gnoli's observation that Bhatta Nayaka "was perhaps the first to associate aesthetic experience with mystical experience" is unsound.Actually art itself, in Indian thought, is taken as an expression of the divine and "satyam, sivam, sundaram" is the description of the highest spirit. These western scholars have a tendency to make bold observations with an intention at times, as we see in lesser names, of course not Gnoli, to disturb the rhythem and put things out of balance. There was no second opinion about the fact that art was acceptable only for the sake of life and that art was a step towards the divine. Art-experience therefore was also held closer, if not a variety of divine mystical experience. The very fact that Bharata seeks the origin of Natya from divine source clears this objective. Bhatta Nayaka was vocal but may be he had predecessors who were perhaps more vocal about this. The verses quoted by Mahima from Bhatta Nayaka as seen above could have been from a common source that was a sacred heritage for all Indian thinkers. And 'camatkara' can be translated as 'divine surprise'. We will now turn to what Abhinavagupta himself has to say concerning rasaexperience. But it may be noted beforehand that A.G. has welcomed much of what Bhatta Nayaka has observed. But for the present we will look for the reasons why A.G. does not accept Bhatta Nayaka's authority in full without questioning. Abhinavagupta's main objection to the thesis of Bhatta Nayaka seems to be against For Personal & Private Use Only

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1528 SAHRDAYALOKA the use of the word "bhoga" used in a special sense by Bhasta Nayaka. He observes that the purvapaksa or objector's views denounced by Bharta Nayaka stands rejected in its own. Even A.G. agrees to this rejection of Lollata's and Sankuka's views. But coming to Bhasta Nayaka's own view A.G. observes :- "tatra purvapaksoyam bhattalollata-paksanabhyupagamad eva nabhyupagata iti tad dusanam anutthanopahatam eva. pratitya'di-vyatiriktas ca samsare ko bhoga iti na vidmah." (pp. 11, Gnoli, ibid) "In this exposition, the thesis confuted by Bhatta Nayaka are accepted even by us-simply because we do not accept the thesis of Bhatta Lollata. Thus the errors confuted by Bhatta Nayaka have been definitely put to death. As for the rest we do not see what kind of enjoyment distinguishable from perception, etc., can exist in the world." (Trans. Gnoli., pp. 49. ibid). If Bhatta Nayaka explains this 'bhoga' by 'rasana', then this 'rasana' is also a sort of "pratiti", perception or apprehension. Of course, due to difference in the shade of meaning, new term can be co -darsana, anumiti, sruti, upamiti, pratibhana, etc. : "rasaneti cet sapi pratipattir eva, kevalam upaya-vailaksanyan namantaravat." (pp. 11, Gnoli, ibid, Abh.). "If you say it is tasting (rasana), we reply that this too is a perception, and is only called by another name on account of particular means (upaya) by which it d into existence. The same thing happens in the case of direct perecption (darsana), reasoning (anumana), the revealed word (sruti), analogy (upamiti), intuition (pratibhana), etc., each of which takes a different name." Gnoli adds a foot-note (No. 4 pp. 49, ibid) and observeses on "pratibhana"-"The term pratibha, pratibhana, is used in several senses, (cf. Introd. pp. XLVIII ff.) In the present passage, it has the sense of "an inexplicable intuition as to what may occur in the future, for example, "Tomorrow my brother will come." It also includes the power of understanding all kinds of sounds without effort, all that may be communicated by an animal in the world and also the power of having heavenly visions." (Dasgupta, H.I. Ph., V. 127) This particular form of consciousness is discussed by Jayanta, Nyayamanjari (Benares) 1936, pp. 97.ff. Abhinavagupta's second objection against Bhatta Nayaka is when the latter rejects both 'utpatti' and 'abhivyakti". A.G. holds that rasa is an object of our experience and if we reject the case of 'utpatti' i.e. of its being caused, then we should accept that it is purva-siddha i.e. having pre-existence and in that case its 'abhivyakti" or manifestation has to be accepted. If it is held that rasa is not manifested then the position of its being caused (utpatti) has to be accepted. For For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1529 if both 'utpatti' and 'abhivyakti' are rejected at a time, then rasa will be beyond any apprehension, i.e. it will be "a-prameya." Thus rasa will be a non-entity, i.e. it will be "a-siddha", for there is no third option seen in this case. : "nispadanabhivyaktidvayana-bhyupagame ca nityo vasan va rasa, iti na trtiya gatih syat." (pp. 11, Gnoli, ibid). "Besides, if we do not admit that rasa is produced or manifested, we shall be forced to conclude that it is either eternal or non-existent : no third possibility exists." (Tran. Gnoli, pp. 49) A.bh. further observes: "na ca apratitam vastu asti vyavahare yogyam. athocyate pratitir asya bhogikaranam, tac ca druty adi, svarupam. tad astu, tathapi na tavan matram. yavanto hi rasas tava"tya eva rasana"tmanah pratitayo bhogikarana-svabhavah. gunanam cangangi-vaicitryam anantam kalpyam iti ka tritvena iyatta."- (Gnoli, pp. 11. ibid). "Again, the existence of an unperceived thing cannot be affirmed. The supporters of Bhatta Nayaka will perhaps reply that the perception of rasa is just what they call the power of bringing about enjoyment (bhogikarana)- consisting in the states of fluidity, etc. Very well, then! But it is impossible that it should consist solely in these three states. For there exist just as many forms of perception-whose nature, according to you, lies in this very power of bringing about fruition- . consisting of a relish, as there are kinds of Rasa. Besides, the constituent elements, sattva, etc., can be found set out in an infinite number of different ways: one may predominate at one time and another at another. Thus it is absurd to limit the forms of relish to only three."- (Trans. Gnoli, pp. 49, 50, ibid). It may be noted that though for the sake of argument A.G. has denounced Bhatta Nayaka's position that there is neither 'utpatti' nor 'abhivyahti" of rasa, but in fact he himself accepts the extra-ordinariness, a-laukikatva, of rasa which is not to be met with in worldly context. We will see that he will observe, "na drsam" iti bhusam etat, na dusanam." But this alaukikatva, for A.G. is best expressed by the term 'abhivyakti' through "vyanjana", which covers up both bhavakatva and bhojakatva of Bhatta Nayaka, thus avoiding the contingency of what is termed "gaurava-dosa". We will see this in greater details later. Third point that A. G. finds objectionable in Bhatta Nayaka's thesis is as noted above the three states of consciousness, vig. fluidity (druti), enlargement (vistara) and expansion (vikasa). We have noted above that A.G. observes that there can be as many states as are rasas and the proportion in the combination of sattva, rajas For Personal & Private Use Only

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1530 SAHRDAYALOKA and tamas the three constituent elements can give rise to a number of varieties. But again here we can argue that Bhatta Nayaka mentions just three states from the practical point of view. Major states could be these three while the possibility of minor combinations and innumerable states cannot be denied theoretically. From the point of view of workable classification, perhaps Bhatta Nayaka has enumerated three states of consciousness which are obvious and born of self-discrimination. However, Abhinavagupta shows tremendous respect for Bhatta Nayaka also. He accepts "bhavana" in the sense of "making anything an object of apprehension which is of the type of tasting i.e. rasana-vyapara." Abhinavagupta welcomes the statement of Bhatta Nayaka contained in a given verse, because here rasa is said to be 'kavyartha.' Rasa is Kavyartha,. is of the nature of tasting, is the object of highest consciousness (para-samvitti-gocarah), and is born by the combination of bhavas i.e. vibhava"di-s. A.bh. observes : (pp. 11, 12; Gnoli, ibid) : "bhavana-bhavya esopi songara"di- ganopi yat," iti tu yat kavyena bhavyante rasa ity ucyate, tatra vibhava"di-janitacarvana"tmaka"svada-rupa-pratyaya-gocarata"padanam eva yadi bhavanam tad abhyupagamyata eva. yat tuktam "bhava-samyojana-vyangyapara-samvitti-gocarah, asvadanatmanubhava rasah kavyartha ucyate." iti tatra vyajyamanataya vyangyo raksyate. anubhavena ca tad-visaya iti mantavyam" (Trana. Gnoli, pp. 50, 51, ibid) : "However, if the word "revelation" in the expression "the Rasas are revealed by the poem" (what Bhatta Nayaka says is : "The various rasa-s, the etotic etc., are revealed by the power of revelation"), is used in the sense that the poem becomes the matter of a tasting made up of gustation, and which is generated by the determinants, etc., it may be accepted without any question. Again in the stanza, "Rasa is, it is said, the aim of poetry (kavyartha), it is an experience (anubhava) consisting of tasting and is the matter of cognition by not ordinary form of consciousness (para-sam-vitti), manifested (vyangya) by the union of the determinants, etc.," Bhatta Nayaka apparently considers Rasa as manifested so that the theory of manifestation is rather maintained then discarded. By the word "experience", we must really understand the object of it." For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1531 Here, the discussion on the views of the purva"carya-s i.e. the predecessors ends in the A.bh. We saw that Lollata's view was refuted by Sankuka and Sankuka's stand was refuted by Tauta. The main objection against Bhatta Nayaka was against "bhoga", which he held as different from all types of perception, All these thinkers have contributed in their own way to the cause of aesthetics. The result is that the thinking on rasa-nispatti was raised to higher and higher level. It is true that the relation of poet's world with the real worldly context gives the cultured reader or spectator-the samajika-the expertise to catch the mental feelings in their true perspective. The poet's world has a sound foundation in form of practical world. Insistence on this point could be the basic contribution of Lollata. On the other hand Sri Sankuka lays greater stress on the inferential process concerning the understanding and apprehension of feelings based on the similarity between the world of the poet and the practical world. Bhatta Nayaka insists on the all acceptable and rich fact of "sadharani-karana" i.e. generalisation, better termed de-individualisation. But we can trace the roots of this thought current even in Bharata. What is fresh about Bhatta Nayaka's thesis is that he has projected bhavakatva-vyapara that brings about sadharanikarana. This is equivalent to the presence of gunas and alamkaras in poetry with absence of dosas, and it operates through the medium of four-fold representation -caturvidha-abhinaya-in drama. But as we will go to see, when Abhinavagupta will explain, that virtually this bhavakatva-vyapara is covered up by the vyanjana-vyapara as supported by the great Anandavardhana. And this vyanjanavyapara was projected by theorists quite earlier than the bhavakatva-vyapara. The difference if any, is in name only. Bhatta Nayaka's "bhoga" also does not fall beyond the scope of rasapratiti, and this is clearly explained by Abhinavagupta as noticed by us earlier. Of course the mental states of druti, vistara, and vikasa following rasa-experience could be taken as an important contribution of Bhatta Nayaka, but we feel that the uselessness of recognising only three mental states as argued by Abhinavagupta is quite convincing and virtually the mental state, peri passu with rasa-experience, and following the same, could be covered up by the acceptance of Santa-rasa or maharasa as ably supported by Anandavardhana and Abhinavagupta,. Again, the concepts of druti, vistara, vikasa can be correlated with the concept of madhurya"di gunas as supported by the dhvanivadins. True, with further research, Abhinavagupta has accepted some of the basic concepts or ideas advocated by Bhatta Nayaka, and some, though not accepted, are, in turn, accepted by Abhinavagupta in a new guise. Thus the area of differenes between Bhatta Nayaka For Personal & Private Use Only

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1532 SAHRDAYALOKA and Abhinavagupta narrows down to a great extent. It is possible that Bhatta Nayaka was either a young contemporary, or immediately posterior to Anandavardhana, so, when Bhatta Nayaka raised his voice against the all-covering genius of Anandavardhana and drafted his "Hrdaya-darpana" for the demolition of dhvani, i.e. dhvani-dhvamsa, perhaps it was more a personality clash than theoretical differences. For, when we carefully analyse the bhavakatva-vyapara as supported or, say, projected by Bhatta Nayaka, the net result is that, in poetry, it patters out to be merely dosa-hana and gunalamkara-grahana, which could be covered up by abhidha-or vyacya-vacaka-bhava to a great extent and vyanjana to some extent, and in drama it is equivalent only to the four-fold-representation. Drama is an art which has acting as its medium and this acting has natal relations with both abhidha and vyanjana. Anandavardhana has attached supreme importance to these word-powers. But when he observed that word and sense in poetry, activated by these powers attains the potentiality of rasa-suggestion, he "went a step further and whatever was not directly stated or established by Bhatta Nayaka in plain words was rendered clear by Anandavardhana. But for reasons of his own, Bhatta Nayaka picked up a quarred with Anandavardhana, placed a cross on vyanjana accepted by thinkers of yore, and tried to put a new name, or new label called "bhavakatva." Virtually he served old wine in a new bottle with some disadvantage of invoking "gaurava-dosa." Why Anandavardhana called this wordpower of suggestion by the name of vyanjana is clear from the history and usage of this word, as seen earlier by us, in ancient literature beginning with the vedas and then vedangas, both nirukta and vyakarana, and then down to Panini, Katyayana, Patanjali and on top of all, the actual practice of ancient poets beginning with Vyasa, Valmiki, Kalidasa and the rest. Again. Anandavardhana must have received inspirations from Bharata also who has used abhi+vyaj at a number of places in the same sense as understood by the dhvanivadins. So what remains on the part of Bhatta Nayaka is only his wrong insistance on giving a new name to an age-old brand. To remove one word-power called vyanjana he has to project two powers called bhavakatva and bhojakatva, thus crossing the limits, beauty and grace of brevity, and inviting "gaurava-dosa". His "bhojakatva-vyapara" stands nullified on the ground that "rasa-bhoga" is nothng but a sort of "rasapratiti", and this fact cannot be denied. Or, we may put this slightly differently. May be, Anandavardhana following the vyakarana-darsana and its "sphota" concept, supported and promulgated the concept of vyanjana, and as against this, Bhatta Nayaka, following the plea of the Mimamsa darsana, supported and promulgated For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1533 the concept of "bhavana", and voted for "bhavakatva." Reality is that vyanjana serves the purpose of both bhavakarva and bhojakarva taken together. Before examining the rasa-theory as advanced by Abhinavagupta, certain observations emerge on their own at the outset, which are corroborated as seen earlier even by Bhatta Nayaka. Abhinavagupta depicts or explains rasa as "kavvartha"-"tat kavyartho rasah."-A.bh. (pp. 272, Edn. K. kris.-G.O.S. vol. I, '92). The A.bh. (ch. VII, pp. 337, ibid) further notes -- tatra ca padartha vakyarthau rasesv eva paryavasyata ity a-sadharanyat pradhanyac ca kavyasya arthah rasah. arthyante pradhanyena ity arthah. na ty_artha-sabdo abhidheya-vaci (api tu pravoiana-vaci. Sva-sabda-anabhidheyatvam hi rasadinam dhvanikaradibhir darsitam." Abhinavagupta (pp. 272, ibid) (ch. VI. NS. A.bh.)- quotes from Bharata :- "kavyarthan bhavayanti iti." It may be noted that Dr. K. Krishna-moorthy in his writing elsewhere. reads (api tu pravojanavaci) and this added note, we do not find in the printed G.O.S. Edn. We do not know the source of this added remark by Dr. K. Krishnamoorthy though it is exactly implied and therefore welcome. Sadharanikarana : We have observed that Bhatta Nayaka had mentioned sadharanikarana-vyapara prevailing in poetry. To explain this on practical grounds, Abhinavagupta seeks an illustration from Mimamsa darsana. This explanation is served first in practical and then in religious context by. Abhinavagupta, to effect clarity of thinking. Just as Bhatta Nayaka had sought inspiration for his bhavakarva-vyapara from the concept of Bhavana in the Mimamsa darsana, Abhinavagupta also turns to the same Mimamsa darsana to seek inspiration. Thus, he quotes two sruti injunctions such as "ratrim asata" and "tam aganu pradat." In these two statements the meaning is primarily restricted with reference to individual, number and time. But when a qualified personadhikarin- who has relevance with the sruti injunction (i.e. who has arthita) listens to these injunctions, a further extended meaning dawns upon his mind-adhika ."-and in this higher apprehension the limitations of time, number, individual etc. get removed. He understands a further meaning such as "I will sit", "I will offer in fire" etc. According to various schools, this perception is called propulsion (bhavana), command (vidhi), order (niyoga), etc. Gnoli (pp. 52, ft. note no-4) explains : "In other words, some scriptural sentences (e.g. those quoted), awaken in the believer the need to give the omentum to the fire himself, etc. In this sense, their literal meaning undergoes a transformation : the past tense and the third person, etc., used in these sentences are turned into the present tense etc. There arises in the heart of the believer the For Personal & Private Use Only

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1534 SAHRDAYALOKA form of consciousness (pratipatti), "I will give the omentum to the fire." This passing from one sense to another is given the names of propulsion (bhavana), order and command (vidhi, nyioga). The terms bhavana, vidhi, and niyoga, are proper to the liturgical speculations of mimamsa (the term 'bhavana' used by Bhatta Nayaka was probably taken from the terminology of the purva-mimamsa). The terms 'vidhi' and 'niyoga' observes J. T. A. I, p. 167, are used above all by followers of Prabhakara; Kumarila's disciples prefer instead the word 'bhavana.' The shift of sense involved, of course, presupposes the adherence of the subject to the sacred writings, his desire to attain certain ends, etc. This shift of sense is clearly explained in three slokas quoted by H.C., pp. 98 (no doubt taken from a work on poetics existing prior to A.G., perhaps the HIdaya-darpana of Bhatta Nayaka. [Before we quote the verses, we place our disagreement with Gnoli. The verses could not be from Hrdaya-darpana. Bhatta Nayaka was favourably inclined towards Mimamsa Sastra and therefore the srti-vakyas quoted by A.G., or similar other could be in the HIdaya-darpana. Actually H.C. did not belong to the darsanika faith and hence he could have given these verses from some other source with popular basis.] (The verses in H.C. read as-) "arogyam aptavan sambah stutva devam aharpatim, syad arthavagatih purvam ity adi-vacane yatha." tatas copatta-kala"dinyakkarenopajayate, pratipattur manasy evam pratipattir na samsayah, yah kopi bhaskaram stauti sa sarvopy agado bhavet, tasmad aham api staumi roga-nirmuktaye ravim.""In the sentence "Samba regained his health when he praised the Sun-god", etc. there occurs at first the perception of its literal sense, and then (and on this there is no matter of doubt) there arises in the mind of the perceiving subject a For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1535 perception, which eliminates the temporal data, etc., assumed by the sentence in question. This perception is presented in the following form : "Every one who praises the Sun regains his health; so I too will praise the Sun, so as to free mysef from disease." Cf. I. PV. V., I. p. 24; I. P. V., I. p. 27. The words in the A.bh. read as : (pp. 12, 13 A.bh., Gnoli, ibid) -"yatha hi "ratrim asata", "tam agnau pradat" ity adav arthita"di-laksitasya adhikarinah pratipattimatrad ati-tivra-prarocitat prathama-pravsttad anantaram adhikaivopattakala-tiraskarenaiva "asai" "pradadani" ity adi-rupa samkramana"di-svabhava yathadarsanam bhavana-vidhi-niyoga"di-bhasabhir vyavahrta pratipattih, tathaiva kavya"tmakad api sabdad adhikarinodhika asti pratipattih. adhikari catra vimalapratibhana-sali-htdayah." (Trans. Gnoli., pp. 52, 53, ibid) : "For instance, immediately after the first perception of the literal sense of the following expressions, "They lay by night," "He gave it (scil, the omentum) to the fire," there occurs (in a qualified person (adhikarin), characterized by a certain pragmatic requirement (arthita) and so on, and possessed of a keen interest in the object of perception involved, a second perception eliminating the temporal data, etc., contained in the first. This second perception consists in a tranfer (samkramana), etc., of the literal sense and is presented in the form : "I will lay," "I will give", etc. According to the various schools, this perception is called propulsion (bhavana), command (vidhi), order (niyoga), etc. Now, a similar thing may be said to happen in the case of poetry : there occurs in a qualified person a perception transcending the words of a poem. The qualified person is in this case any person whose heart possesses a spotless power of intuition (pratibhana)."-. In short to the Sahrdaya, the poetic meaning flashes forth in an unrestricted form.. Sahrdaya : Abhinavagupta calls the adhikarin with reference to poetry or art, by the name sa-hrdaya. The idea is that sadharanikarana takes place only in the context of a sahrdaya. Thus "sahsdayata'-having a sympathetic heart - is a quality which is the first requirement in the kavya-bhavana i.e. appreciation, enjoyment of poetry. Abhinavagupta therefore puts great stress on this quality. He observes as seen above : "adhikari catra vimala-pratibhana-sali-hrdayah.", or one who possesses a heart or one whose heart shines, with the light of spotless intuition. Thus, the heart of the adhikarin is like a spotless mirror. All those who have the capacity to appreciate poetry are said to be -"sa-hrdaya" or one having a compassionate heart, in whom sympathetic heart has flowered-; who are hrdayasamvada-bhag-i.e. gifted with artistic sympathy of heart. For Personal & Private Use Only

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SAHRDAYALOKA Rasa-svabhava : while dealing with the nature of rasa A.G. first explains the process of sadharanikarana, and how a sa-hrdaya experiences rasa. He takes an illustration from the Abhijnana-sakuntala of Kalidasa viz. "grivabhangabhiramam muhur anupatati..." etc. (Ab. sa. I. 7). He also quotes from Kumara-sambhava and cites two illustrations viz. "umapi...." (Kumara. III. 62), and "haras tu kincit..." (Kumara. VI. 67) The first illustration suggests the bhayanaka rasa and the other two illustrate the srngara-rasa. The rasa-process proceeds as follows.- First of all the primary or denotated meaning of "grivabhangabhirama..." etc. becomes clear to the sensitive reader. Then follows the next apprehension which is mental"manasi". In this apprehension, the spatio-temporal limitations are removed. The youngone of the deer that is perceived is not perceived as an individual youngone of a deer which is terrified. After this there is apprehension of bhayanaka-rasa itself in which the limitations of space, time, individualitry etc. are removed. We find similarity of case as was observed in the illustrations quoted from the Sruti. But here we go a step further. The bhayanaka-rasa that is perceived here does not terrify the onlooker, nor does he have a feeling that some third neutral person is also terrified. Thus this apprehension is beyoud the touch of a particular individual. So, the feeling of pleasure (sukha), pain (duhkha) etc. is removed and hence there is no inclination either to grab or avoid something (hanopadana-buddhi). Actually the feeling individually of pleasure and pain, or to have a feeing to possess or disown, are considered to be obstacles to rasa-experience. Thus perception of rasa is different from any worldly perception, for in the latter there are obstacles such as nija-sukhadi-vivasibhava, etc. Here the perception of bhayanaka-rasa is vitavighna i.e. free from obstacles. Thus it is felt as if 'rasa' is entering the heart, dancing before the eyes, etc. This process marked in case of this illustration of bhayanaka-rasa, is common to all other rasas such as the srngara and the like. 1536 The A.bh. reads as follows: (pp. 13, Gnoli, ibid) :- "adhikari catra vimalapratibhana-sali-hrdayah. tasya ca "grivabhanga"bhiramam" iti, "umapi nilalaka...," iti "haras tu kimcit" itya"di-vakyebhyo vakyartha-pratiter anantaram manasi saksatkara"mika, apahastita-tat-tad-vakyopatta-kala"di-vibhaga, tavat pratitir upajayate. tasyam ca yo mrga-potaka"dir bhati tasya visesa -rupatvabhavad bhita iti, trasakasyaparamarthikatvad bhayam eva param desakalady ana"lingitam, tata eva bhitoham bhitoyam satrur vayasyo madhyastho vetya"di-pratyayebhyo duhkhasukha"di-krta-hana"di-buddhy-antarodaya-niyamavattaya vighna-bahulebhyo vilaksanam nirvighna-pratiti-grahyam saksad iva hrdaye nivisamanam caksusor iva viparivartamanam bhayanako rasah." For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1537 Gnoli translates : (pp. 53, 54, etc. ibid): "The qualified person is in this case any person whose heart possesses a spotless power of intuition (pratibhana). In such a person hearing the following phrases, "There he (scil., the deer) is now, gracefully by the bending of his neck...", "Even Uma, dropping the golden Karnikara "The firmness of Hara....", there appears, immediately after the perception of their literal sense, a perception of different order (an inner-[manasi) perception) consisting in a direct experience (saksatkara] which completely eliminates the temporal distinction, etc. assumed by these sentences. Besides, the young deer, etc., which appears in this perception is devoid of its particularity (visesa), and at the same time, the actor, who (playing the role of the deer) frightens (the spectators] trasaka, showing to be afraid, is unreal (a-paramarthika). (please note that Gnoli has given an awkward explanation of "trasaka." The simple thing is that just as the deer is robbed of his particularity, in the same way the trasaka, i.e. the terrifier, i.e. Dusyanta in this case, also looses his particularity. This explanation is given by Visvesvarjee also; we do the same.) -As a result, what there appears is simply and solely fear -fear in itself, uncircumscribed by time, space, etc. This perception of fear is of a different order from the ordinary perceptions ("I am afraid, he-my enemy, my friend, anybody)-is afraid"); for these are necessarily affected by the appearance of fresh mental movements (of shunning, etc.), consisting of pleasure, pain, etc., and just for this reason are full of obstacles (vighna). The sensation of fear above mentioned, on the contrary, is the matter of cognition by a perception deviod of obstacles (vitavighna), and may be said to enter directly (nivis) into our hearts, to dance (viparivrt) before our eyes : this is the terrible rasa-" In "manasi saksat-karatmika (pratitih), Gnoli adds in ft. note no. 4, pp. 54. ibid;- "Like the sensation of pleasure, pain, etc., the aesthetic experience is an inner or mental perception (manasapratyaksa), i.e. it is perceived through the mind or inner self. Such a perception is self-knowing (sva-samvedana-siddha). In the A.bh. pp. 297, A.G. observes that the fact of tasting (asvadana); (aesthetic perception being conceived as a particular form of tasting) is of a mental order : it differs from the fact of eating, which is a purely material act (rasana-vyaparad bhojanad adhiko yo manaso vyaparah sa eva asvadanam). The mind of him who tastes must be 'ekagra', absorbed in the object of tasting to the exclusion of all else. On the contrary, he who eats may be also "anya-citta" : he can also think of other things, etc. Aestetic tasting is of a non-ordinary nature (a-laukika), sui generis. The mind is the organ of tasting; during the tasting the mind must be free of all obsetacles, deviod, that is to say, of any other sensory perceptions, etc. The subject is imme For Personal & Private Use Only

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1538 SAHRDAYALOKA in a "camatkara" set apart from any distinction of 'selp, or others'. Aesthetic tasting is a "generalised" perception and free therefore, of obstacles (in the Abh., I. p. 291), the expression "asvadayanti manasa" N.S. VI. v. 36; is commented upon in the following manner : a samantat sadharanibhavena nirvighna-pratipattivasan manasa indriyantara-vighna-sambhavana-sunyena svadayanti sva-para-vivekasunya-svada-camatkara-paravasa....)" On "apahastita-tat-tad-vakyopatta-kala"di-vibhaga", Gnoli observes (ft. note, 1, pp. 55, ibid): "In other words, the spectator (and hence the state of consciousness by which he is pervaded) is not in the real time and space either of the deer or of the actor as such. In the aesthetic experience, these two temporal and spatial orders cancel each other out. On the other hand, therefore, the deer, etc. is without any temporal or spatial determination (viz. it is not felt as an element of ordinary life but is perceived in a generalised form); similarly, the actor, and hence the impression of fear which he suggests, is not perceived as a constituent element of practical life. The state of consciousness which does occur is, therefore, unaffected by space and time; it is a generalized permanent mental state." An interesting note is also added by Gnoli (ft. note, 1, pp. 56, ibid) on the word "viparivartamanam" : "viparivrt"-means to move, to revolve, etc. The use of the word is ancient. It is to be found in Bhartshari (I., 125, tika, p. 125 (ed. of Lahore) : "buddhau viparivartate." In the same sense (that is, with buddhau) it is used by Dharma-Kirti and Kumarila also. A.G. comments on the word 'viparivartamanasya' in the following way (I. P. V., II, p. 140) : "vicitratvena visvasya bhedabheda"tmana parivartamanasya spandanena sphurato...." Abhinavagupta further observes that during rasa-experience the self of the samajika is neither absolutely negated nor presented in its particularity. What is implied by this is that the samajika comes out of his small particula higher in self and thus he is not presented as a small individual-visesataya-i.e. one covered by limited ego, but at the same time he himself is the enjoyer of rasa and thus his I-ness is not totally erased. All who observe the performance of such feelings as soka or grief, or who taste such feelings as narrated in poetry, have an identical experience. Thus the generality-sadharanya-is not limited to a single spectator but is extended or wider, and it can be equated with the invariable concomitance between smoke and fire. In this experience which is like a direct experiencesaksatkara-the nourishing material is provided by the actor etc. In this samagri or combination, generality is nourished because the limiting factors such as time, space, individual enjoyer, etc. get removed. So all the samajikas have an identical For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1539 solid apprehension resulting in nourishment of rasa. This becomes possible with reference to all samajikas taken together because the mind of all of them are imprinted or coloured with permanent mental states that have no beginning. This sort of apprehension which is free from obstacles-nirvighna samvit-is itself camatkara, a sort of divine surprise. This camatkara is a mental attitude-manasa adhyavasaya', or it is the capacity of the mind to arrage together different things so as to create a whole design. It is termed samkalpa, smrti etc. also. But it is not smrti or recolletion of the logicians. It is the 'smrti' so termed by Kalidasa in the line : tac cetasa smarati nunam a-bodha-purvam, bhavasthirani jananantara-sauhrdani." This smrti does not rest on things experienced beforehand. Its another name is "pratibhana". Its nature is of "saksatkara" or direct experience. Viewed from any angle this apprehension is of the nature of taste and pure 'rati' and other feelings get reflected in it. This apprehension which is of the nature of taste is not conditioned by any particularity, or by any other particular object. It is neither "indescribable" nor, "similar to worldly ordinary apprehension"-i.e. it is neither "anirvacya" nor "laukika-tulya", nor also of the nature of superimposition-"tad aropa" ditulya". As there is absence of any limitation of space, time and particularity, this apprehension may be called, from a certain angle, of the form of enhancement i.e. 'upacayavastha astu' It can be also thought of as a sort of visaya-samagricombination of different elements, when viewed from the angle of vijnana-vadin. But, in short from all points of view rasa may be called a feeling collected in the absence of all obstacles... The A.bh. (pp. 14, Gnoli, ibid) reads as-"sarvatha tavad esasti pratitir asvada"tma, yasyam ratir eva bhati. tata eva visesantaranupahitatvat sa rasaniya sati na laukiki, na mithya, nanirvacya, na laukika-tulya, na tadaropa"dirupa. esaiva copacayavasthas tu desady aniyantranat anukaropy astu bhavanugamitaya karanat. visaya-samagry api bhavatu vijnana-vadavalambanat sarvatha rasana"tmaka-vita-vighna-pratiti-grahyo bhava eva rasah". (Trans. Gnoli, pp. 60, 61, ibid) : "In any case, however, it is a form of perception-a perception in which what appears is just a feeling, for instance) delight, consisting of a tasting. For this reason, i.e. because it is not conditioned by further specifications, this perception is apt to become the object of a relish, and, as such, it is neither a form of ordinary cognition, nor is it erroneous, nor, ineffable, nor like ordinary perception, nor does it consist of a superimposition. To conclude we may say equally well that it consists of a state of intensification, -using this term to indicate that it is not limited by For Personal & Private Use Only

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1540 SAHRDAYALOKA space, etc; that it is a reproduction-using this word to mean that it is a production which repeats the feelings; and that it is a combination of different elements-this conception being interpreted in the light of the doctrine of the vijnanavadin. From which ever point of view it is examined, Rasa is, in any case, simply and sloely, a mental state which is the matter of cognition on the part of a perception without obstacles and consisting in relish." We can see in this epistemological observation on the part of Abhinavagupta that he accepts and incorporates the views of his predecessors such as Lollata, Sankuka and the rest by slightly modifying the same. For him rasa is a perception from which all obstacles concerning space, time, particularity etc. are removed and it is of the form of taste, pure and simple. This rasa-perception is termed differently by names such as, camatkara, nirvesa, rasana, asvadana, bhoga, samapatti, laya, and visranti, We may take note of the fact here that the views stated above reflect * Abhinavagupts's own view on rasa. The fact of sadharanikarana, in his view, is welcomed from both Bharata and Bhatta Nayaka. Abhinavagupta's own contribution is this that he has called rasa to be a perception free from obstacles. In view of this he has a detailed discussion on the obstacles: their nature and all the procedure to remove each one of them. He enumerates seven such obstacles with the devices to avoid or remove them. We will look into it a little later. But, while dealing with the sixth obstacle, he establishes both sthayin-s and vyabhicarins on the basis of psychology. Actually the chewing of these emotions and feelings form the stuff of rasa-carvana. So, we will also examine their nature and form as Abhinavagupta has explained. But before we look into this we may take note of what Gnoli has explained at given points in the A.bh. On the expression : "tathavidhe hi bhaye, n tiraskrto na visesata ullikhitah." Gnoli (ft. note 2, pp. 56, ibid) observes : "In the first case there would be no aesthetic cognition, but mystical cognition, characterigzed by the total absence of discursive thought and distinct apprehensions (vikalpa). In the second case, ordinary discursive cognition would occur. In both these cases, then, the "ubhaya-desa-kala-tyagah" required by the aesthetic experience would be absent. cf. the Natyadarpana by Ramacandra and Gunacandra, Baroda, 1929, p. 161. For the antithesis between atman and 'para' cf. PTV., pp. 71-72; atra hi madhyama-pade atmaiva samsrnu ah....atmna eva sravanam syat na parasya..." For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1541 Again, on the expression in the A.bh. vig. "tata eva na parimitam eva sadharanyam api tu vitatam, vyaptigraha iva dhumagnyor ..." etc., Gnoli observes (ft. note, no. 3, pp. 56, 57, ibid) :-"The best explanation of this passage is to be found in the IPV., II, 4, 12 : iha tu darsana vyapti-grahanavasthayam yavantas tad-desa-sambhavyamana-sadbhavah pramataras tavatam ekosau dhuma"bhasas ca vahnya"bhasas ca bahyanaye iva, tavati tesam paramesvarenaikyam nirmitam." K. C. Pandey, Bhaskari vol. III. p. 178. translates : "But according to this system, at the time of forming the idea of invariable concomitance, the images of smoke and fire are common to all perceivers, who can possibly have their existence at that place (i.e. in the kitchen, etc.), as according to those who admit the existence of an external objective world. For, in relation to these images, the Lord [i.e. Isvara, the unlimited Ego. etc.] has made the subjects one." A.G. observes that the pleasure given by a spectacle increases when there are a large number of spectators. In other words, when each spectator is conscious that the spectacle is being seen at the same time by a number of other people T. A. X. v. 85, ff : "tatha hy ekagra-sakalasamajika-janeksitam, nsttam gitam sudhasarasagaratvena manyate." tata evocyate mallanata-preksopadesane sarvapramatp-tadatmyam purna-rupanubhavakam. tavanmatrartha-samvrtti tustah pratyekaso yadi. kah sambhuya gunas tesam pramatryaikyam bhavec ca kim. yada tu tat-tad-vedyatvadharma-samdarbha-garbhitam, tad-vastu suskad pragrupad anyad yuktam idam tada." For Personal & Private Use Only

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1542 SAHRDAYALOKA "The spectators who watch, absdorbed, a performance of dancing, of singing, etc., feel that it is a real sea of nectar (J. comments : "anyone, in fact, can observe that spectacles seen by many people at the same time generate a greater pleasure then those which are seen by a single individual. (It is for this reason that those who teach the true nature of performances of wrestling and acting, say that, in these, a real state of identity of all knowing subjects takes place; this state generates a perception of a full and perfect beatitude (J. comments : purna-rupeti iyad eva hi purnam rupam yad vigalita-vedyantarataya tatraivananya"kanksatvena paramarsanam nama). If the mere consciousness of what they see on the stage (without, that is, the realization that the performance is seen by other people) were sufficient to satisfy the spectators taken one by one, how then can the different state of conscousness, which arises when they are together, be explained ? And how could it still be sustained that a state of identity of knowing subjects exists? When, instead, the spectator is aware that the spectacle is seen at the same time by all others also, one can say with reason that it appears in a different form from the arid aspect it had before (this spectacle, then, observes J., takes in another nature which generates a very high 'camatkara'.)". See on all that the Introd. pp. XXXVII. ff. In A.G. the expression 'vitata-vyapti' etc. occurs elsewhere also, and not always in a technical sense (See f.i. Dh. A.L., p. 378; A.Bh. G.O.S. pp. 110, 136) We will now proceed with the seven obstacles enumerated by A. G. and the devices for their removal. The A.bh. observes (: Gnoli, pp. 14, 15, ibid)- "tatha hi loke... sakala-vighna-vinirmukta samvittir eva camatkara-nirvesa-rasana-asvadanabhoga-samapatti-laya-visranty adi-sabdair abhidhiyate. vighnas ca asyam- (1) pratipattav ayogyata sambhavana-viraho nama, (2) svagatatva-paragatatva-niyamena desa-kala-visesa"vesah, (3) nija-sukha"divivasibhavah, (4) pratity upaya-vaikalyam, (5) sphuatatvabhavah, (6) a-pradhanata, (7) sambaya-yogasca." (Trans. Gnoli, pp. 62, ibid) - "Also in the ordinary world, indeed, the different words camatkara, immersion (nirvesa), relish (rasana), tasting (asvadana). enjoyment (bhoga), accomplishment (samapatti). lysis (laya), rest (visranti). etc., mean nothing but a [form of] consciousness completely free from any obstacles whatever. Now the obstacles to the perecption in question are- (a) the unsuitability, that is to say, the lack of verisimilitude; (b) the immersion in temporal and spatial For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1543 determinations pereived as exclusively one's own or exclusively those of another; (c) the fact of being at the mercy of our own sensations of pleasure etc.; (d) the defective state of the means of perception; (e) the lack of evidence; (f) the lack of some prominant factor; (g) and the presence of doubt. The first blemish is caused by inapt presentation on the part of the poets. He presents something which creates lack of conviction on the part of the samajika, who cannot establish contact between his consciousness, including his intelligence and common-sense, with things presented by the writer. The enjoyer feels that all that is presented is just non-sense, which cannot be believed. It is impossibe to enjoy art when you just cannot establish any relationship whatsoever with the thing presented. So, this is the first obstacle. It is like "prathamagrase maksika-patah." No question of rasa-experience can ever arise in such a condition. The second obstacle concerns people of undevelopped sensitivity, or art-sense. Majority of viewers are like this. When something is presented through art-medium, you have not to take it as something coloured by particularity, time, space etc. In that case you are likely to be either prejudiced against or unduly attached to something presented. If you take the things presented through art medium as connected or disconnected either, personally with you, or with somebody else, enemy, friend or a neutral person, then your responses to art are bound to get coloured. You would like to accept and possess whatever is favourable and would like to reject and hate that which is unfavourable to you in any respect. The precondition of art-experience is that you should be a qualified sensitive soul, -vimalapratibhana-sali- samajika-; a sa-hrdaya who can grow beyond limited ego and personal likes and dislikes. If things are taken as connected with individnals, or belonging to this or that time and place, they are likely to thwart genuine artappeal and hence rasa-experience also. This obstacle squarely rests with the enjoyer who cannot cut through the limitations of his nature and grow into a higher I-ness. The third obstacle is of a subtler type. Given that you have a capacity to link yourself with universal ego, i.e. to outgrow your limited ego, given that you are a man of cultivated taste and anything low or less noble does not touch you. This means you are qualified for the highest aesthetic experience. But then, you are a human being. Something has happened to you in your personal life and surrounding which has disturbed your balance of equanimity. You are, at worldly level, taken away by the force of some event and this results in your apathy towards everything around you including art-performance. Your personal pleasure or pain For Personal & Private Use Only

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1544 SAHRDAYALOKA is such that has gagged your taste for artistic enjloyment for the time being and the result is that because of this disturbance at purely physical or psychological level you are not in a mood to enjoy art, eventhough basically you are an adhikarin. This obstacle also squarely rests with the inner consciousness of the adhikarin. In case of the second obstacle the enjoyer concerned had a low taste, while in this case the taste is not in question but the circumstances have conspired against a qualified art-enjoyer. The fourth obstacle, the defective state of the means of perception, goes with a number of things. If the presention cannot be viewed properly, or cannot be heard properly, i.e. if the difficulty lies with production side, or if the spectator has diffeculty with vision, hearing, sitting arrangement etc., the art-performance cannot be enjoyed. The fifth obstacle also results from the same sources i.e. imperfect production, acting, etc. The presentation should be such so as to render clear the intention of presentation. The presentation should be such that it renders the thing such that it is dircetly experienced, so to say. A.bh. observes : (pp. 16, Gnoli, ibid) : "a-sphuapratitikari-sabda-linga-sambhavepi na pratitir visramyati sphuta-pratiti-rupapratyaksocita-pratyaya-sakanksarvat."-i.e.-"Even if there may be such verbal testimonies and inferences, as to provoke an evident perception, perception, however, does not rest in them) because there is, in it, the expectancy of the certainty proper to direct experience, which consists in an evident perception." (Trans. Gnoli, pp. 68, ibid). Gnoli adds ft. note 1, pp. 68, ibid : "Even though-thus A. Shankaran, op. cit. p. 106, paraphrases this passage-there may be clear and unmistakable verbal testimony and inference, we do not completely rest content with the knowledge derived therefrom; for therein is lacking that perpetual cognition which alone makes for clear, direct and definite knowledge." With AShankaran, I have read here-" sphuta-pratiti-kari-sabda-linga-sambhavepi." should I have preferred the reading "a-sphuta...." the translation would have been : "Even if there may be verbal testimonies and inferences- which as a rule, do not provoke an evident perecption-"etc. We feel that no question arises for this second reading. Actually the obstacle is caused by lack of capacity on the part of the poet, the producer-director and also the actor. Something is basically missing which stops the presentation becoming life-like, as if directly experienced. Anyone from the three mentioned above with his For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1545 intuitive insight can make things look like real or directly experienced. This something special can cure this difficulty. The sixth obstacle is "a-pradhanata" or the presentation on the part of the poet not centrally focussed. Unity of action, if not also of time and place, is required and the purpose should be kept in focus. Nobody is interested in anything that is not of central attention i.e. which is of central importance. Thus, only one sthayin or permanent mental state should occupy the central point. Modern specimen of absurd theatre or art does not pay attention to this and does not encourage a central theme. But as we shall try to show the catholicity of arttheory later, we will see how rasa-experience is possible even in such performances that go under the name of absurd poetry or absurd theatre. But at least Abhinavagupta insists on a central motive, to begin with. The seventh obstacle is a necessary corollary following from the sixth one. 'samsaya-yoga' is a state when the enjoyer is left in the lurch and he fails to have an exact idea as to what is aimed at by either the poet or the artist. Confusion in understanding or grasping due to confused presentation creates this obstacle. These seven obstacles in rasa-experience have to be removed before a true rasaexperience follows. Abhinavagupta has himself suggested how these obstacles have to be removed. Let us examine the same. But before we go into any details, it may be underlined that the presentation in a proper way, i.e. the right combination of vibhava"di-s is the only and right key to remove these obstacles : "tatra vighnapasaraka vibhava-prabhrtayah." The first obstacle occurs as noticed above by the presentation of unconvincing material. The solution is that only such stuff should be presented for which people have an accepted faith. In things of supernatured exploits only such names should be presented as heroes for whom people have implicit faith. Only Rama can be credited with constructing a bridge over an ocean, or only a Hanuman can be credited with a jump that crosses an ocean, A.bh. observes : (pp. 15, Gnoli) -ata eva nihsamanyotkarsopadesa-vyutpatti-prayojane nataka"dau prakhyata-vastu-visayatva"di niyamena nirupayisyate. For the removal of the second obstacle, Bharatamuni has suggested the whole purva-ranga. Items in the purva-ranga would help a spectator to come out of his personal mental attitude and would prepare him to enjoy art in an impersonal way. Again, the costumes and settings provided help the cause. All these things help the For Personal & Private Use Only

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1546 SAHRDAYALOKA spectatos to get into the right mental groove and be part of the generalization process : A.bh. observes (pp. 16, Gnoli, ibid) -"...sa esa sarvo munina sadharanibhava siddhya rasa-carvanopayogitvena parikara-bandhah samasrita, iti tatraiva sphuti-bhavisyati iti tad iha tavan nodyamaniyam." (Trans. Gnoli, pp. 67, ibid) -"To conclude, all this system of relative and connected matters has been adopted by Bharata, in so far as by virtue of the state of generality produced, it primotes the gustation of rasa...." To remove the third obstacle of personally indisposed context, various means are adopted to be used at suitable times and places. These include music, both vocal and instrumental, well-decorated halls, well-accomplished courtesans etc. Abhinavagupta observes that in view of the aforementioned state of generality, these expedients- phonic etc.- are such as to be enjoyed by all the spectators and possess such a charming power (upa-ranj) that even an unaesthetic person (ahgdaya) reaches limpidity of heart and becomes "possessed of heart" i.e. becomes "sa-hrdaya". The fourth obstacle is basically so apparent that all concerned, the actor, director, producer, poet, etc. can make amends in presentation and bridge the gap. Actually for the removal of fourth and fifth obstacle, representation of four types (abhinaya), loka-dharmi, vrttis and pravsttis are all recommended. A.bh. (pp. 16, 17, Gnoli, ibid) observes : "tasmat tad ubhaya-vighna-vighate abhinaya lokadharmi-vstti-pravrtty upaskrta samabhisicyante. abhinayanam hi sabda-lingavyapara-visadssam eva pratyaksa-vyapara-kalpam iti niscesyamah." (Trans. Gnoli., pp. 68, 69, ibid)-"Therefore, to remove these two obstacles, there are consecrated by tradition-the four modes of representation, furnished with the styles (vrtti), the local usages (pravstti), and the realistic representation. ("loka-dharmi") We may note that vittis are normally recognised as four by tradition and they are : kaisiki, sattvati, arabhati, and bharati; the pravsttis are avanti, daksinatya, audra-magadhi and pancali. Local usages regarding costumes, languages. manners and professions differ in different countries of the world. They are the 'pravrtti' or local colours in drama. For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1547 For loka-dharmi, i.e. realistic representation Gnoli (pp. 69, ibid) provides a footnote no. 2, which reads : "For the best explanation, see A.bh. I. 292 : " tatra ye svabhavata eva nirmala-mukura-hidayah, ta eva samsarocita-krodha-mohabhilasaparavasa-manaso na bhavanti, tesam tathavidha-dasarupa"karnana-samaye sadharana-rasana"tmaka-carvana-grahyo rasa-samcayo natya-laksanah sphuta eva. ye ty atathabhutas tesam pratyaksa-kalpocita-tathavidha-carvana-labhaya natadi-prakriya sva-gata-krodha-soka"di-sankata-hrdaya-granthi-bhanjanaya gita"diprakriya ca munina viracita."_"In this connection, the mind of those who have by nature hearts like an immaculate mirror is not at the mercey of the desires, anger or stupor proper to samsarika existence (that of everyday life). The mere fact of hearing the play read is sufficient (in itself, independently of any acting) to induce in them with the greatest clearness the perception of the various rasas which animate it; this perception consists in a Sampling animated by a generalized tasting. To make this Tasting (which needs a direct perception) available to people who are deprived of this faculty, Bharata has, on the one hand, explained the discipline of the actors, etc., and, on the other- to cut the knots of the heart obscured by anger, sorrow, etc., inherent in one's own self,-has explained the discipline of vocal music, etc." Representation and therefore drama in general which is founded upon representation) consists of a form of direct perception, is an adhyavasaya (mental cognition etc.; also vyavasaya, anu-vyavasaya, cf. App. I.) that is like the direct perception (saksatkara-kalpa, pratyaksa-kalpa). A.bh. XXII. 150 : "abhinayanam hi citta-vitti-sadharanata"patti-prana-saksatkarakalpaadhyavasaya-sampadanam. - "Representation arouses a mental cognition which is like a direct perception; it consists in causing the generalization of mental movements." A.bh. XXII. 148 : "vighna-sambhavana-vihina-sakala-sadharanaspasta-bhava-saksatkara-kalpadhyavasaya- sampattaye sarvesam prayoga ity uktam." "It is said that the acting (prayoga=parsadi prakatikaranam, A.bh. I. 16) of the four forms of representation aims just at rousing a mental cognition, which is like a direct perception. It consists of a generalized state of evidence common to all the spectators and devoid of every possible obstacle." Drama is the object of cognition by an "anu-vyavasaya" (about this word cf. App. I.) which is like a direct perception, A.bh. I. 43 The sixth obstacle is removed by focussing on the central theme. A.G. wants it to be a permanent mental state-sthayin. With this he goes deeper into the analysis For Personal & Private Use Only

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1548 SAHRDAYALOKA of sthayin and we will pick it up later. Actually his insistence on keeping the sthayin as a central theme is because all other things-including the material surrounding, etc. revolve round this sentient theme. But as we say "niramkusah kavyah", and hence some most modern writers do not accept such guidance and practice absurdism in poetry and drama. How even here the catholicity of rasa-theory is applicable will be shown by us by the end of the chapter. As noted above A.G. has tried to project eight or nine sthayins and has made psychology as the basis of the explanation of sthayin-s. We will get into this after we complete this discussion on rasa-vighnas and their removal. Here Abhinavagupta observes. (pp. 17, Gnoli, ibid) : "a-pradhane ca vastuni kasya samvid visramyati ? tasyaiva 'pratyayasya pradhanantaram praty anudhavatah svatmany a-visrantatvat. atopradhanatyam jade vibhavanubhava-varge vyabhicarini-caye ca samvid-atmakepi niyamenanyamukha-preksini sambhavati, tad atiriktah sthayyeva tatha carvana-patram :"(Trans. Gnoli, pp. 70, ibid): "Does there exist a man whose consciousness rests on anything of a secondary order (a-pradhana) ? Indeed such a perception would find no rest in itself and would thus run (anu-dhav) automatically towards the predominant thing. This is the reason why the permanent state only can be the object of tasting : because, I say, the dererminants and consequents, which are insentient (jada), and the transitory mental states, which though not insentient, nevertheless are necessarily depending on the permanent states, are all equally subordinate." Gnoli adds a ft. note (no. 1) here, pp. 70, ibid :- "cf. Dh. A. L. p. 177 :- tac carvanapi cittavrttisv eva paryavasyariti rasa-bhavebhyo nadhikam carvaniyam." The Tasting of the Determinants, etc., necessarily terminates in the mental movements; thus, apart from the bhava (the matter of the Rasas) there is nothing else which can be tasted. A.bh., I. p. 268 : sa ca yady apy ananta-vibhava"tma tathapi sarvesam jalanam samvidi tasyas ca bhoktari, bhoktrvargasya ca pradhane bhoktari paryavasanan nayakabhidhana-bhoktu-visesa-sthayi-citta-vrtti-svabhavah." -"Though [drama, etc.] is constituted by a infinite number of determinants etc., all the elements, which compound it, rest, however, in the consciousness (the permanent mental state). This rests in the enjoying subject (the limited enjoying subject, the practical self) and the whole of the enjoying subjects rest, in their turn, in the principal enjoying subject (the generalized knowing subject). Therefore, we may say that drama consists in a permanent mental state of a particular enjoying For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1549 subject, called an actor, etc." Such a mental state, continues A.G. is unique, generealized, devoid of the notions "own", "of others", etc. and, therefore, it pervades also the spectators-: ata eva sadharanibhuta-taya samajikam api svatmasadbhavena samavesayanti.... 'Samsaya-yoga' is the seventh obstacle which is met with due to inacurate delineation by the poet. The individual anubhava-s, vibhava-s and vyabhicarins have no fixed relationship with a given sthayin. But the fixed combination of vibhava"di-s evokes only a given sthayin and result in tasting of a particular rasa. The poet, who wants to delineate a particular rasa should narrate the full combination in a suitable way so as to enhance a particular sthayin to the capacity of a given rasa. Failing in this, there will be doubt about the central effect of a given piece of art and the aesthete will be left in doubt as to the intention of the poet, thus thwarting the process of tasting. So, to remove this doubt "samyoga" or perfeet combination is recommended. A.bh. (pp. 19, 20, Gnoli) reads as :- "tatranubhavanam vibhavanam vyabhicarinam ca prthak shtayini niyamo nasti, baspa"der anandaksirogadijatva-darsanad vyaghradesca krodha-bhaya"di-hetutvat srama-cinta"der utsaha-bhaya"dy anekasahacaratvavalokanat. samagri tu na vyabhicarini tatha hi bandhu-vinaso yatra vibhavah, paridevitasrupatadis tv anubha"vas cinta-dainya"dis ca vyabhicari, sovasyam soka eveti. evam samsayodaye sanka"tmaka-vighna-samanaya samyoga upattah." (trans. Gnoli, pp. 77, ibid) : -"The consequents, the determinants and the transitory sentiments considered separately are in no definite relation to any specific permanent sentiment'; for. e.g., tears, etc., may arise out of bliss, some disease in the eye, etc., and as we know, weariness (srama), anxiety (cinta), etc., may accompany permanent feelings, as heroism, fear, etc. But the combination of these elements has an unmistakeble signification. Thus., where the death of a close relation is the determinant, wailing, shedding of tears, etc., the consequent, and anxiety, depression (dainya), etc. The transitory feelings, then the parmanent sentiment can not be other than sorrow. Therefore, considered (such a possible) arising of doubt, combination is used, just to remove this obstacle. Thus A.G. has critically considered the obstacles in tasting and the means to remove the same. While considering the sixth obstacle A.G. at length, gets into a For Personal & Private Use Only

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1550 SAHRDAYALOKA prolonged discussion of the nature and number of permanent mental states which have a psychological basis. We will now try to understand this The psychological basis of the sthavin We have seen that Bharata in his Na.sa. ch. VII deals with the nature of sthayins etc. The tasting or chewing- carvana-of these bhava-s is 'rasa'. Bharata has, -we have noted above,-shown the difference between the sthayin and vyabhicarin by citing the illustration of a king and his servants. Abhinavagupta here attempts to explain that this difference is rooted in a deeper mental or psychological background. Abhinavagupta observes that out of the various sentiments, only some are condusive to the ends of life, i.e. to dharma, artha, kama ad moksa. Thus 'rati' or delight is conducive to pleasure, kama-and its resultant things. 'Krodha' or anger is profit-artha-oriented, but can also end in pleasure and merit. Eenergy-utsaha-has all the three ends i.e. dharma, artha and kama. 'Nirveda' or dispondancy born of knowledge of the Highest Spirit, reality, delivers 'moksa' or summom-bonum. These four sentiments viz. srngara, raudra, vira and bibhatsa (or santa) are the predominant rasa-s. At best one of these is predominant in dramas. At times all these four are seen in one and the same drama, in different situations or parts, in a predominant position. Abhinavagupta further observes that all these rasas are dominated by 'sukha'or pleasure : "tatra sarvemi sukha-pradhanah sva-samvic-carvanarupasyaikaghanasya prakasananda-saratvat" (pp. 17, Gnoli, ibid) "In this connection, all these Rasas are dominated by pleasure (sukha), for the essence of the closely dense (eka-ghana) light consisting of the gustation of our own consciousness, is beatitude." Gnoli here adds a foot-note (no-2, pp. 72, ibid): "The intimate essence of consciousness or the "I", according to the Saiva is beatitude. The absence of beatitude and suffering are due to a need, privation, or desire for something separated from self. Beatitude is the absence of this desire, the resting in oneself of the exclusion of everything else. The "I" contains all things; everything that exists arises from its unconfined liberty. It cannot be the seat of any deprivation and can desire nothing but itself. Aesthetic experience is the tasting of one's own consciousness and, therefore, of one's own essential beatitude. In this sense, rasa is single. This tasting is coloured (anu-ranjita, rusita) by latent impressions For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1551 (vasana, samskara), of the mental process of Delight, etc., aroused by the determinants, etc., i.e. by poetic expression. Form this point of view, the plurality of rasas is due to the diversity of the vibhava (vibhavabhedam rasa-bhede bahutvena sucayati...A.bh., I. pp. 290) cf. A.bh. I., p. 292: asmanmate tu samvedanam eva anandaghanam asvadyate tatra ka duhkha"sanka. kevalam tasyaiva citratakarane ratisoka"di-vasana-vyaparas tad udbodhane cabhinaya"divyaparah." "According to us, that which is tasted is consciousness alone which is saturated with beatitude. This fact excludes, therefore, any suspicion of pain. This consciousness which is single in itself, is nevertheless differentiated by the operation of the latent traces of delight, sorrow, etc., which are awakened by the operation of the consequents, etc., (abhinaya anubhava). For the nature of this "colouring" infused into the consciousness by the feelings of delight, etc., cf. infra, p. 82, n. 4." Abhinavagupta explains that the mental states of permanent nature are solely these nine: "jata eva hi jantur iyatibhih samvidbhih parito bhavati. tatha hi : duhkha-samslesa-vidvesi sukha"svadana-tatparah" iti nyayena sarvo riramsaya vyaptah, svatmany utkarsam anitaya, param upahasan abhista-viyoga-samtaptah taddhetusu kopa-paravasosaktau ca tato bhiruh, kimcid arjijisur, apy anabhistatayabhimanyamanas tat-tat-sva-kartavyadarsana-samudita-vismayah kimcic ca jihasur eva jayate. na hy etac cittavrttivasana-sunyah prani bhavati. kevalam kasyacit kacid adhika cittavrttih kacid una, kasyacid ucitavisaya-niyantrita kasyacid anyatha. tat kacid eva purusarthopayoginity upadesya. tad-vibhaga-krtas cottama-prakrty adi vyavaharah. ye punar ami glanisanka prabhrtayas citta-vrtti-visesas te samucita-vibhavabhavajjanma-madhyepi na bhavanty eva, tatha hi rasayanam upayuktavato muner, glany-alasya-sramaprabhrtayo nottisthanti. yasyapi hetu-praksaye ksiyamanah samskara-sesatam tavan navasyam, anubadhnanti. utsaha"dayas tu sampadita-sva-kartavyataya pralinakalpa api samskara-sesatam nativartante, kartavyantara-visayasyotsaha"der akhandanat...yatha"ha patanjalih- "na hi caitra ekasyam striyam rakta ity anyasu viraktah, ityadi (A.bh. Gnoli, pp. 18, 19, ibid). For Personal & Private Use Only

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1552 SAHRDAYALOKA Gnoli translates : (pp. 74, 75, ibid) : "The mental states of permanent nature are solely these nine. Indeed every creature from its birth possesses these (nine forms) of consciousness. In fact on the basis of the principle that all beings "hate to be in contact with pain and are eager, to taste pleasure," everyone is by nature pervaded by sexual desires (delight); believes himself to be superior to others, whom he is thus led to deride (laughter); grieves when he is forced to part from what he loves (sorrow); gets angry at the causes of such separation (anger); sets frightened when he finds himself powerless (fear)- but still is desirous of overcoming the danger which thereatens him (heroism); is attacked, when juging a thing to be displeasing, by a sense of revulsion directed just towards this ugly object. (disgust); wonders at the sight of extraordinary deeds done by himself or others (astonishment); and lastly, is desirous of abandoning certain things (serenity). No living creature exists without the latent impression of these sentiments. All we can say is that some of them predominate in some people and others in others; and that in some people they originate from the usual causes and in others from causes different from the habitual. Thus, only some sentiments are able to promote the ends of man, and, as such, they are rightly the object of teaching. The current division of men into men of elevated nature, etc., is determined by the different position occupied by these sentiments. Other sentiments, as weakness, apprehension, etc. on the other hand, can never possibly be manifested if the correspondent determinants do not exist; so, for example, a muni who practices rasayana is immune from weakness, indolence, weariness, etc. Even in one in whom, by virtue of the determinants, these are present, they regularly disappear without leaving any trace of themselves when the causes of manifestation cease. Heroism, etc., on the contrary, even when they apparently disappear after their tasks are completed, do not cease to remain in the state of latent impressions for other forms of heroism, concerning other task. remain intact. Indeed as Patanjali has said - "The fact that Caitra is in love with one woman does not imply that he is out of love with the others." etc. Abhinavagupta further explains the relation between the sthayin and vyabhicarins by giving an illustration of beads that are placed together in a single string. The sthayin is to be imagined to be the string or thread passing through vyabhicarins, here imagined to be beads of different colours. They place their colour on the sthayi-sutra i.e. the thread, and in turn are oblidged by the thread also. Sthayin is principal here, and the vyabhicarins are subordinate. For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1553 The A.bh. here reads as : (pp. 19, Gnoli, ibid) : "tasmat sthayi-rupa-citta-vrttisutra-syuta evami vyabhicarinah, svatmanam udayasta-maya-vaicitrya-satasahasra-dharmanam pratilabhamana rakta-nila"di-sutra-syuta-viralabhavombhanasambhavita-bhangi-sahasra-garbha-sphatika-kaca-bhramaka-padma-raga-marakatamahaniladi-maya-golakavat tasmin sutre sva-samskara-vaicitryam anivesayantopi tatsutra-kstam upakarasamdarbham bibhratah svayam ca vicitrarthah sthayisutram ca vicitrayanto ntarantara suddham api sthayi-sutram pratibhasavakasam upanayantopi purvapara-vyabhicari-ratna-cchayasabalimanam avasyam anayantah pratibhasanta iti vyabhicarina ucyante. tatha hi glanoyam ity ukte kuta iti hetuprasnenasthayitasya sutryate. na tu rama utsaha-saktiman ity atra hetuprasnam ahuh. ata eva vibhavas tatrodbodhakah santah svarupopa-ranjaka vidadhana ratyutsaha"der ucitanucitatvamatram avahanti. na tu tad abhave sarvathaiva te nirupakhyah, vasanatmana sarvajantunam tanmayatvena uktatvat. vyabhicarinam tu sva-vibhavabhave namapi nasti iti vitanisyate caitad yathayogam vyakhyanavasare. evam apradhanatvanirasah sthayi-nirupanaya, "sthayibhavan rasatvam" ity anaya samanya-laksana-sesabhutaya visesa-laksananisthaya ca krtah." (Trans. Gnoli, pp. 76, 77, ibid) : "In some sense, they are like the beads of crystal, glass, magnet, topaz, emerald, sapphire, etc., which filling the thread on which they are threaded no matter if red, blue, etc.,- so as to be set rather far apart from each other and continuously changing their position, do not leave, it is true, trace of themselves on this thread, but, all the same, nourish the ornamental composition made by it, and, being themselves various and varying in turn the permanent thread, let o doubt appear at intervals, in its nudity, though, at the same time, they affect it by their polychrome reflections, the reflections I mean of transitory jewels : it is for this very reason that these sentiments are called "transitory". When, that is to say, someone says, "This is a form of weakness", it is natural to ask by what is it provoked ? This question shows up precisely the instability of this mental movement. But in the case of the expression, "Rama is full of heroism", one does not ask for the cause. The determinants (the elements which awaken the mental states) are limited, therefore, to bringing to actuality the permanent sentiments (delight, heroism, etc.) corresponding respectively to their nature and they do this by infusing into them their own colouring. Even when their corresponding determinants are absent, it can not be said that the For Personal & Private Use Only

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1554 SAHRDAYALOKA permanent sentiments are non-existent, for it has been said that these, in the state of latent impressions, are present in all beings. Of the transitory sentiments, however, when their corresponding determinants are absent, not even the names ramain-all this will be explained more extensively at the suitable time and place. Such a refutation of the subordinate elements has been made by Bharata also through the description of the permanent sentiments, introduced by the words :"We shall now bring the permanent sentiments to the state of rasas." This description follows on the definition of the general marks, and concerns the particular ones." It may be noted that from this discussion it emerges that the tasting of mental states is rasa. It also follows from this that the sthayins being of the form of latent impressions that are permanent, are found in all living beings. So, when a sahrdaya reads poetry or witnesses a dramatic performance, he becomes conscious of his own emotions. It is precisely because of this that the enjoyer becomes a part of the piece of art presented. The seven obstacles that are discussed by Abhinavagupta reveal what is expected from the poet, the producer/director/actor and also the samajika or the cultured man of taste. Five obstacles follow from imperfection on the side of the poet and two result from difficulties with the enjoyer. Abhinavagupta underlines one important fact that the vighnas can be removed by proper presentation of the determinants, etc. "tatra vighapasarakah vibhava-prabhitayah." Proper delineation of the determinants etc. make for the birth of rasa. The explanation of Bharatas rasa-sutra according to Abhinavagupta can be placed as follows : It may be noted that before attempting an explanation of the rasa-sutra A.G. explains the inner meaning of vibhava, anubhava and vyabhicari-bhava. It can be held that these are jnapaka factors, i.e. they are indicators or suggesters. In common parlance, we infer someone else's feelings or emotions by first ascertaining the invariable concomittance between the external signs and the mental feelings connected therewith. This inference or process of reasoning is so quick that we do not notice the steps such as remembering the vyapti-sambahdha or invariable concomittance etc. By the practice (abhyasa) of inferring someone elses feelings one acquires expertise in it. The quickness in inference is caused For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1555 by practice. In poetry and drama also by the delineation of the combination of vibhava"di-s, a samajika, who has acquired the above discussed expertise at worldly level, is able to get at the bhava-s or emotions portrayed. Normally at worldly level feelings and emotions have a cause, an effect of expression, and also some assessories which help a given cause to generate a feeling. They make for the enhancement of a feeling. But in poetry these factors i.e. cause, accessories and effects are known by other technical names such as vibhava, vyabhicaribhava and anubhava respectively. Vibhava-s are so termed because of 'vibhavana' i.e. their inherent capacity to make things relishable. i.e. "asvadayogya." The capacity to make things an object of experience, so to say, 'anu-bhavana' gives the name "anubhava" that in worldly context are known as 'effects'. Vyabhicarins are so called as they have the potential to stay around the sthayin and enhance the same-i.e. vi-abhi-carana and pusti. A harmonious - samyag-combination, yoga, of these three factors is essential for the birth of rasa. It is essential that their samyag - yoga or harmonious combination, or ekagrata i.e. focussed situation should take place in the minds of the spectators. This exactly is termed :"vibhavanubhava-vyabhicari-samyogah", and through this ekagrata or samyag yoga a meaning 'artha' follows which becomes the object of 'sva-samvadana.' The obstacles are already removed from them. So, the process of rasana, samvedana or asvadana becomes bliss-giving. When arrived at through this process, the 'kavyartha' or 'natyartha' or "natya" is termed "rasa." It is identical with the process of enjoyment-rasana"tmaka. It is not siddhasvabhava i.e. it does not exist prior to the process of enjoyment. It is peri passu with the process. It is "tatkalika" i.e. happening only during the process of portravel. It is experienced only while the carvana-vyapara operates. Thus 'rasa' is non-identical with worldly feelings and emotions. It can not be held to be "inferred sthayin" either, for if it taken as inference than the blissfulness-"sarasata" will disappear, for there cannot be joy in the act of inference, which is a dry process. But, however, Mahima disagrees with this for he attaches joy to what he terms as 'kavyanumiti' i.e. inference in the context of art. ninavagupta has explained the process of rasa-realisation along with the epistemological discussion on the nature of rasa in very famous lines in his A.bh. and we will go to observe that all great thinkers, Mammata, Hemacandra, Visvanatha, Jagannatha and the rest have almost quoted A.bh. verbatim and have expressed their full faith in Abhinavaguptas observations. We will quote from the original, followed by Gnolis translation. The a.bh. reads as :- (Gnoli, pp. 20, For Personal & Private Use Only

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1556 SAHRDAYALOKA 21, 22 ibid) : "tatra loka-vyavahare karya-karana-sahacara"tmaka-linga-darsane sthayya"tmapara-cittavrity-anuma hyasa-patavad adhuna taireva udyana-kataksadhrtya"dibhir laukikim karanatva-bhuvam atikrantair vibhavana-anubhavanasamuparanjakarva-matrapranair ata eva alaukika-vibhava"di-vyapadesa-bhagbhih pracya-karana"dirupa samskaropajivana-khyapanaya vibhava"di-namadheyavyapadesyair, bhavadhyayepi vaksyamana-svarupa-bhedair guna-pradhanataparyayena samajika-dhiyi, samyogam, sambandham, aikagryam va asaditavadbhir alaukika-nirvighna-samvedana"tmaka-carvana-gocaratam n itorthas carvyamanataikasaro, na tu siddha-svabhavah, tatkalika eva, na tu carvanatiriktakalavalambi sthayi-vilaksana eva rasah." (Gnoli translates, pp. 78, 79, ibid) -"Rasa, in this connexion, is just that reality (artha) by which the determinants, the cousequents and the transitory feelings, after having reached a perfect combination (samyag yoga), relation (sambandha), conspiration (aikagrya), - where they will be in turn in a leading or subardinate position-in the mind of the spectator, make the matter of a gustation consisting of a form of consciousness free from obstacle and different from the ordinary ones. This Rasa differs from the permanent feelings, consists solely in the state of gustation and is not an objective thing (siddha-svabhava), lasts exactly as long as the gustation, and does not lian on any time separate from it. The determinants, etc., (which consist of garden, expressive glances, feelings of contentment (dhrti), etc.) transcend on their side the state of causes, etc., as these are understood in ordinary life. Their function consists solely in the fact that they colour (the consciousness of the spectator); their function is called 'vibhavana', 'anubhavana' etc. Thus these take the name, of a non-ordinary character, of determinants, etc., and this denomination aims at expressing their dependence on the latent traces left by the corresponding preceeding causes, etc. The particular nature of the various determinants will be explained later. The operation of the determinants, etc. presupposes, of course, that the spectator, in the course of his ordinary life, has not neglected to make a close observation of the characteristic signs, (effects, causes and concomitant elements) of other people's mental processes, in other words to deduce the one from the other." Rejecting rasa-apprehension to be of the nature of 'anumiti' as held by Sri Sankuka, Abhinavagupta further observes : (pp. 20, 21, Gnoli, ibid) : For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1557 "na tu yatha sankuka"dibhir abhyadhiyata, 'sthayy eva vibhava"di-pratyayyo rasyamanatvad rasa ucyata" iti. evam hi lokepi kim na rasah, asatopi hi yatra rasaniyata syat tatra vastusatah katham na bhavisyati. tena sthayi-pratitir anumitirupa vacya, na rasah. ata eva sutre sthayi-grahanam na krtam. tat pratyuta salyabhutam syat. kevalam aucityat evam ucyate sthayi rasibhuta iti. aucityam tu tat-sthayi-gatatvena karana"ditaya prasiddham adhuna carvanopayogitaya vibhava"ditvavalambanat. tatha hi laukika-cittavrty anumane ka rasata. tena akaukika-camatkara"tma rasa"svadah smrty anumana-laukika-sva-samvedanavilaksana eva. tatha hi laukikena anumanena samskrtah pramada"di na tatasthyena prati-padyate, api tu hrdaya-samvada"tmaka-sahrdayatva-balat purnibhavad-rasa"svadankuribhavena anumana-smrtya"di-sopanam anaruhya eva tanmayibhavocita-carvana-pranataya." Gnoli translates. pp. 79, 80, ibid : (But let us turn to Rasa, This is as we have said, different from the permanent sentiment] and it cannot absolutely be maintained, as Sankuka did, that what is called rasa is simply a permanent sentiment,* brought to our knowledge by the determinants, etc., and that, because this is the object of relish, it takes the name of rasa. For, if things were so, why should Rasa not exist also in everyday life ? For if an unreal thing is capable of being the object of relish, a real thing has all the more reason to be capable of it. Thus, it is legitimate to say that the perception of a permanent mental state consists in an inference; but we certainly can not rightly say that Rasa is also of this nature. This is the reason why Bharata has made no mention in the sutra of the word "permanent sentiment;" on the contrary, the mention of it would have been a source of difficulties. Such expressions as - "The permanent sentiment becomes rasa", are due to the correspondence (aucitya) only. This correspondence, to specify, is due to the fact that the very same things which were previously considered to be causes, etc., related to a given permanent sentiment, now serve to realize the gustation, and are thus presented in the form of ordinary self-cousciousness. Indeed, he who posseses the latent traces of the ordinary inferential processes, does not apprehend a young woman. etc., as if he were indifferent to her, but, by virtue of his sensibility-which quality is cousisting in a consent of heart, he rather apprehends her, without mounting on the steps of memory, inference, etc., as if merged in a gustation, suitable to an identification (with this young woman, etc.), which is, so to say, the sprout of the tasting of Rasa, about to appear in all fullness." * Gnoli uses "permanent sentiment" for "permanent mental state." The use is not absolutely scientific and threfore not permissible. For Personal & Private Use Only

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1558 SAHRDAYALOKA Abhinavagupta here explains how a sa-hrdaya enjoys rasa. True, the sahrdaya has the expertise at ordinary worldly level to infer ordinary mental feelings of others. In practical life he is an expert to infer someone else's feelings. This means that when the relevant causes appear, the relevant feelings will be flashed in his mind. So, when he observes a beautiful lady as described in poetry or as presented on the stage in a drama, he will not look at her as a third party (tatastha). On account of his sensitiveness-sahrdayatva-born of consent of heart-hidaya-samvadathe samajika aquires a capacity to grow over the 'tatasthya'. Without stepping on the ladder of anumana, smrti, etc., this experience becomes personal to himatmasat, as this experience is of the nature of aesthetic chewing (carvana) which causes for him an identification with whatever he observes. This aesthetic chewing is of the nature of consciousness (samvedana) and hence Abhinavagupta distinguishes this special cousciousness from other local mental attitudes. This brings us to Abhinavagupta's discussion on the epistemological aspect of rasa-consciousness. He observes : (A.bh., Gnoli- pp. 21, 22, ibid) : "na ca sa carvana pran manantarad, yena adhuna smrtih syat. na catra laukika-pratyaksa"di-pramana-vyaparah. kim tv alaukika-vibhava"di-samyoga balaponataiv eyam carvana. sa ca, pratyaksanumana-agama-upamana"di-laukikapramana-janita-ratyady avabodhatas tatha yogipratyaksa-tatastha-para-samvittijnanat sakala-vaisayika-uparaga-sunya-suddha-parayogi-gatasva"nandaikaghananubhavac ca visisyate, etesam yathayoham arjana"di-vighnantarodaya-tatsthyaasphutatva-visaya"vesa-vaivasya-krta-saundarya-virahat. atra tu svatmaika-gatatva-niyamasambhavat svanupravesat, paragataniyamabhavat tad-vibhava"di-sadharanyavasa-samprabuddhocita-nija-ratya"divasana"vesa-vasac ca, na vighnantara"dinam sambhava ity avocama bahusah." Gnoli translates (pp. 82, 83, 84, iid) : "This gustation, again, is not already born in the past, from some other means of knowledge, so that it is, now, a form of memory; nor is it the fruit of the operation of ordinary means of cognition (direct perception, etc.); but it is aroused solely by the combination (samyoga) of the determinants, etc., which, as we have said, are of a non-ordinary nature. This gustation is distinguished (a) from perception of the ordinary sentiments (delight, etc.) aroused by the ordinary means of cognition (direct perception, inference, the revealed word, analogy, etc., (b) from cognition without active For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1559 participation (tagastha) of the thoughts of others, which is proper to the direcet perception of the yogins; (c) and from the compact ekaghana-experience of one's own beatitude, which is proper to yogins of higher orders (this perception is immaculate, free from all impressions[uparaga), deriving from external things). Indeed, these three forms of cognition, being in due order (yathayogam) subjected to the appearance of obstacles (practical desires, etc.), lacking evidence and at the mercy of the (adorned) object, are deprived of beauty (saundarya). Here, on the contrary, because of the absence (of sensations of pleasures, pain, etc.) as inhering exclusively in our own person, of an active participation in our own self (svatmanupravesat), of the absence [of the afore-mentioned sensations as inhering exclusively in other persons, and the immersion (avesa) in the latent traces of our own sentiments of delight, etc., reawakened by the corresponding determinants, etc., which are generalized-because, I say, of all these causes, the appearance of obstacles is impossible. And all this has been said over and over again." In connection with the above passage Gnoli has, in ft. note, 4, pp. 82, explained the nature of mystical experience which differs from the aesthetic one. He observes. -"Mystical experience involves the annihilation of every pair of opposites; everything is re-absorbed in its dissolving fire. Sun and moon,night and day, beautiful and - ugly, etc. no longer exist in it. The limited "I" is completely absorbed into Siva or Bhairva, the adored object; everything vanishes from the field of consciousness. Aesthetic experience, on the other hand, requires the presence of the latent traces of delight, etc. (aroused by the operation of the determinants, etc.). In the aesthetic experience presupposes a pre-constituted knowledge on the part of the spectator, of the psychic reactions, etc., which are normally felt before a given situation. This knowledge is, in part, innate (it forms, that is, an integral part of human nature) and is, in part, acquired through the experience of one's own reactions and one's own observation of the reactions of others. Aesthetic experience, Rasa, manifested by a poetical description of a beautiful woman, is, for example, coloured by the mental state of delight, which is aroused by the description itself. Such a mental state is supposed to pre-exist in the spectator in a latent state, in the form, that is, of samskara or vasana. The Determinants which manifest aesthetic experience awaken, implicitaly and of necessity, these latent traces also. The beauty, the pleasantness proper to the aesthetic experience are due to the colouring of these mental processes; cf. A.bh. I. p. 290, "laukikat pratyayat For Personal & Private Use Only

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1560 SAHRDAYALOKA uparjana"di-vigha-bahulad, yogi-pratyayac ca visaya"svada-sunyata-parusad vilaksana"kara-sukha-duhkha"di-vicitra-vasananuvedhopanata-hrdayatis'aya-samviccarvana"tmana bhunjate budhah...." "Aesthetic enjoyment consists in the tasting of one's own consciousness; this tasting is endowed with extreme pleasantness (beauty), which it obtains from a contact with the various latent traces of pleasure, pain, etc. It differs both from ordinary perception, which is full of obstacles (pragmatic requirements, etc.), and from the perception of the yogins, which is not free from harshness, on account of total lack of any tasting of external objects." Thus by comparison with the aesthetic experience, the compact homogeneity (eka-ghanata) of mystical experience possesses a certain harshness. Its pursuit, that is to say, calls for uncommon force and energy (cf. the concept of vira, hero). Aesthetic experience, on the other hand, is easily attained. It is particulary suitable to people endowed with a "gentle mind."- (sukumara-mati). In the Dh. A. L., p. 51, A. G. defines Rasa in the following terms : sabda-samarpyamana-htdaya-samvada-sundara-vibhavanubhava-samucitapragvinivisa-ratya"di-vasananuraga-sukumara -sva-samvid ananda-carvana-vyapararasaniya -rupo rasah."-"Rasa is tasted through the act of tasting the beatitude of one's own consciousness. This tasting is pleasant (and not parusa as in mystic experience) in that the consciousness is coloured by the latent traces of the mental states of delight, etc., pre-existing in the minds of the spectators). Such traces are aroused by the corresponding determinants and consequents-which pleasant (beautiful, etc.,) by virtue of the consent of the heart-are afforded by the words." cf. Dh. A. L., p. 81 - anubhava-vibhavava-bodhanottaram eva tanmayibhavana-yuktya tadvibhavanubhavocita-citta-vstti-vasananuranjita-sva-samvidanandacarvanagocarortho rasa"tma sphuraty eva..." Gnoli, in ft. note 1, on pp. 84 also notices H.C.'s modification and enlargement of A.bh.s passage as quoted above. He observes : "This passage has been somewhat modified and enlarged by Hemacandra (see the critical Apparatus) :" Here, on the ontrary, because of the absence [of the sensations of pleasure, pain, etc.) as inhering exclusively in our own person, we are not at the mercy of the [adored] object; because of an active participation in our own self [and] the absence (of the aforementioned sensations) as inhering exclusively in other persons, there is no lack of evidence; and because of the immersion in the latent traces of our own For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1561 sentiments of delight, etc., re-awakened by the corresponding determinants, etc., which are generalized, there is no possible appearance of obstacles." The A.bh. (pp. 21, 22 etc. Gnoli) further observes : "ata eva vibhava"dayo na nispatti-hetavo rasasya, tadbodhapagemepi rasa-sambhava-prasangat. napi jnapti hetavah yena pramana-madhye pateyuh, siddhasya kasyacit prameyabhutasya rasasyabhavat. kim tarhi etat vibhavadaya iti ? alaukika evayam carvanopayogi vibhava"divyavaharah. kva anyatr ettham drsam iticed bhusanam etad asmakam alaukikatva-siddhau. panaka-rasa"svadopi kim guda-marica"disu drsta iti samanam etat. nanv evam rasoprameyah syat, evam yuktam bhavitum arhati, rasyataikaprano hy asau, na prameya"di-svabhavah. tarhi sutre nispattir iti katham ? neyam rasasya, api tu tadvisaya-rasanayah. tannispattya tu yadi tad ekayatta-jivitasya rasasya nispartir ucyate, na kascid atra dosah. sa ca rasana na pramana-vyaparo, na karaka-vyaparah, svayam tu na apramaniki, sva-samvedanasiddharvat. rasanaca bodha-rupa eva, kim tu bodhantarebhyo laukikebhyo vilaksanaiva, upayanam vibhava"dinam laukika - vailaksyanyat. tena vibhava"di-samyogad rasana yato nispadyate tatas tathavidha rasana-gocaro lokottarortho rasa iti tatparyam sutrasya." Gnoli translates : (pp. 84, 85, ibid) : "For this reason (ata eva) the determinants are not the causes of the production (nispatti) of Rasa; otherwise, Rasa should continue to exist even when they no longer fall under cognition. Nor are they the cause of its cognition (napti) (if they were, they would have to be included among the means of knowledge (pramana), because Rasa is not an objective thing (siddha), which could function as a knowable object. What is it, then, that is designated by the expressions, "determinants etc. ?" We reply to this question that the expressions "determinants, etc." do not designate any ordinary thing, but what serves to realize the gustation (carvanopayogi). Does any such thing appear elsewhere ? But the fact that it does not occur elsewhere, we reply, can do nothing but strengthen our thesis of their non-ordinary character. Does the taste of rasa of panaka perhaps occur in molasses, peppers, etc. (of which, however, it consists) ? The case is perfectly analogous. "But someone might say) in this way Rasa is not an object of cognition (aprameya)." That is what really occurs, we reply and suitably. Rasa, indeed, consists For Personal & Private Use Only

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1562 SAHRDAYALOKA solely of a tasting and has not the nature of an object of cognition, etc. "But how then do you think that the expression which Bharata uses in the sutra can be justified when he says: "The production of Rasa (rasa-nispatti)"? This expression, we reply, must be understood in the sense of a production, not of Rasa, but of the tasting which refers to the Rasa (tad-visaya-rasana). Likewise, if the expression "The production of Rasa" is understood in the sense of a production of a Rasa whose subsistence is exclusively depending on the said tasting, our thesis is not beset by any difficulty. Besides, this tasting is neither the fruit of the operation of the means of cognition nor of the means of action. On the other hand, it can be said that, in itself, it is not ascertained by any means of aknowledge (a-pramanika), for its real existence is an inconfutable datum of our own consciousness (sva-samvedanasiddha). This tasting, moreover, is, no doubt, solely a form of cognition, but a form of cognition different from any other ordinary perception. This difference is due to the fact that the means of it, that is, the determinants, etc., are of a non-ordinary character. To conclude: What is produced by the combination (samyoga) of the Determinants, etc., is the tasting (rasana); and the rasa is the non-ordinary reality, which is the matter of this tasting. This is the sense and purport of the sutra. Abhinavagupta gives the summary of what he has dicussed at length above in the words (A.bh., pp. 22, ibid) : "ayam atra samksepah. mukuta-pratisirsaka"dina tavan nata-buddhir acchadyate. gadha-praktana-samvit-samskarac ca kavya-bala"niyamanapi na tatra ramadhir visramyati. ata eva ubhaya-desa-kala-tyagah. romanca"dayas ca bhuyasa rati-pratiti-karitaya drstas tatravalokita desakala-niyamena ratim gamayanti. yasyam sva"tmapi tadvasanavattvad anupravistah. ata eva na tatasthataya raty avagamah, na ca niyata-karanataya, yena arjanabhisvanga"di -sambhavana. na ca niyata-paratmaika-gata-taya, yena duhkha-dvesa"dyudayah. tena sadharanibhuta samtana-vrtter ekasya eva va samvido gocaribhuta ratih srngarah. sadharanibhavana ca vibhava"dibhir iti." Gnoli translates (pp. 86, 87, ibid) :-"All this may be summarized in the following way in the first place, the identity of the actor as such is concealed by tiaras, headwear, etc.; in the second place, the idea that he is Rama, etc., aroused by the power of the poem, neverthless does not succeed in imposing itself upon the idea of the actor, for the latent traces of the said idea are strongly impressed on the For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1563 spectator's minds. For this very reason, the spectator is no longer living either in the space and time of Rama, etc., nor in the space and time of the actor as such. Acts of horripilation, etc., which have repeatedly been seen by the spectator in the course of everyday life as indexes of delight, etc., serve, in this case, to make known a delight, etc., uncircumscribed by either time or space. In this delight, just because he possesses the latent traces of it in himself, the self of the spectator also actively participates. For this very reason, this delight is perceived neither with indifference, from the outside, nor as if it were linked with a particular [ungeneralized] cause-for in this case, intrusion by pragmatic requirements, interests of gain, etc. would occur-, nor again as if exclusively belonged to a defined third person-for, in this case, sensations of pleasure, hatred, etc. would occur in the spectator. Thus, the Erotic Rasa is simply the feeling of delight-a feeling, however, which is both generalized and the object of a consciousness, which may be either single or develop consecutively. The taste of generalization is carried out by the determinants. etc." It may be noted that when Abhinavagupta speaks of 'Rama', as for example, in the above passage, the same is applicable to any other character, male or female, either historical or imaginary. Abhinavagupta's concern is not with a historical character only. Again, in the above passage, when he talks igf "bengara-sasalhe means any! other rasa also. In fact he and also Anandavardhana and the whole school of thought these two represent, believe in one rasla, a 'maha-rasa-and it can be given! the name of santarrasa. This will be rendereda clear when we will examine their position on the problem of santa-rasa by the end of this chapter. For the present, we will just quote the relevant portion from the Locana also that deals with this problem of rasa-nispatti. As observed earlier, and as the advanced reader will make out for himself while reading the quotation from Locana, the treatment therein is neither that clear, nor that perfect as compared to the Abh. But this never permits 0110111-6600 DSNSDORA DO a rash, conclusion that there is any contradiction of ideas between the twa, i.e. I DALAX21in2011 VECK.UST THI TUTTO ibab Locana and Abh., or there is any confusion in the presentation in Lacana. Only.. lesser souls would see such things in Abhinavagypta CA TITIR O Vichibhira The Locana portion which deals with this problem of rasa may be read as follows, and it forms the commentary on Dhy. I. 4. VO I -761VOOR DE 16V0IOTOMC1-26TE But before we quote, we repeat that Abhinavagupta's aesthetics has; its essence carved out in the discussion he devotes to the santa-rasa. It may also be noted that ICY 16TC GCSLIDITTUVWXC78 A 59010 TRX 11 NEZINMOTOCI VNUTOS TEHNOW TO A INT For Personal & Private Use Only

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1564 SAHRDAYALOKA the essence of 'sadharanikarana' and 'rasanubhuti' has been so neatly and explicitely laid down by Abhinavagupta and Anandavardhana apart, no Bhatta Nayaka or any, not even Jagannatha can be said to be a match with Abhinavagupta. It has been fashionable among lesser souls, especially some writers in Gujarati who have never looked into, nor have the ability to look into what Abhinavagupta has written, to credit Bhatta Nayaka with "sadharanikarana" which was not so fully understood even by Bhatta Nayaka as compared to the "Greatest" Abhinavagupta. The Dhv. Locana on II. 4, the portion on rasa-nispatti-vicara reads as: (pp. 106,-112; Dhv. with Locana, Edn. T. S. Nandi, Ahd.-'97-'98). : "nanu'ktam bhatta-nayakena-" raso yada para-gata-taya pratiyate tarhi tatasthyam eva syat. na ca svagatatvena rama"di-carita-mayat kavyad asau pratiyate. svatma-gatatvena ca pratitau svatmani rasasyotpattir evabhyupagata syat. sa cayukta; sitayah samajikam praty a-vibhavatvat. kantatvam sadharanam vasana-vikasa-hetu-vibhavatayam prayojakam iti cet,-devata-varnana"dau tad api katham? na ca sva-kanta-smaranam madhye samvedyate, aloka-samanyanam ca rama"dinam ye samudra-setubandha"dayo vibhavas te katham sadharanyam bhajeyuh. na ca utsaha"diman ramah smaryate, ananubhutatvat. sabdad api tatpratitau na rasopajanah pratyaksad iva nayaka-mithunasya. utpatti-pakse ca karunasyotpadad duhkhitve karuna-preksasu punar apravrttih syat. tan na utpattir api. napy abhivyaktih, sakti-rupasya hi srngarasya abhivyaktau visayarjana-taratamya"pattih syat. tatrapi kim svagobhivyajyate rasah paragato va iti purva-vad eva dosah. tena, na pratiyate, na utpadyate, na abhivyajyate kavyena rasah. kintv anyasabda-vailaksanyam kavya"tmanah sabdasya. tryamsata-prasadat. tatrabhidhayakatvam vacya-visayam; bhavakatvam rasa"di-visayam, bhoktrtvam sahrdaya-visayam iti trayomsabhutah vyaparah. tatrabhidha-bhago yadi suddhah syat, tantra"dibhyah sastra-nyayebhyah slesa"dy alamkaranam ko bhedah ? vrtti-bheda-vaicitryam ca a-kincit-karam. srtidusta"di-varjanam ca kim artham ? tena rasa-bhavana"khyo dvitiyo vyaparah, yad vasad abhidha vilaksana eva. tac ca etad bhavakatvam nama rasan prati yat kavyasya tad vibhava"dinam sadharanatva"padanam nama. bhavite ca rase, tasya bhogah yonubhava-smarana-pratipattibhyo vilaksana eva, druti-vistara-vikasa"tma rajas-tamovaicitryanuviddha -sattvamaya-nijacit- svabhavanirvrti-visranti-laksanah, parabrahma"svada-savidhah. sa eva ca pradhanabhutomsah siddha-rupa iti. vyutpattir nama a-pradhanam eva, iti. For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1565 atrocyate-rasa-svarupa eva tavad vipratipattayah prativadinam. tatha hipurvavasthayam yah sthayi sa eva vyabhicari-sampata"dina prapta-pariposo nukaryagata eva rasah. natye tu prayujuamanatvan natya-rasa iti kecit. pravaha- dharmnyam citta-vrttau, citta-vrtteh citta-vrttyantarena kah pariposarthah ? vismaya-soka-krodhades ca kramena tavan na pariposa, iti nanukarye rasah. anukartari ca tad-bhave laya"dy ananusaranam syat. samajikagate va kas camatkarah ? praty uta karuna"dau duhkha-praptih. tasman nayam paksah, kas tarhi ? iha"nantyan niyatasya anukaro na sakyah, nisprayojanas ca, visistata-pratitau tatasthyena vyutpatty abhavat. tasmad aniyatavastha"tmakam sthayinam uddisya vibhavanubhava-vyabhicaribhih samyujyamanair ayam ramah sukhiti smrti-vilaksana sthayini pratigocara-taya"svada-rupa pratipattir anukartra"-lamba natyaika-gamini rasah. sa ca na vyatiriktam-adharam apeksate. kintv anukaryabhinnabhimate nartake asvadayita samajika ity etavanmatram adah. tena natya eva rasah, nanukarya"disv iti kecit. anye tu-anukartari yah sthayyavabhasobhinaya"di-samagrya"di-krto, bhittav iva haritala"dina asvavabhasah, sa eva lokatita-taya asvadapara-samjnaya rasyamano rasa iti natyad rasa natya-rasah. apare punar vibhavanubhavamatram eva visista-samagrya samarpyamanam tad-vibhavaniya-anubhavaniya-sthayi-rupa-citta-vrtty-ucita-vasananusaktam svanirvrti-carvana-visistam eva rasah, tan natyam eva rasah, anye tu suddham vibhavam, apare suddham anubhavam, kecit tu sthayimatram. itare vyabhicarinam, anye tat-samyogam, ekenukaryam, kecana sakalam eva samudayam rasam ahur ity alam bahuna. kavyepi ca loka-natya-dharmi-sthaniyena svabhavokti-vakroktiprakara-dvayena alaukika-prasanna-madhura-aujasvi-sabda-samarpyamana-vibhavaviyogad iyam eva rasa-varta. astu vatra natyad vicitra-rupa rasa-pratitih, upayavailaksanyad iyam eva tavad atra saranih. evam sthite prathama-paksa-evaitani dusanani, pratiteh sva-para-gatatva"di vikalpanena. sarva-paksesu ca pratitir a-pariharya rasasya. apratitam hi pisacavad a-vyavaharyam syat. kim tu yatha pratiti-matratvenavisisatvepi pratyaksiki, anumaniki, agamottha, pratibhana-krta, yogi-pratyaksaja ca pratitir upaya-vailaksanyad anyaiva, tadvad iyam api pratitis carvana"svadanabhogapara-nama bhavatu tannidana-bhutaya hrdaya-samvada"dy upakrtaya vibhava"di-samagrya lokottara-rupatvat. rasah pratiyanta iti ca odanam pacatitivad vyavaharah, pratiyamana eva hi rasah. pratiter eva visista rasana. sa ca natye laukikanumana-pratiter vilaksana; tam ca pramukhe upayataya sandadhana. For Personal & Private Use Only

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1566 SAHKDAYALOKA evam kavye anya-sabda-pratiter vilaksana, tam ca pramukhe upayataya apeksamana. tasmad anutthanopahatah purva-paksah. rama"di-caritam tu na sarvasya hrdaya-samvaditi mahat sahasam. citra-vasana-visistatvac cetasah. yad aha-tasam anaditvam asiso nityarvat. jati-desa-kala-vyavahitanam apy anantaryam smrtisamskarayor eka-rupatvat. tena pratitis tavad rasasya siddha. sa ca rasanarupa spratitir utpadyate. vacya-vacakayos tatra abhidha"di-vivikto vyanjana"tma dhvananavyapara eva. bhogikarana-vyaparas ca kavyasya rasa-visayo dhvanana"tmaiva, nanyat kincit. bhavakatvam api samucita-gunalamkara-parigraha"tmakam asmabhir eva vitatya vaksyate. kim etad apurvam ? Do kavyam ca rasan prati bhavakam iti yad ucyate, tatra bhavataiva bhavanad patti-paksa eva pratyujjivitah. na ca kavya-sabdanam bhavakatvam., arthaparijnane tad abhavat. na ca kevalanam arthanam, sabdantarenarpyamanatve tad ayogat. dyayos tu bhavakatvam asmabhir evoktam. "yatrarthah sabdo va tam artham vyankta" ity atra. tasmad vyanjakarva"dikaya itikartavyataya kavyam bhavakam, rasan bhavayati, iti tryamsayam api bhavanayam karanamse dhvananam eva nipatati, bhogopi na kavya-sabdena kriyate, api tu ghana-mohandhya-samkatatanivrtti-dvarena asvadanaparanamni alaukika druti-vistara-vikasa"tmni bhoge kartavye lokottare dhvanana-vyapara eva murdhabhisiktah. taccedam bhoga krttvam rasasya dhvananiyatve siddhe daiva-siddham. rasyamanatodita-camatkaranatiriktarvat bhogasya iti. ** satrva"dinam cangangi-bhava-vaicitryasya"nantyad drutya"ditvena asvadaganana na yukta. parabrahma"svada -sa-brahma-caritvam casty asya rasa"svadasya. vyutpadanam ca sasana-pratipadanabhyam sastretihasa-krtabhyam vilaksanam. yatha ramas tathahamity upamanati-riktam rasa"svadopaya-sva-pratibha-vijrmbha-rupam vyutpattim ante karotiti kam upalabhamahe ? tasmat sthitam etat-abhivyajyante rasah pratityaiva ca rasyanta iti. ta pradhanataya bhavatvanyatha va. pradhanatve dhvanih, anyatha rasa"dy alamkara)." od may be noted that Abhinavagupta looks sober when we read his remarks on Bhatta Nayaka in the A.bh. But when we go through the above passege in Locana, we feel that Abhinavagupta has taken a sterner look at Bhatta Nayaka and is more vocal, forthright and acid in denouncing the latter's bhavakarva, bhogikarana, and sadharapikarana and suggesting that all this is not even a step further beyond ! !! hivyaktih For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1567 dhvani-vyanjana of Anandavardhana, This becomes very clear when we read the above passage. However, for added delight, we quote Gnoli's translation of this passage as read in Appendix III, pp. 107, etc., ibid. Gnoli translates : Appendix III Commentary on Dh. A., II. 4 "Now Bhatta Nayaka says-If the Rasa were perceived as present in a third party, the spectator should be in a state of indifference. On the other hand, the poem-which, f.i, might describe the story of Rama-does not make the reader perceive it as really present in him because that would imply this admission, namely that there is a birth of Rasa in his own self. Now this birth does not stand to reason, because Sita dose not play the role of a determinant as regards the spectator. "But"-someone may perhaps say-"that which causes her to be a determinant is the general idea of loverness, which, shared by her, is the cause of the awakening of the latent impressions." But I reply to this objection-how can that happen as regards a description of deities, etc. ? Further, no memory of his own beloved one does arise in the spectators consciousness (while he looks at Sita). Again is it possible that the construction of a bridge on the ocean and the other determinants of this kind, proper to some extra-ordinary personages as Rama and so on, may become general ? Nor it can be said that what occurs is simply the memory of Rama, as endowed of heroism, etc., in so far as the spectator has had no such previous experience. Even assuming that he is perceived through verbal testimony (sabda), there cannot be any birth of Rasa, just as in the case of a pair of lovers united together, perecived through direct knowledge. Moreover, according to the thesis which maintains that Rasa is produced, the birth of the pathetic Rasa would make the pereciver to experience pain, and, consequently, he would go no more to pathetic representations. Therefore, that is not a production and not even a manifestation. Indeed, if it is supposed that a Rasa f.i., the Erotic one, first pre-exists in a potential form and is later manifested, then the determinants must necessarily) illuminate it little by little. Besides, the difficulties already met with would recur : is Rasa manifested as really present in our own self, or as present in a third party? Therefore, Rasa is neither perceived, nor produced, nor manifested by the poem. The truth is that the poetic word is different from the other ones. This happens thanks to three distinct ppwers, which are so to speak, its parts (amsa): that is to say, the power of denotation, which has, as its object, the expressed sense; the power of revelation, which has, as its object, the rasa; and the power of bringing For Personal & Private Use Only

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1568 SAHRDAYALOKA about enjoyment, which has, as its object, the individuals who are possessed of heart. If in poetry there were, indeed one power only, i.e. the power of denotation, without the other ones, what a difference would still remain between the various ornaments, as alliteration, etc., and the treatises illustrating them ? And together with the ornaments the various styles also would result useless. And, again, what would be the purpose of avoiding cacophony, etc. ? Therefore, there is a second power, called 'revelation of Rasa', thanks to which the language of poetry is different from any other. This power, the so-called revelation, proper to poetry, is nothing but the faculty of generalizing the determinants. Once the Rasa has been revealed, there is the enjoyment of it. This enjoyment, which is different from any other kind of perception, as direct knowledge, and memory, consists of the states of fluidity, enlargement and expansion, is characterised by a resting, by a lysis, in our own consciousness, constituted by sattva, and intermixed with rajah, and tamah, and is similar to the tasting of the supreme brahman. The chief member of poetry is only this, quite perfect. The so-called instruction has only a secondary place. This is only one of the theories. The critics indeed do not agree about the true nature of Rasa. Indeed, some of them say that, in the first stage, we have only a parmanent state of mind, which, being later nourished by the transitory states of mind, etc., is experienced as Rasa. This Rasa, they add, is perecived as really present in the reproduced personage only, and, being displayed in the theatre, is called "theatre-rasa." This theory is criticised by others in the following way. What is indeed, they say, the sense of this intensification of a state of mind by another one as regards a mental state, which naturally develops in succession ? Surely, neither astonishment, nor sorrow, nor anger, etc., are seen to grow more intense with time! Therefore your thesis, viz. Rasa is [perceived as really) present in the reproduced personage, does not stand to reason. If you, on the other hand, say it is in the reproducing actor, obviously he could not follow the tempo, etc. If, finally, you say that it is in the spectators, what a camatkara would still subsist ? On the contrary, in front of a pathetic scene, the spectators would necessarily feel in pain. Therefore, this thesis is not sound. Which is then the right one? Here, because of the infinitude of gradations, no reproduction of a defined (niyata) permanent feeling must be made; this, besides, would be purposeless, because at the sight of this excessive particularity, the vould remain indifferent, so that there could not be any useful teaching. The true nature of Rasa is therefore the following. When the determinants, the For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1569 consequents and the transitory states are joined together with reference to a permanent mental state, (a-niyatavastha"tmaka), there arises a perception, different from memory, viz. "This is Rama who was happy." This perception has, as its object, the permanent mental feeling, is made up of a tasting, is ultimately founded on the reproducing actor and is also to be found in theatre only. Rasa is nothing but that. It does not require any separate support, but, on the contrary, the spectator is tasting it in the actor, who is considered as identical with the reproduced personage. This is, in brief, the nature of aesthetic experience. Therefore, Rasa lies in the theatre only, not in the represented personage etc. (This, the theory of sankuka). Some others say: "The image of the parmanent state of mind appearing in the reproducing actor is produced by the assemblage of the different forms of representation, etc., just as the image of a horse, appearing on a wall, is produced by the various pigments, as orpiment, etc. This image is tasted by a perception of a non-ordinary nature, named also sampling, and is therefore called Rasa. The meaning of the expression "theatre-rasa", is than, 'the Rasas which are caused by the theatre. According to others, Rasa is nothing but the whole of the determinants and the consequents, supplied by a particular assemblage, connected with determinate latent impressions suitable to the parmanent state of mind-which is the object of the acting of the afore-mentioned determinants and consequents and characterized by an intimate relish or lysis. According to this theory, the Rasas, are nothing but the drama. Some others say that Rasa is the mere determinant, or, again, the mere cousequent; according to others it is nothing but the permanent state of mind; others say it is the transitory mental state; to others it is a comnbination of these; others say that ot is the situation to be reproduced; and others finally, that it is an aggragate of all that. But enough of these lucubrations. The afore-mentioned Rasa occurs in poetry also, which, in the place of the realistic representation and of the theatrical conventions, possesses the natural and extra-ordinary mode of speech. The combination of the determinants, etc., by which it is produced, is, in poetry, afforded by words of a non-ordinary character, endowed with the qualities of clearness (prasanna), sweetness (madhura), and' powerfulness (ojasvin). Even if it be admitted that in poetry the Rasa-perception is someway different from drama, because of the means which are different, the process, however is the same. For Personal & Private Use Only

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1570 SAHRDAYALOKA Being it so, these faults concern the prima facie view only, for, according to it, perception is subjected to the distinctions proper to oneself, to others, etc. Anyhow, no matter which the thesis is, Rasa results to be perecption. This is unavoidable. Indeed, the existence of an unperceived thing, as, for instance, a goblin affirmed. The fact that this perception is called by the names of relish, tasting, or enjoyment, does not amount to any difficulty. We know indeed that the direct cognition, the inference, the tradition, the intuition, the super-normal experience, under their different names,-caused by the different means which manifest them, are equally but forms of perception. Nothing then forbids us to admit that the same occurs in the case of rasa also, for the very reason that the means by which it is manifested, viz. the combination of the determinants, etc., assisted by the concent of heart and so on, are of a non-ordinary nature. The use of the expression, "The Rasas are perceived," is just like the one 'the porridge is being cooked.' The Rasa, indeed, is merely perceived. The relishing is only a particalar perception. This perception in drama, is different from an ordinary inferential perception; yet, in the beginning, this is required as a means. Likewise, the afore-said perception, in poetry, is different from the other verbal perceptions. Yet, in the beginning, these are required, as a means. Therefore, the prima facie views are put to death. But if you say that the exploits of Rama, etc., do not earn the consent of heart of everybody, that, I answer, is a great mark of rashness. Everybody's mind is indeed characterized by the most various latent inpressions; for as it has been said, "As the desire is permanent, these are beginningless," and, "On the ground that the remembrances and the impressions are homogeneous there is an uninterrupted succession of latent sions, even if they are separated by birth, space and time." (yoga-sutra, IV., sutras 10 and 9). Therefore, it is established that Rasa is perceived. This perception, in its turn, presents itself in the form of relishing. This relishing is produced by a new power, different from the power of denotation, which the expressed sense and the expressing words come to possess, that is the power of tune, of suggestion, The so-called power of bringing about enjoyment, proper to poetry, according to you, consists, actually, of this power of suggestion only, and has, as its object, the Rasa. The other power also, viz. the power of effectuation, is actually based on the usage of appropriate qualities and ornaments. We shall explain it diffusely. It is nothing new. On the other hand, if you say that poetry is effecting the Rasa, then you, by this very statement, resuscitate the theory of production. Besides, this power of For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1571 effectuation can be proper neither to the poetical words only, because, if the express sense is not known, the afore-said power cannot logically exist; nor to the express sense only, because, this being conveyed by other words, it does no longer exist. We, on the contrary, maintain that this power of effectuation pertaining to the two of them, as it is confirmed in the stanza, : That kind of poetry, wherein either the sense of the word suggests the implied meaning," etc. (Dh. I. 13). Further, the effectuation process (let us here remember) is endowed with three distinguished parts, that is, the means, the necessary measures, and the end. Therefore, if we make the power of manifestation correspond to the means, the appropriate qualities and ornaments to the necessary measures, and the Rasas to the end, produced by the effecting poem, it is quite clear that the power of suggestion will correspond to the first part, viz. The means. The enjoyment, in its turn, is not produced by the poetical word, but by this non-ordinary power of suggestion only, through the suppression of our thick pall pf mental stupor and blindness. This enjoyment consists, according to you, of the states of fluidity, enlargement and expansion, is called also "tasting", and is of a non-ordinary nature. In other words, having once established that Rasa is suggested, the afore-mentioned power of bringing about enjoyment is, it too, finally established. The enjoyment, indeed, is identical with the 'Camatkara', arising from the Rasa-experience itself. Further, as the constituent elements sattva, etc, can be found set out in an infinite number of different ways, according to the predominance of the one or the other, it is absurd to limit the forms of tasting to fluidity, etc. only. As to the theory, according to which the tasting of rasa is similar to the tasting of the supreme Brahman, we have nothing to object. Moreover, the teaching to be derived from poerty is different from the injunctions and instructions imparted by religious treatises and historical narratives. However, to them, who maintain that poetry produces at the end a teaching, which differs from usual analogy, viz. "as Rama, so I", and consists in an enrichment of our own power of intuition,-the instrament which allows the tasting of Rasa-, we have nothing to reproach. Therefore, this is definitely establishednamely, that Rasas are manifested, and are tasted through a perception." It will be also interesting to quote another passage from Locana, on Dnv. I. 18This reads as : (pp. 88, 98, Edn. Nandi, ibid) "tatha hi-vibhavanubhava-pratipadake hi kavye mukhyerthetavad badhakanupravesopy asambhavya iti ko laksanavakasah ? nanu kim badhaya, iyad eva laksana-svarupam-"abhidheyavinabhuta-pratitir laksanocyate.", iti iha ca abhidheyanam vibhavanubhavadinam avina-bhuta For Personal & Private Use Only

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1572 SAHRDAYALOKA rasadaya iti laksyante, vibhavanubhavayoh karya-karana-rupatvat, vyabhicarinam ca tat sahacaritvad iti cet-ma evam. dhumasabdad dhume pratipanne hy agnismstir api laksana-kytaiva syat, tatogneh sitapanoda-smrtir itya"dir a-paryavasitah sabdarthah syat. dhuma-sabdasya svartha-visrantitvan na tavati vyapara iti cet, ayatam tarhi mukhyarthabadho laksanaya jivitam iti. sati tasmin, svartha-visrantyabhavat. na ca vibhavadi-pratipadane badhakam kincid asti. nany evam dhumavagamananantaram agni-smaranavad vibhavadipratipattyanantaram ratya"di-citta vrtti- pratipattir iti sabda-vyapara eva'tra nasti. idam tavad ayam pratiti-svarupajno mimamsakah prastavyah-kim atra paracitta-vrtti-matre pratipattir eva rasapratitir abhinmata bhavatah? na ca evam bhramitavyam; evam hi lokagata-citta-vstty anumana-matram iti ka rasata ? yastv alaukika-camatkara"tma rasa"svadah, kavya-gata-vibhavadi-carvana-prano, nasau smarananumana"di-samyena khilikara-patri-kartavyah. kim tu, laukikena karya-karananumana"dina samskrta-hrdayo vibhava"dikam pratipadyamana eva, na tatasthyena pratipadyate, api tu, hrdaya-samvadapara-paryaya-sahrdayatvaparavasikstataya parnibhavisyad-rasa"svadankuribhavena anumana-smarana"disaranim anaruhya eva tanmayibhavanocita-carvana-pranataya. na casau carvana pramanantarto jata purvam yena idanim smotih syat. na cadhuna kutascit pramanantarad utpanna, alaukike pratyaksady a-vyaparat. ata eva alaukika eva vibhava"di-vyavaharah. yad aha-"vibhavo vijnanarthah.", loke karanam eva abhidhiyate, na vibhavah. anubhavopy alaukika eva-"yad ayam anubhavayati vag-anga-satrva-krtobhinayas tasmad anubhava iti. tac cittavsttitanmayibhavanam eva hy anubhavanam. loke tu karyam eva ucyate, nanubhavah. ata eva parkiya na citta-vsttir gamyata ity abhiprayena "vibhavanubhavavyabhicari-samyogad rasa-nispattih" iti sutre sthayi-grahanam na krtam. tat praty uta salya-bhutam syat. sthayinas tu rasibhava aucityaducyate, tadvibhavanubhavocita-citta-vrtti-samskara-sundara-carvanodayat. hrdayasamvadopayogi-lokacitta-vrtti-parijnanavasthayam udyana-pulaka"dibhih sthayibhuta-ratyady avagamac ca. vyabhicari tu citta-vrttyatmakatvepi mukhya-cittavstti-paravasa eva carvyate iti vibhavanubhava-madhye ganitah. ata eva rasyamanataya esa eva nispattih yat- prabandha-pravstta-bandhu-samagama"dikaranodita-harsa"di-laukika-citta-vstti-nyagbhavena carvanarupatvam. atas carvanatra abhivyanjanam eva, na tu jnapanam pramana-vyaparavat, napy utpadanam hetu-vyaparavat. For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1573 nanu yadi neyam jnaptir na va nispattih, tarhi kim etat? nanv ayam alaukiko rasah, nanu vibhavadir atra kim jnapako hetuh, uta karakah ? na jnapako na karakah, api tu carvanopyogi. nanu kva etad drstam anyatra ? yata eva na drstam tata eva alaukikam ity uktam. nanu evam rasopramanam syat, astu, kim tatah ? tac carvanatah eva priti-vyutpatti-siddheh kim anyad arthaniyam ? nanu apramanakam etat; na, sva-samvedanasiddhatvat. jnana-visesasyaiva carvana"tmatvad ity alam bahuna. atas ca, rasoyam alaukikah. yena lalita-parusaanuprasasya arthabhidhananupayoginopi rasam prati vyanjakatvam; ka tatra laksanayah sankapi ?_" These lines remind us of the same usage in the A.bh. as examined earlier. Here rasa is established as a non-ordinary thing, not covered under laksana. The translation by Gnoli, (Appendic II, pp. 102, ibid) reads as follows: "Commentary on Dh. A., I. 18.- As to poetry, which conveys the determinants and the consequents, there is no possible appearance of any element which could provoke the unsuitability of the primary neaning; and therefore, there is in this sense little room for metaphor (=laksasa, we favour the word, "indication."). "But",-someone might argue,-what has it to do with unsuitability? The nature of metaphor had indeed been defined as follows. "The metaphor is said to be apprehension of a sense connected with the sense directly expressed. Now in poetry, we see that the Rasas are connected with the determinants, the consequents etc., which are directly expressed; indeed, the determinants and the consequents are respectively the causes and the effects of Rasas, and the transitory states co-operate with them." Your objection, I reply, does not stand to reason. If it be right, indeed, when, thanks to the word 'smoke', the smoke has been apprehended, there would arise also the idea of fire, just effected by the afore-said metaphor; and again, from fore, there would arise.the idea of removing coldness, and so on, so that words could no more have any fixed meaning. On the other hand, if you answer to this, saying that, since the word 'smoke' is reposed in its own sense, its power cannot actually extend to fire and so on, then the consequence of your argumentation is one only, namely, that the seed of metaphor, is the unsuitability of the primary meaning, because, only if this is present, the afore-said repose of a word in its own sense can be lacking. Now, in the conveying of determinants, etc., there is no element which can provoke the unsuitability of the primary meaning. At this point, someone might perhaps urge that the apprehension of the feelings of delight, etc., immediately follows the apprehension of the determinants, etc., just as the idea of fire immediately follows the perception of smoke,. and that, being it For Personal & Private Use Only

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1574 SAHRDAYALOKA so, there is little room, in this case, for a power inherent in words. But, instead of answering to this objection, I will pose a question to this clever logician, (actually, the term is Mimamsaka, not naiyayika)-who knows so well the mature of perception, and it is the following: Do you think that the apprehension of Rasa is merely apprehension of the feelings of some other person? You do not deserve to fall into such a mistake. In this case, indeed, the said apprehension would be but an inference of the feeling proper to such and such people; what sort of a Rasa could it then possess? But the tasting of Rasa, which is made up of a non-ordinary camatkara, and is animated by the gustation of the determinants, etc., proper to poetry, cannot certainly be so cendemned as to be placed on the same level as the ordinary processes of memory, inference, etc. Rather, the truth is that he whose heart possesses the latent traces of the ordinary inferential process from the effect to the cause etc., does not apprehend the determinants and so on, as if he were indifferent; being instead at the mercy of his own sensibility-which quality is also called consent of heart-, he rather apprehends them without mounting on the path of memory, inference, etc., as if merged in a gustation, suitable to an identification (with the determinants, etc.), which is, so to say, the sprout of the tasting of Rasa, about to appear in all its fullness. This tasting, again, is not already born in the past, from some other means of knowledge, so that it is, now, a form of memory; nor is it arisen now from some other means of knowledge, for as to a non-ordinary thing, the direct perception, etc., are devoid of any power. Hence, the expressions 'determinants', etc. are of non-ordinary nature; for as Bharata himself had said: "The word 'determinant' is used for the sake of clear knowledge." In everyday life, they are called causes, not determinants. The term 'consequent', is, it too, nonordinary: "Because the representation"-Bharata says "by means of words, gestures, and the temperament, makes one experience (the mental states) it is called "Consequents". This experiencing, provoked by the consequents, is nothing but an identification with the said feelings. In everyday life, they are called effects, not consequents. Therefore, just with this view in mind, namely, that we do not apprehend a feeling of others, Bharata has made no mention of the permanent mental states, in the sutra "Out of the union of the determinants, the consequents and the transitory mental states, the birth of Rasa takes place on the contrary, mention of it would have been a source of difficulty. Such expressions, as "The permanent mental state becomes Rasa", are due to correspondence only-because, that is to say thods, 19, that is to say the gustation arises, beautiful, as it is, thanks to the trace, latent within us, of the feeling corresponding to the determinants and the consequents; i gnist Jod! bas some to nonqs199 907 2wollof Waterbomun SH to all 995 26 "" For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1575 and because in worldly life, in the stage, that is, of the knowledge of the feeling of others'-a knowledge, let us say, truly indispensable as regards the consent of heartwe are able to apprehend the permanent feelings of delight, etc. from things as gardens, brisling of the hairs, and so on. The transitory mental state, is no doubt a feeling, but, since it is enjoyed in so far as it is entirely dependent on the principal one, it is reckoned by Bharata among the determinants and the consequents. Therefore, the 'brith of Rasa', mentioned in the sutra, must be intended as the birth of a relishing-which relishing is a sort of immersion in gustation, appearing as superior to all the other ordinary feelings of delight, etc., that may be aroused by different causes, as, f.i., meeting with a friend, and appear to develop gradnally. This gustation, therefore, is only a manifestation, not a revelation-which is the operation of the means of knowledge., and not even a production which is the operation of the means of action. "but", -at this point someone might argue-"If this gustation is neither a cognition. nor a production, then what is it ?- But we reply-have we not said that this Rasa is of a non-ordinary nature ? What are then, these determinants ? Are they revealing causes or producing cause? We reply to this question that they are neither revealing nor peoducing, but only something which serves to realize the gustation. Does any such thing appear elsewhere ? But for the very reason why it does not appear we say that it is of a non-ordinary nature. But (someone might say) in this way Rasa is not an object of cognition (a-prameya). Let us admit itwe reply -and what of it? For, since from its gustation, pleasure and instruction derive, what other do you desire ? But you might say, it is not ascertained by any means of knowledge. This is untrue we reply, because its real existence is unconfutable datum of our own consciousness; besides, this gustation is a particular form of knowledge. And that is enough. Therefore, the said Rasa is of a non-ordinary nature-so that even alliterations of harsh or soft sounds can be suggestive of it, though they are of no use as to meaning. Here, then, there is not even the shadow of the metaphor." We will once again attempt a summary of Abhinavagupta's ideas on the nature of rasa and on the nature of rasa-experience. A.G. is very clear that the perception of rasa is not of the form of memory for rasa is not an object experienced beforehand, with the help of other means of knowledge - i.e. it is not "purvanubhuta', which is remembered at this given moment. This aesthetic chewing.,, gustation-sarvana' is brought about by, the combination of extra-ordinary vibhavadi-s. So this perception is different from such For Personal & Private Use Only

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1576 SAHRDAYALOKA worldly perceptions as direct knowledge (pratyaksa), inference (anumana), agama or verbal authority, or observation of similitude which at local level give birth to the apprehension of worldly ratyadi-i.e. delight, etc. It is different from the knowledge of a mita-yogin which is like a third person's observation. (tatastha). It is also different from a para-yogins experience of the self, which a compact one. The reason is that in this perception of the higest yogin, all worldly objects melt away,and hence the beauty imparted by the colouring by contact with these worldly objects is missing here. Thus there is "saundarya -viraha"-in a-mita-yogin's perception. Perception, of rasa differs from all these perceptions because, as explained. by Abhinavagupta, in the apprehension of delight (rati) etc. by worldly means, there is possibility of an attitude to possess and avoid what is agreeable or pleasure-giving and non-agreeable or pain-giving respectively thus there is "hanopadana-buddhi." This creates an obstacle in rasa-percepation. In the case of mita-yogin, because of taasthya there is lack of distinctness-a-sphutatva, and in -case of rasana-vyapara 'sphuatatvabhava" is absent. In case of para-yogin's apprehension, there is absence of beauty or 'saundarya-viraha', for the material that causes colouring has vanished. In the gustation-rasanatmaka samvedana-there is no tataasthya as the self of the enjoyer enters into it, i.e. the enjoyer feels being part of the experience. He does not feel that whatever he is experiencing belongs to someone else. In the act of aesthetic chewing- rasa-carvana-the samajika apprehends the ratya"di, staying as impressions in his own mind, through the agency of generaized determinants, etc. This apprehension is of the nature of aesthetic chewing-"rasyamana-svabhava." The idea is that the taste of this special apprehension is only during the time of the apprehension of vibhava"dis; i.e. it is of the form of a perception. To say that 'rasa' is an "object" of perception is resorting to metaphorical expression, for, in fact, the perception, the process, itself is tasting. There is no possibility of the rise of obstacles here, as this perception, when it takes place, is beyond obstacles, i.e. it is a "vita-vighna pratitih." Simply for this reason only the vibhava"di-s can not be said to be the production causes-karaka-hetu-of rasa-perception, for, in that case rasa-perception should continue to occur even when the vibhava"di-s cease to exist. But this is not the case. The moment the curtain drops rasa-perception is over and the samajika again crashlands on the ground of everyday reality. In the same tune the vibhava"di-s can not be said to be the causes of cognition (jnapti-hetu) of rasa"di, for 'rasa' has no prior objective existence. As a pot lying in a room in darkness is revealed by torch, in the same way rasa, pre-existing before the art-performance begins, is not For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1577 revealed by vibhava"dis. If it has a prior objective reality, the existence of rasa should be accepted prior to the beginning of art-show. But it is imppossible to accept this. We have observed during our discussion on vyanjana or suggestion, that it is not identical with manifestation-abhivyakti of the darsanikas. Actually it is taller by ten fingures-aryatishat dasangulam ! Naturally that a question can be raised as to what exactly are these vibhava"dis ? The reply is that the use of these vibhavadi-s is inevitable in the process of tasting. But their function should be taken as extra-worldly. It is neither karaka, nor jnapaka, but it is extra-ordinary ! If it is asked if a simialr thing is marked anywhere anytime, the answer is "No, And precisely because of this it is termed a-laukika, i.e. extra-worldly. If it is said that then rasa will be a-prameya or not an object of cognition, the answer is, "let it be so." For, to take rasa as an entity beyond cognition, is a bhusana, an ornament in explaining it as an extraworldly object. This in short is not a limitation, i.e. "dusana." At worldly level the generation of sadava"di-rasa', which in itself is beyond its ingredients such as molases, pepper, etc., could be taken as an illustration here. Thus Abhinavagupta unerlines the extra-ordinary nature of rasa-perception or aesthetic tasting. When it is said that rasa-pratiti is a-laukuka, what is to be understood is its difference from worldly cognitions. Art-experience can never be equated with ordinary worldly experience. The authors of the Natya-darpana do not agree with this and they accept the nature of this taste to be pleasure-yielding and also paingiving -i.e. sukha-duhkha"tmaka, But for the school represented by Abhinavagupta aesthetic chewing-tasting-is only of the nature of supreme bliss or beatitude-, or say, is made only of bliss-ananda-ghana-samvedana, and even a shadow of unhappiness is ruled out from it-"tatra ka duhkha"sanka" Now when rasa is thus placed beyond the field of worldly cognition, logically it will be said to be a-prameya i.e. beyond cognition. This is acceptable to Abhinavagupta for rasa for him is having tasting only as its life-breath-"rasyamanataikaprana". Therefore it is aways beyond worldly cognition. If it is asked that in the sutra there is mention of "nispatti" which is either "jnapi" or "utpatti", then, the answer is that there is 'nispatti' not of rasa, but of asana-vyapara i.e. only the process of relishing starts, the relish itself is beyong being produced. This process is of the form of consciousness - sva-samvedana,' which has 'rasa' as its object. Thus rasa depends on "rasana". With reference to the nispatti' of rasana-vyapara, the birth / nispatti of rasa is also stated metaphorically. In fact the rasana-vyapara is of the form of consciounsess and is not brought about either by pramana-vyapara or karaka-vyapara. But for this, we will not be able to brand it as 'a-pramanika' for it is "sva-samvedana-siddha." For Personal & Private Use Only

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SAHRDAYALOKA After this Abhinavagupta discusses the nature of rasa-apprehension, which for him is first and last a perception-"a 'samvedana'. It is bodha-rupa-pratitih. That this bodha-or pratiti is different from other cognitions is because the determinants etc. which cause it are non-ordinary and therefore different from worldly causes. We have explained in detail earlier how Abhinavagupta explains Bharata's rasa-sutra, so we will not repeat it over here once again. All rasas are bilss-giving : 1578 For Abhinavagupta all rasa-s are sukhatmaka. He accepts the "ananda-rupata sarva-rasanam" and perhaps this will drag us to believe that he, from the highest point of view, believes in only one rasa-the maharasa-or Santa-rasa which is made of bliss alone, as we will go to see later. The level of this ananda is higher or is beyond the level of worldly pleasure and pain. He has discussed this point while treating the sixth obstacle in rasaperception. All worldly feelings are not anandatmaka or sukhatmaka or joy-giving. But in rasa-tasting all these worldly feelings become the object of a compact experience of beatitude and hence are all pleasure-giving. They are apprehended by a perception free from all obstacles. Thus soka, krodha, etc. also, when they are part of this compact consciousness, they leave their original nature of yielding pleasure or pain. and become just blissful. the apprehension free from all obstacles is necessarily bliss-giving.This is one of the basic principles of the Pratyabhijna darsana. With this ends the epistemological consideration of 'rasa' in the estimation of Abhinavagupta. "Santa-rasa." - As noted earlier, Abhinavagupta is, like Anandavardhana, a great protegonist of Santa-rasa, which is the "rasa of rasas" which is a 'maharasa', a sort of canvass' bhitti-on which other rasas are painted, a source-prakrti, other rasas being vikrti-s formed due to difference in the set of vibhavadi-s. Thus for him, rasa-is basically one and of the nature of beatitude alone-"anadaike-ghana." We will try to examine Abhinavagupta's attitude towards Santa-rasa which in fact lays out his philosophy of aecthetics. The santa-rasa-prakarana is considered to be a later interpolation in Bharata's Na-Sa., though of course, opinions differ, among scholars, on this count. But whatever it may be, for Abhinavagupta it is a genuine part of the Na-Sa. and he has written his A.bh. on this portion also, contronverting the views of anti-Santa theorists. Not only this, but actually 'Santa-rasa' seems to be the only 'rasa', so to say, which is experienced in the last stange of tasting in any art-form. If 'visanti', 'laya', 'samapatti', etc. are the ultimate test of aesthetic experience, then Santa For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1579 deserves to be very much there for even the taste of any other rasa is ultimately a vigalita-vedyantara-anubhuti. So, the other rasas, the eight i.e. srngara and the rest get their names from the variety of vibhavadi-s seen in them, the highest goal being carvana-visranti. It is because of this that Abhinavagupta argues in favour of Santa', which again is a name, only a name, for the maha rasa, the 'rasa' of 'rasas'. which unites all art. The famous verses from the Na-Sa. make this point clear, But before we quote the same, it may be noted that Bhoja, later than Abhinavagupta also underlined the basis one-ness of rasa, when he equated rasa with "abhimana, ahamkara, Srngara." The Na-Sa. (pp. 328, 329, vol.I. G.O.S. '92. K. Kris.) verses read as : "bhava vikara ratya"dyah santas tu, prakrtir mathah, vikarah prakrter jatah punas tatraiva liyate." svam svam nimittam asadya santad bhavah pravartate, punar nimittapaye ca santa evopaliyate." It may be noted that even the so-called santa-rasa which as Bharata says, is "moksadhyatma-samutthas tattva-jnanartha-hetu-samyuktah, naihsreyasopadistah santa-raso nama sambhavati." -could be taken as just one more type of aesthetic experience adding the other eight varieties arrived at in the name of srngara, hasya, karuna, etc. Experts in aesthetics have debated the position of this particular rasa. Some reject it, while others accept it only with reference to poetry i.e. literature and not drama proper. Be it as it is, but nobody has denied the fact of rasanubhuti in case of any art,dance, music, poetry, drama, painting, architeeture, sculpture, or any. So, it seems that Bharata has also perhaps used the name 'Santa' for both of these;one for the santa-rasa which is 'moksadhyatma-samuttha etc. and for establishing which even in the context of drama Abhinavagupta has taken great care in the A.bh. on this portion, and the other, the Santa, which is the maha-rasa, or the basic 'rasa' For Personal & Private Use Only

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1580 SAHRDAYALOKA running through all art, the art-experience itself, which is an experience exclusive to. art only, sui generis, which is "vigalita-vedyantara-anubhuti." It is this Santa which is said to be "bhitti-kalpa" or canvas on which different designs due to different set of vibhavadi-s emerge, leading to an art-experience which is 'alaukika.' It is this 'santa' which is said to be 'prakrti'-rasa. Abhinavagupta has talked of this at other places also and Bharata also does the same when he uses a singular in the famous expression, viz. "na hi rasad rte kascid arthah pravartate." Bharata's verses quoted above bringing home this point of 'one basic rasa' could be translated as : "Santa is in fact the prakrti (the base) from which the tramsmutes in the form of emotions like Rati (love) are generated. The transmutes produced from the bases (?, base) merge in them (? 'it'.). Emotions are generated from the basics owing to particular causes and when these causes cease to exist, the emotions too merge with Santa" (Trans. Dr. P. unni, pp. 182, Na.-Sa, vol-I., Nag Publishers, '98, Delhi). We have suggested some corrections-viz. 'base' and 'it', in the brackets. Dr. Unni means as much, and we know it. So, our thesis is that Bharata uses the name Santa', both for the so called ninth rasa "tatra Santo nama sama-sthayibhavatmako...." etc., to establish which the A.bh has taken great pains and with all this, which was rejected or partly accepted in later tradition, and also in the sense of "prakrti-rasa', 'the base.' Other rasa-s emerge from this and merge into this. It is, so to say, the synthesis of rasa. Abhinavagupta has tried hard to establish this basic unity of rasa at different places. This in fact, is the essence of his aesthetics. This one basic rasa, the rasa of all rasas, the maharasa, or the Santa-rasa which is said to be bhitti-sthaniya is underlined by Abhinavagupta in the following passages; (i) (pp.265, Na.sa, vol. I. Edn.K. Kris.-) "purvatra bahuvacanam atra caikavacanam prayunjanasya ayam asayah-eka eva tavat paramarthato rasah, sutra-sthaniyatvena rupake pratibhati. tasyaiva punar bhaga-drsa vibhagah. sopi ca na tad-eka-mukha-preksitam ativartate. etac ca uddese eva asmabhir abhihita-caram. abhidhasyate cagre." This is A.bh. on the words of Bharata which read as. (pp. 266, ibid)-"tatra rasan eva tavad adav abhi-vyakhyasyamah. na hi rasad rte kascid arthah pravartate." (Trans. Unni, pp. 158) : "Among these I shall deal with the sentiments at the outset. There could be nothing without the relish of sentiments (?, sentiment, singular)." For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1581 The A.bh. is clear. It observes: "In the beginning (Bharata used) the plural. (viz. rasan), and here (i.e. in rasad rte) when singular is used (by the author, Bharata), the idea is- Only one (and identical) rasa is seen in a drama (=any art-form) in form of a string (running through the beads). From the point of view of division, the (individual variety) -'vibhaga' is (suggested). Even that (division into subvarieties) does never miss focussing on that (one basic rasa) alone. This we have already stated when contents were discussed. We will say this even later, (as we go on)." (ii) It may be noted that in Na.Sa, VI. 10, (pp. 257, ibid) the samgraha' or enumeration of topics to be covered in theNa.Sa. was given beginning with "rasah." : "rasa bhava hy abhinayah...." etc. Then, on pp. 260, ibid, verse 15 (ch. VI) reads as : "srngara-hasya-karuna...." The A.bh. passage (pp. 260, ibid) reads as : "tatra vibhagam tavad aha- srngara-hasyety adina, natya-samgraha (6/39) ity antena. tatra natyam nama nata-gata-abhinaya-prabhava-saksatkarayamana-ekaghana -manasa-niscaladhyavaseyah, samasta-natakady anyatama-kavya-visesa-dyotaniyor thah. sa ca yady apy ananta-vibhavady atma, tathapi sarvesam jadanam simvidi, tasyas ca bhoktari, bhoktr-vargasya ca pradhan bhoktari paryavasanan nayakabhidhana-bhoktr-visesa-sthayi-citta-vrtti-svabhavah." (Translation): "Parts (of the general content) are narrated by the words, beginning with "srngara, hasya" etc., and ending with "natya-samgraha." Here 'natya' (in natya-samgraha) means that ultimate meaning (or intention) which is the outcome of the whole of a (given) dramatic piece or a (given) poem. It is arrived at as a result of a solid mental cognition, which is as it were directly experienced with the help of the force of acting of an actor. This (ultimate meaning, viz. rasa) is having innumerable vibhavadi-s (both sentient and insentient and presented in a variety of shapes and forms), but all the insentient ones (among them) terminate into consciousness (samvit), and this consciousness terminates into (or is centred round a bhokta (i.e. alambanavibhava, i.e. character), and all the bhokta-s centre round a central character (principal bhokta, the hero). So (the ultimate meaning of) the rasa is of the form of the permanent emotion of the hero. For Personal & Private Use Only

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1582 SAHRDAYALOKA After coming to the one single sthayi-citta-vitti of the hero, Abhinavagupta proceeds to explain rasa as (pp. 260, ibid) "sa ca eka-citta-vsttih sva-param-iti pratiyamana-ananta-citta-vsttyantara-satavisesita, laukika-gita-geya-pada"di-lasyanga-dasakopajivana-sviksta-laksana-guna, alamkara-gita-atodya"di-samyak-sundaribhuta-kavya-mahima-prayoga-mala-bhyasavisesa"srayatvat pracyavita, ata eva sadharanibhutataya samajikan api svatmasadbhavena samavesayanti tadatmyad eva ca, anuman"agama-yogi-pratyaksa"dikaranaka-tatastha-pramatrprameya-parakiya laukika-citta-vrtti-vilaksanataya nirbhasamana parimita-svatmany asrayata-nirbhasamana-virahac ca, laukikapramada"di-janita-nija-ratisokavat, taj-jahana"di-citta-vrtty antara-jananaksama, tata eva nirvighna-sva-samvedana"tmaka-visranti-laksanena rasanapara-paryayena vyaparena glhya-manatvad rasa-sabdena abhidhiyate." tena rasa eva natyam. yasya vyutpattih phalam ity utyate. tatha ca rasad sta -(na. sa. 6/31) ity atra ekavacanopapattih. tatas ca mukhya-bhutat maharasat, sphota-disiva asatyani va, anvitabhidhanadrsiva ubhayatmakani satyani va, abhihitanvaya-drsiva tat-samudaya-rupani va rasantarani, bhagabhinivesa-drstani rupyante." This can be translated as follows : "That mental feeling (the principal one of the hero) is rendered bereft of such notions as "this is mine" (svakiya), or "this is some one else's" (parakiya). (In short it looses its relation with an individnal. That mans it is de-individualised, losing all contact with particularity). This (generalisation of the permanent mental state of the hero) is brought about by the influence of-(i) the stanzes, put to music, of popular songs (that figure in the drama, or poem), (ii)the greatness of the poem and the acting of an actor brought about by practice. These two are decorated by the beauty of ten parts of lasya or dance etc. and gunas or excellences and alamkaras or embellishments used in poetry. Thus the basic emotion rendered free from any touch of particularity covers up the samajika-s or the spectatores also in its fold. Thus on account of identity brought about between the basic mental state of the hero and that of the spectator also, this apprehension seems to be different in nature from knowledge brought about by inference, or agama-s. It is a sort of consciousness which is also different from the one of a yogin, which is caused without the contact of sense-organs with objects, and which is, as is were is of an un-involved person, a tatastha. It is also different from cognitions having a part of For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1583 a pramata-knower and prameya or the object of knowledge. It is a cognition (in which, because the hero is not limited by his narrow ego-sense) which does not cause (hindrances, such as) shame, jealousy, etc. caused at personal level in the worldly context. As this consciousness does not cause other obstructing feelings, it is an object of a function called 'asvadana' or tasting which is of the form of resting-visanti-of an experience free from all obstacles. This is termed "rasa" or "taste." So then, 'rasa' is itself 'natya', the experience of which is also termed the 'phala' or goal, or end. It is unique and one and of an identical nature. Precisely for this, Bharata uses singular in "rasad rte." Thus, for Abhinavagupta 'rasa' is basically one and identical. There is only "rasa", and not rasa-s. Abhinavagupta further notes in a conclusive way that -"And because (rasa is one and identical) it may be said that, from one single maha-rasa, other rasa-s are imagined and they are unreal (as are) spoken words (as taken distinct) from sphota (which is the only reality). Or, from the point of view of the anvitabhidhana-vada, other rasa-s are real, being instrumental (in arriving at the basic one rasa) (as are individual word-meanings instrumental in arriving at sentence-sense). Or, the principal one rasa is of the form of an aggregate-samudaya, as is the sentence-sense made of individnal word-meanings. Thus, individual rasa-s are seen as parts of the one principal rasa." These passages confirm our observation that Abhinavagupta believed in one basic rasa, and the individual rasa-s were just there, viewed as different from the angle of the difference in vibhavadi-s. Now call it 'santa" or call it by any other name. This rasa-theory as peomulagated by Indian thinkers is basically very catholic and it covers all arts and all individual art-forms as well, practiced by a hundred thous and poets, or artists including those of to-day. We will try to establish the Catholicity of rasa theory as follow :* -"With reference to the available written documents, the Nayasastra (N.S.) of Bharata Muni is the earliest work on dramaturgy that lays down the theory of Rasa as applicable to the dramatic art in particular and then to any fine art in general, such as the art of music, dance, painting, sculpture, literature, etc. etc., * This was a paper contributed to the W.S.C. in Delhi, 02. It was to be read from the chair in one session, but the author could not attend the cenference, It was published then in A.B.O.R.I. Pune, vol. XXXV-'01, '02. For Personal & Private Use Only

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1584 SAHRDAYALOKA of course keeping the 'Sa-hrdaya' or the sensitive reader/sprctator in its focus. It is to be understood as a theory of art or beauty in general that attempts to explain art-experience with reference to any art worth its name. So, for us, rasanubhuti is kalanubhuti, is saundaryanubhuti, or anandanubhuti, or experience of the highest bliss : the Divine. We can take Bharata's contribution to explain dramatic art as part of efforts by Indian art-critics in the field of aesthetics in general. Be it Bharata, Bhamaha or Anandavardhana or Abhinavagupta, they were all concerned with the problem of beauty in general and then beauty as seen in drama or literature. With reference to the rasa-experience or art-experience in general, Bharata has coined his famous rasa-sutra viz. "Vibhavanubhava-vyabhicari-samyogadrasa-nispattih.", i.e. out of the combination (samyoga) of Determinants (vibhava), the Consequents (anubhava) and the Transitory Mental States (vyabhicarin), the birth of Rasa takes place," (Trans, Gnoli);pp. 25, ibid). That - commentators such as Bhatta Lollata, Sri Sankuka, Bhatta Nayaka and Abhinavagupta have attempted different explanations of this sutra need not detain us here, nor the different explanations advanced by Dhananjaya and Dhanika, Bhoja, Ramacandrs and Guna-candra, Siddhicandra and Jagannatha, who, following Abhinavagupta's lead, also presents eleven different attempts to explain the theory of rasa, which for us is a general theory of art. For, our sole object here is to underline its catholicity; its applicability to newer and newer forms of art in general, and literature in particular with a special reference to newer forms of absurd play and intellectual gymnasium attempted by modern western poets and also writers in India in various modern literatures such as Hindi, Gujarati, Marathi, Bengali, Tamil, Telugu, Malayalam, Kannada, Assamia, and what not. The challange came from Dr. Paulose, at a seminar in Sri sankaracarya Sanskrit university in Kaladi, Kerala, in March '99, when he raised a point as to the universal applicability of rasa-theory, particularly with reference to such modern plays, as for example, "Mother Courage.' The prompt answer to this from the chair vas that even a traditional explanation of rasa-theory will suit this dramatic piece called, "Mother Courage' when we suggest that here the principal 'angi sentiment is "dharma-vira", with a subordinate (gauna) under-current of Karuna or the tragic. But this explanation apart, there is a larger scope for the rasa-theory. We begin with Anandavardhana. For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1585 He observes in his Dhvanyaloka (=Dhv.), a great work on literary criticism and the first written document available, advocating the theory of vyanjana-dhvanirasa as solution to art experience, cf. at Dhv. IV. 1,2 "dhvaner yah sa-gunibhutavyangyasyadhva pradarsitah, anena"nantyam ayati kavinam pratibha-gunah." (Dhv. IV. i) -ya esa dhvaner gunibhuta-vyangyasya ca margah prakasitah, tasya phalantaram kavi-pratibhanantyam; and also, "ato hy anyatamenapi prakarena vibhusita, vani navatvam ayati purvarthanvaya-vaty api." (Dhv. IV.2) "By the ways of the principlal suggestion as also the subordinated suggestion shown thus far, the quality of creative imagination in poets will assume endlessness." (Dhv. IV. 1) "Endlesshess of creative imagination in poets will be another outcome of the theory of principal and subordinated suggestion laid down already." "If one should ask, 'how is it', (here is our reply) : "By a mere touch of even a single variety of suggestion (among the many that have been enumerated), the poet's expression will acquire novelty, even though it might perhaps embody only a trite idea." (Translation, K. Krishnamoorthy, p. 265, Dhv., Karnatak uni., Dharwar, '74). He adds at Dhv. IV. 10, "vacaspatisahasranam sahasrair api yatnatah, nibaddha sa ksayam naiti, prakrtir jagatam iva." "Like the resources of premordial Nature itself, the infinite possibilities of poetic themes can never be drained off even by a million Brhaspati-s composing with all their might simultaneously." For Personal & Private Use Only

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1586 (Trans. K. Kris; p. 293, ibid). In short, Anandavardhana, is convinced of the universal applicability of his theory of vyanjana-dhvani-rasa, which is a modified form of rasa-theory as applied to literature. We know that he recognises three-fold dhvani, viz. vastu-dhvani, i.e. suggestion of idea or matter, alamkara-dhvani i.e. suggestion of a poetic figure of speech, and rasa-dhvani or suggestion of emotive milieu. He has fired the first salvo in the direction of the universal applicability of the rasa-theory, which began with Bharara, or perhaps even earlier. SAHRDAYALOKA We know that Bharata, while contemplating on the fact of rasa-nispatti or artexperience, suggests that it is the result of the appropriate blending of factors which he terms as vibhava, anubhava and vyabhicari-bhava, the technical terminology given to worldly cause (i.e. karana). effect (karya), and accompanying subordinate feelings (sahakarin). Where all interpreters agree, is a point that by vibhava, anubhava and vabhicarin, Bharata imagines some material which is connected with total human consciousness, including man's rational, volitional or conative and emotive aspects; rationality and intelligence to be sure. Thus the 'samagri' or stuff or combination concerns itself, according to Bharata, with the total human consciousness, the integral self of the aesthete, with a special reference to his developed sensitivity and sharp intelligence. We know that our responeses born of an encounter with worldy context manifest at individual level in our work-a-day world. Bharata keeps this fact of practical life in focus, and puts it in a new perspective in the context of art in general and with dramatic art in particular. By the coining of technical terms such as vibhava, etc. for worldly cause, i.e. karana, etc., by art-critics even prior to Bharata, what was aimed at was that, so far as the art-experience goes, there is no place for personal likes and dislikes. On the other hand, the greater fact remains that, even in a work of art, there cannot be any subject-matter which is beyond the available milleu of practical life. A poet has to concern himself with real practical life, the foundation, on which his genius constructs great palaces of highest imagination. Thus a poet cannot go beyond life. He has to think of events and situations as resulting from the situation presented to us through nature.Now, to patch up with these constrains of life resulting in unequal personal responses, artcritics thought of coining new technical terms for local cause and effect factors, and thereby attempting a complete transformation of nature coloured by personal prefernces and prejudices. Thus 'vibhava' stands for 'vibhavana' of worldly cause, i.e. it is, "asvada-yogyikarana", i.e. tranforming a worldly cause into a factor that For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1587 causes supreme joy. Thus, the art-critics tried to give a new name and a new habitation to the ugly in life; "ugly", because of personal factors intervening. This 'vibhavana'- process works like an alchemy, turning the gross into the etherial, into the divine. It transforms the material context into the spiritual, raises the gross to the level of art-experience, i.e. 'rasa'. This art-experience is made up of supreme bliss, and, to differentiate it from worldly experience, the art-critics have equalled it with the divine joy caused due to the realization of Brahman, the supreme spirit. They term it as, 'brahma"svada-sahodara". The ordinary of our everyday life turns into 'extra-ordinary i.e. 'a-laukika' in art-context. Thus, by coining new terminology, the art-critics have mounted the art-experience on a pedestal, higher than ordinary, or worldly, free from local personal colouring of the work-a-day world. This art-experience is a process of, say, de-individualisation, wherein personal ego- or local likes and dislikes of a given enjoyer-melts away. The critics term this as, "sadharanikarana", the process of de-individnulisation, wherein the lower ego melts away and yet the higher self of the enjoyer continues to exist : "atma na atyantam tiraskrtah, na visesataya ullikhitah", as Abhinavagupta puts it. It is a state of consciousness where the limited ego-sense fades away, giving rise to a higher self, a super ego, so to say, the 'ahamkara', 'abhimana' as Bhoja would like to put it. Just as an individual soul, after attaining to yoga, rests in supreme bliss in the company of the paramatman, the Supreme Spirit, in the same way, the Sahrdayam a man of cultivated taste, who has attained to this state of Sadharanikarana, or de-individualisation, a state beyond personal mean calculations of profit and loss of selfish pursnits, undergoes art-experience. He is then called 'rasika'. -"rasikoyam, iti pravadah", says Bhoja. It is in this state of art- experience, that the worldly feelings of 'mine' and yours', of grabbing the palatable and leaving the unprofitable, fade away like darkness at the advent of dawn. There is a complete transformation of the lower nature into the higher, spiritual nature. Of course, it is peri-passu with the period of the presentation of a given art form. It lasts till the performance lasts. When, say, the performance of a dramatic piece is over, or, when the reading of a classic such as "War and Peace" or "The Miserable" or "Brothers Karamazov" or "Gitanjali" is over, this transformation evaporates. The enjoyer comes out of this experience like a yogin coming out of his state of meditation. The difference is that a yogin, after his experience of the Divine is a totally changed personality there after, which is not the case with the connoisseur, who enjoys only a short break, a limited stay in the realm of higher consciousness. Art serves the purpose of the Divine vision, 'divya For Personal & Private Use Only

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1588 SAHRDAYALOKA caksus, gifted to Arjuna by Lord Krisna to view the 'viraj' form of His Divine self. Art experience also serves as an incentive for an individual to grow permanently into higher self. Art strips you, for the time being, of all vestures of the six-enemies, the 'sadripu'-s, that cover the inner self. Thus art-criticism is pondering over the beautiful aspect of the Divine, and it transforms the enjoyer of cultivated taste, into a man of purer self. It becomes a gate-way, so to say, to the higher plane of spirituality, it opens up the "yoga-marga" for the enjoyer. Thus, art-experience is a special perception; it is exclusive to art; it is sui generis, This experience, according to Abhinavagupta, is free from onstacles,-it is a "vita-vighna-pratiti", an apprehension, free from all worldly obstacles. It "may be said to enter directly, (ni-vis) into our hearts, to dance (vi-parivrt) before our eyes", sa to say. (Trans. Gnoli. pp. 56, ibid). In such an art-experience, "one's own self is neither completely immersed (tiraskrta), nor in a state if particular emergence (ullikh), and the same thing happens . with other selves. As a result of this, the state of generality involved is not limited (parimita), but extended (vitata), as happens at the moment on which is formed the idea of the invariable concomitance (vyapti) between smoke and fire, or, in fact, between trembling and fear." (Trans. Gnoli, p. 56, ibid). It is a perception, free from obstacles; call it by any name such as 'camatkara', nirvesa (immersion), rasana (relish), asvada (tasting), bhoga (enjoyment), samapatti (accomplishment), laya (lysis), or visranti (rest). It is art-experience and nothing else. A rose, is a rose, is a rose, and will smell as sweet, even if we call it by any other name ! Thus, any art, be it dance, music, painting, drama, literature, sculpture, or any fine art we may name, through its own vibhavadi' content, draws the enjoyer closer to the Divine. It transforms his total personality beginning with the physical and passing through the mental and intellectual and the emotive, and ending in the spiritual. It is a transformation of body and mind into the spirit. So, rasa-experience does not end merely in evocation or enhancement of this or that feeling or emotion only to the plane of a sentiment; no, it is not just this, but it covers the volitional as well as the intellectual or rational portion of a man's personality also. Precisely for this that the great Anandavardhana has reserved a place for vastu-dhvani or suggestion of an idea or matter, wherein human intelligence has a greater role. It is childish on the part of Visvanatha to dismiss vastu-dhvani as a foolish riddle, a 'prahelika-matra'. Actually, it is a sort of intellectual exercise cau experiences. This part of dhvani covers all modern art-forms where the intelligence or rationality of a man of cultivated taste is tested. All absurd poetry and newer For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1589 and newer forms of absurd drama can be covered under vastu-dhvani and even alamkara-dhvani which takes care of the faculty of imagination, or fancy of a poet, running riot. The Indian theory of art, the theory of rasanubhuti with reference to the literary or dramatic art, or any fine art, does not end only in the suggestion of emotive stuff only. It is both a visa and a passport for the enjoyer's adventure for 'a journey within.' Thus rasanubhuti or art-experience in the view of the Indian ArtCritics does not end in the explanation of eight or nine principal sentiments. It is not a key to sentimental literature alone. The art-experience takes care of the enjoyer's total personality and is 'pari-passi' with the presentation of a piece of art. It is relished in the fashion of a beverage; as it were it flashes forth before the mental eye of a cultivated enjoyer; as it were it enters the heart and moves the soul; as it were it takes the whole of the enjoyer's self, his sensitivity and his intelligence, in its close embrace; as it were it removes consciousness of anytning but itself,- a 'vigalita-vedyantara-anubhava'-so to say. as if it makes you taste the supreme bliss of Brahman or Divine consciousness and gets the enjoyer wedded with extra ordinary joy, i.e. bliss. Thus no question of its non-applicability to such modern plays as Mother Courage or any abstract poetry ever arises. Any newer and newer form of art attempted either by a poet, or a dramatist, or a musician, or a painter, or a dancer falls within the range of this theory of beauty advanced by Indian art-Critics. In any newer form attempted by modern artists, when there is this total effect, when there is this total trasformation of the small and individual into the vast and the divine, it is 'rasanubhuti' in the real sense as understood by the ancients. In short, this theory of art sets itself to explain an experience, involving the total personality of the enjover, including the intellectnal: it is a take off from the earth and landing into the Divine: it is a flight from the region of the earth earthy to the region of 'the air airy: it is a growing of the corporeal 'T' into the cosmic-consciousness "I". It is sinking, mixing, melting, merging and becoming one with the Divine. This is the real secret of art-experience as explained by the ancients and surely it can meet any challenge paused by any newer experiment in the field of literary art or dramatic art, or art in general. True art-criticism lies in explaining the gross and the limited in terms of the spiritnal and unlimited, the local into the eternal, the ugly into the beautiful. Indian art-theory attempts this "pratyabhijna" of Jiva' as "Siva", of the small into the limitless: it explains the artist's 'sadhana' or concentrated effort, or discipline of knowing or recognising the Divine in form of the beautiful: the Heighest as "satyam" or pure-existence. 'sivam' or pure For Personal & Private Use Only

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SAHRDAYALOKA auspiciousness, and "Sundaram" or pure divine beauty. Perhaps the Vaisnava artcritics Rupa and Jiva Goswami aimed exactly at this only. 1590 Thus, the theory of rasanubhuti or art-experience, and then the theory of vyanjana-dhvani-rasa as promulgated specifically with reference to poetry, as advanced by Indian art-critics, takes in its fold, all art-forms, including all modern attempts in the direction of absurd theatre and absurd poetry, and is capable to meet with any challange posed by modern creative play-wrights and poets. It is the most catholic art-theory we can ever imagine, and it can stand the test of world-literature of the present day. We will try to consider specific illustrations. Absurd plays such as "The Chairs" by Eugene Ionesco or, "Waiting for the Godot" by samnel Beckett can serve our purpose. The dramatists have made use of symbolism to convey their inner unrest, or dissatisfaction with the world-order, or, say, their quarrel with the great creator, i.e. God. Even lauguage seems to be a poor, poorer medium to convey their unrest and they take recourse to the use of images and symbols for which we have to be in tune with their psyche, their intelligence, their conscience, their conviction. May be their creations suffer from a blemish that Indian art-critics recognise as "atigudha-vyangya" i.e. suggestion being too much personal. We will not worry about this. But what emerges is that the poet or the artist concerned wants to suggest his deep-rooted discontent with existence as it is. And this he does through literary art and also by the art of drama at his command. The dictionary meaning i.e. the expressed sense of the lines they have written do not take us to their inner experience. But the whole thing is suggested by the play as a whole. It is "prabandha-dhvani" i.e. suggestion resulting from the whole composition. Only men of cultivated taste and intelligence can reach this point which we will call the moment of 'rasanubhuti' or 'art-experience.' Dr. S. D. Desai, a young friend of mine who is an art-critic with the Times of India, (Ahmedabad, Edn., dt. 3/12/00) has brought out the inner message of a play named "Purusa", directed by Vijaya Metha, with the characters being played by Nana Pateker, Ayesha, and others. He writes, under the caption : "Contemporary Issues masterfully portrayed," :-"Great play-wrights, who believe in a moral vision of emerging societies in the history of civilization, have always held a mirror to them and exposed its tragic flaws. In to-day's decadent world, inadequacies of drama skills, ethical perspectives, and moral concerns stare man in the face. For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1591 And yet, theatre still remains a medium in the realm of art that can effectively portray excesses, imbalances, and aberrations in society and prompt introspection. Apart from the star value attached to the play, directed by Vijaya Mehta, those who came for its star cast were incidentally terribly disappointed. It is the social concern, shared equally by the play-write Jaywant Dalvi, its director and players, that distinguishes the play. Vijaya Mehta's judicious casting (Nana, Ayesha, etc. is an important factor for effective communication. There is a ring of conviction in the social comment that the play-wright, directors and players (and that's what good theatre is all about) make without affectation..." The Critic, Dr. Desai, has tried to analyse the play not only as a written script but also as an act of performance. What we are concerned with is only one point, that he has tried to bring out "the message" from this dramatic piece, which he suggests in the caption he has given, vig. "Contemporary issues masterly portrayed," (and, we may add, 'presented' on the stage). This message brought home by efforts of the playwright, the Director, and the artists, is only suggested, and we can place it under the variety of 'vastu-dhvani' or suggestion of a matter of fact, or some ideas, resulting, in art-experience or 'rasanubhuti' by only the men of cultivated taste. In yet another good paper, "A perspective on Theatre of the absurd", Dr. S. D. Desai observes : "Absurdum (Latin) literally means discordance, lack of harmony. The plays written chiefly during the '50s and '60s in Europe and America, highlighted, through a new idiom, a discord between the epic human endeavour and its insignificant outcome, between the illusory security and shocking discovery or lack of it, between the grandeur that thinkers and artists associated with life and the contemporary existence, found futile and devoid of meaning." There is no end to the waiting for Godot. In Ionesco's "The chairs", the message was that at the end of a long life, man was reduced to moans and groans. The promise in many absurd plays was that human mobility, deceptively outward or upward, was in fact circular. Life was static. Samuel Beckett's "waiting for Godot" opened with the line, "Nothing to be done". The last spoken line in it was, "Yes, let's go', but, "They do not move." In Ionesco's "The Lesson," The door-bell rings and a pupil enters the professor's study for a lesson at the end, as at the beginning. For Personal & Private Use Only

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1592 SAHRDAYALOKA Both, relationships and language of communication, were considered cliched and hollow. In Ionesco's "The Bald Prima Donna", a man and a woman who met as total strangers, found they were from the same city. In course of time, they discovered that they had been living in the same flat and, in fact, shared the same bed as husband and wife. The absurdists exposed the cliched form and the inadequacy of language, especially for the portrayal of the abstract, psychological reality that is part of one's consciousness, and developed a new idiom suited to it for theatre, "Associative clusters of images with a strong visual appeal are an indespensable part of this diom,." There was neither a story nor a conflict in these plays. They did not depict the kind of reality Brecht of Oborne's plays did. The characters were not recognizable and their action seemed inapplicable.There was often a contradiction between the dialogue and the action. If you read or watched such a play with the interest, "What then ?" You would have been disappointed. - The appeal through poetic images in these plays was to reason, not emotions. A kind of tension caused by an unsettling realisation replaced the conventional conflict here. The suspense in them generally was not about what would happen next, it was about what was happening. More then the terse dialogue, it was the ingenious theatre language that became medium of communication. Chairs, a corpse, and rhinoceroses in Ionesco, characters in dust-bins in Beckett and role playing in Genet, for example, in their themes. They related to the very human existence rather than life in contemporary society. There was a background to the shared vision of these playwrites. Around seven decades ago, Nietzsche had in an obituary announeed God dead. Two world wars had shaken faith in progress and rendered cherished personal and social ideals meaningless. Hopes of radical social change were belied. A sadist had numbed human sensitivity. Material affluence was no answer to the quest of lasting fulfilment. Words seemed to have been drained dry. Albert Camus wrote "The Myth of Sisyphus" in 1942. A broad-chested and strong Sisyphus kept rolling a huge stone up a steep rise to the mountain top. The endeavour endless, the outcome a failure. Waiting for Godot-was recognized as a classic. Ionesco distinguished himself with his idiom, eminently suited to theatre, and his communication concerning the very essence of human life. Both these playwrights, and to some extent others, lent to their plays the strength and charm of poetry. Having a place in the main-stream For Personal & Private Use Only

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Rasa-nispatti-vicara in Abhinavagupta 1593 dramatic literature, many absurd plays stand re-reading and re-viewing, and like poems they thrill one with flashes of imagination. They expose limitations of language and hint at the possibilities still remaining unexplored in theatre....." We will not concern ourselves with the view of life taken by such artists as Ionesco and others, for which a separate paper is cotemplated by us; but for the present, suffice it to note, that even these artists 'had a message to convey, not through direct power of expression, (i.e. abhidha). of a word, but through use of images, which are innumerable possible 'vyanjaka-s' or 'Suggesters' in Anandavardhana's opinion. Again, the appeal was to reason and not emotion. Here our 'Vastu-dhvani' comes in. 'Ingenius theatre language' and 'the strength and charm of poetry fall under 'alamkara-dhvani.' The dark message, which even Vyasa conveyed in the great Mahabharata was that, "yatha yatha vicaryate, tatha tatha visiryte,' i.e. "Thinking more and more (about world-existence), makes for its greater and greater failure." But Vyasa had a greater message which for want of space here, we will not discuss. One point emerges that in all these plays the dominant emotion suggested is that of 'nirveda', or better say, "tattvajnana-janya-nirveda' or disgust, leading to santa-rasa, and also 'Visada' or despondency, resulting in the great 'maha-rasa' in Abhibavagupta's opinion, the praksti-rasa, the Santa-rasa. Thus, the catholic applicability of Sanskrit art-criticism stands proved and we will repeat with a sense of pride that Sanslrit art-criticism, and of course Sanskrit Language, conveying the same, are competent enough to meet with contemporary challanges, here in literature and drama, as explained by the great Abhinavagupta inspired by the greatest Anandavardhana, for the present. The rasa-theory, in fact, covers all art-forms, whatever; practiced either in hoary past or rabid present or as will be practiced in the golden and divine future of humanity in general and art in particular. For Personal & Private Use Only

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Chapter XVII "Rasa-nispatti-vicara in Mammata, (= M.), some others, and Jagannatha. (= J.)" It may be noted at the outset that practically all writers have followed the lead of Ananda-vardhana and Abhinavagupta in explaining the fact of rasa, those who had striken a different note, such as Kuntaka, Mahima, Dhananjaya-Dhanika and Bhoja and some others such as the auther of the Agni-Purana, Ramchandra, Gunacandra, and also saradatanaya and to some extent Sagaranandin and also "Singabhupala have been taken care of in an earier chapter. Even some of those who perfectly or mostly followed the lead of Abhinavagupta and Mammata, such as Acarya Hemacandra, Vidyadhara, Vidyanatha, Jayadeva and Visvanatha have also been thoroughly examined in the same chapter, No. XV, in which their views on rasa, and also Anandavardhana and others posterior to him, are discussed in great detail. What remains therefore in this chapter to be done is to place clearly the ideas of Mammata who has neatly presented Abhinavagupta's view and of Jagannatha, who as usual has always something original to contribute in any topic concerning Sanskrit literary criticism. In the fourth chapter of his Kavya-prakasa (=K. P.), Mammata (=M.) deals with the divisions and sub-divisions of what he terms "dhvani-kavya". While treating vivaksitanyapara-vacya-dhvani i.e. the variety where the expressed sense is intended and yet refers to another meaning, he comes to treat rasa-dhvani, which concerns itself with suggested sense without perceptible sequence (=asamlaksya-krama). M-takes care to note that by the expression, viz. "alaksya." etc. i.e. "whitout perceptible sequence, what is implied is that 'rasa' is not identical with vibhava"di-s, but it is suggested or manifested through vibhava"di-s, but the sequence is so fast that it is not noticed at all. But the sequence between the realization of vibhava"di-s and rasa is very much there "na khalu vibhavanubhava-vyabhicarina eva rasah, api tu rasas tair ity asti kramah, sa tu na laksyate." (vrtti, on K. P. IV. 25). For Personal & Private Use Only

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Rasa-nispatti-vicara in Mammata and Jagannatha 1595 K. P. IV. 26 observes that this rasa"di dhvani, with sequence not noticed therein, consists of such varieties as-rasa, bhava, rasa"bhasa, bhava"bhasa, bhava-santi etc. All these patterns are different from the figures such as rasavat, etc. (rasady alamkarad bhinnah), for they, i.e. rasa, bhava etc. are "alamkarya" i.e. "to be adorned", while rasavat and such other emotion based figures are alamkara-s, i.e. adornments that serve the cause of the principal sentence-sense. With this Mammata sets himself to explain the fact of rasa, the birth of rasa, how the cognition of rasa is exclusive to the field of art, i.e. how it is "sui generis", and how other cognitions differ from rasa-apprehension. He observes at K. P. IV. 27, 28 : "karanany atha karyani sahakarini yani ca, ratyadeh sthayino loke, tani cen narya-kavyayoh- (IV. 27) vibhava anubhavas' ca kathyante vyabhicarinah, vyaktah sa tair vibhava"dyaih sthayi bhavah rasah smotah." (IV. 28) i.e. The causes, effects and auxiliaries of the basic mental state, such as love, as seen in the world, are found in poetry and drama, and they are termed determinants, consequents and transitories respectively. The basic permanent emotion manifested by these factors such as determinants etc., is known as "rasa." It may be noted here that there is a difference in nature and scope between the worldly emotion i.e. laukika-sthayin and the suggested sthayin or abhivyakta sthayin as seen in poetry or drama (or, say, any art; dance, music, painting etc.). So, rasa is "sthayi-vilaksana" i.e. "laukika-sthayi-vilaksana" and is different in nature, as it is made of a cognition made of extra-ordinary joy-"anandamayasamvit-svarupa" as we will go to observe. Mammata follows Abhinavagupta in all aspects of this topic of rasa and rasa-nispatti. M. begins this discussion by quoting the famous rasa-sutra from Bharata-viz. "vibhavanubhava-vyabhicari-samyogad rasa-nispattih." It may be noted that though Anandavardhana's views are also rasa-oriented, he has never cared either to define rasa, or discuss the process of the birth of rasa. He has kept away from it taking it for granted that the learned are fairly conversant with the text of Bharata and the learned commentaries on the Natya-Sastra that had preceded him (i.e. For Personal & Private Use Only

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1596 SAHRDAYALOKA Anandavardhana). But as Mammata comes after Abhinavagupta who had stalled the storm of various views on rasa-nispatti, M. thinks it advisable to put straight all these ideas and declare his support to Abhinavagupta in unequivocal terms. The reasons, why M. was guided to register Abhinavagupta's views firmly once again was perhaps because a host of great thinkers including Bhatt Nayaka who was mentioned by Abhinavagupta and others who followed him had picked up great quarrel with the theory of vyanjana. Mahima, Dhananjaya and Dhanika opposed it tooth and nail, while Bhoja did not come out openly for rasa"bhivyakti-vada. It was then left to M. to place the last nail in the coffin by rejecting everything that went against Abhinavagupta's views. So, quoting the rasa-sutra of Bharata, M. discusses various views on the process of rasa-realization as recorded both in the Locana and also the A.bh. on the Na.Sa. It may be noted that M. has presented all views in a comparatively lesser space but with equal success as compared to Abhinavagupta's efforts. At times M. shows finer analysis also of the views of the ancients. For example, M. has neatly analysed the view of Lollata. This is clearer as compared to even the presentation of Abhinavagupta himself for the A.bh. does explain that Bhatta Lollata favoured "upaciti" of rasa. M. goes a step further and also explains how this final "upaciti"nourishment-is brought about by the three factors viz. vibhava, anubhava and vyabhicari-bhava, each having a specialised role to play in this process of "rasanispatti" or, "rasa-utpatti." Thus, M. explains that the stayin is caused by the vibhava-s. i.e. the vibhava-s and sthayin have a cause-effect relationship. Sthayi (janya) is related to vibhava-s (janaka) by a-"janya-janaka-bhava-sambandha". Then, this sthayin which is caused by the vibhava-s has a different interaction with the anubhava-s. The anubhava-s make us known, or infer the existence of the sthayin. Thus there is "gamya-gamaka-bhava-sambandha" or "anumapyaanumapaka-bhava-sambandha" between the sthayin and the anubhava-s. The sthayin is inferred with the help of the anubhava-s i.e. consequents. The vyabhicarin-s also have a different role to paly. They make for the enhancement or nourishment - "pus-ti" of the sthayin which is caused by the vibhava-s. Thus, between the sthayin and the vyabhicarin, there is the relation of "posya-posakabhava-sambandha". M. explains that the sthayin, thus caused, inferred and nourished by the vibhava-s, anubhava-s and vyabhicarin-s respectively is termed rasa in its state of upaciti-or enhancement. Thus upaciti is explained as the sum total of birth, inference and nourishment of the sthayin. It is in its 'upacita' state, that the sthayin is termed "rasa", observes Bhatta Lollata. For Personal & Private Use Only

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Rasa-nispatti-vicara in Mammata and Jagannatha 1597 M. goes a step further, following Abhinavagupta. M. explains that for Lollata this rasa resides primarily in the 'anukarya' i.e. Rama and other historical personages who are to be imitated by the 'anukarta', the actor or imitator. It should be understood that 'Rama' is cited as an illustration of "anukarya". But as the name is familiar with us as the hero of Ramayana, we should not rush to a conclusion that Lollata refers only to a historical character here. Actually he can be anyone; i.e. Rama of the Ramayana or Rama of the poet's imagination, a Ramanalal, or Rambhai, or anyone. But he is a character of a dramatic piece who is imitated by the actor or artist. Lollata holds that rasa is found first in this 'anukaya' i.e. character imitated and then rasa is found also elsewhere. M. records that according to Lollata, rasa is also found located in "anukartari ca nate", i.e. 'and also in the actor who imitates (the original character)'. M. says rasa is also apprehended or perceived, -pratiyate-in the anukarta nata. This is because the actor has assumed the role of the anukarya, or original character. The words that record this situation of rasa in the actor or artist require special attention as Dr. K. C. Pandey has taken the word "pratiyate" in a special sense and has objected to the on made by M., suggesting that he has not remained faithful to his master Abhinavagupta and has injected his own twist in the view of Lollata. Lollata's view is presented by Mammata in the following words :- (vstti, K. P. IV. 28) - (pp. 64, edn. R. C. Dwivedi, ibid) "vibhavair lalanodyana"dibhir alambanoddipana-karanaih sthayi ratya"diko bhavo janitah, anubhavaih kataksa-bhujaksepa-prabhrtibhih karyaih pratitiyogyah krtah, vyabhicaribhir nirveda" dibhih sahakaribhirupacito mukhyaya vrttya ramadav anukarye, tadrupatanusamdhanan nartakepi pratiyamano rasa iti bhartaLollata-prabhitayah." (Trans. R. C. Dwivedi pp. 65, ibid)-"The basic emotion, such as love, brought about by determinants, women, gardens, and the like, which are (respectively) the substrate and stimulating causes, rendered apprehensible by the ensuants, namely; effects, such as the side-glance, and the tossing of arms and augmented by transitories, viz. auxiliaries such as self-disparagement, consitutes rasa which primarily exists in the character to be represented, such as Rama, but which is also account of the assumption of his role. This is the view of Bhatta Lollata and others." We know that Sanskrit commentators explain "rupanusamdhana" as "aropa" or "abhimana", and Dr. K. C. Pandey suggests the technical meaning of "Yojana" a pratyabhijna-darsana terminology, for this. For Personal & Private Use Only

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1598 SAHRDAYALOKA But what we object to is Dr. Pandey's observation concerning "nartakepi ca pratiyamanah." He feels that M. has tampered with the original text and has added "pratiyamanah", dragging in the samajika. He feels that Lollata has no idea of the 'samajika' sharing rasanubhuti and here by "nartakepi pratiyamanah", indirectly the samajika is brought in. We strongly object to this. True, M. has explained 'upaciti' in three ways concerning the vibhava"di-s and even this was not read in the A.bh. But it is very much implied in the A.bh. In the same way the A.bh. has clearly suggested that the "anubhava-s" included in the Bharata-sutra are to be taken as "bhavanam anubhavah"; for the resultant anubhavas following a rasanubhuti cannot be included in the sutra which explains the 'cause' element of, rasa. This means that Lollata was conscious of the resultant anubhava-s, which are "effects" of rasa. Naturally they are spotted in the samajika who has a rasa-experience. Thus, Lollata is absolutely conscious about a samajika undergoing rasa-experience. He is not "unknown" to Lollata. So, Dr. Pandey's talk of M. twisting the text of the A.bh. -to accomodate for the samajika, falls flat. We have observed earlier while dealing with the A.bh. that Lollata seems to favour a line of thinking which is in favour of (laukika)-"sthayi eva rasah", and he seems to accept 'rasa' at worldly context level also when he accepts rasa to be "anukarya-gata", and therefore, perhaps he i.e. Lollata also advocated the "sukha-duhkha"tmakatva" of rasa. Sri. Sankuka's views are also presented by M. in a brief but clearer presentation Sri. Sankuka advocates a theory of rasa having two stages; the first stage is 'anukrti' on the part of the actor, followed by the second stage when a samajika infers (anumita) a given basic emotion in the actor who is taken as a given character, say, Rama and the like; the apprehension here being peculiar to art and hence beautiful and falling beyond the range of cognitions such as distinct or samyak, i.e. valid, or invalid (mithya), or doubtful (samsaya) or analogical (i.e. sadrsyamulaka). The actor is taken as Rama by the Samajika who then infers the emotion of Rama in the actor who is taken as Rama. This inference of the imitated emotion is termed 'rasa' by Sri. Sankuka, for whom the acceptance of the actor as Rama by the samajika, then the artificial presentation of artificial vibhava"di-s taken as genuine by the samajika on account of the actor's competence, and the imagined emotion itself are all basically false but they are covered up so beautifully by artful presentation that they look genuine-"krtrimaih api tatha anabhimanyamanaih." Sri. Sankuka thus directly connects the samajika with rasa. The samajika was only indirectly implied as having rasa-experience in Lollata's presentation. Again, as M. presents, it is made absolutely clear that the inference here is also beautiful on For Personal & Private Use Only

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Rasa-nispatti-vicara in Mammata and Jagannatha 1599 account of the inherent beauty of the whole matter concerned : "anumiyamanopi vastu-saundryabalad rasaniyatvena anyanumana-vilaksanah sthayitvena sambhavyamano ratya"diko bhavah tatra asan api samajikanam vasanaya carvyamanah rasah."-"Because of the relation of the type of the inferred and the inferential mark (with vibhava-s, etc.) rasa, though inferred, is yet distinct from the other objects of infernce on account of its being relishable through its power of inherent charm. Rasa is that emotion considered to be permanent, which though non-existent in him (i.e. the actor) is yet being relished by men of taste." (Trans. R. C. Dwivedi, pp. 67, ibid). . Bhatca Nayaka's view is also neatly presented by M.,of course very briefly in the words : (pp. 68, ibid) : "na tatasthyena, na"tmagatatvena rasah pratiyate, notpadyate, nabhivyajyate, api tu, kavyenatye cabhidhato dvitiyena vibhava"di-sadharanikarana"tmana bhavakarva-vyaparena bhavyamanah sthayi, sattvodreka-prakasa"nandamayasamvid-visranti-satattvena bhogena bhujyata iti bharta-nayakah." R. C. Dwivedi translates (pp. 69, ibid) : "Neither by neutrality (i.e. being related to the actor and the real hero-and we may add, 'a third person'.) nor by a reference to one's own self (i.e. The man of taste-"taken individually", - we may add), rasa is cognised, produced or revealed; but in poetry and drama the basic emotion, universalised by the emotive function (bhavakarva vyapara), different from expression (i.e. denotation and indication), and constituting in the impersonalisation of the determinant, etc., is enjoyed by (a process of) relish which is of the nature of repose in consciousness abounding in enlightenment and bliss due to predominance of the sattva. Thus holds Bhatta Nayaka." We have analysed this view thread-bare while going through the A.bh. and it needs no repetition here. M. who follows the view of Abhinavagupta presents the abhivyakti-vada almost in the same words as those read in the A.bh. M. writes : (pp. 68, 69, ibid) : "loke pramada"dibhih karana"dibhih sthayy anumane abhyasa-patava-vatam kavye natye ca tair eva karanatva"di-pariharena vibhavana"di-vyaparavattvad alaukika-vibhava"di sabda-vyavaharyair mamaivaite, satrorevaite, tatasthasyaivaite, na mamaivaite, na satrorevaite, na tatasthayaivaite iti sambandha-visesa-svikaraparihara-niyama-anadhyavasayat, sadharanyena pratitair abhivyaktah, samajikanam vasana"tmataya sthitah sthayi ratya"diko, niyata-pramatngatatvena sthitopi For Personal & Private Use Only

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1600 SAHRDAYALOKA sadharanyopaya-balat tatkala-vigalita-parimita-pramatstva-vasonmisita-vedyantarasamparka-sunya parimita-bhavena pramatra, sakala-sahrdayabhaja sadharanyena, sva"kara ivabhinnopi gocarikstas carvyamanataika-prano, vibhava"di-Jivitavadhih, panaka-rasa-nyayena carvyamanah pura iva parisphuran, htdayam iva pravisan, sarvanginam iva alingan, anyat sarvam iva tirodadhat brahma"svadam iva anubhavayan a-laukika-camatkara-kari songara"diko rasah." R.C. Dwivedi translates - (pp. 67, 71, ibid) :- "In common life, the men of taste are possessed of proficiency by repeated observation, in inferring the basic emotion. through women and the like. i.e. through causes, etc. In poetry and drama, the same (causes etc.) are designated by the words determinants, etc., by giving up ity, etc., and because of possessing the pervading function and the like (vibhavana"di-vyapara). These (vibhava"di-s, etc.) are cognised in universal character on account of non-apprehension of the rule of acceptance or rejection of a particular relation as (illustrated) in (the following): . These indeed are mine; these indeed, are of the opponent; these, indeed are of the neutral; these indeed are not mine, these indeed are not of the opponent; and these, are not of the neutral. Thus apprehended the basic emotion, love, etc., is situated in the spectator in the form of impression. Although it (the basic emotion) exists as belonging to the particular connoisseur, but on account of the power of universalising process the rasa, though non-different as one's own self, is yet experienced universaly by a connoisseur, sharing the correspondence of heart (or aesthetic sensibility) with all, in whom becomes manifest a state of limitlessness free from the contact of any other object of cognition arising from the immediate cessation of the limited character of a cogniser. Having relish (tasting) as its supreme essence, having its life coeval with determinants etc., being enjoyed as a delicious beverage, throbbing as it were; embracing as it were, the entire being; overpowering as if everything else; producing an experience akin to the taste of ultimate Reality (Brahman), and effecting an extra-ordinary charm-such is Rasa, srngara, etc." M. also, following Abhinavagunta enters into an epistemological analysis of rasaperception, observes rasa is not of the form of an effect (sa ca na karyah), for effects have a tendency to continue even when their causes cease to exist. Thus rasa, if it were an effect, would continue ever after the disappearance of vibhava"dis. But as ch rasa-parception is "pari-passu" with the continuation of vibhava"dis. Rasa is neither cognised (napi jnapyah), for it is not a 'siddha', i.e. (purva-siddha) an entity already accomplished prior to the function of the vibhava"di-s. On the contrary, rasa For Personal & Private Use Only

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Rasa-nispatti-vicara in Mammata and Jagannatha 1601 is something to be relished after it is manifested through the agency of the determinants, etc. If it is asked, "where have you seen anything which is different from both the material and manifesting cause ?", (karaka-jnapakabhyam anyat kva drsam iti cet), the answer is, "this is seen nowhere." And not being ever seen anywhere is an adoration and not a blemish, for it proves the non-ordinary nature of rasa (a-laukikarva-siddher bhusanam etat, na dusanam). Rasa may be called to be "an effect" only metaphorically, as the process of relishing comes into being. After Abhinavagupta, M. further observes that Rasa may be spoken of as cognisable (pratyeyopi abhidhiyatam), as it is the object of extra-ordinary selfconsciousness, which is distinct in nature from (i) The empirical knowledge (laukika-pratyaksa), perceptual and the like, and also distinct from (ii) The knowledge of yogins in primary stage, which is possessed of analytic knowledge, i.e. from cognition without active participation (tatasthya) of the thoughts of others, which is proper to the direct perception of the yogins, and is also, distinct from (iii) the perfect yogin's entirely self reposed experience, free from the contact of any object of cognition, i.e. perception of the yogins of the higher order. The mode of proof cognising it (tad-grahakam ca pramanam) is not indeterminate (nirvikalpa) as it is characterised by the consideration of vibhava"di-s. It is not even determinate, = (sa-vikalpa) as rasa is being relished, and it abounds in extra-ordinary delight and is known to exist from its own consciousness (sva-samvedana-siddharvat). The character of rasa-perception, consisting of the negation of both (i.e. determinate and indeterminate modes of proof), and yet being characterised by both, suggests as before, its extra-ordinariness, without any contradiction (-purvavallokottara-tam avagamayati, na tu virodham). This is the opion of Abhinavaguptapada. M. follows him absolutely. Here ends M.'s analysis of the process of rasa-realization. We will now turn to Jagannatha (= J.) as all other leading authorities in this field of literary aesthetics have been throughly and individually covered by us in an earlier chapter. Jagannatha also basically follows the view of Abhinavagupta but he has so many new things to report. We have observed earlier that J. has given a five-fold division of dhvani. Rasadhvani is one of the five types of dhvani. He observes : (pp. 64, Edn., Athavale ibid)-: "evam panca"tmake dhvanau parama-ramaniyataya rasa-dhvanes tad atma rasas tavad abhidhiyate" For Personal & Private Use Only

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* SAHRDAYALOKA With this brief note he explains the nature of rasa, of course following the lead of Abhinavagupta and Mammata. J. observes (pp. 64, ibid) "samucita-lalita-sannivesa-caruna kavyena samarpitaih, sahrdaya-hrdayam pravistaih, tadiya-sahrdayata-saha-krtena bhavana-visesa-mahimna, vigalitadusyanta-ramanitva"dibhir alaukika-vibhava-nubhava-vyabhicarisabda-vyapadesyaih. sakuntaladibhir alambana-karanaih, candrika"dibhir uddipana-karanaih, asrupata"dibhih karyaih, cinta"dibhih sahakaribhis ca, sambhuya pradurbhavitena alaukikena vyaparena, tatkala-nivartita"-nandamsa"varanajnanena ata eva, pramusta-parimita-pramatrtva"di-nija-dharmena pramatra, sva-prakasataya vastavena nija-svarupa"nandena saha gocarikriyamanah prag-vinivista-vasanarupo ratya"dir eva rasah." The substance of this presentation is-(i) When a beautiful piece of poetry or drama is read or presented, the cause etc. of rasa, i.e. vibhavadi-s, as presented in poetry or drama enter the heart of a connoisseur. -(ii) Through the agency of these vibhava"di-s, an extra-ordinary function called vyanjana comes into operation. (iii) This special function called vyanana has two objectives-(a) to effect a sort of cleaning of the heart of the rasika-s. Actually, on account of attachment towards worldly matters, 'ajnana' and 'malinya' i.e. absence of true-knowledge and obstruction (caused thereby), characterise the heart or conscience of the rasikas. Removing this 'ajnana' and 'malinya', the poetic function presents the inner conscience of the rasika as pure consciousness and supreme bliss. This is the first achievement of vyanjana. (ii) The second objective is to make the rasika deserve the taste of rasa, manifested, in his heart. The idea is that the 'rasa' produced by kavya or natya is of the form of 'atma"nanda'. i.e. bliss of the soul. Tasting this 'atma"nanda', the rasika is carried away by beatitude. This tasting or rasa is the result of the enhancement of the basic emotion -sthayin-already present in the heart of the rasika, in form of 'vasana' i.e. impressions from the past birth. This vasana in form of sthayin becomes an object of rasika's taste due to the vyanjana-vyapara resulting from the vibhava"di-s. In this taste the atma"nanda of the rasika gets mixed up. So, this sthayi-vasana takes the form of rasa; i.e. of the form of "ananda" itself. The idea is that the rasa which is an object of the rasika's taste is not the rasa belonging to such characters as Dusyanta and the like, portrayed in poetry or drama. But it is of the form of tasting of the inborn impressions carried in the heart by the Sa-hrdaya. But the same sthayin getting enhanced through the agency of causes etc. that effect feeling etc. in the heart of Duayanta, reaches the state of rasa in the rasika's heart. 1602 For Personal & Private Use Only

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Rasa-nispatti-vicara in Mammata and Jagannatha 1603 The hero, heroine etc. that are seen on the stage perform acting. Through this acting, i.e. through the agency of the vibhava"di-complex, the sthayin in the h of the rasika is roused to the capacity of rasa and this is a "Camatkara" or "a divine wonder" in itself. Precisely because of this, the function viz. vyanjana, caused by the vibhava"di-s presented through poetry or drama, is termed extra-ordinary. J. proceeds to explain this topic in the light of what Mammaa has stated. He observes :- (pp. 64, 65, ibid) -"tath, ca ahuh-"yyaktah sa tair vibhava"dvaih sthavi-bhavo rasah smrtah." iti. vyakto vyakti-visayikrtah. vyaktis ca bhagna"varana cit. yatha hi sarava"dina pihito dipas tan nivrttau sannihitan padarthan prakasayati, svayam ca prakasate, evam atma-caitanyam vibhava"di-samvalitan ratyadin. antahkarana-dharmanam saksibhasyatvabhyupagateh. vibhava"dinam api svapna-turaga"dinam iva rangarajata"dinam iva va saksi-bhasyatvam a-viruddham. vyanjaka-vibhava"di-carvanaya avarana-bhangasya va utpatti-vinasabhyam utpatti-vinase rase upacaryete, varnanityatayam iva vyanjaka-talva"di-vyaparasya gakara"dau. vibhava"dicarvanavadhitvad avarana-bhangasya, nivsttayam tasyam prakasasya avstarvad, vidyamanopi sthayi na prakasate.' The idea is-Mammata has abready stated - "vyaktah sa tair vibhavadyaih sthayibhavo rasah smrtah." Here 'vyaka' means through the agency of vyanjana. 'vyakti' or manifestation means the consciousness, the lid covering which is removed. This means pure consciousness, the self of the samajika, which is of the nature of beatitude. Like a lamp which presents itself as well as the objects, when the lid covering the lamp is removed, in the same way, the self-consciousness of the connoisseur reveals the sthayin along with the vibhava"di-s, and also reveals itself. The ratya"di sthayin-s are the qualities of the conscience as they are of the form of vasana or impressions. The antah karana-dharma is manifested by self-consciousness -atma-caitanya.' Thus ratya"di-s are saksi-bhasya and this is accepted by all alamkarikas and not just by the vedantin-s. Now the vibhava"di-s are not the qualities of soul and yet they are manifested by self and there is nothing wrong in this. Just as there is nothing wrong when a horse seen in a dream becomes saksi-bhasya or silver in rags becomes saksi-bhasya in a dream, same is the case with vibhava"di-s becoming saksi-bhasya. The process of relishing-carvana-starts and ends and hence rasa also is said to be caused and destroyed, metaphorically. The removal of the lid in form of ignorance is 'pari passu' with the carvana or aesthetic chewing of vibhava"di-s. So, when tasting or carvana ends, the manifestation of sthayin also ends. For Personal & Private Use Only

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1604 SAHRDAYALOKA J. here suggests an alternative also : "yad va vibhava"di-carvana-mahimna sahrdayasya nija-sahrdayatavasonmisitena tat tat-sthayyupahita-sva-svarupa"nanda"kara samadhav iva yogina's citta-vrttir upajayate; tanmayibhavanam iti yavat. anandohyayam na laukika-sukhantara sadharanah. antahkarana-vrtti-rupatvat. ittham ca abhinavagupta-mammatabhatta"di-grantha-svarasyena, bhagna"varana cid-visisto ratya"dih sthayi bhavo rasa iti sthitam." Or, it can be said that through the tasting of vibhava"di, (i.e. without dragging in between the alaukika-vyapara, but just directly) the basic emotion of the sahrdaya, along with the help of the quality of sahsdayata, becomes one with the beatitude which is of the form worthy of the enhanced sthayin. This means that the citta-vrtti itself becomes ananda-maya i.e. one with beatitude. As it happens with the yogin in sa-vikalpa-samadhi, the yogin's mental attitude makes brahma"nanda its object, i.e. it does not get merged absolutely with brahma,but makes brahma"nanda -its object, in the same way, in rasa-prakriya also, the mental state makes the bliss along with the sthayin, its object. It does not get merged totally into the bliss. Thus the rasika is in a way conscious of the fact that he is enjoying. But this enjoyment is not similar to ordinary happiness, for this 'ananda' is not of the form of mental state of happiness but is of the form of the soul or consciousness itself. Thus, observes J., looking at the substance of what Abhinavagupta and Mammata and the rest have written, 'rasa' is ratyadi itself, qualified by selfconsciousness, the lid (of ignorance) over which is removed. But J. has some further observations concerning the above view. He observes that intead of saying, "bhagnavarana-cid-visisto ratyadih sthayi bhavo rasah," - it is advisable to say that :- "vastutas tu vaksyamana-sruti-svarasyena ratya"dy avacchinna bhagna"varana cid eva rasah-" i.e. looking at the substance of the sruti, to be quoted next, actually the consciousness itself, removed of covering, and qualified by ratya"di is itself rasa." In place of 'cid-visisa -ratya"di' being taken as rasa, here "ratya"di-visisa cit eva rasah" is accepted. This rasa is of a special nature. Whether the consciousness is taken either as visesana or visesya, rasa is 'nitya' and also 'sva-prakasa' i.e. self-luminous viewed from the point of view of the 'caitanya-amsa'. But at the same time it becomes 'anitya' and 'itara-bhasya' when looked at from the 'ratya"di-amsa.' The relish or tasting means just the removal of the covering of consciousness. Or, it is already stated beforehand, that the mental state of conscience which takes the form of For Personal & Private Use Only

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in. Rasa-nispatti-vicara in Mammata and Jagannatha 1605 ratyadi is itself carvana or tasting. This rasa-carvana is different in nature from the taste of para-brahma in the state of samadhi. Thus it is different from sa-vikalpasamadhi, because the caitanya"nanda or joy of consciousness which is associated with vibhava"di-s that are objects, is the 'alambana' here. The idea is that in savikalp samadhi pure brahman, which is free from any external object, is the alambana or source. In rasa-carvana, however this is not the case because external objects in form of vibhavadi-s walk in. This relish or tasting or carvana is caused by vyanjana which is the function of poetry (i.e. poetic word) : "bhavya ca kavya-vyapara-matrat." Now, if it is asked as to what is the proof of the existence of beatitnde in this carvana of rasa, then our reply is : "What is the proof of the existence of bliss in samadhi either? If you say that the Gita-vakya viz. "sukham atyantikam yat tad buddhi-grahyam atindriyam" is a pramana for us, then we have also two pramana-s to prove blissful nature of rasa-carvana, and they are - (i) The srutivakya viz. "raso vai sah...", and (ii) The direct experience to the effect of the connoisseur himself. J, ends the discussion here with the remark : (pp. 65, ibid) : "yeyam dvitiya-pakse tad akara-citta-vytty-atmika rasa-carvanopanyasta sa sabda-vyapara-bhavyatvac chabdi. aparoksasukha"lambanatvac ca aparoksa"tmika. tattvam vakyaja-buddhivat; itya"hur. abhinavagupta"carya-padah." -This is the view of Acarya Abhinavagupta-pada. J. now presents the view of Bhatta-Nayaka, who held that if rasa-pratiti is caused to the samajika in form of a third-party i.e."tatasthyena", then it will not result in tasting or "asvada." Bhatta Nayaka argues that if it is said that rasa caused by vibhava"di in form of Sakuntala is at personal level, so the samajika can have taste, the reply is that Sakuntala etc. are not the vibhavas of the samajika at all. Rasapratiti can not take place without the support-alambana-of vibhava-s, and here the vibhavas cannot be related personally to the samajika. It again cannot be observed that here 'kantatva' in a generalized form serves as a vibhava for the samajika for the 'avacchedaka-dharma' due for anything to become a vibhava, should have the following qualities :- for example, in the avacchedaka dharma of songara, there should be an absence of the sense of, "this lady is a-gamya for me" in the alambanavibhava. The absence of the consciousness of 'a-gamyatva' with reference to the heroine, can only make her proper vibhava. The jnana or perception in form of "Sakuntala is agamya for me" will be pratiyogi with reference to the required absence of such consciousness. Thus even in form of "generalized kanta" Sakuntala For Personal & Private Use Only

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1606 SAHRDAYALOKA can not be the object of love personally for a samajika, for "that she is a-gamya" is a consciousness that will continue to linger in the mind of the samajika. If this is not accepted, i.e. if 'absence of agamyarva' is accepted, then this sort of perception will take place even with reference to one's own sister ! As in case of songara quoted above, so also in case of karuna, the samajika should have a feeling that "this one cannot be the object of Soka" :-"evam a-socyatvakapurusatva"di-jnana-virahasya tathavidhasya karunadau."- observes J. Now for arriving at the absence of the consciousness of agamyarva in case of Sakuntala etc. a pratibandhaka-jnana, i.e. a perception which can thwart the earlier perception is required. Now, here that the apprehension of identity of the samajika with Dusyanta is also not possible because the samajika will always carry a sort of consciousness that he lives in present and is bereft of the high qualities of Dusyanta who lived before centuries. So, he will never be able to realise an absolute identification with Dusyanta. Now J. continues further with Bhatta Nayaka's view, For Bhatta Nayaka, observes J., this apprehension of rasa as it is not caused by other means of knowledge, is not verbal or sabdi either, because, it can not be verbal. For if it is said to be sabdi, then it will be as ordinary as the narration of the story of a couple in actual life as well-"kim ca keyam pratitih ? pramanantaraanupasthanac chabdi iti cet na; vyavaharika-sabdantarajanya-nayaka-mithunavrttanta-vittinam iva asyapy a-hrdyatva" patteh." (pp. 65, 66, ibid) Bhatta Nayaka observes that this rasa-apprehension is also not a manasi-pratiti, for there is difference in nature between an apprehension caused by mental effort and apprehension of the vibhava"di-s. : napi manasi. cintopanitanam tesam eva padarthanam manasyah pratiter asyah vailaksanyopalambhat. This rasa-apprehension, according to Bhatta Nayaka, is not of the form of smrti or memory also, as the objects of rasa-pratiti are not 'purvanubhuta' i.e. are not experiend prior to the said moment, i.e. are not ever experienced in the past. So, J. says, according to Bhatta Nayaka,-there is a function called 'bhavakatva' or revelation.. The objects, as denoted by the power of denotation (abhidha), get free from such perception as "a-gamya", etc. on the strength of this bhavakarva', and these objects get their qualities of "kantatva" etc. promoted by this function. Thus they are presented before the samajika, through bhavakarva. Dusyanta Sakuntala etc. are placed in a generalized form before the samajika by their desa, kala, vayah etc.presented in a favourable way. After this the bhavakarva function For Personal & Private Use Only

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Rasa-nispatti-vicara in Mammata and Jagannatha 1607 fades away and a third function called "bhoga-krttva" i.e. the process of relish, prevails. Through the power of this function, rajas and tamas get subdued to sattva which becomes prominent and this sattva helps create a saksatkara, a sort of direct experience of enjoyment. This saksatkara is of the form of resting visranti-in ananda or beatitude which is of the form of self-consciousness. This saksatkara has for its object "ratya"di which is of a generalized form, which itself is "rasa".- Here ratya"di which is enjoyed or tasted or the enjoyment (bhoga) of ratya"di is termed rasa. As this bhoga i.e. asvada is mixed with the object it is termed as "equivalent" -"savidha" to brahma"svada. Thus for Bhatta Nayaka kavya is gifted with three functions viz. abhidha, bhavana and "bhogi-krti". The only difference between this view and the earlier view is that here a fresh function called "bhavakatva" is imagined. Rest is the same, for example 'bhoga' is not different from vyanjana, for both have ratya"di as an object. We know that in the Abh. 'bhavakatva' is explained by Abhinavagupta as just the presence of gunas and alamkaras and absence of dosa-s in poetry, and the four-fold acting in drama. So he had no requirement to postulate 'bhavakatva' to arrive at sadharanikarana. Jagannatha now presents the views of those whom he calls the "navya-s". Though J. is almost committed to Abhinavagupta and Mammata, his leaning more towards this view of the Navya-s, is also obvious. The view of the navyas is presented as follows :- (p. 66) "navyas tu-kavye natye ca kavina natena ca prakasitesu vibhava"disu vyanjana-vyaparena dusyanta"dau sakuntala"di-ratau grhitayam anantaram ca sahidayatollasitasya 'bhavana-visesa-rupasya dosasya mahimna, kalpitadusyantatvavacchadite svatmany ajnanava-cchinne suktikasakala iva rajatakhandah samutpadyamano 'nirvacaniyah saksibhasya-sakuntala"di-visayakaratya'dir eva rasah-ayam ca karyo dosa-vicesasya. The idea is that the New-School-thinkers proceed as follows: In poetry and drama, the poet and actor respectively present the vibhava"di-s first. Then through the function called vyanjana Dusyanta's love for Sakuntala is suggested. Then a dosa-a blemish-called "bhavana-visesa" (or, special aesthetic chewing)-on the part of the sa-hrdayas starts functioning. By the force of this blemish called 'bhavana-visesa', on the part of the connoisseur, he, i.e. the samajika gets associated with qualities of Dusyanta who is imaginary. Like silver seen in the mother of pearl through ignorance, sthayibhava, created in the self of the samajika, (sthayibhava) the nature of which is uncertain (i.e. indescriba For Personal & Private Use Only

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1608 SAHRDAYALOKA manifested by self-consciousness, i.e. one in which (imagined) Sakuntala etc. are the object, -(such a sthayibhava) is rasa. As this rasa is caused by the after-said blemish viz. bhavana-visesa, it is said to be 'karya' or 'caused'. The moment the blemish (=bhavana-visesa) is removed, rasa also ends: "nasyasca tannasasya." Again, "svottara-bhavina lokottara"hladena bheda"grahat sukha-pada-vyapadesyo bhavati- i.e. As its difference from the extra-ordinary bliss that follows it, is not grasped, rasa is said to be of the form of happiness. Again, (pp. 66, ibid) : sva-purvopasthitena ratya"dina tad-agrahat tad-ratitvena ekatvadhyavasanad va vyangyo varnaniyas' ca ucyate. avacchadakam dusyantatvam apy anirvacaniyam eva, avacchadakatvam ca ratya"di-visisa-bodhe visesyatavacchedakatvam."-- Because, either of the distinction not being grasped-the distiction between the rati or love of Sakuntala for Dusyanta in poetry as described therein before rasa -being born in the heart of the samajika, or, knowing for sure that the love (described in poetry) is different and yet certainly taken as identical, this rasa in the samajika is said to be both suggested (vyangya) and also describable (i.e. varnya).The idea is that as rati-sthayibhava in poetry it is 'vyangya', but as it is an object of poetry, it is 'varnya' also. The quality of Dusyantatva' which covers up the self of the samajika is also indescribable. "Avacchadakatva"-i.e. the dharma which covers the self-means when a verbal knowledge Sabda-bodha-is attempted with reference to the samajika, ratya"di take the place of visesana (and the self of the samajika becomes 'visesya), and 'dusyantatva' is said to be "visesyavacchedaka." In plain words this means that there is an imagination on the part of the samajika that he is Dusyanta and that he is associated with the quality-dharma-viz. 'dusyanatatva'. This means that the samajika is totally covered by 'dharma' named 'dusyanta-tva'. The navyas therefore, further note (pp. 66-67 ibid)-etena-"dusyanta"dinisthasya ratya"der ana"svadyatvan na rasatvam. sva-nisthaya tu tasya sakuntala"dibhir a-tat-sambandhibhih katham abhivyaktih ? yad api svasmin dusyanta"dy abheda-buddhis tu badha-buddhi-parahata" ity adikam apastam. This means that from the discussion as above what follows is this: "Because the samajika can not taste the rati or love as staying in Dusyanta, therefore the original Dusyanta-based-love can not be taken as 'rasa'. And also, if it be said that the rati in the samajika is suggested, then how can it be said that this rati in the samajika is suggested through the agency of Sakuntala etc. that has no relation whatsoever For Personal & Private Use Only

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Rasa-nispatti-vicara in Mammata and Jagannatha 1609 with the samajika ? If it is said that there is realised an identity of the samajika with Dusyanta, this sense of identity is destroyed by the factual knowledge on the part of the samajika that he is not Dusyanta."- These arguments advanced by Bhatta Nayaka are refuted. The Navyas say that for the ancients (i.e. Abhinavagupta) also the following is to be taken into account-- "yad api vibhava"dinam sadharanyam pracinair uktam, tad api, kavyena, sakuntala"di-sabdaih sakuntalatva-prakaraka-bodha-janakaih, pratipadyamanesu sakuntala"disu dosa-visesa-kalpanam vina dur upapadam. atovasya-kalpye dosavisese tenaiva svatmani dusyanta"dy abhedabuddhir api supapada." The idea is this-The ancients (i.e. Abhinavagupta and others have advocated the sadharanya or universalization of vibhava"di-s. But this sadharanya will not stand without the projection of a special blemish-(vicisa-dosa-kalpana.). This special blemish is to be imagined with reference to Sakuntala etc., that are presented by poetry made of words. The idea can be expanded as follows-It is a fact that Sakuntala in poetry or drama is not as real as original Sakuntala. This means Sakuntala portrayed in poetry or drama is a creation of imagination, i.e.it is imaginary. Now without - accepting this blemish of "abhasatva" or "kalpitatva" or "being imaginary", with reference to Sakuntala in poetry or drama, these ladies i.e. Sakuntala or whichever others, can not be an alambana-vibhava for the samajika. This fact has to be accepted even by the ancients, i.e. Abhinavagupta and others. So, even they cannot escape the situation of accepting some sort of blemish with reference to Sakuntala of poetry or drama. Without accepting this dosa, we cannot justify the sadharanya of vibhava-s such as Sakuntala. In view of this, what harm is there, with us the Navina-s, who, in order to justify the love of the samajika with reference to Sakuntala, resort to an explanation that, through bhranti or error,-a dosa- the samajika believes that, "I am Dusyanta" ? If the pracina-s believe in one type of dosa, the navina-s project another type of dosa, instead. This is the only difference between the two. J. further describes the view of the Navina-s as follows : (pp. 67, ibid) : "nanv evam api rates tu nama dusyanta iva sa-htdayepi sukha-visesa-janakata, karuna-rasa"disu tu sthayinah soka"der duhkha-janakataya prasiddhasya katham iva sahrdaya"hlada - hetutvam ? praty uta nayaka iva sa-hrdayepi duhkhajananasyaiva aucityat. For Personal & Private Use Only

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1610 SAHRDAYALOKA na ca satyasya soka"der duhkha-janakatvam klrptam, na kalpitasya, iti nayakanam eva duhkham, na sahrdayasya iti vacyam. rajju-sarpa"der bhayakampa"dy anutpadakata"-patteh." sahsdaye rater api kalpitatvena sukhajanakatanupapattes' ca; iti cet -- The idea is this-there is a possibility of some doubt here-It is this.- "If, for e, we accept that as in case of Dusyanta, on account of rati for Sakuntala, the sahrdaya also feels a special type of happiness, then, how can soka which is the sthayibhava of karuna cause happiness in the sahrdaya ? On the contrary, when it (=soka) creates unhappiness in the hero, it is appropriate to believe that it will create unhappiness in the sahrdaya also. Now, if someone argues against this that it is true that from real soka unhappiness is caused, but it is not true to say that from imagined soka (as in poetry or drama), duhkha or unhappiness is felt. "This means that the hero in poetry may feel unhappiness, but the sahedaya does not feel the sameway." But to say this is not true. For, if we believe that imagined unhappy situation does not create unhappiness, then we will have to accept that imagined serpant in a rope does not cause fear, trembling etc. Again, even ratya"di which are only imagined in case of the sa-hrdaya, will fail to cause him happiness." Now J.'s reply to these misra-ananda-vadin-s, (i.e. those who believe in sukha in one context and duhkha in the opposite)-is as follows : (pp. 67, ibid) :- "satyam, songara-pradhana-kavyebhya iva karuna-pradhanakavyebhyo 'pi yadi kevala"hlada eva sa-hrdaya-pramanakah, tada, karyanurodhena karanasya kalpaniyatval lokottara-kavya-vyaparasya eva ahlada-prayojakatvam iva duhkha-pratibandhakatvam api kalpaniyam True, says J.; if as the songara-pradhana kavya causes happiness in the same way karuna-pradhana-kavya also causes happiness-is borne out by the experience of the sahrdaya-s, then in that case from the effect in form of pure bliss its cause, viz. karuna-pradhana-kavya, also has to be imagined. This means that the pure bliss experienced by the sahrdaya has for its cause poetry which is karuna-pradhana. This sort of situation has to be imagined for sure. Then in that case it will have to be admitted that by extra-ordinary poetry just as pure bliss is caused in the same way unhappiness is also thwarted. But if on the other hand it is believed that the karunapradhana kavya causes unhappiness, then this "duhkha-pratibandhakarva" or capacity to thwart unhappiness, need not be imagined in case of poetry. So, it will follow that from each particular cause, a like effect, i.e. either happiness or unhappiness will be caused-"sva-sva-karanavaiad ca ubhayam api bhavisyati." For Personal & Private Use Only

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Rasa-nispatti-vicara in Mammata and Jagannatha 1611 But in this case, these misra-ahladavadins will have to face a question from the pure ahladavadins in the following manner--"(pp. 67, ibid) : "atha tatra kavinam kartum, sahrdayanam ca srotum, katham pravsttih? anista-sadhanatvena nivetter ucitatvat." i.e. "If, kavya causes both sukha and duhkha as the case may be, then in that case why should a poet write o a samajika read such poetry (which also causes duhkha) ? For, in fact, if something is found to be an instrument of unwelcome things, people would refrain from it rather than go for it J. further observes-"If this be so", iti cet,-"istasya adhikyad anistasya ca nyunatvac candana-drava-lepanad iva pravrtter upapatteh."- i.e. If this be so, then on account of much of it beling ista or palatable and less of it (i.e. poetry) being non-acceptable, the activity (of kavi and sahrdaya) with reference to poetry, will continue. This is illustrated by sandal paste. But, J. agrues that for those who believe only in happiness as a result of poetry the activity will be constant in all cases.-kevala"hlada-vadinam tu pravrttir apratyuha eva. We may note that this sukha-duhkha"tmavada held by some critics is expressed by Siddhicandra Gini, the authour of Kavya-prakasa-khandana, who was preceded in this respect by Ramacandra and Gunacandra, the authors of the Narya-darpana, and actually a whole tradition of such a belief is perhaps hinted at even in the Na.Sa. of Bharata. We believe that Siddhicandra was posterior, or at the most a very juniour contemporary of J. So, it is no use identifying the name of this or that alamkarika, holding this view. But the fact is that it was current in the times of J. and hence this discussion is seen here. J. observes further that for Kevala"hladavadins, the anubhava-s such as shedding of tears etc. are also caused due to the boundless joy; and not due to unhappiness. In the same vein the shedding of tears by devotees is also explained as a result of joy experienced by them. There is not even an iota of unhappiness. But the misra-anandavadins have an objection to this; and the objection reads as-"If as you say, in case of karuna-rasa, the samajika, though he has identified with unhappy Dasaratha, enjoys bliss, then the same experience of happiness should be seen when a man either in a dream or in delirium, should feel happiness because the superimposition of Dasaratha is very much there. But the real experience is that he feels miserable in a dream or/in/delirium. For Personal & Private Use Only

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1612 SAHRDAYALOKA The reply is that it is the greatness of extra-ordinary poetic function that the palatable taste that is caused due to it is absolutely different from any worldly experience. So, the outcome is that the bhavana (aesthetic chewing or, emotive process) caused by poetry causes 'asvada'-taste which has 'rarya"di' as its subject. : "ayam hi lokottarasya kavya-vyaparasya mahima, yat-prayojya a-ramaniya api soka"dayah padartha, ahladam a-laukikam janayanti. vilaksano hi kamaniyah kavyavyapara-ja asvadah, pramanantarajad anubhavat. janyatvam ca sva-janya-bhavana-janya-ratya"di-visayatvam."(pp. 67, ibid). So, if this joy is believed to be not caused by bhavana, caused by kavyavyapara, there is no harm.-"tena rasa"svadasya kavya-vyapara-a-janyatvepi, 'na ksatih. sakuntala"dau a-gamyatva-jnanotpadas tu dusyanta"dy-abheda-buddhya pratibadhyate itya"huh. The rise of such a consciousness that, 'Sakuntala is a-gamya for me, is also -removed for in the mind of the rasika a consciousness of identity with Dusyanta has taken place and this removes that a-gamyatva-buddhi. We have seen that J. has given three views concerning rasa"svada, the first being the view floated by Abhinavagupta and supported by Mammata and acceptable to him also. The second view was that of Bhatta-nayaka and he tried to bridge the difference with the first view by saying that bhavakatva is covered up by gunalamkara-yoga and dosa-hana in kavya and caturvidha-abhinaya in drama, and bhoga-vyapara is identical with vyanjana itself. So, virtually J. feels that Bhatta-Nayaka had nothing fresh to offer except a quarrel in 'name' only. The third view was that of the so-called Navya-s, perhaps also shared by Siddhicandra gani, who for us is a lesser light and perhaps, in our opinion was posterior to J. We are clear that the view of these navya-s is not shared by J. but as it did carry some weight in the literary circle of his times, he has discussed the same at lenght. Our Guru Prof. R. B. Athavale also feels that J. accepted the views of the Naavyas. But we politely disagree; for J.'s committment to the views of Abhinavagupta and Mammata is clear and final and he also had an absolute faith in the "Revala-ahladaKaritva'of poetry, drama or any art. For him rasa is "ananda-ghana-samvedanam eva, tatra ka duhkha"-sanka ?" Actually but for the sukha-duhkha"tmakarva of rasa as acceptable to the Navyas, even what they call a special bhavana-dosa, can be called a "special bhavana-guna" also. Why should they call it a dosa ? Thus, when put to critical test the view of the navyas seems to lose ground. For Personal & Private Use Only

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Rasa-nispatti-vicara in Mammata and Jagannatha 1613 After these three views, J. again presents eight more views on the nature and realization of rasa. But before we discuss these views threadbare, we will quote at length first from prof. Dr. Sri Ramachandrudu who sits high in our estimation along with our gurus Prof-s Parikh, Dr. Kulkarni and Prof. Athavale. It may be noted however that we do not agree on all points with Prof. Ramacandrudu (Ref. The contribution of Pandita-raja Jagannatha to Samskrit Poetics, Vol. I, Pub. Nirajana, Delhi, Edn. '83), whose views we quote out of sheer respect for him. We have expressed our own views as above and will also note our differences with Prof. Ramachandrudu as and when we feel it pertinent. Prof. Dr. Sri Ramachandrudu writes: (pp. 113-114) ..."Let us now examine, under this background, the theory of Rasa as expounded by PR (=Pandta-raja, i.e. J.). As was already noted, he mentions in Rasa-gangadhara eleven different views on Rasa. He begins with mentioning the views of Abhinavagupta which are generally taken as the last word on the theory of Rasa. Of the eleven theories mentioned by PR. the first Six theories have got some important points of their own and the last three theories, which are mentioned just because they were expounnded by some ancient writers,cannot get, as PR. says, the approval of Bharata. [Here we may add that true, Bharata speaks of the three viz. vibhava, anubhava and vyabhicarin combined only cause rasa, but in practice, as Abhinavagupta has also illustrated in his A.bh., the poets, being "nirankusa" by nature, quite often describe just one of these factors or even any two of them, where, as Abhinavagupta suggests the elements not mentioned are to be placed by the imagination of the samajika. The samajika has to do the exercise and fill the gap. So, virtually the three together cause rasa but these three thories are mentioned keeping the practice of the poets in mind, and of course, keeping the most important among the three of vibhava"di-s, keeping in mind. So, we feel there should not be any grudge against these three theories also which are mentioned as follows.) : "According to the last three theories only the vibhava (9th view), or the Anubhava (10th view) or the vyabhicaribhava (11th view) which is being relished (Bhavyamana) is the Rasa. The last two theories are reminiscent of the views of Rudrata and Bhoja, who believe that every Bhava can be developed to the state of Rasa; and the first theory is related to the prehistoric conception of even Vibhava becoming Rasa, a theory which is not found in any of the extent works." [we beg to differ. For if scrutinized minutely, even Bhoja, and then both Ramacandra and Gunacandra virtually suggest the abridgement of rasa-sutra as only- "vibhavad For Personal & Private Use Only

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1614 SAHRDAYALOKA rasa-nispattih." Even Lollata had suggested that the anubhava-s mentioned in the sutra were not to be taken as 'rasa-janya' but as those belonging to the bhava-s that stand for either the sthayin-s, -and the anubhava-s of the sthayins are discussed at length in the Na. Sa. Ch. VII (vol.I), -or bhava-s may mean the alambana-vibhavas. In the second alternative, we arrive at "vibhavad-rasa-nispattih." Actually 'vibhava' is a 'cause' in general and therefore if in brief it is said, "vibhavad rasa-nispattih," there is nothing wrong in it and we have to take this view in this light only. This is our humble opinion. Prof. Ramachandrudu then proceeds as-) "The seventh theory that all the three thinga-Vibhava-s, Anubhava-s and the Vyabhicari-bhava-s, together constitute Rasa, results, evidently, from understanding in a most general way, Rasasutra of Bharata, where only these are mentioned without the explicit reference to the sthayibhava. The eighth theory holds that one of the three which ever can produce Camatkara is Rasa and that none of them can become rasa if it fails to produce the same. This theory again, must have been the outcome of the ninth, thenth and eleventh theories, according to which, each of the - Vibhava-s etc. can become as explained above, Rasa. Thus all these five theories represent the views of the earlier writers, and historically speaking, they should, most probably, be placed in the following order (i) bhavyamano vibhava eva rasah, (ii) anubhavah, tatha (iii) vyabhicaryeva tatha tatha parinamati. (iv) trisu ya eva camatkari sa eva rasah (v) and, vibhava-dayah trayah samuditah rasah." [It may be noted that we may not read any order historically speaking, for as explained by us as above, virtually these views result in only the said prominence of a given factor. It is the result of a personal choice when someone would place it this way and the other, another way.) (pp. 114, ibid)-"PR, understands the weakness of these theories and disposes them off with one remark without any comment there on. Even Abhinavagupta mentions (and, it may be noted, we have referred to these in our earlier chapter), similar theories only in a passing remark : "anye tu suddham vibhavam, apare tu suddham anubhavam, kecin tu sthayimatram. itare vyabhicarinam, anye tatsamyogam, eke anukaryam, kecana sakalam eva samudayam rasam ahur ity alam bahuna." [Abhinavagupta has mentioned, "sthayinam", and "anukaryam" and "sakalam samudayam" also, in addition to what J. has done. By 'Sakalam Samudayam' as it comes after'anukarya' of course meaning the hero, should mean all the characters taken together, and not just the hero alone. Again, as we had seen in a quotation in the earlier chapter, the pradhana-samvit of the nayaka, here anukarya, is the last biggest circle in which other samvid-s get merged. So, there For Personal & Private Use Only

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Rasa-nispatti-vicara in Mammata and Jagannatha 1615 is virtually no harm in calling the anukarya, meaning the pradhana-samvit of the anukarya to be rasa.] So, these theories do carry some weight and are not as weak or useless as sri Ramachandrudu imagines. He. however, proceeds to say, with which we feel like agreeing that-]-"In the theories of Bhatta Lollata, Sri. Sankuka and Bhata-Nayaka, presented by PR. as the fifth, sixth and the second theories, we do not find much (-any-) difference from what is written about them by Abhinavagupta and Mammata. PR. refers to the theory of Bhatta Lollata in the following words. (pp. 88, Edn. prof. Athavale, ibid)-"mukhyataya dusyanta"digata eva rasah, ratya"dih kamaniya-vibhava"dy-abhinaya-pradarsana-kovide, dusyanta"dy anukartari nate samaropya saksat-kriyate,' ity eke. mate'smin saksatkaro dusuantoyam sakuntala"di-visayaka-ratiman, ity adih, pragvad dharmyamse laukikah aropyamse tv alaukikah."-- By the sentence beginning with "matesmin", PR. explains how the Rasa-saksatkara can be had by the Samajika when, according to Lollata, the real Rasa rests with the original charcter only. [It may be noted that in the earlier chapter while discussing Dr. K. C. Pandey's views, we had stated that the possibility of the samajika also experiencing rasa, was not totally ruled out by Lollata. Our same reemarks are applicable here also to Sri Ramachandrudu's remarks and the discussion he adds further. We will also go to observe later how Prof. Athavale takes this.].-[Prof. Ramachandrudu continues, pp. 114,as follows.] "The samajika will be having a peculiar saksatkara,- "dusyantoyam sakuntalavisayaka-ratiman" i.e. "This Dusyanta is having Rati about Sakuntala'. Here, this cognition is Laukika-pratyaksa so far as the "Idantamsa" "this" is concerned, and Alaukika-pratyaksa- so far as the 'Rati' is concerned, as in the case of the cognition, 'surabhi candanam' etc., which is laukika-pratyaksa, so far as 'candana' is concerned, which is 'caksuh-samyukta', and 'Alaukika-pratyaksa', so far as 'saurabha' is concerned which is in contact the caksus by 'Jnana-visayapratyasatti' (Muktavali, p. 270 & p. 280). This is how this passage of Rasa-Gangadhara has been explained by Dr. Chaudhury (Kavya-tattva-samiksa, p. 175), and this explanation seems to be quite proper and bringing out the views of PR. But some commentators (sarala, R. G., pp. 34; Candrika, Part I, p. 124, Hindi R. G., Part I, 67) understand this passage to mean that the pratyaksa is Laukika so far as the Idamtvamsa is concerned, and Alaukika in the Dusyantatvamsa. There may be nothing technically wrong in this explanation because the Aropyamana, according to the Naiyayikas, is Alaukikapratyaksa-visaya.' But (it) does not convey the correct idea of PR. who wants to For Personal & Private Use Only

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1616 SAHDAYALOKA explain how the Rati etc., can be the object of the cognition of the spectator (samajika-pratyaksa-visaya), because in the first sentence quoted above, he says,"Raso ratya"di...saksat-kriyate," and in the second sentence he explains the nature of Saksatkara of Ratyadi, and therefore, to explain the passage without any reference to Ratyadi is only to neglect the spirit of this passage." Prof. Athavale (p. 97, ibid, ft. note 12) explains this point in Lollata's view as follows- He observes that a question can be raised in this procedure about the place of the samajika-s. Is it that rasa is caused in them also, or not-? To this question these people (i.e. Bhatta Lollata, etc.) suggest that rasa in reality is in Dusyanta. But here there is superimposition of Dusyanta over the actor. Then through inference there is apprehension of rati in the nata- (we may say, Prof. Athavale here seems to have Mammata's words-"anukartari nate ca pratiyate" in mind, where 'pratiti' is understood as inference, done by the samajika). Prof. Athavale adds that the samajika, through a special dosa, identifies himself with the nata and enjoys rasa. - Prof Ramachandrudu (pp. 115, ibid) continues : "PR. sums up the views of Sri. Sankuka in the following words :-"dusyanta"di-gato ratya"dir nate pakse dusyantatvena grhite, vibhava"dibhih krtrimair a-krtrimatya grhitaih, bhinne visayenumiti-samgrya balavatvat anumiyamano rasah ity apare." Thus according to PR., The main difference between the views of Lollata and Sankuka is that according to the former the Rati, etc. are ascribed to nata taken as Dusyanta, who is pratyaksa-visaya (of course Alaukika it is) of the samajika, and according to the latter it is anumeya. The form of anumiti will be like this, -"ramoyam sita"di-visayaka-rati-man. sita"dyalambana-vibhava,-romanca"dyanubhava-autsuktyadi-sancaribhava-vattvat. yo yad-atmaka-vibhavarve sati anubhava-sancari-bhavavan, sa tad ratiman." Here nata is recognised only in the form of Dusyanta"di not as nata, as the nata-pratyaksa is obstructed by the Anumiti of the Rati etc., because when there is samagri both for the pratyaksa and the Anumana, the samagri of Anumana is considered to be powerful, provided the objects of them (pratyaksa and Anumana) are different. Here Dr. Chaudhury raises a question which deserves a brief reproduction. (Kavya-tattva-samiksa, pp. 182). While explaining the theory of Lollata it was said that the Rati etc. is Alaukika-pratyaksa-visaya. Now it is not proper to say, on behalf of Sankuka, that the Rati, etc. is Anumeya; because there is also the Samagri for the pratyaksa of Rati, etc. In other words, the Rati etc., being the object of both For Personal & Private Use Only

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Rasa-nispatti-vicara in Mammata and Jagannatha 1617 the pratyaksa and Anumiti, the Anumiti-samagri can not be more powerful than the pratyaksa-samagri and on the contrary, the pratyaksa-samagri should supress the Anumiti samagri and produce pratyaksa and so Sankuka's theory is baseless. This objection is answered by Dr. Chaudhuri by quoting the views of Srinivasa"carya, the commentator on Nyaya-parisuddhi, who maintains that Anumiti-samagri is always powerful, whether the objects of pratyaksa and Anumiti are different or the same. In view of this explanation, Dr. Chaudhuri feels, P.R.'S words-"Bhinne-visaye" etc. are to be considered used by oversight. (Kavya-tattvasamiksa, pp. 183-184)." We have already considered above the three theories covering Abhinavagupta, Bhatta Nayaka and the Navya-s. The only theory now to be considered is one which starts with the words- "pare tu..." (pp. 88, edn. Prof. Athavale.). Sri. Ramachandrudu has the following comments for the theories of Navya-s and also "pare". He observes : (p. 121, ibid) : "After briefly stating the theories of Abhinavagupta and Bhatta Nayaka, PR. advances two more theories under the headinges 'Navyas tu' and 'Pare tu'. It is not known whose theories he is reproducing here; because these two theories are not to be seen in any of the extent works on Rasa. Perhaps these are the product of the fertile brain of PR. himself which he hesitates to put forth boldly on the face of the generally accepted theory of Abhinavagupta, though he must be having some secret inclination towards at least one of the theories (most probably towards the first one beginning with 'Navyas tu'.)." (we have already expressed our viwes concerning this earlier). Sri. Ramachandrudu notes further-(pp. 121m ibid). "The first theory also is based on Vedanta. On account of some defects, the defect of eye-sight and the dimness of light etc.,a man on seeing the piece of the pearl oyster gets the wrong impression that it is silver. A cognition cannot be produced unless the object of cognition exists before. . Therefore, the Vedantins accept that a particular kind of Rajata, which is technically called Pratibhasika is produced here on the seep by the above defects and this silver is beyond definition (Anirvacaniya), for, it is neither existing, because it is not of any consequence, nor non-existing, because it is being actually seen by the perceiver. Applying the same principle, this theory believes that the Rasa also which is no other than Rati, etc., is Anirvacaniya. When the Vibhava-s etc. are presented by the poet or the Nata, the sahtdaya, on account of vyanjana-vyapara, For Personal & Private Use Only

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1618 SAHRDAYALOKA first gets the cognition of Rati, etc., about Sakuntala and the like, as associated with Dusyanta"di. The spectator being a sa-hrdaya, possesses Bhavana, which is a kind of defect (Dosa), and this Bhavana produces in him a sense of identity with Dusyanta"di (Dusyanta"dy abheda-buddhi), which in its turn, produces Rati etc., about Sakuntala"di in him. The Rati etc., like any other Pratibhasika, is 'saksibhasya' i.e. cognisible through the direct contact with the caitanya, and at this state it is called Rasa. Immediately after this cognition of Rati, etc., a peculiar transendental joy is being experienced which is wrongly identified with the cognition of Rati, and this is why Rasa is said to be 'Sukha-rupa.' This Rasa is Karya because it is produced by the defect i.e. bhavakarva which is invariably existing in Sahrdaya, and is Nasya because it disappears with the disappearance of the defect. It can not be said to be vyangya in the strict sense of the word, but it is called so because it is identified with Rati, etc. of Dusyanta"di which only is really vyangya. Even the Dusyantatva ascribed to himself by Sahrdaya is Anirvacaniya like the ratyadi, and it conceals the reality of Sahrdaya, and this also is the result of the dosa i.e.Bhavakatva, inherent in him. It is inevitable, the Navyas contend, to accept this Dosa in a sahrdaya, because without this, it is not possible, to justify the universalisation (sadharanikarana) of Vibhava-s etc. Once this Dosa is accepted, it can be justified that the Sa-htdaya identified himself with Dusyanta"di on account of the some Dosa. Here, one question may be raised. Some sthayibhavas like Rati which are the source of pleasure by nature, may be able to produce preasure in the Sahrdaya when they are born in him by the above process. But the same cannot be said of the sthayibhava-s like Soka which are the source of grief by nature in the ordinary world, but are considered to be pleasing in a Kavya. This objection is met by these Critics like this : If it is the experience of the sahrdaya to get pleasure even from the kavya-s with karuna as a dominent sentiment, we have to accept that the same vyapara of Kavya, while producing pleasure, can also obstruct the feeling of grief. And if there is the experience of both pleasure and grief, then let us accept that both pleasure and grief are natural in Rasa. People are inclined towards such works because the quantity of pleasure is more than that of grief. Here, it may be estioned, how it is, only grief is experienced when a man identifies himself wrongly with the grief-striken Dasaratha etc. in a dream or in a state of delirium, with no touch of pleasure ? The answer is that only a beautiful Kavya has got this power of presenting the unpleasant Soka, etc., in a pleasant manner, which cannot be found in dream or delirium. For Personal & Private Use Only

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Rasa-nispatti-vicara in Mammata and Jagannatha 1619 After giving this theory of Navya-s, PR. puts forth another theory under the headings "pare tu". (pp. 88, Edn. Athavale, ibid). -" Before proceeding with Sri Ramacandrudu's presentation, we will first quote the view of "Pare" from the original, which read as : "pare tu, vyanjana-vyaparasya a-nirvacaniya-khyates ca anabhyupagamepi prag-ukta-dosa-mahimna svatmani dusyanta"di-tadatmyavagahi sakunatiala"divisayaka-ratya"dimad abheda-bodho manasah kavyartha-bhavana-janma vilaksanavisayatasali rasah. svapna"dis tu tadnsabodho na kavyartha-cintana-janmeti, na rasah. tena tatra na tadesa"hlada"pattih. evem api svasminn avidyamanasya ratya"der anubhavah katham nama syat. maivam. na hyayam laukika-saksatkaro ratya"deh, yena-vasyam visaya-sadbhavopeksaniyah, syat api tu bhramah. asvadanasya rasa-visayakatva-vyavaharas tu ratya"di-visayakatva"lambanah' ity api vadanti. etais ca svatmani dusyantatva-dharmitavacchedaka-sakuntala"divisayaka-rati-vaisistyavagahi, svatmatva-visese sakintala"di-visayaka-rati-visistadusyanta-tadatmyavagahi, svatmatva-visiste dusyantatva-sakuntala-visayaka-ratyor vaisistyavagahi, va trividhopi bodho rasa-padarthatayabhyupeyah. tatra rater visesbhutayah sabdad a-pratitatvad vyanjanayas ca tat-pratyayikaya anabhyupagamac cestadi-lingikam adau visesana-jnanartham anumanam abhyupeyam." Let us first try to understand this. Then we will quote from Sri Ramachandrudu also. This view holds that, even if we do not accept the vyanjana-vyapara (of the ancients) and the a-nirvacaniyakhyati (as advanced by the navya-s), with the help of the influence of dosa (as advocated by the navinas), a sort of abheda-bodha-"a perception of identity"-in the sahrdaya is created. (This is the view of these "pare"-others.). This "abheda-manasa-bodha' has for its subject the abheda or identity with Dusyanta felt in the mind of the Samajika. Again, this abheda-bodha has also for its subject the ratya"dika, wherein Sakuntala is the object. [This abhedabodha is caused to the samajika who is non-different from Dusyanta.] This abheda-bodha is caused due to repeated (mental) connection with the meaning of poetry. The objects such as Dusyanta, Sakuntala etc. of this repeated connection have their visayata or object-ness, different from other 'visayata : The obvious reason is that when this experience takes place, the ratyadi bhava-s of real Dusyanra, etc. are not present and hence this experience is of the form of a bhrama' i.e. unreal apprehension. But even if it is a mis-apprehension its knowledge or experience is very much there. J. replies to a querry as to how such an unreal apprehension can be experienced, in the following way.- This, says J., mental cognition is termed rasa by us. Now the aforesaid unreal apprehension is there in a dream also, but as the For Personal & Private Use Only

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1620 SAHRDAYALOKA same is not caused by brooding over poetic meaning and hence it cannot be termed rasa. So, no question of experiencing the joy of rasa ever arises with reference to a dream. If it is asked as to how can a samajika enjoy ratyadi-s which are not in him, even if your talk of bhrama' is accepted, then the answer is that it is not proper to ask such a question. For, the experience of ratyadi is not ordinary i.e. worldly. If it were worldly the existence of its object would have been a necessity.But this experience is only 'bhramatmaka' i.e. unreal. Now 'rasa' becomes the object of this taste is because in this taste 'rati' is the object. The idea is that in reality the taste of rasa unreal or bhramatmaka. The taste of ratyadi is only superimposed on 'rasa'. That this knowledge is unreal is a different matter. To have the taste of knowledge' is a thing which does not click in our mind, for taste is related only to a 'dravya' i.e. an object. We cannot taste jnana or such other qualities. So, the doubt raised is this that how can 'rasa' which is of the form of jnana i.e. apprehension, be tasted ? The answer is that taste is only of ratyadi, but this taste is superimposed on 'rasa'. Actually on tasting the sthayin rati etc., accompanied by vibhavadi-s, rasa is caused. So 'rasa' cannot be said to be the object of taste-asvada-visaya. But in common parlance, rasa is said to be the object of taste. The visayatva of sthayi which is an object of taste is superimposed on 'rasa.' Now, these people who hold the above view, will have to accept 'rasa' to be one of the three types of 'bodha' or apprehension. (i) A bodha' in which, in the mind of the samajika, dharmi Dusyanta appears as a 'vidheya'. Here this Dusyanta has Dusyantatva as its avacchedaka-dharma. So, in this bodha' the samajika is pushed into 'anuvadya-koti', while dusyantarva-dharma-yukta-dusyanta-dharmi remains in the 'vidheya'-koti. In clear words it may be said that the samajika has a bhrama - an unreal cognition though a sweet one, that, "I am Dusyanta". In this 'bodha', or manasabodha Sakuntala is related as an object. This is the first type of bodha. In short, in this bodha, the samajika has a cognition "I- who am associated with ra concerning Sakuntala,-that samajika (=I am) is Dusyanta". Thus Sakuntalavisayaka-rati is the visesana of samajika, samajika himself is the uddesya, and Dusyanta is the vidheya. In the original, "rati-vaisistya" is the word used which means "The relation of rati." The second bodha will take the following shape- That Sakuntala-visayaka-rativisista-Dusyanta is one with myself (i.e. the samajika). This means that I (i.e. samajika) am identical with Dusyanta who believes that Sakuntala is the object of my love or 'rati.' The plane meaning is that I am very much the Dusyanta who has love for Sakuntala. In Sastriya terminology here it can be said that on the uddesya which is dusyantarva there is vidhana of 'ahamtva'. For Personal & Private Use Only

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Rasa-nispatti-vicara in Mammata and Jagannatha 1621 The third bodha will take this shape : "svatmatva-visista" meaning in samajika the vaisistya of dusyantatva and also of 'sakuntala-visayaka-rati' is apprehended. This means that in this third bodha "I"-is 'uddesya', dusyantarva is the vid heya and Sakuntala-visyaka-rati-visistatva' is also a (second) 'vidheya.' So, this third manasabodha has 'l' both as visesya and also uddesya, and dusyantatva and sakuntalavisayaka-rati-these two are visesana-s. In all these three manasa-bodha-s, rati which becomes a visesana is never apprehended through (direct) word-expression, as there is, in the poem, not a single word which is the vacaka or directly expressive of rati. Again the vyanjana which causes the apprehesion of that rati is not admitted by these thinkers. So, it becomes pertinent to accept an inference, anumana, which makes for the aprehension of rati which becomes a visesana in this apprehension. In this inference, nata is the paksa, rati is sadhya, and for sadhya-siddhi, the abhinaya of nata is 'linga' i.e. 'hetu.' (Once this rati is realised through inference, then due to the dosa or bhrama aforesaid, there is identity of Dustanata qualified by that rati with the Samajika. The cognition of this abheda or identity is rasa. This fourth opinion also is held by the Navya-s. The third opinion which preceded this fourth one has been credited to the name of the navya-s. So, to avoid repetition,J. has used the words "pare tu." The only difference between these two opinions is that the navya-s mentioned earlier first believe in vyanjana-vyapara and also accept anirvacaniyakhyati. The other 'navya-s', signified by 'pare tu' do not accept either vyanjana-vyapara or anirvacaniya-khyati- This is how Prof. R. B. Athavale explains-(pp. 92, ibid). The fifth opinion as seen above is that of Lollata, the sixth floated by Sankuka and 7toll, the last five are mentioned without reference. We have discussed these beforehand and hence we avoid repetition of the same here. Now we will turn once again to Sri Ramachandrudu and examine how he explains the views of "pare tu". He observes : (pp. 123, ibid) : -"According to this theory, there is no need of accepting vyanjana-vyapara or Anirvacaniya-khyati as explained in the previous theory. The Sahrdaya on account of the Bhavana-dosa, will have a feeling identifying himself with the character presented on the stage or by the kavya, as having Rati etc. about Sakuntala"di. Only this feeling of identification which is produced by the Bhavana of the kavyartha, is capable of causing Camatkara, but not the one produced in dreams etc. The rati is not existing in Samajika; he may feel the Rati because he wrongly identifies himself with the one, having it. In a 'bhrama', a thing which is actually existing in For Personal & Private Use Only

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1622 SAHRDAYALOKA some other place may appear as existing in a different place as in the cause of "sukti-rajata-jnana" where the Rajatatva is ascribed to 'idamkaraspada,' i.e. sukti, though it (Rajatatva) is really associated with Rajata only, which is in a different place and this is technicaly called Anyathakhyati of Naiyayikas (Bhamati, pp. 2930). Thus this theory instead of accepting anirvacaniya-khyati as in the previous theory, appears to be inclined to accept Anyathakhyati. The identification of sahsdaya with Dusyanta"di may be in three different ways with slight difference in visesana-visesya-bhava. The first bodha is - "sakuntalavisayakarati-visisto'ham dusyantah." The second bodha is - "sakuntala-visayakarativisistah dusyantah aham asmi", and the third bodha is - "aham dusyantarvena sakuntala-visayakaratya sa visistah." In all these three bodha-s, the ultimate meaning is the same, though there is difference in the uddesya-vidheya-bhava. In the first bodha Dusyantatva is ascribed to "Ahamtva". In the second "Ahamtva" is ascribed to "Dusyantarva", whereas in the third bodha, Dusyantatva and rati are ascribed to Aham. In all these three bodhas, rati is visesana. Its cognition is not a sabda-jnana, because it cannot be expressed by sabda-s. In this theory, vyanjana is also not accepted, therefore, the cognition of rati, etc., is Anumana. For, at first, the Samajika infers Rati in Dusyanta etc. with the help of the action of the actor. Next the defect in the Sahrdaya, referred to above, removes the sense of difference between himself and Dusyanta which ultimately results in one of the three kinds of cognitions, identifying him with Dusyanta. Now the Rati can be the object of direct cognition (saksatkara) of sahrdaya by "jnana-rupa-pratyasatti", as was shown above while discussing about Lollata's theory. These two theories are perhaps the amplification of the one that is briefly stated in the Locana (pp. 186, Edn. with Bala-priya) : "anye tu anukartari yah sthayyavabhasah abhinaya-samagryadikstah, bhittav iva haritala"dina asvavabhasah sa eva lokatitataya asvada'para-samjnaya pratitya rasyamano rasa iti naryad rasah narya-rasah." Here the word "sthayyavabhasah" might have given clue to PR. to develop a theory establishing the Rasanubhava to be a kind of Bhranti-jnana. [We have explained this passage differently, taking it as an explanation concerning the citra-turaganyaya of Sri-sankuka. Sthayyavabhasah is to be equated with asvavabhasa - or the apparent appearance of the aggragate of a horse presented through colours on a canvass. So, we need not correlate this theory with the one held by "pare tu." However, even the "pare" favour inference and do not accept vyanjana. Hence Sri Ramachandrudu's suggestion is also not un-welcome to us. Actually in a research paper : "The samlaksya-kramatva of rasa"di-dhvani", we have also tried to correlate the ideas in Locana with some views mentioned by For Personal & Private Use Only

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Rasa-nispatti-vicara in Mammata and Jagannatha 1623 Jagannatha in connection with words having a multiple sense. Actually J. seems to be closer to the Locana, at times] Sri. Ramachandrudu continues : (pp. 124, ibid) : Dr. N. N. Chaudhary states that these two theories are not satisfactory and he raises the following objection against them. If the Sahrdaya, as stated in the above theories, experiences the Rati about Sakuntala within himself, he will have some sense of shame to express in the presence of others. If the Rasa"svada were to be mere Bhranti-jnana, it will not be an object of attraction for the wise men. To state that soka also, when presented by a poem can be a source of pleasure, is to attach much importance to the Lokottaratva of a kavya, without giving satisfactory reasons. Unless the process of Ajnana-nasa, as explained in the theories of Abhinava and others is accepted, it is not possible to establish that Rasatva is Ananda-rupa. If, moreover, the Sahrdayatva is only a cause of Bhranti-jnana, it will be perhaps, like madness, a thing more to be ditasted than to be worthy of aquisition. Thus Dr. Chaudhary feels that these two theories are not even worthy of serious consideration. (Kavya-tattva-samiksa; pp. 207). In spite of all that is said, the theory contending the Rasa"svada to be a kind of Bhrantijnana, cannot be brushed aside as worthless. PR. himself appears to be in favour of this theory. The exponants of all theories of Rasa are unanimous, in spite of the difference in procedure, in accepting that there is jnana involved in Rasa. (Abhinavagupta had attacked Bhatta Nayaka on the ground that even 'Bhoga? is a 'pratiti' and 'rasa' is also a pratiti, and nothing is beyond a pratiti, so, it is not proper for Bhatta Nayaka to say say that, "rasah na pratiyate...".) - Whether a jnana is a prama or bhrama is to be decided by the nature of the object of the cognition, but not by the cognition itself. Nobody can dispute regarding the existence of jnana, whether it is prama or bhrama, irrespective of the existence or otherwise of its object. Thus a jnana can be produced by the really existing things or the spurious ones. Such being the case, it cannot be altogether ignored that a Rasa also can be Bhranti-jnana or the result of Bhranti-jnana, because it is being produced by things which are really non-existing at least at the time of their presentation. After all Plato is quite correct in stating that the object of art is twice removed from nciples of Literary Criticism, p. 70). Whether he is right in condemning art on that ground is altogether a different question. The famous poet, Shakespeare places, though in a lighter vein, the poet by the side of a mad man and a lover (A mid-summer-Night's Dream V. i.sc.) clearly suggesting that the work of a poet consists in producing illusion (Bhtanti-jnana) though perhaps a happy one. Even while stating the theory of Abhinavagupta, PR. indicates that Rasa"svada is, to a certain extent, illusory. There, first he states : For Personal & Private Use Only

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1624 SAHRDAYALOKA "yatha hi saravadina pihito dipas tan nivrttau sannihitan padartham prakasayati, svayam ca prakasate, evam atma-caitanyam vibhava"di-samvalitan ratya"din, antahkarana-dharmanam saksibhasyatva'bhyupagateh." (R.G. p. 26). Here a question would arise. It may be correct that Rati etc. being the Antahkarana-Dharmas, should be saksi-bhasya-s. But how can the vibhavas etc. be saksi-bhasya-s ? In reply to this probable objection he says : "vibhavadinam api svapna-turaga"dinam iva, ranga-rajata"dinam iva saksi-bhasyarvam a-viruddham." (R.G. p. 26). In fact, PR. could have established the saksi-bhasya-vibhavas etc. by following the famous dictum of Vivarana"carya : sarvam vastu jnata-taya a-jnata-taya va saksi-caitanya-visayah." (Panca-padika-vivaranam, p. 99). But he prefers to take the vibhavas as the creation of imagination and so the vibhava-jnana should be considered only as a Bhranti-jnana. Once the vibhava"di-jnana is accepted as a Bhranti, there should be no objection in accepting the Rasa'nubhava as the result of Bhranti; because it is the result of vibhavadi-jnana, and in fact, as explained above while stating Abhinavagupta's theory, is the samuhalambana-jnana of the vibhavas etc. Thought it is Bhranti-jnana, there is nothing wrong if it is sought by the wise men, when they are sure to get pleasure of peculiar nature from it. Only become it is Bhranti-jnana, we cannot deny the existence of Ananda or the mixture of Sukha and Duhkha as the case may be, and this can induce the Sahrdaya towards the drama or anykind of poetical work. Only this is how we can explain the craze of the people for reading the detective novels, which may be in our technical language, the source of Adbhuta-Rasa. That Sahrdaya would feel ashamed also need not be a serious drawback because, according to the above theories, the Sahrdaya ascribes Dusyantarva on himself and so there is, no question of experiencing Rati etc. as Atma-gata. Moreover, even if he has such Rati, he need not have the sense of shame, because, he does not express it normally. [We feel Sri Ramacandrudu has gone astray here.] It is not clear how far the Alamkarikas are justified in applying the process of Brahma"nanda"svada (the Avaranabhanga, etc.) in the case of Rasa"svada; just because they call it Alaukika. (The earlier chapter in which following Abhinavagupta's rasa-theory we have dealt with the secret of art-experience in general which borders on the Divine. This may be looked into carefully.) The Atmajnana being directly connected with the Brahman which is Anandarupa, there may be Avaranabhanga etc. acceptable on the authority of the upanisads but how such things can be talked of in the context of rasasvada ?" For Personal & Private Use Only

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Rasa-nispatti-vicara in Mammata and Jagannatha 1625 If it is the question of simply importing the philosophic process in this sphere also, why, even a glutton can talk of the Asvada which is Brahma"svada-sabrahmacarin, and which is produced by a unique well-proportioned mixture of different ingredients in a delicious dish ! Therefore, in the absence of such, strong authority like Upanisads, acceptable at least to one section of people, all the above procedure appears to be over burdening on otherwise simple theory of aesthetic enjoyment. It may be a peculiar pleasure, but its peculiarity does not warrant accepting all this procedure. If the alamkarikas are so particular, they can accept the whole procedure, even if the Rasapratiti is accepted only as a bhranti-jnana rather as a result of Bhranti-jnana, because according to the Vedantins, the whole process, leading to Brahmajnana is only mithya. Why, even Brahmakara-Vrtti is Mithya for them. As explained by Sankara-bhagavat-pada ("kathantv asyatyena vedantavakyena satyasya brahmatmatvasya pratipattir utpadyate; na hi rajju-sarpena dasto mriyate... naisa dosah. sanka-visadi-nimitta-marana"di-karyo-palabdheh; Bra. Su. Sa. Bha. pp. 458), Vacaspati-Misra (sravanady upayah atmasaksatkara-paryantah, Vedanta-samuttho'pi jnana-nicayo-satyah. So'pi hi vrttirupah karyataya nirodha-dharma; Bhamati, pp. 458), and Vivaranakara ("nanu brahmajnanasya'py yadi tavat svarupa-mithyatvam-ucyate, angikstam eva tat. artha-visaya-mithyatvam na. brahmani badha'bhavat." - Panca-padikavivarana, Part I., pp. 441) a real result may be achieved even through an unreal means. Thus there should be no objection in a Bhranti-ruparasa"svada leading to, nay, being identical with Ananda'nubhava. Moreover, it is, against the common experience to accept that the Asvada of every Rasa is a source of only pleasure. Many of the rhetoritians having once declared the Rasa"svada as Brahmananda-sa-brahmacarin, strive hard to explain that even in such cases like soka, the Samajika gets pleasure only as in case of nakha-ksata etc. But all such explanations are against our general experiences, because in Karuna, etc., we get a peculiar feeling of sadness rather than pleasure; and peculiarity can not be a proof to establish that it is only Ananda. Even Abhinavagupta declares, in unambiguous terms that in almost all the Rasas, there is a mixture of both Sukha and Duhkha, with only some difference of degrees. [It may be noted that we do not agree with Sri Ramachandrudu's conclusions. We have explained the secret of rasanubhuti or art-experience For Personal & Private Use Only

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1626 SAHRDAYALOKA following Abhinavagupta in the earlier chapter. The discerning learned should look into the same. For Abhinavagupta, as explained by us, there is only one rasa, a maharasa, and it can be called even Santarasa in the higher sense of the term. And this art-experience is only an "ananda-ghana" samvedana, a solid compact experience of pure bliss. The quotations given by Ramacandrudu can be explained in a different way also, keeping Abhinavagupta's main thrust in the centre, viz. that all art is a gateway to the entry into the Divine, and therefore only blissful. We continue with Sri. Ramacandrudu's quotations further, pp. 128, ibid.) - (Before we proceed with the quotation from A.bh. as cited by Ramacandrudu, it may be noted that he forgets a glaring fact that this A.bh. is on Na. Sa. I. 119 which talks of "Loka-Svabhava" being "Sukha-duhkhasamanvitah" - Ramacandrudu forgets the next line after his quotation ends, which reads - "evam laukika ye sukha-dukha"tmano bhavah, tat-sadrsah, tatsamskara'nuviddho natya-laksano'rthah, samudaya-rupah tasyaiva bhago'bhinayah." - The theme of a dramatic piece is full of the delineation of laukika-bhava-s of sukha-duhkha-svabhava. But the asvada of this dramatic piece is only ananda maya, as it passes through the alchemy of art. - Ramacandrudu quotes from Hindi A.bh. (pp. 210-229) - The passage, a comm. on Na. Sa. I. 116, reads as - "lokasya sarvasya sadharanataya svarvena bhavyamanas' carvyamano'rtho natyam. sa ca su kha-duhkha-rupena vicitrena samanugato, na tu tad ekatma. (Ramacandrudu should underline these words - 'na tu tad ekatma' i.e. 'natya' is not identical with the nature of the theme which is sukha-duhkha"tmaka; it is beyond it.) - tatha hi-rati-hasotsaha-vismayanam sukha-svabhavatvam. tatra tu cirakalavyapisukha'nusamdhi-rupatvena visayonmukhyapranataya tad vinayasamsa. bahulyena apayabhirutvat duhkhamsa'nuvedho rateh - (All this is to be understood at worldly level) * hasasya sa'nusandhanasya vidyutsadrsas tatkalikolpaduhkha'nuvedhah sukha'nugatah. utsahasya tatkalika-duhkha"yasa-nimajjanarupa'n usandhina bhavi-bahu-janopakari-ciratara-kala-bhavi-sukhasamacikirsatmana sukharupata. vismayasya niranusandhana-tadit-tulyasukharupata. krodha-bhaya-soka-jugupsanam tu duhkha-rupata. tatra cirakaladuhkha'nusandhipranah visayagata'tyantika nasa-bhavana-tada"kanksa-pranataya sukhaduhkha'nuvedhavan krodhah. niranu-sandhi-tatkalika-duhkha-pranataya tadavagama"kankso'tpreksita-sukha'nusambhinnam bhayam. dvaikalikastva-abhistavisaya-nasa-jah praktana-sukhasmarana'nuviddhah sarvathaiva duhkharupah sokah. utpadyamana-duhkhanusandhana-jivita-visayat palayana-parayana-rupa nisidhyamana-sankita-sukha'nuviddha jugupsa. samasta-purva-duhkha-sancaya For Personal & Private Use Only

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Rasa-nispatti-vicara in Mammata and Jagannatha 1627 samarana-pranitah sambhavita-tad-uparamabahula-sukha-mayo nirvedah evam vyabhicari-prabhrtisvapi vacyam." Here the sthayibhavas stated as Ubhaya-svabhava by Abhinavagupta stand for their respective Rasas. (Ramacandrudu is grossly out of truth here. For Abhinavagupta, the basic fact of his Rasa-concept is, "sthavi (i.e. laukika-sthayi) vilaksano rasah." The learned author has overlooked this plain truth., because in another place Abhinavagupta says - "ity ananda-rupata sarva-rasanam. kimtu uparanjaka-visaya-vasat tesam api katukimna'sti sparso, virasya iva] - (we have kept our reading following Hemacandra, and Gnoli), sa hi klesasahisnuta"di-prana eva." (Hindi A.bh. pp. 478) - [We have explained in the earlier chapter how for Abhinavagupta Rasa - The basic rasa; you may call it santa or Maha-Rasa; is only one, and is ananda-ghana-eva.) (Ramacandrudu Continues, pp. 128, ibid) - There are some others who believe some Rasas as Sukharupa and others as Duhkha-rupa. For example, Ramacandra and Gunacandra the authors of Natyadarpana (and how grossly mistaken they are in understanding the 'alaukikata' of rasa) - state, "tatra ista-vibhava"di-prathita-svarupa-sampattayah sngara-hasya-vira-adbhuta-santah panca sukhatmanah. apare punah anistavibhava"dy upanita"tmanah karuna-raudra-bibhatsa-bhayanakas' catvarah duhkhatmanah. (Na. Darpana, pp. 141, G.O.S. Edn.). [It may be noted that we have thoroughly denounced the view of the Na. Darpana. Relevant pages may be looked into earlier chapters.) (pp. 129) (Ramacandrudu) - "The Naryadarpana (p. 141) further argues : People are averse to Bhayanaka-rasa. If at all there is some camatkara, it is not because of the Rasas like Bibhatsa, but because of other things presented next to them by a skillful actor; and being deceived by this Camatkara, even wise men declare that even rasas like Karuna are a source of pleasure. [How grossly mistaken are these authors !) Madhusudana Saraswati also states that there is a difference of degree in the experience of different Rasa-s, and it is not correct to say that all the Rasa-s give same kind of pleasure. (B. B. Rasayana p. 22). [We pity this gentle man.] Thus the general experience compells us to believe that all the Rasas do not consist of pure Ananda, and that there is a mixture of Duhkha, at least in some Rasas. This fact is proved beyond doubt, by the popularity of some works of some Rasas only even to-day.' (God save Sri. Ramacandradu; what has he to say about the 'Four great Tragedies' of Shakespeare ?]. For Personal & Private Use Only

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1628 SAHRDAYALOKA Some rhetoricians are not prepared even to give the status of Rasa to Karuna Bhayanaka, and Bibhatsa, because there is no element of pleasure in them. Siddhicandra-gani, (a just third-rate-name in our estimation; just third-rate !) writes in this context - "na ca tesam (karuna"dinam) tathabhutarvepi abhivyakta" nandacidatmana sahabhivyaktanam rasatvam iti vacyam. evam api sthayyamse rasavirodhat... yat tu soka"dayopi ratya"divat svaprakasa-jnana-sukhatmaka iti tad unmatta-pralapitam. kinca, samajikesu mota-kalatra-putradinam vibhavadinam soka"di-sthayi-bhavasya carvaniyena aja-mahipala"dina saha samanadhikaranyam. asrupata"di-darsanat. varnaniya tanmayibhavanan ca apeksitam iti cet, katham brahma"nanda-sahodara-rasod-bodhah. katham va na a-mangalyam. ata eva kecid aja-vilapadikam na pathanti. bibhatse mamsa-puya"dy-upasthitya vantanisthivana"dikam yan na bhavet tad eva ascaryam. kutas tadrsaparama"nandarupa-rasodbodha iti. evam bhaye'pi. santasya tyakta-sarva-vasanesu bhavatu nama kathancit rasatvam, visayisu punah sarva-visayoparamopasthitya katham rasarvam * ? (Kavya. Pra. Khandana; pp. 16-22, Edn. Parikh.) Gani does not accept vira and raudra as separate Rasa-s because their vibhava-s etc. are the same." [Siddhicandragani's arguments neither deserve mentioning nor refutation, in our estimation, for he does not seem to understand even the basics of aesthetics.] Ramacandrudu (p. 130) continues : "In views of these contradicting theories, and on the strength of the common experience, one would naturally get a doubt whether some of the old theories discussed above, are away from the Because the revealing of Anandamia by Sattvodreka or by any such cause, being a common thing, according to them in all the Rasas, there should be no satisfactory reason to explain why there is the feeling of grief or the like, in Karuna, etc., instead of pure Ananda. If one has to come forward with such explanations like the effect of Upadhi etc., (nature of sthayibhava), all the previous elaborate explanations would become futile. Under these circumstances, instead of loading the Rasa theory with so many philosophical arguments, there is nothing wrong in accepting that the Rasa'nubhava is the result of a peculiar kind of Bhranti-jnana which produces different effects like pleasure, melancholy-pleasure, etc. This consideration has, perhaps prompted PR. to put forword the third and the fourth theories under the names of 'Navya-s' and 'Pare'. And it may not be improper to believe that PR. attached much value to these theories (or at least to the first of the two, because we find him generally identifying himself with Navya-s), and he names his work Rasa-Ganga-dhara, because he feels that he, for the first time, has For Personal & Private Use Only

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Rasa-nispatti-vicara in Mammata and Jagannatha 1629 given a new turn to the theory of Rasa, on the face of the well established theories of Abhinavagupta and others. The same cannot be said of the first theory, (first in the order of Rasa-ganga-dhara, and based on vedanta) because, as shown above, PR. cannot claim any originality in that respect." Here ends the very long quotation from Sri. Ramacandrudu. We are raminded of the famous expression from the Upanisad, of course, only in the sense we mean, viz. "tato bhuya eva tamah." Ramacandrudu has entered into "bhuya eva tamah" concerning the basics of aesthetics. And talking about "originality" ? This is a sad modern concept of people who read and write trash! For the great Jayanta has said, "kuto'sti nutanam vastu ?", and the great Abhinavagupta politely observes : "urdhvordhvam aruhya yad artha-tattvam dhih pasyati, srantim avedayanti, phalam tad adyaih parikalpitanam. viveka-sopana-paramparanam." Actually there was no need for Ramacandradu to bring in all these views of N.D. and K.P.Kha., and such trivials, while considering rasa-theory of Jagannatha. We do not agree with him. nor even with our guru Prof. Athavale in thinking that J. was a "pracchanna-Navya". No; he followed Abhinavagupta and Mammata in the rasa-theory_to the ditto. with further sophistication. in suggesting "bhagna'varana cid eva rasah." These things are inherent in Abhinavagupta who holds rasa to be "vita-vigha-pratiti-grahyo bhava eva rasah." . or "nirvighna samvit" as Rasa. With this, we come to the end of a most interesting topic in Indian aesthetics, viz. the consideration of the nature of rasa, i.e. rasa-svabhava and the process of rasa-realisation. It is better if like our gurus, Prof. Parikh, Dr. Kulkarni and Prof. Athavale, we refrain from making sweeping statements and keep quiet. But at times, we have to cross this limit, for saving the youngsters from gross misunderstanding of Indian aesthetics. For Personal & Private Use Only

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Chapter XVIII "Dasarupaka-Vicara" While dealing with the topic of classification of poetry, we had suggested that such form of poetry which is both drsya and sravya, i.e. the rupaka-s, will be taken up later. Accordingly, we take up this topic in this chapter, at the end of Vol. I of our proposed work, "Sahgdayaloka; OR, Thought-currents in Indian Literary criticism." It may be noted that the type of poetry called Upa-rupakas could have been placed here also, but as, we thought, this variety had less of drama then of poetry as compared to the major rupaka-s, we dealt with them in the earlier chapter. The upa-rupakas involve a lot of dance and music as well. The rupakas the ten major types to be considered here, are also kavya' from the point of view of the written script and also when they are only read and not presented on the stage. It is to be noted very carefully that when we call them kavya or "drsya kavya", they do not cease to be pure drama i.e. rupaka. Even Bharata did not hesitate in taking them under kavya, for he talks of guna, laksana, dosa, alamkara, riti, vitti, pravstti, etc. in view of "kavya-rasa". The use of these beautifying agents is contemplated by Bharata in view of "kavya-rasa". So, it is gross mis-understanding on the part of such great Scholars like Dr. S. K. De, when he observes only to run down sanskrit drama, that Sanskrit Drama, also like Sanskrit poetry, had "rasa" in the centre ! Actually "Rasa" is in the centre of any art, including poetry, drama, music, dance and what not ! So, the consideration of ten major types of drama will complete the circle. The methodology will be the same. We will of course keep Bharata as a starting point and go through major works on dramaturgy to pin-point the characterstics of Sanskrit drama in general. We will also deal with the problem of the structure of Sanskrit drama, with its plot divided into junctures or Sandhis and then sub-divided into sandhyanga-s. We will have passing observations on some allied topics also. Other topics, that are part of what the Malava-school of aesthetics terms as "buddhyarambha anubhava", such as riti, vrtti and pravitti, will form part of our proposed volume II of this project. Each topic will be given a separate For Personal & Private Use Only

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"Dasarupaka-Vicara" 1631 chapter and such other topics as guna, laksana, alamkara, dosa, etc. will be treated in the next volume, God-willing, of course! So, for the present we will start with the consideration of the characteristics and structure of the ten major types of drama, such as, nataka, prakarana, etc. "Nataka." It may be noted that Bharata mentions ten major types of rupakas and nasaka is the first one. Bharata observes : N.S. XVIII-1 - "vartayisyamy aham vipra dasrupa-vikalpanam, namatah karmatas' caiva tatha caiva prayogatah." "O Brahmins ! I will now set the ten divisions of dramatic compositions, giving their names, functions and modes of stage-performance." (Trans. Dr. G. K. Bhat, Bharata-Natya-Manjari; B.O.R.I. Poona, '75; pp. 112; We have accepted translation at all places from Dr. Bhat. We will indicate, if and when we defer.) Bharata treats of the varieties or rupaka in Ch. XVIII and then also in Ch. XIX - (G.O.S.) Edn.) - Bharata enumerates the following ten major types of drama - "natakam sa-prakaranam anko vyayoga eva ca, bhanah samavakaras' ca vithi prahasanam dima)." (N.S. XVIII-2) They are, Nataka, Prakarana, Anka, Vyayoga, Bhana, Samavakara, Vithi, Prahasana, Dima, and Ihamiga, mentioned in the next verse : ihamrgasca vijneyo dasamo natya-laksane etesam laksanam aham vyakhyasyamy anu-puvasah." XX.-3 Abhinavagupta in his A.bh. explains : rupyate pratyaksikriyate yorthah tad vacakatvat kavyam rupani, dasanam rupanam vibhagah kalpyate asmad iti dasarupa-viklapanam." As we had noted above, Abhinavagupta also explains here that the word 'dasa-rupa' could be taken as referring to kavya in general. In Bharata even rupakas are viewed primarily as 'kavya'. This is clearer when we read the For Personal & Private Use Only

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1632 SAHRDAYALOKA following verse : "sarvesam eva kavyanam matrka vsttayah smotah, abhyo vinis srutam hy etad dasa-rupam prayogatah." XVIII-4. Dr. Bhat translates (pp. 112, ibid) "The vstti-s or styles are traditionally known as the "mothers" of all dramatic poems. The ten kinds of play, so far as their production is concerned, have proceeded from these." . The first half of the verse observes "sarvesam eva kavyanam" and in the next half the dasa-rupa' is said to have proceeded from these (i.e. vstti-s). So, no water-tight division was meant by Bharata between 'kavya' and dasa-rupa', the latter also being 'kavya' in the wider sense of the term. Thus Dr. De's observation concerning the importance of 'rasa' in drama also, as in 'poetry, and thereby making sanskrit drama a lesser drama, is also unfounded. Bharata, before coming to the definitions of each variety of the ten rupaka-s, observes how different vstti-s are associated with different types of rupaka-s. He says that both nataka and prakarana proceed from all styles, and resort to different structures (bandha) (XVIII-7), but the other eight types such as vithi, samavakara, ihamtga, utsystika'nka, vyayoga, bhana, prahasana and dima should be composed without using kaisiki-vrtti. Bharata now defines "nataka" proper (XVIII. 10-12) : "prakhyata-vastu-visayam prakhyatodatta-nayakam caiva, rajarsi-vamsya-caritam tathaiva divya"srayopetam. 11 nana-vibhutibhir yutam rddhi-vilasa"dibhir gunai s caiva, anka-pravesaka"dhyam bhavati hi tan natakam nama. 12 nrpatinam yac caritam nana-rasa-bhava-cestitam bahudha sukha-duhkhotpatti-kstam bhavati hi tannatakam.nama." 13 (Trans., pp. 115, ibid) - (10-12) For Personal & Private Use Only

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"Dasarupaka-Vicara" 1633 "The name 'Naraka' is given to the type of play whose subject is a well-known plot-material, the hero equally well-known and exalted, which describes the life and work of one born in the family of royal sages, uses episodes connected with the divinities; comprises the (hero's) many dazzling achievements (vibhuti) [resulting in realization of the four goals of human life), and also (his) achievements connected with regal and material prosperity (riddhi) and with women and pleasure (vilasa), as also minor deeds (guna, like the harmful opposition of the villain), and is properly equipped with a number of acts (anka), and linking scenes (pravesaka). The behaviour (carita) of kings, consisting of) actions (cestita) (revealing) varied sentiments and emotional states, and arising out of joys and sorrows in their innumerable aspects (bahudha), becomes what is called nataka." Dr. Bhat (pp. 115, foot note No. 4) observes : "The expectation about a wellknown plot and exalted type of hero is natural. Aristotle's prescription of tragic drama is similar. Heroes like Rama, Krsna, Udayana, Dusyanta fulfil the particular requirement. The divine characters are used in the nataka form only in a smaller episodes (pataka or prakari) as, for example, the divine Bhagavati Amba in the Nagananda. The reason Abhinava (gupta] explains, is that devacarita' is not very suitable for dramatic representation intended for human appreciation; if it is connected with vipralambha, karuna, adbhuta, it will not differ very much from human emotions; besides, the gods have no unhappiness or misery; human response thus is difficult to be obtained. Types like Dima, Samavakara, which use heroic themes, are alone proper for divine characters. The terms 'vibhuti rudhi, and guna are translated according to Abhinava's explanation (see A.bh. pp. 412). Dr. Unni (pp. 545, ibid) has the following observation : "AG. (= Abhinavagupta) notes : Sri. Sankuka justifies the usage 'prakhyata' to exclude the minor episodes of the Bharata. Whereas, upadyaya(Bhatta Tauta) stresses the popularity of the plot." "prakhyate Bharata"dau yad vastu, tad-visayosya, tatra'pi kincid aprasiddham bhavati, tan nirakaranaya 'prakhyatodatte"ci sri. Sankukah." - etat tu prakhyatam vastu visayo'syeti iyata gata'rtham ity upadhyaya ittham ahuh." The interpretation of the word 'guna' as 'sandhi-vigrahadaya', only helps to show the proficiency of the commentator in canakya-sastra (Artha-sastra) - "iti vyakhyatam canakyasastra-paricaya"vedanamatra-phalam." For Personal & Private Use Only

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1634 SAHRDAYALOKA Sri Sankuka explains : 'nrpati-caritam' to include a host of kings. "sri sankukas tu vyacaste-vijigisur-ari-madhyamo-dasinau mitra-mitram iti. esam caritam iti bahuvacanena labhyate." Bharata does not go into further characteristics of 'nataka', such as number of acts, sandhis, arthaprakrtis, rasa-s etc. here, but he discusses these points separately and we will also discuss the same when we deal with the general structure, plotconstruction etc. of drama in general. But later works on dramaturgy give such characteristics along with a given variety of rupaka. We will discuss a given rupaka-variety in the light of the following works on dramaturgy or poetics as the case may be in the sequence as follows : The Dasarupaka (DR.) Srngara-prakasa of Bhoja (sr. Pra.). Naryadarpana (N.D.); Bhavaprakasana (B.P.) of sardatanaya (= Sa.); Nataka-laksana-ratna-kosa (NLRK.) of Sagaranandin (Sa.), Sahityadarpana (S.D.) of Visvanatha (= V.) and Rasarnavasudhakara (R.S.) of singa Bhupala. The DR. (Edn. T. Venkatacharya, Adyar Library Series, Madras, '69) discusses the 'nataka' in the third flash (= chapter; prakasa). It may be noted that Dhananjaya had stated earlier that rupakas are classified on the basis of vastu (= theme), neta (= hero) and 'rasa'. In the first chapter 'vastu' is discussed. In the second chapter 'neta' is discussed along with other characters. Now in the third chapter, it should have been 'rasa' but actually 'rasa' finds place in the fourth chapter, while the third chapter deals with the types of rupaka-s, beginning with nataka. Dhanika, the commentator explains this deviation in treatment as follows: (pp. 135, ibid) * "bahu-vaktavyataya rasa-vicaraatilanghanena-vastu-netr-rasanam vibhajya nataka"disu upayogah pratipadyate" - i.e. "As the topic of rasa is very wide, and as much therefore is to be noted about that, here, the topic of rasa is bypassed and on the practice of vastu, neta and rasa, the description of the varieties of rupakas beginning with nataka, how these i.e. vastu, neta and rasa are used in different ways etc. is taken up first (in the third chapter). The Laghutika of Bhatta-Nssimha observes (pp. 135, ibid). - bahuvaktavyataya iti' . vastu-netr-vicara'nantaram rase pratipadaniye'pi tatra bahu-vidham vaktavyam asti iti pascad vaktum idanim rasa-vicaram siddham krtva, tam atilanghya vastu-nett-rasa"dinam nataka"disu tavad upayogah pratipadyata ity arthah." For Personal & Private Use Only

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"Dasarupaka-Vicara" 1635 With this, the DR. III. i begins with the topic of 'nataka' with the words - "prakstitvad atha'nyesam bhuyo-rasa-parigrahat, sampurna-laksanatvac ca purvam natakam ucyate." As nataka forms the base of other varieties of rupakas, as rasa is delineated to its highest and most varied condition, and as nataka is said to be accomplished by all characteristics, it is discussed first. The Avaloka observes : (pp. 135, ibid) - uddista-dharmakam hi natakam anuddistadharmanam prakarana"dinam prakrtih sesam pratitam - The Laghutika observes : (pp. 135, ibid) : tatra prathamam natakalaksana-vacane hetur uktah, 'prakstitvad'iti. anyesam prakarana"dinam viktibhutanam asya prakstitvat, bhuyasam rasanam angatvena, angitvena ca'tra parigrahat, asya sampurnalaksanatvac ca, prakarana"dibhyah purvam natakam ucyate iti. kim idam asya prakrtitvam nama ity apeksayam aha 'uddista-dharmakam" iti. After this in the DR. III. 2-38a, some miscellenious items, to be taken up later are discussed but DR. III. 38b observes that - "panca'nkam etad, avaram dasankam natakam param." i.e. the nataka has five acts to begin with, (but it may have) and (upto) ten acts. : Laghutika (pp. 153, ibid) has - etan natakam avaram panca'nkam, param dasankam iti nasakasya ankesu samkhya-niyamam darsayati, panca'nkam' iti. - The verses in between discuss topics such as purva-ranga, bharati-vitti, the types such as prarocana etc., three types of prastavana (or amukha), vithyanga-s, the 'itivitta' of nataka, and avoiding such portions of the itivstta as are not favourable to the nayaka.. Thus the DR. also treats some items such as anka, sthapana, etc. along with the nasaka. Now it may be noted that even the ND. first defines nataka and along with it takes up all topics concerning the nataka including the things to be avoided. Then, anka (= act), upaya, (= artha-prakrti-s), dasa, sandhi, sandhyangas, etc. are discussed, followed by the characteristics of prakarana and other types of rupakas in the second chapter. Vrtti, rasa and abhinaya are discussed in the third chapter For Personal & Private Use Only

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1636 SAHRDAYALOKA and the fourth one has nandi, dhruva, nayaka-nayika, their qualities, other allied topics such as language, mode of address, etc. etc. and upa-rupaka-s in the end. B. P. has its own treatment wherein it has mixed up other things also. The NLRK. also discusses nataka along with other related topics. Same is the pattern with the S.D. and R.S. It is therefore advisable that here also we proceed in the same way. We will begin with Bharata, who also discusses allied topics along with nataka. We have seen his defintion of nataka earlier. The other topics that go with nataka are discussed as follows: Bharata (N.S. XVIII-12) had stated that the story or behaviour of kings abounding in rasa-s (sentiments), moods, and actions, representing pleasure as well as pain, characterises a nataka, XVIII. 13 - observes : "asya'vasthopetam karyam pra-samiksya bindu-vistarat, kartavyonkah sopi tu guna'nvitam natya-tattva-jnaih." (Trans. Bhat, pp. 117, ibid) - (13) Having properly reviewed the dramatic accomplishment to be achieved (karya) which consists of definite stages of development (avastha), from the drop (bindu) (i.e. germ) to its expansion, the experts on the principles of natya should build an act, and also in such a manner as to conform to the requisite number (guna'nvita). It may be noted here that avastha, bindu etc. are technical terms that are related to the plot of a drama and also to its development. Five stages (avastha-s) are calculated as will be seen in due course. The arambha is the first avastha where the germ is cast and a hint is given as to what will be achieved by the end. This is then enlarged-bindu-methodically. The 'anka' or act, according to Bharata is discussed here after. N.S. XVIII-14 observes : "anka iti rudhi-sabdo bhavais ca rasais ca, rohayaty arthan nana-vidhana-yukto yasmat tasmad bhaved ankah." (Trans. Bhat, pp. 117, ibid) For Personal & Private Use Only

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"Dasarupaka-Vicara" 1637 "Anka is a conventional word fixed by usage. As it makes the (poetic) contents climb. i.e. it carries to] (the heart of the spectator), with the (presentation of) sentiments and emotional states, and as it follows various technical presentations (nana-vidhana), it is called an'anka' or act." Dr. Unni, (pp. 546, NS. Vol. II, Nag Publishers '98) puts this as, "Anka is a word with a conventional meaning. With the help of several devices the meaning is here developed by bhava-s and rasa-s, and hence it is called 'Anka' (lit., a lap) - a basis." Abhinavagupta (A.bh., pp. 415, 6; ibid) observes that Bhatta Lollata and others read, "gudha-sabdah" for "rudhi-sabdah". The explanation here is "bhavaisca rasaisca gudhah" - i.e. concealed by bhava-s and rasa-s, i.e. it contains in its depth bhava-s and rasa-s. Others read "rudha" and observe * "rohayatyarthan" germinates or makes climb the meaning. It is observed : "rudhi rohanam; tena utsanga ucyate, tasmad utsangavad arohana-sambandhat anka ity ucyate." The poetic content enters into the heart of the audience - "yatha-svam bhavadin arthan hrdayam aropayati." A further explanation is that "rasa-bhavair upalaksitan apy arthan rohayati", i.e. meanings or ideas hinted by or charged by rasa and bhava are brought to the understanding i.e. grasp. DR. Bhat, (ft. n. 6, pp. 117, ibid) observes : "Abhinava refers to the reading "bhavais'ca rasais' ca gudhartho" adopted by Bhatta Lollata and others and rejects it in favour of 'rohayaty arthan'. Rudhi according to him, is the same as Rohana, and implies anka or lap; this refers to the portion of nataka which, in its own way, presents the sentiments and emotions and carries them to the heart of the spectators; like a lovable child climbing into the lap of a parent, the aesthetic content presented through vibhavas etc., climbs the heart, as it were, of the reader-spectator bringing him an awareness of rasa or bhava. This analogy explains the term : rudhi rohanam, tena utsanga ucyare yo natakamsah... tasmad utsangavad arohana(m) sambandhat anka ity ucyate." Abhinava, pp. 415-416. It may be noted here that in Indian dramaturgy or literary aesthetics, every portion of a drama is expected to be important, meaningful and goal-oriented; the goal being supreme enjoyment on the part of the reader/spectator. Thus nataka is "rasaoriented". This 'rasa' is "vita-vigha-pratiti" and "vigalita-vedyantara" experience, which can result even from enjoyment of the pure intellectual type also. Emotion, intelligence and conation and thus the whole of the enjoyer's self should get involved in the poetic content in such a way that for the time being anything else than what is presented, falls out of consciousness of the reader/spectator. Each 'anka' is expected to work in this direction. It could be a portion of an 'absurd play as well. . For Personal & Private Use Only

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1638 SAHRDAYALOKA NS. XVIII. 15-18 further observe : "anka-samaptih karya kavya-cchedena bija-samharah, vastu vyapi binduh, kavya-samuttho'tra nityam syat. 15 yatra'rthasya samaptir yatra ca bijasya bhavati samharah, kincid avalagna-binduh sonka iti sada'vagantavyah. 16 ye nayaka nigaditas tesam pratyaksa-carita-sambhogah nana'vasthopetah karyastv ankovikrstas tu. nayaka-devi-gurujanapurohita'matya-sarthavahanam, naika-rasantara-vihito hy anka iti sa veditavyas tu. 18 Anka has to be completed. By closing the poetic theme (in an appropriate way) the seed of the plot should reach its natural end. Bindu, born of poetic theme, meaning extension of the theme, should continue all through out the play. By 'Anka' is to be understood that part of the play, where (a portion of) the meaning (= theme) comes to an end, and where the seed-bija is collected (i.e. where the seed relating to the juncture joining this stage of the theme to the next is collected), and where the 'bindu' (= extention of the theme) is somewhat connected. This means that 'anka' is that portion of the play where a part of the an end and the biia also comes to a close, however a little of 'bindu' (= potential extention of the plot) clings on to an extent. The 'anka' or act should display directly the behaviour and the relationship (with queens) of the (various) heroes already mentioned. Various situations (of the heroes and other characters) should be shown in the act, which should not be too long. For Personal & Private Use Only

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"Dasarupaka-Vicara" 1639 The actions or various sentiments concerning the hero, the heroine, elderly people, family priest, ministers and commander of the army are displayed anka'. Dr. Bhat translates (Vs. 16-18) (pp. 119, ibid) (16) "What is to be always known as an 'anka' of a play is (that presentation) where a (particular stage of) plot (development) is brought to a close, where the seed (relating to the juncture joining this stage and the next) is gathered up, and where the drop (bindu) remains somehow connected (with the theme and the following phases of the dramatic content.)" Dr. Bhat adds in the foot-note : The translation follows Abhinava : cf : prarambha"di-avastha-laksano'rthah yatra samapyate sonkah. ankasamaptyam api va avasthayam gada bijasya samharanam yathasvam sandhibhedena ucitam bhavati tada api anka-cchedah. tatra utpattih udghatanam, udbhedo, garbhanirbhedah, phalasama"nayanam iti mukha"disu yathakramam bijasya dasa-visesah samhara-sabda-vacyah. anka-vicchedo ma bhut iti ava-lagna-sambandhah binduh yatra tradrg kartavyah-p. 416. What is meant is that an act, while maintaining connection with the previous and the following stages of plot-development, must present some complete phase of the dramatic plot. Thus the phase of the plot shown in an act is three-fold elating to the main theme, auxiliary, and something which by co-incidence or causal connection helps the main theme. (Abhinava, op. cit., p. 418) Dr. Unni (p. 547) notes: "It is noted that three varieties of Anka are suggested here and in support the view of Kohala is cited - anaya tv aryaya ankasya traividhyam ucyate, tatha ca uktam kohalena." Actually 'ankasya traividhyam. should mean the phase of the plot shown in the act is three fold as explained by Dr. Bhat. Dr. Bhat translates (VS. 17-18) : (pp. 119, ibid) "But the act which shows different stages of plot-development connected with the direct action and union of the (different kinds of) heroes mentioned and (the actions) of the (chief and other) queens of the hero, elderly persons, family priest, minister and the leader of the caravan [i.e. commander in-chief of the army], and using various sentiments, should not be made too long; this should be clearly understood." Dr. Bhat adds the following foot-note, (pp. 119, ibid) : The actions and love leading to union of the hero must be actually presented and not left to imagination, For Personal & Private Use Only

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1640 SAHRDAYALOKA says Abhinava; otherwise the spectators would lose interest in the play. (The word in the original is 'pratyaksacarita-sambhogah) The kinds of heroes are - Dhirodatta, Dhira-lalita, Dhiroddhata and Dhiraprasanta. Abhinava says that 'nayaka-devi.' etc. are mentioned to indicate the direction of incidental matters helpful to the principal plot. "nayaka mukhyah pataka"dayah; devyo mahadevi-bhoginiprabhitayah." Chief queen and other consorts. "Gurujano matr-pitr-bhratra"carya"di, sarthavaho'tra senapatih." Since the act presents words and actions of all these it is bound to have sentiments : ata eva naikena vicitrena rasa-visesena yuktah. tatha hi - deviyoge srngarah, nayake virah; evam anyad utpreksyam." Op. cit. p. 418. This means that the act is expected to present variety in its theme. N.S. XVIII. 19 reads as - "panca'vara dasa-para hyankah syur natake prakarane ca, niskramah sarvesam yasminn ankah sa vijneyah." This means that in the Nataka and Prakarana varieties of rupaka the number of acts is supposed to be five (in the minimum) to ten (maximum). An act is known to be (that portion of a play) in which all characters (on the stage) are supposed to retire (to the green-room). N.S. XVIII 20-22 read as - "krodha-prasada-sokah sapotsargo'tha vidravodvahau, adbhuta-sambhava-darsanam anke pratyaksajani syuh. 20 (A.G. explains 'pratyaksajani' as 'aksajam jnanam prati garani pratyaksajani - i.e. those which are directly observed). "eka-divasa-pravittam karyas tv ankortha-bijam adhikrtya avasyaka-karyanam avirodhena prayogesu." 21 For Personal & Private Use Only

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"Dasarupaka-Vicara" 1641 eka'nkena kadacid bahuni karyani yojayed dhiman, avasyaka-a-virodhena tatra karyani karyani. 22 This means that things that are directly displayed in an act should include acts of anger, favour, sorrow, release from curse, running away due to f the beginning of a miracle and its actual occurance etc. Incidents or activities that last for a full day should be presented in an act. This should be in consideration of the seed i.e. bija of the dramatic theme. This means that all activities presented in an act should have a unity of time and unity of action. This performance should not obstruct the essential activities. Here A.bh. observes that the maximum duration for the performance of an act should last a single day. 'avasyaka karya' refers to taking meals, etc. for which both the actors and spectators must have enough free time. An intelligent (producer or playwright) may accomplish performance of many activities through one act but they should not hamper essential things. NS. XVIII 23 suggests that all artists who enter the stage should leave the stage (by the end of the act) after performing action that is connected with the purpose of the seed : bijartha-yukti-yuktam kriva karyam yathartha-rasam." This should harmonise with the object and rasa related to the seed. Considering the nature (avastha) of the day split up into moments (ksana), watches (yama), and auspicious time (muhurta, consisting of about twenty-four minutes), the plot should be suitably arranged in separate activities. This distribution should be spread in several acts. This means that all acts should display activities in consideration of the nature of the day. Abhinavagupta observes : ksana-yama-muhurtanam yani laksanani kartavyani, asmin ksane sandhya anustheya iryadini... tena eka-divasa-sampaditam upayogi cestitam anke badhniyat iti tatparyam. Bharata observes that if some incidents could not be presented within the span of a day, the act should be brought to a close and the matter may be represented later through a pravesaka or interlude. If any character moves on a journey to a distant place, it could be conveyed through an intertude after closing the particular act. For Personal & Private Use Only

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1642 SAHRDAYALOKA Bharata observes (NS. XVIII. 28) - "sannihita-nayakonkah kartavyo natake prakarane va parijana-katha'nubandhah pravesako nama vijneyah." This means that in the case of nataka and prakarana, (types of rupakas) the act should always have the hero present in it. The pravesaka is to be known as connected with the conversation of the servants and retinue. It is further observed that in prakarana and nataka the number of acts should be from five to ten. And similar number of intertudes - pravesakas - are possible in them in the interval between two acts. Bharata further says that in between the acts intertudes are to be placed depending upon the requirements of the theme (artha-kriyam samabhiviksya). It is further observed - (NS. XVIII-31) - "anka-cchedam krtva masa-kstam varsa-sancitam va'pi, tat sarvam kartavyam varsad urdhvam na tu kadacit." Dr. Bhat translates : (pp. 123, ibid) - (31) "Having made a break in an act, (i.e. having brought an act to a close), the events which take a month or an year, all that should be shown in a pravesaka), but (not events) which have taken more than an year." In a foot-note (pp. 123) he observes : "Obviously, this rule means that the timeinterval between two acts, so far as it relates to actual happenings, should not be more than an year. This is generally observed by the dramatists. But the rule breaks down in the case of the Rama-katha. See Bhasa's Pratima and Bhavabhuti's Uttara-rama-carita. To accomodate this unavoidable interval of 12 to 14 years, Abhinava refers to an interpretation by which the word 'month' and 'year' is taken as collective singular. But he does not approve of this and says that time-period like an year mentioned by Bharata refers only to the actual accomplishment of an action; the time taken up by preparation or the intervening period of time, even though factually real, is to be ignored in dramatic presentation. See. Op. cit., pp. 422-423." For Personal & Private Use Only

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"Dasarupaka-Vicara" 1643 Bharata further observes that when a dramatic character (yah kascit - (purusa)) has to go on a long journey on account of some business, the experts should close the act on this point, as laid down before. Here in the A.bh. the views of Bhatta Lollata and Upadhyaya i.e. Bhatta Tauta are referred to. This stanza is not accepted by Lollata, while Tauta not only accepts it but also notes that the idea mentioned here is only a repetition of a previous concept to bring home the point. Bharata (NS. XVIII. 33) further observes that both in a prakarana and a nataka, pravesaka should be placed betweed two acts, in order to facilitate the development of the theme in other acts, i.e. the pravesaka should refer to the inter-connection and further development of the central points (of the dramatic theme, in every act - 'bindunam') (The other reading is 'sandhinam' - i.e. junctures.) This "prevesaka' or intertude between two acts, should not be presented by characters of high or middle class, i.e. it should not display actions of such people. The language also should not be a refined one, i.e. used by noble characters. But it should use common (praksta) language and common conduct. Bharata further observes that a pravesaka (NS. XVIII : 35) is - "kalotthana-gatir-asau vyakhya-samrambha-karya-visayanam, artha'bhidhana-yuktah pravesakah syad anekarthah." (Translation, Dr. Bhat, pp. 125, ibid) - "A pravesaka may have many purposes. It may be intended to state a matter (artha-abhidhana), the rise and passage of time, an explanation (of mysteriousoccurrence or action), an event (karya, connected with main plot), or theme (visaya), connected with the next development of the dramatic action). Bharata further observes (XVIII 36-38) that such events, the execution of which is dependent on many persons, should be revealed succinctly i.e. should be compressed by the use of iterludes (pravesakaih), or through junctures (sandhisu va) of the play. A play, which contains many speeches in prose, which is associated with curna-padas i.e. with words not in compound expression and not in Sanskrit for most part, will be unsuitable as this creates hindrance in recitation (NS. XVIII. 36). When in a play, the content of an act cannot be completed in stipulated time and when it requires long time due to multiplicity of incidents, i.e. when the For Personal & Private Use Only

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1644 SAHRDAYALOKA presentation being wider, such matter should be expressed by brief introductory scenes (pravesakaih sobhidhatavyah), i.e. through pravesaka-scenes the happenings are to be narrated briefly (XVIII. 37). Dr. Bhat in a foot-note, pp. 125, explains that according to Abhinava(gupta), this rule means that of all things that could be covered in a day, only such as are beautiful for stage presentation and helpful to the purpose of the play are to be actually presented in an 'act' of a play; all other things should be relegated to more statements in the pravesakas. We may add that this shows how Bharata was keen on maintaining unity of purpose in a play. Again the 'prayoga-laksita' of sanskrit play is noticed here. Bharata (NS. XVIII. 38) further ordains that such scenes as are directly connected with war or battle or fight, dethronement or loss of kingdom (rajyabhramsa), death, seige of a city by an army (nagaroparodhanam) - are not to be portrayed actually in an act; i.e. they are not to be shown actually in reality (pratyaksani tu na anke), but they are to be arranged (i.e. conveyed, samvidheyani,) only indirectly, through pravesakas i.e. interludes. Bharata further observes (NS. XVIII. 39) that in both 'prakarana' and 'nataka' types of rupakas, a hero, who is well-known, and who is prone to prosperity (abhyudayi), should not be shown as killed, i.e. his killing (vadha) is not to be enacted either in the act, i.e. directly on the stage, or even in an intertude (i.e. indirectly through information his killing is not to be accomplished). It is further suggested (NS. XVIII. 40), that the hero's flight, i.e. running away or removal could be conveyed. Or, either his capture i.e. his being taken as a captive, or entering into a treaty (grahanam va sandhih va) could be arranged by those who know the essence of dramatic art. All this could be in keeping with the main sentiment-yatha-rasam. This could be achieved by varied poetic constructions (kavya-slesair bahubhih). Dr. Unni reads : "tais taih karya-visesaih" pravesakaih sucayec caiva." (pp. 580, ibid). This means the above-mentioned (i.e. apasarana, grahana, etc.) could be accomplished i.e. suggested by pravesakas which are rich in special devices. . .41 suggests that for both nataka and prakarana there should not be many characters, - na mahajana-parivaram kartavyam natakam prakaranam va. This means that the hero should not be surrounded by a very big retinue. Actual number of persons playing useful role, should be just four or five, i.e. actual men of action - (karya-purusah) should be just four or five. All this points to maintaing unity of purpose, or action. There should not be superfluous characters flooding the stage. For Personal & Private Use Only

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"Dasarupaka-Vicara" 1645 NS. XX. 42 has interesting suggestions. It suggests - "kavyam go-pucchagram kartavyam karya-bandham asadya, ye codatra bhavas te sarve prsthatah karyah." Dr. Bhat (pp. 127) translates : "While attempting the formal construction of dramatic action (karya-bandha) the poetic composition should be made (like) the tip of a cow's tail, and all exalted emotional states should be arranged at the end." Dr. Bhat explains Abhinava's stand in a foot-note here. Accordingly Abhinava mentions two opinions about the meaning of 'go-pucchagra': (a) dramatic action which gradually tapers down towards the end; (b) the phases of dramatic development showing completion at various junctures in different acts : that is to say, some completed in the 1st or 2nd; and some only in the final act : e.g. the Madana-Mahotsava is completed in the first act of Ratnavali; but the episode of Babhravya hinted in the beginning is accomplished only at the end. The events thus have varied length like the hairs in a cow's tail. We may add that later, The N.D. seems to support this second explanation. There it is suggested that in a cow's tail some hairs are very long and hang from the beginning to the end while others go to a short, or shorter or shortest length. In the same way, in a play, the main action concerning the objective of the hero stretches from the first act to the end of the play, while other incidents are of shorter or longer duration as the case may be. NS. XVIII. 43 observes that in all poetic compositions - "sarvesam kavyanam", abounding in various sentiments and emotions - "nana-rasa-bhava-yukri-yukta" - the experts should always delineate the Adbhuta i.e. Marvellous sentiment in the end. We will see that Visvanatha suggests that his senior, one Narayana, recommended that 'adbhuta' should always be employed in a play, perhaps as the principal rasa. It may be noted that with this Bharata's treatment of the "nataka" variety ends. He picks up prakarana and other rupakas ending with vithi after this. It is only in the next chapter i.e. Ch. XIX that Bharata deals with the structure of drama, i.e. with sandhis and sandhy angas. The DR. however, in the very first chapter, while dealing with the distinction between rupaka (i.e. narya), nrtta and nrtya, suggests For Personal & Private Use Only

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1646 SAHRDAYALOKA that rupaka is again ten-fold. These types of rupakas evolve due to difference in theme (vastu), hero (neta) and rasa. Then the DR. first deals with vastu, which is principal and subordinate and observes that vastu, artha-praksti-s and avasthas are five each. These sets of five each, in sequence cause five junctures viz. mukha, pratimukha, etc. Thus five sandhis along with sandhyanga-s forming the structure of the drama are taken up in the beginning by the DR. We feel that this is a better arrangement. So, we will also prefer to pick up the thread from the DR. and go along with its design. For the rest of rupaka-s i.e. for rupaka-s beginning with prakarana and ending with vithi, we will again start our consideration with the NS. of Bharata, followed by other works on dramaturgy such as the DR., and others chronologically. So, we will treat in the beginning the variety called the "nataka" first, as treated in works beginning with the DR. and ending with the SD. Most of these works have dealt with the structure of the drama i.e. with the problem of dramatic theme and its treatment through sandhi-s and sandhyanga-s, along with the consideration of Nataka'. The treatment of other varieties will follow next and there we will have only to deal with their characteristics and not with the structure. It may be noted that, of course we will follow the design of the DR., but while dealing with the structure, i.e. with junctures - sandhis and its parts - sandhyangas, we will attempt a critical and comparative study beginning with the NS. of Bharata. The ND. also has followed the pattern of the DR. Dhananiava, the author of the DR. observes (DR. I. 4): (p. 4, Edn. Venkatacharya, Adyar, Madras, '69) "naryanam kintu kincit praguna-racanaya laksanam samksipami." Dhanika observes : "...asya samastyena laksanam kartum kah saktah. tad ekadesasya laksanam samksepatah kriyata ity arthah." (pp. 6, ibid) Avaloka has - "naryanam laksanam samksipami" (1/4) ityuktam, kim punas tan naryam ity aha - What is 'natya'? In answer to this the DR. observes : (I. 7, pp. 6, 7, ibid) : "avastha'nukstir natyam rupam drsyatayocyate, rupakam tat samaropat, dasadhaiva rasa"srayam." For Personal & Private Use Only

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"Dasarupaka-Vicara" 1647 Dhanika explains that the identification by four-fold representation such as angika etc., of the state of heroes such as dhirodatta etc. as portrayed in poetry is 'narya'. * "kavyopanibaddha-dhirodatta"dy avastha'nukaras caturvidhabhinayena vacika'ngika-sattvika"-harya-rupena tadatmya" pattir naryam." Dhanika explains that artful representation or identification, as it is viewed, is termed 'rupa', like blue object etc. - (pp. 7) "tad eva natyam drsyamanataya rupam ity ucyate, nila"di-rupa-vat. The Laghutika explains that 'natya' is termed 'rupa' or 'spectacle only metaphorically just as a blue object is also termed 'rupa' as it is viewed. (pp. 7) - "tad eva natyam rupam ity ucyate. yatha nila"di-rupasya drsyatvaguna-yogah, evam idam api drsyatva-gunayogad rupam ity ucyate. yatha manavake jvalanasabdo gaunah evam natyastho rupa-sabdo'pi gauna ity arthah." Dhanika (pp. 7) further explains : "nate rama"dyavastha"ropena vartamanatvad rupakam." As the state of Rama is superimposed on 'nata'. or 'actor, it is also termed "rupaka". Dhanika also explains that as the words 'indra', 'sakra' and 'purandara' are basically referring to one and the same deity and yet they are placed in the same case - i.e. samanadhikaranya' - on account of difference in activity or role, in the same way, 'natya', 'rupa' and 'rupaka'though basically identical and therefore not capable of being mentioned through samanadhikaranya are mentioned that way because of different functions suggested by these terms. This narya, i.e. rupa, i.e. rupaka is ten-fold on the strength of the variety of rasas delineated in them. Dhanika observes : (pp. 7, ibid) - "rasan asritya pravartamanam dasa-prakaram. 'eva' ity avadharanam tu suddha'bhiprayena natikayah sankirnatvena vaksyamanatvat." By "eva", observes Dhanika, it is ascertained that rupaka-s are ten only in number from the point of view of "pure" types. 'Natika' is a mixed form and this will be explained later. These ten varieties of rupaka-s are enumerated in DR. I. 8 such as - "natakam sa-prakaranam bhanah, prahasanam, qimah, vyayoga-samavakarau vithy ankehamtga iti." (pp. 8, ibid) For Personal & Private Use Only

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1648 SAHRDAYALOKA Dhanika observes that by 'iti', no 'avad harana' i.e. ascertainment is meant and hence possibility of other varieties being counted remains open. This doubt, observes Dhanika is removed by the following karika which rules out the possibility of upa-rupaka-s or other art-forms being placed under the head or "rupaka". The DR. I. 9. (pp. 8, 9, 10) observes that 'nrtya' i.e. dance-form is different from 'rupaka' as it is dependent on 'bhava' and not 'rasa' as in case of 'rupaka.', 'nttta' or rhythmic movement, which is a sort of lesser dance-form is quite different from these two as it depends only on 'tala' or tempo and 'laya' i.e. rhythm (talah cancat-puta"dih, layah druta"dih), thus it has nothing to do with emotional content. So, even if all these three are "viewed" they have separate identity. The DR. I. 9 observes : "anyad bhava"srayam notyam nittam tala-laya"sryam, adyam padartha'bhinayo, margo desi tatha-param." Dhanika observes : "notyam padarthabhinaya"tmakam marga iti prasiddham. nsttam tu desi iti." . 'Notya' is known as "marga" as it is having "padarthabhinaya" as its soul. By this it is meant that the element of acting is less as compared to 'rupaka' which is vakyarthabhinaya"tmaka. It is more of dance than of acting. 'Nstta' is different from both 'rupaka' and 'netya' as it contains no emotional basis and depends only on rhythmic movements of limbs. This is termed 'desi i.e. perhaps folk-based as against classical art. These two i.e. 'nrtya' and 'nrtta' are again two-fold being of the faster and slower variety : "madhuroddhata-bhedena tad dvayam dvividham punah, lasya-tandava-rupena nataka"dy upakarakam." (DR. I. 10, pp. 10, ibid) Both graceful types (i.e. one each of notya and nstta, the slower variety) are termed 'lasya', the other two (i.e. one each of notya, nstta) are termed 'tandava'. These help the cause of nataka etc. (i.e. rupakas in general). Notya helps at times in form of padartha'bhinaya which is placed in berween where required, and nstta helps the cause of nataka"di as just a decorative agent. Dhanika observes (pp. 70) "nityasya kvacid avantara padarthabhinaya rupatvena, nsttasya ca sobhahetutvena nataka"dau upayogah iti." For Personal & Private Use Only

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"Dasarupaka-Vicara" 1649 Now, a question is raised and then solved. The question is that as artful imitation all rupaka-s are identical, so how come the difference in ten varities is explained ? To this question, says Dhanika, the author Dhananjaya replies in DR. I. 11 (pp. 11, ibid) : "vastu neta rasastesam bhedakah, vastu ca dvidha tatra"dhikarikam mukhyam, angam prasangikam viduh." The varieties of rupaka-s stand justified from the point of view of 'vastu'-i.e. theme, 'neta', i.e. hero and 'rasa' i.e. predominant sentiment. Now 'vastu' again is principal or adhikarika and subordinate or incidental i.e. 'prasangikam'. Dhanika explains : (p. 11) - "pradhanabhutam iti-vsttam adhikarikam, yatha ramayane rama-sita-vrttantah" - "story of Rama and Sita in the Ramayana is the illustration of principal theme i.e. adhikarika vastu or iti-vrtta. The subordinate theme is illustrated in the same i.e. Ramayana by the account of Vibhisana, or Sugriva etc., for example - "tad anga-bhutam prasangikam. yatha tatraiva vibhisana-sugriva"di-vittantah." These accounts are subordinate, angabhuta, to the main story or main plot or theme. Adhikarika - is further explained (DR. I. 12) as that account which deals with adhikarin, the hero, who is the master of final out-come, "phala-svamin". 'adhikara' is explained as claim or mastery over the ultimate fruit. This account pervades the whole of the composition and is therefore termed adhikarika i.e. major or principal - "adhikarah phala-swamyam adhikari ca tat-prabhuh, tan-nirvartyam abhivyapi vsttam syad adhikarikam. The hero takes care of this account - "tannirvartya". Dhanika (pp. 11) observes : "phalena sva-svami-sambandho'dhikarah, phalaswami ca adhikari; tena adhikarina nirvrttam, phalaparyantatam niyamanam iti vrttam adhikarikam." . 'adhikara' or 'right means the relation of "being a master For Personal & Private Use Only

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1650 SAHRDAYALOKA himself of." 'Adhikarin' is one who is, being a master empowered to have right, or claim over something. The theme - iti vrtta - which is led to its final denoucement or final stage i.e. achievement of goal by the adhikarin, and hence his role is 'adhikarika' i.e. major or principal, and thus the theme connected with the hero's activity is 'principal. 'Prasangika' or minor or incidental theme is one played by some other character who works either solely in the interest of the other - para'rtha - i.e. for the hero, or perhaps in this some self-interest on his part is also involved : Thus minor theme is that which is connected with other characters who are either totally self-less or partly acting also in self - interest, but both acting in the interest of the hero, no doubt. This incidental theme either stretches for a lo part in a play and is termed 'pataka', or is of a short and temporary duration and is termed 'prakari.' 'Pataka is a metaphorical expression meaning a flag and as the pataka-nayaka carries on his work longer, it helps to a greater extent the cause of the hero. It is like carrying a flag in an army. DR. I. 13 and 'avaloka' of Dhanika, read as (pp. 12, ibid) : "prasangikam pararthasya svartho yasya prasangatah, pataka-prakari-bhedad dvi vidhatvam prapadyate. sa'nubandham pataka"khyam prakari ca pradesa-bhak." 'Avaloka' reads : "yasya iti-vsttasya para-prayojanasya satas tat-prasangat svaprayojana-siddhih, tat prasangikam iti-vsttam. prasanga-nirvsteh prasangikam. prasangikam api pataka-prakari-bhedad dvividham. duram yad anuvartate prasangikam sa pataka, sugriva"di-vsttantavat. patakaiva-a-sadharana-nayaka-cihna-vat tad upakaritvat. yad alpam = duram na anuvartate sa prakari, sravana"di-vrttanta-vat." When 'pataka' is discussed, on account of similarity in naming and pronouncing. "patakasthanaka" is also explained. These are devices that help the cause of the enhancement of the theme. Dhananjaya then observes that the adhikarika and two-fold prasangika make 'three' in all. These three are again either 'prakhyata' i.e. welknown, i.e. historical For Personal & Private Use Only

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"Dasarupaka-Vicara" 1651 theme, or 'utpadya' i.e. imagined or 'newly created' theme, or 'mixed' i.e. having portions of both 'prakhyata' and 'utpadya'. The 'misra' is having a number of varieties, i.e. sub-varieties and are boundless in number as the mixed has portions of the activity of divine or human characters. The 'phala' or 'out-come' or 'goal of this theme is termed "karya", and the three goals of human life, dharma, artha and kama are meant by the same. This goal can be 'suddha' i.e. pure if only one of the three is aimed at. By combination of all the three, or any two of the three purusarthas, it is else than 'suddha'. With this DR. embarks upon the means of achieving these goals or karya. Dhanika has a remark (pp. 15, ibid) - "tat-sadhanam vyutpadayati" - The means is explained in DR. I. 17, 18 such as - "svalpoddistas tu taddhetur bijam vistary anekadha." The 'seed' is manifested a little and expands in a number of ways and proportion. "stokoddistah karya-sadhakah parastad aneka-prakaram vistari hetu-viseso, bija-vad bijam" . It is termed 'bija' or seed metaphorically, - observes Dhanika (Avaloka, pp. 15, ibid). 'Bindu' or 'drop' i.e. expansion of the theme is a sort of continuation, after a brief pause or cutting of; due to something - "avantara'rtha-vicchede bindur accheda-karanam." (DR. I. 17b) Dhanika explains as : "yatha ratnavalyam avantara-prayojana-ananga-pajapari-samaptau katha'rtha-viccheda saty anantara-karya-hetuh... bindur jale tailabindu-vat prasaritvat." Dhanika explains that the term 'bindu' is also metaphorical. It is like drop of oil in water. This drop has a tendency to expand. Similarly this karya-hetu also is a device which helps the expansion of the main theme. These are, along with pataka. prakari and karva are said to be five arthaprakrti-s. By 'artha-prakrti', which is termed 'upaya' in the ND., is meant the causes of attainment of goal, explains Dhanika (pp. 16, ibid) : "artha-prakrtayah = prayojana - siddhi - hetavah." For Personal & Private Use Only

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1652 SAHRDAYALOKA DR. I. 18 (p. 16) reads : "bija-bindu-paraka"khyaprakari-karya-laksanah, artha-prakstayah panca ta etah parikirtitah." After this the DR. picks up the topic of five 'avastha's or 'stages of the theme. Before we discuss this topic, we will see how the NS. of Bharata treats of the five artha-prakrtis, viz. bija, bindu, etc. It may be noted that in Ch. XIX (G.O.S. Edn.) of the NS., Bharata treats these topics in the following order; (i) itivrtta, i.e. dramatic plot, vs. 1-16; (ii) pancaavasthas and sandhayah-junctures as found in a plot vs. 7-19; (iii) panca arthapraksti-s, i.e. components of plot, vs. 20-30; and (iv) patakasthanaka; plot indications or suggestive happenings; vs. 30-36; (v) sandhi-pancakam; vs. 37-49; (vi) sandhyanga-kalpa; i.e. significance and purpose of sandhi-angas; 50-55 vs.; (vii) arthopaksepa-pancakam; i.e. Introductory or presentation devices vs. 110-116; - and then this is followed by "dasa-rupa-samasah" - i.e. ten types of drama, vs. 139153; while in Ch. XVIII types of dramas are discussed. We will follow the line of DR. and pick up from Bharata in sequence. This is for convenience in treatment and the DR. is, in our opinion, gifted with a better and more sound methodology. So, after discussing the artha-prakrti-s in the DR. we turn to the NS. We will treat all the topics at a time in individual works on dramaturgy in sequence in a chronological order. Itiyrtta - The NS. (XIX. i) observes that the dramatic plot has been called the 'body of the drama. Its division is imagined by means of five junctures - sandhis. "itivsttam tu natyasya sariram parikirtitam, pancabhih sandhibhis tasya vibhagah samprakalpitah." It may be noted that 'iti-vrtta' means the same as "vastu" i.e. theme. A.bh. observes : "iti-vTtta-sabda-vacyam tad vastu sariram, rasah punar atma, sarira"virbhavakah." Normally five junctures are enumerated but their use - i.e. of all or less - is left to the dramatist. For Personal & Private Use Only

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"Dasarupaka-Vicara" 1653 Bharata (XIX. V. 2) observes that iti-vrtta is Principal and Subsidiary - i.e. adhikarika and prasangika; adhikarika (XIX. 3) is that which is total action, having the capacity to lead to the achievement of desired object, or goal, i.e. phala-prapti. The other (action) is termed subsidiary plot - "yatkaryam hi phalapraptya samarthyat parikalpyate, tad adhikarikam jneyam anyat prasangikam viduh." (U.S. 3) When the goal or fruit is caused by the plot, it is termed Principal i.e. main plot. To bring about this final achievement the incidental or subordinate plot is conceived (VS. 4). Through the efforts of the poet, the achievement of the fruit is planned (kalpyate). This is aided by the regular activity (upasraya) towards the desired goal (vidhi) performed by the heroes (i.e. main and other characters.) Finally comes the exaltation of fruit which ends in achievement. - NS. XIX - 5 reads as - "kaveh prayatnan netnnam yuktanam vidhyupasrayat, kalpyate hi phala-praptih samutkarsat phalasya ca." After this Bharata discusses the five stages of dramatic action - panca avasthah. * followed by use of sandhi-s, and then five artha-prakrti-s or components of the plot. The DR. picks up the treatment of the five artha-prakrti-s or "prayojana-siddhihetavah" as explained by Dhanika first. The NS. explains this after avastha-s. In a way when plot is explained, the explanation or mention of stages also is not illogical. But we will prefer to stick to the order as planned in the DR. So, the arthapraksti-s as explained by Bharata will be treated first. Bharata observes (vs. 20-36) that five artha-prakrti-s or components of plot are mentioned in keeping with five stages or 'avastha' of itivtta. NS. XIX 20 reads as - iti-vstte yatha'vasthah panca"rambha"dikah smotah, artha-prakrtayah panca tatha bija"dika api." For Personal & Private Use Only

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1654 SAHRDAYALOKA The idea is iti-vrtta or theme or plot is the story of the behaviour or activity of the hero, at times helped by the efforts of minor heroes i.e. paraka-nayaka and/or prakari-nayaka. This theme, i.e. the effort of the hero is goal oriented, i.e. it aims at phala-prapti. For this phala-prapti the efforts of the hero and his aids are directed. They make a start, put in greater effort, then have a hope of achievemnt, then a stage is reached in the efforts when there is certainly of achievement and then the final achievement. These are five stages of efforts which are arambha, yatna, praptyasa, niyatapti and phalavacah. But for this in the beginning a seed is cast which is termed bija, which when expanded is termed bindu and this thought-element is aided by physical action or karya i.e. activity. The activity has five stages mentioned above. So, the 'ND. terms bija and bindu as 'cetana' or consciousness-roles, and 'karya' as a-cetana i.e. physical effort. The theme, narrating these efforts of the hero and his aid thus according to the stages of activity, is marked by five joints or junctures - sandhis. These sandhis the plot follow the five stages of efforts i.e. avastha-s as noted by the ND. rightly A sandhi is not the sum total of arthaprakrti and avastha, but a sandhi is a joint or a portion of the plot arrived at through various stages of activities, avasthas. The NS. XIX. 21-36 treats of these artha-prakstis or components of the plot. "bijam binduh pataka ca prakari karyam eva ca, artha-prakrtayah panca jnatrva yojya yathavidhi." Bharata says that these are to be employed properly after knowing them. Thus it is hinted that every theme need not be graced by a pataka and, or a prakari. It is observed in the ND. that when a hero is completent enough to achieve his goal single-handed, no need of employing a pataka or a prakari arises. As explained by Dhanika the artha-prakstis are 'prayojana-siddhi-hetus'. That special effort which is seen partially in a manifold way later is 'bija' or seed; (DR. I. 17a) and 'bindu' is 'continuation of this effort, after some 'break' is seen. This follows the NS. Bharata explains 'bija' (XIX. 22) as - "svalpa-matram samut-srstam bahudha yad visarpati, phalavasanam yac caiva bijam tat prakirtitam." For Personal & Private Use Only

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"Dasarupaka-Vicara" 1655 Dr. Bhat translates (pp. 167, ibid) "That which very slightly cast (through the dramatic dialogue), moves in expanding circle in many ways and culminates in fruition, that is called Bija or Seed. 'Bindu' is explained by Bharata (XIX. 23) as - "prayojananam vicchede yad a-viccheda-karanam, yavat samaptir bandhasya sa binduh parikirtitah." (Translation, Dr. Bhat, pp. 167) "That which sustains the unbroken continuity (of dramatic action) till the end of the composition, even when the means (leading to the chief object of the play) are suspended (temporarily), that is called 'bindu' or 'Drop'. Dhanika explains that in Ratnavali the bija is cast under the pretext of anangapuja. Then the flow of events stops. To re-charge the battery something happens. Sagarika, listens to, "udayanasyendor ivodviksate" and an idea flashes in her mind viz. "kaham eso so..." "Is this the same Udayana to whom my father has pledged to give me in marriage..." etc. Thus 'bindu' is further opening, expansion, of something which has come to a halt for the time-being. 'Pataka is explained by Bharata (vs. 24) as that happening, vitta, which is in the interest of someone else (parartha) but helps the cause of the main plot (pradhanasya upakarakam). This episode is almost treated as major plot. (pradhanavac ca kalpyeta). It is a subsidiary plot which runs almost parallel to the main plot and occupies a fairly large part of the play. Pataka-s are so called metaphorically for like banners, they help to recognise the chief. These are independent episodes in the plot and they have a purpose and a fruit of their own, but these merge necessarily in the main plot as they assist the main plot developing in final fruition. Bharata (vs. 25), explains 'prakari as such events that are meant only for the purpose of the main plot (pararthaya eva kevalam). They i.e. prakari-s have no further continuation i.e. connected development - 'anubandha-vihunatva.' Etymologically 'prakari is that which operates for the main plot, i.e. it achieves something conspicuously for the main plot and there is absolutely no personal interest involved in itself : "prakarsena svartha-anapeksaya karoti iti." For Personal & Private Use Only

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1656 SAHRDAYALOKA Abhinavagupta illustrates this by the role of Sri. Krisna in Venisahara. The role of Jatayu in the Rama-katha is the illustration as seen in the ND. (pp. 168, ibid) - 'karya' is explained by Bharata (XIX. 26) as, yad adhikarikam vastu samyak prajnaih prayujyate, tad artho yah samarambhah tat karyam parikirtitam." Dr. Bhat translates : (pp. 169) : The total effort, which is appropriately employed by the intelligent dramatist) for the purpose of the main plot, is called "karya' or "Dramatic Action." . This 'karya' is 'itivrttasya phalam' as explained by Dhanika, which is of the form of three pursuits of life, viz. dharma, artha, and kama, either taken individually or jointly. * The DR (I. 16b) has - "karyam trivargah, suddham eka'neka'nubandhi ca." The total effort is action employed for the achievement of this goal. This is also termed karya, which has five 'avasthas'. So, the karya which is of the form of trivarga is the goal, to achieve which, bija is cast, bindu operates and physical effortkarya-divided into five avastha-s, is made. These avasthas have five sandhi-s or joints conceived as parrallel, in the plot. The sandhi-s one or many seen in 'pataka' or subsidiary plot are termed as 'anusandhi' (NS. XIX. 28) - (Lollara and others explain that anu-sandhi is to deal with the story of patakanayaka - "tatha lollata"dyas tu manyante, pararthe sadhayitavye patakanayakasya itivstta-bhaga anu-sandhayah.] The pataka extends upto either 'garbha' or 'vimarsa' juncture. It terminates before 'nirvahana' because the composition of 'pataka' and its construction are meant only for the main plot (vs. 29) DR. treats of parakasthanakas along with 'pataka'. This follows the pattern of the NS. which also picks up 'patakasthanakas' or suggestive happening i.e. plotindications after the treatment of pataka'. There can be two explanations for this. The first reason is similarity in name. But this is not backed by logic. But second reason is that these suggestive devices also contribute, like 'pataka', to the cause of helping the hero in his endeavour to For Personal & Private Use Only

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"Dasarupaka-Vicara" 1657 reach the goal. Again, the conception of pataka-sthanaka-s is so attractive or charming and useful that it draws our attention as is a flag. Bharata explains patakasthanaka (vs. 30) as - "yatra'rthe cintite'nyasmins tallingo'nyah prayujyate, agantukena bhavena patakasthanakam tu tat. "When some matter is already contemplated (i.e. expressed or represented in the drama), another matter, having the same characteristics (or, similar to it) is suggested (i.e. employed, prayujyate) on account of accidental happening, it is pataka-sthanaka or plot-indication. (Trans. Dr. Bhat, p. 171) Abhinavagupta explains that patakasthanaka is iti-vrtta, i.e. plot or a phase of plot-development. The particular happening suggests such plot-development in such a way, as a banner suggests a special place in which it is planted. Four types of patakasthanaka-s are explained by Bharata (vs. 31-34). When sudden wealth of meaning, full of excellence and helping the cause of the main plot occurs, it is said to be the first type of pataka-sthanaka. Words, charged with slesadouble entendre, expressed in a poetic composition (help the cause), it is the second variety. Third type of patakasthanaka is that when a polite conversational usage of words suggesting a future idea with the help of double entendre is used. Thus here, a concealed (lina) subject-matter is suggested, by a special device through conversation which is subtly connected. The verse (33) reads as - "arthopaksepanam yatra linam sa-vinayam bhavet, slista-pratyuttaropetam tltiyam idam isyate." (NS. XIX. 33). Abhinavagupta explains 'sa-vinayam' as * 'visesena nayanam visesa-niscaya-praptya sahitam.' 'slistena' is explained as - "sambandha-yogena abhipraya'ntara-prayuktena api." Fourth variety occurs in the use of words in a poetic composition, conveying a double meaning. Thus su-slistah - i.e. judicious or well-connected, or with the use of beautiful double entendre, - words are used in a poetic composition, well connected with the theme, make for this variety. For Personal & Private Use Only

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1658 SAHRDAYALOKA Bharata (vs. 36) observes that action in a drama should have four (types of) patakasthanaka-s and the dramatic action must have five sandhi-s. "catuspataka-paramam natake karyam isyate, pancabhih sandhibhir yuktam, tans ca vaksyamy atah param." The 'Avaloka' on DR. I. 14 observes that, "pataka-prasangat patakasthanakam api vyutpadayati." DR. I. 14 (p. 13, ibid) has - "prastuta"gantu-bhavasya vastuno'nyokti-sucanam, patakasthanakam tulya samvidhana-visesanam." (p. 13) - The Avaloka on this reads as - "prakaranikasya" bhavinorthasya sucana-rupam patakavad bhavati'ti pataka-sthanakam. tac ca tulyetivstta-taya, tulya-visesanataya ca dvi-prakaram-anyoktisamasokti-bhedat. samasokteh sakasad anyokter bhedat". Thus only two varieties are hinted at in the DR. as against four in the NS. the Laghutika explains further : tatra"ha-samasokteh sakasad anyokter bhedad iti. - samasokter vilaksanaiva anyoktih. samksipyoktih samasoktih ity etavati samasoktih samase saty api anyapratitim anyasyoktir anyoktir iti tayor bhedah. The N.S. (XIX. 37-49) treats of five junctures - sandhi-panca-here after first treating the five stages - 'panca'vasthah' - of dramatic action. The DR. also follows the same order. In the NS., the five avastha-s - panca'vasthah - are treated at Ch. XIX. vs. 7-16 as follows: "samsadhye phalayoge tu vyaparah karanasya yah tasya'nupurvya vijneyah panca'vasthah prayoktnbhih." - (vs. 7) prarambhas ca prayatnas ca tatha praptes ca sambhavah, niyata ca phala-praptih phala-yogas ca pancamah." (vs. 8) For Personal & Private Use Only

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"Dasarupaka-Vicara" 1659 Dr. Bhat translates : (pp. 163, ibid) - Five stages of dramatic action. (7-8) :- The (mental and literary) activity on the part of the poet (lit. the cause of art-creation) for the accomplishment of the solemn fruit, of its five stages in consecutive order should be recognised by the representators (poets and directors): (viz.) Beginning or commencement, efforts, possibility of realization, ordained attainment of fruit, Accomplishment of fruit." It may be noted that in the VS. 7, in place of 'karanasya' another reading viz. "sadhakasya" is given. This should be preferred. By 'sadhakasya' is meant of 'one who strives' for the attainment of the fruit, i.e. the hero. Actually the whole effort of the hero is goal oriented and this effort passes through five stages. Even if we prefer "karanasya", the translation should be "of the hero, who serves as a cause". Dr. Bhat translates as 'of the poet, the cause of art-creation. This sounds redundant and useless. "karana-bhutasya netuh vyaparasya panca'vasthah" - could be the idea and this sounds logical and reasonable. 'Arambha' is the first of the hero's behaviour which is goal-oriented. Here only 'autsukya' or curiosity about the great fruision of the seed - bija - is termed arambha.' So, 'prarambha' is that stage, when the engerness of the hero for the attainment of the final result is set forth in form of a seed-bija. 'Prayatna' (XIX. 10) is explained by Bharata as - a-pasyatah phala-praptim vyaparo yah phalam prati, param cautsukya-gamanam sa prayatnah prakirtitah Prayatna or effort is striving towards the attainment of the goal, which seems to be unseen (i.e. beyond grasp). This is qualified by much expectation. Prapti-sambhava is the possibility of securing, or apprent ascertainment of the goal in a partial way. This is done only by the appropriate) means (bhavamatrena). Abhinavagupta observes : bhavati asmat iti bhavah, upayah, tasya sahakary antara-yogah, pratibandhakavaranam avadharitam. M. M. Ghosh is of the opinion that when, slight or partial attainment of the goal is suggested by psychological state of the hero, it is praptyasa. The idea is that experts call that portion of the total effort as praptyasa when mentally the hero feels slightly hopeful of achieving the goal. For Personal & Private Use Only

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1660 SAHkDAYALOKA NS. XIX. 12 reads as - "niyatam tu phalapraptim yada bhavena pasyati, niyatam tam phala-praptim sa-gunam paricaksata." Dr. Bhat (pp. 165, ibid) translates - "When (the hero) is able to see the attainment of fruit definitely ordained (niyata) on account of the important) means (already employed) (bhavena), that is called "Niyata phalaprapti", or Ordained attainment of fruit, which is meritorious." This means that niyata"pti - i.e. certainty of the achievement of fruit - consists of the absolute certainty of getting the final result. XIX. 12 observes - "abhipretam samagram ca pratirupam kriyaphalam, iti-vstte bhaved yasmin phalayogah sa kirtitah." The phalayoga or attainment of the goal is where full intended result of the activity is shown in the plot Dr. Bhat translates : (p. 165), - "When the desired, appropriate (pratirupa), total fruit of the action, becomes available in the (development of the) plot, that is called phala-yoga or Accomplishment of fruit." Abhinavagupta takes note of the view of his teachers that everywhere, the plot should have the five joints or junctures since no effort is possible without various stages : upadyayastv ahuh - sarvatretivsttam panca-sandhyeva; na hi kincid api vyaparo prarambhady avastha-pancakam vina sidhyet." NS. XIX. 14 informs that whatever action is started by those who want to achieve a certain fruit, these stages occur in consequtive order. The putting together in a unified relation, - vs. 15 observes, of these stages having different nature individually, by bringing them into mutual connection - is said to the the cause of the fruit. This means that when these stages are made to serve jointly, they bring about the result. For Personal & Private Use Only

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"Dasarupaka-Vicara" 1661 The adhikarika or principal plot which is described separately earlier, should have its beginning etc. neatly delineated, so that it runs its course into achievement of the fruit. (vs. 16). NS. further observes that the main plot should be so woven that it has all the joints or sandhis normally, as a rule. There may be less sandhis, only if required due to some reason (VS. 17). (VS. 18) Normally when one juncture is omitted, it is the fourth one that is dropped. In case of omission of two, the third and forth may go out. When three sandhis are omitted the second, third and fourth are out. Naturally any plot whatsoever, has to have its beginning and end and thus two junctures are a must. Bharata (VS. 19) observes that in case of subsidiary plot, this rule does not hold; for the prasangika-vrtta is supposed to serve the purpose of the main i.e. adhikarika-vstta. So, says Bharata - "yad vittam sambhavet tatra tad yojyam avirodhatah." i.e. Whatever plot i.e. events are possible in that prasangika-vrtta, could be used without fear of any contradiction, of the main plot. We have noticed that in the NS. the artha-prakstis are treated after the pancaavasthas. We have examined them on an earlier occasion so, we will now proceed with the concept of junctures with their parts as treated by Bharata and then the DR. Sandhis - and Sandhyangas :- Bharata (NS. XIX. 37) talks of the five junctures as Mukha-i.e. opening, pratimukha or progression; garbha i.e. climax or development, vimarsa or contemplation i.e. deliberation, or pause, and nirvahana or conclusion. vs. 37-43 read as - "mukham prati-mukham caiva garbho vimarsa eva ca, tatha nirvahnam ceti natake panca sandhayah. (37) 'Mukha' sandhi is that portion of the plot where the seed is created. This leads to the birth of many matters and sentiments. These take shape in relation to the For Personal & Private Use Only

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1662 SAHRDAYALOKA body of the plot as narrated in poetry. "yatra bija-samutpattir nana'rtha-rasa-sambhava kavye, sarira'nugata tan mukham parikirtitam." 38 Prati-mukha or progression is that part of the plot where the original seed which was cast in the opening (mukha), looks uncovered or in a state of flowering, but is at times marked (clearly) and at other times, as it were lost, to view. This means the real is apparently lost at times after making its appearance. "bijasyodghatanam yatra drsta-nastam iva kvacit, mukha-nyastasya sarvatra tad vai pratimukham bhavet." 40 Garbha or development is that portion of the plot, wherein the sprouting, attainment and loss of the seed, and its fresh search occur. udbhedas tasya bijasya praptir a-praptir eva va, puns ca'nvesanam yatra, sa garbha iti sanjnitah. 41 Vimarsa or contemplation or pause is that part of the dramatic action or plot where the seed sprouted in the garbha (i.e. development part) is subjected to contemplation due to (= obstacles in form of) some temptation, anger or calamity. garbha-nirbhinna-bijartho vilobhana krto'thava krodha-vyasanajo va'pi sa vimarsa iti smrtah 42 The idea is that after the flowering of seed in the development state there is marked some lack of concentration in efforts caused due to some attraction elswhere, or anger or unexpected calamity etc. This is phychological, for when one gets over-confident of achieveing some goal, a lack of concentration due to various reasons occurs. For Personal & Private Use Only

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"Dasarupaka-Vicara" 1663 Nirvahana is that part in which proper blending of all matters takes place. These matters include mukha etc. along with seed etc. This happens when these matters reach accomplishment along with different states or emotions. This means that threads of the story containing ideas from the beginning onwards are properly knit together into a culmination. NS. XIX. 43 observes - samanayanam arthanam mukha"dyanam sa-bijinam, nanabhavottaranam yad bhaven nirvahanam tu tat. 43 (VS. 44) - Bharata further ordains that the producers of plays should know full well of these junctures in case of Nataka. They also belong to the prakarana (rupaka) as well. For other types the following may be noted. Thus Bharata expects that the two types viz. nataka and prakarana have all the five sandhis marked in them. The other types do not have all junctures. The ND. calls these two as "purna-dasa-sandhi-rupakas" and the rest are not so. Bharata (vs. 45) further suggests that dima and samavakara are types of - rupaka-s having four sandhi-s each, with the omission of the fourth i.e. avamaria or vimarsa sandhi. Vyayoga and Thamrga have three sandhis, with garbha and vimarsa not finding place (vs. 46). They both have kaisiki style. Prahasana, vithi, (utspstika) anka and bhana have only two sandhi-s i.e. mukha and nirvahana. (vs-47). Bharata observes that vithi and bhana and prahasana are composed in a style which lacks in kaisiki (kaisiki-vrtti-hinani). Sandhyanga-kalpana : After describing the number of sandhi-s that go with different types of rupakas, Bharata (NS. XIX 49) proceeds to suggest the ideas about the limbs i.e. parts in each junctures - evam hi sandhayah karya dasa-rupe prayoktrbhih, punar esam tu sandhinam anga-kalpam nibodhata. 49 For Personal & Private Use Only

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1664 SAHRDAYALOKA NS. XIX 50 observes - sandhinam yani vsttani pradesesv anupurvasah, sva-sampad-guna-yuktani tany angany upadharayet. 50 Dr. Bhat (p. 175) translates - (50) The events (of the plot), which belong to the different sandhis and which are (shown) in different places (or parts of the play), are a kind of supplement (guna) to the rich development shown in a sandhi (sva-sampad) ; They are (therefore) to be understood as angas." Dr. Bhat has a foot-note (pp. 175) - "Sandhi or juncture represents some definite portion of the dramatic plot or subject matter of the play (artha-bhaga-rasi). The actual events which form a part of the plot (samvidhana-khanda) are called the angas. The name is justified because these events make up the particular sandhi and contribute towards the ordinary development of the plot, as limbs fill up or support the body, and contribute to its excellence and charm." The incidents that occur in particular portions of the sandhis, may become sandhyanga-s i.e. ancillaries when they are represented properly with gunas or excellences and other embellishments. Construction of suitable matter, smooth course of progression with reference to the plot, emotional fervour in representation, concealment of such matter that deserves concealment, revelation of that which deserves revelation, narration in a woderful fashion - These are the six purposes underlined in treatises with regard to the events in a juncture. These might have inspired Anandavardhana to observe rasa-dosa-s, such as akande vicchittih, etc. Bharata (XIX. 51-55 NS.) observes : "istarthasya racana vsttantasya'nupaksayah, ragapraptih prayogasya guhyanam caiva guhanam." - 51 ascaryavad abhikhanam prakasyanam prakasanam, For Personal & Private Use Only

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"Dasarupaka-Vicara" 1665 anganam sadvidham hy etad drstam sastre prayojanam." - 52 Dr. Bhat translates (pp. 177, ibid) (51-52). "The purpose of the angas as seen in the sastra-s is six-fold : constructive arrangement of the desired matter; non-loss or non-dwindling [i.e. presence and continuity] of the essential) happenings in the plot; securing attraction or pleasure for the dramatic performance; concealment of things which deserve to be concealed; narrative representation of things full of surprise and wonder; open presentation of things that deserve to be discosed." We have observed earlier that this discussion could have inspired Anandavardhana to lay down favourable conditions that make for the suggestivity of the whole composition (= prabandha vyanjakata) Bharata further observes that like a person lacking in limbs getting unable of starting useful activity, so a poetic composition deficient in limbs will not be good enough for stage-production - "na prayoga-ksamam bhavet." (VS-53) Any composition, however lofty it may be, if lacking in limbs will fail to entertain the mind of the experts due to defective representation (hinatvad hi prayogasya) - (VS. 54). But a poetic composition though poor in meaning and content, i.e. though not lofty in this respect, if properly rich in limbs (samyag angaih samanvitam), on account of dazzling performance (diptarvat tu prayogasya) attains to great charm. Such productions become a box-office hits. (VS. 55). The DR. I. 54 observes, after discussing the sixty-four sandhyangas : "ukta'nganam catuh-sasthih, saddha saisam prayojanam." Six-fold is the purpose behind discussing the sixty four limbs of junctures. DR. I. 55 - observes (pp. 63, ibid) - "istarthasya racana gopya-guptih, prakasanam, ragah prayogasya, ascaryam vTttantasya'nupaksayah." i.e. creation of required matter, concealment of that which should be concealed, presentation of that which deserves presentation), attraction for the represented For Personal & Private Use Only

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1666 SAHRDAYALOKA matter, (creation of) wonder (i.e. sense of wonder), and absence of discontinuation of the theme." Dhanika in the Avaloka (pp. 63) observes : vivaksita'rtha-nibandhanam, gopya'rtha-gopanam, prakasyartha-prakasanam, abhinaya-raga-vaddhis' camatkaritvam ca kavyasya itivittasya vistara ity angaih sat prayojanani sampadyanta iti. - It may be noted that these guide-lines for making the stage-presentation successful are more relevent when the theme is historical or borrowed from ancient sources. For example Kalidasa removed Dusyanta's unwelcome behaviour of disowning Sakuntala till a divine voice was heard, as read in the Mahabharata. Instead he invented the episode of the curse of Durvasas to lift the image of his hero. After Bharata's views expressing the necessity of presenting sandhyangas for the success of presentation the NS. treats five authopaksepaka-s i.e. Introductory or presentation devices (VS. 110-116, Ch. XIX N.S.). Prior to this 64 sandhyangas are discussed in the NS. We will deal with sandhi-s and sandhyangas in greater detail later in this chapter. But here we will discuss the "Introductory Devices" first. Arthonaksepaka-s : NS. XIX. 110 observes that there are five Introductory or presentation devices such as - viskambhakas culika caiva tatha caiva pravesakah, ankavataro'nkamukham arthopaksepa-pancakam." Five presentation devices are - (i) viskambhaka, (ii) pravesaka, (iii) culika, (iv) anka'vatara and (v) anka-mukha. These are explained individually in the NS. as follows : (vs. 111): "madhyama-purusa-niyojyo nataka-mukha-sandhi-matra-sancarah, viskambhakas tu karyah purohita'matya-kancukibhih." (Translation, Dr. Bhat, p. 179) - For Personal & Private Use Only

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"Dasarupaka-Vicara" 1667 "The 'viskambhaka' or Intertude is to be presented with midling characters and occurs only in the mukha-sandhi (opening juncture of a play : It should be constructed with (such characters as) the domestic priest, minister, chamberlain." (VS. 112) - "buddhah sankirno va dvividho viskambhakas tu vijneyah, madhama-patraih suddhah, sankirno nica-madhya-krtah." Viskambhaka is two-fold such as suddha i.e. pure wherein only middling characters participate, and "mixed", in which both middling and low characters participate. (VS. 113) - "antar yavanika-samsthaih suta"dibhir anekadha arthopaksepanam yat tu kriyate sa hi culika." Culika (= intimation) is that device wherein the presentation of certain details concerning the theme (i.e. its progress) is - done, in many different ways, by characters such as the charioteer etc., who stay behind the curtain. This means "behind - the curtain-pronouncements" make for culika. VS. 114 - "ankantara'nusari . . sanksepartham adhikrtya bindunam, prakarana-nataka-visaye pravesako nama vijneyah." Dr. Bhat translates (pp. 179) : "The Pravesaka or Linking scene comes in the nataka and prakarana type (of drama) between two acts, and presents a concise statement (san ) of some of the stages of plot-development (bindunam)." vs. 115 - "ankanta eva ca'nko nipatati yasmin, prayogam asadya bijartha-yuktiyukto jneyo'nkavataro'sau." (Trans. Dr. Bhat, pp. 179) - "The Ankavatara or Descent of Act contains the presentation of some matter connected with the seed (bijartha-yukti) and, with reference to the stage performance, it comes right at the end of an act (anka'nte) or an act falls right into it." This means that ankavatara is almost the use of another act immediately after the previous one, as though a continuation of the main plot in transition. We will For Personal & Private Use Only

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1668 SAHRDAYALOKA see that 'anka-mukha' is the summarization of the events about to take place in the . succeeding act by male or female characters : VS. 116 - vislistamukham ankasya striya va purusena va yad upaksipyate purvam tad anka-mukham ucyate. (Dr. Bhat translates : pp. 179) "When the unconnected opening of an act is presented by a male or female character beforehand, that is called 'anka-mukha' or the opening of act. The DR. has presented this topic in a more logical way. It observes (I. 56, pp. 64) that the theme of a play should be divided into two such as something which is only to be suggested, i.e. not presented on the stage and something that is to be directly enacted - - DR. I. 56 - "dvedha vibhagah kartavyah sarvasya'piha vastunah sucyam eva bhavet kincit drsya-sravyam atha'param." That portion of the theme which is nirasa i.e. boaring or not promoting aesthetic enjoyment or that which is improper for presentation is only to be sted only, observes the DR. (1. 57a) and that which is to be seen i.e. to be presented on the stage is sweet, lofty and full of sentiments and emotions, i.e. full of emotive content that promotes aesthetic joy. (I. 57, b. DR). The portion which is meant to be suggested is done so through five introductory devices viz. the five arthopaksepaka-s. The DR. (I. 59, pp. 65) informs that Viskambhaka is that device which suggests parts of narration or plot that have either happened or are to happen next. This suggestion is brief and presented through (the dialogue of, or through the agency of) middling characters. - "vstta-vartisyamananam kathamsanam nidarsakah, sankseparthas tu viskambho madhya-patra-prayojitah." (DR. I. 59, pp. 65, ibid) For Personal & Private Use Only

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"Dasarupaka-Vicara" 1669 As in Bharata, here also it is said to be two-fold, i.e. suddha and sankirna., When the characters are only middling or belonging to the middle and also the low order of society, respectively. The 'Pravesaka' (DR. I. 60) is similar (tad-vad; i.e. suggesting some portion of the theme), through not dignified expression-anudattoktya-and presented through characters of the lower strata. Pravesaka is presented only in between two acts and never in the beginning of the first act as is the case of the viskambhaka which occurs also in the beginning of the first act. Avaloka (pp. 66, ibid) observes - "ankadvayasya'ntar iti prathamanke pratisedha iti." DR. 61b observes that culika is suggestion of matter through the agency of the characters that operate from behind the curtain - "antarjavanika-samsthaih". DR. I. 62 describes 'anka"sya' and 'anka"vatara': "ankanta-patrair anka"syam chinnankasya'rtha-sucanat, ankavataras tv ankante pato'nkasy a-vibhagatah." Avaloka explains (pp. 67, ibid) : ankanta eva patram ankanta-patram. tena vislistasya uttaranka-mukhasya sucanam, tad-vasena uttaranka'vataro'nka"syam iti. - A character that appears at the end of an act is "ankantapatra." When such a character that has entered the stage at the end of a given act supplies information concerning the beginning of the next act, which otherwise would have looked disconnected with the theme, it is called the device of 'anka"sya'. The illustration is drawn from the Mahavira-carita, act II, end portion, wherein Sumantra informs some characters present that they are expected to appear before Vasistha and Visvamitra who are in company of king Dasartha. Others then move to join them in the next act. Ankavatara is correlation of the next act brought about by the end of the earlier act, without formally bringing the same to termination. The next act just drops in i.e. starts without the formal termination of the earlier act and without the use of such correlating devices as viskambhaka or pravesaka in the beginning of the next act. The 'Avaloka (pp. 68) explains - "yatra pravista-patrena a-sucita eva purvanka-a-vicchinnarthataya eva ankantaram apatati, pravesakaviskambhaka"di-sunyah sonkavatarah." The illustration is cited from Malavika'gnimitra, wherein by the end of the first act the vidusaka asks the two who are For Personal & Private Use Only

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1670 SAHRDAYALOKA present to inform when actually the dance-competition will start in the queen's chamber. Then he adds that only the sound of the drum itself will convey the fact. Thus by listening to the sound of the drum all the characters act accordingly and there only the second act starts. Avaloka observes : "...mpdanga-sabdasravananantaram sarvany eva patrani prathamanka-prakranta-patra-sankrantidarsanam dvitiyanka"dau arabhanta iti prathama"nkartha'vicchedena eva dvitiyankasya avataranad ankavatara iti." (pp. 68, ibid). "Sandhi-s and Sandhyanga-s." As noted earlier the dramatic theme or action i.e. plot is imagined to be divided into five junctures - sandhi-s or joints, having a number of limbs or sandhanga-s, totalling 64 in all the five sandhi-s. This division helps the course of successful presentation of the play. By success is meant that the spectators enjoy it every minute. Sandhi-s are the component divisions of the dramatic action. We have noted that Bharata does not give us a general definition of 'sandhi' but proceeds to define, as seen above, individual sandhi-s straight away. Bharata in the same fashion enumerates the sandhyanga-s that occur in the five sandhi-s respectively. They read as - "upaksepah parikarah parinyaso, vilobhanam, yuktih, praptih samadhanam vidhanam paribhavana. udbhedah karanam bheda etanyangani vai mukhe. Twelve limbs are read in the first juncture, i.e. mukha-sandhi. 'Upaksepa' is suggestion; parikara (or parikriya) is 'enlargement'. Parinyasa is 'establishment.' 'vilobhana' is allurement. 'Yukti' is resolve. 'Prapti' is attainment. 'Samadhana' means 'settling'. 'Vidhana' is conflict of feeling (of pain and pleasure). 'Paribhavana' is surprise. 'Udbheda' is disclosure. 'Bheda' means 'division'. 'Karana' is 'resumption. Pratimukha-sandhi has 13 sandhyangas enumerated by Bharata as - "tatha pratimukhe caiva srnuta'ngani namatah. vilasah parisarpas ca vidhutam tapanam tatha, For Personal & Private Use Only

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"Dasarupaka-Vicara" 1671 narma narmadyutis' caiva tatha pragamanam punah. nirodhas caiva vijneyah paryupasanam eva ca puspam vajaram upanyaso varna-samhara eva ca. etani vai prati-mukhe..." 'Vilasa' is craving, 'Parisarpa' is pursuit. 'Vidhuta' is disinterest; "Tapana' is ma is pacification, 'Narama' is joke. Pragamana means 'response'. Nirodha is impediment. Paryupasana is apology. Vajra is 'bolt'. Upanyasa is intimation or propitation and Varnasamhara is congregation. Thirteen limbs are enlisted under the third sandhi. The garbha'-joint such as. ...garbhengani nibodhata. "abhutaharanam margo rupodaharane kramah, samgrahas ca'numanam ca, prarthana"ksiptam eva ca, totaka'dhibale caiva hy udvego vidravas tatha. etanyangani vai garbhe.... Adbhutaharana is false statement. Marga is statement, of truth. Rupa means 'supposition.' or 'reflection'. Udaharana is exaggeration. Krama is comprehension of reality; progress. Sangraha is propitiation. Anumana is inference, deduction. Prarthana is request or supplication. Aksipta (or ksipti) is revelation. Totaka is quarrel or words of agitation. Adhibala means deceit, or outwitting. Udvega is anxiety. Vidrava is also termed sambhrama. It means flight from fear. Avamarsa or Vimarsa sandhi has 13 angas enumerated by Bharata as - hy.avamarse nibodhata, apavadasca samphetah sadravah saktir eva ca. vyavasayah prasangas ca dyutih khedo nisedhanam, virodhanam atha"dhanam For Personal & Private Use Only

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UU. 1672 SAHRDAYALOKA cchadanam ca prarocana. etany avamtse'ngani Limbs of the Avamaria Sandhi are : apavada = scandal, or censure; sampheta is rebuke or wrathful words; drava is disobeying the elders, or contempt. It is also called 'abhi-drava'. Sakti is prowess. Vyavasaya is effort. Prasanga is reverence. Dyuti is excitement (through censure). Kheda is dejection or depression. Nisedhana is impediment. Virodhana is opposition. Adhana means comprehension. Chadana is concealment; forbearance. Prarocana is foresight; precursion. In the fifth i.e. nirvahana sandhi there are 13 sandhyanga-s. Bharata observes... bhuyo nirvahane srunu. "sandhir nirodho grathanam nirnayah paribhasanam, (95b; XIX) dhrtih prasada Anandah samayo hy upaguhanam, bhasanam purva-vakyam ca kavya-samhara eva ca. prasastir iti samhare jneyany angani namatah. catuhsasthir budhair jneyany etany angani sandhisu. punar esam pravaksyami laksanani yatha kramam. The limbs are - sandhi i.e. junction or the seed coming to fruition. Nirodha also termed vibodha means reasonable search. Grathana is assembling, hint. Niranaya is ascertainment; paribhasana is conversation. Dhrti is conformation of reason. Prasada is graciousness. Ananda is 'joy'. Upaguhana is surprise. Bhasana is pacification by words. Purva-vakya is restatement and kavya-samhara is termination due to attainment of goal. It may be noted that Bharata's concept of Sandhi-s and sandhanga-s has been accepted by later theorists almost without any major change except sometimes, somewhere the names change or the number of sandhyanga-s in a given sandhi differs. So, we feel that along with original sources this concept will be discussed in greater details with a comparative and critical approach. We may note here that For Personal & Private Use Only

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"Dasarupaka-Vicara" 1673 Bhoja (Ch. XI. Sr. Pra.) has accepted Bharata's definitions of the ten rupakas and has added two more which have been examined by us under uparupakas in the earlier chapter on the classification of poetry. As Dr. Raghavan observes (p. 533, Bhoja's Sr. Pra.; Madras, '64) Bhoja has also discussed the structure of Drama. Bhoja has newly introduced the topic of 5 Arambha-vidhis and has also discussed 5 arthapraksti-s, 5 avastha-s, 5-samstha-s, 5 samavasthas (These two are newly discussed topics in Bhoja), 5 sandhis, 5-vrttis, 5 pravrtti-s, 24-pravrttihetus - This makes for his first set of 64. Then 10 lasyangas, 13 vithyangas, 16 vrttyangas 21 sandhyantara-s, 4 patakasthanaka-s make for his second set of 64. 64 sandhyangas make for his third set of 64 and 64 laksanas make for his fourth set of 64. It may be noted that we will discuss, following of course the original text and the great work of Dr. Raghavan, the concept of sandhi-s and sandhyanga-s in Bhoja, only after we treat sandhi-s and sandhyangas first in Bharata and Dananjaya. Hemacandra, the N.D., and The S.D. and R.S., normally follow Bharata's line. Though there is no great basic difference but Bhoja's line of thought is toed by Saradatanaya in B.P. and so also in the NLRK. of Sagaranandin and R.S. of Singabhupala to an extent. So, we will treat Bhoja and his followers separately after first dealing with the NS. of Bharata, DR. of Dhananjaya, Hemacandra, N.D. and the S.D. of Visvanatha. We will discuss this in the light of a very enlightening research article by our guru and most respected Dr. V. M. Kulkarni, who in his "The conception of sandhi-s in the Sanskrit Drama" has done an excellent work in studying this topic in a critical and comparative fashion. But first of all as in case of Bharata so also in case of other authors, we will first take care of the original source material that covers this topic. Bhoja of course will be looked into along with Saradatanaya and Sagaranandin later. We start with the DR. The DR. is under a mis-conception that a 'sandhi' is the out-come of arthaprakrti-s and 5 avastha-s taken together respectively. This we will view later but for the present we note what the DR. has to say. The DR. (I. 22b.) observes - (pp. 19, ibid) artha-prakstayah panca panca'vasthah samanvitah - 22b and, yathasamkhyena jayante mukha"dyah panca sandhayah. 23a For Personal & Private Use Only

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1674 SAHKDAYALOKA The Avaloka explains : "artha-prakstinam pancanam yathasamkhyena'vasthabhih pancabhir-yogad yatha-samkhyenaiva vaksyamana-laksana mukha"dyah pancasandhayo jayante. The Laghutika observes : "Bija"dinam artha-prakstinam avasthabhih pancabhir yatha-samkhyam sandhayo bhavanti. bijasya'rambhanena'nvayo mukhasandhih, bindoh prayatnena'nvayah, pratimukha-sandhih patakayah, praptyasaya'nvayo garbha-sandhih. Laghutikakara knows that at times pataka may not figure in a play. Hence, it is observed : "yadyapy aniyata eva pataka tatha'pi yada pataka bhavati tadanim avastha-parvana praptyasaya yogat garbha-sandhir bhavati. yada tu sa na'sti tadanim garbhasandhih kevala praptyasa bhavati'ti evam uparyapi neyam. This is exactly the reason why the N.D. explains that the concept of sandhi-s follows the avastha-s and not the upaya-s or the arthaprakrti-s. DR. however gives a general definition of a sandhi, which is not attempted by Bharata, DR. I. 23b (pp. 19, ibid) observes : "avantara'rtha-sambandhah sandhir eka'nvaye sati. (J. 23b) The Avaloka explains : ekena prayojanena anvitanam kathamsanam avantaraikaprayojana-sambandhah sandhih. This means that the concept of sandhi becomes relevant and stands to clear grasp only in view of the whole of the plot or iti-vstta. All minor parts are associated with one principal goal and these minor parts remaining absolutely tied with the one goal are interconnected among themselves to form a particular sandhi. The Laghutika explains (pp. 19, ibid) - yady api rupakesu mukha"dyah panca'pi sandhayo bhavanti, tatha'pi samanyata eva iti-vstta-matra-gamini jnate hi sandhau sandhi-viseso jayate." The sandhis are enumerated in the DR. (I. 24a) as - "mukha-pratimukhe garbhah sa'vamarso'pa-samhstih." Not even Bhoja or anyone belonging to what we have called the Malava-school of thought, the DR. of course being a leader among the same, ever attempts For Personal & Private Use Only

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"Dasarupaka-Vicara" 1675 different names of these sandhis and the number also remains the same, whoever be the author and whatever be his faith. Actually in the field of art-criticism the Indian tradition presents almost an identical design, the variety seen anywhere is due to a greater thrust on this or that point here or there. This is true even of literary criticism as well where divergence in what may be called the Kashmir school of thought and the Malava school of thought is more vocal. But all agree in one point that all art-including litarary and dramatic-is rasa-oriented. The DR. then proceeds to define each sandhi individually along with its sandhyanga-s. The sandhi-s, mukha, pratimukha etc. are defined in their order following Bharata as follows: mukha-sandhi (DR. I. 24b) is - "mukham bija-samutpattir nanartha-rasa-sambhava." pratimukha is - "laksya'laksya ivodbhedas tasya pratimukham bhavet." 'Mukha' is associated with the casting of 'bija' or seed and pratimukha is connected with its sprouting, marked at times and unmarked in other moments. Garbha-sandhi is : (DR. I. 36a) "garbhas tu drsca-nastasya bijasya'nvesanam muhuh, dvadasa'ngah, pataka syan na va, syat prapti-sambhavah." The 'bija' which was marked or un-marked in the prati mukha-sandhi is sought after with a hope in this juncture. Avamaria (or vimarsa) sandhi is - (DR. I. 43) (pp. 45, ibid) - "krodhena'vamtsed yatra. vyasanad va, vilobhanat, garbha-nirbhinna-bijarthah so'vamarsa iti smstah." This follows Bharata. For Personal & Private Use Only

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499) is - . 1676 SAHRDAYALOKA Nirvahana-sandhi (DR. I. 48b - 499) is - "bijavanto mukha"dyartha viprakirna yathayatham ekarthyam upaniyante yatra nirvahanam hi tat." The Avaloka explains these sandhi-s as - (pp. 20, mukha-sandhi) bijanam samutpattir aneka-prakara-prayojanasya rasasya herur mukha-sandhir iti vyakhyeyam. tena a-tri-vargaphala prahasana"dau rasotpatti-hetor-eva bijatvam iti. asya ca bija"rambha'rtha-yuktani dvadasangani bhavanti." : 'pratimukha' is explained as (pp. 28, ibid) - "taya bijasya kincillaksyah kincid alaksya ivodbhedah prakasanam, tat pratimukham. garbha-sandhi is - (pp. 36, ibid) - "pratimukha-sandhau laksya'laksya-rupataya stokodbhinnasya bijasya yah sa-visesodbhedapurvakah santarayo labhah, punar -vicchedah, punah praptih, punar vicchedah, punasca tasyaiv-anvesanam varam varam sonirdharitaikanta-phala-praptyasatmako garbha-sandhir iti. Avamarsa is explained by Avaloka (pp. 45, ibid) as - avamars'anam avamarsah paryalocanam. tac ca krodhena va, vyasanad va, vilobhanena va, bhavitavyam anena'rthena iti (evam ?) avadharitaikantaphala-praptyavasaya" (na" ?] tma garbhasandhy udbhinna-bijartha-sambandho vimarsovamarsah." Nirvahana is first only illustrated in the Avaloka (pp. 55, ibid) and then it is added - "ity adina draupadikesa-samyamana"dinam mukha-sandhya"dibijanam nija-nija-sthano'paksiptanam ekarthataya yojanam." Hemacandra in his ka. sa. only records the definitions of dasa-rupaka quoted from Bharata. He also talks of uparupaka-s which we have looked into earlier. He does not discuss the structure of the drama as done by Bharata and other writers. So, the discussion of his treatment of artha-prakrti-s, avastha-s, sandhi-s, sandyanga-s etc. does not arise. The Natya-darpana of Ramacandra and Guna-candra use the terms upaya, dasa and sandhi for artha-praksti, avastha and sandhi respectively. The ND. first observes that (ND. I. 2) the 'abhineya kavya' is having many varieties. Only some of these to some extent, will be treated here. This definition will be a critically considered one, say the authors : "drstam purva-muni-pranitanatya-laksana-paurvaparya-paramarsena upayuktataya laksitam. evam ca svamanisikanirasena laksanasya upadeyarvam ukram." For Personal & Private Use Only

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"Dasarupaka-Vicara" 1677 The rupakas enumerated by the N.D. are twelve including the ten major rupaka-s as read in the N.S. and the D.R., added by two more, i.e. natika and prakarani, also counted by them as major rupakas (N.D. I. 3). Nataka (N.D.I.5.) is defined as having the activity of a well-known king in its centre, having three purusartha-s (i.e. dharma-artha-kama) as its goal, and gifted with anka (act), upaya (= bija, etc.), dasa (i.e. arambha etc.) and sandhi (= mukha, etc.). Types of Nayaka' or Neta' are explained in N.D. I. 6-7-8-9. 'Carita' i.e. activity or behaviour of the hero i.e. vitta (= iti-vstta) is said to be two-fold; principal and subsidiary which may or may not find place in a given play. This two-fold 'carita' is 'sucya', prayojya, abhyuhya and upeksya. (N.D. I. 10). N.D. I, 11 observes that 'nirasa' and 'anucita' (i.e. not appealing to cultured taste) is to be suggested i.e. sucya. Prayojya i.e. worthy of presentation is other than this, i.e. 'sa-rasa' and 'ucita.' 'uhya', to be imagined, is that without imagining which things will not proceed, and that which is of positively in bad taste - jugupsita - is to be ignored - i.e. 'upeksya'. With this ND. treats of some other varieties of theme such as that which is to be narrated aloud, that which to remain - sva-gata - i.e. at mental level only, that which is to be narrated to many on the stage but one (= janantika), or to one only avoiding many (= apavarita), something to be presented by the device of akasokti, etc. The N.D. also describes the litarary quality expected of a play. After treating these minor points the ND. I. 19, defines an act, i.e. anka as - "avasthayah samaptir va chedo va karya-yogatah, ankah sa-bindur, disyarthah caturyamo muhurtatah." The number of acts is also laid down as five to ten in a given rupaka (ND. I. 20). 'anka-anibandhaniya' i.e. that which is not to be treated in an act such as the killing of the hero, etc. is described in N.D. I. 21. 'anka-avarnaniya' - that which can not be directly staged in an act, such as a journey to a distant place etc. is to be described through devices such as viskambhaka, etc. (N.D. I. 22, 23, 24, 25, 26, 27). For Personal & Private Use Only

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1678 SAHRDAYALOKA We must confess that even as compared to the DR., - certainly the NS. of Bharata is no match, - the ND. has presented the subject of dramaturgy adopting almost perfect design or methodology. Topics after topics are discussed as they come up naturally; the next one as it were flowering from the earlier one. Thus, ND. I. 28 speaks of 'upaya-s' after 'anka.' Nataka was defined as "sa'nkopayadasa-sandhi", and hence after 'anka' upaya-s i.e. bija etc. come up for discussion. One important point is that these upaya-s, called artha-prakrti-s in the NS. and the DR. are divided into "cetana" and "a-cetana." ND. I. 28 observes : "bijam pataka prakari, binduh karyam yatha-ruci, phalasya hetavah panca cetanacetana"tmakah." This is very interesting. After bija which is a-cetana, pataka and prakari are enumerated as they are "cetana" type. 'bindu' is cetana and 'karya' is taken as 'acetana.' By yatha-ruci' is meant that these do not follow in the sequence mentioned in the karika, nor is their presence inevitable. This of course refers to pataka and prakari. The vrtti clearly explains the position. It is observed - "upaya-svarupa-a-parijnane tad-visayanam arambha"dinam svarupa-parijnana-asambhava iti upayasvarupam vyutpadyate." This means that without grasping the concept of upaya (i.e. bija, etc.), it is not possible to understand the concept of avastha (i.e. arambha, etc.) So, first upayas are explained. The vstti further makes very interesting reading - "yatha-ruci'iti na esam auddesiko nibandha-kramah, sarvesam avasyambhavitvam va. 'phalasya' susadhyasya hetavah upayah." The Avaloka had explained these as "prayojana-siddhi-hetavah." ND. further observes - "iha hetur dvidha a-cetanas cetanas ca. acetanopi mukhya'mukhya-bhedad dvidha. mukhyo bijam, tanmulatvad itaresam. amukhyas tu karyam. cetanopi dvidha, mukhya upakarana-bhutasca. mukhyo binduh, karya'nusandhana-rupatvat. upakaranabhuto dvidha, (i) svartha-siddhi yutah parartha-siddhi-parah, (ii) parartha-siddhi-paras ca. purvah paraka, anyah prakari iti. atra acetana-cetananam madhye bija-bindvor mukhyatvam, sarvavyapitvad iti." For Personal & Private Use Only

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"Dasarupaka-Vicara" 1679 After treating the upaya-s, dasa-s i.e. arambha etc. are considered and this is followed by sandhi-nirupana in the ND. (I. 37) - A very interesting, and of course remarkable for its clear perception is the observation in the are parts of the main plot and that they follow the dasa or avastha-s. The DR. had blundered in its observation of a sandhi being a sum total of artha-prakrti-s and avasthas. The N.D. I. 37 observes : "mukham pratimukham garbha-". -marsa-nirvahanany ami, sandhayo mukhya-vsttamsah pancavastha'nugah kramat." The vrttion ND. I. 37 observes : "mukhyasya svatantrasya mahavakyarthsya'msa bhagah, parasparam svarupena ca'ngaih sandhiyanta iti sandhayah. avasthabhih prarambha"dibhir anugata, avastha-samaptau samapyanta ity arthah. avasthanam ca dhruva-bhavitvat sandhayo'pi nataka-prakarana-natikaprakaranisu panca'vasyam-bhavinah. samavakara"dau tu visesopadanas unatve'pi na dosah. kramad iti mukhady uddesa-kramena avastha-kramena ca nibadhyante. iha tavat prabandha-nibandhaniyo'rthah avastha-bhedena pancabhir bhagaih parikalpyate. ekaikasas ca bhago dvadasa-trayodasa-itya"di-rupaya anga-samkhyaya vibhajyate. prasangikavitta-sandhayas tu mukhya-sandhy-anuyayitvad anusandhaya eva ity uktam eva iti." ' Thus the concept of sandhis is rendered very clear in the ND. 64 anga-s are also recognised. We will consider them later, all at a time. saradatanaya the author of Bhaya-prakasana (B.P. Edn. G.O.S., 68, and Edn. Dr. Agrawal. '83) does not accept this very clear and logical presentation of the N.D. and chooses to follow the master, the DR. In the seventh chapter of the B.P., Sa. (= Saradatanaya) first explains 'vastu' or 'itivstta', following the earlier masters. The prasangika vastu is three-fold such as pataka, prakari and 'patakasthanaka'. Sa. correlates the third variety with subsidiary theme and this is quite logical also. This 'patakasthanaka' is explained by sa. (pp. 202, G.O.S., pp. 293 Agrawal Edn.) as - "yatha pataka kasya'pi sobhaklccihna-rupatah. For Personal & Private Use Only

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1680 SAHRDAYALOKA svasyopanayakadinam vrttantas tad vad ucyate, sobhayai vedikadinam yatha puspa'ksatadayah, tatha'tra varnanadis tu prabandhe prakarer bhavet, agantukena bhavena yad-abhivyaktikaranam. vastuno bhavy avasthasya patakasthanakam tu tat." tat pataka-prakaryader bhavy avasthasya vastunah sucanopayam eva"huh pataka-sthanakam budhah. atita'nagate karye kathyete yatra vastuna. anya'padesa-vyajena pataka-sthanakam tu tat. Four - fold patakasthanaka-s are explained after this. After this artha-prakrtis, and avastha-s are discussed and this is followed by sandhi-s and arthopaksepaka-s. The sandhi-s are explained (Ch. 7, pp. 207, G.O.S., pp. 300, 301, Agrawal) as - "avastha-pancakam hy etad artha-prakstibhis saha, nibandhaniyam kavibhir yathaiva'nyonya-samanvitam. tad anvaya-vasad artha-prakltinam yathakramam, ekaikasya bhavet sandhir ekaika iti nirnayah." For Personal & Private Use Only

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"Dasarupaka-Vicara" 1681 As it were "iti nirnayah" are words used to reject the view of the N.D. Or, perhaps Sa. had no access to the ND. Sa. further observes : atha'rtha-prakrtinam tad avastha-pancakasya ca, anvayo hy upasamhara krama"rambha-kramasrayah." panca'vastha-sameta'rthaprakstinam yatha-kramam, yatha samkhyena jayante mukha"dyah panca-sandhayah. In B.P., Sandhi is defined under the influence of the D.R. as - "antaraika'rtha-sambandhah sandhir eka'nvaye sati, anvitanam kathamsanam parame tu prayojane. sambandhas sandhir ityuktah avantaraika-prayojanah, eka-karya'nvitesv atra * kathamsesu prayogatah. avantaraika-karyasya sambandhah sandhir isyate. But for a moment, as it were, sa. also seems to accepts the lead of the ND., when he observes that - "mukham pratimukham garbhah sa'vamario'pa-samhrtih, vivaksitoyam uddesa-kramah avastha-kramo yatha..." This is, because the observation on the part of the ND. was absolutely logical. We, however, still feel that Sa. did not have an access to the ND. and by and large it follows the dictum of the DR., it being the representative of the Malava tradition. We have observed earlier how indebted Sa. is to Bhoja, the mentor of the Malava tradition. Sa. has not treated the sandhyangas. For Personal & Private Use Only

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1682 SAHKDAYALOKA The (NLRK. =) Nataka-laksanaratna-kosa of Sagaranandin, in our opinion is posterior to Saradatanaya as quite often observed by us on earlier occasions, the impression that is created is that the NLRK. at a number of places, seems to give a brief summary of what Sa. narrates at length. Sagaranandin (= Sa.) (NLRK. Edn. Babulal Shastri, Chowkhambha skt. Samsthana, Varanasi, '72) treats of Sandhi-s and also sandhyangas after treating vastu, avastha, and here five avasthas following Matrgupta are also mentioned -, arthaprakrti-s, then again itivrtta and its varieties, viz. adhikarika and prasangika, anka, nayaka and five devices such as pravesaka etc. Sandhis and Sandhyanga-s follow the above mentioned topics. NLRK. (p. 45, Ka. 57) observes : "panca-sandhi natakam kartavyam. asya natakasya panca sandhayo bhavanti iti niyamah-yathocyate. "purna-sandhi tu tar karyam hina-sandhyapi va punah, niyamat purna-sandhis syat hinasandhis tu karanat." (57) This is a quotation from the NS. XXI/16. It allows even nataka to have sandhis, less than five, on some special grounds. That nataka which is purnasandhi, has to be inclusive of five sandhis. If when on account of shortness of theme, there are less than five sandhi-s, it is said to be "hina-sandhi" nataka. There is also, observes NLRK, a rule in lessening sandhi-s - (pp. 46, ibid) : yat purna-sandhi tat panca-sandhy eva kartavyam. yasya punar akhyanavastunah svalpatvad hiyate sandhis that khalu hina-sandhih syat. tatra'pi niyamah Here, the NLRK. again quotes NS. XXI/17 which as seen in the NS., ordains that when it is cancellation of one sandhi, it is vimarsa, then, when two sandhis are omitted they are vimarsa and garbha and when three are dropped the second, third and forth i.e. pratimukha, garbha and vimarsa are dropped. We may observe that the editor of the NLRK, here refers to the chowkhamba edn. (Kashi.) of the NS. So, when Ch. XXI is mentioned it is 19th of the G.O.S. But for the sake of convenience here we have mentioned the references from the NS. as identified by the editor of the NLRK in his edition. For Personal & Private Use Only

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"Dasarupaka-Vicara" 1683 The NLRK (p. 46 ibid) also observes that in case of the subsidiary theme (prasangika) which is employed only to serve the cause of the principal theme (i.e. adhikarika-vastu), if there is extention required in this theme, and if all the five sandhi-s find place in it (= prasangika-vastu), then this rule of hina-sandhi need not be forced upon it, - as observed in the NS. XXI-18; (Karika - 59, NLRK, pp. 47) "prasangike pararthatvan na tv esa niyamo bhavet, yad vsttam tu bhavet kincit tad yojyam a-virodhatah." The NLRK. in vstti also quotes the definition of sandhi as given by Matngupta - (pp. 47, ibid) - "vittam yad tad a-virodhatah sandhinam prayoktavyam. sandhih parasparam kathamsanam samghatanam. yathoktam-sandhiyante arthah parasparam ebhir iti sandhayah yatha mukham, prati-mukham, garbhah, vimarsah, nirvahanan ceti. esam laksanam matrgupta etadrsam varnayati - (NLRK. Ka. 60; pp. 47 ibid) - "prarthana visayautsukyam arambho hetu-cintanam, bijam sadhyo'pagamanam mukha-sandhav iti trayam. 60 To have aspiration for the goal is 'autsukya'; to think about ways and means for the attainment of the goal is "arambha" and to turn towards the goal i.e. to obtain it partially is termed "bija". These three are part of mukha-sandhi. (This is the view of Matrgupta). (He is believed to have lived in the 5th cen. A.D. and was the author of an independent work on dramaturgy and is also credited by Sundaramisra, the author of Natyapradipa, to have written a commentary on Bharata's NS., also). NLRK. 61 (pp. 47, ibid) - quotes the definition of prati-mukha sandhi from Matrgupta, who observes - "labhah sadhana-sampattih prasarah prassta kriya, bija-sadhana-sambandhah iti pratimukhe trayam." For Personal & Private Use Only

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1684 SAHRDAYALOKA The pratimukha sandhi contains three things, (i) 'labha' i.e. access to the means of securing the goal, (ii) prasara i.e. extension of activities for achieving the goal, and (iii) 'bindu' i.e. drop - meaning the seed (bija) getting connected with the goal. 'Garbha' is explained as - (NLRK. 62 pp. 48 ibid) - sambhogo yogyata tatra udbhedah siddhi-darsanam, mitra-sampat pataketi trayam garbhe prakirtitam." Three things are ordained in the garbha-sandhi : (i) sambhoga i.e. enjoyment of pleasure, or being qualified (yogyata) for the same, (ii) udbheda i.e. 'opening? This means appearance of success; (iii) pataka, i.e. assemblage of friends (for the help of the hero). The vimarsa is explained by Matsgupta as - "nasah karana-vaidhuryam kincic chreyah, sa-vighnata, punar bijena sampartih vimarse tritayam bhavet." (NLRK. 63, pp. 48, ibid) Three things qualify the vimarsa, viz. - (i) nasa or destruction. This means appearance of obstacles in the principal activity, or in the attainment of goal, or in its causes; (ii) sa-vighnata i.e. association of obstacles in achievement of desired goal, and (iii) sampatti or achievement, meaning the obtaining of bija once again in its pure original form. Matrgupta explains that nirvahana is qualified by three things (NLRK. - 64, pp. 48, ibid) - such as - abhipreta'rtha-sampattih, siddhih, sadhyasya siddhata, prarabdhasya ca nirvaho, bhaven nirvahane trayam. This means that the nirvahana sandhi has three things viz. (i) abhipreta'rthasampatti i.e. full achievement of the desired object, (ii) siddhi - or For Personal & Private Use Only

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"Dasarupaka-Vicara" 1685 success meaning obtaining the goal, and (iii) nirvaha - i.e. reaching to the culminating point of the activity already started. Then, the NLRK. quotes the view of certain experts who believe that the five objects such as the desired goal and others, are as follows - (i) sadhaka or one who strives to achieve the goal, (ii) sadhana i.e. the means, (iii) sadhya i.e. the goal, (iv) siddhi is achievement and (v) sambhoga i.e. enjoyment of the goal that is achieved. All this is illustrated at length, in the NLRK, from a play named "mayamadalasa". The NLRK. observes (pp. 54, ibid) that Matrgupta has explained the nature of sandhi-s without mentioning the sandhyanga-s * "matrguptena sanksepat sandhyanga-nir apeksam eva idam laksanam uktam." Then again, the NLRK. (pp. 54, ibid) quotes the definition of - mukha-sandhi (NS. 21/37) from Bharata such as : "yatra bija-samutpattir... parikirtitam." This we have already examined earlier. But the NLRK. adds in its prose vrtti - as follows: "bijam natakasya phalabhutasya hetuh. bahuprakaras ca'rthah sambhavo yasya sa tathokta utpattir iti. kavya-sariram natakasya vastu. yatra evamvidham bijam utpadyate tan mukham. yatha balacarite ramayane visvamitrena rame kathitam. rakso-rudhira-panasya... This means that the chief cause of the attainment of the fruit of a play is termed "bija". From this many activities or objects i.e. matters of the theme arise. By kavya-sarira i.e. 'body of poetry is meant the structure or plot of the dramatic theme. The part or portion in which the seed is cast, is known as 'mukha-sandhi'. This is illustrated from a play called "Bala-carita" based on the Rama-katha. Another opinion of experts is quoted in the NLRK. Here it is said that on account of proximity along with bija, bindu (= drop) also should be placed in the mukha-sandhi. The NLRK (Ka. 67, pp. 55, ibid) and the vTtti thereon read as - "sahacaryena bijasya mukha eva hi kecana bindum adau prakurvanti * natakartha-vido janah." bija-bindu mukhe darsayitavyav iti paksantaram etat. But at times, they find place in sequence only - "kvacit kramasa eva nirdesah." For Personal & Private Use Only

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1686 SAHRDAYALOKA The NLRK. then quotes yet another definition of mukha-sandhi as - (NLRK. ka. 68, pp. 55, ibid) "yasminn akhyana-bijasya slesena cchayaya'pi va, kriyate kirtanam sadbhis tan mukham parikirtitam." . 68. NLRK i.e. Where biia or seed of the theme is narrated either by double-meaning words or by some other beautiful means, it is termed 'mukha' by wise people. Thus bija is defined and illustrated earlier, observes the NLRK. Then 12 limbs of the mukha-sandhi are enumerated as - upaksepa etc. following the NS. of Bharata. These are - Upaksepa, parikara, parinyasa, vilobhana, yukti, prapti, samadhana, vidhana, paribhavana, udbheda, karana and bheda. (NS. 21/53-54) The Pratimukha Sandhi is defined after NS. 21/38. The 13 limbs here are enumerated as - vilasa, parisarpa, vidhuta, tapana, narma, narma-dyuti, pragamana, virodha, puryupasana, puspa, vajra, upanyasa and varna-samhara. 'Garbha' in NLRK. is again defined after NS. But the NLRK observes (vstti before - ka. 87, pp. 71) - natakasya madhyatvad garbhah. 'Garbha' sandhi is so termed as it happens in the middle of a play. This is duly illustrated. The NLRK. also adds (pp. 72, ibid) : nataka"dau vastudvayam bhavati, vidhir va nised ho va. In the theme of a play two things are possible - either vidhi or affirmation or nisedha i.e. negation. 'Vidhi' is said to be of the nature of achievement, and nisedha is of the nature of loss : tatra prapti-rupo vidhih, a-prapti-rupo nisedhah. NLRK 88 (pp. 72, ibid) observes : "praptirupo yatha bijam arabdham, raksasam ksayah, nitam sita'paharena. ramasya'vasya-karyatam." i.e. Vidhi or prapti is illustrated as in the fact of the killing of demons. This is the bija and due to this, when Sita is abducted by Ravana, Rama's unavoidable task takes the form of killing all the demons. a-prapti-rupa is illustrated as in the Udayana-katha, when the hero is lost in love of Vasavadatta, and his kingdom was attacked by enemies. But even here when Udayana did not wake up for revenge, Yangadharayana burned Lavanaka and under this pretext concealed Vasavadatta. For Personal & Private Use Only

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"Dasarupaka-Vicara" 1687 Then after great penance she was attained again. This is the form of garbhasandhi. (This ref. is perhaps to "Tapasa-vatsa-raja.") 13 limbs of garbha-sandhi are . abhutodaharana, marga, rupa, udaharana, krama, samgraha, anumana, prarthana, utksipta, totaka, adhibdala, udvega and vidrava. These are all illustrated, after explaining properly. On vimarsasandhi, the NLRK. first observes in vrtti, before giving its definition in ka. 90 - as follows : (pp. 78, ibid). "atha vimarsah * nanu vimarsa iti ko'rthah ? ucyate - garbhena sandhinodbhinnasya bijarthasya lobhakarina aslesanasamyukto (yo) bhavati sa vimarsah. - i.e. "what is meant by the term vimarsa ? The answer is that the bijartha that was developed in the garbha-sandhi, and in that vikasa of bijartha, when due to pralobhana or greed additional delineation is done, it is the object of vimarsa. As is observed by Bharata Muni - (pp. 78, ibid) "garbha-nirbhinna-bijartho vilobhana-krto'pi va tasya va"slesa-samyuktah sa vimarsa iti smstah." - Ka. 90 Opion of some others is also quoted in the NLRK. (Ka. 91, pp. 78, ibid) , "prakirnasya'rtha-jatasya vimarsad yatra samvrtih, satror upacayo bhuyan vimarsah sa ca kathyate." i.e. Vimarsa-sandhi is that portion wherein wide-spread or dis-assembelled activities are unified (samvarana) after due thinking, and in which the strength of the enemy is felt more in the increase. Yet again someone says (NLRK. 92, pp. 78, ibid) sampanna-rupam yat karyam manasy ayati sandeham vimarsam ke'pi tam viduh." i.e. Vimarsa is that in which the object (prayojana) of the activity attains to the state of perfection (sampanna-rupa), but doubt also continues concerning its perfection; that portion is Vimarsa. For Personal & Private Use Only

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1688 SAHRDAYALOKA * The Vstti (NLRK. pp. 79, on Ka. 92) observes : "asya vimarsas tridha bhavati - vilobhana-samudbhavah, krodhajah, vyasanajas ca. - This means that vimarsa or thoughful concealment happens in three-ways - (i) due to vilobhana i.e. greed, (ii) due to krodha i.e. anger, and (iii) due to vyasana i.e. caused by some (unexpected) calamity. - This is duly illustrated. The 13 limbs of vimarsa-sandhi are enumerated in the NLRK. as (pp. 80) - apavada, sampheta drava, sakti, vyavasaya, prasanga, dyuti, kheda, pratisedha, virodha, adana, sadana and prarocana. These are duly explained and also illustrated. Nirvahana-sandhi is defined in the NLRK (Ka. 95, pp. 85, ibid) as - "samaptih samyag arthanam prastutanam mahaujasam, nanabhavo'ttaranan ca bhaven nirvahanam tu tat." Nirvahana juncture is that portion of the theme where in all activities that are important and of lofty stature that have been started, are led to completion or attainment of goal. The vrtti observes (pp. 86, on ka. 95) - "purvam prastaritanam bija"dinam grathanam yatra nirvyudhataya samapanam tan nirvahanam ity arthah." i.e. when matters such as bija or seed, attain to completion by achievement of goal, it is said to be nirvahana-sandhi. The 14 limbs of nirvahana are : artha, prathana, nirnaya, paribhasana, dyuti, prasada, ananda, samaya, anuyoga, upa-guhana, bhasana, purva-vakya, kavyasamhara and 'prasasti'. These are explained and duly illustrated in the NLRK. The NLRK. (pp. 90, ibid) observes : "iti catuhsasthy angani natake'vasyam kavibhih kartavyani. sammisrany api dvi-tri-samkhyayuktani antara-sandhisu bhavanty etani rasa-bhava'peksaya - Two or three limbs can be simultaneously placed together. NLRK. quotes from Bharata (21/205-6) - "yatha-sandhi tu kartavyany etany angani natake, kavibhih kavya-kusalaih rasa-bhavam apeksya ca. (Ka. 98) sammisrani kadacit syus dvi-tri-samkhya-pramanatah, For Personal & Private Use Only

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"Dasarupaka-Vicara" 1689 jnatva karyam avasthan ca sandhisv angani natake." Bharata is again quoted (Ka. 100, pp. 91, NS. 20/42) to suggest that the poetic theme in a play should follow the pattern of hairs in cow's tail and thus lofty feelings (udatta bhavah) should be placed at the end. Adbhuta also should find place necessarily at the end of a dramatic composition, observes NLRK (ka. 101) following Bharata. (NS. 20/43) The NLRK. also quotes the opinion of some authorities that some calamity should also be woven by the end of a dramatic composition as for example the tcat of fire-agnipariksa of sita. Another opinion is also quoted that a sort of summary of all activities concerning all the junctures such as mukha, etc. should be placed in the end : "aparastv aha - mukha"di-sandhinam riti-phalopanyasah ca lesato'tra kartavya iti ca. (vstti, ka. 102, pp. 92, ibid) The NLRK. also mentions (pp. 92, ibid - Ka. 103, 4, 5a) sandhyantaras such as 21. These take place in between the 5 major sandhi-s. They are me following: "etesam eva sandhinam eka-vimsatipradesa artha-vasad bhavanti. yatha sama-bhedah-pradananca, dandas ca, vadha eva ca, pratyutpanna-matitvan ca gotra-skhalanam eva ca. 103 sahasan ca bhayas caiva dhir maya krodha eva ca, rajah samvaranam bhrantis tatha herv avadharanam. 104 dutopadhi tatha svapnas citram mada iti smotam." 105-a The NLRK observes that in view of the goal (prayoja-vasat) as many of these should be shown in sandhis as are possible to be accomodated - "prayojanavasad e pravestum sakyante tavantah sandhisu pradarsayitavyah. All these are illustrated. duta' is one who carries a message and 'upadhih' means "chalanam" - deceit. For Personal & Private Use Only

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1690 SAHRDAYALOKA Actually these are various devices to further the plot and make it of absorbing interest, as seen practiced by dramatists in many plays. The NLRK. treats of four patakasthanaka-s at this place, which others have placed in sequence of the treatment of pataka, an arthaprakrti. It is observed (pp. 100, ibid). "patakasthanani catvari kavyasya alamkarabhutany api nirval sandhi-varjyam karyani." These are to be employed anywhere, but in the nirvahana-sandhi. These are agents of beauty - sobhahetuni. The general definition (ka. 106) follows NS. 21/29. All types are illustrated. After this the NLRK. treats of four vrttis, the sahaja-guna of nayaka, laksanas, bhusanas, guna-s, natyalamkara-s, followed by rasa-nirupana including bhava, vibhava, anubhava, vyabhicari and sattvika-nirupana, and yauvanavastha-s, the types of nayika-s, cesta'lamkara, and the varieties of major forms of rupaka-s and minor forms of rupaka-s, i.e. upa-rupaka which also include vithy angas, anga-s of bhana, angas of silpaka (upa-rupaka) and anga-s of bhanika (an uparupaka). By - and large the NLRK. has presented the area of dramaturgy in a lucid and clear style with illustrations from a number of plays now not available, and of course, following the NS. and also B.P. to a great extent. The S.D. of Visvanatha follows the Kashmir tradition of Ananda-vardhana Abhinayagupta and Mammata and is a useful work on poetics. But following the pattern of both Bhoja and the Ka. Sa. of Hemacandra, the S.D. has covered the area of dramaturgy in Ch. VI, in all its details. This is seen to an extent in Vidyanatha's Pratapa-Rudra-Yasobhusana also, which has a leaning more towards the Malava school of art-criticism. The S.D. is a major work covering the areas both of sravya and also drsya-kavya. The sixth pariccheda is reserved for treatment of the topics concerning dramaturgy. Thus, the topics of dramaturgy that are treated in Ch. VI of the Sahitya-darpana are as follows : drsya-srava-bheda of poetry; the former is abhineya and is termed rupaka due to superimposition of characters; rupaka-bheda, upa-rupakabheda, followed by nataka-laksana. This is followed by anka-laksana, garbhanka-laksana, and nataka-racanaparipati, purvaranga, vstti-s, vastuno dvaividhyam, adhikarika-prasangika-vastu, patakasthanam, four types; arthopaksepakas, artha-prakstis, karyavastha-s, sandhis, sandhyanga-s, anganam phalam, nirupanam, vrttis, nama-karana, alapocita-sabda-nirdesa, bhasa-vibhaga, 36 laksanas, natyalamkaras, muni-nirupita-nataka-svarupa followed by other forms of rupaka-s, upa-rupakas, and angas found in any. Thus the S.D. runs the full course of dramaturgy. Here we will concern ourselves with sandhi-s and sandhanga-s. For Personal & Private Use Only

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"Dasarupaka-Vicara" 1691 The S.D. talks of sandhi-s at VI. 74 : "yatha-samkyam avasthabhir abhir yogat tu pancabhih, panca-dhaiv etivittasya bhagah syuh, panca-sandhayah." The S.D. following the clear observation of the N.D., though not mentioned by name, observes that the sandhi-s follow the avastha-s in sequence. The S.D. does not follow the observation of the DR. that a sandhi is a sum total of artha-praktis and avasthas in sequence respectively. The sandhi-s following the avastha-s in their order, are only five and are the portions of the dramatic theme. The definition of a sandhi is stated by Visvanatha (= V.) in these words - tal laksanam aha - antaraikartha-sambandhah sandhir ekanvaye sati (VI. 75a). i.e. Sandhi is mutual relation of themes having a single goal - "ekena prayojanena anvitanam kathamsanam (= parts of the theme; themes) avantaraika - prayojana-sambandhah sandhih - The types of sandhis are (S.D. VI. 75b) mukham pratimukham garbho vimarsa upa-samhrtih iti panca'sya bhedah syuh, kramal laksanam ucyate (76 a) The definitions of these follow in due order. Mukha-sandhi (SD. VI 766, 77a) is - "yatra bija-samutpattir nana'rtha-rasa-sambhava, prarambhena samayukta tanmukham parikirtitam." Where bija or seed, the cause of many matters, rasa-s and bhava-s, is placed along with the stage of beginning or arambha that portion of the theme is called mukha-sandhi. For Personal & Private Use Only

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1692 SAHRDAYALOKA As far as the general and individual concepts of sandhi-s are concerned there is no basic difference in indian dramaturgy as a whole. - 'Pratimukha' is defined as - (S.D. VI. 77 - 78a) "phala-pradhanopayasya mukha-sandhi-nivesinah, laksya'laksya ivodbhedo yatra pratimukham ca tat." The vrtti serves an illustration from the Ratnavali. In giving illustrations, V. llows the inspiration received from earlier sources such as the DR. and also Bhoja. Thus 'pratimukha' sandhi is that portion of the dramatic theme wherein the main cause of the goal, i.e. bija, which was cast in the mukha-sandhi, sprouts in a way, at times clearly discernible and at times not so. Garbha-sandhi is explained at S.D. VI 78, b, and 79.a, as - phala-pradhanopayasya prag udbhinnasya kincana, garbho, yatra samudbhedo hrasa'nvesanavan muhuh - that portion in which, the upaya (= bija) which has (been laid and) sprouted in the earlier sandhis, develops, with at times its loss and finding out again, is termed garbha-sandhi. The vstti adds - phalasya garbhikaranad garbhah - i.e. as the goal is placed in the womb, i.e. centre, it is termed 'garbha'. This is illustrated from the Ratnavali. Vimarsa' - sandhi or contemplation is the fourth portion of the theme defined in the S.D. at VI. 79 b, 80a - as "yatra mukhya-phalopaya udbhinno garbhato'dhikah, sapadyaih sa'ntarayas ca sa vimarsa iti smotah. i.e. Here the effort for the goal is more pronounced in comparision with the garbha-sandhi, but is hampered by curse and such other obstacles. This is illustrated from the Abhijnana-Sakuntala. For Personal & Private Use Only

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"Dasarupaka-Vicara" 1693 Nirvahana sandhi, i.e. denouement is defined at S.D. VI. 800, 81a, such as - bijavanto mukhady artha viprakirna yathayatham, ekartham upaniyante yatra, nirvahanam hi tat. That is nirvahana, wherein all matters such as bija etc. of sandhi-s such as ha etc. that lie scattered in the dramatic theme are tied together to a single principal goal in respective order. The illustration is drawn from Veni-samhara. Then follow the delineation of limbs or anga-s of respective sandhi-s in the S.D. VI at 81b, 82 giving the limbs of the mukha-sandhi such as, upaksepa, parikara, parinyasa, vilobhana, yukti, prapti, samadhana, vidhana, paribhavana, udbheda, karana and bheda making in all 12 parts. All are defined and illustrated. The angas or the pratimukha-sandhi are - vilasa, parisarpa, vidhuta, tapana, narma, narmadyuti, pragamana, virodha, and paryupasana, followed by puspa, vajra, upanyasa and varna-samhara. These are 13. They are duly defined and illustrated by Visvanatha. The garbha-sandhi also has 13 limbs such as - abhuta"harana, marga, rupa, udaharana, krama, samgraha, anumana, prarthana, ksipti, trotaka, adhibala, udvega and vidrava all duly defined and illustrated in the vstti - The Vimarsa sandhi has 13 limbs all duly defined and illustrated. They are - apavada sampheta, vyavasaya, drava, dyuti, sakti, prasanga, kheda, pratisedha, virodhana, prarocana, adana and chadana. The nirvahana sandhi has 14 angas, all defined and illustrated by V., such as - sandhi, vibodha, grathana, nirnaya, paribhasana, krti, prasada, ananda, samaya, upaguhana, bhasana, purvavakya, kavya-samhara and prasasti. The S.D. observes that some anga-s in this or that sandhi are more prominent as compared to others which are simply found there. Thus in the mukha-sandhi, upaksepa, parikara, parinyasa, yukti, udbheda and samadhana are relatively more prominent. Similarlly in other sandhis the following are observed to be more important such as - in pratimukha, angas viz. pari-sarpana, pragamana, vajra, upanyasa, marga, trotaka, adhibala and ksepa, in vimarsa, anga-s such as apavada, sakti, vyavasaya, prarocana and dana, are more predominent - ...pradhyanyam; anyesam ca yathasambhavam sthitih. The others are accomodated with reference to the need or context. This is the opinion of some, says V. - iti kecit. V. remains non-commital in this respect. But it is clearly observed by Visvanatha that anga-s belonging to different sandhis may find place also in different sandhis in view of the context of rasa, For Personal & Private Use Only

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1694 SAHRDAYALOKA which is having supreme importance. The S.D. (VI. 115, 116 a) observes - "catuhsasti-vidham hy etad angam proktam manisibhih, kuryad aniyate tasya sandhav api nivesanam rasa'nugunatam viksya, rasasyaiva hi mukhyata." the vrtti adds - yatha veni-samhare trtiyanke duryodhana-karnayor mahat sampradharanam. evam anyad api. yat tu rudrata"dibhih "niyama eva" ity uktam tal laksya-viruddham. i.e. - as in venisamhara, act III, (sampradharanam arthanam yuktih) yukti. i.e. fixation of matters, which belongs to mukha-sandhi-is shown in the garbha-sandhi. Such other occurrences can also be noted. Rudrata had observed that there is fixed -rule-niyama eva-concerning the display of respective limbs in respective sandhis only. But this, V. observes, is against actual practice of dramatists. It i.e., Rudrata's observation, is therefore baseless. After this V. notes the six things that result from these anga-s. Here V. follows whatever is said in this respect by earlier masters such as Bharata, Dhananjaya, etc. He observes (S.D. VI. 116 b-119) istartha-racana"scaryalabho vitanta-vistarah, 116b. raga-praptih prayogasya, gopyanam gopanam tatha, prakasanam prakasyanam anganam sadvidham phalam." 117 Through the practice of these limbs six things are achieved as results - they are - (i)formation of desired matter, (ii) advantage of having woderful narration. (iii) expansion of theme, (iv) winning admiration and love for the presentation, (v) concealment of that which deserves concealment, and (vi) revelation of that which deserves revelation. Six things are thus achieved through the staging of limbs. Like a person bereft of limbs can not start new things, in the same way, poetry or script without limbs is not worthy of being staged. V. observes (VI. 119) that 'anga' or a limb has to be presented by either the hero, or his enemy or the hero of the subsidiary plot i.e. pataka-nayaka. For Personal & Private Use Only

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"Dasarupaka-Vicara" 1695 S.D. VI. 119 reads as - sampadayetam sandhyangam nayaka-pratinayakau, tad abhave pataka"dyas tad abhave tathetarat. In the absence of pataka-nayaka, any other character can present any anga in a play. (Vrtti, VI. 119) - Visvanatha observes : "prayena pradhana-purusa-prayojyani sandhyangani bhavanti. kintu, praksepa"di trayam (i.e. praksepa, parikara and parinyasa), bijasya alpamatra-samuddistatvad a-pradhana-purusa-prayojitam eva sadhu." - Normally, the limbs of a juncture are to be presented by the hero only. But as bija is manifested in very little proportion, the three angas such as praksepa, parikara and parinyasa, are to be presented by subsidiary characters i.e. those of lesser importance. Following Ananda-vardhana's observation viz. (Dhv. III. 12) sandhi-sandhyanga-ghatanam rasa'bhivyakty apeksaya na tu kevalaya sastra sthiti-sampadanecchaya." - that sandhi-s and sandhyanga-s are to be depicted only with a purpose to manifest rasa, and not just to carry out the rule of the text-book or authority i.e. sastra. Visvanatha also observes - (S.D. VI. 120) "rasa-vyaktim apeksyainam anganam sannivesanam, na tu kevalaya sastra sthiti-sampadanecchaya." The same illustration as cited in the Dhvanyaloka is quoted here also by V. in the vstti - "tatha ca yad venyam duryodhanasya bhanumatya saha vipralambho darsitah, tat tadnse avasare atyantam anucitam." V. also follows Anandavardhana and observes that (S.D. VI. 121) whatever matter from historical source which may not be contrary to the source, but if found For Personal & Private Use Only

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1696 SAHRDAYALOKA extra or not required for rasa-manifestation, should be either changed or completely discarded by a good poet. After this V. takes up such topics such as vsttis and the rest as pointed out by us earlier. The Rasarnava-sudhakara (RS., Edn. Trivedrum, T. Ganapati sastri, Trivendrum, 1916 A.D.) of Singabhupala has its own identity among all the works on dramaturgy. It is written in a smooth and flowing style and covers all topics concerning dramaturgy and quotes views of the ancients. It is directly under the infulence of Dhananjaya-Dhanika and Bhoja but Anandavardhana with the Kashmir tradition also finds ample respect in this work. The first chaptervilasa-treats of nataka-laksana in general, rasa-laksana, vibhava-laksana and its two types, nayaka with his qualities and all types, nayakasahayah, nayika in three types, all types of nayikas, nayikasahayah, * songaroddipana-vibhavasya caturvidhyam, guna-s of the alambana, four types of alamkrti, tafasthauddipana-vibhavas, anubhava-laksana, four-fold anubhava-s under the influence of Bhoja or Malava-school such as cittaja, gatraja, vag-arambha, and buddhyarambha-anubhavas. The second vilasa treats of all vyabhicarins, consideration of additional vyabhicarins beyond the 33 given by Bharata, sthayilaksanam, rati as treated in Bhoja, sthayins as treated by Bhoja, rasa-nirupanam, eight-fold rasa-s, topics concerning individual rasa-s, rasa-samkarya, rasa-virodha etc., rasa"bhasa, etc. The third vilasa has-natya-sabda-vyutpattih, rupaka-sabda"rthah, natyasya dasa-vidhatvam, rupaka-bhedakah, neta, itivrtta, 5 varieties of itivstta, bija, bindu etc., panca-karyavasthah, panca-sandhayah, sandhyanga-s 21 sandhyantara, sandhyanga-sandhyantaranam prayoge bhedah, 36 vastu-bhusanani, rupakesu nataka-pradhanyam, prastavana, etc., vastuno dvaividhyam ankavatara-devices, anka-laksanam, prakarana, other rupakas, language, nirdesa-paribhasa, names of character etc. etc. The R.S. has not left any topic concerning dramaturgy out of its treatment. In this it stands comparision with the N.D. After viewing some important primary observations, we will deal with the treatment of sandhi-s and sandhyanga-s first, as read in the RS. and then deal with the types of drama in due course. For Personal & Private Use Only

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"Dasarupaka-Vicara" 1697 In the first vilasa RS. has interesting observations on the nature of drama in general. RS. (I. 57-59a, pp. 9, ibid) observes - sattvika"dyair abhinayaih preksakanam yato bhavet, nate nayaka-tadatmya buddhis tan natyam ucyate. 57 The apprehension of the hero, in the person of an actor, through representation such as sattvika, etc., on the part of the spectators is termed 'natya' i.e. drama or dramatic art. Singabhupala is very clear and forthright in declaring (VS. 58) that rasa - i.e. aesthetic delight is the soul of dramatic art. Rasa is arrived at through the agency of vibhava"dis. Rasa is explained under the influence of the DR. RS. I. 58-59a, read as - "rasotkarso hi naryasya pranas, tat sa nirupyate, vibhavair anubhavais ca sattvikair vyabhicaribhih - I. 58 aniyamanah svadutvam sthayi bhavo rasah smrtah - 59a. Now we will turn to the Vilasa III., which starts with the etymology of the word natya. It is observed (RS. III. i) tad idisa-rasa"dharam natyam rupakam ity api, natasya'ti-pravinasya karmatvan natyam ucyate. i.e. "Natya' which is the substratum of the rasa (described earlier) of this type, is also termed rupaka. As acting of an expert artist or actor, it is termed 'natya'. It is termed 'rupaka' also in the fashion of rupaka-alamkara in which there is superimposition of lotus etc. on face etc. Here in drama, the hero is superimposed on the actor and hence it is termed 'rupaka'. Following the lead of the DR. and Bhoja, i.e. the Malava school of art-criticism, the RS. also observes that 'natya' is ten-fold and is of the nature of "vakyarthabhinaya". For Personal & Private Use Only

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1698 SAHRDAYALOKA Following the general tradition of Bharata and the DR., RS. observes that natya is ten-fold such as nataka, prakarana, etc. This division in ten types is caused by the basic difference in rasa, the types of hero and the theme.- RS. III 3b - reads as - rasetivstta-netaras tat tad rupaka-bhedakah. The hero is the protector. Itivstta is the synonym of katha-vastu. (Rs. III. 4b) Itivrtta is said to be the body of the composition and is three-fold such as welknown, imagined and mixed. With the types of divine and human characters, it is said to be five-fold by the learned. After this bija"di artha-prakstis are treated, including the patakasthanaka-s, etc. Then, the arambha, etc. - karyavastha-s are treated, leading to the consideration of sandhi-s and sandhyangas. It is interesting to note that the RS. also observes that sandhi-, as held in the DR., is a sum total of artha-prakrti and avastha. RS. III. 26 observes : atha sandhih - ekaikasyastv avasthayah prakstya caika-yaikaya, yogah sandhir iti jneyo narya-vidya-vicaksanah." Of course as observed in the DR. and Avaloka, RS. also says that the status of pataka is not permanent and in that case the sandhi follows the bindu or drop. Rs. III. 27 reads as - "patakayasty avasthanam kvacid asti na va kvacit patakaya vihine tu bindum va vinivesayet." Following earlier authorities, especially the DR., the RS. observes that when parts of the theme are interconnected in view of the central goal, they give rise to sandhis. "mukha-prayojana-vasat kathanganam samanvaye, avantara'rtha sambandhah sandhih sandhana-rupatah." For Personal & Private Use Only

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"Dasarupaka-Vicara" 1699 Sandhi is so termed as it joins the various parts or stages of the main theme or plot. The five sandhi-s then are defined in the following karika-s. RS. III. 29 (abc) - mukha-pratimukhe garbhavimarsav upa-samhstih, pancaite sandhayas tesu (29-d) yatra bija-samudbhavah nanavidhanam arthanam rasanam api karanam, tan-mukham (30, abc) tatra ca'ngani bija"rambha'nurodhatah." The angas of the mukha-sandhi wherein the bija is cast, which causes many matters and rasa-s, are upaksepa, parikara, parinyasa, vilobhana, yukti, prapti, samadhana, vidhana, paribhavana, udbheda, bheda, and karana - in all twelve. All these are duly explained and illustrated. The prati-mukhasandhi with its 13 anga-s is explained in RS. III 38b-41(a) : They read as - bijaprakasanam yatra drsya'drsya'ntaram bhavet, 38b - tat syat pratimukham bindoh prayatnasya'nurodhatah, iha trayodasa'ngani prayojyani manisibhih." 39 vilasa-parisarpau ca vidhutam sama-narmani, narma-dyutih pragamanam virodhah paryupasanam. 40 puspam vajram upanyaso varna-samharanam tatha. 41a All these are explained and illustrated in the vrtti. For Personal & Private Use Only

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1700 SAHRDAYALOKA The garbha-sandhi with 12 anga-s is explained as - RS. III. 49b - 51a. drsta'drspasya bijasya garbhastv anvesanam muhuh. 49b apraptyasa-pataka-'nurodhad angani kalpayet abhuta"haranam margo rupodaharane kramah, - 50 samgrahas ca'numanam ca totaka'tibale tatha, udvegah sambhramaksepau dvadasaisam tu laksanam. 51 All these are duly illustrated in the vrtti that follows. - The RS. III. 57b - 60. a, treat of the vimarsa sandhi and its 13 engas, and read as - "yatra pralobhana-krodhavyasana"dyair vimtsyate, 57b bijartho garbha-nirbhinnah sovamaria itiryate prakari-niyata"ptya'nugunyad atranga-kalpanam 58 apavado'tha sampheto vidrava-drava-saktayah, dyuti-prasangau chalanavyavasayau nirodhanam. 59 prarocana vicalanam adanam syus trayodasa 60a. These 13 angas are explained and illustrated in the vrtti. The nirvahana-sandhi with its 14 anga-s is defined at RS. III 67-69., which read as - mukha-sandhya"dayo yatra vikirna bija-samyutah, For Personal & Private Use Only

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"Dasarupaka-Vicara" 1701 maha-prayojanam yanti tannirvahanam ucyate 67 sandhi-virodhau grathanam nirnaya-paribhasane prasadas ca, ananda-samaya-kstayah bhasopaniguhane tadvat. 68 atha purvabhavayuja upasamhara-prasasti ca iti nirvahanasya'ngany ahur aminam tu laksanam vaksye. 69 The RS. also advises the proper usage of these anga-s saying that, the sequence of these anga-s is not to be observed compulsorily : RS. III. 75-78 read as - rasa-bhava'nurodhena prayojanam apeksya ca sakalyam karyam anganam ity acaryah pracaksate 75 kesancid esam anganam vaikalyam kecid ucire, mukha"di-sandhisv anganam kramoyam na vivaksitah 76 kramasya'nadstatvena bharata"dibhir adimaih : laksyesu vyutkramena'pi bharatena (?) vicaksanaih 77 catuhsasti-kala-marmavedina singa-bhubhuja, laksita ca catuh sastir balaramayane sphuram. 78 For Personal & Private Use Only

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1702 SAHRDAYALOKA With this the RS. deals with the sandyantara-s suggesting that 21 sandhyantaras' are also recommended : RS. III 79-82 read as - mukha"di-sandhisv anganam a-saithilyam pratiyate, sandhyantarani yogyani tatra tatraika-vimsatih 79 acaryantara-sangatya camatkaro vidhiyate, laksya-laksanam etesam udahrtam api sphutam. 80 sama-dane bheda-dandau pratyutpannamatir vadhah, gotra-skhalitam ojas'ca dhih krodhah sahasam bhayam. 81 maya ca samhstir bhrantih dutyam herv avadharanam, svapna-lekhau madas citram ityetany eka-vimsatih." 82 It may be noted, observes Dr. Raghavan (pp. 592), that the DR. has disposed of these sandhyantara-s, along with 36 laksana-s, as not being distinct from bhavas and alamkara-s. DR. IV. 84 observes : sat-trimsad bhusana"dini sama"diny ekavinsatih laksma-sandhyantara'ngani sa'lamkaresu tesu ca. The Avaloka reads * 'samah bhedah pradanam ca' ity evam adini sandhyantarany eka-vimsatih upama"disviva alamkaresu harsotsahadisu (bhavesu) antarbhavan na prthag uktani. For Personal & Private Use Only

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"Dasarupaka-Vicara" 1703 As for the treatment of this topic in the NS. of Bharata, Dr. Raghavan observes that (pp. 592, ibid) the main text of the K.M. Edn., of the NS., does not contain the supplementary list of 21 items called sandyantara-s following on the heels of the Sandhyanga-s. But the edition notes in a foot-note on p. 213, the existence of these in another recension. The Kasi Edn. (Ch. XXI), has the sandyantaras in the main body of the text on pp. 241-245, but a foot-note here points out the absence of this in another recension. The G.O.S. Edn. (Vol. III. Ch. XIX, pp. 63) contains sandhyantaras at XIX - 106b, 107a : "etesam eva ca'nganam, sambaddhanyartha-yuktitah, sandhyantarani sandhinam visesastveka-vimsatih." Dr. Unni (on pp. 576, Edn. Nag Publishers, '98) reads these twenty one sandhyantara-s in the body of the text at, Ch. XXI, VS. 46-48. They read as - sama bhedah pradananca dandas ca vadha eva ca, pratyutpanna-matitvam ca gotra-skhalitam eva ca. sahasas' ca bhayan caiva dhir maya krodha eva ca, duto lekhas tatha svapnas citram mada iti dvijah sandhyantarani sandhinam visesas tve ka-vimsatih. (VS. 46-48) G.O.S. Edn. reads as : sama bhedas tatha dandah pradanam vadha eva ca . pratyutpanna-matitvam ca gotra-skhalitam eva ca sahasam ca bhayam caiva hrir maya krodha eva ca ojah samvaranam bhrantih tatha hetvapadharanam dutah lekhastatha svapnah citram mada iti smotam. For Personal & Private Use Only

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1704 SAHKDAYALOKA These 21 sandhyantara-s or special junctures occur between the various junctures. Bhoja (pp. 498, Sr. Pra. Vol. II, Edn. Josyer) reads as : atha sandhyantarany ekavimsatih tad-yatha-sama, bhedah dandah, pradanam, vadhah, pratyutpannamatitvam, gotra-skhalitam, sahasam, bhayam, hrih, maya, krodha, ojah, samvaranam, bhrantih, hetvavadharanam, dutah, lekhah, svapnah, citram, madah iti. All these are illustrated fully (pp. 499-503, ibid). Regarding 'krodha' (pp. 501, ibid) - Bhoja observes - "yo'sau purusartha-siddhi-hetuh krodha-sthayibhavah, soyam na bhavati ity udahrtam, purusartha-siddhi-hetus tu sthayibhavo na sandhyantaram." Dr. Raghavan here observes (pp. 593, ibid) - "It is correct to say that the Krodha here meant as a sandhyantara is a fleeting vyabhicarin; yet it is all the same a bhava, and Bhoja's argument can not be pressed further. That apart, we must be indebted, in untold measure, to Bhoja for such things as the sandhyantara-s, not because these by themselves are of great value, but because these are responsible for immensely valuable quotations from such rare and now lost dramatic masterpieces as the Devicandragupta, and the Abhisarika-vancitaka of Visakhadeva and the Partha-vijaya of Trilocana. The enumeration and illustration of these 21 sandhyantaras run from p. 480 to p. 487 (number is different in Josyer Edn. as noted above). The names of these sandhyantara-s in the list of the Kasi Edn. are, some of them, wrong. After Sahasa in XXI. 50 the vadha must be bhaya; in the same verse, Hirvavadharanam must be Hetvavadharanam. The list in K.M. Edn., foot-note is purer, except in the case of the last sandhyantara which is given as mada correctly in the Kasi Edn., but wrongly as 'Manda' in the K.M. text." Dr. Raghavan has done some proof-reading here. But as we see it, the list in Dr. Unni's edn. is very pure. The RS. has inherited this concept from not only Bhoia and Dhananjaya but also from Bharata. A recension containing this topic could have been available to Singa Bhupala. The RS. further notes that the sandhyanga-s go with the sandhi-s, but these 21 sandhyantaras are presented without consideration of any sandhi. The RS. criticises the stand of the DR. in merging these under sandhi-s, because these are not a regular feature. The RS. (pp. 247, Ka. III. 92-96, read as - "udbhava-kalpana'nganam mukha-pramukha-sandhisu. 92b For Personal & Private Use Only

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"Dasarupaka-Vicara" 1705 i.e. the birth and conception of the sandhyanga-s are with reference to the sandhis such and mukha, pratimukha etc. The anga-s are fixed with reference to individual sandhi-s but the practice of the sandhy antara-s is not limited by any sections (such as individual sandhi-s) : pratyekam niyatarvena yojya tatraiva kalpana, sandhyantaranam vijneyah prayogas tv a-vibhagatah. (III. 93) R.S. further observes : : tathaiva darsanad esam a-naiyatyena sandhisu (III. 94a) i.e. As these sandhyantaras are seen not as fixed with sandhi-s, they could not be included in the (concept of) anga-s i.e. sandhyanga-s, which is so ordained in the DR. - "tad esam a-vicarena kathito dasa-rupake III. 94b sandhyantaranam angesu na'ntarbhavo mato mama, samadyupaya daksena sandhya"di-guna-sobhina. III. 95 nirvyudham singabhupena ... sandhyantar-nirupanam, III. 96a So, I, Singabhupala, expert in the use of upaya-s such as 'sama' and the like and one who am decorated by, qualities of sandhi etc. ['sama', and 'sandhi' are used in a double sense) treat sandhyantara (separately). - Thus "ingabhupala flouts the authority of the DR. in this respect and chooses to follow the tradition of treating sandhyantara as a concept, independent of sandhyanga-s. Whatever his opinion, singabhupala adds grace to his treatment. We will now turn to a comparative and critical study of the concept of sandhis and sandhyanga-s as found in major works with special help from the article of our guru Dr. V. M. Kulkarni who has attempted this study in an article printed in For Personal & Private Use Only

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1706 SAHRDAYALOKA his "Studies In Sanskrit Sahitya-Sastra" pp. 78-108; pub. B. L. Institute of Indology, Patan (N. Guj.) 1983. The title of this article is, "The conception of sandhi-s, In the Sanskrit Drama." The subject is very interesting and Dr. Kulkarni has made valuable and critical observations, which we welcome here along with accepting our immense indebtedness to our Guru. It may be added that with all flourish shown in the "Bharata Natya Manjari", Dr. G. K. Bhat has not included the topic of Sandhyanga-s in his excellent work nor has he anything to mention about the "Sandhyantara-s either. Accepting our indebtedness to Dr. VMK. not only here, but in anything that we have thought or drafted, we will treat this topic borrowing from his article all that is acceptable to us. karni starts with an observation that to understand the concept of Sandhi-s in the Sanskrit drama it is necessary to know what is iti-vrtta, arthaprakrti and avastha. As we have earlier dealt with these topics in all depth we need not repeat the matter here. We will begin with the five sandhis. Dr. Kulkarni observes that Bharata does not attempt a general definition of sandhi (= dramatic juncture) but proceeds to define each one of the five sandhis straight away. We have fully quoted earlier, from Bharata's text, and observed what he has to say in this respect. Later authorities - and we have also taken note of this while dealing with them earlier, individually - define it as, "The connection of pa of the (dramatic) story linked together by their contribution towards the same end, each part having its own secondary end. "antaraikartha-sambandhah sandhih eka'nvaye sati." - DR. p. 6 ekena prayojanena anvitanam kathamsanam avantaraika-prayojanasambandhah sandhih - Avaloka (pp. 6) (Here all Ref.s are to the Edn.s, whatever, used by Dr. Kulkarni). A.bh. III. p. 23 has - "tena artha'vayavah sandhiyamanah parasparam angais ca sandhaya iti samakhya nirukta tad esam samanyalaksanam." The DR. besides giving this definition, as also observed earlier, lays down that the five artha-prakrti-s joined to the five avastha-s respectively give rise to the five sandhi-s beginning with Mukha (opening) etc. This views is followed by B.P., the PR. (= Pratapa-rudra-yasobhusana of Vidyanatha) and the RS. We have presented relevant references from the B.P. and the RS. earlier. Dr. V. M. Kulkarni observes, and this is a very interesting and critical observation that, in enunciating this view, the DR. had in mind the text of Bharata which lays down that like the five avasthas For Personal & Private Use Only

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"Dasarupaka-Vicara" 1707 the five artha-prakstis should be used by a dramatist. The NS. XIX. 19-20 has - "itivitte yatha'vasthah panca"rambhikah smrtah artha-prakstayah panca tatha bija"dika api. bijam binduh pataka ca prakari karyam eva ca, artha-prakstayah panca jnatva yojya yatha-vidhi." Dr. Kulkarni feels that when Bharata said that as in case of avasthas, the arthaprakrti-s are also to be used, accordingly, the DR. thought that they are to be employed together. This meaning of Yathavidhi' must have entered the mind of Dhananjava. which was a cross misunderstanding. The faithful followers as Saradatanava and Singabhupala followed the suit. But Abhinavagupta has never said such a thing. He has simply stated (pp. 31, A.bh. III) that - "artha-bhaga-rasih sandhir ity uktam, tatra sandhinam sambandhaniyani vrttani samvidhana-khandani... angam." The definitions, of course the general definitions in the DR. as seen above, and in the BP. and NLRK. also do not reveal this. The BP. (p. 207) observes : eka-karya'nvitesv atra kathamsesu prayogatah, avantaraika-karyasya sambandhah sandhir isyate. The NLRK. (p. 20) has - "sandhih parasparam kathamsanam samghatanam. yathoktam sandhiyante arthah parasparam ebhih iti sandhayah." As noted above by us Dr. Kulkarni also suggests that the fact that avasthas occur in the order of their enumeration and the use of the word "yatha-vidhi" must have tempted the DR. to believe that the five arthaprakstis too, occur in the very order in which they are mentioned. The note no. 26, (pp. 83), given by Dr. Kulkarni tries to explain Abhinavagupta's position in this respect. The A.bh. says (Vol. III. p. 12) : "jnatva yojya yatha-vidhi iti tasam auddesikokrivad upanibandha-kramaniyama ityarthah." We feel that the A.bh. by "tasam" seems to refer to the artha-prakstis and recommends that these occur in the order shown by Bharata. But this reference For Personal & Private Use Only

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1708 SAHRDAYALOKA never suggests that pataka and prakari are inevitable in a play, though of course, they occur only after bija and bindu, which is absolutely naturel. So, when Dr. Kulkarni observes in the foot-note while giving yet another quotation from the Abh.. that "Here Abhinava appears to nod", we mean that Abhinavagupta accepts the sequence of artha-prakrtis but not the inevitableness of all of them. i.e. specially of pataka and prakari. The other reference reads as : (A.bh. Vol. III. p. 16, on NS. XIX 26, 27) : "na sarvatra prarambhadivat sarva artha-prakstayo'pi. api tu yasya nayakasya yena'rtha-praksti-visesena prayojana-sampattir adhika'dhika, tad eva pradhanam; anyat tu bhavad api gunabhutam a-satkalpam, yatha sva-parakramabahumana-salinam pataka-prakaryau a-vivaksite eva. bija-bindu-karyani tu sarvatra anapayini. tatra'pi tu guna-pradhana-bhavah." So, we again assert that nowhere Abhinavagunta nor even Bharata, has given even a semblance to believe that for either of them a sandhi meant a sum total of artha-prakrti-s and avasthas. Our understanding is that even the sequence or order with reference to both pataka and prakari is also not fixed. Bharata and others following him mention pataka first and prakari next only because they want to suggest that pataka goes a longer way in the main theme and prakari occupies only a shorter space. No sequence is meant; for we feel prakari as in case of Jatayu episode, can preceed a pataka and there may be only prakari and not paraka if the poet so chooses. But misguided as Dhananjaya was by the term "yatha-vidhi" in the NS., Dr. Kulkarni observes, that naturally he (i.e. Dhananjaya) evolves the doctrine that each sandhi rests on an avastha and an artha-praksti. Dr. Kulkarni observes, and we fully agree with it, that this docrine does not stand to reason, for as pointed out by the Abh. and the ND., the pataka or prakari, or both of them, are not indispensable elements in the Nataka if the hero is capable of attaining the object of desire without external help. Even in the absence of pataka and the prakari we do find all the five sandhis in the drama. The definitions of the five sandhi-s as given by the NS. show that the five respective sandhi-s essentially rest on the five respective avastha-s and the progressive development of the bija. The DR. too, is aware of this fact, when it says that pataka may or may not occur in the garbha sandhi - "garbhas-tu... pataka syan na va syat prapti-sambhavah." Dr. Kulkarni points out in his foot-note (No. 27, pp. 84) that Haas is wrong when he translates : "(In it) there should be an Episode (pataka) or (else) there should not be prospect of success (prapti-sambhava-praptyasa)." What the DR. means is this : In the garbha the pataka may or may not occur but the prospect of success - the third avastha shall occur. It may be noted that the ND. is very clear about this and observes, For Personal & Private Use Only

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"Dasarupaka-Vicara" 1709 following of course the A.bh., that - "sahaya-napeksanam nayakanam vstte bijabindu-karyani tu traya evopayah, sahaya'peksanam tu pataka-prakaribhyam anyataraya va saha panca catvaro veti. (p. 47), and, "naisam auddesiko nibandha-kramah sarvesam avasyambhavitvam va. - The DR. remains silent as to the place of prakari in the avamarsa or vimarsa. It would not, therefore, be proper to accuse the DR. of mis-interpreting Bharata. Instead, in fairness to Dhananjava, his statement - which makes each sandhi essentially rest on one avastha and one artha-prakrti-may be looked upon as a description of mechanical or ideal perfection to be wished for rather than a strict doctrine or a rule to be adhered to. Here we disagree with out Guru, Dr. Kulkarni. Yes, we may concede that the DR. has not mis-interpreted Bharata, but unwrittingly perhaps he has mis-understood Bharata. The DR. does mean what it is exactly made out to be for not only Avaloka, but the Laghutika also states that (pp. 19, Adyar Edn. ibid) - "bijadinam arthaprakstinam avasthabhih pancabhir yogat yathasamkhyam sandhayo bhavanti. bijasya arambhena anvayo mukha-sandhih, bindoh prayatnena anvayah pratimukhasandhih, patakayah praptyasaya'nvayo garbha-sandhih, yadyapi a-niyata eva pataka, tatha'pi yada pataka bhavati tadanim avasthaparvana praptyasaya yogat (tan nibandhana ?] garbha-sandhir bhavati. yada tu sa na'sti tadanim garbha-sandhih kevala praptyasa bhavtiti. evam upary api neyam. But here we may suggest another solution, to defend the DR. It may be accepted that a sandhi is a sum total of both artha-prakti and avastha, but in case when there is absence of pataka and/or prakari we may hold that the artha-prakrti called 'bindu' continues, and when prakari is not there, pataka continues along with the next avastha. Thus "yathasamkhyena" also can be defended. The table can be placed like this - table-I - bija; bindu, pataka, prakari + arambha + yatna + praptyasa, niyatapti and karya + phalavacah. table-II In place of both pataka and prakari let bindu continue with avastha-s in sequence, i.e. yatna, praptyasa and niyatapti. table-III In case if pataka is present and prakari is absent, pataka will join first with praptyasa for garbha sandhi and will join with niyatapti for vimarsa. table-IV In case if only prakari is present, bindu will extend to join with praptyasa to form garbha and then prakari will mix with niyata'pti for vimarsa. Thus, use of artha-prakstis in fixed sequence - yatha-samkhyena will continue to hold good. For Personal & Private Use Only

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1710 SAHRDAYALOKA But this explanation is of course not final, nor does it carry any authority but is placed before the learned like a defence-lawyer trying to defend the accused. This suggestion may be pushed aside gently by the learned. Actually the BP. prescribes that in case the pataka does not occur in the garbha the playwright should employ bija or the bindus in its place. "a-patake nivesah syad bindor bijasya va kvacit." (pp. 210). This supports our conjecture. Dr. Kulkarni further observes that the sandhis, as observed earlier, are the structural divisions of the drama which clearly and closely correspond with the avasthas in the hero's realization of his object of desire. The classification into (the five avastha-s and) the five sandhi-s is intended to help the dramatist to achieve the unity of action or impression. The five sandhi-s are defined as follows. That part of a play which contains the origination of bija, the source of several incidents and sentiments and corresponds with the prarambha avastha (Beginning) is called Mukha (opening). Abhinava gives the etymological interpretation of Mukha as follows: (NS. III. pp. 23): "prag arambhabhavirvan mukham ive mukham." NS. XIX 319., SD. p. 320 As regards the pratimukha the theorists differ. According to the DR (which the SD., the BP., the PR. and the RS. follow) that part of a play which represents the development of the bija in such a way as to be perceptible and imperceptible by turns is called pratimukha (progression) . We have quoted the definitions earlier from respective sources. Abhinava, Dr. Kulkarni observes, whom the KS (= Ka. Sa., Hemacandra) and the ND. follow, interprets the text of Bharata - [i.e. NS. XIX. 40 - bijasyodghatanam yatra drsta-nastam iva kvacit, mukha-nyastasya sarvatra-tad-vai pratimukham bhavet.] - to mean that the part of a play which represents total manifestation of the bija that is shown in the Mukha to be seen and then veiled, as it were, by some secondary incident, is called pratimukha. Abhinavagupta notes in his commentary Abh. - on NS. XIX. 40, Vol. III pp. 24-25) the views of other theorists, criticises them and gives his own. He interprets the text thus : "bijasyodghatanam tavat phala'nuguno dasa-vicesah tad drscam api virodhi-sannidher nastam iva pamsuna pihitasyeva bejasya'nkura-rupam udghatanam... dostam nastam iva krtva tavan mukhe nyastam bhumav iva bijam, amatyena sagarikacestitam vasantotsavakamadeva-pujadina tirohitam nastam iva, sagarika-cestitasya hi bijasya iva tad acchadakam apy utsava"di-rupam bhumir iva pratyudbodhakam. tasya drstanasta-tulyam krtva nyastasya, ata eva kunkuma-bijasya yad udghatanam tat For Personal & Private Use Only

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"Dasarupaka-Vicara" 1711 kalpam, yatrodghatanam sarvatraiva kathabhaga-samuhe tat-pratimukham." Abhinava gives etymological explanation of pratimukha as follows: "pratir abhimukhyena yato'tra yrttih, paranmukhata hi drsta-nasta-kalpananidarsanam. (III. p. 25). In the word 'prati mukha', 'prati' has the sense 'favourable to'. We may humbly say that we fail to understand how the DR. and the NS. and the explanation of Abhinavagupta differ in themselves. The words in the NS. - "bijasya, mukhanyastasya, udghatanam yatra, drsta-nastam iva kvacit" are echoed exactly in the DR - observing - "tasya (= bijasya), laksya'laksyatayod bhedah" - pratimukham bhavet." The illustration that Abh. gives is from Ratnavali, wherein the bija was as it were concealed for the time being, being covered up by the puja, but once again came to light on listening the word "Udayana" by Sagarika, who was reminded of the fact that she was given, by word, in marriage to this king by her father. Thus as the bija, - seed covered as it were by earth for the time being appears as a sprout, in the same way the desire for Udayana reappears. Dr. Kulkarni continues to explain garbha-sandhi as that part of a play which represents a further stage in development of the bija which the hero gains and loses by turns and which he frequently searches, everytime it is lost. It is so called as it contains the fruit as it were within itself : phalasya garbhikaranad garbhah - S.D. pp. 320. "praptisambhava"khyaya'vasthayuktatvena phalasya garbhibhavat." A.bh. III. pp. 25. "natakasya madhyatvad garbhah." NLRK. p. 30. The authorities differ regarding the definition and interpretation of the fourth sandhi avamaria or vimarsa. Bharata's text is very knotty, defying as it does, a satisfactory interpretation. Bharata has, as observed earlier : (NS. XIX. 42) - "garbha-nirbhinna-bijartho vilobhana-ksto'thava krodha-vyasanajo'pi va sa vimarsa iti smotah." [Dr. Bhat, as noted earlier, translates - (pp. 173, ibid - "The context (or developments) of the seed which has sprouted in the Garbha (sandhi), its contemplation (vimarsa) made (necessary) on account of some temptation, or born out of anger, or calamity, - is known as Vimarsa." We feel the translation makes Bharata's concept very clear. Dr. Bhat adds in the foot-note : "Abhinava says that a review of the plot-development is taken in this sandhi, and the possibility of For Personal & Private Use Only

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1712 SAHRDAYALOKA doubt about the fructification of the seed is examined. Vimarsa or avamaria also means 'an obstacle': fresh obstacles to the final attainment of fruit on account of anger, temptation, calamity or curse introduced at this stage and the way to overcome them deliberated. See Abhinava, op. (cit, pp. 26-28)] Dr. Unni takes note of A.bh.'s observation that vimarsa and Avamarsa are synonymous. "kecid vimarsa iti pathanti, anye avamarsa iti. tatra sandeha"tmako vimarsah, anye tv avamarao vighna iti vadanti." Dr. Kulkarni observes that Abhinava quotes different views as to the nature of Avamarsa. He himself holds that 'vimarsa' is 'sandeha"tmaka'. He argues that even after sambhavana (or, possibility of attainment) samsaya is possible when some unforeseen obstacle appears in the way of the achievement of desired object. The hero reflects over the new situation and realizes that he can attain the end if he surmounts a specific difficulty. He takes courage in both the hands and does his best to surmount the obstacle. This obstacle may be caused by a curse, or anger, or selfishness or temptation. - The KS. (= Ka. Sa.) literally borrows one of the passages quoted by the A.bh. to explain Bharata's definition of Vimarsa : That part of a play where the bija about to fructify loses its progress and seems to return to its original state on account of interruption caused by the wrath of the opponent, or selfishness of the rival, or some calamity like a curse etc. - is called vimarsa. (pp. 454 - Ka. Sa.) The Viveka reads as : "bija-sabdena bija-phalam. artha sabdena nivsttir ucyate. tena garbhan nirbhinnam, pradarsitamukham, bahirnissaranonmukham yad-bija-phalam tasya yorthah nivrttih punas tatraiva ca pravesa iva yatra, sa vimarsa-sandhih." The word vimarsa is here taken to mean 'vighna', the 'bija' as 'bijaphala' and 'artha' as 'nivrtti'. The definition given by SD. is however, quite unambiguous : "That part of a play where the bija (= lit. the principal means to the end) has developed further than in the garbha and faces some obstacle due to curse and such other reasons is called Vimarsa. (we have cited the definition earlier). The concluding part of a play where the incidents and events which occurred in the first four sandhis and which contained the bija and were distributed in due order are brought together to one end is called "nirvahana". In connection with the five sandhis, - Dr. Kulkarni observes further, - Jagirdar remarks that Bharata has done nothing great except coining some technical words. The five stages of development mentioned above (i.e. the five sandhis) are just the five members of a syllogism in Indian logic. (Drama in Sanskrit Literature, pp. 119) He tries to establish parallelism between them which is faulty and unconvincing, observes Dr. Kulkarni. For Personal & Private Use Only

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"Dasarupaka-Vicara" 1713 The analysis of the dramatic plot into five sandhis is given by the theorists to facilitate the dramatist's task of plot-construction while that into five arthaprakstis is simply an objective one irrespective of the dramatic structure. It will thus appear that Keith is not quite correct when he remarks : "the classification of elements of the plot (i.e. artha-prakrti) is perhaps superfluous beside the junctures (i.e. sandhi-s). (Sanskrit Drama, p. 299). Abhinava, in course of his exposition of artha-prakstis, accepts the meaning of "means to the end-phalahetus" and rejects the meaning of elements or parts of the plot. He advances the following grounds for rejecting the second meaning: "anye tv ahuh. - arthasya samasta-rupaka-vacyasya prakstayah prakarana'nyavayavartha-khanda ity arthaprakstayah. etac ca vyakhyanam nativa prakstam posayati. sandhya"dinam api ca artha-prakstitvam atra vyakhyane syat, itivTttam eva ca samudayarupam. artha itivstte prakrtaya iti vaktavye arthgraham atiriktam syat, ity avasthabhis ca tulyata-varnam varnana-matram syad iti kim anena." III. p. 12. Abhinava accepts the classification of artha-prakrti-s in the sense of "means to the end." He rejects it in the sense of elements of parts of the plot - as then the sandhis too will be artha-prakrtis. What has been said above will obviate this difficulty. It may noted that the Avaloka (pp. 16, Adyar Edn.) observes on DR. I. 18, - "artha-prakrtayah prayojana-siddhi-hetavah." All the five sandhi-s occur in a full-fledged drama (nataka, prakarana, natika). In the Dima and Samavakara, Vimarsa finds no place, in vyayoga and ihamrga both garbha and vimarsa are omitted, while in Prahasana, Vithi and Bhana. The pratimukha, garbha and also vimarsa find no place. In any type of drama the first i.e. mukha and the last i.e. nirvahana are positively present. The Pataka, as we have observed earlier also, though an incidental yr having anusandhi-s which are to be less in number than the sandhi-s. The prakari being of very short duration is without any sandhi. : A.bh. observes, (pp. 48-49) - "pataka-vsttasya pradhanya-nibandhe'pi anusandhir-mukhya-vTtta-sandhy-anugatah sandhir bhavati, gaunah sandhir ityarthah... prakaryas tu pradhanye'pi svalpavsttatvat sandhy-anusandhi-cintaiva na'sti." Dr. Kulkarni refers to the opinion of Keith who remarks that even the incident is permitted on one view to have incomplete junctures. He refers here to the text of the DR. : a-sandhim prakarim nyaset. Avaloka explains 'a-sandhi' as 'aparipurna-sandhi.': Prakari-vrttam tv aparipurnasandhi-vidheyam (pp. 150, Adyar Edn.). The Laghutika explains it as - "sandhyanganam purnata na bhavaty asminn ity arthah." (pp. 150, ibid). The ND. however, is explicit on this point and denies any sandhi or anu-sandhi to prakari. For Personal & Private Use Only

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1714 SAHRDAYALOKA These five sandhi-s are further sub-divided into sixty-four sandhyanga-s. Bharata observes, among other things, that a dramatist should compose a play having 64 sandhanga-s, others, however take a saner view and interpret it to mean that a dramatist should use only such of these anga-s as are essential to his purpose. We have noted how Anandavardhana has suggested that the practice of sandhi-s and sandhyanga-s has to be rasa-oriented only (rasa'bhivyakty apeksaya) and not just to conform to theory - (na tu kevalaya sastra-sthiti-sampadanecchaya). We have observed earlier that Singa Bhupala, the author of Rs., declares that he has illustrated all the 64 sandhyangas from the Bala-ramayana. Read, R. S. III. 78 - "catussasti-kala-marmavedina singa-bhubhuja, laksita ca catuh-sastir bala-ramayane sphutam." The Avaloka and also the ND. and the SD. observe that six, five, four and five anga-s of the first four sandhis respectively are principal i.e. pradhana and avasyambhavi - i.e. unavoidable; must. About the anga-s of the nirvahaha the ND. observes that as nothing special is said about the same, all the anga-s of the nirvahana-sandhi are pradhana and therefore inevitable. Read ND. p. 104 : "visesa'nupadanat sarvany etani pradhanani." Both the ND. and the A.bh. which is followed by the ND. observe that though 64 anga-s are possible, all of them need not be used in every drama. : Read A.bh. III. p. 37 - yat tu'cyate catuhsastyangasamyutam iti, tena sambhavamatram esam uktam, na tu niyamah." Of course Abhinavagupta follows the observation of Anandavardhana, and even the DR. respects the same. The Sixty four Sandhyanga-s. Authorities on dramaturgy lay down that the dramatist should select and, if necessary, observes Dr. Kulkarni, modify the story of his play, to suit his hero or the ruling sentiment of the dramatic piece. After determining on the beginning and the end of the play, he should divide the story in five parts (sandhi-s). Which, in turn, he should split into sub-divisions (sandhyanga-s). It may be noted that though in theory 64 anga-s are recognised, as observed earlier, even theory does not expect that all the 64 should be used in every play. Thus, excepting the PR. (= prataparudra.) the RS. and also Dhundiraja, the commentator of the Mudraraksasa, no other authority tries to illustrate these sixty-four anga-s from one and the same play. The illustrations are usually drawn from plays like the Ratnavali, the Venisamhara and some later plays. The illustrations are cited in the A.bh. and the Avaloka, and almost accepted by later writers. For Personal & Private Use Only

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"Dasarupaka-Vicara" 1715 Ikarni observes that presumably, the authors (i.e. of Ratnavali and Venisamhara) were under the strong influence of the rules of the dramatic science and consciously wrote their plays in conformity with these rules. We beg to disagree; for sandhyanga-s are pointed out by commentators even in the plays of Kalidasa also. Again, we are of the opinion that even Sri Harsa, the author of Ratnavali and Bhasta Narayana were no mean dramatists and so also was Visakhadatta. We do not agree with the views of western writers and also of Dr. De that Ratnavali and such other plays were just sterotype plays and that life had blown out completely from later plays that belonged to what they term as decadent period. Only prejudice can keep eyes blinded to the sterling qualities of certain plays of later times also. The 64 sandhyangas are divided in five sandhi-s. The first - i.e. mukha-sandhi admits of 12 sub-divisions or anga-s. They are upaksepa, parikara, samadhana, vidhana, paribhavana, udbheda, karana and bheda, we will examine them individually following Dr. Kulkarni's findings as under : (1) Upaksepa : It means sowing of the bija-seed. In the Veni. I. 8. Bhima emphatically denies the possibility of the Kauravas even resting in peace as long as he is alive and thus suggests the train of events to be developed later, and also the governing sentiment, viz. the 'vira-rasa'. (2) Parikara (= Parikriya) - is enlarging or amplifying the bija which is indicated earlier. Bhima hurls defiance at his brothers who might bring about peace. He was determined to break peace as soon as it was effected (Veni. I. 10). This strengthens the idea already suggested earlier that war is inevitable. (3) Parinyasa means describing very clearly and beyond any streak of doubt the e play that was indicated and enlarged before. It may be noted that these three anga-s should occur in order of their enumeration, as it happens in the Veni. It may also be noted, however, that prapti and yukti intervene parikara and parinyasa. (4) Vilobhana means mentioning of good qualities (possessed by the hero or the heroine). Draupadi tells Bhima that nothing is impossible for him to accomplish when he is angry and thus pays a handsome tribute to his heroic strength, and expresses confidence that he should win in the war. (5) Yukti is establishing the propriety of a particular course adopted to achieve the ends aimed at. Yaugadhavayana has introduced Sagarika to the queen, merely to put her in the way of the king so that he may see her and fall in love with her. The course of the drama is founded on the result which follows as expected by Yaugandharayana. For Personal & Private Use Only

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1716 SAHRDAYALOKA (6) Prapti - (or, prapana) is attainment of happiness. The NLRK. defines 'prapti' as "mukha'rthasya yad upagamanam sa praptih." (p. 26) Ghosh favours this definition when he translates the definition in the NS. as, "summing up the purpose of the opening (= Mukha)." Excepting the NLRK., all authorities read 'sukha'rtha'. The illustration furnished in NLRK. is the same as read in the Avaloka and the SD. So, attainment of happiness either by the hero or th at a particular occurrence is illustrated from the Veni. Bhima is happy on Krishna's failure to settle the issue through peaceful negotiations. Again, Draupadi is overjoyed to hear from Bhima that he is capable of fulfilling the vows of destroying the Kauravas etc., and that he would never be a party to any peace which Yudhisthira might effect. (Veni. I. 15) (7) Samadhana (ND. Samahiti) - is the complete unfolding of the bija which earlier was only hinted at. - The A.bh. (III. pp. 30-40), the ND. (p. 62), the SD. (p. 326) paint out that the bija which was indicated before is here developed by relating it to the hero. Veni. I. 24 clearly points out how the anger of Yudhisthira, the source of destruction of the Kurus suppressed so long, is now violently stirred and is working in all its fury against the Kurus. Yudhisthira is traditionally taken as the hero of the Veni. The Avaloka, however, cites this passage to illustrate 'parinyasa'. This means that the approach of an individual critic also carries weight in this respect. (8) Vidhana is what causes both joy and sorrow. Bhima informs Draupadi of his intention to set out to slaughter the Kurus. She is naturally glad to hear this as Bhima would get an apportunity to avenge the insults heaped on her. At the same time, she is overcome with fear and nervousness as after all he was to participate in war and therefore, very naturally she bids him and Sahadeva too, to take care of their lives against the enemy. (9) Paribhavana : Words full of curiosity or wonder, on finding something extra-ordinary constitute paribhavana. Draupadi, who is doubtful whether war would break out between the Pandava-s and the Kurus hears the war-drum that was being beaten loudly and repeatedly. Naturally, she is struck with wonder and asks Bhima why it was thus being beaten. (10) Udbheda : According to the NS., the A.bh., the ND., and SD., Udbheda is the sprouting of bija. The A.bh. (III. p. 41) and the ND. (p. 32) particularly note that Udbheda does not mean Udghatana, which is connected with the pratimukha sandhi. (we do not find 'udghatana' in the pratimukha sandhi !). This is illustrated For Personal & Private Use Only

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"Dasarupaka-Vicara" 1717 in the declaration of Bhima of his determination to kill all the Kurus and not to see Draupadi before doing it. (Veni. I. 26). According to the DR., it is the disclosing of something previously hidden. Sagarika thus learns through the words of the bards that it was not the God of love whom the queen worshipped but it was Udayana, the king for whom she was destined to be a bride. As already said, it cites Veni. I. 24 also as an illustration of Udbheda. (11) Karana (Karana, NLRK.) is the beginning made (by the hero or the heroine) to accomplish the object of his desire. Sahadeva and Bhima thus announce at the close of Veni. I that they are proceeding to fight a battle against the Kurus. The ND. sets forth the view of some theorists that Karana is the allaying of calamities. It is brought about by benediction and the like. Draupadi's benediction to Bhima - "May bliss attend on you, as on Hari prepared for battle with the asuras", illustrates this. (12) Bheda means the exit of characters from the stage in pursuance of their respective ends; Bhima thus at the end of Veni. I. addresses Draupadi, asks her not to be anxious on their (i.e. his and Sahadeva's) account as they are experts in warfare, indicates their readiness to join war and leave the stage. Thus the A.bh. and the ND. understand 'bheda'. The DR. defines it as 'the heartening up and cites the closing position of the Veni-I. for illustration. Bhima, here, cheers up Draupadi, who is overcome with gloom, by pointing out that the Pandava-s are well-versed in the art of war. The SD. defines it as a 'breach of union'. It quotes Veni. (p. 9) where Bhima speaks of breaking up his alliance with his brothers, as in illustration. The ND. has yet another view expressed, which regards Bheda as the political expedient of the name whereby the adversaries standing in the way of realizing the aims of the hero are estranged. Of these 12 subdivisions of this Sandhi, the following six must always be used viz. 1-upaksepa, 2-parikara, 3-parinyasa, 4-yukti, 5-udbheda and 6-samadhana. The Mukha Sandhi is well illustrated, observes Dr. Kulkarni, by Veni. I, where the bija is seen in Yudhisthira's readiness to declare war on the failure of Krishna's peace mission. Bhima's eagerness to fulfill his vow of breaking the thighs of Duryodhana and braid Draupadi's hair is prominently seen in the whole act. For Personal & Private Use Only

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1718 SAHKDAYALOKA The Pratimukha-Sandhi covers 13 sub-divisions, which are - (1) Vilasa : It is the desire for amorous pleasures. Sagarika's soliloquy at the opening of Act II, Ratnavali, illustrates this anga. It may be noted that the Pratimukha sandhi answers the description of the Mukha as given by the DR. Here we have the joing of the bija and armbha, according to the DR. A.bh. explains that this anga is appropriate in a love play, but in vira-rasa-play, vilasa is only, an utsaha, an upalaksana. (2) Parisarpa - (ND - Upasarpana) - This means pursuing of the bija, once seen and then lost. The passage (Veni. II. 2) where the chamberlain tells of the slaying of Bhisma (the bija of the Veni. is here seen) and of young Abhimanyu (the bija is here lost) is an example. (3) Vidhuta - (SD. Vihita; RS - Vidhuta, ND. dhunana) - This is nonacceptance, at first, of anunaya i.e. friendly persuation. Sakuntala (Act III) asks Priyamvada, who, on behalf of Sakuntala, requests the king to requite Sakuntala's love "not to detain the royal sage, who is pining on account of his separation from the ladies of his harem". The DR. defines it as despondency or absence of pleasure due to unrequited love. Sagarika's throwing away the lotus-stalks etc., intended by her friend to be a source of relief in her love-torment, illustrates this subdivision. (4) Tapana (torment) - is the grim prospect of a danger (NS). Tapana is 'not finding any means to allay the dispondency (owing to the difficulty of attaining the object of desire-SD.). The passage from Ratnavali (Act. II. 1) Where Sagarika says - "My love is fixed on an object beyond my reach, I am overcome with a heavy sense of shame, my soul is enslaved by passion... then is not death the only alternative ?" - illustrates this tapana. .. The DR. reads 'Sama' instead of 'tapana' and defines it as the dispelling of dispondency due to difficulty of attaining the object of desire. The king's admiration of the beauty of Sagarika surpassed all her expectations which evoked - her comment "O heart, cheer up ! Even your desire could not go so far !" This consitutes 'Sama'. (5) Narma consists of the use of banter. The conversation in the Ratnavali (Act II) where Susangata deliberately uses words in such a way as to apply to the king as well as to the picture-board is an example of 'Narma'. (6) Narma - dyuti is humorous speech with a view to covering one's weakness (The NS., the A.bh., the ND.) The ND. notes that 'narma' and 'narma-dyuti' are to be used in love-plays. (p. 76). For Personal & Private Use Only

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"Dasarupaka-Vicara" 1719 The coversation between the king and the Vidusaka (Ratnavali, Act III), where the latter styles 'gatha' as a vedic hymn in his attempt to hide his ignorance and excites the king's laughter is an illustration of 'narma-dyuti'. The DR. defines it as the gratification caused by humorous remark, and illustrates it by citing a passage from the Ratnavali (Act. II) where Sagarika outwardly expresses her anger at Susangata's remark that she does not give up her anger even when the king holds her by her hand. agayana : This is the reading of the NS. Abh. remarks - "pragayanam iti rudhi-sabdah, anye tu praja-sabdad vici klisya-yatna-sabdena sata (?) kavina vyutpattim klapayanti. pragayanam iti anye parhanti. 'prak' iti purva-vacanam tato'yanam praptih, yasya uttara-vacanasya iti." - Abh. III. 55. The ND., which normally follows the Aibh., accepts the reading "pra-gamana". So, Pragayana (= pragamana) is a series of questions and answers. This is best illustrated by the long passage in the Ratnavali (Act. II) where the Vidusaka and the king (Susangata and Sagarika as well) engage themselves in conversation starting with Vidusaka's question as to what the verse (II. 7) is like, and ending with the stanza (II. 15) addressed to the garland of lotus-stalks. It considerably helps to advance the bija (here love) of the play. The DR. and the SD., and all later authorities read 'pragamana' for 'pragayana'. Their definitions are, however, essentially identical. (8) Nirodha - (V1; Virodha) (The ND. calls it 'rodha', B.P. calls it 'nirodha' while all the rest call it virodha'. - Nirodha (rodha, virodha) is obstructing the attainment of the desired object (by the hero and the heroine). Vidusaka thus obstructs the union of the king and the heroine by his speech (Ratnavali - II, 17, etc.) which is misunderstood by others. (9) Paryupasana is propitiating an angry person. In the Ratnavali (Act. II, 18) where the king tries to conciliate Vasavadatta who is offended at the sight of the picture-board (showing Sagarika and the king side by side) we have an illustration of this 'anga'. The ND. calls it 'santvana'. (10) 'Puspa' - is a hyperbole statement (tending to enhance the bija of the play). The king's statement in the Ratnavali (Act. II. 16) that Sagarika is Laksmi herself etc., illustrates this sub-division. The A.bh. III. p. 46 observes : "yatha hi premavikasi puspam bhavaty evam atra'pi rajna uttarottara'nuragavisesa-sucakam vaco vikasam asya'nuragasya darsayati." For Personal & Private Use Only

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1720 SAHRDAYALOKA (11) Vajra : is a cruel remark made to one's face. The passage in the Ratnavali (Act II) where Susangata pretends to be a partisan of the queen and hence not to like the affair about Sagarika threatens the king that she would disclose the affair e queen is an illustration (A.bh.). The DR. illustrates it by citing the passage in the Ratnavali (Act. II) where the queen sarcastically asks the king whether the picture of Sagarika by the side of the king, drawn on the board, is the work of Vasantaka and adds that the king of the board has given her headache. (12) Upanyasa : is a statement based on argument or reasoning (The NS., the DR., the A.bh., The N.D. and the RS.). The statement of the Vidusaka that the bornslave (Susangata) is a great tattler and that everything is possible in her case and hence the king should please her by a reward (Ratnavali, Act II) illustrates it. According to the SD., it is conciliation (in order to remove the annoyance caused by some jest previously). The passage in the Ratnavali (Act. II) where Susangata asks the king not to get panicky as she played only a joke (in threatening to report the affair to the king) and cleverly suggests to him to appease Sagarika, illustrates this anga. Bhoja has omitted this anga altogether. Dr. Kulkarni in the foot-note (No. 58) quotes the Editor's note, NS. III. p. 46 : "bhojena tu upanyasangam parihstam." Actually, we will consider Bhoja separately for he shows a number of differences. For example, (pp. 504, 505, Sr. Pra. Edn. Josyer) Bhoja observes : "pratimukhasandhav api dvadasangani. abhuta"haranam, margah, rupam, udaharanam, karma, sangrahah, anumanam, prarthana, aksiptih, totakam, adhibalam, udvega iti." We will look into a comparative table by the end of the treatment of Sandhyangas; first following the normal list as given by Dr. Kulkarni. (13) Varna-samhara : (or, Varna-Samhsti - ND.) is coming together of the four castes such as the Brahmanas, the Ksatriyas, etc. This is the meaning as supported by the DR. and the SD. Actually this, on the face of it, sounds useless in modern context. We will ponder over the utility of recognising these anga-s in the context of modern theatre as well. The meeting of four varna-s is the meaning as seen in the DR. and the SD., as noted above and this is illustrated in the stanza in the Vira Carita III. 5. Actually some anga-s as this one, have no relevance in the context of modern theatre. Even in case of Sanskrit Drama only some have relevance with some plays having love theme, and with others having a vira-rasa theme or theme having a design other than love-theme. The efforts of the PR., RS. and Dhundiraja to trace all the anga-s in a single play is a wild goose chase in our estimation. For Personal & Private Use Only

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"Dasarupaka-Vicara" 1721 Abhinavagupta interprets "Varna' as characters (patras) and 'Samhara' as 'drawing together', 'close association'. He rejects the interpretation given as above as meaningless. He illustrates this anga by an incident in the Ratnavali (Act. II) where the king, the Vidusaka, Sagarika, and Susangata meet together. The NLRK., however, defines it as 'varnita-arthasya-tiraskarah'. The editor (NS. III. p. 47) paraphrases it as 'ukrarthasya visayantara-prasaktya pracchadanam'. The NLRK. cites as an example the sentence in the Ratnavali, where the Vidusaka refers to Susangata as a 'born-slave' and 'tattler' (and with a view to guarding the sectret asks the hero to win her over by a reward). The most-important sub-divisions of this sandhi are : 1-parisarpa, 2-pragamana (prasama appears to be an error in view of the remarks of the ND. p. 69, SD. p. 35, the PR. p. 110), 3-vajra, 4-upanyasa and 5-puspa. Dr. Kulkarni observes that in the Veni. the pratimukha sandhi is found to cover the second Act. The bija of the play, namely, 'Krodha' (anger) is seen here fully developed in that the poet foreshadows that the son of Pandu would in a short time slay Suyodhana in battle together with his kinsmen, friends etc. (II. 6), and describes the effort of Pandavas, particularly of Arjuna to slaughter Jaydratha (p. 53) and alludes to Bhima's vow to drink the blood from the heart of Duhsasana and break the thighs of Duryodhana (II. 28). In this act, we find the love-scene with Bhanumati which is a secondary incident. It appears to iterrupt the course of the drama. The entrance of Jayadratha's mother (and Dussala) who describe the important events connected with the main action such as Arjuna's vow to slay Jayadratha etc., sets the principal action in motion again. This is the 'bindu' (what maintains the continuity of the main action). This sandhi answers the description of the pratimukha as given by the DR. Here we have the combination of bindu and prayatna. The Garbha-Sandhi has 13 (or 12. according to some authorities) anga-s or subdivisions. (1) Abhuta"harana - is a speech based on deceit. The Abh. illustrates this by the speech of the Vidusaka in the Ratnavali (Act II) where he tells the queen that the king drew his own picture on the board to refute his assertion that a man can hardly draw his own picture. The SD. quotes the passage from the Veni. (Act. III. 11) as its illustration : truthful Yudhistira proclaims that Asvatthaman has been slain, Drona supposes that his son has fallen, but what really has happened is the death of an elephant so named. For Personal & Private Use Only

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1722 SAHRDAYALOKA The DR. cites the passage from the Ratnavali (Act. III) where Kancanamala refers to the Vidusaka's secret plot according to which Sagarika, disguised as Vasavadatta is to meet the king. The ND. refers to the clever ruse used by the Vidusaka (in the Malavika.) in securing the signet-ring from the queen. (2) Marga - is speaking out the exact truth - a pointing out of one's real purpose. A.bh. illustrates it by a passage in the Ratnavali (Act II) where the queen refuses to believe with Kancanamala that it may be by accident that the figure drawn by the king resembles Sagarika and says that Kancanamala does not understand Vidusaka's prevarications. The Avaloka illustrates it by a passage in the Ratnavali (Act III), where the Vidusaka tells the king of his plot of bringing about his union with Sagarika about whose success he was quite certain. The ND. interprets this limb thus : "paramarthasya vacanam samanyenocyamanam praksta'rthena yat sambadhyate tan margah." and illustrates it by Mudraraksasa III. 4-5. (3) Rupa : is a statement embodying doubts regarding the true nature of something, e.g. in the Ketyaravana, Rama not recognising Jatayu's body, doubts whether it was the mountain with its wings chopped of by Indra, or Garuda smashed down by the Lord of the Asuras or it was Jatayu who was lying dead. This is how the ND. defines and illustrates rupa following the NS. and the A.bh. and with this definition rupa does not differ in any way from the sa-sandeha alamkara. The Abh. illustrates it by a passage in the Ratnavali (Act II. 20) which the Avaloka cites as an example of Paryupasana. The DR. defines it as a remark embodying some hypothesis (vitarka). The Avaloka illustrates it by a passage in the Ratnavali (Act. III. 9 etc.) where the king expresses his hope of being united to Sagarika, but finds that Vidusaka was carrying doubts : "can it be that the queen has come to know the whole plot ?" : The NLRK. defines it as a logical argument or hypothesis having a striking sense and illustrates it by Ratnavali III. 2: The mind is, by its very nature, fickle, and thus it should be a difficult mark to hit. How does it happen then that god of love has pierced it with all his arrows at once ?" The SD., too, cites this stanza as an example. The ND. following the A.bh. distinguishes between Yukti, a sub-division of Mukha and this "rupa", as follows : "rupam iva rupam. a-niyato hyakaro rupam ucyate. ... yukteh krtya-vicara-rupatvena, niyata"karaya asya bhedah." (p. 83) For Personal & Private Use Only

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"Dasarupaka-Vicara" 1723 (4) Udaharana : (Udahrti; ND.) - is an exaggerated statement. The A.bh. and the ND. quote the above passage (Ratnavali III. 2) as an illustration of this subdivision. The Avaloka illustrates it by a passage in the Ratnavali where the Vidusaka enthusiastically remarks that the news of his meeting with Sagarika would delight the king more than the aquisition of the kingdom of Kausambi. (5) Krama : is a knowledge of the feelings of another (NS., A.bh. ND. & SD.) Ratnavali III 4 where the king describes the helpless conditions of Sagarika on account of the extreme uneasiness deep placed in the heart, is an example of it. The Avaloka illustrates it by Ratnavali III. The Krama here consists in the king's love for Sagarika having been known to Vasavadatta. The DR. defines it as the acquisition of an object when it is being thought of: The passage in Ratnavali (III. 10, etc.) which speaks of the king's meeting with Sagarika, who has solely absorbed his mind, illustrates this Krama. It is to be noted that here it is not real attainment as he meets real Vasavadatta in place of Sagarika disguised as Vasavadatta. The example in the PR., is more appropriate. The King was thinking of the victory of Prataparudra when news actually came to him, declaring his complete victory. The NLRK. defines it as "Knowledge of the future" and illustrates it by the speech of Krpa in the Veni. III., where he says : "Asvatthaman if invested with supreme command would be able to destroy even the three worlds, not to speak of Yudhistira's army." (6) Sangraha : means 'use of sweet conciliatory words and gifts'. The ND. defines it as "sama-dana"dih", and comments that sama-dana includes, by upalaksana, bheda and danda and adi includes deceit, magic etc. (pp. 82-83). Sangraha is taking some person on one's side, winning him over by the use of sweet words and gifts. The passage in the Ratnavali (Act. III) where the king gives a reward of his bracelet to the Vidusalka who assists him in the acquisition of his object of desire (= Sagarika) illustrates this sub-division. (7) Anumana : (or anuma) is an inference (of the lingin, that which possesses the linga i.e. mark) from its characteristic sign (= linga, hetu). The A.bh. illustrates it by a passage in the Ratnavali (Act III. 8) where the path is inferred by fragrance of flowers of the trees in the garden. The Avaloka illustrates it by a passage (Act. III, 15, etc.) where the king concludes that the death of Vasavadatta would follow from her great disappointment consequent upon his extreme love of Sagarika. For Personal & Private Use Only

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1724 SAHKDAYALOKA (8) Prarthana : is invitation or request for love's enjoyment, rejoicing and festivity (NS.). Ratnavali (Act. III. 11) where the king invites (the supposed) Sagarika to enjoy pleasures of love with him - illustrates this sub-division.. The ND., broadens the definition as "bhava-yacanam". The NLRK. defines it as "more request; entreaty". The ND. illustrates it citing a passage from the Raghuvilasa where Raksasa disguised as Hanumar's father, requests Ravana to forgive the various offences committed by Hanumat. It is to be noted that the DR. does not recognise this sub-division found in the NS. The SD. takes particular care to point out that he has included the Subdivision prarthana' so that those who exclude 'prasasti' from the number of divisions of the nirvahana may still have the full complement of 64 sub-divisions. Otherwise the total number of anga-s would make 65. (9) Aksipti - (or Aksipta, NS.; Aksepa, DR., ND., PR.; Utksipta, NLRK.; ksipti - S.D.) is revelation or unfolding of the bija (or germ of the plot) lying concealed in - the garbha. "garbhasyodbhedanam yat sa"ksiptir ity abhidhiyate, NS. ND - praptya"sa-'vastha-nibaddhasya bijasya mukha-karyopayasya prakasanam prakarsen"avirbhavanam aksepah." Abhinavagupta calls it revelation of the innermost passion or feeling on some pretext or another. Thus the king reveals his heart before Vasavadatta (Ratnavali, Act III) all the time taking her to be Sagarika. The Avaloka illustrates it by a passage from the Ratnavali (Act III) where there is revelation of the bija lying concealed in the garbha, viz. the acquisition of Sagarika by the king solely depends on the queen's favour. The PR. defines it as the adoption of means for the accomplishment of the end aimed at. The object aimed at in the Prataparudra play is the coronation of Prataparudra and the means to attain it is the propitiation of God Ganapati. The ND. informs us that some dramaturgists do not recognise this sub-division. The SD. defines it as . "rahasya'rthasya tudbhedah ksiptih syat." It cites as an example, Veni. III. 14, where Krpa suggests the inner meaning that Asvatthaman or daiva' will bring about total destruction of the subjects. 10. Totaka - (Trotaka, SD.) is a speech uttered in excitement due to anger, joy or the like. The A.bh. cites a passage from, Ratnavali, were Vidusaka asks Sarika For Personal & Private Use Only

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"Dasarupaka-Vicara" 1725 to talk to the king and regale his ears with the sweet cadence of her words as his ears are grated by the harsh words of the ever-irate queen. The instance given by the Avaloka is "a scene from the Ratnavali where Vasavadatta having clearly perceived the king's attachment to sagarika orders her maid-servant to bind Vidusaka and Sagarika in fetters and take them away." (11) Adhibala - (or, atibala, RS.) is a deception on others (with a view to accomplishing the object in hand). Thus in the Ratnavali Vasavadatta outwits the king by disguising herself as Sagarika. According to some theorists, adhibala is the opposite of totaka, but this view does not seem to be correct for then there would hardly be any distinction between it and 'paryupasana'. (12) Udvega - is fear arising from the king, an enemy or a robber. When the queen outwits the king and the Vidusaka, the latter expresses fear caused by the queen's fury. Or, when Sagarika is taken prisoner, she is terribly afraid of the queen as is seen in her remark that she is not allowed even to die an honorable death (Ratnavali, III). These are instances of Udvega. (13) Vidrava - (sambhrama) is apprehension caused by something dreadful or frightening. The A.bh. illustrates it by the king's apprehension that Vasavadatta would put an end to her life because of his deep love for Sagarika (Ratnavali, III. 15). Others like Sankuka define vidrava as apprehension, fear and fright. Sankuka illustrates it by a passage from Krtyaravana (Act. VI): From behind the curtain Mandodari cries, 'help, help !' The Pratihari reports to Ravana that there is uproar in the harem. Ravana apprehends some trouble and asks the Pratihari to find out what it is about. Here we notice 'apprehension' of Ravana, fear and fright of the Pratihari. The ND. too, quotes this example to illustrate vidrava. The DR. defines sambhrama (= Vidrava) as 'fear and trembling. The ND. comments on it - The most important sub-divisions of garbha are 1-abhutaharana, 2marga, 3-totaka, 4-adhibala and 5-aksepa. The rest are to be employed when possible. The Garbha-sandhi extends over the Veni. Acts III & IV. Bhima's speech from behind the curtain wherein he declares his intention of slaughtering Duhsasana who has fallen into his clutches and the speeches of Asvatthaman that refer to nking of Duhsasana's blood, and certain stanzas of act IV that foreshadow the slaying of Duryodhana represent the 'praptyasa' (prospect of success) which corresponds to the Garbha sandhi. The quarrel between Asvatthaman and Karna helps the Pandava-s in their victory over the Gurus. From that point of view this episode may be regarded as pataka. For Personal & Private Use Only

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1726 SAHRDAYALOKA The Vimarsa (or Avamaria) sandhi has thirteen sub-divisions : (1) Apavada - is 'the proclaiming of a fault or misdeed of another.' The ND. comprehends under it 'one's own censure.' The DR. illustrates this sub-division by a passage from the Ratnavali (Act. IV) where we are informed of the misdeed of the queen in her harsh treatment of poor Sagarika. (2) Sampheta - is altercation - exchange of angry violent words. The Avaloka illustrates it by a passage in the Veni. (VI. 10, 11) which reports exchange of hot words between Bhima and Suyodhana. The SD. illustrates it by a passage in the Veni. (V. 30) where Duryodhana strongly condemns Bhima and his brothers. (3) Drava - (or, abhidrava, vidrava) is showing disrespect or insolence towards one's elders. Thus Yudhistira shows disrespect to Balarama in Veni. (VI. 20), or Lava shows contempt for Rama in Uttaracarita (V. 34). (4) Sakti - is placating one who is angry. (NS), or 'allaying of opposition (to the accomplishment of the desired end by the hero.' DR. Abh. paraphrases the definition as 'virodhinah kupitasya samah'. The DR. defines sakti as 'virodhasamanam'. The Avaloka illustrates it by two instances, one from the Ratnavali (IV. 1) in which the King's speech shows that the anger of Vasavadatta standing in his way of the acquisition of Sagarika, is pacified; and the other from Uttaracarita (VI. 11) Where Lava's opposition to Candraketu and his army is removed or allayed at the sight of Rama. The ND. includes under Sakti complete destruction of one's enemy. It adds that some theorists recognise 'ajna' in place of Sakti, and define it as 'giving an order when provoked to anger, without giving due thought to the matter in question. (p. 100). (5) Vyavasaya - is defined by the NS. as 'pratijna-hetu-sambhavah. Abh. explains it (NS. III. 91, p. 54) as - "pratijnatasya angikstasya arthasya hetavo ye tesam sambhavah, praptih, vyavasayah." Thus, vyavasaya is acquisition of the means to accomplish one's undertaking. In the Ratnavali, the magician's entry on the stage helps Yaugadharayana in accomplishing his desired aims. The DR. defines, it as 'mention of one's own power', and illustrates it by a passage in the Ratnavali (IV. 8.9) where the magician mentions his supernatural power and suggests that he would show the king Sagarika whom he so eagerly longed to see. (6) Prasanga * is mentioning with reverence, one's elders. The Avaloka illustrates it by a passage in the Ratnavali (Act. IV), where the declaring of Sagarika's parentage helps the attainment of the object of the King's desire. For Personal & Private Use Only

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"Dasarupaka-Vicara" 1727 The NLRK. defines it as "giving expression to what really is aprastuta (the irrelevant). The ND. cites Veni. VI. 18, where Yudhisthira laments the (supposed) death of Bhima, as an illustration of 'prasanga' in this sense. (7) Dyuti : is 'rebuking'. The DR. defines it as 'threatening and hurting the feelings of others.' Wilson, Dr. Kulkarni observes, freely renders it as 'provoking to combat'. The Avaloka illustrates it by a passage from the Veni (Act. VI. 6-9), where Bhima rebukes Suyodhana and forces him to come out of the lake. (8) Kheda is lassitude (= fatigue) arising either from mental or physical activity. The SD. illustrates it by a well-known stanza occurring both in the Malati Madhava (IX. 12), and Uttara-Carita (III. 31) which vividly portrays Rama's poignant sorrow at the loss of Sita. The Abh. illustrates the physical fatigue by a passage from the Vikramorvasiyam (Act. IV. p. 166) where Pururavas, tired on account of his wanderings in search of Urvasi says - "I am tired. So, reposing on the bank of this mountain stream I shall enjoy the breeze from its waves", etc. The D.R. and its followers do not recognise 'kheda' as a 'sandhyanga'. (9) Pratisedha (or, Nisedha) is obstruction to the end. The SD. quotes a passage from Prabhavati where Pradyumna is told by the Vidusaka that Prabhavati has been abducted by the lord of the asuras. This abduction of Prabhavati is an obstruction in the way of Pradyumna's attaining Prabhavati - the object of his desire. In place of 'pratisedha', the ND. substitutes samrambha'. ND. defines it as 'sakti-kirtanam', and comments - samrambha is 'mention of one's own power in the conversation between two persons who are agitated." ND. quotes Veni. V. 33, 34 to illustrate it. It is further observed that Samrambha is found even when there is mention of one's power by one who is not agitated, and quotes. Veni. VI. 6. as an instance. The ND. distinguishes between 'sampheta' and 'samrambha' as follows : In the sampheta we have angry speech only, whereas in the samrambha mention of 'one's own power. It is clear from ND.'s treatment of samrambha, that it comprehends under this sub-division, the two sub-divisions of the DR., namely virodhana and vyavasaya. (10) Virodhana (= Nirodhana; Virodha) - When some obstacle suddenly arises in the way of accomplishing the object of one's desire, we have this sub-division. The SD. cites Veni. VI-1 as an example. Here Yudhisthira expresses his fear that the rash declaration of Bhima (that he would kill Duryodhana that very day or would himself commit suicide) has imperilled the lives of all Pandavas at a time when complete victory over the Kurus was just within their reach. For Personal & Private Use Only

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1728 SAHRDAYALOKA From the definitions and illustrations of Pratisedha and Virodhana it is perfectly clear that there is hardly any real distinction between the two sub-divisions. The DR. defines it as declaring one's own superior power by two persons when they are agitated - perturbed. It illustrates this sub-division by Veni. (Act V. 30-34) where Bhima and Duryodhana, who are highly excited, assert their superior strength. (11) Adana : When fruition (= attainment of thing desired) is in sight, we have adana'. The NS. XIX. 94a has - "bija-karyopagamanam adanam iti samjnitam." Abh. III. p. 55 - has, "bija-phalasya samipata-bhavanam ity arthah." ND. has (p. 103) - "mukhya-phalasya darsanam adanam." - According to the DR., it is 'a resume of the action' - "adanam karyasamgrahah." Dr. K. P. Trivedi thus renders it - "adana consists in the collection of preperations for the accomplishment of the desired object." (PR. notes, pp. 49). For the DR. the illustration is Veni. VI. 37, where the total destruction of the enemy is recapitulated. (12) Chadana (or, Sadana, NLRK.) is a statement or speech arising from 'disgrace' and made for some purpose. The N.D. has - 'chadanam manyumarjanam'. and comments 'manyur apamano marjyate tat chadanam.' (p. 95). In Ratnavali, (Act. IV) Sagarika welcomes the breaking out of fire in the harem where she has been held captive as it would put an end to her sorrows. She means death caused by fire would put an end to her suffering and disgrace. In reality, however, union with the king brought about by that fire ends her sorrows. The SD. defines it as putting up with humiliation etc. with a view to attaining the desired object and quotes Veni. V. 31, as an instance. - Arjuna here appeals to Bhima, not to mind the ravings of Duryodhana, whose hundred brothers are killed and who is unable to do Pandavas any harm. The DR. and its followers do not recognise chadana as a sub-division. The ND. observes that some theorists recognise 'chalana' in place of 'chadana'. "The word 'chalana' is interpreted by some as 'humiliation' (this is a clear reference to the DR.) While by some others as 'sammoha' i.e. 'fainting? The abandoning of Sita in the play 'Ramabhyudaya' illustrates this 'Chalana' in the sense of For Personal & Private Use Only

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"Dasarupaka-Vicara" 1729 'humiliation'. 'Chalana' in the sense of 'fainting' is illustrated by a passage in the Veni act. VI, 15, 16; where Raksasa gives the false news of Bhima's dealth and as a result Yudhisthira faints away. (13) Prarocana - is representing in advance that the desired end is accomplished, the actual accomplishment of the desired end being found in the Nirvahana. It is illustrated in the Veni. VI. 12, etc., where the braiding of Draupadi's hair and Yudhisthira's coronation are represented in advance as accomplished. The A.bh. notes that some dramaturgists call this anga, 'yukti'. The ND. mentions a view that some define 'prarocana' as 'a direction to honour persons with gifts etc.', and cites a passage from the Veni. (Act. VI pp. 153-4) where Yudhisthira orders Sahadeva through his attendant to employ clever spies, etc. to whom rewards in the form of money and honour are promised, to track Duryodhana who has disappeared on hearing Bhima's vow. The DR. and its followers (BP., PR. and the RS.) do not recognise the three anga-s viz. kheda, Pratisedha and Chadana. In place of them they have Vidrava, Vicalana and Chalana. Vidrava' is 'slaying, taking prisoner, and the like.' The description of the breaking out of fire in the harem, of the imprisionment of Sagarika and danger of her life (Ratnavali, Act. IV) illustrates this sub-division. As suggested earlier the ND. informs, that some recognise 'yukti', in place of 'prarocana'. Yukti is defined as 'savicchedoktih'. This definition agrees with NS. XIX. 96a, which is po addition according to Dr. Kulkarni. Vicalana' - is 'bragging', boasting of what is done by onself. The ND. defines 'vicalana' as boasting of oneself on account of valour, family, learning, beauty, good fortune, and the like (pp. 98). This is illustrated by a passage in the Ratnavali (Act IV. 19) where Yaugandharayana proudly declares that he brought about the marriage of the king with Ratnavali, which in its turn, was to lead to the King's achievement of sovereignty of the world. 'Chalana' is treated above under 'chadana'. It will be seen that the 'Vidrava' of the DR. is very much like the Pratisedha as illustrated by the SD., and chalana like chadana. The most important divisions of the Avamaria are - apavada, sakti, vyavasaya, prarocan, and adana. A careful scrutiny of the sub-divisions of the avamaria shows that 'virodhana' creates a serious obstacle in the way of hero's attaining his desires. This obstacle however, brings out the best in the hero and ce success is guaranteed (niyata"pti). The subdivisions like vyavasaya, dyuti, sakti, prarocana and adana bear out the truth of this statement. For Personal & Private Use Only

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1730 SAHRDAYALOKA The Vimarsa or avamaria extends over Veni. V and a considerable portion of act VI (upto stanza no. 37). Act V informs us of Karna's death and that Asvatthaman, who seeks reconciliation is received coldly by Duryodhana. Act VI. informs us of Bhima's rash vow that he would kill Duryodhana that very day or himself commit suicide, and of the disappearance of Duryodhana. This imperils the lives of the Pandavas at a moment when victory was within reach. Thus Bhima's rash declaration and Duryodhana's disappearance form a serious obstacle in the way of the attainment of the ends aimed at. It, however, later informs us that Duryodhana is found and that Krsna sends message to Yudhisthira to commence festivities in expectation of Bhima's victory over Duryodhana. This represents "certainty of success", which corresponds to the vimarsa sandhi. Carvaka, a Raksasa, deliberately gives Yudhisthira and Draupadi the false news of the death of Bhima. Out of grief they both resolve on death. For a moment all hope seems to have been lost but Bhima, with his body all covered with blood, appears on the scene and certainty of success is guaranteed. 'Prakari in true sense, is not found in these two acts, which constitute vimarsa. It has been already pointed out that prakari is not an essential element of Vimarsa. The Abh. illustrates it by the doings of Kulapati in Krtya-ravana and of Lord Vasudeva in the Veni. But Krsna's doings are not confined to this part only. The Carvaka episode, strictly speaking, cannot be called a prakari. For, Carvaka appears on the scene with the express intention of duping the Pandavas. The playwright introduces the character of Carvaka towards the end of the play, most probably with a view to creating the marvellous sentiment in accordance with the dictum - "nirvahane kartavyo nityam hi raso'dbhutas tajnaih." N.S. XVIII. 94b. The incident of the carvaka may however, be regarded as a prakari, in a very loose sense in as much as it serves to bring out the deep affection and love of Yudhisthira and Draupadi for Bhima. The Nirvahana (or Upa-samhara or Samhara) has 13 (or. 14) sub-divisions : (1) 'Sandhi' - is coming up again of the bija that was indicated in the mukha sandhi. The NLRK. has artha' in place of sandhi and artha is defined as - "pradhana'rtho'paksepah arthah." The illustration of Sandhi is given from the Ratnavali. Vasubhuti and Babhravya seeing Sagarika who has been rescued from fire, strongly believe that she must be the princess Ratnavali. Thus what was stated in the Mukha sandhi about the bija is here repeated. Or, in the Veni. (Act. VI) Bhima, with his hand smeared with For Personal & Private Use Only

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"Dasarupaka-Vicara" 1731 Duryodhana's blood and about to tie up Draupadi's locks asks her whether she remembers the vow he tad taken that he would braid her hair only when the insult to her was avenged. Thus the braiding of Draupadi's hair, the bija of the play, is again alluded to here. (2) Nirodha (or Vibodha) is seeking for the end aimed at. Thus Bhima in the Veni (Act VI) who has been embraced affectionately by Yudhisthira after the annihilation of the Kurus asks Yudhisthira to release him for a moment as he has yet to braid Draupadi's hair. Yudhisthira permits him to go so that poor Draupadi can bind up at last her locks. This sub-division is designated by NLRK. as 'anuyoga'. (3) Grathana : is 'referring to a purpose held in view throughout.' Thus Bhima reminds Draupadi that she had been forbidden by him to tie up her dishevelled hair, as he had vowed to do it himself for her, when he had slain those who had subjected her to the indignity of untying her braid of her. (4) Nirnaya - is a narration to one's experience (with reference to the end or purpose). The speech of Bhima (Veni. VI. 39) which is addressed to doubting Yudhisthira illustrates this sub-division, for Bhima here describes his triumphant success in slaying Duryodhana and annihilating the Kurus and the acquisition of sovereignty over the world. (5) Paribhasana - is a speech censuring oneself by admitting one's faults. The speeches of Ratnavali and Vasavadatta at the close of the play where they censure themselves for their own improper behaviour illustrates this sub-division. The DR. and its followers define it as 'talking (of persons) with one another.' Their illustrations are, however, of the same kind given above. It is, therefore, clear that ordinary conversation is not meant by these theorists. (6) Dyuti - is pacifying of anger, jealousy, etc. The speech of Yaugandharayana at the close of the play Ratnavali, where he discloses his whole plot and pacifies Vasavadatta's anger and jealousy towards Sagarika and secures Sagarika for the king illustrates this sub-division. The DR. and its followers substitute Ksti for dyuti' and interpret it as (i) substantiation or confirmation of the result attained, or (ii) conciliation of each other (by the hero and the elder queen, who was earlier opposed to his acquisition of Sagarika) on attaining the object of one's desire. Krti, in the first sense, is illustrated by Krsna's address to Yudhisthira where he says that Vyasa, Valmiki and others have arrived for his coronation (Veni. VI. 24); "krti' in the second sense is illustrated by a passage in the Ratnavali (Act IV) where, on attaining Ratnavali, the king and Vasavadatta try to conciliate each other. For Personal & Private Use Only

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1732 SAHRDAYALOKA The ND. mentions the view of some that, 'dyuti' is 'persuation of a person who is already under your control but is unwilling to act up to your advice.' It is illustrated by a passage in the Mudraraksasa, where Raksasa is persuaded to accept ministership by Canakya. (7) Ananda is the 'attainment of one's desire'. The king in the Ratnavali is happy at the acquisition of Ratnavali, and Draupadi in the Veni., at the braiding of her hair by Bhima. (8) Samaya - is end of all misery or misfortune. The union of Vasavadatta and Ratnavali as sisters at the end of the play puts an end to their sorrows and sufferings. (9) Prasada is waiting upon (the hero or heroine) with a view to conciliating the anger of the offended person. Yaugandharayana who did not till the last moment take the king into his confidence regarding his plot requests him to forgive him, for what was done by him, without informing him (= the king). This speech of the minister illustrates 'prasada'. The ND. names this subdivision as 'Upasti'. (10) Upaguhana - is the experience of something wonderful. In the Ramab ayudaya, Sita repudiated by Rama enters fire. The God of fire brings her out safe. At this moment, all those present on the occasion are struck with wonder. This is Upaguhana. The ND. calls it by the name 'pariguhana'. (11) Bhasana - is speech accompanied by sweet words (sama), gift and the like (NS.). The ND. quotes a passage from the Mrcchakarika, where Sarvilaka, at the instance of Aryaka, confers favours on Carudatta, Vasantasena etc. to illustrate this sub-division. The DR. defines it as, 'the attainment of honour and the like', and illustates it by a passage from the Ratnavali (Act. IV. 21) where the king proudly refers to various achievements such as the acquisition of Sagarika and the like. (12) Purva - vakya is uttering words which were earlier used in the mukhasandhi. The ND. illustrates if by a passage from the Mudraraksasa (VII. 17) where Canakya says : "Let the bonds of all except those of horses and elephants be untied, I only having made good my vow, will tie up my tuft of hair", as it contains words which he had earlier uttered in the Mukha. Other theorists define it as the foreseeing of the object of one's desire. Thus in the Ratnavali, Yaugandharayana says to Vasavadatta, "Do as you please in the case of Sagarika, your sister." In this speech Vasavadatta foresees the Karya, the union of the king and Sagarika. For Personal & Private Use Only

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"Dasarupaka-Vicara" 1733 (13) Kavya-samhara is 'obtaining a boon' (by the hero etc.). When some very important character in a play says to the hero etc., "what further can I do for you?" We have this sub-division. This anga invariably precedes 'prasasti'. With this 'anga', as the objects of one's desire are attained in this sub-division, the play proper comes to its end. (14) 'Prasasti' is a prayer for peace to the king and the country and other good things. Veni. VI. 46 illustrates it : "May people live the full span of man's life free from misery and illness... May single-minded devotion to you prevail in the world, O Purusottama; may the king be loving towards the world." With reference to the sub-divisions of the Nirvahana, the ND. observes that all of them are very important as no specific rule is laid down regarding their comparative importance. But it says, further on, in the course of treatmen these angas that (1) Sandhi, (2) paribhasa, (3) Bhasana (4) Kavya-samhara and (5) Prasasti may be employed in the concluding part of the play. It adds that excepting sandhi, nirodha, grathana, purvabhava, kavyasamhara and prasasti, the rest of the sub-divisions may be used, if need be, in other parts of the drama. Usually, nirvahana covers a little portion only of the last act in a drama. The "Karya' is embodied in the closing portion and this final sandhi corresponds to 'phala"gama' stage of the action. The BP. (p. 205) observes : "sadhanatvad hi bijasya pratamam tad upaksipet, sadhyatvad eva karyasya sarva'nte tat prayojayet. a-vicchedaya raced bindum madhye tayor api." The portion in the Veni. beginning with the Chamberlain's identifying of Bhima, (p. 192) to the end of Act VI, constitutes nirvahana. The Karya in the present case is the slaying of Duryodhana. This Karya is embodied in Act. VI. 37, where Bhima informs us that he has fulfilled his terrible vow (of slaying Duryodhana that very day). Veni. VI. 42 comprises phala"gama as the braiding of Draupadi's hair, is shown here to be accomplished. For Personal & Private Use Only

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1734 SAHRDAYALOKA Observations on the Number. Names and Definitions of the Sandhyangas : (p. 104. Dr. Kulkarni) Dr. Kulkarni has done a marvellous job in putting this section in his article. He observes : It is easy to dismiss these subdivisions of the sandhi-s on the ground that to follow their description "would be to exhaust any patience except Hindu", or that, "The definitions and the classifications are without substantial interest or value." The study of these sub-divisions however, reveals the theorist's distinct power of subtle analysis of the variety of dramatic incidents (interpreted broadly enough to cover mental processes as well as external events) which the sanskrit drama presents. The dramatic incidents enumerated as sixty-four, really speaking, 'have no limits except those of imagination and dramatic effect.' This is the remark which the ND. makes : (p. 101) - "sarvasandhisv api matantarani, vrddhoktarvad, bhanitibhedad, vaicitryasya ranjakatvac ca, pramanany eva. ata eva sarvasandhisv api anga-sankhyakaranam udaharana-param drastavyam iti." All the authorities agree that the number of the sub-divisions of the mukha, pratimukha, the avamarsa and the nirvahana is 12, 13, 13 and 14 respectively. The NS., as interpreted by Abhinava, The NLRK., the ND., and the SD. give 13 subdivisions of the garbha, whereas the DR, the BP., the PR. and The RS. give 12. The total number of the sub-divisions according to the DR. and its followers is 64, which agrees with their total number given by the NS. The total number of the subdivisions as enumerated by Abhinava and his followers, comes to 65. The DR. and its followers make the total 64 by omitting one sub-division of the Garbha called "prarthana". Abhinava and his followers arrive at the total 64 by excluding 'prasasti'. (The last sub-division of the nirvahana) which is of the nature of benediction, and like nandi cannot be regarded as a part of dramatic story. This point of view stands to reason as with the 13th sub-division of the nirvahana named kavya-samhara', the play proper comes to its end. The names, definitions and interpretations of the anga-s, barring some exceptions are essentially the same. The two angas, karana and bheda of the Mukha are variously interpreted. Vidhuta, tapana, (sama is recognised instead of it by the DR.), narmadyuti, upanyasa, and varna-samhara, - these sub-divisions of the pratimukha are differently interpreted and illustrated by various theorists. The -division "pragayana" of the sandhi is called 'pragamana' in the DR. The nature of the two is essentially the same. Rupa, Krama, aksipti (utksipta, aksepa) and abhibala - the sub-divisions of the garbha are variously interpreted. Vidrava of the For Personal & Private Use Only

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"Dasarupaka-Vicara" 1735 NS. is called 'sambhrama'. by the DR., and the 'prarthana' of the garbha is not recognised by the DR. Instead of Kheda, Pratisedha and Chadana of the avamaria in the NS., The DR. gives drava, vicalana and Chalana. Chadana of the NS. and chalana of the DR. are essentially the same as is clear from their definitions and interpretations. The remaining two of each group have nothing in common except that they belong to the same sandhi. Vyavasaya, prasanga, virodhana, chadana and prarocana of this avamarsa are differently treated by different theorists. The two angas, - nirodha and dyuti of the nirvahana given by the NS. are called vibodha (virodha) and krti by the DR. But their definitions and interpretations are nearly the same. The purva-vakya of the nirvahana (NS.) is called "purva-bhava" by the DR. The interpretations of the Abh., and the DR. regarding it differ. Although some of the sub-divisions such as kheda (= srama), udvega, vitarka vidrava (sambhrama) are of the nature of transitory feelings, they are so described with a view to impressing on the mind of the dramatist that they aught to be used, if the occasion demands, for developing particular rasa-s etc. The A.bh. III. p. 55 reads - yady api sram'odvega-vitarka-lajja-prabhitayo vyabhicari-varge purvam uktas tatha'py ete saty avasare'vasyaprayojyah prag uktaprayojanartha-siddhaye, te prthak-prayojanatvat sandhyangatveno'kta mantavyah. The ND. (p. 97) almost repeats this : "yady api sramo'dvegavitarka"dayo vyabhicari-madhye laksayisyante tatha'pi rasa-visesa-pustyartham sandhyanga'vasarepi laksyanta iti." The ND. observes, elsewhere, that the 'Sandhyangas' should be regarded as of the nature of the dominant emotions, the determinants, the consequents and the transitory feelings : "angani ca sthayi-vibhava'nubhava-vyabhi-cari-rupani drastavyani." (p. 115). (This means that like gunas, alamkara-s, laksana-s or any other concept these sandhanga-s are also meant for the cause of effecting rasaexperience.]" Dr. Kulkarni further observes (pp. 106) that - A scrutiny of the definitions of certain sub-divisions, e.g. sangraha and bhasana shows that they overlap. The A.bh. III. p. 59 observes : yadyapi tad arthe'pi sangrahakhyam idam angam uktam tatha'pyatra sthane'vasyam prayoktavyatam khyapayitum punar upadanam sabdantarena ca." - The same examples are cited by different authorities to illustrate different angas. This phenomenon can easily be explained if we remember that their definitions of those anga-s differ. The names and definitions of some anga-s which differ from the NS. are satisfactorily explained by the fact that various authorities had different versions of the NS. before them when they wrote For Personal & Private Use Only

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1736 SAHRDAYALOKA (Even the presentation of these in the G.O.S. and one in Dr. Unni's edn. differ, as could be seen by our full references to these as given above.] Most of these variant readings are noted in the foot-notes to the NS. Lastly, these sub-divisions of the five sandhis appear to be derived by an analysis of plays with love or the heroic sentiment as the ruling motive, especially the former. This is clean from the names and definitions of sub-divisions in the pratimukha such as, vilasa, vidhuta, sama (for tapana), narma and narma-dyuti. It is, therefore, a case of misdirected ingenuity to say that all sub-divisions of the sandhi-s are present in the Mudraraksasa which is wholly a play of political intrigue and in which the element of songara is totally absent. a clearly adds that in a play based on the Vira' sentiment 'vilasa', by 'upalaksana' stands for 'utsaha'. 'Narma' and 'narma-dyuti' sub-divisions are to be employed in plays with love as principal sentiment as is rightly observed by the ND (p. 76). So these anga-s as understood by the NS. cannot occur in plays like the Mudraraksasa." The observations made by Dr. Kulkarni are not only critical and analytical but also absolutely sound. With great respect for Dr. Raghavan, we will go to observe later that, he has also made useful suggestions while studying Bhoja's position which also we will look into later, but Dr. Raghavan's achievement in this direction is not of the same class or standard as that of our Guru Dr. V. M. Kulkarni, though of course, it is not mean by itself. We will first present, - in view of our close first hand study of the topic as revealed by all the useful quotations from relevant texts as given by us earlier and also in view of what Dr. Kulkarni has observed - the following neat conclusions concerning the sandhvanga-s : (1) The Sandhyanga-s, like the concepts of alamkara-s, laksana-s and even guna-s to an extent, are only accidents' and not 'essentials' of both drama and also poetry (as will be observed by Bhoja.). We have included guna-s also in the list because even the guna-s are not absolute 'nitya' dharma-s as they are made out to be. Anandavardhana has observed that normally 'ojo-guna' is associated with the vira rasa. But in the verse viz. "yo yah sastram bibharti..." from the Veni., even in the absence of ojas, and simply by the presence of prasada the suggestion of vira-rasa is effected. So, the sandhyanga-s are more of accidents then of essentials with reference to both drama and poetry. For Personal & Private Use Only

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"Dasarupaka-Vicara" 1737 (ii) The Sandhyanga-s are used in a play with the sole objective of rasadelineation, the principal rasa could be any, either songara, or vira, as illustrated by all theorists led by Abhinavagupta, or any other rasa. Aesthetic enjoyment or rasa-experience is the sole object of any art and the poetic and the dramatic art are no exceptions. So, the sandhyanga-s are also means-only means, and just one among many - to effect rasa-experience. The avaloka explains them along with sandhi-s as, "prayojana-siddhi-hetavah. For us this 'prayojana' is one and only and it is rasa-experience for the Samajika. Abhinavagupta had explained that in Bharata's observation viz., "kavyartho rasah" the word 'artha' stands for 'prayojana' and not abhidheya. - [Abh. : artha sabdah prayojana-vaci (natv abhidheya-vaci)] : Thus the sole 'prayojana' of any art, including the art of drama is "rasa". Sandhyangas are therefore meant for rasa-effect only. (iii) The numbers in a given sandhi varies. The names also vary. (iv) At times different names carry the same idea or concept and at times the same name works for different concepts. (v) For us, an attempt therefore to trace all the sandhyanga-s in a single play is foolhardy. We denounce Dhundiraja and Vidyanatha (PR.) and Singa-bhupala as. only mad-caps. (vi) As observed by Dr. Kulkarni theorists have tried to trace sandhyangas from plays with love or heroism as central theme. We may add that in view of the other types of drama as recognised by Indian theory, such as the Bhana, Prahasana, Ihamtga, samavakara, etc., not to mention any number of upa-rupaka-s, and to this other varieties of poetry also could be added, - the number of Sandhyangas is bound to swell. And why think of the Sanskrit heritage only. Taking into account the plays written to-day in all Indian languages and also in English, French or any other modern foreign language, and also taking into account the "absurd theatre", the number and varieties of the sandhyanga-s is bound to swell beyond any imagined limits, as the intension for their use is simple, clear and just one - to make a dramatic piece relishable. Elsewhere we have attempted to show that no art, and certainly not the poetic and dramatic arts, can have any other goal except effecting rasa-experience, which understood in its most catholic sense covers up everything. After all these Sandhyangas are only various devices to add colour and beauty to a play or poetry; they are agents of beauty and newer and newer devices, like innumerable varieties of dhvani can be arrived at in this form also by artists with For Personal & Private Use Only

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1738 SAHRDAYALOKA newer and newer vision. Like hundred thousand daffodils, or like hundredthousand varieties of dhvani, the sandhyanga-s also can be as many, yes, accidental of course, but a device or source of beauty to be sure. (vii) The Sandhyanga-s by and large also should be termed alamkara-s or beautifying agents as is indicated by the great Dandin - (Kavyadarsa, II. 367, pp. 312, Edn. B.O.R.I.) When he observes : "yac ca sandhyanga-vstiyangalaksana"dy agamantare, vyavarnitam idam ca istam . alankaratayaiva nah." Thus all sandhis, and all sandhyangas, yrttis and vrtiyanga-s, laksanas and other concepts are alankaras or beautifving devices for us. - The "prabha" (pp. 312) observes : "yacceti". sandhayah mukha-pratimukhe - garbhah sa'vamarsotha samhstih iti panca. tesam angani-upaksepah, parikarah, parinyaso, vilobhanam, iryadini catuhsasthi-samkhyakani. vittayah - "srngare kaisiki vire satvaty arabhati punah, rase raudre ca bibhatse vsttih sarvatra bharati." iti. niyata-sthanas catasrah, tasam angani-narma-tat-sphurjatas sphota-tadgarbhais catur angika, ity adini sodasa. laksanani bhusana'ksara-samghata"dini sat trimsat. adina naryalamkara"dinam grahanam, etat sarvam agamantare bharatamuni-pranita-natyasastre vyavarnitam, vistarena kathitam. tad idam nah alamkaratayaiv estam. tatra kesamcit svabhava"khyana"dau antarbhavah, kesam cit bhavike iti yathayatham visaya'nurodhena jnatavyam." (viii) These Sandhyanga-s therefore are wider in scope so as to include even vibhava"di-s, and other things also as also observed by the Narya-darpana which presents a more balanced, mature and more logical approach to concepts of dramaturgy as compared to the DR., not to talk of the B.P., NLRK. or RS. The ND. has very interesting observations such as - "sarva-sandhinam ca angani itivrtta-a-vicchedartham upadiyante. itivrttasya avicchedas ca rasa-pustyarthah. vicchede histhayya"destrutitarvat kutastyo rasa"svadah ? tato rasa-vidhanaikatanacetasah kaveh prayatnantara-anapeksam For Personal & Private Use Only

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"Dasarupaka-Vicara" 1739 yad angam uijsmbhate, tad eva, upanibaddham sahrdayanam hrdayam anandayati. angani ca sthayi-vibhava-anubhava-vyabhicari-rupani drstavyani. amisam ca sva-sandhau sandhyantare ca yogyataya nibandhah. yogyatam ca rasanivesaika-vyavasayinah prabandhakavayo vidanti, na punah sabdarthagrathanavaicitrya-matronmadisnavo mukta [ka]-kavayah. tena ekam apy angam rasa-posakatvad ekasminn api dvis trir va nibadhyate. yatha venisamhare sampheta-vidravau punah punar darsitau vira-raudra-rasav uddipayatah. ratnavalyam ca vilasah punah punar ukrah srngaram ullasayati. atah param api nibandhas tu vairasyam avahatiti. tatha anga-dvayena sadhyam yadi ekena eva siddhyati tad ekam eva nibadhyate. yatha Sri. bhimadeva-sunoh vasunagasya krtau pratimaniruddhe parikararthasya upaksepena eva gatarvat na tannibandhah. evam anga-trayena'pi. yatha bhejjala-viracite radha-vipralambhe rasakanke parikara-parinyasayor upaksepenaiva gatatvan na tan nibandhah. evam paraspara'ntarbhave catur ango'pi kva'pi sandhir bhavati." This means that all the limbs of all the junctures are employed only with an aim of the continuation of the theme or plot. Continuation of the theme has nourishment of rasa as its goal. If there is non-continuation or break, the (delineation of) sthayins etc. will break up and in that case how can rasa he relished ? [What follows now in the ND. seems to be directly under Anandavardhana's influence.) So, for a poet who was focussed only on rasadelineation, only that anga is to be used which delights the hearts of the sensitive souls. The anga-s are to be viewed as sthayin-s, vibhava-s, anubhava-s and vyabhicarin-s. (This either means that anga-s are to be treated and respected as sthayin-s etc., or that they also serve as, or stand for sthayin-s, etc.) These limbs are to be employed not only in the respective junctures they belong to, but also in other sandhi-s as well. following propriety. This means the sandhyanga-s are not weded to respective sandhi-s only in the fashion of a Hindu marriage ! What propriety is, is known to the great rasa-oriented poets who compose big compositions, and is not known to poets who pride only over small compositions having the beauty of pleasant delineation of word and sense only. So, observes the ND., even a single anga, due to its capacity to nourish rasa, can be employed even twice or thrice in a single sandhi. The example is the Veni. in which, Sampheta and Vidrava are employed again and again and make for the suggestion of vira and raudra rasa-s. Similarly in the Ratnavali, 'Vilasa' is the limb, For Personal & Private Use Only

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1740 SAHRDAYALOKA employed again and again, which takes care ngara-enhancement. But employment beyond this (= beyond the line of propriety and effectiveness), makes for an ebb in rasa-experience. Again, if one limb can secure an effect that is caused by the employment of two anga-s, then only one is to be employed. In Vasunaga's Pratimaniruddha, 'Upaksepa' removes the necessity of another anga, viz. Parikara. This is the case with a group of three also. In Radhavipralambha, a Rasaka'nka, composed by Bhejjala, both parikara and parinyasa are rendered useless by just the employment of 'Upaksepa'. Thus, when angas are accommodated mutually in one another, at times a sandhi is seen to have four anga-s only. (ix) The ND. is of the opinion that the 21 sandhanga-s' (i.e. the sandhyantaras) such as sama, bheda, etc., enumerated by others are also rendundant as some of them are of the form of sandhyanga-s, some such as 'mati' etc. are of the form of vyabhicarins, some like duta, lekha, etc. are of the form of itivrtta, still others can be accommodated under 'upaksepa' etc. So the ND. finds it futile to attempt their separate definitions. Thus the employment of sandhanga-s along with their individual concepts entertain a variety in approach by theorists and one feature emerges in common that whatever their form, they are just beautifying devices, alamkaras so to say, which when employed with a view to rasa-nourishment only, add colour to the composition like upama of Kalidasa, and tend to become an integral portion of a composition, but otherwise they tend to be a burden only in the hands of poets without imagination. (x) As Bhoia says this sandhyanga-s are formed in any form of literature, Bhoja : We will now look into what Bhoja has to say about the sandhanga-s. We treat Bhoja separately as he has always something different and fresh to convey, though here in case of the Sandyanga-s he chooses to follow the N.S., as will be observed by Dr. Raghavan, the greatest authority on Bhoja. We will also quote m Dr. Raghavan at length and as done earlier, will pass dissenting note if any, of course showing due respect to Dr. Raghavan. First we will quote from Bhoja's Ss. Pra. the relevant lines treating the sandhyangas. Bhoja has counted in all three sets of '64', and third of them forms the enumeration of 64 Sandhyanga-s that read as follows: Vol. II Sr. Pra. pp. 504 (Edn. Josyer) reads as follows, beginning with the aims or purpose behind the concept of 'sandhyanga' - accepted from Bharata : For Personal & Private Use Only

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"Dasarupaka-Vicara" 1741 atha trtiya sandhyanga-catussastir ity acaksate - sandhinam yani vrttani punar uktani purvasah, su-sampad-guna-yuktani tanyangany aparadhayet. (G.O.S. NS. XIX. 50 with variant) istarthasya racana, vstantasya'nupaksayah, anuraga-prayogasya guhyanam ca niguhanam. ascaryavad adbhikyanam prakasyanam prakasanam, anganam sad-vidham hy etad drstam sastre prayojanam. anga-hino naro yasca naiva"rambha-ksamo bhavet, angahinam tatha karyam na prayoga-ksamam bhavet. (NS. XIX. 53, G.O.S.) kavyam pada-vihina'rtham samyag angaih samanvitam [diptatvat tu prayogasya] so] bham eti na samsayah. (XIX. 55) udattakaryam yat tatra syad angaih parivarjitam, hinarvad hi prayogasya na satam ranjayed manah. (XIX. 54) [The NS., G.O.S. Edn. has shown certain readings in the foot-notes, pp. 33, Vol. II, which are accommodated in Bhoja's text.) The next verse, XIX. 56, shown in [ ] by the editor is read in the body of the text by Bhoja. It reads as - "tasmat sandhi-prayogesu yathakavyam yatha-rasam, For Personal & Private Use Only

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1742 SAHRDAYALOKA karyany angani tesam tu pravibhagah pradrsyate." (pradarsyate) - NS. XIX. 56 "aksepas ca parikarma parinyaso vilobhanam, yukih Praptih samadhanam vidhanam paribhavana. (NS. XIX. 57) udbhedah karanam bhedah." With this Bhoja stops quoting from the NS. and just enumerates the anga-s of all the sandhi-s in prose - (pp. 504, 504, ibid) These lines read as - "mukha-sandhau dvadasangani. = The anga-s of mukha-sandhi, twelve in number, are enumerated (as above). For 'upaksepa' and 'parikara' the verse quoted -above in Bhoja reads "aksepa' and 'parikarma', though while treating them individually he again gives the names as, 'upaksepa' and 'parikara' and quotes the definitions read exactly in the NS. So, Bhoja proceeds - vilasah, parisarpa, vidhuta, tapana, narma, narmagarbhah, narma-sphotah, narma-dyutih, paryupasanam, puspam, vajram, varnasamhara iti - pratimukha-sandhav api dvadasangani (For narma-garbha, narmasphota, the NS. has pragayanam and 'nirodha'.] But in the treatment with illustrations Bhoja follows the NS. Bhoja has 'prasamanam' for 'pragayanam'. 'Nirodha' is also treated by Bhoja. It seems that 'narma-sphota' and 'narma-garbha' are misplaced here by Josyer, the editor. Bhoja reads further - "abhuta"haranam, margah, rupam, udaharanam, kramam, samgrahah, anumanam, prarthana, aksiptih, totakam, adhibalam, udvega iti. [We should add 'vidravah' after 'udvegah' and before 'iti', to make for 13 limbs of the garbhasandhi, following the NS. Bhoja has different names or readings in the explanation and illustrations that follow - Thus he has 'samksipti' for aksiptih, satyam for margah, and he adds 'vidravah' at the end, which is not read above as 13th anga.) Bhoja proceeds - "vidravah"... Actually this should have been read before 'iti' garbha-sandhau trayodasangani. Bhoja has - 'vidravah, then - "apavadah samsphotah (for samphetah, NS.) saktih, vyavasayah, prasangah, kantih, khedah, pratisedhah, virodhanam, adanam For Personal & Private Use Only

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"Dasarupaka-Vicara" 1743 sadhanam, prarocana iti vimarsa-sandhav api trayodasangani. (NS. has 'vidravah' after 'sampheta'. Bhoja reads it in the beginning. For 'kantih' NS. has 'dyutih' which is read in his further treatment by Bhoja. Bhoja reads : "visesanam, dyutih, prasadah, ananam, samayah, upaguhanam, bhasanam, purva-vakyam, vakya-samharah, prasastir ityadi, nirvahana-sandhau caturdasangani. Bhoja has an interesting remark at the end - (pp. 505) - saisa sandhyangacatussastir nataka"disu mahakavya"disu ca purna-sandhya"disu nibandhaniyani. prati-sandhi ca yany angani pathitani tayatam eva kramena nibandhah karva ity esa pracurah prayogah, samvidhana-vasac ca, nyunadhika-bhavena, vyutkramena ca prayoga ity etad apy avagantavyam iti. It may be noted that while attempting definition of individual sandhyanga, Bhoja follows, mostly, the sequence and definitions as given in the NS. At times variants read in the foot-notes in the NS. are read by Bhoja in the body of his text. This we will try to clear in the comparative table to be given by us at the end of this treatment. One thing emerges clearly that Josyer has not taken care to correlate the names of sandhyanga-s read in Bhoja first in enumeration and then in definitions and illustrations. Dr. Raghavan has ignored the '54 - text of the G.O.S. while publishing his magnum opus "Bhoja's Sr. Pra.", for reasons best known to him, for it is absolutely clear that the G.O.S. Edns present better readings and better foot-notes showing variants, as compared to the edn.s of the NS. consulted by Dr. Raghavan. This is very sad. The G.O.S. Edn. was available to Dr. Raghavan but he chose to ignore the same to his own disadvatage. Now we will quote from Dr. Raghavan at length, but a most interesting and comparative study of Bhoja and the A.bh. has to be attempted by us in near future, but not at this moment. We will try to indicate something in this direction in the table showing comparative details later. Dr. Raghavan writes : (pp. 593; Bhoja's Sr. Pra., ibid) - (We do not know which edn. Dr. Raghavan is referring to. We have only Josyer's Edn. with us. But we will keep the page numbers as mentioned by Dr. Raghavan as they are while quoting from him) : "The Sixty-four sandhyangas : Bhoja deals with the 64 sandhyanga-s on pp. 490-524. The section opens with a few verses on the Sandhyanga-s in general, their For Personal & Private Use Only

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1744 SAHRDAYALOKA nature and purpose, all culled from the same context in Bharata (Kasi Edn. Ch. XXI. 52-58). The text of Bharata itself gives the sandhyanga-s as 64 and it is this number of 64 that is responsible for Bhoja making up a regular set of three other '64-s'. The definitions of all these 64, of each in a single line in an Anustubh, is taken from Bharatal and all the illustrations are either from the Ratnavali or from the Venisamhara, most often, the angas are illustrated from both these dramas. [foot-note 1, on pp. 593, Raghavan, reads as - "Regarding the total number of Sandhyanga-s, there is a discrepancy to which Dr. J. K. Balbir, drew my attention, viz. that though Bharata mentions the Sandhyanga-s as sixty-four, he actually enumerates and defines sixty-five. The Abhinavabharati notes this and say (p. 526, Vol. II. Madras MS. - that Prarocana of the Vimarsa sandhi or the very last, 'prasasti of the Nirvahana, is left out by writers to solve this difficulty. The Dasa-rupaka leaves out 'Prarthana' from the Garbha, and the Natyadarpana notes the view that some consider 'Prarthana' from the Garbha, and the Natyadarpana notes the view that some consider 'Prarthana' as a later introduction (p. 85). The Sahityadarpana also refers (VI. 98-99) to those who leave out either prarthana or Prasasti. Bhoja in his Sr. Pra, keeps all of these, but omits 'upanyasa' of the Pratimukha. (Vol. II. p. 502).] [It may be noted that in the list quoted above by us from Josyer, there is no space for 'upanyasa', in the pratimukha-sandhi, having 12 limbs. 'Upanyasa' in the name of 'upaksepa' figures in Mukha in the NS., and Bhoja called it 'aksepa' in the enumeration and then 'Upaksepa' while giving definition and illustration. We do not know what text was before Dr. Raghavan. Again, we are surprised to read that Dr. Raghavan required some Dr. Balbir's help to know about the discrepancy. Had he looked into the A.bh., it would have been clear without the help of any assistant.]. Dr. Raghavan continues : "The Sandhyanga-s are very well explained by Abhinavagupta in his commentary on the NS. and to an extent, in his Locana on the Dhvanyaloka also. It has been pointed out in my contribution on Laksana, how Bharata takes the text of drama as kavya, poetic expression, and how this significant expression kavya means that the Laksanas, Gunas, Alamkaras, and Sandhyanga-s belong as much to Sravyakavya also. While speaking of the sandhyang-s also, Bharata uses the word kavya at a number of places - "anga-hinam yatha kavyam na prayoga-ksamam bhavet." (XXI. 55) "kavyam yad api hinartham, uddatam api yat kavyam." (XXI. 56, 57, etc.) For Personal & Private Use Only

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"Dasarupaka-Vicara" 1745 The Sandhis or the junctures form the various stages of the coming together of the five Arthaprakrti-s and five avasthas. (Dr. Raghavan seems to follow here the wrong equation advanced by the DR. If only he had looked into the ND. he would have changed his view.] Any action or event must pass through these five avasthas, whether it be common worldly activity, or action in a novel, poem or drama. An activity as such must necessarily have a beginning, a development, an impediment, a set-back (The last two may not be there always, and mention of worldly activity is not needed here, for it is consideration of a play, an art-form.], success over obstacles, redoubled force and final fruision. Bharata says of the avastha-s - sarvasyaiva hi karyasya prarabdhasya phalarthibhih, yatha'nukramaso hy etah panca'vasthah bhavanti hi. See Locana on Dhv. pp. 149-150. Bhoja realises this and holds these Sandhyanga-s etc., as common to drama and poetry. He says of all the four sets of '64' - angas dealt with in the 12th Chapter that, - "udahrta nataka-natika"dau iyam catuh-sasti-catustayi ya, rasa'virodhena nibandhaniya kathasu kavyesy ca sa mahadbhih." (pp. 553, Vol. II. St. Pra.) (pp. 564, Edn. Josyer Edn.) Of the sandhyanga-s in particular, he says on p. 491 (pp. 505, Josyer Edn.) "Saisa sandhyanga-catussastih; nataka"disu, mahakavya"disu ca purnasandhya"disu nibandhaniyani, pratisandhi ca yany angani." [We may note that the ND. is perhaps prompted to call the four i.e. nataka, prakarana, natika and prakarani, to be "purna-dasa-sandhini rupakani, seeking inspiration from Bhoja.] At the end of the S.K... (p. 647), Bhoja takes a muktaka verse on love and shows how even a small event and a mere idea has these five stages of Mukha, etc. The verse taken is - "katham api kita-pratyasattau priye skhalitottare." For Personal & Private Use Only

Page #571
1746 SAHRDAYALOKA On p. 458, Vol. II, XII, Bhoja says in his Sr. Pra. (= pp. 485, Josyer Edn.) ete tu sandhayah karyah natakesu prayoktpbhih, tatha prakaranesv evam kathasv akhyayikasu ca mahakavyesu campusu tathaiva"khyanakesu ca. On p. 573-4 Vol. IV. Sr. Pra. Bhoja says that he will. illustrate the five sandhis by a single sloka and he does so with the same ve krta...." etc. Bhoja realises that all these are after all means to delineate Rasa and that these are not ends by themselves, to be introduced with zest and loyalty to the text of - Bharata, when he says in the end, "rasa'virodhena nibandhaniyah" (of course, under Anandavardhana's influence). It is not laid down that all these 64 and all of them in the same order, should be seen to be present in dramas of all kinds. Says Bhoja briefly on p. 406 - (pp. 505, Josyer Edn.) - "prati-sandhi ca yany angani pathitani tavaram eva kramena nibandhah karyah ity esah pracurah prayogah. Samvidhanaka-vasac ca nyuna'dhika-bhavena vyutkramena ca prayoga ity etad avagantavam. iti." Bharata himself gives the caution and says : These are the anga-s and the poet must utilize them with his eye on rasa and bhava; he may have all of them sometimes or he may omit one or two or three; he must introduce them in accordance with the purpose on hand and the situation. ityetani yatha-sandhi karyany angani rupake, kavibhih karya-kusalaih rasa-bhavam aveksya tu. sarvangani kadacit tu dvi-tri-yogo na va punah, jnatva karyam avastham ca, yojyany angani sandhisu. N.S. XXI. p. 206-7. For Personal & Private Use Only

Page #572
"Dasarupaka-Vicara" 1747 Anandavardhana pays special attention to this point (already mentioned by us earlier) while speaking of prabandha-rasa-dhvani and rasaucitya ini uddyota III. He says : Sandhi-s and sandhanga-s are to be harnessed for the main object of developing the theme or rasa; they are not to be adhered to with the sole idea of devotion to Bharata's text. "sandhi-sandhyanga-ghatanam rasabhivyakty apeksaya, na tu kevalaya sastra sthiti-sampadanecchaya." Dhv. III. 12. Anandavardhana explains this point on pp. 148, and 150 and cites counterexample of the Venisamhara introducing Vilasa' inappropriately for the sake of following faithfully all that has been given in the text as anga-s. Vilasa, as such, like 'narma' belongs to kaisiki vitti and Srngara-Nataka-s. In those drama-s such angas will occur not once, not in the only one place where they have been enumerated, but often. In plays of fight such anga-s of arabhati as sampheta and vidrava will occur often, these will have no place in plays where they are not needed to develop the theme and rasa. Therefore, it does not hold good that sandhyanga-s are only so much as 64 in number; Bharata's list must be taken as indicating what the angas are, all possible situations and incidents are not exhausted by these. Though this point as such has not been pressed expressly by any writer, it has been pointed out by most dramaturgists that some anga-s may be left out and that the order of these may be otherwise also, changed to suit the needs of the dramatists. [Actually we have already indicated this in our observations earlier and we may quote Dandin, though observed in another context by him but also applicable here, that, "kas tan kartneyena vaksyati ?"). In the above given quotation from Bhoja's Sr. Pra., we find Bhoja saying that the general rule is that all anga-s appear at their given places in the same order; but it must be understood that contexts need, not only omission of some, but also a change in the order. It must also be pointed out here that one anga will appear more than once, if need be. Udbhata did not realise this and seems to have said that the anga-s of the sandhis must appear in their given places. Abhinavagupta says in his A.bh. "tena yad udbhata-prabhitayah anganam sandhau krame ca niyamam ahuh, tad ukta"gama-viruddham eva." - Vol. II. pp. 514, Mad. MS. [It is surprising that navan does not look into the printed A.bh. in the G.O.S. Vol.s.; Sad.) (Same is the case with 'Locana'). For Personal & Private Use Only

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1748 SAHRDAYALOKA The point is found emphasised more elaborately in an anonymous MS. in the Madras Govt. Oriental Ms. Library giving some excellent treatment of topics of dramaturgy. The work is well acquainted with the A.bh. It says: . "esam ca anganam munina laksane ya upattah kramah sa kavibhih nibandhane na upadeyah. yat punar udbhata-prabhrtayah anganam sandhau krame ca niyamam ahuh, tad bharata-mata-viruddham eva. tatha hi, "sampradharanam arthanam yuktir ity abhidhiyate" iti yan mukha-sandhau pancamam angam tat sarvesu sandhisu tavan nibandhayogyam. na ca tatha nivesyamanam a-drsta-dosakrt. na ca laksye na drsyante. Venisamhare hi prathame'nke mukha-sandhau nibaddha... tatha totiye'nke garbha-sandhau ca drona-vadhe vstte duryodhana-karnayoh mahati sampradharane nibaddha... na ca'tra pritivyutpattyoh ksatih. pp. 56-57, R. 5171, Mad. Ms. Thus, some of the anga-s pertain to more sandhi-s than one in which they are given; in the same sandhi also, some may occur again, that it, anga-s can appear wherever necessary. The niyama or rule of the given order does not apply to these cases. But the author realises that there are certain major anga-s that can neither be left out in any kind of play nor can be possibly changed to other places. As for instance, the first anga of the first sandhi, Upaksepa, the sowing of the seed, cannot appear anywhere else except in the beginning nor can it disappear altogether. The MS. says further - kanicid angani svarupa... (ni) yamabhanji. yatha upaksepah mukha sandhav eva, prathamam eva ca. na hy anuksipte vastuni kincid api sakya-kriyam. It further says that some can be omitted : esu ca kanicit avasyayojaniyani, kanicit tu upeksyani. yat tu 'catuh sastyangasamyuktam' iti munivacanam, tena sambhava-matram esam darsitam. Above all sandhyanga-s are not 64 only. The fact that a supplementary list grew up under the name sandhyantara, such as, sama, bheda, etc., shows that the incidents are too infinite to be exhausted by 64 items. The annonymous MS. then points out the intimate relation between the sandhyanga-s and Bhava and Rasa (p. 58). Such anga-s as prasada and ananda are directly related to bhava-s; narma and narma-dyuti pertain as anga-s to the Kaisiki vrtti which is inseparably fused with the srngara rasa. Similarly we find sampheta and vidrava of the arabhati vrtti, adhibala, a vithy anga, prarocana an anga of the bharati vrtti among the sandhyanga-s. For Personal & Private Use Only

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"Dasarupaka-Vicara" 1749 In my contribution on Laksana referred to previously, I have dealt with the relation between the sandhyanga-s and the laksana-s, of how certain writers hold the laksanas to be similar to sandhyanga-s and how, as a matter of fact, some of the laksana-s are identical with some sandhyanga-s, even as there are laksana-s which are identical with bhava-s and alamkara-s." With this we end our long quotation from Dr. Raghavan. As noted above, as compared to Dr. Kulkarni's thorough and painstaking, critical observations, Dr. Raghavan's presentation to us, seems lesser. He has not even taken care to look into Bhoja's treatment of individual laksanas with illustrations from various plays. We will however now attempt to give a table of sandhyanga-s along with the mention of which author recognises which, and in what name, along with definitions cited from all authorities and also critical comparative remarks, if any Dr. Kulkarni has done a marvellous job and we will just make a modest attempt to supplement the same in our table : It may be noted that we will take the NS. (G.O.S. Edn.) for the enumeration and order of Sandhyanga-s as the base and look into the DR., Sr. Pra., N.D., B.P., PR., NLRK, RS. and the S.D. - on the chronological order relying on Dr. De's "Sanskrit Poetics". A Comparative and Critical table of the Sandhyanga-s i Mukha-Sandi : (1) Upaksepah : This is recognised by NS., DR., Sr. Pra., ND., B.P., PR.; NLRK; RS., S.D.; N.S. defines it as : "kavyarthasya samutpattih upaksepa iti smotah." (p. 38, Ch. XIX. G.O.S. Ed. sloka - 69b.) DR - bijanyasa upaksepah - (I. 27, a; p. 20 Adyar Edn.) Sr. Pra. "kavyarthasya samutpattir upaksepa iti smstah." (Sr. Pra. XII. pp. 505, Josyer Edn.) This is from the NS. - Normally Bhoja quotes exactly from the NS., however, on pp. 504, in enumeration the reading is - "aksepas ca parikarma... etc." ND. "bijasyo'ptir upaksepah" - (I. 43, pp. 108, Edn. Delhi Uni. Delhi, Visvesvar Pandit) BP. - "bijanyasa Upaksepah" - (pp. 208, line 12, G.O.S. Edn.) For Personal & Private Use Only

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1750 SAHKDAYALOKA This follows DR. Normally DR. is followed by BP. PR. - "bijanyasa upaksepah" - (pp. 78, Madras Edn. Edn. Sastrigal) This follows DR. & BP. (Nataka-prakarana.) NLRK. - "tatra kavyarthotpattir upaksepa)." (pp. 56, Karika 71, Edn. Chowkhambha SKT. Samsthan, Babulal Shukla) RS. : "upaksepastu bijasya sucana kathyate budhaih." (III. 32b) (Edn. Trivendrum, T. Ganapati Shastri) SD. "kavya'rthasya samutpattir (S.D. VI. 83, p. 360, Edn. Chaw. Skt. Sam. With 'Laksmi tika) kavyarthasya samutpattih upaksepa iti smotah." (2) Parikarah : This is recognised by NS., DR. Sr. Pra., ND., BP. PR., NLRK, RS. and SD. NS. "yad utpanna'rtha bahulyam jneyah parikaras tu sah." (pp. 39. XIX. 70a) DR. - 'tad bahulyam parikriya" (pp. 21, I. 27) The enumeration uses the term 'Parikarah', but the definition has, "pari-kriya". Sr. Pra. "samutpannartha-bahulyaj jneyah parikaras tu sah." (pp. 505) The enumeration has "parikarma", the definition has, "parikarah.' - This is not verbetim from the NS., but it is almost the same. ND. - "svalpa-vyasah parikriya" (pp. 109, I. 43) Ka. I. 41, in enumeration uses the term 'parinyasa', and definition reads 'parikriya'. B.P. - 'tad-bahulyam parikriya' - (p. 208, line 12) B.P. has 'parikara' in the enumeration, but 'parikirya' in the definition. This follows DR., verbetim. PR. "bijasya bahukaranam parikarah." (pp. 78) NLRK. "samutpanne'rthe yad artha-bahulyam sa parikarah." (pp. 57). This is followed by a quotation from the NS., as noted by the Editor. They do not mention G.O.S. Edn. They follow the Chow. Edn. "samutpannartha-bahulyam jneyah parikaras tu sah." (NS. XXI. 65) For Personal & Private Use Only

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"Dasarupaka-Vicara" 1751 This is read exactly so in the sr. Pra, which also seems to follow the same, i.e Chow. Edn.; NS. RS. - "Parikriya tu bijasya bahulikaranam matam." (pp. 216, III. 33) The RS. reads 'parikarah' in the enumeration and reads 'parikriya' in the definition. This almost reads like the DR. SD. "samutpannartha-bahulyam jneyah parikarah punah." (VI. 83 pp. 360) This follows the NS. (Chow. Edn.), as read in the sr. Pra., & NLRK., (3) "Parinyasah" - is recognised by - NS., DR., Sp. Pra., N.D., BP., PR., NLRK., RS. & SD. NS. - "tan nispattih parinyasah" (XIX. 706, p. 39) DR. - "tan nispattih parinyasah." (I. 27; pp. 21), This is from NS. sr. Pra, "tan nispattih parinyaso vijneyah kavibhih sada." (pp. 505, Ch. XII) This follows the NS., DR. ND. - "viniscayah parinyasah." (I. 43; pp. 109) This is the same as above, termed differently. B.P. - "tan nispattih parinyasah." (pp. 208, live 13) This follows the NS., DR. PR. "bija-nispattih parinyasah." (pp. 78) NLRK. - "tanninpattih parinyaso vijneyah kavibhih sada." (Ka. 73, pp. 58) This is NS., Sr: Pra., etc. RS. - "bija-nispatti-kathanam parinyasa itiryate." (III. 33; pp. 217) 'kathnam' is added and explained in the illustrations. SD. - 'tannispattih parinyasah." (VI. 83, pp. 361; This is NS.) (4) Vilobhana - is recognised by NS., DR., Sr. Pra., ND., BP., PR., NLRK., RS., & SD. NS. "guna-nirvarnanam caiva vilobhanam iti smetam." (XIX. 71, pp. 39) DR. - "guna"khyanad vilobhanam" (1. 27; pp. 21) This is almost the NS. Sr. Pra. - "guna-nirvarnanam caiva vilobhanam iti smstam." (pp. 506, Ch. XII.) This follows the NS. For Personal & Private Use Only

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1752 SAHRDAYALOKA ND. "vilobhanam stuter gardhyam." (I. 44; pp. 115) Vitti has-stuter gunavad etad iti slaghatah prastute krtye gardhyam abhilasasthirikaranam vilobhanam. The ND. has placed 'vilobhana' not at no. 4 as done by the authorities quoted above, but at No. 7. BP. "guna"khyanam vilobhanam" - (pp. 208, line 13) This follows DR. PR. - "bija-guna-varnanam vilobhanam." (pp. 78) NLRK. "guna-nirvarnanam yat tu vilobhanam iti smotam." (Ka. 74; pp. 59) This is NS. XXI. 66, Chow. Edn. This is also read in the Sr. Pra. RS. - "nayaka"di-gunanam yad varnanam tad vilobhanam." (III. 34; pp. 217) SD. - "guna"khyanam vilobhanam." (VI. 83; pp. 361) The A.bh. (pp. 38, Vol. II. G.O.S.) reads as - tad etad upaksepa"dyangacatuskam prayaso mukha-sandhau bhavati. uktenaiva na paurvaparyena bhavati. anantarya niyamas tu na'sti, na sandhyantaranam sama"dinam madhye'nupravesat. tad etad ahuh munih - "kavyarthasya samutpattir" itya"dina, "vilobhanam iti smstam" ityantena: tatra vsttantena upaksayah sarvesam prayojanam uktam. parikarasya prayojanam ista'rthasya racana'pi." It may be noted that the ND. has placed this 'anga' at no. 4, and this challanges A.bh.'s observation that Bharata wants the first four only in the order suggested by him. But the ND. explains its placement in the vrtti (pp. 115) with the remark - "idam parinyasa'nantaram eva nibadhyate. sandhyantara-sadharanyaya coktakramenoddesah." . i.e. Actually this 'anga' is placed after 'parinyasa' only, but here it is placed at no. 7, only to suggest that this 'anga' appears also in other sandhis. This means that anga-s upto 'karana' are associated only with the mukha-sandhi alone, while the next six anga-s as enumerated in the ND. also appear in other sandhis too. Thus ND. observes that the first six anga-s as enumerated in it, viz. upaksepa, parikara, parinyasa, samadhana (samahiti), udbheda and karana are part of mukha-sandhi alone (ca etany atraiva); and vilobhana, bhedana, prapana, yukti, vidhana and paribhavana, - these six appear in other sandhi-s too - "sarvasandhisv amuni syuh" - Thus, the dictate of Bharata and the explanation of the A.bh. are not actually flouted by the ND., but it has a better logic for the placement of 'vilobhana' at no. 7. For Personal & Private Use Only

Page #578
"Dasa-rupaka-Vicara" 1753 (5) Yukti : This limb is read in - NS., DR., Sr. Pra., ND., BP., PR., NLRK. RS. and SD. NS. (XIX. 71b; pp. 39) - "sampradharanam arthanam yuktir ity abhidhiyate." DR. (I. 28; pp. 22) - sampradharanam arthanam yuktih - This follows the NS. Sr. Pra. - (XII. pp. 506) - "sampradharanam arthanam yuktir ity abhidhiyate." This is NS. XIX. 71b. ND. - "Yuktih krtya-vicarana" - (I. 45; pp. 119) This is placed at number ten. The sources consulted earlier have all placed it at no. 5. ND - vitti explains - "vicarana, guna-dosa-vivekatah karya-parya"locanam." B.P. - (pp. 208, line 14) - "sampradharanam arthanam yuktir ity. abhidhiyate." This follows the NS., DR and Sr. Pra. Actually the DR. and its followers, who we choose to call the Malava school of Aesthetics, also normally follow the NS. Bharata's dictate is hardly challanged or over-ruled. PR. (pp. 78, nataka-prakarana) "bija'nukula - samghatana-prayojana-vicaro yukti)." The PR. after enumerating the anga-s of the mukha-sandhi (ka. 9) observes : "...anvarthani yathakramam." Kumarasvamin, the commentator observes (pp. 77): anvarthani'ti - na prthak laksana'peksa iti bhavah. (9). tatha'pi mandabuddhyanugrahartham upaksepa"dinam kramena laksanam pratijanite. yathakramam esam iti. kantaka-sodhanam anga-laksananam yathayogam udaharana-pradesa eva karisyamah mithah prayoga-kramo na vivaksitah iti vaksyamah." NLRK. (pp. 59; Ka. 75) "arthanam sampradharanam yuktih." This follows the NS., DR., etc. NLRK. quotes NS. (XXI - 67 Chow.) For Personal & Private Use Only

Page #579
1754 SAHKDAYALOKA "sampradharanam arthanam yuktir ity abhidhiyate." RS. (III. 34; pp. 217) - "samyak prayojananam hi nirnayo yuktir isyate." SD. (VI. 83; pp. 362) - "sampradharanam arthanam yuktih..." - This follows the NS. (6) Prapti : is read in the NS., DR., Sr. Pra., ND., BP., PR., NLRK., RS. and SD. It is also termed "prapana". NS. (XIX. 72a; pp. 39) "sukharthasya'bhigamanam praptir ity abhi-samjnita." . DR. (I. 28; pp. 22) "...praptih sukha"gamah." sr. Pra. (pp. 506, Ch. XII) - "sukharthasyopagamanam praptir ity abhidhiyate." ND. calls it "prapana" and places it at no. 9; (pp. 117, I. 45.] "prapanam sukha-sampraptih." BP. (pp. 208, line 15) - 'Prapti' is read after 'samadhana? here. - - "praptih ko'pi sukha"gamah." ko'pi' is added in the DR. definition. PR. (pp. 78) - "bija-sukha"gamah praptih." The mukha-sandhi has direct relation with 'bija', and hence the PR. correlates 'bija' in all definitions of all 'angas' of the mukha-sandhi. It places "bija" in the beginning of all definitions. NLRK. (pp. 60, Ka. 76) - "mukhyartha yad upagamanam sa praptih." This is supported by a quotation from the NS. (XXI. 67. chow.) : "mukhyarthasyopagamanam praptir ity abhidhiyate." It may be noted the the G.O.S. reads "sukharthasya", but gives "mukhyarthasya" as a variant in the ft. note, no. 6, pp. 39 - "bha. - mukhyarthasyopa...." The NLRK. follows this second reading. For Personal & Private Use Only

Page #580
"Dasa-rupaka-Vicara" RS. (pp. 218; III. 35) "prajnaih sukhasya sampraptih praptir ity abhidhiyate." Naturally 'prajnaih' refers to Bharata, Dhananjaya and such others. SD. (pp. 362, VI. 84) - "praptih sukha"gamah." (7) 'Samadhana' is recognised by NS., DR., Sr. Pra., ND., BP., PR., NLRK., RS. & SD. It is termed "Samahiti" by the ND. NS. (pp. 39, Ch. XIX. 72b) - "bija'rthasyo'pagamanam samadhanam iti smrtam." The Abh. (pp. 39, 40) observes: "yasmin bijam tad idanim pradhananayaka'nugatatvena samyag ahitam bhavatiti (samadhanam). DR. (I. 28; pp. 23) - "9 "bija"gamah samadhanam..." The Avaloka gives illustrations from the Ratnavali and the Veni. After citing Veni. (I. 21; Cancad-bhuja. etc.), it observes - "ity anena vemisamhara-hetoh punar upadanat samadhanam. Sr. Pra. (pp. 507, Ch. XII) - "bijarthasyopagamanam samadhanam iti smrtam.' This is NS. - ND. calls it 'Samahiti', and places it at no. 4. (pp. 105, I. 43). "punar nyasah samahitih." - 1755 "" Vrtti reads samksipyopaksiptasya bijasya spastata-pratipadanartham punar nyaso bhaniti-vaicitryam, samyag a samantat dhanam posanam samahitih - i.e. The seed that was cast in 'upaksepa' in a breef way is re-told here to place it more effectively, i.e. to speak about the same (again); samyag = well (laid), a- samantat = in a more perfect way casting of the seed is said to be "samadhana". BP. (pp. 208, line 15) - has 'samadhana' placed before "prapti". For Personal & Private Use Only

Page #581
1756 SAHRDAYALOKA - "bija"gamah samadhanam." This follows the DR. PR. (pp. 78) - "bija-sannidhanam samadhanam" NLRK. (pp. 61; Ka 77) - "bijarthasyopagamanam yat tat samadhanam." NS. XXI. 68 (Chow. Edn) is quoted in support. This reads like G.O.S. Edn. XIX. 72b., as quoted above. RS. (pp. 218; III. 35) - "bijasya punar adhanam samadhanam ihocyate." - SD. (pp. 363; VI. 85) - "bijasya"gamanam yat tu tat samadhanam ucyate." This follows the Chow. Edn. NS. reading, as quoted exactly in the NLRK. (8) Vidhana : This is read in the NS., DR. Sr. Pra. ND., BP., PR. NLRK., RS. & SD. NS. (pp. 40; XIX. 73a) - "sukha-duhkha-kTto yorthas tad vidhanam iti smstam." Abh. : "vyamisrataya sukha-duhkhe abhidhiyete yatra iti (vidhanam)" - (pp. 40). DR. (I. 28; pp. 24) - "vidhanam sukha-du-kha-krt" . Avaloka illustrates it from Malatimadhava (I. 32) and veni. I. 26. It observes : ...ity anena malaty avalokanasya anuragasya samagama-hetor bijasya anugunyena eva madhavasya sukha-duhkhakarivat vidhanam iti..." and also, (after veni..." iti samgramasya sukha-duhkha-hetutvat vidhanam iti." sr. Pra. (Ch. XII. pp. 508) - "sukha-duhka'nvito yorthas tad vidhanam iti smrtam.' For Personal & Private Use Only

Page #582
"Dasa-rupaka-Vicara" 1757 This is NS. (G.O.S.) as quoted above. ND. reads 'vidhana' at no. 11. (pp. 120; I. 45) "vidhanam sukha-duhkha"ptih." vrtti adds (pp. 120) : dvayoh sukha-duhkhayoh ekatra anekatra va patre praptih." This means attainment of happiness and unhappiness either with reference to the same character or with reference to many. "eka-patre sukha-duhkhayoh praptih" is illustrated from Malatimadhava - "yad vismaya-stimita." etc.: "ity anena sa'nuraga-malaty-avalokanan madhavasya sukha-duhkha"ptih." The other variety, viz. 'anekatra' is illustrated from the Tapasa-vatsaraja; - "drstim prema-bhara"lasam"... etc. - ND. observes (pp. 121) * atraca vasavadattayah pravasa bhyupagamad duhkham vatsarajasya ca a-vidita-pravasavittantasya sukham." BP. It reads "paribhava" (= paribhavana) ahead of vidhana which is defined as - (pp. 208; line 16) - "vidhanam sukha-duhkhakrt." This is DR., as quoted above. PR. (pp. 78) - "bija-sukha-duhkha-hetur vidhanam." NLRK. (pp. 61, Ka. 78) - "sukha-duhkha-krto yorthas tad vidhanam..." - This is NS. (G.O.S.) It quotes NS. (Chow. XXI. 68) as - (pp. 62) "sukha-duhkha'nvito yorthas tad vidhanam iti smstam." RS. (III. 36; pp. 219) - "sukha-duhkha-karam yar tad vidhanam budha viduh." SD. (VI. 85b; pp. 364) - "sukha-duhkha-krto yorthas tad-vidhanam iti smotam." This is NS. (G.O.S.) For Personal & Private Use Only

Page #583
1758 SAHRDAYALOKA (9) Paribhavana - (also, "paribhavah" - DR. & BP.) This is read in NS., DR., Sl. Pra., ND., BP., PR., NLRK., RS. & SD. NS. (pp. 40; XIX. 73b) - "kutuhalottara"vego vijneya paribhavana." Abh. (p. 40) observes : kutuhaleti kautukena jijnasa'tisayena vyamisro : yah avegah sa paribhavana; kim etad iti." DR. (I. 29; pp. 25) - "paribhavo'dbhuta"vesah" Sr. Pra. : (pp. 508, Ch. XII) "kutuhalottara"vedhah prokta tu paribhavana." This is NS. But "avedhah" follows a variant noted in ft.noot 3, pp. 40, G.O.S. Edn. ND. reads this as the 12th anga. (pp. 122; I. 45) - "vismayah paribhavana." Vrtti almost follows the Abh. When it reads (pp. 122) : jijnasa'tisayena 'kim etad' iti kautuka'nubandho vismayah, paribhavana. BP. reads it before 'vidhana'. It has, (pp. 208, line 16) "paribhavo'dbhuta"veso, vidhanam... This follows the DR. PR. (pp. 78) : "bija-visaya" scarya"vesah paribhavana." NLRK. (pp. 62; Ka. 79b) - "kutuhala'ntara"dayi syad arthah paribhavana." The editor calls this to be NS. 21, 69; i.e. Chow. Edn. RS. (pp. 219; III. 36b) - "slaghais citta-camatkaro guna"dyaih paribhavana." SD. (pp. 364; VI. 86a) "kutuhalottara vacah prokta tu paribhavana." This closer to the Ss. Pra., which has a NS. reading, different from the G.O.S. For Personal & Private Use Only

Page #584
"Dasa-rupaka-Vicara" 1759 (10) Udbheda : This is recognised by the NS., DR., Sr. Pra., ND., BP., PR., NLRK., RS. & SD. NS. (pp. 41; XIX. 74a) - "bijarthasya praroho yah sa udbheda iti smotah." The Abh. illustrates it from the Veni., and observes (pp. 41) : na ca idam udghatanam yena pratimukham bhavet, api tu satruksaya"rambham bijasya"nkurah kurukulodghatanena vina'pi praroha-matram anusthana'nugunyat; bhumi-samslosa iva bejasya." DR. (pp. 26; 1. 29) "udbhedah gudha-bhedanam -". Sr. Pra. (Ch. XII; pp. 509) - [bijarthasya] ..... praroho yah udbhedah sa tu kirtitah." [bijarthasya) is added by us from the NS. (G.O.S.), as read above. Josyer could have himself done this. ND. reads this at no. 5. (pp. 112; I. 44;) "svalpa-praroho udbhedah..." The vstti reads : (pp. 112) - amukhantaram uptasya svalpa-prarohah, kincit phalanusthananukulya-pradarsanam dhanyasya ucchunata iva "udbhedah". ND. vrtti (p. 112) further adds - bijasya udghatanam ankura-kalpam, udbhedah punar ankura-kalpad udghatanad bhumi-nyasta-dhanyochunateva pracina'vastha ity ayam mukha-sandher eva'ngam. na punar-udghata-rupatvat pratimukhasandheh. BP. - 'Udbheda' is treated after 'karana' in BP. - (pp. 208; line 17b) - "udbhedo ghudha-bhedanam." This follows the DR., which has disclosing of something previously hidden as 'udbheda'. PR. also has the same observation as the NS. (pp. 78) - "guaha-bija-prakasanam udbhedah." da. For Personal & Private Use Only

Page #585
1760 SAHRDAYALOKA NLRK. (pp. 63, Ka. 80) - "bija'rthasya praroho yah sa udbheda iti smrtah." The editor identifies this as NS. 21/69; (Chow. Edn.). But it reads the same in the G.O.S. Edn. (XIX. 74a) also. RS. (pp. 219; III. 37a) "udghatanam yad bijasya sa udbhedah prakirtitah." This follows the NS. SD. (pp. 365; VI. 86b) "bija'rthasya prarohah syad udbhedah... (11) Karana - is read in NS., DR., Sr. Pra., ND., BP., PR., NLRK., RS. & SD. - Sr. Pra. calls it "Karana". NS. - (pp. 41; XIX. 74b). "prakrta'rtha-samarambhah karanam nama tad bhavet." The Abh. (p. 41) has a ft.note : "anye tu vipadam samanam karanam ahuh." DR. (I. 29; pp. 27) - has, karanam praksta"rambhah... This follows the NS. sp. Pra. (pp. 509, Ch. XII) has "Karana" for "Karana'. It reads as - "prakrta'rtha sama"rambham karanam paricaksate." ND. places 'Karana' at no. 6; (pp. 124; 1. 44) "karanam prastuta-kriya." The Vstti has - "avasara'nugunasya arthasya prarambhah karanam." BP. (pp. 208; line 17) has, "karanam praksta"rambhah." This follows the DR. PR. - reads it at no. 12; (pp. 78); - "bija'nuguna-prastuta-karya"-rambhah karanam." ND.'s influence can be read. For Personal & Private Use Only

Page #586
"Dasa-rupaka-Vicara" 1761 NLRK. (pp. 63; Ka. 81) has - "prakrta'rtha-sama"rambhah karanam..." This follows the NS. RS. - 'Karana' is placed as no. 12. (pp. 220; III. 37) It reads as - "prastuta'rtha sama"rambham karanam paricaksate." SD. (pp. 365; VI. 86b; 87a) karanam punah, prakrta'rtha-sama"ramthah." This follows the NS. (12) Bhedah - is read in the NS., DR., Sr. Pra., ND., BP., PR., NLRK., RS. & SD. NS. (pp. 41; XIX. 75a) has, "samghata-bhedanartho yah sa bheda iti kirtitah." Abh. reads (pp. 41) : "patra-samghatasya yan nija-prayojan'opaksepena niskramanasiddhaye bhedanam prakaranam iva, sa bhedah sarvatra'nke'ntarbhavi vastupaya"tma bhedah, sa sandhyantaraika-vinsatau vaksyate." Dispersing of characters is 'bheda'. DR. (pp. 27, I. 29) has - "...bhedah protsahandad bhavet." This is different from the NS. This means "heartening up". Sr. Pra. (pp. 509; Ch. XII) - has "samghata-rupa-bhedo yah sa bheda iti kirtitah." This follows the NS. ND. - has 'bhedana' for "bhedah". It is read at No. 8. But it explains it after the NS. as (pp. 116; Ka. I. 44) - "bhedanam patra-nirgamah. But the ND. gives another opinion also - (vstti; pp. 117) - "anye tu bhedam protsahanam ahuh." There is a third view also * (pp. 117) - "anye tu samhatanam pratipaksanam bijaphalotpatti-nirodhakanam vislesakam bheda-rupam upayam 'bhedanam'. manvate. - Here 'bheda' is one of the expidents, meaning to cause a divide among enemies. BP. (pp. 208; line 18) - has "bhedah protsahana" This follows the DR. PR. (pp. 78): "bija'nuguna-protsahanam bhedah". This is read as no. 11. The illustration (pp. 109, 110) explains that 'bheda' means parting of characters. It adds - "etesam madhye upaksepa-parikara-parinyasa-yukty-udbheda-samadhananam avasyikatvam." For Personal & Private Use Only

Page #587
1762 SAHRDAYALOKA NLRK. (pp. 63; Ka. 82) - has - "samghatena milita'rthasya bhango bhedah." This follows the NS. RS. (pp. 220; III. 37b) - reads it as no. 11 - "bijasyodbhedanam bhedo yad va samghata-bhedanam." sprouting of the seed and also parting of characters make for 'bheda' in RS. SD. (pp. 365; VI. 87a) - "bhedah samhata-bhedanam." Here it is parting of company, illustrated by Bhima's statement in which he seems to desert his brothers. The SD. also quotes another opinion : "kecit tu, "bhedah protsahana" iti vadanti. This refers to the DR. The Laxmi tika reads - (pp. 365) - "prakarantarena laksayatam matam darsayati - 'kecid iti'. dasarupa-kara" . daya ity arthah. "kartavyam prati prakarseno'tsahotpadanam bhedah" iti vadanti. Anga-s of the Pratimukhasandhi (1) Vilasa - This is accepted by the NS., DR., Sr. Pra., ND., BP., PR., NLRK., RS and SD. * NS. (p. 42; XIX. 76a) "samiha rati-bhogartha vilasa iti samjnitah." DR. (p. 29; I. 32) - "raty artheha vilasah syad" - This follows the NS. Sr. Pra. (p. 510; Ch. XII) - The editor, Josyer should have taken care to add (-1) or (sami) in the text. This follows the NS. : "[sami] ha ratibhogartha vilasah parikirtitah." ND. The ND. has 'vilasa' at no. 1, but it gives a different order and even the names differ. The ND. [(pp. 123) (ka. I. 46, 47)] reads as - (46) "vilaso dhunanam rodhah santvanam varna samhstih narma narmadyutis tapah syur etani yatharuci." V the NS.: For Personal & Private Use Only

Page #588
"Dasa-rupaka-Vicara" 1763 (47) puspam pragamanam vajram upanyasopasarpanam, panca'vasyam atha'ngani pratimukhe trayodasa.. Thus, dhunana', 'rodha', 'santvana' are new names. We will see if the concepts coincide with any from the NS. We have 'tapa' for 'tapana'. 'pragamana' is for 'pragayana'. 'Nirodha' is for 'rodha' of ND. The last five have to be there in this sandhi, observes ND. N.D. observes : "yatha-ruchi iti vrtta-vaicitrya'nurodhena atra bhavanti, na bhavanti ca. puspa'dini punah panca avasyam pratimukha-sandhau bhavanty eva. trayodasa'py etani pratimukha eva sutaram nirbandham arhanti. In their employment, order is not to be observed. "uddesya kramas ca nibandhesu na'peksaniyah iti." ND.-Vilasa (pp. 124; I. 48) - "vilaso nr-striyor iha." The desire of man and woman to get together is termed 'vilasa'. BP.-It is observed, pp. 209, lines - 5, 6 that "samagameccha bijam tu, disya'disyataya sthitam, bindu-prayatna'nugamad anganyasya trayodasa. The anga-s are enumerated exactly after the DR., BP., - vilasa - is "rati-cesta vilasah syad dampatyor nava-sangame." PR. - also follows, or quotes from, the DR. in enumerating the 13 angas here. PR. Vilasa (p. 78) : "sambhoga-visaya-manoratho vilasah." NLRK. - Follows the NS. in giving names. Vilasa - is, samiha ratibhoga'rtha 'vilasah" this follows the NS. RS. follows the DR. It defines vilasa (p. 220, III. 41) as - "vilasah sangama'rthastu vyaparah parikirtitah." SD. follows the NS. - Vilasa is, "samiha ratibhogartha vilasa iti kathyate." For Personal & Private Use Only

Page #589
[drsta 1764 SAHRDAYALOKA (2) 'Parisarpa' - is recognised by NS., DR., Sr. Pra., ND., BP., PR., NLRK. NS. (pp. 43; XIX. 76b) "dosta-nasta'nusaranam parisarpa iti smrtah." DR. (pp. 29; I. 32) - "drsta-nasta'nusarpanam." Sr. Pra. (pp. 510, Ch. XII). Josyer should have looked into the NS. and added accordingly. -saranam parisarpah." ND. calls it "upasarpana" and places it at no. 13. The last five among the 13, viz. puspa, pragamana, vajra, upanyasa and upasarpana have to be employed in the pratimukha and the first eight are to be employed at the poet's will. But all these are necessarily to be employed in this sandhi and not elsewhere - Upasarpana - is, "nastesteha'nusarpanam." The recollection of the ista (= desired) which was lost, makes for 'upasarpana'. BP. (p. 209, line 11) - "parisarpastu bijasya dssta-nasta'nusarpanam" This follows the DR. PR. - (p. 78) - "drsta-nasta-padartha'nusaranam parisarpah." NLRK. - "prathamam drstasya pascan nastasya anusaranam parisarpah.". RS. (p. 221; III. 42) "purvoddistasya bijasya tv anka-ccheda"dina tatha nastasya'nusmotih sasvat parisarpa iti smstah." SD. "ista (dosta-vi) nasta'nusaranam parisarpas ca kathyate." (3) Vidhuta - is recognised by NS., DR., Sr. Pra., ND., BP., PR., NLRK., RS., & SD. NS. (p. 43; XIX. 77a) "krtasya'nunayasya"dau vidhutam hy aparigrahah". DR. (p. 30; I. 33) - "vidhutam syad aratih." ND. calls it dhunana', (p. 127, I. 48). This is placed at no. 2. - "dhunanam samny anadarah." i.e. disrespecting i.e. not accepting words that try to pacify; i.e. pursuance. BP. (p. 209, line - 12) - "vidhutam aratir yunos surata'prapti-sambhava." PR. (p. 78) - "anista-vastu-viksepo vidhutam. NLRK. - "adav anunayasya ketasya a-parigraho vidhutam." We read 'vidhuta' for 'vidhuta' here. For Personal & Private Use Only

Page #590
"Dasa-rupaka-Vicara" 1765 RS. (p.221; III. 43) - "nayaka'der ipsitanam arthanam anavaptitah, aratir ya bhavet taddhi vidvadbhir vidhutam matam." 'vidhura' is read for 'vidhuta'. SD. (pp. 367; VI. 90b) : "krtasya'nunayasya"dau vidhutam tv aparigrahah." This is NS., as above. but here we read 'vidhuta' and not 'vidhuta'. (4) Tapana : This is read in NS., RS., NLRK. & SD. DR. BP. & PR. have 'sama'. NS. (p. 43; XIX. 77b) - "apaya-darsanam yat tu, tapanam nama tad bhavet." The editor, NS., has a ft.-noot (p. 43) - "kecit tu tapanasthane samanam pathanti; a-rateh samanam athava anunaya-grahanad arater nigrahah samanam. We read 'sama' in DR. and its followers. The ft.-note 3 (p. 34) also has - ms-da''samanam'. DR. - reads 'sama' for 'tapana' and defines it as, "tac chamah, samah." (p. 31; I. 33) Avaloka has - tasyah a-rater upasamah samah. ND. has tapa - "apaya-darsanam tapah." sr. Pra. - (p. 511; XII Ch.) - has, frodhah' (p. 128; ka. I. 48), defined as "rodhoratih"; vrtti has - artih khedo vyasanam ista-rodhad rodhah." Due to hindrance with reference to the desired object, unhappiness caused is 'rodhah". BP. has sama; following the DR. It is defined as (pp. 209, line 13) - "yunor araty upasamah sama ity ucyate budhaih." PR. (p. 78). - "aratyupasamanam samah." following the DR. NLRK. has tapana' following the NS. and the sr. Pra. "apaya-darsanam yat tat, tapanam" (p. 67, Ka.85) . RS. has sama, following the DR. (pp. 222; III. 44) - "a-rateh samanam tajnah samam ahur manisinah." SD. - has tapana, (p. 368, VI. 91). "u(a)payadarsam yat tu tapanam nama tadbhavet" - This follows the NS. The reading is faulty. It should be corrected from 'upaya' to 'apaya', following the NS., For Personal & Private Use Only

Page #591
1766 SAHRDAYALOKA (5) Narma - is accepted by NS., DR., Sr. Pra., ND., BP., PR., NLRK., RS. & SD. NS. (P. 44; XIX. 78a) - "krila'rtham vihitam yat tu, hasyam narmeti tat smotam." DR. (p. 31, J. 33) has - "parihasa-vaco narma". Sr. Pra. - following NS., observes (p. 511; Ch. XII). "krida-vilobhana'rtham ca hasyam narmeti kirtitam." ND. (p. 133; I. 49) - "kridayai hasanam narma." BP. (p. 209, line 14) follows the DR. - "parihasa-vaco narma." PR. (p. 78) - 'parihasa-vacanam narma." NLRK. treats 'narma' and 'narmadyuti' together. (p. 68; Ka. 86). It observes. narma-purastad vaktavyam. krida-vilobhana rtham hasyam narma-dyutih. The direct statement conveying a light joke is 'narma' and if such 'narma' employed in a jokular vein also becomes a source of attraction, 'narma-dyuti'. RS. (p. 222; III. 45) - "parihasa-pradhanam yad vacanam narma tad viduh." SD. (p. 368, VI. 91) - "parihasa-vaco narma." (6) Narmadyuti - is mentioned by the NS., DR., Sr. Pra., ND., BP., PR., NLRK., RS. & SD. NS. - (pp. 44; XIX. 78b) "dosa-pracchadana'rtham tu hasyam narma-dutih smrta" A.bh. observes : (p. 44). doso yenoktena pracchadayitum isyate tasya'pi hasya-jananatvena narma ca sutaram dyotitam bhavatiti narma-dyutih." DR. (pp. 32; I. 33) - "...dhitis tajja dyutir mata." Avaloka has... dhstir narmaja dyutir iti darsitam. sr. Pra. (pp. 512; Ch. XII) - "dosa-pracchadanartham tu hasyam narma-dyutih smrta." ND. (p. 135; I. 49) - 'dosa" vittau tu tad dyutih." The vrtti (p. 136) adds : "ete ca narma-narmadyuti ange kama-pradhanesu eva rupakesu nibandham arhatah." BP. (p. 209, line 14) follows the DR. and observes - "dhitis tajja dyutir bhavet." PR. (p. 78) - "anuragodghatanottha pritir narma-dyutih." NLRK. - see 'narma', above. For Personal & Private Use Only

Page #592
"Dasa-rupaka-Vicara" 1767 RS. - (p. 222; III. 45b) : "krodhasya'pahnava'rtham yad hasyam narma-dyutir mata." This follows the DR. SD. (pp. 368; VI. 91) - "dhitis tu parihasaja" - narma-dyutih. This is closer to the BR. (7) Pragayana - also, "pragamana". This is accepted by NS., DR., Ss. Pra., ND., BP., PR., NLRK., RS. & SD. NS. (p. 45; XIX. 79a) - has, "uttarottara-vakyam tu bhavet pragayanam punah. The editor has a ft-note : 'anye tu'pragamanam' iti, 'pra-samanam' iti ca pathanti. We have noted above what the A.bh. has to say. DR. (p. 33; I. 34) has 'pragamanam' - "yathottara vak pragamanam." Avaloka illustrates this, quoting a dialogue from Ratnavali (II) and observes : ...ityantena raja-vidusaka-sagarika-susangatanam anyonya-vacaneno'ttaro'ttara'nuraga-bijodghatanat pragamanam iti." sr. Pra. (p. 512; Ch. XII) - "uttarottara-vakyam tu bhavet prasamanam ta tha." Here we read 'prasamana'. ND. (p. 140, I. 50) has "pragamah". "pragamah prativak-srenih." This is read as no. 10. The Vstti has - "prasnapratipanthini vak, prativak"; tasyah srenih. apakarsato dve prativacane, utkarsato bahunyapi." i.e. menimum two answers and maximum any number of answers are given in this. BP. (p. 209, line 15) : "yukrottaram pragamanam." PR. (p. 78) : "uttarottarair vakyair anuraga-bija-prakasanam pragamanam." NLRK. (p. 68; ka. 86) - "uttarottara-vakyam pragamanam." RS. (p. 223; III. 46) : tat tu pragamanam yat syad uttarottara-bhasanam." SD. (pp. 369; VI. 92): ....pragamanam vakyam syad uttarottaram." (8) 'Nirodha'; (also-'virodha) is recognised by the NS., DR., Sr. Pra., ND., BP., PR., NLRK., RS. & SD., NS., (p. 45; XIX 79b) : "ya tu vyasana-sampraptih. sa nirodhah prakirtitah." For Personal & Private Use Only

Page #593
1768 SAHRDAYALOKA DR. (p. 33; I. 34) has, "hita-rodho nirodhanam." Sr. Pra. (p. 512; Ch. XII.) : "sukhanam sanniveso yah sa nirodhah prakirtitah." ND. reads it at no. 3. - as 'rodhah - We have treated it under 'tapana'. BP. (pp. 209; line 15) : "nirodhah syan nirodhanam." PR. (p. 78) has 'virodha', explained as - "chadmana hita"gamana-nirodhanam virodhanam." NLRK. (p. 69) (Ka. 86) has 'virodha' "virodho vyasana-praptih." (9) Paryupasana - is read in the NS., DR., Sr. Pra., ND. (calls it santvana); BP., PR., NLRK., RS. & SD. NS. (p. 45; XIX-80a) - "krddhasya'nunayo yas tu bhavet tat paryupasanam." DR. - has "paryupasti)"; (p. 34; I. 34) "paryupastir anunayah." Sr. Pra. (p. 513, Ch. XII) - "kruddhasya'nanuyogastu bhavet tat paryupasanam." ND. calls it santvana; it reads it as no. 4. (p. 130; ka. 48): "santvanam sama." - vrtti adds : kruddhasya anukulam. BP. has "paryupastih" like the DR. (p. 209, line 16) : "anunitih paryupastih." - PR. (p. 78) has - "istajana'nunayah paryupasanam." NLRK. (p. 69; Ka. 87) : "kruddhasya anunayah paryupasanam." This follows the NS. RS. (p. 223; III. 47) : "rustasya'nunayo yah syat paryupasanam iritam." SD. (p. 370; VI. 92; 93a) - ..."kruddhasya'nunayah punah, syat paryupasanam." This follows the NS. - : (10) Puspa - is read in the NS., DR., Sr. Pra:, ND., BP., PR., NLRK., RS. & SD. NS. (p. 46, XIX. 80b) : "visesavacanam yat tu tat puspam iti samjnitam." DR. (p. 34; ka. I. 34) - "puspam vakyam, visesavat." This follows the NS. Sr. Pra. (p. 513, Ch. XII) - "visesa-vacanam yat tu tat puspam iti samjnitam." This is NS. For Personal & Private Use Only

Page #594
"Dasa-rupaka-Vicara" 1769 ND. (p. 138; I. 49) : "puspam vakyam visesavat." BP. (p. 209, line 16) : "puspam sati(nu)sayam vacah." PR. reads 'puspa' after 'vajra'. (pp. 78) : "anuraga-prakasana-visistavacanam puspam." NLRK. (p. 70; Ka. 86) : "visesa vacanam puspam" - This follows the NS. RS. - (p. 223) (III. 47) : "yad visesa'bhidhana'rtham puspam tad iti samjnitam." SD. (p. 370; VI. 93) : "...puspam visesa-vacanam matam". (11) Vajra' - is read by the NS., DR., sr. Pra., ND., BP., PR., NLRK., RS., & SD. NS. (p. 46; XIX. 81a): "pratyaksa-ruksam yad vakyam vajram tad abhidhiyate." DR. reads it after "upanyasah." vajra (p. 35; I. 35) is - vajram pratyaksa-nisthuram". sp. Pra. (p. 513; Ch. XII) : "pratyaksa-ruksam yad vakyam tad vajram iti kirtitam." ND. reads 'vajra' at no. 11. - (p. 141, I. 50) - "vajram pratyaksa-karkasam." BP. (p. 209; line 17) "pratyaksa-nisthuram vajram." PR. (p. 78): "pramukha-nisthura-vacanam" NLRK. (p. 70, ka. 86) - "ruksa-prayam vacanam vajram." RS. - (p. 124); III. 48) : "vajram tad iti vijneyam saksan nisthura-bhasanam." SD. (p. 370; VI. 93) - "pratyaksa-nisthuram vajram." (12) Upanyasa - This is not read by Bhoja. All others read it. NS. (p. 46 XIX. 81b) - "upapatti-krto yorthah upanyasas ca sa smstah." The foot-note 2 - has - bh. - sopayavacanam yat tu sa upanyasa ucyate." DR. (p. 34; I. 35) has, "prasadanam upanyasah." Sr. Pra. does not read this 'anga'. ND. - 'upanyasa' is read at no. 12. (p. 143, I. 50) "upapattir upanyasah." The Vstti observes : kamcid artham vidhatum ya upapattir yuktih, sa upanyasah." For Personal & Private Use Only

Page #595
1770 SAHRDAYALOKA BP. (p. 209; line 17) - "upanyasah prasadanam." This follows the DR. and then NS. PR. (p. 78) - "anuraga-hetu-vakya-racana upanyasah. NLRK. (p. 71, Ka. 86) : "upapatti-krto yorthah sa upanyasah..." This is from NS. is RS. (pp. 124, III. 48b) : "yuktibhih sahito yortha upanyasah sa ucyate." This is closer to the ND. SD. (p. 370; VI. 93) : "upanyasah prasadanam" This follows the DR. (13) Varna-samhara' (= Varna-samhsti, ND.) All sources read it.. NS. (pp. 47; XIX. 82a) : "caturvarnyopagamanam varna-samhara isyate." Abh. observes (pp. 47) : caturvarnya-sabdena patrani upa-laksyate. tena yatra patrani prthak sthitany api dhaukyante sa varnasamharah. upadhyayas tv ahuh - iha vira-pradhane tavan nayaka-pratinayakau tat-sacivau ca pradhanatvena varnyante iti varnah, kama-pradhanepi nayako nayika, tat-sacivau ca iti." "atra caturnam ekibhavah prayogasya, istasya racana, prakasye prakasanam ity api prayojanani. yattu brahmanadi-varna-catustayamelanam iti tad a-phalatvat anadrtyam eva." This suggestion, which is rejected by A.bh. is accepted by the DR. and the SD. DR. (p. 35, I. 35) : "caturvarnyopagamanam varna-samhara isyate." The Avaloka quotes - "parisad iyam..." from Mahavira-carita and explains it as an assemblage of Brahmins, Ksatriya-s, etc. ... (pp. 36): "...ity anena rsiksatriya'matya"dinam samgatanam varnanam vacasa rama-vijaya"samsinah parasurama-durnayasya'droha yacn.-dvarena udbhedanad varna-samhara iti. sr. Pra. (p. 513, Ch. XII) : "varnita'rtha tiraskaro varnasamhara ucyate." This is taken up by the NLRK., as we will go to observe. ND. (p. 131; I. 48): "patraugho varna-samhstih." This follows Abh., and the NS. * The vrtti reads "prthak-sthitanam patranam oghah, karyartham milanam. varnyante iti varnah, tesam nayaka-pratinayaka-nayika-sahaya"di-patranam samhitir ekatra-karanam." BP. (p. 209; line 18) : "varna-samhara ity ukto nana-jatiya-sangamah." This follows the DR. The BP. further observes (lines 20, 21) - "paurvaparyam bhavennarma-dyutyante vidhuta"dike, vilasa"deh pradhanatvam netra"di-vasato bhavet." For Personal & Private Use Only

Page #596
"Dasa-rupaka-Vicara" 1771 PR. (p. 78) also follows the DR. & BP. "caturvarna-nirvarnanam varna-samharah." - It further observes : etesam madhye parisarpa-pragamana-vajro-panyasa-puspanam pradhanyam." NLRK. (p. 71, Ka. 86) - "varnitasya arthasya tiraskaro varna-samharah." This follows the sr. Pra. RS. (p. 224; III. 49a) - "sarva-varnopagamako varna-samhara ucyate." This follows the DR. The illustration is drawn from the Vira-carita and it is observed..."...ityantena hara-capa-dalana-visayataya, kartstaya anumantstaya stotrtaya ca raghavavisvamitra-paura"di-paramarsena brahmana-ksatriya"divarnanam samgrahanad varna-samharah - . SD. (p. 371, VI. 94a) - caturvarnyopa-gamanam varna-samhara-isyate." This follows the DR., BP., PR., & RS. The Angas of the Garbha-sandhi - They are 13, as follows; (1) Abhutaharanam - This is accepted by the NS., DR., Ss. Pra., ND., BP., PR., NLRK., RS. & SD. NS. (p. 47, XIX. 82b) - "kapatapasrayam vakyam abhutaharanam viduh." * This is a speech based on deceit. DR. (p. 37, I. 38) - "abhutaharanam chadma." Sr. Pra. (p. 514, Ch. XIII) "abhutaharanam tatsyad vakyam yat kapata"srayam." ND. (pp. 159; I. 55) calls it "a-satya'harana." - "asatya"haranam chadma." This is read as no. 12. The ND. takes aksepa, adhibala, marga, a-satya"harana and totaka as five principal anga-s of garbha-sandhi. BP. counts 12 anga-s, with the omission of 'prarthana'. This follows the DR. which also omits 'prarthana' and has only 12 anga-s for garbha-sandhi. BP. (p. 210; line 20) has - "abhutaharanam chadma." This follows the DR. PR. also has 12 anga-s of garbha-sandhi and follows the DR. & BP. in the omission of "prarthana." PR. (p. 79) - has, "prastutopayogi-chadma"caranam abhutaharanam." NLRK. (p. 73, Ka. 89) has 13 angas and follows the NS. in mentioning "prarthana". P. 73 has - 'abhutodaharana' defined as "kapata"srayam vacanam abhutodaharanam." For Personal & Private Use Only

Page #597
1772 SAHRDAYALOKA RS. - also (p. 225, Ka. III. 9-51, 52a) has 12 angas following the DR., BP., etc. and omits "prarthana". abhutaharana (III. 52a) is - "abhutaharanam tat syat, vakyam yat kapata"srayam." SD. (p. 372, VI. 944, 95) has 13 anga-s and follows the NS. - "tatra vyaja"srayam vakyam abhutaharanam matam." (VI. 96a) (2) Marga : This is recognised by NS., DR., Sr. Pra., ND., BP., PR., NLRK., RS. & SD. NS. (p. 47, XIX. 839) : "tattvartha-vacanam caiva marga ity abhidhiyate." DR. (p. 37, I. 38): "...margas tattvartha-kirtanam." This follows the NS. sr. Pra. (p. 514, Ch. XII) The Sr. Pra. (p. 504, 5) does not read vidrava' and yet observes that the garbha-sandhi-angani are 13. But on p. 518, we read 'vidrava.' So obviously Vidrava' is left out on p. 504-5, and it is a mis-print. But on p. 514, sr. Pra., in place of 'marga' we read 'satyam.' - "tattvarthavacanam caiva satyam ity abhidhiyate." ND. (p. 158, I. 55) has, "margas tattvartha-samsanam." - The vrtti observes : "paramarthasya vacanam samanyenocyamanam praksta'rthena yat sambadhyate tan margah." BP. (p. 210, line 22) - "tattvartha-kirtanam margah..." PR. (p. 79) : "tattvartha'nukirtanam margah." NLRK (p. 74; Ka. 89) - "vastava'rtha-katha margah." SD. (p. 372; VI. 96) - "tattvartha-kathanam margah." (3). Rupa - is recognised by NS., DR., Sr. Pra., ND., BP., PR., NLRK., RS. & SD. NS. (p. 48; XIX. 83b) : "citra'rtha-samavaye tu vitarko rupam ucyate." The editor has a foot-note (p. 48) - "citra'rtho vakya-samyogo rupakam iti pathe, rupakam samsayasya tarkena cchedanam iti kecit. anye tu citra'rtham eva vaco rupakam iti manyante." DR. (p. 38; I. 39) : "rupam vitarkavad vakyam." For Personal & Private Use Only

Page #598
"Dasa-rupaka-Vicara" 1773 Ss. Pra. (p. 515 Ch. XII) : "citra'rtha samavaye tu tac citram rupam isyate." ND. reads "rupa' at no. 2. (p. 147; I. 53) - "rupam nanartha-samsayah." The Vstti reads (p. 147) : nanarupanam arthanam samsayo'navadharanam rupam iva rupam. a-niyato hy akaro rupam ucyate. mukha-sandhyangat yukteh krtya-vicara-rupatvena niyatakaraya asya bhedah - BP. (p. 210; line 22) - "rupam sandehakrd vacah." p. 211 - line 1 - dvitra'rtha samavaye tu vitarko rupam ucyate." PR. (p. 79) : vitarka-pratipadana-vakyam rupam. NLRK. (p. 74) - 'citra'rtha-samayukto vitarko rupam." RS. (p. 226; III. 52d) : "rupam sandehakrd vacah." SD. (p. 373; VI. 96d) : "rupam vakyam vitarkavat." (4) Udaharana - (udahsti; DR., ND. PR.) This is recognised by NS., DR., Sr. Pra., ND., BP., PR., NLRK., RS. & SD. NS. (p. 48; XIX. 84a) - "yat sa'tisayavad-vakyam tad udaharanam smotam." Abh. observes : (p. 48) - loka-prasiddha-vastv apeksaya yat sa'tisayam ucyate utkarsam aharati ity udaharanam. DR. (p. 39; I. 39) : "...sotkarsam syad udahrtih..." sr. Pra. (p. 515; Ch. XII) repeats the NS. expression. "yac catisayavad vakyam tad udaharanam smotam." ND. (p. 150; I. 54) - "...udahstih samutkarsah." "loka-prasiddha-vastv apeksaya yah samutkarsah samutkrstorthah sa utkarsa"haranad udahrtih.". (p. 151, Vrtti). This follows the A.bh. BP. (p. 211; line 2) : "yattu sa'tisayam vakyam tad udaharanam bhavet." PR. (p. 79) - calls it 'udahsti' in the definition "prastutotkarsa bhidhanam udahsti)." NLRK. (p. 74) - "satisayam vacanam udaharanam" RS. (p. 226; III. 53a) : "sotkarsam vacanam yattu tad udaharanam matam." SD. (p. 373; VI. 79a) : "udaharanam utkarsayuktam vacanam ucyate." For Personal & Private Use Only

Page #599
1774 SAHRDAYALOKA (5) Krama - is recognised by NS., DR., Sr. Pra., ND., BP., PR., NLRK., RS. & SD. NS. (p. 49; XIX. 84b) : "bhava-tattvopalabdhis tu krama ity abhidhiyate." .bh. (p. 49) : "bhavasya bhavyamanasya vastuno bhavana'tisaye satyuham prati bhavana"dibalat syat ya paramarthopalabdhih sa kramah." DR. (p. 39; I. 39b) - has two opinions. "kramah samcintyamana"ptir bhavajnanam atha'pare." sr. Pra. (p. 515) : "bhavatattvopalabdhistu krama ityabhidhiyate." For 'krama', 'tama' is read here, through misprint. : ND. (I. 54) : "kramo bhavasya nirnayah." - vrtti adds : bhavasya parabhiprayasya, athava bhavyamanasya arthasya uha-pratibhava"divasan nirnayo yathavasthita-rupaniscayah kramah buddhis tatra kramate, na pratihanyate ity arthat." BP. (p. 211, line 3) quotes from the DR. - "kramah sancintita'rtha"ptir bhava-jnanamatha'pare." PR. (p. 79) - "samcintitartha-praptih kramah." NLRK. (p. 75) - "bhavisyat-tattvopalabdhih kramah." RS. (p. 226; III. 53b) - "bhavajnanam kramo yad va cintyamana'rtha-sangatih." SD. (p. 374; VI. 97b) - "bhava-tattvopalabdhis tu kramah syat..." (6) Sangraha - is read in the NS., DR., Sr. Pra., ND., BP., PR., NLRK., RS. & SD. NS. (p. 49, XIX. 85a) : "sama-dana"di-sampannah samgrahah parikirtitah." DR. (p. 40; I. 40). "samgrahah sama-danoktir..." Sr. Pra. (p. 516): (Ch. XII) : samadanartha-sampannah samgrahah parikirtitah." ND. reads it as no. 1 . (p. 145, I. 53a) : "samgrahah sama-dana"dih." The vstti observes : sama-dane danda-bhedayor upalaksanam. adi-sabdena mayendra-jala"di-samgrahah." BP. (p. 211, line 4) : "samgrahah sama-danoktih." This is DR. PR. (p. 79) - "prastutopayogi-samadana-vacanam samgrahah." - The editor has a foot-note - "prastutopayogi-samadhanavakyam iti pathantaram." NLRK. (p. 75) "sama-dana"di-yuktam vakyam samgrahah." RS. (p. 227; III. 54a) - "sangrahah samadanartha samyogah parikirtitah." SD. (p. 374; VI. 97, 98a) - ...sangrahah punah sama-danartha-sampannah." For Personal & Private Use Only

Page #600
"Dasa-rupaka-Vicara" 1775 (7) 'Anumana' - is read in the NS., DR., Sr. Pra., ND., BP., PR., NLRK., RS. and SD. NS. (p. 49, XIX. 85b) : "rupanurupa-gamanam anumanam iti smotam." Abh. (p. 69) observes : "rupyamanena pratyaksa"dy upalabhyamanena rupasya vyapakasya avinabhavino gamanam jnanam anumanam niscaya"tmakatvad uhah, upayayukter anyatvat." DR. (p. 40. I. 40) : ...abhyuho lingato'numa. Sr. Pra. (p. 516; Ch. XII) : "rupanurupa-gamanam anumanam iti smstam." ND. (p. 148; I. 53b) : "anuma niscayo lingat." vstti observes : (p. 148) - "lingad hetor nantariyakasya lingino niscayo'numanam. niscaya-rupatvena ca uha-rupaya yukter bhidyate." BP. (p. 211, line 4) "...abhyuho lingato'numa." PR. (p. 79) - "lingad abhyuhanam anumanam." NLRK. (p. 75) - "rupasya'nugamanam anumanam. rupyate iti rupam vastu." RS. (p. 227; III. 54 b) : "arthasya'bhyuhanam lingad anumanam pracaksate." SD. (p. 375; VI. 98a) : "...lingad uho'numanata." (8) Prarthana - is recognised by the NS., Sr. Pra., ND., NLRK., SD. NS. (p. 50, XIX. 86a) : "rati-harsotsavanam tu prarthana prarthana bhavet." DR. does not read this anga. It has only 12 anga-s of the garbha-sandhi. This is an effort not to exceed the total of 64 engas. sr. Pra. (p. 516; XII. Ch.) has - "abhyarthanaparam vakyam prarthanetyabhidhiyate." ND. reads it at no. 4. (p. 149; I. 53) : "prarthana bhava-yacanam." vitti reads - "bhavanam sadhyaphalocitanam ratiharsa-utsava"dinam yacanam prarthana." BP. (p. 211) does not read 'prarthana'. PR. (p. 79) also does not read 'prarthana'. These two go with the DR. NLRK. (p. 75) reads this after NS. - "abhyarthana-yuktam vacanam prarthana." RS. also does not read this anga. For Personal & Private Use Only

Page #601
1776 SAHDAYALOKA SD. (p. 375; VI. 98) reads it following the NS. - "rati-harsotsavanam tu prarthanam prarthana bhavet." It adds in the vstti - (p. 376) : idam ca prarthana"khyam angam. yammate nirvahane bhutavasaratvat prasasti-nama'ngam na'sti tanmatanusarena uktam, anyatha panca-sasthisamkhyatva-prasangat." (9) Aksipti - is read in the NS., DR., Sr. Pra., ND., BP., PR., NLRK., RS., & SD. This is also termed "aksipta" in the NS., Aksepa in DR., & ND., utksipta in NLRK., and ksipti in the SD. - Sr. Pra. calls it "samksipti" NS. (p. 50, XIX. 86b): "garbasyodbhedanam yat sa aksiptir .ity abhidhiyate." The foot-note 2 has - "bh. - yat tu tam aksepam vidur budhah." DR. reads it as no. 12 (p. 44; I. 42b) : "garbha-bija-samudbhedadaksepah parikirtitah." Avaloka observes : (p. 45) : etani dvadasa garbhangani praptyasapradarsakatvenopanibandhaniyani. esam ca madhye abhutaharana-marga-totakaadhibala"ksepanam pradhanyam. itaresam yatha-sambhavam prayoga iti sa'ngo garbhasandhir uktah." Sr. Pra. (p. 517, Ch. XII) : "garbhasyodbhedanam yat tu samksiptir iti giyate." ND. calls it 'aksepa' and reads it at no 9. ND. (p. 155, I. 540) : "aksepo bija-prakasanam." Vitti reads * "praptyasa'vastha-nibaddhasya bijasya mukha-karyopayasya prakasanam prakarsena avirbhavanam aksepah." BP. (p. 211, line 8) also reads it at no. 12, like the DR. - "garbha-bijasamutksepad aksepah parikirtitah." This follows the DR. PR. also reads it as no. 12, after BP. & DR. (p. 79) - "istarthopaya'nusaranam aksepah." Vitti adds : etesam madhye abhutaharana-marga-totakad hibala"ksepanam pradhanyam." NLRK. (p. 76) calls it "utksiptam". "bijodbhedanam utksiptam." RS. (p. 228) also reads it at no. 12, after DR. and calls it 'aksepa' - (p. 228, III. 57a) : "garbha-bija-samutksepam aksepam paricaksate." SD. (p. 376, VI. 99) calls it 'ksipti' and defines it as - "rahasya'rthasya tad bhedah ksiptih syat...", For Personal & Private Use Only

Page #602
"Dasa-rupaka-Vicara" 1777 (10) Totaka - is read by the NS., DR., Sr. Pra., ND., BP., PR., NLRK., RS. and SD. NS. (p. 51, XIX. 87a) : "samrambha-vacanam caiva totakam tv iti samjnitam." Abh. (p. 51) observes : "avega-garbham yad-vacanam tat totakam. sa ca'vego harsat, krodhat anyato'pi va. bhinatti yato hrdayam tatas totakam." DR. (p. 41; I. 40) : "samrabdham totakam vacah." The DR. also observes : "grantha'ntare tu-totakasya'nyathabhavam bruvate'dhibalam budah. & also, "samrabdha-vacanam yattu totakam tad udahrtam." Sr. Pra. (p. 517, Ch. XII) : sambhava-vacanam caiva totakam samudahitam." ND. places it at No. 13; (p. 160; 1. 55) - "totakam garbhitam vacah." Under the influence of the A.bh., the vstti adds - "krodha-harsa"di-sambhuta"vega-garbhitam vacanam, totayati bhinatti hedayam iti totakam." BP. has totaka, (p. 211; line 6): "samrambha-yuktam vacanam yat tat totakam ucyate." PR. (p. 79) - "rosa-sambhrama-vacanam totakam." NLRK. (p. 76) "samrabdha-vacanam totakam." RS. (p. 227, III. 55a) : "sa-samrambham tu vacanam sangirante hi totakam." SD. (p. 376; VI. 99): "...tro(to)takam punah, samrabdha-vak..." (11) Adhibala (= atibala; RS.) is read in all the nine sources (i.e. from NS. to SD.) NS. (p. 51; XIX. 87b). : "kapatena'tisandhanam bruvate'dhibalam budhah." DR. (p. 41; I. 40) : "adhibalam abhi-samdhih" Sr. Pra. (p. 517, Ch. XII) : "kapatastha'nyathabhavam bruvate'dhibalam budhah." ND. (p. 156; I. 55) - "adhibalam bala"dhikyam." vrtti reads - "paraspara-vancana-pravrttayor yasya buddhi-sahaya"di bala"dhikyena yatkarma itaram abhisandhatum samartham tatkarma balavisaye adhika-bala-yogad adhibalam." BP. (p. 211; line 5) : "cestaya'nya'tisandhanam vadanty adhibalam budhah." PR. (p. 79) - "ista-jana'ti-sandhanam adhibalam." NLRK. (p. 76) : "kapatasya anyathakaranam adhibalam." RS. (p. 227, III. 55b) : "budhair atibalam proktam kapatena'ti-vancanam." RS. reads "atibalam". SD. (p. 376; VI. 99d) : "adhibalam abhi-sandhicchalena yah." For Personal & Private Use Only

Page #603
1778 SAHRDAYALOKA (12) "Udvega" - is read in all sources. NS. (p. 51; XIX 88a) : "bhayam napa'ri-dasyuttham udvegah parikirtitah." Abh. has - 'ari' (adi) sabdan nayika"di." DR. (p. 43; 1. 42) "udvego'rikrta bhitih." . Sr. Pra. (p. 518; XII) "bhayam nopa"di-janitam udvegas samprakirtitah." ND. reads it at no. 7., (pp. 152; I. 54) : "udvego bhih." Vitti - "caura-n;pa-arinayikadibhyo bhayam udvegah". BP. (p. 211, line 7) : "udvego'rikrta bhitih." This follows the DR. PR. (p. 79) : "apakari-janad bhayam udvegah." NLRK, (p. 77) : "napati-janita-bhayam udvegah." RS. (p. 228; III. 56a) : "satru-cora"di-sambhutam bhayam udvega ucyate." SD. (p. 377; VI. 100a) : "nopa"di-janita-bhitir udvegah parikirtitah." (13) Vidrava (also, sambhrama) -read in the NS., DR., Sr. Pra., ND., BP., PR., NLRK., RS. & SD. NS. (p. 52; XIX. 886) - "sanka-bhaya-trasa-keto vidravah samudahstah." The foot-note has - 1-bh. - "noparibhaya-samyuktah sambhramastv abhisamjnitah.". DR. calls it 'sambhrama'. (p. 43; I. 42) : 'sanka-trasau ca sambhramah." Sr. Pra. (p. 518, Ch. XII) : "sanka-bhaya-trasa-ksto vidravah samudahstah." ND. reads it at no. 8; (p. 154; I. 54) : dravah sanka.' Vitti reads : "bhaya-trasa-karino vastuno ya sanka apaya-karakatvasambhavana, sa dravati slathi-bhavati hrdayam anaya iti dravah." - upanatam bhayam udvegah. tat-sambhavana tu vidravah." BP. (p. 211; line 7) : "sanka-trasau ca sambhramah." PR. (p. 79): "sanka-trasau ca sambhramah." These two follow the DR. in naming and defining this anga. NLRK. (p. 77) - sanka-bhaya-trasa-krto vidravah." RS. (p. 228); III. 56b): "satru-vyaghra"di-sambhuta sanka syat saiva sambhramah." SD. (p. 377; VI. 100b) : sanka-bhaya-trasa-krtah sambhramo vidravo matah." The PR. observes (p. 79) :. etesam madhye abhutaharanamargatotaka'dhibala'peksanam pradhanyam." For Personal & Private Use Only

Page #604
"Dasa-rupaka-Vicara" 1779 Anga-s of the Vimarsa-samdhi are 13 - as follows : (1) Apavada - is read in the NS., DR., Sr. Pra., ND., BP., PR., RS., NLRK. and SD. NS. (p. 52; XIX. 89a) : "dosa-prakhyapanam yat tu sopavada iti smstah." DR. (p. 46; I. 45) : "dosa-prakhya'pavadah syat." Sr. Pra. (p. 519; Ch. XII) : 'dosa-prakhyapanam yat syat sopavadah prakirtitah." ND. (p. 164; I. 58) : "apavadah parivadah." Vitti reads : "parivadah sva-para-dosodghattanam." The ND. (p. 161) counts drava, prasanga, sampheta, apavada, chadanam, dyutih, khedah, nirodha and samrambha - as first nine which are subsidiary to the four major or principal that are, sakti, prarocana, dana and vyavasaya. The Vstti (p. 161) observes : "drava"dini nava prayojanam apeksya gaunataya badhyante. saktyadini catvari punah pradhanyena. BP. (p. 211, line-19) "dosa-prakhya'pavadah syat." PR. (p. 80) - "dosa-prakhyapanam apavadah." NLRK. (p. 80) - "tatra dosa-prakhyapanam apavadah." RS. (p. 229; III. 60b) : "tatra'pavado dosanam prakhyapanam itiryate." SD. (p. 378; VI. 102a) - "dosa-prakhya pavadah syat." (2) Smpheta - is read in all sources. NS. (p. 53; VL. 89b) - "rosa-grathita-vakyam tu samphetah parikirtitah." DR. (p. 47; I. 45) : "sampheto rosa-bhasanam.". Sr. Pra. (p. 519; XII) reads it as "samsphota". "rosa-grathita-vakyam tu samsphota iti kirtitam." . * ND. reads it as no. 3. (p. 163; I. 58) - "samphetah krodhajam vacah." - Vitti has - "parasparam krodhajanmottara-pratyuttara-rupah samlapah samphetah." BP. (p. 211; line 19) : "sampheto rosa-bhasanam." PR. (p. 80) - "rosa-bhasanam samphetah." NLRK. (p. 81) : "rosa-grathitam vakyam samphetah." RS. (p. 229; III. 61a) : dosa-samgrathitam vakyam samphetam sampracaksate." RS. has "dosa" for "rosa". SD. (p. 378; VI. 102) : "sampheto rosa-bhasanam." For Personal & Private Use Only

Page #605
1780 SAHRDAYALOKA (3) Drava - (also vidrava, abhidrava) is read in the NS., DR., Sr. Pra., ND., BP., PR., NLRK., RS. & SD. NS. (p. 53; XIX. 90a) - "guru-vyatikramo yas tu sa dravah parikirtitah.".. DR. reads it after 'vidrava'. (p. 48, I. 45d) : "dravah guru-tiraskrtih." DR., BP., PR. & RS. do not recognise kheda, pratisedha, and chadana as read in the NS. 'vidrava' of DR. is like 'pratised ha' and 'chalana' is like 'chadana'. Sr. Pra. (p. 520; XII th.) : "guru-vyatikramo yas tu sa dravah parikirtitah." This follows the NS. ND. places "drava" at no. 1. (pp. 161; I. 57) - "dravah pujya-vyatikramah." BP. (p. 211; line 20) also reads it after 'vidrava' as in DR. and defines it after DR. It has the same sandhyanga-s as read in the DR. "dravah guru-tiraskrtih." PR. (p. 80) : "gurutiraskrtir dravah." PR. follows the DR. NLRK. (p. 81); - "guruvyatikramo dravah." RS. (p. 230; III. 62a) reads it after 'vidrava' as in the DR. - "guru-vyatikramam praha-dravam tu bharato munih." SD. (p. 379; VI. 103b) - "dravo guru-vyatikrantih soka"vega"di-sambhava." (4) Sakti is read in all sources. NS. (p. 53, XIX. 90b) : "virodhi-prasamo yas ca sa saktih parikirtita." DR. (p. 49. I. 46) : "virodha-samanam saktih." Sr. Pra. (p.520, Ch. XII) - "virodha-prasamo yas tu sa saktih parikirtita." This is NS. ND. (p. 172; I. 60a) : "kruddha-prasadanam sakti)." Vrtti has - "kruddhasya prasadanam anukulanam buddhi-vibhava"di-Saktikaryatvena sasaktih. yadi va kruddhasya dvisatah prakarsena sadanam vinasanam saktih." BP. (p. 211; line 21) - 'virodha-samanam saktih." RS. (p. 80); "virodha-samanam saktih." NLRK. (p. 82) "virodha-prasamah saktih." RS. (p. 210; III. 62b) - "utpannasya virodhasya samanam saktir ucyate." SD. (p. 380; VI. 104) - "...saktih punar bhavet. virodhasya prasamanam." For Personal & Private Use Only

Page #606
"Dasa-rupaka-Vicara" 1781 (5) Vyavasaya is read in the NS., DR., Sr. Pra., ND., BP., PR., NLRK., RS. & SD. NS. (p. 54; XIX. 91a) : "vyavasayas ca vijneyah pratijna-hetu-sambhavah." Abh. : pratijnatasya angikstasya arthasya hetavo ye, tesam sambavah, praptivyavasayah." DR. (p. 51; I. 47a) : "vyavasayah sva-saktyuktih." Ss. Pra. (p. 521; XII) "vyavasayas ca vijneyah pratijna-hetu-sambhavah." ND. reads it at No. 13; (p. 177, I. 60) - "vyavasayo'rthyahetuyuk." Vitti - "yug" iti yojanam yuk. arthaniyaphalasya hetus tadyogo vyavasayah." BP. (p. 212, line 1) : "vyavasayah sva-saktyuktih." PR. (p. 80) : "pratijna-hetu-samslistam vakyam vyavasayah." NLRK. (p. 82): "pratijna hetu-samslistam vakyam vyavasayah." RS. (p. 231, III. 65a) - "vyavasayah sva-samarthya-prakhyapanam udiryate." SD. (p. 379; VI. 103) : 'vyavasayas ca vijneyah pratijna-hetu-sambhavah." (6) 'Prasanga' is read in all sources. NS. (p. 54; XIX. 91b) : "prasangas caiva vijneyah gurunam parikirtanam." DR. (p. 50; I. 46) reads it at no. 7. - "gurukirtanam prasangah." sr. Pra. (p. 521; XII) "a-prastuta'rtha-kathanam prasangah parikirtitah." This is different from the NS. and also DR. ND. (p. 162; 1. 58) reads it at no. 2 - "prasango mahatam kirtih." BP. (p. 211, line 22) follows the sr. Pra, and observes - . : "a-prastutartha-kathanam prasanga iti kathyate." PR. (p. 80) : "guru-kirtanam prasangah." NLRK. (p. 83) also follows the ss. Pra. & B.P. - "a-prastuta'rtha-khyapanam prasangah." RS. (p. 231, III. 63, 649) : has something different. - "prastutartha-pragamanam prasangah parikirtitah." This is exactly opposite of Sr. Pra., BP. & NLRK. But it again says : "prasangam kathayanty anye gurunam parikirtanam." This follows the NS., DR. etc. SD. (p. 380; VI. 104): "...prasango guru-kartanam." For Personal & Private Use Only

Page #607
1782 SAHRDAYALOKA (7) Dyutih - read in NS., DR., sr. Pra., ND., BP., PR., NLRK., RS. & SD. NS. (p. 54; XIX. 92a) : "vakyam adharsa-samyuktam, dyutis taj-jnair udahrta." Abh. - adharso nyakkarah, tena samyuktam. DR. (p. 49; I. 46) reads it at no. 6 - "tarjanodvejane dyutih." - sr. Pra. (p. 522, XII) "vakyamadharsa-samyuktam dyutis taj-jnair udahita." ND. - reads it at no. 6 (p. 167, I. 59) - "tiraskaro dyutih." Vitti adds : tarjanodvejane dyutim kecid icchanti. apare tu tarjana"rsane dyutim manayante. tad etan mata-dvayam api artha'bhedat samgrhitam. evam anyad api saksat paramparyena va nyakkara-param vakyam dyutir eva." (pp. 167). BP. (p. 211, line 21) - "tarjanodvejane dyutih". PR. (p. 80) : "tarjanodvejane dyutih." NLRK. (p. 83) : tarjana adharsana. adhiksepakstam vakyam dyutih."- dur uktiparinama ahutir atra abhimata. RS. (p. 231, III. 63a) : "dyutir naina samuddista tarjanottejane budhaih." SD. (p. 379, VI. 104a) : "tarjanodvejane prokta dyutih." (8) kheda - is read in all sources except in DR., BP., PR. & RS. They do not read pratisedha and chadana also. NS. (p. 54; XIX. 92b) : "manascesta-vinispannah sramah kheda udahitah." sr. Pra. (p. 522; Ch. XII) defines it exactly after the NS. - "manascestavinispannah sramah khedah udahstah". ND. reads it at no. 7. (p. 167; 1. 59) - "khedah oramah kaya-manodbhavah." NLRK. (p. 83) - "manocesta-samutpannah sramah khedah." SD. (p. 381; VI. 105a) : "manascesta-samutpannah sramah kheda iti smstah." (9) Pratesedha not read in DR., BP., PR., & RS. NS., Sr. Pra., NLRK. & SD. read it. It is also termed 'Nisedha'. ND. replaces 'pratisedha' by 'sambhrama'. NS. (p. 55, XIX. 939) : "ipsitartha-pratighatah pratisedhah prakirtitah." Sr. Pra. (p. 623, XII) same as NS. ND. - has 'samrambha' in place of 'pratisedha' (p. 171, 1. 59) : "samrambhah sakti-kirtanam." For Personal & Private Use Only

Page #608
"Dasa-rupaka-Vicara" 1783 Vitti has * samrabdhanam uttara-pratyuttarena atmasakti-bhasanam samrambhah." This has nothing to do with 'pratisedha' of the NS. ND. observes that, "asamrabdhasya'pi drsyate." ND. also observes that : "samphete krodhena bhasana-matram, samrambhe tu bala-kirtanam ity anayorbhedah." The ND. is very clear that all anga-s in a given sandhi should be taken only as stray instances causing beauty. There are differences in angas in all samdhis, from the point of view of beauty involved, from the point of view of views of the seniors (vrddhas, i.e. Bharata etc.) and also from the angle of expression. So, in all sand his the anga-s are given in view of various illustrations only. There is nothing fixed concerning their number or naming : (p. 175; Vitti) - "sarva-sandhisv api matantarani vrddhoktatvat, bhaniti-bhedat, vaicitryasya ranjakatvac ca pramanany eva, ata eva sarva-sandhisvanga-samkhya-karanam udaharana-param iti." NLRK. (p. 84) follows the NS. and observes : "ipsitartha-pratighatah pratisedhah." SD. (p. 382, VI. 105b) follows the NS. : "ipsitartha-pratighatah pratisedha itisyate." (10) Virodhana (also nirodhana; virodha) All sources accept this. NS. (p. 55; XIX. 93b) : "karyatyayopagamanam virodhanam iti smetam." The foot-note 2 has - bha. "uttarottara-vakyam tu virodha iti samjnitah." da. - "virodhanam tu sanrambhat uttarottara-bhasanam." : The Abh. reads 'nirodhana'. DR. calls it "virodhanam"; (p. 52; I. 14) - "samrabdhanam virodhanam." Sr. Pra. (p. 523, XII) follows The N.S. - "karyatyayopagamanam virodhanam iti smotam." ND. (p. 161); calls it 'nirodha', but reads 'virodha' on p. 168, 1. 59 and explains it as : "virodhah prastutajyanih." Vitti - prastutasya karyasya jyanih atyayo virodha iva "virodhah". The ND. adds : "anye tu kheda-virodhau na manyante. vidravavicalane tu pathanti. tatra vidravah bandha-vadha'dhy avasaya"dih. ...atra svaguna"viskaranat vicalanam iti. For Personal & Private Use Only

Page #609
1784 SAHRDAYALOKA BP. (pp. 212, line 3) : "samrabdhanam avajna ya tad virodhanam ucyate. PR. (p. 80) : "krodha-samrabdhanam anyonya-viksepo nirodhanam." NLRK. (p. 84) "karyatyayopagamanam virodhanam". RS. (p. 232, III. 65b) : "virodhanam nirodhoktih sabdanam ca parasparam." SD. (p. 382; VI. 105) : "karyatyayopagamanam virodhanam iti smotam." (11) Adana - is accepted by NS., DR., Sr. Pra., ND., BP., PR., NLRK., RS. & SD. NS. (p. 55; XIX. 94a) "bija-karyopagamanam atanam iti samjnitam." "Atana" is the same as "adana." DR. reads it at no. 13. (p. 55; I. 48) : "...adanam karya-samgrahah." Sr. Pra. (p. 524; XII) : "bija-karyopagamanam adanam iti samjnitam." ND. (p. 177; I. 60) : "phala-samipyam adanam." Vrtti - "mukhya-phalasya darsanam adanam." BP. (p. 212, line 6) : "adanam karya-samgrahah." PR. (p. 80) - "karya-samgraha adanam." NLRK. (p. 84) - "bija-karyopagamanam adanam." i.e. collection of actions that form the seed, or availability of means is "adana". BP. (p. 232; III. 66) : adanam karya-samgrahah." SD. (p. 384; VI. 106) "karya-samgraha adanam." (12) Chadana (also, sadana). DR., BP., PR., & RS. do not accept this. ND. observes that some accept "Chalana" for 'Chadana'. NS. (p. 55; XIX. 94b) - "apamana-krtam vakyam karyartham cchadanam bhavet." Abh. observes (p. 55, 56) : "vakyam iti tad artho laksyate. karotih bahumane vartane, tena dusto'pyartho'pamanena bahumatikstah. tad apamanakalanka'pacaranacchadanam iti." DR. has 'chalana' in place of 'chadana'. (p. 51; I. 46) : "chalanam ca'vamananam." Dr. Kulkarni's observations as quoted earlier may be looked into once again. Sr. Pra. (p. 505) mentions 'sadhana' which could be 'sadana'. But then this is not treated later and after 'adana' we read 'prarocana' (p. 524, Ch. XII) For Personal & Private Use Only

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"Dasa-rupaka-Vicara" 1785 ND. (p. 165, I. 58) "chadanam manyu-marjanam" . Vitti - "manyur apamano yena marjyate tat chadanam." ...anye tu - karyartham a-sahyasya'pyarthasya sahanam chadanam a-mananti. ...Canye tv asya sthane cchalanam avamanana-rupam ahuh. apare tu chalanam sammoham icchanti. " Thus a number of differences are noted with reference to this anga. BP. (p. 212, line 1) has "chalanam ca'vamananam." PR. (p. 80) has 'calana' - "upamanam tu calanam." NLRK. (p. 85) has 'sadanam'. "apamana-krtam vakyam sadanam." RS. (p. 231, III. 64) : "avamana"di-karanam karyantam chalanam viduh." SD. (p. 384; VI. 106, 7): "...tad ahus chadanam punah karyartham apamana"deh sahanam khalu yad bhavet." (Read Dr. Kulkarni's comments as given earlier). (13) Prarocana is read in all sources. NS. (p. 56; XIX. 95a) : "prarocana tu vijneya samhara'rtha pradarsini." Abh. (p. 56) : "samhriyamanasya nirvahyamanasya arthasya darsika prakarsena rocata iti prarocana." DR. (p. 53, I. 47) : "siddha"mantranato bhavidarsika syat prarocana." Ss. Pra. (p. 524; Ch. XII) : "prarocana ca vijneya samhara'rtha-pradarsani." ND. (p. 175; I. 60): "bhavi-siddhih prarocana." Vrtti - "nirvahana-sandhau bhavino'rthasya siddhih, siddhatvena upakramanam, prakarsena rocyate dipyate'naya rupaka'rtham iti prarocana." BP. (p. 212, line 5) : "amantranam yat sadhyasya siddhavat sa prarocana." PR. (p. 80) "siddhavad bhavi-sreyah-kathanam prarocanam." NLRK. (p. 85) (Ka. 94b) : "prarocana ca vijneya samhata'rtha pradarsini." This follows the NS. & Sr. Pra., verbetim. RS. (p. 232; III. 66a) : "siddhavad bhavinorthasya sucana syat prarocana." SD. (p. 383; VI. 106a) : "prarocana tu vijneya samhara'rtha-pradarsini." This follows the NS., Verbetim. For Personal & Private Use Only

Page #611
1786 SAHRDAYALOKA The Abh. (NS., p. 56) has some further observation : "yuktir ity anye vyavaharanti. atra uddesa-kramatyage yat kesamcit anganam laksanam tat krama-a-niyama-sucanartharthah. anena patha-viparyasena yat-kaiscid uddesasya anyatha-pathanam, tad-granthakara-asaya-a-parijnana-kstam. kecid atra anyatamam angam na-adhiyate, dvadasangam eva etat-sandhim ahuh. anye tu trayodasangatve'pi - asya nirvahana sandhav api prasakter itivittantarbhutatvena gananam anyayyam iti trayodasangatvat catuhsasti-samrupam samarthayante. The DR., BP., PR. & RS. do not recognise the three anga-s viz. kheda, pratisedha and chadana. These three are replaced by vidrava, vicalana and chalana. They are read as - Vidrava - DR. (p. 47, I. 45) - "vidravo vadha-bandha"dini. BP. (p. 211; line 20) "vidravo vadha-bandha"dih." PR. (p. 80) : "vadha-bandha"dikam vidravah." RS. (p. 230; III. 61a) : "virodha-vadha-daha'dir vidravah parikirtitah." "Vicalana" - DR. (p. 54, I. 48) : "vikatthana vicalanam." BP. (p. 212; line 6) - "vikatthana vicalanam." PR. (p. 80) : "sva-guna"viskaranam vicalanam." PR. (p. 80) : "sva-guna"viskaranam vicalanam." RS. (p. 232, III. 66b) : "atma"labad vicalanam." "Chalana" - DR. (p. 51; I. 46) "chalanam ca'vamananam." BP. (p. 212; line 1) "chalanam ca'vamananam." PR. (p. 80) has 'calanam' defined as - "upamanam calanam." This is a new anga. RS. - (p. 231; IV. 64b) : "avamana"di-karanam karyantam chalanam viduh." See also Dr. Kulkarni's observations as quoted earlier. It may be noted that there are a number of differences in the avamarsa-sandhyanga-s and this is also noted by the Abh. as seen above. ND. also observes (p. 178) : "kecid anyatamanga'nangikarena dvadasangam eva ekam sandhim icchanti. evam garbhasandhim api. etany avamaria-sandhes trayodasany angani." For Personal & Private Use Only

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"Dasa-rupaka-Vicara" 1787 Anga-s of the Nirvahana-sandhi are 13, as follows : (1) Sandhi - is read in all the sources consulted by us, except NLRK. NS. (p. 57; XIX. 97a) : "mukhabijopagamnam sandhir ity abhidhiyate." DR. (p. 56; I. 51) : "sandhir bijopagamanam." Ss. Pra. (p. 525) "camur (mukha) bijopagamanam sandhir ity abhidhiyate." 'camuh' seems to be a mistake. ND. (p. 179; I. 62) : sandhir-bija-phala"gamah." Vitti - "mukha-sandhau nyastasya prarambha'vastha-visayikstasya bijasya udghataunmukhyadyair vikaraih phale, phala"gama"vasthayam agamanam dhaukanam sandhih." BP. (p. 212, line 18) "sandhir bijopagamanami". This is DR.(see above). PR. (p. 81) : "bijopasamnam sandhih." NLRK. (p. 86) has "arthah" for 'sandhi' - "tatra pradhana'rthopaksepah arthah." RS. (p. 233; III. 70a) : "sandhir bijopagamah." SD. (p. 385; VI. 109) - "bijopagamanam sandhih." (2) Nirodha - is read in all sources. NS. (p. 57, 98a XIX) "karyasya'nvesanam yuktya nirodha iti kirtitah. DR. (p. 57; I. 51) calls it "vibodha". "vibodhah karya-marganam." sr. Pra. (p. 525; XII) : 'anyasya' (This should read "karyasya) "anyasya'nvesanam yuktya nirodha iti kirtitah." The illustration from Ratnavali is also read in the DR. and the A.bh. ND. (p. 179; I. 63) : "nirodhah karya-mimamsa." Vitti explains : nastasya karyasya yuktaye yad anvesanam tan niruddha-vastuvisayatvan nirodhah." BP. also reads 'vibodha', after the DR. (p. 212; line 18) : "vibodhah karyamarganam." PR. (p. 80, 81) reads "virodhah" for 'vibodhah. "karya-marganam virodhah." For Personal & Private Use Only

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1788 SAHRDAYALOKA NLRK. calls it "anuyoga" and reads it at no. 9. "yukta-karya'nvesanam anuyogah." Name given is different; the concept is the same. RS. - also calls it 'virodha'. (p. 233; III. 70) : "karyasya'nvesanam virodhah syat." SD. (p. 385; VI. 109) calls it 'vibodha'. "vibodhah karyamarganam." Thus for this sandhyanga we have four names such as 'nirodha', 'virodha', 'vibodha' and 'anuyoga'. (3) Grathanam : read in NS., DR., Sr. Pra., ND., BP., PR., NLRK., RS. & SD. NS. (p. 57; XIX. 98b) : "upaksepas tu karyanam grathanam parikirtitam." The foot-note 7 - reads (p. 57) : bha. - prasavam nama tad bhavet. DR. (p. 57, I. 51) - "grathanam tad upaksepah." sr. Pra. (p. 525, XII) : "upaksepast tu karyanam grathanam parikirtitam." ND. (p. 180; I. 63) "grathanam karya-darsanam." Vitti : "karyam mukhya-phalam. grathyate sambadhyate vyaparena mukhyaphalam anena iti grathanam." BP. (p. 212, line 19) : "grathanam tad upaksepah." tacchabdah karya-vacakah." PR. (p. 81) : "karyopaksepanam grathanam." NLRK. (p. 86) : "karyanam bahunam upaksepo grathanam." RS. (p. 234; III. 71): "grathanam tad upaksepah." SD. (p. 386; VI. 110) : "upanyasas tu karyanam grathanam..." (4) 'Nirnaya' is read in all sources. NS. (p. 57, XIX. 99a) : "anubhuta'rtha kathanam nirnayah samudahstah." Abh. - "pramana-siddhasya vastunah kathanam ity arthah." DR. (p. 58, I. 51) : "anubhuta"khya tu nirnayah." sp. Pra. (p. 526, XII) : "anubhuta'rtha-kathanam nirnayah samudahstah." ND. (p. 181; I. 63) : "nirnayo'nubhava-khyati)." Vrtti (p. 81) reads : jneye'rthe sandihanam apratipadyamanam va prati, yad anubhavasya, anubhutasya arthasya nirnayartham kathanam tat jneya'rthanirnayat nirnayah." For Personal & Private Use Only

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"Dasa-rupaka-Vicara" 1789 BP. (p. 212, line 20): "nirnayasty anubhuta"khyah punah punar itiritah." PR. (p. 81) : "bija'nuguna-karya-prakhyapanam nirnayah." NLRK. (p. 87): 'anubhuta'rtha-kathanam nirnayah." RS. (p. 234; III. 70) : "...syad anubhutasya nirnayah kathanam." SD. (p. 386; VI. 110, 111a) : "...nirnayah punah" anubhuta'rtha-kathanam." (5) 'Paribhasana' is read in the NS., DR., Sr. Pra., ND., BP., PR., NLRK., RS. & SD. NS. (p. 58) (XIX. 99b) - "parivada-krtam yat syat tad ahuh paribhasanam." DR. (p. 58; I. 52) : "paribhasa mitho jalpah." Sr. Pra. (p. 526; XII) : "parivada-krtam yat syat tad ahuh paribhasanam." ND. (p. 182, I. 63) "paribhasa sva-bhasanam." Vitti - "sva'paradhodghattanam paribhasa." (p. 182) BP. (p. 212, line 21) - It follows the NS. verbetim in place of the DR. and also calls it 'paribhasana'. DR. & ND. call it "pari-bhasa". BP. reads : "parivada-katam yat syat tad ahuh paribhasanam. BP. also reads : "paribhasa mitho jalpah." PR. (p. 81) : "mitho jalpanam paribhasa." This follows the DR. only terminology differs, not the concept... NLRK. (p. 87) - "parivada-kstam paribhasanam." RS. (p. 234; III. 71a) - paibhasa tv anyonyam jalpanam athava parivadah." SD. (p.. 387, VI. 111) : "...vadanti paribhasanam parivada-krtam vakyam." (6) Dyuti - (Krti) - is read in NS., Sr. Pra.; Ksti - for dyuti is read in DR., ND., BP., PR., RS., SD., NLRK. has "dyuti." NS. (p. 58; XIX. 100a) : "labdhasya'rthasya samanam dyutim acaksate punah." Abh. (p. 58): samarthyat prasamaniyasya krodhader arthasya praptasya'pi yat prasamanam sa dyutih. - DR. (p. 60, I. 53) reads "kstih". - "krtir labdha'rtha-samanam." sr. Pra. (p. 527) - "irsya-kopa-prasamanam dyutim acaksate budhah." The reading "irsya..." follows foot-note. 3. (p. 58, NS.) - "pa - "irsyakopopasamanam." For Personal & Private Use Only

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1790 SAHRDAYALOKA ND. also reads "ksti". (p. 184; I. 64) : "kstih ksemam"; Vrtti - "labdhasya paripalanam ksemah." This is a new concept. Vitti also reads - "anye punar asya sthane praptasya pratikulya-samanam dyutim ahuh." - This is a reference to the NS. view. BP. follows the DR. (p. 213, line 2) - "krtir labdha'rtha-samanam tat sthiri-karanam tu va." PR. (p. 81) : "labdha-sthirikaranam krtih." The BP. & PR. seem to be closer to the ND. NLRK. (p. 87) : "irsya-klesopasamanam dyutih." This follows the alternate reading as given in the NS., noted as above. RS. has 'ksti' (p. 235, III. 72b). "kstir atha labdhartha-susthirikaranam." This is closer to BP. & ND... SD. also has 'ksti' - "...labdhartha-samanam krtih." (7) Ananda - is read in all sources. NS. (p. 58; XIX. 100b) : "samagamas tatha'rthanam anandah parikirtitah." Abh. : arthitasya tatha iti prakarasataih prarthitasya samyag a-punarviyogavad yad agamanam tad anada-hetutvad anandah." DR. (p. 59, I. 52) : "anando vanchita"vaptih", sr. Pra. (p. 527; XII) : "samagamas tatha'rthanam anandah parikirtitah." ND. (p. 186; I. 64) : "anando vanchita"gamah." Vitti - "prakarasatair vanchitasya arthasya samastyena agamah praptih, ananda-hetutsad anandah." BP. (p. 213, line 1) : "anando vanchita"vaptih." PR. (p. 81): "vaichitartha praptir anandah." NLRK. (p. 88) : "voichitarthaogamah anandah." RS. (p. 235, III. 72a) : "abhilasita'rtha-samagamam anandam prahur acaryah." SD. (p. 287) (VI. 112) "...anando vanchita"gamah." For Personal & Private Use Only

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"Dasa-rupaka-Vicara" 1791 (8) Samaya - is read in all sources. NS. (p. 59, XIX. 101a) : "duhkhasya'pagamo yas tu samayah sa nigadyate." DR. (p. 60, I. 52) - "...samayo duhkha-nirgamah." Sr. Pra. (p. 528, XII) "duhkhasyopasamas caiva samayotha nigadyate." ND. (p. 187, I. 64) : "samayo duhkha-nirvasah." Vitti - "duhkha-nirgama-yuktah kalah, samayah." BP. (p. 213, line 1) : "samayo duhkha-nirgamah." PR. (p. 81): "duhkha-prasamanam samayah." This is slightly different from NS. & others RS. (p. 235, III. 72b) : "samayo duhkha'pagamah." SD. (p. 287, VI. 112) : "samayo duhkha-niryanam." (9) Prasada is read in all sources. ND. terms it "upasti". NS. (p. 59, XIX. 101b) : "susrusady upasampannah prasadah pritir ucyate." DR. (p. 59, I. 52) : "prasadah paryupasanam." Sr. Pra. (p. 527, XII) : "susrusady upasampannah prasada iti kirtitah." ND. (p. 183; I. 64) terms it "upasti" (= upasana), "seva upasti." Vitti - (p. 183) : "seva para-prasatti-hetur-vyaparah." - "That activity which pleases others." BP. (p. 212, line 22) - "prasadah paryupasanam." PR. (p. 81) : "paryupasanam prasadah." NLRK. (p. 88): "susrusa"dy upapanna'rthah prasadah." RS. (p. 234, III. 71b) : susrusa"di-praptam prasadam ahuh prasannatvam." SD. (p. 387, VI. 112) : "susrusa"dih prasadah syat." (10) Upaguhana : read in NS., DR., Sr. Pra., ND., BP., PR., NLRK., RS. & SD. NS. (p. 59, XIX 102a): "adbhutasya tu sampraptih upaguhanam isyate." DR. (p. 61, I. 53b) treats 'purvabhava' and 'upaguhana' together : "karyadrsyadbhutaprapti purvabhavopaguhane." Avaloka (p. 62) has "karyadarsanam purva-bhavah" "adbhuta-praptih upaguhanam." sr. Pra. (p. 528, XII) : "adbhutasya ca sampraptih bhavet tad upaguhanam." For Personal & Private Use Only

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1792 SAHRDAYALOKA ND. (p. 187) terms it 'pariguhana', and also (I. 64) - "adbhuta"ptih pariguhana', and also 'upaguhana'. Vitti (p. 188) - "vismaya-sthayi-bhava"tmakasya adbhuta-rasasya praptir upaguhanam." BP. (p. 213, line 4) also treats, 'purva-bhava' and 'upaguhana' together in the same terms as the DR. : "karyadssty adbhutapraptih purvabhavopa-guhane." PR. (p. 81) : "adbhuta'rtha-praptir upaguhanam." NLRK. (p. 89) : "adbhuta-praptir upaguhanam." RS. (p. 236, III. 73a) terms 'upaguhanam' as 'upaguoha' "upagudham adbhutapraptih." SD. (p. 388, VI. 112, 113) : "....tad bhaved upaguhanam, yat syad adbhutasamprapti)." (11) Bhasana - is read in all sources. NS. (p. 59, XIX. 102b) : "sama-dana"di-sampannam bhasanam samudahstam." Abh. (p. 59) : yadyapi tada'rthepi samgrahakhyam idam angam uktam tatha'py atra sthanevasyam prayoktavyata khyapayitum punar upadanam sabdantarena ca." DR. (p. 61, I. 53) - "mana"dyuptis ca bhasanam." This is a different sense then the one taken by NS. Ss. Pra. (p. 528, XII) : "sama-dana"di-sampannam bhasanam bruvate budhah." ND. (p. 190, I. 65) : "bhasanam sama-danoktih." Vitti - samno vacanam, dadatas ca vacanam. abhyam upalaksana-paratvat priyam hitam ca glhyate." BP. (p. 213, line 3) : "mana"dyarthasya sampraptir bhaseti paribhasyate." PR. (p. 81) - "prapta-karyanumodanam abhasanam." NLRK. (p. 89) - "sama-vada"di-sampannam bhasanam bhasanam." BP. (p. 235, III. 73) : "bahumanad vyakhyanam bhasanam." SD. (p. 388; VI. 113) :"..sama-dana"di bhasanam." For Personal & Private Use Only

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"Dasa-rupaka-Vicara" 1793 (12) Purvavakya - is read in NS., NS. (p. 60, XIX. 103a) : "purva-vakyam tu vijneyam yathokta'rthapradarsanam." DR. treats it as 'purva-bhava' with upaguhana. See. no. 10. See also Dr. Kulkarni's observations as quoted earlier. Ss. Pra. (p. 529, XII) : "purva-vakyam tu vijneyam yathokta"ksepa-darsanam." This reading follows the NS. (foot-note 1 - "punar vakyam - ...yathokta"ksepadarsanam." ND. (p. 191, 1. 65) calls it "purva-bhavah" and defines after the DR. - "pragbhavah krtya-darsanam." The ND. suggests that this 'anga' is different from 'purva-vakya'. (Vrtti., p. 192 : "mukha-sandhy ady-ukta-vakya-sadrsa-vakya darsanam purvavakyam angam asya sthane kecid amananti." This clearly refers to the NS. BP. (p. 213, line 4) also treats "purva-bhava" with 'upaguhana', after the DR. See no. 10. PR. (p. 81) has - "ista-karya-darsanam purva-bhavah." This also follows the DR., BP. NLRK. (p. 89) has - "bijodghaganam purvavakyam." This follows the NS. RS. follows the DR. (p. 236, III. 73b) : "tad upakramana-karyasya syad drstih purva-bhavas tu." SD. follows the NS. (p. 388, VI. 113) : "purva-vakyam tu vijneyam yathokta'rthopa-darsanam." (13) "Kavyasamhara' is read in all sources. NS. (p. 60, XIX. 103b) - "vara-pradana-sampraptih kavya-samhara isyate." DR. (p. 62, I. 54) - "vara"ptih karya-samharah." sr. Pra. (p. 529, XII) : "vara-pradana-sampraptih kavya-samhara isyate." ND. (p. 193, I. 65) : "vareccha kavya-samharah." Vitti (p. 193) observes : "ipsitam datum abhilaso vareccha. taj janito "bhuyah kim te priyam upakaromi' iti prasna ity arthah sa ca grahitari a-praticchati, For Personal & Private Use Only

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1794 SAHRDAYALOKA praticchati ca sampadayitur bhuyasim iccham darsayitum nibadhyate. tatra sati sarvasminn eva ipsite sampanne prastutam kayyam eva samhriyate iti "kavyasamharah." The vTtti notes at the end. : (p. 195) : "idam angam avasyam nibandhaniyam prasastinantariyakatvat, iti." BP. (p. 213, line 5) : "vara-pradana-labha'dih karya-samhara ucyate." PR. (p. 81) : "karya'rthopa-samhstih samharah." NLRK. (p. 90): "varapradana-sampraptih kavya-samharah." . RS. (p. 237, III. 74-a) : "dharma'rthady upagamanad upasamharah krtarthatakathanam..." SD. (p. 389, VI. 114) : "varapradana-sampraptih kavya-samhara isyate." (14) Prasastih. This is read in all sources. Read Dr. Kulkarni's observations as quoted above. - NS. (p. 61, XIX. 104a) : "n;pa-desa-prasantis ca prasastir abhidhiyate." DR. (p. 63, I. 54) : "prasastih subha-samsanam." Sr. Pra. (p. 505) mentions 'prasastya"dir itya"di' but does not treat the same at the end. ND. (p. 195, I. 65) : "prasastih subhasmsana." Vitti observes : (p. 196) : iyam ca'vasyam nibandhaniya. tatha iti-vsttantarbhuta ceyam. tenasyah prthag ganane catusastir api anga-samkhya bhavati. BP. (p. 213, line 6) : "prasastir virya-vijaya-mangala"di-prasamsanam. PR. (p. 81) : "subha-samsanam prasastih." NLRK. (p. 90): "nrpa-dvijati-gava"dinam siva'vadharana-purvam kavyasya avadharanam prasastih." RS. (p. 237, III. 74b) : bharataiscara'caranam asirasamsanam prasastih syat." SD. (p. 389; VI. 114b) : "npa-desa"di-santis tu prasastir abhidhiyate." With this the treatment of the 64 sandhyangas is over. We have already taken note of the six-fold purpose of the Sandhyanga-s earlier. The fact remains that these sandhyanga-s deal more with accidents rather than with essentials and broadly speaking, as they add to the beauty of a dramatic composition, they may be termed "alamkara-s" in the wider sense of the term, as suggested by Dandin. For Personal & Private Use Only

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"Dasa-rupaka-Vicara" 1795 Types of drama We will now turn our attention to the characterstics of the ten major types of drama - the dasa-rupaka and will also furnish definition-cum-description as given by the NS., DR., ND., BP., NLRK., RS. and SD. Normally there is hardly any difference seen in the concepts. So, first we will try to present the concepts that are seen as common to almost all sources and at the end we will read definitions from selected sources to complete our chapter of classification of poetry, here "dasa-rupakavicara" or "nataka-nirnava." . We will deal with the ten major types of drama here. Hemacandra and Bhoja quote from the NS. So, they are not treated separately. (1) NATAKA : The Nataka depicts an event or events in the life of a prince who is of a noble lineage (prakhyata-vamso rajarsih). Nataka deals only with the past and not with present or future. The poet, for dramatic effect prefers the presentation of certain events and rejects or modifies others to suit his purpose of 'rasa'. He may even add imagined events to suit the high profile of his hero. The hero has to be a distinguished historical figure such as Udayana of Kausambi, or a figure from tradition such as Agnimitra, or hero from the epics such as the Ramayana or the Mahabharata, or Puranas. Abhinavagupta observes that the distinction may be in form of a quality of the hero, or of the action or of the place of action. The ND. takes these three as interdependent. The BP., SD. and some others observe that the nataka should have a hero who is of "dhirodatta" type only. Others feel that the nayaka can be dhira-lalita' also. Hemacandra however feels that one and the same hero may look as belonging to different types with reference to context. Dhanika also feels it this way. The hero is again expected to be a saintly prince - "rajarsi". Thus he has qualities of a balanced view, devoutness of character etc. 'Raja' means a 'ksatriya', as explained by the ND. SD. observes that the hero of a nataka should also be a mortal, a divine or a pseudodivine person. But Bharata wants him to be a human being. As for the plot, place and nature of the hero, the motive and the sentiments prevailing as principal, Bharata suggests that the nataka should end with the achievements of the purusarthas viz. dharma, artha and kama. The activities of the hero should keep in centre various kinds of prosperity (nana-vibhuti). These several vibhuti-s include dharma, artha, kama, which bring in wealth and pleasure. This is the main motif of the dramatic action. Thus Bharata holds that nataka should For Personal & Private Use Only

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1796 SAHRDAYALOKA contain elements of prosperity-riddhi and enjoyment - vilasa. Abhinavagupta explains 'riddhi' as acquisition of kingdom, conquest over foes, etc., and pleasure includes all sensual enjoyments and pursuit of fine arts. The determination of the object of hero's pursuit leads to the central point viz. the rasa that should be principal. With 'artha' and 'kama' in centre, the sentiment will be 'vira' or 'srngara' as principal. Other sentiments can be subsidiary to these. Bharata holds that a nataka is full of a number of activities and displays diverse sentiments and feelings. Nataka is rich in different behaviour-patterns or vitti-s with reference to the various sentiments and emotions presented. The nataka should have its theme or plot divided into five to ten acts (ankas) with various sandhi-s and sandhyanga-s properly displayed. The definitions of 'nataka' as read in some of the major sources are as follows: NS. of Bharata - (The sl. Pra. & Hemacandra accept the NS. verbetim) : * (Ch. XVIII. 10-12) : "prakhyata-vastu-visayam prakhyatodatta-nayakam caiva, rajarsi-vamsya-caritam tathaiva divya"srayopetam. nana-vibhutibhiryutam rddhi-vilasa"dibhir gunaiscaiva, anka-pravesaka"dhyam bhavati hi tan natakam nama. nlpatinam yac caritam nana-rasa-bhava-cestitam bahudha, sukha-duhkhotpatti-kstam bhavati hi tan natakam nama." Dr. Bhat (p. 115, Bharata-natya-manjari) observes in foot-note 4, : "The expectation about a well-known plot and exalted type of hero is natural. Aristotle's prescription of tragic drama is similar. Heroes like Rama, Krsna, Udayana, Dusyanta fulfil the peculiar requirement. The divine characters are used in the nataka form only in smaller episodes (pataka or prakari) as, for example, the divine Bhagavati Amba in the Nagananda. The reason, Abhinava explains, is that devacarita' is not very suitable for dramatic representation intended for human For Personal & Private Use Only

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"Dasa-rupaka-Vicara" 1797 appreciation; if it is connected with vipralambha, karuna, adbhuta, it will not differ very much from human emotions; besides, the gods have no unhappiness or misery; human response thus is difficult to be obtained. Types like Dima, Samavakara, which use heroic themes, are alone proper for divine characters." The DR. - The DR., as done in the NS. also, has treated the whole structure of the drama as seen earlier by us. However, it talks of 'nataka' in the beginning of the third flash. DR. observes : (III. 1) "prakstitvad atha'nyesam bhuyo-rasa-parigrahat, sampurna-laksanatvac ca purvam natakam ucyate." Then DR. III. 22-27 observe - esam anyatamena'rtham patram ca'ksipya sutrabhit. - 21b. prastavanante nirgacchet (sutradharah) tato vastu prapancayet. 22-a tatra, abhigamya-gunair yukto dhirodattah pratapavan - 22b. kirtikamo mahotsahas trayyas trata mahipatih prakhyata-vamsyo rajarsih divyo va, yatra nayakah. - 23 tat prakhyatam vidhatavyam vrttam atra'dhikarikam, yat tatra'nucitam kincin nayakasya rasasya va - 24 viruddham tat parityajyam anyatha va prakalpayet. adyantam evam niscitya, pancandha tad vibhajya ca - 25 For Personal & Private Use Only

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1798 SAHRDAYALOKA khandasah sandhi-samjnans tan vibhagan api khandayet. catuhsastis tu tani syuh anganity aparam punah. - 26 pataka-vsttam apgunam eka"dyair anu-samdhibhih angany atra yathalabham abhisandhim prakarim nyaset. - 27 etc. DR. then goes on to define or explain 'anka' i.e. act, etc. We will look into the same when we take up the ND. which has a more methodical, mature and scientific presentation. ND. - In the first viveka the ND. treats of "nataka", with all its topics. Thus 'anka', 'viskambhaka etc.' 'upaya-s i.e. bija", etc. dasa i.e. avasthas, sandhi-s and sandhyanga-s are treated in the first chapter. The topics connected with nataka, or rupaka in general follow like flowers and fruits following buds. The presentation reminds us of the great Vagdevatavatara Mammata, who has given chapters treating different topics as mentioned in the definition of 'kavya'. The ND. also follows the same technique. The definition of nataka follows after first (ND. 1/3) enumerating the types of major rupakas that are twelve - in the opinion of the authors. Nataka is defined as (ND. I. 5) - "khyata"dya-raja-caritam dharma-karyartha-sat-phalam, sa'nkopaya-dasa-sandhi divyangam tatra natakam." The Vstti reads : "khyata"dya-rajasya caritam yatra ity anyapadarthah. iha khyatatvam tridha namna, cestitena, desena ca. kausambyam caritam vatsarajena eva ranjakam. caritam api vatsarajasya, kausambyam vasavadatta-labha"dikam eva. vasavadatta labha"dikam vatsarajasya kausambyam eva. carita-khyatatvam ca pradhana carita'peksaya. tatas tad anuyayini ranjakatva'rtham akhyatany api caritani kriyante. tena bahusu rama-prabandhesu sita-harana"nayanopayanam' yuddhanam gauna-patrani. aparesam ca bhaaitivisesa"dinam bhedepi na virodhah. For Personal & Private Use Only

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"Dasa-rupaka-Vicara" 1799 adyeti purvah, tena vartamana-bhavisyator nirasah. kavina hi ranjana'rtham kincit sad apy upeksyate, kincid asad apy adriyate, vartamane ca netari, tatkala prasiddhi-badhaya rasahanih syat. purva-mahapurusa-caritesu ca a-sraddhanam syat. bhavisyatas tu vrttam caritam api na bhavati, 'caryate sma caritam' iry atitanirdesat. 'raja'iti ksatriya-matram, na punar abhisikta eva. rama-jimutavahana - partha"dinam anabhisiktanam api darsanat. ksatriyo martya eva, tena na devanetokam natakam ity uktam bhavati, natakam ramavad-vartitavyam na ravanavat ity upadesaparam. devatanam tu durupapadasya apy arthasya icchamatrata eva siddhir iti taccaritam asakya'nusthanatvan na martyanam upadesayogyam. tena ye divyam api netaram manyante na te samyag amamsata iti. nayika tu divya'pi bhavati yatha urvasi. pradhane martyacarite tac caritantarbhavat. upadesa'narhapraya-vrttatvena dipta-rasatvenaiva ca samavakara"dau divyo'pi neta na viruddhyate. caritam ity acaritam, na tu kavibuddhi-kalpitam. bahulya'peksam caitat, tena alpam kim api ranjakam kalpitam api na dosaya iti. dharma-kama-artha vyasta-samastah sat pradhanam phalam yatra. moksas tu dharma-karyatvat gaunam phalam. santo'cira-bhavitvad vartamana va dharmaartha-kamah phalam. tena bhavi kamartha-phalatvad agama na natakam. tatra dharma-phale natake daya-dama-dana-nyaya-prayam drsta-phalam ca rajyady abadhaya netus caritam vyutpadyate. na punah sarva-sanga-parityagam krtva vratam acaritam ity amusmika-phalam eva. saksad-dssta-phalarthi hi lokah. kamaphale ca divya-kula-strisambhoga-sangitaka-kamacara-upavanaviharaprayam. artha-phale ca satruccheda-sandhi-vigraha"di-rajya-cinta-prayam iti. 'sanka' iti anka-upaya-dasa-sandhibhir-vaksyamanaih saha vartate. 'divyangam' iti divyam devata anyo'pi ca uttamah pradhanasya netur angam, sadhayah, patakaprakari-nayaka-laksano yatra. divyo hi neta eva virudhyate na punah sahayah atyanta-bhaktanam eva nama devatah prasidanti iti devata"radhana-purah-saram upaya'nusthanam adheyam iti vyutpadanartham divyo'py angatvena karyah. tatra devata yatha naganande gauri. uttama-prakrtir yatha rama"diprabandhesu sugriva"dir iti. yad va divyani anavadyani angani vaksyamanani upaksepa"dini yatra. tatra iti nirdharana'rthah abhineya-samudayat pradhana-purusartha-pravrttavineya-raja"di-vyutpadana-gunena natakam nirdharyate. narakam iti natayati vicitram ranjanapravesena sabhyanam hrdayam nartayati iti natakam. For Personal & Private Use Only

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1800 SAHKDAYALOKA abhinavaguptas tu namana'rthasya'pi nater nataka-sabdam vyutpadayati. tatra tu ghataditvena hlsva bhavas cintyah." yady api katha"dayo'pi srotr-htdayam natayanti tatha'pi ankopayadinam vaicitrya-hetunam abhavat na tatha ranjakatvam iti na te natakam. tatha natakam pradhana-purusarthesu rajnam tad-anga-bhutanam ca bahunam vyutpadakam iti katipaya-vyutpadakani prakarana"diny api na natakam iti." The definition and analysis are more perfect and scientific as compared to other sources of dramaturgy. We will not quote everything from the BP., but the BP. has mentioned five special types of drama which need mention. The reference from BP. to this effect reads as - In the VIII. th Ch. Saradatanaya begins with the enumeration of 30 types of rupakas, which include what we call upa-rupaka-s also, which are discussed earlier (Ch. X). Then he comes to nataka and talks of the number of 'anka-s' in nataka and prakarana. Then after dealing with topics connected with nataka in general he comes to the five-fold classification of nataka from the point of view of Subandhu. It may be noted that Sa. has recorded a number traditions not mentioned in other sources. The five-fold nataka is explained on pp. 238 (line 15) - 241 (line 4). This reads as :pp. 238 (line 15) : subandhur natakasya'pi laksanam praha pancadha, purnam caiva prasantam ca bhasvaram lalitam tatha samagram iti vijneya natake panca jatayah (line 17). purnasya natakasya'sya mukhadya panca sandhayah. udaharanam etasya krtyaravanam ucyate. prasanta-rasa-bhuyistham prasantam nama natakam. (line 20) nyaso nyasa-samudbhedo bijoktir bija-darsanam, For Personal & Private Use Only

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* 1801 "Dasa-rupaka-Vicara" tato'nuddista-samharah prasante panca sandhayah." (line 22) (p. 239, lines - 1-22) sattvati-vsttir atra syad iti drauhinir abravit. svapnavasavadatta"khyam udaharanam atra tu. acchidya bhupat sa-vyasana devi magadhika-kare nyasta, yatas tato nyaso mukha-sandhir ayam bhavet. nyasasya ca pratimukham samudbheda udahitah, - 5 padmavatya mukham viksya visesaka-vibhusitam. jivatyavantikety etat jnatam bhumibhuja yatha, utkanthitena sodvegam bijoktir nama-kirtanam. ehi vasavadatte kva kva yasity adi drsyate, saha'vasthitayor ekapraptya'nyasya gavesanam 10 darsana-sparsanalapair etat syad bija-darsanam. "cira-prasuptah kamo me vinaya pratibodhitah tam tu devim na pasyami yasyah ghosavati priya." kim te bhuyah priyam kuryam For Personal & Private Use Only

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1802 SAHRDAYALOKA iti vag yatra nocyate, tam anuddista-samharam ityahur bharata"dayah - 15 mala-nayaka-siddhyangaglanis tasyah pariksayah matra'vasista-samhare bhasvare panca-sandhayah. ekasminnayake khyate tat-samanya-pratapa-van, yadi syat pratipaksas ca sa maleti prakirtita. yatha hi candraguptasya na(ca)ndanah prati-purusah. 20 nayakam chalayitvestasiddhir ya paripanthinah esa nayaka-siddhih syan mariceneva ravanah." - 22 (p. 240; lines 1-22) - garbhasyangair vimardadidarsanam glanir isyate. kapibhir varidhim uttirya lanka-vestanam eva tat. pariksayo'tra noha"dir nayakasya ripor balat sa nagapasa-bandha'di rama-laksmanayor iva. matra'vasista-samharasandhir ekam tu natake - 5 satrubandikrta-strinam tasya satror vadhad atha. For Personal & Private Use Only

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1803 "Dasa-rupaka-Vicara" tat-pariksa-sthitir matra' vasistam iti kathyate, yatha sita-parikseva ravana'nantare krta. bharati-vstti-bhuyistham vira'dbhuta-rasa'srayam bhasvaram natakam bala-ramayanam idam yatha. - 10 lalitam kaisikivsttisrngaraika-rasa"srayam, urvasi-vipralambho'tra tad udaharanam yatha (lines 11-12) vilaso vipralambhas ca viprayogo visodhanam, uddista'rtho'pa-samharo lalite panca-sandhayah. (lines 13-14) vilaso nayaka"dinam yathartu rati-sevanam - 15 yatha sri-vatsa-rajasya vasantotsava-varnanam. irsyaya chandato yunoh vipralambhah prthak-sthitih, yatha hi vatsa-rajasya devya vasavadattaya vipralambhas tu sapa"di vatsara'ntam asangatih, yatha sarmisthaya devya yayater varsa-parvanah. - 20 For Personal & Private Use Only

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1804 SAHKDAYALOKA parivada-bhayad dosasodhanam syad visodhanam. - 22 (p. 241 lines 1-5) - yatha hi vikramorvasyam uddistarthopa-samhstih, urvasiyam ciram gehe saha-dharma-cari tava bhavatv iti'ndra-sandesah tam pururavasam prati. sarva-vstti-vinispannam sarva-laksana-samyutam, samagram tat pratinidhih mahanasakam ucyate. - 5 Then it is recommended by the same source (i.e. Subandhu) that certain sandhyanga-s are mendatory with reference to a certain type, such as (p. 241, lines - 6-15) upaksepah parikarah parinyaso vilobhanam, etanyangani karyani sarva-nataka-jatinu. yuktih praptih samadhanam vidhanam paribhavanam. etany avasya-karyani prasante natake budhaih - ajna'pavadah samphetah prasango vidravas tatha - 10 samgrahas ceti sangani samyag yojyani bhasvare. virodham pranayam caiva paryupasanam eva ca, puspam vajram ca badhniyad For Personal & Private Use Only

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"Dasa-rupaka-Vicara" 1805 avasyam lalite sudhih. sarvesam yatra rupani drsyante vividhani ca natakam nitta-carakhyam tat samagram itiritam. - 15 The NLRK. Ka. 9, 10, 11 - (p. 5) read as - prakhyata-vastu-visayam prakhyatodatta-nayakam, rajarsi-vamsa-caritam tatha divya"srayotthitam. - 9 nana-vibhuti-samyutam rddhi-vilasa"dibhir gunair yuktam, anka-pravesakadhyam bhavati hi tan natakam nama." These are quoted from the NS. XVIII. 15-16. The NLRK. quotes further from the NS. - . . "nrpatinam yac caritam nanarasa-bhava-cestitair bahudha sukha-duhkhotpatti-kstam vijneyam natakam nama. The NLRK. accepts definitions from the NS. as is done by Bhoja. So, we will not quote any further beyond this, from these sources. The BP. follows the lead of the DR. and the NS. yet the drafting changes at times without difference in contents. RS. (pp. 264; 130-134) : atidesa-bala-prapta-nasakangopa-jivanat anyani rupakani syur vikara natakam prati. - 130 ato hi laksanam purvam natakasya'bhidhiyate divyena va manusena dharodattena samyutam. - 131 (divine or human hero is allowed) - songara-vira'nyatara-pradhana-rasa-samsrayam khyatetivrttasambaddham sandhi-pancaka-samyutam. - 132 una For Personal & Private Use Only

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1806 SAHRDAYALOKA prakrtyavastha-sandhyanga-sandhyantara-vibhusanaih patakasthanakair vstti-tadangais ca pravrttibhih. - 133 viskambhaka"di-samyuktam natakam tu trivargadam tadetannatakarambha-prakaro vaksyate maya." * 134 After discussing topics related to nataka, the author quotes an opinion of Bharata suggesting that the nataka has to be resorted to for the removal of all unhappiness. In the types such as purna, etc. (as noted in BP. by Sa., given by Subandhu) - Singabhupala declares his lack of faith as they are not so charming and not supported by Bharata. Then RS. proceeds to define 'prakarana' etc. (pp. 285). The verses (p. 285) read as - tatha ca bharatah - "dharmartha-sadhanam naryam sarva-duhkha'panodakst, asevadhavam tad ssayas tasyotthanam tu natakam." - iti. natakasya ca purnadi- i bhedah kecana kalpitah tesam na'tiva ramyatvad a-pariksa-ksamatvatah - 213 munina'nadetatvac ca, tan uddestum udasmahe." The SD. defines nataka as - (pp. 321; VI. 7-11) "natakam khyata-vsttam syat panca-sandhi-samanvitam, vilasardhya"di-gunavad yuktam nana-vibhutibhih. - 7 sukha-duhkha-samudbhuti nana-rasa-nirantaram, panca"dika dasa-paras tatrankah parikirtitah. - 8 prakhyata-vamsyo rajarsir dhirodattah pratapavan, divyo'tha divya'divyo va gunavan nayako matah.. 9 For Personal & Private Use Only

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"Dasa-rupaka-Vicara" 1807 eka eva bhaved angi songaro vira eva va, angam anye rasah sarve karyo nirvahane'dbhutah. - 10 catvarah panca va mukhyah karya-vyappta-purusah, go-pucchagra-samagram tu bandhanam tasya-kirtitam - 11 (p.322) Then 'anka and other topics are discussed. We will now quote definitions of prakarana from the NS. DR., ND.. RS. & SD. NS. (XVIII. 44-53) "nasaka-laksanam etat maya samasena kirtitam vidhi vat prakaranam atah param aham laksanayuktya pravaksyami. 44 "yatra kavir atma-saktya vastu-sariram nayakam caiva, autpattikam prakarute prakaranam iti tad budhair jneyam." - 45 yad anarsam atha"haryam kavyam prakarotyabhuta-guna-yuktam, utpanna-bija-vastu prakaranam api tad api vijneyam." - 46 "yannatake mayoktam vastu sariram ca vrtti-bhedasca, tat-prakaranepi yojyam sa-laksanam sarva-sandhisu." . 47 vipra-vanik-sacivanam purohita'matya-sarthavahanam caritam yannaikavidham jneyam tat prakaranam nama". - 48 nodatta-nayaka-krtam, na divyacaritam, na rajasambhogam bahya-jana-samprayuktam tajjneyam prakaranam tajjnaih." - 49 dasa-vita-sresthi-yutam vesa-stryupacara-karanopetam, manda-kula-strijanam kavyam karyam prakarane tu. - 50 saciva-sresthi-brahmana-purohitamatya-sarthavahanam gphavarta yatra bhaven na tatra veiyangana karya." - 51 yadi-vesa-yuvati-yuktam, na kulastri-sangamo'pi syat, atha kulajana-prayuktam, na vesa-yuvatir bhavet tatra." - 52 yadi va karana-yukrya vesa-kula-stri-krtopacarah syat a-vikTta-bhasa"caram tatra tu pathyam prayoktavyam." - 53 For Personal & Private Use Only

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1808 * SAHRDAYALOKA Dr. G. K. Bhat translates : (pp. 129, ibid). (44) I have duly mentioned in brief, the characteristics of the nataka so far. I will now explain the prakarana with its characteristics. (45) (The play) in which the poet builds up by his own (creative) power the dramatic plot (vastu), the elaborate (dramatic) construction (sarira), and the hero, so that the composition appears to be inventive (or original, autpattika), that is to be known by the wise as prakarana. (46) The poetic composition not based on the (works of) the ancient sages (anarsam), imaginatively produced (aharya), consisting of unprecedented qualities with the seed and the plot invented, which (a poet) makes is also to be known as prakarana. [Dr. Bhat has a foot-note : "an-arsa" - The arsa kavyas are Mahabharata, Ramayana, the Purahas; omitting these, a poet may draw on folk-legends as contained in the Brhatkatha. Aharya - mentally conceived, the plot may be derived from the works of earlier poets, but adapted to suit the dramatic construction with necessary modifications, alterations, etc.) (47) - "Whatever I said in the context of nataka, regarding the dramatic plot, elaborate construction, and varieties of styles, all that with its characterstics is to be used in the prakarana, only these are to be used in all junctures (sandhi) of dramatic construction. (48) The varied life and conduct of a brahmin, merchant, counsellor (saciva), domestic priest, accredited minister, leader of caravan, (presented in dramatic form) are to be known as 'prakarana'. (49) (A play) which has no exalted hero, which does not show the life and conduct of Gods, nor the love-union of a king, and which contains men from the outside (i.e. servants not associated with royal haram) is to be known by the experts as "prakarana". (50) In a prakarana, the poetic construction should comprise servants, vita, the chief of the merchant guild, and incidents occasioned by the behaviour of a courtesan or the fallen actions (manda carita) of a woman of noble family (or the actions of a woman of doubtful (manda) family). [Dr. Bhat has a foot-note here, under v. 50 - (p. 131, ibid) : "As contrasted with the nataka, built with a king-hero the prakarana uses servants in place of kancukin, vita for vidusaka, sresthin for minister, etc. The courtesan as the main character makes the prakarana a love-play full of songara. For Personal & Private Use Only

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"Dasa-rupaka-Vicara" 1809 'Manda-kula-carita' may mean both, the immoral behaviour of a noble woman, or the actions of a woman of low family. Though examples are not found in the extent sanskrit plays. See Abhinava - op. it. pp. 431-432. (51) In (a prakarana) where domestic happenings and accomplishments connected with counsellor, head of the merchant-guild, brahmin, domestic priest, minister and leader of caravan are presented, no courtesan should be introduced (as a dramatic character). (52) If it contains a courtesan, union or meetings with a woman of noble family will not be shown, on the contrary, if it employs a woman of noble family, a courtesan should not be present (simultaneously) there. (53) If, however, out of some dramatic necessity (karana-yuktya) a formal meeting (upacara) of a courtesan and a noble lady has to be used (in a scene), the dramatic dialogue there should be used without distortion of language and behaviour. [Dr. Bhat has a foot-note : (p. 131, ibid) : "This according to Abhinava, means that respectable ladies will use sauraseni, the coutesan sanskrit; ladies will behave with usual courtesy, the courtesan according to her usual ways. The Bhavaprakasana (p. 242), however, gives the rule : "bhasate prakstam vesya sanskrtam kula-nayika.") The DR. (p. 154; I. 39-42) reads as : "atha prakarane vsttam utpadyam loka-samsrayam, amatya-vipra-vanijam ekam kuryac ca nayakam." - 39 dhira-prasantam sopayam dharma-kamartha-tatparam. sesam natakavat sandhipravesaka-rasa"dikam. - 40 . nayika tu dvidha tatra kulastri ganika tatha, kvacid ekaiva vesya, kva'pi dvayam kvacit. - 41 For Personal & Private Use Only

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1810 SAHRDAYALOKA kulaja"bhyantara bahya vesya natikramo'nayoh, abhih prakaranam tredha sankirnam dhurta-sankulam." . 42. ND. II. 1-4 : "prakaranam vanig-vipra saciva-svamy-a-sankarat, manda-gotrankanam divya'nasritam, madhya-cestitam. - 1 : dasa-sresthi-vitair yuktam klesa"dhyam, tac ca saptadha, kalpy-ena-phala-vastunam eka-dvi-tri-vidhanatah - 2 kulastri-grha-vartayam panyastri tu viparyaye, vite patyau dvayam tasmat eka-trimsatidha'py adah." - 3 atra"kalpyam, pura klrptam yad va'narsam a-sad-gunam. sesam natakavat sarvam kaisiki-purnatam vina. - 4 RS. (p. 285; III. 214b - 218 a) - yatretivsttam utpadyam dhira-santasca nayakah, 214b rasah pradhanah sangarah sesam nataka-vad bhavet. tat tu prakaranam suddham dhurtam misram ca tat tridha. - 215 kulastri-nayikam suddham malati-madhava"dikam, ganika-nayikam dhurtam kamadatta"hvaya"dikam. - 216 For Personal & Private Use Only

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"Dasa-rupaka-Vicara" 1811 kitava-dyutakara"di-vyaparam tv atra kalpayet, misram tat kulaja-vesye kalpite yatra nayike - 217 dhurta-buddha-kramopetam tan-mrccha-katika"dikam, - 218a SD. (p. 434, 5; VI. 224b - 227b) "bhavet prakarane vsttam laukikam, kavi-kalpitam, - 224b srngaro'ngi, nayakas tu vipro'matyo'thava vanik, sapaya-dharma-kamartha-paro dhira-prasantakah." * 225 nayika kulaja kva'pi vesya kva'pi, dvayam kvacit, tena bhedas trayas tasya tatra bhedas trtiyakah." - 226 kitava-dyuta-kara"di vita-cetaka-sankulah.' - 227a Samavakara is defined in the NS. (XVIII. 63-77) - : "deva'sura-bija-krcah prakhyatodatta-nayakas caiva, tryankas tatha trikapatas tri-vidravah syat tri-srngarah. - 63 dvadasa-nayaka-bahulo hy astadasa-nadika-pramanas ca, vaksyamy asy'anka-vidhim yavatyo nalka yatra. - 64 ankas tu sa-prahasanah sa-vidravah, sa-kapatah, sa-vithikah, dvadasa-nadi-vihitah prathamah karyah kriyopetah." - 65 For Personal & Private Use Only

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1812 SAHRDAYALOKA karyas tatha dvitiyah samasrito nalika-catasras tu, vastusamapana-vihito dvi-nadikah syat trtiyas tu. - 66 nali-samjna jneya manam kalasya yan muhurta'rdham, tan nalika-pramanam yathoktam ankesu samyojyam. - 67 ya nadketi samjna kala-vibhage kriya'bhi-sampanna, karya ca sa prayatnad yathakramena eva sastrokta." - 68 anko'nkastv anyarthah kavya-bandham asadya, artham hi samavakare hy a-prati-sambandham icchanti." - 69 yuddha-jala-sambhavo va vay-vagni-gajendra-sambhrama-ksto va, nagaropa-rodhajo va vijneyo vidravas trividhah." . 70 vastu-gata-krama-vihito daiva-vasad-va paraprayukto va, sukha-duhkhotpatti-krtas trividhah kapaco'tra vijneyah - 71 trividhasca'tra vidhijnaih prthak-prthak-karya-yoga-vihita'rthah, songarah kartavyo dharme carthe ca, kame ca. - 72. For Personal & Private Use Only

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"Dasa-rupaka-Vicara" 1813 yasmin dharma-prapakam atmahitam bhavati sadhanam bahudha, vrata-niyama-tapo-yukto jneyo'sau dharma-origarah. - 73 "arthasyeccha-yogad bahudha caiva'rthato'rtha-srngarah, stri-samprayoga-visayesv artha'rtha va ratir yatra." - 74 kanya-vilobhana-krtam praptau stri-pumsayos tu ramyam va, nibhitam savegam va yasya bhavet kama-songarah." - 75 usnig-gayatry adyany anyani ca . yani bandha-kutilani, vittani samavakare kavibhis tani prayojyani. - 76 evam karyas taj-jnair nana-rasa-samsrayah samavakarah, * vaksyamy atah param aham laksanam ihamsgasya'pi. - 77 Dr. Bhat translates : (p. 135, 137, 139, 141) : (63) Its theme is made from the conflict of) gods and demons; its hero has to be well-known and exalted; it should have three kinds of deception, three kinds of flight or excitement, and three kinds of love. [Dr. Bhat has a foot-note : "Abhinava points out that gods are naturally exhaulted as compared to ordinary men. But among the gods too some like Brahma are quiet, some like Nosimha are bold and terrible. For this type of play, the hero has to be a god well-known from old mythology and not a deified person. The three subjects or contents - kapata, vidrava and sangara - are to be used in each of the three acts.] For Personal & Private Use Only

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1814 SAHRDAYALOKA (64) It should have twelve leading men and its duration (of performance) is to be eighteen nalika-s. I will explain the arrangement of the act according to the number of nalika-s alloted to it." [Dr. Bhat adds a foot-note : "Abhinava mentions two opinions : 12 nayakas in every act, or four in every act. (The principal hero, villain and their assistants). The total coming to 12. The measure of nalika is explained further in VS. 67.] (65) - The first act (of Samavakara) is to have comic laughter, flight or excitement, deception and vithi; its dramatic action, will run to 12 nadis. (Dr. Bhat has a foot-note : (p. 137) - "Saprahasana" implies, according to Abhinava, that kama-srngara is to be used in the first act because that alone is capable of evoking laughter. (See, op. cit. p. 437). Vithi is explained further in VS. 112-115.) (66) * The second act should be similarly constructed but will have four nadikas; and the third act which is to show the conclusion of the plot will be two nalikas in duration. (67) The term 'nadt (or nadika) is to be known as a measure of time and equals half a muharta. (muhurta = 48 minutes; nadi or nadika = 24 minutes, 2 nalis = 48 minutes; 4 nadis = 1 hr. and 36 minutes; 12 nadis = 4 hrs., 48 mts.) (68) The term "nadika" which, in the division of time, has been given (as the duration) for dramatic action should be carefully put to practice according to the sastra rule and with due order (of the three acts and their prescribed duration). (69) The poetic form should be resorted to and every act in the Samavakara) should be composed to have different content (or topic). They (the experts) desire the content in the Samavakara to be not closely knit together - [Dr. Bhat has a foot-note : sam-properly, i.e. not very closely (connected); avaslightly; kara-what is made, i.e. the dramatic action. The etymology shows that the dramatic plot in Samavakara is not too much but slightly connected. 'Prati' means 'access'; "a-(prati)" negates any excess of connection. Both thus show that the 'Samavakara' is rather a loosely built play. This may be due to the fact that its theme is triple : deception, flight, and love woven round the basic conflict; the phases of which are to be presented in each of the three acts, all the three in the first act, deception and flight in the second, and fulfilment in the third. The loose structure of the play also suggests that it must have been a very early type : This is bourne out by the fact that when the Natya-veda was created and handed over to Bharatamuni, the first play that he produced was "Amrta-manthana", a 'samavakara' and 'Tripura-daha' a Dima. See NS. Ch. IV. 2-4; 9-11.) For Personal & Private Use Only

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"Dasa-rupaka-Vicara" 1815 [We beg to differ. At least when Bharata wrote his NS., all the major types and some minor types were being staged before him, for quite long, i.e. a tradition of centuries, otherwise the codification could not have been possible. Prof. Dolararai Mankad (Types of Drama) suggested that one-act plays-bhana-could have been the oldest. We do not accept this either, for these are only hypotheses not supported by facts. At least for Bharata ten types and two minor types were a living tradition. We can not surmise that this or that type was the first to evolve. It was a rich heritage that came down to Bharata and he passed it over to his posteriors. This is a logical stand.] (70) - The flight (for excitement) is three fold : (a) arising out of battle or flood (jala), (b) caused by storm (vayu), fire or havoc of a lordly elephant, and (c) born out of the seige of a city. [foot-note by Dr. Bhat reads : Abhinava explains that Vidrava is a terrific calamity from which people try to run away in fright. He classifies this as (a) - caused by inanimate factors : like flood, storm; (b) caused by animate factors; like a loose elephant, and (c) caused by both animate and inanimate factors; like war, seige, or fire, op. cit. p. 439] (71) The threefold deceit in this context (atra) is to be known as (a) that which - has been brought by a calculated plan (vastu-gata) and involving (on the part of the innocent victim), worry about means (krama) for counteracting it); (b) which has been deliberately employed by another (to avenge an offence given), and (c) which occurs due to adverse fate (or accident). It causes the advent of happiness or misery. [foot-note by Dr. Bhat reads : See Abhinava, op. cit. p. 439. The difference between 'vastu-gata' and 'para-prayukta' is that in the former a person is an innocent victim of the Kapata, in the latter the victim is guilty, his own action has invited the 'Kapata.' (72) In this (Samavakara) the experts who know the rules should employ threefold love as connected with different kinds of actions : that in relation to religious duty, that prompted by material gain, and that inspired by passion (or sexual desire). [foot-note by Dr. Bhat reads : "The locative in dharme, arthe, kame indicates that these are the causes or the results of srngara presented in the Samavakara. Normally, the gods being self-sufficient, these purusarthas do not concern them but For Personal & Private Use Only

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1816 SAHRDAYALOKA only such divine beings as Gandharva, Yaksa, etc. But if Gods were delineated with human emotions these arthas can be easily used. Another possibility is that these artha-s may be achieved through the assistance or instrumentality of God; for instance, the love of Siva and Parvati is an illustration of dharma-srngara, as the union is brought about by the Gods for destroying the demon Taraka through the son born of this union, Indra's passion for Ahalya will be illustrating kama-srngara. See Abhinava, op. cit pp. 439-440.) (73) When it becomes an instrument to achieve, in many ways, one's religious duty and one's own welfare through the practice of (religious) vows, prescribed rules, and austerities, it is known as dharma-srngara. (74) - The artha-srngara results from artha, due to the desire for (acquiring) wealth in many ways : Here the love in matters of union with woman is prompted by the motive of wealth (arthartha). (75) The love (yasya=srngarasya) which is caused by the seduction of a maiden, or which takes a delightful form (ramyam) when a man and a woman meet each other, and (the affair) is carried on either secretly (nibhrtam) or with open impetuousness, (that is) kama-srngara. (76) The metres which have an uneven structure like Usnik, Gayatri, etc. are to be used by the poets in the Samavakara. [Dr. Bhat reads in a foot-note : "Bandhakutila" refers to visama (uneven) and ardha-sama (semi-even) metres. Abhinava refers to Udbhata according to whom Usnik and Gayatri are not to be used, but the long metres like Sragdhara are to be used.] (77) In this way, the experts should construct the samavakara based on many sentiments. - I will now proceed to define the character of ihamrga. The DR. defines samvakara as (pp. 162, I. 626-68a) : "karyam samavakare syad amukham nataka"di-vat. - 62b khyatam deva'suram vastu nirvimarsastu sandhayah, vsttayo manda-kaisikyo netaro deva-danavah. - 63 For Personal & Private Use Only

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1801 "Dasa-rupaka-Vicara" tato'nuddisga-samharah prasante panca sandhayah." (line 22) (p. 239, lines - 1-22) satrvati-vrttir atra syad iti drauhinir abravit. svapnavasavadatta"khyam udaharanam atra tu. acchidya bhupat sa-vyasana devi magadhika-kare nyasta, yatas tato nyaso mukha-sandhir ayam bhavet. nyasasya ca pratimukham samudbheda udahrtah, - 5 padmavatya mukham viksya vicesaka-vibhusitam. jivatyavantikety etat jnatam bhumibhuja yatha, utkanthitena sodvegam bijoktir nama-kirtanam. ehi vasavadatte kva kva yasity adi disyate, saha'vasthitayor ekapraptya'nyasya gavesanam 10 darsana-sparsanalapair etat syad bija-darsanam. "cira-prasuptah kamo me vinaya pratibodhitah tam tu devim na pasyami yasyah ghosavati priya." kim te bhuyah priyam kuryam For Personal & Private Use Only

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1802 SAHRDAYALOKA iti vag yatra nocyate, tam anuddista-samharam ityahur bharata"dayah - 15 mala-nayaka-siddhyangaglanis tasyah pariksayah matra'vasista-samhare bhasvare panca-sandhayah. ekasminnayake khyate tat-samanya-pratapa-van, yadi syat pratipaksas ca sa maleti prakirtita. yatha hi candraguptasya na(ca)ndanah prati-purusah. 20 nayakam chalayitvestasiddhir ya paripanthinah esa nayaka-siddhih syan mariceneva ravanah." - 22 (p. 240; lines 1-22) - garbhasyangair vimardadidarsanam glanir isyate. kapibhir varidhim uttirya lanka-vestanam eva tat. pariksayo'tra noha"dir nayakasya ripor balat sa nagapasa-bandha"di rama-laksmanayor iva. matra'vasista-samharasandhir ekam tu natake - 5 satrubandiksta-strinam tasya satror vadhad atha... For Personal & Private Use Only

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1803 "Dasa-rupaka-Vicara" tat-parikna-sthitir matra vasistam iti kathyate, yatha sita-parikseva ravana'nantare krta. bharati-vstti-bhuyistham vira'dbhuta-rasa'srayam bhasvaram natakam bala-ramayanam idam yatha. - 10 lalitam kaisikivsttisongaraika-rasa"srayam, urvasi-vipralambho'tra tad udaharanam yatha (lines 11-12) vilaso vipralambhas ca viprayogo visodhanam, uddista'rtho'pa-samharo lalite panca-sandhayah. (lines 13-14) vilaso nayaka"dinam yathartu rati-sevanam - 15 yatha sri-vatsa-rajasya vasantotsava-varnanam. irsyaya chandato yunoh vipralambhah prthak-sthitih, yatha hi vatsa-rajasya devya vasavadattaya vipralambhas tu sapa"divatsara'ntam asangatih, yatha sarmisthaya devya yayater varsa-parvanah. - 20 For Personal & Private Use Only

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1804 SAHRDAYALOKA parivada-bhayad dosasodhanam syad visodhanam. - 22 (p. 241 lines 1-5) - yatha hi vikramorvasyam uddistarthopa-samhstih, urvasiyam ciram gehe saha-dharma-cari tava bhavatv iti'ndra-sandesah tam pururavasam prati. sarva-vstti-vinispannam sarva-laksana-samyutam, samagram tat pratinidhih mahanatakam ucyate. - 5 Then it is recommended by the same source (i.e. Subandhu) that certain sandhyanga-s are mendatory with reference to a certain type, such as (p. 241, lines - 6-15) upaksepah parikarah parinyaso vilobhanam, etanyangani karyani sarva-nataka-jatisu. yuktih praptih samadhanam vidhanam paribhavanam. etany avasya-karyani prasante natake budhaih - ajna'pavadah samphetah prasango vidravas tatha - 10 samgrahas ceti sangani samyag yojyani bhasvare. virodham pranayam caiva paryupasanam eva ca, puspam vajram ca badhniyad For Personal & Private Use Only

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"Dasa-rupaka-Vicara" 1806 avasyam lalite sudhih. sarvesam yatra rupani drsyante vividhani ca natakam nstta-carakhyam tat samagram itiritam. - 15 The NLRK. Ka. 9, 10, 11 - (p. 5) read as - prakhyata-vastu-visayam prakhyatodatta-nayakam, rajarsi-vamsa-caritam tatha divya"srayotthitam. - 9 nana-vibhuti-samyutam rddhi-vilasa"dibhir gunair yuktam, anka-pravesakadhyam bhavati hi tan nasakam nama." These are quoted from the NS. XVIII. 15-16. The NLRK. quotes further from the NS. - "nopatinam yac caritam nanarasa-bhava-cestitair bahudha sukha-duhkhotpatti-krtam vijneyam natakam nama. The NLRK. accepts definitions from the NS. as is done by Bhoja. So, we will not quote any further beyond this, from these sources. The BP. follows the lead of the DR. and the NS. yet the drafting changes at times without difference in contents, RS. (pp. 264; 130-134) : atidesa-bala-prapta-natakangopa-jivanat anyani rupakani syur vikara natakam prati. - 130 ato hi laksanam purvam nasakasya'bhidhiyate divyena va manusena dharodattena samyutam. - 131 (divine or human hero is allowed) - songara-vira'nyatara-pradhana-rasa-samsrayam khyatetivrttasambaddham sandhi-pancaka-samyutam. - 132 For Personal & Private Use Only

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1806 SAHRDAYALOKA prakrtyavastha-sandhyanga-sandhyantara-vibhusanaih patakasthanakair vitti-tadangais ca pravrttibhih. - 133 viskambhaka"di-samyuktam natakam tu trivargadam tadetannatakarambha-prakaro vaksyate maya." * 134 After discussing topics related to nataka, the author quotes an opinion of Bharata suggesting that the nataka has to be resorted to for the removal of all unhappiness. In the types such as purna, etc. (as noted in BP. by Sa., given by Subandhu) - Singabhupala declares his lack of faith as they are not so charming and not supported by Bharata. Then RS. proceeds to define 'prakarana' etc. (pp. 285). The verses (p. 285) read as - tatha ca bharatah - "dharmartha-sadhanam natyam sarva-duhkha'panodakrt, asevadhavam tad rsayas tasyotthanam tu natakam." . iti. nalakasya ca purnadibhedah kecana kalpitah tesam na'tiva ramyatvade a-pariksa-ksamatvatah - 213 munina'nadstarvac ca, tan uddestum udasmahe." The SD. defines nataka as - (pp. 321; VI. 7-11) "natakam khyata-vittam syat panca-sandhi-samanvitam, vilasardhya"di-gunavad yuktam nana-vibhutibhih. - 7 sukha-duhkha-samudbhuti nana-rasa-nirantaram, panca"dika dasa-paras tatrankah parikirtitah. - 8 prakhyata-vamsyo rajarsir dhirodattah pratapavan, divyo'tha divya'divyo va gunavan nayako matah. - 9 For Personal & Private Use Only

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"Dasa-rupaka-Vicara" 1807 eka eva bhaved angi songaro vira eva va, angam anye rasah sarve karyo nirvahane'dbhutah. - 10 catvarah panca va mukhyah karya-vyappta-purusah, go-pucchagra-samagram tu bandhanam tasya-kirtitam - 11 (p.322) Then 'anka' and other topics are discussed. We will now quote definitions of prakarana from the NS.. DR., ND.. RS., & SD. NS. (XVIII. 44-53) "nataka-laksanam etat maya samasena kirtitam vidhi vat prakaranam atah param aham laksanayuktya pravaksyami. 44 "yatra kavir atma-saktya vastu-sariram nayakam caiva, autpattikam prakarute prakaranam iti tad budhair jneyam." - 45 yad anarsam athaharyam kavyam prakarotyabhuta-guna-yuktam, utpanna-bija-vastu prakaranam api tad api vijneyam." - 46 "yannatake mayoktam vastu sariram ca vrtti-bhedasca, tat-prakaranepi yojyam sa-laksanam sarva-sandhisu." - 47 vipra-vanik-sacivanam purohita'matya-sarthavahanam caritam yannaikavidham jneyam tat prakaranam nama". - 48 nodatta-nayaka-krtam, na divyacaritam, na rajasambhogam bahya-jana-samprayuktam tajjneyam prakaranam tajjnaih." - 49 dasa-vita-sresthi-yutam vesa-stryupacara-karanopetam, manda-kula-strijanam kavyam karyam prakarane tu. - 50 saciva-sresthi-brahmana-purohitamatya-sarthavahanam glhavarta yatra bhaven na tatra vesyangana karya." - 51 yadi-vesa-yuvati-yuktam, na kulastri-sangamo'pi syat, atha kulajana-prayuktam, na vesa-yuvatir bhavet tatra." - 52 yadi va karana-yuktya vesa-kula-stri-kstopacarah syat a-vikrta-bhasa"caram tatra tu pathyam prayoktavyam." - 53 For Personal & Private Use Only

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1808 SAHRDAYALOKA Dr. G. K. Bhat translates : (pp. 129, ibid) - (44) I have duly mentioned in brief, the characteristics of the nataka so far. I will now explain the prakarana with its characteristics. (45) (The play) in which the poet builds up by his own (creative) power the dramatic plot (vastu), the elaborate (dramatic) construction (sarira), and the hero, so that the composition appears to be inventive (or original, autpattika), that is to be known by the wise as prakarana. (46) The poetic composition not based on the (works of) the ancient sages (anarsam), imaginatively produced (aharya), consisting of unprecedented qualities with the seed and the plot invented, which (a poet) makes is also to be known as prakarana. (Dr. Bhat has a foot-note : "an-arsa" - The arsa kavyas are Mahabharata, Ramayana, the Purahas; omitting these, a poet may draw on folk-legends as contained in the Brhatkatha. Aharya - mentally conceived, the plot may be derived from the works of earlier poets, but adapted to suit the dramatic construction with necessary modifications, alterations, etc.) (47), "Whatever I said in the context of nasaka, regarding the dramatic plot, elaborate construction, and varieties of styles, all that with its characterstics is to be used in the prakarana, only these are to be used in all junctures (sandhi) of dramatic construction. (48) The varied life and conduct of a brahmin, merchant, counsellor (saciva), domestic priest, accredited minister, leader of caravan, (presented in- dramatic form) are to be known as 'prakarana'. (49) (A play) which has no exalted hero, which does not show the life and conduct of Gods, nor the love-union of a king, and which contains men from the outside (i.e. servants not associated with royal haram) is to be known by the experts as "prakarana". (50) In a prakarana, the poetic construction should comprise servants, vita, the chief of the merchant guild, and incidents occasioned by the behaviour of a courtesan or the fallen actions (manda carita) of a woman of noble family (or the actions of a woman of doubtful (manda) family). (Dr. Bhat has a foot-note here, under v. 50 - (p. 131, ibid) : "As contrasted with the nataka, built with a king-hero the prakarana uses servants in place of kancukin, vita for vidusaka, sresthin for minister, etc. The courtesan as the main character makes the prakarana a love-play full of srngara. For Personal & Private Use Only

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(53) "Dasa-rupaka-Vicara" 1809 'Manda-kula-carita' may mean both, the immoral behaviour of a noble woman, or the actions of a woman of low family. Though examples are not found in the extent sanskrit plays. See Abhinava - op. it. pp. 431-432. (51) In (a prakarana) where domestic happenings and accomplishments connected with counsellor, head of the merchant-guild, brahmin, domestic priest, minister and leader of caravan are presented, no courtesan should be introduced (as a dramatic character). (52) If it contains a courtesan, union or meetings with a woman of no family will not be shown, on the contrary, if it employs a woman of noble family, a courtesan should not be present (simultaneously) there. f, however, out of some dramatic necessity (karana-yuktya) a formal meeting (upacara) of a courtesan and a noble lady has to be used in a scene), the dramatic dialogue there should be used without distortion of language and behaviour. (Dr. Bhat has a foot-note : (p. 131, ibid) : "This according to Abhinava, means that respectable ladies will use sauraseni, the coutesan sanskrit; ladies will behave with usual courtesy, the courtesan according to her usual ways. The Bhavaprakasana (p. 242), however, gives the rule : "bhasate prakrtam vesya sanskrtam kula-nayika."]: The DR. (p. 154; I. 39-42) reads as : "atha prakarane vsttam utpadyam loka-samsrayam, amatya-vipra-vanijam ekam kuryac ca nayakam." - 39 dhira-prasantam sopayam dharma-kamartha-tatparam. sesam natakavat sandhipravesaka-rasa"dikam. - 40 nayika tu dvidha tatra kulastri ganika tatha, kvacid ekaiva vesya, kva'pi dvayam kvacit. - 41 For Personal & Private Use Only

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1810 SAHRDAYALOKA kulaja"bhyantara bahya vesya natikramo'nayoh, abhih prakaranam tredha sankirnam dhurta-sankulam." - 42 ND. II. 1-4 : "prakaranam vanig-viprasaciva-svamy-a-sankarat, manda-gotrankanam divya'nasritam, madhya-cestitam. - 1 dasa-sresthi-vitair yuktam klesa"dhyam, tac ca saptadha, kalpy-ena-phala-vastunam eka-dvi-tri-vidhanatah - 2 kulastri-gpha-vartayam panyastri tu viparyaye, vite patyau dvayam tasmat . eka-trimsatidha'py adah." - 3 atra"kalpyam, pura klrptam yad va'narsam a-sad-gunam. sesam natakavat sarvam kaisiki-purnatam vina. - 4 RS. (p. 285; III. 214b - 218 a) - yatretivrttam utpadyam dhira-santasca nayakah, 214b rasah pradhanah songarah sesam nataka-vad bhavet. tat tu prakaranam suddham dhurtam misram ca tat tridha. - 215 kulastri-nayikam suddham malati-madhava"dikam, ganika-nayikam dhurtam kamadatta"hvaya"dikam. - 216 For Personal & Private Use Only

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"Dasa-rupaka-Vicara" 1811 kitava-dyutakara"di-vyaparam tv atra kalpayet, misram tat kulaja-vesye kalpite yatra nayike - 217 dhurta-buddha-kramopetam tan-mrccha-katika"dikam, - 218a SD. (p. 434, 5; VI. 224b - 227b) "bhavet prakarane vsttam laukikam, kavi-kalpitam, - 224b songaro'ngi, nayakas tu vipro'matyo'thava vanik, sapaya-dharma-kamartha-paro dhira-prasantakah." - 225 nayika kulaja kva'pi vesya kva'pi, dvayam kvacit, tena bhedas trayas tasya tatra bhedas trtiyakah." - 226 kitava-dyuta-kara"di vita-cetaka-sankulah.' - 227a Samavakara is defined in the NS. (XVIII. 63-77). "deva'sura-bija-krtah prakhyatodatta-nayakas caiva, tryankas tatha trikapalas tri-vidravah syat tri-songarah. - 63 dvadasa-nayaka-bahulo hy astadasa-nalika-pramanas ca, vaksyamy asy'anka-vidhim yavatyo nalka yatra. - 64 ankas tu. sa-prahasanah sa-vidravah, sa-kapatah, sa-vithikah, dvadasa-nadi-vihitah prathamah karyah kriyopetah." - 65 For Personal & Private Use Only

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1812 SAHRDAYALOKA karyas tatha dvitiyah samasrito nalika-catasras tu, vastusamapana-vihito dvi-nalikah syat tltiyas tu. - 66 nadi-samjna jneya manam kalasya yan muhurta'rdham, tan nadika-pramanam yathoktam ankesu samyojyam. - 67 ya nadketi samjna kala-vibhage kriya'bhi-sampanna. karya ca sa prayatnad yathakramena eva sastrokta." - 68 anko'nkastv anyarthah kavya-bandham asadya, artham hi samavakare hy a-prati-sambandham icchanti." - 69 yuddha-jala-sambhavo va vay-vagni-gajendra-sambhrama-kpto va, nagaropa-rodhajo va vijneyo vidravas trividhah." - 70 vastu-gata-krama-vihito daiva-vasad-va paraprayukto va, sukha-duhkhotpatti-krtas trividhah kapaco'tra vijneyah - 71 trividhasca'tra vidhijnaih prthak-prthak-karya-yoga-vihita'rthah, srngarah kartavyo dharme carthe ca, kame ca. - 72. For Personal & Private Use Only

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"Dasa-rupaka-Vicara" 1813 yasmin dharma-prapakam atmahitam bhavati sadhanam bahudha, vrata-niyama-tapo-yukto jneyo'sau dharma-srngarah. - 73 "arthasyeccha-yogad bahudha caiva'rthato'rtha-songarah, stri-samprayoga-visayesy artha'rtha va ratir yatra." - 74 kanya-vilobhana-kstam praptau stri-punsayos tu ramyam va, nibhrtam savegam va yasya bhavet kama-songarah." - 75 usnig-gayatry kdyany anyani ca yani bandha-kutilani, vittani samavakare kavibhis tani prayojyani. - 76 evam karyas taj-jnair nana-rasa-samsrayah samavakarah, vaksyamy atah param aham laksanam Thamrgasya'pi. - 77 Dr. Bhat translates : (p. 135, 137, 139, 141) : (63) Its theme is made from (the conflict of) gods and demons; its hero has to be well-known and exalted; it should have three kinds of deception, three kinds of flight or excitement, and three kinds of love. [Dr. Bhat has a foot-note : "Abhinava points out that gods are naturally exhaulted as compared to ordinary men. But among the gods too some like Brahma are quiet, some like Nssimha are bold and terrible. For this type of play, the hero has to be a god well-known from old mythology and not a deified person. The three subjects or contents - kapata, vidrava and songara - are to be used in each of the three acts.) For Personal & Private Use Only

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1814 SAHRDAYALOKA (64) It should have twelve leading men and its duration (of performance) is to be eighteen nalika-s. I will explain the arrangement of the act according to the number of nadika-s alloted to it." (Dr. Bhat adds a foot-note : "Abhinava mentions two opinions : 12 nayakas in every act, or four in every act. (The principal hero, villain and their assistants). The total coming to 12. The measure of nadika is explained further in VS. 67.) (65) - The first act (of Samavakara) is to have comic laughter, flight or excitement, deception and vithi; its dramatic action, will run to 12 nadis. . [Dr. Bhat has a foot-note : (p. 137) - "Saprahasana" implies, according to Abhinava, that kama-srngara is to be used in the first act because that alone is pable of evoking laughter. (See, op. cit. p. 437). Vithi is explained further in VS. 112-115.) (66) - The second act should be similarly constructed but will have four nadikas; and the third act which is to show the conclusion of the plot will be two nalikas in duration (67) The term 'nadi (or nadika) is to be known as a measure of time and equals half a muharta. [muhurta = 48 minutes; nadi or nalika = 24 minutes, 2 nadis = 48 minutes; 4 nadis = 1 hr. and 36 minutes; 12 nadis = 4 hrs., 48 mts.] (68) The term "nadika" which, in the division of time, has been given (as the duration) for dramatic action should be carefully put to practice according to the sastra rule and with due order (of the three acts and their prescribed duration). (69) The poetic form should be resorted to and every act in the Samavakara) should be composed to have different content (or topic). They (the experts) desire the content in the Samavakara to be not closely knit together - (Dr. Bhat has a foot-note : sam-properly, i.e. not very closely (connected); avaslightly; kara-what is made, i.e. the dramatic action. The etymology shows that the dramatic plot in Samavakara is not too much but slightly connected. 'Prati' means 'access'; "a-(prati)" negates any excess of connection. Both thus show that the 'Samavakara' is rather a loosely built play. This may be due to the fact that its theme is triple : deception, flight, and love woven round the basic conflict; the phases of which are to be presented in each of the three acts, all the three in the first act, deception and flight in the second, and fulfilment in the third. The loose structure of the play also suggests that it must have been a very early type : This is bourne out by the fact that when the Natya-veda was created and handed over to Bharatamuni, the first play that he produced was "Amrta-manthana", a 'samavakara' and 'Tripura-daha' a Dima. See NS. Ch. IV. 2-4; 9-11.) For Personal & Private Use Only

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"Dasa-rupaka-Vicara" 1815 [We beg to differ. At least when Bharata wrote his NS., all the major types and some minor types were being staged before him, for quite long, i.e. a tradition of centuries, otherwise the codification could not have been possible. Prof. Dolararai Mankad (Types of Drama) suggested that one-act plays-bhana-could have been the oldest. We do not accept this either, for these are only hypotheses not supported by facts. At least for Bharata ten types and two minor types were a living tradition. We can not surmise that this or that type was the first to evolve. It was a rich heritage that came down to Bharata and he passed it over to his posteriors. This is a logical stand.) (70) - The flight (for excitement) is three fold : (a) arising out of battle or flood (jala), (b) caused by storm (vayu), fire or havoc of a lordly elephant, and (c) born out of the seige of a city. [foot-note by Dr. Bhat reads : Abhinava explains that Vidrava is a terrific calamity from which people try to run away in fright. He classifies this as (a) - caused by inanimate factors : like flood, storm; (b) caused by animate factors; like a loose elephant, and (c) caused by both animate and inanimate factors; like war, seige, or fire, op. cit. p. 439] (71) The threefold deceit in this context (atra) is to be known as (a) that which has been brought by a calculated plan (vastu-gata) and involving (on the part of the innocent victim), worry about means (krama) for counteracting it); (b) which has been deliberately employed by another (to avenge an offence given), and (c) which occurs due to adverse fate (or accident). It causes the advent of happiness or misery. [foot-note by Dr. Bhat reads : See Abhinava, op. cit. p. 439. The difference between 'vastu-gata' and 'para-prayukta' is that in the former a person is an innocent victim of the Kapata, in the latter the victim is guilty, his own action has invited the 'Kapata.' (72) In this (Samavakara) the experts who know the rules should employ threefold love as connected with different kinds of actions : that in relation to religious duty, that prompted by material gain, and that inspired by passion (or sexual desire). [foot-note by Dr. Bhat reads : "The locative in dharme, arthe, kame indicates that these are the causes of the results of Srngara presented in the Samavakara. Normally, the gods being self-sufficient, these purusarthas do not concern them but For Personal & Private Use Only

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1816 SAHRDAYALOKA only such divine beings as Gandharva, Yaksa, etc. But if Gods were delineated with human emotions these arthas can be easily used. Another possibility is that these artha-s may be achieved through the assistance or instrumentality of God; for instance, the love of Siva and Parvati is an illustration of dharma-srogara, as the union is brought about by the Gods for destroying the demon Taraka through the son born of this union, Indra's passion for Ahalya will be illustrating kama-srngara. See Abhinava, op. cit pp. 439-440.) (73) When it becomes an instrument to achieve, in many ways, one's religious duty and one's own welfare through the practice of (religious) vows, prescribed rules, and austerities, it is known as dharma-srngara. (74) * The artha-srngara results from artha, due to the desire for (acquiring) wealth in many ways : Here the love in matters of union with woman is prompted by the motive of wealth (arthartha). (75) The love (yasya=songarasya) which is caused by the seduction of a maiden, or which takes a delightful form (ramyam) when a man and a woman meet each other, and (the affair) is carried on either secretly (nibhitam) or with open impetuousness, (that is) kama-songara. (76) The metres which have an uneven structure like Usnik, Gayatri, etc. are to be used by the poets in the Samavakara. * [Dr. Bhat reads in a foot-note : "Bandhakutila" refers to visama (uneven) and ardha-sama (semi-even) metres. Abhinava refers to Udbhata according to whom Usnik and Gayatri are not to be used, but the long metres like Sragdhara are to be used.] (77) In this way, the experts should construct the samavakara based on many sentiments. - I will now proceed to define the character of Thamsga. The DR. defines samvakara as (pp. 162, I. 626-68a) ; "karyam samavakare syad amukham nataka"di-vat. - 62b khyatam deva'suram vastu nirvimarsastu sandhayah, vittayo manda-kaisikyo netaro deva-danavah. - 63 For Personal & Private Use Only

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"Dasa-rupaka-Vicara" 1839 (107) - The prahasana should be composed to include any aspects of vithi as are deemed proper. I will now explain the characteristics of Bhana. Characteristics of Bhana. . [Dr. Bhat adds : (foot-note) : Bharata does not prescribe the number of acts for Prahasana. Abhinava mentions an opinion that a suddha prahasana is a one-act, the Sankirna, on account of the provenance of courtesans etc. will have many acts.) DR. (p. 159, III. 54-56) reads as, tadvat prahasanam tredha suddha-vaikyta-sankarai). (suddham) - pasandi-vipra-prabhsti-ceta-ceti-vita"kulam. (54) cestitam vesa-bhasahihih suddham hasya-vaconvitam, (vikstam.) kamuka"di-vaco-veraih sanathe kancukai-tapasaih. (55) vikstam, samkarat vithya sankirna (harta-samkulam. rasastu bhuyasa karyah sadvidho hasya eva tu." (56) ND. (p. 230-232, II. 18-20) has - vaimukhyakaryam vithyangi khyata-kaulina-dambhavat, hasyangi bhana-sandhyanka-vstti-prahasanam divdha. (18) nindya-pakhandi-viprader aslilasabhya-varjitam, parihasa-vacah-prayam suddham ekasya cestitam. (19) sarkirnam uddhata"kalpa bhasa"cara-paricchadam bahunam bandhaki-ceta-vesyadinam vicencitam." (20) RS. (p. 290, III. 268, b.; - 278, 279; pp. 297) "vastu-sandhyanka-lasyanga-vittayo yatra bhanavat tridha suddham kirnam vaiktam ca tacca prahasanam." (268b) suddham srotriya-vakyader vesa-bhasadi-samyutam. (278) ceta-ceti-jana-vyaptam kirnam laksyam nirupyatam, ananda-kosa-pramukham vaikstam tad udahrtih. (279) SD. (p. 449, 450; VI. 264-268) reads as - bhanavat-sandhi-sandhyanga-lasyangankair vinirmitam, bhavet prahasanam vTttam, nindyanam kavikalpitam. (264) atra na"rabhati na'pi visambhaka-pravesakau, angi hasyarasas tatra vithyanganam sthitir na va. (265) For Personal & Private Use Only

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1834 SAHRDAYALOKA tapasvi-bhagavad-vipra-prabhstisvatra nayakah, eko yatra bhaved dhrsto hasyam tacchuddham ucyate. asritya kancana janam sankirnam iti tadviduh. (266) vittam bahunam dhtstanam sankirnam keciducire tat punarbhavati dvyankam athavaikanka-nirmitam." (267) vikstam tu vidur yatra sandha-kancaki-tapasah bhujanga-carana-bhata-prabhrter vesa-vag-yutah." (268) "idam tu sankirnena gatartham iti munina prthan noktam." 'Bhana' is defined in the NS. (XVIII. 108-11) as - "atma'nubhuta-samsi para-samsraya-varnana-visesastu . vividhasrayo hi bhanah, vijneyastv eka-haryas ca. (108) paravacanam atmasamstham prativacanair uttarottaraarathitai) akasa-purusa-kathitaih angavikarain abhinayaisca. (109) dharta-vita-samprayojyo nanavasthantaratmakascaiva ". ekanko bahu-cestah, satatam karyo budhair bhanah. (110) bhanasya'pi hi nikhilam laksanam uktam tatha"gamanugatam, vithyah samprati nikhilam kathayami yathakramam viprah. (111) DR. Bhat translates : (pp. 151, 152, ibid) .. (108) The Bhana is to be known as (a play) acted by one character, and it has a varied basis : (a) that which narrates one's own experiences, and (b) that which particularly describes some one else's. (Dr. Bhat reads in a foot-note, here - "Etymologically, Bhana is so called because the representation is carried to the audience by a single character; "ekena patrena haraniyah, samajika-hrdayam prapayitavyah arthah yatra", also, because the speeches of characters absent on the stage are voiced here by a single character: "ekamukhena eva bhanyante uktimantah kriyante a-pravistah api patra-visesah yatra." - See Abhinava, op. cit. p. 449.] (109) - (And this latter is done) by (conveying) the speech of the other addressed to oneself by means of replies (prativacana), connected in (a series of questions and) answers, as (if) they are given by an imaginary person (akasa-purusa), and by means of gestures of the limbs and by (other forms of) acting. (110) The Bhana is to be presented through the (single character of) dhurta or vita and is to comprise his various conditions. The wise should always construct the Bhana as depicting varied activities but having (only) one act. For Personal & Private Use Only

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"Dasa-rupaka-Vicara" 1835 (111) The entire character of Bhana has been explained by me as it has come down by tradition (agama). Now, O Brahmins !, I will state in due order the whole character of vithi. (Prof. D. R. Mankad feels that 'Bhana' was the first type to evolve. Dr. Bhat earlier argued for Samavakara, on the strength of Bharata's mentioning. But Bharata has also mentioned a dima. Actually a play is supposed to entertain both "devas" and 'asuras" alike, i.e.of people of various tastes at a time. In this context Bharata has cited the illustration of 'Samudra-mathana'. We feel that we should not rush to conclusions as is done either by Prof. Mankad or Prof. Bhat. Actually, as suggested by us elsewhere, acting and narration are two sides of a coin and evolve naturally. We can not say whether the minor popular art-forms were predecessors to classical major or not, and we are grateful to tradition (= agama, as Bharata uses the world) for that. It is no use rushing to conclusions.] DR. has Bhana discussed (pp. 158; III. 49-51) as follows : bhanas tu dhurtacaritam sva'nubhutam parena va yatropavarnayaed eko nipunah pandito vitah- (49) sambodhanokti-pratyukti kuryad akasa-bhasitaih sucayed vira-stngarau saurya-saubhagya-samstavaih. (50) bhuyasa bharati vittir ekankam vastu-kalpitam, mukha-nirvahane sa'nge lasyangani dasa'pi ca. (51) It may be noted that the DR. also takes note of the rasas, bharati-vrtti, and also "lasyangani". This suggests that a lot of music and dance must have been associated with this form. Thus 'bhana' could be viewed as a minor-art-form also. The lasyangani are enumerated in the DR. II. 52-53, as follows. geyapadam sthita-pathyam asinam puspa-gandika, pracchedakas trigudham ca saindhavakyam dvigudhakam (52) uttamottamakam caiva ukta-pratyuktam eva ca, lasye dasa-vidham hyetad anga-nirdesa-kalpanam. (53) ND. (p. 229, II. 16, 17) reads as - bhanah pradhana-songara-viro mukha-nirvahavan, eka'nko dasa-lasyangah, prayo loka'nuranjakah. (16) eko vito va dhurto va vesyadeh svasya va sthitim, vyomoktya varnayed atra vrttir mukhya ca bharati. (17) For Personal & Private Use Only

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1836 SAHKDAYALOKA RS. (p. 287, III. 232b-237) - has svasya va'nyasya va vittam vitena nipunoktina. (232b) saurya-saubhagya-samstutya vira-singara-sucakam, buddhikalpitam eka'ngam mukha-nirvahaneritam. (233) varnyate... (234) bhaved akasabhasitam. (235) lasya'ngani dasaitasmin samyojyanyatra tani tu, geyapadam sthita-pathyam asinam puspagandhika, (236) pracchedakas trigudham ca saindhavakhyam dvighadhakam uttamottamakam ca'nyad ukta-pratyuktameva ca. (237) The B.P. (Ch. VIII) describes lasyangani elaborately by defining each one of them. The RS. also accepts the same. SD. (p. 435, VI. 227b-230) has - bhanah syad dhurta-carito nana'vastantara"tmakah. (227b) ekanka eka eva'tra nipunah pandito vitah, range prakasayet svena anubhutam itarena va. (228) sambodhanokti-pratyukto kuryad akasa-bhasitai). sucayed vira-songarau saurya-saubhagya-varnanaih. (229) tatretivsttam utpadyam vsttih prayena bharati mukha-nirvahane sandhi lasya'ngani dasa'pi ca. (230) Vithi is read in the NS. at (XVIII 112-126) : sarva-rasa-laksana"dhya yukta hy angais trayodasabhih, vithi syad eka'nka, tathaika-harya dviharya va. (112) adhamottama-madhyamabhir yukta syat prakrtibhih tisrbhih. uddharyakavalagita'va-spandita-naly-asatpralapas ca. (113) vakkely atha prapanco mtdava'dhibale chalam trigatam, vyaharo gandas ca trayodasargany udahstany asyah. (114) atha vithi samprokta, laksanam esam pravaksyami. (115a) padani tvagatarthani ye narah punaradarat, (115b) yojayanti padair anyais tad uddhatyakam ucyate. (116a) For Personal & Private Use Only

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"Dasa-rupaka-Vicara" 1837 yatra'nyasmin samaveksya karyamanyat prasadhyate, (116b) tac ca'valagitam nama vijneyam natya-yoktnbhih. (117a) aksipte'rthe tu kasmiscicchudha'subha-samutthite, (117b) kausalyad ucyatenyorthas tad ava-spanditam bhavet. (118a) hasyenopagata'rtha-prahelika naliketi vijneya. (118b) murkha-jana-sannikarse hitam api yatra prabhasate vidvan na ca glhyatesya vacanam vijneyo'sat-pralaposau. (119) (120) eka-dvi-prativacana vakkeli syat-prayogesmin. (120a) yad asadbhutam vacanam samstava-yuktam dvayoh (120b) ekasya ca'rthahetoh, sa hasyajananah prapancah syat. (121a) yat karanad gunanam dosikaranam bhaved vivada-krtam, (121b) dosa-gunikaranam va tan mtdavam nama vijneyam. (122a) paravacanam atmanasca uttarottara-samudbhavam dvayor yattu, (122b) anyonya'rtha-visesakam adhibalam iti tad budhair jneyam. (123a) anya'rtham eva vakyam chalam abhi-sandhana-hasya-rosa-karam (123b) srutisarupyad yasmin bahavortha yuktibhir niyujyante, yad hasyam a-hasyam va tattrigatam nama vijneyam. (124) pratyaksa-vyttir ukto vyaharo hasya-lesarthah. (125a) samramba-sambhrama-yutam vivada-yuktam tatha'pavadakstam, (125b) bahuyacana'ksepa-krtam gandam pravadanti tattvajnah. (126a) Dr. Bhat translates (pp. 153-159) : (112-113a) - The vithi should have one act; it has the character of all the sentiments and it comprises 13 aspects (lit. limbs); it is to be acted by one or two characters; it may include three kinds of dramatic characters (prakrti), high, middling and low. (113b, 114, 115a) - The thirteen limbs of the vithi are stated (as follows) : uddhatyaka, avalagita, ava-spandita, nali, asat-pralapa, vak-keli, prapanca, medava, adhibala, chala, trigata, vyahara, ganda. I have spoken about the vithi. I will now explain the characterstics of these (thirteen aspects) (115b-116a). When dramatic characters (lit. men) connect words, (uttered) out of due respect (but) not understood in their (correct) meaning, with other words (not intended by the original speaker) that is called uddhatyaka - (Thrusted interpretation.) For Personal & Private Use Only

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1838 SAHRDAYALOKA (Dr. Bhat adds a foot-note : Abhinava's example is of a verse where the character asks questions and states his answers. The verse, ordinarily will be an example of parisamkhya alamkara.] (116b-117a) - Something connected with another context (serves) to accomplish some other result, that is to be known as Avalagita (Transferred connection) by the designers of drama. (Dr. Bhat) (foot-note : The example is Ratnavali II. from Vidusaka's - "api sukhayati te locanam... to V. 11) (117b-118a) - When a certain matter (artha) which has been stated (aksipta) from which good or evil may arise (unintentionally) is skilfully interprete another meaning, that will be Ava-spandita, (ominous suggestion). (Dr. Bhat - "The example is Venisamhara I. 6. ("satpaksa madhura-girah...") and the sutradhara's comments on his assistant's remarks. (118 b) When a riddle-like (enigmatic) reply is followed by laughter, that is to be known as Nalika (or Nali. riddle and laughter). [Dr. Bhat : cf. Ratnavali II. after V. 15 (from jassa kide agada... upto cittaphalakasya') , lines 1-5.] (119) That is 'Asat-pralapa' (Incoherent chatter) [Where the statement or question and the reply both are inconsistent) - where the statement made by a learned man in the presence of fools, although beneficial, is not accepted. [Dr. Bhat adds : See Abhinava, op. cit. p. 456, for the example. The alternative reading is quite clear : "a-sambaddham ca yad vakyam, a-sambaddham tathottaram, a-sat-pralapas tac caiva vithyam samyak prayojayet."] (120a) In this representation (of Vithi), the vakkeli (sportive speech, Repartee) is a single or twofold reply. (120b-121a) - A statement which is untrue but which looks like mutual praise of two, which is intended in the interest of one (of the two), and which evokes laughter, will be 'prapanca' (comic exposure). [Dr. Bhat : cf. Ratnavali II, after VS. 15, from the king's speech - "katham aham ihasthah bhavatya jnatah", upto 'devie nivedaissam' and the gift of ornament. Abhinava, op. cit., p. 456). (121b-122a) - When as a result of hot dispute (vivada) the merits (of one) are made to look like faults, on the basis of definite cause, or the faults are turned into merits, that is known by the name 'mtdava'. (crushing.) For Personal & Private Use Only

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"Dasa-rupaka-Vicara" 1839 (Dr. Bhat - The name 'mrdava' implies the idea or crushing, like earth, the view of the rival and establishing one's viewpoint. cf. Venisamhara, III. 22, as an instance of 'dosasya guni-karana' and III. 39, as of 'gunasya dosikarana', in the altercation between Asyatthaman and Karna.] (1226-123a) - When the words of another person as well as one's own, in the course of mutual dialogue, lead to the strengthening (qualifying) of the meaning of both (speakers), that should be known by the wise as 'Adhibala' (special strengthening). [Dr. Bhat-foot-note - The example is Nagananda, I. 5, to I. 7., lines 1-9.] (123b) A statement which really carries an altogether different meaning, employed to cause deception, laughter and anger, is 'chala'. (Deception, Irony) [Dr. Bhat - According to alternative reading "Having first tempted by means of ditional replies, by those very replies, (now) shown to be meaningless, exactly opposite is done, that is chala." Abhinava's example is, "kassa va na hoi roso... where the clever sakhi represents the tooth-marks on the lip of the nayika as due to smelling of a lotus that has a bee, in order to conceal her wanton act of love.] (124) - The statement in which many meanings are employed by clever means, due to similarity of sounds, that whether laugh-evoking or not, is to be known as "Trigata" (Tiriple or multiple import). [Dr. Bhat : Apperently this 'trigata' is different from the 'trigata', 'three-men's talk', which is an item in the purva-ranga. The instance is Vikramorvasiya IV. 56. "sarva-ksitibhrtam natha...", where due to the mountain echoes, the question asked by Pururavas, becomes, when heard back, an affirmative answer, with slight adjustment of syntax. The yukti' is usually kaku.] (125-a) - Things (which are to be visualized in the coming future) are spoken as actually taking place. This is vyahara - (varied representation), which is meant to convey amused laughter (hasya-lesa). [Dr. Bhat : Abhinava's instance is Ratnavali II. 4 - (uddamotkalikam....) where the magic blossoming of the king's favourite flowering tree is visualised as causing defeat and jealous anger of the queen. Abhinava says - 'pratyaksa-sabdena bhavi pratyaksah ucyate.' - Vyahara is so called because "vividhah arthah abhiniyate yena", op. cit. p. 458.] (1256-126) The theoreticians speak (that to be) ganda (Dramatic coincidence) which is due to agitation, confusion, quarrel, reviling (apa-vada), and caused by For Personal & Private Use Only

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1840 SAHRDAYALOKA (unexpected) words, (lit. tossing, aksepa) (though) the many (connected) words (previously uttered) have come to a proper break (aksepa). [Dr. Bhat - foot-note - "Bahu-vacana-aksepa-krta - The elaborate translation follows the interpretation of Kohala given by Abhinava. The illustration is, Venisamhara II. 23 & ff. (paryaptam eva karabhoru mamo-ru-yugmam" bhagnam... bhagnam...). Thus, the prescription for ten types of drama has been all mentioned by me in accordance with their characteristics. It may be noted that like sandhyanga-s, and sandhyantaras, these 'angas' also make for beautification in a play and should therefore be taken as "alamkaras"in the wider sense of the term. DR. (p. 163, III. 686-69) : reads - vithi tu kaisiki-vsttau sandhyanga'nkais tu bhanavat (686) rasah sucyas tu songarah, sprsedapi rasantaram, yukta prastavanakhyatair angair uddhatyaka"dibhih. (69) evam vithi vidhatavya dvyeka-patra-prayojita. (70a) Avaloka : (p. 163) : vithivad vithi margah. angadinam upapattih bhanavat karya, visesatas tu rasam srngaro' paripurnatvad bhuyasa sucyah. rasantaranyapi stokam sparsaniyani. kaisiki vrttir iha rasaucityad eva iti. sesam spastam. The ND. (p. 240-270; Ka. II. 28-36) : reads as - ND. sarva-svami-rasa vithi tv ekanka dvyeka-patrika, mukha-nirvaha-sandhih syat, sarva-rupopayogini. (28) [Vitti-sarvesam rupakanam nataka"dinam vakroktya-di-samkula-trayodasangapravesena upayogini vaicitryakarika. ata eva'nte laksita.] vyaharo'dhibalam gandah prapancastrigatam chalam, asat-pralapo vakkeli nalika mrdavam matam. uddhatyakavalagite athavaspanditam smotam, bharati-vstti-vartini vithyangani trayodasa. (29-30) anyartha bhavidsstir va vyaharo hasya-lesa-gih mitho jalpe svapaksasya sthapana-'dhibalam balat. (31) For Personal & Private Use Only

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"Dasa-rupaka-Vicara" 1841 gando'kasmad yad anyartham prastuta'nugatam vacah prapancah sastavam hasyam mitho mithaika-labhakrt. (32) trigatam sabda-samyena bhinnasya'rthasya yojanam, vaco'nyartham chalam hasya-vancana-rosa-karanam. (33) asatpralapas tarvena hitam yanna'vagamyate, prasnottaram tu vakkeli hasya vak-prati-vag api. (34) hasyaya vancana nali, vyatyayo gunadosayoh, mrdavam. parasparam syad udghatyam guahabhasanam. (35) taccavalagitam siddhih karyasya'nya-misena ya, svecchoktasyanyathakhyanam yad avaspanditam tu tat. (36) RS. has Vithi (pp. 290; III. 265-268a) - sucya-pradhana-songara mukha-nirvahana'nvita eka-yojya dvi-yojya va kaisiki-vstti-nirbhara. (265) vithyanga-sahitaikanka vithi'ti kathita budhaih asyam prayena lasyangadasakam yojayenna va. (266) samanya parakiya va nayika'tra'nuragini vithyanga-praya-vastutvan nocita kulapalika. (267) laksyam asyas tu vijneyam madhavivithika"dikam. (268a) The RS. enumerates the vithyanga-s along with amukha'ngani, at III. 164 - 166 such as - kathitany amukhangani vithyangani pracaksmahe amukhe'pi ca vithyam ca sadharanyena sammata. (164) For Personal & Private Use Only

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1842 SAHRDAYALOKA vithyanga-sampratha tesam vithyam avasyakatvatah, uddhyatakavalagite prapanca-trigate chalam. (165) vakkelyatibale gandam avasyandita-nalike, asatpralapa-vyaharau madavam ca trayodasa. (166) The description of these is the same as read in earlier sources. SD. (p. 440; VI. 253-256) reads as - vithyam eko bhaved ankah kascid ekotra kalpyate, akasa-bhasitair uktais citram pratyuktim asritah. (253) sucayed bhuri-songaram kincid anyan rasan prati, muka-nirvahane sandhi arthaprakrtayokhilah. (254) "kascid uttamo madhyamodhamo va, songarabahulatvac ca'syah kaisiki-vrttibahulatvam. asyas trayodasangani nirdisanti manisinah, uddhyatyaka'valagite prapancas trigatam chalam. (255) vakkelyadhibale gandam avasyandita-nalike, asatpralapa-vyahara madavani ca tani tu. (256) The SD. vrtti observes : etani cangani nataka"disu sambhavanty api vithyam avasyam vidheyani, spasta-taya nataka"disu vinivistanyapihodahrtani. vithiva nana-rasanam ca'tra mala-rupataya sthitatvad vithi iyam." With this the dasa-rupaka-vicara is completed. It may be noted, as said in the preface - "namaskaromi", that no doubt we have drawn upon reliable and respectable sources, especially in the area of historical survey so to say, i.e. where the views of the mimamsaka-s, naiyayika-s and vaiyakaranas are discussed, - but, to be honest, we have verified with the original For Personal & Private Use Only

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"Dasa-rupaka-Vicara" 1843 as far as possible, and then only accepted. With the material dealing with alamkarasastra proper, i.e. with Bharata, Bhamaha and the rest, we have tried to think in an original way as prompted by the grace of our gurus - Prof. R. C. Parikh, Prof. R. B. Athavale, and Prof. Dr. V. M. Kulkarni, who at the age of 87+, even today guides us to newer and newer insights. All great names, Dr. Raghavan included, are consulted on occasions and all this is clearly recognised, but we have tried to re-evaluate the findings of these great scholars also. So, at the end of Vol. I., completed with the grace of the Divine, we may say : . "Aum purnam adah, purnam idam purnat purnam udacyate, purnasya purnam adaya purnam eva'vasisyate." - iti sivam - "That (= the reliable source] is perfect, This [the material presented before you] is perfect. From [the source which is) perfect the perfect is drawn. After (drawing] perfect [material] from perfect [source] only the perfect (which is placed in your hand) remains. Aum santih, santih, santih. * Aum Ma Aum. Aum Namah sivaya subham bhavatu - 20-7-03, Sunday [Asadha-krsna-saptami) For Personal & Private Use Only

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Select Bibliography Abhidha-vstta-Matrka-Mukula; Edn. Dr. R. P. Dwivedi, Chow. Vidya Bhavan, Varanasi, '73. Agni Purano'ktam-Kavya'lamkara Sastram - Edn. Parasnath Dwivedi; '85. Alamkara-sekhara- Kesava Mishra. Nir. Sa. Edn. Bombay, '26 . Alamkara-Sarvasva-Ruyyaka; Edn. Prof. Dr. R. C. Dwivedi; Motilal Banarasidass, Delhi.-65 (also Edn. Dr. Janaki) Atharva-Veda (AV). Trans. Hymns of the AV.-Maurice Bloomfield; SBI, Vol. XI. Bhavaprakasana-Saradatanaya; Edn. O. I. Baroda, '68. also Edn. Dr. M. M. Agrawal Pub. Chow. Surabharati Prakashan, Varanasi, '83. Bharata- Natya-Manjari Edn. B. O. R. I. Pune. '75, Dr. G. K. Bhat. Buddha-Carita- Asvaghosa; Edn. Haraprasad Sastri. Bibliotheka Indica, A. D. 1910. Candra"loka; Jayadeva; Edn. Bharatiya Vidya Prakasan, Delhi, 1992; also Edn. with Rama Tika. also Ed. With Paurnamsi, Skt. Comm.; Chow. Skt. Sr. Office, Varanasi '64. For Personal & Private Use Only

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Select Bibliography 1845 Dasa-rupaka; Dhananjaya, With 'Avaloka' Comm., Dhanika, - Edn. The Adyar Library Series, Vol. 97. 1969; Prof. T. Venkatacharya. also Edn. (Hindi) Dr. Bholashankar Vyas, Chow. Vidya Bhavan, Chowk, Benares, '55. Dhvanya"loka; Anandavardhana; with Comms; Locana, Balapriya and Divyanjana; Kashi Skt. Sr. Granthamala; No. 135, pub. Chow., Skt. Sr., office, Benares City, 1940. also Edn. Dr. Tapasvi Nandi, with Locana and "Cinmayi Tika (Guj.); Saraswati Prakashan, oriental Research Sr., Vol. II, Ahmedabad; '97-'98. also Edn. With Locana & Taravati (Hindi Comm.), Ramsagar Tripathi. Pub. Motilal Banarasidass, Delhi, '64. (Vol. s I & II) also Edn. K. Krishnamoorthy, Pub. Karnatak Uni; Dharwad, '74. also End. With Locana & Kaumudi Comm., Edn. KSRI, Madras, MM. Prof. S. Kuppususwami Sastri, '44. also Edn. With Didhiti Comms; Chow. SK. Sr., Benares. '53. also Edn. Prof D. R. Mankad, Guj. Uni. Ahd. 1969. also Edn. (Hindi) Visvesvarajee Ekavali; Vidyadhara; With Comm. Tarala of Mallinatha, Edn. Trivedi; Bombay Skt. Sr., Bombay, 1903; Kalidasa-Granthavali- Edn. Dr. R. P. Dwivedi, Varanasi: Edn. 2nd. Kavya'lamkara- Rudrata; with Comm. Namisadhu; also Hindi Comm. Prakasa; Edn. Chow. Vidyabhavan, Sri Ramdev Shukla, Varanasi, '66. Kavya'lamkara Edn. Kedarnath Sharma, Patna; Kavya'lamkara; Bhamaha, Edn. with Udyana-vrtti: D. T. Tatacharya Siromani. Tiruvadi, '34; Edn. C. Sankara Rama Shastri, Madras: '56 Ba`lamanorama Series; No. 54. Kavya'lamkara-Sara-Samgraha-Udbhata Edn. second, B.O.R.I. Poona '82, With Laghuvrtti of Pratihare'nduraja. also Edn. With Vivsti; O.I. Baroda, '31. . also Edn. With Laghuvstti; Nir. Sa.-Bombay, '28. For Personal & Private Use Only

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1846 SAHRDAYALOKA Kavya'lamkara-sutra-vrtti, Vamana; with Comm. kama-dhenu; Bechan Jha Edn. Chowkhamba Skt. Series; '71, Varanasi. also Edn. Dr. Rewaprasad. Kava'lamkara-sutra-Vrtti; Vamana; Edn. Prof. Dr. Rewaprasad Dwivedi, '71, Varanasi; also Edn.- Benares Skt. Sr., Under Thibaut's Supervision, No. 140; Benares; '40. Kavya'nusasana; Vagbhata II. Edn. Nir. Sa., Bombay. '15; Kavya'nusasana-Hemacandra; Edn. 2nd., Prof. R. C. Parikh and Dr. V. M. Kulkarni; Bombay, '70, also, End. in Vol.s I & II Prof. Parikh and Prof. R. B. Athavale; Bombay. '38. also Edn. Tapasvi Nandi, Pub. L. D. Inst. of Indology, Ahd. 2000 A.D., Kavya"darsa- Dandin; Edn. Dr. D. K. Gupta, Delhi, '76. Kavya"darsa; Dandin; Edn. B.O.R.I. Poona, with Comm. Prabha, R. Reddi; 1970, Second End.; Kavyamimamsa- Rajasekhara; Edn. Dalal; G. O. S., Baroda, '24 also Edn.-With Madhusudani, Chow. Edn. '34 Varanasi; Kavya-Prakasa; Mammata; with Comm. Jhalkikar, B. O. R. I. Poona. 1921; also End. Jyotna Mohan, Vol. I-V Nag Pub., Delhi, '95 (With all major Comm.s) also Edn Tapasvi Nandi, With Comm. Saradipika of Gunaratna Gani. Vol.s I & II. Pub. Guj. Uni. Ahd. '76. also Edn. Sivprasad Bhattacharya, With Comm. Viveka, '59. Kavya-Prakasa-Khandana Siddhicandra, Edn. Prof. R. C. Parikh, Singhi Jain Grantha Mala, '53. Mahabhasya, Patanjali Edn. Keilhorn, Third End. K. V. Abhyankar, Poona, '62. For Personal & Private Use Only

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Select Bibliography 1847 Mahabhasya, Patanjali; Vol.s I-III Edn. Keilhorn, BSS., 1906. Nataka-laksana-ratna-Kosa. -Sagara-Nandin; Edn. Prof. Babulal Shukla Sastri, Chow. Skt. Sansthan, Varanasi, '72. Natya-Sastra;- Bharatamuni; (with Abhinava-bharati) Edn. G.O.S. Vol. I. '59 & '92 (K. Krishnamoorthy) Vol. II. Edn. 2001, (Dr. V. M. Kulkarni & Dr. T. S. Nandi) Vol. III. Edn. 2003 (,,,, & Vol. IV Edn. '64-Kavi. Natya-sastra; Vols. I-IV, Edn. N. P. Unni Nag Pub, Delhi; 1998; Edn. Dr.T. S. Nandi; (Chs. I-III & VI with Abh.) Saraswati Research Praakasana series; Vol. IX Ahd., '94-95 Edn. B. H. U., '71, with Skt., Hindi Comm., Madhusudan Shastri. Natya-Sastra; Hindi Abh.; Edn. Deptt. of Hindi, Delhi Uni.; Delhi, '60, Acarya Visvesvara. Uni; Delhi, '60, Acarya Visvesvara. Natyasastra; Edn. R. S. Nagar, Parimal Pub., Vol. 5. I-IV; Delhi ('87, '88, '88, '84) also, Edn. with Skt. Hindi Comm. Madhusudan Shastri-B.H.U. '71 & '75. Natya-darpana- Ramacandra & Gunacandra; Edn. G. O. S. Vadodara, '29. and also (Hindi) Edn.- Acarya Visvesvara, Deptt. of Hindi, Delhi Uni., Delhi-'91. Nirukta of Yaska; With Durga's Comm., Edn. Bhadkamkar H. M. & R. G. BSS. 73, 85, Bombay Vol. I, 18, Vol. II 42 Also Trans. L. Sarup. Pratapa-rudriya Or Pratapa-rudra-Yaso-bhusana-Vidyanatha Edn. With Ratnapanaa Comm. of Kumarasvmin. S. Chandrasekhara Sastrigal, Madras, 1914. For Personal & Private Use Only

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1848 SAHRDAYALOKA Rasarnava-sudhakara-singa-Bhupala; Edn. Anathasayana, T. Ganapati Sastri, Trivendrum 1916 A. D. Rasagangadhara; Jagannatha; with Comm. Nagesa; Nir. Sa. Edn., Bombay, '47, also, Edn. Kavyamala; 1888; also, Edn. with Comm. Candrika, - Chowkhamba Vidya Bhavan, Varanasi, 1955; also Edn. in two Vols., Prog. R. B. Athavale, Pub-Uni. Book Production Board, Guj. state, Ahd.; '72 & '74. Rasa-Tarangini- Bhanudatta Edn. Grantha-ratna-mala, '87-88. also, Edn. with Hindi Trans, etc. Pub. Munshiram Manoharlal N. D. '74. Sahitya-darpana; Visvantha; With Laksmi-Comm.; Edn. Chow. Skt. Samsthana; Varanasi, '85 (fouth Edn.) also Edns. with other important Skt. Comm.s., Kusuma-priya, Rucira, etc.Sprgara-Prakasa; Bhoja; Vol. I-IV. Josyer, Mysore, '55. Sarasvatikankhabharana; Bhoja; Nir-Sa., Edn; Bombay, '34, With Comm. of Ramasimha, & Jagaddhara; The Linguistic speculations of the Hindus - Edn. Uni. of Calcutta, 33. Dr. Dr. P. C. Chakravarti The Philosophy of Sanskrit Grammar - Pub. Uni. of Calcutta, 30, Dr. P. C. Chakravarti Trivendrum Plays- Ascribed to Bhasa; Edn. Prof. Deodhar Poona. Vagbhata'lamkara-Vagbhata; Edn. M. S. Uni. Vadodara, Guj. Deptt.; '75; and also, End. with Simhadevagan'i's Comm., Chow. Vidyabhavan, Varanasi, '57. Vakrokti-Jivita-Kuntaka; Edn. K. Krishnamoorthy, Karnatak Uni., Dharwad; '77; For Personal & Private Use Only

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Select Bibliography 1849 Vakrokti-Jivita-Kuntaka; (Hindi) Edn. Visvesvara- Atmaram & Sons; Delhi; '55. Vstti-Vartika- Appayya Dixita Edn. Prof. Avasthi, Indu Prakashan Delhi, '77; Vrtti-Vartika-Appayya Dixita; Edn. Prof. Avasthi, Induprakashan- Delhi. '77. Vyakti-Viveka; Mahima Bhatta; with Vyakhyana; and Madhusudani-Vivrti; The Chow. Skt. Sr. Benares, '36., Haridasa, Skt. grantha Mala; Vol. 121, also, Edn. Prof. Dr. Revaprasad Dwivedi, Varanasi, '64. OTHER REFERENCES A Study of Mahimabhatta's Vyakti-Viveka Prof. C. Rajendran; Calicut, 91. Bhoja's songara-prakasa-V. Raghavan, Edn. '63. Madras; "Glimpses of Ancient Indian Poetics" Edn. Pandey & V. N. Jha; Pub. Shri Garib Dass Oriental Series, Delhi. History of Skt. Poetics, P. V. Kane. Indian Theories of Meaning . Dr. K. K. Raja; The Adyar Library and Research Centre, . Madras, Edn. '69. Kavya-Prakasa of Mammata, Edn. Prof. A, B. Gajendragadker, Bombay, '42. Kavyaprakasasa-Mammata, Or Poetic Light (Vol. I & II) Dr. R. C. Dwivedi, Pub. Motilal. Banarasidass, '67, '70; Delhi. Mimamsa' or the Vakya-sastra of Ancient India; Prof. G. V. Devasthali.,- Vol. I. Edn. Book - sellers' Publishing Company, Bombay, '58. Origin and Development of the Theory of Rasa and Dhvani in Sanskrit poetics,-Dr. T. S. Nandi Pub. Guj. Uni. Research Pub. series. Guj. Uni.-Ahmedabad. '73. For Personal & Private Use Only

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1850 SAHRDAYALOKA 'Outline of Abhinavagupta's Aesthetics." Dr. V. M. Kulkarni Ahmedabad. '98. santa-rasa & Abhinavagupta's Philosophy of Aesthetics Masson, Patwardhan. B. O. R. I. Poona '69. Sanskrit Poetics.- S. K. De. (History of)., Calcutta '60 (2nd Edn.) Firma K. L. Mukhopadhyaya Some Aspects of Rasa-theory V. M. Kulkarni- B. L. Inst. (Delhi) '98. Studies In Indian Sahityasastra. Edn. Prof V. M. Kulkarni. B. L. Inst.; Patan (N. Guj.) '98. Studies In Indian Sahityasastra. Edn. Prof. V. M. Kulkarni. B. L. Inst., Patan (N. Guj.) '83. The Aesthetic Experience According to Abhinavagupta R. Gnoli, 2nd Edn. Chow. Skt. Sr. Office, Varanasi, '68 The Contribution of Panditaraja Jagannatha to Sanskrit Poetics. (Vol.s, I & II); Dr. P.Sri. Ramachandrudu; Pub. Nirajana Publishers and Book-sellers, Delhi. 7; '83 Word-Index to Vakyapadiya of Bhartrhari- (also V. P.) End. Dr. Saroja Bhate, Poona- Eastern Book Linkers, Delhi, '92. Appayya Dixita- Kavi ane Alamkarika; Dr. B. D. Pandya, Pub. Guj. Uni., Ahd. '74 in Gujarati. For Personal & Private Use Only

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