Studies in Jain Literature

SR No.: 001868
Original Sutra Author: N/A
Author: V M Kulkarni
Publisher: Shardaben Chimanbhai Educational Research Centre
Publication Year: 2001
Total Pages: 114
Language: English
Classification: Book_English, Literature, & Story
File Size: 14 MB

Page 202

184 STUDIES IN JAIN LITERATURE determinants. In the later classification they fall into two divisions alambana (fundamental) and uddipana (excitant) determinants. Alambana vibhavas comprise the nayika, the nayaka, for, without them there can be no development or creation of rasa in the audience-preksakas-spectators. Uddipana vibhavas are such conditions of place and time and circumstances as serve to foster rasa (sentiment), for example, the full moon, garden, the fragrant breeze, secluded place, etc.--all things which foster the sentiment of srngara when the emotion of love (rati) has already arisen. The anubhavas (consequents) are the external manifestations of the feeling, by which the actors suggest to the audience the feelings, the minds and hearts of the characters or persons of the drama, such as kataksas (sidelong glances); smita (smile), alingana (embrace) and the like. Bharata singles out eight anubhavas, sveda (perspiration), romanca (horripilation) etc., and designates them as sattvikabhavas (they are called sattvika as arising from a heart which is ready to appreciate the joys or sorrows of another (sattva). Bharata mentions (33) thirty-three vyabhicaribhavas transitory feelings like glani (weakness), sanka (apprehension), srama (fatigue or weariness), asuya (envy), cinta (worry), etc. They are called vyabhicaribhavas because they, like the waves appear on the surface of the sea for a while and submerge the next moment. They are like the gems woven in a thread--the sthayibhava and strengthen it. Bharata mentions eight such sthayibhavas (permanent emotions or feelings) rati(love), soka (sorrow), etc. When they are developed we get the eight corresponding rasas, ssrgara, karuna etc. Later writers add the ninth rasa called santa. Now, the rasasutra has been differently interpreted by four different commentators-Lollata, Sankuka, Nayaka and Abhinava and their views are known as utpattivada, anumitivada, bhuktivada and abhivyaktivada. The commentaries of the first three commentators are lost and we know about their views from the summaries of their expositions recorded by Abhinavagupta in his commentary Abhinavabharati. It is not possible to give an exposition of these views even briefly within the allotted time. Post-Abhinavagupta alamkarikas, with one or two exceptions, follow Abhinavagupta unquestioningly. The salient features of his exposition are : (i) Rasa is not produced in the character of the play, say Dusyanta nor inferred as existing in the nata(actor) who plays the role of Dusyanta, but it is suggested/manifested/revealed (abhivyakata) as the spectator, samajika, witnesses the play. The rasa is to be located in the spectator, Thus according to Abhinava rasa is to be located not in the character of the play, not in the actor but in the spectator himself.