Page Text
________________ 210 STUDIES IN JAIN LITERATURE Abhinavagupta explains the term sattva as concentration of the mind (cittaikagryam). According to one commentator (tikakara) cited by Abhinavagupta, it means manas samadhanam, the same as cittaikagryam. In one context, he paraphrases sattva-samuttham as prayatnakrtam; in another context he explains it as what results from concentration of the mind (manassamadhanajam) and stresses the supreme importance of great effort (prayatna) for sattva (concentration of the mind) for natya (drama) rests or is founded on sattva. "Sattva is something invisible but serves as the basis of mental states by means of horripilation, tears, and other sattvika states displayed in accordance with the situations and sentiments." Compared with sattvika abhinaya the role of vacika and ongika abhinayas in drama is not so important, says Abhinavagupta. 12 It deserves our notice that the authors of natyadarpana, who generally follow Abhinavagupta, explain the term sattva after Abhinavagupta, though the words and expressions differ : When the mind is attentive it is called sattva. For if the mind be inattentive, it is not possible for the actor to act out the sattvikabhavas like svarabheda, etc."13 In continuation of this (Abhinavagupta's) discussion of the nature of sattva, Hemacandra's discussion of the sattvikas deserves to be taken up. For, it is surely enough based, to the best of our belief, 14 on the missing portion of the Abhinavabharati (ch. VII) dealing with the sattvikabhavas; the relevant portion from Kavyanusasana as translated into English by Prof. M. V. Patwardhan is given at the end of this paper as an Appendix to facilitate ready reference. In this paper, we confine ourselves to the main points of the discussion : Sattva means pranatmakam vastu (vital energy). It is so called because the mind dwells in it and because there is exuberance or predominance of sattvaguna in it and because it is characterised by intrinsic goodness. The sattvikabhavas arise from it. They are in the state of knowledge of rati, etc., which emerge from the prana-bhumi. (The idea is : the particular mental states like rati, etc., first appear as manifestations of consciousness. They then colour-by superimposing their own nature--the abhyantara (internal) pranas. In other words, flowing from their original mental state, they rest in the internal pranas without transforming themselves into external manifestations of feeling (anubhava) like paralysis (stambha), perspiration (sveda) etc.,). They are distinct from bodily or physical tears etc., which are external and inanimate (insentient or non-sentient) in their nature or form. They are produced by the same vibhavas which produce rati etc.; to put it differently, the vibhavas of the sthayins like rati, etc., and of the sattvikabhavas like stambha, sveda, etc. are the same. They are beyond the range of aesthetic experience or relish. They are, however, For Private & Personal Use Only Jain Education International www.jainelibrary.org
| SR No. | 001868 |
| Book Title | Studies in Jain Literature |
| 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 |