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 229

DUAL NATURE OF SATTVIKABHAVAS 211 suggested-their presence is conveyed--by their consequents, i.e. by their external manifestations. Although physical weakness (glani), laziness (alasya); fatigue (srama), stupor (murccha) etc., are devoid of alambana-visaya, still as they are caused by external factors, they are listed (or enumerated or counted) among vyabhicarins. The mental states like paralysis (stambha), etc. are, on the contrary, not caused by external factors, and hence they are called sattvikas. The external sattvikas paralysis (stambha), etc., are bodily or physical attributes (sarira-dharma) and therefore are called anubhavas. They first suggest their corresponding internal, sattvikabhavas but ultimately (really speaking or in reality) they suggest the mental states or emotions like love, world-weariness, etc. These sattvikabhavas occur in connection with each one of the sentiments (rasas). They do not enjoy even a slight trace of independence (or of occasional predominance)- not even like the vyabhicarins on the analogy of a king's servant engaged in his own marriage ceremony who is followed by the king (at the time of the marriage procession). (That is in relation to his own servant, the king occupies, for the time being, a position subordinate to that of his own servant). Dhananjaya, who closely follows Natyasastra, pointedly refers to the dual nature of the sattvikabhavas : पृथग्भावा भवन्त्यन्येऽनुभावत्वेऽपि सात्त्विकाः / Hralca uredite 9619971994 11 --DR IV.4 (b)-5 (a) i.e., the sattvikas, although they are of the nature of anubhavas, are bhavas other than sthayins (permanent emotions) and vyabhicarins (transitory feelings). For, they arise from sattva and it (sattva) means 'making the spectator's mind or heart realize the joys or sorrows of the character portrayed". It is the actor, who plays the role of Rama, etc., who, by the strength of his fourfold dramatic representation, makes the spectator apprehend clearly or experience almost directly the joys or sorrows the character (Rama) seems to have gone through. In the words of Keith : "The consequents are the external manifestation of feeling, by which the actors exhibit to the audience the minds and hearts of the persons of the drama... A special class is later made of those consequents, which are the involuntary product of sympathetic realization of the feeling of the person portrayed, and hence are called sattvika, as arising from a heart which is ready to appreciate the sorrows or joys of another (sattva)". 15 Raghavan explains sattva as follows : It is the making of our own hearts take the shape of what is presented in the poem or drama. This is sattva. This is how even rajasa and tamasa bhavas like anger and sorrow came to be sattvika. The