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 232

214 STUDIES IN JAIN LITERATURE The explanation of sattva as jivaccharira given in Rasatarangini though novel is not in conformity with Bharata who very clearly and without any ambiguity whatsoever explains it with reference not to living body but to concentration of the mind, i.e., what results from such a concentration. (N.S. Ch. VII, pp. 374-75). Dr. J. L. Masson and Prof. M. V. Patwardhan observe in their Notes (Aesthetic Rapture, Vol.II, p. 63) : "Note Abhinava, p. 268 : sattvika vyabhicarivrttam abhinayavrttam copajivantiti prthagabhinayadibhyo ganitah. Abhinava's point seems to be that Bharata mentions them separately from the vyabhicaribhavas because they have a dual character : they are transitory (vyabhicari) and they depend on acting. But in so far as the vyabhicaribhavas belong to the actor, they are also dependent on abhinaya. Abhinava's explanation is thus not very convincing. Perhaps, Bharata has mentioned the sattvikabhavas separately because they are harder to feign. It is easy to imitate delight, but more difficult to make one's hair stand on end (romanca) either in fear or in pleasure". It is rather difficult to agree with the authors when they say "Abhinava's explanation is thus not very convincing." As Abhinava observes elsewhere (A. Bh. Ch. VI., p. 290) abhinaya anubhava eva', the sattvikas have a dual nature : they are transitory feelings, and at the same time, external manifestations of feeling. That is why a special class is made of the eight sattvikas, stupefaction, perspiration, horripilation, etc., "which are the involuntary product of sympathetic realisation of the feeling of the person portrayed, and hence are called sattvika, as arising from a heart which is ready to appreciate the sorrow or joys of another (sattva)."22 This nature helps us to distinguish very clearly these eight sattvikabhavas from the usual thirty-three transitory feelings and the other external manifestations of feeling. That the sattvikas are harder to feign, as they involve or demand complete concentration of the mind on the part of the actor/spectator, is very true and acceptable to one and all. The explanation given by Bharatiya Natyasastra (Marathi) as to why the anubhavas, stambha, sveda, etc., are called sattvikas may briefly be stated as follows: "In everyday life, we find that in appropriate circumstances and situations, the sthayins, rati (love) etc., are awakened quite naturally; and their corresponding physical effects become manifest to discerning people. But, an actor has to produce with great effort these artificial mental states by means of sympathetic realisation of the feelings of joys and sorrows in others. To distinguish these artificial mental states from the natural mental states of love, etc., they are given different names on the basis of the particularly prominent