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 246

228 STUDIES IN JAIN LITERATURE through the activity of the poet's creative imagination and the talent and skill of the actor in the art of representation (abhinayakausala). When we bear in mind this position and read the sentence quoted above we are led to believe that the text here is defective and needs to be corrected. Here Hemacandra comes to our help who preserves the original reading intact when adopting the lines in his Kavyanusasana (p. 124, lines 9-11) : भावयन्ति चित्तवृत्तय एवालौकिकवाचिकाद्यभिनयप्रक्रियारूढतया स्वात्मानं लौकिकदशायामनास्वाद्यमप्यास्वाद्यं कुर्वन्ति (यद् वा भावयन्ति व्याप्नुवन्ति सामाजिकानां मन इति भावाः, स्थायिनो व्यभिचारिणश्च / ) A careful look at this text reveals that the copyist of the Manuscript of the NS has slurred or passed over the letters TEU through the presence of letters स्वाद्यं that follow them. (ii) The printed text of A. Bh. Vol. 1, p. 280 reads : सर्वथा तावदेषास्ति प्रतीतिरास्वादात्मा यस्यां रतिरेव भाति / ... तथैव चोपचयावस्थासु देशाद्यनियन्त्रणादनुकारोऽप्यस्तु / भावानुगामितया करणात् विषयसामग्यपि भवतु विज्ञानवादावलम्बनात् / सर्वथा रसनात्मकवीतविघ्नप्रतीतिग्राह्यो भाव एव रसः / Hemacandra (KAS, P. 99 lines 13-18) presents this passage with the following reading and punctuation marks which are far superior and yield happy and consistent meaning and therefore must be the original ones : सर्वथा तावदेषास्ति प्रतीतिरास्वादात्मा यस्यां रतिरेव भाति ।...एषैव चोपचयावस्थास्तु देशाद्यनियन्त्रणात् / अनुकारोऽप्यस्त्वनुगामितया करणात् / विषयसामग्यपि भवतु विज्ञानवादावलम्बनात् / The point which Abhinavagupta wants to emphasize, with all the force at his command is : rasa has for its essence asvada relish or enjoyment; it is a perception which is characterised by a generalised emotion, say, rati (love), this perception is entirely free from spatial, temporal and such other) conditions or limitations or specifications. This perception of (generalised) emotion, as it is free from spatial and other limitations, may be called a state of intensification (upacayavastha) as Bhatta Lollata does; or a reproduction (anukara)- a production which repeats or imitates or reenacts the emotion of the character, as Sankuka does; or a combination of different elements or factors (visayasamagri) as does a critic who subscribes to the Samkhya system, by following the doctrine of Idealism (Vijnanavada). In conclusion, Hemacandra's Kavyanusasana and other works of Jain