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 361

THE JAIN VIEW OF AESTHETIC EXPERIENCE 343 vira and not srngara that is given the pride of place, This change appears significant. As the author belongs to Jain monastic order we can well appreciate this change of emphasis. The inclusion of prasanta rasa in the list tends to suggest a much later date for this text, at least for this portion of the text, Again, it is to be noted that this passage does not indicate at all whether the author considered some of these rasas as pleasurable and some others painful or whether all rasas are pleasurable. From amongst the Jain writers on Alamkarasastra proper Vagbhata I, Acarya Hemacandra, Maladhari Narendraprabha, Vagbhata (II) and Vijayavarni, who wrote Vagbhatalamkara (1st half of 12th century A. D.), Kavyanusasana (1st half of 12th century A. D.), Alamkaramahodadhi, (1st half of 13th century A. D.), Kavyanusasana, (14th century A. D.) and Srngararnavacandrika (last quarter of the 13th century A. D. ?) respectively, have nothing new to say about rasa. They follow, as a rule, the standard works on poetics. Acarya Hemacandra expressly states that he bases his view of rasa upon that of Abhinavagupta". The credit of presenting graphically and vigorously the view that all rasas are not pleasurable but some alone are pleasurable and some painful, goes to Ramacandra and Gunacandra, the joint Jain authors of the Natyadarpana (latter half of the 12th century A. D.) They were pupils of Acarya Hemacandra, the author of Kavyanusasana. They however, do not agree with their master, for whom they have great reverence, as to the nature of rasa and set forth cogently their own view which may be termed as sukhaduhkhatmavada as opposed to Kevalanandavada according to which all rasas are always pleasurable. According to the Natyadarpana3 1. srngara, 2. hasya, 3. vira, 4. adbhuta and, 5. santa are pleasurable whereas 1. karuna, 2. raudra, 3. bibhatsa and, 4. bhayanaka are painful. They say : the view that all rasas are pleasurable goes against experience. The karuna, raudra, etc. when presented on the stage or in poetry cause indescribable pain to the spectators or sensitive readers. They experience camatkara, only at the end of rasasvada due to the poet's pratibha and actors' skill of presentation. Persons (like Abhinavagupta) duped-carried away--by this camatkara, regard the karuna, raudra, etc. as pleasurable although in reality they are painful. Attracted by this aesthetic experience of grief etc., spectators feel like going to plays in which karuna is present. Poets and playwrights compose poems and plays which consist in pleasure and pain in accordance with this worldly life itself which consists in both pleasure and pain. Witnessing of tragic events on the stage never produces pleasure, If the representation of tragic events be pleasurable then the representation itself will