Srngaramanjari Katha

SR No.: 002914
Original Sutra Author: Bhojdev
Author: Kalpalata K Munshi
Publisher: Bharatiya Vidya Bhavan
Publication Year: 1959
Total Pages: 312
Language: Sanskrit, Hindi
Classification: Book_Devnagari & Literature
File Size: 21 MB

Page 83

60
SRNGÅRAMAÑJARIKATHA
in common to all the works on Poetics that deal with rasas. But. Bhoja with his love for analysis goes further. He takes the etymological meanings of the prepositions vi and sam and elaborates the types and stages of śrngāra.
The Vipralambha śrngāra is treated in chapters 24-32. the Sambhoga in chapters 33-36. It is relevant to our purpose to consider only the Sambhoga-śrngāra which we shall now examine.
The preposition sam, according to Bhoja, conveys four senses: संक्षिप्त, संकीर्ण, संपूर्ण and सम्यक् । Therefore, when Bhoga is developed under the four conditions of Pūrvānurāgānantara, etc. it expresses itself in four types in Sambhogaśțngāra thus. Pūrvānurägänantara-sambhoga is of samkşipta type, that is, short in point of time; Mānānantara is Samkirna, that is, alloyed 19; Pravāsanantara is Sampūrņa, that is complete; while Karunānantara is Samyak, that is, perfect. These four types of Sambhoga have four stages or avasthās which are treated in the 36th and the last chapter of the SP. The four stages corresponding to the four types of Sambhoga are Sattä, Abhivyakti, Anubandha and Prakarsa. Thus it is said:
___ संक्षिप्तो भोगः सत्तावस्थायाम्, संकीर्णो भोगः अभिव्यक्त्यवस्थायाम्, संपूर्णो भोग: अनुबंधावस्थायाम्, सम्यक् भोगः प्रकर्षावस्थायाम् ।20
The Sattā stage is the origin of rati on the meeting of the nayaka and the näyikā; abhivyakti is the clear perceptibility developed under the stimulus of Vibhāvas and so on; Anubandha is the condition of continuation, and Prakarsa is the climax in which rati results, in the śrrgāra-rasa.
In the further analysis of the Sattā and other stages, Bhoja says there are subtle differences among them. In each stage there are twelve different shades. The twelve shades in the Sattā stage are those of rågas, those in the Abhivyakti stage are the twelve premans, those in the Anubandha stage are also the twelve premans, and those in the prakarsa stage are the twelve Prema-pakas.21 Thus the elaborate Sambhoga-śrngāra under the:
4 Conditions is of 4 Types in the 4 Stages with 12 Shades.
प्रेमन्
१ पूर्वरागानन्तर संक्षिप्त
सत्ता
राग २ मानानन्तर संकीर्ण अभिव्यक्ति
प्रेमन् ३ प्रवासानन्तर संपूर्ण
अनुबन्ध ४ करुणानन्तर सम्यक् प्रकर्ष
प्रेमपाक :9. See SKA V, 86 HTETTE Tai 7 FA FUTET: IT नसंधानात्संकरः केन
aria i wherein the sentiment of love is said to be coloured by lingering
anger etc. and therefore it loses its native purity and becomes alloyed. 20. BSP, p. 68. 21. BSP, p. 68.