Sahrdayaloka Part 01

SR No.: 006908
Original Sutra Author: N/A
Author: Tapasvi Nandi
Publisher: L D Indology Ahmedabad
Publication Year: 2005
Total Pages: 602
Language: English
Classification: Book_English
File Size: 14 MB

Page 28

Definition and Scope of Poetry
3
the thinking of literary critics. The use of these categories was recommended by Bharata with reference to 'kavya-rasa'. Thus thinking concerning 'kāvya' i.e. literature and 'kāvya-rasa' i.e. aesthetic experience through literature was even prior to Bharata. And this should be taken as a fact beyond debate. We can not imagine exactly at which period of time aesthetics concerning literary art only, originated as a separate discipline and that literary aesthetics came to be regarded as independent of aesthetics concerning dramatic art and, or, vice versa. N.S. of Bharata continues to be the oldest available document in art-criticism which centring round dramatic art, also embraces dance, music, literature, architecture, sculpture etc. in its fold, and treats of certain principles of literary criticism which keep aesthetic enjoyment in their focus. We have evidences to this effect from the VII th as well as XVIth chapters of the N.S. (Edn. G.O.S.) e.g.,
Nā-Śā. (Edn. G.O.S. '59) pp. 348 (Vol. I) has -
"evam ete kavya-rasábhivyakti-hetavaḥ ekónapañcāśad bhāvaḥ pratyavagantavyāḥ." and also - pp. 339 ibid - "yadi kāvyártha-samśritair-vibhāvā'nubhāva-vyañjitairekónapañcāśadbhāvaiḥ sāmānyaguṇa-yogena abhinispadyante rasāḥ, tat katham sthāyina eva bhāvā rasatvam āpnuvanti"...
and also - pp. 380 (N.S. VII. 120) -
"nānābhāvártha-sampannāḥ sthāyi-sattvábhicāriṇaḥ, puspávakīrṇāḥs kartavyāḥ kāvyeṣu hi rasa budhaiḥ."
and also pp. 364, Vol. II; -
"etāni kavyasya ca lakṣaṇāni sad-trimśad uddeśa-nidarśanāni,
prabandha-sobhākarāṇi tajñaiḥ,
samyak prayojyāni yathā-rasāni." (XVI. 42)
So, observes Bharata; "Forty-nine bhāvas are to be recognized in view of the manifestation (i.e. suggestion) of this kavya-rasa”.
"When, with the help of the forty-nine bhāvas (i.e. basic feelings/emotions), that are suggested with the help of the vibhāvas i.e. determinants, anubhāvas i.e. consequents and vyabhicārins or accessories that rest on 'kavyártha' i.e. poetic meaning, 'rasas' i.e. aesthetic experience are born due to generalization, how is it