Sahrdayaloka Part 03

SR No.: 006910
Original Sutra Author: N/A
Author: Tapasvi Nandi
Publisher: L D Indology Ahmedabad
Publication Year: 2005
Total Pages: 676
Language: English
Classification: Book_English
File Size: 15 MB

Page 122

"Concept of Rasa” as seen in Anandavardhana and......
1297 (vrtti, on this reads as) - "asmin vyangya-vyañjaka-bhāva-vivecanamaye kāvyalakşane jñāte sati, yāḥ kāścit prasiddhā upanāgarikā"dyāḥ śabda-tattvā”śrayā vịttayo, yāśca artha-tattva-sambaddhāh kaisiky adayas tāh samyag rīti-padavim avataranti anyathā tu tāsām a-drstárthánām iva vrttīnām a-śraddheyatvam eva syān na anubhava-siddharvam. evam sphuţatayaiva laksanīyam svarūpam asya dhvaneh.”
(Trans. K.Kris., pp. 261, ibid) - "Once this theory of poetry is fully understood, even the so-called "Modes" relating to the nature of sounds as well as to the nature of meanings will become intelligible.” (III. 47)
"When this theory of poetry involving a discrimination of the suggestedsuggester relationship is grasped, other categories like literary modes, viz. those relating to sound such as upanāgarikā, as well as those relating to sense such as "Kaisiki', will become quite intelligible (even in the same way as the styles). Otherwise, Modes will remain only incredible like unseen objects, and will not come within the range of personal experience (though there might be testimony of
at effect). Therefore, the nature of principal suggestion should be understood clearly."
It may be noted here that Dr. K.Kris. translates 'vstti' as 'modes' and so we have kept the term as it is when we quote from him. Elsewhere, we use the term 'diction' for vrtti. 'Vrtti' remains 'vrtti', even when called as 'mode' or 'diction'.
When Ā. observes that 'the nature of principal suggestion 'svarūpam asya dhvaneh' is to be understood clearly, he obviously refers to his scheme of vyañjanādhvani-rasa first and then to 'rasa-dhvani' as principal suggested sense, when the term stands not only for suggestion of emotive-stuff i.e. rasa-bhāvā”di but also for 'rasa' - the ultimate aesthetic pleausre, the 'art-sense' - at the base of all art. Ā. always expects us to keep in mind this wider connotation even when he talks of rasa as śrngara-vīra, etc. i.e. sentiments. It is precisely for this purpose that he emphatically establishes "śānta-rasa" and he is vehemently supported by Abhinavagupta in both Locana and the Abhinavabhārati. By śānta-rasa as a 'mahā. rasa' what is meant is only the highest aesthetic experience' or 'art-experience and not just evocation of a particular emotion.
Ā. also correlates the concepts of alamkāra, guna and dosa with rasa - both in the emotive sense, or in the wider sense of art-experience in general, through his scheme of vyañjanā.
It may be noted that in the concepts of alamkāra, guna, vrtti and rīti we can include all newer and newer experiments by literary artists in the direction of what