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"Concept of Rasa" as seen in Anandavardhana and......
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both in the sense of an emoive response and also as the highest aesthetic goal that covers up the former also, is acceptable to Mahimā also, howsoever an avowed anti-vyañjanā and anti-dhvani theorist he may be.
Mahimā hails 'rasa' in poetry to such an extent that poetry without rasa is no poetry at all for him. He supports a definition of poetry, as a description of vibhāvā"dis adorned by music and the like : (pp. 102) Edn. Dr. Rewaprasad : yad āhuḥ -
"anubhāva-vibhāvānām varṇanā kāvyam ucyate, teşāmeva prayogat tu
nāryam gītā”di-rañjitam." Nārya i.e. drama is the representation on stage, of poetry which contains description of vibhāvā"dis. This representation, Mahimā accepts, is one which is adorned by music and the like.
Mahimā further observes : (pp. 102, ibid) : "evañ ca, ye sukumāramatayaḥ, śāstra-śravaņā”di-vimukhāḥ, sukhino rāja-putra-prabhrtayaḥ pūrvatra adhi-krtāḥ, ye ca atyantatópi jada-matayaḥ, tāvatā vyutpādayitum aśakyāḥ, strī-nryā"todyā”diprasaktā ubhaye’pi tébhimata-vastu-puraskāreņa guda-jihvikayā rasā-"svādasukham mukhe datvā tatra katukousadha-pānādāv iva pravartavitavyāh. anyathā pravsttir eva esām na syāt, kim uta vyutpattiḥ. kāvyā”rambhasya sāphalyam icchatā tatpravstti-nibandhana-bhāvena rasā"tma-katvam avaśyam upagantavyam tanmātraprayuktaśca dhvani-vyapadeśaḥ
na ca rasānām vaisistye tad ātmanah kāvyasya višiştatvam iti yuktam vaktum, a-vyāpteh. evam hi pratiniyata-rasa"tmana eva tasya dhvanitvam syāt, na anyasya anya-rasā”tmanah, vaišistyā”bhāvāt. isyate ca tatrā’pi ity avyāptir laksana-dosah.”
Mahimā hereby wants to suggest that kāvya, of course adorned by vibhāvā"dis and therefore codusive to rasa, is meant primarily for the happy-go lucky people such as princes and the like, who are of mediocre intellect and who are averse to listening (or studying) the Sāstras. They are the first among those for whom poetry is created. The next come those who are absolutely dull-witted and are incapable of even receiving or enjoying poetry. To activate them, i.e. to guide them to some activity, nātya is required, for these people are by nature tuned more towards women, dance and the like, which form part of drama. Both of these are to be activated by placing something they like, i.e. by placing some form of art which is
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| SR No. | 006910 |
| Book Title | Sahrdayaloka Part 03 |
| 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 |