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 151

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SAHRDAYĀLOKA the works of Bharata and others the characters are classified as uttama, madyama and adhama. Over and above the eight rasas as read in Bharata, Bhoja adds four more such as udātta, uddhata, preyas and śānta. Bhoja considers these rasas with reference to the four types of nāyaka or hero. The types are dhiródātta, dhira-lalita, dhīra-śānta and dhīróddhata.
Bharata has talks of four prakrti-rasas or basic rasas and four vikrti-rasas i.e. those born of the earlier four. Bhoja does not accept this. He discusses this problem in his own way but it may be observed, as noted by us already, that Bhoja's śrngāra i.e. abhimana-śrngāra is very special and is not identical with the traditional concept of śrngāra as seen in Bharata and the rest.
We will try to discuss further the difference between the traditional concept of śộngāra and Bhoja's special śộngāra, as below :
Bhoja makes it clear that the śộngāra as imagined or explained by him is only basically the real rasa, and that the śộngāra as explained in other works is no rasa at all. It is merely of the status of a 'bhāva' only; i.e. it is only 'rati'. In the same vein, the so called vīra-rasa or any other rasa is only a bhāva, a basic emotion such as utsäha, or whatever else as the case may be. The so called rasas are only sthāyibhāvas. When the cultured person, a rasika, relishes these different sthāyins, then of course the sthāyin concerned is in an enhanced stage with the help of the vibhāvā”dis, but all of them necessarily do not reach the status of a rasa, i.e. they do not attain to 'rasatva'. They are simply the basic emotions in an enhanced state. Now these enhanced basic emotions jointly merge into a stage called "ahamkāra abhimāna-śộngāra." Only this is rasa, one and only one! It is enjoyed with the quality of the rasika, that is termed as ahamkāra, or his special excellence called ‘abhimāna'. As the poetic emotion, i.e. bhāva in poetry, is caused by bhāvanā (i.e. it being bhāvanā-bhāvita) it is termed "bhāva". This 'bhāva' when it reaches its most enhanced stage, it is termed 'rasa'. Bhoja observes : (Śr. Pra. I. 10) :
"ā-bhāvanodayam ananya-dhiyā janena yo bhāvyate manasi bhāvanayā sa bhāvaḥ, yo bhāvanāpatham atītya vivartamāna
sóhamkştau hțdi param svadate rasósau.” Again, the ratyā"di sthāyi-bhāvas, and harsa-adi vyabhicārins are also not different from one another in their basic nature. All bhāvas are of the form of the