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1366
SAHRDAYĀLOKA
He seems to summarise the view of Mammata when he says : (pp. 69) - kecir tu -
"kāranenā'tha käryena sahakaribhir eva ca, vyaktatvam nīyamānas tu .
sthãyi-bhāvo rasah smetah.” "Kāraṇa' is such as anganā, i.e. a lovely lady (the ālambana), yauvana or youth (again, uddīpana), etc. “Kārya' is explained by sāttvika-bhāvas such as stambha, sveda etc. kāryāņi -
“stambham svedo'tha romāñcaḥ, svara-bhango'tha vepathuḥ, vaivarṇyam aśru-pralaya
ity asțau sāttvikā matāḥ.” Sahakāriņaḥ - udyānā"dayaḥ (These are the uddīpana-bhāvas).
Vyabhicāriņo glānyā”dayaḥ. He quotes almost from the DR. when he observes : (pp. 69, ibid) :
"vibhāvair anubhāvais' ca sättvikair vyabhicāribhih, aropyamāna utkarsam
sthãy bhāvo rasah smrtah.” Then he goes to mention nine rasas such as :
“śrngāra-hāsya-karuņaraudra-vīra-bhayānakāh, bībhatsádbhuta-śāntā”khyāḥ
kāvye nava rasāḥ smrtāḥ.” (XX. i.) (pp. 69, ibid) He further devides śrngära as 'sambhoga' and 'vipralambha'. The first is graceful union of two lovers. It is illustrated as based on the heroine as in "śünyam vāsagpham." etc. Keśava (pp. 70) then proceeds to give a four-fold classification of nāyikā. Sambhoga based on hero-nāyakāśraya is illustrated as in, "tvam mugdhāksi vinaiva kañculikayā..." etc. The hero though manifold is basically four-fold such as anukūla, dakșina, śatha and dhrsta.
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