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 219

1394
SAHRDAYĀLOKA direct because the qualities of mind are beyond the grasp of physical organs. So, it has to be indirect. This indirect apprehension is caused only by a medium which in invariably associated with that object. In case of rasa signs having invariable association are only the physical reactions noted in an outward fashion : (pp. 294, ibid) : "iha tāvat sarvaloka-prasiddhā parasthasya rasasya pratipattih. să ca na pratyaksā, cetodharmāņām atīndriyatvāt. tasmāt paroksā eva. paroksă ca pritipattir avinābhūtād vastvantarāt. atra ca rase anyasya vastyantarasya asambhavāt kāryam eva avinākstam."
It may be noted that here the ND. tries to explain that the apprehension of rasa staying in somebody else than oneself has to be collected with the help of external signs that follow as invariable results. The characters presented on the stage express their feelings through acting that comprises of exhibiting external effects following invariably from their mental states. But these resultant expressions of the characters become so to say causes for the evocation of rasa in the spectator. This will drive the N.D., and it is absolutely logical, to a conclusion that for the spectator the stuff presented on the stage, i.e. characters, their acting, their feelings inferred from their acting etc. form an indivisible cause - a vibhāva which s sthāyin in the heart of the spectator. So, actually Bharata's rasa-sūtra can be shortened to just this much viz. "vibhāvād rasanispattih", wherein this 'vibhāva' in the newer and wider sense is made of everything seen on the stage i.e. the characters or alambana, the context or uddīpana, their acting suggesting their mental state etc. The milleu or the whole samagri or combination becomes a cause, so to say, a vibhāva which stimulates the sthāyin of the spectator or art-enjoyer.
The ND. believes that an actor or an artist exhibits the signs of his experiencing an emotion even in the absence of actual experience of such a feeling in his case personally. But such effects as exhibited by an artist even in the absence of actual emotion are to be taken only as causes. It should not be said that these artificial exhibition of effects has no invariable relation with a feeling. Actually these effects serve only as cause - vibhāva - for the spectators.
ND. observes (pp. 295, ibid) : "paragata-vibhāvādy anukriyāyām ca pararañjanártham pravsttasya natasya rasā'bhāve'pi stambha-svedā"dayo bhavanti iti, naisām rasa-nāntarīyakatvam āśankanīyam. teşām paragata-rasa-janukatvena akāryatvāt. nața-gatā hi stambhā"dayah preksaka-gatarasānām kāranam. prekşakagattās tu kāryāņi.” Lollața has also indicated this difference between anubhāvas as exhibited by an artist and the anubhāvas that are connected with rasa, bhāva of the character or person concerned.