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 222

"Concept of Rasa" as seen in Anandavardhana and......
1397 The basic trouble with ND. is that it fails to draw a line of demacration between the world of art and the world of practical reality. ND. seems to take them as one and identical.
ND. observes that the reason why when one person enjoys a dramatic scene somebody else does not raise an objection to his enjoying, is that the vibhāvādi-s, presented by poetry or drama (or any art) are in fact unreal and as they are common to all, the enjoyment or rasa is not ruled out in case of any individual enjoyer and surely this is not in contradiction to someone else's enjoyment also. : (pp. 298, ibid) : "tathā a-paramárthasarām abhinaya-kävyä'rpitānām ca vibhāvānām bahu-sādhāranatvād ya ekasya rasā"svādah sonya-a-pratiksepā"tmā, ity ayoga-vyavacchedena na punar anya-yoga-vyavacchedena."
Thus the rasā"svāda or art-experience in both practical life or in poetry (i.e. art), is having some location necessarily. For it can not take place in the absence of substratum whatsoever. (Thus, it is either located individually in a person, or in a general nature with many, both in art and reality). ND. observes that total absence of substratum will defeat all mental states. No mental state is possible without its being grounded in a substratum. Rasa is just a variety of mental disposition: (pp. 299, ibid) - "evam ca loke kāvye vā sarva-rasika-sādhārano rasā"svādo, na punah sarvathā api adhāránullekhī. ādhārollekha-nirapeksāyāś cittavștteḥ kasyāścid anupalakṣaṇāt. citta-vștti-viśeșaś ca rasah."
The ND. again turning its focus on the connoisseur asserts that the stuff that causes the basic sthāyin to enhance, i.e. the vyabhicārins or assessories are also to be imagined as staying in the sāmājika only. These vyabhicārins staying in the sāmājika enhance the sthāyin staying in the same substratum to the capacity of rasa. Precisely because of these they are termed as co-runners - '"sahacārins” of the sthāyin. In poetry or drama, the vyabhicārins or anubhāvas concerning women etc. - make up a whole to arouse the sthāyin in someone else (i.e. sāmājika) and therefore the whole "sāmagrī" presented through art-medium can be broadly termed "vibhāva” i.e. they can be imagined to fall in the scope of 'vibhāva'. From the point of view of the lady-character concerned they may be termed "vyabhicărins" etc. (of the heroine), but in reality from the point of view of rasa-experience of the sāmājika, all these can be covered up by just "vibhāva-s”. In short, if Bharata had stated, "vibhāvād rasa-nispattiḥ" - only, even then it would have been a correct and exact narration of facts. This seems to be the opinion of the authors of the ND. Rea 301, ibid) : "yad apy ucyate "vibhāvā'nubhāva-samyogād rasa-nispattih", iti tatra api anubhāvā vyabhicāriņaś ca stry ādi-varṇanīya-anukāryā"pekṣayā eva drastavyāḥ.".