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 260

"Concept of Rasa" as seen in Anandavardhana and......
1435
painted or coloured or decorated by the vyabhicārins, the sthāyi-bhāvas are the basis of arriving at rasa
(B.P. 39, ibid reads) - "ete bhāvā rasótkarṣe tatra tatro'payoginaḥ. uddīpitā vibhāvaiḥ svair anubhavaiśca poṣitāḥ, bhāvaiś ca sättvikair yogyasamsargair vyabhicāribhiḥ, citritāḥ sthāyino bhāvā rasópādāna-bhūmayaḥ."
When their (= of the sthayins) relishable form is evolved, i.e. relishable through the minds of the spectators, it is said to be of the form of rasa. And, through different types of their forms (or activity) evolved; the dramaturgists call them different rasas.
B.P. (pp. 39, ibid) :
-
"yadā tadaiṣām āsvadyamānarūpam yad unmiṣat,
manobhiḥ prekṣakāṇām tad
udeṣyati rasă"tmanā.
tatra'ntarasya bheda ye vyāpārasyóditāḥ pṛthak,
te sarve natya-tattvajñaiḥ
kathyante hi rasā"hvayāḥ."
Śā. observes that thus is narrated in general the birth of rasa-s. In these the nature of things or its imitation is seen as presented in a visual way (pp. 39, ibid) :
"evam rasānām udayaḥ sāmānyena samīritaḥ, svabhāvo va'nukāro vā
yasmin dṛśyatayā sthitaḥ."
According to the followers of Bharata (i.e. Bharatāḥ), that is the substratum of rasa (i.e. here sāmājika or nața). But Śa. holds that rasas can never reside in nata or actors. In fact the actors present before the cultured audience, the bhāvas that reside in the noble characters, as imagined by the poets in poetry, and to be