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"Concept of Rasa" as seen in Anandavardhana and...
1455
cognition based on the analogy of a painting. Śā. has beautifully analysad the views of the Upadhyāyas (=Tauta) as mentioned in the Abhinava-bhāratī. Abhinavagupta himself has not presented this analytical presentation of the views of his preceptors. B.P. (pp. 51, ibid) observes :
"na samsayasya śankā syād deśa-kālā"di-bhedataḥ, na viparyāsa-dhiḥ sā syād bädhäd auttara-kālikāt. kāvyā"dy upanibaddhasya rāmādeś ca natasya ca, sādṛśya-dhi-hetv-abhāvān na ca sadṛśya-dhir bhavet. citre likhita-vastūnām manyante kṛtrimā❞tmatām, sarvépi yat-tataś citraturaga❞tmā na dhir bhavet. naṭādes cetanatvena citrasyácetanatvataḥ, tasmāt kadācana kvapi
na citra"di-matir bhavet."
When the cognition of Rama in the actor is yielding the desired result, then in the absence of badhaka (i.e. refuting cognition), it has to be right cognition. On account of this samyak-pratīti with reference to nata, the spectators are overpowered by rasa. Thus the cognition of Rama with reference to the nața is supported by the result (artha-kriyā).
(B.P. pp. 51, 52, ibid) -
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