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 80

The concept of "Rasa"
1255 sancāribhis tu samyuktaḥ sthāyyeva tu raso bhavet.” na hyeka-rasajam kāyyam naika-bhāvaika-vrttikam. vimarde rangam āyāti prayuktam hi prayatnataḥ “nānābhāvártha-sampannāḥ sthāyisattva-vicāriņaḥ puspávakīrṇā kartavyāḥ kāvyesu hi rasā budhaiḥ. evam rasānām bhāvānām vyavasthānam iha smstam, ya evam etān jānāti sa gacchet siddhim uttamām."
(Trans. Unni. pp. 228, 229, ibid): “But then there is no such poem which depends on a single sentiment alone.
A bhāva (emotion) or a rasa (sentiment), a pravrtti (dress) or vítti (style) join together to enhance a particular feeling which then attains the position of a sthāyin-permanent mood developing into the status of Rasa, while relegating others to the position of transitories. These enhance the permanent mood to make it a rasa. The permanent mood (sthāyī) alone can in conjunction with vibhāvas (determinants), anubhāvas (ensuants) and vyabhicārins (transitories) transform itself into the state of rasa (sentiment).
The actors should bestow particular case to stress the mental involvement in the delineation of the sthāyin - the permanent mood, whereas in representation of sañcarins-transitories, gestures and posture suffice. There is no poem dealing with a single sentiment, nor dealing a single bhāva (emotion) or a vrtti (style); though all of them combine to produce the desired sentiment; permanent moods, internal feelings and transitories possessing different thematic qualities should be arranged in a poem in such a way that they appear as flowers strewn all over to raise them to the position of sentiments. Thus the relative positions of rasas (sentiments) and bhāvas (emotions) are explained here. He who understands this properly is sure to achieve supreme success (in performances).”
Here ends Bharata's discussion on bhāvas, i.e. vibhāvas, anubhāvas, 33 vyabhicărins and eight sāttvikabhāvas. In the earlier chapter he had dealt with eight rasas. As suggested by us, Abhinavagupta has gone into greater details concerning the problem of rasa-nispatti, a discussion sparked by different interpretations of Bharata's rasa-sūtra by different authorities, and also concerning the subtle nature of sāttvikabhāvas, as discussed ably by Dr. V. M.
will pick up this thread in due course, but for the present we will try to examine what earlier ālamkārikas from Bhāmaha to Rudrata have to say on rasa, bhāva and such related topics.
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