Some Aspects of Rasa Theory

SR No.: 006967
Original Sutra Author: N/A
Author: V M Kulkarni
Publisher: B L Institute of Indology
Publication Year: 1986
Total Pages: 134
Language: English
Classification: Book_English
File Size: 17 MB

Page 102

SOME ASPECTS OF THE RASA THEORY
prāmänya-väda (thesis of self-validity) the support of tādātmya or tanmayibhavana
All poetry, in our view, is exquisitely valid; since it comes forth only due to the valid experiencing of rasa which is self-illumined. That rasa is of the nature of a unique consciousness will be established in the sequel. Rasaconsciousness or experience is not invalid like the illusion of silver in a shell, because it is never subsequently sublated as in the case of the silver-shell illusion.30
It remains now to be stated that the word sådhāranikarana is conspicuous by its absence in all Indian poetical works till Bhatta Nayaka coined it. And he coined it as a synonym of bhāvakatva-vyāpāra of kavya in relation to rasa as distinguished from bhojakatva-vyäpara in relation to the sahşduya, and abhidha-vyāpåra in relation to rhetorical or aesthetic use of language in poetry (with gunas and alankaras). These two unique vyāpāras or functions of poetic language are postulated by him to serve as better explanations than the one of dhvani proposed by Anandavardhana. According to him, the dhvani function or vyañjana-vyāpāra cannot adequately highlight the imaginative and contemplative state which is exclusive to the realisation of rasa. This new poetic function envisaged by him is called by names like bhāvanā, bhāvakatva and sadharani-karana. All the three refer to the same phenomenon. The word sādhārana in this context means just "common" vibhāvas etc. delineated in a play or poem, vibhāvas etc. which are common to two or more constituents in the aesthetic situation. We have already seen the commonness of feeling between the poet and the sahȚdaya. The characters described in literature are common to several readers or spectators. Rasa is thus a common or shared experience. The etymology of the word sādharanikarana (abhūta-tadbhāve cvih) is selfexplanatory. What is not common is made to become common. The imaginative experience of the poet, as well as the experience of characters as fashioned by him and that of the actors who represent these and of the spectators or readers are all strictly speaking non-common or different; but they are made common as it were, by the magic power of art. This power inherent in'art is, strictly speaking, one aspect (amsa) only like the other two aspects mentioned, viz., rhetorical (abhidha) and delighting (bhojakatva) of a unitary kávyavyāpāra.
"In poetry which involves a threefold functional aspect of language. viz., denotation, evocation and delectation..."31
is Abhinava's citation. As in Mimāṁsā injunctions or prohibitions i. e. do's and dont's, are the results of the power called bhāvanā inherent in scriptural
30. suvidagdha-pramā kāvyaṁ pramāṇaḥ sarvameva naḥ/
sva-prakāśa-rasāsvāda-pramiti-prabhavam yataḥ// rasasya jñānarupatvam tādātmyaditi vaksyate/ na căpramā rasa-jñānam śuktau rajata-dhirival/
tasmin na jāyate hādho yasmādauttarakälikaḥ// -Lou, cit. 31. "abhidha-bhāvanā-rasacarvaņātmake'pi tryaṁse kāvye" - Locana, Madras, p. 273. Cl. also
Abhinavabhārati, I (GOS), p. 277 for full citation of the verse.