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

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34
SOME ASPECTS OF THE RASA THEORY
In this passage Abhinavagupta asserts that empirical means of valid knowledge do not at all operate in the case of rasaná (and consequently that of rasa) and contrasts the aesthetic pleasure or relish or experience with a number of other experiences. These other experiences are: (i) ordinary perception or cognition or apprehension of love, etc. produced by empirical means of valid knowledge; (ii) telepathy (the knowledge of other people's minds) of an imperfect yogin and (iii) the ecstatic experience of the perfect yogin in which he experiences the undifferentiated (compact) bliss of his Self. He is all the while driving at the alaukika nature of rasa.
(x) A. Bh. I. p. 285 : Rasa consists exclusively in aesthetic relish and it is not of the nature of the object of cognition. The very life or existence of rasa entirely depends on this aesthetic relish. (Rasa ceases to exist after its enjoyment.) The aesthetic relish is not the result of any means of valid congnition nor of any means of production. But rasa itself is not unprovable for it is verified by one's own heart--from one's own experience of it. Aesthetic relish or experience consists exclusively in knowledge. However this knowledge is totally different from all other empirical or mundane kinds of knowledge.21
In this passage Abhinayagupta makes it clear that aesthetic experience, which consists exclusively in knowledge, is in a class by itself, not comparable to any other kind of knowledge, unique, sui generis. Further, he asserts that the proof of rasa is "sva-samvedana-siddhatvam"-because rasa is felt, therefore it exists."
(xi) Locana : pp 86, 92-93, 155 : In the “Krauñca-episode”, narrated at the beginning of Vālmīki's Rāmāyana, the sage's poetic utterance is not to be viewed as the expression of his own sorrow. It is hardly natural for one that is tormented by grief to play the poet,.. (It is not the emotional situation as it actually was (laukika) that is represented in it. It is the situation as it is in the poet's vision or as it has been transfigured by his sensitive nature and imaginative power (alaukika)22
The word "pratibhā” means "creative imagination” capable of creating ever newer and newer things. A form of this pratibha is capable of creating beautiful poetry. It is when the poet is filled with rasa-(is fully under
21. रस्यतैकप्राणो ह्यसौ न प्रमेयादिस्वभावः।...सा च रसना न प्रमाणव्यापारो न कारकव्यापारः। स्वयं तु नाप्रामाणिकः ।
स्वसंवेदनसिद्धत्वात् । रसना च बोधरूपैव । किन्तु बोधान्तरेभ्यो लौकिकेभ्यो विलक्षणैव। 22. Afara afast HTA: Radt: HAT:
यत् क्रौञ्चमिथुनादेकमवधीः काममोहितम् ॥ इति ॥ naga: sila sfa HMOQL .... a garantia chia
-Locana, p. 86 Cf: एवं हि लोकगतचित्तवृत्त्यनुमानमात्रमिति का रसता। यस्त्वलौकिकचमत्कारात्मा रसास्वादः काव्यगत-विभावादिः चर्वणाप्राणो नासौ स्मरणानुमानादिसाम्येन खिलीकारपात्रीकर्तव्यः ।
-Ibid, p. 155