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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SOME ASPECTS OF THE RASA THEORY
then we need not wait for Bhatta Näyaka for the concept of sådharanikarana. Similarly Ananda's abhivyakti' also could be said to be present in Bharata, though this point needs to be carefully examined, in deciding this. That the sthāyins, vibhāvas, anubhāvas and vyabhicărins follow the pattern of their normal form, should not necessarily lead us to believe that their relish also follows the laukika pattern. Yet there are indications, as seen above in Bharata's use of language which perhaps speak out his mind. For example, at the end of the description of sättvikabhävas, he has this observation viz. Drama is the representation of mundane life and therefore it is desirable that sattva (concentration) should be present in it. What analogy is there (in support of this) ? Here the pleasure and pain produced on the stage according to the dramatic conventions should be accompanied by Sattva (concentration) so that they would correspond with their originals in everyday life.27 These bhavas are said to be "sukha-duhkha-krtah" i. e., resulting into an experience of both pain and pleasure. They have to be therefore 'yathavat' i. e., absolutely identical in nature and scope with the bhāvas at laukika level Bharata says: (p. 377, v. 108)..I have described here the forty-nine emotions which belong to three categories.28
This much about Bharata. And perhaps it strengthens our observation that Bharata's concept of the nature of rasa was laukika.
The earlier alankärikas such as Bhāmaha, Dandin Vamana, Udbhata, and Rudraţa are not very specific as to the nature of rasa. But when Abhinava quotes from Dandin while discussing the views of Lollaţa, it would be safe to guess that these acāryas had a 'laukika' view of rasa. If upaciti' of a bhava is held as rasa by Dandin, it very much proves the point that for him sthayins etc., as presented through the art-media are identical in both nature and scope with their counter-parts at the normal work-a-day level. This much should suffice for the present here.
Bhoja, with his ahankara-abhimana-śrugara theory recognises many rasas in the madhyamā koți wherein all the forty-nine bhāvas, and some others also, become rasa through 'prakarsa' or enhancement. To quote Dr. V. Raghavan (p. 433, śộngāra Prakāśa, edn. '63) -
"To Bhoja, rasa, as ordinarily understood, means what it meant to Dandin and Lollaţa, the Prakarsa of the sthayi-bhava.” Bhoja accepted many rasas in keeping with Lollața who also accepted rasas not to be just eight but perhaps as many as are the bhāvas. What concerns us here is that at least in this madhyamavasthā or on 'vyavahara' plane, perhaps Bhoja also, took rasas as generating 'sukha' and 'duhkha' and thereby taking the 'laukika'
27. FETHITIT F AR ATT HigHtfeat I CERT: RAZGÁSTAT: yag:amat safe सत्त्वविशुद्धाः कार्याः यथा सरूपा भवन्ति ।
(Fl. st. q. 304) 28. एकोनपञ्चाशदिमे यथावद्भावास्यवस्था गदिता मयेह ।
(911. ET. -906 37, . 20)