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SOME ASPECTS OF THE RASA THEORY
the puruşa gets involved so long as he does not realise that he is in no way part of it13. The idea that all rasas are pleasurable has its roots in the Upanişadic concept of Brahman as constituted of sat, cit, and inanda. Among the various terms used in the Upanişads to denote Brahman, one is 'ananda.' It is so termed because of the restful bliss that results from realising the inner harmony of the universe in one's own experience. In artistic (or aesthetic) perception, too, there is a realisation of unity in diversity and it is followed immediately by pure delight. But this pleasurable experience is fugitive or short-lived as it lasts for the duration of the dramatic performance. The novel rasa theory expounded by Bhoja is unquestionably founded on the Samkhya-Vedānta grid, with a marked Sāṁkhya bias both in conception and terminology14
13.
Fifcal Fadia 291 TRITI पुरुषस्य तथात्मानं प्रकाश्य विनिवर्तते प्रकृतिः ।। तेन निवृत्तप्रसवामर्थवशात् सप्तरूपविनिवृत्ताम् । yeofá rafa gan: d acafera: Fre: 11 Samkhya-kärikā 59, 65. The point to be noted here is that the spectator is viewed here as not involved in the drama going on before him, while the theory of rasāsvāda presumes involvement of the spectator in the drama to a certain extent. For a more detailed exposition, vide the author's paper : The Rasa Theory and the Darśanas in the Annals (pp. 81-100) of the B. O. R. Institute, LXV (1994), POONA .
14.
