________________
16
Verse 4-5
6-9
10-15 16-18
20
Topic Śộngāra and its types Hero and his types Heroine and her types Sủngāra Karuņa-vipralambha Veerarasa Karunarasa Hasyarasa Adbhutarasa Bhayānakarasa Raudrarasa Bibhatsarasa Santarasa Concluding remark
22-23 24-25 26-27 28-29 30 31
As Jnānapramodagaại writes his Vịtti on these very broad topics of Rasa, he adopts this method. He first analyses each Karikā and explains it. He then goes into the details of treatment and further elaborates the Karika. He then takes up the allied topics, say, Vibhāvas, Anubhāvas and Vyabhicaribhāvas, defines, analyses and illustrates these. He next proceeds to elaborate on the remaining technical terms in their proper place and context in all this. he cites parallel definitions from other works on poetics and invariably gives the most suitable illustrations. Here, he does not stick only to dramatic works; he actually gives preference to Kavyas from which he finds out the most suitabte illustrations. Hə thus expands, elaborates, analyses all important technical terms of Rasa and gives to us a work that is much more than a primer or reader on Rasa. Thus, his Vrtti on Rasa reads almost like a Bhāşya and he succeeds in giving a gist of all thinking on Rasa; of course it is Rasa in Kavya though based on Rasa in Nāțya.
A few Details of Treatment
We may take up for the study of his treatment, his Vịtti on a few Karikas, so that we can have a clear idea of his contribution.
Jnānapramodagani in his comments on 5-2. states that the 1741 attains to रसत्व as it passes through विभाव, अनुभाव and व्यभिच भिाव. Here, the author has given his definition of 14. he has nowhere later even enumerated the 74145 Jnanapramodagani defines both in his Vprti and gives details of both. He then enumera es all falas 3194195 and grafas, defines and illustrates them All this naturally clarifies and fully expounds the problems associated with varaerei. He tries also to analyse the term “Rasa' on the lines of bis predecessor,
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