Jain Journal 1990 01

Author(s): Jain Bhawan Publication
Publisher: Jain Bhawan Publication

Page 24

JANUARY, 1990
And now as regards Siddhicandra's view :
Siddhicandra, a contemporary of Jagannatha, first explains the experience of paramānanda, the supreme joy of rasa, according to the doctrine of the Vedantins. His use of terms like 'ratyädyavacchinnam (caitanyam), 'bhagnāvaranam (caitanyam), 11 strongly remind us of Jagannatha's explanation of rasa as ratyādyavacchinna (bhagnāvaranā cideva rasah), in his Rasagangadhara 12 As compared with it, a peculiar pleasure which arises on watching a dramatic performance or hearing the recitation of poetry is similar to the pleasure of anointing one's body with sandal-paste or of pressing the breasts of a young beautiful woman is itself rasa—this is the view of the moderns (Navinas) who belong to the 17th century. 13 In other words, the Navinas (possibly, the author himself) regard the aesthetic pleasure as on a par with ordinary pleasures of of the sense-as only laukika (worldly). As a corollary to this view they hold that there are only four rasas : the erotic, the heroic, the comic and the marvellous ; and reject the claim of the pathetic, the furious, the terrifying and the disgusting to the title of rasas.14 The pathos (karuna) and others, arising from sorrow (śoka) etc., although are revealed with cit (or caitanya)--consciousness consisting of delight, they cannot be called rasa since the sthāyi ansa (part) is opposed to the state of rasa. Again, if you argue that they, being revealed by alaukika vibhāvas, etc. deserve to be called rasa like the pleasurable bites inflicted in the course of love game, our reply is 'No'. For following this line of argument you will have to call mental distress caused by hunger, thirst, etc., as new or different rasas. The bites in the course of sexual enjoyment remove the pain caused by overpowering passion and give a sense of relief as when a burden is taken off one's shoulders. But to say that sorrow (śoka) etc., like love (rati) etc., consists of (leads to) light, knowledge and joy is simply a madman's prattle.15 Further, in 'Aja-vilāpa' (Aja's Lament) etc., because of varnaniya-tanmayibhāvanā 'identifying one's self with the event or situation portrayed, how could there arise the aesthetic joy similar to brahmananda ? In the disgusting (bibhatsa rasa) which describes vividly flesh, pus, etc., the reader or spectator does not vomit or spit is itself a matter of surprise ; how could it produce rasa consisting of supreme joy. It may be granted that the śānta somehow deserves the title rasa with
11 Kavyaprakasakhandana, Bharatiya Vidya Bhavan, Bombay, 1953, p. 16. 12 Kavyamala 12, Nirnaya Sagar, 1939, p. 27. 18 Kavyaprakasakhandana, p. 16. 14 Ibid. 16 Ibid., p. 21