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is the dominant emotion of free or astonishment. It is created by the lauas or determinants such as sight of heavenly beings or events, attainment of desired objects, entrance into a superior mansion, a temple, audience hall, a seven-storied palace and seeing illusory and magical acts. It is represented by 377hres or consequents such as wide opening of eyes, looking with fixed gaze, horripilation, tears of joy, perspiration, joy, uttering words of approbation, making gifts, crying words like ha ha ha, waving the end of dhoti or sāri and movement of fingures etc. Its #TTHIAS or transitory feelings are joy, agitation, numbness, stupor, etc. The essence of the sense of wonder (farat ) is its capacity to expand the heart, and when it is realized or relished, it is the Marvellous Rasa. The verse (116) 'ETATIZ Tata Tatear etc.', provides an excellentillustration of the 3477777. In this verse, the mother is taking Krsna to task for eating clay but then Krsna opens his mouth to show that he did not do so, and then, in the open mouth of Kșşņa, lo and behold, she saw, instead of a bit of clay, the whole world and so she was aghast with wonder. Hemachandra's Treatment of the śāntarasa
Unlike Mammata who seems to consider ca as an additional Rasa and who is inclined to restrict its operation to poetry only (K. P. IV. 27-35), Hemachandra accords the status of a full-fledged Rasa to ra by recognizing nine Rasas (29 Jat:) straight away in Sūtra 2 of Chapter-2. Thus, like Abhinavagupta, our author categorically mentions nine Rasas at the outset and then in Sūtra 17 (11. 17) he defines tra as based on 17. Now, so far as the question of the FTTHTA of the Trath is concerned, we know that there is a controversy and that Mammata and others hold that निर्वेद is the स्थायिभाव of the Fath. But Hemachandra is opposed to saat being regarded as the basis or permanent mood of 777. For, he
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