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Viveka text (pp. 121-124) clearly reveals that Hemachandra completely follows Abhinavagupta's exposition of the Santarasa portion, both in the Locana commentary on Dhvanyaloka (III & IV) and in the Abhinavabhārati commentary on the Natyaśāstra (VI) passage on the Santarasa. However, Hemachandra uses his discrimination in the matter of adopting Abhinavagupta's theoretical views as well as extracts from his works, inasmuch as he first decides on his own line of treatment and then draws upon the information or expression contained in the Locana or the Abhinavabharati in consonance with his requirement and purpose. Thus he adapts portions from both of Abhinavagupta's texts in his gloss as well as the Viveka commentary as to make out a convincing case for the existance of as also for the tenability of as an additional (ninth) Fra and to highlight the theoretical as well as the philosophical aspects of Abhinavagupta's philosophy of aesthetic pleasure with special reference to the शान्तरस.
In terms of the Locana commentary of Abhinavagupta, i.e., the total extinction of desires or love for sense-objects, in the form of the withdrawal of the mind from every object of sense (i.e., detachment), an expression used by Anandavardhana himself, is to be developed for aesthetic enjoyment, that is to say, should become an abiding state of mind. This is शम, a स्थायिभाव of शान्त. This तृष्णाक्षयरूप राम is the nature of and this is, indeed, apprehended: gaga. This is a positive mental state from which all desires are excluded. Such a state is necessary for , the highest goal of life and it comes through spiritual discipline and can be found in high-souled persons. Among the other Rasas, , a variety of वीररस, meets the requirements of the शान्तरस to a great extent. Hence, Abhinava considers it to be another name of शान्त.
It may be added that Hemachandra has utilized the Locana commentary, too, to explain certain knotty problems connected
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