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of a tha hero. In the case of Flugled, the main difficulty is that his love for Fregaat rules out his being considered a Tra hero. So technically, area is a figie hero, and not a
zatia hero. But in real terms, characters like BiHIE are
Fa heroes. As between the Buddha and Singara, the difference is that the Buddha is a कारुणिक in a निष्काम way but जीमूतवाहन is कारुणिक in a सकाम way. This makes जीमतवाहन a धीरोदात्त hero. In all other ways he is an EZITCH - the most exalted - hero and can be classed with the Buddha, Yudhisthira and such other personages. Only Eight Sthāyibhāvas, Says Dhanika
We have seen how Abhinavagupta rejects the suggestion that daar is a EITTEIT hero (Viveka, p. 123, II. 18-19). His contention is that if 57# and others, despite their wordly pre-occupations, are held to be a heroes, why not staarea? Dhanika seems to agree with this contention and yet he
cannot support the view that शम, which is the स्थायिभाव of शान्त . ' is the स्थायिभाव in the play नागानन्द; for the portrayal in this
play of जीमतवाहन's love for मलयवती, which runs through the whole play, is contrary to the mental state of TA and such contraries cannot be found to exist (i.e., love and detachment cannot co-exist) in the same character. Therefore, Jate or energy connected with anott (as the principal Rasa) is the स्थायिभाव of the नागानन्द. Thus only eight Rasas are possible (and not nine, the ninth being JA ). However, as we know, Dhanika has granted the possibility of the ninth Rasa in poetry, whose medium is only words.
Thus both Dhananjaya and Dhanika seem to be set against the number of Rasas being nine or more as also against the admission of Th as a FeitfouT2 so far as the different types of Drama' are concerned.
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