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Mammața's View About śāntarasa
In the fourth chapter (IV. 29) of his Kāvyaprakāśa, Mammața mentions the well-known eight Rasas and adds that these are the eight Rasas in dramatic art (3762) ATZTTAT: Fgar:). Similarly, in Karika 30 of chapter 4, he enumerates the eight basic mental states (FATH198 ) and observes that these (eight) are the basic, permanent states or emotions. Then, after stating the thirty three accessory feelings as per Bharata's Verses (N. S. VI. 19-22), Mammața remarks in the gloss that the mention of faata or Despair, though inauspicious as a Hra, is done (by 272019a ) at the beginning of the list of the accessory feelings in order to show its nature of a permanent mental state. And it is with this निवेद as its स्थायिभाव that शान्त is also the ninth Rasa : निवेदस्थायिभावोऽस्ति शान्तोऽपि नवमो रसः (K. P. IV. 35).
From the manner of Mammața's presentation of the topic of Tate, it is reasonable to infer that he regards Fa as an additional Rasa and assigns it a role in poetry only, but not in a play ( 2177). In fact, the poetic illustration that Mammața provides for the Trata confirms our surmise that for him Tra is an additional (297, ninth ) poetic sentiment ( 278 ).
It may be noted that Mammața does not dwell any further on the subject of शान्तरस or its स्थायिन् ( निवद )and thus, unlike
अभिनवगुप्त or धनिक, he skirts the philosophical and theoretical issues connected with the TEATA by his sketchy treatment of UE.
The Nine Dominant Moods or Mental States
Hemachandra deals with the nine permanent, dominant mental states or moods of the foregoing nine Rasas in the next Sūtra (11. 18). He says that Rati (Love). Hāsa (Laughter), śoka (Grief), Krodha (Anger), Utsāha (Energy), Bhaya (Fear), Jugupsā (Disgust), Vismaya (Wonder) and S'ama (Absence of
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