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Hemachandra categorises Doşa broadly as (a) Rasadosa, (2) Padadoșa, (3) Vākyadosa, (4) Ubhayadoșa and (5) Arthadosas in the first seven Sūtras of Chapter III. Sūtra one defines the major poetic fault of naming the Rasa. Rasa, however, includes Bhāvas also, and as the gloss clarifies, the mention of Rasa, of Sthāyibhavās as well as Vyabhicāribhāvas by denoting them-, in other words, naming them-, constitutes the first and foremost poetic blemish. However, the Sūtra as well as the gloss states that a Sāncaribhava may be mentioned by name and in such cases, it does not amount to a poetic blemish. The Problem of "Vācyatvam"
Now, the use of the expression 'Vācyatvam' in the definition of the first Dosa raises the question as to how Rasa, which is always suggested, can ever be expressed. Hemachandra explains this concept of the expressedness or ar=7677 of the Rasa etc., by means of a passage of Abhinavagupta (Viveka p. 159) which means : The expressedness of Rasa, etc., may be through words denoting the Rasa, etc., or through Vibhāvas, etc. In the former case, Rasas will not be realised or experienced. As in the verse "Yadviśramaya" ... etc.", Rasa etc. are not everywhere mentioned by words. In the example, the meaning which is the soul (i.e. Rasa) is realised through enjoyment of bliss in the form of one's mental state coloured by the latent impression, i.e., the dominant mood appropriate to the determinants or excitants and ensuants through identitication, immediately after the determinants and consequents are apprehended, despite the absence of the correct Vyabhicārins such as Abhilāsā, Cintā, Autsukya, Nidrā, Dhști, etc. And it is well-known that merely by stating the words Sțngāra, etc., in the absence of Vibhāvas etc. being represented, there cannot be any experience of Rasa in a poem; as, e.g., the couplet of the Natyaśāstra (6.15), in which the Rasas are enumerated by Bharata, does not make for any aesthetic experience. So, by the method of positive and nagative proof, it is certain that Rasa etc. can be suggested by the power of the expressed
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