________________
P. 120. A. 2. S. 17.]
92
lo! instead of a bit of earth, his mother saw the whole world in his mouth and was struck with wonder.
Usually Sanskrit rhetoricians admit only eight रेसs as common both to dramas and poems. शान्तरस, according to their opinion, can never be acted on the stage, for as they say, it consists of the absence of activity and for gestures activity is necessary. But though not admissible on the stage, it can be depicted in poems and therefore (with a number of other rhetoricians) admits it as the ninth sentiment (s पि नवमो रसः ).
Now as regards the स्थायिभाव of शान्तरस, मम्मट and others hold that it is . But strongly objects to निर्वेद being regarded as the स्थायिभाव of शान्तरस and proposes शम as the proper स्थायिभाव. निर्वेद ( according to him) is (dislike of mundane things) which proceeds from तत्वज्ञान as well as ends in तत्त्वज्ञान. निर्वेद then becomes the effect as well as the cause of तत्त्वज्ञानwhich is absurd. Therefore (absence of craving) must be regarded as the स्थायिभाव of शान्तरस. Verse 117 illustrates शान्तरस:
"Shall I see those days when I would be sitting in Yogic posture on the banks of the Ganges and the deer would be coming to me and freely scratching their horns against my body."
Here a doubt is expressed as to whether a can be regarded as an independent. Can it not be, after all, included under f,-for 4 also means a sense of loathing or dislike. faggar is common both to बीभत्स and शान्त. To this हेमचन्द्र answers thus:
In बीभत्सरस, जुगुप्सा ( loathing ) is स्थायिभाव, but in शान्तरस it is only a farka (temporary feeling), for the
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