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1026
SAHRDAYĀLOKA
Ā. further adds that "etac ca āpeksikam prakarsa-yogitvam ekasya rasasya bahurasesu prabandheșu rasānām angángi-bhāvam anabhyupagacchatā’py aśakyapratiksepam ity anena prakāreņa a-virodhinām virodhinām ca rasānām angángibhāvena samāvese praband hesu syād a-virodhah." (vrtti, Dhv. III. 24)
"Thus no one - not even those who do not accept the principal and subsidiary relation of sentiments - can ever deny that a single sentiment will have principal importance, in spite of the fact that, the work may contain several sentiments also alongside of it. Thus too, the opposition of sentiments can be avoided in works by portraying such unopposed or opposed sentiments with due deference to the principal and subsidiary relationship." (Trans. K.Kris., pp. 179, ibid) - :
After explaining the general rules concerning opposition to sentiments, Ā. comes to discuss specific means of overcoming opposition between two opposite sentiments. He observes : (vṛtti, before Dhv. III. 25) - "evam a-virodhinām virodhinam ca prabandhasthena anginā rasen samāvese sādhāranam avirodhópāyam pratipădya, idānīm virodha-visayam eva tam pratipādayitum idam ucyate." Now follows Dhv. III. 25, which reads as :
"viruddhaikā”śrayo yas tu virodhī sthāyino bhavet sa vibhinnáśrayah kāryas
tasya posépy adoșatā." "If a sentiment opposed to the principal one happens to occur in the same substratum as that of the latter itself, the opposed sentiment should be given a different substrtum; (once this is done) there will be no defect even if it should be treated in full." (Trans. K.Kris., pp. 181, ibid)
Ā. further adds that the 'virodhi' i.e. opposite sentiments could fall into two types - (i) ekádhikaranya-virodhi or opposite of another, when in the same āśraya or substratum, and (ii) nairantarya-virodhi - i.e. opposition, when absolutely juxtaposed, i.e. opposition of another coming by its side. Now, as far as the major or principal rasa is concerned, if another sentiment also is found in the same substratum, i.e. if it acquires the same amount of importance with it, say, for example when vīra or heroic is the principal rasa and is developed with reference to hero, and in the same breath, and in the same substratum i.e. in the hero, the 'bhayānaka' or the terrible is also deployed, we will have an illustration of the first
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