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'Classification of Poetry (Criticism Oriented)
1027 type of opposition. Now in such cases the opposition can be removed if the substratum of the opposition is varied or changed. The bhayānaka should be delineated, say, with reference to the enemy of the hero who is himself the substratum of the vīra-rasa. When the poet arranges the design this way, no blamish will be seen even in the development of an opposite rasa. By describing that the enemy is terrified, actually the special glory of the hero will be all the more established. A. suggests that this is well illustrated in his own composition called "arjuna-vijaya”, wherein Arjuna, the hero enters the nether-world. As for the second type of opposition, A. observes :
"evam ekádhikaranya-virodhinah prabandhasthena sthāyinā rasena anga-bhāva gamane nirvirodhitvam yathā tathā darśitam. dvitīyasya tu tat-pratipādayitum ucyate -
"ekáśrayatve nirdoso nairantarye virodhavan, rasántara-vyavadhinā
raso vyangyaḥ sumedhasā.” (Dhv. III. 26) The manner of avoiding the opposition caused by a conflicting sentiment in the same substratum and of making it subsidiary to the principal sentiment in the work has been pointed out in the above text. The same is pointed out below with reference to opposite of the second variety :
“A sentiment which has no opposition due to the sameness of substratum, but which becomes an opposite of another (i.e. principal) sentiment coming closely beside it, should be so conveyed by the intelligent poet that a third sentiment will intervence between these conflicting ones." (Trans. K.Kris., pp. 181, ibid)
Though there may not be any opposition between two rasas residing in the same substratum, but if the opposition is seen only when they are juxtaposed in the same substratum, then such two sentiments should be so introduced in a composition, that a common friendly third rasa is placed in between the two. The illustration is seen in the delineation of both śānta and śộngāra in the same substratum, viz. the hero Jimūtavāhana, but not at one and the same time, but with an interval, so to say, of adbhuta rasa, placed between the two.
A. here takes an opportunity to recommend an independent place for śānta-rasa even in a drama, for he and his follower Abhinavagupta are great
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