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1040
SAHṚDAYALOKA
J. has given eleven different views concerning the topic of rasa-realisation.
In the beginning he has clarified his position concerning the nature of rasa, as experienced in poetry and drama. For this, he seems to have given like M., a summary of what Abhinavagupta has to say in his commentary on the NS. Abhinavagupta, before arriving at his own view has summarized the views of some of his predecessors. J. has given all this with greater depth. We will pick up J.'s views on rasa-realisation in a separate chapter on rasa when we will exclusively deal with the topic of rasa. For the present we will just quote some of his words and conclude this chapter on classification of poetry from the point of view of criticism i.e. by suggesting criticism-oriented three-fold classification. J. observes (pp. 64, ibid) "samucita-lalita-sanniveśa-cāruṇā kāvyena samarpitaiḥ, sahṛdayahṛdayam pravistaiḥ, tadīya-sahṛdayatā-saha-kṛtena, bhāvanā-viseṣa-mahimnā vigalita-duşyanta-ramaṇītvā"dibhir alaukika-vibhāvánubhāva-ālambana-kāraṇaiḥ, aśrupātā❞di-kāryaiḥ, cinta"dibhiḥ sahakāribhiśca sambhūya prādurbhāvitena alaukikena vyāpāreņa tatkala-nivartitā”nandāmśā-varaṇājñānena ata eva pramustaparimita-pramātṛtvā"di-nijadharmeņa pramātrā sva-prakāśatayā vāstavena nijasvarūpā❞nandena saha gocarīkriyamāṇaḥ prāg-viniviṣṭa-vāsanārūpo ratyādir eva rasaḥ."
"Poetry rendered charming by beautiful construction offers the vibhāvā❞dis to the cultured critics. These vibhāvā"dis enter the heart of the critics, and by an aesthetic chewing-bhāvanā-aided by their refined taste, these vibhāvā"dis shun their local individuality. Thus, Śakuntala, for example ceases her status of being an individual wife of some king Dusyanta. Thus Śakuntalā, the heroine and Dusyanta, the hero come out of their individual colouring and context and become a woman and a man, not qualified by limitations of the form of personal relationships. Thus their form turns into a de-individualised form. These factors, i.e. the hero and the heroine etc. who are normally termed as causes of love etc. are now termed as 'vibhāva' or determinant, ‘anubhava' or consequents and 'vyabhicārins' or ancillary feelings in kavya (or natya, i.e. in the field of art in general). Now, with the help of these alambana-vibhāvas i.e. basic causes such as Dusyanta, Śakuntala and the like, uddīpana-vibhāvas i.e. promoting causes such as moon-light and the like, and ancillaries such as brooding over the other person-cinta-and the like, - i.e. with their judicious combined presentation in poetry or drama, through the power of suggestion which is an extra-worldly function i.e. alaukika-vyāpāra, the lid of avidyā or ignorance that covers the foundation of supreme bliss (ānandāmśa) of the enjoyer (i.e. the cultered critic, or reader or spectator as the case may be), is
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