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"Concept of Rasa” as seen in Anandavardhana and...
1307 (Trans. K.Kris., pp. 424, ibid) -
"The first, i.e. the primary kind, is made beautiful by a spontaneous presentation of emotions like love. The second is rendered lovely by a description of the animals etc. in a way natural to their species.” (III. 7)
(Vrtti) - The primary subject-matter which relates, as we saw, to the sentients like gods and demons, comes within the purview of the poetic activity in the way suggested below. The method is one of spontaneous presentation of emotions like love. The word spontaneous is used to indicate that the emotions like love should be free from banality and very striking by their fresh flavour. When so treated, the emotions are raised to the level of sentiments like the erotic; for the well-known rule states that the dominant emotion itself gets transformed into sentiment. Now this becomes very appealing to the heart.
After this K. gives many illustrations of vipralambha and karuņa rasas and leaves other rasas to the readers. : (vịtti, VJ. IV. 7): "evam vipralambha-śrngārakaruņayoḥ saukumāryād udāharana-pradarśanam vihitam. rasántarānām api svayam eva utprekṣaṇīyam.” (pp. 140, ibid).
For K., the description of 'jada' or 'insentient object becomes interesting on account of its ability to evoke rasa - (vịtti, VJ. III. 8, pp. 142, ibid) - "jaļānām acetanānām salila-taru-kusuma-samaya-prabhstīnām evamvidham svarūpam rasóddīpana-sāmarthya-vinibandhana-bandhuram varnanīyatām avagāhate.” (Trans. K.Kris., pp. 428, ibid) - "The treatment of the non-sentients should also conform mostly to the kindling of the sentiments. Objects such as water, tree, spring, etc. are seen serving this purpose.” In the same way and for the same purpose, i.e. to evoke rasa, the description of the unimportant sentient objects such as birds and the like, is also welcome. VJ. III. 8 reads as - (pp. 141) :
“rasoddīpana-sāmarthyavinibandhana-bandhuram, cetanānām a-mukhyānām
jadānām cā’pi bhūyasā.” K. adds (vștti, VJ. III. pp. 143, ibid as quoted above) that "kāvya-vastu' or poeticcontext is two-fold, on account of its being 'svabhāva-pradhāna' or, -rasapradhāna', and that both should be embellished, on account of both of them being "sahaja-saukumārya-sarasa" or full of rasa on account of natural beauty.
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