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"Concept of Rasa" as seen in Anandavardhana and......
1319
On pp. 437, Ch. XI Śr. Pra., Bhoja observes that rasa-aviyoga is 'nitya' dharma for poetry. "nityo hi kavye guṇa-yoga iva rasa'viyogaḥ. gunavato rasavataś ca niścitā eva asya praśamsā." From his guna-vicara it follows that he even tries to place rasa in kānti-guna, as done by Vamana. But as read above (pp. 431) he feels "guṇā'lamkara-sanniveṣa-viśeṣa-janyatvān nāná-lamkāra-samsṛstāv eva
that
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prakṛṣṭatvam labhate."
Rasa'viyoga of the type called 'prabandha-viṣayaka' is also arrived at by the same factors such as 'doṣa-hana'. It seems that Bhoja favours an observation that 'rasa' is a total effect of all poetic devices taken together.
In short, rasa-aviyoga, is termed as a constant feature - 'nitya' - in poetry and 'rasa' is also in a wider sense an 'alamkara'. To support this Bhoja quotes Dandin 2/275 such as -
"preyaḥ priyatarā"khyānam rasavad rasa-peśalam,
ūrjasvi ruḍhā'hamkāram
yuktótkarṣam ca tat trayam."
Dandin has termed these three alamkāras as "yuktótkarṣa", a term that is explained by Bhoja in his own way. Bhoja's understanding or explanation of the term 'yuktotkarṣa' runs as follows :
"yuktótkarṣam ca tat trayam ity anena a-yuktótkarṣāṇām apy ūrjasvi-rasavatpreyasām guṇatvam eva, na alamkāratvam iti jñāpayati." (Śr. Pra. XI, pp. 437, ibid). These three viz. preyas, rasavat and 'ūrjasvi, in a state wherein they are subdued i.e. in a-yuktótakarṣā"vastha are taken as preyas-guna, bhāvika-guna and aurjitya-guna. Thus when the three are 'yuktótkarṣa' i.e. roused to their fullest capacity, they are termed rasas. Dr. Raghavan also is perturbed by this remark and is ill at ease while explaining this (sec. pp. 431, Śr. Pra. Raghavan). Perhaps it is that Bhoja is inclined to take the same as either 'rasa' or 'guna' as when they are roused to the full capacity (of course by due vibhāvā"dis) - i.e. yuktótkarṣa, or when they are a-yuktótkarṣa. The discussion needs greater attention.
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Seeking inspiration from Dandin, Bhoja describes three stages or 'kotis' of Śṛngāra-rasa acceptable to him. These, are "purvākoti" i.e. primary stage, 'madhyamā koți' i.e. the middle position, and 'uttamā koți'. i.e. the highest stage. Pūrva-koti occurs when 'rasa' arises in mind in form of 'mana-maya-vikāra', and
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