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"Concept of Rasa” as seen in Anandavardhana and......
1343 "Upādhi' is explained by Vidyadhara as bhūmikāśraya - i.e. The basic. The four upādhis are also to be counted respectively in case of hāsya, adbhuta, karuna and bhayānaka. All this follows Bharata. Vidyādhara's presentation is clean and lucid.
Vidyānātha : The rasa-prakarana, in the Pratāpa-rudriya (= PR.) begins with this observation : (pp. 155, Edn. '14, Madras, Chandrasekhara Shastrigal) - atha sarvesām prabandhānām jīvitabhūtasya rasasya svarūpam nirūpyate - "vibhāvánubhāva-sättvika-vyabhicāri-sāmagrī-samullasita-sthāyibhāvo rasaḥ.”
It may be noted that Vidyānātha calls 'rasa' to be the very life of all poetic compositions. But he is clearer in forming the rasa-sūtra with the mention of sättvika-bhāvas in the 'sāmagri' i.e. combination that makes for the blossoming (“samullasita") of the sthāyi-bhāva, termed rasa (in its 'samullasita' state). He seems to be under the influence of the school of thought as represented by the Agnipurana which also mentions "sättvika-bhāva” separately.
Kumārasvāmin in his “Ratnāpaņa” (pp. 155, 156, ibid) observes :
vaksyamāņa-lakṣaṇā vibhāvádaya eva samagrī, tayā sarasa-kāvya-samg; hītayā, nipuņa-nața-pradarśitayā vā, sāmājika-bhāvyamānayā samullāsita āsvādyamāno nirbhara'nandah samvid-rupatam niyamanah sann ity uktam bhāva-prakāśe • “prakāśānanda-cid-rūpām rasatām pratipadyate, prakrsyamāņo yo bhāvaḥ sa sthāyīti nigadyate', iti. evamvidhaḥ sāmājika-nistho ratyā"disthāyibhāvo, rasyate āsvādyate iti vyutpattyā rasa ity ucyate. tad uktam - “rasateh svādanárthatvād rasyanta iti te rasāḥ.”
Kumāraswāmin seems to suggest that the combination i.e. samagri which is of the form of vibhāva, etc., - which is presented either by poetry or by the expert actor (in case of dramatic art), - and the samagri which is relished by the sāmājika gives rise or causes to sprout, the highest joy which is made of consciousness. The Bhāvaprakāśana is quoted as saying that - "That is called sthāyi-bhāva which is enhanced and is relished (rasatām pratipadyate) in form of consciousness made of light and bliss.” Thus, this type of ratyādi-sthāyin, based in the self of the sāmājika, when enjoyed, or tasted is termed rasa, because of its being "tasted". He quotes a source suggesting that because it is tasted or enjoyed it is termed 'rasa'; the Vras is in the sense of being tasted'.
One thing is clear that Vidyānātha, perhaps under the influence of the mālava school of thought, uses the terms "samullaita-sthāyibhāvo rasaḥ”. He could have clearly stated "abhivyaktaḥ" or "vyaktaḥ", as he himself, as observed earlier, does accept ‘vyangyártha', 'vyañjanā' and "dhvani”. But his loyalty towards the Mālava
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