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"Concept of Rasa” as seen in Anandavardhana and...
1389 To glorify the presence of rasa in a poetic composition, the ND. I. 6, 7 read as follows:
nānārtha-sabda-laulyena parāñco ye rasámộtāt, vidvāmsas te kavindrānām arhanti na punaḥ kathām. I. 6 śleşā'lamkāra-bhājópi rasā'nişyanda-karkaśāḥ durbhagā iva kāminyaḥ
prīņanti na mano giraḥ." (ND. I. 7) After the glorification of 'rasa' in the first viveka, the N.D. in its third viveka deals with the topic of rasa, theoretically. The definition of rasa at N.D. III. 7 reads as : (pp. 290, Edn. Viśveśvara, Hindi) :
"sthāyī bhāvaḥ śritótkarso vibhāva-vyabhicāribhiḥ, spastā'nubhāva-niśceyah
sukha-duḥkhā”tmako rasaḥ." The basic emotion, when enhanced with the help of determinants and accessories, and when confirmed by clear consequents, an
confirmed by clear consequents, and which is of the nature of happiness and unhappiness, is termed 'rasa'.
It may be noted that the ND. does not use the term “samyoga” or combination (of vibhāvā"dis), but instead places the term 'sthāyibhāva' in the definition. We know that Bharata had not used the term 'sthāyin' and had used the term 'samyoga'. The sthāyin for the ND. becomes rasa when enhanced by vibhāva and vyabhicărins and inferred by clearly marked anubhāvas. We may say that by calling the 'śritótkarsa sthāyin' i.e. enhanced basic emotion as (identical with) rasa, the N.D. seems to revive the tradition of Lollata for whom upacita-sthāyin was rasa. In a way the ND goes with the upacitivāda of Lollata, so to say. But it is not just this. Vyañjanā is neither opposed nor totally rejected by the ND. Thus the ND. puts in a newer light the whole heritage of dramatic criticism and seems to evolve a sort of synthesis of its own. We may also say that by taking rasa as enhanced sthāyin and also by taking rasa to be of the nature of both happiness and unhappiness, the ND. also seems to accept the tradition of "sthāyi eva rasah" as against the Kashmir tradition of (laukika) sthāyi-vilaksaņo rasaḥ.”
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