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1430
SAHRDAYĀLOKA
“nānā-dravyausadhaiḥ pākair vyañjanam bhāvyate yathā, evam bhāvā bhāvayanti
rasān abhinayaiḥ saha." (This is from NS. VI. 37). śā. observes that thus Vāsuki has also observed the birth of rasa from bhāvas. So, rasas, as the case may be (of individual rasas), are born of bhāvas : (BP. pp. 37, lines, 1, 2, ibid) -
"iti vāsukinā 'pyukto bhāvebhyo rasa-sambhavaḥ tasmād rasās tu bhāvebyo nispadyante yathā'r hataḥ.”
Śā. now suggests that the sthāyins resting in hero and heroines are enhanced with the help of vibhāvas, anubhāvas, sātrvikas and vyabhicārins. The actors or artists represent them as imitation in drama. These are relished by the sāmājikas and are hence termed rasas. (B.P. pp. 37, lines 3-8) :
"vibhāvais'cā'nubhāvais ca sāttvikair vyabhícāribhiḥ, vardhitāḥ sthāyino bhāvā nāyikā"di-samāśrayāḥ. anukāratayā nātye kriyamāņā națā"dibhih, sāmājikais tu rasyante
yasmāt tasmād rasāḥ smộtāḥ.” Sā. enters into, so to say an epistemological investigation in the nature of rasa. He observes that rasa is neither a 'dravya' or an object, nor a 'sāmānya', or visesa i.e. it is berefect of particularity or class. It is not even a quality - "guna”. It is, neither 'karma', activity, nor 'samavāya' or combination or union, nor "another substance." It is a sort of mental attitude, depending on external objects, raised to the highest capacity by vibhāvā”di-s. This is called 'rasa' by the wise : (BP. pp. 37, line 7-10):
na dravyam na ca sāmānyam na viśeso guņo na ca, na karma samavāyo na na padārthántaran ca sah.
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