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1436
SAHRDAYĀLOKA performed by experts. These are presented in poetry by poets for fame, wealth, pacification of unrest in the kingdom, or for the pacification of obstacles in (religious) activity, and for the achievement of the auspicious. They are presented, as if they are present (or belonging to to-day) by the actors. So, natas do only this and hence, they can never be the substratum of rasa.
Śā. observes that mental savour is rasa, and it causes mental pleasure : (pp. 40, B.P. ibid) -
"manaso hlādajananaḥ
svādo rasa iti smộtah.” According to this terminology only Śrngāra can be called a 'rasa', as it only gives pleasure :
sộngārasya sa yujyeta
tasya hlādā”tmakatvataḥ. The rest (i.e. other rasa-s) are called 'rasa' on account of some reason or the other.
"anyeșām rasatā prāyaḥ
siddhā kenā'pi hetunā." Just as people enjoy other tastes, beyond the sweet, on account of variety of place and time (i.e. context), in the same way those who are born, or are yet to be born, through their friendship or enmity being carried as impressions (= samskāras) enjoy different rasas such as Srngāra, hāsya, karuna, etc. - Thus all rasas, getting combined, make for the pleasure of people in context of different time, place etc. B.P. (pp. 40, ibid) observes :
śộngārasya tu yujyeta tasya hlādā”tmakatvataḥ, anyeșām rasatā prāyaḥ siddhā kenāpi hetunā. yathā nộņām tu sarveşām sarvépi madhurā"dayaḥ, bhuktā rasā”tmatām yanti deśa-kālā"di-bhedatah,
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