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1444
SAHRDAYĀLOKA through external objects, takes the form of śộngārā”di rasa-s. On account of differences of vibhāvā”di-s, it attains to various types.
When, depending, on one's own abhinaya or acting, the 'lalita' - vibhāvas, get engaged to respective sthāyin along with sättvika-s, anubhāva and vyabhicărin-s. there whatever is the result of rati (sthāyin) attains the name of śrngāra-rasa. The sāmājikas enjoy the same. (B.P. pp. 43, ibid) :
"vibhāvā lalitāḥ sattvā'nubhāva-vyabhicāribhiḥ, yadā sthāyini vartante, svīyā'bhinaya-samśrayāḥ, tadā manaḥ prekşakāņām, rajas-sattva-vyapāśrayisukhánubandhi tatratyo vikāro yaḥ pravartate,
Špngāra-rasábhikhyām labhate, rasyate ca taiḥ.” Thus śā. explains other rasa-s also. When lalitā"bhāsa (imitation of genuine lalita) vibhāva, along with sattvā”di bhāvas that bring enhancement, alone with acting, enhance the sthāyin concerned, the mind of the spectators is in touch of rajo-guna and is blended with tamo-guna also, and resorts to caitanya i.e. consciousness. There whatever vikara - change' of rati is caused, is termed "hāsya"rasa. The samājkas relish the same.
Thus Śā. explains the formation of vīra, adbhuta, raudra, karuņa, bībhatsa and bhayānaka-rasas.
Śā. observes that this sort of creation of rasas-s is narrated in "yoga-mālāsamhitā”,
"idrsi ca rasótpattih manovsttiś ca, śāsvatī, kathit, yoga-mālāyām
samhitāyām vivasvate.” (pp. 45, ibid). We do not know anything about this "yoga-māla” - samhitā, which is either a philsophical treatise or a work on dramaturgy. Sā. observes that in 'samhita' (perhaps the same, yoga-mālā) Śiva has explained fully tāndava, lāsya, nātya and nartana to the Sun-God, i.e. Vivasvān.
Šā. then goes on to explain that along with ārabhați vịtti (style), dance with uddhasa (fast) karañas and angahāras is termed “tāndava”. The NS. (IV. 30)
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