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SAHRDAYĀLOKA Sthāyin raised to the capacity of relish with the help of determinants, consequents, sātrvika-s, and accessories is termed rasa. This is clearly under the influence of the DR. IV. i where in place of 'svādutva' we read 'svādyarva', as under:
"vibhāvair anubhāvaiśca sātrvikair vyabhicāribhiḥ, aniyamānaḥ svādyatvam ,
sthayĩ bhāvo rasah smrtah.” It may be noted that the RS. has covered up all details concerning the art of drama in three chapters called 'vilāsa-s', while the DR. has given four chapters for the same treatment. Both of course basically follow the lead of Bharata, but as noted above they have absorbed greater influence of what we term the Mālava School of aesthetics. This need not mean that the Malava School and the Kashmir
School to which Bharata seems to belong to. were at daggers drawn against each - other in all respects. No, not so. On the contrary both respected the basic thought
currents of rasa and bhāva, keeping them in centre. Their approach to certain basics was identical but perhaps the Malava School had a more systematic approach to the concept of anubhāva-s, which were four-fold such as vāg-ārambha, gātrā"rambha, cittā"rambha (or sattvā"rambha) and buddhyā"rambha, the last variety included riti-vrtti-pravrtti in its fold. We saw this in Agnipurāna and Bhoja but we miss it in the DR. though it is a leading pro-mālava-school document. A general tendency is not to accept śānta-rasa at least in the context of dramatic art. As for the basic concept of, (laukika) sthāyi eva rasah." leading to "sukhadhukhā”tmako rasaḥ,” and (a-laukika) schāyi is rasa, i.e. rasa is (laukika) sthāyivilaksana, as it is an "ānanda-ghana-samvedanam eva', - individual writers have their own choice. We will go to see what line is picked up by the RS.
After defining 'rasa', RS. comes straight away to what is meant by vibhāva, and its varieties. RS. (I. 59 b, 60; pp, 9 ibid) observes :
“tatra jñeyo vibhāvas tu rasa-jñāpana-kāraṇam, (1, 59. b) budhair jñeyóyam ālamba uddīpanam iti dvidhā, adhāra-visayatvābhyām nāyako nāyikápi ca.” (I. 60)
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