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Rasa-nişpatti-vicara in Abhinavagupta
1527
which is (laboriously) miked by yogins."- Cf. also A.bh. p. 5- On the opinion of A.G., infra. pp. 82-84. Two stanzas which reflect the same idea and which are certainly from Bhaṭṭa Nayaka, are quoted by Mahimabhatta (Vyaktiviveka), p. 94 (see the translation in the Introd. p. XXVI):
"pāṭhyād atha dhruvāgānāt tataḥ sampūrite rase, tadā"svāda-bharaikàgro
hṛṣyaty antarmukhaḥ kṣaṇam." tato nirviṣayasyásya svarupávasthitau nijaḥ,
vyajyate hlada-nisyando yena tṛpyanti yoginaḥ.
The association between these two states also appears in the affinities of the terms which designate them: viśranti, nirvṛti, laya, nirveśa, samāpatti, camatkāra, etc."
We may observe here that Gnoli's observation that Bhatta Nayakā "was perhaps the first to associate aesthetic experience with mystical experience" is unsound.Actually art itself, in Indian thought, is taken as an expression of the divine and "satyam, śivam, sundaram" is the description of the highest spirit. These western scholars have a tendency to make bold observations with an intention at times, as we see in lesser names, of course not Gnoli, to disturb the rhythem and put things out of balance. There was no second opinion about the fact that art was acceptable only for the sake of life and that art was a step towards the divine. Art-experience therefore was also held closer, if not a variety of divine mystical experience. The very fact that Bharata seeks the origin of Natya from divine source clears this objective. Bhatta Nayaka was vocal but may be he had predecessors who were perhaps more vocal about this. The verses quoted by Mahima from Bhatta Nayaka as seen above could have been from a common source that was a sacred heritage for all Indian thinkers. And 'camatkara' can be translated as 'divine surprise'.
We will now turn to what Abhinavagupta himself has to say concerning rasaexperience. But it may be noted beforehand that A.G. has welcomed much of what Bhatta Nayaka has observed. But for the present we will look for the reasons why A.G. does not accept Bhatta Nayaka's authority in full without questioning. Abhinavagupta's main objection to the thesis of Bhatta Nayaka seems to be against
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