________________
Rasa-nispatti-vicāra in Abhinavagupta
1545 intuitive insight can make things look like real or directly experienced. This something special can cure this difficulty.
The sixth obstacle is "a-pradhänatā” or the presentation on the part of the poet not centrally focussed. Unity of action, if not also of time and place, is required and the purpose should be kept in focus. Nobody is interested in anything that is not of central attention i.e. which is of central importance. Thus, only one sthāyin or permanent mental state should occupy the central point. Modern specimen of absurd theatre or art does not pay attention to this and does not encourage a central theme. But as we shall try to show the catholicity of arttheory later, we will see how rasa-experience is possible even in such performances that go under the name of absurd poetry or absurd theatre. But at least Abhinavagupta insists on a central motive, to begin with.
The seventh obstacle is a necessary corollary following from the sixth one. 'samsaya-yoga' is a state when the enjoyer is left in the lurch and he fails to have an exact idea as to what is aimed at by either the poet or the artist. Confusion in understanding or grasping due to confused presentation creates this obstacle.
These seven obstacles in rasa-experience have to be removed before a true rasaexperience follows. Abhinavagupta has himself suggested how these obstacles have to be removed. Let us examine the same. But before we go into any details, it may be underlined that the presentation in a proper way, i.e. the right combination of vibhāvā”di-s is the only and right key to remove these obstacles : “tatra vighnápasārakā vibhāva-prabhrtayah.”
The first obstacle occurs as noticed above by the presentation of unconvincing material. The solution is that only such stuff should be presented for which people have an accepted faith. In things of supernatured exploits only such names should be presented as heroes for whom people have implicit faith. Only Rāma can be credited with constructing a bridge over an ocean, or only a Hanuman can be credited with a jump that crosses an ocean, A.bh. observes : (pp. 15, Gnoli) -ata eva niḥsāmānyótkarsópadeśa-vyutpatti-prayojane nātakā”dau prakhyāta-vastu-visayatvā"di niyamena nirūpayisyate.
For the removal of the second obstacle, Bharatamuni has suggested the whole pūrva-ranga. Items in the pūrva-ranga would help a spectator to come out of his personal mental attitude and would prepare him to enjoy art in an impersonal way. Again, the costumes and settings provided help the cause. All these things help the
Jain Education International
For Personal & Private Use Only
www.jainelibrary.org
