Book Title: Sahrdayaloka Part 03
Author(s): Tapasvi Nandi
Publisher: L D Indology Ahmedabad

View full book text
Previous | Next

Page 371
________________ 1546 SAHRDAYĀLOKA spectatos to get into the right mental groove and be part of the generalization process : A.bh. observes (pp. 16, Gnoli, ibid) -“...sa eșa sarvo muninā sādhāraṇībhāva siddhyā rasa-carvanópayógitvena parikara-bandhaḥ samāśrita, iti tatraiva sphutī-bhavīsyati iti tad iha tāvan nódyamanīyam.” (Trans. Gnoli, pp. 67, ibid) -“To conclude, all this system of relative and connected matters has been adopted by Bharata, in so far as by virtue of the state of generality produced, it primotes the gustation of rasa...." To remove the third obstacle of personally indisposed context, various means are adopted to be used at suitable times and places. These include music, both vocal and instrumental, well-decorated halls, well-accomplished courtesans etc. Abhinavagupta observes that in view of the aforementioned state of generality, these expedients- phonic etc.- are such as to be enjoyed by all the spectators and possess such a charming power (upa-rañj) that even an unaesthetic person (ahğdaya) reaches limpidity of heart and becomes “possessed of heart" i.e. becomes "sa-hrdaya”. The fourth obstacle is basically so apparent that all concerned, the actor, director, producer, poet, etc. can make amends in presentation and bridge the gap. Actually for the removal of fourth and fifth obstacle, representation of four types (abhinaya), loka-dharmī, vrttis and pravsttis are all recommended. A.bh. (pp. 16, 17, Gnoli, ibid) observes : "tasmāt tad ubhaya-vighna-vighāte abhinayā lokadharmi-vștti-pravṛtty upaskrtā samabhisicyante. abhinayanam hi śabda-lingavyāpāra-visadssam eva pratyakşa-vyāpāra-kalpam iti niścesyāmah.” (Trans. Gnoli., pp. 68, 69, ibid)-“Therefore, to remove these two obstacles, there are consecrated by tradition-the four modes of representation, furnished with the styles (vrtti), the local usages (pravstti), and the realistic representation. (“loka-dharmi”) We may note that vịttis are normally recognised as four by tradition and they are : kaiśikī, sāttvatī, ārabhatī, and bhāratī; the pravsttis are avanti, dākṣiṇātyā, audra-māgadhi and pāñcālī. Local usages regarding costumes, languages. manners and professions differ in different countries of the world. They are the 'pravrtti' or local colours in drama. Jain Education International For Personal & Private Use Only www.jainelibrary.org

Loading...

Page Navigation
1 ... 369 370 371 372 373 374 375 376 377 378 379 380 381 382 383 384 385 386 387 388 389 390 391 392 393 394 395 396 397 398 399 400 401 402 403 404 405 406 407 408 409 410 411 412 413 414 415 416 417 418 419 420 421 422 423 424 425 426 427 428 429 430 431 432 433 434 435 436 437 438 439 440 441 442 443 444 445 446 447 448 449 450 451 452 453 454 455 456 457 458 459 460 461 462 463 464 465 466 467 468 469 470 471 472 473 474 475 476 477 478 479 480 481 482 483 484 485 486 487 488 489 490 491 492 493 494 495 496 497 498 499 500 501 502 503 504 505 506 507 508 509 510 511 512 513 514 515 516 517 518 519 520 521 522 523 524 525 526 527 528 529 530 531 532 533 534 535 536 537 538 539 540 541 542 543 544 545 546 547 548 549 550 551 552 553 554 555 556 557 558 559 560 561 562 563 564 565 566 567 568 569 570 571 572 573 574 575 576 577 578 579 580 581 582 583 584 585 586 587 588 589 590 591 592 593 594 595 596 597 598 599 600 601 602 603 604 605 606 607 608 609 610 611 612 613 614 615 616 617 618 619 620 621 622 623 624 625 626 627 628 629 630 631 632 633 634 635 636 637 638 639 640 641 642 643 644 645 646 647 648 649 650 651 652 653 654 655 656 657 658 659 660 661 662 663 664 665 666 667 668 669 670 671 672 673 674 675 676