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

View full book text
Previous | Next

Page 407
________________ 1582 SAHRDAYĀLOKA After coming to the one single sthāyi-citta-vịtti of the hero, Abhinavagupta proceeds to explain rasa as (pp. 260, ibid) "să ca eka-citta-vșttiḥ sva-param-iti pratīyamāna-ananta-citta-vșttyantara-sataviśeşitā, laukika-gīta-geya-padā”di-lāsyánga-daśakopajīvana-svīksta-lakṣaṇa-guņā, alamkāra-gīta-ātodyā"di-samyak-sundarībhūta-kavya-mahima-prayoga-mālá-bhyāsaviśesā”śrayatvāt pracyāvitā, ata eva sadhāraṇībhūtatayā sāmājikan api svātmasadbhāvena samāveśayanti tādātmyād eva ca, anumān"āgama-yogi-pratyaksā"dikaranaka-tatastha-pramātrprameya-parakiya laukika-citta-vrtti-vilaksanatayā nirbhāsamānā parimita-svātmāny aśrayatā-nirbhāsamāna-virahāc ca, laukikapramadā"di-janita-nija-ratiśokavat, taj-jahānā”di-citta-vrtty antara-jananáksamā, tata eva nirvighna-sva-samvedanā”tmaka-viśrānti-laksanena rasanápara-paryāyeņa vyāpāreņa gļhya-mānatvād rasa-śabdena abhidhīyate." tena rasa eva nātyam. yasya vyutpattiḥ phalam ity utyate. tathā ca rasād sta -(nā. śā. 6/31) ity atra ekavacanopapattih. tataś ca mukhya-bhūtāt mahārasāt, sphoța-dịśīva asatyāni vā, anvitábhidhānadrśīva ubhayātmakāni satyāni vā, abhihitánvaya-drśīva tat-samudāya-rūpāņi vā rasāntarāņi, bhāgábhiniveśa-drștāni rūpyante.” This can be translated as follows : "That mental feeling (the principal one of the hero) is rendered bereft of such notions as "this is mine” (svakiya), or "this is some one else's" (parakiya). (In short it looses its relation with an individnal. That mans it is de-individualised, losing all contact with particularity). This (generalisation of the permanent mental state of the hero) is brought about by the influence of-(i) the stanzes, put to music, of popular songs (that figure in the drama, or poem), (ii)the greatness of the poem and the acting of an actor brought about by practice. These two are decorated by the beauty of ten parts of lāsya or dance etc. and guņas or excellences and alamkāras or embellishments used in poetry. Thus the basic emotion rendered free from any touch of particularity covers up the sāmājika-s or the spectatores also in its fold. Thus on account of identity brought about between the basic mental state of the hero and that of the spectator also, this apprehension seems to be different in nature from knowledge brought about by inference, or agama-s. It is a sort of consciousness which is also different from the one of a yogin, which is caused without the contact of sense-organs with objects, and which is, as is were is of an un-involved person, a tatastha. It is also different from cognitions having a part of Jain Education International For Personal & Private Use Only www.jainelibrary.org

Loading...

Page Navigation
1 ... 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