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Rasa-nispatti-vicāra in Abhinavagupta
1583 a pramāta-knower and prameya or the object of knowledge. It is a cognition (in which, because the hero is not limited by his narrow ego-sense) which does not cause (hindrances, such as) shame, jealousy, etc. caused at personal level in the worldly context.
As this consciousness does not cause other obstructing feelings, it is an object of a function called 'āsvādana' or tasting which is of the form of resting-viśānti-of an experience free from all obstacles. This is termed "rasa" or "taste."
So then, 'rasa' is itself 'nātya', the experience of which is also termed the 'phala' or goal, or end. It is unique and one and of an identical nature. Precisely for this, Bharata uses singular in "rasad rte."
Thus, for Abhinavagupta 'rasa' is basically one and identical. There is only “rasa”, and not rasa-s. Abhinavagupta further notes in a conclusive way that
-“And because (rasa is one and identical) it may be said that, from one single mahā-rasa, other rasa-s are imagined and they are unreal (as are) spoken words (as taken distinct) from sphota (which is the only reality). Or, from the point of view of the anvitábhidhāna-vāda, other rasa-s are real, being instrumental (in arriving at the basic one rasa) (as are individual word-meanings instrumental in arriving at sentence-sense). Or, the principal one rasa is of the form of an aggregate-samudaya, as is the sentence-sense made of individnal word-meanings. Thus, individual rasa-s are seen as parts of the one principal rasa."
These passages confirm our observation that Abhinavagupta believed in one basic rasa, and the individual rasa-s were just there, viewed as different from the angle of the difference in vibhāvādi-s. Now call it 'śānta” or call it by any other name.
This rasa-theory as peomulagated by Indian thinkers is basically very catholic and it covers all arts and all individual art-forms as well, practiced by a hundred thous and poets, or artists including those of to-day. We will try to establish the Catholicity of rasa theory as follow :*
-“With reference to the available written documents, the Nāyaśāstra (N.S.) of Bharata Muni is the earliest work on dramaturgy that lays down the theory of Rasa as applicable to the dramatic art in particular and then to any fine art in general, such as the art of music, dance, painting, sculpture, literature, etc. etc.,
* This was a paper contributed to the W.S.C. in Delhi, 02. It was to be read from
the chair in one session, but the author could not attend the cenference, It was published then in A.B.O.R.I. Pune, vol. XXXV-'01, '02.
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