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Rasa-nispatti-vicāra in Mammaţa and Jagannātha
1597 M. goes a step further, following Abhinavagupta. M. explains that for Lollata this rasa resides primarily in the 'anukārya' i.e. Rāma and other historical personages who are to be imitated by the 'anukartā', the actor or imitator. It should be understood that 'Rāma' is cited as an illustration of "anukārya". But as the name is familiar with us as the hero of Rāmāyana, we should not rush to a conclusion that Lollata refers only to a historical character here. Actually he can be anyone; i.e. Rāma of the Rāmāyana or Rāma of the poet's imagination, a Rāmaņalal, or Rāmbhai, or anyone. But he is a character of a dramatic piece who is imitated by the actor or artist. Lollata holds that rasa is found first in this 'anukāya' i.e. character imitated and then rasa is found also elsewhere. M. records that according to Lollaţa, rasa is also found located in "anukartari ca națe”, i.e. 'and also in the actor who imitates (the original character)'. M. says rasa is also apprehended or perceived, -pratīyate-in the anukartā nata. This is because the actor has assumed the role of the anukārya, or original character. The words that record this situation of rasa in the actor or artist require special attention as Dr. K. C. Pandey has taken the word "pratīyate" in a special sense and has objected to the
on made by M., suggesting that he has not remained faithful to his master Abhinavagupta and has injected his own twist in the view of Lollata. Lollata's view is presented by Mammața in the following words :- (vștti, K. P. IV. 28) – (pp. 64, edn. R. C. Dwivedi, ibid)
"vibhāvair lalanódyānā"dibhir alambanóddīpana-kāraṇaiḥ sthāyī ratyā"diko bhāvo janitaḥ, anubhāvaiḥ kațākşa-bhujáksepa-prabhrtibhiḥ kāryaiḥ pratītiyogyah krtah, vyabhicāribhir nirveda" dibhih sahakaribhirupacito mukhyayā vrttyā rāmādāv anukārye, tadrūpatánusamdhānān nartaképi pratīyamāno rasa iti bharțaLollața-prabhịtayah."
(Trans. R. C. Dwivedi pp. 65, ibid)-“The basic emotion, such as love, brought about by determinants, women, gardens, and the like, which are (respectively) the substrate and stimulating causes, rendered apprehensible by the ensuants, namely; effects, such as the side-glance, and the tossing of arms and augmented by transitories, viz. auxiliaries such as self-disparagement, consitutes rasa which primarily exists in the character to be represented, such as Rāma, but which is also
account of the assumption of his role. This is the view of Bhatta Lollaţa and others.”
We know that Sanskrit commentators explain “rūpánusamdhāna" as "āropa” or "abhimāna", and Dr. K. C. Pandey suggests the technical meaning of "Yojana" a pratyabhijñā-darśana terminology, for this.
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