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Rasa-nispatti-vicāra in Mammata and Jagannātha
1629 given a new turn to the theory of Rasa, on the face of the well established theories of Abhinavagupta and others. The same cannot be said of the first theory, (first in the order of Rasa-ganga-dhara, and based on vedānta) because, as shown above, PR. cannot claim any originality in that respect."
Here ends the very long quotation from Sri. Ramacandrudu. We are raminded of the famous expression from the Upanisad, of course, only in the sense we mean, viz. "tato bhūya eva tamah.” Ramacandrudu has entered into “bhūya eva tamah” concerning the basics of aesthetics. And talking about "originality" ? This is a sad modern concept of people who read and write trash! For the great Jayanta has said, “kuto'sti nūtanam vastu ?", and the great Abhinavagupta politely observes :
“ūrdhvordhvam āruhya yad artha-tattvam dhīḥ paśyati, śrāntim avedayanti, phalam tad adyaiḥ parikalpitānām. viveka-sopāna-paramparāņām.”
Actually there was no need for Ramacandradu to bring in all these views of N.D. and K.P.Kha., and such trivials, while considering rasa-theory of Jagannātha. We do not agree with him. nor even with our guru Prof. Athavale in thinking that J. was a “pracchanna-Navya”. No; he followed Abhinavagupta and Mammata in the rasa-theory_to the ditto. with further sophistication. in suggesting "bhagnā'varanā cid eva rasah.” These things are inherent in Abhinavagupta who holds rasa to be "vita-vigha-pratīti-grāhyo bhāva eva rasah." . or "nirvighnā samvit" as Rasa.
With this, we come to the end of a most interesting topic in Indian aesthetics, viz. the consideration of the nature of rasa, i.e. rasa-svabhāva and the process of rasa-realisation. It is better if like our gurus, Prof. Parikh, Dr. Kulkarni and Prof. Athavale, we refrain from making sweeping statements and keep quiet. But at times, we have to cross this limit, for saving the youngsters from gross misunderstanding of Indian aesthetics.
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