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"Dasarūpaka-Vicăra"
1637 "Anka is a conventional word fixed by usage. As it makes the (poetic) contents climb. i.e. it carries to] (the heart of the spectator), with the (presentation of) sentiments and emotional states, and as it follows various technical presentations (nānā-vidhäna), it is called an'anka' or act.”
Dr. Unni, (pp. 546, NS. Vol. II, Nag Publishers '98) puts this as, “Anka is a word with a conventional meaning. With the help of several devices the meaning is here developed by bhāva-s and rasa-s, and hence it is called 'Anka' (lit., a lap) - a basis.”
Abhinavagupta (A.bh., pp. 415, 6; ibid) observes that Bhatta Lollata and others read, "gūdha-sabdah" for "rūdhi-sabdah". The explanation here is "bhāvaiśca rasaiśca gūdhah” - i.e. concealed by bhāva-s and rasa-s, i.e. it contains in its depth bhāva-s and rasa-s. Others read "rūdha” and observe · "rohayatyarthān” germinates or makes climb the meaning. It is observed : “rūdhi rohanam; tena utsanga ucyate, tasmād utsangavad arohana-sambandhāt anka ity ucyate.” The poetic content enters into the heart of the audience - "yatha-svam bhāvādin arthan hrdayam āropayati." A further explanation is that “rasa-bhāvair upalakṣitān apy arthān rohayati”, i.e. meanings or ideas hinted by or charged by rasa and bhāva are brought to the understanding i.e. grasp.
DR. Bhat, (ft. n. 6, pp. 117, ibid) observes : “Abhinava refers to the reading "bhāvais'ca rasais' ca gūdhártho" adopted by Bhatta Lollata and others and rejects it in favour of 'rohayaty arthän'.
Rūdhi according to him, is the same as Rohana, and implies anka or lap; this refers to the portion of nātaka which, in its own way, presents the sentiments and emotions and carries them to the heart of the spectators; like a lovable child climbing into the lap of a parent, the aesthetic content presented through vibhāvas etc., climbs the heart, as it were, of the reader-spectator bringing him an awareness of rasa or bhāva. This analogy explains the term : rūdhi rohanam, tena utsanga ucyare yo nātakámsah... tasmād utsangavad arohana(m) sambandhāt añka ity ucyate." Abhinava, pp. 415-416.
It may be noted here that in Indian dramaturgy or literary aesthetics, every portion of a drama is expected to be important, meaningful and goal-oriented; the goal being supreme enjoyment on the part of the reader/spectator. Thus nātaka is "rasaoriented". This 'rasa' is "vita-vigha-pratīti” and “vigalita-vedyảntara" experience, which can result even from enjoyment of the pure intellectual type also. Emotion, intelligence and conation and thus the whole of the enjoyer's self should get involved in the poetic content in such a way that for the time being anything else than what is presented, falls out of consciousness of the reader/spectator. Each 'anka' is expected to work in this direction. It could be a portion of an 'absurd play as well.
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