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Rasa and its Pleasurable Nature
are pleasurable. Regarding Lollata we do not get any definite indication in his exposition of the rasa-sutra as presented by Abhinavagupta in his Abhinavabharati (1.p.272). But in his Locana commentary on Dhyanyaloka (II. pp. 184-85) we have a clue in this regard. An objection is raised by Sankuka against Lollata's Pustivada or Uttpattivada: "...Therefore there is no rasa in the character being portrayed...If one were to say that it exists in the spectator how could there be camatkara (mysterious delight, thrill of joy)? On the contrary, in Karuṇa-rasa, etc., the spectator would experience only sorrow or grief or pain." This passage may be taken as an indication to draw the inference that Lollata was also of the view that all rasas are pleasurable. We are fortunate enough to come across a passage which has been cited by Abhinavagupta only to criticise Sankuka. Sankuka unambiguously states: "Soka (and other similar permanent mental states) when portrayed in Kavya (a poem) and natya (a play) come to possess a peculiar charm or beauty whereby they become pleasurable; and that it is the very nature of these bhavas (permanent mental states) to become pleasurable when depicted in drama (creative literature)."20
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Incidentally, it may be noted that Mammata has paraphrased, when summarising Sankuka's interpretation of the rasa-sutra, the phrase 'vastusvabhava-matrena and the sentence 'asti ko'pi natya-gatanam bhāvanām viseṣaḥ' as 'vustu-saundaryabalad rasani vatrenan yanumiyamana-vilakṣaṇaḥ.... (raryadir bhavaḥ...)". T
Although Abhinavagupta criticises Sankuka for this view of his, elsewhere he himself declares: "...the states of mind appropriate to love (Kama) etc., and denoted by such words as rati (sexual love) etc., are made capable of being enjoyed or relished through the suggestive poetic activity or function (Kavi-vyäpära) and the fourfold suggestive abhinaya acting or dramatic representation of the word bhava, Abhinavagupta very clearly says: "States of mind, conveyed through the extra-ordinary process of verbal representation, etc., render themselves worther or capable of relish or enjoyment, although they are in our actual day-today life unworthy or incapable of being relished or enjoyed. 23
Ramacandra and Guacandra who hold the view that rasas are "sukhaduḥkhutmaka" account for the mysterious delight. (camatkara arising from repugnant karuna aud such other rasas by referring to Kavi-nata
Sambodhi XIII-17
