Sambodhi 1988 Vol 15

Author(s): Ramesh S Betai, Yajneshwar S Shastri
Publisher: L D Indology Ahmedabad

Page 12

7
possible to give an exposition of these views even briefly. Post-Abhinavagupta alamkärikas, with one or two exceptions, follow Abhinavagupta unquestioningly. The salient features of his exposition are:
(i) Rasa is not produced in the character of the play, say Duşyanta nor inferred as existing in the nata (actor) who plays the role of Duşyanta, nor tasted/relished or enjoyed but it is suggested/manifested/revealed (abhivyakata) as the spectator-sāmājika witnesses the play. The rasa is to be located in the spectator. Thus according to Abhinava rasa is to be located not in the character of the play, not in the actor but in the spectator himself.
(ii) Sthayi-vilakṣano rasah-Rasa is altogether different from the permanent feeling or emotion, väsands-latent impressions which man carries from birth to birth. This vasand or sthayibhava is inborn. It is aroused by vibhāvas, anubhavas, etc., it is universalised/generalised and this generalised bhava the spectator enjoys by identifying himself or herself with the hero or heroine (of course on the unconscious level). This enjoyment or relish of rasa continues so long as the vibhāvas etc. are present. The sthayibhava when thus universalised and is attended by vibhāvas, etc. gets the name/ title rasa. When the vibhavas, etc., disappear from view rasa ceases to exist.
(iii) Rasa is alaukika- out of the ordinary, extra-worldly or nonworldly, different from its sthayibhava. Because of this alaukika nature, even the paintul feelings of our everyday life like soka (sorrow), krodha (anger), bhaya (fear) and jugupså (disgust) become pleasurable. All the eight (or nine) rasas are therefore anandarupa or sukhātmaka (pleasurable). Keith briefly summarises this view of Abhinavagupta in these words
"The sentiment thus excited is peculiar, in that it is essentially universal in character; it is common to all other trained spectators, and it has essentially no personal significance. A sentiment is thus something very different from an ordinary emotion; it is generic and disinterested, while an emotion is individual and immediately personal. An emotion again may be pleasant or painful, but a sentiment is marked by that impersonal joy, characteristic of the contemplation of the supreme being by the adept, a bliss which is absolutely without personal feeling." (The Sanskrit Drama p. 318).
Finally, although rasa is alaukika and aprameya (which cannot be known by any of the pramānas - proofs) it does not mean rasa does not exist. For it is sva-samvedana - siddha - it is felt.