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P. R. VORA
SAMBODHI (by Mammata) of the text of Abhinava"34. It is, therefore, very difficult and even rash to judge Lollata's attitude towards Rasa from the meagre evidence gatherable from these afore-said sources. However the following points may be noted in this connection :
(i) Rasa is a product of the combination of the determinants (vibhāvas), consequents (anubhāvas) and the auxiliaries (vyabhicāribhāvas)
(ii) Rasa abides primarily in the original character (anukārya) and only secondarily in the actor (anukartā / nartaka)
(iii) Rasa is perceived by the Sāmājika, who derives pleasure therefrom.
It does not seem to be correct to say that Lollata ignored the spectator35, for the following reasons :
(a) Bharata speaks of Rasa as a relishable object (āsvādya padārtha) 36. Though he does not discuss in detail Bharata's theory of Rasa, Lollata does contemplate the enjoyment of Rasa by the Sāmājika of course. How then can we suppose that Lollata, one of his early commentators, was guilty or utsūtra-vyākhyāna ?
(b) Abhinavagupta also speaks of the 'prati-patti' of Rasa abiding in another person, 37 while discussing the Mimāmsaka's view-point in his Locana. This, it is submitted, is Lollata's view.
(c) Mammata while discussing Lollata's view uses the words 'pratīti-yogyaḥ (fit for apprehension) and 'pratiyamānah' (which is being apprehended)38. Who else, if not the spectator, would apprehend the Rasa ? Dhanika has rightly remarked : Kim ca na kavyam rāmādinām rasopajananāya kavibhiḥ pravartyate/ api tu sahrdayān anandayitum 39//
(d) Nātya is alaukika imitation40; the actor imitates the original character. But for whom does he do so ? For the Sāmājika of course. How would Lollata leave him in the cold ?
(e) Even the verses quoted by Abhinavagupta from the Kävyādarśa41 point to this very fact for who else would relish the śrngāra and the Krodha in illustrations quoted by him and the Vira42 and Kārunya in the other illustrations not quoted by him ?
(f) “Nātya', says Bharata, 'is a play thing (kridanīyaka)43 which pleases both the eye and the ear. Lollaţa would not ignore this and spectator also.
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