Sambodhi 2004 Vol 27

Author(s): J B Shah, N M Kansara
Publisher: L D Indology Ahmedabad

Page 10

TAPASVI NANDI
SAMBODHI
āsādita-sadbhāvānāṁ ānukūlyāpekṣayā nissādhāraṇānāṁ api kāvye nātye ca abhidhāparyāyeņa sādhāraṇīkaraṇātmanā bhāvanā-vyāpāreņa sva-sambandhitayā vibhāvitānām sāksād-bhāvaka-cetasi vipari-vartamānānām ālambanatvādy avirodhad anaucityā'di-viplava-rahitah sthāyī nirbharānanda-vibrānti-svabhāvena bhogena bhāvakair bhujyate iti.”
The view of the Bhuktivādin-s (= we know them to be Bhattanayaka and his followers) is that the vibhāvādi-s take a generalised form with the help of bhāvanā-vyāpara which follows abhidhāvyāpāra. These vibhāvādi-s do not bother about external objects and are present only through the agency of words. In poetry and drama, these vibhāvādi-s, though a-sādhāraṇa i.e. particular in nature (i.e. though they are presented as individual Rāma, Sītā etc.), are realised as if in a generalised form through bhāvanā-vyāpāra which follows the abhidhā function. Presented in a generalised form they get related to the sāmājika as if they are his personal relations (sva-sambandhitayā vibhāvitānām). Thus, there is no opposition to these vibhāvādi-s that operate in the heart of the bhāvaka-s in the form of their ālambana. Thus the bhāvaka, through a vyāpāra or function called bhojakatva, enjoys the supreme bliss which is of the form of repose of the sthāyin, which is free from all possible blemishes of impropriety etc.
RS. then presents the view of the abhivyakti-vādin-s almost in the words of Abhinavagupta and Mammata. RS. observes (pp. 174, ibid) :
| “anye to anyatha samādhānam-ahuh - loke pramadadi-kāranai sthāyyanumāne abhyāsa-pātavāt, sahrdayānāṁ kāvje nātye ca vibhāvādi-padavyapadesyaih a-sva-sambandhitvena ca sādhāranyāt pratītaih, abhivyaktībhūtah, vāsanātmakatayā sthitaḥ sthāyī ratyādih, pānaka-rasa-nyāyena carvyapmāno lokottara-camatkāri-paramānandaṁ iva kandalayan rasa-rūpa-tāṁ āpnoti.”—
The abhivyaktivādins suggest that it is the sthāyin of the sahrdaya that is tasted as rasa. The sahrdaya reader or spectator of poetry or drama should be adapt, at worldly level, in infering somebody else's mental feelings through external expressions. Such an expert spectator sees the vibhāvādi-s present through art-medium in a generalised and yet personally connected form. These vibhāvādi-s make for the manifestation of the sthāyin and all these get combined on the analogy of a beverage which is tasted and which causes extra-ordinary bliss resulting in rasa-experience.
RS. has not directly mentioned vyañjanā but si. B. does not seem to oppose it either. Singa-bhūpāla observes that as the bhuktivādin-s and the abhivyaktivādins hold rasa to be rested in the sāmājika and therefore he also has no objection to this