Some Aspects of Rasa Theory

Author(s): V M Kulkarni
Publisher: B L Institute of Indology

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SOME ASPECTS OF THE RASA THEORY
One of the common topics discussed in later works on poetics is the benefits accruing to poets and readers from the composition of poetry and its contemplation respectively (kāvyaprayojana). One of the benefits accruing to the readers is mental delight or satisfaction (priti) and another is intellectual and moral enlightenment (vyutpadana or upadeśa). In Nātyaśāstra I. 106-117, Bharata deals with the role of drama as a means of people's entertainment and education. There he uses the phrases hitopadeśajanana, sarvopadeśajanana, lokopadeśajanana, viśrantijanana and buddhivivardhana, to convey the recreative and educative functions of dramatic poetry. These phrases anticipate the ideas of later writers on poetics, (such as Bhāmaha, Rudrata, Anandavardhana, Abhinavagupta, Mammaţa and Viśvanātha) on this twofold role of poetry in general. According to Anandavardhana (Dhvanyaloka III, p. 398), drama is intended by Bharata to be a potent means of imparting moral instruction to people.28 The phrase Viśrantijanana used by Bharata in the sense of relief from mental worries and tensions, must have undoubtedly.. inspired Bhatta Nāyaka and Abhinavagupta in giving a new dimension to the recreative role of poetry and in putting forward the idea of svasamvidviśranti-repose in the essentially blissful nature of the soul.29 The phrase buddhivivardhana in Bharata is perhaps at the root of the idea of enlightenment in dharma, artha, kama, moksa and secular arts of which Bhãmaha speaks in his Kavyalankára,30 and the idea of the training and sharpening of the critical faculty of readers of which Abhinavagupta, speaks in the Locana.31
It will be seen from the points discussed above that Bharata's Nãtyaśāstra anticipates in quite a few respects the concepts germane to the doctrine of rasa experience as elaborately developed and cogently presented in later works on poetics. Bharata was undoubtedly acquainted with various important matters connected with the doctrone of rasa experience, but he made only a casual or passing reference to them and did not undertake a detailed discussion on them, as he thought that such a discussion would involve him in digression from the main purpose of his work, namely the theory and practice of dramaturgy (nätya).
28. सदाचारोपदेशरूपा हि नाटकादिगोष्ठी विनेयजनहितार्थम् एव मुनिभिरवतारिता। 29. See Locana, II. p. 183: pad 7 th :'**Taha ghaghra hartHITAIFA
विश्रान्तिलक्षण: परब्रह्मास्वादसविधः । This forms part of Bhatta Nayaka's view regarding the nature of rasāsvāda, which does not differ from that of Abhinavagupta. See Locana, p. 190, lines
2-3. 30. Kävyälan kära, I.2 : 4414Fergj Feste 31. Locana, II. p. 190 : 1 TEST BE fa 39#rant Infahifagai selera
3rd Alfa (F1044)