Some Aspects of Rasa Theory

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

Page 60

SOME ASPECTS OF THE RASA THEORY
From this it should be clear that for Sankuka, the imitated styāyī is of lauki!ca nature. And keeping in view this result Abhinava says : To explain : Where is the relish in the mere inference of worldly feeling? The relish of rasa is in its essence a state of unique & wonderful enjoyment (camatkara). It is radically different from memory, inference and worldly (sensation of) pleasure.20
This much for the rasa-sūtra of Bharata. True, Bharata himself has not provided any direct clue to the nature of rasa in the rasa-sútra, but his stray expressions at different places in NS, could be taken as dependable indicators in this respect. We will continue to examine them further, after once again taking note of two expressions of Bharata viz., dhrti-krida-sukhadi-krt at I. 113, and, sukha-duḥkha-samanvitaḥ at I. 119.
While explaining what rasa exactly means, Bharata has the following observation : (p. 288, NS)-. .
Now one enquires, "What is the meaning of the word rasa ? It is said, in reply (that Rasa is so called) because it is capable of being tasted (åsvädyatvåt).
How do people relish rasa ? Just as good-natured connoisseurs relish food enriched with various condiments, good-natured spectators relish permanent emotions, suggested by the representation of various transient emotional states; the representation consists of speech, bodily gestures, and involuntary physical reflexes. The connoisseurs thus experience pleasure and other feelings.21
This expression viz., 'harşādimśca' is a clear pointer as to Bharata's attitude towards the nature of rasa. It is a direct thrust causing damage to the theory of the alaukikatva of rasa. And the result is that even Abhinava seems to have been embarrassed and has to be purely on the defensive when he observes that, while others include 'śoka' etc., because of the word 'adi' in 'harşādińsca'he & his followers do not. For, a dramatic performance could not result in an experience other than that of unmixed' joy : Some are of the view that the word 'ādi' ('other feelings' in the quotation cited above) includes sorrow, etc. But this view is not correct. For the end of Drama is to produce (unalloyed) joy, and never sorrow.22 If the result were anything but unmixed joy, then people would avoid any such performance, and further there is no valid reason also in accepting this. Abhinava would therefore make bold to suggest a text amendation, viz; harşamścădhigacchanti. He says (p, 289,
20. तथाहि लौकिकचित्तवृत्त्यनुमाने का रसता। तेनालौकिकचमत्कारात्मा रसास्वादः स्मृत्यनुमानलौकिकसंवेदनविलक्षण एव
(ST. H. . 368) 21. अत्राह-रस इति कः पदार्थः । उच्यते-आस्वाद्यत्वात् । कथमास्वाद्यते रसः । यथा हि नानाव्यञ्जनसंस्कृतमन्नं
भुञ्जाना रसानास्वादयन्ति सुमनसः पुरुषा हर्षादींश्चाधिगच्छन्ति तथा नानाभावाभिनयव्यजितान् वागनसत्त्वोपेतान् स्थायिभावानास्वादयन्ति सुमनसः प्रेक्षकाः हर्षादीश्वाधिगच्छन्ति । तस्मान्नाटयरसा इत्यभिव्याख्याताः।
(FT. 31. Ç. CC-C) 22. अन्ये त्वादिशब्देन शोकादीनामत्र संग्रहः । स च न युक्तः । सामाजिकानां हि हरेकफलं नाटयं न शोकादिफलम् ।
(31. YU.. 268)