Srngaramanjari Katha

Author(s): Bhojdev, Kalpalata K Munshi
Publisher: Bharatiya Vidya Bhavan

Page 94

THE PURPOSE OF THE WORK
changes set into their natures. Of this class the least harmful is Kardama. Kardama is mud. Its colour does not stick, therefore as a rāga it is not fast. For example, Agnimitra's love for Mahadevi and Irávati which disappears on seeing Mālavikā. A minor point may be mentioned here. In SP Pururavas's love for the queen is quoted as an instance of Lākṣā-rāga. Here Agnimitra's love for the two former queens, which fades on seeing Malavikā, is placed in the Kardama class. The question is: what is the reason for this differentiation of calling one rājasa and the other tāmasa in spite of the apparent similarity of situations in both the cases? Perhaps an explanation may be sought in Agnimitra's betraying his unsteadiness in love twice while in Pururavas's case it is not so.
The SMK offers no example for this rāga, but places it in the Kusumbha-räga-varga.
Kāşāya is dull brown red colour. 46 The example given in the SP is Sivagana's love in Vikrāntaśūra. SMK gives no example, but places it in the Mañjişthā-räga-varga. Pratāpasimha (11th tale) may be taken as an example of this type of hero. He is ugly and sensuous. When Malayasundari teases him he gets wild and like a ruthless 'tiger' injures her. The Samayamātņkā describes it as FFTTT the got 97: Feutia ufal 47, that is, he is rough in his attachment but could be adversely affected by affection.
Sakala is a fast colour and cannot be removed with great effort even when there is a cause for it. SP gives the example of Aja's love for Indumati in the Raghuvamśa. SMK places it in the Mañjisthā varga. It is difficult to identify Sakala.48
We come lastly to the important and most common Nīlī-rāga. Nili is indigo, dark blue in colour. The attachment of the hero is fastest, most intense in this case, and it is impossible to remove it under any circumstances. SP says it belongs to the ati-tāmasa hero. The example given is Vaišampāyana's love for Mahāśvetā in the Kādambarī.
46. Cf. T9T4 TG HET FUTTI
(SP, p. 88. Chapter XXIV). 47. V, 21 b. 48. In the saivatantra the word sakala is applied to soul which has not advanced
beyond the lowest stage of progress, and which is bound by sin, ignorance and
the bonds of action. Cf. Sarvadarśanasamgraha of Sayanamādhava (p. 70) पशस्त्रिविधः विज्ञानाकलप्रलयाकलसकलभेदात्। '..तृतीयस्तु मलमायाकर्मात्मकबन्धत्रयसहितः सकल इति संलप्यते।
The work further quotes from Bhoja's own work, Tattvaprakāśa to the same effect. Can the conception of Sakalarāga have any reference to this technical meaning of the word in Saivatantra?