________________
182
Studies in
Further, Bharata's description of a sensitive spectator corroborates this above. statement: "A true spectator at a drama is he who, when the character is happy becomes himself happy, when the character is in sorrow is himself in sorrow, and when the character is depressed becomes himself depressed."4
Thus it would seem that the authors of the ND, in contrast to their own revered Acarya Hemacandra who follows Abhinavagupta, word for word, as regards the nature of rasa, regard, following Bharata, Lollata, Dandi, etc., rasa as laukika and therefore, sukhaduḥkhärmaka. Here we may note, in passing, that the authors of the ND do not subscribe to the misrānanda-vāda of rasa alluded to in their work by Dhanika and Jagannatha, when they speak of its being sukha-duḥkhātmaka! They clearly state that five rasas are sukhātmaka and four, duḥkhätmaka. Regarding the location of rasa they differ with Lollata. They hold that rasa is present in the hero. (say, Rama, Duşyanta, etc.), in the spectator, and some times in the actor also.
From amongst the Jaina commentators on poetics a few deserve notice here. Namisādhu (1069 A.D.), the able commentator of Rudrata's Kavyalaṁkāra looks upon rasas as innate gunas, like saundarya, of kavya; and asserts that there is not a single state of mind which when intensified or fully developed does not become rasa. Bharata speaks of eight or nine rasas only as they appeal to the sensitive readers or spectators and are abundantly found in literature."
Manikyacandra's Samketa (1160 A.D.), Kavyaprakasa-Khandana of Siddhicandragani (1587-1666 A D.) and Saradipika of Gunaratnagani (17th century A,D.) are the commentaries on Mammata's famous Kavyaprakäia. Of these commentators, Siddhicandragani deserves special mention here. He very probably gives his own view under the guise of "iti navinah" or "navinds tu".
4 यस्तुष्टे तुष्टिमायाति शोके शोफमुपैति च ।
देम्वे दीनत्वमभ्येति स नाट्ये प्रेक्षकः स्मृतः ||
-Natyaśāstra (Ch. XXVII)
— किन्तु तादृश एवासावानन्दः सुखदुःखात्मको यथा प्रहरणादिषु संभोगावस्थायां कुमिते स्त्रीणाम् । अन्यश्च लौकिकात करुणात् काव्यकरुणः ।
-Avaloka commentary on the Dasarupaka (Ch. IV. p. 98) NS edition Bombay (1941) 5 अथ यथाइलाद इस दुःखमपि प्रमाणसिद्धं तदा प्रतिबन्धकत्वं न कल्पनीयम् ।
स्वस्वकारणवशाच्चोभयमपि भविष्यति । अथ तत्र कवीनां कर्तुं सहृदयानां च श्रोतुं कथं प्रवृत्तिः । अनिष्टसाधनत्वेन निष्टत्तेरुचितत्वाद् इति चेत् ।
इष्टस्याधिक्यादनिष्टस्य च न्यूनत्वाच्चन्दनद्रवलेपनादाविव प्रवृत्तेरुपपत्तेः ।
-Rasagangadhara (p. 31), Kavyamälä edition, (1939) According to Lollața rasa is primarily present in the hero and only secondarily in the actor who imitates or represents him.
6 अयमाशयो ग्रन्थकारस्य यदुत नास्ति सा कापि चित्तवृत्तिर्या परिपोषं गता न रसीभवति ।
भरतेन सहृदयावर्ज करवात् प्राचुर्यात् संज्ञां चाश्रित्याष्टौ नव वा रसा उक्ता इति ।
-Tippani on Kāvyālaṁkāra,
Kävyamālā edition (1909)
