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94
TILAKAMANJARĪ OF DHANAPĀLA
Bharata and his followers, Dhanañjaya, Hemacandra and Viśvanātha put forth almost the same contentions concerning the scope of a sentiment that has been put forward by Keith in the following words:
"A Dominant feeling or emotion (Sthāyibhāva) becomes a sentiment (rasa) when it is transformed into an object of enjoyment (ānīyamānaḥ Svādyatvam) through the co-operation of the determinants (Vibhāvas), the consequents (anubhāvas), including the involuntary manifestation of feeling (Sättvikaiḥ) and the transitory feelings (Vyabhicāribhiḥ).'
Love is the dominant emotion of Sạngāra both Sambhoga as well as Vipralambha. Love delineated by Dhanapāla is sublime in both the cases (i.e. the two couples) except in the latter case wherein Malayasundarī losing her patience on seeing her lover unintentionally given to make her face the ordeals of separation and suffering by the force of circumstances. Her threefold attempt of self iminolation smacks of levity and brings her down to the status of a heroine in love being 'Dhīroddhatā', i.e. recalcitrant and temerous. But the bond of hope restrains the loving heart of the wincing maid in separation. It becomes sublime as well when she takes to asceticism and waits on the Adrstapära lake for long like Mahāśvetā of Bāna waiting for her lover on the shores of the Achhoda lake. The älambana vibhāva (dependent determinant) in case of Harivāhana is the portrait of Tilakamañjarī brought by Vajrārgalā from Gandharvaka, Uddīpana (the Exciting determinant) comes when Gandharvaka informs that he had got out in search for the terrestrial prince forestalled by the Prajñapati Vidyā to become the paramount sovereign and consort of Tilakamañjarī. It also got enhanced by the environments of Mattakokila garden visited before and after seeing the portrait. The observance of the lascivious traits in the objects of nature excited him and he invariably looked at the Kesapāśa (the braid of tresses), mukhaśaśī (moon like face), Aksipātras (vase-like eyes), Kanthakandala (stalk like neck), Stanamandala (protuberant breasts), Madhyabhāga (waist), Nābhicakrābhoga (circular navel), Jaghanabhāra (obese posteriors), Urustambhas (pillar like thighs) etc. all these forming the anubhāvas or consequents. The reaction in mind forming a repression to the suppression of feelings prompting him to indulge in eulogium indicative of the virtuous or involuntary (Sāttvika) Bhāvas is apparent from the exclamation of Harivāhana when he values her charms as described by Gandharvaka i.e. the real form excelling the form in the painting by a margin of huge fractions. He even deems her slighting the pride of beauty in case of Rambhā and other celestial nymphs. She even outvies Rati etc.?
1. The Sanskrit Drama by A. B. Keith p. 319. 2. TM. Vol. III pp. 21-22.
