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Index

Page numbers refer to the print edition but are hyperlinked to the appropriate location in the e-book.

ābhāsa. See semblance of rasa

Abhinavabhāratī, xviii Abhinavagupta, 187-93; on aesthetic elements, 196, 200-201, 202-3; and Anandavardhana, 188-89; on animals, 248-49; and Bhatta Nayaka, 19, 144, 150-51, 190-91, 192; on Bhatta Tota, 181, 182, 183, 187; on camatkāra, xv; and chronology, 36-37; and commentary, 38-39; on didactic function of rasa, 68, 85; and documentary lacunae, 37-38; on emotions, xvi; on epistemology, 210-18; on imitation, 195, 211, 220-21; importance of, 49; and Jagannatha, 315, 316; and Mahima Bhatta, 106; and Mammata, 189, 224; on manas, xvii; on manifestation, 13-14, 188, 189, 192; and methodology, xiii; minimal influence of, 35; on peaceful rasa, 22, 48, 193; and philosophy, 188; on proper terms, 78; and Ramachandra/Gunachandra, 189, 239; on rasa as enhancement of stable emotions, 15, 281; on rasa as instruction, 32, 33, 192-93; on rasa as residing in the character, 15; on rasa typology, 33, 48, 206-7, 216; on rasikas, 34; on reception theory, 19-20, 37, 38, 99, 189, 190, 191; and religion, 21, 22, 36, 302; and Ruyyaka, 235; on semblance of rasa, 27-28, 213-14; on stable emotions identified with rasa, 195-96, 201-2; on storyworld, 20-21; on taste, 43, 190, 205-6; text selections, 193-223; on tragic rasa, 27; on typology of stable emotions, 198, 199; and Vedanta, 24; and Vishvanatha, 261; and Vishvanathadeva, 311. See also The New Dramatic Art

absorption (viśrānti), 18-19, 147, 153, 191

acting, 6. See also drama; Treatise on Drama

The Actor's Sutras, 47

actualization (bhāvanā): Abhinavagupta on, 38; Bhatta Nayaka on, 18, 146, 147, 149, 151, 152, 153-54, 190; Dhanamjaya/Dhanika on, 172-73, 175, 177; Jagannatha on, 320, 322; translation of, xv; Vidyanatha on, 255-56, 257

Advaita, 24, 36

aesthetic elements (vibhāvādi): Abhinavagupta on, 196, 200-201, 202-3; Anandavardhana on, 97; Bhoja on, 130, 135; as figures of speech, 11; Kuntaka on, 98; Mahima Bhatta on, 106-7, 108, 109; and philosophy/religion, 36; Pratiharenduraja on, 71; and rasa as instruction, 32-33; rasa as residing in the character, 25; and rasa as residing in drama, 7-9; and reception theory, 25-26, 156; Rupa Gosvamin/Jiva Gosvamin on, 304; Singabhupala on, 274; terms for, xv, 27; Treatise on Drama on, 7-8, 26-27; aesthetic elements (continued) Udbhata on, 11; Vidyadhara on, 251, 252; Vishvanatha on, 263. See also Sutra on Rasa; specific elements

aesthetics, 1-5; beauty in, 3; and creativity, 2; and intellectual history, 35-41; and interpretation, 3; and separate cultural domains, 2; Sutra on Rasa as foundational text of, 7; and taste, 41-44. See also Western aesthetics aesthetics revolution. See reception theory

affectionate utterances: Bhamaha on, 56, 57, 58; Bhoja on, 114, 129, 134-35; Dandin on, 59, 61-62, 134-35; Kuntaka on, 99, 104; Pratiharenduraja on, 69-70; Udbhata on, 66, 68, 70. See also emotion tropes affective fallacy, 44-45

ahamkāra, xvii alankāraśāstra (poetics), 6-7, 10, 56, 84-86

Amaranandayogin, 256

Amaru, 276

Ambrosial River of the Rasa of Devotion (Rupa Gosvamin), 303-6. See also Rupa Gosvamin

American New Criticism, 5, 15

Analysis of Literature (Dhanika), 155

Analysis of "Manifestation" (Mahima Bhatta), 107-9. See also Mahima Bhatta Anandavardhana, 87-89; and Abhinavagupta, 188-89; on aesthetic elements, 97; and Arjunavarmadeva, 276; and Bhatta Lollata, 75; Bhatta Nayaka on, 144, 145, 146-47; and chronology, 37, 77; on conflicting rasas, 29, 94, 95-96; on emotion tropes, 11-12, 89, 91- 93; on flaws of rasa, 224-25; identity of, 87; Light on Implicature (Anandavardhana), on rasa as instruction, 32; on manifestation, xV, 12-13, 88-89, 90-91, 93, 95, 97, 188; on proper terms, 43, 78, 88, 90; on rasa as residing in the character, 15-16, 19, 20, 88, 89, 188; on rasa as residing in the poet, 5; and rasa theory expansion from drama to poetry, 12; text selections, 90-97; and Vidyadhara, 248

Anantadasa, 263, 265

animals: Abhinavagupta on, 248-49; Bhoja on, 127; Pratiharenduraja on, 68, 70; Singabhupala on, 249, 270-71, 273-74; Vidyadhara on, 248-49, 254-55, 270

antaḥkaraņa, xvi, xvii

anubhāva. See reactions

anuvyavasāya, 38, 190

aphorism on rasa. See Sutra on Rasa

arising of rasa. See epistemology

Arjunavarmadeva, 31, 276-77; on emotion tropes, 279-80; text selections, 276-80

Arnold, Matthew, 4

arthavāda. See eventful narrative

audience as site of rasa. See reception theory

Bahurupa Mishra, 157-80

Bana, 16

Baumgarten, Alexander, 4

Beardsley, Monroe, 44, 45 The Bearer of the Ganges of Rasa (Jagannatha), 317-26. See also Jagannatha

beauty (saundarya), 3 Bhāgavatapurāņa, 22, 23, 285, 302

Bhamaha, 55-57; on emotion tropes, 10-11, 56-58, 85; on rasa as instruction, 31; text selections, 57-58

Bhanudatta, 280-82; and chronology, xiii; poetry by, xiv, 40; on stable emotions, 76, 280-81, 283; text selections, 282-85

Bharata, 7, 47. See also Treatise on Drama Bhasarvajna, xvi-xvii

Bhatta Lollata, 74-76; and chronology, 74; and Kuntaka, 98; on ontology of rasa, 89; on rasa as enhancement of stable emotions, 23, 75-76, 195, 281; on rasa as residing in the character, 15, 23, 89; Shri Shankuka on, 74, 79; on Sutra on Rasa, 75-77; text selections,

76-79

Bhatta Narasimha: and Bhatta Nrisimha, 157; and documentary lacunae, 111; on rasa as residing in the character, 113-14, 115-16

Bhatta Narayana, 37

Bhatta Nayaka, 16-19; and Abhinavagupta, 19, 144, 150-51, 190-91, 192; on absorption, 18-19, 147, 153; and chronology, 37, 181-82; on commonization, 18, 33, 67, 145, 146, 149, 153, 154; and Dhanamjaya/Dhanika, 144, 156; and documentary lacunae, 144; on

experientialization, 18, 19, 38, 146, 147, 151, 152, 153; identity of, 144-45; Jagannatha on, 147-48, 316, 319-20; and Mahima Bhatta, 106; on manifestation, 13, 20, 146-48, 149, 150-51, 153; and Mimamsa, 36, 145, 146, 147, 190; and philosophy, 36; on rasa as instruction, 31-32, 33, 192; on rasa as residing in the poet, 6; on reception theory, xv, 16-19, 38, 145, 147-48, 150-51; and religion, 21, 256; text selections (*Commentary on the Treatise on Drama), 148; text selections (Mirror of the Heart), 149-54

Bhatta Nrisimha, 157-80

Bhatta Tota, 181-82; Abhinavagupta on, 181, 182, 183, 187; and chronology, 37, 181-82; on rasa as instruction, 32, 192; on rasa as residing in the poet, 6; on rasa theory expansion from drama to poetry, 14; on reception theory, 182; on religion, 21; on Shri Shankuka, 78, 182, 183-86; text selections, 182-87

Bhavabhuti, 13 bhāvakāvya. See emotion poetry bhāvanā. See actualization

bhāvas. See emotions bhāvayan (bringing into being), 6 bhāvukas, 22

Bhoja, 110-14; and chronology, xiii, 154, 155; on didactic function of rasa, 68, 85; and documentary lacunae, 111; elite status of, 39; on emotion tropes, 114, 128-30, 134-35; and Kavikarnapura, 291; Mammata on, 224; and methodology, xiii; minimal influence of, 35; and philosophy, 36; and Ramachandra/Gunachandra, 239; on rasa as love, 111-12, 291; on rasa as residing in the character, 16, 113, 157; on rasa theory expansion from drama to poetry, 14; on rasa typology, 15, 41, 132-33; and reception theory, 113, 114, 156; and Samkhya, 36, 112, 122; on sense of self, 36, 112, 120, 123, 134, 135-36; text selections (Light on Passion), 119-43; text selections (Necklace for the Goddess of Language), 115-19; and Vishvanatha, 261 Blazing Sapphire (Ujjvalanīlamaņi), 302 bliss. See rasa as pleasure

Bouquet of Rasa (Rasamañjarī) (Bhanudatta), 40, 280 Brief Annotation (Bhatta Nrisimha), 157-80. See also Bhatta Nrisimha

Brief Elucidation (Pratiharenduraja), 68-70, 71, 72-73, 74. See also Pratiharenduraja buddhi, translation of, xvi, xvii

Buddhism, 27, 78, 196, 207

camatkāra, xV

cause and effect: Mahima Bhatta on, 107; Treatise on Drama on, 51-52

The Central Gem (Mallinatha), 249, 250, 252, 253, 254, 255. See also Mallinatha

Chaitanya, 22, 290-91, 293, 300, 301 Chandidasa, 227

character as site of rasa. See rasa as residing in the character; rasa as residing in drama

chronology, xii-xiii, 36-37. See also specific authors

cittavrtti (psychological modality), xvi, 19, 89, 106, 189 colonialism, 4, 40

comic rasa, xvii, 131 commentary: and intellectual history, 38-39, 190; and methodology, xiii. See also specific authors Commentary (Lokanatha Chakravartin), xiii, 291, 293, 294, 295, 296, 298 Commentary on Analysis of "Manifestation" (Ruyyaka), 237-38. See also Ruyyaka

*Commentary on the Treatise on Drama (Bhatta Lollata), 76-79. See also Bhatta Lollata

*Commentary on the Treatise on Drama (Bhatta Nayaka), 144, 148 *Commentary on the Treatise on Drama (Shri Shankuka), 79-84. See also Shri Shankuka

commonization (sādhāraņīkaraņa): Abhinavagupta on, 194, 203-4; Bhatta Nayaka on, 18, 33, 67, 145, 146, 149, 153, 154; Vishvanatha

on, 262

compassion, 27

Compendium of Tropes (Ruyyaka), 235 conflicting rasas: Anandavardhana on, 29, 94, 95-96; Arjunavarmadeva on, 276-77; Dhanamjaya/Dhanika on, 29-31, 161, 162-64; Kuntaka on, 103-4; Mammata on, 29, 30, 225. See also mixture of rasas

The Connoisseur's Sport (Sahrdayalīlā), 235

consciousness: Kuntaka on, 98-99; and Vedanta, 24-25

content rasa, 59 Critique of Judgment (Kant), 4

Dandin, 58-60; and Bhamaha, 56, 57; Bhoja on, 114, 128, 129, 134-35; and chronology, 36; on emotion tropes, 10-11, 59-60, 61-65, 85, 134-35; importance of, 59; on rasa as residing in the character, 15; on rasa as residing in the poet, 6; text selections, 60-65

Darwin, Charles, 8-9, 15

Dev, 281

devotional rasa, 41; Jagannatha on, 316-17, 325-26; Kavikarnapura on, 291, 294, 299; Rupa Gosvamin/Jiva Gosvamin on, 300, 301, 302, 303-10; Vopadeva on, 22, 286, 287-89. See also religion

Dhanamjaya, 154-57; and Abhinavagupta, 190, 191; and Bhatta Nayaka, 144, 156; and chronology, xiii, 154; and epistemology, 155-56; on rasa as instruction, 32; on rasa typology, 15; on reception theory, 155-56, 174; text selections, 157-80; and Vidyadhara, 248; and Vishvanatha, 261

Dhanika, 24, 154-57; and Abhinavagupta, 190, 191; and Bhatta Nayaka, 144, 156; and chronology, xiii, 154-55; on conflicting rasas, 29- 30; and documentary lacunae, 155; and epistemology, 155-56; on manifestation, 13, 20, 167-70, 172, 174-75; on rasa as instruction, 32; on rasa typology, 15; on reception theory, 20, 155-56, 157, 158, 175; text selections, 157-80; and Vedanta, 256; and Vidyanatha, 255; and Vishvanatha, 261

Dharmadatta, 261

Dharmakirti, 78

dhṛti, xvi dhvani (implicature). See manifestation

didactic function of rasa: Abhinavagupta on, 68, 85; Bhoja on, 68, 85; and Rudrata, 85; and Udbhata, 67-68 Divine Jewel of Ornamentation (Kavikarnapura), xiii, 293-99. See also Kavikarnapura documentary lacunae: and intellectual history, 37-38; and methodology, xi, xii, 35, 37; and Treatise on Drama, 49. See also specific works drama: Abhinavagupta on, 190, 191, 196-97, 207-10, 218-22; Bhatta Tota on, 182, 183; Ramachandra/Gunachandra on, 246-47; rasa as residing in, 7-9, 48-49, 66, 243. See also rasa theory expansion from drama to poetry; Treatise on Drama

Druhin, 50

Dufrenne, Mikel, 26, 42

Eagleton, Terry, 39 The Earring of the Many-Colored Lotus (Shri Shankuka), 77

ego. See sense of self

elites, 39 Elixir for the Rasika (Arjunavarmadeva), 277-80. See also Arjunavarmadeva

emotion poetry (bhāvakāvya): Arjunavarmadeva on, 276; Mammata on, 225; Pratiharenduraja on, 68, 69-70; Rupa Gosvamin/Jiva Gosvamin on, 302

emotion tropes: Anandavardhana on, 11-12, 89, 91-93; Bhamaha on, 10-11, 56-58, 85; Bhoja on, 114, 128-30, 134-35; Dandin on, 10- 11, 59-60, 61-65, 85, 134-35; Kuntaka on, 12, 99, 102-5; Pratiharenduraja on, 11, 66, 69-71; Ramachandra/Gunachandra on, 245; Rudrata on, 84; Udbhata on, 11, 66, 68, 70

emotions: Bhoja on, 112, 133; Dandin on, 59; definitions of, xvi, 6; delimiting of, 7-9; Dhanamjaya/Dhanika on, 156, 159; Treatise on Drama on, 6, 7-8, 49, 53-55; Western aesthetics on, 4-5, 44-45. See also stable emotions; transitory emotions

encomia. See praise poems

epistemology, 15-16, 155-56; Abhinavagupta on, 210-18; Anandavardhana on, 19-20, 89; Bhatta Nayaka on, 17; Dhanamjaya/Dhanika on, 20; Shri Shankuka on, 89; and Vedanta, 315-16. See also actualization; imitation; manifestation

erotic rasa: Anandavardhana on, 97; Arjunavarmadeva on, 276-77, 278-79; Bhamaha on, 57; Bhanudatta on, 280; Bhoja on, 125, 126, 131; and religion, 22; Rudrata on, 85, 86; and semblance of rasa (abhasa), 28; translation of, xvii; Treatise on Drama on, 22, 52-53; Vopadeva on, 286, 289-90. See also erotic thwarted rasa

erotic thwarted rasa (vipralambhaśrngāra): Kuntaka on, 100, 103-4; Pratiharenduraja on, 71; vs. tragic rasa, 53; translation of, xv-xvi; Treatise on Drama on, 22, 52-53; Udbhata on, 71

Essence of Literary Art (Modak), 40

Essential Component of the Ornament of Poetry (Udbhata), 68-74. See also Udbhata

eventful narrative (arthavada), 36

Examination of Literature (Shrivatsalanchana), 311 Examination of The Wishing Vine (Kalpalatāviveka), 189

Exegesis (Abhinavagupta), 181, 187

Exegesis of Rasa (Bhatta Lollata), 74-75

Exegesis (Tilaka), 68, 69, 70, 71, 74. See also Tilaka

experientialization, 18, 19, 38, 146, 147, 151, 152, 153

expression theory, 5-6 The Eye (Anantadasa), 263, 265

Eye for Light on Implicature (Abhinavagupta), 49, 187, 188. See also Abhinavagupta

fantasy rasa, 40-41, 132

figures of speech. See emotion tropes flaws of rasa, 29, 224-25, 228-35. See also conflicting rasas foundational factors: Bhanudatta on, 280; Bhatta Nayaka on, 18, 150, 152, 154; bhava as representing, xvi; Bhoja on, 130-31; Dhanamjaya/Dhanika on, 158, 175-77; Kuntaka on, 101; Pratiharenduraja on, 69; Ramachandra/Gunachandra on, 243-44; and rasa as residing in drama, 7; translation of, xiv-XV; Treatise on Drama on, 7. See also aesthetic elements

Gadamer, Hans-Georg, 4 The Girl Named Digit-of-the-Moon (Vishvanatha), 261 Gracian, Balthasar, 43

Grice, H. P., XV

Guarding the Tradition (Vadijanghala), 59, 60, 61 Gunachandra, 239-40; and Abhinavagupta, 189, 239; text selections, 241-55 gunas (language qualities), 59

haughty declarations: Bhamaha on, 56, 57, 58; Bhoja on, 114, 128; Dandin on, 59, 64-65; Kuntaka on, 99; Udbhata on, 66

Hegel, G. W.F., 4 Hemachandra: and Abhinavagupta, 189; on Bhatta Lollata, 74-75; and Bhatta Tota, 181; and Ramachandra/Gunachandra, 239; and religion, 22; and Shri Shankuka, 77

Hemadri, 286

hermeneutics, 147. See also Bhatta Nayaka; reception theory

heroic rasa, 131-32, 277, 279 Hrdayadarpana (Mirror of the Heart) (Bhatta Nayaka). See Mirror of the Heart

Hume, David, 42, 43 Hundred of Amaru, 28

Hundred Poems to the Goddess (Deviśataka) (Anandavardhana), 87 Hutcheson, Francis, 4

imitation: Abhinavagupta on, 195, 211, 220-21; Bhatta Tota on, 182, 183-86; Ramachandra/Gunachandra on, 240, 246-47; Shri Shankuka on, 2, 36, 78-79, 182, 183-85

Immortal Life of Chaitanya (Caitanyacaritāmrta), 301 implicature (dhvani), xv. See also manifestation Induraja. See Pratiharenduraja

An Inquiry Concerning Beauty (Hutcheson), 4 instruction. See rasa as instruction

intellectual history, 35-41; Abhinavagupta on, 191; and chronology, 36-37; and commentary, 38-39, 190; and documentary lacunae, 37-38; and Jagannatha, 316; and Kavikarnapura, 293; and philosophy/religion, 35-36, 44, 188; and Vidyanatha, 256 interpretation, 3

intimation of rasa, 22

Introduction to Linguistic Modalities (Sabdavyāpāraparicaya) (Mammata), 224

Jagannatha, 314-17; on Bhatta Nayaka, 147-48, 316, 319-20; and chronology, 37; on rasa typology, 41; and religion, 36; on semblance of rasa, 29, 315, 326; on Sutra on Rasa, 48, 323-24; text selections, 317-26; and Vedanta, 24-25, 315; and Vishvanathadeva, 310, 311,

315

Jain tradition, 191, 240

James, William, 8

The Jewel Store (Kumarasvamin), 257-58, 259, 260-61. See also Kumarasvamin

Jiva Gosvamin, 36, 300-3; and chronology, xiii; and Jagannatha, 315, 316; and Kavikarnapura, 291, 292, 293; and rasa as residing in the character, 23, 304; text selections (Passage Through the Impassable), 303, 304, 305, 306-10; text selections (Treatise on Divine Love), 306-10

Kalhana. See River of Kings

from drama to poetry, 12-14; and reception theory, 19-20, 38; Ruyyaka on, 189, 235, 236-38; taxonomy of, 12-13; Vidyadhara on 249; Vidyanatha on, 255; Vishvanatha on, 262-64, 265

Manual of Poetry (Hemachandra), 239

Mayura, 78 methodology, xi-xviii; and access to intellectual history, 35; and chronology, xii-xiii; citations, xviii; and commentary, xiii; and documentary lacunae, xi, xii, 35, 37; exclusions, xii; and poetry examples, xiii-xiv; and terminology, xiv-xviii Mimamsa: and Bhatta Nayaka, 36, 145, 146, 147, 190; on emotion tropes, 11; and rasa as residing in the character, 17, 18; and Vedanta, 311

mimesis. See imitation

Mirror of Drama (Ramachandra and Gunachandra), 241-55. See also Gunachandra; Ramachandra Mirror of the Heart (Hrdayadarpana) (Bhatta Nayaka), 149-54; and chronology, xiii. See also Bhatta Nayaka Mirror of Literary Art (Vishvanatha), 263-69. See also Vishvanatha Mirror of Poetry (Rajacudamani Diksita), 39-40

mixture of rasas, 138-42, 279-80. See also conflicting rasas

Modak, Acyutaray, 40

modernity, 4, 315 The Moon on the Rasa Ocean (Singabhupala), 271-75 Moonlight of Rapture (Vishveshvara), 269 Moonrise of Chaitanya (Caitanyacandrodaya) (Kavikarnapura), 293 The Moon's Crescent (Mrgākalekhā) (Vishvanathadeva), 310

Mukula Bhatta, 60

mundane vs. supermundane rasas: Abhinavagupta on, 20-21, 201-3, 219, 302; Bhanudatta on, 281-82, 284; Bhatta Nayaka on, 152; Dhanamjaya/Dhanika on, 20; Jagannatha on, 317; Ramachandra on, 252; Rupa Gosvamin/Jiva Gosvamin on, 23, 301, 302, 305, 306, 307-9; Vidyanatha on, 256, 257-58, 259, 260; Vishvanatha on, 266 music (samgīta), 2

Nagesha Bhatta, 311-12

Namisadhu, 84, 85, 86

Naraharisuri, 256

Narayana, 261 nāțya (drama), 56 nāțyaśāstra (theory of drama), 6. See also Treatise on Drama Necklace for the Goddess of Language (Bhoja): authorship of, 110; text selections, 115-19. See also Bhoja The Nectar Ocean of Literary Art (Vishvanathadeva), 312-14. See also Vishvanathadeva The New Dramatic Art (Abhinavagupta), 49, 189, 193-223. See also Abhinavagupta

New Logic, 314

New Scholars, 316, 320-22

noble rasa, 135

Notes (Namisadhu), 84, 85, 86

Observations (Dhanika), 157-80

ontology of rasa. See locus of rasa Ornament of the Fame of King Prataparudra (Vidyanatha), 257-61. See also Vidyanatha Ornament of Poetry (Bhamaha), 57-58. See also Bhamaha Ornament of Poetry (Rudrata): text selections, 85-86. See also Rudrata

ornaments. See emotion tropes

painting, 2, 24, 280

Panini, 47

Paramananda Chakravartin, 227-28

Passage Through the Impassable (Jiva Gosvamin), 303, 304, 305, 306-10. See also Jiva Gosvamin passion. See sense of self

peaceful rasa: Abhinavagupta on, 22, 48, 193; Bhatta Tota on, 187; Bhoja on, 133; Dhanamjaya/Dhanika on, 165, 179; dispute over, 15; Jagannatha on, 324-25; in Mahābhārata, 87; Mammata on, 21, 225, 226; and religion, 21-22; and Treatise on Drama, 48

Pearls of the Bhagavata (Vopadeva), 287-90. See also Vopadeva

pedagogy. See rasa as instruction

Philosopher's Stone of the Four Ends of Man (Caturvargacintamani), 286 philosophy: and intellectual history, 35-36, 188; Vedanta, 24-25, 256, 310-14, 315-16; Vishvanatha on, 262

physical reactions. See reactions pleasure. See rasa as pleasure

poetics (alankāraśāstra), 6-7, 10, 56, 84-86

poetry. See literature

postcolonial thought, 44

praise poems, 247-48, 255, 261

Pratiharenduraja: and chronology, 37; on didactic function of rasa, 85; on emotion poetry, 68, 69-70; on emotion tropes, 11, 66, 69- 71; on proper terms, 67; on quiescence, 72-73; on rasa as instruction, 31; on rasa as residing in the character, 67; on stable emotions, 31, 32, 67, 70; text selections, 68-70, 71, 72-73, 74; on Udbhata's identity, 65, 66

proper terms: Anandavardhana on, 43, 78, 88, 90; Kuntaka on, 102-3; Mammata on, 192, 225, 229, 231; Shri Shankuka on, 78, 192; Udbhata on, 11, 67, 78, 88, 192

propriety, 43-44; Anandavardhana on, 93-94; Kavikarnapura on, 295-96; Mammata on, 225; and rasa as instruction, 32, 33; Udbhata on, 72. See also semblance of rasa; social states

psychophysical responses (sāttvikabhāvas), 7, 55, 84, 160. See also aesthetic elements

purāņas, 325

"The Quest for the Golden Flowers" (Saugandhikāharana), 261

quiescence: Bhoja on, 140; Dhanamjaya/Dhanika on, 165; Pratiharenduraja on, 72-73; Ratnashrijnana on, 67; Udbhata on, 11, 66, 72, 73

Rajachudamani Dikshita, 37, 39-40

rajaḥ, xv Ramachandra, 239-40; and Abhinavagupta, 189, 239; text selections, 241-55 Rāmāyana (Valmiki), 5, 28

rapture. See rasa as pleasure

rasa, translations of, xvii, 4

rasa as instruction, 31-34; Abhinavagupta on, 32, 33, 192-93

rasa as love: Bhoja on, 111-12, 291; Kavikarnapura on, 299

rasa of phenomenal reality, 285

rasa as pleasure: Abhinavagupta on, 191, 195, 210, 239-40, 292; Dhanamjaya/Dhanika on, 292; Jagannatha on, 321-22; Kavikarnapura on, 292, 295, 297; Mahima Bhatta on, 109; Ramachandra/Gunachandra on, 239-40, 241-42, 292; Vidyadhara on, 252-53;

Vishvanatha on, 265-66

rasa as residing in the character, 15-16, 19, 20; and aesthetic elements, 25; Anandavardhana on, 15-16, 19, 20, 88, 89, 188; Bhatta Lollata on, 15, 23, 89; Bhatta Narasimha on, 113-14, 115-16; Bhoja on, 16, 113, 157; and epistemology, 155-56; and Mimamsa, 17, 18; Pratiharenduraja on, 67; and religion, 23, 301, 304. See also emotion tropes; locus of rasa

rasa as residing in the drama, 7-9, 48-49, 66, 243. See also locus of rasa

rasa as residing in the poet, 5-6. See also locus of rasa

rasa as residing in the reader/viewer. See reception theory

rasa theory: decline of, 39-41; origins of, 39; relevance of, 45. See also intellectual history; methodology; rasa theory expansion from

drama to poetry

rasa theory expansion from drama to poetry, 6-7, 9-16; and emotion tropes, 10-12; and manifestation, 12-14; and Ornament of

Poetry, 56; and rasa typology, 11, 14-16; and translation, xviii; transparency of, 9-10

rasa typology: Abhinavagupta on, 33, 48, 206-7, 216; Bhoja on, 15, 41, 132-33; and conflicting rasas, 29-31; and decline of rasa theory, 41; Kavikarnapura on, 293-94; Pratiharenduraja on, 70; and rasa theory expansion from drama to poetry, 11, 14-16; Rudrata on, 85, 86; Rupa Gosvamin on, 300; and semblance of rasa, 29; Shri Shankuka on, 80-81; Tilaka on, 70; Treatise on Drama on, 48; Udbhata on, 11, 66, 70; Vopadeva on, 287-88. See also specific rasas

rasa-laden statements: Anandavardhana on, 89, 91, 92; Arjunavarmadeva on, 279-80; Bhamaha on, 56, 57, 58; Bhoja on, 114, 128-29;

Dandin on, 59-60, 62-64; Kuntaka on, 99, 102, 103; Pratiharenduraja on, 70-71; Ramachandra/Gunachandra on, 245; Udbhata on, 66, 70. See also emotion tropes

rasāśraya. See locus of rasa

rasasūtra. See Sutra on Rasa

rasikas: Anantadasa on, 265; Bhoja on, 125; Dhanamjaya/Dhanika on, 171, 174; and rasa as instruction, 34; and religion, 22; Ruyyaka on, 236; translation of, xvii; Vishvanatha on, 34, 264. See also reception theory

Ratna's Glory (Ratnashrijnana), 6, 60, 61-62, 63, 64, 65. See also Ratnashrijnana

Ratnashrijnana, 6, 59; text selections, 60, 61-62, 63, 64, 65

ratyādi. See stable emotions

reactions (anubhava): Bhanudatta on, 281, 283; Bhatta Lollata on, 75; Bhoja on, 118-19, 136-37, 142; Dhanamjaya/Dhanika on, 156, 159; Ramachandra/Gunachandra on, 242; and reception theory, 156, 281; translation of, xv. See also aesthetic elements

reader/viewer as site of rasa. See reception theory

reception theory, 5; Abhinavagupta on, 19-20, 37, 38, 99, 189, 190, 191; and aesthetic elements, 25-26, 156; Bahurupa Mishra on, 176; Bhanudatta on, 280; Bhatta Narasimha on, 115; Bhatta Nayaka on, xv, 16-19, 38, 145, 147-48, 150-51; Bhatta Tota on, 182; and Bhoja, 113, 114, 156; Dhanamjaya/Dhanika on, 20, 155-56, 157, 158, 174, 175; and epistemology, 155-56; Kavikarnapura on, 292, 294-95, 296-98; Kuntaka on, 98-99; and Mahima Bhatta, 106; and manifestation, 19-20, 38; and Pratiharenduraja, 67; and storyworld, 20-21

religion, 21-26; Bhāgavatapurāna, 22, 23, 285, 302; and intellectual history, 35-36, 44; and Jagannatha, 316-17; and Kavikarnapura, 290-91, 292; and locus of rasa, 256; and peaceful rasa, 21-22; and poetry, 40; and rasa as residing in the character, 23, 301, 304;

religious literature as sole repository of rasa, 23-24, 302-3; and Rupa Gosvamin/Jiva Gosvamin, 293, 300, 301, 302; and Western aesthetics, 3-4. See also devotional rasa; philosophy religious rasa, 291

River of Kings (Kalhana), 65, 77, 87, 145

River of Rasa (Bhanudatta), 282-85. See also Bhanudatta

Rorty, Richard, 33

Rousseau, Jean-Jacques, 112

Rudra Bhatta, 56, 239

Rudrata, 10, 11, 84-85, 114; text selections, 85-86

Rupa Gosvamin, 36, 300-3; and chronology, xiii; and Jagannatha, 315, 316; and Kavikarnapura, 291, 292, 293; and rasa as residing in the character, 23, 301, 304; text selections, 303-6

Ruyyaka, xiii, 235-36; and Abhinavagupta, 235; on Bhatta Nayaka, 151-53; and chronology, 37; on Mammata, 226, 235; on manifestation, 189, 235, 236-38; text selections, 236-37

śabdavrtti (linguistic modality), 19, 89, 106, 189

sāhitya (literary art), 261

sāmājika (audience), 12. See also reception theory

samgīta (music), 2

Samkhya, xv, 36, 112, 122

samuparañjakatva, xv

sattva, xv, 8. See also psychophysical responses sāttvikabhāvas. See psychophysical responses

saundarya (beauty), 3

Schleiermacher, Friedrich, 4

scientific rationalism, 4

Secret of Rasa (Kulapati Mishra), 40

Sellars, Wilfrid, 191 semblance of rasa (ābhāsa), 27-29; Abhinavagupta on, 27-28, 213-14; Bhoja on, 117, 127, 139-40, 142; Jagannatha on, 29, 315, 326; Kavikarnapura on, 291, 295-96; Kuntaka on, 106; Singabhupala on, 28, 269-70, 271-73; Udbhata on, 11, 28, 66; Vidyadhara on, 254

sense of self (passion), 36, 112, 120, 123, 134, 135-36 sensitivity. See psychophysical responses

Shaivism, 187

Short Explanation of Light on Poetry (Ruyyaka), 236-37. See also Ruyyaka

Shri Shankuka, 77-79; Abhinavagupta on, 211; on Bhatta Lollata, 74, 79; Bhatta Tota on, 78, 182, 183-86; and chronology, 77; and documentary lacunae, 77; on epistemology, 89; on imitation, 2, 36, 78-79, 182, 183-85; and Mahima Bhatta, 78, 106; and manifestation, 13; and Ramachandra/Gunachandra, 239; on rasa typology, 80-81; text selections, 79-84

Shridhara, 226, 227, 228, 307

Shrivatsalanchana, 311

Simhabhupala, on Bhatta Nayaka, 154

Singabhupala, 269-71; on animals, 249, 270-71, 273-74; on consciousness, 98-99; on semblance of rasa, 28, 269-70, 271-73; text selections, 271-75

The Single Strand (Vidyadhara), 249-55. See also Vidyadhara

śloka (versified poetry), and rasa as residing in the poet, 5

social status, 27, 43-44, 93, 199, 225, 226

śoka (grief), 5

sound rasa, 59

śrngāra (erotic love), xvii. See also erotic rasa stable emotions (sthāyibhava): as basic emotion, 7, 25; omission from Sutra on Rasa, 75, 82; as sāmānyarūpa, 67; Sanskrit term for, xv. See also aesthetic elements; foundational factors; imitation; manifestation

stable emotions, defined: Bhanudatta on, 283; Bhatta Lollata on, 76; Bhoja on, 118, 125-26; Dhanamjaya/Dhanika on, 29-30, 161; Ramachandra/Gunachandra on, 241; Vishvanatha on, 264

stable emotions identified with rasa: Abhinavagupta on, 195-96, 201-2; Ramachandra/Gunachandra on, 245-46

stable emotions, rasa as enhancement of: Abhinavagupta on, 15, 281; Anandavardhana on, 15-16; Bhanudatta on, 76, 280-81; Bhatta Lollata on, 23, 75-76, 195, 281; Bhatta Nayaka on, 18; Kuntaka on, 98, 99, 100; Pratiharenduraja on, 32, 70; Rudrata on, 85; Rupa Gosvamin on, 300-301; Shri Shankuka on, 79-80 stable emotions, typology of: Abhinavagupta on, 198, 199; Bhoja on, 117; Dhanamjaya/Dhanika on, 164-65; Kavikarnapura on, 293; Treatise on Drama on, 50

sthāyibhāva. See stable emotions

stimulant factors, 7, 101, 158. See also aesthetic elements

The Story of the Beautiful Woman of Avanti (Dandin), 58

storyworld, 20-21, 156, 244, 286, 292, 301

stotra, 21-22

subjective state. See reception theory

Sutra on Rasa (rasasūtra) (Treatise on Drama): Abhinavagupta on, 203; Anandavardhana's ignoring of, 87; Bhatta Lollata on, 75-77; Bhoja on, 128, 130; importance of, 7, 48; Jagannatha on, 48, 323-24; omission of stable emotions from, 75, 82; Shri Shankuka on, 81; text of, 50; Tilaka on, 69; Treatise on Drama on, 53. See also aesthetic elements

tamaḥ, xV

taste, 41-44; Abhinavagupta on, 43, 190, 205-06; Dhanamjaya/Dhanika on, 174; and reception theory, 49, 150; and totality of rasa, 26; Treatise on Drama on, 9, 49, 50-51; Western aesthetics on, 4, 43

tātparya (sentence intentionality, purport), 13

The Ten Dramatic Forms (Dhanamjaya), 157-80. See also Dhanamjaya terminology translations, xiv-xviii. See also specific terms

Tilaka: and commonization, 67; and methodology, xiii; text selections, 68, 69, 70, 71, 74; and Udbhata, 60, 235

totality of rasa, 26

tragic rasa (karuņa), 27; Anandavardhana on, 89, 91; Arjunavarmadeva on, 276-77, 278-79; vs. erotic thwarted rasa, 53; Kavikarnapura on, 292; Kuntaka on, 100-101, 103-4; and rasa as residing in the poet, 5; Shri Shankuka on, 78, 83; Treatise on Drama

on, 53 transitory emotions (vyabhicāribhāva): Abhinavagupta on, 200, 207; Bhanudatta on, 284-85; Bhoja on, 117, 118, 131, 132, 136-37; Dhanamjaya/Dhanika on, 160; Mammata on, 228; Pratiharenduraja on, 69-70; Ramachandra/Gunachandra on, 244-45; Treatise on Drama on, 7-8, 50, 52-53, 55. See also aesthetic elements Treatise on Divine Love (Jiva Gosvamin), 306-10. See also Jiva Gosvamin

Treatise on Drama (Nāțyaśāstra), 47-49; on aesthetic elements, 7-8, 26-27; authorship of, 7, 47; Bhatta Nayaka on, 148; Bhoja on, 111, 132, 134; on cause and effect, 51-52; and chronology, xii-xiii; commentaries on, 49; constituent parts of drama in, 7-8; on emotions, 6, 7-8, 49, 53-55; on erotic rasa, 22, 52-53; and peaceful rasa, 48; on rasa as residing in drama, 7-9, 48-49; on rasa as residing in the poet, 6; rasa typology in, 48; on social states, 27; text selections, 50-55; on transitory emotions, 7-8, 50, 52-53, 55; on typology of stable emotions, 50. See also Abhinavagupta; Bhatta Lollata; Sutra on Rasa; Udbhata

tropes. See emotion tropes

Udbhata, 65-68; on aesthetic elements, 11; commentaries on, xiii; and documentary lacunae, 49; on emotion tropes, 11, 66, 68, 70; identity of, 65-66; on intimation of rasa, 22; and manifestation, 13; on proper terms, 11, 67, 78, 88, 192; on rasa typology, 11, 66, 70; on semblance of rasa, 11, 28, 66; as source for Treatise on Drama content, 47; text selections, 68-74; and Tilaka, 60, 235

Upanishads, 25, 311, 315 Utpaladeva, 22

Vachaspatimishra, 112

Vadijanghala, 59, 60, 61 Vaishnava tradition: Bhāgavatapurāņa, 22, 23, 285, 302; and Jagannatha, 316-17; and Kavikarnapura, 290-91, 292; and poetry, 40; and religious literature as sole repository of rasa, 23-24, 302-3; and Rupa Gosvamin/Jiva Gosvamin, 293, 300, 301, 302 vakrokti (striking usage), 98

Vatsyayana, on buddhi, xvii Vedanta, 24-25, 256, 310-14, 315-16

Vedas, 17, 18. See also Mimamsa

vibhāvadi. See aesthetic elements

vibhāvana, xV

Vidyadhara, 247-49; and Anandavardhana, 248; and Mammata, 248; Singabhupala on, 270; text selections, 249-55; and Vishvanatha, 261

Vidyanatha, xiv, 98, 255-56; text selections, 257-61

viewer/reader as site of rasa. See reception theory

violent rasa, 57

vipralambhaśrngara. See erotic thwarted rasa Vishvanatha, 261-63; and chronology, 261; and Mammata, 227, 261; on rasikas, 34, 264; and Shrivatsalanchana, 311; text selections, 263-69; and Vedanta, 24, 256 Vishvanathadeva, 310-12; and Jagannatha, 310, 311, 315; and religion, 36; text selections, 312-14; and Vedanta, 24-25, 310-11

Vishveshvara, 270

viśrānti. See absorption

The Vital Force of Literary Language (Kuntaka), 99-106. See also Kuntaka Vopadeva, 285-87; and chronology, xiii; and religion, 22; and Rupa Gosvamin, 300; text selections, 287-90 vyabhicaribhāva. See transitory emotions vyakti. See manifestation vyañjanā. See manifestation

Ways of a Lovely Woman (Bhāminīvilāsa) (Jagannatha), 315

Weber, Max, 3-4, 44

Wellek, René, 44-45

Western aesthetics: art as unified sphere in, 2; and elites, 39; on emotions, 4-5, 44-45; and philosophy, 36; and rasa as instruction, 33; and religion, 3-4; on taste, 4, 43 Wimsatt, W. K., 44, 45