10. HISTORY OF INDIAN ÆSTHETICS 11

HISTORY OF INDIAN ÆSTHETICS 11

IMPORTANCE OF RASA IN THE EYES OF BHARATA

We have already stated that the main topies, dealt with in the Natya Sastra, are four only, acting, dance; music and Rasa. The first three are the means, primary or secondary, of presentation of Rasa. All the subsidiary topics, on which Bharata has written, have a direct or indirect bearing on it, in so far as they are talked about in respect of their relation to the presentation of Rasa. Thus, when he recommends the midsized theatre, thirty. two "Hastas" in length and sixty-two "Hastas" in breadth (i. e. 48 by 96 feet) his one concern is Rasa. For, if the theatre be too long it will make the Rasa, that is presented in terms of speech and various facial expressions of internal1 states, indistinct to the spectator.

In his treatment of dance he recoghises different kinds of dance to be the sources of different2 types of Rasa. He also holds that subtle intonations in the song, which accom. pany dance, represent what remains unpresented in languagea. Thus, according to him, dance also is a means of presenting Rasa.

After dealing with the importance of geheral introduc- tion to drama, which consists of Nandi, a brief introduction to drama and songs, he gives a rule that it should not be too long. For, if it be too long, the actors will get tired4 and, therefore, shall not be able to clearly present Rasa; and similarly the spectator, being bored by inordinate length, will not be able to relish Rasa.

Thus, most of the things, that Bharata talks of, are

1. A. Bh., Vol. I. 53-4 2. A. Bh., Vol. I. 182.

2. A. Bh., Vol. 1. 175. 4. A. Bh., Vol. 1. 248.

12 CHAPTER İ only the means of presenting Rasa. Rasa, therefore, being the final end of all that he talks about, is the most important thing from his point of view. The question, therefore, naturally arises "What is Rasa ?" CONSTITUENTS OF RASA, THE AESTHETIC OBJECT. Rasa, the æsthetic object, is essentially a product of dramatic art and is not to be found in the creations1 of nature. It is not pure unity, but unity in multiplicity. The unifying factor in the multiplicity is a basic state of mind (Sthayibhava) which binds together in an organic whole, (1) the emotive situation in human setting, consisting of the physical cause of the basic mental state (Vibhava) (2) the mimetic changes, which are inspired by the aroused basic mental state and as such are indicative of the internal state (Anubhava), and (3) the transient emotions (Vyabhicāribhāva). The basic mental state is the central and the most important phase of this coafiguration. The rest are simply necessary accompaniments, very,much like the paraphernalia of a king. They raise the basic mental state to prominence just as paraphernalia does the king. And just as in the midst of the entire paraphernalia it is the king, who is the centre of attraction of the spectator, so is the basic mental state to the audience. Therefore, when it is stated that the basic mental state is the æsthetic object (Sthayi bhavo rasah smrtah) the implication is not that other constituents of the æsthetic configuration do not figure in the consciousness, but simply that they appear as subordinate. For a clear understanding of the essential nature of Rasa it is necessary to grasp the full implication of the technical terms, given in the brackets. 1. A. Bh., Vol. 1. 292.