176. ABHINAVAGUPTA'S THEORY OF ÆSTHETICS 197

ABHINAVAGUPTA'S THEORY OF ÆSTHETICS 197

whatsoever, not excluding the affection by the consciousness of distinction between the pure Buddhi Sattva and the Self. Continuity of this state depends on the depth of the effect of Asamprajnata Samadhi1 consequent on its continuous practice. It is a stage in the Self-realisatio, which im- mediately precedes Kaivalya, the perfect Self-realisation. ŚANTA IN PRACTICAL LIFE. This continuous flow of the under-current of the pure Sattva in residual trace (Santa) is possible only so long as the Asamprajnata Samādhi lasts in initial stages. But when a yogin steadily repeats it, the effect of it on the current of Buddhi Sattva is so great that it continues to flow in the same manner even after the Samadhi has been broken and the Yogin enters the practical life. This flow, however, is occasionally2 interrupted by the residual traces of the objective experience when they assert themselves. A yogin then behaves like an ordinary man in practical life.

THE HERO OF SANTA RASA. The æsthetic experience at the Kathartic level, according to Abhinavagupta, is the experience of the Self free from all limitations, but affected by a basic mental state at a high pitch, through identification with the focus of the situation, the hero. Santa, as has been shown above, is essentially a transcendental state of mind. The Drama, however, is primarily concerned with the presentation of action. Sānta, therefore, being cessation of all physical and mental activities, does not admit of dramatic presentation. Hence some have rejected Santa as the ninth Rasa. Abhinavagupta's exposition of Santa is based on deep insight, close study and practical experience of Yoga. 1. Y.S., (Bh. V.) 123. 2. Y.S., (Bh. V.) 205.

198 CHAPTER I1I According to him, Santa is never to be presented as the principal Rasa. It has always to occupy a subordinate position to either Srngara or Vira. For, Bharata enjoins that in Nataka only such action is to be presented as leads to prosperity and happiness, because the presentation of such a life only as is occupied with the action of the said type, can bring about identification of all classes of people. But if so, the question arises where is the room for the presentation of Santa ? His reply is that a dramatist, who intends to present Santa Rasa, has got to be very careful in the choice of the hero of the piece. The hero ought to be a Yogin, who has practised Asamprajnata Samadhi and is at the stage, immediately preceding the Kaivalya, the perfect Self-realisation. For, such a hero will naturally have the flow of the current of the pure Sattva (Prasanta vāhita) even after the rise from Samadhi. The dramatist has to take further care to choose only that portion of hero's life for dramatisation wherein the flow of the current of pure Sattva in the residual trace is temporarily checked by the revival of the residual traces of the objecti- ve experience ; when he lives the life of a prrctical man pursuing a practical goal. In such a presentation Śrngara or Vira is related to Santa exactly in the manner in which Hāsya is related to Śrngāra. THE SELF AS THE STHAYIN OF SANTA. The realisation of the Ultimate is the only means to liberation. Therefore1, when the latter is to be presented as the hero's object of attainment, the former has necessarily to be presented as the Sthayin. The realisation of the Ultimate is nothing but the realisation of the Self. In the realisation of the Self, the latter (Self) does not appear as a distinct object, as in the case of the objective cognition 1. A. Bh., Vol. I. 337. ESL