358. 360 HISTORY OF SANSKRIT POETICS

360 HISTORY OF SANSKRIT POETICS

nothing was ugly in the world and that everything was beauti- ful when the dramatist or poet by his imaginative creation and the spectator or reader by imaginative centemplation expresses or visualises to himself the idealised circumstances delineated in the drama or poem. This is explicitly stated by the नाट्यशास्त्र 21. 122 in the words न तज्ज्ञानं &c quoted in note 2 on p. 35 and by भामह in V. 4. There are several works that expound the theory of rasa realization such as the नाट्यशास VI-VII with the commentary of अभिनव०, the सरस्वतीकएठाभरय V, शुक्गारप्रकाश, दशरूप, शुभ्गारतिलक, भावप्रकाशन, रसतरङिी. It is not possible to describe in detail what all these works say and to mark out the points of difference among some of them. Bharata's text being the earliest one I shall rely on that text and the अभिनवभारती there- on and briefly set forth the several interpretations of that sūtra. The pivot round which the whole rasa system revolves sorrow in it. The श. प्र. also said 'रसा हि सुखदुःखावस्थारूपाः' (Dr. Raghavan's 'Number of rasas' p. 155). Most writers, however, hold that all relishing of rasa due to dramatic representation is pleasurable. It is no doubt true that when an actor is seen weeping on the stage some at least among the audience find their eyes moist. The साहित्यदपण III. 8 explains 'अश्रुपाताद- यस्तदद्द्गुतत्वाच्चेतसो मताः'. The लोचन (on p. 18) puts the doctrine as follows 'यस्तु स्वप्नेपि न स्वशब्दवाच्यो न लौकिकव्यवहारपतितः, किंतु शब्दसमप्यमाय हृदयसंवादसुन्दर-विभावानुभावसमुदित-प्राङनिविष्टरत्यादिवासनानुराग- सकुमारस्वसंविदानन्दचर्वणव्यापाररसनीयरूपो रसः ।'. Vide also श्र. मा. vol. I.p. 290 'सामाजिकानां हि हषैकफलं नाट्यं न शोकादिफलम्।'. The नाट्यदर्पण passage is: स्थायी भाव: श्रितोत्कर्षो विभावव्यभिचारिभिः । स्पष्टानुभावनिश्चेय: सुखदुःखात्मको रस :... यत्पुनः सर्वरसानां सुखात्मकत्वमुच्यते तत्प्रतीतबाधितम्। pp. 158-159. Some of the works say that when one is relishing rasa all other cognitions disappear from the mind for the moment and the state of aesthetic enjoyment is like ब्रह्मानन्द, which state lasts as long as fanas and the other bhavas continue to operate. Compare काव्यप्रकाश IV. p. 92 'सामाजिकानां वासनात्मतया स्थितः स्थायी रत्यादिक :. चर्व्यमाणकताप्राणो विभावादिजीवितावधिः ... पुर इव परिस्फुरन् ... अन्यत्सर्वमिव तिरोदधद् ब्रह्मास्वादमिवान्भावयन् अलौकिकचमत्कार- कारी शुक्ारादिको रसः' Compare साहित्यदर्पण III. 2-3 for similar words. As regards there being a mixture of pain in rasa, the साहित्यदर्पय remarks III. 4-5 'करुणादावपि रसे जायते यत्परं सुखम्। सचेत- सामनुभवः प्रमाणं तत्र केवलम्। किं च तेषु यदा दुःखं न कोपि स्याचदुन्मुखः।'.