359. THE RASA SCHOOL 361

THE RASA SCHOOL 361

is the passage 'विभावानुभावव्यमिचारिसंयोगाद्रसनिष्पत्तिः' (नाव्यशास VI.p. 274 G. O. S.). Two matters have to be noted in relation to this sutra : (1) the word wufa does not occur in it and (2) it is somewhat vague, particularly as to the import of the two words संयोग and निष्पत्ति. There are four interpretations of this sutra respectively made by लोल्लट, शङ्कुक, नायक and अभिनवगुप्त and the रसगङ्गाघर (p. 28) speaks of eight varying interpretations. The original works of लोल्लट, शङ्कुक and नायक are not yet found and we have to rely upon the summaries of their doctrines furnished by their adverse critics such as अभिनवगुप्त and मम्मट. These four views are respectively labelled उत्पत्तिवाद, अनुमि तिवाद, भक्तिवाद and अभिव्यक्तिवाद (of अमिनव०, मम्मट and most others). Before briefly stating the interpretations of these ancient writers, we must first understand the ideas underlying the technical words employed in the rasasūtra. There are certain permanent and dominant propensities or basic moods in the minds of all theatre-going people or readers of poetry which are ordinarily dormant, but when appropriate stimuli such as dialogues, songs, acting and music in case of drama, and mere words in the case of a poem are employed, they are roused and evolve a pleasurable state of the mind of the spectator or reader. These permanent moods are called rarfa- Ta. Bharata (VII. vol. I pp. 350-351) illustrates why these moods are called स्थायि. Though a king and his servants are all posscssed of similar limbs and physical endowments, one man is called the king and others wait upon him, so one mood is called स्थायि and others associated with it are called विभाव, अ्रनुभाव and व्यभिचारि and the स्थायिभाव so accompanied attains the position of रस (the aesthetic pleasure or relish). 'यथा नरेन्द्रो बहुजनपरिवारोपि सन्स एव नाम लभते नान्य: सुमहानपि पुरुषः । तथा विभावानुभाव- व्यभिचारिपरिवृतः स्थायी भावो रसनाम लभते। भवति चात्र श्रोकः । यथा नराणां नृपतिः शिष्यार्णां च यथा गुरुः। एवं दि सर्वभावानां भाव: स्थायी महानिद्द ॥' नाय्यशाख K. M. ed. chap. VII. 8 and G. O. S. ed., VII. pp. 350-51. The द शरूप (IV. 34) deseribes स्थायिभाव from another stand-point, viz. स्थायिभाव is like the ocean which may be now and then disturbed by other भावs but always retains its own position; so स्थायिभाव is that dominant mood which is not broken up altogether by other bhavas and makes the other bhāvas subordinate to itself. The permanent or dominant moods that may be aroused by