365. THE RASA SCHOOL 367

THE RASA SCHOOL 367

in J. O. R., Madras, vol. X pp. 1-10, 97-114, 240-250 and vol. XI pp. 12-21, 77-115, 269-284 and in a separate book 'Number of Rasas' (1940) in which are included his contri- butions in the J.O.R. Madras. Vide pp. 12-13 above where this question about TFTH is discussed. From the Vikramorvasīya II. 18 and the काव्यादर्श II. 392 and the text of भरत (VI. 15-16) it follows that there were originally only eight rasas. As 342 (IV. 5) and the विष्ुधर्मोत्तरपुराख (p.68 above) mention nine rasas it follows that &TFTH was certainly included from about the 7th century. The भावप्रकाशन p. 47 states that it was वासुकि who first recognized शान्तरस. Some hold that शान्त may be a रस in poetry but not in dramas; vide दशरूप IV 35 (शममपि केचित्प्राङ्क: पुष्टिर्ना ट्येषु नैतस्य) and भावप्रकाशन p. 47 (नाटकादिनिबन्धे तु तपश्चरणवस्तुनि। अभिनेतुमशक्यत्वात्तद्वाक्यार्थपदार्थयोः। सामाजिकानां मनसि रसः शान्तो न जायते॥). The reasons why it was said that {TFa should not be recognized in a drama were many. One can hardly say that any big audience can be influenced to relish शान्तरस. The very atmosphere of dramatic representation with its songs, music and make-up is rather antagonistic to the development of a mood of TH (tranquility and self-effacement). In a mere poem Santarasa may be evolved by reading it in a quiet and secluded spot. The ध्व० (4th उदयोत pp.298-300) after a lengthy examination shows that in the Mhabharata शान्तरस is intended to be the most predominant and aau is the most predominant rasa in the TIHTTU. It is not impossible to perform on the stage a drama such as the प्रबोधचन्द्रोदय but the audience may be sparse. If नाट्य is defined (by दशरूप I. 7) as अवस्थानुकृतिः (imitative representation of various conditions), there is no theoretical reason why santarasa cannot be represented on the stage by clever actors with appropriate settings. Abhinava- gupta went to the other extreme and propounded the view that शान्त was the greatest रस because of its relation to मोच, the highest goal of human life, and because all poetic pleasure is अलौकिक and like ब्रह्मास्वाद. Vide भ्र. भा. vol. I. p. 340 'सर्वरसाना शान्तप्राय एवास्वाद:'. Acc. to अभिनव and धनजय, शम is the स्थायिभाव of शान्त, वैराग्य and संसारभीरूता are विभावs, मोक्षशाख्त्रचिन्ता is अनुभाव, निर्वेद, मति, धृति, स्मृति are व्यभिचारिभाव. Acc. to मम्मट (IV 35. निर्वेदस्थायिभावोस्ति शान्तोपि नवमो रसः) and सक्गीतरत्नाकर the स्थायिभाव of शान्त is निर्वेद, while others put forward जुगुप्सा or उत्साह as the स्थायिभाव (सक्गीतर. verse 1374). On pp. 92-106 of his work 'The