1. Number of Rasas Raghavan Adyar

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THE NUMBER OF RASAS

। रसो वै सः ॥। " Raso vai saļ "

THE NUMBER OF RASAS

BY

V. RAGHAVAN, M.A., PH.D.

Department of Sanskrit, University of Madras

WITH A FOREWORD BY

PROF. M. HIRIYANNA, M.A.

Formerty Professor of Sanskrit, Maharajah's College, Mysore

THE ADYAR LIBRARY, ADYAR

1940

Printed by C. SUBBARAYUDU, AT THE VASANTA PRESS, ADYAR, MADRAS.

FOREWORD

I GLADLY respond to the desire of Dr. Raghavan that I should contribute a Foreword to this book. He has been carrying on researches in the field of Sanskrit literary criticism for several years past, and the material which he has brought together here shows how extensive is his acquaintance with the literature on the subject. He draws his data, it will be seen, from unpublished manuscripts as readily as he does from published works. The opinion formed on any aspect of the subject by one, who has devoted so much time to its study and whose knowledge of it is so wide, is of special value and deserves the careful attention of all scholars. The particular problem considered here is that of the number of rasas, and its consideration necessarily involves the discussion of many important points relating to their nature and scope. As in the case of other problems investi- gated by the ancient Indians, we find here also an astounding variety of solutions. While some thinkers have beld that there is but one rasa, others have maintained that the rasas are many, there being a wide divergence of opinion respecting their exact number. The usual view, however, is that there are eight rasas or nine, with the addition of what is termed santa :

शृङ्गारहास्यकरुणा रौद्रवीरभयानकाः । बीभत्साङ्गुतशान्ताश्च रसाः पूर्वैरुदाहताः ॥

vì

Although Dr. Raghavan considers all these views more or less in detail, the main part of his discussion is concerned with the admissibility of santa as the ninth rasa. His treatment of the question is quite comprehensive, and he examines it both from the historical and the aesthetic sides. A brief reference to each of them may not be out of place. Owing to the uncertainty of our knowledge of the early phases of Indian classical literature, it is not possible to say when poets began to portray this rasa. The ascetic and mystic elements, however, which form its distinctive basis, are very old features of Indian life; and they were highly valued by those who followed the teaching of the Veda as well as by those who did not. So we may assume that the santa attitude found expression in literature quite early ; and this is corroborated by the works of Asvaghosa even if, on account of its chronological indefiniteness, we leave out of consider- ation the Mahabharata, the usual example given of the santa rasa. As regards writers on Poetics, the earliest to recognise it definitely, so far as our knowledge at present goes, was Udbhata. Possibly its recognition by them was even earlier. Bharata's view in the matter is somewhat doubtful, by reason of the unsatisfactory character of the text of the Nūlyasastra as it has come down to us. Some manuscripts of it mention only eight rasas, but others nine. The weight of evidence bearing on the point seems, on the whole, to be on the former side; and Dr. Raghavan adduces several convincing argu- ments to show thal the references to this rasa in Bharata are all spurions. But it should be added that the Nātyasastra contains nearly all the essential points necessary for a theore- tical formulation of it. Before we pass on to the aesthotic aspect of the question, it is desirable to distinguish the emotive content or theme of

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a literary work from the aesthetic sentiment which, according to the prevalent Indian view, its idealised representation evokes in the reader or the spectator. Thus in the case of the S'akuntalam, Dusyanta's love for S'akuntala forms the chief theme while the emotion, which it awakens in us as we witness the drama enacted, is srngara. When we ask whether santa can be a rasa, we mean whether situations in life involving the quietistic sentiment lend themselves to be similarly dealt with in literature. If they do, then santa is a rasa; otherwise, it is not. The practice of great poets like Kalidasa, which is after all the true touchstone in such matters, shows that santa situa- tions can certainly be thus delineated in literary works. In the last act of his play, just alluded to, Kālidāsa describes the tran- quillity and holiness of Marica's hermitage in a manner which affects us most profoundly. But, however splendidly depicted, the santa rasa occupies only a subordinate place there; and a doubt may therefore arise whether it can be the leading sentiment in a work, i.e. whether it can be portrayed in such a manner that it will impress us at the end as the predominant element in the unity of rasas which, according to the Indian view, every work of art is expected to achieve. Some of the works of Asvaghosa, to whom I have already referred, show that it can be so represented. The Mahabharata also, at any rate in its present form, illustrates the same truth, as set forth by Anandavardhana in his masterly way in the last section of his Dhvanyāloka. Yet there were theorists who donied that the santa could be an art emotion. It is hardly necessary to examine their arguments when we have the practice of great poets and the opinion of great art critics to the contrary. But a reference should be made to one of them which appears, at first sight, to possess some force. This argument is that the attitude of

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mind for which santa stands is altogether a rare one, and that its representation in art cannot therefore appeal to more than a very few. The objection, it is obvious, is based on the sup- position that the test of true art is in the wideness of its appeal. The advocates of santa brush this argument aside usually by saying that such questions are not to be decided by a plebis- cite; but, by thus admitting the narrowness of its appeal, they seem to give up their position. Their conclusion that santa is a rasa is irresistible. Indeed, it would have been a strange irony of circumstance if Indians, of all, had excluded it from the sphere of art. The way in which this particular objection is met, however, is not satisfactory. May it be that the conten- tion that the appeal of santa is only to a very few is wrong ? No unwonted occasion in life-whether it be one of joy or one of sorrow-passes without bringing home to man the supreme desirability of spiritual peace. It means that the necd for such peace is fundamental to the human heart; and this conclusion is confirmed by the pure satisfaction which the contemplation, for example, of the images of Buddha in meditative repose brings to so many. If so, the santa mood is by no means uncommon; and the santa rasa need not be an exception to the rule that the appeal of art is general. What is uncommon is the capacity in man to capture that mood and cultivate it, so that it may come to prevail over all other moods ; but this deficiency does not matter so far as art is concerned for it has the power, of itself, to enable him to attain, albeit only for a while, the peace of spirit which, as an old Indian critie has observed, even a yogin has to strain himself long to win. Dr. Raghavan makes a valuable contribution to the study not merely of Sanskrit literary criticism but of Indian Aesthetics as a whole, for the conception of rasa, though it is

ix

here dealt with chiefly in its relation to poctry, is general and furnishes the criterion by which the worth of all forms of fine art may be judged. I have no doubt that the book will be read and appreciated very widely. M. H.

PREFACE

RASA, Aucitya and Dhvani form the three great contributions of Sanskrit Alamkāra S'astra to the subject of Literary Criticism. Rasa is the very 'soul' (Atman) of poetry and drama. Of this concept of Rasa, one aspect namely the num- ber of the Rasas-whether they are only the eight mentioned by Bharata or are more-is studied in the following pages. The study now and then does necessarily touch more funda- mental aspects of the concept of Rasa also. This study was originally published in the form of articles in the Journal of Oriental Research, Madras. It was suggested to me that I might bring them out in book-form. That they have appeared now in book-form is due to the kindness of Dr. Srinivasa Murti, Director, Adyar Library, to whom my thanks are due for the inclusion of this publication in the Adyar Library Series. I must thank also Dr. C. Kunhan Raja, D. Phil., Reader in Sanskrit, University of Madras and Curator, Adyar Library. Thanks arc also due to the authorities of the Journal of Oriental Research, Madras, and to the authorities of the University of Madras for permitting this publication.

Madras 29-7-40 V. RAGHAVAN

SYNOPSIS

I

TIE ADVENT OF SINTA

BHARATA mentioned only eight Rasas and Kalidāsa knew only eight Rasas. Dandin describes and illustrates only eight Rasas. (p. 1) Bharata says that Srngara etc. are the eight Rasas mentioned by Brahman. What is the significance of the men- tion of Brahman here? (p. 2) The names Brahmā, Sadāsiva, Bharata and Tandu in the history of Natya literature. (pp. 2-5) The question whether Tandu and Nandikesvara are identical. (pp. 5-8) Rajasekhara's reference to Nandikesvara as the first exponent of Rasas and its explanation. (pp. 8-9) Vasuki the first to speak of the S'anta rasa according to S'aradatanaya. (pp. 11-12) Kobala and S'anta. (p. 12) The questions which arise regarding the S'anta rasa. (pp. 13-14)

II

THE CONTROVERSY OVER SINTA

Bharata did not mention the Santa rasa; the S'anta texts in Bharata are interpolations. (pp. 15-16) But ideas related to S'anta are present in Bharata's accepted text ; pas- sages recognising the quietistic element, in Bharata. (pp. 16-20) The real nature of Bharata's drama is secular as Abhinava

kiv

also explains in his commentary. The incoming of S'anta stage by stage. The view of the Candrika on the Dhvanyaloka that S'anta can only be the secondary motive. (pp. 20-21) Probably the Buddhists and the Jains were responsible for making S'anta the ninth Rasa. The Saundarananda kāvya, the S'ariputra prakarana and the fragment of an allegorical drama of Asvaghosa. The Jain Anuyogadvāra sutra of the fifth cent. A. D. mentions the S'anta rasa. The probable thcorist who might have introduced the S'anta rasa : Rāhula ? S'rīharsa the Varttikakāra? It is likely that it was the play Nagananda which was responsible for starting the discussion on S'anta. (pp. 21-24) The objections to S'anta becoming a Rasa and the replies to those objections. (pp. 24-30) Literature depicting S'anta, Kāvyas and Nāțakas. (pp. 30-42) The writers who accept S'anta and those who reject it (pp. 42-47) ; the view that it is admissible in Kāvya but not in drama (pp. 47-8) ; the view that Santa is a Rasa but can be included in one of the eight old Rasas (the Antarbhava vāda). (pp. 48-9) The Alambana vibhava, the Uddipana vibhava, Daivata, Varna, Vrttì and Guņa of S'anta. Haripāla's Brāhmī vrtti for his Brähma rasa, the counterpart of the Santa rasa. (pp. 49-52)

III

SOME PECULIAR AND ORIGINAL VIEWS ON S'INTA

The peculiar and original view on S'änta in the (i) Rasa Kalikā of Rudra bhatța, (2) Samgīta sudhākara of Haripāla- deva, (3) Prapañca hrdaya and (4) Anuyogadvara Sūtra (Jain). (pp. 53-58)

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IV

THE STHAYIN OF SINTA

Discussion of the several Sthayi bhavas proposed for the S'ānta rasa; Sama, Samyagjnāna, Trşnākşayasukha, Sarva- cittavrttiprasama, nirviseșa cittavrtti, Dhrti, Nirveda, Utsāha, Jugupsa, Rati, Any one of the remaining Sthayins, All the eight Sthayins together, and Atman or Atmajñāna or Tattvajñāna. S'anta the basis of all Rasas. (pp. 59-90)

V

The Text of the Abhinavabharati on the S'anta rasa (corrected) (pp. 91-106).

VI

OTHER RASAS

Preyas, Vatsalya and Bhakti; their Sthayins ; controversy over these Rasas. (pp. 107-112) Sneha, S'raddha, Laulya, Mrgaya, Akșa and other Rasas. (pp. 112-114) Lollata's view that Rasas are innumerable, as cited in the Abhinavabharati. Rasatva for all Vyabhicarins and even Sattvikas,-the view of Rudrata and Namisādhu. Pratīhā- renduraja's acceptance of this view. The restriction of Rasatva to eight or nine is ' conventional ' almost. The men- tion of the possibility of additional Rasas,-Laulya, Sneha, Vyasana, Duhkha and Sukha, in the Natyadarpaņa. Vyābhi- caritva and and Sthayitva names of stages, rather than of a fixed set of Bhavas. (pp. 115-120)

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Bhoja's view of Rasa in S. K. A. and St. Pra. His Udatta and Uddhata Rasas; his acceptance of S'anta and Preyas. These four Rasas are accepted for the four types of hero, Udatta, Uddhata, Lalita and S'anta. His acceptance of Rudrața's position; not only Vyabhicārins and Sāttvikas, but many other states like Svatantrya and Paravasya are con- sidered as Rasas by Bhoja. The largest number of Rasas to be seen in Bhoja. The accommodation of this view in his main theory of one Ahankara Rasa. Bhoja's critique of the old view that only a few, Rati etc., are Sthayins. (pp. 120-125) A state of chaos in the world of Rasa, recorded by Abhinava in his Locana. (pp. 125-126) Criticism of the above vicw; clear statement of the theory of Sthayibhava and Rasa, according to Bharata and Abhinava. (pp. 126-128) Jagannātha Pandita proposing to stick to Bharata to avoid a complete overhauling of the system. (pp. 128-9) Bhakti and Madhura Rasa; the Vaisnava Alamkārikas of Bengal (pp. 129-132) ; Madhusudana Sarasvati on Bhakti Rasa. (pp. 132-137) The Maya Rasa, -- Bhānudatia and Cirañjīvibhațțā- carya (pp. 138-140) ; the Karpanya Rasa. (p. 140) The Vrīdanaka Rasa in the Anuyogadvara Sūtra and its commentary by Maladhari Hemacandra. (pp. 140-143)

VII

THE VARIETIES OF THE SAME RASA

1. King Haripala's three different Rasas, S'rngāra Sambhoga and Vipralambha; the question of Rasābhāsa and the question whether all Rasas are pleasurable; Vidyadhara

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versus Singabhupala on Rasabhasa; the Rasakalika holding some Rasas to be painful. (pp. 144-150) 2. The varieties of Hasya, Karuņa, Bhayānaka, Bībhatsa, and Adbhuta. (pp. 150-1) 3. The varietics of Vira,-Dana-, Dharma-, and Yuddha- Viras; Daya Vira; Jagannatha on the possibility of numerous other Viras. The Anuyogadvara on Vira and its varieties, (pp."151-153) 4. Matygupta on the three forms of all Rasas, Vacika, Nepathyaja and Svābhavika. (p. 153) 5. Dharma Srngara, Artha Srngara and Kama S'rngāra in Bharata; Moksa Srngāra also in Bhoja. (pp. 153-4)

VIII

ARE ALL RASAS PLEASURABLE ?

Are all Rasas plensurable or are there some which are painful? The Natyadarpana and the Rasakalika hold that some are painful. (pp. 155-6) Madhusūdana Sarasvati's con- sideration of the question of bliss in Rasa from the view- points of the Samkhya and the Vedanta. All Rasas are pleasurable. (pp. 156-7)

IX

NEW VYABHICĀRINS AND SĀTTVIKAS

Examination of the three categories of Bhavas distin- guished as Sthayin, Vyabhicarin and Sattvika. Reduction of the Vyabhicarins and additions to the same. (pp. 158-9) The distinction into Vyabhicarins and Sattvikas. The addition to c

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the set ' Bhava, Hava etc.' by Rahula, Padmasri, Bhoja and Visvanatha. Bhanudatta's inclusion of the ten Madana-avasthas in Vyabhicārins. (p. 159) Bhanudatta's new Vyabhicārin, Chala. (p. 160) The meaning of the name Sattvika. Bhanu- datta's additional Sattvika, Jrmbha. Bhanudatta's distinction Bhava X Ceștā. (pp. 160-2)

X

RASA-SYNTHESIS

Attempts at postulating one Rasa as the Prakrti and the rest as Vikrtis. (p. 163) The Karuna-synthesis and Bhavabhūti. (pp. 163-5) The S'anta-synthesis of Abhinavagupta. (pp. 165-7) The Ahankara-S'rngara-synthesis of Bhoja. (pp. 167-9) The Preman-synthesis of Bhoja. (pp. 169-170) The Rati-S'rngara- synthesis in the Agni purāna. (pp. 170-1) The Adbhuta- synthesis of Narayana. (pp. 171-5) Criticism of attempts at such synthesis, (p. 175) Rasa as such is only one. (pp. 176-9)

ABBREVIATIONS AND SELECT

BIBLIOGRAPHY

(Of Sanskrit Works only some are included here for elucidating the abbreviations ; for the rest, see Iudex of Sanskrit Works and Authors)

Abhi. Bha. =Abhinavabharati, Abhinavagupta's commentary on the Nātya s'āstra Adyar=A Catalogue of Sanskrit MSS. in the Adyar Library. 2 Parts A. K., A. Kaus., Alam. Kaus. = Alamıkārakaustubha of Kavikarņa- pura Alwar=A Catalogue of the Sanskrit MSS. in the Library of H. H. the Maharaja of Alwar. Dr. Peter Peterson A. P .= Agni Purãna (Sir) Asutosh Mookerjee Silver Jubilee Volumes (III) Auf .= Th. Aufrecht's Catalogus Catalogorum Bha. Pra. =Bhava Prakasa of Saradatanaya Bom. Br. R. A. S .= A Descriptive Calalogue of Sanskrta and Pra- krta MSS. in the Library of the Bombay Branch of the Royal Asiatic Society. Prof. H. D. Velankar Br. Mu. Ptd. Bks. Cat .= Catalogue of Sanskrit, Pali and Prakrt (Printed) Books in the British Museum Bruchstucke buddhistischer Dramen. Prof. H. Luders. 1911 Cat .= Catalogue Catalogue of the Collections of MSS. deposited in the Deccan College, (Poona). S. R. Bhandarkar Catalogue of MSS. from Gujarath, Kacchch, Smndh and Khandes. G. Bühler. 4 Parts

Xx

Catalogue Sommaire Des Manuscrits Sanscrits Et Pālis. A. Caba- ton. Bibliotheque Nationale, Paris. 3 Parts Com .= Commentary CPB. Hiralal =Catalogue of Sanskrit and Prakrt MSS, in the Central Provinces and Berar. Rai Bahadur Hiralal Descriptive Catalogue of the Sanskrit MSS. in the Vangiya Sahitya Parişat, Calcutta. Prof. Chintaharan Chakravarti, M.A. Dhva. A .= Dhvanyaloka of Anandavardhana D. R .= Dasarupaka of Dhananjaya D. R. A .= Dasarupakavaloka of Dhanika Gaek. edn. } GOS =Gaekward Oriental Series Edition

Granthanamavali. Ailak Pannalal Digambar Jain Sarasvati Bhavan, J halrapatan History of Indian Literature, Dr. M. Winternitz. English Transla- tion. Calcutta University. Part Two History of Sanskrit Literature. Dr. A. B. Keith Hpr. Notices II Series=Notices of Sanskrit MSS. Second Series. Mm. Haraprasad Sastri Hpr. Report 1895-1900=Report for the Search of Sanskrit MSS. 1895-1900. Mm. Haraprasad Sastri IHQ=Indian History Quarterly, Calcutta Introduction (on the History of Alamkara Sastra) to an Edition ol the Sahitya Darpana. P. V. Kane 1O=Catalogue of Sanskrit and Prakrt MSS. in the Library of the India Office. 2 Parts Jaina Granthavali JOR .= Journal of Oriental Research, Madras Journal of the Assam Research Society Journal of the Music Academy, Madras JRAS, =Journal of the Royal Asiatic Society of Great Britain and Ireland, London Kāvyalamkara of Bhamaha K. A .= „ Rudraļa Kavyanusasana of Hemacandra

xxi

K. Ā. = Kāvyādars'a of Dandin K. A. S. S. =Kāvyālamkāra sara sargraha of Udbhața K. M. = Kāvya mīmāmsā of Rājasekhara K. M. Edn. = Kavyamala Edition K. P'ra. = Kāvyaprakāsa of Mammaļa Mad. MS .= MS. in the Madras Govt. Oriental MSS. Library. MDSC=Descriptive Sanskrit Catalogues of the Madras Govt, Oriental MSS. Library, N. S. = Madhusudana Sarasvati MTSC=Triennial Sanskrit Catalogues of the Madras Govt. Oriental MSS. Library Mysore=Catalogue of Sanskrit MSS, in the Govt. Oriental Library, Mysore. 2 Paris N. D .= Natya Darpana of Ramacandra and Gunacandra Notices, Mitra= Notices of Sanskrit NSS. by Dr. Rajendralal Mitra N. S .= Nātya sāstra of Bharata N. S .= Nirnaya Sagar Press, Bombay N. W. Provinces Cat,=A Catalogue of Sanskrit MSS. in Private Libraries of the North Western Provinces Oppert=List of Sanskrit MSS. in Private Libraries of Southern India by Gustav Oppert. 2 Parts Oxford=Catalogus Codicum Sanscriticorum Bibliothecae Bodlie- nae. Th. Aufrechi Peterson= Reports of Operations in Search of Sanskrit MSS. in the Bombay Circle. Dr. Peter Peterson. (6 Reports) R. A. S .= Rasārņavasudhakara of S'ingabhupāla Report of a Second Tour in Search of Sanskrit MSS. made in Raj. putana and Central India in 1904-6. S. R. Bhandarkar R. G .= Rasagangādhara of Jagannātha Rice=Catalogue of Sanskrit MSS. in Mysore and Coorg. L. Rice R. T .= Rasa Tarangiņi of Bhanudatta Sak. =S'ākuntala of Kalidāsa Sām, Karikā-Sāmkhya Kārikā of Īs'varakrsņa S. D .= Sahitya Darpaņa of Vis'vanātha S. K. A. =Sarasvatikanthabharaņa of Bhoja

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S. M. =Sāhitya Mimāmsā Sr .= S'rgāra Sr. Pra. =Srgara Prakasa of Bhoja S. R. =Sangita Ratnakara of Sārngadeva Stein =Catalogue of the Sanskrit MSS. in the Raghunatha Temple Library of H. H. the Maharaja of Jammu and Kasmir. M. A. Stein Studies in the History of Sanskrit Poetics. 2 Parts. Dr. S. K. De Tanjore New Cat .= Descriptive Catalogue of the Sanskrit MSS. in the Tanjore Maharaja Serfoji's Sarasvati Mahal Library, Tanjore Travancore Curator's List=Catalogue of Sanskrit MSS. collected by the Curator for the publication of Sanskrit MSS., Tri- vandrum TSS=Trivandrum Sanskrit Series U. R. C. U. R. Carita f = Uttararama carita of Bhavabhuti

Vyā. = Vyākhyā

ERRATA

PAGE LINE READ

7 1 S'abdakalpadruma 8 25 Tāņdava 12 2 texts of Vasuki 15 निर्वेदो 23 33 "Sarva rasa sāra" 31 25 Anukramaņikāparvan 32 16 35 30 Lüders 38 28 1895 43 18 Kāvyamīmāmsā 65 26 Sahityamimāmsā 69 24 Bharata 72 7 Nirveda 82 13 तत्प्रकारानेव

84 21 S. R. 113 26 Rasas 120 9 ' Visesas ' 124 32 Nātya darpaņa 125 13 'Rasānvayavibhūtis' 134 11 Contact 139 10-11 -सांप्रदायिकेरपि

151 27 N. S. 152 10 Rasatarangiņi 169 20 Purvā

ADDENDUM

P. 50, lines 6-7 and 26-7, Alamkara sarvasva of Harso- padhyaya (?), MS. in the Madras Govt. MSS. Library, R. No. 3325 :- R. No. 5225 is another MS, of the same work in the same library in which Aubhalārya Krsna of Devarakonda is given as the author.

THE NUMBER OF RASAS

I

FOR long, the Rasas were only eight in number. The text of the Natya sastra of Bharata originally spoke only of eight Rasas. For a long time, the poets also were speaking only of eight Rasas. Kālidāsa says in his Vikramorvasīya :

मुनिना भरतेन यः प्रयोगो भवतीष्वष्टरसाश्रयो नियुक्तः । ललिताभिनयं तमद्य भर्ता मरुतां द्रष्टुमना: सलोकपालः ॥ II, 18.

Vararuci's Ubhayābhisārikā has occasion to mention Rasas and their number. The context is a dramatic contest. The Vița praiscs one of the courtezans who is going to enact ' Purandaravijaya' in the temple of Indra at Kusumapura. Rasas are here mentioned as eight in number.

यस्यास्तावत् प्रथमं रूपश्रीनवयौवनद्युतिकान्त्यादीनां गुणानां सम्पत्, चतुर्विघाभिनय सिद्धिः, द्वान्रिशद्विधो हस्तप्रचारः, अष्टादशविधं निरीक्षणम्, षट् स्थानानि, गतिद्वयम् (-त्रयम्), अष्टौ रसाः, त्रयो गीतवादित्रादि- लया, इत्येवमादीनि नृत्ताङ्गानि त्वदाश्रयेण अलंकृतानि। p. 13, Caturbhani, Madras.

On the side of the theorists, the writers on Poetics, Rasas were only eight upto the time of Dandin who briefly describes and illustrates only the eight Rasas. Naturally, we suppose

2 THE NUMBER OF RASAS

that Bhamaha also knew only eight Rasas. These eight Rasas are thus given by Bharata : शृङ्गार-हास्य-करुण-रौद्र-वीर-भयानकाः । बीभत्साङ्धत संज्ञौ चेत्यष्टौ नाटये रसाः स्मृताः । एते ह्ाष्टौ रसाः प्रोक्ता द्ुहिणेन महात्मना ।। N. S. K. M. Edn., VI, 15-16.

And their Sthayins are thus given :

रतिर्हासश्च शोकश्च क्रोधोत्साहौ भयं तथा। जुगुप्सा विस्मयश्रति स्थायिभावाः प्रकीर्तिताः ।Tbid., VI, 17.

We are unable to fix the exact significance of the record here made by Bharata that these are the eight Rasas expounded by the great Brahman. The mention of Brahman may after all refer only to the legendary background which the Nātya sästra has created for itself. The very first verse says to the effect that almost the first exponent of the Natya sastra is Brahman :

नाट्यशास्त्र प्रवक्ष्यामि ब्रह्मणा यदुदाहृतम्। I, 1.

And this Brahman himself learnt from S'iva. This legend is settled in later times and is mentioned by all writers. How far is this based on evidences within the Natya sästra itself ? To begin with, sage Bharata says that Brahman himself contemplated and created out of the four Vedas, the fifth Veda called the Natya Veda. I, 16-19. S'iva is mentioned in the first chapter, for the first time, with reference to the Kaisiki Vrtti. Brahman says that the beautiful, graceful and delicate Kaisikī cannot be properly presented by male actors, that it can be properly done only by actresses and that he has seen it depicted by only one among males, vis., God S'iva. I, 45.

THE NUMBER OF RASAS 3

We hear of S'iva again only in Ch. IV. The first drama 'Asuravijaya' or 'Amrtamathana' was enacted before an audience of Devas and Asuras in Devaloka during the Indradhvaja festival. I, 54-57.

तदन्तेडनुक्कतिर्बेद्धा यथा दैत्याः सुरैर्जिताः ।

After this Samavakāra, the first drama to be staged, was finished, Brabman one day took Bharata and his troupe to Kailāsa to give a performance before God S'iva. This Sama- vakara, and a Dima called Tripuradaha, one of S'iva's own exploits, were staged there. IV, 5-10. After the drama was finished, S'iva praised Brabman and the actors and told them that the beautiful and varied Karanas and Angaharas of the Tändava dance which He himself did every evening might be introduced into the Purvaranga of their drama, so that their plain (S'uddha) Pūrvaranga might become a Citrapūrvaranga. IV, 11-15. He called upon one of his Ganas, Tandu, to teach Bharata the Angaharas and Karanas of Taņdava. IV, 17-18. Thus S'iva is the God of dance proper, while Brahman him- self created Drama and won S'iva's appreciation for his crea- tion of this art. Bharata is the first artiste whom Brahman chose for the exposition of the art that he created. Brahman's creation of the art of Drama referred to all parts of it, the text of the drama, the acting of it, the music that sup- ported the performance and finally the Rasa which the above three evoked in the hearts of the audience. This is the meaning of the verse :

जग्राह पाठ्यमृग्वेदात् सामभ्यो गीतमेव च। यजुर्वेदादभिनयान् रसानाथर्वणादपि।

'It is this Amrtamathana that Kalidasa makes into the Lakşmīsvayamvara in his Vikramorvasīya.

4 THE NUMBER OF RASAS

The story given above points to the historical fact that Dance existed first and that Drama was then created. Tandu signi- fies the link between the two. The gods of the two, Dance and Drama, are S'iva and Brahman. So it is that Bharata, who represents the operatic dance-drama, says at the beginning-

प्रणम्य शिरसा देवौ पितामहमहेश्वरौ।

and Abhinava adds here, in his commentary --

"एको (ब्रह्मा) विजिगीपुर्नाट्यप्रवर्तयितेति देवः। भगवांस्तु आनन्दनिर्भरतया क्रीडाशील: सन्ध्यादौ नृत्यतीति नाटये तदुपस्कारिणि च नृत्ते तदुपज्ञं प्रवृत्तिरिति तावेवात्र अधिदैवतं गुरू चेति नमस्कार्यो।" p. 2, Gaek. Edn., Vol. I.

Thus S'iva's contribution is Dance which served to beautify Drama-तदुपस्कारिणि च नृत्ते. Brahman's contribution itsell was self-sufficient for Drama. He spoke of Text, Action, Music and Rasa. It is to this part of the Drama of Brahman that Bharata refers in Ch. VI, when he says that these are the eight Rasas spoken of by Brahman. एते हष्टौ रसाः ग्रोक्ता द्रुहिणेन महात्मना ।

It is on this text that S'aradatanaya relies when he says that, according to Brahman, Rasas are only eight, and the ninth, the S'anta, is impossible.

. . . ... तस्माच्छान्तस्य नोद्भवः । तस्मान्नाख्यरसा अष्टाविति पम्मसुवो मतम् ।। Bhā. Pra. II, pp. 46-7.

These bits of legend have to be connected with some facts available to us, viz., that there are really big works on Nātya

THE NUMBER OF RASAS 5

which are current as works of Siva or Sadasiva and Brahman. Says Mr. M. R. Kavi in his Introduction to his edition of the N. S. with the Abhi. Bha. in the Gaek. Series :- " We have fragments of both Brahmabharata and Sadasivabharata." Abhinava himself refers to the three authorities, Sadāsiva, Brahman and Bharata.

"एतेन सदाशिवल्रह्मभरतमतत्रयविवेचनेन ब्रह्ममतसारताप्रति- पादनाय etc." p. 8.

The upshot of the discussion here gives the noteworthy fact that, of the three works Sadasiva Bharata, Brahma Bharata and Bharata's Natya sastra, the Brahma Bharata is the best and most important according to some. The Dasarūpakakārikās, IV, 38 and 39, proving Rasa to be Sāmāji- kasraya, are quoted and attributed to Sadasiva by S'āradā- tanaya. Bha. Pra. VI, p. 152. This ascription does not seem to be reliable. The argumentative style of the Kārikās argue for a later writer. Whether this particular ascription be true or not, it can be accepted that old works in the name of Sadasiva and Brahman exist. Though from the internal evidence of the Natya sastra of Bharata we know of S'iva as having contributed Dance only, there may be a Sadāsiva Bharata dealing with all departments of Natya. It is also likely that this Sadasiva Bharata is of special importance for its chapters on Dance, on Tandava, its Karaņas and Angahāras. Similarly Tandu, who, in the Natya sastra, simply passes the Tandava from S'iva to Bharata, may have some old Natya work to his credit. There is some difficulty in understanding the name Tandu. In Ch. I, we hear of a Tandu who is one of the hundred sons of Bharata. (I, 26.) From Ch. IV, we know him as belonging to S'iva's camp. In Ch. I, 26, the text has a variant (p. 18. Gaek. edn. fn.) Tāndya, and in

6 THE NUMBER OF RASAS

Ch. IV, 17 and 18, we have the variant Tandin (p. 19, Gack. edn. fn.). Abhinava says that the reading ' Tandu ' is appro- priate, in view of that word's suitability to the derivation of the word Tandava.

"सर्वत्र पाठे तण्डुशब्द एव युक्त:, ताण्डवशब्दव्युत्पत्तिवशात्।" p. 90, Gaek. Edn., Vol. I.

It looks as if 'Tandu' was created out of the word Tandava. Surely, this Tandava was being done by S'iva before Tandu who, on S'iva's bidding, taught it to Bharata. Therefore, the name Tandava could not have been the name given to the dance subsequent to Tandu imparting it to Bharata. In this connection, the text of Abhinava's commentary seems to say that this Tandu is none else than Nandin, the chief attendant of S'iva. We find in Mr. M. R. Kavi's Edn., Vol. I, p. 90: 'तण्डुमुनिशब्दौ (नन्दिभर) तयोरपरनामनी।' But in the MS. of the Abhinavabharati in the Madras Govt. Oriental MSS. Library, we find the passage running thus :

'तण्डुमुनिशब्दौ तस्योरेव (१) नामनि (नी) ' । Vol. 1,68.

and it is rather difficult to reconstruct or understand this text. There does not seem to be unanimity among writers regarding the identity of Tandu and Nandin. The S'abdakalpadruma says that, according to Halayudha, Tandu is a door-keeper of S'iva,-S'ivadvārapalavisesa. The Vācaspatya says the same thing and adds that it is a name of Nandikesvara 'शिवद्वारपालविशेषे, नन्दिकेश्वरे'। 'नन्दी भृङ्गिरिटिस्तण्डुः'।1 In the

1 The explanation of Tandava by Tandu is not the only ex- planation. Bhanuji and Ksirasvamin, in their commentaries on the Amarakos'a (Națya varga, S1. 10) give Tandava as being so called

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S'abdakalpadurma, we find that according to the Trikāndasesa, the other names of Nandikesvara are Nandi, S'alankayana and Taudavatālika, and that according to Hemacandra, the other names are Nandi and Tandu. Kesava's Kalpadrukosa (Gaek. edn., p. 392, S'l. 117-8) gives Nandin, S'ālankāyana, Tāņdava- tālika, Tandu, Kelīkila and Kūsmandaka as the other names of Nandikesvara. If Tandu were a name of Nandikesvara, he would be both the time-keeper for S'iva's Tāndava (ताण्डवतालिक) and the promulgator of the Tandava (तण्डुना seh osaH). But, according to Sarvananda and Bharata- mallika, the person who is responsible for the S'astra through which Tandava got its name, is a sage (Muni) named Tanda or Tandya. And Tandu whom Siva asked to teach the Tāņdava to Bharata may not be Nandikesvara but may be some other Gana of S'iva. Ratnakara's Haravijaya, which is a store-house of information for the Natya-researcher, men- tions Nandisa and Tandu as two different persons and the commentator, Rajanaka Alaka, adds that Tandu is one of the Pramathaganas of S'iva.

after its exponent, Tandu. Bharata (com. on Amara) says that the sage Tanda (not Nandikes'vara, a Sivagana) promulgated the S'astra which came to be called after him ' Tandi ' (Neuter) ; and from this Tandi is Tandava derived. 'aresa r anfos, aH, तदस्यास्तीति भरतः (अमरटीकायाम्) ।' See the S'abdakalpadruma and Vācaspatya on Tandava. Sarvānanda's Țikāsarvasva, p. 41, T. S. S. edn., pt. 1. ताएड्यन मुनिना प्रोकं. .. ताण्डि नृत्यशाख्त्रम्। तदस्यास्तीति ताण्डम्। To these derivations, Subhuticandra adds 'तण्जते (तण्ड्यते) भूरनेनेति ताण्डवम्।' Tandlava is so called because, being a forceful dance (Uddhata), earth is stamped heavily in it. Vidyā- vinoda Narayana gives all these explanations. Rāyamukuța gives Sarvananda's and Svamin's explanation and adds: "afearat: ताण्डवमिति तु कौमुदी।"

8 THE NUMBER OF RASAS

नन्दीश निर्देयकराहतपुष्करेषु मन्द्रं ध्वनत्सु मुरजेषु विभज्य तण्डः। आसारितेषु परिकल्पितसप्तभेदपर्याप्तशोभमथ ताण्डवमभ्यगायत् ।। N. S. Edn., II, 20.

Com. तण्डुनामा प्रमथः । ताण्डवं नाम गीतकम् आत्मप्रोक्तम् TA Il p. 21.

From this it would appear that Nandin is the drummer and Tandu the singer of the libretto for S'iva's dance. Abhinava gives an extract from Kohala also on p. 182 (Gaek. edn. Vol. I) having some bearing on Tandu and Tandava. The name Nandin is found twice in the Nātya sastra, IV, 260 and 261, in connection with the Pindibandhas. More than one work on Natya has come down to us as the work of Nandikesvara. Rajasekhara ascribes the first treatment of Rasa to Nandikesvara and the first treatment of Drama to Bharata.

"-रूपकनिरूपणीयं भरतः, रसाधिकारिकं नन्दिकेश्वर :- ।" p. 1, K. M. Gaek. Edn.

The chief ground on which Rajasekhara foists the first treat- ment of Rasa on Nandikesvara is the record made by Vātsyā- yana in his Kama sutra, I, 1-8, that Nandikes'vara is the first author on Kama. Love may be taken to be indicative of the other Rasas and further, it is the most important of the I Tandava thus originally meant the song, to the accompani- ment of which Siva danced; the dance then came to be called Tandava after its song. Such instances of dances getting their names from the songs, the Tala of the song, etc., are common. Cf. Carcari is a Tala, a musical composition, a dance and also a spring festival in which the Carcari is danced. (The Ratnavali, L) Cf. Jatisvara, Varna, Pada, etc., in the modern South Indian Nautch, which names of musical compositions serve as names of the dance iteme alen

THE NUMBER OF RASAS

emotions which form the material for literature. S'aradatanaya relates a Rasa-legend in Ch. 3, of his Bhavaprakasa in which Nandin figures and which legend he ascribes to Vyāsa. 'व्यासप्रोक्तेन मार्गेण कथयामि यथार्थतः'। We do not yet know of a work of Vyasa on Natya. The legend given in the Bhava- prakāsa is this: Brahman created the worlds at S'iva's bidding and then contcmplated upon the past and saw with his mind's eye the doings of S'iva. Nandikes'vara appeared before Brahman at that time and taught him Natya and asked him to teach the art to the Bharatas, i.e., actors. Brahman created the art of representation, drama, with a past story of S'iva called Tripuradaha, a Dima. The Bharatas staged this Tripuradaha and while Brahman was witnessing it, therc came forth from his four faces four Vrttis with the four Rasas, S'rngara, Vira, Raudra and Bībhatsa. Concluding this story of Rasotpatti, S'aradātanaya says : व्यक्ता मुखेभ्यश्रोत्पन्ना इत्यूचुः शंकरादयः । The S'ankara mentioned here is another puzzle.1 S'āradā- tanaya brings Narada also into the story and says that Narada expounded this Rasotpatti to Bharata, the sage (p. 58, Ch. III). The two Guruparamparas found here are ' S'iva- Nandin-Brahman-the Bharatas' and 'Narada-Bharata, the sage', In Ch. 10, S'aradatanaya gives another story of how Natya came to carth from heaven, where also the former Guru-parampara is given. The actors, the Bharatas, are sent to this world and they write treatises on the art. 1 Sankara may mean Siva himself and this would mean then that the Sadas'iva Bharata is the source of this story. A Sankara is cited in Pars'vadeva's Sangitasamayasāra, T. S. S. Edn, p. 42 सकलं निष्कलं चेति वाद्यमेतत् द्विधा भवेत्। कथितं शंकरेशेदम् एकतन्त्रीसमाश्रयम् । 2

10 THE NUMBER OF RASAS

नाट्यवेदाच्च भरता: सारमुद्धृत्य सर्वतः । संग्रहं सुप्रयोगाहै मनुना प्रार्थिता व्यधुः॥ एकें द्वादशसाहसैः क्रोकैरेकं तदर्धतः । षड्भिः क्रोकसहसैर्यों नाट्यवेदस्य संग्रहः ॥ Bha. Pra., Gaek. Edn., p. 287.

The Bharatas wrote two works, one in 12000 S'lokas and another in 6000 Slokas. The basis of these two is the Natyaveda which is perhaps double the extent of the first of these two. The second work in 6000 verses is the present Nātya sāstra of Bharata and the Dasarūpakāvaloka quotes it by the name, Satsahasri. "षट्सह स्री कृताप्युक्तम्-'एभ्यश्च सामान्य- गुणयोगेन रसा निष्पद्यन्ते' इति।" IV. (Vide Bharata's N. S'. VII, p. 80, Kāsī Edn.) Bahurūpamisra has quoted the former work in 12000 verses, the Dvadasasahasri, in his gloss on the Das'arūpaka.1 Mr. M. R. Kavi quotes the Yāmalāștakatantra in the preface to his edition of the Natyasastra (Vol. I, p. 6, fn. 1.), according to which the Natyaveda, which S'arada- tanaya mentions as the basis of the two Sangrahas, is a work in 36000 S'lokas. Which of these two, the Natyaveda and the Dvadasasahasri, is the work of S'iva and which, of Brahman, cannot be said easily. The latter may be the Brahmabharata referred to by Abhinava. What these works say on Rasa, we are not in a position to know. The only work we have is the Satsahasri of Bharata, the Natyasastra, which says that according to Brahman, Rasas are eight. S'aradatanaya fashions this text into the form of a later controversial text, and makes Padmabhu (Brahman) refute the S'anta and accept only eight Rasas. We can 1 Vide J. O. R., Madras, Vol. VIII, pp. 329-330, my article on Bahurupamis'ra's commentary on the Dasarupaka.

THE NUMBER OF RASAS 11

conjccture safcly that both the Sadasivabharata and the Brahmabharata knew only eight Rasas. Was there any old work which expounded nine Rasas ? When did the S'anta first make its appearance ? Just after giving the above-noticed view of Padmabhu that Rasas are only eight, Saradatanaya gives another account which he attributes to Vasuki. Theie seems to be, from the following verse, an old work in which Vasuki imparts the Natyasāstra to Nārada.

उत्पत्तिस्तु रसानां या पुरा वासुकिनोदिता। नारदम्योच्यते सैषा प्रकारान्तरकल्पिता ॥ Bha. Pra., p. 46. The Santa Rasa is accepted in this account. रजस्तमोविहीनात्तु सत्त्वावस्थात् सचित्ततः । मनागस्पृष्टबाह्यार्थात् शान्तो रस इतीरित: ।। II, p.48.

Who is this Vasuki ? We already know of two serpents among Sangītacaryas, Kambala and Asvatara and we must add to them this Nātyacarya Vasuki. S'āradātanaya quotes Vāsuki earlier also (pp. 36-37) regarding the rise of Rasa from Bhāvas. नानाद्रव्यौषधैः पाकैः व्यञ्जनं भाव्यते यथा। एवं भावा भावयन्ति रसानभिनयैः सह। इति वासुकिनाप्युक्तो भावेभ्यो रससंभवः ॥ This verse is, as pointed out by the editor of the Bhava- prakāsa, found in the Natya sastra of Bharata, quoted along with four other verses, with the words- 'भवन्ति चात्र ल्लोकाः ' 1 Thus, there are Anustubh and Arya verses quoted by Bharata. These are called Anuvams'ya verses, handed down as basic and authoritative texts on Natya written by other writers.

12 THE NUMBER OF RASAS

If we are to rely on S'aradatanaya, we have to suppose that the Rasa chapters in Bharata are based on the texts to Vasuki and others and that this Vasuki accepted a ninth Rasa, namely, the Santa. Why then does Bharata's text not mention the S'anta ? If Bharata did not approve of S'anta being a Rasa, he must refute it, citing Väsuki's position. When no sach controversy is seen in Bharata's Nātyasāstra, we have to conclude that S'aradatanaya has only increased the confusion herc, as on other topics also. If we are to attach any weight to the statement of another late writer Dharmasuri, author of the Sahityaratnākara, we have to suppose that Kohala is, like Vasuki, another old writer who accepted the S'anta Rasa. He says regarding the Sthayin of S'anta-

"कोहलस्तु उत्साहो वा निर्वेदा वा शमो वा अस्य स्थायीत्युवाच" Vide D. T. Tātācārya, J. O. R., Vol. V, p. 29.

If Kohala had accepted S'anta, Abhinava and other cham- pions of S'anta would have quoted him. Dharmasūri's re- ference to Kohala is unreliable. But it is also likely that a late work falsely ascribed to Kohala speaks of the S'anta and Dharmasuri bases his statement on such a pseudo-Kohala work. The Natyasastra of Bharata itself recognised only eight Rasas. Subsequently, when the S'anta was accepted by writers, the text of the N. S'. was changed and read thus as indicated by Abhinava :

The definite authorship of these Anustubhs and Aryas is not known. Abhinava says while commenting on one set of Such Anuvams'ya Aryas, on p. 328: "ता एता ह्यार्या: एकप्रघट्टकतया पूर्वाचार्येः लक्षणत्वेन पठिताः । मुनिना तु सुख संग्रहाय यथास्थानं निवेशिताः।"

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श्रृङ्गारहास्यकरुणाः रौद्रवीरभयानकाः । बीभत्साद्भुतशान्ताश्च नव नाटये रसा: स्मृता: ( N. S., VI, 16 रतिर्हासश्र शोकश्च क्रोधोत्साहौ भयं तथा। जुगुप्साविस्मयशमाः स्थायिभावाः प्रकीरतिता: । N. S., VI, 18. "शान्तापलापिनस्त्वत्र अष्टाविति पठन्ति ।" "तत्र शान्तस्य स्थायी 'विस्मयशमाः' इति कैश्चित् पठितः।" Ibid.

Udbhața recognises the S'anta as can be seen from his Kāvyā- lankarasarasangraha. He is thus the first commentator on the N. S'. and the first Alankārika now known to have definitely begun to speak of Rasas as nine in number. So, he might have made the necessary alteration in the text of the Natyasastra as above shown and as pointed out by Abhinava. Regarding this subject of Santa Rasa, the following questions arise : (i) Did Bharata recognise it ? What are the arguments of those who hold that Bharata recognises it? What is the real position of Bharata in respect of S'anta ? (ii) Who is the first writer who introduced the S'anta Rasa? What was that condition in the world of letters that led to the postulation of S'ānta ? (iii) Independent of Bharata accepting it or not, wlat is S'anta ? Can it be a Rasa ? What are the arguments of the opponents of S'anta ? (iv) What is the criticism of those who not only accept but praise the S'anta as the greatest Rasa ? Who are these writers ? What are the literary compositions that have proved the possibility of the S'anta Rasa ? (v) Who are those who, unable to find fault with S'anta, make a compromise, deny it in Nātya and accept it in Kāvya only ? What are their arguments and how are they met ?

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(vi) Who are the writers who do not accept the S'anta anywhere ? (vii) What is the Sthayin of S'anta ? These questions will be dealt with now.

II

BHARATA certainly mentioned only eight Rasas.' He did not give S'anta as the ninth Rasa. The texts on S'anta in cer- tain recensions of Bharata's Natya sastra must have been interpolatcd by advocates of S'anta. Abhinava once argues the cause of S'anta on the basis of these S'anta texts available in certain recensions but he advocates its cause more vigor- ously earlier, quite independent of these S'anta texts in Bharata. Abhinava even gives various arguments to show why Bharata did not speak of it at all. Further, the advocates of S'anta who point out Nirveda or Dhrti or any other Vyabhicarin already mentioned by Bharata as the Sthayin of S'anta do so only because they feel that S'anta, its Sthayin etc., are not given in Bharata ; hence do they resort to the Dehalīdīpanyāya, Mangalya-amangalya etc., to read the S'anta rasa into the text of Bharata. How they do this is discussed in the section on the Sthayin of S'anta below. Again, if Ananda who speaks of S'anta had known the S'anta texts of Bharata and had believed in them as genuine parts of Bharata, he would have quoted them in his advocacy of S'anta in Uddyota 3. Ananda advocates S'anta on his own grounds and holds as its Sthayin neither Nirveda with all its trilling supports, nor S'ama which is given as its Sthayin in the 1 In the K. M. edn. of the N.S., ch. 23, S1. 3 has the ex- pression 'Nava rasasrayam ' but the correct reading here is Bhäva- rasas'rayam' as found in the Kas'i edn. (ch. 24, S1. 3).

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interpolated S'anta text in Bharata; Ananda holds as its Sthayin 'that happiness which is the annihilation of all desires'-तृष्णाक्षयसुख.

"तृष्णानां विषयाणां यः क्षयः सर्वतोनिवृत्तिरूपो निरोधः, तदेव सुखम्" Abhinava, Locana.

All the writers who refute Santa are of opinion that Bharata's text does not know the S'anta rasa. Further, Bharata gives Laya, Svara, Guņa, Alamkāra, Vrtti, Vrtta etc., for the eight Rasas only in the several sections of his work; S'anta is not mentioned here anywhere. This is part of the objection raised against Santa by its critics. They say, Bharata has related music and Rasas and has mentioned the Jatyangas snggestive of the several Rasas but does not mention the Santa here. (Vide N. S'. XXIX, S'ls. 1-4.) We find in the Abhinavabhārati :

"अनेनैव चाशयेन न शान्ते कश्चन मुनिना आत्यङ्गको विनियो- क्ष्यते। तेन जात्यङ्गकविनियोगाभावात् असत्त्वमिति प्रत्युक्तम्।" Gaek. Edn., I, p. 339.

Abhinava first argues for S'anta not on the basis of Bharata's mention of it, but on the basis of his silence on the subject which Abhinava makes out as more eloquent. This will be explained later. Suffice to point out here that express mention of S'anta is not found in Bharata. If this is accepted, we can trace the way by which S'anta slowly came to be accepted as a Rasa. We can even explore the possibilities of finding some aspects of S'anta in Bharata's accepted text. Bharata, it must be borne in mind, handles the whole world and analyses human psychology to a great extent and it will be a wonder if he were to be entirely

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innocent of that part of human activity which is the sphere of the S'anta-rasa. The absence of S'anta in theory does not, how- ever, mean the absence of poetry or drama with the quietistic motif. To suppose so would be as foolish as to think that before Rasadhvani was formulated as the soul of poetry, no great poetry existed. As Anandavardhana points out, the Rasa of the great epic, the Mahabharata, is S'anta. The Rsi, the fourth Purusartha or Moksa, the third and the fourth Asramas of the Vanaprastha and the Samnyasin-these were already parts and sublime parts of Kavyas such as the Raghu- vamsa and Natakas such as the S'akuntala. Bharata, himself a sage, gave the Natyasastra to an assemblage of sages. Bharata, therefore, could hardly have lost sight of the Rsis, the forests, Tapas, etc. As a matter of fact, Bharata does men- tion aspects of this S'anta-rasa and its attendant conditions. An emotion is recognised as Rasa if it is a sufficiently permanent major instinct of man, if it is capable of being developed and delineated to its climax with its attendant and accessory feelings and if there are men of that temperament to feel imaginative emotional sympathy at the presentation of that Rasa. Thus are S'rngara and the other seven Rasas. So, if Bharata says that drama is of a varied nature in accor- dance with the varied nature of the world on the one hand and of the spectators on the other, if he says that one drama predominantly develops one Rasa whose appeal is only to those whose hearts are attuned to it and if he says that a certain drama may have its theme or purpose in S'ama, it certainly means that Bharata has landed, though unconsciously, on the S'anta rasa. Bharata says and these are surely genuine parts of the text:

क्वचिद्धर्म: क्कचित् क्रीडा कचिदर्थः कचित् शमः ।,106. दुःखार्तानां श्रमार्तानां शोकार्तानां तपस्विनाम्।

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विश्रान्तिजननं काले नाव्यमेतद्भविष्यति ॥। I, 115. ब्रह्मर्षीणां च विज्ञेयं नाटयं वृत्तान्तदर्शनम्। I, 121.

The first given passage is referred to by Abhinava also in con- nection with the discussion on the admissibility of S'anta as a Rasa and by drawing attention to this bit-afa7:, Abhinava asks whether Bharata did not recognise the quietistic element also as part of dramatic presentation :

"प्रतीयत एवेति मुनिनाप्यङ्गीक्रियत एव 'कचिच्छमः' इत्यादि बदता। " Abhinava, Locana, p. 177.

Another instance of Bharata's awareness of the element of Santa is pointed out by Abhinava. It is similar to the second passage extracted above. It refers to such spectators as are bereft of life's passions-Vitaragas-to whom only dramas of a nature in harmony with theirs and dramas depicting the Moka purușartha can have any appeal. While pointing out in Ch. XXVII that the very life of drama is its fusion with the audience and that certain hearts can respond only to certain themes, Bharata says : तुष्यन्ति तरुणा: कामे विदग्धाः समयाश्रिते। अर्थेष्वर्थपराध्चैव मोक्षेष्वथ विरागिणः।। XXVII, 59, Kāsī Edn. Says Abhinava in regard to this passage : "हृदयसंवादोऽपि तथाविधतत्त्वज्ञानबीजसंस्कारभावितानां भवत्येव, यद्वक्ष्यति 'मोक्षे चापि विरागिणः' इति"। Gaek. Edn., I, p. 340. Further, Bharata speaks of a Kama for each Purusārtha in Ch. XXIV and mentions here the variety called Moka Kāma. What does this mean ?

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धर्मकामोऽर्थकामश्र मोक्षकामस्तथैव च। स्त्रीपुंसयोस्तु संयोगो यः, कामः स तु संस्मृतः ॥ XXIV, 91.

The S'anta is only the Rasa of Moksa Kama. Compare the Mahābhārata, Asva. parvan, Ch. XIII, 16, where Kama says of himself :

यो मां प्रयतते हन्तुं मोक्षमास्थाय पण्डितः । तस्य मोक्षरतिस्थस्य नृत्यामि च हसामि च।।

Again, what does Bharata mean by giving great scope for Dharma as an important theme handled in drama, by saying that drama is Dharmya, by mentioning Dharma as the purpose of some dramas, afaa tH:, by speaking of Dharma Spigāra and by pointing out that the old, the learned and the ex- perienced respond to such dramas as are based on Dharmā- khyanapurana which comes under the Vibhāvanubhava of the S'anta ?

धर्माख्यानपुराणेषु वृद्धास्तुष्यन्ति नित्यशः । XXVII, 61.

While describing Nirveda1, Bharata speaks of one kind of it that is born of Tattvajñana; giving the causes of Glani, he speaks of Taponiyama; defining Dhrti', Bharata gives Vijñāna, S'ruti, Saucacara and Gurubhakti as some of its Vibhavas and these pertain to S'anta; Mati is given as born of Nanāsastra- vicintana. If the quietistic element is not recognised even in some aspect by him, Bharata cannot say of Natya that it is Trailokyanukaraņa, that there is no Jnana which in not

1 Some hold this Nirveda as the Sthayin of Santa. ' Bhoja holds this Dhrti as the Sthäyin of Santa in his S. K. A. V. 23 and also pp. 514-5.

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part of drama and no Vidyā which does not come within it :

न तत् ज्ञानम् etc. I, 117.

The instances above shown point only to the recognition of S'ama as an element and they do not mean Bharata's acceptance of the S'anta as a Rasa. To be precise, S'ama is not mentioned as one of the forty-nine Bhavas. Bharata did not have before him any specimen of drama written only for Mokşa and Viragins. It may be that there cannot also be dramas having only Bhayanaka, Adbhuta, etc., as their Rasa. These can appear only as Anga or Sañcāri rasas. But the reason for the acceptance of Bhayanaka, Adbhuta, Bibhatsa, etc., as Rasas is that humanity is more liable to these than to S'ama, hearts attuned to which must necessarily be very small in number. S'ama is almost impossible. For, the opponents of S'anta say, Ignorance, Avidya, producing Raga and Dvesa which result in a network of psychology covered by the eight Sthayins, is inborn in man ever since he began his migration in Samsara and practically speaking, this Avidya cannot be rooted out. That is, S'ama which is their absence cannot be obtained. The Avaloka on the Dasarūpaka says :

"अन्ये तु वस्तुतस्तस्याभावं वणेयन्ति। अनादिकालपवाहायात- रागद्वेषयोरुच्छेत्तुमशक्यत्वात्।" p.117.

This, however, is not wholly true for there is not any lack of persons who take to S'ama and strive to root out Raga and Dvesa. But this criticism against S'anta is pertinent to some extent in regard to drama generally which is for pleasure and which deals with worldly things. Drama arose as an enter- tainment : क्रीडनीयकमिच्छामो दृश्यं श्रव्यं च यद् भवेत्। Bharata often says that Natya is Vinodajanana, Bhamaha also says that

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though the Mahākavya depicts all the four Purusarthas, it shall predominantly inculcate only Artha.

मन्त्रदूतप्रयाणाजिनायकाभ्युदयैश्च यत्।

चतुर्वर्गाभिधानेऽपि भूयसार्थोपदेशकृत् ॥ K .. A., I, 20-21.

Abhinava draws our attention in this connection to Bharata's definition of Nataka which emphasises the fact that it shall depict chiefly worldly prosperity, gaiety, ete. From this point of view, Abhinava even says that Santa is after all only Apradhana, not the leading motif.

"अत एव शान्तस्य स्थायित्वेऽ्यमाधान्यम्। जीमूतवाहने त्रिवर्गसम्पत्तेरेव परोपकृतिप्रधानायाः फलत्वात्। अनेनेवाशयेन नाटक- लक्षणे वक्ष्यते 'ऋद्विविलासादिभिर्गुणः (N. S., XX, 11.)' इति। अनेन हि ऋद्विविलासप्रधानमर्थकामोत्तरं सर्वै चरितं सकललोकहृदय- संवादसुन्दरप्रयोजनं नाटके निवेशयितव्यमित्युक्तम्। एलञ्ब तत्रैव वर्ण- यिप्याम: ।" Gaek. Edn., I, p. 339.

Therefore it is that the Candrikakara, the earlier commentator on the Dhva. A., says that the S'anta spoken of by Ananda is certainly admissible as a Rasa, but that it can appear only as an Anga rasa in the Prasangika Itivrtta and never as the chief Rasa figuring in the Adhikarika Itivrtta. Evidently, the Candrikakara also held the view that Vira and S'rngāra are the Rasas in the Nagananda in accordance with the ending in the attainment of Vidyadharacakravartitva and the sustained love-theme, and that the S'anta came in as a subsidiary iden to give a new variety of Vira called Dayavira. Abhinava, however, rejects this view of the Candrika in his Locana.

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"आधिकारिकत्वेन तु शान्तो रसो (रसो न) निबद्धव्य इति चन्द्रिकाकारः । तच्चेहास्माभिरन पर्यालोचितम्।" Locana, p.178.

But the above given extract from the Abhi. Bha. seems to grant what Abhinava has criticised in his own Locana. He seems to grant that it is literature of Trivarga-interest that is of wide appeal in the world. Early dramas likewise dealt with Trivarga and the eight Rasas only. But soon drama was to be made the noble vehicle of spiritual and religious instruction to the masses. Lcaving the Brahminic Mahabharata, we find Asvaghosa's Buddhacarita and Saundarananda starting the religious Kāvya, and his S'ariputraprakaraņa and the allegorical dramatic fragment dis- covered by Dr. Luders, the religious drama. The Buddhistic and Jain poets and dramatists might have been responsible for the introduction of philosophical poems1 and plays, for 1 (a) The Saundarananda has two verses in the end in which As'vaghosa says that he wrote a Mahakavya for Upasanti and Moksa, mixing a Tikta-medicine with Madhu. इत्येषा व्युपशान्त्रये न रतये मोक्षार्थगर्भा कृति: श्रोतृणां ग्रहणार्थमन्यमनसां काव्योपचारात्कृता। यन्मोक्षात्कृतमन्यदत हि मया तत्काव्यधर्मात्कृतं पातुं तिक्कमिवौषधं मधुयुतं हुदं कथं स्यादिति॥

काव्यव्याजेन तत्वं कथितमिह मया मोक्षपरमिति । (b) The Jain work, the Vastuvijñanaratnakos'a, is a hand- book of knowledge of miscellaneous things enumerated in sets of one, two, etc. (Peterson's Report III, Oxford, 352g. IO, Keith 7583-4, Asiatic Soc. Beng, 4703 A). Of uncertain date, this work mentions Turuskas in the 36 Rajavams'as given by it. Albeit its Jain authorship, it gives only Eight Rasas,-aist TaT: (Peterson III, p. 268«). (c) There is a Jain work named Adhyātmakalpadruma by Munisundarasuri (end of the 14th and early part of the 15th cent.

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making S'anta the Angi rasa of the Adhikārika itivrtta. We know that there were Buddhistic writers on Nātya like Rahula, who, as citations of his views in the Abhina- vabharātī show, had his own differences from Bharata. Further, the Jain Anuyogadvara sutra, placed in the fifth century, mentions nine Rasas, adding the Prasantarasa to the eight old Rasas (see below). Dr. S. K. De says in his Skr. Poetics (Vol. I, p. 36 f.n.) : "The Jaina Anuyogadāra Sutta (ed. N. S. P. 1915, fol. 134-5, also quoted in Weber ii, 2, pp. 701-2) which, Winternitz thinks, was probably put together by the middle of the fifth century, mentions nine Rasas, which, however, have hardly any reference (?) to poetic or dramatic Rasas; but the enumeration is interesting from the inclusion of Prasanta (not mentioned by Bharata) apparently from religious motives." It is not known why Dr. De considers these nine Rasas mentioned in the Anuyogadvāra sūtra as having hardly any reference to poetic or dramatic Rasas. They are definitely mentioned in the work as 'ja asa THr', the nine Rasas of Kāvya (see below). The Nagananda, the first and only specimen to which the early advocates of S'anta cling, is a Buddhistic story. S'riharsa had leanings towards Buddhism and if this king S'riharsa is the same as the Vartikakara of the Natyasastra quoted in the Abhinavabharati (which, however, is yet quite unproven), it is likely that his Natya Varttika, which must have made

A. D.), which is otherwise called Santarasabhavana. (Ed. Nirnaya- sagar, 1906, with extracts from Dharmavijayagani's gloss). The work says in the Pratijnas'loka that Santa is proposed to be treated in the work and in the next verse which is titled, 'Santarasa- mahatmya', the author describes the Santa as Rasendra. The commentary describes the Santa as " Sriman Suntanama Rasadhi- rajah " and " Sarvarasasara". Compare also the names of some other Jain works S'antasudharasakavya of Vinayavijayagani and the Pras'amarati of Umasväti (see esp. S1. 106 in the latter).

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उक्त-अनुक्त-दुरुक्तचिन्तन, introduced the Santa as a Rasa. It seems very likely that it is the appearance of the Nagananda in the world of drama that created a stir and set the discussion on S'anta on its feet in works on Natya and Alamkāra. What are the objections raised by the critics of S'anta against recognising it as a Rasa? The first objection is that Bharata did not speak of it. This is really no serious objec- tion. The greater objection is that pertaining to the real nature of Sama itself. S'ama, its critics say, is the total absence of all feelings and activities. Such a state of non- action cannot be presented on the stage.

"कामाद्यभावोऽपि नानुभावः प्रयोगासमवायि- त्वाच्च। न हि चेष्टाव्युपरमः प्रयोगयोग्यः ।" Abhi. Bha., p. 334.

This argument proceeds on a wrong assumption. The state of absolute cessation of action is only the climax, the Paryanta- bhumi, and this certainly cannot be shown. But the Paryanta- bhumis of all other Rasas also sail in the same boat. S'rngara is not denied as a Rasa because Samprayoga is unfit to be shown on the stage. So also murder and Raudra. So, the acceptance of S'anta does not mean the attempt to present the impossible cessation of action but means only the portrayal of an ardent spirit in search of Truth and tranquillity. The manifold efforts of the Yatamana, his trials, his victories over passions-these can be portrayed with great interest. Even one who has attained Truth can be shown and there will be no lack of action in him. A Siddha like Janaka will be doing Lokasangraha. The Gītā says :

कुर्याद्विद्वांस्तथासक्तः चिकीर्पुलोकसडग्रहम्।III, 25.

The Gita speaks of many a thing which a Sthitaprajña does.

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Similar to the above noticed objection is the explanation which another writer offers for the omission of the S'anta. The Saundaryalahari, ascribed to S'ankara, has three occa- sions to speak of the Rasas. In two verses 41 and 50, the hymn expressly mentions 'the nine Rasas', " nava rasa", in verse 41 with reference to Nätya and in verse 50 with refer- ence to Kavya. But in verse 51, the hymn refers only to eight Rasas which are described there as being expressed by the look of the Goddess. In the commentary on this verse, the 51st, Lolla Laksmīdhara offers an explanation for the omission of the S'anta here. He says that according to Bharata's school, Rasas are only eight, for Rasa means a certain modification or state of the Citta and S'anta being really the absence of any state or modification, some do not consider it a Rasa.

"विक्रियाजनका एव रसा इति अष्टौ रसा भरतमते। 'झान्तस्य निर्विकारत्वात् न शान्तं मेनिरे रसम्' इति शान्तस्य रसत्वाभावात् अष्टावेव रसाः सङ्गृहीताः ।" Pp. 154-5, Mysore Edn.

It is clear from Laksmīdhara's remarks here and on the two verses mentioning the nine Rasas that personally he would accept the S'anta. But any definite and detailed idea of Laksmīdhara's views on the S'anta could be had only when we recover his Sahitya work, the Laksmidhara, mentioned by him among his works in the colophon at the end of his com- mentary on the Saundaryalahari. That Bharata has not given the Vibhavas, Anubhavas and Vyabhicarins of S'anta, as also its appropriate Vrtti, musical Jati, etc. is another trifling objection. These can be easily made out. Abhinava gives them. The interpolated S'anta text in Bharata gives the Vibhavas, etc. of S'anta. The Sthayin of S'anta is elaborately discussed in a special section 4

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below. Its Vibhavas are given in the text as Tattvajñana, Vairāgya, Asayasuddhi, etc. Its Anubhavas are Yama, Niyama, the practice of virtues, penance ctc. Almost all Bhavas can be its Vyabhicarins. Abhinava adds the Vibhavas, HIHANTH, Hewy, the good done in the past births, God's grace, study of philosophy, etc. Abhinava further remarks that in S'anta one can see and enjoy the Anubhavas, vis., the slow disappear- ance of Kama, Krodha and other evils and that though the whole world of Bhavas becomes Vyabhicarin for the S'anta, such Bhavas like Nirveda and Jugupsa for worldly objects, Dhyti, Mati, Utsaha of the type in Dayavira, Rati for God in the form of Bhakti and S'raddha will stand out prominently as more intimate accessories, Abhyantara Angas.1 The text of the Abhinavabharati bearing on these is edited in a further section of this paper. The next objection against S'anta is the impossibility of S'anta becoming a general feature of humanity in the same measure and to the same extent as Rati, etc., for the whole world is wrapped in Avidya and is eternally slave to Raga and Dvesa. We know of the eight Sthayins only, as instinctive in man. Dhrti, Mati, etc. are given as Vyabhicarins in S'anta but we do not know of Dhrti or Mati helping S'ama. All the Dhrti and Mati known to us is mingled with Raga and Dvesa and other mundane associations.

धृतिप्रभृतिरपि प्राप्तविषयोपरागः कथं शान्ते स्यात्। Abhi. Bhā., p. 334.

1 In ch. 6 (pp. 135-6) S'aradatanaya again treats of Santa, in a clumsy manner. First he praises it as the Rasa which gives Moksa and gives its Vibhavas, etc. Then he says that it has not got Vibhavas, etc. to a full extent, is Vikalanga ; but concludes that despite its imperfections, it is Prakrsta because of its relation with the fourth Purusartha of Moksa.

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Nor is the portrayal of non-action any good for Vyutpatti. The mere presentation of non-action does not educate anybody in the means to attain knowledge of Truth.

न च अकिध्ित्करत्वमात्रेण तत्त्वज्ञानोपाये व्युत्पाद्यन्ते विनेयाः । Ibid., p. 334.

The quietistic clement is not a dominant factor in man's life. If a poet devclops it, it will become strange and unbelievable that there are really such impossible men who have spurned the pleasures of the world, women, position, wealth, etc. The general mass of the audience is mostly of ordinary men who will hardly respond to such a drama or have any Cittasamvāda in it. The Avaloka on the Dasarūpaka says :

'अन्ये तु वस्तुतस्तस्य अभावं व्णयन्ति। अनादिकालप्रवाहायात- रागद्वेषयोरुच्छेत्तुमशक्यत्वात्'। D. R. A., p. 117. 'न च तथाभूतस्य शान्तरसस्य सहृदयाः स्वादयितारः सन्ति ।' Ibid., p. 124.

All these objections are raised and answered by Ananda- vardhana :

'यदि नाम सर्वेजनानुभवगोचरता तस्य नास्ति, नैतावतासौ अलोक- सामान्यमहानुभावचित्तवृत्तिवत् प्रतिक्षेप्तुं शक्यः ।' Dhva. A., p.177.

That the major part of humanity is wallowing in mundane pleasures does not disprove the existence of saints and sages. There are persons of spiritualistic bent and to them the S'anta play is bound to appeal. To them, the Spngara and Vira plays will have little appeal. Surely, on that ground, S'rngara and Vira are not dismissed from the fold of Rasas.

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"ननु तत्र हृदयसंवादाभावाद्रस्यमानतैव नोपपन्ना। क एवमाह नास्तीति? यतः प्रतीयत एवेत्युक्तम्। ननु प्रतीयते, सर्वस्थ क्र्ाघास्पद न भवति। तर्हि वीतरागाणां शृङ्गारो न क्राध्य इति सोडपि रसाच्चयव- तामिति तदाह-यदि नामेति।" Locana, p.177.

The argument of the impossibility of non-action being shown has already been refuted. An extension of the argument that the S'anta is not relishable is the argument that drama which is essentially for entertainment and Trivargavyutpatti must depict Rddhi, Vilāsa, etc. So have all dramas done. There are no plays which have developed S'anta. The Nagananda, which some hold as a S'änta play, is plainly not so. For the end here is not Moksa, but the attaining of lordship over the Vidyadharas; and all through, the love-theme runs and this is the first thing antagonistic to S'anta. Therefore Vira and S'rngara, the former as Dayavira, stand out prominently in the Nagananda.

"यत्तु कैश्चिन्नागानन्दादौ शमस्य स्थायित्वमुपवर्णितम्, तत्तु मलयवत्यनुरागेण आपबन्धप्रवृत्तेन विद्याधरचक्र्रवर्तित्वप्राप्त्या विरुद्धम्। न हेकानुकार्यविभावालम्बनौ विषयानुरागापरागावुपलब्धौ। अतो दया- वीरोत्साहस्यात्र स्थायित्वम्। तत्रैव शृङ्गारम्य अङ्गत्वेन चक्रवर्तित्वादेश्च फलत्वेन अबिरोधात् ईप्सितमेव च सर्वत्र कर्तव्यमिति परोपकारप्रवृत्तस्य विजिगीषोः नान्तरीयकत्वेन फलं संपद्यत इति आवेदितमेव प्राकु।" D. R. Avaloka, p. 117.

All the arguments given above cannot disprove the possi- bility of S'anta as a Rasa capable of relish by spectators. It is bound to be uncommon ; all the same, it is as true as the inner expericnce and the higher life of the mystic which is

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not in common with the life of ordinary worldly men. I S'ama is not only a part of the world but a glorious part of it also, it should also be so of the drama. Abhinava says that literature, poetry and drama, cannot restrict themselves to the Trivarga only but must get ennobled by embracing the fourth and the greatest Purusartha also, Moksa. The attitude to Moksa is S'ama and S'anta is the Rasa of the drama which depicts the endeavour to attain that. "अत्रोच्यते-यथा इह तावन् धर्मादित्रितयम्, एवं मोक्षोऽपि पुरुषार्थः, शास्त्रेयु स्मृतीतिहासानिपु च प्राधान्येन उपायतो व्युत्पाद्यत इति सुप्रसिद्धम्। यथा च कामादिषु समुचिताश्चित्तवृत्तयो रत्यादि- शब्दवाच्याः कविनटव्यापारेण आस्वादयोग्यताप्रापणद्वारेण तथाविधहृदय- संवादवतः सामाजिकान प्रति रसत्वं शुङ्गारादितया नीयन्ते, तथा मोक्षाभि- धानपरमपुरुषार्थोचिता चित्तवृत्तिः किमिति रसत्वं नानीयत इति qH |" Abhi. Bha., I, Gaek. Edn., p. 334.

To say that it is impossible to exterminate Raga and Dveșa is to insult humanity, its heritage of philosophy and the long chain of its spiritual leaders. Surely there are men of that mind which can respond to a S'anta drama. That hedonists are not able to sit through it cannot disprove S'anta. It will be a pity if literature, and drama in particular, cannot rise beyond the level of mere entertainment and gaiety. It has been accepted that all cannot respond to all Rasas. Surely Bhayanaka will not raise sympathy in a heroic spirit. Bharata himself gives the respective characters-Prakrtis- who respond to the different Rasas. Bhaya and Jugupsa are Nica-prakrti Bhavas; Uttama Sāmājikas do not have Cittasarvāda on seeing them. If Vitas delight in Srngara, Vitaragas delight in S'ānta.

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"हृदयसंवादोऽपि तथाविधतत्त्वज्ञानबीजसंस्कारभावितानां भवत्येव, यद्धक्ष्यति 'मोक्षे चापि विरागिणः' इति। सर्वस्य नैकन्र (or न सर्वत्र) हृदय संवाद:, भयानके वीरप्रकृतेरभावात्।" Abhi. Bha., I, p. 340, [Gaek. Edn. And Bharata also says : 'न चैते गुणाः सर्वे एकस्मिन् प्रेक्षके स्मृताः ।

. उत्तमाधममध्यानां संकीर्णानां तु संसदि। न शक्यमधमैर्ज्ञातुमुत्तमानां विचेष्टितम्।

तुष्यन्ति तरुणाः कामे विदग्धाः समयाश्रिते। अर्थेष्वर्थपराश्चैंव मोक्षेष्वथ विरागिणः ॥ नानाशीला: प्रकृतयः शीले नाट्यं प्रतिष्ठितम्।

शूरा बीभतसरौद्रेषु नियुद्धेव्वाह्वेषु च। एवं भावानुकरणैर्यों यस्मिन् प्रविशेन्नरः । प्रेक्षकः स तु मन्तव्यो गुणैरेतैरलङकृतः ॥' N. S. XXVII, 56-62. There is a continuous chain of literature that depicts the supreme Rasa of Santa. In Kavya, Ananda argues in Ud. IV, that the Mahabharata leads as the great epic of S'anta. Ali the vicissitudes of the Kauravas and the Pandavas are only the Väcyaväcaka, the Pūrvapaksa, of which the purposc is the suggestion of the fact that S'ama is the greatest for which man should strive.1 The utter uselessness of even the great victory

' Vide The Message of the Mahabharata, V. Raghavan, The Mahābhārata, G. A. Natesan & Sons, Madras.

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at Kuruksetra, not to mention other worldly victories, is very well brought out by the epic. By the annihilation of even the race of Krsna and by postulating Krsna as the central per- sonality, as the pivot of the plot, by calling the epic Narāyaņa- kathā, sage Vyasa has made his message plain. The genius of Vyasa would not have attempted at anything lower than this.' 1 The following ideas and passages in the epic may be consider- ed in this connection : (a) In the first Adhyaya of the Anukramanikaparvan, the epic salutes Dharma and Krsna, its promulgator and sustainer, and says that it shall speak of the eternal Dharmas. If a work is a Dharms'astra in Vacyavacaka, it is a Moksa S'astra in Dhvani. नमो धर्माय महते नमः कृष्णाय वेघसे। ब्राह्मणेभ्यो नमस्कृत्य धर्मान् वक्ष्यामि शाश्रतान्॥S1. 3. (b) In S1. 32 of the same ch. Sauti says that the Bharata is the story of the Lord Himself: यस्य प्रसादादृक्ष्यामि नारायशकथामिमाम। (c) While giving the essential ideas of the great epic, it is said that the epic depicts the greatness of the Lord: argaaea माहात्म्यम् , ... उक्तवान् भगवानृषिः । (d) युधिष्ठिरो धर्ममयो महाब्रुमः मूलं कृष्णा ब्रह्म च ब्राह्मणाश्च।। (e) In S'ls. 104-8 in which the epic is described as a tree, it is said in S'1. 106 that the great fruit of this tree is the S'antiparvan :

(f) At the end of the Anukramanikaparvan, Dhrtarastra who is grieved at the loss of his sons is consoled by Sanjaya who has a hymn on Kala, the all-devouring Kala, on hearing which the old king got Dhrti. घृतराष्ट्रोऽपि तच्छत्वा ष्तिमेव समाश्रयत। दिष्ठ्वेदमागतमिति मत्वा स प्राज्ञसत्तमः ॥278. Immediately after this, the Bharata is described as Upanisad : अन्नोपनिषद पुण्यां कृष्णद्वैपायनोऽबवीत्॥ 279. (g) In S'1, 291, the Bharata is likened to the Āranyakas among the Vedas. (lt) In S'is. 35-36, in the Parvasangrahaparvan it is said that the wise seek the Bharata, even as Vairagya is sought by those

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If one finds relish and importance in the subsidiary themes of marriage, dice, suffering, fight, it does not prevent another reader of nobler instincts and mystic disposition seeing through

who desire liberation; and that it is like Atman among things one must realise : विचित्रार्थपदाख्यानमनेकसमयान्वितम्। प्रतिपननं नरैः प्रज्ञैवेराग्यमिव मोकिभि: ॥ आत्मेव वेदितव्येषु. श्रेष्धः सर्वागमेष्वयम् ॥ 35, 36.

(i) At the end of the Parvasangrahaparvan and at the end of the Mahaprasthanika, Dharma is sung of as the supreme good, not either Artha or Kama. (I, ii, 392, and XVIII, v, 76-7.) () Ch. 62, Ādi. अस्मिन्नर्थश्च कामश्र निखिलेनोपदेक्ष्यते। इतिहासे महापुण्ये बुद्धिश्च परिनैष्टिकी ॥19. धर्मशास्त्रमिदं पुण्यमर्थशास्त्रमिदं परम्। मोच्षशास्त्रमिदं प्रोक्ं व्यासेनामितबुद्धिता ।। 25. धर्मे चार्थे च कामे च मोने च भरतर्षभ। य दिहास्ति तदन्यत्र यन्नेहास्ति न कुत्रचित्।26. (%) Both in the beginning and end, all-devouring Kala is sung of. (I, i, 272-275 and XVI, ix, 36-40.) This is for Vairāgya. (7) The triumph of Time, the vanity of earthly glories and the inevitable Nirveda are given in a masterly manner when the great archer, Arjuna, tried and tried, but could not use his bow when before his very eyes the Yadava women were lifted by the Dasyus and Abhiras: ददर्शापदि कषायां गाण्डीवस्य पराभवम्। सर्वेषां चैव दिव्यानामस्त्राणामप्रसनताम्।। नाशं वृष्णिकलत्राणां प्रभावाणामनित्यताम्। दृष्टा निर्वेदमापन्नो व्यासवाक्यप्रचोदितः ॥ धर्मराजं समासाद् सन्न्यासं समरोचयत्॥ 361-3.

In the second of his introductory verses in his commentary on the Gita, Abhinavagupta says that the chief fruit of the epic of

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these, and deducing the greatness of the Lord, of Dharma, S'āma and Moksa. To write in such a perfect manner as to give Visranti for the readers in the Sañcari-rasas and Sañcari-themes also is not only not incompatible but is in perfect harmony with the chief Rasa and chief idca. Vide Dhva. A. Ud .. IV, p. 238. Also Abhinava in his Abhi. Bhã. :

'दृष्टः अङ्गेष्वपि विश्रान्तिलाभः, स्वभावौचित्यात्, यथा रामस्य वीराङे पिठुराज्ञां पालयतः ।' Gaek. I, p. 339.1

Next in importance to the Mahabharata are the two S'änta rasa poems of Asvaghosa, the Buddhacarita and the

Vyasa is Moksa, and that Dharma, etc., are for its develop- ment. द्वैपायनेन मुनिना यदिदं व्यधायि कासत्रं सहसशतसांमितमत्र मोक्षः । प्राधान्यतः फलतया प्रथितस्तदन्य- धर्मादि तस्य परिपोषयितुं प्रणीतम् ॥ Abhinava's pupil, Ksemendra, holds S'anta as the teaching of the M. Bharata. He says at the end of his Bharatamanjari : रत्नोदारचतुस्समुदरशनां भुक्त्वा भुवं कौखवो झोरु: पतितस्स निष्परिजनो जीवन्व्रकेभक्षितः । गोपेर्विश्वजयी जितस्स विजय: कक्षेः क्षिता कृष्णय: तस्मात्सर्विद विचार्य सुचिरं शान्त्ये मनो दीयतात्।। 1 The author of the Bhagavata, in his criticism of the Bharata, says that in the Great Epic, Vyasa had described ' Pravrtti' (as Purvapaksa) so much and so well, that man who is by mature attached to it, has mistaken to Purvapaksa itself for the Siddhanta, जुगुप्सितं धर्मकृतेऽनुशासतः स्वभावरकस्य महान् व्यतिकमः । यद्वाकयतो धर्म इतीतर: स्थितो न मन्यते तस्य निवारणं जनः ।। I, 5, 15.

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Saundarananda. The following is a list of other S'anta rasa kāvyas : 1. The Rajatarangiņi of Kalhana mentions S'anta as its Rasa. I, 23. No great history can escape the ultimate suggestion of the noble Rasa of S'anta but Dr. Keith considers, in his Skt. Literature, that the S'anta in Kalhana is a moral bias detracting from his merit as a historian. 2. Kaivalyavallī pariņaya vilasa, a philosophical Kāvya written perhaps by a Travancore prince or poet attached to him. Bhakti, Kațākşalakșmī (the saving grace of the Lord), Brahmavidya and Kaivalyavalli are some of the characters figuring in this poem. 10. Keith. 8133. 3. Jñanamudrāpariņaya Kāvya. Oppert 5537. (Auf. I, 210a.) 4. Hamsasandesa, anon, (different from Vedānta- desika's H. S. and Rūpa's H. dūta). Vedanta. With a commentary in verses. JRAS. 1884, pp. 450-1. Edn. TSS. No. 103. 5. Indudūta by Vinayavijayagaņi. Kāvyamālā, Gucch. 14. A pupil sends the moon to convey to his preceptor his own spiritual progress. 6. Cetodūta. No. 25. Atmānanda granthamāla Series, Bhavanagar. Theme identical with that of the previous works. 7. Bhaktidūtī by Kālīprasāda (23 verses) : a message to the beloved called Mukti, through the maid Bhakti. Rajendralal Mitra, Notices, III, p. 27. 8. Manodūta by Visņudāsa: Bhakti. IO. Vol. VII. Nos. 3897-9. Mitra, Notices, II, 613. Alwar, 944. 9. Manodūta by Rāmarāma: Bhakti (Vańgīya Sāhitya Parisad MS.).

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10. Manodūtikā on Jīva-Ātman relations. Stein, pp. 70, 287. Intro. p. xxxv. Cabaton, Bibliotheque Nationale Catalogue, I, 449c. [Same as Auf. I, p. 429a-Manodūtikā, Vedānta, Paris D. 253, III.] 11. Manoduta, Jain. Jain Granthavali, p. 332. 12. Meghadutasamasyalekha by Meghavijaya. This is a message to the author's Guru, like No. 5. 13. S'iladūta by Cāritrasundaragani; not a regular Dūtakavya. 14. Manoduta by Indiresa: according to Pustimārga. Br. Mu. Pt. Bks. Cat. 1906-28, 338. 15. Siddhadūta of Avadhūtarāma. (Samvat, 1423) (Bom. Br. R.A.S. 1235). Here, "a Tapasa is the lover, a Siddha is the Duta and Vidya is the beloved." 16. Tanjore New Cat. 3792. Jnanavilasakavya by Jagannatha. "This is an allegorical Kavya explaining the greatness of Vedanta." 17. Tanjore New Cat. 3736. Vijnanatarangiņī by Mahā- rudrasimha. A Kāvya on the life of S'ankaradāsa, a great devotee. 18. Mysore I, p. 246. Gītavītarāga (2 MSS.) by Abhinava Carukirtipanditācārya. This work is called Bāhubalisvāmi Aştapadī in a MS. in the Jain Mutt at S'ravana Belagola. This appears to be a Jain S'anta Rasa imitation of the Gitagovinda of Jayadeva. Among dramas, Asvaghosa's seem to be the earliest to have S'anta as their dominant Rasa. His S'arīputraprakaraņa deals with the conversion of the hero to the Buddhistic faith and another of his dramatic fragments discovered by Dr. Leuders shows an allegorical spiritual drama. Long after the time of Ananda, and about the time of Abhinava, Krsnamisra (c. 1098) wrote his Advaita allegory, the

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Prabodhacandrodaya,' which inaugurated a regular category of philosophical and allegorical plays. The following plays of this class were produced in different parts of the country, to propagate the several schools of philosophical and religious thought : 1. Moharajaparājaya, Jain. Yasaļpāla. (c. A. D. 1229-32). Gaek. IX. 2. Amrtodaya. Nyaya. Gokulanātha. A.D. 16th cent. Kāvyamālā. 3. Sankalpasāryodaya. Visisțādvaita. Veńkațanātha 14th cent. 4. Caitanyacandrodaya. Caitanya. Kavikarņapūra. Kāvyamālā. (c. A.D. 1550). 5. Vidyāpariņayana. Advaita. Anandarāya. (c. A.D. 1684-1728. Kāvyamālā '. 6. Dharmavijaya. S'uklabhudeva. Ed. Bombay. MSS. in many catalogues. For com. on this, see Peterson, IV, p. 27. 7. Bhavanapurușottama. Advaita. Ratnakheța S'rīni- vāsadīkșita, father of Rājacūdāmaņi dikșita. Tanjore New Cat. Nos. 4427-4429. 8. Muktipariņaya. Sundaradeva. Tanjore New Cat. 4460. NW. Provinces Cat. Pt. VII, p. 46.

1 There seems to be an abridged version of the Prabodha- candrodaya of Krsnamisra,-Laghu Prabodhacandrodaya Nātaka, Vishrambhag collection No. 239, p. 428, S. R. Bhandarkar's Deccan College Catalogue. There seems to be a Prabodhacandrodaya Kavya also in four Ullasas. A MS. of this work is noticed in the Private Diary of Mr. R. A. Sastri, now deposited in the Catalogus Catalogorum Office, Madras University, on p. 34 of Part I, as existing in the Pyara Candra Jain Big Mandir, Sailana State (Malwa, C.I.). ' This author wrote an Ayurveda allegory called Jivanandana, (Kavyamala) in which Religion also figures.

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9. Pracandarāhūdaya. Ghanasyāma.' Tanjore New Cat. 4388. 10. Jīvanmuktikalyāņa. Nallādīkșita. Advaita. Mysore I, pp. 276, 637. Adyar II, p. 27b. IO Keith, pp. 1224-5. 11. Cittavrttikalyāņa. Nallādīkșita." Mentioned by him in his Jīvanmuktikalyana. 1O Keith. p. 1225a. Rice p. 256. Aufrecht I, 207b and Rice 256 Mallasomayajin is the same author. 12. Siddhāntabherīnataka. Visișțādvaita (?). Sudarsa- nācarya. Mysore I, p. 286. 13. Anumitipariņaya : marriage between Anumiti, daughter of Paramarsa with Nyayarasika ; by Nrsimhakavi of Triplicane, Madras. This play is of little philosophical interest; it is a logic-play, तर्कनाटक. MDSC.ª 12463. 14. Vivekavijaya, the triumph of Viveka over passions by Ramanuja Kavi, son of Puraguru and grandson of Rāmā- nuja guru, of S'riperumbudur near Madras. MDSC. 12683-4. Adyar II, p. 30b. 15. Bhaktivaibhavanātaka, on Krsnabhakti; by Rāja- guru Vahinīpati Mm. Jīvadeva, son of Trilocanācārya, of Puri, patronised by King Pratāparudradeva. MTSC. 3752.

1 A strange dramatic composition of his is the Navagrahacarita. Tanjore New Cat. 4689. Tanjore New cat. Vol. XIX, p. 55. Kalitāņdavanātaka may be a philosophical or religious drama. * Dr. Keith's remark on p. 1225a of his IO catalogue and on p. 1695b, Index, that Malladiksita is the correct name and Nalla-' is incorrect, is wrong. The name of this wellknown South Indian author is Nalladiksita. ' MDSC=Descriptive Cats. of the Madras Govt, Ori. MSS. Library. MTSC=Triennial Cats, of the Madras Govt. Ori. MSS. Library.

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16. Mithyājnanakhandana, a short allegorical play in one act ; by Ravidāsa. IO. 4200. Bombay Branch R. A. S. 1289-90 and many other catalogues also. 17. Mudritakumudacandra, a dramatisation of a philo- sophical debate ; by Yas'as'candra. Bombay Branch R. A. S. 1292. 18. Pūrņapurușārthacandrodaya, on the union of Anandapakvavallī and King Dasasva (lord of the ten senses, i.e., Atman); by Jātavedas of Visvāmitra gotra. The author later became an ascetic. MDSC. 12540-1. MDSC. 14602 is a metrical resumé of the story of this play. Thore are 2 copies of a commentary on this drama in the Travancore list of MSS. collected in 1103 Kollam. 19. Jñānamudrāņāțaka. Adyar II, p. 28a. 20. Prabodhodayanāțaka by S'uklesvaranātha. The several systems of philosophy dispute here in a debate in the court of King Bhagavantarāya. Mm. Haraprasad Sastry, Notices, II Series, Vol. III, No. 190, pp. 122-4, 21. S'ivanārāyaņabhañja mahodayanāļikā; an allegorical play from Orissa; by Narasimha misra who lived under the patronage of S'iva Nārāyana Bhañja, Raja of Keonjhar. The work ends with Jivanmukti. Mm. Haraprasad Sastri, Report on search for Skr. MSS. 1805-1900. Calcutta, published by the Asiatic Soc., Bengal. 1901, p. 18. 22. Jñānasūryodayanāțaka by Vādicandra; Jain; Hiralal, -Centr. Prov. Cat. p. 646. No. 7252. Granthanāmavali, Ailak Pannalal Digambar Jain Sarasvati Bhavan, Jhalrapatan, p. 30.

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Peterson II, 198. III, 401. See Pathak, J. of the Bom. Br. R.A.S. XVIII, p. 223 '. 23. Mitra, Notices, 1607 : Tārābhaktitarangiņī contains two allegorical dramatic sequences in which Kali, Dharma, Viveka, etc. figure as characters. The work as a whole how- ever is not a drama. 24. Satsangavijayanāțaka by Vaijanatha. Cat. of Skt. MSS. in the Private Libs, of Guj., Kath., Kacch, Sind and Khandes by Buhler. (II), p. 124. No. 54. 25. Svānubhūtināțaka. MS. dated Sam. 1705; by An- antapandita, son of Tryambaka Paņdita. S. R. Bhandarkar II Tour Report of MSS. in Raj. and Centr. India, 1904-6, p. 9. 26. Vivekacandrodayanāțikā by S'iva. S. R. Bhandarkar, Deccan Coll. Cat. p. 43. No. 31. 27. Dharmodayanātaka composed in 1692 S'aka, A.D. 1770, by Dharmadeva Gosvamì who composed a Dharmodaya Kāvya also. Jour. of the Assam Res. Society, III, 4, p. 119. 28. Māyāvijaya by Anantanārāyaņasūri. 29. Jnanacandrodaya by Padmasundara. The last two are mentioned on page v. fn. of the English introduction to the Gaekwad edition of the Moharaja- parajaya (No. IX). 30. Șaņmatanāțaka by Jayantabhațța. Peterson's Report, V, p. 262. No. 407. 31. Tattvamudrābhadrodaya, by Triveņi, a prolific south India Vaișnava Brahmin poetess, daughter of Udayendra- puram Venkațācārya, author of a Yādavarāghavapāņdavīya.

1 Akalanka's Astasati, commentary on Samantabhadra's Apta- mīmāmsa, is introduced as a female character in this drama.

40 THE NUMBER OF RASAS

She lived between 1817-83 and was the wife of Prativadi- bhayankaram Venkatācarya of S'rīperumbudur. (Dr. M. Krsnamacharya, M.A., M.L., PH.D. Skr. Poetesses, pp. 62-63, Souvenir of the Silver Jubilee of the Trivandrum Skr. Series). 32. Antarvyākaraņanāțyaparisista: a dramatic com- position by Krsnananda Sarasvati, published in 4 parts from Calcutta 1894 (?)-1899. This achieves a Vyākaraņa-Dharma S'lesa, i.e. inculcates at once rules of grammar and moral and philosophical teachings. British Museum, Printed Books Catalogue, 1892- 1906, Column 320. 33. The Bhartrharirajyatyāganātaka by Krsņabaladeva varma. Published, Lucknow, 1898. Ibid. 315. 34. Citsūryāloka by Nrsimha daivajña ; allegorical drama in 5 acts. Vizianagaram, 1894. Ibid. 437. 35. Ihamrgi or Sarvavinoda in 4 acts; dealing with Srgāra, Bībhatsa, Hāsya and Vairāgya. By Krșņa avadhūta, a Ghatikasatamahakavi. Bellary, 1895. Ibid. 315. 36. Paşaņdadharmakhaņdana by Dāmodarāsrama, in 3 acts showing up the heresy and immorality of the Pusti- margins. Composed in Samvat 1683. Br. Mu. Prt. Bks. Cat. 1906-28, Col. 234. 37. Svātmaprakāsanāțaka by Sundarasāstrin of Polaham village (Tanjore Dt.) Advaita. Pub. Chidambaram, 1319. Ibid. 1037-8. 38. Krşņbhakticandrikānātaka by Anantadeva, son of Apadeva. Numerous MSS. Edn. Bombay Grantharatnamālā, 1887-92.1

' [MDSC. 12548 and 12754 : Prapanna sapiņdikaraņanirāsa is a drama strange in its theme which is a controversy regarding the proper obsequial rites to be performed for a dead Prapanna.

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Besides there are many late dramas on the lives of the religious leaders, saints and devotees of S'iva and Visnu, Ramanujacarya's career is dramatised in the Yatirājavijaya or Vedāntavilāsa by Varadācārya of Kānci. (MDSC, 12696- 12700; Tanjore Cat. 4486; Mysore I, p. [281; Adyar II, p. 30a). S'ivabhaktānandanāțaka, MTSC. 5092 and 5520, is on the life of one of the S'aivite saints. Such dramas are more truly spiritual; for their portrayal of the religious and spiritual career of such personalities is more effective than the presentation of abstract spiritual ideas as characters on the stage. A iove-story evokes love and for this purpose, one does not write a play in which S'rngāra figures as a character with Madhu, Viraha, etc. as other characters. Thus dramas on the life of saints and devotees are S'antarasa plays. The Bhartrharinirveda Nātaka of Harihara (Kāvya- māla) is a S'anta play of a conception far superior to other specimens though the author is somewhat unequal to the theme. The Prastavana says that it is a S'anta play and that the S'antarasa is the only lasting Rasa.

श्रीहरिहरप्रणीतेन भर्तृहरिनिर्वेदनान्ना शान्तरसप्रधानेन नाटकेन तानुपासितुमीहे।

श्रृङ्गारादिरनेकजन्ममरणश्रेणीसमासादितैः एणीदक्प्रमुखैः स्वदीपकसखैरालम्बनैरार्जितैः । अस्त्येव क्षणिको रसः प्रतिपलं पर्यन्तवैरस्यभू: न्रह्माद्वैतसुखात्मकः परमविश्रान्तो हि शान्तो रसः ॥ २ ॥

Author : Mansalkatti Vedantacarya. Br. Mu. Prt. Bks, Cat. 1892- 1906, Col. 525 : Rajarajavarman's Gairvanivijaya is another strange play in one act on the foundation of Sanskrit Schools in Travan- core.

42 THE NUMBER OT RASAS

Even in dramas on Rama, Krsna and S'iva, which are very large in number, there is Bhakti and through it S'anta as the ultimate Rasa, though the drama by itself has a different and definite Rasa in its theme. For, it is devotion to these forms of God that prompted the poets to write and it is devotion that is the result in the hearts of the Samājikas. The actual Rasa of the play in such cases will thus be a Rasavat, subordinated to Bhakti and S'anta which form the Paramadhvani. The Santa is accepted by a majority of writers. The earliest writer now known to mention it is Udbhata. He simply mentions it in his K.A.S.S. but must have dealt with it at greater length, perhaps refuting the opposition to it also in his now lost commentary on the Natya sāstra. Lollata cer- tainly recognised it, for as will be seen in a further section of this book, Lollata recognises numerous Rasas. If he had admitted many minor Bhavas as Rasas, he must certainly have admitted S'anta, which his predecessor had accepted. "तेन आनन्त्येऽपि रसानां पार्षेदप्रसिद्धया एतावतामेव प्रयोज्य- स्वमिति थत् भट्टलोलटेन निरूपितम्, तदवलेपना षरामृश्य (?) इत्यलम्।" Abhi. Bhā. Gaek. Edn. I, p. 299 (also on p. 341). But Lollata seems to have made a compromise with the no- changers in the number of Rasas by creating ' Pārsadapra- siddhi' as certifying only a few as Rasas. This vogue in circles of connoisscurs, Lollata says, speaks only of these as Rasas, as capable of portrayal on the stage (Prayojya). The ' these only' (Etävatam eva) in Lollata perhaps refer only to the old eight. That S'anta also is included and the 'these' refers to nine has to be confirmed by a more definite evidence. We have no clue to know S'ańkuka's attitude towards S'ānta. From the number of views on the Sthayin of S'anta which

THE NUMBER OF RASAS 43

Abhinava reviews and which must have been the views of the previous commentators of Bharata, we can guess that S'ankuka also accepted S'anta. Rudrața recognises S'anta and gives Samyagjñāna or Tattvajňāna as its Prakrti or Sthāyin. Ch. VII, 3. He describes it in S'ls. 15-16, in Ch. XV : सम्यग्ज्ञानप्रकृतिः शान्तो विगतेच्छनायको भवति। सम्यग्ज्ञानं विषये तमसो रागस्य चापगमात् ।। जन्मजरामरणादित्रासो वैराग्यवासना विषये। सुखदुःखयोरनिच्छाद्वेषाविति तन्र जायन्ते।। "सम्यग्ज्ञानं स्थायिभावः । विभावस्तु शब्दादिविषयस्वरूपम् । अनुभावो जन्मादित्रासादयः ।" Namisadhu, p. 166. K.M.No.2. Namisadhu adds that it is improper to deny the existence of S'anta as a Rasa. "कैश्विच्छान्तस्य रसत्वं नेष्टम्। तदयुक्तम्। भावादिकारणाना- मत्रापि विद्यमानत्वात् ।" ibid.

Ananda recognises the S'anta, illustrates it with the Nagananda and gives asoraTre as its Sthayin. Rajasekhara's Kavya- mīmämsa might have recognised the S'anta in its lost chapter called Rasādhikārika, since Rajasekhara follows Rudrața to a large extent. Bhatta Tota accepts it and from a remark of Abhinava at the end of the S'anta section in the Locana, we see that Tota's Kāvyakautuka contains an elaborate examina- tion of the objections to S'anta and gives a brilliant exposition of it as the greatest Rasa. 'मोक्षफलत्वेन चायं परमपुरुषार्थनिष्ठत्वात् सर्वेरसेभ्यः प्रधानतमः । स चायमस्मदुपाध्यायभट्टतोतेन काव्यकौतुके, अस्माभिश्च तद्विवरणे बहु- तरकृतनिर्णयः पूर्वपक्षसिद्धान्त इत्यलं बहुना।' p. 178.

44 THE NUMBER OF RASAS

Abhinava accepts it as the greatest Rasa in his three works, his lost commentary on his teacher's Kāvyakautuka, his Locana and his Abhinavabharati. Abhinava's predecessor and ancestor, the author of the Candrika on the Dhvanyāloka, accepts the S'anta but gives the ruling that it can appear as an element in the subsidiary plot of the drama but never as the leading Rasa. (Locana, p. 178). This has been pointed out already. The view of the Candrika represents one stage in the history of S'anta. It grants that S'anta is a Rasa but holds it still unworthy of the honour of being the leading Rasa. The next stage is the recognition of it as an Adhikarika Rasa, but permissible as an Adhikārika Rasa only in a Kāvya; in Natya, it should only be a Prasangika Rasa. The next stage is its complete acceptance, as Adhikārika in Nātya also, and as the greatest of all Rasas, synthesising all the other Rasas in itself. Bhatta Nayaka accepts it and, like Abhinava, holds -it as the greatest Rasa. Taking the very first verse of the Natya sastra-नाव्यशासत्रं प्रवक्ष्यामि ब्रह्मणा यदुदाहतम्-Bhatta Nayaka imaginatively interprets this as suggesting the S'anta Rasa.1 ' Brahmaņā yad udāhrtam' does not mean the S'astra which was delivered by Brahma, but Drama which is compared to the Brahman or the Absolute of Vedanta. The Nata is like the Brahman; upon him is created the world of drama, as this world upon the substratum of the Brahman. Drama is Māya and the nature of its reality is Anirvacaniya. Though fundamentally non-existent in the sense in which the Nata and the Brahman exist as realities, both this world and Drama do exist. Both help to the attainment of the Purusarthas. The essence of this view is given by him in his Mangalasloka to his now lost Hrdayadarpana. See pp. 4-5. Abhi. Bhā. Gaek.

1 Vide J. O. R., Vol. VI, p. 211, my article, Writers quoted.in the Abhinavabharati.

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Edn. I. Bhatta Nayaka seems to have accepted as genuine the S'anta text found in Bharata.

"-शान्तरसाक्षेपोऽयं भविष्यति 'स्वं स्वं निमित्तमासाद् शान्ता- दुत्पद्यते रसः' इति। तदनेन पारमार्थिकं प्रयोजनमुक्तम्" इति व्याख्यानं हृदयदर्पणे पर्यग्रहीत्। यदाह-

'नमस्ैलोक्यनिर्माणकवये शम्भवे यतः । प्रतिक्षणं जगन्नाठ्प्रयोगरसिको जनः ॥।' इति।

Ksemendra accepts it as can be seen from his Aucityavicāra- carca, pp. 130-1. Following Abhinava and Ananda, he con- siders S'anta as the Rasa of the Bharata. See S'l. 3 at the end of his Bharatamanjari. While Ananda considers Karuņa as the Rasa of the Ramayana, Ksemendra considers that the Karuņa itself is the argument for S'anta being the ultimate Rasa. See S'1. 1 at the end of his Ramāyaņamanjarī. Sānta is the Rasa of Ksemendra's Bauddhāvadanakalpalatā and some of his minor works, Darpadalana, etc. Bhoja accepts it both in his S. K. A. and S'r. Pra. Most of the later writers accept it. The writers who do not accept S'anta are mainly writers on Dramaturgy proper. They think they are loyal to Bharata by denying it. The attitude begins (as far as we know now) in the Dasarupaka, the model and source for many a later work on Rūpaka. Dhanañjaya and Dhanika, both refute it and argue for its impossibility in drama.

शममपि केचित् ग्राहुः पुष्टिर्नाट्येषु नैतस्य ।' D. R. IV, 35.

1D. T. Tatacarya, M.O.L., misunderstands this S'ama, the Bhava which is given here as the Sthayin of S'anta, as something having nothing to do with Santa and as something new and distinct

46 THE NUMBER OF RASAS

From this it would appear that Dhanañjaya denies S'anta only in drama but accepts it in Kavya. But, as a matter of fact, Dhananjaya, as interpreted by Dhanika, does not recognise it even in Kävya. Sec p. 124. Mammata first says that the Natya Rasas are only the eight given by Bharata, but adds afterwards that there is also a ninth Rasa called S'anta with Nirveda as its Sthayin, K. Pra, IV. S'ls. 6 and 12. S'āradātanaya denies it in Nätya, following one set of writers who opine that Bralima gave only eight Rasas but subsequently mentions the S'ānta as accepted by Vāsuki. S'ingabhūpāla recognises only cight Rasas in drama and refutes Bhoja for holding S'anta also as a Rasa, R.A.S. II, p. 171, T.S.S. Some of the writers on Natya seem to be anxious to object to S'anta only in drama, since, in drama which requires the action of a Rasa through its Anubhavas, there is no possibility of acting S'anta Rasa, which, according to them, is devoid of all activity. The S'ravyakāvya however can des- cribe the S'anta Rasa, for what cannot be acted can at least be described. The D. R. Avaloka proposes :

'ननु शान्तरसस्थ अनभिनेयत्वात यद्यपि नाट्येऽनुप्रवेशो नास्ति, तथापि सूक्ष्मातीतादिवस्तूनां सर्वेषामपि शब्दप्रतिपाद्यताया विद्यमानत्वात् काव्यविषयत्वं न वार्यते।' p. 124.

And even this Dhanika does not grant. For he says that such a state as S'ama is the very negation of the possibility of affirming anything of it. For, whatever way in which we can describe it is incorrect in so far as we are always describing in worldly terms something which is not like anything of this

from Santa. He says incorrectly: "Dhanafjaya seems to accept Sama as distinct from Santa rasa, which, he thinks, has no place in drama." (J.O.R., Vol. V, p. 28.)

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world. The Upanisads themselves describe the Brahman by saying that It is not this, not this. Such a state can never be made the subject of Kävya even.

"शान्तो हि तावत्-

'न यत्र दुःखं न सुखं न चिन्ता न द्वेषरागौ न च काचिदिच्छा। रसस्तु शान्त: कथितो मुनीन्द्रैः सर्वेषु भावेषु शमप्रधानः ॥!'

इत्येवंलक्षण:, तदा तस्य मोक्षावस्थायामेव आत्मस्वरूपापत्तिलक्षणायां प्रादुर्भावात् तस्य च स्वरूपेण अनिर्वेचनीयता। तथा हि श्रुतिरपि स एष नेति नेति अन्यापोहरूपेणाह।" D. R.A., p. 124.

This objection of the indescribability of S'anta and the im- possibility of enacting it has already been answered. See above. The Sukha which is said to be absent in that state refers to worldly joy. Visvanātha thus replies to Dhanika :

"युक्तवियुक्तदशायामवस्थितो यः शमः स एव यतः । रसतामेति तदस्मिन सश्चार्यादेः स्थितिश्च न विरुद्धा ॥"

"यश्चास्मिन् सुखाभावोऽपयुक्त्त:, तस्य वैषयिकसुखपरत्वात् S.D., III, 250.

न विरोध:" । ibid. III (under Karika 249).

Vedantadesika also has answered this and other objections to the S'anta in the prologue to his Sankalpasūryodaya. See D. T. Tatacharya, J. O. R., Vol. V, pp. 32-3, where the passage from Vedantadesika is quoted in full. To grant it in Kāvya and to deny it in Nātya is as clumsy a compromise as the one which grants it inherent

1 This is evidently a verse from an old writer who accepted the S'änta and described it in these terms.

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Rasatva and denics it conventional vogue as a Rasa. Kävya is, in essence, only drama and this Abhinava has emphasised in his Abhinava-bhärati.1 If it is possible to develop it as the theme of a Kvya, equally is it possible to handle it as the motif of a drama. There are other writers who are not so antagonistic towards S'anta as to deny it totally. They are not Abhavavā- dins but are Antarbhavavadins. The aspect called the quietistic is no doubt available in Kavya and Nātya but one need not recognise it as a special and separate Rasa with the name S'anta which Bharata does not speak of. We can have it and relish it as a variety of one of the Rasas already given by Bharata. Thus, for instance, some writers include S'anta in Vira and say that S'anta is nothing but Dayavira. This view cannot however explain all cases of S'anta but it owes its origin to the fact that it was Nagananda that was at first kept in view by the sponsors and adversaries of S'anta. Others try to include it in Jugupsa. Inclusion in many other Bhävas is possible as will be shown in the section on the Sthayin of S'anta. But in all these cases the Antarbhāvavādins mistake a Sañcarin, though an Abhyantara one, for the Sthayin. Vira, as emphasising Ego, as Ahankārapradhāna, can go ill with S'anta which is the very negation of Ahankara. If there are certain varieties of selfless Vira like Dayāvīra, Dharmavīra and Danavira, they must be brought under the Mahavisaya, viz., the Santa and not vice versa. So also Jugupsā, etc .*

1 Abhi. Bha., Gaek. Edn., I, p. 292. " See Sahityadarpaņa, III.

Again सर्वाकारमहद्काररहितत्वं व्रजन्ति चेतू। अत्रान्तर्भोवमहेन्ति दयावीरादयस्तदा ।

THE NUMBER OF RASAS 49

These are at best very prominent and frequently appearing accessories. We can say :

कस्यचिच्छान्तमेदस्य स तु स्यादुपलक्षणम्।

Dayavīra, ctc. may be some cases of S'anta, not all cases of S'anta. S'anta comprehends all the forty-nine Bhāvas as its Vyabhicarins. It cannot be included in anything. gaycer, दयावीर, विचित्ररत्यादिस्थाय्यष्टक-these are, each of them, a kind or a case of S'anta; they cannot define S'anta. If in spite of the fundamental difference between S'ama and Utsaha, some want to include Santa in Vira, becanse both have Utsaha of a Sattvika form in them, all the Rasas can be included in Vira, for there is hardly any activity without Utsaha. If because of the Sattvika nature of the Utsāha in S'anta and Vira, the two are made into one, well can Vira and Raudra be made into one, because both carry out the destruction of the enemy. This Antarbhavavada is dealt with at greater length in the section on the Sthayin of S'anta. S'anta is the Rasa of S'ama, or Tattvajñana or realisation of Atman. The whole world may be its Uddipanavibhava. Its Alambanavibhava is, in cases of Bhakti or devotion, a personal God, and in other cases, the Atman or the Brahman. Those who have accepted S'anta give it all the Rasa-details which Bharata gives to other Rasas, viz., its Varna (colour), Devatā (presiding deity), Vrtti, Guna, etc. The original text of Bharata on the Rasa-devatas reads ' eradi sadaa:' VI, 50. Abhinava says that according to the S'anta-advocates, the text reads thus: "बीरो महेन्द्रदेवः स्यात बुद्धः शान्तोऽब्जजोङ- द्रभुतः" इति शान्तवादिन: केचित् पठन्ति। बुद्धो जिनः परोपकारैकपरः, प्रबुद्धो वा ।" Abhi. Bha., Gack. Edn., I, p. 300. Abhinava says that either the Buddha or the enlightened soul in general is 7

50 THE NUMBER OF RASAS

the Devata of Santa. The mention of Buddha in the amend- ed text is tell-tale and shows the hand of some writer like Rahula. It confirms our surmise in an earlier section of this book that the Buddhists might have ushered the S'anta in. It is natural that Visvanatha clearly stated Narayana as the Devata of S'anta-S'ri Narayanadaivah. The Alankāra- sarvasva of Harşopādhyāya (?), written for one Gopāladeva, makes the supreme spirit, Para Brahman, as the Devatā of S'anta.' Regarding the colour of S'anta, one naturally expects it to be pure white, to be in consonance with the purity and knowledge that characterise it. Visvanätha says of it -- Kundendusundaracchayah. So also did Abhinava say: accord- ing to him, advocates of S'anta changed the text ' qamaiaya: स्मृतः' into 'स्वच्छपीतौ शमाद्भुतौ'. "स्वच्छपीतौ शमाद्भुतौ" इति शान्तवादिनां पाठः ". Gaek. Edn., I, p. 299. The Vrtti of S'anta is given by Abhinava as the Sattvati, because the Sattvali vrtti is described by him as full of Sattvaguņa.3 '11-a तु सात्त्वत्येव वृत्तिरिति -. 'Abhi. Bha., Gaek. Edn., I, p. 341. But, correctly spcaking, the real Vrtti of S'anta cannot be any of the four or can be any one of the four in the several situations according to the Vyabhicarins. Thus in the case of a drama involving Bhakti or devotion to a personal God, the Vrtti is Kaisiki. The Sangītasudhakara of king Haripāladeva (Madras MS.)3 which, as will be seen presently, accepts S'anta as a

' Madras Govt. Ori. MSS. Library, Triennial Catalogues, 1910-1922, R. No. 3325. ' Regarding this false etymology, of Sattvati from Sativa, sce my article on the Vrttis, J. O. R., Vol. VII, pp. 38-44. ' Triennial Catalogue, Madras Govt. Ori. MSS. Library, R. Nos. 779 (Chs. 1-2) and 3082 (Chs. 3-6). See J. O. R., Vol. VII, pp. 102-4, my article on the Vrttis. Also, pp. 21-3, Vol. IV, Journal of the Madras Music Academy, my article on Later

THE NUNDER OF RASAS 51

less basic Rasa and introduces a permanent quietistic Rasa called Brahma, which latter corresponds to the S'anta of others, postulates the Vrtti of this basic Brahmarasa as the Brahmi vrtti. In the fight of Visnu with the two demons, Madhu and Kaitabha, in which incident arose the four Vrttis, Brahma was a spectator and Haripala makes this Tatastha Brahma the source of his Brahmi vtti. This Vrtti he ascribes not only to the Brabma rasa, but to S'anta and Adbhuta also. Brahma is the Devata of Adbhuta in the old text of Bharata also. Brahma is thus the Devata of S'anta and Brahma Rasas according to Haripāla :

अधिष्ठाय रसानेतान् पञ्चाजायन्त वृत्तयः । कैशिक्यारभटी ब्राह्मी सात्त्वती भारती तथा।

ब्राह्मी नाम भवेद्ठत्ति: ब्राह्मशान्ताद्भुताश्रया। न्राह्मी ब्रह्मोद्धवा तत्र शेपा नारायणोद्धवा: ॥। Mad. MS., p. 19.

Regarding the Guna of S'anta : Ananda says that Madhurya is the Guna of S'rngara (Sambhoga), Vipralambha, and Karuņa. This Guna is sweetness and the melting of the heart. Really spcaking this Madhurya applicable to worldly sweetness or Cittadruti of a worldly nature cannot apply to S'anta. Perhaps Prasada may fit S'anta, for, above all, S'ama is the tranquillity and transparence of the Cittavrtti or Antahkarana which has become tarnished with the dust of this world. Prasada which shows the total absence of Raga and Dvesa is the nearest

Sargita Literature, MSS. of Haripaila's Sangitasudhākar are available in the Adyar (Cat. II, p. 46b), Tanjore (Nos. 10804-6) and Mysore (Cat. 1, 378, entry 7, where there is some mistake) Libraries.

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approach to the Tatasthata of S'anta. But Hemacandra con- siders that in S'anta, Madhurya exists in a high degree.

'द्रुतिहेतुर्माधुर्य श्रृङ्गारे। शान्तकरुणविप्रलम्भेषु सातिशयम्।' K. A. IV, p. 201. 'सातिशयमिति-अत्यन्तद्रुतिहेतुत्वात्।' Com. ibid.

Jagannatha also views similarly. He gives the greatest amount of Madhurya as present in S'anta.

"तत्र शृङ्गारे संयोगार्ये यन्माघुर्यै ततोऽतिशयितं करुणे, ताभ्यां विप्रलम्मे, तेभ्योऽपि शान्ते।" R. G., p. 53.

In this respect, both Hemacandra and Jagannatha only follow Mammata who says:

आह्वादकत्वं माधुर्य श्रृङ्गारे द्रुतिकारणम् । करुणे विपलम्भे तच्छान्ते चातिशयान्वितम् ॥ Ka. Pra., VIII, 3.

These writers seem to have in their mind the state of Brahmasväda or the realisation of Ananda, that being the end of S'anta rasa. Surely bliss unalloyed is sweetest.

IN this section I propose to speak of some peculiar and original views expressed by some writers on the S'anta Rasa.

THE RASAKALIKA OF RUDRABHATTA

In the section on the Sthayin of S'anta it will be seen that Nirveda, Trsņāksayasukha, Vairāgya, Tattvajnāna, etc, make their claim to be the Sthayin of S'anta. Each of these helps the other and shades off into the other. All of them form aspects of the one Rasa of S'anta. So it seems to Rudrabhatta, the author of the Rasakalika, an unpublished work on Rasa preserved in two parts in two MSS, in the Govt. Oriental Library, Madras (Nos. R. 2241 and 3274)'. He says first that

' The two MSS. make the work almost complete; but there still seems to be some portion missing. On p. 32 of R. 22+1, there is a Catu on a king named Arjuna. This Rasakalika is identical with the Rasakalika which is quoted by Vasudeva in his com- mentary on the Karpuramanjari (K. M. Edn.). All the six verses cited by Vasudeva are found in the Rasakalika in these Madras MSS. There are two copies, an original and a transcript, of the Rasakalika in the Mysore Oriental Library. There is no indication of the author in the MSS. of this work. But we are able to know that one Rudrabhatta was its author from the external evidenec of a Kanarese treatise on Rasa, the Rasaratnakara of Salva (16th cent.), Salva says that he draws upon Amrtananda, Hemacandra, Rudrabhatta and Vaidyā- natha. While dealing with the Uddipana-Vibhavas, Salva says that Rudrabhatta mentions ther as four in his Rasakalika (p. 11, Rasaratnakara, Madras University Kanarese Series, No. 9, Ed. by A. Venkat Rao and Pandit H. Sesha Ayyangar). On pp. 188-2 of this edn., is found an appendix containing all the passages of the Rasakalika quoted by Salva.

54 THE NUMBER OF RASAS

S'ama is the Sthayin of S'anta (R. 2241, p. 7) and then describes on p. 9 that S'ama is the untinted, rippleless state of the mind which is acquired through Vairāgya, etc.

"शमो वैराग्यादिना निर्विकारचित्तत्वम्। यथा- 'अशीमहि वयं मिक्षाम् आशावासो वसीमहि। शयीमहि महीपृष्ठे कुर्वीमहि किमीश्वरैः ॥'" p. 9, R. 2241.

What other things does he mean besides Vairagya when he says ' Vairdigya-adina?' He explains on p. 47. He says that even as Vira is of the forms of Dana-, Daya-, Yuddha- and Dharma-Vira, Santa also has four Prakāras or phases or forms : Vairāgya, Doşanigraha, Santoșa and Tattvasākşātkāra.

"अथ श्ञान्त :-

विषयेभ्यो विरक्तस्य तत्त्वज्ञस्य विवेकिनः । रागादिनिर्विकारत्वं शान्तिरत्यभिधीयते ॥

सा चतुर्विधा-वैराग्यम, दोषनिग्रहः, सन्तोषः, तत्त्वसाक्षात्कारिता चेति।"

"विषयभ्यो निवृत्तिर्वैरा्यम् ! रागाद्यभावो दोष- निग्रह: ... । तृष्णोन्मूलनं सन्तोषः •। तत्त्वसाक्षात्कारः । " pp. 47-48.

Here Vairagya and the other three are spoken of not as means to Sama but as forms of S'ama or S'anta itself.

THE SANGITASUDHAKARA OF HARIPALADEVA

Unlike most of the later writers, king Haripala boldly wrote on independent lines, creating new concepts. He accepts thirteen Rasas: the old eight of Bharata, S'anta,

THE NUMBER OP RASAS 55

Vatsalya (which comes down from Rudrata's time), and three absolutely new Rasas, Sambhoga, Vipralambha and Brahma. He expressly says that the last three are new and distinct Rasas according to his view.

शृङ्गारो हास्यनामा च बीभत्स: करुणस्तथा । वीरो भयानकाह्वानो रौद्ाख्योऽद्भुतसंज्ञकः । शान्तो ब्राह्माभिघः पश्चाद् वात्सल्याख्यस्ततः परम्। सभ्भोगो विमलम्भः स्याद् रसास्त्वेते त्रयोदश ॥ P. 16, Madras MS. R. 3082 (Ch. IV).

What his new Rasas, Sambhoga and Vipralambha, are and how they differ from the first, vis., S'rngara-these questions will be taken up in another section. Now we shall restrict ourselves to Haripala's views on the new Rasa nameď Brahma which he holds in addition to (and not in the place of) the S'anta. What are these two Rasas, Brahma and S'anta and how do they differ? What are their respective and distinct Sthayins ? What is the necessity for recognising two such Rasas ? Haripala gives the Sthayins of his Rasas thus :

आह्लाद: प्रथमं नर्म1 जुगुप्सा शोक एव च।। उत्साहदैन्य®क्रोघोडथ विस्मयस्तदनन्तरम्। निर्वेदश्च तथानन्दः परीती रत्यरती तथा ॥ प्रत्येक स्थायिनो भावाः क्रमात् प्रत्येकमीरिताः ।p.17, ibid.

He accepts the view that Nirveda is the Sthayin of Santa and in this acceptance, he seems to have a purpose which

1 Narma means Häsa. * Bhaya is the old Sthayin of Bhayanaka,

56 THE NUMBER OF RASAS

we shall see presently. Haripala says further on these Rasas :

सम्भोगो चिप्रलम्भश्च ब्राह्मश्चेति त्रयो रसाः । अतिरिक्ता उदीर्यन्ते हरिपालमहीभुजा ॥ p.17.

ब्राह्मो नाम रसः सर्वप्रपश्चवोत्तीर्णरूपकः । नित्यः स्थिरोऽत एवायं पार्थक्येन प्रकीर्तितः । p.18.

From the latter verse we have to take that Haripāla dis- tinguishes the S'anta and the Brahma Rasas as differing in the degree of permanence. He calls the Brahma, of which Ananda is given as the Sthayin, eternal (Nitya) and permanent (Sthira), and from this we have to understand that the S'anta of which Nirveda is the Sthayin is impermanent (Anitya and Asthira). While discussing the claims of Nirveda born of Tattvajnana to be the Sthayin of S'anta, Abhinava quotes the verse वृथा दुग्धोऽनड्वान् etc. and points out that the resulting Bhäva is Kheda or Nirveda in ordinary things in the sphere of our mundane activities, which has no reference to the fourth Puruşārtha, Moksa. This Nirveda can be developed into a Rasa which is a kind of quietude, S'anta, Perhaps, it is to distinguish such a Rasa as this Nirveda-S'anta involving a passive attitude towards mundane matters, that Haripāla postulated a Brähma rasa to refer to a regular activity towards the attainment of Moksa. No such explanation is however offered by Haripala. The above suggested explanation loses point when it is realised that a Nirveda in ordinary things must only be a Bhäva and if it is nourished into a Rasa, it cannot stop short without developing into a Rasa referring to Moksa. It is a pity that Haripala has not explained himself more elaborately.

THE NUMBER OF RASAS 57

THE PRAPAÑCAHRDAYA

The Prapancabrdaya, an anonymous compendium, pub- lished as No. XLV of the Trivandrum Skt. Serics, treats of the subject of Rasa under Natya, in the section on the Gandharva Veda, in the chapter on the Upavedas. The work approaches Santa in a new manner. It says that there are only eight Sthayins but opines that the Natyasastra gives nine Rasas! It thus gives eight Sthayins and nine Rasas. It refutes those who hold S'anta as the negation of the other eight and holds it as the cessation of all the senses, Sarva- indriya-uparama. But what exactly is the S'anta, it does not say.

"तदेतत् (नाख्म्) अष्टभावानां नवरसानाम् आश्रयभूतम्। ते च प्रदर्शिता :-

'रतिर्हासश्र शोकश्र क्रोधोत्साहौ भयं तथा। जुगुप्सा विस्मयश्चैवेत्यष्टौ भावाः प्रकीर्तिताः ॥ शृङ्गारहास्यकरुणा वीररौद्रभयानकाः । बीभत्साङ्गुतशान्ताश्च नव नाट्यरसा: स्सृताः ।'

इति। तत्राष्टौ भावाः पूर्वरूपाः । तदुत्तररूपा नवरसाः । तदष्टभावानामभावो नवम इति के चिदाहुः। तदसमञ्जसम्। नाट्यशासत्रे नवरसानामभ्युपगमात्। अतः सर्वेन्द्रियोपरमलक्षणः शान्तो नवमरसः ।" pp. 55-56. How can one speak of a Rasa without a Sthayin ?

THE ANUYOGADVARA SŪTRA

The Anuyogadvarasutra with the Skt. gloss of Maladhari Hemacandra (Agamodaya Samiti Series) deals with the nine 8

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Rasas of Kavya, p. 134 ff. The gloss first explains the Prasanta Rasa thus:

'प्रशाभ्यति क्रोधा दिजनितौत्सुक्यर हितो भवत्यनेनेति प्रशान्तः । परम- गुरुवच: श्रवणादिहेतुसमुल्लसित उपशममकर्षात्मा प्रशान्तो रस इत्यलं विस्तरेण'।

The text describes and illustrates the Prasanta thus :

निद्दोसमणसमाहाणसंभवो जो पसंतभावेणम्। अविकारलवखणो सो रसो पसंतो त्ति णायव्वो॥

पसन्तो रसो जहा-

सब्भावनिर्विगारं उवसंतपसंतसोमदिठ्ठीअम्। ही जह मुणिणो सोहइ मुहकमलं पीवरसिरीअम्। छाया निर्दोषमनःसमाधानसम्भवो यः प्रशान्तभावेन। अविकारलक्षणः स रसः प्रशान्त इति ज्ञातव्यः ॥

प्रशान्तो रसो यथा --

सद्धावनिर्विकारम् उपशान्तप्रशान्तसौम्यदष्टीकम्। पश्य यथा मुनेः शोभते मुखकमलं पीवरश्रीकम् ॥

Besides this Prasanta Rasa, the commentator explains that the Virarasa in the text has two sublime varieties called Tyagavīra and Tapovīra, both of which are superior to the third variety called Yuddhavira. It further explains that Tyagavira, Tapovīra and the Prasanta are Rasas which are not brought into existence by any " Sūtradosas " like Anrta, Parahimsā, etc. Yuddhavīra involves Paropaghāta, destruction of others; Adbhuta is roused by 'hyperbole', Atisayokti, which is a species of falsehood. More of this later,

IV

THE STHAYIN OF SINTA

WHEN it is said that Bharata did not speak of the S'anta Rasa, it follows that he did not mention any Sthayin which developed into that Rasa. One of the chief arguments ot those who do not accept S'anta is that Bharata did not give its Sthayin. Says the Locana :

"'ननु नास्त्येव शान्तो रसः । तस्य तु स्थाय्प्ेव नोपनिष्ठो मुनिना' इत्याशङक्याह ॥" p.176.

The reply to this objection to S'anta must show that not only is a S'ānta Rasa possible from a Sthāyin 1 S'ama hke S'ama, but also that the Sthayin is available in Bharata's text itself. So certain writers who held S'ama as the Sthayin of S'anta interfered with Bharata's text. The result of this interference is seen in three places. The first two are emendations of Bharata's Anustubhs enumerating the Rasas and the Sthayins,

"शृङ्गार + वीभत्साद्भुतसंज्ञौ चेत्यष्टौ नाट्े रसाः स्मृताः" became "शृङ्गार + बीभत्साद्भुतशान्ताश्र नव नाट्ये रसाः स्मृताः"। And "जुगुप्सा विस्मयश्चेति स्थायिभावाः प्रकीर्तिताः" was read as "जुगुप्साविस्मयशमाः स्थायिभााः प्रकीर्तिताः ॥"

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Abhinava has these remarks on these two texts :

"शान्तापलापिनस्त अष्टाविति तत्र पठन्ति ।" "तत्र शान्तस्य स्थायी 'विस्मयशमाः' इति कैश्चित् पठितः।" Gaek. Edn., Vol. I, p. 269.

The third case of interference is a complete interpolation of a section on S'anta in Ch. V1. (Gaek. Edn., I, p. 333.) The Kavyamala and the Kasi editions of the N. S. do not have the section on S'anta in Ch. VI. In this interpolated section, S'ama is given as the Sthayin of S'anta:

"अथ शान्तो नाम शमस्थायिभावात्मको मोक्षप्रवर्तकः ॥"

That this section was absent in certain MSS. and that certain recensions counted only cight Rasas is known from Abhinava's own remarks. Abhinava says :

"तथा च चिरन्तनपुस्तकेषु स्थायिभावान् रसत्वमुपनेष्याम इत्य- नन्तरभ् 'शान्तो नाम शमस्थायिभावात्मकः' इत्यादिशान्तलक्षणं पठ्यते॥" Gaek. Edn., I, p. 340.

This remark will make it clear that the section on S'anta Rasa is not exactly the end of Chapter VI as now found in the Gaek. edn., but the beginning of the section treating of all the Rasas, i.e. before the subsection on S'rngara. There is no doubt on this point that the section on S'anta opened the section on Rasas and appeared even before S'rngara, in some old MSS. which Abhinava consulted. For Abhinava makes an additional score out of this priority of S'änta in the treatment of Rasas. He says that it is because the Sthayin of S'anta is Sthayin par excellence, being the Atman itself on which arise the comparatively less basic Sthayins Rati, etc., and because all Rasasvada is of the form of

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S'anta, being Alaukika and free from worldly links, S'anta is the greatest Rasa and hence it is that it is dealt with at the very beginning.

" -- इत्यस्य (शान्तस्य) सर्वप्रकृतित्वाभिधानाय पूर्वमभिधानम्।" Gaek. Edn., I, p. 340.

Who may be the author responsible for introducing the S'anta texts in the N. S' .? It is not possible to say anything definite. All we know now is that Udbhata, the carliest of the now known regular commentators on Bharata, accepts the S'anta as is seen from his K. A. S. S. which however mentions not its Sthayin. Pratīharenduraja gives the Sthayins and he speaks of S'ama as the Sthayin of S'anta. For those who believe in the genuineness of these texts on S'anta as Bharata's own, there is no difficulty in answering the objection that Santa cannot be accepted for the reason that Bharata did not mention at all its Sthayin. For accord- ing to them, Bharata gave nine Rasas, mentioned S'ama as the Sthayin of Santa and described S'anta as the greatest Rasa. One of the main objections against S'ama being accepted as the Sthayin of S'anta is that the texts which say so cannot be relied upon as genuine because of their absence in some recensions. Also because of the fact that the S'ama here spoken of wowld make the number of Rhavas fifty and Bharata gives only forty-nine. Therefore some advocates of S'anta put forward Nirveda as the Sthayin, Nirveda being one of the forty-nine given by Bharata. These advocates of Nirveda did not however criticise S'ama. Another objection, an imaginary onc, is that Sama and S'anta are synonymous and the former cannot be the Sthayin of the latter. Sama and S'anta differ even as Bhaya and Bhayānaka, Vismaya

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and Adbhuta and Hasa and Hasya. The former is Laukika, the latter Alaukika. Says Abhinava : शमशान्तयोः पर्यायत्वं तु हासहास्याभ्यां व्याख्यातम्। सिद्धसाध्य- तया यदलौकिकत्वेन (लौकिकालौकिकत्वेन) साधारणासाधारणतया च वैलक्षण्यं शमशान्तयोरपि सुलभमेव । Gaek. Edn., I, 336.

Both the above-mentioned objections to S'ama are thus set forth by Abhinava, earlier, as Pūrvapaksa: "एतदपरे न सहन्ते, शमशान्तयोः पर्यायत्वात् (१), एकान्न- पच्चाशद्धावा इति संख्यात्यागात् (२) ।" p. 333, ibid.

Rudrata comes next to Udbhata in the discussion on the Sthayin of S'anta. He mentions S'anta as 2. Samyagjñāna. a Rasa and gives its Sthayin as Sam- yagjnana. Namisadhu clearly says that Rudrata gives Samyagjnana as the Sthayin. सभ्यग्ज्ञानपकृतिः शान्तो विगतेच्छनायको भवति । सम्यगज्ञानं विषये तमसो रागस्य चापगमात् ॥I Ch. xvi, 15. सम्यग्ज्ञानं स्थायिभाव :- Namisadhu.

Evidently Rudrata did not rely on the S'anta texts in Bharata's N. S. but was bold enough to hold Rasas not mentioned by Bharata. So he left out S'ama and put forward Samyagjnana as the Sthayin of S'anta. If Samyagjnana means the realisation of the self, it becomes the causal antecedent of S'ama. Samyagjnana is Tattvajnana and all writers following Bharata have given it as one of the Vibhavas of S'ama. But Namisādhu does not make any difference between Samyagjñāna and Sama. Under Rudrata's verse enumerating the Rasas, Namisādhu enumerates the Sthayins, the Vyabhicārins, etc, And here, he gives Sama as the Sthayin of S'anta.

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We are not able to know what Bhava was held as Sthayin by Lollata and Sankuka. Some of the

3 Trşnaksaya- views on the Sthayin of S'anta mentioned sukha. in the Abhinavabharati may be the views of these two commentators. To those views we shall turn presently. Before that we shall examine the views of authors whose works are available to us. Anandhavardhana accepts the S'anta Rasa, criticises the views of the opponents of S'anta and determines the character of this Rasa. He docs not hold S'ama or Nirveda as its Sthayin but gives Trşnakşayasukha as its Sthayin. He says :

'शान्तश्र तृप्णाक्षयसुखस्य यः परिपोषः तल्लक्षणो रसः प्रतीयत एव। तथा चोक्तम्-

"यच्च कामसुखं लोके यच्च दिव्यं महत् सुखम्। तृष्णाक्षयसुखस्यैते नार्हतः षोडशी कलाम् ॥ '1 III, Ud. p. 176, N. S. Edn. The Locana :

"तृष्णानां विषयाणां यः क्षयः सर्वतोनिवृत्तिरूपः निरोधः तदेव सुखं तस्य यः स्थायीभूतस्य परिपोषः रस्यमानताकृतः तदेव लक्षणं यस्य स शान्तो रसः ॥।"

This non-acceptance of S'ama shows that Ananda- vardhana did not accept or follow the Santa text in Bharata. His Sthayin for S'anta is that happiness which is the cessation of all desires-Trsna-ksaya-sukha-and is inspired by Vyasa, whose Mahabharata Ananda is going to expound as a S'anta-epic in the next Uddyota of his work, If however we take this Trsnā as an Upalaksana for all Bhavas, this Sthayin will become identical with the S'ama or the Prasama

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of all Cittavrttis. That this Sthayin also will, in some way, become a form of Sama is accepted by Ananda when he distinguishes the S'anta from the Vira in which certain opponents include the S'anta. Ananda says:

"अस्य च शान्तस्य अहक्कारपशमकरूपतया स्थितेः ।" p. 177.

And the Locana here interprets Ahankāraprasama as Nirīhatva. Hemacandra, a follower of Ananda and Abhinava, equates Ananda's Trsnaksaya with S'ama : ८-तृष्णाक्षयरूपः शमः स्थायिभावः चवेणां प्राप्तः शान्तो रसः।" K. A., p. 80. The Locana informs us that there were some who, not satisfied with Trsnaksayasukha, gave the

4. Sarvacittavrtti- complete death of all the Cittavrttis, the pras'ama, modifications of the mind, as the Sthayin. Abhinava replies that if this is meant as a negative state, it can hardly be a Bhäva ; for a negative state cannot be a state or Bhava; if however it is meant as a positive state marked by the absence of all the Cittavrttis, it comes to the same thing as that state of bliss which is marked by the annihilation of all desires. अन्ये तु सर्वचित्तवृत्तिप्रशम एवास्य स्थायीति मन्यन्ते। तच्चासत् ; भावस्य प्रसज्यप्रतिषेधरूपत्वे चेतोवृत्तित्वाभावेन भावत्वायोगात्। पर्युदासे तु अस्मत्पक्ष एवायम् ।। Locana, p. 177(Reconstructed).

There are others, the Locana continues, who quote a verse from Bharata on S'anta as the one

5. Nirvis'esa-Citta- basic Rasa of which the other Bhavas are vrtti. transformations and hold that state of the mind when it is itself and is free from any transforming condition, as the Sthayin of S'anta. Abhinava

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says that this also differs only slightly from Trsnaksaya. While Anupajātavisesa-cittavrtti is a state of Prăgabhāva of Trsna etc., Trsnāksaya refers to a state of the Pradhvamsā- bhāva of Trsna etc. The extermination of Trsna is the natural process; we see in experience the polluted Citta gradually clearing. इति भरतवाक्यं दृष्टवन्तः सवेरससामान्यस्वभावं शान्तमाचक्षाणा अनुपजात- विशेषान्तरं चित्तवृत्तिरूपं शान्तस्य स्थायिभावं मन्यन्त।p.177.

Bhoja gives Dhrti as the Sthayin of Santa in his

6. Dhrti. Sarasvațīkaņțhābharaņa. pp. 514-515.

"-धृतिस्थायिभावः वस्तुतत्त्वालोचनादिभि: व्यभिचारिभावैःबागा- रम्भादिभिरनुषज्यमानः निप्पन्नः शान्त इत्यभिगीयते।1 अन्ये पुनरस्य शमं प्रकृतिमामनन्ति, स तु धृतरेव विशेषो भवति।"

What is this Dhrti ? Dhyti means Firmness, Contentment and Joy. All the three are pertinent. But Bhoja means only contentment, Santusti, for, his illustration is : सर्वाः सम्पत्तयस्तस्य सन्तुषं यस्य मानसम्। उपानद्गढपादस्य ननु चर्मास्तृतैव भू: ॥ This contentment again is not far off from Trsnakşaya or S'ama. Bhoja mentions S'ama here as being held by others and he opines that it comes under Dhrti. Perhaps the reason why Bhoja did not choose Sama is that it is not found in Bharata's list of 49 Bhavas. Dhrti is found there. Elsewhere Bhoja gives the same S'ama as a variety of the Vyabhicarin called Mati. (p. 523) nfafaary: 3in1 qal | Mati

1 See also the Sahitya mimämsa, TSS. 144, p. 59, where this view of Bhoja is noted. The S. M. itself does not accept the S'anta.

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has a variety called Tattvajnana which is again not different from S'ama.1 In the S'rngaraprakasa Bhoja discards Dhrti and holds S'ama as the Sthayin.

"अत्र च शमप्रककृंतिः शान्त: etc." S'Ț. pra. Mad. MS., Vol. II, pp. 377-8.

Dhrti is mentioned by Bharata as a Vyabhicarin and in Ch. 7, Vijñana, S'ruti, Sauca, Acāra and Gurubhakti are mentioned among its Vibhavas. These would properly come within the scope of the Santa Rasa. Earlier, in the first chapter itself, Bharata spcaks of Dhrti. While describing how variously Drama pleases persons of differing tempera- ments and moods, Bharata says that Drama gives Dhrtì to those whose minds are in anguish or are disturbed very much.

अर्थोपजीविनामर्था धृतिरुद्विअचेतसाम्। Gaek. Edn., I, 112.

This Dhrti may refer generally to the balm-like effect Drama has. Abhinava takes it as 'Dhairya', firmness, of heart. This Dhrti may refer in particular also to such dramas in which the production of Dhrti in the audience is the special purpose of the drama. Such cases would be S'anta-plays. Many other Bhavas are held as the Sthayin of S'anta by other writers. We come to know of these 7. Nirveda. from the Abhinavabharati. We are not given in this work the names of the writers who held those views. The first of these Bhavas to claim our attention is Nirveda. The almost only reason why certain writers hold Nirveda as the Sthayin of S'anta is their necessity to show the opponents of S'anta Rasa that the Sthayin of S'anta is surely found in Bharata. They are not for holding This Mati-variety is hot that which Bhoja holds as the Sthayin for his new Udatta Rasa on p. 515, S. K. A.

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to S'ama, a Bhava not to be found among Bharata's forty-nine Bhavas. While Bhoja tried for some time to get over the difficulty by picking out Dhrti from the 49, there were earlier writers who took the very first Vyabhicarin Nirveda and proposed to treat it as a Bhava which was both Vyabhicarin and Sthayin. The Abhinavabharati says:

"तत्त्वज्ञानजो निर्वेदोडस्य स्थायी। एतदर्थमेव उयधर्मोपजीवित्व- ख्यापनाय अमङ्गलभूतोप्यसौ पूर्व निर्दिष्ः।" Gaek. Edn., pp.269-70.

"या चासौ तथाभूता (मोक्षाभिधानपरमपुरुपार्थोचिता) चित्तवृत्तिः सैवात (शान्ते) स्थायिभावः । एतत्तु चिन्त्यम्, किन्नाभासौ? तत्त्वज्ञानो- त्थितो निर्वेद इति केचित्। तथा हि-दारिद्रय्यादिप्भवो यो निर्वेदः ततोऽन्य एव, हेतोस्तत्वज्ञानस्य वैलक्षण्यात्। स्थायिसञ्चारमध्ये च एतदर्थ- मेवायं पठितः, अन्यथा माङलिको मुनिः तथा न पठेतु।" ibid.p.334.

The problem that has to be faced first is the postulation of S'anta as a Rasa. The first objection against it is that Bharata has not given its Sthayin. . To answer this criticism, certain advocates of Santa say that Bharata has given the Sthayin of Santa in his text; it is Nirveda. But how did these advocates of S'anta discover that it was Nirveda? Bharata does not say so; Bharata gives it as a Vyabhicāri- bhava, the first among them. The reply is that Bharata's mention of Nirveda at the head of the Vyabhicarins and immediately after the Sthayins, has a meaning. Nirveda is a dislike for objects and as such, is inauspicious, Amangala. Sage Bharata is one who utters auspiciously and so his mention of Nirveda as the first asks us to explore a hidden meaning (अमङ्गलं सत् ज्ञापयति). It is to show to us that, though it is inauspicious, it is given as the first, since, while being a

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Vyabhicarin, it is also a Sthayin; the Sthayin of the Rasa called S'anta. If it is not for the suggestion of this Prayojana, Bharata would not have given the inauspicious Nirveda first. Then arises the question: Is Nirveda itself the Sthayin? Nirveda is born of broken love, poverty or many more causes. What variety of it is exactly the Sthayin of Sānta ? Bharata describes Nirveda thus in Ch. 7: तत्र निर्वेदो नाम दारिद्रच्यव्याध्यवमानाधिक्षेपाकुष्टकोधताडन इष्टजनवियोगतत्वज्ञानादिभि: विभावैः उत्पद्यते । Gaek. Edn., I, p.357. Bharata here gives many causes as producing Nirveda. One of these varieties of Nirveda is that born of Tattvajñana. It is Nirveda for all mundane things. This Nirveda alone is rele- vant in a consideration of the S'anta Rasa. It is this Nirveda born of Tattvajnana that is held as the Sthayin of S'anta by those who are anxious to have the authority of Bharata. But how can a Vyabhicarin become a Sthayin ? It is said that only such Nirveda as is born of broken love, poverty, etc. is Vyabhi- carin, The same Nirveda when it is born of Tattvajñāna and shuns all mundane things becomes the permanent Sthayin. Says S'ārngadeva स्थायी स्याद्विषयेष्वेव तत्त्वज्ञानोद्धवो यदि । इष्टानिष्टवियोगाप्तिकृतस्तु व्यभिचार्येसौ ॥ Sanigitaratnakara.

Such Nirveda becomes greater not only than other kinds of Nirveda but also than all the other Sthayins and Vyabhi- carins, all of which it subordinates. Says Abhinava while expounding the case of Nirveda : तत्वज्ञानजश्च निर्वेद: स्थाय्यन्तरोपमर्दकः । भाववैचित्यसहिष्णुभ्यो रत्यादिभ्यः य. परमः स्थायिशीलः स एव हि स्थाय्यन्तराणामुपमर्देकः । Gaek, Edn., I, p. 334.

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It is this ' Anyopamardaka' Sthayin-type of Nirveda that is taken. Mammata accepts Nirveda as the Sthayin. " निर्वेदस्य अमङ्गलप्ायस्य प्रथममनुपादेयत्वेपि उपादानंव्यभिचारि- स्वेऽपि स्थायित्वाभिधानार्थम्। तेन-

निर्वेदस्थायिभावाख्यः शान्तोऽपि नवमो रसः ।"

Mammata does not say that this Nirveda is Amangala, but says it is ' Amangalapraya '. As a matter of fact, Nirveda born of Tattvajñana is the greatest Mangala. Says Bhatta Gopāla in his gloss here :

"तत्त्वचिन्तायां तु निर्वेदस्य न किश्चिदमङ्गलप्नायत्वम्. म्रत्युत मङ्गलप्रायत्वमित्याह ।" T.S. S. Edn. K. Pra., p. 138.

This shows how trivial this argument for S'anta based on Mangalavada is. Another difficulty in this argument of ' Mangala-Amangala' is the question why there should be any Mangala when the enumeration of the Vyabhicarins begins. No doubt, there is the habit of Madbya-mangala among writers, but why should that Madhya-mangala be at the beginning of the Vyabhicarins ? Another argument advanced by the advo- cates of Nirveda is that it is in the position of a lamp on the door-step, a Dehalidipa, shedding light on either side of the door, Being enumerated at the end of the eight Sthayins and at the beginning of the Vyabhicarins, it bas to be taken, accord- ing to the implied idea of Bharata, that Nirveda among the Vyabhicarins must once be taken with preccding items, the Sthayins, and then with the succeeding items, the Vyabhicarins. This is also an argument without weight. For there are other Vyabhicārins which also are Sthayins, as for instance, Amarsa which as Krodha is the Sthayin of Raudra, and Visada which

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as S'oka is the Sthayin of Karuna. These are not brought to the front and enumerated at the beginning along with Nirveda. Another possible objection to having Nirveda as Sthayin also besides a Vyabhicārin is that a Bhava which Bharata has definitely mentioned as a Vyabhicārin cannot be taken as a Sthäyin also. But to this the reply comes out that Bharata himself gives a hint, taking which it can be proved that the status of Sthayitva, Vyabhicaritva and Sāttvikatva of the forty-nine Bhavas are not names belonging only to those given under those names but that any of the forty-nine may, accord- ing to the circumstance, become any of the three. This is the pre-Abhinvagupta view of the nature of the forty-nine Bhavas and the names Sthayin, Vyabhicarin and Sāttvika. As a consequence of this view, there grew a tendency which expressed itself from the times of Rudrata and Lollata up to the time of Bhoja, that Rasas are not eight or nine only, but forty-nine. The hint mentioned above and referred to by these theorists is contained in Bharata's text on the Vyabhi- carins of Rati where he mentions Jugupsa, a Sthayin, as one of the prohibited.

व्यभिचारिणश्चास्य आलस्यौम्धजुगुप्सावर्जाः । Gaek. Edn., I, p. 307.

This means that Bharata himself suggests that Sthayins may become Vyabhicarins and Vyabhicarins, Sthayins. This view is stated as follows by Abhinava, as Pūrvapakșa :

जुगुप्सां च व्यभिचारित्वेन श्रङ्गारे निषेधन्मुनिः भावानां सर्वेषामेव स्थायित्वसव्चारित्वचिन्तनात्तावत्त्व (चित्तजत्व)1 अनुभावत्वानि योग्यतोप- निपतितानि शब्दार्थबलाकृष्टानि अनुजानाति । Abhi. Bha., p. 334.

1 Means Sättvikatva.

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Abhinava critcises this view. He does not accept the Nirveda born of Tattvajnana as the Sthayin of Santa. If such Nirveda as is born of Tattvajnana is the Sthayin, it means that Tattvajnana is the Vibhava. The other Vibhāvas given, namely Vairāgya, Samādhi, etc., are not Vibhāvas strictly. If they are included as Vibhavas because they are causes producing Tattvajnāna, they are really the causes of the cause. The cause of the cause is never called Vibhäva. Further, Nirveda itself is an aversion towards all objects and is not different from Vairagya. Far from being the product of Tattvajnana, Nirveda is one of the causes bringing about Tattvajnana. For it is one having aversion to mundane things that strives after Moksa and attains Tattvajñāna. It is well-known that Moksa is directly attained through Tattvajñana and it is not true to say that one attains Tattvajnana first, then gets aversion and then attains Moksa. İsvarakrsna also says that Vairagya is not the final stage preceding Moksa, that Vairagya at best rosults only in Prakrti-laya in the absence of Tattvajnana. Tattvajnana alone results in Mokşa.

'वैराग्यात् प्रकृतिलयः ।' Sarn. Karika, 45.

Says the Vytti of Gaudapāda here: यथा कस्यचिद् वैराग्यमस्ति, न तत्त्वज्ञानम्, तस्मादज्ञानपूर्वा- द्वैराग्यात् प्रकृतिलयः । मृतः अष्टासु मकृतिपु प्रधानबुद्धयह क्वारतन्माश्रेषु लीयते, न मोक्ष: ।।

It may be said that Tattvajñana strengthens Vairägya and increases it. Patañjali also says that Vairagya towards Guņas results from Tattvajñāna (Puruşakhyāti). Yoga Sūtra I, 16: तत्परं पुरुषख्यातेर्गुणवैतृष्यम्. But Vyasa, in his Bhasya

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on this Sutra, says that such Vairagya is really Jñana: ज्ञानस्यैव परा काष्ठा वैराग्यम् (Anandasrama Edn., p. 20.) There- fore it comes to Tattvajnana strengthening and increasing itself from stage to stage. The result is there is no Nirveda as Sthayin but only Tattvajnana. It is the Sthayin of S'anta. Surely Bharata speaks in Ch. 7 (the Bhavādhyaya), while describing Nirveda, of the Niveda that is born of Tattvajñana. This Tattvajnana or Samyagjnana and the Nirveda born of it do not refer to S'anta Rasa and its Sthayin but refer only to the ordinary and common Nirveda born on one realising that he has wasted his energies in a worthless cause through mistake, as in serving a miser who would not pay. 4T TisHcal ete. Such Nirveda can be a Bhava only. The advocate of Nirveda quotes now Aksapada against Patañjali. Akșapāda, he states, says in his Nyāya Sūtra 1, i, 2 that the removal of Mithyajnana, i.e. the appearance of Tattvajnāna, produces the destruction of Doșa, i.e. produces Vairagya. Thus Tattvajnana-ja Nirveda or Tattvajnana-ja Vairāgya is the Sthayin. This Nirveda or Vairagya is the final stage and not Tattvajñana which is only one of the causes of Vairagya. The reply to this is thus given in the Abhinavabharatī: Surely Akşapāda speaks of Vairāgya but who said Vairāgya is Nirveda? Nirveda is an attitude of aversion and a continued sadness and as such, is hardly identi- cal with Vairagya. Moksa, for which we are now postulat- ing the Rasa (the S'anta), is a state of Kaivalya in which there is neither the sorrow nor the joy of this earth. Vairagya is the cessation of Raga and Dvesa and is not identical with Nirveda. Even if we accept that Nirveda is Vairägya, it does not follow from Gautama's words that Vairāgya. or Nirveda is the Sthayin of S'anta. According to the Sutra of Gautama,

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दुःखजन्मपवृत्तिदोषमिध्याज्ञानानामुत्तगेत्तरापाये तदनन्तरापायादपवर्गः,

it is not the immediately preceding condition of Mukti. From Vairāgya, activity (Pravrtti) must stop; from cessation of activity, birth must stop and when birth ends, misery Hlies away; when misery has fled, it is Mukti. Lastly, there is no good reason why one should take so much trouble, qualify it as Nirveda born of Tattvajnana and call it Vairagya and stick to Nirveda. Such a cumbrous and elaborately described Nirveda is only another name for the simple S'ama which can be the Sthayin of S'anta. Other views on the Sthayin of S'anta are also available in the Abhinavabharati. Certain writers 8. Utsaha. held Utsaha, the Sthayin of Vira, as the Sthayin of S'anta also. Abhinava says:

'उत्साह एवास्य स्थायीत्यन्य ।' p. 269.'

How did some writers come to hold Utsaha as the Sthayin of S'anta? Utsaha, as given by Bharata, is the Sthayin of Vira. It is said that there are three or four varieties of Vira, Danavira and Dayavira being two of them. The variety named Dayavira as exhibited in the acts of sacrifice of Bodhi- sattvas and as dramatised by Harsa in his Nāgananda is very much akin to S'anta. So much so that some antagonists of S'anta say that there is no need for a ninth Rasa named S'anta and that the situations in discussion come under Dayavira.

तत्र शान्तस्य स्थायी 'विस्मयशमा' इति कैश्चित पठिनः। उत्साह एवास्य स्थायीत्यन्ये। जुगुप्सेति केचित्। सर्व इत्येके। तत्त्वज्ञानजो निर्वेदाऽस्य स्थायी ... इत्यपरे।" Abhi. Bha., Gaek. Edn., I, pp. 267-270. जुगुप्सां स्थायिभावं तु जान्ते केचिद्दभाविरे। उत्साहमाहुरन्येडन्ये शममू, स्वांन् परे विदु:। निर्वेदस्तत्त्ववोधोत्थः स्थायी शान्ते भवेदसौ ॥ S'ārngadeva, Sańgitaratnākara, 10

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Nagananda is a Dayavira play. The Sthayin of Dayāvira, as of other Viras, is Utsaha.' Further, the path to attain Moksa is one of strenuous effort and the yogin's fights and victories in the realm of the spirit have always been described in the image of heroism. (Cf. the description of Aja and Raghu in Canto VIII of the Raghuvamsa (S'ls. 19-23; from अनयत् प्रभुशक्तिसंपदा to इति शत्रुषु चेन्द्रियेधु च.) Subrahmanya Sudhth explains at length in his commentary, the Praudha- prakāsa, on the Prabodha Candrodaya (Madras MS.), how S'antarasa is portrayed in the play in the Samāsokti of Vira. So it is perhaps that certain advocates of S'änta who were worried about finding a Sthayin for S'anta from among the Bhavas mentioned by Bharata, chose Utsaha. They intended to improve upon the position of those who held to Nirveda, who made the mistake of voting a Vyabhicarin to a Sthayin's place and hence felt their position beset with many difficulties.

I In reply to these critics of S'anta who hold that there is no need for a new Rasa like Santa when there is Dayavira, Abhinava says that Bharata gave only three varieties of Vira, Danavira, Dharmavira and Yuddhavira and that one cannot create a new Vira. Dayavira is only a new name for S'anta. "नन्वेवं दयावीरो धर्मवीरो दानवीरो वा नासौ कश्चित्। शान्तस्यैवेदं नामान्तर- करणम्। तथा च मुनि :-

'दानवीरं धर्मवीरं युद्धवीरं तथैव च। रसं वीरमपि प्राह ब्रम्मा त्रिविघसंमितम् ॥'

इत्यागमपुरस्सर त्रैविध्यमेवाभ्यधात्।"Locana, pp,117-8.

T. S. S: Bhatta Gopāla, in his Kāvya Prakās'a-vyākhyā: pp. 139-140,

"दयावीर इति शान्तस्यैव नामान्तरकरणम्, येन 'दानवीर युद्धवीरं धर्मवीर तथैव च। रसें वीरमपि प्राह ब्रह्मा त्रिविधसंमितम् ।' इति नैविध्यमेवास्य मुनिना वीरस्याभ्य- धायि।।"

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They had to resort to quibbling with auspiciousness-inauspi- ciousness, Dehalīdīpanyaya, etc. The sponsors of Utsaha, like those of Rati and Jugupsa to whom we shall come presently, had the advantage of fixing one of the eight Sthayins themselves mentioned by Bharata as the Sthayin of S'anta also. But then arose the problem: how could one Bhāva beget two Rasas? The difficulty was overcome by accepting varicties of the same Sthayin. It was even as Nirveda being made into a special species called Tattvajñāna-ja Nirveda, Nirveda born of the knowledge of Truth. Hasa also has many varietics. Rati is divided into Sambhoga and Vipra- lambha. The writers who held Utsaha as the Sthayin of S'anta built on sand. They knew not what they were doing. The opponents at once undermined them by suggesting the inclu- sion of S'anta in Vira. One of the main Pūrvapaksas to S'anta is the possibility of its inclusion in one of the eight Rasas mentioned by Bharata. Ananda mentions this objection and replies : "न तस्य वीरेऽन्तर्भावः कर्तु युक्तः । तस्य अभिमानमयत्वेन व्यवस्थापनात् । अस्य च अहक्कारप्रशमैंकरूपतया स्थिते: etc." "तयोश्च एवंविधविशेषसद्धावेऽपि यद्यैक्यं परिकल्प्यते, तद्वीर- रौद्रयोरपि तथा प्रसङ्ग: ।" Dhva. A., pp. 177-8.

The Dasarūpakāvaloka says : "अन्ये तु वीरबीभत्सादौ अन्तर्भावं वर्णयन्ति ।"

The real position of the Bhava called Utsāha is this: Utsäha closely attends upon Ahankara without which there cannot be any activity. No Rasa is possible without these two elements. Bhoja pursues this line and discovers his

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Ahankära theory of Rasa. But according to the rule of pre- dominance, Prādhanyanyaya, it is Virarasa to which this Utsāha is connected most. This Vira is held to have four varieties, Yuddha, Dharma, Dana and Daya Viras. Of this Yuddhavira is Vira proper. Utsāha is however Sthāyin of the other three varieties also. This Utsaha is the very basis of all action and as such can be seen in some varieties of S'anta. Two such varieties are Dayavira and Dharmavira which are really names of two aspects of S'anta. S'anta is a wider field ; it includes Daya and Dharma but is not included in or exhausted by these two. Numerous are the religions and paths of action towards spiritual realisation. Why these two Vīras of Daya and Dharma only ? Dānavīra can be a form of S'anta. Dana may stand for Tyaga also. त्यागेनेके अमृतत्वमानशु: Even Yuddhavira can be a form of S'anta : there are those who fight religious crusades for the defence of their faith. Similarly there can be a variety of S'ānta called Pāņdityavīra which Jagannatha humorously introduces.1 Study of texts.

'Rasaganigadhara, K. M. edn., pp. 37-42. वस्तुतस्तु बहवो वीर रसस्य दद्ारस्येव प्रकारा निरपयितु शक्यन्ते. (p. 51.) Jagannatha mentions besides the four old Viras, Satyavira, Pandityavīra, Kşamāvīra and Balavira. The Mahabharata mentions numberless varieties o this Vira, while describing Dana. Bhisma says in the Danadharma parvan in the Anus'asana, S'ls. 22-27.

शूर बहुविधा: प्रोक्ता: तेषामर्थास्तु मे शाणु।

. यजशूरा दमे शूरा: सत्यशरास्तथापरे। युद्धशूरास्तथेघोक्ता दानशूराश्च मानवाः । युद्धिशरास्तथेवान्ये क्षमाशरास्तया परे। सांख्य शराक् वहवो सोगशरास्तथा परे।। अरण्ये गृहवासे च त्यागे शूरास्तथा परे। आजवे च तथा शशः शमे वर्तन्ति मानवाः ॥

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learning their truc import and propagation of their teachings form part of S'anta-activities. These produce Pandityavīra in the prophet who has to meet and win adversaries in debate. So also there is Ksamavīra which also Jagannatha points out. Kşamā is a virtue of very great importance in S'anta. So Utsaha is not S'anta; S'anta comprehends many kinds of Utsaha. That is, several kinds of sublimating Utsahas are Vyabhicarins in S'anta. Daya-Utsaha, Dana-Utsāha, ctc. are very frequent and are intimately related Vyabhicarins in Santa. Even the yogin who has realised Truth and has become, like God, Krtakrtya and Avāptasamastakāma, has yet embodied existence in this world as Jivanmukta and naturally, like God, he also stops not from untainting action for the sake of the world. The Lord says :

न मे पार्थास्ति कर्तव्यं त्रिषु लोकेपु किञ्चन। नानवाप्तमवाप्तव्यं वर्ते एव च कर्मणि I etc. Bha. Gita, III, 22-24.

Thus Utsaha of such selfless activities as in Danavira, Dayāvīra, Dharmavīra, etc. is an intimate accessory (and only an accessory) in S'anta. Says Abhinava : "स्वात्मनि च कृतकृत्यस्य परार्थेघटनायामेव उद्यम इति उत्साहो- डस्य परोपकारविषयेच्छाप्रयत्षरूपो दयापरपर्यायः अभ्यधिकोऽन्तरङ्गः। अत एव तत् केचित दयावीरत्वेन व्यपदिशन्ति, अन्ये धर्मवीरत्वेन।" Abhi. Bha., Gaek. Edn., I, p. 338.

तैस्तेश् नियमरशरा बहवः सन्ति चापरे। वेदाध्ययनशराक्ष शराश्ाध्यापने रताः ।। गुरुशुश्रूषया शूराः पितृशुश्रषया परे। मातृशुशूषया शूरा मैक्ष्यशरास्तथा परे॥ अरण्ये गृहवासे च-शराश्वातिभ्चिपूजने। सर्वे यान्ति परान लोकानू स्वकर्मफलनिर्जितान् । Kumbakonam Edn.

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There is a saying that for those who would have this world, there is no bope for the other. 9. Jugupsa. Only he who discards all mundane things can walk to salvation. For this, he must cultivate the feeling of disgust or loathsomeness towards the things of this world. This is the Bhava of Jugupsa. Some hold this to be most important in S'anta and propose it for the place of the Sthayin.1 'जुगुप्सेति केचित्' Abhi. Bha., Gaek. Edn., I, p. 262. Bhatta Tauta has made some contribution to this Jugupsa and its relation to Santa. In S'ls. 97-102, Ch. VI, Bharata speaks of the varieties in cach of the eight Rasas and here he says of Bibhatsa : बीभत्सः क्षोभणः शुद्ध उद्देगी स्थात् द्वितीयकः । विष्ाकृमिभिरुद्वेगी क्षोभणो रुधिरादिजः ॥ 101.

Bibhatsa is of two kinds, Ksobhana and Udvegi. But in the first line, there is an additional word S'uddha. Commentators took it as qualifying Ksobhana and they distinguished the Udvegi variety as Asuddha. But Bhatta Tauta said that Bibhatsa is of three kinds: Ksobhana, S'uddha and Udvegï. The Gack. Edn. gives a reading here which has 'FATete: ' for 'pala fadrds:'. Tauta explains S'uddha Jugupsa as the disgust at the so-called pleasures of the world. Such Jugupsă is illustrated by poems of Vairagya in which women and the like are denounced. This is a very powerful aid to Moksa.3 When passions assail and evils tempt, Patañjali asks us to contemplate the other side of the pleasures, the attendant misery, etc., and begin to loathe them.

Nirveda is very closely allied to this Jugupsa. ' Just as Nirveda which is born of Tattvajñana becomes Mangala, Jugupsa for woridly objects become S'uddha.

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'रुधिरान्त्रादिदर्शनाद्यो बीभत्सः (स) क्षोभणत्वाच्छ्रुद्धः । यस्तु विष्ठादिभ्यः स उद्गेगी हृदयं चलयति, सोडशुद्धः, अशुद्धविभावकत्वात्।

उपाध्यायस्त्वाह-वीभत्सस्तावत विभावविशेषात् यत्र तु संसार- नाट्यनायकरागप्रतिपक्षतया मोक्षसाधनत्वात् शुद्धः, यदाहुः-'शौचात् स्वाङ्गजुगुप्सा' योगसू० II. 40.) इति। तथा 'वितर्कबाधने प्रतिपक्ष- भावनम्' इति (योगसू० II. 33.) । तेन सोऽपि (बीभत्सोऽपि) परमार्थत- स्तन्रिविध एव।" Abhi. Bha., Gack. Edn., I, p. 332.

But Tauta did not have the reading 'Pla adiae:' for he interprets the text 'स्याद् द्वितीयक:'. He says that though there are really three kinds, Bharata speaks of two, because of the rarity of persons having the Suddha Jugupsa.

"द्वितीयक इत्यनेन तस्य दुर्केभत्वेच अप्राचुर्य सूचयति ।" ibid. P. 332.

So it is that some critics who do not want a separate S'anta say that, even as it is possible to include it in Vira, it is possible to include it in Bibhatsa. The D. R. Avaloka says:

"अन्ये तु वीरबीभत्सादौ अन्तर्भावं वर्णयन्ति ।"

The reply to this is the same as to the argument which sought to include S'anta in Vira. Just as Utsaha is a very prominent accessory of S'anta, Jugupsa also is. This S'uddha Jugupsa may be a prominent Vyabhicārin; but S'anta is not Jugupsatmaka. The Locana says: "आदिग्रहणेन विषयजुगुप्सारूपत्वात् बीभत्सेऽन्तर्भावः शक्यते। सा त्वस्य व्यभिचारिणी भवति, न तु स्थायितामेति।" P. 178.

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The Abhinavabhārati says : "केवलं यथा विप्रलम्भे औत्सुक्यम्, सम्भोगेपि वा 'प्रेमासमाप्तो- त्सबम्' इति, यथा च रौद्रे औध्यम्, यथा च करुणवीरमयानकाद्भुतेषु निर्वेदधतित्रासहर्षाः व्यभिचारिणोऽपि प्राधान्येनावभासन्ते तथा शान्ते जुगु- प्सादा: सर्वथैव रागप्रतिपक्षत्वात्।" p. 338. Another interesting view is that which holds the first Sthayin, Rati, itself as the Sthayin of Santa 10. Rati. Rasa. This view also arose out of the necessity to choose one of the Sthayins mentioned by Bharata himself as the Sthayin of S'anta also. This view also makes a fine approach to S'anta and is an appreciation of an aspect of the fundamental nature of S'anta. Truth whose realisation is salvation is of the nature of Self which is Atman. It has to be realised by piercing the veil of things which are 'Anatman' and which shroud the Atman. Things Anatman must be loathed and this loathing of Anat- man led to the Jugupsa-view. The Rati-view is closely related to the Jugupsa-view; for when 'Anatman' is loathed, Atman has to be loved. This love of Atman, Atmarati, is the Sthayin of Santa. When one realises Ätman everywhere, his Love floods the universe; Jugupsa then flies away; for there is none besides or beyond Atman to be shunned then. ग्रस्तु सर्वाणि भृतानि आत्मन्येवानुपश्यति । सर्वभूतेषु चात्मानं ततो न विजुगुप्सते ।। Like S'uddha Jugupsa, this is S'uddha Rati, a superior Love, distinct from the Rati of man for woman. Bhoja pursued this idea of Atmarati and landed on the philosophical summit of the S'rngara theory of one Rasa. ज्ञयो रसः स रसनीयतया आत्मरक्ते:। Sr. Pra.

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The Abhinavabharati records the Rati-view thus : तत्र अनाहृतानन्दमयस्वात्मविषया रतिरेव मोक्षसाधनमिति सैव शान्ते स्थायिनीति। यथोक्तम्-

'यश्चात्मरतिरेव स्यादात्मतृप्तश्च मानवः । आत्मन्येव च सन्तुष्टः तस्य कार्ये न विद्यते ॥I' इति (भ. गीता.) Abhi. Bha., Gaek. Edn., I, p. 335. Further, Rati has this additional qualification for being the Sthayin of S'anta, since the final state of Moksa is one of Ananda and Self which is realised is itself of the form of Ananda. This Rati sails in the same boat as Utsaha and Jugupsa. Only it seems to be more intimate to S'anta, a Vyabhicärin of greater importance. Not only Ätma-rati, but Rati for a personal God, which is called Bhakti and is proposed as a separate Rasa, comes under S'anta. The S'anta has had a love-treatment at the hands of some poets and theorists. ' अत एव ईश्वरप्रणिधानविषये भक्तिश्रद्ध स्मृतिमतिघृत्युत्साहानु- प्रविष्ट अन्यथेवाङ्गमिति न तयोः पृथ्रसत्वेन गणनम्।' Abhi. Bhã., Gaek. Edn., I, p. 340. On the same grounds on which Utsaha, Jugupsaand Rati were proposed, the other Sthayins can also be 11. Any one of the remaining Sthayins, proposed as Sthayins of S'anta. Only they have to be shorn of their ordinary Vibhāvas, etc. and made a superior and extra-ordinary variety (Vicitra) with Vibhavas like S'ruta, etc. Any one of these eight Vicitra Sthayins can be called the Sthayin of S'anta. Abhinava says : "अन्ये मन्यन्ते रत्यादय एवाष्टौ चित्तवृत्तिविशेषा उक्ताः । त एव कथितविभावविविक्त(तया) श्रुताद्यलौकिकविभावविशेषसंश्रयाः विचित्रा एव तावत्। ततश्च तन्मध्याद् एव अन्यतमोऽत्र स्थायी।" 11

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It is in accordance with this view that some hold a variety of Vira, Daya or Dharma, Jugupsa for the world called S'uddha Jugupsa and Rati towards the Self called Atma Rati as the Sthayins of S'anta. Abhinava elaborates in his Pūrvapakșa that others among the eight Sthayins have equal claim to be the Sthayin. "एवं समस्तविपयं वैकृतं' पश्यतः, विश्वं च शोच्यं2 विलोकयतः, सांसारिकं च वृत्तम् अपकारित्वेन पश्यतः, सातिशयम् असंमोहप्रधानं वीर्यमाश्रितवतः, सर्वस्मात् विपयसार्थाद् विभ्यतः,6 सर्वलोकस्पृहणीया- दपि प्रमदादे: जुगुप्समानस्व,6 अपूर्वस्वात्मातिशयलाभात् विस्मयमानस्य,' मोक्षसिद्धिरिति हासादीनां विस्मयान्तानां स्थायित्वं निरूपणीयम्। न चैतन्मुने: न संमतम्। यावदेव हि विशिष्टान् विभावान् परिगणयति रत्यादिशब्देन चशब्देन च तत्प्रकारानेन अन्यान् गृह्गीते, तावदेव तद्ूयतिरिक्त-अलों किक हेतूपनतानां रत्यादीनामनुजाना्पेव अपवर्गविषयत्वम्। एवंवादिनां तु परस्परमेव विशारयतां एकस्य स्थायित्वं विशीर्यत एव। तदुपायभेदात्तस्य तस्य स्थायित्वमित्यप्युच्यमानं प्रत्युक्तमेव। स्थायि- भेदेन प्रतिपुरुषं रसस्याप्यानन्त्यापत्तेः । मोक्षैकफलत्वादेको रस इति चेतु, क्षयैकफलत्वे वीररौद्रयोरप्येकत्वं स्यात् ।" Gaek. Edn., I, pp. 336-7 (Corrected). It is often said that for the thinking man, the world is a comedy, Man's pursuit after trifles, his अस्थाने महत्त्वसम्भावना,

Hāsa. 2 Soka. Krodha. * Utsäha. ^ Bhaya. * Jugupsā. Vismaya.

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produces laughter in those who know the real value of the things of the world. To the Yogin, man's action and senti- ment appear as Karma-abhasa and Bhava-abhasa. Says Bhatța Bhallața in a fine verse :

एतत्तस्य मुखात् कियत् कमलिनीपत्रे कणं पाथसः यन्मुक्तामणिरित्यमंस्त स जडः शृण्वेतदस्मादपि। अङ्-गुल्यग्रनख क्रियापविलयिन्यादीयमाने शनैः कुत्रोड्डीय गतो हृहेत्यनुदिनं निद्वाति नान्तःशुचा ॥

So much on bebalf of the importance of Hasa in S'anta. It is but a thin line that divides comedy from tragedy. To the feeling man, the same world is a tragedy, The Yogin pities the poor Samsarin, caught in the whirlpool of passion. Thus S'oka seems to dominate in Santa. The seeking Yogin, the Yatamana, who strives towards his goal, considers the world and its temptations as his enemy; he gets angry at them and desires to do away with them. This attitude is Krodha and Raudra. The same attitude begets fear of the temptations from which the seeker desires to fly. This is Bhaya. He reads of or listens to an exposition of the great- ness, the omniscience, omnipresence, blissfulness and other aspects of the nature of the Self and when he contemplates on this wonderful truth about his own Self, he is thrilled and struck with the wonders of the world of the Spirit. This is Vismaya. As explained already, he loathes even the socalled pleasures of the world and then Jugupsa forms the prominent attitude. In this manner, these seven Sthayins can claim to be the Sthayins of S'anta. The very possibility of each or all of the eight Sthayins being the Sthayin of Santa prevents any one of them being the settled Sthayin of S'anta. It cannot also be held that,

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according to circumstances, the Sthayin varies in S'anta. A multi-sthayinned Rasa is foreign to the theory of Rasa and is an impossibility. Many Sthayins can only mean many Rasas. If by virtue of the unity of the object, viz., Moksa, a plurality of Sthayins is accepted as resulting only in one Rasa, it can be pointed out that in view of both Vira and Raudra resulting in the same end of the destruction of the enemy, Vira and Raudra can be made into one Rasa. Therefore, neither any one nor all of the eight Sthäyins can be put forward as the Sthayin of S'anta. The real significance of this view however lies in another direction. It points to the fact that any or all of the other Sthayins become, in their vicitra varieties, Vyabhicārins of S'anta and in their ordinary varieties the causes of S'anta. One may pass to S'ama from Rati or S'oka; as a result of broken love, or the death of a beloved person, one may seek solace in Sama. Asoka fought the Kalingas and passed from Vira to Santa. Therefore any of the eight Rasas or all of them can be the Uddipaka of S'anta. Therefore it is that S'arngadeva says : S'ama is present in all the Rasas.

रम: सर्वेरसेष्वस्ति स्थैर्यतवेजयभिचार्यसौ। S. R., VII, S1. 3535 and Kallinatha comments upon this :

'अयमर्थ :- लोके श्रृङ्गारादिषु अष्टसु मध्ये यं कंचन रसमनुभवत एव पुंसो जन्मान्तरसुकृतविशेषवशात् शम उत्पद्यत इति तत्तद्रससम्बन्धात् शमस्य सर्वेरसेपु अस्तित्वम् इति। '

The next view is a reply to the criticism of the above- given view which proposed any one of the 12. All the eight Sthäyins together. eight Sthayins as the Sthayin of S'anta. This view suggests that all the eight can be

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considered as constituting together the Sthayin, taking S'anta as a peculiar case.

"सर्व इत्येके।" Abhi. Bha., Gaek. Edn., I, p.269.

"अन्ये तु पानकरसवत् अविभागं प्राप्ताः सर्व एव रत्यादयोऽत्र स्थायिन: इत्याहुः। चित्तवृत्तीनामयुगपद्धाबात्, अन्योन्यं च विरोधात् एतदपि न मनोज्ञम्।" ibid., p. 332.

It is true that as Pūrvapaksa, the whole of this complex world is involved in S'anta; but all these form only Vyabhi- cärins. Says Abhinava :

"तत्त्वज्ञानलक्षणस्य च स्थायिनः समस्तोऽयं लौकिकालौकिकचित्त- चृत्तिकलापो व्यभिचारितामभ्येति ।" ibid., p. 338.

Rasa is developed from one and only one Sthayin; if many Bhavas appear, they can do so only as Vyabhicarins. The analogy of Panakarasa must not be brought here. These Bhavas contradict each other and cannot co-exist at the same time. How could they function together to produce a common Rasa ? So, what is the real Sthayin of S'anta ? Abhinava holds

1S. Siddhānta : that Tattvajnana or Atmasvarupa itself is Atman, Ātmajfana the Sthayin of S'anta. He briefly states it or Tattvajñana. thus in his Abhinavabharati :

"कस्तर्ह्यत्र स्थायी? उच्यते-इह तच्वज्ञानमेव तावन्मोक्षसाधन- मिति तस्यैव मोक्षे स्थायिता युक्ता। तत्त्वज्ञानं च नाम आत्मज्ञानमेव।"

"तेन आत्मैव ज्ञानानन्दादिविशुद्धधर्मयोगी परिकल्पितविषयोप- भोगरहितोऽत्र स्थायी।" Gack. Edn., I, p. 337.

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Earlier also he says :

" ततः त्रिवर्गात्मकप्नवृत्तिधमेविपरीतनिवृत्तिधर्मात्मको मोक्षफलः शान्त। तत्र स्वात्मावेशेन रसचर्वणेत्युक्तम्।" ibid.p.269.

Tattvajñäna or knowledge of Atman is the direct cause or is itself Moksa. Therefore Ätmajñäna or the very nature of the Soul or Self which is itself of the form of Knowledge and Bliss -- Jnana and Ananda-is the Sthayin. This Atman is Sthäyin not in the same sense in which Rati, etc. are; it is Sthayin par excellence. It is the basis and the root of all other Sthayins. It is upon the substratum of this ultimate Sthayin that, as a result of sense-contacts with external objects of the world, the other eight Sthayins are created. Behind Rati, Hasa, etc. is the eternal Atman. Rati and other Sthayins rise and fall but Atman is Sthayitama; Rati and the other Sthayins become its Vyabhicārins. (Abhi. Bhã., p. 337.) Therefore it is, says Abhinava, that Bharata mentions not this S'anta rasa and its Sthayin, Atman. For, it belongs to a. higher plane and it would have been improper if Bharata bad given it among Rati and the rest. It is the very basis of Rati, etc. which are not possible without it. Hence there is no need to specially mention what is undeniably implied.

अत एव पृथगस्य गणना न युक्ता । Abhi. Bha., I, p. 337.

Bhatta Gopāla adds that Bharata abstained form indi- cating the Vibhavas, etc. of S'anta, not because he did not accept this Rasa, but because of its super-mundane nature.

"विभावाद्यप्रतिपादनं तस्य परमपुरुषार्थतया लोकयात्रातिकान्तत्वात्" T. S. S., Edn. K. pra. vyā, p. 139.

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This answers also the objection that one should not go beyond the total number of the Bhavas which is given by Bharata as forty-nine. Abhinava says that the sanctity of the number '49' is protected and that Bharata treats of S'anta by omission, by his eloquent silence.

"तेन आत्मैव ज्ञानानन्दादिविशुद्धधर्मयोगी परिकल्पितचिषयोपभोग- रहितोऽत्र स्थायी। न चास्य स्थायितया स्थायित्वं वचनीयम। रत्यादयो हि तत्तत्कारणान्तरोदयपलयोत्पद्यमाननिरुध्यमानवृत्तयः कश्चित्कालम् आपे- क्षिकतया स्थायिरूपात्मभित्तिसंश्रयाः स्थायिन उच्यन्ते। तत्वज्ञानं तु सकलभावान्तरभित्तिस्थानीयं सर्वस्थायिभ्यः स्थायितमं सर्वा रत्यादिकाः चित्तवृत्तीः व्यभिचारीभावयन् निसर्गत एव सिद्धस्थायिभावमिति तन्न चचनीयम्। अत एव पृथगस्य गणना न युक्त्ा। न हि खण्डमुण्डयोर्मध्ये गोत्वमिति गण्यते। तेन एकान्ञपञ्चाशद्ावा इत्यव्याहतमव।" Abhi. Bha., Gaek. Edn., I, p. 337.

As the permanent wall upon which Rati, etc. are formed, Ätman, the supreme Sthayin, is necessarily implied. This mention by silence means not only its acceptance but its acceptance as the greatest Rasa. Another reason why Bharata has not mentioned S'anta along with Rati, etc. is the difference between Atmajnana and other Sthayins. Atmajnana is not relished by the same means or in the same manner as other Sthayins. Since Atmasvarūpa is usually seen as tinted by Rati, etc., the ordinary means of comprehension which comprehend Rati, etc. do not compre- hend the Atmasvarupa. Further Bharata never attempted to give all the possible Sthayins. He gave only those Sthāyins which are also Vyabhicarins; hence it is that he clubs them all together and speaks of them as the forty-nine Bhāvas.

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That Sthayin, Atmajnana, which is never a Vyabhicārin any- where, is not mentioned at all by him. How could he, knowing as he did, its real nature ? All the above-given ingenuity and strain are the unavoid- able corollary of the ancient method of commenting which never desired to go against the basic text and introduced new things only by securing for it the sanction of the basic text. The facts about the Rasa of S'anta itself which we gather from this discussion are : 1. Tattvajnāna or Ātmajñāna or Ātmasvarūpa or briefly the Atman itself is the Sthayin of S'anta. 2. It is like the wall; upon it are formed Rati, etc. which are 'Upadhis' of the pure self-illumined Spirit. Nourishment of the permanent, unconditioned and untarnished Spirit by the appropriate Vibhavas, etc. will give the S'anta Rasa. 3. Though Rati etc. are Sthayins compared to Nirveda etc., they are Vyabhicarins compared to the Atmasthayin, which is Sthayitama.

"न चास्य आत्मस्वभावस्य व्यभिचारित्वम, असंभवात्, अवै- चित्र्यावहत्वात्, अनौचित्याच्च। शम आत्मस्वभावः ।"

This Atmasvabhava is called S'ama.1

' Though Abhinava holds Sama which is identical with Atmasvabhava as a Sthayin for all time, the anonymous commen- tary on the Vyaktiviveka holds Sama as appearing in the form of Vyabhicārin also in Smgāra. "स्थायिनामपि व्यभिचारित्वं भवति। यथा रतेर्दवादिविषयायाः, हास्यस्य शुज्ञारादी, शोकल्य विप्रलम्भय्गारादी शमस्य कोपाभिइतस्य प्रसादोहमादौ।" T. S. S., Edn., pp. 11-12. Sarngadeva also, who closely follows Abhinava, considers. Sama as a Vyabhicarin also. Perhaps Abhinava will reply to this

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Abhinava advanced the above-given arguments for S'anta and its Sthayin without resorting to the text of Bharata on S'anta found in some recensions. In this text, S'ama is given as the Sthayin of S'ānta.

अथ शान्तो नाम शमस्थायिभावात्मक: etc.

Abhinava has said that Sama is only another name for Atmasvabhava. When one speaks of S'ama or Nirveda both of which are Cittavrttis, one has to qualify them as a special and superior kind to make them the Sthayin of S'anta. This qualification is unnecessary when Atman itself is accepted as the Sthayin. Rati etc. which contaminate the Atman re- present the disturbed or Vyutthita state of the Citta. The pure nature of the Spirit is like the white thread on which are hung coloured stones at intervals. By constant meditation and effort, the pure light within is seen. It is a state of bliss in a double degree, as Rasasvada and as the Asvāda of the real Atmasvarupa which is Ananda. The text on Santa found in some recensions describes S'anta as the Prakrti and Rati and other Bhavas as its Vikāras. The latter rise and fall, appear and disappear on the Atman. They merge in it.

न यत्र दुःखं न सुखं न द्वेषो नापि मत्सरः । समः सर्वेषु भूतेषु स शान्तः प्रथितो रसः ॥ भावा विकारा रत्याद्याः शान्तस्त प्रकृतिमेतः । विकार: प्रकृतेर्जातः पुनस्तन्रैव लीथते।

that just as there are two different Nirvedas, two different Tattva- jnanas, there are two Samas. The Nirveda illustrated by the verse T TaISHEaT etc, is only a Bhava: it cannot be Tattvajnana-ja Nirveda which alone is held by some as Sthayin. Sce Abhi. Bha., pp. 335-6 and 335. Similar in nature is the Vyabhicari-Sama. 12

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स्वं स्वं निमित्तमासादय शान्ताङ्गावः प्रवर्तते । पुनर्निमित्तापाय च शान्त एवोपलीयते।।

Therefore it is that Bharata, says Abhinava, treated of S'änta at the head of all the Rasas. Further the relish of all Rasas is Alaukika, shorn of all mundane associations, and hence S'antapraya. The bliss realised is akin to Brahmasvāda which is Atmasvada. Jagannatha pursued this line and said that Rasa is the manifestation of the light of Atman itself when the obscuring clement falls away. Poetry and Drama remove the bars and Atman manifests itself.

"वस्तुतस्तु वक्ष्यमाणश्रुतिस्वारस्येन भग्नावरणा चिदेव रसः ।" Rasagangādhara, p. 23.

V

THE TEXT OF THE ABHINAVABHARATI

ON THE S'ANTA RASA

IN this section, I am presenting the text of the Abhinava- bharati on the S'anta Rasa. It would have been unnecessary to give this text here, if the text available in the Gaekwad Edition had not been so error-ridden. The text presented here by me is as corrected with the help of Professor Mm. S. Kuppuswami Sastriar. I give in the foot-notes the in- correct readings found in the MS. in the Madras Government Oriental MSS. Library with the letter 'M', and in the Gaekwad Edition with the letter 'G'.1 There are still a few passages of which completely satisfactory reconstruction has not been possible. Pandit H. Sesha Aiyangar of the Kanarese Department of the Madras University placed at my disposal the readings in two MSS. of the Abhinavabharati from Mangav Koil, which belong to H. H. the Jiyar of Melkote. Some of the readings in these two Mangav MSS, supported our reconstructions while many agreed with those found in the Gaek. Edition. Two of the Mangav readings were definitely helpful and these are given, besides a few others, in the foot. notes with the letters ' A', 'B', 'C'.

1 Vide, Nātya Sāstra, Gaek. Edn., Vol. I, pp. 333-42.

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It is well known that Hemacandra, who reproduces whole sections from Abhinava, helps us a good deal in the task of reconstructing the text of the Abhinavabharati. The S'anta Rasa section in the Abhinavabharati is to be found, with the omission of some parts, on p. 68 (text and com.), pp. 80-87 (com.) and p. 96. (com.) of Hemacandra's Kāvyānusāsana. As pointed out in the foot-notes, Hemacandra supports the two Mangav readings selected by me, towards the close of the section.

अभिनवभारत्यां

शान्तरसप्रकरणम्

ये पुनर्नव रसा इति पठन्ति, तन्मते शान्तस्वरूपमभिधीयते। तत्र केचिदाहुः-शान्तः शमस्थायिभावात्मकः तपस्यायोगिसंपर्कादिभिः विभावरुतपद्यने। तस्य कामक्रोघाद्यभावरूपैरनुभावैरभिनयः। व्यभिचारी धृतिमतिप्रभृतिरिति॥ एनदपरे न सहन्ते, शमशान्तयोः पर्यायत्वात्, एकान्नपञ्चाशद्धावा इति संख्यात्यागात्। किश्व विभावा ऋतुमाल्यादयः तत्समनन्तरभाविनि शृङ्गारादावनुसन्वीयन्त इति युक्तम्। तपोऽध्ययनादयस्तु न शान्तस्य समनन्तरहेतवः । तत्त्वज्ञानस्य अनन्तरहेतव इति चेत् 'पूर्वोदिततत्त्व- ज्ञानेऽपि तर्हि प्रयोज्यतेति तपोऽध्ययनादीनां विभावता 'त्यक्ता स्यात्।

'M. and G. शमनस्य ये हेतवः 'M. अनन्तहेतवः M. पूर्वरो दिततत्वज्ञानेऽपि, 'G, युका.

THE NUMBER OF RASAS 93

'कामादभावोडपि नानुभावः, शान्ताद्विपक्षादव्यावृत्तेः, अगमकत्वात्, प्रयो- गासमवायित्वाच् ; न हि चेष्टाव्युपरमः प्रयोगयोग्यः । सुप्तमोहादयोऽपि हि निःश्वासोच्छासपतनभूशयनादिभिः2 चेष्टामिरेवानुभाव्यन्ते®। धृति- प्रभृतिरपि प्राप्तविषयोपरागः कथं शान्ते स्यात्? न चाकिश्चित्करत्वमात्रेण तत्वज्ञानोपाये व्युत्पाद्यन्ते विनेयाः। नैते परदुःखदुःखितमनसो दृश्यन्ते® सम्यग्दर्शन Aसमावस्थां प्राप्ताः, अपि तु संसारे। तन्न शान्तो रस इति। अत्रोच्यते-यथा इह तावत् धर्मादिन्ितयम्, एवं मोक्षोडपि पुरुषार्थः शास्त्रेषु स्मृतीतिहासादिषु च प्राधान्यनोपायतो व्युत्पाद्यत इति सुप्रसिद्धम्। यथा च कामादिषु समुचिताश्चित्तवृत्तयो रत्यादिशब्दवाच्याः कविनटव्यापारेण आस्वादयोग्यताप्रापणद्वारेण तथाविधहृदयसंवादवतः सा- माजिकान् प्रति रसत्वं शृङ्गारादितया नीयन्ते, तथा मोक्षाभिधानपरम- पुरुषार्थोचिता चित्तवृत्ति: किमिति रसत्वं11 नानीयत इति वक्तव्यम्। या चासौ तथाभूता चित्तवृत्ति: सैवात्र स्थायिभावः। एतत्तु चिन्त्यम्-किन्ना-

M. कामादनुभावः :M. भूषणादिभिः 3 M. अनुभाव्यते. 4 M. and G. प्राप्तविषयोपभोग: 5G. तत्त्वज्ञानोपायः व्युत्पाद्यते. " G. विनेये, I G. चेते. 3 G. मानसो दशयते. A शमावस्थां is the reading in both the Mangav MSS. " J4T is omitted in M. 10 M. एव. "M. रसत्वान.

94 THE NUMBER OF RASAS

मासौ? तत्वज्ञानोत्थितो निर्वेद इति केचित्। तथा हि-दारिद्रयादि- प्रभवो यो निर्वदः ततोडन्य एव, हेतोस्तत्त्वज्ञानस्य वैलक्षण्यात। स्थायि- सश्चारिमध्ये चैतदर्थमेवायं पठितः, अन्यथा माङ्गलिको मुनिः तथा न पठेत्। जुगुप्सां च व्यभिचारितवेन शृङ्गारे निषेधन्2 मुनिर्भावानां सर्वेषा- मेव स्थायित्वसश्चारित्वचित्ततत्ताजत्व8 अनुभावत्वानि* योग्यतोपनिपतितानि शब्दार्थबलाकृष्टानि 'अनुजानाति। तत्त्वज्ञानजश्च निर्वेदः स्थाय्यन्तरो पमर्दकः । भाववैचित्यसहिष्णुभ्यो रत्यादिभ्यो यः परमः' स्थायिशीलः, स एव किल स्थाय्यन्तराणामुपमर्देक: । इदमपि पर्यनुयुञ्जते-तत्वज्ञानजो निर्वेदोऽस्य स्थायीति वदता तत्त्वज्ञानमेवात्र विभावत्वेन उक्तत स्यात्। वैराग्यसबीजादिषु कथ विभा- चत्वम्? तदुपायादिति चेत् कारणकारणेडयं विभावताव्यवहारः, स चाति- प्रसङ्गावहः । किश्च निर्वेदो नाम सर्वत्रानुपादेयताप्रत्ययो वैराग्यलक्षणः, स च तत्त्वज्ञानम्य प्रत्युतोपयोगी। विरक्तो हि तथा प्रयतते, यथास्य तत्त्व-

1M. परितः *M. निषेधम् 3M. reads चिन्ततात्तापत्व and G. चिन्तनात् तावत्व. Both mean little. We must have a word here to mean atferara. All writers from Bharata explain Sattva as Manas and therefore चित्ततताजत्व, however much uncouth the word may be, is suggested as standing here to mean सास्विकभाव. Unfortunately, Hemacandra's epitome of this passage (p. 68, com.) does not have this word. *M.and G .- अनुभावस्थत्वात् नियोग्यतोपनिपतिता निःशब्दबलाकृष्ट. G.वा नानुजाति; M. ननु जानाति. IN. उपमदकभाव etc. M. and G. परमस्थायिश्यीलः * M. and G. व्यवस्थायीति. *G. and Hemacandra. वैराव्यबीजादिषु,

THE NUMBER OF RASAS 95

ज्ञानमुत्पद्यते; तत्त्वज्ञानाद्वि मोक्षः, न तु तत्त्वं ज्ञाल्ा निर्विद्यते, निर्वेदाच्च मोक्ष इति। 'वैराग्यात् प्रकृतिलयः' (ई.कृ. साङ्गयकारिका-४५) इति हि तत्रभवन्तः । ननु तत्त्वज्ञानिनः सर्वत्र दृढतरं वैराम्यं दृष्टम्। तत्रभवद्धि- रप्युक्तम्-'तत्परं पुरुषख्यातेर्गुणवैतृष्ण्यम्' (योगसून्रम्-१.१३) इति। भवत्येवम्; 'तादृशं तु वैराग्यं ज्ञानस्यैव परा काष्ठा' इति भुजङ्गविभुनैच भगवताभ्यधायि। ततश्र तत्त्वज्ञानमेवेदं तत्त्वज्ञानमालया परिपोष्यमाण मिति न निर्वेद: स्थायी; किन्तु तत्त्वज्ञानमेव स्थायी भवेत्। यत्तु व्यभि- चारिव्याख्यानावसरे वक्ष्यते तच्चिरकालविश्रमविप्रलब्धस्योपादेयत्वनिवृत्तये यत्सम्यगज्ञानम्, यथा- वृथा दुग्घोऽनड्वान् स्तनभरनता गौरिति परं परिष्वक्तः षण्डो युवतिरिति लावण्यरहितः । कृता वैदूर्याशा विकचकिरणे काचशकले मया मुढेन त्वां कृपणमगुणज्ञं प्रणमता ।। इति तन्निर्वेदस्य खेदरूपस्य Aविभावत्वेन ; एतच्च तत्रैव वक्ष्यामः ॥ ननु मिथ्याज्ञानमूलो विषयगन्धः तत्त्वज्ञानात् प्रशाम्यतीति दुःख- जन्मसूत्रेण अक्षपादपादैः भगवद्धिः मिथ्याज्ञानापचयकारणं1 तत्त्वज्ञानं वैराव्यस्य दोषापायलक्षणस्य कारणमुक्तम्। ननु ततः किम्ः ननु वैराग्यं निर्वेद :? क एवमाह? निर्वेदो हि शोकप्रवाह्प्रसररूपश्चित्तवृत्तिविशेषः । वैराग्यं तु रागादीनां प्रध्वंसः । भवतु वा वैराग्यमेव निर्वेदः । तथापि तस्य

• Not by Patanjali, but by Vyasa in this Bhasya. (Anand- asrama Edn., p. 20.) A This is read as भावत्वेन in one of the two Mangav MSS. Both M. and G. have विभावत्वेन, Hemacandra also reads only विभावत्वेन. (p. 81, K. Anu. vyE.) 1 M.and G. कारणतत्त्वज्ञान.

96 THE NUMBER OF RASAS

स्वकारणवशात् मध्यभाविनोऽपि न मोक्षे साध्ये सूत्रस्थानीयता 'प्रत्यपादि आचार्येण। किश्व तत्त्वज्ञानोत्थितो निर्वेद इति शमस्यैवेदं निर्वेदनाम कृतं स्यात्। शमशान्तयोः पर्यायत्वं तु हासहास्याभ्यां व्याख्यातम्; सिद्ध- साध्यतया, लौकिकालौकिकत्वेन साधारणासाधारणतया च चैलक्षण्यं शमशान्तयोरपि सुलभमेव। तस्मान्न निर्वेद: स्थायीति॥ अन्ये मन्यन्ते रत्यादय एवाष्टौ चित्तवृत्तिविशेषा उक्ताः । तत एव कथितविभावविविक्तश्रुताद्यलोकिक विभाव विशेषसंश्रयाः विचित्रा एव तावत्। ततश्च तन्मध्यादेव अन्यतमोऽन्र स्थायी। तत्र अनाहतानन्दमयस्वात्म- विपया रतिरेव मोक्षसाघनमिति, सैव 'शान्ते स्थायिनीति। यथोक्तम्-

यश्चात्मरतिरेव स्यात् आत्मतृप्तश्च मानवः । आत्मन्येव च सन्तुष्टः तस्य कार्य न विद्यते ॥ (गीता. ३-१७.)

इति। एवं समस्तविषयं वैक्कतं पश्यतः, विश्वं च शोच्यं विलोकयतः, सांसारिकं च वृत्तान्तम् अपकारित्वेन पश्यतः, सातिशयमसम्मोहप्रधानं वीर्यम्6 आश्रितवतः, सर्वस्मात् विषयसार्थाद् बिभ्यतः,' सर्वलोकस्पृहणी- यादपि प्रमदादेः जुगुप्समानस्य, 8अपूर्वस्वात्मातिशयलाभात् विस्मयमानस्य मोक्षसिद्धिरिति रतिहासादीनां विस्मयान्तानाम् अन्यतमस्य स्थायित्वं

M. त्यपादाचारिव; G. त्यपादाचारित. 2 M. and G. सिद्धं साध्यते, M.and G. यदलौकिकत्वेन. 4 M. and G. आनन. *M. and G. शाब. 4 M. and G. विनियम्. `M. and G. बाहात: 8 M. and G. पूर्वस्वात्म. * a is omitted in M. and G.

THE NUMBER OF RASAS 97

निरूपणीयम्। न चैतन्मुनेर्न सम्मतम्। यावदेव हि विशिष्टान् 'भावान् परिगणयति रत्यादिशब्देन चशव्देन व तत्प्रकारानेव अन्यान् सङगृह्गीते, तावदेव तद्वचतिरिक्तालौकिकहेतृपनतानां रत्यादीनामनुजानात्येव अपवर्ग- विषयत्वम्। एवंवादिनां तु परस्परमेव विशारयताम् एकस्य स्थायित्वं विशीर्यत एव। तदुपायमेदात् तस्य तस्य स्थायित्वमित्यप्युच्य- मानं प्रत्युक्तमेव*। स्थायिभेदेन प्रतिपुरुषं रसस्याप्यानन्त्यापतेः०। मोक्षैकहेतुत्वाद् एको रस इति च्ेत्, "क्षयैकफलत्वे वीररौद्रयोरप्येकत्वं स्यात् ॥ अन्ये तु पानकरसवदविभागं ग्राप्ताः सर्व एव रत्यादयोत्र स्यायिन इत्याहुः। चित्तवृत्तीनामयुगपद्भावात्, अन्योन्यं च विरोधाद् एतदपि न मनोज्ञम् ! कस्तर्तत्र स्थायी? उच्यते-इह तत्त्वज्ञानमेव तावन्मोक्षसाधन- मिति तस्यैव मोक्षे स्थायिता युक्ता। तत्वज्ञानं च नामात्मज्ञानमेव। आत्मनश्च व्यतिरिक्तस्य विषयस्यैव' ज्ञानम्; परो ह्येवमात्मा अनात्मैव स्यात्। विपश्चितं चैतदस्मङ्गरुभिः । अस्माभिश्चान्यत्र वितन्यत इति इह नातिनिर्बन्ध: कृतः । तेन आत्मैव ज्ञानानन्दादिविशुद्धधर्मयोगी परिकल्पि- तविषयोपभोगरहितोSत्र स्थायी। न चास्य स्थायितया स्थायित्वं वचनीयम्।

1 M. and G. विभावान्. 2 M. and G. परिगणयत्यादिशब्देन च तत्प्रकारानेव, 3 M. and G. विचारयतां. 4 M, and G. प्रगुणमेव. 'M. and G. आपतौ. 6 M. क्षमेक० ; G. क्षामेक०, M. व्यतिरिकस्योदयस्येव ज्ञानम्; G. व्यतिरिक्त इन्द्रियस्यैव ज्ञानं. म M. and G. आस्मनात्मेव, 13

98 THE NUMBER OF RASAS

रत्यादयो हि तत्तत्कारणान्तरोदयप्रलयोत्पद्यमाननिरुध्यमानवृत्तयः कश्चित् कालम् आपेक्षिकतया स्थायिरूपात्मभित्तिसंश्रयाः सन्तः स्थायिन इति उच्यन्ते। तत्वज्ञानं तु सकलभावान्तरभित्तिस्थानीयं सर्वस्थायिभ्यः स्थायितमं सर्वा 4रत्यादिका: चित्तवृत्ती: 4 व्यभिचारीभावयन्5 निसर्गत एव सिद्धस्थायिभावमिति 'तन्न वचनीयम्। अत एव पृथगस्य गणना न युक्ता। न हि खण्डमुण्डयोर्मध्ये तृतीयं गोत्वमिति गण्यते। तेन एकान्न- पञ्चशद्धाबा इत्यव्याहतमेव। अस्यापि क्थ न' पृथमणनेति चेत् पृथग् *आस्वादायोगादिति जरुमहे। न हि रत्यादय इवेतरासंपृक्त्तेन वपुषा तथाविधमात्मरूपं लौकिकप्रतीतिगोचरः10। स्वगतमपि अविकल्परूपं व्युस्थानावसरेऽनुसन्धीयमानं चित्तवृत्त्यन्तरकलुषमेवावभाति॥ भासतां वा लोके तथा। तथापि न संभवन्मात्रस्थायिनां गणनम्, रसेषूत्तेषु अनुपयोगात् ; अपि तु व्यभिचारित्वेन11 लक्षणीयत्वं विज्ञायते, नेतरथा12। तथा हेकान्नपश्चाशद्धावैरिति एतत्प्रघट्टकोपपत्तिः। न चास्यात्म-

1 M. विरुद्धमान, "M. आक्षेप्यकतया * M. G. and Hemacandra omit सन्तः A Mangav रत्वादिका: स्थायिचितवृत्ती: So also Hemacandra. 4 M. वृत्ति, * M. ावयन्ति सर्गतः * M. and G. तन्त्रवचनेन, * M. and G. omit ₹, * M. and G. आस्वादयोगात्. *M. असंवृत्तेन, u G. गोचरम. ॥M. व्यनिचारित्वात्; G. व्यमिचारिलक्षणीयत्वम्. "G. नेति.

THE NUMBER OF RASAS 99

स्वभावस्य व्यभिचारित्म; असम्भवात्, अवैचित्यावहत्वात्, अनौ- चित्याच्च। शम आत्मस्वमावः; स शमशब्देन2 मुनिना व्यपदिष्टः । यदि तु स एव शमशब्देन व्यपदिश्यते, निर्वेदशब्देन वा, तन्न कश्चि- ह्वाघः, । केवलं शमश्चित्तवृत्यन्तरं' निर्वेदोऽपि दारिद्रयादिविभावान्तरो- त्थितनिर्वेदतुल्यजातीयः स5 भवति। तज्जातीय एव हेतुभेदेऽपि तट्यप- देश्यो रतिभयादिखिव। तदिदमात्मस्वरूपमेव तत्त्वज्ञानं 'शमः, तथा च यत्कालुप्योपरागविशेषा एवात्मनो रत्यादयः ; तदनुगमेऽपि शुद्धमस्य रूपम् अव्यवधानसमाधिबलाद् अधिगम्य, व्युत्थानेडपि प्रशान्तता "भवति। यथोक्तम् 'प्रशान्तवाहितासंस्कारात्' (यो० सू० ३. १०) इति। तत्त्वज्ञानलक्षणस्य च स्थायिन: समस्तोडयं लौकिकालोंकिकचित्त- वृत्तिकलापो व्यभिचारितामभ्येति। तदनुभावा एव च यमनियमाद्युपकृता1 अनुभावा:1उपा्ाभिनयाद्यध्यायत्रये च ये स्वमावाभिनया वक्ष्यन्ते। अत

1 M. and G. व्यभिचारित्वसंभवात. * M.and G. समात्मस्वभावस्य दमशब्देन. 3M,and G. भाव: 4 M. and G. चित्तवृत्यन्तम्, 3 M. and G. #. " M. and G. भयादिभिरेव. M. and G, शमता च. 8 G. विशुद्धम्. " M. and G. अधिशाय्य, 10 M. and G. प्रशान्तिता. "M. and G. भवन्ति. 17 G, अनुक्ृता: 13 M. अनुभावात् उपाक्ञाभिनयस्य .. ध्यायत्रये; G. उपाअ्राभिनयस्य (आक्विका) ध्यायवये.

100 THE NUMBER OF RASAS

एते एतद्विपया एव। अयमेव हि स्वभावः । विभावा अपि1 परमेश्वरानु- ग्रहपभृतयः, "प्रक्षयोन्मुखाश्च रत्यादयोऽत्रास्वाद्याः। केवलं यथा विप्रलम्भे और्सुक्यम्, सम्भोगेडपि वा 'प्रेमासमाप्ोत्सवम्' इति, यथा च रौद्रे औग्रयम्, यथा च करुणवीरभयानकाद्भुतेषु निर्वेदधृतित्रासहर्षाः व्यभि- चारिणोऽपि प्राधान्येन अवभासन्ते, तथा *शान्ते जुगुप्साद्याः सर्वथैव रागप्रतिपक्षत्वात्। तथा हि महाव्रते 5नृकपालादिधारणम्, असुभार्या- दिसमुदायानिविस्तारसक्षेपातिकर्मीकृतिर्हिं धर्मे? जुगुप्साहेतुत्वेनैव निजा- भ्यञ्जनं' च देवरात् पुत्रजन्भनि® उपदिष्टम्। स्वात्मनि च कृतकृत्यस्य परार्थेघटनायामेवोद्यम इति उत्साहोऽस्य परोपकारविपयेच्छाप्रयत्रूपो दया- परपर्यायोऽम्यधिकोऽन्तरङ्गः । अत एव एतद्ूयभिचारिबलात् केचिद् दयावीरत्वेन व्यपदिशन्ति, अन्ये धर्मवीरत्वेन ।। ननूत्साहोऽहक्कारपराणः शान्तस्त्वह द्कारशैथिल्यात्मक:10। व्यभिचा- रित्वं हि विरुद्धस्यापि11 न नोचितम्, रताविव निर्वेदादेः । 'शय्या शाहूलम्' (नागा० ४. २) इत्यादौ हि परोपकारकरणे ह्युत्साहस्यैव प्रकर्षो

1M. and G. कथम् additional. "M. वृक्षयोश्च रत्याद्य: 3M. निवृति 4 M. and G. न जगुप्सायां द्वेविध्यात्मक 9M. and G. महान्रतेन. G This bit both in M. and G. is very corrupt and suitable emendation was very difficult to be found. Unfortunately, Hemacandra's epitome of this portion does not contain this passage. (p. 81.) M. निजाभ्यनम: G. निजान्यहणम्, 8 M. and G. पुन्रजन्माधयुपदिष्टम्, 'G. तत्केचित्, M. Gap. 1 M. and G. शेथिल्यात. "G.and Hema. नातुचितम्.

THE NUMBER OF RASAS 101

लक्ष्यते। न तु' उत्साहशन्या काचिदप्यवस्था; इच्छापयत्षव्यतिरेकेण पाषाणतापत्तेः । यत एव च परिदष्ठपरावरत्वेन* स्वात्मोद्देशेन कर्तव्यान्तरं नावशिप्यते। अत एव शान्तहृदयानां परोपकाराय शरीरसर्वस्वादिदानं न शान्तविरोधि। 'आत्मानं गोपायेत्' इत्यादिना ह्यकृतकृत्यविषयं शरीर- रक्षणमुपदिश्यते, सन्न्यासिनां 'तद्रक्षादितात्पर्याभावात्। तथा हि-

'धर्मार्थकाममोक्षाणां प्राणाः संस्थितिहेतवः । तान्निज्ञता कि न हतं रक्षता कि न रक्षितम् ॥' इति

सुप्रसिद्धचतुर्वर्गसाधकत्वमेव देहरक्षाया निदानं दर्शितम्। कृतकृत्यस्य जलेडयौ श्वभ्रे वा पतेदिति सन्न्यासित्वे श्रवणात्। तद्यथाकभश्चित् त्याज्यं शरीरम्। यदि परार्थ त्यज्यते तत् किमिव न संपादितं भवति? जीमूत- वाहनादीनां न "यतित्वमिति चेत्, किं तेन नः? तत्त्वज्ञानित्वं तावदव- श्यमस्ति। अन्यथा देहात्ममानिनां देह एव सर्वस्वभूते धर्माद्यनुद्देशेन परार्थे त्यागस्य असम्भाव्यत्वात्। युद्धेऽपि हि न वीरस्य देहत्यागायोद्यमः१, 1परावजयोद्देशेनैव प्रवृत्तेः । भृगुपतनादावपि शुभतरदेहान्तरसंपिपादयिषै- चाधिकं विजम्भते। तत् स्वार्थानुद्देशेन परार्थसम्पत्त्यै यद्यच्वेष्टितं देहत्याग-

1 M. and Hema, नु -M. अव्यवस्थायी. 3 E is omitted in M. and G. * M. परापरत्वेन ; G. and Hema. परम्परत्वेन. " M. भूतताम् ; लक्षणम्. ' M. तद्क्षादि. *M.G.and Hema. नयतत्वमू $ M. and G. असम्भवात्, 2 M. युद्धे विद्वीनशरीरस्य त्यागोद्यम :; G.युद्धऽपि हि न शरीरस्य व्यागायोद्यमः 10 M. पराजय; G. परपराजय.

102 THE NUMBER OF RASAS

पर्यन्तमुपदेशदानादि तत्तदलब्घात्मतत्त्वज्ञानानामसम्भाव्यमेवेति। तेऽपि तत्वज्ञानिनः । ज्ञानिनां सर्वांश्रमेपु सुक्तिरिति स्मृतिधु श्रुतिषु च। यथोक्तम्-

'देवार्चनरतस्तत्वज्ञाननिष्ठोऽतिथिप्रियः । श्राद्धं कृत्वा ददद् द्रव्यं गृहस्थोऽपि हि मुच्यते ॥' इति।

केवलं परार्थामिसन्धिजात् धर्मात् परोपकारात्मकफलत्वेनैव अभिसंहितात् पुनरपि देहस्य तदुचितस्यैव प्रादुर्भावो बोधिसत्त्वादीनां तत्त्वज्ञानिनामपि। दष्टः अङ्ग्वपि' विश्रान्तिलाभः, स्वभावौचित्यात्, यथा रामस्य बीराङे पितुराज्ञां पालयतः। एवं श्रृङ्गारादङ्गेव्वपि मन्तव्यम्। 6अत एव शान्तस्य स्थायित्वेऽपि अप्राधान्यम्। जीमूतवाहने त्रिवर्गसम्पत्तेरेव परोपकृतिप्रधानायाः फलत्वात्। अनेनैवाशयेन नाटकलक्षणे वक्ष्यते- 'ऋद्धिविलासादिभि 'गुणेः' (19-11) इति। अनेन हि ऋद्विविलास8- प्रधानमर्थकामोत्तरं सर्व चरितं सकललोकहृदयसंवादसुन्दरप्रयोजनं नाटके निवेशयितव्यमित्युक्तम्। एतन्व तत्रैव वर्णयिष्यामः । अनेनैव चाशयेन न शान्ते कश्चन मुनिना जात्यङ्गको विनियोक्ष्यते (Vide Ch. 29 S'ls. 1-4) तेन जात्यङ्गविनियोगाभावात् तदसत्त्वमिति प्रत्युक्तम्।।

IG. तस्वज्ञानिनाम्. *M. श्रद्धी चरेदविद्यावित्, *M. परार्थो हि सन्धिजात्. 1 az: amsafa is not found in M. M. and G. वीराजम्, M. एत एव. *M. विशालादिभि: *M. विशाल,

THE NUMBER OF RASAS 103

अन्ये तु, ''जीमूतवाहनस्ते पुत्रन्नाता भविष्यति' (नागा० ४-९) इति शरणाथिनीं वृद्धामेव त्रातवान्। शक्तिश्वास्य न काचित्। परहिंसा च न काचिदित्येवमाहुः। तच्चानुमतमेव ; न हि बोधिसत्त्वानां पुनः 2अभ्युत्थानात्मकजीवितम भिसन्धानानुप्विष्टं शक्तिश्वेदिति। न च काक- तालीयवृत्त्या शास्त्रमुपदिशति। तत् सिद्धं दयालक्षणो ह्युत्साहोडतर प्रधानम्। अन्ये तु व्यभिचारिणो यथायोगं भवन्तीति। यथोक्तम् 'तच्छिद्रेषु प्रत्य- यान्तराणि संस्कारेभ्यः' (यो० सू० ४. २७) इति। अत एव निश्चेष्टत्वा- दनुभावाभाव इति प्रत्युक्तम्। यदा तु पर्यन्तभूमिकालाभेडनुभावाभावः, तदास्य अप्रयोज्यत्वम्, रतिशोकादावपि पर्यन्तशायाम् अप्रयोगस्य युक्त- त्वात्। हृदयसंवादोऽपि तथाविधतत्त्वज्ञानबीजसंस्कारभावितानां भवत्येध; यद्वक्ष्यति "मोक्षे चापि विरगिणः" (अध्याय: २७-श्लो. ५०) इति। सर्वस्य *न सर्वत्र हृदयसंवादः, भयानके वीरपककृतेरभावात्। ननु तादशि प्रयोगे वीरस्य क आस्वादः । उच्यते-यत्रायं' निवध्यते, तत्रावश्यं पुरुषार्थोपयोगिनि श्रृङ्गारवीरादयन्यतममस्त्येव। तन्निष्ठस्तेषामास्वादः। यत्रापि प्रहसनादौ हास्यादेः प्रधानता तन्राप्यनुनिष्पादिरसान्तरनिष्ठ एवा- स्वाद:। Bभिन्नभिन्नाधिकार्यास्वादोद्देश एव रूपकभेदचिन्तने निमित्त- मिति केचित् ॥

M. जीमूतवाहन कस्ते ; G. जीमूतवाहन: कस्ते, 4M. and G. पुनरप्युत्थान० 3M. ला हेतुभांवाभावः; G. लाभे तु भावाभावः 4 M. इत्यन; G. स्वित्यव्न. 'M. यन्नेयं; G. यत्रेयं (दं.) "G. अनुनिष्पादित व 7 M. and G. आस्वाद 8 M. and G. मिन्नभिन्नादिकार्य ... धिकादेऽप्युद्देशे दैवस्पकभेदचिन्तनं निमिस मिति केचित।

104 THE NUMBER OF RASAS

तस्मादस्ति शान्तो रसः । तथा च चिरन्तनपुस्तकेषु 'स्थायि- भावान् रसत्वमुपनेप्यामः' इत्यनन्तरं शान्तो नाम शमस्थायिभावात्मक इत्यादिशान्तलक्षणं पठ्यते। तत्र सर्वेरसानां शान्तप्राय एवास्वाद:, विष- येभ्यो विपरिवृत्त्या। तन्मुख्यतालाभः केवलं वासनान्तरोपहित इति। अत्र सर्वप्रकृतित्वाभिधानाय पूर्वमभिधानम्। लोके च पृथक् पृथक् सा- मान्यस्य न गणनमिति स्थाय्यस्य पृथङ् नोक्तः । सामान्यमपि तु विवे- चकेन पृथगेव गणनीयमिति विवेचकाभिमतसामाजिकास्वादलक्षणप्रतीति- विपयतया स परृथन्भूत एव। इतिहासपुराणाभिधानकोशादौ च नव रसाः श्रूयन्ते, श्रीमत्सिद्धान्तशास्त्रेप्वपि। तथा चोक्तम्-

"अष्टानामिह देवानां श्रृङ्गारादीन् प्रदर्शयेत्। मध्ये च देवदेवस्य शान्तं रूपं प्रदर्शयेत् ॥।"

तस्य च वैराग्यसंसारभीरुतादयो विभावाः। स हि तैरुपनिबद्धैविज्ञायते। मोक्षशास्त्र चिन्तादयोऽनुभावाः। निर्वेदम तिस्मृतिघृत्यादयो व्यभिचारिणः । अत एव ईश्वरप्रणिधानविपये भक्तिश्रद्धे स्मृतिमतिघृत्युत्साहानुप्रविष्टेऽन्यथै- वाङ्गमिति न तयोः पृथग्रसत्वेन गणनम्। अत्र सङ्ग्हकारिका-

मोक्षाध्यात्मनिमित्तस्तत्वज्ञानार्थहेतुसंयुक्त: । निःश्रेयसधर्मयुतः शान्तरसो नाम विज्ञेयः ॥

विभावस्थाय्यनुमावयोग: क्रमात् विशेषणत्रयेण दर्शितः ।

' There is a # here in M. and G. * M. and G. लाभातू. ३M. युक० * M. उत्साहान्यनुप्रविष्ठेभ्यः; G, उत्साहाद्यनुप्रविष्टेभ्यः

THE NUMBER OF RASAS 105

स्वं स्वं निमित्तमादाय शान्तादुत्पदते रसः । पुनर्निमित्तापाये तु शान्त एव प्रलीयते।।

इत्यादिना रसान्तरप्रकृतित्वमुपसंहृतम् !

यत्तु डिमे हास्यशृङ्गारपरिहारेण पड्डसत्वं च वक्ष्यते, तन्रायं भावः । 'दीप्तरसकाव्ययोनिः' (xxviii. 83) इति भाविना लक्षणेन रौद्रप्रधाने तावडडिमे तद्विरुद्धस्य शान्तस्य सम्भावनैव न, कि निपेधेन। शान्ता- सम्भवे तु दीप्षरसकाव्ययोनिरित्यतेन कि व्यवच्छेद्यं शृङ्गारहास्यवर्जे घड्रसयुक्त इति ह्युक्त नातिप्रसङ्ग:'। ननु करुणबीभत्सभयानकप्राधान्य- मनेन पादेन व्यवच्छेद्यते। नैतत्, सात्त्वत्यारभटीवृत्तिसम्पन्न इत्यनेनैव तन्निरासात्। शान्ते तु सात्त्वत्येव वृत्तिरिति न तद्ूयवच्छेदकमेवैतत्। तेन डिमलक्षणं प्रत्युत शान्तरसस्य सद्भावे लिङ्गम्। शृङ्गारस्तु प्रसभसेव्य- मान: सम्भाव्य एव। तदङ्गं च हास्य इति तयोरेव प्रतिपेधः कृतः, प्प्तत्वात् । सर्वेसाम्याच्च विशेषतो वर्णेदेवताभिधानमनुचितमप्यस्य तत्कलप- तमिति ज्ञेयम्। उत्पत्तिस्तु शान्तस्यापि दशितैव। 'सत्त्वभावो हि हास्यस्सः। विभावत्वेन चास्य वीरबीभत्सौ। अत एवास्य रसस्य यम- नियमेश्वरप्रणिधानाद्युपदेशः'। अनुपयोगितया महाफलत्वं सर्वप्राधान्यमिति- वृत्तव्यापकत्वं चोपपन्नमिति अलमतिप्रसङ्गेन ।।

1 M. and G. तन्र प्रसङ्ग: 2 M. and G. सम्पन्ननव, 3M. and G. omit न. 4M. and G. उपपत्ति: 5 G. सत्वाभावः B M.and G. सहविभावित्वेन. 'G. उपदेशे. 14

106 THE NUMBER OF RASAS

तत्वास्वादोऽस्य कीदश :? उच्यते-उपरागदायिभि: उत्साहरत्या- दिभिरुपरक्तं यदात्मस्वरूपं तदेव विरलोम्भितरत्नान्तरालनिर्भासमानसिततर- सृत्रवद्' यदाहिततत्स्वरूपं सकलेषु रत्यादिपु उपरञ्जकेपु तथाभावेनाषि स- कृद्विमातोड्यमात्मेति न्यायेन भासमानं 2पराङ्मुखतात्मक सकलदु:खजाल- हीनं परमानन्दलाभसंविदेकतवेन काव्यप्रयोगप्रबन्धाभ्यां साधारणतया निर्भा- समानं अन्तर्मुख्ावस्थाभदेन लोकोत्तरानन्दानयनं तथाविधह्ृदयं विधत्त इति।। 'एते नवैव रसाः, पुमर्थोपयोगित्वेन रञ्जनाधिक्येन वा इयतामेव उपचेश्यखवात्। तेन रसान्तरसम्भवे अपि 'पार्षदप्रसिद्धया सङ्ख्यानियम इति यदन्येरुक्त तत्पत्युक्तम्। भावाध्याये चैतद्वक्ष्यते। आर्द्रतास्थायिक: सेहो रस इति त्वसत्। सरेहो ह्यभिषङ्गः। स च सर्वो रत्युत्साहादावेव पयेवस्यति। तथाहि बालस्य मातापित्रादौ सनेहः भये विश्रान्तः, यूनो :- मित्रजने रतौ, लक्ष्मणादेः भ्रातरि सनेहः धर्मवीर' एव। एवं वृद्धस्य पुन्रादावपि द्वष्टव्यम्। एषैव गर्धस्थायिकस्य लौल्यरसस्य प्रत्या- ख्याने सरणिर्मन्तव्या, हासे वा रतौ वा अन्यत्र पर्यवसानात्। एवं भक्तावपि वाच्यमिति ।"

M. सुत्नं यदाह तत्स्वरूपम; G. सूत्रवदाभातस्रुपम्, "M. परोन्मुख्ता " M. आत्मय 'M. and C. एवं ते. 'M. पाषतः; G. पाषत[:]. M. and G. सेहोदये विश्रान्तः A Both the Mangav MSS. and Hema, read w4 which is better than स्रेहोदये or सेहो दया (विश्रान्तः) B Bothi the Mangav MSS, and Hema, read यूनो मित्र० C Both the Mangav MSS. and Hema. read लक्ष्मणादे: which is better than the M. and G. reading agnural. 1M. धर्मविरस:, G. धर्मविरमः *M. and G. गन्वस्थायिकस्य.

VI

PREYAS, VITSALYA, PRITI, SNEHA, BHAKTI AND

SRADDHĀ RASAS

THE incoming of the S'anta rasa seems to have set the writers thinking on the sanctity or otherwise of the number eight or nine pertaining to the Rasas.' Close on the footsteps of S'anta, an aspect of Love called Preyas or Vatsalya, covering cases of non-sexual love like that between parents and children, elders and youngsters, became a Rasa. The first work we now know mentioning it as the tenth Rasa is the K. A. of Rudrata (Ch. XII, S'1. 3). Preyas is found in Udbhata as an Alamkāra by the side of Rasavat, both of which belong to a separate class of emotion-figures. Udbbața considers Preyas as the poetry of Bhäva, Bhava kävya, and distinguishes it from the poetry of Rasa called Rasavat. In Bhamaha and Dandin, Preyas was a kind of sweet compliment born of devotion or love, d4: fyauH. In this sense, Preyas as Catu lives in later literature also. But Udbhata's view is peculiar. As Pratīhārendurāja observes, any Bhāva is Preyas for Udbhata.

' Mr. Sivaprasada Bhattacarya, in his Skr. gloss (in his Edn.) of the Alamkara Kaustubha of Kavikarnapura Gosvamin in the Varendra Research Society Series, says that some Alamkarikas, following the Paka sästra and the Vaidya s'astra, hold Rasas to be six in number. "पड् रसा इति रसक्षा भिषजः, तदनुसारिणः केचिदलह्भारमार्गगा अपि।" The basis of this statement is nol given; and I have not been able to find the Alamkarikas who held Rasas to be six.

108 THE NUMBER OF RASAS

"एवं भावकाव्यस्य प्रेयसस्वदिति लक्षणया व्यपदेशः ।"

This view found no follower, since Udbhata's view of Bhāva kävya and Rasa kavya and his view of Bhava or Rasa being indicated by their own names met with criticism. The older Preyas of Bhämaha and Dandin as speech expressive of non- sexual love developed into a new Rasa. Dandin says that this Preyas is very closely related to S'rngara but is distinct,. since Priti is the Sthayin of the former whereas Rati is the Sthayin of Srngāra.

प्राक् प्रीतिर्देशिता सेयं रतिः शृङ्गारतां गता। Dandin, II, 289. Friendship or Affection of parents-Sneha and Vatsalya- feature in some of the noblest poetry and there was felt a necessity to recognise a Rasa for such situations. Rudrata who introduces Preyan at first, mentions Sneha as its Sthayin-ल्ेहप्रकृतिः प्रेयान्। That Rudrata thought mainly of Friendship is shown not only by the Sthayin but also by the following explication --

अन्योन्यं प्रति सुहदोव्येवहारोडयं मतस्तत्र। XVI, 18.

We now get three categories of non-sexual attachment or affection,-(i) the Preyas of Rudrata with Sneha as its Sthayin which comes to friendship; (ii) Vatsalya or the affection of parents and elders for children and youngsters' and (iii) Prīti,

I Visvanatha calls this Vatsala, describes it as paternal affec- tion and gives it in his S. D. after giving the 8 old Rasas and the Sänta, the 9th. "अथ मुनीन्द्रसंभतो वत्सल :- 'स्फुट चमत्कारितया वत्सल च रसं विदुः । स्थायी वत्सलता स्नेह: पुताद्यालम्बनं मतम्॥

THE NUMBER OF RASAS 109

the other kinds of attachment like that between a leader and a follower, a king and his officer or court-poet. To these is to be added the fourth, Bhakti, reverence to elders and devotion to God. All these aspects, to begin with, were called only Preyas which then was understood as all types of non-sexual love.

प्रीतिरप्येवमेव स्यान्न त्वस्यां सांप्रयोगिकी । Bhoja, S. K.A., V.

Dandin's Preyas, as his two illustrations show, refer only to the fourth aspect called Bhakti. He actually calls it by the name Bhakti and uses as its synonym, Priti. Commenting

उद्दीपनानि तच्चेश् विद्याशौर्योदयादयः । आलिह्नाङ्गसंस्पर्शशिर्चुम्बन मीक्षणमू ।। पुलकानन्दवाष्पाद्या अनुभावा: प्रकीर्तिताः ।

पम्मगर्भच्छविर्वर्णो देवसं लोकमातरः।"

The illustration given is Raghu's childhood and Dilipa's Vatsalya (R. V. III). The Mandaramarandacampu curiously enough considers Karuna or Karunya-Compassion-as the Sthayin of Vātsalya:

अन्ये तु करुणास्थायी वात्सल्यं दशमोऽपि च। K.M. edn., p. 100.

Kavikarpaptira Gosvamin, who illustrates Vatsalya with Yas'oda's love for baby-Krsna, gives Mamakara as its Sthayin --

'अन ममकारः स्थायी।'p.148.

1 Kavikarņapura classifies Love into sexual love -- Sampra- yogiki Priti, Maitri, Sauharda and Bhava. The last is the Sthayin of Bhakti. "तन्र रतियथा

"रतिश्ववेतोरज्जकता सुखभोगानुकूल्यकृत्।

A. K., Ch. V, Varendra Edn., p. 124.

110 THE NUMBER OF RASAS

on Vidura's words spoken on Ersna's arrival at his house, Dandin says:

इत्याह युक्तं बिदुरो नान्यतस्तादशी धृतिः । भक्तिमान्नसमाराध्यः सुपीतश्च ततो हरि: ॥ K.A., II, 277.

Tho other instance is the manifestation of a king's devotion to S'iva, uttered in the form of a Stotra on seeing Him:

इति साक्षात्कृते देवे राज्ञो यद्राजवर्मणः । प्रीतिप्रकाशनं तच्व मेय इत्यवगम्यताम् । II, 279.

It is quite natural that in our literature, Bhakti should have come m as a dominant motif and that scholars should have accepted it as a distinct Rasa. Though Rudrata mentions only the Preyas of Sneha, we find the Abhinavabharati saying that others propose not only Bhakti but S'raddha, Faith, also as a new Rasa. Abhinava however does not consider them as distinct Rasas but includes them in S'anta of which the two are important accessories.

"अत एव ईश्वरम्णिधानविषये भक्तिश्रद्धे स्मृतिमतिधृत्युत्साहानु- प्रविष्टे अन्यथैव अङ्गम् (शान्तस्य) इनि न तयोः पृथग्रसत्वेन गणनम्॥"1 Abhi, Bhã., I, Ch. VI, p. 340.

Of Bhakti, more will be said in the section on Madhura Rasa. The Dasarūpaka mentions Priti and Bhakti separately as Bhavas and includes them in Harsa, Utsaha or some other similar Bhava. (IV, 84).

• Hemacandra reproduces this discussion on the additional Rasas from the Abhi, Bha. See K. A., p. 68, Text and Com. S'iva- räma's Rasaratnahära seems to be another work which speaks of the Sraddha Rasa and includes it in one of the nine accepted Rasas.

THE NUMBER OF RASAS 111

प्रीतिभक्त्यादयो भावाः हर्षोत्साहादिषु स्पष्टमन्तर्भावान्न कीर्तिताः ॥

Priti here means types of love other than Rati and Bhakti. To be clear about accepting friendship as Rasa, some seem to have called Sneha itself as a Rasa. Rudrata used the name Sneha for the Sthayin and called the Rasa, Preyan; but these proposed Sneha as the Rasa and Ardrata as the Sthayin. Rudrata himself mentioned this Ardrata while describing bis Sneha Sthayin :

आद्रान्त:करणतया स्नेहपदे भवति सर्वत्र। XVI, 19.

The Abhi. Bha. thus introduces and criticises this Sncha rasa with Ardrata as its Sthayin:

"आर्द्रतास्थायिकः स्नेहो रस इति त्वसत्। स्नेहो ह्यभिषङ्गः । स च रत्युत्साहादावेव पर्यवस्थति। तथा हि-वालस्य मातापित्रादौ वेहो भये विश्रान्तः, यूनो मित्रजने रतौ, लक्ष्मणादेः आातरि धर्मवीर एव। एवं वृद्धस्य पुत्रादावपि द्रष्टव्यम् ।" Abhi. Bha., I, p. 342.'

This dismisses Priti, Sneha, Vatsalya and similar Rasas based on attachment. This is not a commendable attitude.

1 Hemacandra, K, A. Vya., p. 68. "स्नेहो भकिर्वात्सल्यमिति हि रतेरेव विशेषाः । तुल्ययोः या परस्परं रतिः स स्नेहः । अनुत्तमस्य उत्तमे रतिः प्रसक्तिः, सैव भक्तिमदवाच्या। उत्तमस्य अनुतमे रतिः वात्सल्यम्। एवसादौ च विषये भावस्यव आस्वाद्यत्वम् ॥ Sārgadeva, Samgitaratnākara, p. 839. भकतिं स्नेहं तथा लौल्यं केचित त्रीन मन्वते रसान्। श्रद्धाद्वताभिलाषांश स्थायिनस्तेपु ते विदु:॥। तदमत; रतिभेदौ हि भक्तिस्नेहौ नृगोचरी । व्यमिचारित्वमनयोः; नृनार्यों: स्थायिनौ तु तौ॥।

112 THE NUMBER OF RASAS

To have less distinctions is no great aim. If it is said that friendship is only a varicty of Rati, can we call the Rasa in the association of Rama and Sugriva, S'rngara ? If brotherly attachment again is brought under Rati, is the Rasa in the association of Rama and Bharata or Rama and Laksmaņa, S'rngara? If Dharmavira can be called forth to deny Rasatva to Laksmaņa's attachment to Rama, why should not oppo- nents of S'anta call forth another kind of Vira to deny Rasatva to S'anta? Do Abhinava and Hemacandra mean that Friendship, Brotherly attachment, Parental affection and the like are only Bhavas that cannot be nourished into a state of Rasa with attendant accessories? Literature is only too full of these types of attachment. The instance of Dasaratha's death due to separation from Rama is ample proof for the existence of Vatsalya1 as a major mood, fit to be developed and fit to be relished.

LAULYA RASA

In the same section, the Abhi. Bha. mentions and criti- cises another Rasa called Laulya, of which the Sthayin is

' Strangely, we find Vatsalya introduced (as a Rasa, of course) in the midst of other Rasas in the text of Bharata itself. In Ch. 17, second section, dealing with Pathyagunas, we find with reference to Varnas and Rasas: "तत्र हास्यरद्गारयोः स्वरितोदात्तैः, वीररौद्रादभुतेषु उदात्तकम्पितः करुणवातसल्य- भयानकेपु अनुदात्तस्वरितकम्पितवर्ण: पाठ्यमुपपादयति।" K. M. Edn., p. 187. A similar strange passage occurs in Ch. 22, in S1. 3, same edn. where Rasas are mentioned as nine: अष्य करपं सत्त्वं हि ज्ञेयं नवरसाश्रयम् ।

But the correct reading here is maiag as the Kas'i edn. shows.

THE NUMBER OF RASAS 113

given as Gardha. Abhinava suggests that it can be included . in Hasa, Rati or elsewhere. एपैव गर्धस्थायिकस्य लौल्यरसस्य प्रत्याख्याने सरणिर्मन्तव्या, हासे बा, रतौ वा, अन्यत्र पर्यवसानात् । Abhi. Bha., p. 342.

Laulya seems to have been proposed to label the Rasa of an anti-hero like Ravaņa whose vile passion for Sita is enormous. This thirst of heart, Abhinava says, is inappropriate; it is not Rasa in him, but only Rasabhasa; and this Anaucitya of his desire causes Hāsya Rasa. Sārngadeva summarises Abhinava thus:

अयुक्तविषया तृप्णा लौल्यं तद्धास्यकारणम्।

MRGAYĀ AND AKȘA RASAS

Even as Abhinava does, Dhanañjaya also refers to other Rasas proposed by writers. Priti and Bhakti, two additional Bhavas, and their inclusion by Dhananjaya in one or the other of the Bhavas, were referred to previously. In the same verse, Dhananjaya refers to two additional Rasas, Mrgaya and Aksa, Hunt and Gambling.

प्रीतिभक्त्यादयो भावा मृगयाक्षादयो रसाः । हर्षोत्साहादिषु स्पष्टमन्तर्भावान्न कीर्तिता: ।। D. R., IV, 83.

Rasa refers no longer to a mental state only ; these writers generalise it very much to mean any motif or any 'idea.' If we can infer anything from the mention of these addi- tional Rasas by Abhinava after a reference to Lollata's view that Rasas are innumerable, we may say that it was Lollata who proposed these additional Rasa. Though Lollata's 15

114 THE NUMBER OF RASAS

commentary on the N. S'. is not available, we have, about that time, the K. A. of Rudrata, which holds the same view on the number of Rasas as Lollata is said by Abhinava to hold. These writers re-examined Bharata's text to find out what exactly constituted Rasatva and Bhavatva. Bharata con- sidered as Rasas those emotions which were "masters"- Svamibhutas, and were consequently attended upon by many minor ones, (Bahvasrayah) which are called Bhavas. The forty-nine Bhavas described by him include the eight Sthayins also and these cight are once again described as Bhava among Bhavas. This shows that the eight Sthayins had a Sthayin- stage and a Bhava-stage. When reinforced by Vyabhicarins, Rati etc. became Sthayins. Similarly, thought some writers, other Bhavas also can be reinforced by other attendant Bhavas and made Sthayins. According to this view, the Vyabhicarins themselves would have other Vyabhicārins; Nirveda is attended by Cinta; Srama by Nirveda and so on. Says Abhinava :

"6. व्यभिचारिणामपि च व्यभिचारिणो भवन्ति, यथा निर्वेदस्य चिन्ता, श्रमस्य निर्वेद इत्यादि निरूपयन्ति। तच्चासत् । Ch. VII, p. 346.

Abhinava did not accept this view.' But Lollata's and Rudrata's position would make its acceptance necessary for them. Bharata says while explaining what Rasa is :

अत्र रस इति क: पदार्थे :? उच्यते ; आस्वाद्यत्वात्।

1 If he accepted this view, he might give a handle to those who considered all the thirty-three Vyabhicarins also as capable of becoming Rasas. So, he says, wherever there seem to occur in one Vyabhicärin many others, as for instance Vitarka etc. in Unmada in Purtravas, it cannot be said that one Vyabhicarin is nourished by others, but it must be said that all these are separate: ly Vyabhicarins nourishing the main Sthayin, Vipralambha Rati.

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Rudrata perhaps based himself on this text when he said that any Bhava can be Rasa, because Asvadyatva or relish- ability is present in it:

इति मन्तव्या रसाः सर्वे II XII, 3. रसनाद्रसत्वमेषां मधुरादीनामिवोक्तमाचार्यैः । निर्वेदादिप्वापि तन्निकाममस्तीति तेऽपि रसाः ।।

Only a poet must develop the Vyabhicarin also to a state of relishability. Namisadhu explains Rudrata clearly and observes that there is no mental state which cannot be called Rasa, if only it is developed.

"अयमाशयो अ्रन्थकारस्य-यदुत नास्ति सा कापि चित्तवृतिः या परिपोष गता न रसीभवति। भरतेन सहृदयावर्जकत्वप्राचुर्यात् संज्ञां चाश्रित्य अष्टौ वा नव वा रसा उक्ता इति।"

Rudrata was perhaps contemporaneous with Sankuka C. 850 A.D. and thus followed Lollata, C. 825 A.D., on this question of Rasas being as many as Bhavas. If Bharata

But Bharata does not seem to support this contention of Abhinava, He seems to allow Vyabhicarins in Vyabhicarins. Defining Dainya, the Arya in the N. S. says: far-nc-ueen. Ch. VII, 74, p. 362. Astya, a Vyabhicarin is given as an Anu- bhava of another Vyabhicarin Garva (p. 369). In Autsukya, Cintā and Nidra are given; and many other Vyabhicarins also occur here as well as in Visada (p. 370). On p. 66 of his Locana, Abhinava cites #rara ete. and calls it a case of Bhavas'abalata. He says that this verse portrays four pairs of Vyabhicarins appearing one after another: Vitarka- Autsukya; Mati-Smarana; Sanka-Dainya; and lastly Dhrti-Cinta. He concludes however that finally Cinta is the Vyabhicarin which we relisb. This seems to mean that the one Vyabhicarin of Cinta has other Vyabhicarins, Vitarka etc. 'पर्यन्ते तु चिन्ताया एव प्रधानतां ददती परमास्वादस्थानम् ।'

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spoke only of eight or nine Bhavas as Rasas, it is because of their greater vogue among poets and critics. According to Abhinava, Lollata said the same thing: "एतावन्त एव च रसा इत्युक्तं पूर्वेम्। तेन 'आनन्त्येऽपि पार्षद- प्रसिद्धया एतावतां प्रयोज्यत्वम् इति यत् भट्टलोल्लटेन निरूपितं तदवलेपना-

परामृश्य (:)इत्यलम् ।" Abhi. Bha., I, p. 299.

"तेन रसान्तरसम्भवेऽपि पार्षदप्रसिद्धया संख्यानियम इति यदन्यैः (लोछटादिभिरित्यर्थेः) उक्तम्, तत्प्त्युक्तम्। भावाध्याये चैतद्वक्ष्यते ।" ibid., p. 341.

It is perhaps Lollata who, while commenting on the text enumerating the Sthayins, Vyabhicarins etc. at the beginning of Ch. VI, says regarding Sthayins that Bharata did not give any fixed number for the Sthayins; for, Abhinava says in his commentary in this place :

"स्थायिषु च सङ्ख्या नोक्तेत्यपरे।" ibid., p. 270.

Unfortunately, the Bhavādhyāya of the Abhinavabhāratī is, for the most part, lost and Abhinava's detailed statement and refutation of Lollata's view are lost to us. Pratiharenduraja who comes after Ananda notices this view of Rudrata that Nirveda and the other Bhavas are also Rasas. His explanation for many considering only eight or nine as Rasas is not very different from Lollata's Pārșada- prasiddhi. Pratīhärendurāja takes his stand on Caturvarga as contrasted with those objects which are to be avoided by the wise-the Pariharya. Pratiharendu says that only nine are called Rasas bocause of their reference to the four Purusarthas and the name Rasa as restricted to these nine is 'Tantrika', technical and traditional for this S'astra. This is a clumsy

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explanation; virtually this writer accepts the position of Rudrața. The ' Tantrika' or ' Pāribhāsika' nomenclature begs the question and one fails to see how any Bhava, Nirveda or another, is irrelevant to a Purusartha. Says Pratihārendurāja: "एते च शृङ्गारादयो नव यथायोगं चतुर्वर्गपाप्त्युपायतया तदितर- परिहारनिबन्धनतया च रत्यादीनां स्थायिनां नवानां भावानां यः परिपोप: तदात्मकाः । अतः तथाविधेन रूपेण आस्वाद्यत्वात् आस्वादमेदनिबन्धनेन तान्त्रिकेण रसशब्देन अभिधीयन्ते। निर्वेदादी तु तथाविधस्थ आस्वाद्यस्य (धत्वस्य) अभावात् प्रवृत्तिनिमित्तमेदनिबन्धनस्य तान्त्रिकस्य रसशन्दस्य अपवृत्तिः । आस्वाद्यमात्रविवक्षया तु तन्रापि मधुराम्लादिवत् रसशब्द- पदृत्तिरविरुद्धा। युदुक्तं श्रृङ्गारादीन् रसानुपक्रम्य- 'रसनाद्रसत्वमेपां + अस्तीति तेऽपि रसाः ।। (Rudrata; see above). इति । तदाहु :- 4चतुर्वर्गेतरौ प्राप्यपरिहार्यो क्रमाद्यतः । चैतन्यभेदादास्वाद्यात् स रसस्तादशो मतः ॥' इति। स इति चैतन्यभेद इत्यर्थः । तादृश इत्यनेन आस्वादविशेषनिबन्धनत्वं शृङ्गारादिषु तान्त्रिकस्य रसशव्दस्य उक्त्तम् ।।" K.A.S.S. Vya., p. 49. To some extent, the final observation of Abhinava himself at the end of the sixth chapter is weak and justifies the restriction of Rasatva to eight or nine on grounds neither stronger than nor different from Lollata's Parsada-prasiddhi or Pratihara's Caturvargaprāptyupāya. "एते नवैच रसाः, धुमर्थोपयोगित्वेन, रक्षनाधिकयेन वा इयतामेव उपदेश्यत्वाद। तेन रसान्तरसम्भवेपि पार्षदप्रसिद्धया etc. । Abhi. Bhä., II, p. 341.

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VYASANA, DUHKHA AND SUKHA RASAS

The Natyadarpana of Ramacandra and Gunacandra follows Abhinava, reproducing these very words of the Abhinavabharati but adds that though, usefulness in Purusartha and Rañjana restrict Rasas to nine, more Rasas are possible : Laulya with Gardha as its Sthayin; Sneha with Ardrata as its Sthayin; Vynsana Rasa with Asakti as its Sthayin; Dubkha Rasa with Arati as its Sthayin and Sukha Rasa with Santosa as its Sthāyin.

सम्भवन्ति त्वपरेऽपि-यथा गर्धस्थायी लौल्यः, आर्द्रतास्थायी स्नेहः, आसक्तिस्थायि व्यसनम्, अरतिस्थायि दुःखम्, सन्तोषस्थायि सुखमित्यादि। G. O. S. edn., p. 163.

According to the view that accepts the Vyabhicarins also as Rasas, the names Sthayin and Vybhicarin are not fixed names of two sets, but rather names of stages. A Sthayin may be a Vyābhicārin and a Vyabhicarin may become a Sthayin. Abhinava himself draws our attention to Bharata prohibiting the Vyabhicarin Jugupsa in Srngara. (p. 334, Abhi. Bha This Jugupsa is a Sthayin, The author of the gloss on the Vyaktiviveka says :

स्थायिनामपि व्यमिचारित्वं भवति। यथा रतेर्देवादिविषयायाः, हासकय शृङ्गारादी, शोकस्य विप्रलम्भशङ्गारादौ, क्रोधस्य प्रणयकोपादौ, वीरादी, उत्साहस्य शज्ञारादौ, भयस्य अभिसारिकादौ, जुगुप्सायाः संसारनिन्दादौ, शमस्य कोपाभिहतस्य प्रसादोदमादौ।। T. S. S. Edn., pp. 11-12.

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S'ārngadeva, Samgītaratnākara :

रत्यादय: स्थायिभावाः स्युर्भूयिष्ठविभावजाः । स्तोकैविभावैरुत्पन्नास्त एव व्यभिचारिण: । रसान्तरेष्वपि तदा यथायोगं भवन्ति ते। यथा हि हास: शृङ्गारे रतिः शान्ते च दृश्यते।। वीरे क्रोधो भयं शोके जुगुप्सा च भयानके। उत्साहविस्मयौ सर्वरसेषु व्यभिचारिणौ।।

Bhănudatta, Rasatarangiņī, v :

स्थायिनोऽपि व्यभिचरन्ति। हासः शृङ्गारे। रतिः शान्तकरुण- हास्य्रेपु। भयशोकौ करुणशृ्गारयोः । क्रोधो वीरे। जुगुप्सा भयानके। उत्साहविस्मयौ सर्वरसेपु व्यभिचारिणौ।।

Further, we find among the Vyabhicarins, Amarsa which is only Krodha, the Sthayin of Raudra, but in a lesser degree; Trasa which is Bhaya, the Sthayin of Bhayānaka; Vişada which is only S'oka, the Sthayin of Karuņa Rasa. Bhoja is a writer who held the same view as Lollata and Rudrata on the number of Rasas, Bhoja's theory of Rasa is a very complex problem and it has been expounded at length by the present writer in the Rasa section of his Ph. D. thesis on Bhoja's S'rngāra Prakāsa. Bhoja is a monist and a pluralist combined regarding this question of the number of Rasas. Fundamentally, Rasa is only one to him, and that is, Ahankara or S'rngara or Abhimana. Compared to this, even Rati-S'rngara, Hasya, Vira, and the other old Rasas are unfit to be called Rasas, but are only Bhävas; much more so the Vyabhicarins. But this is a Paramärthika state of affairs and there is a Vyavaharika state also in which, by

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Upacara, the name Rasa, by virtue of the immanence of Ahankara in all of them, applies to all the forty-nine Bhāvas.

UDĪTTA AND UDDHATA RASAS

If we turn to Bhoja's S. K. A., Ch. V, we find him first tnentioning only the eight old Rasas:

र तिहोसश्व विस्मयश्र्ाष्टौ स्थायिभावाः प्रकीतिता: । V. 14.

Then, he adds, that these Rasas have ' Visesas, which, as a matter of fact, means, additional Rasas :

श्रृङ्गार्वीरकरुणरौद्राद्भुतभयानकाः । बीभत्सहास्यप्रेयांसः शान्तोदात्तोद्वता रसाः ।। V. 164.

The additional Rasas mentioned here are the old S'anta, the Preyas which we have already heard of and two absolutely new Rasas, Udatta and Uddhata. Dr. Abhayakumar Guha, writing on the Rasa Cult in the Caitanya Caritamrta, in the Asutosh Silver Jubilee Volumes, III, says on p. 375. " Another rhetorician, Bhojaraja, adds one more, e.g. Preman (love). Thus according to Bhojaraja, eleven Rasas in all." That is, he says, to the wellknown nine, some add Vätsalya and Bhoja, Preman, making eleven, This information is wrong. Dr. S. K. De says in Vol. II of his Poetics: "and although he (Bhoja) mentions as many as ten Rasas in his encyclopaedic S. K. A., including the S'anta and Preyas ... " This also is incorrect. As shown above, Bhoja accepts twelve Rasas in all in his S. K. A. There is no peculiarity about S'anta and

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Preyas1 in Bhoja, both of which are Rasas from earlier times. The two new Rasas of Bhoja are Udatta and Uddhata Rasas. They are both explained and illustrated on p. 515 of the S. K. A. Mati is held as the Sthayin of the Udatta Rasa and Garva as the Sthayin of the Uddhata Rasa, Bhoja says that the Udatta is also called Orjasvin. It is clear that Bhoja proposed these two new Rasas as a result of his realisation that each type of Hero shall be

1 (a) Bhoja gives Preyas as Vatsalaprakrti, i.c., having Vatsalya as its Sthayin, S, K. A., p. 514. Bhoja's illustration is however not friendship but only love for woman which will not prove Preyas as different from S'rngara. As a matter of fact, Preyas is considered by Bhoja as the Rasa lying at the root of Srigara and all other types of love. Preyas is called Ahetupakşa- pata- "रतिप्रीत्योरषि चायमेव मूलप्रकृतिरिष्यते। यदित्थमाहु :- 'अहेतुः पक्षपातो यस्तस्य नास्ति प्रतिक्रिया। स हि स्नेहात्मकस्तन्तुरन्तर्भूतानि सीव्यति ॥' (U.R. Carita, V. 17.) S.K.Ā., p. 515. The verse from the U. R. Carita quoted by Bhoja occurs in the drama to explain the inexplicable love that two persons, of what- ever descriptions they may be, evince mutually on seeing each other,-called Taramaitraka and Caksuraga. This is a purer and more basic love and rides high in the synthetic tides of Bhoja's imaginative mind. Bhoja, as can be seen in the last section of this paper, synthesises all Rasas and Bhavas in this Preyas or Preman. Hasya is love for Hasa; Vira is love for Utsaha and so on. In his S'rgara Prakāsa, Ch. XI, Bhoja says at the very ontset : रसांस्तिवह प्रेमाणमेव आमनन्ति।

(b) Dr. De and Dr. Guha evidently owe their view of the number of Rasas accepted by Bhoja to Kavikarnapura Gosvamin's Alamkara Kaustubha:

भोजस्तु वत्सलप्रेमम्याम् एकादश रसानाचरे। p. 123.

Bhoja's synthesis of all Rasas in Preman is to be found in this writer also; of this more later. (See A, Kaus., pp. 147-8.) 16

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distinguished by a Rasa which dominates his character and constitutes his individuality. Thus S'anta is the Rasa of the Dhirasanta hero; Preyas of the Dhiralalita; Udatta or Orjasvin of the Dhirodatta and Uddhata of Dhiroddhata. He says expressly in his Srngara Prakāsa :

न च अष्टवेवेति नियमः, यतः शान्त प्रेयांसम् उद्धतम् ऊर्जम्विनं च केचिद्रसभाचक्षते । तन्मूलाश्र किल नायकानां धीरशान्त-धीरललित- धीरोद्वत-धीरोदात्तव्यपदेशः । Mad. MS., Vol. II, pp.337-8.

Among old Sanskrit writers also, as among modern rescarch scholars, few had a correct knowledge of what the king of Dhara said actually. Simhabhūpala is the only writer who caught sight of Bhoja's Udatta and Uddhata Rasas and criticised them in his R. A. S., pp. 168-172, T. S. S. The amonymous Sahitya mīmamsa (T. S. S, 114), a work largely indebted to Bhoja, also notes Bhoja's Udātta, Uddhata and Preyan and remarks that some would consider these three Rasas as included in the eight. I have dealt with this at length elsewhere. In addition to these two new Rasas, Bhoja, like Rudrata, recognised all the Bhavas as being capable of becoming Rasas. In the Vyavahara-stage, Bhoja held all the forty-nine Bhavas as Rasas:

एतेन रूढाहद्कारता रसस्य पूर्वा कोटिः। रत्यादीनामेकोनपश्चा- शतोऽपि विभावानुभावव्यभिचारिसंयोगात् परप्रकर्षाधिगमे रसव्यपदेशार्हता रसस्यैव मध्यमावस्था। Sr. Pra. Vol.II.p.301.

रत्यादयो यदि रसास्स्युरतिप्रकर्षे हर्षादिभि: किमपराद्मतद्विमिन्नैः

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अस्थायिनस्त इति चेद् भयहासशोक- क्रोधादयो बद कियच्चिरमुल्लसन्ति।। स्थायित्वमत्र विषयातिशयान्मतं चेत चिन्तादय: कुतः; उत प्रकृतेर्वेशेन। तुल्यैव सात्मनि भवेद ; अथ वासनायाः सन्दीपनात् ? तदुभयत्र समानमेव ।। Sr. Pra., Intro, verses 11 and 12. "यदप्युक्ततं परप्रकर्षगामी रत्यादिभावो रस इति, तदप्यसारम। ग्लान्यादिष्वपि तदुपपत्तेः । रलन्यादयोि हि श्रमादिभिः परं प्रकर्षमा- रोप्यन्ते। न ते स्थायिन इति चेत स्थायित्वमेषाम उत्पन्नर्तान्संस्कारत्वम्। तीव्रसंस्कारोत्पत्तिश्च विषयातिशयात, नायकप्रकृनश्च। प्रकृतिश्र त्रिधा- सातत्विकी, राजसी, तामसी च। द्धशाच तथाविधानुभवभावनत्पत्तिः । ततश्ैषां स्थायित्वव्यपदेश इति ।"

"हर्षादिष्वपि विभावानुभावव्यभिचारिसंयागम विद्यरनत्वात"। ibid., Vol. II, p. 355. "अन्ये लवाहुः (चाहुः)-सर्व एव रत्धानयो विभावानुभाव- व्यभिचारिसंयोगादुत्पद्यमाना: भूमानमापन्ना रसीभवन्ति। तथा हि- रसनाद्रसत्वमेषां मधुरादीनामिवोक्तमाचायैं: । निर्वेदादिप्वपि तन्निकाममम्तीति नडपि रसाः (Rudrata).

सर्वेषां च तुल्ये रस्त्वे रत्यादीनामेव परप्कषगामिनां श्रृङ्गारवीर- व्यपदेश इति न घटते"। ibid.

Bhoja restates Rudrata's position with some arguments. He asks: If Rati and the other seven become Rasas, why not

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Harsa and the rest ? If it is said that Rati etc. alone become Rasas by virtue of their being Sthayins, why are not Harsa and others Sthayins? It cannot be said that all these eight and these eight only are 'permanent' and Harsa etc. are ' fleeting'. Among these eight also, there are Bhaya, Hasa, S'oka, Krodha ctc. which are not ' permanent'. Permanance or Evanescence is not inherent in any Bhava invariably but is born as a result of character and circumstance. Universality and the quality of being a major mood do not pertain to these eight only. Cinta is as much a major mood, in a character and in a set of conditions, as Rati. Therefore, even as Rati, Gläni (Fatigue), or Harsa (Delight), have their own Vyabhi- carins, Anubhavas and Vibhavas.1 Provided the poet develops these Harsa etc. also with their attendant emotional condi- tions, they also attain to Sthayitva and Rasatva. Thus, in a later section devoted to illustration, Bhoja speaks of Ananda Rasa with Harsa as its Sthayin.ª (S. K. A., p. 636 and S'ņgāra Prakāsa, Vol. II, p. 394.) On pp. 394-5 of his S'rgāra Prakāsa (Vol. II) and p. 627 of his S. K. Ā., he speaks, along with the Vira and Uddhata Rasas, of the new Rasas Svatantrya, Ananda, Prasama, and Pāravasya. On p. 399 of the Srngara Prakāsa (Vol. II) and 629 of his S. K. A., he speaks of Sadhvasa, Vilasa, Anuraga and Samgama Rasas. This beats Rudrata who mentioned Nirvedädi only, i.e. all the Cittavrttis and primarily the Vyabhicārins, as Rasas. But Bhoja extends Rasatva to Sattvikas also, which

Accordingly, in Chs. XIII-XIV, (Vol. III, Mad. MS.), Bhoja gives the Vibhavas, Anubhavas and Vyabhicarins of all the forty-nine Bhavas. According to Abhinava, only the eight or nine Sthayins can bave Vyabhicarins, Vibhavas and Anubhävas are granted to all. The Natya darpana, as pointed out above, points out Snkha as a Rasa with Santoşa as its Sthayin, Contentment, Santosa, is Ananda's Trşnaksaya and the N. D.'s Sukha is really Santa Rasa.

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are physical manifestations. And in this respect, he is one with Namisadhu who says while commenting on the bit in Rudrata-'इति मन्तव्या रसास्सवें'- इतिशब्दः एवंप्रकारार्थः । एवंप्रकारा अन्येऽपि भावा रतिनिर्वेद- स्तम्भादयः सर्वेडपि रसा बोद्धव्याः ।

Though called Bhavas, the Sattvikas are physical mani- festations. शारीरस्तु सात्विकमावादि: says Bhanudatta in his Rasatarangini. But even these are Rasas, as much as any Cittavrttì, to Bhoja. Fortunately the inanimate Uddīpana Vibhavas like the Malayamaruta and Moonlight and the Alambana Vibhavas which are characters themselves are not made Rasa. To these Bhoja would be content to give the name 'Rasanvyavibhūtis'. But there seem to have been persons, before Bhoja also, who would take, as the Dasa- rupaka points out, such subjects as Mrgaya and Aksa as Rasas. From a passage in the Locana of Abhinava we understand that a period of chaos prevailed in the world of Rasas. Abhinava says that some hold the pure Vibhava only as Rasa; some Sthayin only; some the Vyabhicarins only ; some the interplay of all these; some the story enacted itself and some all this put together.

अन्ये तु शुद्धं विभावम्, अपरे शुद्धमनुभावं, केचित्तु स्थायिमात्रम्, इतरे व्यभिचारिणम्, अन्ये तत्संथोगिनम, एके अनुकार्य, केचन सकलमेव समुदायं रसमाहुरित्यलं बहुना ।" Locana, p. 69.

It is perhaps on the authority of this passage in the Locana that Jagannātha Pandita says in his R. G., p. 28. "विभावादयः त्रयः समुदिता रसः" इति कतिपये। 'त्रिषु य एव चमत्कारी स एव रसोऽन्यथा तु त्रयोऽपि न' इति बहवः।

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'भाव्यमानो विभाव एव रसः' इति अन्ये। 'अनुभावस्तथा तथा' इतीतरे। 'व्यमिचार्येव तथा तथा परिणमति' इति केचित।"

Such a view of the concept of Rasa has been criticised by Abhinavagupta. Surely the very substratum of the Bhavas, namely the characters, the Alambana Vibhavas, cannot be called Rasa. Things like Moonlight and Southern Breeze, which are Jada and are conditions of Nature kindling the sentiment, Uddipanas, cannot possibly be mental states, Cittavrttis, and are thus not to be called Rasa, Similarly the Sättvika. What Bhava is tear which is a drop of water and Romanca which is hair standing on end ? While defining, explaining and illustrating the eight Sattvikas which are also Rasas to him, Bhoja says in his S. K. A. (pp. 498-500) that though they become Rasas, they, being Sattvikas, are not attended by accessory Sañcārins : "अयं च स्तम्भः पुष्टोऽपि सात्त्विकत्वात् सदैव अन्यानुयायीति नानुभावादिभिग्नुबध्यते।" "अस्यापि (रोमाश्चस्य) सात्त्चिकत्वात् अन्यानुबन्धादयो न -4 1" S. K. A., p. 498. What does Bhoja mean by such qualified Rasas ? How can an unattended thing be considered Pusta or developed ? If it is still looking up to something to render itself understood (arogenfr), how is it leading? A mere description of Stambha cannot make an instance of Stambha Rasa. The concept of Rasa means (1) an emotional state and (2) an emotional state which is ' Pradhana '. This ' Pradhanatva' is not a mere question of a poet nourishing a Bhava. It means that the Bhava is, by nature, a major mood, within which occur a number of secondary emotional states. Only such a

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major state of mind can be reinforced by attendant conditions. Bhoja says Glani can be reinforced by Srama etc. This is not possible. When it is said that one is Glana, fatigued, the question is at once asked, and the mind does not rest without asking this question, why is he fatigued ? That is, there cannot be Visranti in a minor or fleeting feeling ; such a minor mood is common to more than one state of mind. One may be fatigued because of Vipralambha, because of fight in Vira, because of yogic practice in S'anta. But when it is said that Rama loves Sīta, there is no more question. A Sthayin explains a world of feclings; it is like a master with many servants; it is independent, Svatantra and Ananyamukha- prekşī, Ananyānuyāyi and Svavisrānta. This is the signifi- cance of the simple but effective simile of King and the followers. Abhinava clearly explains the position thus :

"अप्रधाने च वस्तुनि कस्य संविद् विश्राम्यति, नम्यव प्रत्ययस्य प्रधानान्तरं प्रत्यनुधावतः स्वात्मनि अविश्रान्तत्वात। अती अप्धानतं जडे विभावानुभाववर्गे, व्यभिचारिनिचये च संविदात्मकेडपि नियमेन अन्यमुखप्रेक्षिणि संभवतीति तदतिरिक्त: स्थाय्येव नर्वणापात्रम।" Abhi. Bhả., I, p. 283. "ये त्वेते ऋतुमाल्यादयो विभावाः बाह्याथ वाष्पपभृतया अनु- भावा: ते न भावशब्देन व्यपदेश्याः ।" "भावशब्देन तावत् चित्तवृत्तिविशेषा एव विवक्षिता ।" ibid., Ch. VII, p. 343. As regards the criticism that some among the accepted Sthayins of old are less permanent, Abhinava accepts that there does exist a graded Pradhanya among them. He accepts also that sometimes, the Sthayins become Vyabhi- carins but Vyabhicārins do not become Rasas, Vyabhicārins

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are always Paratantra.' It cannot be contended that all Bhavas are equally relevant to the Purusarthas. The point in the argument of Caturvargopayoga is this : There are any number of things that man aspires for and works to get; but all these fall under the four heads of Dharma, Artha, Kama and Moksa. Similarly, though any feeling of man, as such, cannot but be related to his activity towards Caturvargaprāpti, there is a classification and grouping possible among them, according to which we arrive at a few dominant heads, under which the rest can be brought. The argument of 'Rañja- nadhikya' means this: Though there is Asvadyatva in every- thing in poetry and drama, it is only some mental conditions that can be handled as leading themes; how can Gläni be worked at as the Rasa of a drama and who will relish it? Jagannātha pandita adopts a peculiar attitude towards this question. He raises the problem by pointing out Bhakti as an additional Rasa. As love for God, an Anuräga, it cannot be brought under S'anta, since S'anta implies absence of any Raga. He replies that all Rati except the Rati between man and woman is only a Bhava and can never become a Rasa. If it is argued that Bhagavad Rati can be taken as the

1 To Abhinava, the Vyabhicarins are always Paratantra ; to Bhoja, they are Svatantra and Paratantra according as they are Rasa or Bhava. There is a writer, later than Vidyanatha, named Venkatanārāyana dīksita, of the Andhrades'a, who seems to follow the view of writers like Bhoja. For he says that Vyabhicarins are of two kinds, Svatantra and Paratantra; when they go to highten another, they are the latter; they are the former when they do not have to heighten another.

परतन्त्रा: स्वतन्त्राथ्र द्विविधा व्यमििचारिण: । परपोषक्तां प्राप्ता: परतन्त्रा इतीरिताः । तदभावे स्वतन्त्रा: स्यु: भावा इति च ते स्मृताः ॥ Mad. MS.,pp, 112-3,

Hte however does not explain his position further.

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Sthayi-Rati and the Stripum-Rati be relegated to the Bhava- class, another will propose Rati for children as a Sthayin and a third will ask why Jugupsa and S'oka cannot be put down as Vyabhicarins instead of being called Sthayins. The whole system of Bharata will then have to be overhauled and this is far from desirable! Bharata alone is the guide and authority to decide which Bhava is Sthayin and which Vyabhicarin. "न चासौ शान्तरसेऽन्तर्भावमहति। अनुरागस्य वैराग्यविरुद्धत्वात्। उच्यते-भक्ते: देवादिविषयरतित्वेन भावान्तर्गततया रसत्वानुपपत्तेः । भरतादिमुनिवचनानामेव रसभावत्वादिव्यवस्थापकतवेन, स्वातन्त्र्यायोगात्। अन्यथा पुत्रादिविषयाया अपि रतेः स्थायिभावत्वं कुतो न स्यात् ? न स्याद्ा कुतः शुद्धभावत्वं जुगुप्साशोकादीनाम्, इत्यखिल- दर्शनव्याकुली स्यात्। रसानां नवत्वगणना च मुनिवचननियन्त्रिता भज्येत, इति यथाशास्त्रमेव ज्याय: ।" R. G. pp. 45-6.

BHAKTI AND MADHURA RASA

It was pointed out previously how Dandin illustrated Preyas by two instances of devotion to God, Bhakti. It is natural that, in this land, this sentiment of devotion should have been soon accepted as a Rasa. But Abhinava and others proposed to bring it under S'anta. S'anta is the Rasa relating to the final Purusartha, Moksa; and many are the paths leading to Moksa. The three paths of Bakti, Karman and Jnana are wellknown. It may be that Bhakti is in some cases an Anga of the S'anta developed on lines of Jñana but the advocates of Bhakti held it to be supreme by itself. They made Jñāna and Karman its aids; the release, Moksa, from everything which the Jhanin wanted, the Bhakta did not favour. He wanted that he should permanently be loving God. 17

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Just as Vira Rasa has the four varieties, Dana etc., this Bhakti also has the varieties of Madhura or Srngara or Ujjvala, i.e, love as in the case of the Gopis towards Krsna, Sakhya as in the case of Arjuna, Vätsalya as in the case of Devakī, Yasodā, Vasudeva and Nanda, Dāsya or servitude as in the case of other devotees. The elaboration of Bhakti Rasa on these lines is the special contribution of the rhetori- cians of Bengal who followed the school of Caitanya. Rūpa Gosvamin's two works, the Bhaktirasamrtasindhu and the Ujjvalanilamani deal with this Bhakti Rasa at very great length. Dr. Abhayakumar Guha bas dealt with this subject in an article on the Rasa Cult in the Caitanyacaritramrta in the Asutosh Mukerjee Siver Jubilee Volumes (III) and Dr. S. K. De's complete account of 'the Bhakti-Rasa S'astra of Bengal Vaisnavism' in the IHQ (Vol. VIII) for 1932, removes the need for any further contribution on this subject, Thesc Vaişnava Alamkarikas accept the eight Rasas of Bharata; accept the S'anta; accept the Vätsalya; accept the 'Sneha-prakrtih Preyan' or the 'Ardrata-sthayikah Snehah' as Sakhya and add only one absolutely new Rasa-concept, namely Dasya. Thus they speak of twelve Rasas but they give a new orientation to the whole scheme, wherein lies the speciality of their school. The old Srngara becomes the chief Rasa; it is Rati for their God; it is also called Madhura and Ujjvala. Along with this Madhura, there are four others which are primary; they are S'anta, Dasya, Sakhya and Vatsalya. These five are called the five Mukhya Bhakti Rasas .. The rest, the seven (Hasya, Adbhuta, Vira, Karuņa, Bibhatsa, Bhayanaka and Raudra), are secondary, the Gauna Bhakti Rasas. The primary Bhakti Kasas numbering five are the five forms of Bhakti; the seven secondary Rasas are

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more or less Vyabhicarins for the five primary Rasas, for they are Rasas only when they involve Krsna-rati. शान्त दास्य (सख्य) मधुर रस नाम कृष्ण भक्ति रस मध्ये ए पञ्च प्रधान।

पञ्च विध भक्ते गौण सप्त रस ह्य। पञ्च रसस्थायी व्यापी रहे भक्तनते सप्त गौण आगन्तुक या इये कारणे॥ (Quoted by Dr. A. K. Guha in the article ref. to above.)

According to the table given by Dr. De in his atticle (p. 666), Dasya is called Prita (rendered as Faithfulness) and Sakhya is called Preyas (rendered as Friendship). Kavikarņapūra's Alamkāra Kaustubha is a regular Alam- kara treatise but it introduces some ideas of these Vaisnava Ālamkārikas also. Kavikarņapūra does not give us the classifi- cation into Mukhya and Gauna Rasa, and we miss also Dāsya in his work. He accepts the eight Rasas of Bharata, the S'anta and the Vatsalya. To these ten he adds two more, Preman and Bhakti. Preman is the name he gives to the Madhura Rasa, the divine S'rngara between Krsna and the Gopis. He considers Cittadrava as its Sthayin. According to him, this love is not Srgara. He also records the view of some who hold S'rngara as the Rasa between Radha and Krsna and says that, in that case, Preman will be the Anga of that Srngara. But, according to himself, Preman is the Angin ; S'pngara its Anga. This Preman, Kavikarņapūra considers as Love Supreme within which every other Rasa comes. "अथ प्रेमरसः अन्न चित्तद्रवः स्थायी। प्रेमरस सर्वे रसा अन्तर्भवन्तीत्यत्र महीयानेव प्रपञ्चः । अन्थगौरवभयाद्द्िङ्मान्रमुक्तम्।

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केषाश्चिन्मते श्रीराधाकृप्णयोः श्रृङ्गार एव रसः। तन्मतेऽप्येतदुदाहरणं नासङतम्। श्रृङ्गारोजङ्गी प्रेम अङ्गम, अङ्गस्यापि कचिदुद्रिक्तता । बयं तु प्रेमाङ्गी, श्रृङ्गारोडङ्गमिति विशेषः । तथा च-

उन्मज्जन्ति निमज्जन्ति प्रेम्ण्यखण्डरसत्वतः । सर्वे रसाश्च भावाश्र तरङ्गा इव वारिघौ । A. Kau., p. 148.

This view of Preman will make it the basic Love, which Bhoja also says, lies at the root, as Mulaprakrti, of Rati and Prīti. The Vaghela King Visvanāthasimha, a great devotee of Rama and the author of a number of works on Rāma, (A. D. 1853-4) treats of Bhagavad Bhakti as a Rasa at the end of his treatise Sarvasiddhanta. Vide Rajendralal Mitra, Notices of MSS., Vol VII, p. 100. No. 2329. It would be interesting to compare his elaboration of this subject with that of the Bengal Vaişņava Ālamkārikas.

MADHUSŪDANA SARASVATT ON BHAKTI RASA

It is a well-known fact that Madhusudana-sarasvati, the great Advaitic writer, was a great devotee of the personal God in the form of Krsna. In this role, he has left to us a Stotra, and a treatise on devotion called Bhagavadbhaktirasāyana,1 a work, in which the subject is approached from the point of view of the Alamkarika. It expounds the Bhakti Rasa. Though this Rasa is old and has been dealt with by others, as can be seen from the foregone survey, the treatment by Madhusūdana-sarasvatī has its own peculiarities. Generally, the Purusarthas are said to be four, Dharma, Artha, Kama and Mokşa. M. S. says that Purusärtha is

1 Benares Edn., 1927.

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really one which is bliss untainted by misery, ggeitirgggr, and that, if one speaks of four Purusarthas, one calls the means the end, adopting the common Upacāra (p. 5). Since devo- tion to God, Bhagavad-Bhakti, is one of the ways of attaining such unmixed bliss, Bhakti also is a Puruşārtha.

अतो भगवद्धक्तियोगस्यापि दुःखासंभिन्नसुखत्वेनैव परमपुरुषार्थत्वमि- त्याह-'निरुपमसुखसंविद्रपमस्पृष्टदुःखम्' इति ।p.5.

M. S. separates Jñana and Bhakti and consequently does not include Bhakti in the fourth Puruşartha, Moksa. He bases himself on the difference in character in aspirants to spiritual salvation, which explains why some take to the path of knowledge, Jnana, and some to the path of devotion, Bhakti. Firm minds seek the former through cultivated Nirveda, while softer minds tending to be emotional seek the latter.

ततश्च अद्धतचित्तस्य निर्वेदपूर्वकं तत्त्वज्ञानम्। द्वुतचित्तस्य तु भगवत्कथाश्रवणादिभागवतधर्मेश्रद्धापूर्विका भक्तिरिति अवधित्वेन द्वयमप्यु- पात्तम् । p. 2.

On the basis of certain texts in the Bhägavata, he even says that Jñana also becomes a mcans and not an end, a means to the attainment of Cittaprasada, which is necessary for Bhakti. This makes Jnana a Sancarin of Bhakti.

"अत्र 'मनो यावत् प्रसीदति' (भा. XI. 20.) इति भक्तियोग एव ज्ञानावधिकत्वेन उक्त: ।" p.3.'

' On p. 11 M.S. points out the difference between Bhakti and Brahmavidya or Jffana. The two are theie for two different kinds of Adhikarins. The common man or anybody as such is a candidate for Bhakti; whereas, only he who has acquired the four

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M.S. accepts two kinds of Bhakti, the means and the end, Sadhana and Phala. Even as Jñāna can be means to Bhakti, Bhakti itself can be. The Bhagavata dharmas like S'ravaņa and Kirtana, which produce Cittaprasada and Sattvasuddhi, form Sadhana bhakti (p. 8). Bhakti itself can serve to intensify Bhakti. The word Bhakti itself is explained by M.S. in a very original manner. All writers explain Bhakti as Rati for God. M.S. does not say this at first. According to him, Bhakti is the Citta taking the form of the Lord. The Citta or Antahkarana takes the form of the object it comes into contract with; aaITaT is Bhakti.

"भजनम् अन्तःकरणस्य भगवदाकारतारूपं भक्तिः । द्रुतस्य भगवद्धर्माद्धारावाहिकतां गता। सर्वेशो मनसो वृत्तिर्भक्तिरित्यभिधीयते॥ I, 3.

. या सर्वेशविषया वृत्तिः भगवदाकारतेत्यर्थः ; तदाकार- तैव हि सर्वत्र वृत्तिशव्दोडम्माकं दर्शने ; अतस्सा भक्तिरित्यभिधीयते।" p.13.

By Karaņa Vyutpatti, Bhakti means the Sādhanas also. "भज्यते सेव्यते भगवदाकारम् अन्तःकरणं क्रियते अनया' इति करणव्युत्पत्त्या भक्तिशव्देन श्रवणकीर्तेनादि साधनमभिधीयते ।" p.8.

Thus the word Bhakti would apply to the Uddipanas and the Annbhavas also.

Sadhanas is eligible for Brahmavidya. In form also, the two differ ; Bhakti is a Savikalpaka-cittavrtti and Brahmavidyā is a Nirvikal- paka-cittavțtti. Iu the former, the mind takes the form of God. On p. 6, he points out to the critics who would not give Bhakti such a supreme and independent status of Purusartha, that they should accept Bhakti as a Purusartha, at least as forming part of the first or the fourth, Dharma or Moksa.

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M.S. explains all details, Vibhavas etc., according to his view. The Alambana Vibhava is of course the Lord (p. 6) ; Tulasi, Candana etc. are the Uddipana vibhavas; Anubhāvas are tears of joy or closing of eyes and the like. Regarding the Sthayin, the older writers give Rati but Madhusudana holds the Citta being of the form of the Lord, Bhagavadākāratā, as the Sthayin. This Cittavrtti develops into the Rasa of ineffable bliss.

"-सकलविषयविमुखमनसः महाभागस्य कस्यचित् भगवद्गण- गरिमअ्रन्थनरूपग्रन्थश्रवणजनितद्रुतिरूपायां मनोवृत्तौ सर्वसाधनफलभूतायां शृहीतभगवदाकारायां विभावानुभावव्यमिचारिसंयोगेन रसरूपतया विभावा- नुभावव्यभिचारिसंयोगाद्रसनिष्पत्तिः' इति। "विभावो द्विविधः-आलम्बनविभावः उद्दीपनविभावश्च। तन्र आलम्बनविभावो भगवान्, उद्दीपनविभावः तुलसीचन्दनादिः, अनुभावो नेत्रविक्रियादिः। व्यभिचारिणो भावाः निर्वेदादयः; व्यक्तीमवद्भगन- दाकारतारूपरसाख्य: स्थायिभाव: परमानन्दसाक्षात्कारात्मकः प्रादुर्भघति; स एव भक्तियोग इति ; तं परमं निरतिशयं पुरुषार्थ वदन्ति रसज्ञाः।" p. 4.

It must be noted here that, though M.S. distinguishes S'anta and Bhakti as essentially different, he still gives Nirveda or सकलविषयविमुखमनस्कता (Vairagya) as a condition precedent even to the Uddipana vibhava. This would however make S'anta an Anga. Though M.S. gives his Sthayin for Bhakti as Bhagavadākāracittavrtti, there does not scem to be any great difference between this and Bhagavad-Rati. For he holds that the result of this Cittavrtti, its Phala, is intense love for God. भगवद्विषयकप्रेमप्रकर्षा भक्तिफलम्।p. 11. On p.16, he says that this molten state of the mind is called Praņaya, Anurāga, Sneha etc., all names of Rati.

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इयमेव द्रवावस्था प्रणयानुरागसहादिशब्दैरपि सङ्कीत्यते। p.10.

According to M. S., the Alambana of Bhakti is God; the Rasa realised, Paramānanda, is God; and the Sthayin, the mind which has taken God's form, is also God. How is this explained ? M.S. says that God the Alambana is independent and is the Bimba of which the Sthayin in us is the Prati- bimba. The form of God is ineffable bliss.

भगवान् परमानन्दस्वरूप: स्वयमेव हि। मनोगतस्तदाकाररसतामेति पुष्कलम् ॥। I. 10, p.18.

बिम्बमेव ह्युपाधिनिष्ठत्वेन प्रतीयमानं प्रतिबिम्बमित्युच्यते। परमानन्दश्च भगवान् मनसि प्रतिबिम्बितः स्थायिभावतामासाद्य रसतामापादयतीति भक्तिरसस्य परमानन्दरूपत्वं निर्विवादम्। नाप्यालम्बनविभावस्थायिभाव- योरक्यम, बिम्नप्तिबिम्बभावत्वेन भेदस्य व्यवहारसिद्धत्वात्, ईशजीब- योरिव ।" p.18.

M. S. then recognises that the following Bhavas can become Sthayins and Rasas. 1. Kama becoming Sambhoga and Vipralambha; 2. Krodha becoming Dveșa as in S'ismupāla and Karsa; 3. Bhaya; 4. Sneha (Dasya, Sakhya, Vātsalya, and Preyas); 5. Harsa becoming love for Krsna; 6. Hāsa; 7. Vismaya; 8. Utsaha (Dayā, Dāna and Dharma) ; 9. S'oka; 10. Jugupsa; and 11. S'ama (II, 25-26). Of these, Dharma- vīra, Dayävīra, Bībhatsa and Sama are not part of Bhakti Rasa (II, 27-28). Similarly Dveşa born of İrsya and Bhaya are not part of Bhakti (II, 29). So also Raudra and Bhaya- naka are never Angas of Bhakti (II, 30). The rest form part of Bhakti (II, 31-33). As pointed ont already, M. S. is of opinion that Santa Rasa and Moksa Purusärtha are for * Adrutacittas' and that both differ from Bhakti which is a

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separate Purușartha, Hence, he excludes S'anta from Bhakti. But as can be seen in the earlier section, the Bhakti Rasa scheme of Rupa and others admit S'anta in Bhakti. This, the author of the gloss on M.S. also points out. M.S. rules out of the scope of Bhakti, Dharma-Vira and Daya-Vira because their Alambanas differ; Raudra and Bhaya are against love and Dvesa cannot produce any Druti. Those who did not accept Bhakti as a separate Rasa con- sidered it as a Bhava, a variety of Rati, the object of which was God. देवादिविषया रति :. To these writers, M.S. replies that this Bhava-Rati described as ' Devadivisayā ' refers to Rati for the gods like Indra and others. Rati for the one supreme God is a Rasa.

रतिर्देवादिचिषया व्यभिचारी तथोरजितः । भाव: प्रोक्तो रसो नेति यदुक्तं रसकोविदैः ।। देवान्तरेषु जीवत्वात् परानन्दाप्रकाशनात्। तद्योज्यम्; परमानन्दरूपे न परमात्मनि ॥ II, 75-76.

Bhakti Rasa is the real Rasa; since here it is that one has the ineffable bliss that is not tainted by even a grain of sorrow. Srngara and other Rasas cannot mean this bliss and are inferior; they are like glow-worms; Bhakti is the very Sun.

कान्तादिविषया वा ये रसादास्तत्र नेदशम्। रसत्वं पुष्यते पूर्णसुखास्पर्शित्वकारणात्।। परिपूर्णरसा क्षुद्ररसेभ्यो भगवद्रतिः । खद्योतेभ्य इवादित्यप्रभेव बलवत्तरा।। II, 77-78. 18

138 THE NUMBER OF RASAS

THE MÃYÃ RASA

The advent of S'anta latterly gave rise to another contro- versial Rasa called Maya. Just as there is the possibility of depicting the S'anta Rasa with the psychological, religious and metaphysical concepts like Jñana, Bhakti, S'ama, Dama, Santusti etc., there is also the possibility of depicting the Māyā Rasa by showing the Jivatman rolling in Samsara as a result of Mithyajnana or Avidya, with characters Kāma, Krodha, Lobha and the like. Even as S'änta is the Rasa of the state called Nivrtti, Maya is the Rasa of the state called Pravriti. In a philosophical drama, the Rasa from which the hero es- capes into the S'anta, will be Mayā. The Rasatarangiņi of Bhanudatta puts it forward thus :

चित्तवृत्तिः द्विधा-पवृत्तिर्निवृत्तिश्च। निवृत्तौ यथा शान्तरसः, तथा प्रवृत्तौ मायारस इति प्रतिभाति । Ch. VII.

He points out there how this Maya cannot be identical with or included in Rati etc., all of which come within its fold. Rati and the seven other Sthayins become the Vyabhi- cārins of this Rasa.

किन्तु विद्युद् इव रतिहासशोकक्रोधोत्साहभयजुगुप्साविस्मयास्तत्र उत्पद्यन्ते विलीयन्ते च। तेन तत्र व्यभिचारिभावा इति।

The Sthayin of this Rasa is Mithyajñana.

लक्षणं च प्रबुद्धमिथ्याज्ञानवासना माया रसः । मिथ्याज्ञानमस्य स्थायिभाव:। विभावाः सांसारिकभोगार्जकधर्माधर्माः। अनुभावाः पुत्र- कलत्र विजयसाम्राज्यादयः ।

THE NUMBER OF RASAS 139

The Mandaramaranda-campu follows the Rasatarangini and describes the Maya-Rasa of Pravrtti as well as the S'anta Rasa of Nivrtti. K. M. 35, p. 106. Ciranjīvibhattacarya cites the Rasatarangiņī on Māyā Rasa and criticises it :

अत्रेदं चिन्त्यं-मायाया अनादित्वेन अजन्यत्वात् रसत्वासंभवः । रसास्तु सर्वे जन्या एव। कर्थं वा कथयेत् मिथ्याज्ञानादि: मायायाः कारणमिति, शास्त्रविरुद्धत्वात्। वस्तुतस्तु आलक्कारिकाणां मते रसो नित्यः आनन्दरूप: । अतोऽस्य ब्रह्मस्वरूपत्वेन मायाया रसत्वासंभवः । माया हि तुच्छा विनाशशालिनी ब्रह्मभिन्नैवेति दिक्। अत एव प्राचीनसं- प्रदायिकैरपि नवैव रसाः कथिताः ।" Kāvyavilāsa, Sarasvatī Bhavan Studies, XVI, p. 10,

This scholastic criticism, going into some of the features of the concept of Maya as accepted in Metaphysics, does not meet the question properly. If it is argued that Rasa is ' Nitya', 'Anandarupa' and hence of the form of the Brahman, and consequently Maya which is different from Brahman cannot be a Rasa, how does the author propose to explain S'rgāra etc. as Rasas? They all come under Maya. If a portrayal of Bībhatsa, Bhayanaka and Raudra can be Rasa, why not Māya ? One objection that can be considered is however not mentioned by the critic of the Mäya-Rasa and it is this: As an opposite of the S'anta Rasa, a Maya-Rasa is no doubt present; but it is not a unitary Rasa. It is made up of Srngära and the seven other Rasas. Any given speci- men presenting a mundane activity can be called by one of the eight names, Srngara etc. It is not necessary to have a separate Rasa as Maya which is only the common name of all the eight mundane Rasas of Pravrtti. Suppose, in a

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metaphysical play, Pravrtti and Nivrtti are portrayed; under the former Kama, Krodha etc. will be portrayed as develop- ing into Srngära, Raudra and other Rasas. To us who see it with unenlightened minds, the several parts will appeal as Srngära, Raudra and so on; we will never realise them as Maya; if we realise, we shall be sitting along with the chosen few, the Jnanins who alone see Maya in all those Rasas; and to them, this Maya will not produce Cittasamvada or Rasasvada; only the opposite S'anta will produce that in them. Therefore, practically speaking, there is no necessity for a Maya-Rasa. THE THE KARPANYA RASA

Along with the Laulya, which Abhinava had already mentioned, Bhānudatta examines if Kārpanya can be a Rasa. He mentions Sprha as its Sthayin. The argument for rejecting this is the same as that used by Abhinava for rejecting Laulya, Even as a development of Laulya can only become Hasya, development of Karpanya also will become Hāsya.

THE VRIDANAKA RASA

The Anuyogadvara Sutra of the Jains, which I mentioned previously in the section on the S'anta Rasa, gives nine Kāvya- rasas, in which list, Bhayanaka is omitted and in its place is found a new Rasa called Vridanaka, which can be rendered as 'Modesty', (Agomodaya Samiti Series Edn. with Mala- dhāri Hemacandra's Skt, gloss, p. 134.)

णव कव्व रसा पण्णत्ता, तं जहा- वीरो सिंगारो अब्भुओ अ रोद्दो अ होइ बोद्धव्वो। वेलणओ बीभच्छो हासो कलुणो पसंतो अ।

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The commentary of Maladhari Hemacandra' explains that Vridanaka is the Rasa of Bashfulness, that some give in its place Bhayanaka as a Rasa and that this Bhayanaka is included in Raudra and hence not mentioned separately.

"ब्रीडयति लज्जामुत्पादयति लज्जनीयवस्तुदर्शनादिप्रभवो मनो- व्यलीकतादिस्वरूपो ब्रीडनकः । अस्य स्थाने भयजनकसड्य्रामादिवस्तु- दर्शनादिप्रभवः भयानको रसः पठचतेऽन्यत्र। स चेह्न रौद्ररसान्तर्भाव- विवक्षणात् पृथङ नोक्त: ।"

In defining, however, the text gives a verse in which we see Bhayānaka instead of Raudra, to explain which the commentator says that the text describes not Raudra as such, but describes it through its effect, Bhaya. The Laksaņa- sloka is --

भयजननरूपशब्दान्घकार चिन्ताकथाससुत्पन्नः । संमोहसंत्रमचिषादमरणलिङ्गो रसो रौद्रः । (छाया)

The illustration is however for Raudra proper :

्रुकुटीविडम्बितमुख सन्दष्टोष्ठ इत आकीर्णरुधिर । हंसि पशुं असुरनिभ भीमरसित अतिरौद्र रौद्रोऽसि।।

The commentator explains that though the Laksanasloka means only the Bhayanaka Rasa, it has to be taken as referring to the cause of Bhayānaka, Raudra also.

' The commentator's date is the end of the 11th cent. and early part of the 12th. He wrote his Jivasamasa in 1107 A.D. and Bhavabhavana in 1113 A.D. (Winternitz. Hist. Ind, Lit. Eng. Tran. II, p. 589.) He is different from the author of the Kāvyānusāsana.

142 THE NUMBER OF RASAS

"ननु भयजनकरूपादिभ्यः समुत्पन्नः संमोहादिलिङश्र भयानक एव भवति, कथमस्य रौद्रत्वम्; किन्तु पिशाचादिरौद्रवस्तुभ्यो जातत्वात् रौद्रत्वमस्य विवक्षितमित्यदोषः । रौद्रो रसः, सोऽप्युपलक्षणत्वादत्रैव द्रष्टव्यः, अन्यथा च निरास्पद एव स्यात्। अत एव रौद्रपरिणामव- सुरुषचेष्टाप्रतिपादकमेव उदाहरणं दर्शयिष्यति। भीतचेष्टाप्रतिपादकं तु तत् स्वत एव अभ्यूद्यमित्यलं प्रसङ्गन।"

If the number of Rasas is to be reduced by omitting the Rasas which are produced by other Rasas or the Rasas which are the causes of other Rasas, we shall arrive at four Rasas, proceeding on the basis of Bharata's indication of the Kārana- karya-bhava existing among the eight Rasas, TI Haana: etc. Such a process of reducing the number is illogical. There is no reason why the causal Rasa should be retained and the effected Rasa dismissed and why it should not be oice versa. Coming to the Vrīdanaka Rasa, the definition and illustra- tion are as follows :

विनयोपचारगुद्यगुरुदारमर्यादाव्यतिक्रमोत्पन्नः । ब्रीडनको नाम रसो लज्जाशक्काकरणलिङ्ग: ।।

यथा --

कि लौकिककरणीयात् लज्जनीयतरमिति लज्जितास्मि। विवाहे गुरुजनो परिवन्दते वधूनिवसनम् ।। (छाया)

According to the gloss, this is a verse addressed by a would-be bride to her maid. The reference in it is to a provin- cial marriage custom according to which, elderly women and

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men, including the father-in-law and the mother-in-law, pay their respects to the Sari and the person of the bride after the nuptial night. The bride is taken round and elders revere her for her chastity. The thought of the elders revering her produces shame in the bride's heart. This however is a mere Vyabhicarin and hardly a Rasa. Vrīdā of the same description is given by Bharata as one of the thirty-three Vyabhicarins.

VII

THE VARIETIES OF THE SAME RASA

THE first Rasa Srngara has two phases, Sambhoga and Vipralambha, the two Adhisthanas, as Bharata says, of S'rngara. There is a peculiar view in this connection pro- pounded by king Haripaladeva, whom I have already men- tioned in the section on the S'anta Rasa, as holding two Rasas called the S'anta and the Brahma. Haripala accepts thirteen Rasas: the eight of Bharata, S'anta and Vatsalya and three new Rasas, Sambhoga, Vipralambha and Brahma. The peculiarity of the Brahma-Rasa and its difference from the S'anta have already been explained.

शृङ्गारो हास्यनामा च बीभत्स: करुणस्तथा । वीरो भयानकाह्वानो रौद्राख्योऽद्भुतसंज्ञकः॥ शान्तो ब्राह्माभिध: पश्चाद् वात्सल्याख्यमतः परम्। संभोगो विमलम्भः स्यात् रसासत्वेते त्रयोदश ॥ p. 16.

Haripala has three different Rasas, S'rngara, Sambhoga and Vipralambha. He considers them separate, since, accord- ing to him, their characters differ essentially. He thus argues his case against the ancients: संभोगो विम्लम्भश्च ब्राह्मश्रेति त्रयो रसाः । अतिरिक्ता उदीर्यन्ते हरिपालमहीभुजा।

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तत्रेयं वासना (?) पूवैंः संभोगो विप्रलम्भकः । शृङ्गारस्यैव मेदौ द्वौ कथितौ-तदसाम्प्रतम् ।। अनित्यस्तत्र शृङ्गारः क(क्ा)चित्को हश्यते यतः । पशुपक्षिमृगाद्येषु यतश्च न विलोकयते।। सर्वजन्तुपु हृश्यत्वात् संभोगस्यास्ति नित्यता। अतोडभ्यधायि संभोगो रसः शृङ्गारकः(तः) पृथक् ॥ उज्जवल: शुचिरित्युक्तः श्रृङ्गारो हर्षवर्धनः । मलिनो दुःखकारी च विप्लम्भोऽप्रियावहः ॥ अतः शृङ्गारतो भिन्नो विप्रलम्भ उदाहृतः । भयानकस्य वीरस्य जन्यस्य जनकस्य च। यो भेदो विप्लम्भस्य संभोगस्य च स स्मृतः ॥p.8.

S'rńgāra has always been considered as Ujjvala and S'uci, a Rasa of men of cultivated taste and of sophisticated persons, the Uttamaprakrtis. Therefore, in course of time, S'uci and Ujjvala became synonyms of Srngara. In an unsophisticated rustic, there is S'rngara but only in a way. The ancients also consider that love in birds and beasts is not Rasa, but only its semblance, Rasabhasa. Therefore, love as understood by the word S'rngara is Anitya and Kvacitka, being present only in high class individuals. But love of a kind which is the joy a pair derives mutually is present in all living beings, rustics, birds and beasts. This love need not be called Srngara- bhasa, it may be separated into a distinct Rasa and called Sambhoga. More striking is Haripala's view regarding Vipralamhha. Since both Srngara and Sambhoga are of a pleasurable nature, and Vipralambha is essentially of a painful nature, the latter is a separate Rasa. If Spigara is Suci and Ujjvala, 19

146 THE NUMBER OF RASAS

Vipralambha is ' Malina'. Vipralambha may be due to Srngara or Sambhoga. This cause-effect relationship between S'rngara and Vipralambha is not proof of their essential identity. The two differ as much as Vīra and Bhayānaka, of which the former produces the latter. If love among higher classes is different from rustic love and love among birds and animals, equally do the separations, Vipralambhas, in the two cases differ. Strictly speaking, Haripala should have two Rasas for Love in separation. Haripala gives Ahlāda as the Sthayin of Singāra, Rati of Sambhoga and Arati of Vipralambha. आलाद: प्रथमं

प्रीत्यरती तथा। प्रत्येकं स्थायिनो भावा: क्रमात् प्रत्येकमीरिताः ॥ p. 17.

The ancients were not unaware of the painfulness of Vipralambha, but they did not consider it, on this score, as a separate Rasa. Autsukya or longing is at the root of Vipra- lambha. This longing is only a kind of Rati. Arati can only be an intermediate state in the ten Avasthas of love and it is not the basic state of mind that persists throughout Vipra- lambha. The slender line of Rati runs through the state of Vipralambha; and if this Rati is not accepted in Vipra- lambha, as its Sthayin, there can be no difference between Vipralambha and Karuņa. The Rasakalikā of Rudrabhatța also opines that Rati is not of the form of happiness, since Vipralambha is far from being pleasurable.

आनन्दात्मकत्वं रतेः कैश्चिदुक्तम्, तच्चिन्त्यम्। विप्रयोगादेः आनन्दात्मकत्वस्य अयोगात् । Mad. MS., p. 7.

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The Rasakalikā however does not separate Vipralambha as a distinct Rasa, but takes it, as all do, as a phase of S'rngāra only. It agrees with Haripala in finding Vipralambha as standing in the way of accepting Rati to be of the nature of pleasure. Rati will thus be, according to the Rasakalikā, a state of pleasure as well as pain. Viprayoga, though apparent- ly and immediately painful, is ultimately a state of pleasure. The very life of Rati is a certain longing ; and this exists in Sambhoga as well as in Vipralambha. That it constitutes the life of Rati is seen from what Kalidasa and Mayuraja say : रतिमुभयप्राथना कुरुते (Sakuntala) and प्रेमासमापोत्सवम् (Tapasavatsa- raja). Therefore, Vipralambha is an aspect of Srngara only, and of Vipralambha also, Rati is the Sthayin.

"विप्रलम्भे रतिरेव स्थायी. विप्रकर्षेऽपि रतेः स्वत- स्सिद्धत्वात्।" A. Kau., Kavikarņapūra.

To match its opinion that Rati is not unmixed pleasure, the Rasakalika says that Rasa itself is of the nature of both pleasure and pain ; but of this more in a further section. To return to Haripala's Sambhoga Rasa, he postulated this for the Love of those who are not Uttamaprakrtis. The love of birds and beasts described so largely in the Kāvyas which was being known by the term Rasa-abhasa, comes under Haripala's Sambhoga Rasa. Vidyādhara, the author of the Ekavalf, refuses to recognise that the love of birds and beasts is Rasābhasa. He says that their love also is Rasa. If ittis said that the birds and beasts do not consciously enjoy or enjoy in such a manner as cultivated men and women do, such knowledge and cultivated taste, Vidyādhara says, is ir- relevant. Why should the subject know what it is enjoying

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or how it enjoys, provided it enjoys ? Kumarasvāmin cites this viow of Vidyadhara in his commentary on the Pratāparudrīya :

'अत्र तिरश्वोः पारावतयोः कलाकौशलाभावेन तदीयशृङ्गारस्य विभा- वादिपरिपूर्त्यभावात् आभासत्वं द्रष्टव्यम्'। रस एवायं नामास इति केचित्। तदुकं विद्याघरेण-विभावादिसंभवो हि रसं प्रति प्रयोजकः, न विभावा- दिज्ञानम्। ततश्र तिरश्रामस्त्येव रसः।' p.21, Balamanorama Edn.

Earlier than Kumarasvamin, S'ingabhūpala noticed this view of Vidyadhara, and as a staunch follower of the accepted tradition, criticised it. The discussion in his R. A. S. is too long to be quoted in full. (T. S. S. Edn., pp. 206-9.) Vidyadhara's view is thus stated :

'अपरे तु रसाभासं तिर्यक्षु प्रचक्षते। तत् न परीक्षाक्षमम्। तेष्वपि भावादिसंभवात्। विभावादिज्ञानशून्यास्तिर्यञ्चः न भाजनं भवि- तुमर्हेन्ति रसस्येति चेत् न। मनुष्येष्वपि केषुचित् तथाभूतेषु रसविषया- भासप्रसङ्गात्। अत्र विभावादिसंभवोऽपि रसं प्रति प्रयोजकः । न विभा- वादिज्ञानम्। ततश्च तिशश्चामस्त्येव रसः ।'

The criticism of S'ingabhūpala is that S'rngra is essenti- ally a Rasa of subjects, Alambanas, who are S'uci and Ujjvala; it is not enough if, according to their own conditions, birds and beasts do have a consciousness of their love and its art; it is a question of Aucitya. How can a human being who alone is Samajika for poetry and drama, have Citta- samvāda in such cases? The terms Vibhava etc. do not apply in the case of the love among birds and beasts; the

1 That love among birds and beasts has less of art and is less poetic, may not be accepted at all by the biologists.

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emotional conditions there are called only Kārana, Kārya etc. Says S'ingabhūpāla:

"अथ स्वजातियोग्यधर्मैः करिणां करिणीं प्रति विभावत्वं इति चेतु न। तस्यां कक्ष्यायां करिणा करिणीं प्रति कारणत्वम्, न पुनः विभावत्वम् ।" किञ्च जातियोग्यैर्धमैं: वस्तुनो न विभावत्वम्, अपि तु भावक- चित्तोलासहेतुभी रतिविशिष्टैरेव। "किश्च विभावज्ञानं नाम औचित्यविवेकः, तेन शून्याः तिर्यश्चो न विभावतां यान्ति। विवेकरहितजनोपलक्षणम्लेच्छगतस्य रसस्य आभासत्वे स्वेष्टावासे: ॥" R.A. S., pp.206-7.

Consistent with this argument, S'ingabhupala says that Anaucitya is the only cause of a Rasa becoming its Abhasa; that this Anaucitya is of two kinds, Asatyatva and Ayogyatva; and that in trees and other aspects of nature which are described in love-images, the Rasa is Abhāsa by reason of 'Asatyatva' and in rustics, low people, and birds and beasts, the Rasa is Abhasa by reason of ' Ayogyatva.'

आभासता भवेदेषामनौचित्यप्रवर्तिनाम्। असत्यत्वादयोग्यत्वात् अनौचित्यं द्विधा भवेत् ॥ असत्यत्वकृतं तत् स्याद् अचेतनगतं तु यत्। अयोग्यत्वकृतं प्रोक्तं नीचतिर्यङ्नगाश्रयम् ॥

Kumārasvāmin does not refute Vidyādhara, and Rajacūdā- maņi dīksita fully agrees with Vidyadhara. After reproducing the Ekavali, Rajacüdāmaņi says that if the Kāvyaprakāsa is not wrong in illustrating Bhayanaka Rasa with the verse

150 THE NUMBER OF RASAS

aTHgIUTI etc. describing Fear in a deer, it is Rasa in birds and animals, and not Rasābhāsa.

अत एव काव्यप्रकाशिकायां 'श्रीवाभक्काभिरामं मुहुरनुपतति स्यन्दने बद्धदृष्टिः-' इति क्लोकेन भयानकरसः तियेग्विषयगततया

उदाहत इत्याहुः । Kavyadarpaņa, Ch. IV, pp. 211-2, Vāņīvilās Edn.

Possibly, S'ingabhūpāla would reply to Rājacūdāmaņi that the Rasa in question is only S'rngara, and Aucityaviveka was spoken of only regarding this Rasa and its Abhasa. But would he arcept that other Rasas in birds and beasts are not Abhasa and should a distinction be made among the Rasas ? Haripala's contribution to this controversy is the creation of a Sambhoga Rasa for rustics, aborigines, birds, beasts etc. Of Hasya Rasa, Bharata has given six varieties, ranging from smile to roar, according to the nature of men who are gentle, boisterous and so on. Kavikarņapūra diminished this number to three. (A. Kau., p. 143.) Bharata himself speaks of a broad three-fold classification of laughter accor- ding as men are Uttama, Madhyama or Adhama, refined, moderately refined or unrefined. (N. S'. Ch., VI, pp. 315-7; Gaek. Edn. I.) Further, Bharata has recognised that Laughter has two varieties, Laughing with and Laughing at, Svagata and Paragata or Atmastha and Parastha. (N. S'., Ch. VI, p. 314.) Of these, I have spoken elsewhere. Karuņa varies according as its cause is curse, death and so on (pp. 310 and 332). On p. 332, Karuna is considered to be of three kinds, Karuna born of peril to Dharma, Karuņa due to peril to Artha and Karuņa born of S'oka in general, i.e., Soka at the loss of relations and the like. The Uttamas

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are chiefly sorry on issues of Dharma; the Madhyamas, on loss of wealth and other possessions (Artha), and perhaps, only Adhamas are supposed to sorrow too much over the loss of those whom they love (Kama). This however does not rule out Karuna on the loss of the beloved in an Uttamaprakrti. It appears that only the third variety is S'oka and Karuņa proper, and that the first two varieties of S'oka in Dharma and Artha, seem to be only Vyabhicarins. Three kinds of Bhayanaka are given, Vyajat (feigned), Aparadhāt (at having done a mistake) and Vitrasitaka, born of being timid by nature. The varieties of Bibhatsa,-Ksobhapa and Udvegin, or Kşobhana, Udvegin and Suddha-have been spoken of while considering the possibility of a kind of Jugupsa being the Sthayin of the S'anta. (See above.) Adbhuta is Divya and Anandaja, wonder born of heavenly miracles and that produced by the joy one has when things are achicved. Such classifications of Rasas do not have any scientific basis or method in them. Of the varieties of Rasas, the varieties of Vira have attracted greatest notice, because an early school of opponents of the S'anta explained away S'anta as provided for by one of the varieties of the Vira mentioned by Bharata. Bharata men- tions three kinds of heroism : munificence, Danavira, as in Karņa; sticking to right at all costs, Dharmavira, as in Yudhisthira ; and martial heroism, Yuddhavīra.

दानवीर धर्मवीरं युद्धवीरं तथैव च। रसं वीरमपि प्राह ब्रह्मा त्रिविघमेव हि ॥। N. S., VI, 99,1

1 Cf. Bharata's description of Utsaha : तस्य (उत्साहस्य) स्थैर्य घैर्य त्याग वैशारय्यादिभिरतुभावैरभिनयः प्रयोकव्यः। N. S., VII, p. 354.

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Here again, the first two Viras do not seem to be Rasas, they can only be Bhavas. If they are developed as main themes, they will become Angas of S'anta; or, they will form the Gunas of the Nayaka, as Audarya and Dharmikatva, A Dayavira was then proposed and this Dayavira sought to throw out S'anta for some time. Jagannatha Pandita has pointed out other varieties of Vira and the Mahabharata gives a long list of Viras. All this has been set forth already in the section on S'anta Rasa. (Sce above.) Bhanudatta has taken trouble in his Rasatarangini (Ch. II) to prove that Dayavira cannot be included in Karuņa Rasa; there is a confusion here between Karuņa and Karuna. The Anuyogadvarasutra cited previously breaks the usual order in enumerating the Rasas and instead of opening with S'rngara, opens with Vira. The gloss says here that Vira is mentioned first, because it is the noblest and foremost of Rasas, and the Vira meant here is that associated with Dana and Tapas. Towards the end of this section, the text and the commentary divide the Rasas into two classes, those vitiated by what are called Sutra-dosas such as Falsehood and Injury to others, and those which do not involve these sins. Here Yuddhavira is considered vitiated by the sin or flaw of Injury to another, Paropaghata. Similarly Adbhuta involves exag- geration which is a species of Falsehood. But such Vira as Tapovira and Danavira is, like the Prasanta Rasa, free from such Sūtradoşas.

"अत्र तु त्यागतपोगुणो वीररसे वर्तते। त्यागतपसी च 'त्यागो शुणो गुणशतादधिको मतो मे', 'परं लोकातिगं धाम लपः श्रुतमिति टूयम्' इत्यादिवचनात् समस्तगुणमधान इत्यनया विवक्षया वीररसस्य आदावुपन्यास:।"

THE NUMUER OF RASAS 153

तथा कश्िदस: उपघातलक्षणेन सूत्रदोषेण निर्वत्यते, यथा-

'स एव प्राणिति प्राणी प्रीतेन कुपितेन च। वित्तैर्विपक्षरक्तैश् मीणिता येन मार्म(ग)णा: ।।'

इत्यादिप्रकारं सूत्रं परोपघातलक्षणदोपदुष्टम्, वीररसश्चायम्। ततोऽनेन उपघातलक्षणेन सूत्रदोषेण वीरसोडत्र निवेत्त:। ... तपोदानविषयस्य वीररसस्य प्रशान्तादिरसानां क्वचिदनृतादिदोपान्तरेणापि निष्पत्तेरिति।

In VI, 97, Bharata says that Srngara is of three forms, caused by speech (Vak), dress (Nepathya), and physical action (Kriya), and Hasya and Raudra also have these three forms. But why should he restrict these three forms to Srngāra, Hasya and Raudra only? These three, specch, dress and action, form the three Abhinayas, Vacika, Ahārya and Āngika. The Sattvika comes under the last. All Rasas are roused by these three Abhinayas. So Matrgupta says :

रसास्तु त्रिविधा वाचिक-नेपथ्य-स्वभावजाः । रसानुरूपैरालापैः श्ोकैर्वाक्यैः पदैस्तथा । नानालंकारसंयुक्तः वाचिको रस इप्यते।। कर्मरूपवयोजातिदेशकालानुवर्तिभिः । माल्यभूषणवस्राद्यै: नेपथ्यरस इप्यते।। रूपयौवनलावण्यस्थैर्यधैर्यादिभिर्गुणैः । रस: स्वाभाविको ज्ञेयः स व् नाटचे प्रशस्यते॥ Quoted by Raghavabhatta in his Sak. Vya.

In another connection, i.e., while describing the Sama- vakara type of drama, Bharata speaks of three other kinds of S'rngara, -- Dharma Sy., Artha Sr. and Kama Sr. 20

154 THE NUMBER OF RASAS

त्रिविधाकृतिशृङ्गारः ज्ञेयो धर्मार्थकामकृतः । N. S., XX. Kasi Edn. S'ls. 76-79; See also the Nātyadarpaņa, p. 125. Bhoja postulates a S'rngära for each Purușārtha and relates the resulting four S'rngaras with the four types of heroes, Dhirodatta, Dhiroddhata, Dhiralalita and Dhirsanta. OF this, I have spoken fully in the chapter on Rasa in my Ph.D. thesis on Bhoja's S'rngāraprakāsa.

VIII

ARE ALL RASAS PLEASURABLE OR ARE THERE SOME WHICH ARE PAINFUL?

THIs is a very important question into which it is not possible to go completely in this book. It relates to the very theory of the concept of Rasa which is, strictly speaking, out of the scope of this book. While dealing with Haripala's new and separate Rasa of Vipralambha, it was pointed out that the Rasakalikā of Rudrabhatta also considered Vipralambha as standing in the way of accepting Rati as a purely pleasurable state and that as a matter of fact, Rasa was both, some Rasas being pleasurable and some painful.

करुणामयानामप्युपादेयत्वं सामाजिकानाम्, रसस्य सुखदुःखा- त्मकतया तदुभयलक्षणत्वेन उपपद्यते। अत एव तदुभयजनकत्वम्। Rasakalikā, Mad. MS., pp. 51-52.

This question takes us straight into the greater one, why do we see and how do we enjoy a tragedy ? What is the relish in Karuna ? This problem, which is still to be solved even in Western literary criticism, cannot be undertaken for discussion here. True, Bhoja also says

रसा हि सुखदुःखावस्थारूपाः । Vol. II, Mad. MS., Sr. Pra., p. 369.

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but he evidently means here the Laukika bhävas to which the term Rasa is applied by extension. The Natyadarpana also says in S. 109 (p. 158) सुखदुःखात्मको रसः and proceeds to elaborately prove in the Vrtti that some Rasas are certainly painful and that our seeing them and enjoying them is really due to the excellence of the art of either the dramatist or of the art of the actors (p. 159). The majority of the writers do not accept this view at all which misses the distinction between Laukika bhava and the Rasa. All the Rasas are considered, uniformly and to an equal extent pleasurable. But it is noteworthy that a writer like Madhusūdana sarasvatī should hold the view that among Rasas, there is a difference of bliss. He first adopts the Samkhyan scheme of three gunas, Sattva, Rajas and Tamnas : Only Sattva can make a Sthayin and Rasa. In Krodha, which is Rajasa and S'oka, which is Tamasa, only a shred of Sattva exists, only so much as to make them Sthayins and give them the bliss- fulness of Rasa, but this blissfulness or enjoyability is naturally meagre in Krodha and Soka. Therefore all Rasas cannot be relished in the same measure. He says in his Bhaktirasāyana :

.- द्रवीभावस्य सत्त्ववर्मत्वात्, तं विना च स्थायिभावासंभवात्, सत्त्वगुणस्य च सुखरूपत्वात्, सर्वेषां भावानां सुखमयत्वेऽपि रजस्तमोंS- शमिश्रणात् तारतम्यमवगन्तव्यम्। अतो न सर्वेषु रसेषु तुल्य- सुखानुभव: ।" p. 22. "कोधशोकभयादीनां साक्षात्सुखविरोधिनाम्। रसत्वमभ्युपगतं तथानुभवमात्रतः ।।" II, 79

After saying this on the basis of the Samkhya, Madhu- sūdana sarasvatī discusses the question from the Vedantic

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standpoint also. All bliss is of the form of Brahmananda, for bliss is the form of the Brahman. This however does not militate against mundane things also being blissful, for it is said in the Upanisad: एतस्येव आनन्दस्य अन्य आनन्दा मात्रा- मुपजीवन्ति Though literary enjoyment is superior to mundane enjoyment, it is still not on a par with Brahmasvada. (I, 10-14.) Compared to Brahmāsvāda, Kāvyarasāsvāda is Laukika. A similar view is propounded by S'āradatanaya also. See Bhāvaprakāsa, Intro. pp. 39-40: pp. 52-3 G. O. S. Edn. But among literary Rasas also, the S'anta and Bhakti are on a par with Brahmasvada, for there it is the Paramatman and Bhagavan themselves that are involved in them as Sthayin and Alambana. The Advaitic approach is seen in full in Ch. III, where Madhusūdana sarasvatī discards his previ- ous Samkhyan conclusion that Rasa is varying in degree in its bliss and says expressly that though, in the world, the Bhavas are of the forms of Sukha, Duhkha and Moha, their counter- parts in the Kävya and in the hearts of the spectator, are all of the form of bliss only.

बोध्यनिष्ठा यथास्वं ते सुखदुःखादिहेतवः । बोद्धृनिष्ठास्तु सरवेडपि सुखमात्रैकहैतवः । 5.

Sattva begins to spread and dominate as the sole Vrtti of the Antahkarana and Rasa is then manifested.

समूहालम्बनात्मैका जायते सातत्विकी मति:॥ सानन्तरक्षणेडवश्यं व्यनक्ति सुखमुत्तमम् ।1II, 12-13.

IX

NEW VYABHICARINS AND SATTVIKAS

WE have seen how freely later writers debated the question of adding newer Rasas to those that Bharata gave. But did not writers feel also that there was no finality about Bharata's list of Vyabhicarins and Sattvikas and their number, thirty- three and eight ? Bharata gave the Bhavas in three sets as Sthāyins, Vyabhicarins and Sattvikas. We have already examined and found that all the eight Sthayins become Vyabhicarins also. Therefore these eight, the Sthayins, must be added to the thirty-three Vyabhicarins. But when this addition is made, we have to reduce the thirty-three by removing a few which are redundant. Thus when S'oka becomes a Vyabhicarin, there is no need for Visada; Bhaya in its Vyabhicarin-grade eliminates Trasa; Sagaranandin actually gives Träsa as the Sthayin1. Krodha removes Amarsa. This gives us eight and thirty Vyabhicarins. Further reduction is possible. Among the thirty, we have two Bhavas, Glani and S'rama, one of which will suffice. Not only do they look akin at first sight but prove to be identical also when their descriptions are uxamined. Another case of repetition is Nidra and Supta; the second is very delicately distinguished from the first.

line 243. ' Nāțakalakșaņaratnakosa, edn. Myles Dillon, London, 1937,

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Bharata describes the latter as Nidrabhibhava and Nidra- samuttha. If two are thus removed, we have cight and twenty-eight. Some writers did see the redundance at least in the case of Nidra and Supta and, instead of Supta, gave a new Vyabhicarin called S'auca, as for instance, those whom Sagaranandin, author of the Natakalaksanaratnakosa (pp. 83-87) follows. Why did Bharata classify the Bhavas into Vyabhicarins and Sattvikas? Among Bhavas, there are only two classes, Sthayins and Vyabhicarins. The Anubhavas, the twenty Alamkaras of damsels, Bhava, Hava etc.,' the eight Sattvikas, Alapa etc., given as modes of Vacikabhinaya, the ten Kāma Avasthasall these are comprehended in the term Vyabhi- carin. Bhoja calls the Sattvikas, Bahya vyabhicārins : तत्र आभ्यन्तरा व्यभिचारिषु चिन्तौतसुक्यावेगवितर्कादयः, वाह्याः स्वेदरोमा्चाश्रुवैवर्ण्यादयः । S'ị. Pra., Ch. xi. But out of these numberless subsidiary mental states, there are a few which are more major, compared to others; not only are they major, but they are more definitely mental states than others which are physical manifestations. It may * Rähula added to this set Maugdhya, Mada, Bhavikatva and Paritapana according to Abhinava. See J. O. R. Vol. V1, pp. 208- 210, my article on Writers quoted in the Abhinavahharati'. See also Hemacandra, K.A., p. 316, where Abhinava's sentence referring to Rahula's additions is reproduced. See also Padmas'ri's Nagarasarvasva following Rahula's school, Ch. vii, S1s. 3-4, where Viksepa, Mada, Maugdhya and Tapana are given in addition. (p. 29, Tanusukharam Sarma's edn., Bombay, 1921). While defin mng Viksepa, Padmas'ri quotes a writer named Kapila. Bhoja added Vihrta, Kridita and Keli which Singa criticised. Visvanatha accepts Rahula's and Bhoja's additions and has, in addition, three more, Kutuhala, Hasita and Cakita, (J. O. R. VI, pp. 209-210.) Bhanudatta shows in his R. T. how the ten Madanavasthas are included in the Vyabhicarins. (Ch. 5, p. 109, Edn. Venkatesvara Steam Press, with Hindi Com.)

160 THE NUMBER OF RASAS

be asked if the more major among these accessory mental states are only those given by Bharata and if there are not others. It has been pointed out that this list of Bharata can be reduced on one side; and as a matter of fact, it has been added to also on the other side. Bhoja, in his S'r. Pra., omits Apasmara and Marana and gives in their place, Irsya (which S'ingabhupala refutes) and S'ama which is needed for the S'anta Rasa (Ch. xi). In his S.K.A., Bhoja counts among his thirty-three Vyabhicarins Sneha which Singabhūpala refutes and, instead of adding S'ama as in his S'r. Pra., takes Dhrti itself, one of the old Vyabhicarins given by Bharata, as the Sthayin of Santa. S'ingabhupala raises the point that there can be more Vyabhicarins, mentions some-Udvega, Sneha, Dambba, Irsyā-but dismisses these as included in some of the thirty-three, with reasons which look strained. Bhanudatta proposes Chala :

"अत्र प्रतिभाति च्छलमधिको व्यभिचारिभाव इति ।" (Ch. 5.)

and shows its occurrence in S'rngara, Raudra and Hasya. But it seems to be possible to include it in Bharata's Avahittha. (Vide its description, p. 373, GOS. edn. N.S'. I). Rūpa Gosvämin, in his scheme of Madhura Rasa, accepts at first the traditional thirty-three Vyabhicarins and adds afterwards thirteen more Vyabhicarins generally, as also a few more specially under some individual Rasas (Vide Dr. S.K. De, IHQ, 1932, p. 663). Dr. De adds that the thirteen additional Vyabhicärins are brought by Rüpa under one or the other of the old thirty-three. Bharata himself discusses the question of the separate naming and enumeration of the eight Sattvikas. He says: as a matter of fact all Bhavas enacted have to be 'entered into'; Sattva is 'entering into'; but still this 'entering into

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the state' is all the more necessary in the case of the eight Sattvikas. For, a tear has actually to be shed. See pp. 379- 381, GOS. edn. N. S. I. Bhoja says that in truth all Bhavas are Sattvikas, because Sattva means ' Mind'.

सात्त्विका अपि सर्व एव, मनःप्रभवत्वात्। अनुपहतं हि मनः सत्वमित्युच्यते। Sr. Pra., Vol. II, p. 354, Mad. MS. S'ingabhupala also says:

सर्वेडपि सत्त्वमूलत्वाद् भावा यद्यपि सात्त्विकाः । तथाप्यमीपां सत्त्वैकमूलत्वात् सात्त्विकप्रथा । R. A. S., I. 310.

The only writer, now known, to propose a ninth Sättvika, is Bhanudatta. He proposes Jrmbha in his Rasatarangiņī :

जम्भा च नवमः सातत्विको भाव इति प्रतिभाति । p.66.

Bhanudatta would not base himself on the meaning ' d namaa for the word Sattva and justify the separate enumeration of the Sattvikas. For Sattva so understood would apply to the Vyabhicarins also. So, he interprets Sattva as the 'body'- Jīvasarīra. Tear, Perspiration etc. are physical states and as such are distinct from the Vyabhicarins which are mental states. The former are Bahya, the latter Antara.' (Rasatarangiņi,

' Bharata uses Sattva as meaning also the opposite of mind viz., the physical body, and calls Bhava, Hava etc. by the name 'Sattvikabhinaya'. Sce Ch. XXIV, 5-7 and 40. देहात्मकं भवेत्सत्वं सत्याद्धावः समुत्थितः। and सत्वजोऽभिनयः पूर्व मया प्रोक्तो द्विजोत्तमा: । Abhinava also says "apurre arsosan:", Abh. Bha., Ch. 7, p. 343, GOS. edn. I. 21

162 THE NUMBER OF RASAS

pp. 57-58 and 7-9). To accord with this, Bhanudatta defines a Bhava not as a Cittavrtti, but as a 'Rasānukūla vikära', which is of two kinds, Abhyantara (Sthayin and Vyabhicarin) and Bāhya (Sāttvika etc.). But to exclude too palpably physical acts, he gives them a different name Cesta which, he says, is different from Vikara. The difference between the two is that while a Vikara like a tear cannot be made to appear according to man's desire, a Cestā like Angakrsti and Aksimardana is done by man of his own will.

"न चाङ्गाकृष्टिनेत्रमर्दनादीनामपि भावत्वापतिः । तेषां भाव- लक्षणाभावात्। रसानुकूलो विकारो भाव इति हि तल्लक्षणम्। अङ्गा- कृष्टयादयो हि न विकाराः । किन्तु शरीरचेष्टाः । प्रत्यक्षसिद्धमेतत्। अज्ञाकृष्टिरक्षिमर्दनं च पुरुपैरिच्छया विधीयते परित्यज्यते च। जुम्भा च विकारादेव भवति, तन्निवृत्तौ निवर्तते चेति।" Rasatarańgiņī, p. 69.

X

RASA-SYNTHESIS

KARUNA

THE artistic mind has always shown a partiality for pathos. It is said that the sweetest songs are often songs of sorrow. The first Kavya in Sanskrit rose out of the sense of pity. 'रसेषु करुणो रसः' is a well-known anonymous saying. Ānanda- vardhana says that the quality of swcetness which is the melting of the heart is found in the highest degree in Karuņa.

माधुर्यमार्द्रतां याति यतस्तत्राघिकं मनः । Dhva. A., II.

But to point out the beauty and appeal of a Rasa is not to do any synthesis. By Rasa-synthesis is meant a reducing of all Rasas to the nature of one, a formulation of one as Prakrti and the rest as its Vikrtis. No Ālamkārika ever attempted a Karuņa-synthesis, but Bhavabhūti, in his drama, Uttararämacarita, suggested such a synthesis in Karuna. Anandavardhana explains that the Rāmāyaņa is an epic of Karuņa :

रामायणे हि करुणो रसः स्वयमादिकविना सून्नितः 'शोकः क्लोकत्वमागतः' इत्येवंवादिना । निर्व्यूदश्च स एव सीतात्यन्तवियोग- पर्यन्तमेव स्वप्रबन्धमुपरचयता । Dhva. A., IV, p. 237.

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Bhavabhuti gave the same opinion when he said :

भगवान् भूतार्थवादी प्राचेतसः पावनं वचनामृत करुणाद्भुतरसं च किश्चिदुपनिबद्धम् etc. Act. VII.

Writing a masterpicce dominated by Karuna, Bhava- bhuti, in a self-conscious mood, says through S'lesa :

अहो संविधानकम्-

एको रसः करुण एव निमित्तभेदाद् भिन्नः पृथक्पृथगिब श्रयते विवर्तान्। आवर्तबुद्ददतरङ्मयान् विकारान् अम्भो यथा सलिलमेव हि तत्समस्तम् ।1 U. R. C., III, 47.

"Ot what a great play I have written !" he seems to exclaim to himself. By context, the passage refers to Tamasã observing the pathos that was there in everybody, though in different forms.

"एक एव सन्नपि निमित्तमेदात् सखित्वपतित्वपत्रीत्वाद्युपाधि- भेदाद् भिन्न: विलक्षण इव पृथकपृथग विवर्तान् श्रयते। वासन्तीसीताराम- प्रभृतिषु परस्परविलक्षणावस्थाविशेषान् भजति ।" Vīraraghava's com., p. 99, N. S. Edn.

A general import bearing on our present subject of Rasa- synthesis can also be seen in this verse. Bhavabhuti seems to say that there is only one Rasa, Karuna, and that it assumes the different forms called Srngära etc., even as the same water assumes the forms of whirl, bubble etc. Karuna is the Prakrti; the other Rasas are its Vikrtis. Vīraräghava, a commentator, also saw such a meaning in this verse which. shows that the interpretation is authenticated by tradition.

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"एक इति। रस्यते स्वाद्यत इति रसः काव्यानुशीलनाभ्यासवश-

रानन्दसंविद्रुपः । करुण इष्टजनवियोगजन्यदुःखातिशयः । एक एव सन्नपि निमित्तभेदात् व्यञ्जकविभावादिविच्छित्तिविशेपाद् भिन्नः विलक्षणः । पृथक् पृथग् विवर्तान् परस्परविलक्षणशृङ्गाराद्यात्मना परिणामान्। "व्यस्त- परिणामः स्याद्विवर्तः" इति कपिलः। श्रयते भजते इदमत्र कवेर्मतम्-यद्यपि शृङ्गार एक एव रस इति शृङ्गारप्रकाशकारादि- मतम्, तथापि प्राचुर्याद् रागिविरागिसाधारण्यात् करुण एक एव रसः। अन्ये तु तद्विकृतयः इति ।" Vĩrarāghava's Com., p. 99.

To the Karua-synthesis suggested by Bhāvabhūti, this commentator added two arguments, one that Karuna is prescnt to the largest extent in life, and the other, that it is found not only in men with mundane desires but in the Yogins also. These however do not make for the Prakrti-Vikrti-bhava in Bhavabhuti's verse, and that alone forms the meaning of 'Synthesis'. In English, the word ' Sympathy ' meaning 'response to another's feeling of sorrow', has come to be used in an enlarged sense to mean all forms of aesthetic response and attunement of heart, Cittasamväda ; and here is a linguistic argument in :favour of a Karuna-synthesis. For it seems, the model and the supreme example of a complete attunement of heart, which poetry and drama effects, is certainly the attunement of hearts in Karuna.

SANTA

A regular attempt at synthesis in the field of Rasas by a theorist is however to be seen enrliest only in the Abhinava. bharatī of Abhinavagupta. He sponsored the Santa-synthesis

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by considering the Santa as the one fundamental Rasa of which the other Rasas are modifications. He called S'anta the greatest Rasa, first because of its relation to the last and the greatest Purusartha, Moksa. Next, poetic delight called Rasa is always of a non-worldly, Alaukika, character, shorn as it is of all mundane associations, a limitless, unbounded and ineffable bliss, and hence is of the form of S'anta.

सर्वरसानां शान्तप्राय एवास्वादः, विषयेभ्यो विपरि- वृत्त्या-।" Abhi. Bhā., VI, p. 340, Gaek. Edn.

Further, the Sthayin of S'anta, the Atman, is the very substratum of all mental activities; it is the onc basic Citta illumined by this Atman that takes the form of the Vrttis of S'ingara etc. Thus it is Sthayitama; it is the Sthayin of the Sthayins, the Prakrti of which Rati, Hasa and the rest are Vikrtis. Says Abhinava-

अत्र सर्वेपकृतित्वाभिधानाय पूर्वेमभिधानम्। Gaek. Edn., I, p. 340.

And according to some mss. known to Abhinava, the S'anta Rasa section is found at the very beginning, even before the S'rgāra section.

"तथा च चिरन्तनपुस्तकेषु 'स्थायिभावान् रसत्वमुपनेष्यामः' इत्यनन्तरम् 'शान्तो नाम शमस्थायिभावात्मकः' इत्यादि लक्षणं पठ्यते।" Gaek. Edn., I, p. 340.

The S'anta text found in Bharata, according to some, definitely states this S'anta-synthesis in two verses:

भावा विकारा रत्याद्याः शान्तस्तु प्रकृतिमेतः । विकार: प्रकृतेर्जातः पुनस्तत्रैव लीयते।।

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स्वं स्वं निमित्तमासाद शान्ताद्भावः प्रवर्तते। पुनर्निमित्तापाये च शान्त एवोपलीयते।। N. S'., VI, pp. 335-6, Gaek, Edn. I.

This has already been indicated in the S'anta Rasa section of this paper,

AHANKARA-S'RNGĀRA

When Abhinava was synthesising the Rasas in Santa, a similar synthetic spirit was working in Bhoja who merged every Rasa and Bhava in a new S'rngara he formulated. He said that at the root of all Bhavas lay the germ of Ahankara otherwise called S'rngara and Abhimana. It is a Guna of the Ätman and is the result of past good acts. By Ahankara is meant a self-consciousness or the sense of 'I' which marks off the cultured from the uncultured. It is that by which not only for himself but for others and other objects also does man have any love. In this sense it is called Atma-rati. It is this 'Ego' or 'Self-love' that is the one Rasa. Its manifestations are Rati, Hasa etc. Thus this basic S'rngara is different from the first derivative of that name, the S'rgara developed from Rati. So this S'rngara-synthesis is not a synthesis in the first of the eight old Rasas of Bharata and others. This theory finds a brief statement in the fifth chapter of Bhoja's S. K. A. and an elaborate exposition in his S'r. Pra. I have set this forth at great length in my Ph. D. thesis on Bhoja's S'r. Pra., and here I give only a brief account. The S. K. A. says: रसोडभिमानोऽहङ्कार: श्रृङ्गार इति गीयते। योऽर्थस्तम्यान्वयात् काव्यं कमनीयत्वमश्नुते।।

168 THE NUMBER OF RASAS

विशिष्टादृष्टजन्मायं जन्मिनामन्तरात्मसु। आत्मसम्यग्गुणोद्भूतेरेको हेतुः प्रकाशते॥ Ch. V, S'ls. 1-2, p. 474, N. S. Edn.

(See also Vrtti on p. 613 where Bhoja quotes Dandin and draws out his own theory from Dandin's verse). The S'r. Pra. says :

आत्मस्थितं गुणविशेषमहंक्कतस्य शृङ्गारमाहुरिह जीवितमात्मयोनेः । तस्यात्मशक्तिरसनीयतया रसत्वं युक्तस्य येन रसिकोडयमिति प्रवाद: ॥

अप्रातिकूलिकतया मनसो मुदादे: यस्संविदोऽनुभवहेतुरिहाभिमानः। ज्ञेयो रसस्स रसनीयतया आत्मरक्त:

While Abhinava in his S'anta-synthesis took his stand on that ultimate ripple-less state of the Atman, Bhoja, adopting the Samkhya and a Nyaya phraseology, took his stand on the Atman with its first shoot of Ahankāra. To Bhoja, even Santa would appear only within the world of Ahankāra; for to him, any Bhava or Rasa can be experienced only through Ahankara. S'ama as much as Rati is the product of Ahańkāra.

तच्ब् आत्मनोऽहद्कारगुणविशेषं ब्रुमः । स श्रृङ्गारः सोडभिमान: स रसः । तत एते रत्यादयो जायन्ते। तैश्चारयं प्रकर्षप्रासैः सप्ताचिरचिश्येरिव प्रकाशमानः श्रृङ्गारिणामेव स्वदत इति ।" S. Pra., Mad. MS., Vol. II, p. 356.

What is called Rasa is an experience of bliss uncondi- tioned by any name. So long as there is the knowledge of the state being Rati or Häsa or anything else, the spectator

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is only in the state of Bhavana and Bhava; beyond this is the state of Rasa. Says Bhoja :

आभावनोदयमनन्यधिया जनेन यो भाव्यते मनसि भावनया स भावः । यो भावनापथमतीत्य विवर्तमानः साहकृतौ हृदि परं स्वदते रसोडसौ।।

Thus Srngara, Hasya, Vira-these are but Bhava-states in reality. The truth of Rasa is that it is only one and has no more name than Rasa.

PREMAN

Side by side with or rather within this Ahankārn-S'rngāra synthesis, Bhoja formulates a synthesis in Preman also. Preman to him is a fundamental love lying at the root of Rati, Sneha, Bhakti, why, at the root of all Bhavas in much the same manner as Ahankara itself. If one laughs, it is because he loves to laugh; if he fights, he loves to do so. Thus all activities go to fulfil a certain love which is innate in man and which explains all his activities; it is this love which makes all his activities a self-fulfilment. Bhoja has three stages of his Rasa,-the Pürva koti, the Madhyomu avastha and the Uttara koti. In the first, it is the one Abankāra; in the second, the one Ahankara has become the forty-nine Bhavas, each growing to its relative climax throngh its Vibhavas, Anubhavas etc .; in the third all these several Bhävas become aspects of Preman, or rather ripen into Pre- man, from which stage ngain, experience passes into the primary stage of the one Rasa of Ahankara. 22

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"प्रेयः प्रियतराख्यानमित्यनेन समस्तभावमूर्धाभिषिक्ताया रतेः परप्रकर्षाधिगमाद् भावनाधि(तिः) गमे भावरूपतामुल्ङ्ध्य प्रेमरूपेण परिण- तायाः उपादानात् आवान्तराणामपि परप्रकर्षाघिगमे रसरूपेण परिण- तिरिति ज्ञापयन्नहक्कारस्य उत्तरां कोटिमुपलक्षयति। सर्वेषामपि हि रत्यादि प्रकर्पाणां रतिपियो रणप्रियः परिहासप्रियः अमर्षप्रिय इति प्रेम्ण्येव पर्यवसानं भवति।" S. K. Ā., p. 613.

In the St. Pra. he adds: सं त्विह प्रेमाणमेवामनन्ति | Ch. xi, Vol. II, Mad. MS., pp. 352-3. This Preman-synthesis finds an advocate in Kavikarņa- pura, the author of the Alamkarakaustubha where he says :

. प्रेमरसे सर्वे रसा अन्तर्भवन्तीत्यत्र महीयानेव प्रपञ्चः । ग्रन्थगौरवभयाद् दिङ्मात्रमुक्तम्। तथा च-

'उन्मज्जन्ति निमज्जन्ति प्रेम्ण्यखण्डरसत्वतः । सर्वे रसाश्च भावाश्च तरङ्ा इव वारिधौ ।।' pp. 147-8, Vārendra Edn.

RATI-S'RNGĀRA

The Agnipurana took Bhoja's Ahankara, but instead of saying that Rati and all other Bhavas emanated from it, said that Rati was the first born of Abhimana which was itself a prodnct of Ahankara and this Rati modified itself into Hāsa etc. It further went behind Ahankara and said that Ahankara is the first manifestation of Rasa or Camatkara which is the manifestation of the Ananda, the innate nature of the Supreme Being called Para Brahman.

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अक्षरं परमँ ब्रह्म सनातनमजं विभु। वेदान्तेषु वदन्त्येकं चैतन्यं ज्योतिरीश्वरम् ॥। आनन्दस्सहजस्तस्य व्यज्यते स कदाचन। व्यक्तिस्सा तस्य चैतन्यचमत्काररसाहया।। आद्यस्तस्य विकारो यः सोऽहक्कार इति स्मृतः । ततोडभिमान: तत्रेदं समासं भुवनत्रयम् ॥ अभिमानाद्रतिस्सा च परिपोषमुपेयुषी। व्यभिचार्यादिसामान्याल् शृङ्गार इति गीयते।। तद्देदाः काममितरे हास्याद्या अप्यनेकशः। स्वस्वस्थायिविशेषोडथ (पोत्थ) परिघो(पो)पस्वलक्षणाः। A. P., Ch. 339, S'ls. 1-6.

ADBHUTA

Wonder is an invariable element in all enjoyment, mundane or artistic. In art and literature, the element of surprise, extraordinariness, wonder, is present everywhere. The very theme has to be striking; for, when we see an extraordinary situation, do we not describe it as being dramatic ? Wonder helps love. Hasya is only reversed wonder. The part Adbhuta has in Vira is too plain ; Bharata describes Adbhuta as born of Vira. The hold of Adbhuta on the minds of the audience is fully realised by Bharata who says that the dramatist must so work out his story, so weave it, hide some and reveal some, that the audience may get at each step a surprise and a thrill. One of the ends which the means to developing the plot called the Sandhyangas serve is the presen- tation of the story in a wondrous manner-'आश्चर्यवदभिख्यानम्' N. S., XXI, Kasi cdn., S'l. 54. There is again the nced to

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intricately complicate the problems of the story and give out a series of revelations in the end, thus carrying away the heart in the end with thrill after thrill. This can be realised, for instance, when the closing scene of the Mrcchakatika or the Malavikagnimitra is read. The story has to be, says Bharata, in the form of a cow's tail, bushy at the end, with a crowd of suprises. There must be Adbhuta in the end.

कार्ये गोपुच्छाग्ं कर्तेव्यं काव्यबन्घमासाद्य। ये चोदात्ता भावा: ते सर्वे पृष्ठतः कार्याः ॥ सर्वेषां काव्यानां नानारसभावयुक्तियुक्तानाम् । निर्वहणे कर्तव्यो नित्यं हि रसोऽद्भुतस्तजज्ञैः ॥ N. S., XX, 46-47.

Similarly, on the side of verbal expression, the Vacya- vācaka, or the Vācikabhinaya in drama, Bhāmaha and Dandin made a synthesis in Adbhuta when they praised Atisayokti as the one great figure of which the rest are but several forms.

इत्येवमादिरुदिता गुणातिशययोगतः । सवैंातिशयोक्तिस्तु तर्कयेत्तां यथागमम् ॥ सैषा सर्वैव वक्रोक्तिरनयार्थो विभाव्यते। यन्नोडस्यां कविना कार्य: कोडलक्कारोऽनया बिना।। Bhāmaha, K. A., II, 84-85.

असावतिशयोक्ति: स्याद् अलङ्कारोत्तमा यथा।

अलक्कारान्तराणामप्येकमाहुः परायणम् । वागीशमहितामुक्तिम् इमामतिशयाह्वयाम्।। Dandin, K. A., II, 214-220.

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This point has been explained at some length by Ãnanda and Abhinava in the Dhva. A. and the Locana, Ud. III, pp. 206-209. The very strikingness of poetic expression is Atisaya and Adbhuta:

लाकोत्तीर्णेन रूपेण अवस्थानम् लोकोत्तरेण चैवातिशयः । तेन अतिशयोक्ति: सर्वालङ्कारसामान्यम्।" Locana, p. 208.

This Adbhuta or clement of surprise characterises the climax-condition of all the Rasas. Adbhuta thus permeates a composition, its Alamkara, Vastu and Rasa. The regular theory of a synthesis of Rasas in Adbhuta was however made by an ancestor of the author of the Sahityadarpana. He was known as Narayana. In Ch. 3 of his S. D., Visvanatha gives this Adbhuta-synthesis in his Vrtti on verse three, in the name of bis ancestor, Narayana, and herein quotes a verse and a half to that effect from the writing of one Dharmadatta. This Dharmadatta is cited as reviewing Bhoja's Srngara-theory in the Rasasudhanidhi of Sonthi Mara Bhattāraka, available in a manuscript in the Madras Govt. Oriental MSS. Library (R. 3210). P. V. Kane says in his Introduction to the S. D. (p. cxxi) that this Dharmadatta was a contemporary of a subsequent Narayana who was Visvanatha's grandfather and was defeated by this Narayana in a debate in the Kalinga court. This Dharmadatta wrote an Alamkara treatise in which he stated the theory of

1 Under Adbhuta Rasa, Bhänudatta says in his Rasatarangin !-- 'अत्युक्ति त्रमोक्ति चित्रोकि विरोधाभासप्रमृतयोडद्ुता एव।' Undor Citrokti mentioned here, he brings all expressions thrning on Laksana. 'लक्षणिकमखिल चित्रोकिरेव।

174 THE NUMBER OF RASAS

Adbhuta-synthesis first propounded by the older Nārāyana. The text of this synthesis in the S. D. runs as follows:

चमत्कारश्चितविस्ताररूप: विस्मयापरपर्यायः । तत्प्राणत्वं च अस्म-

धर्मदत्तः स्वग्रन्थे-

'रसे सारश्चमत्कार: सर्वेत्राप्यनुभूयते। तच्चमत्कारसारत्वे सर्वेत्राष्यद्भुतो रसः ।। तस्मादद्भुतमेवाह कृती नारायणो रसम्।' इति । S. D., III.

It is accepted that Camatkāra is Rasāsvāda. This Camatkära is a 'fillip' of the mind which is in essence a wonder. The 'Lokottaratva' of all Rasasvada, accepted on all hands, again points to Adbhuta. Bhanudatta accepts that in S'rngara and other cases there is an element of Adbhuta as Anga; where it is Angin, the Rasa becomes Adbhuta proper.

शृङ्गारादौ चमत्कारदर्शनाद्यत्र मनोविक्र(स्तृः) तिरङ्गतया भासते तत्र भृङ्गारादय एव रसाः । प्राधान्येन यत्र भासते तत्राद्भुत एव रसः । Rasatarangiņi, Ch. I.

Prabhakara, author of the Rasapradīpa (p. 40, edn. Princess of Wales Sarasvati Bhavan Texts), refutes this Adbhuta-synthesis :

"-इति नारायणेन अद्भुत एव रस इत्यभिहितम्। धर्मदत्ता- दिभिश्च तदेवानुसृतम्। तन्न साधु। वैलक्षण्यस्य अनुभवसिद्धत्वात्। प्रकृतिमेदाच्। नापि व्यभिचारिषु स्थायिन इव रत्यादिषु विस्मयानुगमः । शोकादिषु तथाननुगमात् ।" etc.

THE NUMBER OF RASAS 175

Prabhakara goes at length and says in the end that he has refuted this theory of 'Adbhuta in all Rasas' in his earlier Alamkara work, the Alamkararahasya, also, w hich is not avail- able to us now. On the practical side, S'aktibhadra's Ascaryacūdāmaņi illustrates the dominating Rasa of Adbhuta, and this has been explained in detail by Professor Mm. S. Kuppuswami Sastri in his Introduction (pp. 12-15) to the Balamanorama edn. of this play. The now lost Krtyaravana also seems to be a play which specialised in Adbhuta. Towards the end of the 17th century, young Mahadeva wrote his Adbhutadarpapa, where his Rama is made to say :

यत्सत्यमभितः स्तब्धैः इन्द्रियैरिन्द्रजालवत। अद्भुतैकरसावृत्ति: अन्तर्मीलयतीव माम् ॥ Kāvyamālā. 55. IV, 8.

RASA ONLY ONE

It may be granted that an element of wonder enters many Rasas, but it is absent at least in Karuņa as Prabhakara effectively points out. Though Rasāsvada is Cittasamvāda and is called Camatkāra, the Cittasamvāda is not, in all cases, of the form of an 'enlargement', Vistara. There is Vikso- bha as in Bibhatsa, and there is Druti as in Srgara and Karuna. This Druti of Srngara and Karuna is totally absent in Raudra, Bibhatsa, Bhayanaka and Adbhuta, and in this way the Karuna-synthesis is defective. Abhinava's S'anta and Bhoja's Ahankara-Srngara, going to the very substratum of the emotions may be conceded some validity; so also the synthesis in Preman, Vira meaning Preman for Utsãha, and so on,

176 THE NUMBER OF RASAS

But though it might be difficult to prove and accept that all the Rasas are but forms of some one of them, it has been recognised by all writers that Rasa as such, the ineffable bliss, is one. Rasa is Rasa. It has no other name. It is one. It is like the Brahman or the Sphota. The names Srngara, Vira etc. and the conseqnent plurality and difference are ultimately unreai; or they are at best like parts of a whole. Hence it is that Bharata also, says Abhinava, uses the singular --

न हि रसाद ऋते कश्चिदर्थः प्रवर्तते। N. S'., V. pp. 273-4.

"-तत एव निर्विन्नस्वसंवेदनात्मकविश्रान्तिलक्षणेन रसना- परपर्यायेण व्यापारेण ग्रृह्यमाणत्वाद् रसशब्देनाभिधीयते। तेन रस एव नाट्यम्, सस्य व्युत्पत्ति: फलमित्युच्यते। तथा च 'रसाहते' (६-३३) इत्यत्र एकवचनोपपत्तिः। ततश्र मुख्यभूतान्महारसात् स्फोटदशीव असत्यानि वा, अन्वितामिधानद्शीव उभयात्मकानि सत्यानि वा, अभिहि- तान्वयहशीव तत्समुदायिरूपाणि वा, रसान्तराणि भागाभिनिवेशदष्टानि रूप्यन्ते (१) ।" GOS. Edn., Abhi. Bhã., I, p. 269.

Again, commenting on the Sutra न हि रसादत etc., Abhi- nava says that though names are given to it differently accord- ing to its evoking conditions, Rasa is fundamentally one. and hence it is that Bharata refers to it in the singular number,

पूर्वत्र बहुवचनमत्र चैकवचनं प्रयुञ्जनस्यायमाशयः। एक एव तावत्परमार्थतो रस: सूत्रस्थानत्वेन रूपके प्रतिभाति। तस्यैव पुनर्भागदशा विभाग: । Abhi. Bhā., I, p. 273,

THE NUMBER OF RASAS 177

Abhinava says that therefore Rasa and Natya mean the same thing.1 In experience also we find that our relish is one unde- fined state of the form of a repose of the mind, Visranti. Bhatta Narasimha, a later commentator on Bhoja's S. K. A., in his exposition of Bhoja's Rasa theory, points out that Rasa as relish, Svada, is one.

"अषावेव स्थायिन इति कुतः? तावतामेव स्वादात्मकत्वादिति चेत्, किमेतेप्वनुस्यूत एक: स्वादात्मा तर्ह्यनक्षरमिदमुक्तम्-पनेपां -कूटस्थ एक एव स्वादात्मा; एतें च तद्विंशेपा इति -- " "अत्रे (अतः) सर्वेपां कूटस्था(स्थ) एक एव स्वादात्मा।" Mad. MS., R. 2499, p. 150.

Kavikarņapūra Gosvāmin states the point more elabo- rately and clearly. He considers a certain blissful state of the mind, which is a quality (Guna) of the mind established in the Sattvaguna and completely devoid of any touch of either Rajas or Tamas, as the one eternal Sthayin and the one eternal Rasa. This Sthayin called Ananda or ' Āsvādankura- kanda' is separately and diversely named according to the different causal conditions, the Vibhavas. The difference between this writer and Abhinava and others is that he ex- pressly postulates a Sthäyin also for this one Rasa which they do not in so many words, though their position implies this one Sthayin also.

"आस्वादाङ्कुरकन्दोऽस्ति धर्मेः कश्न चेतसः । रजस्तमोभ्यां हीनस्य शुद्धसत्वतया सतः ॥

`Cf. his Locana, p. 149. प्रीत्यात्मा च रसः, तवेव नाव्यमू, etc. Cf. also Abhinava's borrower S'arngadeva: er ra goy: 1 VII, 17. Sam. Ratnākara, 23

178 THE NUMBER OF RASAS

स स्थायी कथ्यते विज्ञैः-विभावस्य पृथक्तया। पृथन्विघत्वं यात्येष सामाजिकतया सताम् ।" SI. 63.

सामाजिकतया सतां सामाजिकानाम एक एव कश्चिदास्वादाङकुर- कन्दो मनसः कोऽपि धर्मविशेष: स्थायी। स तु विभावस्य उक्तप्रकारद्वि- विधस्य भेदैरेव भिद्यते। Alari, Kau. V. Chap.

Commentar 'एक एवेति-ननु स्थायिभावरूपधर्मस्य एकत्वे कथमेकस्य स्थायिनः वीररसे उत्साहत्वम्, करुणरसे शोकत्वम्, अद्भुतरसे विस्मयत्वं भवति, परस्परविरुद्धानामेतेषाम् उत्साहत्वादीनाम् एकस्मिन् स्थायिरूपधर्मे वृत्तित्वाभावादित्याह-स खििति। स एकोऽपि धर्मः उक्तप्रकारद्विविधस्य विभावस्य भेदेरेव भिन्नो भवति इत्यर्थः । यथैक एव स्फटिक: जपाकुसुमादिनानापदार्थानां सङ्गात् कदाचिद्रक्त:, कनाचित् पीतः कदाचिच्छ्यामः, इत्यादिविविधाकारो भवति, तथा एक एव स्थायिरूपो धर्मः वीररसादिपोषकानां नानाविधविभावानां सङ्गात् कदाचिदुत्साहरूपः, कदाचिद्विस्मयरूपः, कदाचित् शोकरूपः इत्यादि- विविधाकारो भवतीति भावः ।"

In the same chapter, Kavikarnapūra Gosvāmin again states this in clearer language :

बहिरन्तःकरणयोर्व्यापारान्तररोधकम्। स्वकारणादिसंश्लेषि चमत्कारि सुखं रसः ।।

अयं तु उत्तमप्रकृतीनाम् अनुकार्याणाम् स्वतस्सिद्ध एव। काव्यादौ तु सामाजिकानामेव। तेषां सर्वरसाभिव्यक्तिशाली एक एव पूर्वोक्त: कश्न आस्वादकन्दः चेतोधर्मविशेषः स्थायी। तन्र युक्ति: दर्शयिष्यते-

THE NUMBER OF RASAS 179

रसस्य आनन्दधर्मेत्वात् एकध्यम्, भाव एव हि। उपाधिभेदान्नानात्वम्, रत्यादय उपाधयः ।

रत्यादयः स्थायिनः यथा नानाविधशरावसलिलतारतम्येऽपि तरणि- बिम्बप्रतिबिम्ब एक एव, तथा उपाधिगत एव भैद:, नानन्दगतो रसस्य । Com "आनन्द्धर्मेत्वात् चरमानन्दरूपत्वात् ऐकध्यमेकविधत्वम्। यथा सितोपलायाः पाकान्तरं नास्ति * * तथा रसस्यापि।"

INDEX

WORKS AND AUTHORS

SANSKRIT

PAGE PAGE AKALAŃKA 39 Alamkara kaustubha 107, Aksapāda (Gautama) 72 109, 121, 131, 132, 147, Agnipurana 170,171 170, 177, 178, 179 Adbhutadarbana 175 Alamhkararahasya 175 Adhyatma kalpadruma Alamkarasarvasva 50 (S'antarasabhāvana) 22 Avadhutarāma 35 Anantadeva 40 As'vaghosa 22, 33, 35 Anantanarayaņasuri 39 'Asvatara 11 Anantapandita 39 39 Anumitiparinaya 37 Astasatī Asuravijaya' ( Amırta Anuyogadvara sulra 23 mathana', ' Laksmitsva- 57, 58, 140, 141, 142, yamvara') 3 143, 152, 153 Antarvyakbyana natya ĀNANDARĀYA 36

parisista 40 Anandavardhana 15, 16, Abhinavagupta -- frequently 17, 27, 30, 35, 43, 45, Abhinava Carukirtipaņditā- 63, 6+, 163, 173 cārya 35 Apadeva 40 Abhinavabharati -- fre. Ascaryacudamani 175 quently Amarakosavyakhyas 6, 7 INDIRESA 35 'Amrtamathana' (Asura- Indudita 34 vijaya', Laksmrsva- Thamryi (Sarvavinoda) 10 yamvara *) 3 Amrtānanda 53 Ujjoalandamant 130

Amrtodaya 36 Uttararamacarita 121, Alaka 7 163, 164, 165

182 THE NUMBER OF RASAS

PAGE PAGE Uttarara macaritavya- khya 164,165 Krsnabhahti Candrikā nataka 40 Udbhata 13, 42, 61, 62, 35 107,108 Krsnamis'ra Krsnānandasarasvati 40 Upanişad 47,157 Krsnavadhuta 40 Upavedas 57 Kesava 7 Ubhayabhisarika 1 Kaivalyavallıpārinaya- Umāsvāti 23 vilasa 34

Ekaval 147, 148, 149 Kohala 8,12 Ksīrasvāmin 6 Aucityavicaracarca 45 Ksemendra 33,45

KAPILA (writer on æsthetics) 159 Gandharva Veda 57 ' Kambala ' 11 Gitagovinda 35 Karpuramanjarı 53 Gītavıtarāga (Bahubali- Kalitandavanātaka 37 svami aştapadz 35 Kalpadrukosa 7 Kallinātha 24, 77, 81,96 84 Gitāvyākhya 32,33 Kalhaņa 34 Kavikarņaptīra Gosvāmin Gunacandra 118 Gairvāņt vijaya 41 36, 107, 109, 121, 131, 36 147, 150, 170, 177, 178, 179 Gokulanatha (Bhatta) Gopala 74,86 Kama sutras 8 Gopaladeva 50 Kalidāsa 1, 3, 147 72 Kalīprasāda Gautama (Akşapāda) 34 Gaudapāda 71 Kāvyakautuka 43,44 Kūvyakautukavyakhya 43, 44 GHANAS'YĀMA 37 Kavyadarpana 150 Kavyaprakasa 46,52 CANDRIKĀKĀRA, com-

Kavyaprakas avyakhyā 74, 86 mentator on the Dhvan-

Kavyamimamsa 8, 42 yäloka 21, 22, 44

Kavya vilasa 139 Citsuryaloka 40

Kavyadarsa 172 Cirañjīvi bhatțācārya 139

Kavyānusasana 92, 141, 159 Cetoduta 34

Kavyalamkara of (Bhã- Caitanyacandrodaya 36

maha) 172 35, 52, 90, Küvyalamkara (of Rud- JAGANNATHA 125, 128, 152 rata) 10 Jayadeva 35 Kavyalamkara sara sam- Jayanta bhatta 39 graha 12, 42,61 Jātavedas 38 Kavyalamkara sara sam- Jivadeva 37 graha vyäkhya 117 Kumärasvämin 148 Jivasamasa 41

Krsņabaladevavarman Jivanmukti kalyāna 37 40 Jivanandana 36

INDEX 183

PAGE PAGE Jāna Candrodaya 39 Dhvanyalokalocana-fre- Jāna mudra nātaka 38 quently NANDIKESVARA, NANDIN 6, kāvya 34 7, 8, 9 manavilāsa kāvya 35 Namisadhu 43, 62, 115, 125 Jnānasuryodaya nālaka 38 (Bhatta) Narasimha 177 Narasimhamisra 38 Țīkā Sarvasva 7 Nalladīksita 37 TANDU (Bharataputra) 5 Navagrahacarita 37

'Tandu' (Sivagana) 3, 4, Nagarasarvasva 159

5, 6, 7, 8 Nagananda 21, 23, 24, 28,

Tattvamudrabhadrodaya 39 43, 48, 73, 100

'Tanda' 7 Natakalaksanaratnakos a 158, 159 6 ' Tāņdya' 5,7 Nalyadarpana 118, 124,

Tapasavatsaraja 147 154,156 23 Tarabhaktitarangini 39 Natyavarttika

Tota, Tauta 43, 78,79 Nūtyavoda 10

Trikandasesa 7 Natyasastra (of Bharata) ' Tripuradaha' -frequently 3,9 Triveņī 39 Natyasastravyakhya (of Abhinava) see Abhri- DANDIN 1, 107, 108, 110, navabhurati. 129, 168, 172 Natyasastravyākhyā (of Darpadalana 45 Udbhata) 42 Dasarupaka 5, 10,45 (Bhatta) Nāyaka 44, 45 Dasarapakavaloka 10, 'Nārada' 9,11 20, 27, 28, 46, 47, 75, 79 Nārāyaņa 173, 174 Dāmodarāsrama 40 Nārāyaņa Vidyavinoda 7 Dvadasasahasri 10 Nrsimha kavi 37

DHANAÑJAYA 45, 46, 113 Nrsimha daivajna 40 Nyaya sutras 72,73 Dhanika 45,46 PATAÑJALI 71, 73,95 Dharmadatta 173, 174 Padmas'rī 159 Dharmadeva gosvamin 39 Padmasundara 39 Dharmavijaya 31 Pars'vadeva 9 Dharmavijayagaņi 23 Pusadadharmakhandana 40 Dharmastiri 12 ' Purandaravijaa 1 Dharmodaya kavya 39 Parnapuruşarthacandro- Dharmodaya nataka 39 daya 38 Dhvanyäloka 15, 163, 173 Pracandarahudaya 37 (Sec also Anandavardhana). Pratūparuditya vjakkya 148 Dhvanyalokacandrika 21, 42 Pratiharenduraja 61, 107, (See also Candrikakāra.) 116, 117

184 THE NUMBER OF RASAS

PAGE PAGE Prapanna sapindikarana- Bhoja 19, 45, 46, 65, 66, mirasa 40 67, 70, 80, 109, 119-128, Prabodhacandrodaya 132, 154, 159, 160, 161, kāvya 36 167, 168, 169, 173, 175 Prabodhacandrodayana- (See also S'rngaraprakas a and taka 36 Sarasvatikanthabharana.) Prabodhacandrodaya vyakhya 74 MADHUSŪDANA SARASVATI Prabodhodayanātaka 38 132-7,156 Prabhākara 171, 175 Prasamarati 23 Manoduta (Four different

BAHURŪPAMIS'RA 10 poems of the same name) 34,35 Bahubalisvami astapadi (Gitavitaraga) 35 Manodrtika 35 Mandara maranda campn 139 Buddhacarita 22, 23 Bauddhavadanakalpalata 45 Mammata 46, 52,69 Mahādeva 175 'Brahman ' ('Druhina ' 'Padmabhu') 2, 3, 4, 9, Mahabharata 17, 19, 22,

10, 11,46 30-33, 45, 63, 76, 77, 152 Maharudrasimha 35 Brahma Bharata 5, 10, 11 Mātrgupta 153 Bhakti Dati 34 Māyāvijaya 39 Bhaktirasamytasindhu 130 Mayurāja 147 Bhaktivaibhavanataka 37 Mara Bhaļțaraka, Sonthi 173 Bhagavadbhaktirasayana Malavikagnimitra 172 132-7, 156 Mithyajana khandana 38 Bharata -- frequently Muktiparinaya 36 Bharatamallika 7 Mudritakumudacandra 38 Bhartrharinirvedanataka 41 Munisundarasuri 22 Bhartrh arirajyatyāga- Mrochakatika 172 nztaka 40 Meghadntasamasyalekha 35 Bhallata 83 Meghavijaya 35 Bhavabhavana 141 Moharajaparajaya 36,39 Bhavabhuti 164,165 Bhagavata 33 Yatirajavijaya (Vedanta

Bhānuji vilusa) 41 6 Bhanudatta 119, 125, 135, Yasascandra 38 152, 159, 160, 161, 162, Yas'ahpala 36 173, 174 Yādavaraghavapānda- Bhamaha 2, 107, 108, 172 39 Bharatamanjart 33,45 Yamalastaka tantra 10 Bhavaprakaga 4, 9, 157 Yoga Sutras 71, 79, 95, (See also S'aradatanaya.) 99, 103 Bhavnnäpurusottama 36 Yogasutrabhaşya 71, 72, 95

INDEX 185

PAGE PAGE Raghuvamsa 17,74 Lolla Lakşmīdbara 25 Ratnākara 7 Ratnavali 8 VARADĀCĀRYA 41

Ravidāsa 38 Vararuci 1 Rasakalika 53, 146, 155 22 Rasagangadhara 90, 125 Vastuvijanaratnakos a

Rasataranginī Vacaspatya 6 119, 125. 8 138, 139, 152, 159, 160, Vātsyāyana Vādicandra 38 161, 173, 174 ' Vāsuki ' (See also Bhanudatta.) 11, 12,46 53 Rasapradipa 174 Vāsudeva

Rasaratnahara 110 Vikramorvustya 1,2

53 Vijnanatarangiųt 35 Rasaratnakara 173 Vidyadhara 147,148 Rasasudhanidhi Vidyāpariņaya 36 Rasarnavasudhakara 122, 161 (See also S'ingabhupala.) Vidyavinoda Narāyaņa 7 Vinayavijayagaņi Raghavabhatta 153 23,34

Rājacūdāmaņidīksita 149, 150 Vivekacatdrodayanatika 39 37 Rajatarangint 34 Vivekavijaya Vis/vanatha 47, 50, 108, 159 Rajarajavarman 41 Vis'vanāthasimha 132 Rājasekhara 8,43 Visņudāsa 34 Ramacandra 118 Ramarama 34 Virarāghava 164,165 Veńkaļanātha (Vedānta Ramānuja Kavi 37 Rāmānujacārya 41 desika) 36,47 Venkatanārāyaņadīksita 128 Ramayana 33, 45, 163 Venkatacārya (of Uda. Ramayanamanjarı 45 yendrapuram) 39 Rāyamukuta 7 Vedantavilāsa ( Yatiraja- Rāhula 23, 50,159 41 Rudrabhatta 53, 146, 147, 155 vijaya) Veđāntācārya (Manasal- Rudrata 43, 62, 70, 107, katți) 41 108, 110, 111, 114, 115, Vaijanātha 39 116, 117, 122, 123, 124, 125 Vaidyanātha 53 Rupa Gosvāmin 130, 137, 160 Vyaktiviveka 88, 118 Vyaklivivekavyakhya 88 Lakşmidhara (Alamkara 25 Vyäsa (M. Bharata) 9,63 work) Vyāsa (Yogabhaşya) 71,95

(Amrtamathana' 'Asuravijaya*) 3 SAKTIHADRA 173

Laghuprabodha ca nd r o- Sankara (Siva ?) daya 36 Sankarācāryo 25 Lollata 42, 63, 70, 113, 114, Sańkuka 42, 43, 63, 115 115, 116, 117 Sabdakalpadruma 6, 7 24

186 THE NUMBER OF RASAS

PAGE PAGE Sakuntala 17,147 Sarasvattkanthabharana S'akuntalavyākhya 153 19, 45, 65, 109, 113, 121, Santarasabhavana (Adh- 124, 126, 160, 167, 170 yatmakalpadruma) 23 (See also Bhoja.) Santasudhārasakāvyā 23 Sarasvatikanthabharana- S'aradatanaya 4, 5, 9, 10, vyākhya 17 11, 12, 26, 46, 157 Sarvavinoda (Thamrgi) 40 S'arputraprakarana 22, 35 Sarvasiddhanta 132 S'arngadeva 68, 73, 84, 88 Sarvananda 7 111, 113, 119, 177 Sagaranandin 158, 159 Sińgabhupāla 46, 122, 148, Samkh yakārika 71,95 149, 159, 160, 161 Salva 53 S'ıva (Sadasiva) 2, 3, 4, 5, Sahityadarpana 47,48, 6, 7, 8, 9, 10 108, 159, 173, 174 Siva (dramatist) 39 Sahityamtmamsa 65 Sivabhaktanandanātaka 41 Sahityaratnakara 12 Sivanāraya nabhanja Siddhaduta 35 mahodaya nātikā 38 Siddhantabherinataka 37 Sivarama 110 Siddhantasastras 104 Stladuta 35 Simhabhupala, (See S'inga- S'uklabhudeva 36 bhūpāla.) S'ukles'varanātha 38 Sudars'anācārya 37 Srigaraprakasa 45, 66 Sundaradeva 36 121, 122, 123, 124, 159, Sundaras'astrin 40 160, 161, 167, 168, 169, 170 Subrahmanya sudhi 74 (See also Bhoja.) Saundarananda 22,34 (Ratnakheta) Srīnivasa- Saundaryalahart 25 dīksita 36 Saundaryalaharī- S'riharsa (king, author of vyakhya 25 Nagananda) 23,73 Svatmaprakasanataka 40 S'riharsa (author of the Svanubhutinataka 39 Natyavarttika) 23 34 Satsahasrī 10 Hamsa Sandesa (vedānta)

Şanatanātaka 39 Haravijaya 7 Haravijayavyākhyā 7 Sankalpa suryodaya 36,47 Haripāladeva 50, 54, 55, Sangutaratnakara 68, 73, 144-150, 155 111, 119, 177 Harihara 41 Sangitasamayasāra 9 Harşopādhyaya (?) 50 Sangita Sudhakara 50, 54, Hrdayadarpana 44,45 55, 144-150, 155 Hemacandra 7, 52, 53, 64, (See also Haripaladeva.) 92-106, 110, 111, 112, 159 Sutsaugavijaya nātaka 39 (Maladhari) Hemacandra Sadagioa bharata 5,10 57, 141, 142

INDEX 187

ENGLISH

PAGE Abhayakumar Guha, Dr. PAGE Lüders, H., Dr. 22,35 112, 121, 130, 131 Raghavan, V. 10, 30, 44, De, S.K., Dr. 23, 120, 121, 130, 131, 160 50, 119, 154, 159, 167

Kane, P. V. Sivaprasad Bhattacharya, 173 Kavì, M. R. 5, 6,10 Prof. 107 Keith, A.B., Dr. 34,37 Tatacharya, D.T. 12,45,47 Kuppuswami Sastri, Prof. Weber 23 Mm. 91,175 WVinternitz 23, 141

SUBJECT INDEX-ENGLISH

PAGE PAGE A (See also under Trivarga and Purusarthas) Abhimana-Ahamkara-Srgā- Artha Srngara, see under Spiigara ra (Bhoja's theory of Rasa) Asoka (king) 84 80, 119, 120, 122, 167-9, As'ramas 173,175 -Sarinyasin 17 Action, continuance of selfless 17 77 Ātman Vanaprastha action 49, 85, 86, 87,88 Action, in drama 4 (See also Brahmnan.) Adbhuta Rasa, synthesis of all Atma-rati 80,81 Rasas in 171-3 Aucitya 150 Advaita vedanta 34-9 (See also Anaucitya.) 20, 26, 138-140 11 and the Rasa- Avidyā theory 156-7 Ayurveda 36 Aksa Rasa 113, 125 B Alamkara 16 Alamkaras of damsels 159 Bhagavan, alambana in Allegorical drama 35-8 Bhakti Rasa 157 Ananda Rasa 124 Bhagavan, devata of Snta Anaucitya 113, 149 Rasa 50 Angahāras 3,5 Bhāgavata dharmas 134 Anirvacaniya, nature of dra- Bhakti, Bhakti Rasa 26, 34, matic reality 44 37, 39, 40, 42, 49, 50, S1, Anurāga Rasa 124 109-111, 113, 129-138, 157 Artha (second Purusartha), Bhava, any Bhava can be dominant in Mahakavya come Rasa 70, 114, 115, according to Bhamaha 21 117, 118, 142.

188 THE NUMBER OF RASAS

PAGE PAGE Bliss, difference in degree in Drama the different Rasas 156 , kavya essentially not Brahman 49, 139 different from 48 alambana of Santa 49 , representation of the , devata of S'anta 50 universe (trailokya- nata compared to 44 nukarana) 16, 17, 19 , ultimate basis of Dramatic contest 1 Rasa 157, 170, 176 reality anirvaca- Brahmānanda, rasāsvāda niya 1 44 akin to 157 Dukha Rasa 118 Brahma Rasa 51, 55, 56, 144 Brāhmi Vrtti 51 E

Buddha, Buddhistic 35, 49, 50 Enlightened soul (Buddha), devata of S'ānta 50,51 C Ethics, criticism of some Caitanya 130 Rasas from the standpoint , alamkāra sāstra by of 44, 152-3 followers of 130-6 Caitanya Cult 36 God, see Bhagavān. D Dance Guna (aesthetic), of the Rasa 1 3, 4,5 S'ānta Dance-Drama in temples 1 Rasa 51-52 Däsya 130, 136 Guņas (Sattva, Rajas and Daya Vira, see under Vira. Tamas Dharma 17, 19, 150, 151 , in the theory of Rasa See also under Purusarthas.) 156, 157, 177 Dharmākhyāna purāņa 19 Dharma Vira, see under Vira. , transcending the Guņas 71 Dharma Srgāra, see under Srgara. H Dhira lalita 122 History s/anta 122 Dhirodātta 122 , Santa as the mes- sage of 34 Dhiroddhata 122 Dima 3, 9 Drama I

, appeals differently to Indradhvaja festival 3 different spectators Itivrtta 21,23 17, 18, 30 > as entertainment 20 ,as vehicle of spiritual Jain 23, 34-39, 57, 58, 140-3, education 22 152, 153 , compared to Mayā 44 Janaka (king of Mithila) 24

INDEX 189

PAGE PAGE Jatisvara, a dance-composi- Mukti 73 tion 8 Music Jatyanga (musie) 16 Musical composition 3, 4, 8,16

Jīvanmukta 77 Jñānamārga 129, 133, 138 N

K Nātya s'astra

Kaisiki vrtti , santa-texts in 2 the Natya Kāma 8, 18, 19, 29 (See also under Tri- s'astra inter- polations 12, varga and Purusarthas.) 13, 14, 15, 16, avasthas, ten 159 59-61,63 , moksa kāma 18, 19 Nautch (South Indian) 8 Karanas 3,5 Nayaka, four types of 122, 154 Karma mārga 129 Kärpaņya Rasa , four Rasas related to 140 Karuņa, synthesis of other the four types of 122 Nivrtti 140 Rasas in 163-5, 175 Nrtta-angas 1 Kāvya Nyaya (Darsana) 36,39 , essentially not differ- of Rasa in the theory ent from drama 48 168 P L 8 Laulya Rasa 111-113, 118, 140 Pada, (a dance composition) Paravasya Rasa 124 Laya 16 Parsada prasiddhi (vogue in Literature, spiritual instruc- literary circles) 12, 48, 116 tion through 22, 29 Piņdī bandhas 8 Literary vogue (Parsada pra- Prakrti (character-type) siddhi) 42, 48, 116, 117 , adhama or nica pra- Loka samgraha (service) 24 krti 29, 150, 151 Love, aspects of, Friendship, , madhyama prakrti Affection, Loyalty, Attach- 29, 150, 151 ment, Devotion 107-113 , uttama prakrti 29, 147, 150, 151 M , several kinds of pra- krti 30 Madhura Rasa 110, 129-137, 160 Prasama Rasa 124 Marriage custom, provincial Pravrtti 33, 139, 140 142-3 Preman 121, 131, 132 Maya, drama compared to 44 Māyā Rasa 138-140 , Synthesis of Rasas in 169, 170 Mokşa, see under Purusarthas. Preyas 107, 108, 109, 121, Mrgayā Rasa 113,125 122, 129, 130

190 THE NUMBER OF RASAS

PAGE PAGE Priti 108-113 Rasas Purusārthas Laulya R., Madhura Caturvarga 17, R., Māya R., Mrgaya 18, 21, 29, 44, R., Paravas'ya R., 116, 117, 128, Pras'ama R., Preyo 132, 133, 134, R., Sadhvasa R., 136, 137, 154 Sambhoga R., Sam- , Trivarga 22-29 gama R., S'anta R., Puruşärtha Sukha R., Svatan- , Artha 21, 150 trya R., Udatta R., Dharma 17, 19, Uddhata R., Vilasa 31, 33, 150, 151 R., Vipralambha R., , Kama 29 Vrīdanaka R., Vya- (See also S'rgāra.) sana R , Moksa 17, 18, 19, ,Anga Rasas 20,33 26, 29, 30, 31, in Bhakti or 32, 33, 56, 71, , Madhura Rasa 130, 74, 129, 136, 166 131, 136 (See Moksa käma , difference in bliss in also.) the different Rasas 156 Purvaranga (Citra and S'uddha) 3 Pustimārga 35, 40 , eight Rasas of old 1, 2 4, 12, 15 R , ethical criticism of Rasa some Rasas 58 , any Bhava can become , painfulness of some Rasa according to Rasas according to'a some 70, 114-118, 122-124 few writers 155 , definition of what Rasa Rasābhāsa 113, 145-150 is 17, 114, 126, 127, 128 Rasadhvani 17 , first treatment of Rasa Rasavat 42 attributed to Nandi- kesvara 8 S

, only one 175 Sadhanas 134 , period of chaos in the Sädhvasa Rasa 124 history of 125, 126 Saints, lives of, as theme of , synthesis of all Rasas dramas 41 in one Saivite Saints 41 Rasas 163-179 Sama, present in all Rasas 84 , additional Rasas,-see Samavakāra 3, 153 separately under Aksa Sambhoga (separate Rasa) Rasa, Ananda R. 55, 144, 150 Anuraga R., Bhakti R., Brahma R., Duh- Samgama Rasa 124

kha R., Kärpanya R., Samkhya, in the theory of Rasa 156,168

INDEX 191

PAGE PAGE Samsāra 20 S'anta Rasa Samsārin 83 S'anta Rasa 11-106, 157, 160, 166 minor Rasa by Haripala 51, , anubhavas of 26, 55,56 49,62 , Sthayin of 15, 16, , as Rasaraja and 42, 46, 58-90 Rasendra 23 ,synthesis of , as the greatest other Rasas in Rasa 43, 44, 89 165-7, 175 , Daivata of 49, 50 , fexts on it in , elements of Santa the Natya s'as- in Bharata's tra 12-16 text 16, 17 Varņa of 50 , first treatment of , Vibhavas of 26, the S'anta as- 49,62 cribed to Vasu- 11,12 , Vrtti of 50,51 ki , Vyabhicärins of , four phases of 53, 54 26, 49,52 , Guņa of 51,52 Sattvikas 158-161 , impossible in Nātya but ac- Saubārda 109

ceptable in Sneha (Maitri, Sakhya) 108, Kāvya 46 109, 111, 118, 130, 136 , inclusion of it in Sphota 176 other Rasas Spiritual leaders 41 (antarbhãva Spring festival 8 vāda) 48, 49, 75 Sraddha , intrusion into Smgāra 26, 81, 110

Bharata's text , a Srgara for each 12, 13, 15, 16 Purusārtha 154 its relation to , synthesis of Rasas the eight old in 170 Sthayins 49, 81-84 ,three kinds. , literature por- Dharma-, Artha-, traying 30-42 and Kama 19, 153, ,love-treatment 154 given to 81 , three kinds, mani- , not the leading fested by speech, motif in litera- dress and physical ture 21,44 action 153 , objections to , Bhoja's new Aham- S'anta as a Rasa kara-Srgāra 80, 2+-30 119, 120, 122 , postulated as a 167-9, 173, 175

192 THE NUMBER OF RASAS

PAGE PAGE Srigara Vilasa Rasa 124 ,synthesis of all Vipralambha (separate Rasa) Rasas in 167- 55, 144-147, 155 169, 175 Vira 73-77, 130, 136, 151, 152 Sthayins , Dāna Vira 48, 54, 73-77 , view that Vyabhi- 130, 136, 151, 152 carins also can , Daya Vira 21, 26, 28, become Sthāyins 48, 49, 54, 58, 73-77, and vice versa 70, 82,136 118, 119 , Dharma Vira 48, 54 Sthita prajfia 24 73-77, 82, 112, 130, S'uci (a name of S'mgara) 145, 136, 151 148 118 , Tapo Vira 58,152 Sukha Rasa , Tyäga Vira 58,76 Svātantrya Rasa 124 , Yuddha Vira 54, 58, 73- Svara 16 77, 151,152 T Vira, of other kinds 76-77 Tāla 7, 8 Vis'istādvaita 36, 37,39 Tandava 3-8 Vrīdanaka Rasa 140-143 Tattvajñāna (Atmajñana) 71, Vrtta 16 72,85,86 Vrttis 2, 9, 16, 50, 51 Temple-Drama 1 Vyabhicārins 158 Temple of Indra 1 i, abhyantara Tragedy 155 and bähya Trivarga-vyutpatti, end of 152,162 drama according to some 28 , additions to Tyāga 58,76 and removals from the list Udātta Rasa 66, 120-122 of 158, 159 Uddhata Rasa 120-122 Vyasana Rasa 118 Ujjvala (a name of S'rgara) Vyutpatti (instruction from 130, 145, 148 literature) 27 Ürjasvin 121 W

Vacikabhinaya, mođes of 159 Western literary criticism 155 Vairāgya Varņa (a dance-composition) 71, 72, 78 8 Y Vätsalya 110, 111, 120, 130, Yatamāna 24,83 131, 144 Yogin 77,83