1. Rasa Kalika Rudra Deva Bhatta (Prepared by Kalpakam Rama Swamy) Kunjunni Raja K. Adyar Library

C.44

THE ADYAR LIBRARY SERIES VOLUME ONE HUNDRED AND SEVENTEEN

GENERAL EDITOR K. KUNJUNNI RAJA Hon. Director

रसकलिका रुद्रभट्टविरचिता

@1988 The Adyar Library and Research Centre, Adyar, Madras

First Edition 1988

ISBN 81 - 85141 - 01 - 0

Agents for publications of The Adyar Library and Research Centre AMERICAS AND JAPAN The Theosophical Publishing House, P.O. Box 270, Wheaton, Illinois 60189-0270, U.S.A. EUROPE AND THE UNITED KINGDOM The Theosophical Publishing House Ltd., 12 Bury Place, London, WC IA 2LE, England. INDIA AND OTHER COUNTRIES The Theosophical Publishing House, The Theosophical Society, Adyar, Madras 600 020, India.

Grant-in-aid towards the publication of this book from the Ministry of Human Resources, Government of India, is gratefully acknowledged.

PRINTED IN INDIA

At the Vasanta Press, The Theosophical Society, Adyar, Madras 600 020

CONTENTS

FOREWORD BY K. KUNJUNNI RAJA vii PREFACE ix ABBREVIATIONS XV CRITICAL STUDY xvii I. Introduction xvii II. Author and his date XX III. An analysis of the contents XXV IV. Rasakalikā and the early writers XXX V. Rasakalikā and Dašarūpaka xli A. Concordance of DR and RK B. Parallel Passages xlii liii VI. Rasakalikā and later writers 1x VII. Quotations of Rasakalikā by Mallinātha 1xxii VIII. Influence of Rasakalikā on Pratāparudrīya lxxvii IX. Conception of Rasa in Rasakalikā xcix A. The Number of Rasa-s cix B. Āśraya of Rasa cxi C. Śānta Rasa cxxvi X. An Estimate of the contribution of Rasakalikā cxxxiii

V1 RASAKALIKĀ OF RUDRABHAȚȚA

CRITICAL APPARATUS cxliii

CRITICAL EDITION 1-102

TRANSLATION 103-185

BIBLIOGRAPHY 187-193

INDEX OF TECHNICAL TERMS 195-198

INDEX OF ILLUSTRATIVE VERSES 199-206 ERRATA 207

FOREWORD

I have great pleasure in writing a Foreword to this critical edition of Rudrabhatta's Rasakalikā, together with an English translation and studies, prepared by Dr. Kalpakam Ramaswami (now Mrs. Kalpakam Sankaranarayanan) under my direc- tion and approved by the Madras University for the degree of Doctor of Philosophy in 1972. I have a special attachment to it, since it was the first Ph.D. thesis prepared under my guidance. Rudrabhatța's Rasakalikā occupies an important place in Indian aesthetic studies, though it has not yet received due recognition from scholars. The present critical edition is also its editio princeps. The Rasakalikā was used as a source book by Vidyānātha for his Pratāparudrīya (quoting 44 passages from the Rasakalikā). Mallinātha has quoted passages from it as authority in many places. Vāsudeva quotes 6 verses from it in his commentary on Rājaśekhara's Karpūramañjarī. In the Rasaratna- kara of Sālva, a sixteenth century Kannada work on , Rasa, Rudrabhatta's Rasakalikā is mentioned as a source book. Rudrabhatta gives an excellent exposition of the theory of Rasa and the various problems connected with it, mainly following Dhanañjaya's Daśarūpaka and its commentary by Dhanika, Bhoja's Sarasvati- kaņțhābharaņa and Rudrațālankāra. Among his

viii RASAKALIKĀ OF RUDRABHAȚȚA

original contributions is the fourfold classification of Uddīpanavibhāva-the qualities of the hero or the heroine, the graceful actions like helā, kilikiñcita etc., their decorations and accidental factors. He describes in detail the types of heros and heroines, the śrńgāranāyikā-s, vyabhīcāri-bhāva-s, sañcāri-bhāva-s the twelve stages in the development of love, etc. The problem of how tragic scenes give aesthetic pleasure is also discussed.

The critical edition is based on the four available manuscripts, and the external testimonia. Dr. Kalpakam has fixed the date of the work as the beginning of the 13th century A.D., proved that Vidyanatha and Mallinātha are influenced by the Rasakalikā, and that the text we have is complete. A faithful English translation has been added. The sources of most of the illustrative verses have been traced. It is hoped that this critical edition of an important text will be welcomed by students of Indian aesthetics and literary criticism.

The Vasanta Press deserve warm appreciation for the excellent printing.

K. KUNJUNNI RAJA

PREFACE

RASAKALIKĀ of Rudrabhatta RK is an unpublished work on alamkāra-śāstra which has not yet received adequate attention from scholars, even from those who have been specializing on the subject like Dr. P. V. Kane and Dr. S. K. De. It was Professor V. Raghavan who first drew attention to the importance of RK and pointed out some special features of the work in his Number of Rasas. It was at his suggestion that I took up a detailed and critical study of the work as the subject of my thesis. Dr. Raghavan retired within four months of my joining the Department and I continued my work on the Rasakalika under the guidance of Dr. K. Kunjunni Raja.

Even Dr. V. Raghavan was under the impression that the available manuscripts of RK were incomplete and that the date was not quite definite. In the course of my study, I found that Vidyānātha's popular work on poetics, PR, owed a great deal to RK and that Rudra- bhatta, author of the RK, was earlier than Vidyānātha. When Professor K. Kunjunni Raja brought this point to the attention of Dr. Raghavan, he took the manu- script of RK from me and examined it carefully and admitted Vidyānātha's indebtedness to RK (see his Introduction to the edition of Pratāparudrīya, Madras Sanskrit Education Society, 1971). My paper on 'The

X RASAKALIKĀ OF RUDRABHAȚȚA

Influence of RK on PR' has been published in Dr. P.K. Narayana Pillai Felicitation Volume, Trivandrum, and my paper on 'Quotations of RK as found in the com- mentaries of Mallinätha', has appeared in the Adyar Library Bulletin, Vol. XXXV, (parts 3-4) pp. 205-210.

As the name Rasakalikā suggests, the work is mainly concerned with the discussion on rasa in all its aspects. RB deals also in detail with the classi- fications of nāyaka-s and nāyikā-s since that topic is relevant to his theme, nāyaka and nāyikā being the locus of rasa-s or älambanavibhāva. At the beginning of the text, RB gives a list of the topics dealt with in the work, and the available manuscripts deal with all of them. Hence it may be assumed that the text as we have it is complete, though we do not find the customary benedictory verse at the beginning. It is very difficult for a writer on alamkāra śastra to be original since it is a much-trodden field. Still on a careful analysis of the text it has been found that RK has some substantial contribution to make. I have discussed the matter in detail in the course of the thesis.

1. RB is the first to introduce the four qualities of a śrngāranāyaka viz. vilāsa, kalāšīla, saubhāgya and sthirarāgitva.

2. His classification of the nāyikā-s generally follows the earlier classifications, but makes some changes in regrouping them.

PREFACE xi

3. Instead of the ten stages of love usually given by earlier writers he gives twelve stages, probably following Bhoja, and explains them as stages in the development of śrngāra rasa. 4. The fourfold classification of uddīpanavibhāva. (That this is his original contribution is attested by the Kannada writer Sālva in his Rasaratnākara). 5. He discusses the problem of Rasa experi- ence as pleasurable essentially and invariably. He discusses the possibility of rasa being pleasant as well as painful, following ND, but draws the conclu- sion that it is essentially pleasurable as far as the sāmājika-s are concerned. More than this RB has a way of giving precise and lucid expression to the generally accepted ideas, while giving his definitions. The present thesis consists of 'A Critical Study of the Work' and 'A Critical Edition of the Text' on the basis of all available manuscripts and other external testimonia. An English Translation of the Text, including illustrative verses is also given. From the four manuscripts of the text available, I believe I have been able to arrive at a fairly satisfactory text. External testimonia like classical texts, DR etc. have also been made use of in restoring the text. In the translation, I have tried to be as faithful to the original as possible, without sacrificing clarity and lucidity.

X11 RASAKALIKĀ OF RUDRABHAȚȚA

I venture to hope that the critical edition I have been able to present in this thesis of this hitherto unpublished but very important work on alamkāra sastra, together with an English translation and critical study, will be welcomed by scholars.

It now remains for me to acknowledge my indebted- ness to the many scholars who have helped me in various ways in the preparation of my thesis. I am thankful to Dr V. Raghavan for suggesting the topic and for initiating me in the field of research. I am obliged to the various authorities of the libraries and research institutes for helping me with their manu- scripts and books, especially to Prof. R.K. Parthasarathy and to Dr R.N. Sampath, who were successively the Curators of the Government Oriental Manuscripts Library, Madras, to Professor G. Marulasiddhiah, Director of Oriental Research Institute, Mysore, to Dr. Chenna Reddi, Director of Sri Venkateswara Oriental Manuscripts Library, Tirupati and to Mrs. Radha Burnier, formerly Director of the Adyar Library and Research Centre, Adyar, as well as to the Librarian of the Madras University Library, Madras. I am thankful to the external members of the Doctoral Committee, Professor C.S. Venkateswaran, Annamalai Universtiy and Professor E.R. Sreekrishna Sarma, Sri Venkateswara University, for giving me general guidance. To the members of the staff of the Department of Sanskrit, Madras University, I owe a debt of

PREFACE X111 gratitude for the ready help they have rendered me whenever required. I owe a very special word of thanks to Pandit R. Thangaswami, Lecturer in the Department, for affording me help with the Sanskrit Text and encouraging me at all times of need and to Sri M. Ramakrishna Sastri whose M.Litt thesis on Sāhitya Cintāmani, has been of help to me in the pre- paration of my thesis. My gratitude is also due to my fellow scholars in the Department who were all to me instructive and inspiring examples of devotion to the gīrvāņa bhāsā and whose help and counsel were always available to me. My sincere thanks are due to Dr. M. Narasimhachari, Lecturer in Sanskrit, Vivekananda College, for his inspiring encouragement and help during the period of my research. Professor M. Mariappa Bhat and Dr. A. Shankar Kedilaya of the Kannada Department of the University of Madras and Dr. B.G.L. Swami, Chief Professor of Botany, Presidency College, Madras, have been most kind and helpful in my study of the Kannada manuscript of Rasakalika and other kindred books in Kannada. I thank Sri H.G. Pandurangan of Sanskrit College, Madras, who helped me in collating the Kannada manuscript of the Text. The University Grants Commission and the Madras University have placed me in their debt by awarding me a research scholarship and giving me the opportunity of undertaking and completing the work of preparing this thesis.

Xiv RASAKALIKĀ OF RUDRABHAȚȚA

I have prepared this thesis under the guidance of Dr. K. Kunjunni Raja who has helped me at every stage of its |preparation. It was he who drew my attention to the existence of another manuscript of Rasakalikā in the Government Oriental Manuscripts Library, Madras, described under a misleadingly vague title. But the debt of a śisyā to her guru is a debt of measureless scope and is nearly always irrepayable. I am content humbly to be in his debt, for without his inspiring and stimulating guidance, this work of mine would not have taken shape at all.

Madras KALPAKAM RAMASWAMI 1972

ABBREVIATIONS*

Al. S Alamkärasamgraha AŚ Amaruśataka

BaR Bālarāmāyaņa Bh. Pr Bhojaprabandha Bh. S. Bhartrhariśataka Dh. A Dhvanyāloka DR Dašarūpaka

KD Kāvyādarśa

Kāv. An Kāvyānuśāsana Kāv. Al Kāvyālaņkāra

Kirāt Kirātārjunīya

K. Pr Kāvyaprakāśa Ku. S Kumārasambhava Mah. V.C Mahāvīracarita

MR Mudrārākșasa

Megha. Meghasandeśa

ND Nāțyadarpaņa NŚ Nāțyaśāstra PR Pratāparudrīya RB Rudrabhațța RK Rasakalikā

RM Rasamañjarī RT Rasatarangiņī R. Su Rasārņavasudhākara RV Raghuvamśa

• For details see Bibliography.

xVi RASAKALIKĀ OF RUDRABHAȚȚA

Śāk Śākuntala

Skā Sarasvatīkaņțhābharaņa

Sã. Cin Sāhityacinatāmaņi

Śärng Śārngadharapaddhati

SD Sāhityadarpaņa

Śiś. V Šiśupālavadha

Śr.M Śṛgāramaňjarī Śr.Pr Bhoja's Śrgāraprakāśa ŚT Śṛńgāratilaka

Ud. Alam Udbhațālaņkāra

U. R. C. Uttararāmacarita

Vāgbhațāl Vāgbhațālamkāra

Vik. Ur Vikramorvašīya

VS Veņīsaņhāra

CRITICAL STUDY

I. INTRODUCTION

A great many works on alamkāra śāstra have seen the light of day and have been recognized as important landmarks in the evolution of alamkāra śāstra in Sanskrit. But not a few works remain still in manuscript form, although their existence is attested by references to them here and there in the works of other writers. That the general framework of alamkāra śāstra and its fundamental concepts have achieved a measure of certainty and stability is doubtless true. But the contributions of several individual writers and works, more especially of those works which have not been published remain still largely unassessed. RB's RK is one of these works, the importance of which can now be reckoned as of the highest order, having regard both to its antiquity and to its subtlety and originality in the analysis of aesthetic means and ends.

RB's RK is an unpublished treatise on poetics on the lines of DR and ND on the one hand and Udbhata and Bhoja's SKA and Sr.Pr. on the other. All the illustrations except a few are cited from early kāvya-s and dramas. In view of the importance of the work in itself and as a landmark in the development of alamkāra śastra, I have ventured to include in this thesis a critical edition of the work and a complete exposition of its contents. The critical edition of the text is based on four manuscripts. B

xviii RASAKALIKĀ OF RUDRABHATȚA

1. MD1 | Government Oriental Manuscripts

2. MD2 ! Library, Madras.

3. MY Oriental Research Institute, Mysore.

4. TR Sri Venkateswara Oriental Manuscripts Library, Tirupati. Almost all the available manuscripts except one are in Devanagarī script. Careful collating have led to a fairly satisfactory reconstruction of almost the whole of the text. A good basic text has, I venture to think, emerged. In addition to these manuscripts, the external evidence of DR and SKA on one hand and PR of Vidyänātha on the other with which treatises RK has a close relation, have also been taken into account in restoring and reconstructing several passages. Textual corruptions exist and they have been tackled to the extent possible, though some corrupt readings have remained unresolved. These are indicated by a query mark. The text of RK is in three parts-kārikā, vrtti and udāharaņa śloka-s (illustrative verses); the kārikā is in Anustubh metre. The vrtti or explanation is in prose and the illustrations are mostly taken from well-known classical texts. In the edition of the text, variant readings are shown at the bottom of the relevant pages of the text and parallel passages from other alamkāra works are also indicated in the foot-notes of the text. I hope that these references to the parallel passages from other

INTRODUCTION xix

works will facilitate comparative study of RB's ideas and those of earlier and later ālamkārika-s. The sources of almost all illustrative verses except a few have been traced and they are given in the index of the illustrative verses. In RK, RB traverses almost all aspects of rasa with reference to both kāvya and nātya- सामाजिकर्नटचेष्टया काव्यश्रवणेन च साक्षाद् भाव्यन्ते। The author indicates the topics he is going to deal with, at the beginning of the text- आश्रयस्तत्साहायाश्च भावास्तेषां क्रमा अपि। रसानां संकरश्चैव तेषां सञ्चरणक्रमः ॥ Thus he is to discuss in detail the āśraya of rasa, viz. nāyaka and nāyikā, the factors which help them, the emotional condition (precedent to the emergence of rasa), the sequence of these emotions, the fusion of sentiments and the order of sequence of their emergence. This verse helps us decisively to dispel doubts expressed about the completeness of the text.1 That the text is complete is evident by reason of its sub- stantial conformity to the author's announced plan and scheme of development of topics and is corrobo- rated by the impression of reasonable adequacy which the treatment of topics itself affords.

1 See Introduction to PR by Dr. V. Raghavan, The Sanskrit Education Society, Madras, 1971.

II. THE AUTHOR AND HIS DATE

The text of RK does not bear the name of its author. Of the four available manuscripts,1 the Mysore manuscript alone gives the name of the author but along with the title of the work.2 There is no reference to the name of the author in the colophons. But from the external evidence, we know definitely that the name of the author is Rudrabhatta.

A Kannada work, Rasaratnākara of Śālva, speci- fically refers to Rudrabhatta as the author of RK- "Rudrabhattanna Rasakalikeyol"3 (in the Rasakalikā of Rudrabhatta). Salva says that there are four uddīpanavibhāva-s according to RB's RK.4 Rasa- ratnākara contains several passages from RB's RK.5 which are found in the present text of RK.

This Rudrabhatta has been identified with the author of the Kannada work Jagannathavijaya.6 The

1 (a) MD1 R. 3274; R. 2241 (b) MY 1050; (c) TN 7509; (d) MD2 D. 12896. 2 MY 1050-"रसकलिका रुद्रभट्टविरचिता". 3 See Rasaratnākara p. 11. 4 ibid. p. 11 "Rudrabhațțaņņa rasakalikeya paddhatiyim śṛngāroddīpanam catuşkam adudu alli ālambanaguņa, cesțālamkrti tațastha". 5 ibid. p. 188-189 .. 6 See Kannada sanksipta sahitya carite by Prof. Mariappa Bhat.

THE AUTHOR AND HIS DATE: xxi author of RK has often been confused with the author of ŚT since both bear the name Rudrabhatta. This confusion is found even among early alamkāra writers. The earlier limit to the date of RK can be fixed with relative certainty. RK quotes definitions and illustrations profusely from DR and its commentary Avaloka including some verses given by Dhanika in his Avaloka as his own. This shows clearly that RK is later than Dhanika who is assigned to the later 10th Cent. A.D.1 This fact dispels the confusion between the authors of RK and ST, for, it is quite clear that RK is later than DR whereas ST is at least earlier than Hema- candra (1088-1172 AD)2 who quotes ST in his work Kāv.An. The lower limit to the date can also be fixed with reference to those who quote RK. Among these, Vidyānātha (the author of PR), Mallinātha and his son Kumārasvāmin (the great commentators on classical and alamkāra works), Vāsudeva (the commentator on Rājasekhara's Karpūramañjarī) and the author of R.Su are the most important.3 A comparative study of the contents of the two texts RK and PR also shows that PR is the borrower. PR has taken the views and sometimes the exact defi- nitions from RK while dealing with the classifications .1 History of Sanskrit Poetics, by P. V. Kane, p. 87. 2 ibid. p. 115. 3 For details see sections VII and VIII.

xxii RASAKALIKĀ OF RUDRABHAȚȚA

of the nāyaka and nāyikā and the discussion of rasa, often quoting the verses without mentioning the name of RK or its author. But Vidyānātha's indebtedness to RK is not confined to one topic alone; it is compre- hensive. Perhaps royal patronage helped PR to throw into the shade many works like RK, but this latter work is definitely one of the most important sources drawn upon by the author of PR. At times Vidya- nätha confuses the authors of RK and ST both being called Rudrabhatta and wrongly attributes verses to ST1 which are actually found in RK and not in ST. This evidence helps us further to fix the date of RK as earlier than that of PR, i.e. earlier than the first quarter of 14th cent. A.D.2

Singabhūpāla in his work R.Su borrows the views and definitions from RK on certain aspects though he does not refer to the source. R.Su is ascribed to the period between 1340-1360 A.D.3 This suggests that RK is earlier than R.Su.

Mallinatha also quotes definitions from RK without referring to it or to its author by name in his commentaries on Siś.V and Kum.Sam. Mallinātha flourished probably in the 15th cent. A.D.4, and so it is

1 See PR IV. p. 159. 2 History of Sanskrit Poetics by P. V. Kane, p. 119. 3 Date of R.Su-Proceedings of All-India Oriental Conference, VIII. 4 See History of Sanskrit Poetics by P. V. Kane, p. 119.

THE AUTHOR AND HIS DATE xxiii fairly clear that RK is earlier than the period of Malli- nātha. Kumārasvāmin, the commentator on PR, also quotes definitions from RK in his commentary on PR but he too mentions neither the name of the work nor its author. He wrongly traces to RM1 certain definitions which are actually put forward by RB in RK. Thus the date of RK can reasonably enough be fixed as later than 10th cent. A.D. and earlier than 14th cent. A.D.

Besides, there is a piece of significant internal evidence which helps to fix the date of RK. Verse No. 134 is a cãtu on one king Arjuna who may be identified with the King Arjuna Varma Deva of Dhära, Pāramāra Dynasty, spoken of by Dhar Prasasti,2 who is the son of Subhatta Varman of Pāramāra Dynasty. The inscriptions of this Arjuna Varma Deva dated A.D. 1213, 1214 and 1215 are known. Madana was the preceptor of this king and the reference to Madana in the same verse (134) supports the identi- fication.

In the Kannada work Jagannāthavijaya by RB, the author of RK, it is stated that his work was appreciated by one Candramauli.3 This Candramauli may be

1 See PR Comm. IV. p. 201. 2 vide R.I. Vol. VIII. p. 98. 3 Kannada sankșipta sāhitya carite by Prof. Mariappa Bhat.

XX1V RASAKALIKĀ OF RUDRABHAȚȚA

identified with Candramauli, a minister in the Court of Virabhallāla-II whose date is fixed as 1172-1220 A.D.1

If Pārijātamañjarī of Madana, the preceptor of King Arjunavarma Deva, is taken as containing a historical reference, the heroine Sarvakalā was the daughter of Hoysala king Viraballāla-II and the first wife of king Arjunavarma Deva of Pāramāra Dynasty.2

Thus it seems probable that Rudrabhatta who refers to Arjunavarma Deva in his RK and whose work Jagannāthavijaya was praised by Candramauli, a minister in the court of Viraballāla-II (1170-1220 A.D.) flourished between the close of 12th cent. A.D. and the beginning of 13th cent. A.D.

1 Hoysalas in Tamil Country (12th-14th cent. A.D.) p. 64. 2 History of Pāramāra Dynasty, pp. 205 to 209.

III. AN ANALYSIS OF THE CONTENTS OF RASAKALIKĀ

A brief conspectus of the contents of RK is given below:

The text begins with a verse, enumerating the traditional nine rasa-s.

The controversy over the existence of the śānta rasa is referred to and the inclusion of preman within the scope of śrngära rasa by one school of thought is reviewed. The definition of rasa is cited. A list of topics that are dealt with in the text RK is given in the order of sequence: The two types of substratum of rasa: nāyaka and nāyikā. Enumeration of the qualities of the nāyaka with definitions and illustrations.

The four types of nāyaka: Definitions along with illustrations. The qualities of each of these four nāyaka-s defined with illustrations. The four qualities of śrngāranāyaka; their defini- tions, illustrations. The four types of śrngāranāyaka; defined and illustrated.

The assistants of nāyaka enumerated and defined.

XXV1 RASAKALIKĀ OF RUDRABHAȚȚA

Nāyikā: Three types; their definitions and illustra- tions. The two varieties of 'parakīya' type-their definitions and illustrations. Threefold classification of svīyā and parakīyā, their definitions and illustrations, their qualities explained and illustrated. Another threefold classification on the basis of how they show their anger; with definitions and illus- trations. Their qualities defined and illustrated. The 8 types of śrngāranāyikā-s. Their definitions and illustrations. Enumeration of the assistants of the nāyikā-s. Bhāva (the state) explained. The definition of sthāyibhāva. Enumeration of sthāyibhāva-s; their definitions and illustrations. The view that rati is the source of bliss is rejected since in separation it is devoid of that bliss. Definition of vibhäva. Its two kinds. Their defini- tions and illustrations. Four kinds of Uddīpanavibhava; their definitions and illustrations.

Two types of cestā: 18 cestā-s like bhāva and hāva defined and illus- trated. Decorations (alamkrti-s) enumerated.

CONTENTS OF RASAKALIKĀ xxvii

The enumeration of tatastha.

The definition of 'anubhāva'.

Discussion on the nature of anubhāva-s. The enumeration of anubhāva-s.

Sāttvikabhāva as different from anubhāva dis- cussed.

The 8 types of sāttvikabhāva-s. Their definitions and illustrations.

Discussions on the nature of sāttvikabhava-s on the basis of Sāmkhyakārikā.

Enumeration of vyabhicāribhāva-s. Their defini- tions and illustrations.

The other mental states (other than those men- tioned and defined above) can be included in these vyabhicāribhāva-s. Comparison of these mental states with waves rising and subsiding in the ocean of per- manent states. The definition of rasa according to RK. The process in the development of rasa compared to the development in the growth of a tree from the seed (bīja). The 12 stages (avasthä-s) in the development of (śrngāra) rasa. Their definitions and illustrations. The process in the development of the rasa is explained with respect to these 12 avastha-s.

xxviii RASAKALIKĀ OF RUDRABHAȚȚA

The two types of śrngara. Their definitions and illustrations. The four varieties of vipralambha śrngāra. Their definitions and illustrations. Pūrvānurāga type of vipralambha śrngāra illustrated with reference to a woman, a man and both. Two types of anger (māna). Their definitions and illustrations. The six types of expedients (upāya-s). Their defini- tions and illustrations. The four varieties of the pravasa type of vipra- --

lambha defined. Three varieties of pravāsa type due to business. Their illustrations. The four types of sambhoga śrngāra. Their illus- trations. Two types of fusion (samkara). Their definitions and illustrations. Nine rasa-s: Their definitions and illustrations. Rasābbāsa: three types defined and illustrated. Anaucitya as the basis of rasabhasa. Importance of aucitya stressed. Hasya rasa defined and its four types defined and illustrated. Karuna rasa: two types illustrated. Raudra rasa: definition and illustrations. Vīra rasa: defined.

CONTENTS OF RASAKALIKĀ XXIX Three types of vīra rasa; illustrated. Bhayānaka rasa: defined and illustrated. Definition of bibhatsa rasa: two types defined and illustrated. Definition of santa rasa and its four types defined and illustrated. Impediments to the rasa (nirodhaka-s) defined and illustrated.

Mutually conflicting rasa-s illustrated. The substratum of rasa-Discussion of various views and conclusion.

IV. RASAKALIKĀ AND THE EARLY WRITERS

Considering the age when RK was written, the stage of development of alamkāra śāstra at that time and the nature of the works of the period, we can natu- rally expect the influence of the views of the early basic writers of the Sastra in a limited way upon it. While this influence is doubtless there, it also contains new and significantly developed and advanced ideas about topics dealt with in the earlier works.

The views and quotations from earlier works, cited by RK fall into two divisions; those which may be regarded as coming under sastraic literature1 and those under classical literature.2 While quoting from early works, RK cites neither the name of the works nor of the author, barring some stray references like sfaarg:, पूर्वरुदाहता:, etc. बभणु: परे, etc. Bharata, Bhāmaha and Dandin: Undoubtedly Bha- rata's NS. is the foremost work in the field and it paved the way for the later works that deal with the subject of rasa and kindred topics. But NŚ is a work on nātya. It does not accept śanta as the ninth rasa.3 NS speaks

1 e.g. NŚ, DR, SKĀ, ŚT and etc. 2 e.g. AS, works of Kālidāsa, Bhavabhūti, Bhațțanārāyaņa and others. 3 cf. Dr. V. Raghavan, The Number of Rasas, p. 16.

RASAKALIKĀ AND THE EARLY WRITERS xxxi of the rasa as the source of all the states and likewise the states exist as the source of all sentiments just as a tree grows from a seed, and flowers and fruits (in- cluding a seed) from a tree.1 This idea, has been bor- rowed by RK2 in explaining the development of rasa (rasavistāra). In Chapter XXII (K.M. Edn). Bharata gives an elaborate classification on nāyikā and nāyaka, which is fully preserved with certain modifications in later works on the subject, However, RK does not draw much from NS directly. Its indebtedness to NŚ is through DR. Bhämaha deals with mainly alamkāra-s and is not concerned with the rasa problem; hence naturally his influence on RK is very little. Dandin, while emphasizing the importance of alamkāra, recognized also the importance of rasa in poetry and described with illustrations all the eight rasa-s.3 RK has borrowed verses from Dandin's KD4 as illustrations to explain the definitions of utsha,5 lāvanya6 and mṛtisambhāvanānantara sambhoga.7 Udbhata is the first to introduce santa as the ninth rasa and as a rasa capable of being developed in drama 1 NŚ. VI, 39. 2 RK, p. 66. 3 Scc KD. II, 292, 284, 280. 4 ibid. 129, 284 5 RK, p. 29. 6 ibid. p. 33. 7 RK. v. 163.

xxxii RASAKALIKĀ OF RUDRABHAȚȚA

unlike the orthodox school which holds to eight rasa-s. He quotes a verse from Bharata with the number eight changed to nine.1 He speaks of them with reference to nātya. RK quotes the same verses saying that the nine rasa-s are declared by the ancient authorities.2 By this, the author of RK may have covered Udbhata also as one of these ancient authorities who recognized nine rasa-s.

Rudrata is the first to declare that rasa-s could also be developed not only in drama, but also in poetry.3 He clearly states that the development of rasa-s is the principal object of kāvya. He states in his Kāv.Al. that poets should aim at developing rasa.4 He adds one more rasa namely preyas5 to the nine given by Udbhata. There is not much difference between preyas and preman and RK holds the view that preman need not be considered as a separate rasa other than the nine rasa-s advocated by ancient authorities like Udbhata. RK is probably refuting the idea of preyas as a separate rasa spoken of by Rudrata, using the term preman instead of preyas. Rudrata went to the extent of advocating the development of the vyabhi- cāribhāva and sāttvikabhāva also into the form of particular rasa.6 He accepts that the āśraya of rasa is nāyaka (nāyikā). Rudrața speaks of the varieties and sub-varieties of nāyaka and nāyikā on the lines of NŚ but with reference to kāvya only.

1 Ud.Alam-IV-4. 2 RK, p. 1. 3 Kâv.Al. XII. 1. 4 ibid. XII. 2. 5 ibid. XII. 1. 6 ibid. XII. 4.

RASAKALIKĀ AND THE EARLY WRITERS XXXi1i

Rudrabhatta, the author of ST, is often confused with Rudrata, the author of Kāv.Al., by later writers. In addition, he is also confused with Rudrabhatta, the author of RK, by later writers like Vidyānātha, the author of PR. Vidyanātha, confusing these two authors both bearing the name Rudrabhatta, attributes some of the verses wrongly to ST though they are actually found in RK and not in ST. This Rudra- bhatta, the author of ST, also speaks of rasa with reference to kävya.2 Here, for the first time we find the subject of nāyaka-nāyikā dealt with in a systematic manner with all the varieties and sub-varieties worked out in detail. He describes three types of nāyikā, namely, svakīyā, parakīyā and sāmānyavanitā. The author of RK takes over the idea of the definition of svīyā in RK3 from ST.4 In the definition of sāmānyavanitā RK5 has been influenced by ST.6 A verse on veśyā in RK7 is cited from ST.8 As the treatment of the subject matter in both these works is similar, the two authors both being called Rudrabhatta are indeed confused with each other by later writers.

1 See PR. IV. p. 159. 2 See ST. I. 3, 5. 3 RK, p. 14. 4 cf. ŚT. I. 86. 5 RK, p. 15. 6 cf. ST. I. 120a. 7 RK, p. 15. 8 cf. ŚT. I. 1-8. C

XXX1V RASAKALIKĀ OF RUDRABHAȚȚA

Dhanañjaya: RK is considerably indebted to. DR, and as DR, the immediate source of RK, draws much upon earlier writers like NS etc .; RK is also indebted to them through DR. Thus RK stands in a special relation to DR and accordingly, a separate section is given below1 to discuss the problem in detail. A concordance of the two texts and parallel passages from the two texts, are given there in a tabular column. Ānandavardhana: In an indirect way RK adopts the treatment of vyañjana or suggestion, as first ex- pounded by Änandavardhana, amplified by Abhinava- gupta and codified by Mammata, but it is to be noted that this treatment is not on the lines of the works of dhvani school. However Dhvanikāra, in his exposi- tion of rasa-dhvani and rasa, seems to have been greatly influenced by the dramaturgic rasa school. 'From the earlier drama and dramatic theory, the idea of rasa was naturally taken over to poetry and poetic theory; and as the transition from naive to sentimental poetry was accomplished, the theorists like Anandavardhana and others went a step further and erected rasa into one of its essential foundations.'2 The dhvani school in its analysis of the essentials of poetry, found that the contents of good poem may be generally distinguished into two parts. The one that is expressed or given in so many words; the other content is not expressed but must be added to it by the imagination of the reader

1 See V. section. 2 History of Sanskrit Poetics, S.K. De, Vol. II, p. 127.

RASAKALIKĀ AND THE EARLY WRITERS XXXV

or. sahrdaya. The unexpressed or suggested part, which is distinctly linked up with expression and which is developed by a peculiar process of suggestion (vyañ- jana), is taken to be the essence of poetry. This idea is adopted by our present author in his RK.1 Follow- ing the dhvani school RB took up moods and feelings as an element of the unexpressed and tried to harmon- ize the idea of rasa with the theory of dhvani through the process of suggestion (vyañjana). RB points out how the moods and feelings are understood by means of vyañjanā-vyāpāra. Thus when he cites an illustrative verse (143) to explain the viraha type of śrngāra as existed in both the hero and the heroine (ubhayoh) he says that contentment (dhrti), joy (harsa) etc. are sug- gested. To explain the illustrative verse 149 under (nati) humility, RB specifically refers to the dhvani theory.2 Thus RB following in the foot-prints of Anandavardhana approves the idea that in poetry, the relish of rasa can be brought into consciousness only by the suggestive power of words and ideas. RB quotes Anandavardhana's statement on the impor- tance of aucitya.3 Ānandavardhana advocates śānta as the ninth rasa which RK also accepts.

Bhoja deals with nāyaka-nāyika in both his works SKÄ and Śr.Pr. Of these two works RB subscribes to the view of SKĀ on rasa and nāyaka-nāyikā.It is

1 cf. RK, vv. 143, 149. 2 RK, p. 80. 3 cf. Dhv.Al. III, p. 330.

XXXV1 RASAKALIKĀ OF RUDRABHAȚȚA

clear that RB had DR. on one hand and SKA on the other for the source of his RK. Bhoja in Chapter V of SKĀ treats of rasa, bhāva, nāyaka and nāyikā and their sub-varieties and characteristics along with illus- trations from early works like KD as well as from classical works of Kālidāsa and others. There is a striking similarity between SKA and RK suggesting that the latter writer is the borrower of views, defini- tions and illustrations from the former. SKĀ enu- merates 10 rasa-s1 including śanta and preyas as against the orthodox schools of eight rasa-s; but in the begin- ning gives eight sthayibhava-s2 only. However, from the way in which he treats of them, it seems that he looked upon śrngāra3 as the only rasa which he clearly expounded in his Sr.Pr. Here we will make a detailed examination of the correspondences between SKA and RK to show how far RK, has been influenced by SKA. SKÅ is the first to give 12 stages of love in the context of vipralambha śrngāra.4 RB adopts this 12 stages of love but explains them in the context of the develop- ment of rasa (rasavistara.)5 Though RK is indebted to SKA, it has improved upon what is given in SKĀ: SKĀ speaks of pīthamarda, vidūsaka, vița and ceța as the hinapatra-s,6 whereas RB speaks of them

1 SKĀ v. 164. 2 ibid. v. 14. 3 ibid. v. 3. 4 ibid v. 98. 99, 100 and p. 587: (ता इमा विप्रलम्भजन्मानो द्वादशापि प्रेमपुष्टिभूमयः संभोगेषु स्वानुरूपामेव प्रेमप्रकर्षभुमिकामास्कन्दयन्ति ।) 5 RK. p. 66. 6 SKĀ v. 121.

RASAKALIKĀ AND THE EARLY WRITERS xxxvii

as the assistants of nāyaka. SKĀ enumerates 12 types of characteristics of a nāyaka,1 whereas RK speaks of 11 types only with definitions and illustrations. Now, the identical ideas and definitions between the two texts alone are given. RK has quoted the same illustrations cited by SKA2 to explain soka and bhaya. RK has borrowed the definition of jugupsa from SKA3 while defining the eight sāttvikabhāva-s. RK quotes the exact definitions from SKA4 in the case of sveda, vepathu, vivarnatā and aśru and in the case of the rest the idea alone has been taken. In explaining vyabhicaribhāva-s, the exact definitions are taken by RK from SKA5 in case of smrti, capalatā, vrīdā, avahittha, mada, amarșa, śankā, glāni and unmāda. However RK refers to SKĀ here in defining capalata as said by others (babhanuh pare) apart from his own definition. In the definition of unmāda, RB changes the expression viplava into vibhrama and in vrīdā, gives vrīdānanga instead of vrīdānyanga, according to SKA. The same illustrations have been quoted by RK to explain capalatā, mati, garva, harşa, amarșa, asūyā6 viāda, dainya glāni, jadatā and prabodha7 as have been cited by SKA.8 The idea has

1 RK, p. 2. 2 SKA V. 139, 141. 3 ibid. V. 141. 4 ibid V. 142-145. 5 ibid. V. 146, 149, 151, 152, 153a, 154, 158a, 159. 6 īrsyā in RK text p. 48, 55. 7 Avabodha in RK text p. 48, 58. 8 SKĀ V. 36, 37, 38, 46, 47, 48, 50, 51, 56, 61, 65.

xxxviii RASAKALIKĀ OF RUDRABHAȚȚA

been adopted by RK to define the sāttvikabhāva1 such as stambha, romāñca vaisvarya and pralaya and the vyabhicāribhāva-s2 such as mati and trāsa from SKĀ only. SKĀ describes bhāva, hāva, helā etc. as the natural graces found in both men and women3 and līla, vilāsa, vicchitti etc. as the natural graces of women alone.3 But RK has a different approach and explains only eighteen types of these bhāva, hāva, helā etc. as the types of cesta, one of the four types of uddipanavi- bhāva-s. RK quotes the same illustrations to explain vicchitti, kilakiñcita and vihrta as given by SKĀ4 to explain the same. Though RK has adopted the 12 stages of love from SKA and explained the same in the context of rasavistara, unlike SKĀ which explains them in this context of vipralambha śrngāra.5 RK quotes the same illustration to explain caksuhpriti and manah- sanga as given by SKA6 to explain these. Thus SKĀ has influenced RK to a certain extent.

The influence of Bhoja's Sr.Pr and ND of Rāma- candra and Gunacandra on the rasa system of RK7 has been dealt with in detail separately in the rasa section.

1 SKĀ v. 142, 143a, 143b, 145. 2 ibid. v. 150a, 157. 3 ibid. v. 41, 42. 4 ibid. v. 154, 156, 161. 5 ibid. v. 98b, 99, 100. G ibid. v. 335, 336. 7 See section IX.

RASAKALIKĀ AND THE EARLY WRITERS XXXiX

Mammata: The different currents of thought of the early rasa school ran into one stream in Mammata's K.Pr. He exemplified the dhvani and dilated upon the nature and theory of rasa. He enumerates also eight orthodox dramatic rasas, in his K.Pr.1 and adds the ninth rasa sānta, apparently as relevant to poetry.2 Mammata acknowledges nirveda as the sthāyin of śanta rasa because, while giving a list of vyabhicāri- bhāva-s, Bharata mentions nirveda first. He seems to think on the lines of Abhinavagupta, that the inten- tion of Bharata in doing so was to show that it can be the sthāyibhāva of santa rasa as the ninth one, which though not applicable in a drama, may apply to a kāvya. However K.Pr. does not expound any original theory but treats in a comprehensive manner the differ- ent theories already existing. He assigns the different poetical elements to the rasa which is taken as the soul of poetry. Hemacandra: He accepts nine rasa-s. He gives three types of vipralambha śrngāra, viz. abhilāsa, māna and pravāsa. He considers karunavipralambha as equal to karuna3 itself. He defines mānavipralambha as pranayerşyābhyām mānah and says that īrşyāmāna is found in women alone.4 This same idea has been expressed by RK also regarding īrsyāmāna. He accepts

'1. See K. Pr. IV. 6. 2 ibid. IV. 12a. 3 Sec Kav.An.II.p.111. (करुणविप्रलम्भस्तु करुण एव). 4 ibid. II. 32, (p. 112).

1x RASAKALIKĀ OF RUDRABHAȚȚA

śanta rasa taking vairāgya etc. as vibhāva, yāga1 etc. as anubhāva, dhrti etc. as vyabhicaribhāva and šama as the sthāyibhava. Hemacandra points out how additional vyabhicārins like dambha, udvega, kșut and trsna which some may propose, could be included in some of the bhava-s already accepted.2 He treats of the varieties and sub-varieties of nāyaka and nāyikā and their characteristics. He clearly defines the anukūla type of nāyaka as ekabhāryo' nukūlah.3

Thus this general survey of the view of the early writers helps us to realize how far they have influenced RK and how far RK has improved upon the earlier views by introducing new and more fully articulated ideas on the subjects on nāyaka-nāyikā and rasa.

1 Kav.An. II. 17. Comm. explains: अहिंसासत्यास्तेयब्रह्मचर्यापरिग्रहाः यमाः । यो. स. II. 30. 2 ibid. p. 128. 3 ibid. VII. 18.

1

V. RASAKALIKĀ AND DAŠARŪPAKA

DR of Dhanañjaya is earlier than RK. RK quotes passages not only from DR, but also from its commen- tary Avaloka by Dhanika.1 However he does not men- tion the names of the works or the authors. Often RK improves upon what is given in DR. Sometimes the view of DR is taken as the pūrvapaksa2 and at times the author of the DR is referred to as eke.

Since the topics dealt with in these two works are closely allied, some sort of similarity of treatment is inevitable. But there are also some differences. Thus DR deals exclusively with dramaturgy while RK deals with kāvya also. DR does not speak of the process in the development of rasa, but RK deals with it in detail. In the enumeration of the general qualities of the nāyaka RK does not agree fully with DR.3 DR does not in- clude śanta as the ninth rasa.4 RK accepts śānta and admits four types of it.5 A concordance of the two works is given below.

1 What is quoted by Dhanika in Avaloka of DR as aT Aa is found in RK. p. 4. 2 See the text RK. p. 80. 3 RK adds the quality of krtajñata, vidagdhatva etc., p. 2. 4 DR IV. 35. p. 148. 5 RK p. 88.

A. CONCORDANCE OF DR WITH AVALOKA AND RK

Prakāśa Page DR. (with reference to Nātya RK (with reference to No. alone) Kāvya also)

II 52 General qualities of the nāyaka Omits the epithets vinitah madhuraḥ śuciḥ vāgmī, priyam- vadah and śūraḥ; but adds mahābhāgyam, vidagdhatva and kṛtajñatā. II 52-53 Definition and illustrations of All the qualities are defined only a few qualities are given and illustrated. by Dhanika.

54 Four types of nāyaka-s (dhīrodātta Yes etc.) defined

II 60 Types of śrngāranāyaka-s and their Yes definitions

II 62 Companions of the nāyaka Yes

II 63 Pratināyaka No

II 63-65 Sāttvika guņas of nāyaka (i.e. No eight manly qualities that spring from one's nature) and their definition. II 66 Three types of nāyikā-s Yes II 66 Definition of svīyā type of nāyikā Yes II 67 The 3 sub-varieties of svīyā, viz. The three sub-varieties, viz. mugdhā, madhyā and pragalbhā CONCORDANCE defined. mugdha etc. are given under svā and anyā types of nāyikā, and defined. II 68 The threefold classification of The three types come under nāyikā according to their māna, both madhyā and pragalbhā viz. dhīrā, madhyā and adhīrā according to their mana. They under the madhyā type of svīyā. are called dhīrā, adhīrā and parușā corresponding to dhīrā, madhyā and adhīrā respectively of DR. II 70 Definition of pragalbhā type of Yes nāyikā. II 70 Definition of dhīra, madhya and Definitions of dhīrā, adhīrā and xliii adhīrā. paruşā.

xliv Prakāśa Page DR. (with reference to Nātya RK (with reference to No. alone) Kāvya also)

II 71 Jyesthā and kanișthā types of No such classification. nāyikā under madhyā and pragal- RASAKALIKĀ OF RUDRABHATTA bhā type of svīyā. (Thus svīyā other than mugdha are said to be 12 in number) II 72 anyā nāyikā subdivided to kanyā Yes (kanyā and praudhā) and ūdhā. II 73 Definition of sādhāraņastrī Yes II 74 Eight varieties of nāyikā Yes, as varieties of śrngāra- according to their relation to nāyikā. nāyaka II 75-77 Definitions of these eight Yes varieties. II 79 Messengers of nāyikā Yes (omits kārū type) II 80 The twenty natural graces of Yes. But 18 in number and in nāyikā (bhāva, hāva, helā etc.) of the context of cesta one of the these, three explained as śarīraja, four types of Uddīpanavibhāva. seven as ayatnaja, and the rest ten as svabhāvaja.

II 80-87 Definitions of the twenty Definitions of the 18 types of natural graces of nāyikā. ceșțā. II 87 Assistants of a royal hero No

II 87-88 Definitions of the assistants of No a royal hero. II 88 Grouping of characters according No to rank. · CONCORDANCE II 96 Language of the various characters No IV 121 Sentiments and their production Yes

IV 121 Definition of (the development of) Yes the rasa IV 121 Determinant state defined Yes

IV 122 Definition of consequent states Yes

IV 123 The nature of cause and effect No (kāryahetubhāva) between vibhāva and anubhāva IV 124 Definition of bhāva No

IV 124 Bhāva as different from Yes xlv sāttvikabhāva explained.

xlvi Prakāśa Page DR. (with reference to Natya RK (with reference to No. alone) Kāvya also)

IV 125 Enumeration of eight sāttvika- Yes bhāva. RASAKALIKĀ OF RUDRABHAȚȚA IV 125 Definition of vyabhicāribhāva as Yes the waves emerging and sub- merging in the ocean of sthāyi- bhāva-s.

IV 126 Enumeration of the 33 Vyabhicāri- Yes bhāvas.

IV 126 Definitions of the vyabhicāri- Yes bhāvas.

IV 142 Definition of sthāyibhāva Yes

IV 147 Enumeration of eight sthāyibhāvas Yes. Nine sthāyibhāva-s given. śama, the sthāyibhāva of śānta, is Santa rasa is accepted with not accepted here as it cannot reference to both kāvya and be represented in nātya. (śama- nāțya. mapi kecitprāhuḥ pușțirnātyeșu naitasya IV-35).

IV 149 Importance of sthāyibhāva as a No unifying factor for the production : of rasa in a drama, explained. IV 154 Importance of sthāyibhava and No its predominant position; that of a verb in a sentence. IV 160 Spectator as a rasika is the per- No. Here the original hero ceiver of the rasa. The sthāyi- bhāva becomes rasa neither from and the heroine alone are the

the character of the hero to be substratum of rasa. CONCORDANCE imitated, nor from kāvya aiming at the productions for rasa but from the rasika's own capacity for appreciation and enjoyment. (IV. 38-39) IV 160 Actor playing the role of a dhīrodātta hero like Rāma, No such explanation

displays the sthāyibhāva like rati and this gives pleasure to the spectator (IV. 40) IV 161 The actress playing the role of Yes xlvii the heroine on the other hand,

xlviii Prakāśa Page DR. (with reference to Nātya RK (with reference to No. : alone) Kāvya also)

IV 161 productive of sentiment without regard to their personal character- RASAKALIKĀ OF RUDRABHAȚȚA istics (IV. 41)

IV 162 Aesthetic enjoyment by spectators No through their own imaginative effort on seeing the performance from watching characters like Arjuna on the stage, compared with children enjoying themselves with toys (IV. 41-42). IV 162 Pleasure (āsvāda) is not precluded No on the part of the actor, since he does realize the meaning of the passage he is representing (IV. 42) IV 162 Fourfold character of sentiment No (IV. 43-44) IV 164 Definition of sānta rasa or Yes śamaprakarșa (IV. 45)

IV 165 rasa defined with respect to Sentiments defined with respect poetry (IV. 46) to both kāvya and nāțya. D IV 166-70 Definition of erotic sentiment Yes

IV 170 Three varieties of the erotic Two varieties of erotic senti- sentiment, viz. ayoga, viprayoga ments, viz. sambhoga and vipra- and sambhoga. lambha. IV 171 Definition of ayoga Definition of viprayoga (or CONCORDANCE vipralambha) given here is the same as that of ayoga of DR. IV 171 Ten stages, enumerated and 12 stages enumerated and de- defined in the context of ayoga fined in the context of the type of śrngāra. process in the development of the rasa (rasavistāra). IV 171 Definition of abhilasa, one of the Definitions of caksuhprīti and ten stages. manahsanga can stand equal to that of abhilāsa explained in DR. IV 172 Definition of cintã (the rest of Yes (all the 12 stages are the ten stages are not defined) defined.) IV 172 Definition of viprayoga Yes. But that stands equal to xlix that of ayoga.

Prakāśa Page DR. (with reference to Nātya RK (with reference to No. alone) Kāvya also)

IV 172 Two varieties of Viprayoga, viz. Here māna and pravāsa are two māna and pravāsa. of the four varieties of viraha RASAKALIKĀ OF RUDRABHAȚȚA type of Srngāra (the other two being pūrvānurāga and karu- ņātmaka) IV 172 Two types of māna, viz. praņa- Yes yamāna and īrşyāmāna. IV 173 Definition of pranayamāna Yes IV 173 Definition of īrsyāmāna Yes (identical) IV 174 Six expedients to rectify the Yes resentment or māna, viz. sāma, dāna, bheda, nati, upekșā and rasāntara. IV 175 Definition of sāma etc. Yes (almost identical) IV 176 Definition of pravāsa type of Yes (identical) viprayoga IV 176 Three varieties of separation Yes due to business

IV 177 That due to confusion defined Yes

IV 177 That due to curse Yes

IV 177 Distinction between karuna rasa The same idea is echoed here and vipralambha śrngāra in the but recognized as a special case of the death of a beloved varicty of vipralambha śrngāra explained. karuna: no mention of this is made in DR. This must not be confused with the rasa known CONCORDANCE The types of nāyikā-s under as karuņa. IV 178 No praņayamāna and pravāsa. IV 178 sambhoga and its characteristics Yes defined and described. IV 178 ceșțā-s of nāyikā-s in sambhoga- No śrngāra, described. IV 179 The nāyikā of sambhoga, described. No IV 179 Definition of vīra rasa Yes. Three varieties of heroic sentiment mentioned here. IV 180 Definition of bībhatsa rasa Yes. Two varieties of bībhatsa are mentioned. IV 181 raudra rasa defined Yes.

lii Prakāśa Page DR. (with reference to Nātya RK (with reference to No. alone) Kāvya also)

IV 182-183 Definition of hāsa and its six Yes. Four varieties of laugh- varieties viz., smita, hasita, ter, viz. smita, hasita, vihasita RASAKALIKĀ OF RUDRABHAȚȚA vihasita, upahasita, apahasita and and upahasita (also named as atihasita. atțahāsa defined. IV 183 The vyabhicārin of hāsya rasa Yes

IV 183 Definition of adbhuta rasa Yes

IV 183 Definition of bhayānaka rasa Yes IV 184 Definition of karuna rasa Yes

IV 184 Prīti, bhakti etc. and mrgayā, No aksa etc. referred to

B. PARALLEL PASSAGES IN DR, DHANIKA'S AVALOKA AND RK

Ref. No. DR with Avaloka with RK Ref. No. in DR in RK

II. p. 52 "त्वचं कर्णः शिबिर्मांसम्" etc. quoted Same is quoted to illustrate औदार्य to illustrate the quality of त्याग p. 3 II. p. 54 प्रारभ्यते न खलु etc. quoted to illus- Same quoted to illustrate sa trate स्थैर्य. p. 5 II. p. 55 आहूतस्याभिषेकाय etc. quoted to illustrate उदात्त type of hero. Same to illustrate गाम्भीर्य quality of धीरोदात्त p. 7 II. p. 60 गूढविप्रियकृच्छठ: गूढविप्रियकृच्छठः p. 12 II. p. 62 एकविद्यो विटश्चान्यो हास्यकृच्च विदूषकः "एकविद्यो विटः स्मृतः । "हास्यप्रायो विदुषकः" p. 13 II. p. 64 व्यवसायादचलनं स्थैर्य विघ्नकुलादपि व्यवसायादचलनं धैर्य विघ्नकुलादपि। p. 5 II. p. 65 अधिक्षेपाद्यसहनं तेजः प्राणात्ययेष्वपि अधिक्षेपाद्यसहनं तेजः प्राणात्ययेष्वपि। p. 5 II. p. 66 स्वान्या साधारणस्त्रीति तद्गुणा नायिका त्रिधा। स्वान्या साधारणी चेति तद्गुणा नायिका त्रिधा। p. 14 II. p. 73 साधारणस्त्री गणिका कलाप्रागल्भ्यधैर्त्ययुक् सामान्यवनिता वेश्या कलाप्रागल्भ्यधैर्ययुक p. 15 II. p. 76 चिरयत्यव्यलीके तु विरहोत्कण्ठितोन्मना: Same illustration here too Here सखि स विजितो विणावाद्यैः etc.is quoted as illustration. p. 23

liv Ref. No. DR with Avaloka Ref. No. in DR with RK in RK

II. p. 76 ज्ञातेऽन्यासङ्गविकृते खण्डितेर्ष्याकषायिता Same illustration p. 24 II. p. 76 निश्वासा etc. quoted under Same illustration RASAKALIKĀ OF RUDRABHAȚȚA Kalahāntaritā p. 24 II. p. 77 उत्तिष्ठ दूति यामो quoted under Same illustration Vipralabdhā p. 23 II. p. 77 दूरदेशान्तरस्थे तु कार्यतः प्रोषितप्रिया। Illustrations quoted is आ दृष्टि- देशान्तरगते कान्ते खिन्ना प्रोषितभर्तृका। Same illustration प्रसरात् प्रियस्य etc.from Amarusataka p. 25 II. p. 77 कामार्ताभिसरेत् कान्तं सारयेद्वाभिसारिका। Illustration quoted-उरसि निहित. स्मरार्ताभिसरेत् कान्तं ... etc. Same illustrations from Amaru and न च मेऽवगच्छति from Siś. V. p. 26 II. p. 79 दूत्यो दासी सखी कारुर्धातियी प्रतिवेशिका । दूती दासी सखी चैव धात्रेयी प्रातिवेशिनी लिङ्गिनी शिल्पिनी स्वं च नेतृमित्रगुणान्विता। लिङ्गिनी शिल्पिनी स्वा च नेतृमित्रगुणान्विताः। p. 26-27 II. p. 81 Illustration for भाव (one of the Same illustration for भाव and हाव so natural graces. शरीरज-type) is दृष्टिः सालसतां विरभत। etc. p. 34

II. p. 82 Illustrations for माधुर्य is सरसिज- Same for माधुर्य (one of the 18 चेष्टा मनुविद्धं etc. types of उद्दीपनविभाव). II. p. 84 p. 35 ज्वलतु गगने etc. quoted for धैर्य Same illustration p. 35 II. p. 85 अन्नान्तरे किमपि etc. quoted for वरिलास Same illustration p. 37 II. p. 85 विभ्रमस्त्वरया काले भूषास्थानविपर्ययः Same illustration

II. p. 85 (DR. II. 39) Illustration अभ्युद्गते शशिनि Same illustrations p. 37

PARALLEL PASSAGES कोधाश्रुहर्षभीत्यादेः सङ्करः किलकिन्चितम् Same किलिकिन्चितम्

II. p. 86 (DR. II. 34) मोट्टायितं तु त्भावनेष्टकथादिषु। यथा Same illustration p. 37

चित्रवर्तिन्यपि नृपे etc. यथा वा ममेव --

II. p. 86 'स्मरदवथुनिमित्तं' etc. गर्वाभिमानादिष्टेऽपि बिब्बोकोऽनादरक्रिया Same illustration p. 38 p. 39 II. p. 87 सुकुमाराङ्कविन्यासो मसृणो ललितं भवेत्। Same illustration Dhanika illustrates his own verse: सभ्रूभर्ङ्ग करकिसलय etc. IV.p.121 विभावैरनुभावैश्च सात्त्विकैर्व्यभिचारिभिः Variant स्वादुत्वं स्थायिभाव: p. 40

आनीयमान: स्वाद्यत्वं स्थायी भावो रसः स्मृतः p. 1 IV. p. 122 अस्या: सर्गविधौ etc. quoted for Same आलम्बनविभाव p. 32 IV. p. 126 तत्त्वज्ञानापदीर्ष्यादेनिर्वेदः स्वावमाननम्। तच्च ज्ञानापदीर्ष्यादेनिर्वेदो निष्फलत्वधीः । तत्र चिन्ताश्रुतिः श्वासवैवर्ण्योच्छ्वासदीनताः । p. 48 lv

lvi Ref. No. DR with Avaloka with RK Ref. No. in DR in RK

IV. p. 126 तत्त्वज्ञानान्निर्वेदो यथा-प्राप्ताः श्रियः Same RASAKALIKA OF RUDRABHAȚȚA quoted by Dhanika न्यक्कारो ह्ययमेव for ईर्ष्यातः p. 49 IV. p. 128 ह्रिया सर्वस्यासौ etc. quoted under Same शङ्का p. 50 IV. p. 128 श्रमः खेदोऽध्वरत्यादेः स्वेदोऽस्मिन्मर्दनादयः Same p. 50 IV. p. 128 वयमिह परितुष्टा etc. Same p. 52 IV. p. 129 अप्रतिपत्तिर्जडता स्यादिष्टानिष्टदर्शनश्रुतिभिः । Variants: अप्रतिपत्तिः ... दर्शनस्पर्शनादिभिः; अनिमिषनयननिरीक्षणतूष्णींभावादयस्तव् ।। अनिमिषनयनवीक्षण; IV. p.129 प्रसत्तिरुत्सवादिभ्यो हर्षोऽश्रुस्वेदगद्गदाः । . p. 51 प्रसक्तिरुत्सवादिभ्यो हर्षोऽश्रुस्वेदशिर: कम्पस्तर्जनं ताडनादयः । p. 53 IV. p. 130 दुष्टेऽपराधदौर्मुख्यक्रौयेश्चण्डत्वमुग्रता। दृष्टेऽपराधे दौर्मुख्यं शौर्य चण्डत्वमुग्रता । तत्न स्वेदशिरःकम्पतर्जनाताडनादयः ।। (DR. IV. 15) तत्र स्वेद: शिर:कम्पस्तर्जनं ताडनादयः ।। p. 53 IV. p. 130 न्यानं चिन्तेहितानाप्तेः शून्यताश्वासतापकृत् । Variant:चिन्ताहिता; same illustration Illustrations अस्तमितविषयसङ्ग etc. q. by Dhanika under चिन्ता p. 54

IV. p. 134 "हावहारि हसितं" q. by Dhanika Same illustration. under Mada IV.p. 136 "पटालग्ने पत्यौं" q. by Dhanika p. 57 Same illustration. for ब्रीड p. 59 IV. p. 136 आवेगो ग्रहृदु:खाद्यैरपस्मारो यथाविधिः । आवेगग्रहदुःखाद्यैरपस्मारः प्रजायते।

(DR. IV. 25) भुपातकम्पदुःस्वेदलालाविकृतलक्षणैः । p. 60 PARALLEL PASSAGES IV. p. 136 मोहो विचित्तता भीतिदुःखावेशानुचिन्तनैः । मोहस्तु मूर्छनं भीति: rest identical. Same तन्नाज्ञानश्रमाघातघुर्णनादर्शनादयः ।। illustration. (DR. IV. 26) तीव्राभिषङ्गप्रभवेन etc. q. by Dhanika IV. p. 138 पौलस्त्यपीनभुजसम्पदुदस्यमान etc. Same illustration under आवेग p. 59

quoted under आवेग due to उत्पात caused by बात IV. p. 139 तर्को विचार: सन्देहात् भ्रूशिरोङ्गुलिनर्तकः । Variants; "भ्रूलताङ्गलि" p. 62 p. 62 IV. p. 140 एवं वादिनि देवर्षा q. for अवहित्था Same illustration p. 63 IV. p, 141 कालाक्षमत्वमौत्सुक्यं रम्येच्छारतिसंभ्रमैः। Variant: उत्कण्ठेत्यपरे बिदु: for तत्रोच्छवासत्वराश्वासहृत्तापस्वेदबिभ्रमाः ॥ रम्येच्छारतिसंध्रमैः । (DR. IV. 32) IV. p. 141 आत्मानमालोक्य q. by Dhanika Same p. 64 p. 65 IV. p. 141 मात्सर्यद्वेषरागादेश्चापलं त्वनवस्थितिः । आत्मप्रकाशनपरा चेष्टेति बभणुः परे is तत्र भत्सेनपारुष्यस्वच्छन्दाचरणादयः ।। (DR. IV. 33) added in between these two Ivii lines p. 65

1viii Ref. No. DR with Avaloka with RK Ref. No. in DR in RK

V. p. 169 जगति जयिनस्ते etc. q. for प्रमादात्मा Same q. under रति RASAKALIKĀ OF RUDRABHAȚȚA रतिः। p. 28

V.p.171 तत्नायोगोऽनुरागेऽपि न यूनोरेकचित्तयोः । विप्रयोगोऽनु रागेऽपि यूनोरेकमनस्कयोः । पारतन्त्र्येण दैवाद्वा विप्रकर्षादसङ्ग्मः ॥ (DR. IV. 50) पारतन्न्त्येण दैवेन विप्रकर्षादसङ्गमः । p. 75

V.p. 172 मानोऽपि प्रणयेष्ययो :- DR. IV. 57 मानो द्विविध :- प्रणयमान ईर्ष्यामानश्चेति । p. 77

V. p. 173 स्त्रीणामीर्ष्याकृतो मान: कोपोऽन्यास्ङ्गिनि Variant: कोपो मान: for मानः कोप :. प्रिये। श्रुते वानुमिते दृष्टे श्रुतिस्तत्र सखीमुखात् ।। (DR. IV. 50) p. 78

V.p. 173 उत्स्वप्नायितभोगाङ्कगोत्स्खलनकल्पितः । Variants: 1: उत्स्वप्नङ्कितगात्नाङ्क त्रिधानुमानिको दृष्टः साक्षादिन्द्रियगोचरः ॥ (DR. IV. 60) 2: त्रिधा त्वनुमितो p. 78

V. p. 174 साम्ना भेदेन दानेन नत्युपेक्षारसान्तरैः । Same (De. IV. 61) p. 79

VI. p. 178 तत्न प्रियवच: साम, भेदस्तत्सख्युपार्जनम् । Variants: चाटुवच: (?) दानं व्याजेन भृषादेः पादयोः पतनं नतिः ॥ रसान्तरं त्रासहर्षो (?) उपेक्षावधीरणम् । रभसत्रासहपदिः ... रसान्तरम् ॥। (DR. IV. 62-63) p. 79 VI. p. 178 Dhanika q. his own verse: Same कृतेत्याज्ञाभङ्क under Bheda. p. 79 PARALLEL PASSAGES VI. p. 178 अनुकूलौ निषेवेते यत्रान्योन्यं विलासिनौ। Variant: उदाहृतः for मुदन्वितः । दर्शनस्पर्शनादीनि स संभोगो मुदान्वितः ।। (DR. IV. 69) p. 74

VI. p. 181 Dhanika q. उत्कृत्योत्कृत्य etc, Same under लौकिकबीभत्स for बीभत्स p. 95

VI. p. 184 Dhanika q. स्वगेहात् पन्थानं for Same भयानक p. 94

lix

VI. RASAKALIKĀ AND LATER WRITERS

The debt of the later writers to earlier writers on literary topics is not easily assessed as concepts and definitions tend to be the common stock of writers and are easily cited by them, without reference to specific sources. Besides love literature in Sanskrit repres- ents a long process of evolution on various aspects of the structure and content of poetry and drama, and concepts and definitions tend to be far from individual to particular writers. Several ancient writers in this field have, however, made individual contributions by taking up new ideas or new aspects of old ideas or by closer analysis of ideas. Not the least important of these writers is RB, the author of RK. The nature and significance of RB's contribution in this field form the subject matter of this section. The writers who came after RB have used RK's concepts, definitions and views in their works, though they have not referred to him by name, or cited his work specifically. One or two, like Vāsudeva1 and Salve2 have made specific re- ferences to RB's name, or to his work RK. Literary conventions in citing sources seem to have been rather vague or dependent on individual caprice. However it

1 cf. Vasudeva's commentary on Karpūramañjarī of Rāja- śekhara pp. 3, 29, 31, 32. 2 cf. Salve's Rasaratnākara p. 11 and appendix on 188-9.

RASAKALIKĀ AND LATER WRITERS lxi

is noteworthy that Vidyanatha seems to have taken RK as the foundation of his PR on Nāyakaprakarana and Rasaprakarana.1 The passages wherein his debt is ap- parent are both numerous and significant and his debt to RK is indisputable. But he does not mention RK or its author by name even once! Whatever be the expla- nation of this gross failure to acknowledge an obvious debt, the fact remains that RK and PR are linked in- extricably. The character of the debt and its extent will be set out later. The writers of the great works like R.Su, SD, Sã. Cin etc. have also adopted the con- cepts, illustrations and definitions given by RK., in their works on the topics of nāyaka and nāyikā and rasa. Even these have failed to acknowledge RK as their source, though in some instances they take RK as pūrvapaksa in conducting an argument. VIDYĀDHARA seems to have taken RK as pūrva- pakșa in his exposition of the rasa theory in his Ekāvalī. RB, though he adheres to the theory of suggestion, admits that the rasa acts in the mind of sahrdaya in the form of instincts and it is realized through inference or the imaginative faculty (bhāvanā). RK accepts the remembrance theory (smrtyārūdha) and denies the pos- sibility of the defect of the particular aspect not being understood (Viśesāpratipatti). RK holds that both sāmājika-s and the hero (heroine) are the substratum of the rasa. By adopting both negative and positive

1 See section on influence of RK on PR.

1

lxii RASAKALIKĀ OF RUDRABHAȚȚA

methods1 (anvaya and vyatireka) RB propounds that rasa can be both pleasurable and painful. All these views are refuted by Vidyādhara in his Ekāvali.2 He sticks to the Vyangya theory by including smarana etc. in the sphere of suggestions.3 Though Vidyādhara contests these views of RK, he agrees with the ultimate view of RK,4 affirming that rasa is the great joy experi- enced by the audience ultimately by the imaginative experience of the rasa-s5 or by suggestion. Mallinātha in his commentary on Ekavalī, has cited from RK in two instances.6

BHĀNUDATTA'S RM and RT are devoted ex- clusively to expound näyikā, nāyaka and rasa respec- tively. RK's influence on these works is however slight. The difinition of the madhya type of heroine in RM7 seems however to have been adopted from RK. RM's adhīrā type8 of madhyā is equivalent to parușā type of svīyā given in RK. The idea for the definition of kanyā type of parakīyā heroine in RM9 seems to have been taken from RK. The explanation of the daksina

1 See for details, section IX. 2 cf. Ekāvalī-II pp. 90-93. 3 ibid II. p. 93. 4 cf. RK. pp. 101-2. 5 cf. Ekāvalī II. p. 94-95. 6 See 'Quotations of RK by Mallinatha.' 7 cf. RM. p. 31. 8 ibid. p. 42, 43. 9 ibid. p. 65.

RASAKALIKĀ AND LATER WRITERS Ixiii

type of hero in RM1 also seems to have been adopted from RK. The definition of sthāyibhava in RM is taken from RK.

VIDYĀNĀTHA has, as has been stated earlier, taken RK as his principal basis for his PR on the topic of näyaka and rasa which are modelled after RK.2 SINGABHŪPĀLA has taken much of the signi- ficant views of RK in his R.Su. But nowhere does he refer to the name of the work RK or its author. However, the influence of RK on R.Su is obvious in the chapter of nāyaka and nāyikā and rasa. While citing the verse of DR on the definition of rasa, RK has adopted the reading svādutva instead of svādyatva as given by DR and following the footprints of of RK, R.Su also gives the reading svädutva.3 Almost all the texts before RK give the definition of vibhāva as bhāvaposakrt4 whereas R.Su follows RK defining it as rasaposakrt.5 Following RK, R.Su also explains each concept in a definition with illustrations. The definition of māhābhagya, dhārmikatva and krtajñatva in R.Su7 are taken straight from RK. The exact definition of daksatā and kulīnata8

1 ibid. p. 210. 2 See section VII. 'Influence of RK on PR.' 3 cf. R.Su. I. 58b-59a. 4 DR. IV. 2. 5 cf. R.Su. I. 59b. 7 ibid. I. 64a; 66, 68a. 8 ibid 1. 65, 67a.

lxiv RASAKALIKĀ OF RUDRABHAȚȚA

are also adopted from RK. The definition of gāmbhīrya,1 a quality of dhīrodätta, is also taken from RK. RK is -- the first text to introduce the idea of kāntāparavaśah -- - in the definition of dhiralalita which is adopted by R.Su where it is also called vanitāvaśah.2 The definition of dakşina,3 and of the four assistants of the hero1 seem further to be influenced by RK. It is on the lines of RK. that R.Su deals with nāyika-s as coming under three classes viz. svakīyā, parakīyā and sāmānyā and the de- finition of svīya5 is taken for RK. The ideas for the de- finition of madhyā,6 pragalbhā,7 kanyā8 (one of the two parakīya types) seem also to be taken from RK. The exact dfinition of parodha9 is borrowed from RK. The definition of vesya10 in R.Su is wrongly traced to Rudrata; for it actually occurs in ST. RB, the author of ST and Kav.Al are confused by earlier writers and this confusion is further extended by later writers by --- taking the author of RK as identical with the author of ST.11 A significant point to be noted here is that RK is the first text to speak of four types of uddīpanavibhāva-s and this idea is borrowed by R.Su.12 As given in RK, here also each term is defined13 with illustrations. The

1 ibid I. p, 14. 2 ibid I. 75. 3 ibid I. 82. 4 ibid I. 90, 91, 92a. 5 jbid I. 95. 6 cf. R.Su. I. 98. 7 ibid. I. 101, 102a. 8 ibid. 1. 107. 9 ibid I. 109a. 10 ibid. I. p. 30. 11 PR. IV. p. 159. 12 cf. R.Su. I, 162. 13 ibid. I. 163, 164, 187, 188.

RASAKALIKĀ AND LATER WRITERS lxv

definition of vilāsa,1 vismaya2 (the sthāyibhāva of adbhuta rasa) and rati are taken from RK. The definition of sātvikabhāva1 is taken from RK. Follow- ing RK, R.Su. also does not recognise preyas (or preman) as a separate rasa other than śrngāra.5 Following RK again, R.Su. also speaks of four types of sambhoga6 śrngāra viz. pūrvānurāgānantara, mānānantara, pravāsa and karuņātmaka. The idea of rasābhāsa has been adopted by R.Su.7 from RK. The same illustrations have been quoted in R.Su. as in RK to explain kutta- mita8 and tiryagrāga.9 It retains the reading kilikiñcita as in RK. VIŚVANĀTHA also seems to have drawn on RK for his SD for his exposition of nāyaka and rasa. Even where RK has quoted from DR and SKA, those quotations have been faithfully retained by by SD. We can say that in all these instances, SD10 is influenced by DR and SKA only through RK. The definition of dakşina11 and pragalbhā12 are adopted from RK. The

1 ibid. I. 201. 2 ibid II. 126. 127a. 3 ibid. II. 104. 4 ibid. II. 104. 5 ibid. 11 .169. 6 ibid. II. 190. 7 R.Su. II. 203. 8 ibid. I. 55. 9 ibid. II. 205. 10 SD. III. 53, 54, 145, 169, 171a, 201-203, 204, 210; (these are from DR as retained by SD from RK); III. 136-139, 146, 162, 163 these are from SKA as retained by SD from RK. 11 jbid. III. 35, p. 78. 12 ibid. III. 60, p. 12. E

lxvi RASAKALIKĀ OF RUDRABHAȚȚA

definition of kulata in SD1 seems to be based on the definition of parodhā type of parakīyā given by RK. The definition of sthāyibhāva and rasābhāsa in SD2 echo the definition given by RK. The same illustrations have been cited by SD3 to explain bibboka, kutūhala, hasita, cakita and bahunāyakanisthattva (a type of rasābhāsa) as cited by RK. SD also accepts sama as the sthāyibhāva of śānta.4 VEMABHŪPĀLA'S Sā.Cin.5 seems to follow RK in handling kāvya and nātya though Sā. Cin. differs from RK in the exposition of rasa theory. It contests the view that rasa comes under the cognition of perception (neither nirvikalpa nor savikalpa) or in- ference (since the vibhāva-s are not to be considered as the casuse of the rasa). Sa.Cin holds the view that rasa is anāśraya, since nata and sāmājika cannot be the aśraya. The nata is merely imitating the rasa and the sāmājika is witnessing the temporary imitation by the nata.6 Sa.Cin following RT accepts sama as the sthāyibhāva of śānta.7 It rejects vatsala, sneha and bhakti as separate rasa-s since it believes that they come within the sphere of rati.8 The definition of

1 ibid. III. 66, p. 14. 2 ibid. III. 174, 263. 3 ibid. III. 100, 109a, 190, 110a (p. 20, 21, 22). 4 ibid. III. 245. 5 See Thesis 'Critical Study and Edition of Sa.Cin for first 3 chapters', M. Ramakrishna Sastri. 6 ibid. p. 120-125. 7 ibid. p. 129. 8 ibid. p. 131.

RASAKALIKĀ AND LATER WRITERS lxvii sthāyibhāva1 is adopted from RK. Sā.Cin also explains rati in terms of iccha.2 It has recognised the existence of four types of uddīpanavibhāva3 as held by RK and adds one more, but gives these as the cause for the elevation (utkarsahetuka), of the uddīpanavibhāva and explains how these viz. ālambanaguna, ceșțā, vāk, alamkrti-s and tatastha help in the emergence of the rasa-s. All these five types of uddīpanavibhāva-s are on the same lines as in RK. The definition of samkalpa, the ten stages of love and pranayamāna (one of the two types of mānavipralambha) are taken from RK. Following RK Sa.Cin holds ayoga and viraha instead of pūrvānurāga and karuņātmaka of RK. Vibhāva is explained as given in RK. The illustrations to explain vaisvarya, the dhāțibhāva type of āvega (given as āvega due to enmity in RK) and trāsa cited by Sā.Cin5 are as given by RK. The exact definition of rasābhāsa is quoted by Sa.Cin6 as expounded by RK. AMRTĀNANDAYOGIN, in his Al.S has adopted the views of RK to a certain extent. He accepts nine rasa-s including śānta with reference to both kāvya and nätya7 on the lines of RK. He has adopted the 1 ibid. III. p. 133, v. 57. 2 ibid. III. p. 133. 3 ibid. II. p. 138, 156. 4 Sã.Cin III. p. 167. 5 ibid. III. 149. 184, 187. 6 ibid. III. p. 187. 7 cf. Al.S. II.

lxviii RASAKALIKĀ OF RUDRABHAȚȚA

definitions of cakşuhprīti and samkalpa1 (two kinds of 10 stages of love) from RK. He accepts two types of bībhatsa2 (darśana and vairāgya). Amrtānanda, accepts śama as the sthāyibhāva of śānta. Following RK Al.S gives the term kilikiñcita instead of the term kila- kincita3 of earlier writers. The definitions of daksina4 is adopted from RK. The same illustration is quoted to explain dhiroddhata5 type of hero as in RK.6 SAINT AKBAR SHAH'S Śr.M, ascribed to 17th Cent. A.D., usually refers to the name of his predeces- sors, wherever he quotes their views. He quotes the definitions and views from RM and PR with the source identified. But in certain instances the definitions quoted by Sr.M as found in PR, are not identified with these sources. This points to the probability that the author of Śr.M was familiar with the contents of the text of RK though its name or its author seems not known to him. Sr.M gives importance to the Srngāra rasa alone as its very title suggests. The author discuss- es earlier views and expounds his own new definitions in many instances. Of the earlier works which he utilised, RK was also probably one. The definition of madhya7 is adopetd from RK through PR. The definitions of two types of pragalbha8 coming under svīyā heroine viz., ratiprītimatī and ratyānanda seem

1 ibid. III. 213a 24a. 2 ibid. III. p. 41-51. 3 ibid. IV. 5. 4 ibid. IV. 10. 6 cf. Al.S. IV. 7. 5 See Śr.M. p. 4. 7 ibid. p. 5. 8 ibid. p. 16.

RASAKALIKĀ AND LATER WRITERS lxix

to have been adopted from RK. The definition of vāsakasajjikā1 is as in PR, without reference to the source. RK is the source though PR seems probable. Śr.M specifically refers to the name of the author of PR as pratāparudrīyakāra when he cites the defini- tions like proşitabhartrkā etc. But there is no reference to the sources when he quotes the definitions of kalahāntaritā2 and its variety of praņayakalahāntaritā.3 Perhaps they have been taken from RK. The defi- nition of pranayakalahāntaritā in Śr.M. is equivalent to the definiton of pranayamāna type of mānavipralambha in RK. The definition of sthāyibhava4 in Śr.M's views on rasa seem to have been influenced by those of RK. It holds that rasa is worldly (laukika) with reference to nāyaka (nāyikā) and transcendent (alaukika) regarding the samajika-s.5 Though RK's influence on Sr.M seems slight, it is very significant. It is curious that all the above-mentioned later writers, though apparently influenced by RK, have not referred to the name of the text or its author definitely anywhere. However some of them seem obviously to confuse the authors of RK and ST, ragarding these works to be by Rudrabhatta. They trace the source wrongly to ST or to DR as it is the source for RK. However the citations made above suggest that RK was 1 ibid. p. 28. 2 ibid. p. 28. 3 Sr.M. p. 52. 4 jbid. p. 52. 5 cf. Śālva's Rasaratnākara p. 11 'Rudrabhațțanna rasaka- likayol '.

1xx RASAKALIKĀ OF RUDRABHAȚȚA

highly regarded once. But the royal patronage enjoyed by Vidyānātha's PR, probably threw RK into the shade. It seems nevertheless clear that the influence of RK on later writers was significant and great. ŚALVA: There are two works, apart from the above-mentioned works of the later writers, which did refer either to the name of the text or its author. Salva in his Rasaratnākara,1 a Kannada work, specifically refers to the name of the work RK and its author Rudrabhatța. Besides this, Sālva quotes several verses from RK2 and its author. He says that RB holds four types of uddīpanavibhava.3 He explains them on the lines of RK. Salva refers to RB along with other scholars like Amrtānanda Yogin, Vidyānātha and others.4

VĀSUDEV A of Maharashtra in his commentary on Rājaśekhara's Karpūramañjarī, has cited definitions of certain terms referring them to RK. He however gives only the name of the text and not the name of its author. He quotes the definitions given by RK in six instances.5 He cites the definition of īrsyā, svādhīnabhartkā,

1 cf. Śālva's Rasaratnākara pp. 7, 15, 16, 17, 18, 30, 31, 32, 33, 36, II. 104. 2 See also appendix to the edition of Rasaratnākara (Madras University), pp. 188-89. 3 ibid. p. 11. v. 90. 4 ibid. p. 8. 5 See S.K. De, History of Sanskrit Poetics Vol. II, p. 318.

RASAKALIKĀ AND LATER WRITERS 1xxi

pralaya and moha referring to the source as RK.1 1 In two instances, Vāsudeva wrongly traces the source to Bharata's NS. These are actually found in RK and not in NŚ.

1 cf. Vāsudeva's commentary on Karāpūramañjarī p. 5, 29, 32.

VII. QUOTATIONS OF RK BY MALLINĀTHA

Some quotations found in the commentaries of Mallinātha on classical masterpieces like Śiś.V and Ku.S. and in his commentary Tarala on Vidyādhara's Ekāvalī can be traced to RK. Besides this, RK quotes verses from Kālidāsa's Ku.S. to illustrate his definitions and Mallinatha quotes these same definitions of RK in his commentary on those verses. So it seems very probable that Mallinatha following this practice in regard to Ku.S. quotes these definitions from RK in his commentary on Siś.V and Ekāvalī. A list of Mallinatha's citations from RK is given below: 1. Śiś.V II 16 Comm. runs as follows:

अन्यासामीर्ष्याभावोदयमाह अन्या अप्रक्षिताङ्गना आहि- तर्ष्याः कृताक्षमाः सत्यः । "परोत्कर्षाक्षमेर्ष्या स्यात्" इति लक्षणात्।1 The same definition is found in the commentary on Śiś.V VII 36 also:

तेन कर्ता करोदकेनाञ्जलिजलेन सिच्यमाने सति ईर्ष्यया असहमानायाः 'परोत्कर्षाक्षमेर्ष्या स्यात्' इति लक्षणात् ॥

1 cf. Vāsudeva's commentary on Karpūramañjarī p. 5. RK p. 55.

QUOTATIONS OF RK BY MALLINĀTHA lxxiii

It is also noted here that it is only in RK that it is termed as īrsyā whereas in all the other works it is given as asūyā. 2. Śiś.V VII, 13-Comm. एषा च नायिका स्वाधीनपतिका "स्वाधीनपतिका सा तु यां न मुञ्चति वल्लभः" इति लक्षणात्।1 3. Śiś.V VII, 4-Comm. "अत्न नखरुचीत्यालम्बनगुण उक्तः । गतागतं दधाना अस्खलदिति तच्चेष्टा। मुखरितवलयमिति तदलङकृतिः तट- स्थास्तृक्ता वसन्तादयः । अन्यत्र विस्तारत इति चतुर्विधोऽप्युद्दी पनक्रम उक्तः । उक्तं च- आलम्बनगु णश्चैव तच्चेष्टा तदलङ्कतिः । तटस्थाश्चेति विज्ञेयश्चतुर्थोद्दीपनक्रमः ॥ तत्नालम्वनं रसस्य समवायिकारणं नायिका नायकश्च। तद्गुणो रूपलावण्यादि: तच्चेष्टा भावहावादिः । अन्यत्सुगमम् ।2 Here also it is noteworthy that RK is the first to explain bhāva, hāva etc. under the Cesta type of uddīpanavibhāva3 unlike the earlier works which speak of bhāva, hāva etc. as the natural graces of women.4

1 cf. Vāsudeva's Comm. on Karpūramañjarī p. 5; text p. 22. 2 cf. Sce Text RK p. 32; This verse is wrongly traced to ST by PR which is actually found in RK. 3 ibid. p. 33. 4 cf. DR 11. p. 30-39.

1xxiv RASAKALIKĀ OF RUDRABHAȚȚA

4. Śiś.V III. 14, 57, IX 56-Comm. नायिका तु कलहान्तरिता। "कोपात् कान्तं पराणुद्य पश्चात्तापसमन्विता" इति लक्षणात् ।1 5. Śiś.V XIII. 31-Comm. अत्र कुतूहलाख्या चेष्टोक्ता। "कुतूहलं रम्यदृष्टौ चापल्यं परिकीर्तितम्" इति लक्षणात्। Here also it is to be noted that RK is the first text that brings kutūhala as one of the cestā types of uddīpanavi- bhāva.2 This is clearly pointed in the commentary of Mallinātha:

कुतूहलाख्या चेष्टोक्ता। 6. Śiś.V XIII. 32-Comm. एतेन बिभ्रमाख्या चेष्टोक्ता। "विभ्रमस्त्वरया काले भूषास्थानविपर्ययः" इति लक्षणात्।3 7. Śiś.V XIII. 40-Comm. अयं च तात्कालिकविकाराणां विलासाख्यो भावो यत् कटाक्षवीक्षणम् । "तात्कालिको विकारः स्याद् विलासोऽङ्ग- क्रियादिषु" इति दशरूपकात् ॥। Here it is wrongly traced to DR but is actually found in RK.4

1 RK. p. 24. 2 RK. p. 40. 3 RK. p. 37. 4 cf. Vāsudeva's Comm. on Karpūramañjarī p. 31. Here the definition is wrongly traced to Bharata, which is not found there but in RK.

QUOTATIONS OF RK BY MALLINĀTHA lxxv

8. Śiś.V XIV. 50-Comm. अन्यत्र भावाः स्थायिनो रत्यादयस्तेषां शुद्धेः सजातीय- विजातीयातिरस्कृतरूपत्वम्- सजातीयैविजातीयैरतिरस्कृतमूर्तिमान् ।1 यावद्रसं वर्तमान: स्थायिभाव उदाहृतः ॥ इति लक्षणात्। 9. Śiś.V XV .- Comm. अत्नामर्षानुभावो वागारम्भः । "क्रोधः कृतापराधेषु स्थिरोऽमर्ष इतीर्यते ॥2" इति। 10. Śiś.V XV. 64 Comm. एतेनास्य बलगर्वो व्यज्यते। "आत्मोत्कर्षान्यधिक्कारो बललावण्यभूतिभिः ।" इति लक्षणात् ॥2 Mallinatha's quotations of RK in the commentary on Ku.S. 1. Ku.S, VII. 9-Comm. निर्वचनमित्यनेन विहृताख्यः शृङ्गारानुभाव उक्तः । तदु- क्तम्-"प्राप्तकाले तु यद्ब्रूयात् कुर्याद्वा विहृतं हि तत्" इति4। अनेन अवहित्थाख्यः सञ्चारी भाव उक्तः । तदुक्तम्- "अवहित्था तु लज्जादेर्हर्षादाकारगोपनम् ।" इति।

1 RK. p. 36. 2 ibid. p. 27 This verse is wrongly traced to DR by Vidyā- natha in PR. 3 ibid. p. 55. 4 ibid. p. 56. 5 ibid. p. 41.

lxxvi RASAKALIKĀ OF RUDRABHAȚȚA

2. Ku.S. VI. 84. अनेन अवहित्थाख्यः सञ्चारी भाव उक्तः । तदुक्तम्- "अवहित्था तु लज्जादेर्हर्षादाकारगोपनम् ।" इति

3. Ku.S. VII. 22. अनेन कालक्षमत्वलक्षणमौत्सुक्यमुक्तमित्यनुसन्धेयम् ॥

4. Ekāvalī III. p. 106-Comm. "परोत्कर्षाक्षमेर्ष्या स्याद्दौर्जन्याद् गदतोऽपि वा" इति लक्षणात् ।।1 2. Ekāvalī III. p. 106-Comm. 'अत्र रावणस्य सीतायां विप्रलम्भशृङ्गारः प्रतीयते। अस्याभासत्वं व्यनक्ति। अत्रेति-

एकत्रैवानुरागश्वेत् तिर्यङ्म्लेच्छगतोऽपि वा। योषितो बहुसक्तिश्चेद् रसाभासस्त्रिधा मतः ॥2 Here it is worthy of note that RK is the first text2 to propound this definition of rasābhāsa which was followed by later writers.3

All the points made above show that RK was significantly influential in shaping concepts and thoughts of many later writers in the field of Alamkāra Sāstra.

1 RK p. 55. 2 ibid. p. 88. 3 cf. PR IV. p. 163. Sa.Cin. IlI p. 187.

VIII. INFLUENCE OF RASAKALIKĀ ON PRATĀPARUDRĪYA

The entire scheme of the PR seems to be modelled after RK as far as the nāyakaprakarana and the rasa- prakarana are concerned. In fact many of the kārikā-s and some of the important expressions in the vrtti of RK are copied verbatim by PR. Sometimes even passages quoted by RK from other authorities are also found faithfully retained by PR.

There cannot be any doubt as to who is indebted to whom; for, while Vidyanatha, author of PR flourished under Kākatīya king of Telengana, Pratāparudra Deva, in the first quarter of the 14th Cent. A.D., Rudra- bhatta, the author of RK, lived much earlier, as has been shown in section III, towards the beginning of the 13th Cent. A.D. Perhaps royal patronage helped PR to outshine and even eclipse many works like RK which formed its basis.

Here, it will be useful to make a detailed examina- tion of the correspondence between RK and PR to show how far RK has influenced PR; PR has taken the views and sometime even the exact definitions from RK while dealing with the classifications of nāyaka and nāyikā and in the discussion of rasa, often quoting the verses without mentioning RK or its author. At times

lxxviii RASAKALIKĀ OF RUDRABHAȚȚA

Vidyānātha confuses the author of ST and RK, both being called Rudrabhatta and he traces some verses wrongly to ST though they are actually found in RK and not in ŚT. Here are a few examples.

तथा चोक्तं शृङ्गारतिलके- आलम्बनगुणश्चैव तच्चेष्टा तदलङकृतिः । तटस्थश्चेति विज्ञेयश्चतुर्धोद्दीपनक्रमः ॥ PR. IV. p. 159. आलम्बनगुणो रूपयौवनादिरुदाहृतः ।

Rudrabhatta, the author of RK, is the first writer to identify four distinct types of uddīpanavibhāva-s. Again PR wrongly traces to DR, the definition of sthāyibhāva, which is actually found in RK and not in DR.

तथा चोक्तं दशरूपके- सजातीयैर विजातीयैरतिरस्कृतमूर्तिमान्। यावद्रसं वर्तमान: स्थायी भाव उदाहतः । PR. IV. p. 158. PR of Vidyānātha borrows the definitions of nāyaka and nāyikā mostly from RK. PR starts its nāyaka- prakarana with the enumeration of the general charac- teristics of nāyaka as set out in RK. महाकुलीनतौदार्यं महाभाग्यं कृतज्ञता। यौवनञ्च विदग्धत्वमुत्साहो धैर्यमेव च।। तेजस्विता दक्षता च धार्मिकत्वमुदाहृतम्॥ RK. p. 2.

RASAKALIKĀ ON PRATĀPARUDRĪYA lxxix

महाकुलीनतौज्ज्वल्यं महाभाग्यमुदारता। तेजस्विता विदग्धत्वं धार्मिकत्वादयो गुणाः ।। PR. I. p. 8. It is clear from the above that PR adopts not only the ideas but the very words too from RK, retaining the additions given in RK from DR.1 Vidyānātha gives the same definitions in explain- ing some of the above qualities of nāyaka as in RK. (1) महाकुलीनता नाम कुले महति सम्भवः । PR. I. p. 8; RK. p. 2. (2) विश्वम्भराधिपत्यं यत्तन्महाभाग्यमुच्यते। PR. I. p. 9. (3) धर्मैकायत्तचित्तत्वं धार्मिकत्वमुदहृतम् । PR. I. p. 11; RK. p. 6. PR has taken the types of śrngāranāyaka and their definitions from RK. 1. एकायत्तोऽनुकूलस्स्यात्। PR. I. 18; RK. p. 11. 2. तुल्योऽनेकत्र दक्षिणः। यः पुनरनेकासु नायिकासु स्नेहतौल्यवैषम्येऽपि तुल्यः स दक्षिणः ॥ RK. p. 11-12. तुल्योऽनेकत्र दक्षिणः । अनेकासु नायिकासु अवैषम्येण स्नेहानुवर्ती दक्षिणो नायक: । PR. I. p. 18. 1 DR. II. p. 52 (V. No. 1. 2).

1xxx RASAKALIKĀ OF RUDRABHAȚȚA

3. गूढविप्रियकृत शठः । य इतरैरज्ञातं नायिकामात्नपरि- ज्ञातं विप्रियं करोति स शठः । RK.p.12.

गूढविप्रियकृच्छठः। नायिकामात्रविदितविप्रियकारी 3TE: 1 PR. I. p. 20.

Here the definition of satha quoted by RK from DR1 is found faithfully retained by PR, at the same time PR borrows the idea of the explanatory portion from RK.

The types and definitions of messengers in PR are also taken from RK. This is one of the points which stresses the fact that PR leans fully on RK for its exposition of nāyakaprakaraņa and rasaprakaraņa. DR which influences PR on other chapters like nāta- kaprakarana etc. has little influence on the chapters of nāyaka and on rasa. For, DR has enumerated only three types of messengers whereas RK has four types, which are borrowed by PR.

कि्चिदूनः पीठमर्दः एकविद्यो विटः स्मृतः । संधानकुशलश्चेटो हास्यप्रायो विद्षकः । PR. I. p. 40.

Even most of the definitions of nāyikā-s in general and of śrngāranāyikā in particular found in PR are nothing but a mere reproduction of those in RK. PR

1 DR. II. 7a. 2 ibid. 8, 9a.

RASAKALIKĀ ON PRATĀPARUDRĪYA 1xxxi following RK has faithfully retained the three types of nāyikā viz. mugdhā, madhyā and pragalbhā and their definitions to a certain extent. 1. मुग्धाल्पयौवना मूढा लज्जाविजितमन्मथा। RK. p. 16. उदयद्यौवना मुग्धा लज्जाविजितमन्मथा। PR. I. p. 25. 2. मध्या संलक्ष्ययौवना। RK. p. 16. तुल्यलज्जास्मरा ज्ञेया लज्जामन्मथमध्यस्था मध्यमोदितयौवना।। PR. I. p. 25. The definitions of eight śrngāranāyikā-s in PR are mostly taken from RK. 1. वासकसज्जिका-केलीगृहं तथात्मानं मण्डयन्त्येष्यति प्रिये। RK. p. 22. प्रियागमनवेलायां मण्डयन्ती मुहुर्मुहुः । केलीगृहं तथात्मानं सा स्याद्वासकसज्जिका। PR. I, p. 44. 2. कलहान्तरिता-कोपात् कान्तं पराणुद्य पश्चात्तापसमन्विता। RK. p. 24. कोपात् प्रियं पराणुद्य पश्चात्तापसमन्विता। कलहान्तरिता नाम सूरिभि: परिकीर्तिता ॥ PR. I. 51. F

lxxxii RASAKALIKĀ OF RUDRABHAȚȚA

3. देशान्तरगते कान्ते खिन्ना प्रोषितभर्तृका। RK p.25. देशान्तरगते कान्ते खिन्ना प्रोषितभर्तृका ।। PR. I. p. 24. 4. स्मरार्ताभिसरेत्कान्तं सारयेद्वाभिसारिका। RK. p. 26; PR. I. p 24. Kumārasvāmin in his commentary on PR quotes the above definition of abhisārikā1 but traces it wrongly to DR.2 Coming to the chapter on rasa, Vidyānātha's indebtedness to the RK is quite obvious. As already mentioned PR leans more towards RK than any other earlier work in bringing out the rasa theory. It has borrowed the definition of sthāyibhāva3 from RK but wrongly traces it to DR. which does not contain this definition at all. Following RK, PR has accepted the nine rasa-s and consequently speaks of nine sthāyibhāva-s. Almost all the definitions of the sthāyibhāva-s in PR are drawn from RK. 1. तत्र रतिः -- सा च इच्छाविशेषः । ... स च द्विविधः । सम्भोगविषयः, I1 RK. p. 28. तत्र सम्भोगविषय इच्छाविशेषो रतिः । PR. IV. p. 163. 2. विकृतिजन्मा मनोविकारो हास: i। RK.p. 28. विकृतिदर्शनादिजन्यो मनोविकारो हासः । PR. IV. p. 164.

1 Kumārasvāmin's commentary on PR I. p. 24. 2 DR. II. 27b. 3 PR. IV. p. 158.

RASAKALIKĀ ON PRATĀPARUDRĪYA Ixxxiii

3. परदुःखप्रहाणेच्छ्या तस्यात्मीयत्वापादनम् इष्टवियोगा- दिना आत्मनि दुःखोद्रेको वा शोक: ।। RK.p. 29. इष्टजनवियोगादिनात्मनि दुःखातिभूमिः शोकः । PR. IV. p. 165. 4. परनिकारादिभिः प्रज्वलनं क्रोध: । RK. p. 29. शत्रुकृतापचारेण मनःप्रज्वलनं क्रोध: । PR. IV. p. 165. 5. लोकोत्तरेषु कार्येषु स्थेयान् प्रयत्न: उत्साहः । RK. p. 29. लोकोत्तरेषु कार्येषु स्थेयान् प्रयत्नः उत्साहः । PR. IV p. 166. 6. अनिष्टाशंसनं भीती रौद्रसंदर्शनादिभिः । RK. p.30. रौद्रसंदर्शनादिभिरनर्थाशङ्गनं भयम्। PR. IV. p. 167. 7. जुगुप्सा गर्हणार्थानां दोषसंदर्शनादिभिः । RK.p.30. अर्थानां दोषसंदर्शनादिभिर्गर्हणा जुगुप्सा ।।1 PR. IV. p. 167. 8. विस्मयश्चित्तविस्तार: पूर्वादृष्टविलोकनात्। RK. p. 31. अपूर्वार्थसंदर्शनाच्चित्तविस्तारो विस्मयः ।2 PR. IV. p. 168.

1 Retained by PR as in RK from SKĀ. V. 141. 2 SKA. V, 142.

lxxxiv RASAKALIKĀ OF RUDRABHAȚȚA

9. शमो वैराग्यादिना निर्विकारचित्तत्वम् । RK. p.31. शमो वैराग्यादिना निर्विकारचित्तत्वम्। PR. IV. p. 168.

One more important fact here is that, following the foot-prints of RK, PR faithfully accepts sama as the sthāyibhāva of śānta rasa.

Then comes the definition of vibhāva, RK puts forward the view that vibhava is that which causes the development of rasa by its being recognized, unlike the earlier texts which held vibhava as that which causes the development of states (bhāvapoşakrt)1 by its being recognized. PR has adopted the view of RK in this definition of vibhāva also.

1. अथ विभावः । ज्ञायमानतया तत्र विभावो रसपोषणात्। RK. p. 31. विभाव: कथ्यते तत्र रसोत्पादनकारणम् ॥ PR. IV. p. 158.

PR has borrowed the idea of RK in holding the four types of uddīpanavibhava. It is RK that introduced the four types of uddīpanavibhāva in the school of alamkāra.2 Thus under the influence of RK PR has also referred to the four types of uddīpanavibhāva but wrongly traces this classification to ST which does not contain this at all.

1 DR. IV. 2. 2 Sālve's Rasaratnākara p. 11.

RASAKALIKĀ ON PRATĀPARUDRĪYA 1xxxv

1. उद्दीपनविभावः चतुर्विधः । आलम्बनगुणश्चैव तच्चेष्टा तदलङकृतिः । तटस्थाश्चेति विज्ञेयाश्चतुर्धोद्दीपनक्रमाः ॥ आलम्बनगुणो रूपयौवनलावण्यादिः । RK. p. 32. स (उद्दीपनविभावः) चतुविधः । तथा चोक्तं शृङ्गारति- लके आलम्बनगुणश्चैव तच्चेष्टा तदलङकृतिः । तटस्थश्चेति विज्ञेयश्चतुर्धोद्दीपनक्रमः ॥ आलम्बनगुणो रूपयौवनादिरुदाहृतः । PR. IV. p. 159. PR has borrowed from RK in explaining and defining the eighteen varieties of cesta, one of the four types of uddīpanavibhāva, viz. bhāva, hāva, helā etc. Early texts like DR and ST describe these bhāva, hāva, hela etc. as the natural graces of women, classified as śarīraja, ayatnaja and svabhāvaja and enumerate twenty varieties.1 It is RK that first omitted the five varieties viz. śobhā, kānti, dīpti, pragalbhatā and audārya that are grouped under ayatnaja in the earlier texts like DR and instead introduced for the first time the three varicties viz. kutūhala, cakita and hasita. It is clear that PR has drawn this new idea from RK.2 PR goes to the extent of maintaining not only varbally the ideas and definitions from RK but even the expression. 1 cf. DR II. 30-33. 2 cf. PR. IV. p. 187.

1xxxvi RASAKALIKĀ OF RUDRABHAȚȚA

What is termed as kilakincita in the earlier texts, is given as kilikiñcita in RK, consequently the same in PR too.1 In PR, most of these definitions are adopted from RK.

1. तत्र रसविज्ञानं भाव: । RK.p. 34. रसाभिज्ञानयोग्यत्वं भाव इत्यभिधीयते।। PR. IV. p. 187.

2. स एव किञ्चिदुपलक्षितविकारो हाव:। RK. p.34. ईषद्दृष्टिविकास: याद्भावो हाव: प्रकीर्त्यते ।। PR. IV. p. 188. 3. स एव सुव्यक्तविकारो हेला। RK. p. 34. सुव्यक्तविक्रियो भावो हेलेति प्रतिपाद्यते। PR. IV. p. 188.

3. अभूषणेऽपि रम्यत्वं माधुर्यमिति गीयते। RK. p. 34.

अभूषणेऽपि रम्यत्वं माधुर्यमिति कथ्यते। PR. IV. p. 188.

5. शीलानुल्लङ्घनं धैर्यम्। RK.p.35. शीलाद्यलङ्घनं नाम धैर्यमित्यभिधीयते। PR. IV. p. 189.

6. प्रियानुकरणं लीला वाग्भिर्गत्याथ चेष्टितैः । RK. p. 35.

1 ibid. p. 190.

RASAKALIKĀ ON PRATĀPARUDRĪYA lxxxvii

प्रियानुकरणं लीला वाग्भिर्गत्याथ चेष्टितैः । PR. IV. p. 189. 7. स्तोकभूषणयोगेन विच्छित्तिरतिरम्यता । RK. p. 36. विच्छित्तिरतिरम्यत्वं स्वल्पैरपि विभूषणैः । PR. IV. p. 190. 8. Expression in both RK and PR are fafer- किञ्चितम्। unlike the earlier texts which have the term as किलकिन्चितम् । 9. तात्कालिको विकारः स्याद्दयितालोकनादिषु ।। RK. p. 36. तात्कालिको विकार: स्याद्विलासो दयितेक्षणे। PR. IV. p. 189. 10. मोट्टायितं च त्भावसूचनेष्टकथादिषु । RK. p. 38. मोट्टायितं स्यादिष्टस्य कथादौ भावसूचनम् । PR. IV. p. 191. 11. रत्यादौ प्रियमर्देऽपि सुखबुद्धिर्निरङकुशा। अथवा पीडनादौ सुखे दुःखवदुपचार: कुट्टमितम्। RK. p. 38. संमर्देऽपि सुखाधिक्यं रतौ कुट्टमितम् । PR. IV. p. 171. 12. कुतूहलं रम्यदृष्टौ चापलं परिकीरतितम् । RK. p. 40.

lxxxviii RASAKALIKĀ OF RUDRABHAȚȚA

कुतूहलं रम्यदृष्टौ चापलं परिकीत्यंते। PR. IV. p. 193. 13. चकितं भयसंभ्रमः । RK. p. 40. | PR. IV. p. 193. =

14. आकस्मिकं तु हसितं हसितं न विकारजम्। RK. p. 41. आकस्मिकं तु हसितं यौवनादिविकारजम् ॥ PR. IV. p. 194.

All the eight definitions of Sāttvikabhāva-s in PT and RK are identical.

1. स्तम्भ: स्यान्निष्किरियाङ्गत्वं भयरागादिसम्भवम् । RK. p. 44. स्तम्भ: स्यान्निष्क्रियाङ्गत्वं रागभीत्यादिसम्भवम् । PR. IV. p. 171.

2. प्रलयो रागदुःखादेरिन्द्रियास्तमयो मतः। RK. p. 44. प्रलयः सुखदुखाद्यैर्गाढमिन्द्रियमूर्च्छनम्। PR. IV. p. 171.

3. भयरागादिसंभूतो रोमाञ्चो रोमविक्रिया। RK. p. 45. सुखाद्यतिशयाज्जाता रोमाञ्चो रोमविक्रिया। PR. IV. p. 172.

4. वपुर्जलोद्गमो स्वेदो रतिघर्मश्रमादिभिः । RK. p. 45.

1

RASAKALIKĀ ON PRATĀPARUDRĪYA 1xxxix

वपुर्जलोद्गमो स्वेदो रतिघर्मश्रमादिभिः ॥ PR. IV. p. 172. 5. विषादमदरोषादेर्वर्णान्यत्वं विवर्णता। RK. p. 46. विषादमदरोषादेर्वर्णान्यत्वं विवर्णता। PR. IV. p. 172. 6. रागरोषभयादिभ्यः कम्पो गात्रस्य वेपथुः । RK. p. 46. रागरोषभयादिभ्यो वेपथुर्गात्रकम्पनम् । PR. IV. 172. 7. अश्रु नेत्रो्द्वं वारि दुःखशोकप्रहर्षजम् । RK. p. 46. दुःखरोषप्रहर्षजम् ।। PR. IV. p. 173. 8. गद्गदं विस्वरत्वं च वैस्वर्यं प्रमदादिभिः । RK. p. 47. मतं गद्गदभाषित्वं वैस्वर्यं प्रमदादिजम् । PR. IV. p. 173. Most of the definitions of Vyabhicāribhava-s in PR are drawn from RK.

1. तत्वज्ञानापदीर्ष्यादेनिर्वेदो निष्फलत्वधीः । RK. p. 48. दुःखेर्ष्यातत्त्वबोधादेनिर्वेदो निष्फलत्वधीः । PR. IV. p. 173.

XC RASAKALIKĀ OF RUDRABHAȚȚA

Here RK itself has borrowed from DR and this has been retained by PR and it has adopted the expression 'nişphalatvadhīh from RK only.'

2. बलस्यापचयो ग्लानिराधिव्याधिप्रकर्षभूः । वैवर्ण्यकम्पानुत्साहक्षामाङ्गावनमादिकृत्॥। RK. p. 49.

ग्लानिर्बलस्यापचयो वैवर्ष्यारतिकारणम् । PR. IV. 174.

3. अनिष्टाभ्यागमोत्प्रेक्षां शङ्कामाचक्षते बुधाः । RK. p. 50. अनिष्टाभ्यागमोप्रेक्षा शङ्का रोषादिकारणम् ॥ PR. IV. p. 50.

4. The definition of śrama in RK is quoted from DR and that has been retained by PR.

5. धृतिश्चित्तस्य नैस्पृह्यं ज्ञानाभीष्टागमादिभिः । RK. p. 51; PR. IV. p. 178.

6. Definition of harsa in RK as quoted from DR1 is retained by PR. IV. p. 179.

7. सत्त्वत्यागादनौजस्त्वं दैन्यं कार्पण्यसंभवम् । RK. p. 53.

सत्त्वत्यागादनौद्धत्यं दैन्यं कार्पण्यसम्भवम् । PR. IV. p. 176.

1 cf. DR. IV. 14a.

RASAKALIKĀ ON PRATĀPARUDRĪYA xci

8. दृष्टेऽपराधे दौर्मुख्यं शौर्याद् चण्डत्वगुग्रता। RK. p. 53. दृष्टेऽपराधे चण्डत्वमुग्रता तर्जनादिकृत् ।। PR. IV. p. 152. 9. Definition of Cinta is retained by PR from DR1 as in RK.

9. त्रासश्चित्तस्य विक्षोभ आकस्मिकभयादिभिः । RK. p. 54. आकस्मिकभयाच्चित्तक्षोभस्त्रासः प्रकीर्त्यते। PR. IV. p. 186. 11. कोधः कृतापराधेषु स्यिरोऽमर्ष इतीर्यते। RK. p. 55. This idea has been drawn by PR. अमर्ष: सापराधेषु चेतःप्रज्ज्वलनं मतम् । PR. IV. p. 183. 12. पूर्वानुभूतविषयविज्ञानं स्मृतिरुच्यते। RK. p.56. पूर्वानुभूतविषयं ज्ञानं स्मृतिरुदाहृतम् ।। PR. IV. p. 178. 13. संमोहानन्दसंभेदो मदिरादिकृतो मदः । RK. p. 57. मदिरादिकृतो मोहहर्षव्यतिकरो मदः । PR. IV. p. 175. 1 ibid. 16a.

xcii RASAKALIKĀ OF RUDRABHAȚȚA

14. Both the definitions of nidra and svapna in PR are maintained as quoted by RK from DR.1 15. विबोधश्चेतनावाप्तिः तत्र जृम्भाक्षिमर्दने। RK. p. 58. विबोधश्चेतनावाप्तिः जुम्भाक्षिपरिमार्गकृत् ॥ PR. IV. p. 183. 16. चेतसो मीलनं व्रीडानङ्गरागस्तवादिभिः । RK. p. 59. चेतःसङ्कोचनं व्रीडानङ्गरागस्तवादिभिः । PR. IV. p. 178. -- 17. मोहस्तु मूर्च्छनं भीतिदुःखावेशानुचिन्तनैः। RK. p. 59. मोहस्तु मूर्च्छनं भीतिदुःखावेशानुचिन्तनैः । PR. IV. p. 177. 18. नीतिमार्गानुसन्धानादर्थनिर्धारणं मतिः । RK. p. 60. तत्त्वमार्गानुसन्धानादर्थनिर्धारणं मतिः । PR. IV. p. 184. Here PR retains the definition as quoted in RK from SKĀ.2 19. विरहादेर्मनस्तापाज्ज्वरादिर्व्याधिरुच्यते। RK. p. 63.

1 DR. IV. 22b, 23. 2 SKĀ. V. 140a.

RASAKALIKĀ ON PRATĀPARUDRĪYA xciii

मनस्तापाद्यभिभवाज्ज्वरादिर्व्याधिरिष्यते।। PR. IV. p. 185. 20. विषादश्चेतसो भङ्ग उपायाभावकारितः । RK. p. 64. विषादश्चेतसो भङ्ग उपायापायचिन्तनैः ॥ PR. IV. p. 181. 21. The definition of autsukya is retained by PR as in RK quoted from DR.1 22. The definition of capala quoted by RK from SKA2 is retained by PR.3 Thus, of the thirty-three vyabhicāribhāva-s, the definition of fourteen in PR are taken directly from RK and the rest are retained by PR as in RK quoted from DR and SKA. This further establishes the fact that PR is more influenced by RK than the other earlier texts in the field of alamkāra śāstra especially in the chapters on nāyaka and nāyikā and on rasa. Following the foot-prints of RK, PR also describes the twelve stages of love in the context of the development of the rasa (rasavistara) which is compared to the gradual growth of a tree from a seed whereas early texts like DR,4 ST and other works following 1 DR. IV. 32. 2 SKÃ. V. 149. 3 PR. IV. p. 179. 4 cf. DR. IV. 41-44. 5 cf. ST. II. 6-8.

xciv RASAKALIKĀ OF RUDRABHAȚȚA

NS describe ten stages of love in the context of vipra- lambha śrngāra. The development of rasa is compared to the growth of a tree from a seed and is explained as follows :-

बीजाङकुरौ पल्लवश्च वृद्धिविस्तार एव च। अवस्थाभिर्विभाव्योऽसौ चक्षूरागदिभिः क्रमात् ॥ RK. p. 66.

अथ शृङ्गारस्याङकुरितत्वपल्लवितत्वकुसुमितत्वफलित- त्वहेतवो द्वादशावस्था निरूप्यन्ते। PR. IV. p. 194. The enumeration of the twelve stages of love in the context of rasavistara is identical in both RK and PR.

चक्षु:प्रीतिर्मनःसङ्ग: सङ्कल्पोऽथ प्रलापिता। जागर: कार्श्यमरतिर्लज्जात्यागोऽथ संज्वरः । RK. p. 66. PR. IV. p. 194. उन्मादो मूच्छनं चैव चरमं मरणं विदुः । [अवस्था द्वादश मताः कामशास्त्रानुसारतः ।।] Most of the definitions of these twelve stages given in PR are taken from RK.

1. आदरादीक्षणं तत्र चक्षुःप्रीतिरुदाहृता। RK.p. 66. आदराद्दर्शनं चक्षुप्रीतिरित्यभिधीयते। PR. IV. p. 195.

2. इष्टैकायत्तचित्तत्त्वं मनःसङ्ग उच्यते। RK. p. 67.

RASAKALIKĀ ON PRATĀPARUDRĪYA XCV

मनःसङ्ग: प्रियतमे नित्यं चित्तस्य विश्रमः ॥ PR. IV. p. 195. 3. संङ्कल्पस्तु मनोरथः । RK. p. 67. सङ्कल्पो नाथविषयो मनोरथ उदाहृतः । PR. IV. p. 195. 4. प्रलापो गुणकीर्तनम् । RK. p. 68. प्रलाप: प्रियसंश्लिष्टगुणालाप उदाहृतः । PR. IV. p. 196. 5. जागरस्तु विनिद्रता । RK. p. 69. जागरस्तु विनिद्रत्वम् । PR.IV.p. 196. 6. शरीरकृशता काश्यम्। RK.p.69. काश्यमङ्गस्य तानवम् । PR. IV. p. 197. 7. अरतिर्विषयान्तरे। RK.p.70. अन्यत्नाप्रीतिररतिः। PR. IV. p. 197. 8. संज्वर: परितापादेः । RK. p. 71. तापाधिक्यं ज्वरो मतः । PR. IV. p. 198. The definitions of the four types of vipralambha śrngāra given in RK are taken by Vidyānātha in his PR with very slight differences in the titles such as giving the term abhilāsa for pūrvānurāga and viraha for praņa- yamäna of RK, though the ideas are identical in both the texts with references to these definitions.

xcvi RASAKALIKĀ OF RUDRABHAȚȚA

1. तत्र सङ्गमादर्वागेव विलक्ष्यः पूर्वानुरागः । RK. p. 75. अभिलाषो नाम संभोगात् प्रागनुरागः ॥ PR. p. 159.

2. What is given as īrsyāmāna, one of two types of māna coming under vipralambha śrngāra, in RK is termed as īrșyā in PR and considered by Kumāra- svämin in his commentary on PR,1 as existing in women alone (as given in RK.)2

3. Kumārasvāmin in his commentary on PR3 has quoted the definition of pranayamāna as given in RK while explaining the viraha4 type of vipralambha śrngāra. Kumārasvāmin traces this definition of prana- yamana as परस्पराज्ञोल्लङ्वनं प्रणयमान: wrongly to RM5 where this does not occur at all. 4. The idea of pravāsa type of vipralambha is retained by PR as quoted by RK from DR.6 Vidyānatha has adopted the idea from RK in explaining rasātmaka. RK's definition of nirodhakah as रसस्सर्वस्तु संपूर्णस्तिरोधत्ते रसान्तरम् has been borrowed by Vidya- nätha to clarify his view of rasasamkara.7 When

1 PR. IV. p. 200. 2 RK. p. 77. 3 PR. IV. Comm. p. 201. 4 ibid. IV. p. 200. 5 PR. Comm. p. 201. 6 DR. IV. 64, 65. 7 PR. IV. p. 208.

RASAKALIKĀ ON PRATĀPARUDRĪYA xcvii

there arise more than one mutually compatible senti- ment, the rasa which is fully developed is capable of over-shadowing the other rasa-s. In terms of rasasam- kara this means that when there is a sentiment fully developed, the other secondary sentiments submerge in the primary fully developed one. PR quotes the definitions of rasābhāsa from RK. Here too PR has adopted the view of RK in holding the three kinds of rasābhāsa. एकत्रैवानुरागश्चेत्तिर्यङम्लेच्छगतोऽपि वा। योषितो बहुसक्तिश्चेद्रसाभासस्त्रिधा मतः ॥ RK. p. 88, PR. IV. p. 163. On the vital problem relating to the substratum of rasa (rasāśraya) as to whether it is the character, the actor or the spectator, PR adopts the same view as in RK saying that the subtratum of rasa is nāyaka (nāyikā) alone. अथैते रसाः किमाश्रया इति निरूप्यन्ते। तत्न नायकनट- सामाजिकाश्रया इत्येके। अन्ये तु नटस्यानुकरणमात्रपरतया न भावकत्वं, भावकत्वे वा सामाजिकान्तर्गतत्वमिति नायकसामाजि- काश्रयत्वं मन्यन्ते। न च सामाजिकेष्वेव भावुकरसिकादिपद- प्रयोगात् तन्मात्राश्रयत्वमाशङ्कनीयमनुभवविरोधात्। नायकस्य रसानाश्रयत्वे विगतरसभावनतया कुतो रसाविष्कारः। सामा- जिकानां निरवलम्बनो रसः कथं प्रवर्तते। न च मालत्यादेरेवा- लम्बनत्वमनौचित्यात् । अत् केचित् समाधानमाहुः। मालल्यादि- शब्दा: योषिन्मात्रोद्वोधकाः । रावणादिशब्दाः शत्रुमात्नस्येति। G

xcviii RASAKALIKĀ OF RUDRABHAȚȚA

तेन सामान्येन स्मृत्यारूढो योषिदादिः सा्माजिकानामालम्बनत्वं भजते। ..... रसाः नायकाश्रिता एव। सामाजिकैर्नटचेष्टया काव्यश्रवणेन च साक्षाद् भाव्यन्ते। समनुभाव्यमानाः तं तम- नुभवं जनयन्ति। परगतरससम्यग्भावनयान्वयव्यतिरेकाभ्यां निरतिशयानन्दजनकत्वमिति तत्र प्रवृत्तिरपि घटत इति सर्वं रमणीयमिति ।। RK. 101-2. It has been reproduced by PR in the following way: अत् रसो नायकाश्रय एव। यदि परं निपुणनटचेष्टया तथा- विधकाव्यश्रवणबलेन च सामाजिकै: साक्षाद् भाव्यते, तदा पर- गतस्यापि रसस्य सम्यग्भावनया परत्र निरतिशयानन्दजननमवि- रुद्धम्। अत एव मालत्यादिशब्देभ्यो योषिन्मात्नप्रतीतौ (रावणादि- शब्देभ्यः शत्रुमात्रप्रतीतौ च) स्मृत्यारूढेन तत्तद्योषिद्विशेषेण सामाजिकाश्रयत्वमपि न विरुद्धम्। नटस्यानुकरणमात्रपरतया नैव रसाश्रययोग्यता। तस्य भावुकत्वाभ्युपगमेऽपि सामाजिकत्वमेव। अनुभावादीनां प्रकाशनं तु शिक्षाभ्यासपाटवेनैव घटते ।।1 Thus a close scrutiny of the parallel passages in these two texts RK and PR discloses the fact that PR tries to retain as far as possible the very words of RK in all instances on the chapters of nāyikā and nāyaka and rasa and is therefore deeply and significantly in- debted to RK.

1 PR. IV. p. 206.

IX. CONCEPTION OF RASA IN RASAKALIKĀ

The doctrine of rasa, like the doctrine of dhvani gives a special distinctiveness to Sanskrit alamkāra literature. It has been the subject of repeated specu- lation, theorizing and discussion by alamkāra writers. Every aspect of rasa has engaged the attention of Sanskrit ālamkārika-s who have been exhaustive and thorough in their exploration of the sources of rasas, their manifestation, their variety and number and their inter-relationships. While Bharata is the father and founder of this great literary tradition, later writers and works have made their own contributions. Among these RK is significant in that its definitions and illustrations have inspired some later writers deeply enough to justify us in regarding him as the fountain- source of some of their own approaches to the doctrine of rasa. Of course, RB himself has drawn upon traditional concepts but with such discrimination and judgment that we can see at work a thoroughly original and powerful mind, astonishingly fresh and frank in its handling of alamkāra issues. Strikingly enough RB begins his work with the statement that the number of rasa-s is nine, though the classical orthodox school reckoned only eight rasas as standard. He then defines rasa on the same lines

c RASAKALIKĀ OF RUDRABHAȚȚA

as DR in nearly the very same words.1 This, of course, is the general position of all later theorists with regard to the nature and function of rasa in poetry. 'Dhanañ- jaya gives us the same process of transformation of an ordinary emotion into a public sentiment as formally laid down by Bharata and interpreted by Abhinava- gupta.'2

Most of the earlier writers as well as many later ones hold that rasa is something supernormal (alaukika) and invariably pleasant and not to be compared to the normal emotion of life. This pleasant experience in the spectator's mind is a partial manifestation, a faint taste of that supreme joy (änanda) which is innate in the Self which indeed is the true form of the Self. The Taittirīya Upanişad says ānando brahmeti vyajānāt.3 It is this circumstance which gives rise to the frequent comparison of rasāsvāda with brahmāsvāda. RB's conception of rasa differs somewhat from such a view, as he follows ND and Bhoja's Sr. Pr. to a certain extent. RK's treatment of rasa is with reference to both kāvya and nātya.4 RB. defines rasa thus विभावैर्वर्धमानस्तु स्थायिना चानुभाववान् । सर्वैरास्वाद्यमानत्वाद् रस इत्यभिधीयते।।

1 Cf. DR, IV. 1. 2 S.K. De, History of Sanskrit Poetics, p. 326. 3 See Taittirīya Upanişad, III. 6. 4 RK. p. 102.

CONCEPTION OF RASA ci

He proceeds to explain all the factors which help in the emergence of rasa. The factors which give rise to rasa are the sthāyibhāva (permanent state) being assisted by vibhāva (determinant state), anubhāva (con- sequent states) and vyabhicāribhāva (transient states). RB compares the development of rasa (rasavistāra) to the growth of a tree from its seed. तद्वृद्धिकरमस्तु बीजाङकुरौ पल्लवश्च वृद्धिर्विस्तार एव च। अवस्थाभिर्विभाव्योऽसौ चक्षूरागादिभिः क्रमात् ।1 In accordance with this, the sthāyibhāva (permanent state) as the seed that is always there, gives rise to the rasa in its well-developed stage as a full-grown tree laden with fruit. The ancillary factors vibhāva, anubhāva. etc. are ankura (sprout) and pallava (tender shoots) stages of a tree. And even as we relish the succulent juice-filled fruit of a tree, the rasa of a work of art affords joy ineffable and inexpressible to all sahrdaya-s. ..-... Now we shall analyse the part played by each factor that leads to the culminating satge viz. rasa. The base factor for the emergence of rasa is the sthāyi- bhäva (permanent state). RB gives his own definition of sthāyibhāva. सजातीयै विजातीयैरतिरस्कृतमूर्तिमान्। यावद्रसं वर्तमान: स्थायी भाव उदाहृतः ॥2 1 RK. p. 66. 2 RK. p. 27.

-.

cii RASAKALIKĀ OF RUDRABHAȚȚA

According to RB the permanent stage (sthāyibhāya is that which is not eclipsed by other states whether of the same type (sajātīya) or of a different type (vijātīya) and is sustained till the final realisation of the rasa.

Thus following NS, RB gives sthāyibhāva-s a special position with the right to develop into a rasa and all the other states as subservient to it. Bhoja however holds the view, following Rudrata, that all the fortynine bhāva-s (8 sthāyibhāva-s, 33 vyabhicāribhāva-s and 8 sāttvikabhāva-s) can be rasa-s, provided the poets develop them1 skilfully. 'All of them are sthāyin-s or sañcarins according to time, circumstance, condi- tion and nature of man. If a poet nourishes them with their suitable attendant emotional circumstances in the form of vibhava-s etc. even the vyabhicarins and sāttvika-s become rasa-s. When one bhāva becomes sthāyin and rasa the rest become its vyabhicārins. Even the so called sthäyin-s and the so called sāttvika-s are vyabhicarins in as much as, in a given rasa, all of them appear to heighten it."2 नन्वष्टौ स्थायिनः अष्टौ सात्त्विका: त्रयस्त्रिशत् व्यभिचारिणः इति ब्रुवते। न तत् साधु यतोऽमीषामन्यतमस्यैतैरेव परस्परं निर्वर्त्यमानत्वात् कश्चित् स्थायी, कदाचित्तु व्यभिचारी। अतो- वस्थात् सर्वेऽप्यमी व्यभिचारिणः सर्वेऽपि च स्थायिनः सात्त्विका अपि सर्व एव।

1 See Bhoja's Sr.Pr. p. 438 by Dr V. Raghavan. 2 ibid. p. 439.

CONCEPTION OF RASA ciii RB clearly enumerates nine sthāyibhāva-s definitely and regards all the other bhāva-s as subservient to them. The nine sthāyibhāva-s according to RB are :- रतिर्हासश्च शोकश्च कोधोत्साहौ भयं तथा। जुगुप्साविस्मयशमाः स्थायिभावाः प्रकीर्तिताः ॥ RB does not confuse the sthäyibhāva-s with other states. He gives them a distinct position in the develop- ment of the rasa. RB illustrates the term sajātīya in the definition of sthāyibhava as seeing a girl other than the heroine (nāyikā) and vijātīya as emotions like anger (krodha) etc. In the content of explaining the sthāyibhāva itself RB gives a distinct and significant expression to his rasa concept. According to him, rati (love) is the sthāyibhāva which is a kind of desire, viz. 'I should have it' (iyam me bhūyāditi prārthanam icchā). This is of two kinds, viz. sambhoga and taditaravişaya. Here RB clearly points out that though some people regard rati as of the nature of bliss (ānandātmaka) alone, this is doubtful since there is no bliss in the case of the love in separation (viprayoga).1 Here RB has just indicated his view on rasa, on the lines of ND.2 Then RB speaks of vibhāva, one of the subservient factors of sthāyibhāva, in developing the rasa. Vibhāva is that which causes the development of the rasa by its being recognised-

1 See Text RK. p. 28. 2 Discussion is given below.

civ RASAKALIKĀ OF RUDRABHAȚȚA

ज्ञायमानतया तत्र विभावो रसपोषणात्। But the earlier writers like Dhanañjaya held the view that this vibhāva causes the development of states (alone) by its being recognised.1 This vibhava is of two kinds, viz. ālambana (fundamental) and uddīpana (excitant). That which becomes the object of rasa is ālambana. Regarding uddīpanavibhāva RB has introduced a new and very significant analysis pointing out four types of uddīpanavibhāva-viz. ālambanaguna, ceșțā, alam- krti and tatastha. All these generate and nourish the development of the rasa (rasaposakrd uddīpanam ucyate).2 Then RB explains how each type of uddī- panavibhava helps the nourishment of the rasa. Under ālambanaguņa type of uddīpanavibhāva, he brings in the figure (rūpa), youth (yauvana), beauty (lāvanya) etc. Under ceștā, he has two types, viz. yauvanaprabhava (bhāva, hāva etc.) and the other one is its (actual) ex- perience.3 In this context RB is the first to bring in the 18 types of cesta (one of the four uddīpanavibhāva-s)1 such as bhāva, hāva, helā etc. which are described by earlier writers as the natural graces of women and enumerated as twenty.5 RB describes every item and portrays the part it plays in leading to the develop- ment of the rasa. This is one of the distinctive

1 See DR. IV. 3. 2 See Text RK. p. 32. 3 ibid. p. 33 4 jbid. 5 cf. DR. II. 30-33.

CONCEPTION OF RASA CV features of the approach RB makes in his RK marking him apart from the other ālamkārika-s. Alamkrti (type of uddīpanavibhāva) includes the exterior decora- tion (of the hero and the heroine) and tatastha (type of uddīpanavibhāva) speaks of the beautiful atmosphere of the environment etc. Thus all the four types of uddīpanavibhāva expounded contribute to the develop- ment of the rasa as conceived by RB. Then RB takes up anubhāva (consequent state) and defines it. The effect (kārya) which is manifested when the permanent state (sthāyibhāva) becomes the rasa and that which indicates bhāva (state), is to be known as anubhava.1 RB says that this is the accepted method among authorities on nātya. For, in DR it is given- अनुभावो विकारस्तु भावसंसूचनात्मकः ॥2 Further RB says that in the nourishment of the deter- minant states (vibhāva) nirveda etc. are produced like the waves in the ocean of the basic mental states viz. the permanent states like rati etc., and they are called vyabhi- cāribhāva-s (transient states). They are mental feelings not easily communicated directly, so they are suggested through speech, movements of the eyes etc. Hence these indicators of the feeling (like nirveda) are called anubhā- va-s, since they make the feelings known.3 This is 1 Sce Text RK. p. 43. 2 cf. DR. IV, 3. अनुभावयन्ति ज्ञापयन्तीति वा अनुभावा: । RK. p. 43.

cvi RASAKALIKĀ OF RUDRABHAȚȚA

proper also since they are important in Dance. Ordi- nary people who are bent on recognising the rasa experience the permanent state (sāttvika). Nirveda etc. are inferred through the movements of the eyes etc. and experienced and hence vyabhicari bhāva-s are also called anubhava-s. The difference is only in name.

When defining nirveda etc., the anubhāva-s are explained as the suggestive elements. Horripilation (romāñca) etc. are distinctly known as involuntary, states (sāttvikabhāva) though they are also anubhāva-s because they are involuntary, arising from the inner nature (sattva). Here RB follows the idea given in DR1 in holding sāttvika as distinct from anubhāva (sattva- samutpanna). He completely deviates from Bhoja in his conception of anubhāva, sāttvikabhāva etc. For Bhoja holds that all the fortynine bhāva-s (8 sthāyin-s, 33 vyabhicārin-s and 8 sāttvika-s) are sāttvika-s since all of them are born of manas (manas being called sattva).2 One should not confuse RB's view of anubhāva (being inferred or indicated by the movements of the eyes etc.) with Sankuka's theory of inference, since RB has made it clear while illustrating the various rasa-s that the anubhāva-s are ' suggested' (vyajyante).3 RB gives eight kinds of sāttvikabhäva-s (involuntary states) like stambha, pralaya and romāñca. He holds

1 cf. DR. IV. 63. 2 cf. Bhoja's Sr.Pr. Vol. II. p. 354-5. 3 RK. vrtti under verse No. 143.

CONCEPTION OF RASA cvii the view that all these are called sāttvika-s because they are involuntary, representing mental conditions arising from inner nature (sattva). There are three guna-s as the constituents of the mind. They are sattva, rajas and tamas. According to Sāmkhyakārikā, sattva guņa is buoyant and bright, rajas is stimulating and mobile, and tamas is heavy and enveloping. Since the invol- untary states are born in the mind in its favourable conditions of brightness and buoyancy, they are called sāttvikabhāva-s. The manifestation of sāttvika in the objects can be explained since the world of which all things are manifestations is the composite of the three guna-s called sattva; rajas and tamas of which the characteristics are sukha (happiness) duhkha (misery) and moha (stupor).1 Thus here RB has indicated how his rasa theory links with the conception of sāmkhya. Samkhya helps RB to explain his conception of rasa in terms of both pleasure and pain.2

Then RB enumerates 33 vyabhicāribhāva-s. He holds the view that these vyabhicāribhāva-s are not different from anubhava-s as explained earlier. Other mental changes also come under these 33 vyabhicāri- bhava-s; all these are like the waves rising in and out in the ocean of sthāyibhāva.3

1 RK. p. 48. 2 See discussion on 'The nature of rasa' given below. 3 RK p. 65.

cviii RASAKALIKĀ OF RUDRABHAȚȚA

Thus all these bhāva-s give rise to the rasa. As has been stated before, RB gives us a very apt compari- son between the origin and emergence of rasa and the origin and the growth of a fruit-bearing tree. Differing from the traditional writers who describe ten stages of love in the context of vipralambha śrngāra RB describes twelve stages of love in the context of the -- development of rasa. This would seem to be more -.

appropriate: because of the greater light it throws upon the response of human imaginative sensibility to the stimulus of art. For, RB brings in the stages of cakşuh- prīti and manassanga as under the stage of seed (bīja), stages of samkalpa and pralāpa under the ankura stage, the stages of jāgara, kārśya and arati under the pallava stage, lstages of lajjātyāga and samjvara under the vrddha stage of a tree. Thus the development of rasa (rasavi- stāra) is portrayed by individualizing particular stages. All anubhāva-s are in these three stages.

A. THE NUMBER OF RASAS

RB upholds the doctrine of nine rasa-s1 as against the orthodox view that there are only eight rasa-s. He defines and explains these nine rasa-s with reference to both kāvya and natya and this is clear from his own statement :- सामाजिकर्नटचेष्टया काव्यश्रवणेन च साक्षा्द्वाव्यन्ते। The absence of notable mental changes, according to RB does not justify the omission of santa from the number of rasa-s.2 He does not consider preman as a separate rasa, but includes it within the sphere of the above-mentioned nine rasa-s.3 Though RB subscribes to the view of Bhoja's Sr.Pr. to a certain extent in his treatment of rasa, he does not get bogged up with the 12 rasa-s elaborately set out by Bhoja who finally accepts only one rasa, viz. ahamkāra. However he upholds this ahamkāra giving it the name śrngāra at the same time allowing the prakarsa of the ratisthāyin also called by the same name of śrngara and troubles himself unnecessarily to refute Bharata's scheme of eight rasa-s.4 Though RB subscribes to the views of Bhoja's

1 RK. p. 1. 2 ibid p. 1. 3 ibid p. 1. 4 cf. Bhoja's Sr.Pr. by Dr. V. Raghavan p. 471.

CX CONTRIBUTION OF RASAKALIKĀ

SKA and Sr.Pr. to a certain extent he has no such confusion about the number of rasa-s. RB follows ND in enumerating the rasa as well as in accepting śänta rasa.1 Unlike the carlier writers RB holds four types of sambhoga śngāra,2 viz. pūrvānurāgāntara, mānā- ntara; pravāsa and karuņātmaka as he has under vipralambha, śngāra. He explains aptly the karunāt- maka type of sambhoga śrngāra as after the apprehen- sion of the beloved to be dead (mrtisambhavanānantara) after death (maranānantara). Further RB makes it clear that when the particualr type of sambhoga or vipralambha is not clearly known, it can be called by the general term sambhoga, or vipralambha itself. It is RB who introduces two types of bībhatsa, viz. laukika and vivekottha. He gives apt illustrations to explain them.3 Another significant contribution made by RB is in introducing four types of śānta rasa, viz. vairāgya, doşanigraha, samtoşa and tattvasākșātkāra, taking śama as its sthayin. He upholds this śanta with reference to both kāvya and nātya on the lines of Udbhata. --

1 See Section C. 2 RK. p. 84. 3 ibid. p. 94.

B. ĀŚRAYA OF RASA

RB is very clear in stating his conception of rasa in all its aspects. He distinctly differs from the school which holds that rasa is always in the form of bliss. It is Bharata who first enunciated the rasa theory in his famous sutra, about which later writers have given their own interpretations, either with reference to nātya alone or with kāvya alone. Abhinavagupta accepts rasa-dhvani as the important element in poetry. Bharata and others have spoken of rasa in relation to drama. It is Rudrața and his successor Rudrabhațta who speak of them in relation to kāvya.1 Of course while earlier writers consider rasāsvāda as equal to brahmāsvāda, its sensuous rather than spiritual nature === is what matters in considering its role in art. Rasa according to Abhinavagupta,2 are nothing but the mental impression of the sāmājika-s when they become intensified and universalized. They are divested of all their individual aspects or characteris- tics by the supernormal nature (alaukikavyāpāra) in a kāvya and in this sense they stand rather quite apart from the ordinary impressions. They are real- ised by the inner self, the knower, who is identical with the self-luminous consciousness. In the realisa- tion of rasa by sāmājika-s there is complete absorption

1 See P.V. Kane, History of Sanskrit Poetics, pp. 153, 157. 2 For details sce Aesthetic experience according to Abhinava- gupta by Gnoli and Rasagangādhara of Jagannātha Paņđita.

cxii RASAKALIKĀ OF RUDRABHAȚȚA

(cittanispandata) which is a blissful condition. Here Abhinavagupta and his followers adopt the sāmkhya conception of kaivalya which is described to be a state of complete cessation from all activities. This negative aspect of bliss in rasa-realization solves very well the great problem of karuna rasa (pathos). Thus Abhi- navagupta holds sāmājika-s as the substratum of the realisation of rasa as through the process of suggestion, the nature of rasa-realization as one of unalloyed bliss. Bhattanāyaka's theory of rasa-realization1 is slightly different. It may be called the theory of rasa-bhukti by the spectator. He speaks of three vyāpāra-s in a kāvya-(1) abhidhā, (2) bhāvanā and (3) bhoga or bhoja- katva. The abhidha's chief function is to convey ideas like vibhāva-s and anubhāva-s. The bhāvanā's function is universalization by removing the individualistic traits of the characters; that is, Sītā is cognized not as the wife of Rāma, but as a lovely maiden (kāntā). Thus it successfully removes the obstacle in the realisation of rasa by the sahrdaya, by not giving him any scope from cognizing Sītā as agamyā (unsuitable for his love). This is not unlike the process of deper- sonalization in poetry affirmed by T.S. Eliot.2 So also is Rāma, the ālambanavibhāva, cognized; and similarly the uddīpanavibhāva-s, anubhāva-s and vyabhi- cāribhāva-s are presented to the spectator's mind in a

1 See Jagannātha Paņdita's view of Bhatțanäyaka's theory of rasa in Rasagangādhara. 2 See ' Tradition and Individual Talent ' in Selected Essays.

ĀŚRAYA OF RASA cxiii generalized form. Then, by the bhoga vyāpāra the spectator completely forgets his own individual traits on account of the two guna-s of the mind, rajas and tamas, becoming completely suppressed by the other guna, viz. sattva, the preponderance of which produces illumination of the mind and happiness to man. Here, Bhațtanāyaka has closely followed the sāmkhya philo- sophy which explains the mind as a compound of the three guna-s, viz sattva, rajas and tamas the preponder- ance of sattva giving illumination, that of rajas unsteadiness and that of tamas inactivity. This enjoyment of rasa by the spectator is impersónal and so is different from the enjoyment of pleasure in the outside world. It is also different from that of a yogin who realizes Atman. Still the spectator's pleasure is described as an approach of the ātmänanda of the Yogin. According to this view the word nispatti in Bharata's (rasa) sūtra means bhukti (enjoyment resulting from the suppression of rajas and tamas and from the prepond- erance of sattvaguna); the word samyoga expresses the idea of sādhāraņīkarana (universalization) by bhāva- katvavyāpāra. Thus Bhatțanāyaka adopting his own process, viz. bhāvanā vyāpāra, presents rasa as emerging in the spectator's mind. The enjoyment of rasa is im- personal and is different from the sensuous enjoy- ment of pleasure in the outside world.1

1 cf. Wordsworth who speaks of emotion recollected in tranquillity universalized by being stripped of all individual circum- stance. (Preface to Lyrical Ballads). H

cxiv RASAKALIKĀ OF RUDRABHAȚȚA

Bhatțanāyaka's bhāvya-bhāvaka sambandha theory between rasa and kāvya is accepted by Dhanañjaya and Dhanika.

Bhoja's conception of rasāśraya in his Śr.Pr. is as follows: 'The cultured individual as such is that seat of rasa. The ātman of the rasika is the āśraya of rasa. The rasika may be the spectator and the connoisseur, the poet or the characters like Rama in the story. Thus primarily, sentient and cultured beings are the seat of rasa.1

रसा: हि सुखदुःखावस्थारूपाः । ते च शरीरिणां चैतन्यवतां, न काव्यस्य। तस्य शब्दार्थरूपतया अचेतनत्वेन etc. Śr.Pr. Vol. II. p. 369

Bhoja means here, not rasa-s exactly but only bhāva-s.

'It is out of the rasa called ahamkāra in a character like Rāma that all his feelings arise. These feelings also are rasa. The poetry which expresses these feelings can also be called the seat of rasa. The actor who depicts the character of the story is a rasavān. The poet who expresses these feelings is also a rasavān.

रसवतो रामादे: यद्वचनं तद् रसमूलत्वाद् रसवत्। अभेदसमध्या- रोपाच्च कविना अनुक्रियमाणस्य तस्य अनुकरणमपि रसवत्। Śr.Pr. Vol. II. p. 370

cf. T.S. Eliot's theory of impersonality in Poetry, Essay on ' Tradition and Individual Talent '. 1 Dr. V. Raghavan, Bhoja's Sr.Pr. p. 433.

ĀŚRAYA OF RASA CXV

According to Bhoja, rasa is in the character, in the poet, in the actor and in the composition. For Bhoja, sahrdaya is not the only primary locus of rasa. As the characters come to various moods, the poet is enabled to portray them, the actor is enabled to enact them, and the rasika is enabled to enjoy them; thus the locus of rasa is the soul of all cultured men; the character, the actor, the poet and the spectator.'1 Only meritorious conduct in one's previous birth enables one to secure the privilege of rasāsvāda in this birth. This may however seem a superstitious explanation of the absence of the power of aesthetic response in the vast majority of men. Most men are like Wordsworth's Peter Bell-A Primrose by the river brim was a primrose to him and nothing more. Whereas to a Keats, a primrose is a thing of beauty and a thing of beauty is a joy for ever. According to Bhoja all the 49 bhāva-s can be sthā- yin-s or sañcarin-s according to time, circumstances, condition and nature of man.

Bhoja does not have two different departments as laukika and alaukika. To him all are bhāva-s and are rasa-s too.

Though we do not find in Bhoja the shifting of the ground of the discussion on the vital factor in rasa to the heart of the sahrdaya as we find in Abhinavagupta,

1 Dr. V. Raghavan, Bhoja's Sr.Pr. p. 462.

cxvi RASAKALIKĀ OF RUDRABHAȚȚA

we do find Bhoja holding the rasika as the primary seat of rasa. 'He does not restrict the name rasika to the reader of poetry or the spectator of drama but applies it to all cultured votaries of art, the poet, the characters in a composition, the actor and the spectators.' 'Bhoja emphasized the idea of bhāvanā, a stage in which the bhava-s are contemplated upon and after this bhāvana or imaginative and sympathetic communion the thing called rasa or bliss manifests in the rasika's heart.'1 This concept of bhavana could possibly mean also that the nourished sthäyin of a poem or a drama, produces the subjective condition of the bliss of rasa in the spectator's heart.

Thus Bhoja's ahamkara is on a par with the rasa- realization described by others. Whatever be the upadhi or occasioning condition in the poem or in the drama, be it the rati-sthäyin or any other sthāyin that we may have, it is an ineffable bliss which transcends all name and definitions. Bhoja postulated on the basis of the satkārya-vāda of the smkhyas that if there was no rasa already in our hearts, it could not have been manifested. Following sāmkhya thought, Bhoja speaks of our buddhi (prakrti) as being made up of the three guna-s, viz. sattva, rajas and tamas. But Bhoja does not adopt sādhāranīkarana in his rasa theory.

Madhusūdanasarasvatī in his Bhaktirasāyana1 explains rasa in terms of sāmkhya. His treatment is

1 Dr. V. Raghavan, Bhoja's Śr.Pr. p. 482.

ĀŚRAYA OF RASA cxvii

independent. Prakrti of which all things are mani- festations is the composite of the three guna-s called sattva, rajas and tamas whose characteristics are happi- ness (sukha), misery (duhkha), and stupor (moha) respec- tively. Mind is also of three-fold nature. Rati is sāttvika, krodha is rājasa and šoka is tāmasa. Madhu- sūdanasarasvatī is clear in his statement that, for a sthāyin to become rasa, it has to become Sāttvika. Sattva alone can manifest bliss which is not of the form of the other two guna-s. So he says that when these sthāyin-s as presented in a kāvya attain excellence (pra- karşa) and produce a melting of the heart, they partake of sattva and become pleasurable, thus becoming rasa. However he does not clearly resolve the problem of how the other two guna-s become sattvika and consequently rasa. The authors of ND, who generally follow their preceptor Hemacandra, differ from him in one aspect, and maintain that rasa has the power to produce both pleasure and pain. सुखदुःखात्मको रसः । ND. III. 109 Thus, the authors of ND divide rasa into two classes viz. pleasurable, (sukhātmaka) and painful (duhkhātmaka). All other earlier writers hold that rasa-s are capable of evoking pleasure only, and they describe the aesthetic pleasure derived from the kāvya as equal to the pleasure originating from the realization of self (Brahmāsvāda.) That pain also yields pleasure is a view, apparently contradictory and paradoxical.

cxviii RASAKALIKĀ OF RUDRABHAȚȚA

But this is the essence of tragic pleasure, katharsis. According to ND the five rasa-s śrngāra, hāsya, vīra, adbhuta and śānta, are pleasurable (sukha) and karuņa, raudra, bībhatsa and bhayānaka are painful (duhkha). If one were to say that all the rasa-s are pleasurable, it is against experience since the above said four rasa-s (karuna etc.) produce only pain and sometimes very intense pain. To the question, why do people go to witness such painful dramas, the answer given in ND is that it is owing to the skill of the poet or the actor :--

यत् पुनरेभिरपि चमत्कारो दृश्यते स रसास्वादविरामे सति यथावस्थितप्रदर्शकेन कविनटशक्तिकौशलेन।1

ND raises the complex and not easily resolved issue of how on witnessing the seizure of Sita, Draupadi's vastrāpaharana, Hariścandra being reduced to the level of a candāla's slave etc., any pleasure can be enjoyed by sāmājika-s. Poets in portraying life have to be true to its complex character. Life is not unmixed joy, it is a complex of many factors, pleasurable and the opposite. Hence the true artist portrays pain and pleasure in handling the story of Räma. In Vipralambha śrngāra etc. though pain or distress is present, by the transforming power of imagination, there is pleasure. But in karuna where there is the loss of hope etc. it gives rise to misery alone.2 The paradox of pain issuing in joy

1 See ND III. p. 159. 2 The Aristotelian explanation of tragic pleasure goes far but is not definitive. Alamkāra śāstra has to recognize the mysterious

ÃŚRAYA OF RASA cxix

is almost an insoluble mystery. The transformation wrought by art on reality is only part of the story. ND does not support the theory that the actor cannot get the feeling of different rasa-s in his own mind while acting on the stage. It is stated there that the actor also may feel the same pleasure in his own mind which he attempts to evoke in the mind of his audience, like prostitutes or professional musicians who while trying to please others may themselves get great joy.1 ND accepts the generalization of the particular charac- teristics of the hero (and the heroine) by which the sāmājika-s relish the rasa.2 Here even the vibhāva-s are generalized. By the manifestation of the sthāyibhāva-s, the rasa is relished. By the remembrance (smarana), the impersonal characteristic of the character is ex- perienced. But however ND rejects the idea, saying that the kävya itself is neither the rasa, nor the

working of the Atman in man by which even out of excruciating pain, the death of a Hamlet, of a Lear, of an Oedipus, in its evocation of their heroic magnanimity and unflinching nobility, purifies and ennobles our innermost being. Even Ravana dies heroically, nobly, tragically. The heroic confrontation of hostile fate lends a certain inexpressible grandeur to human personality and has a Kathartic, cleansing effect on our being. We feel stronger spiritually, enriched by the thought of the power of heroic, unflinching endurance of pain. The spirit in man is a sthitaprajña. cf. Passage in Chandogya Upanisad where marana is described as an avabhrtasnăna to the true hero who regards life as a Yajña (Prapāțhaka II. 17. 5) 1 cf. ND. III, p. 160. 2 ibid. p. 160.

CXX RASAKALIKĀ OF RUDRABHAȚȚA

substratum of rasa.1 It is the sthāyibhāva being elevated to the form in course of the mind, that becomes rasa.

श्रितोत्कर्षो हि चेतोवृत्तिरूपः स्थायिभावो रसः।2 and this sthayin is the mental impression of the audience.

वासनात्मतया स्थितं स्थायिनं रसत्वेन भवन्तम्।2 Thus ND holds that rasa is in the form of sukha and duhkha relished by audience. RB has taken into account the views of the above- mentioned theorists while formulating his own theory of rasa. In expounding and defining various concepts he borrows the views of writers like Bhoja, Bhattanāyaka and the authors of ND. His method may be illustrated - thus. RB starts his explanation by putting the question which or who is the substratum of rasa. In this context he quotes the view of Bhoja saying that the hero, the actor and the audience are the substratum of the rasa ' nāyakanatasāmājikāśrayā ityeke'.4 But some say that the actor cannot be the substratum of rasa since he is only imitating. Then RB discusses how the actor can become the substratum.5 His skilful portrayal of the hero makes one think so but mere

1 ibid. p. 161. 2 ibid. p. 152. 3 ibid. p. 162. 4 RK p. 101. 5 cf. Lollata's view and its criticism, History of Sanskrit Poetics, S.K. De. p. 148.

ĀŚRAYA OF RASA cxxi

imitation cannot produce the rasa of the hero. But even if it is so accepted, rasa as residing in the actor, he ---------=- comes within the sphere of the audience.1 The rasa therefore resides in the hero as well as in the spectator. RB quotes this view: अन्ये तु नटस्यानुकरणमात्रपरतया न भावकत्वं, भावकत्वे वा सामाजिकान्तर्गतत्वमिति नायकसामाजिकाश्रयत्वं मन्यन्ते।2

Then RB quotes the view of Bhoja3 who does not restrict the term rasika to the reader of poetry or the spectator of drama alone, since it is against normal ex- perience.4 RB asks, 'If the hero (nāyaka) is not taken to be the substratum, where is the possibility of the emergence of rasa?' नायकस्य रसानाश्रयत्वे विगतरसभावनतया कुतो रसा- विष्कारः।5

How can there be rasa on the part of the samājika-s in the absence of an älambana since the heroine cannot be proper ālambana of sāmājika-s: सामाजिकानां निरवलम्बो रसः कथं प्रवर्तते। न च मालत्यादेरेवालम्बनमौचित्यात्।

1 See Bhoja's Sr. Pr. by Dr. V. Raghavan, p. 461. 2 RK p. 101. 3 RK. p. 101. 4 See Bhoja's Sr. Pr. by Dr. V. Raghavan, p. 461. 5 RK p. 101.

cxxii RASAKALIKĀ OF RUDRABHAȚȚA

Here RB, following the view of Bhattanāyaka and his follower Abhinavagupta, adopts the generalization of the characters and gives the explanation:

मालत्यादिशब्दा योषिन्मात्रोद्वोधकाः । रावणादिशब्दाः शत्रुमात्रस्येति। तेन सामान्येन स्मृत्यारूढो योषिदादिः सामाजि- कानामालम्बनत्वं भजते।1

Here RB adopts the view of ND by introducing re- membrance for generalization of the characters.

न हि रामस्य सीतायां शृङ्गारेऽनुक्रियमाणे सामाजिकस्य सीताविषयः शृङ्गारः समुल्लसति, अपि तु सामान्यस्त्रीविषयः । : . नियतविषयस्मरणादिना स्थायिनः प्रतिनियतविषयतायां तु प्रतिनियतविषय एव रसास्वादः ।2

RB further explains that here occurs no defect of the particular aspects not being understood; for, we have experiences like that of Devadatta who is seen but whose exact colour is unknown, the colour not having been particularly noticed.3 RB goes further saying that even then one cannot say that, since karuna is the texts where it is predominant will not be acceptable. RB here adopts the sämkhya view and says that the whole world of which all things are manifestations is the composite of the three guna-s

1 ibid. 2 ND p. 160-161. 3 RK p. 101.

AŚRAYA OF RASA cxxiii

called sattva, rajas and tamas of which the characteris- tics are sukha, duhkha and moha.1 However RB accepts that all rasa-s become pleasurable to the audi- ence ultimately. Here RB might have followed Abhi- navagupta in holding the sāmkhya conception of kai- valya to explain the problem in connection with karuna rasa. RB also says that the swooning, repulsion etc. are found only in the early stages and not in the ulti- mate stage. RB seems to accept that rasa is painful in laukika vyāpāra but is pleasurable in the ultimate stage of alaukika, the transcendent stage.

Then RB gives the view of Abhinavagupta who holds that rasa acts in the minds of the audience in the form of instincts (vāsana) and hence the need for ālambana etc. (as a stimulus). As for instance, rasa is realised only in a general way (nirvikalpa) on the basis of some well known alambana with respect to oneself or to others. Even if rasa is inferred, it is realised through the imaginative faculty (bhāvanā);' there is no impropriety .* Thus here RB accepts Bhatta-

1 ibid. * T.S. Eliot in his famous essay of Hamlet looks on a work of art as designed to be the concrete, objective correlative of a parti- cular rasa, presumably something which the audience knows and likes. He says 'The only way of expressing emotion in the form of art is by finding an 'objective correlative' in other words, a set of objects, a situation, a chain of events which shall be the formula of that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is

CXXiV RASAKALIKĀ OF RUDRABHAȚȚA

nāyaka's bhāvanā-vyāpāra and hence it is not realised merly as sthāyibhāva- वासनारूपेण सामाजिकानां चेतसि रसः प्रवर्तते। तेनाल- म्बनाद्यपेक्षा। यथा-प्रसिद्धालम्बन एव रसः स्वान्यसंबन्धितया निर्विकल्पेन गृह्यते। अनुमितो वा भावनया साक्षात्क्रियते, तेन नानौचित्यम् । स्थायित्वेनानवभासनात् ।।

Here one should not mistake the inference referred to by RB, for Śankuka's inference theory of rasa. But RB adopts Abhinavagupta's view of vyañjanā- vyāpāra for the realisation of anubhāva etc.1 Further RB says that rasa is not realised from an indifferent position, because it is not realised as belong- ing to others.

अताटस्थ्यमन्यदीयत्वेनानाकलनात् ।

Hence, even rasas like karuna are acceptable, since for the audience, rasa can be both pleasurable and painful. Thus rasa in the form of both pain and pleasure is acceptable. Here RB adopts the view of ND though he does not uphold two distinct classes of rasa like ND.2 RB's view:

immediately evoked. If you examine any of Shakespeare's more successful tragedies, you will find this exact equivalence; you will find that the state of mind of Lady Macbeth walking in her sleep has been communicated to you by a skilful accumulation of imagined sensory impressions.' (Hamlet) Thus the rasa of a work is its most central artistic characteristic, its distinctive note. 1 RK vrtti on verse 141. 2 See ND p. 159.

ĀŚRAYA OF RASA CXXV

करुणामयानामप्युपादेयत्वम्। सामाजिकानां रसस्य सुख- दु:खात्मकतया तदुभयलक्षणत्वेनोपपद्यते । अत एव तदुभयजन- कत्वम् । However, RB elaborates this with his own new explanation in Naiyāyika's terms adopting positive and negative methods (anvaya and vyatireka) that the rasa-s as in the form of both pain and pleasure are accep- table. Thus RB clearly points out that rasa-s can have the heroes as their substratum and the rasa is realized by the spectators by witnessing the action of the actors or by listening to the words of poetry, being made to experience properly, they produce the corresponding experience. By the imaginative experience (bhāvanā) of the rasa in others, great bliss is experienced, as is seen through the positive and negative methods (anvaya and vyatireka). This is quite in keeping with the action in such cases. Thus everything becomes delightful (ramanīya) according to RB. रसा: नायकाश्रिता एव। सामाजिकैर्नटचेष्टया काव्य- श्रवणेन च साक्षान्द्भाव्यन्ते। समनुभाव्यमानास्तं तमनुभवं जनयन्ति। परगतरससम्यग्भावनयान्वयव्यतिरेकाभ्यां निरति- शयानन्दजनकत्वमिति। तत्र प्रवृत्तिरपि घटत इति सर्वं रमणीय- मिति। From the above exposition of RB's view, it is clear that RB is relatively more influenced by Bhattanā- yaka, though he adopts the view of ND in holding rasa as both pleasurable and painful.

C. SĀNTA RASA

The problem of santa rasa has been discussed in detail by many scholars, pointing out the divergent views of earlier writers, accepting śanta as the ninth rasa in regard to kāvya alone or with reference to nātya alone or with reference to both or rejecting the exist- ance of santa rasa altogether. RB has accepted śānta as the ninth rasa with reference to both kāvya and nātya. Some say that there is no rasa which can be called śanta. Some refuse to admit the existence of šānta rasa because Bharata did not mention its bhāva-s etc. and because he did not define it. Others however argue that (regardless of whether Bharata mentions it or not) in actual reality it cannot exist because, they claim that śānta requires the cessation of love and hate and that it is impossible to root out these from the hearts of men. Others claim that it comes within the sphere of bībhatsa etc. Those who hold this view, do not accept even śama (as the sthāyibhāva). They argue that śama is not allowed to be a sthāyibhāva in nātya etc. where acting is essential, since śama consists in the complete cessation of all activities. RB refers to this view :-

एके तु निर्विकारत्वान्न शान्तं मेनिरे रसम्।1

1 RK p. 101,

SĀNTA RASA cxxvii

NS passages referring to śānta rasa are thought to be a later interpolation. Abhinavagupta advocates santa as a ninth rasa pointing out nirveda, the first of vyabhicarin-s already mentioned by Bharata, as the sthāyin of sānta.1 Udbhața was the first to introduce śānta rasa in nāļya also. शृङ्गारहास्यकरुणा रौद्रवीरभयानकाः । बीभत्साद्भुतशान्ताश्च रसा: पूर्वैरुदाहृताः ॥ Rudrața and Rudrabhatta (the author of ŚT) accept śānta rasa with reference to kāvya2 alone. Ānandavardhana, giving Mahābhārata as an ex- ample, advocates santa on his own ground.3 He holds trsnāksayasukha as its sthāyin. Had he been aware of Bharata's santa text, he would have quoted that in his advocacy of śānta rasa. Dhanañjaya does not accept śānta in nātya -- शममपि केचित्प्राहु: पुष्टिर्नाटयेषु नैतस्य।4 From the above statement of Dhanañjaya (and its commentary by Dhanika) it would appear that Dhanañ-

1 See for details Dr. V. Raghavan, The Number of Rasas and J.L. Masson and M.V. Patwardhan, Santarasa and Abhinavagupta's Philosophy of Aesthetics.' 2 Cf. Kāv.Al. XV. p. 166; ST, I. 1. 3 See for details ' Santa rasa and Abhinavagupta's Philosophy of Aestheties ' by J. L. Masson and M.V. Patwardhan. 4 See DR. IV. 35.

cxxviii RASAKALIKĀ OF RUDRABHAȚȚA

jaya denies śānta only in drama but accepts it in kāvya. Dr. Raghavan however says that " as a matter of fact, Dhanañjaya, as interpreted by Dhanika, does not reco- gnize it even in kāvya. The Avaloka in DR proposes- .-.

ननु शान्तरसस्य अनभिनेयत्वात् यद्यपि नाटयेऽनुप्रेवेशो नास्ति तथापि सूक्ष्मातीतादिवस्तूनां सर्वेषामपि शब्दप्रतिपाद्यतया विद्यमानत्वात् काव्यविषयत्वं न वर्ज्यंते। p. 124 And even this Dhanika does not grant.'1 Further, Dr. Raghavan holds ' to grant it in kāvya and to deny it in nātya is as clumsy a compromise as the one which --- grants it inherent rasa-character and denies it conven- tional vogue as a rasa. Kāvya in essence is only drama and this Abhinavagupta has emphasised in his Abhina- vabhāratī (G.O.S, I. p. 292). If it is possible to develop śanta in terms of the theme of kavya, equally is it possible to handle it as the motif of drama.'2 J. L. Masson and M. V. Patwardhan have shown that this view is not tenable. For, Avaloka of Dhanika says अथ तदुपायभूतो मुदितामैत्रीकरुणोपेक्षादिलक्षणः, तस्य च विकासविस्तारविक्षोभविक्षेपरूपतैवेति। तदुक्त्यैव शान्त- रसास्वादो निरूपितः ।

1 See for details The Number of Rasas Dr. V. Raghavan, p. 51-54. 2 ibid. 3 Perhaps तदक्त्यव can be explained as "तस्य (धनञ्जयस्य) उक्त्यैव" which will make it clear that Dhanañjaya holds santa rasa with reference to kāvya.

SĀNTA RASA CXXix

But most of the writers on nātya seem to be anxious to object to śānta only in drama, since in drama which requires the presentation of a rasa through its anu- bhava-s there is no possibility of acting śānta rasa, which, according to them is the cessation of all activity. Following astau rasāh of Bharata, Mammata first says that nātyarasa-s are only eight,1 but adds afterwards that there is also a ninth rasa called śanta with nirveda as its sthāyin.2 However Sarngadeva, the author of sangītaratnā- kara, like Udbhata, emphasises the importance of śānta rasa in nāțya. अष्टावेव रसा नाटयेष्विति केचिदचूचुदन् । तदचारु यतः कश्चिन्न रसं स्वदते नटः।

The authors of ND also believe in the theory that the ninth santa rasa can also be developed in a drama. They take śama as the sthāyin of śānta rasa. धर्मस्य च शममूलत्वादन्ते शम इति।3 They define Sānta as- संसारभयवैराग्यतत्त्वशास्त्रविमर्शनैः । शान्तोऽभिनयनं तस्य क्षमा ध्यानोपकारतः ।4

1 See Kāv.Pr. IV. 6. 2 ibid. IV. 12a. 3 See ND. III. p. 163. 4 See ND III. p. 170. 1

CXXX RASAKALIKĀ OF RUDRABHAȚȚA

Then they explain each term. For example Samsāra- bhaya is 'deva-manuşya-naraka-tiryagrūpeņa bahu- dhā paribhramanam samsārah tasmād bhayam'.1 Here this idea as explained by ND might have influenced RB to hold four types of Santa rasa.2

Though Bhoja accepts Santarasa in his Sr.Pr. as well as in SKĀ, he gives a predominant place to ahamkāra- śrngāra alone. He holds that all bhāva-s (49 bhāva-s viz. 8 sthāyibhāva-s, 33 vyabhicāribhāva-s and 8 sāttvika bhāva-s) become rasa. According to this view, it seems to be impossible to accept Santa rasa since we are not sure of excluding any particular bhāva as its sthāyin ..

RB follows Udbhata in accepting Sānta rasa with reference to both kāvya and nātya, takes śama as its sthayībhāva and identifies šāma with nirvikāra- cittatva.3

शमो वैराग्यादिना निर्विकारचित्तत्वम् ।4

Any one of nirveda, trsnākșayasukha, vairāgya, tattvajňāna etc. is claimed to be sthāyin of šānta rasa by earlier writers. 'Each of these helps the other and

1 ibid. III. p. 170. 2 RK. p. 96, 3 Milton in Samson Agonistes describes this condition 'calm of mind, all passion spent.' 4 ibid.

SĀNTA RASA cxxxi

shades off into the other. All of them form aspects of the one rasa of santa.'1 RB says that śama is sthāyin of śanta rasa and then describes that śama as the rippleless state of mind which is acquired through vairāgya2 etc.

By vairāgyādinā in the definition of śama, RB explains that even as vīra is of the form of dāna, dayā, yuddha and dharma-vīra-s, sānta also has four forms viz. vairāgya, doşanigraha, samtoșa and tattvasākșātkāritā. He is the first to accept four types of śanta. What is given here as samtosa is analogous to Bhoja's dhrti, and Ānandavardhana's trsnāksayasukha; RB's tattvasākșāt- kāritā is analogous to Rudrata's samyagjňānatva and N D's tattvaśāstra vimarśana.

RB defines śānta as- विषयेभ्यो विरक्तस्य तत्त्वज्ञस्य विवेकिनः । रागादिनिर्विकारत्वं शान्तिरित्यभिधीयते।।

स चतुविधा-वैराग्यम्, दोषनिग्रहः, संतोषः, तत्त्वसाक्षात्का- रिता चेति।

Then RB defines each of these types- विषयेभ्यः निवृत्तिः वैराग्यम् ।

रागाद्यभावो दोषनिग्रहः ।

1 Dr. V. Raghavan, The Number of Rasas, p. 61. 2 RK, p. 31,

cxxxii RASAKALIKĀ OF RUDRABHAȚA

तृष्णोन्मूलनं संतोषः । Here vairāgya etc. are not spoken of as means to śama but as forms of santa itself. Thus RB is very definite in his ideas on śanta rasa, holding four types of šānta rasa taking śama as its sthāyin and accepting it with reference to both kāvya and nātya.

IX. AN ESTIMATE OF THE CONTRIBUTION OF RASAKALIKĀ

In assessing the individual importance of an alamkāra work or its writer, one is surely tempted either to overstate or to unduly understate claims, depending on one's mood. No less tempting is it to look upon a writer with a condescending attitude of detachment. We tend to bring to bear on a writer, the wealth of later literature and the well articulated frame-work of a fully developed literary tradition. Such a tradition is itself of apparently humble origin and its apparent strength and richness are the result of slow and gradual accretions and additions made by writer after writer. This is a process of examination and revaluation, of steady elaboration. There is an increasing sophistication and complication of approach and analysis. The historical estimate therefore despite the limitations is an essential element in a real estimate. RB's standing has to be judged not merely in terms of his own individual contribution or enrichment of tradition but in the light of the significance of what he did to stabilise, strengthen, and foster a live and lively consideration of nuances and representations of the aesthetic vision and experience of the great poets and artists of Sanskrit Literature.

cxxxiv RASAKALIKĀ OF RUDRABHAȚȚA

From Bharata onwards every writer has dealt with alamkāraśāstra either with some aspects of figures of speech of rasa with reference either to drama or to kāvya. RB, the author of RK, has spoken of nāyaka and nāyikā and, following ND and Udbhata, dealt with rasa with reference to both kāvya, and nātya. In RK we find nāyaka and nāyikā as well as rasa dealt with in a systematic manner. RB begins his work quoting the verse that enumerates nine rasa-s as accepted by pre- decessors in the alamkāra tradition. Then he makes a clear reference to the substratum of rasa viz nāyaka and nāyikā. RB does not lean much on earlier works in handling this subject of nāyaka and nāyikā. His source seems to be DR on the one hand and Bhoja's SKA on the other. He has significantly developed those ideas with an approach of his own, marked by subtlety and aesthetic sensitiveness of a high degree. RB, on the lines DR, has enumerated the general qualities of the hero. Elaborating the theme, he has described traits like māhakulīnatā, mahābhāgya, kṛta- jñatā and vidagdhatva. Unlike DR, RB explains each and every term in the definition with apt illustrations. eg. the definition of noble birth of a hero- महाकुलीनता नाम कुले महति संभवः ।1 This definition has been borrowed by later writers like the authors of R.Su2 and PR.3 The real contri-

1 RK p. 2. 2 R.Su I. 67. 3 PR. I. p. 8.

CONTRIBUTION OF RASAKALIKĀ CXXXV

bution of a writer lies in how far he is able to influence his successors. RB's real contribution is to be assessed by noting, how far he has developed the ideas of his predecessors and how far his views are borrowed by later writers. On these lines, it is clear that RB has influenced later works like PR, R.Su and Sa.Cin. RB does not speak of the three main types of nāyaka viz. uttama, madhyama and adhama as laid down by Bharata and followed by his successors. Thus almost all definitions of the general qualities of the hero given by RB are his own, though he borrows a few from DR.1 RB accepts the four types of nāyaka viz. dhīrodātta, dhīroddhata, dhīralalita and dhīraśānta. Though the idea has been borrowed from DR, RK has improved upon it. He has introduced the idea of kāntāpara- vaśah in his definition of dhīralalita-

निश्चिन्तो धीरललितः कान्तापरवशो मृदुः ।2

This idea has been borrowed by R.Su.3

RB is the first to introduce the four qualities of śrngāranāyaka viz. vilāsavān, kalāśīlah, subhagah and sthiraragah.4 It is RB who gives a clear idea of the dakşiņa and šatha types of śrngāranāyaka.

1 DR II. 13, and RK, definition of tejas, dhairya etc. p. 5. 2 RK p. 8. 3 cf. R.Su. 1. 75. 4 RK p. 10-11.

cxxxvi RASAKALIKĀ OF RUDRABHAȚȚA

यः पुनरनेकासु नायिकासु स्नेहतौल्यवैषम्येऽपि चातुर्येण तुल्यः स दक्षिणः । य इतरैरज्ञातं नायिकामात्परिज्ञातं विप्रियं करोति स शठः ।1

Then RB classified the main traditional nāyikā-s viz. svā, anyā and sādhāranastrī. Though his defi- nition of sva is based on ST,2 he has given a striking idea of his own.

संपत्काले विपत्काले या न मुञ्जति वल्लभम्। शीलार्जवगुणोपेता सा स्वीया कथिता बुधैः ॥3 RB is the first to introduce the idea of svīyā herself becoming parakīyā nāyikā when she seeks a love affair during festivities.

स्वीयैव परकीया स्याद्यात्ोत्सवरतिप्रिया।4

All the earlier traditional writers classify nāyikā-s into three main types viz. svā, anyā, and sādhāraņa-strī and classify svīyā into three types viz. mugdhā, madhyā and pragalbhā and each of these three types of nāyikā is classified into three types viz. dhīrā, dhīrādhīrā and adhīra, according to their behaviour in showing anger (mäna). The number of these classifications given by earlier traditional writers5 is often confusing, but RB

1 RK p. 12. 2 cf. ST. I. 47, 86. 3 cf. R.Su I. 95. 4 RK. p. 15. 5 cf. DR., ST. etc.

CONTRIBUTION OF RASAKALIKĀ cxxxvii

is very clear in his classification of nāyika-s. He has the main 3 types of nāyikā viz. svā, anyā and sādhāraņa- strī (veśyā). Then under anyā or parakīyā, two types of nāyikā-s are introduced viz. kanyā and parodhā. He specifically points out that sāmānyā (sādhāraņastrī) is pragalbha only. Then RB, brings in the three types of nāyikā viz. mugdhā, madhyā, and pragalbhā under svā and anya. RK is the first text to introduce parușā as one of the three types of nāyika coming under madhyā and pragalbha in regard to their behaviour in anger. All the earlier writers hold the three types of nāyika in accordance with their anger (māna) viz. dhīrā, dhīrādhīrā and adhīra in the place of which RK gives dhīrā, adhīrā and parusā. His expression parușā is more apt to describe her characteristic than the expression adhīrā in that context. The definitions of mugdhā, madhyā, pragalbhā1 and that of dhīrā, adhīrā and parușā2 are strikingly RB's own. Almost all the earlier writers uphold eight types of śrngāranāyikā. Yet RB's definitions of some of these śrngāranāyikā-s are very striking and new- स्वाधीतपतिका सा तु यां न मुञ्जति वल्लभ:3 दूतीमहरहः प्रेष्य कृत्वा सङ्केतनं क्वचित् । यां विप्रलभते प्रेयान् विप्रलब्धेति ता विदुः ।4

1 RK p. 17. 2 ibid. p. 19. 3 cf. Vāsudeva's commentary on Karpūramañjarī p. 5 and in Mallinatha's commentary on Siš.V. V. 13. 4 RK p. 23.

cxxxviii RASAKALIKĀ OF RUDRABHAȚȚA

कोपात्कान्तं पराणुद्य पश्चात्तापसमन्विता। कलहान्तरिता नाम कलाविद्धिः प्रकीर्तिता ।।1

Besides, RB's illustrations from earlier dramas and poems are very apt and choice. RB's significant contribution is found in his rasa- prakarana where he has introduced new and striking ideas, obviously deviating from traditional schools. He introduces four types of uddīpanavibhāva2 and brings in the 18 types of graces viz. bhāva, hāva, helā etc. under the cestā type of uddīpanavibhāva3 while the carlier writers have 20 types viz bhāva, hāva, helā etc. as the natural grace of women.4 He omits śobhā, kānti, dīpti, pragalbhatā and audārya, but introduces three new ones viz. kutūhala, cakita and hāsa.5 It is RB who gives an apt definition for sthāyibhāva that has been borrowed by PR, SrM® and other later works. It is again RB who introduces and defines rati in terms of icchā-

सा (रतिः) च इच्छाविशेष: तथाहि इदं मे भूयादिति।'

1 cf. PR. I.53; Commentary on Śiś.V. by Mallinātha, III. 4, VI. 57, IX. 56 and Śr.M. p. 28. 2 RK p. 32, cf. PR IV. p. 159, R.Su. I. 162. 3 ibid. p. 32. 4 cf. DR. II. 30, 31, 32, 33. 5 RK p. 33 and cf. Comm. Siś.V. XIII. 31, 32. 6 cf. PR. IV. p. 155, Sr.M, p. 52, Sa.Cin. III. p. 133. 7 cf. PR. IV. p. 163.

CONTRIBUTION OF RASAKALIKĀ CXXXIX

In defining the sthāyibhāva-s like hāsa, krodha and sama1 RB's originality is unmistakable. Most of the definitions of the 18 types of cesta, (one of the four types of Uddīpanavibhāva) propounded by RB are quite original.2 RB does not see much difference between anubhāva and vyabhicāribhāva as they are distinct only by their name.3 Some of the definitions of vyabhicāri- bhava introduced by RB are also his own; these have influenced writers of later works.4 RB's comparison of rasavistära with the growth of a tree from its seed is significant and new. He brings in the 12 stages of love in this context unlike the earlier writers who predicate only 10 stages of love and give them in the context of vipralambha śrngāra.® Though RB has adopted the twelve stages of love as given by SKA, RB improves upon SKA7 by introducing them in the context of rasavistāra.8 Following the traditional writers he too introduces two types of śrńgāra viz. sambhoga and viprayoga; but

1 RK. p. 28, 31. 2 RK p. 132-137; (eg) bhāva, hāva, helā, vilāsa, dhairya, Kutta- mita etc .; cf. PR. IV. 187-193 and cf. Vāsudeva's commentary on Karpūramañjarī p. 31. 3 See section on 'RB's conception of rasa in RK' 4 RK. p. 55, (e.g.) īrsyā, amarsa etc. cf. Mallinātha's Comm. on Śiś.V. and Vāsudeva's Comm. on Karpūramañjarī. 5 See for details 'Conception of rasa in RK.' 6 cf. DR. IV. 41, 42; ŚT. II. 6-8. 7 cf. SKA. V. 98b-100. 8 RK. p. 66-74.

cxl RASAKALIKĀ OF RUDRABHAȚȚA

he introduces and defines four types of sambhoga śrngāra corresponding to the four types of vipralambha- śrngāra,1 viz. pūrvānurāgāntara, mānāntara, pravāsa and karuna. The definition of two types of māna viz. praņayamāna and īrșyāmāna and introduced by RB.2 RB is the first to introduce two varieties of samkara viz. śrngāra with śrngara and śrngāra with other rasa-s (rasantara) and under this rasāntara, RB has two types viz. svatantra and prastutopayogin. We find such classification nowhere else, However this conception of rasa-samkara seems to be influenced by Ānanda- vardhana's angāngi-bhāva of rasa. Rasābhāsa is, defined by him for the first time in clear terms.3 Most of the definitions of rasa-s given are RB's own4 RB's originality may be appreciated when we note that he has two types of bībhatsa-rasa viz. laukika and vivekottha5 and four types of sānta rasa viz. vairāgya, doșanigraha samtoșa and tattvasākşātkāra.6

The richness, the variety and subtlety of alamkāra concepts in Sanskrit may blind us to the specific contri- bution of individual writers to the development of these concepts. Bharata as the father-founder of Śastra

1 ibid. p. 86. 2 RK p. 77. 3 ibid. p. 88; cf. Commentary by Mallinātha on Ekāvalī, III. p. 105, PR. IV. p. 201. 4 RK p. 89-97. 5 ibid. p. 94. 6 ibid. p. 96; See Conception of Rasa in RK.

CONTRIBUTION OF RASAKALIKĀ cxli

pioneered in a way far more remarkable than is usually realized. Literary analysis and the study of aesthetic stimuli and response have inevitably to depend on the existence of a considerable body of great literature, lending itself to such analysis of its quality and struc- ture. Successive writers, stimulated by the growth of nāțaka and kāvya literature of varied quality, have applied themselves to systematization and close scrutiny of various details of the artists's creative workmanship, building up the body of alamkāra šāstra as we know it to-day. RB's RK has an important place in the story of this evolution. And the value of his analysis of various concepts, their delicacy and subtlety, their impressive originality, these have been pointed out and commented upon in this thesis as occasion arose. RB has, besides been the source of any of the ideas which are current today and which we casually associate with writers who merely derived them from RB. Works far better known, have used RK, often, alas! without frank and grateful acknowledgement, so freely and profitably that one has to reassess their claim to originality. But what matters however is that while individual merit has thus been left unrecognized, the Sastra has grown and developed, to the general advan- tage of all sahrdaya-s. It is also worthy of note that illustrating new ideas involves the possession of vast reading, ready at call and not too remotely stowed away. It involves a swiftness in the operation of aesthetic perception and sensibility. It involves also an exquisite accuracy in the choice of apposite' illustration. RB's

/

cxlii RASAKALIKĀ OF RUDRABHAȚȚA

RK is in all these respects a work of sturdy originality and excellence and therefore one of the great, though hitherto neglected landmarks in the story, the grand story of the evolution of Sanskrit alamkāra šāstra. Our salutations to RB and to RK!

CRITICAL APPARATUS

Four manuscripts, the details of which are given below are available and have been the basis of the critical edition attempted herein.

I. MD1 (in two parts): Paper manuscript, Govern- ment Manuscripts Library, Madras. Part I. R.NO. 3274, 101 by 94 inches. Foll. 6, Lines 20 in a page, Devanagari script, condition-good.

Transcribed in 1920-21 from a manuscript of M.R.Ry. Koti Ramamurti Sastrigarulu, Potanpuri, Vaddadi Post. Foll. 5. and 6 are left blank.

Copied on 6-6-1920.

Extent-Incomplete. This forms the earlier portion of the work described under R. 2241 below:

Beginning: । रसकलिका।।

शृङ्गारहास्यकरुणा रौद्रवीरभयानकाः । बीभत्साद्भुतशान्ताश्च रसाः पूर्वेरुदाहृताः ॥ एके तु निर्विकारत्वान्न शान्तं मेनिरे रसम्। प्रेमा वा यस्तु पूर्वोक्तरसेभ्यो न पृथङमतः ।

cxliv RASAKALIKĀ OF RUDRABHAȚȚA

Ending: लज्जाविजितमन्मथत्वं यथा- व्याहृता प्रतिवचो न संदधे गन्तुमैच्छदवलम्बितांशुका। सीदति स्म शयनं पराङमुखी सा तथापि रतये पिनाकिन: ।

MD1 (Part II) R. 2241-Paper manuscript. 10g by 95 inches.

Foll. 28, Lines 20 in a page, Devanāgarī script, condition-good.

Transcribed in 1916-17 from a manuscript of M.R.Ry Chebrole Ramaswami Siddhantigaru of Valluru, Mandapeta, Godavari District. Foll. 1a -26b.

On the last page of this manuscript is given the topics (19) dealt with in the text with the description "A work on poetics dealing with nine kinds of rasas" (poetic sentiments). Extent: Incomplete. For the first part see manuscript described above.

Beginning: सा तथापि रतये पिनाकिनः ।

मृदु निष्फलमानित्वं यथा- श्रुत्वा सखीभिः कान्तस्य शाठ्यं कोपकषायिता। आलिङ्गिता हठात् तेन नास्मरत्साध्वसाविला ।।

-===

CRITICAL APPARATUS cxlv

Ending: रसा नायकाश्रिता एव। सामाजिकैर्नटचेष्टया काव्यश्रव- णेन च साक्षाद्भाव्यन्ते। समनुभाव्यमानास्तं तमनुभवं जनयन्ति। परगतरससम्यग्भावनयान्वयव्यतिरेकाभ्यां निरतिशयजनकत्व- मिति। तत्र प्रवृत्तिरपि घटत इति सर्वं रमणीयमिति ।

Colophon: ।। इति रसकलिका समाप्ता । Foll. 27a gives the information regarding the tran- scription of the manuscript. Foll. 28a gives the con- tents of the work. Foll. 27b and 28b are left blank. Critical assessment of the manuscripts (R.3274, R. 2241): These two manuscripts make the work complete. These are written legibly, though there is often a con- fusion between the letters dha and tha. The scribe has committed many mistakes of spelling by putting hrasva signs instead of dirgha ones. The title of the topic to be defined is not given in many cases. Besides avagraha is not given even where it is compulsory. There is no reference to the author of the work in the body of the text. The name of the text itself is given both at the start TasfemT and in the colophon at the end इति रसकलिका समाप्ता। II. MD2-This manuscript is described in the catalogue under the vague title " Srngārādivişayah". D. 12960; Palmleaf-11 1/4 by 1 5/8 inches; leaves -- 16; 10 lines in a page; script-Kanarese; condition- slightly injured and old in appearance. J

cxlvi RASAKALIKĀ OF RUDRABHAȚȚA

Begins on foll. 19a. Neither the name of the work nor that of the author is given.

Extent-Incomplete.

Beginning: शृङ्गारहास्यकरुणा रौद्रवीरभयानकाः । बीभत्साद्भुतशान्ताश्च रसाः पूर्वैरुदाहताः ॥ एके तु निर्विकारत्वान्न शान्तं मेनिरे रसम् । प्रेमा वा यस्तु पूर्वोक्तरसेभ्यो न पृथङमतः ॥ Ending (as given in the catalogue):

लज्जास्मरत्वं यथा-

सुप्तोऽयं सखि सुप्यतामिति गताः सख्यस्ततोऽनन्तरं प्रेमावेशतया मया गतभिया न्यस्तं मुखं तन्मुखे। ज्ञातेऽलीकनिमीलने नयनयो: धूर्तस्य मां वञ्चतो लज्जासीन्मम तेन साप्यपहृता तत्कालयोग्यैः क्रमैः॥

मोहान्तसुरतक्षमत्वं यथा -- गाढालिङ्गनवामनीकृत ... ।

Critical assessment: This palmleaf manuscript is written in Kannada script. It is given under the vague title Srngārādivişayah: but it is identical with the text of Rasakalikā. There is no reference to the name of the author or work in this manuscript. It was Professor K. Kunjunni Raja who drew my attention to the existence of this manuscript described under a wrong title.

CRITICAL APPARATUS cxlvii In the descriptive catalogue of MD, it is stated that this manuscript ends with the line गाढालिङ्ग नवामनीकृत ... and that the manuscript is damaged after this line. But this manuscript actually ends with- प्राप्तकालं च यद्ब्रूयात् कुर्याद्वा विहृतं हि तत्। यथा- पत्युः शिरश्चन्द्रकलामनेन स्पृशेति सख्या परिहासपूर्वम्। After this the leaves are left blank. This confusion is perhaps due to the fact that the leaf that starts with लाक्षालक्ष्म ललाटपट्टं etc. and ends with the line गाढालिङ्गनवामनीकृत had been misplaced at the end and consequently it was assumed that the manuscript ended with that line. This palmleaf manuscript in Kannada script was expected to be a direct descendant of the origi- nal manuscript, since it is known that the author Rudra- bhatta was a Kannadiga, with a Kannada work Jagan- nāthavijaya to his credit; but on careful examination, it is found that it is a corrupt manuscript. Many of the lines found in other manuscripts are omitted in this Kannada manuscript. Omission is so frequent that even important topics like the four types of nāyaka, viz. anukūla, dakșiņa, satha and dhrsta are left out. This manuscript is not very helpful in reconstructing the text except in a few cases. In one or two places, the same lines are repeated (e.g.) the verse श्रुत्वा सखीभिः कान्तस्य (v. 28) is quoted to illustrate "mrdu nisphalamānitva and it is again quoted under

cxlviii RASAKALIKĀ OF RUDRABHAȚȚA

madhyāyāh samlaksyayauvanatva besides the illustrative verse (29) "unmīlitam tūlikayeva" etc. but however the verse 29, is irrelevantly quoted under madhyāyāh samlaksyayauvana. All these facts point to the con- clusion that this manuscript cannnot be taken as the original manuscript from which others were transcribed. III. TR. Stock No. 7509, Devanāgarī script, 106 pages, 12 lines in a page, clearly and legibly written.

Extent: Incomplete

Copied by Sri M.R. Kavi. Compared with the original manuscript by K. Venkatasubba Sastri on 26-2-1917. Title is given with the comment "Rasakalikā"- "Nādyanāntabhāgau" (i.e. neither beginning nor ending is available).

Beginning: मृदु निष्फलमानित्वं यथा- श्रुत्वा सखीभिः कान्तस्य शाठयं कोपकषायिता। आलिङ्गिता हठात् तेन नास्मरत् साध्वसाविला ॥ Ending: सामाजिकैर्नटचेष्टया काव्यश्रवणेन साक्षाद्भाव्यन्ते। स- मनुभाव्यमानास्तं तमनुभवं जनयन्ति। परगतरससग्यग्भावन- यान्वयव्यतिरेकाभ्यां निरतिशयानन्दजनकत्वमिति। तत्न प्रवृत्ति- रपि घटत इति सर्वं रमणीयमिति।

Critical assessment: It has no beginning. The manu- script begins with मृदु निष्फलमानित्वं etc. which forms

CRITICAL APPARATUS cxlix

the second part of Madras Manuscript (MD1-R 2241) that starts with मृदु निष्फलमानित्वं etc. This manuscript gives fairly correct readings wherever they seem to be doubtful in Madras manuscript (Devanāgarī script). In the descriptive catalogue of Tirupati Oriental Manu- scripts Library, it is stated that other manuscripts of this text are available in Madras Government Oriental Manuscript Library. This TR manuscript (7509) was probably copied from the MD1 manuscript (R 2241) or both of them probably copied from one and the same manuscript as the dates of the copying of these two are close to each other. The comment given by the copyist in the first page from the "nādyantabhāgau" is not fully correct, since the ending is quite in keeping with that of MD1 manuscripts. IV. MY-manuscript No. 1050. Title-Rasakalikā, Author-Rudrabhațța. Size of the manuscript 20 cms by 16 cms; number of pages 73; 12 lines in a page; letters per line-10; number of granthas 547, script-Devanagari, copied by-H. Suryanarayana Sastri. Date of copy 10-8-1937. Extent: Incomplete. It is stated in the last page of the manuscript that it was copied with the help of the manuscript given by one N. Sesha Iyengar, Madras University. Beginning: रसकलिका रुद्रभट्टविरचिता शृङ्गारहास्यकरुणा रौद्रवीरभयानकाः ।

cl RASAKALIKĀ OF RUDRABHAȚȚA

बीभत्साद्भुतशान्ताश्च रसाः पूर्वरुदाहृताः ॥

Ending:

समनुभाव्यमानास्तं तमनुभवं जनयन्ति। परगतरससम्य- ग्भावनया अन्वयव्यतिरेकाभ्यां निरतिशयानन्दजनकत्वमिति तत्र प्रवृत्तिरपि घटत इति सर्वं रमणीयमिति। Critical assessment: A note on the last page of the manuscript says that it was copied with the help of a manuscript given by N. Sesha Iyengar, University of Madras. I was told that the late H. Sesha Iyengar, Department of Kannada, University of Madras, had a personal copy of this manuscript, but I could not trace this manuscript. However it is obvious that MY (1050) manuscript was not copied from MD manuscripts. I relied more on this Mysore manuscript to reconstruct the text, though MD1 was taken as the basis with which other manuscripts were collated. The MY manuscript is written legibly and gives correct readings in most cases where MD ms. reads wrongly. This is the only manuscript in the colophon of which is found the author's name along with the title of the work. I have taken this as an internal evidence to prove the author- ship of the text.

With the help of the above critical assessment of the manuscripts, their inter-relationship can be assessed to a certain extent. H. Sesha lyengar's manuscript is not available. The second part of MD1 and TR are copied more or less in the same year, and the beginning

CRITICAL APPARATUS cli and ending of these two manuscripts are similar. Either one was probably copied from the other. But this cannot be proved. It is also possible that both manu- scripts TR and second part of MD1 are copied from a third manuscript, perhaps H. Sesha Iyengar's manu- script itself. The MY manuscript was copied from the personal copy of H. Sesha Iyengar, since it is specifical- ly stated in the manuscript itself. Both the MY and MD1 (two parts) were probably copied from one and the same original. If we take the original manuscript to be A, the genealogical chart of the available manuscripts can be given in the following way --

A

B1 B2 B3

M2 (Kannada) MY MD1 TR

CRITICAL EDITION

.: " ...

रुद्रभट्टविरचिता

रसकलिका

शृङ्गारहास्यकरुणा रौद्रवीरभयानकाः । बीभत्साद्भुतशान्ताश्च रसाः पूर्वैरुदाहृताः ॥ १॥* एके तु निर्विकारत्वान्न शान्तं मेनिरे रसम्। प्रेमा वा यस्तु पूर्वोक्तरसेभ्यो न 'पृथङमतः ॥ २ ॥ --- रसलक्षणं तु- ......... --- विभावैरनुभावैश्च सात्विकैर्व्यभिचारिभिः । आनीयमान: स्वादुत्वं स्थायी भावो रसः स्मृतः ॥ ३ ॥ 2एतच्चोपरि व्याहरिष्यामः । रसनिरपणक्रमस्तु- आश्रयस्तत्सहायाश्च भावास्तेषां करमा अपि ।

1 MD1 पृथङ्गमताः MD2 प्रेमादयस्तु पूर्वोक्तेन (क्त, न) पृथग्गदिता इति 2 MD2 एताद्दुपरि विविधश्च इत्युपम :. 3 My आश्रयाः; MD2 आश्र- याश्च :. 4 MD2 भावास्ति.

• NŚ. VI-15; Rud Kāv. Al. XII. 3; ST. I. 9; SKĀ. X. 104; Kav. An. II. 21; ND III. 9 (p. 163); Vagbhatal. V. 3; PR. IV. p.150; Al. S. III-4; SD. III. 102 (p.32). + DR. IV. 1. (id); Käv. An II .- 1; PR. IV. p. 151 (id); R.Su. I. 59 (id); SD. III. 1.

२ रुद्रभट्टविरचिता

रसानां संकरश्चैव तेषां 'संचरणक्रमः ॥ ४ ॥

तत्ाश्रयो द्विधा नायको नायिका चेति।।

तत्न नायक :- महाकुलीनतौदार्यं महाभाग्यं कृतज्ञता। यौवनं च विदग्धत्वमुत्साहो धैर्यमेव च ॥ ५॥*

तेजस्विता दक्षता च धार्मिकत्वं च तद्गुणाः ।

तत्र महाकुलीनता यथा- महाकुलीनता नाम कुले महति संभवः ॥ ६ ॥

तद्था- तदन्वये शुद्धिमति 'प्रसूतः शुद्धिमत्तरः । दिलीप इति राजेन्दुरिन्दुः क्षीरनिधाविवी। (१)

औदार्य यथा- अदेयस्य परित्याग औदार्यमिति गीयते।4

1 My संचरणत्रमा :. 2 MD1 MD2 यथा. 3 MD2 omits from प्रसूत ...... upto क्षीरनिधाविव :. 4 MD1 परित्यागजौदार्य; MD2 परित्यागजाद्यादि; after this, ms is damaged.

• Rud. Kāv. Al XII-7, 8; ST. I. 27; DR II. 1; SKĀ. V. 122; 123; ND. IV. 159, 161 (p. 195, 197) Kāv. An. VII. 1; Vāgbhațāl. V. 7; PR. I. p. 8; R. Su. I. 61, 62, 63. SD. III. 30. + Kāv. An. VII. 9; PR. I. p. 8 (id); R. Su. I. 67 (id). + NŚ. XXII. 38. DR. II. 23; Kāv. An. VII. 9 (p. 409); ND. IV. 165a; Al. S. IV. 1. 21 R.Su. I. 64; SD. III. 55.

रसकलिका ३

1तद्था- कर्णस्त्वचं शिबिर्मांसं जीवं जीमूतवाहनः । ददौ दधीचिरस्थीनि किमदेयं महात्मनाम् ।* (२)

महाभाग्यम्- विश्वंभराधिपत्यं यत् 2तन्महाभाग्यमुच्यते ॥ ७॥

तद्यथा- स वेलावप्रवलयां 4परिखीकृतसागराम् इत्यादि।

कृतज्ञता यथा- "कृतज्ञत्वं तु विज्ञेयं 'कृतकार्येष्वविस्मृतिः ।

यथा- निष्कण्टकां विधायापि8 किष्किन्धानगरस्थितिम् । लज्जते रामचन्द्रोऽसौ सुग्रीवमुखवीक्षणे ॥ (३)

यौवनं यथा- मध्यमं तु वयो यत्तु यौवनं [हि] तदुच्यते ॥ ८ ॥1

1 MD2 यथा; 2 MD2 is damaged at यत्तन्महा. 3 All MSS. read वलयं. 4 MD1 MD2 omit परिखीकृतसागरमित्यादि. 5 MD1 MD2 omit this. 6 MDL My read कृतज्ञत्वमिति ज्ञेयं; कृतकार्येष्वविस्मृता. 7 My तद्यथा. 8 MD2 omits अपि. 9 My अथ यौवनं.

• PR. I. p. 9 (id) ; R.Su. p. 9 (after verse no 63). +4+ + SKĀ. V. 122a; R. Su. I. 68. DR. II. I. Al. S. IV. 2; SKÃ. V. 122; Kāv. An. VII. p. 406.

४ रुद्रभट्टविरचिता

यथा-

युवा युगव्यायतबाहुरंसलः कवाटवक्षा: परिणद्धकन्धरः । वपुःप्रकर्षादजयद् गुरुं रघु- स्तथापि नीचैर्विनयाददृश्यत! (४) विदग्धत्वं 'यथा- विदग्धत्वमिति ज्ञेयं प्रगल्भजनवञ्चनम्।*

यथा --

रक्षसा मृगरूपेण 5वञ्चयित्वा स राघवौ। जहार सीतां पक्षीन्द्रप्रयासक्षणविघ्नितः । (५) उत्साहो यथा-

कृच्छेऽ्रपि मानशालित्वमुत्साहः परिकीर्त्यते ॥ यथा-

अन्त्नैः स्वैरपि संयताग्रचरणो मूर्च्छाविरामक्षणे

1 MD2 omits यथा. 2 MD2 omits युवा. 3 MD2 omits from कवाटवक्षा: upto अदृश्यत. 4 My omits यथा and reads अथ विदग्धत्वम्. 5 MD2 is damaged from वञ्चयित्वा upto परभटान in the next illustrative verse.

• PR. I. p. 11; SKĀ. V. 122. + DR. II. 1; Al. S. IV. 2; Kav An, VII. 3.

रसकलिका ५

स्वाधीनं व्रणिताङ्ग'शस्त्रनिचितो रोमोद्गमं वर्मयन् । भग्नानुद्वलयन् निजान् परभटान् 'संतर्जयन् निष्ठुर धन्यो 5नाम जयश्रियः पृथुरणस्तम्भे 'पताकायते ॥ (६)*

अथ धैर्य- व्यवसायादचलनं धैर्य विघ्नकुलादपि।

वयथा- प्रारभ्यते न खलु 10विघ्नभयेन नीचै- 1रारभ्य विघ्ननिहता विरमन्ति मध्याः । विघ्नैः पुनः पुनरपि प्रतिहन्यमानाः प्रारब्धमुत्तमगुणा12 न परित्यजन्ति ॥। (७)

तेजस्विता यथा- अधिक्षेपाद्यसहनं तेज: प्राणात्ययेष्वपि॥ १० ।

1 MD1 My read शस्त्रविवरे. 2 MD1 My read वर्णयम्. 3 MD1 My read उद्दलयन्. 4 MD1 My read आतर्जयन्. 5 MD1 My read धाम. 6 MD2 reads जयाश्रिय :. 7 MD2 reads पताका- यति. 8 My अथ धैर्यम्. 9 MD2 is damaged. .10 MD2 reads विध्ने च क्रियेण. 11 MD2 प्रारभ्य विघ्नविहता. 12 MD2 is damaged.

• This is given by Dhanika himself in his "Avaloka on DR (cf DR. II. + DR. II. 47; NŚ. XXII. 35; ND. IV. 164a (p. 198); Kāv. An. VII. 7; R.S. I. 64; SD. III. 53; Al. s. IV. 20. t NŚ. XXII. 39; DR. II. 21 (id) ND. IV. 162a) (p. 197); Kāv. An. VII. 10; R.S. I. 70. § DR. II. 1; R. Su. I. 65 (id); Al. S. IV. İ; SD .. III. 51.

६ रुद्रभट्टविरचिता

यथा-

ब्रूत नूतन कूष्माण्डफलानां के भवन्त्यमी। अङगुलीदर्शनादेव न जीवन्ति 'मनस्विनः ॥ (८)

दक्षता यथा- दुष्करे क्षिप्रकारत्वं दक्षतां परिचक्षते।

यथा- शुण्डार कलभेन यद्वदचले वत्सेन दोर्दण्डकः तस्मिन्नाहित एव गर्जित गुणं कृष्ट "च भग्नं च तत्। स्फूर्जद्वज्ररसहस्त्र निर्मितमिव® प्रादुर्भवत्यग्रतो रामस्य त्रिपुरान्तकृद् दिविषदां तेजोभिरिद्वं1 धनु: ॥ (ह) धार्मिकत्वं यथा-

धर्मकायत्तचित्तत्वं 1धार्मिकत्वमुदाहृतम् ।। ११ ।।*

तद्यथा य: 12परवादे मूकः 1परनारीवदनवीक्षणेष्वन्धः । पङ्गुः परधनहरणे स जयति लोके महान् पुरुषः ॥ (१०)

1 MD1 My कूश्माण्ड. 2 MD2 किञ्च कस्यापि. 3 MD2 दर्शनाद्येन. 4 MD2 is damaged. 5 All MSS. शुण्डाल :. 6 MD1 तद्वदचले. 7 MD2 गुणानां. 8 MD2 is damaged. 9 MD1 My निमितमिदं. 10 MD1 तेजोभिरित्थं; MD2 तेजोरिदं. 11 MD2 धार्मिकत्वं तदुच्यते. 12 MD2 परनादरते. 13 MD2 दक्षर्शनेष जात्यान्ध :.

• PR. I. p. 11 (id); R.Su. 1. 66; Al. S. IV. 2.

AS ......

रसकलिका ७

स पुनश्चतु'विध :- धीरोदात्तो धीरललितो धीरोद्धतो धीरशान्तश्चेति।* धीरोदात्तो यथा- कृपावानतिगम्भीरो विनीतश्चाविकत्थनः । धीरोदात्तः स विज्ञेयो रामो दाशरथिर्यथा ॥ १२॥t कृपावत्त्वं यथा- परदुःखासहिष्णुत्वं कृपावत्त्वं निगद्यते। यथा- उत्तालताटकोत्पातदर्शनेऽप्यप्रकम्पितः । नियुक्तस्तत्प्रमाथाय स्त्रैणेन विचिकित्सते ॥ (११) गाम्भीर्य यथा- संक्षोभेऽप्यविकारित्वं गाम्भीर्यमिति गीयते ॥ १३॥ यथा- आहूतस्याभिषेकाय विसृष्टस्य वनाय च। न मया लक्षितस्तस्य 'स्वल्पोऽप्याकारविभ्रमः ॥ (१२) 1 MD2 omits चतुर्विध: 2 MD2धीरोदात्तस्य, 3 MD1 My धीरो. 4 MD1 MD2 दर्शनेष्वप्रकम्पितः; My दर्शनेऽ्थप्रकम्पित :. 5 MD1 प्रमदिाय. 6 My तत्र गाम्भीर्यं, 7 My स्वल्पोऽथाकारविभ्रमः

• NS. XXIV 3, 4; DR. II. 2; SKĀ. V. 109a; Kāv. An. VII. 11 (p. 410); PR. 1. 27; SD. III. 31; R.Su. I. 72. 1 NŚ. XXIV. 5b; DR. II. 5; SKĀ-V. 109a; Kāv. An. VII. 12; PR. I. p. 15; SD. III. 32; Al. S. IV. 4. NS. XXII. 36; DR. II. 19; SD. III. 43; Kāv. An. VII. 164; R.Su. I. 74 (id).

रुद्रभट्टविरचिता

तत्र1 विनीतता --

सत्सु प्रश्रयवाचित्वं विनीतत्वमुदाहृतम् ।*

यथा- यद् ब्रह्मवा2दिभिरुपासितपद्मपादे विद्यातपोव्रतनिधौ4 यमिनां वरिष्ठे। दैवात् कृतस्त्वयि' मया विनयापचार-6 स्तत्त प्रसीद भगवन्नयमञ्जलिस्ते।। (१३)

अविकत्थनमात्मश्लाघाभावः। तत्नापि तदेवोदाहरणम् ॥

निश्चिन्तो धीरललितः कान्तापरवशो मृदुः ॥१४ ॥

यथा-

राज्यं निरजितशत्रु योग्यसचिवे न्यस्तः समस्तो भर: सम्यक्पालनलालिताः प्रशमिताशेषोपसर्गाः प्रजाः । प्रद्योतस्य सुता वसन्तसमयस्त्वं चेति नाम्ना धृति काम: काममुपैत्वयं मम पुनर्मन्ये महानुत्सवः ॥ (१४)

1 MD1 MD2 omit this. 2 MD2 वाचिभि: 3 MD1 MD2 आसितवन्द्यपादे. 4 MD1 My तपोव्रतलिधौ. 5 MD2 त्वया. 6 MD2 विनयापचारू. 7 MD2 आत्मश्लधाद्याभाव :. 8 MD1, My give only the 1st line of this verse.

• DR. II. 1; Al. S. IV. 1; R.Su. I. p. 14. t R.Su. I. p. 15. + NŚ. XXIV. 5a; DR. II. 3; SKĀ. V. 109; Kāv. An. VII. 13. PR. I. 32; SD. III. 34; Al. S. IV. 5; R.Su. I. 75; PR. I, 32.

रसकलिका W

अथ धीरोद्धतः । तद्यथा-

चण्डो विकत्थनश्चैव धीरोद्धत उदाहृतः ॥ १५ ॥* दर्पो मदः, चल: अस्थिरः, चण्डो रौद्रः । स्वगुणप्रकाशो विकत्थनः जामदग्न्यरावणादिः ।

यथा-

रुद्राद्रेस्तुलनं स्वकण्ठविपिनच्छेदो1 हरेर्बासन कारावेश्मनि पुष्पकस्य हरणं यस्येदृशाः केलयः । सोऽहूं° दुर्दमबाहुदण्डसचिवो' लङ्कश्वरस्तस्य® मे का श्लाघा घुणजर्जरेण धनुषाकृष्टेन भग्नेन बा॥ (१५) अथ धीरशान्त :- शान्तो विनीतो धीरश्च धीरशान्तो द्विजो वणिक। यथा1 मालतीमाधवे माधवादि: ।t एते च "सर्वरससाधारणा नायकाः। शृङ्गारनायकस्त-

1 MD2 भूयिष्ठा :. 2 MD1 धीरोदातः, 3 MD2 जमदग्न्य: 4 MD2 विपिना छेदो. 5 My पुष्ककस्य; MD2 हरणां. 6 MD1 My बोऽयं. 7 MDI. बाहुचण्ड. 8 MD2 लङ्गस्वरस्यास्य. 9 MD2 My जर्झरेण; MD2 सझरेण. 10 MD1 gives यथा मालतीमाघवादेः; MD2 omits this line. 11 My gives एते च (चत्वारः) सर्वरस. . .. * NŚ. XXIV. 5a; DR. II. 6; Kāv. An. VII. 15; PR. I. 30 (p. 16) R.Su. 1. 75; SD. III. 33; Al. S. IV. 7. t NS. XXIV. 6a; DR. II. 7; Kāv. An. VII. 14 ;. PR. I. p. 16; R.Su. I. 76; SD. III. 34; Al. S. IV. 8.

१० रुद्रभट्टविरचिता

1विलासवान् कलाशीलः सुभगः स्थिररागवान् ॥ १६ ॥

अथ विलास :- प्रियस ङ्गमकाले 'तु 'नेतभ्रूमुखकर्मणाम् ।* 5विशेषो यः स विज्ञेयो विलासोडङ्गक्रियादिषु ॥ १७॥

यथा- विस्रस्तमंसादपरो विलासी रत्नानुविद्धाङ्गदकोटिलग्नम्। प्रालम्बमुत्कृष्य यथाप्रदेशं निनाय साचीकृतचारुवक्त्रः ।। (१६)

अथ कलावान् सौभाग्यवांश्च यथा -- असौ विद्याधारः9 शिशुरपि विनिर्गत्य भवना- दिहायातः संप्रत्यविकलशरच्चन्द्रवदनः10। यदालोकस्थाने" भवति 1पुरमुन्मादतरलैः कटाक्षैर्नारीणां"3 कुवलयितवातायनमिव॥ (१७)

1 MD1 विलासवाक्कलाशीलवान्. 2 MD1 MD2 omit this. 3 My omit तु. 4 MD1 My नेत्रभ्रूकर्मणाम् 5 MD2 is damaged at विशेषो य: 6 MD2 विंलासाङ्गक्रियादिष 7 MD2 विश्रस्रस्ततमङ्ग सादरो. 8 My कोटियुग्म, MD2 omits from रत्नानुविद्ध upto चारुवक्त्र: 9 MD2 is damaged from धारः upto विनि: 10 MD1 My शरच्चन्द्रङ्ग- धुर :. 11 MD1 My यथालोकस्थान 12 MD2 सुरमुक्तरलैः. 13 MD2 is damaged here.

• NŚ. XXII. 33; DR. II. 17; SKĀ. V. 113a; ND. IV. 162 (p.197); Kāv. An. VII. 4; R.Su. I. 201 (id); SD. III, 52a; Al. S. IV. 18.

रसकलिका 99

अथ स्थिररागित्वं यथा- जाने तपसो वीर्यं सा बाला परवतीति मे विदितम् । अलमस्मि ततो हृदयं तथापि नेदं 2निवर्तयितुम् ॥ (१८) स पुनश्चतु"विध :- अनुकूलो दक्षिणश्च शठो4 धृष्ट इति क्मात्।* अथ अनुकल :- एकायत्तोऽनुकूल: स्यात् ।

यथा- श्लाध्यस्त्यागोऽपि वैदेह्याः पत्युः प्राग्वंशवासिनः। अनन्यजाने: 'सैवासीद् यस्माज्जाया हिरण्मयी ॥ (१६) अथ दक्षिणः । तद्यथा- तुल्योऽनेकत्र दक्षिण: ॥ १८ ॥*

1 MD2 अलङ्गस्ति; after this ms is damaged upto निवर्तयितुं. 2 MD1 विवर्तयितुम्. 3 MD2 omits this classification. 4 MD1 शरो. 5 MD1 वाचिन. 6 MD1 My अनन्यजाने रासीद्यत्सैव जाया. 7 MD1 दक्षिणा :.

• ST. I. 27; Rud Kāv. Al. XII. 9b; Kāv. An. VIII. p. 410; DR. II. 6; Vāgbhațāl. V. 8; PR. I. p. 18; R.Su. I. 81; SD. III. 37; RM. p. 208. 1 Rud. Kāv. Al. XII. 9b; ST. I. 29; SKĀ. V. 109; Kāv. An. VII. 18: DR. II. 11; Vāgbhațāl, V. 9a; PR. I. p. 18 (id); R.Su. I. 81; SD. III. 37; Al. S. IV. 12. ± Rud Kāv. Al. XII. 10; ST. I. 31; RD. II. 3; Kāv. An. VII. 16; Vāgbhațāl. V. 9b; PR. I. p. 18 (id); R.Su. I. 82 (id) SD. III. 35; Al. S. IV. 10; RM. p. 210.

१२ रुद्रभट्टविरचिता

यः पुनरनेकासु नायिकासु स्नेहतौल्यवैषम्येऽपि चातुर्येण तुल्यः2 स दक्षिणः ।

यथा-

स्नाता तिष्ठति कुन्तलेश्वरसुता वारोऽङ्गराजस्वस्- द्ूंते4 रात्रिरियं जिता कमलया देवी प्रसाद्याधुना5। इत्यन्तःपुरसुन्दरीजनगुणे6 न्यूनाधिकं ध्यायता देवेनाप्रतिपत्ति' मूढमनसा द्वित्राः स्थिताः नाडिका: ॥ (२०)

अथ शठ :-

गूढविप्रियकृच्छठः । --

य इतरैरज्ञातं नायिकामात्रपरिज्ञातं विप्रियं करोतिश स शठ: ।*

यथा --

10शठोऽन्यस्या: काञ्चीमणिरणितमाकर्ण्य सहसा यथा श्लिष्यन्नेव प्रशिथिलभुजग्रन्थिरभवः ।

1 My omits this line. 2 MD2 तुल्येन. 3. वारोङ्गराजस्वस्. 4 MD1 द्यूतैः- 5 MD1 प्रसाद्यादय च. 6 MD1 MD2 इत्यन्तःपुरसन्दरी: + ......- प्रति मया विज्ञाय विज्ञापिते. 7 MD2 देवेनाप्रतिपत्य. 8 MD1 MD2 द्विस्स्थितं. 9 करोतीति. 10 MD1 शठान्यस्या:

• NS. XXII. 298; Rud Kāv, Al. XII. 11; ST. I. 33. Kāv. An. --- VII. 19; DR. II. 9 (id.) Vāgbhațāl. V. 10a, PR. I. p. 20 (id); R.Su. I. 81; SD. III. 37; Al. S. IV. 11; RM. p. 213.

1

रसकलिका १३

तदेतत् क्वाचक्षे'Sमृतमधुमयं त्वद्वहुवचो विषेणाघूर्णन्ती किमपि 2न सखी मे गणयति ॥ (२१)

अथ धृष्ट: । व्यक्तापराधो गतभीः स धृष्ट इति कथ्यते।*

यथा- लाक्षालक्ष्म ललाटपट्टमभितः केयूरमुद्रा गले वक्त्रे कज्जलकालिमा नयनयोस्ताम्बूलरागोऽपर: । दृष्टवा कोपविधायि मण्डनमिदं 4प्रातश्चिरं प्रेयसो लीलातामरसोदरे मृगदृशः श्वासाः समाप्ति गताः । (२२) शठधृष्टावपि पूर्वस्यां सहृदयौ; अन्यथा 'रसाभासप्रसङ्ग: । अथास्य नायिकाद्यनुसन्धाने सहाया :- पीठमर्दो विटश्चैव तथा चेटविदूषकौ ॥ १६ ॥ किञ्चिदूनः पीठमर्द एकविद्यो विटः स्मृतः । सन्धानकुशलश्चेटो हास्यप्रायो विदूषकः ॥ २० ॥

1 MD1 omits अवग्रह here also. 2 MD2 omits न. 3 MD2 नो. 4 MD1 प्रायश्चिरं. 5 MD1 रसाभाव. 6 MD2 प्रसङ्गात्.

• Rud. Kav. Al. XII. 12; ST. I. 36; DR. II. 10; Vāgbhațāl. V. 10b Kāv. An. VII. 17; PR. I. p. 19; Al. S. IV. 11; R.Su. I. 82; SD. IlI. 36; RM. p. 211. + Rud. Kāv. Al. XII. 13; ST. I. 40; DR. II. 12; SKĀ. V. 121; PR. I. p. 20; R.Su. 1. 89; SD. III. 46; Al. S. IV. 14; RM. p. 227. 1 ST. I. 41, 42; NŚ. XXIV. 105, 107b; Rud Kāv. Al. XII. 15; DR: II. 12, 13; PR. I. 40 (id); R.Su. I. 90, 91; SD. III. 46; Al. S. IV. 14, 15; RM. p. 22.

१४ रुद्रभट्टविरचिता

अथ नायिका:1 ।

स्वान्या साधारणी चेति तद्गुणान्नायिका त्िधा। स्वेत्यसाधारणगुणैरूपेता नायिका 2स्मृता ॥ २१॥*

तत्र स्वीया-

संपत्काले विपत्काले या न मुञ्चति वल्लभम्।t शीलार्जवगुणोपेता सा स्वीया कथिता बुधैः ॥२२॥

यथा-

रूपसंपन्नमग्राम्यं 'प्रेमप्रायं प्रियंवदम् । कुलीनमनुकूलं च कलतं केन लभ्यते।। (२३)

अथ परकीया- परक्रीया द्वेधा कन्यका परोढा' चेति। 8सखीकेलिरता कन्यासलज्जा पितृवेश्मगा॥1

1 MD2 omits विसर्ग here. 2 MD2 मता. 3 My अत्र. 4 प्रेम प्रेष्यमिति रसपूर्णपाठः 5 MD2 द्विधा. 6 MD2 कन्यका. 7 MD1 परौढा. 8 MD2 नास्ति केलीरता. 9 MD2 लज्जापि त्रसद्गा.

• Rud. Kāv. Al. XII. 16; ST. I. 46; ND. IV. 172 (p. 200); Kāv. An. VII. 21; DR. II. 24; SKĀ. V. 110a; Vāgbhațāl. V. 11; PR. I. p. ; R.Su. I. 94; SD. III. 56; Al. S. IV. 22; RM. p. 11. + Rud. Kāv. Al. XII. 17; ST. I. 86; 47; Vāgbhațāl. V. 12, 13; Kāv. An. VIII. 22; R.Su. I. 95; SD. III. 57; Al. S. IV. 22; RM. p. 11-12; DR. II. 25. t Rud. Kāv. Al. XII. 30; ST. I. 87; DR. 32; Kāv. An, VII 28; Vāgbhațāl. V. 14; SD. III. 66, 67; R.Su. I. 106 (id); 107; Al. S. IV. 23; RM. p. 64. 65.

" ...-

रसकलिका १५

यथा- जाने तपसो वीर्यम् इत्यादि। स्वीयैव परकीया स्याद् यात्रोत्सवरतिप्रिया ॥ २३॥ परोढा' तु परेणोढाप्यन्यसंभोगलालसा।*

धूर्तचरित्रतयैव न महाकविप्रबन्धवाच्या2।

सामान्या यथा- सामान्यवनिता वेश्या कलाप्रागल्भ्यधौर्त्ययुक्॥२४॥

तद्यथा- आ दर्शनात् प्रविष्टा सा मे 4सुरलोकसुन्दरी हृदयम् । बाणेन मकरकेतोः कृतमार्गमवन्ध्यपातेन ।। (२४) ईर्ष्या कुलस्त्रीषु न नायकस्य निःशङ्गकेलिर्न पराङ्गनासु।1 5वेश्यासु चैतद् द्वितयं प्ररूढं सर्वस्वमेतास्तदहो स्मरस्य ॥ २५॥

1 MD1 परीढा. 2 MD1 वाच्याम्. 3 My धैर्ययुक्. 4 MD1 भामिनी. 5 All MSS. वैश्या.

• SD. III. 66, 67; R.Su. 1. 109 (id). + Rud. Kāv. Al. XII. 39, 40; ST. I. 120-126; DR. II. 33 (id); N.D. IV. 113; Kāv. An. VII. 29; Vāgbhațāl. V. 15; R.Su. I. 110; SKĀ. V. 112; SD. III. 67, 68. + ST. I. 128 (id); R.Su. I. 120; (wrongly traced to Rudrața).

१६ रुद्रभट्टविरचिता

अत्र सामान्या प्रगल्भैव, इतरे पुनस्त्रिविधे, मुग्धा, मध्या, प्रगल्भा चेति।*

अथ मुग्धा मुग्धाल्पयौवना मूढा लज्जाविजितमन्मथा It मानोऽस्याः 3निष्फलस्तोको मध्या संलक्ष्ययौवना ॥ २६॥।

तुल्यलज्जास्मरा4 ज्ञेया मोहान्तसुरतक्षमा।

तत्नाल्पयौवनत्वं यथा- विस्तारी स्तनभार एष गमितो न स्वोचितामुन्नति रेखोन्द्ासि तथा वलित्रयमिदं8 न स्पष्टनिम्नोन्नतिम्2। 10मध्येऽस्या ऋजुरायता1धंकपिशा रोमावलिर्दृश्यते रम्यं यौवनशैशवव्यतिकरोन्मिश्रं वपुर्वर्तते ॥ (२५)

मूढत्वमविवेकिता।

1 My विदितमन्मथा. 2 My मनोऽस्य. 3 My निष्फलस्स्तोक :. 4 MD2 is damaged स्मरा जेया. 5 MD2 सुरतक्षमम्. 6 My विस्तारो. 7 All MSS. तरलो. 8 MD2 is damaged at मिदं. 9 MD2 निम्नोन्नतम्. 10 My मध्योऽस्या: 11 MD2 मध्योऽन्यत्रऋजरायत.

• Rud. Kāv. Al. XII. 17; ST. I. 47; DR. II. 25; Kāv. An. VII. 23; ND. IV. 174a; Vāgbhațāl, V. 12, 13; PR. I. p. 25; R.Su. I. 96a; SD III. 65; AS. IV. 27; RM. p. 11-12. + Rud. Kāv. Al. XII. 18. 20; ST. I. 48; DR. II. 26; ND. IV. 174b; PR. I. 65; SD. III, 58; R.Su. I. 96, 97; Al. S. IV. 27; RM. p. 16-17. + Rud. Kāv. Al. XII. 21, 22; ST. I. 58; DR. II. 26, 27; ND. IV. 175a; PR. I. 53; R.Su. I. 98, 99; Al. S. IV. 21, 28; SD. III: 58, 59; RM. p. 31: i

रसकलिका १७

1स्पष्टमेव। यथा- मुग्धे मुग्धतयैव नेतुमखिलं 'कालं किमारभ्यते मानं धत्स्व धृति बधान ऋजुतां दूरे कुरु प्रेयसि । 5सख्यैवं प्रतिबोधिता प्रतिवचस्तामाह भीतानना नीचैः शंस हृदि 'स्थितो हि ननु मे प्राणेश्वरः श्रोष्यति ॥। (२६) लज्जाविजितमन्मथत्वम्, यथा- व्याहता प्रतिवचो न संदधे गन्तुमैच्छदवलम्बितांशुका। सीदति स्म शयनं पराङमुखी सा तथापि रतये पिनाकिन: । (२७) मृदु निष्फलमानित्वं, यथा -- श्रुत्वा सखीभिः कान्तस्य शाठ्यं कोपकषायिता। आलिङ्गिता हठात् तेन नास्मरत् साध्वसाविला10। (२८) मध्यायाः संलक्ष्ययौवनत्वं 1यथा -- उन्मीलितं तूलिकयेव चित्रं सूर्यांशुभिभिन्नमिवारविन्दम् ।

1 MD2 omits स्पष्टमेव. 2 MD2 My नेतुमखिलः काल :. 3 MD1 धत्स्वदृदा न. 4 MD1 दूरीकुरु. 5 MD2 सख्येदं. 6 MD9 omits आह. 7 MD1 स्थितो मम पुनः प्राणेश्वरः MD2 स्थितोऽपि ननु मम. 8 MD1 MD2 प्रोष्यति. 9 My मृदुनिष्फलमानित्वं. 10 MD2 साध्वसाविलाम्. 11 MD2 gives verse No. 28 again after यथा and then gives verse No. 29. 2

95 रुद्रभट्टविरचिता

बभूव तस्याश्चतुरस्रशोभि1 वपुर्विभक्तं नवयौवनेन ।। (२६)

तुल्यलज्जास्मरत्वं यथा- सुप्तोऽयं सखि सुप्यतामिति गताः सख्यस्ततोऽनन्तरं 2प्रेमावेशितया मया तरलया न्यस्तं मुखं तन्मुखे। ज्ञातेडलीकनिमीलने नयनयोरधूर्तस्य रोमाञ्चतो लज्जासीन्मम तेन साप्यपहृता तत्कालयोग्यै:

मोहान्तसुरतक्षमत्वं यथा- कमैः ॥ (३०)

सान्द्रस्नेहरसातिरेकविगलत्काञ्चीप्रदेशाम्बरा। मा मा मानद माति मामलमिति क्षामाक्षरोल्लापिनी4 सुप्ता कि नु मृता नु कि मनसि मे लीना विलीना नु किम् ।। (३१) अथ प्रगल्भा ।। यौवनान्धा स्मराक्रान्ता लज्जानन्दाविला रतौ ॥ २७॥* यौवनान्धत्वं यथा- स्तनतटमतीव तुङ्ग 5निम्नो नाभिः समुन्नतं जघनम् ।

1 MD1 चतुरश्ङशोभि. 2 All MSS. प्रेमावेशतया. 3 MD2 रोमोद्गमानां. 4 TR क्षामाक्षरालापिनी. 5 MD1 निम्ना.

• Rud. Kāv. Al. XII. 24, 25; ST. I. 69, 74; DR. II. 29; ND. IV. 175; Kav. An. VII. 28; PR. I. 56; (प्रौढा) R.Su. I. 110; SD.III.60; Al. S. IV. 20; RM. p. 34.

रसकलिका १६ इति 'विषमे हरिणदृशो वपुषि नवे क इव न स्खलति ।। (३२ ) स्मराक्रान्तलज्जात्वंरतावानन्दाविलत्वं च यथा- क्वचित् ताम्बूलाक्तः क्वचिदगुरुपङ्काङ्कमलिनः क्वचिच्चूर्णोद्गारी क्वचिदपि च सालक्तकपदः । वलीभङ्गाभोगैरलकपतितैः शीर्णकुसुमैः स्त्रिया नानावस्थं प्रथयति रतं प्रच्छदपटः ॥ (३३) मध्याप्रगल्भयोः मानविधौ तैविध्यम्। 4स्त्रीणामीर्ष्याकृतः5 कोपो मानोऽन्यासङ्गिनि प्रिये।* धीरा, अधीरा, परुषा चेति। धीरा गुप्तविकारा स्यादादराङ्गार्पणादिकृत् ॥२८ ॥ तत्नाकारगोपनमादर च यथा- एकत्रासनसङ्गतिः परिहृता प्रत्युद्गमाद् दूरत- स्ताम्बूलानयनच्छलेन रभसाश्लेषोऽपि संविध्नितः । 1 TR विषये. 2 TR श्वेह न स्खलति. 3 MD2 रतादानन्दा- विलत्वं. 4 MD1, My, TR, intersecting the lines स्त्रीणामीर्ष्याकृतः कोपो etc. with धीरा, अधीरा परुषा चेति. 5 TR स्मृत :. 6 MD1 आदर: च, MD2 omits आदर :.

• Rud. Kāv. Al. XII. 23; ST. I. 65; DR. II. 25; SKĀ. V. 111a; Kāv. An. VII. 24; R.Su. I. 99; SD. III. 61; Al. S. IV. 29; RM. p. 42; ND. IV. 175. + Rud. Kāv. Al. XII. 23; ST. I. 65; DR. II. 28; Kāv. An, VII. 27; R.Su. I. 100; Al. S. IV. 30; SD. III. 61; RM. p. 42.

२० रुद्रभट्टविरचिता

आलापोऽपि न मिश्रितः परिजनं व्यापारयन्त्यान्तिके कान्तं प्रत्युपचारतश्चतुरया कोप: कृतार्थी- कृतः ॥ (३४)

उदासीनतया स्वाङ्गार्पणत्वं' यथा- आयस्ता कलहं पुरैव2 कुरुते न सत्रंसने वाससो भुग्नभ्रूरतिखण्ड्यमानमधरं धत्ते "न केशग्रहे। अङ्गान्यर्पयति स्वयं भवति नो वामा हठालिङ्गने तन्व्या शिक्षित एष संप्रति पुनः कोपप्रका- रोऽपर: ।। (३५) अधीरा साश्रुवक्रोक्ति: यथा- 5कोपो यत्र भ्रुकुटिरचना विग्रहो यत्र मौनं* यत्रान्योन्यस्मितमनुनयो दृष्टिपातः प्रसादः । तस्य प्रेम्णस्तदिदमधुना6 वैशसं पश्य जातं त्वं पादान्ते लुठसि न च मे मन्युमोक्षः खलायाः ॥ (३६)

1 MD2 स्वाङ्गार्पणां यथा- 2 MD1 TR पुरेव. 3 MD1 My TR दत्ते. 4 MD2 is damaged at स्वयं भ: 5 MD2 is damaged from कोपो upto रचना. 6 MD2 is damaged at अधुना वैंशसं.

• Rud. Kāv. Al. XII. 23; ST. I. 65; DR. II. 28; SD. III. 61; Kāv. An. VII. p. 416 R.Su. I. 100 (id); Al. S. IV. 30; RM. p. 42.

रसकलिका २१

परुषा सन्तर्ज्य ताडयेत्। यथा- कोपात् 'कोमललोलबाहुलतिकापाशेन बध्वा2 दृढं* *नीत्वा मोहनमन्दिरं दयितया स्वैरं सखीनां पुरः। 4भूयोऽथैवमिति स्खलन्मधुगिरा संसूच्य दुश्चेष्टितं धन्यो हन्यत एव निह्नुतिपरः6 प्रेयान् 'रुदत्या हसन् ।। (३७) अनेनैव प्रकारेण8 मानापनय सुगमदुर्गमौ 10वेदितव्यौ। तासामष्टाववस्था: स्युः शृङ्गाररससंश्रयाः । स्वाधीनपतिका चैव तथा वासकसज्जिका । २६॥। विरहोत्कण्ठिता चैव विप्रलब्धाथ12 खण्डिता। कलहान्तरिता चैव तथा प्रोषितभर्तृका। तथाभिसारिका चेति करमाल्लक्षणमुच्यते ॥ ३० ॥

1. TR कोमलबाहुलतिका. 2 MD2 omits from बध्वा दृढं upto प्रेयान् रूदत्या. 3 MD1 नीत्वा. 4 MD1 TR भूयोऽप्येवमिति. 5 TR मृदुगिरा. 6 TR निह्नुतिपरा. 7 MD1 प्रेयान्नदत्या. 8 My omits मानापनय 9 MD2 सुगमो and omits दुर्गम. "io MD2 वेदितव्य: 11 MD2 वासिकसज्जिका. 12 MD1 च.

Rud. Kav. Al. XII. 21, 22; ST. I. 58, 63; DR. II. 28; Kāv. An. VII. p. 417; SD. III. 63; Al. S. IV. 31; R.Su. I. 103 (id). + NS. XXII, 197, 198; Rud. Kāv. Al. XII. p. 154 (supposed interpolation); ST. I. 131, 132; DR. II. 36; Kāv. An. VII. 30; SKĀ. V. 113; ND. IV. p. 202; PR. I. 41, 42; R.Su. I. 121, 122; Al. S. IV. 35, 36; SD. III. 72, 73.

२२ रुद्रभट्टविरचिता

अथ स्वाधीनपतिका- स्वाधीनपतिका सा तु यां न मुञ्चति वल्लभः ।*

यथा --

लालयन्नलकप्रान्तान् रचयन् 'पत्रमञ्जरीः । एतां विनोदयन् कान्तश्छायावदनुवर्तते।। (३८ ) अथ वासकसज्जिका-

केलीगृहं2 तथात्मानं मण्डयन्त्येष्यति® प्रिये।

यथा-

संप्राप्तनेपथ्यविधानशोभा केलीगृहे धूपवितानरम्ये। उत्कण्ठया द्वारिनिषण्णदृष्टिः प्रतीक्षते 'त्वामसितायताक्षी । (३६) इयं 5चिन्तात्वरावती।

1 MD1 My पत्रमञ्जरीम; MD2 पत्रमञ्जरि: 2 MD1 TR केली- गृहमथात्मानं. 3 My मण्डयन् प्रेष्यति प्रिये. 4 MD1 त्वामसितायताक्षी. 5 My त्वरितावती; MD2 omits this.

• NŚ. XXII. 201; Rud. Kāv. An. XII. 45. p. 154 (supposed interpolation) ST. I. 133; DR. II. 37; Kāv An. VII. p. 418; ND. IV. 179a; PR. I. 43; R.Su. I. 150; Al. S. IV. 37; SD. III. 74; SKĀ. V. 118a; RM. p. 163. + NŚ. XXII. 199; Rud. Kāv. Al. XII. p. 154 (supposed inter- polation); ST. I. 137; DR. II. 38; Kāv. An. VII. p. 420; SKĀ. V. 117; ND. IV. 178; PR. I. 44 (id); R.Su. I. 125, 126; Al. S. IV. 37; SD. III. 85; RM. p. 154.

रसकलिका २३

अथ1 विरहोत्कण्ठिता -- चिरयत्यव्यलीके तु विरहोत्कण्ठितोन्मनाः ॥ ३१॥* यथा- सखि स विजितो वीणावाद्यैः 'कयाप्यपरस्त्रिया पणितमभवत् ताभ्यां तत्र क्षपाललितं ध्रुवम्3। कथमितरथा 'शेफालीषु स्खलत्कुसुमास्वपि 5प्रसरति नभोमध्येऽपीन्दौ प्रियेण विलम्ब्यते ॥ (४०) इयं 6चिन्ताखेदवती॥

अथ विप्रलब्धा-

दूतीमहरहः प्रेष्य कृत्वा सङ्केतनं क्वचित् । यां विप्रलभते प्रेयान् विप्रलब्धेति तां विदुः ॥ ३२ ॥t यथा- उत्तिष्ठ दति यामो यामो यातस्तथापि नायातः ।

1 MD2 अथवा. 2 My कयाथ परस्त्रिया. 3 MD2 द्रुतम् 4 My1 TR.शेषालीव. 5 MD1 TR प्रचलति; My प्रचलित. 6 MD2 omits this. 7 MD2 कानो प्रियान.

• NS. XXII. 200; Rud. Kāv. Al. p. 154 (supposed interpola- tion); ST. I. 135; DR. II. 39 (id); Kāv. An. VII. p. 420; SKĀ. V. 120a; ND. IV. 178a; PR. I. 46; R.Su. I. 128, 129; SD. III. 86 ;.. Al. S. IV. 39; RM. p. 145. Ť NŚ. XXII. 204; Rud. Kāv. Al. XII. p. 154 (supposed inter- polation); ST. I. 141; Kāv. An. VII. p. 420; SKĀ. V. 116; ND. IV. 176; PR. I. 47; R.Su. I. 148, 143; SD. III. 83; DR. II. 42; Al. S. IV. 38; RM. p. 133.

२४ रुद्रभट्टविरचिता

मिथ्याप्रलापशीले विश्वासः कुत्र धूर्तेडस्मिन् ॥ (४१) 1इयं चिन्तालज्जाखेदवती।

अथ खण्डिता- ज्ञातेऽ्न्यासङ्गविकृते खण्डितर्ष्याकिषायिता *

यथा- 2तदवितथमवादीर्यन्मम त्वं प्रियेति प्रियजनपरिभुवतं यद् दुकूलं बसानः । मदधिवसतिमागाः कामिनां मण्डनश्री- ब्रजति हि सफलत्वं वल्लभालोकनेन ।। (४२) इयं खेदाश्रुसंतापवती। अथ कलहान्तरिता- कोपात् कान्तं पराणुद्य पश्चात्तापसमन्विता। कलहान्तरिता नाम कलाविद्धिः प्रकीतिता ॥ ३३॥।

यथा- निश्वासा वदनं दहन्ति हृदयं निर्मूलमुन्मूल्यते निद्रा नैति न दृश्यते प्रियमुख नक्तंदिवं 6रुद्यते।

1 MD2 omits this line. 2 My तदवितथमवार्य यन्ममत्वं. 3 MD2 omits this line. 4 MD2 omits this line. $ MD1 My प्रकीर्त्यते. 6 MD1 रूद्यते.

• NŚ. XXII. 203; Rud. Kāv. Al. XII. p. 155 (supposed inter- polation); ST. I. 143; DR. II. 40; Kāv. An. VII. p. 419; SKĀ. V. 114; ND. IV. 177; PFR. I. 49; R.Su. I. 130, 131; SD. III. 75; Al. S. IV. 40; RM.p.118.

रसकलिका २५ अङ्गं शोषमुपैति पादपतितः प्रेयान् तथोपेक्षितः सख्य: कं गुणमाकलय्य दयिते मानं वयं

इयं च खेदाश्रुसंतापवती।* 2कारिताः ।। (४३)

अथ प्रोषितभर्तृका- देशान्तरगते कान्ते खिन्ना प्रोषितभर्तृका । यथा- आ दृष्टिप्रसरात् प्रियस्य पदवीमुद्वीक्ष्य निर्विण्णया विश्रान्तेषु पथिष्वहः परिणतौ ध्वान्ते समुत्सर्पति। दत्त्वैकं सशुचा गृहं प्रति पदं पान्थस्त्रियास्मिन् क्षणे मा भूदागत इत्यमन्दवलितग्रीवं पुनर्वीक्षिता ॥ (४४) "इयं विरहानुभाववती।

1 My किम्. 2 MD2 कारिताम्. 3 MD2 omits this line. 4 MD1 My निश्रान्तेषु. 5 MD1 परेष्वहः; TR पदष्वहः. 6 MD1 परिणता. 7 MD1 RT, My गत्वैवं. N MD1 My TR पुनर्वीक्षितम्; MD2 पुनर्वीक्षित: 9 MD2 omits this line.

• NŚ. XXII. 202; Rud. Kāv. Al. XII. p. 154; (supposed inter- polation); ST. I. 130; DR. II. 41; SKĀ. V. 115; Kāv. An. VII. p. 419; ND. IV. 177; PR. I. 53 (id); SD. III. 82; Al. S. IV. 38; RM. p. 125; R.Su. I. 132. + NŚ. XXII. 205; Rud. Kāv. Al. XII. p. 155; (supposed inter- polation); ST. I. 147; DR. II. 43; SKĀ. V. 119; ND. IV. 176a; Kāv. An. VII. p. 418; PR. I. p. 24 (id); R.Su. I. 123; (id); SD. III. 84; Al. S. IV. 39; RM. p. 108.

२६ रुद्रभट्टविरचिता

अथ अभिसारिका- स्मरार्ताभिसरेत् कान्तं सारयेद वाभिसारिका ॥ ३४॥*

यथा-

उरसि निहितस्तारो हार: कृता जघने घने कलकलवती काञ्ची पादौ रणन्मणिनूपुरौ। 1प्रियमभिसरस्येवं मुग्धे त्वमाहतडिण्डिमा यदि2 किमधिकत्रासोत्कम्पा3 दिशः समुदीक्षसे ॥ (४५.) यथा1 वा-

न5 च मेऽवगच्छति यथा लघुतां "करुणां यथा च कुरुते स मयि। निपुणं तथैनमुपगम्य® 8वदे- रभिदूति काचिदिति सन्दिदिशे।। (४६) इयं9 च भीतिसंभ्रमादियुक्ता।

अथासां 10नायिकाद्यनुसन्धाने सहाया :- दूती दासी सखी चैव धातेयी प्रातिवेशिनी।

1 My प्रियमभिसरत्येवं. 2 MD2 damaged at यदि किमपि. 3 MD1 My किमपि सत्नसोत्कम्पा. 4 MD2 यथा च. 5 All MSS. नीचमेवगच्छति. 6 My कड्गणं. 7 My तर्थनमभिगम्य; MD2 is damaged at तर्थनमुप. 8 TR पदै :. 9 MD2 omits this line. 10 TR नायकाद्यनुसन्धाने.

• NŚ. XXII. 206; Rud. Kāv. Al. XII. p. 154; ST. I. 145; DR. II. 44; SKĀ. V. 119a; ND. IV. 179; Kāv. An. VII. p. 421; PR. I. p. 24; R.Su. I. 134; 135; SD. III. 76; Al. S. IV 40; RM. p. 171.

रसकलिका २७ लिङ्गिनी शिल्पिनी स्वा च नेतृमित्रगुणान्विता :- ।३५।।* तदुक्तिर्यथा -- मान: कं हृदये निधाय सुचिरं रोमाज्चिताङ्गी4 मुहु- /त: रजुम्भामन्थरतारकां सुललितापाङ्गां दधाना दृशम् । सुप्तेवालिखितेव 'शून्यहृदय 6रेखावशेषीकृता स्वात्मद्रोहिणि कि ह्रिया कथय मे गूढो निहन्ति स्मरः ॥ (४७) अथ भावाः। तत्र स्थायी- सजातीयैविजातीयैरतिरस्कृतमूतिमान्। यावद्रसं वर्तमानः स्थायी भाव उदाहृतः ॥ ३६ ॥ सजातीयः नायिकान्तरदर्शनादिभिः । विजातीयैः क्रोधादिभिः । ते च -- रतिर्हासिश्च शोकश्च क्रोधोत्साहौ भयं तथा। जुगुप्साविस्मयशमाः स्थायिभावाः प्रकीतिताः ॥ ३७॥ 1 TR गुणान्विता; MD2 is damaged at नेतृमित्र. 2 MD1 My, TR किं. 3 My विधाय. 4 MD1 My TR रोमान्चिताङ्गं. 5 MD2 शून्य हृदया. 6 लेखावशेषी भव ... in DR. 7स्यात्मद्रोहिणि ... in DR. 8 MD2 omits this linc.

• DR. II. 46; ST. Il. 102; PR. I. 55; R.Su. I. 160, 161; SD. III. 128; Al. S. IV. 41. + NŚ. VII. prose before V. 8; Kāv. An. II. p. 126; ND. III. p. 162; PR. IV. p. 155 (id); SD. III. p. 174; SKĀ. V. 19; R.Su. I. 104 (id). + NŚ. VII. 8-26; VI. 17; Vāgbhațāl. V. 4; DR. IV. 44; Kāv. An. II. 18; ST. I. 10; PR. IV. p. 158; SD. III. 175; Al. S. III. 3.

२८ रुद्रभट्टविरचिता

रत्यादयः श्रृङ्गारादीनां यथाक्रमं स्थायिभावाः । तत्न रतिः शृङ्गारस्य स्थायी। सा च इच्छाविशेषः । तथा' हि। इदं मे भूयादिति प्रार्थनमिच्छा। तयवानुबद्धो भावः । स च द्विविधः । संभोगविषयस्तदितरविषयश्चेति ॥* तत्नेतरविषयः प्रीतिरुच्यते। संभोगविषयस्तु रतिः2 । आनन्दात्मकत्वं रतेः कैश्चिदुक्तम् । तच्चिन्त्यम्। विप्रयोगादे- रानन्दात्मकत्वायोगात्। तत्र रतिर्यथा- जगति जयिनस्ते ते भावा नवेन्दुकलादयः प्रकृतिमधुराः सन्त्येवान्ये मनो मदयन्ति ये। मम तु यदियं याता बाला विलोचन चन्द्रिका नयनविषयं जन्मन्येकः स एव महोत्सवः ॥ (४८)

विकृतिजन्मा 'मनोविकारो हासः। यथा- गोभि: क्ीडितवान् कृष्ण इति गोतुल्यबुद्धिषु । स्निह्यत्यद्यापि सा लक्ष्मीरहो देवी पतिव्रता ॥ (४६)

1 MD2 omits from तथा हि; upto तथैवानुबद्धो भाव :. 2 MD2 रतिरिति. 3 लोके in Mal. Madh. 4 MD2 is damaged at नो. 5 MD1 प्रतिव्रता.

• SKĀ. V. 138; Kāv. An. II. p. 126; ND. III. p. 176; PR. IV. p. 163; SD. III. 186; R.Su. II. 106. + SD. III. 214; ND. III. p. 176; SKĀ. V. 139a; PR. IV. p. 164 (id); R.Su. II. 122, 123; Kāv. An. II. p. 126.

रसकलिका २६ अथ शोक: । परदुःखप्रहाणेच्छ्या तस्यात्मीयत्त्वापादनम् इष्ट- वियोगादिनात्मनि दुःखोद्रेको1 बा शोकः ।* यथा-

हृदयान्नापयातोऽसि दिक्षु सर्वासु 2दृश्यसे। वत्स राम गतोऽसीति सन्तापेनानुमीयसे॥ (५०) [अथ क्रोधः ।] परनिकारादिभिः प्रज्वलनं 5क्रोधः । यथा-

चञ्चद्भुजभ्रमितचण्डगदाभिघात- संचूणितोरुयुगलस्य सुयोधनस्य। स्त्यानावबद्धघनशोणितशोणपाणि- "रुत्तंसयिष्यति कचांस्तव 'देवि भीमः ॥ (५१) अथोत्साहः। लोकोत्तरेषु कार्येषु स्थेयान् प्रयत्न उत्साहः । यथा- अजित्वा सार्णवामुर्वीमनुद्धाय जगच्छुचम् । अदत्त्वा सर्वमर्थिभ्यः कथं 8जीवेम ते वयम् ॥ (५२) 1 MD1 MD2 My दुःखोद्रेकेण वा. 2 MD2 दृश्यते. 3 MD2 अनुमीयसि. 4 TR परिवकारादिभि: 5 MD22 कोप :. 6 MD1 उत्तम्बयिष्यति. 7 MD1 देवी. 8 MD2 कथं जीवन्ति चिन्तन :. * SKĀ. V. 139; ND. III. p. 176; Kāv. An. II. p. 126; PR. IV. p. 165 (id); R.Su. II. 140-142; SD. III. 223a; Al. S. III. 35.

३० रुद्रभट्टविरचिता

अथ भयम्- अनिष्टाशंसनं 'भीती रौद्रसंदर्शनादिभिः ।*

यथा-

मन्त्रान्मृत्युजितो जपन्धिरसकृद् थध्यायन्द्िरिष्टान् सुरान् शुष्यत्तालुभिराकुलाकुलपदैनिर्वाग्भिरुत्कम्पिभिः । अध्वन्यैरिह जीवितेशमहिषव्याधू म्रधूमाविलाः लङ्यन्ते करिमांसघस्मररणत्कौलेयका:4 पल्लयः ॥ (५३) अथ जुगुप्सा- जुगुप्सा 6गर्हणार्थानां दोषसंदर्शनादिभिः ॥ ३८ ॥

यथा-

हासेऽस्थिसंदर्शनमक्षियुग्म-7 मत्त्युज्ज्वलं तत्कलुषं बसायाः । स्तनौ तु पीनौ पिशितस्य पिण्डौ स्थानान्तरे कि नरको न योषित्॥ (५४)

1 MD2 भीतिः; MD1 भीति. 2 TR असकृत् ध्यारयन्द्गि: 3 MD1 My अध्वन्यैरिव. 4 MD1 TR कालयका :. 5 MD2 पल्लया :. 6 MD2 is blank at गर्हणार्थानां. 7 MD2 is blank at मक्षियुग्म. 8 MD2 blank from मत्युज्वलं upto वसाया :.

• SKĀ. V. 14la; Kāv. An. II. p. 126; ND. III. p. 176; PR. IV. p. 167 (id); R.Su. II. 149-151; SD. III. 235. t SKĀ. V. 141 (id); Kāv. An. II. p. 126: ND. III. p. 176; PR. IV. p. 167 (id); R.Su. II. 146-147.

रसकलिका ३१ अथ विस्मय :- विस्मयश्चित्तविस्तारः पूर्वादृष्टविलोकनात् ।* [यथा -- ] दोर्दण्डाञ्चित चन्द्रशेखरधनुर्दण्डावभग्नोज्वल-1 ष्ट ङ्कारध्वनिरार्यबालचरितप्रस्तावनाडिण्डिमः । 2द्राक्पर्याप्तकपालसंपुट मिलद्ब्रह्माण्डभाण्डोदर- भ्राम्यत्पिण्डितचण्डिमा कथमहोनाद्यापि विश्राम्यति ॥ (५५) अथ शमः । शमो वैराग्यादिना निर्विकारचित्तत्वम्। यथा -- 1 अशीमहि वयं भिक्षामाशावासो वसीमहि। शयीमहि महीपृष्ठे कुर्बीमहि4 किमीश्वरैः ॥ (५६) अथ विभाव :- ज्ञायमानतया तत्र विभावो रसपोषणात् ॥ ३६॥ स च द्विविधः आलम्बनमुद्दीपनं चेति। तत् यद्विषयो 1 TR बद्धोव्चल. 2 TR दृकपर्याप्त. 3 MD2 is damaged at पि of नाद्यापि. 4 MD2 is damaged at हि of कुर्वीमहि. * SKĀ. V. 142a; ND. III. p. 176; Kāv. An. II. p. 126; PR. IV. p. 168 (d); R.Su. II. 126-127. t Kāv. An. II. p. 126; ND. III .. p. 176; PR. IV. p. 168 (id); SD. III. 245. t NŚ. VII. 4; DR. IV. 2; PR. IV. p. 158 (id); R.Su. I. 59, 60a; ND. III. p. 162; SD. III. 29; Al. S. III. 8.

३२ रुद्रभट्टविरचिता

तदालम्बनम् । शृङ्गारे 'नायिकानायकौ रौद्रे वैरीत्यादि ॥* तत्र शुङ्गारे आलम्बनं यथा- अस्या: सर्गविधौ प्रजापतिरभूच्चन्द्रो नु कान्तिप्रदः शृङ्गारैकरसः स्वयं नु मदनो मासो नु पुष्पाकरः । वेदाभ्यासजड: कथ न विषयव्यावृत्तकौतहलो निर्मातुं प्रभवेन्मनोहरमिदं रूपं पुराणो मुनिः ॥ (५७) [अथ उद्दीपनम्-] साक्षात् स्वप्नेऽथवा4 चित्रे तज्ज्ञानं श्रवणेन वा। तदन्यच्च 'रसे पोषकृदुद्दीपनमुच्यते ॥ ४० ॥ स चतुर्धा- आलम्बनगुणश्चैव तच्चेष्टा तदलङकृतिः । 6तटस्थाश्चेति विज्ञेयाश्चतुर्धोद्दीपनकमाः॥ ४१ ।S आलम्बनगुणो रूपयौवनलावण्यादि: ।।। --- तत्र रूपयौवने यथा -- स्तनतटमतीव तुङ्गमित्यादि ॥

1. MD1 नायिकानायकौ; MD2 नायकानायिकौ. 2 MD1 कान्तप्रभ :- 3 TR कथ स. 4 TR साक्षाच्चित्रेऽथवा स्वप्ने .. 5 MD2 रससंपोषविधिर्य. दीपनाविधम्. 6 MD2 तटस्थश्चैव विज्ञेय: चतुर्धोद्दीपनक्रमः 7 TR स्तनत- टमतीवेत्यादि.

• Al. S. III. 9; SD. III. 29; R.Su. I. 60, 61a; SD. III. 132a. + ST. I. 92; Rud. Kāv. Al. XII. 31; SD. III. 131. 1 PR. has wrongly traced this to ST. § PR. IV. p. 159 (id); R.Su. I. 167 (id); Sā. On. III. p. 132. PR. IV. p. 159 (id); R.Su. I. 163 (id).

1

रसकलिका ३३

लावण्य यथा-

सुन्दरी वा' न वेत्येव विवेक: कस्य2 जायते। प्रभामात्रं हि तरलं दृश्यते न तदाश्रयः । (५८) चेष्टा द्वेधा-यौवनप्रभवो भावहावादिः । अपरस्तदन्- भवश्चेति। तत्र द्वितीयो यथा-

'अत्नान्तरे किमपि वाग्विभवातिवृत्त' वैचित्यमुल्लसितविभ्रममायताक्ष्याः । तद्भूरिसातत्विकविकारमपास्तधैर्य- माचार्यकं विजयि 'मान्मथमाविरासीत् ॥ (५६) प्रथमस्तु प्रायेण स्त्रीष्वेव वर्ण्यते ।।

भावो हावश्च हेला च माधुर्य धैर्यमित्यपि।* लीला विलासो विच्छित्तिर्विभ्रमः किलिकिञ्चितम् ॥४२॥

मोट्टायितं कुट्टमितं बिब्बोकं8 ललितं तथा। कुतूहलं च चकितं १विहृतं हास इत्यपि ॥ ४३ ॥।

1 MD2 पुमान्वा यदि वा रात्रिः. 2 केन in KD. 3 My प्रजामन्त्र, TR प्रजामातं. 4 TR न तु संश्रयः, My न तु संशय :. 5 All MSS. तत्नान्तरे MD2 संश्रय :. 6 MD1 वाग्विभवातिवृत्त: 7 TR विजयमान्मथं. 8 MD1 बिब्बोकलतिकं. 9 My विदृतं.

• NŚ. XXII. 6, 13, 13, 24; SKĀ. V. 40-42a; ND. IV. 180-181; DR. II. 48, 49; Kāv. An. VII. 34, 35; PR. IV. p. 187; SD. III. 90-92; Al. S. IV. 42 to 45; R.Su. I. 191, 199. 200. 3

३४ रुद्रभट्टविरचिता

तत्र रसविज्ञानं भावः ।* स एव हि' किञ्चिदुपलक्षितविकारो हाव: । स एव सुव्यक्तविकारो हेला ॥1

तत्र भावहावो यथा- दृष्टि सालसतां बिभर्ति न शिशुकीडासु बद्धादरा 2क्णा शप्रेरयति प्रवर्तितसखीसंभोगवार्तास्विपि। पुंसाम ङ्कमपेतश ङ्कमधुना नारोहति प्राग् यथा बाला नूतनयौवनव्यतिकरावष्टभ्यमाना शनैः॥ (६०)

हेला यथा- अलसवलितैः प्रेमाद्रद्रि मुहुर्मुकुलीकृतैः क्षणमभिमुखैर्लज्जालोलैनिमेषपराङमुखैः। हृदयनिहितं भावाकृतं वर्म्द्िरिवेक्षणैः कथय सुकृती कोऽयं 5मुग्धे त्वयाद्य विलोक्यते॥ (६१)

अभूषणेऽपि रम्यत्वं माधुर्यमिति गीयते ।S

1 MD1 MD2 My omit हि. 2 श्रोते is given in DR. 3 प्रेषयति in DR. 4 MD1 TR प्रेमाद्रै :- 5 My omits मुग्धे.

• NŚ. XXII. 7, 8; ND. IV. 102a; DR. II. 50; Kāv. An. VII. p. 423; PR. IV. 187 (id); R.Su. I. 192; SD. III. 93; Al. S. IV. 46. + NŚ. XXII. 7, 10; ND. IV. 183; SKĀ. V. p. 534; Kāv. An. VII. p. 423; DR. II. 51; PR. IV. p. 188 (id); R.Su. I. 193; SD. III. 94; Al. S. IV. 46. ± NŚ. XXII. 7, 11; Kāv. An. VII. p. 424; ND. IV. 183a; SKĀ. V. p. 534; DR. II. 52; PR. IV. p. 187 (id); R.Su. I. 194; SD. III. 95; Al. S. IV. 47. § NŚ. XXII. 27; DR. II. 55; ND. IV. 198; Kāv. An. VII. 49; PR. IV. p. 188 (id); R.Su. I. 197; Al. S. IV. 49; SD. III. 97.

रसकलिका ३५

यथा-

सरसिजमनुविद्धं शैवलेनापि रम्यं मलिनमपि हिमांशोर्लक्ष्म लक्ष्मीं तनोति। इयमधिकमनोज्ञा वल्कलेनापि तन्वी किमिव हि मधुराणां मण्डनं नाकृतीनाम् । (६२) शीलानुल्लङ्घनं धैर्यम् ।* यथा- ज्वलतु गगने रात्रौ2 रात्रावखण्डकलः 'शशी 3दहतु मदनः किं वा मृत्योः4 परेण विधास्यति। मम तु दयितः 'श्लाध्यस्तातो जनन्यमलान्वया कुलममलिनं न त्वेवायं जनो न च जीवितम्॥। (६३) अथ 'लीला।

8प्रियानुकरणं लीला वाग्भिर्गत्याथ चेष्टितैः ॥ ४४ ॥

1 TR omits रात्रौ. 2 In MD2 1st पाद ends with अखण्डकलः and 2nd पाद starts with शशी. 3 MD2 दहनतु. 4 My मृत्यु: 5 MD2 स्तुतो जनन्यमलक्षयं. 6 My न त्वेवाहं. 7 MD2 omits this line. 8 MD2 प्रियान्करणं वाग्भि: लीला गत्या च चेष्टितै :.

• NŚ. XXII, 28; ND. IV. 190a; Kāv. An. VII. 50; DR. II. 59: PR. IV. p. 189 (id); R.Su. I. 198; Al. S. IV. 50; SD. III. 98. + NŚ. XXII. 14; DR. II. 60; SKĀ. V. 532; Kāv. An. VII. 36; ND. IV. 185a; PR. IV. p. 189 (id); R.Su. I. 200 (id); SD. III. 98; Al. S. IV. 51.

..----

३६ रुद्रभट्टविरचिता

यथा-

एषा चेष्टानुकारेण 'तथानुकुरुत प्रियम् । मुक्त्वासूयां सपत््यापि वीक्ष्यते सस्पृहं यथा । (६४)

अथ2 विच्छित्तिः । स्तोकभूषणयोगेन विच्छित्तिरतिरम्यता। भूषणानादरो वापि विच्छित्तिरिति केचन ।। ४५॥*

यथा-

अङ्गानि चन्दनरजःपरिधूसराणि ताम्बूलरागसुभगोऽधरपल्लवश्च । अच्छाञ्जने च नयने वसनं तनीयः कान्तासु भूषणमिदं विभवस्तु शेषः ॥ (६५)

अथ विलासः ।

तात्कालिको विकार: स्याद् दयितालोकनादिषु।+

1 My यथा न कुरुते प्रियम्. 2 MD2 omits this line. 3 TR विच्छित्तेरपि; MD1 My विच्छित्तिरपि; MD2 विच्छित्तिरिति गम्यता.

• NŚ. XXII. 16; ND. IV: 184; SKĀ. V. p. 532; Kāv. An. VII. 38; DR. II. 62; PR. IV. p. 190 (id); R.Su. I. 202 (id); Al. S. IV. 52; SD. III. 100a. + Vasudeva has wrongly traced this definition to Bharata's NS in his commentary on Karpūramañjarī of Rājaśekhara. :. NŚ. XXII. 15; DR. II. 61; SKĀ. V. p. 532; ND. IV. 184a; Kāv. An. VII. 37; PR. IV. p. 189 (id); R.Su. I. 201; SD. III. 99; Al. S. IV. 51.

रसकलिका ३७

प्रथा- अतान्तरे किमपीत्यादि।। अथ विभ्रमः । विभ्रमस्त्वरया काले भूषास्थानविपर्ययः ॥ ४६॥* यथा- अभ्युत्थिते2 शशिनि पेशलकान्तदूती- संलापसंवलितलोचनमानसाभिः । अग्राहि4 मण्डनविधिर्विपरीतभूषा- विन्यासहासितसखीजनमण्डनाभिः5॥ (६६) 'अथ किलिकिञ्चितम्। कोधाश्रुहर्षभीत्यादेः सङ्करः किलिकिञ्चितम् । यथा --

पाणिपल्लवविधूनन मन्तः- सीत्कृतानि नयनार्धनिमेषाः ।

I MD2 omits this line. 2 TR अभ्यद्यते. 3 MD1 MD2 पेशलकान्तिदूति; My पेशलकान्तिदूती. 4 MD1 TR My अग्रं हि. 5 MD1 MD2 TR ससीजनमङ्गनाभिः 6 MD2 omits this line. 7 MD2 is damaged at नन. 8 My नयनार्थ.

• NŚ. XXII. 17; DR. II. 63 (id); SKĀ. V. p. 532; ND. IV. 183; Käv. An. VII. 40; PR. IV. p. 190 (id); R.Su. I. 203 (id); SD. IV. 104. + NŚ. XXII. 18. DR. II. 64(id); SKÃ. V. p. 533; ND. IV. 188a; Kāv. An. VII. 41; PR. IV. 190 (id); R.Su. I. 204; SD. III. 101; Al. S. IV. 53.

३८ रुद्रभट्टविरचिता

योषितां रहसि गद्गदवाचा- मस्त्रतामुपययुर्मदनस्य ।। (६७) अथ मोट्टायितम् । मोट्टयितं च तद्द्भावस्चनेष्टकथादिषु' ॥ ४७॥*

यथा- चित्रवर्तिन्यपि नृपे तथावेशित चेतना2। ब्रीडाविनमितं चक्रे मुखेन्दुं 3विवशैव सा।। (६८)

यथा वा- "स्मरदवथुनिमित्तं गूढमुन्नेतुमस्याः सुभग तव कथायां प्रस्तुतायां सखीभिः । वदति विनतपृष्ठोदस्त पीनस्तनाग्रा 6नवपुलकितबाहुर्जृम्भितैः स्वाङ्गभङ्गैः ॥ (६६)

अथ कुट्टमितम् । रत्यादौ प्रियमर्देऽपि सुखबुद्धिनिरङकुशा ।t

1 MD2 कथादिष् च।. 2 MD2 चेतसी. 3 MD2 विषेचना. 4 MD2 स्मर इव सुनिरमितम्. 5 MD1 My पीनस्तना सा; TR. पीनस्त- नासौ. 6 MD2 तब वलयितपादं साङ्गभङ्ग: जृम्भितै:

• DR. II. 65 (id); NŚ. XXII. 19; SKĀ. V. p. 533; ND. IV. 187; Kāv. An. VII. 42; PR. IV. p. 191 (id); R.Su. I. 204; SD. III. 102; Al. S. IV. 54. + NŚ. XXII. 20; DR. II. 66; SKĀ. V. p. 533; ND. IV. 187a; Kāv. An. VII. 43; PR. IV. p. 191; R.Su. I. 205; SD. III. 103; Al. S. IV. 54.

रसकलिका ३६

'अथवा-

पीडनादौ सुखे दुःखवदुपचारः 'कुट्टमितम् ॥४८॥ यथा-

दष्टमुक्तमधरोष्ठमम्बिका वेदनाविधुतपाणिपल्लवा। शीतलेन निरवर्तयत् क्षणं मौलिचन्द्रशकलेन शूलिन: । (மo) इदमाद्यम्2। द्वितीयं स्पष्टम् ।। अथ बिब्बोकः ।

गर्वाभिमानादिष्टेऽरपि बिब्बोकोऽनादरक्रिया।* यथा-

यासां सत्यपि सद्गुणानुसरणे5 दोषानुवृत्तिः परा6 या: प्राणान् परमर्पयन्ति न पुनः संपूर्णदृष्टि प्रिये। अत्यन्ताभिमतेऽपि वस्तुनि विधिर्यासां निषेधात्मक- स्तास्त्रलोक्यविलक्षणप्रकृतयो वामाः प्रसीदन्तु वः॥ (७१) 1 MD1 अथ. 2 MD2 कुट्टिमतं द्वितीयं यथा -- 3 MD1 TR आद्यं द्वितीयं स्पष्टम्; MD2 आद्यं स्पष्टम्. 4 MD2 omits this line. 5 MD1 TR My सद्गुणानुचरणे. 6 MD2 पराया :. 7 MD2 omits this linc.

• NŚ. XXII. 21; DR. II. 67 (id); SKĀ. V. p. 533; ND. IV. 185; Kāv. An. VII. 39; PR. IV. p. 192; R.Su. I. 205; SD. II. 100; Al. S. IV. 55.

४० रुद्रभट्टविरचिता

अथ1 ललितम्। सुकमाराङ्गविन्यासो मसृणं ललितं भवेत् ॥ ४६ ॥*

यथा -- सभ्रुभङ्गं करकिसलयानतितै [वर्तनै] रालपन्ती सा पश्यन्ती ललितललितं लोचनस्याञ्चलेन। विन्यस्यन्ती चरणकमले लीलया स्वैर[यातै] पाते- निःसङ्ग्ीतं प्रथमवयसा नर्तिता पङ्कजाक्षी । (७२) अथ2 कुतूहलम्। कुतूहलं रम्यदृष्टौ चापलं परिकीर्तितम् ॥t यथा- प्रसाधि कालम्बितमग्रपाद- माक्षिप्य काचिद् द्रवरागमेव। उत्सृष्टलीलागतिरा गवाक्षा- दलक्तकाक्कां पदवीं ततान । (७३) अथ चकितम् । चकितं भयसंभ्रमः ॥ ५० ॥1

1 MD1 MD2 omit this line. 2 MD1 MD2 TR omit this line. 3 MD1 प्रसांदि.

• NŚ. XXII. 22; DR. II. 68 (id); SKĀ. V. p. 533; ND. IV. 186; Kāv. An. VII. 44; PR. IV. p. 192 (id); R.Su. I. 206; SD. III. 105 (id); Al. S. IV. 55 (id). + PR. IV. p. 193 (id); SD. III. 109; SKĀ. V. p. 536. ± PR. IV. p. 193 (id); SD. III. 110; SKĀ. V. p. 537.

रमकलिका ४१

1यथा-

त्रस्यन्ती चलशफरीविघट्टितोरू- र्वामोरूरतिशयमाप विभ्रमस्य । 2क्षुभ्यन्ति प्रसभमहो! विनापि हेतो- थ्र्लीलाभिः किमु सति कारणे रमण्यः ॥ (७४) अथ विहृतम्5।

प्राप्तकाल च यद् ब्रूयात् कुर्याद्वा8 विहृतं हि तत्॥* यथा-

पत्युः शिरश्चन्द्रकलामनेन9 स्पृशेति सख्या परिहासपूर्वम्। सा रञ्जयित्वा 10चरणौ कृताशी- मल्यिन तां निर्वचनं जघान ।। (७५) अथ हसितम्। आकस्मिकं तु हसितं हसितं न 1विकारजम् ॥५१ ॥ 1 MD2 omits this. 2 MD1 TR क्षुभ्यन्ती. 3 MD2 omits लीलाभिः. 4 My omits किमु. 5 My विहतं. 6 MD2 is damaged at ल and य. 7 All MSS. यद्भ्यात्. 8 MD2 कुर्याद्वापि. 9 MD1 My TR चन्द्रकलाभिरामं. 10 TR चरणैं :. 11 MD1 MD2 TR नाविकारजम्.

• NŚ. XXII. 23; DR. II. 69; SKĀ. V. p. 533; ND. IV. 166a; Kāv. An. VII. 46; PR. IV. p. 193; R.Su. I. 207; SD. III. 106; Al. S. IV. 56. + PR. IV. p. 194; SD. III. 109.

४२ रुद्रभट्टविरचिता

यथा --

अकस्मादेव तन्वङ्गी जहास यदियं पुनः । नूनं 1प्रसूनबाणोऽस्यां स्वाराज्यमधितिष्ठति ॥ (७६)

अथालङकृतिः ।

माल्यं वस्त्रं भूषणं च मदश्चन्दनधूपने। स्नानं संभोगचिह्नं च पत्रभङ्गक्रियादयः ॥ ५२ ॥*

एते च कविप्रसिद्धत्वान्नोक्ताः ।

अथ तटस्थाः ।

चन्द्रोदयो घनध्वानः कोकिलारणितं मधु। वनानि वाप्यः कर्पूरगीतभुङ्गरवादयः ॥ ५३ ॥

केलीगृहश्च ऋतवः स्रक्चन्दनविलेपने। गीतशीताम्बुताम्बूलदूतीसंल्लापनादयः ॥ ५४ ॥ एतेऽपि2 कविप्रसिद्धत्त्वान्नोक्ताः ।

अथा नुभावाः ।

1 MD1 MD2 TR प्रसवबाणस्य; My प्रसूनबाणस्य. 2 My चन्दन- विलोकने. 3 MD2 omits this line. 4 MD1 अथानाभाव :. ...--

• PR. IV. p. 159; R.Su. I. 186; SKĀ. V. p. 527. 528; Sā. Cin. III. p. 18. + PR. IV. p. 159; R.Su. I. 187; SKĀ. V. 528, 529; Sā. Cin. III. p. 18.

रसकलिका ४३

रसतां गच्छति स्थास्नौ1 कार्यं यदुपलक्ष्यते। अनुभावः स विज्ञेयो भावसंस्थानसूचक: ॥ ५५॥* तत्र नाट्यविदामियं रीतिः2। विभावपरिपुष्टे स्थायिनि रत्यादिके वारिधिस्थानीयचेतोविकाररूपा निर्वेदादयः कल्लोल- स्थानीया जायन्ते। ते च व्यभिचारिभावा इत्युच्यन्ते। तेषामपि चेतोविकारतया साक्षाद् दुरधिगमत्वेन सूचका ये वागारम्भकटाक्ष- विक्षेपादयस्ते निर्वेदादिकमनुभवन्ति [अनुभावयन्ति] ज्ञापयन्तीति वा अनुभावाः। एतच्चाभिनयप्रधानत्वादपि तेषां युक्तम्। रसनि- रूपणमात्रपरास्तु लौकिका: स्थायिनमनुभवन्ति। दृष्टिविका- रादिभिरनुमिताननुभवन्तीति निर्वेदादीनप्यनुभावानाहुः। एवं च नाम्नि विप्रतिपत्तिमात्रमिति 6नातिनिर्बन्धः क्रियते॥

तत्न अनुभावाः । भ्रूतारादृग्विकारश्च मुखरागौष्ठकम्पने। हस्तपादविकाराश्च वागाद्याश्चाङ्गविक्रियाः ॥ ५६॥ एते निर्वेदादिनिरूपणावसर एव तत्र ज्ञापकत्वेन प्रपञ्च्यन्ते । तथानुभावत्वेऽपि° रोमाञ्चादयः सत्त्वसमुत्पन्नतया सात्त्विका इति

1 TR स्थाय्यौ. 2 MD1 TR रति :. 3 MD1 My TR अनुमिता: तानु. 4 MD1 अनुभवानाहु :. 5 My न नाम्नि नं विनिर्बन्ध: 6 MD1 नाविनिर्बन्ध: 7 MD1 अनुभवा :. 8 MD1 रागोष्टकम्पने. 9 All MSS. अनुभवत्वऽपि.

• NŚ. VII. 5; R.Su. I. 190, 191; ND. III. p. 186; Al. S. IV. 10, 11; PR. IV. p. 159; SD. III. 132,

४४ रुद्रभट्टविरचिता

पृथगुच्यन्ते।।* स्तम्भप्रलयरोमाञ्चाः स्वेदो 'वैवर्ण्यवेपथ्। अश्रुवैस्वर्यमित्यष्टौ सात्त्विकाः परिकीर्तिताः ॥ ५७॥ -अथ स्तम्भः । स्तम्भः स्यान्निष्कियाङगत्वं भयरागादिसंभवम् ।

यथा --

अधीराक्ष्या: कटाक्षा वः श्रेयः पुष्णन्तु जिष्णवः । युवानस्तत्र तत्नासन् यत्पाते किलीता इव ।। (७७)

अथ प्रलयः ।

प्रलयो रागदुःखादेरिन्द्रियास्तमयो मतः ॥ ५८ ॥S

यथा-

प्रेमार्द्राः प्रणयस्पृशः परिचयादुद्गाढरागोदयाः तास्ता मुग्धदृशो निसर्गमधुराश्चेष्टा भवेयुमयि।

1 MD1 वपधू: 2 My अथ संभ्रम :. 3 TR भयरोगादिसंभव :.

• DR. IV. 6; NŚ. VII. prose after V. 91; SKĀ. V. p. 498; ND. III. p. 186; Kāv. An. II. p. 144; 145, PR. IV. p. 159; R.Su. Il. 298; SD. III. 134, 135a. + DR. IV. 7; ST. I. 15; SKĀ. V. 15; ND. III. 147; Kāv. An. II. p. 144; PR. IV. p. 160 (id); SD. III. 135, 136a; R.Su. I. 301, 302a; Al. S. III. 12; RM. p. 232. t SKĀ. V. 142; Kāv. An. II. p. 145; ND. III. p. 148; PR. IV. p. 171; R.Su. I. 302; SD. III. 136. § DR. IV. 7; SKĀ. V. 145; ND. III. 150; PR. IV. p. 171; R.Su. I. 311; Kāv. An. II. p. 146; SD. III. 139.

रसकलिका ४५ यास्वन्त:करणस्य बाह्यकरणव्यापाररोधी क्षणा- दाशंसापरिकल्पितास्वपि भवत्यानन्दसान्द्रो लयः । (७८) अथ रोमाञ्चः ।

भयरागादिसंभूतो रोमाञ्चो रोमविक्रिया॥* यथा- किमिदं तव तत्वा्ङ्ि कदम्बकुसुमोपमम् । अङ्गमाबद्धरोमाञ्चपर्यायेण निरन्तरम् । (७६) अथ स्वेदः । वपुर्जलोद्गमो स्वेदो रतिघर्मश्रमादिभि: ॥ ५६ ॥ यथा- कान्तानां कृतपुलक: 'स्तनान्तराले वक्त्रेषु च्युततिलकेषु मौक्तिकाभ: । संपेदे श्रमसलिलोद्गमोऽपि2 भृषा रम्याणां विकृतिरपि श्रियं तनोति ।। (८०) अथ वैवण्येम् ।

1 MD1 TR स्तनाङ्गरागे. 2 MD1 omits अवग्रह. 3 My विवर्णत्वम्.

• ND. III. 149a; SKĀ. V. 143a; Kāv. An. II. p. 146; PR. IV. p. 172; SD. III. 137; R.Su. I. 305. ND. III. 15la; SKĀ. V. 143 (id); Kāv. An. II. p. 146; PR. IV. p. 172; SD. III. 137 (id).

४६ रुद्रभट्टविरचिता

विषादमदरोषादेर्वर्णान्यत्वं विवर्णता॥*

यथा -- परिमृदितमृणा'लीम्लानमङ्गं प्रवृत्तिः कथमपि परिवारप्रार्थनाभिः क्रियासु। कलयति हि हिमांशोर्निष्कलङ्कस्य लक्ष्मी- मभिनवकरिदन्तच्छेदकान्तः कपोलः ।। (८१)

अथ वेपथुः । रागरोषभयादिभ्यः कम्पो गात्रस्य वेपथुः ॥ ६० ॥

यथा- मा गर्वमुद्वह कपोलतले चकास्ति2 कान्तस्वहस्तलिखिता मम मञ्जरीति। अद्यापि कि न सखि भाजनमीदृशानां वैरी न चेद्दवति वेपथुरन्तरायः । (८२)

अथाश्रु। अश्रु नेत्रोदद्वं वारि दुःखशोकप्रहर्षजम्।+

1 MD1 परिमृदितमृणाल. 2 MD1 My चकास्ते.

• ND. III. 151; SKĀ. V. 144 (id); Kāv. An. II. p. 146; PR. IV. p. 172 (id); R.Su. I. 308; SD. III. 139 (id). + ND. III. 148a; SKĀ. V. 144a; Kāv. An. II. p. 146; PR. IV. p. 172 (id); R.Su. I. 307; SD. III. 138. ± ND. III. 150a; SKĀ. V. 145a; Kāv. An. II. p. 14 -; PR. IV. p. 173 (id); R.Su. I. 309; SD. III. 139 (id).

रसकलिका

यथा --

एतस्मिन्मदकलमल्लिकाक्षपक्ष- व्याधूतस्फुरदुरुदण्डपुण्डरीकाः । बाष्पाम्भः परिपतनोद्गमान्तराले संदुष्टा: कुवलयिनो मया 2विभागाः ॥ (८३) अथ वैस्वर्यम्। 2गद्गदं विस्वरत्वं च वैस्वर्यं प्रमदादिभिः ॥ ६१ ॥* यथा- उन्मादिकोकिलकलक्वणितोज्वलानि संवाद्यमानकुररीगणकूजितानि। संभ्रान्तगद्गदविभिन्नमृदुस्वराणि चेतो हरन्ति वचनानि सरोरुहाक्ष्याः । (८४) एतेषां सात्त्विकत्वं सत्त्वपरिणतेऽन्तःकरणे जायमानत्वात्। तथा हि। त्रिधा चित्तपरिणतिः, सात्विकी राजसी तामसी चेति॥ तल्लक्षणं तु- सत्वं लघुप्रकाशकमिष्टमुपष्टम्भकं1 चलं च रजः । गुरुवरणकमेव5 तमः 'प्रदीपवच्चार्थतो वृत्तिः ॥ ६२ ॥ 1 MD1 परिपतनोद्गमोतराले. 2 My वनान्तरालां :. 3 My omits this line. 4 MD1 अवष्टम्भकं. 5 MD1 गुरुवरणमेव. 6 MD1 omits प्रदीपवच्चार्थतो वृत्ति:

• ND. III. 149; SKĀ. V. 143a; Kāv. An. II. p. 146; PR. IV. p. 173; SD. III. 138; R.Su. I. 306. + Quoted from सांख्यतत्त्वकारिका. XIII. 13.

४८ रुद्रभट्टविरचिता

लघुतया प्रकाशकतया च अनुकूलावस्थानादन्तःकरणात् तेषां जन्म, न च विषये सा कथं सात्विकादिप्रवृत्तिरिति वाच्यम् । सर्वस्य जगतः सुखदुःखमोहादिसत्त्वेन तद्विद्भिरभ्युपगमात् ।। अथ व्यभिचारिणः । निर्वेदो ग्लानिशङ्के च श्रमोऽथ जडता धृतिः । हर्षदैन्योग्रचिन्ताश्च त्रासेर्ष्यामर्षगर्विताः ।६३॥। स्मृतिश्च मरणं चैव मदः स्वप्नोऽथ तन्द्रितम् । अवबोधस्तथा व्रीडा मोहोऽपस्मार एव च ॥ ६ ४ ॥* मतिस्तथालसत्वं चावेगस्तर्कोडवहित्थकः । व्याध्युन्मादविषादाश्च4 औत्सुक्यं चापलं तथा ॥ ६५॥ अथ निर्वेदः । तत्त्वज्ञानापदीर्ष्यादनिर्वेदो5 निष्फलत्वधीः । तत्र चिन्ताश्रुनिश्वासवैवर्ष्योच्छ्वासदीनता ॥ ६६ ॥t तत्र तत्त्वज्ञानाद् यथा- प्राप्ता: श्रियः सकलकामदुघास्ततः किं न्यस्तं पदं शिरसि विद्विषतां ततः किम् ।

1 My omits लघुतया प्रकाशतया च. 2 MD1 My मोहादिकत्वेन. 3 MD1 एव वा. 4 My विषादश्च. 5 MD1 omits निर्वेद.

• NŚ. VI. 18-21; ST. I. 11-14; DR. IV. 9; ND. III. 127-129; SKĀ. V. 16, 17, 18; Kāv. An. II. 19; PR. IV. p. 161; R.Su. II. 4, 6, 6; SD. III. 141. + NS. VII. prose and verse 27-29; DR. IV. 10 (id); ND. III. ---. 130a; Kāv. An. II. 48; SKĀ. V. 161a; PR. IV. p. 113 (id); R.Su. II. 7; SD. III. 142 (id).

रसकलिका ४६ संमानिताः1 प्रणयिनो विभवैस्ततः किं कल्पस्थितं तनुभृतां तनुभिस्ततः किम् ॥ (८५) आपदो यथा- अपहारय2 घनसारं कुरु हारं दूर एव कि कमलैः। अलमलमालि ! मृणालै- रिति वदति दिवानिशं बाला।। (८६) ईर्ष्याजातो यथा- न्यक्कारो ह्ययमेव मे यदरयस्तत्राप्यसौ तापसः सोऽप्यत्रैव निहन्ति राक्षसभटान् जीवत्यहो रावणः । धिग्धिक्छकजितं प्रबोधितवता कि कुम्भकर्णेन वा स्वर्गग्रामटि काविलुण्ठनवृथोच्छूनैः किमेभि- भुजैः ॥ (८७) अयं 5च सर्वरससाधारणोऽपि वीररौद्रयोः प्रायिकः ॥ अथ ग्लानि: । बलस्यापचयो ग्लानिराधिव्याधिप्रकर्षभूः । वैवर्ण्यकम्पानुत्साहक्षामाङ्गावनमादिकृत् ॥६७।। 1 MD1 सन्मानिता: 2 My अपसारय. 3 MD1 धिग्धिछकजिता; My धिक् धिक शऋ्रजितं. 4 All MSS. स्वर्गग्रामकुटी. 5 My omits च. * NŚ. VII prose and V. 30-31; ND. III. 130; DR. IV. 11. SKĀ. V. 159a; Kāv. An. II. 39; R.Su. II. 12, 13; SD. III. 170; PR. IV. p. 174. 4

५० रद्रभट्टविरचिता

यथा-

किसलयमिव मुग्धं बन्धनाद् विप्रलूनं हृदयकुसुमशोषी दारुणो दीर्घशोकः । ग्लपयति परिपाण्डु क्षाममस्याः शरीर शरदिज1 इव घर्मः केतकीगर्भपत्रम् ।। (रद) अथ शङ्का।

अनिष्टाभ्यागमोत्प्रेक्षां शङ्कामाचक्षते बुधाः । कम्पशोषादि वीक्षादि2 तत्र वर्णस्वरान्यता ॥ ६८ ॥*

यथा-

ह्रिया5 सर्वस्यासौ4 'हरति विदितास्मीति वदनं द्वयोर्दृष्टवालापं कलयति कथामात्मविषयाम् । सखीषु स्मेरासु प्रकटयति वैलक्ष्यमधिकं प्रिया प्रायेणास्ते हृदयनिहितातङ्कविधुरा ॥ (८६)

अथ श्रमः ।

श्रमः खेदोऽध्वरत्यादेः स्वेदोऽस्मिन्मर्दनादय:।६६॥

1 All MSS. शरदि गज इव. 2 MD1 विक्षादि. 3 MD1 प्रिया. 4 My सर्वस्याधो. 5 My नयति. 6 MD1 मदनादय :.

• NS. VII. prose and verse 32-34; DR. IV. 12; ND. III. 131; SKĀ. V. 158a (id); Kāv. An. 32; PR. IV. p. 174 (id); SD. III. 161; R.Su. II. 26-28. Ť NŚ. VII. prose and verse. 12-46; DR. IV. 13 (id); ND. III. 133a; SKÃ. V. 160; Kāv. An. II. 41; PR. IV. p. 176 (id); R.Su. II. 14, 15; SD. III. 146.

रसकलिका ५१

तत्र रतितो यथा- प्राप्य मन्मथरसादतिभूमि दुर्वहस्तनभराः सुरतस्य । शश्रमु: श्रमजलारद्र ललाट- श्लिष्टकेशमसितायतकेश्यः । (&0) अथ जडता। अप्रतिपत्तिर्जडता स्यादिष्टानिष्ट वस्तुविज्ञानात्। अनिमेषनयनवीक्षणतूष्णींभावादयस्तत्न ॥ ३० ॥*

यथा-

शिथिलशिथिलं न्यस्य स्वीयं धनुःशिखरे शिरो नयनसलिलै: कुर्वन् मौर्वीलतामपरामिव। अहह विरलं श्रुत्वा श्रुत्वा घनस्तनितध्वनिं किमपि किमपि ध्यायन् ध्यायन् न याति न तिष्ठति॥ (६१) अथ धृतिः । धृतिश्चित्तस्य नैस्पृह्यं ज्ञानाभीष्टागमादिभिः ॥t

1 MD1 TR ललाटे 2 MSS. दर्शनस्पर्शनादिभि: 3 TR शिधिलशिधिलं.

• NS. VII. prose and verse 65; DR. IV. 15 (id); ND. III. 145a; SKĀ. V. 161b; Kāv. An. II. 24; PR. IV. p. 180; R.Su. II. 62-63; SD. III. 148 (id). + NŚ. VII prose and verse 55, 56; DR. IV. 14; ND. III. 136; SKĀ. V. 151a; Kāv. An. II. 20; PR. IV. p. 178 (id); R.Su. II. 74; SD. III. 168. .

५२ रुद्रभट्टविरचिता

तत्न ज्ञानाद् यथा- वयमिह परितुष्टा वल्कलैस्त्वं दुकूलै: सम इह परितोषो निर्विशेषो विशेषः । स तु भवतु दरिद्रो यस्य तृष्णा विशाला मनसि च परितुष्टे कोऽर्थवान् को दरिद्रः ॥ (६२)

इष्टाभिगमाद् यथा-

पादास्त एव शशिनः सुखयन्ति गात्रं बाणास्त एव मदनस्य मनोनुकूलाः । संरम्भरूक्षमिव सुन्दरि यद्यदासीत् त्वत्सङ्गमेन मम तत्तदिहोपनीतम् ।। (६३) अथ हर्ष: प्रसक्तिरुत्सवादिभ्यो हर्षाश्रुस्वेदगद्गदाः ॥ ७१ ॥*

यथा-

जातस्य ते पितुरपीन्द्रजितोऽपि हन्तु- र्वत्सस्य वत्स कति नाम दिनान्यमूनि। तस्याप्यपत्यमनुतिष्ठति1 वीरधर्मान् दिष्ट्या गतं दशरथस्य कुलं प्रतिष्ठाम् ॥ (६४)

1 MD1 अनुतिष्टसि.

• NŚ. VII. prose and verse 60, 61; DR. IV. 16 (id); ND. IIİ. 140a; SKĀ. V. 15la; Kāv. An. II. 35; PR. IV. p. 178 (id); R.Su. II. - 76, 77; SD. III. 165.

-.....--

रसकलिका .......-.- ५३

अथ दैन्यम् ।

सत्त्वत्यागादनौजस्त्वं1 दैन्यं 2कार्पण्यसंभवम् ।। ७२॥।*

यथा-

अस्मान् साधु विचिन्त्य संयमधनानुच्चैःकुलं चात्मन- स्त्वय्यस्या: कथमप्यबान्धवकृतां स्नेहप्रवृत्ति च ताम्। सामान्यप्रतिपत्तिपूर्वकमियं दारेषु दृश्या त्वया भाग्याधीनमतः परं न खलु तद् वाच्यं वधू- बन्धुभिः ॥ (६५) अथोग्रः ।

दृष्टेऽपराधे दौर्मुख्यं शौर्य चण्डत्वमुग्रता । तत्र स्वेदः शिर:कम्पस्तर्जनं ताडनादयः । ७३ । यथा-

यो यः शस्त्रं बिभत स्वभुजगुरुमदः पाण्डवीनां चमूनां4 यो यः पाञ्चालगोते शिशुराधिकवया गर्भशय्यां गतो वा।

1. My त्यागादनैजस्त्वं. 2 All MSS. कार्पण्यजातिकृत्. 3 MD1 स्नेहानुवृति. 4 TR चमूनं.

• NŚ. VII. prose and verse 48; DR. IV. 17; ND. III. 141; SKĀ. V. 156; Kāv. An, Il. 40; PR. IV. p. 176; R.Su. II. 11; SD. III. 145. + NŚ. VII. prose and verse. 71. DR. IV. 18; SKĀ. V. 157a; ND. III. 139; Kāv. An, II. 37; PR. IV. p. 184; R.Su. II. 81, 82; SD. III. 149.

५४ रुद्रभट्टविरचिता

यो यस्तत्कर्मसाक्षी चरति मयि रणे यश्च यश्च प्रतीपः क्रोधान्धस्तस्य तस्य स्वयमिह जगतामन्तकस्यान्त- कोऽहम् ॥ (६६) अथ चिन्ता।

ध्यानं चिन्ता हितानाप्तौ शून्यताश्वासतापकृत् ॥*

यथा-

अस्तमितविषयसङ्गा मुकुलितनयनोत्पला महुः श्वसिता। ध्यायति किमत्यलक्ष्यं बाला योगाभियुक्तेव ।। (६७)

अथ त्रास: ।

त्ासश्चित्तस्य विक्षोभ आकस्मिकभयादिभिः ॥ ७४ ॥ --

यथा-

कल्याणदायि भवतोऽस्तु2 पिनाकपाणेः पाणिग्रहे भुजगकङ्कणभीषितायाः3। --

संभ्रान्तदृष्टि 'सहसैव नमः शिवाये- त्यर्धोक्तिलज्जितमिदं मुखमम्बिकायाः ॥ (६र)

1. MD1 TR यश्च कशच. 2 MD1 भवतेऽस्तु. 3 My भीषिताङ्गा :. 4 MD1. गहसेव.

• NŚ. VII. prose and verse 49; DR. IV. 19 (id); SKĀ. V. 148; ND. III. 133; Kāv. An. II. 44; PR. IV. p. 177; R.Su. II. 71; SD. III. 171 (id). + NŚ. VII. prose and verse 89; DR. IV. 20; SKĀ. V. 157; ND. III. 142; Kāv. An. II. 46; PR. IV. p. 186 (id); R.Su. II. 30; SD. III. 164. ....

रसकलिका ५५

अथर्ष्या।

परोत्कर्षाक्षमेर्ष्या स्याद् दौर्जन्यान्मन्युतोऽपि वा ।*+

यथा- .:.

वृद्धास्ते न विचारणीयचरितास्तिष्ठन्तु हुं वर्ततां सुन्दस्त्रीदमनेऽप्यकुण्ठयशसो लोके महान्तश्च ते। यानि १त्रीण्यकुतोमुखान्यपि पदान्यासन् खरायोधने यट्वा कौशलमिन्द्रसूनुदमने तत्राप्यभिज्ञो जनः॥ (e६) अथामर्षः । कोधः कृतापराधेष् स्थिरोऽमर्ष इतीर्यंते ॥ ७५॥

यथा-

लाक्षागृहानलविषान्नसभाप्रवेशैः प्राणेषु वित्तनिचयेषु च नः प्रहृत्य । आकृष्टपाण्डववधूपरिधानकेशाः स्वस्था भवन्तु मयि जीवति धार्तराष्ट्राः ॥ (१००)

1 MD1 TR वन्दास्ते. 2 MD1 त्रीणी कुतो. 3 TR कृतापकारेषु.

• Vasudeva quotes this definition in his commentary on Kar- pūramañjarī. + NŚ. VII. prose and verse 35; DR. IV. 21; ND. III. 132a; SKĀ. V. 155a; Kāv. An. II. 51; PR. IV. 175; R.Su. II. 34; SD. III. 166. # NS. IV. prose and verse 76, 77; DR. IV. 22; ND. III. 156; SKĀ. V. 124; Kāv. An. II. 45; PR. IV. p. 183; R.Su. II. 76; SD. III. 156.

५६ रुद्रभट्टविरचिता

अथ गवः ।

आत्मोत्कर्षान्यधिक्कारो1 बललावण्यभूतिभिः । कर्मान्यधर्षणावज्ञा सलीलापाङ्गवीक्षणम् ॥ ७६ ॥*

तत्र बलतो यथा-

धृतायुधो यावदहं तावदन्यैः किमायुधैः । यद्वा न सिद्धमस्त्रेण मम तत् केन सेत्स्यति॥ (१०१)

लावण्यभूतिभ्यां यथा- मयि तिष्ठति लोकेऽस्मिन् किमनङ्गस्य कीर्तनैः । विभूतौ मम दृष्टायां धनदोऽसाबकिञ्चनः ॥ (१०२)

अथ स्मृतिः । पूर्वानुभूतविषयविज्ञानं स्मृतिरुच्यते ।।। यथा-

अदृश्यन्त पुरस्तेन1 खेलत्खञ्जनपङ्क्तयः । अस्मर्यन्त विनिश्वस्य प्रियानयनविभ्रमाः । (१०३)

1. MD1 आत्मोकर्षान्यादिक्कारो. 2 All MSS. कर्माण्यर्धवणा. 3 MD1 TR पूर्वानुभूतविषयं विजज्ञानं. 4 All MSS. पुरा तेन. 5 MD1 My खला: खञ्जनपक्तयः; TR कञ्जनपङक्तय:

• NŚ. VII. prose and verse. 60; DR. IV. 23; SKĀ. V. 150; ND. III. 143; Kāv. An. II. 36; PR. IV. p. 180; R.Su. II. 23; SD. III. 154. t NS. VII. prose and verse 53, 54; DR. IV. 24; SKĀ. V. 146(id); ND. III. 136a; Kav. An. II. 21; PR. IV. p. 178 (id); R.Su. II. 68; SD. III. 162 (id).

रसकलिका ५७

मरणं सुप्रसिद्धत्वात् तन्न काव्येषु1 कीर्त्यते ॥ ७७॥* अथ मदः । संमोहानन्दसंभेदो मदिरादिकृतो मदः। स्खलद्वचनता तत्र नेत्योर्घूणमानता ॥ ७८ ॥

यथा-

हावहारि हसितं वचनानां कौशलं दृशि विकारविशेषान्2। चक्रिरे भृशमृजोरपि' वध्वाः कामिनेव तरुणेन मदेन । (१०४) अथ निद्रा।

मनसो मीलनं निद्रा चिन्तालस्य श्रमादिभिः । तत्र भ्रृभङ्गाक्षिनिमी- लनोत्स्वप्नादयः6 [स्वप्नायिता] ।। ७६॥

1 MD1 काम्येष. 2 MD1 TR विशेषां: 3. My भृशमृजूनपि बध्व :. 4 MD1 स्वप्न :. 5 MD1 भ्र(प्र) मादिभिः; TR प्रमादिभिः. 6 MD1 निमीलनोत्पवनादयः, TR निमीलनोत्सवनादय :.

• NS. VII. prose and verse 64-68; DR. IV. 25; ND. III. 137; PR. IV. p. 185; R.Su. II. 54-57; SD. III. 155a. + NŚ. VII. prose and verse 37-45; DR. IV. 26; SKĀ. V. 153 (id); ND. III. 132; Kāv. An. II. 26; PR. IV. 177; R.Su. II. 166 (id); SD. III. 150. t NŚ. VII. prose and verse 70, 71; DR. IV. 28 (id); SKĀ. V. 162a; ND. III. 138; Kāv. An. II. 28; PR. IV. p. 182 (id); R.Su. II. 87; SD. III. 157 (id).

रुद्रभट्टविरचिता

यथा-

लघुनि तुणकुटीरे क्षेत्रमध्ये यवानां नवकलमपलालस्रस्तरे1 सोपधाने। परिहरति सुषुप्तं हालिकद्वन्द्वमारात् कचकलशमहोष्णाबद्धरेखस्तुषारः2। (१०५)

अथ स्वप्नः ।

स्वप्नो निद्रासमुत्पन्नः श्वासोच्छ्वासक्रियात् च।*

यथा-

मामाकाशप्रणिहितभुजं निर्दयाश्लेषहेतो- र्लब्धायास्तेकथमपि मया स्वप्नसंदर्शनेषु। पश्यन्तीनां न खलु बहुशो6 न स्थलीदेवतानां मुक्तास्थूलास्तरुकिसलयेष्व श्रुलेशा: पतन्ति ॥ (१०६) अथ विबोधः ।

विबोधश्चेतनावाप्तिस्तत्र जुम्भाक्षिमर्दने ॥ ८0 ॥

1 All MSS. पलाशप्रस्तरे. 2 MD1 MD2 TR रेखास्तुषार :. 8 MD1 अथ स्वप्नः (तन्द्रितम्). 4 My निद्रया. 5 TR वधमपि. 6 TR बहुना. 7 TR अत्नुलेखा: 8 MD1 अवबोध:

• NŚ. VII. prose and verse 74; DR. IV. 27; SKĀ. V. 112; ND. III. 139a; Kāv. An. II. 29; PR. IV. 182; R.Su. II. 90; SD. III. 152. + NŚ. prose and verse 75; DR. IV. 29, SKĀ. V. 163a; Kāv. An. II. 38; PR. IV. p. 183(id); R.Su. II. 92; ND. III. 146a; SD. III. 151.

रसकलिका ५६

यथा- प्रत्यग्रोन्मेषजिह्या क्षणमनभिमुखी1 रत्नदीपप्रभाणामात्म- व्यापारगुर्वीजनितजललवा जुम्भितैः स्वाङ्गभङ्गः। नागाङ्गं मोक्तुमिच्छोः शयनमुरुफणाचत्र्वालोपधानं निद्राच्छेदातिताम्रा चिरमवतु हरेर्दृष्टिराकेकरा

अथ ब्रीडा -- वः ॥ (१०७)

चेतसो मीलनं व्रीडानङ्गरागस्तवादिभिः । साचीकृताङ्गवलना वैवर्ण्याधोमुखादिकृत् ॥ ८१॥* यथा- पटालग्ने पत्यौ नमयति मुखं जातविनया हठाश्लेषं वाञ्छत्यपहरति गात्राणि निभृतम् । न शक्नोत्याख्यातुं स्मितमुखसखीदत्तनयना हनिया ताम्यत्यन्तः प्रथमपरिहासे नववधूः ॥ (१०८) अथ मोह :- मोहस्तु मूच्छनं भीतिदुःखावेशानुचिन्तनैः । तत्राज्ञान 'भ्रमाघातघूर्णतादर्शनादयः5॥ ८२॥ 1 TR जिह्मे क्षणमनभिमुखी. 2 MD1 My निद्रोच्छेदातिताम्रा; TR निप्रोच्छेदोतिता म्र. 3 All MSS. पदालग्ने. 4 All MSS. भ्रमापात. 5 My घूणना.

• NS. VII. prose and verse. 57, 58; DR. IV. 30; SKĀ. V. 151 (id); ND. III. 142a; Kāv. An. II. 23; PR. IV. p. 178 (id); R.Su. II. 64; SD. III. 165. + NS. VII. prose and verse 51, 52; DR. IV. 32; SKĀ. V. 153a; ND. III. 138a; Kāv. An. II. 42; PR. IV. p. 177 (id); R. Su. II. 53; SD. III. 150.

६० रुद्रभट्टविरचिता

यथा -- तीव्राभिषङ्गप्रभवेण वृत्ति मोहेन 'संस्तम्भयतेन्द्रियाणाम् ।* अज्ञातभर्तृव्यसना मुहूत कृतोपकारेव रतिर्बभूव ।। (१०६)

अथापस्मारः । आवेगग्रहदुःखाद्यैरपस्मारः प्रजायते। भूपातकम्पदुःस्वेदलालाविकृतलक्षणैः ॥ ८३॥

यथा- निपात्य धरणीपृष्ठे लालायितमुखाविलः । विकृतं वीक्षते स्विद्यन्मुखो वेगेन पामरः ॥ (११०) ..-- अथ मतिः । नीतिमार्गानुसंधानादर्थनिर्धारणं मतिः ॥t

यथा-

असंशयं क्षत्रपरिग्रहक्षमा यदार्यमस्यामभिलाषि मे मनः । सतां हि संदेहपदेषु वस्तुषु प्रमाणमन्तःकरणप्रवृत्तयः॥ (१११)

1 TR संस्तम्भयतेन्द्रियाणि. 2 All MSS. आज्ञातं. 3 MD1 My भ्रपात 4 MD1 My लोला. 5 MDI My मार्गानुसन्धानार्थ. 6 MD1 अन्तःकरणस्य वृत्तय :. . -..

• NS. VII. prose and verse 72, 73; DR. IV. 31; ND. III. 131a; Kāv. An. II. 47; PR. IV. p. 182; R.Su. II. 46; SD. III. 153. ..-. + NŚ. VIl. prose and verse 80; DR. IV. 33; SKĀ. V. 150a; Kāv. An. Il. 22; ND. III. 135a; PR. IV. p. 184 (id); R.Su. II. 73 (id); SD. III. 163 (id).

रसकलिका ६१

अथालस्यम्। पराधीना प्रवृत्तिः स्यादालस्यं कृत्यवस्तुषु ॥ ८४ ॥*

यथा- सुरेन्द्रमात्नाश्रितगर्भगौरवात् प्रयत्नमुक्तासनया गृहागतः । तयोपचाराञ्जलिखिन्नहस्तया ननन्द पारिप्लवनेत्रया नृपः ।। (११२) अथावेगः । शत्रुतो वायुतो वाग्नेरुत्पातेष्टागमादिभिः । आवेगः संभ्रमस्तत्र प्रलापभ्रमणादयः ॥ ८५ ॥1 तत्र 'शत्रुतो यथा- मातर्मातर्जनक जनक ज्यायसि ज्यायसीति भ्रातर्भ्रातर्भगिनि भगिनि प्रेयसि प्रेयसीति ।

स्त्रीपुंसानां प्रसरति दलद्वकलापः प्रलापः ॥ (११३)

1 My अलसत्वम्. 2 My सरुतो. 3 MD1 तुरगन्यूह.

• NS. VII. prose and verse 47; DR. IV. 34; SKĀ. V. 161; ND. III. 145; Kav. An. II. 34; PR. IV. p. 176; R.Su. II. 60; SD. III. 155. + NŚ. VII. prose and verse 62-64; DR. IV. 35; SKĀ. V. 160a; ND. III. 134; Kāv. An. II. 49; PR. IV. p. 179; R.Su. II. 32; SD. III. 143.

६२ रुद्रभट्टविरचिता

वातजो यथा-

पौलस्त्यपीनभुजसंपदुदस्यमान- कैलाससंभ्रमविलोलदृशः प्रियायाः। श्रेयांसि वो दिशतु निह्नुतकोपचिह्न- मालिङ्गनोत्पुलकमाश्रितमिन्दुमौले: ॥ (११४) एवमाकस्मिक2प्रियागमनादावप्युदाहार्यः ॥

अथ तर्क: ।

तर्को विचार: संदेहाद् भ्रूलताङगुलिनर्तकः ।*

यथा-

नादस्तावद् विकलकुररीकूजितस्निग्धतार- श्चित्ताकर्षे परिचित इव श्रोतसंवादमेति। अन्तर्भिन्नं भ्रमति हृदय 5विह्वलत्यङ्गमङ्गं देहस्तम्भः स्थगयति गति क: प्रकार:6 किमेतत् ॥ (११५) अथावहित्था।

1 TR उत्पातजो यथा. 2 My प्रियोपगमनादौ; TR. प्रियागमनादौ; MD1 प्रियोगमनादौ. 3 MD1 My नाथस्तावद्विकल. 4 All MSS. अन्तर्भग्नं. 5 All MSS. ह्विलत्येवदहं. 6 My प्रचार :.

• NŚ. VII. prose and verse 90; DR. IV. 36; SKĀ. V. 147a; ND. III, 143a; Kāv. An. II. 50; PR. IV. p. 186; R.Su. Il. 70; SD. III. 171 (id).

रसकलिका ६३

अवहित्था तु 'लज्जादेर्हर्षाद्याकारगोपनम् ॥ ८६ ॥* यथा- एवंवादिनि देवर्षी पार्श्वे पितुरधोमुखी। लीलाकमलपत्राणि गणयामास पार्वती ।। (११६) अथ व्याधिः । विरहादेर्मनस्तापाज्ज्वरादिर्व्याधिरुच्यते ॥ ८७॥

यथा- तस्य प्रसह्य हृदयं किल शोकशङक: प्लक्षप्ररोह2 इव सौधतलं बिभेद। प्राणान्तहेतुमपि तं भिषजामसाध्यं लाभं प्रियानुगमनं त्वरयानुमेने।। (११७) अथोन्मादः । उत्कण्ठा हर्षशोकादेरुन्मादश्चित्तविभ्रमः । अस्मिन्नस्थानरुदितगीतहासप्रलापिताः ॥ ८5 ॥1

1 All MSS. लज्जादि. 2 TR प्रभेद इव.

• NS. VII. prose and verse 78; DR. IV. 37; SKĀ. V. 142 (id); ND. III. 144; Kāv. An. II. 31; PR. IV. p. 184; R.Su. II. 66; SD. 1II. 158. + NS. VII. prose and verse 81; DR. IV. 38; ND. III. 135; Kāv. An. II. 27; PR. IV. p. 185 (id); R.Su. II. 49; SD. III. 164. # NŚ. VII. prose and verse 82, 83; DR. IV. 39; SKĀ. V. 159 (id); ND. III. 141a; Kāv. An. II. 42; PR. IV. p. 185; R.Su. II. 43, 44; SD. III. 160 (id).

६४ रुद्रभट्टविरचिता

यथा-

क्वाकार्य शशलक्ष्मण: क्व च कुलं भूयोऽपि दृश्येत सा दोषाणामुपशान्तये श्रुतमहो कोपेऽपि कान्तं मुखम्। कि वक्ष्यन्त्यपकल्मषाः कृतधियः स्वप्नेऽपि सा दुर्लभा .. चेतः स्वास्थ्यमुपैहि कः खलु युवा धन्योऽधरं धास्यति । (११८) अथ विषादः ।

विषादश्चेतसो भङ्ग उपायाभावकारितः ॥ ८६॥*

यथा-

व्यर्थ यत्र कपीन्द्रसख्यमपि मे शौर्यं हरीणां वृथा प्रज्ञा जाम्बवतोऽपि यत्र न गतिः पुत्रस्य वायोरपि। मार्गं यत्र न विश्वकर्मतनयः कर्तु नलोऽपि क्षमः सौमित्रेरपि पत्रिणामविषये2 तत्न प्रिये क्वासि मे।। (११६) अथौत्सुक्यम् । कालाक्षमत्त्वमौत्सुक्यमुत्कण्ठेत्यपरे विदुः । तत्रोच्छ्वासत्त्वरावेगहृत्तापस्वेदविभ्रमाः ॥ ६ ॥

1 MD1 पास्यति. 2 MD1 TR विपयस्तत्न. 3 MD1 TR प्रिया क्वापि.

• • NŚ, VII prose and verse 67, 68: DR. IV. 40; SKĀ. V. 156a; Kāv. An. II. 25; ND. III. 140; PR. IV. p. 181 (id); R.Su. II. 8, 9, 10; SD. III. 167. t NS. VII. prose and verse 69; DR. IV. 41; ND. III. 144a; Kav. An. II. 30; PR. IV. p. 181; R.Su. II. 79 (id); SD. III. 159.

रसकलिका ६५

यथा-

आत्मानमालोक्य च शोभमान- मादर्शबिम्बे स्तिमितायताक्षी। हरोपयाने2 त्वरिता बभूव स्त्रीणां प्रियालोकफलो हि वेषः । (१२०) अथ चापलम्। मात्सर्यद्वेषरागादेश्चापलं त्वनवस्थितिः । आत्मप्रकाशनपरा चेष्टेति बभणुः पर ॥ ६१ ॥* तत्र भर्त्सनपारुष्यस्वच्छन्दाचरणादयः ।

यथा-

कश्चित्कराभ्यामुपगूढनाल- मालोलपत्राभिहतद्विरेफम् । रजोभिरन्तःपरिवेषबन्धि लीलारविन्दं भ्रमयांचकार।। (१२१) अन्ये चेतोविकारा: स्युरेष्वेवान्तर्गता अमी। स्थायिन्युन्मग्ननिर्मग्नाः कल्लोला इव सागरे ॥ ६२॥

1 TR आदर्शबिम्बं. 2 MD1 हारोवमाने; हरोवमाने is corrected as हरावलोक. 3 My omits this line; TR चारणादय :.

• NŚ. VII. prose and verse 59; DR. IV. 42 (id); SKĀ. V. 149 (id); ND. III. 134a; K v. An. II. 33; PR. IV. 179 (id); R.Su. II. 86; SD. III. 169 (id). 5

६६ रुद्रभट्टविरचिता

अथ रसः ।

विभावैर्वर्धमानस्तु स्थायिना 'चानुभाववान् । सर्वेरास्वाद्यमानत्वाद् रस इत्यभिधीयते ॥ ६३।।*

तद्वृद्धिकमस्तु। बीजाङकुरौ पल्लवश्च वृद्धिर्विस्तार एव च। अवस्थाभिर्विभाव्योऽसौ चक्षूरागादिभिः क्रमात् ॥ e४ ॥ चक्षुःप्रीतिर्मनःसङ्ग: संकल्पोऽथ प्रलापिता ॥ जागर: कार्श्यमरतिर्लज्जात्यागोजथ संज्वरः । उन्मादो मूच्छनं चैव चरमं मरणं विदुः ॥ ६५॥1

अथ चक्षु:प्रीतिः । आदरादीक्षणं तत्र चक्षुःप्रीतिरुदाहता।।S

यथा --

उत्त्पत्तिर्देवयजनाद् ब्रह्मवादी नृपः पिता। सुप्रसन्नोज्ज्वला मूर्तिरस्यां स्नेहं करोति मे ।। (१२२)

1 MD1 नानुभाववान; TR corrected into चानुभाववान्.

• DR. IV. 1-47; SKĀ. V. 19; ND. III. 109; Al. S. III. 2; PR. IV. p. 155; R.Su. II. 159-165; SD. III. 1. + PR. IV. p. 194; Al. S. II. 21; NŚ. VI. 39. ± NŚ. VII. prose and verse after 45; DR. IV. 60; SKĀ. V. 98-100; Rud. Kāv. Al. XIV. 415 ST. II. 6, 7, 8; PR. IV. p. 194; R.Su. II. 178, 179; SD. 190 (id); Al. S. III. 21, 22; RM. p. 236. § Al. S. III. 23; PR. IV. 195 (id); SKĀ. V. p. 584, Vāsudeva wrongly traces this definition to NS in his commentary on Karpūramañjarī.

रसकलिका ६७

अथ मनःसङ्ग: । इष्टैकायत्तचित्तत्वं मनसः1 सङ्ग उच्यते ॥ ६६ ॥*

यथा- एषा मनो मे प्रसभं शरीरात् पितुः पदं मध्यममुत्पतन्ती। सुराङ्गना कर्षति खण्डिताग्रात्2 सूत्रं मृणालादिव राजहंसी।। (१२३) एतदवस्थाद्वयसंपन्नो भावो बीजमुच्यते।

यथा -- हरस्तु किंचित् परिलुप्तधैर्य- ....... श्चन्द्रोदयारम्भ इवाम्बुराशिः । उमामुखे बिम्बफलाधरोष्ठे . .....- .. व्यापारयामास विलोचनानि ॥ (१२४) अत्नैवंविधव्यापार उन्नेयः। अनुभावाः कटाक्षविक्षेप- सात्त्विकनिश्वाससंभ्रमत्वरादयः ।

अथ सक्कल्पः । सङ्कल्पस्तु मनोरथः ।t

1 My मनस्सङ्ग. 2 My खण्डिताग्रा सूतरं. 3 AIl MSS. परिवृत्तधैर्य :-

• PR. IV. p. 195; Al. S. III. 23; SKĀ. V. p. 584. + PR. IV. p. 194; Al. S. III. 24; ST. II. 9; SD. III. 191; DR. IV. 61; SKĀ. V. p. 484 .; R.Su. II. 180-181.

६८ रुद्रभट्टविरचिता

यथा- प्रेमार्द्राः प्रणयस्पृंशः परिचयादुद्गाढरागोदया- स्तास्ता मुग्धदृशो निसर्गमधुराश्चेष्टा भवेयु्मयि। यास्वन्तःकरणस्य बाह्यकरणव्यापाररोधी क्षणा- दाशंसापरिकल्पितास्वपि भवत्यानन्दसान्द्रो1 लय: ।। (१२५) अथ प्रलापः ।

प्रलापो गुणकीर्तनम् ॥ ६७॥*

यथा- अनाघातं पुष्पं किसलयमलूनं कररुहँ- रनाविद्धं रत्नं मधु नवमनास्वादितरसम् । अखण्डं पुण्यानां फलमिव2 च तद्रूपमनघं न जाने भोक्तारं कमिह समुपस्थास्यति विधिः ॥ (१२६) अस्मिश्चावस्थाद्वये रंसस्याङकुरीभावः ।

यथा-

तद्वक्त्रं नयने च ते स्मितसुधामुग्धं च तद्वाचकं सा वेणी स भुजक्र्मोऽतिसरलो लीलालसा सा गतिः।

1 MD1 साव्रद्रोदय :. 2 All MSS. फलमपि.

• PR. IV. p. 196; ST. II. 15, 19; SD. III. 190; DR. IV. 60; R.Su. II. 187; SKĀ. V. p. 585.

रसकलिका ६६

तन्वी सेति च सेति सेति सततं तद्धयानबद्धात्मनो नो निद्रा न रतिर्न चापि विरतिः शून्यं मनो वर्तते॥ (१२७) अत्र चानु भावभूतेन वागारम्भेण व्यज्यन्ते, उच्छ्वासनि- श्वासादयः ।।

अथ जागरः । जागरस्तु विनिद्रता।।*

यथा -- हृदयमिषुभिः कामस्यान्तः सशल्यमिदं सदा2 कथमुपलभे3 निद्रां स्वप्ने 'समागमकारिणीम् । न च सुवदनामालेख्येऽपि प्रियामसमाप्य तां मम नयनयोरुद्बाष्पत्वं सखे न भविष्यति ॥ (१२८) अथ कार्श्यम्। शरीरकृशता कार्श्यम्॥ e5 ॥t यथा- क्षामक्षामकपोलमाननमुरः काठिन्यमुक्तस्तनं मध्यः क्लान्ततर: प्रकामविनतावंसौ छविः पाण्डुरा।

1 MD1 omits भावभूतेन; TR omits भूतेन and instead reads अनुभाववागारम्भेण. 2 MD1 My यत :. 3 MD1 कथमुपलब्भे; TR कथमुपलभेन्निद्रा. 4 TR समागमकारिणी. 5 MD1 कठिन्यमक्तस्तनं.

• PR. IV. p. 196 (id); Al. S. III. 24; ST. II, 11; SD. III. 191; DR. IV. 62; SKA. V. p. 585 .; R.Su. II. 182-184; (चिन्ता). 1 AI. S. III. 24; PR. IV. p. 197; SKĀ. V. p. 585.

रुद्रभट्टविरचचिता

शोच्या च प्रियदर्शना च मदनक्लिष्टेयमालक्ष्यते पत्नाणामिव 'शोषणेन मरुता स्पृष्टा लता माधवी॥ (१२६) अथारतिः । अरतिर्विषयान्तरे ।*

यथा- रम्यं द्वेष्टि यथा थपुरा प्रकृतिभिर्न प्रत्यहं सेव्यते शय्याप्रान्तविवर्तनैविगमयत्युन्निद्र एव क्षपाः । दाक्षिण्येन ददाति वाचमुचितामन्तःपुरेभ्यो यदा गोत्रेषु स्खलितस्तदा भवति च व्रीडाविलक्ष- श्चिरम् ॥ (१३०) यथा वा-

कुसुमशयनं न प्रत्यग्रं न चन्द्रमरीचयो न च मलयजं सर्वाङ्गीणं न वा मणियष्टयः । मनसिजरुजं सा वा दिव्या ममालमपोहितुं रहसि लघयेदारब्धा वा तदाश्रयिणी कथा॥ (१३१) इयं च पल्लवावस्था यथा- संभूयैव सुखानि चेतसि परं भूमानमातन्वते यत्रालोकपथावतारिणि रति प्रस्तौति नेत्रोत्सवः।

1 My शातनेन. 2 TR पुरं. 3 MD1 यथा. 4 All MSS यत्रालोकपदावतारिणि.

• PR. IV. p. 197; Al. S. III. 24; SD. III. 170; ST. II. 19; R.Su. II. 188, 189; SKĀ. V. p. 585.

1

रसकलिका ७१

यद्बालेन्दुकलोच्चयादुपचितैः सारैरिवोत्पादितं तत्पश्येयमनङ्गमङ्गलगृहं भूयोऽपि तस्या मुखम् ॥ (१३२) अत्नापि वागारम्भेण चिन्तोत्कण्ठाहर्षधृतिप्रमुखा अनुभावाः व्यज्यन्ते।

अथ लज्जात्यागः । लज्जाविसर्जनं यथा -*

ततः सुनन्दावचनावसाने लज्जां तनूकृत्य नरेन्द्रकन्या। दृष्टया प्रसादामलया कुमारं प्रत्यग्रहीत् संवरणस्रजेव ।। (१३३) अथ संज्वरः ।

संज्वरः परितापादेः ॥ e६ ॥

यथा- राजन्नर्जुनदेवमूर्तिमदन2 त्वद्विप्रयोगानल- ज्वालाजालसमाकुला शशिमुखी पूर्ण सरो गाहते।

1 MD1 कलोच्छयाद्. 2 TR देवमूर्तिमथन.

• PR. IV. p. 197; Al. S. III. 26; SKĀ. V. p. 586. PR. IV. p. 198; SD. III. 192; DR. IV. 60; ST. II. 23; R.Su. II. 195, 196; SKĀ. V. p. 586. t Catu on King Arjuna.

७२ रुद्रभट्टविरचिता

उड्डीनं विहगैर्मृत तिमिकुलैम्लनं च पङ्केरुहै- स्तोयादानसमाकुलैश्च1 कलभैः सङ्कोचितं पुष्करैः ॥ (१३४) इयं च वृद्धयवस्था2 यथा-

प्रस्थानंवलयैः कृतं प्रियसखैरस्रैरजस्रं गतं धृत्या न क्षणमास्थितं व्यवसितं चित्तेन गन्तु पुरः। यातुं निश्चितचेतसि प्रियतमे सर्वेः समं4 प्रस्थितं गन्तव्ये सति जीविते प्रियसुहृत्सार्थ:5 किमुत्सृज्यते ।। (१३५) अत्र प्रस्थानं वलयैरित्यादिना वागारम्भेण चिन्तोत्कण्ठोद्वेगादयो व्यज्यन्ते।।

अथोन्मादः ।*

उन्मादो यथा-"क्वाकार्य शशलक्ष्मणः" इत्यादि।

अथ मूर्च्छनम् t

मूर्च्छनमुक्तमेव। तदुद्योगस्तच्चैते।।

1 TR समागतेश्च. 2 My वृद्धावस्था. 3 MD1 कलयै :- 4 MD1 My सवैरपि प्रस्यितं. 5 MD1 प्रियसुहृप्सार्ध: 6 MD1 TR कलयै :.

• Al. S. III. 26; PR. IV. p. 198; SD. III. 191; DR. IV. 60; ST. II. 21; R.Su. II. 192-194; SKĀ. p. 586. + Al. S. III. 27; PR. IV. 198; SD. III. 192; ST. II. 25; R.Su. II. 197, 198; SKĀ. V. p. 586.

रसकलिका

अत्र तदुद्योगो यथा- अच्छिन्नं नयनाम्बु बन्धुषु कृतं चिन्ता 'गुरुष्वर्पिता दत्तं दैन्यमशेषतः परिजने तापः सखीष्वाहितः । अद्य श्वः परनिर्वृर्ति भजति सा श्वासैः परं खिद्यते विस्रव्धो भव विप्रयोगजनितं दुःखं विभक्तं तया। (१३६) यथा वा- धत्ते चक्षुरमुकुलिनि रणत्कोकिले बालचूते मार्गे गात्रं क्षिपति बकुलामोदगर्भस्य वायोः। दाहप्रेम्णा2 सरसबिसिनीपत्रमात्नोत्तरीय- स्ताम्यन्मूर्तिः श्रयति बहुशो मृत्यवे चन्द्र- पादान् । (१३७) अथ मरणम्। साक्षान्मरणं तुन वर्ण्यते।* इत्थं चावस्थाविशेषेण रसविस्तार:5।

यथा- लीनेव प्रतिबिम्बितेव लिखितेवोत्कीर्णरूपेव च प्रत्युप्तेव ची वज्लेपघटितेवान्त निखातेव च।

1 MD1 My चिन्दतागुरूभ्योऽर्पिताः; TR चिन्तागुरुभ्योर्लता. 2 My दावप्रेम्णा. B MD1 सरस ... मात्रोरीया ताम्यन्मूर्ति. 4 My नानुवर्ण्यते- 5 My रसाविस्तर :. 6 TR omits च. 7 TR अन्तर्नखातेव.

• AI. S. III. 27; DR. IV. 60; ST. II. 27; R.Su. II. 199-201; SKĀ. V. 587; SD. III. 190.

७४ रुद्रभट्टविरचिता

सा नश्चेतसि कीलितेव विशिखैश्चेतोभुवः 'पञ्चभि- श्चिन्तासन्ततितन्तुजालनिबिडस्यूतेव लग्ना प्रिया। (१३८ )

अस्मिश्चावस्थात्ये सर्वेऽनुभावा2 भवन्ति। तदेवं शृङ्गारो द्विविधः । संभोगो विप्रलम्भश्चेति ।।

तत्र शृङ्गारः संभोगः ।*

अनुकूलौ निषेवेते यत्रान्योन्यं विलासिनौ। दर्शनस्पर्शनादीनि स संभोग उदाहृतः ॥ १०० ॥

यथा-

एकीकृतस्त्वचि निषिक्त® इवावपीडय निर्भुग्नपीनकुचकुड्मलयानया मे। कर्पू रहारह रिचन्दन चन्द्रकान्त®- निस्यन्द शैवलमृणालहिमादिवर्गः ॥ (१३६)

1 My पञचाभि: 2 MD1 My सर्वानुभाव. 3 MD1 omits this line. 4 MD1 निषक्त. 5 MD1 कुट्मलया तया. 6 My चन्द्रकान्ति. 7 MD1 निष्यन्दशैथिल.

• NŚ. VI. prose after verse 45; Rud. Kāv. Al. XII. 5, 6; ST. I. 21; Vāgbhațāl. V. 54; DR. IV. 58; PR. IV. p. 199; R.Su. II. 170a; SKĀ. V. 10a; Al. S. III. 19; SD. III. 186; Kāv. An. II. 281 p. 106; RM. p. 233. t NŚ. VI. prose after verse 45; Rud. Kāv. Al. XIII. 19; ST. I. 22; DR. IV. 76 (id); Kāv. An. II. 29; PR. IV. p. 199 (id to ST). SD. III. 210 (id); SKĀ. V. 51a; 53.

रसकलिका ७५

अथ विप्रयोगः ।

विप्रयोगोऽनुरागेडपि यूनोरेकमनस्कयोः । पारतन्त्र्येण दैवेन1 विप्रकर्षादसङ्गमः ॥१०१॥* यथा- संक्षिप्येत2 क्षण इव कथं दीर्घयामा त्रियामा सर्वावस्थास्वहरपि® कथं मन्दमन्दातपं स्यात् । इत्थं चेतश्वटुलनयने दुर्लभप्रार्थनं मे गाढोष्णाभिः कृतमशरणं तद्वियोग1- ..... - व्यथाभिः ॥ (१४०) तत्र विरहश्चतुविधः ।

पूर्वानुरागमानाख्यप्रवासकरुणात्मकः ॥ १०२ ॥ तत्र सङ्गमादर्वागेव विलक्ष्यः पूर्वानुरागः । तत्र स्मृत्यादयः सर्वे- उप्यनुभावा भवन्ति ।।1

1 MD1 देवेन. 2 All MSS. संक्षिप्यन्ते कथमपि. 3 MD1 सर्वास्वस्थास्वरगि. 4 MD1 तद्वियोगव्याधिपिभ :.

• NŚ. VII. prose after verse 45; Rud Kāv, Al. XIV. 1; SKĀ. V. 45; DR. IV. 59 (ayoga) 65 ;; Kāv. An. II. 30; Vāgbhațāl V. 17. + ST. II. 1. (id); DR. IV. 65; Vāgbhațāl. V. 19a; SKĀ. V. 46; Kāv. An. II. p. 116-130; R.Su. II. 171, 172a; PR. IV. p. 199; Al. S. III. 20; SD. III. 187 (id). * ST. II. 21; SKĀ. V. 48, 49; PR. IV. p. 199; R.Su. II, 173, 173a; SD. III. 188.

७६ रुद्रभट्टविरचिता

स्त्रियो यथा-

भूयो भूय: सविधनगरीरथ्यया पर्यटन्तं दृष्ट्वा द्ष्ट्वा भवनवलभीतुङ्गवातयनस्था । साक्षात् कामं नवमिव रतिर्मालती माधवं तं गाढोत्कण्ठाललितललितैर ङ्गकैस्ताम्यतीति'॥(१४१)

अत्र 'माधवमित्यालम्बनकथनम्। साक्षात्काममिति पर्य- टन्तमिति च उद्दीपनम्। गाढोत्कण्ठेति रत्युद्रेकोत्कण्ठयोः ललितललितैरिति ग्लानिचिन्तोच्छ्वासपाण्डिमादेः, ताम्यतीति चिन्तासन्तापादेः अनुभावस्य 'वातायनस्थेति लज्जायाः ॥

पुंसो यथा- अलसवलितमुग्धस्निग्धनिष्पन्दमन्दै- रधिकविकसदन्तर्विस्मयस्मेरतारैः । हृदयमशरणं मे पक्ष्मलाक्ष्याः कटाक्षै- रपहृतमपविद्धं पीतमुन्मूलितं च ।। (१४२)

अत्र 'पक्ष्मलाक्ष्या इत्यालम्बनकथनम्। कटाक्षैरित्युद्दीपनम् । अशरणमित्यादिना वागारम्भेण दैन्यमनःसङ्गसंतापमूर्च्छाशून्यता- चिन्तादयोऽनुभावाः व्यज्यन्ते।

1 My ताम्यतीव. 2 My मालतीत्यालम्बनकथनं. 3 My रत्युद्रे- कोण्ठयोः 4 लुलितलुलितैः; TR ललितललितैः. 5 My वातम्यनस्येति. 6 My निष्यन्द. 7 TR पक्ष्मलक्ष्म्या इत्यालम्बनकथनम्. 8 TR कटाक्ष- पातादेः; MD1 कटाक्षपातादि.

रसकलिका ७७७

उभयोर्यथा --

स्मररसनदीपूरेणोढाः पुनर्गुरुसेतुभि- र्यदपि विधृतास्तिष्ठन्त्यारादपूर्णमनोरथाः । तदपि लिखितप्रख्यैरङ्गैः परस्परमुन्मुखा नयननलिनीनालानीतं पिबन्ति रसं प्रिया: ॥ (१४३) अत्र प्रिया इत्यालम्बनकथनम्। आद्ये पादे चोद्दीपनं परिपुष्ट- स्थायी तिष्ठन्त्यलब्धमनोरथा इति चिन्तासंतापादिः । लिखित- प्रख्यैरिति स्तम्भादि: नयननलिनीनालानीतमिति लज्जाविसर्जन- विक्षेपाः । रसमिति धृतिहर्षादिरनुभावो व्यज्यते ।। अथ संयोगानन्तरं वियोगः । कलहकृतो मानः स द्विविधः प्रणय- मान ईर्ष्यामानश्चेति ।* तत्र परस्पराज्ञोल्लङ्घनं प्रणयमानः ॥ यथा-

अस्मिन्नेव लतागृहे 'त्वमभवस्तन्मार्गदत्तेक्षणः सा हंसै: कृतकौतुका चिरमभूद् गोदावरीसैकते।

1 TR स्मररसनदीपूरेणोढौ. 2 MD1 पादे; My पद्ये. 3 TR omits वियोग :. 4 MD1 परस्पराज्जोल्लङ्नं. 5 MD1 त्वमनुभव- स्दत्तेक्षण :.

• DR. IV. 65; SD. III. 198; ST. II. 44; PR. IV. p. 200; Kāv. An. II. 32; (p. 112); R.Su. II. 202-204; SKĀ. V. 60. + DR. IV. 66; SKĀ. V. 65; Kāv. An. Il. p. 112; PR. IV. p. 200; SD. III. 198.

७८ रुद्रभट्टविरचिता

आयान्त्या परिदुर्मनायितमिव त्वां वीक्ष्य बद्धस्तया कातर्यादरविन्दकुड्मलनिभो मुग्धः प्रणा- माञ्जलि: ।। (१४४)

अयं द्वयोरपि भवति द्वितीयस्तु (ईर्ष्यामानः) स्त्रीणामेव। स्त्रीणामीर्ष्याकृतः कोपो मानोऽन्यासङ्गिनि प्रिये। श्रुते चानुमिते दृष्टे श्रुतिस्तत्र सखीमुखात् ॥ १०३॥* उत्स्वप्नायितभोगाङ्कगोत्नस्खलनकल्पितः । त्रिधा त्वनुमितो दृष्टः साक्षादिन्द्रियगोचरः ॥ १०४॥

यथा -- अङ्गानामतितानवं कुत इदं कम्पश्च 'कस्मात् कुतो मुग्धे पाण्डुकपोलमाननमितिप्राणेश्वरे पृच्छति । तन्व्या सर्वमिदं स्वभावत इति व्याहृत्य 'पक्ष्मान्तर- व्यापी बाष्पभरस्तया 'दयितया निश्वस्य मुक्तो- जन्यतः । (१४५) 8तत्न प्राणेश्वर इत्यालम्बनम्। तकृतापराधानुसंधानमुद्दीपनम् । स्वभावत इति निर्वेदातिशयः । अनुभावान्तर स्पष्टम् । अधीरा-

1 All MSS. उत्स्वप्नाद्कितगाव्ा ङ्कगोत्न. 2 TR MD1 कम्पश्रम- स्यात्कुत :. 3 MD1 प्राणेश्वर: 4 MD1 TR पक्षान्तर. 5 MD1 MD2 TR बलितया. 6 My omits this whole line, MD1 gives कथन कथनं.

• DR. IV. 67 (id); ST. II. 49; SD. III. 200; Rud. Kāv. Al. XIV. 13, 17; Kāv, An. II. p. 112.

रसकलिका ७६

दिक्रमश्च प्रागेवोक्तः । तत्न ग्लानिशङ्कानिर्वेदचिन्तामर्षासूयादै- न्यमूरच्छादयः सात्विकाश्च रक्तगण्डभ्रुकुटिताडनादयो व्यापाराः। अत्र प्रसङ्गात् मानापनोदनोपायाः कथ्यन्ते। साम्ना भेदेन दानेन नत्युपेक्षारसान्तरैः ॥ १०५॥* तत् 'चाटुवचः साम It

यथा- अपराधी नामाहं प्रसीद रम्भोरु विरम संरम्भात् । सेव्यो जनः प्रकुपितः कथं नु दासो निरपराधः ॥ (१४६)

यथा- कृतेऽप्याज्ञाभङ्गे कथमपि मयातिप्रणयतो धृतासि2 त्वं हस्ते विसृजसि रुषं सुभ्रु बहुशः। प्रकोपः कोडप्यन्यः पुनरयमसीमाद्य4 गुणितो वृथा यत्रानेका: प्रियसहचरीणामपि गिरः ॥ (१४७) दानं व्याजेन भूषादे: ।S

1 My चाटुरत :. 2 All MSS. धृता नत्वा. 3 All MSS. विसृज सरुषं. 4 All MSS. पुनरयमसीमा द्विगुणिते.

• DR. IV. 68; SD. III. 201; ST. II. 62, 63; NŚ. XXIII. 63-65a; R.Su. II. 208; Rud. Kav. Al. XIV. 28-31. + DR. IV. 69; ST. II. 64; SD. III. 202; R.Su. II. 209a. + DR. IV. 69 (id); ST. II. 18; SD. III. (id); R.Su. II. 201. S DR. IV. 69 (id); SD. III. 202 (id); ST. II. 66; R.Su. II. 210a.

50 रुद्रभट्टविरचिता

यथा- न 'खलु वयममुष्य दानयोग्याः पिबति च पाति च यासकौ रहस्त्वाम् । व्रज विटपममुं ददस्व तस्यै भवतु यतः सदृशश्चिराय योगः ॥ (१४८)

एतद् केचिन्नेच्छन्ति।

पादयोः पतनं नतिः ॥ १०६॥

यथा -* सुतनु जहिहि मौनं पश्य पादानतं मां न खलु तव कदाचित् कोप एवंविधोऽभूत् । इति निगदति नाथे तिर्यगामीलिताक्ष्या नयनजलमनल्पं मुक्तमुक्तं न किंचित् ॥ (१४६) अत्र नयनजलमनल्प मुक्तमित्यनेन प्रसादसूचनम्। उक्तं न -- किंचिदिति कोपनिर्वेदयोरनुवृत्तिः । अत्र प्राथमिकोऽ्यमपराधः । तेनोभयं संभाव्यते। तथाहि। पादानतं मां पश्येत्युक्तिरनुनयः । कृतापराधः पादनतो- --: इ्ससौ न द्रुह्य इति निर्वेदः । न खल्वित्यत्न तवाप्येवं विधो- जपराधो5 नास्ति किमिति ध्वनिः ॥

1 My वयममुष्य दानयोग्या न खलु. 2 MD1 TR तियर्गायताक्ष्या; My तिर्यगाकुन्जिताक्ष्या. B My omits this line; MD1 नयनजलमल्पं -- मुक्तमुक्तमत्यनेन. 4 My omits मां. 5 MD1 एवंविधापरधो.

• DR. IV. 69 (id). SD. III. 202 (id); ST. II. 72; R.Su. II. 210.

रसकलिका

उपेक्षा त्ववधीरणम्1। यथा -* लिखन्नास्ते भूमि बहिरवनतः प्राणदयितो निराहाराः सख्यः सततरुदितोच्छूननयनाः । परित्यक्तं सर्वं हसितपठितं पञ्जरशुकै- स्तवावस्था चेयं विसृज कठिने मानमधुना । (१५०) अत्र प्रियस्य चिन्ताग्लानिजडतादयः। सखीनां च संतापसंभ्रमविषा- दादयः । इयमवस्थेत्युक्तेः नायिकायाः विषमसंज्वरादि लक्ष्यते॥ रसान्तरं तासहर्षा ।t यथा- ईर्ष्यावशात् कापि विहाय कान्तं वने व्रजन्ती चपलायताक्षी। कर्दथिता2 धूर्तमधुव्रतेन संभ्रान्तदृष्टिः प्रियमालिलिङ्ग। (१५१) इदं छलादिभ्योऽप्युदाहार्यम्। अथ प्रवासः । कार्यतः संभ्रमाच्छापात् प्रवासो भिन्नदेशता। द्वयोस्तत्राश्रुनिश्वासकार्श्यलम्बालकादयः । १०७॥ 1 MD1 उपेक्षत्व धीराणां. 2 All MSS. कन्दर्पिता. * DR. IV. 69 (id); SD. III. 203 (id); ST. II. 70; R.Su. II. 210. + DR. IV, 69; SD. III. 283; ST. II. 74; R.Su. II. 211. ± SD. III. 204; ST. II. 83; DR. IV. 70 (id); PR. IV. p. 201; Kāv. An. II. 8 p. 113; R.Su. II. 213-214; Rud. Kāv. Al. XIV. 38; SKĀ. V. 49; Vāgbhațāl V. 19b. 6

८२ रुद्रभट्टविरचिता

तत्र कार्यतो बुद्धिपूर्वकत्वात् त्रिधा भवति। भावी भवन् भूतश्चेति।* तत्र भावी यथा- याताः 'कि न मिलन्ति सुन्दरि पुनश्चिन्ता त्वया मत्कृते नो कार्या नितरां कृशासि कथयत्येवं सबाष्पे मयि। लज्जामन्थरतारकेणनिपतत्पीताश्रुणा चक्षुषा दृष्टवा मां हसितेन भाविमरणोत्साहस्तया सूचितः ॥ (१५२) भवन् यथा- देशैरन्तरिता शतैश्च सरितामुर्वीभृतां' काननै- र्यत्नेनापि न याति लोचनपथं कान्तेति जानन्नपि। 5उद्ग्रीवश्चरणाग्ररुद्धवसुधः "प्रोन्मृज्य सास्त्रे दृशौ तामाशां पर्थिकस्तथापि किमपि ध्यायन्

भूतो यथा -- मुहुर्वीक्षते ।। (१५३)

हारोऽपि नार्पित: कण्ठे मया विरहभीरुणा। इदानीमन्तरे जाता: सरित्सागरपर्वताः । (१५४) अथ संभ्रमः । द्वितीयः सहसोत्पन्नो दिव्यमानुषविप्लवात् ॥ १०८ ॥

1 TR. MD1 केन मिलन्ति. 2 MD1 लज्जामन्धर. 3 My निपतस्फीताश्रुणा. 4 MD1 TR सरितां भूमिभृतां. 5 My उद्ग्रीवश्च- रणार्थं; MD1 उद्दीपश्चरणार्ध. 6 MD1 कृत्वाश्रुपूर्णे.

• SD. III. 208; DR. IV. 71 (id); R.Su. II. 216. + DR. IV. 72 (id); R.Su. II. 217a.

रसकलिका

यथा- तिष्ठेत् कोपवशात् प्रभावपिहिता दीर्ध न सा कुप्यति स्वर्गायोत्पतिता भवेन्मयि पुनर्भावार्द्रमस्या मनः। तां हर्तुं विबुधद्विषोऽपि न च मे शक्ता: पूरोवर्तिनीं सा चात्यन्तमदर्शनं नयनयोर्यतेति कोऽयं विधिः ।। (१५५) शापाद् यथा- शापान्तो मे भुजगशयनादुत्थिते शार्ङ्गपाणौ शेषान्मासान् गमय चतुरो लोचने मीलयित्वा। पश्चादावां विरहगणितं तं तमात्माभिलाषं निर्वेक्ष्यावः1 'परिणतशरच्चन्द्रिकासु क्षपासु । (१५६) अथ करुणः । द्वयोरन्यतरापायः4 सङ्गमाशाविवजितः । करुणः स द्विधा ज्ञेयो 5मृतेस्तच्छङ्मयापि वा ॥ १०६।* अत्न 'मृतशङ्कया यथा- त्रस्तकहायनकुरङ्गविलोलदृष्टे- स्तस्याः परिस्फुरितगर्भभरालसायाः ।

1 My निर्वेक्ष्याम :. 2 MD1 परिणति. 3 TR शरश्चन्द्र. 4 MD1 TR द्वयोरन्यतरा वा. 5 My मृतेत्सच्छङ्कयापि. 6 My तत्न. 7 All MSS. अस्या :-

• DR. IV. 74; ST. II. 93; SD. III. 209; Rud. Kāv. Al. XIV. 34; SKĀ. V. 82, 92a; R.Su. II. 217, 219.

रुद्रभट्टविरचिता

ज्योत्स्नामयीव 'मृदुबालमृणालकल्पा कव्यान्द्िर ङ्कलतिका नियतं विलुप्ता॥ (१५७)

तथा च- अनिभिन्नो गभीरत्वादन्तर्गूढगुरुव्यथः । पुटपाक प्रतीकाशो रामस्य करुणो रसः ॥ (१५८)

मरणाद्यथा -- हृदये वससीति मत्प्रियं यदवोचस्तदवैमि कैतवम् । उपचारपथं न चेदिदं त्वमनङ्ग: कथमक्षता रतिः । (१५६) अयं तु शोकमिश्रः । एतयोरुभयोविभावानुभावानुप्रवेशः । संभोगोऽपि चतुरविध: ।।* अत्र पूर्वानुरागान्तरो यथा- राजेन्द्रमौलिमणि रज्जितपादपीठ- मेकातपत्रमवनेर्न तथा प्रभुत्वम् । 'अस्या: सखे चरणयोरहमद्य" 8कान्त- माज्ञाकरत्वमधिगम्य यथा कृतार्थः ॥ (१६०)

1 MD1 ऋजु. 2 MD1 TR प्रतीकारो. 3 My तत्न. 4 MD1 My omits मणि. 5 My तथा. 6 MD1 अस्या सखे. 7 My चरणयोरयमद्य. 8 MD1 My सम्यक्.

• SD. III. 213; R.Su. II. 221, 222a.

रसकालका मानान्तरो यथा- 2एकस्मिन् शयने पराङमुखतया वीतोत्तरं ताम्यतो- रन्योन्यस्य हृदि स्थितेऽप्यनुनये संरक्षतोगैारवम् । दम्पत्योः शनकेरपाङ्गवलनान्मिश्रीभवच्चक्षुषो- र्भग्नो मानकलिः सहासरभसव्यावृत्तकण्ठ- ग्रहः ॥ (१६१) प्रवासो यथा- रतिखेदसुप्तमपि मां शयने या मन्यसे प्रवासगतम् । सा त्वमबले सहेथा: कथं मदीयं चिरवियोगम् ॥ (१६२) मृतिसंभावनानन्तरो यथा- मृतेति प्रेत्य सङ्गन्तुं यथा मे मरणं मतम् । सैषा तन्वी मया लब्धा कथमत्रेव जन्मनि। (१६३) मरणानन्तरो यथा- तीर्थे तोयव्यतिकरभव' जह्नुकन्यासरयवोः देहत्यागादमरगणनालख्यमासाद्य सद्यः । पूर्वाकाराधिकतररुचा सङ्कतः कान्तयासौ लीलागरष्वरमत पुनर्नन्दनाभ्यन्तरेषु।। (१६४) तत्रालिङ्गनादयोऽनुभावाः कामतन्त्रादवसेयाः । 1 My मानान्तरे. 2 MD TR एतस्मिन्शयने. 3 MD1 TR सहस्सरभस. 4 TR खलु या मन्यत and omits प्रवासगतम्. 5 MD1 TR प्रत्यसङ्गत्व. 6 AIl MSS. सैवावन्ती. 7 MD1 व्यकिरे जह्नुतकन्या पैसरय्ो :. 8 MD1 TR अधिकचतुरया.

रुद्रभट्टविरचिता

यत्र तु संभोगविप्रयोगयोविशेषो न ज्ञायते, तत्र संभोगविप्रयोग- संज्ञयैव व्यवहर्तव्यः ॥ अथ सङ्करः। स द्विविधः ।*शृङ्गारस्य शृङ्गारान्तरेण रसान्तरेण चेति।।

तत्न संभोगविप्रयोगसङ्करो यथा- विनिश्चेतुं शक्यो न सुखमिति वा दुःखमिति वा 'प्रमोहो निद्रा वा किमु विषविसर्पः किमु मदः । तव स्पर्शे स्पर्शे किमपि परिमूढेन्द्रियगणो विकारश्चैतन्यं भ्रमयति च संकोचयति च । (१६५) अत्र 2श्रीरामः सीतया दृष्टः सा चादृष्टेत्यवस्थाद्वयोप- पत्तिः। संभोग एवायममित्येके।।

रसान्तरसङ्करो द्विविधः । स्वतन्त्रः प्रस्तुतोपयोगी चेति।

तत्न स्वतन्त्रो यथा-

राहोश्चन्द्रकलामिवाननचरीं दैवात् समासाद्य मे दस्योरस्य कृपाणपातविषयादाच्छिन्दतः प्रेयसीम् । आतड्काद् विकल द्रुतं करुणया विक्षोभितं विस्मयात् क्रोधेन ज्वलितं मुदा विकसितं चेतः कथं वर्तते ॥ (१६६)

1 TR भ्रमो वा. 2 MD1 TR omit श्रीराम :. B My omits इति.

• PR. IV. p. 204; R.Su. II. 252-255.

रसकलिका ८७

अत्र' राहोश्चन्द्रकलामिवाननचरीमिति दैवात् समासाद्येति दस्यो- रस्येति यथाक्रमं विभावाः । तत्तद्वागारम्भानुमेयाश्चानुभावाः । द्वितीयो (प्रस्तुतोपयोगी) यथा-

स्त्रीणां पुंसां सखीनां च स्मरस्य तव मे विधेः। तस्या यमस्य चित्तेषु विजृम्भन्ते रसा नव । (१६७) अत्र यथाक्रमं नव रसाः कान्तानुनयोपयोगिनः इति तेषामङ्गा- ङ्गित्वम् ॥

अथास्य हासः। यथा-

पुराभूदस्माकं प्रथममविभिन्ना तनुरियं 2ततस्त्वं नु प्रेयान् वयमपि हताशाः प्रियतमाः । इदानीं नाथस्त्वं वयमपि कलत्नं किमपरं हतानां प्राणानां कुलिशकठिनानां फल- मिदम् ॥ (१६८) नाशो यथा-

गते प्रेमावेशे प्रणयबहुमाने विगलिते निवृत्ते सद्धावे जन इव जने गच्छति पुरः। तदुत्प्रेक्ष्योत्प्रेक्ष्य प्रियसखि गतांस्तांश्च दिवसान् न जाने को हेतुर्दलति शतथायं5 न हृदयम् ॥ (१६६)

1 MD1 TR omits अत्न. 2 MD2 My TR ततो नु प्रेयान्. 3 MD2 नाथस्स्त्वं. 4 MD1 TR मुहुः प्रेक्षोत्प्रेक्ष्य. 5 MD1 My शतधा यन्न,

1

रुद्रभट्टविरचिता

न चात्रानुरागावृत्तिशङ्का कार्या। गतान् दिवसानुत्प्रेक्ष्योत्प्रेक्ष्येति विरोधात्। अनयोरभावे तु रसस्य परमोत्कर्षः ॥ यथा- अद्वैतं सुखदुःखयोरनुगतं सर्वास्ववस्थासु यद् विश्रामो हृदयस्य यत्र जरसा यस्मिन्नहार्यो रसः । कालेनावरणात्ययात् परिणते यत् 2स्नेहसारे स्थितं भद्रं तम्य सुमानुषस्य कथमप्येकं हि तत् *प्राप्यते।। (१७०) अथ रसाभास: ।

एकत्रैवानुरागश्चेत् तिर्यङम्लेच्छगतोऽपि बा। योषितो बहुसक्तिश्चेद् रसाभासस्त्रिधा मतः ॥ ११०॥ एकत्रैवानुरागो यथा- इन्दुः सीतावदनसदृशो जानकीनेवहृद्यं लीलाम्भोजं बिसकिसलये मैथिलीहासभासः । सम्यक् साम्यादिति च बहवस्तस्य जाता जगत्यां लङ्काभर्तुर्जनकतनयाविप्रलम्भे विनोदाः । (१७१) तिर्यगाश्रितो यथा- मधुद्विरेफ: कुसुमैकपाल्े पपौ प्रियां स्वामनुवर्तमान: ।

1. MD1 कालेनावरणात्ययात्परिणते; TR कालेनावरणात्क्षयात्परिणते. 2 My यत् प्रेमसारे. 3 My TR प्रार्थ्यत.

• SD. III. 263, 264, 265; PR. IV. p. 201; R.Su. II. 263.

रसकलिका

शृङ्गेण संस्पर्शनिमीलिताक्षीं मृगीमकण्डूयत कृष्णसारः ॥ (१७२) नायिकाया अनेकानुरागो यथा- कान्तास्त एव 'भुवनत्नितयेऽपि मन्ये येषां कृतं सुतनु पाण्डुरयं कपोल: । (१७३) उपलक्षणं चैतत् । औचित्यानौचित्य एव रसाभासनिबन्धने ॥ १११॥ यथाहुः- अनौचित्यादृते नान्यद् रसभङ्गस्य कारणम् । "प्रसिद्धौचित्यबन्धस्तु रसस्योपनिषत् परा ॥ ११२॥* "औचित्यं कविसंप्रदायप्रसिद्धम्2। एते च संकरादयो रसान्त- रेष्वप्येष्टव्याः ।। 8अथ हास: । प्रेमलज्जाविकारादयैविभावैः परिपोषितः । युक्तोऽनुभावैस्तोषाद्यैर्हास इत्यभिधीयते ॥ ११३ ॥

1 MD1 भुब्नत्रितयेपि. 2 TR आनौचित्ये एव. B TR यदाहु: 4 MD :. MD2 धध्यो. 5 MD1 TR भङ्गस्तु. 6 My अनोचित्यम्. 7 TR संप्नदायशिद्धम्. 8 MD2 omits अथ हाम :.

• SD. III. 262. t Kāv. An. Il. 9 (p. 113); SD. III. 214, 216; ST. III. 1; DR. IV. 82; Al. S. III. 88; NŚ. IV. prose and verse. 49, 50, 61; Rud. Kāv. Al. XV. 11; Vāgbhațāl. V. 23; SKĀ. V. p. 514; R.Su. II. 226, 227; ND. III. 14.

1

६० रुद्रभट्टविरचिता

स 'च चतुरविधः स्मितहसितविहसितोपहसितभेदात् ।* तत्र स्मितमिति ज्ञेयम् कपोलाधरकान्तिकृत् ।t

यथा-

पथि पथिकवधूभिः सादरं 'पृच्छ्यमाना कुवलयदलनीलः कोऽयमार्ये तवेति। स्मितविकसितगण्डं व्रीडविभ्रान्तनेत्रं मुखमवनमयन्ती स्पष्टमाचष्ट सीता ।। (१७४)

हसितं लक्ष्यदन्तांशु ॥ ११४॥1

यथा-

च्युतामिन्दोर्लेखां रतिकलहभग्नं च वलयं समं चक्रीकृत्य प्रहसितमुखी शैलतनया। अवोचद् यं पश्येत्यवतु स शिवः सा च गिरिजा स च क्ीडाचन्द्रो दशनकिरणापूरिततनुः ॥ (१७५) निर्यद्वहुलदन्तांशु विदुर्विहसितं पुनः ।

1 MD1 omits च. 2 MD1 पृच्छमान: 3 MD1 च्युतामिन्दोरेखां.

• Kāv. An. II. 10. 11; p. 14; SD. III. 217; DR. 83; ST. III. 214; Al. S. III. 31-33; NŚ. VI. 52-60; Rud. Kāv. Al. XV. 12; Vāgbhațāl. V. 24; ND. III. 115. + SD. III. 218; Al. S. III. 32; TS. III. 2; DR. IV. 83; R.Su. II. 230; ND. III. p. 167. + Al. S. III. 32; SD. III. 218; DR. IV. 83; ST. III. 4; R.Su. II. 231a; ND. III. p. 167.

रसकलिका

यथा -*

इदमालक्ष्यदन्तांशु त्वन्मुखं चपलालकम् । संलक्ष्यकेसरं पद्मं लोलभृङ्गमिवाभवत् ॥ (१७६) रौद्रादिजनितो हासस्त्वट्टहासो महोल्बण: ॥ ११५ ॥ स्पष्टमेतत्।

-करुणो द्वेधा। दौर्गत्यान्मरणाच्चेति।+

तत्नाद्यो यथा-

वृद्धो मत्पतिरेष मज्जकगतः स्थूणावशिष्टं गृहं कालोऽभ्यर्णजलागमः कुशलिनी वत्सस्य वार्तापि नो। यत्नात्संचिततैल बिन्दुर्घटिका भग्नेति पर्याकुला दृष्टवा गर्भभरालसां निजवधूं श्वश्रूश्चिरं रोदिति। (१७७)

I MD1 TR omits एतत्. 2 MD1 My करुणा. . 3 All MSS. omits मत्. 4 MD1 यत्सात्.

• DR. IV. 83; SD. III. 219; Al. S. III. 32; R.Su. II. 232; ND. IlI. p. 167. Al. S. III. 33; SD. III. 219; DR. IV. 83; ND. III. 167; R.Su. II. 234. + Kav. An. II. 12 (p. 116); Al. S. III. 34, 35; DR. IV. 87; SD. III. 222; ST. III. 8, 10, 45; NŚ. VI. prose and verse. 62, 63; Rud. Kāv. Al. XV. 314; Vāgbhațāl V. 22; ND. III. 116; R.Su. II. 245, 246.

1

२ रुद्रभट्टविरचिता

द्वितीयो यथा-

विललाप सबाष्पगद्गद:1 सहजामप्यपहाय धीरताम्। अभितप्तमयोऽपि मार्दवं भजते कैब कथा शरीरिषु॥ (१७८)

अत्र सात्विकस्मृतिचिन्तामूर्च्छाव्याधिमरणादयोऽनुभावाः ।

अथ रौद्रः ।

अपराधानुचिन्तादैविभावैः करोध एधितः । निर्मर्यादं प्रवृत्तस्तु रौद्र2 इत्यभिधीयते ॥ ११६॥*

यथा-

उत्कृत्योत्कृप्य गर्भानपि शकलयतः क्षत्रसंतानरोषा- दुद्वामस्यैकविशत्यवधि विधमतः सर्वतो राजवंश्यान्। पितन्यं 5तद्रक्तपूर्ण ह्रदसव नमहानन्दमन्दायमान- क्रोधाग्नेः कुर्वतो मे न खलु न0 विदितः सर्वभूतैः स्वभाव: । (१७६)

1 MD1 बाष्वगद्गद. 2 TR क्रोध. 3 MD1 TR रीगुद्गीम. 4 MD1 TR विशसत :. 5 MD1 TR तद्वत्क्रपूर्ण; My तद्वत्कपूर्ण. 6 MD1 TR स विदित :.

• NŚ. VI. prose and verse. 64-67; Rud. Kāv, Al. XV. 13, 14; Vāgbhațāl. V. 29, 30; Kāv. An. II. 13 (p. 116); SD. III, 227-310; Al. S. III. 38; DR. IV. 81; ST. III. 11, 13, 146; ND. III. 117; SKĀ. V. p. 512; R.Su. II. 243, 244.

रसकलिका ६३

अत्र 1दैन्यौग्रनिर्वेदासूयातर्कमतिप्रभृतयोऽनुभावाः । प्रस्वे- दरक्तनयनवाक्पारुष्य भ्रुकुटीबन्धनादयश्च । अथ वीर: ॥ यस्तु प्रतापविनयैरुत्साह: परिवधितः । गर्वस्फीतविकाराद्यैविभावैर्वीर इत्यपि ॥ ११७॥* स त्रिविधः । युद्धवीरो दानवीरो दयावीरश्चेति।t 2अत्र युद्धवीरो यथा -- कपोले जानक्या: करिकलभदन्तद्युतिमुषि स्मरस्मेरं गण्डोड्डुमरपुलकं वक्त्रकमलम्। मुहुः पश्यन् शृण्वन् रजनिचरसेनाकलकलं जटाजूटग्रन्थि द्रढयति' रघूणां परिवृढः ॥ (१८०) दानवीरो यथा- कर्णस्त्वचम् -- इत्यादि ॥ दयावीरो यथा- स त्वं मदीयेन शरीरवृत्ति देहेन निर्वर्तयितुं प्रसीद। दिनावसानोत्सुकबालवत्सा विसृज्यतां धेनुरियं महर्षे: ॥ (१८१) 1 My दैन्योग्र. 2 TR तत्न. 3 MD2 रचयति.

• Kāv. An. II. 14 (p. 117); SD. III. 232-233; Al. S. III. 42; DR. IV. 79; ST. III. 141, 15, 19, 47, 48a; NS. VI. prose and verse. 68; 69; Rud. Kāv. Al. XVI. 12. Vāgbhațāl V. 21; SKĀ. V. p. 512; + Kāv. An. II. p. 117; ST. III. 14 (16, 17, 18); SD. III. 234; Al. S. III. 42; R.Su. II. 238, 239, 240.

--

६४ रुद्रभट्टविरचिता

अथ भयानक: ।

शत्रुभ्यः कूरसत्वादेभयोद्रेको भयानकः । सर्वाङ्गवेपथुस्वेदशोषवैवर्ष्यसंभ्रमैः ॥ ११८ ॥* दैन्यसंमोहसंत्रा सस्तम्भाद्यैरुपलक्षितः ।

यथा- स्वगेहात् पन्थानं तत उपवनं काननमथो गिरिं 'तस्मात् सान्द्रद्रुमगहनमस्मादपि गुहाम्। तदन्व ङ्गान्यङ्गैरभिनिविशमानो न गणय- त्यराति: क्वालीनस्तव विजययात्राच- कितधीः ॥ (१८२) अथ बीभत्सः । उद्दीप्यमान: पूत्यादयैर्बीभत्स: स्याज्जुगुप्सितः । - ---

स द्विविधः लौकिको विवेकोत्थश्चेति।t

अत्न लौकिकः । पूतिक्रिमिवसामांसकीकसादिविलोकनैः । नासासंकोचनिर्वेदवान्तिविक्रमणादिकृत् । ११६॥

1 MD1 TR दैन्यसंमोहसन्त्रास. 2 All MSS. तस्मादस्मादपि. -- * Kāv. An. II. 15. (p. 118); DR. IV. 85; Al. S. III. 46 to 48; SD. III. 235 to 238; ST. III. 20, 24; ND. HI. 119; R.Su. II. 250, 125; SKĀ. V. p. 513; NŚ. VI. prose and verse 70-73; Rud. Kāv. Al. XV. 7, 8; Vagbhațāl. V. 27, 28. + Kav. An. II. 15 (p. 119); DR. IV. 80; ST. III. 25, 27, 49; SD: III. 239 to 241; Al. S. III. 49 to 51; NŚ. VI. prose and verse. 74, 75; Rud. Kāv. Al. XV. 5, 6; Vāgbhațāl. V. 31; ND. III. 120; SKĀ. V. p. 513; RI.Su. 247-249.

रसकलिका

यथा-

उत्कृत्योत्कृत्य कृत्ति प्रथममथ 'पृथूच्छोफभूयांसि मांसा-

आत्तस्नाय्वान्त्रनेत्ः प्रकटितदशनः प्रेतरङ्ग: करङ्का- दङ्कस्थादस्थिसंस्थं स्थपुटगतमपि त्रव्यमव्यग्र- मत्ति ॥ (१८३) द्वितीयस्तु वैराग्योपदेशपरिशीलनप्रभवः4।

यथा-

देहे चेत्" प्रीतिमान् मूढो नरके भवितापि सः ॥ (१८४) अस्थिस्थूणं मलापूर्ण चर्मनद्धं सुलोमकम् । स्रवल्लालं गलच्छ्लेष्मं रम्यं गात्रं मृगीदृशाम् ।। (१८५) अथाद्भुतम् ।।

विस्मयक्षोभमापन्नो पूर्वादृष्टविलोकनात्। अद्भुतं नेत्रविस्तारभ्रूसमुन्नमनादिकृत् ॥ १२० ॥*

1 MD1 TR थच्छेक; My पृथूत्सेधे. 2 MD1 TR गन्धीनि. 3 My आर्तस्नाय्वन्तनेत्र; MD1 आत्तस्नाय्यवन्त्रनेत्र :. 4 TR परिशीलनपर: 5 All MSS. मेदोत्त्सक. 6 My देहेचेप्रीतियान्. 7 MD1 सुरोमकम्.

• Kāv. An. 11. 16 (p. 119); SD. III. 242-244; ST. III. 28, 30, 50; DR. IV. 85; Al. S. III. 52-54; NS. VI. prose and verse. 76, 77; Rud. Kay.Al,XV.9,10; Vagbhatal. V.25,26;ND.III.121; R.Su. II. 241. 242; SKA.V.p.513.

ह६ रुद्रभट्टविरचिता

यथा-

तावन्तस्ते महात्मानो निहताः केन राक्षसाः । येषामग्रेसरां जातास्त्रिशिर:खरदूषणाः ।। (१८६) धृतधनुषा रामहतकेनेत्यादि। अत्र स्वेदरोमाञ्चसंत्रास- संभ्रमादयः ।

अथ शान्त: ।।

विषयेभ्यो विरक्तस्य तत्त्वज्ञस्य विवेकिनः । रागादिनिर्विकारित्वं शान्तिरित्यभिधीयते ॥ १२१॥।*

सा चतुविधाः। वैराग्यं दोषनिग्रहः सन्तोषः तत्त्वसाक्षात्कारिता चेति।

विषयेभ्यो निवृत्ति: वैराग्यम् ।

यथा-

प्रशान्तशास्त्रार्थविचारचापलं निवृत्तनानारसवाक्यकौशलम् । निरस्तनिःशेषविकल्पविप्लवं प्रवेष्टुमन्विच्छति शूलिनं मनः । (१८७) रागाद्यभावो दोषनिग्रहः ।

1 MD1 घृतधनुषा.

• Käv. An. II. 17 (p. 120); Al. S. III. 55-57; DR. IV. 53; ST. III. 31, 33; SD. 245-248; Rud. Kāv. Al. XV. 15, 16; Vāgbhațāl. V. 32; ND. III. 122; SKĀ. V. p. 514-515.

4

1

रसकलिका ६७

यथा- अहौ वा हारे वा कुसुमशयने वा दृषदि वा मणौ वा लोष्ठे वा बलवति रिपौ वा सुहृदि वा। तृणे वा स्त्रैणे वा मम समदृशो 'यान्तु दिवसाः क्बचित्पुण्येऽरण्ये शिवशिवशिवेति प्रलपतः ॥ (१८८) तृष्णोन्मूलनं संतोषः ।। यथा- आशा नाम नदी मनोरथजला तृष्णातरङ्गाकुला रागग्राहवती वितर्कविहगा धैर्यद्रुमध्वंसिनी मोहावर्तसुदुस्तरातिगहना प्रोत्तुङ्गचिन्तातटी यस्या: पारगता विशुद्धमनसो नन्दन्ति योगी- श्वरा: ॥ (१८६) तत्त्वसाक्षात्कारो यथा- मनः प्रत्यक्चित्ते सविधमवधायात्तमरुतः प्रहृष्यद्रोमाणः प्रमदसलिलोत्सङ्गितदृशः । यदालोक्याह्वादं ह्रद इव निमज्यामृतमये दधत्यन्तस्तत्त्वं किमपि यमिनस्तत्किल भवान् 11 (9६0) अथ निरोधः । रस: सर्वस्तु संपूर्णस्तिरोधत्ते रसान्तरम्। कविप्रसिद्धिमाश्रित्य तथापि क्वापि दृश्यते ॥ १२२ ॥* 1 My यान्ति. 2 MD1 तटी.

• SD. III. 254-257; R.Su. II. 247; PR. IV. p. 208 (id). 7

रुद्रभट्टविरचिता

तत्र शृङ्गारस्य निरोधका वीररौद्रजुगुप्साप्रशमादयः । तत्न वीराद्विरहावच्छेदो यथा- सायन्तने सवनकर्मणीत्युपक्र्म्य शाकुन्तले ॥। (१६१) रौद्राद्यथा-

"शूर्पणखोत्पातदर्शी" इत्यादि बालरामायणे।

जुगुप्साया: समानक्षयो यथा- मुक्ताहारलता रणन्मणिमयी हैमास्तुलाकोटयो 'रागः कुङ्कुमसंभवः सुरभयः पौष्पा विचित्रस्रजः2। वासश्चित्रदुकूलमल्पमतिभिर्नार्यामिदं कल्पितं बाह्येऽन्तः3 परिमृश्यता तु निरयो नारीति नाम्ना कृतम् ।। (१६२) शमाद्यथा-

बाले लीलामुकुलितममी4 मन्थरा दृष्टिपाताः कि क्षिप्यन्ते विरम विरम व्यर्थ एष श्रमस्ते। संप्रत्यन्ये वयमुपरतं 5बाल्यमास्था वनान्ते क्षीणो मोहस्तृणमिव जगज्जालमालो- कयाम: ॥ (१६३) हास्यस्य रणभये स्पष्टम् ॥ शोकस्य रौद्रशान्तिभ्याम्।

1 TR रागै :. 2 TR विचित्राः स्नज :. 3 MD1 TR बाह्यऽन्तस्तु विमृश्य. 4 My मुकुलितमया. 5 TR बाल्यमास्थापनाते.

रसकलिका ६६ शान्त्या यथा- प्रादुर्भवन्ति वपुषः कति नाम कीटा यान् यत्नतः किल तनोरपसारयन्ति। मोहः क एष जगतो यदपत्यसंज्ञां तेषां विधाय परिशोषयति स्वदेहम् ॥ (१६४) रौद्रः शान्त्या विनश्यति। यथा- सोऽपि स्ववीर्यादवतार्य भारं भूमे: 'समुत्खाय कुलं नृपाणाम् । प्रशान्तकोपज्वलनस्तपोभि: श्रीमान्2 मुनिः शाम्यति जामदग्न्यः ।। (१६५) वीरश्च भयशान्तिभ्याम्। यथा- योषिन्मध्ये सभामध्ये सुलभाः खङ्गधारिणः । शस्त्रसङ्गद्टसंजातविस्फुलिङ्गेषु4 दुर्लभाः ॥ (१६६) शान्तेस्तु 'पूर्ववदेवोदाहरणम्। भयं 'शान्त्या विनश्यति ॥ १२३ ॥ यथा- अभयं सर्वभूतेभ्यो यैदत्तं करुणात्मभिः । शान्तिनिष्णातमनसस्ते 'जीवन्त्यकुतोभयाः ॥ (१६७) 1 My समुत्सार्य. 2 TR क्रमान् मुनिः 3 MD1 सजात. विष्फुलिङ्गेषु. 5 MD1 My पूर्वमेवोदाहरणम्. 4 My 6 MD1 TR शान्तिर्वि- नश्यति. 7 MD1 TR जीवन्ति कुतो भया:

१०० रुद्रभट्टविरचिता

न चात्र क्मो विवक्षितः। परस्परं विरोधिषु रसेषु य एवोद्रिक्तो रसः स तदितरस्य तिरोधानं करोति। समुद्रिक्तः श्रृङ्गारो बीभत्समपि तिरस्करोति।

अत्र बीभत्सतिरोधानं यथा-

ईदृक् सुगन्धि प्रविजुम्भमाण- दर्प गलत्कान्ति मनोहरं च। अङ्गं स्त्रिया मांसमयं ब्रुवाणा: पौराणिका हन्त न दृष्टियोग्याः । (१६८) शान्तितिरोधानं यथा-

प्रभवति मनसि विवेको विदुषामपि शास्त्रसंभवस्तावत् । निपतन्ति दृष्टिविशिखा: यावन्नेन्दीवरा- क्षीणाम् ।1 (१६8) एवं भावानामपि परस्परविरोधो द्रष्टव्यः । यथा-स्मृतिमूच्छ- योर्निर्वेदहर्षयोरित्यादि । विरुद्धा अपि कविभिर्मज्जनोन्मज्जनन्यायेन भिन्नविषयतया गुभ्य- माना न विरोधमावहन्ति।

यथा-

एकं ध्याननिमीलनान्मुकुलितं चक्षुद्वितीयं पुनः पार्वत्या वदनाम्बुजस्तनतटे शृङ्गारभावालसम् ।

1 All MSS. क्रियते. 2 TR ज्वलत.

रसकलिका १०१

अन्यद् दूरविकृष्टचापमदनक्रोधानलोद्दीपक शम्भोभिन्नरसं समाधिसमये नेत्रत्यं पातु वः॥ (२००) स्त्रीणां पुंसां सखीनां चेत्यादि। अत् विषयभेदादविरोधः । 'एक- विषयत्वे मज्जनोन्मज्जनभेदादविरोधो यथा- तटस्थं नैराश्यादपि च कलुषं विप्रियवशाद् वियोगे दीर्घेडस्मिन् झटिति घटनास्तम्भितमिव। प्रसन्नं सौहार्दाद् दयित करुणैर्गाढकरुणं द्रवीभूतं प्रेम्णा तव हृदयमस्मिन् क्षण इव ॥* (२०१) अथैते रसाः किमाश्रयाः इति निरूप्यन्ते। तत्र नायकनट- सामाजिकाश्रया2 इत्येके। अन्ये तु नटस्यानुकरणमात्रपरतया न भावकत्वम् भावकत्वे वा सामाजिकान्तर्गतत्वमिति नायकसा- माजिकाश्रयत्वं मन्यन्ते। न च सामाजिकेष्वेव भावकरसिकादि- पदप्रयोगात् तन्मात्नाश्रयत्वमाशङ्कनीयम्। अनुभवविरोधात्। नायकस्य रसानाश्रयत्वे विगतरसभावनतया कुतो रसाविष्कार :? सामाजिकानां निरवलम्बनो रसः कथं प्रवर्तते। न च माल- त्यादेरेवालम्बनत्वम् अनौचित्यात्। अत् केचित् समाधानमाहुः मालत्यादिशब्दा योषिन्मात्नोद्बोधकाः । रावणादिशब्दाः शत्रु- मात्रस्येति। तेन सामान्येन स्मृत्यारूढो योषिदादिः सामाजिका- नामालम्बनत्वं भजते। न च विशेषाप्रतिपत्तिदोषः । दृष्टो देवदत्तः 1 MD1 TR एकविषयत्वेन. 2 MD1 नटसमाजकाश्रया.

• R.Su. II. p. 173-174; ND. III. p. 158-162; PR. IV. p. 205-206.

१०२ रुद्रभट्टविरचिता

कीदृग्वर्ण इति न ज्ञायते इति स्मरणदर्शनात्। न चैवं करुणादे- र्दुःखात्मकतया तत्प्रधानानां प्रबन्धानामनुपादेयत्वम्, सर्वस्यापि रसस्य सामाजिकेष्वानन्दरूपतया पर्यवसनात्; मूर्च्छोद्वेगादे- रनुपपत्तिः तस्योपक्रमगोचरत्वात् । अन्ये त्वन्यथा समाधानमाहुः। वासनारूपेण सामाजिकानां चेतसि रसः प्रवर्तते। तेनालम्बना- दयनपेक्षा2। यथा-प्रसिद्धालम्बन एव रसः स्वान्यसंबन्धितया अनिर्विकल्पत्वेन गृह्यते। अनुमितो वा भावनया साक्षात् क्रियते। तेन न अनौचित्यम्, स्थायित्वेनानवभासनात्1। अताटस्थ्यम् अन्यदीयत्वेनानाकलनात्। करुणामयानामप्युपादेयत्वम् सामा- जिकानां रसस्य सुखदुःखात्मकतया तदुभयलक्षणत्वेनोपपद्यते। अत एव तदुभयजनकत्वम्। एवंविधस्याप्युपादेयत्वमन्वयव्यतिरे- कगम्यत्वमिति रसाः नायकाश्रिता एव। सामाजिकैर्नटचेष्टया काव्यश्रवणेन च साक्षाद् भाव्यन्ते, समनुभाव्यमानास्तं तमनुभवं जनयन्ति। परगतरससम्यग्भावनयान्वयव्यतिरेकाभ्यां निरतिश- यानन्दजनकत्वमिति तत्र प्रवृत्तिरंपि घटत इति सर्व रमणीय- मिति ॥

।। इति रसकलिका समाप्ता ॥।

1 MD1 TR पर्यवसान्. 2 My आलम्बनाद्यपेक्षा. 3 MD1 TR निर्विकल्पेन. 4 My अनवभासात.

TRANSLATION

The ancient schools of alamkāra śāstra recognize the following nine sentiments (rasa-s): the erotic (śrngāra), the comic (hāsya), the pathethic (karuna), the infuriating (raudra), the heroic (vīra), the horrifying (bhayanaka), the odious (bibhatsa), the marvellous (adbhuta) and the sentiment of quietude (śānta). But some do not recognize quietude (sānta) as a separate sentiment since there is no emotional excite- ment in it. Affection (preman) too is not regarded as a sentiment apart from those enumerated above. Sentiment (rasa) may be defined thus :- Sentiment (rasa) is that (final impression of a work of art) which arises when a (certain) permanent state (sthāyibhāva) produces a delightful sensation under the influence of the determinants (vibhāva), the consequents (anubhāva), the involuntary (sāttvikabhāva) and transient factors (vyabhicaribhava). This we shall explain subsequently: The order of sequence of discussion (of the topic) of sentiment (rasa) is as follows: (a) The locus of the sentiments (rasa-s), (b) the factors which help them, (c) the emotional conditions (precedent to the emergence of rasa-s), (d) the sequence of these emotions, (e) the fusion of sentiment and (f) the order of sequence of their emergence.

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(a) The locus of a sentiment (rasa) may be twofold, the hero and the heroine.

Now the hero: Noble birth (mahākulīnatā), magnanimity (audārya), good fortune (mahābhāgya), gratitude (krtajñatā), youthfulness (yauvana), shrewd- ness (vidagdhatva), zeal (utsāha), fortitude (dhairya), sense of honour (tejasvitā), competence (dakșatā), and righteousness (dharmikatva) are the distinct qualities of the hero. Noble birth (mahākulīnatā) is being born in a noble family. Thus: In this pure race was born a surpassingly pure monarch by name Dilipa, just as (the pure) moon (arose) from (the pure) milky ocean. 1

Generosity (audārya) is the quality of sacrificing even that which one cannot afford to give up. Thus: Karna gave away his own skin, Sibi his own flesh, Jīmūtavāhana, his life and Dadhīci (his back) bone. What is there, which the truly great will not sacrifice (to those who ask for it)? 2

Good fortune (mahābhāgya) is overlordship of the whole universe, Thus: sa velāvapravalayām etc. He governed the earth as if it were just a single city, having the shores of the seas themselves for its moat, and owning no other lordship. Gratitude (krtajñatā) is remembering (i.e. cherish- ing in one's memory) the help rendered by others. Thus:

TRANSLATION 105

Though he had rendered Kiskindha totally free of enemies, still (Sri) Rāmacandra felt too embarrass- ed to look at the face of Sugrīva. 3

Youthfulness (yauvana) (of a man) is the middle age (between childhood and old age). Thus: Vigorously young, with arms long as the yoke of a cart, with broad shoulders, with a chest broad as a doorway, with well rounded neck, Raghu surpassed his own father. Even so he appeared as profoundly humble and subdued before his father. 4

Shrewdness (Vidagdhatva) consists in overcoming even the strong and brave through skill. Thus: Rāvana deceived those brave scions of the house of Raghu (Rāma and Laksmaņa), with the aid of a Rākșasa disguised as a deer and carried off Sītā, in spite of momentary obstruction by the king of birds (Jațāyus). 5 Enthusiasm (utsaha) consists in cheerful and resolute maintenance of self-confidence and honour even amid distress (or danger). Thus:

A person struck down unconscious in battle struggles manfully to rise again; unmindful of bodily wounds and injuries caused by the piercing armour of the enemy, he challenging his enemy again on regaining consciousness. Thus he himself is the banner of triumph on the battle field. 6

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Fortitude (dhairya) is unwavering persistence in one's resolution in the face of a multitude of obstacles. Thus:

The vulgar, frightened by the thought of obstacles, dare not even attempt anything. A middle group of people make an attempt but give it up in the face of obstacles. But the noble-spirited are never disturbed even when obstacles arise again and again. 7

Sense of honour (tejasvita) is repelling insults and the like, even at the cost of their lives. Thus:

Tell us, what happens to these pumpkin fruits? Men of self-respect will not live if insulted by an insolent pointing of the finger. 8

Competence (dakșatā) consists in the ability to execute difficult tasks quickly. Thus:

Just as a young elephant in a mountain (plays) with its trunk, young (Rma) placed his tender hand on that (bow); then it was bent and broken, making the bowstring roar. This bow seeming as if made of thou- sands of bright thunder-bolts, (this bow) which was responsible for the destruction of three pura-s, (this bow) which was made strong by the prowess of the gods, now was placed before Rāma. 9

Righteousness (dhārmikatva) is single-mindedness in Dharma. Thus:

He who speaks not ill of others' faults, who gazes not at the face of a stranger-woman and who is self-

TRANSLATION 107

disabled in the matter of taking away another's wealth, is most honoured in this universe. 10

The hero is again of four kinds: brave and exalted (dhīrodātta), brave and sportive (dhīralalita), brave and haughty (dhiroddhata) and brave and calm (dhīrasānta). The brave and exalted (dhīrodātta) one is pos- sessed of compassion, poise, modesty and is not boastful. eg. Rāma.

Compassion (krpävatva) is not tolerating the suffer- ings of others. Thus: Rāma was unperturbed when Tātakā appeared before him like a portent; when ordered (by Viśvämitra) to kill her, he paused for a moment, moved by sheer compassion as Tāțakā was a woman. 11

Poise (gāmbhīrya) is maintaining a calm temper even in the face of provocation (or excitement). Thus:

I did not find any change in him (i.e. in Rāma's serene countenance) either when he was invited for his coronation or when he was asked to leave (Ayodhyā) for the forest. 12

Modesty (vinitatva) is the quality of speaking with respect before persons of worth. Thus: Before you, whose venerable feet are worshipped by the Brahmavadins, who is a repository of knowledge, penance and austerity, and who is foremost among

108 RASAKALIKĀ OF RUDRABHAȚȚA

sages, I have, by destiny, not behaved with due modesty; pray, forgive me; I offer my salutations to you. 13

Not boasting (avikatthana) is the avoidance of selfpraise. The illustration given above applies here also.

Brave and sportive (dhiralalita) is being free from worries, indulgent to his wives and gentle. Thus:

The enemies of the kingdom have been suppressed, the entire burden of administration has been vested in a competent (worth) minister-the subjects have been tended by vigilant protection and freed from all distress; 4. and there are the daughter of Pradyota, the spring season and yourself. Freely let Cupid enjoy nominal satisfaction. I would rather think, this big festival is mine own. 14

Brave and haughty (dhiroddhata) is (a person) full of arrogance and conceit, unsteady, irritable and boastful.

Darpa is intoxication (mada); cala is unsteadiness (asthirah); canda is wrath (krodha,) vikatthana is boastfulness (ātmaślāghah) or bragging; and these qualities are found in people of brave and haughty (dhīroďdhata) type like Paraśurāma, Rāvaņa and others. Thus:

(To me) Rävana, the Lord of Lankā, to whom the lifting of the mountain seat of Rudra, the cutting off his own heads like felling trees in a forest, the imprison- ing of Indra and the seizure of the Puşpaka vimāna were

TRANSLATION 109

mere sports and whose own indomitable hands were his ministers, what glory could there be for me in bend- ing or breaking a moth-eaten bow? 15

Brave and calm (dhīraśānta) is calm, modest and brave such as brahmans, business-men and others like Madhava in Malatīmādhava. These heroes are common to all sentiments.

The hero of the erotic type (śrńgāranāyaka) is graceful, passionately sensitive to fine arts, charming and steady in love. 'Graceful (type of hero) (vilāsavān) is one who has the special characteristic of graceful movements of the eyes and of brows and the limbs at the time of communion with one's beloved. Thus:

Another gallant, with his handsome face obliquely turned round, picked and set in its place a garland that had slipped off his shoulder and was clinging to his gem-set armlet. 16 Passionately sensitive to the fine arts (type of hero) (kalāvān) and the charming one (saubhāgyavān) are (explained with the illustration). Thus: This embodiment (or treasure-house) of learning, though a mere child is coming here from his house, with a face like the full autumnal moon. The city at the place where he is within the range of vision, looks as if decked with blooming blue lotuses at the windows, because of the side-glance of women tremulous with emotion. 17

110 RASAKALIKĀ OF RUDRABHAȚȚA

Steadfastness (sthirarāgitva) is thus illustrated.

I know the power of penance; also that the maiden is under the protection of another. And yet, I am not able to release this heart from her (or yet, my heart does not disengage from thought of her). 18

Heroes may again be classified into four types. They are in due order faithful (anukūla), clever (dakșiņa) deceitful (satha) and shameless (dhrsta).

A faithful hero (anukūla )is one who loves only one woman. Thus:

Even the renunciation of Sita was noble, since in a golden form, she was the consort of her husband while living in prāgvamsa-her husband who took no second wife to himself. 19 . A clever hero (daksina) is one whose attention is devoted equally among many women and even though it is hard to have equal love towards all, he deports himself so cleverly as to seem equally devoted to all of them. Thus:

Kuntaleśvara's daughter has had her bath; it is now the turn of the sister of Angarāja; Kamalā has won the (right of the) (night) in the game of dice; and the queen has to be appeased. Considering the re- lative claims of the women in the harem, the king stood indecisively two or three hours. 20

A deceitful hero (śatha is one who conceals his unfaithfulness from all except the nāyikā. Thus:

TRANSLATION 111 Oh! false one! Even while you hold me in your arms, (you) suddenly lose your embrace, hearing the sound of the tinkling bells of another's girdle; to whom shall I complain of this, when my companion, drunk with the poison of your nectar-like honey-sweet talk, listens not at all. 21 Shameless hero (dhrsta) is one who unabashedly does wrong. Thus: The lac-dye mark on both sides of the forehead, the impress of the arm-band on the neck, spots of dark collyrium on the mouth, the eyes smeared with the betal juice-after the gazelle-eyed one had gazed at these (provocative) marks on the lover's face for long in the morning, her sighs got smothered in the lotus which she gaily sported in her hand. 22 The deceitful (satha) and the shameless heroes (dhrsta) have love towards their own beloved (i.e.) (nāyikā-s); otherwise there is the likelihood of mere semblance of rasa (rasābhāsa) (i.e., when love is not mutual).

The associates (sakhäyah) of the hero are the com- panion (pithamarda), the parasite (vita), the attendant (ceta) and the jester (vidūsaka). The companion (pithamarda) is one who is subor- dinate to the hero, the parasite (vita) is one who has but a single accomplishment, the attendent (ceta) is one who is adept in bringing the lovers together and the

112 RASAKALIKĀ OF RUDRABHAȚȚA

jester (vidūșaka) is one who enlivens the hero with his witty remarks.

Now the heroines (nāyika-s) are described: In the same way the heroine may be classified into three types (in their relation to the hero). They are the (hero's) own wife (sva), (a woman who is) another's . (anyā), common woman (sādhāraņastrī) in accordance with her character (qualities). The (hero's) own wife (svā) is one who is possessed of special qualities.

The (hero's) own wife (svīyā) is one who does not abandon her beloved (husband) in time of weal or of woe, and who is endowed with good character, open- hearted and frank, so say the learned. Thus:

How can one get a beautiful cultured and loving wife of sweet words, of good family and agreeably con- genial. 23

Another's wife (parakīyā) is of two types, namely, maiden (kanya), and one married to another (parodhā). A maiden (kanyā) is one who is interested in play- ing with her friends, bashful and living in her father's house. Thus: "jāne tapaso vīryam " etc.

The (hero's) own wife (svīya) herself becomes another's woman (parakīyā) when she seeks (improper) company during festivities. The person married to another (parodhā) is one who seeks union with others. The deceitful types of characters do not appear (as the principal characters) in the works of great authors.

-.

TRANSLATION 113

A common woman (sāmānyā) is one who is a courtesan girl (accessible to all), skilled in the fine arts (including love-making) and quite bold Thus:

The beauty of the heaven, ever since I saw her, has entered into my heart, a breach having been made there by the unfailing shaft of Cupid. 24

A lady of noble family (kulastrī) is not given to jealousy and the hero is not to have fearless love sports with the wife of another. Courtesans (veśyā-s) have both these qualities (jealousy and free love sports) and therefore they form the entire wealth of Cupid.

The common woman (sāmānyā) is always a bold type (pragalbha). The other two may be of three types, viz. inexperienced (mugdha), partly experienced (madhyā) and experienced (pragalbhā). Inexperienced (mugdha) is one whose passion is overpowered by bashfulness, and is adolescent, in- nocent and (jealous) whose anger will not produce any result.

Partly experienced (madhyā) is one whose youth- fulness is quite evident, whose passion and bashfulness are well balanced and who is capable of love sports to the extent of fainting.

Adolescence (alpayauvanatva) is illustrated thus: Her breasts have not received the full expansion (enlargement) due to them; so also the three lines 8

!

114 RASAKALIKĀ OF RUDRABHAȚȚA

(in her stomach) are noticeable as lines; but have not become regular folds with ups and downs; in the middle is seen the (vertical) line of hair semi-dark, straight and long; the body is beautiful combining youth and childhood. 25

Innocence (mūdhatva) is lack of discrimination. Thus:

"Oh you innocent child! Why do you think of passing all your time in simple faith? Be proud, take courage and give up your frank and open behaviour towards your lover". Thus admonished by her friend, her countenance betraying fear (in her heart), she replied, "speak softly, for, my beloved dwells in my heart and (perchance) he would hear you." 26

Love overpowered by bashfulness (lajjāvijita-man- mathatva) is illustrated.

When spoken to, she answered not; when held by her garment, she wanted to go away. She lay in the bed with face turned away; still she gave pleasure to Śiva. 27

Gentleness and futility of anger (mrdunisphala- mānitva) may be illustrated thus:

Hearing from her maids about the unfaithfulness of her lover, she was angry (with him); but when the lover embraced her fervently, she forgot her anger, being confused. 28

TRANSLATION 115

The youthfulness being quite evident (samlakşya- yauvanatva) in the case of a partly experienced girl (madhyā) may be illustrated thus: Her body in full youthful bloom, seemed charming in its perfect symmentry, like a painting emerging in stages under the brush (of a painter) or like a lotus blooming under the (warmth of the) rays of the sun. 29 Sheer bashfulnes and love on a par with each other (tulyalajjāsmaratva) may be illustrated thus: 'He is asleep (now), (you) go and sleep, friend!, so saying the maids left; thereupon being ardent and filled with love, I pressed my face against his face. When, however I noticed, from the bristling of the hair of the rogue, that he held his eyes closed in a deceitful manner, I was smitten with shame, which he swept away by indulging in acts appropriate to the occasion. 30 Love dalliance to extent of fainting (mohāntasura- takşamatva) may be illustrated thus: 'Her bosom was pressed low under the close embrace, and the skin bristled with happiness, the garment slipped off from her hips, as the ardour of love rose to a pitch of intensity and she whispered weakly; "Now, don't you, the destroyer of my pride, commit any excess, it is enough!" I was not sure if she was sleeping or was dead, or sank into my heart or simply melted away. 31

...-..- ....

116 RASAKALIKĀ OF RUDRABHAȚȚA

Experienced (pragalbha) is she who is blinded by youth, whose bashfulness has been overcome by passion, and is ecstatically excited during love play. Being blinded by youth (yauvanandhatva), may be illustrated thus:

Who will not stumble (as in a rugged place) in the case of the curvacious (uneven) body of a gazelle- eyed maiden, showing extremely buxom bosoms, a deep navel and high hips? 32

Bashfulness being overpowered by love (smarā- krāntalajjātva) and excitement and the tumult of joy during love play (ratāvānandāvilatva), are illustrated thus:

Here smeared with betal juice, there soiled by the stains of black-sandal paste, here covered with the camphor powder, there marked with imprints in lac- dye, with extensive wave-like crumplings and with scat- tered flowers, fallen from the curls, the bed clothes proclaim the enjoyment of the woman in various ways. 33 Partly experienced (madhya) and experienced (pragalbhā) heroines are again of three types according to (how they show) their anger (mana). They are (a) the self-controlled (dhirā), (b) partly self-controlled (adhīrā) and (c) one (lacking in self-control and) using harsh words (parusā). Anger (māna) arises from jealousy on the part of women when the lover is interested in another. The

TRANSLATION 117 self-controlled (dhīra) type of girl hides her (real) feelings and is outwardly respectful in offering herself to the embraces of her lover. Hiding the (real) feeling and showing outward respect, (ākāragopana and ādara) are illustrated thus: She avoided sitting together on the same seat, by rising to receive him when he was still far away; she prevented a passionate embrace, under the pretence that she would bring the tāmbūla; by engaging a number of servants, standing around, she prevented conversation; thus the clever one, under the guise of doing him hon- our, gave full vent to her anger against her lover, though politely. 34 Offering herself with indifference (udāsīnatayā svāngārpaņatva) is illustrated thus: Weary, she does not resist as formerly, the loose- ning of her garment, nor as before does she, when she is seized by the hair, break the arch of her brow and bite her lip severely; she willingly bends her limbs and does not repulse a violent embrace; oh! the fair one seems, now to have learnt quite a different mode of (showing) (her) anger. 35 The partly self-controlled (adhira) one is she who shows her anger with tears and oblique speech. Thus: 'Behold! What a misfortune has befallen that (former) love of ours; when the formation of the brow was anger, when silence was strife, when a mutal smile was reconciliation and a glance a favour. Today, on

118 RASAKALIKĀ OF RUDRABHATȚA

the other hand, you hover around my feet and yet my wicked self cannot get rid of anger.' 36

The one lacking in self-control (parusa) is she who threatens (her lover) with beatings. Thus:

Embracing him closely, in her anger, with the bonds of her lissom creeper-like arms, she leads her lover in the presence of her friend into the pleasure-house at the hour of evening; then stammering forth, 'ah! again he acted thus' thus hinting at his misdemeanour, she slaps him crying, while, he, the blessed one, laughs bent on denying everything. 37

Facile (sugama) and troublesome (durgama) ways of the above (means of appeasing) can be illustrated thus:

They (the heroines) are of eight types in accordance with their behaviour in love (śrngāra). They are (a) one who has her husband under her sway (svādhīnapatikā (b) one who is well dressed up to receive her lover (vāsakasajjikā); (c) one who is distressed at (her lover's) absence (virahotkanthitā); (d) one who is deceived (vipralabdhā); (e) one who is enraged (at the infidelity of the lover) (khanditā); (1) one who is separated (from her lover) by a quarrel (kalahāntaritā) (g) one whose beloved is away (prositabhartrkā), and (h) the one who goes after (her lover) (abhisarīkā). All these types are explained in due order.

TRANSLATION 119 The one who has her husband under her sway (svādhīnapatikā) is she whom her lover never leaves. Thus: Caressing the tips of her curls and decorating her (cheeks) with streaks of fragrant substances, thus fondling her, the lover follows her like a shadow. 38 One who is well dressed up to receive her lover (vāsakasajjikā) is she who decorates her pleasure house and herself, when her lover is about to come. Thus: With her beauty enhanced through decoration, with the pleasure-house made attractive with the canopy of incense, with the long, dark-eyes, the girl, anxiously resting her glance on the door-step, is eagerly expecting you (the beloved). 39 This (types of heroine) is anxious and is in haste (cintātvarāvatī). One who is distressed at her lover's absence (vira- hotkhanthita) is she who is disturbed (even) when her lover (delays his arrival) through no fault of his. Thus: Friend! Certainly he (the lover) has been won by some other woman in the lute-playing competition, for which the stake probably was his staying with her that night. Otherwise, how can the lover delay? It is late in the night: even the śephālikā flowers have dropped down and the moon has moved to the middle of the sky. 40 This (type of heroine) is affected by melancholy (cintākhedavatī).

120 RASAKALIKĀ OF RUDRABHAȚȚA

One who is deceived (vipralabdhā) (is a person who) frequently sends her maid (to her lover) and fixes some rendezuous and suffers disappointment because of her lover's absence at the rendezuous. Thus:

'Get up! Maid! Let us go: The hour (yāma) is gone. The lover has not yet come. How can we have confidence in that deceiver who utters false excuses!' 41

She is afflicted by anxiety, bashfulness and grief, (cintālajjākhedavatī). One who is enraged (at the infidelity of the lover) (khanditā) (is she who) is filled with jealousy on per- ceiving marks on her lover's person arising out of his relations with another (woman). Thus: What you said, is true; 'You are my beloved'. Now you have come to my house wearing the garments that were worn by the woman dear to you. A lover's adornments become meaningful only when seen by the beloved. 42

This type (of heroine) is in grief and sheds tears (khedāśrusantāpavatī). One that is separated from her lover by a quarrel (kalahāntaritā) is described by the art-experts as one who suffers remorse after dismissing her lover away in anger. Thus: 'My face almost burns with the deep sighs, my heart is torn up right from the roots; sleep has deserted me; the face of the beloved one is not seen; night and

TRANSLATION 121 day I weep; and my limbs have grown thin. I scorned my lover with indifference when he fell at my feet. Friends! what merit of mine had you in mind, when you made me display anger towards my lover?' 43 This type (of heroine) is afflicted by grief, and sheds tears (khedāśrusantāpavatī). One whose beloved is away (proşitabhartrkā). She is distressed because her lover has gone to a far-off country. Thus: She scanned the path by which her lover was expected to come as far as her eyes could reach, but as the day declined and darkness crept apace, and traffic on the road ceased, her heart was filled with despair, and trembling, she took but a single step home- wards, and thinking 'He might have come at this moment' she swiftly turned round and looked back again. 44 This type (of heroine) is experiencing separation (virahānubhāvavatī). 'A person who goes after her lover' (abhisārikā). She is love sick and goes to her lover or makes him come to her. Thus: Upon your breasts, you have suspended a string of radiant pearls; around your heavy hips you have clapped radiant pearls; around your heavy hips you have clapped a noisy girdle; your feet carry jingling anklets studded with precious stones; when you, oh simple one! go to your lover with such beating of drum, why do you

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tremble with violent fear and cast anxious glances on all sides ? 45

Or thus:

A girl instructed her female messenger (dūti) thus: 'Having understood his (the lover's) feelings thoroughly, you speak to him cleverly in such a way that he may not discern my levity and he may act tenderly towards me.' 46

This type (of heroine) is agitated (bhītisambhramā- diyuktā). The helpmates of these heroines, in carrying out their (heroines) plans (towards the lovers) are: The messenger (dūfī), maid servant (dāsī), a female friend, (sakhi), foster sister (dhatreyi), a neighbour (prātiveśinī), a female ascetic (linginī), a craftswoman --. (silpinī) and her own relative (sva), (all of these) being possessed of qualities (to match those) of the friends of the hero.

The helpmate's statement (is illustrated) thus: Oh! Mistress! Whom do you cherish so much in your heartfor a long time, that it makes you feel a thrill, repeatedly gasping, with the pupils in your eyes moving slowly, showing side glance, you appear as if asleep, or still like a painted picture; Oh absent-minded one! You are as thin as a line and you are an enemy to your own self. Why do you blush ? Tell me? Does not the god of love hurt you in the secret recesses of your heart? 47

TRANSLATION 123 Then the states (bhava) are explained. Here are the permanent states (sthāyibhāva-s). The permanent state (sthāyibhāva) is stated to be the one which is not overshadowed by other states whether of same types (sajātīya) or different types (vijātīya) and remains unchanged till the realization of the sentiment (rasa). The states of the same type (sajātīya) may be seeing some girl other than the heroine etc. and states of different types (vijātīya) like anger (krodha) etc. The permanent states (sthāyibhāva-s): Love (rati), mirth (hāsa), sorrow (śoka), anger (krodha) energy (utsāha), terror (bhaya), disgust jugupsā astonishment (vismaya) and quetism (śama) are the well known permanent states (sthāyibhāva-s). Love (rati) etc. are respectively the permanent states of the sentiment like erotic (śrngāra) etc. Love (rati) is the permanent state (sthāyibhāva) of the erotic sentiment (śrngāra rasa). It is a kind of desire. For instance, 'I should like to have it, a kind of desire (iccha). Associated with that (desire) is the emotional state (bhāva). It is of two kinds (a) in respect of union (of the sex) (sam- bhogavisayah) (b) in respect of any other object (taditara- visayah). The latter is called (affection) or friendship (prītih); that which is associated with union (of the sex) is called love (rati). Some people have stated that love

124 RASAKALIKĀ OF RUDRABHAȚȚA

(rati) is of the nature of bliss (ananda); this is doubtful because there is no bliss in the case of love in a state of separation (viprayoga). This kind of love (rati) is thus illustrated :

In this world there are various things like the crescent-moon which are naturally sweet and others which excite the mind, but to me (the fact) that this girl who is like moonlight to my eyes, came within the range of my vision, is the only great festivity in (my) life. 48 Mirth (hasa) is the condition of the mind arising from (the sight of) abnormal (or incongruous) things. Thus: Lord Krsna played with the cows, So even today Goddess Lakşmī favours dull-witted people (as good as cows); how strongly attached she is towards her lord! 49 Sorrow (śoka) is considering another's misery as his own, so as to afford relief to him; or the extreme grief in one's own self by the separation of beloved persons. Thus: You have not left my heart, you are seen every- where Oh! Child Räma! The fact that you are gone, is inferred from the sorrow (in my heart). 50 Anger (krodha) is the display of strong feelings because of humiliation etc. by others (like enemies etc.) Thus: After breaking both the thighs of Duryodhana, to pieces with the furious strokes of his mace, flourished

TRANSLATION 125 round and round by his active arm, Bhima will tie up high your lock of hair. Oh Queen! With hands strain- ed red with the thick blood (of Duryodhana) streaming profusely and clinging fast to his hands. 51 Zeal (utsāha) is steady endeavour towards great work. Thus: Without conquering the earth surrounded by sea, without removing the agony of the world and without giving the (entire) wealth to the indigent, how do we (who are such famous ones) live (in this world) ? 52 Terror (bhaya) is the premonition of undesirable things on seeing something fierce-looking etc. Thus: Muttering mantra-s to save themselves from death, frequently, thinking of their favourite dieties, with dry throat, with agitated and unsteady steps, unable to talk and trembling all over, the travellers cross the small villages which are filled with smoke, dark like the bull of God Yama, where dogs are seen barking while eating the flesh of the elephants. 53 Disgust (jugupsā) is a censorious attitude of mind on finding the defects of objects. Thus: A smile is nothing but the unshapely sight of the bones (of the teeth), the shining pair of eyes are the dirty marrow of flesh, the massive breasts are the lump of flesh. Is she (the woman) not hell that is found in another place. 54

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Astonishment (vismaya) is a state of expansive- ness of the mind by the sight of strange objects (that have not been seen before). Thus:

The trumpet that introduces the life (of my brother) in his childhood is the twanging sound that comes from the broken pieces of Siva's bow, held in his arms, the sound which does not cease, even now, its reverberation having been increased by the echo through the openings of the pieces of the shell of the universe broken by the explosion. 55

Quietism (sama) is the absence of change in the mind because of the absence of worldly desires (vairāgya) etc. Thus:

We are eating alms, having the region of the sky as garment, sleeping on the floor of the earth; what can we do with kings? 56

Determinant State

The determinant state (vibhäva) is that which causes the development of the sentiment (rasa) by its being recognized. It is of two kinds, viz. fundamental determinant (ālambanavibhāva) and excitant deter- minant (uddipanavibhāva. That which is the object of the sentiment, is the fundamental determinant (ālambana- vibhava. In erotic sentiment (śrngāra-rasa) the funda- mental determinants are the hero (nāyaka) and the heroine (nāyikā); in furious sentiment (raudra-rasa) the enemy, and so on.

TRANSLATION 127 In erotic sentiment (śrngāra-rasa) the fundamentaį determinant (ālambanavibhāva) may be illustrated thus: In the matter of her creation, was the moon, the bestower of loveliness, her progenitor? Or was it cupid himself, who is exclusively of the erotic sentiment ? Or was it the spring season that abounds in new-blown flowers? How could the old ascetic, who has been dulled by the study of the Veda-s and who has no desire for sensual objects, have produced so lovely a form? 57 Knowledge about the fundamental determinant ālambanavibhāva) (i.e. hero or heroine) is through direct perception, or in a dream, or in a picture or by hearing (descriptions); the other factor which stirs and sustains (the development) of the sentiment is called the excitant determinant (uddīpanavibhāva). It is of four kinds: The qualities of the fundamental determinant, (ālambanaguna), its activities (ceșțā); its decoration (alamkrti-s), and this in its environment (tatastha) fall into four groups of excitant determinants uddipanavi- bhāva). Of these the qualities of fundamental determinant (ālambanaguņa) are a good figure (rūpa), youth (yau- vana), beauty (lāvanya) etc. Of these a good figure (rūpa) and youth (yauvana) are thus illustrated: 'The breasts are very lofty' etc. Beauty (lāvanya) is described thus:

--

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Whether she is a beautiful woman or not, how could the discrimination be made? For, only a streak of splendour is seen and not its substratum. 58

Activity (cesta) is of two kinds: That which arises from youthfulness, is feeling (bhava), emotion (bhāya) etc. The other (type) is its experience (anubhāva). Of these the second (type) is illustrated thus:

Meanwhile, there appeared in that girl with large eyes a certain excessive emotional manifestation, whose variety and richness were inexpressible in terms of words, which was clearly indicative of her agitation; and which upset her fortitude; this was the victorious touch of love! 59

The first (type) is described mainly in woman. They are feeling (bhava), emotion (hāva), passion (helā), swcetness (mādhurya), self-control (dhairya); then sportiveness (līlā), delight (vilāsa), tastefulness(vicchitti), confusion (vibhrama), amorous agitation (kilikiñcita), manifestation of affection (mottāyita), pretended anger (kuttamita), affected indifference (bibboka), lolling (lalita), impetuosity (kutūhala), excitement, (cakita) bashfulness (vihrta) and humour (hāsa). Of these, feeling (bhäva) is the knowledge of senti- ment. The same, when the reaction is slightly mani- fested is the state of emotion (hava). The same which is clearly manifested is known as passion (Belā). Of these, the state of feeling (bhava) and emotion (hāva) may be illustrated as follows:

TRANSLATION 129 Her eyes are languid, she is not interested in the childhood sports, she listens when the friends are talking of sensual topics, now she does not get on the laps of men freely (as before); certainly this girl is gradually being seized by the coming youthfulness. 60 Passion (hela) may be illustrated thus: 'Oh charming girl! tell me who is the lucky one whom you are gazing at today, with eyes that turn languidly, overflowing with love, eyes that often turn for a moment towards him directly, then flicker to and fro bashfully, then move away for a moment and betray involuntarily the feeling of love centred in your heart.' 61 Sweetness (madhurya) is beauty even without ornaments. Thus: The lotus is beautiful, though mixed up with moss (saivala); the spot on the moon, though dark, enhances the beauty (of the moon); this slim girl is more attractive even with a bark garment. What indeed is not a decora- tion for a figure which is charming (by nature)? 62 Self-control (dhairya) is preserving one's virtue undamaged. Thus: Let the moon with (his) digits unimpaired blaze in the sky, night after night; let Cupid burn. What else more than death would he bring about? But to me (are) dear, (my) esteemed father and mother of unblemished parentage, (and) untarnished purity of 9

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ancestry, but not certainly this person (myself) or (my) life. 63

Sportivness (lila) consists in imitating the lover in action, speech or movements. Thus:

She follows (her) beloved by imitating him in (his) action in such a way that even her co-wife, giving up jealousy, gazes at her with interest. 64

Tastefulness (vicchitti) consists in extreme beauty even with a few ornaments. According to some, it can be even indifference towards ornaments. Thus:

The body smeared with sandal paste, the sprout-like lips beautiful with the juice of the betel leaves, the eyes having the application of collyrium, and very fine clothes-these are the decoration for a girl, the rest is luxury. 65

Delight (vilāsa) consists in an immediate emotional change at the sight of the beloved. Thus: /59 ' Meanwhile-' (verse 60) Confusion (vibhrama) consists in misplacing the ornaments in haste on some occasion. Thus: When the moon rose the beautiful girls with their eyes and mind absorbed in the conversation with the female messengers (from their lovers) put on their decoration in such a way that the friends laughed at them for wearing their ornaments at wrong places. 66 Amorous agitation (kilikiñcita) consists in a com- bination of anger, weeping, joy, fear and the like. Thus:

TRANSLATION 131

The shaking of the tender hands, the sītkāra sound inside (showing the thrill of pleasure), and the half opened eyes of the girls in privacy, with choked voice- these served as weapons of Cupid. 67 Manifestation of affection (mottāyita) is being absorbed in thoughts for the lover, at the mention of him. Thus:

With her mind set on the king, though in the picture, she cast down her moon-like face because of bashfulness, unable to control herself. 68 Or thus:

When, in order to bring out the hidden cause for her love fever, her friends started narrating your adventures, Oh handsome one, she made it clear by the stretching of her limbs in such a way that the body was bent backwards and the tips of her breasts thrust forward, and her arms were full of bristling (with excitement). 69 Pretended anger (kuttamita) is uncontrolled feeling of happiness even at the hard pressure of the lover in sexual dalliance; or the beloved pretending to be un- happy, even though really happy during sexual dallian- ace. Thus: With her lips bitten and released (by Siva) while kissing, Goddess (Parvati) shook her tender hands because of pain; soon with the cool ray of Siva's cres- cent moon, she had her pain appeased. 70

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This is an example of the first type; the second type is quite explicit.

Affected indifference (bibboka) is a (carefully) indifferent behaviour towards one that is loved, be- cause of heightened pride. Thus:

Those who, while they act in a virutous way, while they do find good qualities (pretended to) indulge in vices, who would rather yield their lives than look at their lover full in the face, whose very affirmation even in regard to what they exceedingly desire is set forth in a negative form, may those women, of a nature strangely different from that of the three worlds, be auspicious unto you. 71

Lolling (lalita) is the graceful movements of the delicate limbs. Thus: Knitting the eye-brows, she speaks making gestures with her tender hands; she sees by her side-glance gracefully; walks gently pacing with her lotus-like feet freely! Thus was she made to dance, though without the accompaniment of music, by her blossoming (first) youth. 72 Impetuosity (kutūhala) is the excitement on seeing something beautiful. Thus: A cetain girl pulled off her foot which was being held by the decorating maid and still wet with paint, and having given up her (usual) playful steps, made the way upto the window, marked by her footprints (with the lac-dye). 73

TRANSLATION 133

Excitement (cakita) is the confusion due to fear. Thus:

A beautiful girl got frightened when her thighs were struck by a moving fish and she reached the height of excitement in confusion. Young girls are always highly excited even without apparent reason; what need be said when there is a real cause! 74

Bashfulness (vihrta) is speaking or doing what is proper to the occasion. Thus:

After painting her feet red, the maid blessed her saying laughingly, 'Touch the crescent moon on your husband's head with this (foot)'. At this Pārvatī gave her a blow with her garland without (speaking) a word. 75

Humour (hasita) is laughing suddenly, not pro- duced by any feeling. Thus:

Since the slender-limbed girl laughed suddenly (without a reason), certainly she lives in the heaven of Manmatha (Cupid), the god of love, whose arrows are flowers. 76

Decoration (alamkrti-s) may be as set out below: Garlands, attire, ornaments, intoxicating drinks sandal paste, the incense, the bath, the marks of sexual .. . .. --. - -

dalliance, the streaks drawn (on the cheeks) etc. These are not elaborated here as they are quite well-known to poets. The environment (tatastha) is explained.

134 RASAKALIKĀ OF RUDRABHAȚȚA

The rising moon, the thunder, the notes of the cuckoo, honey, forest, tanks, camphor, song, the hum- ming of bees etc., the pleasure house, the seasons, the garland, the sandal paste, the music, the cool water, the betel leaves, chatting with maids and so on.

These are also not elaborated as they are quite well-known to poets.

ANUBHĀVA The consequent state (anubhava) is explained thus:

The effect which is manifested when the permanent state (sthāyibhāva) becomes the sentiment (and which is) indicative of states (bhava) is to be known as consequent states (anubhāva).

The following is the method accepted by the experts on dancing: When the permanent state (sthāyibhāva) like love (rati) is developed (into rasa), the transient states like despair (nirveda) are produced like the waves in the ocean of basic mental state. They are called transient states (vyabhicāribhāva). Since as mental feel- ings, they are difficult to be communicated directly, they are indicated through speech, movements of the eyes etc .; thus being the indicators of nirveda etc., which are made known, these (glances etc.) are also called anubhäva. This is also proper since they are important in Dance. Those ordinary people who are bent only on recognizing the rasa experience the permanent state (sthāyin). Nirveda etc. are inferred through (the sight), the movements of the eyes etc. and experienced;

TRANSLATION 135

hence they (nirveda etc.) are also called anubhāva. The distinction is only in name; they are indeed transient states not differing much from one another.

Of these the consequent state (anubhāva) are ex- plained:

The movement of the eyebrows, pupil (of the eyes) and the eye, the change of colour in the face, the tremb- ling of the lips, the change of the movement of the feet and hands and speech constitute the movements of limbs (angavikriyā).

When defining despair (nirveda) etc., these anu- bhäva-s will be enumerated (and explained as the sugges- tive elements). Horripilation (romāñca) etc. though anubhāva-s, since they are indicators, are distinctly known as involuntary states (sāttvikabhāva) because of their arising from the inner nature (sattva). SĀTTVIKABHĀVA Involuntary states (sāttvikabhāva). The eight involuntary states (sāttvikabhāva) known are-stupefaction (stambha), fainting (pralaya), horri- pilation (romañca), sweating (sveda), loss of colour, (vaivarnya), trembling (vepathu), weeping (aśru) and change of voice (vaisvarya). Stupefaction (stambha) (is) the loss of sensibility of (all) the limbs due to fear, ecstatic joy etc. Thus:

136 RASAKALIKĀ OF RUDRABHAȚȚA

Let the victorious glances of the timid-eyed girl increase your prosperity, the glances at the fall of which, young men become stupefied wherever they are as if nailed down. 77

Fainting (pralaya) is the loss of the sense on account of passion, grief etc. Thus:

'Would the various naturally agreeable actions of the lovely-eyed one concern me, (actions) filled with love, with growing affection, showing intense passion produced through familiarity in which there is the direct intense absorption of the mind (the function- ing of the external senses), even though they are created by (mere) fancy.' 78

Horripilation (romañca) is the state in which the hair stand on end on account of fear, passion etc. Thus:

Oh beautiful girl! Why is it that your body has become like the kadamba blossoms, on account of the intense and frequent horripilation. 79

Sweating (sveda) is the oozing of fluid from the body due to passion, heat, exhaustion etc. Thus:

The drops of perspiration due to fatigue became an ornament to the beautiful girls, on producing horripila- tion on the bosoms smeared with fragrants, and shining like pearls on the face from which the tilaka mark has disappeared. To those who are beautiful even the dis- tortions enhance the beauty. 80

TRANSLATION 137

Loss of colour (vivarnata) is the pallor (i.e. change of colour of the body) on account of despondency, intoxication, anger etc. Thus:

Her body (is) languid like a crushed lotus-creeper; (she) acts with great difficulty (only) under the importu- nities of (her) retinue; and (her) cheeks, pale like a newly cut piece of the tusk of an elephant, match the beauty of the moon free from the stain. 81

Trembling (vepathu) is the tremor of the body due to passion, anger, fear etc. Thus:

Don't you be proud that on your cheek there shines, drawn by the lover's hand, a flower-bud (designed as an ornament). Is there no one else, you think, who is the recipient of such decoration, now, but for the trembling (of the lover's hand) acting as an unfriendly obstacle? (while your lover was so cool and collected that his hand never trembles even when sketching a flower-bud on thy cheek ?) 82 Weeping (asru) consists in tears flowing from the eyes because of grief, dejection, excessive joy etc. Thus: On this lake, in the intervals between the falling and rising of tears, I beheld the regions full of lotuses, the lotuses which trembled with their big stalks being shaken by the wings of the Mallikāksa geese which cackled indistinctly through joy. 83 Change of voice (vaisvarya) is the faltering and choking in voice on account of intoxication etc. Thus:

138 RASAKALIKĀ OF RUDRABHAȚȚA

The words of the lotus-eyed girl sweep away the mind-the words, resplendent like the indistinct and sweet cooing of the intoxicated cuckoos, and similar to the voice of the flight of ospreys, and with soft voice broken and choking because of excitement. 84

These are the internal feelings (sāttvika) because of their arising from the inner nature (sattva). For example there are three types of transformations of the mind. They are the good (sāttvikī), passion etc. (rajasi) and the dark (tāmasī).

Their definitions are as follows:

Goodness (sattva) is considered to be buoyant and bright, passion (rajas) to be stimulating and mobile, and darkness (tamas) alone is heavy and enveloping. The (sättvikaguna-s) are born of inner nature and favourable position (anukūlāvasthā) by their being bright (prakāśa) and buoyant (laghu). But, how can they be explained with reference to their manifestation in the (worldly) objects? (It is explained) that the world of which all things are manifestations in the composite of three guna-s called sattva, rajas and tamas of which the characteristics are happiness (sukha), misery (duhkha), and stupor (moha).

VYABHICĀRIBHĀVA

The transient states (vyabhicāribhāva): The transient states (vyabhicāribhāva-s) are: despair (nirveda), weakness (glāni), apprehension (śankā), fatigue

TRANSLATION 139

(śrama), stupefaction ( jadatā), depression (dainya), contentment (dhrti), joy (harsa), acrimony (ugratā), anxiety (cintā), fright (trāsa), envy (īrsyā), indignation (amarșa), arrogance (garva), recollection (smrti), death (marana), intoxication (mada), dreaming (svapna), drowsiness (tandrit), awakening (avabodha), bashful- ness (vrīdā), stupor (moha), epilepsy (apasmāra), assurance (mati), indolence (alasatā), agitation (āvega), deliberation (tarka), dissimulation (avahitthā), sickness (vyādhi), insanity (unmāda), despondency (vișāda), impa- tience (autsuk ya) and fickleness (cāpala). Despair (nirveda) is the frustration due to the knowledge of ultimate Reality (tattvajñāna), misfortune (āpad), jealousy (īrşyā) and the like; in this state (there occur) anxiety, tears, heaving a sigh and depression. That due to the knowledge of ultimate Reality (tattvajñāna) is illustrated thus: What if you have obtained wealth which can (like the divine wish-fulfilling cow) bestow all your desires ? What if you have placed your feet triumphantly on the heads of your enemies? What if you have honoured your friends by (giving them) wealth? What if men continue to live till the end of world? 85

(That due to) misfortune (apad) is thus illustrated: Remove the camphor; keep the string of pearls at a distance; what is the use of the lotus? Oh! friend! enough of the (cool) stems of the lotuses-The girl is moaning thus day and night. 86

140 RASAKALIKĀ OF RUDRABHAȚȚA

(That which is) the outcome of jealousy (īrsyā) is thus explained:

'That my enemies exist is painful enough to me, but more so that he is an anchorite. He besides kills the race of demons even in my own place, and for- sooth Ravana is still alive. Fie! fie upon Indrajit! What use is there in waking up Kumbhakarna cither? What avail are these arms of mine so uselessly fat by pillaging the hamlet of heaven?' 87

Though the third type is common to all sentiments, it has an importance in the sentiment of fury (raudra- rasa) and heroic sentiment (vīra-rasa).

Weakness (gläni) is the decreasing of strength due to great anxiety and illness, causing change of colour, trembling, lack of energy, feebleness of body and bending down of the body. Thus:

Just as the heat developed in autumn does with respect to the inner petal of the ketaki flower, so the terrible and lasting grief that has emaciated her flower-like heart, is drying up her extremely pale and lean body which resembles a beautiful new leaf picked from its stalk. 88

Apprehension (sankā) is defined by the wise as the expectation of the approach of something undesirable: in this, there will be trembling, emaciation, anxious looks and the like, as well as change of colour and voice. Thus:

TRANSLATION 141

She turns away her face in bashfulness before everyone, thinking that she has been recognized (by them). On seeing two persons talking together, she fancies the talk to be concerned with herself. When her women friends smile, she betrays unparalleled embar- rassment. My beloved generally remains oppressed by the agony deeply seated in the recesses of her heart. 89 Fatigue (srama) is the feeling of tiredness arising from love sports or from travel and the like; in this state there may occur perspiration and so on. Thus: Having reached the culmination of sexual dalliance out of love-intoxication, the long-haired girls with their unbearably ample breasts lay down to rest in such a way that the hair clung to their forehead wet with perspira- tion. 90 Stupefaction (jadat) is to be (understood as) incapacity for action caused by seeing or touching something agrecable or disagreeable; in this (state) one gazes with unwinking eyes, remains silent and the like. Thus: His head dropping on the tip of the bow, tears pouring down (continuously) forming as it were another- bow-string; on hearing the sound of the thunder at intervals, he neither goes nor stands still, again brooding over something. 91 Contentment (dhrti) is absence of desire because of true knowledge or acquisition of desired objects. That due to knowledge of truth is illustrated thus:

142 RASAKALIKĀ OF RUDRABHAȚȚA

We are happy with the bark garments; you are happy with the silk garment; the (essential) satisfaction is the same. There is no difference at all. Poor indeed is he whose greed is great. If one feels content in his ---. heart, who is poor and who is wealthy? 92 --

That due to the acquisition of desired objects is illustrated thus:

The very same moon-beams now please my body, the same shafts of Cupid are now agreeable (to my mind). Oh fair lady! Whatever was cruel and provoked me, seems to be reconciled to me now on account of my union with you. 93

Joy (harsa) is pleasure caused by joyous occasions and the like, and is manifested in tears, perspiration and a choked voice. Thus:

Dear boy! How few indeed are the days that have passed since your dear father, the slayer of Indrajit, was born! His son also follows his heroic conduct. Fortunately, the race of Daśaratha has obtained stabi- lity (by worthy descendants). 94

Depression (dainya) is due to loss of strength; (it arises) out of poverty. Thus:

(Considering well about) us as rich in self- control, of your exalted family tradition, and of the flow of her affection towards you unprompted by relatives, this girl should be regarded by you, as one among your wives (with due respect). Further than

TRANSLATION 143

this will depend on fate. That indeed, may not be expressed by the bride's relatives. 95

Acrimony (ugrata) consists in violent anger, abu- siveness and might and when misconduct is found out. In that state, there occur perspiration, shaking of the head, reviling, beating and the like. Thus: Blinded with rage, I shall be the destroyer of each and everyone in the army of the Pandava-s who carries weapons and is greatly proud of his arms, everyone who belongs to the Pañcala family, whether it is a child or (a person) advanced in years, or lying in the (mother's) womb, everyone who watched that deed, and everyone who opposes me as I move on the battlefield, and even the destroyer of the world. 96 Anxiety (cinta) is brooding when the object intensely desired is not gained and produces feelings of despair, sighs and grief. Thus: Indifferent to worldly pleasures, her lotus-like eyes half-closed, sighing frequently, the girl broods over aimlessly as if intent on doing yogic meditation. 97 Fright (trāsa) is mental agitation due to sudden fear and the like. Thus: Confused and alarmed at the sight of the snake as a bracelet (on the hands of Siva) when he held her hand ....-... at the marriage ceremony Pārvati was about to say 'Salutation to Siva' but (stopped) half-way being bashful; may that countenance of Parvati bestow good fortune to you. 98

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Envy (irsya) is intolerance of another's prosperity arising from wickedness or from anger. Thus:

They are old men, their deeds are not to be ques- tioned! Let it be so. And they are great in this world with their glory undiminished even by the killing of (Tāțakā), the wife of Sunda. Those three fearless steps which were taken (in retreat) in the battle with Khara and Rama's skill in subduing the son of Indra-on these matters also this person is well-informed. 99 Indignation (amarsa) is concentrated anger towards those who have done grave offence and the like. Thus: Let the sons of (Dhrtarastra), after having struck. at our lives and our share of wealth, by setting fire to the house of lac, (by giving us) poisoned food and by (cunningly securing our) entrance into the gambling hall, by dragging the garment and the tresses of the hair of (Draupadi), the bride of the Pandava-s, enjoy peace of mind, while I am (still) alive! 100

Arrogance (garva) is contempt towards others due to the (consciousness of) one's own superiority, in strength, beauty, or wealth. The actions (resulting from it) are insulting behaviour, contempt towards others and scornful glances. Of these, that based on strength is thus illustrated: As long as I wield my weapon, what use is there of other weapons? Or who (with what) can accomplish that which has not been accomplished by my missile ? 101

TRANSLATION 145

That due to beauty and wealth (of a person) may be illustrated thus:

When I stand (here) in this world, why praise the bodyless (Cupid)? Compared with my wealth, the Lord of wealth, Kubera (himself) is penniless. 102

Recollection (smrti) is the knowledge of a thing experienced previously. Thus: When those playful wagtails were seen, he remem- bered, with a sigh, the playful, amorous glances of his beloved. 103

Death (marana) is well known and so it is not described in kāvya-s. Intoxication (mada) is illusory joy caused by drink- ing liquor etc. In that (there will be) faltering (in speech) and unsteady, rolling movement of the eyes. Thus: Intoxication produced even in that straightforward girl, reactions just as a young lover would have pro- duced, such as laughing which is attractive because of playful gestures, cleverness in speech, and varied movements of the eyes. 104 Sleep (nidra) is the cessation of the activity of the mind induced by anxiety, indolence, fatigue and the like; in it may be observed stretching the eyebrows closing the eyes, talking in sleep and so on. Thus: Snow melting to a line due to the great heat of the breasts (of the girl), avoids the couple of farmers 10

146 RASAKALIKĀ OF RUDRABHAȚȚA

sleeping on a bed made up of fresh kalama hay, furn- ished with a pillow, in a small hut covered with grass in the middle of a rice-field. 105

Dream (svapna) (is the state) originating in sleep; in it (there will be) breathing in and breathing out. Thus:

In dreams when somehow I got (a vision of) you and then seeking to embrace you closely, I stretched out my hands in the air (vainly); the forest deities, on seeing my pathetic plight, let down drops of tears, large as pearls, fall on the tender leaves of the trees. 106

Awakening (vibodha) is regaining consciousness (from sleep). In that state (there is) yawning and rubbing of the eyes. Thus: May the half-closed eyes of Hari, red at the break of sleep, desirous of leaving the spacious (bed of the) serpent's body with its folding hoods for pillows, those eyes that are smiting at the first opening, for the mo- ment averse to face the light of the lamps of gems, those eyes that are slow to function because tear-drops mingle with yawns and stretching of limbs; may (those eyes) protect you for ever. 107 Bashfulness (vrīdā) is the suspension of the (functions of) mind. This is due to love-excitement or (on hearing) praise from others etc. One can infer it from (a person's) keeping the body averted from movements of the limbs, from change of colour, from the lowering of the head and the like. Thus:

TRANSLATION 147

'When the husband clings to the garment, she, demurely bends her countenance; when he desires a passionate embrace, she moves her limbs aside gently; she directs her glance towards her smiling friends and is unable to say anything; the newly married one suffers inwardly from acute modesty during the first show of gallantry by her lover.' 108 Stupor (moha) is losing consciousness due to the possession or recollection of fear, grief etc. In it (there occur) unconsciousness, dizziness, striking (against something), staggering, inability to see clearly and the like. Thus:

Rati was, as it were, conferred a favour when she swooned and became unconscious of the death of her husband, the swoon, which was occasioned by the sharp discomfiture and which stifled the operations of her senses. 109 Epilepsy (apasmara) is the agitation, arising through the influence of planets, by misfortune etc. and resulting in falling on the ground, trembling, perspiring, drooling and such like physical changes. Thus: The wretch, falling on the ground emitting saliva, foaming at the mouth and with perspiration on the face, has unnatural looks and an agitated manner. 110 Assurance (mati) is the capacity for compre- hension through the investigation of the established rules. Thus:

148 RASAKALIKĀ OF RUDRABHAȚȚA

Undoubtedly she is fit to be wedded by a Ksatriya since my honourable mind has a longing for her. For to the noble in matters that are subjects of doubt, the inclinations of (their) heart are the deciding authority. 111

Indolence (alasya) is depending on others to do one's own duties. Thus:

When the king visited her apartment, he was delighted to see how, with tremulous glances, she rose from her seat with difficulty on account of the burden of the child in the womb with elements of the mighty gods (infused therein), and also experienced languor even as she joined together her hands to make the customary salutations to the king. 112

Agitation (avega) is confusion of mind that arises from the (attack of) an enemy, violent wind or fire or public calamity (like earthquake) or the approach of a desired person. There will be frantic shrinking, crying and prattling as a result.

That which is caused by the attack of an enemy is thus:

When the powerful formation of the cavalry of the king thrusts forward, wailings and shrieking like ' Oh Brother, Brother! Father! Father! Brother! Brother! Sister! Sister! Wife! Wife!' of the frightened men and women of the enemy's side may be heard in all the quarters. 113

That which is caused by a violent wind:

TRANSLATION 149

May Parvati, the beloved of Siva, with her eyes trembling due to the agitation caused by the lifting of Kailāsa-giri by the mighty arms of Rāvana, and with feelings of anger all dispersed and producing a thrill of joy (to Siva) by her embrace, (may she) bestow good fortune on you. 114

That, at ' the sudden approach of the beloved' etc. is also to be illustrated in this manner:

Deliberation (tarka) is reflection because of action, uncertainty; it causes one to raise one's brows or to move one's finger. Thus:

The sound, loud and agreeable like the notes of a helpless osprey, attracting the mind, is recognized by the ear and as though (it is a) familiar sound; (my) heart broken up inside, wanders about, each limb drops, bodily stiffness makes the gait falter. What a situation ? What is it (all about)? 115

Dissimulation (avahittha) is the concealment of the (physical) change such as thrill and joy etc. due to bashfulness etc. Thus:

While the divine sage was speaking thus, Pārvatī, who was by her father's side, counted the petals of her sportive lotus, with a downcast look. 116 Sickness (vyādhi) is fever etc. due to mental agony, caused by separation from the beloved. Thus: It is said that the dart of grief broke his heart forcibly as the sprout of a fig tree does the terrace of a

150 RASAKALIKĀ OF RUDRABHATȚA

mansion. In his haste to follow his beloved, he consi- dered as a gain even that (illness) which could cause the end of his life and which was incurable by physicians. 117

Insanity (unmāda) is the mental perturbation due to anxiety, (excess) of joy and grief. In this state, (there are) untimely weeping, singing or laughter and prattle. Thus:

Where is an improper action and where the spot- less race of the moon? Would I see her again? My learning should resist evil. How lovely is her face even in anger! What will the pure and wise ones say about this? Ah, she is not to be had by me even in my dream! Take courage, my heart! Who is the young जास्साते man who will be so lucky as to drink (the honey) of her lips? 118

Despondency (vișāda) is an utter loss of vigour of mind caused by the absence of any means (to achieve one's object). Thus: In which place are you, darling, (that place) which is not within the reach of the arrows of Laksmaņa, son of Sumitrā; with regard to which my friendship with the monkey-chief (Sugriva) is useless to me; towards which the valour of the monkeys, as well as the wisdom of Jämbavat is futile; where there is no access even for Hanumān, the son of the Wind-god; to which Nala too, the son of Viśvakarman, is unable to make a pathway. 119

TRANSLATION 151

Impatience (autsukya) is intolerance of the lapse of time. Others hold it as eagerness; in it (there occur) sighs, haste, hurry, pangs of the heart, perspiration and confusion. Thus:

With long and steady eys, she looked at her magni- ficant form in a mirror and became eager to approach Lord Siva; surely the dress of women has for its object (being) seen thus by their beloved. 120

Fickleness (capala) is inconstancy (arising) from jealousy, hatred, passion and the like; some others say that it is (an outcome of the desire) to make oneself conspicuous. In it (there occur) threats, harsh words, wilfulness in action and so on. Thus:

A certain prince was playing with the sporting of a lotus, the stem of which he held in his hands, the moving petals from which the bees were warded off and which formed a circle in its interior by means of its pollens. 121

In fact, there may be other mental states, but they are comprehended in these. They are like waves which rise from the ocean of the permanent mental states and subside into the same. SENTIMENT (RASA) Roused by determinant states (vibhāva) and ex- perienced through the permanent states (sthayibhāva) the rasa is so called as it is relished by everyone. Its general development is as follows:

152 RASAKALIKĀ OF RUDRABHAȚȚA

(Corresponding to the stages in the growth of a tree), the seed and the sprout, the tender leaves, the growth and expansion-this (rasa) is to be indicated gradually by various stages like 'delight of the eye '.

They are :- Delight of the eye (caksuhpriti), attachment of the mind (manahsanga), wishful thinking (samkalpa), talk- ing (of the lover's qualities) (pralāpa), keeping awake (jāgara), emaciation (kārśya), absence of interest (in everything) (arati), forsaking bashfulness (lajjātyāga), anguish (samjvara), madness (unmāda), swooning (murccha) and the last stage of death (marana).

Delight of the eye (caksuhpriti) is gratification of the eyes. Thus:

She who was born from the sacrificial carth and whose father is a king as well as a Brahmavādin, her body is graceful and bright, and that creates love to- wards her. 122

Attachment of the mind (manahsanga) is placing of the mind always towards the desired person. Thus: This nymph of heaven, flying up through the middle pace of her father, bears off forcibly my heart from the body, even as a female swan (before soaring into the air) tears away a fibre from a lotus stalk, the end of which is already broke." 123 The state (bhäva) brought about by thesc two stages is called the ' seed' (bija). Thus:

TRANSLATION 153

Siva, his firmness a little shaken, like the sea (agitated) at the rising of the moon, directed his glances on Uma's face, the lower lip of which was like the Bimba fruit. 124

Consequent states (anubhāva) are to be assumed from such a process here and they are casting of glances, heaving of sighs, confusion, fear etc.

Wishful thinking (samkalpa) is one's (own) desire (manoratha). Thus:

'Would the various naturally agreeable actions of the lovely-eycd one take place regarding me, actions wet with love, spreading affection, having intense passion produced through familiarity, in which there takes place the absorption of the mind, straight away, replete with delight and bringing to a standstill, the operat- tions of the external senses, even though they are created by (mere) fancy!' 125

Talking (of the lover's quality) (pralāpa) is praising the merits (gunakirtana). Thus:

Her faultless form is like a flower, not (yet) smelt; a delicate sprout, not (yet) plucked by nails; a gem, not (yet) perforated, fresh honey whose flavour is as (yct) untasted; and the fruit of merits, undivided. I know not whom Fate will let as the enjoyer! 126

At these states, is the sprout stage (ankurībhāva) of the rasa. Thus:

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' That face, those two eyes, that speech which is charming because of the (sweet) nectar-like smile, that braid of hair, those extremely tender movements of her arms, that graceful and slow gait, that slim girl, she, she, she!' Thus with my mind always attached to her, I get neither sleep, nor interest (in anything else) nor detachment; but the heart remains empty. 127

Here, by the existence of consequent states (anu- bhava) sighing in and out (ucehvāsa and niśvāsa) etc. are suggested. Keeping awake (jagara) is lack of sleep. Thus: This my heart is ever pierced through the shafts of Cupid; how then can I sleep which may bring about a union in dreams? And even before I have completed the portraiture of my lovely-faced beloved, Oh friend! will not tears fill and cloud my eyes? 128

Emaciation (kārśya) is becoming lean. Thus: Her face has cheeks excessively emaciated, her breasts have lost their hardness, her waist is extremely thin, her shoulders are exceedingly drooping, and her complexion is pale; tormented by love, this lady appears pitiable and at the same time charming to look at, like the mädhavi creeper, with its leaves dried by the touch of the wind. 129 Absence of interest (arati) is (indifference) in other matters. Thus: He abhors delightful objects; he is not daily waited upon by the people as before; he passes the

TRANSLATION 155

nights altogether without sleep rolling about on the edge of his couch and when, out of politeness he addresses suitable words to the women in his harem, then blundering about their names, he remains suf- fused with shame for a long while. 130

Or thus: Neither the fresh flower-beds, nor the moon- beams, nor the sandle-paste applied all over the body, nor the jewel necklaces can mitigate my agony of love; either she, the celestial lady can remove it, or, talking about her in solitude, can mitigate it. 131

This is the state of tender leaves (pallavāvasthā). Thus: 'May I see once again that face of hers, the auspicious abode of the bodyless (Cupid), which on coming within the range of sight, produces in the mind the highest abundance of accumulated delight; is a festival to the eyes, adding to the love feeling, and which is as though fashioned out of essences of a collec- tion of the cresent moons'. 132

Here too, the consequent states (anubhāva) such as anxiety (cintā), eagerness (utkanthā), joy (harșa) and firmness (dhrti) etc. are suggested. Forsaking bashfulness (lajjāvisarjana) is illustrated thus: At the conclusion of Sunanda's speech, the princess suppressed her bashfulnesss and accepted the prince with

156 RASAKALIKĀ OF RUDRABHAȚȚA

a graceful and bright glance of her eyes as if casting a garland in the svayamvara marriage. 133

Anguish (samjvara) is extreme agony. Thus:

Oh King Arjuna! the embodiment of Cupid! scorch- ed by the flames of the fire of the sparation from you, the moon-faced girl threw herself in the brimful lotus pond; then the birds sprang up; the small whales became dead; the lotuses withered and the young ele- phants, who had come together to drink water suddenly drew back their trunks (beacuse of the heat of the water). 134

This is the developed stage. Thus:

The bracelets are gone (through getting loose and sliding down); after them go the tears, my sweet com- panions, flowing incessantly; courage no longer stays behind; and my mind beloved who is set (resolved) on leaving me. If thou must depart on a journey dear life, do not scorn the escort of thy dear friends.' 135

Here expressions like 'loosening of the bracelets' (prasthānam valayaih) suggest the idea of anxiety, agony etc.

Madness (unmāda) is as follows:

kvākāryam šašalaksmanah etc.

Swooning (mrcchana) has already been stated. (under transient feelings).

TRANSLATION 157

Attempt at swooning also comes under this illustration: She has given to her kith and kin an uninterrupted flow of tears; she has passed on anxious thoughts to her elders; on all her attendants she has bestowed her distress, and she has put fever into the hearts of her friends; today or on the morrow, she will enjoy the highest bliss; her sighs afflict her severely. So you may be at ease. For has she not distributed the grief that was caused by separation? 136

Or thus: Possessing a languishing body, he directs his eyes towards the young mango-tree with its buds and its warbling cuckoos; casts (his) body in the path of the wind redolent with the fragrance of the bakula flowers and having only a leaf of the succulent lotus creeper for an upper garment, he resorts, out of desire for burning (himself), to the moon's rays for the sake of death. 137

Actual death (marana) is not described. Thus the development of the rasa (of love) is to be effected by these various stages. Thus: The form of my beloved is engraved on my mind as if she was inlaid therein, or reflected in it, or painted on it, or sculptured out of it, or planted in it or united with it by adamantine glue, or deeply buried in it, or nailed to it by all the five shafts of Cupid or sewed

158 RASAKALIKĀ OF RUDRABHAȚȚA

to it by a network of the threads of continuous recollections. 138

All the consequent states (anubhāva) appear in these three conditions.

In this way, Erotic sentiment (srngāra) is of two kinds, viz. Union (sambhoga) and separation (vipra- lambha). Of these the sambhoga type of śrngāra is defined thus: Union (sambhoga) is that (state) in which the two dallying lovers are in complete harmony, enjoying seeing each other, touching each other and the like. Embracing me in a squeeze with bud-like ample breasts distorted and bent, she seems to sprinkle upon my skin with such things as camphor, pearl necklaces, yellow sandal, oozings of the moon- stones, śaivala lotus-fibres, snow and the like brought together. 139

Separation (viprayoga) is the impossibility of remaining united on the part of two persons, though their minds are in unison and possessed of passion, because of dependence on others or because of the workings of Fate. Thus: 'How (easily) the night with prolonged yāma-s can be reduced to a moment! How (easily) can the day be of mild heat under all circumstances!" Thus (with this thought) my mind with its desires unful- filled has been made, oh restless-eyed one, helpless from the intense hot pangs of separation from you.' 140

TRANSLATION 159

Separation (viraha) is of four kinds. They are:

Love before union (pūrvānurāga), (separation resulting from) anger (mānākhya) and absence (pravāsa) and duc to tragic circumstances (karuņātmaka). Here Love before union (pūrvānurāga) is that love observed before union, where all the consequent states (amubhāva) like remembrance (smrti) etc. (may) occur. That of a girl, thus: Mälatī, stationed at the high window on the terrace of her mansion, having repeatedly beheld Madhava wandering about here and there on the royal pathway close by, like Rati (beholding) Cupid himself in a new form, is full of deep longing, and has let her charming delicate limbs become feeble and .... languid. 141

Here (in the above illustration) Mādhava is the .... fundamental determinant (ālambanavibhāva). Expres- sion like sākşāt kāmam (i.e. actually Cupid himself) and paryatantam (wandering about) are the excitant determinants (uddīpanavibhāva); gādhotkhanthā (pining) helps to indicate the height of love (rati) and anxiety ..- (utkanthā); lulitalalitaih (delicate and charming) are the factors of weakness (glani), anxiety (cinta) sighing deeply (ucchvāsa) (pāndima) etc. tāmyati (languishes) is (the factor of) anxiety (cintā) and distress (santāna) vātāyanasthā (at the window) is (the factor of) con- sequent state ((mnubhava) depicting bashfulness (lajja).

160 RASAKALIKĀ OF RUDRABHAȚȚA

With that of a man, thus:

' By the side-glances of the lady with beautiful eye- lashes, languid, moving, lovely, affectionate, motion- less and dull, wherein the pupils were glittering, owing to internal (feeling of) wonder growing apace, was my helpless heart drawn away, pierced through, swallowed up and uprooted.' 142

Here pakşmalākşyā (with beautiful eye-lashes) (is the factor of) fundamental determinant (älambana vibhāva) and kațākșapātādi (the fall of the side glances) etc. are the excitant determinants (uddīnanavibhāva-s). Through the expressions like asaranam etc. the anu- bhāva-s like dainya (depressison), manahsanga (attach- ment), santāpa (agony), mūrcchā (swooning), šūnyatā (voidness), cinta (anxiety) etc. are suggested.

With that of both is thus illustrated:

Swept away by a flood of passionate love but held back by the dam in the form of the elders of the house, the lovers are unable to satisfy their desires, although they are in close proximity; all the time (they are) facing each other with limbs that appear to be like a painted picture; they drink the nectar (of love) brought to them through the lotus-stalks of their glances. 143 Here the priyah (lovers) are the fundamental determinants (ālambanavibhāva). In the first pāda itself the excitant determinant (uddipanavibhava) with the states being fulfilled are (found) in the form unfulfilled

TRANSLATION 161

desire (alabdha-manorathā) through anxiety (cintā), agony (santāna) etc. likhitaprakhyaih (to be like painted pictures) is (the factor of) stupefaction (stambha); nayananalininalanitam (brought through the lotus stalk of their glances) indicates the forsaking of bashfulness; the nectar of love (rasa) indicates the consequent states of contentment (dhrti), joy (harsa) etc.

After union (sambhoga), separation (is dealt with). Separation (viyoga) based on anger (mana) is of two kinds: Resentment (pranayamāna) arising (in a state of) fondness and (the other) arising in (a state of) jealousy (īrşyāmana).

Here resentment (arising in a state of) fondness (pranayamāna) is transgressing (the commands) of each other. Thus: You were in this very bower of creepers, having your eyes directed towards her path. She tarried long on the sand-banks of the Godāvari, her gazes diverted towards the swans (sporting in the river). While returning, she found you as if deeply vexed, and folded her hands, like a suppliant, through fear, but gracefully, like the bud of a lotus. 144

This is found in both (man and woman); whereas the second type viz. resentment arising in (a state of) jealousy (īrsyāmāna) is found only in a woman. The resentment arising in (a state of) jealousy (īrşyamāna) is anger on the part of women when their 11

162 RASAKALIKĀ OF RUDRABHAȚȚA

lovers are heard, inferred, or seen to be devoted to others. Of these (three possibilities) hearing is from women friends. Inference may be of three kinds, ac- cording as it is deduced from words uttered in a dream, from marks on the body indicating love sports (with another), or from the inadvertent mention of (the other woman's) name. The 'seen' is that which is personally witnessed. Thus:

Whence this exceedingly great leanness of limbs, whence this tremor? Oh simple one! whence this countenance with pale cheeks? On these questions of the lord of her life, the slender one replied ' All this has come of itself', and turning away, she heaved sighs and discharged elsewhere the burden of tears that filled her eyelashes. 145

Here praneśvara (the lord of her life) is the funda- mental determinant (ālambanavibhāva). The close scrutiny (of her physical change) becomes the excitant determinant (uddīpanavibhāva); svabhāvatah (of itself) indicates despair (nirveda). The other anubhāva-s are clear.

The classification adhīra (partly self-controlled) etc. has been explained earlier.

Here there will be weakness (glāni), doubt (sankā), despair (nirveda), anxiety (cintā), anger (amarșa), jeal- ..-

ousy (asūyā), depression (dainya), swooning (mūrcehā) etc .; also the involuntary states (sāttvikabhāva-s) like red cheeks (in bashfulness), the knitting of the eyebrows etc.

TRANSLATION 163

Now in this context the means for removing the anger (mana) are described. By conciliation (sāma), dissension (bheda), gift- giving (dāna), humility (nati), indifference (upekșā) and diversion (rasāntara).

Among those: conciliation (sama) is (the use of) flattering words. Thus: I am indeed the culprit. Be pleased, Oh fair one! Desist from any resentment; for, when the master is angry, how can the servant be guiltless? 146 Dissension (bheda) is weaning away the friends. Thus: Even when I had broken your command, you gave up your anger very often when I held you in my arms out of great love; Oh fair girl! But now your boundless anger is of a different type and is intensified (more than ever) and even all the words of your inti- mate friends have become vain at this juncture. 147 Gift-giving (dana) is (regaining favour) under the pretext of giving ornaments and the like. Thus: We are not indeed worthy of the gift of this (branch with its new shoots that you offer us, to be worn as an ornament in our ear). Go, give this branch (etymo- logically, the cherisher of its "shoots" vita) to her who, in secret, drinks (from your lips) and cherishes thee, a rogue (vița) (as thou art). Let the two (alike entitled to the name of vitapa) be joined, since the junction of like things has been long the rule. 148

164 RASAKALIKĀ OF RUDRABHAȚȚA

Some do not approve of this.

Humility (nati) is falling at the feet (of the beloved). Thus: --- Break the silence, Oh pretty one! behold me lying at thy feet! Never before was thy anger like this.' As the husband spoke thus, she turned her closed eyes sideways and allowed the tears to flow copiously, but no word came to her lips.' 149

Here nayanajalam analpam muktam (allowing the tears to flow copiously) is the sign of (her) favour, (towards the beloved), uktam na kiñcit (not a word spoken) is in conformity with anger and despair. This fault has been committed for the first time. Therefore both are possible pādānatam mām paśya (behold me, lying at your feet) is the conciliating speech. 'For the fault committed, he has fallen at my feet. So I will not hurt him.' Thus despair. Here 'never' also implies - 'was there no such fault committed by you?'

Indifference (upeksā) is lack of interest. Thus: The dearest of your heart stands outside with bowed head, drawing figures on the ground; your confidants their eyes swollen by ceaseless weeping, are going without food; the parrots in the cage have given up all laughter and speech and you are reduced to this plight! Leave now, Oh hard-hearted one, (give up) your sulkiness. 150

Here cintā, glāni, jadatā, etc. are for the beloved and the sambhrama, unmāda, santāna etc. are for the friends.

TRANSLATION 165

The statement 'this condition' indicates the heroine's despondency and anguish. Diversion (rasantara) is anger through fear (trāsa) and joy (harsa). A certain lady with long flurried eyes, abandoned her beloved due to jealousy and was walking about in the forest; hurt by a wicked bee (troubled by a drunken rogue), she with confused glances embraced (her) beloved. 151

This may be given as an example for a trick or deceit (chala) etc. also. The separation due to absence (pravāsa) may be thus illlustrated: The separation due to absence (pravāsa) is when the two lovers being at different places owing to business (kāryatah), confusion (sambhrama) or a curse (śāpa). In such a case there is weeping, sighing, (bodily) emacia- tion, letting the curls hang down and the like. Of these the kind of absence due to business is of three kinds, since it is premeditated, viz. Future, Present and Past. Of these, Future is thus illustrated: 'Do they not (those) who go on a journey, meet again (their kith and kin)? Thou must not, Oh! pretty one, vex thyself on my account, thou art grown thin bcyond measure' As with tears in my eyes, I spoke to her thus, she looked at me with her eyes-the

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pupils in them were languid with shame, and the tears were checked as they were about to tumble down and she betrayed with her laugh, her firm resolve to die soon. 152

The Present may be illustrated thus: 'The wanderer knows well that between him and his beloved, there lie many lands, and hundreds of rivers and mountains and forests, and that by no effort !

of his, can he ever get a glimpse of her. Nevertheless he stretches his neck high, tip-toe and drying his tear- filled eyes, looks again with wishful longing in the direction (of his beloved).' 153

The past may be described thus:

I did not put on the string of pearls on my neck because of the fear they may cause obstruction (of our embrace); but (now) the ocean and the mountain stand between us (keeping us at a distance). 154

The second type (of absence) (due to confusion) takes place suddenly through confusion, divinc or human thus:

May it be that she is standing concealed by means of a celestial charm, owing to her anger; but she will not remain angry for long. Might she have flown upto the heavens? But her heart is full of love for me. Even the enemies of the gods cannot kidnap her while I stand by her. And yet, she has been absolutely lost to my eyes? What a nasty stroke of fate! 155

TRANSLATION 167

That due to curse may be thus illustrated:

My curse will terminate when Visnu rises from his sleep on the serpent-bed, so pass the remaining four months with your eyes closed. Then, when we mect, we will enjoy all those desires which we cherish- ed in our mind during separation during nights having full-rayed autumnal moon-shine. 156

Tragedy (karuna) is the loss of anyone of the two (lovers) without any hope of future union, and is of two kinds, due to death (mrta) and apprehension of death. (mrtaśańkā).

The apprehension of death is thus illustrated-

'Surely, her creeper-like body resembling a soft and tender lotus, as if it were composed of moonlight, was torn to pieces by wild beasts when she moved slowly on account of the throbbing burden of her womb, while her eyes rolled like those of timid fawns, but one year old.' 157

Or thus:

The grief-stricken condition of Rāma, not out- wardly manifested on account of self-discipline, but causing secret and acute pain inside, is like a drug heated in a closed pot (putapāka). 158 That due to death thus:

I know that the speech you used to utter to please me (i.e.) 'you dwell in my heart', is false; if it was not

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an empty compliment, how is it that you are without a body while Rati is uninjured? 159

This is mixed with grief. In both of them, the De- terminant and consequent states are to be introduced. Union (sambhoga) is of four kinds. Of these that which is connected with the state ' before union' may be set forth thus: Oh friend! my lordship of the earth under my royal umbrella, my decorated footstools, my wearing the gem-set crown of great kings, did not make me feel so happy as now by getting the position of a servant at the feet of this girl. 160

That connected with anger: 'Lying on the same bed with face averted-suffering for want of response in their conversation though the desire to placate each other lay in the heart, the couple were jealous of their prestige; but slowly their glances mingled as the eyes rolled to their corners, and their love-quarrel suddenly broke down in laughter and passionate embraces.' 161

That connected with absence is illustrated thus: How could you, oh my beloved, bear this long separation from me, you, who used to imagine me as gone away on a long journey, even when I was just asleep in the bed, through exhaustion of dalliance? 162

That which comes ' after supposed death' is thus illustrated:

TRANSLATION 169

That lady, whom I thought to be dead and for whose sake I wanted to die so as to rejoin her-how is it that the same lady of tender body has now been got back by me even here, in this birth itself? 163 That which comes ' after death' is thus: By abandoning his body at the sacred place formed by the confluence of the Ganga (waters of the daughter of Jahnu) and the Sarayu and having immediately obtained a place among the immortals, he being united to his wife, now (having) a lovely figure surpassing her former figure, sported again in the pleasure-houses within the gardens of the Nandana. 164 Here the anubhava like embraces are to be under- stood from Kāmašāstra.

When the particular type of sambhoga or vipra- lambha is now known, the general term sambhoga or vipralambha (as such) is to be used. The blending or mixture (samkara) is of two kinds, viz. blending of the erotic sentiment with the erotic itself and with a sentiment other than the erotic. Blending of love in union (sambhoga) and love in separation (viprayoga) may be illustrated thus: I cannot decide whether it is pleasure or pain, or stupor or the creeping advance of poisoning my body or intoxication; for, whenever I touch you, emotion distracting all my senses clouds my mind and shuts it up. 165

170 RASAKALIKĀ OF RUDRABHAȚȚA

Here Śrī Rāma is seen by Sitā whereas Sītā is not seen and thus two conditions arise here. Some call this sambhoga (union) only. The second type of mixture (samkara) with other sentiments is of two kinds. Independent (svatantra) and relevant to the context (prastutopayogi).

'Independent' is illustrated thus: 'How will my mind which, through good luck, found my beloved and snatched her away from the range of descent of the sword of the vile wretch, like the digit of the moon entering into the jaws of Rahu, fare (now)? It is distracted through fear, melted with pity, agitated by astonishment, inflamed with wrath and brightened with joy.' 166

' Rāhoścandrakalām ivānanacarīm' (like the moon's digit entering into the jaws of Rāhu) 'daivāt samāsādya' (having reached her through good luck) and dasyor-asya (of this demon) are respectively the determinant states (vibhāva). The consequent states (anubhāva) are to be inferred from words.

The second type is: In the hearts of women, men friends, Cupid, your- self, myself, Creator, herself, and the God of Death, the nine sentiments are developed (respectively). 167

Here the nine sentiments (given) respectively are useful in appeasing the beloved and (act) as anga and angin (respectively).

TRANSLATION 171

This diminishing stage (of love) is thus illustrated:

Formerly we had (the feeling of having) the same body (in the early stage), then you became the lover and I, your unlucky beloved; now you are my lord and 1, your wife! What need is here to say more? This is the result of the wretched life, hard like the thunderbolt. 168

Destruction (of love) may be thus illustrated:

'Dear friend, when the ardour of love has abated, when the high regard springing out of affection has vanished, when the friendly feeling is no longer evident, and when he, the beloved of my heart, moves before my very eyes like a (perfect) stranger! I call to my mind that humiliating experience and look back on the days that are no more and wonder that my heart is not yet broken into a hundred fragments.' 169

Here there should be no suspicion that 'love ' has returned, for that will be against the statement divasān utprekşyotprekşya (remembering the experience of those days).' In the absence of these two (diminishing love and destruction of love) the sentiment is of higher quality. Thus:

'Happy is that lucky man, who with difficulty has secured that unique thing viz., perfect identity in happiness and misery, favourable in all conditions, where the heart finds its solace, the flavour of which cannot be taken away by old age, which ripens into

172 RASAKALIKĀ OF RUDRABHAȚȚA

firm attachment after time has removed the veil (of reserve).' 170

The mere semblance of sentiment (rasabhāsa) is now explained: The semblance of sentiment is known to be of three kinds (i) where love is one-sided (ii) where love is por- trayed in animals, birds or in an outcast and (iii) where a girl is depicted as loving more than one man.

The 'love which is one-sided ' is illustrated thus:

To the lord of Lańkā (Rāvaņa) who was suffering from an agonizing sense of separation from thedaughter of Janaka, there were several things to while away the time-the moon similar to the face of Sita, the lovely lotus flower attractive like the eyes of Janaki and the lustre of her smile in the tender leaves and in lotus fibre (all having some similarity). 171

'Love among the animals' may be dealt with thus: The male bee, attentive to his dear mate, drank honey from the same flower-bowl and the black ant- elope scratched with his horn his mate who had closed her eyes through the pleasant sensation caused by that touch. 172

A girl having love for more than one is illustrated thus: Oh thou of fair form! They only, I believe, are handsome in the three worlds, for whose sake this, thy cheek, is pale. 173

TRANSLATION 173

This is only an indication. Propriety and impro- priety are the deciding factors of rasābhāsa. 'There is no other cause for a break in sentiment except impropriety. The greatest secret about senti- ment is conformity to well known considerations of propriety.' Propriety is well known in the tradition of the poets. The blending of the sentiments etc. is to be seen also in the case of other sentiments. Mirth (hasa) is known as that, which is nourished by the determinant states such as the feelings of love (preman) and bashfulness (lajja) and increased by the consequent states like delight (tosa) etc. It is of four types, namely, a smile (smita), a gentle laugh (hasita), a laugh (vihasita) and a loud laugh (upahasita). A smile (smita) is that which shows the lustre of the cheeks and lips. Thus: When Sita was asked by those (women) travellers on the way as, 'Oh lady! how are you related to him, whose eyes are like the blue lotus', Sita with her cheeks broadening into a smile, spoke clearly (but not in words), with her eyes rolling due to bashfulness, and with her face being low. 174 Gentle laugh (hasita) is that where the bright rows of the teeth are visible. Thus:

174 RASAKALIKĀ OF RUDRABHAȚȚA

Making a circle with the crescent moon fallen (from Śiva's head) and the bangle broken during the love- quarrel, Parvatī, spoke with smiling face thus 'Look at this'. May that Siva to whom she spoke and that Pārvatī, and that playful moon with its body filled by the rays of the smiling teeth (of the couple) protect us! 175

Laugh (vihasita) is by exhibiting the teeth fully. Thus:

Your face with visible bright rows of the teeth and with dangling curls is like the lotus flower with visible filaments and with howering bees. 176

Loud laughter (attahasa) is caused by anger etc., and is excessive (in its nature). This is obvious.

Pathetic (karuna) is of two kinds, namely, that which is due to misfortune and that due to the death (of a kin and so on).

The first kind (that due to misfortune) is illustrated as follows:

The husband is old, blind and bed-ridden; the house is left with the pillar only; the time for the rainy season is nearby; there is no good news about the son; the small vessel in which a few drops of oil have been saved is broken; the mother-in-law who was thus worried, sees her daughter-in-law (suffering from) labour pains and weeps for a long time. 177

The second type is thus (illustrated).

TRANSLATION 175

Having given up even his natural fortitude, he cried with his throat choked with tears; even iron becomes soft when heated by fire, what then need be said of those that have (frail) bodies? 178

Here the natural memory (smrti), anxiety (cinta), swooning (mūrcha), illness (vyādhi), death (marana) etc. are the consequent states.

The furious sentiment (raudra-rasa).

Wrath increased due to the remembrance of wrongs done and reaching beyond the normal limit is called furious sentiment. Thus:

My character is certainly well known to all people! (I am the one) who out of anger towards the ksatriya-s, pulled out even those inside the womb and cut them to pieces; who is uncontrolled, killing twentyone times the kşatriya-s and making the fire of anger that aroused by (my) father's death, subside in the great joy of plung- ing into the pool of their blood. 179

Here, depression, acrimony, despair, jealousy, dubiousness, determination, etc. are the consequent states; also perspiration, the red-eye, the harsh speech, knitting the eyebrows etc.

Now the heroic sentiment (vira-rasa) is explained. That (predominant) emotion of zeal (utsāha) intensified by valour and modesty and by the feelings of pride, enthusiasm etc. is the heroic sentiment.

176 RASAKALIKĀ OF RUDRABHAȚȚA

This is of three kinds, viz. heroism in respect of combating the enemy (yuddhavīra) (ii) in giving gifts (dānavīra) and (iii) is showing compassion (dayāvīra). Yuddhavīra is illustrated thus:

Seeing again and again his lotus-like face, with a thrill on his cheeks and a smile of love, (reflected) of Janaki's cheeks bright like the tusks of young elephant, and hearing the noise of the army of the Rāksasa-s, Rama, the prince of the Raghu's race, binds fast his matted hair, (indicating his readiness to fight). 180

Dānavīra is illustrated in karņas-tvacam šibir- māmsam.

Dayāvīra is illustrated thus: By taking my body for your subsistence, be you pleased, and let this cow of the great sage be liberated, whose young calf will be anxiously looking for her (return) at the close of the day. 181

The terrible sentiment (bhayānaka-rasa): The bhayānaka-rasa is produced by the intense fear (that results) from enemies or cruel animals; (the anubhava-s in it) are the trembling of the limbs, perspiration, being parched, change of colour and agitation and is comprehended by (the transitory state of) depression, destruction, fright, stupefaction and so on. (Your) enemy started rushing out from his house to the road, from there to the garden, to the forest,

TRANSLATION 177

from there to the mountain, to the dense forest and thence to the cave, thus without thinking (in his fear), he even (tried) to hide his body within himself, (to escape from you), being frightened on hearing of your victorious march. 182 The sentiment of disgust (bibhatsa-rasa) is that which is heightened by (the state of) abhorrence (jugupsā) caused (chiefly) by stinking matter etc. It is of two kinds, namely worldly (laukika) and that which arises out of 'discrimination' (vivekottha). Of these the worldly (sentiment of disgust) is that produced by the sight of stinking matter, worms, marrows, flesh, bones etc. and causing contraction of the nose, nausea, vomitting and such like things. Thus: 'Having first torn off again and again the skin and then having eaten the flesh readily obtained from such parts as the shoulders, the hinder parts, the back, and the thigh etc., having a horrid stench augmented on account of the great swelling, a goblin with a meagre frame, taking out the muscles, entrails and eyes and exhibiting his teeth, is eating leisurely the raw flesh found in the bones and even that in the difficult places of the skeleton lying on his lap.' 183 The sccond type is that which arises on having received instructions on indifference towards worldly objects, and having perfomed repeated experiments. Thus: If he is attached to this body which is the combination of marrow, blood, putrified faeces, urine, 12

178 RASAKALIKĀ OF RUDRABHAȚȚA

muscle, flesh and bones, that fool will be happy in hell too. 184

Beautiful indeed is the body of the deer-eyed girl, having the bones as its pillars, full of dirt, covered up with skin, full of hair, with saliva oozing and with phlegem flowing out. 185

The marvellous sentiment (adbhuta-rasa) is that mental state of surprise (vismaya) agitated at the sight of strange objects not ever seen before; and in this state there occur the widening of the eyes and the raising of the eyebrows etc. Thus:

Who could have killed so many and such great Rāksasa-s led by Triśiras, Khara and Dūsaņa! except Räma, the wielder of the bow! 186

In this (occur) perspiration, horripilation, fright, agitation etc.

Now tranquillity (santa) is explained : Śanta is declared as the lack of emotional excite- ment due to passion etc. in the case of a person who is indifferent to the worldly objects and has realized the great supreme truth and got the power of discrimina- tion. It is of four kinds: Renunciation, restraint in condemnation of faults, contentment, and a sense of realization of the supreme truth (of Brahman).

Indifference towards worldly oljects is renuncia- tion. Thus:

TRANSLATION 179 With the enthusiasm for discussion of Sastraic texts subsided, and cleverness in speaking sentences filled with various emotions set aside, and completely stopping all fanciful illusions, my mind desires to (merge itself) in Lord Siva. 187 Absence of passion etc. is restraint in condemna- tion of faults. Thus: May my days pass in some sacred forest, while I am muttering 'Siva, Siva,' with an eye indifferent towards a snake or a necklace, a flower-bed or a stoneslab, a jewel or a clod of earth, powerful enemy or a friend, a straw or a woman. 188 Contentment consists in rooting out desire. Thus: The river named Desire has wishes for its water, is agitated by the waves in the form of greed; has croco- diles in the form of passion; doubts are the birds flying over it; it destroys fortitude in the form of trees; difficult to cross because of whirlpools in the form of illusion; is very deep and has high banks in the form of thoughts- those blemishless great yogins who have crossed this river, are happy. 189 The realization of the supreme truth may be thus illustrated : The yogin, controlling his breath, keeping his mind inward properly, excited with a thrill and with tear- drops of joy in the eyes, feels blissful as if plunging in a deep pond of nectar, on seeing that principle tattva. You are that Principle certainly (Tat Tvam Asi). 190

180 RASAKALIKĀ OF RUDRABHAȚȚA

Now obstruction (nirodha) (to the proper sentiment) is explained. All sentiments, when fully developed, are capable of over-shadowing other rasa-s. Following the practice of the poets, it is seen in certain cases. Obstructions to the erotic sentiment are the senti- ments like heroic, furious, disgusting and tranquil. Obstruction of heroic sentiment is illustrated thus: Sāyantane savanakarmaņi in Śākuntala. 191

That, due to anger, is šūrpaņakhotpātadaršī etc. in Bālarāmāyaņa.

The weakening of erotic sentiment by the counter- balancing force of disgust is illustrated thus:

The pearl necklace, consisting of jingling beads, the gold foot ornament, the redness due to the Kumkuma, the various fragrant flower garlands, the silk garment- these are associated with a girl by the ignorant, looking at the outward embellishment only: but those who can penetrate to the inner nature have given the name of woman to Hell. 192 That which is due to calmness is illustrated thus: Oh girl! Why do you cast (on me) your languid glances that are playfully closed ? stop; for your efforts will be futile; for, now we are different, we desire the forest. We are no longer young; delusion is gone and we consider the whole world as equivalent to (mere) grass. 193

TRANSLATION 181

In the fear from battle, the obstruction of comic sentiment is clear; so also (is) the obstruction by the sentiment of furious and tranquil to the pathetic senti- ment.

That due to tranquillity is illustrated thus:

How many worms are produced from our body and are removed from the body with effort! What illusion is this that people give these the name of son or daughter and get their own body emaciated! 194

The furious is obstructed by the tranquil. Thus:

Having uprooted the clan of Ksatriyas and removed the burden of the earth by his own valour; and with the fire of his anger extinguished by his penance, sage Paraśurāma, son of Jamadagni, is now calm. 195

The heroic is obstructed by the terrific and the tranquil. Thus:

The wielders of sword are easily available in the midst of assemblies; but are rare in the midst of the sparks produced by the clashes of weapons. 196

The same is an illustration for the sentiment of tranquillity.

Terror being obstructed by tranquillity is thus illustrated:

Those compassionate people who give refuge to all beings, live with their minds plunged in quietude and without any fear from any quarter. 197

182 RASAKALIKĀ OF RUDRABHAȚȚA

Here the order of sequence is not intended. Of the sentiments that are opposed to one another, those which are well developed cause to be hidden other sentiments (not so well developed). The well developed erotic sentiment hides even the sentiment of disgust. The eclipse of the sentiment of disgust is illustrated thus:

Those old mythologists who speak of the femi- nine body as a lump of flesh do not deserve to have eyes-the body that is full of such fragrance, burst- ing with pride, and overflowing with bcauty and attractive. 198

The obstruction to tranquillity is thus illustrated:

That discrimination, born of the sastra-s will be powerful in the mind, even in the case of the learned men only until the arrows, in the form of the side- glances of the lotus-eyed ladies, fall on them. 199

Thus even amongst the states (hhäva-s) the mutual oppositions are observed. Between remembrance and swooning, between despair and happiness etc. Though opposed to each other mutually, there will be no real conflict if they are introduced by the poets as existing in different persons, by the maxim of plunging in and out (just as plunging in water and rising up alterna- tively) (majjanonmajjana-nyāya). Thus: 'May the three eyes of Siva protect you, the eyes showing different emotions during abstract contem- plation, one closed like a bud in meditation, the second

TRANSLATION 183 languid with love fixed on the lotus face and the breasts of Pärvati; the other kindled with a flame of wrath against Cupid who had drawn afar his bow! 200 In the example 'Among women, men and friends- etc.' due to the difference of subject, there is non-opposi- tion. In the same subject, non-opposition due to plunging in and out is illustrated thus: Indifferent from despair, and clouded with anger on account of that unkind action, petrified as it were by this sudden meeting after a long separation and appeased on account of his goodness, full of deep compassion (too) on account of the piteous words of your beloved, thy heart is as it were melted with affection at this moment. 201 What is the substratum for these Rasa-s? This problem is now examined. Some say that they have as their substratum the hero (and the heroine), the actor and the audience, but others consider that the sub- stratum can only be the hero (and the heroine); and the audience, (but not the actor): since the actor cannot have the feeling as he is intent only on ex- pressing (the rasa-s); and even if he has the sentiment, he will have to be taken as one of the audience. One need not doubt that the substratum of the rasa-s is only the audience since the terms bhāvaka, rasika etc. are applied only to him; for (such a view) is against experience. If the hero and the heroine are not the substratum of the rasa, how can there be the

184 RASAKALIKĀ OF RUDRABHAȚȚA

actualization of rasa by the mere imagination of some- thing without rasa-s? And to the audience how can there be rasa without a basis (like the hero and the heroine)? One cannot say that Mālati etc. (as in Mālatī-Mādhava) can be the ālambana (base) for the rasa on the part of the audience since it is not proper (anaucityāt). Here is the explanation. The terms like Mālati are only referring to a girl in a general sense and words like Rāvaņa refer only to an enemy (in a general way). Thus the idea of a girl etc. which occurs to the mind in a general way acts as the basis for the rasa of the audi- ence. There is no defect of the particular aspects not being understood, for we have experience like that of Devadatta, who is seen, but whose exact colour has not been noticed. Even then one cannot say that since Karuna is productive of misery (full of suffering), texts where it is prodominant will not be acceptable; for all rasa-s become pleasurable to the audience ultimately. One cannot say that in such cases, swooning, repulsions etc. are not proper, for these are found only in the early stage (not in the ultimate stage of rasa realization). Others answer the issue in a different way. Accord- ing to some, rasa acts in the mind of the audience in the form of instincts. Hence the need for alambana etc. (as a stimulus). For example, rasa is realized in a general way only on the basis of some well-known älambana with respect to oneself or to others. Even if it is inferred, it is realized by the inference only through

TRANSLATION 185

the imaginative faculty and hence there is no impro- priety; since it is not realized merely as sthāyibhāva. And it its also not (realized) from an indifferent position, because it is not (realized) as belonging to others. Hence even rasa-s like karuna are acceptable. Since for the audience, rasa can be both pleasurable and painful; both types of rasa-s are acceptable. Thus rasa produces both (pleasure and pain). The acceptance of such rasa-s is known through positive and negative methods, the rasa-s can have the hero (and the heroine) as their substratum. The rasa is actually realized by the spectators by seeing the action of the actors and by listening to the words of poetry. * Being made to experience properly, they produce the corresponding appropriate experience. By the imaginative enjoyment of the Rasa-s in others, great bliss is experienced, as is seen through positive and negative methods. This is quite in keep- ing with the actions in such cases. Thus everything is delightful and pleasurable.

/

BIBLIOGRAPHY (with abbreviations) WORKS IN SANSKRIT Amaruśataka (AŚ) of Amaru, Ed. with Introduction and English Translation by C.R. Devadhar, Oriental Book Agency, Poona-2. Alamkārasamgraha (AI.S) of Amrtānanda Yogin, Adyar Library, Madras-20, 1949. Uttararāmacarita (U.R.C.) of Bhavabhūti, Ed. by Sarada- ranjan Ray, S. Ray & Co., Cal- cutta & Dacca, 1924. Udbhațālamkāra (Ud.Alam) of Udbhata, Poona, 1925. Ekāvalī of Vidyädhara with Tarala Com- mentary by Mallinātha, Ed. by K.P. Trivedi, Bombay Sanskrit Series 47, 1903. (1st edition) Karpūramañjarī of Rājasekhara with commentary by Vāsudeva, Kāvya 3, Kāvya- mālā Edn. Kāvyaprakāśa (K.Pr.) of Mammata, Ed. R. Harihara Sāstri, Trivandrum Sanskrit Series (LXXXVIII), 1926. Kāvyādarša (KD) of Daņdin, Ed. by V. Nārāyaņa Iyer, V. Ramaswamy Sastrulu & Sons, Madras, 1952. Kāvyānušāsana (Kāv.An) of Hemacandra, Ed. by Rasiklal C. Parikh, Sri Mahavira Jaina Vidyalaya, Bombay (1st Edn.) 1938.

188 RASAKALIKĀ OF RUDRABHAȚȚA

Kāvyālamkāra (Chapter Kāv.A/) of Rudrața, Ed. Durgaprasad and (Text Rud. Kāv.Al) Parab, Bombay, 1886. Kirātārjunīya (Kirāt) of Bhäravi, Ed. Revatikanta Bhat- tacarya, Sanskrit Pustakalaya, Cornwallis Street, Calcutta. Kumārasambhava (Ku.S) of Kālidāsa with Mallinātha's Commentary, Ed. by Vasudev Laxman Shastri Pansikar, N.S. Press, Bombay, 1923. Chāndogyopanișad. Taittirīyopanișad Dhvanyäloka (Dh.A) of Anandavardhana, Poona. Daśarūpaka (DR) of Dhanañjaya with Commentary by Dhanika, Ed. Pandit Sudar- sanacarya, Gujarati Printing Press, Bombay (used for Critical study of the Text) Daśarüpaka (DR) of Dhanañjaya, Ed. with Trans- lation, Introduction and Notes by George, C. O. Haas, Motilal Banarsidass, Delhi, 1962. Navasāhasāńkacarita of Padmagupta, Ed. Vamana Sastri, Islampurkar, (Bombay Sanskrit Series No. 53, Bombay, 1895, Nāțyaśāstra (NŚ) of Bharata, Chapters 1-4 Ed. Grosset, Paris and Lyons 1898, Ch. 18, 19, 20, 24 Ed. Hall, in the Dasarūpa, Calcutta 1865, and other Chapters are cited accord- ing to the edition of Śivadatta and Parab, Bombay 1894 and Kāvya- mālā Editions also.

BIBLIOGRAPHY 189

Nātyadarpaņa (ND) of Ramacandra and Gunacan- dra, Ed. Gaekwad's Oriental Series No. XLVIII, 1929. Nītiśataka (Bh.Ś) of Bhartrhari, Ed. N.S. Press, Bombay, 1891.

Pratāparudrīya (PR) of Vidyānātha with Kumārasvā- min's commentary,Ed. by C. Sankararama Sastri, The Bala- manorama Press, Madras, 1931. Bālarāmāyaņa (Bā.R) of Rājaśekhara, University of Madras, 1909.

Bhartrhariśataka Ed. by D.D. Kosambi. Bhojaprabandha (Bl.Pr.) of Ballāla, Ed. Parab, Bombay, 1904. Mahānāțaka or Hanumannāțaka Ed. by Kșemarāja Śrī Krishna- dasa, Sri Venkateswara Steam Press, Bombay, 1966. Mahāviracarita (Mah.V.C) of Bhavabhūti, Ed. by Sri Jiva- nanda Vidyasagara Bhatțacarya, Govardhana Press, Calcutta, 1906. Mālatīmādhava (Māl.Mādh) of Bhavabhūti, Ed. by R.D. Karnakar, Aryabhusan Press, Poona-4, 1935.

Mudrārākșasa (MR) of Višākhadatta, Ed. by Sarada- ranjan Ray, S. Ray & Co., Calcutta & Dacca. Meghasandeśa (Megha.) of Kālidāsa, Ed. by Sri Sankara- Rama Sastri, Śri Balamanorama ....

Press, Madras, 1960. Raghuvamśa (RV) of Kālidāsa, Ed. M.R. Kale, Gopal Narayan & Co., Bombay, 1922. (3rd revised and enlarged edition)

190 RASAKALIKĀ OF RUDRABHAȚȚA

Ratnāvali of Harşa, Ed. by Sri Sankara- Rama Sastri, Sri Balamanorama Press, Madras, 1935. Rasakalikā (RK) of Rudrabhatța. Rasagangādhara of Jagannātha, Ed. Durgaprasad and Parab, Bombay, 1888. Rasatarangiņi (RT) of Bhānudatta, Ed. by Regnaud, in his Rhetorique Sanskrit, Paris, 1884. (Appendix pp. 43-70). Rasamañjarī (RM) of Bhānudatta, Ed. by Tailanga, Banaras Sanskrit Series, Benaras, 1904. Rasārņavasudhākara (R.Su.) of Singabhūpāla, Ed. by T. Ganapati Sastri, Superintendent, Government Press, Trivandrum, 1916. Vāgbhațālaņkāra (Vāgbhațāl) of Vāgbhața, Ed. by Śivadatta and Parab, Bombay, 1895. Vikramorvašīya (Vik.Ur) of Kālidāsa, Ed. by R.N. Gai- dhani, The Royal Book Stall, Poona-2 (Ist Edition). Veņīsamhāra (VS) of Bhatțanārāyaņa, Ed. by A.B. Gajendragadkar, Aryabhusan Press, Poona-4. Sarasvatikaņțhābharaņa (SKĀ) of Bhoja, Ed. by K. Durgaprasad and W. Laxman Sastri, N.S. Press, Bombay, 1925. Šākuntala (Šāk) of Kālidāsa, Ed. by M.R. Kale, (Abhijňāna Śākuntalam) Gopalnarayan & Co., Bombay, 1934. (seventh edition) Śärngadharapaddhati (Śārng) Ed. by Peterson (Vol. I, Text 1) Sanskrit Series 37, Bombay, 1888.

BIBLIOGRAPHY 191

Sisupalavadha of Magha (Śiś.V) with Mallinātha's Commentary, Ed. by Sāhityopādhyāya Ananta- rāma Sāstrī Vital, Kasi Sanskrit Series, 69. Siņhāsanadvāttriņšikā (Southern Recension). Śṛńgāratilaka (ŚT) of Rudrabhatta, Ed. by R. Pischel, Kiel, 188. Śngāramañjarī (Śr.M) of Saint Akbar Shah, Ed. by Dr. V. Raghavan, Hyderabad Ar- chaeological Department Publica- tion, Hyderabad 1951. Sāhityacintāmaņi (Sā.Cin) of Vemabhūpāla, Critical Study and Edition by Sri M. Rama- krishna Sastri, Thesis for the award of M. Litt., University of Madras, Madras 1969. Sāhityadarpaņa (SD) of Viśvanātha, Ed. by P.V. Kane, Poona Oriental Book House, Poona-2. (2nd edition) Subhāșitāvalī of Vallabhadeva, Ed. by Peterson and Durgaprasad, (Bombay San- skrit Series No.31), Bombay, 1886. WORKS IN ENGLISH Aesthetic Experience according by R. Gnoli, Chowkhamba San- to Abhinavagupta skrit Series, Varanasi, 1968. Aesthetics and Literary by R. S. Patankar, Nachiketa Criticism Publication, Bombay. Art Experience M. Hiriyanna, Kāvyālaya Pub- lication, Mysore. Bhoja's Śrngāraprakāśa (Śr. Pr.) by Dr. V. Raghavan, Punarvasu, Madras-14, 1963.

192 RASAKALIKĀ OF RUDRABHAȚȚA

Comparative Aesthetics by K.C. Pandey, Chowkhamba Sanskrit Series, Varanasi, 1959. (2nd edition)

Highways and Byways of by Mm. S. Kuppuswami Sastri, Literary Criticism in the Kuppuswami Sastri Research Sanskrit Institute, Madras-4. - History of Sanskrit Poetics by P.V. Kane, An Introduction to Sāhityadarpaņa, Oriental Book .. House, Poona. (2nd edition)

History of Sanskrit Poetics by S.K. De, (in two volumes) Firma K.S. Mukhopadhyay, Cal- cutta, 1960. (2nd revised edition)

History of Pāramāra Dynasty by D.C. Ganguly, Deccan Uni- versity Publications, 1933.

History of South India (from by Prof. K. A. Nilakanta Sastri, Pre-Historic times to the Oxford University Press. Madras. fall of Vijayanagar) Introduction to Textual Criticism by S.M. Katre, Karnatak Publish- ing House. Hoysalas in the Tamil Country: by K.R. Venkataraman, Anna- (12th-14th Cent. A.D.) malai University Historical Series No. 7, Annamalai University, 1950.

Jagannāthapaņdita by V.A. Ramaswami Sastri, University Sanskrit Series 8, Annamalai University, 1942. Number of Rasas, The by Dr. V. Raghavan, The Adyar Library Series 23, Madras-20, 1967. (2nd & revised edition) Some Aspects of Literary by Dr. A. Sankaran, University Criticism of Madras, 1929.

BIBLIOGRAPHY 193

Selected Prose-T.S. Eliot by John Hayward, Penguin Book in association with Faber & Faber.

Theory of Suggestion in Poetry by Dr. K. Krishnamurthy, Orien- (An English Translation of tal Book Agency, Poona, 1955. Dhvanyāloka)

KANNADA WORKS

Jagannāthavijaya of Rudrabhatta Kannada Samkșipta Sāhitya by Prof. M. Mariappa Bhat, Carite Bharatī Prakāśana, Mysore, 1960. (1st edition) Rasaratnākara of Sālva, Ed. by A. Venkața Rao and Pandit M. Sesha Iyengar, Madras University Kanarese Series No. 2.

JOURNALS

Epigraphica Indica, Volume VIII. Indian Antiquary, Volume 19. Journal of American Oriental Studies, VII. All India Oriental Conference, Volume VIII-Article on "Date of Rasārņava-Sudhākara, of Singhabhūpāla" by A. N. Krishna Aiyangar.

13

INDEX OF TECHNICAL TERMS

अट्टहासः, उपहसितम्, 91 उपहसितम्, अट्टहास:, 90 अद्भुतम्, 95 उपेक्षा, 81 अधीरा, 19, 20 औत्सुक्यम्, 48, 64 अनुकल:, ॥ औदार्यम्, 2 अनुभावाः, 42, 43 करुण:, 83, 84, 91 अपस्मार:, 48, 60 कलहान्तरिता, 21, 24 अभिसारिका, 21, 26 कलाशील:, 10 अमर्ष:, 48, 55 कार्श्यम, 69 अरतिः, 70 किलकिन्चितम्, 33, 37 अलङकृतिः, 32, 42 कुट्टमितम्, 33, 38 अविकत्थनः, 8 कुतूहलम् 33, 40 अर्वाहत्था, 48, 62 कृतज्ञता, 3 अश्र, 44, 46 कृपावत्त्वम्, 7 आदर:, 19 कोधः, 27, 29 आलम्बनम्, 31, 32, 33 खण्डिता, 24 आलम्बनगुण:, 32 गर्व:, 48, 56 आलस्यम्, 48, 6। गाम्भीर्यम्, 7 आवेगः, 48, 61, 62 ग्लानि:, 48, 49 ईर्ष्या, 48, 55 चकितम्, 33, 40 ईर्ष्यामान:, 77, 78 चक्षु:प्रीतिः, 66 उग्र:, 48, 53 चाटुवच:, 79 उत्साह:, 4, 27, 29 चापलम्, 48, 65 उद्दीपनम्, 31 चिन्ता, 48, 54 उन्मादः, 48, 63, 72 चेट:, 13

196 RASAKALIKĀ OF RUDRABHAȚȚA 1

चेष्टा, 32, 33 नतिः, 80

जडता, 48, 51, 52 नायक:, 2

जागर:, 69 नायिका, 14, 89

जुगुप्सा, 27,30 नाश:, 87 निद्रा, 48, 57 तर्क:, 48, 62 निरोध:, 97, 98, 99 तटस्था:, 32, 42 निर्वेद:, 48, 49 तत्त्वसाक्षात्कारिता, 96, 97 परकीया, 14 तामसी, 47 तेजस्विता, 5 परुषा, 19, 21

त्रास:, 48, 54 पीठमर्द:, 13 प्रगल्भा, 18, 19 दक्षता, 6 प्रणयमान:, 77 दक्षिणः, 11 प्रलयः, 44 दयावीर:, 93 प्रलाप:, प्रलापिता, 66, 68 दानवीर:, 93 प्रवास:, 81, 82 दासी, 26 प्रस्तुतोपयोगी, 86, 87 दूती, 26 प्रातिवेशिनी, 26 दैन्यम्, 48, 53 प्रोषितभर्तृका, 21, 25 दोषनिग्रहः, 96 बिब्बोक:, 33, 39

धात्नेयी, 26 बीभत्स:, 94, 100

धार्मिकत्वम्, 6 भयम्, 27, 30, 99 धीरललितः, 8 भयानक:, 94 धीरशान्त:, 9 भावः, 33, 34 धीरा, 19, 20 मतिः, 48, 60 धीरोदात्त:, 7 मद:, 48, 57 धीरोद्धतः, 9 मध्या, 16, 17, 18 धृतिः, 48, 51, 52 मनःसङ्ग: 66, 67 धृष्ट:, 13 धैर्यम्, 5, 33, 35 मरणम्, 48, 57, 73 महाकुलीनता, 2

INDEX OF TECHNICAL TERMS 197

महाभाग्यम्, 3 विभ्रमः, 33, 37 माधुर्यम्, 33 वियोगः, 77 मुग्धा, 16, 17 विरहः, 75, 81, 83 मूर्च्छनम्, 72 विरहोत्कण्ठिता, 21, 23 मोट्टायितम्, 33, 38 विलास:, 10, 33, 36 मोहः, 48, 59 विषादः, 48, 64 युद्धवीर:, 93 विस्मयः, 27, 31 यौवनम्, 3 विहुसितम्, 90 रतिः, 27, 28 विहृतम्, 33, 41

रस:, 1, 66 वीर:, 93

रससङ्कर:, 86, 87 ब्रीडा, 48, 59

रसाभास:, 88 वेपथु:, 44, 46

राजसी, 47 वैराग्यम्, 96 रोमाञ्च:, 44, 45 वैवर्ण्यम्, 44, 45 रौद्रः, 92 वैस्वर्यम्, 44, 47

लज्जात्यागः, 71 व्यभिचारिणः, 48

ललितम्, 33, 40 व्याधि:, 48, 63

लिड्गिनी, 27 शङ्का, 48, 50 लीला, 33, 35 शठः, 12

वासकसज्जिका, 21, 22 शम:, 27, 31, 98 विच्छित्ति: 33, 36 शान्त:, 96

विट:, 13 शान्ति:, 99, 100 विदग्धत्वम्, 4 शिल्पिनी, 27

विदूषकः, 13 श्रम:, 48, 50, 51 विनीतता, 8 शृङ्गारनायकः, 9 विप्रलब्धा, 21, 23 शोक:, 27, 29 विप्रयोग:, विप्रलम्भः, 74, 75 संकल्प:, 66, 67 विबोध:, 48, 58 संज्वर, 71. विभाव:, 31 संभ्रम:, 81, 82

198 RASAKALIKĀ OF RUDRABHAȚȚA

संभोग:, 74, 84, 85 स्मृति:, 48, 56 संभोगविप्रयोगसङ्करः, 86 स्वप्न:, 48, 58 सखी, 26 स्वाधीनपतिका, 21, 22, 23 सन्तोष:, 96, 97 स्वीया, 14 सात्विका, 43 स्वेद:, 44, 45 सात्विकी, 47 सामान्या, 15 हसितम्, 41,90 सुभग:, 10 हर्ष:, 52, 48 स्तम्भ:, 44 हाव:, 33, 34 स्थायिभाव:, 27 हास:, 27, 28, 33, 41, 87, 89, 98, 99 स्मितम्, 90 हेला, 33, 34

INDEX OF ILLUSTRATIVE VERSES Page अकस्मादेव तन्वङ्गी SD.III. 109 ४२ अङ्गानामतितानवं AS. 45 ७८ अङ्गानि चन्दनरज: SKA. V. 154 ३६ अच्छिन्नं नयनाम्बु AŚ. 18 ७३ अजित्वा सार्णवामुर्वी KD.II. 284 २६ अत्रान्तरे किमपि Māl.Mādh. I. 26 ३३ अदृश्यन्त पुरस्तेन SKA. III. 133 ५६ अद्वतं सुखदुःखयो: URC. I. 39 अधीराक्ष्या: कटाक्षा ४४ - अनाघातं पुष्पं किसलयमलूनं Sak. II. 10 अन्त्रैः स्वैरपि संयताग्रचरण: DR.Avaloka II. p. 63 ४ अनिर्भिन्नो गभीरत्वादन्तर्गूढ URC.III. 1 ८४ अपराधी नामाहं प्रसीद Vik. Ur II. 21 अपसारय घनसारं K.Pr. VIII. 341 ४६ अभ्युस्थिते शशिनि DR. II. p. 85. ३७ अभयं सर्वभूतेभ्यः Simhasanadvatrimsika, Southern Recension अलसवलितमुग्ध Mal.Madh.I.28 ७६ अलसवलितैः प्रेमार्द्राद्रिः AS. 5 ३४ अशीमहि वयं भिक्षां Bh.S. Vairagya 55 ३१ असो विद्याधार: Mal. Madh II. 11 १० असंशयं क्षत्रपरिग्रह Sak. I. 20 ६० अस्तमितविषयसङ्गा DR.IV; Sarng P.3400 ५४ अस्थिस्थूणं ६५ अस्मान् साधु विचिन्त्य Sak. IV. 17 ५३ अस्मिन्नेव लतागृहे URC. III. 37 ७७७

200 RASAKALIKĀ OF RUDRABHAȚȚA

Page

अस्या: सर्गविधौ Vik. Ur. I. 10 ३२ अहौ वा हारे वा कुसुमशयने Bh. S. Vairagya 1 ६७ आत्मानमालोक्य च Ku. S. VII. 22 ६५ आदर्शनात् प्रविष्टा सा Vik. Ur.II. 2 १५ आदृष्टिप्रसरात् प्रियस्य AS. 11 २५ आयस्ता कलहं पुरैव AS. 63 २० आशा नाम नदी Bh. S. Vairagya 10 ६७ आहृतस्याभिषेकाय DR. II. p. 55, 64 ७

इदमालक्ष्य दन्तांश ६१ इन्दुः सीतावदनसदृशः ईदृग् सुगन्धि १०० בב

ईर्ष्यावशात् कापि विहाय ८१

उत्कृत्योत्कृत्य कृति Mal. Madh. V.16 ६५ उत्कृत्योत्कृत्य गर्भानापि Mah. VC. Il. 48 उत्तालताटकोत्पात Mah. VC.I. 31 ७ उत्पत्तिदवयजनात् Mah. VC. I. 21 ६६ उत्तिष्ठ दूति यामो यामो Subhasitavali 1940 २३ उन्मादिकोकिल ४७ उन्मीलितं तूलिकयेव Ku. S. I. 32 १७ उरसि निहितस्तार: AS. 29 २६ एकं ध्याननिमीलनात् SD.p. 527 १०० एकत्रासनसङ्गतिः AS. 17 १६ एकस्मिन् शयने AS. 21 ८५ एकीकृतस्त्वचि निषिक्त Mal. Madh.IV. 12 ७४ एतस्मिन् मदकल URC. I. 31 ४७ एवं वादिनि देवर्षा Ku. S. VI. 84 ६३ एषा चेष्टानुकारेण ३६ एषा मनो मे प्रसभ Vik. Ur. I. 20 ६७

INDEX OF ILLUSTRATIVE VERSES 201

Page

कपोले जानक्या: Mahānāțaka III. 16 ६३ कर्णस्त्वचं शिबिर्मांसं DR. II. p. 52 ३ कल्याणदायि भवतोऽस्तु ५४ कश्चित् कराभ्याम् RV. VI. 13 ६५ कान्तानां कृतपुलक: Kirāt. VII. 5 ४५ कान्तास्त एव भुवन SD. III. 265 किमिदं तव त्न्वद्धि ४५ किसलयमिव मुग्धं URC. III. 5 ५० कुसुमशयनं न प्रत्यग्नं Vik. Ur. III. 10 ७० कृतेऽप्याज्ञाभङ्ग DR.Avaloka IV. p. 175 ७६ कोपात् कोमललोल AS. 10 २१ कोपो यत्र भ्रुकुटिरचना AS.33 २० क्वचित्ताम्बूलाक्ता: AS. 65 १६ क्वाकार्य शश K.Pr. ६४ क्षामक्षामकपोलम् Sak. III.8 ६६ गते प्रेमावेशे प्रणयबहुमाने AS. 38 50 गाढालिङ्गनवामनीकृत AS. 35 १८ गोभि: क्ीडितवान् कृष्णः २८

चञ्चद्भुजभ्रमित VS. I. 21 २६ चित्रवर्तिन्यपि नृपे Navasahasankacarita VI. 42 ३८ व्युतामिन्दोर्लेखां SKA.V. 112 ६० जगति जयिनस्ते Mal. Madh. I. 36 : २८ जातस्य ते पितुरपीन्द्र URC. V.24 जाने तपसो वीर्य Sak. III. 2 ५२ ११ ज्वलतु गगने रात्रौ Mal. Madh. II. 2 ३५ तटस्थं नैराश्यादपि• URC. III. 13 १०१ ततः सुनन्दावचना RV. VI. 79 ७१

202 RASAKALIKĀ OF RUDRABHAȚȚA

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तदन्वये शुद्धिमति RV. I. 12 २ तदवितथमवादी: Sis. V.XI. 33 २४ तद्वक्त्रं नयने च ६८ तस्य प्रसह्य हृदयं RV. VIII. 91 ६३ तावन्तस्ते महात्मान: DR. II. p. 129(Udattaraghava) ६६ तिष्ठेत् कोपवशात् Vik. Ur. IV. 6 ८३ तीर्थे तोयव्यतिकरभवे RV. VIII. 93 तीव्राभिषङ्गप्रभवेन Ku.S. III. 73 ६० त्रस्तकहायनतुरङ्ग URC. III. 28 ८३ त्नस्यन्ती चलशफरी Sis. VII. 24 ४१

दष्टमुक्तमधरोष्ठ Ku.S. VIII.18 ३६ दृष्टि सालसतां बिर्भात DR. II. p. 67,81 ३४ देशैरन्तरिता शते AS. 92 दोर्दण्डाञ्चितचन्द्रशेखर Mah. VC. I. 54 ३१

धत्ते चक्षुर्मुकुलिनि Mal Madh. III. 12 ७३ धृतायुधो यावदहं VS. III. 46 ५६ न खलू वयममुष्य Sis. V. 53 ८० न च मेऽ्वगच्छति Śiś. IX. 56 २६ नादस्तावद्विकलकुररी Mal. Madh. V.20 ६२ निपात्य धरणीपृष्ठे ६० निःश्वासा वदनं दहन्ति AS. 98 २४ निष्कण्टकां विधायापि ३ न्यककारो ह्ययमेव मे Mahanataka VI. 95 ४६ पटालग्ने पत्यौ नमयति AS. 39 ५६ पत्यु: शिरश्चन्द्रकला Ku.S. VII. 19 ४१ पथि पर्थिकवधूभिः Mahanataka II. 15 परिमृदितमृणाली Mal. Madh. I. 22 ४६ पाणिपल्लवविधूनन Kirat. 9.50 ३७

INDEX OF ILLUSTRATIVE VERSES 203

Page पादास्त एव शाशिन: Vik. Ur.III. 20 ५२ पुराभूदस्माकं AS. 81 पौलस्यपीनभुज DR.IV. p. 138 ६२ प्रत्यग्रोन्मेषजिह्या Setu. 11. 105 ५६ प्रभवति मनसि विवेक: Pc. I, II. १०० प्रशान्तशास्त्रार्थ Bh.S. ६६ प्रसाधिकालम्बित Ku.S. VII. 58 ४० प्रस्थानं वलयै: कृतं AS. 33 ७२ प्रादुर्भवन्ति वपुषः Pc. V. 21 प्राप्ताः श्रिय: सकल Bh.S. Vairagya 67 ४८ प्राप्य मन्मथरसादति Sis. X. 80 ५१ प्रारभ्यते न खलु Bh. S. Niti 72 ५ प्रेमार्द्राः प्रणयस्पृशः Mal. Madh. V.7 ४४, ६८ बाले लीलामुकुलितममी Bh. S. Srngara 62 श्रूत नूतनकुश्माण्ड Sarng. 262 ६ भूयो भूय: सविधनगरी Mal. Madh. I. 15 ७६ मधुद्विरेभ: कुसुमैकपात्े Ku. S. III. 36 मनः प्रत्यक्चित्ते SKA.III. 151 ७६ मन्त्रान्मृत्युजितः SKA.V. 21 ३० मयि तिष्ठति लोकेऽस्मिन् ५६ मा गर्वमुद्ह कपोलतले SKA. V. 28 (ascribed to Kesata) ४६ मातः कं हृदये निधाय DR. II. p. 86 २७ मातर्मातर्जनक जनक Saduktikarnamrta, 1500 ६१ मामाकाशप्रणिहित Megh. II. 39 ५८ मुक्ताहारलता रणन्मणि Pc. मुग्धे मुग्धतयव AS. 8 मृतेती प्रेत्यसङ्गन्तुं KD. II. 280 १७ =५ मे दोऽसृ क्पूयविण्मूत्र

204 RASAKALIKĀ OF RUDRABHAȚȚA

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यः परवादे मूकः Subhasitavali. ६ यद्ब्रह्मवादिभिः Mah. VC. IV. 21 याता: किन मिलन्ति AS. 11. यासां सत्यपि सद्गुणानु SD.III. 100 ३ ६ युवा युगव्यायत RV.III. 34 ४ यो यः शस्त्रं बिभर्त V.S. III. 32 ५३ योषिन्मध्ये सभामध्ये

रक्षसा मृगरूपेण RV.XII. 43 ४ रतिखेदसु Vik. Ur. IV. 72 रम्यं द्वेष्टि यथा पुरा Sak. VI. 5 ७० राजन्नर्जुनदेवमूति ७१ राजेन्द्रमौलिमणिरज्जित ८४ राज्यं निजितशत्रु Rat. I. 10 राहोश्चन्द्रकलामिव ८६ रूद्राद्रेस्तुलनं स्वकण्ठ Bal. R. I. 51 4. रूपसंपन्नमग्राम्यं १४

लद्युनि तृणकुटीरे DR.IV. p. 135 लाक्षागृहानलविषा V.S. I. 8

लाक्षालक्ष्म ललाट AŚ. 71 १३ लालयन्नलकप्रान्तान् २२ लिखन्नास्ते भूरमिं AS. 8 ८१

लीनेव प्रतिबिम्बितेव Mal. Madh. V.10 ७२ वयमिह परितुष्टा Bh.S. Vairagya 53 ५२ विनिश्चेतुं शक्यो न URC. I. 35 ८६ विललाप सबाष्प RV. VIII. 43 हर विस्तारी स्तनभार DR. II. p, 67 १६ विस्रस्तमंसादपर: RV. VI. 14 १०

INDEX OF ILLUSTRATIVE VERSES 205

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वृद्धास्ते न विचारणीय URC. V. 34 ५५ वृद्धो मत्पतिरेष ६१ व्यर्थ यत्र कपीन्द्र URC. III. 45 ६४ व्याहृता प्रतिवचो न Ku. S. VIII. 2 १७ शठोऽन्यस्या: काञ्ची AS. 73 १२ शपान्तो मे भुजगशयनाद् Megha II. 47 शिथिलशिथिल न्यस्य ८३ ५१ शुण्डार: कलभेन Mah. VC.I. 53 शूर्पणखोत्पातदर्शी Bal. R. ६

श्रुत्वा सखीभि: कान्तस्य श्लाध्यस्त्यागोऽपि RV. XV. 61 १७

सखि स विजितो वीणा DR. II. p. 76 ११

स त्वं मदीयेन शरीर RV.II. 45 २३

सभ्रुभङ्ग करकिसलय DR. Avaloka II. p. 87 ६३

संक्षिप्येत क्षण इव ४० Megha II. 41 संप्राप्तनेपथ्यविधान ७५

संभूयैव सुखानि चेतसि Mal. Madh. V.9 २२

सरसिजमनुविद्धं Sak. I. 18 ७०

स वेलावप्रवलय RV. I. 30 ३५

३ सायंतने सवनकर्मणि Sak. III. 25 सुतनु जहिहि मौनं AS. 34 सुन्दरी वा न वेत्येव KD.II. 129 ३३ सुरेन्द्रमात्राश्रितगर्भ RV. III. 11 ६१ सुप्तोऽयं सखि सुप्यताम् AS. 32 95 सोऽपि स्ववीर्यादवतार्य स्तनतटमतीव तुङ्गं DR. II. p. 70 १८ स्त्रीणां पुंसां सखीनां ८७ स्नाता तिष्ठति कुन्तलेश्वर Bh. Pr. 302 १२

206 RASAKALIKĀ OF RUDRABHAȚȚA

Page स्मरदवथुनिमित्त DR. Avaloka II. p. 83 ३८ स्मररसनदीपूरेणोढाः AS. 60 ७७ स्वगेहात्पन्थानं DR. IV. p. 184 हरस्तु किंचित् परिलुप्त Ku. S. III. 67 ६७ हावहारि हसितं वचनानां Sis. V.X. 13 ५७ हारोऽपि नार्पित: कण्ठे Mahanataka II. 25

३० हृदयमिषुभि: कामस्यान्तः Vik. Ur. II. 10 ६६ हृदयान्नापयातोर्ऽससि Mahanataka III. 24 २६ हृदये वसतीति मत्प्रियं Ku. S. IV. 9 ८४ ह्निया सर्वस्यासौ Rat. III. 4 ५०

ERRATA

Page. Line For Read

xviii 7 have has

xxxii holds holds on

xxxiv 24 good a good

26 content where content

XXXVI 13 treats of them treats them

x1 Page no. Ix xl

103 3 Pathethic ... horrifying pathetic ... furious

108 10 worth worthy

111 26 attendent attendant

115 5 Symmentry Symmetry 116 14 betal betel

125 14 dieties deities

130 3 Sportivness Sportiveness

135 4 state states