11. CHAPTER SIX

CHAPTER SIX

RASA-ITS CONSTITUENTS AND RELATION WITH NĀTYA.

SECTION A.

1. Rasa-Its constituents.

In the last chapter in the section of the classification of Rasa it has been seen how different mental conditions ( Chittavrttis ) are themselves Rasas according to some authori- ties and how they are involved in the relish of Rasa as others say. These mental conditions come into being at the recital of a poetic composition or the sight of a dramatic representa- tion. When these mental conditions come into being, the whole man is under their influence. Every chord, every nerve then vibrates ; and when they have subsided they leave behind them impressions which remain dormant till revoked. When these mental conditions came into existence for the first time in everyday use in this world is a question which is concerned with philosophy rather than with lierature. There is, no doubt, that when man wanted to have for himself an object, he made efforts for it. When he got it he experienced pleasure. On the other hand, if his efforts failed he was sorry. He was even angry with the factors that impeded its attainment. Thus he experienced different mental conditions. These mental conditions are called the Chittavrttis-a word which is also used for im- pressions ( Bhvas )1 left by them. As reagrds the Chitta-

1. N. S. (G. O. S.) VII. p. 343 (Com.).

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vrtti as impressions some of them are had in this birth but they are also said to have been handed down even from previous births as they exist in the subtle body ( Sūksma Śarīra ).1 The soul, therefore, in the subtle body becomes endowed with these impressions which lie in a dormant state and are thus left as faint reminiscences just as the smell ( of flowers etc. ) lingers in a piece of cloth long after the flowers etc. are removed.2 Abhinava testifies to the fact of the soul being possessed of these impressions when he says that by birth the living being is possessed of the different kinds of knowledge ( Samvit)3 which he describes in details. They pervade the mind, so great is their influence. They are variously called the Vāsanās, the Chittavrttis and the Samvits.4 They are also called the Bhävas and are of different kinds when considered from different points of view. They are of different nature according to different persons. For instance, some persons have some of these in their fullness and intensity whereas others have them in name only with no intensity and strength. Such impressions even get effaced due to two reasons : firstly, when they are fully satisfied they get exhausted and secondly, they become worn out when long left out of use. This explains clearly the fact that those who have such types of impressions even from previous births can hardly have any kind of pleasure based on the provocation of the above impressions, if at all present within them. Exceptions also occur when such faint impressions by constant use and concentration get strengthened and pleasure on their basis is enjoyed. Some of these impressions are confined to proper objects whereas others become aberra-

1. Sān. Kā. 40. 2. N. S. (K. S. S.) VII. p. 79. 3. N. S. (G. O. S.) VI. p. 284 (Com.). 4. Ibid.

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tions. In the same way some prove to be of use towards the attainment of the Purusartha whereas others not.1 According to their intensity, duration, permanence etc. these impressions ( Bhāvas ) are, therefore, of many kinds. According to the Bengal Vaisnavism of the Chaityanya school, however, the Bhäva in the Bhava-bhakti is explained in its own way. The Bhäva-bhakti may be the frther maturing of the Sädhana -- bhakti2 which is of two kinds : the Vaidhī and the Rāgānuga both attained by means and ways prescribed in the Sastras as described in the second Laharī of the Pūrvavibhāga in the Haribhaktirasāmrtasindhu. The Vaidhi concerns itself more with the outward rule and form but the Rāgānugā passes from this outwardness 'to an inner and more esoteric way of realisation, based upon the cultivation of inward feelings of devotion,'3 for 'in the Vaidhi the realisation is through the injunction ( vidhi) of the Sästra, but here it is through the greed (lobha) of realising the feelings of the people of Vraja.'4 The latter is achieved through living imaginatively in one of the ways as Sakhī- bhava etc. as a beloved of Krsna and it is by visualizing such scenes as the whole Vrndāvana Līlā that the passionate feelings are realized. It is mainly of two kinds : the Kāmarūpā and the Sambandharūpa. The former leads to the Sambhogatrsna ( desire for enjoyment ) where the effort is only to please Krsna ; the latter consists in establishing various relationship ( as that of father etc. ) with Krsna. The Rāgānugā is further divided into the Kāmānugā or the Sambandhānugā according to the above two divisions. The Bhäva-bhakti may also develop merely through the

1. N. S. (G. O. S.) VI. p. 284 (Com.). 2. V. F. M. B. p. 133. 3. Ibid. p. 130. 4. Ibid.

407 grace of the devotees of Krsna or his own grace.1 The Bhāva, therefore, may be the Sādhanābhiniveśaja (born of the two kinds of Sādhana, the Vaidhī and the Rāgānugā described above ) or the Krsnatadbhaktaprasādaja ( born of the grace of the devotees of Krsna ) or the Krsnaprasādaja (born of the grace of Krsna ) through his word ( Vāchika) or gift of light ( Ālokadāna ) or cordiality ( Hārda). The two latter cases do not require any effort, but they are rare. The Bhäva is of the nature of a particular pure Sattva feeling bearing resemblance to the rays of the sun of Preman and bringing about the smoothness of the mind through desires explained in the com. as the Bhagavatprāptyabhilāșa (desire for the attainment of the Lord), the Tadānukūlyābhilāșa ( desire for his favour ) or the Tatsauhārdābhilāșa ( desire for his friendship).2 The Bhäva at this stage is another name for the Rati etc. and not for Preman which is a higher stage of the Bhäva when it gets rivetted to Krsna. The author expressly points out here that the Rati and the Bhäva in the Purāņa and the Nātyasāstra have been taken here as the same.3 The Bhäva at first in its semblance may arise in the seekers after the Bhoga ( worldly enjoyment) and the Moksa ( liberation ) or in those who are a bit curious. It may suddenly turn into the real emotion. The Bhāva may also disappear due to offence done to Krsna or his devotees.4 The Bhāva requires further maturing into Preman so that the love rivetted to any other object may be removed and got concentrated on Krsna. The Bhāva then becomes solidified into Preman which renders the soul wholly smooth, and is teeming with excessive attachment.5 The Preman may be Bhavottha

1. V.F. M. B. p. 133. 2. R. H. S. p. 101. Com. 3. Ibid. 8-9. p. 104. 4. Ibid. 28-29. p. 113. 5. Ibid. 1. p. 115.

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( arising from the Bhava ) or Hareh Atiprasadottha ( arising as an excessive grace of Hari ).1 The former may be either Vaidhabhävottha ( arising from the observance of the injunc- tions prescribed in the Śāstras ) or Rāgānugābhāvottha (arising out of the Rāgānugābhāva). The latter, that is, Hareh Atipra- sādottha may originate from Hari's grace which may be either Kevala ( not dependent on any other circumstance hence being Rāgānugā) or Māhātmyajñānayukta ( consequence of the knowledge of his greatness hence following the Vaidhī Mārga ). The order in which the Prema bhakti develops is Śraddhā ( faith ), Sādhusanga ( company of saints ), Bhajana- kriyā ( acts of worship ), Anarthanivrtti ( withdrawal from unworthy objects ), Nisthā ( devotion ), Ruchi ( desire), Āsakti (attachment), Bhava ( emotion) and finally Preman ( developed form of emotion ).2

(1) Sthāyibhāvas (Permanent emotions). Those of these impressions which remain permanent even after the mental conditions have subsided are called perma- nent emotions. It is these emotions which finally mature into Rasas as they do not lose their individuality in others. They are like kings or preceptors whereas others serve them like subjects or pupils.3 They are like lords attended upon by others as servants ; other Bhavas, therefore, become subordinate to them.4 It is in keeping with the statement that, where many Bhävas have combined together, the Bhäva which assumes the biggest dimension is the Sthāyi- bhava, others are only transitory.5 This, in other words, means that they are not suppressed or have their sequence

1. R. H. S. 3. p. 115. 2. Ibid. 6-7. p. 117. 3. N. S. (K. S. S.) VII. 8. 4. Ibid. VII. p. 81. 5. Ibid. VII. 119.

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broken either by opposite or non-opposite Bhavas;1 on the other hand, they bring these latter to fit in with their own selves, like the ocean. These are the principal factors as other Bhāvas do not suppress them but make themselves subordinate to them.2 This clearly puts forward the im- portance of the Sthayibhava as capable of assuming the biggest dimension and converting itself into Rasa with the subordinate co-operation of others.3 Abhinava advances some other arguments for its importance. He says that the Sthayibhava it is which is the object of relish ; therein are present some impressions attached to the Purusarthas, hence it is important;4 he explains this position in continuation. Abhinava, thus, puts two more arguments, viz. those of relish and utility for the Purusārthas, in the importance of the Sthayibhava. The relishable nature of the Sthāyibhāva is also attested by Viśvanātha.5 Bhāndudatta gives one more characteristic of the Sthāyibhava. He says that the Sthāyibhāva lasts so long as the relish continues.6 thus implying that others simply come and go. This is just like the position hinted at by Viśvanātha when he says that just as the thread runs through the whole garland, so does the Sthāyibhāva underlie all others7 (Bhāvas )-a fact which in connection with the transitory emotions was long ago predicated of the Sthāyibhāvas by Abhinava also.8 The above views establish the foremost importance of the Sthāyibhāva for various reasons adduced above. Śārnga- deva maintains the importance accruing to the Sthāyibhāva

1. D. R. IV. 34 .; S. D. III. 174 ; R. G. p. 31. 2. B. R. T. p. 11. 3. B. S. K. V. 19. 4. N. S. (G. O. S.) VI. p. 383 (com.). 5. S. D. III. 174. 6. B. R. T. p. 12. 7. S. D. III. 174(Com.). 8. N. S. (G. O. S.) VI. p. 284 (Com.).

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in some other way. He says that the Rati etc. are the Sthāyi- bhävas when they are provoked by plenty of the Vibhāvas ; when, however, awakened by a few Vibhāvas, they become the Vyabhichāribhāvas.1 This keeps the Sthāyibhāva on a par with the Vyabhichäribhäva when both are in a dormant and unprovoked state, but it is in no way an attempt to diminish the importance otherwise coming to be attached to the Sthayibhavas as he intends simply to point out that when the Vibhāvas are in plenty, the impressions become firm whreas in case of the paucity of the Vibhavas they become suppressed.2 It is to be noted here this statement never means to say that the Vybhichāribhāvas when provoked by plenty of the Vibhavas become the Sthāyibhāvas. As the statement goes it is concerned mainly with the function of the Sthāyibhāvas which become either the permanent emotions or the transitory emotions accor- ding as they are evoked by plenty of the Vibhāvas or not. The above writer then describes which Sthayibhava func- tions as a Vyabhichāribhāva where another Sthāyibhāva. remains as the Sthāyibhāva. He describes the Sama as the Sthāyibhāva only in the Sānta Rasa, in other Rasas it. functions as a Vyabhichāribhāva.3 Panditarāja Jagannātha accepts the above view. He points out that in the Vira the Krodha, in the Raudra the Utsāha and in the Śrngāra the Hāsya should function as respective Vyabhichāribhāvas. Each Vyabhichāribhāva is indispensable (Nāntarīyaka ). Explaining the word, Nantariyaka, the com. says that without the Vyabhichāribhāva the Sthāyibhāva is impossible to be

1. S. D. S. R. VII. 1533. 2. Ibid. (Com.). 3. S. D. S. R. VII. 1534-1535.

411 provoked. This is, no doubt, explaining the function of the Vyabhichāribhāva, but it also bears witness to the keen and subtle insight of the scholar into the human mind. He says that when to help the maturing of the principal Sthāyi- bhāva such Vyabhichāribhāva comes to be provoked by many Vibhavas, it becomes the Rasavat etc.1 Considering all the impressions in the light of the above points Sanskrit scholars have come to the conclusion that the Sthāyibhāvas are nine in number out of which the Sthāyibhāva of the Śānta Rasa is present in all other Rasas as a Vyabhichāri- bhāva whereas the Śānta has also been recognized as the original nature of other Rasas. The Sthāyibhāvas usually counted by them are the Rati, the Häsa, the Soka, the Krodha, the Utsäha, the Bhaya, the Jugupsa, and the Vismaya though at one place Sāgaranandin counts the Trāsa as the Sthāyi- bhava while in the regular list of the Sthāyibhāvas he gives the Amreda in place of the Utsāha.2 Hot controversies, however, have ranged round the Sthāyibhāva of the ninth Rasa, that is, the Śanta. Raghavan has considered the question in details. He concludes in agreement with Abhinava that the Atman, or the Atmajñana, or the Tattvajñāna should be the Sthāyibhāva of the Sānta Rasa.3 Vatve's statement that the Nirveda has been postulated as the ninth Sthāyi- bhāva is only partially acceptable4 and his final acceptance of the Śama as the Sthāyibhāva not because it deserves to be the Sthāyibhāva but because the Sānta Rasa has to be re- cognized as a Rasa5 cannot hold ground. Vatve does not accept the Jugupsa and the Krodha as separate Sthāyibāvas, consequently he does not accept the Bībhatsa and the Raudra

1. R. G. p. 31. 2. N. L. R. K. pp. 11 & 83. 3. R. N. R. chap. IV. 4. V. R. V. p. 111. 5. Ibid. p. 125.

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Rasas.1 For the Vira Rasa he does not accept the Utsaha as the Sthāyibhāva but replaces it by the Amarsa.2 The author appears to have been influenced by the idea that just as the Sthāyibhāvas become the Sañchāribhāvas they can be interchanged. For all this considertion his basis is the modern psychology as developed by European scholars. He, however, seems unable to shake off the leanings which he might have unwillingly developed due to forced respect towards the ancient tradition, to Bharata or to Abhinava, as he makes the number, that is, nine, complete by adding the Bhakti and the Vatsala to the list of the recognized Rasas.3 He has made the modern European psychology the touchstone of the Rasasastra of Sanskrit scholars. He, however, seems to have paid no attention to certain funda- mentals of the Rasaśāstra. For example, the question as to the place accorded to the doctrine of the belief in previous births seems to have been hardly considered. The impre- ssions ( Vāsanās) coming from previous birth did not receive any recognition. Moreover, the modern psychology deals with the material as it actually happens on the perceptual plane; Rasa, on the other hand, is transcendental ( Alaukika ) in the sense that it is enjoyed when the actual things and happenings are dramatically represented. How far Rasa can be interpreted in terms of the modern Europen psycho- logy is a question which requires to some extent non-recogni- tion of the fundamentals of Sanskrit literature. It is strange here to think as to why the Hāsya and the Bhayānaka Rasas have been given the same importance as other Rasas when their Sthayibhavas cannot be maintained for a long time.

1. V. R. V. pp. 348-349. 2. Ibid. pp. 125-127 & 348. 3. Ibid. pp. 326-330.

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The Adbhuta Rasa, too, should share the same fate for the Vismaya does not last long. Abhinava's enumeration of the Sthayibhavas seems to be the standard one. While deciding the Sthayibhava as superior to other Bhāvas he says that when a statement as 'Rāma Utsāhaśaktimān' is made, no further question is necessary but when the statement is in the form 'Glānoyam' the question as to the cause of the Glāni (dejection ) at once arises.1 This brings out the dependent and the evanescent nature of the Vyabhicharibhavas. The other kind of the Bhavas, there- fore, are the transitory emotions. According to the Bengal Vaisnavism of the Chaitanya school the Preman stage is the stage of the Sthāyibhāva which can mature into Rasa. This Preman stage is the Krsna Rati which is the Sthāyibhāva. The Vāsanā of this Sadbhakti is to be found existing in the form of latent germs in the devotees. The Vāsanā may be the Prāktanī ( coming from previous births ) or the Ādhunikī ( coming into existence in this birth ). In matter of this recognition the school is in accord with the tenets of the orthodox Sanskrit poetics.2 . The Krsna Rati may be the Mukhya (principal ) or the Gaunā ( secondary ) according as it is directly or indirectly connected with Krsna. The Mukhya is of the nature of a particular pure Sattva and has two kinds : the Svärthā ( which streng- thens itself by non-opposite Bhāvas and gets weak by opposite Bhāvas ) and the Parārtha ( which contracts in itself all the opposite and the non-opposite Bhavas and takes after the Bhava ). Both kinds have five sub-divisions : the

1. N. S. (G. O. S.) VI. p. 284 Com. 2. R. H. S. p. 121.

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Śuddhā, the Prīti, the Sakhya, the Vātsalya and the Priyatā. The first, that is, the Śuddhā is the Sāmānyā(found in children and ordinary people, not attaining to any speciality hence unfit to mature into Rasa ) or the Svachchhā ( clear and reflec- ting the difference of the devotees as in a mirror, and unfit to develop into Rasa as the devotion does not get deeply fined ) or the Sänti ( representing the Nirvikalpatva in mind hence fit to be developed into Rasa ; it is placid and undisturbed). The Śanti Rati is the stage which as said above culminates into Rasa but as it is unmixed with the Priti etc. it is called the Śuddhā. The next three, that is, the Prīti, the Sakhya and the Vātsalaya are called the Hrdyā as in them the affection thic- kens. Each is of two kinds : the Kevalā and the Sankulā. The former is unmixed with others while the latter is mixed with others. The Santi ( the third kind of the Suddhā ), the Prīti, the Sakhya, the Vātsalya and the Priyata are the five Sthayibhavas of the five kinds of the Mukhyā Rati. Of the Gauni Rati the Sthayibhavas are the Hasa Rati, the Utsāha Rati, the Soka Rati, the Krodha Rati, the Bhaya Rati, the Vismaya Rati and the Jugupsa Rati.1 Out of these the first six can have Krsna as the Vibhāva though in cases of the Krodha Rati and the Bhaya Rati the opponents can also be the Vibhävas. Due to this the above two have two kinds each. In case of the Jugupsā, however, Krsna is never the Vibhäva. In it the body, the skin etc. are the Vibhāvas. It is of two kinds : the Vivekajā and the Prāyikī.2 The Hsa Rati has been recognized to be of six kinds : the Smita, the Hasita, the Vihasita, the Avahasita, the Apahasita

1. R. H. S. pp. 283-292. 2. Ibid. p. 470.

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and the Atihasita.1 The Vismaya Rati is of two kinds : the Sākșāt (perceptual) and the Anumita ( inferred ).2 (2) Vyabhicharibhavas ( Transitory Emotions ). These transiory emotions, therefore, depend on some Sthayibhavas for they by themselves are weak. They strengthen the Sthayibavas. They are so called because they function favourably in different Rasas in many ways.3 As they are connected with the Sthayibhavas, the latter run through them like thread in the garland.4 It has already been seen that the mental conditions ( Chittavrttis ) invariably leave behind them those impressions which predominate in them. These impressions exist as the Vāsanās even in the absence of their provoking factors as the Vibhāvas. This, however, is not the case with the Vyabhichāribhāvas. In the absence of the Vibhävas etc. they have no independent existence,5 for they are not invariably left behind as impressions by the mental conditions after they have subsided. They function favourably towards the Sthāyibhāvas emerging out of, and submerging in, the Sthāyibhāvas like ripples on the surface of the ocean.6 Bhoja says about them that they are produced but do not remain7 long-a satement which is confirmed by Panditarāja Jagannātha when he says that the manifestation of the Vyabhichāribhavas is like the flash of lightning.8 Bhoja also recognizes them as the cause of the

1. R. H. S. p. 437. 2. Ibid. p. 441. 3. N. S. (K. S. S.) VII. p. 84. 4. N. S. (G. O. S.) VI. p. 284 (Com.). 5. Ibid. VI. p. 285 (Com). 6. D. R. IV. 7. 7. B. S. K. V. 22. 8. R. G. p. 31.

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Anubhavas.1 The other name for the Vyabhichāribhāvas is the Sañcharibhavas. The Vyabhicharibhava and the Sañchāribhāva have been respectively explained in the Sāhityakaumudī as that which goes towards the Sthāyibhāva as a help and that which accelerates the speed of the Bhava.2 Bhānudatta gives the definition in a comprehensive way when he says that they function in Rasas, they reside in many Rasas and pervade many Rasas.3 The Sañchāribhāvas or the Vyabhichāribhāvas are, thus, the transitory emotions having no permanent character ; they arise and help the Sthayibhavas to attain their fully matured stage, Rasa. The generally recognized list of these Vyabhicharibhavas gives their number as thirtythree. Sagaranandin puts the Saucha4 in place of the Supta or the Supti in the list. This replacement seems to be made on the reflection that as the Nidra already includes the Supta, a new Vyabhichāribhāva can convincingly be advanced. This line of argument as also that the Sthayibhavas become the Vyabhichāribhāvas, perhaps, suggested to Raghavan that the number of the Vyabhicharibhavas in the recognized list can be reduced or enhanced. Out of so many suggested cases of reduction is one which considered the Nidra and the Supta as repetitions and hence recommended that one of them should be removed from the list, though the delicate distinction between the two is accepted.5 Raghavan again says that the number can be changed as attempts are visible

1. B. S. K. V. 21. 2. V. S. K. IV. pp. 29-30. 3. B. R. T. V. p. 71. 4. N. L. R. K. p. 83. 5. R. N. R. pp. 158-159.

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on the part of so many Sanskrit scholars. He shows how Bhoja in the Śrngāraprakāśa has no place for the Apasmāra and the Marana in the list but adds the Irsya and the Sama. Bhoja again counts the Sneha in the list in the Sarasvatī- kaņthābharaņa. Śinga Bhūpāla rejects the Īrșyā and the Sneha and says that the Vyabhichāribhāvas cannot be more. By way of an example he mentions the Udvega, the Sneha, the Dambha and the Irsya and points out their inclusion in the recognized number, that is, thirtythree.1 Bhānudatta also at first raises the point that the ten Madanāvasthās (stages of growing love ) are no doubt, the Vyabhichāribhāvas but later on their inclusion in one or the other of the recognized Vyabhichāribhāvas is shown; only one, the Chhala, is given an independent existence.2 But Raghavan points out its inclusion in the Avahittha.3 In the Haribhaktirasämrtasindhu the recognized thirty- three Vyabhichāribhāvas have been accepted as such. Thirteen more have been advanced for consideration, but their inclusion in the above thirtythree has been shown. The point worth notice here is the classification of these Vyabhichāribhāvas into the Paratantra ( dependent on the dominant emotions ) and the Svatantra ( independent ). The former has been sub-divided into the Vara and the Avara. The Varas have been further divided into the Sākșāt and the Vyavahita. These two respectively bring about the maturity of the Mukhya Rati and the Gauni Rati. The Avara is that which is not subordinate to either of the two Rasas (though De defines it as that which 'may be sub-

1. R. N. R. p. 160. 2. B. R. T. V. p. 109. 3. R. N. R. p. 160. 27

418 ordinated to two different Rasas' in the V. F. M. B. p. 142 ). The latter, that is, the Svatantra may be of three kinds : the Ratisūnya ( in those persons who are devoid of the Rati ), the Ratigandhi ( even independent showing a smell of the Rati ) and the Ratyanusparsana ( devoid of the smell of the Rati incidentally touching it ).1 De gives only the first and the second kind.2 This consideration is in connection with the Vyabhicharibhavas as dealt with in the Vaisnava school of Chaitanya in Bengal in which love of Krsna is the prin- cipal point. Raghavan puts the Vyabhichāribhāvas recognized by the Ālankārikas into different categories. He says, "But out of these numberless subsidiary mental states, there are a few which are more major, ...... but they are more definitely mental states than others which are physical manifestations."3 Raghavan in the above words is not so definite about some Vyabhichāribhāvas as mental states though he says that they are physical manifestations. He does not negate their being mental states. But Vatve interpreting perhaps the clue wrongly and taking avowedly his stand on the modern European psychology classifies these Vyabhichāribhāvas into four different but definite categories.4 According to his classification a particular set of the Vyabhichāribhāvas is recognized as mental, some Vyabhichāribhāvas as ex- pressions of emotions while others as physical conditions etc. In connection with their classification as physical conditions the point that arises for consideration is as

1. R. H. S. pp. 269-271. 2. V. F. M. B. p. 142. 3. R. N. R. p. 159. 4. V. R. V. pp. 128-129.

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follows. If they are physical expressions what is the necessity of each being represented by particular Anubhāvas as mentioned by Bharata in the seventh chapter of the N. S. ? Is it not inconsistent with what Vatve himself has admitted just before ? For instance, while enumerating the thirty three Vyabhichäribhāvas he counts the Marana which just after it in the bracket he explains as 'the mental condition before death.'1 Have they not been recognized as transi- tory emotions by almost all Sanskrit authorities ? That they are such and not merely physical manifestations has been attested by all. Though some of these are so out- wardly expressed that it is open to doubt if they are emo- tions, yet that they are such stands as an undoubted fact. That others are more mental than physical has been recognized by Sanskrit authorities. It is quite certain that these Vyabhichāribhāvas are not permanent like the Sthāyibhāvas as the latter do exist independently by themselves. There are, however, some other emotions about which a lot of discussion has been raised. They are the Sāttvikabhāvas. (3) Sāttvikabhāvas (Emotions arising from the very essence of the being ). The Sāttvikabhāvas appear more as physical manifes- tations but they are counted among the Bhavas. They are called the Sāttvikabhāvas arising from the essence of the being. Their nature becomes quite clear when the answer to the question just following is received. If other Bhavas are represented without the Sattva (the essential nature of the being ) and if all are represented on the same basis, why are they specifically called the Sāttvikas ? The

1. V. R. V. p. 128.

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reply comes thus. The Sattva in the Sāttvikabhāvas is born of the mind. When the mind is in concentration, then is the Sattva born. Therefore the horripilation, tears, pallor etc. in fitness with different Bhāvas cannot be represented if the mind is divided.1 As, thus, they cannot arise without the concentration of the mind they are called the Sättvikabhāvas. The Sattva has been generally defined as the mind untouched with the Rajas and the Tamas.2 Viśvanātha puts the same more clearly when he says that the Sattva is that internal attribute ( Antaradharma ) illumi- nating the state of equipoise of the mind. The distinction between the Sattvikabhavas and the Anubhāvas rests, therefore, on the basis of the Sattva.3 It is a fact worth notice that it is to emphasize this distinction that Śāradā- tanaya enumerates the different Vibhāvas and Anubhāvas for different Sattvikabhavas.4 Does it not clearly establish the importance of the Sāttvikabhāvas as well as their dis- tinction from the Anubhavas ? Bhanudatta calls the Sāttvikabhāvas the Śārīrabhāvas and differentiates them from the Vyabhicharibhavas on the ground that the latter are internal whereas the former are external and physical. They are called the Sattvikas as they are born of the living body. No doubt they are present in many Rasas and thus are on the same level with the Vyabhichāribhāvas, yet it is they which really bring about the experience of sorrows of others. He, thus, gives others' opinion ; for himself, however, he says that the Sattva is an equivalent of the

1. N. S. (K. S. S.) VII. p. 95. 2. B. S. K. V. 20. 3. S. D. III. 134 (Com.) and 135. 4. B. P. Lines 9-24. p. 14. & Lines 1-6. p. 15.

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Jīvaśarīra (the living body ) as said before.1 He advances one more Sāttvikabhāva besides the recognized eight. It is the Jrmbha. In order to establish it he does not admit the Sattva as the favourable attitude towards the Paraduh- khabhāvanā but a Jīvaśarīra and distinguishes the Sāttvi- kabhavas from the Vyabhicharibhavas on the basis of the external and the internal functions. This stand of the author has affected the conception of the Bhava itself. Instead of defining the Bhäva as the Chittavrtti in agreement with the general opinion he defines it as the Rasānukūlavikāra (modification favourable to Rasa) which he divides into two kinds : the Āntara (the Sthāyibhāvas and the Vyabhichā- ribhāvas ) and the Śārīra (the Sāttvikabhāvas etc). He excludes too palpably physical acts as contraction of the parts of the body etc. and calls them the Sarīrachestā which can be performed at the mere will-which, however, is not the case with the Sattvikabhavas. There is an implicit acceptence of the Sāttvikabhāva as the Anubhāva when the author in connection with the Jrmbha says that because it expresses itself as an Anubhäva there is no reason why it should not be regarded as a Sāttvikabhāva. He in the end establishes the Jrmbha as the ninth Sattvikabhāva, the recognized eight being the Sveda, the Stambha, the Romāñ- cha, the Svarabhanga, the Vepathu, the Vaivarnya, the Aśru and the Pralaya. His clue here obviously is in one verse of the Śrngāratilaka which he quotes.2 A clear ex- position is to be found in Kumārasvāmī's Ratnāpaņa com. to the Pratāparudrīya. The Sattva is defined as an attitude

1. B. R. T. IV. pp. 57-58. 2. Ibid. IV. pp. 66-69.

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of the mind very sympathetic to the experience of happiness and misery of others through acting etc. The Bhavas coming out of the Sattva are called the Sāttvikas. It is on this basis that the Sāttvikabhāvas are distinguished from the Anubhavas as side glances etc. The state of mind in the spectator when he is one with the Bhävas of the original character is the Sattvika state of mind. It is then that the Anuräga, the Nirveda and such other mental functions arisen from the sight of the Vibhävas, having become one with the Vibhavas and being called by the word Sattva grow, due to an extraordinary cause born of the utmost favourable attitude of the spectator's mind, into his other conditions called the Bhävas as the Stambha etc. which are the Sāttvi- kabhävas. These are manifested by their effects called the Sāttvikas, external, material and physical as the Stambha etc. which are therefore the Anubhavas. The upshot of this whole is that it is the Rati, the Nirveda etc. which are manifested. Hemachandra is quoted in support. The author reveals the secrets that it is the group of the Sthayi- bhavas and the Vyabhicharibhavas which having become the mental condition of the living being becomes the Sāttvikabhāvas as effect and cause which are external and internal of these as said before the external are the Anu- bhavas. The Sattvika, thus, are in one way the Anubhavas, but they are a special kind of the Anubhava in that they are based on the Sattva hence involuntary. The writer gives other opinions but in the end sticks to this distinction. Some say that the group of the Rati etc. present in the Manomaya sheath enters into the Pränamaya sheath which is dominated over by the Sattva which is pure and hence called by the word Sattva after it ( the Prānamaya sheath )

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has already become one with the Manomaya due to agitation into the Annamaya sheath composed of five elements. The Präna has the Stambha when the earthly portion predomi- nates ; it has the Väspa when the watery portion predomi- nates ; the Sveda when the intensive heat predominates ; it has the Vaivarnya when the opposite is the case and it has the Pralaya when the ethereal portion predominates. This view is evidently influenced by the Vedāntic tenets. The other view is to the effect that a particular power ( Balaviśesa ) which makes Rasa realized without the help of any other Bhäva is called the Sattva ; the Sāttvikabhāvas are born of the Sattva. The third view says that though manifested due to the predominance of the Annamaya and though the characteristic of being originated from the Sattva is common to the side-glance etc., the Stambha etc. are called the Sāttvikas as a result of the usage ( Yogarūdhatva). Others say that just as in the Kanadasāstra the word, Artha, is used for the Dravya, the Guna and the Karma, so in the Alankāraśāstra the word, Sāttvika, is used for the set of the Bhāvas as the Stambha etc. Kumārasvāmī concludes by saying that these several opinions may be held by different persons, but what he holds is this. Though the Stambha etc. come under the Anubhvas, yet they stand distinguished due to some peculiarity.1 In the Sangītaratanākara Sarngadeva records a few opinions. When the Samvit ( Principle of consciousness ) undergoes transformation due to the Bhavas as the Rati etc., the changing consciousness superimposes itself upon the Prāna. The Prāna makes the body assume the form of the superimposed consciousness. At that time the changes as the Stambha etc. are manifested

1. P. R. pp. 223-224. Com.

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in the body. Then they shine in the Prana on which the consciousness has superimposed itself as they are manifested on the body through the physical changes as the Stambha etc. produced by the Vibhāvas particular to the Rati etc. being relished at that time. The internal changes are the Sāttvikabhāvas as they shine in the Prāna called the Sattva. The author gives the Sankhya conception in the words that the Guna is the Sattva or the Sadhutva which is equi- valent to the body with the Prana without any impurity. The Bhävas born in the Sattva are regarded as the Sāttvi- kabhävas. The author then describes like the latter por- tion of the view given above by Kumārasvāmī how the Prana as the principal factor moving in the body and taking help of the elements as the Artha etc. gives rise to the Stam- bha etc.1 This view thus recognizes the Sāttvikabhāvas as the Bhavas and the Anubhavas. In Rūpagosvāmī the approach made to this problem is similar to one given in the Sangītaratnākara. The dual nature of the Sāttvikabhāvas is freely admitted and thus they are accepted as the Anu- bhavas also.2 The Sattva is defined as the Chitta filled with the Bhavas connected with Krsna directly or indirectly. The Bhavas born of the Sattva are the Sāttvikabhāvas. They are eight in conformity with the general opinion but the departure comes in point of their classification into the Snigdha (soft) which may be connected with Krsna either directly ( through the Mukhya Rati ) or indirectly ( through the Gauni Rati ), the Digdha (arising in a persons's mind when it has become full of the Bhavas not born of the two

1. S. D. S. R. pp. 852-853. 2. R. H. S. 8-14. pp. 211-212.

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kinds of the Rati. In a case like the above the person be- comes affectionate towards Krşna ), and the Rūkșa (harsh) occurring as a result of the sweet and wonderful talks and surprises about Krsna in persons who have no Rati for Krsna.1 These and their further classifications either with reference to the degree of excitement produced by the pre- sense of one or more Sāttvikabhāvas into the Dhūmāyi- ta ( smouldering ) when there are one or even two Sāttvika- bhāvas (De mentions the presence of only one, in V. F. M. B. p. 141), the Jvalita ( flaming ) when there are two or three Sattvikas, the Dīpta ( burning ) when there are three, four or five Sattvikas (De mentions four or five only, V. F. M. B. p. 141 ) and the Uddīpta (brightly burning) when five or six or all are there ( De mentions six or all only ); or with reference to the duration of the excitement into the Bhūrikālavyāpi (when the excitement lasts long), the Bahvangavyāpi ( when it pervades many parts of the body ) and the Svarūpena Utkarsa (when it attains the climax by its own nature )2-are all particular and peculiar to the Vais- nava system only where love in its various forms predomi- nates. It has, however, to be noted here that the copious illustrations of the Sāttvikabhāvas are to be seen used by the poets mostly in connection with the Rati though they are said to be present in all Rasas.3 Bharata himself points out that the Sveda, the Vepathu, the Romañcha etc. are to be shown in the Bhayanaka Rasa.4 Even though Bharata has not mentioned the word Sāttvika in the Rasasūtra, yet

1. R. H. S. 1-7. pp. 209-211. 2. Ibid. 25-28. p. 220. & 33-37. pp. 221-223. 3. S. D. S. R. VII. 1681. 4. N. S. (K. S. S.) VII. 114.

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he has given a special consideration to it in the seventh chapter of the N. S. and counted it among the Bhavas which Abhinava defines as the Chittavrttis.1 The conclusion, therefore, is reached that the Sattvikabhavas were both internal and external ; the internal in the sense of the Chittavrttis and the external in that of the physical mani- festations. This gave ground to some scholars to treat them as the Anubhavas. The Sättvikabhävas are both external and internal, when latter they are the Chittavrttis as pointed out above. The Chittavrttis are, therefore, the Sāttvikabhāvas, the Vyabhi- charibhavas and the Sthayibhavas. The first and the se cond kinds both almost depend on the third as it is the Sthāyi- bhävas which remain latent in the form of the Vāsanās. In the latent state they remain in a form which is gen eral and weak. They, therefore, require something which may serve as the pivot to hang upon. This so mething is external, no doubt, and it, so to say, impinges on a parti- cular Vāsanā which gets provoked. The function of this external object is, thus, quite important and significant. It with its helping factors is called the Vibhāva. (4) Vibhāvas ( Dependents and Excitants ). That the Vibhavas are the external factors and not the Chittavrttis has been well explained by Abhinava. Bharata gives the equivalents of the Vibhāva as the Kārana, the Hetu etc. He also says that the verbal, the physical and the psychic representation ( Abhinaya) is known through it. Abhinava gives the following explanation in connection with the above statement of Bharata. He says that the

1. N. S. (G. O. S.) VII. p. 343. Com.

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Bhävas make the various Chittavrttis, which are suitable to different Rasas, the objects of knowledge. The different kinds of representation are also made the objects of know- ledge. And it is particularly through the Vibhāvas that all these are cognized.1 This is the function of the Vibhāva. Bharata does not enter into details as regards the Vibhāvas for he says that they are quite well known and he should, therefore, turn away from their detailed description.2 The Agnipurāna defines the Vibhāva as that through which the Rati etc. are known and gives its division into two kinds : the Ālambana ( dependents ) and the Uddīpana ( excitants ).3 Other writers as Dhanañjaya etc. define it as that which can be known ( as they are external factors ) and which strengthen and nourish the Bhava. They testify to its two kinds as given above.4 Bhoja recognizes the Vibhāva as the Kāraņa of knowledge and its excitant.5 Hemachandra follows Bharata when he says that it is the Vibhävas through which the Chitttavrttis as the Sthāyibhāva etc. are realized.6 Viśvanātha says that the Vibhāvas in the Kāvya and the Nātaka are causes which provoke the Sthāyibhāvas as the Rati etc. He explains the word Vibhavyante as 'through these Vibhavas the Sthayibhavas as the Rati etc. are made capable of putting forth sprout of relish.' He accepts the division of the Vibhavas into the Alambanas and the Uddī- panas. The first is the dependent cause (on which the

1. N. S. (G. O. S.) VII. pp. 347-348 (with Com.). 2. Ibid. VII. p. 349. 3. A. P. 338. 36. 4. D. R. IV. 2. 5. B. S. K. V. 36-37. 6. H. K. S. II. p. 56.

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Sthāyibhäva fixes itself) as it is dependent on it when Rasa originates ;1 and the second serves to excite it.2 Śinga Bhūpāla calls the Vibhāva the Kāraņa of the know- ledge of Rasa and classifies it into the Alambana and the Uddīpana. He also goes a bit deeper into the matter as he further considers the Alambana from the points of its being subjective or objective ( Ādhāravișayatvābhyām).3 Paņdi- tarāja Jagannātha accepts the two kinds : the Ālambana and the Uddīpana as causes of the Sthayibhava ; they are called the Vibhāvas in the Kāvya and the Nātya. He men- tions the Alambana only as the Visaya ( objective).4 Vidyā- bhūşana in the Sāhityakaumudī explains the whole thing very clearly when describing the functions of the Vibhāvas and recognizing their two kinds as the Alambana and the Uddīpana. He divides the Alambana into two kinds : the Vişaya ( object ) and the Āśraya ( its locus or substratum ). He defines the first as the object of the Rati and the second its locus. The Uddipana is the exciting cause.5 Almost all rhetoricians have recognized the hero or the heroine as the Alambana. They mutually become the object and the locus ( the Visaya and the Asraya respectively ) of the Rati, for instance, the Rati for Rama may be in Sītā and vice versa. In the Bengal Vaisnavism, however, this is not so though there are a few exceptions. In cases of the Raudra and the Bhayanaka Rasas the Alambana Vibhāvas as the

1. S. D. III. 29 (with Com.). 2. Ibid. III. 131. 3. R. S. I. 59-60. 4. R. G. p. 33. 5. V. S. K. p. 29.

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Visayas can also be the opponents of Krsna.1 In case of the Bībhatsa the Ālambana Vibhāva as the Vișaya is one's own body etc.2 In other cases Krsna is invariably the Visaya of the Rati etc. Others are the Āśrayas as it is to be borne in mind here that in the Bhaktas ( devotees ) even the Gopīs who have been counted as the Nāyikās are included as fore- most ones.3 The Uddīpana Vibhāvas as said above are those causes which excite the provoked Sthāyibhāvas. Bharata does not dilate upon them and only leaves them to be inferred according to place, tradition etc. He has accordingly made even no distinction between the Alam- banas and the Uddīpanas but has mentioned them together when describing separately each Rasa. These Uddīpana Vibhavas may excite the provoked Sthāyibhāvas through various ways. For instance, it may have become ingrained in the nature of an object to be excited in the proximity of another. A man coward by nature will have his fear excited when present in the midst of dreary and dreadful spectacles. These Uddīpana Vibhāvas also provide themselves in time, place, tradition etc. Youth is more prone to passion which gets excited very easily. They also get changed according to the changing times. The dress of the ladies as worn by them in old times excited love in the people at those times ; now with the march of times the new dress serves the same purpose while the old dress has turned into the exciting cause of laughter in people of modern times. These Vibhävas, therefore, are innumerable. They work in various relations. For example, there are some which by

1. R. H. S. 52 & 54. pp. 297-298. 2. Ibid. 32. p. 292. 3. Ibid. 111. p. 186.

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association excite passion. A devotional song about Krsna played upon the flute by an expert at once excites in the sympathetic devotee the Bhakti of which Krsna becomes the Alambana. There is no doubt that these Vibhāvas should differ in different cases though in other cases some may have combined operation. Their analysis according to function and classification into different kinds are to be found in the Bhāvaprakāśana of Sāradātanaya. They are the Lalitas, the Lalitabhasas, the Sthiras, the Chittras, the Kharas, the Rūksas, the Ninditas and the Vikrtas in the Śrngāra, the Hāsya, the Vīra, the Adbhuta, the Raudra, the Karuna, the Bībhatsa and the Bhayānaka respectively. The author defines them very clearly. The Lalitas are those which bring about the excellence of the Śrngara, they cause delight to the mind and are to be perceived through various senses. The Lalitäbhāsas show the excellence of the Hāsya ; when hinted at, heard, seen or remembered they cause laugh- ter. Those which become the causes of steadiness ( Sthair- yahetavaḥ ) when heard, seen, remembered or meditated upon and nourish the Vira are the Sthiras. Those which when being experienced always cause wonder in the heart are the Chittras which show the excellence of the Adbhuta. The Rūksas are those objects which on perception pain the sense organs. They, thus, bring about the Karuna. The Kharas when merely perceived bring about timidity of mind and enhance the excellence of the Raudra. Those at which the eyes at once close and have no further desire for them are the Ninditas ; they cause the excellence of the Bībhatsa. The Vikrtas when merely contacted by the sense organs bring about changes. They are the Vibhāvas of the Bhayā- naka. After this description the author gives the Alam-

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bana Vibhāvas of different Rasas. They are young tender ladies and youths in the Śrngāra ; the imitators, the jugglers etc, imitating others' activities, of distorted and deformed faces in the Häsya ; the warriors, brave, powerful, possess- ing prowess, of sacrificing nature and beautified with scars and wounds of arms and weapons in the Vira ; those re- velling in display of the feats of illusion, wearing wonderfui dress, putting on wonderful faces and having wonderful behaviour and ways in the Abdhuta ; rogues, knaves etc., of cruel character, having many arms, many mouths, fearful teeth and white limbs in the Raudra ; the lean, the dejected, the dirty, the sick, the sorrowful and those afflicted with poverty in the Karuna ; those having disgusting forms and dresses and those of censurable behaviour and diseased limbs as well as the devils etc. in the Bībhatsa ; and those who have done offences to the teachers or the preceptors and the kings, those who are lost in big forests and those who wonder here and there in big wars in the Bhayānaka.1 These things clearly show that the Alambana Vibhāvas are the persons and the Uddīpanas are the circumstances etc. The writers like Viśvanātha clearly point out that the Alambana Vibhavas are the heroes etc. They are the Alambanas of the realization of Rasa.2 The Uddīpana Vibhavas are the activities of the Alambana, the time, place etc.3 Dharma Sūri mentions the same thing in other words when he counts the Uddīpana Vibhavas as the merits, the qualities, the activities and the ornaments of the Ālambanas;

1. B. P. pp. 4-6. 2. S. D. III. 29. 3. Ibid. III. 132.

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he also mentions some other factors which are independent.1 In the independent factors are no doubt implied time, place, circumstances etc. The beautiful sights in the forest, the dreary aspects of Nature, therefore, are effective only as the Uddipana Vibhavas ; they are not by themselves the Ālambana Vibhāvas. It has been advanced that the depic- tion of beautiful scenes in Sanskrit poetic compositions provokes the Sthāyibhāvas in readers ; these scenes, there- fore, become the Alambana Vibhävas of Rasa in them. It has, however, been partially ignored that beautiful scenes depicted are to furnish as background for the heroes or the heroines appearing later on. In those cases where the saints are described as fascinated with the beautiful sylvan scenes or with those scenes where the birds are described cooing sweetly, the latter do really remind the reader of some other factor. A lover wandering in the midst of these beautiful scenes has his provoked Sthāyibhāva as the Rati for his absent heroine all the more excited. The ring in the Abhi- jñānaśākuntala serves as the excitant of Dușyanta's sorrow already provoked at his unjustified rejection of Śakuntalā. By themselves, thus, these Uddīpana Vibhāvas can hardly be the Alambanas of any Rasa. If they at all figure as such, the case becomes that of Rasābhāsa as has already been con- sidered before. And when any Sañchāribhāva is attributed to scenes or birds and thus experienced by the responsive reader as shown by the writer advancing his position for consideration, the case is again of the Abhasa of that Sañchāribhāva.2 In Rasas, therefore, such factors as scenes etc. can only be the Uddīpana Vibhāvas. The Bengal

1. V. R. V. p. 133. 2. G. K. T. pp. 157-159.

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Vaișnavism makes the position clearer by mentioning the Uddīpana Vibhāvas as qualities, merits, activities, decoration of Krsna and such factors as his smile, fragrance of the body, Śrńga ( trumpet ), Śankha ( conch shell ), footprint, places of sport, the Tulsī plant, the devotee, days of fast etc. His qualities and merits, his activities, his decoration and his flute receive detailed consideration with kinds and classifi- cations.1 These are, therefore, distinctions which keep the two divisions quite separate. The Alambana is very nece- ssary as without it the Sthāyibhāva present in its latent form cannot fix itself on a particular object ; the Uddīpana, however, comes in only when the Sthāyibhāva has fixed itself upon the Alambana. When the Sthāyibhāva has fixed itself upon the Alambana and is excited by the Uddī- pana Vibhavas and is nourished by the Vyabhichāribhāvas, there appear naturally some outward signs to show this process. These are called the Anubhāvas. (5) Anubhāvas ( Ensuants ). The Anubhavas are, thus, the outward manifestations of the provocation of the Sthayibhava. The word Anu- bhäva itself means either that which is produced afterwards ( Anu Paśchad Bhāvo Yasya Saḥ) or that which makes the reader or the spectator apprehend a particular emotion ( Anu Bhāvayanti Iti ).2 Bharata says that the Anubhāva is so called because the representation given by the verbal, the physical and the psychic means is known through it.3 Dhanañjaya calls the Anubhāva an indicator of the Bhāva,

1. R. H. S. pp. 187-204. 2. R. G. p. 33 .; V. S. K. p. 29. 3. N. S. (K. S. S.) VII. p. 80. 28

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it thus is an effect ; it makes the spectator understand the Sthāyibhāva and nourishes Rasa.1 Hemachandra says that through the Anubhavas the sympathetic persons while experiencing the Chittavrttis as the Sthayibhavas and the Vyabhichāribhāvas are given direct perception of the Sthāyi- bhāvas.2 Śāradātanaya defines the Anubhāva as that by which the Bhäva existing in the heart is suggested,3 and divides the Anubhavas into four kinds according as they proceed from the mind, the words, the body and the intellect. Those proceeding from the mind are the Bhäva etc. ten in number and displayed by the ladies, those from the words are twelve in number beginning with the Alāpa etc., those from the parts of the body are ten beginning with the Līla etc. of the ladies, and those from the intellect are the Rītis, the Vrttis and the Pravrttis.4 The author dilates on each of these and says that many other Anubhavas are to be seen in cases of different Rasas enumerated there.5 Śinga- Bhūpāla defines the Anubhavas as those which suggest the Bhava which is present in the mind and which is their cause. The author thereby imples that they are effects. They are of four kinds originating from the Chitta (mind), the Gatra (parts of the body), the Väg (words) and the Buddhi ( in- tellect ). This position is just in the following of the above.6 Later on Bhānudatta defines the Anubhāvas as those factors which make Rasas realized as the side-glances

1. D. R. IV. 3. 2. H. K. S. II. p. 56. 3. B. P. Line 14. p. 13. 4. Ibid. Lines 13-17. p. 6. 5. Ibid. Lines 20-21. p. 13. 6. R. S. I. 190-191.

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etc. as the Kāranas. He also recognizes them as the Uddi- pana Vibhāvas. This position will be considered later on. He classifies them according as they are the Kāyika ( bodily ), the Mānasa ( mental ), the Āhārya ( sartorial ) and the Sāttvika (psychic).1 The Anubhavas are, thus, the effects of the Bhavas already provoked and excited. Their function, therefore, is to make the Bhavas apprehended. As the Bhävas, as said before, are the Sthāyibhāvas, the Vyabhi- chāribhāvas and the Sāttvikabhāvas ( in their internal aspect ), Śāradātanaya has given the Anubhāvas of the last two also.2 In the Bengal Vaisnavism the Anubhāvas have been defined as those factors which make one understand the Bhāvas present in the mind. The Haribhaktirasāmrtasindhu gives only the Udbhāsura Anubhāvas as the Nrtya ( dancing ), the Viluthita (rolling on the ground ), the Gita (singing ), the Krośana (loud crying ), the Tanumotana (twisting of the body ), the Hunkāra (shouting ), the Jrmbhana (yawning) etc. These have been classified into two kinds : the Śītas (the Gita, the Jrmbha etc. ) and the Ksepana ( Nrtya etc. ).3 The Ujjvalanīlamani, however, divides the Anubhāvas into three kinds : the Alankāras (beginning with the Bhāva and ending with the Vikrta to which two more are added, thus twentytwo in all), the Udbhāsvaras ( Nīvisramsana etc., several in number) and the Vächikas (beginning with the Alapa and ending with the Vyapadesaka, thus twelve in all ).4 These, then, are the different constituents of Rasa.

1. B. R. T. III. pp. 45-49. 2. B. P. pp. 14-15 & 15-25. 3. R. H. S. 1-4. p. 205. 4. R. U. M. pp. 245-269.

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They operate together and the Sthāyibhāva suggested etc. by them matures into Rasa.

2. The Conjoined Operation of the Constituents. The Sthayibhava latent in the spectator is thus provoked at the sight of a particular object on which it comes to fix itself also, the latter, therefore, becomes its Ālambana Vibhava. The other causes then excite the provoked Sthāyibhāva and are the Uddīpana Vibhāvas. The pro- vocation and the excitation of the Sthayibhāva then results in some effects on the body. They are called the Anubhāvas. The objection here as to their being called the effects may come in as the causes are internal and the effects are external and the law of the Sāmānādhikaranya is violated. The answer to it is satisfying in this that when the Sthayibhāva is provoked and excited the whole body shares in that state ; every nerve is strung and the body and the heart become identical as it were ( Dehatādātmyasambandha ). The above law, therefore, is not violated. The Anubhāvas are, thus, the external effects of what is passing inside. The Vyabhi- charibhavas at that time coming in and disappearing bring about the culmination of the Sthāyibhava into Rasa wherein no constituent is experienced separately but all together are experienced as one whole having a relish different from that of any of them. This is the meaning of the Rasasutra of Bharata. There is one question which requires conside- ration here. What is the relation of these different constituents with Rasa in which they ultimately culminate ? Mammața's line 'Vyaktaḥ Sa Tairvibhāvādyaiḥ Sthāyibhāvo Rasah Smrta' clearly explains that all the constituents have a combined operation and function. Other writers as Panditaraja Jagannātha also testify to the above combined

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function. These constituents, therefore, function as the rod, the wheel etc. function together and not separately in the production of an earthen jar though here also the analogy is only partially applicable as in the cognition of the pot, the rod etc. are not at all cognized whereas in Rasa the Vibhavas etc. are all cognized together as one. They do not function as the grass, the fire-producing stick and the gem, each of which separately produces the fire. But then the counter question comes in the form that there are certain descriptions where only the Alambana or the Uddīpana or the Anubhäva makes the sympathetic person realize the particular Rasa. In such cases other constituents have to be understood by implication, for all writers as Mammata, Panditarāja Jagannātha etc. have recognized their combined cognition as the Samūhālambanajñāna. This position gives scope for one consideration which is striking and novel. The description of one constituent where others are to be understood by implication and their combined operation to culminate into Rasa call to mind the Pañchī- karana process as expounded in the Vedānta philosophy. There are five elements, the Pañchamahābhūtas, in the Vedānta, viz. the earth (Prthvi), the water ( Jala ), the fire ( Tejas ), the air ( Vāyu) and the ether (Ākāśa ). In each of the five elements as found in Nature according to the Vedānta only half of that element in its purity is present, the other half is made up of equal parts of the other four elements. The sanction behind this position is the Trivrtkarana of the Vedas. In case of Rasa the five constituents are the Sthāyi- bhāvas, the Ālambana Vibhāvas, the Uddīpana Vibhāvas, the Sañcharibhavas and the Anubhavas. The predominance of one constituent consists in the fact when one is either suggested or described profusely and others are either given

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in hints or understood by implication. No exact proportion as expounded in the Vedänta can be given here. Even in the Vedänta the whole thing even though confirmed on analogy is theoretical. To this comparison of the process of the Pañchikarana of the Bhavas the objection can be raised that the Pañchīkarana has scope where the objects have parts ( Sāvayavapadārthas ), the Vibhāvas are not such. The reply is given that the comparison is only with reference to their conjoined operation culminating into Rasa which is realized on the analogy of the beverage (Prapānakarasanyāya- vat). The function, thus, of all these constituents is con- joined in the realization of Rasa. It has been seen that Bhattalollata and Śrī Śankuka recognize these constituents in the original characters and thus the realization of Rasa is limited to them only. BhattaLollata accepts Rasa as worldly (Laukika ), and effect ( Kärya) and the realization of Rasa as a knowledge of superimposition. Śri Śańku accepts the realization of Rasa as an inferential knowledge. Bhatta- Nāyaka and Abhinava, however, accept that because of the latent impressions in the sympathetic persons Rasa is enjoyed and suggested. In the sympathetic persons, readers or spectators, the latent impressions ( Vāsanās ) have corres- pondence ( Vāsanāsamvāda ) with those in the original characters which, however, are worldly in the sense that their operation was to be seen in the practical world. Duşyanta loves Śakuntalā means that in Dușyanta the Rati depended itself on Śakuntalā . It got excitement in external and surrounding factors and was duly accompanied with external manifestation. The transitory emotions matured love. Pleasure was thus enjoyed by Dusyanta. In this case the causes ( Kāraņas) of Dușyanta's love ( the Rati as

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the Sthāyibhāva ) were Śakuntalā and the surrounding circumstances etc., the effects (Käryas ) were the external manifestations and the transitory emotions ( Vyabhichāri- bhavas ) the accompaniments of love. The effects, how- ever, of Dusyanata may serve as the excitants of love in Śakun- talā for Dușyanta. This is what is meant by Bhānudatta when he says that they can be excitants also.1 The pleasure enjoyed by Dusyanta as a result of love for Śakuntalā is only worldly. When the same love of Dusyanta for Śakuntalā is described in a literary composition or is dramatically represented, the pleasure enjoyed by the reader or the specta- tor is Rasa which is transcendental (Alaukika). The causes, the effects and the accompanying factors are here respectively called the Vibhavas, the Anubhāvas and the Vyabhichāri- bhävas. They are not present here as they actually were in the world ; they underwent modification as they passed through the alembic of the poet's mind after the incidents concerned had touched his heart. The poet's intensity of experience in such cases becomes the effective factor ; their presentation in the literary work, however, did not become quixotic but followed some rules also. The ring episode in the Abhijñānaśākuntala is an innovation but it is pro- bable, ideal and tending to the excellence of Rasa. More- over, these factors present themselves before the sympathetic persons, readers or spectators, in their universalized and not particular aspects. Thus while reading the literary piece or witnessing the dramatic representation, as it is the Sthāyi- bhäva of the sympathetic reader or the spectator which comes into operation, some writers as Dhanañjaya describe the presence of the Vibhāvas, the Anubhāvas, the Sāttvika-

1. B. R. T. pp. 48-49.

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bhävas and the Vyabhichāribhāvas in the literary com- position or the dramatic representation and the presence of the Sthayibhava in the Samajika who enjoys pleasure. Dhanañjaya says that as the literary composition serves as the cause of giving that pleasure it is called the Rasavat (having Rasa ) on the analogy of the statement that the Ghrta ( clarified butter ) is Āyu ( life ), which, however, is by secondary use ( Lākşanika ).1 As has been shown above all these constituents are present in the Kāvya or the Nātya but as the pleasure is enjoyed by the spectator the Sthāyi- bhäva is not mentioned in the Rasasūtra. It may be under- stood by implication as the Sthāyibhava of the spectator corresponds with that in the original character. All the constituents, therefore, are present in the literary composi- tion, but whereas in the case of the original characters the pleasure or any other result in the presence of other factors was worldly, in the literary work it is nothing but pleasure in the sympathetic reader or the spectator. At this stage two questions come up for consideration. Firstly, it is to be seen if all the above constituents are to be necessarily present in all Rasas and secondly, in cases of different Rasas what position is occupied by the sympathetic person. As to first question the answer is furnished by Panditarāja Jagannā- tha. He says that in the Rati, the Krodha, the Utsaha, the Bhaya, the Soka, the Vismaya and the Nirveda the Ālambana Vibhāvas both as the Vișaya and the Āśraya are cognized, but in the Hasya and the Jugupsa the case is not so as it is only the Visaya which is cognized.2 Here it has to be

1. D. R. IV. 1. Com. 2. R. G. p. 45.

441 said that it is not always that the Asrayas are invariably absent. The Vidūsaka imitating the love affairs of the hero before his other companions furnishes the instance in the- Hāsya. The heroes killed in battles and flying afterwards in divine aerial cars see their own corpses being torn to pieces and their blood being sipped by the female jackals. The particular Rasa is the Bībhatsa of which they are the Āśrayas. In the example1 of the Bībhatsa Rasa given by Panditarāja Jagannātha the description is that the female demons besmear their faces with pus and blood of the cor- pses of which the intestines have been torn by them with their nails. Here if the female demons are taken as the Aśrayas, no case of the Bībhatsa would arise as they in themselves do not have their Jugupsā provoked by the corpses ; on the other hand, they take delight in them. Hence they cannot be the Asrayas. In the example2 of the Hāsya Rasa the Āśraya is not at all described. Paņditarāja at first raises this point and then gives his solution to the effect that in such cases the particular spectator or the reader is to be understood as the Āśraya by implication, as no objection arises even in the case of the Śrngāra in such a position as given above.3 The statement of Jagannätha in a way furnishes the reply to the second question. The implied presence of a particular person as the Āśraya in cases of the Häsya and the Bībhatsa Rasas indicates that the spectator at a dramatic representation or the reader of a poetic com- position is to place himself in the position of the Āśraya. He is to feel his identity with the Āśraya who becomes

1. R. G. p. 44. 2. Ibid. p. 43. 3. Ibid. p. 45.

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universalized and thus is devoid of peculiarities and parti- cularities. In the Āśraya the worldly enjoyment is ex- perienced. What happens in the Kāvya or the Nātya is that this worldly enjoyment with its causes etc. in the original characters is so depicted as to be aroused in the reader or the spectator and in this provocation consists its transcenden- tal nature. In the representation of Dusyanta's love for Śakuntalā, the spectator unconsciously but imaginatively becomes Dusyanta and experiences love for Sakuntalā. As Duşyanta was the Āśraya in the Laukika Rasa ( Bhoga), the spectator becomes the Aśraya in the Alaukika Rasa. This is further confirmed in another way. The presence of the Sthāyibhāva has been shown already in the original charac- ters also. If Duşyanta has his love provoked for Śakuntalā, it means that the Rati Sthāyibhāva in Dusyanta is pro- voked. The Sthāyibhāva as the Vāsanā in the reader or the spectator corresponds with the Sthāyibhāva in the original character ; it, therefore, comes to this that the spectator is on the same level with that orginal character in whom the Sthāyibhāva is provoked, that is to say, who is the Āśraya of love. The spectator, therefore, becomes one with the Āśraya and the latter's Anubhāvas, Sāttvikabhāvas etc. become the spectator's Anubhāvas, Sāttvikabhāvas etc. On the other hand, if the Āśraya becomes the Ālambana Vibhāva of the spectator who in his turn becomes the Āśraya, with whose Sthāyibhāva will the Sthāyibhāva as the Vāsanā in the spectator will correspond as there is no parity between the two ? The Anubhävas etc. in the above case will not be identical on both sides. The pleasure enjoyed will be worldly as no scope for the identification of the spectator with the Asraya is present. It has already been shown that what

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is aroused as Rasa in the spectator is merely a reflection of what passed in the world. The Bhayanaka Rasa in the deer chased by the king as instanced in the Kāvyaprakāśa is enjoyed in the spectator only when he has established his identity with the deer ; on the other hand, if the spectator has not done so, but has made the deer his Ālambana Vibhāva, how will the Bhaya exist in the deer whose Visaya is not present ? Again the Vīra Rasa in Rāma as instanced1 in the Rasagangädhara is enjoyed in the spectator only when he has indentified himself with Rāma. If Rāma has become his Ālambana, no Vīra Rasa can be depicted in Rāma as Śankara, Rāma's Vișaya, is absent. The position becomes clearer in case of the Śrngāra Rasa. Dușyanta is the Āśraya of the Rati for Sakuntalā who is the Visaya. If for the spectator Dusyanta becomes the Vișaya, the Rati experienced will be Duşyantavişayakarati and not Śakuntalāvișayakarati. Will the Rati of which Dusyanta is the Visaya and the specta- tor or the reader the Asraya mature into the Śrngāra Rasa ? Will it not go against the principle which enunciates that the Śrngāra Rasa is the Rati suggested with reference to a lady ?2 A man's love for a lady is a case of the Śrngāra Rasa; a man's love for another man is not the Śrngāra Rasa. This consideration seems to have been ignored by Vatve who established the Aśraya in the poetic or the dramatic piece as the Visaya for the spectator.3 The position becomes still clearer in the Bhakti Rasa of the school of Bengal Vaisnavism. As has been said Krşna is always the Vişaya and the Krsna Bhaktas are the Āśrayas. Exceptions occur only in a few

1. R. G. p. 40. 2. K. P. IV. p. 118. 3. V. R. V. pp. 304-305.

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cases as the Bībhatsa when the body of the Aśraya becomes the Visaya, the Bhayänaka where the hard-hearted opponents of Krsna also become the Visayas and the Raudra Rasa where Krsna's opponents become the Visayas. These are counted as the kinds of the Bhakti Rasa as in these exceptions every- thing has reference to Krsna. Here in the Bhakti Rasa if the Aśraya becomes the Visaya of the spectator or the reader, what kind of Bhakti Rasa will it be ? In the Bhakti Rasa the spectator or the reader identifies himself with any one of the Bhaktas who figure as the Asrayas. Thus the position of the spectator is that of the Aśraya and not of the Visaya. The spectator enjoys Rasa when he has identified himself with the Āśrayālamabana Vibhāva. Rasa which is enjoyed at that time is self-sufficient in itself. Even a child playing with dolls feels in himself the self-sufficiency of the particular pleasure he is experiencing at that time. This, however, is the static side viewed from the standpoint of the person enjoying the pleasure. From the standpoint of the disinterested person the various levels of Rasa become clear. This is the dynamic aspect of the same pleasure. It explains the various kinds and sub-kinds of one and the same Rasa. All this becomes very clear when the different levels of the Bhakti Rasa in the school of Bengal Vaişnavism are taken into consideration. 3. Different Kinds of One and the Same Rasa on the Basis of the Alambana Vibhavas. (Vişaya and Aśraya)

The writer of a literary work aims at the production of particular kinds of pleasure in the hearts of the sympathetic persons. In other words, he chooses particular Rasas which he depicts in his work. The latent impressions, that is, the

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Sthāyibhavas in the form of the Vāsanās are then provoked in those sympathetic persons but this is done through the particular Ālambana Vibhāvas which De depicts appropria- tely in his work. These Ālambana Vibhāvas may, there- fore, be said to determine the kinds and the subkinds of that pleasure, that is, Rasa. This position will be ere now clear. The Śrngāra Rasa is generally accepted to be of two kinds : the Sambhoga ( love in union ) and the Vipralambha ( love in separation ). Śāradātanaya mentions a third kind also, viz. the Ayoga (love in the absence of union ).1 That these kinds have obvious reference to the presence of the Visaya before the Āśraya or their mutual absence or their mutual disagreement even in presence of both the parties stands without any doubt. The second kind, that is, the Vipra- lambha, is generally recognized to be of four kinds : the Pūrvarāga ( affection beforetheir meeting ), the Māna (pride), the Praväsa (one party going away) and the Karuna(pathos). Mammata, however, enumerates five kinds which come under one or the other of these four. On the other hand, the fourth kind here has not at all been considered by him. The Pūrvarāga corresponds to the Ayoga of Śāradātanaya. It has ten stages of love, the final being the Marana which, however, is not described for fear of obstructing the realiza- tion of Rasa. These stages refer to the mental or physical conditions ( sometimes resulting even in outward activities ) of the Ālambana Vibhāvas. The Māna is the Kopa ( anger ) born of either the Pranaya (love) orthe Irsyā (jealousy ) which both refer to the inner conditions of the Ālambana Vibhāvas. The Praväsa refers to the absence of either party due to departure to a distant place on account of some work, curse

1. B. P. line 14. p. 85.

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etc. The Karuna Vipralambha refers to the disappointment and dejection of one at the death of other who, however, is restored to life. Rudrabhatta mentions this kind but explains it differently. According to him it occurs when one of the parties is dead and the other being grieved so much as to be almost dead laments and bewails out of deep affectionate love for the dead.1 He further says that some may mistake it for the Karuna Rasa but it ought to be avoided on the ground that here the pair stands on the basis of the Rati and the union is desired.2 This kind, that is, the Karuna Vipralambha, is not mentioned by most of the writers. Rudrabhatta also mentions the two kinds : the Prachchhanna ( concealed ) and the Prakāśa ( open ), of the Śrngāra Rasa.3 They, too, have obvious reference to the Vibhavas. The Hasya Rasa is at first divided into the Atmastha and the Parastha. Bharata defines the first as when the character laughs by himself and the second as when he makes others laugh. Abhinava, however, agrees to the definition of the first and explains the second as that when the character seeing others laughing laughs by himself without seeing the Vibhävas etc. And he says that even those who have seen the Vibhavas but have not laughed being of grave and serious nature do laugh when they see others laughing.4 Each is again divided into six kinds : the Smita, the Hasita, the Vihasita, the Upahasita, the Apahasita and the Atihasita. The first and the second have reference to the characters of high status, the third and the fourth to those of middle status

1. S. T. II. 60. 2. Ibid. II. 62-64. 3. Ibid. I. 22. 4. N. S. (G. O. S.) VI. pp. 313-317 (with Com.).

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whereas the fifth and the sixth to low characters. Some recognize only three kinds instead of the above six. For instance, the Hasita is mixed with the Smita.1 But Abhinava leaves this view aside as he says it will occupy a wide space.2 Each kind is, thus, limited to the Vibhävas in each of whom the Hāsya reaches a particular stage of sublimation. The Hasya of which the Hasa is the Sthāyibhāva may be said to reach the six stages ; but they are reached only in the appropriate Vibhavas. Hence it may be concluded that the determining factors are the Vibhāvas. The Raudra Rasa as said before has a special reference to demons who are by nature given to anger. They have many arms and faces, standing, scattered and yellow hair, red fearful eyes and fearful black forms. Hence whatever they do is fearful (Raudra). It is, therefore, said that the Raudra Rasa is theirs. Other Rasas as the Śrngāra is relished by them by force. The Raudra Rasa is said to be relished by those characters also who have nature similar to theirs. Evidently the Raudra Rasa has reference to the Vibhāvas.3 The Vira Rasa is generally regarded to be of four kinds though the author of the Agnipurana regards it to be of three kinds only as the Dayavira4 is excluded. The four kinds are the Dānavīra, the Dharmavīra, the Yuddhavīra and the Dayāvīra. These have reference to the Āśraya Vibhāva. The other kinds recognized by Paņditarāja. Jaganātha have reference to the Vibhāvas.

1. N. S. (G. O. S.). VI. p. 316 (Com.). 2. Ibid. VI. p. 318 (Com.). 3. Ibid. VI. pp. 322-323. 4. A. P. 341. 14.

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Some Rasas are also differently classified. The Śrngāra is of three kinds according as it is produced from words, dress and activities. All these three have reference to the Vibhavas. The Hasya and the Raudra are also of three kinds each according as it proceeds from the parts of the body, dress and words. All these have reference to the Vibhāvas. The Karuna is of three kinds according as it originates from the breach of the Dharma, loss of wealth or sorrow. That each has reference to the Vibhāvas ( the second may be the Vibhāva by itself ) goes without saying. The Bhayänaka is of three kinds proceeding from the pretext ( Abhinava explains it as the Krtaka, that is, the affected ), the fault and the fright. The three have obvious reference to the Vibhavas. The Bībhatsa is recognized as of two kinds ( some mention that it is of three kinds though no difference in texts occurs ) as the abhorrent proceeding from stools, worms etc. and the agitating proceeding from blood etc. They are the Vibhävas themselves. The Adbhuta Rasa is of two kinds : the divine (proceeding from the sight of the divine beings and objects ) and that proceeding from joy. Here, too, they either are the Vibhävas or have reference to the Vibhavas. Thus in all the above cases it is the Vibhāvas which determine the kind.1 In the Bengal Vaisnavism the different kinds of the Bhakti have come into being because of the difference in the Vibhavas. The set of the Gauni Bhakti is the secondary one. As said before it is in two ( the Raudra and the Bhayā- naka ) of the set that Krsna's opponents can also be the Vişayas. In the Bībhatsa Krşna is not the Vișaya at all, but

1. N. S. (G. O. S.) VI. 97-102.

449 the body, impure objects etc. become the Visayas. The Hāsya here, too, has six kinds. The thing worth notice is that the Vihasita etc, are possible here even in cases of persons occupying high position.1 Here the determining factor is the Vişaya. In the Vīra Rasa where Krsna is the Vișaya, the Aśraya determines the four kinds by being the Yuddha- vira (where Krsna or at his will his substitute is the rival in the mock fight), the Dānavīra (who is again of two kinds: the Bahuprada, that is, who gives much, all his belongings and even himself for the pleasure of Dämodara ; and the Upasthitadurāpārthatyāgī, that is, who does not accept even the boon being granted by Hari ), the Dayāvīra who with his heart melting with pity gives in bits his body to Krsna who is present in disguise (here one case is to be distinguished as that of the Dänavira when such offer is made with due insight into the concealed form of Krsna), and the Dharmavira who is ever engaged in the Dhārmika activities merely to please Krsna.2 In the Karuna in which, however, no kind is recognized, three kinds of the Visaya and three kinds of the Āśraya have been mentioned. It is also stated that the intensity or the mildness of the Soka is due to the intensity or the mildness of the Rati3 ( which, however, depends upon the Aśraya). Same is the case with the Raudra Rasa where the Visaya is also of three kinds and the Asrayas are many. The Krodha assumes three forms with reference to three different persons. The Kopa, the Manyu, and the Rosa are with reference to the enemy, the

1. R. H. S. 11-12. p. 437. 2. Ibid. pp. 444-455. 3. Ibid. p. 458. 29

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relations (venerable, equal or lower in status ), and the beloved respectively. The last one, that is, the Rosa is a Vyabhichāri- bhava.1 The Vibhavas, thus, are evidently the determining factors. The Bhayānaka Rasa has no sub-class. Its Vișayas are of two kinds. The Bībhatsa, too, has no subdivisions. The Visayas are blood, pus and such other impure objects whereas the Āśrayas are the calm and tranquil persons. Thus it is the Vibhävas which determine every kind and subkind in all the Gaunī Bhakti Rasas. In the Mukhya Bhakti Rasas the position becomes clearer still. The Mukhya Bhakti Rasas are of five kinds : the Sānta Rasa, the Prīti Rasa, the Preyan Rasa, the Vatsala Rasa and the Madhura Rasa. Rūpa Gosvāmī himself throws a hint in the com. in con- nection with the order of intensity or excellence of these kinds2 and makes the hint quite clear in the text itself when enumerating them3 The ascending order of excellence recognized by the author is as given above. In the Śānta Rati the Visaya is the Chaturbhuja Hari and the Asrayas are the Atmārāmas (those experiencing delight in the self as Sanaka etc. ) and the Täpasas ( the ascetics who seek salvation through the Bahkti ). As the Visaya here is Hari who is the Paramātmā, the Parabrahma etc. and as the Āśrayas are those experiencing delight in the self and the ascetics with the desire of attaining salvation through the Bhakti, naturally the Rati is to be of a lower order. The second kind, that is, the Prīti Rasa, is of two kinds according as the Āśrayas are the Dāsas (servants) or the relations (inferior and to be fondled). Many are the kinds and the sub-kinds of the servants and

1. R. H. S. 16. p. 465. 2. Ibid. p. 113 Com. 3. Ibid. 96-97. p. 30.

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the relations described by Rūpa Gosvāmī. The Prīti in the Däsas is the Sambhrama Prīti in which Krsna in his Dvibhuja or sometimes even the Chaturbhuja form is the Vişaya. It reaches different stages viz. the Preman, the Sneha and the Räga with sub-kinds in the different kinds of the Āśrayas among the Dāsas.1 Some object to this kind of the Bhakti being recognized as Rasa as they count it only as a Bhāva. Rūpa Gosvāmī silences them by pointing out abundant instances of it in the Bhägavat.2 The Prīti in those to be fondled is the Gaurava Prīti where Krsna is the Vișaya and the Ārayas are the Kanisthas ( younger brothers ) or the Putras (sons). Here also the Prīti attains different levels, viz. the Preman, the Sneha and the Räga with sub-kinds as in the above case. These different levels have, no doubt, obvious reference to the Vibhavas. The third kind, the Preyān Rasa, has the Dvibhuja Hari as the Visaya and the companions as the Āśrayas. The Ārayas have been divided into kinds and subkinds. The Visrambhātmā Rati,3 that is, the Rati in which there is the sense of confidence, is called the Sakhya Rati. It has stages as the Pranaya, the Preman, the Sneha and the Räga. Here also these stages are reached as shown previously in the different Āśrayas. The fourth kind, the Vatsala Rasa, has Krsna as the Visaya and the elders as the Asrayas. The Asrayas are arranged in order of ascending excellence. Many of them have been counted as the Vrajeśvara and the Vrajrājñī or the Vrajeś- varī, Rohiņī, Kuntī, Sāndīpanī etc. Among them the first

1. R. H. S. pp. 341-344. 2. Ibid. 61-63. p. 355. 3. R. H. S. 54-56. p. 386.

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two stand formost.1 Here also the Vātsalya Rati attains its culmination in Yasoda.2 Does it not clearly show that the Vibhävas are the determining factors ? The author makes a remark which proves more the importance of the Āśraya Vibhava. He says that in cases of the Priti and the Preyān if the Rati of Hari is not cognized, it will not be properly matured. It can be inferred from this that there should be co-operation between the Visaya and the Asraya. In case of the Vätsalaya Rati, however, it is not so.3 Even in the absence of the above cognition the Vätsalaya Rati stands as no impediment comes. It is, therefore, a position con- firming the importance of the Āśraya's capacity and intensity of emotions. This becomes quite clear in the fifth kind, the Madhura Rasa, in which Krsna is the Vişaya and his beloved the Asrayas. The Asrayas are of many kinds as described in the Ujjvalanīlamani. The Madhura Rati as the Sthayibhāva here attains various levels in different Aśrayas. As the Asrayas are his beloved they may be the Sādhāraņī ( courtezan ), the Svīyā (wife) and the Parakīyā (maiden or married woman). In the first, that is, the Sādhāraņī, the Rati may be Sādhāraņī ( general ) as in Kubjā. It is like the Mani (gem) which the com. explains as available to others also by efforts. This Rati arises only at the direct sight of Hari, is not very deep and is actuated by the desire of enjoyment for self. And as this desire gradually dis- appears it also shares the same fate. It, therefore, reaches only the Preman stage. In the second, that is, the Svīyā, the Rati may be Samañjasā ( well-proportioned ). Here the

1. R. H. S. p. 397. 2. Ibid. 25. p. 407. 3. Ibid. 28. p. 424.

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feeling of husband and wife exists. Because of the relation of husband and wife, adherence to codes of morality and worldly behaviour exists. It is deep. Here the desire of enjoyment merely for self is not the actuating motive. The enjoyment is as much for Krsna as for self. It is like the Chintämani which the com. explains as attainable by others than the queens with a great difficulty by virtue of great luck. It rises upto the Anuräga stage, that is, after the Preman stage it ascends the Sneha, the Māna, the Pranaya and the Raga stages. In the third, that is, the Parakīyā, the Rati may become Samartha ( capable ). The Rati is the deepest here. Here the efforts of the Gopīs are entirely for the pleasure of Krsna, no idea of self-enjoyment is entertained. Hence it is that Krsna is ever at their beck and call. The Rati in them reaches the final stage, that is, the Mahābhäva.1 It is like the Kaustubhamani hence not attainable by any other than the Gokuladevīs. The above stages from the Preman to the Mahābhāva require a little dilation, giving them only in their essence, for clarifying the position. That these various stages of the Rati attained by them do mark its intensity is clear. The first stage, the Preman, is the bond of emotion ( Bhäva ) between youthful persons which is not to be destroyed even in the presence of the cause of destruction ; it is of three kinds, viz. the Praudha, the Madhya and the Manda according as it is mature, middling and slight. The author, Rūpa Gosvāmī, defines these kinds in two ways. The second stage, the Sneha, is the Preman sublimated ; it causes melting of the heart. At its rise no satisfaction is had from sight etc. It is of three kinds, viz. the Kanistha ( lowest ), the Madhyama

1. R. U. M. 37-51. pp. 335-341 (with Com.).

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( middling ) and the Śrestha ( best ) according to its intensity. The Sneha may be the Ghrta-sneha where there may be constant fondness and honour and where other emotions ( Bhävas ) are mixed. It has no taste of its own. It is so called because it solidifies like Ghee ; or the Sneha may be the Madhu-sneha characterized by too much fondness. It is like honey and produces its own sweetness. The third stage is the Mäna where the Sneha reaches excellence and a new sweetness. It, however, causes repulse as emotion becomes excessive. It is of two kinds ; viz. the Udātta and the Lalita. The Udätta is the Ghrta-sneha getting thicker whereas the Lalita is the Madhu-sneha having tortuousness, accessible to heart, free and sportive. The fourth stage is the Pranaya where the Mana comes to have confidence. Its form is described by the wise as the Visrambha ( confidence ) which is of two kinds, viz. the Maitrya ( friendship ) where the Visrambha is mixed with humility, and the Sakhya ( fellowship ) where the Visrambha is free. from fear. Mixed with the Udatta and the LalitaMana, each of the above two may again be of two kinds ; the Su-maitrya ( good or solid friendship ) and the Su-sakhya ( good or close com- radeship ). The author says that some Pranaya arising from the Sneha may become the Mana or the Mana arising from the Sneha may become the Pranaya ; thus do the Māna and the Pranaya act mutually as cause and effect. The fifth stage is the Räga where the Pranaya attains excellence and sorrow is transformed and suggested as joy. The Rāga may be the Nilima or the Raktima. The first may again be the Nīlī-rāga or the Syāmā-rāga and the second the Kusumbha- rāga or the Mañjistha-rāga. The sixth stage is the Anurāga which ever experienced is ever fresh and dear. Its aspects

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are : the Parasparavaśībhāva ( self-surrender to each other ) the Prema-vaichitrya ( otherwise called the Vipralambha ), the Aprāņinyapi-Janma-lālasābhara ( having desire for being born even as an inanimate object associated with Krsna ) and the Vipralambha-Visphūrti ( direct sight of the beloved in separation). The seventh and the highest is the Bhāva or the Mahabhāva where the realization of love is supreme. As the com. (p. 376 ) puts it, the Anuräga is cognized through its own Anuräga, hence it is illuminated. In the absence of this illumination it remains as the Anurāga and does not become the Bhava. As said before this stage is reached only in the Vrajadevīs and is called the Mahābhāva. It is of two kinds. The first is the Rūdha (where the Sāttvikas are highly excited ). It has got many characteristics both in the Sambhoga ( union) and the Vipralambha ( separation ). The second is the Adhirudha where the characteristics of the Rūdha attain a special sublimation. It is of two kinds. The first is the Modana where the Sāttvikas produce a heightened charm. It is found only in the Rādhikā group. It becomes in separation the Mohana where the Sāttvikas get more excited.1 It has got many characteristics. The second is the Mādana found beautified only in Rādhikā.2 All these stages have been entered into such details to show that the intensity of the Rati depends upon the capacity of the Vibhavas specially the Aśrayas. These various stages have been compared by the author to the various prepara- tions of the juice of the sugar-cane. The Rati develops into the Preman just as the sprout of the sugar-cane does into the sugar cane plant. The Sneha is like its juice, the

1. R. U. M. pp. 344-391. 2. Ibid 202. p. 409.

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Māna like the Molasses (Guda), the Pranaya like the Khanda ( a little refined form of the molasses ), the Raga like the sugar, the Anuräga like the white sugar and the Mahābhāva like the sugar-candy.2 It has to be noted here that each stage is sweet but gradual refinement and thickness become perceptual. The qualitative difference in the Rati rising to so many stages has reference to the various Aśrayas who in their turn reflect the qualitative stages. As in the poetics so here also the Madhura Rasa is of two kinds : the Vipra- lambha and the Sambhoga. The first, the Vipralambha, takes place when one is absent resulting in the other's pining or even when both are present but mutual reciprocity is lacking. It is, therefore, of four kinds : the Pūrvarāga, the Māna, the Prema-vaichitya and the Pravāsa. The first arises before the meeting of the lover and the beloved. It may arise from many factors as hearing of the lover's quali- ties and merits, seeing him in a picture etc. The Pūrvarāga may again be of three kinds : the Praudha, the Samañjasa and the Sadhärana. These kinds have reference to the three kinds of the Rati, viz. the Samartha, the Samañjasa and the Sādhāranī described before. The various stages to which these kinds attain have been graphically described. It has been suggested in the end that the sequence of Hari's love also is the same. This may imply that the Visaya Alambana is also conditioned by the Aśraya Alambana wherein are represented both the qualitative and the quantitative aspects of the Krsna-Rati. The second kind, the Mana, is the affectionate jeaslousy when the lover and the beloved even present are not responsive. Its seat is the Pranaya. It has kinds and sub-kinds. In the end the remark is made that the

1. R. U. M. 53-54. pp. 342-343 (with Com.).

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various degrees in the Mana depend upon the variety of the factors ( Hetus ) bringing it about. These have always reference to the Vibhävas. The third kind, the Prema-vai- chitya, occurs when due to the excellence of love the lover and the beloved even though together think of separation. The fourth kind, the Praväsa, occurs when separation is caused due to the departure of the lover to a distant place. The departure may be the Buddhipūrva due to some work which is known or the Abuddhipürvaka which is unforeseen. It may be due to compulsion or dependence ( Pāratantrya).1 Rūpa Gosvāmī devotes one section to the condition which he calls the condition of both union and separation.2 Here he says that the various kinds of the Vipralambha are only with reference to Krsna and his beloved as those kinds become expressed and manifested in this world. In their other aspect, that is, that which is hidden and concealed, no separation takes place. It is a case where union is ever existing. After finishing the consideration of the Vipra- lambha which is considered necessary for the excellence of the Sambhoga, the Sambhoga comes forward for consideration. The author describes it in its various kinds and sub-kinds, devoting one separate section each to its two principal kinds : the Mukhya3 and the Gauna.4 The Mukhya is of four kinds, viz. the Samksipta, the Sankīrna, the Sampanna and the Rddhimat according as it pacifies the longing caused by the Pūrvarāga, the Māna and the Pravāsa (in its two aspects, the Buddhipūrva and the Abuddhipūrvaka ). Of

1. R. U. M. pp. 415-458. 2. Ibid. 458-460. 3. Ibid. pp. 467-475. 4. Ibid. pp. 483-497.

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the above kinds the third, that is, the Sampanna, has two sub-kinds : the Agati and the Pradurbhava. The fourth kind represents the highest stage. The Gauna is of two kinds : the Chhanna (covert) and the Prakāśa (overt), but as they do not lead to any pleasure they do not merit des- cription. Does this not clearly imply that this kind is not of as excellent an order as the Mukhya ? The author, how- ever, devotes sufficient space to its details in dealing with its kinds and sub-kinds. All these various details have been dealt with to show that it is the Vibhavas which are the determining factors in different kinds and sub-kinds of one and the same Rasa. The conjoined operation of the various factors leads to the particular Rasa in the spectator or the reader when he has established his identity with the Āśraya, Alambana. The spectator will relish Rasa at the same level at which he is one with the Āśraya, who, how- ever, is represented here in the universalized aspect and not in the particular one. The pleasure experienced is on the analogy of the beverage where the taste is not of any parti- cular ingredient but of all of them as one whole. Bharata gives the invariable concomitance of the Bhava and Rasa when he says that no Rasa is without the Bhava and no Bhava without Rasa. One brings about the accomplish- ment of the other when a representation is held. Just as the conjunction of the taste-giving elements and vegetables with food imparts palatableness to the latter, so do the Bhävas and Rasas render each other relishable.1 With a view to settling as to which produces the other Bharata in the sixth chapter of the N. S., before giving the above statement, starts the discussion if Rasas produce the Bhāvas

1. N. S. (G. O. S.) VI. 40-41.

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or the Bhavas produce Rasas. He also gives the view of others in the words that they mutually produce each other. The position can be analyzed into three parts : whether Rasas produce the Bhavas, or whether the Bhāvas produce Rasas, or whether they mutually produce each other. 4. Bhavās produce (turn or mature into) Rasas. Abhinava in the com. to Bharata's position thoroughly discusses the different points. One view requires special consideration. Those who say that Rasas produce the Bhävas advance that when a dramatic representation is given, the Vibhāvas etc. come to be so termed and before it no such technical terms are heard of. It is, therefore, that Rasas depend on the Vibhāvas etc. and the Vibhāvas etc. also depend on Rasas. The defect born of mutual depen- dence ( Parasparāśrayatva), thus, creeps in. Abhinava takes the statement of Bharata and interprets it as follows. The combination of the taste-giving elements (spices etc.) and vegetables imparts palatableness to food and vice versa, similarly the Bhävas produce Rasas which in their turn give the former such technical names as the Vibhāvas etc. The defect of mutual dependence comes in only when the verb (Kriyā) involved is the same ; where it is not the same but there are two different verbs this defect has no scope. Just as in the analogy the taste-giving elements make food sweet, sour etc. and the latter renders the former pleasurable, so do the Bhävas make Rasas relishable which in their turn give the former such names as the Vibhāvas etc. Abhinava gives one more illustration for clarification. He says that the threads viewed from the standpoint of cloth are called its causes whereas cloth viewed from the standpoint of threads is the effect. Here the mutual dependence does

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not creep in. Abhinava is not satisfied with so much. He says that one more objection can be raised to the position establishing the Bhavas as the causes of Rasas. It is, this. If the above position is real, why has it been said that nothing proceeds without Rasa ? And, therefore, Rasas should be taken up first. Abhinava again interprets Bharata's statement which runs thus. Just as from seed grows the tree from which comes out the flower which produces fruit, so are Rasas at the root of all and the Bhavas are so termed because of them. Abhinava explains the above as follows. Rasa in the poet is the seed. The work composed is the tree of which flowers are the various activities of the Nata. The fruit is the relish of Rasa in the spectator. In this way the whole universe is full of Rasa. Those who say that the seed is the Bhava from which grows the tree of Rasa which blooms out into the beautiful representation by the Nata from which the fruit in the form of the Bhāva comes out have undoubtedly given an explanation which is not true to its nature. Thus do Bharata and Abhinava establish the relationship of cause and effect, though not of ordinary kind as seen many times, between the Bhavas and Rasas. Rudrabhatta hints at one of the illustrations given above when he says, "Just as leaves, flowers and fruits grow in the tree, so do the beautiful and particular Bhāvas in Rasa."1 Rasas do presuppose the existence of the Bhavas. If it is said that Rasas produce new Bhavas, the position is weak for pre-existence of the Bhävas which turn into Rasas has already been accepted, and the new Bhävas may only be the variegated forms of the pre-existing Bhavas or they may be

1. S. T. I. 17.

461 such Bhävas as are in one way or another connected with them. The new Bhävas, therefore, are only new products in the sense of their being permutations and combinations of old ones. They are hardly capable of producing new Rasas; the utmost they can do is to impart variety to Rasas. The Vaișnava school of Bengal clarifies the position by admitting the pre-existence or pre-cultivation of the Bhāvas already present in the latent forms of impressions as a sine qua non for the realization of Rasa. As already seen the Bhāva here has to be raised even a stage higher into the Preman capable of maturing into Rasa. Thus the pre-existence of the Bhava for the realization of Rasa has to be admitted. The above discussion in the form of Rasa as seed etc. suggests one thing for consideration. The Nata's activities in the form of representation is described as the flower from which comes out the fruit in the form of the realization of Rasa in the spectator. Does it not suggest a relationship of the activity of the Nata with the realization of Rasa in the spec- tator ? The activity of the Nata as representation ( Abhi- naya ) is nothing but the Nätya which as seen long before aims at the realization of Rasa and not at mere provocation of the Bhavas which, however, is the aim of the Nrttya. Abhinava says the same thing when he makes the dramatic representation the flower and the relish of Rasa in the spectator, the fruit. SECTION B.

Rasa-Its relation with Nātya. There is, thus, a close relation of Nātya ( dramatic re- presentation ) with the provocation of the Bhavas in the spectators and their consequent maturity into Rasas. That

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this Abhinaya which as means has been arranged into four kinds for the provocation of the Sthāyibhāvas is necessary has been established by Bharata plainly in so many ways. In the seventh chapter in the definition of the Bhavas he says that they are the Bhavas as they bring to realization the objects in the Kävya which are present there with verbal, physical and Sāttvika aspects. A Bhāva is brought to manifestation by the Vibhavas and expressed by the Anubhāvas through verbal, physical and Sāttvika repre- sentation. Through words, physical and facial painting and the representation of Sattva the Bhava expresses the internal Bhäva of the poet. The Bhāvas are so called be- cause they bring into knowledge Rasas connected with different kinds of Abhinaya. The Vibhavas are so called because it is through them that the verbal, physical and Sāttvika representation is realized. That is to say, when the Sthāyibhava has fixed itself upon some object, the re- presentation is experienced. The Anubhāvas make one realize the verbal, physical and Sāttvika representation. Bharata while describing the different Rasas always enu- merates different expressions : facial, physical etc. through which they are to be represented on the boards. All this explains the necessity of representation. It may be said here that Bharata concerned himself with the exposition of the rules of dramaturgy and that consequently his em- phasis on the representation for the realisation of different Rasas is not necessary in all cases. In literary compositions other than dramas pleasure as Rasa is experienced by readers ; no necessity of representation seems, therefore, to be pre- sent. Hence the representation is not necessary in all cases of the realization of Rasa. The above position can be tackled from various points

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of view. It has been said that it is the spectator or the reader who experiences Rasas ; therefore, to tackle it from the view point of the spectator or the reader deserves notice. The spectator or the reader experiences Rasa as he has in him the Sthāyibhāvas present in a latent state as the Vāsanās ( impressions ). The Yoga recognizes the presence of the impressions as the Bhāvas in four conditions : the Prasupta ( latent, that is, present in seeds ), the Tanu ( attenuated), the Vichchhinna ( intercepted ) and the Udāra (manifested). The first is the general condition in the latent state of all the impressions. The last is their manifested stage when they have fixed themselves on some objects ( Ālambanas ) and thus become expressed. The second is that stage when the Bhā- vas lose their inherent strength under the action of sub- versive forces brought into conscious play through Kriyā- yoga by persons in whom the Bhavaszexist. And the third is the stage when one Bhāva is intercepted by another, as during love anger is not seen. In order to know the reality the Yogin has to resort to various means which facilitate the above knowledge. According to the quality of the means the Yogins are classified as the Mrdu (soft ), the Madhya ( middle ) and the Adhimātra ( sharp ) and each is again classified according to the intensive aspiration (Samvega) into three kinds: the Mrdusamvega, the Madhyasamvega, and the Tīvrasamvega. Thus nine kinds have been recognized. The means applied will lose their intensity and capability as the Yogin is soft, middle or sharp. The relation between the Samvega and the Upāya (means ) is such that the deficiency of one in a mind can be adequately made up by a corresponding preponderance of the other so that even the softness of the means in the Yogin does not

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stand in the way of his realization when the Samvega is proportionately Tīvra. Adopting this analogy in the case of the realization of Rasa the necessity of representation becomes quite clear. The representation is resorted to in order to provoke the latent Sthāyibhāvas in the spectators who are susceptible to the least external stimulus. That the Vāsanās as the Sthāyibhāvas have various degrees according to intensity and time required for their provo- cation in cases of different spectators is well known. On this basis the spectators can be divided into several kinds. But the external means is necessary in all cases though in some cases it may not be so prominent. And in a few cases the means may even seem to become internal. There are persons who do not actually see the representation but have sensibility and imagination keen enough to present it before their mind's eye. It is to help the imagination of such persons that in the Kavyas the proper arrangement of the kinds of heroes and heroines, the appropriate disposition of plot with its division and sub-division into the Sandhis and their ancillaries, the description of such factors as season, moon etc. have been enjoined. Such cases, however, are very rare. Therefore, the representation on the boards becomes the general necessity for the realization of Rasa. Hence the means whether internal or external is necessary in all cases. This explains why Abhinava calls the Nātya Rasa itself. In view of the above emphasis on, and 'inevi- tability' of, representation in various interpretations, on the lines of different systems of philosophy, put on the Rasasūtra of Bharata the question arises if Rasa can be explained accord- ing to the basic and fundamental principles of different sys- tems of Philosophy.

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Rasa on the basis of the fundamental principles of Nyāya, Sānkbya, Advaita Vedānta, Pratyabhijñā ( Trika) Darśana and Chaitanya school of Bengal Vaişnavism. Before starting the inquiry itself the question requires to be analysed into its component parts. The Sthāyibhāva is provoked in the spectator ; it, then, matures into Rasa. This provocation, however, results from the Abhinaya. The spectator here stands aside and is not the part and parcel of the Abhinaya. He thus is a person witnessing the re- presentation ; but in order to have pleasure from the sight he identifies himself with the original characters or the actors who impersonate them. He is separate, no doubt, but according to the above position he also feels his identity with them. On the other hand, if he is actually one of the original characters, he will not experience Rasa, but plea- sure and pain according to the wordly circumstances he happens to be in. The experience, then, will be Bhoga and not Rasāsvāda, as the Bhaya, the Krodha etc. which in worldly affairs are painful are nothing but pleasurable as the Bhayanaka and the Raudra Rasas. The consideration, then, will have to be made from the view-point of the person who is quite separate and on a par with one who has reached the highest stage of the ultimate Reality. For examining the different positions in the philosophical systems he will be taken up for granted as the spectator with the Sthāyi- bhavas as the Vāsanās latent in him, otherwise no pleasure will be experienced. And before him the representation also. should go on to provoke the Sthāyibhāvas maturing into Rasas. Here the objection will at once arise as to how the Bhävas can remain functioning in the spectator when he is on a par with the person who has reached the highest Reality. 30

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The answer is that it is to examine the above different posi- tions that this hypothesis is taken up for granted. Keeping, thus, the Purusa, who has realized, with the Sthāyibhāvas latent in him and the Abhinaya going on before him in view, it is now pertinent to start with consideration. The three sets of Nyāya-Vaiśeşika, Sānkhya-Yoga and Mīmāmsā- Vedānta are to be considered. Coming to the Nyāya, the Purușa in the liberated stage is free from all the particular Gunas, which are the basis of pleasure and pain ; he has no Bhāvas ; there is complete cessation of pain and misery; and there pleasure does not exist ( Sukhābhāva). When such is the Svarupa of the Purusa what is the scope for the realization of Rasa ? If it is said here that Iśvara may be recognized as the spectator of the whole creation, the ques- tion arises if He has got Vāsanās in Him. He is, however, recognized as the Nimitta Kärana of the creation, and is the Great Dispenser according to the previous actions of the Purușas. How can he feel interested in the creation ? If Rasa is regarded as the experience of a person not wholly liberated, consideration comes in if there are degrees in liberation-which, however, is against experience. More- over, even if such partial liberation is accepted, experience at this stage will be Bhoga and not Rasasvada. With the Sānkhya, however, the case is different. In it there are two elements which remain at the final stage. They are the Purușa and the Prakrti. The Purușa is consciousness itself (Chaitanya-Svarūpa ), above the three Guņas ( Triguņātīta ) discriminate ( Vivekī), having no objectivity (Avișayī ), particular (Viśeșa.), conscious ( Chetana ) and non-productive ( Aprasavadharmī ).1 As the Purusa is above the three

1. Sān. Kā. 11.

467 Guņas, Ānanda is absent from him, as Ānanda depends upon the Sattva Guna which here is essential to the Prakrti. The liberated Purusa has nothing to do with the Prakrti Here the Abhinaya of creation also ceases because the Prakrti realizes that the Purusa who has liberated and con- sequently experienced his separateness from her, has seen her at play.1 The Ananda aspect does not exist in the li- berated Purușa, as his Vāsanās get burnt like parched grain which has lost its power of germination. He, thus, lacks in the Bhävas, and as the Prakrti has ceased to play her role, the Abhinaya also ceases. Here again if it is said that Rasa may be experienced by partially liberated persons, the same argument as advanced above will silence the question. Under such conditions what scope is there for the realiza- tion of Rasa ? Coming then to the Advaita Vedantic position the liberated soul becomes Brahman which is His real form. He is all existence, all consciousness and all beatitude. The Ananda aspect which was absent in the Nyāya and the Sānkhya is present here. But the Bhāvas as impressions present in the spectators have all been des- troyed as the soul has become Bhāvātīta and there is no scope for any Vrtti (mental function) here. There is nothing else realized but Brahman ; Māyā at this stage ceases to function and disappears in Brahman which, thus, is the Adhikarana (locus). Māyā is not essential but ad- ventitious to Brahman which covered with it is called Iśvara. When the soul has realized its identity with Brah- man, Māyā disappears and there remains no such entity as Iśvara. Brahman and the soul become one and indivisible, no other thing existing. There is nothing to be seen and

1. Sān, Kā. 59.

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there is no body to see. Hence though Brahman is all pleasure, yet this pleasure is not on the basis of the Vasanās, as it is the essential nature of Brahman itself. There is no Abhinaya going on for the provocation of the Sthāyibhāvas. If it is advanced here that Iśvara is the spectator of the Abhi- naya of Māyā, the objection arises that Māyā is not experi- enced as separate by Iśvara, as Iśvara is the form of Brah- man limited by Māyā in its entirety and with the Sattva predominating (Sattvapradhana Samastimayopadhika Chaitanya). Therefore to a liberated soul there exists neither Māyā nor Iśvara; the soul attains its original identity with Brahman. Hence in no case is the realization of Rasa possible. The question of Rasa-experience to a partially liberated soul does not arise here as Ananda which is the Svarupa of Brahman is realized directly in the ultimate stage only. There are no such degrees in that bliss. Any other pleasure realized before the final stage is Bhoga. This above description explains how the different in- terpreters of Rasa had realized the above positions ; they, therefore, confined themselves to the worldly plane and did not rise high upto the ultimate level as elaborated in the different systems. For example, the Naiyāyikas explained Rasa as an inferential knowledge giving pleasure to the spectators. No account was taken of the Vāsanās in the spectators. The Abhinaya was the representation given on the boards in the world. The inadequacy and insuffi- ciency of the Naiyayikas' view have already been seen in all possible details in the fourth chapter of the second part. The Sankhya view trod the same path. The Abhinaya was the representation on the boards in the world and the pleasure as Rasa was explained due to the process called the

469 Bhoga in the spectator which consisted in the predominance of the Sattva over the Rajas and the Tamas. As has just been seen the three Gunas are the attributes of the Prakrti, they were in the Purusa at the stage when he identified himself with the Prakrti, hence the spectator who enjoyed Rasa remained in the unliberated stage. Coming to the Advaita Vedāntic view, practically the same moorings to the worldly plane are to be seen. Rasa was explained as the realization of the Rati etc. along with the bliss of self which is Chit itself and from over which the sheath of ignorance has been removed temporarily due to the peculiar and extraordinary function born of the Vibhāvas etc. becoming universalized as a result of the Bhāvanā (imagination ) of the sympathetic and responsive persons to whose hearts they have appealed when recited or presented on the boards. A nearer approach was attempted when instead of making the bliss aspect of self as the qualifier and the Rati etc. as the qualified the posi- tion was reversed thus making the Rati etc. and the bliss aspect of self the qualifier and the qualified respectively. As Rasa was realized so long as the recital or the dramatic representation lasted, the removal of the cover from over the self was considered only as temporary. As a necessary corollary from this temporary removal of cover, it follows that here the ultimate aim was not to realize identity with Brahman, but only to give a glimpse into the all-blissful nature of self not in its pure and unalloyed form but as delimited by Rati etc., for all other conditions except the ultimate one were sure to be delimited by one or other fac- tors. As Rasa could be explained only in this way, attempts were made in this direction. This explains why writers like Viśvanātha call it Brahmāsvādasahodara, a relish akin to the realization of Brahman.

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But these are not the only explanations which exhaust the meaning of the Rasasutra of Bharata. Bharata was a Śaivaite as it appears from his writings. Later writers like Abhinava and Ānanda were all Śaivaites having affinities with Kāśmīrian Śaivism of the Advaita type called the Trika system. It is then meet to see if any explanation can be given satisfactorily according to the fundamental tenets of that system. Parameśvara here is all consciousness and bliss. He is Kartā (doer ); He is Svatantra ( free ). He has Chit ( consciousness ), Ānanda ( bliss ), Ichchhā ( will ), Jñāna ( knowledge ) and Kriyā (action ). According to the Trika system the five kinds of supersensuous and supernatural beings, in no way connected with body, senses, vital airs, intellect or mind, are designated according as each of the above five powers predominates in each. They are Sām- bhava, Śaktīśa, Mantramaheśvara, Mantreśvara and Mantra.1 In the evolution, however, all the above powers of Para- meśvara are present and one manifestsation differs from another according as one power or another is predominant. Thus Chit predominates in Śiva. In this state the experience, if at all, is pure 'I'.2 This state is like that of the indeterminate contemplation ( Nirvikalpaka Samādhi ). Self conscious- ness and object are manifestations which come out later on. Siva here is pure. In order to have consciousness of the above manifested Śiva, Śakti is counted as the second mani- festation. This Śakti is called the Chit Sakti and it evolves simultaneously with Śiva from Parameśvara. At this stage the experience is 'I am' and in it Ānanda predominates.3

1. A. H. P. S. p. 235. 2. Ibid. pp. 239-240. 3. Ibid. pp. 240-241.

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In the third category, that is, Sadāsiva Ichchhā predomi- nates. Here Ichchha has some objective reference but the object is not so distinct as in the later stage. The ex- perience of the beings of this Tattva is 'I am this '1 where 'this' represents the universe very indistinctly. This stage represents the transition from the unaffected state of Siva and Śakti to that of Iśvara wherein due to the predominance of Jñāna the objective element becomes distinct. In it this objective element becomes so predominant that even in its experience the emphasis comes to be attached to it. The experience is 'This I am'.2 The fifth category is the Sadvidyā where Kriyā predominates. In this stage the experience is 'I am this' marking an even and equal importance to both 'I' and 'this'3. It has to be marked that here the objective element is not so vague as in the Sadāśiva stage, nor so pre- dominant as in the Iśvara stage but it is evenly balanced. This is the order of evolution from Parameśvara. At the time of merging of the above stages into Parameśvara the process is reversed and the universal beings classed as Mantra, Mantreśa, Mantramaheśa and Śiva (Śakti being taken along with Śiva) belonging respectively to Sadvidyā, Iśvara, Sadāśiva and Śiva-Śakti Tattvas have to pass through the successive stages. The experience of the Tattvas realizing themselves as the universal beings which they really are is free from all limitations. This is pure creation. The impure creation begins with Māyā which breaks the unity of the Universal self in that diversity is manifested by it independent of any external help or prompter4 as opposed

1. A. H. P. S. p. 241. 2. Ibid. p. 242. 3. Ibid. pp. 242-243. 4. Ibid. p. 244.

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to the pure creation where in the above mentioned five manifestations of the Universal self the objective universe is purely ideal and realized in its real aspect. This is Mayā. It is the power which conceals the real nature of the Universal self. It is also the cause of all limited mani- festations. Its second aspect is effected by its products : Kalā, Vidyā, Rāga, Kāla and Niyati. The Universal self under the influence of the above Māyā assumes countless forms of limited selves. The Universal self thus comes to be covered with five products of Mayā which counted together with Māyā are called the six covers ( Kañchukas ). Moksa, that is, self-realization according to Trika is nothing but self-recognition ( Pratyabhijña). The self recognition here may be explained as the act of recall of, and reunion with, the former states of consciousness. Therefore, when the Purușa has recognized his former self as Parameśvara, he has attained self-realization. Rasa according to the Trika system can be explained thus. When the soul is restored to his original divine status of Siva, he has a vision of his own self which repre- sents a playful self-delight of the absolute as Śiva and Śakti. This vision is Rasa-Sākşātkāra. 'Sakti is the divine Nature which supplies the ground of Siva's realisation of His own- self,' as Das puts it.1 It is said that Maheśvarānanda 'describes the "Sakti principle" as that slightly swelled up aspect of Siva in which he possesses the tendency of visuali- sing (Ikshitum ) maintaining ( Sthätum ) and projecting the world while experiencing the most supreme felicity of joy which he feels by feasting, as it were, upon his own self ( the triangular heart ) sweetened by the honey of the spon-

1. S. D. P. p. 61.

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taneous outburst of his inner content of joy.'1 Hence nothing but pleasure is experienced. The Purusa when he has recognized his original nature as Parameśvara realizes Rasa when he is in the Siva state watching from there the Abhinaya which is going on in the form of the world. Thus Parameśvara is the actor ; He is also the spectator of His own roles. Siva as the spectator has also the Bhāvas as Śakti is essential to Him. Śiva is called Nātyakartā, Națavara, Națarāja and Mahānātyaviśārada. The very first stanza uttered by the Sütradhāra in the beginning of the Mattaviläsa Prahasana well depicts these different con- ditions and attitudes of Siva as He is described therein as the dancer, the spectator etc. Rasa, thus, can be explained on the basis of the fundamental principles of the Trika system. There was no question of partial or total liberation here. As Śiva was the symbol of everything in the universe, every position could be explained well. In the dramatic repre- sentation in the world the pleasure which is experienced by the spectators is, thus, devoid of pain even when painful scenes are being enacted. The pleasure as well as the pain are both relished as nothing but pleasurable. This pleasure resulting from witnessing a dramatic representation is Rasa. It is a universalized pleasure and it is pure because tempo- rarily the spectator is on the level of pure Siva experiencing pure 'I' as said above. Rasa can also be explained on the basis of the fundamental principles of the Bengal school of Vaisnavism connected with the Chaitanya Movement. The Supreme Reality,

1. S. D. P. p. 62.

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Bhagavān, is described here as possessed of infinite powers ; out of these three are most prominent. They are the Svarūpa Śakti, the Tatastha Śakti and the Māyā Śakti.1 The first is the very form of Bhagavan and is called the Chit Sakti or the Antarangā Śakti ( essential ). Though it is of one form, yet as Bhagavān is Sat, Chit and Ānanda it manifests in triple forms : (1) Sandhini, through which Bhagavān Himself exists, makes others exist and pervades time, space and every object ; (2) Samvit, through which Bhagavān knows Himself and makes others conscious and (3) Hlādinī, through which Bhagavän delights Himself and makes others delighted.2 Through the Tatastha Śakti infinite entities as Jīvas delimited in nature and Anus in dimension, come into being. The Māyā Śakti which is also called the Bahirangā Sakti is responsible for the manifestation of the universe. Therefore, the Universe as manifested is eternal and indestructible.3 According to this school Bhagavān Krsna who is the Supreme Reality carries on His Līlā which is either unmanifested (Aprakata) or manifested ( Prakata ). In the unmanifested Līlā Vrndāvana and other places remain as eternal where the Gopīs as Rādhā, Chandrāvalī etc. are the eternal consorts of Śrī Krsna.4 The consorts and the retinue of Śrī Krsna have been described in the Padmapurāna.5 In the manifested Līlā, however, the con- ditions of union and separation obtain though in the un- manifested Līlā there is eternal union. In this manifested

1. Viş. Pu. VI. 7.61. 2. Ibid. I. 12.68 ; B. V. S. R. pp. 39-40. 3. Viş. Pu. I. 22.60. 4. R. H. S. p. 392 ; R. U. M. pp. 458-460; Pa. Pu. IV. 74. 5. Pa. Pu. IV. 69 & 74.

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Līlā the Srutis.1 the Munis,2 the Upanisads3 etc. who had constant incessant and deep-rooted devotion to Śrī Krsna incarnate as His beloved. In the unmanifested Līlā the Śrutis and the Munis have also been described as His beloved.4 The different Sādhakas and Siddhas ( Samprāptasiddhayas and Nityasiddhas ) are conceived as possessed of various degrees of Samvit and Hlādinī Saktis. Both these aspects are necessary, because in the absence of Samvit pleasure will not be experienced, and in the absence of Hlādinī the cognition will be pure consciousness. But the Samvit finally merges into the Hlādinī as in the case of Rādhā who is represented as Hlādinī ncarnate.iSheis called the rAoot- form (Mūlaprakrti). The Āśrayālambana Vibhāvas of the Śānta Rasa here are the Atmārāmas ( those delighting in self) and the Täpasas ( who think of Mukti through Bhakti). That they have, no doubt, more of the Samvit and less of the Hlādinī is clear. Such consorts of Śrī Krsņa as Rukmiņī do not attain the stage of the Mahabhava reached by Rādhā, though the Hlādinī Sakti is recognized in the former. It is in Rādhā, therefore, that the highest love is attained. She is called the Hlādinī incarnate. The above position of the Gopīs has been made clear in the com. where they have been established on the authority of the Brahma-Samhitā as filled with bliss and consciousness ( Anandachinmayatvena Sthapitah ). That these different kinds of the Sādhakas and the Siddhas have these two Saktis is borne testimony to by the fact that the Bhava which as the Rati attains different levels in them has been described as consisting of the grace 1. R. U. M. p. 15. 2. Ibid. p. 52. 3. Ibid. p. 53. 4. Pa. Pu. IV. 74.103.

476 of the Mahāśakti explained in the com. as the Hlādinī ;1 again the Rati is identified with the Great Bliss ( Paramānanda) explained in the com. as the Hladini.2 The countless Jīvas come into being through the Tatastha Sakti. They are delimited in nature and Anus in dimensions as said before. A Jīva is explained in the com. as 'Sachchidānanda Īśvara connected with the Hladini and the Samvit but covered by Avidyā, hence the mine of a multitude of troubles.'3 The Avidyā is the Māyā Śakti of Bhagavān. When, there- fore, the Jiva thinks that liberation is to be attained through the Bhakti of Bhagavan or when even without paying any thought to liberation the Bhakti to Bhagavan is made the aim, and when through the Sadhana Bhakti or the grace of Bhagavan or of His devotees etc. the Bhavas arise in him, it is then that the Samvit and the Hlādinī Saktis begin to be manifested in him. Avidyā, then, has no scope. The Jīva at that time gets an access to the sports of Bhagavān ( Bhagavallīlā ) and enjoys Rasa. The Jīva is liberated from Avidyā but he is fully devoted to the duties of Bhagavān. The Hlādinī Śakti in him is the pleasure realized from different sports of Bhagavän. In the dramatic representation of the world the spectator witnessing the representation gets nothing but pure pleasure, as at that time the Bhäva as the Hlādinī Śakti arises in him and he is momentarily free from Avidyā. As everything represented becomes connected with the Supreme Reality which, therefore, appears uni- versal and as everything is relished because of the Hlādini Śakti of that Supreme Reality, Rasa is relished as pure plea-

1. R. H. S. 74. p. 302 (with Com.). 2. Ibid. 93. p. 308 (with Com.). 3. R. U. M. p. 61 (Com.).

477 sure. At that time his existence which is experienced as universal finally merges into pleasure. Thus it may be said that the Sandhini merges into the Samvit which in its turn merges into the Hlādinī. Thus nothing but pleasure remains.