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297 GENERAL TOPICS OF POETICS At first, it is mentioned that the constituents of speech or language (Vangmaya) are Dhvani, Varna, Pada and 17 Vakya. It resembles the introductory lines in the 18 Serasvatikanthabharana of Bhoja. In giving the definition of Vakya the Purana has cited the definition of Dandin's Kavyasarifa 19 Chapter 337 is called as Kavyadilaksana. Distinguishing Kavya from Sastra and Itihasa, the Purana states that the Abhidha (Denotation) distinguishes Kavya from the others. 20 Kavya is defined as a composition which is full of embellishments, which possesses literary merits, and which is devoid of literary defects. 21 Here we find similarity with 22 the definition of Mammata and Vamana. It is stated by the several poeticians that the Pratibha (Poetic intuition), Vyutpatti (study) and Abhyasa (practice) are the three essentials of Kavya. Agni Purana has also mentioned the same thought. 23 The Kavya is classified into three varieties - Gadya, Padya and Misra. Gadya is described in the manner of Dandin as the unmetrical combination of words. Following Anandavardhana and Bhoja Sravyakavya is divided into five classes - Akhyayika, Katha, Khandakatha, Parikatha and Kathanika. The fifth variety of Kethanika is an innovation of the Purana. The details about the Khandakatha and Parikatha are new in the

298 - 24 Purana. The definition of the Parikatha given by the Purana is that, the Parikatha is a mixture of Katha and Akhyayika. From the 23 rd verse onwards Mahakavya, Kalapa, Paryayabandha, Visesaka, Kulaka, Muktaka and Kosa are defined. Sandanitaka is added by the Purana. The description given of the Paryayabandha resembles that given by Anandavardhana and the description of the Mahakavya is taken from the Kavyadarsa of Dandin. 25 In comparison with the Agni Purana, the material on the Sahitya sastra in the Visnud harmottara Purana is brief. Chapters 2 and 14 to 17 of the third Khanda in the Vismu dharmottara contain this material. But is gives detailed discussion about the Natya sastra. Chapters 20 to 31 are devoted to dramaturgy. As usual, in the second chapter Sahitya is divided into Sanskrt, Prakrt and Apabhransa and then into Gadya and Padya. Gadya is defined by the term 'Sankatha'. The language of everyday speech is called 'Saketha'. Padya is dependent on various metres. It is stated that the both types Gadya and Padya are 'Laksana sakyuta'. 26 Chapters 2 and 3 contain material on Sanskrt Grammar and prosody. Chapters 14 to 17 are directly connected with poetics or Alankara Sastra. In the 15 th Chapter Kavya is distinguished from the Sastra and Itihasa and the characteristics 27 of the Mahakavya are discussed.

RASA 299 The 'Rasa-theory' is the great contribution of Sanskrt Alankarasastra. It occupies an important position in the history of Sanskrt poetics. Rasa is the very soul of poetry and Drama. The theory of Rasa (kasaprakriya) related originally to drama was later applied to the poetical literature. The theory of Rasa is an earnest attempt to indicate the character of the emotional effect of the drama. Bharatamuni who is the first exponent of the developed Rasa theory, propounded extensively the process of the tasting of Rasa (Rasasvada). He explains how the sentiments enumerated by the experts in dramatic art attain their special qualities. After stating that 'Na hi ra sadrte Kascidarthah pravartate' no poetic meaning proceeds from speech without any kind of sentiment - the sage Bharata formulated the theory of Rasa in his well-known aphorism - 'Vibhavanubhava-Vyabhicari-Sahyogat rasanispattih'. The responsive spectator enjoys the durable psycological states (Sthayibhavas) which are expressed by various states (Bhavas) and developed with the three types of Abhinaya (acting). The wonderful pleasure which he gets from this tasting is called 'Rasa'. In the opinion of Abhinavagupta the concomitant condition of this pleasure is light of the nature of pure joy. He compared this joy with the experience of a 'yogin' and says that 'Saundarya' or beauty is the characteristic feature of the 'Rasanubhava'. Visvanatha compares the experience of Rasa (Sentiment) with 28

300 the realization of Brahman ('Brahmasvada-Sahodara'). 29 The Agni Purana has given much importance to the discussion of Rasa theory. In Chapter 337, while discussing the characteristics of a Mahakavya the Purana states that 30 Rasa is the life. Chapter 339 is entirely devoted to the exposition of the Rasa theory. Here also the Puranakara has emphasized the importance of Rasa and stated that Kavya without Rasa is not charming like wealth (Laksmi) without renunciation (Tyaga). 31 Agni Purana has discussed the Rasa theory in 54 Verses. After the first twelve verses the nine Sthayibhavas, eight Sattvikabhavas, and thirty three Vyabhicaribhavas are enumerated upto verse 34. After this in twenty verses the Vibhavas (determinants or the causes of psycological states, Bhavas) are described in the context of the Srigara Rasa. Following Bharata, the Agnipurana has admitted the eight Rasas. The addition of the ninth Rasa Santa is a later interpolation, because it does not go with the Rasa theory discussed in the Purana. It looks like an unnecessary appendage. The Rasas mentioned are not independent entities. The four Rasas namely Srigara, Raudra, Vira and Bibhatsa are regarded as the basic Rasas and from them originated the other four Rasas respectively - Hasya, Karuna, Adbhuta and Bhayanaka. This also agrees with the Natyasastra. 32 Bhoja

- 301 criticizes this view in his Sragara Prakasa. 33 Agni Purana's discussion of the Rasa theory in the first twelve verses seems to be influenced by the Rasa-theory discussed by Bhoja. In the fifth Chapter of the 'Sarasvati kanthabharana', Bhoja mentioned his Rasa theory of one Rasa Srigara as Ananda-Ahankara Abhimana Rasa. This is elaborately worked out in his Srigara Prakasa in Chapter XI. Apparently we find some similarity between the theory of Rasa stated in the Agnipurana and that of Bhoja. The Agni Purana briefly touches this doctrine in Chapter 339. 35 According to the Agni Purana Rasa is the supreme Reality, and the teasure of Ananda. The nature of this 'Para Brahman' is 'Ananda'. This is technically called 'Camatkara' or Rasa. Most of the rhetoricians of the Kamirian school of Alankarasastra compare this pleasure to the experience of the realization of Brahman. state of perfect unity (Advaita) in the Agni Purana. We find this 34 The theory of Rasa in the Agni Purana glorifies the Srigara Rasa. But it does not agree in every respect with the theory propounded by King Bhoja. Like Bhoja, Agni Purana has mentioned Abhimana Ahamkara. In the discussion of Alankarasastra, the Agni Purana draws upon Bharata, Bhamaha, Dandin and even Anandavardhana. As a compiler he has collected many topics from all standard works on Alankara including those of Bhoja. Bhoja's 'Saraswati Kanthabharana' and 'Srigara Prakasa' are utilised by the compiler.

- 302 Ultimately he is unable to propound any systematic and definite theory of Rasa. The Agni Purana briefly touches the doctrine of Bhoja. Bhoja elaborately sets forth his new Ahankara - Kasa and criticizes Bharata and the accepted notions of Rasa. Dr. V.Raghavan in his Sragara Prakasa has described the difference between Bhoja's Rasa theory and the theory of Rasa of the 36 Agni Purana. According to the Agni Purana the supreme Brahma, the eternal god, the original light, the absolute consciousness is the very embodiment of sentience (Caitanya) from which proceeds pure consciousness (Ahankara). The sense of ego (Abhimana) is a modification of this Ahankara. Out of egoism (Abhimana) has proceeded attachment (Rati). From 'Rati' proceeds Raga, Taiksna, Avastambha and Sahioca and these four psycological states give rise to four basic sentiments of Sragara, haudra, Vira and Bibhatsa. Thus Agni Purana holds the Ahankara of Bhoja as the first 'Vikrti' of the 'Inanda' which is the nature of Atman. This Ahamkara takes the aspect of Abhimana and from Abhimana is produced Rati. This Rati is the chief 'Bhava' that developes into the Srigara Rasa. All the other Bhavas, Hasa etc. are only forms ('Bhedas') of this Rati. This 'Rati' modified itself into Hasa etc. The difference between the discussion of the Agni Purana and that of Bhoja is that King Bhoja clearly says that from Ahankara not only Rati is born but all the other forty-eight Bhavas simultaneously.

- 303 Besides this difference the Agni Purana brings in Ahankara and Abhimana but has omitted to say that the same is also called Srigara. Bhoja takes an extreme position and says that Srigara is the only Rasa which is not stated by the Purana. 37 Moreover the Agni Purana has not given a complete exposition of the Srigara Rasa like Bhoja. The usual theory of eight Rasas is based on Bharata's Natyasastra. The Purana also describes Rasa as produced by means of Vibhavas, Sthayibhavas, Vyabhicari bhavas which are described in detail. But there is no trace of the later hair splitting of the 'Rasa-sutra' of Bharata. The Purana states that there is no Rasa without Bhava and there is no Bhava which is entirely divested of a sentiment (Rasa). There is a reciprocity of suggestion between Rasa and Bhava. 38 While mentioning the relation between sentiments and psycological States ( Bhava), Bharata states that it is apparent that the sentiments arise from the psycological States and not the psycological States from the sentiments. Again he says that there can be no sentiment without (or prior to) the psycological States and no psycological States without the sentiments (or following it) and during the histrionic representation they result from their interaction. 39 Chapters 30 and 31 of the Visnud harmottara are wholly

- 304 devoted to the discussion of Rasa and Bhava. in Sanskrt literature the process of the tasting of Rasa is primarily connected with the drama and then to the Kavya or poetry. Visnudharmottara has established its relation with music and dance also. The fifteenth Adhyaya dealt with the nine Rasas including Santa. In the verse 61 of the Chapter 17 the nine Natya Rasas are mentioned. According to the Visnudharmottara, Rasa is the principal feature of the 40 Natya. Naturally, the Visnudharmottara emphatically states that the Rasa should acquire an important place in every 41 type of Natya. The different types of Natya are distin guished according to the Rasa predominant in them. All the Rasas and Vrttis have scope in a Nataka. The Srigara kasa is predominant in a Netika, Prakarana and Prakarani. The Karuna Rasa prevails in a Utsrstakanka; and Sragara bas ed based upon Dharma, Artha and Kama is predominant in a Samavakara. The Srigara in Thamrga is of different type. Its nature is to seek after or fight for one's beloved. In Vyayoga, Vira Rasa is predominant. In Dima, Raudra Rasa and in Prahasana 42 Hasya Rasa are predominant. While describing the importance of Rasa and Bhava, the Visnudharmottara says that the Nrtya should be accompanied by Rasa and Bhava. Such a Nrtya performed in harmony with 43 the Kavyarasas is a source of happiness and welfare. The four Vrttis of Natya, Bharati, Sattvati, Arabhati and Kaisiki have their specific Rasas. Vira Rasa is predominant in

- 305 Bharati and in sattvati. Raudra ia predominant in Arabhati and Srigara and Hasya in Kaisik. 44 In every type of acting (Abhinaya) Rasa has got an important position. In short, Rasa is the root of Natya and there can be no Nrtya without Rasa and Bhava. 46 45 Chapters 30 and 31 - The Hasadhyaya and Bhavadhyaya of the Visnudharmottara are supported by the adnyayas 6 and 7 of the Natya Sastra. Visnudharmottara has accepted the ninth Rasa Santa. According to it, Santa is an independent Rasa. Like the Natya sastra and the Agni Purana the Visnu dharmottara admits that "Srigara, Raudra, vira and Bibhat sa are the four basic Rasas and from them arise Hasya, Karuna, Adbhuta and Bhayanka respectively. Following Natyssastra the colours and the deities of the Rasas are mentioned. L The colour of the Santa is the natural colour (Svabhava Varna) and its deity is Parah Purusah or the 'Supreme Soul'. The colours of the other Rasas and their presiding deities agree with the Natyasastra. The colour of the Srngara is Syama, of Raudra Rakta (Red), of Hasya Sita (White), Bhayanaka Krsna (black), Vira Gaura, Adbhuta pita (Yellow), Karuna Aapota (Colour of a pigeon) and Bibhatsa Nila (Indigo colour). Pramatha is the deity of Hasya, Visnu of Srigara, Rudra of Raudra, Yama of Karuna, Mahakala of Bibhatsa, Kala of Bhayanaka, Mahendra of Vira and Brahma of Adbhuta. In Chapter 31, the Visnudharmottara describes how the different Rasas are produced and their Bhavas are also

306 enumerated. word 'Sthayibhava'. Visnud harmottara does not refer to the It mentions the words 'Rasah Sthay I' (Verse 54). In verse 58, the Purana says that there are forty nine Bhavas, including Nirveda. The Sthayibhavas of the nine Rasas, Vairagya (renunciation) Rati (Love), Hasa, (Laughters) Loka (Sorrow) Krodha (Anger) Bhaya (Fear), Jugupsa (Disgust), Ascarya (Wonder) and Ut saha (energy) result from the union of various Bhavas or psycological states. 47 After this the Visnudharmottara describes the thirty four Vyabhicari or Sancari Bhavas (Complementary or Transitory psycological states) such as Nirveda, Glani, Safka etc. (verses 11-39). Actually only the three Sattvika Bhavas namely Romanca, Svarabheda and Asru are described (Verses 41-44). The Satvika states are called as 'Nanabhinayayonija'. are produced from the various types of acting. They After this is described the association of particular Bhavas with particular Rasas. For example, excepting Alasya, Augrya and Jugupsa, all the 16 Bhavas have their place in the Sragara Rasa, while the Bhavas Glani, Safka, Abhyasuya, Srama, Capalata, Romanca, Harsa, Nidra, Unmada, Mada, Sveda and Avahittha are associated with Hasya. (For a detailed description of how the different Rasas are produced and of the various Bhavas enumerated in the Visnudharmottara See Dr. Priyabala Shah, Vismudharmottara III, 2, pp. 99-102).