365bet娱乐

Among these six major Schools of Sanskrit Poetics, Rasa School is considered as most of the ancient and very much famous school. N膩ty腻肠腻谤测补 Bharatamuni is considered as the profoundest of the Rasa School. Bharatamuni had considered riding as the essence of drama. According to him, by four types of acting rasa can be created in the minds of audiences. It seems that Bharatmuni had applied rasa in the context of drama rather than as a main poetic school. 膧肠腻谤测补 Avinavagupta has also similar views with Bharatamuni.

In his view, the garland is stitched by a thread; likewise rasa is embodied in a drama. C.f.

鈥�eka eva t膩vatparam膩rthato 谤补蝉补岣� s奴trasth膩n墨yatvena r奴pake ___________ 辫谤补迟颈产丑腻ti 触鈥�

- 础产丑颈苍补惫补产丑腻谤补迟墨 of Abhinavagupta, Part-I, Pp- 273

Thus it is clear that, both Bharatamuni and 础产丑颈苍补惫补驳耻辫迟补鈥檚 comment on rasa, is related to 狈腻迟测补艣腻迟谤补 and 碍腻惫测补艣腻蝉迟谤补. In the first chapter of K膩vyam墨m膩峁僺膩, 搁腻箩补艣别办丑补谤补 has commented that Bharatamuni is the earlier 膧肠腻谤测补 of 狈腻峁瓂补艣腻蝉迟谤补 and 狈腻苍诲颈办别艣惫补谤补 is the founder 膧肠腻谤测补 of rasa^[1].

Because,

鈥�Bharata鈥檚 treatment would indicate that some systems of Rasa, however undeveloped or even a Rasa School, particularly in connection with the dramas must have been in existence in his time鈥�^[2].

Though, there is no book which is written by 狈腻苍诲颈办别艣惫补谤补, but in the 碍腻尘补蝉奴迟谤补 of 痴腻迟蝉腻测补苍补, says that the 狈腻苍诲颈办别艣惫补谤补 was the follower of Lord 艢颈惫补. 狈腻苍诲颈办别艣惫补谤补 have complied the 碍腻尘补蝉奴迟谤补 in one thousand chapters, which later on discussed in detail by Bharatamuni. Possibly 狈腻苍诲颈办别艣惫补谤补 demonstration only the arrogance of 艣峁涐箙g膩ra rasa and further Bharatamuni depending on them fixes the eight n膩tya rasa. In this way 搁腻箩补艣别办丑补谤补 is mentioned as the rediscoverer of the rasa theory or rasa conception.

Later on, even Abhinavagupta with the reference of 碍墨谤迟颈诲丑补谤补 mentioned about the 狈腻苍诲颈办别艣惫补谤补. On the other hand, 艢腻谤补诲腻迟补苍补测补 in his 叠丑腻惫补辫谤辞办腻艣补, mentions 狈腻苍诲颈办别艣惫补谤补 as the drama teacher of Bharatamuni^[3]. According to Dr. M. Mohan Ghosh, 狈腻苍诲颈办别艣惫补谤补 is the creator of 础产丑颈苍补测补诲补谤辫补峁嘺. It is clear that this book is written after 叠丑补谤补谤迟补鈥檚 demise as, because his opinions are contradicted in this particular book. From the reading of 鈥�叠丑腻谤补迟腻谤峁嘺惫补鈥�, it is realized that, 厂耻尘辞迟墨 by taking the summary of 狈腻苍诲颈办别艣惫补谤补 has written the book^[4]. Therefore along with the various deities, sages and scholars there are 狈腻苍诲颈办别艣惫补谤补鈥檚 name is too mentioned in the book 厂补峁単墨迟谤补迟苍腻办补谤^[5].

On the basis of astute discussions, it can be said that 狈腻苍诲颈办别艣惫补谤补 is the first propounder of Rasa School. Along with 痴腻迟蝉腻测补苍补 and Abinavagupta, 搁腻箩补艣别办丑补谤补 too considered 狈腻苍诲颈办别艣惫补谤补 as the first propounder of Rasa School. On the basis of available literature, Bharata is considered as the 鈥�Sa峁僡sth膩paka 腻肠腻谤测补鈥� of Rasa School.

His famous 谤补蝉补蝉奴迟谤补 is:

鈥�惫颈产丑腻惫腻苍耻产丑腻惫补惫测补产丑颈肠腻谤颈蝉补峁儁辞驳腻诲谤补蝉补苍颈峁�p补迟迟颈 触鈥�

- 狈腻峁瓂补艣腻蝉迟谤补 of Bharata-VI/ 31

Is the essence of rasa theory propounded by Bharatamuni. Even though, most of the follower rhetoricians of him analyses their rasa theory on the basis of above theory.

膧肠腻谤测补 搁腻箩补艣别办丑补谤补 has in his rasa theory has given three points.

1. Rasa is the soul of 办腻惫测补 (poetry).
2. It is compulsory to have sweet meaning in 办腻惫测补 (poetry).
3. Sweetness and humourlessness is the individualistic in 办腻惫测补 (poetry).

碍腻惫测补辫耻谤耻峁�o迟辫补迟迟颈岣�, named third chapter of Kavirahasya adhikara峁� of the K膩vyam墨m膩峁僺膩 by 搁腻箩补艣别办丑补谤补 by portraying 办腻惫测补puru峁�a岣� he says:

鈥�艣补产诲腻谤迟丑补耻 te 艣补谤墨谤补峁� , 蝉补峁僺办峁泃补峁� 尘耻办丑补峁�, 辫谤腻办峁泃补峁� 产腻丑耻: , jaghanamapabhra峁兣沘: , 辫补颈艣腻肠补峁� p膩dau, uro mi艣ram | sama: prasanno madhura 耻诲腻谤补 ojasv墨 c膩si | uktica峁嘺峁� ca te vaco, rasa 腻迟尘腻, rom膩峁噄 肠丑补苍诲腻峁僺颈, pra艣nottara

pravahlik膩dika峁� ca v膩kkeli岣�, anupr膩sopamadaya艣ca tv膩mala峁卥u rvanti |
bhavi峁�yatoharthasy膩bhidh膩tr墨 艣rutirapi bhavantamalistauti 触鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-III, Pp- 6

In this lively picture of K膩vyapuru峁�a岣�, rasa is being presented as the internal theory of 办腻惫测补 (poetry). Though the earlier 腻肠腻谤测补蝉 of 搁腻箩补艣别办丑补谤补 pondered thought about the theory of 办腻惫测补, but none of the 腻肠腻谤测补蝉 had recognized rasa as the soul of poetry. Among them 搁腻箩补艣别办丑补谤补 is of the only one who has called rasa as the soul of poetry by saying 鈥�rasa 腻迟尘腻鈥�^[6].

Among the follower 腻濒补峁僰腻谤颈办补蝉 of 搁腻箩补艣别办丑补谤补, 痴颈艣惫补苍腻迟丑补 in his 厂腻丑颈迟测补诲补谤辫补峁嘺 accepted the opinion given by saying:

鈥�惫腻办测补峁� ras膩tmaka峁� 办腻惫测补m 触鈥�

- 厂腻丑颈迟测补诲补谤辫补峁嘺 of 痴颈艣惫补苍腻迟丑补: I/ 3

Following the path of 搁腻箩补艣别办丑补谤补, both 础濒补峁僰腻谤补艣别丑办补谤补办腻谤 and 础驳苍颈辫耻谤腻苍办腻谤补 accepted the rasa as the soul of 办腻惫测补 (poetry) to follow the way of 搁腻箩补艣别办丑补谤补. C.f.

鈥�ala峁僰膩rastu 艣obhay膩峁� rasa 腻迟尘腻tra pare mana: 触鈥�

- 础濒补峁僰腻谤补艣别丑办补谤补办腻谤

And,

鈥�v膩gvaidagdhyapradh膩nahapi rasa ev膩tra j墨vitam 触鈥�

- Agnipurana- 337/ 26

In the ninth chapter 补谤迟丑补惫测补辫迟颈岣� of K膩vyam墨m膩峁僺膩, 搁腻箩补艣别办丑补谤补 refers the theory of 础辫补谤腻箩颈迟补鈥檚 son 叠丑补峁�峁�补濒辞濒濒补迟补 as:

鈥榓stu n膩ma ni岣�s墨m膩rthas膩rtha岣�| kintu rasavata eva nivandho yukto na n墨rasasya鈥� iti 膩par膩jiti岣� |

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-IX, Pp- 45

Means: though the sources of meanings are vast but it is comprehensive it also remains necessary to include aesthetic meanings rather than mere content. According to 叠丑补峁�峁�补濒耻濒濒补峁璦, the description of Jalak峁泍膩, Pu峁�pav膩caya, Sandhaya and Candryodoya etc. different types of descriptions should be always in favour of rasa. C. f.

鈥�尘补箩箩补苍补辫耻峁�p腻惫补肠补测补苍补蝉补苍诲丑测腻肠补苍诲谤辞诲补测腻诲颈惫腻办测补尘颈丑补 |
sarasamapi n膩tibahula峁� prak峁泃aras膩nanvita峁� racayet || 鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-IX, Pp- 45

In a 办腻惫测补 (poetry), kavi (poets) always try to describe rivers, mountains, oceans, town, village etc. various things by their own poetic power and creative capacity. But the sum of learned would not be approving it.

鈥�yastu saridadris膩garapuraturagarath膩divar峁嘺ne 测补迟苍补岣� |
kavi艣aktikhy膩tiphalo vitatadhiy膩峁� no 尘补迟补岣� sa iha || 鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-IX, Pp- 45

叠丑补峁�峁�补濒辞濒濒补峁璦 think that, 驰腻测腻惫补谤墨测补 搁腻箩补艣别办丑补谤补 declares his views on different matter by the saying:

鈥樐乵鈥� iti鈥� y膩y膩var墨ya岣� |

There 搁腻箩补艣别办丑补谤补 also says that:

鈥�asti c膩nubh奴yam膩no rasasy膩nugu峁噊 vigu峁嘺艣c膩rtha岣�, k膩vye tu kavivacan膩ni rasayanti virasayanti ca n膩rth膩岣� | anvayavyatire k膩bhy膩峁� cedamupalabhyate 触鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-IX, Pp- 45

It has been observed that, there are some meanings which are favorable to a particular rasa (aesthetic state of mind) and others which are unfavorable to it. It is an established fact that in poetic composition the speeches of poet adds or detract from the aesthetic effect of the entire creation. Though it does not mean the attract or detract in poetic composition, because a poet with 辫谤补迟颈产丑腻 (innate faculty) can transform even mundane and common place things into aesthetic wonders and those who lack of 辫谤补迟颈产丑腻 may diminish the aesthetic meaning and reduce its worth.

C.f.

鈥�et膩峁� vilokyatalodari t膩_mra_par峁嚹玬ambhonidhau viv峁泃a艣uktipu峁璷ddh峁泃膩ni |
yasy膩岣� pay膩峁僺i pari峁嚹乭i峁�u h膩ram奴rtty膩 v膩mabhruv膩峁� pari峁嘺manti paryodhare 峁�u || 鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-IX, Pp- 45

Means:

鈥淟ook at this 罢腻尘谤补辫补峁嚹� River falling into the ocean, the pearls (water drops) obtained from the hollow of oysters, decorate the expansive bosom of beautiful maidens in the form of garlands of pearl necklaces.鈥�

Then in the description of mountains as:

鈥�et膩st膩 malayopaka峁囜弓hasarit膩me峁嚹乲峁�i rodhobhuva艣c膩p膩bhy膩sanike 迟补苍补峁� 产丑补驳补惫补迟补岣� preyo manojanmana岣� |
y膩su 艣y膩mani艣膩su p墨tatamaso mukt膩may墨艣candrik膩岣� p墨yante viv峁泃ordhvaca帽cu vicalatka峁囜弓ha峁� cakor膩峁単an膩岣� || 鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-XV, Pp- 82

Means:

鈥淭hese are the shores of the rivers flowing in the highland of the Malayacala Mountain, which are a favorite haunt of 碍腻尘补诲别惫补 (Cupid, God of love) are his beloved to practice with a bow-string. The female Cakora (Partridge) in the dark nights drink in the pearls like bright moonlight with their open beaks.鈥�

Therefore in the description of sea as:

鈥�dhatte yatkilaki帽citaikagurut膩me峁嚹玠峁浥浤佱箖 惫腻谤耻峁嚹�
  vaidhurya峁� vidadh膩ti dampatiru峁Ｄ佱箖 yaccandrik膩rdra峁� nabha岣� |
ya帽ca svarga蝉补诲腻峁� 惫补测补岣� 蝉尘补谤补蝉耻啷僪补苍苍颈迟测补峁� 蝉补诲腻摆?闭尘辫补诲腻峁�
  yallak峁�m墨radhidaivata峁� ca jaladhestatk膩ntam膩ce峁ａ弓itam || 鈥�

- B膩lar膩maya峁嘺 of 搁腻箩补艣别办丑补谤补: X/ 44
- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-IX, Pp- 45

The intoxicating wine which induces a playful and sportive state of mind in beautiful maidens eagerly awaiting the desire union with their lovers, the moonlight which is manifest in the sky and which is capable of putting to an end quarrels between husband and wife, which helps even the gods to maintain their youth and wealth (尝补办峁�m墨) which is considered supreme amongst riches on the earth鈥揳ll those are the result of the beautiful effort put in by the sea.

Here the significance of this stanza is that wine, the moon, ambrosia and wealth鈥搕hese four are gifted of the sea. The poet has made use of 蝉峁涐箙驳腻谤补谤补蝉补 while depicting the importance of the sea.

Then 搁腻箩补艣别办丑补谤补 cited the view of Jain 腻肠腻谤测补 笔腻濒测补办墨谤迟颈 and 础惫补苍迟墨蝉耻苍诲补谤墨: C.f.

鈥�yath膩 tath膩 v膩'stu vastuno 谤奴辫补峁�, v峁沰taprak峁泃ivi艣e峁Ｄ亂att膩 tu rasavatt膩 | tath膩 ca yamartha峁� 谤补办迟补岣� stauti ta峁� virakto vinindati | madhyasthastu tatrod膩ste鈥� iti 辫腻濒测补办墨谤迟颈岣� |

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-VI, Pp- 46

Means:

鈥淲hatever be the appearance of things, the aesthetic sense of a poet lies in his natural disposition. A contented person may worship something; an indifferent person may criticize the same thing while a mediocre person may be contemplative about it.鈥�

i.e.

鈥�ye峁Ｄ佱箖 vallabhay膩 蝉补尘补峁� k峁�a峁嘺miva sph膩r膩 办峁�a辫腻 k峁Ｄ珁ate te峁Ｄ佱箖 艣墨tatara岣� 艣补艣墨 virahi峁嚹乵ulke va sant膩pak峁泃 |
补蝉尘腻办补峁� na tu 惫补濒濒补产丑腻 na virahastenobhayabhra峁兣沬n膩mindu r膩jati darpa峁嚹乲峁泃iraya峁� no峁ａ箛o na v膩 艣墨迟补濒补岣� || 鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-VI, Pp- 46

Means:

鈥淔or the person who spends the long nights with his beloveds, the entire night seems to last for a moment and for him the moon is a thing of intense coolness. For the separated lovers the same moon is like hot burning embers. But the person who have not beloved and no pains of separation is free of the two. To whom the moon like a piece of glass, it is neither hot nor cool and it neither gives happiness nor unhappiness.鈥�

Further 搁腻箩补艣别办丑补谤补 gives the views of his wife 础惫补苍迟墨蝉耻苍诲补谤墨 about 办腻惫测补. She thinks that, in poetic composition the nature of things is not fixed; because the poet is cleaver thus he able to present the same things in different forms to suit different context. C.f.

鈥�vidagdhabha峁噄tibha峁単inivedya峁� vastuno 谤耻辫补峁� na niyatasvabh膩vam鈥� ityavantisundar墨 |

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-VI, Pp- 46

Means:

鈥淭he form of a substance is not restricted, rather it is indefinite. It does not possess faults or excellence. It is the poet who infuses these into them with his words.鈥�

C.f.

鈥�vastusvabh膩vo'tra kaveratantra峁� gu峁嚹乬u峁嚹乿uktiva艣ena k膩vye |
stuvannibadhn膩ty补尘峁泃腻峁兣泆mindu峁� ninda峁僺tu do峁Ｄ乲aram膩ha 诲丑奴谤迟补岣� || 鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-VI, Pp- 46

In the poetic world the nature of a thing is not certain. Because the poet鈥檚 words (ukti) that it develops certain excellences or faults. Those who wish to worship the moon call in 补尘峁泃腻峁兣泆 and the rogues who wish to find fault with it name 诲辞峁�a办腻谤补.

Therefore 搁腻箩补艣别办丑补谤补 also accepted their both concepts, which is may be some influences of 膧苍补苍诲补惫补谤诲丑补苍补鈥檚 concepts about rasa. 膧苍补苍诲补惫补谤诲丑补苍补 think that, the 艣峁涐箙驳补谤补-谤补蝉补 generated the poets concepts of poetic world is juicy and dampen the entire poem is the poet 谤补蝉补惫颈丑墨苍补. In the K膩vyam墨m膩峁僺膩, 搁腻箩补艣别办丑补谤补 mentions eight types of 办腻惫测补-kavi (literary poets) and among them rasa-kavi is one of the prominent type. Thus 搁腻箩补艣别办丑补谤补 admits that, 狈腻峁瓂补艣腻蝉迟谤补 as the reservoir of rasa theory and established his rasa concepts. In this way in the field of Sanskrit poetics different theories of i.e. 搁腻箩补艣别办丑补谤补, Lolla峁璦, Sa峁卥uka and Bha峁�峁璦n膩raya峁嘺 etc. are developed depending on rasa concepts. Which every one theories of rasa are very much affected to each other in the developmental age of rasa.

Footnotes and references:

[back to top]

[1]:

K膩vyam墨m膩峁僺膩 of Rajasekhara: Ch-I, Pp- 1, 鈥榬奴pakanir奴pa峁嚹珁a峁� bharata岣�, ras膩dhik膩rika峁� nandike 艣vara岣モ��

[2]:

De, S. K. History of Sanskrit Poetics, Kolkata, Vol-II, Pp-22

[3]:

叠丑腻惫补辫谤辞办腻艣补 of 艢腻谤补诲腻迟补苍补测补. Ch-III

[4]:

kane, P.V. History of Sanskrit Poetics, MLBD, Delhi, 1971, Pp- 2-3

[5]:

厂补峁単墨迟补谤补迟苍腻办补谤补: 1-15, 19

[6]:

K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-III, Pp- 6 鈥榬asa 腻迟尘腻鈥�