The backdrop of the Srikanthacarita and the Mankhakosa
by Dhrubajit Sarma | 2015 | 94,519 words
This page relates 鈥淩asa (6): Bhayanaka or the sentiment of terror鈥� as it appears in the case study regarding the Srikanthacarita and the Mankhakosa. The Shrikanthacarita was composed by Mankhaka, sometimes during A.D. 1136-1142. The Mankhakosa or the Anekarthakosa is a kosa text of homonymous words, composed by the same author.
Go directly to: Footnotes.
Part 2f - Rasa (6): Bhay膩naka or the sentiment of terror
叠丑补测腻苍补办补谤补蝉补 has bhaya or fear for its 蝉迟丑腻测颈产丑腻惫补 and 办腻濒补 or time as its presiding deity. It belongs to female and mean persons and it is treated under a mystical or mythological aspect by the learned as being black-coloured. The sources of fear is regarded as the 膩lambanavibh膩vas here, the dreadful attempts etc. are udd墨panvibh膩vas, the changes of colour and speaking with a stammering tone, tainting, perspiration, horripilation, trembling, looking at every direction etc. are 补苍耻产丑腻惫补蝉, while disgust, agitation, bewilderment, terror, fatigue, distress, suspicion, epilepsy, confusion, death etc., are regarded as sa帽c膩ribh膩vas in connection with the sentiment of terror.[1]
惭补峁卥丑补办补 employs 叠丑补测腻苍补办补谤补蝉补 in canto XVII of his poem, wherein the increasing feeling of terror in the minds of celestial females, even on hearing the very name of the Tripuras has been narrated.[2] Similarly, the increasing feeling of terror in the minds of demons as well as their consorts, at the appearance of evil omens, such as earthquake, solar eclipse, appearance of comet in the sky etc. are also referred.
These feeling of terror has been described in canto XIX, in the verses from 49-65, some of them are viz. 腻蝉墨诲补苍尘峁涐笉补肠腻辫补诲补峁囜笉补[3] 鈥�.., 产颈尘产补峁� 谤补惫别谤驳丑补峁璱迟补谤腻丑耻[4] 鈥�., 测补蝉测辞肠肠补颈岣� 办补峁璦肠墨苍补[5] 鈥�., 迟补苍惫补苍惫腻尘补辫耻尘补峁単补[6] 鈥�., etc. Again, the fear of attack of the gods鈥� army on the demons has terrified the demons, which has been described in various verses.
The fear of the wives of the demons, generated by the extreme anxiety and worry for their husbands, who are fighting with the army of the gods has been nicely depicted in canto XXII, in the verses, viz. nirgacchatsu priye峁[7] 鈥�. and 诲补谤艣补峁� 诲补谤艣补峁� sur膩峁嚹佱箖[8]鈥�.. It may be mentioned here that 惭补峁卥丑补办补 combines the sentiment of erotic, heroic as well, with that of terror, which ultimately helps in heightening the appeal of the particular sentiment delineated.
Footnotes and references:
[1]:
bhay膩nako bhayasth膩yibh膩vo k膩lo鈥檇hidaivata岣�/
str墨n墨caprak峁泃i岣� k峁涐梗峁噊 matastattvavi艣膩radi岣�/
yasm膩dutpadyate bh墨tistadatr膩lambana峁� mata峁�/
ce峁ａ弓膩 dh膩ratar膩stasya bhavedudd墨pana峁� puna岣�/
anubh膩va鈥檛ra vaivar峁噛agadgadasvarabh膩峁峁嘺峁�/
辫谤补濒补测补蝉惫别诲补谤辞尘腻帽肠补办补尘辫补诲颈办辫谤别办峁峁嚹乨补测补岣�/
箩耻驳耻辫蝉腻惫别驳补蝉补峁僲丑补蝉补峁卼谤腻蝉补驳濒腻苍颈诲墨苍补迟腻岣�/
艣a峁卥膩pasm膩rasa峁僢hr膩ntim峁泃yv膩dy膩 vyabhic膩ri峁嘺岣�// S膩hityadarpa峁嘺., III. 235-238
[2]:
te pr膩pya tripuraprath膩matha p峁泃haglok膩nrujanta岣� sthit膩 divy膩nyabda艣at膩yut膩nyupanamadv墨艣v膩pam峁泃u艣riya岣�/
yann膩mn膩pyadhirohat膩 艣rutipada峁� g墨rv膩峁嘺v膩mabhruv膩峁� g膩hante tanavo鈥檛ivelapavanodvellallat膩sauh峁沝a峁�// 艢r墨ka峁囜弓hacarita., XVII. 62
[3]:
Ibid., XIX. 49
[4]:
Ibid., XIX. 50
[5]:
Ibid., XIX. 56
[6]:
Ibid., XIX. 65
[7]:
nirgacchatsu priye峁 pradhanavidhidhiy膩 d膩navend墨var膩k峁a-str膩sasved膩pan墨tai岣� kucamukulata峁乻kandib膩hl墨kapa峁卥ai岣�/
utta峁卻ai岣� sra峁卻am膩nairatha p峁泃huvikasadvepath奴dvegayog膩-d奴hu岣� pr膩geva g膩tra峁� daghadiva niyat膩d奴ravaidhavyacihna峁�// Ibid., XXII. 56
[8]:
Ibid., XXII. 57