Chapter 26.2 - The Rasa School of Poetics

The following are the Schools of Poetics in the tabular form with the names of their prominent exponents against them. Rasa School, Nandikesvara, Bharata

-Bhamaha, Udbhata, Rudrata Alankara SchoolRiti School- -Dandin, Vamana Vakrokti School- -Kuntaka -Anandavardhana Dhvani School; Rasa School—The first exponent of Rasa is said to have been one Nandikesvara: Rasadhikarikam Nandikesvarah. The tradition has it that out of his mentally born eighteen pupils Lord Brahma imparted knowledge of Rasa to Nandikesvara. The discussion about it, however began with Bharata who took it up with reference to dramatic performance. The central pivot round which the whole system of Rasa revolves is his sutra vibhavanubhavasancarisamyogad rasanispattih which literally means that 'Rasa results from the combination of determinants, the consequents and the secondary or accessory moods (with the permanent or dominant moods, the Sthayibhavas). The correct interpretation of this sutra and the detailed treatment of it covers a considerable portion of literature on Poetics in Sanskrit. It is common experience that drama and poetry appeal to human emotions. The theory of Rasa has a semi-physiological and semipsychological basis. There are certain permanent moods of the human mind (called Sthayibhabvas) that lie dormant. They are roused when appropriate stimuli (called Vibhavas, the determinants, Anubhavas, the consequents and Sancaribhabhavas , the secondary or accessory moods) are applied; in a dramatic performance it is words and gestures and in a poetic composition it is words. With the stimulation of the permanent feelings and emotions the spectator/reader/listener is transportel to a situation where he forgets himself and the circumstances that he is in and experiences joy which, becoming a part of his identity like his own expression, is beyond words as is the experience of becoming one with the Supreme. The permanent moods are eight or nine, the ninth one identified later. They are : rati, love, hasa, gaity, nastri Collection, New Delhi. Digitized by S 3 Foundation USA

soka, sorrow, krodha, anger, utsaha, energy/vigour, bhaya, fear, jugupsa, repugnance, vismaya, surprise, sama, tranquility. The Vibhavas are divided into two, the alambana, the fundamental determinants , like man and woman in the case of love and uddipana, the exciting elements like moonrise , sweet scent, solitary place. The Sancaribhavas, also called Vyabhicaribhavas are transient emotions like nirveda , despondency, glani, fatigue that may help in the complete manifestation of the permanent mood. There is divergence of opinion among rhetoricians about the exact mode of enjoyment. The word nispatti in the sutra of Bharata as reproduced above has been differently interpreted by four of his successors, Lollata, Sankuka, Nayaka and Abhinavagupta. Since the entire discussion about Rasa started in the context of dramatic performance the whole scenario has first to be kept in view to properly appreciate it. In a dramatic performance there are three elements: Original characters (like Rama and Sita) Actors and actresses that enact their life-events The spectators who witness their performance The question now is as to why the spectators should go to a theatre hall to witness a dramatic performance. The answer obviously is to enjoy. The further question now is how can they enjoy something that does not belong to them; which does not concern them unless it is presumed that there is a connect between what goes on on the stage and they themselves. All the discussion about enjoyment, rasa is centred round this premise. According to Bhatta Lollata the enjoyment belongs to the original characters (like Rama and Sita). The playwright describes this enjoyment on their part in appropriate words. The spectator ascribes (aropa) to the actor due to his clever acting the same mental attitude as belonged to the original characters and through imputed apprehension of his gets enjoyment. This view does not creato Rasa vas saasmatter of spectatbitions and feelings. Digitized by S 3-Foundation

Sankuka treats it as a matter of inference. His view goes by the name anumitivada which means that the spectator infers Rasa residing in the original character through clever gesticulation of a well-trained actor whom he comes to apprehend to be nondifferent from the original character for the moment. (anukaranarupo rasah). Sankuka's view also could not find acceptance for, even if it be conceded that the spectator infers the feelings of the original characters through clever and expert acting of the actor/s, the feelings do not belong to him any way and in that way cannot be expected to bring to him real delight. Bhatta Nayaka denies that rasa is a matter of inference, nor does he accept the view that Rasa originates. He is of the view that Rasa is neither in the original characters, nor the actors/actresses but in the appreciative spectators. For explaining his theory he points to three Saktis, powers that are at work in the process of enjoyment, first Abhidha, the second Bhavakatva and the third Bhojalatva. Through the first the spectator comprehends the meanings of the words. Through the second the Vibhavas, Anubhavas and Sancaribhavas do not remain confined to just the original characters and get universalized which means that evrey spectator begins to feel that they are his, he gets identified with them. With that identification complete, through the third he has the enjoyment, the bhukti of Rasa which lent the name Bhuktivada to his theory. Bhatta Nayaka is the first among the Indian rhetoricians to propound the theory of universalization (sadharanikarana) which came to have wide acceptance. The most authoritative and acceptable explanation of the Rasa-sutra is provided by Abhinavagupta who said that there is no origination, utpatti of Rasa, nor is there its inference, anumiti, nor still its bhukti but manifestation, abhivyakti. The past experiences lie in the eternal soul in a dormant form (prasupta). With the show in the form of the enactments or descriptions of the vibhavas etc. they get awakened (abhivyakta) and turn into Rasa. Abhinavagupta accepts Bhatta Nayaka's theory of universalization, adharanikarana but does not Faccept the Shastri New Delhi+

Bhavakatva-sakti. According to him the sadharanikarana takes takes place through Vyanjana (the power of indication) itself. The feelings and emotions like that of love, sorrow , fear that are already present in the mind (the Sthayibhavas) get activated through the play of Vibhavas, Anubhavas and Sancaribhavas and turn into Rasa, the indescribable aesthetic enjoyment. Abhinavagupta's view got support from such great rhetoricians as Mammata, Bhanudatta, Visvanatha, Panditaraja Jagannatha. Visvanatha went to the extent of proclaiming Rasa to be the soul of poetry, vakyam rasatmakam kavyam.