CHAPTER III

ABHINAVABHARATI

Importance of Abhinavahhilrati
Abhinavagupta is the greatest example in human history of a

literary critic who is also a philosopher of high repute. He is concerned

with providing a stable philosophical foundation for his aesthetic theory.

As such he is the first writer in India to deal with the subject of aesthetics

combined with Realistic Idealism. He was not only a man of versatile

genius but also a philosopher. By the time of his death, he had attained

the state of the liberation-in-life (Jivanmukta). 1 Abhinavagupta had great

interest in drama resulting from his deep concern with Tiintric ritual and

the religious aspect of aesthetic experience. Towards the end of his

famous Tiintric work, Abhinavagupta 's style and mood became more

poetic and extremely complex in style. In all his writings

Abhinavagupta' s obsession with three issues become obvious. They are

authenticity, unambiguity and communicability. 2

In interpreting a text,

he firstly edits it. If there is confusion or differences of opinion, he

examines the various interpretations and finally puts his stamp on one.
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He has dealt with almost every important aspect of Indian aesthetics in his

two commentaries - Abhinavabhiirati and Locana. These are the two

· known aesthetic works of Abhinavagupta for which he is renowned as the

principal exponent of aesthetic theory. Abhinavagupta is quite aware

about the importance of earliest works, which has been used by him to

build his own theories on the foundation laid by others. 3

Abhinavabhiirati is the best guide to understand Bharata. He takes from

different sources what he needs for his interpretation. He took his theory

of suggestion from the Dhanyiiloka of Anandavardhana and ideas on

Rasa from Bharata. He became the most important critic of this school

because of his philosophic acumen and poetic insight. Though

Abhinavagupta explains the ideas of Bharata rightly most of the time,

sometimes he appears to be deviating from Bharata. This may be

because he takes every possible aspect of the problem and deals with all

the important views that existed at that time. K.C.Pandey observes,

"Abhinavagupta interpreted Nii.tyasiistra of Bharata to show how

dramatic technic brings about universatization by purifying both the

4
subject and the object from all that is impure in them". Abhinavagupta 's

commentaries are characterized by lucidity of expressions and

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authenticity of arguments which left nothing in confusion. He mentions

36 Tattvas, one for each chapter in the Abhinavabhiirati. Though almost

a thousand years have gone by since Abhinavagupta wrote in Kashmir

there has hardly been any serious challenge to his interpretation of

Nii.tyasiistra and Dhvanyiiloka. Srikrishnamisra comments on the

eminence of Abhinavagupta, "All the critics of the world shall have to

yield the palm to the great critic, poet, philosopher and saint of India;

Abhinavagupta"5

The Summery in a Nutshell of Abhinavabharati

Nii.tyotpatti is the subject matter of the first chapter of the

commentary of Nii.tyasiistra. At the beginning of the first chapter

Atreya and other sages ask five questions to Bharata about Nii.tya.

Abhinavagupta mentions that the answers to the five questions are

scattered over the whole work. 6 The commentary of his first chapter

starts with six mangala slokas to praise the great God Siva. In the second

verse, he mentions his philosophy and also indicates that Nii.tya,{iistra

contains thirtysix chapters.7 He himself asserts the authority of his work

Abhinavabhiirati. 8 He positively stressed the importance of the

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role of Siva in the Nafya. 9 He deals with the differences of Nafya

and states that the theoretical performances are important because they

educate not only the higher class but also ordinary people. It attracts and

pleases everybody because there is no restriction and all those works are

made to make man perfect in thought, feeling and behaviour. In

Na_tyasastra, Bharata attributes mythical origin to Na.tya. Brahma

ordered Bharata to produce a fifth Veda meant for all VarJJas. He took

the matter of recitation from the R.gveda, music from the Samaveda, the

Abhinaya from Yajurveda and the Rasa from the Atharvaveda. Based on

his concept of Realistic Idealism, Abhinavagupta offers a superior

analysis at every point on the discussion of Na_tya and clearly presents

his philosophical ideas about Na_tya and Rasa in the first chapter. 10

The manuscripts of the second chapter of Abhinavabharati show

many omissions, several incorrect readings and much confusion. This

chapter mainly relates to the construction of theatres for the dramatic

performance and it is highly scientific and technical. It has amazed even

Abhinavagupta. Bharata describes the characteristics and varieties of the

playhouse and dwells on two types of theatres mainly of three different

shapes and sizes. 11 Abhinavagupta remarks that all such theatres would
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not be useful, but they are mentioned only to maintain the tradition.

Regarding the construction of the stage proper, there exists differences of

opinion. Abhinavagupta gives his own account of Rwigaprta. The

playhouse is described by Bharata as Dvibhumi which is explained by

Abhinavagupta by analyzing conflicting and controversial views of

several scholars. There are many technical terms relating to the

construction of theatres. Though Abhinavagupta has not clarified or

suggested the exact meaning for these technical terms, he has explained

the measurements of the different parts of the theatres. 12

The third chapter emphasizes the essentiality of the worship of

deities such as Mahadeva, Brahma, Vi�JJU, Indra, Guha, Sarasvafi,

La/cymz and the like. Bharata gives the first preference to the God

Paramasiva. Abhinavagupta admits that it is very proper and suitable 13

and then deals with the proper place of the deities in the backside of the

Rarigap�ta.

In the fourth chapter, a play called Amrtamathanam is performed

before the Gods. After the performance of this Samavakara, a Qima

named Tripuradahana is performed in the presence of God Siva. Then

Bharata is advised by Siva to introduce dancing in the Purvarariga and he

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has deputed Tan(ju to teach the Tiin(java dance. Abhinavagupta deals

with the definition 14 and division of I 08 Karar;as which constitute the

fundamental dancing poses. This portion is heavily damaged and largely

corrupted. Abhinavagupta comments on seven divisions of Nrtta. The

first three are to be used in independent Laukika dance and are made for

the satisfaction of the deities. The last four are employed in the

preliminaries. After the discussion of Karar;as, Abhinavagupta deals with

the definition and division of Arigahiira.

The fifth chapter contains many inaccurate readings and

scribal errors. The commentary of the fifth chapter is not complete

because a small portion is missing at the end. It deals with the

preliminaries of the performance of the play and remarks on dramatic

terms like Purvarariga, Niindi, Dhruva etc. Dhruva is discussed in detail

which is the song to be sung in the course of the play.

The sixth chapter is described as Rasiidhyiiya because it prominently

treats Rasa. In this chapter, Abhinavagupta interprets mainly eleven

elements of the Nii.tya. They are Rasa , Bhava , Abhinaya, Dharmi, Vrtti,

Pravrtti, Siddhi, Svara, Atodya, Gana and Rariga. Among them the Rasa

is the most important part_of the Nii.tyasiistra. Bharata says that there can
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be no work of art without the delineation of sentiment in it. 15 According

to him Rasa is the final end of all arts. A majority of portions in

Na_tyasiistra deal with the dramatist and the actor. In chapters sixth and

seventh, he analyses the emotional effect of the audience. He is the first

author who discusses Rasa in relation to drama. He has accepted Rasa as

the soul of the drama. J.L.Masson and M.V. Patwardhan remark that

among the all chapters of Nii_tyasiistra the most important is the sixth

chapter. 16 A knowledge of the sixth chapter is essential for anybody who

wishes to understand Indian aesthetics. Bharata 's Rasasutra is the

starting point of the discussions on Indian aesthetics. Abhinavagupta has

commented on this Rasasutra elaborately quoting various commentaries

by Bha/talolla_ta, Srzsan kuka and Bha/taniiyaka. He interprets the

Rasasiitra on the basis of Saiva Tcmtric philosophy of Kashmir. Thus, he

was the first commentator who analyzed the Rasasutra in detail and gave

a metaphysical face to the aesthetic experience on the basis of

Pratyabhijna philosophy. He states that the poet's experience is the seed

of poetry, the poem he composes is the tree and the reader's experience is

the fruit of the tree. 17 Bharata and Abhinavagupta emphatically claim

that the Rasa is the essence of art as well as its cause and its effect, its
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means and its end. Abhinavagupta asserts that emotions as they are felt in

life are different from artistic experience. Therefore, Abhinavagupta

points out that Rasa is the summum bonum of everything which is called

Mahiirasa. 18 He is more definite and clear than the western critics. He

presents the ontological, epistemological and psychological aspects of

poetry and drama in a more integrated way than is done by any western

critics. Abhinavagupta was able to provide a philosophical basis to

aesthetics by imparting philosophical ideas into literary issues. He deals

with almost every important issue of Indian aesthetics. From the

Abhinavabhiirati, it is known that there are two recensions of the

Nii_tyasiistra, one dealing with nine Rasas and the other speaking of only

eight Rasiis by excluding Siintarasa. Abhinavagupta has supported the

view that Santa is the ninth Rasa.

Bhiiva, Vibhiiva, Anubhiiva, Sthiiyin, Vyabhiciirin, and

Siitvikabhiiva are dealt with in the seventh chapter. The commentary in

the seventh chapter of Abhinavabhiirati is incomplete. Abhinavagupta, at

the beginning of the seventh chapter, explains the nature of Bhiivas and

Vibhiivas on the basis of his philosophy.

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The eighth chapter of the commentary, Abhinavabharati , is not

discovered completely. This chapter discusses the detailed description of

the four kinds of acting and describes the various gestures of head, eyes,

brows, lips and neck. It also deals with two types of Arigabhinaya. The

first one analyses the movement of the principal and subsidiary limbs and

the second deals with the combination of these primary movements such

as Cari and Man(jala. The topics in chapter eight are directly connected

with the general discussions in the first five chapters and therefore, the

eighth chapter is the continuation of the first five chapters.

Various movements and positions of the hands are

discussed in the ninth chapter. Abhinavagupta adds here that gestures

which are indicative of the inner moods, are to be used because they are

like the consequents. After discussing the Samyutahasta he explains

Nrttahasta, Abhinavagupta states that it is different from Abhinayahasta.

The tenth chapter deals with the chest, waist and hips.

Abhinavagupta interprets the second type of Arigabhinaya-cari.

Carzvidhana and the divisions and definition of Ciiri are also dealt

with in detail. The eleventh chapter of Abhinavabhiirati interprets

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Ma1Jqalavikalpanam and deals with ten types of Akiisama1Jqala and ten

varieties of Bhaumama1Jqala.

A discussion of the different types of Gati (gait) is found in chapter

twelve. Abhinavagupta states the reasons for these varieties. The gaits

are to be used according to their qualities; otherwise it is improper.

Abhinavagupta quotes Kohala while discussing the gaits and suggests

specific Talas and Layas in connection with specific gaits. He has given

some Talas, which are not found in the Na.tyasastra and hence, they seem

to be later developments.

In the thirteenth chapter of Abhinavabhiirati, Abhinavagupta

interprets the Kalcyyii divisions and their importance. Then he analyses

the 'Vrttis' and their varieties. After the discussion of Vrtti he deals with

the Dharmi and their divisions such as Lokadharmi and Na.tyadharmi.

Abhinavagupta comments on the importance of Viigiibhinaya or

Viicikiibhinaya in chapter fourteen. He clearly interprets and emphasizes

the view of Bharata. It also contains Candovidhiina.

Chapter fifteen is called Candoviciti because it contains different

types of Vrttas, but the major part of the chapter deals with the definition
 70

of metres. They are defined as qualities of Guru and Laghu. In some

versions of this text, they are defined as Ga1Jas or three lettered qualities.

Abhinavagupta comments on different types of Alankara and

Gu1Jas in the next chapter. He gives the definition of Gu1Jas and

states that Madhurya and Audarya are the most important among

the GufJaS. He also compiles different views about La/cyalJa before

presenting his view.

The seventeenth chapter treats Bha�avidhana, Sambuddhividhi and

Kakuvidhana of Abhinavagupta' s text. Therefore, this chapter is called

Kakusvaravyanjana. In Abhinavagupta 's text all these three subjects go

in one chapter while in others, the chapter closes after Bha$avidhi and

Sambuddhividhi and Kakuvidhi are treated in a fresh Adhyaya.

Abhinavagupta in this chapter discusses the grade of characters who are

to speak in Sanskrit, Prakrt or other dialects. He defines the Prakrt

language and Pa_thya. Abhinavagupta while commenting on the use of

the seven Svaras, rejected the musical employment of Svaras in Pa_thya.

He argues that Pa.thya is different from Gana which is the Dhruva song

proper. The chapter also deals with the various modes of high addressing

high, middling or low characters. The seven musical notes, three Sthanas
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and four Svaras are interpreted by him in this chapter. Abhinavagupta

explains that Var,:zas are Svaradharmas or qualities of sound because they

have clear and special meaning. Then he interprets the Kaku and its

divisions

The ten varieties of Rftpakas and their definitions form the content

of chapter eighteenth. Abhinavagupta explains the definition of

Dasarupaka generally and discusses the special features of each Rupaka.

He also mentions the different views of his predecessors and states that it

was possible to have the features of one Rupaka in other. Na.tyasastra

gives in detail the representation of death while describing the Abhinaya.

But Abhinavagupta points out that such discrimination is improper

because the spectators would lose their interest. Hence death as such

should never be represented on the stage. According to the view of

Abhinavagupta, the number of heroes is twelve in each act and records

the views regarding the number of heroes.

The nineteenth chapter contains the description of the plot of the

drama and structural analysis of the play. Abhinavagupta interprets

Sandhis, Avasthas, Arthaprakrtis, Arthopa/cyepakas and the like. When

he explains the Arthaprakrti, Abhinavagupta' s view seems to be different

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from those of Bharata. In the commentary of Anusandhis, his ideas

become vague and contradictory. Unlike Bharata he accepts five kinds of

Arthopa/cyepakas. Abhinavagupta considers plot as the body of Na_tya and

the Rasa as its soul. Then he explains how the plot creates beauty.

Abhinavagupta concentrates mainly on Vrttis and their definitions

in chapter twenty. He indicates the importance of Vrttis in Na_tya. Vrttis

are of four types: Bharatz, Sattvatz, Kaisikz and Arabha.ti. According to

Bharata these Vrttis originated from Vedas. But Abhinavagupta

comments upon Vrttis in a reasonable way. Bharata 's definition of

Siittvati is entirely different from the view of Abhinavagupta. According

to Bharata, Siittvatz has exuberance of joy and absence of sorrow. But

Abhinavagupta explains Sattvatf from Sattva or mind and Sattvafi Gu,:Ja

as miinasovyiipiira/:z. 19 He claims that Sattvatz is endowed with

Siittvata quality.

In the twentyfirst chapter, Abhinavagupta elucidates how dramatic

representation is centered in Ahiiryiibhinaya which is based on Nepathya.

He also dwells on the different types of costumes of various characters,

their makeup and stage setting. Abhinavagupta comments about the

reason of later discussion of Ahiirya Abhinaya among the other three

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Abhinayas. He stresses the importance of Ahiirya among other

Abhinayas. After the description of the different kinds of costumes of

various classes, he deals with the various types of dresses which should

be used in dramatic representation.

Alankiiras of young women are dealt with in the beginning of the

twentysecond chapter. Then Abhinavagupta describes the qualities of

men, ten kinds of Kiimiivasthas, eight kinds of Niiyikas and also discusses

the acting of various types of women. The feminine graces of young

women are meant to support sentiments in drama and they consist of

changes in respect of their faces and other limbs. But Abhinavagupta

maintains that these graces of women pertain to the body only and they

are not the nature of the mental mood. The physical graces are Bhiiva,

Hiivii and Hela which arise from one another being different aspects of

Sattva. Here Abhinavagupta's explanation of bhava is not the same as the

one given in connection with the Rasa theory. 20 Then he explains the ten

natural graces of women and eight qualities of men.

The twentythird chapter called Vaisika contains the discussion of

Vaisika - natural qualities of women and 5 types of men. Abhinavagupta

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defines the Vaisika. Then he deals with the messenger in love affairs and

discusses the three types of women according to their qualities.

The twentyfourth chapter deals with the classification of women,

men, hero, heroine, goddesses, dancer, king and ministers. This chapter is

called as Strzpumsopacara by Abhinavagupta. But, it is attached by

some others in thirtyfirst chapter.

At the beginning of twentyfifth chapter of Abhinavagupta' s

commentary, there is the explanation of Citriibhinaya. He clearly

explains the Vibhiiva, Anubhiiva and Bhiiva. Then he explains the

difference between Apavarita and Janantika. In the former, the speech is

concealed from all others as it is intended to be listened to by the

particular character, while in the latter it is concealed from the particular

character only. Abhinavagupta mentions the representation of some other

objects and ideas like God Skanda, Goddess Sarasvati etc. according to

the view of Kohala and others.

The twentysixth chapter 1s called Prakrtivikalpana by

Abhinavagupta. It is attached by others in the thirtyfourth chapter. The

verses are arranged in different order in different texts. Abhinavagupta

begins his commentary on three types of natural of characters. He deals

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with the Sukumaraprayoga, Svabhavamadhuratvam of women, definition

of Alaikara, two divisions of Prayoga and qualities of Acarya and Si$yas.

At the beginning of chapter twentyseventh, Abhinavagupta

comments on Siddhi which is related to Na_tya. Siddhi is divided into

two - Daivz and Manu$"i. He also gives the definition of Siddhi and their

divisions.

In chapter twentyeight, the definition of the Jatis are given in prose

by Abhinavagupta while in other texts they are in Arya metre. He deals

with Jatis, four kinds of musical instruments, seven Svaras and their

description. Na.tyasastra describes the theory and practice of the vocal

and instrumental music in seven chapters beginning from chapter

twentyeigbt. Three Kutapas are mentioned - Tata, Avanaddha and

Na.tyakrta. In the Tata group, the vocal musicians and the players of the

stringed instruments and the flutists are included. In the Avanaddha, the

players of Mrdanga, and the Dardura are included. Bharata and

Abhinavagupta called the music as Gandharva because it belongs to

Gandharvas and was very dear to Gods. Gandharva is based on the

Svara, Ta/a and Pada and various musical instruments. Murcchana is

explained by Bharata as the gradual Aroha and Avaroha of the seven

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notes. But according to Abhinavagupta the order is explained by Aroha

and Avaroha note by Murcchana. Bharata treats eighteen Jatis which are

the modes of music. Abhinavagupta has given the use of the various

Ragas indetail and orchestra which consisted of four kinds of musical

instruments Ta/a (stringed), Su(5ira, Ghana and Avanaddha (drums).

Chapter twentynine mainly contains four Varf)as and

thirtythree Ala 'nkaras based on them and their definitions. In

Abhinavagupta 's text Aroha and Avaroha, Alankaras are not defined

while other texts do so.

In chapter, thirty of Na.tyasastra one more verse is added which is

not found in Abhinavagupta' s text. It was probably an interpolation by

Kzrtidhara. This chapter explains the hollow musical instruments and

flutes. The flute was the most ancient musical instrument in India.

Abhinavagupta says that the Vif)a, Flute and the vocal music should be in

perfect harmony. He also deals with the manner of producing different

notes in flute playing.

Chapter thirtyone of Abhinavagupta differs from the other

texts both in the number of verses and in definition. In this chapter, he

mainly deals with Tala and Laya and also discusses observations of time
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in songs and playing of instruments and characteristics of some minor

plays. According to him, Ta/a is the foundation of music. He also

explains Kala which is the measure of time in the musical sphere. He

interprets the Margas of rhythm which are of three kinds - Citra, Vrtti

and Da�ina. Talas are of two types, Tryasra and Caturasra. Laya is of

three kinds- Druta, Madhya and Vilambita.

Twelve more definitions and examples of Dhruvas are given

in the thirtysecond chapter of other texts than in Abhinavagupta' s text.

Bharata has not recognized Matravrttas as Gathas in Dhruvagana as

they involve Layabharigas of minute distinction. Layabhangas come

strictly under Desztala. Though Abhinavagupta defines the mam

divisions of them in chapter thirtyone and points out their uses in chapter

twelve. It deals with discourse on Dhruvas six qualifications of the

teacher of music and the pupil. He also interprets Dhruva songs and their

definitions and gives examples of Dhruva songs to be sung during the

performance of play. In Na.tyasastra, Bharata devotes one long chapter

in full for the treatment of Dhruvas. According to him Dhruva is so

called because in it the word, Var,:za, Alankara, Yati, Pa,:zi and Laya

are harmoniously fixed. But Abhinavagupta suggests that they are so

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called because they stabilize the production or their themes are of fixed

significance. Dhruva songs are of five types in accordance with their

place and mood. Abhinavagupta interprets it as referring to the song that

helps the sentiment and mood.

Chapter thirtythree is read with chapter thirtytwo in all other texts

while in Abhinavagupta' s text, it forms a separate chapter. This chapter

mainly deals with the Avanaddha type of instrument such as Mrdanga,

Dardura and Pa,:zava. Mrdanga and Pa,:zava are drums with two heads

while Pa,:,ava is thinner in the middle part and fastened with strings.

Dardura is a drum with one face shaped like a Gha.ta. Abhinavagupta

explains the four Margas of drum playing and discusses the six Kara,:zas

in connection with drum. He also discusses the eighteen rhythmic Jatis of

drum playing.

Abhinavagupta' s commentary on the thirtyfourth chapter of

Na.tyasastra contains three kinds of prala:tis among men and women and

their characteristics. He also remarks on five kinds of heroes in plays,

different kinds of women in plays such as Mahadevi, Devi, Nartika,

Paricarika and characteristics of Nrpa and his associates. The

distribution of roles in the play, qualification of actors like Sutradhara,

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etc. are elaborated by Abhinavagupta in this chapter. Definitions given

for eighteen Jiitis in chapter thirtyfour differ in Abhinavagupta text while

in others they seem to be more elaborate.

The subject matters of thirtyfifth and thirtysixth chapters of the text

of Abhinavagupta differ from that of other texts. In these chapters, he

deals with several members on the staff of a dramatic troupe and their

characteristics. He also interprets the qualification of Sutradhiira,

Paripiirsvika and actors like Vzta, Sakara, Vidii,$aka, Ce.ta, Niiyika and

Ga1Jika. It also explains the three types of impersonation in the play such

as Anuriipa, Rupanuriipa and Viriipa.

Abhinavagupta' s text ends with chapter thirtyseven while most of

the other texts end with the thirtysixth. The reason for the extension of

the number in Abhinavagupta seems to be the introduction of the thirtysix

Tattvas one for each chapter by him. The commentary of the

thirtyseventh is headed by the verse indicating Anuttaramdhiima of the

Pratyabhijnii School. At the beginning of this chapter, Abhinavagupta

explains how Nii.tya came down to the earth from heaven through Nahu,$a

who had encouraged Bharata to promulgate Nii.tyasiistra on the earth.

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A critical analysis of various interpretations of Rasasiitra

According to Bhalfalolla.ta, Rasa primarily belongs to the hero like

Rama. The spectator ascribes the Rasa to the actor after appreciating his

performance which actually belongs to the character like Rama. The

spectator experiences delight by his knowledge about Rama's love for

Sfta. That love is called Sthayin, which becomes full-fledged by Vibhava,

Anubhava and Vyabhicarin. Bhalfalolla.ta does not account for the

apprehension of Rasa by the spectator or the aesthete. According to him

Rasa is apprehended in the character and the actor -

' mukhyaya vrttya ramadau anukarye' nukartaryapi

canusandhanabalat'. 21

Mukundamadhavasharma remarks that according to Bhalfalolla.ta, Rasa is

produced by a connection of the Sthayin with Vibhava, Anubhava and

Vyabhicarin. Therefore, this view is called Utpattivada. 22 G.V.Davane

remarks that Bhalfalolla.ta speaks of the superimposition of

Patrasthay1bhava on the na.ta just as an Advaita Vedantin speaks of the

Adhyasa of Jagat on Brahman. 23 He characterizes him as a Mzmamsaka

because in his spirit to refute Vyanjana he includes it under Abhidha

accompanied by Arthapatti. Bhalfalolla.ta underlines the necessity of the

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identification of actor with the role. He holds that Rasa is superimposed

on the actor by the spectator who believes that the actor himself is the

original personage. Walimbe holds that Bha.(talolla.ta was the first

commentator of Nii_tyasiistra to accept the importance of the actor in the

process of Rasa. 24 Though fallacious, it is the spectator's total

identification with the actor who enacts the character that produces Rasa.

Bhal{alolla.ta 's interpretation of Rasa is criticizedby Srfsankuka

who argues that there is no basis to infer the existence of the Sthiiyin

because it has no contact with Vibhiiva, Anubhiiva and Vyabhiciirin -

25
' Vibhiivadyayoge sthayina/:z lirigabhavenavagatyanupapatte/:z'.

Bha.(talolla,ta' s contention that Sthiiyin is intensified by Vibhiiva which

results in Rasa is questioned by Srfsankuka who has argued that this

intensification of Sthayin takes place in respective degrees which totally

goes against the process of Rasa and claims that Rasa does not admit of

any division. The stages of intensification of Sthayin being innumerable,

the stages of a Rasa like Srngara can also be innumerable. Both

Srfsankuka and Abhinavagupta have not given to Bha,ttalolla.ta any

credit for his two very remarkable insights into the nature of

Rasa - (i) that it is primarily the emotion of the original character in the
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story that the actor tries to convey to the spectator and (ii) that the actor

can achieve this only when he merges himself in the personality of the

character viz, in his role.

Srzsankuka's view on Rasa is based on Anumana and is called

Anumitivada and he is designated as Naiyyayika. According to

Srzsankuka, the actor imitates the actions of the hero to whom a certain

Sthayin belongs or it is an imitation of the character's Sthayin

'Sthayzbhavo mukhyaramadigatasthayyanukarar:zariipaf;' . 26

When Sthayin is inferred by the spectators it is called Rasa -'AnukarafJa­

riipatvadeva ca namantarelJa vyapadi�.tah rasal; '. 27 It means that the

spectator cognizes the Sthayin as belonging to the hero imitated by the

actor who is the most important factor in this process of Rasa.

Srzsahkuka holds that the Sthayin is not provided by the play but it is all

the while implied - 'Sthayz tu kavyabaladapi nanusandheyaf;'. 28 The

Sthayin of the character being imitated by the actor leads to Rasa.

Srzsankuka argues that the peculiar apprehension that the spectator avails

is of the identification of the actor with the character particularity situated

as 'that Rama who is happy is this one'- 'Na catra nartaka eva sukhzti

pratipattil;. Napyayameva rama iti. Na capyayam na sukhzti-----yal; sukhz

 83

ramah asavayamiti pratztirastfti '. 29 Srzsankuka observes that the

spectator does not have the apprehension of the actor's sentiment. He

also asserts that what is apprehended by the spectator is the actors

imitation. According to Srzsankuka, the Sthayin, which is brought to

knowledge by Vibhava, Anubhava and Vyabhicarin, is Rasa because it

can be relished. If we accept the view of Srzsankuka, we have to

treat the inference of ordinary experience of life as Rasa. The realization

of Rasa differs from the mere inferential knowledge of a Sthayin because

it is direct experience.

Srzsankuk 's famous simile of the painted horse and his vivid

distinction between the verbal expression of a sentiment and its dramatic

representation on the stage are also points which have a considerable

validity in the analysis of dramatic experience. Walimbe observes,

"When Srzsankuka says that the actor imitates the character's

sentiment, what he perhaps means is that the actor tries his

best to convey the sentiment as convincingly and vividly as

possible, which, for the spectator, obliterates the distinction

between the original and the actor".30

 84

Bhal(atauta, Abhinavagupta's teacher refutes Srzsahkuka' s theory,

which lacks an adequate philosophical basis - 'tadimamapyantastattva­

siinyam na vimardak.$amam '. 31 When something is called an imitation of

anything else, it must be supported by evidence. The imitation of an

object is apprehended on the basis of that of the self - same object, as it

obtains in reality. He observes that there is no basis to believe that the

actor imitates the character such as Rasa because nobody has previously

seen the sentiment of love as belonging to Rama. Bhal(alolla.ta holds that

where the knowledge of the indicative cause is wrong, the inference of

something possessing a similar appearance also does not stand to reason -

yatrapi lingajnanam mithya tatrapi na tadabhasanumanamayuktam '. 32

He objected the possibility of Rasa being the actor's imitation of the

original character's sentiment from the point of view of the spectator's

apprehension. Srzsahkuka argues that the actor imitates the character

and the aesthetic state is apprehended through imitation. It is a causal

relation. Hence the spectator's or the reader's behaviour cannot be

reduced to an act or imitation. Some modem critics argue that

Bha,(tatauta 's criticism of Srzsahkuka 's theory is not completely valid.

 85

Abhinavagupta does not accept the view of Srzsahkuka because all

imitation is devoid of any meaning and value in the aesthetic experience.

The third view of the interpretation of Rasasutra that

Abhinavagupta mentions is that of the Sainkhya philosophers.

According to Sairkhya 's view, Rasa is of the nature of pleasure and

pain - Sa inkhyadrsa sukhadukhasvabhavo rasa/:z. ' 33 All things in the

world possess the cause of pleasure and pain which is not an unmixed

one. Therefore, the aesthetic experience based on pain and pleasure and

it is bound to be a mixed one. Sa inkhyas do not distinguish between

Sthayin and Rasa. According to their formulation, some Rasas may

contribute to the happiness of the spectator while others give rise to his

unhappiness; thus this view is not practical and reasonable because it is

impossible to have a one-sided and uniform aesthetic or dramatic

expenence.

Bha.(talolla.ta was the first person to propound a theory based on the

similarity of yogic ecstacy and aesthetic experience. Abhinavagupta' s

comments clearly show that he had a high respect for Bha.(talolla.ta who

treats Rasa as an experience belonging to the spectators. His analysis

shows how a dramatic performance appeals to the spectators. He

 86

combines the elements of both Mimiimsa and Siiinkhya philosophy.

According to Bha.(talolla.ta, Rasa is neither directly apprehended nor

produced nor known. Rasa is not Vyan gya because suggestion or

Vyangya of Rasa is possible if it already exists. It can be relished only in

two ways either as belonging to the actor himself and as belonging to the

spectator himself or as belonging to someone else. The apprehension of

Rasa can not be properly said to take the form of direct experience

Qr remembrance etc.-'Tanna pratztiranubhiivasmrtyiidiruparasasya

yuktam '. 34 Spectator will be totally indifferent to another ·

person's emotion - 'svagatatvaparagatatviidi ca purvavad vikalpyam' . 35

According to Bha.tfalolla.ta Rasa in dramatic art or poetry goes through

two stages:- that of realization and that of being realized. It is brought by

a special process or function known as Bhiivakatva which is described as

the power of generalization. It is quite different from the process of

Abhidhii. After the function of this Bhiivakatva, the Rasa is relished by

another process known as Bhojakatva or Bhoga ( delectation). The

function of delectation is quite different from the ordinary means of

knowledge like direct experience, remembrance etc. Bhojakatva or the

attribute of Sattvagur;a which resides in the mind of aesthete is brought to

 87

prominence by subordinating the elements of Rajas and Tamas. The

delectation is also characterized by perfect repose in the spectators own

consciousness and the nature of this consciousness is that of the joy of

illumination due to the predominance of the element of sattvagwJa. The

delectation approximates the relish of the bliss of Supreme Absolute. So

the spectator's enjoyment is not Brahmananda itself but it comes nearer

to Brahmananda - 'Parabrahmasvadasavidhena
36
bhogena param bhujyate'.

Abhinavagupta argues that this kind of enjoyment of Rasa is

possible in the world as it cannot be apprehended, produced or revealed.

He emphasizes that the relish of Rasa is an apprehension only and it

would only require a different name because of the difference of its

means. Abhinavagupta makes it clear that in Bha.(tanayaka 's theory,

Rasa is the poetic content revealed by the process of Samvedana, being

the object of supreme consciousness which consists of the experience of

relish. He suggests that both these processes (Bhavakatva and

Bhojakatva) of generalization of dramatic substance through the artist's

skillful representation and of the relish ability of the emotions are

achieved through Vyanjana or suggestion only. Hence, it is not necessary

 88

to accept two separate processes, Bhiivakatva and Bhojakatva as argued

by Bha/taniiyaka. Both Bha/taniiyaka and Abhinavagupta accept the

principle of generalization of characters and their mental conditions. But

according to Bhal[aniiyaka this generalization is achieved by a separate

process known as Bhiivakatva. Bha/taniiyaka 's pivotal view is that the

apprehension of Rasa is an extra-ordinary process which is distinct from

the ordinary process of apprehension. This apprehension reaches an

ecstatic or transcendental level.. This state of apprehension is accepted by

Abhinavagupta in a rather modified form in the course of his own

exposition of Rasa. Enjoyment of Rasa by the spectator is the main

foundation of Bhal[aniiyaka' s theory which terms Rasani$patti as Bhukti

of Rasa, and his theory is known as Bhuktiviida. It can be seen that the

theory of Bha/taniiyaka has really paved the way for Abhinavagupta 's

Abhivyaktiviida. Most of the conclusions of Bhal[aniiyaka are acceptable

to Abhinavagupta.

After giving the views of his earlier interpreters on Rasasutra

of Bharata, Abhinavagupta discusses his own position and his debt to

his precursors. He explains that he is formulating his own theories on

the . basis laid by others and states that his views are only an
 89

improvement on what has been said by earlier interpreters­

Amnayasiddhe kimapurvameta-

tsamvidvikiise 'dhigatiigamitvam.

lttham svayam grahyamaharhahetu

dvandvena kim dft�ayita na lokaf;.

Abhinavagupta gives high tribute to his predecessors who have founded a

kind of staircase on which any scholar· can climb up, realize, and interpret

the essence of art -

Ordhvordhvamaruhya yadarthatattvam­

dhzh pasyati srantimavedayantz.

Phalam tadadyaih parikalpitanam

vivekasopanaparamparaf)am.

The first attempt to do interpretation or a doctrine is like a picture without

a prop. But once the right way has been seen, any one can construct

bridges or finding out a place -

Citram niralambanameva manye

prameya siddhau prathamavataram.

sanmargalabhe sati sethubandha­

puraprati�.thadi na vismayaya.
 90

Abhinavagupta says that what he now does is only improving upon the

ideas of earlier scholars and not disqualifying or demolishing -

Tasmiitsatiimatra na du�itiini

matiini tiinyeva tu sodhitiini.

purvaprati�,thiipitayojaniisu

mulaprati�,thaphalamiimananti . 37

J.L. Masson and M.V.Patwardhan observe,

"Abhinavagupta is the first writer m India to deal

with issues of religion in terms of literary criticism

and vice versa. This marks his greatest departure from

38
Anandavardhana as indeed from all earlier writers".

A close reading of Abhinavabhiirati reveals that Srzsankuka,

Bha/talolla,ta, Bha.(taniiyaka and Bha/taTauta had the deepest influence

on Abhinavagupta. According to Srzsankuka, Alaukika is the nature of

knowledge that the spectator enjoys in the theatre; an opinion which is

also accepted by Abhinavagupta. In Abhinavabhiirati we can see many

references and quotations from Bha.(tatauta which show his impact on

Abhinavagupta' s thought. Abhinavagupta' s Tanmayzbhiiva is to some

extant equal to Hrdayasamviida or cittavrttisiidhiira,:zzbhiiva of

 91

Bhal(aTauta. Therefore, Abhinavagupta is more indebted to Bha.(taTauta

than others.

According to Abhinavagupta Rasa is a meamng of Kiivya -

' tatkavyartho rasal/. 39 He explains that there is an additional idea or

knowledge in Kavya which is different from and additional to the primary

meaning of the words and sentence. This idea occurs to the mind of the

hearer or spectator. In the case of 'Agnau pradat' and Ratrimasata' its

literal meaning is related to the past tense. But there occurs a different

idea in the reader's mind in which the verbs are freed from the given tense

and are suggested in the forms 'aste' and 'pradadami'. This additional

idea is realized by the Sahrdaya whose heart is moved to look into see

them clearly - 'Adhikari catra vimalapratibhanasalihrdayah'. 40 To

expose the additional meaning of poetry Abhinavagupta quotes a verse

from Abhijnanasakuntala-

Grivabhangabhiramam muhuranupatati syandane dattadr�.tih

pascardhena pravi�.thah sarapatanabhayad bhuyasii purvakayam

darbhairurdhiivalicfhaih sramavivrtamukhabhramsibhih kzrnavartmii

pasyodagraplutatvadviyati bahutaram stokamurvyiim prayiiti.

( AS., 1, V., 7.).

 92

Its literal meaning is the description of a frightened deer. From this verse,

we get an additional knowledge which arises in the mind of

an aesthete, which has Bhaya as its object. It means the Bhaya is free

from spatio-temporal specialities -'Bhayameva param desakiiliidyanii-

.· ,
lzngztam., 41
It means that the knowledge of a particular time and place

obstructs attainment of the extra-ordinary knowledge. But the

consciousness of an aesthete is not restricted by time and place. All the

objects in the world have spatio-temporal relation. Here Abhinavagupta

reaches very close to the philosophy of Kashmir · Saivism. In

lsvarapratyabhijniivimarsini, Abhinavagupta explains the nature of the

consciousness of an Adhikiirin,

"Yatal; samvitsvabhiivo asau samvidasca na desena

42
kiilena na svarupe,:za ko 'pi bhedal; ".

When an aesthete sees a drama he is in a state which is outside both time

and place and his heart is transformed. In the process of enjoyment of the

play, his soul expands and he reaches a state of ecstacy. This endless or

unobstructed cognition is experienced by the aesthete. It overwhelms the

heart of the aesthete and he enjoys Bhayiinakarasa, "Vighnabahulebhyo

vilak�mJam nirvighnapratztigriihyam sii�iideva hrdaye nivisamiinam

 93

caksu$oriva viparivartamanam bhayanako rasal;. "43 The Bhaya, which

originally occurred in the deer, is also enjoyed by the aesthete.

Abhinavagupta claims that this celestial mental state is universal and can

be enjoyed by every one. 'Sarvasiimiijikiiniim ekaghanatii'. This is

possible because of the transfonnation of the individual's personality into

universal or the Sthayin being generalized. This universalisation

is possible because of the similarity of the hearts of aesthetes

(hrdaya samvada) and their consciousnesses are also free from

spatio-temporal limitation. The suggestive power used by the artist in the

language and the histrionic talents and gestures on the part of the actors

remove all barriers of space, time and individuality. Then the spectator is

free from Du$yantatva, Na.tatva or even his own identity. The

generalized experience becomes the private experience of each one of the

spectators immersed into it. This experience of one aesthete relates to

hrdayasamveda of other aesthete which results in the uniformity

(ekaghanata) of the imaginative experience of all spectators. This

uniformity of feeling is a result of sympathy which is the basis of all

human activities. This sympathetic induction has also been called

empathy which is a mental state involving the identification of oneself

 94

with the mental state of another. This is an important characteristic of

aesthetic experience. Therefore, Abhinavagupta says that the conscious

experience of the individual is satisfied in the awareness, contemplation

and enjoyment of these fundamental patterns of life. 44 This joy is called

as Camatkara by Abhinavagupta. He defines Camatkara as

'bhunjanasyadbhutabhogaspandavi$.(asya ca manah,kara,:,am camatkara

iti ', 45 which means that it is a state of Alaukikananda. Abhinavagupta in

his commentary on lsvarapratyabhijnakarika, clearly states that Vimarsa

is Camatkara. In Abhinavabharati he states that the word Camatkara

denotes the state of aesthetic experience. Visvanatha also quoted a verse

in his Sahityadarpa,:,a and indicates that the essence of Rasa is

Camatkara and it is found in all the Rasas-

Rase sarascamatkarah sarvatrapi anubhuyate

46
taccamatkarasaratve sarvatrapi adbhuto rasah,.

Therefore, Rasanubhava is identified as Camatkara. In this state the finite

consciousness of an aesthete becomes infinite consciousness, when the

aesthete forgets himself and cognizes the Sthayin, and this cognition of

Sthayin gives the aesthete an unmixed joy -

47
' Sarvatha rasanatmakavftavighnapratftigrahyo bhava eva rasah,.
 95

According to Abhinavagupta Rasa is Caitanya and it reflects in the

mirror-like heart of an aesthete. Therefore, he emphasizes the state of the

mind or heart of an aesthete and defines it because it is essential for the

appreciation of art when the state of the mind of an aesthete is cleared and

free from prejudices and preoccupations he can enjoy the art.

Abhinavagupta points out seven obstacles which generally stand in the

way of Rasa experience. He states that Vibhiivas etc. remove the

obstacles which stand in the way of Rasa expenence - 'Tatra

vighniipasiirakii/:z vibhiivaprabhrtayalJ' 48 and when the aesthete's

consciousness is free from these obstacles he enjoys Rasa. Rasa is

designated by various names such as Camatkiira, Nirvesa, Rasana,

Asviidana, Bhoga, Samiipatti, Laya, Visriinti etc. 49 The obstacles are the

following: the first obstacle is the spectator's incapacity for apprehension

because the themes presented by the artist are unrealistic. Therefore, they

are beyond the scope of the average reader's imagination or sensibility -

' Samvedyamasambhiivayamiina/J samvedya

samvidam vinivesayitumevana saknoti kii

tatravisriintiritiprathamo vighna/J'. 50
 96

Abhinavagupta suggests two remedies to remove this obstacle. Firstly,

the spectator should widen the horizon of his vision and sensibility.

Secondly, the artist must introduce convincing personalities and must

create proper circumstances -

'Tadapasarar:ie hrdayasamviido lokasiimiinyavastitvi$ayah'

'Ata eva nissiimiinyotkar$opadesavyutpattiprayojane nii,takiidau

prakhyiitavastuvi$ayatviidiniyamena nirupayi$yate' . 51

Abhinavagupta, while stating the first obstacle, expresses his idea of

aesthetic experience (kii tatra visriintih) which shows the confluence of

philosophy and aesthetics. Abhinavagupta's concept of Visriinti is used

as equal to aesthetic experience. This philosophical term Visriinti is

explained in Tantriiloka. As one attains the state of complete repose then

all phenomenal objects are merged into one's own self. During the time

of Rasa enjoyment, an aesthete attains the state of complete repose

because he is free from spatio-temporal limitation preoccupation and

individuality. He uses the word Visriinti to explain the ultimate state of

aesthete during the time of aesthetic experience.

The second obstacle is the absence of proper aesthetic distance

between dramatic s�tuation and tp.e spectator. But for the enjoyment of
 97

Rasa, the feeling of pleasure or pain as that of the poetical character alone

is desired to be experienced by the aesthete. During the time of aesthetic

experience, the aesthete must find himself free from his own temporal or

spatial limitations and must find the character as someone belonging to

the situation immediately present to the aesthete. As a result of this

obstacle, the spectator identifies the various dramatic feelings within

himself and experiences them accordingly. Abhinavagupta suggests

various dramatic elements for avoiding this obstacle. He puts forward

dramatic elements such as dance, music customs etc. and the elements of

the theatre, which help and create a poetic atmosphere and draw the mind

of the spectator away from his personal affairs and feelings for enjoying

the supramundane, supreme bliss or supreme Rasa ( Maharasa ).

The third obstacle refers to an aesthete who is afflicted by his own

feeling of pleasure or pain. An aesthete has a sensitive nature who can

empathize with the subject matter of drama and he can also identify

himself with the feelings and emotions of the characters. Therefore, the

person whose heart is free from personal feelings alone can relish the

sentiment depicted in the poetry or drama. Abhinavagupta suggests that

 98

this obstacle is overcome by the employment of certain technical devices

such as music etc.

The fourth obstacle is the defect in the means of apprehension of

Rasa. The process of cognition is an important factor for experiencing

Rasa-
52
' kimca pratityupiiyiiniimabhiive katham pratztif:z '.

Abhinavagupta argues that in the absence of the proper means of

apprehension, the realization of Rasa cannot take place.

Lack of clear evidence or the absence of clarity is the next obstacle

for the realization of Rasa. It means that the lack of evidences also

affects the quality of the perceptions. The presence of clarity is sufficient

for an aesthete to derive complete Rasa experience from a drama or

poetry without its acting or recitation. The realistic representation such as

Vrttis, pravrttis, Lokadharmi and Nii.tyadharmi is the means to avoid this

obstacle -

Tasmiittadubhayavighnavighiite 'bhinayiiloka­

dharmivrttipravrttyupaskrtiif:z samabhi#cyante. 53

The sixth obstacle to the experience of Rasa is the lack of

prominence given to the Sthiiyin. The eternal illumination of Sthiiyin is

 99

essential in the Rasa realization. The Sthayin pre-exists in the spectator in

a latent state in the form of Samskara or Vasana. The latent emotions or

Sthiiyins become patent with the help of Vibhava, Anubhava and

Vyabhicarin. The lack of prominence is accepted only in the case of

Vibhava, Anubhava and Vyabhicarin. Therefore, Sthayin is distinct from

Vibhava etc. Vibhava, Anubhava and Vyabhicarin should aim at

predominantly depicting the Sthayin. The aesthete gets the complete

satisfaction only by finding the permanent mental states within him. This

satisfaction or the realization of Rasa differs from the mere knowledge of

aSthayin.

Apradhane ca vastuni kasya samvid visramyati

tadatiriktah sthiiyyeva tathii carva,:ziipiitram. 54

The last obstacle in the realization of Rasa is the rise of a doubt or

confusion as to the exact nature of the Sthayin in an emotional situation.

The Vibhava, Anubhava and Vyabhicarin are not separately restricted for

any particular Sthayin because they do not have any fixed relation with

the Sthiiyin 'Tatriinubhiiviiniim vibhiivii,;iim Vyabhiciiri,;iim ca prthak

sthiiyini niyamo nasti '. 55 The unity of Vibhava, Anubhava and

Vyabhiciirin has been laid down for the removal of the obstacle as in the
 100

case of a doubt. Referring to Abhinavagupta's discussion of the seven

obstacles and of the means of their removal, Walimbe remarks,

"Here he gives detailed instructions as to how each

of the three human agencies involved in the process

of Rasa - the dramatist, the actor and the spectator

or samajika - should try to rise to the best of his

skill and ability, how all their individual efforts

should converge towards the apprehension of Rasa,

the collective experience of human emotion in

the theatre". 56

Every aesthete has the ability to infer the mental mood of other

people on the basis of his own experience which is seen in daily life. This

causality when depicted on the stage is entitled as Vibhavas. The

Vibhavas used by the poet are brought to a state of relish which is the

nature of consciousness free from all obstacles. The relish is nothing

other than a blissful consciousness. It means that blissful consciousness

or blissful relish itself is Rasa and not the object of the blissful cognition.

Even in the case of Karw:zarasa there is the same blissful relish.

Karw:zarasa is not painful because literary world is distinct from real

 10 I

world. The blissful consciousness is the realization of the self by itself.

The Rasas are variously named as Srrigiira, Karw:za etc. only because of

the consciousness effected by the Sthiiyin at a certain stage of experience.

This realization of Rasa is not as final stage. In the final stage of the

realization of Rasa, there is the relish of Mahiirasa alone. The greatest

difference between Bhal[aniiyaka and Abhinavagupta is in respect of the

Rasa realization. Abhinavagupta states that Rasa is suggested and it is

relished in the manner of realization. This unalloyed relish is identical

with the self. Therefore according to the theory of Abhinavagupta , Rasa

realization means the realization of the self by itself. Rasa exists only

during the time of its relish and it is totally distinct from the Sthiiyin.

Rasa is called as Rasa only so long as the apprehension of relish

goes on-

Na tu carvar;iitiriktakiiliivalamb'i

sthiiyivila/cyar;a eva rasalJ, . 57

Therefore, Abhinavagupta does not accept the view of Srzsahkuka and

others that Sthiiyin itself is designated as Rasa. If the Sthiiyin itself

becomes Rasa this relish of Rasa can occur everytime in our

daily life - 'Evam hi laukiko 'pi kim na rasal/. 58 The cognition of

 102

Sthiiyin, which is obtained by inference, is not Rasa. Therefore, Bharata

does not include Sthiiyin in his Rasasutra-

'Tena sthiiyipra(itiranumititarupii priicyii na rasab

ata eva sutre sthiiyzgraha,:zam na krtam '. 59

Abhinavagupta clearly reveals that Rasa is different from Sthiiyin

because the sole essence of Rasa consists of aesthetic enjoyment -

' Laukikacittavrttyanumiine kii rasatii '.

Cittavrtti means Sthiiyin which is Laukika. But Rasa is non-worldly

experience and it has nothing to do with worldly feelings like memory or

inference. Therefore Abhinavagupta holds that the apprehension of Rasa

is distinct from other cognitions -

' Teniilaukikacamatkiiriitmii rasiisviidab

smrtyanumiinalaukikasamvedanavilak�a,:za eva '. 60

Abhinavagupta emphasizes that the relish of Rasa is distinct from the

ordinary means of knowledge like memory, inference, worldly self­

consciousness etc. This relish of Rasa is an expansion of the self and a

transformation of the spirit brought forth by the artistic imagination.

After discussing the difference between Rasa and Sthiiyin

Abhinavagupta clears out the nature of the relish of Rasa and its
 103

difference from general perception and extraordinary perception of a

Yagin who has achieved spiritual perception. The relish of Rasa happens

as a result of the identification of the aesthete with the situation and he

infers the mental state of other people on the basis of his own observation

of daily life and he perceives the Vibhavas etc. not in an indifferent

manner but by strength of his sensibility or the nature of his heart. It

means that the relish of Rasa is the very essence of transcendental delight

and is being effected on the strength of the unity of the extraordinary

Vibhava, Anubhava and Vyabhicarin-

61
' Kintvalaukikavibhavadisamyagabalapanataiveyam carva,:za'.

When the aesthete experiences the supreme Rasa or transcendental

delight without employing the process of inference and recollection, it is

not the product of some other valid means of cognition, 'Na ca sii

carvar:za prarimanantarat yenadhuna smrti/:z syat '. 62 This aesthetic

experience or relish of Rasa is quite distinct from the worldly love etc.

because they are produced by the ordinary means of knowledge like

perception, inference, analogy etc. Likewise aesthetic experience also

differs from the experience of a perfected Yagin in which the Yagin

experiences the undifferentiated bliss of his self and it is free from sensual
 104

attachment as he is detached from his own object of contemplation and

absence of beauty -

'Sii ca pratyaksiinumiiniidilaukikapramiitJ,ajanitaratyiidya­

vabodhata/J tathii yogipratyak$a}anitatafasthapara­

samvittijnanatsakalavai$ayikoparagasfinyasuddhapara­

yogigatasvatmanandaikaghaniinubhavacca visi$yate '. 63

Abhinavagupta clearly reveals the experience of a Yogi that there can be

no beauty because there is no relation to objects.

After discussing the distinction between the aesthetic experience

and the other experience, Abhinavagupta emphasizes the Supra-mundane,

nature of the Vibhavas. The Vibhavas are not the material cause of the

production of Rasa because Rasa 1s not Karya - 'ata eva

vibhiiviidaya/J na ni$pattihetavo rasasya '. 64 Eventhough there is the

absence of the knowledge of Vibhava etc., the Rasa exists. Therefore,

they are not indicative or material cause of the Rasa -

65
' Tada bodhapagame 'pi rasasambhavaprasarigiit '.

Vibhiivas are notjniipaka hetus because Rasa is notjnapya. The function

of the Vibhiivas etc is super-worldly and conducive to relish. They have

no parallel in the world and the absence of parallel reveals their

uniqueness - 'Kviinyatrettham dr$.famiti cedbhfl$a,:zametadasmiikam
66
alaukikatvasiddhau.' Here Abhinavagupta refutes the view of

Bha.(talolla.ta and Srisahkuka respectively because Vibhavas are not the

indicative cause of the production of Rasa. These Vibhiivas do not exist

objectivity because it exists only during the time of aesthetic relish and so

not persist for any time after the aesthetic emotion -

' Siddhasya kasyacitprameyabhutasya rasasya bhiiviit '. 67

Abhinavagupta asserts that Rasa consists in its ability to relish and

not in its comprehensibility. The production of Rasa occurs in the

Rasasutra, means that the production is not of Rasa but of its relish -

' Tarhi sutre ni$pattiriti katham.

Neyam rasasya, api tu tadvi$ayarasaniiyiil; '. 68

Abhinavagupta emphasizes that the relish of Rasa is not cognized by any

means of proof or cause. It is cognized by its own consciousness and

direct experience -

'Sii ca rasanii na prama,:zavyiipiiro na

69
kiirakavyiipiiral; svayam tu niipriimii,:iikal; '.

Abhinavagupta says Rasanii ca bodharupaiva. It means that aesthetic

experience consists in knowledge and it is a state of pure and undefiled

 lUO

joy or rapture. According to Kashmir Saivism, the Absolute reality is not

different from pure knowledge. Likewise, the relish of Rasa is of the

nature of cognition but it differs from all other cognitions because

Vibhiivas are the means of its apprehension, which is different from the

worldly means of knowledge,

' Kintu bodhiintarebhyo laukikebhyo vila/cya!Jaiva '.

Therefore, relish is produced because of the unity of the Vibhiivas etc. In

this discussion, Abhinavagupta establishes a philosophical basis for the

doctrine of Rasa.

Abhinavagupta discusses the nature of the universelisation of

dramatic experience of a spectator. During the staging of a play, the

spectator perceives that the consciousness of the actor is enveloped by the

dramatic devices like a crown, head, dress etc.

'Muku,tapratifir$akadinii tiivanna.tabuddhiriicchiidyate'. 70

Likewise, the spectator gets the impression that Rasa exists even when he

knows that it is only a character that is depicted by the poetic genius of

the author_

'Giic/,hapriiktanasamskiiracca kiivyabaliin'iyamaniipi
71
na tatra riimadhirvisriimyati '.
 107

Literature refers to a particular time and place to the actor as well as the

original character. But seeing a drama in the theatre the spectator lives

neither in the time or space of the original character nor the actors. 72

'Ata evobhayadesakiilatyiigal/. It means that the spectator is not

restricted by time and place. In that state the spectator experiences an

extraordinary feeling of harmony where all contradictions are resolved

and the heart, mind and soul of the aesthete act in union-
73
, Tatra sviitmiivesena rasacarvarJ,etyuktam '.

The sentiment of love, which is transformed into the aesthetic emotion of

Srrigiira, is generalized by the Vibhiiva, Anubhiiva and Vyabhiciirin.

Abhinavagupta cites three examples to explain the generalization of

Vibhiivas, Anubhiivas and Vyabhiciirins which helps the delineation of

dramatic sentiment. The main content in the first verse is the charm of

emotion which is constituted by the prominence of Vibhiiva-

Kelzkandalitasya vibhramamadhodhwyam vapuste drsorbhangz

bharigurakiimakiirmukamidam bhrilrnarmakarmakramal:,,.

Apate (ghrato) 'pi vikarakiiraf)amaho vaktriimbujanmasavah

74
satyam sundari vedhasastrijagatzsiiral:,, tvamekii krtil:,,.
 108

The second verse is quoted by Abhinavagupta from his own teacher

Jnduriija to illustrate the prominence of the Anubhiiva with the union of

Vibhiiva and Vyabhicurin. Here the Vibhava suggests only the quality of

the poetic description but the principal thing in this verse is the charm of

emotion which is constituted by the prominence of Anubhiiva.

Yadvisramya vilokite$u bahuso nisthemanz locane

yadgiitru!Ji daridratipratidinam luniifijinzniilavat

durviikii1Jq,avirj,ambakasca nibirj,o yatpun4imii ga1}q,ayo/J

75
kr$1Je yuni sayauvaniisu vanitiisve$aiva ve$asthiti/J.

As an illustration of the importance of Vyabhiciirin, Abhinavagupta

quotes a stanza, which is attributed to the poet Kiilidasa. Abhinavagupta

accepts the extra-worldly beauty of Vibhiivas and he remarks that the

prominence of the Vyabhiciirin is a result of the quality of their Vibhiivas.

The Anubhiivas are subservient to these Vibhiivas.

f.ttamiittamadhikiintamzk$ifum

kiitarii sapharasa1}kinz jahau

anjalau jalamadhzralocanii
76
locanapratisarzraliinchitam.
 109

According to Abhinavagupta, the highest relish of Rasa is created

by the equal prominence of Vibhiivas Anubhiivas and Vyabhiciirins. He

observes that even poetry, which contains any element of dramatic

representation, enables the readers to relish Rasa. But a reader, who is

quite sensitive, is led to the highest bliss and wisdom eventhough the

poetry is without any element of dramatic representation. It is understood

that both of them such as the sensitiveness of readers and the dramatic

elements are important to enjoy the highest delight. It also suggests that

the dramatic elements and sensitiveness produce the necessary purity of

mind and heart.

After discussing the importance of sensitiveness and dramatic

elements, Abhinavagupta discusses the sensitive readers (Sahrdaya) and

also discusses the importance of drama. According to Abhinavagupta a

reader, who is endowed with maturity of thinking and aesthetic

sensibility, can visualize the whole emotional situation depicted in a

poem. But an ordinary reader, who has not the quality of sensitiveness,

cannot enjoy the complete artistic emotion. It means that drama gives the

ability to relish Rasa not only sensitive but also insensitive equally and

effectively by all spectators. During the visualization of a drama a

 110

sensitive spectator acquires the highest purification of his mind, while for

insensitive spectator it gives the necessary purification of mind for

his essential enjoyment with the help of song, instrumental music,

women etc.

Abhinavagupta concludes his interpretation on Rasasiltra of

Bharata with his analysis in the nature of the spectator's perception of the

actor. Here Abhinavagupta clearly presents his philosophical ideology.

He equates the actor to an idol of a God in the case of the contemplators.

In the third volume of Abhinavabharati, Abhinavagupta says,

'etad uktam bhavati yatha paramatmasvacaitanyaprakasam

atyajannapi dehakancukocitacittavrttiril�itam iva svarilpam

adarsayati, tatha na,to 'pi atmava$,fambham atyajanneva

sthane layataladyanusarw:zadyayogad dehasthanzyena

vartanadive$aparivartanena taducitasvabhavalingitam

iva svatmanam samajikan prati darsayati' . 77

Abhinavagupta also equates the contemplators of the God to spectators.

While seeing a Drama, the actor is the object of the spectator's

contemplation. The spectator is not aware that he is watching a drama but

he is completely immersed in it by the performance of the actor. Even

 11 I

though he lacks an appreciation of the real character, he enjoys real bliss.

But the contemplators of the God, do not have the appreciation of God

because it is the image itself. The devotees of contemplation do not make

any distinction between the image and the deity . Likewise, the dramatic

theme, which is the object of the relish of Rasa, arises from the actors

acting which is not restricted by particular space and time. Thus, the

apprehension of Rasa is of the nature of the character 'Rama' and not

'this is Rama'.
 112

REFERENCES AND NOTES

1. PT., V., 18, pp. 281-2.

2. J. L. Masson and M.V. Patwardhan, SAG., p. vi.
3. AB., Vol. I, p.277.
4. K.C. Pandey, CA., Vol.I, p.141.
5. Srikrishnamisra, Coleridge and Abhinavagupta, p.555.
6. AB., Vol. I, p.8 Natra krama/J kascit.

7. ibid., p. l.
Sadtrimsakatmaka jagadgaganavabhasa­
samvinmarzcicaya cumbita bimbasobham ·
�a(j trimsakam bharatasiltramidam vivr,:zva­
nvande sivam srutitadarthaviveki dhama.
8. ibid., p.2.
Mahesvariibhinavaguptapadaprafi$.fhah
sam/cyiptavrttividhinii visadikaroti.

9. ibid.
Bhagavamstvananda nirbharataya ------­
----------------------------namask,:tal}.

10. ibid., p.35.

Na_tye tu paramiirthikam kincidadya me
Krtyam----------------nii_tyaparaparyiiyal}.
11. ibid., p.48.
12. ibid.
 113

13. ibid., p.72.

Paramesvarasmaraf)am ca prathamam
ucitamiti.
14. ibid., p.91.
Kriya karaf)am. kasya kriya. nrttasya
gatraf)am vilasak$epasya heyopadeya­
vi$ayakriyadibhyaf; vyatirikta ya
tatkriya karaf)amityartha}:z.
15. NS., Vol. I, p.271.
Na hi rasadrte kascidarthah pravartate.
16. J. L. Masson and M. V. Patwardhan, SAG., p.1.
17. AB., p.292.
Tadevam mulam bijasthanzyat kavigatah rasaf;.
Kavirhi samajikatulya eva tatab vr/cyasthanzyam
kavyam tatra pu$padisthanTyo abhinayiidina.ta­
vyaparaf; tatra phalasthaf)zyaf; samiijikarasiisviidah
tena rasamayameva visvam.
18. ibid., p.266.
Tatasca mukhyabhutat maharasat.
19. AB,1Vol. III, p.96.
Sattvato gurJah manaso vyapiira/J
tatsattvam prakasah tadvidyate yatra
Tatsattvam manaf;, tasmin bhava/:z.
 114

20. ibid., p.156.

Vaganga mukharage,:zetyadipa_thah param
Bhavadhyayasloko nasya tulyorthastvanya eva.

21. AB., Vol.I, p.271.

22. Mukunda Madhava sharma,
The Dhvani theory in Sanskrit poetics, p.158.
23. G.V Davane, PVC., p. 250.
24. Walimbe, AIA., P.16.
25. AB; Vol.I, P.271.
26. ibid., p.272. 27. ibid.
28. ibid. 29. ibid.
30. Walimbe, AIA., p.35.
31 AB., Vol.I, p.273.
32. ibid. 33. ibid., p.275.
34. ibid. 35. ibid.
36. ibid., p.276. 37. ibid., p.277.
38. J.L.Masson and M.V. Patwardhan, SAG., p.7.
39. AB., Vol.I, p.277.
40. ibid., p.278.
41. ibid.
42. IPV., Vol. II, p.281.
43. AB., Vol. I, p.278.
44 ibid., p.281
45. ibid., P.278.
46. SD., 111.3.
 115

47. AB., Vol. I, p.279.

48. ibid. 49. ibid.
50. ibid. 51. ibid.
52. ibid., p.280. 53. ibid.
54. ibid.
55. ibid., p.282.
56. Walimbe, AIA., p.59.
57. AB., Vol.I, p.282.
58. ibid. 59. ibid.
60. ibid 61. ibid., p.283.
62. ibid. 63. ibid.
64. ibid. 65. ibid.
66. ibid. 67. ibid
68. ibid. 69. ibid.
70. ibid. 71. ibid.
72. ibid. 73. ibid., p.267.
74. ibid., p.284. 75. ibid.
76. ibid.
77. AB., Vol. III, p.124