[Pramāṇa](https://indike.org/pramana/) › [Indian literature](https://indike.org/pramana/in) › [Arts, Poetics, Architecture & Lexicography](https://indike.org/pramana/in.art) › [Dramaturgy and Theory of Theatre](https://indike.org/pramana/in.art.natya) › [Rasarnavasudhakara](https://indike.org/pramana/in.art.natya.rasarnavasudhakara) › 2.359 # Rasarnavasudhakara 2.359 Rasārṇavasudhākara 2.359 - **Language:** Sanskrit ### [2.359](https://indike.org/pramana/in.art.natya.rasarnavasudhakara.2.359) 166 yadvat pāka-viśeṣeṇa ṣāḍavākhyo rasaḥ paraḥ | niṣpadyate vibhāvādyaiḥ prayogeṇa tathā rasaḥ | 167 so' yam ānanda-sambhedo bhāvakair anubhūyate || > 166 / through a particular preparation, the supreme culinary juice called ṣāḍava is produced, / in the same way, through dramatic performance, aesthetic sentiment is brought about by determinants and the rest. 167 / This commingling of bliss is experienced by appreciators. > — English (machine translation) (machine translation) ### [2.359.p1](https://indike.org/pramana/in.art.natya.rasarnavasudhakara.2.359.p1) nanu nāyaka-niṣṭhasya sthāyi-prakarṣa-lakṣaṇasya rasasya sāmājikānubhava-yogyatā nopapadyate | anya-bhavasya tasyānyānubhavāyogāt iti cet satyam | ko vā nāyaka-gataṃ rasam ācaṣṭe | tathā hi-sa ca nāyako dṛṣṭaḥ śruto' nukṛto vā rasasyāśrayatām ālambate | nādyaḥ | sākṣād dṛṣṭa-nāyaka-ratyāder vrīḍā-jugupsādi-pratīpa-phalatvena svādābhāvāt | na dvitīya-tṛtīyau | tayor avidyamānatvāt | na hy asati āśraye tad-āśritasyāvasthānam upapadyate | > Now, if it be objected: “Aesthetic sentiment, defined as the climax of the durable state located in the hero, cannot be fit for the experience of the spectators, because what exists in one person cannot be experienced by another”; this is true. But who says that aesthetic sentiment resides in the hero? To explain: Does that hero become the substratum of aesthetic sentiment when seen, heard, or imitated? Not the first, because the love or other emotions of a hero seen directly have shame, disgust, and the like as their contrary result, and thus lack relish. Nor the second or third, because neither of those two exists \[in actuality\]. For when the substratum does not exist, the presence of what depends on it is impossible. > — English (machine translation) (machine translation) ### [2.359.p2](https://indike.org/pramana/in.art.natya.rasarnavasudhakara.2.359.p2) nanu bhavatu nāmaivam | tathāpi rasasya naṭa-gatatve na sāmājikānubhavānupapattir iti cet, na | naṭe rasa-sambhavaḥ kim anubhāvādi-sad-bhāvena vibhāvādi-sambhavena vā | nādyaḥ, abhyāsa-pāṭavādināpi tat-siddheḥ | kiṃ ca sāmājikeṣu yathocitam anubhāva-sadbhāve' pi tvayā teṣāṃ rasāśrayatānaṅgīkārāt | yadi vibhāvena tatrāpi kim anukārya-mālavikādinā (uta) anukāriṇā svakāntādinā vā | nādyaḥ, anaucityāt | nāpi dvitīyaḥ, naṭe sākṣād-dṛṣṭa-nāyakavad aślīlatā-pratīteḥ | > If it be argued: “Let that be so; nevertheless, if aesthetic sentiment resides in the actor, the spectator's experience will not be impossible”; no, that is not so. Does the occurrence of aesthetic sentiment in the actor arise from the presence of consequents and the like, or from the presence of determinants and the like? Not the first, because those can be produced simply by skill through practice and so forth; moreover, even when consequents are present in the spectators in a fitting manner, you do not accept that they are the substratum of aesthetic sentiment. If it arises from determinants, even then, is it by the represented Mālavikā and so on, or by his own beloved and so on who is the imitator? Not the first, because that would be inappropriate; nor the second, because vulgarity would be perceived in the actor just as in a directly seen hero. > — English (machine translation) (machine translation) ### [2.359.p3](https://indike.org/pramana/in.art.natya.rasarnavasudhakara.2.359.p3) nanu, mālāvikādi-vibhāva-viśeṣasyānaucityāt (sva-vi-)bhāvasyāsaṃnihitatvāt (sannihitatve' pi sākṣād-dṛṣṭa-nāyakavad aślīlatā-pratīteḥ) ca sāmājikānām api naṭavad eva rasān āśrayatvaṃ prasajyate iti cet, atra kecana samādadhate- > If it be objected: “Since a specific determinant such as Mālavikā is improper, and one's own determinant is not present (and even if present, it would be perceived as vulgar, like a directly seen hero), the status of being a substratum of aesthetic sentiments would be precluded for the spectators just as for the actor”—here some scholars give this answer: > — English (machine translation) (machine translation) ### [2.359.p4](https://indike.org/pramana/in.art.natya.rasarnavasudhakara.2.359.p4) vibhāvādi-bhāvānām anapekṣita-bāhya-sattvānāṃ śabdopadhānād evāsādita-sad-bhāvānām anukāryāpekṣayā niḥsādhāraṇānām api kāvye nāṭye ca abhidhā-paryāyeṇa sādhāraṇīkaraṇātmanā bhāvanā-vyāpāreṇa sva-sambandhitayā vibhāvitānāṃ sākṣād bhāvaka-cetasi viparivartamānānām ālambanatvādy-avirodhād anaucityādi-viplava-rahitaḥ sthāyī nirbharānanda-viśrānti-svabhāvena bhogena bhāvakair bhujyate iti | > “The durable state—having determinants and other emotions whose external existence is disregarded, whose presence is obtained solely through their association with words, which are without particularity regarding the character represented, which through the creative operation called generalization (a synonym for denotation) in poetry and drama are determined as related to oneself and revolve directly in the appreciator's mind, and being devoid of obstacles such as impropriety because there is no contradiction in their serving as objective supports and the like—is enjoyed by appreciators through an experience whose very nature is a rest in uninterrupted bliss.” > — English (machine translation) (machine translation) ### [2.359.p5](https://indike.org/pramana/in.art.natya.rasarnavasudhakara.2.359.p5) anye tv anyathā samādhānam āhuḥ | loke pramadādi-kāraṇādibhiḥ sthāyy-anumāne abhyāsa-pāṭavavatāṃ sahṛdayānāṃ kāvye nāṭye ca vibhāvādi-pada-vyapadeśyaiḥ (mamaivaite śatror evaite taṭasthasyaivaite na mamaivaite na śatror evaite na taṭasthasyaivaite iti sambandha-viśeṣa-svīkāra-parihāra-niyamān adhyavasāyāt) sva-sambandhitvena anya-sambandhitvena ca sādhāraṇyāt pratītair abhivyaktībhūto vāsanātmatayā sthitaḥ sthāyī ratyādiḥ pānaka-rasa-nyāyena carvyamāṇo lokottara-camatkāra-kārī paramānandam iva kandalayan rasa-rūpatām āpnotīti | > Others, however, state the solution otherwise: “In the world, when durable states are inferred from causes like women and so forth, sensitive persons possessing skill through practice find that, in poetry and drama, the durable states such as love—manifested by elements designated by terms like 'determinant' (since they do not determine any specific restriction of acceptance or rejection of relationship, such as 'these are mine alone,' 'these are an enemy's alone,' 'these are a neutral person's alone,' or 'these are not mine alone,' 'these are not an enemy's alone,' 'these are not a neutral person's alone'), which are perceived universally as related to oneself and related to another, and which abide in the form of latent impressions—being relished after the manner of a blended beverage, creating an extraordinary wonder, shooting forth, as it were, supreme bliss, attain the form of aesthetic sentiment.” > — English (machine translation) (machine translation) ### [2.359.p6](https://indike.org/pramana/in.art.natya.rasarnavasudhakara.2.359.p6) evaṃ ca bhukti-vyakti-pakṣayor ubhayor api sāmājikānāṃ rasāśrayatvopapatter anyatara-pakṣa-parigrahāgrahād udāsmahe | > And so, since the spectators' status as the substratum of aesthetic sentiment is established on both views—the view of enjoyment and the view of manifestation—we remain neutral, without insistence on accepting one view over the other. > — English (machine translation) (machine translation) ### [2.359.p7](https://indike.org/pramana/in.art.natya.rasarnavasudhakara.2.359.p7) prāyeṇa bhāratīya-matānusāriṇāṃ prakriyā tu (ittham)-loke kāraṇa-kārya-sahakāritām upagataiḥ kāvye nāṭye vā sarasa-sūkti-sudhā-mādhurī-dhurīṇair yathoktābhinaya-sametair vā padārthatvena vibhāvānubhāva-sañcāri-vyapadeśaṃ prāpitaiḥ nāyikā-nāyaka-candra-candrikā-malayānilādi-bhrū-vikṣepa-kaṭākṣa-pāta-sveda-romāñcādi-nirveda-harṣādi-rūpair vāsanātmakair ātma-sambandhitvenābhi-matair bhāvaiḥ dharma-kīrti-ratānāṃ ṣaḍ-aṅga-nāṭya-samaya-jñānāṃ nānā-deśa-veṣa-bhāṣā-vicakṣaṇānāṃ nikhila-kalā-kalāpa-kovidānāṃ santyakta-matsarāṇāṃ sakala-siddhānta-vedināṃ rasa-bhāva-vivecakānāṃ kāvyārtha-nihita-cetasāṃ sāmājikānāṃ manasi mudrā-muditra-nyāyena viparitvartitāḥ vāsitāś cābhivardhitāḥ sthāyino bhāvāḥ (vākyārtha-sthānīyāḥ) kāvyārthatvenābhimatāḥ bāhyārthāvalambanātmakāḥ santo vikāsa-vistara-kṣobha-vikṣepātmakatayā vibhinnāḥ tat-tad-rūpeṇa (raty-utsāhādi-rūpeṇa sāmājikaiḥ) āsvādyamānāḥ paramānanda-rūpatām āpnuvantīti sakala-sahṛdaya-saṃvedana-siddhasya rasasya pramāṇāntareṇa saṃsādhana-pariśramaḥ śrotṛ-jana-citta-kṣobhāya na kevalaṃ, pratyuta nopayogāyeti prakṛtam anusarāmaḥ || > The procedure of those who largely follow the doctrine of Bharata, however, is this: In the minds of spectators—who are devoted to virtue and fame, knowledgeable in the conventions of six-limbed drama, skilled in the costumes and languages of various regions, expert in the whole host of arts, free from envy, knowers of all established doctrines, discerners of aesthetic sentiments and emotions, and whose minds are fixed on the meaning of poetry—the durable emotional states, which occupy the position of the sentence-meaning and are intended as the meaning of the poem, being supported by external objects, differentiated into the forms of expansion, development, agitation, and distraction, having been revolved, perfume-infused, and enhanced after the manner of a seal and sealing-wax by emotions that have attained the state of cause, effect, and auxiliary in the world, that in poetry or drama are endowed with the sweetness of the nectar of flavorful speech or accompanied by the acting as described, that have obtained the designations of determinants, consequents, and transitory states as poetic meanings, taking the form of heroine, hero, moon, moonlight, southern breeze, movement of eyebrows, side glances, perspiration, horripilation, despondency, joy, and the like, which are of the nature of latent impressions and are acknowledged as related to oneself, being relished in those respective forms (in the forms of love, heroic energy, and so forth) by the spectators, attain the form of supreme bliss. Therefore, the effort to establish by another means of knowledge an aesthetic sentiment that is established by the experience of all sensitive persons not only produces agitation in the minds of the listeners, but is furthermore of no use; so let us return to the subject at hand. > — English (machine translation) (machine translation) ### [2.359.p8](https://indike.org/pramana/in.art.natya.rasarnavasudhakara.2.359.p8) aṣṭadhā sa ca śṛṅgāra-hāsya-vīrādbhutā api | 168 > And it is eightfold: the erotic, the comic, the heroic, and the marvelous; 168 > — English (machine translation) (machine translation) ## Translations (1) - [English (machine translation)](https://indike.org/pramana/in.art.natya.rasarnavasudhakara~en-mt.2.359) — English, machine translation ## Linked texts (1) - [Rasasudhākara](https://indike.org/pramana/in.art.alamkara.rasa.rasasudhakara.4.165) — Sanskrit --- Source: [https://indike.org/pramana/in.art.natya.rasarnavasudhakara.2.359](https://indike.org/pramana/in.art.natya.rasarnavasudhakara.2.359) · Pramāṇa