History of Sanskrit Poetics c6.68.2

c6.68.2

यथा नराणां नृपति: शिष्याणां च यथा गुरु: । एवं हि सर्वभावानां भाव: स्थायी महानिह ॥’ नाट्यशास्त्र K. M. ed. chap. VII. 8 and G. O. S. ed. VII. pp. 350-51. The दशरूप (IV. 34) describes स्थायिभाव from another stand-point, viz. स्थायिभाव is like the ocean which may be now and then disturbed by other भावs but always retains its own position; so स्थायिभाव is that dominant mood which is not broken up altogether by other भावas and makes the other भावas subordinate to itself. The permanent or dominant moods that may be aroused by a dramatic representation and brought to a state of pleasurable relish are eight रति (love), हास (gaiety or laughter), शोक, क्रोध, उत्साह (energy or vigour), भय, जुगुप्सा (repugnance) and विस्मय. Some add a ninth स्थायिभाव viz. शम. The resultant aesthetic enjoyment and pleasure are called rasa. Bharata (VI. vol. I. pp. 288-291) explains why this aesthetic pleasure is called rasa. Just as persons who partake of food prepared with many condiments (such as jaggery, curds, cardamom, camphor, marica) taste many flavours and feel pleasure and delight, so spectators relish स्थायिभावs suggested by various bhāvas, acting, recitation &c. and enjoy delight and therefore are called नाट्य-रस. The word रस in ordinary life has many senses viz. mercury, sweetness and other flavours (मधुराम्ललवणकटुकषायतिक्तभेदात्), essence, strong liking, decoction, exuded juice, one of the bodily dhātus (अ. भा. vol. I. p.