History of Sanskrit Poetics c6.76.1

c6.76.1

Important questions arise about शान्तरस and about the number of rasas. Dr. Raghavan dealt with these two topics in J. O. R., Madras, vol. X pp. 1-10, 97-114, 240-250 and vol. XI pp. 12-21, 77-115, 269-284 and in a separate book ‘Number of Rasas’ (1940) in which are included his contributions in the J.O.R. Madras. Vide pp. 12-13 above where this question about शान्तरस is discussed. From the Vikramorvaśīya II. 18 and the काव्यादर्श II. 392 and the text of भरत (VI. 15-16) it follows that there were originally only eight rasas. As उद्भट (IV. 5) and the विष्णुधर्मोत्तरपुराण (p. 68 above) mention nine rasas it follows that शान्तरस was certainly included from about the 7th century. The भावप्रकाशन p. 47 states that it was वासुकि who first recognized शान्तरस. Some hold that शान्त may be a रस in poetry but not in dramas; vide दशरूप IV 35 (शममपि केचित्प्राहुः पुष्टिनट्येषु नैतस्य) and भावप्रकाशन p. 47 (नाटकादिनिबन्धे तु तपश्चरणवस्तुनि । अभिनेतुमशक्यत्वात्तद्वाक्यार्थपदार्थयोः । सामाजिकार्ना मनसि रसः शान्तो न जायते ॥). The reasons why it was said that शान्त should not be recognized in a drama were many. One can hardly say that any big audience can be influenced to relish शान्तरस. The very atmosphere of dramatic representation with its songs, music and make-up is rather antagonistic to the development of a mood of शम (tranquility and self-effacement). In a mere poem Śāntarasa may be evolved by reading it in a quiet and secluded spot. The ध्व० (4th उद्योत pp.