History of Sanskrit Poetics c6.76.3

c6.76.3

341-42) states that other rasas were put forward by some viz. स्नेह (आर्द्रता as स्थायिभाव), लौल्य and भक्ति and explains that स्नेह is nothing but रति and उत्साह, लौल्य would be included under हास or रति and भक्ति under रति. As देवादिषियरति was called भाव (रतिर्देवादिषिवया व्यभिचारी तथाजित: । भाव: प्रोक्त:-काव्यप्र. IV. 35) and not शृङ्गार, others put forward भक्ति as a separate रस. The सङ्गीतरत्नाकर (verses 1370-71, VII. p. 815) says : the नट is like a vessel (पात्र) in which some liquid is kept. As the vessel does not taste the liquid, so the actor does not relish the rasa that is being evolved and further states that some put foreward भक्ति (श्रद्धा as स्थायिभाव), स्नेह and लौल्य as three rasas; but it rejects these. The ध्वन्यालोक¹ says that शान्त and शृङ्गार both pervade the drama called नागानन्द, that तृष्णाक्षयसुख is the स्थायिभाव of शान्त, quotes a verse from the Mahābhārata in support and remarks that even granting for argument that all men have not the experience of तृष्णाक्षयसुख that does not matter. The Locana refers to the words of the नाट्यशास्त्र that in नाट्य are shown sometimes drama, sport, wealth and also śama sometimes (त्रैलोक्यस्यास्य सर्वस्य नाट्यं भावानुकीर्तनम् । क्वचिद्धर्म: क्वचित्क्रीडा क्वचिदर्थ: क्वचिच्छम: ॥ I. 104). It further says that śama is suggested, though all may not like it. But, this last is not the test.