उत्तररामचरितम् (महाकवि भवभूति - संस्कृत मूल एवं हिन्दी व्याख्या)

118 NOTES ON [III. 47— The word रस requires some explanation. रस is that indes- cribable feeling partaking of the nature of bliss which a man of taste experiences when he appreciates a poet's work and comes to be in tune with it. Rasas are said to be eight शृङ्गार, हास्य, करुण, रौद्र, वीर, भयानक, बीभत्स, अद्भुत. Some add a ninth शान्त. The साहित्यदर्पण (III. 1) defines रस as 'विभावेनानुभावेन व्यक्तः सञ्चारिणा तथा। रसतामेति रत्यादिः स्थायिभावः सचेतसाम्'॥ Love (रति) and the like which are permanent moods (or underlying sentiments) in any com- position when manifested by विभाव, अनुभाव and सञ्चारिभाव, attain to the condition of रस in the man of taste. The स्थायिभाव cor- responding to the above eight Rasas are रति, हास, शोक, क्रोध, उत्साह, भय, जुगुप्सा and विस्मय. विभावाः are those which are the causes of the स्थायिभावs i. e. on account of which the स्थायिभावs रति &c. are manifested and those which nourish them (रति, हास &c.) when they (रति &c.) are produced. विभावाः are of two kinds आलम्बनविभाव and उद्दीपनविभाव. Women (in the case of men) and men (in the case of women) are the आलम्बनविभाव, because they produce the स्थायिभावरति. The gestures of the आलम्बनविभाव, चन्द्रोदय, वसन्त &c. are उद्दीपनविभाव because they inflame love. अनुभावाः are the effects of the स्थायिभाव रति &c. which indicate externally the working of the feelings (अनुभावो विकारस्तु भावसंसूचनात्मकः। दशरूपक IV. 3) such as glances, perspira- tion. Under अनुभाव are included the eight सात्त्विकभावs 'स्तम्भः स्वेदोऽथ रोमाञ्चः स्वरभङ्गोऽथ वेपथुः। वैवर्ण्यमश्रु प्रलय इत्यष्टौ सात्त्विकाः स्मृताः॥' (नाट्यशास्त्र 6. 22) व्यभिचारिभावs (or संचारि०) are those moods which help or are accessory in apprehending स्थायिभाव or its effects; they are so called because they are not permanent, but appear and disappear as waves in the ocean. They are 33 in number, निर्वेद, ग्लानि, शङ्का &c. (see नाट्यशास्त्र 6. 18-21). They are not main sentiments in a composition, they are associated with the main sentiment in a composition. We have in various places pointed out the सात्त्विकभावs and व्यभिचारिभावs. सीता and राम are the आलम्बनविभावs. The sight of पञ्चवटी and the various spots in जनस्थान are the उद्दीपनविभावs. The illustration of water and bubbles &c. occurs often in the Vedantasutrabhashya of Sankaracharya. 'यथा हि समुद्रादुदका- त्मनोऽनन्यत्वेऽपि तद्विकाराणां फेनवीचीतरङ्गबुद्बुदादीनामितरेतरविभाग इतरेतरसं- पादिश्चलश्च व्यवहार उपलभ्यते on ब्र०सूत्र II. 1. 13; 'यथा च समुद्राद्यनेकेषां फेनतरङ्गाद्यात्मना मानस्तत्त्वम् on ब्र०सूत्र II. 1. 14.