Ras Mimansama Anuyoga Vaigyanik Drushtibindu - Book Summary

Here's a comprehensive summary in English of the provided Jain text, "Ras Mimansama Anuyoga Vaigyanik Drushtibindu" by Kanji Patel:

This article, "The Contribution of the Anuyogadvarasutra to Rasa Mimansa (Theory of Aesthetic Emotions)" by Kanji Patel, explores the significant insights of the Anuyogadvarasutra, a Shvetambara Jain text compiled around 350 CE, into the ancient Indian theory of aesthetic emotions (Rasa).

1. Introduction to Rasa and the Anuyogadvarasutra's Contribution:

The Anuyogadvarasutra, while not a treatise on aesthetics, is notable for its inclusion of cultural material. In Sutra 262, while discussing nine names, it lists nine rasas: Vira (Heroic), Shringara (Erotic), Adbhuta (Wonderful), Raudra (Furious), Gridanaka (Shameful/Bashful), Bibhatsa (Disgusting), Hasya (Humorous), Karuna (Pathetic), and Prashanta (Peaceful).
The sutrakara (author of the sutra) does not engage in a deep theoretical discussion of rasa but his contribution is considered original and noteworthy, particularly in two aspects:
1. The order of the rasas.
2. The recognition of 'Gridanaka' rasa in place of the traditionally accepted 'Bhay anak' (Terrific/Fearful).

2. The Meaning of Rasa:

The etymology of the word rasa is "those that are enjoyed."
In Vedic literature, rasa initially referred to liquid extracted from plants, like the juice of the Soma plant.
Over time, the meaning evolved to denote something that is tasted or savored, bringing strength, intoxication, enthusiasm, and ultimately joy. This shift signifies the gradual psychological evolution of the concept.
The Upanishads describe the Supreme Being (Brahman) as rasamaya (full of rasa), implying it is filled with bliss.
The text references the Amarakosha's definition of rasa, which includes meanings like smell, taste, poison, passion, liquid, semen, body fluids, and mercury. The article focuses on the usage of rasa in conjunction with emotions like Shringara.
The earliest mention of rasa in the context of emotions like Shringara is found in the Ramayana, though this section is suspected to be interpolated. The Kamasutra (around 6th century BCE) is considered the most ancient source explicitly discussing Shringara and other rasas. This suggests the concept of rasa in literature was prevalent even then.

3. Bharata Muni's Rasa Sutra and its Interpretations:

Bharata Muni, in his Natyashastra, presents the famous rasa sutra: "Vibhava-anubhava-vyabhichari-samyogat rasanishpattih" (The manifestation of rasa occurs through the combination of determinants, consequents, and transient states).
Four main theories of rasa have developed from this: Utpattivada, Anumitivada, Bhuktivada, and Abhivyaktivada.
The Anuyogadvarasutra author simply states "nine rasas are spoken of," implying their application to poetry (kavya) in a broad sense. He doesn't provide a definition.
Mallaḍhārī Hemachandra, a commentator on the Anuyogadvarasutra (11th-12th century CE), defines rasa as that which is experienced from within the soul, causing a special upliftment in the mind through the combination of its contributing factors. He further explains that mental elation derived from a subject is bhava, and the enhancement of bhava is rasa. This definition reflects the extensive discussions on rasa that had occurred in Indian literary criticism by that time.

4. The Number of Rasas:

Bharata Muni's Natyashastra lists eight rasas: Shringara, Hasya, Karuna, Raudra, Vira, Bhayanaka, Bibhatsa, and Adbhuta. He states this tradition of eight rasas predates him, citing Mahatma Grdhra.
Abhinavagupta, a commentator on Bharata, mentions nine rasas but notes some traditions accept only eight. However, Bharata's discussion on the origin, character, and presiding deities of rasas consistently refers to only eight, suggesting the ninth, Shanta (Peaceful), was added later.
Prominent scholars like Kalidasa, Amarasimha, Bhamaha, and Dandi (4th-8th centuries CE) also referred to only eight rasas in relation to drama.
The earliest available text mentioning nine rasas in drama is Udbhaṭa's 'Kavyalankara Sangraha' (around 8th century CE).
Ramachandra-Guṇachandra (12th century CE) also accepted nine rasas.
Ruyyaka added a tenth rasa, Preyas (Affectionate), which did not gain widespread acceptance.
There are also mentions of Sneha (affection), Laulya (attachment), and Bhakti (devotion) as rasas, though these have been refuted.
Dr. V. Raghavan suggests that Jain and Buddhist traditions were largely responsible for the acceptance of the ninth rasa, Shanta.
While Udbhaṭa stated nine rasas in drama, he later declared "nine rasas exist in poetry." Abhinavagupta solidified the presence of nine rasas in both drama and poetry. Mammata also praises the "nine rasas of Bharati" in his Kavyaprakasha.
The Anuyogadvarasutra author also presents nine rasas in poetry: Vira, Shringara, Adbhuta, Raudra, Gridanaka, Bibhatsa, Hasya, Karuna, and Prashanta.

5. The Unique Contribution: 'Gridanaka' Rasa:

The most original contribution of the Anuyogadvarasutra author is the inclusion of 'Gridanaka' rasa as the fifth rasa in his list, replacing 'Bhay anak' (Terrific/Fearful).
This Gridanaka rasa is not found in the works of any other literary critic.
In Bharata Muni's Natyashastra, 'Brida' (shame/bashfulness) is listed as one of the 33 vyabhichari bhavas (transient emotional states). Bharata describes brida as arising from transgressing duties towards elders, failing to uphold vows, or regret for actions.
The Anuyogadvarasutra author's description of Gridanaka closely aligns with Bharata's description of brida, particularly the aspect of regret arising from transgressing the bounds of respect towards elders. This suggests that Bharata's concept of brida might have influenced the Anuyogadvarasutra author's conception of Gridanaka rasa.

6. Exclusion of 'Bhay anak' Rasa:

By not accepting Bhay anak rasa, the Anuyogadvarasutra author maintained the number of rasas at nine.
His commentator, Mallaḍhārī Hemachandra, explains that Bhay anak is not a separate rasa but rather an aspect of the Raudra rasa, as fear arises from the same causes as fury. Therefore, it is considered to be included within Raudra.
The term 'Prashanta' used by the Anuyogadvarasutra author is considered a synonym for 'Shanta' (Peaceful) rasa. While some scholars like Dr. S.K. De suggest the acceptance of Prashanta in the Anuyogadvarasutra is purely religious and unrelated to drama or poetry, Dr. V. Raghavan refutes this.

7. The Order of Rasas:

Bharata Muni's order of rasas is Shringara, Hasya, Karuna, Raudra, Vira, Bhayanaka, Bibhatsa, and Adbhuta. The reasons for this order are explained in Abhinavabharati, with Shringara being placed first due to its accessibility and appeal.
The Anuyogadvarasutra author significantly alters this order:
1. Vira (Heroic)
2. Shringara (Erotic)
3. Adbhuta (Wonderful)
4. Raudra (Furious)
5. Gridanaka (Shameful/Bashful)
6. Bibhatsa (Disgusting)
7. Hasya (Humorous)
8. Karuna (Pathetic)
9. Prashanta (Peaceful)
The author places Vira rasa first, deviating from Bharata. Mallaḍhārī Hemachandra suggests this is because Vira rasa inspires qualities of austerity and self-control, which are highly valued.
The article speculates that perhaps the author started with Vira rasa because Lord Mahavir, a central figure in Jainism, is primarily associated with heroic qualities, not erotic ones. The word 'Vira' is also embedded in 'Mahavir'. Furthermore, the three types of Vira rasa (Dharmavira, Danavira, Yuddhavira) can all be exemplified by Mahavir.
Following Vira, Shringara is placed second, and Adbhuta immediately after Shringara. Raudra retains its position. The new rasa, Gridanaka, replaces Bhayanaka at the fifth position, with Bhayanaka being subsumed under Raudra. Bibhatsa is placed sixth. Hasya is placed before Karuna, but due to the repositioning of Karuna and Adbhuta, Hasya moves to the seventh position. Finally, Prashanta (in place of Shanta) occupies the last position.
This reordering represents a significant departure from the established sequences in the Natyashastra and Kavyalankara.

8. Characterization and Examples of the Rasas:

The Anuyogadvarasutra author does not provide detailed scholarly discussions of the characteristics of each rasa but offers examples to illustrate them.
Vira Rasa: Defined by non-repugnance in giving, patience in penance, and lack of agitation in destroying enemies. The commentator explains it inspires heroism, renunciation, austerity, and conquering enemies. The example provided features Lord Mahavir, showcasing him as a Danavira (hero of charity), Dharmavira (hero of dharma), and Yuddhavira (hero of battle) by his renunciation of royal pleasures, acceptance of initiation, and conquest of enemies like anger and lust. This highlights the author's skill in incorporating multiple aspects within a single example.
Shringara Rasa: Described as generating desire related to women. The commentator states it is the rasa that primarily directs towards worldly subjects. The author's description aligns with Bharata Muni's, noting characteristics like adornment, grace, humor, and playfulness. However, the author avoids discussing the two types of Shringara (Sambhoga - union, and Vipralambha - separation) as the text is intended for Jain monks. He explicitly condemns this rasa as something to be renounced by ascetics and an obstacle to liberation.
Adbhuta Rasa: While placed last in Natyashastra, it is placed second after Shringara here. It is described as the feeling of wonder arising from seeing something unprecedented or experiencing something unexpected. Joy and sorrow are mentioned as characteristics of Adbhuta. The article questions the author's inclusion of sorrow as a characteristic of Adbhuta, as this is not common.
Raudra Rasa: Characterized by frightening forms, sounds, contemplation of darkness, narratives, and sights, leading to infatuation, agitation, sorrow, and death. The commentator explains it evokes weeping due to its frightening nature. The example given by the author seems to depict Bhayanaka rather than Raudra, which the commentator explains by suggesting it touches upon the cause of Bhayanaka (Raudra). Dr. V. Raghavan finds this argument illogical.
Gridanaka Rasa: Arises from impolite behavior towards elders, revealing secrets, or transgressing boundaries with the wives of respected individuals. Shame and apprehension are its signs. This is the author's original contribution, comparable to Bharata's 'Brida'. The example of a new bride feeling shy when praised for her clothes by her in-laws is considered a beautiful portrayal of contemporary social conditions and a bride's bashfulness.
Bibhatsa Rasa: Described as arising from impurity, corpses, unpleasant sights, and bad smells. Detachment (nirveda) and non-violence (avihinsa) are its characteristics. The commentator explains it arises from seeing or hearing unpleasant things like semen, blood, excreta, and urine, leading to disgust. The author's inclusion of 'avihinsa' (non-violence) as a characteristic highlights his Jain philosophical perspective. The example focuses on the impurity of the body and senses, implicitly advising Jain monks to renounce bodily attachments.
Hasya Rasa: While Bharata links Hasya with Shringara, the author places it after Bibhatsa. The definition provided by the author and commentator focuses on incongruity in form, age, attire, and language, suggesting it might have been influenced by Bharata's definitions, perhaps filtering out certain aspects. Bharata's concept of six types of laughter is not directly addressed, but characteristics like facial expansion and belly-shaking might allude to them. The example of a sister-in-law laughing at her brother-in-law's cheek smeared with kajal is considered a charming illustration with a touch of Shringara.
Karuna Rasa: Arises from separation from loved ones, imprisonment, death, punishment, disease, downfall, and fear of invasion. Characteristics include sorrow, lamentation, dry mouth, and weeping, which relate to the performance of Karuna. The example depicts a daughter's pitiable state.
Prashanta Rasa: As discussed earlier, this is likely a synonym for Shanta. The author defines it as concentration of mind free from impurities like violence, characterized by absence of modification. The commentator defines it as the rasa of cessation. While it's debated whether Shanta is suitable for drama, it is accepted in poetry. The Anuyogadvarasutra author's acceptance of Prashanta aligns with this view.

9. Conclusion: The Role of Sutra Doshas (Defects in Composition):

A significant point made by the Anuyogadvarasutra author is that these rasas can originate from 32 "sutra doshas" (defects in composition), such as falsehood (alika), obstruction (upaghat), and futility (nirarthaka).
The commentator illustrates this with examples:
- Adbhuta Rasa arising from alika (falsehood): An example describes a river formed by the rutting fluid dripping from an elephant's tusk, a statement considered impossible in reality.
- Vira Rasa arising from upaghat (obstruction/harm): An example of a man described as prosperous because he pleased the needy with wealth and his arrows with the blood of enemies is presented as an instance of Vira rasa arising from upaghat.
The commentator also suggests that the idea of rasas arising from defects should be seen as a "praya-vritti-prayavada" (a likely or probable convention). This is because rasas like Vira or Prashanta, which deal with subjects like austerity and charity, can exist even without these defects.
Thus, the author and commentator categorize rasas into two types:
1. Those arising from sutra doshas like upaghat (e.g., Yuddhavira).
2. Those arising from alika (e.g., Adbhuta).
3. And those that can exist without sutra doshas (e.g., Tapvira, Danavira, Prashanta).
Another noteworthy point is the author's distinction between 'Shuddha' (Pure) and 'Mishra' (Mixed) rasas. A 'Shuddha' rasa is when only one rasa is present in a composition, while 'Mishra' refers to the combination of two or more rasas. The commentator notes that Sanskrit literary critics also discuss the concept of Angi (principal) and Aṅga (subordinate) rasas, which is a significant concept for analyzing the aesthetic experience of longer poems. The commentator's reference to this Sanskrit concept is important.

In essence, the article highlights the Anuyogadvarasutra's unique contribution to Rasa theory by introducing 'Gridanaka' rasa and reordering the established sequence, demonstrating a Jain perspective on aesthetics influenced by their religious and ethical principles.