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“BOUQUET OF RASA”
&
“RIVER OF RASA”
by BHĀNUDATTA
TRANSLATED BY
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BOUQUET OF RASA
RIVER OF RASA
Notes
INTRODUCTION
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prān’
. | ēśasya tath” âpi majjati mano
mayy eva kim . kāranam?
.
(“Bouquet of Rasa” v. )
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xxx
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ters by stating, “is makes types. All these can be fur-
ther distinguished as ‘excellent,’ ‘average,’ and ‘low,’ which
thus gives types,” our jaws are likely to fall slack at
the hypertrophy of categories. We certainly feel a sense of
relief when he spares us further elaboration, saying, “I re-
ject the argument that there can be a further subdivision
according to whether the nāyikā is divine, not divine, or
semidivine—which would give us , types” (“Bouquet
of Rasa” ). Newcomers to such a style of analysis are
likely to react with the same incomprehension and impa-
tience of the colonial officer surveying “native education”
in s Bengal, who rebuked Indian scholars for “wasting
their learning and their powers in … recompounding ab-
surd and vicious fictions, and revolving in perpetual circles
of metaphysical abstractions never ending still beginning”
(B : –).
Yet as I have tried to suggest, Bhanu’s typological think-
ing is an essential adjunct to the aesthetic theory in which
it is embedded, and that theory does a better job of dis-
secting literary emotion than any other on offer. Its fault,
if fault it is, lies in the excess of detail in the attempt to
follow out every possible permutation to its logical conclu-
sion. What ancient Indian scholars realized, and most of us
moderns—to our surprise and sometimes repulsion—have
not, is that we can bring analytical order even into realms
that seem constitutively anarchic, the world of human feel-
ing, for instance, or the apparently infinite ways, ways of
pleasure and of pain, in which men and women interact
with each other.
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xxxix
Notes
See discussion of the commentators, Hindi rīti literature, and the
painting traditions that follows. [] (missed by the translator),
[], and [] are cited in the Ain-i Akbari (vol. , pp.
xl
xli
xlii
xliii
Abbreviations
DR = Daśarūpaka
J = Trilokanatha Jha, ed. Kavirājabhānudattagranthāvalī
KS = Kāmasūtra
NŚ = Nā.tyaśāstra
RM = Rasamañjarī
RT = Rasataraṅginī .
SD = Sāhityadarpana .
ŚM = Ś.rṅgāramañjarī of Akbar Shah
ŚT = Ś.rṅgāratilaka of Rudra Bhat.ta .
a, b, c, d = first, second, third, fourth quarter verse respectively
pl. = plate
v. = verse
v.l. = varia lectio
References in the notes are to CSL paragraphs, unless accompanied
by “v.”
A = Commentary of Anantapan. dita
. (Vyaṅgārthakaumudī)
B = Bangla recension of Vidyāsāgara (in Kāvyasamgraha)
.
G = Commentary of Gopāla Bhat.ta . (Rasikarañjanī)
J = Jha edition (Kavirājabhānudattagranthāvalī)
N = Commentary of Nāgeśa (Prakāśa)
OG = Old Gujarati translation (on verso, Udaipur album)
R = Commentary of Raṅgaśāyin (Āmoda) (extracts printed in Tripathi
)
Ś = Commentary of Śesa . Cintāmani. (Parimala)
Jha = Commentary of Bhadrinath Jha (or Sharma) (Surabhi)
T = Commentary of Trivikrama Miśra (Rasāmoda)
U = Udaipur album
Triv. A = Trivandrum MS. no.
xliv
.
B = Commentary of Bhagavadbhat.ta . (Nūtanatarī)
G = Commentary of Gaṅgārāma Jade . (Nauka)
J = Jha edition (Kavirājabhānudattagranthāvalī)
N = Commentary of Nemasāha (sometimes Nemiśāha) (Kāvyasudhā)
O = Commentary of Jivanathaji Ojha
Ś = Sharma edition
V = Commentary of Venīdatta
. Bhat.tācārya
. (Rasikarañjanī)
xlv
Bibliography
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P P. Bombay: Nirnaya Sagar Press. Kāvya-
mālā .
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V. Madras: Adyar Library and Research Centre,
.
Kāmasūtra of Vātsyāyana. Edited by D S. Varanasi:
Chowkhamba Sanskrit Series Office, .
Kavirājabhānudattagranthāvalī. Edited by T J. Dar-
bhanga: Mithila Institute, .
Kāvyasamgraha,
. vol . Edited by J V B.
Calcutta: Sarasvatiyantra, .
Kāvyasudhā (commentary on the Rasataraṅginī). of Nemasāha. University
of Pennsylvania Indic MS. ; Harvard Indic MS. .
Nā.tyaśāstra of Bharata. Edited by M.R. K et al. Baroda: Oriental
Institute, –
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Nūtanatarī (commentary on the Rasataraṅginī). of Bhagavadbha.t.ta. Ori-
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. Edited by
R S T. Aligarh: Viveka Publications, .
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