Verse Text
kiṁ ca –
ratiḥ sthitānukāryeṣu laukikatvādi-hetubhiḥ |
rasaḥ syān neti nāṭya-jṣā yad āhur yuktam eva tat ||107||
Translation
However, it is correct when the literary experts say that rati depicted in characters through literary works will not in itself produce rasa, since mundane aspects are involved.
Purport (Jiva Goswami)
Though rati produces rasa through the mind of the experiencers, someone may propose that dramatic presentations can also directly produce an experience of rasa. The author rejects this notion with an approving statement from others. Nāṭya-jṣā here means literary experts, who are expert in material literature. According to them, there are three supporting factors in the production of rasa. In seeing a drama, these factors are the character impersonated (for instance Nala, famous character in saṁskṛt literature), the actor, and the spectator seeing the performance. In hearing a poetic work, these factors are the character described, the speaker and the hearer. These experts do not consider that rasa issues from the characters impersonated by acting or depicted by recitation, because these in themselves are just depictions of common characters (laukikatvādi), with limitations, possessing qualities such as fear. [Note: The characters represented or the literary works do not possess inherent emotions such as fear or joy, which are the components of rasa. These emotions are experienced only through the performance, in the presence of the audience.] As well the actor or reciter cannot really cause rasa because the actors and reciters are simply performers earning a living. Thus, the literary experts consider that rasa is caused by the spectator or audience. The spectators are able to experience in their hearts something above the common material ingredients (alaukika), something transcendental, due to the expertise of the literary work. [Note: Even the experience of secular rasa in secular literature can take place with the perceiver. The expertise of the work and actors helps this to take place, but ultimately rasa resides with the perceiver.] However, the spectators or audience must have the proper previous impressions or sympathy for this to take place. Old mīmāṁsakas (unsympathetic persons) could not experience the same rasa. The author agrees with this. This does not apply however to depicting characters such as Rāma and Śītā, who are full of unlimited qualities and who enter into the depicted characters. (Thus those depictions are a cause of rasa.) If the actors or reciters also have full sympathy with the portrayed character, they can also cause rasa.