A rasa reader : classical Indian aesthetics /

"From the early years of the Common Era to 1700, Indian intellectuals explored with unparalleled subtlety the place of emotion in art. Their investigations led to the deconstruction of art's formal structures and broader inquiries into the pleasure of tragic tales. Rasa, or taste, was the...

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Bibliographic Details
Other Authors:	Pollock, Sheldon I (Translator, Editor), Pollock, Sheldon I. (Translator, Editor, http://id.loc.gov/vocabulary/relators/trl, http://id.loc.gov/vocabulary/relators/edt)
Format:	Book
Language:	English Sanskrit
Published:	New York : Columbia University Press, 2016 New York : [2016]
Series:	Historical sourcebooks in classical Indian thought
Subjects:	Rasa Early works to 1800 Aesthetics, Indic > Translations into English Rasas > Early works to 1800 Sanskrit literature > Translations into English Aesthetics, Indic Rasas Sanskrit literature Early works Translations

Table of Contents:

Introduction: An Intellectual History of Rasa
The Foundational Text, c. 300, and Early Theorists, 650-1025
The Great Synthesis of Bhoja, 1025-1055
An Aesthetic Revolution, 900-1000
Abhinavagupta and His School, 1000-1200
Continuing the Controversies Beyond Kashmir, 1200-1400
Rasa in the Early Modern World, 1200-1650
Chapter 1 The Foundational Text, c, 300, and Early Theorists, 650-1025 47
1 The Basis of Rasa Theory in Drama 47
Treatise on Drama of Bharata (c. 300) 47
2 Rasa as a Figure of Speech in Narrative Poetry: The Early Views 55
Ornament of Poetry of Bhamaha (c. 650) 55
Looking Glass of Poetry of Dandin (c. 700) with the Commentaries Ratna's Glory of Ratnashrijnana (c. 950) and Guarding the Tradition of Vadijanghala (c. 950) 58
3 Rasa as a Figure of Speech: The Late View 65
Essential Compendium of the Ornament of Poetry of Udbhata (c. 800) with the Brief Elucidation of Pratiharenduraja (c. 900) and the Exegesis of Tilaka (c. 1100) 65
4 Rasa as the Character's Emotion, and How We Know It 74
*Commentary on the Treatise on Drama, of Bhatta Lollata (c. 825) 74
*Commentary on the Treatise on Drama, of Shri Shankuka (c. 850) 77
5 There Are No Rules for the Number of Rasas 84
Ornament of Poetry of Rudrata (c. 850) with Notes of Namisadhu (1068) 84
6 Rasa Cannot Be Expressed or Implied, Only "Manifested" 87
Light on implicature of Anandavardhana (c. 875) 87
7 Rasa Cannot Be a Figure of Speech; It Is What Figures of Speech Ornament 98
The Vital Force of Literary Language of Kuntaka (c. 975) 98
8 There Can Be No "Manifestation" of Rasa 106
Analysis of "Manifestation" of Mahima Bhatta (c. 1025) 106
Chapter 2 The Great Synthesis of Bhoja, 1025-1055 110
1 One Rasa Underlies All Multiplicity 110
Necklace for the Goddess of Language of Bhoja (c. 1025) with the Commentary of Bhatta Narasimha (undated) 110
2 One Rasa Underlies All Multiplicity: The Late Statement 119
Light on Passion of Bhoja (c. 1050) 119
Chapter 3 An Aesthetics Revolution, 900-1000 144
1 From Rasa in the Text to Rasa in the Reader; Core Ideas 144
*Commentary on the Treatise on Drama, and Mirror of the Heart of Bhatta Nayaka (c. 900) 144
2 From Rasa in the Text to Rasa in the Reader: Elaboration 154
The Ten Dramatic Forms of Dhanamjaya (c. 975) and the Observations of Dhanika (c. 975), with The Lamp (on the Ten Forms) of Bahurupa Mishra (undated) and the Brief Annotation (on the Observations) of Bhatta Nrisimha (undated) 154
Chapter 4 Abhinavagupta and His School, 1000-1200 181
1 Rasa and the Critique of Imitation 181
Literary Investigations of Bhatta Tota (c. 975) 181
2 The Theory of Rasa Purified 187
The New Dramatic Art, of Abhinavagupta (c. 1000) 187
3 Potential Flaws of Rasa 224
Light on Poetry of Mammata (c. 1050) with the Commentaries of Shridhara (c. 1225), Chandidasa (c. 1300), Vishvanatha (c. 1350), and Paramananda Chakravartin (c. 1500) 224
4 The Purified Theory in Abstract 235
Short Explanation of Light on Poetry, and Commentary on Analysis of "Manifestation" of Ruyyaka (1150) 235
Chapter 5 Continuing the Controversies Beyond Kashmir, 1200-1400 239
1 Where Is Rasa? Is Rasa Always Pleasurable? 239
Mirror of Drama of Ramachandra and Gunachandra (c. 1200) 239
The Single Strand of Vidyadhara (c. 1300) with the Central Gem of Mallinatha (c. 1400) 247
Ornament of the Fame of King Prataparudra of Vidyanatha (c. 1320) with The Jewel Store of Kumarasvamin (c. 1430) 255
2 A Philosophical Précis of the Rasa Problematic 261
Mirror of Literary Art of Vishvanatha (c. 1350) with The Eye of Anantadasa (c. 1400) 261
3 Rethinking "Semblance of Rasa" 269
The Moon on the Rasa Ocean of Singabhupala (c. 1385) 269
Chapter 6 Rasa in the Early Modern World, 1200-1650 276
1 A Reader Reading for Rasa 276
Elixir for the Rasika, of Arjunavarmadeva (c. 1215) 276
2 A Poet Writing of Rasa 280
The River of Rasa of Bhanudatta (c. 1500) 280
3 Devotees Experiencing Rasa 285
Pearls of the Bhagavata, of Vopadeva (c. 1300) with the Lamp for Transcendence of Hemadri (c. 1300) 285
Divine Jewel of Ornamentation of Kavikarnapura (c. 1550) with the Commentary of Lokanatha Chakravartin (c. 1690) 290
Ambrosial River of the Rasa of Devotion of Rupa Gosvamin (1541) with the Passage Through the impassable of Jiva Gosvamin (1541), and Treatise on Divine love of Jiva Gosvamin (c. 1550) 300
4 Vedanticizing Rasa 310
The Nectar Ocean of Literary Art of Vishvanathadeva (1592) 310
The Bearer of the Ganges of Rasa of jagannatha (c. 1650) 314

A rasa reader : classical Indian aesthetics /

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