Śāntarasa and Abhinavagupta's Philosophy of Aesthetics. By J. L. Masson and M. V. Patwardhan. Poona: Bhandakar Oriental Research Institute, 1969. xvii, 206 pp. Appendixes, Bibliography, Errata, Index. Rs. 25.00.

Deutsch, Eliot

doi:10.2307/2942779

Cited by 11 publications

(2 citation statements)

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“…Here, the rainbow of music, the swimming of the crane in brightness, and the beauty from fourth and upcoming fifth stanza simply stimulates joy, satisfaction, and dream as consequent emotions of Śānta rasa that deal with the purification of the desires and worries through transcendent ego for a cosmic peace in artwork that is full of aesthetics (Deutsch, 1970). Such purification and contemplation exist in spiritual insights and esthetic understanding as to the essentials for Śānta, which is pervasive in the subsequent lines.…”

Section: Resultsmentioning

confidence: 99%

“…Delmonico (2000) has realized that it is true in rasa reading when literature strikes readers; they have to realize that they have approached it in terms of rasa aesthetics effectively. In this sense, the poem heavily strikes the cords of the poetry connoisseurs and the rasa can be savored in each stanza, which is perpetually longing tranquility as dominant emotion of the poem suspending "Í" in aesthetic experience (Deutsch, 1970) without being hurdled by some misleading emotions.…”

Section: Resultsmentioning

confidence: 99%

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A Rasa Reading of Prayer on a Clear Morning in the Month of Magh

Lamichhane¹

2020

Jnl. NELTA Gandaki

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The study examines how the persona perpetually searches tranquility in the poem entitled “Prayer on a Clear Morning in the Month of Magh” by Laxmi Prasad Devkota. For the study, I have entered into rasa reading to explore the sovereignty of śānta rasa, which is pervasively dominant in the poem. As the nature of śānta rasa, all emotions merge out of śānta and finally in the end, submerge into it. Primarily, the determinant, consequent, and transitory emotions are identified and further analyzed to illustrate how they conjoin. Through the discussion, it appears that any sensitive readers of the poem could identify themselves to the persona’s emotion as one involves in prayer. It stands as the devotion and celebration of the God and nature in the month of Magh; that represents creation and clarity. It happens there suspending ‘I’, surpassing ego, and searching metamorphosis of the lustrous desires, fabric beauty, and worldly pain for overcoming both life and death enjoying the elixir of the Sun and learning the lesson from the God. As a result, the persona believes in the dying down of the worldly dream to achieve delight and disillusionment eliminating shiny lacy veils entrapping humanity. Thus, the poem searches tranquility as a state of pure peace relishing utmost and absolute aesthetic pleasure, sama. Finally, it expands the scope of the Eastern aesthetics, especially unfolding and widening the area of śānta rasa, which is usually overlooked even in the Eastern literature.

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Section: Resultsmentioning

confidence: 99%

Section: Resultsmentioning

confidence: 99%