The subject is not only difficult but also requires
deep insight. Hundreds of books on this subject are
available in Sanskrit language only. The prime objective
of this book consisting about hundred pages is to bring
all possible views relating to Rasa Siddhanta descrided
in different Indian languages like Hindi, Bangla, Maithili,
Oriya and tamil etc. at one place.
In course of learning and teaching I had occasions
to go through several books such as Kavya-Prakasa,
Dhwanyalok, Vyakti- Vivek, Sahitya-Darpana, Rasa
Gangadhara etc. which deals with the principles of Rasa
(The aesthetic object or fact) and have divergent view
on Rasabhivyakti (aesthetic configuration). In this effort,
I have tried to go through several books written in
western languages particularly in English, dealing with
the principles of Rasa (the aesthetic object). The views
expressed by western writers need study and thorough
consideration. Therefore, the title should have been Rasa
Siddhanta in World Literature but as decided earlier it is:
restricted to Indian literature, I have mentioned in brief
the principles of poetics, Rasa, expressed in western
languages, where ever needed.
Several volumes other than in sanskrit dealing.
with Rasa Siddhanta in Hindi, Bangla, Maithili are before
me. Notable amont them being works of Dr. Kanti
Chandra Pandey, Dr. Nagendra, Dr. Ram Murti
Tripathy, Dr. Braj Mohan Chaturvedi and others. These
Books are very illuminator and enlighten the readers,
hence should be carefully studied. In these books also
poetic . principles of west has found place. Critical
analysis of these principles has been incorporated in
In short, it Can be said that the Natya Sastra of
Bharata is the main source of all scholars irrespective
of East and West. Abhinava Gupta's Abhinsva Bharati
with its' explanatory commentary on Natya Sastra is
exemplary and is Predominantly mentioned. Each and
every author has derived inspiration from this book.
Rasabhivyakti (aesthetic configuration) Rasanu-
bhuti (aesthetic experience) and Sadharni Karana
(generalisation) actually minute, complicated and difficult procencs. To describe and analyse them in simple
sanskrit prose is the main objective of this book. At
places the summary and substance of details available
in English language with quotations have been included.
Abhinava Gupta's commentary of Dhwanyaloka
named Locana has been the becon light in this arduous
journey of writing this book. One of the fundamental
principles of Sanskrit grammar Sphotavada has also been
discussed in this book.
In the context of Rasanubhuti (aesthetic experience)
or Sadharni Karana (Generalisation) of Rasa (aesthetic
object), I have tried to analyse Kundalini Tattva, the
origin and basics of Agam (Tantra) and to my belief
this is a new idea or way in finding the essence of
Rasanubhuti (aesthetic experience).
There is no foot note in this book. Footnotes have
never been favourite to me. Where ever, requited, the
quotations are incorporated in the text itself.
I hope, My effort in completing this book will be
discussed, analysed and appreciated by the learned
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