THE SAHRDAYANANDA OF HARLJIVANA MISRA Dr.V. Raghavan As in the Vibudhamohana, in the Sahrdayananda (SA), Harijivana Misra takes up a literary theme and turns it into a short play. In the SA, the ideas of Sanskrit poetics, Alankära Sastra, are made into characters and a farce is built on them. Prakrt is used, following the ancient convention, for women and lower characters and as there is only one manuscript and that badly preserved, it has been difficult to present a more detailed account of the play than what is now given. It requires a close acquaintance with the concepts of Sanskrit poetics to interpret the farce. Even as he enters, the Sutradhara has a fling at Alankarikas, literary critics, who have been hoodwinking the learned assembly. He refers to an altogether new kind of Nayikā or heroine (Vilakṣaṇa Nayika); this Näyika is Vyanjana or suggestion who manifests śrngära and other Rasas; she is referred to as Vi-lakṣaṇa with a pun, meaning that Vyanjana is beyond Laksana or secondary signaficatory capacity. Critics however consider Vyanjana to be merely a name, i.e. not existing in reality. Now from behind the curtain is heard an approbatory exclamation and the Sutradhara identifies it as of Kamalapāņi. Exit Sutradhara and Prastāvanā ends. Enter Kamalapāņi exclaiming that rhetoricians, with their talk of Nayakas (heroes) and Nayikäs (heroines), have duped the world. like other religious frauds. The assembly he enters is called Kamamugdha (innocent of love). He refers to the undesirable Alankarikas, devoid of knowledge of the constituents of Rasa and their friend, the Vidusaka, clown, named Pankajavadana (the Lotus-faced), and their impending entry. Now is heard a voice from behind the curtain praising the heroine. The Näyika is described as Brahmananda-janani (the producer of ineffable bliss) which by steşa refers also to Rasa-Vyanjanā. V. RAGHAVAN - SAHRDAYANANDA The audience live by her grace. The audience are described as Parama-rasikas (great persons of taste). There is now some voice from behind and Kamalapāni departs. 17 Enter Viduşaka along with Alankärikas who are accompanied by their Nayikäs Abhidhä (the primary significatory capacity), Lakṣaṇā (the secondary capacity) and Vyanjana (suggestion). These three are characterised in terms of the three well-known types of Nayikās, as Sviya, Parakiya and Sämänya. As the expressed sense is something closely related to the word and strictly confined to its own meaning, Abhidha is aptly likened to Sviya and Pativrata. What type of Näyika Laksana is likened to is not immediately clear as, for a time, we hear only of the variety of Lakşand called Nirudhalakṣana; but much later, Lakṣaṇā is mentioned as the 'Vara-vadhu', and is therefore to be taken as the Samanya Nayikā, the courtezan. The aptness is reinforced by describing her as fond of arthalankäras (meaning also money and ornaments); and indeed Lakṣaṇā or metaphorical usage. is at the basis of very many figures of speech and although fascinated by the Parakiya (Vyanjana) the Alankarika has some inclinations towards the courtezan of alankaras, i.e. Laksana. Abhidha bemoans to her Ceti, the Nirudha-lakṣaṇā, that her lover (the Alankärika) is going after the Vara-vadhu of Lakṣaṇā because of his taste for figures: Abhidha-(Svärthamiva Alankarikamanveşayanti samantadavalokya): Nirudhalaksane! mama priyo arthalańkärarasiko väravadhum lakṣaṇām anusared iti tarkayami |
