The backdrop of the Srikanthacarita and the Mankhakosa
by Dhrubajit Sarma | 2015 | 94,519 words
This page relates “Rasa (7): Bibhatsa or the sentiment of disgust� as it appears in the case study regarding the Srikanthacarita and the Mankhakosa. The Shrikanthacarita was composed by Mankhaka, sometimes during A.D. 1136-1142. The Mankhakosa or the Anekarthakosa is a kosa text of homonymous words, composed by the same author.
Go directly to: Footnotes.
Part 2g - Rasa (7): īٲ or the sentiment of disgust
īٲ is that where, the ٳ⾱屹 is ܱܲ or aversion. It is alleged by the mythologists to be blue-coloured and to have Ѳ i.e. an awful form of Ś as its presiding deity. The stinking flesh and fibre and fat are regarded as its ālambanavibhāvas, while therein, the presence of worms etc. are treated as ܻī貹Բ. Again, spitting, averting of the face, closing of the eyes etc. are its Գܲ屹 and bewilderment, epilepsy, agitation, sickness, death etc. are regarded as ⲹ屹 in connection to īٲ.[1]
Ѳṅk첹 uses the sentiment of disgust in the descriptions of battle between the army of the gods and the demons. In canto XXIII, in the verse, viz. ٰ� ca 貹�[2]......, � ṛtپ[3].�., asṛksrota� protasthala[4]�..., also, in canto XXIV, in the verses viz. raktai� sindūritamavirato[5]�.., ṃn峾辱 貹첹�[6]�., ś� 貹�[7]�.., 貹챹峾ⲹԲ[8].�., etc., there are the descriptions of disgustful scenes of burning of the corpses of the demons. Again, in some verses, there is the combination of the sentiments of disgust with that of erotic. Therein, presented the disgusting scene of dead bodies at the one place and at another, after death, the union of them with divine nymphs has been nicely amalgamated, in the verses, viz. tridivayuvatirudyat[9]......, ī’rśٰ岹[10]�.., etc. Moreover, there is a scene of devouring of dead bodies of elephants, massacred in the battle, by the ṣa in the verse, viz. � ṛtپ[11]�.. The ṣa, with all their family members, happily enjoyed, ate those dead bodies, drank the blood. It reminds similar instances of īٲ, delineated in ṭṭⲹṇa’s ձṇīsṃh, in the conversation of Vasāgandhā and Rudhirapriya, in Act III, where they rejoiced over the corpses in the great battle of ܰܰṣeٰ. Along with these, Ѳṅk첹 gives reference of flowing of blood in streams, from the dead bodies of soldiers also in the verse, asṛksrota� protasthala[12] �...
This way, Ѳṅk첹 employs the sentiment of disgust in his poem, yet with a view to intensity the effect of the heroic sentiment.
Footnotes and references:
[1]:
ܱܲٳ⾱屹stu, bībhatsa� kathyate rasa�/
nīlavarṇo mahākāladaivato’yamudāhṛta�/
durgandhamāṅsarudhiramedāṅsyālambana� mata�/
tatraiva kṛmipātādyamuddīpanamudāhṛta�/
niṣṭhīvanāsyavalananetrsaṅkocanādaya� /
anubhāvāstatra matāstathā syurvyabhicāriṇa�/
moho’pasmāra āvego vyādhisca maraṇādaya�//
Sāhityadarpaṇa., III. 239-241
[2]:
ٰ� 貹� ca samameva pacañśavānā� yastatkṣaṇa� prayuyuje suhutāśano’nai�/
hṛṣyatpiśācarajanīcarpūtanānāmūrīcakāra sa mahānasavahnikṛtya�//
Śrīkaṇṭhacarita., XXIII. 38
[3]:
Ibid., XXIII. 45
[4]:
Ibid., XXIII. 54
[5]:
Ibid., XXIV. 4
[6]:
Ibid., XXIV. 18
[7]:
Ibid., XXIV. 19
[8]:
Ibid., XXIV. 29
[9]:
ٰ徱ܱپܻⲹٲṃpܰⲹ-岹ܳԲ貹첹DZ辱/
kamapi kila kabandhībhūtamujjhāṃcakāra vyadhikaraṇamvetyāliṅgana� cumbana� ca//
Ibid., XXIII. 40
[10]:
Ibid., XXIII. 41
[11]:
� ṛtپrdhirasṛjā līlāvadaṃśa� palairmuktābhi� kaṭajanmabhiśca dayitālokastanālaṃkṛti�/
ki� ki� netthamasidhyadudyatamṛdhollāse niśācāriṇāmanyonyaprahitāmarāsuraśarasragdāryamāṇairgajai�//
Ibid., XXIII. 45
[12]:
Ibid., XXIII. 54