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NOTES: CHAPTER SEVEN 485 Its
devotion to those based on ordinary worldly emotions.
excellence, relative to the rasas of the aestheticians, is
like the light of the sun compared to that of a firefly (BR
2.77). See chap. 6.5.
176 One of the six orthodox systems of Hindu
philosophy, the S膩mkhya is based upon an dichotomy between
spirit and matter. There are a multiplicity of spirit-
monads (purusas), which, prior to mok峁�a, are caught up in
bondage through association with matter (prak峁泃i). Matter
in its primal state is composed of the three material
"qualities" (gunas) in undifferentiated equilibrium; when
this equilibrium is disturbed, primal matter begins to
unfold in various directions, manifesting the universe.
Everything except pure spirit is a product of primal matter.
This includes mind as well as physical objects. All things,
therefore, derive their individual characteristics from the
material qualities, which produce them by combining in
varying proportions.
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Patanjali's Yoga, regarded by the tradition as the
sister system of S膩mkhya, accepts the ontology of the latter
almost completely, making only a few changes such as the
addition of its own concept of Isvara, a sort of eternally
liberated purusa.
The Advaita Vedanta, though differing
radically in many respects from the same, also owes much
to its influence* Collapse the multiplicity of purusas
into
one 膩tman, for example, and reduce prak峁泃i to a real-unreal
M膩y膩 which is dependent upon the 膩tman, and one begins to
come very close to the non-dualist metaphysic. Advaita has
borrowed the guna doctrine from the S膩mkhya and much of its
psychology as well. Therefore, as Madhusudana expounds the
rasa theory from the point of view of that system, he can
find himself in agreement with much of what is said,
excepting of course such items as the criticism of the
Advaita doctrine of Brahman (commentary on stanza 15) and
the minor point about the composition of the mind
(commentary on stanza 20).
11 177 The gunas, literally "strands" or "qualities,
are the three basic factors that make up (prak峁泃i), primal
matter. They pervade creation, the evolute of prak峁泃i, in
all its aspects, mental and physical. The principle of
creativity and luminosity is sattva, the "luminous quality";
the principle of activity and passion is rajas, the "active
quality"; and that of destruction and inertia is tamas, the
"inert quality." As specified in the text, a predominance
of these in the mind is associated, respectively, with the
manifestation therein of happiness (sukha), suffering
(duhkha), or delusion (moha). Each of the terms sattva,
rajas, and tamas has an extraordinarily wide range of
meaning, so the reader is asked to be aware of the
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