The Rasa Theory as a tradition of Sanskrit literature in the Indian later medieval Poetics

这位调查者阅读并分析了中世纪印度梵语文本之一的Rasik-Priya，该文本涉及传统梵语诗学中的一个基本要素--Rasa理论。印度中部Orcha宫廷的伟大诗人和批评家凯萨夫达斯(1565-1617)的这部作品的诗句是如此难以理解，以至于我们花了很多时间。然而，下面的一些观点已经被阐明了。第一个显著的观点是，我们能够在这部作品中找到印度爱情理论(Kama-sastra)的流动，尽管这是一部诗学(Kavya-sastra)作品。梵文文学作品中出现了大量以格玛-萨斯特拉为基础的短语，但在诗学著作中却很少出现。Kesavdas一直依赖Kama-sastra根据身体和外表的特征来描述女主人公的分类。另一个值得注意的是，这部作品对每个主题的处方很短，相对于它的样本诗句稍长一些。这样的结构在梵语诗学著作中似乎很少见，但这部作品与14世纪梵语诗学著作《萨希提阿达帕纳》不谋而合，特别是在女主人公的状态分类(nayika-bheda)这一主题上。通过这一研究，我们能够肯定中世纪印度诗学作品既有梵语诗学的传统，又有诗学的创新。

This investigator has read and analyzed Rasik-priya, one of the medieval Indian texts in Braj-bhasa language dealing with the rasa theory which is an essential element in traditional Sanskrit poetics. The verses of this work by Kesavdas (1565-1617), a great poet and critic in the Orcha court of central India, are so hard to understand that it took us a lot of time. Some points as below, however, has been made clear.The first one of remarkable points is that we are able to find the stream of Indian theoretics of love (Kama-sastra) in this work, even though this is a poetics (Kavya-sastra) work. A lot of phrases based on the Kama-sastra are found in Sanskrit literary works, but are rarely in poetics works. Kesavdas has had reliance on Kama-sastra to describe the classification of heroines according to their feature of body and appearance.Another remarkable point is that this work has a very short prescription for each subjects relatively to its a little longer sample verses. The configuration like this seems seldom in Sanskrit poetics works, but this work looks on the same line with Sahityadarpana, a Sanskrit poetics work in 14^<th> centuries, especially on the topics of classification of heroines according to their condition (nayika-bheda).Through this research, we have become able to affirm that the medieval Indian poetics work has both the tradition and the innovation of Sanskrit, poetics.