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

本研究者阅读并分析了《Rasik-priya》，这是一本中世纪印度的布拉吉语文本，涉及传统梵文诗学中必不可少的rasa理论。凯萨维达斯（Kesavdas, 1565-1617）是印度中部奥查宫廷的一位伟大诗人和评论家，他的作品中的诗句很难理解，以至于我们花了很多时间。不过，下面的一些要点已经说清楚了。第一个值得注意的点是，我们能够在这部作品中找到印度爱情理论（Kama-sastra）的流，尽管这是一部诗学（Kavya-sastra）作品。在梵文文学作品中有很多以业力为基础的短语，但在诗学作品中却很少见到。Kesavdas依靠Kama-sastra根据她们的身体和外表特征来描述女主角的分类。另一个值得注意的一点是，这部作品对每个主题的描述都很短，相对于它的一些较长的样本诗。像这样的配置在梵文诗学作品中似乎很少，但这部作品看起来与14世纪的梵文诗学作品Sahityadarpana相同，特别是在根据她们的状况（nayika-bheda）对女主角进行分类的主题上。通过这一研究，我们可以肯定，中世纪印度诗学著作既有梵文诗学的传统，又有梵文诗学的创新。

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.