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Rasadi Belongs To Arthasaktimūladhvani Rasādi is Always Suggested; Never Expressed
185 186
Chapter Three : The Aesthetic Experience
191-288
198
The Starting point of the Rasa Theory
191 Analysis of The Key-words in The Rasasūtra
191 The Psychology of Rasa
192 The Interpretation of The Rasasūtra : Major Theories 194 Bharata's Conception of Rasa
194 Rasa and Bhava
194 No Rasa, No Drama
195 Mutual Relation Between Rasa and Bhāva
196 Bharata's Idea of Rasa-development
197 Hemachandra's High Sense of Priority
197 The Process of Rasa-realization in a Nutshell
197 The Vibhāvas as Excitants How Rasas Become known : Anubhāvas or Consequents 198 The Character of the Aesthetic Experience
199 Rasāsvāda : The Source of Transcendent Charm
200 The Transcendental Nature of Rasa-Experience
201 The Difficulty of Particular Assignment of Vibhāvādi 202 The Theories about the Rasa-Experience
202 The Abhinavabhārati : A Great Work on Art
203 Hemachandra Introduces Important Views on Rasāsvāda 203 The Rasa-Theories In The Abhinavabhārati
204 Lollata's Thory of Rasa
205 Sankuka Controverts Lollata's and Dandin's Views
206 Lollața's Explanation Is Illogical
207 Sankuka Submits His Own Interpretation
208 Hemachandra Quotes Dharmakirti's Verse
209 Abhinavagupta, following his master Tota, Criticises The Theory of Reproduction or Imitation, held by Sankuka 210 Hemachandra Intervenes
212 The Theory of Imitation Is Vain
213
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