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1432
SAHRDAYĀLOKA
"vibhāvāś c'ānubhāvāśca sthāyino rasa-siddhaye kathyante bharatóktena vartmanā nā'nyathā kvacit. uktā api vibhāvā”dyāḥ pūrvatra sva-svarūpataḥ matántarena kathyante
jñānam kvā'py upayujyate." The vibhāva, anubhāva, sātrvika-bhāva, vyabhicāri-bhāva and sthāyins are also narrated following the views of the learned. Accordingly, that which, along with sattva, vāk, and anga, make the kávyártha (= meaning or object) of poetry cause to manifest, are said to be bhāvas in dramatic theme, by the wise. (B.P. pp. 37, 38, ibid)
"yad bhāvayanti kāvyárthān sattva-vñg-anga-samyutān, tasmad bhāvā iti prājñair
ucyante nātya-vastuşu. Śā. further observes : (pp. 38, ibid, also NS. VII. 2. G.O.S., Vol. I)
vāg-anga-mukha-rāgais ca sattvena abhinayena ca, kaver antargatam bhāvam
bhāvayan bhāva ucyate. Through speech, body, facial colour, and sāttvika abhinaya (= acting,
rmance), that which makes one realise the feeling internal to a poet's heart, is called 'bhāva'. Again following NS., Sā. observes that 'that meaning which is brodught about by vibhāva, and is inferred by the anubhāva along with the help of three-fold acting concerning speech, body and mind, is termed “bhāva”. (pp. 38, ibid)
"vibhāvenā"hịto yórthas tv anubhāvena gamyate, vāganga-sattvā'bhinayaiḥ sa bhāva iti kirtitah.”
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