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"Concept of Rasa" as seen in Anandavardhana and...
1453 This art-cognition is brought about on the strength of 'kāvyā'nusamdhāna' i.e. repeated encounter with poetry and due to strength of training-śiksā-bala; on the part of the actor, who performs his role in an expert way. This the actor presents with the help of vibhāvā”di-s that are basically artificial, but are tainted by the perception of reality in them. With these vibhāvā"di-s, through the relation of gamya-gamaka- bhāva i.e. relation of inference, a feeling is inferred. This inferred sthāyin, on account of its inherent beauty, is relished and this anuksta-anumita-sthāyin is termed rasa(according to Sankuka.) : (BP. pp. 50, 51), ibid) :
"citre turaga-buddhyā"dinyāyenaiva națā”dișu, dhiyā kāvyánusamdhānabalāc chikṣāvaśād api. nirvartita-sva kāryā”diprākaryena prakāśyate kstrimair api satyatvá-bhimāna-kalusīkstaiḥ, vyapadesyair vibhāvā”disabdaiḥ samyoga-rūpiņā sa gamya-gamakatvena kvacid apy anumīyate vastu-saundaryataḥ sópi. rasanīyatvam eşyati, anyánumīyamānena
sthāyitvena vibhāvitaḥ. Here, actually the ratyādi is not present and yet it is relished in form of rasa
"atrásann api ratyā"dih
svādyate taiḥ rasā”tmana.” (pp. 51, ibid) This is the view of some (=i.e. śrī-Sankuka)
"evam kecid vadanty etām nate rāmā"di-semusīm.”
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