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57
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He observes, following अभिनवगुप्त that the सात्विकs and व्यभिचारिन् are not fixed with this or that rasa only. Then he enlists particular las and व्यभिचारिs with reference to particular rasas.
The Adhisthāna of rasa
Though he believes rasa as suggested, le does not accept 'bhavaka' as the location of rasa. He has mentioned that actor is the adhisthana of rasa i.e. Ajitasena puts raša in the actor-nața-nartaka.
रसभावाभिनेतृत्वेऽधिकृते नत के रसा:। भावा न कि तु सभ्येषु स्मृतपर्व रसादिषु ॥
(Aci. 5/63)
Bhavas do not stay in #*3.
While, Abhinavagupta strongly believes that rasa does not reside in he actor, because the taste is not in the cup-pätra, but always in the Irink. So the adhisthāna-location of rasa is in the heart of the connoisseurसहृदय.
Ajitasena describes the ten avasthas-forms of Sựngāra following Bharata and others. He changes some titles.
He accepts nine rasas and so with Sama sthayı he has mentioned Santarasa.
The rasas .
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Ajtasena follows the ancient acāryas like Daņdin and Lollaţa, when he efines Srigara and other rasas, e.g.
पाप्यते या रतिर्भावः स श्रृङगाररसेो मतः। (5/86) हासारव्य स्थायिभावा यो विभावाद्यः प्रपाष्यते । (5/96) पुष्टः शोका विभावाद्यः स एव करुणा द्विधा । (5/101)
क्रोधः पुष्टा विभावाद्यैः स रौद्ररसतां गतः ॥ (5/105) . nd see, again, 5/114 (भयानक) 5/118 (वीत्भत्स) 5/124 (अद्भुत) and 5/125 (शान्त)
When he defines sthayi he calls it to beरसाभिव्यन्जक.". In 5/83, 84 he gives rasalaksana
रस जीवितभूत तु प्रबन्धान्त' ब्रुवेऽधुना । विभावादि चतुष्केण स्थायी भावः स्फुटो रसः॥.. नवनीतं यथाज्यत्वं प्राप्नोति परिपाकत: । स्थायी भावा विभावाद्यैः प्राप्नोति रसतां तथा ॥
