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they are expressed by certain gestures, or they are acted out. These are called Anubhavas. A man in love exhibits certain characteristic gestures such as languid gait, vacant gaze, etc. These Anubhavas are found described in poetry. For instance, the words Gamanamalasaṁ sunya dṛṣṭih sariramasauṣṭhavaṁ etc. in the verse of Bhavabhūti appearing in his Mälatımādhava play. It is in this way that a Sthayibhava fully developed by means of Vibhāvas and Vyabhicāribhāvas, and indicated by Anubhavas or acting, is styled a Rasa. This Rasa is enjoyed or experienced by a man of taste, a connoisseur of art. 64 The Character of the Aesthetic Experience
In the gloss (II. 26 ff), Hemachandra explains (1) how a Rasa is developed, and (2) What the character of an aesthetic experience is or how the Rasa is enjoyed and by whom. It may be mentioned here that Hemachandra's explanation of Rasaexperience given in the gloss is nothing but a faithful abridgement of the vi ew of Abhinavagupta on Rasa as presented in the fourth Chapter 5 of Mammata's Kavyaprakāśa (IV 28 ff). The paragraph means: "Rasa is the permanent mood or primary emotion such as love etc. developed by means of Vibhavas. Anubhavas and Vyabhicaribhavas. This Rasa is of the nature of an experience consisting of enjoyment of it both by the poet and the connoi ssour with eyes closed since it resembles the experience of the bliss of realizing the highest principle due to the fact of its power of causing an extraordinary, supreme joy. The aesthetic experience or Rasanubhava lasts only so long as the exciting, ensuing and the fleeting emotions last and consists chiefly of relishing by the responsive mind alone being made fit for enjoyment by the process of Universalization. The Sthayibhava is a specific emotion which is always present in a primary or instinctive form in the mind of such spectators (Samajikas) as proficient in the art of experiencing poetic relish or emotion and it becomes dis tinctly manifested by such agencies as those of women etc., and garden etc., well-known in Literature and Drama whi ch agencies are Bhāvas by means of which
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