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the internal workings of minds such as Sthāyin, Vyabhicārin accompained by the fourfold acting, can be specifically known - and by means of ensuants or effects or acting such as side-long glances, throwing up of the hands, which enable the spectator to cognize and realise in a concrete way the special emotional states having the characteristics of permanent and transient emotions and by means of the transitory emotions such as patience, memory, etc., called causes, effects and auxiliaries in the real world (but called by these names in poetry and drama by reason of their being endowed with the faculty of exciting and so forth; on this account called Vibhāvas. Anubhāvas and Vyabhicāribhāvas) - these Vibhāvas are recognized in their universalized form, not showing any restriction due to either the affirmation or negation of any of those specific relations that are involved in such conceptions as 'this is mine' or 'this is my enemy's' or 'this is not mine' or 'this is not my enemy's' - and, even though the said emotion actually subsists in the particular spectator himself, still by virtue of the generalized form in which it is presented, the spectator loses his separate individuality and has his consciousness merged in the Universal; and since the spectator represents the mental condition of all men of poetic sensibility, he apprehends the bliss of the emotion. Though this emotion is enjoyed in a highly universalized form, it has no existence apart from its apprehension." Rasāsvāda : The Source of Transcendent Charm
This is Rasa, and thus is it realized. When the spectator enjoys it, Abhinavagupta adds that "It is relished in the same manner as a mixed beverage; and whed it is enjoyed, it appears as if it is vibrating before our eyes, as if it is entering the innermost recesses of the heart, embracing and pervading our whole body and eclipsing everything else." Obviously, "this is the rapturous bliss of Brahman and the emotion thus manifested becomes the source of transcendant charm and is spoken of as Rasa."
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