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VII. 5), which means that Vibhāvas are so-called because they help make concrete meanings consisting of acting in the form of speech and body and Anubhāvas are so-called because by means of them the meaning of a drama or work of art is rendered concrete with acting through speech and body, and it is possessed of Abhinaya of three types. Hemachandra mentions the Rasasūtra and reproduces the entire Rasaportion from the Abhinavabhārati as set out and interpreted by Abhinavagupta.68 We must remember that Abhinavagupta himself wants to thrash out the problem of Rasa and hence he records and explains the views of others first, not only by way of prima facie views (Purvapakşa) so as to comply with the vogue of the Sanskrit theorists, but also because the views are important and representative of the chief schools of interpretation of Rasa in vogue before his attempts to unravel and finally settle the issue of Rasa-experience in his own masterly way.
So far as the divergent views on the interpretation of the Rasa-sūtra of Bharatamuni are concerned, we know that Jagannātha has recorded twelve such views while Abhinavagupta has discussed in his Locana commentary some of his predecessors' views in detail and only recorded some other views (Vide Locana on Dhv. Al. II. 4). However, it is well-known that besides Lollața, Sankuka, Bhattanāyaka and Abhinavagupta, Dandin, too, has contributed to the discussion on Rasa and, in fact. Abhinavagupta has cited his views. Further, Bhatta Tauta, the great master of Abhinavagupta and the renowned author of the lost masterpiece Kavyakautuka, also helped improve the Rasa-theory by offering critical comments on Sankuka's views. The Rasa - Theories in the Abhinavabhārati
It is interesting to attempt a faithful resume of the different views presented on the aesthetic experience by way of the interpretation of the Rasasūtras by Bhatta Lollata, Śri Sankuka, Bhattanayaka and Abhinavagupta along with Hemachandra's illuminating comments.
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