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feeling. Good, if what you say is true; then the feeling of the actor would be perceived simply in the form of delight (i.e., there would be a perception of ordinary nature, not aesthetic cognition). Thus your argument for a reproduction of delight falls flat. If you say that the faarf are real in the reproduced characters and here in the actor unreal, then let it be so but even if these विभावादि are not the real विभाव, अनुभावs and सञ्चारिभावs of the feeling of the actor, even if they are moulded solely by the power of the poem, the skill of the actor and so forth, and are thus artificial, are they perceived by the spectators as artificial or are they perceived as real? If they are perceived as artificial, how can the feeling of love be perceived through them? If you say that it is for this reason that what is perceived is not love, but a reproduction of love, this answer, we say, shows your dull-mindedness. For, it is proper to hold that a thing different from the usual one can be inferred from more apparently similar effects, only if the effect from which it is inferred is really derived from a different cause and is recognized as such by a man of experience (Suśikṣitaiḥ). But an unexperienced man can infer from them the usual cause only. From some particular scorpions, for instance, it is reasonable to infer that their cause is cow-dung; and the inference from them of another scorpion as their cause is a false cognition.
Hemachandra Intervenes
Here Hemachandra intervenes (Viveka p. 94, II. 14-19) to explain Bhatta Tota's argument. The upshot is that the well-known cause in the form of the feeling of love is not the same thing as the imitation of love. If the consequences are caused by this Rati, and are cognized by men of experience to be so, then the inference of the imitated Rati would stand scrutiny. But since it is clearly not the case, how then can the imitation of Rati stand? And if an inexperienced man infers such an imitated Rati, then it is clearly a case of a false cognition.
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