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Further, it is not possible to say that what occurs is simply the memory of Rama, as endowed with such-and-such quality, viz., heroism, etc., insofar as the spectator has had no such previous experience. Moreover, even if it be said that he is perceived through verabl testimony (706), inference ( BFTATA ), etc., logically there cannot be any occurrence of Rasa in the audience just as it is not aroused by a thing perceived through direct knowledge. (To put it plainly, if Rasa could arise from a simple inference, it should arise from a direct perception also.) For, on the appearance of a pair of lovers united together, the mind of anyone present is subject to conflicting feelings (- shame, disgust, envy, etc.,) and we surely cannot say that the onlooker in such a scene is in a state of Rasa ! If it be supposed that Rasa is perceived as present in a third party, the spectator should be in a state of indifference. So it is not possible to suppose that Rasa can be perceived - either as direct experience or in the form of memory. The same drawback can be shown in the theory that maintains that Rasa is produced. if it is assumed that Rasa first exists in a potential form ( STIFFE GOA) and is later manifested, then the falhas must necessarily illuminate it gradually. Besides, the difficulties already faced would recur : fs Rasa manifested as really present in our own self or as present in a third person ?
Bhattanāyaka's Theory of Aesthetic Enjoyment
Therefore, we expound thus : Rasa is revealed (Bhavyamāna) by a special power assumed by words in poetry and drama, the power of revelation (71981), different from Denotation (371991), consisting of the action of Generalizing the THIETIE. This power has the faculty of suppressing the thick layer of mental stupor (HTE ) occupying our own consciousness; in poetry, it is characterized by the absence of blemishs (ar) and the presence of qualities (701) and ornaments (3775TT ); 76 in Idrama by four kinds of representation. Rasa, revealed by this power, is then
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