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of fresh mental movements (of shunning etc.), consisting of pleasure, pain, etc., and just for these reasons are full of obstacles (1927).
The sensation of the fear referred to above, on the contrary, is a matter of cognition by a perception devoid of obstacles (fafaza), and may be said to enter directly into our hearts, to dance before our eyes : this is the Terrible Rasa. In such a fear, one's own self is neither completely immersed, nor in a state of particular emergence, and the same thing happens with the other selves. As a result of this, the state of generality involved is not limited ( a ), but extended (fada ) as happens at the moment in which is formed the idea of the invariable concomittance (Vyāpti) between smoke and fire or, in fact, between trembling and fear. Therefore this idea to be confronted with a real experience is nourished by the combination of Azfa. In this combination, indeed -- in that the real limiting causes (Niyamahetu) - time, place, the particularized cognizing subject etc., on one side, and those afforded by the poem on the other, neutralize each other and then completely disappear - the above stated state of generality is readily nourished; so that by virtue of the very uniformity (Ekaghanatā) 8 5 of the spectators' perception, it being so nourished, readily nourishes the Rasa in all of them, and this occurs because the latent impressions of their minds harmonize with each other, the minds being varied by beginning-less, latent impressions. The Conception of चमत्कार
This form of consciousness without obstacles is called 'Camatkāra' and the physical effects of it, i.e., trembling, horripilation, joyful motions of limbs etc., are also Camatkara, as in the Prakrit verse (Viveka - 159) 37657 là af hans etc. i.e. - BETA & Stat Hafa etc. which means : "Vişnu is still today in a state of camatkāra etc."86 Indeed camatkāra may be likewise defined as an immersion in an enjoyment (Bhogāveśa) which can never satiate and is uninterrupted. The word
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