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just because he possesses the latent traces of it in himself, the self of the spectator also actively participates. So, this love is perceived neither with indifference from the outside, nor, as if, it were linked with a particular (ungeneralized) cause - for, in this case, intrusion by pragmatic requirements, interests of gain, etc., would interfere - nor again, as if, it exclusively belonged to a defined third person for, in this case, sensations of pleasure, hatred, etc., would occur in the spectator. Thus, the Erotic Rasa ( शृङ्गार ) is simply the feeling of love ( रति ) - which is both generalized and the object of a consciousness which may be either single or developed consecutively. The task of generalization is carried out by the faas etc. The Philosophic Character of Aesthetic Bliss9°
Thus Abhinavagupta expounds the views of the earlier commentators on Rasa and sets out his own views in exhaustive details regarding the aesthetic experience. He declares that the previous theories are the staircase on which climbing further or higher has been possible for him, and he has been able to understand the true nature of Rasa. He only claims credit for improving on the views of earlier authors and not unduly criticising their views. Thus, his method is both of analysis and synthesis. And, we can see that Abhinavagupta has given a masterly explanation and exposition of the Rasasutra which has since dominated the field of not only dramaturgy but poetics also. Both in his Abhinavabhārati as well as in the Locana Commentaries. Abhinavagupta repeatedly declares that poetic content is itself Rasa, when it is contemplated by the connoisseur (Kavyartho rasa it). He has explained Rasa-experience from the points of view of the dramatist, the actor and the spectator. He has explained the sevenfold barrier with a rare penetrating insight and shown how these can be removed successfully and conclusively established that the nature of Rasa-experience is different from the ordinary means of knowledge as also from the extraordinary perception of a Yuñjaña as well as a Yukta Yogin. The
process of
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