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Rrsa-realization is Unique and the joy resulting from it is. supra-mundane bliss. This gives an extraordinary, philosophic character to the aesthetic experience. Hemachandra's adoption of the Abhinavabharati-text on Rasānut bhava in toto shows. his unflinching adherence to the views of Abhinava. In fact,. he says so in no uncertain terms: एतन्मतमेव चास्माभिरुपजीवितम् (Viveka, p. 103).
The Number and Types of Rasa: Nine Rasas
In Sutra 27 (II. 2), Hemachandra deals with the different types of Rasas, by defining and illustrating them. According to Hemachandra, there are only nine Rasas. They are Śrngāra or the sentiment of the Erotic, Hasya or the Comic, Karuna or the Pathetic, Raudra or the Dreadful, Vira or the Heroic, Bhayanaka or the Terrific, Bibhatsa or the Disgustful, Adbhuta. or the Wonderful, and lastly Santa or the Quietistic. The gloss explains the nature and importance of these Rasas. It says. that Śṛngāra is mentioned first because it is common to all creatures and it is the most familiar and the most delightful of all the Rasas in fact, it is the Rasarāja, the king among all Rasas, according to many authorities. Hasya closely follows Śṛngara, and often serves to help and heighten the latter. Karuna is just the opposite of Hasya and is mentioned next.. Raudra is often the cause of Karuna, and comes next. Raudra is based on Artha, one of the four goals of life, and results. from frustration in one's endeavour to get some desire fulfilled. Vira is based on the religious spirit or a sense of piety, and is mentioned next since Kama and Artha depend on Dharma. As Vira removes fear, so Bhayanaka is mentioned after it. On account of the fact that the Vibhāvās of Bhayanaka are shared in common by Bibhatsa, this Rasa is mentioned immediately after Bhayanaka. Since Vira finally culminates in marvellous exploits, Adbhuta naturally comes next. So far as these traditional eight Rasas are concerned, they are all based on the first three goals (a) of life, viz., Dharma, Artha
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