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It is already stated that the Erotic. Sentiment is twofold, but Hemachandra comments on this Statement by saying that, strictly speaking, this is not true. He argues that as both the types of śộngāra belong to Rati (a Sthāyin) which is of the nature of a tie of affection; so, Sambhoga and Árngara - these two concepts overlap, for, even in separation, the craving for union is very much there, and, again, in Sambhogaśngāra sometimes when there is a sense of security, owing to the course of unimpeded love, there is a sort of mental separation as Bharata has appropriately stated :
यद्वामाभिनिवेशित्वं यतश्च विनिवार्यते ।
că a rarzt: Fra: A Tri tha: I ( TO TO 32.300) -which means : "It is because women are perverse in their love that they repulse the advance of men and are very difficult of attainment, that men are mad after them." Hence a combination of these two - Sambhoga and Vipralambha - is more delightful, as e.g. Vítha TTA etc., (THEO 22) which very delightfully paints a mixture of separation and union (ERTIETHC) of two lovers in the same bed. Hemachandra aptly observes that the Vibhāvas, Anubhāvas and Vyabhicaribhāvas are found distinctly only in a full-fledged poem, while in stray verses (Mukatakas) we have to imagine (take for granted) the presence of all these constituents of Rasa.
The next Sūtra (11.4) contains a definition of Sambhogaśrngāra. It consists of horripolation etc, as Anuhhāvas and endurance, delight, etc., as Vyabhicāribhāvas. It consists in the lovers being united, though it is characterized by bashfullness, etc. It is made attractive by accessories such as patience (Dhști) etc. In the Viveka, it is pointed out that although sleep etc., caused by fatigue due to love is present in the Sambhoga variety of (actul) Tove, yet it does not add charm to Rati; while in Vipralambha it arises from the conception of love, and so it is properly stated that there is Sukhamayatva, i.e., a happy frame of mind. It also consists of Anubhāvas such as horripolation, perspiration, trempling, tears, slipping off of the
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