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The commixture of feelings lends charm due to the rise in quick succession of various Bhāvas which presents a kaleidoscopic view of mental attitudes to be enjoyed by a sensitive reader or connoisseur.
Thus, all these four phases, viz. the rise, the fall, the confluence and the commixture of feelings, along with the main four principal elements of a work of art, are the object of dominant suggestion.
Winding up this topic of Semblance of Rasa and Bhāva in the case of animals, birds, insects, plants, etc., Hemachandra significantly adds : The figures Samasokti, Arthāntaranyāsa, Utpreksā, Rūpaka and Upamā are the life of these Rasābhāsas and Bhāvābhāsas-especially Samāsokti greatly helps Rasābhāsas, as can be seen in the instances cited in the text (K.A.S. 54-55 ff.) Mammața's Treatment of Semblance of Rasa etc. Compared with Hemachandra's
While Mammata (K. P. IV-36) tackles the topic of Abhāsa with just one Sūtra (Tadābhāsa anaucitya-pravartitāḥ), taking his stand on impropriety or inappositeness alone, Hemachandra first (11-54) makes sentience or insentience of the object, involved in the depiction of a sentiment, a criteria for Abhāsa of Rasa or Bhava and then, in another separate Sūtra (11-55) emphasises the criterion of impropriety or Anaucitya by stating that both Rasābhāsa and Bhāvābhāsa arise on account of inappropriate or improper delineation of the Rasa or Bhava. Explaining the Sūtra (Anaucityācca), Hemachandra remarks in the gloss that Rasābhāsa and Bhāvābhāsa arise when mutual Tove etc. are absent. And he elaborates on this the semblance of Rasa and Bhāva caused by the absence of reciprocity of feeling in the Viveka (P. 149). In point of fact, 'he reproduces the relevant portion from the Abhinavabhārati where Abhinava discusses this point. The passage means : "Śrngāra is nothing but the dominant emotion of love based on mutual affection. Here, on the other hand, Rati is a Vyabhicäribhāva being of the nature of a desire. Hence it is
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