________________
67 J. L. Masson and M. V. Patawardhan's studies provide
an in-depth discussion of Abhinavagupta's Aesthetics. 68 K.A.S. II. ff.
69 Vide 'Aesthetic Rapture' Vol. I, p. 54 (N.S. VI) "Now
the Rasa called Vira has only noble people for its characters....."
70 Vibhāva iti kasmāducyate etc.' N.S. VIII. 3 ff. But in
Chapter VI extensive details of Alambanavibhāvas are
given. This is the sense of the present reference. 71 Cf. The Dasarūpa, Hass, p. 132. 72 Vide A. Sankaran, Ibid, p. 99. 73 In both the verses, the word śoka occurs. Hence it is
not Rasabhūta but Vācyabhūta. 74 Vide R. Gnoli, The Aesthetic Exp. etc., p. 31, f.n. 7. 75 Based on a wrong interpretation of N.S. VI. 46 according
to Abhinava. According to this school of Indian philosophy, the external objects are a menifestation of Praksti which consists of pleasure, pain and stupor; so the objects also consist of pleasure, pain, etc.
76
Cf. Hemachandra's definition of poetry in K. A. S. 1. 11. It is a 'classical' defnition in view of Bhattanayaka's theory of Rasa
Cf. Abhinava's comments on Dhv. Al. 11.4 Also read S. D. III 2-3 on Aesthetic Experience. According to Visvanatha, Sattva is nothing but the mind or inner sense (Manah) devoid of any contact with Rajas or Tamas. Mammața uses 'Sattvo drekaprakāśa' (K.P. IV. p. 68). Vide Gnoli, Ibid, p. 48, f.n. 1, for the association of the aesthetic with the mystical experience.
78
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