________________
79 Vide Ibid, Appendix ili, p. 113. In his Locana on Dhy.
Al. II. 4, Abhinavagupta reviews Bhațțanāyaka's position. 80 See further, p. 220, "So it is settled that Rasa is the aim
of the poem." 81 Gnoi, Ibid, p. 51, f.n. 1. 82 Viveka, p. 97, last two lines and continued on p. 98, first
para-upto the end of the quotation no. 37. In between, Hema chandra has omitted a few lines. Even Quote-35 is absent in the Abh. bh. portion in Gnoli's text (p. 11). Hemachandra also omits "Āmnayasiddhaḥ. ....etc."
-" the three well known verse. (See Gnoli, Ibid, p. 12). 83 Viveka, p. 98, Quote-37. 84 This consciousness or Pratipatti lies in passing from the
original to another. It is termed propulsion, order or command (Vidhi or Niyoga) in Mimāṁsā. The followers of Prabhakara use विधि/नियोग, but the disciples of Kumarila prefer Bhāvana.
This shift of sense is explained by means of the three verses (p. 98, Quote-37) cited here from some work on Poetics (may be the Hțdayadarpana of Bhattanāyaka,
a lost work). 85 Ekaghana means 'dense', 'compact', 'uniform' etc. and
implies, 'non-interference of obstacles (facas ). Vide,
Gnoli, Ibid, p. 59. 86 Vide, Gnoli, Ibid, p. 59, f.n.4.
87 The significant term Nāțyadharmi (N.S. V1.25, XIII. 70 ff)
refers to all the theatrical paraphernaliascenery, costumes,
traditional conventions, etc. 88 The styles or Vșttis are four : Kaišiki, Sāttvati, Ārabhati
and Bharāti (Vide D. R. Hass, p. 74). The Pravșttis or
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