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local usages are also four: Dākṣiṇātyā, Āvanti, Auạramāgadhi and Pāñcāli. These very from country to country and add local colour.
89 Abhinava observes in his Locan on Dhv. Al. I. 5 ff. : "Rasa
is simply the tasting of the mental movement, corresponding, for instance, to the Vibhāvas and the Anubhāvas of the mental state of sorrow (Šoka). The expression that the Sthāyins become Rasa arises, solely, by correspondence (Aucitya). For a gist of the Locana text vide K. Rama Pisaroti, The Dhvanyaloka with Locana in English,
Indian Thought, 1917. pp. 361-363. 90 The Viveka (p. 109) points out that ladies and gents
(Vibhāvas) and seasons, garlands etc. (Vibhāvas) are completely found in plays like the Ratnāvali etc. The Vibhāvas in both these aspects must be considered as of śrngara as a whole. This is as it should be, for, otherwise there will not be one Rasa, due to difference of Vibhāvas. In Muktaka, however, we have to imagine the Vibhāvas.
91 Vide, Viveka (p. 114) under "Sankrāntyeti". 92 Abh. bh. Vol. I, p. 321.
93
Ibid, p. 321.
94 Dr. S. K. De doubts if Bharata accepted śānta as a
Rasa at all as the text in question is far from genuine. Abhinava's words also imply that Rasas are generally eight, but some add a ninth. Vide "Some Problems of Sanskrit Poetics", p. 139.
Also read Dr. V. Raghavan, 'The Number of Rasas', Chap. I. 95 Abhinavabharati regards, rather curiously, Nirveda as the
Uddipanavibhāva with Tattvanjñaña as the Sthāyin.
493
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