________________
103 Dr. H. R. Misra observes: "This synthesis (of Abhinava),
...admits that the Abhāsa of all other Rasas except the Hasya (its Ābhāsa also) are nothing but cases of the Hāsyarasa. ....". The Theory of Rasa in Sanskrit Drama,
p. 388. 104 Prof. A. B. Gajendragadkar opines that "All instances
of Rasavadalamkāra would, according to Mammața, be cases of Dhvani and Gunibhūtvyangya. Thus 'Ayam sa rašanotkarşı. ...' is Dhvani viewed as śộngāra". Vide Notes on K.P. II.
For the definition of Rasavadalamkāra in the Dhvani theory, Vide Dhv. ĀI. II 4 ff. Also vide Dr. S. K. De, HSP. II, 192-93 & f.n. 18.
Chapter Four 105 K.P. VII 49. On the different concept of Doșa, vide,
'Outline of Sanskrit Poetics', p. 41. 106 Vide Prof. D. T. Chandorkara's Ed. of the K.P., Chap. VII
(Poona, 1983), p. 5 (Notes). 107 Besides Ânandavardhana whose views on Dosa in the
Dhvanyaloka are not only followed by Mammața but also codified for the first time in his Kāvyaprakāśa, in consonance with the theory of Rasadhvani.
108 Autsukya or Eagerness is the Sañcāribhāva mentioned
here by name. Now, had it been suggested by gestures like flurry etc., its naming would have been redundant, But since the word Autsukya is needed here, its mention by name does not offend too much.
109 Hemachandra observes in the gloss (p. 170. v. 200 ff)
that to try to heighten a Rasa after it has reached the climax is as disgusting an attempt as the attempt to smell a faded flower with a renewed passion. cf. Dhv. Al. III, 19.
497
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