________________
77
(P. 90. A. 2. S. 26.
are tip and war) and that the faula 31741a etc, are with reference to him. ( Ahad q ad...fa... Araroa gaià fazl77:)
It is then that his farsít H19 is aroused and ultimately attaining zenith is transformed into Th. This This then tasted and enjoyed by him-yet not by him alone but by thousands of spectators simaltaneously without being jealous of the neighbour that participates in the enjoyment of that ve (fazagarawacaa feratsfa साधारणोपायबलात् सहृदयसंवादभाजा साधारण्येन गोचरीक्रियमाणः)
This te is so marvellous that the reader or every one of the audience can enjoy it, without physically passing through all phases of love-making-merely by hearing or seeing ! Being tasted is the very essence of this ta (aarta91: ); it lasts as long as the fata, अनुभाव etc. last (विभावादिभावनावधिः ). Being of a unique nature (8457f2 ftaar ), it can be compared to the joy of the realisation of all. Its taste cannot be described, its joy is to be experienced by oneself( Fagagalita:) and that is its greatest proof (fa&:). It is enjoyed both by the poet and the readers. It is said above that it is enjoyed merely by seeing but the fact is that once it permeates the heart it is enjoyed by closing the eyes as it were in a state of trance (farzifisgata: ). What are known in everyday life by the terms कारण, कार्य and सहचारि are here termed as f 1919, 317819, and cyfiaft 712.
The most important qnestion in this connection is about the appearance of . How is it that the TA makes its appearance ?' is the first question; and where does it appear-is another question. The whole controversy among Sanskrit rhetoricians has centred round these two questions. Different views are held on
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