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P. 90. A. 2. S. 26. ]
78
these two questions by different writers. has enumerated almost all the views on these points and discussed them in his commentary most exhaustively. We are giving below in a nut shell all the main views regarding these questions:--
( 1 ) भट्टलोल्लट's view :-a स्थायी when produced by fanas, made manifest by gas and developed by व्यभिचारिभावs is called a रस रस is mainly produced in the chief characters of a poem or a drama; but because the actors identify themselves with these characters it can be as well said that is produced in these actors also.
(2) i's view :- -When love and other such feelings are inferred (to be in an actor) by the audience even though dwelling originally in the characters, they are called etc.
To quote again, the acter is identified by the audience with the original character of Rama ( रामोऽयमिति प्रतिपत्त्या ग्राह्ये नटे ) just as a horse painted in a picture is regarded as a horse (ag). This identification is not a true knowledge (aga), for the audience knows perfectly well that the emotions that are manifest in the actor are not real but expressed by means of his skilful gestures ( शिक्षाभ्यास निवर्तितस्वकार्य a). On the other hand, this identification is not absolutely false for it continues to the last and is not nullified by any contrary experience at a later stage. It is, moreover, not a doubt, for the alternative necessary for a doubt is not present in this identification. It is not a mere similarity, for the knowledge of identification is not of the nature of "this actor is just like Rama " Thus after the identification of the actors with
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