________________
79
(P. 90. A. 2. S. 26.
the principal characters of a drama or a poem--the audience, on the strength of gata, infers the development of a in the actors. In this 349917 the zifa is this: on a fanaifa: aa 9 Taifa: F 219: ( Thenlaafa ). etc.
(3) The third view is that of Heart : according to him, 74 is produced neither in fra original ( for that is not possible on the stage) nor in an actor nor again in the audience but it is only enjoyed by the audience ( it is neither produced nor inferred nor suggested ). How can the audience enjoy the Te apparently shown with reference to others ( the characters of th etc. )? The answer is: by the process of #12977, the Ferrata (along with the fula and others ) is made common to all ( विभावादिसाधारणीकरणात्मना भावकत्वव्यापारण)
(4) The above view is accepted in a great measure by अभिनवगुप्तपादाचार्य ( whom मम्मट quotes as an authority ), but he says that the apartutapur does not require any special process but this generalization comes as a matter of course and finally the ta is suggested by विभावानुभावव्यभिचारिभाव and is enjoyed by the audience. Has follows this view in its every detail.
Thus ATX, faithfully following Art and his master अभिवगुप्त, holds the view that रस is neither produced nor inferred but suggested.
If á is supposed to be produced then it would mean that fora and others would become its cause and te would be its effect. Now the rule is 7-an effect-exists even when its cause perishes; so here te must exist even when fahia and others disappear-but this is never the case; we have already said "that the lasts as long as the विभाव and others last (विभावादिजीवितावधि). Similarly te can not be inferred; for in order that a
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