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770
SAHRDAYĀLOKA
no bhāvanā or carvaņā of rasa, and this is vyatireka argument. If there are rasā"dibhāvaka-padas in poetry there will be rasa-bhāvanā or relish. This is anvaya or positve argument. Dhanika quotes from the NS. - of Bharata to support his thesis of bhāvya-bhāvaka relation between rasā"di and poetry. "The knowers of dramatic art, know these as bhāvas (i.e. feelings, emotions etc. i.e. revealers) (i.e. determinants), as they (i.e. bhāvas) reveal (= bhāvayanti) the rasas i.e. aesthetic pleasure (or sentiments etc.), as connected with the bhāvas (or emotions as depicted by words in poetry) (or) as connected with acting.”
Dhanika further establishes bhāvya-bhāvaka-relation in place of vyañjanā as follows :
"katham punar agļhīta-sambandhebhyaḥ padebhyaḥ sthāyyā”di-pratipattir iti cet, - loke tathāvidha-cestā-yukta-strīpumsā"dişu ratyādý avinābhāvadarśanād ihā’pi tathopanibandhe sati raty adyavinā-bhūta-cestādi-pratipādaka-sabdaśravaņād abhidheyā’vinābhāvena lākṣaṇiki ratyādi-pratītiḥ yathā ca kāvyasya sabhāvakatvam tathā agre vaksyāmah.”
Dhanika observes : The objector may raise an objection here. It proceeds like this : The words used in poetry have no direct relation with ratyādi bhāvas, as between them there is no direct relation or vācya-vācaka-bhāva based on samketa or convention. So, in the absence of samketa how can words in poetry i.e. kāvyaśabda make us apprehend rasā”di ? The reply from Siddhāntin i.e. Dhanika follows like this - In our day to-day world, we perceive directly people making love etc. and we apprehend that these lovers are in love. This is done through direct perception of love-making, an activity which, through avinābhāva relation i.e. through invariable concomittance makes us apprehend the rati-bhāva or śộngāra in case of the love-making couple. In the same way when love-making activity is directly mentioned through words in poetry we apprehend śrngārarasa i.e. ratyädi-bhāva promoting the activity actually directly described by words in poetry. Thus on listening or reading such poetic words we apprehend the bhāvas behind the activity actually described, i.e. through vācya-cestānirūpana. The ratyā"di-bhāva-pratīti is thus lākṣanikī or secondary in case of kāvya-sabda, describing rati-ceștā. How the vācyártha of poetry reveals i.e. makes for the bhāvanā of rasa will be explained by Dhanañjaya and Dhanika later in due course.
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