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1290
SAHRDAYALOKA
Ā. observes that in the instances cited above, there is a clear breach of propriety and it can not be saved by pointing out that the hero is eclipsed by ill fate. ! : "na ca evam vidhe visaye daiva-vyāmohitatvam kathāpurusasya parihāro, yato rasabandha eva kaveh prādhānyena sva pravsttinibandhanam yuktam.” (vrtti, Dhv. III. 19)
Ā. says that the poets should be solely devoted to the suggestion of sentiment and the like. We have taken pains for all this and not merely for the establishment of dhvani alone !
"rasā”di-rūpa-vyangya-tātparyam eva esām yuktam iti yatnósmābhir ārabdho, na dhvani-pratipadana-mātrā'bhiniveśena."
It may be carefully noted that not only for Bharata, his illustrious predecessors and for Anandavardhana/Abhinavagupta and all the followers of the Kashmir school of poetic criticism, but even for literary and art-critics belonging to schools of thought, apparently not in conformity with A. and Abhinavagupta, 'rasa' means not only sentiment such as śrngāra, karuna, etc., but it has a wider connotation of aesthetic relish, born of chewing i.e. contemplation on the object of art, getting merged into it, i.e. laya, samāpatti, niveśa and what not; i.e. total art-experience which removes all consciousness of anything else than the object of art, during the time of its experience (i.e. tātkālikatva), or we may say, it is an art-experience which is "vigalita-vedyantara”. This is acceptable to all Indian art-critics, including Kuntaka, Dhananjaya/Dhanika, Mahimă, Bhoja, Sāradātanaya and all the rest. The discerning will realise .. also uses the term 'rasa' in both these senses; the 'linga' i.e. determining characteristic of this experience being “vigalita-vedyantaratva".
(iv) The fourth difficulty arises when rasa that is already fully aroused is repeatedly described as such. Rasa, after being fully aroused by its constituents and after being relished, tends to fade away in the fashion of a fading flower, if evoked repeatedly.
(v) Vyavahāra-anaucitya i.e. vrtty anaucitya occurs e.g. when a heroine directly talks about her desire to the hero, and not indirectly through proper gestures and the like. Or, it happens when vrttis - dictions - such as kaiśiki and he like, as laid down in Bharata, are described not with reference to their proper conditions or context.
Ā. cites some 'parikara' i.e. 'summing-up' verses to support his statements and observes that whatever is laid down by him is in harmony with the opinion of great poets such as Vālmīki and the like.
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