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1336
And there,
(K.P. IV. 26) The non-sequential (i.e. a-samlakṣya-krama-vyangya) consisting in rasa, emotion, their semblance, pacification of the emotion and the like is different from the figures, such as rasavat, and stands as one to be adorned.
By the use of 'and the like', are meant the 'rise of emotion', the 'co-existence of emotions', and the 'variegation of emotions'. Where 'rasa' etc. stand out prominently there it is the object to be adorned as will be illustrated later on. Otherwise, when the meaning of a sentence is prominent and rasa, etc. are subordinate, there is the subordinate, suggested sense (i.e. mediocre poetry) are the figures rasavat, preyas, ūrjasvi, samahita and others. And these will be illustrated later under the description of the 'subordinate suggested sense'.
SAHṚDAYALOKA
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For M., the worldly basic emotion i.e. laukika or loka-gata sthāyin is different from the 'suggested' i.e. 'vyakta'-sthāyin. Thus 'rasa', which is of the form of "suggested sthāyin", is different from worldly emotion, i.e. it is "sthāyivilakṣaṇa."
In view of this M. quotes the rasa-sutra of Bharata and furnishes all explanations of this sūtra as advanced by Bhatta Lollata, Śrī. Śańkuka, Bhaṭṭa Nayaka and Abhinavagupta and proceeds to get engaged in the epistemological consideration of the nature of rasa. All this we will discuss later when we take up the topic of rasa-realisation and the nature of 'rasa'.
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M. further explains that in the rasa-sūtra there is mention of "vibhāvaanubhava-and vyabhicārin", the three of them to bring home a point that the mixture of these three taken together, i.e. the whole "samagri" is the cause of rasa, with which it is associated in an invariable relationship. The idea is that individual vibhāva, anubhavas or vyabhicärin can stay away separately of a given rasa, but when they are combined in a given form, they make only for a given rasa. The 'Samagri' as a whole is invariably connected with this or that rasa. Yes, poets are masters of themselves and so if in their poetry we come across the delineation of only a particular vibhāva, or a particular anubhava or a particular vyabhicărin alone, then the other respective missing members of the combination or sāmagrī are to be imagined by a sa-hṛdaya. This means the other factors are implied if not stated directly in a given piece of poetry. Individual vibhāvas are likely to go with more than one rasa, but a given combination suggests only a given rasa alone. M. observes (Vṛtti, K.P. IV. 28, pp. 72, ibid) :
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