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1368
SAHRDAYĀLOKA
It may be observed that like Visvanātha and Mammata, his predecessors, J. also accepts the lead of Abhinavagupta in explaining the nature of rasa, though of course, he presents a discussion of other views also as presented by Abhinavagupta, and also adds some fresh views concerning rasa. Basically following Abhinavagupta, perhaps he has a fresher presentation and he not only explains the process of rasa-realisation, he goes on to present like Mammata, Hemacandra and Visvanātha, the whole discussion concerning the sthāyins, vyabhicărins, etc., the numbers of rasas, etc. all after Bharata and the Kashmere School of thought that he upholds. In short he treats all aspects concerning the so-called rasa-theory. In fact we are devoting a separate chapter on the process of rasa-nispatti and rasasvabhāva, in which we will try to analyse the views of Abhinavagupta, both with reference to his Locana and the Abhinavabhārati and the views of Mammata, and Jagannātha in this connection. So, for the present we will stop with only quoting J.'s concept of rasa as read in his R.G. (pp. 64, ibid) . "samucita-lalita-sanniveśa-cārunā kāvyena samarpitaiḥ, sahrdaya-hrdayam pravistais tadīya-sahşdayatāsahakstena bhāvanā-vićeșa-mahimnā vigalita-dusyantaramanītvā”dibhir alaukika-vibhāvánubhāva-vyabhicāri-sabda-vyapadeśyaiḥ śakuntalā”dibhir ālambanakāraṇaiḥ, candrikā”di-bhir-uddīpana-kāranaiḥ, aśrupātā"dibhiḥ kāryaiḥ, cintā"dibhiḥ sahakāribhiś ca, sambhūya prādurbhāvitena alaukikena vyāpārena tatkāla-nivartita-anandāmsā"varanā'jñānena ata eva pramusta-parimita-pramātặtvā"di-nija-dharmeņa pramātrā sva-prakāśatayā vāstavena nija-svarūpā"nandena saha gocaríkriyamanah prāg-vinivista-vāsanārūpo ratyā”dir eva rasah."
The substance of the above passage can be collected as follows : To begin with poetry is rendered beautiful by the presentation in it of the whole context material which is proper and beautiful.
The piece of beautiful poetry presents vibhāvā"di to rasikas. This material enters the heart of the cultured readers or rasikas. They are aided by the quality of sympathy i.e. sa-hrdayatā - of the rasikas. This results in a bhāvanā - a special feature - the power of which sees to it that the object described such as Sakuntalā, the wife of Düsyantā, leaves its identity of being the wife of a particular king. In short the 'bhāvanā' removes particularity of objects described. In short Dusyanta, or Sakuntalā leave their individual identity when presented in poetry and when they become objects of a special bhāvanā or poetic power or happenning. Now these objects that are described in poetry on account of their transformation whereby they loose their identity of being particular man, woman etc., are termed and
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