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"Concept of Rasa" as seen in Anandavardhana and......
1393 along with the apparent rules of common psychology. The ND. has to learn this or get out of the world of aesthetics.
The ND. further notes that the vipralambha-śrngāra is of the nature of unhappiness due to torment, but as there is inherent possibility of love in union, it is taken, in the end, to be of the nature of happiness. The ND. has to pass this remark because it has branded śộngāra as basically 'sukhā"tmaka', and one variety viz. vipralambha is seen apparantely associated with unhappiness due to mental torment, the disunited lovers have to experience.
After this the ND. turns its attention to yet another basic question concerning the substratum of rasa. For the ND. rasa is seen primarily in the original characters and then in the spectators, and also in those too who listen (or read) poetry and also compose it. We strongly object to this observation which unholds rasa in actual persons in worldly context. The ND. observes - (pp. 293, ibid) - rasas' ca mukhyalokagataḥ, prekşakagataḥ, śrotr-anusandhāyakadvaya-gato vā iti.” By ‘anusandhāyaka' we mean the poet who composes poetry. He too may enjoy rasa, we believe, only when purged of all limitations of lower ego. Of course, as a sensitive soul he receives impressions personally from his personal encounter with the context he is involved in, but when he writes poetry his entire limited self is brushed aside and, possessed as it were he is, he presents everything local with a universal colouring. Thus de-individualisation or sādhāraṇīkarana operates first at the level of the poet personally, then at the level of the vibhāvādi's or the material he presents through his poetic muse, and then this sādhāranīkarana operates at the level of the enjoyer of art. This secret of art-experience the ND. and its like-thinkers refuse to accept and we feel sorry for the same. In their rasa-kārikā the authors had suggested that 'rasa' is 'spastánubhāva
This means that the effects or consequents of the enhanced sthāyin indicate the same. The anubhāvas make the inference of the enhanced sthāyin possible. As the anubhāvas help us infer the sthāyin concerned, they i.e. the anubhāvas have to be clear and unfailing signals that help this inference. Only such signals are taken as unfailing marks : "spastāḥ iti spastāḥ samyan nirnītāḥ. asandigdham hi lingam bhavati. anubhāvayanti parasthān api rasan avabodhayanti iti anubhāvāh. stambha-sveda-aśru-ramāñca-bhrūksepa-ādayah. tair yathā sambhavam sat-tayā niśceyaḥ.” (pp. 293, 4; ibid).
The ND. further observes that in poetry and drama the rasa that is apprehended is that rasa which stays in somebody else. Now such an apprehension cannot be
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