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“Concept of Rasa” as seen in Anandavardhana and......
1421 jñāyamānatay, tatra vibhāvaḥ bhāva-poșa-krt bhāvo hțdi sthito yena
vyajyate cā'nubhāvyate. Vibhāva is said to be the cause, anubhāva is said to be the ‘kārya', i.e. effect. Their relation of cause and effect is supported by worldly order.
Vibhāva is that which is known. Vibhāva enhances the bhāva or (basic) emotion. Bhāva stays in the heart. It is suggested as well as effected by that (which is vibhāva).
Now there is some difficulty in following this line, : bhāvo hțdi sthito yena vyajyate ca anubhāvyate” which is followed by,
bhrūksepa-katāksādir vibhāvo hrdayam śritah, bhāvān vyanakti yaḥ
sóyam anubhāva itīritaḥ.” We feel that we should read a full-stop after... yena vyajyate. The meaning will be that the emotion staying in the heart of the samājika is suggested by the vibhāva' (on the stage, or as described in poetry.). The next line should be read along with "ca anubhāvyate" of the earlier line and has to be corrected as,
“bhrūkṣepa-katākṣādibhir bhāvo
hțdayam sritaḥ." The emotion staying in the heart of the character is also inferred by twisting of eye-brows etc. presented by the actors and these anubhāvas also then help in the suggestion of emotions in the hearts of the sāmājika - "bhāvān vyanakti sóyam anubhāva iti īritah."
Bhāva, observes Śā. is the mental identity of experience on the part of the sāmājika, with the unhappiness etc. of characters such as Rāma and the like :
“rāmādy āśraya-duḥkhā”der anubhūtes tad ātmatā sāmājikasya manaso yā sa bhāva iti smrtaḥ.”
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