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SAHRDAYĀLOKA The term "vyabhicārin” is explained in the beginning of the chapter. RS. II. 13, pp. 98 read as :
"vyabht” ity upasargau dvau
višeşábhimukhatvayoḥ, viseșeņábhimukhyena caranti sthāyinam prati.- (RS. I. i) vāg anga-sattva-yuktā ye jñeyās te vyabhicāriņa). sancārayanti bhāvasya gatim sancāriņópi te.” (II. ii) unmajjanto nimajjantah sthāyiny ambunidhāv iva, ürmivad vardhayanty enam
yāpti tadrūpatām ca te.” (II. iii) The term 'vyabhicărin' is derived with the help of 'vi' and 'abhi' as upasarga-s with Vcar-"viśesena abhimukhyena caranti" is the explanation. The accessories i.e. vyabhicārins are so called because they move with a special purpose of nourishing towards the basic emotion i.e. sthāyin. These, accompanied by acting (in drama, or description of the same in poetry), are known as vyabhicărin-s. They are called sancárin-s also as they become instrumental in the movement of various sthāyi bhāva-s towards rasa. The sthāyin is related to them as ocean to the waves that are rising and falling. These vyabhicărins also come and go, or rise and fall as needed for the promotion of the sthāyin towards rasa. They nourish the sthāyin and help it to achieve the status of rasa.
They are also vyabhicārin-s or not-permanent as there is no permanent relation between a given vyabhicărin and a given sthāyin. A given vyabhicārin may be found with a particular sthāyin in a given context and the same vyabhicārin may accompany a different sthāyin in a different context. These vyabhicărin-s are counted to be thirty-three in the RS., which follows Bharata's tradition here. Each is explained in details with sub-varieties arising from different contexts. For example 'nirveda' is seen because of tatrvajñāna, durgati, āpad, viprayoga, irsyā, etc. It is said to be a sense of frustration or despondency-'naisphalyamati' born of various reasons as above. All are illustrated. In the same way different vyabhicārins having different rensons are all taken into account.
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