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Rasa-nişpatti-vicāra in Abhinavagupta
1515 sindūrā”dayo gavā'vayava-sanniveśa-sadrśena sanniveśa-viśeşeņa avasthitā gosadrg iti pratibhāsasya visayaḥ, naivam vibhāva-samūho rati-sadrśatā-pratipattigrāhyaḥ. tasmād bhāvā’nukaraṇam rasā ity asat.”
Gnoli translates (pp. 41, ibid) : “5-Some people say: "The pigments-orpiment, etc. - undoubtedly compose (samynj) a cow.” Now if the word "composé is understood in the sense of manifest (abhi-vyaj)", these people are also in error. For, we cannot say that minium, etc., manifest a real (pāramārthika) cow, like the one which might be manifested by a lamp, etc. All they do is to produce (nirvrt) a particular aggregate (samūha) similar to a cow. The only object of the image, “It is like a cow," is simply this minium, etc. applied so as to constitute a particular arrangment (samniveśa) similar to the arrangement of the limbs of a cow. In the case of the aggregate of the determinants, etc., the situation is different : this as we have said - cannot be perceived as similar to delight. Thus, it is not true that Rasa is the reproduction of mental states." .
Gnoli adds in foot-note 1, pp. 42, ibid : "The visual arts are regarded in this passage as being of a different order from poetry : The pigments, etc., are material things which imitate a material thing. Very well then, says A.G., all the same, it is impossible that the poetic expression (consisting of determinants etc., i.e. of material elements could imitate mental movement, which is of a spiritual nature." -
It may be noted here, that Gnoli (pp. 41, Translation) gives a title : "other theories", and gives no. 5 to the discussion read above in which a painting is rejected as manifestation. Actually, we feel, and this is the feeling of Pandit Visveśarjee also that the lines : "yac cocyate varnakair haritālā"dibhih..." etc. have a clear reference to Sri Sankuka's citra-turaga-nyāya. In place of 'turaga' we have "gavā"di" here. This is not an independent view rejected by Tauta. So, a separate number, i.e. number '5' given to this view by Gnoli is not justified. The concluding remark proves our point, wherein it is stated "tasmāt bhāvā'nukaranam rasā ity asat." - We know that anukrti-anumiti-vāda was supported by Śrī. Sankuka and even the maxim that he has quoted is faulty. Tauta wants to expose the hollowness of the maxim also. It need not be taken as a separate view. A separate view however follows now which is very briefly dismissed by A.G. But before we turn to that we may once again take note of the fact that the principal attack of Tauta is directed towards the anukrti-vāda of Sri Sankuka. Whatever is presented as a means to rasa-experience is certainly not of the form of an imitation. The cultured
tator only sees the attire, the ornaments, crown etc. put on by an actor and listens to his voice. With the help of all these, universalized feelings are suggested. Bhatta Tauta aims to bring this point into relief.
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