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1538
SAHRDAYĀLOKA
in a "camatkāra" set apart from any distinction of 'selp, or others'. Aesthetic tasting is a "generalised” perception and free therefore, of obstacles (in the Abh., I. p. 291), the expression "āsvādayanti manasā” N.S. VI. v. 36; is commented upon in the following manner : ā samantāt sādhāranībhāvena nirvighna-pratipattivaśān manasā indriyantara-vighna-sambhāvanā-śūnyena svādayanti sva-para-vivekaśūnya-svāda-camatkāra-paravaśā....)”
On "apahastita-tat-tad-vākyópātta-kālā”di-vibhāgā”, Gnoli observes (ft. note, 1, pp. 55, ibid): "In other words, the spectator (and hence the state of consciousness by which he is pervaded) is not in the real time and space either of the deer or of the actor as such. In the aesthetic experience, these two temporal and spatial orders cancel each other out. On the other hand, therefore, the deer, etc. is without any temporal or spatial determination (viz. it is not felt as an element of ordinary life but is perceived in a generalised form); similarly, the actor, and hence the impression of fear which he suggests, is not perceived as a constituent element of practical life. The state of consciousness which does occur is, therefore, unaffected by space and time; it is a generalized permanent mental state."
An interesting note is also added by Gnoli (ft. note, 1, pp. 56, ibid) on the word "viparivartamānam” : “viparivrt”-means to move, to revolve, etc. The use of the word is ancient. It is to be found in Bhartshari (I., 125, tikā, p. 125 (ed. of Lahore) : "buddhau viparivartate.” In the same sense (that is, with buddhau) it is used by Dharma-Kirti and Kumarila also. A.G. comments on the word 'viparivartamānasya' in the following way (I. P. V., II, p. 140) : "vicitratvena viśvasya bhedábhedā"tmanā parivartamānasya spandanena sphurato...."
Abhinavagupta further observes that during rasa-experience the self of the sāmājika is neither absolutely negated nor presented in its particularity. What is implied by this is that the sāmājika comes out of his small particula higher in self and thus he is not presented as a small individual-višesatayā-i.e. one covered by limited ego, but at the same time he himself is the enjoyer of rasa and thus his I-ness is not totally erased. All who observe the performance of such feelings as śoka or grief, or who taste such feelings as narrated in poetry, have an identical experience. Thus the generality-sādhāranya-is not limited to a single spectator but is extended or wider, and it can be equated with the invariable concomitance between smoke and fire. In this experience which is like a direct experiencesākśātkāra-the nourishing material is provided by the actor etc. In this sāmagri or combination, generality is nourished because the limiting factors such as time, space, individual enjoyer, etc. get removed. So all the sāmājikas have an identical
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