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1544
SAHRDAYĀLOKA is such that has gagged your taste for artistic enjloyment for the time being and the result is that because of this disturbance at purely physical or psychological level you are not in a mood to enjoy art, eventhough basically you are an adhikarin. This obstacle also squarely rests with the inner consciousness of the adhikarin. In case of the second obstacle the enjoyer concerned had a low taste, while in this case the taste is not in question but the circumstances have conspired against a qualified art-enjoyer.
The fourth obstacle, the defective state of the means of perception, goes with a number of things. If the presention cannot be viewed properly, or cannot be heard properly, i.e. if the difficulty lies with production side, or if the spectator has diffeculty with vision, hearing, sitting arrangement etc., the art-performance cannot be enjoyed.
The fifth obstacle also results from the same sources i.e. imperfect production, acting, etc. The presentation should be such so as to render clear the intention of presentation. The presentation should be such that it renders the thing such that it is dircetly experienced, so to say. A.bh. observes : (pp. 16, Gnoli, ibid) : “a-sphuapratītikāri-sabda-linga-sambhavépi na pratītir viśramyati sphuţa-pratīti-rūpapratyaksócita-pratyaya-säkänksarvāt."-i.e.-“Even if there may be such verbal testimonies and inferences, as to provoke an evident perception, perception, however, does not rest in them) because there is, in it, the expectancy of the certainty proper to direct experience, which consists in an evident perception.” (Trans. Gnoli, pp. 68, ibid). Gnoli adds ft. note 1, pp. 68, ibid : “Even though-thus A. Shankaran, op. cit. p. 106, paraphrases this passage-there may be clear and unmistakable verbal testimony and inference, we do not completely rest content with the knowledge derived therefrom; for therein is lacking that perpetual cognition which alone makes for clear, direct and definite knowledge.” With AShankaran, I have read here-” sphuta-pratīti-kāri-sabda-linga-sambhavépi.” should I have preferred the reading "a-sphuta...." the translation would have been : "Even if there may be verbal testimonies and inferences- which as a rule, do not provoke an evident perecption-"etc.
We feel that no question arises for this second reading. Actually the obstacle is caused by lack of capacity on the part of the poet, the producer-director and also the actor. Something is basically missing which stops the presentation becoming life-like, as if directly experienced. Anyone from the three mentioned above with his
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