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Rasa-nispatti-vicāra in Abhinavagupta
1549
subject, called an actor, etc." Such a mental state, continues A.G. is unique, generealized, devoid of the notions "own", "of others", etc. and, therefore, it pervades also the spectators-: ata eva sadhāraṇībhūta-tayā sāmājikam api svātmasadbhāvena samāveśayanti....
'Samsaya-yoga' is the seventh obstacle which is met with due to inacurate delineation by the poet. The individual anubhava-s, vibhāva-s and vyabhicārins have no fixed relationship with a given sthāyin. But the fixed combination of vibhāvā"di-s evokes only a given sthayin and result in tasting of a particular rasa. The poet, who wants to delineate a particular rasa should narrate the full combination in a suitable way so as to enhance a particular sthayin to the capacity of a given rasa. Failing in this, there will be doubt about the central effect of a given piece of art and the aesthete will be left in doubt as to the intention of the poet, thus thwarting the process of tasting. So, to remove this doubt "samyoga" or perfeet combination is recommended. A.bh. (pp. 19, 20, Gnoli) reads as :- "tatránubhāvānām vibhāvānām vyabhicāriņām ca pṛthak shtayini niyamo násti, bāṣpā”der ānandákṣirogādijatva-darśanād vyāghrādeśca krodha-bhaya"di-hetutvāt śrama-cinta"der utsaha-bhaya"dy anekasahacaratvavalokanāt. sāmagrī tu na vyabhicāriņī tathā hi bandhu-vināśo yatra vibhāvaḥ, paridevitáśrupātādis tv anubhā"vaś cinta-dainya"diś ca vyabhicārī, sóvaśyam sóka evéti. evam samśayódaye sanka"tmaka-vighna-śamanāya samyoga upāttaḥ."
(trans. Gnoli, pp. 77, ibid) :
-"The consequents, the determinants and the transitory sentiments considered separately are in no definite relation to any specific permanent sentiment'; for. e.g., tears, etc., may arise out of bliss, some disease in the eye, etc., and as we know, weariness (śrama), anxiety (cinta), etc., may accompany permanent feelings, as heroism, fear, etc. But the combination of these elements has an unmistakeble signification. Thus., where the death of a close relation is the determinant, wailing, shedding of tears, etc., the consequent, and anxiety, depression (dainya), etc. The transitory feelings, then the parmanent sentiment can not be other than sorrow. Therefore, considered (such a possible) arising of doubt, combination is used, just to remove this obstacle.
Thus A.G. has critically considered the obstacles in tasting and the means to remove the same. While considering the sixth obstacle A.G. at length, gets into a
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