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Rasa-nispatti-vicāra in Abhinavagupta
1563 spectator's minds. For this very reason, the spectator is no longer living either in the space and time of Rāma, etc., nor in the space and time of the actor as such.
Acts of horripilation, etc., which have repeatedly been seen by the spectator in the course of everyday life as indexes of delight, etc., serve, in this case, to make known a delight, etc., uncircumscribed by either time or space. In this delight, just because he possesses the latent traces of it in himself, the self of the spectator also actively participates. For this very reason, this delight is perceived neither with indifference, from the outside, nor as if it were linked with a particular [ungeneralized] cause-for in this case, intrusion by pragmatic requirements, interests of gain, etc. would occur-, nor again as if exclusively belonged to a defined third person-for, in this case, sensations of pleasure, hatred, etc. would occur in the spectator. Thus, the Erotic Rasa is simply the feeling of delight-a feeling, however, which is both generalized and the object of a consciousness, which may be either single or develop consecutively. The taste of generalization is carried out by the determinants. etc.”
It may be noted that when Abhinavagupta speaks of 'Rāma', as for example, in the above passage, the same is applicable to any other character, male or female, either historical or imaginary. Abhinavagupta's concern is not with a historical character only.
Again, in the above passage, when he talks igf "bengāra-sasalhe means any! other rasa also. In fact he and also Anandavardhana and the whole school of thought these two represent, believe in one rasla, a 'mahā-rasa-and it can be given! the name of śāntarrasa. This will be rendereda clear when we will examine their position on the problem of śānta-rasa by the end of this chapter. For the presént, we will just quote the relevant portion from the Locana also that deals with this problem of rasa-nişpatti. As observed earlier, and as the advanced reader will make out for himself while reading the quotation from Locana, the treatment therein is neither that clear, nor that perfect as compared to the Abh. But this never permits 0110111-6600
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DO a rash, conclusion that there is any contradiction of ideas between the twa, i.e. I DALAX21in2011 VECK.UST THI TUTTO ibab Locana and Abh., or there is any confusion in the presentation in Lacana. Only.. lésser souls would see such things in Abhinavagypta
CA TITIR O Vichibhira The Locana portion which deals with this problem of rasa may be read as follows, and it forms the commentary on Dhy. I. 4. VO
I -761VOOR DE 16V0IOTOMC1-26TE But before we quote, we repeat that Abhinavagupta's aesthetics has; its essence carved out in the discussion he devotes to the śānta-rasa. It may also be noted that
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