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SAHRDAYĀLOKA Being it so, these faults concern the prima facie view only, for, according to it, perception is subjected to the distinctions proper to oneself, to others, etc. Anyhow, no matter which the thesis is, Rasa results to be perecption. This is unavoidable. Indeed, the existence of an unperceived thing, as, for instance, a goblin affirmed. The fact that this perception is called by the names of relish, tasting, or enjoyment, does not amount to any difficulty. We know indeed that the direct cognition, the inference, the tradition, the intuition, the super-normal experience, under their different names,-caused by the different means which manifest them, are equally but forms of perception. Nothing then forbids us to admit that the same occurs in the case of rasa also, for the very reason that the means by which it is manifested, viz. the combination of the determinants, etc., assisted by the concent of heart and so on, are of a non-ordinary nature. The use of the expression, "The Rasas are perceived," is just like the one 'the porridge is being cooked.' The Rasa, indeed, is merely perceived. The relishing is only a particalar perception. This perception in drama, is different from an ordinary inferential perception; yet, in the beginning, this is required as a means. Likewise, the afore-said perception, in poetry, is different from the other verbal perceptions. Yet, in the beginning, these are required, as a means.
Therefore, the prima facie views are put to death. But if you say that the exploits of Rāma, etc., do not earn the consent of heart of everybody, that, I answer, is a great mark of rashness. Everybody's mind is indeed characterized by the most various latent inpressions; for as it has been said, "As the desire is permanent, these are beginningless," and, “On the ground that the remembrances and the impressions are homogeneous there is an uninterrupted succession of latent
sions, even if they are separated by birth, space and time." (yoga-sūtra, IV., sūtras 10 and 9). Therefore, it is established that Rasa is perceived. This perception, in its turn, presents itself in the form of relishing.
This relishing is produced by a new power, different from the power of denotation, which the expressed sense and the expressing words come to possess, that is the power of tune, of suggestion, The so-called power of bringing about enjoyment, proper to poetry, according to you, consists, actually, of this power of suggestion only, and has, as its object, the Rasa. The other power also, viz. the power of effectuation, is actually based on the usage of appropriate qualities and ornaments. We shall explain it diffusely. It is nothing new.
On the other hand, if you say that poetry is effecting the Rasa, then you, by this very statement, resuscitate the theory of production. Besides, this power of
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