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SAHRDAYĀLOKA sādhāranyópāya-balāt tatkāla-vigalita-parimita-pramātstva-vasónmișita-vedyảntarasamparka-sūnyá parimita-bhāvena pramātrā, sakala-sahrdayabhājā sādhāranyena, svā”kāra ivábhinnópi gocarīkstaś carvyamāņạtaika-prāņo, vibhāvā”di-Jīvitāvadhiḥ, pānaka-rasa-nyāyena carvyamāṇaḥ pura iva parisphuran, hțdayam iva pravišan, sarvanginam iva alingan, anyat sarvam iva tirodadhat brahmā"svādam iva anubhāvayan a-laukika-camatkāra-kārī śộngārā"diko rasaḥ."
R.C. Dwivedi translates - (pp. 67, 71, ibid) :- “In common life, the men of taste are possessed of proficiency by repeated observation, in inferring the basic emotion. through women and the like. i.e. through causes, etc. In poetry and drama, the same (causes etc.) are designated by the words determinants, etc., by giving up
ity, etc., and because of possessing the pervading function and the like (vibhāvanā"di-vyāpāra). These (vibhāvā"di-s, etc.) are cognised in universal character on account of non-apprehension of the rule of acceptance or rejection of a particular relation as (illustrated) in (the following): . These indeed are mine; these indeed, are of the opponent; these, indeed are of the neutral; these indeed are not mine, these indeed are not of the opponent; and these, are not of the neutral.
Thus apprehended the basic emotion, love, etc., is situated in the spectator in the form of impression. Although it (the basic emotion) exists as belonging to the particular connoisseur, but on account of the power of universalising process the rasa, though non-different as one's own self, is yet experienced universaly by a connoisseur, sharing the correspondence of heart (or aesthetic sensibility) with all, in whom becomes manifest a state of limitlessness free from the contact of any other object of cognition arising from the immediate cessation of the limited character of a cogniser. Having relish (tasting) as its supreme essence, having its life coeval with determinants etc., being enjoyed as a delicious beverage, throbbing as it were; embracing as it were, the entire being; overpowering as if everything else; producing an experience akin to the taste of ultimate Reality (Brahman), and effecting an extra-ordinary charm-such is Rasa, śrngāra, etc."
M. also, following Abhinavagunta enters into an epistemological analysis of rasaperception, observes rasa is not of the form of an effect (sa ca na kāryah), for effects have a tendency to continue even when their causes cease to exist. Thus rasa, if it were an effect, would continue ever after the disappearance of vibhāvā"dis. But as
ch rasa-parception is "pari-passu" with the continuation of vibhāvā"dis. Rasa is neither cognised (nápi jñāpyah), for it is not a 'siddha', i.e. (pūrva-siddha) an entity already accomplished prior to the function of the vibhāvā"di-s. On the contrary, rasa
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