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SAHṚDAYĀLOKA
With this brief note he explains the nature of rasa, of course following the lead of Abhinavagupta and Mammața. J. observes (pp. 64, ibid)
"samucita-lalita-sanniveśa-cāruṇā kāvyena samarpitaiḥ, sahṛdaya-hṛdayam pravistaiḥ, tadīya-sahṛdayată-saha-kṛtena bhāvanā-viśeṣa-mahimnā, vigalitadusyanta-ramaṇītvā”dibhir alaukika-vibhāvá-nubhāva-vyabhicāriśabda-vyapadesyaiḥ. śakuntaladibhir alambana-kāraṇaiḥ, candrikā"dibhir uddīpana-kāraṇaiḥ, aśrupātā❞dibhiḥ kāryaiḥ, cinta"dibhiḥ sahakāribhiś ca, sambhūya prādurbhāvitena alaukikena vyāpāreṇa, tatkāla-nivartitā”-nandāmśā”varaṇájñānena ata eva, pramusta-parimita-pramātṛtvä"di-nija-dharmeņa pramātra, sva-prakāśatayā vāstavena nija-svarūpā"nandena saha gocarīkriyamāṇaḥ prag-vinivista-vāsanārupo ratyā"dir eva rasaḥ."
The substance of this presentation is-(i) When a beautiful piece of poetry or drama is read or presented, the cause etc. of rasa, i.e. vibhāvādi-s, as presented in poetry or drama enter the heart of a connoisseur. -(ii) Through the agency of these vibhāvā"di-s, an extra-ordinary function called vyañjana comes into operation. (iii) This special function called vyañana has two objectives-(a) to effect a sort of cleaning of the heart of the rasika-s. Actually, on account of attachment towards worldly matters, 'ajñāna' and 'malinya' i.e. absence of true-knowledge and obstruction (caused thereby), characterise the heart or conscience of the rasikas. Removing this 'ajñāna' and 'mālinya', the poetic function presents the inner conscience of the rasika as pure consciousness and supreme bliss. This is the first achievement of vyañjana. (ii) The second objective is to make the rasika deserve the taste of rasa, manifested, in his heart. The idea is that the 'rasa' produced by kavya or natya is of the form of 'ātmā"nanda'. i.e. bliss of the soul. Tasting this 'ātmā"nanda', the rasika is carried away by beatitude. This tasting or rasa is the result of the enhancement of the basic emotion -sthayin-already present in the heart of the rasika, in form of 'vāsana' i.e. impressions from the past birth. This vāsanā in form of sthayin becomes an object of rasika's taste due to the vyañjanā-vyāpāra resulting from the vibhāvā"di-s. In this taste the ātmā"nanda of the rasika gets mixed up. So, this sthāyi-vāsanā takes the form of rasa; i.e. of the form of "ananda" itself. The idea is that the rasa which is an object of the rasika's taste is not the rasa belonging to such characters as Dusyanta and the like, portrayed in poetry or drama. But it is of the form of tasting of the inborn impressions carried in the heart by the Sa-hrdaya. But the same sthāyin getting enhanced through the agency of causes etc. that effect feeling etc. in the heart of Duayanta, reaches the state of rasa in the rasika's heart.
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