Rasarnavasudhakara 2.359.p7

2.359.p7

prāyeṇa bhāratīya-matānusāriṇāṃ prakriyā tu (ittham)-loke kāraṇa-kārya-sahakāritām upagataiḥ kāvye nāṭye vā sarasa-sūkti-sudhā-mādhurī-dhurīṇair yathoktābhinaya-sametair vā padārthatvena vibhāvānubhāva-sañcāri-vyapadeśaṃ prāpitaiḥ nāyikā-nāyaka-candra-candrikā-malayānilādi-bhrū-vikṣepa-kaṭākṣa-pāta-sveda-romāñcādi-nirveda-harṣādi-rūpair vāsanātmakair ātma-sambandhitvenābhi-matair bhāvaiḥ dharma-kīrti-ratānāṃ ṣaḍ-aṅga-nāṭya-samaya-jñānāṃ nānā-deśa-veṣa-bhāṣā-vicakṣaṇānāṃ nikhila-kalā-kalāpa-kovidānāṃ santyakta-matsarāṇāṃ sakala-siddhānta-vedināṃ rasa-bhāva-vivecakānāṃ kāvyārtha-nihita-cetasāṃ sāmājikānāṃ manasi mudrā-muditra-nyāyena viparitvartitāḥ vāsitāś cābhivardhitāḥ sthāyino bhāvāḥ (vākyārtha-sthānīyāḥ) kāvyārthatvenābhimatāḥ bāhyārthāvalambanātmakāḥ santo vikāsa-vistara-kṣobha-vikṣepātmakatayā vibhinnāḥ tat-tad-rūpeṇa (raty-utsāhādi-rūpeṇa sāmājikaiḥ) āsvādyamānāḥ paramānanda-rūpatām āpnuvantīti sakala-sahṛdaya-saṃvedana-siddhasya rasasya pramāṇāntareṇa saṃsādhana-pariśramaḥ śrotṛ-jana-citta-kṣobhāya na kevalaṃ, pratyuta nopayogāyeti prakṛtam anusarāmaḥ ||

The procedure of those who largely follow the doctrine of Bharata, however, is this: In the minds of spectators—who are devoted to virtue and fame, knowledgeable in the conventions of six-limbed drama, skilled in the costumes and languages of various regions, expert in the whole host of arts, free from envy, knowers of all established doctrines, discerners of aesthetic sentiments and emotions, and whose minds are fixed on the meaning of poetry—the durable emotional states, which occupy the position of the sentence-meaning and are intended as the meaning of the poem, being supported by external objects, differentiated into the forms of expansion, development, agitation, and distraction, having been revolved, perfume-infused, and enhanced after the manner of a seal and sealing-wax by emotions that have attained the state of cause, effect, and auxiliary in the world, that in poetry or drama are endowed with the sweetness of the nectar of flavorful speech or accompanied by the acting as described, that have obtained the designations of determinants, consequents, and transitory states as poetic meanings, taking the form of heroine, hero, moon, moonlight, southern breeze, movement of eyebrows, side glances, perspiration, horripilation, despondency, joy, and the like, which are of the nature of latent impressions and are acknowledged as related to oneself, being relished in those respective forms (in the forms of love, heroic energy, and so forth) by the spectators, attain the form of supreme bliss. Therefore, the effort to establish by another means of knowledge an aesthetic sentiment that is established by the experience of all sensitive persons not only produces agitation in the minds of the listeners, but is furthermore of no use; so let us return to the subject at hand.