Studies in the History of Sanskrit Poetics v2.c86.15

v2.c86.15

into *svāpnika* (enjoyed in a dream), *mānorathika* (fanciful like a castle in the air) and *aupanāyika* (as depicted in poetry). He again gives us (ch. viii, p. 65, ed. Regnaud) a three-fold arrangement of *rasa* with reference to its manner of manifestation : (i) *abhimuka*, when it is manifested by means of the *bhāva*, *vibhāva* and *anubhāva* (ii) *vimukha*, when these elements are not directly expressed; and so called because it is comprehensible with difficulty, (iii) *paramukha*, which has again two aspects according as it is (a) *alaṃkāra-mukha*, i. e. where the *alaṃkāra* is principal and the *rasa* is secondary. This includes probably the cases of figures like *rasavat*, which are included in *guṇībhūta-vyaṅgya kāvya* by the *dhvani*-theorists, (b) *bhāva-mukha* where the *bhāva* is in the same way principal.