History of Sanskrit Poetics c6.82.2

c6.82.2

All that Lollaṭa means is that the spectator is delighted by the fact that the actor cleverly represents by his acting that he is Rāma himself, feels the same love that the historic or legendary person (Rāma) felt towards the heroine. The spectator is charmed by this. The view of Lollaṭa is not very clearly expressed by अभिनवगुप्त or by मम्मट (तेन स्थाय्येव विभावानुभावादिभिरुपचितो रसः। स्थायी भवत्यनुपचितः। स चोभयोरपि मुख्यया वृत्त्या रामादावनुकार्येडनुकर्तरि च नटे रामादिरूपतानुसन्धान-बलादिति। अ. भा. vol. I p. 274; रसस्वरूप एव तावदिप्रतिपत्तयः प्रतिवादिनाम्। तथा हि पूर्वावस्थायां यः स्थायी स एव व्यभिचारिसम्पातादिना प्राप्तपोषोऽनुकार्यगत एव रसः। लोचन p. 83; नटे तु तुल्यरूपतानुसन्धानवशादारोप्यमाणः सामाजिकार्ना चमत्कारहेतुः। प्रदीप p. 74 on काव्यप्र. 4. 5-6). Here real *rasa* (शृङ्गार) is produced in राम and therefore this view is called उत्पत्तिवाद. शङ्कुक thinks that *rasa* is a matter of inference. The actor who has been well trained in the art of giculation cleverly simulates the actions of real heroes and the spectator apprehends for the moment the actor as non-different from the real hero and infers love (of Rāma etc.) from the अनुभावs, व्यभिचारिभावs presented by the actor and mentally contemplates such love and relishes it. Here *rasa* is no doubt spoken of in relation to the spectator; but it is said to be a matter of inference due to clever imitation (अनुकररूपो रसः). It would be noticed that Śaṅkuka speaks of *rasa* from the standpoint of the spectator.