History of Sanskrit Poetics c6.82.3

c6.82.3

It is his view that *rasa* is inferred by the spectator. The स्थायिभाव in the original hero is inferred to exist in the actor (though not actually existing in him) on account of *vibhāvas* cleverly represented by him in his acting, so as to give rise to the notion that the actor experiences feelings identical with those of the hero and makes the spectator forget for the time being the difference between the actors and the characters they represent. This inferred mood possesses peculiar charm entirely different from ordinary perceptions and inferences. Hence the realisation of *rasa* by the spectator is a logical inference. This view is elaborated and criticized in several pages of the अभिनवभारती (vol. I pp. 274-278). Numerous objections are raised against it. But the important one is that it is direct apprehension that produces strikingness and not mere inference (एतदप्यहृदयग्राहि यतः प्रत्यक्षमेव ज्ञानं सचमत्कारम्, नानुमित्यादिरिति लोकप्रसिद्धमवधूयान्यथा कल्पने मानाभावः । प्रदीप p. 77 on काव्यप्र. IV. 4-5). For the view of भट्टनायक, vide above pp. 212-213. भट्टनायक denies that *rasa* is a matter of inference; nor does he accept the view that *rasa* is manifested as something relished by the spectator. He looks upon रसास्वाद as in the same category with परब्रह्मात्कार. As परब्रह्म is आनन्दमय, so is the apprehension of *rasa*. He held that besides *abhidhā* there were two more powers of word viz. भावकत्वव्यापार and भोग or भोगीकृति.