17. 158. Additional material is offered in Pollock 2001c.

158. Additional material is offered in Pollock 2001c.

159. Bourdieu 1984, in particular p. 6. The more overtly Marxist work of Della Volpe (1991) is curiously uncritical of taste itself

as a social category.

160. Wellek 1974 (1942): 57.

161. Wimsatt and Beardsley 1949: 48, 44.

162. This was true of Beardsley himself (his description of aesthetic experience could have been written by Abhinava, 1981: lxii).

163. See for example Thrailkill 2007 (the novel); Robinson 2005 (music); Clough and Halley 2007 (the social); Plamper 2010 (the history of emotions); Rosenwein 2005 (emotion in history); Leys 2011 (new cognitive theories).

164. THE FOUNDATIONAL TEXT, C. 300, AND EARLY THEORISTS, 650-1025

165. P 4.3.110; Kalidasa, Mālavikāgnimitra, Act 1, v. 15+.

166. RG pp. 34-35, below.

167. Shrinivasan 1980.

168. The first mention in the scholarly tradition outside the NS is in the early ninth century with Udbhata (4.4; possibly an interpolation, see n. 131 below). Dhanika (on DR 4.35) observes that the NS does not mention it. (For early references outside alaņkārśāstra, see Raghvan 1975: 24.)

169. ABh 1.333.

170. Krishnamoorthy 1968: 45.

171. NŚ 6.51, p. 308.

172. NS 1.342 (compare n. 46 below on the use of abhivyakti).

173. NŚ 1.282.

174. One may well wonder whether the prose elaborations concerned with "discerning viewers" and the "traditional verse" that substantiate their antiquity are later than the main compilation. It is above all in chapters 6 and 7 that prose commentary and ānuvamśya verses are found; their historical provenance awaits serious text-critical scrutiny (for an interpretation, see Varma 1958).

175. I am not persuaded of the reality of a commentary attributed to Matrgupta (early seventh century?). For the evidence, see Kane 1971: 54-55.

176. Abhinava takes these to mean definitions and their analysis respectively.

177. Here follow the definitions of compendium of topics, summary verse, and etymology, and lesser components of dramatic

art

14. A legendary predecessor of Bharata.

15. Here follows a discussion of dramatic conventions, styles, modes, costumes, music and singing, and the theater structure.

16. Elsewhere in rasa discourse artha can have the sense "meaning," "purpose," "subject matter." Its very vagueness has much exercised thinkers, especially Abhinavagupta (see ABh 1.265, 272, below).

17. The celebrated Sutra on Rasa. The use of utpad in reference to rasa has been analyzed by Dwivedi 2005: 124-27. For Bharata it is the stable emotions that become rasa (sthāyino bhāvā rasatvam āpnuvanti, NŚ 1.282; see also 1.349.10 and 377.14).

18. "Condiment," vyañjana, is related to vyañjita, "manifested," below.

19. vyañjita -. The term is not to be connected with the linguistic theory of Anandavardhana; here, inner states are-and must be -made "manifest" by reactions and the like (the term is, however, found elsewhere in the NS in connection with rasa only on 1.343, prose following 7.7; see also n. 30 below).

20. In accordance with Abhinava's gloss (or: "with the acting out of emotions").

21. In what follows bhāva refers also to vibhāvādi, the aesthetic elements.

22. The following verses, presenting views denied in the preceding prose passage, apparently seek to allow them by differentiating the analytical framework in which one determines cause and effect. Thus, "emotion" could be taken as referring to what is experienced by another character (Sita's emotional reaction to Rama's erotic rasa) or by the spectator (whose own emotional reaction comes from rasa); on another analysis, the technical signification of bhāva comes into play only after rasa has turned the emotion or element into an aesthetic object. For later interpretations and critiques of Bharata's view, see ŚP p. 631.18 (and n. 155) and ABh 1.286, both discussed below. Abhinava and Hemachandra attribute to Shri Shankuka the view that rasa precedes emotion (see Shri Shankuka selections #2 and #2a, below), which might suggest that this passage of the NS postdates 850, Shri Shankuka's likely floruit.

23. I read sambaddhā (with Dwivedi, for sambaddhān).

24. vyañjana as "condiment" is impossible here-a condiment is not itself produced by the substances; my translation agrees essentially with Abhinava (" 'condiment' here means a particular postprandial drink, in effect, taste"). The verse may have been inherited by Bharata and uses a terminology slightly different from his.

25. And food of course makes spices edible. 26. Abhinava understands this verse in a schematic as opposed to a literal sense: rasas in general can stand in four different kinds of cause-effect relationship with each other (the pairs given are illustrative only, not exhaustive): (1) one rasa can function as the cause of another insofar as it imitates the other, as a "semblance" of a rasa; (2) one rasa can be seen as a necessary consequence of the end result of another; (3) one rasa can be seen as aiming toward another as its end result; (4) one rasa can necessarily imply another insofar as the two share the same foundational factor (see ABh 1.289-291, below). That this interpretation reflects Bharata's intention, however, may be seriously doubted.

26. Analyzed by Bhoja, ŚP, p. 635, Dhanika, p. 221, and Abhinava, ABh 1.289.13, below.

27. Abhinava identifies this sentence as a sutra. Unlike the names for the other rasas, which correlate with their referents (vīra, for example, means "hero"), the meaning of the word for the erotic, śrngara, is obscure, hence the need for etymology (nirukta). Presumably because the word śrngara also refers to decorative clothing (especially for dressing the deity's image), it can be related to the erotic, as English "lovely" is related to "love." For the later etymology, see Hemadri on BhM p. 164, below.

28. The reactions and registers of acting seem less sharply distinguished in the early period than they are later (see also Induraja on KASS, p. 47 n. 116; p. 49 n. 129, both below).

29. The text is dubious, since these are of course transitory emotions, not reactions. But the reading was known to Abhinava, who tries to defend it (ABh 1.301.24).

30. See "the ten stages of erotic thwarted" in the glossary.

31. NŚ 24 ("homogeneous acting," Bansat-Boudon 1989-1990, following Abhinava).

32. Later thinkers postulated a "tragic erotic thwarted"; see RAS p. 275 and Venkatacharya's n. there.

33. The erotic is subject to all emotions because it includes the erotic thwarted-which, however, is to be distinguished from the tragic.

34. The verse would appear to indicate all three aesthetic elements: foundational and stimulant factors, transitory emotions, and reactions, though the second phrase, "feeling ... ," is vague. Abhinava restricts the verse to the factors.

36. According to Abhinava, these are meant to stand for the transitory emotions as such (pramoda presumably doing duty for harsa). But the two verses do not provide a systematic account of the elements of rasa: the first verse mentions only the stimulant factors; the second, bodily and verbal representation, the transitory emotions (presumably), and more bodily representations.

37. Bharata continues in the same vein with respect to the remaining seven rasas.

38. For Abhinava, at issue in these rasa subtypes are the various shades of emotion appropriate to the underlying factor in question. One can easily see in the case of the comic how language, behavior, and dress would constitute three different types, less so in the case of the erotic and the violent.

39. Abhinava notes that "grief" here refers to loss of a loved one and the like (rather than to the stable emotion as such); the NS

is cataloging these tragedy types according to the three ends of man.

40. "It would be false to claim that even persons of high status can truly be stricken with fear in the face of a transgression they may have made against a parent, teacher, or other guru. For fear consists of the dread of one's own death, and this cannot arise among such persons. This is why fear will be defined generally as relating to women and persons of low status" (Abhinava; for the definition, see NŚ 1.347).

41. An interpolated prose passage on the peaceful rasa follows.

42. Or, purpose ([kāvya-]artha-); contrast n. 16 above. The compound is found only once elsewhere in this chapter (p. 343), and in 19.69 (and the term kāvya itself is rare).

43. The three different definitions are meant for the instruction of three different kinds of audience of the NS: playwrights, actors, and spectators (Abhinava).

44. That is, makes available to the viewer.

45. Repeating 6.34 above.

46. -abhivyakti-, which is used only here in connection with rasa (see also above n. 8); the phrase "literary rasa" (kāvyarasa) is used only once elsewhere (18.93).

47. sāmānyaguņayogena (used only once elsewhere, NŚ, 22.194). The term probably refers to the qualities shared by a bhāva and its respective rasa; it most certainly does not have the significance we find in the Bhatta Nayaka tradition (compare Avaloka n. 100, below).

48. The glosses here (cited in NS 4th ed. and Krishnamoorthy 1988: xxiv) do not pertain to this verse in the context of the NS.

49. What Bharata proceeds to offer seem in fact to be definitions of the specific categories of emotions.

50. Here follows the definition of the eight stable emotions, their factors and reactions.

51. Here follows the definition of the thirty-three transitory emotions, their factors and reactions.

52. With the real emotions.

53. I read in desperation aduhkhitena asukhitena (with Kangle, for duhkhitena sukhitena).

54. Bharata goes on to name the psychophysical responses, their causes, and their "function in bringing about the rasas and the emotions."

55. Bronner 2011.

56. We have of course seen kāvya used of drama in the NŚ itself (see n. 42 above).

57. See above, p. 9.

58. Udbhata (4.7, below) fits samhita into the category of affective utterance by redefining it as the "evening out" or 'quiescence" of a rasa or emotion, and that is how it will be treated in the later tradition (e.g., Candrāloka 5.117-18).

59. See Kuntaka, VJ 3.11, below.