25. 109. Dhanika takes the phrasing from NŚ 1.342, which he cites.

109. Dhanika takes the phrasing from NŚ 1.342, which he cites.

110. The antecedent of tad (in tadbhāva) is obscure, but I see no alternative to Dhanika (and Bhatta Nrisimha).

111. NŚ 1.338-339.

112. Ibid.

113. Whereas Dhanika's definition pertains to the context of response.

114. Generally the sāttvika (anu)bhāvas are thought to be psychophysical-being both bodily reactions and mental states, e.g., the perspiring that arises from fear, in contrast to the perspiring that arises from heat-and hence requiring special treatment (see especially Namisadhu on RKA 12.3, above, and Bhanudatta, RT 1.5, below).

115. Presumably the character's (thus para consistently in ND). That Dhanika is referring to the viewer/reader would seem to be indicated in what follows.

116. NŚ 1.373. "Concentration" indicates single-mindedness. Whereas the psychophysical responses presuppose some mental engagement, the purely physical reactions are automatic, and cannot, as Bharata says, "be produced when one's mind is elsewhere," i.e., not concentrated (as usual, Bharata has the actor uppermost in mind here).

117. The "sensitivities" can be considered reactions (anubhavas) in the case of a character, and emotions (bhāvas) in the case of the viewer/reader.

118. The illustrations that follow have been omitted.

119. Bahurupa Mishra understands differently:"'especially favorable' for the transformation of the stable emotion into rasa."

120. The list, definitions, and illustrations of the transitory emotions that follow have been omitted.

121. Presumably all other mental states beyond the thirty-three transitory emotions need to be included under either the factors or the reactions-both of which are open categories. But it is not clear how transitory emotions can be subsumed under

factors.

122. Bahurupa Mishra here cites two verses, one of which is often ascribed to Bharata but not found in the NS, the other a variant on NS 6.39 (see Śrngāratilaka 3.21-22, where both verses appear in the quoted form).

123. The kārikā speaks of conflicting emotions, not rasas, but both Bahurupa Mishra and Dhanika imperceptibly slip from one to the other. Mammata directly addresses this slippage in his discussion of the conflict of rasas (rasavirodha, see KP [BHU ed.] p. 442, rasaśabdenātra tatsthāyibhāva upalaksyate), though whether the ideas in play there (derived from Abhinavagupta) are also here remains uncertain.

124. The Brhatkatha is a lost work ascribed to Gunadhya. It is unclear which of the later adaptations Dhanika would have used.

125. MM 5.9+ (trans. Coulson); see also MM. 5.10, cited in DR 4.20 p. 185.

126. I see no propriety for anyat ... anyat, which appears to be the editor's conjecture (n. 182).

127. Like heat and cold.

128. Like the perception of a snake negated by a subsequent perception that the object is in fact a rope.

129. The passage is somewhat obscure and has been subject to much corruption. The Jaipur Pothikhana ms. gives ubhayarūpo 'pi na tāvat (fol. 62r), which strikes me as sound (the reading ubhayarūpeņāpi na tāvat tādātmyam asya ekarūpatvād āvirbhāvāt in GPP ed. pp. 142-43, accepted by Kundu 2000: 349, makes little sense to me).

130. In the rasa experience emotion is a unified mixture, which axiomatically does not permit of any sort of contradiction (Prabhā).

131. Adyar's reading is corroborated here by the Jaipur Pothikhana ms. GPP ed.'s ca bhāvādinām for vibhāvādinām is an attempt to correct a loose usage on Dhanika's part since he goes on to discuss only one class of these elements, the transitory emotions.