27. 30 CHAPTER I

30 CHAPTER I

Samskārāt Kalpanā proktā Sāpi bhinnāvabhāsini. I. P. V. Vol. I- 256.

/ Kadācitkah Kadācidbhavaḥ ajñātadeśakālākāraḥ avabhāso yasya dehādeḥ svalakșaņarūpasya, tatra yā pūrvābhāsena bālādiśarīrābhāsena yojanā Yoham Balah sa evādya yuvā ityanusandhānam. / Thus, we find that Bhatta Lollata was not concerned with the spectator's point of view of Rasa. In his com- mentary, as we learn it from Abhinava's presentation of his view, there was no reference to the spectator. The word, "Pratīyamanah" implying the spectator, has been introduced by Mammata, with very slight amendation of the text of Abhinava, which we have already given above. Mammața's amendation runs as follows :- "Mukhyayā vrttyā Rāmādāvanukārye, Tadrūpatānusandhānāt Nartakepi pratīyamāno Rasalı." K. P. 31.

BHATȚA LOLLAȚA'S THEORY. His point of view is essentially practical. His purpose is to analyse the æsthetic object into its constituents and to point out how they combine in the production of the æsthetic object on the stage. According to him, therefore, Rasa (æsthetic object) is nothing but the unity of a basic mental state in the midst of multiplicity of (i) emotive situation, (ii) mimetic changes and (iii) transient emotions. The basic mental state is the element of unity in the total configuration of Rasa; because all the three constituents of Rasa, mentioned above, are related to the fourth, the basic mental state, in one way or another. The stimulative situation is the cause of the basic mental state. The mimetic