369. THE RASA SCHOOL 371

THE RASA SCHOOL 371

tion to the spectator; but it is said to be a matter of inference due to clever imitation (भनुकरगरूपो रसः). It would be noticed that Sankuka speaks of rasa from the standpoint of the spectator. 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 vibhavas 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, नानु- मित्यादिरिति लोकप्रसिद्धिमवधूयान्यथा 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 THRa4 as in the same category with परब्रह्मसाक्षात्कार. As परब्रक्ष is आानन्दमय, so is the apprehension of rasa. He held that besides abhidha there were two more powers of word viz. भावकत्वव्यापार and भोग or भोगीकृति. By the first the vibhāvas like Rāma and Sīta are represented to the audience or reader stripped of their individual aspects (साधारणी- करण or साधारणगुययोग) and the sentiment of love is aroused in the mind and then the audience or reader enjoys a thrill which is आनन्दमय, is different from ordinary experience (अनुभव) or recollection (स्मृति) and is like परब्रह्मास्वाद. The अ. भा. (नाव्यशास्त्र vol. I pp.278-279) remarks :. 'तस्मात्काव्ये दोषाभावगखालक्कारमयत्वलव्षेन, नाट्ये चतुर्विधाभिनयरूपेण, निबिडनिजमोइसक्टतानिवारणकारिया विभावाबिसा- धारणीकरणात्मना अभिघातो द्वितीयेनशेन भावकत्वव्यापारेय भाव्यमानो रसोऽनु- भवस्मृत्यादिविलक्षरेन रजस्तमोऽनुवेधवैचित्र्यबलाद्हृदि विस्तारविकासलक्षेन संत्वोद्रेक- प्रकाशानन्दमयनिजसंविद्विश्रान्तिविलक्षणेन परब्रह्मास्वादसविधेन भोगेन परं भुज्यत rfa l'. It appears from the Locana that Nayaka accepted that Rasa was the soul of poetry or drama and that it was j. 'रस। स च काव्यव्यापारैकगोचरो रसध्वनिरिति। स च ध्वनिरेवेति स एव मुख्यतया-