काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

CHAPTER IV 53 राम एवायम् अयमेव राम इति ‘न रामोयम्’ इत्यौत्तर- कालिके बाधे रामोयमिति रामः स्याद्वा न वायमिति राम- सदृशोयमिति च सम्यङ्मिथ्यासंशयसादृश्यप्रतीतिभ्यो विलक्षणया चित्रतुरगादिन्यायेन रामोयमिति प्रतिपत्त्या ग्राह्ये नटे This is what has been thus declared by Bharata (in his Nāṭyaśāstra)—“ There is accomplishment of Passion through the conjunction of the excitant, the ensuant and the variant.” [Four different interpretations of this assertion have been propounded, and each of these interpretations forms the basis of a distinct theory regarding the genesis of Rasa]. (A) The first interpretation is that given by Bhaṭṭa- Lollaṭa and his followers ; it is as follows :—The (latent) sentiment of love (and the like) is (a) generated by the excitants—i. e., the basic cause, in the shape of the woman, and the inflaming cause, in the shape of the garden and so forth—(b) rendered cognisable by the ensuants—i. e., effects, in the form of amorous glances, embraces and so forth,—and (c) consummated by the variants—such as self-disparagement and the like ;—this emotion, though primarily and really subsisting in the character personated— e. g. Rāma—comes to be recognised as subsisting in the personating actor by reason of his having assumed that character ; and when thus recognised, it is called ‘ Rasa ’, ‘ passion ’. [This theory is open to the objection that it fails to explain the emotion that arises in the mind of the spectator of the dramatic representation; as according to it, the sentiment is generated in the personated character and secondarily recognised in the personating actor.]