काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

56 KĀVYAPRAKĀŚA न ताटस्थ्येन नात्मगतत्वेन रसः प्रतीयते नोत्पद्यते नाभिव्य- ज्यते अपि तु काव्ये नाट्ये चाभिधातो द्वितीयेन विभावादि- साधारणीकरणात्मना भावकत्वव्यापारेण भाव्यमानः स्थायी सत्त्वोद्रेकप्रकाशानन्दमयसंविद्विश्रान्तिसतत्त्वेन भोगेन भुज्यते इति भट्टनायकः । [Under this view, the causes, effects and auxiliaries are the invariable concomitants of the emotion,—and hence when they are perceived, in the Actor, they lead to the inference of the emotion; and the inference of this non-existent emotion is explained as being due to the predisposition of the audience.] [The objection against this view is that inference is a purely intellectual process, and hence cannot account for the highly complex emotional phenomena involved in Rasa.] (C) The third interpretation, that of Bhaṭṭa-nāyaka, is as follows :—‘Passion’ is not cognised (inferred), or generated, or manifested,—either unconcernedly (as not concerning the spectator at all, as held by Bhaṭṭa-Lollaṭa), or as subsisting in the spectator himself (relished by him, as held by Śrī-Śaṅkuka);—what happens is that in poetry and drama words are endowed with a peculiar presentative potency, distinct from direct Denotation (and indirect Indication)—which tends to generalise the Excitants, Ensuants and Variants, and thereby presents to consciousness the ‘latent emotion’, which thereupon comes to be relished by a process of delectation abounding in enlightenment and bliss, due to the plenitude of the quality of Harmony (Sattva). [According to this view the relishing of Passion is the outcome of the purely verbal process of ‘generalised presentation’. This is open to the objection that it makes the unwarrantable assumption of this last mentioned verbal process.]