काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

60 KĀVYAPRAKĀŚA तपरिमितेतरयोगिसंवेदनविलक्षणलोकोत्तरस्वसंवेदनगोचर इति प्रत्येयोऽप्यभिधीयताम् । तद्ग्राहकं च न निर्विकल्पकं विभावादिपरामर्शप्रधानत्वात् । नापि सविकल्पकं चर्व्यमाणस्या- लौकिकानन्दमयस्य स्वसंवेदनसिद्धत्वात् । उभयाभावस्वरूपस्य चोभयात्मकत्वमपि पूर्ववल्लोकोत्तरतामेव गमयति न तु विरोधमिति श्रीमदाचार्याभिनवगुप्तपादाः ॥ व्याघ्रादयो विभावा भयानकस्येव वीराद्भुतरौद्राणाम् अश्रुपातादयोनुभावाः शृङ्गारस्येव करुणभयानकयोः चिन्ता- दयो व्यभिचारिणः शृङ्गारस्येव वीरकरुणभयानकानामिति पृथगनैकान्तिकत्वात् सूत्रे मिलिता निर्दिष्टाः । the fact that it is neither the one nor the other, and yet it partakes of the nature of both, only confirms its trans- cendental character, and does not vitiate it. [The difference between the fourth and the third explanations lies in the fact that according to the third,there is relishing of the emotion which is not present in the spectator's mind, while according to the fourth, it is present in his mind in the form of predisposition. The propriety of this explanation is further strengthened by the fact that the spectator whose mind is free from such predisposition does not feel the passion,] The ‘ excitants, ensuants and variants ’ have been spoken of in the Sūtra (of Bharata) in a general way, be- cause as a rule they are not related specifically to any parti- cular Passion ; for instance, the Tiger is an excitant of the ‘ Frightful ’, as also of the ‘ Heroic ’, the ‘ Marvellous ’ and the ‘ Furious ’; the shedding of tears is an ensuant of the ‘ Erotic ’, as also of the ‘ Pathetic ’ and the ‘ Fright- ful ’; painful reflection is the variant of the ‘ Erotic ’, as also of the ‘ Heroic ’, the ‘ Pathetic ’ and the ‘ Frightful.’