काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

62 KĀVYAPRAKĀŚA इत्यादौ च यद्यपि विभावानामनुभावानामौत्सुक्यव्रीडाहर्षकोपासूया- प्रसादानां च व्यभिचारिणां केवलनामत्र स्थितिः, तथाप्ये- तेषामसाधारणत्वमित्यन्यतमद्वयाक्षेपकत्वे सति नानैकान्तिक- त्वमिति ॥ २८ ॥ तद्विशेषानाह-- शृङ्गारहास्यकरुणरौद्रवीरभयानकाः । बीभत्साद्भुतसंज्ञौ चेत्यष्टौ नाट्ये रसाः स्मृताः ॥ २९ ॥ her lover at a distance, averted on his drawing near her, beaming on being spoken to, blushing on embrace, curving the brows on her clothes being touched, filling with tears on his falling on her feet,'— We find that the first (a) mentions the excitants only (in the shape of the woman, the season and so forth; and makes no mention of any ensuants or variants),—the second (b) mentions the ensuants alone (in the shape of the languishing of the body and so forth),—and the third (c) mentions only the variants, in the shape of Anxiety, Modesty, Joy, Anger, Aversion and Conciliation; [and as such it would appear to be not right to say that Passion is manifested by the excitants, ensuants and variants collec- tively, as the Sūtra declares].—But what each of the cited examples directly mentions—are the exceptional elements of each case, and the other two factors are also indirectly implied; so that they do not vitiate the truth of the general proposition (propounded by Bharata). 28. The Author next mentions the particular kinds of Passion.— (1) The Erotic, (2) the Comic, (3) the Pathetic, (4) the Furious, (5) the Heroic, (6) the Frightful, (7) the Disgustful,