By Edwin Gerow

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Extra info for A History of Indian Literature - Vol. V: Scientific and Technical Literature (Part II) - Fasc. 3: Indian Poetics

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G. )" ",128 But also the rasa is not only a result, and the components are not only causes (as reflected in the popular derivation of bhdva—'concrete emotion' "evam bhdvd bhdvayanti rasdn . "129 Bhdva is also the first level apprehension of the concrete elements of the play: Rama as manifesting such and such a particular emotion in such and such a context. 131 Because the rasa is conceived as a mode of apprehension that is both immediate (in the theatre) and more general than verbal apprehension (for verbal apprehensions are one element only of the complex that is the play), its implicitude in every element of the play makes it quite inappropriately stated as the function of word imagery alone.

Like many of these arguments, the issue is purely chronological, and does not in any clear way influence our interpretation of the whole text, which we henceforth treat as one. The Dhvanyaloka is something of a tour de force. It solves a range of problems that had arisen in certain lines of speculation by adducing principles borrowed or adapted from others: however syncretistic, its achievement must be traced not only to this happy confluence of principle, but to its recognition of the changes in the poetic context that appeared to demand a new type of speculation.

It is a figure (agreeing with Dandin) but of an essentially different sort than those captioned by vakrokti (agreeing with Bhamaha). The force of the fourfold classification leads us to define as vastava, figures that involve neither simile nor hyperbole (thus occupying the polar position to Mesa, which involves both). But how can one speak of a figure that appears to involve neither of the constituent elements of figuration? Have we expended our cleverness only to define a null category ? The answer is in Rudrata's propositional calculus that in fact underlies his treatment of simile and hyperbole, as mentioned.

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