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.]