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,