365bet娱乐

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level of complexity and detail, particularly under the
influence of such writers as Rudrabha峁�峁璦 (tenth century) and
Bhoja (eleventh century). This made the rasa艣膩stra even
45 more ideally suited to the needs of the Gosv膩mins, who were
especially concerned with explicating the nuances of the
ecstatic love-relationship of K峁涐梗峁嘺 and the gopis.46
From what has been said about rasa-theory thus far,
the reader will have noticed that it is not elaborated from
the viewpoint of the artist or poet and his act of creation.
Rather, the chief focus of study is the sentiment
鈥�
47 experienced by the individual involved in appreciating the
emotions portrayed in the work of art, i.e., the spectator
(s膩m膩jika) or connoisseur (rasika) When the theory is
applied to bhakti, the devotee takes the place of the*
artistic connoisseur, and the center of discussion becomes
(1) his or her enjoyment of the bliss of devotion and (2)
the process of interaction with the drama, in this case the
story of K峁涐梗峁嘺's life and exploits, by which this experience
is elicited.
The question of the actual locus of rasa is one of
the first that must be dealt with. The Vaisnava theologians
point out that there is disagreement among the orthodox
rhetoricians on this problem. While some hold that the
sentiment exists in the original hero and heroine depicted
in the drama and impersonated by the actors, others locate