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NOTES: CHAPTER SEVEN 481 147 sneha.
148辫谤补峁嘺测补.
149,
辫谤补峁嘺测补.
150 It is not seen as either real or false, i.e., it
is not seen at all.
151 The text reads: napasyam ubhayam mune. 艢r墨dhara
(JLS, P. 26) glosses ubhayam atmanam param ca--"neither
myself nor the Supreme"--but Madhusudana seems to want to
give the verse, out of context, an ad hoc interpretation of
his own.
See previous note.
152sthayi.
153 That is, Madhusudana intends the second and more
literal of the two meanings discussed at chap. 6.2. While
sthayibh膩va is commonly used by the rhetoricians in the
sense of the "dominant" or "prevailing" mood of a literary
piece, it is also understood to refer to a "permanent" or
"abiding" state of mind. (Sth膩yin comes from the root sth膩,
"to stand, remain.") As a samsk膩ra or v膩san膩, the sth膩yi-
bh膩va is said to be a permanent aspect of consciousness.
In
Madhusudana's theory of devotion, however, and that of the
Gosv膩mins, the sth膩yibh膩va of bhaktirasa is not acquired
through empirical experience, as are the permanent emotions
of the secular aestheticians. Rather, it is innate in the
mind as either the form of the Lord or, in the Bengal
school, an aspect of the divine svar奴pa艣akti. It is
therefore permanent in a more profound, metaphysical sense.
The sthayibh膩va of bhaktirasa never actually "enters" the
mind, since it has always been there. See sec. XXIII;
chaps. 4.3.6, 5.5, 6.5.
154 Because the object is never released from the
mind. See stanza 8.
155 The spectator's identification with the events
and emotions of the play leads to self-transcendence and a
blissful state of awareness. See Masson and Patwardan,
Aesthetic Rapture, I, 33. For explanations of the technical
terms, see notes 47-49.
156 The author of the Natya艣膩stra.
See chap. 6.2.
157 Madhusudana wants to show that devotion is a true
sentiment. But a sentiment develops only from a permanent
emotion and must involve the apprehension of bliss, so he
must show that devotion arises from legitimate permanent