11. HISTORY OF INDIAN ÆSTHETICS 13

HISTORY OF INDIAN ÆSTHETICS 13

EXPLANATION OF THE TECHNICAL TERMS. We know it on the basis of our common experience (i) that in actual life an emotion, which is the mainspring of a series of actions, that is directed to the achievement of an end, is aroused by a situation with a focal point, and therefore, situation is recognised to be the cause of emotion, (ii) that this emotion, which lasts through the series of actions till the end is achieved, expresses itself in various physical changes, e. g. the peculiar movements of eyes and eyebrows, change of colour and gentleness and tenderness in general behaviour in love; these changes, therefore, are the effects of the emotion and (iii) that the persisting emotion is invariably accompanied by transient emotions, e. g. love in separation from its object expresses itself in the emotions, which spring from it, such as self-disparagement (Nirveda) languor (glani) and fear etc .: and they are recognised to be its natural accompaniments. But in the case of the persisting emotion, which is presented on the stage and which is experienced by the spectator, the situation, which the actor, representing the hero of the piece, faces, cannot be spoken of as the cause of his emotion; nor can it be spoken of as the cause of the emotion, that the spectator experiences. For, neither to the actor nor to the spectator as such, is the situation related in the manner, in which it was related to the historical character, that is represented. For instance, Sīta, as an historical person, as the daughter of King Janaka, cannot be looked upon as the object of love either by the actor or the spectator, because the religious association with the histo- rical character, the name of which the focus of the situation bears, will prevent the rise of such an emotion and will, on the contrary, arouse emotions of quite different nature from that of love, such as respect and veneration. The cause, therefore,