124. ABHINAVAGUPTA'S THEORY OF ÆSTHETICS 143

ABHINAVAGUPTA'S THEORY OF ÆSTHETICS 143

(ii) Though from the point of view of a disinterested observer of the whole situation, there is a general stimulus situation, yet to the human beings involved in the situation, its power to affect is limited to the eyes and the ears by the artist's skill in the presentation. For, the tactile and other affections immediately precipitate the motor tenden- cies and thus make the universalisation of the presented (Sādhāranībhāva), on which the æsthetic experience chiefly rests, impossible. (iii) The stimuli in most cases have a spiritual meaning (Dhvani) in addition to the conventional or primary and the secondary. (iv) The situation has a focus, on and around which every thing else revolves. The entire situation, as emotively affecting the central figure in it and arousing a basic mental state in him, is technically called Vibhāva. B. (v) When more than one human being is involved in an emotive situation, each human being is a stimulus to others. The human personality, either as a whole or in any of its aspects, gives rise to social consciousness, which leads to the expression of the emotive effect of the total situation by means of the mimetic changes. These serve to stimulate other beings and establish mental commu- nication between individuals so that all become parts of one situation. The mimetic changes are technically called : Anubhava. C. (vi) As these changes take place and the situation develops, transient emotions arise and find expressions in characteristic deeds and apparent involuntary physical changes. These transient emotions are technically called 2 Vyabhicaribhavas,1915