128. ABHINAVAGUPTA'S THEORY OF ÆSTHETICS 147

ABHINAVAGUPTA'S THEORY OF ÆSTHETICS 147

the consciousness, aroused by the æsthetic object, is not negatived by any subsequent observation or reflection. Is ÆSTHETIC OBJECT A "REFLECTION" (PRATIBIMBA) ? Here we are using the word 'reflection' in a special sense. Ordinarily it means an image that is cast by a certain object in a mirror or any other smooth surface. Here, however, we are using this expression in the sense of total reproduction of an historical character in respect of paraphernalia, speech, situation, mimetic changes, transient emotions and the basic mental state. The question, therefore, is whether the dramatic presentation is a correct representation of historical event in all its aspects. To this question also reply would be in the negative, whether we look at it from the point of view of the actor or that of the spectator. The reason is obvious : neither the actor, impersonating the hero of the piece, Rama for instance, looks upon the person representing the heroine, Sīta, as the historic Sīta : nor does the spectator look upon the presenta- tion as reflection; because in that case consciousness of the reflected as distinct from the reflecting being necessarily there, the presented would look unreal, and, therefore, the identification with the presented and consequent empathic reaction would be impossible. IT IS NOT A PARTIAL REPRESENTATION. That the dramatic æsthetic object is not a partial representation of the historic goes without saying. It is not, for instance, a representation of the external appearance only, like the pictorial or plastic representation : nor is it a reproduction of the set words only, like recita- tion. We can neither class it with the production of magic nor with the feat of jugglery.