131. ABHINAVAGUPTA'S THEORY OF ÆSTHETICS 151

ABHINAVAGUPTA'S THEORY OF ÆSTHETICS 151

had stimulated it. The constituent of personality, which is responsible for this type of reaction is technically called Sahrdayatva. It brings about identification1 with the focus of the situation. It presupposes close and frequent appli- cation to the study of drama and poetry and occasional visits to the theatre.

III. POWER OF VISUALISATION.

But the æsthetic susceptibility can supply only one side of the total emotive state, namely, the physical, which is responsible for the physical reaction to the stimulating situation. But the experience is essentially psycho-physical. Another subjective pre-requisite of the 9 æsthetic experience is, therefore, the power of visualisation. The real æsthetic image is not what is given. The given is only one third of the total. The suggested elements and the spiritual meaning, which are not given, are supplied by this power of visualisation which partly removes the shifting opaque barrier which divides the unconscious from the conscious and brings about the union of the suggested elements and the spiritual meaning, which come from the unconscious, with the given and thus completes the image. This image is different from that which arises in a determi- nate cognition, inasmuch as the latter is determined by the purposive attitude of the percipient. But in the former case, the æsthetic attitude, which is characterised by free. dom from all individual purposiveness, is the determining factor. Hence the æsthetic image has life, which a mere cognitive image totally lacks. This power of clear visuali- sation of the æsthetic image in all its fullness and life is technically called 'Pratibha3.

1. Dh. L., 11. 2. Dh. L., 29 and B. V. (MSS. 785) 2-4-11, 1