138. 158 CHAPTER III

158 CHAPTER III

bility, by the charming music of the introductory scene. In other words, the consciousness is freed from the elements of individuality. We have also explained the reasons of the inhibition of the individual, time and place elements of the presented from coming into the spectator's consciousness. Thus the self-forgetful self on the subjective side and the psycho-physical conditions of the hero on the objective side united together bring about a state which is known as the state of identification, technically called "Tadātmya". But identification is a slow process- It does not take place all at once. The process of identification begins at the moment of freedom of the self of the spectator from everything that constitutes individuality. At this moment he has no purpose, no bodily or mental attitude, no disposition and consequently he is not making psycho.physical responses. When at this stage the hero appears in certain psycho-physical conditions in the midst of a befitting situa. tion, the first thing that he does is to draw the entire attention of the audience to himself. He then inspires the spectator with his purpose. This leads to the forma- tion, on the part of audience, of mental and bodily attitudes and so of disposition towards the rest of the presented exactly like those of the hero. Then, the æsthete sees and hears all that is going on, on the stage, as if it were through the eyes and the ears of the hero. Thus the level of identification is reached when the æsthete evaluates the entire situation in which the hero is placed, exactly as does the hero himself. The following two points have to be remembered in this connection :-

(1) Identification is a state of oneness in duality. It is a state of oneness inasmuch as the constituents of both the experiencing entities, the æsthete and the hero, are the same. But duality still persists. For, otherwise the