147. ABHINAVAGUPTA'S THEORY OF ÆSTHETICS 167

ABHINAVAGUPTA'S THEORY OF ÆSTHETICS 167

as such and then concealing his identity with suitable dress, paints and speech with peculiar intonation, such as fits in with the historic associations of the name, that is given to the hero,) is the means of universalising the presentation. (ii) Similarly music etc., which are well known to bring about the self-forgetfulness in the hearer, are the means of subjective universalisation.

4. THE INFLUENCE OF PERSONAL JOYS AND SORROWS.

(Nija sukha-duhkhādi- vivaśībhāvah.) Self-forgetfulness, brought about by music etc., is the means to get over it.

5. LACK OF CLARITY DUE TO INSUFFICIENT STIMULUS.

(Pratītyupāya-vaikalya-sphuțatvābhāvah). The mind does not get restful satisfaction if the knowledge is due to the inferential signs or linguistic symbols. To bring about the sufficiency in the stimulative capacity of the dramatic presentation, acting is introduced which has the stimulating effect almost as good as that of the really directly present.

6. SUBORDINATION OF THE PRINCIPAL. (Apradhānatā) The mind does not get the restful satisfaction in what occupies a subordinate position. Its natural tendency at the presentation of the subordinate is to seek for or run to the principal,

In order, therefore, to give the restful satisfaction, the Sthayī is given the predominant position in the midst of the situation etc.

7. DUBIOUSNESS OF PRESENTATION. (Samsaya-yogah.)