6. HISTORY OF INDIAN ÆSTHETICS 5

HISTORY OF INDIAN ÆSTHETICS 5

4. What are the various means of knowledge, necess- ary for knowing the different parts of drama ? And if drama is an organic whole and not a mere jumble, "Is there any special means of knowing the inter-connection of parts ?" And if so "What is it ?" 5. How are the different parts of drama to be presented. These and allied questions Bharata attempts in his Nātya Sāstra or Nāțya Veda. The answers to first three questions are given in the very first chapter. The answer to the first question may be stated as follows :- The circumstances, which led to the creation of Drama- turgy, were the products of time. During Treta Yuga, when Vaivasvata manvantara was running, the gods, headed by Indra, approached Brahmā with a request to him to create a play-thing, which may be pleasing to both the eye and the ear and lead people automatically to follow the path of duty, without the need of any external compulsion, such as the order of a king. The reason why there arose the necessity for such a play-thing was that Treta Yuga is domineered over by Rajas, the quality of action, prompted by selfish desires and emotions, and, therefore, the common experience is a mixture of pleasure1 and pain, during this Yuga. The need for a play-thing arises only among those, whose experience is a mixture of pleasure and pain, the latter being proportionately more than the former. For, play- thing is for diversion. And one desires to divert the mind only from what is painful. Such a diversion was necessary for humanity. For, humanity, being under the influence of Rajas, was deviating from the right path, pointed out by the Vedas, and was ignoring the rites due to Gods. They, therefore, felt the 1. A. Bh. Vol. 1. 10.

6 CHAPTER I necessity of bringing humanity to the right path. This could not be achieved through Vedic instruction1; because the Sudras were excluded from the circle of Vedic study. The gods, therefore, wanted an instrument of instruction such as could be utilised for instructing all, irrespective of caste, and such as would be different in form from that of categorical imperative, would not be a mere command, which is unpleasant to hear and equally unpleasant to carry out ; but such as would delightfully instruct, would cover the undesirable tone of command under pleasant sights and sounds, would administer the bitter2 pill of instruction under the sweet coating of sugar, would mix the bitter medicine of instruction in sweet milk3 so as to make it palatable. These were the circumstances, which led to creation of the fifth Veda by Brahma at the request of gods. It was created for those, who did not readily follow the path pointed out by the Vedas, or the Sudras, who were debarred from reading and hearing the Vedas. The reply to the second question "Into how many parts is the Natya Veda divided ?" is that primarily there are four parts, dealing with the following topics (1) Art of effective speech (Vācikā-bhinaya). (2) Art of music (3) Art of acting and (4) Rasas. And reply to the third question "How are the various parts connected ?" is that drama, with the science or theory of which the Natya Veda is concerned, primarily presents Rasa, and the three arts are the means of its effective presentation. Thus, it is an organic whole. The reply to the fourth question is that it is apprehended 1. A. Bh, Vol. I. 11. 2. A. Bh., Vol. 1. 10. 3. A. Bh., Vol. 1. 11.