63. HISTORY OF INDIAN ÆSTHETICS 69

HISTORY OF INDIAN ÆSTHETICS 69

by Bhatta Nayaka, as stated in the preceding paragraphs, and that, admitted by Abhinavagupta, as dealt with in all details in a subsequent chapter. In fact, according to Abhinava's own statement in A. Bh. Vol. I., P. 280,1 his theory is not different from that of Bhatta Nayaka, but simply an improvement upon it in the following respects : - 1. Æsthetic experience is not due to an objective perception of the presented, but to the identification of the spectator with the human focus of the situation. The spectator consequently has almost the same psycho-physical conditions as those of the hero of the piece. 2. Abhinava accounts for the universalisation of the presented in terms of psychological factors and does not explain it away by simply assuming an additional power of poetic language, called Bhavakatva. 3. Abhinava admits that the cognitive process leading to the ultimate æsthetic experience is different from that involved in ordinary perception and remembrance etc., but he psychologically accounts for it and maintains that assumption of the third power of the poetic language, called "Bhojakatva" is unnecessary. BHATȚA NAYAKA'S POSITION EXPLAINED. The history of Kashmir literature of the period, to which Bhatta Nayaka belonged, clearly explains the influ- ences which were responsible for the new turn that he gave to the theory of Indian æsthetics. For five hundred years, from the time of Bharata (circa 500 A. D.) to that of Bhatta Lollata, (the latter half of 9th century) æsthe- tics was studied purely from the artist's point of view. The problem of the writers on æstehtics during that period was, therefore, practical. Their task was to show how to /1. A. Bh., Vol. I., 280.