7. HISTORY OF INDIAN ÆSTHETICS 7

HISTORY OF INDIAN ÆSTHETICS 7

directly through eyes and ears. And the reply to the last question covers the whole work.

PROBLEMS OF ÆSTHETICS SOLVED IN THE ABOVE ANSWERS. If we look at the traditional account of the origin of the Natya Sastra from modern point of view, we find that it contains relevant answers to some pertinent questions that arise in modern minds as they approach the problem of æsthetics.

1. The first question, that is answered here, is "What are the æsthetic senses ?" And Bharata declares that æsthetic senses are only two (i) eye and (ii) ear. He excludes touch, taste and smell from æsthetic senses, operating in getting æsthetic experience from dramatic presentation. For, the former are the only senses, which can operate in relation to an object that is common to many. What is the object of touch or taste of one cannot be the object of the same senses of other persons. But whole audience1 can have in eommon what is addressed to eyes or ears.

2. Another question, that is answered here, is "What is the end of 'dramatic art?" And the reply is that the end of dramatic art is instruction, not directly, but indirectly, through presentation of what is pleasing to eyes and ears. It does not directly command, but it makes the audience experience the goodness of virtuous path, through identification with the focus of the dramatic situation. It administers the medicine of instruction, but it either coats it with sugar or mixes it up with the milk of pleasant sight and sound so that bitterness of medicine is not experienced. 3. Bharata maintains that the aspect of sensuous pleasure is undeniable in the experience from dramatic 1. A. Bh., Vol. I. 10.

8 CHAPTER I presentation. But it constitutes only the starting point. Thus, he gives right place to both (i) Hedonistic and (ii) Pedagogic theories of art in his æsthetics. 4. He holds that drama is simply a play or play-thing, which is meant for diverting the mind from what worries or troubles it. 5. The most essential subjective condition for æsthetic experience, according to him, is that the mind of the specta- tor should not be occupied with excessive personal pleasure or pain. 6. He recognises the importance of women on the stage. For, the correct expression of emotion, for instance, blush at the sight of the object of love, is not possible unless the emotion, from which such a physical change proceeds, be actually present in the heart. But there are certain1 feelings, which are peculiar to fair sex only. Hence for their accurate and life-like presentation women are necessary for stage. BIRD'S-EYE VIEW OF THE NĀTYA ŚĀSTRA. Bharata's Natya Sastra is divided into thirty-six chapters, according to some recensions, and into thirty seven chapters, according to others. The recension, which Abhi- navagupta had before him, while commenting on it, had thirty-seven chapters. And he refers to one of the thirty-six categories of Kashmir Saiva Philosophy in the benedictory verse at the beginning of each chapter. In the beginning of the thirty.seventh chapter he refers to Anuttara. The broad division of the subject-matter is into (i) what drama presents i. e. Rasa and (ii) the means of its presenta- tion. The latter is technically called Abhinaya (acting) i.e. that which brings what is intended to be presented, as if it 1. A.Bh., Vol. I. 21-2.