8. HISTORY OF INDIAN ÆSTHETICS 9

HISTORY OF INDIAN ÆSTHETICS 9

were, face to face with the spectator1 : that which leads to as certain a knowledge as that to which the directly present leads. It is divided into four types (i) Angika i.e. acting, consisting in the movement of the parts of body. (ii) Vacika i.e. acting, consisting in the appro. priate movement of speech-organs, involved in effective recitation. (iii) Satvika i.e. acting, consisting in the action of mind, involved in the various emotive states, such as find expression in involuntary physical changes, such as change of colour, tremor and horripilation etc. (iv) Aharya i.e. all the means of presentation other than those belonging to the psycho-physical constituents of the actors themselves. It includes (i) all that is used for giving appro- priate look of the characters of a drama to individual actors, such as paints, dress and ornaments etc : (ii) all that is necessary for presenting scene of action: (iii) all the mecha- nical contrivances to present such means of transport and communication as Vimana (Aeroplane) etc. It also deals with construction of the stage and method of its management. There is considerable space given to sections on dance and music, both instrumental and vocal. Necessary qualifications of actors and the stage-manager are also given at some length. It discusses ten types of drama, extending from one act plays to ten act plays. It deals with the method of dramatisation and types of hero, heroine and adversary. It also states the recognised types of æsthetic experience, different persisting and transitory emotions and psycho- physical movements and situations, necessary to arouse them .: In the course of our presentation of Indian Aesthetics we shall confine ourselves to some of the topics, mentioned in the last paragraph. 1. N. S., 98. 2