356. 358 HISTORY OF SANSKRIT POETICS

358 HISTORY OF SANSKRIT POETICS

(1932) chap. VII pp. 97-98 he sets out a long list of eighteen innate propensities of human beings. Dr. R. J. S. McDowall in 'Sane Psychology' (1944) shortens MacDougall's list to fourteen instincts and sets them out together with their atten- dant emotions as follows (pp. 20-21). Instinct. Attendant cmotion. (1) Escape from danger Fear (2) Combat Anger (3) Repugnance Disgust (4) Parental protection Parental fecling of the young (5) Curiosity Adventure (6) Self-assertion Superiority (7) Self-abasement Subjection (8) Cry of distress Helplessness (9) Sex Sexual desire (10) Herd Loneliness (11) Food seeking Appetite (12) Hoarding Fceling of ownership (13) Construction Feeling of creativeness (14) Laughter Amusement We shall now turn to the analysis Bharata and his followers make about the effect produced on the minds of the spectators when they see a drama. It should be remembered that they had only a limited objective before them and were not concerned with any perfect or all-round system of psychology concerning man from his primitive stagc or from childhood onwards. They knew that the representa- tion of a drama appealed only to two senses, viz. the eye and the ear (क्रीडनीयकमिच्छामो दृश्यं श्रव्यं च यद्ध्वेत्। नाट्य. I. 11). This was the physiological bisis. Among those arts that appeal through the eye are included dancing (G4) and acting, ornaments, painting; the arts of hearing include oratory and repetition of poetic stanzas (YIT), singing and music in general. They knew that a dramatic representation gave delight to the audience even when in the drama presented there were some sad episodes. In ordinary life pity and fear do not give rise to pleasure or repose but the pity and fear felt by the re- presentation on the stage of a tragic event differ in their effects. They therefore described and analysed the nature of