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feats. That is way in dramatic compositions, whose aim is the learning and teaching of deeds transcending the ordinary life, and which have a lofty moral purpose, the plot and the characters are al ways drawn from the Epics and well-known tradition ( felaardit ). This makes the works appealing. However, this requirement is absent in the case of farces (HEHAITE ).
2. The second barrier (Fra) is the presence of certain individualistic or distinctive features of time and place which enable the spectator or connoisseur to sever himself from the objects described. When the spectator is at the mercy of the tasting of pleasures, pains, etc., inhering in his own person, the second obstacle or barrier surely arises. This obstacle consists in the appearance of other forms of consciousness, due variously to the fear of being abandoned by the sensation of pleasure, etc., to the worry about their preservation, to have a desire to procure other similar sensations, to think of getting rid of them, give them open expression, hide them, etc., Even when someone perceives pleasure, pain, etc., as inhering exclusively in other persons, other forms of consciousness inevitably arise in him (pleasure, pain, stupor, indifference, etc.) which obviously constitute an obstacle. The Nātyadharmi - Means of Eliminating the Obstacles
The means by which this obstacle can be eliminated are the Natyadharmis 8 7 or the theatrical conventions, which include a number of things not to be found in ordinary life, as for example, the zones (Kaksyā) dividing the pavilion (Mandapa), the stage (Rangapitha), the various types of costumes, the various dialects (Bhāṣās) used, etc.; and, what is more, the different dresses of the actors, the headwear, etc., by which they hide their true identity. The various theatrical devices such as the Pūrvaranga, the prologue etc. are employed for this reason only. The presence of the above devices and improvisations eliminates the perception : this particular
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