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individual in the particular place at the particular moment feels pain, pleasure, etc. This elimination takes place insofar as in the theatrical performance there is, on the one hand, the negation of the real being of the actor, and on the other - since the spectator's consciousness does not rest entirely on the represented images -- there is no rest on the real being of the super-imposed personage (i.e., the character of Rāma etc. who is super-imposed upon the real being of the actor); so that, ultimately, there is a negation both of the real being of the actor and that of the character he is playing. The Sage (Bharata) has dealt with all this in connection with Rasa-realization to ensure universalization of feelings. In other words, the devices help to promote the gustation of Rasa ( 1470 ) through the state of generality produced.
3. The third obstacle lies in the undue assertion of selfregarding emotions. How can anyone who is overpowered by his own happiness or sorrow concentrate on something else? To overcome this barrier, various means such as music, vocal and instrumental, well-decorated halls, well-accomplished ladies, are employed so that, on account of a state of generality, these are aesthetic objects enjoyed by all the spectators and possess such a charming power (Uparañja) that even an unesthetic person (Ahşdaya) reaches limpidity of heart and is forced to vibrate in response (becomes 'possessed of heart').
4. If the means of perception are absent, perception itself will also naturally be absent. We require eyes, ears, etc., for immediate and adequate realization of any data presented to us; if they are absent, how can we be sure of the correctness of our knowledge ? So, it is the fourth obstacle not to possess sound senses of perception : प्रतीत्युपायवैकल्य.
5. The fifth barrier also arises from 37-yra or absence of clarity or perspicuity. Even where there is clear and unmistakable verbal testimony and inference so as to evoke an evident perception, perception, however, does not rest
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