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Studies in Indian Philosophy
of his mind in S2. It must, however, be remembered that S2 may differ according to the difference in Medium. Let this difference in media be represented by letters "D...D'...D"
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Dn". I may, then, say that the form of all arts may be expressed by the following notations :
Ds2... D's2... D's2... D''s2....Ds2
It can be very easily seen that the creative function of the artist ceases with the creation of a member of the series Ds2...D2. Any art must be located only within this series. It is this series which the appreciator knows and when he knows it, knows it with the meaning attached to one or the other of the series, that is, knows it as S3. The relation between the Ds2 series and the $3 could easily be interpreted as analogous to the knowledge process as visualised by Sankhya. S3 is something like the world as we know it-to use Kant's terminology, a phenomenal world. In order to know this world we assume that in the physical reality, there must be some datum. This datum can be compared to 'Ds2' series. The Samkhya concepts of Tanmātra and Mahābhūta can, in exactly the same way, be regarded as parallel with the Ds2 series and S3. The real world of physics consists only of Tanmātras, though it is perceptible to us as consisting of Mahābhūtas. Similarly the world created by the artists con. sists only of the 'Ds2' series, though when it is known by the appreciator it is invested with its meaning, and is called S3.
How are you going to interpret and describe the Ds2 series in the context of Natya and what name are you going to give to this intermediary series? What will be the Natya language for expressing the ideas of the artists? What will be the material of such a language?
The language of Natya will differ from that of poetry; the material of this language will consist of visible and audible symbols, it will consist of actions and the cast of actors themselves along with the environment. All these together will form a Natya language and it is into this language that the
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