Studies in the History of Sanskrit Poetics v2.c79.68

v2.c79.68

It has been noted above that Bharata makes all these elements, the *lakṣaṇa*, *guṇa*, *doṣa* and *alaṃkāra*, subordinate to the principal purpose of awakening *rasa* in the drama. These elements constitute what he calls vācika abhinaya (defined in viii 6, 9), which is dealt with in chapters xiv-xx and which forms an important factor, the anubhāva (vii 5), in calling forth the rasa. Hence Bharata expressly considers (xvi 104 f) the question of their employment in relation to rasa. It is necessary, therefore, to consider here briefly Bharata’s teachings regarding rasa⁴⁰, which is dealt with in the Nāṭya-śāstra, chapters vi and vii⁴¹.