The Sanskrit Drama in its Origin, Development, Theory & Practice c20.s5.7

c20.s5.7

The view of Loḷḷaṭa, which is classed as one of the production (*utpatti*) of sentiment and regarded as that of the Mīmāṃsā school, is opposed by the doctrine of Śrīśaṅkuka, regarded as the Naiyāyika view, which interprets the manifestation of sentiment as a process of inference. The emotions, love, &c., are inferred to exist in the actor, though not really present in him, by means of the determinants, &c., cleverly exhibited in his acting; the emotion thus inferred, being sensed by the audience, through its exquisite beauty, adds to itself a peculiar charm and thus finally develops into the state of a sentiment in the spectator. This view, however, is open to the fatal objection that it is commonly admitted that it is not inference, or any other derivative mode of knowledge, which produces charm, but perception alone, and no adequate ground exists for disregarding this general truth in this case.