swam - as$1'¢¥1C¢'C‘C7"

=.=fi'=a25s1TFa' ah arefas arFaaTOCOCOOCOOCQCOCCCCCCCOCQOOQ

a=fi'=a?.'I

:rrt5I‘ra?‘ 13‘ 21$ Fm F:1=aT23 ma gqaa 3‘ I

'.-«Fm-1‘, ‘am’, ‘mafia’, "rfIeJ$t', 'G'é'T'¢T-T ,

=w1"'—3?5 7-HT 3 9 aT‘a?5I 916: 3 f*:F=m5r 3' I 'I‘=F=1

acftaga fl‘ °Fj_'cTT',

'G’fij_15E", 'an?=$Tr', 'rfi=maa", 'nFrnT:1e:' 's=1 aafi Fa6'Iet-1?‘

5? an arm: {Far ma 8: aF%1Fxa 61% 3' I U33 ‘V '$TT'm‘¥'————-——-———¢-———¢-u--c¢———¢————-ncc--©—_—-C-"--"*—*

For the term 'beauty' itself has atleast fivedifferent meanings in aesthetics that are quiteclearly distinguishable from one another and thesedifferent meanings are tied to the context ofdifferent particular problems. In the context of ametaphysical consideration of the world's order,beauty is equated with its orderliness. In theepistemological context derived from Baumgarten, beautyis thought of as adequacy to the mind in perception.From the anthropoligical point of view, it may seem tobenothing more than sensual attractiveness. To theligislators of taste it tends to become one aestheticquality variously differentiated among a number. Thosereflecting upon criticism may use it to mean Aestheticexcellence".

E.F. Sparshott - The Structure of Aesthetics, p.59.

I-.Ia°r=I :3‘ q:a3a:1' (Pulcher) a°r=I“r mm 13' "1’-Ia‘, :II5=I '-‘ITUTT ‘Fa’

N??? (schon) JTFZ ea”-IIT‘cI4&* $753 1=fi"=cr2.'I $f‘—«~II; 912133 3 I

atqa: ii 33% HT? Fafvsm §r=‘crtaT -at FEFEEJ era?’ 3? eII1°=rau‘aI=I

5raT=I a-<r?I 3‘ I zqfizfi as a=1=3I‘—cI 3 aflt a3 aI=p3Fa a:Tz.:.2:Ta’fi?I

3 I 31! Gina 1'-‘I‘ GIT fr qn:mT=I %, anti‘ mfi aga firm =I6°r"e‘ mi‘

333 Fa§‘fw‘fi“s‘I FTTEFIT Ham 3? I Frat zfi xII"=a25a°r fin?

aI2=I‘L=a ma?‘ an‘ an afi crTF:fIa aejafi“ fiI aIT=ITa=I Wé % F:rI=I1§‘ 3'8

‘31'F?1 <'$°T Fa5'Iui=ITaI?’ afr aIT11T 2 I nT=m aegrafi“ fit an ass? 131:m=I2:°r

a?~I?Fa-*&*aT SDI 2113 3I=IT aTI;~'€I 3' afir aa tfi azfi aa a’2:I"na9‘I Fina

aITa°r 3 I-I? mas fiwfi 6fT=f_'E-1T'=f€lT an an ar-1:5 a»*r‘# %' GI? Eur?

trrfifa a1“—raa 3? agara a:z?I’°r aIT=I Irs?(°r % aI?r aa arnfi :16 ii‘afifi B aft ‘ma’ avfi afr aIF=IEdaI=IT fi‘ Ur ‘F<‘:I°fEFTIFI°l’ % I

H?‘-:15 I26 €17-Pf? I} ah’ air afiafa vnaamfia 3':

31* 2137; aTrFFI‘h a3*=az5aTaaI: ar Farfim an‘ 32:2

9263* crr F=IaraaT 3 I

3I3 zfi=aI§aTiIas_ Faum $7 "FETFTT 313% 15m 613‘ gm: 3?‘!

Faerra 3 Faémra if FRH "q'=dr" an f=_a/3fi1_'_H71 arr raw %1=l=IT«Tara 3? GITHT 3 I

323 an Fai‘Iw'I av? Q3? FaF=I76‘c: awfi fir qgxeg 1%v:IT:aTu

H? 313! 7’=II3Ua (Simple) uT=I=IT war 2 I

I- €P=ztT ahfi - 1=I?‘-?rz‘i:1“r“ca afit HTFBFJ Faéaa & ‘czITa3TFz?s tra

=IuT aIT‘<=I?aa afi?-I/q=I, I983, =[-30

2- 31’- 1=;i“—*; aTrF«=I’I‘I - zfi"—z'I!'I-a—ca afit avrai-FmrT=a, cg-9

3

833 aa an ":f—ar' an Fafim ET Fasrfism H91 améiH? as Far3Iw1 :«r<‘c.‘mrrcr"‘Ia aw; an ETFIT 3 3% 5.73? M I

H?‘-6:5 Fatwa; Fa’F=I==I nT’—vIaTu'

qarm 2=I?’—a'fi E? :rtr?fin°I Fara asré 3‘ I :;=Ia‘: ~3FfHTTI

zfar aft Fna ta 3, aa: 31?: aI°ra=I—aT&a% I

12313? 3 fin 3373?, Fm ah FTEII Haw %2I af-at "Err:-I‘E’ afir ago" 3' am =n_'=e:r fiat: 9IF‘a$ 3?=IT aITa9.'a$ 3: I

ana 3 a=ga=ITr z=I?'—725I, aIIt»*T‘a?r aTn=IT aI1‘r JtI'zfiFnaT

I‘-I aatrr a»*°r are; 3, am afar arq I‘-t“'aI1ér', 'F:.=Ifiz:‘T' an‘?3

'31”tI'~?=1a‘3m" aI"r PatI=IT=IaT ma’? 2 I

a'1tmn1'c‘¥=I as? 9a;f‘—«I 6T GHETUT 3°r ’fi'7??3-3373‘? %4l

a-*Ttr:s' 3 aI=11=ITr i=I1“‘—a?fI Fa'¥I=I:fiTvI e1‘r?U'rr ET aIT=r=a %SI@1174 an a=I"f'a1‘I-a3'?=I 9??-‘III G131?-I tr? F=I"-'1? 3 I énc‘-I an %fi'c"R5-33°F!

1. will Durant - The pleasures of philosophy(1953),p.19O2. The works of Plato - Ed. Jowett. p.3903. santayana - The Sense of Beauty, p.504. Bernard Bosauquet - A History of Aesthetic, p.1785. Immanuel Kant - The critique of Judgement reprinted

in the philosophies of Beauty - Ed. E.F. Carritt (Oxford)1952, p.112

6. J.N. Findly - Hegel A re-examination (1958) p.341

4

ars‘$fi=I 2=fi”=a'ii ST Faaaa Fanarr 31 are‘! 2?‘: I a"ra':aagnTr ‘£aTT0°T 2as mm at amftaré Fa um ax‘-1T¢.3’r“6a ar #625 and ‘Fawn ah crFIF=rIS‘c' 3 I

nanaisa fia, fifiaa ITS? "GTTT aaT-Paar???‘ 3 ‘r“=rI=fi«Fr:=1

an’-Tag: rfvzfi‘ a-<°r a1‘i‘T~mT 3?! 3'

‘as gas, gag, s‘=?5Tr{f“c? as’? vfaa afi a:Tn=1T .3=fi‘c%I,

garas, crrafrs, nan afi aF=raJta=1T am §1l=1°!trdT 3-am, a?T-aafu,

sag, “6au’9'$T91:mT=1, aafifla 39-*T%:, afiaf, a?a1%3, awfi.-’ E-BT?°F?'91'.

1. The Beauty Theory, then may be summed up in threesentences.

(8) Beauty is a regional quality of perceptual objects.(b) Beauty is intronsically valuable.(c) ‘Aesthetic value‘ means value that an ooject has

on account of its beauty.Mouroe C. Beardsley - Aesthetics Problems in the

Philosophy of criticism (1958)p.507

2. "Many have rightly insisted that the beauty of a workof art is independent of its subject, and truly, thehumility of art, which finds its inspiration every­where, is identical with the humility of love, whichregards alike a dog and a Brahman - and of science,to which the lowest fonm is as significant as thehighest".Ananda Coomaraswamy - The Dance of Shiva (1974), p.69

5

rr—If€:_I3 ‘err Baa, ans, a:T&‘—‘c*r, trTa»‘r3, aI%IrT:3=3fiI 3?‘:-Ira, ma,

aI"‘I3, n=I?%3ITF=Ies aIa=Ib;-Ia?IT BEIFIT, flirts, Ua»'T’Faa»?IT afir :=Ina?'«=I=I

3aIT1:?’r—I, Fraéa -fir a_38, HT'fiI‘—c.Ia~' 5r=ITa 3?I3‘1ar, uacfiefg

a=IT9=I13«*-Ia»?IT BIITFIH, aafi, gar-3a%sB wfr an 9a:~;T‘a afi rffié at

F=If’n?cI In ‘at? :.I1'c“I %' a~'aIT§?“—cI aaa am?‘ an aI=Ia»’ro’I UT r{=I9‘F—;€(°r­

EH01 =I3°I‘i‘ I Ire‘ tranfr an $a<=I a'zI?GI=I afi =Ia°I‘% I as av"?-I'l'd3TT

3% ENUTT, 38$ nanr, gnfna afarai" UT I-3?: $ aI°ra7T'aT IIIFICITII 3'!

flea? aI=;2=ITr 'a=fi=Er!5 IEI Ego‘? a? Haj 3=aaTd;T*a8 % TETQ CW5?

2=I?=aI‘3 9”crT=I afiafi am :m$°I Til-‘1’T aW9IaT?3I an nT=Ia % —

awararr am F=Ir_°re£s at; arms 3 W 3‘ I aa=rI“~«-Ir; a=I?tm“cna: Ira§1IIfi‘a a2IT aT%ItI'T1u 73' I

a=I rIT==:raTaI?' 3: Fr“? 3 ‘Fa a=fi"a'2f‘I mm ma‘ era: firm?‘

$7 aIcrFr3T1fi Ema % I agis Fawn 1=I?‘»%t'I $1‘ awfasa air an

aIT?n’F=I66 63% 3‘ I v=I?’—a2If=1=3Fr—I era qua 5'1 a"rr nfiya a’ra°I%

aa aa E}T~ITfi3fFl a'=I GITFFI 3 I ETFIEI 1}‘ as asfa H?‘-215

qua armtrm 3 a"Ia=I %I 6!‘ H253 %'3I aIT=r=a a3_nTrFITn”I an

I- Ema nfvrfaga 'aITé7.=I is 331' 3?: Fr3I:rT=a %I fir: ‘arr trage­

H?—-zfi IE2: er}? I3?-U1‘6=I, {-37

2- rfma5'«=I<‘-Ifia =.=I?21!'I aw: ah’ F_W11"l'3»'=I 8l9758, {-633. “A Poet need not go beyond the commonality of lite

to create Beauty. There is Beauty before him if he canbut look at it with the right eyes: and a bare.unadorned representation of it can become true poetry."Prof. V. Ragnavan & Prof. Nagendra (Ed) An Introduction

to Indian Poetics, p.66

ahafi ‘TI’ UFHH EEFTE1 2% 3":

asFaaT as"? a?‘=.[az?3Tr17:fru aFII&'T rrr Faint a»'r3{ $

crzfi 168'?! ‘err a H?’-azi s1‘r1=a (Aesthetics) Err Faaw ?£T7~IT aha

H1311? a?aT 3 I au?‘F‘a~' a.=fi“—a25rrr'Fr é Faasra 13‘ crTraT"cu FaaTr$’r’

an 2fi11aT=1 arTa=fit1 3 I safiu aafi rraa crfrum 3 ?=fi’73!5?.TI"é3

an aaem a=m°ra"I=1 rafia FTHT % n

Fl?”'3?53T|"F5I’ 3 T‘:-11: afiqfi if g'qaa‘s'1%f‘aa’ 3163 ET

a‘a=eJ'i1aFaH'(Aesc-.nes1s) vfia: ma 3; 3 . a?‘=a'z531'rVi a»’T

f‘aa:ma:‘Fras‘}®nrm$1aa‘as1Tz1Ta‘FrrI3‘ua a‘T'n=1°re%

:r'car1i 13‘1r°r gar 32: 38% rrzé sfi arr, are, aTFa=m,

1. "This creative activity is comparable withaesthetic expression in its non-volitional character:no element of choice enters into that world ofimagination and eternity, but there is always perfectidentity of intution expression, soul and body.The human artist who discovers beauty here or thereis the ideal guru of Kabir, who ‘reveals theSupreme Spirit wherever the mind attaches itself".Ananda Coomaraswamy - The Dance of Siva (Fourteen Indian

Essays), 1974, Munshiram Manoharlal Publishers Pvt.Ltd.p.70

2. "It was not before the latter half of the eighteenthcentury that the term ‘Aesthetic’ was adopted with themeaning now recognised, in order to designate thephilosophy of the beautiful as a distinct province ofthe theoriticaly inquiry".Bernard Bosanquet - A History of Aesthetic (19S6)p.1

arf’aa=1Ta aa aT9°F=sa-ff’ a SET afir z=fi’—a'25r 3 afi 13‘ Faint fin

€1f“aa mfiatfwsr aTa‘m1T‘c*=r 8l7|A-V7628 3°! as 9211: 31:13: 3, 1

~3lT§F7-B mini‘ 'trR‘fz3' $162: an gain flan 3.: 355’? aa:

\K\ 3? IV‘? Sffi fi'fiHFHF 8Genesis 3 EEiEi_&gumartes 31¢%q}gT gspinoza 3 %aFaa 3 Lebnitz 8 6 §?W gxmslff 8Farm?‘ an Pa?! nfia 3 I an‘: fa°a15.=r ET'«fiF=1$?' Err amw.nTE'

ET ytna 21721 a1:m111T3a &? am aIT91aT3i Egni‘ afia Fainra:

éfiah 3:729-173:8 2‘, Fr»IW’r'9i W3‘: Faasma 1131 "aTafi‘§;1" 8?‘afi-«Ir-I wars?’ 3 33% 6? qqa fi'z1‘P=?a amrr 9'a'T=I FEET I

aTU=m'r€=I $'vre3F‘a3' 817508 3 as am 3 germ a? ma 'r;~"“r 2=

W 3*fF*‘TT*_§_11‘5_3jI_E§‘3_§i'Il:1 _____________________ -_

1.

2.

"And the extension thus initiated by Baumgarten unthe name "Aesthetica" was so far characteristicallconcerned about the theory of beauty as to hand dothe term Aesthetic was accepted title for thephilosophy of the beautiful?Bernard Bosanquet - A History of Aesthetic (1956),

"In many respects the attitude of later Germanphilosophy towards aesthetic was anticipated perhainfluenced by Baumgarten".Ibid, p.185

"Lessbng holds an intermediate position betweenthe practical and the philosophical critic betweenthe legistator for art and the investigation ofbeauty“.Ibid, p.217

"The works of four writers fall almost within thefollowing Baumgurten's first publication of part 0Aesthetic. Hogarth's ‘Analysis of Beauty’ was pubin England, Bruke's ‘Essay on the sublime and Beauin 1756, Beynold's papers in the Idler appeared inLord Kaime's Elements of Criticism appeared in 176Ibldl p.202

%n%=1 1=fi=?.153Tr?a Is? 3974 3 =1'=f’rlI Eta fl‘ HTfiTF-‘-R-1Faariiarén 9"FH?.' =.rT3'fF=1<$ 3&3 31723-13043 I

2233 e=I?'a=5f‘aI5ua g13::a1¥1% ­

1- a?aaramaa1’=1Faw‘r1‘Ta’n ar1’trFaH<“=%+n uU3‘oqF‘c'I§a(observationas on the feeling of the suolime and Bea

2- Fa Faifzq aft: Fa Ira? am: aaafit(The Critique of the Power or Judgement)

u) I 7:337:83 EN '53:" Tom‘? (Critique of Pure Reason)4- 1:31:23 GITTIE §'P3E'6<’vl TQTFFI (Critique of Practical Reas

an 1,1721?‘ fl‘ am, afirfi, aF:m"a en’r‘—a Faun?‘ rrr

msné #4 ‘Pain Pam mar 3 I nfitr ii‘, fiat? 3 z=rEt‘;1i:‘j‘§j¢1"a' aw?‘ crr Faavr Paar if ­

|- at {IaaT=1‘a9zT=ta»'1?ITi I2- E1! mtv'rrFsIa =1 3??»-'r, aTéaF=1a: FIT $1 amt

r:T=I awn 3 I3- ?‘*cI€‘lu at-zfi“a‘» P:-=r=rT ta ma garr afi H?a:3¥

it 2333 31:17 fr u

4- ‘o=af‘-‘m1°=r5Ez'r1z?ta’r=‘c.'z5aTa'ag'aTuai‘ I

5- was am snma 3: mum fir as a?:1a27a'a 15??

1. The philosophy 01: Kant, selected and translated 1:John Watson (1901), p.16

H?"-?.I5*zTr1=a 3 EFTIBTH fl‘ 3? as’? Rafi: as“! éa U3

P5 373?‘?! aI=1=1aa1z‘T air ajFaa1z°r HT Farhfr arrfiafl‘ 3 afii

xrfiaa Izxrfira a=r3« a:T n‘a?rr. gum War I aaé H?"-afimraav? am°r1“—;u asar arar éln

at & asar-=.=r'a“-d°r Faint?‘ 3? Fa~"Faa a‘sn‘?u=I a‘» me:2

Fm? air PI? 32‘: rnsraf‘ it Faafirrcr FEET I‘

afaa $3 3 an Ha?! qqa .5raT’r‘—‘c1a= arm: air mé

crFI§‘z.~u yam $191 an a»'T25 inn 31770-13313 5: f‘?-T2173:

Jam a’f'=HI§7Tr‘a a‘ar=efr firm? afisfi I3‘, FIFE? as-1T asfia

(philosophyzgine Art) ETD H ?aEUTfi % I

1. "So much for the ra1ge of oeauty, which if we followfor the moment our general sense of the term asequivalent to 'aestetic quality“. Kant has immenselyamplitied in accordance with modern feeling, by histheory of sublime".A History of Aesthetic. Chapter x - Kant :

The Problem brought to a focus. p.279

2. “Schiller was on one side of his mind a Kantian,while on the other he was both a classicist by studyand sympathy and a romanticist by his period and hisgenius. Thus he formed a linkbbetween Kant and Goethe.For Goethe shared these factors of shiller's mind ininverse proportion".A History of Aesthetic - Chapter xi - The first steps

of a Concrete synthesis, p.2863. J.N. Findlay - Hegel A re-examination (1958), p.3364. “This work on Aethetic was published in 1835 having

been put into shape after Hegel's death out of materialconsisting of Hegel's Mss of the lecturers‘.History of Aesthetic chapter xiiObjective Idealism : schelling and Hegel, p.335

QFFIBTFFH $63 £I EFFIT 3 2371? an 'I”—oI=TI:-I=I ara gm éna 9I Ina“

aararr 5ra"Ta*T“crI$ war 3% rIT=I“r a’r qafr HI-ITfiIaI arm av’? air

FI"’r=.=II‘T aIa'?=JT fi”n'TFza»' $r~IT 3’°r I =.=I?‘<T25v‘rr?8I 3 s‘FFIErT2=I 13' €715

Fam nfia 3 I :r=3?‘5I Hum I‘-If‘?-Ia a»'aTaI?' 3* 2=ITnT'~7: Ema?‘ 2%

crr ma: aIa1“I=2i=I amr Fnafa 6T F=mfu'I Paar I gaff :ra?‘9I gr

«'vI'I‘I=Ia-eI=r«IT a-*’°r Eurasia: Fahsr-ITaI?’ an T‘-n=trU1 avré qu CF-Y3 a’°ra

aI?rIrTar~IT=I Ira’ arrcm: a°r 'w‘rrrIT a”r I firm 9I Ham aft

an3r—faT ET Fafiaa FISFEITI I

aTR15II‘I‘r‘raI 3 SFFIETFI 13' :I‘r?cI——II’ar3 schopenhaverl

I788-l8608 ET wra 3'6 a‘ 3717:’? 5: Ftr I3‘% I

33$ SIT: a"h=Ia‘°r' mr=e:°r fl‘ gfi 3 eII1°:1atI=ITaTa 6%

NW 123 =IIf’r errrT $7 373-’! gar I 3% EIT-'IT?.f1Z°f errn are 857313

azfi wt rc'TFr«Iu=I aTa'f’=Ia= a=IT=IF§a=I an gzrra ur I

1. George Lukacs - The ideology of Modernism.Quoted from 20th Century Literary Criticism, p.475

2. "schopen haver is a true post Kantian both in his daand in his theory. In addition to the Greek and Engculture of the time, he was profoundly influenced byancient Indian philosophy’A History of Aesthetic - Chapter xiiiExact Aesthetic in Germany - schopen haver to stumpf

3. Elliot Coleman (Ed.) A History of Modern Criticism,p.138

aaT=rf‘1a={ a? aa31TIia<FaaT; *q'a'f={ gfivsm a JTT'13c"£UT =«s°r‘ 3,

rfi’-aufrna a"ra=rs"‘rqFuT:' 3':

afi 5: at-tT=;=3‘*a it‘ a*r~cr-1T-Ta 3? aafrrfr 9%?

flan I afi afifiaf =rs°r' 3', aT9‘Faa»' 3, sf*a6T@a:Tr an

aTf"a?2:Tr-fi*aav =Is°r' 3, a-far aTfi°=a-’ 3'2: ma a'1*c2:T=1gfa afi‘

an arr nT=1a~*r aa. crrfi a=r$.:a=;nTr as aw: a?Faa (IntenH fiat srTfi=m(Im:u1t1ve) fiar 3 I as a1=n'q'»Tr mi‘ mam

a=naT 33: gzfi 3 Ik‘-I I‘-I‘ H?“-215 atF=Ia:'a=1T an afi'a'2.’r %, 67?:

HT Faliu air =rU°r' I (F13 J-'-LET!’ mm a aarscr as? ‘F=raJ aaa

H‘-‘FIT HTFEQ I arc? ma art[E§ =JTfiT 90‘ a°r FtrTFvIa 24: ‘g»'?%

3:’-lT fi‘a1=q UT tTTa& a”—r-Ufa kffi 1=afiagf“ci ={s'"T'as’°r I

1. "De-Sanctis maintained that poetry is neitherPhilosophy nor history let alone biographical chroniit is the creation of aesthetic life".Elliot Coleman (Ed.) - A History of Modern Criticis

2. Scott James - The Making of Literature. p.316-3353. “Intution is an expressive activity of the spirit wh

gives it form. This activity croce conceives as a sof liberator, which subjugates and dominates the tumtof the feelings and of the passion".Ibid, p.322

4. "Language is not an arzenal of arms already made andit is not a vocabulary, a collection of abstractionsor a cometery of corpse or less embalmed“.Benedetto Croce - Aesthetic Chapter 18.Aesthetic Psychologism and other recent Tendencies,p

i‘—<£2IT17 I

12

am ah arm a? arm-érutu a mi :3‘ ayfi 91 Farraaleraa‘ ai=fHTT afar ma $°r alrsrr 3, afasa no aft: an I

rifi nT=r% 3', H?’-:15 afiflfifi afiamzrt EFT a=r‘r{0‘I Irtr 32:

a‘rFns ‘str 1?: fr H3? amr aran aft 51°63 33: afa ‘F—~n;% 2‘ ­FHZT"'FIFfZ as am?‘ aflt aITa?a={T?na»' Fan-‘1u:11" 6? mrfw 13‘ 21?‘

HT an aafir 3 Pa" HEGT=_I'{-FE 6? mat-In afir tram £r‘cIT=1 afirafivfi

2.

3.

“Poetry is the language of feeling prose of theintellect. The relation between intutive knowledge orexpression and intellectual knowledge or concept, poetand prose, is one of the double degree".Benedetto Croce -'Aesthetic’chapter 18

‘Aesthetic psychologism and other recent TendenciesCp.2

"Beauty is thus absolute, formal, unified, perfect.And it follows that anti aesthetic fact is simply lackof intitional form. ugliness is embarrassment of intutactivity, it is multiplicity, failure of knowledge andreality".wimsatt Brooks - Literary Criticism - A short History

p.505

"It is the spirit which gives to the work of art itsvalue, not this or that method of arrangement, this othat tint or cadence which canalwayes be copied byskilful plagiarists, not so the spirit of the creatorBenedetto Croce -‘Aesthetic, Extract from introductic

to the first Edition.

14

§:?%I Fazfi 3' - ‘ar~IT3uT 3 <3 an 9‘rI ah smaa aré

up Eb‘ qfia n°I9°r-1=ITa"‘r zrrwr :3.‘ 217:: 33117 T3’ EFHT aIIgra"H‘a(v1s1on)

auaT z=IIsaIT=1=_1‘—cI 3 I ar~ITa»*Tr Q6‘-Fab smage 3 man arurmw

gphancasm 3 av qaI=I NET 3 I GI? 6?? SET ET n=IT‘6aTa=I EIFIT i

as aansrr aI:°r fr EuT:ruI=IT Err aItr=IT u:IT=I a-W73 mar I3’ ah

EFFITGTT NIT ah-‘I qr: GTFITIFI it 3T_T'7i?1T E-’ am aqfi 6l''-'\=IT 13.‘ av

f‘a'a’°r 9"FT-R3‘F'|5E $TF{T 3 I nmrqafa gxntuuon 3 .:r:g?fi1‘T—I

gvision 3 arraq ficontemplation 8 H741‘-{T Imagination 3

§'f“an_ a.-oq-=rr 3 fancyfl I3F?fi=5tTF{ I Figurations 3 gfimm

Saepresentauon 8 aITF<.' 516:?‘ $7 gzfin aTI'raTI EFF-IT 3 Faéa=I13‘ =rIrfzfi' 3 str fr afaT 3 afir Rafi al'?¢ZEFT'3'l 6? Ga UTTUTT fr ai‘

a‘I zné 3'3? m'rIT=u 1=I1n=Ifi-I an cfraa i'I' g:?%Ia‘* aim? ‘am

H1rtiIT=1°3FFI 3 I 5F|3°f Pam EITFIJT gfi 61?‘? 3' I {T813 311?

aI=eIa§'R-Ia‘6Ira‘I»‘sIlr-J$qz.~rI Faaaaéaszfi 2‘I HT 9*I‘—I

a '3W%iéi- 8I8<-I2:I'ra='r~IT&ar~IaIFIé'E18ua’—r—Ié'nq fir W ah?’ i 9 323 a=I’f'a252‘rrra 3‘ afir 'FEIa-rTauT1.=a‘6rr3 9§r5%s1=I3TUc*cIruaFzaT?a~'=.=ITr°r$FIT.$i

51' FITTT =1?-Ia?a "aIa&E1" if ‘I‘=IFsa 3 I ar—'FI5'?fi (Content)

<'s°r 6% an h tIf’1'fiTtrr &*°r nd°r 3 I 33:; Fawn?‘ $ 6T=_[FITT

'aI‘a-aha T-.7872? afzfi §, at Ft?‘ {Far "err?" 53‘ FRI? 78% 3°?

5%‘ 2:IT€5asiaI‘f1=I?=z15%a=ITa’rq1°'I_$I9-aT=Iau3I it’-tzaar,

F{T'«9'Gl'F€I, afiba aITf‘1 I‘ II FtraTf‘“cm"r‘ 5I aaé 13‘ 213 R937? E

1% am? ac‘-IT as? GIT-'-I°f 3’? 1=s‘c‘aT .fiI afié am! =r(‘r' tr:

5r=Ira?‘crrTa$aT GT mam aw ETFIT 3 I ‘g»"f%I EF?1T‘<$TT e$°r H3:

15I 2as 3? %‘ I =Ia°I=I anmfia tfi FYI’ aI’f'.r 1173 3;" ‘I:i”.L34':,.”. we 3 I. 3a°I1=Ia"‘r' srfl at Rifles er ma 3 sham Err nu: Fasaw H13 8 Ir:-a'°I- arzzfl zsfi crt Faram 1723 :34I 3357*’ </‘*I'VW "GT?' 5afazar 39 I;rasT‘cn'oIs ma Err as 3% %' I rI?‘*‘?-.15 W355 GIT? if” 6asFaaT 'c5°f =.nI?‘-azxfanaw ma 1?! was a=°r csITaIrm'~aT a? an? if 656% %' I

@2121 gas saw I=I1=.2§=I aII1fi%7I

I- afi - zfi”—z25:‘rr1=sIa‘-* 11:-1 a1=a,c{-2.5

2. "The New Criticis concept of form, can be examinedin terms of a twoffold quality Firestly, they considerform as inseparable from meaning or ‘content’ and secondlythey maintain form to be in itself valuable andrequiring no external references for its realisation.J.N. Patnaik - The Aesthetics of New Criticism (1982)p.S

3. "The notion of the inseparability of form and contentseems to have existed in the very critical climate ofthe twentieth century beginning with the symbolists,Impressionists, Imagists and coming down to the criticsof consciousness of the New Geneva School".Ibid, p.6

4. “..... in a poem the traxcontent and true formneither exist nor can be imagined apart“.A.C. Bradley - oxford Lectures on poetry (1909),p.12

5. Lacelles Abercrombie - The Idea of Great Poetry (1925),p.10

6. John Dewey - Art as Experience (1934), p.137

7. Cleanth Brooks - ‘Implications of an organic Theory ofPoetry".M.H. Abrams (Ed) - Literature and Belief (1958), p.75

16

an yaw an 32:31 3‘ Ta: §T%r'9I 33 $T’ElIT=j*fF1 as?

mars tafisrr fiur 3 I a=Ia‘°r n1—~uaTaIi“ 5: crfiran if afi‘a2fIs1r¥a

13‘ aarara aw aI==I Ef_€lT I a1°ra=IaI°r‘.;s‘!=f°r a nu: as uriaar Ifitfi

I‘-FEE! at Farérslfl err traffia 9?: ma‘ z=IfifitrTh 1151 r3 :.IT5I am I

rifir an aI=_II=Irv1 an-"er '3?!’ if an 35% %’ I E1-'FiT an

‘FHFIT, $<"vlT&'TT &'*T aw, h=I°r am 3 an’: a=I?’az:f’c22:a' ma?‘ anFaaaa 3 at?! €" I :r=IaT‘?n°r’ sfifi 1°=Ia‘I''n.1=I3=I % I :x=I& aI=p=ITt

?'I=I°r 3"? am i3I EFFIT 3 z=mT=I EFFIT awfiair a‘-7 afi 13‘ fr 3?:

F’?-Itfi 3'‘!

ET aImi‘aa_ 37 err-IT ‘RJT=I 3 I z=I?=a?fI=I‘rT"6a $ 2=m°rea:

125' gm? it g=1TFaa afi 1512 3' «fir 3'-1rT?I ma:-am? 3? gmfaa afr

Fazn 3 I z°r,1m- ufivrua it "3 gm am trT"»;°r Us a 23>: aII’rI=

Fg:1°zFw?n"3“r ‘fTHT fi.‘aI3T 3 - 51% an am an 31:31:65 as 13‘

@937 I3‘ s=I z1TIlJfi‘5i‘ 3217: $1’ :11 Hr aa Ftaén 351513 3 iv,afir era i)‘ F3‘ 3=raT9I 3??-IQ was 1}‘ am 6?!‘ I31’ ?JT aa 3

av‘-If’Ia:T 13‘ 21M i‘ 91 arm a’°r air 1% Gas? am-I?a=IT $7 rvIT=I s=I

mum‘ a? Fnaarsl " I32’: 37 Farm: 3 7% WWW aw gm am

1. watter Pater - Marius the EpionseanSaints Bury - A History ofEnglish Criticism,pp.497-503

2. Pater - The Essay on ‘Style’ - p.48Scott James - The Making of Literature, pp.301-311

3. Rene wellek - A History of Modern Criticism, p.3944. “The essence of all good style expressiveness".

Scott James - The Making of Literature, p.3105. T.S. Eliot - The use of poetry and the use of

Critism (1951), p.11

17

H?’-315 %I g=ITf°aa fi=IT §|I and d=_{_HTT wfi asam’ 2=I’n°Ia 2}’ anT=I2

a=IaT EIT3fi°T 3 I

a-<r~ITa1z‘I F?fim‘“ a aI"Ta=I ah am 3* areas ‘$7-1'=T°r as°r

mi G'T'T=={ 31' fr vfi fa a’fi1=Ia°r‘ :'l=ITEz°r a ga;f“cIaTa°r Faarfis?‘ —

ans-u~ Praia aft am 523:‘ a? am: mama H=a'=fi“ 6? aI°ra=ma

xracrwf‘ :3‘ am 6'1‘ GlTc‘:T€fi3FfT gafia gs‘ I Fraén 9! atrfi

'Fg=I’Fq'aa aI1'rI= ’FT~IaT.'i‘I°r F§1"5'I°a2=I11" if a?«ITag3Fa as°r Fa»'a=r°r araafi,

Es*T21T—F1==fi 3T 3251‘? Path! ma tgtz ac‘-IT1>fa aw? fiefi =fT

a=ITrITa: aI°raaT=p1a 2% Han war I 373?? 'a%n—=.=r~*qa=I Fa=IaT‘a 67

g"I‘—c=IcrTcr=I 61$ a?'=a1Jfq=3Y‘7I at as Pam trFrn.rrsa 6? nT=Ia°r2:I a=ga1a_ é

Erma ¢Fr?Iv.1 3 armfia a=fiIIT‘Fa'IrcI esfi 3T 9'UTFl F5217 I a=I?=auf=1=3F‘a

C-I=Ia’»‘ 3F1FITT :«I°ra=IT=j=1a 6? ac‘r&IT «Feb afrca ah ifs?-It? aI=;:j‘—cI

3??f°r3I

Prism 3 I:InT=I 3°r I162:-913 fiI sIT‘=I 3233‘ a rfi at-IT=I=_f‘a

6? r-I°ra=IT=pf‘a1fi' an ma? BEFTT A aama a’°r nT=IT I aIIrI°r afa

"-zné tzq tzfiaItr°r1°rtFH' 1}‘ :r7€’r‘9I a’fZ':II‘=pfa $°r Er‘F§«'uT a°r EEITEIIT

1=IFa1aTt 6°f 3 I aIfi‘F1aT at E$T??J-Fil'~‘r-F! 6% af‘atrTH if 323? 67

1. "....... a certain kind of temperament, the powerof being deeply moved by the presence of beautifulobject".Walter Paper - ‘Preface’ Rennaissance studies, p.xi

2. "All art constantly aspires towards the condition ofmusic. The form, this mode of handling, should becomean end in itself should penetrate every part of thematter that is what all art constantly strives afterand achieves in different degrees".Quoted from the structure of Aesthetics - F.E.sparshott,

p.3493. I.A. Richards - The Principles of Literary criticism

(1924) p.54

18

IITIr'cI1”€cI Ifi"—zI§ WW % §f"?I3T—' fl‘ a"h=Ia°I' 9.1=IT<-?a°r &

nu: aw aIT$I-an%I ga§IaTa°r ya??? sea’? grtrramafi ‘av? 11% F3

r,rTa°r=I g‘?m:IaTa‘I' am a'r—ITaTa°r FI=IaT=EI Q6 937? 3! BWTT 31°F"?

zInT1a—=fi aIT=I are I 97°98 FaaTra»’ aIT===rc‘ €98??? a’°r FMHT

qiqrar I5r:gI=I 3151: an 9'21 'FcIr«-'IT$Itx°r §’={ Q ea afl Sphilosophy

in a new Key 1942 3 q=1T=aa'TI°r rim 3 I Frat r—a?‘9I $221:¢%?fih E33 $3 EFeeling and Form 8 a?T‘gTa?nH afw 3T3’8Problems of Art 8 afifli 1I=ui*' 3’? ram $3‘ I amt a? aI=I1=ITr

a*aIITf‘I=I1aIT1=aIa»'q=Tua»*°rqf*6zaz—cI°r€r'I

fiat & zfi sa°I ua 6? was Pam‘ %2I as gfiraH nrfiets sTFaI1rI ags H?‘-zfi 6’? =:_I&naT 3 an? if rrT"r*aafma é'3I Ir-3?‘9I am?! 11'=1'7’9"FNIfiI aII’rI: aTt:"fi‘ §IT%I $ aI1’=1a:I‘aI=ITaTzr

3‘? 1=I'v‘fi“F&1l=I W 13' FFFWET a=°r I afi 54 G'={a»’T 1J.FIT"FR' a? qF6E7fi’

ah IrFmFa=I Isiar i I 126 air FIT a*?s?‘5I 53% £1 aI‘F=Iaa’aI=ITaTa

111w‘! Pamr rrr-*1 q=Ia:T 5rT1‘7I=I $IT=I Ear FHU’-H =I3°r', q=.=Ir°r air as

aIF=J6zI'ruI=IT aft am HTdrcIT UT II’FrUfiI U=s‘r‘9I H§'|5D‘I SaWqf°=I$a'I=I3 ii‘ In

1. Langer s.K. An Introduction to symbolic Logic (1937)p.842. "Roger Fry wrote in a letter to G. Lowers Dickinson about

poetry. I want to find out what the function of contentis, and am developing a theory that it is merelydirective of form and that all the essential aestheticquality has to do with pure form. It is horribly difficulto analyse out of all the complex feelings just this onepeculiar feeling, but I think that in proportion aspoetry becomes more intense the content is entirelyremade by the form and has no separate value at all“.F.E. Sparshott - The Structure of Aesthetics, pp.34B-349

3. Ibid, pp.60-61

19

an yaw afi an aFtI'c2:'aaTaTa Fear? 37?‘:-«r'nqs 3 arrfitsrrt Fem?!

I3‘ u;o'HT as? an? E-;aT|n a.'aTu=1T. Bsantayana 8 §fiJ8Jom Dewey 8

an‘Fa FaaT=fi' 91 ‘-fr H5?‘-a?§w‘rT“£a a‘: gen Frca?‘ av? Ema F631 %' I 2

31%»? H3333 a <'§Ifla;a afi’-auf?n.$ FW5 gm amt Bsusanne Langer

$175114 auras (“rs 3Lou1s Arnand -\Reid38 an‘? ajfi crTFra=1

8Luigi Pareyson "3 a an?‘ 13' gm?! % 1 gas? aa.TaT araaza aim=12: =12‘: 1111 CWT'T3£T *3’ I

@J.N. Findlay - Values and Intentions 1961wittgenstein - Lecturers and conversations 1966W. Elton (Ed.) - Aesthetics and LanguageV. Charlton - Aesthetics 1970Lord Kames - Elements of Criticism, 1969Nelson Goodman - Languages of Art 1969Harold Osborne - The Art of appreciation 1970

3=n3‘a;E§g1"‘a=ra11'vJ%I

G"1!'!1'3F{ aauua 13: Ire’ Fafi?! 31‘‘E'T % Fa cr?r'-a1=I 13‘ a=fi'=a1‘:—

21T1=a Err trufw n=1=1 Fa"~a=I gar 3 I Pam, grafiaw, F1325 3'.~‘aTFE:

aT-:]F=a= afaar a:"T trm «fir cream 91' gFFmT=1 é FT 1}‘ ‘ééfifiifiH?——a=5v1T?a é area?‘ air trfiran. 13‘ afi'—zfiv1TF?a’fi‘ 5! F3137? I‘: Faéaafsur 8 I _T7'73959:?-5%':'§%'13§%?%'§’?§-§;r§v§%?%%'§T3§:z§:_tE:§§ ----- -­2. "Susanne Langer — Mind an Essay on Human Feeling Vol.1

(1967)3. Louis Arnand Reid - Meaning in the Arts, 1969

4. Hugh Bredin - ‘The Aesthetics of Luigi Pareyson,The British Journal of Aesthetics Vol.6 (1966), p.193

20

main a’r=?.1fis1T?a EST Pains¢——__¢————_————:——_c¢¢—._—

ttrra 13' =Ffi’«a1591TTa éaa s5TEa91T¥a ET Imfu % I

cmrar-ax me a‘ flwa 3 ‘er 13‘ 9'FaF6aa 3%: $ araqa, GfTT3T_CU

Faawa fr wrwa 7} W fi‘1fi“=az& 6? earF:1==fi"-as an"?! ac 1;5l?|?!~'<9I 3‘ u

Fara aITsJ“rfi" crr 3”—a?‘:‘1 8'?‘-E75 5"} Egan-I rear 53‘ mafia ‘arr

Pam 3, 3 am? 71?-'T' sf? q&Fe’a =r3°r‘ r%, a‘r“"«~a: a:T—cu 9‘rr1=a fi‘

‘FaéFaa 3}? %' I as: If: 1rrW°r2:r trrrtrfi a;r araaiaa FEIUT ama? nhafi asfia 91TT~z é trFr§‘&2: if 6°r am an WFGT %'I

3-rz=.=r TTD?a'l'1fi mrafi a urraia a’r=a2FmTta' 13.‘

aT=I‘a air In 6’? errrwr GI?-HT a?=I=vanfa ETTT Faafrra area

Fr?a?’3 afia aTaa?a9a"1a°r$°r sJrIUTTE»'I §.'”cI!T=I1I=TaT% I 2as grain‘ H?’=a'fi?TT'£EI as‘? =ITIa°rU IITTITTT 3’? 3?‘? Ifia f‘a:uT % I

1. "The contribution of classical India to the phil0S0phYof art may be summed up in three conaepts : ohava,rasa, and ohvani. since rasa presupposes bhava, wemay even reduce the concepts to two, namely rasa anddhuani. This deals with these special concepts,discussing their aesthetics and their meta-aesthetics,their character and their significance".T.P. Ramachandran - The Indian Philosophy of Beauty,

Part two - Special concepts Preface.

2. :::;::::: not only in outer India, a home or neautyand romance but inner India is even more truly richat home . Indian art and Aesthetic have a history ofextending over thousands of years".

K.S.R. Sastri - Indian Aesthetics, p.1

21

arnaga Fai;T=1 8°!‘ rI°r- Una-—;a 51 tfi =7Tra°m :fi"—z=3v1T¥a atlaamI

a:? a’°r=I arm?’ 1}‘ Fatrrfiaa Than *3’ :

Fgaawrcnas a=fi——a7§2TrFa 3 rears?

'a?‘Fmva7-1 2:='.°r9T>a an ‘;m}Faa<tr" 3 a=r1‘*Taa»*, arm:

n_=m“ 91 a’f'=zfr¥1T‘%a 13' ah‘ afifi “J-*c+rfF;°maT' $f‘—«-Kr artflrvx. are

E~;u$ET%fi 'I121fi~=ITgrsfifi 6?aT%fi6aav3rn‘aTr$r{éuTcrfiran, f‘an°r afi am 13' G?“-€25 ma 3T aTnT=a zfivirm fiaa

arr} 13135 fi' U?r==« 3?5#a1%« Faarfi’ as tau‘ 6? ar°rFna =r3"T' U1

mar am 3 fiazm 3? Pam-cuTw°r nfzajfaa Faasm a‘» a%1—Frr 13‘———_———¢———-————:¢——¢¢——————:———--———__—.... . _ . _ - - - -.._.—

“Thus we may speak of three broad periods in thehistory of the Indian philosophy of art. The periodfrom the first century B.C. to the middle of the ninihcentury A.D. may be described as the period of formulationduring which the concepts of onava and rasa wereenunciated by Bharata and the concept of dhvani wasformulated by Anandavardhana. Then from the middleof the ninth century A.D. to the middle of the eleventhcentury we have a period of consolidation, when theconcept of dhvani had to be defended against opponents. The

third and final one extending from the middle of theeleventh century to as far asthe seventeenth century,is the period of the exposition of the relationshipbetween bhava, dhvani and rasa".

T.P. Ramachandran - The Indian Philosophy of Beauty,p.3O

22

=m3I9I Es‘? 5rqf%-I qé ah q'Fr’=m a’r=II" ii‘ efi‘rz2591TI‘¢a -$53 W53 “Farm

er aw gan ma am %' I ~ afl‘-"-a°I' I-mm 13't{a"FII am‘ in‘ garwa

aaIT—Faw:aa Fate: aw“. H133 Irfwrra?’ E£T cr?r:r—:* ;T."~z=aI:e n?'r'aI: 3I

W33? *‘F;2:T F5 37-! 5rT‘aa cIIhrTs*?‘ *7 31?e«*r «mi? ‘I'—‘:fI9Tr¥aI 3T

amfae f‘:~:$T.:I e.I':[0‘1 rénr I :1-nfl=:' zmI's1T*+—aI°rz1 3'21?‘ 55 3‘=1aT*: Ifi

as? e‘-:_I"‘. PI an 3 I ant-=I°rafi EI rF'u'<—. "I.‘é9.FE.' u'q'n".v“z“’r~.:::a

C'I:TT°5h q e.I‘F:I=Ia 31124" an aw guy: J‘crT3w'! 58' I am‘? aIF=T:Ia=1?I 5'?

In-Fawn rIT‘r2:€TaI?' 67 a=If“a'Trm 5rTnTFo‘EI: afifi ajéna Fifi? I%aTm:IT 3 I

af~I=IT‘c‘na»' a?=E.'15v'lT?a fr qfb? %I eIT:T=aa;nTr ¥aTI=°r

$°r aI9Ia' &;’I‘?Iu?‘ 13.‘ zrffiaaz Hafi nraqu‘I"a :T=ncI:Tf5m am 5‘Iar

3=I aIT‘c‘H"3I93z.8 3 I snfi‘ a"=31"=“I UTv'aT—ca a:aT-Frr<.'T‘«a.“ é FITU

=4Tra°ru, a‘°r=Pr ah aTcrT=I°r ESFIT-fiTZT‘*Ff‘T" 3% m:T=IaTeI?' 3?:

aIFmT=IaTafi*‘ an F=IE=I'| 61% 83 MIT-Faun a=ITz§:1?n Fa”-F=I-rra1°FI afi

‘e'IIiTIT regs a»"‘r 73' I qgwm $ aITr's1 13‘ 3'? 3=3T‘9I Pam -"q;a‘f GFTT

=rFraII°r qFQ3’rv‘fi“ 3? rrrrcrr «ha 31% tgu asar-Patti: an -.=ITnT=r:

Fa=IaT%I a%‘F‘«=Itr amnr gnfia Fain GIT 1'31’ I}?‘I firFmTé a=aT e=IEI‘—ef‘r

avcrfi aI=aI’n rrfraa $ amt? tr? aIT=r=a agnw 1=aTn°r =‘I trTr:'T?u

aIafiaTaI?' 3 Frrng: as =¥=fi 111128 91-'ITF01=I EFT Paar Fa: 13°F 3:1?‘ in‘

Ifi a°r=I, aITtrT=I fr 3I'3’$T arm is‘ efi'=a'iI9‘rr?a°ru mm:Tafi" trr

a:IaFPJFI Fa%I=I ar?tI’I‘eH Fa=f‘z=Ia ?JT3l m ah aaF=I $ =1:-I aITmr 3:?

I - ma? F=I15rvIT é=I IBI fiaa ‘ta Faz1”v‘rI fir I=I?'rzz‘isTr1=a' it3??! q;'3

2. Ananda Kumaraswauu - Transformation of nature in Art,p.3

3. Ibid, p.5

23

W68 asté egu aaT=1'=?.=§_nTr ‘FaTN°f 3! Us nrvuar '?="T3F* 3’? 95 £1

E???‘ Fnzfa Igrvra: aTu:TV‘cna»' % ‘fir aq=fl IIEFH ma‘ ‘F=rt9$& 13‘I.

ézT‘—‘r{"r 3 I

=ITm'"‘r2:r aT9‘F=1$?‘ ma’ =vT1’ir?a-121531?‘ $ rfi'?.15v1T‘a rrr

1% W} 7,1721?‘ 9!‘ 1=a‘car{0‘' 3 s1’- fifafiru am 1117-7 ST ‘#7315 Fr?-a‘

GI? ahm arrwr 13' F171’ I940 é- 13‘ gawfm agar, Fanfi‘ tfvsarm

an‘-=n21 & ‘W 11'J'1TLTl'' & n'a:'—t :3‘ rnufimn an FaFs1B‘c' 111:1 amm‘ 3 I

crfiraatrza am==IT2J 3T 2:6 arm: awn??? afl arrmfi :3: rrzrfw Faasa

an arm‘ 3 u :r=3?91 mrfiuar as? "=1Ta:1r'r rfnfa gsnfflaa Fgng

tfi aaTuT 3 F613: q’- Gm7=ITZI 5‘; 'arr=rTr" a:aT_ 3 u xr?-«auf=;gfi—v

afifiar arqara 2 fir as aaa a=_manTu 3 r rs?‘ & ma?‘ 13‘zfi‘——z?1f=;=_fa afi srf"§uT EH yaw a?a"r 3 —

‘Ha aha an r?1=T‘a, trnfi‘ gar: if, 2373? era 6% a=fl'=afi3 aaafaia 31 U?tr==r z’fFvT 3 I fir 38 =J‘r‘1“7v EDT? n=1 trr Fan?

arm, alga rrzrfi évfr 3}, Fan? {Far aw; asr grafrra, In mart,aaf“:1rc* rs war 3 I s"=1=°r' n*EiTr?‘ 3 NET? :13‘ a=r?=a'z§ am

a??vT 3 I‘ RTE?! gTa°t=1 srztra?’ UT zha-*Tr’r’ aw, aénT=+ s1T=r

3 rm! =IraT—c14a»' a‘2fi*n Efza an 3=1T a°r, =.=r?7.=5 an 1361 Ema €21 '¢_-_——-———__————q-———————.-——-————_————---.———._——————-————-—

|' Ananda Kumarswarni - Transformation of nature in Art".p.46

2- 3F=zrT afirfi - a?'—z2§2'rr‘¢=a «Tr afrcu-Faéaw a‘: -cuTIITF1‘=s

crfi min: F=ta‘eJ 3! G33 =mT amfaaw 8HTFa'1“cua: finfasg «as-2,

a1§'<'~1-q=I I983, cg-29-30

24

$rvITFa%IiI=I 13' ’fiTI°T sfi aIrf’a'a $7 11!! ‘FF: ‘.F==IP'I=IFtIa%==.q

am: §I“v57:=I aITa°" am nr-:?aq;o" w*r=I F? I {FE-‘I3 wTPa.9Ia=I I3‘

II?‘-a2'rw1T$afi2: W901 aIu——ITzI°r 3‘ I

FIFIHTFHE 2=I’i‘“—afI9TH=6I é Ha fl‘ 31* gram a°ra=I a?sJ1"‘r

EFT =ITn Paar an mar 3 I :I=Ia‘I‘ qfi B1?‘ ‘F=Ia=s,fi‘ 3 DI’-ET‘? 3|?

'a=?FI aII’tI= u'RJFZ3I=I U173 arc‘ F§?f‘‘c'‘f‘‘=.tI§m.'' 13‘ aIq'3I 9”'TT1I :I?'va'?5IITr“F:I

'I°a§‘IrI‘«$ I3‘ 9a»'TF91=I E-HIT 3 I 3‘l’- ahw“I Igr-Ia: E3°Ff‘-‘TWP! 3 auhar

EH 3 arm: a"‘r 5rTa“I=I gT“oz: $T’cU‘-’Tr?3I rr.=:’ aIT5f:=.I:F'r_r ¢'rrEIT?u

¥I’f‘a2.‘Im"€aI 2% W53’. ‘?a::T=I 3 I U”-=fiv°f I=I?"=:?i'I9*r'7.~a°IzI ’c2:IT1:uTeIfi“a'°r

9'a;1‘7I n=I?é$ITF=Ia»' 3 I 3:3 arI‘—cI’I°ra? I=I’f=zfI~z1I1=a.‘71: Faaw afi

afimqa fish aIT:_f‘——IaF 2 I TH E’? q?~I=IT aaré =II=u 3’-E-'I.“5‘I ‘fit?­

ana FFB 3'-‘r aIIr3I aw=Ia-7? n°r1=va =I mast 3+«-«IF:-..I, a’°rarI aITFa

ITIITFUZB a:Fa2fi‘ war z°r-I1?=I- Q‘?-Irtra, élT‘:.»'-U- ‘Fain. eIITFa.*

aTef=Ia 'FaiI'TFIi’r‘ 3 as1”éu-FT-a=I ET fr mnfin ffivrr % I fi33=1T

=1 KTIIT Fa: I-II‘-I=IT &FaItI 113"}? 3=I errcIa=I fi=I?.'T‘-Fr?‘ a‘. awn‘! 9’TT=fi7l2r=.=If‘1=r¢1‘a3ag:§=I%Itrer'r‘6i‘ r;qa‘rf‘éaaI:r% fi‘a'=%‘:=IuIr«IaT FrIaf‘Ti I

:Trra’°m aTv‘P=I3?' 3 WIT #735 ‘<=T?’“- em‘ rrtatu ii‘

trrttrtrna =m?I°ru mwna? 3 srzrg 23‘ négw grrnrfim ma‘ nu?

nrc‘cI1{o‘I an ‘cfi ra=IT aTau'H=Tt FaraPa:IT<-In 13‘ as‘r=I-2'rI?aI 3 QFUTH3-¢—¢—-o--p-n-sq-————¢¢¢:-¢¢¢¢——¢¢—¢-.————..————¢——————-u———¢-——

Dr. P.G. Cnoudhari - The aesthetic attitude in IndianAesthetics. Publisheo in the journal ofAesthetics andArt Criticism.

2- 'F=I15rvIT an - TH Fz=IzT?I ah H?’-r.2fiv1T1=EI, {-7

25

aTaT2§ ai‘-I21=I- rrnwarnfl :I1T'raI°r '3I a=’°r ‘Er I mar 21!: ‘Pa s‘Ftrsu=I

a'T‘=i'Irr2.' am 3 ?qe°rcI5a I947 fi' ga»'TFv'l=I 3_aIT arr I

F_[F*.=iT'?"13$ I=I"I’—cT=‘i9‘rr‘I=a efi T==:IaF?z»rI aI;:,=m=I EFT 9’zr?‘a

s1’- -m'TP=aa=§.' crrtrs 3! Famr I :r# DETEFTU 1172153 's‘FrrsII=I

tmlFaa:H' am 'éI?a"5I I21=€fE?H' saw mefl % I 3:3 J1‘?-«P133

3:13 a°r=I g’f‘Tra F=Ia’u :3‘ :fr qa=ITIrroI: 395 '33?‘ am: %'I

firm 3'1 I=arI=:I==I arrma? iv‘ a=I?‘a2fI~:ma =4‘a'9°r I°=Iz=rm1

afili IITEIT 13.‘ =1 FI3°f up 3 I =lTra°m firwra?‘ ii‘ IP33 I131?‘ a:""r

Fa?IdaT :rs°I 3 Fa a ey-vI=II-c1=Ia»' I=I?‘:15'I‘rrra ntrsfr 3 I as 1aT=rrFaa»*

tfi I? I mafia $73-II crrtrw fa‘ xv?‘-z25rrf‘TrT'aT aw -awn: :I'«'~fiII=

Fm“-IEIT 3 I crfrarfir I=I?*—?.1.'I1=°I1=T‘¢.=IT 31 gm sFa3Tv *2 I :1TIa°ru

I=I?’vav5!1T1=a 3 aafir-ITaIi" 8'«I’a'?=I’f' =I'a'T.‘‘cI:I?' 13' aTrvIfir~I f‘fa6T9I an am?

Paar 3 I =IrT6°r $ 13- aIT-z=I‘T- W26? a»'°r {W6 ":fi*~a'zfI JTFU1aTFr?2:' an Fats :;Tv%IIa 1rT=IT afar: I nrTes°r 1)‘ zraa 9&1 3?

‘~'JTT6°T a=IT1"‘Lr?II ¥T‘|"%’—1 6"} nhfafi $ FIT fl‘ am n=:IT % I 21?’-a?5rTr“+‘aI

a=r~IT ah FITFKT-II s=fiT w‘a‘u efir LWIIPI :r?tr==I gs-—fi‘ aw? =sm‘s'IT3I ET

9:? zfa 'r“«$I=I’°r % Paar 3, a? é sfi- nréaw 3'1‘ %2I 3IT£f=fi qn

fl‘ s1'- 13%; arrfi-Ih EFT =ITrI a'«~*3Iz-!=I°m afar a-71°31: I

1. (a) Indian Aesthetics History of Philosophy,Eastern and western (Ed) 5. Radhakrishnan.

(b) A bird's eye View of Indian Aestnetics, Journalof Aesthetics and Art criticism.

(c) Abhinava Gupth - An Historical and philosophicalStudy.

26

's'Wi“3I '==:I"f’ra'uf%f BzITesrU1" =IT13a? 1121 a:"r ta=IT a~’°I 3 I ma 7J'21EFT

ca 2=ITnT——z: aIaFaa ‘err 3 'H?=a15 rca afir Ez»'TT=U Paar-F’ I

as’-as 6% 6J5U‘h3F?¥'na2:IT'<=In $ g?- 1“ tI“r- tn‘; aft 6?: Q25 eII1FI??:ra

3 f‘Tr3I‘“9I II?'=av§:'.rrta an Faéaa Fan 3, 33% max rm: §wI%?r=uEST rfi G’?-fins 3?=IT aTf‘aI23I

‘FE-'Y°f 13‘ afi F-_I_'fl=IT?33$ z=fi"—‘ai51T'1ra 3? Fain if awfr

na‘car{o‘I {Iv ‘I"w‘: III‘: %' I aITaT=5I TTI3a‘—§.' @231 ah 6§ITI"T WT:

F933;} Fa-a°I a an I=a=3I=a a ‘r‘vr=3?‘9I mwn ma 3 I=aaa=I a

a’frT=I H7"-E.'zfi IflnT‘¥IT I=I'a‘-afi aU.'—‘I aazra: tfi grzfia Fawfl 3 I 6TT!f=T'T

up fl‘ F1c‘~HT'E¥'&' H?‘-av5I:1“r?a $1 ?aa1‘\=zz=I aIw=r—I U‘-‘:91 3:51:11 its 9I fimr

S I :r=I3 tr3%I 3"} may ‘u$ ‘6trfi°a1=.Frfa :«51’- agrwr Farm $

1131 EH Fa?m‘c' $2112 TBTIT I :51'- =IrFn'3TaT2i 3 :'fi‘tI 9'?I'EJ 3?T wfi

ns”caq;U‘I ‘F?-1T=T 3 I 3% Fa Igrfaa Fiat TITJT %, :=s1’- :33 9! a=I’f%n5

mta av Hrfaa aIu:u=I 1‘—q»'aT E I 5?: Pam if new‘ ET; gm

g-csTF-m 3 I {I-‘-I3 aIs,zrzI=I afi Fa?mT 216 3 1% :r='e'?9I Fafasfiwgfr

ararrfm?‘ ET I.=m=au $13 a=I?-razfistria a’°r mgr-I z=rc‘cIT a’r crFmTFEFI—_——-———_—————_.--_..——_——._—.____—_-_———_——_—___._—...._—_————

I- Krishna murtm. - Adnunika Bharatiya Sahitya2- 'q-tflw '-fia - 1=fi"-e:I.‘If‘=n’°rI:*1n1

Krishna Chythannia - saI.skr.1.t poetics3

4- anarzfi rrn'a'§.' sjam - TH u°InT'nT5- sqnfi Erma Fzéfr - 11‘-zITar~fi5 av» aura? n?‘"a5 Fa5I11=IT

aIT- nfifi FE! ah =37-zIT%:==Is~ nuIqn°r=I mafia fir anar«=fi“-I H'T"cT1§fi7‘5Ti- arm 3 nfié gTFr=Ias I

21'?

afi EfiT awrfi Fa~'=:T 3 I IrFraIf°r ‘Id %ITm'“Tu .rfi*=E:=5?1r¥a 3 afia

@=m=au $ :36: 1=zITFu?v $2? avg 31* im 31 G‘! a?=Fr' $ an am: 31‘

aw-31 ‘am 8? Ffi“<T:5 1‘T»1?1T=vT' ={TIEF 1151 13‘ 2:?‘ Fwwfi fimr 3 ­

a?‘crz‘i a=°r 6113'»:-7‘r?3‘

333 arr-n'agFa 3 amatrr crr :­

|- Fan Fmfi aw; 13' #325 ET I107 3? as tfar % 8"?3l'6‘T, aTn1=‘c'Tz=«

a11’~=rmg

2- Few Fsrfi at; 13‘ mar: ET are afar %‘ 363?, ms, FlT'~3{T€={<'-T8

3- Fun Fan? azq fa‘ 'FaFm‘c' HI‘ tr? aa tfarfi Sarina, a:T'a,aarzaéafi

4' Fsm Fasfi arfi =3‘ 91F? aw a=;a=*rv" 63‘ as qtré 3133?,*3 W8

5- Fan Fawfi HF: fi' a‘3TrFa 3? as afar 3 garrag, aT=raa€F18 azlr

5- 6:? ma arF=Ia:b1=1T 1:? at afar 3 3635, @1133

3:33 6FF{TEx>''TT & armw rrr:­

7- :fiat?19’FFvt1Ta-*°r:rwU1a?a3a=fa'rF%3a;‘aIEu',r?1=TFa3

3FITD=flllj°r 3111'

3- Fan 36?; 1‘-v‘nTwn afi mm Ifia 6? as afar 3 33%;, 811613

3:13 nfirzi srsrra 3 JTETTT crr :­

9- fin HR; 3 aT'é5=fiu nTnTfiIa~' gfira 3? as v=1_‘cTr 2 Sam, Irma,

HTRTHTUS

10- Fan are % TH UT aT=«'a mm 3? as 3 8aIF1F1aI1"$r,2=I‘aTu=13

II- Fan aifi fa Fa’F2‘r6Z' #371 a'?q'=? 3? as a1'ar% 8-arF=I=ta=1_1H,

crrdfr, afmafu, 3qa~*T€'r8

|2- Ft-In are; 3 aa'T=_1}fa In a‘arT1>fa 83'r3‘2fr8 3? as afar i’

gfaw, a"T{: Bar

13- at? am; am an, F915 aw, aTa'a‘e‘ aw, aTr:‘nfi‘Fn$aT aw,1

an°fnaT an game? air as 33??” €‘‘ gmfi gv.fi‘a=1aTa?3 n

a=fl“zz5:vTr¥a ah 2=rnT«'-fia‘-WT ma

F{TFB'W—H13°f&WT I3‘ afifimwafiu Fnzrh, ?rJa1=2-ITJ1“ 3

T‘T:u?=r2fin a"‘r, an?! an Faam age argrua: 3 I ¥fi"E.’l5‘-'T|'?7:l fra=m‘raTa?‘ an ?TD.T1I|'={ tfi avfrerr 2% 3 I a‘B:_rr°r =rT‘Frv:r $ 1TTm’*Tu

»3I£?.TTET$ aTr-a”‘T- mm? 51 anti F=f§'.-.1 zfi‘az.’rs11'a ah HTFHFI

1- TM Q?!’ in! - atrm? H?‘a15 Fa311‘aT 319773, t{-50-5|

2' "Aesthetics has four main proulems — the meaningand viability of the concept of art, the functionof art, the existence and nature of aesthetic Ju0ge­uents, and the meaning of the terms characteristicut them, and the proper mode of analysis ot works ofart. The first two of these are characteristic of aphilosophy of art. the third or a pnilO50phy of beauty,the fourth of a philosophy of criticism.F.K. Sparsnott - The structure of Aesthetics, p.134

29

an"TaT' 13.‘ HTFKFHTI a‘: Eta 13‘ :fi'aIfiv‘|T¥a°r2: Fa=rzT%r‘1’ s‘ FaF=Iu?vI fr

amur an =.=mTu‘r=I trn°ra?T a»'°r sale? $ z=I‘a't1 13‘ 1T‘r:IT % I :I=I$T

a?E’=lT % Pa: 0?: F|"3°f&1T?37!$ g-fin?‘-£5‘ fiuaa UT rIF4‘FI ET~UT'F$=I &»"T

5rrI war 3, FIT §?uT'a==I as°r a=a=I?a°r s’°r :1?-UI =qTFs*c>:-_a_=m°ra=IT s°r

Fa’-7-IT an 11172: Faun as war 3 I a=ITFe:“c2: mflerr is as raga Em

vhar 3 1% aI?§T aI:I°retI: arfi 3 Fan as ~3TTa$"2'fi it %:3=IgT?T'=ua:

SET HUT §'I afifan $ €|I=_I_HTT 6I1="raTr?ns aft.’ an as’? aTFuI'ca %2I

fiat ’I°ai.'T=I F12‘ aI=I°re' firs 31' an tuT=I 3% 21172: 3 'Im?‘ur a»*r«IT

$ agzs f“=I=:In alt IIT=Iav3 fitfl 3, Frat =3? a»'aT‘c‘na»' efwa 1‘: it

aITé91T?na~' =ns°r‘ 31% an!’ ash‘ =?r aw; saw s=IF?=IU &’~‘F1T =Ii~"‘T‘ ETKFIT

rIasa°r F3 3103' :r=I F=IzI1=?‘3T rr1*«=I=I Paar nan %3.I

56-17 3 maI——u it‘ a=ITwI'=u°I3ro1 afi 9:1??? NW 3.

&z=F‘r ttrrvfi FaFam= ac-Iz=I WIT z=I3f‘—«-I_s ma‘ 5rasTFn=I as as

#113 13' =f’r was 3’? nzfr afi4I nI‘Ft=I aTs=:~=I ETTT a=ITtrTFzr-I

'9'T3c'~TflH 5‘! QTF{l=E'3?=.' 8 Proolems in Aesthetics 8 mm

11%: 13‘, awamfia 318? 13' 5ft aI=‘=I$ at-ITaII“‘ 3°f aT1°‘ca$ Qawar CIT Emmi"

3 aTf‘Ea«$ er‘-‘ana‘eJ$’°r EJTTUTT as? i_I=I?a°r an Ire‘ it I 1232:‘ aTs=a=I

31 eIIr3I Fail ‘fin am fiI21I"r s=I nr‘e?IF€a2=I" 3 Role of theory

in Aesthetics 3 :3‘ ‘Farefi=a=raTs=I $ asara?‘ as? crF1aTrI3a&* a=InT=IaT

it was F==IaT'a 3 ga»'TsI1 13‘ sa ~3l'fiF{'r§I'!J 6? ar?a°?3Tr FEFUT % I sa°r

1. R.B. Patnaxar - Aesthetics and Literary Criticism,p.122. "The business of critical intelligence is to determine

what is actually there in the work of art.F.R. Levis - The Common pursuit (1952) p.224

3. Louis Amand ‘Reid - Meaning in the Arts, p.2364. William Elton - Aesthetic and language, p.95

30

==I'1,I3 2% M 31?? €412! "aITgF=Is am ‘F=Ia»*T:I'’ 13‘ lTT'<?. .+-war Fewer ‘1‘I

firf‘—aaT‘I‘a=Ia-7 amjwr crr WT n‘?IT fl aI‘I”—wz?IT In gazm :e"rrvI€I by as

g'FFItrT‘.FaFI E5217 % fix asc‘-IT $ =Im rrr crfiran 3» afi am rs TI

awfiar?‘ fr no‘I=IT =I3°r' 5‘? am? r2z°r %, Far?‘ am cr1"a grI_::I a=r«IT€I‘

a=InsIT IHTFIT 3 I 3n‘I‘F~IIz J=I$ Faaw %I an-«:Tafi' a ==I‘a==.I :3‘ Fan? aft

a=ITnT=u ~':'lTEJT1' av"‘r afia J2’?-3‘T=I 3 I Faav‘?=I:'T€=I 3: FaF:J==I a=.«'-Ira?‘

=3‘ 3!“! ga~'Tr 3 ITFIETI gm =.q‘m=I‘g1 3% arvcmr $°r é Fan gravrr an

Irtafiel Fa'FtT==I a:aTaI?‘ fl‘ ETTUT THTHT % I

am-an"r£a: a-‘T qfrrz aéa a'aIIr~I;F?I $ an-3'I 11321-515 a:°r

5rT2:'Fn$aT W ma? 3 I %na 3?? s‘rr‘r—I3Tar 3 mm ifiI rfraa 3’?

afi an yaw afi T“HzT‘—‘c'I - ‘uavrr gmfl i1'aIT§ 3? 1‘T«Iafi‘3aT a»"°r

g§f‘T—I an Faint 61% 33 am ‘err?’ 3 E"tFan.z: afir :I=Ir‘I»‘ an"Ta:rU1 5?

$';°rII ‘RIF! Farm mzr tr? I a%ITa=I, 31%, 3133‘, UT a:FahqaParfi a°r tfi a=I?'~I25 rrrfifiu 1‘1=IzT'a a1a?2JT a~'aITa"I’ % 2I’r:vI=ITaz

an"fm'U1 crr aITFsIa ’~Ia‘°r' 2 I zfi‘a2f’I9.1TEI HFFIT-HFF1 3’? araufaai

HWJHT 6? I=T=I €.*aT 3, :rrr1?T=IT‘ 3 !~'InTfiIr-I as? 33"?‘ I as am

vvITFz=II=I i‘I eat an FIB? a-*3°r‘ am’? rfi 3 I =I2fI m=’°re1T $ $u‘I«JTfi’ 9I

sfi an qf‘t'aa?o1 aw 341223: ‘I‘—csuT 3 I go? gag 9% 395 $7 a;Tt'I'

aI=pTa ¢=r‘ré6b1 aIaT:IT i'2I

1. Wittgenstein - Lectures and conversations (1966), p.322. Cleanth Brooks - Implications of an Organic Theory of

Poetry.Literature and Belief (Ed.) M.H. Abrams, p.80

31

==ITnT=U EWT 51:5 23 afiar aw Fahd afi F=I:IaT 5?

yam arm sI?'afivTrfifitI 2=In"IaT fr GITHSE? 91% %I 2=IT?3‘crIs1T?af°Iu

mfim fr aITam$ 2165 ‘E? I =.=IT‘Fa?2I 5ITr¢.=a°.ru s1Ea*Ta?n’°r $ 1==JI=I

Err ES?-IT sI’a'efr 91EaTaW~fl 3 g7fi‘n Ina £1 ah‘ zfr aIu:Iu=I "H?‘a25

?‘YT‘F5fi?J' =rs°r‘ 3? UITEIT I a=I?'afi srrrrafiu 1=m°Ia?r afi aTe1Tr=§I

Fa§‘I‘5t=IT 3%’? $617 s1F15aT I3 I an gent an‘) :m°ra1T aw Q55 ma

g2:?:I=I a;Fr—I 3 am?-na 3315 as? awe‘! if F1T={T Efiar % I an

qfsz €I {Tear ar am: 3:93‘ era =.=I=fi gar": & :III°m.raI“I’ 1 IPI aIFuJiI=

TSET 3 I =Ia°r a? Iaaa: zfi'n‘rsI‘ITFaf‘ru mflerr 3'12,324 9'qF‘ca a’°r I=ITa°‘I 3 I

a=I?’a7§=ITrT5fi1: mfiar i1'Q&*1‘I‘—cHaT =52"-I a=fi'nT as ir?'cI’°r %

F3 mi!‘ =I 3a?-I aim aria f"a‘mfi*' z?I aa°r am‘) '3, afwa aanjm

qt‘? are &;FFI—Fa§'u3 trr éifia z%'a°I =3’ 3?: 5% fr ?ETD'?FFrIT

av? Haffih: néfia FHUT aTaT 3, 3U‘T9F ‘;$:==I"T ifi EFFIT 397

aIT%IFr=:: war FEITITW a-fa-1”a?'fi6IaI“I eI'T%IF'rI: QEFFIT s:?a"‘. 3 I

were afar: "=Ia°r F!'FI°fElT" 13' =fi agfa Pam é r~'I"rd==IT?n5 aI’rr

crrawa n;.v1amT' afl nr:I:TI"—a’Fa % f“a3T6b1 as? rrra Farm SITE‘! ‘Q’ I

=I1fl nD°rzHT if tza'T‘I‘—raFa % nfia a-*3‘ §a=I"T qr EH Ifr‘aT WJT 3 Fa?

aFaaT fr amjar Ifsa 6% $ =42: it 34% an? 57 Fabav T‘?-I=aT TIUT %

aITFaI5aT?-3 131336191 91 are: war 3 Arts poetica 3 sfiéa: $FaaT fr

(a1‘“cIrI 6? cr'FaIt-Ia?‘ fa‘ FT«Ia:-IT 3 - 'aI"FaaT ET J23 =I3°r', m=IasT aIF“+a?a

ac‘I"Fa\=I 3 I 321q1=61'a3IrIaIfia’FeJasn'e'?aarTFa6!:a'Hna‘i=IT‘c7:as

3T<"EI'={T $1’ Fa=r3Im1 Q, Gfi‘ 9a;'I‘*cI 3 ah gain :3‘:-III1a»'r CW3‘ grwfi‘

a~'T a'aTt fiiféfi 3 I——..—.———¢—...—-———..——-u-q--._a———-————~—¢—<—._—-.._.-.__—--—__.—.——_

1. John Crowe Ransom - The New Criticism, p.115

32

HI“-avfimsafiu a=r1=I‘T£rr 3'31‘? 33 '%aT2rFraT ah

rgvufisa a:°r aIT%IF23?IT 3? GI? fl?-I Pam CITIFT 3, W13‘ are nFfl=I

3 T‘? agf‘? 3°r E1-7<'~1TT"D$ FIWJFIT 3'3 =I?‘aI591T£a°ItI aeum 3T Fan:

3? a=I3a”r 3 I 3FaaT 3'3 F:IT2I?aaT 3?: JITE-*I3TP13eIT 3 araqa

a=fi"'c:z5'IvTrtEI°rII aauaa if 2=ITI=T=u 3’? 3:5 1fn3T aarz: rr—I°I 3 I

393 3F;a aIs.tm=I 3‘ GITTETE.’ afit ra=IT Ta?‘ 3?

33r FaaTr3i‘’ 1}‘ nah: TBT 3 I FaaT13’r‘ in Q3 afi, GI?

"afiHfim1a' :3‘ am 337 3, 3% 3 swam BINW a?'a1§T=I:31“*cI 31‘ HT‘? 33 3 cra 3'3‘, 33 F3 r;nI(T arf ta=IT

3°r 1aT2rcaaT 33‘ ‘em a°rnT a3 fiTF?FI TIZFIT 31's-'F‘T 3' F3 aIT1=aTa*

3 F=Ir3e1 T637? 3?? 3 mama au.?=I:Tr 3 J<IJr"a:_ :3‘ fr 3=F—'!°T&?T

a3’°I NITIEEFIT IJTGIEIT 3 I a?=IT' rrafi’ 3 acr9I--aIu9I H3 3’ afir

an=I°r-aItr=I°r =.=m"Ta1T cra’Fa tfr I

=.=I?‘az5 am an aITsf=I3 1=I’a=3

35¢"-IT<$f‘Fl UT tiI=IT 3 afiar F=I‘FaEI a=3:rI=IT?rI3 aIa*szITaI?‘ 3?

9713 31-cf"r_ am 3% Burns 82:3 3 ma cr’Fr‘F=IFIsz?I 3r3 3T UWQFII

afirfi a'ca’r' 3 a'=3Ib1 i‘I Q31 gar 3125 tr’? 3 fir ar=aa3n—caT 33

33215 5rFan.1-I?‘ 3”r 1=u‘rIr=IT tfr I aIn_1F=I3 afaar 3‘? aITa}f’=Ia?IT 3?

33

3*UrI"’-$3 652% H1311 UT am}F=I$ EFEFIT $°f uraafn an" xi’FnFI 61%

81121 are anmr SETH rcr-=I 3?a°‘r 3 F3 aTef=I3 ra=IT $7 afizfimza

n.T9I am‘ 3 9 I=I?‘a'2‘ia?eI 3 5rT?fi=Ian a'c—d?‘ 3 arm? in 213T‘

Fasfim 1=I'%EI =13‘? 3, fifi Efia 313‘ Gifiaa avré %' I :3: Fafaa?‘ 6"‘r

afir aafi fr Qrvfr 2% 3' I =Itfi trFrF1==«1f‘T—IuT‘ & mu rI?‘atIfTn$

asIT=I 13‘ aI‘at aIT=IT ?aT:i’TFa$ rrFIU1I‘?I ma % I

am 3117? #315 Fa‘aa 23' Faécx a-<T na‘car{o‘I 1=2Ir=I 3 I

211‘: U3 a»'3=IT 3113?! 3 Fa 1}Tv!I?'$T’F’3fi‘fi I-“IT=Ia an Faéav 3 a?

as wear afi 25% 3% i=1?-raft aw Igaa: :51‘: En HITIITI 3 I

W %1"f"€l5‘¢l?JT 3, as =1 am crmr zfi If-ET BUT % 213 an :IT=Ie‘I 3‘,

tr3aT=I% 3', am‘ Rafi i"Fa HUT afar fiar § I afir sfat BUT 3,as aaraafiarafimiffiK1=a;Efi1?IrIv'r?'$?op1ssrztIa%Ii’F333 arm FEET rfzr flan 3 - FUI=Ia~"r :rrr?‘PJ1“?I afi crsam 6173

an 263% i'Fa= Ff='c.'T 23-“ctr % I itefiaizn 3 9 CFEF°F aT'Faa»'T

rsqa azrn amanas 3 I I131’ awe 36$ HE-'°‘r aj3U——IT U236? %

Fa: ai‘=a15-am afa $1’ ancrrr %, afa $ ETTT a°r an (F1 war?‘ as?

rr=-s'aT=® 8‘, nT=Ia $7 aqua 3“r U=I a‘ca’r' as’? $rI?a“r %l I‘

==1FE:a'T=Fa aT‘ca=IT2:H 91 av? aI=3I3 ‘A aI’f3T 3 I

331:3 6+5‘ :a3Fq’5 =I3°r' %, aa: qfi Faarnafifi %, U”-afi wrfi T‘?-I=3T 3,

'agFz ET =r3: aI=g=Ia’r‘ & arwrr ‘T!’ 31191: =I=:IT firm afir T€‘fE‘=1 HTFIT 3

fir =IIIT ar—1%1a {Wit J—1=Ia as? FII6T =r:r°r‘ éar, rm 13' qsaw 3% =Iu°r

I- a=IF?aa'T=I=a arm: ma - f’z=:°r a1'F3‘cu ‘I5 aIT:3F=Ia:

trFI:~;ra 3I9573, q;-Io

34

cr’r‘trraaaT am 3 I Irina 3 IIFUFI :3‘ afis z°r a‘“I‘:«5 3*, am’? =I1r°r‘i’ I

HTFKHJ 3 Era 13331? UTTEFTT a"‘r aaf 31=I°r an? 13‘ am %‘ — FIIFWFIT

cmh‘ aIF=IaTiI 3 I 8? 13Tv2:I In gFaIIT=I, :1éaT25Ia"'r qfi? SI W338

‘I31 fr =I 3?, ‘RJT2fi aaru 8?? 3', afir :r=Ifi‘ GI? tI‘F1'EsTr HT =mT

H"(<'=FTT 8¢Fraz$=I am =I EFIFIT a°r z=IIf‘ra‘I-—I a?nT3 flaw‘ %, 31913‘

s1FaII1’ an GIT Havfi 3 I F=I_‘éa=I='c‘ta qrfi afi 11:2: 3' - aTnT‘I‘TII$

:;7~a- :-I? ;=ITIII‘I‘1I'aIs rI‘Fr:~.I'c$=IT‘ 2% IITIJ <II&a1é:IT 39513: ?IG_f°r 3 am aafifi 3',

fi‘c1 an GET U=I$”I aaf =Ia°r' art I? 3', 3:12} srfyaa I163‘ 12?U?' afl

am an IE‘ %‘ I 3=I aIFaI=s =16? Wu?‘ 13' afi HF: am éfifi % F5

awfi arflam aI‘F-ms ;fI nfa £I #67: afar 5', FIT Jam arm as"?% Fa: am’ snrfi aa»‘=IT an afz F'—II——ar am? aI=1:Ia $7‘ nT'.:Ia°IaI?t

FITJTFI Fafivrca HF!-VISES are‘? aaa°r %, a-51' azfi (Fae emfla 37

are FIBHT 313‘ azfi‘ qF8E zfi 8 éar 73' - aurh fife an are FEITCITI12a»'9’131FIraTF-I?asfia'"ITI=Ia'?:I6aT3I2:I?JFcri7:IT:1‘I:-IaIa?FIT%

av? aIa»'Trrn =13?‘ ETFIT, a? a11°z.' an aIm"ra: ah am a75Ta:I =Id°I grfiItrP?a

awrfi 3, as Fm? EH3 aIT'I‘a=1“fa an ETTUT afi 13TGIa"‘r fir Ifia €IFI"r %'I

<i'=_{}TEi ma é =fiI=II‘1' 13?-11”?‘ 3 S13E51 at I=IT:J mu HIT?

31°36 Fa'FI=I a°r err EITTT afr ave?-Ir—I‘T 3' I wear a=I‘aI‘-.1 an-T? nTa'FsI3

Ha‘ HTHTFW ma 5! 3‘ I am: afi“a'25'I aw gaff than avr crFr&:;a

aaam E I a1TaTa=I a’°r a’ftz‘3aIhJ IIJFIHTFFIH era‘? $ I aTs.j‘—-Ia

aFaaT é Fm: as uiafi 3 Fan :13‘ =Ifi fizzicrrav 9’FFWT=fi’ as"?

I- nPa2.'T=I=ar aT?1=:ITzI=I - Fz=a“r HTFEFJ as «‘:lT£f=El? crfiqra,

t{- I I-I2

35

aI*rama;aT 73', az:’r‘Fan' 'aT'¥I=Ia 13‘ &;f‘*cI ah aTrvI?a=IT ah?‘ 2% z=I‘mrT

a?°I crE-'aT=I am FIHEI 3 Fan mg, 95, =I°I‘Fav‘ITFI, FTPTGl9TT‘F1,

n=I?FaaT=I, rTaI=I°rFFI9‘lIr‘FaI, 31‘?I3Ta~ ah Cfi?3P.TTV=l aITFa $T 3IT‘—I—

Faéa c"~ITF5IrI°r 3, i2:I?"I% £I nT=I.=:fl=: aI=_I=Ja?‘ am ¥f1ajf‘—cI $ a§Fa;T

Tafa E?‘ I z=Ii:I =1 H? a=I:u’IaT 3a=Ifi“e:v5I_8 afir =I 3"? am-I?‘-2I=IT gF=Io‘Ia3 aw?

cpl: FEFUT GIT .=1a~?I1' 2 I 31717:??? a=I?‘<.T2fi=:I?sw‘rr?3I 5'? :ITdT 13‘ Q3 s,]a'r'a

wad yawn an: ar -Er FIT qnrr aa‘I=I arr I a°Ia ff er-=1 mar­

:Icr:§TaTaI?' 3 aI=;afi aI=55Fa:n’ am 1‘—cIF3§‘F?a2:T‘ Ifiqé Isa‘? 3':

T:‘<'IITF’.'IT aI7‘r Fafirm 6% GITLTFT ‘TI’ .=£7‘aEIT $ $T‘Eu=Ir-I

i=I3?I’r‘ 31* Irzafifi 3 am am J=I H33?‘ 3 an-1? Fafiwcz am: es? fr

trf’rfiT"I‘tl=I star 3 I :r<rT1rtvTr25 ca: arfla: f‘—sI'a UT avf*aT=I gefiav 5?

I? I ea Fah UT 93% um aFaaT 3 aT3z“r a=I?‘z2"I Fa.:rr=I 3 913

area 33?‘, 3P8 arr'aFr$ Ifitwft Pam? $3‘ $urTFaa azfiawfi afarh

J‘F"6F‘FIa|U71i‘1E3?TlI5Qfi=ITF1’&’$~?4fi:ITE__»3TTEfi?'T3I

zfikfi 3I=I°I awn tra‘ aTTcIFra 83??‘ 3 2113752: a :r<a’rs,I sT9IaT<—-IT

=3:I=IT?na: aI=pIa 3 I

38888883888

I- rfi$T&feIFI 133- arm?-I? I=I?'a15I F‘GI?ITFIT 8I9'/78

9'WTa=IT, ll