An effort is made to describe the precise nature of the mental activity involved in the enjoyment of sentiment, and to base upon it a division of the sentiments. The four sentiments of love, heroism, horror, and fury are taken as primary, and brought into connexion with mental conditions described as the unfolding (vikāsa), expansion (vistara), agitation (kṣobha), and movement to and fro (vikṣepa) of the mind. [672] These are evidently mental conditions, believed to be reached by introspection, and they have the merit of giving a quasi-psychological rationale for the doctrine of four primary and four secondary sentiments found in the Nāṭyaçāstra. [673] But there was no early agreement on this piece of psychology; Abhinavagupta, [674] with Bhaṭṭa Nāyaka, accepts only three aspects of mental condition as involved, the melting (druti), expansion, and unfolding, a division which is applied also in the theory of poetics to justify the doctrine of the existence of three qualities only of words. [675] On Dhanaṁjaya’s view the sentiment of calm which he denies for drama, [676] if it exists at all, must be regarded as combining all the four mental aspects above distinguished. It is now possible to understand clearly the essential relation of the spectator to the actors; we see on the stage, for instance, Rāma and Sītā, who excites his affection, aided by suitable circumstances of time and place; this affection is intimated by speech and gesture alike, which indicate both the dominant emotion of love and its transient shapes in the various stages of love requited. The spectacle evokes in the mind of the spectator the impressions of the emotion of love which experience has planted there, and this ideal and generic excitation of the emotion produces in him that sense of joy which is known as sentiment. The fullness of the enjoyment depends essentially on the nature and experience of the spectator, to whom it falls to identify himself with the hero or other character, and thus to experience in ideal form his emotions and feelings. He may even succeed in his effort to the extent that he weeps real tears, feels terror and sorrow, but the sentiment is still one of exquisite joy. We may compare the thrill of pleasure which the most terrifying narration excites in us, and we are all conscious of the sweetness of sad tales.