Note 12 — III DRAMATIC THEORY XIII THE THEORY OF THE DRAMATIC ART
Reading edition
The development of a theory of drama progressed in the closest relation to the general theory of poetics, for the Indian theory of poetry does not admit any distinction in essence between the aesthetic pleasure produced by the drama and any other form of poetry. Thus we find in Abhinavagupta in full application to the drama the theory of suggestion, Dhvani, as the essence of poetry, which appeared in strength about A.D. 800 and was rendered popular by Ānandavardhana (A.D. 850) and by Abhinavagupta himself in his comment on the Dhvanyāloka of the former. Attacked by Mahiman Bhaṭṭa, author of the Vyaktiviveka (A.D. 1050), the doctrine was again developed with special care by the Kashmirian Mammaṭa12 at the close of the eleventh century. In slightly varied forms it appears in Vidyānātha, Vidyādhara, and Viçvanātha.