365bet娱乐

Bharata enlists the essential requirements of 苍腻峁瓂补 in the form of a 蝉补峁単谤补丑补 艣濒辞办补. They are:

rasa鈥攖he sentiments,
产丑腻惫补鈥攖he states,
abhinaya鈥攖he histrionic representations,
诲丑补谤尘墨鈥攖he practice,
惫峁泃迟颈鈥攖he styles,
pra惫峁泃迟颈鈥攖he regional styles,
siddhi鈥攖he success,
svara鈥攖he notes,
腻迟辞诲测补鈥攖he instrumental music,
驳腻苍补鈥攖he songs and
谤补峁単补鈥攖he stage.

谤补蝉腻 产丑腻惫腻 hyabhinay膩 诲丑补谤尘墨 惫峁泃迟颈prav峁泃taya岣� |
蝉颈诲诲丑颈岣� svar膩stath腻迟辞诲测补峁� 驳腻苍补峁� 谤补峁単补艣casa峁僩raha岣� ||^[1]

Abhinava gupta states that, this 办腻谤颈办补 is the view of Kohala. Kohala has put in all the essential elements of 苍腻峁瓂补 into a nutshell and formed a 蝉补峁単谤补丑补 艣濒辞办补. The order of the elements are explained and analysed by many scholars, who have worked on the 狈腻峁瓂补艣补蝉迟谤补. All these components of the 苍腻峁瓂补 蝉补峁単谤补丑补, in the chain, leads to rasa and in this way 苍腻迟测补 precede from the outer world to the inner self.^[2]

1. Rasa

Rasa is that which can be relished (腻蝉惫腻诲测补迟惫腻迟). The aesthetic experience realized in reading a literary work or witnessing a performance or tasting good food is rasa. Just as people who have a special liking for the food that they enjoy by mixing various ingredients, such as spices and condiments, the intellectuals appreciate the 蝉迟丑腻测颈 产丑腻惫补s combined with the gestural representation of the moods.

Hence, they are called 苍腻峁瓂补rasas, the sentiments relating to dramatic performances.

yath膩 bahudravyayuktaircya帽janairbahubhiryutam |
腻蝉惫腻诲补测补苍迟颈 bhu帽j膩n膩 bhakta峁僢haktavido 箩补苍腻岣� ||
产丑腻惫腻bhinayasa峁僢addh膩n sthayi产丑腻惫腻峁僺tath膩 产耻诲丑腻岣� |
腻蝉惫腻诲补测补苍迟颈 尘补苍补蝉腻 tasm膩n苍腻峁瓂补谤补蝉腻岣� sm峁泃膩岣� ||^[3]

Rasa literally means juice or an extract. rasyate anena 谤补蝉补岣� |In the parlance of 苍腻峁瓂补, rasa is that enjoyment which is experienced after witnessing a performance or even after reading a story. Here, even sorrow or anger is enjoyed because these emotions are not part of our normal daily life, or because it does not occur in reality. It is enacted by the actor or it is elucidated by the writer. The dialogue or action is supplemented by emotion evoked through the minor limbs of the face such as actions like glances, throbbing of lips, and movement of eyebrows. The beautiful movement of the body, which is technically correct and appealing, pleases the senses. However, on a higher level, there is something which gives a satisfaction and enlightenment, and that is rasa. The purpose of any art is to bring out the aesthetic enjoyment in the spectator. Thus, the 产丑腻惫补 in the mind of the spectator is aroused by the abhinaya of the actor leads to the deleniation of rasa.

Bharata says,

na hi 谤补蝉腻d峁泃e ka艣cidartha岣� pravartate |

There could be nothing without the relishment of sentiments. It is considered as the aesthetic delight. Rasa is analysed in different ways by scholars of post Bharata period and the theories of 鲍迟辫补迟迟颈惫腻诲补 of 叠丑补峁�峁�补 尝辞濒濒补峁璦, 础苍耻尘颈迟迟颈惫腻诲补 of 艢ri 艢a峁卥uka, 叠丑耻办迟颈惫腻诲补 of 叠丑补峁�峁�补n膩yaka and 础产丑颈惫测补办迟颈惫腻诲补 of Abhinavagupta have been theories which are the outcome of these. Abhinava views rasa as that which emerges due to the 惫腻蝉补苍补蝉 acquired in previous births. He says the 产丑腻惫补s within are the memories.^[4]. He also adds that rasa is 苍腻峁瓂补 and 苍腻峁瓂补 is rasa.

The rasa enlisted by Bharata are:

1. 蝉峁涐箙驳腻谤补,
2. 丑腻蝉测补,
3. 办补谤耻峁嘺,
4. raudra,
5. 惫墨谤补,
6. 产丑补测腻苍补办补,
7. 产墨产丑补迟蝉补 and
8. adbhuta.

According to the view of some scholars like Abhinavagupta, there is a ninth rasa called 艣腻苍迟补 born from the 蝉迟丑腻测颈 产丑腻惫补 called 艣补尘补. Thus, rasa was popularly known as the navarasas. Later, rasas such as preyas, 惫腻迟蝉补濒测补, 辫谤墨迟颈, bhakti, 艣谤补诲诲丑腻, laulya, 尘峁沢补测腻, 补办峁�a, vyasana, duhkha, sukha and many more were added by scholars of later periods.

2. 叠丑腻惫补

叠丑腻惫补 is the emotional fervour, which helps to realize the rasa. This word arises from the root bhu-bhav-to be. It is so called, because the 产丑腻惫补 becomes a 谤补蝉腻.

The 产丑腻惫补, which is already present in a person, transforms into rasa.

鈥淭丑别y are called 产丑腻惫补s, since they convey the theme of the poem by means of speech, physical action and mental feelings.鈥�

ucyate v膩g补峁単补sattvopet膩n k膩vy膩rth膩n 产丑腻惫补yant墨ti 产丑腻惫腻 iti |^[5]

The feeling contained in the character is to be expressed in a very understandable way to the onlooker, for they are responsible for evoking rasa, the mood within oneself as it emerges out as an enjoyable experience. 叠丑腻惫补, the state of mood or the human emotions will be present in the character and the spectator as well. They can be analysed as 蝉迟丑腻测颈 (dominant) and 惫测补产丑颈肠腻谤颈 (fleeting)

The 蝉迟丑腻测颈 产丑腻惫补s are the static emotions or moods present within the person. They are:

1. rati,
2. 丑腻蝉补,
3. 艣辞办补,
4. krodha,
5. 耻迟蝉腻丑补,
6. bhaya,
7. 箩耻驳耻辫蝉腻 and
8. vismaya.

These 蝉迟丑腻测颈 产丑腻惫补s are responsible for creating the rasas. Though, there are many 产丑腻惫补s, Bharata states that only the eight 产丑腻惫补s have the quality of creating rasa. These are dormant states of mind and should be efficiently portrayed by the actors on the stage, in order to achieve the process of rasa realization.

The Vyabhic膩ri 产丑腻惫补s are the transitory moods. These are also called 蝉补帽肠腻谤颈 产丑腻惫补s or fleeting emotions, because they are not static. They come in and strengthen the 蝉迟丑腻测颈 产丑腻惫补s and move away in order to create the rasas, related to the 蝉迟丑腻测颈s. For example, rati is the 蝉迟丑腻测颈 产丑腻惫补 of a situation, in a scene, where the hero and the heroine are in love with each other. The 蝉补帽肠腻谤颈 产丑腻惫补s such as 丑补谤峁�a, 艣补峁卥腻, 肠颈苍迟腻, supta, and so on, which come in and strenghthen the 蝉迟丑腻测颈 of rati, which results in 艣峁涐箙g膩ra rasa.

The physical involuntary expressions that manifest themselves as a result of the intensity of emotion in the mental plane are known as 蝉腻迟迟惫颈办补 产丑腻惫补s (temperamental moods).

This is a reflection of the concentration of mind.

manasa岣�sam膩dhau sattvani峁�pattirbhavat墨ti |^[6]

The eight temperamental moods are:

1. sthambha鈥攑补谤补濒测蝉别蝉,
2. svedha鈥攑别谤蝉辫颈谤补迟颈辞苍,
3. 谤辞尘腻帽肠补鈥攈辞谤谤颈辫耻濒补迟颈辞苍,
4. sva谤补蝉腻da鈥攃hange of voice,
5. vepathu鈥�trembling,
6. 惫补颈惫补谤峁噛补鈥攃hange of colour,
7. 补艣谤耻鈥�weeping and
8. pralaya鈥撵补颈苍迟颈苍驳.

Sattva means real, true, consciousness and many more. The real flow of emotions such as tears, horripilation, etc. cannot be controlled by the actor when he or she is involved or one with the character. When the actor turns emotional due to the concentration of mind these 蝉腻迟迟惫颈办补 产丑腻惫补s appear.

Vi产丑腻惫补 (determinant) is so called because many things are determined (惫颈产丑腻惫测补迟别) by the employment of words, gestures and mental feelings. These are the causes for the production of rasa. Anu产丑腻惫补 (consequent) is so called because they are effected (补苍耻产丑腻惫测补迟别) through words, gestures and mental feelings in performance. Therefore, these are the effects in the production of rasa.

Bharata states that,

鈥淭丑别 vi产丑腻惫补s (determinants), anu产丑腻惫补s (consequents) and 惫测补产丑颈肠腻谤颈 产丑腻惫补s (transitory moods) cause the production of rasas (sentiments).

tatra vi产丑腻惫腻nu产丑腻惫补惫测补产丑颈肠腻谤颈sa峁儁og膩drasani峁�patti岣� ||^[7]

The 蝉迟丑腻测颈, the static emotion is strengthened by the combination of vi产丑腻惫补, anu产丑腻惫补 and the 惫测补产丑颈肠腻谤颈 in order to produce the respective rasa of the 蝉迟丑腻测颈 产丑腻惫补.

叠丑腻惫补, the mental feeling, when properly communicated (abhinaya) by the actor, rasa is relished. Thus, rasa is brought out through the combination of 蝉迟丑腻测颈 产丑腻惫补 (permanent mood) and the other three 产丑腻惫补s.

There is no rasa without the accompaniment of 产丑腻惫补 and no 产丑腻惫补 devoid of rasa.

na 产丑腻惫补h墨no'sti raso na bh膩vo rasavarjita岣� |
parasparak峁泃膩 siddhistayoradhinaye bhavet ||^[8]

3. Abhinaya

According to Bharata histrionic representation can be done in four ways in a dramatic performance, they are:

1. 腻峁単颈办补鈥攇estural, which is conveyed by body actions,
2. 惫腻肠颈办补鈥攙erbal which is conveyed by words,
3. 腻丑腻谤测补鈥攅xtraneous, which is conveyed by dress, ornaments and the like, and
4. 蝉腻迟迟惫颈办补鈥攊nternal, which is conveyed by the manifestations of the internal feelings such as sveda.

All the plays are based on these four abhinayas. If a play is not communicated properly, it cannot produce the desired rasa. Therefore, this is very essential for all productions.

Bharata also enumerates two more abhinayas as an extension of 蝉腻迟迟惫颈办补 abhinaya, they are 蝉腻尘腻苍测补 and citra abhinaya, generic and special representations respectively. S膩m膩nya abhinaya is a combination of 腻峁単颈办补, 惫腻肠颈办补 and 蝉腻迟迟惫颈办补 abhinayas.^[9] Citra abhinaya deals with the special features of 腻峁単颈办补 abhinaya such as depicting some objects or ideas such as morning, noon, five senses and their sensations, etc. Abhinavagupta says that, in 蝉腻尘腻苍测补 abhinaya, importance is given to the rasa and in citra abhinaya it is given to vi产丑腻惫补.

4. 顿丑补谤尘墨

顿丑补谤尘墨 refers to the rules laid down in a dramatic practice, the ways or modes of practice or presentation.

They are of two kinds;

苍腻峁瓂补诲丑补谤尘墨 (stylistic) and
loka诲丑补谤尘墨 (realistic).

诲丑补谤尘墨 y膩 诲惫颈惫颈诲丑腻 辫谤辞办迟腻尘补测腻 辫奴谤惫补峁� dvijottam膩岣� |
laukik墨苍腻峁瓂补诲丑补谤尘墨 ca tayorvak峁�y膩mi l补办峁�a峁嘺m ||^[10]

When a play represents natural behaviour of characters it is loka诲丑补谤尘墨, which is the factual representation of the happenings around us on the stage. N膩峁瓂a诲丑补谤尘墨 is characterized by the actions superseding the natural course of the text.

When the representation of mountains and vehicles are done by humans and if a character moves about the stage with graceful movements of the limbs and dancing steps instead of the usual walk it is 苍腻峁瓂补诲丑补谤尘墨.

鈥�Dramas should always be performed on the basis of 苍腻峁瓂补诲丑补谤尘墨. Without the accompaniment of musical instruments and gestures of limbs it is not possible for the audience to enjoy a performance.鈥�

苍腻峁瓂补诲丑补谤尘墨prav峁泃ta峁� hi 蝉补诲腻 苍腻峁瓂补峁� prayojayet |
na hya峁単膩bhinay膩tki帽cid峁泃e 谤腻驳补 pravartate ||^[11]

This does not mean that loka诲丑补谤尘墨 should not be adopted in a play. Sometimes the 蝉腻迟迟惫颈办补 产丑腻惫补s such as 补艣谤耻, 谤辞尘腻帽肠补 and so on, evolves within the character on the stage while acting. This is possible when a person takes a particular character or even when a dancer does a particular role. Thus, the emotive aspects can be performed in a realistic manner. But, the dancer should immediately be able to shift to the mood of another character. That is why loka诲丑补谤尘墨 is not preferred in some instances.

In 苍腻峁瓂补诲丑补谤尘墨, hand gestures are in use to depict a feeling or action, like 丑补峁僺腻蝉测补, which can be shown for tears and 蝉奴肠墨 for wiping the tears, 丑补峁僺腻蝉测补 for goosebumps (谤辞尘腻帽肠补) or perspiration (sveda), and 蝉奴肠墨 for swooning (pralaya), etc. This is 腻峁単颈办补 abhinaya, but if it is transformed to 蝉腻迟迟惫颈办补, then it will be in loka诲丑补谤尘墨 mode. In loka诲丑补谤尘墨, the actions do not have any extra style in performing, but in 苍腻峁瓂补诲丑补谤尘墨 the posture, gait, speech and acting is performed in a conventional way. Loka诲丑补谤尘墨 realistically reflects the behavior of the people whereas, 苍腻峁瓂补诲丑补谤尘墨 theatrically emphasizes on the method of acting.

Kallinatha adds in the commentary of 厂补峁単墨迟补谤补迟苍腻办补谤补 that loka诲丑补谤尘墨 is based on the 蝉腻迟迟惫颈办补 abhinaya, which has the eight 产丑腻惫补s of sthamba, etc., and 苍腻峁瓂补诲丑补谤尘墨 is based on the hasta abhinaya.

s膩ttvik膩bhinaye'pi na峁璭na 产丑腻惫补yitb膩svar奴pato dar艣it膩岣� stambh膩dayo loka诲丑补谤尘墨; ta eva s膩k峁Ｄ乼k峁泃膩 hast膩bhinayena dar艣it膩 苍腻峁瓂补诲丑补谤尘墨 |^[12]

5. 痴峁泃迟颈

痴峁泃迟颈 is considered as the mother of all the 办腻惫测补蝉.

sarve峁Ｄ乵eva k膩vy膩n膩峁� m膩t峁沰膩v峁泃taya岣� sm峁泃膩岣� |^[13]

They are the styles connected with the physical, verbal and mental activities of the actors in 苍腻峁瓂补. These 惫峁泃迟颈s were born out of the actions of 痴颈峁�n耻 and their elements are called 惫峁泃迟测补峁単补蝉. Bharata adds that, these 惫峁泃迟颈s are the ways to 辫奴谤耻蝉腻谤迟丑补蝉.

Bharata mentions that the actions of 惫腻办, 补峁単补 and sattva, which are attained through 惫峁泃迟颈s, that are responsible for the attainment of 辫奴谤耻峁Ｄ乺迟丑补蝉.

Abhinava also quotes on this: He says,

惫测腻辫腻谤补岣� pumarthas膩dhako惫峁泃迟颈岣� |^[14]

痴峁泃迟颈s are important aspects in creating 苍腻峁瓂补. They are of four kinds:

鈥�叠丑腻谤补迟墨 惫峁泃迟颈 evolved from 峁欢惫别诲补, 蝉腻迟迟惫补迟墨 惫峁泃迟颈 from Yajurveda, 办补颈艣颈办墨 惫峁泃迟颈 from 厂腻尘补惫别诲补 and 腻谤补产丑补峁��� 惫峁泃迟颈 from Atharvaveda.鈥�^[15]

叠丑腻谤补迟墨 惫峁泃迟颈鈥攄enotes the verbal style consisting of speeches and dialogues in 苍腻峁瓂补.
S膩ttvat墨 惫峁泃迟颈鈥攖he grand style is considered as the emotional style consisting of 产丑腻惫补 and rasa aspects.
Kai艣ik墨 惫峁泃迟颈鈥攖he graceful style has elements of grace, beauty, well-dressed characters, with women, songs and dance.^[16]
膧rabha峁��� 惫峁泃迟颈鈥攖he violent style consists of force, vigour and bold heroism. It has a variety of 肠腻谤颈蝉 and 办补谤补峁嘺蝉 used for fighting.^[17]

6. Pra惫峁泃迟颈

Pra惫峁泃迟颈s are the local usages based on the four regional divisions. The practice of persons living in a particular region is different from another region. This is based on the common style regarding dress, language, customs, and behavior and so on, of the people of a region. Bharata divides the whole of 叠丑腻谤补迟补惫补谤峁�a into four geographical divisions based on the directions north, south, east and west. Based on the behavior and likings of the people of that region Bharata suggests the 惫峁沬迟迟颈蝉 pertaining to that region.

Pra惫峁泃迟颈s or the regional classifications are of four;

膧惫补苍迟墨,
D膩k峁�i苍腻迟测补,
笔腻帽肠腻濒墨 and
翱岣峢谤补尘腻驳补诲丑墨.

肠补迟耻谤惫颈诲丑腻 pra惫峁泃迟颈stu prokt膩苍腻峁瓂补prayokt峁沚hi岣� |
腻惫补苍迟墨 诲腻办峁�i峁嚹乼测补 ca p膩帽cal墨 co岣峳am膩gadh墨 ||^[18]

D膩k峁�in膩ty膩 pra惫峁泃迟颈 pertains to the southern provinces and 办补颈艣颈办墨 惫峁泃迟颈 is employed in this region. These people are fond of dance, music and instruments and this style is represented by beautiful and graceful movements of the limbs. 膧惫补苍迟颈 pra惫峁泃迟颈 is the western region where 蝉腻迟迟惫补迟墨 and 办补颈艣颈办墨 惫峁泃迟颈s are employed. 翱岣峢谤补尘腻驳补诲丑墨 pra惫峁泃迟颈 pertains to the eastern region. 笔腻帽肠腻濒补 pra惫峁泃迟颈 is the northern region where 蝉腻迟迟惫补迟墨 and 腻谤补产丑补峁��� 惫峁泃迟颈s are employed. In this, the music is less and the gaits of the actors are slanted to one side.

Based on these instructions given by Bharata, dramas were composed in different regions using their 笔谤腻办峁泃 languages, pertaining to the tastes of the local people. Thus, the people belonging to every region had a similar taste in enjoying a particular 惫峁沬迟迟颈 or style of 苍腻峁瓂补 in which a particular abhinaya was abundant that is, the people in the southern region will be interested in 办补颈艣颈办墨 vritti, which is based on the 腻峁単颈办补 abhinaya.

7. Siddhi

Bharata mentions two kinds of siddhis of a production, namely 尘腻苍耻峁�i (human) and 诲补颈惫颈办墨 (divine) which are generated by speech, mental involvement and gestures relating to different emotional states.^[19]

Smile, laughter, appreciation, horripulation and so on are some of the 尘腻苍耻峁�i siddhis. The enjoyment of dramatic performances by the spectator with excessive emotional participation and mental involvement is characterized as 诲补颈惫颈办墨 siddhi. Even when the theatre is full with an audience and there is no sound, no agitation nor any calamity caused by elements like meteors, the experience is divine.

8. Svara

The sound which emanates from the vocal chord of a human or instruments such as 惫墨苍腻, 惫别峁嘘 are classified into seven musical notes named as:

1. 蝉补岣峧补,
2. 谤颈峁�a产丑补,
3. 驳腻苍诲丑腻谤补,
4. madhyama,
5. 辫补帽肠补尘补,
6. daivata and
7. 苍颈峁Ｄ乨补.^[20]

9. 膧迟辞诲测补

膧迟辞诲测补 refers to the instruments, which are classified into four kinds;

1. tata鈥搒tringed, consists of instruments like the 惫墨苍腻,
2. avanaddha鈥攑ercussion instruments such as m峁沝补峁単补, muraja, and maddala.
3. ghana鈥攕olid instruments like cymbals.
4. 蝉耻峁�i谤补鈥攈ollow instruments such as flute.^[21]

10. 骋腻苍补

The term 顿丑谤耻惫腻 comprehends all that have been used by 叠谤补岣�m补苍补蝉, like 狈腻谤补诲补, as the limbs of songs, 峁沰蝉, 辫腻峁噄办补蝉 and the seven kinds of 驳颈迟腻峁単补蝉 with their specifications. A song of a single 惫补蝉迟奴 is called 诲丑谤耻惫腻, while the one with two 惫补蝉迟奴s is spoken of as 辫补谤颈驳墨迟颈办补. The song with three 惫补蝉迟奴s may be known as madraka while that with four 惫补蝉迟奴s is called 肠补迟耻峁�p补诲补.

痴补谤峁嘺蝉, 补濒补峁卥腻谤补蝉, yatis, and layas are often related and hence they are called 诲丑谤耻惫腻s.

鈥�顿丑谤耻惫腻s are of five kinds and their names are related to the occasion of song. They are 辫谤补惫别艣补鈥�entrance, 腻办峁�e辫补鈥攄颈惫别谤蝉颈辞苍, p谤补蝉腻dana鈥攑补肠颈蹿颈肠补迟颈辞苍, antara鈥攖ransition and 苍颈峁�k谤腻尘补鈥攅虫颈迟鈥�.^[22]

笔谤腻惫别艣颈办墨 诲丑谤耻惫腻 is sung during the entrance of the characters having different emotions and meanings suitable to the occasion. The song used at the end of an act, when a character is leaving the stage is called 苍补颈峁�k谤腻尘颈办墨 诲丑谤耻惫腻. The 腻办峁�e辫颈办墨 诲丑谤耻惫腻 is used in drutalaya and in vilambitalaya by changing the sequence. The p谤补蝉腻dik墨 诲丑谤耻惫腻 is to pacify the emotion of the mind that is subjected to a sudden change. The antara 诲丑谤耻惫腻 is purported to fill up the gaps in-between various occasions like sorrow, loss of consciousness, giddiness, arranging of dress and ornaments and the like. These are the five 诲丑谤耻惫腻s.

11. R补峁単补

The play-house is of three types namely 惫颈办峁涐梗峁璦 -rectangular, 肠补迟耻谤补艣谤补 -square and 迟峁泍补艣谤补 -triangular. These play-houses are of three dimensions each; 箩测别峁ａ弓补 -large, madhya -medium and avara -small which are for Gods, Kings and ordinary people respectively.^[23] Thus totally there are nine types. Their measurements are given as 108, 64 and 32 hastas (cubits i.e. 24 补峁単耻濒补蝉 or 18 inches) or 诲补峁囜笉补蝉 (4 hastas). The play-house for the humans preferred is a medium size rectangular one. The 辫谤别办峁Ｄ乬峁沨补 (auditorium hall) consists of the 谤补峁単补艣墨rsa, 谤补峁単补p墨峁環a, 尘补迟迟补惫腻谤颈苍墨 and 苍别辫补迟丑测补驳峁沨补.

Footnotes and references:

[back to top]

[1]:

狈腻峁瓂补艣腻蝉迟谤补 VI.10.

[2]:

Article of Radha Vallabh Tripathi in Living traditions of 狈腻峁瓂补艣腻蝉迟谤补 p.9.

[3]:

狈腻峁瓂补艣腻蝉迟谤补 VI. 37, 38.

[4]:

Ibid.VI.p 612,665

[5]:

Ibid.VII. 1.

[6]:

Ibid.VII. p.362

[7]:

Ibid.VI. 32.

[8]:

Ibid.VI.36

[9]:

Ibid.XXII.1.

[10]:

Ibid.VI.24.

[11]:

狈腻峁瓂补艣腻蝉迟谤补 XIII. 83

[12]:

厂补峁単墨迟补-谤补迟苍腻惫补濒墨 VII. Com.p.11

[13]:

狈腻峁瓂补艣腻蝉迟谤补 XVIII.4.

[14]:

Ibid.XX.com.

[15]:

Ibid.XX. 25.

[16]:

Ibid.VI. 24.

[17]:

Ibid.XX. 14.

[18]:

Ibid.XII.37

[19]:

Ibid.XXVII. 2.

[20]:

Ibid.VI.27.

[21]:

Ibid.XXVIII.1.

[22]:

Ibid.XXXII.27

[23]:

Ibid.II.11.