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aspects on the stage like war, murder, eating, kissing etc., since it is not possible to present some of them while the rest are not sufficiently decorous. He has indicated that these could be effectively conveyed through the suggestive devices or improvisation. He has also prohibited tragedy in N膩峁璦ka and Prakara峁嘺 since it amounts to the annihilation of the ideal, as far as Indian idealism is concerned. Even when it is absolutely necessary to represent the fall of a hero on the stage, it has to be averted by creating a solution in which the hero flees, gets arrested or effects a compromise with his opponent. An elaborate discussion on N膩峁瓂adharmi and L艒kadharmi will be done in later. MODES OF ACTING [啶掂�冟い啷嵿い啶苦�� ] [v峁泃ti岣� ] ] V峁泃tis or modes of acting are many, but Bharata has classified them into four for the sake of convenience. They are Bh膩rativ峁泃ti (vocal acting), S膩tvativ峁泃ti (emotional acting), Kai艣ikiv峁泃ti (delicate acting dominating in the elucidation of the S峁沶g膩rarasa) and Arabhativrtti (virile or dynamic and battle like acting). Each of these four modes of acting have again four angas (subdivisions) which may be adapted to suit a particular situation. It is stated in the NS that Lord Brahma, the creator, derived these four modes of acting from the four forms of combat the Almighty employed to conquer the evil forces. It is these four modes of acting that differentiate abhiniya (presentable) and anabhiniya (non- presentable) aspects of literature. Hence these v峁泃tis are called 50