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paint, or presented on a stage. They would be a case of Lokadharmi. But when a character leaps over a distance of five feet and pretends that he has leapt across the Indian Ocean to La峁卥膩 or pretends through gestures that he has uprooted a tree or lifted up a whole montain, or pretends that he is an elephant or serpent, the impact experienced by the rasikas is made possible only through the laws of Natyadharmi. When these unmanifested concepts or ideas, such as Brahmakapa, are given a material form in poetry (through Abstract Personification-YULA), they come under L枚kadharmi, because they can yet be translated into metaphorical terms (through lak峁�a峁嘺) and the discourse about them accepted. But when they appear on the stage as visuals, they come under N膩峁瓂adharmi, because a physical presence cannot be interpreted even through lak峁�a峁嘺 it cannot, in fact be interpreted at all. It can only be perceived as pratyaksa. Therefore, to conclude, under Natyadharmi of certain literary devices, such as modifying a well known plot or character type (such as the vid奴峁�aka), : a, etc. become unacceptable to, and inconsistent with, the criteria laid down by Bharata himself. A literary or compositional device cannot be called a theatrical convention. Another important condition for something to become N膩峁瓂adharmi is the stage context, by which it means the assumption that the stage represents or reflects the world of common expereice. We expect everything generally to happen on the stage in the way it happens 75