Finally, Aesthetics interweaves normative implications throughout. Poetry is not merely for pleasure, but incorporates moral figures (one is instructed to be like Rāma, the hero of the Rāmāyaṇa, and not like Rāvaṇa, the evil demon) and presupposes an entire moral structure. Abhinavagupta, in his independent works, takes up the theory of suggestion into the philosophy of Kashmir Śaivism, a tantric tradition which devotes itself to the deity Śiva. For Abhinavagupta, rasa is not merely an aesthetic phenomenon, but it is a profound sense of unity with transcendent reality, found in the rasa of peacefulness (śānti) which encompasses all others. Still, one need not go so far as Abhinavagupta’s work to see the normative dimension in Aesthetics, since even in Ānandavardhana’s more ordinary understanding of rasa, there are certain emotions which are appropriate to bring into existence, and others which ought to be avoided. What is appropriate is dependent on the character’s social position, gender, and so on. These norms also constrain the interpretive possibilities of suggested meaning, providing a conventional basis for the creative use of language.