The seventh chapter is titled ‘Bhakti in the Bhagavad-gītā’, as in many ways bhakti is the main innovation offered by the Gītā, and its major component. It ties together the entire text and serves as the elevating force, pulling one upwards so to speak, through the different ethical stages addressed in the Gītā. In characterizing the archaic form of bhakti of the Gītā, Friedhelm Hardy considers it to be ‘intellectual’ as opposed to its later and emotional variety. Bhakti appears in both pure and mixed forms; mixed bhakti is also termed miśra-bhakti, the term miśra meaning mixed, blended or combined. As such, this chapter is engaged with the three systems of mixed bhakti in the Gītā, which are karma-miśra-bhakti, yoga-miśra-bhakti and jñāna-miśra-bhakti, as well as with pure or unmixed bhakti, and shows how the three mixed systems lead to its pure form. Moreover, this chapter argues that some dramaturgical elements are found already in the Gītā and have formed the basis upon which dramaturgical theories were later developed by medieval theorists of bhakti.