304. 338 CHAPTER VI

338 CHAPTER VI

(b) The cultural and not the commercial basis of the dramatic presentation.

In the course of this chapter we are concerned with the point of view of the dramatist. We shall show what are the guiding principles, which the dramatist has to keep in mind in writing a drama. The first aspect of the problem from the dramatist's point of view i.e. the language, has been discussed a little in the fourth chapter. We, therefore, begin here with the subject-matter.

WHAT DOES THE DRAMATIST PRESENT ?

The subject-matter of a drama is naturally a certain part of the life of a person, historical, contemporary or imaginary. The question, therefore, which the dramatist has to decide, is, "What is it that he primarily aims at presenting ?" On this there is a fundamental difference between the Western and the Indian dramatists, for the simple reason that the experiences which they intend to arouse are, as we have stated elsewhere, essentially different. Accordingly, while the Western dramatists, Shakespeare etc., for instance, present the character, mani- festing itself in action ; the Indian dramatist presents a basic mental state at its highest relishable pitch in an ideal situa- tion. Thus, while according to the former, the character is the central fact for presentation in drama ; according to the latter the basic mental state occupies the central position. The manner of treatment of the subject.matter, however, in both the cases, is very similar.

INCONGRUITY.

The fundamental principle of all presentations is the avoidance of all that is incongruous with the central fact. The incongruity is due to the following :-