305. THE TECHNIQUE OF SANSKRIT DRAMA 339

THE TECHNIQUE OF SANSKRIT DRAMA 339

1. Introducing a situation or any constituent thereof, which does not fully accord with the central fact, the basic mental state, for instance : (a) Introduction of a love-situation (Śrngāravibhāva) when the quiescence is being presented (Santarasanirūpane). (b) When the object of love is angry in a love- quarrel, presenting the lover as pacifying her by a talk of the unreality and transitory nature of the world, a talk which suits Santarasa only.

(c) In a love-scene, when the beloved feigns anger, presenting the lover as overpowered by anger and assuming a terrific form.

2. Unnecessary dilation.

The hero is necessarily placed in a situation. The situation affects him in a certain way. It is made up of various constituents. Too much dilation on any one of the constituents interferes with the growth of the basic mental state. It has, therefore, to be avoided. Suppose a lover is separated from his beloved and is placed in a beautiful valley. If he is made to describe the hills, surrounding him, in an appreciative mood with the frequent use of puns and other embellishments, that will certainly be incongruous with the central fact, because that will bring about the disappearance of the emotive state. 3. Termination of an emotive state at a wrong time. Suppose, for instance, that two persons love each other from the cores of their hearts. Their mutual love is known to each other in all its intensity. A chance has brought them near each other1. At such a time to represent them, without sufficient reason, occupying themselves with something else

1. Dh L. 161-2.