307. THE TECHNIQUE OF SANSKRIT DRAMA 341

THE TECHNIQUE OF SANSKRIT DRAMA 341

situation, and not the action or character manifesting itself in action, as does Shakespeare, according to his modern critics like Bradley. It is well known that an intense activity of the mind, or mental occupation, dulls, if it does not kill physical activity. Naturally, therefore, in a Sanskrit drama there cannot be found that amount of action as is found in an English drama. This difference between the two in itself, however, is not the positive proof of superiority or inferiority of either to the other. It is due, as has just been stated, to the difference in the object of presentation. It is interesting to note in this connection that in English dramas also, when the dramatist attempts to present a mental state, action naturally becomes slow, or stops. For instance, in Shakespeare's Hamlet, action does not proceed when the dramatist attempts to reveal the struggle that is going on within the hero of the piece. Some critics seem to incline to think that that portion is not quite dramatic or rather that Shakespeare has not been quite successful in the presentation of that part of the hero's life. But is it not that that portion is looked upon by most of the readers as the best of Shakes- peare's productions ? And is it not that at the time of presentation we enjoy that part most, without feeling any lack of action therein? The fact is that a mental state, if presented well, is no less enjoyable than any action. But the two experiences which arise from them, are essen- tially different, because the stimulus in each case is different, and so are the subjective conditions required for the visualisation of each of them.

RULES OF DRAMATISATION AND DRAMATIC GENIUS. The beauty of drama depends on the choice of the material and the skill in its use. The object of presentation