311. THE TECHNIQUE OF SANSKRIT DRAMA 347

THE TECHNIQUE OF SANSKRIT DRAMA 347

part of the ambitious. Action, therefore, is an essential part of the story. Hence the question that naturally arises, is, how is the action to be presented or what is the method to be followed in the presentation thereof, i.e. what method does Bharata, as interpreted by Abhinava, suggest for adoption in this case ?

PRESENTABLE AND UNPRESENTABLE IN DRAMA The reply is that the presentation of action has to be in consonance with the basic mental state, which is primarily intended to be presented. Therefore, only as much action as can go with such a mental state, lead to it and reveal it as far as possible, admits of presentation in a Sanskrit drama. It is, however, necessary for maintaining the unity of the story as a whole, not entirely to ignore or leave out those portions, which do not go with the intensity of emotion or feeling. Accordingly the action has to be divided into two kinds : (i) that which is to be actually presented on the stage (Drsya) and (ii) that which is simply to be hinted at or communicated (Sūcya). The former is to be kept very distinct from the latter. For, it is on this basis that the dramatic story is divided into acts (Anka) and the informative scenes of different kinds which, according to the need of the occasion, are introduced either in the beginning or at the end of different acts, such as (i) Vişkambhaka (ii) Cūlikā (iii) Ańkāsya (iv) Ankāvatāra and (v) Praveśaka. Accordingly such actions as long journey, battle, rebellion, feast etc. are not to be presented. We shall be able to understand better the importance of this method of presentation in the eyes of Sanskrit dramatists, if we take into account the following facts :- The Sanskrit dramatist takes the greatest possible care