323. THE TECHNIQUE OF SANSKRIT DRAMA 359

THE TECHNIQUE OF SANSKRIT DRAMA 359

by the heroine or the adversary or even by some divine being1.

The first act of Ratnavali very well illustrates the point in hand. The basic mental state, tried to be presented in it, is the erotic; naturally, therefore, King Udayana is represented to be an amorous king. His affairs are managed by his faithful minister. He himself is always busy with amorous sports. The action, therefore, is begun by Yaugan- dharayana, the minister. The end to be achieved is the union of the king with Ratnavali. The conquest of Kosala is subsidiary to the main plot. The means to that end have mostly been secured. Ratnavalī has been got and put in the palace and so within the easy reach of the hero. The views of the King of Ceylon about the union are well known. And the providence seems to be very favourable. Here, therefore, action begins with the recollec- tion of the means to the desired end and the expression of satisfaction with them as regards their capacity to bring about the realisation of the a m.

What other elements of action are found in the begin- ning, we shall state in the detailed analysis of the drama under the heading Sundhyangas. Let us, therefore, now take into consideration the next stage of action.

II. THE EFFORT (YATNA).

The beginning may be made by any one of the persons, mentioned above. But the effort has to be made by the central figure of the piece. It consists in finding out the only way to the speedy realisation of the desired end and in following it with whole heart. In the case of Ratnāvali, the dramatist has shown very great dramatic skill in presnting this part of the piece. The full value of it can 1. A. Bh. (MSS.) Ch., 19. V. 9.