326. 362 CHAPTER VI

362 CHAPTER VI

struggle between the two contending parties. For some time, therefore, the cause of the central figure is seen to advance and then it gets a reverse. Again it advances and then again it gets a set-back and so on. Thus, in this stage the.central figure is represented to be full of hope of success with the means at the disposal, but this hope is mixed up with the fear of failure, because of the existence of the opposite party, which frequently shows its determin- ation to frustrate all designs of the hero or heroine of the piece. It is because of this that this stage is technically called PRĀPTYĀSĀ. 1

PRĀPTYĀSA SITUATION.

Ratnavalī is sitting in the plantain bower of the garden, completing the picture of the king on a picture-board. Hardly has she completed it when her friend comes and becomes aware of Ratnavalī's intention in drawing the picture, from the situation, picks up the drawing pencil and draws the picture of Ratnavali by the side of that of the king. This surprises Ratnavali, who tries to conceal the matter by a show of anger. Her friend, Susangata, however, pushes herself into confidence. She appreciates Sāgarikā's feeling, promises all help and tells her of the very probable help from the Maina in the matter. As they are talking, the feeling of love in Ratnāvalī gets more intense and she faints. Susangata brings her back to her senses. Hardly has she recovered her senses when they have to rush for safety from a monkey that has got loose. They leave the picture-board behind. In the meantime, the bird, of which Ratnavali is the keeper, flies away. Knowing, therefore, full well how dear the bird is to the queen and how angry she would be if it were lost, 1. D. R, 6.