330. 366 CHAPTER VI

366 CHAPTER VI

figure of the situation, because of the discovery of the means to the desired end. But it is always coupled with the fear of failure, because of the consciousness of the existence of the powerful opposition. This state of mind finds a beauti- ful expression in the words of Sagarika when she has found the disguise as the means of meeting her lover.1 IV. THE CONSEQUENCE (NIYATĀPTI) We have seen that the third stage of action involves assertion by the opposition of its powers, which means a serious set-back to the cause of the central figure of the situation. This naturally leads to the search for the possible means to attain the objective on the part of the hero, heroine or their helper, and to marshalling of all resour- ces to overcome the opposition or to remove the obstacle, that has so far stood in the way of the realisation of the goal. In the case of Sanskrit drama, the hero is always presented to be able to get over the difficulty, which for sometime stands in his way and frustrates all his plans and designs, because, as we have already stated, there is no tragedy in Sanskrit.

The removal: of the obstacle is effected in two ways: (i), either by completely destroying it, as in the case of all the dramas, in which the recovery of Sita from Ravana forms the subject-matter; in such a case the basic mental state, primarily presented, is the heroic; or (ii) by recon- ciling the leader of the opposition, as in the case of Ratnavali. In such a case the basic mental state is the erotic. The latter case is beautifully illustrated by that portion of Ratnavali, which begins with the king's fixing upon the reconciliation of the queen as the only way to the union with2 Sagarikā. (Vayasya devīprasādanam muktvā nānyamatropāyam paśyāmi). . R. 6. 2. D. R. 6.