331. THE TECHNIQUE OF SANSKRIT DRAMA 367

THE TECHNIQUE OF SANSKRIT DRAMA 367

The reconciliation does not mean immediate union or the attainment of the object. That would be undramatic. From this point to that of the actual union, the drama is occupied with the disentanglement of the plot, or clearing of the mystery that surrounds it. Once the queen is reconciled, the disentanglement is beautifully effected in Ratnavali. It begins with the arrival of Vijayavarman with the message of victory over the king of Kosala, from the king's commander-in-chief, Rumanvan, who was in charge of the Kośala war. Hardly has he finished his message when a magician is introduced to show his skill. This brings about the appearance of the reconciled queen with the King to see the magic. Hardly the performance has proceeded a little when Vasubhuti, the army-officer of the king of Ceylon, is introduced. He is conducted to the presence of the king by the fool. He sees the necklace of jewels of Ratnavali round the neck of the fool and notices its marked simi- larity with the one, given to Ratnavali at the time of her departure for the palace of Udayana. He, therefore, suspects the presence of the princess in the Palace. His suspicion, however, is set at rest by his companion. He is brought to the presence of the king and narrates the unfortunate story of Ratnavali's ship-wreck. Hardly has he finished his sad tale when there is heard the con- fused noise, due to the breaking out of fire in that part of the palace, wherein Sagarika is kept confined. The report bewilders the queen. She informs the king of the chained Sagarika in the harem, now enveloped in the flames. The King, unmindful of his life, rushes into the flame-enveloped harem. The queen, the fool and the army.officer of the king of Ceylon, with his companion, follow him to rescue Sagarika even at the cost of their lives. They reach