334. THE TECHNIQUE OF SANSKRIT DRAMA 371

THE TECHNIQUE OF SANSKRIT DRAMA 371

we must take into account the social status and importance of the person from whom it comes. The drama Was written by King Harsa. The democratic ideas of to-day were foreign to his mind as well as to those, before whom the drama was intended to be presented. We know the importance of the chief minister in an Imperialistic Govern- ment. Above all things, he is the leader of the most predominant thought of the people. The mental value of such a statement from such a person will undoubtedly be very great in determining the attitude of the audience towards the presented.

The second purpose also is beautifully served by the passage that immediately follows and is connected with what precedes as an illustration of it. It informs the audience of the circumstances, from which the action is to arise. It says "How else the princess of Ceylon, who got ship-wrecked in the ocean, could catch hold of a mast, be drifted to the shore and be brought to me by the merchant, returning from Ceylon, recognising her to be a princess through the necklace of jewels. I also, in putting her in charge of the queen, 1 have done what was the only right thing under the circumstances etc."

It may be stated here that in Sanskrit dramas also the introductory scene is not always necessary. Much depends upon the subject-matter. When the subject-matter does not need it, it should not be introduced. The main action can begin immediately. The introductory scene is necessary only when the introductory portion of the dra- matised story has no æsthetic value, when it is Nzrasa. Such a portion has got to be dealt with in the introductory scene. But when the story from the very beginning has the æsthetic value, i.e. when the beginning also is Sarasa2. 1. D. R., 5. 2. D. R., 70.