337. THE TECHNIQUE OF SANSKRIT DRAMA 375

THE TECHNIQUE OF SANSKRIT DRAMA 375

of the occasion, because Ratnavali herself is in an utterly helpless condition. This recollection of the motive force is found in the dramas of Shakespeare also. For instance, in Hamlet we find Hamlet remembering the murder of his father, the motive force of all his actions, every time the situation changes.

This recollection of the motive force for the resumption of the main action of the drama is technically called Vindu on the analogy of a drop of oil, dropped on the surface of of a sheet of water. For, just as a drop of oil, fallen on the surface of water, spreads over the entire sheet, so the recollection of the motive force of action spreads over the entire drama1.

III. SUB-PLOT (PATĀKĀ) Very often we find that the success of the central figure in a drama depends on the co-operation of others, who are not his dependents, like the ministers or other servants. They are independent persons, but they join hands with the hero for some personal reason or even without any promi- nent personal objective. For instance, as we have already stated, in the dramas with Rama as the hero, the recovery of Sita from Ravana depends on the co-operation of Sugrīva. But Sugrīva has his own end to achieve and does actually achieve it i. e. the recovery of his kingdom through respon- sive co-operation of Rama. Thus, a sub-plot, the main character of which helps the hero of the main plot and attains some end of his own also through the co-operation of the latter, is technically called Patākā. 1. A. Bh., (MSS.)Ch. 19., V. 24.