339. THE TECHNIQUE OF SANSKRIT DRAMA 377

THE TECHNIQUE OF SANSKRIT DRAMA 377

the former receives more attention of the dramatists and is treated like the main plot in a less elaborate manner inasmuch as it has fewer Sandhis than the main. The latter receives very1 scanty treatment and has no Sandhi. It is interesting to note in this connection that Dhanañ- jaya's conception of the minor plot (Prakarī) is slightly different from that of Bharata, as interpreted by Abhina- vagupta. According to the former, the distinction of Prakarī from Patākā consists only in the shortness of its story as compared to that of Pataka.2 He ignores the idea of the disinterested help, that the hero of the minor plot renders to that of the main plot. Accordingly he cites the story of Śravaņa Kumāra in the Ramayana as an illustration of Prakarī.

V. THE RESOURCES (KĀRYA). The last of the five means to the end, that the drama- tist represents the hero to achieve, is the3 set of physical, mental and material resources, which are his personal possessions and which he employs in the realisation of his goal. The word Karya here is used in the technical sense of all that, being in one's possession, is utilised for the attainment of the end, on which one has set one's heart (Kāryam, karaņīyam, prayoktavyamityarthaḥ) (A. Bh., Ch. 19. V. 24). No drama can be found without this, because, the object of every drama is to present a certain portion of the hero's life, in which he attains some. thing, therefore, reference to his various resources, by means of which he realises his goal, is absolutely essential. It may be stated here that all of these five means to the end (Artha Prakrtis) are not necessary in every

1. D. R., 70. 2. D. R., 4. 3. A. Bh., (MSS). Ch, 19, V. 25, 48