340. 378 CHAPTER VI

378 CHAPTER VI

drama, as are the Ave stages of action. Therefore, it is that in different dramas, only as many of the means, as are necessary for the achievement of his end by the hero, are found. When for instance, the hero is intended to be presented as independently achieving his objective, the sub-plot and the minor plot (Patāka and Prakarī) are unnecessary. But the (i) Seed (Bīja)1 (ii) the recollec- tion of motive force (Vindu) and (iii) resources (Kārya) have got to be in every drama. SANDHIS (PARTS) IN SANSKRIT DRAMA Sanskrit drama has been conceived as a sentient being. The different constituents of it, as revealed by a careful ana- lysis from different points of view, are, therefore, represent- ed to be connected with one another exactly as the various constituents of a sentient being are actually connected. An effort also has teen made to give the various constituents. as far as possible, the names of parts of a human body. The subject-matter of a drama and the language which presents it, are spoken of as the body. The latter is said to be the body simply because it represents the meaning and also because the meaning, is superimposed on it. It is also so spoken because it has no value indepen- dently of the meaning.2 And the basic mental state (Sthāyibhāva or Rasa) is represented to be the soul, because just as it is the soul, which is primarily responsible for the manifestation or appearance of the body, so it is the basic mental state, to which the plot, as presented in the drama, owes its being. Just as every3 sentient being presupposes 1. A. Bh., (MSS) Ch. 19., V. 25. 2. A. Bh., (MSS) Ch. 19., V. 1. 3. A. Bh., (MSS) Ch. 19., V. 1