341. THE TECHNIQUE OF SANSKRIT DRAMA 379

THE TECHNIQUE OF SANSKRIT DRAMA 379

the enlivening soul, so every drama presupposes a basic mental state. The body is made up of parts, such as the face, the shoulders and the belly etc. And for a complete body all the parts are essential. A good drama, therefore, being conceived as a human body, naturally must have all the essential parts. These parts of the drama, following the analogy of the human body, have been called, as far as possible, by those very names, by which the parts of human body are called. The first part, for instance, is called Mukha, the second Pratimukha and the third Garbha. The fourth and the fifth, however, are called by names which do not stand for any part of the human body, probably because by no stretch of imagination, any such names could be applied to those parts. They are called Avamarsa or Vimarsa and Upasamhrti. The following points have to be kept in mind in this connection :- 1. Only in a perfect drama, Nāțaka or Prakaraņa, all these1 parts are necessary. In imperfect dramas all the Sandhis are not found. In Dima and Samavakara only four are found; in Vyayoga and Ihamrga only three and in Prahasana and Bhana only two are employed. 2. Dhanañjaya in his Dasarūpaka, does not correctly present the view of Bharata when he says that one of the five stages of action (Karyavastha) joined with one of the five means to the end (Arthaprakrti) in the order, in which they are mentioned by him,2 give rise to the five Sandhis. Bharata never meant such an order. For, as we have already stated, according to him, the sub-plot and the minor 1. N. S. 241. 2. D. R., 6.