343. THE TECHNIQUE OF SANSKRIT DRAMA 381

THE TECHNIQUE OF SANSKRIT DRAMA 381

mental state of the minister, the erotic feeling of the king and the marvel of Sagarika are well brought out in this. 2. PRATIMUKHA (OPENING OF THE SEED). It may be pointed out at the very outset that on this point there is difference of opinion between Dhanañjaya and Abhinava. In fact, Abhinava criticises the view, expressed by Dhananjaya1 on this point by attributing it to "80me" (Kecit). Whether by "Kecit" he means Dhananjaya or some other authority, whom the latter follows, it is difficult to state. Dhanañjaya's conception of the Pratimukha may be stated as follows :- The Pratimukha consists in the development of the seed, partly perceptible and partly imperceptible. The second act of Ratnavali illustrates the point in hand. Here the seed, the love of Sagarika, the main cause of her union with King Udayana, is developed. It is partly seen and partly unseen. It is seen in as far as it is known to her friend, Susangata, and the king's friend, the fool. But it is unseen inasmuch as it could only be inferred by the queen from the picture-board.2 Abhinava, following the authority of his teacher (Upādhyāya) does not accept this conception. According to him, the various Sandhis represent the different states of the seed8, and the visibility is the only thing to be presented in the Pratimukha. His view, therefore, is that the partial visibility and partial invisibility of the seed is meant to be presented in the Mukha Sandhi. This is exactly what we find actually presented in the first act of Ratnavali. 1. A. Bh. (MSS) Ch. 19 .. V. 40. 2. D. R. 11. 3. A. Bh. (MSS) Ch. 19, V. 40,