347. THE TECHNIQUE OF SANSKRIT DRAMA 385

THE TECHNIQUE OF SANSKRIT DRAMA 385

brooding of the king over the situation created by Vasava- dutta in arresting Sāgarika in anger, till the fire-scene, is a good illustration of Avamarsa.

5. NIRVAHAŅA ( FRUITION )

That Sandhi, in which all that is introduced in the presentation of the first four stages of action, of the means, employed so far, and of all the previous Sandhis, is shown to contribute to the production of the one result, the presentation of the attainment of which by the hero is the chief aim of the dramatist, is the Nirvahana. The portion of Ratnavali, following the fire-scene till the end of the drama, illustrates this point.

THE SANDHYAŃGA DEFINED.

A Sandhi represents a part of the whole drama. This part is further subdivided into single actions and incidents. These sub-divisions of Sandhis are called Sandhyangas. They are enumerated by Bharata in a certain order. All these actions and incidents, when put together in a certain order, not the one, in which they are enumerated, but that: which makes them fit for presentation on the stage, bring the so called Sandhis into being. Hence, because they are the constitutents of a Sandhi, they are called its parts ( Sandhyanga )1.

THE GENERAL PURPOSE OF SANDHYAŃGAS.

The purpose of Sandhyangas is to facilitate the task of the presentation both by the dramatist and the actors and to enable the spectator to follow it easily. It is a matter of common experience that when a thing, which is long and complex, is tried to be presented, the best method is to divide the presentable into parts. This is just what

1. A. Bh. (MSS ) Ch. 19, V. 52. 49