349. THE TECHNIQUE OF SANSKRIT DRAMA 387

THE TECHNIQUE OF SANSKRIT DRAMA 387

THE PURPOSES OF SANDHYANGAS FROM THE POINT OF VIEW OF DRAMATIST. 1. To present the subject-matter in such a manner that it may give rise to the æsthetic experience. 2. To slowly reveal the plot. 3. To put the plot in such a manner that each part of it may in itself become interesting; and all together may make one another more interesting, when. viewed as related, than what they could separately have been. 4. To present a familiar and, therefore, uninteresting event in such a manner that it may surprise the audience by novelty of presentation. 5. To present what is absolutely necessary for arousing the required mental state. 6. Not to bring on the stage what is unfit for it. Just as a person who is without limbs cannot fight, so a drama, without Sandhyangas, cannot be weil presented on the stage. Even when a drama does not present the attainment of any very great thing by the hero, as in the case of a comedy, still if its parts (angas) are well arranged, it can beautifully be presented, because of the parts being well- defined. Even though a drama be presenting the attain- ment of the highest goal of human life, yet, because it is not well divided into clear parts and, therefore, is not quite fit for good presentation, it does not interest any body, the dramatist, the actor, or the spectator1. FREEDOM IN THE USE OF SANDHYANGAS. Bharata, as interpreted by Abhinava, has allowed 1. N. S. 242 and A. Bh. (MSS) Ch. 19, V. 54.