The Sanskrit Drama in its Origin, Development, Theory & Practice c20.s3.14

c20.s3.14

So far there is obviously force and reason in the analysis, which, if in needless elaboration, recognizes the essential need of a dramatic conflict, of obstacles to be overcome by the hero and heroine in their efforts to secure abiding union. The classification of elements of the plot is perhaps superfluous beside the junctures; its parallelism to the other two divisions is faulty, for it is admitted that the episode is not confined to the development, as it should be, but may extend into the pause and even into the conclusion.² The episode again is credited with sub-junctures, to be fewer in number than the junctures, and even the incident is permitted on one view to have incomplete junctures.³ But far more complex is the insistence on the subdivision of the five junctures into 64 members (12, 13, 12, 13, and 14 respectively). The distribution, however, has no real value, for, though Rudraṭa⁴ asserts that the members should only be used in the juncture to which they are assigned, other authorities decline to admit this view, on the score of the usage of the dramatists, which is the supreme norm. Not all of these members need be used; it is a fault in the Veṇīsaṃhāra that the poet drags in the separation of Duryodhana from Bhānumatī in Act II for no better reason than to comply with the rules.¹ When used, they should be essentially subservient to the sentiment which the piece seeks to create;² they should either treat the subject chosen, expand the plot, increase interest, produce surprise, represent the parties in action, or conceal what should be concealed; the hero or his rival should appear in them, or at any rate they should flow from the germ and lead up to the dénouement. Some must be included in any drama, since one without any would be like a man without limbs, and, adroitly used, they may give merit to a mediocre subject-matter. But the definitions and the classifications are without substantial interest or value.