The Sanskrit Drama in its Origin, Development, Theory & Practice c20.s6.8

c20.s6.8

The grand manner is appropriate to the sentiments of heroism, wonder, and fury, and in a less degree to the pathetic and erotic. Virtue, courage, self-sacrifice, compassion, and righteousness are its subjects, not sorrow. Its divisions are the challenge (*utthāpaka*), as in the *Mahāvīracarita*, Act V, Vālin defies Rāma; breach of alliance (*saṃghātya*) among one’s foes, which may be brought about by deliberate stratagem, as in the *Mudrārākṣasa*, or by fate, as in the Rāma dramas Vibhīṣaṇa severs himself from Rāvaṇa; change of action (*parivartaka*) as when in the *Mahāvīracarita* Paraçurāma offers to embrace Rāma, whom he came to overthrow; and the dialogue (*saṃlāpa*) of warriors such as that of Rāma and Paraçurāma in the same play.