The Sanskrit Drama in its Origin, Development, Theory & Practice c20.s6.9

c20.s6.9

The violent manner accords with the sentiments of fury, horror, and terror. It employs magic, conjuration, conflicts, rage, fury, and underhand devices. Its elements include, first, the almost immediate construction (*saṃkṣipti*) of some object by artificial means, such as the elephant of mats made to contain Udayana’s men in the lost *Udayanacarita*; but others interpret this member as a sudden change of hero, whether real, as in the substitution of Vālin for Sugrīva, or merely a change of heart on the hero’s part, as in Paraçurāma’s submission to Rāma; in either case only a secondary hero can change or be changed, else the unity of the drama would disappear. The other elements are the creation of an object by magic means (*vastūtthāpana*); the angry meeting of two persons who end by fighting (*sampheṭa*), as do Mādhava and Aghoraghaṇṭa in the *Mālatīmādhava*; and a scene of tumultuous disturbance (*avapāta*), such as that when the monkey escapes in the *Ratnāvalī* or of the attack on Vindhyaketu in the *Priyadarçikā*, Act I.