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300 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 Veṇīsaṁhāra that the poet drags in the separation of Duryodhana from Bhānumatī in Act II for no better reason than to comply with the rules. When used, they should be essentially subservient to the sentiment which the piece seeks to create; 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.

A distinction must be made between such things as can properly be shown on the stage, and such as must only be alluded to. What is seen should essentially serve to produce the sentiment aimed at, and it must avoid offending the feelings of the audience. Hence it is improper to portray on the stage such events as a national calamity, the downfall of a king, the siege of a town, a battle, killing, or death, all of them painful. It is equally forbidden to depict a marriage or other religious rite, or such domestic details as eating, sleeping, bathing, or anointing the body, amorous dalliance, scratching with nails or teeth, or such ill-omened things as curses. But these rules are not without exception early or late; if Bhāsa does not hesitate as in the Ūrubhan̄ga to depict death on the stage, Rājaçekhara in his Viddhaçālabhañjikā describes the marriage ceremonial in Act III, and in the following Act shows us the wife of Carāyaṇa asleep, while the author of the Pārvatīpariṇaya does not hesitate to choose as his theme the nuptials of Çiva and Pārvatī. Nor do dramatists decline to represent death if the dead person is restored to life, as in the Nāgānanda. A long journey, or calling