INTRODUCTION.
"The Sanskrit Drama"
At the outset, it is advisable to give a brief outline
of the general structure of the classical drama which would
enable an average reader to have a clear comprehension of the
particular style and technicalities of the Indian dramatic art.
"Poetry", as defined by Pandit Jagannath in his famous work entitled Rasgangadhara, "is a word or the combination of words which gives out a charming sense." The word 'charming' is further explained by him as 'a substratum of the quality' of evincing or rather creating an uncommon delight. According to another learned writer on Sanskrit poetics, sentiment is the vital self of Poetry.
Such poetry, irrespective of its intrinsic merit, is divided into two classes: (1 )दृश्य that which can be seen or exhibited and (2) श्रव्य that which can be heard. The drama, as it can be enacted on the stage, falls under the first class. Rupaka is a general term given to all dramatic compositions which have rasaor sentiment for their substratum. It is divided into ten classes which, according to, धनञ्जय,, are as follows: (1) नाटकम् (2) प्रकरणम् (3) भाण: (4) प्रहसनम् (5) डिम: (6) व्यायोग: (7) समवकार: (8) वीथी (9) अङ्क: and (10) ईहामृग:। It has a subordinate class, viz. of उपरूपकाः of which नाटिका like Ratnavali, सट्टक like Karpurmanjari and act त्रोटक like Vicramorvashiyam are prominent.
वस्तु or Res-business, नायक or the hero, and रस or sentiment are the three main features of every Rupaka or Uprupaka, and they, constituting the very self of every dramatic composition, are dealt with in detail:-
"वस्तु or the Res-business"
वस्तुor the plot of a play is of two kinds: आधिकारिक or the principal which relates to the chief characters and prevails right upto the end of the composition and प्रासङ्गिक or the accessory which is only meant to further the plot or the main topic of the play. It is further divided into two kinds, viz. पताका and प्रकरी। The first is an episode which evinces the progress of the plot and sometimes it is of such a considerable length as prevails throughout the whole play. The second is
वि. प्र.६
