an episode of minor importance because in this no principal characters take any part. In addition to the aforesaid, there are three more elements which are essential to the development of the plot, viz. बीज which is like a foundation stone upon which the whole superstructure of the play is gradually built, or it is the very seed of the plot bearing diverse aspects and leading to multifarious results ;बिन्दु is that which connects the broken plot, the link of which has become disconnected on account of any subsidiary incident; कार्य is the final aim of the plot, the achievement of which closes the drama.
The plot of a drama may be of three types: one derived from history, the other entirely springing from the poet's fancy and the third, though historical in origin, considerably modified by the poet so as to suit his immediate purpose and sense of poetical justice in his composition.
Then again, there are five stages of the development of the dramatic plot: आरम्भ, i. e. beginning of the enterprise, यत्न, possible efforts for its attainment,"प्राप्त्याशा", expectation of its achievement, नियताप्ति, certainty of success by means of the removal of impediments cropping up over there, and finally फलागम the success. In the course of the gradual development of these five stages, there should be connecting links between the principal and the accessory incidents, which are known as Sandhis. These are also five: मुखसन्धि which combines the बीज and the आरम्भ, that is, during this, the seed is sown. प्रतिमुखसन्धि contains the efforts undertaken to sprout up the seed as exhibited in the first सन्धि । गर्भसन्धि consists in the partial attainment of the principal end. Here various obstacles creep in, and yet the plot attains its root. विमर्शसन्धि results in an exuberant growth of the plot, greater than that in the former, of course, the final attainment being beset by fresh difficulties. Lastly, the निर्वहणसन्धि which concludes in the harmonious combination of all the discordant elements in a drama closes finally with the air of success.
The plot of the play, be it historical, or fictitious is either सूच्यwhich means implied and requires suggestion or दृश्य श्रव्य which is capable of both representation and hearing and its character is highly sentimental and charming. In the case of the former which is more common, the sugge- stions can be amplified in five ways: (i) विष्कम्भ is that which connects the episode of the previous act with that of
