“The Structure of a Drama"
Every dramatic composition of Sanskrit opens with a prologue or प्रस्तावना commencing with an Invocation which is technically known as नान्दी | Nandi invokes some deity and contains either benedictions or solicitations for favour. Inone way or the other, it suggests the general theme of the plotwhether in part or the whole. The Sutradhara or the Stage-manager, having finished with Nandi, continues to allude to the birth, race and time of the poet and his literary acomplishments and the occassion which has led him to undertake the enactment of the play. Thus ends the whole prelude containing sweet songs or the description of a season which excites the sentiment and the drama then begins, the introduction of which is generally made by the सूत्रधारeither by the suggestion of the बीज or an introduction of a character. The प्रस्तावना is of five kinds : उद्धातक, कथोद्धात, प्रयोगातिशया,प्रवर्तक and अवलगित.
The play under investigation opens with the usual नान्दी or invocation of the god Shiva forbenedictions, which is suggestive of the main incidents of the story. The prologue of the play is of प्रयोगातिशय type, where the entrance of the actors is exhibited through the first ' 'prayoga,viz, the introduction of the occasion of the enactment of the play by the chief actor.
The whole subject matter which is represented further on, is well classified and arranged into acts. A drama may consist of any number of acts between five and ten.The principal sentiment should be either शृङ्गारor वीर or even करूण and others may be subordinate to support the principal one.
Besides these, there certain conventions which are strictly followed: For example, nothing should creep in the play which denounces the character of the hero or is not harmonious with the prevailing sentiment. An act should neither be lengthy nor be wearisome. विष्कम्भ, and other interludes should be introduced wherever they are expedient and an act should end with the exit of all the characters. Any event like journeys, and wars should not be staged and the expiry of the hero should never be displayed. The conduct of the classical drama should be exemplary and dignified. There is a complete absence of tragedy or a calamitious conclusion. The unity of pleasure
