‘ uttara-rAmacarita’ 4 1
Rama — a change which gives a happy ending to the story, and is to be traced to the Indian aversion to a tragic close.
The above are the main deviations from the original story, but if we take the spirit into consideration, it has undergone a total transformation in the hands of the dramatist. For example, the incidents connected with Lavana and Sambuka, and even the Asvamedha sacrifice, stand by themselves in the epic. In the drama, on the other hand, they all blend with the main story, whereby complete unity of action is secured. Again, there are many situations invented by the poet, like the visit to the picture gallery in the first act or the introduction of an inset play in the last. The visit to the picture gallery, in particular, is very skilfully handled, and with its restrained touches and judicious selection of incidents aids at once the progress of the plot, the portraying of character, and the development of rasa.
CHARACTERIZATION
As we have already stated, the poet’s thoughts are not primarily set on character-drawing and the situations he describes serve, in the first instance, a different purpose. But these very situations reveal the character of the persons appearing on the stage, and when it is a great poet we are considering, the characterization is vivid indeed. To be consistent with his ultimate aim, the poet does not, however, elaborate details. There are a few strokes, and they are clear and characteristic. Witness how beautifully Kalidasa differentiates between Anasuya and Priyamvada, although they have so much in common.
Before dealing with individual characters appearing in our play, it is necessary to refer to a certain misconception in regard to the nature of the characters in a Sanskrit drama. Indian literary critics divide heroes and heroines into certain classes, and from this it is sometimes hastily concluded that the Sanskrit drama does not represent individuals, but only conventional and generalized types. There are two errors in thinking so. To begin with, this classification applies only to heroes and heroines, and not to the other characters. In the Uttar a-ramacaritay for example, there are manv like Janaka and Laksmana, who do not come under this classification and whom the poet depicts quite as individuals. Now as regards heroes and heroines also, it is
