all on the drama. Nothing, therefore, is of value save what tends to this end, and it is the function of the true dramatist to lay aside everything which is irrelevant for this purpose.
It follows from this principle that the plot is a secondary element[1] in the drama in its highest form, the heroic play or Nāṭaka. To complicate it would divert the mind from emotion to intellectual interest, and affect injuriously the production of sentiment. The dramatist, therefore, will normally choose a well-known theme which in itself is apt to place the spectator in the appropriate frame of mind to be affected by the appropriate emotion. It is then his duty by the skill with which he handles his theme to bring out in the fullest degree the sentiment appropriate to the piece. This is in essentials the task set before themselves by the great dramatists; Kālidāsa makes subtle changes in the story of Çakuntalā, not for the sake of improving the plot as such, but because the alterations are necessary to exhibit in perfection the sentiment of love, which must be evoked in the hearts of the audience. The crudities of the epic tale left Çakuntalā a business-like young woman and Duḥṣanta a selfish and calculating lover; both blemishes had to be removed in order that the spectator might realize within himself, in ideal form, the tenderness of a girl's first affection, and the honourable devotion of the king, clouded only by a curse against which he had no power.
The emotions which thus it was desired to evoke were, however, strictly limited by the Brahminical theory of life. The actions and status of man in any existence depend on no accident; they are essentially the working out of deeds done in a previous birth, and these again are explained by yet earlier actions from time without beginning. Indian drama is thus deprived of a motif which is invaluable to Greek tragedy, and everywhere provides a deep and profound tragic element, the intervention of forces beyond control or calculation in the affairs of man, confronting his mind with obstacles upon which the greatest intellect and the most determined will are shattered. A conception of this kind would deprive the working of the law of the act of all validity, and, however much in popular ideas the inexorable character of the act might be obscured by notions of
- ↑ Contrast Aristotle's doctrine of plot as the soul of tragedy (Poetics, 1450 a 38).
