r writers are less squeamish, or less
refined. In two dramas[8] the heroine is dragged on the stage by her
braid of hair; and this outrage is in both instances the motive of the
action. In a third,[9] sleeping and the marriage ceremony occur in the
course of the representation.

Construction.

Scenes and situations.

The dramatic construction of the Indian plays presents no very striking
peculiarities. They open with a benediction (_n[=a]nd[=i]_), spoken by
the manager (supposed to be a highly accomplished person), and followed
by "some account" of the author, and an introductory scene between the
manager and one of the actors, which is more or less skilfully connected
by the introduction of one of the characters with the opening of the
play itself. This is divided into acts (_ankas_) and scenes; of the
former a _n[=a]t[=a]ka_ should have not fewer than 5, or more than 10; 7
appears a common number; "the great _n[=a]t[=a]ka_" reaches 14. Thus the
length of the higher class of Indian plays is considerable--about that
of an Aeschylean trilogy; but not more than a single play was ever
performed on the same occasion. Comic plays are restricted to two acts
(here called _sandhis_). In theory the scheme of an Indian drama
corresponds very closely to the general outline of dramatic construction
given above; it is a characteristic merit that the business is rarely
concluded before the last act. The piece closes, as it began, with a
benediction or prayer. Within this framework room is found for
situations as ingeniously devised and highly wrought as those in any
modern Western play. What could be more pitiful than the scene in
_S[=a]kuntal[=a]_, where the true wife appears before her husband, whose
remembrance of her is fatally overclouded by a charm; what more terrific
than that in _M[=a]lat[=i] and M[=a]dhava_, where the lover rescues his
beloved from the horrors of the charnel field? Recognition--especially
between parents and children--frequently gives rise to scenes of a
pathos which Euripides has not surpassed.[10] The ingenious device of a
"play within the play" (so familiar to the English drama) is employed
with the utmost success by Babhav[=u]ti.[11] On the other hand,
miraculous metamorphosis[12] and, in a later play,[13] vulgar magic lend
their aid to the progress of the action. With scenes of strong
effectiveness contrast others of the most delicate poetic grace--such as
the indescribably lovely little episod