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CHAPTER V. THE INDIAN DRAMA.
DM* fed* im^ge of history, the poetry of the
and future meet. It is likewise a poetu**
The obiect ofthe drama IS* lo
"tow** it wfwitomwor up to nature,
b«r owa feature, scorn her own im^ge and the
«*y tip- a»i tody of the time> her form a!id Pressure-" E'PIC past history only as-a passive fact,, merely has taken place. . Every action it a fact unalterable in itself over which
ia§ TO The purpose' served by the drama is unique
to No other form of poetry can ..give a vivid and impret*
•it!! of the nature of man, ofthe external world and of
subsisting between man and the external world*
A Idea in every drama is the first requisite, all other
being duly subordinated toat. The different
acts of a drama must have their end in leading
gradually towards a definite goal. Besides tills
amoral ideal must be present. The sole purpose
to elevation of character through the inculcation
df and the illustration of their benefits*
of a drama is but action, and actions are inconceivable conditions. Hence the inevitable result is dramas, whether intended by the poet or not, art with a moral ideal. "The Hindu drama, like the bursts on us in full flush of perfection, and It* the unskilled stammerings of the voice m with its plenitude of harmony, are lost to us Th« cause for this seems to be the printing press His i^:te was Narayama and iiio|her Bhumid^vl^avirya-Vij$yam—$ long poem of 14 cantos—describes the story of Kartavirya* The descriptions are in tie' style of Harsha's but the language not so stiff or obscure. He has a greater grace and melody about his verse. " •/:-'.. . • ' ' . : .; .". <