रत्नावली नाटिका (सम्राट हर्षवर्धन - शास्त्रीय नाटिका रत्न सम्पूर्ण ४ अङ्क सान्वय सटीक)

INTRODUCTION iii has been attempted to be dramatized with its all details of events and episodes. So the dramatic plot should have relative brevity compressing all minute details to a few that may suit the purpose of contributing to the main action of the play. 2. Characterization—Next comes in importance the method of characterization upon which the plot the of drama really depends. With respect to the character, as Saintsbury holds, four things are to be aimed at by the poet. First, it must be good— which means that whatever disposition a character may mainfest it must be good so far as the plot of the drama is con- cerned. Secondly, the character should have propriety. The manly character and bravery and fineness cannot be attributed with propriety to a woman. The third requisite is versimilitude and the fourth is consistency. The playright should be careful to represent his persons as consistent throughout however, in- consistent they might be in the original. Apart from these the most important factor in the dramatic characterization is what is called impersonality. The dramatist is to keep himself entirely aloof from mingling his own personality in his men and women and passing his own judgment as the author of the fictions are allowed to do. Dramatic art being objective in its nature, all subjective elements which mar the universality of Art, are to be eliminated ; and with a view to doing so the playwright should stand apart and give free scope to his characters to move in their own natural way in revealing their personalities through the medium of the plot. So there must be everything direct concerning the characters and nothing should be reserved as poet's own. For this reason the Sanskrit Dramaturgy tacitly refers— प्रत्यक्षनेत्रचरितो रसभावसमुज्ज्वलः । भवेदगूढशब्दार्थः क्षुद्रचूर्णकसंयुतः । प्रत्यक्षचित्रचरितैर्यु'क्ती भावरसोद्भवैः ॥ साः दः ( ६ परि )