garments, mistakes the Vidūṣaka for a woman; a comedy of action in the Mālavikāgnimitra where Nipunikā punished the Vidūṣaka by dropping on him a stick which he takes, naturally enough, for a snake. The second form is the outburst of affection (narmasphūrja)[1] at the first meeting of lovers, which ends in a note of fear, as in the meeting of the king and Mālavika in Act IV of the Mālavikāgnimitra. Thirdly, there is the manifestation of a recent love by physical signs (narmasphoṭa),[2] and, fourth, the development of affection (narmagarbha), illustrated by the adoption of a disguise by the hero to attain his end, as when Vatsa in the Priyadarçikā comes on the scene in the garb of Manoramā.[3]
The grand manner is appropriate to the sentiments of heroism, wonder, and fury, and in a less degree to the pathetic and erotic. Virtue, courage, self-sacrifice, compassion, and righteousness are its subjects, not sorrow. Its divisions are the challenge (utthāpaka), as in the Mahāvīracarita, Act V, Vālin defies Rāma; breach of alliance (saṁghātya) among one's foes, which may be brought about by deliberate stratagem, as in the Mudrārākṣasa, or by fate, as in the Rāma dramas Vibhīṣaṇa severs himself from Rāvaṇa; change of action (parivartaka) as when in the Mahāvīracarita Paraçurāma offers to embrace Rāma, whom he came to overthrow; and the dialogue (saṁlapa) of warriors such as that of Rāma and Paraçurāma in the same play.
The violent manner accords with the sentiments of fury, horror, and terror. It employs magic, conjuration, conflicts, rage, fury, and underhand devices. Its elements include, first, the almost immediate construction (saṁkṣipti) of some object by artificial means, such as the elephant of mats made to contain Udayana's men in the lost Udayanacarita; but others interpret this member as a sudden change of hero, whether real, as in the substitution of Vālin for Sugrīva, or merely a change of heart on the hero's part, as in Paraçurāma's submission to Rāma; in either case only a secondary hero can change or be changed, else the unity of the drama would disappear. The other elements are the creation of an object by magic means (vastūtthāpana); the angry meeting of
