276 Journal of the Asiatic Society of Bengal. [N.S., XIII, 



against all rules and usage of the Indian drama. In this intre- 

 pid logic lies the force and beauty of his psychology. 



Yaugandharayana, Mahasena, Duryodhana and Vasava- 

 datta are instances of Bhasa's ability to show the lights and 

 shades, the ups and downs of human soul. These heroes lend 

 themselves to psychological characterisation because they are 

 human beings with human strength and weakness. 



In a far more difficult position is the dramatist whose hero 

 is a paragon of perfection, an ideal. This is the case in the two 

 Ramayana dramas. ' ; Pratima-nataka," or the " Drama of the 

 Monument" and the " Abhisheka-nataka," or the "Drama of 

 the Anointment." Their hero is Rama, the psrfect man, the 

 ideal of a son, husband, king, fighter, etc. His perfection is the 

 result of his divine origin ; he is an incarnation of Vishnu. His 

 main quality which has always attracted the Indian mind more 

 than any other of his virtues is his filial piety. It is the main- 

 spring of his character. This spring is touched by our dramatist 

 to enliven the figure of his hero. He cannot show us anv failing. 

 or wavering, or even struggle against selfish instincts. This 



would not have been in keeping with the canonical conception 

 of Rama. No, the poet contrasts Rama's piety with Ravana's 

 baseness, and makes the hero's filial piety the indirect cause of 

 Sita's abduction and all the misery which ensues. It is signifi- 

 cant that in order to bring out this dramatic contrast and to 

 deepen the psychology of his hero the dramatist has changed 

 the plot of the epos. In the " Ramayana ".Ravana lures Rama 

 away from his hermitage by showing him the golden-sided deer, 

 and by playing on his hunting instincts. In the fc ' Pratimana- 

 taka" the following takes place. On the anniversary of his 

 father's death Rama wishes to do his duty as eldest son and to 

 offer the prescribed sacrifice to the spirit of his parent. But the 

 forest yields nothing wherewith to make an offering worthy of 

 the departed king. While he discusses this difficulty with Sita. 

 enters Ravana who has overheard the conversation without 

 being seen. He introduces himself as a Brahmin, well-versed in 

 all sciences, and names amongst others also the science of the 

 ancestral sacrifice. Rama naturally asks the wily demon-king 



to give him advice. After some artful hesitation Ravana tell- 



him of several animals which are permitted by the sacred books. 

 He mentions as the noblest animal to be slain in honour of a 

 father's spirit the golden-sided deer. But he warns Rama that 

 it is hardly possible to obtain it ; for it roams in the forests of 

 the far-off Himalayas, and to kill it is well nigh impossible. The 

 difficulties with which his filial duty is beset act rather as an 

 incentive on Rama ; he is ready to start at once to the moun- 

 tains, and Sita declares that she is willing to go with him. At 

 this moment Ravana causes an apparition of the coveted animal 

 to be seen between the trees of the forest; Rama snatches Ins 

 bow and arrows, and leaves Sita alone with his arch-enemy. 



