Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted
digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about
JSTOR, please contact support@jstor.org.
Sahitya Akademi is collaborating with JSTOR to digitize, preserve and extend access to Indian Literature
This content downloaded from 14.139.211.229 on Wed, 08 Jun 2016 09:46:31 UTC
All use subject to http://about.jstor.org/terms
This content downloaded from 14.139.211.229 on Wed, 08 Jun 2016 09:46:31 UTC
All use subject to http://about.jstor.org/terms
Oedipus and Electra, Lear and Coriolanus all have felt this
agony and have tumbled into the ironic abyss between expec
tation and actuality. In order to incorporate this experience
into living art, either a sense of the inscrutable mystery or the
conviction of a real evil, a real threat to the life-force is essen
tial. Greek tragedy has the first and Christian tragedy has the
second.
This content downloaded from 14.139.211.229 on Wed, 08 Jun 2016 09:46:31 UTC
All use subject to http://about.jstor.org/terms
INDIAN LITERATURE
II
This content downloaded from 14.139.211.229 on Wed, 08 Jun 2016 09:46:31 UTC
All use subject to http://about.jstor.org/terms
vakara etc. The popular folk-drama origin does not explain the
absence of tragedy because then Greece would also have lacked
them. The popular dictum that a drama should not end in sepa
ration or bereavement3 reflects this attitude. For dramas com
Ill
This content downloaded from 14.139.211.229 on Wed, 08 Jun 2016 09:46:31 UTC
All use subject to http://about.jstor.org/terms
INDIAN LITERATURE
This content downloaded from 14.139.211.229 on Wed, 08 Jun 2016 09:46:31 UTC
All use subject to http://about.jstor.org/terms
IV
dead. Then the reversal comes in the final act: she is found to
This content downloaded from 14.139.211.229 on Wed, 08 Jun 2016 09:46:31 UTC
All use subject to http://about.jstor.org/terms
INDIAN LITERATURE
This content downloaded from 14.139.211.229 on Wed, 08 Jun 2016 09:46:31 UTC
All use subject to http://about.jstor.org/terms
forsakes her, and he does so. Then:follow act after bitter act of
This content downloaded from 14.139.211.229 on Wed, 08 Jun 2016 09:46:31 UTC
All use subject to http://about.jstor.org/terms
INDIAN LITRATURB
VI
This content downloaded from 14.139.211.229 on Wed, 08 Jun 2016 09:46:31 UTC
All use subject to http://about.jstor.org/terms
This content downloaded from 14.139.211.229 on Wed, 08 Jun 2016 09:46:31 UTC
All use subject to http://about.jstor.org/terms
INDIAN LITERATURE
16
This content downloaded from 14.139.211.229 on Wed, 08 Jun 2016 09:46:31 UTC
All use subject to http://about.jstor.org/terms
3. Viyogantam na natakam.
4. Kridaniyakamicchami drsyam sravyamca yadbhavet.
5. Vinodakaranam loke natyametadbhavisyati. Isvaranam vitasasca. . . .
6. Duhkhartisokanirvedakhedavicchedakaranam. Api brahmaparanandadid
amabhyadhikam param. Jahara naradadinam cittani Kathamanyatha.
7. Kirtipragalbhyasaubhagyavaidagdhyanam pravardhanam.
Audaryasthairyanam vitasusya ca karanam.
8. An Apology for Actors, 1612, p. 559.
9. Ramadivat pravatitavyam na ravanadivat.
ence of life, because Reality was essentially good and happy. Drama,
then, should avoid creating an impact which would question this
faith; it was not the function of drama to shake the basic assumptions
of life.
14. The Tragic Sense of Life Tr. J.E. Crawford Fitch, Dover Pubin, NY,
1954, p. 34.
17
This content downloaded from 14.139.211.229 on Wed, 08 Jun 2016 09:46:31 UTC
All use subject to http://about.jstor.org/terms