Note 18 — III DRAMATIC THEORY XIII THE THEORY OF THE DRAMATIC ART

The subject-matter takes two forms, the principal (ādhikārika) and the incidental (prāsan̄gika) actions. The first owes its name to the fact that it is connected with the attainment (adhikāra) of the purpose of the hero, whether that be love, or some material interest, or duty, or two or all of these. In the incidental action the end achieved is not that aimed at by the hero, but it serves as a means towards the fruition of his aims.18 The incidental action may take the dimension of an episode (patākā), as is the case with the exploits of Sugrīva as an ally of Rāma, or it may be a mere incident (prakarī), as in Act VI of the Çakuntalā the scene in which the two attendants converse.19