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P. 451. A. 8. S. 6. ]
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but definitely suggests that his story deals with the prosperity of the s as well as the destruction of thes. This starting point of a story is technically called and it is consistently developed throughout the drama and ultimately it is transformed into a fruit (that is, its consummation) at the end of a drama. fis, therefore, only a nascent state of the fruit itself.
प्रतिमुख, the second संधि, helps to develop the बीज, but in a manner which appears as if it is a state of development at one time and disappearance at another, but really all along its devolopment is going on.
and the
For instance, in रत्नावली in the verse द्वीपादभ्यस्मादपि "fate brings about the union of two things" is a for it suggests that in that drama, king will be united. This becomes finally the consummation of the drama, (i. e. it is the of the drama ). Now in that drama when af is shown engaged in the worship of the god of love, the mentioned above seems to disappear, but really it is furthered or developed in that the movements of ama do facilitate her union with the king.
In the third sandhi गर्भसंधि, the play of प्राप्ति and afa (i. e. the securing of and the failing of the fruit) continues, but the possibility of obtaining the fruit is more than that of its failure. In this respect, therefore, it differs from the अवमर्श or विमर्शसंधि the fourth संधि. In fanif the possibillty of the failure of the fruit seems to be more than that of its securing. To all appearances, in fan all hope of the fruit is lost either on account of the wrath of the opponent (for instance, in ar on account of the anger or on account of selfishness of the rival).
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