The Abhijnanasakuntalam of Kalidasa

Having thus disposed of the divisions into which the whole of the scenic art is capable of falling we turn to the principle of division among the Riipakas themselves which is threefold' —(1) 4F1 or the Plot of the play (2) qal or the Hero 1 j'he first two sections are nearly the same as those prefixed to the Vik. [...] (3) An aretlittil is one wherein is suggeted by the actors at the time of their departure the connexion between the act finished and the one to be commenced which otherwise would look disconnected as the speech of K5mandaki and others at the end of the 3rd Act of the Mal.—Madh. [...] It is divided into (1)Alambana that which is as it were the support or substratum of the Rasa– the person or thing with reference to whom or which a sentiment arises— such as the Hero or the Heroine and (2) Uddipana or what excites or enhances (adds to the development of) the setiment such as the moon the beauties of the vernal season &c. [...] Ray assumes that Kalid5sa is anterior to the date of the medallon though the Archaeological Survey authorities holding to the Vincent Smith date are inclined to dispute the identification of the scene with the one in the Play. [...] In the 7th act of the Suluntala and the 3rd canto of the Kumeirsambhava' where Indra figures prominently we do not discover the repetition of any one of the names of that god.