The haughty hero is a victim of pride and jealousy, an adept in magic arts and ruses, self-assertive, fickle, irascible, and boastful; Paraçurāma illustrates this character. The chief hero in any drama must be essentially true to one or other of those types; any change would spoil the unity of the development of the drama, and, if necessary, changes must be made in the plot, as in the case of Rāma’s dealings with Vālin, to preserve the unity of character. In the case of the secondary hero there is no need for such consistency; he may change in different situations, and his lack of consistency tends merely to heighten the impression caused by the constancy of the hero. Thus Paraçurāma appears in the Mahāvīracarita [642] as exalted in his attitude to the evil Rāvaṇa, as haughty towards the untried Rāma, and as calm when he has experienced the superior prowess of that hero. It is obvious that there is difficulty in conceiving as a chief hero one of the haughty type, and the theory does not provide us with one, for Paraçurāma is only a secondary hero. As the Sanskrit drama deals usually with love, the theory has another division of types of hero based on their attitude to women. [643] The courteous (dakṣiṇa) hero is one who can find room in his heart for more loves than one; he seeks another to the deep grief of the old, but he does not cease to feel affection for his earlier love; such are the heroes of the Nāṭikā, or short heroic comedy, like Vatsa. He may not be regarded as either deceitful (çaṭha), or shameless (dhṛṣṭa), for these two types represent heroes who have ceased to love their former flame, and differ only in so far as they seek to deceive her, or are indifferent to her anger and bear open traces of the new attachment. Men like Vatsa never allow passion to dominate them; if a woman spurns them they are ready to leave her. The fourth type is the loyal (anukūla) lover who is faithful to one woman only, as is Rāma. As these four types are applicable to each class of hero, there are sixteen possible kinds of hero, and the theory adds the further complication that each of these may be a high class, middle class, or inferior person, giving forty-eight types.