though that would normally be an inauspicious beginning, indicates that it was meant to serve both as an emotion and a transitory feeling, and it is fully recognized by Vidyādhara, Viçvanātha, and Jagannātha, though Dhanaṁjaya barely admits it. [687] The interrelations of the sentiments, their possible combinations, their harmonies and conflicts, are detailed at length. The sentiments may all be employed in drama, but there are rules affecting their use. In each play there should be a dominant sentiment; in the Nāṭaka it should be the erotic or the heroic; other sentiments are merely auxiliary, but that of wonder is especially appropriate in the dénouement; indeed something in the way of supernatural intervention is often convenient to extricate the plot. An excess of sentiments is as bad as a defect; if there are too many they destroy the unity of the whole and detach it into a series of ill-connected fragments, while the excessive use of action and of rhetorical display is equally destructive to the merit of a piece. The Çakuntalā illustrates excellently the sentiment of love as the ruling motive of the play; the heroic sentiment appears in the verses in Act II in which the hermits extol the king; the horrible in Act VI in the scene in which Mātali menaces the Vidūṣaka; terror is evoked by the description of the dusk at the close of Act III; the whole play from the arrival of Kaṇva in Act IV to the departure of Çakuntalā produces the sentiment of pathos, while that of fury is called into being by the close of Act VI from the despairing cries of the Vidūṣaka to the entry of Mātali; finally wonder is aroused by the strange incident at the close when the king picks up the bracelet fallen from the arm of the child which, unknown to him, is his own son by the wife whom he has in ignorance repudiated. The Nāṭikās afford excellent examples of the erotic sentiment; Harṣa, in complete accord with the rules of the drama, helps out his plot in both the Ratnāvalī and the Priyadarçikā by the use of incidents evoking the sentiment of wonder; the imprisonment of Sāgarikā in the former play evokes the sentiment of pathos, while terror is excited by the description in Act II of the wild confusion caused by the monkey’s escape from the royal mews. The sentiment of fury is frequently evoked in the Mahāvīracarita and the Veṇīsaṁhāra; the Mālatīmādhava affords excellent illustrations evoking horror, while the Mahāvīracarita is permeated by the sentiment of heroism. The Nāgānanda reveals heroism in another aspect, that of the perfection of compassion and nobility, for, as we have seen, Jīmūtavāhana is not to be regarded as a hero in whom calm prevails.