The Importance Of Action In Sanskrit Drama

However, the action is showcased, it almost always ends up with the conflict being resolved and the characters being satisfied in the end.
Simplistic as it was, Sanskrit drama sees the world and life as predictable and organized. (Sanskrit Drama) It does not involve conflict that draws much confusion and fictional or unrealistic quality to its plays.
During the Yuan period, classical Chinese was almost completely separate from the common vernacular language that only a few literati were able to understand traditional drama, from their knowledge of Confucian classics. (Chung-Wen, 1976)
Under the Mongol rule, the demand for more popular vernacular dramas significantly increased. The Mongols also disregarded much of Confucian teachings, paving the way for more modernistic

There are three conflicts that traditional Chinese drama focus on: (1) conflict between natural impulse and conventional morality; (2) motivation of action by self-interest or passion, with the resultant counter-action of revenge, or simply intrigue and counter-action; and (3) conflict between right and wrong or good and evil. (Chung-Wen, 1976)
The conflict between natural impulse and conventional morality occurs mostly in love stories. It is the subject where the natural impulse of love and the conventional morality of societal standards are evidently almost never coexistent.
The conflict of intrigue and counter-action occurs in historical dramas, mostly political which is a favorite among the Chinese. Greed and sensuality usually are the driving forces of the protagonist, which eventually results in an opposing force or action of revenge, crime, and justice. Aside from historical dramas, the Chinese also incorporate this conflict in fictional