Chapter 7.11 - Study of the Bhasa’s Pratijna Yaugandharayana

Finally, we come to the legendary plays, of which two deal with king Udayana Vatsaraja, 'the prince Arthur of Indian literature'. Udayana legend is the most popular subject in Indian literature equalled only by the epics, and references to the legend are found in Buddhist and Jain works as also in the technical works such as Kautilya's Arthasastra, Patanjali's Mahabhasya, etc. So much mass of fanciful tales has grown over the historical back-ground that it has become well-nigh impossible to arrive at the original historical basis for the legend. Gunadhya's Brhatkatha is the original for the later Sanskrit works; but there are to be to be found many discrepancies in the story as as told in the different descendants of the Brhatkatha. It has been asserted that there is no historical truth behind Udayana's love for Vasavadatta. The account, as given in the Buddhist and Jain works, is much at variance with the Sanskrit version, and the legend also seems to have travelled beyond the limits of India. The whole problem bristles with important and interesting information about ancient Indian history and culture, comparative mythology, etc. We are proceeding with our investigation of the problem of the Udayana legend in all its aspects and shall publish the results when complete. Title. The Pratijna is so named on account of the vows (Pratijnas: I. 16; III. 8-9) the hero of the play, Cf. Sarup, Vision, Intr., pp. 41-42; Kaut. Arth. IX. 7, p. 360; Mahabhasya, IV. 3. 87; Kamasutra, V. 4. 14; Brhatkatha Sloka Samgraha, Cantos. 4 and 5; Brhatkatha Manjari, II. 1, 2; Katha Sarit Sagara, III. 1-2. 2 Gune, Annals of the Bhandarkar Oriental Research Institute, 2, pp. 1-21; Sarup, Vision, Intr., pp. 41-57; Lacote, Essai sur Gunadhya et la Brhatkatha, translated into English by Father Tabard, Bangalore, 1923; Priyadarsika, Edited by G. K. Nariman and others, Intr., pp. LXII-LXXVI. 3 Ketkar, Prachin Maharastra, pp. 138-139.

265 viz., Yaugandharayana undertakes to fulfil in order to set free his master along with Vasavadatta." 2. Out of sheer Plot. Udayana Vatsaraja, the descendant of the great Pandavas was ruling at Kausambi. He was an expert in the art of music, and was fond of capturing wild elephants. King Pradyota of Avanti, also known as Mahasena owing to his great army, Vatsaraja's formidable neighbour, had a daughter, Vasavadatta, whom he intended to give in marriage to Vatsaraja. But, Vatsaraja, self-esteem', had not condescended to send any messenger for the hand of Vasavadatta. So Pradyota had recourse to Machiavellian methods; he placed a large blue elephant in the forests adjoining the borders of his kingdom and kept concealed a body of armed soldiers nearby and thus proposed the capture of Vatsaraja, as the latter was sure to run the risk of going alone to entice such an auspicious elephant. Vatsaraja was out of his capital on a hunting expedition in the Venuvana on the frontiers of his kingdom, and the elephant was placed at Nagavana, at a distance of a couple of leagues from that place. Arrangements had been made by Pradyota to inform Vatsaraja of this elephant, and Yaugandharayana, the faithful minister of Vatsaraja was also anxious to send a warning to his master about the trap laid by Pradyota. It is at this point that the play begins. The stage-manager introduces the names of the principal dramatis personae in the benedictory stanza, and calls out to his mistress to sing a song. She informs him that owing to an evil dream, she is anxious as to the safety of her kin, and requests the stage-manager to send a messenger to get news about her relatives. The stage-manager agrees, and from behind the curtain are heard the words addressed by Yaugandharayana to Salaka, whom he is about to despatch to warn Vatsaraja of the danger, before the king had left for Nagavana. The stage-manager and his mistress make their exit, and enter Yaugandharayana and Salaka. Yaugandharayana tells the latter of the long way and the responsibilities and asks the female attendant to hurry with the letter 1 The shorter title Pratijna may be taken to mean pratijnapradhana natika a drama in which vow (f) plays a prominent part. As for the alternative title Vatsarajacarita of which a great capital has been made in ascribing it to Sudraka, we have already referred to it.

266 and the seal which the queen-mother was preparing. News is brought about the return of Hamsaka, Vatsaraja's body-guard, alone, and Yaugandharayana sends away Salaka to wait outside, and anxiously awaits the entry of Hamsaka as it spells danger to Vatsaraja. In reply to Yaugandharayana's questions, Hamsaka supplies him with detailed particulars of the capture of Vatsaraja: how after learning of Pradyota's trick the king threw aside his celebrated lute, Ghosavati, and alone faced the soldiers that came out of the thicket nearby ; how he fought single-handed with the army for three or four hours and fainted owing to sunstroke; how in his swoon he was insulted by being tied down with shrubs and how after recovery an alien soldier held the king by the hair and attempted to behead him when the soldier himself fell down; how the chief of the enemy forces, who also was hurt, after recovering from his swoon, prevented his soldiers from molesting the king and at once cut off his bonds and treated him respectfully, and finally carried him to Ujjayini. Hamsa ka tells Yaugandharayana that Salankayana, the Commander-inchief of Pradyota, had sent him to inform him (i. e. Yaugandharayana) of the whole affair, and also that king Vatsaraja has asked him (i. e. Hamsaka) to go and see Yaugandharayana. Yaugandharayana feels delighted at the confidence in him shown by his master. Meanwhile some noise is heard and the whole harem is in mourning at the news. The female door-keeper enters with the message from the queen-mother stating that Yaugandharayana also is her son, and that her one son (Yaugandharayana) should now go out to free the other son. Yaug nd harayana is much composed and in his enthusiasm pronounces his VOW: If I do not release my master, I am not Yaugandharayana." Then enters his servant with a madman's apparel and informs him of a curious happening at the santi festival. A Brahmana had appeared there as a madman declaring that the royal family was to prosper; then he vanished leaving his clothes. Yaugandharayana dons those clothes and finds his outward form transformed. So he decides to work for the release of his master in that guise. Then comes another message from the queenmother and Yaugandharayana goes to see her. (Act I).

267 The interlude informs us of the arrival of many messengers at Mahasena's court from various kings asking for the hand of his daughter in marriage, and of Mahasena's indecision in the matter. The main scene opens with the entry of Pradyota Mahasena with his retinue, obviously worried at the scant courtesy shown to him by Vatsaraja. He explains to the chamberlain his reasons for not arriving at a definite choice of a bridegroom as he wishes to have many qualities in the prospective son-in-law. (II. 4): kulam tavacchlabhyam prathamamabhikanksa hi manasa tatah sanukrosam mrdurapi guno hyesa balavan | tato rupe kanti na khalu gunatah strijanabhayat tato viryodagram na hi na paripalya yuvatayah || He then desires to consult the queen in the matter of the marriage problem and she enters with her retinue. The queen asks him to engage a music teacher for Vasavadatta, who had roused in her an interest for music and who was then in the concert hall taking her lessons from Uttara. Mahasena replies that Vasavadatta's husband would teach her all that; and this brings from the queen her query as to Mahasena's choice of the bridegroom. Mahasena tells her that he has not yet made up his mind and appreciates the peculiarly awkward position of the mind of the Indian mother at the prospect of her daughter's marriage (II. 7) : adattetyagata laja datteti vyathitam manah | dharmasnehantare nyasta duhkhitah khalu matarah || and says that a number of kings had so far sent their envoys. Practical and wise mother that the queen is, she replies by saying, "Give her to such a person as would never cause us to rue the day " (p. 29 jahi daia ya santappamo, tahi g) The king then enumerates the various royal suitors and asks the queen about her choice. No sooner the question is put than enters a chamberlain with the words Vatsaraja'. Mahasena refuses to believe the news of the capture of Vatsaraja, but is overjoyed at being convinced of the truth, and exclaims esa samasah - adyasmi mahasenah | (p. 32). He orders the captive to be treated in a right royal fashion. The queen is wonder-struck at the excessive delight displayed by Mahasena, and on hearing about Vatsaraja from her husband, indicates her

268 preference for the young hero as he possessed all the noble qualities required in a bridegroom. After a time enters the chamberlain to deliver the celebrated lute Ghosavati as the emblem of victory. The royal couple decides to make a present of that lute to Vasavadatta. Hearing that Vatsaraja was wounded, Mahasena orders immediate medical attendance, respectful treatment, and carrying out of all desires expressed or indicated by the royal captive. Mahasena further orders Vatsaraja's removal to a more suitable jewel-house. To the queen's question he replies that nothing definite was settled about marriage, and that he would make no hurry in the matter. The queen then leaves for the inner apartments, and the king departs to soothe, humour, and comfort Vatsaraja. (Act II). The third act is the pivot of the whole drama. It informs us of the plans of Yaugandharayana for releasing Vatsaraja without war. Yaugandharayana, Vasantaka, and Rumanvan stay in Ujjayini in disguise and a deserted Fire shrine is their meeting place. Vasantaka's task is to see the king and to carry mutual messages. Many of their accomplices also have become residents of Ujjayini under different disguises in the employment of Mahasena and their plot is to infuriate a female elephant so that Udayana's help might be sought to pacify it, and then he was to mount the elephant and ride away to his capital. The first part of the act is at once humorous and suggestive, beginning with the entry of Vidusaka disguised as a mendicant worrying over the loss of his sugar-balls indicating his non-meeting with Yaugandharayana. His soliloquy dealing with sugar-balls, old hog's bladder, the red Goddess, and other seemingly humorous things, suggests the disappointment of Yaugandharayana also at the futility of carrying out the original plot, in view of Udayana's love affair, and his message to Vidusaka to that effect. Yaugandharayana then enters in the guise of a madman, and Vidusaka's outward talk concerned with. sugar-balls, Indra's elephant, and similar nonsensical matter tries to suggest Yaugandharayana of the necessity of the modification of their original plan, but the latter 1 The interpretation of the code language of Vidusaka, Yaugandharayana and Rumanvan in disguise, as given above, is in accordance with Dr. T. Ganpati Sastri's commentary to the Pratijna (Second edition).

269 apparently does does not understand it and consents to Vidusaka's giving out the secret signal to Rumanvan, who is disguised as a Buddhist monk. The trio decides on a retired place for its confabulations and enters the secret chamber in the Fire shrine, where its talk begins in the ordinary language. Yaugandharayana states that every item in the plot was quite ready: the mahouts were won over; after infuriating the elephant there were to be made loud noises and dazzling fires etc. But Vasantaka tells them of the 'love at rst sight sprung in the mind of Vatsaraja for Vasavadatta, and the consequent transformation of the prison-house into a sport-chamber, and Udayana's consequent unwillingness to act his part in the plot. Udayana's explanatory message as to his thinking of the ways and means of wreaking vengeance on Pradyota for his humiliating treatment fails to satisfy any one of the three, and it is patent to them that the king's words display his love-sick condition and also his inability to help them in the effective fulfilment of their plot. They, however, can do nothing in the matter of Udayana's release without his consent, and finally Yaugandharayana modifies his original plan and decides to carry away Vatsaraja along with Vasavadatta, and accordingly makes a second vow for the release of both. All the three then leave the Fire shrine by different doors as it was late and people had begun to come in the direction of the shrine. (Act III ). * The interlude to the next act presents a humorous scene between an intoxicated page, who in reality is a spy of Vatsaraja. There are some Bacchic songs, which may possibly have been commonly used in drinking bouts. The page describes how he has pawned Bhadravati. After hearing of the escape of Vatsaraja with Vasavadatta, the page casts away his disguise, encourages the Vatsa soldiers by war songs and describes the valour of Yaugandharayana, who, however, is taken prisoner of war owing to his sword being cut to pieces. All is stated to be Kausambi except the wall and the banner. Then enter two warriors announcing the capture of Yaugandharayana and asking the people to keep aside. Yaugandharayana is being carried handcuffed, but he is neither afraid nor down-hearted, and

270 feels victorious now that his task is accomplished. He asks the soldiers not to keep away anybody desirous of seeing him. He gives no credence to the news of the recapture of Vatsaraja. Then Bharatarohaka, Pradyota's minister, enters after ordering the untying of the nooses that bound Yaugandharayana. Bharatarohaka taunts Yaugandharayana with having had recourse to deceit, but Yaugandharayana replies that he paid him in the same coin. Then Bharatarohaka states that it was not proper for Vatsaraja to steal away his disciple; but Yaugandharayana replies that it was nothing less than a marriage between the two. To Bharatarohaka's remark that Vatsaraja's action when Pradyota freed him from the prison was not commendable, Yaugandharayana's retort is that his master could easily have captured even Pradyota; but he magnanimously let him off. Bharatarohaka asks Yaugandharayana what his plans were about returning to Kausambi after thus insulting Mahasena. Yaugandharayana laughs at the question, stating that in view of the accomplishment of a major work of cutting down the whole tree, lopping the branches was a very minor affair. Just then a chamberlain enters and brings the present of a gold chalice from Mahasena to Yaugandharayana, who is at a loss to appreciate the gift, as the honour done to a guilty person in reality pains him as death. Some noise is heard behind the curtain which proves out to be due to the joy expressed by the whole harem at the assurance given by Mahasena to his queen, who was going to end her life in grief, that the marriage was acceptable to him and that he had decided to perform the marriage ceremony of the effigies of the lovers. Yaugandharayana is thus convinced of the bona fides of the gift and accepts it. The usual prayer in the epilogue. for the prosperity of the cows, the vanquishing of the foreign invasion and the ruling of the whole earth by Rajasimha terminates the play. (Act IV). Deviations. As already stated, no definite source for Bhasa's Udayana legend has been found. In view of the time assigned by us to Bhasa, neither the Brhatkatha nor any of the Buddhist and Jain records of Udayana could have served as the original for Bhasa. Though in their original oral forms, the Buddhist and Jain accounts may have conformed to the actual historical

271 incidents, the written records (which are not earlier than the third and twelfth century A. D. respectively) contain the legend in the most perverted versions. Such, for instance, are the stories about the teaching of the science of taming elephants through a curtain by a so-called leper to a lame maiden. There is a difference of opinion among competent scholars as to whether Pradyota was the king of Avanti or of Magadha, and whether Pradyota and Mahasena were the names of the same person, owing to contradictory statements in the various accounts of the legend. It may, however, be mentioned that Bhasa alone speaks of the identity of the two. Bhasa differs in the genealogy of Udayana, makes Udayana quite indifferent in the beginning with regard to his marriage with Vasavadatta, and uses a real elephant as a ruse instead of the mechanical elephant containing soldiers in its body. effect, Minor changes introduced for dramati such as the madman's apparel, the meeting of the two rival ministers, the proposal to celebrate the marriage of the pictures of the two lovers, etc., are Bhasa's own creations. We hold that for his Udayana dramas, Bhasa employs the floating mass of tradition handed down orally in his time. Though the generally accepted dates of Udayana, Pradyota, etc. make them contemporaneous with Buddha, Dr. S. V. Ketkar places the former couple of centuries before Buddha's death. In any case, Bhasa is not far removed in time from the central figures in the Udayana legend, and we may safely conclude that he bases his dramas on the oral accounts. 2 a Type of drama. As already stated, Dr. Winternitz mentions the Pratijna as 'belonging to the Prakarana type', and Dr. Keith also casts his vote in favour of Prakarana, as according to him, the Pratijna is styled in the prologue as a Prakarana and it resembles in part that form of drama. But the word Prakarana used in the prologue simply means 'dramatic composition' in a generic sense (oszu GuazzHfad); and further, "not a single essential 8 1 Cf. Prachin Maharastra, pp. 140-142, and the various references given therein. 2 Prachin Maharastra, pp. 132, 142-148. It should be noted in this connection that all Brahmanical, Buddhist, and Jain traditions unanimously proclaim the contemporaneity of Pradyota, Buddha, Bimbisara, and Udayana. Even the recently discovered Arya Manjusri Mulakalpa in its Tibetan and Sanskrit versions as given in Dr. Jayaswal's Imperial History of India (Lahore, 1934) confirms the tradition. 3 Problems, p. 113; Sanskrit Drama, p. 102.

272 condition of Prakarana is fulfilled by the Pratijna." Dr. Ganapati Sastri names the Pratijna as a Natika, taking it to mean "alpa natakam natika " 2 Natika, however, is thus defined in the Sahityadar pa na, VI. 269-272: natika klrptavrtta syatstripraya caturankika | prakhyato dhiralalitastatra syannayako nrpah || syadantahpurasambaddha sangitavyaprtathava | navanuraga kanyatra nayika nrpavamsaja || sampravarteta netasyam devyastrasena sankitah | devi punarbhavejjyestha pragalbha nrpavamsaja || pade pade manavati tadvasah sangamo dvayoh | vrttih syatkaisiki svalpavimarsah sandhayah punah || Though the drama is named after Yaugandharayana, Vatsaraja is the hero, and Vasavadatta the heroine; these two, as also the plot, conform to the requirements of a Natika. But in the Pratijna the vrtti is not kaisiki, and there are five sandhis; the Pratijna is not strimaya, with a devyakhasena samkitah neta ; and again the jealousies of co-wives, secret meetings, etc. are not to be met with. Dr. Banerji Sastri would term the Pratijna as ihamrga, which the Dasarupa ( III. 72-75 ) defines as : misramihamrge vrttam caturankam trisandhimat || naradivya niyamannayakapratinayakau khyatau dhiroddhatavantyo viparyasadayuktakrt || divyastriyamanicchantimapaharadinecchatah | srngarabhasamapyasya kincitkincitpradarsayet || samrambham paramaniya yuddham vyajannivarayet | vadhapraptasya kurvita vadham naiva mahatmanah || Now all the above factors are not found in the Pratijna; e. g., the play does not mainly deal with the hard pursuit ( ih ) of the hero after a maiden as unattainable as a gazelle (mrga ); further, the woman is to be obtained against her will. As a matter of fact, love or Srngara which ought to be prominent in a Natika or an Ihamrga occupies only a secondary position and is incidentally 1 Mankad, Types of Sanskrit Drama, pp. 43-55 on p. 55. 2 Pratijna, second edition, p. 3, commentary. 3 Journal of the Bihar and Orissa Research Society, 9, p. 63. For ready reference, the definition of Thamrga is given here again, though it appears in the last chapter. It may, however, be noted that the Pratijna admirably answers the last line in the definition of an Thamrga in that Vatsaraja and Yaugandharayana though prisoners of war are not killed.

273 referred to in the Pratijna. The Kavyanusasana (p. 322) allows only one act for an Ihamrga. Strictly speaking, as we have already stated, the names of the different types of rupakas and uparupakas and their definitions are post-Bhasa in time. It may be, It may be, as suggested by Prof. Dhruva, that in Bhasa's time all the dramatic compositions were known by the generic name Nataka" irrespective of the number of acts, etc.* It has been suggested that the Svapna and the Pratijna constitute only one play and belong to the Prakarana type. Assuming the works to be one inseparable whole, it cannot be classed under a Prakarana, as the plot is not of the poet's creation being well known in his time. 8 Sentiments etc. The main sentiment is the heroic (Vira) which Dr. Ganapati Sastri specially mentions as Bhedavira and Yuddhavira, interspersed with other secondary sentiments. Thus there are the Adbhuta and Raudra rasas in the first act, Hasya in the third and fourth acts. By Yaugandharayana's supporting the love affair of his master there is seen a harmonious blending of the Vira and Srigara rasas. The drama abounds in various figures, and only a few striking illustrations are given below: A beautiful Arthantaranyasa pronounces the big army of Pradyota lacking in devotion and fixity of purpose to be no better than an undevoted wife (I. 4): vyaktam balam bahu ca tasya na caikakayai samkhyatavirapurusam ca na canuraktam | vyajam tatah samabhinandati yuddhakale sarve hi sainyamanuragamrte kalatram || The idea that the earth, if it be well protected and free from any breaches of the varnasramadharma, protects her own master, if the latter be in danger, is finely expressed by Aprastutaprasamsa based on Kavyalinga and Parikara (1. 9): 1 Madhyama, Ahm., 1921, Intr., pp, 21-28; Svapnani Sundari, 1921, Intr., p. 20. 2 The definition of a Prakarana requires its plot to be imaginary (f) and again there should be no Udatta hero, who should be a Brahmana, a minister, etc. Cf. the definition of the Prakarana given elsewhere in this chapter under "Carudatta, (d) Type of Drama,;" Cf. also Keith, History of Sanskrit Literature, Intr., p. XV. 3 Pratijna, second edition, p. 128.

274 paracaranakranta dharmasankaravarjita | bhumirbhartaramapanam raksita pariraksati || The two vows pronounced by Yaugandharayana are respectively instances of Rupaka (I. 16) and Upama ( III. 8 ) : yadi satrubalagrasto rahuna candrama iva | mocayami na rajanam nasmi yaugandharayanah || 1 .16 || subhadramiva gandivi nagah padmalatamiva | yadi tam na haredraja nasmi yaugandharayanah || 3 .8 || and This fusion of Arthantaran y a s a Aprastutaprasamsa glorifies the dignity and efficacy of hard labour, emphatically stating that nothing is impossible for an energetic person starting on right lines ( I. 18 ) : kasthadabhirjayate madhyamanad bhumistoyam khanyamana dadati | sotsahanam nastyasadhyam naranam margarabdhah sarvayattrah phalanti || Contrast with this the achievements of Mahasena in vanquishing many kings, which fail to satisfy him as he is unable to win over Vatsaraja,-expressed by the blending of Kavyalinga and Paryayokta (II. 3): mama hayakhurabhinnam margarenum narendra mukutatatavilagnam bhrtyabhuta vahanti | na ca mama paritoso yana mam vatsarajah pranamati gunasali kunjarajnanadrptah || The essential qualities in a prospective son-in-law are enumerated by resorting to Aprastutaprasamsa (II . 4). The oscillating mental condition of mothers at the prospect of their daughter's marriage, swinging between shame and sorrow, finds its expression in II . 7, illustrating Kavyalinga and Aprastutaprasamsa.. These two verses have been quoted in extenso above, while giving the plot of the Pratijna. Other instances are: -Anumana ( II. 1, 9; IV. 10, 11 ) ; Sara ( II. 11 ) ; Paryaya (I. 8, 14; II. 14 ; IV. 9, 22 ); Kavyalinga ( I. 15; III. 3, 7 ) ; 22); (I. 7 ) ; Drstanta (I. 12; IV. 12, 20, 21 ); Visama (III. 4 ; IV. 6, 23 ). Critical Study. The plot of the Pratijna has been

275 2 adversely criticized by some writers. We have already referred to Bhamaha's charge and have proved that it does not apply to the Pratiina. Some anti-Bhasaites even go to the length of stating that the author of the Pratijna improved on the plot in the light of Bhamaha's criticism, indicating thereby that the Pratijna is subsequent to the seventh century, later than Kalidasa in any case, and hence can, under no circumstances, be ascribed to the pre-Kalidasan Bhasa. Now, the fact that Kautilya (4 th century B. C.) and Asvaghosa (first century A. D.) are indebted to the Pratijna, coupled with the existence of the Svapna, which all ascribe to the author of the Pratijna, definitely before Bhamaha's date, directly counters all such assumptions. Dr. Keith pronounces the plot construction of the Svapna and the Pratijna as clumsy and open to criticism' but does not illustrate the point from the Pratijna. Dr. Woolner doubts the genuineness of the second act, and Dr. Johnston dismisses it as a later interpolation. But the act betrays the same skilful and delicate handling as is associated with Bhasa, and is necessary in order to present before us the true picture of Mahasena and his plans. Further, Acts III and IV form a harmonious whole with Act II and give a logical development of the course of events in continuation of Act II."6 To Dr. Woolner, "it is not quite clear what is supposed to have happened between Act II and Act III or between Act II and Act IV"; but it can safely be assumed that Udayana was convalescing under the treatment of Mahasena, and Yaugandharayana in disguise had reached Ujjain with his assistants, had succeeded in having secret communications with his master, and was planning means for his escape in the interval between Act II and Act III. The infuriation and taming of Nalagiri followed by Vatsaraja's freedom from prison and his engaging in music lessons are the intervening events between Acts III and IV.8 The Pratijna "is an essentially manly drama," 1 Cf. ante. pp. 72-73. 2 Cf. Kuppuswami Sastri, Ascarya, Intr., pp. 21-22. 3 Of, ante pp. 75, 77; Svapna attested to at least before the 7 th century A. D. Cf. Thomas, Journal of the Royal Asiatic Society of Great Britain and Ireland, 1928, pp. 877-890. 4 Sanskrit Drama, p. 118. 5 Thirteen Trivandrum Plays, Volume 1, p. 4; Johnston, Indian Antiquary, 62, p. 97. 6 Sarup, Thirteen Trivandrum Plays, Volume 1, p. 4 note. 7 Op. cit, p. 4. 8 Cf. G. Sastri, Pratijna, second 9 Meerwarth, Journal of the Asiatic Society of Bengal, 13, p. 267. edition, pp. 67-68; 102-103.

276 there being only two female characters. This drama brings out the poet's power of narrating incidents outside the action of the drama very vividly and impressively, so as to conjure, as it were, a realistic picture before the audience. The graphic narration of the capture of Vatsaraja in the first act is an instance in point. Ibsen, Oscar Wilde, John Galsworthy, among the modern play-wrights, are found to employ dialogues effectively for this purpose. The scene between Yaugandharayana and Salaka in the first act reminds one of the scene in Hamlet (Act II , Scene I) between Polonius and Renaldo. The domestic atmosphere in the second act is pleasantly realistic. The first part of the third act is at once humorous and suggestive. The humour is at times rendered crude and heavy by the suggestion involved and by the inconsistency in the meaning of the same words used at different places. On the whole, however, the scene is full of fun and transparently suggestive. The last act opens with a humorous scene depicting the toddy shop with Bacchic songs. Everywhere there is rapid action. One naturally expects to see Vatsaraja and Vasavadatta on the stage after hearing so much about them; but the poet has wonderfully kept them off the stage without detriment to the interest of the play, thus achieving, as it were , the staging of Hamlet without the Prince of Denmark. Another speciality of this play is the fact that both the rival parties are satisfied. These two features are to be met with nowhere else in the dramatic literature . 1 The Pratijna illustrates Bhasa's trait of investing his characters with the quality of knowing what passes in another's mind by a mere glance: (cf. Pratijna, p. 25; Abh, p. 50). Great persons are shown to possess quite a distinct and resonant voice, at once pronouncing them to be above the ordinary run of human beings. Cf. gi mzen mixiezt ( p. 69) etc. (p. The expression aho hasyamabhidhanam (which is also found in the Panc, p. 108, and Dgh, p. 66) is used in reply to statements which the speaker takes to be ridiculous ,-cf. Pratijna, pp. 67, 71. 10.g. modakamalaka means vatsaraja (Pratijna, second edition, p. 68), yaugandharayana (ib. p. 68), capture (ib. p. 91), conference (ib. p. 72), (ib. p. 73), conference time (ib. p. 74) etc. Cf. also Hariyappa, Quarterly Journal of the Mythic Society, 23, pp. 238-240 . 2 Cf. also Pratima, pp. 13-95; Avi, p. 1; Abh, p. 40: Supra p. 8.

277 The following is one of the few popular songs in eulogy of drink met with in this play alone; possibly these were the remnants of the drinking songs in ancient India (IV. 1, 2, pp. 57-58): dharana surahi matta dhanna surahi alitta | dharana surahi hada dhanya surahi samjavida || I We shall consider the relationship of Bhasa's Udayana plays with other dramas on the subject by different dramatists towards the close of our critical study of the Svapna; we have sufficiently referred to the alleged alternative title Vatsarajacarita' by which by which some scribes designate the Pratijna. Great capital has been made of the popularity of the third act of the Pratijna, known as Mantranka, on the Kerala stage and the fact is taken as the evidence of the Kerala origin of the group. The portion in the printed text corresponds with the actors' versions and fits in well with the other acts of the play. So it is clear that the Mantranka forms an integral part of the Pratijna and is not a distinct stage version prepared by the actors. The popularity of any drama on the Kerala stage cannot be taken to postulate its Kerala origin.