1. Tāpasavatsarāja in Kuntaka’s treatment

The author of this drama is Mātṛrāja also known as Anaṅgaharṣa. The verses of this drama are cited by Ānandavardhana, Rājaśekhara, Abhinavagupta, Kuntaka, Mammaṭa etc. Bhavabhūti mentions about Mātṛrāja in his Mālatīmādhava and Ānandavardhana in his Dhvanyāloka cites a verse of Mātṛrāja. From such external evidence, the date of this work is assigned to the second half of the 8^th century C.E. This drama is written based on the popular tale named the story of Udayana. Udayana story is also discussed by Bhāsa in his Pratijñāyaugandarāyaṇa and Svapnavāsavadatta, Harṣa in his Ratnāvalī and Priyadarśikā, Subandhu in his Vāsavadattā etc. In this drama Udayana decides to commit suicide in Prayag after knowing the death of Vāsavadattā. Then somehow he spares his life and wanders as an ascetic. Finally he finds out Vāsavadattā in a hermitage. Then he explains the story of the marriage between Udayana and Padmāvatī. The dramatist creates pathos in explaining this story in a touching manner. The language of this drama is simple and beautiful.

Kuntaka cites thirteen verses from this drama. He cites few verses from third to sixth act depicting the sad plight of Udayana after losing his dear wife Vāsavadattā in a fire, which is falsely created by minister Yaugandharāyaṇa according to their secret plan. This is a six act drama, so citing verses from most of these acts makes it clear that Kuntaka was familiar with the complete text.

1. Contextual figurativeness

Kuntaka chooses few verses of this drama to explain one of the varieties of contextual figurativeness. In this variety, he points out the brilliance of the great poet in their unique depiction while explaining the same thing yet again. The pathetic feelings of Udayana increases while seeing the plants which were dear to the queen being burnt down by the same fire, which burnt the queen’s apartment. Udayana feels that the plants are more sincere than him because they followed her in her death. And he is still living. Udayana criticizes himself with deep pain and shame for this. Udayana also says that the fire that burnt the jasmine like tender body of Vāsavadattā has subsided. But still it burns the hard hearted one like him. Such expression of Udayana definitely intensifies the particular poignant situation. Udayana is sure that it is impossible to meet her beloved because of her demise. Yet like a mad one he imagines that she is in front of him, Udayana seeks many ways to contemplate her. At last Udayana decides to drown himself in the river Yamunā. Depiction of such frequent action of following his beloved really adorns the context and strengthens the feeling of pathos. Kuntaka has successfully traced the development of pathos through various instances in the drama