A CRITICAL STUDY OF THE VERSE PORTION OF THE MRCCHAKATIKA

THESIS SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY OF THE UNIVERSITY OF GAUHATI

By Anjali Ghosh (Paul), M.A., B.T., Kavyatirtha OCTOBER, 1982

A CRITICAL STUDY OF THE VIlRSE PORTION OF THE MRCCHAKATIKA • •

THESIS SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY OF THE UNIVERSITY OF GAUHATI

By Anjali Ghosh (Paul), M. A., B. T., Kavyatirtha OCTOBER, 1982 . ProQuest Number: 10112240

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DR MUKUNDA MADHAVA SHARMA, DEPARTMENT OF SANSKRIT M .A..PH.D., D.LITT. (CAL), KAVYATtRTHA, GAUHATI UNIVERSITY PROFESSOR & HEAD OF THE DEPARTMENT OF SANSKRIT. GAUHATI—781014 OAUHATI UNIVERSITY OFFICE -885: ^ PHONE: ( res— 85224 aleZhASJiil

Z have the pleasure to oertdfy that this thesis

e n t it le d A CRITICAL STUDY OF THS TERSE PORTION OF (HE

(4RCCHAKAIZXA has been prepared by Mrs. An Jail Qhosh

(Paul) under *y supervision. lo part of this dissert­

ation has been published earlier. Ihis dissertation

has never been presented for any dagrea or any such

purpose earlier to any university or any institution.

This work has been executed with fu ll oonforaity with

the Ph.D. regulations of the University of Geuhatl.

Date ( M.M. S HARM A ) PREFACE

I had the pleasure and privilege of studying the

Mrechaka tlk* as a text book in the M.A. class of the Geuhatl

Oil varsity during the years 1973-1975. My present Supervisor was then the teacher, and the training 1 received under him resulted in developing a keen interest in the study of th e

Sanskrit dramas. Though X had to remain at the far off town of Agar tala in Tripura, being cut off for all these years from the more important centre of learning at Oauhati, I could never give up the fascination for carrying on ay researches on the present topic* With all ay limitations I carried on ay studies just for the sake of it as an oblig­ ation for repaying ay gururna.

The research embodied in this dissertation is both analytical and methodical. The purpose was to analyse the beauty o f the Hrflfihaftatftfta and to p resen t the v a rio u s * • aspects of its total chara in a precise but aethodical way.

Perhaps because of a tilt towards the aethodical aspect of

the study the present dissertation does not happen to be as bulky as many other dissertations usually available for reference in our Oliver si ties.

the present work is divided into Seven chapters. The first chapter presents a short introduction to the Mraehakatlka and deals with the topics like the date and Identity of the

author of the drama, and its relation with the Cirudatta of - ( 11 ) -

Bhasa. in* second oh a D tar presents a critical appreciation of tiie verse portion-ef the ftrgSfraftHdfci as a draa and deala • • * with tile topics like language, vocabulary, characters and the title of the play. Iha tMffl CfrftPtfT, which is in fact the eain chapter, presents a critical appreciation of the verse portion o f the Mrcchakatlka. I t deals with such topics • • / as metres, figures, sentiments and the so called Sakara- vaoanas. The fourth chapter is concerned with the more important variant readings o f the verse portion, the fifth chanter deals with the parallels of the verses of the Mrcchakatlka found in earlier or later Sanskrit literature. • • The sixth chanter is on the treatment of Sudrake's verses in the later alamkira works, the seventh chapter contains a list and analysis of the vise sayings or subhasitas of the

Mrctftafclttfci* • along with a concluding remark on tha total merit o f the drama.

With these prefatory words, I now humbly present this work for its assessment, for, 1 cannot be sure o f its merits so long as it is not indorsed by the authorities*

"a paritosad vidusam na sadhu manye prayogaviJnanam."

An ja il Ghosh (Paul) ACKNOWLEDGEMENTS

I have no words to axpreaa ay deep tense of gratitude to my Preceptor9 Professor Dr. Mukunda Madhava Sharaa, M.4.,

Ph.D., D .Litt., Kivyatirtha, whose kind guidance, personal care and untiring help gave ae the opportunity to coaplete the present research work. Z aust put on record that the present work is entirely an outcoae of ay preceptor's constant encouragement, pressure and inspiration.

I aust remain highly grateful to all the teachers of

the Sanskrit Department, Geuhati University for their kind sympathy and help given to ae in connection with ay research project. I shall remain highly grateful to the Sanskrit

Departments o f M.B.S. College, Agar tala and Baathakur College,

Agar tala, Eripura, for lending ae necessary hooks during ay research dajni.

I shall be failin g in my duty if I do not acknowledge the help very kindly rendered t» ae by the aathorities of the

National Library, Calcutta and the Geuhati Uhiversity Central

L ib r a r y .

I an also grateful to Mrs. Elisa Sharaa for her kind sympathy and hospitality towards ae during the days of ay more intensive work when I had to work froa morn t ill night at her residence, while finalising the draft of the thesis with ay Supervisor. -( iv )-

I aust remain grateful to ay cousin, Dr. Bibhash Da* Purkayastha, M.Sc.,Ph.D., Professor, Pandu College, for his kind help and sympathy towards ae during ay research period.

1 aust remain ever grateful to Shri Basis the Bara an, Gauhatl Uhl varsity, for his goodness to take the trouble of tvplng the present thesis within a very short tine.

Lastlyi it is a pleasure for ae to reaeaber the help and inspiration that I received from a ll the aeabers of my family during the days of aj serious studies particularly froa ay revered father in law, Sjt. Swadesh Kir an Paul, who took keen in terest in the progress o f ay work. ABBREVIATIONS

BG - B h ag a v a d g i t i MS - Manus aah ita

BE - Bhattikavya MM am Malatimadhava

Cir,- Daridra-carudatta NS - Natyasastra C ir u , C a r u d a tta R aghu- R aghuvam sa

DR - D a saru p a k a RS - * R tu sem h ara

f GG - GLtagovinda S a k - S a k u n ta la

H it - Hi topadesa SD - Sahityadarpana

Kad - K adam bari SKP - Skandapurana

KP - Kavyaprakasa ST m Suvr ttatilaka

JOJ - Kathopanisad \* *RC - Uttar araaacari ta

Kum - Kumar as ambhava VIK - Vikramorvasiya

MA - Mai avikagnim i tr a VS - Vanisamhara

MB - Mahabhirata Y6 - Yajnavalkya-samhi ta

M egha- M eghaduta

Mrechakatika M rc l • •

Letters a, b, c and d will mean the first, second, third and fourth foot of any verse respectively. A w ill mean th f i r s t half while B w ill mean the second half of a verse.

* In fact it is not reasonable to have the abbreviation

as MK because the word Mrechakatika• • cannot be broken into

two parts as Hrccha* + katikl. • Yet with deference to use of this abbreviation by celebrated author!eties like MM. V.V. Mirashi we have retained and used this abbre­ viation also. SCHEME OF TRANSLITERATIOH

3T a 3 o

o i S' n n

i I -3 c ar s

KB u ch M 8

u oT n S

vT ks r© Jn e t Tisarga h

$ ai 3 th anus vara a

Not# - In the quotations, however, we have ret aimed the transliteration pattern of the respective original authors as far as practicable* CON TBITS

Pages

PREFACE i

ACKNOWLEDQBfBfT III

ABBREVIATIONS v

SCHEME OF TRANSLITERATIOH ▼i

^HAPTER I t M A SHORT INTRODUCTION TO THE v/ MRCCHAKATIKA 1

Plot of the D r«a 6 /J&cchakatika Is a Prakarana 10 ^ / m V 5 s *<#•+• 3 Cti T>a.u-c*- • 4 \ Who was Suaraka 13 Vfeo was the author o f tha MK 15 / Historical Identity of Sudraka 16

B . THE PLACE OF MRCCHAKATIKA IX THE SANSKRIT DRAMATIC * LITERATURE 19

C . &iE RELATION BE TW A * THE DjRIDRA- CHXRUDlJrTA AND THE MRCCHAKATIKA 26

PER I I t /* A CRITICAL APPRECIATION OF THE MRCCHAKATIKA AS A DRAMA 44 ititarjiy4fPtc.t 45 S en tlm m it 46 Humour 47 Style 49 Languages 49 UagulaUc 4sa.fgt 50 Uncommon P r a k r i t words 50 Use of rare words and verbal forms 52 V o c a b u la ry 53

53 Administration 53 Execution system 55 E d u cation 56 C r a ft s 56 -( ii )- P>gM Caste systm* 57 Prostitution 58 Religion 59 Gamblinf 59 Food and drink 60 fllaCftUlB+Qm Wise sayings 6i Charaetars 65 Salient features of the main male characters 66 The minor male characters 70 Other persons mentioned in the drama 74 Principal feamale characters 75 Che minor female characters 76 Ti tie o f the Drama 77 Various incidents 78 CHAPTER III > A CRITICAL APPRECIATION OF THE _ VEPSE PORTION OF THE MRCCHAKATXKA Introduction 8c The rerse text o f the MrcchakatiLka Numbers of verses in Sanskrit 87 Sanskri t verses arranged alphabetically 88 Number of verses in Prakrit 103 Prakrit verses arranged alphabetically 104 Theme o f the verses 111 The extent o f Sudraka's Poetry in MK 121 Charactervise distribution of verses 122 Number of verses charactervise 125 Li ter ary assessments of the verse portion 126 ( l i i )

P a g M

Languages 127 S ty la 129 Sanskrit metres 129 Prakrit matras 133 List of Prakrit Tars as with aatras 133 Beauty of ttia matras 139 Alaikaras 143 ifuftraka as a Post of Nature 3 56 A not a on Sakara-vaeana 164

Ctt APISH IV s FIXATION OP THE MOBS ACCEPTABLE TEAT 165

CHAP CSB V s THE PABALLAL6 OF THE INDIVIDUAL VEPSBS Ear liar Parallals 183 Contemporaneous passagas 189

^CHAPTER VI » TREATMENTS SUDBAKA'S VERSES IN THE LATER ALANKARA WORKS 192

CHAPTER V II * THE WISE SAYINGS Introduc tLon 199 List of visa sayings inthe MK 200 Speakarvise Distribution of the wise sayings 202 Thene o f the wise sayings 203 Examination of the visa sayings 204

BIBLIOGRAPHY 216 CHAPTER I

A SHORT INTRODUCTION TO THE MRCCHAXAfIKA ...... r ......

The MX ig one o f fee most outstanding dr anas ever composed in India. It is said to be outstanding because of Hie following features »

1. It is a realistic drama without tide depiction of the operation of any supernatural element. Vhen the other great dramas like the Sakuntala of Kalidisa and the tJttararsmacarita o f Bhavabhutl abound in supernatural elements, and dep ict a world inhabited by*mam and super* «i and gods and damigods alike the MX is concerned only with the affairs of the huaan beings. This is the reason why the MX stands apart from the general run of Sanskrit plays, and perhaps this is also the reason why this play has been so appealing to the huaan community through the ages. In connection with the dramatic form of literary composition T.S. Eliot finds an oocasion to observe >

HWe are human beings and in what are we more Interested than in hpman action and human a ttitu d es?"1 This opinion of Eliot undoubtedly applies to the MX also.

1. F.O. Matthiessen, The Achievements of T.S. Kliot. p. 67. 2

It is true that there are many ref«r«nc«s to people's belief in the supernatural and also to superstitions. Por example,

(1 ) "nanvaryasyaiva paraloukiko'ya upvaso* nustftiyate. '

(This fac t, which Is to bear f r u i t l a n . « t YQrtdt is *ith reference to no one but your honour) (Act I),

(2) tap as a m anas a vagbhih pujita balikarmabhih ’

tusyantL saminan nityaai devatbh kia vicari tailr.; (1 .16),

(3) IX .10, 11, 12 and 13 are all concerned witn superstitions. But yet these elements do not reduce toe of the drama as a realistic one. Because, by depicting the belief of toe people in toe supernatural and their supersti­ tions, the dramatist succeeds in presenting a more realms He picture o f the contemporary society. So fa r as the <3r»««M?t is concerned he has nowhere described anything to have happened due to the operation o f the supernatural. That lr why the is undoubtedly a realistic play.

R.V. Jagirdar observes * "Throughout the play the hard hand of the Fate is fe lt. Even when everything was destined to end happily the hero is moved to compare tue human beings tossed by fate to buckets of water tossed by a waterwheel now up and now down, (esa kridati kupa-yannr? 3 ghatika-nylya-praaekto ridhihj .2 3*® But this obaerratian it also not tenable In the face of the aforasaid argument. And the fac^r remain a that novhere in tha Mrc there la anything lika tha eharma employed in aasa of tha Sinuaati epiaode of tha AtolifraBiiltaatola or tha Chiyaaita apiaoda of tha

2. MK ia a aoeial drama in ao far aa it dapieta tha achienremente and aapirationa o f a idiole aoeiatgr* Tha dr ana ia eonoarnad not ao nueh vlth an idiology hut with ear tain probloaa of tha aoeiatgr aa a vhole. Thia drama conveya a fu ll and faithful pictura of tha aoeiatgr by not raaaining confined only to tha royality or only to tha a ear a and aagaa. Thia drana haa for lta charactera, people from a ll valka of life , the King aa v ail aa tha eonaoner, tha rich eat aa wall aa tha poor eat, tha brahmanaa aa v a il aa tha ehandalaa tha nobleat « aa the vile at — all are accoanodatad in tha aoeiaty deline­ ated in thia drama*

a. The MK ia a univaraal draia baeauaa lta eharactara are tha citisana of tha vhole world; they do not aaan to be confined to any particular period of tine nor any particular country or comma! ty* To put in tha vorda of Ryder i

2. Mrc* X.60 3. Jagirdar, R*V., Prana in Eanakrit Literature, p. 102 4

"Sakuntala i t a Hindu said; Hadhara la a Hindu hero; but Sajtsthanaka and Hal trey a and Kadanlki ara aitisana o f the world."*

4. Tha NK ia a great drana in ao far a a it ia vary long in sl^gflponprising tan aeta requiring ona fu ll night for baing staged, and in ao far aa it exhibits "a iarga array of enli­ vening incidents or thrilling drana tic situations,"46 *85 and alae in ao far aa it dallneataa thirty thraa eharaetara and rafara to anothar thraa and containa tha largaat rariaty of Prakrits.£

5. Tha NK it a fast dr ana. It haa a claarly conceived and inganioualy cons true tad plots and it la paekad with action.

6. Tha NK ia outstanding baoauaa of dalinaating car tain outstanding eharaetara. The Vidus aka or tha jester of tha KK is unlika hla eountar parts in othsr Indian draaas with his ▼ary effective wit and honour. Ha plays tha rola o f a j eater a ll right} but ha ia also Tory inportant character of tha drana by way of baing and *all tiua friend' and assoelata of tha haro. Sahara or 8ahs1hanaka la tha v illa in o f tha drana.

4. Ryder A.W., The little clay cart. Introduction, p. XVI 5. Kale M.R., KK. Introductions p. 40f. 6. Cf. "Ho extant play exhibits anything Ilka tha variety o f Prakrits found in tha Hycchakatjlkd. which saena alnost aa if intended to illustrate tha precepts of tha Natvaaiatra In this regard." Keith, A.B., fimnmkwl* p. l40f. 7. Cf. "Aye Sarvakalanitran Mai trey ah praptah", NK. I,p.22« 5

7. Ths MK la s drafts of exceptional literary w orth. It has very affectiv e dialogues. Ths ftftds o f «xpBM «l

apaak w ith a dletlon h ast sultad to h is own social position and cu ltu ral background. ,Tha w ords and axprasslons ara capa- h la of invoking huftour as w all as pathos as dsaandad by the

situ ation , lhara ara also graphic descriptions of things and 8 situation s both In proas and versa and the versa portion in

particu lar oontalns a large m asher of beautiful stanzas endowed Q w ith a rare literary beauty.

8. Ihe MK Is a modern drafts In so far as it Indulgent*: ,

in bold departure In respect of nom enclature. It also depicts

a p o litical upheaval, a sort of a popular revolution and the

activ ities which are vary sim ilar to the underground activ i­

tie s o f the members o f any modern p o litical party. And the m assage conveyed by th is drafts Is hopefully a m essage of free­

dom and lib e rty .'1,0

8. On the contrary there may be cases where the draaatist

may appear to be disin terested In the description of a

particular type of thing. Thus it is said th at Bhatta-

narayana was not In terested in the description of M ature.

C f. na kavervidyate r£go v lsiftah prakrtivitL/

udi ray an ti dhlm anto varn an aparls'ilan fit//

(Pandey, A .N ., Sanskritpavl-sam ikaa, B hattaniriyana, 10).

9. C f. "The whole scene of the storm gains by the stanzas

in which its beauties are d escrib ed ...... ", K eith, A .B.,

Tfaf f i l M f c r l t fir— t p . 1 3 8 .

10. As Interpreted by NftM. Sharaa in tim e of Im parting oral

lessons on the drama as a supervisor. 6

Ifat PtoJLar tfat 4t m «

The MIC is concerned mainly wl th the story of the love o f Carudatta, a poor brahmin morohant o f UJ Jay in i and

Tasantasena, an axe apt ion ally accomplished and beautiful

eourtasan o f the same c ity . The drsMa also depict* the story o f loya between Esrvilaka, a poor brahmin, and Madanlki, a maid sorvant of the aforesaid courtesan. The progress of the

story it facilitated by yet another sub-plot concerned with

a p o lit ic a l uprising whereby ftilaka, the reigning king had

been overthrow , and Ary aka, belonging to the cowherd commu­ n ity , had bean crowned in h is place* The contents o f the

drama in brief are as follows »

The Act I of the MIC is entitled "fte P«gilttPg Pi­

tt* .firaaimw The first half of the first Act describes the miseries of poverty* After the prologue, the hero Carudajba

converses with his friend Maitreya and describes the miseries

of poverty. During this psriod Tasantacene, fearing baas than aka,

slips Into the house of Carudatta and leaves e casket of geos

to Carudatta for safety.

The Act I I is en titled "Bamvgiahn tfiTT flMllltr" The fat opens in Vasantaseni's house. 7asantasena confesses to her

maid Madanlka her love for Cirudatta. Then a shampooer appears

pursued by the gambling master and a gambler, who demand o f

him tan gold pieces he hae lo s t . * h «i Tasantasani cones to 7

understand that one* that wsry shampooer s erred Carudatta sha pays his debt and ha turns into a monk. On his return­ ing way ha is attacked by an elephant named Khjmt^amodaka, belonging to Vasantasena and he is also sawed by Karnapuraka, a serrant of Vasantasena, Karnapuraka reeeires a prararaka as a g i f t from Carudatta, in recognition o f h is singular courage.

Act I I I is entitled the "Hole of the wall*. The hero and Ihe vidu^aka return home after midnight from a concert and go to sleep. Bharvllaka, the lower of Madanika, cones to the residence of Carudatta, makes a hole in the wall, enters and steals away the casket o f gems which has been deposited by Vasantasena, in the first Act. But Dhuta, the noble wife of CSrudatta, on hearing the miserable news about the thejpt, gives her pearl necklace for restitution despite of her own pecuniary strain.

Ihe Act IV is entitled "Madanika and Sarwilaka".

Sarwilaka comes to VasantasmiVs house to buy Madanika* s freedom by giwlng the casket of gong. Swan though Vasantas«ia happens to know the unholy pro cures ant o f the gen casket, She pretends to be fully innocent, receiwes the cesket as the price and in return grants freedom to Madanika to be accepted by Sarwilak as his wife forthwith. But Sarwilaka lsarns about the danger of Ary aka and goes to help his friend. Vidus aka at 8 that time comes to Vasantaseni vith the pearl necklace. Sha alto aeoapto tha nacklaca, proposes to pay a v isit to Carudatta toe sane afternoon.

me Act T Is entitled "The stern." tarndatta appears in the (ardsn of his own housep. There he receives Vasanta* seni and both of thee describe the beauty and fury of the atom. Vasantasana explains how she has acain cone into the possession of her gen casket. The intonslty of the store retains unabated, and Vasantasana is compelled to sp«id the night at Carddatta's house.

Act VI is entitled "The Interchange of the carriages" In the morning Vasantasana meets Carudatta*s l i t t l e son Rohasena. In order io pacify the crying child who is hankering after a golden cart, she gives her gold ornaments for getting A a golden cart made with the same. Carudatta*s Servant Is now ready to take Vasantaseni fo r meeting Carudatta in a park, fie is presAt vith the bullock cart. At that time another cart is there on the street. The owner of the other cart is Sams- thinaks. But unfortunately Vasantaseni by mistake, enters into Samsthinaka*s cart, and Ary aka, who has Just escaped from the prison, enters into Carudatta* s cart for safety. Two police o fficers come on the scene and one of them discovers Ary aka and agrees to pro toe t him. He quarrels vith the other police officer on this score, Ad Sryaka is finally saved from an immediate danger of being exposed. 9

Act VII is entitled "Aryaka'i escape." Vhile Cirudatta is awaiting Vasantaseni in the park Aryaka hap pans to arrive there by tha former' s cart* Cirudatta understands tha incident, and removes tha f attars o f Ary aka lands him tha c a rt to b« out o f danger, and leaves tha park.

Act VXII is entitled Qf Tuiatiiiai A Buddhist monk enters into tha park. Ha is than dr Iran away by Sakara. Vasantasana happens to arrive there by tha la th er's cart, this gives an opportunity to Sakara for offering hlr lo ve to Vasantasana. When she repulses him, 8 misthinaka gets rid of all tha witnesses, str an galas her and leaves her for dead. Ihe Buddhist monk enters again, revives Vasantaseni, and A conducts her to nearby monastery.

✓ Act H is en titled " The T r ia l.1* Sakara accuses Caruoatta o f murdering Vasantasana fo r her wealth. In the course o f t r ia l i t appears that Vasantasana had sp oit the night o f the storm a t Cirudatta1 s house, that aha had l a f t tha houae the next morning to maet Cirudatta in tha park, that thara had been a struggle in tha park which ended in the murder of Vasantaeenis. Cirudatta'a friend Mai tray a enters with tha gees, which Vasantaseni had presented to Cirudatta's son for getting a toy cart of gold, thasa gems fa ll on the floor during a scuffle between Kaltrcya and Sakara. In view of Cirudatta's poverty, thia aatabllahaa the motive for crime, and Cirudatta is condemned to death. 10

Act I, l*e* the last met of the drama MK« Is anti tied "The Bid". Two executioners are conducting Carudatta to the plaes of execution* Carudatta takes leave of his son and his A __ friend Mel trey a. Eakara's servant doelaros from a place of confine* mat that It was Sakira alone who was guilty of mur­ dering fssantascni* But ho fills to eonrinee others due to a cunning derise employed by his master. The executioners are preparing to execute Carudatta* At that time Yasantaseni arrives there with the Buddhist monk and 1he fa cts become known to all* the news is brought that Aryaka has killed Pal aka and, being the king, he is very Interested to reward Carudatta and free Tasantaseni from the compulsion o f remain­ ing a harlot for ever* Carudatta is rewarded by the king with the gift of the province of Kusavati. The title of wife is conferred upon Vasantascna, the heroine, £*1 table honours are also conferred upon Samvahaka, Sthlvaraka, the executioners /• _ set, and Chandanaka* Even the v i l l i an Bakara is^me-t fr e e , fo r , the hero Carudatta was not the person to revenge himself on a fallen enemy. Thus, we find that a very happy conclusion is brought forth by our poet*

Mrcchakatflka Is a Prakarana

The MK is technically called a Prakarana. From the dtps of Bharata, Prakarana has been recognised as one of the most important v a rie tie s o f the drama*11 I t comes second to

t,l * M»* 18.2* See also W$* 18*44—58* tiki* Mataka in order o f importance. Auong tha Prakarana* MK is the most outstanding one and as sueh it has bean quite natural on the parti of the theories to refer to the MK as the typical example o f the v a riety . For example, Dhananjaya in tiie Dasaruuaka says i

"There may be either a lady of noble birth, or a harlot or both occurring as the heroine or heroines in a Prakarana, thus presenting three different sub-varieties of Prakarana. For example, there is a harlot in Taraneadatta. a lady of noble birth in Pufpadusltaka, and there are both in KK. A composition like MK, abounding in rogues like libertines and gamblers is called a Swkirna Prakarana.'’12

ii li iiiglkift te Satofci

This celebrated play is ascribed to Sudraka, a King whose Identification presents a good deal of difficulties. Ihe name of king Sudraka as the author occurs in the prologue o f the play i t s e l f . Timana mentions Sudraka by name and opines

* that his writing profusly contains the Artha Qts}a "Slefa rv^m"

12. "yatha vesyalva tararigadatte, kulajaiva pus.padusltake, ta dve api Mrcchakattkayami ti. kitaradyutakadidhurta- sam^kulam tu Krcchakatikadivatsaplkiniaprakaranamitl." Daaaryupaka I I I , under karika 42 to l? 0 . 13. "Audrakadiraeitasu prabandhaau asya bhuyan prapanc dr strata.” , Tfimana, Kavyilamkarasutravrt t l, Ohdar Kfirlki, 3-2-4. 12

But Vam ana doaa not mention him aa a king nor also as an author o f MK. 7maanm flourished about 900 A.D. In the DR,14 written at the end o f the 10th century A.D., we find quota­ tions from the MK and references to some o f the characters and the name MK; but here the name o f Sudraka does not occur.

14. Cf. ( l) aurukirtanam or as ads ah (DR.1.46.c) xxx tathl mrcchakatlksy&m — 'candilakah - esa sagaladat tassa suo ajJarlnaadat tassa nattm ealudatto vivftdiduA raj Jhatthtaam madi edena kila genii yasanta sen! but anna - lobhena rirsdida tti.' Caruddttah — makhasataparlputam go tramudbhisi tarn yat sadasi nlbldacal tya - brahmaghofaih pur as tat s mama nidhana - dasaysm yartamanasya papal - s tadasad^sa-manusyair ghu^yate ghofaniyim st ityanena caruda ttaradhabhyllday anukulaa prasangad guruklrtanam i t i prasangah

(Avalaka. under DR. 1.46.c) (2) sasjpyagunayuktastu dhlrpsanto drlj.dlkah (DR.II.4 A) xz yathi malatimadhav a-mrcchakaUkadaa midhara- earuftattldlh xx

Yathi yff — 'makhasataparlputam...... ghosanaymm'. (Araloka, under DR. II. 4 B) 13

too wag SHfriiUtt

A description of Sudraka is given in the Prastavana o f the Mrc with the verses 1.3, 1.4, 1.5 and also 1.7. this description begins with the introductory vords s etatkavlh kila. The purport of those verses is as follows * The dramatist was a famous scholar, Sudraka by name, who was the very best o f the twice born 'K sh atrlyas', and o f unfathomable mental calibre. His gait was like that of mo excellent elephant} his eyes resembled those of a chakra bird} his face vied with the fu ll moon in beauty and he possessed a handsome body.

He knew the I&gveda, the Simveda, math met tics, the fine arts practised by courtesans and the science of the training and management of elephants} and he obtained, through S'lva's favour, eyes from which the darkness o f Ignorance (or blindness) had departed. Having seen his son installed on the throne as king, having performed the exalt­ ing Asvamedha sacrifice, and having enjoyed a life of one hundred years together with ten more days, sudraka entered the sacred fire (i.e. died).

Passionately fond o f war} free from negligence} chief o f those who knew the Vedas} rich in penance} and eager to fight with his two arms with the elephants of his enemies - such indeed was being Sudraka.

15. C f. the translation given by M.R. Kale, vide MK. p. 9.

T . - ' 14

/ w It it difficult to believe that Sudraka himself compo­ sed these few verses particularly because of the following / reasons. How could Budraka categorically Mention that he would live for hundred years and 10 How could

/ ^ Sudraka make a forecast that be would meet bis end by enter­ ing into the fire? Moreover, the word klla has been used for at least three times In this context to indicate that this description has been prefixed to the main text at a much la te r date. Further, the referen ce to Sudraka in the third person tends to show that these lines have been compo­ sed by some one other than Sudraka him self.

But even In the face of these objections Sudraka may be supposed to have composed these disputed lines as well on the strength o f the follow in g arguments > Sudraka was well versed in Qanitaj this tends to imply that he was proficient in astrology as well; and with his knowledge of astrology he might have been in a position precisely to forecast his own date of expiry. It could have been quite possible <-hat he made up his mind to k ill himself by a religious suicide by way of putting himself into the fire. Or, the expression 'agnlii pravif tab1 might simply mean that his body, after his death, has been put into the cremation fire. The word klla which indicates a hoary antiquity might have been used with the hope that MK would continue to be staged even after -| g several centuries from this da*e of his composition.

16. Bhavabhdtl also hoped similarly when he said, "kalo hyayam niravadhity" in MM.I. 6 15

Reference to Sudraka in the third person need n ot present any problem in so far as it has been an usual practice of the traditional authors to present their own views in the manner of prMinting th« views of others, thus it may be claimed that fudraka himself wrote tills autobiogfajhical introduction.

Modern scholars by and large seem to favour the opinion that the aforesaid verses were later additions. For instance, V. Raghavan observes as follows s

"From the Srhg&ra Prakfis'a, we come to know o f a Sudrakakaths of Pahcasik'k, as also another Sudrakakatha. According to the AvantLsundarl, there was a Tamil (Dravida) Sudrakacarita by the architect Lalitalaya, which shows how celebrated Sudraka became. I t i s from one o f Sanskrit works on Sudraka that the very ending with the words, "Sudrakogr.im pravistah" has probably strayed Into the prologue of the Mrcchakatiki?17 iho was the author of the M&.

It is often suggested that the drama has been composed

✓ _ -i Q anonymously and then g ot circu la ted as a work o f Sudraka.

17. Raghavan, 7 ., fifaqja1 a ErtifardPTftfcllli p. 892. Id. Kale, M.R., MK. Introduction, p. 16. Keith, A.B., The Sanskrit Drama, p. 130. 16

It nay ba presumed that tha actual author deliberately mantionad Sudraka a> tha dr an a tL at bacausa of receiving latter18 patronage^-2 or simply bacauaa tha lattar was already a highly celebrated personality* But there are also scholars

/ to accept Sudraka as tha actual author and the aforesaid verses of the prologue as interpolation, if necessary, M.R. Kale also favours the sane view as he says "But the connexion of Sudraka*s nane with the MK appears to be of such a long standing, and has so completely regained unchallenged by Indian tradition, that we cannot believe in the existmce of an anonymous author, especially as there is nothing to support such a conjecture." ftajlscifialIflgnMtegf-Sateafei

Sudraka was decidely a great king and fhe attained almost the status of Pouranic personalities in the manner of king Udayana, King 7ikramaditya and King B hoja.2* Kb a resul t of this a nuaber of roean tic stories sprang around Sudraka'a name; and i t i s no wonder that he fig u re s in the sto r ie s of the VyhitiUt&i, the Kifrahirt and the PualraiagMagj.,tg. Poets Rqpila and Samila also composed a poetical work on

/ ✓ 29 Sudraka as informed by Rajasekhara. Samila was perhaps the

19. Cf. Kawa-Prakiaa, under 1.2, "sreeharsaderdhavaka- dinamiva dhanam" e tc . 20. Kale, M.R., MK, Introduction, p. l6. 21. Cf. Raghavan, 7., Syriaara PrakiaA. P. 892. 22. Cf. R ajasekhara*• Kjjnrjmieamaa. 17

»/ same as Samillaka KHidisaV MA. A

NTha none o f Sudraka also occurs In tha t it le s o f three o ttiar works, Vikrintasudraka, a dr ana by an unknown author which is quoted in the SaraevatlkantfriMiarana. which is a Parikath* referred to by Bayamukuta, eht'jTuirakacarita by an author named Parichis ikha. •* But "these works are not at present a ccessib le. Sudraka is also aent- ioned in the BiJatarahliBli the f tftlIPMSMlMlS tt and t _ OA Sudr akavadha. Besides th is we have some aore data on the strength of which we might make an attempt to establish the / _ historicity of Sudraka.

1. Prof. Kunow identifies Sudraka with an Abhlra prince named ^ivadatta belonging to the 3rd century A.D. This is based on the fact that according to this drama king Pal aka has been over thr owned by Ary aka, described as Qopaladaraka and the words (topala and Abhlra are Synonymous.

2. The Kinarlkakhanda o f the Skanda Purina mentions one / p C Sudraka as reigning in 190 A.D. On the stm gth of this datum Col.W ilfred id e n tifie s Sudraka as Simuka, the founder of the Andhrabhritya dynasty. This identification is also somewhat confusing because the beginning of the rule of the Andhrabhritya is fixed at 200 B.C. by the other authorities.27

23. Kale, M.B., MK, Introduction, p. 22. 24. Keith, A.B. The Sanskrit Drama, p. i29n. 25. Kale, M.B., MK, Introduction, p. 23 26. Ibid., p. 18. 27. Ibid., p. 19 1.8

leaving a big gap^ 390 years fro* fee date given by tbe Skanda Pur ana*

3. In the AvantlsundarlkathlSara there is a description of Sudraka, and he Is said to have defeated Svitl a prince of the Andhrabhritya dynasty. Svati ruled till about S6 B.C.,

/ ■ _ > r Q and as such Sudraka nay be supposed,have occupied the throne In arround that year. That Is nearer the date of Sudraka given by the fijuaflA-MSia* and as such ve night perhaps id e n tify the Sudraka o f AvantAsundarlkathisare as the Sudraka Ot StaBftl PHrmit* supposing that the chronology of the Sk«nd» oft Purina night not have been so very accurate. Ihe Skanda Purina does n o t describe Sudraka as the foundnr o f Andhra- bhrtya dynasty. The Avantlsundarlkathisira describes Sudraka as a Brahnana, king of Ujjaylni, and a great poet who indulges

p o In describing his own career. This description is very much in agreement with what ve learn about Sudraka fron the MK. The Avan tisundarlkath is era also appears to have acknowledged the fa c t that Sudraka conposed verses with autobiographical contents (sacarltartha vik). Thus ve are inclined to recognise Sudraka as a king of Ujjaylni flourishing in the 2nd half of the 1st century B.C. This dats 1*» however, only tentative in so far as it is related to the problems of deciding the dates of many others like Bhasa and Kalldisa. In the face e#

28. Ibid., p. 19. 29. C f. 'v ie s svacaritarthaya* in the verse Sudrakena e tc.; I b id ., p. 20* 19

of a saa of uhcer tainitfres va may, perhaps, a aka an attempt to examine the re la tiv e chronology o f Bhasa and Sudraka by way o f examining tha ralatlonahipa between tha two drama* Carudatta and Mrcchakatika*as dona In tha third faction of this chap tar below.

.gift fliAgB ,tt£, HggfiBAMIIM flL fflL fflS M X P j M f i .M lgA flE *

Among tha Indian Sanskrit dramas NK is a popular and Interesting drama. Mr ochaka tiki occupies a h i# position among the dramatic compositions by tha distinguishad Sanskrit / _ v r ite r s , Sudraka is not le ss important than Bhasa and Kalidasa, the authors of Shlraikfete and A h fal^ ku n tala respectively. No other fanskrit play in India presents such an array of incidents and much a romantic atmosphere lik e tha drama MK. It is perhaps the most enjoyable and attractive of all Sanskrit plays. It has a unique plot, Wb find in tha field of Sanskrit literature that only conventional ideas are followed by Sanskrit writers. But in MK we find a pleasant and refresh* ing atmos jhera which creates a deep admiration in the mind of tha people. To them sudraka tha author of HK is extraordinary, modern and progrpfee siva.

Dr. Ryder trie s to make a d istinction between Sudraka and dramatists like the great poet KSlidasa and Bhavabhiiti as follows > "Kalidasa and Bhavabhutl ara Hindus of the Hindus| the Shakun tala and the Latter lots of ltflaa could haws been written nowhere save In India, but Sudraka, alone in the long line of Indian draeatlstsf has a cosmopolitan oharao tar.

For Its design and style MX stands unrivalled among the siallar plays of Sanskrit literature* d* dr aka his given his play a new title , via* MyeehshefcikaT which aeans ‘a l i t t l e earthen cart*1 I t Is a new idea. Qanerally, the Sanskrit PI ys are titled with the name of the hyro and the heroine, e.g ., AWHJfiteMjlihintili ikj>‘ and so oh* In MX we find the hero la Carudatta and the heroine Is fasantaseni, but our poet ehooaes the nost slnple object for the title of the play* This title Is highly sym­ bolical In so far as I t Implies the emphasis put on *he ordinary affairs of life and the Importance given to tne poorer and the ordinary section of the society.

Die play is based on a tale of Hindu bourgeois lif e . Some i?00 years ago Ita theme was very popular In northern India* Since then more^one writer of these days tried their hands on this tale* Lhasa's CaTllfll.tto gives us a brief sketch of the plot* Sodraka gives us glimpses Into the intimate l if e of the Indian cltlsen around the beginning of

28*.. Ryder, A.w., Ifti,,ltlttii..glay Cwrfr Intro taction, p. 16 21 the Christian era* Tha work Is a masterpiece* We find many dialects of tha then Society exhibited under most natural conditions*

I t is a document o f human characters, manners, customs, acti­ vities and so on* the role of nature which is the character­ istic feature of Sanskrit drama tie literature is also mani­ festly depicted here specially in Act V, l«e*, in the description o f the untimely rainy weather. There are plenty of actions and the Interest is sustained throughout the whole drama, and such is not always the case with the other Sanskrit plays*

Ihe chief characteristics for which the author o f the MK stands pre-eminent among his Indian fellow dramatists is his variety of Incidents, his skill in delineating the characters, ahd his humour*

Regarding characters the author of MK draws from tha common people of the sociaty* Ha does not hankar after the ideal, but gives us real living men and women*

e society from the high souled brahmin to the lowest caste is drawn by him* The characters of MK are eompopolitan whereas the characters of Kalldgsa, Bhavabhutl,Bhattenarayana, Ylsakhadatta are purely Indian* Regarding male characters of 22

Hindu drama*! Duqyanta is a Hindu king, Madhava is a Hindu hsro, Rakshasa is a Hindu minis tar, while on the other hand, Sakara.the brother-in-law of Palaka, ^aryilaka tha lover of Nadaniki, and Carudatta^the hsro ara tha citizens of tha world. About famala charactars wa find that Sakuntala is a Hindu lady and Malati i s a Hindu maid, but Madanika and Radaniki tha two maids, Dhuta,the vif* of Carudatta and Vasantaseni^the heroins represent different categories with differ mat ideologies so as to present a faithful picture of the society*

Sudraka's characterisation is more war led than in any other Sanskrit drama. It is for this special quality that It ocouplas such a brilliant position in the field of Sanskrit drama. He has created his hero, a poor brahmin mid the heroine, a rich, noble and beautiful courtesan, a burglar who leads the revolution, the slaves, the executioners, the monk, the gamblers, and the policeman etc. The large nwber of characters portrayed by the author have all received his sympathy and attention. His greatest achievement is the creation o f the character of Sakara (Safes thafeaka)• For the success of the drama he plays a significant role. He is presmted as a villain, a heartless and arrogant creature, but he is responsible for some best type of hiaour also. Such a character is not found in any other Sanskrit drama. ?3

M altreya, the vidua aka, pi ay a a sp ecial p art. It la alto an unique creation of our poet. In all Sanskrit plsys we fin d Vidua aka as a buffoon. He alw ays Bakes h iaour. Hut in H£ we fin d him as a true fried of the hero C crudatta. He helps him everyw here. Som etim es he m akes jokes. He may be fond of food and com fortable livin g, but he is very helpful even when the hero becom es a pauper and he is alw ays ready even to die for the hero. Itcfraslthus quite natural th at

M ai tray a gave consent to senve C arudatta e f m n a f t e r t h e latte r*! dem ise by way of taking the fu ll respon sibility of

the ch ild Rohasena when C arudatta was about to be executed.

M ost attractive characters of the play are the four con spirators Ary aka, Sarvilak a, D arduraka and Candanaka, who liv e from hand to m outh, ready at any tim e to steal or to plunge into a revolution. Such characters are not found an y where else in the field of San skrit literatu re, though Sudraka depended upon B h afa's C arudatta yet after A ct IV Sudraka adds another six acts where we fin d the various types of people which are absent in C irudatta. So it is the new crea­

tion o f our author.

San skrit authors prefer the spring season. It is the

queen of the Season) and various things which are favourable

for the p lot and a sm ooth progress of the dram a are described

as connected w ith th is season. In MK we fin d th at the play 24

begins when the spring ha* mad* i t s e l f fa it* Sakara refar* to haroina Vaaantaaani'* visit to tha Kfiaadeviyatana Idyana, which must have been Sccasloned by tha commencement of the spring saaaon* In Act V we find tha daaeription of an akiladurdina which refers to on* of those heavy showers that com* suddenly in the first month i*e*, Yaisakha.

Che poat Sudraka is an author of huaour* Ha creates humour in his play again and again, particularly through Sakara and Vidus aka. this huaour could appeal also to the modern western mind, that is why A.v. Ryder appreciated the humour in the following words i "Shudr aka's humour is the third of his vitally distinguishing qualities, this humour has an American flavour, both in its funs and in its situa­ tions. the plays onwards can seldom be adequately reproduced in translation, but tha situations are independent of langu-

j-"- age* And Shudraka's humour runs the whole gamut, from grain to farcical, from satirical to quaint* Its variety and keenest are such that king fihudraka need not fear a comparison with 29 the greatest of Seal dental writers of comedies.*

MK is totally natural* It is free from any sort of supernatural element* All events are natural and realistic. The.realism’ and the matter of fact nature of the MK may

29* Ryder, A.W., The Little Clay Cart. Introduction, p. 22 °.5

perhaps be compared with those of the Mu&xukgifti. A.B. Kaith has pointed out how the last Act of the tfftftr,ira*l)ilg« wherein Chandanadasa is led to be executed, seem* to be based on9 and inspired by the last Act of the MX; there are the two chandalas, and the wife and the son of the condemned man, who appear on the stage during that scene only} even the language in that portion reads like an echo of the MK.30

Regarding language, i t nay be observed that the MK contains tile Biddle Prakrit and the source of the MK l.e . the Carudatta contains old Prakrit. But very simple Prakrl tqls are found in the MK which are rarely f&wnd in other t.anrkrit Plays.

So far as s ty le is concerned, Sudraka had a very simple style. His diction was ludftd and simple. His expressions like those of Bhasa were free from complex constructions. Bat while Bhasa used some ungraoaatical words Sudraka*s language was free from any such blemishes. He, however, used a number of less familiar and more homely expressions like kaoardaka- djkMs kogJjo&Ai zai&fit taliiai 4a4lUiag»» aaU»k*» aahallafru and varaqdalambuka. etc.31 This was necessary for depicting the lower strata o f the so cie ty more fa ith fu lly . Sudraka*s

30. Kale, M.B., MK. Introduction, p. 51 n. Keith, A.B., a>« SanitarU Pr«l» P. 208. 3l. These are the Sanskrit rmderingsof the respective Prakrit words. 26

expressions did not have the polish of Kalidasa's writing. / _ But a t the seme tine Eudraka's composition was fre e from the artificial stylistic devices like Slesa, Xamaka, Cltrabandna, * etc* which la te r on slowly suffocated the o rig in a lity and enterprise o f the Indian Poets and also proved the deatn o f

Sanskrit literature in the world. From tills point of view,

Sudraka stands pre-eminent amongst tile Sanskrit poets*

J3iB Ft BLAU OK BETWEEN TriE DAPIDRA CARUDATTA AND THE MRCCHAKA ttK'i

The question of relative chronology and mutual relation­ ship of the Darldra Carudatta and the Mfcchakafrlki has been engaging the attention of quite a large number of scholars since tue discovery and publication o f the Trivandrum plays ascribed to Bhasa* An idea (fcffotiie extent o f tue involvement of the scholars may be gathered from the following extract from Bhasa* A Study o f A.D. Pusalker.

A "Drs. 7. C^napcti Sastri, Sukthankar, Belvalkar,

Vdnternitz, 6 tan lenow, Keiths Charpmitier, Thomas, Morgsps- tierne, Baner jee S a stri, J o lly , Profs* Dhruva, Bhlde, Paran- jape, Tatice, Messrs. Harihar Sastri, Khuperkar, Klrata and many other Oriental Scholars maintain tue priority of the

32* P • 156 27

Car and consider the Mrcch as an ecLargement o f i t ; while others lik e Profs Kane, K.R. Pisharoti, Devdhar, Ramavatar Sarma, Bhattanatha Swami, R. Raddi, Nr. K.O. Sankar consider tiie Trivandrtai plays as spurious and regard the Car as so®e- thing l i t t l e less than a literary forgery. Dr. C. Kunhan Raja, Prof. Jagirdar, Nr. Nerurkar, and Dr. H. Sastri opine tnat both the Car and the Mrcch are the different recensions o f the same play the former possibly a Southern one and that 33 the Car is purposely kept a fragment*" I t is interesting that P.V. Kulkarnl had also already made s similar observ - ation on this astounding involvement o f various scholars as follows *

"Now the most controversial question is about the relation o f the Mrcch aka tika and the Charudatta. Dr. Sukthan- kar, Prof. S.N. Paranjp^e, T. Qanpati Sastri, Huprikar Sastri, Dr. Belvalkar, Prof. Jolly, Dr. VtLnternltz, Dr. Nongenstierne, Prof. Konow, Dr. Sanerjee iastri and many other Oriental Scholars admit the Charudatta as a genuine work o f Bhlsa and

33. A.D. Pusaker supplies the following references in a foot note at the end o f this extract » Raja, Journal o f Oriental Research, l . p. 245; Jahaglrdar, Antiquary. 1931, p. 42; Nerurkar, Mrc. 1924, Intr. PP. 18-19; Hirananda Sastri, Memoirs, Archaeological 28. p. 22; Sankar, AgqjaikJggJlal Volume. Patna, 1926-28, 2, p. 58. 28

consider the Mrcchhakatika only as an enlargement of it; while on the other hand, P rof. Kane, Pandit Ramavatara Sara a, Pandit Rangacharya Raddi, Bhuttanath Svaaln, and Dr. Barnet consider the newly discovered plays as spurious and consider the Charudatta as an abridgement ox^daptation o f the Mrcchhakatika.

An analysis of the various dissertations on the topic shows that there are mainly three sharply different views on the question o f the mutual relationsh ip o f tha Carudatta and the Mrcchaka tik e. The d iffe r e n t views are as follow s ;

(l) Carudatta was composed by an earlier dramatist and was composed by a later dramatist on the basis of the Carudatta itself.

(2) Mycchaka^ikl was composed by an earlier dramatist, and the Carudatta was composed by a later dramatist as an abridged version of tha Mycchakatplka itse lf.

(3) Both the dramas were composed by the same dramatist. Carudatta was composed earlier and the was com­ posed by the same dramatist by way of improvement.

the whole problem leads to certain very interesting questions some of which may be indicated as follows s

34. Kulkami, P.?#, "The Charudatta and the MroehakatikaMt Tide Nerurkar, T .R ., HrlChChhakaUK>» Appendix I, P. 4 . was g.ar.udaUa a work by Bhns- ? Was Bhasa ganulne or spurious? Was the Bhasa of Carudatta a d iffe r® t Bhasa? I f the CaTWftatta in it s p r e s ® t form a complete work or a fra g ­ ment? Was the Carudatta le ft incomplete by the author himself or do we find it in a truncated form because of the loss of la t e r Acts? I f i t was a longer drama and contained more Acts then how many Acts were thre and how did the story and? If i t was an abridgement of the Hrcchaka^ika than what was the motive behind the abridgement? I f on the other hand the

Mycchakatlka is an enlargement then what are the points of similarity? Does the enlarges®t result in an improvement?

What are the innovations fotmd in the Mrcchaka^lki? vhat are the episodes and sub-plots which were not ®ticipated by the

£SCMfll£ft? vhat are the d e ta ils , lik e the 't i t h i scheme*, in respect o f which the Hrcchakatika shows improvement and better Judgment?

References w ill have to be made to most of these and similar questions in course of an examination of the validity of the aforesaid three sharpLy differ® t views which is being p re s® te d below*

the third of the aforesaid views is maintained by V.R.

Nerurkar, who inter alia observes as follows i 30

(i) "It appears to us that Mpcchakatika In its present form is a later development of the Pup aka- Dari dr a Caruda-ta brought out by the author himself who for motives about which we shall speak anon ascribed the work to a king Sudraka. Carudatta and Mr, are probably the productions of one and the same author - namely Bhasa. This is not the pre-kW Idasam Bhasa o f Mr. T. Ganapati B h a s tr i...... "35

( l i ) "Mow i t is more probable that author of the r up aka himself should take up these threads and develop into a ftakarafia rather than some other should improve upon it at some later date."36

( i i i ) "Our reasoning then leads us to Dhavakabhasa as 37 trie author of the play and the first half of the 7th century 38 as the date of the drama."

That the third one o f the aforesaid sharply d iffe re n t views is not tenable will be clear from the references to the opinions of scholars subscribing to the earlier two views.

35. Nerurkar, V.B., Mrlchchhakatlka. Intr. p. 14. 36. Nerurkar, Ibid.p. 19. 37. Hire he means the Mre., and the opinion is that Dhavaka Bhirsa was the author o f both the Carudatta and the Mfc. 38. Nerurkar, loc cit. 31

The second of the three sharply different ▼levs is maintained by scholars like R.Y. Jaglrdar and V.V. Mlrashl. Concluding his discussion on the relation between Car and Mrc. B.V. Jaglrdar says s

"That comparison shows to us the possibility o f the Car. Itself being a revised or a stage-version of the Mrcch. with the latter play before him the author o f the Car freely used the names nayakah (for Carudatta), Qanika (for Vasanta- sena), Sajjalaka (Pkt. for Sarvilaka) and so on. But as he revised the Mrcbh the author of the Car. must have found two things he disliked. 0ne9 a successful revolt against a reig­ ning king and the other the suffering of the hero and that too at the hands of the kings brother-in-law. Besides, the’ e are scenes o f apparent death o f the heroine, o f the death sentence and of the execution place and of Cirudatta's wife attempting Batl. As the Ceti in act IT o f Car. says, the author of the revised version did not like any death scenes or associations with death) he preferred an amrta-ahka-nitaks. A Bhasa who could show Duryodhana die on the stage would 39 never put such a limitation on his art."

R.V. Jaglrdar*s view involves a lot of complicacy. According to him; the Trivandrum plays are to be divided into two groups. One group was composed by the actual pre-Kalidasa

39. Jaglrdar, R.V., Drama in Sanskrit Literature* p. 163. 32

Shasa and till a group contained tile dramas like Svapnavasara- «nd Urubhanga. But the Carudatta belonged to the other 40 group composed by an In fe rio r author* The whole view fa il* to be convincing so long as the date and identity of the hypo the tical 'inferior author1 are not dearly established.

V.V, Mirashi briefly discussed the problea of the mutual relation of the said two plays in his S-tafllll Ifl Indology. ?ol. IV (i966), pp* 85ff. and recently dealt with the same problem in a paper entitled "The Date of Mrcchaka- tikaN* In this paper, with refer«nce to a number of incidents common to both the plays, the learned scholar comes to the

condusion that the Hjrgfi&jfciffii *as the earlier play and possessed a better degree of perfection, while the Cirudatta was an abridgement of the former and lost much of the oerfect ion by way of missing the necessary links between different Incidents through condensation* Cf.

"All these incidents are inter connected fend have been woven skillfully by the author of the US, while they are not noticed at all in the CiffUfllttl* This is an unmistakable proof that the latter play is an abridgement of the US. In the Kerala country where the manuscripts of the US have been found, Sanskrit plays are even now abridged for being put on the boards*

4Q.. Jagirdar, B.V* ihlfl., p. 163* # 33

So there is no doubt that tho &K is ths original play.'*

In a foot not a to the sarliar paragraph ha says s "'Is the Carudatta is an abridged version of ths original play meant fo r the stage, i t does not contain the Bharata-vakva as in ths other Trivandrum plays'.41

In the context of this opinion, it may perhaps be humbly pointed out that while it is quits liksly for an abridgement to bs less perfect than a longer original, it is also squally possible for an enlarged later adaptation to eschew most of the imperfections of the shorter original.

Hence, the perfections and imperfections o f the respective dramas cannot be decisive evidences in respect of their relative chronology.

How, coming to the firs t view that S.aTWilt**, of Bhasa was earlier and Sudraka's toflhgKattfcg was an enlargement of the former, it is deemed useful to quite some represmitative opinions of some of the leading scholars concerned with the problem.

( i ) With reference to the Myc A.B. Keith says i

"The first four acts of the play are a reproduction with slight changes of the Carudatta of Bhasa; the very prologue shows the fact in the inexplicable transformation di* riiCs troi. irm-zx, i98o-8i, p. 259. 34 in the speech of the director, who opens in Sanskrit and thsn changes to P ra k rit, while in the Cirudatta he speaks

Prakrit only as fits the part of the Vidosaka which he is to play*"42

For A*B* Keith, Carudatta is "only a fragment in four Acts without beginning or final verses*"

( i i ) In tills connection M* winternits observes t

"But even the four Acts that ve know t i l l now do not leave in our mind any doubt that the famous drama Mrechakatika,

"The Drama of the Clay Cart", attributed to king Sudraka, is a genial enlargeaant and late adaptation (perhaps a continu­ ation) of Bhasa*s Oarldracarudatta* In any case the four fete of the Darldracarudatta and the first four acts of the

Krcchakat^Lka are related together in a way that is almost as close as that existing between two different recensions of A A one and the same work."

In the body o f a 21 page essay on the subject P*V.

Kulkarni succinctly observes as follows i

"It is, therefore, clear that the Mr is an amplification the Chir. for (l) in point of technique the Chir differs from

42* Keith, A*B*, The Sanskrit Prana, p. IB1

43* Jtinid*, P* l03f* 44. Vdntemits, M.y A history of Indian Literature. Yol.lII, Part I, tX* by Subhadra Jha, 1977 edn., p. 249. 35

the Mr. in the absence o f a Nandi and in having a rudimentary

Sthapani. (2) The Prakrt of Char, ia aore archaic than thst of the Mr., (3) Mitii regard to varaifieation, the text of the Mr. aiakea an advance over the other in respect of

(a) grammatical mistakes (b) elimination of redundancies

(e ) tad atfaktrard oont traction :£d) introduction o f improvements in form and substance. (4) Suitable additions and omissions —

The Mr presents a text more free than many of the flaws, unrealities and inconsistences in action of the Char."45

(iv) M.B. Kale, who has also discussed the problem quite elaborately inter alia observes s

"The obvious answer, and one on which most scholars are agreed, is that the Mrich. is an el arsed version of the Charu- datta. we have seen above how the extant portion o f the

Charudatta aids suddenly without any doio^ement. This comple­ tely spoils its chances as a stage-piece} for the spectators want, before every thing else, a complete and well developed story. Sudraka must have conceived the idea o f continuing and and fin ish in g the playj had he merely added the remaining

Acts, the re s u lt viewed as a whole would have been an incong­ ruous piece o f workmanship} hence he re-wrote and worked over the o rig in a l four Acts also, making several changes and addi­ tions, and followed these up with the next six. The Charudatta

45. Kulkarnl, P.V., 'The Charudatta and the M^cchhakatlka1, Appwdix X, p. I5f., vide Nerurkar, 7.B., MrlchchhakaMtiki 1937 edn. 36 seems to have been l e f t Incomplete by Bhasa, though we do net know why, there are Indications in the play itself^ Jhe intended 4A to complete it * "

(v) In the opinion of A.D. Pusalker, the Mrcchakatlki i t not only a later development of the Cirudatte. bpt the author^ the Mrc had acquaintance with Bhasa* s other plays also. 47 After a pretty long discussion on the problem Pusalker concludes as follows »

"Thust a careful sthdy of all the available material and also the full consideration of the probabilities of the case lead us to the following conclusions > That the Car is the original play and it is incomplete as we have itp; that the Car had at le a st nine acts which developed on the same lines as the later acts of the Mrcchf that the author of the Mrcoh added the political bye-plot, and the gamblers' scene and effected many improvements with regard to characterization, 48 versification, etc."

In consideration o f the differen t views reflected in the writings of some of the leading authorities it appears to be quite reasonable to hold that Mre of Sudraka was an enlarged

46. Kale, M.B., MiHnh<.hh»ki.i-flk«T 1962 edn. Intr. p. 35f. 47. Pusalker, A.D., Bfagli | A States P- 154. 48. IfclA., P* 174. 37

version of Shies’s **.M. Shams has shown that

Sudraka himself 'suggests* that his play is a 'new version' of an already celebrated drama of an earlier dramatist.

S im ilarity o f the two plays may be observed by the spectator from the very beginning* This i s why the author o f the later play ingeniously suggests that it is "as it were a different play" and "as i t were a new Play" with the words * wklw mi lrhalYMBfikai grhf!mra4.I n laivKBiiaaka* Yartatf." and ^ AQ klm punar idem navamlva samvldhinakam v a rta te ."**

In the following few pages it is now proposed to show some o f the points o f sim ila rity and d issim ila rity between the two plays in d etail*

Bo speak in a general way, C aruda tta-V as an tas ena story i s the same in both the dramas and thare are a nuaber of identical verses* Host of the characters are also commmn.

file main difference ia in sis e , while Bhasa's play has four A Sets, the MX is a Prakarana, extending over as many as ten acts. Some new characters are also introduced in the MX.

Seme plot, same words, and same expressions with slitfit differences here and there are found In these two plays} but

the same time both possess different titles* MK fu lfills

the requirements of a Prakarana* file similarity of the plot

49. Sharma, Mukunda Madhava, 'A suggestion is to the Relation betvem Cirudatta and Mrechaka^l k e '. Journal Qf ttl ?QiYTlity 91, gtUhtAf V ol. IX, Ro. 1, Arts, 1958. 38

lies in the feet that the mein theme, i.e., the love of

Carudatta and Vasantasena is common *t» both the dramas.

There are sim ilarities in details also. For ex maple, the nocturnal Journey of Vasantasena, followed by Sahara and

Vitat to the house of Cirudattai her depositing the ornaments of in the custody of Carudatta, the theft the ommaentsi the wedding of Madanika and Sarvilaka, the description of nature, etc* etc* are found in both the dramas*

The Mrc a m p lifies a few prose passages o f the Carudatta in verse as well as prose passages* Bxamples o f the former class are MJC, I.H , 16; 11.20} I I I . 8 * For instanco, 1 darldrvan khalu naaa manasrlnafr Purusasya soochvismk m arahi* o f Ciru- datta is amplified In the Mrc as follow * 1 Vldu^akah— bho yayasya* naranad darldryad va katarat te rocate? carudattah —

▼ayasya. d arld ryin mar an ad r i maranamhmasirocate na darldryam/

Act I, Verse li)

There is a close sim ilarity between the following Slokas of the garnfatta and the KrcshafcaUki.

Carudatta60 Mrcchakatfkj51

1 . 1*2* Yasam balil) ••• 1.9

2 * 1*3. Sukhad hi ... I.10

5ft. Roy, Ktmudranjan, (ed.) Chlrudatta of Bhasa. 5 1 . Kale, K.R. (ed.) Jfrgfihgfcittfci of Sudraka. 39

fiicMtlfai Hrfiflhafcijlfci

3. 1.5. Satya* na .. . 1.13 1.6. Darldrid purusa 1.36 5. 1*8. Uttajrfita ... 1*19 6. 1.9. Sis tram ... 1*17 7. 1.10. J&^Mhehi oandaa 1.28 8. 1.17. TarunaJ anas ahaya 1.31 9. I.l8 . Kaaam prados a tialr ana 1-35 3.0. 1.19. Limpatlva tamoliigini 1.34 11. 1.21* Alokaviaala 1.33 12. 1.22. £«& aal Vayaao 1*40 13. 1.23. £sa 111 Vasuh 1.41 14. 1.25. Akaaa hrlyata 1-44 15. 1.26. Samadvidhaham 146 16. 1.27. Abljh a ta-prayuktana I. 54 17. 1.28. Yatramapatit* kana I 55 00 H • 1*29. Udayatl hi SaaaakaK I - 57 19. I I I . l Utkantfci tasya 111*3 20* 111.2 Raktan ca hiaa 111*4 21. 111.3 Aaai^ii 111*6 22. I I I .4 lyaii hi nldri 111*8 23. I I I . 6 Kpltjta aarlra-parinaha III* 9 24. I I I . 6 Aanam nlcaoldam II I. 11 25. I I 1.8 Daaakkojnu 111*12 40

26. H I. 30 Adyasy^bhi ttlsu I I I . 14 27. III. 11 Mar ja r ah plajan* m .2 0 28. I I I . 13 Iflhsvasosya I I I . 18 29. i n . 14 Dhlgastu III. 19 30. I I I . 15 Kak Sr adhaayati I I I .24 31. I I I . 17 Mayi dravyaksyg. I I I 27 7a Samaeaksa 32. I I I . 19 * A I I I .29

33. IV . 1 Krjftva nisayam IV . 1 34. IV . 2 Ay am tava IV- 7 35. IV . 3 Vlsadasras tasarvamgl IV • 8 36. IV. 4 TvatsnehavaddKo. - IV. 9 37. IV . 5 AJnanad 7a IV. 18 38. IV. 6 7aiikaselt IV. 2 There are some verses of the MK which are sere ampli­ fication* of short descriptive prose passages of Bhasa's Carudatta.

The common male characters of the two dramas are (l) Carudatta (Nay aka?? (2) Vidus aka (Mai trey a); (3) Sahara (Samsthinaka); (4) Vita (a friend of Sahara); (5) Sarny ah aka (who later became a bhikau); (6) Ceta (a servant of Sahara);

/ (7) SajJalaka (Sarvilaka in MK). Among them the main characters are Carudattay Vidusakay Sahara and Sarvilaka*

52. The name glv«i by Bhisa is put within bracket* 4]

The common fatal* characters are (l) Vat ant as ana (the heroine); (2) Brahman! (Dhuta); (3) Madaniki (Vasantasena*1 maid and companion); (4) Badanika (a maid of Carudatta).

The only prominent fatale character is Vasantasena.

In the MK new incidents, which are in no way anticipated in the £IcHdli£»» ere added by Budraka in the Acta V to X.

For example, the gambling scene, the supposed murder o f

Vasantasena by £aklra, the episode of Aryaka's escapade In

Vasantasena1 s ear, the aurder of Pilaka the Xing, and the trial scene-all these are Budraka's additions.

There are 19 a ale characters which are added by Budraka,

*»g., Sutradhara, Dyutakara, Dardura, Mathura, Karnapuraka,

Ce ta naaed Vardhamahaka; C*ta naaed Kumbhilaka; Vandhula,

Vita (as an attendant of Vasantasena), Aryaka; Viraka,

Candanaka; Bohasena, So dh an aka, Brea thin, Kiyastha, Adhikara- nika, Ahinta end Qoha (tide two executioners).

Curnavrddha (a friend of Carudatta), Pilaka (a King of

Uj jay In i), and Bebhila (a merchant) are only mentioned in the MX.

There are also two female characters which are added by Budraka in MK. Such as Chatradharini and Vrddhi. The only fatale character in carudatta which i s not found in tne MK is a Cetl as Vasantasena*s another maid servant. 42

"Sometimes the Carudatt* shows hotter judgement e.g.

Cirudatta 1.7 fits In ths context better and the author of the MK has shown a want of taste in transferring It to the third jft^et* The transposition of the scenes between Sajjalaka and Vasantasena and between Vidus aka and Vasantaseni In the

4th ^ e t o f the MK. make an unoriginal Impression. *>arwilaka must w ait In the temple o f the (bddess o f lowe^ t i l l he Is S i allowed In. This Is better brought out In Carudatta."

Zn Cirudatta there are only ten Subhasi tas but In Mrc there are 53 Subhasltas#

_ _ 5 4 The Subhasi tas of Carudatta are the following *

(1 ) darldram Idialu name manswlna^ purus asya soc chris am mar an am. ( 2) sukhaa h i dijfyhanyanubhijys sobhate, etc. (3 ) bhagyakramena h i dhananl punarbhavantL.

(4 ) ekaemin durlabhl guna bibhavaz/e^

(5 ) v in l nama asmudramutthi tarn ratnam.

(6) nadhuraaapl rahu khadlam ajlnnam hoi'

(7) sahkaniya hi , e+c. • ( " 1 ■ '

(8) arthata>>purus« nari • '■ /

(9) sahase khalu /r&vadatl

(10) svadofaibhabatl hi s'amki tm manusyairu6

51. Kulkarni, P.V., 'The Charudatta and the Mrcchhakatika', Vide, Nerurkar, Mrlghghhi^R^JSlt 1937, Appendix I, p.12.

54* Mehta, C.M., Samudra K.D., CllHiflrtlilf P* 25. 55. These are Subhasi tas of the Cirudatta as presented by Bhasa* But the Subhasi tas of the MK are presented in Chapter V. below. 43

Regarding the verses of both the dramas Aotvlse, ve 56 find that in 1st Act of Mrc the number of verses is 53 but in the Carudatta the matbar o f verses is only 29. In the 2nd Act in the MK ve find 20 verses, but in the Carudatta the , ™' ■ - — - 2nd Act is verseless. In the 3rd in the MX, there are 30 verses vhile in the Carudatta there are only 19 verses. The verses in Act I? of the MX are 33 in number vhile the mmiber of the verses in Act IT of Carudatta is only 7.

56, This calculation is according tP the edn. of M.R Kale CHAPTER- I I

A__fBi!EI-CHi. APPRECIATION OF THE MBCCHAKATIKA Afi A DRAMA *\ - Introduction

Isudraka occupies a very prominent position in Sanskrit dramatic literature. As a dramatist his reputation rests or his solitary drama Mrcchakatlka.

In the MK there is a strange mixture of prose and poetry. His style of prose is not less important than his style of poetry. Incidentally it is a pretty graphic record of the then society in its various aspects. No other Sanskrit

dramatist has drawn such a fu ll picture of society*

MK is a drama of ten acts. It is of the Prakarana type

according to Sanskrit Retorlcians. Its plot is not a celebrated one but invented by the dramatist himself. The hero is a m erchant named C iru d atta and the h e ro in e a oou rtesen named

Vasantaseni. Their love in separation and final union consti­

tute the main theme or plot* There is another sub-plot dealing with the love of Sarvilaka and Madanika culminating in their

union in the 4th Act. The main sentiment is love and there

are other subsidiary sentiments. As usual there is the marve­

llous in the denotement.

Apart from all these formalities of a Sanskrit play the

MK contains much more that makes the drama really interesting

and keep the audience spell bound, whence it is observed by 45

expert critics that it is the most Shakespearian play of all

Sanskrit plays. Die characters are many and all lively,

their actions and dialogues are so nice that they seen to be

in front o f us. the traditional kings and queans are not

here but people from other walks of life , with all their

thrills of daily life, Joys and sorrows, quarrels, laughters,

and jokes are there, these characters are all highly real is*

tic. The dialogues are all as it were fresh from real speakers

in the world. A ll these make the drama highly in teres ting and make the dramatist immortal in the field of Sanskrit lite r­

ature.

We, therefore, propose to make an assessment of the

dramatist in respect of the following aspects s-

(a) Literary Aspect.

(b) Linguistic Aspect.

(c) Socio-political Aspect.

(d) Miscellaneous Aspect, e.g., (i) Wise sayings and

(ii) Characters*

(a ) .AfiMfi.fc,

In the lit e r a r y f i e ld S^udraka's merits know no bounds.

Many important words are used by the poet in order to create

the beauty o f the drama. His metres, alamkaras, rhythms,

fancies, didactic passages, throughout the drama are wonderful. 46

(a, Bie didactic pa>sagas are about^hundred. These indicate the poet's deep reading of life and tide wisdom accruing thereform. me number of metres la twenty one and the rnabtr of alahkaras is twenty two. iLd&LiJLJCLt

MK is fanout for its various types of sentiments. Sen tin ant it the very life of Indian drama. Sudraka uses various types of sentiments for me development of the play. Base or sentiment grows from poetic s e n s ib ility . In the verse portion of the MK there are large nusbertf' of the sentiments which create interest in the Prakara^a. the Erotic (Sriigara), the Comic (Hisya) 9 the Heroic (Vira) the Pathetic (Karuna), the Terrific (Bhayanaka) the Loathsome (Bl^atsa), the Marvell­ ous (Adbhuta), the Furious (Raudra) the the sentiments which are scattered throughout the whole o f the drama. The erotic sentiment is the main sentiment in MK. The love between the hero Carudatta and the heroine Vasantasenr mainly provides the relish of the erotic sentiment. The &otie sentiment is divided Into two parts v is ., Bipralambha and Smabhoga both o f which we fin d in the MK.

According to Bharat Muni, £r£ngara and Tira should be predominant in a drama. He has also permitted the Karunarasa. The other sentiments namely, Raudra, Bhayanaka, Haaya, 47

Vibhatsa and Adbhuta, ara used for the development o f the aaln sentiment*

According to Keith, "Sentiment Is a condition in the mind o f tha spectator o f a dr ana* or, we Bay add, the hearer or reader of a poem, produced by the emotions o f the charac­ ters, and the emotions, Bhavas, are excited by factors vhlch nay either be the object of the notion, as the loved one Is in the case of love, or serve to heighten it, as does the spring season*"1

In the MK though there is also the Madanika-Sarvilaka episode for evoking the sentlBent of love, the aain source of the sentlBent is the story o f Cirudatta and Vasantasena* fhe importance o f the Cirudatta-Vasantasena episode as a source of the principal ssntlaent of love is indicated by the drama­ tist himself with the verse s 'tayoridam satsuratotsavasrayam’ etc* (1*7) (King Sudraka composed this play based upon their excellent festival of love-enjoyment).

Humour

The poet creates humour from time to time mainly through the speeches of Vldu§aka and ^akara. The humour o f Sakara often arises from his real or wilful show of poor knowledge of the world* As for example —

1 Keith, A.B., A History of Sanskrit Literature, p. 372f 48

andhakare palayi ta malyagandhena bhusita > kes'ahaste parsers ti ctaakjrneva draupadi >» (1.39)

This is spoken by &akara to Yasantaseni; k&th tba wrong impraaaion that ha has caught hold o f Yasan tasena, while actually I t waa Radanika, ifto vaa caught by him. Thua humour la produced not only by hi a wrong references to apiea and Purinaat but alao by hi a actions.

the witty YidtTgaka ere a tea humour In the play with very queer simllfea aa In "Adcjfaryafll bhot) pra^ofamandamarutena padubandhopanltaay*dva chlgalaaya hrdayam phurphurayate pradlpah.*4 Innocent huaour la produced by hla funny actions V as In the case of the eeta reporting hla about the arlval o f Vaaantasena In the beginning of the fifth Act.

In Instance of htaaour arising out o f the action of other characters la found In the act of the Darduraka*s throwing dust to the eyes of Hathura when he opens then widely with the words evam prekaisye in Act XI.

But i t must be admitted that much of the element of humour, that we have now in the Mrc waa already there in the Carudatta o f fihasa, who deserves the encomium from Joyadeva that he waa the very laughter of the KavitS-Kfeini, l.e., the lady In the form of poetry. Cf. 49

y asyascoras c ikur anikurah karnapuro mayurh

bhaso hasah kavlkulaguruh killdiso vliasah *

hars.o harso hrdayavasatlh paftcabaqastu bln ah

kesin naisa bhavati kavftjfcamini kautukaya **2 3 iM s

From the traditional Indian point of view, style If callad R iti, But tha rhetoricians beginning with Vamana have different Ideas about Bitl, and they also give different numbers for tha varieties of the sane. Yet It nay be said to have tha Panic all B it l, which roughly stands between the

two extremities of Vaidarbhi and Qoudi Bitis, From the view point of tha modern concept the style of an individual poet, t _ i t nay be said in tha words o f M.B. Kale that NSudraka' s expression is forcible, graphic and pithy, both the prose and poetry being remarkably fre e from unwieldy compounds or involved constructions! with a few exceptions the meaning is 3 clear and d ire ct and rap id ly comprehended,*

L&flguaggj

In the MK there is a nix tore of Sanskrit and Prakrit languages, Sanskrit i s spoken by the higher classes. They are

Carudatta, V ita, Sarvilaka and the Judge and Prakrit by the

2. Jdyadeva1 s Prasdnnaraghava, quoted by Pusalker, Bhasa i A Study. P. 48.

3, Kale, M.B, (ed.), Mrcchaka1ftkaf Intro, p. 5l 50

rest* Vasantasena the heroine, though a lady, always employ?

Sanskrit when required to utterAas we find in Acts V and-III.

In the MK various types of prakrits are used. According tn the comm an ta tor Prthvldhara (a) Sauraseni is spoken by the Sutradhara, the Natl, Vasantasena, Dhuta, Vasantasena's mother,

Karnapuraka, the two accessors, (i.e ., Sresthin and Kayastha)

Bodhanaka, Madanika and Radanlka} (b) Avantika is spoken by

Yiraka and Candanaka} (c) Pracya by Vldtls.aka} (d) Magadhi

by Safevlhaka, Sthavaraka, Kumbhilaka, Vardhamanaka and

Rohosena} (e) Sakiri by Sahara} (f) CShdall by the Candalas;

(g) phakki by Mithura and two Gamblers**

Linguistic Aspect PftfifflMmJfrttrU warti

There are many unfamiliar Prakrit words in the MK e.g.,

Varandalambuka, p. 14} mallaka, p. 20} varada, p. 24} dahisara,

p. 46} tallda, p. 66} pedandaa, p. 78} gan/da, P* 78} seriha,

p. 158 } kora, p. 158} rupidarao, p. 162} mahallaka, p. 166 ;

ks^atthadaini^ P* 168} k o flp k ft p. 254 e tc . as ( i n K a le 's

edition of MK).

4. Vide Prthvldhara's commentary in M.R. Kale's edn. of the Myc, p. 7. The commentator gives the number of Mdgadhi speakers tap s ix (C f. sanalgadhipathakah) by Samvahaka aid Bhfksu as two d iffe r e n t ch aracters. Sylvaln Levi also speaks of the same pattern of the distribution of Prakrits vide Nerurkar's edn. of Mrc 1937, Appendix II, p. 28. 53

This distribution of Prakrits, suggested by Prthvidhara Is, however, not followed by all the editions of the text. This is warranted by A.C. Woolner, who illustrates ^aurasenl with VasantasenI'a dialogue with Rohasena in the sixth Act. With reference to the speeeh of the child Wbolner observes*

"Rohasena the son o f Carudatta is supposed to speak M&gadhl} but the text here gives him ordinary Sauraseni.1*5 7* Again while the Vidfifaka is supposed to speak in Pracya, Woolner quotes two long speeches from the fourth Act where the Vidusaka speaks in Saurasanl. Wbolner presents Sakari as a d ia le c t o f Jfagadhl, but finds that some speeches o f the Sakara appear to be in a Mggadhl o f the same kind as spoken 7 by others. Scholars like Keith and woolner recognise also 8 a Dfik^inatya variety ascribed to Candanaka. Wbolner also quotes two verses uttered by Karnapuraka (I I * 19, 20) and one uttered by the Vidusaka (IV* 30) as illustrations of Mahara- s t r l. This does not conform to the scheme o f Prthvidhara. A.B. Keith notices that the scheme of the Commentator agrees with that o f the Natarasastra. " i t Ignores the Mahlrastri, though for some not obvious reason Konov claims that this was

5. Wbolner, A.C., An Introduction to P rik r lt. 1966, edn. p. m n. The edition quoted by Wbolner is that of HIranand and P&rab, Bombay, 1902. 6* Wbolner, A.C*, Ib id ., p. I l2 f f . 7. op. clt*, p. l 82f . 8 Keith, Sanskrit Drama, p* 141 and Wbolner, op. c it ., p. l8r, 52

introduced into the draai by Eudraka."9 In fact, in certain cases, the lin e of demarcation between two types of P rik rit is very thin. That is why it has been possible for Keith to conclude after a fuller analysis of the PrSkrits of the MK that "the rich variety reduces itself in effect to Sauraseni and Magadhl with Takki, of which we have too l i t t l e to say precisely what i t was#"10

Use of rare words and verbal forms

As to the diction w« find that the author has used many interestin g words. Rare words such as ta lita . kutrsa. g r s ti. ^ gulma, are frequently used by the poet in the play. These words, however, bring to the lig h t many interestin g fa cts «nd figures of the then society. As fo r exmaple, the use of the expression nava-gyytl. (Act III) shows that even cows (fen) of that period had to be controlled with a nose-rope, this shows that the cows in hose days were very strong and healthy. The word Is used in Manu (7. 114). On the strength of

this use of the word gulma in MK, we can say that the 8 tate had numerous police stations (jmlfiAl) in those days.

The poet has used rare and interesting verbal forms lik e feiMiaiyatit iliyaiayaUt * tc . and un- Pininion forms lik e bhlyayitira. In his verbal £orms he used

Keith, A.B., £|Qiii£iLJL££BBft} P* 141. 10. Keith, A.B., Ibid., p. 142. 63

present tens* (lat) and only occasionally other tans as and moods.

In Sudraka's poetical portion also there ara some compounds as in the prosa p ortion . The*a ara g m era lly not long and difficult. In both tha prosa and verse portions, va find various compounds of unusual form and carrying unusual ideas, a.g., gomayalipta¥r/(nta (I. 5l) and indriya-sadyata, (VIII. 47).

Vocabulary

Sudraka1s vocabulary is large, varied and it covers many walks of life , such as a life in dire need and one in affluence a.g., Sakara's life and a courtesan's life instanced by Vasantasena. the vocabulary is concerned with burglary, activities of police, judiciary, religion, etc. and many other inciden tal top ics. As such large number o f words used by Sudraka are pregnant with interesting senses and manifold information. Besides these, a lot of difficult words have also been used, words and phrases lik e kapelInal ta| and karnataka-kalaha show that there are words derived from — . .... regional dialects also.

Socio-Political Aspect Administration

/ Sudraka draws a realistic picture of the society in his drama. The p lo t has been dr^un from the re a l l i f e . The 54

characters ara drawn from the upper middle class and tne lower classes, the depiction o f the society in such a

r e a lis t ic way is rather an unusual phenomenon so fa r as the

Sanskrit dramas are concerned. The play provides some data

about the administration of the time. The king, as usual, was

the supreme authority. The king had a large number of officers

to perform the various duties. As for examples army officers,

sentries, administrators etc. Prom Act I, we know that sent­ ries were posted on the high way to prevent theft and other nocturnal mischiefs, As for example —

rajamargo hisunyo'yam raksinah samcaranti ca :

bancana parihartavya bahudosa hi sarvari it (1. 58).

In Act VI we find that even such humble people as the bartars

and cobblers could become army o ffic e r s . The army o ffic e rs had

the power to stop and check the veh icles. In the administra­

tion, Sakara was a powerful element. The king was assisted by the counsellors.

There were the usual departments o f state such as

Revenue (Vide Act V I I I ), Justice (Vide Act IX ), Police (Vi ie

Act VI) etc. We can have a good idea p artic u larly about the

Judicial system o f that time from this play.

In the court there were several judges. Eras thin and hayastha ware two subordinate office bearers. One bearer

arranged seats and reported to the judges about the day's 56

work i* e * , the la v su its to be taken up* Witnesses vara examined. The accused had to defend hiss elf* Pleader ship does not seen to have axis tad* Ihe Judges could pass death sentences but the ratification of the king vas necessary for the execution o f such sentences, this is Just the sane as i t tiie present day* t r i a l by ordeals vas also in vogue as an auxiliary method* the Act IX gives us special indication of the Judicial administration of those days. Justice appears to have been both speedy and Impartial.

Ssgguflan-System

the Act X of the drama MX gives us a v iv id picture o f the execution of a culprit sentenced to death, there were various means of killing, e*g* beheading, impaling etc. Some of those cruel means are noted in tile verse X.54. Thi* is 9 dloka by Sarvllaka who is very eager to punish Sahara for his heinous deeds. Ihe c u lp rit was handed over to the executioners and he vas almost at the mercy of these fellows* They could k ill him instantly or make delay if they liked. For a revision of order they eould also report to the king any new fact regarding the culprit* Ihe executioners had to announce the actual guilt of the culprit by beat of driai in five different places* People of the city assembled everywhere to see the c u lp rit as in the days o f C h rist's crucification* 56 itociUon * About education of that period vo have some inform- ation. King Sudraka kn«v the Baveda and the Samaveda. mathema­ tics* the aclenoe of training wild elephant* and the various arts pracUsed by bn# prostitutes as v* find In 1.4. Proa these, ve may Imagine that these subjects were studied by the people of that period, m en of that period studied Sanskrit. That aeans the women were learned. Tasantaseni speaks Sanskrit as we find in the following rfleka.

udayantu name meghi bhavatu nisa var«amaviratam patatu » g an ay ami naiva sarvsm dayl tibhlaukhena h r day en a i » I ? 33. From a speech of Vidujfaka we come to know that women also used to speak Sanskrit.11

In Act X? of the drama MK. ve have some information about the crafts and industry, the house of Vasmatasani Is described In a large portion of the Act. This gives mi Idea about the higher standard of architecture of those days, fldusaka gives a description of the wealth and opulanoe that he saw Inside thereby throwing much light on the standard of perfection attained by the arts and crafts of those days. fidusaka* on seeing the palace of TasantasmiT says i

U . Cf. " s t r iy i s easier Item pathantya" Act I I I under V.a.MK. 67

"To toll the truth, having thua seen the mansion of Vas antes ana with its eight quandrangles and its numerous appurtenances, I feel I have, as it were, seen the three worlds brought together In one spot."3*2 we find, from the Incident of stealing of tfarvllaka Into CSrudatta's hours, the house of Carudatta, though old, yet looked like a man­ sion and attracted £$arvllaka for commlting the theft, that the son of a neighbour of Cfirudatta had a toy cart made of gold and tne references to Vasantaseng's ornaments and many such references also confirm that art end crafts were of high standard.

Cli.tiL.figi

The caste system was fully recognised In those days. The Brahmaqas were held in great esteem. Brahmanas often took to commerce. The forefath ers o f Cirudatta who were Brahmanas became rich through trade and commerce and were known as £>arthavihas, as we find In MX Act IX. There were other castes, e.g. Kayasthas and Candalas. The abuses uttered by the two policemen Viraka and Candanaka with reference to the respective castes as In verses VI. 22 and 23 show that people were highly cast^bonsclous mad that there was a sharp stratification evmn amongs the sub-varieties of the so-called

3j2. Kale M.R. — MK — Act IV, p. 170 58

lov casts* Though,,in a decadent position, Buddhism was padro­

ni a #d by kings and princss and the bhiksus vara respected by

the conmon people. B1 every vas common and by the payment o f

aonay tha slava might ba bought o r sold and ransomed, e.g.

Yasantasena tha hsrolns ralaasad har maid Madanlkp to Sarvilaka

on receip t o f a ransom from him* Pr.aiUtaUofl

Prostitution vas there* I t saams to have bean a sk ille d / __ profession. King Sudraka studied tha arts of tha prostitutes

(Vals'lki Kala), as va find in versa I* 4* (Cf* rgvedam

samvadam ganitajaatha kail*? vaisiklm, etc*) Yasantasena tha

heroine of tha play vas a courtesan* But it is really asto­

nishing to sea that she could ba the vary heroine of tha

drama* This proves that prostitutes vara held in high respect

and that they had a good status In society, obviously because

of their vealth, training in various arts, and education.

Yasantasena could speak in Sanskrit (Cf* Act IY)* Yisvanatha

tha z^torician lays dovn the rule that Sanskrit should ba

spoken by tha courtesans at times in drama as a mark o f their

accomplishment*^ Yasantasena*s behaviour confirms that during

that period tha courtesans vara capable of speaking Sanskrit

vhen required* Marriage of tha prostitutes vlth mm o f society,

13* Cf. yosit-sakhi-blla-vedya-kitavipsarasam tathi valdag- dhyaya praditavyam samskrtam can tar an tar T. (SD.VI.369).

) 59

vas In vogue. Thi* la i m q in the marriage of Madanika v th

Sarvilaka a Brahmana who la tar poaa to ba a king aakar. In

Act X we find that the haro C^farudatta became happy by having

Vasantasena at his wife* The king Aryaka, bestowed on Vasanta-

«an a tha titla of 'a wedded vlfa1* So It la avidant that tha king had tha povar to oonfar upon anybody a hlghar social

status according to his ovn svaat w ill*

R e lig io n

During Sudraka's pariod Vedie Hinduism vas the major religion* Buddhism vas also there* In A0t V III va find a monk who vas rea lly a pious man and saved Vasantasena when / she vaa Injured by Sakara* Ha called Vas antes anf a upfsika" i* a * a worshipper o f tha Lord Buddha* Ha vas m al-trea ted by

Sakara* tha vlllaln f but vas Indifferent about this. Thie probably In d ic a tes th a t Buddhism vas tha r e lig io n o f a mino­ rity and there vara also occasional repressions on them.

Gambling

Gambling vas prevalent with great pomp* Sabhlka (4-ct

II, IV) vas tha proprietor and presiding officer of the gambling house where assemblies (sabhas) used to be held for

the purpose of gambling* this is really a nev ^erm met with

In tha MK* Later works Ilka Aminuriqe and the Mltak|ftari have taken note of this term sabhlka and explained it as 60

beet they could. It is also said that tha sabhika provides the dice and other materials required for the game, the

AgnipurSha supplies more details about sabhika the presiding officer of the gambling house. Here ve find that the sabhika vas entitled to SjL of the money von at play in case the sum exceeded a hundred. He had to pay a portion of it to the royal exchequer. The gambling house used to be supervised or inspected by the officers posted by the king of the country.

Thus ve find that the gambling houses were institutions recog­ nised by the state» and thus the Sabhika who vas incharge o f the Sabha or gambling house v«s doubtless a dignified person in the society* The vord makes it clear that gambling vas a popular game in those dayst vhich attracted a large nianbei of people. This is a great revelation as to the than society in

India* Sudraka the popular poet dravs our attention to that side of the society by depicting an interesting scene o f that game in the drama* A large number o f characters o f MK vere engaged in that game and it appears to have been a fashion o f the then society.

rtiott ind P rink

From various parts of the drama ve may gather some ideas about food and drink of the day* Meat31,4 and vine vere used by the high circles* In that society probably three varieties

14. Cf• MK. 1.26 "lamehl a laavallaham to khihisi macchamam- , / , sakam * edehim macchamamiakehim sia^aT madkm na sevan ti ** o f w in* v iz., Sura, Sldhu and A aava wore popular,

C f. "sidhus urlsavsm attl" ate. IV .30.15 v-*

O ther typos of food such as fish , vegetables, /a ll

rice, sw eetm eat, pungm t soup, cakes etc. vere also eaten by

the people. In fact, ve fin d references to food item s righ t

from the beginning of the first A ct, where the N ati inform s

the Stfij^radhSra i "There is rice boiled w ith sugar, clarified

butter, curdled m ilk, rice, and, in fact, there is everything

deliciou s that is w orthy o f being tasted by your honour."16

J£L6£fiLJdGUDL&Q]26

U ) tflgg fgyjngg

/ _

There are many d idactic passages in Sudraka1 s MK. these

Indicate the p oet's deep reading o f life and the wisdom resu lt*

ing therefrom . In MK there are 53 w ise sayings in verses.

These are spoken by the hero C arudatta, V ita, Sarvllaka, hero­

ine V asantasenl, Bhiksu and oth ers. In every draae we find

some w ise sayin gs, but Sudraka's w ise sayings are m ore num erous.

Die verses containing the w ise sayings are s-

Act I • 8, 10, H , 13b, 14, 18, 16, 36, 37, 43 , 50 , 53 , 58d

(th irteen verses).

A ct II - 14, 15 (two verses)

15, K ale, M .B., MK. p, 168.

16. gudaudanam ghrtam dadhi tandulalj Iryena attavyam

rasayansA sarvam a sti." (MK. A ct I under verse No. 8) 62

Act I I I - 1, 2, 24cd, (repeated as 7.43), 27 (four verses)

Act IT - 10, 12, 13» 14cd, 15, 17, 19, 22, 23, 25ab (ten verses)

Act 7 - 8cd, 40, 41, 42, 43ed (five verses)

Act VI - 18, 19 (two verses)

Act 711 - X

Act T ill- l, 29, (repeated as IX 7) 30d, 32cd, 33, 47 (six verses)

Act IX - 7, I6cd, 26d, 35, IX 42a (fiv e verses)

Act X - 15, l6cd, 19, 22cd, 45, 60d (six verses)

There are also 3 ^ prose sentences in KK which may be called vise sayings, these sentences give us such descrip­ tions and comparison which are rather rate in the field of Sanskrit Literature. These sentences are as follows1?

Act I 1. ete khalu disyihputra arthakalyavarta varatabhita iva gopaladarJcS arai^ye yatra yatfca na khadyante tatra tatra

gacehanti, p. 24. 2. na puspamosaaarhatyudyanalata, p. 34

3. gun ah khalvanuragasya karanam na punarbala'tkarah, p. 38

4. suqthu khalvidam ucyate ratnam ratnena samgacohata I t i. 1.32. 5. svaka gehe kukkuro’ pi tSvaccando bhavati, p. 48.

17. Kale K.B., pp. 408-409, Karmarker, R.D., 507. 63

6. na yuktaa parakal a tradersanaa. p. 68

7. purusasu nyasi niksipyanta na punargahasu. p. 62 * • • *

Act I I

8. kirn hlnakusuaaa sahakarapadapaai aadhukaryah pun ah savant*, p. 70(a)

9. dar ldrapurus as arfikr an tain an ah kha).u ganlka lo k *’ vacaniya bhavatl. p. 70(h)

10. dyutam hi naaa purus asy as iah as anaa rajy a*. p. 78

11* apayasu tadagasu bahutaraaudakaa bhava^ti, p, 90(a)

12. durlabhl guni vibhavisla. p. 90(b)

Act H I

13. anatikramaniya bhagavati gokamya brahaanakamy^a. p.ii8.

14. vina hi namazs amudrotthi tatfratnaa. p. 104.

Act IV

15. dv^aaidamatlva loka prlyaa naranaa suhr^cca vaniti ca. p. 152.

16. na candradatapo bhavatl. p. 146. a 17. nisayaa nas tacandrayaa durlabha argadarsakah. p. 148 i i A * ^ 18. svalUdosai bhavatl hi saakit* manujyah. p. i36. 19. sihasa dcVh. p rativ asati. p. 140. 64

Act v

20. akandaaanu tth it» padninl ayancak# yanlkjf aeaura-*> guvarnakarah akalaho griaaaaaSgarti alubdha ganlkatl dugkaramata aaabhavyante. p. 180 21. kamo yarn ah. p, 182(a) 4

22. ganika narna p adukSn tar a pr ayls tava laatuka duhkhena * * • * , * punarnirakriyate. p. 182(b)

23. ganika hast! kayastha bhiksuscato raeabhaaea yatraita nivasanti tatra dug ta apl na jayanta. p. 182(e)

Act VII

24. na kHanapeksate snahah. p. 246

Act VIII

dugkaraa yiganaugadhlkartum. p. 272

Act IX

26. aho yyayaharaparadhlnataya dugkaraa khalu paraclttagrahananadhikaranlkai^ p. 308.

27. aho dhigyaisanyaa lokavyayahfaraaya. p. 334(a)

28. chidrasyanartha bahu£ibhayantl. p. 334(b)

29. aula chinnAkutah p*adapaaya pilanam. p. 348 4 65

A c t X

30. purus abhagy Sham aclntyah khalu vyapara yadahmidr/la daaamanuprap tih. p. 354

31. paro'pi Isandhuh 8 anas ana thi tasya ml tram na kacldvlsanas thi tasya. p. 358.

32. Idrso dasabhav® yafcsatyan kanapl na pratgrayayatl. p.372.

33. loke ko’ pyutthltah patatL kopi patLto'pyut&sthate. P. 390(a)

34* gag ana tala pratlvasantau candrasuryavapi vipai-ti‘>* labheta. p. 380(b)

35. sarvatrarjavsn sobhate. p. 390

36. ambhojini locanamudranam kin bhanavanastamgomi ta karotl. p. 402.

I t may ba noticed that sometime* the same verse Is giv«a more than once e.g. 111,248 and 7,438 as noted under verses above.

Charas ttri Regarding characters ve find that in the MK there are tvent^r six male characters, a vast nunber, which are rare in other Sanskrit plays. Among the principal male characters ve find (l) Cffrudatta the haroj^iikara the V illain; (3) Mai trey a the Vldufaka; (3) Sarvilaka the- DO the "Brahmana. The other minor male characters are — (5) Sutradharaf (6) Vita; (7) Sthaver aka; (8) Mathura, (9) Samvahaka) (lO) Dyutakara; ( ll) Dardura; (12) Vardhama- naka) (l3) Kar^apuraka; (14) Kumbhllaka} (l5) Bandhula; (l6) T it a (another attendant)} (l7) Rohasena} (l8) Ary aka? (l9) Tiraka} (20) Candanaka} (2l) So dh an aka} (22) Sr es thin; (13) Kayastha; (24) Adhikaranika; (li) Ahinta; (26) Ooha. Curnayr^ddha, Pal aka and Rebhila are only mentioned.

Salient ffatoim, gfnaif sharasttri lay bt pointed .wt at *

1. Carudatta i

In the MK Carudatta is the most prominent figure l.e . the hero. The hero is a Brahmana, a Sarthavaha, calm and dignified, even in his miserable days and engaged in the pursuit of artha, kama and dharma. the name vas most appro­ priate to him as its meaning is "he who gives nobly" — caru^attam yen a. In this play we find that he had spent a large sum of money for the good of others. Life itself is not dear to him but only honour. He is a noble friend to a ll. Due bo his noble qualities he gives his wife's gold necklace to the heroine Yasantasena in lieu of her deposited ornaments which were stolen by a thief in Sils house, The hero laments on account of his poverty again and again not because of his own misery but only for the reason that now he has not enough 6?

money to help others• He Is to be considered an ornament at UJJayini. There is none* comparable with him in the society /Oe tfZdC He is a large hearted person so much as he admires even a burglar for his s h ill in breaking the v a il and laments to have the idea that the thief must have gone back without any success due to his own penury. Carudatta's magnanimity appears in the boldest r e lie f when even, after getting fu ll

/ power he desists from revenging upon Sakara, the arch enemy, out and on the contrary9 sets him at lib e rty vith^ even a seratch.

(2) Mai trey a s

Another important character o f the MX is Mai trey a ( i . e . the VidusaKa). In most o f the Sanskrit dramas we find a Vidu$ak& as the laughing stock o f the society. But in the MX we fin d the Vidus aka to be o f a somewhat of the soc iety different disposition* In Maitreya we find the example of our poets masterly skill in giving life to the dry bone of a theoretical definition, fhe essential traits of a typical atn. VIdusaka^viz., eagerness for food and drink and comfort of living, selfishness and foolishness. But in MK we find some exceptions. Here the fidu^aka is not depicted as a mere buffon but as an intimate friend of noble Carudatta being always ready to die fo r his frien d . The grosser tra its o f the typ ical Vidusaka ir e lacking in him. He is neither a fool nor a glutton but a simple minded man and whole hearted 68

friend. He is indeed a faithful friend of a faithful master.

(3 ) £>akara »

In the drama HK the poet has created the character o f f/akara as a unique creation in the whole o f the Sanskrit dramatic literature. He is depicted as the worst type of man.

Sakara is perhaps the most v illain o u s o f a l l the v illa in s o f the world, ihe poet has most successfully depicted him as the object of dejrlalon9 hatred and vituperation of one and all*His vftalth and position make him believe that he it entitled to whatever he wants. Ihe refusal of the heroine

Vasantasena outrages his sense of prestige more than anything else. He is a combination of pride and folly. Being a brother in law of the thing he has awful power in the society. His habit of using utterly incorrect mythological references works as a source o f humour and mlso presents him as an idiot and block headed person. But at the same time he appears to be as cunning as a fox. He always tries to mix with

Vasantasena^ but she avoids him by a ll means. So he tortures her like a beast. He tries to execute Carudatta too but fails.

In the last scene s'akara falls at the feet of Carudatts him­ self for safety) and the latter instead of doing any harm grants him fu ll freedom and security, this is what brings

Sakara the villain in bold contrast with Carudattaf the hero o f the play. 69

(4) Sarvllaka »

He is another character o f MK. He la brahmin by caste.

He becomes a th ie f in order to redeem Madanika, the maid of Vasantasena, from bondage. He offers valuable ornaments fo r the purpose, Vasantaseni in return grants her freedom *

S a r v l l a k a and Madanika are united, jfarvilaka's presence ir the drama is not less Important. He is a kind hearted fellov.

Act IV of the drama may be entitled, "Madanika and Sarvllaka',' because the major portion of the Act is concerned with the two lo v ers. Through their conversation we come to know that both of them are simple minded? persons, Sarvllaka loves

Madanika with heart and soul. As he just prepares to go away with Madanika as h is legitim ate w ife, he comes to learn that his friend Aryaka is captured. He then immediately decides to send his wife to his residence alone and goes away for organising an uprising in favour of Aryaka. For him a wife and a friend"mre equally endearing. But in time of crisis Su|>efc!oX. lik e the present one a friend is «tt&erc£ae» even to a hundred o f lovely women (G f. IV, 25). I t was through S arv llak a's machination that Pal aka has been k ille d and Aryaka has been installed as the king. Immediately after Ithii eventful change in Government Sarvllaka rushes to the execution ground to rescue Carudatta from his Imminent d isaster.

Eventually Sarvllaka now becomes a very good friend also of

Carudatta. Bit unexpectedly hapPy torn of events in the last 70

Act was all because of Sarvilaka. It was he who conveyed

the most desirable message fo r the heroine Yasantasens,

'paritust# r ija bhavatlm vadhusabdenanugrhnatl. 11 And It was

Sarvilaka who put the concluding question with the words

"tad ucyatam kirn’ te bhuyah prlyam karomi."

The minor male characters i

(5) Butradhara *

He is a stage manager. He always talks about food and

drink. He is like the other sutradhara^in Sanskrit plays.

(6) Yita I » t He is a friend of Sakara and a companion also. Bu*

he is unlike the Sakara in nature. He is frank and straight

forward. He is cultured and has the capacity to appreciate

the good qualities in others. His honesty always maker him

try to restrain h is friend from unlawful works. He appear? In

Act I .

(9) sjfeavarakfl

He is a slava of Sakara. He is a simple God-fearing

men and within his own limits serves his master honestly.

He happens to be a witnass in the YasantaseniT murder ca?e

and tried his best to disclose the truth whan the opportunity

eftpe. (8) Mathura (sobhlka) »

■a is the presiding o ffic e r o f tha gambling house. Ha holds his offica and oarrias on his business with the approval of tha king,

(9) Sanvahaka (Bhiksu)* «

He hailed from Pataliputra and happened to come to Ujjayini only for saaing places* He learnt the art of umsrage just for the sake of art* Ultimately it became a profession for him whan he served Carudatta during the lattar^dayr of opulenceft.Mhen Cirudatta became a pauper Samvahaka was thrown ou t o f employment and became a gambler* As a taken o f grati­

tude towards Vasantasena ha renounced the world and became p. Buddhist monk. He was instrumental for ?asantasena^ragelning senses and for her being brought hurriedly to the execution ground fo r a happy reunion with Carudatta*

(10) Darduraka s

xle is another gambler of HK, iie is very Poor. He is a typical victim of the high handedness of the Sobhika.

(11) I&takara *

He is the gambler who won a game against Saauhaka and started demanding the’ due amount from the la tte r . (l2 ) Vardhamanaka t

The servant o f Carudatta Is Vardhaminaka» even In his master's hard days, he Is always with him and serves him heart and sou l.

(13) Karnapuraka *

He is a servant of the heroine Vasantasena. He is very faithful and active.

(14) Kumbhilaka t

tie is a male attendant of Vasantasena. He is faithful to her and respects Vasantasena deeply.

-ft (15) Vandula s

He is a bastard and parasite of Vasantasena the heroine.

(16) Vita 2 s • He is the attendant of Vasantasena who serves her respectfully. He is cultured and educated, ne describes the rainy day in beau tifu l Sanskrit verses. 73

(17) Boh as ana t

The only son of Carudatta Is Bohasena. Ha is innocent

and cries for a golden toy cart. Ha has a deep feeling for his father. So after reaching the field of execution he

says s ''ale candila east maradha, muneadha aTUkaa".lS

( 18) Ary aka s

Ha vas a cowherd boy. Soothsayer made a precast that

he would become the king. Palaka, the reigning king arrested bK-t, him and put him behind the bare. Through hie machination of

Earvilaka^his friend, he fled away from the prison. Carudatta

happened to protect him from detection and helped him to

reach the place o f safety. Ultim ately Ary aka became tile king

after killing the despotic rular Pal aka. Ha vas good enough

to shov his gratitude to all those who helped him in time of

his distress.

(19) Viraka and (20) Candanaka i

They are two police officers of the city of UJjaylnl

One o f than seems to be a southerner.

i , (20) Sodhanaka *

He is a beadle of lav court of Ujjayini.

18. Kale M.R MK, p. 374. 74

(22) Sresthin and (23) Kayastha *

They are two assessors of Palaka's court of U$4ayini.

(24) Adhlkaranlka t

He is a judge. He feels for Cirudatta and understands that Cirudatta is not the real culprit.

(25) Ahinta and (26) Gbhd^t

They are the two Candalas. They are engaged for execution cuff Cirudatta. They have sympathy for him. These are minor characters as we fin d in MK.

Other persons mentioned in the drama *

(1 ) Curnavrddha s

He is a friend of noble Cirudatta and sends him a cloth to be used as an upper garment in time o f his d istress.

(2) Bebhila s

He was a merchant o f U jja y in l, a frien d o f Caruca* ta and a good singer. He is eithar^friend or a relative of

Sarvilaka also.

(3) Palaka *

He was the king of Ujjaylni. He was a despotic rnl»r.

He gave indulgence to the villain Eakara. This way he enta- gonised most of the honest people «£ the kingdom. Ultimately

Ary aka killed him and became the king of U jjayini.

Principal, .X9»al« ofraracttr »

Aaea-g the principal female character/ ve find the name of heroine Tasamtasenl only. Her qualities knew no bounds. rhe was a professional prostitute (ganlka), she was pure hear cd and not like other prostitutes, Rhe was wise and witty. Rhe was more admirable than lovable. She could not be called ' great character due to the orthodox position of society.

Sudraka does not cast any imputation on Tasantasena's character

She wished to be a legal wi^e of Carudatta. Owing to the love for Carudatta she disliked her family profession as a harlot.

She had the indomitable urge to become a mother, as evidenced by her attitude towards Rohasena. She was so kind hearted hat she gave all of her ornaments to the child Rohasena, the son of noble Carudatta for purchasing a golden toy cart Instead of the little clay cart, this shows the significance of he

title of the play. Sakara tried to kidnap her but failed.

Due to her good qualities king Aryaka bestowed upon her the title "badhu' which was accepted by her. Temperamentally she was more a house wife than a courtesan from the very beginn­ ing. She was a true lover, and that is why could appreciate the depth and intensity of love in the heart of her maid servant Madanika also. 76

Ihg aloof rial* c^araotin *

(1) Dhuta s

She i t the noble v is * o f Cirudatta the hero* She is a gentle lady, worthy of her husband. She has no jealousy in her Bind fo r Vacantaseni. though this prostitu te loves her husband openly she Is quite In d ifferen t,

(2 ) Natl s

She Is the wife of Sutradhara, She Is wary active and shows her sympathy fo r the husband,

(3 ) Madanika s

She is the maid servant o f Vasantaseni. She Is very Uk. 0 obedient and she always tries to please her mistress, takes her into confidence for disclosing her attachm«it towards

Cirudatta, Vasantaseni sets her fre e from the bondage o f slavery knowing her love fo r Sarvilaka, She i s very i n t e l l i ­ gent, and her Intelligence is duly appreciated by Sarvilaka also with the words i mayapta mahatl buddhlrbhavatim anugacchati: nislgrla nas tacandrayin durlabho ■argadarS'akah

(IV 21).

(4) Radanlka s

She is a very simple and pure hearted maid of Cirudatta

Sven in his htfld days she is faithful to him* She is sincere 77 and aha always carat fo r the ton o f Carudatta. She ratpects Dhuta alto with her heart and soul.

(5) Chatradharlnl t

She It an attendant of Yasantasena, the heroine of the play. She ac comp ante a Vaaantaaena to the ratldanca of Clrudatta and tpaakt on behalf of the heroine with Intelli­ gence and sincerity at demanded by the occaaion.

(6) Brddha >

She I t the o ld mother o f Yasantaseni. She I t always willing to engage Yasantasena in her profeaelon. Although the wat a harlot herself, the had alto a nobler aepect of her disposition. She admired the quailtiaa of Carudatta and did n ot want to tee him punished fo r the alleged murder o f Yasantasena.

these are the minor female characters of MK. The poet shows his originality in delineation of the characters.

there are same specialities in this drama, the more prominent of which may be noted at follows s

11 Ut.pf.Jhf drai *

(a) In cate o f the t i t l e o f the drama, the poet does not follow the conventional rule. The originality it teen by hit little. choice of Mrcchakatika or "the *Msle earthen cart" at the 78 title of the play. It means a little day cart, the poet chooses the most simple incident for the t it le of the play. Whereas we find that in most of the Sanskrit dramas the play is named after the name of the hero or the heroine, e.g. Abhl jnanaa'akuntal a, Mudraraksasa, Carudatta, Malavikagnlml tr a, Vlkramorvadya etc., in MK the name is given on the basis of A small incident involving an ordinary and insignificant article like a little clay cart. But this is in fact a highly significant title* This implies that the poet is going to give in this d m a , /Sufficient attention to the hopes and inspirations also of the poorer section of the society.

(b) Here, lower dasses and the poor people play a domi­ nant ro le . The former king Palaka and the la te r king Aryaka play rather minor roles of the drama, while the hero, Carudatta, the poor merchant o f U jjaylnl, and the heroine Vasantasena, a harlot of the city, who la otherwise so low that she is not entltied^get duly married to any man, clay th« major role of the drama. Many other character portrayed by our poet also belong to the lower strata of the society; but the nobler traits of their persondity are also depicted with equal esqthasis.

Various incidents s

The drama is packed with numerous incidents and episodes, such as the love episode of Carudatta and Vasantasena the description of burglery, the love episode of Sarvllaka 79

and Madanika* the chequered career o f the Samvahaka, the change of bullock carts* the killing of king Pal aka* the execution affair etc* All are accumulated by the poet very Curved s k ll l f u l ly Aas a r e s u lt the drama happens to be very fast and fu ll of action* this is another special feature of the drama.

In Act T ill we find the most attractive incident loaded with th rill and suspense* Vtoen Vasantasenl fainted a biksu came. Under the lmaves* he discovered the fainted

Vasantasena and gave her water. And in order to support her* he bent the branches of the tree* because the bhikfus are monks who never come in contact with the ladies*

The climax is seen in the last 4ot,i*e.,Act X. Here we find that Cirudatta,the hero,is to be executed. His w ife is ready to immolate h erself* But y e t by a rapid turn of PZl&Ke., A UKllM, o-nAt'aJ’iitMr*. aJj~ corner* r. J events,^the symbol o f depot! sm, rem ain*alive andAderive happiness to their hearts' content*

Sudraka shows his merit in placing a prostitute as a heroine o f his drama* He has extraordinary power to create such a character lik e Tasantasena.

the story of revolution is so intimately connected with the main story that Atr cannot be iso lated from the latter and a t the same time i t cannot also d iv e rt our attention from the central idea o f the play. This is Indeed a great merit o f our poet* I t must therefore be appreciated that Sudraka has created a new idea and a new fashion in the KK. CHAPTER I I I

A CRITICAL APPRECIATION OF THE TOSS PORTION OF THE mrcchakatikI

IntrofacUoa i

A study of the rare as of the MK has bean taken up In consideration of the following points.

1, The verses in a Sanskrit drama fora an inseparable part of the drama as a whole. Often i t appears that the more pointed ideas or nobler ideas are expressed not in prose but in verses. As a result of this, the verses in a Sanskrit drama happen to constitute a superior type of composition within the drama Its e lf and they happen to possess literary merits to a much higher degree in comparison to what is found in the prose portion, X

2. The verses very often turn out to be suhhasltas. It is not tin deniable that in the prose portion also we come across a few sayings here and there. For example, the expression , "snigdhajana^samvibhaktam h i duhkham sahyavedanam i ip'ttKv bhavatl" (Sak. Act III under verse No, 8) is a pithy saying.

But so far as the prose portion is concerned such sayings are few and far between, whereas the verse portion contains more and more o f such w ise ob servation s. For example, the verse,

"vitarati guruh prajne" etc. (URC.II»4) contains such an idea which could be couched only in a verse' 3. The verses in Sanskrit drama arc found to bo invari­ ably more embellished or so to say aoro r ic h ly endowed with figures, (AlaatiCjll). That Is why in the difforont alaakira works wo find only vorsos (if taken froa any draaa) as illus­ tration o f tho various fig u re s. On the other hand nothing in prose has ever been quoted froa the dramas as the example of any of the figures.

4. Certain verses are so rich in tfiii^irff or otherwise so in terestin g in this resp ect that soae o f them happen to be quoted by several jlaOtitUUft and soae of them happen to be qufted severally even by the sane author. For exaaple the verse "liapativa taadngahi varsati-vinjanaa nabhah" etc. (MK. 1.34) has been quoted by Dandin, Mamaata, Fidvanatha, Govindathakkura and ^rivatsalancanacirya.^ This is signi­ ficant that the same verse has been quoted by each of E-andin and Maaaata in two different places respectively.

5. Because of the figures contained therein or because of the beauty of the aeaning certain verses happen to assume so such of importance that aore than one dramatist become

1. Dandin, K.D. 2.226, 3.362| Mamaata, KP. X, under the contexts of Utpreksa and Arthalaakarasaasrsti; VlsvanStha, S.D., under the context of Utpreksa; Oovlnda's Kavyapradlpai fir i vat salanc ana’ s Kavyaparfksa. For the reference to the last two works, See KP. ed. Qanganath Jha, 1967 edn. Appendix B. p. 37. tsmpted to u tilis e the same verse, e .g . many of the verses o f tiie M»h«w;*ak» 0f Madhusudana Mi/ra are common with verses « in plays Xike PraianiugiihaT*» Anarg^afighaYai MabjarlcAcarito etc* A long lis t of such verses is given by A.R. Borooah.'' Sometimes even the same author repeats certain verses in more than one of hie own plays. In this respect also ve may derive the benefit of a long lis t of such common verses found

A*k ' j in the d iffe re n t works o f BhatfqtfUti as given by A.R. Borooah.

There are many repetition s in the dramas o f Bhasa also. A few of the notable repetitions are s kin vaksyatitL hrdayam parisamkitam me, Svaonavasavada tta . 6.15 and Abhiaeka. 4.7; 9 CL _ . dharmasnehantare nysta, P ra tim a, 2.7 and Abhiseka. 6.23; llmpattva tamo'cgani, Balacarlta, 1. 15 and Carudatta i.i9 ; yadl t e 's t l dhanuhs'lagha, P r a tlln i. 1.20 and Abhiseka. 3.22.23 4

2. Bhavabhutl and His Place in Sanskrit lite ra tu re . Vide MafalYfracarUat p. 5. 3. t p. 3* 4. It is highly interesting that repetitions are there even in as great a poet as Kalidasa. Apart from a any cases of partial repetition there are also many cases o f rep etition in tots. For example, R igh n w aii. 7 .6 -n and 7.14 are very faithful repetitions of Kuairasamhhav 7.57-62 and 7.66 in the same order. Repetition of as in, many as seven verses in one staple context as great a poet as Kalidasa, /Speaks fo r the inherent charm and singular importance of the verses thsmselves. 83

6 . Sometime* i t so happen* that a verse finding place in the body of. a drama already occurs in an earlier noble source like the MB and the Sai»Tan». For example, the verae 'bhavantl namrastaravah' etc, (Sak. 5,12) already occurs in the MB,

7. It is very convincingly observed that "sometimes an entire kavya and sometimes even a Part of it may be considered a kavya and their respective merits may be subjected to assess­ ment separately. In most of the varieties of kavya we find rasa as the most essential element of the entire composition. In same verses or parts of the longer kavya ve may be charmed by the suggested vastu or the alamkara also. At times we single out verses from the body of a longer compsotion. The verse * tvim&likkya' occurs in the Meghaduta) but Abhinava is prepared to consider it as a muktaka (i.e . a poem comprising of a gingle verse) free from the entire context. Thus the verse "tvamalikhya1 may stand as a piece of dhvanl on its g own merit."

In viev of the above it has been considered worth while to take the verses of the MK also in isolation and to make and independent assessment thereof.

5. Sharma, Mukunda Madhava, Th« D h»«ii Thaorv in SmttoTlt fOfttMt P» 64f. 84

8, In the English literature Shakespeare Is also consi- dsred to ba a poet and sons of the nor a effective speeches from his dramas themselves are recognised as very good examples of poetry*

9* M.B* Kale also very admirably observes » "The story is further in ter e parsed with many memorable stanzas of great beauty conveying homely morals or embodying worldly wisdom (e*g. Char's remarks on the evils of poverty and Sarvilaka’ s comments on the fickleness o f women), which form not the least of its attractive features, the long description of the rainy season in Act 7 may be slightly out o f place, but its vivid imagery and rhythmically flowing verse have made it an Idyllic g piece of rare operatic charm." This is a nice exmaple of the verse portion being critically examined as distinct from the prose portion.

10. An example of the modern c r it ic 's special attention paid to the verse portion is served by the following observ­ ation of A.B. Keith, who quotes as many as thirteen verses of the Mrc with admiration t "Moreover, while to later Indian cr itics the descriptive stanzas o f the poet are lacking in that elaboration and mleverness which are admitted by develo­ ped taste, to us much o f the poetic value of the draaa depends

6. Kale, M.B., MK, Introduction, p. 50f. u on the power of the poot to doaerlbo with point and feeling in simple toraa which raquira no effort to appreciate.'7

In case of oth«r types of works like the Campu also, the varaaa may bo takan apart from tha main body and

than subjected to an analytical study, A fina example of this ia provided by the Yagas til aka and Indian Cultura.89 where ihe

seventh chapter entitled 'Yas'astllaka as a source of Sanskrit verses* embodies a critical study of tha varaaa of the Yadaitiilaka Caap5« The eleventh Chapter of tha sane book presents a more critical study of the cluster of Jalna didac­

t i c poems o ccu rln g in the same Campu.

12. Another consideration is that verses of the Mre as a whole have been found usefal to soma extent for fixing the relative chronology of the Car and tha Mfe. For example,

A.D. Pusalkar inter alia observes » "It may be noted, further,

that the Mrcch in some places shows better judgement by plac­ ing the verses from the Car in a better and more suitable c o n t e x t ...... 1,9 Under the context of the relation between

the fiiniftittg and Mrcttfrafcattfcli Kulkarni also recognises t a the verses as making one of the four major areas where the

7. Keith, A.B., The Sanskrit Drama, p. 138. 8. Handiqui, K.K., Yakastilaka and Indian Culture. Sholapur, 1949.

9. Pusalkar, A.B., Bhasa A Study, p. 159. 86

Mrcchakatlka is found to have improved upon its model the • « Carudatta Cf. "with regard to versification, the text of the Mr. makes an advance over the other in respect of (a) grammatical mistakes, (b) elimination of redundancies, (c) and avakvard construction, (d) introduction of improve­ ments in form and substance, ”10

It is alfco very significant that ^udraka exhibits a preponderance on verses. I t is warranted by the fa ct that in comparison to the Carudatta, Mre has proportionately larger number of verses for the same theme. 11

In common with the narrative literature, generally in prose, dudraka* s MK too frequently has admixture of descrip­ tive, gnomic and narrative verses. In the f ir s t four Acts the number of such type of poetry is greater in ^udraka than in Shasa, The number ofyfitansa^is less in Bhasa, In MK we find there are 141 verses in the first four Acts, 12 while the

P tflftri CSnidltto which is the source of MK, has only 57 verses in the first four Acts, 12 The verse portion of the MK is not only narrative but also emotional and lyrical. It will be interesting to note that Sudraka is also a poet of no mean order having about 380 verses interspersed in the play. In these verses there are reflective aid descriptive poems. The

10, Kulkaml, P.V., "The Charudatta and the Mrcchakattka” , Tide Appendix If p« 16 in V.R. Nerurkar's edn. of the Mrcohakattka, Bombay, 1937, ll« Wintsrnits, M, History of Indian Literature, p. 253n. 12, In the edition o f M,B. Kale 13, Boy, K., Charudatta 87

▼arses are being arranged subJsetwise. This w ill bring to the fora dudrakm' a poatlo gsnius and the poatle output as wall.

The worse text of the Mreehakatlka »

Tha following:? ara tha nunber of verses In Sanskrit, beginn­ ing with various lattars (a, a ate). They are arranged alpha­ betically.

a = 36 jh a X a * 7 t * 13 1 » 6 d a 16 I a 2 dh a 4 U » 7 n a 13

U a X p a 19

r• a 1 b a 2 a a 17 bh a 6

al a 1 m a 18

O a X y * 18 k a 26 r a 5

kh a 1 1 a 2 g 3 6 ▼ a 17 gh a 1 S^ a 8 0 * 3 S » 19

<}h a 4 h a 4 J * 4 278 38

A. The San skrit T t f i n arranged alphabetically »

(a)

1. aasena blbhrat ... X . 21 2 . agrahyl murdhaj esvetah •.. V III. 21 3. ahgarakaviruddhasya ... IX. 33 4* adyaPyasya tathaiva • • • T i l l . 5 5. anaya hi samalabdhma . . . I I I . 15 6 . andhasya drstlriva ... 1. 40 7. any am manusyam hrdaymia . . . IT. 16 8 . anyasysaapi Jatau ml ... T i l l . 43 9 . anyisu bhittd.au mays ... I I I . 14 10. ap and! ta ste purusa . . . IT. 12

11. apati tamapl tavatsera • • • T i n . 42 T . 12 12. apadma s r ir e s• a . . . 13. apaayato*dya tie k an tin .... T i l . 9 14. apapanma kule Ja te . . . IX. 37 15. apyesa nama paribhuta - ... T i l l . 26 16. aprl tlrbhava tu ... T i l l . 41 17. abhyuksito1 ai aalilai^ ... IX. 10 18. Mil hi d r^ stra' . . . X. 6 X H 19. ami hi vastrintaniruddha- ... • 20 . ami hi vrksah phalapuapa- ... t i i i . 7 21. enurhl bhi tra Jaladantara^i V. 44

14. These verses are according to the edition of M. . Kale. 89

22. aaauk tLkaaa auTarna-m- ... X. 18 23. ayaa hi pataki/ ripro . . . XX. 39 24. ayaa ca auratajvilah ... I?. 11 25. ayaia tava aariraaya IV. 7 26. * ayaaaraabidll# kiia . . . IX. 31 27. ay an patah autradaridratai . . . II. 10 28. aya /aatraai a ay a praptaa . . . on. 24

V ^ 29. ala» catuhsllaaiaaa ... III. 7 30. aranataairaaah prayaaa . . . v m . 15 31. aranUpuryla drlja- ... i. 6 32. avijnataraaaktana ... i . 54 33. aaarana/aranapraaoda- ... VIII. 4

34. asau hi da tty a timir av^K^-/'sn h i . 6 35 aaaataaaakaaaa hi ... VIII. 30

( i )

36. akaraantu• aubadiiainaa A ... X. 54 37. ~at»a-bhigyakaatadrayjrah • • • I ll,► 27 38. ary akanaryarr ttana •. •, X. 51 39. &Lina grhyata haati ... I. 50 40. ~alokaviaala aa aahaaa ... I. 33 41. alokita* grhaaikhandibhik' ... V. 1 42. 'aaranaa vataa gantavyaa . . . X. 32

‘,3 . ✓ 90

(i)

43. Ida* grhaii bhinnaaadatta- ... VI. 3 44. Id ail tatanahaaarTaavaai . . . X. 23 45. idinla sukumara'sai?) . . . IX. 36 46. iyaii rasagapraraa^ia • • • I. 42 47. lyai hi nidra ... III. 8 48. lha sarrasTaphallnah . . . IV. 10

(I)

49. idrsa vyabaharafnau .. . IX. 40 50. ldriaih aratthalcial/v .. . IX. 41

(u)

51. uticanthitaaya hrdayanuguaa •. • III. 3 52. uttia thatpatato ... X. 36 53. uttiatfca bhah patttdu- ... X. 31 54. udayatl hi aasinkah . . . I. 57 55. udayantu nana meghaiy . . . IV. 33 56. unnaaati nanatl varsati ••• V. 26 57. uparl talani- patL . . . III. 22

(r)

58. rgvada* ciavadas . . . I. 4 n

(•) 59. ekakitryanlyage'pi «. . VI. 16

60. e tattadhr* taraatra • • - .. . V. 6 61. • tattu tia dahatiL .. . I. 12 62. ®tah punarharmyagatah . . • X. 11 63. • ti nlsiktarajatadrava- . V. 4 64. • tabhlri s takabhih . • . I l l . 30 65. • ta has anti .. . IV. 14 66. • tana aapayati .. . III. 16 67. • t« hi ridyujeguna- •• . V. 21 K 68. • taipis ta-tamala- •• . v:*. 46 A * ♦ 1 _7* 69. • t^radratamala-patra- . •. V. 20 70. • talrara yada • •. V. 18 71 •aa ta pranayo vipra . . . I. 45 72. •a a bho nlraalajyotano ••• IX. 24 73. •aa phullakadaaba-nlpa- ••. V. 35 74 •aa'sl rayaao darpat .. . I. 40 75. •hyehlU alkhandinam ••. V. 23

(al)

76. alravatorasl .. . V. 33

(k) IS • karikara-eamavahuh . . . VII. 5 78. Kali sraddhlsyatl ... III. 24 79. kat> /r addhaay a tl . . . V. 43 92

80, kansci ttucchay a ti • • • X. 60

81. kaaaa nicamidan • a • III. 11 _ . a. 82, kanan prodosatlairena • * * I . 35

83, kin yityasya • a • ▼II. 2

84. kin yasi • a a I. 20

85. kirn kulenopadiatana a a a ▼III 29

86. kin kulanopadlstana a a a IX. 7

87. kia ta • a a ▼. 29

88. kin tran a a a I. 27

89. kin trail padal^ a a • I. 22

90. kin tram bhaysna a a a I. 17

91, kin nu nan a a a a ▼III. 39

92. kin nu a • a X. 41 93. kuto Va*Pa^u - ♦ M X. 42

94. krttra aarira - a * a III. 9

95. krttra sauudra - a a a IX. 22

96. krttvairaa a a a ▼II. 8

97. kay amabhyudyata a a a X. 39

98. kakaraga tr asynab a a a ▼. 3

99. ko'yanaranrldha a a a X. 26

100. ksirinya santu a a a X. 61

101. ksanana rraja a a a ▼II. 7

(kb)

102. khalaehari tan a a# ▼III. 32

t A •> ‘>3

Cf)

103. gatsjnaBam tar a • • • V. 25 104. garjanti sallasx*KK«.-r»e

Cgh>

109. ghononnatam • • • IX. 16

(c)

110. candanaicandr a • • • VI. 26 111. cintiaakta - • • ♦ IX. 14 112. ciram khalu • • * X. 17 113. (ch)

113. channai k ary an * • • IX. 3 114. ehannan dosanudaharanti • • • IX. 4 115. chayar than • • • IV. 18 116. chayaau - • • • v m . 11 217.

117. jayatl vrsabhakatfu • • • x . 46 118. jaladhara - • • • v. 28 119. jnabpnvitan • • ♦ IV. 26 34

120. jnato nu kim • • • IX, 9

Ct)

121. tam tasya • . • III. 5

122. tap as a man as a • • $ I. 16 123. tayoridam - • • • I. 7 124. tarunaj anas ah ay a • • • I. 31

125. tallsu tiram • •• V. 52 126. tulanam cadrirajasya • • • IX. 20 127. tanaamyakr tave- i ve-n o- • • • X. 28 128. tyajati kila tam • • • 71. lS 4v 129. treta)6rta • • • II. 9 130. tv a tan ah a - • * • 17. 9

131. tvadartha* • • • x. 43 132. tvadyanai • » • X. 52 133. tvaraya a ar pan am • • • X. 57

(d)

134. dattva nlsaya -m • • • 17. 1 136. dakshnyodaka - • • • 7 I I I . 38

136. daridrya social • • • I. 38 137. daridryat purusasya • • • I. 36 138. daridradhrlyaaetl • • • I . 14

139. d ir 1 dranmar anadv* a • • • I. 11 140. daridrena-bhlbhutana » • * 17. 5 141. d ir ty a bho • •• X 49 142. din an am kalpavrksak • • • I 48

143. durbalam nrpates'cc-k^uK IX 32

144. durvarno'si • • • II 13

145. dustattna paraguna- ♦ * • IX 27

146, desakko mi • • « III 12 147. dravyam labdham • • • II 8

148. dvayamidamativa loka • • ♦ 17 25

149. dviradendragatik • • • I 3

(dh)

• 150. dhanarvi-yuktaaya V 40 A • •• 151. dhanyani tesam • • • 7 49 152. dharabhik ft • • V 45

153. dhlgastu khalu ft ft ft III 19

(n )

154. na khalu mama • * • IV 20 155. najganayati • * • II 7 f 156. na parvatagre • • • IV 17

157. na bhi to maranidfcsmi • • • X 27

158. na mahi ta la a th i tt4u • • • X 56

159. n ay an a- s a l i l a s l k tarn • • • X 3

160. narapa ti- purusanam ft • ft VII 3 161. navaaaaci.n tayah « • I I 15

162. nih-eVlso'sya na • • • III 18 164. nrna* lokantar& / A h ^ ' n ... IX. 42

165. nrpatipurusa-* • ... 111. 10

166. no . . . 17. 6

• (P)

167. pakaarlkalasa paksi ... 7. 41 00 s • pankak^ljammukhik 7. 14 tx. _ 1 . 169. Pad^aryakosaM . . . III. 13

170. paraffha-lill tab ... 17. 28

171. parijanakathaaaktah ... 17. 3

172. pari Jnataaya na ... IX. 8

173. parjanka* ran till bandhami - I. 1

174. 7. 17 paYanacapalayagak• ...

176. pa/yantl mm . . . 7IH • 24

176. patu t o — ... I. 2

177. padenaikana ... II. n

178. purr an aanad ... 71II. 17

179. purranubaddhaTalrana . . . X. 45

180. prabbaratl yadl X. 34

181. pravlaa grhamitL • • • I. 56

182. prasarasi bhayat ... I. 24 37

1 8 3 . prapto'bai a a a X . 25

1 8 4 . prapyai t&ddbyaa ana - a a a X . 33

1 8 5 . prlyasbxtftaa - a • a IV . 27

] .■ .t. (b)

186. balakapandu't’O/) ria-m a a a V. 19

1 8 7 . balaa atriyai a a a V I I I . 23

• (bb) 00 00 k 7 . bhava tgoa tfeij^inaa a a a V I. 4

1 8 9 . bhagyini aa a a a V I. 2

1 9 0 . bhlaasy anu k ^ a a a V I. 17

1 9 1 . bbajaga iya - a a a I I I . 21 . <0 10 bbaikstnapyarj c.y\^,y1m\ a a a I I I . 26

1 9 3 . bbo aagba a a a V . 4 7

• (a)

1 9 4 . aakbasata parlputaa a a a X . 12

1 9 5 . Madanaaapl a a a IV . 4

196 ■aya k lla a a a IX . 3 8

1 9 7 . ■aya kbalu a a a IX . 30

1 9 8 . ■aya'pta aahaU a a a IV . 2 1 18

199, aajri vlnihlta- • at IX. 12

200. ■aharitadh^Bktai ^ • • • V. 22

201. Barjirati# kraajto! • a a • III. 20

202. auda^lrantara' • a a V. 15

203. aagha varaanta • a • 7 . 16

B O g h g J a la d ra -' • • • 7 . 204. 2 *

205. aaltraya bhoh • a a IX. 29

(y )

206. yaa saaalaayya • • • III. 29

207. yaa aama-laaTya a a a 7 . 7

208. yah k a a c lt a a a 17. 2

209. yah a tabdhaa a a a I I . 12

210. yatnana savitavyah a a a 7in. 33

211* yathl yathadan a a a IX. 25

212. yathalra puspaa a a a IX. 26

213. yadl kupyaal a a a 7 . 34

214. yadatu bhagya - a a a I . 53

215. yadl garjatl a a a 7 . 32

216. y a d l t a r a t a a a III. 25 a 1 0 3 yadvadahalya - a a a 7 . 30 2l8. jraya • * * I. 56

219. yaayir till* ta*y a • • • T. ;9

220. yasaa balih • • • I. 9

221. y«na ta • • • X. SO

222. jo * ssabhisein ti to • •• T. 39

223. ye'ha* lataa • • • IX. 28

(r)

224. raktn ca nan a • • • in. 4 raktam tdara 225. A • • • X. 44 226. randhrinusiri • • • ?in. 27 227. rajasirgo hi • • • i. 58

228. rtUuaararaii • • • IX. 10

(1)

229. labdhl carl ta- X. 51 A • • • 230. UapatlTa taso'ngani • • • I. 34

(t)

231. ▼anija lira • • • Til. 1 282. ▼arsaaatasaatu • • • T. 48

233. ▼ ar aodakaaudglr a ta • •I T. 38 234. ▼asantaaana • •• X. 40

235. ▼aa tyantarani • • • XX. 34

236. vapyaa snatl • • • I . 32

237. vidyuj J ihy«nada» • • • V. 51

JL 238. y ldyu^hlr jalativa • • • V. 27

239. vidh lnairopanl ta/>*va-*' • • • V II. 6

240. ylparyastaaarw^ - • • • VIII. 6

241. vibhavanugata • • * i n . 28

242. ▼ laaaallla • • • IX. 43

243. ▼isadaaraata- • • • IV. 8

244. vagam k a ro tl • • • V. 8

245. ▼•dir thanprakr tas+*a™ IX. 21

246. raldaayana kr to • • • i n . 23

247. yyaraharah a ablghnoy^ IX. 18

248. aatruh krtaparadhab- • • • X. 55

249. sarac^andra- • • • VIII .16

250. aaalylaalaaayukha- • • • X. 15

251. aaatrajHakkapate^sa.i’a- • • • IX. 5

252. sikha pradlpasya • • • I I I . 17

253. auaka• - vrka • • a s-»w\+o • • • IX. 11 101

254. sunyaaaputrasya ... I. 8 256. suayalrgrhaih ... 7. 42

(s)

256. samaaktairira .. V. 5 257. sakaaa'nviayata .. I. 44 258. sangam naiva .. 1. 37

V 259. sa tiuKadasaad- .. ?II. 4 260. satyaa n a u I. 13 261. sukhaa hi .. I. 10 262. sudrsta kriyatlaasi 17. 24 263. so'saadvidhanaa pranaiW .. I. 46 264. skhalatl caranam .. IX. 13 265. s tambhesu pracalitaradi 7. 50 266. strlyo hi naaa 17. 19 267 s trlbhirviaani tahia •. 7III. 9 268. sadi pradoso aaaa .. 7. 37 269. saaaravyaaanj praaada I. 5 270. saaudraviclva cal a- .. 17. 15 271. sarvagatrasu vinyastalV .. X. 5 272. savyaa aa •• IX. 15

4 ,02

• 273. aiWakSttkapatanrta- 7. 36

- 0 274. strisu na rigaVkiryjt I?. 13

(h)

275. hatrl tp/ai ktmrpa*aha*i X. 47

276. hatva ripui ijfam ... X. 48

277. hi prayasi prayasi ... X. 58

278. hitta'hak narapati- ¥1. 1 103

the following are the nueber of verges In Prakrit., beginning with various letters (a, a etc.), they are arranged alphabetically.

a s 9 Jh * 1

a * n i 7 3 «

1 t 2 t * 1

1 t X d * 2

U 1 dh 2 • * X

a i X P * 2

r t X b * 1

e s 10 bh i 2

ai * X m s 4

0 1 2 7 i X

k t 13 r * 1

khs 1 1 * 4

«* X ▼ » 4 / ght X 8 *10

c* 2 S s 5

ch* X h t 3

J* 11 Total s 102 104

B, Tfa» Prikrlt y w im arrange alphabetically lS

(a)

1. atthai sadas • • '• V III. 40

2 . addham kalevalaa • • a X . 3 5

3 . andhaal# palaqfantL • # » I . 39

4 . abbhuda* avasan* e • • X . 19

5 . abhaaa tuba a •# VI. 27

6 . anhahl candaa • a a I . 28

7 . avanadha balaajanai • a a I I . 3.8

8 . avaharal kovi • • a VI. 11

9 . asl sutlkkh* valid* • • * I . 30

* 6 . ( 1)

10, aacchadhjia visattha • a a VI. 6

11. aaththlde a aloe a* • a a X. 37

12. ahanlu^a satosan • a a I I . 20

(1 )

1 3 . lcchantam mama a a a V III. 37

1 4 . lode ppyahlant* a a a X . 7

1 5 . lhese vers as are according to the ed. Of M.R.Kal* 105

(U)

16. ujjanesu s ahIsa aaa 71. 7

16. uttasl ta gacchasi • a a I . 19

(•)

17. •ttha aaa aaa 71. 26

18. edai dosakalandiam aaa 71X1.36

19. edehlm da a • a 7111.20

20. •wail dulaa aaa X. 53

to . a * # H asI nanakaBusika 1. 23

22. aball ▼asu a a • 1. 41

23. ese guna a a # X. 14

24. e^e padani aaa 7111. 18

26. ase Bhl aaa V III. 46

26. a bo asoavucchQ aaa 17. 3 l

(o)

27. osaladha dadha aaa X. 30 00 to • ohario pavahano aaa 71. 12 106

(k)

2 9 . kascalukl gocchada- • at I . 51

3 0 . kattasadda a a a I I . 5

3 1 . kas sat tamo a a a V I. 9

3 2 . kassa tuham • a • I I . 16

3 3 . kahia kahim • a a I I . 4

3 4 . ka una • a a X . 38

3 5 . klm acchadha a a a V I. 5

3 6 . klm y is i a a a I . 18

3 7 . klm sa sakka a a a V III. 34

3 8 . klm pakkhadha a a a X . 4

3 9 . klm pakkhadha sappullsam a a a X . 24

4 0 . klai hhlmasana a a a I . 29

4 1 . ko tarn a a a V I. 13

(kh)

4 2 . khanana ganthi a a a IX . 2

X . • « Cc) a 4 3 . canakkana Jjidha a a a V I I I . 35

4 4 . ealudat tavlnasaya a a a V I I I . 44 (J)

45. Jai vaJJasi • • • 11 3

46. jadicchas* • • • VIII 22

47. Jadha jadha • • ♦ V 10

48. Jan an to v i • • • VI 21

49. Janini caradattah IM VI 15

50. Jan ami na • • • 11 6

51. Jadi tujjha • • • VI 23

52. Judena tan • •• II 17

53. Ja at tab al am • » • II 14

54. Je etnblda VIII 19

55. jenamhi VIII 25

(Jb)

56. Jhanaj jhananta I 25 (?) _ 57. naall padhana- • • • X 8

58. na a luadl • a • X 9

59. narabandhana - • • • II 1 , l 60. nahaaj Jhagada su^a • • a VIII 10

61. na• hu amha • a • X 22

62. ni£jbakkalam • • a I 52 ICS

63. nhadahaa* sal 11 a- • • • XX. 1

Ct)

64. talckia na• • • • X. 1

65. ctinnakalaTlladaaa • • • X. 2

66. do jjsva a a a 71. 14

Cp) Cl 67. panJana Jana • a a 71IX. 2

68. padappahara- • a • IX. 23

(b)

69. bahukusuaa- a a a 7 I I I . 8

70. bhana kassa a a a 71. 10 m

71. bhldabhaa- a a a 71. 19

(a)

73. aa diva • a a 17. 29

74. aa duggadoitr a « a X. 43

75. ■sis aaanaa a a a I. 21 ir

(r)

76. ra ra vira^a • a a V I. 8

(1)

77. lajjaa bhlludaa a a • IX . 17

78. la$8asule oiaaa a a a IX. 6

79. laaehi a • a a I . 26

80. lakhaavavaXa- a a a I I . 2

<▼)

8 l . vaiisail via a a a V. 11

82. vaj Jhaaual a a a X. 10

83. vadadavana a a a V III. 46 00 • vicalai naurajualaa a * • I I . 19

(a)

85. ^akkiladhana a a a I I . 15

86. samjanadha a a a V III. 1

87. savvakalaii aajra a a a V III. 28

88. s^avva kkhu a a a X. 15

8 9 . saisapalakka- a a a III. 2

90. silaaundide a a a V III. 3 91. s 11 as 1 aaaa • • • VIII. 12

92. ^ukkha vavadesa • • • X. 20

93. suvannaaa dead • • • VIII. 31

94. sule vikkante • • • I . 47 (s; 95. saccena• suhan • ♦ • IX. 35

96. s ambhamaghagghara- • • • VI. 20 a 97. sinnasilaj41&- • • • VI. 22

98. sihusura - IV. 30

99. suane• kkhu • • • III. 1 100. hatthasamjado • • • VIII. 47

101. hlngujjale jilaka- • • • VIII. 13 . ii 102. hingjjal* dinna- • • • A VIII. 14 . 1 .the v tw i >

The various themes of the verses are as follows t

1. Praise of the deity

2. t&se saying

3. Description of tha (a) hero, heroine and the maid

(b) tree, lamp, animal, the royal road by night;

(c) natural objects and natural phenomena- cloud,

storm, lightning, thunder, rain, sky, moan, sun,

d ark n ess

4. Food preservation

5* Gambling

6. burglary

7 . Music

8 . B astard

9 . Poverty

10. Good qualities of men and women

1 1 . fioapi tali ty

12. lo v e

13. Humour

14. H atred • 1

15. Nature o f a bad man

16. Condition of sleep

17. Description of a criminal before execution

18. Psychological

19. Judgement

20. Reflexive

21. Repenting

22. Prayer

23. Omens

24. Bharatavikyam

(1) Praise of the deity * In Act 1 verses I and 2 ve have the praise of the deity Siva. This indicates that the author o f tne MK was a devotee of &Lva«

*3 ( 2) Wise Sayings s There are 88 vise sayings in the drama MJC. These are s Act I * 8, 10, 11, 13b, 14, 15, 16, 36, 37, 43, SO, S3, 58d; I I s 14, 15} I I I * 1, 2, 3, 24cd, 27; IV * 10, 12, 13, 14cd, 15, 17, 19; 22, 23, 25ab; V s 8cd, 40, 41, 42, 43cd; VI * 18, 19; V III > 1, =24, 29, 30d, 32cd, 33, 47; IX * 3, 5, 7, l6cd, 26d, 35, 42a; X * 15, 16 cd, 19, 22cd, 55, 60d.

A ll these wise sayings are discussed in greater oetpil in Chapter V. (3) Descriptive verses s

(a) Description of the hero, heroine and the maid *

regarding the herot many verses are there i.e., It 46, 48; IV t 32; VIII I 4; IK I 16, 20, 21, 22, 24; X * 4, 7, 10, 20, 24. All the characteristics of the hero i.e . t^ie physical and mental tra its, the extent of his popul­ arity and the high esteem in which he has bean held by others are described. In II, 16, ve find the description of the beauty of the maid Madanika. In certain verses Carudatta is explicitly referred to. But in certain places he is indirectly referred to through the device of an Aprastutaprasamsa alamkaro, as in the verse i esa bho nirmala-Jyo tsno rahuna grasyate sasll

«L jalam kulavapatena prasannam kalusyate:: (IX. 24) It *A is interesting that the sa

It may be noted here that in the verses, I. 18, ]9,

✓ 21, 23, 25 and 28 Sakara and his Ceta also give some sort of a description o f the heroine. But because o f Cetas obvious concern only for hi? master and because of Sakara'f incorri­ gible selfishness and mannerism these verses, except perhaps I. 23, fail to give any proper idea about the heroine, ’he particular verse Ig 23 is , however, reserved for a more intensive examination in the last section of this chapter.

Verse VI. 13 is concerned with the hero Carudatta and VI. 14 is concerned with a praise of both the hero and the heroine.

(b) De&ssigtififl, o f .ttita..la*p»..anfaial.aafl.M gh i 1 In Act IV. 31} VIII. 7, 8, some trees are described; the earliest of these veraes is concerned with the descript­ ion of the Asoka tree. In XII. 17, the ligh t o f a burning lamp which was found by Carvilaka in Carudatta's house is beautifully described. MK Act. IX. 18, 19, 20 are concerned with the description of the elephant Khun^amodaka (i.e ., ar

elephant of Vasantaseni). Verse I. 58 describes the condi­

tion of the royal road by the night.

(c) Natural objects and natural phenomena * Cloud, s »rm,

ligh tn in g, thundering, rainy season, sky, noon, ^un,

darkness.

In MK, verses V* 2-6, 10, 13, 15-17, 20-24, 26, 28- 3 3 ,

44-47 describe the beauties of tne cloud as in Kalidasa's

Rltusamhara. In V# i, we find the description of an untimely

storm. In V. 19, 27, lightnings are v iv id ly depicted; V. 2?

describe the thunder. Verses V. 14, 18 , 25, 38, 48, 50, 5i,

52, describe the rainy season. In V. 19, we find the descrip­

tion of the sky as it appears to be in a rainy day. I. a7,

describes the moon, and in Vi.II. 10, there is a description

of the midday sun. In I. 33, 34, 35, there is a descriptio

of darkness. It may be noted here that of the various natural

phenomena, darkness and rainy weather have received greater

attention from the dramatist* Ihe reason there of appears ',o

be that darkness provides a very suitable background (i.e .

Uddlpana vibhava) for the Srhgara-raelbhasa, delineated

✓ through Ankara's lu s t fu l pursuit o f Vasantaseni in Act i .

Likewise the rainy weather also serves as a very suitable

Uddlpana Vibhava fo r the depiction o f love between Carutatt*

and Vasantaseni in Act V, leading to a very successful evocation of the Srhgara-rasa, the principal sentiment of tne whole drama* the darkness of Act 1 also serves as a symbolic representation of the povorty of Carudatta, the hero.

In I. 51, it is observed that certain varieties of food can be kept un-spolled for a longer time. This shows :hat evan in those days people knew ways and means of preserving food and Sudraka had a fa ir knowledge o f what mru­ be termed as the scien ce o f food preservation.

(5) *

/ Gambling was a popular game In Sudraka1s time. In Act II. the verses 1-14 and 17 describe various aspects of gambling and the condition of gamblers of those days. Parti­ cu larly the verses uttered by Samvahaka and Darduraka in thl context present a very clear idea about the mental weakness and the sad plight of the victims of the game of dice. There verses also very nicely correspond with the spirit of the celebrated Aksa sukta o f Rgveda, mandala, X.

(6) t t v s glare *

Mk, III. 9-16 , 20 , 21, 22, IV. 1, 3, 5-6 are the verses about burglary and the behaviour and psychology of the burglar. Burglary is an a rt according to Sudraka and 17

it is vividly described by him. The relevant verses variously evoke suspense and hiasour and quite adnirably contribute / towards the delineation of Sarvilaka as a very Interesting character,

(7 ) Music t

In Act III* 3, 4, 5f we find the description of music verse III. 3 is concerned with a general description of the

▼In a. This has a remote correspondence with SvapnavasavadattaT

VI. i and 2 and its contents have a closer correspondence with

the idea contained in K alidasa's Meghaduta, I I . 23, "utsahgs va aalinavasane sauaya niksipya vinia" etc. verses III. 4 mri

5 of MK describe the beauty of the vocal ausic of Rebhila lr particular.

Ijgtai.4 *

In IV. 28, we find the description of a bastard

(bandhula). Most neglected people are the bastards, but / Sudraka describes the bastard also in his drama MK. with great s yap a thy and faithfulness.

(9) Poverty i

Poverty plays a very important part in the MK. Verses

I . 8-15, 36-38, 43, 53) I I I . 19, 24, 27, 28$ V. 40-43, ire

involved with description of poverty* These verses describe

either the wretched condition of the poor and the unkind 118

treatment they receive from tha society or the psychology of the poor. It Is significant that as many as eighteen out of tha said twenty ona verses are spoken by Carudatta, tha hero.

Oils prapondarance of tha poet and the hero on tha theme of poverty is quite appropriate in so far as tha vary title of the modal o f tha MX is DgrAflTfl C«m dfttt».

(10) Willttfg s

Yarsas I. 45, 46, 48 and fill. 43, are concerned vlti certain good qualities of man and woman, Ilka modesty, honesty and piety. Likewise I I I . 29} Y. 7; V III. 21, 23, 25, 27, >9;

X. 34 also deserve to be included in this group.

(11) BlgpUftUfr ip4 HuMRlMltir *

In Act II. 15} Y II. 6, 7, we have an idea of tha q u a il* ties o f h o sp itality and magnanimity as pertaining to the hero

Carudatta.

(12) Love i

I. 50} Y. 47 and VIII. 33 are concerned with tha theme o f love.

(13) a«Q V IRd ggjjlfi i I . 28, 29, 39, 41, 47} IV. 30} VI. 22, 23} V III. 13,

14, 19, 20, 22, 34, 35, 37, 45 and X. 29 are the verses which give tha re lis h o f huaour side by side with huaourous prose 119 passages and humourous actions and situations.

(l4) Hatrad t

Verses VIH. 32 and X. 30 beautifully depicts the sentiment of hatred.

(15) JLBB t

VIII. 9 describes the nature of a low person.

(16 ) C o n 31ttfffl ftl SlffB » Verses II I . 8 and 18 describe the condition £§-sleep.

(17) Description o f a Criminal before execution t

Verse X. 2, describes the criminal ready for execution.

(18 ) fgysfaological *

There are some verses which describe the broodlngs of tiie various characters, e.g., VI. l, 4$ VII. 2, 9; VIII. 38, 42; IX. 8, 15; X. 22, 40, 41. In other words these verses are like soliloques.

(19) Judgmaent t

Cerses IX. 20, 21, 22, 24, 25, describe the mental conflict of the Judge in reppect of the allegation brought, by Sakara against Carudatta. i«-:o

(20) filtlUllJl ^

Verses III. 23, 24, 25, 26} Y. 40, 4 1 , 62} 711. 3}

V III. 47} IX. 19, 27, 34, 38, 40, 42 and X. 33, 34, 32 are of reflexive nature.

(21) PepfBttai

In MX II. i7, v* find the repentance of Saaavahaka.

I t appears that tills Tory repentance coupled with a sense of gratlhide for Vasantaseria led to his wearing of die saffron garb.

(22) Prayer

Yerse VI. 27 contains a prayer to Siva, BrahnI,

Vishnu, the Sun and the Moon. Yerse X. 46 contains a prayer / to Siva and Kartikeya. The word JayatL in the latter verse . in sign ifies a salute as in the Mangala verse^amaata' s

^4yy tpr rtm •

(2 3 ) Bnens

There are certain references to popular beliefs regarding bad and good omens e.g. MX VII. 9} IX. i0, li,

12, 13, 15.

(34) £tU£illZ|jBUg

Y e r s e X . 6 1 is the Bharatavlky/t It is the last verse of the last Act of the drama. It embodies a wish for the good of all. It is uttered by an actor, who is called Bharat a or the follower of the sage ^!1

Bharata, the first pro founder of the histrionic art. Henca i t i s called Bh»ratavakya. According to sons scholars this versa is in honour of Bharat a, the saga (Bharatiya vakymn = Bharatavakyan) •

I t a ay ba noted hare that under Dhvanvaloka, I I . 24, Anandavardhana classifies the poetical expressions into two broad varieties9 vis. Praudhokti (i.e.» mature expression) and svatahsambhavi (i.e ., common to the ordinary speech). The former is again sub-divided into two types vis, kavi- praudhokti and kavi-nibaddha-vak tr-praudhok tl • Thus the mature poetical expression may belong either to the -#aert or the character delineated by the poet.16 In the MK, since i t is a draaa9 all the verses, except the two Nandi verses, are

to be recognised as kavi-nibaddha-vaktr-praudhoktis.• •

The Extent of Sudr aka's Poetry in MK.

It may be said that Sudr aka's verses constitute almost h alf of the dialogues in the MK. Actually ve have 380 verses both in Sanskrit and P rak rit.17 This i s indeed a pretty big number. If w*i t t « down one after another the verses will constitute some four or five cantons of average lwgtb and the total is about 3 times as big as Kalidasa's.

16. Bharma, N .M . , &s PHtjbI m * I I .1ft glB llglfc g U f i l , P. Il5 f. 17. As in the edn. of M.B. Kale. 1

18 Meghaduta. Jfce Actwise distribution of the verses is as follow s s

Act. I 58 verses Act. II 20 N Act. III 30 II Act. IV 33 n Act. V 52 •t

Act. VI 27 i i Act. VII 9 it Act. VIII 47 M Act. IX 43 N Act. X 61 11

Character-wise Distribution of Verses

1 . Sutradhara * I. 3, 4, 5, 6 , 7, 8.

2 . Vidusaka * 1. 43} IV. 29, 30, 31

3 . Carudatta s X. 9—16, 36, 37, 38, S3, 54, 55-58 j III. 3-8, 22-30} V. 1-9, 37-52} V III. 1 , 2, 5, 6-9} IX. 8-15, 19, 26-32, 37, 38, 40-43} X. 3, 5, 6, 11-13, 16- 18, 21, 23, 25, 26, 27, 28, 31, 32, 33, 34, 39, 40—45, 55, 60.

18. ttie nuaber of the verses in the Meghaduta. however, varies from edition to edition. For example, we have 121 verses in M.R. K ale's edn. and U 5 verses in the Kalidasa - granthavail, ed. by R.P. Dwivedi. 1:^3

4. Sakara * I, 18 , 21, 23, 25, 28 , 29, 30, 39, 41, 47, 51, 52*, ?H I. 8, 10 , 12-14, 19, 20, 22, 28, 3l, 34—37, 40, 44, 45$ IX. 1 , 2 , 6 , 17$ X. 29, 53.

5 V ita I t I. 17, 20, 22, 24, 27, 31-35, 40, 42, 44, (friend of fa k ir a ) 45, 46, 48, 49, 50$ VIII. 4 , 5, 6, 7, 11, 15, 16 , 17, 18 , 21, 23 , 24, 26, 27, 29, 30, 38, 39, 41, 42, 43.

6. Ceta I (Sthavaraka) i I. 19, 26$ VIH. 25.

7. Eaavah&ka Cbhlksu) i II. 1, 2, 5, 6, 14, 15, 17$ VIII. 1-3$ 46, 47.

8. Mathura t II. 4, 16.

9. Dardura * II. 7-23 10# Dyutakara s II. 3. 1 1 . Karnapuraka * II. l8, 19, 20.

12. Cata. 2 (Vardhaninaka) * II. 1,2.

13. Sarvllaka s III. 9-21$ IV. 1-27$ X. 47-52, 54.

14. Bandhula t IV. 28

15. Vaaahtasani i IV. 32, 33$ V. 15, 1 6 , 18 , 20 , 25, 26, 28—32, VIII. 32, 33.

1 6 . Cata. 3 (kuabhllaka) t V. 10, 11. 17, Vita (2) (attendant of) * V. 12, 13, 14, 17, 19, 21-24, Vasantasena 27, 33, 34, 35, 36*

18, Aryaka » VI. 1-4, 16, 17, 18, 24, 26j VII. 3, 4.

19. Vlraka * VI. 5, 11, 16, 20, 23| IX. 23.

20. Candanaka * VI. 6-10, 12, 13, 14, 19, 21, 22, 25,

21. Sras thin and Kayastha * IX. l.

22. Adhikaranika * XX. 3, 4, 5, 7, 16, l8, 20, 21, 22, 24, 25, 33, 34, 36, 39.

23. Candelas19 * X. 1, 2, 4, 7, 8, 9, 10, 14, 16, 19, 22, 24, 30, 35, 36, 37, 38.

Bharat a vakya s X. 61

Nandi s I . 1, 2.

Napa thy a * X. 46.

19. In all the printed texts the speeches o f the tec Candelas are given in a very confusing Manner. Ii most cases they speak together and even utter the v erse s together that is why they* clubbed together also in this list. 1 >5

Nuabw of W 8»g (charactervige) i

1 . Sutradhara ••• 6

2. Vi due aka . . . 4

3. Carudatta ••• 12.8

4. Sakara ••• 35

5. Vita 1 (friend of Sakara) 40

6. Oeta 1 (Sthavaraka)... 3

7 . Saavahaka . . . 12

8. Mathura ... 2

9. Darduraka ••• 7

10. Dyutakara ... 1

11. Karnapuraka ... 3

12. Cota 2 (Vardhanlnaka) 2

/ 13 . Sarrilaka ... 47

14. Bandhula ... 1

15. Vasantasana ••• 15

16 . Ceta (3)(kuBbhila*a). •• 2

17. V ita (2) (attendant o f 14 Vasan taaena)

18. Aryaka 11

19 . Viraka ... 6 20. Candanaka • • • 13

21. Sr es thin and kSyastfca • e e 1

22. Adhikaranika• • • • 15

23* Candalas • • e 18

24. Nandi • e e 2

25. Kepathye • e e 1

26. fiharatavikyam • e e 1

(v) Literary asssadaents of the w e e Portion

The poetical merits of the MK are of no mean order in

the History of Sanskrit Literature, Throughout the drama the

dialogue is very amusing, sp e cially the stanzas which are

spoken by the hero Carudatta, the heroine Vasantasena, Kadanik

the maid. Vita the servant of Sakara. Sams than aka and Maitreya

(Vidusaka). Carudatta the hero takes a large part of the

poetical portion, the verses spoken by the hero takes a large

part of the poetical portion. The verses spoken by the hero

are vise and extraordinary. In respect of beautiful sentiments

✓ and beautiful similies Sudraka betrays true poetic genl0us.

Various metaphors and figu res o f speech are scattered through­

out the whole play. y ex ^ .eS ______Regarding languages in MK there ia a combination of Sanskrit and Prakrit stanzas, the Sanskrit stanzas are 378 in number and the Prakrit stanzas are 102. Sanskrit verses are spoken by the literate and vise persons; they are Carudatta, Vita, Sarvilaka and the Judge, and Prakrit is spoken by the r e s t. Vasantasena the heroine, though a lady, always utters Sanskrit in tine of expressing her ideas in verses. As we find in V. 16, 18, 20, 23, 25, 26, 28- 32 ; fill. 32 and 33.

Ihe distribution of the varieties of Prakrits among the various characters has been already discussed in greater detail in Ch. 11 under the section entitled Languages. It is also already seen that all the scholars, both traditional and modern, are not unanimous with regard to the distribution of the Prakrits as well as the nunber and naaes of the different varieties present In the MK. this confusing state of affair nay be due to the presentation of different read­ ings by different scribes, the scribes presumably did not take the initiative to preserve the original forms of Prakrit inasmuch as the differences in most cases appeared to be very negligible, this nay be illustrated by the following three verses20* _ K ( l ) v ic a la i neurajualam c h ijja n ti a mahala mani-kkaii i valaa a sunderaarl r a an ahkur a- j 11 a-p adib addhl ts (MK. I I . 19) 20. A ll the three quotations given by Wbolner and cited by us here are from the Bombay 1902 edn. o f the MK b f Hiranand and Parab. Oils is given by Wbolner as an illustration of Maharastrl. But in Kale's edition the verse la recognised to be in Eauraseni with the sligh t difference that sundaraara is read as sundaradari.

(2) ihaniuna sarosam tail tarn hat this vinjha-sela-siharabham : moavio mae so dantantara-samthio pariwljaol*. (MX. II. 20).

This is given by Wjolner as an illustration o f Mahlrastrl. But in Kale's edition this is recognised *o be ^ — V in Eauraseni with the readings sails for sola and parlbvaJavo for jaaslTvalaa*

(3) slhu-surasava-aattia eavattham gai hi a ttia s jai aarai ettha a ttia hoi siala-sahassa-paj J a ttia c (MK. IV. 30)

This is also given by wbolner as an illustration of Maharastri. But according to the scheae of Prthvldhara, Vidusaka, the speaker o f this verse, should speak in Pracya. In Kale's edition, this verse is given with the readings — gada for gai and bhodi for hoi, which make it a case of Eauraseni. Wbolner also says, "Texts read gada and bhodi, these are Saur. forms."21 Mow to clear the confusion, is to ih ether the language spoken by Vidus aka is actually Pricya or Eauraseni, we may refer to A.E. Keith who says *

21. Wbolner, o p .c it ., p. 122. L29

"The Praeya of the Vidus aka is nothing nor* or lass than Baurasani, though it is given separately in tha Sastra also; it nay have baan an eastern dialaet of tha main language.”

S t r ia s

Tha verso portion of the MK is endowed with tha ritis or styles called, Vaidarbhl, Pancall, Gaudi, and Latl. in a majority of verses Vaidarabhl and lati Rltls are used, hare are soma verses which have been written in Pineal! stylo, he literary style of Sudraka is, as we have already remarked, characterised by a simplicity of diction and naturalness of expression, and in this respect he stands nearer to Bhasa than to any other Sanskrit writer.23 This is the Vaidarbhl style. There are several repetitions of the same ideas now and then, th is i s a l l the more n oticeable in the description of storm and rain in Act V and the tirade against women in Act IV. Different natural objects are also portrayed by the poet here and there.

Sudraka shows h is a r t i s t ic s k i l l in handling the metres. So far as the Sanskrit verses are concerned, he has used twenty one metres. These metres are namely Sardulavi- kridita, Vasantatilaka, Anustubh, Malini, Indr a va Jr a,

22* Keith, op. cit., P. 14X 23. Kale, M.B. - Introduction, p. 57 30

Vamsasthavila, Yaisvadevi, Marini, Ary a, Indravamsa, Upnjatl,

Jpendravajra, Aupacchandasika, Pub pi tagra, Praaitaksara,

Praharsini, GELti, Sumadhura, Elkharini, Eragdhara and Viayun- rnlla* His favourite metre, however, is Anustubh. It is most widely used, i.e ., 83 times. Vasantatilaka occurs 40 times.

Mis next favourite metre Is Eardulavikridita, which app.arr

30 times* The next important metre is Upajati, which appears

20 times* The other metres are used in various verses in

d iffe r e n t Acte o f the drama.

There are two types of metres in the MK i.e* Samavrtta

and Ardhasamavrtta. Majority verses are of Samavrtta type, only two metres are Ardhasamavrtta* Visama-vrtta is absent in the MK. The metres used are noted below *

(a) Samavrtta *

1* Anustubh metre occurs in - I . 2, 16. 34, 40, 42, 45, • • 50, 54, 55, 58, etc*

(83 tim es)

2. Srya " " " - 1. 8, n, 33| IV. 13, >5, 29; V. 26, 38, 41, V I I I . 39 (l0 tim es)

3. Indravamsa " " " - I. 46, III. 7 (2 times)

4. Indravajra " H " IV. l6, V. 49, IX. 11, 21,

48, 58 (6 times). 5. Upajati metre occurs in - X* 38| III. 6) XV. 1} 12, 15, 32} V. 21, 29, 40, 44, 47, 52} YXXX. 37, 30, XX. 10, 26} X. 6, 16, 40, 43 (20 times).

6 . Upendra-vajra n n N _ I. 6, IV. 23, VI. 3 (3 times)

7. Giti n n N — V. 34.

n n II . 8, Pramitaksarl0 X. 56 ( 1 time )

9. Praharsini n it II . IV. 2} V. 50} VI. 1} V III. 8; VIH. 41} IX. 27} X. 25, 33, 47, 49 (lO times)'

10. Malini " « " - X. 31} 37} IV. 20} V. 17; VIX. 3 , 5} VIXX. 42, IX. 12, 43} X. 3, 12, 34, 46 (13 times)

11. Vamsasthavila w " H - I. 7, 10, 53} XX. 10} I I I . 8, 17} V. 37; V II. 4; VIII. 7} IX. 25 (10 times) 12. Vasantatillki " ii " - I . 9, 12, 13, 17, 20, 22, 27, 35, 49} III. 3, 4, 9, 14, 16}

IV. 9, 14, 26} V. 1, 2, 4, 5, • 13, 15, 33, 36, 42, 45} VI. 2} VIII. 23, 24, 26, IX. 9, 16, 19, 22, 28, 29, 30 X. 3l, 44 (40 times) 132

13. Vidyunmala metre occurs in - II. 8 (i time) 14. Vaisvadevi » *' " - III. 13 (1 tin e)

15. SardulaTikridi ta " " - I. 14, 32, 36, 37) II. 12| HI. 5, l i t 12, 18, 20, 23| IT. 6} 7 . 6, 6, 14, 18, 20, 23, 24, 27, 35, 36) VII. 2, 7| Till. 5, 11, 38 ; IX. 3 , 4 , 5, 14) X. 60 (32 tUes)

16. Sikharini « *' •* I. 15) T. 12, 22, 25) VI. 4 (5 times) 17. Sumadhura " '» " IX. 21 (l time) 18. Sragdhara " " " I. 1, 4, 48) X. 59, 61 (5 times)

19. Harini " " »■ IT. 3) IX. 13 (2 tim es). *

(b) Ardhasamavrtta *

1. Aupacchandasika (also called I . 3 , 5 (2 times) till abbar in i)

P u s p i t a g r a I. 24, 56} II. 7) III. 2, lO, 21, IT. 4, 27, 28, V III. 4 , 8, 15) IX. 13 (13 times) ]33

Ecitalt

/ In the domain of Prakrit verses also Sudraka employs some twenty d iffe r e n t metres, as w ill be clear from the lift given below. 24 It will be clear from the list that Oaths (or Arya) is found to be the most convenient meter for the Prakrit medium. Ihe following lis t is prepared with the help of the commentary of Prthvldhara and the Bibliotheca Indies edition of the frifcTttPllnglll (Calcutta, l90l)

1.1st o f Prakrit Ter see of the MK with Metres

Act I

1. 18. kimyasi - Vasantatllaka

1.19. uttisita gacchasi - Upajatl

1 . 21. mama maana - Malini

✓ / - — — 1.23. e s i nanakamusifc* - Sardulavlkridita

1.25. jh an jh an ant abahebhus ana - fasantatilaka

24. Modern edition of the MK have aslded giving a full analysis of the metres of the Prakrit verses, e.g., Karmarkar says * "There are about a hundred stanzas and Prakrit in Arya and other metres (those are nov dealt with here)*. (Karmarkar, MK, p. 608f . ). M.B. Kale says t "The Prakrit metres are not givsn here, as they are not needed by the University students, and also because of prevailing uncertainty of readings in Prakrit. The curious reader may consult Prakrits- Pineala or similar works." (Kale, MK, Notes, p. 174). 134

1.26. laaahi a laavallahau - Matraaaaaka 1*28. aahahi candaa - Upandrarajra

1 .2 9 . kl* bhluasana - Indrarajra

1 .3 0 . asl sutikkha - Upajati of Indrarajrl and Vaisasthavilc ffc 1 .3 9 . andhaala palq^antt - Anustubh

1 .4 1 . •*aai risu - Indrarajra

1 .4 3 . aa duggadrfti - Qitbi

I . 4 7aula . vikkan ta - Vaisvadavi

1.61. kaacaluka gocchada - UpaJatL

1* 62. nvvkkalam♦A A mulaka - Upajatl

Act I I

I I . 1. navabandhana *ukkaa - C ltrajitl

1 1 .2 . lakhaavava^3-A Oetba

11.3. jal raj jasi - Aryl ( GethI) % 11.4. kahia kahim susah la - Bueira

1 1 .5 . kattasadda ninnanassa* • • • - Oath a 1 1 .6 . jimaai na k ill a sail - Qitba

I I . 14. ja attabalaa jania - Vai taliya

1 1 .15. aakklladhanaa kkhu - Matraaaaaka

*q| II. l6| less sft * Oft Uift ]3 5

II .17. Judina ta» - Qatha 11.18. aranadha balaajanai - Qatha

11.19. Tlcalal naurajualai - Getha

11.20. ahanluna sarosaa - Qatha • •

Act III

I I I . 1. Buana kkhu - Vaitally* ✓ „ a IU4;2.sassapalakka - £k/arl 3a tl A

Act I f

IV. 29. aatwra* - Arya (Qatha)

IV.30. sihusurasavamattla - Upajati

IV. 3 l. a so asoavuccho - Qatha

Act V

V. 10. jadhaj adhi vaasadi - Upandravajrl

V. i i . t alia an raa - Upajatl

Act VI

71.5. kin acehadha - Getha

VI. 6. aacchadha vlsattha - Qatha

VI.7. njjansu - Qatha 136

71.8. re re Tire® - (tothe

71.9. kaaeattamo dina - Qitha • • * 71.10. bhana kaaaa - Oath I

71.11. avaharai kovi - Oatha

71.12. ohario pavahano - Oatha

71.13. ko tan gunaravindan - Oath a

71.14. dojJava puanla - Oatha

71.15. j an ami carudattam - Oatha

71.19. bhidabhaappadanai - Oatha

VI.20. sambhaaaghagghara - Oatha

71.21. Jan an to vihu - Oatha

71.22. ainnasillalahattho - Oatha * *

» Vl.23. Jad0 tujjha - Oatha

71.25. ®ttha Ape - Oatha

71.27. abhaam twha - Arjra (Oatha)

Act 711 - Nil

Act 7111

7111.1. samjaraadha nia - Gatha

7111.2. pancajana J®na - Vaitaliya

7111.3. alia aundide - Vaitaliya 137

VIII.8. bahukuaunavicittida - Puspltagra

VIII. 10. nahaaajjhagada - Qatha

VIII .12. sila^i aana - Mai Ini

VIII. 13. hihgujjala jllaka - UpaJIti

VIII. 14. hihgujjala dinnamar^^- Upajatl

V III.19. je cumvide - Upajatl

VIII.20. adahim da - Vasantatilaka

VIII.22. jadic chase laovadasa - Upajatl h , _ VIII.25. jenamhi ga^bhadise - Gath a

V III.28 . saw akilaa aaa - Anustubh

/ t % VIII.3i* suvannam deni plan - Upajatl

VIII.34. kin sa saaaka - Salini

V III.35 . caijakkena jadha - Anustubh

VII 1.36. adai dosakalandiatn - Sardulavikridl ta

VIII.37. lcchantam mama - Sardulavikridlta

VIII.40. attfcah sadam - Upajatl

VII 1.44. caLudattavInasaya - Anustubh

V III.45. esemhi tulida - Oath a

VI 11.46. vadadavena tatta - Gatha

VI 11.47. hatfeasanjado - Simhini 138

Act IX

XX.lt nhadchm salilajalahiin - Praharalnl • m *

IX.2. khanana ganthi - Upandrarajra * * • %

IX .6 . laasasula maaa - Gath a*

IX. 17. lajjae bhlludaa - Yalbidiya

IX.23. padappahara - Gatha

IX. 35. saccana auha* - Yaltaliya

Act X

X. i. takklo na kalaa - Gatha G a i^ Z

X.2. dlrmakalariladama - Gatha

X .4. kia pakkhadha - Gatha

X.7. indeppavahianta - Gatha

X.8. naallpadhlna-bhuda - Gatha

X .9. naa luadl - Gatha

X. 10. Yajjhanl nlanaha - Arya (Githa)

X.14. gunalaa - Gatha

X. 15. taTv* kkhu - Gatha"

X.19. abbhudaa araaane - Gatha

a . 20. sukkha vavadaaa - Gatha 139

X*22* na hu anhe - Getha

X.24. kin pekkhadha - Qatha

X.29. mans an a tikkha - Indravajra

X.30. osaladha dedha - Gath a

X.35. addham kalevalam - Gathi

X.3o. utthan tapadan taha - Gahu

X* 37 • aaththlde salo^am - tfdglti

X.33. ka una - Gath a

X.53. evvam dulam - Anustubh

Mfliltg-QX .tkt-B&tt.ti

A certain poet nay ba said to have employed the metres successfully (1) if the verses are free from metrical flavf, (11) if vatla are properly placed and (ill) If the metres are

25. In the second fo r t there are i5 matras. But the number may be taken as 14 also* Because some time a varna pracceding a conjunct consonant may also be counted as 'Laghu' Cf* katthabi saajuttaparo varano lahu hoi dans an ana jahi s parihlasai cittadhijja* taruni kadakkhanml* nlbbuttan • ss (Prakr ta-paliigala, 1*4) in conformity with the contextual rasas and the subject- m atters, The f i r s t two norms are easier to apply since they depend only on an objective examination of the metres, but the third norm is some what difficu lt to apply since the same involve some amount of subjective assessment also. Of the nuau-uu r.h.torlolan», it i. K««.ndra who lay. down eartaln principles for determining the suitability of the metres, hut his rules are not exhaustive. Yet it may be en absorbing exercise to make an assessment o f the metres o f Sudraka in the light of Ksemendra* s Suvrttatilaka itself. * 9

Ksemendra says t Kivye rasanusarena varnananugunena ca:kurvlta sarvavrttanam vinlyogam vlbhagavit;?® (A man of discrimination should employ all the metres after taking into consideration their suita­ bility for -he rasa and the subject described).

Begardlng the Anustubh metres Ksemendra suggests tha*- i t should be employed in narratives like those in the Pur an as. 27 for ideas concerned with sober devices and for didactic ideas. Its employment is recommended fo r the beginning o f an epic and for narratives and the didactic stories concerned with

26. SftrrtlatUata*« 3.7 27. puranaprativimbesu prasannopiyavar tmasu ; upadesapradhanesu kuryat sarvesvanustubhma ;; (rri *3.9) 41 quietism. 28 In the ligh t of tills we may, perhaps, observe vhat Sudraka Bakes appropriate use o f the Anustubh metre In verses li taka the following one : alane grhyate hast! v a jl valgasu grhyate*. hrdaye grhyate narl yadidaa nastl gamy at*;* (NK. 1, 50)

K semen dr a observes that different forms o f Upajatl nrnke the description o f the beauty o f the naylka o f the Srhgara rasa and also o f the seasons like vasanta, which serve the ' • 29 purpose o f Srngara, more appealing. An example o f such a

— suitable use of Opajati by Sudraka is as follows *

bho megha gambhlrataram nada tv am tw a prasadat smarapldl tam me i samspar^aromancl tajataragaa kadaiabapuspatvamupai tlgatram tt (MK. IV.47)

^ — — Sardulavikridlta Is recommended by Kseaendra for describing the valour of kings, etc. 30 And Sudraka describes the valour o f person who is worthy of being a gambler as follows t

28. arambhe sargabandhasya kathavis tarasahgrahe : samopadesavrttante santah s ams an ty anus tubhaa • * ( S T , 3 .1 6 ) 29. srhgaralambanodira - nayikarupavarnanam *. vasantadl -tadangam ca sacchayam upajatlbhlh .. (ST, 3. 17)

30 Sauryastave nrpidinam sardulakrldi tam aatam*. (ST. 3. 22a)

p 142

yah s tabdhaa divas an tarn ana taslr a nasta sanullanvito yasyodgharsanalos takairapi sad I prates na Jatah kin ah » yasyaitaoca na kukkurairifcarahrjahgiantara^carvyate tasyatfayatakoaalsya satataii dyutaprasangana kin is

But I t must ba adaittad that Ksflnsndra's distribution is only suggastiva. That is shy it is not difficult to roalise

/ - — that tha us a of Sardulavikaridita for tha dascription of / 7asantas«na by Bakira in tha following Prakrit varsa is also quits appropriats i Cf.

asa nanakanusikiaiakasiki nacchisika lasika • • ninnasa kulanlsiki avaslka kanassa aanjuslka asa vesavahu suvasanllaj/a vssangana vasia asa sa dasa ninaka aai kala ajjavljaai iscchadi (MK. 1.23)

I t nay ba no tad that alsawhara also this natra is succass- fu lly employed for - /tuch thaaas lika dascription of a navika as in tha following warsa of which siven also by tha Pritata-Pllngali31 *• an example of tha same metre. Cf. jam dhoamjanalola loanajuam lamb ala aggan muhaii itthalamvidakesapallavacaa dolamjtti jam bimduno ; jam akkani sicaancala* nlvasidan tan nhankalitthida anlda iamavbhudakkajanani joisarenaauna st (Karpuramahjari, 1.26)

30 p. 631 143

Thus vs sax perhaps bs justified to say that Sudraka has nade quite appropriate use of the various aetres in his JUt.

Sudraka has shovs his singular artistic skill also in respect of Alaakiras. In the Mreahak* aiki there are • • Alaakiras both in the prose and verse portions. As ve are concerned aainly with the verse portion here, it nay be stated that there are as a any as tventynine Alaakiras of sense in the verse portion. If Sankara and Saasrsti are * * • also taken into consideration the nuaber w ill be thirtyone. So far as the Alaakiras of word are concerned it a ay be noted that there are all the varieties of Amprasa and also

/ 32 ' — Slesa. But,in the verse portion ve do not have the Sabda- l&akaras like Yaaaka, Yakrokti and any of the Citrabandhas. This absence o f Yaaaka or Citrabandhas in a draaa, which has Srngira also the principal sentiaent warrants an artistic sensibility which has been lataa ea later on laid down as a natter o f p rin cip le by Anandavardhana in the K irlka »

dhvanyataabhute srhgire yaaakadinibandhanaa s saktsvapi praaaditraa vipralaabhe vises at ah ti • • (Dhvanviloka. II. 15)

...... — ...... ■■»■ ■■■ »■ ...... 3«. There i s also Litinuprasa in MK. X.48 and X. 58. 144

The ArthiXoBkiraa present in the Terse portion are presented below in a tabular font with the prominent places of their occurrence *

( a) /^dhlkarudhayai- sis ty arupaka, V. 12.

A. (a) Aksepa - 71. 21

(b) Aprastutapraswsi - 111. 1 } IV. 18; V III. 16;

IX. 24) 33} X. 30.

(c) Arthintaranyisa - III. 24} IV. 2, 23} V. 43} V III. 32} IX. 7t 16} X. 16.

(d) Atisayokti - I. 10B, 28b, 38} III. 3} IV. 12}

IX. 21, 22, 24

D. (a) Dlpaka - I. 60} V. 26, 34

(b) Dr stint a - II. 2} III. 2, IV. 17, 21} VIII. 21} IX. 21} X. 20, 58

B. (a) BkadesaTlTarti Rupaka - IV. 18

X. (a) Kir an set ala - I. 14

(b) Kavyalihga - I . 13, 31} V. 47} V III. 15} IX. 8, 34

M. (a) Milarupaka - I . 48} I I I . 20} V. 12} VI. 13}

V III. 6, 38, X. 14

(b) Milopsna - I. 24} I I I . 21} V. 4, 5, 41, 42, 45} V III. 4} IX. 20 145

M. (a) Nldarsaaa - V. 47; X. 60

P. (a) Pratlyaainotpraksi - V. 18

R. (a) Bupaka - I* 15, 45, 57) H I. 3, 20; IV . 4 , 10, ll, 32; V. 15, 24, 33, 36, 51; V I. 1 , 14; VIII. i; IX. l, 14, 40; X. 9, 13, 33.

£ . (a) Baboktl - V. 1

(b) Baaaaoktl - V. 28

(e) Saaucaya - I. 42; III. 18; VIQ. 5; IX. 3 .

(d) Sandaha - VI. 4

(a) Banga Pup aka - IV. 32; X. 4, 26

(f) Blaaa - V. 17

(g) Svabhlbokti - VIII. 2; IX. 1, 2

I. (a) Tulyayoglti - 18, 35; VIH. 24; X. 46

U. (a) Upaaa - I. 3, 10, 12, 17, 18, 19, 20, 22, 24, 25B, 27, 31, 32, 34, 35, 49, 52, 55; II. 1, 5, 6, 7; III. 8, 9, 10, 17; IV. 1, 6, 14, 15, 26, 28, 29, 31; V. 2, 3, 4, 5, 6, 11, 13, 14, 17, 20, 21, 26, 33, 38, 45, 46, 52; VI. 1, 2, 3, 16, 17, 27; VII. 1, 3, 5; VIII. 7, 8, lO, 15, 19, 41, 44; IX. 14, 19, 25, 26; X. 2, 13, 19, 21, 24, 28, 39, 42, 49, 51, 52, 53, 60 146

(b) Utpraksa - I. 21, 25A, 28A, 33, 34, 37, 39, 57; I U . 6, 8,* 22J I? . 4; Y. 27} YI. 2, 4, 5, 13, 15, 19, 21, 22, 23, 24, 25, 27, 44, 45, 45, 51} fll» 1} VIII* 20} X. 3, 8, 11*

Y. (a) Viaar/a - IX. 27

(b) Yisaaa - IX. 33

(e) Yisesokti - IX. 20

(d) Yyatireka - Y. 11

With reference to the above list of Alaakaras the following points require to ba not ad s

(l) Many of tha verses oceur under tha heading of aora than ona Alankara, a.g., IY. 18; Y. 2, 4, 5, 11, 12, 45, 47} IX. 14} X. 60. This is bacausa aora than ona Alaakaras aay ba disowned in thasa verses, pres an ting cases of eith-r Saasrsti or Sankara. In case of a faw rarsas tha eoaaentator Prthvldhara points out tha oceurranea of Saasrsti or Sankara, a.g., Y. 45 is said to hare a Saasrsti of Upani and Utpreksa and IX. 14 i s said to hare Sankara of Upaaa and Rupaka. But in a any other places elthefe no Alankira is pointed out or Alairiciras are only partially pointed out thereby leaving no scope for any Saakara or Saasrs$L to occur. But in fact there Ve*V3e-o are a good nuaber of Alaakiras which present quite a complex 14? conglomeration of Alamklras.

For example, In the versed —

"chayirtham grismasamtapto yimeviham samisri tah s

ajinati maya saiva patraih sakhl viyojiti" si

(MK, IV. 18 ) it la really difficult to dacida whether there is an Apras-

tutaprasansa or an Adhiklrudhavaisis tya R up aka. As such it could, parhaps, ba rackonad as a casa of Saideha Sankara.

Again, thara ara soma verses where a l l the Alamkaras present ara not noticed by others. For example in tha verse —

"apadma s rlre s a praharaztamanangasya lalitam

- . ^ * s kul a star in an soko madanavaravrkaasya kuptamam *

8 all Ian gacchantl ratisamayalaj jipranaylni

ratlksetre range priyapathlkasarthalranugata **

(MK. V. 12)

Prthvldhara finds only a Mila R up aka, whereas in tha vary first clausa, apadma/riresa, thara is obviously an Adhlkarudha m va isisty a Rupaka, which obviously deserves to ba noticed

separately.

(2) Tha Alamkaras ara shown only under broad headings and not under the heading of their sub-varieties, with the only

exception o f Sihga Rupaka, tha in clin ation fo r naming which

could not ba resisted because of its intrinsic beauty. A v\_ traditional commentator like Prthidhara has also not noticed • A 148

the sub-rarleti.es. For example In the reree —

gunapravalam vinayaprasakham visrambhamulam mahaniyapuspam s tarn sadhuvrksam svagunaih phalldhyaa suhrdvihangah sukhas air ay anti i : (NK. IV. 32)

Prthvldhara recognises Rup aka in a general way, whereas it Is a rery nice example o f Sanga Rupaka.

(3) The Alamklras present in the Prakrit portion are generally not pointed out tor others like Prthvldhara. But the lis t of Alamkaras given above cover the Prakrit verses also. In fact* the Prakrit portion is also endowed with Alamkaras to a great extent. It is rather significant that

✓ _ the very first verse uttered by Sakarat nay the very first Prakrit verse of the drama contains one Up ami, Cf.

kaaena dajjadi hu me hadake tavassi ahgUalislpadide via mamsakhande. (I. 18B)

The inclusion of the verses containing incorrect references to epic characters may be somewhat controversial. But yet, we have craved the indulgmce to include such utterances under the heading of Utpreksa because o f the following reason. 14^

The lin e o f demarcation between Utpreksa and Upama la not always very d istin c t. There happen to be certain boarder- lin e cases. In such cases, the prin ciple followed is that,

Up am a should be recognised where the upamana is a celebrated

one, and Utpreksa is to be recognised where the upamana is

not celebrated or not usual. With this principle in mind we may, perhaps, safely include many of the verses of Sakira

under Utpreksa, when the up wain as are based on incorrect

references. If we to met take it for granted that Sakara is

a fool, it may not be unjustified to recognise Alamkaras in

his verses at le a s t from a purely theoretical point o f view*

✓ But to be f a i r to Sakara i t must be pointed out that in

certain placet he has presented certain perfect ttpanas also,

although his up am in as are invariably drawn from the rough

and lowly aspects o f the world. For example, X. 28A is a

flawless Upama. Similarly Ceta's verses also contain perfect

Alamkaras, e.g., I. 19. The way in which the Alamkaras of

the verses of Sakara have itust-Te^d -wio- -

jhanaj Jhananta bahubhusanasaddamissma kirn do wa d i via pallasi lamabhida *

ese halami sahasattijadha hanume vissavasussa lia^hlnim

v ia ten subhaddam it

(MK. 1.25) ISO

Hare Draupadi cannot ba no pa ally associated with Rama. But if we taka It as an Utprakai tha expression 'dovadi yis _ a * A laabhldi' should mean 'lik e Draupadi afraid of Rama, as i t vara.9 tha idea is teat Vasantasena is as good as Draupadi s and Eakara is as good as Rama. I f by chance a sitattio n had arisen where Draupadi would have been afraid of Rama, teat would hare bean sim ilar to tea present situation. Risia should have bean tha last parson to causa any harm for Draupadi, had there bean any association of tea tvo{ likewise Sakara should ba tha last person to causa any fear for fasantaseni now.

In tea second h alf, i t is found coD Taiint to reeog- nisa two separate Upamas. In tha first place Sakara compares himself with Hanuman in respect of ‘tea act of carrying off suddenly'. This is quite appropriate, because Hamain was the celebrated lift e r of tea Gandhamadaha mountain. In the other Up am a, Vasantasena is compared with 'a sister of Visvavasu ’* The word SubhadrI need not necessarily be a name of the sister of Visvavasu. The word may simply mean teat Vasantasmaa had a perfect nobility.

(4) In tee above list tea largest mraber is that of Up am a. This is tea mos t naturally expected situation, because Up am a is one of the few basic Alamkaras, wherefrom tee other Alamkiras have developed. In tee M& even the lover characters like the Ceta indulge in Upamas* That is quit# realistic. Bacause simile is a vary primitive figure of speech, and 151 indeed, tii* primitive p*opl* found I t more convenien t to express their ideas with th* h*lp of similes. U«ne* compare,

"that similes are not later phenomena In the history of huaan language, ve learn froa the fact that ve are accus- toaed to look upon abstract ideas as siailar to things ve perceive vlth our sense organs, and that it is in the first place people who have no trained way of thinking that are accustomed to do so* Native and prinitive men who are scarcely able to abstract* are inclined to name new things after the familiar and to compare things unknown to well known. By means of a 'Eimile* they bring the unknown within the sphere of the known* A primitive measure o f time is e.g. Malaya, sepertanaka nasi lamanja, "as long as i t takes rice to b o i l , " ...... also in Sanskrit, Krosa —— "shout, yell" is a measure of distance; Ch. Up. 3, 14, 3 earn aa atm in tar hrdaye aniyan vriher va yavad va ...... “ (J. Gonda, Remarks on Similes in Sanskrit Liter star e, Introduction, p. u ).

Numerically the second place is secured by Utpreksa. This may be attributed to two reasons, vis., recognition of

✓ Utpreksa in the verses of Cakara and a greater flig h t o f imagination o f Sudraka. Utpreksa ca lls for unusual upamanas and fadciful situations, like that of Draupadi being associ­ ated with Rama. Thus Utpreksas present more fanciful image­ ries and warrant a greater flight of imagination of the poet. 152

Numerically the third placa Is occupied by R up aka. Ibis is also quits natural, in so far as Rupaka is vary akin to Up am a. lbs theorist says < "upanaiva tlrohi tabheda rupakam ucyate".

(5) An sxamination of ths Upasis of Sudraka will show that ha has drum tha upaminas from such areas which are suitable for tbs sentiment' subject matter and ths tempera­ ment of tha speaker concerned, this may be illustrated as follows i

(a) The Vita knows the arts partially, he is well a. versed with a ffairs ofAharlots house, he has oratory, he is sweet tongued and he can make an agreeable company to an assembly of men of taste. That is why we have the verse I. 49 from him where he says that 'meeting £akara, Vasanta- seni has vanished like ...... the highest learning in case of one who i s weak in memory and lik e the feeling of love towards an enemy.* Here the expressions ' Parana vidya' and 'r a ti* bring forth imageries which are concerned with his own sphere of learning and activities.

(b) Because of his villainous tamper ament and lack of learning Sakira cannot think of a level higher than that of dogs and jackels, and that is why he very often draws the

33 Cf. SD. XIX. 41. 153 similes from the wild life. Cf.

kukkuraih kukkurlbhisca bukkyamano t yatha srgalah s'aranam pray Sal is (MK. I.52B)

(c) Carudatta la young} ha la a lova r; and though poor, ha Is fashionable. That la why, for him the noon appear? to ba pale like the cheeks of a lovely maiden. Cf.

"udayati hi aaaanka^ kSalnlganiapiAduh n (MK.I.57a)

Easa

bhumna rasanam gahanah prayogah sauhardahrdyanl vices tit^anl » auddhatyaaayo ji takamasutram cl trail kathl vlcl vidgdhatil ca ** (fljia.tiaaflh*M,I • 11)

In this celebrated versa, Bhavabhuti dealres that a drama, In order to be more appealing, should be endowed profusely with various rasas. In the light of this It may be noticed that the MK is also sufficiently rich in the matter of the varieties of rasa.

the main rasa or sentiment of MK is love. Than we find that the next important rasas are Karuna and Hasya. Sudraka uses sentiments of different types. In the verse portion there are also other sentiments such as Vlra, Bhayanaka, and Blbhatsa, though they are n ot ao prominent. 154

Between tile h«ro Cirudatta and heroine Vasantasena, the erotic sentiment occurs again and again, this sentinmt occurs again between Madanika the said of Vasantasena vi th Saryllaka a Braheana. the conic i . e . Hasya rasa i s found through the words of Vidusaka and Sakara. Karunarasa Is predominant in the description of powerty and in the context of the execution of Carudatta. The atmosphere of the latter situation is wary pathetic and the following verse, ut terse by Cirudatta to his son Rohasena provides a fine example of

Kanina rasa. voJme. ^!✓ <-. r

y y j 57 I t~y* d o 5 $ . ~n - f e V a . w ^ ^ 1 ^ y - . Love in all its aspects is noticeable in Sudraka's play. Love in separation (vipralambha srngira) is nicely depicted in Vasantasena's abhlsara on a rainy night, with ardour in heart she advances towards her lover and this is manifested in the verse t

garja va versa va iakra munea v£ sataso'sanlm t

na £akya h0 striy o roddhum p ra sth itl dayitam prati i t V. 31.

(you may thunder, 0 Indra, or po$r down showers, or send down hundreds of thunderbolts > you cannot stop women who have started to meet their lovers).

From the speeches of Sakara, we have Hasya rasa, ^s for example,

Canakkena jadna sidi malidl bhalade jue s ewam de modal ss ami jadau v ia do wad la i s (MK. VIII. 36) 156

(Just as in the Bharata aga 81 ta was killad by Canakya, so w ill I will you Ilka Jatiyu (killing Draupadl). A

But It requires to ba pointed out that all such u+ tar- ancaa o f Sakara, stu ff ad with lncorract refer vices nay not always evoke Hisya rasa. Because, the v illa in , vl th a ll hi* v ile doings bacons nor a contemptible than ludicrous, thus giving risa to Bibhatsa rasa and not Hisya. But in casa of ear tain other uttarancas Ilka She 1 .23 or 7III.31, thare occurs tha relish o f Hisya, aran in a eon text o f Srhgara, baeausa o f tha non*requltal o f his offar o f lova, in fu ll conformity with Bharata’ s die tun — " Hisya proeaads fro* Srngira."3* Hanca conpara »

suvannaan deni plan vadenl padanl sisena savestanena s tadha vl nan ijecchasi suddhadantl kin sevaan kastamaa manuss* (UK. 7 III.3 i)

"I give you gold, speak ear as singly, and fa ll down (»* feat) with ay head having tha turban cm. S till, 0 damsel with pure teeth, why don't you desire to accept na as your servant? Han, also have to suffer anguish l"36

But in contrast with these situations and speeches, tha words and actions o f tha Vidusaka lead to the relish o f

34. Srngiraddhl bhavadhlsyo raudraoca karuno rasah i viriccaivadbhutotpattir blbhatsacca bhaylnakah ss (Natvaaastra. 71.40) 35. kale, M.B., MK, p. 285. 156 an unalloyed honour•

..SdS^MuJfc

MK is a sociopolitical drama. In tha Sanskrit political dramas, l .e . Yanis amhira by Bhattanarayana and Mudriraks as a o f Vlsakhadatta, tha natural baautias ara totally neglected by tha poatst But in NIC tha poat doss not naglact nature. The incidents of tha story taka place in tha metropolitan city of Uj jayini, Thus there is vary little scope for des­ cribing nature. Yet like other celebrated Sanskrit poetsy a*g. Vilmikiy Kalidasa, Bhlravi and Bhavabhutl, Sudraka has presented descriptions of the objects of nature throughout the drama.

In Sudraka* s MK, specially in Act Y, we find a large number of verses which describe the natural phenomena such as cloud, storm, lightning, thunder, swans, cranes, frogs, nipa flower and darkness. From these phonomena, we may crane to the conclusion that the season was the rainy season and obviously the poet must have found i t most suitable for the depiction of Srjtngara as the principal sentiment o f the . 36 drama.

36, Regarding the relation o f rainy season with love, Kalidasa says i “meghiloke bhavati s ukhino * py any a thi vrtticetah kanthaslesapranayinijane kirn punardurasams the" (Megh*g££|, Purva megha, 3B) 157

Cloud

The cloud plays a prominent part in K alidasa's and Sudraka* s writ tings. In MK a good n unbar of vers as are con­ cerned with the description of cloud. The f ir s t one of the verses of the fifth Act concerned with cloud runs as follows:

"aegho Jallrdranahisodarabhr^aganilo vidyut prabharacitapitapatottariyah t abhati samha tavalikagrhltasaakhah

khan kesavo'para ivakramitua pravrttal} ti V. 2. the translation as given by M.R. Kale is — "The cloud, looking dark like a bee or like the belly of a buffalo vet with water, wearing an upper gament of yellow silk consti­ tuted by the flash of lightning, and bearing conches in the fora of serried flocks of craneet is about to traverse the sky, as though i t were a second 7if)inu (who is dark like&e wears an upper garaent of yellow silk like the flash of lighting, and has in his hand a conch white and looking like a flock of cranes

Lightning. Cranes

The cloud corresponds to 7is)inu who is also dark coloured, the flash of lightning corresponds tx> the yellow garaent usually worn by 7isnu and the white cranes corres­ pond to the white Pencejanya conch held by Vis)&nu. In 158

Meghaduta also tha cranas are associated with the cloud,

a ty Cf. "sevisyante nayanasubhagam khe bh a van tarn balakah."

Peacocks

At the advent o f tha clouds peacocks dance with joy

•f' and great the clouds* With their uplifted trails. In Maghaduta a we find the similar description l.e* "suklapangai, sajala nayanalh svagatlkrtyakekah."38

Swans

In the rainy season svans go to the lake Manas a, which

Is their home, because during winter they come down to the plains and stay there untlll the rainy season comes; and

this Is the Kivl-Samaya or poetical convention* Cf*

" Jaladharasamaye a an as am yantl hamsah" (S&. VII 32C). In MK we find the expression "hamsairylyisubhlrapikrtam unmanaskaih"

(MK. V. 16)* Untimely storm Is d islik ed by the distressed swans who are about to depart for Minas a lake. In Meghaduta we fin d the verse t

V _ kartum yacca prabha^atl nahimucchlllndhrimavandhyam t

tacchrutvl te sravanasubhagam garjltam manasotkah ts

I* lla b *

"The royal swans, eager to go to the lake Manasa and having

a stock of bits of shoots of lotus stalks to serve them as

provisions on their journey w ill become your companions in

37. Meghaduta, 1 .10(d ) 38. Maghaduta, 1 .2 3 (f) the sky as far as tbs mountain Kalll/a .*39

CffcraYifci

In MJ£ ve find the description o f hansa and cakravaka . s in the versa V.5j "sam)laktairiva cakravikamithunairhamsalh" In Y ilaik i's Ramayar^a. in the versa 28. 16, we have the descrip­ tion of Cakravika as follows t

sampras th ife manasavasalubdhah ___ _ at\ priyanvitah samprati cakravakah.

MlPa

Nipa (kadamfaa) flower* bloom in rainy season. In MK the poet describes tha nlpa flowers vary beautifully, Cf.

"samadano nlpah pradipayate. (Y. 14b). Mips flower is also described in K ilidisa's Meghaduta > "nipam drstva haritakapi-

&8£&£*

In the rainy season darduras are found, they are struck by the rain showers and drink the rain water. Cf.

"pahkaklinnamukhah pivanti salilam dhirihati dardurah."

(Y . 14a).

39. Meghaduta, p. 25

40. JBamayana Kiskindhya, 28.16

41. Purvamegha, 2 1 (a ) 3.60

Moon

In MK the poet describes the soon very beautifully as in, "udayati hi sasankah ...... 1.57. the poet coapares the rising noon vith different things, such as the cheek of an amorous lady, a lamp of the royal road, etc.

From the above i t i s clear that Sudraka was a lover of nature and his drama is interspersed with beautiful descript­ ions of various natural objects end phenomena. the descript­ ions too are appealing and of tm treat new grounds, as for instance, in comparison of cloud vith a buffalo. His compa­ rison of nature with human behaviour is also noteworthy.

Parkatil In the description of darkness in the famous verse, "llmpatlva tamo'ngini etc. (1.34), he compares the thick of

* daftness vith a bad master, beeause both are obstacles to success.

Had Sudraka written a poetical work, he could vie with other poets of nature with great success. His MK verses collectively are about three times the Meghaduta of Kalidasa, and so we see he was a gifted poet capable of producing also a nature poem. 4 no lit OB sfiJHtti-yacaaa

/

A ccording to the trad ition al theory the Sakira is

proud, foolish and vain . H e is "sada-aurkhatabhiaani as

stated in the Sjhityadarpana, 111.80. H is foolish n ess is

m ainly exh ibited by h is speech ch aracterised by certain

aannerisns and conspicuous tra its. This speech of the Sakira

is known as {sakara-V acana, w hich is tra d ition a lly described

w ith tiie follow in g K arikas s quoted in the c am ent ary of

P rfthvidhara. «

(1 ) apirthaa akraaaa vyar than punaruktaa hatjopam an *

lokanyiyaviruddhaa ca sakiravacanan viduh j >

(2) agaaalingsvihinan des'akalanyayavlpari tan i

vyar thaikartham apirthaa bhavatl h i vacanansakarasya a

The fir s t K arika is given in the very beginning o f the com m en­

tary and the seoond verse is given under verse 1 .2 1. On the

basis o f these W o K arikas the ch aracter is ties o f the Sakara

Vacana m ay be sorted ou t as follow s «

(i) apartha (common to both karikas)

(ii) vyartha ( " " " " )

(H i) punarukta ( = ekartha of karika N o. 2)

(iv ) lakanyajyaviruddha ( a agam a llrigavlh ln a of karika N o. 2)

(v) hatopaaaa (desakalan yiyaviparita o f k arlk i N o. 2)

The la st three equations are on ly ten tative. The

com m entator h im self is n ot sure o f the m eanings o f the above fire terms. (fader the first Kirlki, he says t apartha - nirarthaka, and vyar the ■ vlruddhir the. But offering an altern ative explanation he say*! that words and sentence which do not have a definite syntactical relation present a case of aplrtha, ami vyartha means nirarthaka.

(fader the Terse I. 21, Prthvldhara, illustrates the aforesaid characteristics as follows » (i) hhara in bhavabhlta is apirthaka (or redundant), (ii) there is punarukta (or tautology) in *madanan anangM*f and (ill) raranasrewa kunti involves a hatopama (or d efectiv e or confused simile)

Nerurkar recognises 'na marlsyasi'^Cf. verse I.i8^as a case o f lokaviruddha.42

/ _ It may be noted here that Sakara's expressions are not always lokanyiyaviruddha, because sometimes he exhibits so^e amount of popular wisedom also, e.g. verse I.51. His simile also sometimes appear to be correct and in conformity with the scripture or 'igama'. Cf. "bhumi dadhasamtatta hadaputta- sadewa gandhaki." (MK. VIII.lOB). In view of such casual demonstrations of his wit and information, a section of the the modern scholars hold the opinion that 'Saklra it not a fool, but he plays the fool.*43 If in the light of this opinion we try to analyse the utterances of Sakara, we may find out

42. Hi, Narurkar's edn. Notes, p. ll. 43. Banerjae, Blswanatfa, in A Corpus o f Indian Studims. P. 289) Nerurkar, op.cit., p. 13 ate. 163 some consis tency Mas* in what is apparently inconsistent and absurd. An Ida of such an analysis nay ba gathered froe our treatment of the verse 1.25. Under the context of alamkaras A very u seful example o f an in t e llig e n t in terp retation o f the

expression in favour of Sakara is provided by the verse 1. 23. here Sakara wants to eulogige Yasantasena by addressing her with certain glorifying naaes. But the expressions nanakanusi (a stealer of coins)f aacchasiki (a fish eater) and ninnasa (a fla t nosed one) do not seen to be complementary to Vasanta- sena. But a different interpretation may present the idea that as a beau tifu l p rostitu te Yasantasena takes away the power o f judgement (nina = jnana) from men captivated by her beauty, she con trols 'me'* i . e . Sakara, by her mnehanting beauty (macchasika =* matsasika) and of course, she does not have the high ambition of being richer and more powerful by accepting Sakara as her lover, but prefers to cherish a low ambition (ninnsa = nimna as a yasyah si) by clinging to poor Carudattaf4

But this w ill remains a matter of opinion. Because, his incorrect references to the epic and puranic characters and objects may supposed to have been deliberately dished out for deluding others. But whan there is none to listern to him, and he is speaking to himself he is not supposed to play the fool. But the pity is that Sakara confuses between Hanuman the monky and Mahan dr a the mountain, when he utters

44. Cf. Banerjee, Biswanath, op.cit., p. 290. 164

tha varsa VIII. 45, whan thara is non* to 11 stan to hi*. t Hanca, i t appaars that tha traditional daflnltlon of Gsk*r* Vac an a stands undlsturbad. CHAPTER IT

FIXATION OF 1HE MORE ACCEPTABLE TEXT.

The fixation of the more aocaptable text out of numaroua readings is a difficult task. In order to do justice

to tills arduous task, it is necessary to collect all the existing manuscript materials of a text. In the present case, however, it has been found convenient to depend mainly on

the published texts of the HE, specially the following e d it io n s :

X. M£ edtd by H.D. Karmakar

2. MX edtd by M.R. Xale

3. MX edtd by Narayanarama Acharya.

The various readings noted in this printed editions

are the critical apparatus on the basis of which fixation of acceptable text of the MX has been attempted in the

following pages.'1’

(a) Actwise fixation of the Sanskrit and Prakrit

readings in the verse portion.

MX. A ct 1

1. MX. I.i4 / ^ (a) hriparigatah and tatparigatah, (b) sokavihlta anc

sokapihita, (c) parityajyate and paribhrasyate.

1. Differences due to replacing of one variety of Prakrit by another variety’ are not noticed here. Tariations which do not make a vital difference in sense are also, not examined here. 166

(a) hrlparigatah and tatparigatah

They mean overcome by shame. Here hriparigatah it preferable, because, tatparigatah nay naan darldrya parigata also.

(b) sokavihata and sokapihlta

The word sokavihlta means smitten, l.e ., affactad with tor row and sokapihlta means overwhelmed with sorrow.

/ » / * ■ Sokapihlta is preferabla to sokavihjtta in this sente that plhita on account of itsoewn nature fits in wall vl th / the idea of sorrow* But sokavihata might wrongly convey the idea of 'being killed by sorrow*.

(c) parityajyate and paribhrasyate

the idea of 'being forsaken' is better conveyed by pari tyajyate, and hence this reading is preferable.

2. MK. X.16

(a) vagbhih and (b) va'pi

(a) vagbhih means by uttering prayers and it it acceptable because it it more suitable to the context of worshipping deities. Ihe other reading will restrict the idea to the act of worshipping either by 'tapas' or by 'manas' 167

3. MK. 1.22

Ca) n l f a n d (b) Aft rundhymm

(ft) 'nirundhyia* means "I shall obstruct the eours* of the

(wind itself)”

(b ) Aft rundhya* with the force o f a kaku Beans "s h a ll I not obstruct the (course of the wind Itself)"?

Here the second reading Is preferable, because a irama-

tlc diction naturally deserves to be endowed with kakus, as

I t Is warranted by the abundance o f kaku In the Venlsamhara.

4. MK. 1.27

(a) trastabhutam and (b) trastadru tarn A

In (a) trasti Is adj. to nagaradevata and adbhutam Is an

adverb, meaning V ith amazement*. The reading under (b ) Is

preferable, because the Idea of amazement Is superflous.

5. MK. 1.28

(a ) save than• • am and (b ) seven • tan» • am

(b ) saventanam means 'along with the calyx*•

(a ) savethanam. means 'w ith the cover*. As the heart (hrdaya) * Is generally compared with a lotus (kamala) reading (£) Is

preferable. 168

6. MK. 1.31

(a) capriyam ca, (b) va'priyam va

Kara (a) does not leave any scopa for Baking a choice) but (b) leaves room for a choice (vikalpa) by the force of the particle *vl'« But Vita would mean to say that Vasantaseni should accept s'akara a lso, although he is d islik e d . Hence (a) is preferable.

7. MK. 1.35

(a) jaladodarassndhlMna and jaladodarasamvilina (c) drsyase and (d) drsyate.

Ca) means concealed in the gap of the interior of a cloud.

(b) means mixed up or to ta lly lo s t in the cloud. Hare (fc) If preferable because Vasantasena is said to be totally lost / in the darkness. Of the two readings (c) drsyase and

(d) d rsyate^

(c) is preferable because of the word ^zgn_ occuring side by sid e.

8. MK. 1.36

(a) sahasa and (b) suhrdah * •

(a) sahasa meand 'suddenly* (b) suhrdah means 'friends'. Here 'suhrdaft is acceptable; because the word susnigdhah alone cannot convey the idea of 'dear friends'. 163

9. MK. 1.37

(a) sambhasate, (b) sambhasyate. * »

As v© do not have a ref©r©no© to tb© darldra as 'ayam the only possible reading is (a).

10. MK. 1.39

(a) kaaabast© and (b) kes'avind© (vrnde).

Here (b) is not posslblev because hairs are not counted one by one. But (a) is more idiomatic and hence, acceptable.

11. 1.44

(a) nasta and (b) bhrasta

(a ) The word nasta means 'disappeared'•

(b) The word tetogte means 'fallen or dropped down'.

In the verse 1.4, the word nasta is more appropriate. So, i t is acceptable.

12. MK. I.SO

(a ) yadidam, (b ) yadidam.

(a ) yadidam = yadi + idam, HIf you do not have th is" ( i . e .

" I f you do not have a h e a rt")} (b ) yadidam * yad + idam,

"since you do not have" (i.e . "since you do not have a heart").

The whole verse is a subhasita. The author of the subhasita is not supposed to specifically state. "Since you do not have",

he is supposed to make only a general statement. Hence (a) If

preferable. I7f m ....Act...,k i

13. M K.II.8

(a ) labdham, (b ) jagdhan.

(a ) labdham 3 received, obtained, (b) jagdhan = eatan. The word ' dravya* nay mean also such things which are not f i t for being eatan. Hence (a) is preferable. This reading also goes wall with the second foot of the verse.

14. UK. 11.9

(a) pavara, 4b) dvapara.

These words indicate a type o f throw o f dice at the game o f gambling. The later tradition is equally unfamiliar with both the words. Hence (a ) may be preferred an the strength o f the commentator Prthrldhara.

15. M K .II.i3

(a) durvarno'si, (b) ucchlnno'si.

(a) = you are a low-caste man, (b) 3 you are uprooted, you are doomed. The reading (b) cannot be accepted because that w ill make a tautology with the next clause 'vlnasto'si*.

Moreover, the expression (a) is meant as a 'gall* (l.e. abusing). It is warranted by the verses VI.22 and VI.23

that fo r deriding others, people in those days used to re fe r to the caste. Hence, (a ) i s p referable. l? i

16. MS. in.2

(a) annapasattakalatte (b) annakalattapasatta.

Hare (a) naans whose w ife is connected with another person and (b) means one who is connected with the vife of another person. As the present versa is a subhasita, (a) also could be possible* being in conformity with the Hitopades'a verse — yasya ksetam n a d itire bhirya ca paras ahgata sasarpe ca grhe * A • vaso mrtyurava na s assay ah. Hut in the other clauses of the present versa only a mala animal or a mala being or an object occurIng in the masculine gender is said to be in'lsorrigible. Hence (b) i s acceptable.

17. MK. III.5

(a) mrdugirah and (b) mrdugira. (c) ragadviruccaritam and (d) ragad dviruccaritarn. Here (a) w ill mean cadence of the notes fof the svaet voice* and (b) w ill mean notes of the lute 'blended with the sweet voice*• the immediately preceding verse refers to the singing of Rebhila In the present verse also emphasis is first laid on the vocal performance of Rebhila. Hence (a) is preferable.

(c ) ragadviruccaritam and (d) ragad dviruccaritam. Here due emphasis will fall on raga (passion) if the reading (b) is accepted. In (a) the importance of raga is lost because of a gunlbhava on account of its involvement in a samisa. 178

18. MK.III.30

(a) 3hana tinira-niruddhasarvabhava and (b) (3hanapatalataau>niruddhatara. tdiat seens to ba In t and ad hara la that everything is covered

/ by darknessf and hencet the body of Sarvilaka is totally covered, this idea is duly conveyed by (a) The reading (b) naans that the eyesight is obstructed. This idea is a labourd one. Hencef (a) is preferable.

19. ME. I I I . 19

(a) anirveditapaurusan, (b) aniveditapaurusaa.

In (a) the idea is that in tine of poverty there is no nirveda (= disinterestedness) in respect of paurusa (= unworthy t adventures like that of burglary).

In (b) tiie idea is that in tine of poverty the paurusa s (nainly virtues) cannot cone into proninence. Here both the ideas seen to be equally suitable to the context. Tet because of the preponderance on the re oh a (i.e .# £g- sound) in this verse the reading (a) containing one nore reoha seats to be preferable.

20. MK.III.20

(a) grhaluncane, (b) grhaluncane.

Here (a) neans 'tearing a house to pieces; and (b) neans 'seising and tearing to pieces'. With reference to a hpvk 173

the reading (b) la decidedly preferable, because the hawk 1* wellknown fo r seisin g and i t has nothing to do with the sear­ ing o f a house.

21. MK.III.24

(a) Tulyisyatl, (b) Tulayisyati.

Here (a) primarily means that people w ill suspect Cirudatta and w i l l put him on a balance fo r determining h is g u ilt , as / o recommended bf the Smrti Sastra. Finally this implies that all will slight Cirudatta. In (b) the idea is "tulam iva laghukarlsyati", i.e ., people w ill think light of Cirudatta

(as of tula or cotton), ill people (= sarvah) are not compe­ tent to put him on the scales for determining his guilt. But a l l people have the freedom to form an opinion on him. So,

(b) is preferable.

22. HK.III.30

(a ) dosan nayasya raksin, (b ) dosan nrpasya raksam,

(c ) dosln nrpasya raksan, (d ) dosan na yasya raksam.

Here (a) implies "I avoid seeking protection of the court of justice (= nayasya)", (b) implies nX avoid seeking protection

(* raksam) of the king (» nrpasya)) (e) implies "I avoid the police officers (» raksan) of the king, and (d) impliesnthe whole o f the second h a lf o f the verse q u a lifie s the Sandhi.

2. See Nerurkar. MK, Notes, p. SO. 174

Accordin^/(d) Means "I would not avoid (= na pariharaal) ’-ht concaalnent (* raksa} or the restoration (* raksa) of the hole." The king or the court could be avoided by not Reporting the matter to the authorities. But Carudatta seems to be iMMediately concerned with the scandal. Hence (d) is prefer­ able.

23. MK.IX.2

(a ) tra ri tagatlh, (b) tvaritagatiM.

Here (a) is adjective to yah, while (b) qualifies aaai. The subject of the verb nlrlksato is not supposed to go fasti but to remain steady and then observe. Hence, (b ) is preferable.

24. MK.IY.8

(a ) niyamana bhujisya tram, (b ) niyanaha bhujisyatvam,

(c ) niyamlmV bhujisyatvam.

Here, JZM> meaning 'you1 i s taken separately in (c ). But the word JtiML. is already there in the expression introducing the verse. Hence, a separate JaML. is redundant, and (a) is not / — Q acceptable. The reading (b) is taken by Srinivasacarya, and is suggested as probable by Prthvldhara.3 4 According to the former the meaning is "dislkaxaanl pravar tyamanaiva" (= you are being taken away by ae, even as you are engaged in the work of a female slave.)• In (c) the combined words are to be

3. Karaarkar, MK. p. 4l3.

4. Kale, MK, p. 142. 175

disjoined as niynaria + abhujisyatras. this means "you are being led to a state of being no longer a slave," This read- / ing goes well with Sarv11aka's request for showing him compa­ ssion, Hence (c) is preferable,

25, MH.IT.15

(a) hitarthlh* (b) hrtarthih.

Women who are w ell-w ishers would never abandon the men. Only

those who are greedy of wealth would leave tide poor. Hence

(b) is preferable.

26. MK.IT.26

(a) Labdhavarnan, (b) Labdhasabdin.

Here (a) means 'those who have earned fame with their own valour* i and as such they have no obligation to the king.

But (b) means 'those who have earned some title (sabda) by virtue of their own valour? Generally it is the king who confers the title. Hence, such title-holders cannot be

instigated against the king. Thus (a) is preferable.

27. MK.T.5

(a) vislesltam, (b) vislesitaih.

Here (a) w ill have to qualify gaganma (* sky). But (b) w ill

qualify meghaih (= clouds). The sky is not supposed to be

scattered by the winds (= vjyuna). Hence (b) is preferable. 176

28. MK.V.6

(a) vaktrasadrsam, (b) eakrasadrsa*. • #

Kara (b) may mean eith er the kingdom or the army o f Dhrta- rastra. Ihe kingdom may be dark due to the situ ation described In the remaining part o f the verse.5 67 The army due to its vastnass may be said to 'create* darkness. But it is a quest­ ion of not 'creating darkness* but looking dark. Moreover, 3 whole kingdom cannot look dark lik e th at. Hence (b) cannot be accepted. In case of (a) It is said that Dhrtarlstra's face was dark on account of his blindness. This Is also not ten- able. Ihe verse describes a particular situation in a parti­ cular point of time. Hence, Dhrtaristra's face Is getting * • • dark 'now' due to ^udhlsthira's discomfiture through a foul play, which is bound to invite destruction for the fcpurava'f. Thus (a) is preferable in the sense given by us.

29. MK.V.6

(a) ivadhvanam, (b) ivaranyam.

Here (a) has a fun and means that the Cuckoo has ceased cooing and ^udhlsthira is rendered homeless. But (b) would mean that the Cuckoo has gone to the forest and y4idhlsthlra has also retired to the forest. But there is no poetical

5. Karmarkar, MK. p. 429. 6. Ibid., p. 429 and Herurkar, MK notes, p. 63 7. M.R. Kale also rejects the idea and accepts the reading Cakra to mean the kingdom. But he has not explained as to how the kingdom could be dark. Vide Kale, MK Motes, p. 96f. convention that the Cuckoo goes to the forest in the rainy season. Moreover the idea of yudhlsthira rendered homeless is more pointed. Hence (a) is preferable.

30. MK.?.i5

(a) garjitairapi, (b) garjitairlti.

It is obvious that anl is an inclusive particle. Such a p article is not needed by the context, fahereas the particle lti is necessary for referring to the actual statement of the ni^asapatnl, contained in the first half. Or in other words the jJHL is necessary here for serving the purpose of inverted comas. H«ice (b) is preferable.

31. MK.7.23

(a) samuttisthatl, (b) samuttisthate, (c) samujjrmbhate.

Here (c) seems to be preferable both on the ground of metre and sense while the other two readings are defective this way or that way. (a) samuttisthati has the last syllable short where as it should be long in ^Irdula metre and (b) samuttisthate being an Ataanepada, obviously by the Sutra, "udo'nurdhakaraani" does not carry the intended sense. In its sound effect also, (c) goes well with the description of the cloud and other words of the verse like 'hamsair ujjhitapan^kajaih'. Thus (c) is preferable. 178

32. MK.V,27

O -' / Cl (a) dharasax^, (b) dharasatf*.

Bie word (a) dharasaip'means arrows o f watar torrents and the word (b) dharasa$6 a*ans hundreds of vtter torrents* Hare in / ^ til a verse V.27. (b) dharasatjft Is mora appropriate, as It Is obviously nora idiomatic.

33. MK. VI.I

(a) mahirhanam, (b) maharnavam.

It is idiomatic to describe excess of calamity as an ocean of calamity) while the idea of a 'great worship* has nothing to do with the calam ities. Hence (/i) is preferable.

34. MK.YI.3

(a) adattadandejt (b) anaya tergal am.

Both the variations are almost same in meaning, but most editors prefer (a) idattadandol(= the door is without a b o l t ) , the word (b) anaya tergal am means that the houre ir without a stretched out areala. l.e ., the house remains open. Here (b) should be the second adjective of grha. But, for including this second adjective, we do not immediately have the particle On the other hand (a) should be an adjective o f nahakapa tah. The p a r tic le £S makes i t convenient to have r « (a) as one o f the two adjectives o f nahakapa tah. Hence (n) « « is preferable. 179

35. MK.VII.2

(a) vartmantoj jhita, (b) karmantoj jhi ta.

Here (b) gives a raason for leaving behind the log. But (a) clearly brings forth the Idea of the log lying in the middle of the road as an obstruction to the cart. Hence (a) Is preferable.

36. MK.VII,4

(a) vyasanannavotthitam, (b) vyasanarnavotthl tan

Here (a) is preferable) because, othend.se the 5th case aiding is asmat cannot be justified. In (b) there is no o _ no0n in the 5th case ending to agree with asnit.

37. MK.VIII.23

(a) nagarasya vlbhusanam, (b) narauLoka vlbhusanam.

Here (a) means an ornament of the city of tijjayini, wh&le (b) means an ornament of the whole world. I t I s true that (b) shows Vasantasana to be more beautiful. But (a) nicely agrees with 'trasta druta* nagara-daivatavat prayasi* (1.27&) of Vita himself. Hence (a) is preferable.

38. Mk.yiII.26

(a) apyesa, (b) apyevam.

Here the differan ce^of the two sm all words esa and evam. esa = this one, i.e ., &eta. evaa = in this way. the verse » * 2.80 want* to lay enphasis on the goodness of the 6eta. Hence (aJ is prafarabla for asking a pin-pointed rafaranoa to €sta.

39. MK.lX. 22

(a) avlrajustan, (b) avirijustam. tiara (a) naans 'committed by only cowards' and (b) naans 'not resorted to even by an enemy*. The word avira cannot be taken as an appropriate antonym of aifrafta. But to say th at 'such a harm i s not dona even by an am any' i s more idiom atic. Hence (b) i s p referab le.

40. MK.X. 6

(a) nadupetan, (b) name deham.

(a) = The position to which X hare fa lle n now. A c (b) a This body of nine. Hare (b) Its such has nothing to touch the heart of the people around. But (a) inplies the whole sad p lig h t of C irudatta. Hence (a) i s p referab le.

41. MK.X. 17

(a) bhojanam, (b) bhajanam.

For accepting (a) we have to conceive first the idea tha the hands of Rohasena are t$ny» and hence the quantity or' the libation water will be small, but in (b) tha idea that the hands are small is directly conveyed. It nay be noted 181 that (a) w ill occurAthe next birth. But (b) is immediately praswat, and it go as wall with tha partiela Idas. Hanea (b) is preferable.

42. MK. X. 25

(a) vyasanakrsim, (b) vyasanakrtam.

It is not idiomatic to call tha dasa (i.e,, fata) to ba thin on account of tha calami ties. But to state that tha pres ant- condition is due to adversity (= vyasana) is mora appropriate, hence (b) is preferable.

43. MK. X. 25

(a) may a, (b) tvaya. this versa has a direct reference to tha announces wit made in versa X.24 which has been heard by Carudatta with great pain. Hence (a) i s preferable.

44. MK. X. 34

(a) evasvabhavena, (b) s/ivastlbhavena.

Hare (a) means 'by her own good nature'. The idea is that tha stigpa say ba removed by Vasantasani 'd ir e c t ly makigg such a declaration herself'. But that is absurd. But (b) implies tha force of a benediction. Since Vasantasena is

8 Karmarkar, MK, p. 494 182

It supposed to have retired to toe other world, (b) is more appropriate.

45. MK. X. 39

(a) saayagrrstih, (b) dronavrstih.

Here (b) is preferable, because of being in full conformity with MX. X.26.

46. MX. X. 48

(a) rijyam balareriva, (b) "adhyam balarerira.

Here (a) is preferable, because that will give the idea of the klndgoa of Indra more distinctly and also the beauty of a latanuprasa alaakara. CHAPTER V

THE PARALLELS OP THE INDIVIDUAL VERSES

I* ^stiLiLfliC—EeCeULSiLe

Nhat is meant bp the term parallel here is a composi­

tion of a decidedly earlier age from which the poet of the

MK might have borrowed ideas or even the wordings.

Q.P. bandargikar has discussed and cited the parallels between Kalidasa and Asvaghosa in as many as 33 pages. In

this connection he has shown the sim ilarities of ideas a t well as expressions. It is interesting that the aforesaid

authority has gone even to the extent of tracing the sim ila­ rity between such expressions as "pavanapathsna yathigatam jagama". (Buddhacarlta. 1.85) and "yathigatam m atalisarathi- yayau" (Raghuvamsa, 3.67) where the only common element is

the word y&thaga.tW .

In the follow ing pages we are presenting some cases where the sim ilarity is more striking) particularly in res­ pect of the ideas. Such parallels go a long way for giving an iaea about the extent of the learning of an author concer­ ned. Tne same data may also be used in most cases for deter­ mining the relative chronology of the w riters. Hence, certain cases of more convincing sim ilarity are presented below, leaving aside the cases of remote and casual sim ilarity.

1. Nandarglkar, The Raghuvamsa of Kalidasa, Introduction, PP. 163-195. ]34

1. MK. IX. 43

" visa-sallla-tulagnlprarthi ts as vicars" and YS.II.95. _ _ . / — / " tulagnyapo visas koso divyaniha visuddhays."

2. MK. Till, l

"nltyaa jagrta dhyanapatahena" (chaya) and KU.III.i4. "uttlsthata jagrata prapya varlui nibodhata". Also coapare bG. 11.69. "ya nisa sarvabhutanaa tasyaa jagrati samyaml."

3. MK. 71. 18

"tyajatl klla taa jaya^rlrjahatl ea altrail bandhuvargas ca bhavati ca sadopahasyo yah khafei saranigataa tyajatl." and Bamayanat Yuddha Kanda, 18.27-31.

baddhanj alipu tam din am yacantam saranagatam, na h anyidanr samsy ar th am api s'atrum par am tap a. 27 "arto va yadi va drptah pares am saranaa gatah arlh prananpari tya&ra raksitavyah krtataani. 28 sa csdbhayidvi mohadva kaaadva’ pl na raksati svayi s'aktyi yathanyayam tatpapam lokagarhltam 29 vinaatah pasyatastasya rakslna saranam gatah adiya sukrtam tasya sarvangacchsdaraksitah 30 oram doso aahinatxa prapanninaaaraksans asvargyancayasasyait ea balaviryavi^nasanam 3 i and HE, Santiparva, 146, 5-6

aravapyucitaa karyamati thyam grfcanagate cha ttuaapyagate chayaai nopaawharata drunah. 5 /aranagataaya kartavyanatithyaii hi prayatnatah pancayajnapravr t t « a grhaathana visesatah. 6 t * ♦ »

4. MK. X.55

"satruh krtaparadhah saranamupetya padayoh patltah sastraaa na hantavyah upakarahatas tu kartavyah." and RaaaVana, Xuddha Kanda, 18.27-31, and Santiparva, 146, 5-6^both quo tad under 3 above.

5. MK. 1.14

•nirbuddhih ksayasetiN and £G. 11.63. "buddhinlsat pranasyati."

6. MK.VIII.24

"pa^yanti nan das a diso vanadevata^ca candrasca dip takiranasca divikaro'yan. dharmanllau ca gaganan ca tatha'nta'Kfcarabia bhuaifi tathd- sukrtaduskr tasaksibhuti." and MS.VIII. 86.

11 dyaurbhumir apo hr dayam candriurkagniyamanilah > ratrih aandayd-ca dharaaaca vrttajnah sarvadehinaan is 186

7. MIC. IX.43 " ...... pataai narakaaadhye putrapautraih aaaetah" and Maniwihias 71X1.128. "adandyan dandayan raja dandyamacairapyadandayan. ayaao aahadipnoti narakancaira gacohati."

8. MIC. 71. 17

"bihuh ■ ■ ■ ». bh.Tt.y,tl« and Shlsa'c Pancarltra, 11.55 "sahajo me praharanaa bhujau pinaaaakoaalan.n

9. MK. 71II. 15

"vraabha Ira raraatidlta" and 4 • * » Bhasa'a Abhlaeka. 71.10* "▼ibhanti riana aaadya varldhira v rin yatha."

10. MK. 7II. 5.

"karikarasanabihuh" and Bhaaa' a Madhraeayyayoea. 1.6 "karlvara-karabahnh."

8* PtP 7fT lti- In the Carudatta thara ara 4 Acta and In tha MK there ara 10 Acta. In die Carudatta there ara 57 reraea dlatrltutad orer 4 Acta. Tha parallel yeraes of the four Acta of the MK and the Carudatta are the follovinga s 187

MK2 - 1.9 3= Carudatta3- 1.2 yasaa b a lih ......

MK - 1.10 3 " . 1.3 sukhMi hi ......

MK - 1.13 3 M 1.5 satgraa nt m ......

MK - 1.17 3 " 1.9 Ida trail bhayana ....

MK - 1.18 3 H 1.8 Ida yaati ......

MK - 1.22 SB " 1.11 Ida trail ......

MK - 1.30 3 " 1.16 aai kkhu ......

MK - 1.31 3 M 1.17 tarunajana......

MK - 1.33 3 " 1.21 ~alokarisala......

MK - 1.35 a " 1.18 kaaaa pradoaa ......

MK - 1.40 3 " 1.22 as a hi rayaso......

MK - 1.41 3 " 1.23 asa hi ras^fu......

MK - 1.46 * " 1.26 s ajaadridhanaa ......

MK - 1.54 3 " 1.27 a v ijn a ta ......

MK - 1.57 a " 1.29 udayati hi ......

MK - III .3 a Carudatta. I U . l utkantfritaaya......

MK - III.4 3 " I I I .2 raktaai oa ......

MK - II 1.6 a " I I I .3 asau hi ......

MK - H I.8 a » I I I .4 iyaa hi nidra ,......

MK - III. 9 3 " I I I .5 krtra iarira-parinaha ....

MK- I I I .11* « H I .6 kaaaa nicamidaa......

MK- I I I .12- " I I I .8 dasah ko nu ...... 188

HK - III. 14 * Carudatta. III. 10 adyisya bhittisu ..

HK - I I I . 18 = " 111.13 n ih sv a s& y a ......

HK - III. 19 » « 111.14 dhigastu khalu ....

HK - I I I . 20 a " I I I . 11 mar Ja r ah plavane . .

HK - III. 24,V 43 « N 111.15 kah sraddhaayati

HK - III. 28 * " I . 7 vibhavanuvasa . •

M& - If. 7 a I f .2 ayah t a v a ......

MK - If. 8 a I f .3 Visidasrasta ...

HK - I?. 9 a I f .4 tvatsnaha ......

That a ara the parallal verses aa wo fin d in tha HK2 and the Carudatta*3

Tha above verses ara similar almost word for word, and i t may be presumed that Sudraka borrowed these Terser from fihasa’ s Carudatta which is an earlier work.

Parallal passages of tha pre-epic and epic texts as wall as those of the other pra-^udraka classical texts, as noted above, may be regarded as sources of similar passages in the HK. Sudraka evidently lived after the production of those ancient texts and presumably had due fam iliarity with these writings.

2. Kale, H.R., Sudraka1 s HK. 3. Ray, K.R., Carudatta. 139

3 . Go fit wpgr mto \jg f u i m i

Sine# dates o f both K ilid isa and Sudraka ara y et not convincingly determined and tinea Kalidasa is silsnt about Sudraka, ve nay suppose that both vara to some ax tan t con ten- porary. This as snap tion w ill perhaps account for Kalidasa's silence about Sudraka, for, rivals usually do not taka each others name.

— — lha sim ilar passages o f Kalidasa and Sudraka may, therefore, be considered parallel in the real sense because none can be treated as indebted to the olher.

Such passages are as follow s i

1. NK and AbhiJnana-sakuntala

A. MK. XV. 19 and Sak. V. 22, ve find the following similar I ty In MK. XV. 19, ve find, "striyo hi nima khalveta nisargadeva panditah" etc. which means women are very clever by nature, but the cleverness is obtained by man after going through the Sistras. Similarly, in £>ak. V. 22. ve find "s triha*aslk- sitapathtvam" etc., which has the same idea.

B. MK. VXX.3 and fifak. V. 22

Xn MK. VIX.3, we find, "parabhrt^iva nide raksito vayaslbhlh".

✓ ^ Xn Sak. V. 22. ve find the line, "svamapatyajatamanyairdvi- Jaih parabhrtah khalu posayanti” . The idea is that the Cuckoos have the habit of getting theiji eggs hatched by crows. Both the ideas are similar. 2. ■ MK.j a l .ayg.iB.gIY.lil A, MK. 1. 10 "sukham hi duhkhanyanubhuya sobhate ghanandhakares- viva dlpadarsanam" and 7ik, III, 21 "yad evopanatam duhkhat sukham tad rasavattaram."

B, Similarity of idaa batvaan MK.7.38 and 71k, II1 ,20.

. _ . A C, MK.IX.24 " jalam kulivapat«ia prasannam kalusyata" and 7ik, 1.9 "ganga-rodhahpatanakaluaa gacehatLvaprasidan." Hara the similarity batvaan pra«ann— and nraaidam is parti­ cularly no tavorthy.

1. Mgl ITIH tff 8

MK. 17.13 "raktalva hi rantavya viraktabhava tu hatavya1 and MA.III.i5 "paraspara-praptl-nirasayor-varAm sarlranaso'pi

■n _ samajfturagayoh"

4. MK and Kumar as ambhava

A. MK.I.i "paryankagrantfclbandha" ate. and Kum.III. 45 "paryankabandha- sthira-purvaklyam."

B. MK.IX.16 "na hyakrtih susadrsmi vijahati vr ttam" and Kum.7.36 "yad ucyata parvati papavrttaya na rupam ityavyabhiciri tad vaeah." Here the similarity of idea is notable. m

C. MK. 10.68 "ha, preyasi preyaai vidy amine ko'yam katfcoro yyaraaaya la lt ." and Kun. IV.45 "mandlcakara marana-vyavasaya-buddhim,n Hara the similarl ty due to the usa of the word iy«iiaiy.» in a aimllar con tax t la notavorthy.

5 . and Hegha4H ti

A. MK. i.i3 "bhigyakramena hi dhanani bhavantl y in ti." a.** • O'-46 "y J L C .-.I t*3 C- C~C fp A .’T’ l £~ A. Jt.m./i'ck. “ «_■+-£_ - £>. and Magha. 11.23. "utsarige ra nalinavaaane saumya nikaipya ^ (MIC- Ui - 3 - " 5T vi-r1 ^h“c^4-^ V- >■ , yAnme" ate. for similarity of idea.

6. MS.«nd.Btaiiifaasm -k MK.V.17. "pavanacapalavegah a tilladhar aaar aughah

8 tani tap at ahanadah apaatavidyut-patakah harati karasaiuha* kha sasanasya megho nrpa Ira puraaadhye nanda-viryasya satroh."

and RS. II . 1. " s^ikariabhodharama ttakim j ar aa tadi tap atako1 sani- sabdamardalah s am ag a to r i j avaduddh a tady u ti r gfa anigam ah kaaijana- priyafcjpriye." for presenting the cloud aa a king.

0 MK. VI. 6. "laksmir yen a na rajnah prabhavati got ran tar a* gantum" (chaya) and Mudririkaaaa. VI.5. ” ucchlnnisr ayakat a- — . f —1> rera kulata gotrintaraa srijlgata." CHAPTER 71

TREATMENT OF EODRAKA’ S VERSES IN THE LATER ALAMEABA WORKS

/_ Ihe verses of Sudraka are fa ll of Alankiras and a few of thsm ara quo tad under various con tax ts in some of tha later

Alankara works, via, Karaadarsa of Dandinj Eatvaprakiaa of

Mammata; fiihlflCiflm iBi of 7isvanlthaj UjBkREdllEIUXl of

Rtqryaka; Laghuvrttl o f Pr a tihirendurej a on Kivyilamkarasara- iftagrahk Of Udbhataj KjTTfll Of 7iaanaj

Kayyapradipa of (bvlndaj KuTllim iftfll ®»d also CltTM iliM li o f Appaya diksita, Karvahusasana of Hemacandra and Aral oka on

PaaaTMBaEa Of Dhananjaya.

In ME.If34, va find thta following verse s

limpattva taao'ngani varsatIvanj ana® nabhah :

asat-purusaseveva drstArylphalatam gate si

Tha translation of tha yarsa is t "Tha darkness is as though besmearing tha limbs; tha sky is as though, showering forth

(black) collyrium; the aye sight, like service of an unworthy parson, has become fru itless."1

This is an example of Smasrstl of Upami and Utpreksa.

It is an important versa and it is quoted also in tha follow­

ing alamkara works t

1 Karmarker, R.D., ME, p. 24. 1 * Xavyadarsa o f Dandin * I I . 2 3 3 6 A (only the first half i s quoted)

2. Kawyadarsa of Dandin - 11.362 (whole Terse) * r 3. Laghuvr tti on Karyalnk&rasarasaa^raha - 1.30 of PratLhar«idur£3a 4. iiixaraafcjgl of Mamma ta - X.4l8 and X.570 5. A1 Mlc»r« e arrisv of Ruyyaka - (quoted twice) 6. iMTflJliyittIBfa of Appayadlksi ta 7 . Xavvanu^asana o f Hemacandra 8. Karrapradipa of Gorinda (twice) % 1* In Karvadaraa II. 226, the first half of the Terse MX.i.34 i s giTen as an example o f U tprsksa. In Xixxi&SULftt 11.362 the whole Terse is giTen as an example of Samsrsti. Here there is tftpreksa in the first half and Up am a in the second h a lf.

2. This sloka, 1.34 of HK, is again quoted by PratLharendursj

in his Laghuwrttit on Udbhdta's • gmrTilfilm sutravr • tti. I.3C. In this connection Induraja mentions Dandin by name and says that the latter had giTen this Terse as an example of Utpreksa.

3. In Sahltya^lTBlBlt X.45A, we find the first half of the verse MK 1.34 as an example of Utpreksa. 4* In Karaaprakasa. X, this vers* is firs t given as an example of Utpreksa. fhsn this vers* is given again as an example of Samsrsti of two Arthalaakiras. viz* Upaaia and Utpraksa. * * . 9 •*

5* In Alamkarasarvasva of Buyyaka, under the context of Utpraksa, the f ir s t half is said to have Upama* Again the sane verse is quoted in Alamkarasarvasva under the context o f the Samsrsti* •’ • as an example of tne Samsrsti » *■ • of Upama and Utpreksa.

. -i- “ f 6* In Kuvalavananda of Appayadlksita this verse is giv«i under the context of Samsrsti.

7. In Cltraaimaasa of Appayadlksita i t is given as an example under the context of Utpreksa*

8. In Kaw anus as ana of Hentacandra i t is given as an example

of Samsrsti*» * •

9* In Kawapradlpa of Qovlnda i t is cited under the context of both Utpreksa and Samsrsti.

In MX* X.12, v* find the following verse s

•makhasatapariputam gotramudbhisl tan me sadasi nibidacai tya-bramhaghosaih pur as tat > mama maranddasiyaa vartamanasya papal- stadsadrsaaanusyairghi^syate ghosanaylm t in 195

The translation of tha verse la as follows t

"My family nama (which was) sanetifiad a ll round by (the parforaanca of) hundreds of sacrifices, and formerly glori- fiad in sacrificial assemblies, with the loud continuous racitation of the Tadic hyuna at tha sacrificial fines is being proclaimed in the proclamation by sinful and unworthy parsons whan I mi standing at death's door," s

This worse is given in the Avaloka on Daaarupaka In tha context of Prasanga, which constitutes a part of tha N lrvahana-s andhi. Thus we have s

JSSEJUldMtiyHUW-JUuUjIBKflb (DR«It46c)

xxx tathi mrcchakatLkay am — ' candalakah — asa sagaladattassa suo ajJavinaadattassa nattu caludatto vavadidum vajJhatt^hanaa niadi adana kila gania vasantasena suvanna- lobhena vavadidatti'

carudattah <—

makhasatapariputam go tram udbhasitam yat sadasi nibidacaitya-brahmaghosaih pur as tat t mama nidhana-dasayan vartamahasya papai- s tadasadrsamanusyair ghusyate ghosaniyam st ityanena carudat.ta - vadhabhyudayanukulms prasahgld gurukirtanam l t i prasangah. (Avaloka under DR.I.46c)

This versa is again quoted in the Avaloka on DR.II4A under tha context of tha dhirasanta variety of nayaka. Cf.

2. Karmarkar, R.D., MX. p. 296. 136

smaanyagunayuktastu dhirasinto dvijadlkah (DR.II.-4A) xxx yathi m^atinadhava-areehakatikadau madhava-carudattadih xxx

yatha va —

'aakhasata pariputasi ...... - - - - gho.anajra.' (AYfllfliU ™aer DB.II.4A)

This verse X .12 is found also in SD.TI as an example o f Prasahga, with sligh t diffaranc as. In tha fir s t oar an a of tha r n ia in MX va find i f as tha la st word, but in SD *• find yat instead of it* 1m tha third oar ana va find marana- daeayam in MX, but in SD. va find nidhanadasayan • Bthervise, tha whole sloka is same.

MX.1.9 seems to ba quo tad in tha Ka*yii frr vr tti undar tha sutra 5*1.3 as providing an axastpla o f an admissible recognition o f a padantalaghu as guru. The quoted versa is *

y'asMD balirbhavatl madgrhadehalinaan . / ^ QCL- / — hamsaisca saraf anaisca vilup tapurvah * tasveva purvabalirudha-yavinkurisu bijanjalih patatl ki tmukhavalidhah **

Vam an a does not name the author o f this versa. This verse occurs also in Bhasa's Cirudatta. Thera are soma differences 197 of reading of this verae with those of Carudatta and MK. Sudraka aa an author waa known to Yin an a, who, under the context of Slesa a ay a s "audrakadlracltesu prabandheau asya bhuyin prapanco drayate" (under autra 3 .2.4)* Moreorer, another quotation i . e . , "dyutam hi name purusasya aslahaeanam rijyam” (under autra 4.3.23) ae«aa to be definitely from the MK. Aa auch the verae "yasa* balih" also could hare been from / the MK of Sudraka. let scholars like A.D. Puaalker opine that the a aid verse agreea more with the Carudatta than with the MK.3

I t may be noted here that the verae "llmpatlva tamo'h- gani" also already occurs in Bhasa's Carudatta. Hence, when we take Carudatta to be an earlier play, there la hardly any justification to call the above verae a quotation from MK. Thus we are left with only one verse via. "makhasatapariputam" etc. quoted from the MK. This la rather intriguing that when there were hundreda of beautiful verses in the MK, it did not find a proper representation in the later Alamkara literature, The cause of thia paucity of quotations from the MK may perhaps be conjectured aa follows t The Alamkara works were also some so rt of text- books meant for being studied in the traditional pathasalaia. Presumably that is why the Ranker a works found i t convenient to give illu stratio n s only from such Kavya works which were more fam iliar to the

3 Puaalker, jfopgg. .A ..fitedy , P« 166 198

— r / — * A students of the pathasalas a* text book*. Perhaps becaus# of

the Importance given to a ganika the MK vac not fowid suitable for being prescribed as a text book for the pathasalas and that is ihy there is such a paucity of quotations from this book.

4 . C f. the popular saying s raghurapi kavyam tadapi ca pathyam t tasyapi tika sapi ca pa thy a »i 0 * CHAPTER 711

THE MISS SATIN OS

t o

W ise saying*, l.e . m axim s and proverbs ware very

popular in a ll parts of India froa U na im m em orial. These

con st! tu ta the n ltl literatu re froa the an cialt tlaas. these

vara collected usually in the so called jtib h iilta -«g jg rtoll» *

M onlar U llllaas describes these vise sayings as — "the n ltl

lltaratu ra, a store house of p ra ctical good sen se." Katha

vorks are the store houses of vise sayings. In d ifferen t

aniaal stores also these sayings are included.

The Sanskrit, vise sayings are very popular in a ll parte

o f In dia, i.e . the South, N orth, w est and E astern region s.

The Dr a vidian cu ltu re is also in flu en ced by the S anskrit vise

sayings. The litera tu re of Southern India is also influenced

by the Sanskrit vise sayings

Through the P ali language, the L okanitl or the popular

m axim s also becane knovn in the loca l languages of South E ast

A sia. This litera tu re vas also spread in Sum atra, Java and

B ali. Subhasitas occurred also in the cultu re of South East

Indian States by being prevalent in the H indu Kingdom s eith er

in the form of the in dividu al vise sayings or in the form o f

1. 'Sanskrit N iti literature in Greater India',

In d ia's con tribu tion to W orld Thought and C ulture,

P . 3 3 . aoc the S^hifiu-gawirabagt translated into the language of the local people. A subhtsita contains a vise saying relating to dharaa, artha, kama and moksa, or in oilier words, relating to niti and dharaa. Miti would include rajanl ti and indivi­ dual good conduct also.

In me MK Ve find a nuaber of v ise sayings in me verse portion. The MB is the ultimate source for most of the vise sayings that we find in the later classical Sanskrit literature including MK. frftj&JEt.. JE HflEUBI. .13 .tfet M*2

/ 1. f unyamaputrasya grhan e e e 1.8 2. Bukhara hi duhkhanyanubhuya sobhate 1 .10 3. Daridyrad maranad va • • • 1.11 4. Bhagyakraaana hi dhanani • . • 1.13b

5. Dari dryad hriyameti • • e 1.14

6. Nivasascintaya ^ • e • 1 .15

7. fap as a manasl e e e 1.16 8. Darldryad purusasya - - Sambhabyate 1.36 9. fangasi naive Mahapatakam 1.37

10. Me duggadottl • e e 1.43

11. Alane grhyate • e • I.SO

12. Yada tu • e • 1.53

2 In this list, however, only a few Initial words of the verses concerned are given. 13. 7ahudosa hi sarrarl .,• . • 1 .58d 14. Y« atna-balga • . n . i 4 15. Satfcaradhana khalu • . 11.15 / 16. Suane khu . . XII.1 17. sWsa palakka . . I I I . 2 / . - _ 18. Sankanlya hi • . III.24cd 19. Ataabhagyaksata . . 111.27 20. lha sarvaavaphall^a/- . . iv .io 21. Apandltasta purus a • . 17.12 22. £tri*n na ragah • . 17.13 23. Kta has anti • . 17.14 24. Saaudrayiciva . . 17.15 25. Na parvatagre • . 17.17 26. Strlyo hi nama • . 17.19 27. gunasveva hi • . 17.22 28. Gunesu yatnah . . 17.23 29. Dvayamldamatlva . . I7.25ab 30. Earvatra yantl • . 7. 8cd 31. Dh analrvlyuk tasya . . 7.40 32. Paksavlkalasca pakgl • . V.41 /_ 33. Sunyairgrhaih . 7.42 r . - * 34. Sankanlya hi lokesnin . . Y.43cd 35. fyajati klla • . 71.18 - 36. bhida^aappadanaa • . 71.19 / . 37. barn j eamadha • 7 I I I .1 38. Kin kulanopadls tana • . 7111.29 202

39. Viyiktayiaraabharaaa • a • V III.30d 40. Sucari taearl tan • • • VIII.32cd 41. Yatnana sa ri tavyalk • a a VI11.33 42. Hattaaaajddo • * • V III.47 43. Kia kulana • • • IX. 7 44. Hagaau gosu • a a IX . l6cd 45. ChidrasyanartbiH, • a a a lX .26d 46. Saccana auhaa a a a IX.35 47. Nrnia lokantara ~ a • a IX.42a 48. Sayva khu , a a a IX. 15 49. Paro'pl bandbu^ a a a X.I6cd 50. Abhyudaya ayaaiha a a a X.19 5 i. Ja abhibhavanti • a a X.22ed / 52. Satruh krtaparadhah a a a X.55 53. Kupayantra-ghatika a a a X.60d That a y in aayinga ara uttarad by tha character* y iz., Carudatta, VasantasaniT, Sutradhara, Vidaiaka, V ita, Cata, Saryilaka, Aryaka, Bhiksu, Judga and Can dal a».

Spaakar-vlia Distribution of tha via a a trine a

(1) Sutradhara - 1.8 x i

(il) Carudatta - 1, 10, 11, 13b, 14, 15, 16 , 36, 37, 53, 58d, III. 24cd, 27} 7. 8ed{ 40, 41, 42, 43od) IX. 26d, 42} X. l6od| 55, 60d s 22

( i l l ) Vidua aka I . 43 s 1 203

Civ) f it s - I . 50; f i l l . 29, 30d; IX. 7 * 4

(v) Saavahaka - II* 14, IS > 2

Cvi) Ceta - III■ • 1, 2 * 2

(▼ii) Sarvilaka - If* 10, 12, 13, 14, 15, 17, 19, 22, 23, 25ab = 10

(v iii) Aryaka fl* 18, 19 * 2

(ix) Bhiksu f n i . 1, 47 a 2

(X) fasantaseni • flII* 32cd, 33 * 2

Cxi) Judge - IX* l6ed, 35 * 2

(x ii) Can dal as - X* 15, 19, 22 8 3

A i m qX..tfai wlfit m iiifg

The sub,j ect-»atters o f the various vise sayings *ay be roughly enlisted as follows >

(1) Description of poverty - I. 8, 10, 11, 13b, 14, 15, 36, 37, 43, 53) III. 24cd, 27; V. 40, 41, 42, 43cd.

(2) worship o f Qod - I . 16

(3) The secret o f winning the - I. 50 heart of a vossn

(4) Superiority of character - fill* 2t, 32B; X* 7b

(5) The virtue of hospitality - II* 15 H04

(6) Praise o f a i u t v - I I I . 1

(7) Aspects of hum nature - II. 14} III. 2 } IV. 19} V. 8ed| VI. 18, 19} V III. 33 ab 47} IX. 16} X. 22, 55, 60

(8) Denouncement of wonen - IV. 12, 15

(9) Denouncement of the harlot - IV. 10 , 14, 17

(10) Praia# of virtues - IV. 22, 23

(11) Lot# for vif# and friend - IV. 25ab

(12) Bellgious merit - VIII. i

(13) Greatness of truth - IX. 35

(14) Evil# of night - I. 58d

(15) Enjoy ability of love - IV. 13} VIII. 30d

(16) Mis for tuna and fata - IX. 26d, X. 15, 16B, 19, 60

y i»»‘ »«yinKa

(l) Description o f Poverty

Thar# ara 16 visa aayinga yhieh daacriba poverty. These ara the sayings of Sutradhira, Carudatta and tha Vldusaka. Their spaaehas ara conspicuously characterised by observations on poverty. The verses I. 8, 43 and I I I . 27 ara spoken by Sutradhara and Vidusaka respectively and I . 3b, 37, 53, and I I I . 24cd, 27} V. 42, 43 are spoken by Cirudatta. ^05

The author of MK describes Cirudatta as a kind hearted person who was once rioh) but due to charity be becoaes poor and he always thinks that he is very weak in the sense that he has not enough none? to help others. A verse spoken by

Sutradhara is as follows *

"suhyaaaputrasya grhu cirasunyan hast! yasya sanmltraa i

aurkhasya disah sunyah sarraa sunyaa daridrasya n 1. 8. this is a fine description of the aiseries - caused by poverty. jp In the society a poor aan is derived froa all things. Everybody tries to avoid hia because people are afraid that a poor per- son will ask for aoney. But this is the distinction of the MK. that the hero during his hard days is loved by all and not avoided by others.

(2) Warship o f thd

1.16, describes the worship of (bd as an unquestionable duty. It is the duty of a house holder to offer oblations to the deities everyday by his physical penance, aental inclin­ ation and spoken words. This should please the d e itie s , and there is no scope for any questioning on this score.

Deities are to be worshipped as a natter of duty.

Yet people worship with the hope of deriving soae iaaediate result. But Carudatta never thinks that in return, Qod should give hia wealth. And thus in his days of eeonoaic hardship, he does not fail to worship the - deities. (3) The secret of winning the heart of a woman

1.60, "alane grhyate hast! vitfi valgasu grhyate s

hrdaye grhyata n ari yadidam nasti gaayatam si

The idea is that a woman nay be won over hy loving her by heart and not by force, true love cannot be artificial. A cruel person is a heartless person. He can do anything and a l l rough things are committed by him. Sakara is o f such type.

This verse is spoken by V ita to .Sakara. Sakara is a cruel person who is willing to gain Vasantasenabut fails. Vasantasena is never fond of hia though he is a rich person. She always tries to avoid hia. Though Carudatta is poor, yet his genero? ity always attracts her and she is always willing to have intiaacy with hia.

JSllfijSLldUyLJ0^^iLlL*fillUUEJBd8jt8C

VIII. 29, 32B and IX.7. The texts of VIII. 29 and IX.7 are the sane, tdiile the earlier verse is spoken by the Vita of

Sakara, the latter is spoken by the Adhikaranika. The purport of the verse is that character is superior to a high birth.

It is the good character that counts more than one's birth in a celebrated family. In 32B, Vasantasena tells Sakara that

'the bees never abandon a lotus of graceful actions and pure font' thereby suggesting superiority of character.

3. This verse is included also under the category of "Aspects of human nature". (5) Zftg yirtw ? a t JiPAgliteUtar

II. 15, this statement concern* good hospitality and good entertainment offered t» the guests Irrespective of their status. I t describes die hospitable nature o f a good parson. Bae plain meaning o f the Terse Is — "A good nan's wealth really consists In his hospitable nature} (otherelse) who does not possess riches which are transitory? He who knows how to respect (others) knows also (l.e ., can appreciate) the signi­ ficance of the respect (paid by others to hie)."4

(6) Pffllge gf g iftittr

III. l. This verse describes the quality of a good master. Here Ceta, the servant of Carudatta, refers to his master as a good man. Due to his kind and ad able disposition the hero is loved and respected by a ll. So even in his hard days he Is loved and the Ce$a always roialns with him. In this world man always avoids a poor person, but the case o f Carudatta was exceptional.

(?) Affgttti Qt hmm aatturt

The purport of some of the verses dealing with various aspects of human nature Is presented below * 11.14. One can perform his own duties knowing his own strength. I I I . 2. I t is not possible for a person to restrain another from his nature.

4. Kale, H.R., MK, p. i9i 20b

If he is attached to a lady illegally he cannot be restrained fro* it, Just as a bull who is greedy of corn cannot be rest­ rained;

"nagesu gosu turagesu tatha naresu s na hyakrtih susadrsam vija h a tl vrttam :;

X.16B, "Even a stranger is ( l.e . behavesjlike) a rela tive towards a person in normal circumstances; but no one be friends a man whose circumstances are reversed." Cf.

paro'pi bandhuh samasamsthi tasya mltram na kaseidvismaas thi tasya

X.55, An enemy should be von by kindness. I f an enemy wants shelter and falls at the feet, he should be protected. It would be possible fo r a kind hearted person to pardon the enemy even though he might have suffered much from the enemy before. The enemy is to be punished not with a weapon but with an act of benefit* This vise saying, in fact, constitu­ tes one o f the most Important messages of the whole drama. A parallel of this idea is found in MK. VI. 3.8 also, and the present verse particularly echoes the spirit of the following highly celebrated vise saying of the Kahabhirata 1

aravapyucitam karyam atithyam grhamagate s chettuaapy agate chlyam* nopasamharate drum ah ss 7

5. Cf* Kalidasa's Sakuntala Act IV, "na tadrsa akrtivlsesa gunavlrodhino bhavantd*" 6. Kale, M.R., MK, p. 359 7. MB, SantL 156.5 (8) figagaBaaun.fc.flC. witn

IV. 12, 15, 16, Mbaen are not trustworthy; they move about at tortuously at famala snakes* They are o f unstable nature, they exhibit their passion for a short while and abandon the men when they become poor*

(9) Pgnp9ttcy»tht gf tht harlqt

IV. 10, 14, l7, In this world harlots love Money and not aen* They squeere out aoney froa the nobly- bom youths. The harlots laugh and weep for aoney; they are neither trustworthy nor they ever trust a man. A man of good character and high birth should neglect a harlot lik e jasmines blooming in burning ghats. Vibaen bom in the harlots' quarters can never be expected to be chaste.

(10) Praise of virtues

IV. 22, 23, are in praise o f virtues belonging to n man. Hen should always try to acquire virtues. A virtuous nan is truly happy in the world. Ivan i f he is poor, the virtuous never suffers in ^the world. Arieh person, who is not virtuous is always inferior even to a poor who is virtu­ ous. There is nothing unattainable by means of virtues.

(11) Love for frig id and wife

IV.25, People are exceedingly fond of two persons, viz, the friend and the wife. Here, only the first half of

* • 4 the verse nay be sorted outAsubhislta or wise saying. In ease o f many other t w i n also either of the two halves or even a single foot (carana) may be taken apart from the whole verse as a subhasita.

(12) Belleloui Merit

V III. 1, Everybody should have a check over his appetites and should reaain vide awake, i.e ., ever alert with the help of meditation. Because thieves in the form of senses steal away all the long stored religious merits.

(13) (freatam qL truth

IX. 35, The Sanskrit rendering of the concerned Prakrit verse is i

"saty«na sukham khalu labhyate satyalipe na bhavati pitakam. n«4iyni« ■nigh— khul li 1uiihjnrta ma satyamalikena guhaya"

The meaning of the verse is i "Verily; happiness is got by (tellin g ) the truth. By telling the truth one does not incur sin. Sa and Tya (truth) only two syllables (akshara) are these, but they are imperishable (akshara). Bo not hide g the truth by telling a lie."

8. Kale, M.R., MK, p. 345 212

( i d )

I,58d, As stated under No, II above, hsrs the snbhisita

Is formed by only one foot of s verse, vix ., "bahudosa hi sarvari". (A night Is fu ll of many erlae*, l.a., H ie n i g h t gives scope for coma! ttlng crises),

(is) &Uoy iEU1.sk. s£.,.lqys

IV .13, (Undue) love should not be shown to women; women disrespect a man who is (over) attached to then. Only

that woman should be loved who is h erself In love; but one whose heart is cold should be le t alone,”

VIU.30d, The wise saying reads as "vivikta-visram bha- raso hi kamah" and the plain meaning is "Erotic intimacy becomes enjoyable only through the confidence born of p r i v a c y , M

(l®) spd I its

IX.26B, "evaa aanusyasya vip attikale ohidresvanar tha b ahull-bhav an t l.M (Bo, in time o f calam ity, a man's trouble m ultiply when there are weak p oin ts),3*0 Here, however, the second part of the quotation, i«e ., the last foot of the verse, 'chidresvanarthi bahuli-bhavanti' appear to be more in the form of a subhasita, convenient for being cited in any suitable context,

9. Kale, M.R., MK, p. 146

10. Kale, M.R., MK, p. 335. 213

X.i5, The purport of the vers* Is as follow* * "All p«opl« become in tore* tod in fro v*ll being of the affluw t person*. But it 1* difficult to find on* who would show kindness to s nan who has lost his for tune."

X.16B, "Even a stranger behaves like a relative towa­ rds a person in normal circumstances, but no on* befriends a ^ nan whose circumstances are reversed.

X.19, this verse is concerned with the course of fate . Jhe meaning as given by M.R. kale i s uUhch*ok*d in its course, like a female colt broken loose from the reins, Fate verily cones (thundering along) in pursuit of a man, by day and by night, in prosperity as well as in adversity."12

X.60, This is the concluding vers* of the drama, if we do not take the Bharatavikya into consideration. Oils verse on the working of Destiny embodies another very import­ ant message of the play, the meaning as given by M.R. kale is as follows *

"It map ties some and fills others; some it raises up and others it causes to go down; whit* some it keeps in (anxious) suspense; thus bringing home to the people this course of the world which consists of opposites mutually meeting together, does Destiny play with all creatures,

11. ibid, p. 359 12. Ibid, p. 363 214 being bent upon following the a axle of "tile water-wheel and the buckets."^

As the concluding observation of the hero, the original also deserves to be quoted in this concluding part of the present disserts^tion. Hence cf.

"kamlci ttucchayatl prapurayati va kaascinnayatyunnatin

k^amsci tpatavidhau karoti ca pun ah kins elnn aye tyikulan t anyonyaa pratipaksasaidiatiniaiai lokasthltla bodK^y^- nnesa kridati kupayan txaghattkanyayaprasakto vldhih : i" • * « >

The vise sayings quoted and discussed above are culled only froia the verse portion of the play. In the prose portion also there are nany other vise sayings. In the verse portion also there are some more utterences, loaded with vise observations on aorality and various aspects of the practical world. But yet the present list has been confined only to such utterences which oould occur also in an Isolated fora being taken away from the respective contexts of the drama, liven, whatever is given here goes a long vay to show that wudraka had a deep insight into many facets of life and fcnowle^jtf »-f 7ns. ri y />'£>» . T k U -km a profound and intimate^deserves a mead of encomium as one of the greatest poets of the world literatu re.

13. Ibid, p . 407 216

Here m question may arise as to how the wisa sayings help in tiie recognition of a particular poet as a great poet. It is an accepted principle that a drama is reoognlsed as a successful dr ana when it is found to be rich in action and suspcnee and as a good piece off Kivya or art when i t is experienced to be rich in rasa or aesthetic appeal. But it is also a fact that "the same good art may be a great art if the contents be of a higher order. The greatness is undou­ btedly due to the instructive aspect of the kavya ...... 1,14 This is why, in order to be recognised as great a drama is expected to contain some wise sayings and invariably to convey a total message o f universal truth or ethical import­ ance. And this is how a good art rises to the level of a great art as suggested by Valter Pater in his Cf. " ...... the distinction between great art and good art depending immediately, as regards literature at all events, not on its form but on the matter. Thackeray's Esmond, surely, is greater art than Vanity Fair, by the greater dignity of its interests. It is on the quality of the matter i t informs or controls, its compass, its variety, it s alliance to great ends, or the depth o f the note of revolt, or the largeness of hope in it, that the greatness of literary art depends, as the Divine Comedy, Paradise Lost, Les Mlserahles, the English Bible are great art."15

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