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Literary Works
swing and injured her foot; this may perhaps have been Gautama's trick; any way, the work came to Malavika; Dhärini promised her that she would accord to her wish if the golden Aśoka blossmed in five nights due to her effort. Gautama, however, had managed to take Bakulāvalikā, a harem maid and a personal friend of Mālavikā, into his confidence and asked her on the king's behalf to prevail on Malavika and make her respond to the king's love. The third act shows this beautiful, romantic scene of Aśoka-dohada-pūraṇa. Mālavikā comes into the Pramadavana, slightly puzzled but hopeful, and already entertaining thoughts of love for king Agnimitra. Bakulavalika comes with the personal ornaments of queen Dharini and decorating materials to give her assistance to Malavika. while applying the red lacdye to the tender foot of Malavika she opens up the topic of the king's attraction for Malavika and wins a confession from her of her love for the king, and also of the difficulties in her way. Bakulavalika gives her encouragement and promise of all help. The Vidusaka had brought Agnimitra to the scene and both were watching the developments from behind a creeper. As Malavika rises up to kick the Asoka with her decorated ornamented foot and fulfils the tree's longing, Agnimitra steps forward and begs Malavika to fulfil his own longing for her. The romantic scene of love is spoiled by Iravatī who jumps into the scene. As a matter of fact, Agnimitra had promised his younger queen Iravati to be with her to enjoy the swing in celebration of the Spring: Iravati had come to the royal garden with her maid, slightly drunk; had discovered Malavika near the Aśoka, wondered about it; but knowing the reason of the maid's presence felt a pang of jealousy too. Now, seeing her husband making overtures of love to Malavika she could not control her anger. She rushed forward and taunted Malavika and the king with words of bitter and jealous anger. The Vid uşaka was taken by complete surprise and could not think of any means of escape, except running away from the scene. The king, equally taken aback, tried to explain the situation away by bluffing and actually apologised to Iravati touching her feet. But Iravati was irate; she raised her fallen girdle to strike at the king, checked herself somehow, and went away in anger, predicting disaster like the fiery planet Mars. Malavika and Bakulavalika had already excused themselves and run away from Iravati The king and the Vidūşaka were left on the spot, frustrated and fearful of unknown consequences.
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They came without delay. At the instance of Iravati, Dhāriņi was compelled to throw Malavika and Bakulavalika into confinement in the cellar of the Samudragṛha, and the garden-keeper and guard, Madhavikā, was instructed not to set the girls free unless the queen's signet-ring was shown along with the order for release. Gautama has now to employ a series of tricks. The most important thing was to obtain the possession of the queen's ring. For this purpose he plays the hoax of serpent-bite. He pretends that he had gone to pick a few flowers for the queen for his visit to her when he was bitten by a poisonous serpent. When he is brought in the presence of Dharini he acts the part superbly, shaking all over, and requesting
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