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IV. Vidūşaka finds the king anxious about heroine's worries whether king's love for her would remain firm, whether she would have a meritorious son, and whether she would deliver happily. The king has assured her duly. Vidūşaka cuts a few jokes with him, and getting the necessary details he assures him that the period of pregnancy is full and that she would certainly deliver a son. The victorious minister Dinḍīraka arrives. A garbha-nāṭakā composed by Pārijāta-kavi is staged. It is shown how Dindiraka leads a fleet, how the demon Vibhaṇḍaka is overpowered and made to run away by a sudden terrific uproar, and thus the victory was won. The king is highly pleased with this triumph, and is almost ready to give his kingdom to the brave minister. Just at that moment the report of the birth of the prince is conveyed to the king. By eating a miraculous herb sent by her father Candavega, Anandasundari is quite hale and hearty. The queen enters accompanied by heroine with the child and attendants, and congratulates the king on the birth of a prince. The queen names the prince Ananda-candra and puts him on king's lap. Bards greet the king; and the play ends with a significant Bharata-vākya.
INTRODUCTION 14 $42000
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Ghanasyama almost vies with Rajasekhara in composing a Saṭṭaka; it must be said to his credit that he has a sufficiently independent plot; and excepting a few echoes of expression, he borrows very little from the Karpūramañjarī. The introduction of two garbha-nāṭakas is a peculiarity of the A.-sundari, especially because they represent episodes which are a part and parcel of the theme of the play itself. It appears from a casual remark of Vidūşaka that Ghanasyama believed that a Saṭṭaka without a garbha-nataka is positively faulty (apahasa-bhajana). Ghanasyama is more a Sanskrit poet; and some of his forms and expressions are so artificial in Prakrit that at times his verses become intelligible only after they are rendered into Sanskrit. That only shows that later authors lacked close touch with the genuine style of early Prakrit works and still finished their compositions mainly by studying Prakrit grammars. In this respect Visvesvara's expressions are more natural in Prakrit than those of Ghanaśyama. Rajasekhara and other authors do use certain Desi words. In a way the same tendency is carried to its logical extreme when Ghanasyama freely and studiously uses a number of Marathi nouns and roots: some of his usages are current even in present-day Marathi. To a great extent the interest of the reader or spectator of this play is sustained by the
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