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COMPR BHENSIVE HISTORY OF JAINISM
dramatic form to this subject and therefore it is practically impossible to stage this play. The conversation of the chief characters are artificial, and there are unnecessarily long sentences, which have destroyed the dramatic appeal of this play. The next drama, namely the Subhadraharana also called Subhadrā nāțika111, is a shorter play of four Acts, in which we have the romance of Bharata and Subhadiā. The heroine Subhadrā has been represented not as the sister of Vāsudeva and Baladeva, but as that of Nami, a Vidyadhara. The earliest treatment of tbis subject will be found in the Adipurāņa11% of Jinasera I. The playwright has consciously imitated the Ratnāvali of Harsha. But unlike that play, it is full of long sentences, which, as we have already said, are against the dramatic success of the play. The next drama of the author entitled VikrāntaKaurava 118 has six Acts and tells us the love-affair of Jayakumārs, the prince of Hastināpura and Sulocanā, the princess of Kāśi. It is also known as the Sulocană-nājaka. The play, once more, is based on the Adipurāņa story 114 of Jayakumāra and Sulocanā. This is a much better play and the poet-dramatist has shown some skill in dealing with his source-materials. The last play of the author is the Maithili-Kalyāṇa115 in five Acts, in which the romance of Rāma and Sitā has been dealt. The poet has followed the description of Sītā's svayamvara as given in the Paumacariyam116, Padma Purāņa117 and Paumacarij u. 118 However the hero and heroine are represented as meeting each other and exchanging sweet conversations before the actual svayarnvara, and the play, as a whole, is quite readable.
Another Digambara play right was Brahmasūri, whose Jyotishprabhārāțaka 19 was written in the 14th century. He was a descendant of Hastim alla and the story is partially based on the Uttarapurāņa (chapter 62); however the heroine Jyotish prabbā is practically a new creation. Two other works of this author are also known; they are Pratishthatilaka120 and Trivar nācāra. 121
