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DECEMBER, 1916]
THIRTEEN SISWLY DISCOVERED DRAMAS TO BHASA
191
und sixth acts, and of the seventh act to a little extent. It is introduced in the very first act where it serves the purpose of the king being recognised by the maidens. Thus Kalielása is fully justified in giving the name Abhijñana-Sakuntala to his play, which means THAT TH"the work on [the story of] Sakuntali whose prominent feature is some token of remembrance." The name Mudra-Rakshasa, too, depends upon the pervading importance of the seal. The name Vikramorvasiya means, according to some interpreters," the work on [ the story of ] Urvari harir:g valour as its important feature."! It is justifiable because Purûra vas's valour releases Urval from prison. Its effect on the lovo of Urvasi is manifest in हला उअारिणं पिराएर्सि etc. (p. 18); काहि सो आवण्णाणुकम्पी भवे qu. 41); and he gufet FI RETTIST TOT tof surfer (p. 52). Also his valour is the cause of Indra's allowing Orvaļi's union with Purûra vas. (See pp. 72 and 148). In Mrichchhakatika the event of a clay cart has for its sequence Chârudatta's accusation, which resulted in speedy destruction of Palaka through the hands of Chårudatta's friend Aryaka and his party, and thus brought prosperity to Chårudatta.
Now to come to our subject, in the printed Svapnavâsavadatta, the Svapna, the scene of the fifth act has no striking connection with the main plot. It is introduced in an unexpected way and finished without manifesting any effect upon coming events. It is alsurd of the author to name his drama after such an unimportant event. If Bhavabhati had named his Uttara-ramacharita after Rama's union with the unperceived Sita in the third act, it would not be more absure than this designation. Though unimportant, it serves to safeguard Rama from falling a victim to a broken-heart. Here this event of svapna is introduced when the king's state of mind has become less acute, as expressed by the words " ** 3 4 9 9 :1". Besides this, Padmavati's unexplained absence from Samudragiha, and the event not being a dream in reality, are utterly unbecoming for such a highly praised drama as the Svapnavâsavadatta. Thus the author, whoever he may be, instead of giving a name after finishing the drama or mentally prearranging the plot, seems to have taken the name into acoount first and then begun to write a drama to suit the name. His choice of the story and many other disavantages prevented him from attaining his purpose. This consideration induces us to suppose that there must be another drama from which such absurdities are absent.
From the references of Sarvananda and Abhinavagupta we inferred that there was a drama with the name Svapnarasuvadatta and Vasavadattâ's marriage for its main plot. In all probability this belief soems not to be far from the truth for two reasons: (1) Abhinavagupta's quoting a verse as from the Svapnavâsavadatta need not be taken as a misrepresentation and (2) Sarvananda's specification of the story of the Svapnavajavadatta requires no modification. So we have reason to conclude that our Pseudo-Bhasa has a vailed himself of the name Svapnavasaralatta cither in full or in a contracted form, and has tried to produce a play to suit that name.
One objection may be raised in this connection. How can a drama developing the love story of Vasavadatta and Udayana give a prominent place to a dream, since the story as told in the Kathacarit-ságara does not hint at a dream ? This objection, however, may he got
"I am aware that tho generally adopted explanation of the name is to take it as a Madhyama padalopi compound and as moaning Crasi won by valour ato." S. P. Pandit's prefaces to Raghupam sa Vol. 111. p. 31. ? Bombay Sanskrit Series ; Vol. XVI. 3rd edition.
3 Svapna, p. 51. (let od.)
