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THE INDIAN ANTIQUARY
(DECEMBER, 1916
over very oasily. Names such as Abhijñana-Sakuntala and Nirdosha-Dasaratha ruggest that the name given to a drama by its author may depend upon a dramatic refinement for its Significance. Moreover, Udayana's story as narrated in the Kathasarit-sagara is hot closely followed by many authors. For instance, from the Ratnávali and Priyadariana we learn that Vasavadattâ's father was Pradyota, ruler of Ujjayini. According to Kathasarit-sigara, Pradyota was a ruler of Magadha and was the father of Padmavati, and not of Vâsavadatta. Further, in the Kathasarit-sagara Udayana alone was thought to be deserving of marriage with Vasavadatta by her father. But see Bhavabhuti's representation "वासवदत्ता च संजयाय राज्ञे पित्रा इत्तमात्मानमुश्यनाय प्रायच्छत् "
. (Málati-Madhava. Act II.) Fortunately we know a story which answers to this allusion. Commenting upon the verse car
r ierar, etc. the late Prof.-Wilson says: The story of Udayana, or Vatsaraja, as he is also named, is thus told concisely by the commentators on the poem; Pradyota was a sovereign of Oujein, who had a daughter named Våsa vadatta and whom he intended to bestow in marriage upon a king of the name of Sanjaya. In the ineantime the princess sees the figure of Vatsaraia, sovereign of Cusha Dripa, in a dream and becomes enamoured of him; she contrives to inform him of her love, and he carries her off from her father and his rival. The same story is alluded to in the MAlati Madhava, a drama by Bhavabhûti, but neither in that nor in the Commentary on the Megha Data, is mention made of the author, or of the work in which it is related." Bhavabhûti's mentioning Vasavadatta is preceded by two references to Sakuntalâ and Orvasî. About those two Sir Ramkrishna Bhandarkar says:- "The loves of Sakuntala and Dushyanta and of the Apsarâs and Puräravas, mentioned by Kamandaki in the second act of the present play. may, very reasonably, be understood to be allusions to the AbhijñanaSakuntala and Vikramorvasiya." -(Int. to Malati-Madhwa, Bombay Sanskrit Series; p. XI). If these two allusions are really to certain dramas, the one following thom, too, may possibly be ascribed to some drama. I think that is the drama of Bhasa which goes by the name Svapnavasavadatta. The dream of Vasavadatta, serving as the starting point of Vagavadatta's love and thus having an important part, justifies the namo. Besides, the verse
**98 etc., quoted by Abhinavagupta also justifies the title. The verse, if translated, runs as follows:- "Having opened the gateway of my eye, whose doors of eyelids had been shut, by means of the key of her own beauty (?) the princess entered the lodgings of my heart."
From this we learn that the lover, most probably Udayana, first beheld his beloved princess, seemingly none other than Vasavadattâ, in a dream.
Concerning the account given by the commentators on Meghadüta, Prof. Wilson observes that the tale of Subandhu's Vasavadatta "corresponds in many points with that of Udayana as here explained." The inference founded upon the sloka quoted by Abhinavagupta furthers this resemblance. Subandhu narrates that both the hero Kandarpaketu, and the heroine, the namesake of Udayana's queen, first see each other in dreams. So it is
• See Sarasvatikanthabharana p. 809 (Jivananda's edtion of 1894.) 5 Bombay Sanskrit Series, Vol. XV. 2nd ed. 1905, page 112. • Meghad dia. Canto I.32, and page 32. (Wilson's edition.) T This seems to be & saribal mistake for Kasa mbi. • See also Nandargihar's notes on Meghadata p. 35. • Seo Vasavadaktà pp. 56-79 and 184 to 188 (V ni Vilas edition, 1906.)
