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Deo., 1920)
BOOK NOTICE.
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The various apparitions seen by Kamsh in his ing of the first act, after the dialogue between the dream were perhaps represented in the pantomimicoûtrachara and the nati, and also the beginning way of the ancient natas, just as is perhaps the case of the third act. In this second place, the passage with the Apabhramba verses of the Urvasi. The that follows immediately after the words tatah chief contents are the feats of Krepa during his prastavand does not consist of dialogues or monosojourn among the cowherds, ending with the logues, but contains a description of the persons alaying of Kamısa.
I present on the stage. A similar description should It is quito certain that these tales and legends perhaps be supplied after the same words at the must have been quite popular and well-known beginning of the first act. when the Balacarita was written, and I have little Then, however, the queetion presents itself, who doubt that Bhasa has transplanted them from the can possibly be the speaker of such a prasidvand popular stage to the higher play.
or introductory description, which does not belong The Krana play did not, however, get a firma to the actual play of the actors. And the same footing on the higher stage until much later, question must be asked with reference to several Bhasa did not find successors before those day. other passages, partly in prose, partiy in veree, when the later devolopment of Hinduism and which do not contain any dialogue or monologue. especially of the religion of Bhakti had set in, but explain the situation or describe the ottitude and the GopAla kolicandrika belongs to this later of the persons represented. Such passages are of phase of the development. The popular Krone frequent occurrence and form a peculiar fenture of drama had no doubt flourished the whole time : our play. its firm establishment on the higher theatre, on the In one place such a description is put into the other hand, is comparatively late. ** mouth of a person called oricaka, and we naturally
The Gopala kelicandrike is, as 'has already been infer that he is the speaker of all such narrative or stated, written in Sanskrit, and it does not, accord descriptive passages. Dr. Caland refers us for the ingly, belong to the popular stage. On the other explanation of the word acaka to Hemacandra hand, it dif.ers in some important details from Adhidhinacintamaạt 330, (ef. Yadavaprakasa, all other known Sanskrit plays.
ed. Oppert, p. 141, 1. 136) and states that encaka
is there given as u synonym of attradhdra. Strictly It is called a nataka. It is not however a
speaking that is not however the case. Hema - nataka in the more specialised sense of this word.
candra simply informs us that the sucaka, the The term has, as in several other instances, boen
* indicator " in dramatical terminology, carries used to denoto a play in general. It is not possible
the designation stradhâra. That is to say, that to register it under any of the various types of
sucaka is the wider, better known term, and it drama described by Bharata and his successors,
is perhaps allowable to infer that it belongs to the The division into acts is apparently incomplete terminology of the popular theatre. In the classiAfter the end of the second aot there is no further cal drama the súce
cal drama the sucaka, who is there called sutra. mention of the beginning or end of any act. The
dhåra, does not "indicate " or "describe" in the end of the third and the beginning of the fourth same way as in the Gopalakelioandrika. We shall 4ct seem to be missing. At the end of what the have to ask ourselvos if we find any indications editor takes to be the fourth act, we only read it that he does, or did, so in the popular play of the nişlerdnta, whoroupon a pravesaka introduces the vulgar stage. In that case we should naturally laat, probably fifth act, at the end of which the infer that the Gopala kelioandrika represente an sutradhara again makes his appearance and puts attempt at applying peculiarities of the popular an end to the performance with the formula alam stage to the claseica' drama. ativistarena, which we know from the beginning of so The editor is inclined to think so. He ably many plays, declaring that it will not be possible diennease
discusses the problems raised by the said peculiar. to give a further representation of the ma ofl
ity of our play, and suggests more than one explaBhagavat, because nobody could do 80 satisfact. nation in addition to the supposition that we are orily. Then the actors leave the stage, and finally face to face with a feature of the populer stage.
blossing and a stanza giving the name of the poet I shall say a few words on these suggestions, which are added, whereupon the colophon follows. Dr. Caland himgelf does not think to be the
A similar arrangement is not found in any other solution of the difficulty. Sanskrit play. There are however also other We might, he says, think of a chaya-nataka, peculiarities.
- shadow.play, where the dialogue and everything The term praslavand is not need in the same way else is spoken by the manager, or in certainoases by sa in other dramas. It seems to denote the opens the secaka. Against suchan explanation he rightly
