________________
94
JAIN JOURNAL: Vol-XXX, No. 3. January 1996
His chapter II deals with the sources of the drama. The author has merely said that the story element of the drama has resemblances with some stories in the Kathasaritsagara, Dasakumāracarita, in the Nayadhamma-kahão, and in the Buddhist Jātakas. The writer has also shown which stories have the semblances with what texts. Professor Banerjee admits that it is difficult to solve the problem for want of adequate data. But this much can be said that most of the authors might have taken the story-elements from floating stories like Udayanakatha, Carudattakathā,, Naravahanadattakathā etc. as we have the Arthurian legends in the middle Europe (550-1500 A.D.), from which most of the European writers have drawn their storyelements. The similarity of Carudatta story in Bhasa and Śūdraka is a problem which is difficult to solve at this stage, and that is why the writer has not touched upon this problem. But yet I admire Professor Banerjee for his impartial, balanced opinion about the problem. Personally, I enjoyed very much reading this chapter.
In all probability his chapter III on Critical Appreciation is the highest and the best in delineating the merit of Sudraka's composition. In a nutshell, the writer has rightly pointed out that "our dramatist has an excellent command over sense and sound. In his intelligent selection of words and phrases he has exhibited his skill in making the dialogues lively, refreshing and attractive" (p. 43). This chapter of the author manifests his appreciation about Śūdraka, and the author has also shown his alacrity in depicting them. Professor Banerjee's penmanship is excellent in this respect. Though lots of controversies may gather round this chapter, it is pretty certain that the writer's views are clear and in true perspective.
In chapter IV, Professor Banerjee has analysed the plot of the drama. It offers act-wise summary along with some comments here and there. The presentation of the story elements is quite readable.
Professor Banerjee has shown his mastery over depicting the characters of the drama (chapter V). The major characters are Carudatta, Vasantasenā, Maitreya and Śakāra. Except Śakāra, in all other characters the writer is straightforward, but very cautious in presenting them. The writer is a bit lavish on Carudatta and Vasantasena. But in the case of Śakāra, his outlook is quite different. I believe this chapter is unique and proves the power of observation of the writer.
Humour (ch. VI) is one of the features of Sanskrit dramas and the Mṛcchakatika is full of it. Long ago, D.K. Kanjilal wrote a treatise on
Jain Education International
For Private & Personal Use Only
www.jainelibrary.org
