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अनुसंधान - १७• 79
grows progressively sweeter and sweeter still.”
The assistant (nața) contemptually says:
"These days there are writers who borrow words and ideas (from earlier poets) and thereby attain fame. Consequently, how can the good people trust them ?"
The Stage Director replies: "My (good) friend, this question does not arise in my case. In this matter the intelligent and wise contemporary men alone are the authority."
This Introduction (amukha) reveals the boasting nature of Rămaçandra and his rather low opinion of his predecessors like Murări, and his self-confidence that no critic can point an accusing finger at him for plagiarism or literary theft, and that his works, imbued as they are with rasas, make interesting reading and give delight to the readers. Again, in the Second Act we have the following remark of Maitreya :
अहो समृद्धकुतूहलानुबन्धः प्रबन्ध |
Act II, V. 6, 1. 11 (p. 19) "O, how rich is his dramatic composition presenting curiosities, one after another ?"
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This remark (and similar remarks in his other plays) reveal that the poet Rămacandra was intensely emotional and self-conscious and that it was difficult for him to escape his own shadow and maintain a purely objective attitude in his writings. In writing this prakarana Rāmacandra had in mind Bhavabhuti's Malatimādhava. It is not surprising, therefore, if he consously or rather unconsiously follows this trait revealed in Bhavabhuti's writings.
Rāmacandra's References to his favourite deityLord Rṣabha
Rămacandra was a devout Jain. It is, therefore, natural that he should give expression to his deep reverence to Rṣabhadeva, the adi-tirthankara of the Jains. In the Nandi verse he says: 4: प्राप निवृति क्लेशाननुभूय भवार्णवे I तस्मै विश्वैकमित्राय त्रिधा नाभिभुवे नमः ||
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