Srngaramanjari Katha

Author(s): Bhojdev, Kalpalata K Munshi
Publisher: Bharatiya Vidya Bhavan

Page 55

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SRNGARAMANJARIKATHA
tales while the instructions are only pegs on which the stories hang. But the Kuțţanīmata and the SamayamātȚkā mainly follow the technique of the Kāmaśāstra. Their treatment of the subject comes within the science of erotics, and there is little of literary interest therein. This remark applies to the SMK as a whole. Coming to the individual tales it can be said that there is little originality in them. Many stories about courtesans are found in the Sanskrit, Jaina and Buddhist works. Their plots and motifs, and the morais they convey are so limited that with a little change in names and situation the stories can be multiplied into any number. It is not possible, therefore, to find original plots in the stories. It is difficult to point out which is the source of a particular story for there is also an intermixture of incidents. One remarkable point about these tales of courtesans is that they offer very little scope for the free play of fancy. The stories have their origin in the lives of Gaņikās, and the institution of Gaņikā was a necessary part of the social structure when these works were written, and therefore the illustrations are based mainly on actual experiences. This may explain to a great extent the monotonous similarity of themes in these plays.
All these tales of courtesans generally reveal three motifs round which the pattern of the different stories are wrought. The three motifs are: One, in which the courtesan cheats a rich man and then throws him out. Second, in which the courtesan is herself punished, and third, where she is shown as noble in aspiration and true in love.
Vinayavati (of the first tale) represents the first kind. Devadattā's tale (No. 5) has the same motif though the plot is more intricate. The Kapatamrtyu motif is tactfully utilised and is a common feature in courtesan tales. It brings to mind Kāmalatā's story in Kumārapālapratibodha 18 in which Asoka is caught in the snares of the courtesan Kāmalatā. But being previously conversant with the wiles of the gañikā he does not give away his wealth. Disappointed like Devadattā, she then arranges a Kapatamệtyu. She mounts a pyre and through an underground passage reaches safely elsewhere. The news of her death deceives Aśoka and when she is revived by another bawd he prepares to live with her. They stay together and when his wealth is exhausted he is kicked out. A similar trick of feigned death is found in Sundarī's story in the Kathāsaritsāgara. 19 Therein iśvaravarman leaves Sundari and goes away. The clever mother lays a net on the way and follows Ïśvaravarman. After some distance Sundarī jumps into the net and the bawd says she has tried to put an end to her life due to his having forsaken her. īśvaravarman believes her word and takes her out. He returns and 18. Someśvarasürī, pp. 82-92.
19. Somadeva, X, 1.