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Svapnavasavadatta鈥擳itle. The play receives its name from the vision. (svapna) of Vasavadatta which king Udayana gets in his semi-drowsy state described in the fifth act (Dream scene ). svapnanatakam, svapnavasavadatta and svapnavasavadattam are the titles of one and the same play. the same play. They are to be explained respectively as svapnapradhanam natakam ; svapnadrsta vasavadatta svapnavasavadatta, tatpratipadake tacchandopacarah ; and svapnadrsta vasavadatta atra according to Dr. Ganapati Sastri. Prof. Ray, however, prefers to take the title to mean 'the drama, the subject matter of which is the dream and Vasavadatta' ( svamasca vasavadatta ca svapnavasavadattam ) as "it emphasizes both the incidents referred to in the title.' 18 2 1 To recapitulate: Vatsarajacarita is said to be the composition of Sudraka, and on account of the alternative title, the Pratijna has been ascribed to Sudraka (Raja, Journal of Oriental Research, 1, p. 243; Sankar, Asutosh Memorial Volume, 2, p. 60). But the fact that Abhinavagupta styles Ratnavali as Vatsarajacarita (Dhvanyalokalocana, Kavyamala, XXV, p. 162) goes against this assumption, as also the announcement of the proposed publication of the Vatsarajacarita in the Daksina Bharati Series (Kavi, Journal of the Andhra Historical Research Society, 2, p. 143). It is not clear, if the Pratijna be really the Vatsarajacarita of Sudraka, why there is no reference to the name of the author and the work in the prologue. 2 Svapna, 1924 edition, p. 8. 3 Svapna, Intr., p. XLVIII.

278 da Plot. The Svapna forms a sequel to the events described in the Pratijna. After reaching his kingdom along with Vasavadatta, king Udayana began to enjoy life and neglected his state affairs which enabled his enemies to march against him. One Aruni had invaded the Vatsa kingdom and had conquered a portion of it. The ever watchful Yaugandharayana saw that political alliance with the powerful Magadha king by way of marriage was the only effective remedy to set matters right and drive out Aruni. But the king was excessively attached to Vasavadatta, who also would not have liked to get her husband married to another woman; the Magadha king, further, would not have consented to the marriage of his sister with a married person. So Yaugandharayana hits upon a plot and takes Vasavadatta in his confidence and she agrees solely for the sake of the good of her husband. The plan was to send the king away to Lavanaka with his retinue on the frontiers of his kingdom for hunting, and, in his absence, to burn the royal pavilion. Yaugandharayana and Vasavadatta were to get away secretly from the pavilion. and the king was to be told of the death of the two in the fire. Yaugandharayana and Vasavadatta then left the Vatsa kingdom in the guise of a Brahmin and his sister and started for Rajagrha, the capital of the Magadha kingdom. The play opens with Vasavadatta and Yaugandharayana in disguise nearing the Asrama outside Rajagrha. When, after the benedictory stanza introducing the names of some of the principal dramatis persona, the stage-manager is about to make his speech, he is disturbed by some noise behind the curtains. Apparently the attendants of Princess Padmavati who is on her way to the penance-grove, are asking the public to make way. After the exit of the stage-manager, enter Yaugandharayana and Vasavadatta, dressed as a mendicant and his sister respectively. To Yaugandharayana it appears quite strange that people are driven away even from the holy hermitage. Vasavadatta feels pained at the insult, but Yaugandharayana consoles her. The chamberlain, however, orders the guard not to drive the people away. On enquiries, Yaugandharayana comes to know from the chamberlain that Princess Padmavati

279 is to visit the hermitage to honour the queen-mother, and she is to stay there for a night. Then Padmavati approaches with her retinue, and Vasavadatta at once feels a liking for her. Padmavati salutes the lady-hermit (queen-mother). From Padmavati's maid, it is learnt that king Pradyota had sent an envoy for the hand of the princess for his son. Padmavati then proclaims her desire, through her chamberlain, of fulfilling the wants of those asking for boons. The inmates of the hermitage being all satisfied, none came forward. Yaugandharayana, however, presents himself as a suppliant (arthi) and expresses his wish to keep his sister (viz., Vasavadatta) under the care of the princess for a time, till the former's husband returns. Despite the protest of her chamberlain stating the difficulty involved in keeping watch over the ward, princess Padmavati decides to keep her word and accepts the guardianship of the Brahmin lady (Vasavadatta in disguise) whom Padmavati and her retinue take to be born of a high family. A Brahmin student from Lavanaka approaches the hermitage but is taken aback on seeing ladies there. The chamberlain assures him and offers him refreshments. From the student all there come to know of the disastrous fire at Lavanaka and the reported death of Yaugandharayana and Vasavadatta therein, of the immense grief of the king after his return from hunting, and of the minister's preventing him from ending his life in the fire. The ministers, continues the student, then forcibly took the king away from Lavanaka as his life was in danger owing to his sorrow, lamentations, neglect of his body, etc. The king's extraordinary affection for Vasavadatta appeals to all, and in the question of the maid, whether the king would again marry, Padmavati feels expressed her own heart. The student then leaves as it was becoming dark and Yaugandharayana follows suit, after bidding adieu to Padmavati and his sister. The chamberlain then announces it to be time for retiring within, and the curtain falls after the princess and Vasavadatta have saluted the lady-hermit and received suitable blessings. (Act I). The interlude to the next act informs Us that Vasavadatta is well established in the new household and that princess Padmavati is enjoying the game of ball with her maids and Vasavadatta. The main scene opens

280 with Padmavati exhausted after a strenuous game surrounded by her maids and Vasavadatta. Vasavadatta jocularly refers to her red hands as being due to raga (red colour or love). Then by various questions, she tries to explore Padmavati's mind and learns that the latter is not well disposed towards Mahasena's son and has a regard for Udayana owing to his genuine love for Vasavadatta. This is a disconcerting news for Vasavadatta, and unwittingly she refers to the handsome features of Udayana, and explains her knowledge as due to the impression of the residents of Ujjain. Padmavati's nurse enters to announce the news of the betrothal of the princess to Udayana. This is yet another shock for Vasavadatta, who shows her discomfiture by referring to Udayana's indifference and begins to doubt his regard for her; but the subsequent particulars supplied by the nurse dispel all misgivings. She tells that Udayana had not himself asked for the hand of Padmavati, but had yielded to pressure from Darsaka. Another maid from the queen informs Padmavati that the queen had sent for her as the Kautukamangalavidhi the ceremony of tying the nuptial thread) was to be celebrated that very day. Vasavadatta is again stunned, but has to accompany Padmavati and her maids when they all leave to approach the queen. "The more they hasten", says she, 'the more is my heart covered as it were with darkness." (Act II). 6.6 The next act opens in the pleasure-garden of Padmavati the same day. Vasavadatta is the lonely occupant there, who has come to ease her grieved heart when all the royal household was engaged in preparations for the marriage. The thought that her husband is to become another's is the poisoned arrow in her heart. A maid approaches Vasavadatta with flowers, and requests her on behalf of the queen to plait the nuptial wreath for Padmavati's wedding as she (Vasavadatta) was 'of a noble family, affectionate, and clever'. The maid relates her impressions of the bridegroom that he is Cupid incarnate without his bow and arrows. Then Vasavadatta sorrowfully begins her work, employing profusely the herbs called avidhavakarana but excludes sapatnimardana (oppresser of co-wives) as it was unnecessary, she says, since Padmavati's co-wife was no

281 more. Another maid enters to ask to hasten the wreathing as the bridegroom was being conducted to the inner courtroom. Vasavadatta hands over the finished garland and the two maids go away. Vasavadatta also leaves the stage full of sorrow to find solace in her bed, if perchance she could get sleep and forget her grief. (Act III). The action of the next act begins a few days after the marriage of Udayana and Padmavati. The interlude opens with the soliloquy of the gluttonous Vidusaka who informs of the successful termination of the marriage festivities, of the joyous life he is leading at the Magadha palace and of the indigestion due to excessive eating and consequent sleeplessness. A maid enters to inquire whether the royal bridegroom had finished his bath, as flowers and ointments were to be brought for him after his bath. They both then leave the stage, Vidusaka to attend on the king, but only after telling the maid to bring everything but food, as his bowels were playing him false. The main scene opens with the entrance of Padmavati, her retinue, and Vasavadatta (in the guise of Avantika) in the pleasure-garden to witness whether the sephalika clusters have blossomed. They find the plants and creepers in full bloom and after collecting flowers, sit down on a stone-slab and engage in some pleasant chat, After a time their talk turns to Udayana, and Padmavati artlessly tells Vasavadatta that she was much devoted to Udayana and felt wretched in his absence. In course of conversation, Padmavati says she doubts whether Vasavadatta had so much regard for her Lord, and Vasavadatta cannot but reply that she had much more regard. Asked the reason, Vasavadatta refers to her elopement for the sake of her husband. The maid then asks Padmavati to request her husband to be taught to play on the lute. Padmavati says she had already spoken to him, but, heaving a deep sigh, he had turned away his face. She had not repeated her request, and her inference from the king's conduct was that his memory of Vasavadatta was still fresh. Vasavadatta feels blessed that her husband still cherished her love. The king and Vidusaka enter the pleasure-garden, the former musing over the happy past and pungently

282 66 77 feeling the loss of Vasavadatta. Vidusaka tries to divert his mind from the distressing thoughts by referring to Padmavati and to the flock of cranes flying in the sky. The king sees and appreciates the sight, and Padmavati, her maids, and Vasavadatta also observe the cranes appearing like a white garland of kokanada flowers. The ladies, however, see the king and retire under a bower nearby for the sake of Vasavadatta, as she avoided the sight of strangers. Vidusaka approaches the stone-slab occupied by Padmavati, and from the plucking and gathering of flowers infers that Padmavati must have left very recently. They decide to sit down on the stone-seat, but the scorching heat is unbearable, and they propose to enter the bower (which is occupied by the ladies). To prevent their entry the maid shakes the creeper, which lets loose a swarm of bees, rendering impossible the further progress of the king and the jester. They retrace their steps and again occupy their original seats. Vasavadatta's eyes are full of tears which she explains to be due to the pollens of the kasa flowers falling in her eyes. Vidusaka asks the king: Who is your sweetheart, Vasavadatta or Padmavati?" The king tries to put him off by saying that the question was very awkward, and that he (i. e., Vidusaka) was a chatterbox. But Vidusaka forces him to reply, stating that he (i. e., the king) need not be afraid, as, of the two queens, one was dead and the other was away. (In reality, both the ladies are very near, separated only by the bower). The king's reply is worthy of the noble soul that he is: "No doubt, I have a very high regard for Padmavati on account of the sweetness of her figure and temper; but she has not yet won over my heart which is still captivated by Vasavadatta ". On hearing this, Vasavadatta feels amply rewarded for her trouble. To the maid's remark that the king is cruel, Padmavati retorts by saying that her Lord is sympathetic and kind as he still dotes on Vasavadatta. The king, in his turn, coaxes the jester to give out his impressions of the two queens. Vidusaka, however, is not to be easily fooled thus and praises both, indicating his slight preference for Padmavati as she serves him with delicacies. The king is reminded of Vasavadatta and his eyes are full of tears. Vasavadatta is pleased to hear what her Lord says. The jester tries to console the king, but the

283 latter replies that constant recollections freshen his grief and tears ease the tension. The jester then leaves to bring water for washing the face of his master. Vasavadatta and the maids make their exit unseen by the king, as his vision was obscured by tears, and Padmavati nears her Lord to console him. Vidusaka enters with water and hands it over to Padmavati saying that the pollens of kasa flowers had fallen into his master's eyes and hence they were streaming with tears. Approaching the king, Vidusaka whispers the same into his ears and in order not to pain the young and newly wedded Padmavati by stating the truth, the king gives out the same reason for his tears. Vidusaka announces it to be time for the visit of the Magadha king and all make their exit. (Act IV). 6. In the interlude to the next act we are informed that Padmavati is suffering from headache and that her bed has been prepared in the Sea-Room'. The palace maid tells Vasantaka ( the jester) to convey the news to his master, and then goes to render medical aid to Padmavati. Udayana is again the same despondent and aggrieved lover constantly doting on Vasavadatta. On being told of Padmavati's illness he at once starts for the Sea-Room to comfort her. Vidusaka mistakes a garland for a serpent in the way. and the perfect condition of the bed suggests to the king that Padmavati had not occupied the bed; he awaits her arrival on the same bed, and his thoughts again return to Vasavadatta. To humour him, Vidusaka begins to tell a story but its beginning reminds the king of Ujjayini and Vasavadatta. Vidusaka's next story falls on deaf ears as the sweet memories of the past lull the king to sleep. Finding his royal friend thus, Vidusaka goes inside to bring a cloak. The only companion to the king in the lonely room is a flickering lamp. They find the Sea-Room without Padmava At this stage Vasavadatta makes her entrance on the stage to approach the Sea-Room to comfort and humour Padmavati on being told of her sudden illness. In the dim light she takes the person sleeping on the bed to be Padmavati and, from the perfect breathing of the sleeping person, infers that Padmavati was now all right. In order that her conduct may not be taken to be void of

284 cordiality, Vasavadatta lies down on the same bed and embraces its occupant. The king, however, calls out her name in sleep, and Vasavadatta at once realizes her mistake and is afraid lest her Lord should see her. He again speaks in sleep and this convinces her that he was not awake. He asks her to speak something, and unknowingly she replies to him. Then in his sleep he asks her some further questions and she replies to him. Finally, in his sleep, the king proffers his hands to ask forgiveness of Vasavadatta who thinks of leaving him, lest she be recognized. She, however, keeps in position his hand that was hanging loose from the bedstead and goes away. The touch of her hand slightly revives the king who, at once, follows her saying, "Stop, Vasavadatta stop." But he strikes against a door and becomes perfectly wide awake. To Vasantaka, who comes just then, the king relates that Vasavadatta was alive, but the latter disbelieves him and dismisses it all as being a mere dream, an empty nothing. The king tells him all the details, as also the fact of his body being still thrilled and pulsated by her touch, but all this fails to convince Vidusaka, and he asks his master to accompany him to the inner quadrangle. News is brought from the chamberlain of king Darsaka that Rumanvan, the Commander-in-chief of the Vatsa forces, has come with a large and well-equipped army, and e vast army of the Magadha king also is ready to help him; and that the king has requested Udayana to make preparations for advancing against the rebel Aruni. Udayana then leaves to take charge of the attack. (Act V). This is the famous "Dream-Scene" which gives its name to the play. The interlude to the next act opens after the successful termination of the war with Aruni and the regaining of the Vatsa kingdom. To the chamberlain who announces the entry of the nurse of Vasavadatta and Mahasena's chamberlain to congratulate Udayana on his recent gains, the door-keeper tells that Udayana is again in sorrow, being reminded of Vasavadatta by the recovery of his famous lute, Ghosavati. The main scene presents us with the king and Vidusaka, the former piteously mourning Vasavadatta's loss. The king recalls all the blissful memories of the past and addresses

285 the lute in touching tones. The messengers from Ujjayini are announced and the king calls Padmavati. The royal couple is anxious as to what message from the mighty Mahasena might be, and Padmavati calls Vasavadatta's people her own. Udayana honours the ambassadors from his father-in-law, and Raibhya, the messenger, offers him the felicitations of Mahasena on his great victory. Udayana is pleased at the paternal attitude of Mahasena. The nurse of Vasavadatta tells that queen Angaravati has inquired if all was well there, which again grieves Udayana very much, reminding him painfully of his beloved queen and pupil. Both the Ujjayini people console him. The nurse, further, uncovers the portraits of Udayana and Vasavadatta sent by queen Angaravati which were used in celebrating the marriageceremony of both after their elopement. The queen has requested Udayana to forget his grief by looking at Vasavadatta's picture. Padmavati wishes to pay homage to Vasavadatta, has a view of the portrait, and finds that her new friend Avantika has features remarkably similar to Vasavadatta's. She enquires whether the portrait is an exact replica of Vasavadatta, and Udayana replies that he considers the picture to be Vasavadatta herself. Padmavati observes that Udayana's patrait also displays wonderful likeness and concludes Vasavadatta's picture to be also similarly executed. Her face shows signs of joy and perplexity. The king asks the reason of her pensive mood and is told about the Brahmin lady with similar features kept as a deposit, and also about her avoiding the company of males. Just then enters the portress to say that the Brahmin from Ujjayini has come to reclaim his deposit. The Brahmin is asked to be ushered in, and Padmavati is sent to bring in Avantika. The voice of the Brahmin (Yaugandharayana in disguise), who pronounces victory to the king, appears to the latter as familiar but not exactly identifiable. After Padmavati and Avantika enter the stage, the king states that the deposit should be returned in the presence of witnesses and the envoys from Ujjayini would serve as witnesses. The nurse of Vasavadatta, however, recognizes her, and thereupon the king asks Avantika to go inside to the ladies court. court. Yaugandharayana says that it was not proper for a noble scion of the Bharata family to take.

286 another lady by force. The king then desires to see the striking similarity of form, and orders the veil to be drawn. Yaugandharayana then asks for the pardon of his master for his treason in concealing the queen. Padmavati pays her homage to Vasavad atta. Yaugandharayana explains his main object in the whole scheme to be "the saving of Kausambi," and also tells that Rumanvan and all knew of this. The king then decides to go with Padmavati to convey the happy tidings of the recovery of Vasavadatta to Mahasena and queen Angaravati. The normal Bharatavakya concludes the play. (Act VI). Deviations. As already stated, no precise source for the Udayana dramas of Bhasa is known. Being considerably earlier than the Brhathatha, the latter cannot serve as the source for Bhasa; and, further, judging from the Sanskrit descendants of the Brhatkatha, there seem to be many differences in the versions of the Udayana legend dealt with by both. Prof. Lacote and Dr. Keith pronounce the Brhatkathaslokasamgraha by Budhasvami to be more faithful to the original; but it does not deal at length with the incidents contained in the Svapna of Bhasa. Judging from the story as preserved in the Kathasaritsagara, some of the notable differences are stated below." 2 Pradyota is stated to be the name of the Magadha king and Padmavati is his daughter. Vasavadatta in disguise is represented as the daug daughter of Yaugandharayana, an old Brahmana and not Parivrajaka, and Vasantaka, the jester, also accompanies her and stays with her in the Magadha capital as her brother, a squinteyed Brahmana. The meeting with Padmavati takes place in a park and not in the Tapovana. Through Narada's prediction Udayana is somewhat aware of the impending calamity, which is to be only of temporary duration. There is no reference to the rebellion of Aruni nor to the loss of the Vatsa kingdom. Vatsaraja comes over to Rajagrha specifically for the purpose of marrying with Padmavati in response to the invitation from the Magadha king, whereas in the Svapna he is represented 1 Lacote, Quarterly Journal of the Mythic Society, 11, pp. 287-288; Keith, History of Sanskrit Literature, p. 273. 2 Kathamukha and Lavanaka Lambakas, from the Kathasaritsagara.

287 as having come over to Rajagrha on some other mission. The meeting and reunion with Vasavadatta take place at Lavanaka after leaving Magadha, while Bhasa effects the meeting in the palace of Darsaka. It seems more likely that Bhasa's story contains the historical events from first-hand knowledge as he is quite near in time to Udayana. Subsequent writers show Udayana as a man of pleasure, indulging in every sort of enjoyment, but Bhasa's Udayana is an ideal husband. Type of Drama. The Svapna is a Nataka with a well-known plot, the hero being a king and dhiralalita. There is a bye-plot (pataka) of the marriage of Padmavati. There are a number of pravesakas in this play. Sentiments etc. The main sentiments are Srngara and Karuna. The instances of both-Sambhoga and Vipralambha Srngara are furnished in the hero's relations with reference to Padmavati and Vasavadatta respectively; but the Srigara, as will be noted hereafter, is of the highest type. Vasavadatta's predicaments as well as the reminiscences of the king are good instances of Karuna. This play being the product of the mature genius of our poet, there are found in it various beautiful figures as also a number of combinations of them (samsrsti) scattered at many places. Some striking figures are noted below, and a few instances are given: Svabhavokti. (I. 12, 13; IV. 2; V. 3, 4); Arthantaranyasa (I. 11; IV. 6, 10; VI. 7, 14); Kavyalinga (I. 5, 7, 9; V. 2, 7); Smarana (V. 5); Apahnuti (V. 3); Anujna (V. 9); Visama (IV. 6); Anumana (I. 12; V. 4). Svabhavokti and Virodhabhasa: naivedanim tadrsascakravaka naivapyanye strivisese viyuktah | dhanya sa stri yam tatha vetti bharta bhartrsnehat sa hi dagdhapyadagdha || 1 .13 || Visama and Arthantaranyasa: duhkham tyaktum baddhamulo'nuragah Upama, Visesokti; and Vibhavana: sladhyamavantinrpateh sadrsim tanujam kalakramena punaragatadara bharah | lavanake hutavahena hrtangayasti tam padmini himahatamiva cintayami || 5 .1 || Smarana: smaramyavantyadhipateh sutayah

smrtva smrtva yati duhkham navatvam | yatra tvesa yad vimucyeha baspam praptanrnya yati buddhih prasadam ||4 .6 || Upama and Arthantaranyasa: purva tvayapyabhimatam gatamevamasi- cchlaghyam gamisyasi punarvijayena bhartuh | kalakramena jagatah parivartamana cakarapankiriva gacchati bhagyapankih ||1 .4|| 288 Atisayokti and Utpreksa : kamenojayinim gate mayi tada kamapyavastham gate drstva svairamavantirajatanayam pancesavah patitah | tairadyapi sasalyameva hrdayam bhuyasca viddha vayam pancesurmadano yada kathamayam sastah sarah patitah 118.311 prasthanakale svajanam smarantyah | baspam pravrttam nayanantalagnam snehanmamaivorasi patayantyah ||5 .5|| Anumana: padakrantani puspani sosma vedam silatalam | nunam kacidihasina mam drstva sahasa gata || 4 .4 || Arthantaranyasa and Aprastutaprasamsa : katara ye'pyasakta va notsahastesu jayate | prayena hi narendrasrih sotsahaireva bhujyate || 6 .7|| Critical Study. The Udayana legend has been the fountain-head of much literature-Brahmanical, Buddhist and Jain, and the Brhatkathaslokasamgraha, the Brhatkathamanjari and the Kathasaritsagara are among the Sanskrit works that deal in detail with the There are history of the Udayana family as it were. also a number of Sanskrit dramas on Udayana Vatsaraja, the Ratnavali and Priyadarsika attributed to Sri Harsa, the Unmadavasavadatta of Saktibhadra, the Tapasa Vatsaraja of Ananga Harsa or Mauyraja, the Vatsarajacarita of Sudraka, being some of them. I The superiority of Bhasa as a dramatist and a moral teacher having a perfect sense of the values,' will at once be apparent when we compare his Udayana plays with those of Sri Harsa. The later writer has changed the characters of Udayana and his queens. In the hands of Sri Harsa, Udayana appears as a sensual man, a man of pleasure, a man of patangavrtti, quite different from the constant and devoted husband depicted by Bhasa. Vasavadatta is also a jealous and high-minded wife with Harsa. With all the virtues and good characteristics attributed by Bhasa to the lovers, they are quite human. It has been suggested that Udayana was in reality a highly lascivious, passionate king, and that Bhasa has based his play on historical facts distorted

289 in accordance with political exigencies.' Judging from the other works of Bhasa and in view of the date that we have assigned to him, we think that Bhasa represents the true state of affairs. Reference to Aruni, which is not found in any of the descendants of the Brhatkatha which professes to tell the history of Udayana, also confirms our view that Bhasa has quite a distinct source for his story, which, most probably, was the floating tradition in his day, he being proximate in time to Udayana. 2 No one would now seriously maintain that the title of the Svapna published in published in the Trivandrum Sanskrit Series is not Svapnavasavadatta," that the two are distinct works; and that there are two Bhasas as the authors of those two works. The question has been considered at some length earlier in this book. It is certainly more reasonable and rational to assume the existence of different recensions of the Svapna; but, as has recently been observed by Dr. Sukthankar, the discussion has now unfortunately reached the stage of dogmatic controversy and it is extremely unlikely that even the most patent proofs adduced to prove the authenticity of our Svapnavasavadatta will induce the anti-Bhasaites' to revise their opinion and to reorient their ideas which have now crystallized once for all "" 66 The Svapna has everywhere been acclaimed as a dramatic masterpiece', a 'profound psychological study.' It is "the glorious heritage of the whole civilized world" The Svapna depicts the struggle in the soul of Vasavadatta who is a loving, self-sacrificing wife, the Indian ideal of a chaste, devoted wife. Padmavati is a fitting co-wife to her and Udayana also a deserving husband. Dr. Johnston finds the Svapna to be unique in the whole range of Sanskrit drama in that it treats the display of a single character under the search-light of the theatre as the real problem for solution," and its author is "the first Sanskrit author to whom the exact preservation of 'values'....is the essential of good drama and good writing "5 The last scene in the Svapna, in which 1 Cf. Ketkar, Prachin Maharastra, pp. 138-139. 3 While reviewing the Natal osa, edited by M. Dillon, Oxford University Press, 1937, in the Oriental Literary Digest, December 1937, p. 1. 4 Sukthankar, Foreword to Urdhvareshe's Marathi translation, p. 3. 5 Indian Antiquary, 62, pp. 96-97.

290 Vasavadatta appears on the stage, where her nurse and Padmavati see her but not the king, is said to show defective technique, and Dr. Johnston overrules the objection as without substance' on the ground of Vasavadatta's conception of proper behaviour, stating further that "the exact nature of the arrangement by which she was screened from the king's view escapes our knowledge now". Despite the objectors' views to the contrary, we think that a transverse curtain satisfactorily explains the situation; and there is no positive evidence to support the view that transverse curtains were unknown to the Indian stage. Dr. Barnett pronounces Udayana to be "a flabby sensualist who has been unfaithful to Vasavadatta in the old days and after her supposed death allows himself for political reasons to be affianced to another lady for whom he cares little or nothing, while he sheds at intervals maudlin tears over his first love" 2 All this cannot be applied to Udayana as depicted by Bhasa. by Bhasa. The only reference to his being unfaithful may be found in a defective reading of the text kim viracitam smarasi | ( Act V, p. 110). Bhasa is certainly not referring to the lady of the harem. And again, his sorrow for the loss of Vasavadatta is quite genuine and touching, and, in fact, is one of the main reasons why a flame of love was kindled in Padmavati's heart, and he certainly cares. for Padmavati. Dr. Barnett's objections may well be directed against Udayana as portrayed in the Brhatkatha versions. The Hindu readers will at once realize and appreciate the sterling worth of Padmavati's character, which is rather difficult for the Western critics to understand. In fact, Bhasa intends to place before the spectators the ideals a 1 Keith, Sanskrit Drama, p. 113; Woolner and Sarup, Thirteen Trivandrum Plays, Vol. 1, p. 69 n 1; Johnston, Indian Antiquary, 62, p. 96. 2 Bulletin of the School of Oriental Studies, 3, p. 379. 3 Most of the texts give the reading as farfani and bring in the mistress of Udayana of that name on the strength of the Kathasaritsagara ( II. 6. 65-66). But this is absolutely unsound in view of the characteristics assigned by Bhasa to Udayana in contrast to those associated with him by the Brhatkatha and its descendants. Bhasa's Udayana is a noble and true husband sincerely devoted to Vasavadatta and there is no reference to his love-affairs in Bhasa's Udayana dramas. The text at the particular point appears to be corrupt; it may be translated as Are you put in mind of the decoration that I used to do (formerly) ? " 4 Cf. the description of Udayana's. sorrow for the loss of Vasavadatta given by the Brahmacari (pp. 28-34); also his love and grief for her (II, 1, 5, 7; V. 1, 5; pp. 108, 120-121; VI. 1, 2, 3). He fa p. 44. is the reason why Padmavati was attracted to him. That he cares Padmavati will be evident from p. 68 - takkemi ayyae vasavadattae gunani sumaria dakkhinadae mama aggado na rodidi tti | also II. 5, 9; p. 94; V. 2. 66 for

291 of polygamous marriages which were common in those days. Taking things as they are, is not Padmavati's character true to life and fit to be copied by the junior consorts? She accepts the senior queen as her elder sister, and to an Indian wife the carrying out of the wishes of her Lord cheerfully constitutes the sole Dharma, assuming of course the husband to be well grounded in moral and religious duties. This drama exhibits the poet's powers of narration through dialogues, the student's graphic description of the incidents after Vasavadatta's reported loss being an instance in point. There are two acts in this play without a single verse. There is no waste of energy in describing events. Everything is clear in a flash. Action is the main thing in the Svapna, and the poet has given no time for the love to grow between the newly wedded couple. There are a number of beautiful scenes in this play, but two of them stand quite apart being unparalleled in Sanskrit drama. The scene in the Pramada Vana under the sephalika bower minutely portrays the sentiments of Udayana, Padmavati and Vasavadatta, the king being unaware of the presence of the two ladies, and Padmavati being in the dark as to the identity of Vasavadatta; it brings forth the inner workings of the minds of the three in their true light. The whole scene is full of dramatic force and tension. It presents us with the ideals of polygamy. The struggle in Udayana's mind between his old love for Vasavadatta and his new love for Padmavati is beautifully expressed. The scene is comparable to the third scene in the fourth act of Sheridan's 'School for Scandal', which is called the ScreenScene. 鉁� The dream-scene in the fifth act from which the drama receives its name and in which the vague belief of the king that Vasavadatta is alive is turned into conviction by the dream and the touch of her hand is very delicately executed. The scene reminds one of a similar one in the Winter's Tale (Act V, Scene 3) where Leontes faces the statue of Hermione. As the drama mainly deals with the feelings of Vasavadatta, an ideal woman under cruel circumstances, 1 Svapna, Act IV, pp. 77-85.

292 reference may also be made to Acts II and III. On the occasion of Padmavati's marriage when Vasavadatta must not weep though she cannot help it, she has no sympathizer to share in her sorrow and lessen it; and again it falls to her lot to wreathe the garlands for her co-wife. None but a master artist could draw these scenes with such supreme delicacy and skill. These acts are comparatively very short and one is tempted to infer that some condensation has been made subsequently and that the text is not well preserved. The poet has really shown his talent, judgment, sense of proportion and knowledge of human psychology and of the stage, in separating these two scenes into different acts though the later follows the earlier one quickly in time. 2 The Svapna, as said by Mr. Meerwarth, is essentially feminine' as compared with the Pratijna, which is an essentially manly drama "." As observed earlier, Bhasa aims at direct uninterrupted action, not at plot construction or characterization. Everything is subordinated to action. In the Pratijna the action is external, whereas in the Svapna it is mainly psychological. With regard to characterization the poet seems to have concentrated his attention on portraying Vasavadatta; the other characters, though well drawn, serve only as a sort of background, emphasizing some facet of her character. Padmavati, the lovely, kind and merry maiden, serves as a sharp contrast to the sad and suffering. Vasavadatta of mature years. No reference is found except in the Svapna to the rebel Aruni who is said to have usurped the Vatsa kingdom and was subsequently vanquished by Udayana with the aid of the Magadha king. Harsa probably copied the name from Bhasa. Nothing is practically known about this Aruni, and Mr. Soman hazards a guess as to Aruni's being a forest king or a Persian. Mr. Deb also indicates Persian menace to the Vatsa kingdom." Dr. Bhandarkar, on the other hand, presumes him to have been a king of Kosala. 5 The word 'vismita' in the sense of 'proud' appears 1 Svapna, pp. 49, 51-58. translation, Intr., pp. 223-225. P. 62. 2 Journal of the Asiatic Society of Bengal, 13, p. 267. 3 4 Journal of the Asiatic Society of Bengal, 1933, p. 340. Bhasa's works, Marathi 5 Carmichael Lectures , 1918,

293 (I. in the Svapna ( I. 3 ; VI. 4 ) in common with the Panc (p. 28) and the Do (p. 12 ). Vatsaraja utters the profound truth of the rareness of gratitude : gunanam va visalanam satkaranam ca nityasah | kartarah sulabha loke vijnatarastu durlabhah ||4 .10 || The following description of the Tapovana reminds one of a similar verse in the Sakuntala: the visrabdham harinascarantyacakita desagatapratyaya vrksah puspaphalaih samrddhavitapah sarve dayaraksitah | bhuyistham kapilani gokuladhananyaksetravatyo diso nihsandigdhamidam tapovanamayam dhumo hi bahvasrayah || 1 .12 || The lute reminds the king of its constant companion, queen, and he breaks out into the following utterance, the verse touching a very pathetic note: srutisukhaninade ! katham nu devyah stanayugale jaghanasthale ca supta | vihagaganarajovikirnadanda pratibhayamadhyusitasyaranyavasam ||6 .1|| The various facts in connection with the sunset are enumerated in I. 16 : khaga vasopetah salilamavagadho munijanah pradipto'gnirbhati pravicarati dhumo munivanam | paribhrasto duradravirapi ca samksiptakirano ratham vyavartyasau pravisati sanairastasikharam || This description of the flock of cranes flying in the sky is most apt and natural, supplying us with the fusion of Upama, Utpreksa and Svabhavokti : rjvayatam ca viralam ca natonnatam ca saptarsivamsakutilam ca nivartanesu | nirmucyamanabhujagodaranirmalasya simamivambaratalasya vibhajyamanam ||4 .2||