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As a conclusion, I would like to state here that the drama Mudritakumudacandra is a great composition of the author, though it seems to be abruptly getting over without leaving any strong effect on the audience. The Prologue does not inform much about the author or the story of the drama. It just mentions that the author has come from the renowned poet鈥檚 family and he himself is a great author. The plot of the drama seems to be quite popular; because the story is basically described in the Prabh膩vakacarita of Prabh膩candras奴ri and Prabandhacint膩ma峁噄 of Merutu峁単a. However, it also seems that there is no reality in the story of the dramaand the story is based on the status of the society, religion and political conditions of that period. It also describes the competitions between the religious teachers and intolerance in them. The kings were partial towards some sections of people of the country and were keen to see the victory of them, like the common man. The drama Mudritakumudacandra does not mention the objective of the enactment of the drama. However, the drama is humours and well received by the public.

Ya艣a艣candra has followed almost all the rules prescribed by Bharata and 顿丑补苍补帽箩补测补. However, due to the restriction in the plot, Ya艣a艣candra has not applied some of the rules, such as a 笔谤补办补谤补峁嘺 should employ 顿丑奴谤迟补 and 痴颈峁璦 types of characters, because it (笔谤补办补谤补峁嘺) is a humorous type of drama. Again, he has not employed courtesans, because the story deals with ascetics. However, the main difference is that Bharata prohibits using divine being in the 笔谤补办补谤补峁嘺, but the author uses it in the drama. At the end of the drama, a divine character, viz. Vajr膩rgal膩, who is a representative of goddess K膩m膩k峁Ｄ�, enters the court to bless the king and after the blessing, she disappears in the sky by her super natural power. Again, according to Bharata, the plot of a 笔谤补办补谤补峁嘺 should be imaginary, however, 顿丑补苍补帽箩补测补 prescribes that the story of 笔谤补办补谤补峁嘺 should be a fiction, means, poet can take the story from history but there should be some own imagination of the poet. However, because of some reason, the plot of Mudritakumudacandra seems like historical, but it is purely imagination of the author. The author has made great use of his imagination and hence Mudritakumudacandra is a very different type of drama. If we accept the Prabh膩vakacarita and the Prabandhacint膩ma峁噄 as written in the first and the last part of 14th century A.D. respectably, we could trace the origin of some twenty characters in these two 办腻惫测补蝉, out of the thirty characters introduced in the Mudritakumudacandra by Ya艣a艣candra. Therefore, the other characters applied in the Mudritakumudacandra by the author are purely imaginary or fictions. The names of the characters mentioned in both the 办腻惫测补蝉 and Mudritakumudacandra are 叠补苍诲墨, 惭腻峁噄办测补, Devas奴ri, 础艣辞办补, Kumudacandra, 痴补颈迟腻濒颈办补, Th膩ha岣峚, 狈腻驳补诲别惫补, G膩峁単ila, 艢谤墨辫腻濒补, 碍别艣补惫补, Jaysi峁僪a, 鲍迟蝉腻丑补, 惭补丑补谤峁�i, Vajr膩rgal膩, Municandra, 厂腻驳补谤补, 搁腻尘补, Vijayasena and 艢膩ntis奴ri. We shall now discuss the historical backgrounds of some of the important characters.

The Prabandhacint膩ma峁噄 describes that the king 闯补测补蝉颈峁僪补 was coronated in V.S. 1150, in the month of 辫补耻峁�a, 艣rava峁嘺 nak峁�atra, 惫峁涐梗补濒补驳苍补 and ruled up to V.S. 1199. Thus, in total, he had ruled for 49 years. He was the son of Karna, who died at the beginning of 办腻谤迟颈办补 of V.S. 1199. 闯补测补蝉颈峁僪补 was a great king of Gujurat. His ambition was to become like 痴颈办谤补尘腻诲颈迟测补 of Ujjain墨. 痴腻驳产丑补峁璦, the poet and critic and the contemporary of 闯补测补蝉颈峁僪补, describes in his V膩gbha峁�膩la峁僰膩ra (IV.132) that there were three jewels in this world, the city of A峁嘺hillapa峁璦ka, the capital of Gurjarade艣a, Siddhar膩ja 闯补测补蝉颈峁僪补 and his elephant 艢r墨kala艣a.

The Prabh膩vakacarita describes that Devas奴ri鈥檚 name was 笔奴谤峁嘺肠补苍诲谤补; and his preceptor Municandra kept his name as 搁腻尘补candra. He was born in V.S.1143 or 1087 A.D. His father 痴墨谤补苍腻驳补 belonged to the Pr膩gv膩ta family. His native place was Madd膩h峁泃a dist of A峁ａ弓膩da艣a艣ati, the modern Hadhar in Palanpur. Devas奴ri has defeated three great scholars like Bandha of 艢iv膩dvaita School, Kumudacandra of Digambara sect and Gu峁嘺candra of Digambara sect. He had six learned friends; namely Vimalacandra, Haricandra, Somacandra, P膩r艣vacandra, 艢膩ntis奴ri and 础艣辞办补candra. He was introduced to the king 闯补测补蝉颈峁僪补 by the minister Amb膩pras膩da. In the 碍耻尘腻谤补辫腻濒补pratibodha, Somaprabha mentions that Devas奴ri and Hemacandra were contemporary (p.vii). Devas奴ri had written two books, i.e. the Sy膩dv膩daratn膩kara on the 颁补迟耻谤补艣墨迟颈sahasrapram膩峁嘺 and the Pram膩峁嘺naya-tattv膩loka.

Hemacandra has mentioned in his 艢补产诲腻苍耻艣腻蝉补苍补 that there would have been no 艢惫别迟腻尘产补谤补蝉 on Gurjarade艣a, if Devas奴ri had not defeated Kumudacandra who had according to the conditions of the debate to leave the country:

鈥�yadi 苍腻尘补 kumudacandram n膩je峁�yad 诲别惫补蝉奴谤颈谤补丑颈尘补谤耻肠颈岣�,
ka峁璱paridh膩namad丑腻蝉测补ta katama岣� 艣vet膩mbaro jagati鈥�
  鈥�(Prabh膩vakacarita, p.180, verse.251).

The debate was held in V.S.1181 or 1125 A.D. (肠补苍诲谤腻峁ａ弓补艣颈惫补惫补谤峁�e vai艣膩khe p奴r峁噄m膩dine -Prabh膩vakacarita, p.178 and verse-193).

Prabh膩vakacarita has given a little information about Kumudacandra, that, he was a preceptor of the king Jayake艣in who ruled 碍补谤峁嚹佱弓补办补and was the maternal grandfather of the king 闯补测补蝉颈峁僪补. He has defeated the scholars from Buddhist, 叠丑腻峁�峁�补蝉, 艢腻峁卥补谤补蝉 and 碍腻辫颈濒补蝉 (Prabh膩vakacarita, p.174and verse.84-86). Even history has given no information about Kumudacandra. He was not recognized, though he was the main opponent to Devas奴ri. Karna, the father of 闯补测补蝉颈峁僪补, had married Maya峁嘺lladevi, one of the daughters of Jayake艣in. Jayake艣in has ruled 碍补谤峁嚹佱弓补办补 from 1050 A.D. to 1078 A.D. (1968, Karnataka through the Age, p.297). Even in the 鈥�颁补迟耻谤补艣墨迟颈-Viv膩davijaya鈥�, the very name Kumudacandra is not mentioned (1973, Jaina Sahitya Ki Bruhad Itihasa, p.587).

艢谤墨辫腻濒补 was the childhood friend of Siddhar膩ja and was a great poet, known as 鈥�办补惫颈谤腻箩补鈥�. He was blind by birth and the pupil of Devas奴ri (Mudritakumudacandra, p.39, verse-16). 闯补测补蝉颈峁僪补 accepted him as his brother. He has composed so many 笔谤补艣补蝉迟颈-inscriptions for Siddhar膩ja. His son Siddhap膩la was a great poet. Siddhap膩la was also close and beloved friend of king 碍耻尘腻谤补辫腻濒补. Somaprabha had written 鈥湴�耻尘腻谤补辫腻濒�� Pratibodha鈥�, dwelling in the house of Siddhap膩la (碍耻尘腻谤补辫腻濒补Pratibodha, p.iii).

Though these characters have historical background, there is no information about the historicity of other characters and again there is no strong historical evidence that Kumudacandra is a historical character. Because of these fictitious characters, Mdritakumudacandra is said to be a 笔谤补办补谤补峁嘺.

驰辞驳颈苍墨 is a divine character which is employed in the drama. Not only Mudritakumudacandra, but also other dramas have used this (divine) character such as 惭腻濒补迟墨尘腻诲丑补惫补, Caitanyacandrodaya, 痴颈诲补驳诲丑补尘腻诲丑补惫补, 尝墨濒腻惫补迟墨 and Prabodhacandrodaya. 驰辞驳颈苍墨 is generally a female Yoga practitioner or a modern female spiritual teacher. She is also accepted as the incarnation of goddesses 尝补办峁�m墨, 笔腻谤惫补迟墨, 顿耻谤驳腻, or 碍腻濒墨 having supernatural power. She is also considered as a female tantric and the manifestation of goddess 顿耻谤驳腻. Generally, they are 64 in number. In India, still there are some 驰辞驳颈苍墨 temples which are situated in the Odisha and Madhyapradesh.

M. L. Varadpande (1981, Ancient Indian and Indo-Greek Theatre, p.138) states that:

鈥淭丑别蝉别 驰辞驳颈苍墨s are attendant deities of 艢颈惫补 and 碍腻濒墨 and are closely connected with the cult of the mother goddess. They are worshipped with mysterious rights, which include animal and sometimes human sacrifices, dancing, singing and drinking wine.鈥�

In the Vedas as well as in the classical Sanskrit literature, both in 艣谤补惫测补 and 诲峁浥泍补 办腻惫测补蝉, these female ascetic (驰辞驳颈苍墨) characters are variously described. Various dramas have employed the character for personal and political use. Generally, the kings became powerful through this character. Sometimes, they approached on their own to bless the king. In the Mudritakumudacandra, the 驰辞驳颈苍墨 Vajr膩rgal膩, the manifestation of K膩m膩k峁Ｄ�, has come on her own to bless the king 闯补测补蝉颈峁僪补. However, Bharata prohibits such characters in the 笔谤补办补谤补峁嘺 type of drama. In the 惭腻濒补迟墨尘腻诲丑补惫补 笔谤补办补谤补峁嘺 Bhavabhuti has also employed a 驰辞驳颈苍墨 character.

Mudritakumudacandra has employed all the styles (惫峁泃迟颈蝉) which are necessary. However, the grand style (蝉腻迟迟惫补迟墨惫峁泃迟颈) is applied several times. The gay style (办补颈艣颈办墨惫峁泃迟颈) and the violent style (腻谤补产丑补峁�墨v峁泃迟颈) are applied very rarely. The verbal style (产丑腻谤补迟墨惫峁泃迟颈) is applied because the style is common to all the dramas. Therefore, it is an important part of every drama.

Again, the author has tried to employ some sentiments, which are necessary for the drama. Basically the drama is based on the debate between the two sects. Thus, it does not require the sentiments like laughter (丑腻蝉测补), erotic (艣峁涐箙驳腻谤补), odious (bibhatsa) and terrible (产丑补测腻苍补办补). The ascetics have the great sense of tranquility (艣补尘补) and there are some arguments that happen between the two sects, so the furious (raudra) sentiment is applied more often than the tranquility (艣腻苍迟补) sentiment.

Further, the author has applied all the five types of junctures (sandhi), actions (补惫补蝉迟丑腻) and elements (补谤迟丑补辫谤补办峁泃颈) properly in the drama. All the five types of junctures (sandhi) have covered all the five acts (补峁卥补).

Several technical aspects such as Intimation scene (nepathya), Interlude scene (惫颈峁�k补尘产丑补办补), Monologue (腻办腻艣补产丑腻峁�i迟补), Aside (svagata or 腻迟尘补驳补迟补), Aloud (辫谤补办腻艣补)and Personal address (箩补苍腻苍迟颈办补) are also employed, whenever the drama needs. However, the author has not applied some technical aspects, such as introductory scene (辫谤补惫别艣补办补), continuation scene (补峁卥腻惫补迟腻谤补), anticipatory scene (补峁卥腻蝉测补) and confidential (补辫补惫腻谤颈迟补). All the acts consist of interlude scene (惫颈峁�k补尘产丑补办补s), but in the first and second acts, the author has mentioned them as pure interlude scenes (艣耻诲诲丑补惫颈峁�k补尘产丑补办补); however, in the other three acts, the interlude scene (惫颈峁�k补尘产丑补办补s) are addressed as only interlude scene (惫颈峁�k补尘产丑补办补s). Further, in the third act, the interlude scene (惫颈峁�k补尘产丑补办补) contains three characters, who speak in Sanskrit, but it has not been addressed as the pure interlude scene (艣耻诲诲丑补惫颈峁�k补尘产丑补办补). Perhaps because of the three characters it may not have been addressed as pure interlude scene (艣耻诲诲丑补惫颈峁�k补尘产丑补办补). Again, if all the characters are speaking in Sanskrit then it is pure (艣耻诲诲丑补) and if one character is speaking in Sanskrit and other character is speaking in Prakrit and then it is mixed (蝉补峁僰颈谤峁嘺) type of interlude scene (惫颈峁�k补尘产丑补办补). Again, in the fourth act, two characters speak in Sanskritand hence it is also not addressed as pure interlude scene (艣耻诲诲丑补惫颈峁�k补尘产丑补办补). However, it should be noted that in this interlude scene (惫颈峁�k补尘产丑补办补), at the end, two more characters are introduced and they speak in Prakrit, but from behind the curtain. Perhaps, that is why it has been addressed only as interlude scene (惫颈峁�k补尘产丑补办补). Again, in the interlude scene (惫颈峁�k补尘产丑补办补) of the fifth act, two characters speak in only Sanskrit; still it is addressed as only interlude scene (惫颈峁�k补尘产丑补办补), instead of pure interlude scene (艣耻诲诲丑补惫颈峁�k补尘产丑补办补).

Again, the author has spoken very less about the society, except that people were egoistic and jealous of each other. People were also superstious and believed in black-magic etc. Society was very religious.

However, the status of woman, reflected in the drama, was very low. Women were not independent and sometimes they were tortured in the specific religions like Digambara sect of Jain religion and precisely to showcause this fact, the author has written the drama and the main theme of the drama is the 鈥淟iberation of woman鈥�. It could be said that the 笔谤补办补谤补峁嘺 is based on a semi-historical theme, because all the characters are not historical but some of them are fictitious and that is why it is said to be a 笔谤补办补谤补峁嘺. However, the drama has provided examples of kings being interested in the discussions of various sciences; and therefore giving support to the learned men in their courts. Further, it has given very good message to the society that one should leave ego and jealousy, though he has great talent with him, because these are not the ornaments of the learned men. Altogether, it can be said that the Mudritakumudacandra is a different kind of 笔谤补办补谤补峁嘺 composed for a definite purpose. The 笔谤补办补谤补峁嘺 reflects the social behavior of that time and tests the human psychology of medieval India.

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