·MRICCHAKATIKA
(मृच्छकटिका.)
OR
THE TOY-CART OF KING SỨDRAKA
A STUDY
BY
Dr NISHIKANTA CHATTOPADYÂYA, PH D
Late Principal of the Hyderabad College,
and now Professor of History and
Political Economy in the
Maharajah's College,
Mysore.
आलाने गृह्यते हस्ती वाजीवल्गासुगृह्यते ।
हृदये गृह्यते नारी यदीदं नास्ति गम्यताम् ॥
(प्रथमोऽङ्कः)
" An elephant may be held by a chain,
A steed be curbed by his rider's art,
But even go hang if you cannot gain
The only bond a woman obeys-her own heart.,
ACT, I.
Price, One rupee.
मूल्यं एकरौप्यम् .
MYSORE
The GRADUATES' ÎRADING ASSOCIATION PRESS
1902

·INTRODUCTION There are at least three stages in the evolution of the dramatic art In the first stage which is represented by the mysteries and the miracle-plays of Europe, and by the Yâtrás and the Rasalilas of India, dance, music and mimic form an essential and dialogue only a subordinate part In the second stage which reached its perfection in the plays of Eschylos, Sophocles and Euripides or in those of their Latın imitators, dialogue, in addition to the other, three elements is undoubtedly far more developed, but it is mainly confined to two or three interlocutors at a time, while the major portion of the dramatic action is carried on by the chorus which not only sings and moralises, but also apostrophises and adjudicates In the third or the mature stage, whose inost perfect specimens are to be found in the dramas of the ancient IIindus and in those of the nodern English and the Germans, dialogue as well as the other elements mentioned above perform their normal and natural functions on the stage exactly in the same manner as they actually do in human life and society ''Since the ideal perfection of the dramatic art consists in being able to represent hfe and nature as they really are or “ to hold, as 'twere the mirror up to Nature as it has been so clearly evpressed by the greatest dramatist of the world.) It is really very strange, but nevertheless perfectly true, that across distance of at least ten, if not, fifteen centuries, the dramas pot het hy a ·2 of Sidraka, Kalidasa and Bhavabhíti are in every respect far more similar to those of Shakespeare, Gathe and Schiller than to those of the Greeks and the Roinans to whose direct or indirect influences in stimulating the growth of the Hidu drama so much has been written and spoken of in recent years Professor Leopold von Schroeder points out these similarities in the following terms -- On the other hand, there is a good deal more affinity between the Indian drami and Shakespeare Not only in the esternal forın, but also in the inward spirit, tone and substance, there are in this respect really remarkable analogies between them both In the Indian dramı as well as in, Shakespeare, everything is painted with all the variegated details of individual characterisation, whereas in the Graco-Roman drama the figures are far more typical With the waywardness of the Romantic dram?, Shakespeare as well as the Hindu poets violate all the unities of time and space A varied and constant change of scene lead> from here there, and, if, as in the Winter's Tale' a mere child in the first act appears as a young muden in the last, so in the Uttarayâmachantan, as already mentioned, there 15 an interval of at least 12 yeary between two acts The varied changes in metrical strophes and in prosaic discourses, we find them equally in Shakespeare and in the Hindu poets The species of elevated humour, of play on words, comical interchanges of all sorts are sometimes so alike, that the one might be easily taken for the other. Moreover, the mixture of the serious and of the comical in the very same play, the unusual variety and liveliness of dramatic movement, the crowd of peculiarities and of details in tone and language, in the origin and growth of the story offer a good many more similzeities, and we are locaten 11 TO ·3 in Shakesspeare's romantic dramạş the legendary and the supernatural element also richly iepresented, which plays such a considerable role in the Hindu dramas" topp In speaking of the Mrici hakatıká, the same learned Professor delivers himself in the following mannera - This drama whose characteristics I desire to unfold to you to-day is so very different from those that I have already described—so remarkable, so full of dramatic life, vigour and freshness, so full.of transcendent wit and humour, that it is impossible for us to admire sufficiently the many-şıdedness of the Hindu mind, which, in addition to, the soft poetical creations of Kalidasa could produce such a unique masterpiece If the genius of Kalidusa shows a certain affinity to that of Gøthe, the total spiut, character and diction of this play on the other hand remind us in a most striking manner, of Shakespeare " a Again -" In this manner this play (Mruchahatika) of which I have just given you a very inadequate sketch, contains besides sundry comical points also a good many deep and serious elements and must be regarded as masterpieuc of the dramatic art If Kalidesa stands high in the depth, the tenderness and the excellence of his poetry, so must the MInicchzkitika be regarded as the greatest product of the Hindus in all those attributes which, properly speaking, constitute the true dramatic art and produce the best scenic effects, that is to say, in the life, the vigour and the animation of the dramatic action, the sharpness of wy * Indicns Literatur u Cultuu" podml:02 3 Ditto pp 629 W www in ·+ + characterisation and so on ". The above quotations from Prof Schroeder's famous book on 56 Indiens Literatur u Cultur" do not by any means, over state the case in point These points of analogy and contact between the dramas of the ancient Hindus and those of the modern English and German dramatists are indeed, so palpable and remarkable, that were we not absolutely certain, that Shakespeare lived and wrote at the end of the 16th century in the full bloom of the Elizabethan age and Gathe and Schiller at the end of the 18th in the midst of th- Napoleonic era, I should not have been in the least surprised to find some young and enterprising Sanskritist of a German University starting the hypothesis and actually writing his Doctor's thesis to prove, that the so-called ancient dramıs of the Hindus are quite modern and must have been written by some inodern Hindus who bad deeply studied “ Hamlet” “Faust” and " Wallenstein and other diamas of the same kind, and who had then, with characteristic inaccurary put them back to far more ancient dates and even attributed them to such mythical personages as Sudraka, Kalidasa and Bhavabhuti The utter vagueness and the hopeless confusion of the entire Hindu chronology would have lent great plausibility to his thesis which would have served, at all events, as a working hypothesis for years to come to the orientalists of Europe Fortunately for ourselves, even in the dim twilight of what scanty knowledge we already, possess about the past history and chronology of the Hindus, such a thesis or hypothesis or rather antithesis would be wholly untenable. To those who are even partially conversant with the best researches of our Oriental scholars, Indian as well as 77 Sulawler's * Iudius Saltelutul u Cultur PP 0+3.

·Sudraka is still held in hetetu bus repene i 5 wy MW European, there is hardly any reason to doubt, thal Siidraka—the reputed author of the Mricchakatika, must have lived sonie fifteen centuries before Shakespeare, as Kálidâ sa must have lived at least twelve centuries before Gathe, and Schiller at least ten centuries before Bhav.rbhutr When our great Hindu poets were creating their immortal dramas, and our great Hindu sculptors were carving their imperishable inemorials of stone, the ancestors of Shakespeare, and of Goethe and of Schiller were still wandeling about in untanned skins and chiefly occupied in scalping one another's. heads How then could the foregoers of the present English and the Germans of those days have helped us? Their present descendants can help us a good deal now, if we only know how to avail ourselves of their help. Our. Hindu dramas are, therefore, entirely our own indigenous productions, and there is no other heirloom of the past of which we have such excellent reasons to be so immensely proud Our philosophers may be too subtle and unpractical, our theosophies too mystical and pessimistic, our epics too legendary, our Puranas too mythological and our later poems called Kavyas far too elaborate and artificial, but our ancient dramas are the highest and the best that we have ever produced and which may be favourably matched with the highest and the best of their kind of any age or of clime And of these perfect creatons, the Mircchakatakà is undoubtedly the most perfect Primus unter pares. Hear how (JŞ Klein speaks of the author of the Mncchakatıka - • As a Prince and a Poet, Sidraka belongs to the highest manifestătions of the Hindu mind. Of air the rulers of the kingdom of Lidasd... whose capital was Ujjayını, King, deeds inay have been forgotten, or like those of so many v ***** ·6 other Hindu Kinys may have been inextricably mixed up with those of others. But his drama, the Mricchakatzká has perpetuated his name for all timë The clay "Toy-Cart" of Sudraka is his monumentum ære perennius His clay monument will survive those of bronze, a brittle child's toy will be his imperishable deed Thrones and empires go to pieces like all earthly things, but King Súdraka's ctay-cırt will always be thero firm as rock. Yes, firmer still than that roche de bronce which a stupid king once presumed to build as a symbol of luis power and as a guarantee of his fame." 11 On the Mruchakatoku. The following two lectures were primarily delivered before the Hindu Social Club of Hyderabad, Deccan. In 1896, I happened to be in Bombay for nearly 6 months. At the request of my late lamented friend the Honorable Javerılal Umashankar Yajnik who was then the Honorary Secretary of the Bombay Branch of the Royal Asiatic Society of Deng 11, I had to deliver it over again before a small though Select audience composed chiefly of the inenibers of the Suuiety. The late lamented Dr Peterson of the Bombay University had the kindness to preside on the occasion In elaborate account of the proceedings including a resumé of the lecture was published in the “ Times of India" dated the 18th of August, 1896 It is reprinted (Ininus the resumi) at the end of this book Various other notices and reviews have appeared in the meantime of which only a few more are reproduced here It is necessary to add, that these two * J S Kleru . Geschichte des lainas Pp 85 ·7 lectures on the Mricchakatıkà were printed once before by the Education Society's Press, Bombay. But the printing was so clumsy and inaccurate and the Sanskrit texts were so badly struck off in Roman character (which in itself is my pet aversion) that it is nothing but fair to myself and just to my readers, that I should have them republished in a more legible type and convenient form Besides my present environment also has probably had something to do with this republication I now happen to be in the service of the foremost and the most ancient Hindu Raj in India, noted for its liberal patronage of learning in general and of Sanskrit learning in particular I have now been in Mysore-its chief town,-for nearly five months I am surrounded on all sides by old Hindu associations I can hardly go for a drive or a stroll into the city without running the risk, at every nook. and corner, of treading on the tender toes of old-fashioned *Pandits and Shastrís in their old tradicional garb and look, and without being strongly reminded of their ancient duplicates as delineated by Mgästhenes, Ħoungthsang and Albiruni Before me as I write these lines in the verandah of my humble cottage, there rises the beautiful Chamunda Hill, clothed at this moment in a white gown of soft fleece, with its thousand steps of granite and with its famous temple said to be three hundred years old, dedicated to the Mahishasuramardınē, the patron goddess of the Royal Family of Mysore Between the huge boulders of its sloping hase and the perpendicular walls of the old city fort, there now laughs and sports, like a young maiden of seventeen, the old Doddakere tank once more, the tank which should henceforth be known as the Vanvrlisa Sarovaram, seeing that it has been quite recently resuscitated and rejuvinated, as it were, by the magic word of H H, the Maharani-Regent ·Na pita 8 of Mysore ! Amidst such surroundings and associations, how can I who have always a strong tendency “to become a part of what surrounds me" help reverting to my dear old love, the Sanskrit Literature? I am afraid, I have not, during the long interval that has elapsed since I began the Kà tantra Sútiam, been always quite loyal to this old love of inine In fact, I must candilly confess, I have, like another Ulysses during my ten year' wanderings in foreign lands, been often enticed away and sometimes entirely monopolised by many a strange Calypsoe of syren voice and bewitching looks But now that I have come back home after so many years, and find myself once more, inore or less, in the cherished environment of my boyhood, I am naturally glad to return to the arms of my dear old Penelope, tho ancient but elegant Sanskrit literature Yondei Chamunda Hill before me looks steep and may be difficult of ascent, but I should not minck its thousand stairs and more in the lezst, provided I was quite sure of meeting over there either Vasantasena or Muilati And if when I arrived in the temple of the dread goddess, I should happen to find Màlati in the same predicament as Madhava once did, I should not hesitate in the least to shoot down Kapálakundala and Aghoraghanta both at once, even though the one was a woman and the other a priest My remuneration would be more than enough! Wouldn't it be? But I am just not far less concerned with Malatí and Madhava of Blanvebhutz than with the Vasantasena and Chăvudattii of Sudraka to whose trials and adventures, I beg, therefore, to invite the sympathryn and admiration of my indulgent readers.. I can promise them not only amasement, but also deep instruction in situe and wisdom. ** w

·9
काव्यशास्त्रविनोदेन कालो गच्छति धीमताम् ।
व्यसनेन च मूर्खाणां निद्रया कलहेनवा ।।
दशहरा, शक १८२४
(Dasahard, 1901)
महीशूर (Mysore )
Nishikûnta Chattopadhyaya
PS-I must not forget to mention my obligations to
Pandit S G Narasımhachar, the Librarian of the
Mysore Oriental Library, for having kindly corrected
the proofs, particularly of the Sanskrit texts and
quotations embodied in this book
ELWAL ROAD,
MYSORE
Neshikanta Chattopadhyaya.

·MRICCHAKATIKA OR THE TOY-CART (Its place in the dramatic literature of India, and its chief characters ) 3 The Indian drama, like every other drama in the world, had its origin in cult or worship Hymns with mimic, music, and dances were chanted round the sacrificial altars in the earliest Vedic times (Rig-veda 1, 10, 92, 94, &c). Even heroic songs are to be found occasionally in the Vedas under the different names of Itiha ( sfare ), I trhása (ERTETET) Gatha ( Tren ), Akhyayana (BCA97), &c Dialogue, an essential property of drama, is also not wanting. The wellknown dialogue between Yamı ( ), and Yami ( T ), the first created man and woman, in the Rig-veda (x, 10 ) is an instance on the point Coming down to the Brahmanas, (FE: ), we find dialogues more frequent, as for instance (to take one out of many ), the profound philosophical conversation between Yågnavalkya ( 1154679 ), and his beloved wife Maitreyi (Ateit), on the Immortality of the Soul. In the Vedantas (agrar:), the dialogues are more frequent still, particularly in the Chhandogyopanishad (igiozina), ·2 where conversations between renowned sages and their pupils occur quite frequently on the ever-recurring theme The Unity of Being (CTTHIA-ahe ac!). I shall adduce only one single illustration Sanatkumara (सनत्कुमार ), and the young, ardent and truth-seeking Svetaketu (श्वेतकेतु). In the two great epics the Mahâbhârata ( महाभारत ) and the Ramayâña(Tartu), dialogues are at least as common as in Homer's Illiad and Odessy or in the Lied der Niebelungen To take only one instance froin each the famous dialogue between Krishna and Arjuna in the Bhishmaparuam ( afrshus ), which is known as the Bhagavadgita ( HOTEÇin ), and that between the truehearted, devoted Ramachandra ( Trase ), and the sceptical, materialistc Javali (जावाली),n the Balakandam(बालकाडम्). Thus in the earlier phases of Sanskrit Literature, we find already fore-shadowed all the chief elements which constitute diama song, mimic, music, dance and dialogue That dance played quite an important part is evident from the simple but significant fact that in Sanskrit, the words which signify drama Natakam (7126), and an actor Nata ( 72 ) a are both derived from root Nat (7), to dance The word Nata (2:), has still kept its original and more primitive meaning which is a dancer Nityain (77€4H), from the same root means th the dramatic art. It now needed only some new force or forces to combine all these various elements and to produce out of them that ·3 111nr species of literature which we call Drama The lyrical and the feminine element was found in the Vedic hymns, while the masculine element was found in the epical dialogues of the two heroic poems They had to be joined and coupled by other factors before drama, their child could come into being The first of these factors seems to me to have been the great reformation inaugurated by Buddhr Säkya- (बुद्ध शाक्यमुनि), and the second the expedition of Alexander the Great, and the consequent contact of the Hindu mind with the Arts and Literature of the Greeks The fermentation caused in the thoughts and feelings, the manners and customs of the Indians by the reformation of Sàkyasimha (TIPITE), was very great indeed , and for the first time, the Indians became conscious of higher powers than were needed only to chant sweet lyrics full of freshness and naiveté or to compose epical dialogues, recounting deeds of heroic valour and manly courage Revolation and reformation are ałways, more or less, attended by Struggle, and Struggle is an essential element of the dramatic art In the old Buddhist Suttas, mention is frequently made as Prof Lassen has well observed, of theatrical representations and of going to see theatrical performances The contact with the Greeks must also have been useful in this direction Seleukos- Nikator, we know, gave his daughter in marriage to Chandragupta It is highly probable that this Grecian princess was accompanied by some maids of her own country with whom she not unfrequently read the dramatic creations of the three Attic masters Eschylos, Sophocles and Euripides Megasthenes at the end of the third century before Chitast passed five years at Pâtalıputra, and we know, from Deltakerne ·4 were to 4 fragments have come down to us of his works, that his relations with the natives of the country very intimate In fact, during the 3 centuries between the expedition of Alexander the Great and the birth of Christ, the intercourse between the Greeks and the Hindus must have been very close and very constant. About the beginning of the Christian era, we read of a Greek kingdom founded in Bactria whose powerful monarchs like Menander (Mılında ) and Kanerki (Kanishka ) extended their power sometimes over Cashmere, the Punjab and Guzarat And it is precisely in Western India, in Malava (मालव), in Avanti (teret), ( Ujjayını ), in the courts udraka (36), and Vikramúditya (विक्रमादित्य), that dramatic literature had its rise. The supposition, therefore, of Weber's, that the Indians might have been prompted to real dramatic compositions by the sight of Greek plays is not to be summarily rejected To draw an inference from the present to the past, cur modern dramatic literature in Bengal which came into existence only 45 years ago, is grealty indebted to the perfomanec of English dramas in Calcutta and other chief towns of India. We had Yatràs (2171), and similar things in abundance, but the drama, properly so called became possible only since we read and saw the plays of Shakespeare and of other European masters. This influence of the Greeks on the development of the Indian drama becomes all the more probable when we remember, that the Sanskrit word for a stagecurtain is Yavanika (49&#T), 1 e, something appertaining to or borrowed from the Yavanas (2017 491977:), or the Ionians, ·5 are The word Yavana (1997), has subsequently become a general term for all foreigners Thus under the powerful influences of the Buddhist Reformation and of the Greek arts, the Indian drama became a fart accompli, in all likelihood, already in the second century before the Christian era to which date our native Indian authorities and traditions refer the subject of my analysis the Mucchakatoka (Taghlacht). The author of this drama, say they, lived a century before Vikramàditya (Paskuiach), whose date 15, fixed at 56 years before Christ, and at whose court the Navaratnam (Farerai) i. e the nine gems of whom Kàlıdasa (llegia), is said to have been one, said to have flourished. . Competent European authorities have, however, doubted this assertion on the ground, that in the Mricchakatokà( -eschlecht.), the coin Nánaka (Tropea), is mentioned, which is attributed to the Graeco-Bactian king Kanishka who lived in the first century after Christ The flourishing state of Buddhism, as depicted in this drama, leads Wilson further to conclude, that it must have been written at a time when that religion was in the ascendant which according to some writers, was undoubtedly the case in the second century after Christ Most European Orientalists are, therefore, of opinion, that this drama was written in the second century after Christ, and the dramas of Kálidâsa still later. Prof. Albrecht Weber would even go so far" as to bring down this drama as well as the dramas of Kálıdăsa to a period, more or less, co-eval with the works of Bhavabhütı (Hayda)who, very probably lived in the ·6 SO far, > 8th century after Christ Horace Hayman Wilson finds another reason for concluding that the Mnicchakatoka (hostonlasht), must be old in the fact, that while the heroes and heroines of the Mabábharata and Ramayana are repeated almost ad nauseum, those of the Purânas are never mentioned, not even once This, says he, is reason cnough to draw the inference, that the Mrchahatıka (770plit), was written before the Puranas had come into existence Thus the chronology of this drama still remains an open question as that of the majority of other dramas and of Sanskrit works in general Whatever that may be, most authorities are, at least unanimous that of all the Indian dramas, the Mruchakatiha (मृच्छकटिका) is not only the most anciet, but also the most interesting, as far as a knowledge of the peculiar manners and etiquettes, habits and customs, virtues and vices of a certain age and society concerned. The Mruchakatoka brings into clear, and bold relief as no other Indian drama does, with touches as vigorous as they are bright, with details as minute as they are suggestive, the Indian Society of that age before our eyes, a Society which, as Wilson has rightly observed," was advanced enough in the path of civilization to be at ance luxurious and corrupt." And this society is all the more interesting and pijuant, because side by side with customs and characters t'iat are generally human, there are in it others which are quite peculiarly indigenous, scenţing of the soil where they have grown with its sweets and bitters, lights and shadows in all varieties and proportions. The Macchakatika (qargetilènit), alre ·7 thus belongs to the class of dramas that are called realistic al- "Though ideal elements and characters are also to be found in it as in any drama of Sophocles, Shakespeare or of Schiller. Taken all in all, it belongs, in spite of its strong realistic tendencies to that class which is called the romantic drama, a mixture of the tragical and the comical, of Phantasy and Real Life ( Phantastisch realistisch as the Germans call it ), a class which is a peculiar creation of the modern European races and of the ancient Hindus, and was wholly unknown to the Greeks and the Romans All the dramas of the Hindus belong to this class The Mricchakatoka is a sort of looking-glass for the age and society it depicts in the same sense as some of the romances of Dickens and of Balzac are for the peculiar social manners and customs, virtues and vices of the English and the French during certain periods of their growth and development I now tuin to the chief characters of the play, and, first of all, naturally to Charudatta (arega), the hero of this drama and after whom it ought to have been nained. The character of Chàrudatta (Fregat), is as ideal as any that has ever been conceived by a dramatisk His generosity is so great, that it has actually brought him down to the lowest stages of poverty, his sympathy with his fellowbeings is so deep and genuine, that he has always a kind word to put in for the poor, the oppressed and the outcast, to whon every man is a brother who seeks his refuge and protection, who is so scrupulously honest and conscientiw wy Art w win Post llow ·8 enemies. ous, that to him death is thousand times more welcome than even the least shadow of dishonesty on his character and who is over and above all this so mild and forbearing that he not only forgives but even does good to his most inveterate This Chàrudatta (16a), loves and is loved by a Hetaira or a courtesan who pays him visits and stays with him, though he is already a husband and a father | But what is still more strange to our modern notions of things is, that the respected and beloved wife of Chàrudatta ( 21967), not only takes no umbrage at this conduct of her dearly cherished lord, but even seems friendly and sisterly disposed to her more charming rival to whom she sends her own costly pearls and ornaments as soon as she learns, that the golden ornaments put into her husband's custody by Vasantasèna (वसन्तसेना), have been stolen Yes, Vasantasena (वसन्तसेना), that is the euphonious name of the heroine of this drama. Vasantasèna (HTÈTAT), though belonging to such a class and such a profession, is still treated by all with an amount of respect and consideration which, as I have just said, is rather puzzling to us from our present standpoint of morality. But we should not judge other times and other races from our own standpoint. There was a class of such women in ancient Greece, called Hetairas, and no less a nian than Socrates used to visit one of these women called Theodota with all his disciples to hold ethical and philosophical discussions. The beautiful and highly cultivated Aspasia was also a Hetaira, and she was the friend and wife of Pericles the statesman, the orator and the patriot. In our 19 ·9 1$ of own times, the School of French novelists whose acknowledged leader is undoubtedly Monsieur Zola deck their demi-monde heroines with exactly similar virtues and perfections as the author of this drama has done his For, in this play, the heroine Vasantasena (PHASETAT), the very beau ideal of disinterestedness, of love, fidelity, devotion and of all imaginable moral excellence The character Šarvlaka ( zalo ), the Brahmın thief and the political agitator, offers some traits which are particularly Indian When trying to break into the house of Chà rudatta ( 71667 ) he reasons and speculates on the material he has to deal with, bricks and mortar of the wall, the various forms which the hole should take, of a lotus-flower, the sun, of a phase of the moon, or of a pond or water-jug, just as if he were solving some subtle problems of the Sankhyadarsana ( HIEYGIA)! The subtle, speculative Indian mind shows and preserves its peculiarity even when going to steal Not only this, but the thievish Brahman makes even a sort of religion out of his nefarious calling. He frequently invokes the god Skanda ( Fore), Kârtikeya [ alldiena ), who is supposed to be the guardıan god of thieves Nay, the Hindus baye even a science of stealing called Chaurya-Vadya (aliejaer ),and attributed to a renowned and holy sage, called Yogachårgan (orari): The Hindu must have his philosophy, religion and science even in stealing. The character of Sarorlaka ( laesent ) gives rise to other reflexions of a similar kind. or th ww 2 ·IO was 77 Saralaka ( शर्विलक) Is the son of a Brâhmin who well-versed in the four Vedas and who had never taken a present or gift He is evidently a man of importance to judge by the highly distinguished part he ays in overthrowing the old dynasty of the king Palaka ( 9165077 ), and in setting up a new one of the shepherd Áryaka ( pon ). And yet this Brahmin of good family and social distinction is a rank thief, who breaks into the house of one who, he knew, had been reduced to the straits of dire poverty by his excessive generosity, steals away the gold casket he finds there , to do what? To gain the Love of a courtesan! In this way, this holy Brahmin combines in his own person most of the principal vices which are usually held to be disgraceful in human society. A priestly birth and pious breeding are, therefore, no more successful in keeping down some of the worst propensities of our nature in India than they are in Europe where sons of clergymen not unfrequently turn out to be rabid sceptics and notorious scamps. Human nature is, more or less, the same all the world over It is, however, just to add, that the poet of the Mncchakatıka (gwageanleit), very probably belonged to a sceptical rationalistic and Voltairean School of philosophy to whom it afforded veritable pleasure to give the priests as many strokes as he could ( " den pfaffen noch Eins žū geben says Lessing somewhere ), to detect as many spots in their holy. åress as possible, in other words, to make caricature of the sacred guardians of morals and religion. This is evident not only from the villainous traits he has attributed to the Brahmin Sarvilaka ( lecseh ), but also from the low subordinate position 97 ·II shop" -- - of a half-parasite and half-buffoon he gives to the otherwise true and good-hearted Mastreya ( मैत्रेय ), who is always talking of eating or drinking like Madhavya ( माधव्य.), in the Sakuntala ( Theo ), and who reminds one in this respect of the monks of the Middle Ages (“As voracious as a priest” and “ As voluptuous as an archbiwere current sayings in Germany before Luther). Hence the poet never fails to utilise to the best advantage, whenever there is the slightest opportunity for sneering at the Brahmins, or anything belonging to their sacred calling Sarvolaka ( शर्विलक ), when trying to break in, suddenly discovers, that he has forgotten a measuring chord to find out the length and breadth of bricks he wants to take off धिक्कष्टम् । प्रमाणसूत्रं मे विस्मृतम् । ( विचिन्त्य ) आं! इदं यज्ञोपवीतं प्रमाणसूत्रं भविष्यति । यज्ञोपवीतं हि नाम ब्राह्मणस्य महदुपकरणद्रव्यं विशेषतोस्मद्विधस्य । कुतः । एतेन मापयति भित्तिषु कर्ममार्गम् एतेन मोचयति भूषणसंप्रयोगान् । उद्घाटकोभवति यन्त्रदृढे कवाटे दष्टस्य कीटभुजगैः परिवेष्टनंच ॥ मापयित्वा कर्म समारभे । (तथा कृत्वावलोक्य च)। एकलोष्टावशेषोऽयं सन्धिः । धिक्कष्टम् । आहिना दष्टोऽस्मि । (यज्ञोपवीतेनाड्गुलि बध्दा विषवगं नाटयति )। चिकित्सा कृत्त्वा स्वस्थोऽस्मि ।

·I2 1 5 6 "Alas! I have forgotten the measuring chord (thinking) Ahl this Yagnopavítam ( Taliyad ), ( holy thread ) shall serve as a measuring chord, the holy thread is, indeed, a very useful tool for Brahmins, particularly for Brahmins of my type ' " For, with this thread we can measure in a wall our entrance to the scene of action, and we can loosen ornaments from their places It serves as a key to closely barred doors, and as a bandage when we are bitten by worms or snakes." “ Having measured he begins work , ( digging and looking in), 'Only a clump of earth more and the opening is made Alas! I am bitten by a snake ! Having tied bis finger with the holy thread, he does, as if he was suffering from the effect of poison . Having applied the nght medicine, I feel all rght again!'" The sarcasm of the above is too patent to need pointing out An ignorant, wicked and blood-thirsty ruffian like Samsthànaka ( APETECH ), the king's brother-in-law, is to be found in every age and in every land He is quite typical Such seeds grow in every soil, from Great Britain Prince Cloten in Shakespeare's “ Cymbeline is a similar prototype, Iago in " Othello," and Marinelli in Lessing's “ Emilia Galotti ", I should not be surprised if we have such brothers-in-law even in Hyderabad and in all the Durbars of the Native States They have the same insolence and arrogance, the same extravagance and unscrupulousness, the same vices and crimes everywhere with local shades and nuiinces of difference which only render them more dramatic. Only here in India where all things are 17 39 ·13 in extremes, these fungus-growths of vice and sensuality often attain such gigantic size and monstrous proportions as they do nowhere else in the world 16 A character so utterly contemptible," says Professor Wilson, "has perhaps been scarcely ever delineated, his vices are egregious, he is coldly and cruelly malicious and yet he is so frivolous as scarcely to excite our indignation , anger were wasted on one so despicable , and without any feeling of compassion for his fate, we are quite disposed, when he is about to suffer the merited punishment of his crimes..to exclaim with Charudatta ( चारुदत्त), "Loose him and let him go'! He is an excellent example of a genus too common in every age in Asia, whose princes have been educated by sloth and servility and have been ordinarily taught to cherish no principle but that of selfish gratification" The character of Martveya ( 19 ), the friend and companion of Chànıdatta ( 21967), has nothing very original about it In the history of the European drama, we have such characters in Kent of Shakespeare and in Just and Al Hafi of Lessing Like them, Martreya (77), is equally true, devoted and affectionate, and yet with an occasional mixture of the buffoon and the parasite in his composition which gives him in this piece the role of what the Spaniards would call a gracioso. He is cunning and yet naive The realism of his character comes out in his rather too frequent allusions to dishes and drinks, while his idealism consists solely in loving and in being true to his friend and benefactor Chàrudatta (FIEGT) whom he idolises with all the devotion and tenderness of a poodle, wwwwww ·14 in The Vsta (fãc) ie, mosaheb or Parasite of Samsthanaka ( समस्थानक ), is, a character, well-known in every country where there has been some form of aristocracy We have whole shoals of them here in Hyderabad and the other Native Courts It was very common in Europe in the feudal times Even so late as the 16th century, the Age of Renaissance, we find the Vita ( fèt ) : Triboulet, the brilliant court of Francis I There is, however this difference between the European Vitas (feat:), and their Hindu counterparts in India, that while the former almost with out any exception say - Yes" to all that their lords desire, and frequently do their best to whet and pander to the low appetites of those that they serve, the latter not unfrequently raise their voice of warning and admonition when things go too far and even absolutely refuse to obey when it is a question of life or honour This is chiefly due, I believe, to the fact that the Vita (faz ) in the Sanskrit dramas always belongs to the higher castes, and is, more or less, a scholar and a gentleman. In this drama, the Vita (fat) of Samsthànaka (HRT74 ) will by no means whatever consent to kull Vasantasena (aprIFT) even though Sanzsthánaka ( FRIGTE) points out to him that it was beyond all probability that anybody should see or know anything about it He replies in the following words पश्यन्ति मां दशदिशो वनदेवताश्च चंद्रश्च दीप्तकिरणश्च दिवाकरोऽयम् ।

·15 धर्मानिलौ च गगनं च तथान्तरात्मा भूमिस्तथा सुकृतदुष्कृतसाक्षिभूता ।। “ Me, see the ten quarters, the gods of the forests, the moon, yonder sun of dazzling beams, Yama ( 47 ), and Váyu ( are ), the sky and the inward soul, yea, this earth, the eternal witness of all good and bad deeds." How very characteristic these words are of Vita's birth, learning and disposition ! A character like that of Aryaka ( 34728: ), and Pàlaka ( 91697: ), has, no doubt, some resemblance to that of Krishna ( shout), and Kamsa ( कंस ), or of Jesus and Herod. Some European Orientalists have from this drawn the conclusion, that the story of the Gospels must have penetrated quite early into India, and this episode of Aryaka (errefeta),and Palaka ( पालक ), in the oldest Sanskrit drama is nothing but an Indian version of the same But it is impossible not to notice this difference that while both in the case of Krishna and of Jesus, the question of divinity and of miraculous powers, plays a very prominent part, there is no trace whatever of any of these elements in the simple political character which Âvyaka ( perna ),plays in the Mricchakatıků (aangeleent). He is here a democrat, an idol of the people, and is raised to the highest political power by men *Who did not certainly belong, without a few exceptions, to the aristocracy of the land His friends and co-adjutors Šavorlaka ( Tracoes ), the thievish Brahmın..! Dar- Work * by Why att det are ·16 in - duraka (ciri ), the passionate player, Chandanaka ( fogaloni ), the agent of the Town police , and others of the same description Chârudatta ( 2TOGET ), alone forms an exception, but this can be easily accounted for by the peculiar nobleness of his sympathies which are essentially Buddhistic and democratic Besides, he has now become very poor, and belongs no longer to “ The Upper Ten" Such characters, as Åryaka, are, however, common enough Europe, where political interests occupy such a prominent place. A character like Sanvahaka (सम्वाहक) 1S common to Christian as well as Buddhist countries. He has been a servant in the house of Chárıdatta ( 216GT) for rubbing and kneading the body of his master He was discharged when his master's affairs took a bad turn He then made an effort to live by gambling, and was being roughly treated by his partners for ten gold-pieces, when the munificent Vasantaséna (GST) timely came to his assistance and set him free by paying off his relentless creditors to whom she gave one of her golden ornaments This act he never forgot At the end of the same Act (II), we hear of Buddhist monk in the most imminent danger of his life from a gigantic elephant belonging to Chárıdatta ( 915GT) which has suddenly smashed off its chains, has caught hold of the monk by its trunk and is about to trample and crush him to death Karnapuraka ( oporucchi ), the servant of Vasantasina ( PHPT) saves him Was this the > ·17 " this the very same gambler whom Vasantasana ( वसन्तसेना), had just set free, and who had in the meanwhile become a Sramanaka (श्रमणक)! Yes, it was the very same. We hear of him again in the beginning of the VIII Act, when he sings the following verses which constitute the essential tenets of Buddhism These verses are in Prakruta (प्राकृत), but I will read them out to you in Sanskrit, which, I believe you will understand better अज्ञाः ! कुरुत धर्मसंचयम् ! संयच्छत निजोदरं नित्यं जाग्रत ध्यानपटहेन । विषमा इंद्रियचोरा हरंति चिरसंचितं धर्मम् । अपिच । अनित्यतया प्रेक्ष्य केवलं तावद्धर्माणां शरणमस्मि । पंचजना येन मारिता स्त्रियं मारयित्वा ग्रामो रक्षितः। अबलश्च चण्डालो मारितो वश्यं स नरः स्वर्ग गाहते। शिरो मुण्डित तुण्डित चित्तं न मुण्डितं कि मुण्डितम् । यस्य पुनश्च चित्त मुण्डितं साधु सुष्ठु शिरस्तस्य मुण्डितम् ।" "o foolsi accumulate virtue. Ever restrain your appetites, be awake, and beat the drum of meditation. Formidable are the thieves of senses who steal away longhoarded virtues. Again -Having found out how fleeting all things are, I have at last taken my refuge only in virtue He has well preserved himself who has killed the five enemies and the wench of ignorance. That man goes to heaven who, though feeble, has conquered his lower propensities. How is he shaven who has only shaven his head 3

·18
and chin and not his heart? But he who has shaven his
heart is shaven, indeed. He is verily a Sådhu ( Fry) ! ”
This is my translation, prosaic and literal, but the
translation given by Pof Wilson in his “ Theatre of the
Hindus" is so poetical and beautiful that I cannot resist the
temptation of transcribing it for you -
"Be virtue, friends, your only store,
And restless appetite restrain,
Beat meditation's drum, and sore
Your watch against each sense maintain.
The thief that still in ambush lies,
To make devotion's wealth his prize
66 Cast the five senses all away,
That triumph o'er the virtuous will;
The pride of self-importance slay,
And ignorance remorseless kill,
So shall you safe the body guard
And heaven shall be your last reward!
Why shave the head and mow the chin
While bristling follies choke the breast,
Apply the knife to parts within,
And heed not how deformed the rest
The heart of pride and passion weed
And then the man is pure indeed
The generons conduct of the śramana ( SHUT), partly an
act of gratitude on his part, at the end of the same Act
(VIII) when he saves the life, or rather helps to revive the
life of Vasantasènù ( PROFITTATI ), whom the wicked Šakava
( Tahit ), 1. e., Samsthunaka (HETETT), has just strangled,

·19 wyt wins our sympathies for him and for the religion which inspires his actions He has, after passing through different phases of errors and worldliness, at last become a veritable Švamana (1907), a true saint like St. Paul and St Augustine, St. Francis and St. Xavier ! The character of the two executioners ( Chandàlas ) ( queigt:-), +n the Act ( X ) offers a few indigenous traits which are too interesting to be passed over When leading Charudatta (area ), to the place of execution, they both make moral and philosophical reflexions which would seem ridiculous to Europeans, but which are yet, quite in keeping with the general character of the Hindus, even of the lowest classes. On his companion's, addressing Charudatta ( 216GT), without the honorific adjunct Årya ( spre ), the other Chandala ( quelas ) thus reproves him ( The original is in Prakrita—1967) अरे! आर्यचारुदत्तं निरुपपदेन नाम अलपसि ? अरे, पश्य, " अभ्युदयेवसाने तथैव रात्रि दिवमहतमार्गा । उद्दामेव किशोरी नियतिः खलु प्रतिष्ठम् याति । “ Look here, you address the worthy Charudatta ( Frega ), without the title Årya ( sarf ), to his name ? ” Reflect --" By rising and setting by day and night irresistible fate follows whomsoever it will, like a young female elephant set loose"

·20
,
Again - ( The original is in Prakreta-प्राकृत).
चाण्डाल:-अरे तव अत्र वध्यपालिका.
द्वितीयः-अरे तव.
प्रथमः-लेखं कुर्मः ( इति बहुविधं लेखकं कृत्वा )
प्रथमः-अरे, यदि मदीया वध्यपालिका तदा तिष्ठत तावन्मुहूर्तकं.
द्वितीयः-कि निमित्तं?
प्रथमः-भणितोस्मि पित्रा स्वर्ग गच्छता,
यथा पुत्रवीरक, यदि तववध्यपाली भवति, मा सहसा
व्यापादयसि वध्यम्.
द्वितीयः-अरे कि निमित्तम् ?
प्रथमः-कदापि कोपि साधुरर्थं दत्त्वा वध्यं मोचयति ; कदापि
राज्ञः पुत्रो भवति, तेन वृद्धिमहोत्सवेन सर्ववध्यानां मोक्षो
भवति कदापि हस्ती बन्धं खण्डयति तेन संभ्रमण वध्यो
मुक्तो भवति ; कदापि राजपरिवर्तो भवति, तेन सर्ववध्यानां
मोक्षो भवति.
Chandala I. -Come, this is your turn to kill.
Chandala II.
-No, it is yours
Chandala I. -Come, let us count. (After making several
marks) Look here, if it be really my turn,
then we must yet wait a while ?
Chandala II. -Why?

·21 . Chandala I. -My father, when he was about to depart for heaven said this to me Son Viraka ( वीरक)! if it ever be thy turn to ex. ecute never kill the condemned immediately. Chandala II -Why then? Chandala I :-Sometimes a generous man may set the culprit free by money, sometimes a son may be born to the king, and all the felons are discharged on his birth-day festival, sometimes an elephant may break its chains, and the criminal has a chance of escape in the tumult, or perhaps there is a change of dynasty when all those that are' condemned to death regain their salvation." Again, when Charudatta (चारुदत्त ) laments that it is not death that he fears but his good name and the honour of his family which have been tarnished, one of the chandalas ( quel@T: ) makes the following observations [ The original 1s in Prakrta (प्राकृत)] चण्डाल: :-आर्य चारुदत्त! गगनतले प्रतिवसन्तः चन्द्र- सूर्यावपि विपत्ति लभेते; कि पुनर्जनामरणभीरुका मानवा वा; लोके कोप्युत्थितः पतति, कोपि पतितोप्युत्तिष्ठते. उत्तिष्ठत् पततो वसनपातिका शवस्य पुनरस्ति ; ऽतानि हृदये कृत्वा सन्धारयात्मानम्. -- ·22 "Chandila worthy Chàrudatta ( 216GT), even the sun and moon which are in heaven undergo change and suffering, what about poor mortals like ourselves, afraid of death? In this world one rises but to fall, while another falls but to rise. But when somebody having once risen, falls again, it is as if the garments fall off from his body, Please take these things into your heart and be firm." Enough to show, I belive, how even the Chandàlas (चण्डालाः), were given to moralising in olden days! I have now passed in cursory review almost all the chief characters of the Mracchakatoka ( Tergnieshit), and in a second paper, I hope to give you an argument of this play, an analysis of each act, and recitations and translations of all the best passages. Nothing but a cursory review was possible under the circumstances This drama is divided into ten acts ( fancy') quite equal to at least three dramas of Eschylos, Sophocles, and Euripides Like its rivers and mountains, forests and prairies, every thing in India is on a grand scale, even its dramas. a veritable embarras des richeses and I must consequently ask your attention and indulgence a second time All these ten acts are almost equally interesting, not the least interesting of them all is the IXth act, which brings to light some curious details about the Courts of Justice as they were in vogue in ancient India. Even then the quibblings and quiddities of the legal profession, glorious uncertainties, of law were as notorious as they are now. From the course of legal proceedings about Chárudatta चारुदत्त) we see how even then it was easy It is ho wwwwwww w *** her www he be "the 9 2. W f ·23 Oh, to be led by mere appearances to condemņ a perfectly innocent man, and to let go the truly culpable. In the drama under consideration, the poet, it appears to me, carries it a little too far, draws it to such an extreme pitch, that we lose patience and would fain shut our eyes to the horrid scene that is about to be acted before our eyes Our sense of justice is utterly shocked and paralysed by it and refuses to arcept it as really true The tragic element in the case could hardly be carried any further. Châvudatta (arecer) takes leave of his friend Mastreya (#22) and his dear little child Rohasena ( treta ) who breaks out into the following touching exclamation अले चाण्डाला, मं मारेध, मुंचध आवुकं! ye Chándalas ( TEST:)! kill me and let my father go!" At which Samsthanaka (FHEF|9), the Evil One cries out ( Ayuda hreya)! (Kill him along with his son ! » ). News soon arrives that the wife of Chàrudatta ( 976GTT), is about to ascend a funeral pile and burn herself How could the devoted Hindu wife bear to live after the death and disgrace of her husband? A Shakespeare would probably have got the. hero Chárudatta (21ego), killed, —ımpaled, but the Hindu Shakespeare ( for of all our Hindu poets, the author of the Mncchakatıka (Togo fachat) probably approches the great English dramatist more than any other ) cannot do.. that. In art, in drama, the Ideal Justice must trumph at last. To every one shall be given what he or she deserves. This wa que Www www wer w usta dan www ·24 is a very characteristic feature of the Hindu drana which must always end in peace and justice, love and happiness. No doubt the realities of this work-a-day world are often very different We often see the bad prosper and the good suffer. We often come across a smooth, sleek and smiling villain who enjoys all the good things of this world, while a truly good and noble man pines away in poverty and neglect. We often see the pushing and the plausible dilettante of shallow wits get the better of the retired sage of real merits whom very few know and still fewer appreciate. All this may be entirely true, but in Art, in the sphere of the ideal, says the Hindu, the artist and the poet hast a right to anticipate and represent ideal possibilities which, it is our fervent hope and sincere faith, will be actual realities either here or in a better world to come. And so the hera of this drama, Chariidatta (चारुदत्त) is not only not impaled as the king, Pålaka ( 41625 ) had summarily ordained, but comes out of all these trials and sufferings with his reputation for honesty and innocence more firmly established than ever, returned to his wife and child and to his beloved Vasantasłnà ( a TTT) whom the newly elected King Áryaka ( z prefati) gives him as his second wife, and the last, though not the least restored to wealth and position by being appointed as the governor of Kusávatî ( कुशावती ). on the banks of the river Venà (aut) which the monarch accords to him in recognition of his high character and capacities, and not improbably also as a slight token of gratitude for the service which Chàrudatta (चारुदत्त) had once rendered him when he was ·25 making his escape out of tbe prison walls of his adversary, the King Palaka (पालक) (VII Act). Thus ends the Mrcchakakaka ( मृच्छकटिका ), Sakuntala ( शाकुन्तलम् ), Vikrama-Urdushan ( विक्रमोर्वशीयम् ), Malavakdgwormstramt. ( मालविकाग्निमित्रम् ), Uttavaratacharvatam (उत्तर रामचरितम्), Malatimadhavam (मालतीमाधवम्), Venisamhāra, (वेणीसंहारः), and other dramatical works of the Hindusend in joy, peace, and reconciliation The Hindu drama begins with a prayer to the ainty, called Nanda ( नान्दी) and ends with a benedictory formula called Bharata-Vakyam (भरत वाक्यम् ) The Bharata-Vakyane ( भरतवाक्यम् ) follows. क्षीरिण्यः सन्तु गावो भवतु वसुमती सर्वसंपन्नसस्या पर्जन्यः कालवर्षी सकलजनमनोनन्दिनो वांतु वाताः । मोदन्ता जन्मभाजः सततमभिमता ब्राह्मणाः सन्तु सन्तः श्रीमन्तः पान्तु पृथ्वी प्रशमितरिपवो धनिष्ठाश्च May cows give milk in abundance , may the earth be full of all kinds of grains, may clouds pour down in season may winds blow and diffuse gladness into the hearts of all people, may all creatures rejoice , may Brahmins be received with que respect, may good men prosper, and may kings, endowed, with justice and self-control, reign over this earth!" in this drama is as भूपाः ॥ .

·MRICCHAKATIKA (मृच्छकटिका). DRAMATICE PERSONAE MEN 3 Charudatta ( 21667 ) a Brahmin of a wealthy and respectable family, reduced to poverty by his munificence, beloved by Vasantasenà ( 2 CITAT). Rohasena (TEGIAT ) the son of Charudatta, a boy Martriya ( #ta ), a Brahmin, the friend and companion of Charudatta ( 27EGET ), the Viduskaka (Parcuri ), or gracioso of the piece Vardhamana (aparat ), the servant of Chùrıdatta (चारुदत्त). 5 Samsthanaka (The 1975), the brother-in-law of the Rajah, an ignorant, frivolous and cruel coxcomb 6 *The Vita (faz), the Mosahib and bon Caméradó of the preceding 7 Sthavaraka (Flares), the servant of the Prince. 4 ·27 IO 8 *Âryaka (strepiti), a cowherd and insurgent, finally . successful. 9 Šaronlaka ( Té ), a dissipated Brahmin, the friend of Åryaka ( speit), in love with Madanıkà ( मदनिका). *Samvähaka ( FASTEST ), şervant of ( TOTT ), who used to shampoo him, but who becomes a Buddha mendicant, a syamanaka (8401). Mathura ( ATT ), the keeper of a gaming-house. Darduraka ( 1 ),a gambler. Karnapìvaka (Forgeta), Vasantasena's ( ahat), Chàrudatta II I2 13 servant 14 15 Adhaskarawaikas ( अधिकरणिक ), or the Judge Sreshthan ( 18 ), Sett or Provost 16 Kayastha (Freet), scribe or recorder 17&18 Chandanaka and Vwaka, ( 967497), (atch ), Captains of town guard (lac ), (वसन्तसेना). 20&21 Two Chandalas (Fuerst ), or publicexecutioners. I9 The Vita or, parasite of Vasantsena ·28 WOMEN I The wife of Charudatta ( चारुदत्त ). 2 Vasantasena ( CASTEET )ja lovely young girl, daughter of a courtesan, and in love with Charudatta ( चारुदत्त ). 3 The mother of Vasantasena ( Part TT). Madamkâ ( gracht ), the attendant and confidante of Vasantasand (वसन्तसेना), beloved by Sarvilaha (शर्विलक). Radamıka ( Trefl ), the servant of Chrudatta's (चारुदत्त), house 4 5 PERSONS SPOKEN OF. 1 2 Pàlaka (413076), king of Ujjayıni (Buthaft). Rébhıla (TFS), a musician. The Siddha (FE), who prophesied Avyaka's ( spreizi ), success 3 or seer SCENE. Ujjayını, the city and the suburbs. Time. Four days. * The chief characters are marked ·MRICCHAKATIKA II (मृच्छकटिका) OR THE TOY-CART. ( Argument and Analysis ) I Vh ing Spin A highly respectable but very poor Brahmin of Ujjayini ( Solat ), Chârudatta ( 21667 ), by name, is loved by a young and pretty girl, called Vasıntasèma (THATHT), the daughter of a wealthy courtesan She has numerous suitors and admirers, not the least of whom is prince Sanzsthanaka ( 12 ), the king's brother-in-law, an. ignoranty.frivolous and cruel coxcomb who pursues her in a most relentless manner, but in vain She simply loathes Fim, while she adores Charudatta ( 7TTEGET), in spite of his extreme poverty. One evening as Vasantasena वसन्तसेना) is going along the road towards Chárudatta's 21667 ) house, the prince and his Vita (@z), ( bon camréade) both follow at her heels until Vasantaséna (ANTITÀ) slips into Charudatta's house by a secret door and disappears. The prince and his Vita (C) now give up their fruitless search and return. > ·30 - Chirudatta ( चारुदत्त ) and Vasantasana ( वसन्तसेना ) meet and exchange mutual greetings She prepares to take leave but before doing so she makes over her ornaments to Chārudatta's ( चारुदत्त ) care for fear of being robbed in the way Charudatta (चारुदत्त) escorts her home by moonlight उदयति हि शशाङ्कः कामिनीगण्डपाण्डुः ग्रहगणपरिवारो राजमार्गप्रदीपः । तिमिरनिकरमध्ये रश्मयो यस्य गौराः तुतजल इव पङ्के क्षीरधाराः पतन्ति ॥ " Pale as the maiden's cheek who pines with love, The moon is up, with all its starry train, And lights the royal road with lamps divine, Whilst through the gloom its milk-white rays descend, Like streamlets winding o'er the miry plain (The deposuting of the ornaments ) II Vasantasená ( THE TITAT) confesses to her maid and confidante Madamkà ( FGTASHT ), that she loves Charıdatta (चारुदत्त) and that she has contrived the dodge of consigning the ornaments to him for a rendezvous. In Chárudatta's ( चारुदत्त ) better days, Samutthaka ( सम्वाहक) ·31 was one of his master a native of Pataliputra ( पाटलीपुत्र ), household servants. Samvahaka's ( Helles ) duty consisted chiefly in shampooing the graceful person of his When Chávudatta's ( 16G7 ) affairs took a bad turn, Samvà haka (FATEH ) was discharged and he took to gambling This gambling has brought him down so low, that he is being very roughly treated by the Sabhika ( H ) the manager, for a small debt of 10 gold coins. In his fright, he takes refuge in Vasantasena's ( a ) house, who sends one of her valuable ornaments to the manager and sets him free This act of kindness he never forgot Almost immediately after, a mad elephant sets upon him and is about to crush him when Vasantasena's (THEFT) servant, Karnapdraka (Former ) saves him from a horrid and imminent death He then becomes a śramanaka ( श्रमणक ) or Buddhist mendicant. Charudatta (216GT) who was on the spot when the infuriated beast charged the poor monk, threw his perfumed mantle over Karnazaraka ( कर्णपूरक ) a reward “Where did you leave him?" asks Vasantasena (वसन्तसेना). Kamapiiraka (Turyens ), Going home, I believe, along this road " Vasantasena (वसन्तसेना) to Madansha. मदनिका Quick girl, quick ( upon this terrace ); and we may yet catch a glimpse of him." as 13

·32
Samvidhaka ( सम्वाहक)-The gambler.
III
charmed him.
-
Charudatta (चारुदत्त ) has been to a musical party,
where Rébhula (), playing Viná (effort), has quite
He is evidently very susceptible of music ,
for, he says
उत्कण्ठितस्य हृदयानुगुणा वयस्या
सड्केतके चिरयति प्रवरो विनोदः ।
संस्थापना प्रियतमा विरहातुराणा
रक्तस्य रागपरिवृद्धिकरः प्रमोदः ॥
" Like a dear friend it cheers the lonely heart,
And lends new lustre to the social meeting
It lulls the pain that absent lovers feel,
And adds fresh impulse to the glow of passion
He, therefore, comes home late tha evening and falls
fast asleep Sarvelaka (शर्विलक), a dissipated Brahman
who is in love with Madankà (catent), Vasantasena's
( वसन्तसेना ) maid, breaks into Charudatta's (चारुदत्त ),
house and carries the casket of ornaments away placed in
his charge by Vasantasesa (वसन्तसेना). The reflexions of
Sarvilaka (to set ) on his art:and his devices to break
into the house are both ingenions and ainusing When
me

·33 - Charudatta (चारुदत्त) comes to hear of the theft, he fants; so over-powering is his shame and grief Martreya (HEL) hints, that he might deny the whole thing with impunity if he liked, but says Charudatta ( चारुदत्त ).- भैक्ष्येणाप्यर्जयिष्यामि पुनासप्रतिक्रियाम् ।। अनृतनाभिधास्यामि चारित्रभ्रंशकारणम् ॥ “No, no, I will beg alms, and so obtain The value of the pledge and quit its owner; But cannot condescend to shame my soul By utterance of a lie But Charudatta's (चारुदत्त) wife rises to the occasion aud offers her own pearl necklac: brought from her maternal house as substitute. " Am I poor? " asks he. "Certainly not विभवानुगता भार्या सुखदुःखसुहृद्भवान् । सत्यंच नपरिभ्रष्टं यद्दरिद्रेणुदुर्लभम् ॥ “ It's false, I am not poor a wife whose love Outlıves my fortune, a true friend who shares My sorrows and my joy, and honesty Unwarped by indigence, these still are mine ( The house-breaking ) a IV see Early next morning, Saroslaka ( शर्विलक) goes to Madanka ( मदनिका), and makes her a present of the - 5 ·34 ornaments he has stolen for her sake Madanika (मदनिका) knows at once whose ornaments they are, and expresses her grief and annoyance This excites Sarvilaka's ( शर्विलक) jealousy who imagines Madanikâ ( Helaahil) must be in love with Charudatta ( 416G), and makes some very uncomplimentary remarks about the fair sex in general, and the class Madanıká ( HEARTand her mistress belong to, in particular Madanıka, ( Halatt ) however, persuades her lover to give himself out as Charudatta's ( arecer ) messenger who has brought those ornments for Vasantassenta ( वसन्तसेना ). Vasantasena ( वसन्तसेना ) though fully knowing all, receives both the message and the messenger as such, and gives Madamıka ( heather) for his wife as a reward for his services and a sign of her gratification With thanks and blessings on his lips, Sarvilak ( ) now goes away with his blooming bride, but has to bid her adieu almost immediately, as he hears of his frend Aryaha's ( 347afah ) incarceration by the king who has been told by a soothsayer, that Aryaka (strelci) the shepherd boy, would some day take his place This piece of news drowns all other considerations with Sarvilaka ( mechi ), and off he hastens to rouse the friends, kinsmen and associates of Åryaka ( prolet) in self-defence. “ There are two things in this world says he, which are 66 ·35 most dear to all men a friend and a mistress. At such moments as these," a friend is prized above a hundred beauties In the meantime, Martrêya (HFPT ) arrives at Vasantasena's ( agradat ) house with the pearl-necklace which Charudatta's (21967) wife has given as a substitute. He is condnucted by a Vandhula ( 7 ), a sort of cham berlain, through all the seven courts waose splendour dazzles the poor Brahmin who breaks out involuntarily, as it were into descriptions, partly poetical and partly humorous, till he reaches the gate, where amidst shrubs and flowers there was sitting Vasantasena (वसन्तसेना) herself, the fairest of all After mutual greetings and compliments, Vasantasena ( a chT) asks him the object of his visit, when Maitreya ( Azte ) offers her the pearl-necklace as a substite for the ornaments she had left bihind in Chàrudattá's ( 219G77 ) charge, and which Chàrıdatta ( TOGET) has very unfortunately lost in gambling. Vasantasena ( ESTÀ ETT ) accepts the necklace with a knowing smile, and requests Martreya (Haen) to tell his friend, the gambler, that she was coming to see him that very evening Dark clouds, are, however, gathering in the horizon, and when Madanika (HCT ) draws, her attention to them, she only replies - ·36 उदयन्तु नाम मेघा भवतु निशा वर्षमविरतं पततु । गणयामि नैव सर्वदयिताभिमुखेन हृदयेन ॥ "Let clouds gather and dark night descend, And heavy fall unintermitted showers, I heed them not, wench, when I hasts to seek His presence, whose loved image warms my heart' ( Madanka and Sarıılaka ) F return, This act opens with a gorgeous descrption by Chdrudatta ( चारुदत्त ) of the impending thunderstorm He is sitting in his garden and awasting Mastreya's ( मैत्रेय ) When Martreya (Hate ) arrives, he brings in the news of Vasantasena's intended visit that evening Not long after, Kumbhilaka ( infisse ), Vasantasena s ( वसन्तसेना ) servant, puts in appearance and announces, that her mistres is comming Here there is a good deal of chaffing, and punning between him and Mastreya ( मैत्रेय ). Meanhile Vasantashna. ( वसन्तसेना) has started, accompanied by her Vota ( विट ), 1 e Parasite, a female servant and an umbrella bearer. All along the route, there is an emulatıevely poetical description of the rainy season between Vita विट ), and Vasantasena ( ESTAT ), in which the lady undoubtedly carries the palm. While Vata (विट),

·37
indulges in all the common-place images and metaphors of
Sanscrnt poetry, Vasantasend ( वसन्तसेना ) is simple
and picturesque, while her remarks are tinged with a
certain love-sick melancholy which is charming Since, the
unique burthen of all her songs is
मेघा वर्षन्तु गर्जन्तु मुञ्चन्त्वशनिमेव वा ।
गणयन्ति न शीतोष्णं रमणाभिमुखाः स्त्रियः ।।
“Let clouds pour , let thunders flash and roar, a mnard
intent on her lover 7793ds neither heat nor cold "
At last, she reaches her lover's place quite drenched
and dripping wet which extorts from him the remark
वर्षोदकमुद्गिरता श्रवणान्तविलम्बिना कदम्बेन ।
एकः स्तनोभिषिक्तो
नृपसुत इव यौवराज्यस्थः॥
“ Martreya (HXH ), from the flowers that grace her ear
Surcharged with rain, the drops have trickled down
And bathed her bosom like a young prince installed
The partner of imperial honours!"
Inspired probably by Vasantaserá's (
TIATT) presence,
Charudatta. (चारुदत्त ) goes in again for a description of
the pouring rain, which he winds thus
एतैः पिष्टतमालवर्णकनिभैरालिप्तमंभोदरैः
संसक्तैरुपजीवितं सुरभिभिः शीतैः प्रदोषानिलैः ।
up
*5

·38
एषांभोदसमागमप्रणयनी स्वच्छन्दमभ्यागता
रक्ता कान्तमिवाम्बरं प्रियतमा विद्युत्समालिङ्गति ॥
"
-
See, lady, how the firmament anointed
With unguent of the black tamala's (तमाल ) hue
And fanned by fragrant and refreshing gales,
Is by the lightning tenderly embraced,
As the loved lord whom fearlessly she Ares to! "
A hint which the lady is by no means slow to take, and
so she throws herself into the arms of her lover!
Chandatta (चारुदत्त ) says
वयस्य नार्हस्युपालब्धम् ।
वर्षशतमस्तु दुर्दिनमविरतधार शतहदास्फुरतु ।
अस्मद्विधदुर्लभया यदह प्रियया परिष्वक्तः ॥
अपिच वयस्य ।
धन्यानि तेपां खलुजीवितानि
ये कामिनीना गृहमागतानाम् ।
आर्द्राणि मेघोदकशीतलानि
गात्राणि गात्रेषु परिष्वजन्ति ॥
Reprove it not, for let the rain descend
The heavens still lour and wide the lightnings launch
A hudred flames, they have befriended me,
.Ind given me her for whom I sighed in vain,
Happy, thrice happy, they whose walls enshrine

·39
The fair they worship and whose arms unfold
Her shivering beauties in their warm embrace."
( Bad weather )
VI.
1S
It is bright morning, but Vasanantasend (
PST)
still in bed When she is awake after all, the servant informs
her, that Chàrudatta ( IOGT) went away to the garden
Pushpakarandakà (qs4=2aft) very early that morning,
leaving word with Vardhamana (That) to drive her down
to the same palace While Vardhanadna
(वर्धमान) is getting
the car ready, Rohaséna (TTTTTT) Chávudatta's ( PTTGTT)
little boy enters the scene with his nurse Radanika
( gfalat ). Radanına (tracht) wants him to play with a
cart made of clay, bit he cries for a golden one
moment Vasantaséná ( HÀAT) sees him, and asks
who the charming little boy is, and why he weeps. Being
told how the matter stands, she throws all her ornaments
to him and says
“There go, love, get you a golden carti " It is from
this slight, but touching incident that the name of the play
Mncchakatıkı ( amico ) or the toy-cart is derived
Vardhamena (afp) has got the car ready, but he
has to drive back to fetch the cushions which he has
At this

·40 mortal foe forgotten. During this 'intertal, Prince Samsthánaka's ( सम्स्थानक) carriage bound also for the garden Pushpakarandaka (gouehitas917) chances to pass by Charudatta's (area) gate, and Vasantasena (ETHIOPIATT), taking it for Vardhamana's ( asaTT) 1. e Chârudatta's ( 9767 ) gets into it, and drives, so to say, into the very arms of her When Vardhamána (afhal) at last returns with the cushions and is waiting at Chandatta's (चारुदत्त) door, Åryaka ( strefa who has, in the meantime, got loose and is prowling about for a hiding-place, finding the carriage empty jumps into it at once Here is a very pretty mess no doubt! The driver, thinking Vasantaséna ( atest- सेना) was inside by the ringing of dryaka's ( 874 ) chains which he mistakes for the sounds of her ornaments, starts for his destination The conveyance is, however stopped in the way by Chardanaka (angola) and Vivaka (Green), Captains of the Watch, set by the King to arrest Åryaka (39fci). Chandanaka ( ) would let it pass being told that the car belonged to Chârudatta (Fregat); but Viraka (Eirene ) objects to it, asking who is Chàrudatta and who is Vasantasend (TAPITAT) 2 Chandanka (argreti) : "Do you not know who they are ? If you know not Charudatta (चारुदत्त) and Vasuntasena (वसन्तसेना), you know not the moon and the moon-light when you see them together ·41 in the skies Who is therefthat is not acquainted with that moon of mildness, that lotus of merit, that liberator from sorrow, that pearl, the essence of four oceans Charudatta (चारुदत्त) ? Both are of the highest respectability, the boast and pride of the city, the lovely Vasantasend ( वसन्तसेना) and the virtuous Charudatta (चारुदत्त )!" चन्दनकः । अरे आर्यचारुदत्तं न जानासि न वा वसन्त- सेनाम् ? यदि आर्यचारुदत्तं वसन्तसेना वा न जानासि, तदा गगने ज्योत्स्नासहितं चन्द्रमपि न जानासि. कस्तं गुणारविन्दं शीलमृगाड्क जनो न जानाति ? आपन्नदुःखमोक्षं चतुस्सागरसारं रत्नम् ? द्वावेव पूजनीयौ इह नगर्यां त्रिलोकभूतञ्च [तिलकभूतौच], आर्या वसन्तसेना धर्मनिधिश्चारुदत्तश्च. - Nevertheless, Chandanaka ( चन्दनक) goes and looks into the car and discovers Aryaka ( आर्यक ), who throws himself at his mercy Chandanaka चन्दनक) grants it at once remembering, that though a servant of the King's, yet he has some good friends in the rebel's camp. But Viraka (वीरक) has his suspicions and must look into the car for himself. Then ensues a war of words which ends in Cheardasuaket's (चन्दनक) beating his rival out of the field 6

·42
by argumentum baculinum, or in plain English, by kicks and
blows. Åryaka (speler) now drives further on, accompanied
by sundry good wishes from Chandanaka ( Frantah
and provided with a sword which the captain of the watch
gives him as a pass-port and a souvenir
(The Exchange of Carriages )
VII,
arrives
with the
car,
When Vardhamana (afhr)
Chànıdatta ( 276677 ) sends Maitreya ( मैत्रेय ))
to go and assist l’asantasenà ( PHPT ) to get down.
Maitreya ( #34 ) goes to the car, and looks in,
but exclaims
“ Holloa ' what have we liere » Tluis is not Vasantasend
( FATT). It Vasantasenas ( वसन्तसेन: ),
I suppose!
1S
Charatdatta ( चारुदत्त) now goes himself, and being
struck by the appearance of the inan in the car, asks who
he is; .lryaka ( 34 perci tells him all about it and craves
for his protection. Churudatta ( चारुदत्त) assures him at
once of his protection as of his friendship and says

·43
fare delicitare anaia ehita: 1
अपि प्राणानहं जह्यां न तु त्वां शरणागतम् ॥
वर्धमानक! चरणान्निगडमपनय.
My life I may resign, but cannot turn
Away from one who sues to me for refuge
Varadhamana ( वर्धमान ), remove these fetters
and
When Vardhamana ( astar ) has removed the fetters
_lryakes ( आर्यक ) asks Charudatta's (चारुदत्त) forgivenes
for having, without his permission, got into his car ,
then there is an exchange of courtesy and civility which is
quite Indian Charudatta ( 91667) however, insists
Ivyaka's ( 3 refer ) keeping his seat in the car and he
orders Vardhamàna (SAT) to drive him beyond the
limits as far as he will He then prepares to leave the
garden when he sees a śramanaka (84°) enter
on
(The Flight of Âryaka [ pre ]
VIII.
This Buddha mendıçant is no other than our friend
a true
Samvähaka ( 74916), who has now become
saint Šramanaka ( hu ), and who has now come here

·44 to wash his yellow robe in a tank in the garden We find him chanting the following terses which constitute the chief tenets of his faith "Be virtue, friends, your only store, And restless appetite restiain, Beat meditation's drum and sore Your watch against each sense maintain, The thief that still in ambush lies, To make devotion's wealth his prize 46 Caste the five senses all away, That triumph over the virtuous will, The pride of self-importance slay, And ignorance remorseless kıll, So shall you safe the body guard, And Heaven shall be your last reward Why shave the head and mow the chin Whilst bristling follies choke the breast? Apply the knife to parts within, And heed not how deformed the rest The heart of pride and passion weed, And then the man is pure indeed! Meanwhile Samsthanaka (HRT), accompanied by Vita (faz ), strolls that way and as soon as he sees the Śramanaka ( TAUTE), he drives him away with hicks and insults He then walks about the garden and indulges in his characteristic punning and tomfooleries It is now nearly noon and yet there is no trace of Sthavaraka ( PIERCH ), the coachman At last, Sthavaraka (Ricerc) arrives with ·4I in the skies Who is there that is not acquainted with that moon of mildness, that lotus of merit, that liberator from sorrow, that pearl, the essenice of four oceans Charudatta (चारुदत्त) ? Both are of the highest respectability, the boast and pride of the city, the lovely Vasantasená (FEATHT) and the virtuous Charudatta (चारुदत्त )! चन्दनकः । अरे आर्यचारुदत्तं न जानासि न वा वसन्त- सेनाम् ? यदि आर्यचारुदत्त वसन्तसेना वा न जानासि, तदा गगने ज्योत्स्नासहितं चन्द्रमपि न जानासि. कस्तं गुणारविन्दं शीलमृगाड्कं जनो न जानाति ? आपन्नदुःखमोक्ष चतुस्सागरसारं रत्नम् ? द्वावेव पूजनीयौ इह नगर्यो त्रिलोकभूतञ्च [तिलकभूतौच], आर्या वसन्तसेना धर्मनिधिश्चारुदत्तश्च. - Nevertheless, Chandanaka ( चन्दनक) goes and looks into the car and discovers Aryaka ( आर्यक ), who throws himself at his mercy Chandanaka (चन्दनक) grants it at once remembering, that though a servant of the King's, yet he has some good friends in the rebel's camp. But Viraka (arsi) has his suspicions and must look into the car for himself. Then ensues a war of words which ends in Chandanaka's (चन्दनक) beating his rival out of the field 6

·42
by argumentum baculinum, or in plain English, by kicks and
blows. Áryaka (stretch) now drives further on, accompanied
by sundry good wishes from Chandanaka ( argaret )
and provided with a sword which the captain of the watch
gives him as a pass-port and a souvenir
(The Exchange of Carriages )
VII.
arrives
with the car,
sends Martveya
When Vardhamata ( वर्धमान )
Charudatta ( चारुदत्त )
( मैत्रेय )
to go and assist Vasantasenà ( PHPTIÈTTT) to get down
Martreya ( 24 ) goes to the car, and looks
in,
but exclaims
" Holloa ' what have we here? This is not Vasantasend!
( वसन्तसेना ).
It is Vasantasenas ( area: ),
I suppose
Charudatta ( चारुदत्त ) now goes himself, and being
struck by the appearance of the inan in the car, asks who
he is, Åryaka ( speisi) tells him all about it and craves
for his protection
Charudatta ( चारुदत्त)
assures him at
once of his protection as of his friendship and says

·43
विधिनैवोपनीतस्त्वं चक्षुर्विषयमागतः ।
अपि प्राणानहं जह्यां न तु त्वां शरणागतम् ॥
वर्धमानक! चरणानिगडमपनय.
“ My life I may resign, but cannot turn
Away from one who sues to me for refuge
Varadhamana ( 241 ), remove these fetters'
When Vardhamana ( after) has removed the fetters
Āryaka ( 347 ) asks Chà rudatta's (216GT) forgivenes
for having, without his permission, got into his car, and
then there is an exchange of courtesy and civility which is
quite Indian. Charudatta ( TOGET) however, insists
dvyaka's ( epih ) keeping his seat in the car and he
orders Vardhanà na (afat) to drive him beyond the
limits as far as he will He then prepares to leave the
garden when he sees a Sramanaku (stºp) enter!
on
(The Flight of Aryaka ( speit ]
VIII.
This Buddha mendicant is no other than our friend
Samvaraka ( Fates ), who has now become a true
saint Šramanaka ( AMP ), and who has now come here

·44 to wash his yellow robe in a tank in the garden We find him chanting the following Terses which constitute the chief tenets of his faith “Be virtue, friends, your only store, Ard restless appetite restiain, Beat meditation's drum and sore Your watch against each sense maintain , The thief that still in ambush lies, To make devotion's wealth his prize 66 Caste the five senses all away, That triumph over the virtuous will, The pride of self-importance slay, And ignorance remorseless kıll, So shall you safe the body guard, And Heaven shall be your last reward “Why shave the head and mow the chin Whilst bristling follies choke the breast? Apply the knife to parts within, And heed not how deformed the rest The heart of pride and passion weed, And then the man is pure indeed! Meanwhile Samsthanaka ( FRITTN ), accompanied by Vita (faz ), strolls that way and as soon as he sees the Śramanaka ( struph), he drives him away with kicks and insults. He then walks about the garden and indulges in his characteristic punning and tomfooleries It is now nearly noon and yet there is no trace of Sthavaraka ( papreksh ), the coachman. At last, Sthavaraka (Praha) arrives with ·45 1S the car in which Vasantasénd. (वसन्तसेना) Samsthánaka ( FRITT ) goes to the carriage, and wants to get in but falls back as soon as he perceives, that there is somebody in it and whom he tahes for a robber or a she-devil! Vita (fat), therefore, goes to see what the matter really is when l'asantasına ( PETETT) tells him how she came to be smuggled into that place by an interchange of carriages and she craves for his protection which he grants, of course. When Samsthanaha (HETETT) comes to know, that Vasanastasena (वसन्तसेना) is there, he falls on his knees at once and declares his passion, but she spurns him with her foot This throws Samsthanaka (सम्स्थानक) into such a fit of rage, that he is about to seize her by the hair and drag her out of the conveyance, when Vita (विट) interferes thus अग्राह्या मूर्धजेष्वेताः स्त्रियो गुणसमन्विताः । न लताः पल्लवच्छेदं अर्हन्त्युपवनोद्भवाः ।। “Forbear, forbear, nor rudely thus invade These graceful tresses. What destructive hand Would roughly rend the creeper from the tree, Or tear the blossom from the slender stem? He then goes and hands down Vasantasend ( वसन्तसेना) himself. Samsthanaka ( AHRIFT) entreats Vita ( fèt ) to kill her, saying there was is still in rage and 6 ·46 now nobody to know anything about it in that wilderness. At which Vrta (az) replies “ All nature the surrounding realms of space, The genai of these groves, the moon, the sun, The winds, the vault of heaven, the firmest earth, Hell's awful ruler, and the conscious soul- These all bear witness to the good or ill That men perform and these will see the deed." He then asks Sthavavaka ( स्थावरक) also to do the same and offers him all sorts of inducements, but in vain Sthàvaraka ( Firenzen ) refuses point-blan to do what ought not to be done and is consequently chased away. Samsthunala ( सम्स्थानक ) gets rid also of Vita ( at ) by a dodge, asking him how was it possible that one so highly born as he was should kill a helpless woman Which naturally provokes the following retort " Believe me, sir, it is of little import To boast of noble birth, unless accord The manners with the rank, ungrateful thorns Are most offensive in a goodly soil." किकुलेनोपदिष्टेन शीलमेवात्रकारणम् । भवन्ति सुतरां स्फीताः सुक्षेत्रे कण्टकिद्रुमाः ॥ When they are both away, Samsthanaka (Hera) makes love to her again, but her reply is just the same I spurn you, >

·47
Nor can you tempt me, abject wretch, with gold.
७.
...
सहकारपादपं सेवित्वा न पलाशपादपं अङ्गीकरिष्यामि ?
Can I leave
The mango's stately stem to twine around
The low and worthless dhah ?"
-
This exasperates him so much that he throws her down
and tries to choke her, while Vasantasind. ( वसन्तसेना)
keeps on crying
हा मातः ! कुत्रासि ? हा आर्य चारुदत्त!
एषजनो ऽसम्पूर्णमनोरथ एव विपद्यते !
नम आर्य चारुदत्ताय!
"OhI my dear mothers Oh, my loved Channdatta
( 71867 ); Too short and imperfect are our loves
No more
But this : bless, bless my Charudatta ( चारुदत्त)!"
अद्यापि गर्भदासी तस्यैव पापस्य
नाम गृह्णाति स्मर गर्भदासि! स्मर,
नम आर्य चारुदत्ताय!
2
वस०
San “ Still do you repeat that name, once more, now

·48 (In a struggling tone ) ( seizing her by the throat) Vasan Bless my Chânidatta ( 97567)." When Vita (fere ) comes back and learns what has taken place, he bursts out saying दाक्षिण्योदकवाहिनी विगलिता याता स्वदेशं रतिः हाहालंकृतभूषणे! सुवदने ! क्रीडारसोद्भासिनि ! हासौजन्यनदि ! प्रहासपुलिने ! हा मादृशामाश्रये ! “ Alas! Vasantasèná (aha) 11 The stream of tenderness is now dried up And beauty flies us for her native sphere Adorned with every grace, of lovely aspect Radiant with playfulness, alas' poor wench, River of gentle feeling, isle of mirth, And friendly refuge for all such as I am Samsthànaka (सम्स्थानक) wants to appease and conciliate him by offering him dress, ornaments and dıştınction but he rejects them openly, declaring, that like a snapped and stringless bow, all friendship between them was now at an end, that he was glad to serve him so long as he was free from crime, and that there was danger as well as disgrace in associating with him any longer He then turns his back on Samsthànaka ( FHETTI ) for ever, and joins Sarvlaka ( trei copti ), Chandanaka ( चन्दनक'), and other friends and partizans of Aryaka (1876) ·49 (stretc). As to poor Sshavaraka, ( FACERA), Samsthânaka (समस्थानक) gives him a doucentr of costly ornaments and orders him back to the palace; but as soon as he arrives there himself, he locks him up aloft in a room to prevent his giving damnatory evidence There let him lay! He then covers bis victim with a quantity of dry leaves and makes up his mind to accuse Chàvudatta ( TOGET) of the murder he himself has just committed. He is about to leave the garden when he espies the Buddhist mendicant whom he so roughly handled before. In order to avoid such an inauspicious sight, he jumps over a broken wall and escapes. Samvàhaka (Hatezi) the Buddhist monk, puts his robe in the sun over the pile of dry leaves, when lo! a soft fair hand stretches from beneath which he has no difficulty in recognising as that of his benefactress Vasantasena (TASTEFTI), Mutual greetings and reciprocal gratitude ! Samvàhaka (THETET.) then escorts Vasantasena (TATTITAT ) whom he calls a follower of Buddha, to a Vihara (FET), or Buddhist convent close by, where dwells a holy sister, who will take care of her and nurse her. Let us leave her there for a while to take some rest after all the sufferings she has undergone ( The strangling of Vasntasend ) (वसन्तसेना). 7 ·50 IX. The floor is.swept, the seats are placed in order, and the Hall of Justice is ready for the reception of the Judge and his joint-assessors As the Judge enters the Hall, he delivers himself of various reflexions about the intricacies of his office which he winds up with the following sketch of what a judge ought to be शास्त्रज्ञः कपटानुसारकुशलो वक्ता न चकोधन- स्तुल्यो मित्रपरस्वकेषु चरितं दृष्ट्वैव दत्तोत्तरः । क्लीबान्पालयिता शठान्व्यथयिता धोनलोभान्वितो- द्वार्भावे परतत्त्वबहृदयो राज्ञश्च कापापहः ॥ "A judge should be learned, sagacions, eloquent, dispassionate, impartial, he should pronounce judgment only after due deliberation and inquiry; he should be a guardian to the weak, a terror to the wicked, his heart should covet nothing, his mind be intent on nothing but equity and truth, and he should keep aloof the anger of the king 97 Samsthanaka ( 4821912" ) dressed in his best, enters the Court and lays a plaint against Charudatta ( 166 ) for having murdered Vasantasenà (TRACTÈRAT ) in the garden of Pushpaparanduka ( 964 ust), for the sake of her ornaments 'The judge sends for Vasantasena's ( वसन्तसेना) mother who, after some hesitation, admits that her daughter went last night to Chárudatta's ( 7TEGT ) ·52 house. Charudatta ( चारुदत्त) is also sent for, and the first thought that strikes him when he receives the summons is, that they must have got a clue to the hand he had in expediting Avyakı ( sri ) beyond the limits. Evil omens of all kinds stare him in the face as he starts, and when he reaches the Court, the impression it produces on his sensitive mind is given in the following lines चिन्तासक्तनिमग्नमन्त्रिसलिलं, दूतोर्मिशङ्खाकुलम् , पर्यन्तस्थितचारुनक्रमकरं, नागाश्वहिस्नाश्रयम् । नानावाशककड्कपक्षिरुचिरं, कायस्थसर्पास्पदम् , नीतिक्षुण्णतटं च राजकरणं हिस्नैः समुद्रायते ॥ " The Court looks like a sea , its councillors Are deep engulfed in thought, its tossing waves Are wrangling advocates, its brood of monsters Are these wild animals death's ministers, Attorneys skim, like wily snakes, the surface, Spies are the shell-fish cowering 'midst its weeds And vile informers, like the hovering curlew Hang fluttering o'er thence pounce upon their prey The beach, that should be justice, is unsafe, Rougb, rude and broken by oppression's storms 77 A graphic but not a very flattering picture! The impression, however, which Charudatta ( 770GTT) himself produces on the Court and especially on the Judge is very favourable. Says the Judge ·52 घोणोन्नतं मुखमपाङ्गविशालनेत्रम् नैतद्धि भाजनमकारणदूषणानाम् । नागेषु गोषु तुरगेषु तथा नरेषु नह्याकृतिः स्वसदृशं विजहाति वृत्तम् ॥ " Observe him, that face and form never give shelter to causeless crime Appearance as a test of character, and not only in man but in elephants, horses and kine, the disposition never deviates from the perfect shape." some He is courteously asked, if he has any liaison with a young courtesan called Vasantasénà ( CHITAT). After delicacy natural to a subject of this kind, he admits that he has Being asked about her whereabouts, he replies, that she was at his place last evening, but he does not know where she may be for the nonce, nor how she left his house on foot or in a carriage. At this stage of the proceedings Vivaka ( oftest) one of the Captains of the Watch, the rival of Chandanaka ( Erecten ) enters the Court and deposes, having that morning stopped a car on the road, belonging to Charudatta ( arega ) and Vasantasena (TRACTÈNT) to the garden, Pushpakarandaka ( you guem), which further implicates Chârudatta's ( 91667) case. Vivaka ( ailesi ), is asked to go to the garden and find out of the body of a murdered female was lying about there. He goes and returns, and deposes having just ascertained, that the body of a murdered woman has been carried off ·53 by the beasts of prey! The Judge asks Chanudatta (21667) for an explanation, but he declines to say anything particular in answer to such malı lous and foul calumnies and only adds योऽहं लता कुसुमितामपि पुष्पहेतो- राकृष्य नैव कुसमापचयं करोमि । सोऽह कथ भ्रमरपक्षरुचौ सुदीचे केशे प्रगृह्य रुदती प्रमदा निहन्मि ॥ "For me-yo'ı know me --would I pluck a flower, I draw the tender creeper gently to me, Nor rudely rob it of its clustering beauty How think you then? Could I, with violent hands, Tear from their lovely seat those jetty locks More glossy than the black bees' wing, or how So wrog my nature and betray my love, As with remorseless heart to blast in death The weeping charms that vainly sued for mercy that This is no defence, no explanation, and so the Judges order Charudatta's ( arego ) seat be removed Charudatta ( 16G77) now sits on the ground, and ben ails his dire fate He wonders what has become of Maitreya ( 874) whom he has sent to Vasantasena's (HHATT ) house to return those jewels which that lady had lavished on Chirudatta's ( 21867) son to buy a toy-cart of gole. Right enough, Martreya (14) was on his way to Vasantascha *7 ·57 (वसन्तसेना), but meeting Rebihala ( रोभल)and learning what in the meanwhile had transpired with regard to his friend Chávudatta ( Fregon ), off he goes to the Court and appears in the Judgment Hall He has the jewels safely hidden in his girdle He at once falls to abusing the king's brother-in law, and threatens to belabour him with a staff as knotty and crooked as that scoundrel's heart A scuffle ensues in which the jewels tumble down out of the folds of his girdle This makes Chào udatta's ( चारुदत्त ) case worse than ever, and the Judges hang down their heads Crossexamined, both Chà rudatta(71166 TT) and Vesantasenu's (TAMÀTT) mother admit that the jewels belong to Vasantasenà ( TAT). The Judges ask him again to clear himself, but but Charudatta ( चारुदत्त) driven by despair, and in the bitterness of agony for having lost Vasantasenà (THAATT) for ever, exclaims " Yes, let that man proclaim, if he will, that I am a wretch who ignores this world as well as the next, and that I have put an end to the loveliest of all women!" मया खलु नृशंसेन परलोकमजानता। स्त्रीरतिर्वा विशेषेण शेषमेषो ऽभिधास्यति॥ The chain of circumstantial evidence against Charudatta (चारुदत्त) now seems complete, and the Judges find him guilty. But the matter is referred to the king Pulaka (91897 ) who orders Cháradatta ( Treat ) to be im.

·55
paled at the southern cenmetery. As Charudatta ( चारुदत्त )
is being led by the officers, he makes the following
reflexions
--
ईदृशे व्यवहाराग्नौ मन्त्रिभिः परिपालिताः ।
स्थाने खलु महीपाला गछन्ति कृपणां दशाम् ।।
ईदृशैः श्वेतकाकीयै राज्ञ शासनदूपकैः ।
अपापानां सहस्त्राणि हन्त्यन्ते च हतानि च ॥
" It is thus that evil councillors impel
The heedless prince into the scorching flames
Of fierce iniquity, and foul disgrace,
Ind countless victims perish by the guilt
Of treacherous ministers who thus involve
Both prince and people in promiscuous ruin.
( The Court of Justice )
X.
.is Churudatta ( चारुदत्त) is being led to the place of
execution by the Chandâlas ( Fot. ), all Ujjayını turns
out to have a look at him. Young and old, rich and poor,
men and women of all classes and conditions alike mourn
for the good and innocent man, overtaken by Fate.
Charudatta (चारुदत्त)-
३

·56
एता. पुनर्हर्म्यगतास्त्रियो मा वातायनार्धेन विनि.सृतास्या ।
हा चारुदत्तेत्यभिभाषमाणा बाष्य प्रणाली भिारवोत्सृजन्ति ॥
From every window lovely faces shed
The kindly drops and bathe me with their tears
When one of the Chandàla's ( quero: ) bawls out the
sentence, proclaiming him to be a niurderer, and dooming
him to an infamons death, Chārudatta (चारुदत्त) puts his
hands into his ears and cries out in anguish
शशिविमलमयूखशुभ्रदन्ति
सुरुचिरविद्रुमसन्निभाधरौष्टि ।
तव वदनभवामृत विपयि !
कथमवशो ह्ययशो विप पिबामि ॥
-
"Dreadful remorse to hear such wretches herald
My death, and blachen thus with lies my fame ,
And shall I,
Alas | Vasantasen. (वसन्तसेना), who have drunk
Thy nectared tones from lips whose ruby glow
Disgraced the coral, and displayed the charms
Of teeth more pearly than the moon's chaste light,
Profane my ears with such envenomed draughts
Of infamy whilst my soul is free?"
At this stage, Rohasenti ( रोहसेना), led by Maatreya
#74 ) meets him and a touching scene ensues. 11 hen

·57 the afflicted boy harshly demands from the Chàndalas (चाण्डालाः ) whather they were leading his father, one of them pertinently replies न खलुवयं चाण्डालाश्चाण्डालकुले जातपूर्वा अपि । येभिभवन्ति साधु ते पापास्ते च चाण्डालाः ॥ born Chandàlas , “ Hark ye, my boy they who are ( चाण्डालाः ) are not the only ones, they who oppress the virtuous are Chándulas (71VETT:) too !! Rohasena ( TERTAI ) entreats the two Chuundalas alueta:) to take and kill him rather than his father who takes him into his arms and says इद तत्स्नेहसर्वस्व सममाढयदारिद्रयोः । अचन्दनमनौशीर हृदयस्यानुलेपनम् ॥ - (On «« This is the truest wealth , love equal smiles poor and rich , the bosom's precious balm Is not the fragrant herb, nor costly unguent But Nature's breath-affection's holy perfume " lIere the sentence is again proclaimed which again extorts from its victim the following confession प्राप्तोऽह व्यसनकृता दशामनार्याम् यत्रेदं फलमपि जीवितावसानम् । 8 ·58 एषा च व्यथयति घोषणा मनो मे श्रोतव्य यदिदमसौ त्वया हतेति ॥ This is the heaviest pang of all, to think Such bitter fluit attending my closing life Ind oh! what anguish, love, to hear the calumny Thus noised abroad, that thou wast slain by me From a high balcony in the palace where he has been kept in durance vile by S.imstha naha, (HFFTTH) Sthuvarak a ( स्थावरक hears the proclamation, condemning Chandatta चारुदत्त ), to an ignominious death He bawls out, but nobody in the crowd hears him so he springs from the high balcony, though at the imminent risk of his life, and lets the whole cat out of the bag. Samsthanaka ( सम्स्थानक ) seeing the turn things have taken so suddenly tries to wheedle his quondam coachman and slave to silence by a pair of golden bracelets, but finding that Sthavaraka ( स्थावरक ) would by no means give in, turns against him and calls him a thief and a scoundrel whom he had had locked up for having stolen those golden bracelets Thus even Sthàvaraka's ( Pitera ) evidence does not mend matters much in Chànıdatta's(TT6GTT) favour Samsthanaka ( सम्स्थानक) now hurries the executiners on, and they hit Churidatta (areiga), ale which Chávrdatta ( 16 ) says

·59
प्राप्यैतद्व्यसनमहार्णवप्रपातम्
न त्रासो न च मनसोऽस्ति मे विपादः ।
एकोमां दहति जनापवादवन्हि-
वक्तव्यं यदिह मया हता प्रियेति ॥
"I fear not blows, in sorrow plunged,
Think
you such lesser ills can shahe my bosom?
Alone I feel the flame of men's reports,
The foul assertion that I slew my
love
The executioners now toss up to find out whose turn for
killing it would be They ask his forgiveness for having to
do their duty They ask him, if he has anything to say,
and he replies
प्रभवति यदि धर्मो दूषितस्यापि मेऽद्य
प्रबलपुरुषवाक्यैर्भाग्यदोषात्कथंचित् ।
सुरपतिभवनस्था यत्र तत्र स्थिता वा
व्यपनयतु कलड्क स्वस्व भावेनसैव ॥
“ If virtue yet prevail, may she who dwells
Amongst the blessed above, or breathes on earth,
Clear my fair fame from the disastrous spots
Unfriendly fate and man's accusing tongue have fixed
upon nie."
They are now close to the southern cernetei y, and
Charudatta ( चारुदत्त) sickens at the very sight of it. It

·60
.
on
is the eleventh hour Every thing is now ready for the
ghastly spectacle, the horrid denouement The executioner
even raises his sword and strikes him, but it drops as a
thunderbolt the ground Meanwhile, Vasantasenà
(वसन्तसेना) panting and woebegone, and led by the Buddhist
mendicant suddenly appears on the scene and clears all
doubts and solves all difficulties Charudatta ( चारुदत्त )
says
वसन्तसेना किमिय द्वितीया समागता सैव दिवः किमित्थम् ।
भ्रान्त मनः पश्यति वा ममैना, वसन्तसेना न मृताथसैव ॥
कि नु स्वर्गात्पुन प्राप्ता मम जीवातुकाम्यया ।
तस्या रूपानुरूपेण किमुतान्येयमागता ॥
" Pasantasend ( वसन्तसेना)---
Can this be she? or has another form like hers
From heaven descended to my succour?
Speeds she from spheres divine, in earthly charms
Arrayed again, to save the life she loved,
Or comes some goddess in her beauteous likeness ???
Charudatta ( Tregat) recognises in the śramanaka
( श्रमणक) his old servent Samvethaka (सम्वाहक).
At this stage Sarvelaka (शर्विलक ) arrives to announce
that Aryaka ( आर्यक ), having killed Fatlaka (पालक),

·61
unto his wife
has ascended the throne, has appointed Charudatta (चारुदत्त)
the governor of Kusuvatz ( Parlacit ) on the river Vena
(वेणा), and asked him to take Vasaratassena ( वसन्तसेना)
Sarurlaka ( शर्विलक)
दिष्ट्या भो ! व्यसनमहार्णवादपारा-
दुत्तर्ण गुणधृतया सुशीलवत्या ।
नावेव प्रियतमया चिरान्निरीक्षे
ज्योस्नाढ्यं शशिनमिवोपरागमुक्तम् ।।
Long has this noble Brahmin
Mourned his sullied brightness like the moon
That labours in eclipse, but now he bounds
Again to honour and to happiness,
Borne safely o'er a boundless sea of troubles
By firm affection's bark and favouring fate
"
Samsthanaka (FHEITTA ) is dragged before bim and
left to his mercy
The mob would rend him to pieces and
cast his carrion to the dogs
The wretch in utter agony
and despair, throws himself at Chàrudatta's ( alege )
feet, and implores bis mercy
Charudatta ( चारुदत्त )
grants it, of course When Sarvelaka ( शर्विलक) wonders at
his conduct, Charrudatta (चारुदत्त) rephes .--
-

·62 शत्रुः कृतापराधः शरणमुपेत्य पादयोः पतितः शस्त्रेण नहन्तव्यः , ( नहि ) उपकारहतस्तु कर्तव्यः तन्मुच्यताम् . "An hunble foe, robo prostrate at your feet Solicits quarter, must not feel your sreord. His punishment be mercy Loose him and let him go Misfortunes never come alone News arrives that 4 । Chà rudatta's ( 7regal ) wife has prepared herself a funeral. pile and is about to burn herself Charıdatta ( 21967 ) arrives just in time to prevent the catastrophe Charudatta ( चारुदत्त) हा प्रेयसि प्रेयसि विद्यमाने कोयं कठोरो व्यवसाय आसीत् । अम्भोजिनी लोचनमुद्रण कि भानावनस्तंगमिते करोति ॥ “My dearest love, what frenzy drove thy mind Te seek destruction whilst thy lord survived ? Whilst yet the sun rides bright along the sky The lotus closes not its amorous leaves welcomes Vasantasena Restored to her lord, Chārndatta's ( चारुदत्त) wife now ( वसन्तसेना ) as her dear sister and embraces her Samuakaka (177816ch ) is made the chief of all Vaharas ( विहार ) in India , Sthtvaraka (स्थावरक) is manumitted, while Chandanaka ( poeniten) gets the

·63
once held as the
place which Samsthaenaka ( सम्स्थानक)
head of the Police Every body has now got what he or she
deserves Sarmilaka ( शर्विलक ) asks, if there be anything
else that he might desie? To which Charıdatta (21867),
replies
लब्धा चारित्रशुद्धिश्चरणनिपतितः शत्रुरप्येषमुक्तः ।
प्रोत्खातारातिमूलः प्रियसुहृदचला मार्यकःशास्ति राजा ॥
प्राप्ता भूयः प्रियेयं, प्रियसुहृदिभवान्सङ्गतो मे वयस्यो ।
लभ्यं किं चातिरिक्तं यदपरमधुना प्रार्थयेऽहं भवन्तम् ।।
काश्चित्तुच्छयति प्रपूरयति वा, कांश्चिन्नयत्युन्नतिम् ।
कांश्चित्पातविधौ करोति च पुनः कांश्चिन्नयंत्याकुलान् ॥
अन्योन्य प्रतिपक्षसहतिमिमां लोकस्थिति बोधय ।
नेषक्रीडति कूपयन्त्रघटिकान्यायप्रसक्तो विधिः ॥
.
“Since Îvyaka enjoys the sovereign sway,
And holds me as his friend, since all my
foes
Are now destroyed, save one poor wretch released,
To learn repentance for his former faults,
Since my fair fame is again clear, and this
Dear girl, my wife, and all I cherish most
Are mine once more, I have no further suit
That asks for your indulgence, and no wish
That is not gratified Fate views the world
1 scene of mutual and perpetual struggle,

·64
And sports with life as if it were the wheel
That draws the limpid waters from the well.
For, some are raised to affluence, some depressed
In want, and some are borne awhile aloft
And some hurled down co wretchedness and woe

·MRICCHAKATIKA.
(मृच्छकटिका).
OR
THE TOY-CART.
III
( Selections )
POVERTY.
(a) शून्यमपुत्रस्य गृहं ; चिरशून्यं नास्ति यस्य सन्मित्रम्
मूर्खस्य दिशः शून्याः सर्वं शून्यं दरिद्रस्य.
Empty is the house of the childless, empty is the heart
of one who has no friends, the universe is a blank to the
block-head, and all is desolate to the poor ---Act I.
(1) सत्यं न मे विभवनाशकृतास्ति चिन्ता
भाग्यक्रमण हि धनानि भवन्ति यान्ति ।
एतत्तु मा दहति नष्टधनाश्रयस्य
यत्सौहृदादपि जनाः शिथिलीभवन्ति ॥
' Tis true-I think not of my wasted fortune.
As fate decrees, so riches come and vanish
But I lament to find the love of friends
Hangs all unstrung because a man is poor
9

·66
.
दारिद्र्याद्रियमेति तत्परिगत. प्रभ्रश्यते तेजसो
निस्तेजाः पारभूयते परिभवान् निर्वेदमापद्यते ।
निर्विष्णः शुचमेति शोकनिहतो बुध्या परित्यज्यते
'निर्बुद्धिः क्षयमेत्यहो निधनता सर्वापदामास्पदम् ।।
And then with poverty comes disrespect,
From disrespect does self-dependence fail,
Then scorn and sorrow following overwhelm
Tbe intellect, and when che judgment fails,
The being perishes, and thus from poverty
Each ill that pains humanity proceeds -Act, I
(0) वयस्य ! दारिद्रयं हि पुरुषस्य ।
निवासश्चिन्तायाः परपरिभवो वैरमपरम्
जुगुप्सा मित्राणां स्वजनजनविद्वेषकरणम् ।
वनं गन्तुं बुद्धिर्भवीत च कलत्रात्परिभवो
हृदिस्थ. शोकाग्निर्न च दहति सन्तापयति च ॥
But poverty is aye the curse of thought
It is our enemy's reproach, the theme
Of scorn to our best friends and dearest kin
I had abjured the world and sought the hermitage,
But that my wife had shared in my distress - Act, I
(d) दारिद्रयात्पुरुषस्य बान्धवजनो वाक्येनसंतिष्ठते
सुस्निग्धा विमुखीभवन्ति सुहृद स्फारीभवन्त्यापदः ।
सत्त्वंहासमुपैति शीलशशिनः कान्तिः परिम्लायते
पाप कर्म च यत्परैरपि कृतं तत्तस्यसंभाव्यते ॥

·67
सङ्ग नैव हि कश्चिदस्य कुरुते सभाव्यते नादरा-
त्संप्राप्ते गृहमुत्सवपु धनिनां सावज्ञमालोक्यते ।
दूरादेव महाजनस्य विहरत्यल्पछदो लज्जया
मन्ये निर्धनता प्रकाममपरं षष्ठ महापातकम् ॥
(d) Alas! it does embitter poverty
That then our friends grow deaf to our sorrows.
And lend a keener anguish to our sorrows
The poor man's truth is sorned the tender light
Of each mild vitue languishes, suspicion
Stamps him the perpetrator of each crime
That others are the authors of, no man seeks
To form acquaintance with him, nor exchange
Familiar greeting or respectful courtesy
If ever he finds a place in rich men's dwellings
At solemn festivals, the wealthier guests
Survey him with disdainful wonder, and
Whene'er by chance he meets upon the road
With state and wealth, he sneaks into a corner
Ashamed of his scant covering, till they pass,
Rejoicing to be overlooked
Believe me
He who incurs the guilt of poverty
Adds a sixth to those we term most heinous.-Act, I
(७) धनैर्वियुक्तस्य नरस्य लोके किञ्जीवितेनादित एव तावत् ।
यस्य प्रताकारनिरर्थकत्वात्कोपप्रसादा विफला भवन्ति ।
पक्षविकलश्च पक्षी शुष्कश्च तरुः सरश्च जलहीनम् ।
सर्पश्चोष्टतदंष्ट्रस्तुल्यं लोके दारीद्रश्च ॥

·68
How can that man be said to live, who lives
A pauper, and whose gratitude and wrath
Are barren both ? The bird whose wings are clipped,
The leafless tree, the desiccated pool,
The desolate and the toothless snake,
Are all meet emblems of the hapless wretch
Whose festive hours no fond associates grace
And brightest moments yield no fruit to others
Act, V.
WOMAN
(a) आलाने गृह्यते हस्ती, वाजी वल्गासु गृह्यते ।
हृदये गृह्यते नारी यदीद नास्ति-गम्यताम् ॥
An elephant may be held by a chain
A steed be curbed by his rider's art,
But even go hang, if you cannot gain
The only bond woman obeys-her heart ---Act, I.
(b) अपण्डितास्ते पुरुषा मता मे ये स्त्रीषु च श्रीषु च विश्वसन्ति ।
श्रियोहि कुर्वन्ति तथैवनार्यो भुजङ्गकन्या परिसर्पणानि ॥
स्त्रीषु नरागः कार्यो रक्त पुरुषं स्त्रियः परिभवन्ति ।
रक्तैव हि रन्तव्या विरक्तभावा तु हातव्या ॥
Ah! what a fool is man, to place his trust
In woman or in fortune, fickle both
As serpent nymphs! Be woman's love unwooed
For humble love she pays with scorn. Let her
First proffer tenderness, and whilst it lasts
Be kind, but leave her as fondness cools-Act, IV.

·69
(c) समुद्रवीचीव चलस्वभावाः सन्ध्याभ्रलेखेव मुहूर्तरागाः ।
स्त्रियोहृतार्थाः
पुरुष
निरर्थ निष्पीडितालक्तकवत्त्यजन्ति ॥
The ocean waves
Are less unsteady and the varying tints
Of eve less fleeting than a woman's fondness
Wealth is her as soon as man is drained
Of all his goods, like a squeezed colour bag
She casts him off -Act, IV
aim ,
(d) अन्यं मनुष्यं हृदयेन कृत्वा अन्यं ततो दृष्टिभिरावयन्ति
अन्यं प्रमुञ्चन्ति मदप्रसेकमन्य शरीरेण च कामयन्ते ॥
(d)
Nay, she can look devotion
To one man whilst another rules her heart,
And even whilst she holds in fond embrace
One lover, for his rival breathes her sighs
(४) स्त्रियोहि नाम खल्वेताः निसर्गादेवपण्डिताः ।
पुरुषाणा तु पाण्डित्यं शास्त्रैरेवोपदिश्यते ॥
(e) Nature is woman's teacher and she learns
More sense than man, the pedant, gleans from books
Act, IV.
DEMI-MONDE
(a)
तरुणजनसहायश्चिन्त्यतां वेशवासो,
विगणय गणिकात्वं मार्गजातालतेव ।

·70
वहसि हि धनहार्य पण्यभूतं शरीरं
सममुपचर भद्रे सुप्रियञ्चाप्रियञ्च ॥
वाप्या स्नातिविचक्षणो द्विजवरो मूोपि वर्णाधमः।
फुल्ला नाम्यति वायसोऽपिहि लता या नामिता बर्हिणा ॥
ब्रह्मक्षत्र विशस्तरन्तिच यया नावा तथैवे परे ।
त्व वापीव लतेव नौरिवजनं वेश्यासि सर्व भज ॥
The dwelling of a harlot is the free resort of youth A
courtesan is a cieeper that grows by the road-side-her person
is an article for sale, her love a thing that money will buy,
and her welcome is equally bestowed upon the amiable and
the disgusting The sage and the idiot, the Brahmin and the
out caste all bathe in the same stream and the crow and the
peacock perch upon the branches of the same creeper The
Brahman, the Kshatrıya, the Vaisya and all of every caste
are ferried over the same boat , and like the boat, the creeper
and the stream, the courtesan is eqnally accessible to all
Act, I
-
एता हसन्तिच रुदन्तिच वित्तहेतोः,
विश्वासयन्ति पुरुष न तु विश्वसन्ति ।
तस्मान्नरेण कुलशील-समन्वितेन
वेश्याः श्मशान-सुमना इव वर्जनीयाः ।।
• Tis wisely said, for money woman weeps
And smiles at will, and of his confidence,
The man she trusts not, craftıly beguiles
Let then the youth of merit and of brith

·71
Beware the wanton's charms, that baleful blow
Like flowers on charnel-ground -Act, IV
(c) न पर्वताग्रे नलिनीप्ररोहति न गर्दभा वाजि धुरवहन्ति !
यवाः प्रकीर्णा न भवन्ति शालयोन वेशजाताः शुचयस्तथागना :।।
The lotus blooms not on the mountain's brow,
Nor bears the mule the burden of the horse,
The grain of barley buds not into rice,
Nor dwells one virtue in the breastof woman-Act, IV
GAMBLING
द्यूतं हि नाम पुरुषस्य असिंहासन राज्यम् ।
न गणयति पराभवं कुतश्चित्
हरति ददाति च नित्यमर्थजातम् ।
नृपतिरिव निकाममायदर्शी
विभवता समुपास्यते जनेन ॥
द्रव्यं लब्धं छूतेनैव दारामित्र द्यूतेनैव ।
दत्त भुक्त छूतेनैव सर्व नष्ट द्यूतेनैव ॥
Gambling is to the gamester an empire without a throne,
he never anticipates defeats but levies tribute from all and
liberally disburses what he obtains, he enjoys the revenue
of a prince, and counts the opulent among his servants.
Money, wife, friends, all are won at the gaming-table and
all is gaind and all lost at play-Act, II
A MAIDEN'S LONGING
(a) गर्ज वा वर्ष वा शक्र ! मुञ्च वा शतशो ऽशनिम् ।
न शक्या हि स्त्रियो रोढुं प्रस्थिता दयित प्रति ॥
!

·72
() यदि गर्जति वारिधरो गर्जतु तन्नाम निष्ठुराः पुरुषाः ।
अयि! विद्युत् ! प्रमदानां त्वमपि च दुःख न जानासि ॥
(a) Or rage on, Indra, still pour thy deluge
And launch thy hundred shafted bolt in vain
Thou canst not stop the faithful maid that flies
To lose her terrors in a lover's arms.
(b) If the clouds roar-e'en be it so, it is
Their nature-all of men is ever savage.
But gentle lightening, how canst thou not know
The cares that agitate the female bosom ?-Act, V
,
LOVER'S MEETING.
सदा प्रदोषो मम याति जाग्रतः
सदा च मे निश्श्वसतो गता निशा ।
त्वया समेतस्य विशाललोचने
ममाद्य शोकान्तकरः प्रदोषकः ॥
तस्त्वागतं भवत्यै ! इदमासनम् अत्रोपविश्यताम् .
Lady, believe me, every day has passed
Most heavily, and sleepless dragged my nights,
But now your charms appear, my cares are over,
And this glad evening terminates my sorrow
Then welcome to my bower--be seated.-Act, V.
IN THE GARDEN.
(a) वणिज इव भान्ति तरवः पण्यानीव स्थितानि कुसुमा॑नि ।
शुल्कमिव साधयन्ती मधुकरपुरुषाः प्रविचरन्ति ॥

·73
Tis true, like wealthy merchants are the trees,
Who spread in clustering flowers the choicest wares;
Amongst them busily the bees are straying
To gather tribute for the royal hive -Act, VII.
() पश्योद्यानस्य शोभनम् ।
अमी हि वृक्षाः फलपुष्पशोभिताः कठोरनिष्पन्दलतोपवष्टिताः।
नृपाज्ञया रक्षिजनेन पालिता नराः सदारा इव यान्ति निर्वृतिम् ॥
Look round the garden, mark these stately trees,
Which duly, by the king's command attended,
Put forth abundantly their fruits and flowers,
And clasped by twining creepers they resemble
The manly husband and the tender wife -Act, VIII
NOON.
छायासु प्रतिमुक्तशष्पकबलं निद्रायते गोकुलम्
तृष्णाश्च निपीयते वनमृगैः उष्णं पयः सारमम् ।
सन्तापादतिशकितैर्न नगरी मार्गो नरैः सेव्यते
तप्ता भूमिमपास्य च प्रवहणं मन्ये क्वचित्सस्थितम् ॥
* Tis true the cattle dozing in the shade
Let fall the unchamped fodder from their mouths,
The lively ape with slow and languid pace
Creeps to the pool to slake his parching thirst
In its now tepid waters, not a creature
Is seen upon the public roads, nor braies
One solitary passenger the sun -Act, VIII
.
IO

·74 MUSIC OR SONG. रक्तञ्च नाम मधुरञ्च समं स्फुट च भावान्वित च ललितंच मनोहरं च। कि वाप्रशस्तवचनै बहुभिर्मदुक्तै रन्तर्हिता यदि भवेद्वनितेति मन्ये ।। तन्तस्य स्वरसक्रम मृदुगिर श्लिष्टञ्च तन्त्रीस्वनम् वर्णानामपि मूर्छनान्तरगतं तार विरामे मृदुम् । हेलासंयमितं पुनश्च ललितं रागद्विरुच्चारितम् यत्सत्यं विरतेऽपि गीतसमये गच्छामि शृण्वन्निव ॥ Smooth were the tones articulate and flowing, With graceful modulation sweet and pleasing, And fraught with warm and passtonate expression. So that I often thought the dulcet sounds Some female, stationed covertly, must utter Still echoes in my ears the soothing strain, And as I pace along, methinks I hear The languid cadence and melodious utterance. The Vena's sweet notes, now gently undulating, Now swelling high, now dying to a close- Sporting awhile in desultory descant And still recurring to the tasteful theme -Act, III. THE MUSIC OF RAIN DROPS. तालीषु तारं विटपेषु मन्द्रं शिलासु रूक्षं सलिलेषु चण्डम् । सन्गीतवाणा इव ताड्यमानास्तालानुसारेण पतन्ति धारा ॥ The drops Fall musical, and pattering on the leaves Of the tall palm, or on the pebbly ground, ·75 Or in the brook, emit such harmony As sweetly wakens from the voice and lute - Act, V. NATURAL DISPOSITION सस्यलम्पटबलीवर्दो न शक्यो वारयितुम् । अन्यकळत्रप्रसक्तो न शक्यो विचारयितुम् ॥ द्यूतप्रसक्तमनुष्यो न शक्यो वारयितुम् । योऽपि स्वाभाविकदोषो न शक्यो वारयितुम् ॥ There is no changing nature, nothing can keep an ox out of a field of corn, nor stop a man who covets another's wife There is no parting a gamester from the dice, and there is no remedy for an innate defect --Act, III EXCELSIOR (a) गुणेष्वेव हि कर्तव्यः प्रयत्नः पुरुषै सदा । गुणयुक्तो दरिद्रोऽपि नेश्वरैरगुणैः समः ॥ (b) गुणेषु यत्नः पुरुषेण कार्यो न किचिदप्राप्यतम गुणानाम् । गुणप्रकर्षादुडुपेन शम्भोरलड्ध्यमुल्लङ्घितमुत्तमाङ्गम् ॥ (a) Man should always strive after excellence A poor man endowed with virtues is far richer than the worthless rich.-Act, IV A man should always aim at perfection, for, there is nothing unattainable by excellence. It is by uncommon excellence that the moon has acquired his supremely high place on the forehead of Swa ( fara --Act, IV.

·76
TRUTH
सत्येन सुखं खलु लभ्यते सत्यालापी न भवति पातकी ।
सत्यमिति द्वे अप्यक्षरे मा सत्यमलीकेन गृहय ॥
Truth afone is internal satisfaction not to declare the
truth is a crime, the truth is readily told, seek not to
ceal it by a lie.--Act, IX
con
Finis

·77 APPENDIX A. BOMBAY BRANCH ROYAL ASIATIC Society. A meeting of the Society was held on Thursday, the 13th instant, Dr. P Peterson, President, in the chair - There were also present Drs. J. Gerson Da Cunha, Atmaram Pandurang, and D. A. De Monte, Dewan Bahadur Manibhai Jessabhai, Professor H M Bhadkamkar, Messers. Tribhuvandas Mangaldas, S T. Bhandare, K R. Kama, R. P. Karkaria, Camrudin Amrudin, A. H. Nazar, Archibald Constable, Murarji Gokuldas Dewji, Dr Nishikant, and the Hon'ble Mr. Javerilal U Yajnik, Honorary Secretary 1 The minutes of the last meeting were read and confirmed Dr Nishikant then read' a paper on Mricchhahatika the Sanskrit drama by Sudraka, of which the following is an abstract. (left out) The Honorary Secretary made remarks on the paper and moved a vote of thanks to Dr Nishikanta for the interesting paper be had read. The President with a few observations put the vote to the meeting, and it was carried by acclamation. " The Times of India ", 18th August, 1896 ·78 APPENDIX B REVIEWS ΟΓ THREE LECTURES REMINISCENCES GERMAN UNI- VERSITY LIFE, THE True THEOSOPHIST, and the MRICCHAKATIKA, or the Tor-Cart By Dr Nishikánta Chåttopadhyya, Ph D Bombay, 1895 This book contains Lectures delivered before different audiences at Hyderabad by Di NK Chattopadhya, one of the two Bengalis known by the same Brahmin name, who have settled in the Deccan. Many years ago, Dr Nishikanta studied at Leipzig, and, having entered with zest there into the spirit of the various phases of student life, he has been able to present a graphic account of the studies, the clubs, the associations, the athletics, the teaching Faculties, and the degree-giving of the German Universities, ending with a sketch of the story and of the inner meaning of Goethe's "Faust" The second Lecture relates to Hindu philosophy In this Dr Nishikanta dwells with eloquence on the fundamental importance in all religious systems of the thiee great principles of Truth, Justice, and Charity, as compared with non-essential rules--such as those relating to food and drink, and ascetic modes of life He quotes from Buddha's discourse on the Training of the Law of Righteousness, where, after referring to the two extremes which a man " who has renounced the world should carefully avoid "—the one, of low self-gratification, the other, of self-torture -Buddha continues thus « There is. however, a middle way, 0 saints, which avoides both ·79 the extremes--a way discovered by the Tathagata-which opens the eyes and clears the intellect, which gives consolation, and at the same time leads to higher wisdom, to perfect enlightenment, and to the Nirvana! What is this middle way, O saints, discovered by the Tathagata, and which avoids both the extremes ? Verily, it is The Noble Eight-fold Path Right insight, Ruight endcarour, Right speech, Kight behaviour Right living, Right staying, Right caution, and Right mediation This, O saints, is the middle way that avoids both the extremes, and leads to enlightenment and to the Nirvana !" The third Lecture has been divided into two It begios with some remarks on the Hindu drama, which as in most countries, seems to have originated in rites of worship In the carrying out of these, music and dancing, and representations were adopted to produce effect, and dialogues formed an important element in the sacred hymns, treatises and epic poems Among the early Buddhists the theatre was known, social intercourse existed, after the time of Alexander the Great's invasion of India, between the Hindus and the Greeks, and it is probable that the more definite dramatic compositions were the results As to the date of the well-known Mricchakatıkà or Toy-Cart, there is much difference of opinion Prof H H Wilson placed it in the first century of our era, partly on the ground that Buddhism seemed to have been flourishing at the time when it was written The name Toy-Cart is derived from a slight incident at the begining of the sixth act, as to a little boy, son of the hero, who playing with a ·80 iş cart made of clay, cries for one of gold, whereupon the heroine of the play throws to him her ornaments, and tells him to get a golden cart This drama, as Dr N K. Chattopadhya observęs, is peculiarly illustrative of the habits and customs, and of the virtues and vices of the period which it represents It a mixture of the realistic and the romantic," and a sort of looking-glass for the age and society it depicts He gives a detailed analysis of the numerous varied characters--some very amusing—and of the plot, which, as usual in Hindu dramas, has a good ending. It contains many poetic passages, several of which are translated at the end of the book We add a remarkable description of a storm (not quoted by the Lecturer ), as follows "The gathering gloom Delights the pea-fowl and distracts tho swan, Not yet prepared for periodic flight The purple cloud Rolls statel, on, gut by the golden lightning As by a yellow gaib, and bearing high The long white line of storks From the dark womb, in rapid fall descend The silvery drops and, glittering in the gleam, Shot from the lightning, bright and fitful sparkle, Luke a rich funge rent from the nobe of heaven The firmament is filled with scattered clouds, And, as they tly before the wind, their forms, As in a picturc, image various shapes, In semblance of storks and soaring swans, Of dolphins, and the monsters of the deep OE dragons Fast, and pinnacles and towery *** The Tuulzan Magurine and Rerere, May 189.

·81 APPENDIX C. "Three . Lectures." Dr Nishikânt Chattopadhyâya, amongst several other of his literary recreations which it is our misfortune not to have seen has produced a booklet containing three lectures A copy has been courteously sent to us with a kind request, that we should notice it in these columns, and to this task we apply ourselves with considerable diffidence "Reminiscences of German University Life" is written with a command of English rarely possessed by any but a Native of Great Britain and not by him, except he be a writer of some note, though honesty forces us to confess, that there are passages in his booklet in which a non-acquaintance with English idioms my be detected by a hypercritical eye. Student life in Germany, though surrounded by pleasant and tempting distractions lepramon demands, if it be meant as a serious undertaking, a severity of application and a system of assiduous study which, in our English Universities, is exceptional, hence we find, that an ordinary German student who has undergone his complete curriculuni, is generally better grounded than one of our own graduates who has undergone a corresponding ordeal. Education though"made in Germany' is much to be desired when obtainable cheap and of good quality, and under German Professors it is both. Dr Chattopadhyâya gives us some exceedingly agreeable glimpses of life amongst German Students and Piofessors, from Matriculation to graduation He deseribes his own successs with becoming pride of fidelity, and we gather from his sketch that, in Germany, a candidate for a Doctor's degree is spared at least one mortifying feature of his installation, that is inevitable in England, where he is interrogated. Sud-est creare ?"

·82 "Ex nihil facere" is his humble reply. " Ergo te doctorem creamus" is his consoling, if not too flattering assurance In Germany, doctors of law and philosophy are not asiel but invested, without imputation on their self-esteem or their intrinsic entity Of Dr Chattopadhyâya's other two essays on "The True Theosophist” and “The Mricchakatika, pur non-familiarity with Sanskrit literature will prevent our saying much They are written in a weird mystic spirit which does not inspire us It is obvious, they are well elaborated and display scholarship, but they are somewhat beyond us In Homer's pleasant epic, in the tragic muse of Sophocles, the quaint history of Herodotus, the abstruse speculations of Plato, the ingenious inventions of Archimedes, or the tangled geometrical acquirements of Euclid, we can find delight and instruction, as so many past generations have done before us, because we can transcribe their thoughts and familiarise ourselves with their history, but these dreamy mythologies of Dr Chattopadhyâya elude our grasp, and we feel like benighted travellers trying to follow some Will O' the Wisp out of a morass. Our own short comings are, however, merely personal. We have before us a beautifully written trio of essays, in which depth and breadth of study, cultivation of intc-lect and expression, and variety and extent of reading, are conspicuously displayed, stimulated by strong natural ability and a talent for word-painting. The " Bengal Tunes" (Dacca) May 18th, 1898: