gave him over on his birth to Sucetanā, her sister, wife of the Sauvīra king. The marriage thus takes place with the approval of all those connected with the pair.
Equally from the Kathā literature, and in this case from a source known to us, the Bṛhatkathā of Guṇāḍhya, which, written in Paiçācī Prākrit has vanished, but is preserved in a version from Nepal and two from Kashmir, is the subject of the Pratijñāyaugandharayaṇa,[1] styled in the prologue a Prakaraṇa, which has four Acts and resembles in part that form of drama as recognized by the theory, though its hero is the minister of Udayana, the Vatsa king. The latter goes on an elephant hunt, armed with his lyre to charm his prey, but is taken prisoner by a clever trick of his enemy, Pradyota Mahāsena, of Ujjayinī, a counterfeit elephant being employed for his overthrow. Yaugandharāyaṇa determines to revenge the king. In Ujjayinī Mahāsena discusses with his wife the question of the marriage of their daughter Vāsavadattā, when the news of the capture of Udayana arrives. They decide that she shall take lessons in music from the captive, and, not unnaturally, the two fall in love. Yaugandharāyaṇa comes to Ujjayinī in disguise with his friends, and through his machinations the king is enabled to escape with Vāsavadattā, though the minister is himself, after a gallant fight, captured. Mahāsena, however, appreciated the minister's cleverness, and has the marriage of the pair depicted.[2]
The play is criticized severely, though not by name, by Bhāmaha,[3] on the score that Udayana could never have been deceived by an artificial elephant, and if deceived his life would not have been spared by the enemy forces. The contentions are obviously of little value in this form; the essence, of course, is that such an incident which may pass in a tale seems too childish for a drama, but, if this troubles us, we may console ourselves with the reflexion that the trees were thick, and Udayana ardent in the chase. Vāmana[4] cites the end of verse 3 in Act IV which occurs also in the Arthaçāstra,[5] a work which need not be older than Bhāsa, and may be a good deal later.
