एतत् पृष्ठम् परिष्कृतम् अस्ति
12
MUDRÂRÂKSHASA

cters. The nearest we get to any other aspect of their character is in the long soliloquy of Râkshasa in the sixth Act-after the great aim of his life had been finally abandoned in despair. Take, again, the other pair of rivals, who are brought into sharp contrast before us. Chandragupta is represented as a sovereign of dignity and strength of character, coupled with a proper respect for the minister, whose ability and diplomatic skill he had seen good reason to trust. In Malayaketu, on the other hand, we find a prince whose confidence and distrust are alike misplaced, who is thoughtless, suspicious, wanting in dignity, and almost child-like, not to say childish.* In the minor characters, we see the principle of faithfulness to one's lord, adhered to through good report and evil report- per fas et per nefas. In the more prominent ones, the same principle still prevails, and the course of conduct to which it leads is certainly quite Machiavellian. And all this is brought out in a plot put together with singular skill, and inferior in that respect only to the plot of the Mțichchhakatika, among Sanskrit dramas.

The name of the author of the play is Viśâkhadatta, or as somśśe of our copies read it, Viśâakhadeva. And all the really trustworthy information we have about him is that contained in the Introduction to this drama, which is the only one of his productions that is at present known. We learn from that Introduction that Visakha- datta was the son of Pŗithu and grandson of Vațes'varadatta--a Sàmanta or subordinate chief. But I have failed in my endeavours to discover anything touching either Prithu or Vațeśvara. Professor Wilson, indeed, put forward a suggestion that Přithu might be identical with the "Chouhan chief of Ajmir, Prithu Raj." But, as he has himself pointed out, the name Vațeśvaradatta presents a difficulty in the way of this identification. And I own that it seems to me quite impossible to accept an identification for which there is no positive reason whatever except the similarity of name, while against it there is the circumstance noted above, and also this, quantum valeat, that while our Prithu is specially designated as “ bearing the title Mabârâj," the “Přithu of Ajmir," is generally known as Pŗithurâi or Prithurâj only. Professor Wil-


  • Cf. pp. 150, 152, 163, 170, 184, 309, with pp. 197, 200, 209, 226-8, and

generally Act III., with act V. | Hindu Theatre, Vol. II., P. 128. +Ibid note, and p. 154 note.

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