The Sanskrit Drama in its Origin, Development, Theory & Practice c10.s3.15

c10.s3.15

A far more favourable opportunity is afforded to Bhāsa when he derived his story from the Kathā literature,² as is doubtless the case in the *Avimāraka*, a drama in six acts. The daughter of king Kuntibhoja, the young Kuraṅgī, is saved from an elephant by an unknown youth, who, in reality son of the Sauvīra king, is with his father living as a member of a degraded caste for a year, as the outcome of a curse. His low status forbids his aspiring to the princess, but love triumphs, and the maidens of Kuraṅgī, arrange a secret meeting to which the youth comes in the guise of a thief. But the news leaks out and he must fly; in despair of reunion he seeks death in the fire, but Agni repulses him; he would have thrown himself from a rock, but a Vidyādhara dissuades him, giving him a ring which enables him unseen to re-enter the palace and save Kuraṅgī, likewise desolated, from suicide. The way for a happy issue from the impasse is found by the fact that Nārada reveals the true history of Avimāraka; he is not in fact the son of the Sauvīra king; he is the son of the god Agni by Sudarçanā, the wife of the king of Kāçi, who 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.