The Sanskrit Drama in its Origin, Development, Theory & Practice c11.s3.9

c11.s3.9

Though composite in origin and in no sense a transcript from life, the merits of the *Mṛcchakaṭikā* are great and most amply justify what else would have been an inexcusable plagiarism. The hints given in the *Cārudatta* here appear in full and harmonious development aided and heightened by the introduction of the intrigue, which combines the private affairs of the hero with the fate of the city and kingdom. Cārudatta’s character is attractive in the extreme; considerate to his friend the Vidūṣaka, honouring and respecting his wife, deeply devoted to his little son, Rohasena, he loves Vasantasenā with an affection free from all mere passion; he has realized her nobility of character, her generosity, and the depth and truth of her love. Yet his devotion is only a part of his life; aware of the vanity of all human things, he does not value life over-highly; his condemnation affects him most because it strikes at his honour that he should have murdered a woman, and he leaves thus to his child a heritage of shame. Not less attractive is Vasantasenā, bound, despite herself, to a profession which has brought her great wealth but which offends her heart; the judge and all the others believe her merely carried away by sensual passion; Cārudatta and his wife alone recognize her nobility of soul, and realize how much it means for her to be made eligible for marriage to her beloved. There is an admirable contrast with the hero in the Çakāra Saṃsthānaka, who is described vividly and realistically. His position as brother-in-law of the king and his wealth make him believe that he is entitled to whatever he wants; Vasantasenā’s repulse of him outrages his sense of his own importance more than anything else; brutal, ignorant¹ despite his association with courtiers of breeding and refinement, and cowardly, he has only skill in perfidy and deceit, and is mean enough to beg piteously for the life he has forfeited, but which Cārudatta magnanimously spares. The Viṭa is an excellent foil to him in his culture, good taste, and high breeding; despite his dependence on his patron, he checks his violence to Vasantasenā, strives to prevent his effort to murder her, and when he fails in this takes his life into his own hands and passes over to Āryaka’s side. The Vidūṣaka may be fond of food and comfortable living, but he remains faithful in adversity to his master, is prepared to die for him, and consents to live only to care for his son.