The Sanskrit Drama in its Origin, Development, Theory & Practice c16.s1.4

c16.s1.4

Anaṅgaharṣa Mātrarāja,³ on the other hand, is known to Ānandavardhana and Abhinavagupta, and his play *Tāpasavatsarājacarita* is a variation on the theme of the ruse of Yaugandharāyaṇa to secure the marriage of Vatsa and Padmāvatī, in face of the deep love of the king for Vāsavadattā. Vatsa in this drama, which is of little poetic or dramatic value, becomes an ascetic on learning of his queen’s supposed fate, whence the title of the play. Padmāvatī, who had become enamoured of the king from a portrait sent by the minister, follows suit. Eventually Vāsavadattā and Vatsa are united in Prayāga when each is about to commit suicide in sorrow at separation, and the usual victory is reported by Rumaṇvant to give a happy ending.