The Sanskrit Drama in its Origin, Development, Theory & Practice c16.s6.4

c16.s6.4

Kṣemiçvara has left two dramas. The *Naiṣadhānanda*¹ in seven acts deals with the legend of Nala, famous in the epic and later. The *Caṇḍakauçika*² reveals the stupid story of Hariçcandra, who, seeing as he thought the sacrifice of a damsel on the fire rebukes the Kauçika Viçvāmitra, and in return for his gallant action is cursed by the irascible sage, who was merely bringing the sciences under his control. He secures pardon by the surrender of the earth and a thousand gold pieces; to secure the latter he sells wife and child to a Brahmin, and himself to a Caṇḍāla as a cemetery keeper. One day his wife brings the dead body of their child, but it turns out merely to be a trial of his character; his son is alive and is crowned king. The plot is as poor as the execution of the piece. He shows in metre a special fondness for the Çikhariṇī, which occurs 20 times, nearly as often as the Çārdūlavikrīḍita (23), while the Vasantatilaka appears 27 times and the Çloka 36. His Prākṛits, Çaurasenī and a few Māhārāṣṭrī stanzas, are artificial.