The Sanskrit Drama in its Origin, Development, Theory & Practice c17.s6.3

c17.s6.3

Of much later date is the well-known *Dhūrtasamāgama*¹ of Jyotirīçvara Kaviçekhara, son of Dhaneçvara, grandson of Rāmeçvara, of the family of Dhireçvara who wrote under the Vijayanagara king Narasiṅha (A.D. 1487-1507), though a Nepalese manuscript makes his father Dhirasiṅha and his patron Harasiṅha, who has been identified, implausibly, with Harisiṅha of Simraon (A.D. 1324). The first part of the play relates the contest of the religious mendicant Viçvanagara and his pupil Durācāra, whose names are significant, over the beautiful Anaṅgasenā; the pupil has every reason to complain, since it was he who saw the fair one and confided his love to his master, who meanly seeks to secure the damsel’s favour in lieu. She insists on the matter being referred to arbitration, and in the second part the Brahmin Asajjāti, Impure Race, an expert at dealing with delicate matters of casuistry, undertakes the duty, and wisely decides to impound the damsel for himself, though, while he is deliberating, his Vidūṣaka seeks to secure the prize for himself. The case over, the barber Mūlanācaka, Root Destroyer, turns up to demand payment of a debt from Anaṅgasenā. She refers him to Asajjāti, who pays him with his pupil’s purse; he then demands the barber’s care; the latter ties him up and leaves him to be rescued by the Vidūṣaka.