The Sanskrit Drama in its Origin, Development, Theory & Practice c17.s8.3

c17.s8.3

It is natural to suggest, as did Pischel, that the *Dūtāṅgada* of Subhaṭa, which is styled a Chāyānāṭaka, really was a shadow play. On the other hand, Rājendralālamitra² suggested that the drama was perhaps simply intended as an entr'acte, and this may be justified on the interpretation of the term of drama in the form of a shadow: i.e. reduced to the minimum for representation in such a form. The play itself unluckily contains nothing to help us to a decision as to its real character. It was represented in A.D. 1243 in honour of the dead king Kumārapala at the court of Tribhuvanapāla, a Caulukya of Aṇahilapāṭaka, and it has come down to us in various forms. A longer and shorter recension may be distinguished, though not very definitely; in the longer form occur epic verses, and an introduction is prefixed in thirty-nine stanzas, partly placed in the mouths of Rāma and Hanumant, describing the finding of Sītā's hiding-place. The story is the simple one of Aṅgada's mission as an ambassador to Rāvaṇa to demand back Sītā; Rāvaṇa endeavours to persuade Aṅgada that Sītā is in love with him. Aṅgada is not deceived, and leaves Rāvaṇa with threats, and we learn shortly afterwards that Rāvaṇa has met his doom. The merits of the work are negligible.