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To his protection of Vasantasenā is added a touch of infinite pathos when we remember that he was himself in love with her. The breadth of treatment which is observable in this play is found in many other specimens of the Sanskrit drama, which has set itself an ideal different from that of our own drama. In those cases where a character enters "seated" or "asleep," I have substituted the verb "appear" for the verb "enter"; yet I am not sure that this concession to realism is wise. Such repetitions have been given in full where it seemed to me that the force or unity of the passage gained by such treatment, or where the original repeats in full, as in the case of v. 7, which is identical with iii. Bhavabhūti, too, is far less widely known than Kālidāsa; and for this the reason is deeper-seated. Maitreya comes from Chārudatta with the pearl necklace, to repay Vasantasenā for the gem-casket. 2 and viii. The difference consists chiefly in the manner in which I have endeavored to preserve the form of the original. Yet there will arise a man of nature like mine own; for time is endless, and the world is wide." This he does by deceiving and finally maltreating his companion. Morning of the fourth day.—Here she meets Chārudatta's little son, Rohasena. Fifth day.—Sansthānaka accuses Chārudatta of murdering Vasantasenā for her money. Then news is brought that Aryaka has killed and supplanted the former king, that he wishes to reward Chārudatta, and that he has by royal edict freed Vasantasenā from the necessity of living as a courtezan. Evening of the first day.—After the prologue, Chārudatta, who is within his house, converses with his friend Maitreya, and deplores his poverty. Most attractive characters are the five 2 conspirators, men whose home is "east of Suez and the ten commandments." But a spirit so powerful as that of King Shūdraka could not be confined within the strait jacket of the minute, and sometimes puerile, rules of the technical works. to x. a consistent and ingenious plot; while the remainder of act i. might be combined with acts iii. A long penult is accented: Maitréya, Chārudátta. Her appearance puts a summary end to the proceedings. Kālidāsa and Bhavabhūti are Hindus of the Hindus; the Shakuntalā and the Latter Acts of Rāma could have been written nowhere save in India: but Shūdraka, alone in the long line of Indian dramatists, has a cosmopolitan character. She is discovered by Sansthānaka, who pursues her with insulting offers of love. In The Little Clay Cart, at any rate, we could ill afford to spare a single scene, even though the very richness and variety of the play remove it from the class of the world's greatest dramas. Now just at this point, where other Hindu writers are weak, Shūdraka stands forth preëminent. The courtezan class in India corresponded roughly to the hetæræ of, ancient Greece or the geishas of Japan; it was possible to be a courtezan and retain one's self-respect. Maitreya returns after an altercation with Sansthānaka, and recognizes Vasantasenā. Fourth day.—A Buddhist monk, the shampooer of the second act, enters the park. Shakuntalā is a Hindu maid, Mādhava is a Hindu hero; but Sansthānaka and Maitreya and Madanikā are citizens of the world. She is your friend, It is natural that Shūdraka should choose for the expression of matters so diverse that type of drama which gives the greatest scope to the author's creative power. He has difficulty in escaping from Sansthānaka, who appears with the courtier. The Little Clay Cart, by Shudraka, tr. It may be added here that in rendering from a literature so artificial as the Sanskrit, one must lose not only the sensuous beauty of the verse, but also many plays on words. Chārudatta discovers the fugitive, removes his fetters, lends him the cart, and leaves the park. The plays on words can seldom be adequately reproduced in translation, but the situations are independent of language. Meanwhile, the storm has so increased in violence that she is compelled to spend the night at Chārudatta's house. Elsewhere, I have merely indicated the repetition after the manner of the original. The Buddhist monk enters again, revives Vasantasenā, and conducts her to a monastery.

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