321. THE TECHNIQUE OF SANSKRIT DRAMA 357

THE TECHNIQUE OF SANSKRIT DRAMA 357

writers. The reason seems to be that probably King Harsa in his Harşa Vārtika, a commentary on the Nātya Sastra, probably the first one, gave illustrations from his own drama and the later commentators have simply followed him. It is, therefore, necessary to give the plot briefly here so that the illustrations may well be understood. Udayana was an amorous king. He was extremely handsome. He took very little interest in the affairs of the state. But fortunately he. had a very capable and whole-heartedly devoted minister, Yaugandharāyana, and therefore, he had left the entire administration into the latter's hands. Therefore, while the king was enjoying amorous sports in the palace, his minister was planning conquests and was winning victories. His plans were such as did not interfere with the king's sports. The situation in which the first act begins, is as follows :- A sage has prophesied that the person who would marry Ratnavalī, the princess of Ceylon, will become an emperor. Yaugandharayana, therefore, seeks her hand for King Udayana. But the King of Ceylon does not agree to the proposal, because Udayana already has one wife, Vāsavadattā. Yaugandharāyana, therefore, manages to get the rumour set afloat that the queen perished in the fire that broke out at Lavanaka and again makes the proposal for Ratnavali's marriage with King Udayana. The King of Ceylon agrees to it now, and sends his daughter to Vatsa in a ship, accompanied by his minister, Vasubhūti, and chamberlain of Vatsa, Babhravya, who was sent to make the proposal. But unfortunately, or fortunately, her ship is wrecked on the way. She catches hold of a mast and is drifted to the shore. And with the assistance of a businessman of Kausambi, who saw her in