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which is referred to in my second report, p. 67. It is called the
Jayamangala. The author gives his name as Yas'odhara, but
states that he wrote this "explanation of the Satras which
Vâtsyâyana collected after he had retired from the world in grief
at the loss of a beloved wife, and had, under the name of Indra-
påla, entered the ascetic life" It can be shown that the book,
as we have it now, was known to Bhavabhâti, who flourished at
the end of the seventh century, and that he makes constant
reference to it in his Målatîmâdhava. There is a statement to
that effect at the beginning of the play itself, the point of which
has been hitherto missed. I refer to the phrase "Auddhatyam-
âyojitakamasutram," which occurs in the enumeration by the
actor of the qualities the audience expect to find in the play
about to be represented before them. Jagaddhara sees no refer-
ence to a book here, and Bhândårkar, differing from Jagaddhara,
translates, "bold or adventurous deed, intended to assist the
progress of love (ht. in which is introduced the thread of love)."
Bhavabhuti doubtless means this, too. But his words include a
reference to this book, of which he makes great use. When
Kamandakt slyly suggests, while professing to put aside, the tales
of how S'akuntalâ and others followed the dictates of their own
hearts in love, she is following Vâtsyâyana When she tells
Avalokitâ that the one auspicious omen of a happy marriage is
that bride and bridegroom should love one another, and quotes
the old saying that the happy husband is he who marries the
girl who has bound to her his heart and his eye, she is quoting
Vatryâyana. And so in many other parts of the play. One of the
most conspicuous passages is in his seventh act, where Buddha-
rakshitâ breaks through her Prâkrit to quote the Sanskrit phrase,
"Kusumasadharmâno hi yoshitah sukumáropakramâh"—"For
women are like flowers, and should be approached gently.'
Buddharakshitâ is quoting our book (p 199), and the whole of the
context refers to a matter which Vâtsyâyana treats of at great
length, and which is interwoven with the plot of the Målatf-
inadhata.
which is referred to in my second report, p. 67. It is called the
Jayamangala. The author gives his name as Yas'odhara, but
states that he wrote this "explanation of the Satras which
Vâtsyâyana collected after he had retired from the world in grief
at the loss of a beloved wife, and had, under the name of Indra-
påla, entered the ascetic life" It can be shown that the book,
as we have it now, was known to Bhavabhâti, who flourished at
the end of the seventh century, and that he makes constant
reference to it in his Målatîmâdhava. There is a statement to
that effect at the beginning of the play itself, the point of which
has been hitherto missed. I refer to the phrase "Auddhatyam-
âyojitakamasutram," which occurs in the enumeration by the
actor of the qualities the audience expect to find in the play
about to be represented before them. Jagaddhara sees no refer-
ence to a book here, and Bhândårkar, differing from Jagaddhara,
translates, "bold or adventurous deed, intended to assist the
progress of love (ht. in which is introduced the thread of love)."
Bhavabhuti doubtless means this, too. But his words include a
reference to this book, of which he makes great use. When
Kamandakt slyly suggests, while professing to put aside, the tales
of how S'akuntalâ and others followed the dictates of their own
hearts in love, she is following Vâtsyâyana When she tells
Avalokitâ that the one auspicious omen of a happy marriage is
that bride and bridegroom should love one another, and quotes
the old saying that the happy husband is he who marries the
girl who has bound to her his heart and his eye, she is quoting
Vatryâyana. And so in many other parts of the play. One of the
most conspicuous passages is in his seventh act, where Buddha-
rakshitâ breaks through her Prâkrit to quote the Sanskrit phrase,
"Kusumasadharmâno hi yoshitah sukumáropakramâh"—"For
women are like flowers, and should be approached gently.'
Buddharakshitâ is quoting our book (p 199), and the whole of the
context refers to a matter which Vâtsyâyana treats of at great
length, and which is interwoven with the plot of the Målatf-
inadhata.