365bet娱乐

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Suvadana and Dandaka which are not used by
the Pa帽c, 1. 6; Dv, 15;
classical dramatists are found in
Prat, III. 7, III. 11; and Avi, V. 6.
A peculiarity of the metrical portions of these
plays is the occurrence of split up verses'. A verse is
divided into quarters or hemistiches and each part is
used as a speech for a character in the play. Sometimes
a prose passage intervenes the metrical speeches. Three
characters also share some verses between themselves.
Though split-up verses are not a general feature of this
group, still their presence in some of these plays shows
them to have come from the hands of a single author.
Instances of split-up verses used by the same speaker
are Avi, II. 6, 11. 14; Pratij帽a, I: 2.
Portions of verses used as speeches for two
characters are found in the Prat, I. 31, III. 1, 14, IV. 24,
VII. 14 Tru, 66; Avi, VI. 21; Bal, V. 10 and Pa帽c, II.
34, 37.
Three speakers use a a verse between themselves at
the following places; Uru, 21; Abh, VI. 1, 5.
As justly stated by Dr. Winternitz, "it is also worth
mentioning that in such small details as the names of
persons of secondary importance several of the plays agree
with one another."
12. SAME NAMES OF DRAMATIS
PERSONAE
in different plays, therefore, constitute a strong argument
in favour of their common origin. The chamberlain
of Duryodhana in the Dv and of Mah膩sena in the
Pratijn煤 is named B膩dar膩ya峁嘺. A female door-keeper
is introduced by the identical name Vijay膩 in the
Svapna, Pratijn眉, Abh, and Prat. Vrsabhadatta and
Kumbhadatta are the names of herdsmen in the Pa帽c and
Bal.
The most striking evidence of the common authorship
of these plays is their
1 13.
GRAMMATICAL SOLECISMS
AND PRAKRIT ARCHAISMS.
These are not peculiar to some of the plays only as
Some of the important verses are given in extenso in appendix II. Here
all the verses are merely referred to. 2 Problems, p. 119.