more than anything else; brutal, ignorant[1] despite his association with courtiers of breeding and refinement, and cowardly, he has only skill in perfidy and deceit, and is mean enough to beg piteously for the life he has forfeited, but which Cārudatta magnanimously spares. The Viṭa is an excellent foil to him in his culture, good taste, and high breeding; despite his dependence on his patron, he checks his violence to Vasantasenā, strives to prevent his effort to murder her, and when he fails in this takes his life into his own hands and passes over to Āryaka's side. The Vidūṣaka may be fond of food and comfortable living, but he remains faithful in adversity to his master, is prepared to die for him, and consents to live only to care for his son.
The minor characters among the twenty-seven in all who appear have each an individuality rare in Indian drama. Çarvilaka, once a Brahmin, now a professional thief, performs his new functions with all the precision appropriate to the performance of religious rites according to the text-books. The shampooer, turned Buddhist monk, has far too much worldly knowledge to seek any temporal preferment from the favour of Āryaka. Māthura, the master gambler, is a hardened sinner without bowels of compassion, but the two headsmen are sympathetic souls who perform reluctantly their painful duty. The wife of Cārudatta is a noble and gentle lady worthy of her husband, and one who in the best Indian fashion does not grudge him a new love if worthy, while the lively maid Madanikā deserves fully her freedom and marriage with Çarvilaka. Even characters which play so small an actual part as Āryaka are effectively indicated. The good taste of the author is strikingly revealed by the alteration made in the last scene by a certain Nīlakaṇṭha,[2] who holds that the omission to bring upon the stage Cārudatta's wife, his son, and the Vidūṣaka was due to the risk of making the time occupied by the representation of the play too great. He supplies the lacuna by representing all three as determined to commit suicide when Cārudatta rescues them; the author himself would never have consented to introduce the first wife at the moment when a second is about to be taken.
The author is not merely admirable in characterization; he is
