महावीरचरितम् (महाकवि भवभूति - वीररस-प्रधान रामकथा नाटक सम्पूर्ण ७ अङ्क सटीक)

Introduction [lxx to link the main plot more closely to the by-plot, since it is the event of which the union of the two pairs of lovers is the immediate sequel. The purpose of the second episode is merely to thrill the audience and to satisfy the human craving for the marvellous and even the gruesome. The first episode comes about in this way. A clandestine marriage between Mālatī and Mādhava having been decided upon, Kāmandakī secures the opportunity as follows: It was announced that the marriage of Mālatī and Nandana would be celebrated in the evening; and, according to the custom, Mālatī was to go just before the marriage to one of the city temples and there duly worship the Goddess. It is prearranged that Mādhava and Makaranda should go beforehand into the temple and there remain hidden. Mālatī, who however is quite in ignorance of what was to follow, approaches; the attendants stand outside, only her trusty com- panion and confidante, Lavaṅgikā, going with her into the interior. Then after a scene (act vi) which is one of the best in the play, the whole plot is revealed. Makaranda was to put on the dress of Mālatī¹ and join the marriage procession and be married to the unsuspecting Nandana, Mādhava in the meantime taking the real Mālatī with him to a place prepared for them and being formally married to her. 33, E.—The same stratagem was to give Makaranda his wife—Mada- yantikā, sister of Nandana. For, after the marriage of the pseudo-Mālatī with Nandana, when the latter meets his supposed wife and makes her advances of love, he receives a cold rebuff, and finally a kick. The bride- groom walks away in high dudgeon. Now Madayantikā, the bridegroom's sister, hearing of the infamous treatment her brother received at the hands of the new bride, comes to her room to expostulate with her. What follows is easily imagined. Makaranda throws off his disguise and elopes with Madayantikā. Had he been able to reach the appointed place in safety and solemnize the marriage, the play would have ended smoothly but much too early (end of act viii). The only difficulty then would have been to pacify the king, which would not have been very difficult perhaps. What actually happens is that, as Makaranda is escaping from Nandana's house, he unexpectedly comes upon certain night-watches who challenge him. A skirmish ensues. More guards are sent, and Mādhava, hearing of the news, runs to his friend's rescue. The two friends fight so bravely that the king, who was aroused and was watching their valour, is moved to pardon them; and, coming to know of all the facts, he even acknowledges the two marriages. ¹ In judging the verisimilitude of this inci- Mālatī herself was very probably taken dent, we must consider that the part of by a man (see appendix 11).