ARTOLA - PRASANGIKA the use of word-play, in this case, a comic alliteration. One of the characters insists upon using in his long, involved sentences only words beginning with pra and the effect of this on the audience, even if they knew little Sanskrit can well be imagined. After the usual type of prastavana the play begins with the entrance into the royal court of king Pratapapańkti, who is accompanied by his Viduşaka, Preraka. The king informs Preraka that his mind to-day is interested only in learned discussions with the court pandits and he wishes them to be called. "But am I not a pandit?", asks the Viduşaka. The king dismisses his question saying that there will be a discussion of Vedas and Sastras. "But aren't the Vedas known to me" asks the Viduşaka and immediately he begins to recite some verses, indicating the tones with his fingers. The king becomes annoyed with his silly actions and orders him to stop the recitation. At this moment the door-keeper enters to say that Kerala Bhatta and Prakṛstadeva and his wife are standing at the door. As soon as they enter Kerala Bhatta blesses the king. Prakrstadeva objects to what was said, for the words of Kerala Bhaṭṭa, according to him, are defective words (prahina - vacana) because they lack pra (prahina - vacana, words without pra). For Prakṛstadeva, every word must begin with pra and with this his wife agrees in the following dialogue: Prakrstadeva-re, re, preta, tavaitaiḥ prahinavacanairme pranah pramathitäh yato hi prakrstärtham vihaya kim anyat prayojayasi prasabham | "Oh, oh, you dead soul! With these low words of yours, (defective without pra) my life-breaths are stifled, because you, lacking the important thing (i.e., words with pra), use forcibly something else." ARTOLA - PRASANGIKA Prakrtipriya (vihasya)-prayo sti prayojanam pratārakasyāsya svātma praharaṇarūpam | 9 "[laughingly] Probably this best of deceivers has some purpose for this, which is getting blows for himself from us." Thereupon they attack Kerala Bhatta with blows. The king, seeing this, exclaims: "What is this! What is this!" Prakrstadeva insists that Kerala Bhatta be punished for not using words beginning with pra for pra means the best. Kerala Bhatta replies that such words are disagreeable to his ears. Prakrstadeva then insists that the king use pra also. The king naively says: "No doubt all should use pra which means the best, and it exhibits one's learning." His sentences are then full of words beginning with pra and in delight Prakrstadeva exclaims: "Pränjalam, pranjalam," which is then echoed by his wife. Kerala Bhaṭṭa then realizes that he is caught in the company of foolish rogues, and in order to please the king he must say pranjalam, pranjalam, but when he tries to say it, out comes sadhu, sadhu. Prakṛṣṭadeva gets angry and tries to force him to use pranjalam, pranjalam, but Kerala Bhatta refuses. This entire scene, which was supposed to be largely a learned discussion of Vedas and Sastras, has become a silly and petty quarrel-and we are set to wonder how much truth Harijivana Misra has brought forth in his clever satire of the erudite discussions of court pandits. While the quarrel continues, the door-keeper enters to announce that some people from Kerala have come to seek justice. and they are waiting at the door. The king permits them to enter. Yonimanjari, holding in her arms her young son, is accompained by her husband Vyanjanamukha and Bhaṭṭamāra, her former lover. The dispute concerns the true parentage of the child. They present their case to the king. In the course of their conversation a monkey enters the room and attacks Prakṛtipriya, throwing her on the floor and
