their eyes on their lovers at the parting scene. Again the departure of the heroine leaving the hero to himself is common to both the plays. Even in Shâkuntal, the hero remains behind and says “गच्छति पुरःशरीरं धावति पश्चादसंस्थितं चेतः। चीनांशुकमिव केतोः प्रतिवातं नीयमानस्य । Shak. I, 36". Vikrama's mind is ex. tracted out of him as does a goose, a filament from the lotus stalk. Dushyanta's mind is, however, drawn like a China silk waved along with the wind.
Then till the comencement of the second Act, the clown does not know this love affair which is divulged by the hero to him both in Vikramorvashi and Shākuntal In both the plays the Vidushaka is anxious to know the sort of beauty that she is. The king then describes her charms in superlatives in both the cases. (Cf. आभरणस्याभरणं प्रसाधन विधेः प्रसाधनविशेषः-P. 51. Vikr. II, 3; "स्त्रीरत्नसृष्टिरपरा प्रतिभाति सा मे (II. 10) अनाघ्रातं पुष्पं किसलयमलूनं कररुहैः।" Shak. II. 11. No other pursuit then interests the hero in any of his plays (Cf. “विविक्तादृतेनान्यदुत्सुकस्य शरणमस्ति P.51. 4. बहुकुसुमितास्वपि..." Vikr. p. 57; "कण्वसुतामनुसृत्य निरुत्सुकं चेतः.........न न नमयितुमधिज्यमुत्सहिष्ये" Shak. II. 3). Then both the heroes feel subservient to the emotion of love and then call Love names (Cf. "अलब्धफलनीरसं मम विधाय तस्मिन् जने समागममनोरथं भवतु पञ्चवाणः कृती" Vikr. P. 70%; “तव कुसुमशरत्वं शीतरश्मित्वमिन्दोः द्वयमिदमयथार्थ दृश्यते मद्विधेषु" Shak. II, 4). Shortly after, there is a second meeting between the hero and the heroine. Prior to the actual meeting, one of the pair does always silently observe what the other is doing (Cf. In Shakuntal Dushyanta slyly does so “यावद्विटपान्तरेणावलोकयामि" and gauges the feelings of the heroine while she is with her friends; in Vikramorvashi the heroine slyly does so and gauges Vikram's feelings while he is sitting with his friend, Obs.तिरस्करिणीप्रतिच्छन्ना पार्श्ववर्तिनी भूत्वा श्रोष्ये वयस्येन सह विजने किं मंत्रयंस्तिष्ठतीति. P. 65) This is the poet's common artifice to permit each one to understand the feelings of the other. In spite of this divergence that in the case of one, the hero gauges the feelings and in the other the heroine does so of the other, the poet makes his heroine alone to write a billet-doux to her lover. ( (Vide Vikr. “सामिअ संभावित आ जह अहं तए अमुणिआ" Page 73 and Shak, "तुज्झ न जाणे हिअअं मम उण मअणो दिवा वि रत्तिं वि" Act IIT-19). Immediately after this, both of them meet and enjoy the company of each other. Here of course there is disunity of action in the two plays which affects the sentiment prevailing there, a point discussed above.
Thereafter in both the plays, the poet brings in his malediction of Bharat in Vikramoryashi and of Durvāsas in
