Preface
In this edition, the text has been materially revised, especially as the edition of the play by Prof. Hildebrandt has been consulted throughout, and all the new readings found therein have been given in the footnotes, marked as H. In several places, the reading in the text of the last edition has been abandoned in favour of another reading decidedly better. Thus for instance on p. 54, we takes the place of y, as the former is more in conformity with So also on p. 91, the speech of Chandanadasa which was prose in form in all the previous editions, has been here put in a metrical form. (See Verse 21 beginning with fear etc.). On p. 94, the second speech of Chandanadâsa has been retained in the same form as before, but its conjectural metrical form has been given in the footnote. The same is the case with p. 297, where also the speech of Chan danadasa, beginning with far etc. though retained in the text, in the prose form, has its conjectural metrical form given in the footnote. On p. 215, the verse etc. put in the month of Kshapanaka is evidently defective from the metrical point of view, but the new reading given in the footnote the insertion of the word after the words makes it alright. These illustrations are enough to give the reader an idea of the textual alterations made in the edition. The additions and alterations in the notes, very few indeed, have been indicated by rectangular brackets [ ].
Introduction
The Mudrarakshasa is, in sundry respects, a very unique work in Sanskrit literature. Its plot is not a pure invention, but on the other hand, it is not derived from the usual store-house of legends on which Sanskrit authors have generally drawn for their materials. It has no female among its prominent dramatis persona, and the business of the play, accordingly, is diplomacy and politics to the entire exclusion of love. There is, in truth, but one female character, with one little child, introduced into the play, and these are Chandanadasa's wife and son, who come in at the beginning of the last Act. But even their appearance introduces no passages suggestive of tenderness or the purely domestic virtues, but only of sacrifice a stern sense of duty. The style is appropriate to the nature of the subject; it does not lay much claim to sweetness or beauty, but is always business-like and often vigorous. In the delineation of character, likewise, the virtues and vices which are depicted are more those of the sterner sort, not so much those connected with the tender affections. Thus, to take first the most prominent character in the play, Chanakya is represented as a clear-headed, self-confident, intriguing, hard politician, with the ultimate end of his ambition thoroughly well-determined, and directing all his clear-headedness and intrigue to the accomplishment of that end.
**Contents and Sample Pages**
