Читать книгу The Lady of the Jewel Necklace & The Lady who Shows her Love - Harsha - Страница 21

intended to make his co-wife, until the king saw through the disguise by means of her skill in the art of garland-making [text 2, ‘Ocean of the Rivers of Story’ (15–16), the co-wife Padmavati]; and, in a third, Udayana became unfaithful and inadvertently called Vasava·datta by the name of her rival, and, later, secretly seduced—while the queen watched in hiding—yet another rival that she had tried in vain to conceal from him [text 3, ‘Ocean of the Rivers of Story’ (14), Virachita]. This cycle of stories was taken up in three Sanskrit dramas, one by Bhasa, who replaced the magic transformations and disguises with a dream sequence [text 4, ‘Vasava·datta in a Dream,’ Padmavati again], and two by Harsha, who replaced them with a portrait of a co-wife, a magic plant fertilizer and a magic show [text 5, ‘The Lady of the Jewel Necklace’], and with a play within a play [text 6, ‘The Lady who Shows her Love’]. We may represent the basic plots of these six texts on a chart:________

Text

Genre

What

conceals

Who is

disguised

What

reveals

1. Ocean of the

Rivers of Story

narrative

magic

magician

sleep

2. Ocean of the

Rivers of Story

narrative

magic

queen

garland/

portrait

3. Ocean of the

Rivers of Story

narrative

disguise

co-wife

slip of the

tongue

4. Vasava·datta

in a Dream

play

disguise

queen

dream/

portrait

5. The Lady of the

Jewel Necklace

play

disguise

co-wife

necklace/

portrait/magic

6. The Lady who

Shows her Love

play

disguise

co-wife

play/magic