CHAPTER VI. daughter, and answers the questions of the court precisely as might have been expected from a woman of her profession. She readily admits that her daughter went to the house of a friend, but hesitates to name the friend. The court, however, insists, and the woman at length names Chárudatta, the son of Sagaradatta, and grandson of the Provost, Vinayadatta. The prince then charges Chárudatta with having committed the murder. The Provost on the bench declares that it is impossible for Chárudatta to be a criminal. The Judge, however, directs the Recorder to write down the evidence and the charge, and despatches a polite summons to Chárudatta to attend the court. After some delay Chárudatta appears. He is unconscious of what has happened, and is anxious to conceal his acquaintance with a courtesan. At length on being pressed he admits that the lady is his friend, but adds that he does not habitually seek such society. He, however, does not know what has become of Vasantaséná; she had paid him a visit, and gone away, as he supposed, to her own dwelling. On this admission the prince repeats the charge of murder against Chárudatta. The Judge refuses to believe that a man, who had exhausted his fortune in beautifying the city, could have murdered a woman for the sake of plunder. But the prince sharply rebukes him by declaring that the duty of a Judge is to try the cause and not to defend the criminal.

Captain of the guard.

Another link is now added to the chain of circumstantial evidence against Chárudatta. The captain of the guard, who had been prevented from inspecting the carriage of Chárudatta, appears to complain of the treatment he had received from his

comrade. He mentions the quarrel about the CHAPTER VI. carriage. He says that the coachman was driving Vasanta-séná to the garden to meet Chárudatta. The Judge here postpones further inquiry into his complaint, and despatches him to the garden, to ascertain if the body of the lady is still there. After a certain interval the captain returns with the information that he has found female hair, and traced the marks of female hands and feet, but that the body has disappeared.

Chárudatta.

The case against Chárudatta is now very strong; Conviction of but another incident seems to place his guilt beyond a doubt. It will be remembered that his wife had commissioned Maitreya to carry back to Vasantaséná the jewels which the courtesan had left in the child's toy-coat. Maitreya accordingly takes the jewels in his girdle, and sets out for the house of Vasanta-séná, but on his way he wanders into the public hall. Here he listens to the horrible accusation which the prince has brought against his friend. In his wrath he assails the prince, and during the struggle the jewels drop from his girdle. In a moment they are recognized as the jewels of Vasanta-séná. This points to the conclusion that Vasanta-séná has been murdered for the sake of her jewels. The accumulation of evidence leads to the conviction of the accused. The Judge reports to the Raja that Chárudatta has been found guilty of the robbery and murder. At the same time he reminds the Raja that the condemned man is a Bráhman, and that consequently he cannot be executed, nor his property confiscated, but that he may be banished from the realm. Raja Pálaka, however, is not inclined to show favour to the

CHAPTER VI. Bráhmans. He orders that Chárudatta should be put to death by impalement; and he issues special instructions that the condemned man should be led to the place of execution with the stolen jewels hanging round his neck, whilst his crime is proclaimed by beat of drum.

Preparations for the execu

tion.

The tenth and last act takes place on the road to the place of execution, which is situated in the burning-place without the city. Chárudatta appears decorated with garlands, like a victim being led to the sacrifice. On his shoulder he carries the stake. He is attended by two executioners, who belong to the lowest class of outcastes. They are named Chándálas, and their very touch is a horrible pollution. The women of Ujain are weeping all around, as Chárudatta takes farewell of his little son. The sad procession moves on whilst one of the Chándálas proclaims the crime and the sentence by beat of drum. Presently the procession passes the palace, where the black-hearted prince is gloating over the sufferings of the innocent Bráhman. But in a room on the upper story is the lad who had driven Vasanta-séná to the presence of the prince, and who knows that she had been strangled by his wicked master. The boy shouts aloud that the prince is the murderer, but no one heeds him. Suddenly he breaks his chain, and leaps from the balcony, crying out that Chárudatta is innocent. The Chándálas stop to listen to the lad. The crowd eagerly believe his evidence, and cry out that the prince is the murderer. The prince sees that his life is in peril, and rushes from the palace into the street. He declares that the boy is bringing a false charge because he had been punished for

theft; and he reminds the mob that the boy cannot CHAPTER VI. be believed because he is a slave. This indeed proves to be the law; the evidence of a slave cannot be received. The mob is excited, but does nothing; and the Chándálas with their prisoner move slowly and reluctantly along, followed by the prince, who thirsts more than ever for the death of his victim.

The last station is reached; the drum is beaten, The rescue. and the proclamation is made for the last time. The pathos has reached its climax, for an innocent Bráhman is preparing for a death of excruciating agony. At this moment the beautiful Vasanta-séná, the pride and glory of the whole city, suddenly rushes through the crowd, and throws herself into the arms of Chárudatta. A scene of overwrought excitement follows, which must be left to the imagination. Some of the crowd run off to carry the news to the Raja. The Chándálas arrest the prince as a perjurer and would-be murderer. But the public agitation is raised to a still higher pitch by loud shouts in the distance :-"Victory to Aryaka! The Raja is slain, and Aryaka ascends the throne of Pálaka." The cowardly prince is quaking with terror, and throws himself at the feet of Chárudatta shrieking for mercy. The mob shout for his immediate execution. Chárudatta, however, interposes, and the villain is suffered to wander forth as a vagabond wherever he will.

The last scene must be indicated, if only to ex- The last scene. hibit the vast gulf which separates the European from the Hindú. The wretched wife of Chárudatta is discovered on the eve of committing herself to the funeral pile, in order that she may accompany her

CHAPTER VI. murdered lord to another world.

Aryaka ascends the throne.

Review of the "Toy-cart."

The husband saves his wife, and takes her to his embrace; and here according to all European ideas of propriety the curtain ought to fall. Certainly no European poet or dramatist would imagine that at such a solemn moment of re-union a courtesan could appear between the married pair. But Vasanta-séná is present, radiant with charms. The Hindú wife beholds her, and knows that her husband loves the courtesan. Shakespeare himself would have been unable to reconcile his audience to the scene. the wife approaches the courtesan, with the crushed spirit of a Hindú woman, and says:-"Welcome, happy sister!" The veil is thrown over Vasantaséná. Henceforth she ceases to be a courtesan, and is secluded for the remainder of her days in the inner apartments of Chárudatta.

Yet

Aryaka the cowherd thus ascends the throne of Ujain, and distributes his rewards. The Buddhist mendicant is made chief of all the viharas in Ujain. The slave-boy of the prince obtains his freedom. The two Chándálas are appointed heads of their tribe. Lastly the captain, who connived at the escape of Aryaka, is raised to the post of Kotwal or chief over all the police of the city.

It would be vain to attempt to judge the foregoing drama by a European standard. The main interest of an ordinary plot is altogether wanting, namely, the passion which draws together a youth and maiden, and terminates in a happy marriage, or tragical denouement. The chief interest in the play turns upon the accumulation of circumstantial evidence against Chárudatta, and the sudden discovery of his innocence on the eve of his execution.