Page:Little Clay Cart (Ryder 1905).djvu/31

Rh have used my best judgment. Such repetitions have been given in full where it seemed to me that the force or unity of the passage gained by such treatment, or where the original repeats in full, as in the case of v. 7, which is identical with iii. 29. Elsewhere, I have merely indicated the repetition after the manner of the original.

The reader will notice that there was little effort to attain realism in the presentation of an Indian play. He need not be surprised therefore to find (page 145) that Vīraka leaves the courtroom, mounts a horse, rides to the suburbs, makes an investigation and returns—all within the limits of a stage-direction. The simplicity of presentation also makes possible sudden shifts of scene. In the first act, for example, there are six scenes, which take place alternately in Chārudatta's house and in the street outside. In those cases where a character enters "seated" or "asleep," I have substituted the verb "appear" for the verb "enter"; yet I am not sure that this concession to realism is wise.

The system of transliteration which I have adopted is intended to render the pronunciation of proper names as simple as may be to the English reader. The consonants are to be pronounced as in English, the vowels as in Italian. Diacritical marks have been avoided, with the exception of the macron. This sign has been used consistently to mark long vowels except e and o, which are always long. Three rules suffice for the placing of the accent. A long penult is accented: Maitréya, Chārudátta. If the penult is short, the antepenult is accented provided it be long: Sansthắnaka. If both penult and antepenult of a four-syllabled word are short, the pre-antepenultimate receives the accent: Mádanikā, Sthắvaraka.