Page:The Sanskrit Drama.djvu/188

183 his penance, and he joyfully abandons the rash project, praising instead his rule of life:

peyā surā priyatamāmukham ikṣitavyam: grāhyaḥ svabhāvalalito 'vikṛtaç ca veṣaḥ

yenedam īdṛçam adṛçyata mokṣavartma: dīrghayur astu bhagavān sa pinākapāṇiḥ.

'Long live the god who bears the trident and who has revealed to men this as the way of salvation, to drink brandy, to gaze on the face of one's beloved, to wear beautiful and becoming raiment.' He is reminded by his companions that the Arhants have a very different definition of the path of salvation, but he has little trouble in disposing of them:

karyasya niḥsaṁçayam ātmahetoh: sarūpatāṁ hetubhir abhyupetya

duḥkhasya kāryaṁ sukham āmanantaḥ: svenaiva vākyena hatā varākāḥ.

'They establish that an effect, as self-caused, is of the same nature as its causes; when, therefore, they declare that pleasure is the effect of pain, the poor fools contradict their own dogmas.' There follows a complimentary description of Kāñcī, and a careful parallel between the tavern where the pair are seeking more charity and a scene of sacrifice; the Kapālin also discovers that Surā has a celestial origin; it is none other than the form taken by the god of love when burnt by the flame from Çiva's eye, a conclusion heartily accepted by his friend. The two are successful in attaining alms, but the tragic discovery is made that the skull, which serves as begging bowl, and which seems indeed at first to be the raison d'être of the Kapālin, is lost, though he consoles himself by reflecting that it was only a sign and that his occupation is still intact. A search through Kāñcī follows, and suspicion falls on a Buddhist monk, Çākyabhikṣu, who is lamenting the fact that despite the excellent fare he has received the law forbids the enjoyment of strong drink and women; he concludes that the true gospel of the Buddha contained no such ridiculous restrictions, and expresses his desire to benefit the whole community by discovering the authentic text.