महावीरचरितम् (महाकवि भवभूति - वीररस-प्रधान रामकथा नाटक सम्पूर्ण ७ अङ्क सटीक)

Introduction [lxx
to link the main plot more closely to the by-plot, since it is the event
of which the union of the two pairs of lovers is the immediate sequel.
The purpose of the second episode is merely to thrill the audience and
to satisfy the human craving for the marvellous and even the gruesome.
The first episode comes about in this way. A clandestine marriage
between Mālatī and Mādhava having been decided upon, Kāmandakī
secures the opportunity as follows: It was announced that the marriage
of Mālatī and Nandana would be celebrated in the evening; and, according
to the custom, Mālatī was to go just before the marriage to one of the
city temples and there duly worship the Goddess. It is prearranged that
Mādhava and Makaranda should go beforehand into the temple and there
remain hidden. Mālatī, who however is quite in ignorance of what was to
follow, approaches; the attendants stand outside, only her trusty com-
panion and confidante, Lavaṅgikā, going with her into the interior. Then
after a scene (act vi) which is one of the best in the play, the whole plot is
revealed. Makaranda was to put on the dress of Mālatī¹ and join the
marriage procession and be married to the unsuspecting Nandana, Mādhava
in the meantime taking the real Mālatī with him to a place prepared for
them and being formally married to her.
33, E.—The same stratagem was to give Makaranda his wife—Mada-
yantikā, sister of Nandana. For, after the marriage of the pseudo-Mālatī
with Nandana, when the latter meets his supposed wife and makes her
advances of love, he receives a cold rebuff, and finally a kick. The bride-
groom walks away in high dudgeon. Now Madayantikā, the bridegroom's
sister, hearing of the infamous treatment her brother received at the
hands of the new bride, comes to her room to expostulate with her. What
follows is easily imagined. Makaranda throws off his disguise and elopes
with Madayantikā. Had he been able to reach the appointed place in
safety and solemnize the marriage, the play would have ended smoothly
but much too early (end of act viii). The only difficulty then would have
been to pacify the king, which would not have been very difficult perhaps.
What actually happens is that, as Makaranda is escaping from Nandana's
house, he unexpectedly comes upon certain night-watches who challenge
him. A skirmish ensues. More guards are sent, and Mādhava, hearing of
the news, runs to his friend's rescue. The two friends fight so bravely
that the king, who was aroused and was watching their valour, is moved to
pardon them; and, coming to know of all the facts, he even acknowledges
the two marriages.
¹ In judging the verisimilitude of this inci- Mālatī herself was very probably taken
dent, we must consider that the part of by a man (see appendix 11).