66
6. Weber bases his argument on the use of the   word paka (J-23>—a term borrowed from the coins of Kanerki_r a king who reigned about 40 A. D.    Bat there is no reason .to suppose that the Goddess Naina did not similarly occur on-more ancient coins  so as to place the drama after the  2nd century A. D.
^if The play though long has considerable dramatic merit,, tbe plot being ingeniously developed and the   interest well-by a rapid succession of stirring events and pictures-diversified scenes of everyday life.    The character of Samsthanaka, a vicious dissipated man,  stands in  striking contrast to that of Charudatta,   As the one, is a pattern of generosity, so the other stands in bold relief as a typical embodiment of the lowest   forms  of  depravity.    The   heroine* Fasantasena, a beautiful and wealthy lady, although according to the strict standard of morality not irreproachable, might still bo described as conforming to a high-minded liberal woman. The third act contains a humorous account of a burglary,, where stealing is treated as a fine art.
" The dexterity with which the plot is arranged, the ingenuity with which the incidents are connected, the skill with which the characters are delineated and contrasted, the boldness and felicity of the diction are scarcely unworthy of our own dramatists.     The   asides  and  aparts,   the   exits   and-entrances* the manner, attitude and gait of the speakers, their of voice, tears and smiles and laughter are as regularly-indicated as in a modern drama."— Williams.
^ Theu^me of Bbasa is an enigma in Sanskrit literature^ His fame as a dramatist has been traditionally conceded, but no