The story that began in Pratijñā-yaugandharāyaṇa continues in the play Svapna-vāsavadatta. Yaugandharāyaṇa and Vāsava-dattā work together in order to get Udayana married to Padmāvatī. In this play too, Udayana does not come to the fore as the primary character. Though Padmāvatī plays a prominent role, Vāsava-dattā is a more important character. Every event is designed with Vāsava-dattā as the locus. Udayana feels as if he saw her in his svapna – dream and the story goes ahead to tell us the reason behind the dream and its effect on the rest of the characters.

The differences between the three matas are due to the various interpretations of the Śruti and not because of their acceptance or otherwise of Vedic testimony. The very aspect of Saṃskṛta language that is the reason for its beauty is also the reason for certain disadvantages. That it provides room for alternate interpretations by creative use of logic and grammar is simultaneously its merit and demerit. Let us look at a simple example. In his commentary on the Bhāgavata, Śrīdharasvāmi has written a śloka, as below :

Parimalapadmagupta

Parimalapadmagupta or Parimalagupta is the author of the historical poem, Navasāhasāṅkacarita. This work describes the attainments of Sindhula, Bhoja’s illustrious father. A verse from this work is significant to our discussion:

चक्षुस्तदुन्मेषि सदा मुखे वः

सारस्वतं शाश्वतमाविरस्तु।

पश्यन्ति येनावहिताः कवीन्द्राः

त्रिविष्टपाभ्यन्तरवर्ति वस्तु॥ (1.4)

उस समय में वेदों का अनुसरण करने वालों ने भी बौद्ध धर्म का बहिष्कार नहीं किया था। सातवाहनों ने न केवल सांची स्तूप के द्वारों का निर्माण करवाया अपितु अमरावती ने एक पूरे स्तूप का निर्माण भी करवाया। उसके कुछ अंश चेन्नई, एगमोर के शासकीय संग्रहालय तथा ब्रिटिश संग्रहालय में प्रदर्शनार्थ रखे हैं^[1]। दिखाई दे रहा है वैसा तो उस समय राजगुरुओं के मध्य भी नहीं था। संभवतः संप्रदाय विशेष की भावना से प्रेरित कुछ मतावलम्बी रचनाकारों की कृतियों ने अन्य पंथो के प्रति इस प्रकार घृणा भाव को जन्म दिया हो। इस प्रकार क