Mrs. Ratna Handurukande adds, as appendices I and II to her edition and translation of the Man. ieft.ddvaddna, 1 a "transliteration" and "synopsis" of the Buddhist drama Lokdnanda, extant only in a Tibetan translation, the author of which is mentioned in the work itself as Candragomin or Candrad~sa 2. Besides the Ma.niefM.dvaddna contained in the Bodhisattvavadanakalpalata 3 and the two versions published by R. Handurukande, Lokanandanat.aka (LN) represents a fourth adaptation, originally composed in Sanskrit, of the legend of the generous prince Ma.ni-c~.da, 4 and is therefore of the highest importance for the study of this style of narrative, so much more so because it is apparently preserved neither in the Tibetan, nor in the Chinese, nor in the Pali tradition, 5 although the Newari version has been published in the meantime by S. Lienhard. 6
Other reasons may further be adduced wherefore the LN should claim a greater interest then has been ascribed to it till now.
Firstly, it is the sole Buddhist drama completely preserved with the 1 Ratna Handurukande, Man. ic(t.~vad~na. Being a translation and edition. And Lokdnanda. A transliteration and synopsis ( = Sacred Books of the Buddhists, Vol. XXIV) (London, Luzac, 1967). IV, 300 pp. 8 ~ (MA) 2 Cf. MA, p. 203. To this point one must remark that the name contained in the title does not possess the value of an independent testimony, for this title, absent in the xylographs of Chone and Derge, was most likely extracted from the colophon by the redactors of the Narthang-edition. Moreover the Tibetan translation of the name Candragomin is not btsun-pa zla-ba as suggested MA, p. 203, note 2, but zla-ba btsun-pa.
The "word" bla-ba printed on p. 251 merely represents a misreading. 8 K.semendra.