CHAPTER - 1%'

PRAKARANA AS A DRAMATIC FORM

CHAPTEII I\'

PRAKARANA AS A DRAMATIC FORM

Niitaka is the most ideal tijrm aliiong thc rupakas. The

hero is a noble chal-lrcter who is :I role modcl that the socicty can

emulate. Prakara~?n closely fiilo\vs thc iliitaka i n this respect.

The most distinguisliin~: fcatui-c ot 'prakara~a is its opcness.

'i'hc hero is an ordinary dhiraiiinta, rhc cllnractcrs arc drawn fiom

dill'crcnt st!-ata ol'socicty. The ~ ~ ; l f ; ~ k i ~ ~ ~ C S C I I [ S :I I I ~ O I ~ O ~ O I ~ U L I S

tvpc of society. the p:~lacc. the co~it-t ;in(\ harem. The socicty

represented in a prakarana is more llcxible, the sentiments also

are more relaxed. Viivaniitha defines P r a k n r a ~ ~ a thus:'

,,*pj F+ q+l*fc,,7, , 1

ymfrj3it m+wq ~ G I ij91T41sv-n I

GtcRrFm11

* p m * , * ? ~ , ~ * l

+I 9 $ ~ ~ , m *mI1

Prakarana is a play in five to ten acts. The theme is from the

imagination ofthc a[rtli()r. l'lic ncr-o 1n:ry bc a RI-ahmin, ;I minister

or a merchant devoted to d h a ~ m a , artha and k i m a . The major

sentiment is SfngZra. The heroine may be a respectable lady, a

courtesan or the two co~nbinetl. There is neither divine element

nor royal luxury in the play.

P r a k a r q a is a realistic t ype o f play which derives its theme

from the society and life of c~rdinary tblk2. The spectators gel

acquainted with thc many problcms thal occur in the life of the

ordinary people who form the m~ijor chunk of the society. Since

nataka takes its theme from :incicnt stories and legcnds and the

hcro and heroine bclonz to elite class ilicrc is no scopc for

depicting the life, PI-obleliis and livins standards of ordinary

people. A visual artfor111 should represent all the strata of society.

Prakarana givcs cnough scopc for thc dramatist to analyse

thc social life of the people, customs and morals current i n the

society and evil plxcticcs ctc', anci suggest rcrncdial measur-cs

for solving the corr1plicatc.d ~,r-obicl~?s and show thc rig111 path to

IIC folIo\\cti. This sl~o\+..s r l ~ : ~ S;~tl\lir-il Iitcl-;~turc 11~1s kept piice

with social problcrns and cha iges. The narrations contained in

this type ofworks provide the ipectator with some usefill advices

to tliosc who fail to ibllo\v tlic nomis uf good conduct, one of the

vital purposes of poetry. 13ut it is i~nfortunatc that there are only

a few plays in Sanskrit bclongilig to this category. The earliest

spccimen o fa praltara~ia availnblc to us is the Avimiiraka attributed

to Bhiisa.

..\vim%raka

This is a pr-altarar?a in six ;~c t s dcpicling thc love story of

AvimZraka, the son of Agn, and Sudarsana and ~ u r a l i g i the

daughter of King ~ u n t f b h o j a . Tlic hero was br-ought LIP by King

Sauravi and his wife Sulocan.~. Having killed a demon disguised

in the f o m ~ of a sheep, hc got the name Avimiiraka. (aviln nizrayati

i t i L I V I I ~ ~ ~ I - : I ~ , I ) .

While the hero and hi:; parents were living incognito due

to the cul-sc of,^ sage. in 111c cou~lti-y o f ~ u n t i b l r o j a . he saved the

king's daughter, ~ u r a i i g i wh3 was attacked by an clepliant. They

fcll in lovc. One clay ;\\,imll~aka got iriio hcl- palace disguised as

a robber with the help of the friends of ~ u r a f i g l and sat on her

cot. Thinking him to be her friend, she embraced him. Similar

scene occurs in Miilatimiidhava also where MiilatT embraces

MZdhava thinking him to be Lavangiki. The news reached the

ears of the King. Avimiiraka soon escaped and tried to commit

suicide unable to bear the pangs of separation. He was dissuaded

from it by a gandharva who w3s attracted by his grandeur and

gave him a ring by the power of which he could enter into the

harem of Kurafig7. She was the:n about to put an end to her life.

The sight of Avimgraka relieve:; her.

Then Jayavama the son of the king of KgSi accompanied

by his mother SudarSana came there to many ~ u r a r i g l . Having

known that Sauravi with his family lives in his kingdom,

Kuntibhoja brings them to his palace. They all felt very sad not

knowing the whereabouts of ,\vimZraka. At this time sage

Narada arrived there and informed that Avimgraka was there in

the same palace. According to his advice the marriage between

Avim5r:ika and l<urafigi was solemnised. Jayavarma was married

to ~ u r a n ~ i ' s si::rer.

I n ~ : i l : ~ t ~ ~ n ~ d l i ; ~ . a : I I S O ~ : l ~ ~ i ; ~ n d a l < ; plays such ;I I-olc.

Thcrc iirc scvcr:~l i~iciclc~ils comlllon lo boll1 pl:iys. The ticscriplion

- of the naturc in Mslatin-15dhnva rcsc~iiblcs t h ~ r t o f in Avimlrr-aka.

An eleplianr crcirlcs ;I I~iss in r i c A\im?i~-aka and a tiger i l l the

ot l~cr. ( h v i ~ i g to llicsc ~ i ~ i ~ i I : ~ ~ - i l i c s i t c;111 l ~ c s a ~ d ll i :~l 1\\!i111,5r;1k;1

inspired Bhavablititi to writc ~ i i 1 a t ; m ~ d h a v a .

The salient features o f Aviniaraka are -

i Love forrns the theme

. . 1 1 Characters arc drawn from diflbrc~it soi~rccs

. . . 111 S~~pernatura l elcments arc cmploycd.

Thc dramatist lii~its at certain jocinl problems at tililes. Parents

Lvcre much anxious ahvi~t the :clcc~iori ofthcir sorr-in-laws. The

\\lords of ~ u n t j h l i o j a t o his wi!k ~>rovcs this. Certain matrimonial

rites were obligatory even in the g?indliarva fbrrn of marriage.

That is why Avimiirakli and ~ u r a l i ~ ; were married in the presence

of Niirada, Agni being the wi ncss.

The less numhcr of' ac ts \\.lien compared to o the r

prdkaranas, meagre impor~aricc glvcn lo social criticism and the

(lcl~iction ofsupcrn;rrn~.ai c l c ~ n c n ~ s ~-cv~,a l t I i ; ~ t AvirnCil-aka marlts

the beginning stage of prakara~a type oi'tlmma.

Mrcch;ikatik;~

MrccIiakaLika is ;r IX-;I~;U;III:I 1ylx oI'dr;~m:t which is uniquc

in tenderness and dcl~tll ol' ILclirlg. Tlic narric is tir:t\vn fr-om L I I ~

cpisocic in rhc 6th t1c.1 i c . lilling ~ i p ol '~lic clay cart ol'llic 11cro's

son with gold ornaments. The .aork is attributed to king ~i'idraka.

Life ofthe common man is depicted in an unusual way. I t satisfies

all the requirements o f a prakava~a in which the hero is a Brahmin

merchant, heroine being a co~~rtes i~t i , pr-incipal sentiment being

.Syrig?ira. The plot is i~naginaly nncl i t consists of ten acts. Since

the heroine is a ganika the pl; y bclongs to the category of mixed

type ofprakarana. The sentin-.ent of pathos is well developed and

subordinated to the main ser timent 'sr~igara. Its style is sweet

and simple.

The prologue of the play tells that SUdraka was a scholar

w l ~ o had deep kno\vlctlgc in +das and other branches of learning

such as Mathematics, Fine arts and Arr of training elephants. He

had a special leaning towards prakarana. He had little respect for

the established traditions ofhis time. Hc dared to break the barriers

put by the tradition and tlie r-gulations irnpossed by the ruling

and upper class people. Tlic outcomc was the emergence of a

play which is mosl 11~11iian antl in \ ~ h ~ c h one c;ln scc the bcnulili~l

I I O I - I I . ; I ~ ; I I ol'lili', /o\'e. e ~ i i o ~ i t 11 ; I I I C I ~ , ~ I ~ ~ I I I C I I ( S o I ' o ~ - d i ~ ~ ; ~ r . y I I ~ ; I I ~ .

%lay be due to tllis st~~hbol.iincss 111s iinmc is riot f i g ~ ~ r c d in the

anthologies, treatises and poetics. Ilc states in the prolog~lc that

he conducted n horse sacrifice:, crowncd his son a king, livcd for a

period of 100 years and tcn days and entered fire in the end.

Astrology and astronomy were known to hi~ii . Act IX shows his

knowledge in law and legal y'rocedure.

Mscchakatika inf1lrenc:ed Mc~dr?riks;lsa to a great extent4.

So he may be earlier than V i5ltliadattc1. Even if Kfilidfisa does

no: mention ~ i d r a k a in his u ~ r k s , the latter may be considered a

predecessor of the former 01- linguistic co~isideration.

Reference to Man11 sllows that he cannot be earlier than

the beginning of the Cliristia i e r a Astronomical and legal ideas

found in the plays suggest that lie belonged to the 4th AD. Prof.

T.K. Kaniachandra lyer places him in tlie 1st century A.D5.

The characters arc d r ~ wn limm the lowcr strata of society.

Vasantasena a ganika of UJji~yini has been elevated to the rank of

a lady. Unlike other playwright; lie preferred to describe poverty

in his play. The hero, the gambler, the Brahmin who conitnits

burglary, the police officer who lets Aryaka escape are all poor

people. Since the royal patronaltc ~iourislicd tlic pocts of antiquity,

they were tinaware of poverty 2nd so they ignored i t and extolled

the life of the elite and thcir luxurious life. I t sheds light on the

social and political conditio~l of tllc country. Evcry d;~y life o f

ancient India and the kind of 'ilxury thcy enjoyed are shown in

an interesting manner. L,ife is a blending ofsorrow and liappincss.

Comic situations and tragic scenes in tlie same measure attract

the common man.

'The story of Mrcchakatik:)

Ciirudatta, a blxlrmin merchant wlio lost all his wculth falls

i n love with Vasantasena, a courtesan of Ujjayini. He does not

reveal it since he is poor anci the lo\,c is a ga~>ika. Vasantasena

who loves the noble hero, goes to tlic house of C3rudatta in order

to convince him of licr lovc. Accompanied by vita and ceta,

Sakzra, the king's brother-n-law who wants to possess her,

follows her and tries to woo Iicr. She manages to gct into

Carudatta's house. Sakara l(:aves tlic stage asking Maitreya to

inform his niastcr that thc latter will have to suffer dire

consequences unless lie hand; over Vasantasena to him.

The hcro ancl tlic h c r o i ~ ~ e meet. Vasantasena requcsts him

to keep her ornaments for safety. Morcovcr, she wants to convince

him that she is not after mone i just like othcr ga?ikas are. These

ornaments niakc him misclablc at the end. They serve as

conclusive evidence at the tri;~l he ~ ~ n d e r g o e s in the court of law.

In the second act, the state of gamblers who had great

influence in the country is shown. l'lierc cxistcd a gambling

association to which officers are attached. Those who fail have

to undergo hardships. They were even punished severely.

Samvshaka who was in the selvice of Carudatta during the latter's

prosperity, enters vasantasc:la's house and spcalts about tlic

miseries he had to suffer duc to the failure in gambling. Peoplc

!ikc I>~~rt larak;~ w l ~ o losr t h c i ~ pl-opcl.ly join tlic grot113 of pcoplc

who try to sabotage the riili i g king Pilalta out of frustration.

Some of llicn7 taltc rcfilgc in Tlutlhis~n. The conling revolution is

also suggested along with tht: love story. Vasantasena releases

him from Mgthura, the keeper of the gambling house. Then

Karnapiiraka enters w ~ t h a priiviiraka bearing the sniell of Jasmine

flower and tells that Ciirudatta had presented it to hirn for having

saved a nmonlc from Vnsantasc~~a's clcplmant who was amock. She

collects the gift in exchange of ornaments.

In the third act an elaborate and vivid description of house

breaking is given. harvilaka inters C5rudatta's house and steals

the ornaments deposited by vaiantascna. He commits this in order

to free Madanika, his love frcm Vasa~lrasena. CZrudatta's wife,

DhGta gives her gel11 necklace to her husband in order to

con~pensate the loss. Her I O L V for IIC'I. husband is evident from

this incidctit. T11c tllcli cvo1:cs la~~gimlcr i n 111c coming c11apte1-.

Stealing is described here as a finc LII-I.

The fourth act descr-ikes the splendours of Vasantasena's

palace: ~ a r v i l a k a comes to release Madanika who recognises the

ornaments and lii:~kcs thc fcrnmer rctur-n i t to Vasantasena under

the guise that lie has been st,nt by Csrudatta. Thcn Vasantasena

I-elcases Matlanika s:tylng tlar shc 1s doing so as per thc d~rcction

of Czrudatta. This scene presents dramatic s i t~~a t ions . Maitreya

approaches Vasantaserra ivitli tlit: nccklacc ;~nd wants Vasant~~scna

to acccpt i t bcc:rusc. C'ii[-ud:itta l o s ~ Ircl- ornaments in gambling.

This gives her a cliancc to go t;, her level- oncc again.

In the fifth act further lcvclopnrcnt of lhcir love which

leads to c o n s u n ~ n ~ a i i o ~ . ~ is described. L'asantasena with the gem

necklace and stolen ornament:, rnccts hcr lover in his house. She

discloses everytliing a b i ~ i t tht: bi~rzlary and the recovery of the

ornaments. The unexpected rain creates an atmosphere which

leads them to the consummation of their love.

The name clay-cart is tlerived i'rorn an episode in the sixth

act where Vasantascna pI.e:;ents hcr- ornarncnts to Rohascna,

Ciirudatta's son who cries for a golden toy-cart. Later this

ornament kept in the terra-cotta cart of the boy serves as a

conclusive evidence to prove .hc char-ge of murder levelled against

the hero by ~ a k s r - a .

Vardhamiinaka was asked to take Vasantascna to the

pushpakarandaka garden by Camdatta. Unknowingly the heroine

gets into the cart of ~ a k l r a who was passing by that way.

- hryaka cscapcs IYom illc pri.;on :tiiil scrs illto thc. cart ofC'Zrudi~tt;~.

On the way the vehicle is stopped by the policemen for inspection.

Candanaka one of tlie p o l i c c n o ~ ~recognises Aryaka and I d e s thc

fact. He picks a quarrel with ~ i r a k a to prevent the other

policeman inspecting thc c ~ t .

In thc scvcntli Lrct C'5il1datta ;rnilAryak;~ meet i n :I lonely

place. Tlicy become int im~tc kicnds. Thc hero helps hiln to

escape by offering his cart. Tliis act may be a protest against

Pdaka's rule. In the end this fi.icndship brings a happy conclusion

to tlie play.

Act VIII dc;rls with thc r c s ~ ~ l t ol'thc cxcliange of carts. I t

has a direct bearing to the tlevelop~ncnt of the main plot. There

is an adni ixt~~rc of tragic a ~ i d cornic s~ tua~ions . After thc licro's

departure, Ceta colnes with thc cart carrying Vasantasena knowing

what actually happened. The Ceta tries to save her but fails.

SakZri~ tries to woo her ~ L I . Vasantasena does not yield. SakZra

strangulates hcr and slic swoons. Thinking she is dead. hc dccidcs

to sue Ciirudatta in the court of justice arguing that he killed her

for her richcs. A blliksu \ \ho witncsscd this act saves 11~1-. He is

none other than Samv5liak:. who M:IS savcil by Vasantascna cal-licr.

111 the 1Xth act an elaborate court scene is depicted which

shows the author's deep knov!lcdgc in the legal procedure.

T h e sess ion beg ins . ~ a k i i r : ~ a c c u s e s Carudu t ta o f

Lrasantascna's 171~1rcIc1.. \ ~ ~ I s ~ I ~ ~ ~ ~ s c I I ; I ' s inother is tricd lil-st anti

I I I I I I I I ' ~ ~ i t t ; . t ic was p r e s c ~ ~ ~ c ~ l

bcfore the judge. bcing i:u;1111incci he admits his friendship

with Vasantasena and lie plc;!ds ignorance about the murder. At

this juncture Vyraka, to take revenge on C'andanalta, appears bcfore

rhc judge and states tlrc wlrolt: story addins that Vasantasena was

carried to Carudarta in the la ters cart according to the statement

of the cart driver. C'3rud:itta dcnics the c l ~ a r ~ e . Then Maitreya

who has been sent to Vasartaseira tbr rctul-ning the ornaments

slrc gave to Roh:iscnn, comc:, to tlhc court lrcaring about the trial.

Accidently the omamcnts s1.p down from his armpit. C2rudatta

says that the ornaments belong to Vasuntasena but failed to state

how he got thenr. The judgi: being co~nvinccd of the charge sent

rccom~nendations tu the king to the cfti'ct that the culprit should

be banished and capital pu~ishment should not be given. The

trial scene comes to a close witlh the order of the king to execute

CSrudatta rejecting the rccommc~ldatio~~s ofthe judge.

The last act (Xth) is \cry significant. CHrudatta is taken to

thc C X C C L I ~ ~ O I ~ ground by t ~ k o c;it,,$iil;~s. Thcn Vasanthascna conics

tlierc escostcti by tllc bh i l t ?~~ id110 s;~\.cd her, and saves Ciirudatta

Sronl exec~~t ion. A t this tiwe 111c cfl'or-IS ofArvak;> found s ~ ~ c c c s s .

- Aryaka deposes king PSIaka ;1n(i installed hirnsclfon the rhronc.

Aryaka passes orders to stop the execution and confers on hinl

. , the territory of K~ikiivat i . S;ikira \\ ;IS brought before Ciirudatta

as a captive. ~aki i rn was re cased at ihc request of Carudatta.

Dhiita and Rohasena unablc ro bear thc pangs of separation

from Ciirudatta are about to :omniit suicide. They are also saved

~ L I S ~ in time. The new king raises Vasantascna to the status of a

vndhu. Dhita receivcs V;ls;nirasena. l 'hns the tension is rclievcd

and the play ends with the E3harntau;lkyn ~vishing welfare and

Ilappincss ibr ail c \cry \\ l~crc , fho~ig l l Vusanlascn;~ was ;i

prostitute her charnctcr contrary to her profession bccarnc a

f a \~ourab l e factor to accept C:~l-udatta a s her husband

understanding and recognising his qualities.

Society as found in the Mrcchakatika

Mrcchakatika is a social play which provides us with a

detailed account o S thc s o c i ~ l , religious and political condition.

I t deals \vitli (he Iiti. :~nd [~ronlern\ of [tic common pcople oftlic.

society.

The key to the sLiccess of this play may be thc realistic

description of the contemporary lilk of the people which in no

way lessened tlic artistic value of tlic pl:rt. Tlic touch of liumanis~ii

makes the play Jcarer 2nd ac:ccpt;:bic to the spectators of the day.

Caste-system was prevalent i n tl-iosc days. Brahmanas occupied

a unique placc, and they ! I ; I ~ ccr1;1111 pt-ivilcges. Thcy wcrc

educated and \vcrc cmp1oyc.d to \vorship idols or chant manti-as.

They were not given capital punishment. 'Phe recomlne~idation

of the judge to banish Cir-idatta is worth remembering in this

context.

Tlic c o ~ ~ t c ~ i i p l i ~ o ~ i s r:I'crcncc to c~icli other's Io\v cast by

- L ' i , k, 'I 'I ' ~ n d C'and:i~iaka re\:c;:is tlic i ~ ~ l l u c n c c o f caste system un

the people. But the caste dtdn't have any role in determining the

profession of a man. A c:obblcr and n barber become Police

officers and a cowboy becomes a king.

As regards to marriage tliere is no caste restriction. A

brahmana can marry even a courtesan. There is reference to

hereditary profession s ~ ~ c l i as the Candalas i n the play. Absencc

of untouchability dcserves sscci;~l mcntion. The judiciary and

the police departmciit wcrc f~iircrioni~rg well. Spccdy (rial and

impartial adininisrra~ion ofju:;ticc (ieser\c spccia1 iiieiitio~~. Sevcrc

punishment was given lo ofjendcrs.

- Women arc classilicd into thl-cc, viz. I'1-;1k5ian?i1-i (ganilta),

~ ~ r a k ~ S a i l i r i (Kulavadhii) and bliujisya (female slave). The

women got a fair tl-eatmcnt. The king was the head o f t h e state,

social evils like gambling, prostitution, robbery, slavery were

prcvalcnt in those t i ~ ~ y s . I'ovcrly was tlcpicretl as ihc root causc

o ia l l these evils.

~Gdraka was vcry mdch particular in presenting the hard

life of the people and solutions to tlie problems". He raises his

voice against the rlilcrs whose activities are hamiful to tlie people.

Characters are drawn frorr the lowel- strata of socicty. Even a

cow-boy is raised to thc lcvel of a king. The charnctcr Kryaka

coines to tlic stage oiilv 'or ; I fcw minutos. The marvello~ls

cliaracterisation endears him to the spccttrtors :uid cvcryonc wishcs

the triumph ofthc rcvolution:~) . So 111uci1 importance is allocllcd

ro tlic contcrnl)or;iry liic ol'tllc lxoplc than thc main story.

Many h~imourous s i t ~ l a t i ~ ~ s make the play interesting. The

Vidiisaka makes the people la~igli and think. Many of his remarks

throw light on the evils of tke society and act as a corrective

measure.

HSsya is implici t i r ? tlic concept of a d r a m a a s a

hriilaniyaka. 1 1 c:in ;iz( as 5 tocl, ri-c:i~ir~cr~r to 1Iic C L I I I L I I . ; ~ ~ ;1111i

social degeneration.

In the Mrcc;~k;itik:i all evcnts ;rnd characters arc raised to

supreme human levcl'. The political story which stands as n

1>l;iti'brii1 10 t i ~ c 1111iur1 O ( Va>arr~ascrra :rrltl C'clr~idalla 2nd canscs

the happy ending o f the drama adds n~irch significance to the

play. It presented to posterit), the sensc that rnisgoveriiiiig should

always be questioned. The cl-laracter Aryaka represents the people

oi'the counti-y a ~ ~ t l tl~iis his vi:to~-y cart bc inter-prctcd as the victory

of cornmon people.

There are all i-ountl devcloprncnts of the concept of'

prakarana from Avimaraka t.1 Mrcchakatika. The principal

improvements are :

i Two stories are intertwi~ed in Mrcchakarika

. . I I A powerful political story is introduced for the first time.

I t can't be taken s1ightl:i that a poet tries to write a drama

like Mrcchakatika exonerating revolution against the ruling

class.

. . . 111 here is a severe critici:im on the executive, judiciary and

legislative bodies of thc state.

iv The absence of supernatural elements.

v Abandonment of traditional concepts.

Kings and ministers were viewed very high and whatever

they did were justified sy the tradition. But h d r a k a very

boldly threw away s u c ~ concepts for the general public.

Ciirudatta

Another important work: belonging to the class of prakarapa

is the Carudatta, consisting four acts attributed to Bhasa. The

first four acts of Mrcchakaiika and those of Carudatta are almost

the same. The playwright concentrates only on the love story of

the hero and the heroine. Tht: play is incomplete and abruptly

ends with the release and betrcthal of Madanika to Sajjalaka and

departure of Vasantasena to Ci~udatta's house with the ornaments.

I t is the least successful one when compared to other plays of its

class.

There is a controversy regarding the status of Cirudatta

among the scholars. Many 60 not believe it to be an original

play. ~nstead an influential st:ction among the indologists hold

that Cirudatta is a selective abridgement of Mrcchakatika. The

political overtones of M~cchakatika, especially the criticism

against royalty and judiciary enbarrassed many in the higher order

of society. The solution was to cull our the love story bearing

apart the political theme. This s the best strategy to mask rebellion

from public attention.

~ i l a t i r n i i d h a v a

The ~ ~ l a t f r n a d h a v a , a social play presenting the victory

of love over obstacles, is a product of Bhavabhuti's fertile

imagination. Devarita and Bhhrivasu, nlinisters of the Kings of

Vidarbha and Padmavati, h:we earlier decided to unite their

children in marriage. The vow was taken when they were students

in the presence of ~i iman' lak; who was an old friend and co-

student of the ministers. Plow Bhiirivasu has a daughter named

~ 2 l a t f and Devariita has 2 son by name Miidhava and thc latter

sends his son to learn n1eta.physics at ~adniiivatT and ~5mandakT

is entrusted to bring about his marriage with Malatj.

The King of ~ a d m ~ v a t ; decides that Malati shall marry

Nandana, the court fool. BhGrivasu could not oppose the king.

It is at this stage that ~ a n a n d a k i assumes the role of a felicitator

in order to bring about this match. She also plans to bring about

the marriage between Miidhava's friend, Makaranda and

Madayantika, Nandana' ; sister.

Things happen according to her design. The pairs met and

they fell in love. Several obstacles come on their way. The king

announces the marriage of MiilatT to Nandana. Desperate

M2dhava plans to sell his flesh to the goblins so as to fulfil his

desire.

The Kiipalika, Aghoragha~ta abducts Malati with a view

to sacrifice her to propitiate goddess Gauri at her kara!a temple

in a cemetery in Padngvati. MZdhava who was in the same

cemetery saves her killing Aghoraghanfa. According to the designs

of ~iimandakT , Makara:lda disguised as ~ i l a t T was married to

Nandana. Soon the conspiracy was open to all and consequently

there was a scuffle and Idakaranda emerged victorious with the

help of Madhava. Meanwhile Kapilakundala, . . a female pupil of

Aghoraghanta . . abducts h4iilati to take revenge on Miidhava. The

effort to trace her was rot fruitful. Bhirivasu plans to commit

suicide. Actually she was taken to SrTpawata, a mountain in

Andhra, with the motive of killing her.

~audamini , the tlisciple of ~ i imandak i who is learning

superhuman sciences sush as flight etc. at SrTparvata knows what

is going on by her powers, interferes and rescues ~ i l a t T . She

brings the heroine back I o ~admiivat; through air. The king being

impressed of their valcur approves the marriages of MZdhava

with ~ i i l a t i and Makar~nda with Madayantika in the end. Thus

the play comes to a happy end.

Act I'

The mukhasandhi (opening conjunction) is a combination

of bija and Srambha (the beginning) and in which the seed is

sown. The first and second act together fonn the niukhasandhi.

The pronlise made by Bhtirivasu and Devariita to unitc thcir

offsprings in wedlock is t!le bija from which the plot arises. In

the first act Kiimandaki tells AvalokitZ that she will try her best

to fulfil the desire of her friends even by risking her life. This can

be stated as iirambha.

Important events that happen in the first and second acts

are : ~ i i l a t ; saw Miidhava when he was passing by her house.

Miidhava saw her at the temple of cupid. Both fell in love with

each other at the first sight. He made a bakula garland for her.

Miidhava happens to see his picture drawn by Miilat;. He draws

by it ~ 5 l a t i s picture and writes a love-stanza. In the second act

thc king demands M3latf for his favouritc, Nandana. ,UhGrivasi~

could not answer in the negative even though he was against the

proposal.

Lavaigika has given the bakula garland to ~ 3 l a t i ' and

shows her picture d n w n by MZdhava. Kirmandaki gets

disappointed at the news of the marriage by ~ a l a t T , with Nandana.

She instigates ~ i i l a t ; ~ ta many Miidhava and informs her the

parentage of her lover. She is not ready to disobey her parents.

The mukhasandhi comprises of these events. Bindu and

prayatna together make ihe pratimukhasandhi. Bindil is tho

development of some incident, which maintains the continuity

of the plot and promotes its progress. The re-opening with the

first actual meeting of Miidhava and ~ 5 l a t i according to

K5rnandakT1s arrangement is in Acts 111 & IV. The contrivances

of the priestess grow the tiesire in the lovers to meet often. They

meet at the garden of his. Then a tiger escapes from the cage

and attacks Madayantika and Makaranda rescues her. She falls

in love with him. In the fight Makaranda was deeply wounded

and Miidhava goes in se;irch of him. In the fourth act Midhava

and Makaranda are seen lying unconscious and soon they recover.

Then the news about thc: proposal of the marriage of Malati and

Nandana comes and a i idhava becomes desperate. Then

KiimandakT pledges that she will try her best to bring about their

union even by risking her own life. Thus the 5rambha which is

indicated by the vcrsc:

s r * m ~ r n ~ ~ ~ ~ ~ ~ l

& @ p m ~ ~ m m b b ~ ~ i v 5

May not that evil overtake even enemies which is to be

feared in your or her case: therefore 1 111ust take an

effort even at the cost of my life to bring about the

union by any means.

The overhearing of the con~rersation of ~ Z m a n d a k l with ~ a l a t l

by MZdhava, the marria:;e proposal, the insinuations of

~Timandakl at the proposed match, and the despair of the two

lovers are its important events.

The union of Pataka and PrZptyZSa forms the garbhasandhi.

It starts in the fifth act and spreads over the succeeding two acts.

MZdhava enters at the cremation ground to offer his flesh to the

Goblins in order to propi:iate them and thereby attain ~ 5 l a t i .

MZdhava hears the cry c f Milati, who was brought 'there to

sacrifice by Aghoraghant;,. The hero kills the sanyasin and saves

her. This incident strenghens their mutual love. In the sixth act

arrangements are made fcr the marriage of lati ti and Nandana.

~ Z m a n d a k i causes the entire situation change, Nandana was

married to the pseudo-~ii lat i (i.e. Makaranda who wore the bridal

dress disguised as MWT) Kiimandaki unites MZdhava and MalatT

before the god. Makaranda also leaves the place with Madayantika.

The obstacle (avam2rSasandhi) starts in act VIIl and

continues to the 9th act and to the middle of the tenth act. I t is the

union of the prakari and niyatiipti (the certain attainment of the

goal) Madhava goes to h e l ~ Makaranda who was cngagcd in a

fight with the city - guards, tl ey return triumphant Kapdakul!dala

abducts ~ i i l a t i to take "enseance on Miidhava who killed her

teacher, Aghoraghanta. . . T l ~ e timely intervention of ~audamin j

gets everything right. The heroine is rescued and broi~glit back

by ~audamin i .

The nirvaha~asandl~i is the combination of kZrya and

phalzgama. The end of the tenth act contains the conclusion.

All events converge towartls the final goal, the union of the hero

and the heroine. The kin: approves not only the marriage of

Miidhava and ~ i i l a t i but of Makaranda and Madayatika.

Nandana also consents to this. The play ends in a happy note.

~a la t?rn i idhava

Fortune did not fav3ur BhavabhCiti in his carly days. He

had many reverses in his first play. ~ahiivTracarita was a failure

on the stage. His critics were too rude to him. He wrote the

~5latTmiidhava as a revenge cn them. He knew what his audience

wanted. It is expressed in the verse:

. y s r T T m i ~ i r &

**mFi fj.m I -- f+mmwf%fji;rrliimt~ ( 1 - 6 )

Representation profound (too difficult for ordinary

people to understand) on account of the cxccss of '

sentiments delineated; (an interchange of) actions

charming on account of affection, daring acts fully

assisting the progress ,,f love, interesting conversations

and cleverness in speech.

The verse indicates that th: audience of those days were,learned

people. To rise up to the erpectations of his audience and critics,

he gave a love drama whic.h contains the love affairs of the hero -

heroine, sub-hero-sub-heroine and between the servants. Love,

adventure, frightening scenes, selling human flesh, acquiring super

human powers, kidnapping, elopements, love marriage, a man

disguising as a bride and what not there? He gave the audience

more than what they wanted and depicting everything in the world

in order to keep the mouths c~f his critics closed

Thus he satisfied the ordinary people by creating so many -,

love sports and his learned c-itics by presenting his knowledge in

various SZstrCis. This mood sometimes misleads him; for cxamplc

Msdhava recites poetic v e x s before helping a g ~ r l who is in

mortal danger

The MallikZm3ruta is a prakarana in ten acts written by

the great poet Uddhandaiastri . . who spent most of his life in Kerala.

The play closely follows the M~latTrn~dhava. Even the name

MallikZm?iruta is suggesti-ie of this fact. The similarity is found

not only in the subject matter, characterisation, mode of

presentation but even in the verses. He can rightly be regarded as

a desciple of Bhavabhiiti. He has inherited all the qualities of his

preceptor. His mental endowments elegantly touch$. all aspects

of srrigEra rasa. The pol~ularity of the M~le tTm~dhava among

the Keralite might have induced Uddanda to composc n work on

its model. ~ i i l a t ~ r n i d h ; ~ v a was cluitc familiar to thc Kcrala

readers

The story of ~ 2 l a t t m i d h a v a is well suited for theatrical

presentation. Its incidents are nr ied and characters are diversified.

The author refers to certain social problems at time such as the

sacrifice of beautiful girls for personal ends. The evil designs of

false ascetics are also pointed out.

It satisfies all the requirements of a prakarana. The plot

springs from the life of a cornmon man and woman who belong

to Brahmin families. The hero is dhirapra5?inta. I t has ten acts.

Even though he has taken the thread of the therne from

Kathiisaritsiigara, he has developed it into a beautiful story on

the strength of his fertile imagination. The subject matter is from

everyday life. The chief scntiment is Sriig?ira. Thc charactcrs

are drawn from ordinary life. There is of course a king but he

has no importance at all. The plot is centered on the livcs of

~ i i l a t i and Miidhava. Th,: heroine is a rcspcctable lady. So

~ i i la t im2dhava is a 5uddk.prakara~a.

There are references to many social problems. Many

obstacles stand on the wa:i which hinder the main object. An

unfavourable betrothal affects the hero first and then abduction of

his love. Pleasure is the on y objective in ~ a l a t i and Miidhava.

Bhavabhfiti elevated its attainment to the highest dramatic level.

He raises his voice against the practice of marriage for political

gains. The king's desire to give his Minister's daughter to his

favourite in marriage fails Thus love or humanity wins over

tyranny or politics. BhavatlhGti tries to advocate the philosophy

of humanities in general ind speaks against superstition, evil

practice etc. considering the structure of the story it can be said

that Bhavabhfiti is well versed in dramaturgy and also a skilled

artist.

Merits of the Play

The language is elegant, bold and charming in its

conversational parts. The ilokas are highly musical. The love

intrigues of two pairs are so skillfully interwoven that they appear

parts of a connected whole. In the prelude of the

~ ~ l a t i r n ~ d h a v a t h e dramatist feels proud of his literary attainments

and erudition. Once again he speaks of his capacities as a dramatist

in the Xth Act as:

4% FTI ~fafh+iyi

rqrq;(i~ui'l4'luq(i. n.rn,l

Has there ever been an affair (prakarana), full of such incidents,

so exceedingly wonderful, garied, charming and ennobling. The

dramatist has shown extra ordinary skill in conceiving the plot

and developing it into a well knit story.

Arthur A. Macdonel18 observes that Malatimadhava is a

sort of Indian Romeo and Juliet with a happy ending. He shows

rare skill in depicting contr:.sting sentiments by producing sccncs

of tender love and the horrible act of the priest of the dread goddess

Durga. The IXth act is rich with the description of the natural

scenery of the Vindhya rarige. Absence of obscenity is another

praise-worthy feature of th: play.

The introduction of s lpernatural elements, fondness of long

compounds, and absence cf vidusaka are cited as defects of the

play by some scholars. VJhile assessing the works of anclent

poets, tastes and tendencit s of their times should be taken into

account. His own temperament might not have fitted him for

accommodating humour.

The M~latTmadhava is perhaps the culmination of the

development of the concept of prakarana in Sanskrit. Here the

political theme is subdued in order to make it acceptable to people

of all walks of life. The interference of the rulers in the affairs of

the common people is hinted i t . Criticism against the ruling class

is avoided. Love is promi lent. Characters are drawn from

different sources. There 3re descriptions of many things

unpalatable like the funeral ground. By introducing supcrnaturai

elements the playwright has tried to disregard certain traditional

concepts of that time. The play thus remains a model for prakarana

in Sanskrit. No serious prakarana emerged after this in Sanskrit

dramatic literature.

This is a matter of great concern among scholars as to why

the dramatists preferred nZtal:a to prakarapa. It gives them greater

freedom. Prakarana is deri\ed as praknfam karapam where in

the action of the poet is at its best. It is the best because his

imagination is not restricted as in nZfakZ where he has to abide

by the story of the original. 3ere in prakarava the poet is free to

invent new stories. He can create characters as he likes; choose

incidents even from the streets. It is a pity that Sanskrit poets did

not use this unlimited freedom granted to them.

The reason may perhaps be that the pressure of sorroundings

on which the poets lived. They were patronized by royal courts.

Naturally kings welcometl those creations which upheld the

existing system. Subversions were not treated kindly. We have

the story of Mrcchakatika before us. The political rebellion in i t

was eased out producing arother piece, C5rudatta.

There may perhaps have another reason also. When a

reputed theme is handled the poet is beyond criticism. Poets

might have found this mort: convenient not to hurt any one with

their words.

REFERENCES

Viivangtha, SEhityadaq~ana, paricchzda 6, Kyscad5s

Academy, Varanasi, 1995 P. 545,546

NEtyaSstra, Ch. 18, Krsnadris Academy, Varanasi, 1977,

P. 297

Vetikafzivara Rao, Role of minor plays in Sanskrit in

social reformation, SVU oriental journal, Vol.XLIII P.90

Devasthali G.V. Introluction to the study of

Mrcchakatika, Nanasz.heb Gondhalekar, I95 1 Ch. I P.8

Ramachandra Iyer T.K., A Short History of Sanskrit

Literature, R.S. Vady;ir and Sons, Palakkad, 1989, Ch. 4

P. 142

Sekhar I, Sanskrit Drama: Its Origin and Decline, ,

Munsiram Manoharl;.l Publishers Pvt. Ltd. 1977, Ch. 7,

P. 120

Thomas Mathew M. MundaSSZri Krtika! (pathanam) vol.

1, Current Books, Trissur, 2004 Ch. 9. P. 493

Arther A. Macdonell, A History of Sanskrit Literature,

Motilal Banarsidass. Delhi, 1979, Ch. 13, P. 307