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Sanskrit Drama Mudrarakshasa by Vishakhadatta

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Sanskrit Drama Mudrarakshasa by Vishakhadatta Unit-1 General Topic : Sanskrit Drama Mudrarakshasa By Vishakhadatta Index : 1.0 Objectives 1.1 Introduction 1.2 Presentation of Subject Matter 1.2.1 Sanskrit Drama. 1.2.2 Characteristics of Sanskrit Drama. 1.2.3 Sanskrit Dramatists. 1.2.4 Check your progress. i) Match the pairs. ii) True or false. iii) Fill in the blanks. 1.2.5 Key to check your progress. 1.2.6 Exercise 1.3 The play :- Mudrarakshasa By – Vishakhadatta Historical Background of the play :- 1.3.1 Summary of the play 1.3.2 Major characters of the play 1.3.3 Notes 1.4 Check your progress 1.5 Key to check your progress 1.6 Exercise 1.7 Reference Books 1 1.0 Objectives After reading this unit you will get acquainted with :- ❖ Sanskrit Drama in detail. ❖ Historical Background. ❖ A general survey. ❖ An account of the representative playwrights and their work. 1.1 Introduction :- In this unit you will learn origins of Indian traditional theatre particularly the Sanskrit Drama. Indian Theatre is mainly related to the popular culture and Indian society. The purpose of this unit is to acquaint the students to Indian Theatre which is prominently contributed by Sanskrit Drama. Though Sanskrit Drama and its ancient tradition could not developed in the later years of medieval periods, but it paved the way of development of Indian drama in several languages. It developed through the ages uninterruptedly. The Indian art and culture takes us closure to the rich tradition of India and genre drama has the main contribution in it. 1.2 Presentation of Subject Matter – Drama 1.2.1 Sanskrit Drama – In Rigveda we find the various forms of music, dance and poetry, but we don’t have any certain proof of the art of drama included in above mentioned forms. In Rigveda Pururava and Urvashi romance is significant. Sanskrit drama got inspiration from these romantic verses. Thus Sanskrit drama got origins in Rigveda. All the Vedas were written in Sanskrit. Some critics believes that Sanskrit was the dialect as well as the authentic language of India i. e. ‘Bharat Varsha’ in ancient times. So as the beginning of the traditional ancient theatre of India is in Sanskrit language. It is also a belief that the Sanskrit Drama has its origins in the folk arts of the ancient period. Sanskrit drama and its tradition was faded by the passage of time but the folk traditions continued unrestrained. These folk traditions having variety as per the regional impact is developed since the ancient centuries. The details are as follow :- • Ramlila & Raslila – North India 2 • Itra – Bengal • Akiya Nat, Kirtana & Bidesai – Bihar & Assam • Khyal & Kathaputali – Rajasthan • Tamasha – Maharashtra • Swang & Nautanki – Punjab • Bandhajashan – Kashmir • Karcala – Himachal Pradesh • Bhawai – Gujrat • Manch – Madhya Pradesh • Kadiattam & Chabitta – Kerala • Bhagwatmel – Tamilnadu • Yakshagan – Karnataka • Kuchipudi – Andhra Pradesh All above different forms are still existed and they are flourishing in different parts of the country as on date. Sanskrit dramas were faded in the period of time because they were mainly written or performed for the educated audience who could digest them detached and could understand and feel with enough emotions. The limited audience was targeted through those plays. On the contrary the folk art was flourished day by day because though the stories were taken legendary but the target audience was the common human being from common society which was large in numbers. The prime aim of Sanskrit Drama was to bestow the strong expressions to the human emotions with forceful mode. The storyline was taken from the scriptures, myths, historical books and classical poetry through which the readers or the audience could get the experience of joy and happiness. Basically drama is the part of poetry. It can be called as visual poetry. In poetry visual poetry (Drama) is placed at the top, because it imparts the audio as well as visual experience to the audience. 3 The genesis (birth) of Sanskrit drama is assured to be in the Vedic period. In ‘Katyayan Shrut Sutra’ we find the reference of acting. In the Vajasaneyi – Samhita (Vajasameyi – name of the author, Samhita – script or collection) the professional performances by the Shailash (dancer & actor) are mentioned prominently. Sanskrit dramas were played in the age of Ramayana by the Kushilavas (actor–dancer) and in the time of Mahabharata Ramayan Natak and ‘Kuberrambhabhisar’ were played. The scholars and analysts have the different opinion about the genesis (birth) of Sanskri Drama. Indian and western critics have their own assertions about the Sanskrit Drama and they do not match neither with the Indian critics nor with the western critics. They established their own theories (isms) as per their opinions. The following definitions of Sanskrit drama can be studied for the better understanding. 1) Dhananjaya’s Definition – (Dashrupak) Awasthanukrutirnatyam, Rupam drishyalayachyate I Rupakam tatsamaroped dashdhevia rasashrayam II As per the above Sanskrit Shloka Imitation of the situation (stage, condition) is drama, the same act is in visualized condition then, it becomes dramatic form, through the elevation of the character it forms as a dramatic composition, which has ten various types. 2) Dhananjaya - A mimicry of the expoilts of gods, the Asuras, Kings as well as of householders (dwellers) in this world, is called as drama (Natya) 3) Dhanika’s Definition – As per the Critic Dhanik the following is the definition of drama. Kavya paribadhadhirodatt adyavastha nukarashchatur vidhabhinayen tadat mya pattitnatyam I Tadiv natyam drishyamanatayarup mityauchare neeladirupavat II Performance of the hero (protagonist) in form of imitation (mimicry) of the four stages as bravery having sportiveness, Laughtiness, Courage and calmness with the 4 help of Gestures (Angik) and properties (Aharya) that entire part is drama and it is performed on stage so it is called as dramatic composition (Natak) 4) Bharat Muni had interpreted drama as follows – Definition of Drama by Bharat Muni – As per Bharat Muni’s Natyasastra Sanskrit Drama Consists Eleven Elements which are very much essential for drama. Drama is such a compostion which is having emotions (rasas) feeling or expressions (bhava), acting (abhinaya), behaviour (Vritti) Bharat Muni’s Natyasastra Sanskrit Drama as per Bharat Muni Drama is such a composition that actors and actresses should enact with complete emotions (Rasas) and feelings or expressions (Bhava) through acting (Abhinaya) by implementing course of conduct (Vritti) and tendency or inclination (Pravritti), rendering with ups and downs of the voice (swara) based on musical instruments (Aatodya) Songs (Gaan) as per siluations and colours (Rang), as per emotions (Rasa) concerned with the story according to the script (Dharmi). Its total impact should be the accomplishment or fulfillment (Sidhi) of the play (Natak). 1.2.2 Characteristics of Sanskrit Drama 1. End of the play should not be in a tragic way. 2. Prose of Sanskrit Drama is mostly accompanied by the poetics which carries a lot emotions. 3. The king, the hero or any upper class character should speak in Sanskrit. The rest of the characters e.g. women, lowly people etc. should speak in Prakrit language. 4. The play should be consist of joy and sadness but the comedians (vidushakas) are to provide laughter. 5. Depiction of death strictly prohibited on the stage. 6. Eating, Biting, Scratching, Kissing and Sleeping such actions are not to be depicted on stage. 7. The dramatic themes are to be taken from mythological and Historical stories and writer is free to modify those stories. 5 8. Love is major theme of mostly all plays. 9. Acts are varied in number and length. 10. Depiction of nature is prominently applied. 11. To provide the relief to the tired, the mourners and tapasvis, is the aim of drama. 12. Drama is unification of all arts. 13. As per Bharat Muni – Drama should also become instrumental in leading to intellectual and spiritual development of spectators apart from providing them entertainment. Dance, Music, Song, Dialogues should be in poetic manners as well as in prose style these are the mandatory ingradients of Sanskrit drama. It has aesthetic importance. The theme is always in intricate form of performance. The outline formula of Sanskrit drama is mainly common i. e. opening progression, development, pause, intricate action and conclusion. Ancient English Drama ends in tragic manner and Sanskrit Drama ends almost in happy manner, this is the counter difference in Ancient English Drama and Sanskrit Drama. In ancient English Drama the protagonist meets death at the end, on the country in Sanskrit Drama protagonist achieves the goals practically all the time. Rasas of Bahrat Muni :- This is the main theory of ‘Natya Shastra’. Nine rasas signifies the nine emotion of human nature. Bharat Muni had mentioned only right rasas 1) Shringara (love), 2) Hasyam (mirth), 3) Raudram (fury), 4) Karunyam (Compassion), 5) Bibhatsam (disgust), 6) Bhayanakam (Horror), 7) Viram (Courage), 8) Adbhutam (Surprised). Later on in 9th century Anand Vardhanam added the ‘ninth rasa’ that is Santam (peace) but it was fully developed by Abhinav Gupta. 1.2.3 Sanskrit Dramatists :- 1) Bhasa :- Predating kalidasa, Bhasa was the famous and celebrated Sanskrit dramatist. He was mentioned in Kavymimansa on poetics which was written probably during 880-920 AD. Date of Bhasa is uncertain from which century he belonged that is also uncertain. His language is closer to Kalidasa, but it cannot prove Bhasa’s date. Bhasa was one of the earliest dramatists. Bhasa was considered to be the father of Sanskrit Drama. 6 Plays of Bhasa are divided into two parts – I) Plays based on Ramayana – i) Pratima – nataka ii) Yogna – Phalam iii) Abhisheka – nataka II) Plays based on Mahabharata – i) Panch – ratra ii) Madhama – vyayoga iii) Duta – Ghattotkacha iv) Duta – Vakya v) Urubhanga vi) Karnabharam vii) Harivamsa or Bal-charita If we go through above plays, categorised in both part we believes that Bhasa did not follow all the characteristics of Natyasastra.
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