International Journal of Research e-ISSN: 2348-6848 p-ISSN: 2348-795X Available at https://edupediapublications.org/journals Volume 04 Issue 10 September 2017

The Need of A Historical Rereading of Urubhanga

Keerthana Santhosh Guest Faculty, History Department, S N College, Chathannoor, Kerala. Email Id- [email protected] Abstract Introduction Sanskrit drama is often considered Bhasa is often introduced as a dramatist as the native Indian drama. Indian before Kalidasa. This is like describing elements clearly influenced and shaped Coleridge as a contemporary of William this. It often attracted the imagination of Wordsworth. In fact, Coleridge is a greater almost all including the Westerners. artist than Wordsworth. Just like that Generally, Euro-centrism rules the world. Bhasa is greater than almost all other It is considered often that, what is west is Sanskrit writers. Then, without the film, good. But regarding Sanskrit literature, ‘Panitheerathaveedu’ in Malayalam and particularly dramas, the picture has been the song beginning with changed. Even western scholars admired Kannuneerthulliye.. Bhasa would not have the beauty and strength of Sanskrit become a household name. That is, what I dramas. Kalidasa and others received am going to substantiate is that Bhasa worldwide reputation through dramas like needs more attention and care. In fact, he Abhinjana Sakunathalam, can be regarded as the architect of Sanskrit Malavikagnimithram etc. But certain drama. scholars are always sidelined. This study Sanskrit Drama aims to grab the attention of scholars to Sanskrit drama is a combination of one such genius who suffered literary music, dialogue, gesticulation and history – Bhasa and one of his master imitation. The aphorism ‘Natakantam pieces – Urubhanga. Kavithvam’ shows the importance given to Keywords dramatic form. India has a rich heritage of Sanskrit theatre. The Natyasastra of Bhasa, Urubhanga, Sanskrit, Duryodhana, Bharata (2 c. BC) is the earliest known and theatre the most authoritative work on dramaturgy. Theatre was popular even earlier. The Brahmanical and Buddhist literature and the grammatical works of

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Panini and Patanjali which are quite eariler were influenced by Greek Drama2. than the Natyasastra refer to dramatic Historians and many scholors of Indian performances. Like everything Indian, the drama trace a religious and to some extend origin of Indian drama is steeped in a secular origin of Sanskit drama3. mystery, veiled in obscurity and darkness; Bhasa’s Dramas and like most Indian things the origin is The 13 dramas ascribed to Bhasa shown to be religious1. Bharata in his are the earliest dramas available in Natysastra mentions a Vedic origin of Sanskrit. The thirteen plays ascribed to Sanskrit drama. Indra, accompanied by him are – Madhyamavyayoga, gods called on Brahma, the creator and Pancharatram, Dutavakyam, requested him to make an entertainment Dutaghatotkacham, Karnabharam, accessible to all classes of society Urubhangam, Balacaritam, Pratima, including the Sudras, as the later were Abhisheka, Daridracarudattam, prevented from listening to the vedas'. Svapnavasavadattam, Brahma accepted the request and Pratijnayaughandharayanam and composed the fifth Veda taking dialouge Avimarakam. But there are a lot of issues from Rigveda music from Samaveda, the relating to the authorship of these dramas, art of representation and imitation from because of the absence of more evidences Yajurveda and the sentiments from regarding him. The discovery and Atharvaveda and handed it over to Indra publication of these thirteen plays in the who pleaded inability of Devas to enact Trivandrum Sanskrit series will go down the play. The creator then revealed the to posterity as the most epoch-making Natyaveda to Bharata who with his landmark in the history of Sanskrit drama. hundred sons brought it to the earth. Mm. T. Ganapati Shastri in his tour for Kalidasa supports this version'. Another search of manuscripts found these4. But version regarding the origin of drama there are evidences of Bhasa in Indian furnished by the Abhinayadarpana of literature even before these discoveries. Nandikesvara is that Bharata studied Such poets and critics who refers to Bhasa Natyasastraa from Brahma and performed or his works include Kalidasa and Bhoja of before Lord Shiva with the help of Malwa, Vamana and Abhinavagupta of gandharvas and apsaras. Some scholars Kashmir, Bana and Vakpatiraja of Kanauj, have t:icd to prove that Indian dramas Somaprabhasuri of Anhilwad, Soddhala of

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Ancient Konkana, Ilankovadikal, the the Unity of Action. Tragedy tries as far as Tamil poet etc5. Kalidasa refers to him as a possible to confine itself to a single day, famous and popular dramatist in the for the course of its action (Unity of prologue of his drama Malavikagnimitram Time). Again, tragic hero must be one who – “Shall we neglect the works of such towers head and shoulders above his illustrious authors as Bhasa, Saumilla and contemporaries. He must be generally Kaviputra”. Of these Bhasa’s work alone virtuous. A wicked man’s fall cannot have survived today, the works of the create pity. So the hero must not be an other two having slipped from the terra embodiment of virtues. There must be one firma of history to the loose sands of tragic flaw and his downfall must come as speculation. This provides a true measure a result of his flaw.. Urubhanga confines of the greatness of Bhasa’s art6. Here, his itself to a single day and single action. The work, Urubhanga is going to be analysed. Shakespearean dictum ‘Character is Urubhanga destiny’ is applicable here as well. Judged Urubhanga is an important Sanskrit by theses canons, we can boldly say that play in many respects. It is based on Urubhanga is cast in the mould of the Mahabharata, the Indian epic. Generally, classical tragedy. Sankrit plays are remarkable for its Natyasastra is considered as the absence of tragic plays. But Urubhanga is most authentic work on Indian drama. But an exception. Aristotle defined tragedy as a kind of slight aversion from Natyasastra “an imitation of an action that is serious, can be seen in Bhasa’s plays particularly in complete and of a certain magnitude; in Urubhanga. Natyasastra prohibits the language, embellished with each kind of depiction of death in stage whereas in artistic ornament, the several kinds being Urubhanga, the hero Duryodhana dies in found in separate parts of the play; in the the stage. form of action not of narrative; through Mahabharata had made tremendous pity and fear effecting the proper purgation influence on Indian literature and of theses emotions”7. Judged by this Duryodhana, the haughty, arrogant yardstick, Urubhanga is a perfect tragedy. Duryodhana- does not he confess at one According to Aristotle, in a tragedy all point that he realizes what is dharma but incidents should be relevant to the tragic has no inclination for it, that he knows movement of the action. This is known as what is adharma and has terrible weakness

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for it and ‘O Lord you sitting in my heart soldiers and jackals pulling out from the direct and and I only do your bidding’? chariot the body of a dead warrior. Blood This coupled with his piteous wail as he is flowing like rivers; horses are still crosses the river of blood on his son’s dead drawing the chariot from which both the body, his desperate attempt to hide in warrior and charioteer have fallen. The Vyasa Sarovara as Bhima calls him to gem set-ornaments and the shining battle make us feel pity for this character weapons of the warriors are scattered on who was indeed a plaything of destiny or the ground glittering in the evening fate8. Urubhanga is also a depiction of sunlight. Then the narrator further Duryodhana but in a different style. describes how Bhima and Duryodhana Urubhanga, the title refers to the smashing engage in a duel with their maces causing of thighs of Duryodhana in Mahabharat by a terrific sound due to the clash of the Bhima and the subsequent tragic death of maces, in the presence of Vyas, Balarama, the former9. Krishna, Yudhishthir, Vidur and Arjuna. The play begins with a prelude in Remembering the insult of dragging which three soldiers come to stage as Draupadi by her hair Bhima is furious and instructed by the stage manager and they Duryodhana is terribly angry due to the start with the description of the great field killing of his hundred brothers by Bhima. of Kurukshetra after the main battle is Duryodhana seemed to be more skillful over, and when the duel between Bhima then Bhim who had been injured by and Duryodhana is about to begin. The Duryodhana in duel. Just then Krishna plain of Kurukshetra is shown strewn with gives a hint to Bhima by striking his own corpses of kings, soldiers, horses and thigh with his hand, Bhima understands elephants slain in battle. Kurukshetra the hint and then Bhimasen hits called the hermitage of battle, the home of Duryodhana’s thighs with his mace called hostility, the touchstone of valour, the Chitrangada, crushing the thighbone. abode of pride and glory, a burnt sacrifice Balarama become furious at this foul act of of human lives, the prince’s bridge to Bhima. Heaven. Duryodhana now enters dragging Another describes the horrible his body with broken thighs by the sight of vultures, crows and other birds strength of arms and crawling on the feasting on the meat of the dead king, ground like Vasuki, the serpent king.

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Balarama says the he will kill pandavas generates panic. He tells Duryodhana that but Duryodhana with due respect, begs he will kill all Pandavas along with their Balrama to let the Pandavas live for guide Krishna and bring honour to him. offering libations to the departed ones of Here Duryodhana tells Asvatthama to lay the Kuru race. Just then Dhrutarashtra, down his bow since no useful purpose will Gandhari led by Durjaya, the youngest son be served when all of his brothers, his of Duryodhana followed by his wives friend Karna and many powerful kings arrive on the scene. Now begins the most who fought on his side are lost and even touching scene of the drama. The bold the great grandfather has fallen. Duryodhana feels miserable when he finds Asvatthama, however, tells Duryodhana his wives weeping and says that only now that he cannot put up with the wrong he feels the pain caused by the blow of Bhima Sen has done to him, and pledges mace because his ladies have come to the that he will begin the war in the night, battlefield exposing their hair. Gandhari, a causing all the Pandavas to burn to death. strong woman also sheds tears at the Baladev tells Duryodhana that nobody can thought of Duryodhana’s impending death. stop Asvatthama when he has once Duryodhana feels sorry for not being able decided to destroy the Pandavas. In a to prostrate at his father’s feet, he does not happy mood Duryodhana begins to sink. feel the pain of his crushed thighs as much Bhasa has described here the visions and as the pain that the blow of the mace feelings of a dying hero as they are deprived him the pleasure to prostrate at described in the Upanishads and in his father’s feet. Duryodhana’s misery Puranas. The dramatist has succeeded to overflows as he sees his child Durjaya. draw sympathy and admiration of the When Durjaya who tries to come to sit on audience and the readers for Duryodhana, the lap of his father in all innocence, though some of his weaknesses are also Duryodhana has to prevent him, and it is brought about. In the end Balarama, a then he feels the bitterest grief of his life. witness to all that has happened recites the Duryodhana asks his father, mother and Bharat Vakya. The epilogue of the play his wives to control their grief. expresses that war cannot create anything Asvatthama suddenly appears in the good and that it destroys civilisation. The mournful atmosphere of the battlefield chorus sings with the following words of with a bow in his hand, the twang of which Bharata, a great Indian saint of ancient

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times: “From our world, let all is to an extent Bhasa’s Duryodhana. He unhappiness be removed. And let there be created him in such a manner that he was the advent of peace as the benign sun the real hero in Mahabharat, a noble reaches the earth, and let the whole world emperor, a good son, husband and father. smile like a billowy ocean.” And the The greatness of his fall is beautifully curtain falls. summarized by the dramatist when he makes his Dhritharashtra say that the The story starts with the depiction golden pillar, which once supported the of war by three warriors and refers to the world, is reduced to the plight of a broken fight between Bhima and Duryodhana. On door bolt, lying flat on the ground11. the instance of Krishna, Bhima smashes Duryodhana in his thighs. Duryodhana is Thus the merit of Urubhanga as a presented as a hero and all characters are drama proper is undisputable and a weeping for him. But he was presented as historical, literary and critical rereading on a character of patience and he pacifies all the part of scholors and laymen is the need which gives glory to his character. The of the hour. In other words, it is true that dialogue between Durjaya and Bhasa failed to get the deserved popularity Duryodhana was of immense importance or rather he suffered literary history. not only because of its immense Conclusion sentimental approach but also of its Urubhanga written by Bhasa is an creation of Duryodhana as a man of eternal undisputed classic in the realm of Sanskrit paternal love and other inner traits. He dramas. It can be considered as an even says his son to respect Pandavas and opposition to the existing norms which Kunti, Draupadi etc. It shows a complete ruled Sanskrit literature. He portrayed a shift in his character and forced Balarama perfect tragedy which was unparalleled in to say ‘Alas! Here is fierce hostility Indian theatre then. The work has certain converted into remorse’. When historical validity as well. Though Bhasa’s Asvathaman enters and speaks about age was not finalized, it is believed that killing Pandavas, he pacifies him and says Bhasa had written his Urubhanga even the futility of his enimity and life in the before the composition of Mahabharata in midst of the deaths of his beloved brothers its present form. In that work, he portrayed and Karna infront of him10. The play is not Duryodhana as a man of heroic qualities, the actual version of Mahabharata story. It as a hero. This itself make the historical

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rereading of this Drama inevitable. The [7] S.P Sen Gupta and S. C Mundra, need of the hour is to find out history from Aristotle’s The Poetics, Prakas Book the quasi historical work or epic – Depoet, Bareilley, 1984, Pp.90,91. Mahabharata. Who was the real King? [8] Sitakant Mahapatra, The Mahabharata Whether Pandavas, the heroes, true and Modern Indian Literature, heroes? Or they changed the course of the University of Kerala, Trivandrum, work, just because they are the victors. 1986. Sometimes, history became the story of [9] V.Venkatachalam, Op.cit, p.33 victorious people rather than that of the [10] Vallathol, Urubhangam, p.50. losers. So a rereading is essential. [11] A.D. Pusalkar, op.cit, p.192.

Reference [1] A. D. Pulsakar, Bhasa a study, Mehar Chand Lacchman Das, Lahore, 1940, p.175. [2] Sekhar I,Sanskrit Elrama : Its Origin and Decline, Munshiram Manoharlal publishers, New Delhi - 1977.Ch. 1V- P.54. [3] Ramacandra Iyer. T.K., A short History of Sanskrit Literature. R.S. Vadhyar & Sons, Kalpathi, Palakkad, 1989. P. 130. A.B Keith, The Sanskrit drama, oxford university press, London, 1924. P.91. [4] T. Ganapati Sastri, The pacharatra of Bhasa, Sreedhara Power Press, Trivandrum, 1917, p.3. [5] V.Venkitachala, Bhasa, Sahitya Academy, New Delhi, 1986, p.7. [6] Ibid, p.2.

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