Component-I (A) – Personal details:

Prof. P. Bhaskar Reddy Sri Venkateswara University, Tirupati

Prof. R. Thiagarajan Presidency College, Chennai.

Prof. R. Thiagarajan Presidency College, Chennai.

Prof. N. Veezhinathan University of Madras, Chennai

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Component-I (B) – Description of module:

Subject Name Indian Culture

Paper Name Indian Aesthetics and Fine Arts

Module Name/Title of Kalidas, Bhavabhuti and Others

Module Id I C / IAFA / 15

Pre requisites Knowledge in Indian – Poets of Ancient Literature To know about the plays of Bhasa, Dramas of Objectives Kalidasa, Sriharsha, Bhavabhuti, Sudraka, Visakadatta, Bhattanarayana and others. To know about the Allegorical Dramas. Keywords Indian Drama / Kalidasa / Bhasa / Bhavabhuti / Visakadatta

E-Text (Quadrant-1)

1. 13 plays of Bhasa

The earliest of dramas that are available, are the 13 plays of Bhasa, a predecessor of Kalidasa. The greatest of the Sanskrit poets, Kalidasa mentions, in the prologue of his drama 'Malavikagnimitram' - Bhasa, Saumilla and Kaviputra as three great dramatists, who lived before him.

Trivandrum plays

Till 1921 A.D., Bhasa was known to the world only as the author of a drama 'Svapnavasavadatta’. In 1921 A.D. one Mr. Ganapathi Sastri of Kerala, unearthed bundle of manuscripts consisting 13 dramas including Svapanavasava datta. After a close study of the 13 dramas Mr. Sastri proved that all the 13 dramas were written by Bhasa .These 13 dramas are popularly known as the Trivandrum plays.

Plays of Bhasa

The 13 dramas of Bhasa are

Pratimanataka, Abhishekanataka ,Balacarita, Madhyamavyayoga, Pancaratra, Dutavakya

Dutaghatotkaca, Karnabhara, Urubhanga, Svapnavasavadatta, Pratignayaugandharayana

Daridracarudatta, and Avimaraka.

Of the 13 dramas, the two dramas Pratimanataka and Abhishekanataka are based on the Ramayana story. Pratimanataka in seven acts describes the incidents in the life of beginning with the exile of Rama and ending with the coronation. Bharata understands, on arriving at Ayodhya, that his father was dead, by seeing a statue.

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1.1 Pratimanataka

'Pratima' of his father placed along with the statues of the earlier kings of surya vamsa

Hence the play acquires the title 'Pratimanataka’. In this drama Bhasa has enriched the character of Rama, Bharata and Kaikeyi. Here, Kaikeyi has been portrayed as one possessed of very good heart and character.

The Abhishekanataka, in 6 acts, depicts the story of Rama from the death of Valin up to Rama's coronation at Ayodhya .

On the epic are based Bhasa's Pancaratra, Madhyamavyayoga, Dutavakya

Dutaghatotkaca, Karnabhara, and Urubhanga.

Pancaratra in 3 acts describes 's promise to fulfill the desire of his preceptor Drona who demands the grant of half the kingdom of , if the pandavas' who were in 'ajnaatavasa' could be found out before five nights. When the presence of the Pandavas was found out Duryodhana agrees to abide by his word. His dutavakya, in one act, deals with Lord 's unsuccessful mission to on behalf of the Pandavas. Pancaratra in 3 acts, describes Duryodhana's promise to fulfill the desire of his preceptor Drona who demands the grant of half the kingdom of Pandavas, if the pandavas' who were in 'ajnaatavasa' could be found out before five nights. When the presence of the Pandavas was found out Duryodhana agrees to abide by his word

His dutavakya, in one act, deals with Lord Krishna's unsuccessful mission to Kauravas on behalf of the Pandavas. Karnabhara, again in one act describes Kama's generous gift of his own kavaca and kundala to Indra which ultimately, was responsible for his death .Urubhanga, another one act drama, shows the mace fight between and Duryodhana and the killing of the later by the former, striking at his thighs with his mace

Bhasa's Balacarita, in five acts, describes the birth and sportive exploits of Lord Krishna described in Srimadbhagavata, Vishnupurana and Harivamsa. Bhasa's other four plays are based on social plot. His pratignayaugandharayana, in five acts, deals with the fulfillment of the promise undertaken by Yaugandharayana, the minister of king Udayana in effecting the marriage of Vasavadatta, daughter of Pradyota, with Udayana. Daridra carudatta describes in five acts, the love of a brahmin Carudatta for a courtesan Vasantasena. Avimaraka, another social play in six acts, describes the secret love between Kurangi, the daughter of Kuntibhoja and prince Avimarka who lost his princely dignity owing to the effect of a curse. At last the identity of the prince was revealed by sage Narada and the marriage of the loving pair was celebrated.

1.2 Appreciations to Bhasa’s Plays

The 13 plays attributed the Bhasa reveal Bhasa as an eminent dramatist. His eminence was recognised by the great dramatists Kalidasa and prose writers Bana and Dandin.

2. Plays of Kalidasa

Malavikagnimitram, Vikramorvasiyam and Sakuntalam are the three dramas written by the famous poet Kalidasa. Malavikagnimitram, in five acts, describes the marriage of Malavika with Agnimitra, a historical personage belonging to Sungam dynasty, through the various plans made by Gautama, king's personal friend and Vidushaka.

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2.1 Vikrmorvasiyam

The marriage of Urvasi, the heavenly nymph, with king Pururavas, is described by Kalidasa in his Vikrmorvasiyam, a play in five acts. The heavenly nymph Urvasi was carried away by a demon was rescued by king Pururavas. They fell in love with each other. After her return to heaven Urvasi paid a secret visit to her lover.

Once Urvasi while playing an important role in a drama, staged before gods, committed a mistake by mentioning the name Pururavas instead of Lord Vishnu. There upon she was cursed to live on the mortal world along with her lover for some time. She came down to the earth and enjoyed the company of her lover. When the time for her return to her original abode came, the king unable to bear her separation decided to live in the forest

At that time, sage Narada comes and informs that Urvasi can live with her lord during his life time.

2.2 Shakuntalam

The story of Dushyanta and Shakuntala, the foster daughter of sage Kanva, found in the Mahabharata epic, is the subject matter of his internationally reputed drama Abhignanasakuntala consisting of 7 acts. The story is from Mahabharata. King Dushyanta of lunar race, in the course of a hunting trip meets Shakuntala the foster daughter of Kanva and falls in love with her.In the absence of the sage the king marries her by gandharva rules returns to his capital leaving with her a signet ring promising to take her to his palace. A curse of Durvasa and the accidental loss of the signet ring blind the memory of the King and therefore fails to recollect her when she is taken to him later by the disciples of Kanva. Shakuntal so rejected is taken away by Menaka, her true mother. The sight of the signet ring which is casually discovered by a fisherman and brought to the king’s notice throws the king into a fit of repentant grief. He is reunited with Shakuntala. It is This drama that has won for kalidasa the deep admiration and appreciation of all scholars.

3. Plays of Sriharsha

Harsavardhana, popularly known as Sriharsa or Harshadeva, was the king of Sthaneshwar between 606 and 648 A.D. He was himself a poet and also patron of poets prominent among who were Bana, Mayura and others. Ratnavali, Priyadarshika and Naganandam are the three dramatic works ascribed to him.This is different from poet Harsha, author of Naishadhiyacarita.His Ratnavali and Priyadarshika are natikas or short dramas in 4 acts each, written on the model of Kalidasa's Malavikagnimitram In Ratnavali Harsha describes the marriage of Udayana of Kausambi with Saagarika the princess of Ceylon

Saagarika who was imprisoned by Vasavadatta, Udayana's chief queen, for her intimacy with Udayana, was released by Udayana through the help of a magician .Happy union between the lovers, is made by a message from Ceylon king referring Saagarika as his daughter. His Priyadarsika, another natika in four acts, describes the love of king Udayana with princess Aranyaki. The plot is similar to the plot in Ratnavali and Malavikagnimitram. Nagananda is a fully fledged nataka of Harshadeva. In five acts the play describes the self sacrificing spirit of Jimutavahana, a Vidhyadhara prince. This drama, was probably written after his conversion to Buddhism. The hero offers his life to Garuda in exchange for the life of a serpant.

Service to parents (pitrsusrusha), paropakara and non-violence or ahimsa is the ideals stressed in the play. The predominant sentiment is shanta. Harsha, when compared to other dramatists, is not clever at the plot. He is diligent in borrowing the plot from others and

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shaping them to suit to his needs. Among his two love plays Ratnavali stands better, through his graceful treatment of sentiment. His Naganada does not rise to a high level as drama.

4. Dramas of Bhavabhuti

Bhavabhuti was a court poet of king Yashovarman of 700 A.D., Malatimadhava, Mahaviracarita and Uttara ramacarita are the three dramas written by him. From the prologues of his dramas it is clear that his original name was Srikantha and that he acquired the title Bhavabhuti, through his devotion to Lord Siva. Uttara Ramacharita is considere as the best of Bhavabhuti. Hence the saying “ Uttare ramacharite Bhavabhutir vishishyate”. It is in this drama he proclaims that there is only one sentiment, that is Karuna. “Eko rasah Karuna eva”

4.1 Mahaviracarita

Mahaviracarita probably his first drama, in seven acts, deals with the story of Ramayana from 's marriage to Rama's coronation. Many incidents like wordy duet between Rama and Parasurama, Surpanakha episode, Valivadha etc. described in the epic, are found here also. The long speeches introduced by the dramatist in the conversational style mar the effect of the play The wordy duet between Rama and Parasurama is described in two full acts. The play is considered wholly undramatic

4.2 Malatimadhava

Malatimadhava, a prakarana type of drama in 10 acts, describes the circumstances that led to the marriage of Madhava, son of Devarata, minister of the king of Vidarbha and Malati, the daughter of Bhurivasu, minister of the king of the city Padmavati. It also describes the marriage of Makaranda, a friend of Madhava, with Madayantika, a friend of Malati. In spite of many beautiful detached scenes, the drama is not very attractive. The plot is badly knitted together. Influence of Kalidasa's Vikramorvasiya and Meghaduta is noticed in this play.

Bhavabhuti's third and the best drama Uttararamacarita, in seven acts describes the story of the Uttarakanda of Ramayana.The meeting of Rama and his sons is effected with the aid of the sacred horse of the Horse Sacrifice which is pursued by Candraketu, Lakshmana's son and checked in its course by and Kusa who meet their father. The happy re-union between Rama and Sita is effected by the introduction of a small scene 'antarnataka' in the last act. This drama is more a dramatic poem than a drama “Eko rasah karuna eva”

5. Some more Sanskrit dramatists

A contemporary of King Kaniska of I century A.D., Aswaghosa was a great poet and dramatist. He wrote a prakarana type of drama sariputraprakarana by name. In 9 acts the drama., written with a missionary purpose, deals with the conversion of Sariputra and Maudgalayana into Buddhism. The author has strictly followed all the rules of Sanskrit drama.

6. Sudraka

Sudraka is a dramatist of great reputation. In the prologue of his drama Mricchakatika, he says that he learnt the Vedas and other arts through the grace of Lord Siva and that he lived a life of full hundred years. Mricchakatika or Clay cart is a drama in 10 acts belonging to prakarana class. It deals with the love of Carudatta a brahmin merchant and the courtizan Vasantasena.

Here there is unusually large variety of characters and the play is full of comic situations.

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The plot is beautifully woven with a gripping interest from the beginning to the very end.

There is simplicity and graceful style and on the whole the play is most suited for the stage. The play derives its title from the introduction of the clay-cart.

7. Dingnaga

Dingnaga, wrote his drama Kundamala dealing with the story of the uttarakanda of the epic Ramayana, it contains 6 acts. Sita, who was abandoned helplessly in the forest when she was in her advanced stage of pregnancy, prays to and promise to worship her daily with a garland of Kunda flower, if her prayer for a safe delivery is granted. She keeps her word after the birth of Lava and Kusa.The poet has made many significant changes in the story of the original epic. His style has much of the grace and simplicity

He is assigned to the early 5 century A.D.

8. Vishakadatta

Vishakadatta is the author of the play called Mudrarakshasa consisting of 7 acts. It depicts the attempt of Chanakya for compelling Raksasa, the hereditary minister of the nandas, to become the minister of Chandragupta maurya .It is a political drama describing the political tactics of Chanakya. It is the only play in Sanskrit which is completely free from the sentiment love. The play is unique in many respects Visakadatta is assigned to 5th century A.D.There is no woman character in this play.

9. Mahendravarman

He was a Pallava king who ruled Kanchi in the early period of 7 century A.D. His drama is Mattavilasaprahasana. It is a farce or Prahasana type of drama depicting the degraded condition of life led by the adherents of Buddhism and of Kapalika and Pasupata sects of Saivism.Mattavilasa prahasan is yet another farce written by Bodhayana.

10. Bhattanarayana

Bhattanarayana of 7 century A.D. is the author of Venisamhara, a drama. in 6 acts, describing the events in the Mahabharata war leading to the tying up of the braid of Draupati by Bhima. Bhima kills Duryodhana and keeps up his word by tying the braid of Draupati, Hence the title.The play abounds in heroic sentiments and over laboured in techniques. In this drama all the important episodes from the sabha to sauptika parvas of Mahabharata are compressed in six acts.

11. Shaktibhadra

Saktibhadra of Malabar, belonging to 8 century A.D., wrote his drama Ascaryacudamani in 7 acts. According to the tradition, the author was a pupil of Sankara, the great philosopher. The plot deals with the story of Ramayana with many considerable changes. In the prologue he tells that he is the first dramatist from South . The title of the play is derived from a miracular crest gem (Cudamani) which was given to Rama and Sita by the hermits. Making use of it Rama and Sita saved themselves from being deceived by the fictitious Rama, Sita and Laksmana created by Ravana. Adbhuta rasa is the predominant sentiment. The play has many points of structural similarity with the plays of Bhasa.

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12. Murari

Murari is the author of the drama Anargharaghava. As he quotes a verse from Bhavabhuti's Uttararamacarita he is assigned to early part of 9 century A.D. His Anargharaghava, in 7 acts deals with the story of Ramayana with some variations.The plot follows that of Mahaviracarita of Bhavabhuti. He even repeats the devices used by Bhavabhuti while making Ravana a disappointed suitor of Sita and employing the services of Surpanakha to bring about the banishment of Rama.

Unlike the original, he makes in his play, a open battle between Rama and Valin, probably to enrich the character of Rama. The style is artificial. The poet reveals no originality either in the plot construction or in his treatment of it. In spite of these defects, the play is applauded for the depth in thought.

13. Rajasekhara

Rajasekhara of 10 century A.D. is the author of four dramas, Karpuramanjari, Balaramanyana. Balabharata and Viddhasalabhanjika. His Karpuramanjari, in 4 acts, describes the marriage of King Candapala with princess Karpuramanjari His Balaramayana, a huge drama in 10 acts. Also called Mahanataka, deals with the story of Ramayana.The love of Ravana to Sita is the predominant feature of the play

His act of carrying away Sita is accounted for as a revenge as he was disappointed in winning the hand of Sita.His Viddhasalabhanjika, a Natika in 4 acts, written on the model of Kalidasa's Malavikagnimitra, describes the love of Vidhyadharamalla and Kuvalayamala.

The title of the play is due to the introduction of a salabhanjika a wooden statue of the heroine, at the sight of which the love of the hero towards princess is intensified.

His Balabharata or Prapancapandava is an incomplete drama dealing with the story of Mahabharata. Only two acts of this play is available in which Pandavas marriage with Draupati, the loss of kingdom by the game of dice and the exile of Pandavas into the forest are described

14. Bilhana

Following the trend of the story described in Malavikagnimitra and Ratnavali, Bilhana, the Kashmirian poet of 11 century A.D. wrote his Karnasundari. In four acts, it describes the marriage of the Chalukya king Karnadeva with Karnasundari, a Vidyadhara princess.

15. Vamana Bhatta Bana

Describing the wedding of Lord Siva and Parvati, Vamana wrote Parvatiparinaya

The author is much indebted to Kalidasa's Kumarasambhava both for his expression and ideas It has been wrongly attributed to Banabhatta by some.

16. Jayadeva

Jayadeva of 13 century A.D. is the author of the drama Prasannaraghava. This Jayadeva is different from Jayadeva of Gitagovinda fame. In 7 acts the drama describes the story of Ramayana with some variations. He was both a logician and alamkarika and has contributed to those branches of also. His Candraloka is a famours Alamkara work in 10 chapters.

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The drama Prasannaraghava is on the model Mahaviracarita of Bhavabhuti. The demon Bana is made, in addition to Ravana as a rival suitor for the hand of Sita.In the last act a Vidyadhara couple describe the Rama - Ravana fight ending with Sita's purification in fire. His style is rather harsh and laboured. Long verses, and long descriptions abounding in this paly, make it very un-dramatic.

17. Nilakantha Diksita

Nilakantha Diksita of 17 centurey A.D., who has contributed to the different branches of Sanskrit literature, wrote his drama Nalacarita nataka. The drama is left unfinished with six acts. The drama describes the story of Nala found in the Vanaparva of Mahabharata

His style in Sivalilarnava, a mahakavya, is simple; while in the drama is full of long compounds as in his campu.

18. Allegorical Dramas

Even from the early period there had been growing a tendency on the part of poets and scholars to personify inanimate objects and personal qualities. The abstract qualities so personified came to play the role or characters in the drama. The purpose of such personification is to teach certain philosophical doctrines. Such dramas are called Allegorical dramas.

Prabodhacandrodaya of Krisnamisra and Sankalpasuryodaya of Vedantadesika, are the two important dramas belonging to this class.

18.1 Prabodhacandrodaya

Krishnamisra of 11 century A.D., for the propagation of the Advaita system of philosophy wrote the drama Prabodhacandrodaya in 6 acts.There is a war between viveka and mahamoha. It is put to an end by the rise of the moon in the form of knowledge (prabodha).The author reveals poetic skill of a very high order. In the art of combining the abstruse topics of vedanta with the dramatic technique, he shows great originality. The author has certainly rendered a valuable service to the cause of philosophy through the medium of this drama.

18.2 Sankalpasuryodaya

In support of Visishtadvaita philosophy, Vedantadesika of 14 century A.D wrote his Sankalpasuryodaya in 10 acts.Salvation and freedom from the ills of life are to be obtained from the rise of the sun in the form of God's will (sankalpa).The lives of the fraudulent and the haughty people are vividly exposed in this drama. Shanta rasa is the predominant sentiment of the play.

The play is written on the model of Prabodhacandrodaya. From the literary point of view the play is very dull, though the author's profundity of knowledge, his force is found to advantage. The prologue is too long and in many way it is un-dramatic.But the book is very helpful to understand the philosophy of Visishtadvaita through the easy medium of literature.

19. Anandarayamakhi

Anandarayamakhi, the minister of the Marata kings Serfoji' I and Tukkoji, during the 18 century, wrote two allegorical dramas. His Vidyaparinaya represents the marriage of jivatman or Individual soul with vidya or Spiritual knowledge.His second allegorical drama Jivananda describes the attainment of the highest bliss or moksa by the soul.

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20. Caitanyacandrodaya

Karnapura, who is also called Paramanandadasa, of 16th century, to explain the Bhakti doctrine propagated by Sri Krisnacaitanya of Bengal, wrote his Caitanyacandrodaya in 10 acts.

21. Bhavanapurusottama

Ratnakheta Srininasa Dikshita, patronised by the Nayak I Kings of Thanjavur, wrote his Bhavanapurusottama nataka in 16th century, describing the doctrine of Advaita.

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