7. Prominent Satirical Works in Sanskrit

Searching for the base of satirical literature in Sanskrit appears to be a rather difficult job. It is a fact that in satire, there is the involvement of suggested meaning which is termed Vyañjanā^[1] in Sanskrit rhetorics. But the meaning conveyed or supported to be conveyed by Vyañjanā are difficult to be said as similar to those suggested in a composition of satirical nature. Same is the observation in respect of Vakrokti^[2] also. The meanings conveyed through Vakrokti bears importance mostly of poetic importance. However, the meanings conveyed through satirical texts become more suitable or of more importance for practical life. Of course, Vyañjanā and Vakrokti both having base on suggestion, are two different literary elements which are appealing more for literary purpose; while satire is more focused upon utility of the meanings, not for mere poetic pleasure.

Pure satirical writing in Sanskrit is not much in quantity. In fact, of satire or satiric verses in the proper sense, Sanskrit has very little to show.^[3] Sanskrit composition in which vices and follies are primarily ridiculed is not much available in Sanskrit literature. Satire as a separate literary form or genre does not find its position. Early Sanskrit ālaṃkārikas also did not mention satire as a distinct form of literature. Generally, what is understood by the word ‘satire’ such as caricature, ridicule, skit etc. all these were totally absent from the purport of Sanskrit literary compositions. Ancient literature was based on devotional themes narrating the doings of divine or semi-divine personages. Therefore, there was little scope for depicting humour and satire on the part of the poet. Most of the Sanskrit literature is based on the theme of love story of kings and queens and lacks in depicting the common life of people. Therefore, there is hardly any scope for satire. In Sanskrit literature, there are also few comic elements having erotic themes, but these works cannot be designated as satire. These works may contain satiric elements presented through the acts of the fools, cheats or rouges, but these are not portrayed with anger and disdain; on the contrary they are lampooned in mild way.

In Sanskrit literature, the works based on social topic is not much available. The works based on social topics reveal various phases of the contemporary society. These types of works depict common life of people with all their frailties. A writer, in such works may satirize such frailties incidentally or as a whole. It was Kṣemendra who utilized satire as an effective weapon to expose vices and follies prevailing in the society. In his works namely the Kalāvilāsa, the Narmamālā and the Deśopadeśa, he depicts a real picture of the society and such narratives are not so much in volume and character in regard to most of the writers of Sanskrit literature. In Sanskrit literature there is no other work like Kṣemendra having amusing social picture. Therefore, the works of Kṣemendra based on social topics finds special attention of the scholars. In Sanskrit, generally there is a tradition to depict the characters of legendary personalities like Kṛṣṇa, Rāma, Sitā etc. as heroes and heroines with a motive to portray their ideals in the society. But Kṣemendra is unique in this respect. It may be said that Kṣemendra hostiles to the tradition to which generally Sanskrit poets are attached. He introduces a new trend in Sanskrit literature. He is not ready to show the ideals only but also wants to present before the readers a real picture of the society. Kṣemendra selects ordinary men and women from different walks of life living in the society. He depicts real like characters to represent the contemporary society.

However, if one is pinning down to a beginning of Sanskrit satire then some earliest datable Bhāṇa works like Ubhayābhisārikā, Padmaprābhṛtakam, Dhūrtaviṭasaṃvāda and Pādatāḍitakam may be helpful in which satire is incidentally introduced. These Bhāṇa^[4] works or monologue plays prove ideal for Sanskrit satire.^[5] These four oldest datable Bhāṇa plays are collectively known as Cāturbhāṇī. According to A.B. Keith, ‘none of these plays need be older than 1000 A.D.’^[6] In the Cāturbhāṇī, low humour and polite satire is recognizable, which gradually disappears from the later Bhāṇa plays. Later Bhāṇas are entirely erotic.

Besides these Bhāṇa works, there are some other Sanskrit works of writers prior to or contempories of Kṣemendra, in which satire is incidentally introduced. Among them some prominent works have been discussed below-

Footnotes and references:

[1]:

viratāsvabhidhādyāsu yayārtho bodhyate paraḥ/
sā vṛttirvyañjanā nāma śabdasyārthādikasya ca// Sāhityadarpaṇa ,II.12

[2]:

anyasyānyārthakaṃ vākyamanyathā yojayedyadi/
anyaḥ śleṣeṇa kākvā vā sā vakroktistato dvidhā// ibid.,X.9

[3]:

Indian Culture, Vol.VIII, p.1

[4]:

Among the ten types of Sanskrit Dramas, as narrated by Bharata, Bhāṇa is one of them which contain a single Act and a single character. The Viṭa is the sole character of the Bhāṇa play. The Viṭa carries imaginary conversation with other characters but they do not appear on the stage. The viṭa is depicted as a friend of the hero in his love affairs.

[5]:

Chaitanya, Krisna, History of Sanskrit Literatre, p.354

[6]:

Dey, Sunil Kr., Aspects of Sanskrit Literature, p.1