Chapter 7.7 - Study of the Bhasa’s Abhisheka

Title. 'Abhisheka' means 'coronation' and as such the title is more than significant for this play, as it refers to three coronations in all ( Act I. p. 16. sugrivasyabhisekah kalpyatam | Act IV. p. 51 - vibhisana ! adyaprabhrti madvacanalankesvaro bhava | and p. 82, VII. 15; VI. 34 according to Triv. Edn.-m: 1). Plot. After reciting the benedictory stanza in praise of Rama, the stage-manager hears the words addressed by Laksmana to Sugriva and informs the audience of the compact between Rama and Sugriva for mutual help. The main scene opens in Kiskindha where Hanuman and 1 Thirteen Trivandrum Plays, Volume 1, pp. 106-107. 2 Thirteen Trivandrum Plays, Volume 1, p. 107.

or 213 Sugriva, after being convinced of the skill and might of Rama in archery, lead both Rama and Laksmana. Sugriva then roars loudly and challenges his elder brother Valin for fight. Disregarding the prayers of Tara not to indulge in fight, at least to go after consulting the ministers, Valin orders her to go inside and rushes to the spot where Sugriva was awaiting him. Then begins a great duel between the brothers. Sugriva's fall fills Hanuman with consternation and he reminds Rama of his vow. Rama reassures him and by his arrow very nearly kills Valin, who drops down unconscious, bleeding. After recovery, Valin learns from the name on the arrow that it was Rama who had struck him and he charges the latter with unrighteousness in striking from behind an ambush. Rama justifies himself on the ground that Valin was a mere animal and further he deserved punishment, there being a subtle distinction between the wrongs committed by Valin and Sugriva. Though not evidently satisfied, Valin does not advance any further argument, and consoles himself by saying that he was freed of his sin by meeting his death at the hands of Rama. Sugriva feels grieved at Valin's death but the latter pacifies him and asks him to keep away the wailing women. Then Angada enters and overwhelmed with grief falls to the ground. Valin, however, consoles him and places him under the care of Sugriva; he also gives Sugriva his golden wreath, the family treasure. Then after sipping the water brought by Hanuman, Valin has visions of the sacred rivers, the apsarasas, the thousand-swanned chariot, etc., and finally dies. Rama then orders Sugriva to offer funeral obsequies to Valin and orders Laksmana to get ready for Sugriva's coronation. (Act I). The interlude tells of the different batches of Vanaras being sent in all directions in search of Sita, and of Hanuman's flight to Lanka after learning the whereabouts of Sita from the great bird-king. The next scene opens in a garden in Lanka with Sita surrounded by Raksasis. Sita is meditating on Rama when Hanuman enters with the ring in his hand after having searched for Sita at all possible places in Lanka. Seeing the dazzling being in the midst of the hideous Raksasis, Hanuman is puzzled as to who she should be. At the approach of

214 Ravana with his suite, Hanuman hides himself behind the branches of a tree. Ravana proudly addresses Sita using contemptuous language towards Rama and tries by various means to win her, but she is adamant in her devotion to Rama. Hanuman knows of the id identity of Sita from these conversations, and Ravana's insolence makes him angry; but he controls his anger. Ravana finally approaches Sita with his vile request, she curses him and he becomes confused. At that precise moment the beating of the drums informs him that it was time for his bath, and so Ravana makes his exit with his suite. Hanuman gets down from the trunk of the tree after Ravana is gone and informs Sita that he has been sent by Rama to learn news of her. Sita does not believe him at first, taking him to be some Raksasa in disguise, but the mention of Rama's name inspires confidence in her. Hanuman's description of the sorrowful and lovelorn condition of Rama, makes Sita's heart swing between happiness and misery. From her further questions she learns of Vali's death and of Rama's proposed invasion of Lanka. Hanuman gives her a message of hope. Sita finally asks him to inform Rama of her condition in such a manner that he may not be grieved. Then Hanuman decides to ravage the gardens to inform Ravana of his arrival. (Act II). Sankukarna, Ravana's servant, informs Ravana of the complete destruction of the Asoka garden by a monkey. Ravana orders the capture of the monkey and Sankukarna informs him step by step of the havoc wrought by Hanuman. On knowing that all the trees and bowers were crushed, the Daruparvata broken and the keepers made unconscious, Ravana orders an army a thousand strong to capture the monkey; but news is again brought that Hanuman has killed all of them with trees. Then Ravana orders his son Aksa to capture the monkey, but news is again received that not only Aksa but five more commanders that followed him have been killed by the monkey with his fist and the golden gateway respectively. Then Ravana prepares to meet the monkey himself, but is told that Indrajit has rushed against the enemy. Finally the gladdening news comes that Indrajit has captured the monkey, and bound him with a rope. Then Ravana calls Bibhisana and also asks the monkey to

215 be brought before him. Bibhisana offers some advice to Ravana but the latter orders him to stop. Ravana contemptuously asks Hanuman his name and the reason why he entered the private quarters. After telling his parentage and name, Hanuman begins to deliver the commands of Rama; but Ravana feels indignant and orders the monkey to be killed. On being told that messengers were never to be killed, Ravana prepares to hear the message which is that under any circumstance Rama is going to kill him. Ravana laughs at this and boasts of his strength; but Hanuman asks him why it was then that Sita was stealthily carried away. Bibhisana also repeats the question and advises Ravana to return Sita. Ravana, however, abuses him and speaks slightingly of Rama. When Hanuman pays him back in the same coin, he orders Hanuman to be sent away after setting fire to his tail. Ravana asks Hanuman to tell Rama to offer him (i. e., Ravana) a great battle, at which Hanuman retorts that Rama will destroy the whole city and kill Ravana. After Hanuman is gone Bibhisana again offers his advice to return Sita and thus avoid a fierce conflict with a strong enemy. Ravana accuses his brother of espousing the cause of the enemy and orders his removal. Bibhisana tells Ravana to suppress his anger and passion, and sets out to go to Rama and try to save the race of the Raksasas. (Act III). The interlude informs us us that immediately on knowing the whereabouts of Sita, Sugriva makes preparations to start for Lanka with the Vanara army. Then enter Rama, Laksmana, Sugriva and Hanuman, who have reached the shores of the ocean along with the Vanara army. Almost immediately, Bibhisana comes on the scene, much in doubt as to the sort of treatment that would be accorded to him by Rama. Hanuman introduces Bibhisana to Rama and after mutual salutations and greetings Rama accepts him as the king of Lanka. Bibhisana advises Rama to hurl a divine missile at the ocean when his counsel was sought as to how to cross the ocean. The God of ocean, the divine Varuna, however, appears in human form, praises Rama and affords a passage for crossing the ocean by being divided into two. Rama with his army crosses the ocean and encamps at Suvela, near Lanka. Nila, the

216 commander-in-chief of the Vanara forces comes across two strangers disguised as the servants of Kumudaka in the army whom he places before Rama. Bibhisana recognizes them as Suka and Sarana, the favourite ministers of Ravana and suggests condign punishment for the spies. But Rama orders their release and tells them to inform Ravana of his arrival in Lanka for battle. After their exit, Rama with Bibhisana and others starts to review the army. (Act IV). The interlude informs us of the serious reverses of the Raksasa forces, of the deaths of Prahasta, Kumbhakarna, and other leaders in the battle, and of Indrajit's entry on the battle-field. Despite all this, Ravana is reported to be passionate and unmindful of good counsel. Two replicas of the heads of Rama and Laksmana have been prepared as ordered by Ravana. The main scene opens in the Asoka Vanika, where Sita who is surrounded as usual by the Raksasis sees bad omens. Ravana on his way finds that lady Lanka is leaving him. Still he approaches Sita with a view to tempt her by suave words and threats. Ravana is followed by his servant carrying the replicas of the heads, who informs his master of Indrajit's killing Rama and Laksmana in the battle. This makes Sita fall down and faint, but she recovers soon and requests Ravana to kill her with the self-same sword. Ravana asks her: "By whom now wilt thou be released? The Raksasa messenger who enters at that moment informs that Indrajit has been killed and the news shocks Ravana, who falls swooning after reviving twice, but recovers again and is enraged at the reported flight of his forces. On hearing that Rama is rushing at Lanka, Ravana rises quickly with his sword to fight with Rama, but his own servant prevents him. Ravana then sets out to kill Sita as the sole cause of his misery, but is again prevented by the servant. Finally Ravana enters his chariot brought there and starts for the battle-field. Sita offers her prayers to the gods for the victory of her Lord. (Act V). The interlude (which forms Act VI of the Lahore Edition, as also of the Trippunithura Sanskrit College manuscript utilized by Prof. Pisharoti)' describes in 1 p. 74 n 6, Lahore edition; Annamalai University Journal, 5, p. 245 nl.

217 detail the terrible fight between Rama and Ravana, which three Vidyadharas observe from a distance. Each in his turn gives some particulars of the fight, which ends in the death of Ravana, in the shower of flowers from the heavens and in the blowing of the divine trumpets. The main scene (Act VII of the Lahore Edition and the Trippunithura manuscript) introduces Rama as entering Lanka to console Sita. Laksmana and Bibhisana inform Rama of the approaching Sita, but the latter expresses his desire to keep her outside as she had become a stain on the Iksvaku race by her long stay with the Raksasas. Hearing of Rama's opinion, Sita asks for permission to enter fire, which Rama sanctions. Then Laksmana enters with the news of Sita's coming out triumphantly from the fire-ordeal and of the approach of the divine Agni in human form leading Sita. Agni guarantees the purity of Sita, who is but Goddess Laksmi in human form. Divine Gandharvas and Vidyadharas etc. sing behind the curtain, and Rama and Sita go in for their coronation [abhiseka], Agni showing them the way while Bibhisana and Laksmana sing the praise of Rama. Finally the crowned Rama enters with Sita and informs all of his coronation through God's will at the hands of his father though long dead. Agni tells Rama of the approach of Bharata and Satrughna and the subjects of Rama as well as Mahendra and other gods to greet Rama. The usual epilogue brings the play to its close. Deviations. The poet has very closely followed. the Ramayana. The manner of crossing the ocean through divided waters, as in crossing the river in the Bal, is the peculiar invention of our poet. The setting of fire to Lanka by Hanuman is not referred to in the drama. Prof. Ghatak states that the conversation between Laksmi and Ramacandra even before Ravana's abduction of Sita is a departure from the Ramayana; but we have not been able to find the particular reference in the Abh. Type of drama. This play belongs to the variety Nataka which is thus defined in the Sahityadarpana (VI. 7-11): natakam khyatavrttam syatpancasandhisamanvitam | vilasaddhyadigunavad yuktam nanavibhutibhih || 1. Journal of the Department of Letters, 12, p. 40.

218 sukhaduhkhasamudbhuti nanarasanirantaram | pancadhika dasaparastatrankah parikirtitah || prakhyatavamso rajarsirdhirodattah pratapavan | divyo'tha divyadivyo va gunavannayako matah || eka eva bhavedangi srngaro vira eva va | angamanye rasah sarve karyom nirvahane'dbhutah || catvarah panca va mukhyah karyavyaprtapurusah | gopucchagrasamankam tu bandhanam tasya kirtitam || It will be found that the Abh conforms in general to the requirements of a Nataka as stated in various works on dramaturgy. The plot is prakhyata, the hero is dhirodatta, and the main sentiment is Vira. To the main story of the coronation of Rama is added the secondary incident (pataka) of Sugriva-katha. There are also a number of pravesakas. Sentiments etc. The main sentiment is Vira (heroic),-mainly Yuddha-Vira. The wailings of Sugriva, Angada, etc., and Sita's miserable condition supply us with Karuna (pathetic); the appearance of Varuna and Agni, as also the description of the fire-ordeal belong to Adbhuta (wonderful ); the scenes between Ravana and Sita provide Bhayanaka (fearful). The Puropama in VI. 2, Svabhavoht ( II. 21 ), Aprastutaprasamsa ( III. 19 ), Ullekha ( I. 25), Utpreksa (I. 22 ), Upama and Rupaka (IV. 3), and Upama (IV. 18) are some of the instances of various figures of speech used in this play. anasanaparitaptam pandu sa tava ksamavaktra varaguna cintavitalavarayalilam | vahati vigatadhairya hiyamanam sariram manasijasaradagdham baspaparyakulaksam ||2 .21|| katham lambasatah simho mrgena vinipatyate | gajo va sumahan mattah srgalena nihanyate ||3 .16 || rajanicarasariranirakirna kapivaraviciyuta varasinaka | udadhiriva vibhati yuddhabhumi raghuvaracandrasaramsuvrddhavega || 6 .2|| atibalasukhasayi purvamasiharindrah ? ksititalaparivarti ksinasarvangavestah | saravaraparivitam vyaktamutsrjya deham kimabhilasasi vira svargamadyabhigantum ||1 .25|| The following figures about the ocean are particularly notable, as the Abh is probably the only play in our group in which Alamkaras concerning the ocean occur :

66 219 sajalajaladharendranilaniro vilulitaphenatarangacaruharah | samadhigatana disahasrabahu- haririva bhati saritpatih sayanah ||4 .3|| mama saravaravatapata bhanna kapivarasainyatarangataditanta | udadhijalagateva naurvipaksa nipatati ravanakarnadharadosat ||4 .18 || Critical remarks. The first act in which Valin meets with his death at the hands of Rama and "dies on the stage is a little tragedy by itself" according to Dr. Winternitz. But this is not so, as Valin is not the hero. That the Abh is the earlier work between the two Rama plays" is suggested by Dr. Sarup and Mr. V. Ramayya, and our tests for the chronological order of these plays also confirm the view. Possibly the play was written in haste to be complete in time for the celebration of some coronation [abhisheka], and hence the poet has effected no innovations over the epic in the plot, and there is nothing in this play "comparable to the scene in the statue gallery nor is there the same delicacy in portraying the characters of Rama and Sita". Yet it is not so dreary a summary of the epic as Dr. Keith would have us believe, nor is Rama 'the ruthless warrior' as suggested by Dr. Woolner. The peculiar trait of Bhasa of investing each character with special and distinguishing voices so that persons may differentiate between the speakers without actually seeing them on account of their voices is found in this play in common with the other plays of the group. Some families are represented as possessing similar voice peculiarities. Similarly the characters of Bhasa know what passes in others' minds from a mere glance at their faces. Other common features are the description of the fight by three Vidyadharas, the appearance of Agni and Varuna on the stage in human form, etc. The song in this play forms an important element as it is found in Gandharvas, Apsarasas, Vidyadharas etc., singing the praise of Visnu. 1 Problems, p. 112. 2 Sarup, Thirteen Trivandrum Plays, Volume 2, p. 144 nl; V. Ramayya, Quarterly Journal of the Mythic Society, 17, p. 130; Supra p. 121. 3 Woolner and Sarup, Thirteen Trivandrum Plays, Volume 2, p. 144. 4 Keith, Sanskrit Drama, p. 105; Woolner, Thirteen Trivandrum Plays, Volume 2, p. 144.

220 Plainly speaking, Rama's justification for killing Valin is neither satisfactory nor convincing. As the fight of Ravana is only described and its actual representation is avoided, Prof. Pisharoti thinks that this drama may be from a different hand from the writer of the Uru, the or the Bal. It may be pointed out that in the Uru also there is a mere description of the fight, and the Abh contains death in the first act. It is not necessary for the poet to take up every opportunity of depicting death on the stage to justify his authorship of the plays in this group. Another confirmation for the view that our text has been badly mangled and that the verse quoted by Abhinavagupta may have formed a part of this play is found in the line (p. 13 danditastvam hi dandyatvadadandayo naiva dandyate ) which occurs as a prose passage. It is clear that the line is a part of a stanza, the other half seems to be lost. The text is not perfect and does not yield a satisfactory meaning; some additional passage is necessary to complete the sense. On this analogy also the exclusion or the disappearance of the verse quoted by Abhinavagupta appears quite plausible. The contrast between the attitudes of Sugriva (I. 8) and Valin (I. 9) to each other is brought out in a single verse: aparadhamanuddisya parityaktastvayah vibho ! | 2 sugrivamadya samare vinipatyamanam • yuddhe svatpadasusrusam sugrivah kartumicchati | tam pasya sonitapariplutasarvagatram 119:511 119.811 Bibhisana's parting advice is quite suitable for every man of action (III. 25): tyaktva rosam ca kamam ca yatha karya tatha kuru | Implicit obedience to the elder even in contravention of personal convictions and Dharma, which is the key-note of Laksmana's character is beautifully brought out in VII. 4: vijnaya devyah sauca ca srutvacaryasya sasanam | dharmasnehantare nyasta buddhirdolayate mama || 1 Annamalai University Journal, 5, pp. 245-246, n 4. 2 See Supra pp. 45-47. The Abh (Act II, p. 27) contains the expression in common with the Dgh (p. 69) and the Prat (p. 30); and the expression immediately following the above, similar to the Dv (p. 24 (p. 27) saat a signifying thereby common authorship and authorship of Bhasa. Cf. also Sukthankar. Annals of the Bhandarkar Oriental Research Institute, 4, pp. 174, 184, 185, 186.

221 The description of Rama being the cause of everything, still praying to Varuna for his purpose ( svayam karanabhutah san karyarthi rufeff anna:), is nicely put (IV. 14). Charming is this description of the sunset (IV. 23): astadvimastakagatah pratisamhrtamsuh sandhyanuranjitavapuh pratibhati suryah | raktojjvalamsukavrte dviradasya kumbhe jambunadena racitah pulako yathaiva || There is a marked tendency in this play for the use of Yamakas and alliterations in the prose passages as well as in verses, which is natural in an earlier work of the poet, when more attention is paid to the outward form and every attempt is made for the sound-effect. Cf. p. 3 ... nayanabhiramasya ramasya ... mahagrivasya sugrivasya ... hemamalinam valinam ... | P. 65.... nirastaprahasta nikumbhakumbhakarnendra ... vikalavalajala nidhijanita ... mamara samarani ...| and I. 1. 7; II. 4. 6. 10; VI. 13. The transverse curtain seems to have been used in this play in Act I.