Chapter 7.10 - Study of the Bhasa’s Pratima

Pratima—Title. This drama is based on the Ramayana, but any one familiar with the epic would not be able to come at any particular incident that the name signifies since it is wholly invented by the poet. Bharata, who comes from the court of his maternal uncle at the urgent call from Ayodhya and is resting for a while outside the city, is told all the details of the tragic and cruel death of his father very skilfully through the erection of the statue-house (Pratima-grha) in which an image or life-size statue (pratima) of Dasaratha is placed along with his three ancestors. It is said that the statues of only dead kings were erected. Bharata thus learns of the sad event without being directly told about it, and also comes to know the important part played by his mother in that incident. The play is called the Pratima Nataka or the Statue Drama because of the important part played by the statues. Prof. Dhruva suggests that Pratima Dasaratha is the original name of the drama and that the Pratima is its mere contraction. But there is no manuscript evidence in support of this view. 2 Plot. After reciting the benedictory stanza in which the names of the principal dramatis persona are introduced, the stage-manager calls his mistress and asks her to sing a song of the autumn. The mistress 66 1 Cf. Banerji Sastri, Journal of the Bihar and Orissa Research Society, 1923, p. 55-57; Chakladar, Social Life in Ancient India, p. 33. 2 So, Ganapati Sastri and others. Prof. Dev dhar (Pratima, Poona, 1930, Intr., p. XI) suggests that the drama may have been named Pratima as Bharata is represented as the very pratima of Dasaratha', and very similar to Rama so as to create illusions on various occasions in the minds of Devakulika, Sumitra, Laksmana, Sita etc. Prof. Chaphekar (Mauj, Marathi Weekly, Bombay Divali Number, 1931, p. 18) also sees the same subtle meaning in the Pratima." 3 Pratima, Ahmedabad, Intr., pp. 12-13; also Svapnani Sundari, 1923, p. 23 No. 41. qing chen

242 some accordingly sings and the stage-manager passes remarks on the autumn when from behind the curtain are heard the words "Oh Lord! Oh Lord!", which the stage-manager recognizes as those from the palace portress, and the couple then leaves the stage. The portress calls the chamberlain and asks him to hurry up with the preparations for the coronation of Rama. He replies that everything was already arranged,the royal umbrella, the consecration waters , and the sacred the chair, were ready%; His Holiness Vasistha and were all assembled. The ministers and the citizens chamberlain then hastens to the sacred place and the portress, after ordering the preceptor and the actors etc. to be ready, goes to inform His Majesty that everything had been arranged. Then enters Avadatika carrying a valkala (bark garment), which she had removed in jest from Arya Reva, the mistress of the concert-room, in order to punish her for refusing her request. Sita then appears with her maids and learns of Avadatika's mischief. She asks her to return the bark garment. When, however, Avadatika is about to go, Sita takes the garment and puts it on for mere fun. A maid is sent to bring a mirror. The maid enters with it and tells her ladyship of some coronation about which the chamberlain was muttering . Another maid comes with the good news of Rama's coronation and receives some jewels from Sita for the happy tidings. The sound of a drum is heard but suddenly it ceases and all get anxious. Then Rama appears on the stage wondering why the people were astonished at his calmness in leaving the throne at his father's word. The absence of any change in his usual dress is a mystery to all in view of Rama's coronation. Then Rama tells Sita how his coronation cancelled after going through some ceremonies, when Manthara whispered something in His Majesty's ear, and lo! he was no more a king. Then Rama asks Sita why she had removed her ornaments and put on the bark garments. He is told that she wore them out of mere curiosity. He then expresses a desire to have one for himself, but Sita prevents him as it was ominous in view of the recently cancelled coronation . Then the chamberlain brings the news that the king had fainted because of the grief at Kaikeyi's distressing demands. She had prevented Rama's coronation for the sake of getting her of was at

243 son Bharata installed on the throne. Rama, however, justifies the conduct of Kaikeyi as being not due to any ulterior motive, and asks the chamberlain to stop his insinuations against her. Then agitated, much perturbed and angry Laksmana makes his entry with bow and arrows in hand, intent on ridding the world of womankind. He tells Rama that the desire for the kingdom was not the cause of his angry outburst; it was the forest exile for fourteen years which had been enjoined upon Rama that had unnerved him. Rama then knows that this had thrown his father in a swoon and he asks for the bark garments, which Sita readily gives. Rama decides to go to the forest, and Sita, as the ideal wife is determined to accompany her Lord. Rama tries to dissuade her, but Laksmana supports her. Then enters a maid with new bark garments, which Rama puts on. Laksmana prays to Rama to allow him to share the bark garments and forest life with him, and to serve him there. Rama tries to prevent him at first, but at Sita's request consents to take Laksmana with him. The trio with the bark robes on sets out for the forest led by Laksmana. Sita removes her veil at Rama's behest so that the citizens assembled may freely have a look at her. The chamberlain enters with the news of the coming of the broken-hearted king to prevent them from entering the forest. They, however, avoid him and proceed on their way. (Act I). r The interlude in the form of a conversation between a portress and a chamberlain informs us of the sorry plight of king Dasaratha and the citizens of Ayodhya. after the departure of Rama, Laksmana and Sita. The king is stated to be in a delirious state, lying in the Samudragrha, attended by Kausalya and Sumitra; he rises and falls down, is continuously wailing and gazing in the direction by which the trio had left. The main scene opens with the king, thus frail in body and mind, attended by the two queens. The king is feeling the The king is feeling the pangs of separation more and more, and always working himself to a climax. He can neither control his grief nor can suffer it. He is thus out of his senses and cannot recognize the persons near him. In reply to his In reply to his query Kausalya says that Rama would soon return to console Dasaratha, but he asks her who she was. In his talk with Sumitra also he talks incoherently. He has no other subject but the memory

244 of the trio that had left him and the condemnation of Kaikeyi and himself. The chamberlain brought the news of the return of the minister Sumantra; but Dasaratha in the foolish hope of the return of the exiles, asks whether he had come with Rama, and on being told in the negative falls down swooning, saying that the empty chariot brought back by Sumantra had been, as it were, sent by the God of Death to carry himself (Dasaratha). To Sumantra he puts questions bringing out the virtues and qualities of his children and rebuking himself. Their mere names are as if a solace to Dasaratha. He is constantly thinking of Rama, the dutiful son, Laksmana, the devoted brother, and Sita, the shadow of her Lord. Sumantra tells him that the trio alighted from the chariot at Srngiverapura and stood for a while facing Ayodhya. They paid their homage to Dasaratha and stood contemplating for long and finally departed to the forests without speaking any words. This proves too great a disappointment and a serious blow to the king and he falls into a deep swoon. He recovers but. partly from it and leaves a message full of irony and sarcasm for Kaikeyi. Then he gets a vision of his ancestors who come to console him. With the names of Rama, Vaidehi and Laksmana on his lips, Dasaratha leaves his mortal coil. His body is covered with a sheet, all mourning the death. (Act II). The Sudhakara (professional white-washer) who enjoys a little nap after completing his work, and the soldier who rebukes and beats him, provide us with some humour and constitute the interlude to the next act. The interlude informs us of the preparations made in the statue-house by whitewashing the walls, decorating the door-ways with garlands and wreaths, clearing the dovecotes, spreading white sand over the paths, and scattering flowers, in view of the intended visit of the queen-mothers to the statue-house. Bharata himself opens the main scene with his charioteer and a chariot. He says that his long stay with his uncle had made him a perfect stranger to Ayodhya and that he simply knew of his father's serious illness. Bharata questions the charioteer about the state of the king's health, but the latter, by his evasive replies, depicts the dead king, which Bharata understands in a different sense. He, however, is much disturbed at

245 getting no definite information, feels restless at what he hears, and orders the driver to speed up to Ayodhya. The speed of the chariot diverts the attention of Bharata, who beautifully describes the picture of the flying trees, the flooded river, the steady wheels, etc. On reaching the out-skirts of Ayodhya, Bharata pictures to himself what he would find at Ayodhya, his falling at the feet of his father, his being soaked in the tears of his mothers, his being praised by his servants, his being mocked at by Laksmana for a queer dress and accents,-most of which comes true, alas, in a different sense! The charioteer feels much sympathy for his master, but he cannot divulge the truth as the three evils (viz., his father's death, his mother's greed and his brother's exile), would be more than a shock to him. Just then, a soldier enters requesting Bharata, under the instructions of the preceptor, to wait outside the city till the unexpired period of Krttika is complete and the influence of Rohini commences. Bharata agrees to it, gets down from his chariot and dismisses the charioteer for a while. He decides to rest in the temple (which in reality was the statue-house) which he sees in the avenue of the trees. The special preparations which he finds in the temple such as the anointing of the walls by sandal paste, garlands, sand and parched grain, etc., suggest to Bharata that it is a day of some temple festivity. But banner or the absence of any outward sign, such as the "vity. But of the deity, fails to inform him of the particular deity enshrined in the temple. Entering it, he finds four stone-statues beautifully executed with expressive features proclaiming the skill of the sculptor. Bharata even takes the temple to be of four deities and proceeds to bow. down his head. The priest (Devakulika), who enters after his meals, finds a person similar in features to the statues (viz. Bharata) making ready to offer obeisance to the statues, and he prevents the latter by stating that the images were not idols of any deities but the statues of the kings of the Iksvaku family. Bharata is glad at learning that and praises his ancestors. Then he asks the priest about each of the statues and is told in turn about Dilipa, the embodiment of Dharma; Raghu, the embodiment of charity; and Aja, the embodiment of love. The fourth statue Bharata recognizes as that of his

246 father, but is afraid of the worst, feels agonized, and to ward off the unpleasant news for a time at least, asks the priest to repeat what he had said earlier. He adds comments to the names pronounced by the priest, stating that Dilipa was the great grandfather of the king (viz., Dasaratha), Raghu, the grandfather of the king, and Aja, the father of his (viz., Bharata's) father. Coming again to the last statue he wavers a little, and asks the priest whether the statues of living kings also were erected. The latter replies in the negative; truth dawns upon Bharata's mind, his suspense is over, and he bids adieu to the priest. But the worst is yet to follow, and the priest asks Bharata why he does not inquire about the statue of Dasaratha, who parted with life and kingdom for the sake of the dowry contract. The information proves a veritable shock to Bharata and he falls fainting to the ground but recovers again. From the exclamation 'Arya' from Bharata's lips the priest takes him to be a scion of the Iksvaku family, and coming to know that he was the mighty Bharata himself, the priest prepares to go. But now Bharata stops him and asks for the rest of the news. The priest then tells him of the death of Dasaratha and the exile of Rama with Sita and Laksmana. The latter news makes Bharata swoon doubly, but after recovering he demands of the priest full details of the whole affair without any reservation. But no sooner does. the priest begin his story by telling of the installation of Rama on the throne than Bharata anticipates the whole course of events and states in the main outlines everything including the part played by his mother. He concludes by referring to the heaping of abuse which might have naturally been showered on him by the subjects. This is too much for Bharata and he faints again. At that precise moment is announced the entry of the queens led by Sumantra. Seeing the young prince lying prostrate, Sumantra without recognizing Bharata, asks the queens not to enter. The priest after telling Sumantra that the stranger is Bharata, makes his exit. Bharata recovers, but apparently continues his conversation with the priest not knowing of his exit and the entry of the new comers. Then Bharata infers about the identity of Sumantra from the latter's good manners. On being told by Sumantra to pay respects to Kausalya and Sumitra

247 66 in response to Bharata's request for advice as to the order of bowing to his mothers, Bharata offers his obeisance to them and is suitably blessed by them. Sumantra then announces Kaikeyi but in righteous indignation Bharata rises up and states that she does not deserve to stand betwixt his two mothers. To Kaikeyi's question as to what she had done, Bharata sums up all the results of Kaikeyi's evil deeds-infamy to him, bark garments to Rama, death to father, incessant tears to the whole of Ayodhya, forest life to Laksmana, sorrow to mothers, fatigue of travel to Sita, and the severest scorn to her own self (III. 17). Kausalya points out to Bharata, the prince of formalities and decorum, his inconsistency in not honouring his own mother; but Bharata disowns his mother and pronounces a new dictum that a mother forfeits the mother's claim by her treachery to husband (III.18). Kaikeyi justifies herself on the ground of the fulfilment of the dowry contract, but Bharata is not satisfied and passes cruel remarks against her. To his question as to whether the exile of Rama was also stipulated in the contract, Kaikeyi says that she would clear her position at the proper place and occasion. Bharata, however, subjects his mother to wholesale condemnation, accusing her of having wrought the whole havoc for personal gain. Sumantra then Sumantra then announces that Vasistha, Vamadeva and others had come for Bharata's coronation; but Bharata pungently remarks that her ladyship (Kaikeyi) deserved the honour of coronation and declares his intention of going to Rama, as Ayodhya, without him (Rama) was no Ayodhya, and that real Ayodhya was where there was Raghava (III. 24 nayodhya tam vinayodhya sayodhya yatra raghavah | ). ( Act III). The interlude, wherein two maids of the harem carry on a conversation, informs us that Bharata's noble resolve. to follow Rama has endeared him to all in Ayodhya and made his mother more hated, and that Bharata has started for the penance grove of Rama. The main scene opens with Bharata and Sumantra in a chariot with al charioteer. Bharata is in supreme haste to see his noble brother and on reaching the hermitage, they get down from the chariot and the charioteer is asked to get away to give repose to the horses. Bharata proposes two modes of announcing himself to Rama, but Sumantra objects to

248 both as in the first ( rajyalubdhayah kaikeyyah putrah ) his mother is vilified, and in the second, Sumantra cannot declare Bharata as the stain of the Iksvaku race (EHHY: ). iksvaku kula nyangabhutah So Bharata declares himself as an ordinary, unkind, ungrateful-but devoted-person come to see Rama. Hearing the voice, the exiled trio is wonder-struck and feels some affinity to the speaker from his voice, and Rama sends Laksmana to see who the stranger was. Laksmana learns of the identity after being introduced by Sumantra. After saluting Laksmana and being blessed in return, Bharata expresses his impatience to see Rama. Laksmana goes in, announces Bharata to Rama, who sends Sita to receive him. Owing to the close similarity in the features of the brothers, Sita for a moment mistakes Bharata for her Lord. Bharata pays respects to her and noting the similarity in the voices of the brothers, she blesses him. Then Bharata enters the hermitage led by Sita, Sumantra waiting outside. After blessing Bharata who salutes him, Rama puts Bharata at ease by asking him to embrace, and thus gladdens him. Sumantra's entry at this stage reminds Rama of Dasaratha and he feels pained. Sumantra sorrowfully takes his long life as a curse as it were, as it lingers even after experiencing great shocks. Rama's eyes are full of tears and he asks Laksmana to bring water to wash his face. Bharata goes instead and returns with water. Rama sips it and remarks that Laksmana's right to serve him was impeded, to which Sita replies that Bharata could as well wait upon Rama. Rama admits the right of both, but desires that Laksmana should serve him in the forest and Bharata in the city (by ruling the kingdom). Bharata catches the true significance of Rama's words and says that he could carry on Rama's task even by staying in the forest, as the kingdom could be protected from there simply by Rama's name. Rama, however, draws the attention of Bharata to the fact that he had come to the forest in pursuance of the order of the father, and that veracity was the heritage of the Raghu family. Sumantra then asks as to who is to be crowned king, and Rama states that Kaikeyi's fulfilled in the matter of coronation. Bharata feels stabbed in his heart as it were, and appeals to Rama that they both are of the same family and that the mother's fault 2 to decire be

249 should not be attached to her sons (IV. 21. na doso | a). Sita also pleads in Bharata's favour. Rama is visibly affected, feeling sorry that Dasaratha was not present to witness the devotion of Bharata; but he further adds that he was quite helpless in the matter as the behest of the king must be executed and the good name of the family maintained. Bharata then requests to be allowed to be by Rama's side; but Rama replies that this also could not be done as the kingly duties had to be properly performed. Bharata agrees to go back on condition that Rama would take charge of the kingdom after his return from exile. Rama accepts it. Bharata again asks the gift of Rama's sandals, of which he intends to be the regent during Rama's absence. Rama grants this request also. After getting the sandals Bharata desires to crown them by sprinkling the coronation water upon them and Rama asks Sumantra to do as Bharata wished. Bharata is immensely pleased and thinks that now he has done the right thing and has risen high in the public estimation. As the kingdom is not to be neglected even for a single day, Rama asks Bharata to leave without any delay and the latter is willing to start forthwith. Rama requests Sumantra to protect Bharata; and Bharata and Sumantra ascend the chariot in Rama's presence. Rama, Sita, and Laksmana accompany Bharata as far as the door of the hermitage. (Act IV). 1 The fifth act describes the saddest part of the whole of the Ramayana, viz., the capture of Siita. The scene opens with Sita and a female ascetic in the Janasthana. Sita is shown to be quite at home in the new atmosphere and her new duties, such as sweeping the hermitage, worshipping the gods and sprinkling water over the forest shrubs and trees." Then enters Rama steeped in sorrowful thoughts. He is pained at the thought of the deserted city of Ayodhya and of noble Bharata, who alone has to bear the burden of the crown though they are four brothers. To divert his attention from these sad thoughts, he approaches Sita, whom he finds watering the plants, and he feels a pang at the sight of the delicate woman unaccustomed to any work doing hard labour. Sita finds her Lord troubled with sorrow and asks him 1 There ought to be a stage direction as to the exit of the Tapasi at the entry of Rama.

ceremony 250 the reason. Rama replies that the approaching sraddha of his father the next day was worrying him, and he was anxious as to how to celebrate it suitably. Sita suggests that the ceremony may be performed as befits the circumstances,-Bharata would celebrate it in a right royal fashion, while Rama may perform it with fruits and water available in the forest. Rama replies that the main reason of his anxiety was how to ensure the happiness of his father; his father would be reminded of his forest life by seeing the fruits on the kusa grass and would shed tears in heaven. Ravana, in the guise of an ascetic, then descends on the stage. He declares his intention to carry off Sita after deceiving Rama, to avenge the murder of Khara. He then approaches the door of Rama's hermitage and announces himself as a guest'. Rama welcomes the guest, and after saluting him, offers him a seat. Rama then asks Sita to bring water to wash the feet of the new comer, and Sita returns with water. At the command of Rama, Sita goes to wait upon the ascetic, but the latter being afraid that his disguise may be known at her approach, exclaims, "Enough of it!" Rama himself offers to serve the guest, but Ravana says that good words are the best reception of a guest, and asks Rama to be seated. Then Ravana introduces himself as belonging to the Kasyapa gotra and enumerates various sciences studied by him, by him, such as the Veda with its angas and upangas, the Dharmasastra of the Manavas, Yogasastra by Mahesvara, Arthasastra by Brhaspati, Nyayasastra (the science of logic) by Medhatithi, and the Sraddhakalpa (the ritual of the raddha) by Pracetas. Rama evinces special predilection for the ritual of sraddha and states that he is anxious to know how the manes are gratified at the sraddha ceremony. Ravana passes a general remark by stating that anything given with sraddha (faith) constitutes a sraddha. Rama desires to know about the special offerings, and Ravana mentions various offerings among different objects, such as darbha amongst grass, sesame amongst the herbs, Kalaya among the vegetables, etc., and stops at at, indicating thereby that there was something else in addition also. Rama desires to know what that was and resolves to perform the ceremony by that object alone, and Ravana after stating that it could be procured by va

251 prowess, mentions the object as (golden deer), which generally is found in the Himalayas. Ravana further states that the manes are immensely pleased by such offerings, and Rama decides to go forthwith to hunt one for the sraddha ceremony, and asks Sita to prepare to accompany him. Ravana tries to prevent him, saying that it was an impossible feat for human beings. But Rama replies that if they existed at all he would have one at any cost. At that precise Walter States that the manes are moment a flash of lightning is seen, and lo! the goldenflanked antelope makes its appearance to Ravana. Rama takes the good luck to be due to the merits of his father and tells Sita to ask Laksmana to go in pursuit of the antelope. On learning that Laksmana had already been sent to receive the Kulapati, Rama himself sets out to capture the antelope, telling Sita to serve the guest in the meanwhile. After the departure of Rama, Ravana praises the strength, valour, and speed of his adversary and sees the antelope enter the thickest part of the forest. Sita feels afraid to stay in the presence of the guest and starts to enter the hut, when Ravana resumes his original form and commands her to stop. Ravana tells her of himself and of his intention to carry her off. Poor and helpless, Sita shouts for help from Rama and Laksmana. Then Ravana proudly boasts to her of his prowess and feats of having vanquished Indra, Kubera, Yama, etc. In reply to Sita's prayers for help from Rama or Laksmana, Ravana states that nothing would avail her; and he asks her to look upon as her Lord. This is him too much for the chaste lady and she curses him. The mere words af burn Ravana. He then catches hold of Sita and proclaims the challenge to Rama. Jatayu, the vulture friend of Dasaratha, hearing of Ravana's challenge rushes in the direction of Ravana to assault him with his terrible beak. Ravana also proceeds against the vulture with drawn sword. (Act V). Two old hermits in the penance-grove observe Sita being forcibly carried away by Ravana, see that Jatayu challenges Ravana, and witness the great arial fight that ensues between the two resulting in the death of the vulture. The hermits then proceed to communicate the news to Rama. The main scene opens in Ayodhya, where the chamberlain orders Vijaya, the female door-

6. 252 66 keeper, to inform prince Bharata of the arrival of Sumantra from Janasthana after visiting Rama; and the door-keeper accordingly leaves the stage. The chamberlain finds Bharata approaching, wearing bark garments and having matted hair, eagerly awaiting the news from Sumantra. Then enter Bharata and the Pratihari, and Bharata orders the chamberlain to usher Sumantra at once, and both the servants make their exit. The door-keeper then leads Sumantra, who is again grieving at his long life as he has heard one more misfortune in the form of the loss of Sita. Bharata asks Sumantra whether he had seen devotional Rama, the replica of Arundhati, viz., Sita, and the fraternal love incarnate, viz., Laksmana. Sumantra tries to circumvent and tells him that the trio had left Janasthana. He further tries to keep back the news from Bharata, but while telling of Rama's friendship with Sugriva (who was deposed by Valin, the kidnapper of his wife, and who had made mountains his residence) blurts out the truth inadvertently -'g' if: (VI. 10)-(Sugriva) was relieved 'by Rama who was in an identical predicament.' Bharata asks Sumantra the meaning of the identical predicament," and the latter tes; but he had to yield when Bharata adjures him by the feet of the dead king to tell the truth. When Bharata learns of the kidnapping of Sita, he faints. After recovering, the sad plight of Rama and the suffering of the separation heaped upon the hardships of Rama's forest life pain Bharata. Then Bharata leads Sumantra to the court of the queens and orders the door-keeper to announce his approach to her ladyship, "who desires me to be king (p. 1161). The door-keeper then tells Kaikeyi of the return of Sumantra and the desire of Bharata to see her, but she is in suspense as to the particular connection in which Bharata wishes to reproach her. She, however, orders the door-keeper to usher Bharata in, and Bharata and Sumantra are ushered in. Kaikeyi asks Bharata whether Sumantra had come from Rama. But Bharata replies that he had some good. news for her. Asked whether Kausalya and Sumitra be called to hear it, Bharata says that they are not to hear it. Kaikeyi feels something amiss, and the good news proves to be the abduction of Sita, by which Bharata

66 66 253 says, your wishes have been fulfilled (VI. 13 cigza :), and the noble Iksvaku family has the misfortune to find its daughter-in-law (Sita) outraged by having Kaikeyi for daughter-in-law." Kaikeyi then feels that the time was now ripe to explain everything and asks Bharata whether he knew of Dasaratha's curse. Bharata knows nothing about it, and at Kaikeyi's behest Sumantra tells the story how Dasaratha killed through mistake the only son of a blind sage who cursed him that Dasaratha too would die through the grieving for his son. Kaikeyi then states that in order for the curse to operate, she had to effect the separation of the son; and Bharata being always away, was already separated. With regard to the period of exile for fourteen years, Kaikeyi explains that she meant to say fourteen days" but through confusion she said fourteen years.' She further tells Bharata that even Vasistha, Vamadeva and others knew the whole thing and assented to it. Bharata then sees that his mother was right and prays her to forgive him. She readily forgives him, as what mother will not forgive her son for his faults ?" (p. 121 ka grama mada puttaassa avaraham na marisedi | ). Then Bharata rises to take her leave and declares his intention of arousing the whole circle of princes to help Rama and with the crossing troops turn both Ravana and the ocean pale through fear. Some noise is heard from within, which proves to be due to the fainting of the senior queen after hearing the news. Both mother and son start to comfort the noble lady. (Act VI). 66 The interlude opens in the hermitage after the conclusion of the great war resulting in the death of Ravana. A hermit informs Nandilaka of the order of the Kulapati to make ready to receive Rama who was coming after having killed Ravana and crowned Bibhisana, and who was surrounded by the chiefs of bears, demons, and n and accompanied by Sita. Nandilaka is afraid lest the demons should eat them, but is comforted. to learn that the demons were under the control of noble Bibhisana. Rama then opens the main scene and speaks of the fulfilment of his vow. He is waiting for Sita, who has gone inside to pay her homage to the hermit women. Sita enters with a hermit woman. They both cast a glance at their former residence in Janasthana. The trees the foster-children of Sita-are taller and grown

254 up. They recollect some familiar incidents and visit the familiar scenes; and the memory of the goldflanked deer for the ceremony frightens sraddh Sita, who trembles with fear. Rama reassures her, and looking round, finds huge clouds of dust in the air and hears the sounds of conch-shells, drums and the cries of warriors. Laksmana enters and announces the approach of eager and devoted Bharata with the mothers, accompanied by a large army. Bharata, who is full of joy, enters with his mothers. The exiled trio pays homage to the mothers and receives their blessings. Bharata then embraces his brothers. and salutes Sita and is blessed by them. He asks Rama to shoulder the burden of the kingdom; and Kaikeyi states that it was the long cherished desire of all. Then enters Satrughna, who salutes the exiled trio and receives blessings from it. He announces the desire of Vasistha and Vamadeva and the public to see Rama crowned with holy water brought by the sages. Kaikeyi asks Rama to go in for his coronation and he makes his exit. Many triumphal proclamations are heard from behind the curtain. Kaikeyi and Sumitra refer to the priests, ministers and servants celebrating Rama's victory. Further proclamations of victory are heard from behind the scenes. Rama then enters after his coronation with his followers. Looking overhead, he asks his father to cast aside his cares and rejoice in the heavens as his wishes were fulfilled. fulfilled. Bharata and Satrughna are mightily pleased, and Laksmana congratulates Rama upon his obtaining the kingdom. The chamberlain announces that Bibhisana, Sugriva, Hanuman, Nila, etc. craved for permission to offer their congratulations. Rama sends them a message that it was through their assistance that fortune smiled on him. Kaikeyi desires to see the coronation ceremony again performed in Ayodhya. Rama says that she would see it. Then Ravana's arial car Puspaka comes hovering in the sky making the forests bright. Rama asks all to get into it and they all proceed to Ayodhya that very day. The prayer in the epilogue states: May our king be united to glory, and rule the earth in the same way as Rama was united to Sita and his brothers. (Act VII). Deviations. We have purposely given the plot of

jiang 255 the Prat at some length in order to enable the readers to find for themselves the changes introduced by the poet in the story of the epic. The valkala incident in the first act and the presence of Satrughna at the coronation are the poet's innovations.' The second act brings to Dasaratha on his death-bed the vision of his ancestors who have come to carry him off to the region of the manes. The third act (in which Bharata is shown as younger than Laksmana) dealing with with the statue-houses is exclusively the creation of our poet, as also the novel method of abduction by bringing Rama and Ravana together and making the golden deer necessary for the sraddha ceremony of Dasaratha; Laksmana has been kept out. Then Sumantra is again made to visit Dandaka after Sita's abduction and the scene between Bharata and Kaikeyi after hearing the news, and Kaikeyi's explanation of the curse and her slip in saying 'years' instead of days', Bharata's preparing for an expedition with a large army to vanquish Ravana, are the innovations in the sixth act. The coronation of Rama in the forest where Bharata, his mothers, and the citizens from Ayodhya attend, as also Bibhisana, Sugriva, Hanuman, etc., and Rama's assuming the reins of government, and the journey of the whole assembly to Ayodhya in the Puspaka aroplane for celebrating the ceremony a grand scale,-are the deviations in the last act. There are similar changes in characterization also. All the characters in the Prat, though quite human, appear on an elevated plane as compared with the Ramayana. Thus, e. g., Rama has been shown more noble and dignified and more devoted to his father by his leaving for the forest without any ill comment, and by making him hunt for the golden deer for the sake of sraddha, instead of in obedience to his wife's wishes, as pictured by the Ramayana, cf. II. 21. 57-59; 22. 12-13; III. 43. 9-21; 24-50. on gurusca raja ca pita ca vrddhah aryaputrabhiramo'sau mrgo harati me manah | krodhat praharsadathavapi kamat || anayainam mahabaho kridathai no bhavisyati ||3 .43 .6 || KI 11.83.8|| 1 Prof. Paranjape proposes to read Satrughna as "the vanquisher of the enemies" (Pratima, Poona, 1927, notes, p. 91); but to us the views expressed by Prof. Pisharoti (Quarterly Journal of the Mythic Society, 11, p. 864; 12, p. 385) seem to be sound. There is no necessity for the poet to follow the epic; and again Bharata's speech (Act III, p. 58, ki satrughno mamabhigatah | ) renders it probable that Satrughna was at Ayodhya while he was visiting it after being summoned there after his father's death. Cf. also Devdhar, Pratima, Poona, 1930, notes, p. 64.

yad vyadiset karyamaveksya dharme kastanna kuryadanrsamsavrttih || 2 .21 .59 || mama pravrajanadadya krtakrtya nrpatmaja | sutam bharatamavyagramabhisecayatam tatah ||2 .22 .12 mayi cirajinadhare jatamandaladharini | astri ca kaikeyya bhavisyati manah sukham ||2 .22 .13|| 2 256 || aho rupamaho laksmih svarasampacca sobhana | mrgo'dbhuto vicitrango hrdayam harativa me ||15|| pasya laksmana vaidehyah sprham mrgagatamimam | ||25|| yavaducchami saumitre mrgamanayitum drutam | pasya laksmana vaidehim mrgatvaci gatasprham ||48|| Sita also does not scold Rama, and the scene after Rama's going out for the golden deer between Laksmana and Sita, in which Sita appears quite an ordinary woman not showing her regal characteristics in expostulating with Laksmana, has been eliminated from the drama by making Laksmana altogether absent. Kausalya has no anger or jealousy for Kaikeyi and Bharata which we witness in the Ramayana. Kaikeyi is also shown nobler, her sending Rama into exile being shown to be due to her acting in obedience to the curse pronounced on Dasaratha; though her explanation as to her slip in stating the period is not satisfactory as the text stands; it proclaims the attempt of the poet to present Kaikeyi in a favourable light. Sumantra is quite a different person from the bitter, caustic-tongued Sumantra of the Ramayana s Type of drama. The Prat is a full-fledged Nataka, based on renowned plot, having a dhirodatta hero. The 1 Ramayana II. 30. 3, 8 ; kim tvamanyata vaidehah pita me mithiladhipah | rama jamataram prapya striyam purusavigraham ||3|| svayam tu bharya kaumari ciramadhyusitam satim | sailusa iva mam rama parebhyo datumicchasi ||8|| also, Ramayana, III. 45. 5-8; 21-27; 36-38. 2 Cf. Ramayana, II. 75. 11, 12, 16: idam te rajyakamasya rajyam praptamakantakam | sampraptam bata kaikeyya sighram krurena karmana ||11|| prasthapya ciravasanam putram me vanavasinam | kaikeyi kam gunam tatra pasyati kruradarsini || 12 || idam hi tava vistirnam dhanadhanyasamacitam | hastyasvarathasampurna rajyam niryatitam taya || 16 || 3 Cf. Ramayana, II. 35. For the difference in the characterization between the Prat and the Ramayana, of. Dhruva, Pratima, Ahd., Intr, pp. 8-11 ( patronum uccikarana ); and V. Ramayya, JMS, 17, pp. 136-141.

257 secondary incident (Pataka) of Bharata Katha is skilfully woven into the main plot. It is mainly because the drama receives its name from the statue-scene and also because of the importance of Bharata in the main story that the statue-scene is introduced which helps Bharata to proceed forthwith to the forest without stepping into Ayodhya (which was not Ayodhya in the absence of Rama); thus there is no interruption in the main story. Hence the statue-scene is in place from psychological as well as dramatic point of view; character and passion are beautifully delineated. And it is not correct to say that its [i. e., of the statue-scene] intrusion into the play is dramatically a mistake"; since our interest in the main story and the leading characters is not allowed to be distracted; they are always there though in the background. 66 2 Sentiments etc. There is some difference of opinion as to the principal or the central sentiment in the Prat. Dr. Ganapati Sastri states it to be 'the Dharmavira mingled with Karuna rasa-the Dharmavira manifesting itself in the enthusiasm displayed by the hero in cherishing the single thought of carrying out the dharma, i. e., fulfilling the mandates of his royal father". Prof. Dhruva, however, gives the prime importance to Karuna rasa, and we think that the main sentiment is the pathetic one; every incident in the play goes to help it in some way or the other. The interlude to the third act comin g. immediately after the death of Dasaratha is intended to relieve the tragic atmosphere to some extent by supplying us with humour. There are a number of instances of various figures of speech in this, the largest, and one of the best productions of Bhasa. We content ourselves with citing here a few notable examples of some figures. It is remarkable that Rama is always compared with the moon in this play. The valkala incident provides with Tadgunalamkara (p. 12 ) and Sasandeha alamkara (I. 9): adarsa valkalaniva kimete suryarasmayah | hasitena parijnatam krideyam niyamasprha || 1 Johnston, Indian Antiquary, 62, p. 99. 2 Prat., Intr., pp. 2-3. 3 Pratima, Ahm., Intr., pp. 6-7. 4 Cf. Devdbar, Pratima, Poona, 1930, notes, p. 61.

258 Laksmana's mistaking Bharata for Rama on account of the similarities of their forms (IV. 8) is another fine instance of Sasandeha. 1.8 is a beautiful illustration of Anumanalamkara : kana svarapahrtabhusana bhunnapasau samtrasitabharanagauratalau ca hastau | etani cabharanabharanatani gatre sthanani naiva samatamupayanti tavat || Bharata's anticipations on reaching Ayodhya supply us with Svabhavokti : patitamiva sirah pituh padayoh strihyatevasmi rajna samutthapitah | svaritamupagata iva bhratarah kedayantiva mamasrubhirmatarah || sadrsa iti mahaniti vyayatasceti bhrtyairivaham stutah sevaya | parihasitamivatmanastatra pasyami vesam ca bhasam ca saumitrina || 3 .3 || anapatya vayam ramah putro'nyasya mahipateh | vane vyaghri ca kaikeyi tvaya kim na krtam trayam || 2 .8 || is Paryayokta, and the description of the world as seen from a running chariot ( III. 2), reminding one of a similar verse in the Vikramorvasiya ( I. 5; cf. also Sakuntala, I. 9 ) is an Utpreksa. Dasaratha's condition at the separation of Rama (II. 1) is also a beautiful Utpreksa : meruscalanniva yugaksayasannikarse sosam vrajanniva mahodadhiraprameyah | suryah patanniva ca mandalamatralaksyah sokad bhrsam sithiladehamatirnarendrah || The devoted wife following her Lord through thick and thin is effectively described in the following Arthantaranyasa ( I. 25 ) : anucarati sasankam rahudose'pi tara patati ca vanavrkse yati bhumi lata ca | tyajati na ca karenuh pankalanam gajendra vrajatu caratu dharma bhartrnatha hi naryah || The different aspects of the valkalas as required in different circumstances are cleverly expressed in I. 28, an instance of Malaparamparita Rupaka : tapahsangramakavacam niyamadviradankusah | khalinamindriyasvanam grhyatam dharmasarathih ||

259 Bharata's comparing himself to a thirsty traveller going to an empty river is a beautiful Upama (III. 10): ayodhyamatavibhutam pitra bhratra ca varjitam | pipasarto'nudhavami ksiyatoyam nadimiva || Sita's penance of watering plants (V. 3) comparable with a similar verse in the Sakuntala (I. 16) illustrates Upama, Arthantaranyasa and Sahokti : yo ssyah karah sramyati darpane'pi sa naiti khedam kalasam vahantyah | kastam vanam strijanasaukumarya sama latabhih kathinikaroti || Visvanatha in his Sahityadarpana (p. 44, Kane's edition) has given a verse similar to Prat, II. 12, as an instance of Aprastutaprasamsa. The verse there reads: dhanyah khalu bane vatah kahara sparsasitalah | ramamindivarasyamam ye sprsantyanivaritah || A reference to the subhasitas given in an appendix will also exemplify many Arthantaranyasas, Drstantas, Upamas, Rupakas, Aprastutaprasamsas, etc., from all the plays of the group. Critical remarks. The Prat is an important work of Bhasa in that it has converted many a pro-Bhasa scholar into an antagonist. Prof. K. Rama Pisharoti who was a believer in the Bhasa theory began to doubt its authenticity on coming across the peculiar genealogy of the Raghu family given in the Prat, which he took to be due to Kalidasa's influence." He found further support in the various sastras mentioned by Ravana; and later on in the Pratima Grhas (statue-houses) also, which he takes to be due to the Southern custom." Now, with regard to the genealogy, we have already shown that Bhasa need not necessarily be indebted to Kalidasa for that. The same genealogy is found in the Harivamsa, the Brahmapurana and the Padmapurana. Medhatithi's Nyayasastra has been shown to be a book on logic and not the commentary on Manusmrti; and the custom of erecting statue-houses obtained in the North also. The discovery of human heads and statues among the Mohenjo-Daro excavations proves the custom of erecting 1 Quarterly Journal of the Mythic Society, 13, pp. 603-604. 2 Quarterly Journal of the Mythic Society, 14, p. 47; Bulletin of the School of Oriental Studies, 3, p. 108 n 2. 3 Cf. Paranjape, Pratima, Intr., pp. XXXV-XXXVI.

2 260 We statues of men, as distinct from images, to be one of hoary antiquity. In the Prat, as in the Ramayana, the whitewash, the flowers and other preparations in connection with the statue-houses do not countenance the southern origin and a late date for the Prat. have discussed these points at length earlier in this book. Prof. Pangu objects to some of the innovations by Bhasa as not being skilfully executed and as being contrary to life. The sraddha episode has been given as an instance. As compared to the Ramayana contrivance to make Rama leave Sita in the Asrama, Bhasa's picture is certainly superior as it brings the two adversaries face to face, and presents Rama as going out for the purpose of securing the choicest offering to his father at the sraddha ceremony, emphasizing Rama's devotion to his father. With regard to characterization we have shown. that there is a substantial attempt by the poet at elevating the characters. Prof. Pisharoti is quite right in bringing out the noble traits in Bharata's character and pronouncing them to be quite in keeping with the Indian mentality. In Making a survey of the Prat, act by act, we are wonder-struck by the artistic development of the plot by skilfully presenting the familiar incidents in a different light, and by the talent of the poet in bringing various dramatic incidents and ironies, and in raising the passions to high tensions and then giving them a new turn. the first act is brought out the irony of situation created by the valkalas, which, put on by Sita for mere fun, prove to be the dress for herself and for Rama and Laksmana for a long time to come. The incident enhances the tragic pathos in its cumulative effect. The fruits of Kaikeyi's part in the affair, viz., the king's swooning and his sanctioning Bharata's coronation and Rama's exile, are gradually introduced, greatly enhancing the dramatic effect. Rama's justification of his mother's conduct tones down the passion in some measure, but the entry of angry Laksmana with his retort to the elders: reminding one of Bhima in the Veni, again raises the tension to a high pitch. It is calmed down again by the natural composure with which the trio accepts the tragic. 1 Mohenjo-Daro and the Indus Civilization, pp. 44, 356-360. 2 Chitramayajagat, Poona 1927, p. 475. 3 Quarterly Journal of the Mythic Society, 13, p. 606.

261 66 2.9 situation. The second act depicts in truly dramatic style the passing away of Dasaratha and supplies, according to Prof. Pisharoti, "the only purely tragic picture in the whole range of Sanskrit dramatic literature." Here again, Here again, as already noted in the Dgh and Bal, the incidents are described as reaching a climax a number of times, each being followed by some relieving feature. In In this act, each stage resulting in the swooning of the king, who is shown as temporarily reviving twice, prepares us for the final catastrophe ending in the king's death. The king's utterances in this scene enhance its tragic effect. The silent message of the trio brought in by Sumantra, viz. (II. 17): kamapyarthe ciram dhyatva vaktum prasphuritadharah | baspastambhitakanthatvadanuktvaiva vanam gatah || is the most expressive one, rarely equalled in dramatic literature. It shows that verbal expression is insufficient to adequately describe the feelings: they can be experienced only by the heart,-they are only. Dasaratha's condition at the separation of his sons and daughter-in-law stands comparison with the heart-broken king Lear shocked by the scornful and contemptuous treatment of his selfish and cruel daughters. Immediately after depicting the tragic death of Dasaratha, is introduced a humorous scene between a warrior and Sudhakara (the whitewasher), which may be compared with the entry of the porter and his subsequent speeches with Macduff in the Macbeth (Act II, Scene 1) following the murder of Duncan. The third act is the pivot of the whole drama from the point of dramatic technique. The picture, the charioteer draws of Dasaratha's condition is a masterpiece ( III, 1). bharatah- sutah- bharatah- sutah- bharatah sutah- bharatah- piturme ko vyadhih hrdayaparitapah khalu mahan | kimahustam vaidyah na khalu bhisajastatra nipunah || bhumau nirasanah | kimaharam bhunkte sayanamapi kimasa syad 1 Quarterly Journal of the Mythic Society, 12, pp. 62-63.

262 sutah bharatah daiva sphurati hrdayam vahaya ratham || Bharata's mental anguish is also beautifully described. The news news of Dasaratha's death is very cleverly and dramatically conveyed to Bharata through the contrivance of the statue-house, and the temple priest bluntly tells him of Rama's exile and Kaikeyi's part in the whole affair. A reference to the plot of the Prat given above will clear everything in this respect, bearing ample testimony to the skill and wonderful knowledge of human psychology displayed by our poet. The queen-mothers are introduced at the opportune moment and Bharata's resolve to disown his mother and to follow Rama in the forest is gradually made known. Bharata's scorn and the harsh treatment meted out by him to his mother (Act III, pp. 69-73; Act VI, pp. 117-118) remind one of the similar treatment of Gertrude at the hands of Hamlet (Act III, scene 4). The meeting of the brothers brings out the best traits in the character of Bharata. There is not much of action in this act%; there are no stirring incidents, no dramatic contrivances, the whole atmosphere is subdued. The main concern of the poet in the fourth act is character-delineation and he has successfully achieved it by means of character and passion contrast. This act is important from another point in that the genealogy of the Raghus mentioned in this act, as already stated, sowed the first seeds of suspicion in the mind of Prof. Pisharoti. The characterization again is at the root of the changes introduced in the next act, which presents the blind lover (viz., Rama) of the Ramayana as the ideal son, motivated by the desire to offer a rare oblation at the sraddha by hunting the golden deer. Ravana appears as an authority on the ancient sciences and in bringing the two rivals together, the poet has shown great dramatic talent. Both are shown on a higher plane of character than their Ramayana counterparts. The events leading to the final catastrophe are skilfully marshalled and there is much of action and movement in this act. The novel way of acquainting Bharata with Sita's abduction is finely effected and again the noble aspects of Bharata's character are effectively delineated. With righteous indignation he confronts his mother, but like a dutiful son he accepts her

263 explanation though it does not satisfy him. The poet has tried to absolve Kaikeyi but her motives fail to exonerate her from the guilt. There is not much of action in this act. The final act brings together the whole Raghu family after Rama's vanquishing Ravana, which is briefly referred to, for Rama's coronation in the penancegrove. For this departure from the epic in effecting the coronation in the Tapovana, there does not appear to be any propriety or special reason unless it be to show Kaikeyi's delight in Rama's coronation and her desire to see it gone over again at Ayodhya. There is a substantial fall in the poet's artistic skill this act appears to be quite flat. 66 2 According to Dr. Keith, the Prat, in common with the Abh, is a "dreary summary of the Ramayana," and he further states that "the author's resource in incident is remarkable by its absence," and that the characters are stereotyped and dull.' We have shown above the innovations effected by the poet in the incidents and characterization of the epic, and they counter Dr. Keith's criticism. Further, Dr. Winternitz says with regard to the Prat and the Abh that compared with other Rama dramas, for instance. those of Bhavabhuti, these two plays strike us by the skill with which the poet has created the dramas full of action out of the epic story". Prof. Dhruva is certainly right in his inference that the Prat was written by the poet in haste; but we do not think it was specially written to celebrate the coronation of his patron king. Probably it was intended to be staged on some special occasion, and the poet's obvious hurry to complete the book within a definite period is glaringly apparent in the last two acts of the play. The deserted Ayodhya is beautifully described in II. 2: nagendra yavasabhilasavimukhah sastreksana vajino hepasunyamukhah savrddhavanitabalasca paura janah | tyaktaharakathah sudinavadanah rdanta uccairdisa ramo yati yaya sadarasahajastameva pasyantyami || 1 Sanskrit Drama pp. 101, 104-105. 2 See also V. Ramayya, Quarterly Journal of the Mythic Society, 17, pp. 130-136. 3 Problems, p. 112. 4 Pratima, Ahm., Intr., pp. 24-25; also Paranjape, Pratima, pp. 80-81; 83, 87, 88, 91, 93, 94, 96, 97, 103, 126, 135, 140, 156, etc. clearly show that somehow or other the poet could not give final touches to the play.

264 Rama's sorrow in the forest on the anniversary day. is pathetic: phalani drstva darbhesu svahastaracitani nah | tatastatrapi roditi || smarito vanavasam ca na saknomi rosam dharayitum in similar situations appears in the Dgh (p. 69), the Abh (p. 27), and the Prat (p. 30). We have already referred to the staging of some scenes in the Prat while dealing with Bhasa's stage.