Introduction to the Prakaraṇa type of Drama

The West has an impressive and illustrious tradition of dramatic culture for a long period. However, it has not concentrated on the types of dramatic genres, as India has done. They knew only two realistic genres, i.e. Tragedy, which was introduced first and Comedy, which was introduced later. Then after a gap of few centuries, the Satyr type of drama originated from the lap of both tragedy and comedy. It is a mixed type of drama. Creating genres is not very important, because genres are nothing but different types of dramatic narrations and performances. That is why Western dramatists have not given much importance to the genres or narrations. They believe in action, such as tragedy and action is originated through the imitation. That is why Aristotle states “an imitation of an action that is serious, complete and of certain magnitude” and “through pity and fear effecting the proper purgation of these emotions (Poetics.V.2-3).” Again, he states that “an imitation not only of complete action, but of events inspiring fear and pity (Poetics, ix.11).” Thus, Aristotle states that tragedy is the only dramatic action where we get both fear and pity.

It should be observed here that the tragedy originated from the terrible story. However, comedy originated from the lower type of characters possessing loss or defeat and ugliness; but without pain. Thus, there is no such particular genre, i.e. Prakaraṇa type of drama in the Western dramatic tradition. However, it has produced plenty of imaginary dramas, such as Shakespeare’s “Mid Summer Nights Dream”, Aristophanes”, “The Banqueters”and “The Clouds.”

However, in the Indian classical dramatic tradition, there are ten types of dramatic genres, i.e.

1. Nāṭaka,
2. Prakaraṇa,
3. Samavakāra,
4. Bhāṇa,
5. Ḍima,
6. Īhāmṛga,
7. Prahasana,
8. Aṅka,
9. Vyāyoga and
10. Vīthī.

The nature or genre of drama depends on the types of its vastu, netā and rasa involved. Therefore, Prakaraṇa is a drama, as it involves entire or partial imagination of the poet.

Surendranath Shastry (1961, Laws of Sanskrit Drama, p.15) says that:

“Prakaraṇa is that class of shows (rūpaka), in which a poet plans the entire plot of the play and creates out of his imagination its hero and other characters as well.

The title “Prakaraṇa” is derived as:

“prakarṣeṇa kriyate kalpyate vastu yasmin iti prakaraṇam”.

This invention of the plot could be entire or partial. Therefore, the originality of the plot is the main feature of a Prakaraṇa, which alone distinguishes it from the other types of dramas.”

Now as regards the plot: The plot of Prakaraṇa should be humorous, because it contains low types of characters like Dhūrta, Viṭa and Śakāra type of characters.

According to the views of Keith (Sanskrit Drama, p.345),

“Prakaraṇa is a bourgeois comedy, a comedy of manners of a rank bellow royalty.”

However, it depends on poet that what is his plot. Sometimes it contains erotic sentiment because of the involvement of courtesans; thus, the mode of Prakaraṇa is embellished (sukumāra). It should be noted that it does not contain cultural significance, as it deals with lower class of characters. It is a very different type of Prakaraṇa.

The theme of the debate held between the two preceptors of different sects constitutes the subject matter of the drama. It is partially imaginary, because some characters in it are imagination of poet and it is partially historical, as some characters are taken from history.

Some other available or unavailable Prakaraṇas are Prabuddharauhiṇeya of Rāmabhadra, Mṛcchakaṭika of Śūdraka, Mālatīmādhava of Bhavabhūti, Kaumudīmitrānanda of Rāmacandra, Anaṅgasenāharinandinī of Śrīśaktikumāra, Citrotpalāvalambitaka of Amātya Śaṅkuka, Puṣpabhūṣitam of Vanniḍanāyaka, Padmāvatīpariṇaya and Rauhiṇīmṛgāṅka of Asmadapajña.