Study Conducted on Veṇīsaṃhāra

The efforts made by different scholars to explore Veṇīsaṃhāra in different dimensions are reckoned below:—

Ratnamayi Devi Diksit in her works “women in Sanskrit Dramas” discussed the female characters of Veṇīsaṃhāra in an elaborate manner.

Veṇīsaṃhāra is an extraordinary drama in Sanskrit literature. The importance of the drama and dramatic skills of Bhaṭṭanārāyaṇa are highly discussed in different works. However, substantial research works are not available on Veṇīsaṃhāra.

Maurice Winternitz in his “History of Indian literature” Vol–III has mentioned the main source of the drama Veṇīsaṃhāra and briefly given a clear picture of the drama till the war description at the end. According to him the popularity of Veṇīsaṃhāra among the scholars is possibly based on its language alone but not because of the subject-matter. However, the Indian rhetoricians have noticed certain short comings in this drama Veṇīsaṃhāra.

M. Krishnamachāriar in his “History of classical Sanskrit literature” has mentioned that the drama is taken from the incident of “Sabhāparvan” of Mahābhārata. As a heroic drama it is predominated by heroic sentiment with certain inclusion of pathos. According to him dignity of thought and for easy expression the last Act deserves high appreciation. He has also mentioned the names of rhetoricians who have qauoted Veṇīsaṃhāra considering it as a most illustrious work.

“A history of Sanskrit literature” by Arthur A. Mac Donell, has highlighted the theme of the Veṇīsaṃhāra and explained there how Duhśāsaṇa dragged Draupadī in the assembly Hall. At the same time he has mentioned the date of the author Bhaṭṭanārāyaṇa and also referred the writings of Rājaśekhara and his date. A McDonell thinks that though Bhaṭṭanārāyaṇa was not prominent for his poetic genius, but the drama was a great favourite in India because of great devotion of Śrī Kṛṣṇa and glorification of Kṛṣṇa cult.

“The Sanskrit drama” of A. Berriedale Keith, also discussed the date of Bhaṭṭanārāyaṇa in detail. A. B. Keith mentioned the tradition which told that Bhaṭṭanārāyaṇa was a Brāhmiṇ who came from Kānyakubja to Bengal being the invited by Ādisura Ādityasena, who was alive in 671 A. D.

Sushi Kumar De in his “Treatment of love in Sanskrit literature” has referred that Veṇīsaṃhāra is the second drama which does not delineate love sentiment, the other drama is Mudrārākṣasaṃ.

“The cultural heritage of India”. Vol-V, languages and literature also mentioned about Veṇīsaṃhāra while discussing sentiments other than love”. Accordingly to work Veṇīsaṃhāra is undoubtedly a popular drama without love interest. The Veṇīsaṃhāra is a great drama, which very tactfully managed the great -war of Mahābhārata within a six limited Acts. The drama is enough of fire and energy, horror and pathos but the style is laboured and which is fully undramatic. The drama is a good example of half poetic and half dramatic effort, which is a peculiar kind of composition. It may be called declamatory drama. So it bears the merits and defects of this class or work.

Moreover in the column of Bhaṭṭanārāyaṇa the theme is given briefly and again the Veṇīsaṃhāra and its features are discussed.

“The concept and treatment of dream in Sanskrit literature” authored by Dr. Swapna Devi. In this text in the column -Dream in the Veṇīsaṃhāra: - dream episode of Bhānumatī is very clearly described by the author, which has been occurred in the 2^nd Act of the drama Veṇīsaṃhāra. The author has also narrated the story along with the belief of auspicious and inauspicious happenings.

Gaurinath Sastri in his “A concise history of classical Sanskrit literature” has referred Bhaṭṭanārāyaṇa and mentioned the probable date of flourishing of dramatist to be 8^th century A. D. basing on the quotation of Vāmana and Ānandavardhana in their works. Then he mentioned that drama is written mainly basing on Mahābhārata and also mentioned the number of Acts in the drama like other writers. He also mentioned the theme briefly and the main sentiment of the drama to be heroic. According to him the first three Acts of the drama are full of action i.e. the predominant emotion there is enthusiasm. Moreover he also quoted the criticisms about Bhaṭṭanārāyaṇa made by other critics.

There is a book “Bhaṭṭanārāyaṇa” by Asoke chatterjee Sastri which very elaborately discussed Bhaṭṭanārāyaṇa’s Veṇīsaṃhāra. There in the first Chapter i.e., in the introduction the author has discussed Bhaṭṭanārāyaṇa s date basing on references of other rhetoricians on him. And there the author does not forget to refer Bhaṭṭanārāyaṇa’s devotion to Viṣṇu and Śiva and about his knowledge on orthodox philosophical schools or systems like Śāṃkhya and Yoga. Bhaṭṭanārāyaṇa is also appreciated for his skill in prosody and rhetorics. Moreover A. C. Sastri also discusses other writings of Bhaṭṭanārāyaṇa. Śāstri mentions that Bhaṭṭanārāyaṇa was credited with authoriship of Jānakīharaṇa and Purvapithīkā of Daśakumāracarita. The author has also referred that the later period and contemporary period do not accept it. In the 2^nd chapter i.e. Veṇīsaṃhāra there the back ground of the story has been narrated and then the theme of the six Acts of the drama briefly chapter three described the source, Devi ations and additionsl made in the drama. In the chapter four there is discussion on the Veṇīsaṃhāra and the rules of Dramaturgy involved in it. The Dialogues, Hero, Sentiment and Characterizations are given due attention in this chapter.With so many examples the place of Bhaṭṭanārāyaṇa in Sanskrit Literature is narrated in the 5^th chapter along with style, aesthetic value of the Drama. Bhaṭṭanārāyaṇa’s contribution to the Cultural Heritage of India is found in the 6 the Chapter. And the last i. e. 7^th chapter gives the list of Quotable Lines from the Veṇīsaṃhāra.

“A companion to Sanskrit Literature” is a book authored by Suresh Chandra Banerji (Motilal Banarassidass Delhi, Varnasi, Patna, Bangalore, Madras). In this book the author discusses Bhaṭṭanārāyaṇa as the author of Veṇīsaṃhāra and says that probably he has been flourished between the 8^th and 9^th Century A. D. And Bhaṭṭanārāyaṇa is supposed as the writer of the introduction of Daśakumāracarita.

In “The theory of Rasa in Sanskrit Drama” by Hariram Mishra, the author discusses the Rasa in Veṇīsaṃhāra. The author of the book feels that the excellence of Principal Rasa i.e. Vīra rasa in Bhīma and the Bhayānaka in the enemies are depicted by Bhaṭṭanārāyaṇa in a very appealing manner. Moreover the author thinks that the intervention of Duryodhaṇa’s love with Bhānumatī in the 2^nd Act is not relevant rather spoils the scope of a happy and pleasant delineation of love sentiment there.

“Sociology of Sanskrit Drama” is a major work on Sanskrit drama. This work is authored by Prof. Bhagirathi Biswas. This book discusses along with other Sanskrit dramas on the sociological aspects of Veṇīsaṃhāra. While doing that the author discussed prevailing customs, ritualistic culture, language and value system and their co-relation with Veṇīsaṃhāra.