Hanuman Nataka (critical study)
by Nurima Yeasmin | 2015 | 41,386 words
This page relates ‘Natyokti (dramatic technique) in the Hanumannataka’ of the English study on the Hanuman-nataka written by Shri Damodara Mishra in the 11th century. The Hanumannataka is a Mahanataka—a fourteen-act Sanskrit drama dealing with the story of Rama and Hanumat (Hanuman) and presents the events in the lifes of Rama, Sita, Ravana and Hanuman (the son of Anjana and Vayu—the God of the Winds) based on the Ramayana story.
12.4. Nāṭyokti (dramatic technique) in the Hanumannāṭaka
Prakāśa
According to Viśvanātha Kavirāja, the speech which is made audible to the whole of the spectators, as well as the characters present on the stage is called Prakāśa.[1] Dhanañjaya also mentions the same view. This type of deliverance of dialogue is in abundance in the Hanumannāṭaka
Svagata
According to Viśvanātha, the speech which is supposed to be inaudible to the character present on the stage in a drama is named Svagata.[2] In a drama, the words reflecting the thinking or emotion of an actor only, but not shared with others, are stated to be termed as Svagata. In the Daśarūpaka, Dhanañjaya also maintains the same view as that of Viśvanātha’s.[3]
Śri Dāmodara Miśra resorts to this technique in many a times in the Hanumannāṭaka[4]
Ākāśabhāṣita
According to Viśvanātha, whenever an actor says, “what do you say?” and continues as if listening something, it is then called ākāśabhāṣita.[5] Daśarūpaka also mentions this in the same way.
This dramatic device is applied by Śrī Dāmodara Miśra in the Hanumannāṭaka in many situations.[6]
Bharatavākya
Bharatavākya is an important part of Sanskrit drama. The term Bharatavākya is the combination of Bharata and Vākyaṃ. Bharata is the renowned sage who, as the stories go, was the ‘manager of the gods’ drama and founder of the science of music and dramaturgy. His date must be of hoary antiquity, as he is often referred to as ‘muni’. His work is known as ‘Bharatanātyaśāstraṃ’. It is mainly a metrical composition divided into 38 chapters and deals with rules and precepts about everything regarding dramatic composition. Hence ‘Bharatavākyaṃ’ is such an utterance as that sage would recite. Further the word Bharata is taken to mean ‘an actor’. In Sanskrit dramas, the verse or verses applied as a dialogue of the hero or anyone of the main characters, at the end of the play, is called Bharatavākya. This verse (or verses) is delighting to all the actors present on the stage and expresses prayer or blessings for the wellbeing of all.[7]
The Hanumannāṭaka is lacking in this important dramatic element also, in its true spirit. However, the verse ramyam[8] etc.presented as a speech of Lakṣmaṇa, one of the main characters, may be regarded as the Bharatavākya of the play. In this verse, the supremacy of Rāma as the most venerable divinity has been asserted. Further, the gratification of desires of a devotee of Rāma is declared. Hence this verse deserves the status of the Bharatavākya of the play, to an extent.
Footnotes and references:
[1]:
sarvaśrāvyaṃ prakāśaṃ/ Sāhityadarpaṇa, VI. 138.; Daśarūpaka I.64
[3]:
syādaśravyam svagataṃ mataṃ / Daśarūpaka,I. 64
[4]:
[5]:
[6]:
ākāśe-mandodarī raghuśarāhatarākṣasendraṃ cumbiṣyati tvamapi vetsyasi tatra rāmam// HanumannāṭakaX.22
[7]:
raṅgāvatāro sailuṣo naṭo bharato-bhārotau iti
vācaspatiḥ nāṭakabhinaya-samaptau naṭena
sāmājikebhyaḥ āśirdīyate.prastāvanāntaram
naṭavākyabhāvāt bharata-vākyamityuktiḥ—Abhijñānaśakuntala, p.261