Jivanandana of Anandaraya Makhin (Study)
by G. D. Jayalakshmi | 2019 | 58,344 words
This page relates ‘Analysis of Shringara-rasa’ of the study on the Jivanandana (in English) which is a dramatic play written by Anadaraya Makhin in the 18th century. The Jivanandana praises the excellence of Advaita Vedanta, Ayurveda (medical science) and Dramatic literature as the triple agency for obtaining everlasting bliss.
Analysis of Śṛṅgāra-rasa
The dramatist has presented the Śṛṅgārarasa also in this play in which the hero aims to procure a healthy body and through that liberation from saṃsārabandha. However, wherever this rasa has been applied, it is done so by the author in a lovely and pleasing manner.
(i) In the second Act of the play, Kāsa, carrying a message from Yakṣmā to Pāṇdu, unexpectedly finds the presence of his newly married second wife Chardi, on the stage. Expressing his surprise, he admires her presence and recollects the romantic moments he had had with her.[1]
(ii) At the end of the Śuddha Viṣkhambha, with which the third Act opens,voices of the bards are heard announcing the onset of dawn and the moonset; both the verses[2] have the tinge of Śṛṅgāra. The third verse describing men and women waking up after a happy night, is a fine presentation of Śṛṅgārarasa.[3]
(iii) A painting on the side wall of the royal path exhibits lovers in embrace; the description of the painting and its effect on the passers by presents a fine sample of Śṛṅgārarasa.[4]
(iv) The delineation of a young lady inviting a way-farer who had been bowled over by her beauty, to a cool resting place in the nearby river bank, is a good sample for this rasa.[5]
(v) In the fourth Act, the king with his queen visit the royal garden for swing-sport. They enjoy the beauty of nature in and around that place and the description of natural scenary are intertwined with Śṛṅgārarasa.[6]
In this very serious philosophical and allegorical play, the skillful dramatist creates some occasions to highlight erotic sentiment. For this he utilizes the suitable natural descriptions too which makes the readers appreciate them much.
Footnotes and references:
[1]:
II.2-3:
pravālamṛdulādharaprakaracārubimbaprabhā hṛtāhṛtavilocanāṣjanaviśeṣadṛśyānanā |
mayurapadakasphuratkaṭhinatuṅgapītastanī taraṅgayati kautukaṃ taruṇimaśriyā cetasi ||
ślathajaladharajālaśliṣṭasśītāṃśubimbān ābhinavamukurāvirbhūtamuktākadambān |
darataralitacakradvandvakhelanmṛṇālān vivaśahṛdayamasyā vibhramānānvabhūvam ||
[2]:
III. 4:
patyavastaṃ vrajati vigalaccaṣcarīkāṣjanāśruṃ trāsānmīladdaladṛśamito rāgamarkaḥ kareṇa |
drāgāliṅkedapi kumudinīmityapanyāyaśaṅkī kūkūśabdaṃ visṛjati javāt kukkuṭaḥpūrvameva ||
[3]:
[4]:
[5]:
IV.7:
yūnā saspṛhadṛśyamānakabarībhārorupīnastanī pānthenādhvani śāligopavanitā śūnye sphuradyauvanā |
āsannāṃ nibirīsavāraṇabusāpatrāpanītātapāmārāmakṣitimāpagātaṭagatāṃ sākūtamālokate ||
[6]:
IV. 28-29:
krīḍaṣcikkīradantakṣatavivaragalannālikerāmbudhārāsaṃpūrṇāvālapupyatphalaḍahukadalīdāḍimīmātuluṅgā |
saṃpuṣyatpūgapālīparimalamilitotphullamālatyudaṣcatsaurabhyāghrāṇalabhyaśramaśapathikā seyamārāmasīmā ||
kuravakakalikā vilokamāne taruṇapike mṛdu gāyati dvirephe |
naṭati kila muhuḥ kṛtopadeśā malayamahīdhrabhavena mārutena ||