Mudrarakshasa (literary study)
by Antara Chakravarty | 2015 | 58,556 words
This page relates ‘Conclusion’ of the English study on the Mudrarakshasa: an ancient Sanskrit dramatic play (Nataka) authored by Vishakhadatta which deals with the life of king Chandragupta. This study investigates the Mudra Rakshasa from a literary perspective, such as metrics, themes, rhetorics and other poetical elements. Chandragupta ruled the Mauryan Empire during the 4th century BCE, hence this text can also be studied as a historical textbook of ancient India.
3. Conclusion
In the following a chart has been included to show the list of meters has been employed in different verses:
| Name of the meter | No, of syllables/ syllabic instants | Verse no. where employed | No. of employment |
| anuṣṭubh | 8 | I.3,16,23,24;II.20,22,23;III.23,32;IV.8, 9,10;V.14,17,2,2, VI.15,18; VII.7,8,12,13,17,18; | 22 |
| indravajrā | 11 | V.8 | 1 |
| upajāti | 11 | II.2; IV.13 | 2 |
| vaṃśasthavila | 12 | IV.14 | 1 |
| praharṣiṇī | 13 | I7; III.12; V.13 | 3 |
| rucirā | 13 | II.3; V.6 | 2 |
| vantatilaka | 14 | I.8,10,26; II.6,8,17; III.9,17,18,31,33; IV.6,11,17; V.7,16; VI.7,13; VII.14 | 19 |
| mālinī | 15 | III.15,25; VI.1,3 | 4 |
| śikhariṇī | 17 | I.13; II.7,10; III.3,4,7,8,11,16,29; V.3,4,12; VI.6,11,12,14,17 | 18 |
| hariṇī | 17 | III.6; IV.2; VI.20 | 3 |
| pṛthvī | 17 | VI.16 | 1 |
| mandākrāntā | 17 | VI.19 | 1 |
| śārdūlavikrīḍita | 19 | I12,14,15,22,25; II.4,5,9,12,13,15,16, 18,21,23; III.1,2,5,13, 14,26; IV. 5,15; V.5,10,15,18,20,21,24; Vi.5,8,10; VI.4,5,6, 9,15,16 | 37 |
| suvadanā | 20 | IV.16 | 1 |
| sragdharā | 21 | I.1, 2, 11, 20; II. 14; III. 10, 19, 20, 21, 22, 24, 27, 28, 30; IV.3, 7, 12, 22; V.11,19,23; VI.9,21; VII.19 | 24 |
| mālyabhāriṇī | 11/12 | VII.11,12 | 2 |
| puṣpitāgrā | 12/13 | I.4 | 1 |
| āryā | 30/27 | I.5,6,9,17,18,19,21; II.19;IV.1,18,19,21; V.1; VI.4; VII.1, 2, 3 | 27 |
| gīti | 30/27 | II.1; IV.4; V.9; VI.2 | 4 |
From the above discussions we have seen that Viśākhadatta is an expert in employing different types of chandass. He has incorporated here Samavṛttas, Ardhasamavṛttas, Viṣamavṛttas and also Mātrāchandass. Moreover the chandass like Anuṣṭubh, Vasantatilaka, Śārdulavikriḍita, Sragdharā, which are more favorable for Vīrarasa are found here mostly. As Mudrārākṣasa is a drama having Vīra as its predominant sentiment, the use of the above mentioned meters have made the drama more palatable one from the view point of aucitya. Finally, we can conclude with the words of Kṣemendra that just as a garland duly knit of proper-sized pearls looks enchanting when put on appropriately, so does a composition with judicious usage of meters, befitting the context and free from blemish, becomes appealing.
Cf.—
prabandhaḥ sutarāṃ bhāti yathāsthānaṃ vivecakaḥ/
nirdoṣairguṇasamyuktaiḥ suvṛttairmauktikairiva//[1]
Footnotes and references:
[1]:
Suvṛttatilaka, III.1