Chapter 16: A study in retrospect

CHAPTER XVI A study in retrospect 751 The twelve dramas critically studied in the preceeding chapters present a variety in themes, characters, emotional, literary and dramatic content and they are modelled on the standard pattern of the classical Sanskrit drama. Each of them however bears a distinct stamp of its own. The authors of these dramas have drawn inspiration from the epics notably Valmiki Ramayana and Puranas like Harivamba and Sanskrit dramas of such wellknown authors like Kalidasa, Bhavabhuti and Murari. Kavyas like Raghuvansa, Kumara Sambhava and Megha Sandesa and prose works like Kadambari have also influenced the works. Ascaryacudamani of Saktibhadra dealing with the famous story of Sri Rama is noted for its characterisation and emotional, literary and dramatic appeal. The dramatist while adapting the story from the Valmiki Ramayana for his drama has made several importantand significant changes in the plot. In the first act, an important deviation from the epic is the heated discussion on the factors responsible for Sri Rama's exile, between him and his brother Lakshmana. This serves to bring to relief the difference in the characters of the two brothers. In the second act, while describing the

/Surpanakha episode, Saktibhadra makes a slight 752 departure from the epic. In the course of the tussle between Lakshmana and Surpanakha, the former is stated to have been carried away by the latter to the sky. This innovation, it maybe noted, serves to engender the sentiment of wonder in the drama. The abduction of sita taking place in the third and fourth acts of the drama, has also undergone certain important changes from what is described in the Valmiki Ramayana. The dramatist shows 'Surpanakha as personally taking part in the abduction of Site. By this significant change, he makes her more revengeful and cruel than her counterpart in the epic. Again, the ring and the crest jewel are endowed with superphysical powers. Further, Ravana and his charioteer appear respectively as Sri Rama and Lakshmana before Site while /Surpanakha appears as sita before Sri Rama while Marica assumes the guise of Sri Rama. These innovations introduced by 'Saktibhadra not only serve to enhance the sentiment of wonder in the drama but also to heighten its dramatic effect by depicting very thrilling and suspensive scenes. In the fifth act, the dream of Mandodari is described as against the description of Trijata's dream in the Valmiki Ramayana. This serves to introduce Mandodari in the drama. Her character as depicted by the dramatist

gives a good background to portray effectively the evil character of her lord Ravana. sitab fire ordeal described in the sixth 753 act has also undergone some significant changes from what is stated in the Valmiki Ramayana. Lakshmana is shown as bearing malice towards Site for her past conduct towards him. He for instance suggests to Sri Rama that sita should be made to undergo the fire ordeal to test her chastity. This with other remarks made by Lakshmana in the fire ordeal scene reveal the working of his mind. Likewise the characters of Hanuman and Sugriva have also undergone certain changes in the fire ordeal scene. Both fail toform a correct judgement of Sita's character and 'Sri Rama's mind. Against this background, the characters of Sri Rama and Sitaappear most glorious and outstanding. In the celestial party that comes to meet Sri Rama, Saktibhadra does not include Brahma and Mahendra as against the Valmiki Ramayana. But he introduces a new sage Narada in the party. His presence serves to clear the misgivings in Sri Rama's mind about Sita's character. The dramatist here makes capital use of the boon of Anasuya and he goes to make it the principal cause for 'Sri Rama's suspicion of sita. Thus we find that Saktibhadra while making deviation in the story from the epic keeps an eye on the sentimental and dramatic aspects besides

751. characterisation and in doing so, he shows a keen sense of propriety and sound judgement. Besides making the characters who are otherwise known in the Valmiki Ramayana more lively and realistic, 'Saktibhadra has introduced new characters like the charioteer and the ministers to Ravana, This he has done with a view to giving greater dramatic effect to the play. He has presented them as good characters in order to form an effective background to portray the evil character of Ravana. To endow his drama with greater dramatic effect, Saktibhadra makes splendid use of magic in several dramatic situations, vis. the weird appearance of Surpanakha and her awe inspiring act of carrying away of Lakshmana to the sky in the second act, the coming of demons in various guises and the effects of the wonderful ring and the miraculous crest jewel described in the third and fourthacts of the drama etc. As a result, we find the sentiment of wonder permeating the drama to such an extent that it occasionally appears to eclipse the main sentiment vira. An important point to be noted about Abcaryscudamani is that its several acts are stage worthy and can be successfully enacted in theatres. This accounts for its popularity with the Cakkyars. The style and diction in the drama also deserve

special mention. The poetry is charming and graceful. 755 The dialogues are short, simple and succinct. In brief, we find 'Saktibhadra showing his mark in the presentation and denouement of plot, characterisation, sentiment, dramatic effect, dialogue, diction and poetry. Pradyumnabhyudaya of Ravivarma Kulasekhara deals with the story of Pradyumna, his slaying the demon Vajranabha and marrying the latter's daughter Prabhavati. The story originally taken from Harivansa purina does not undergo many major changes while adopting it for the drama. Among the few changes brought about by the dramatist in the plot, the most significant and important is the merging of the role of 'Suchimukhi, the swan with that of Bhadranata. This he has done with a view to making the character of Bhadranata more important in the drama. Though acting under the overall direction of Sri Krishna, Bhadranata becomes the principal instigator of action in the drama. As in plot, the dramatist does not display any originality in characterisation also All the characters in the drama appear in the same light as they are seen in the Purana. The dramaas a whole singularly lacks in action and as such it cannot be enacted in a theatre with success. The dialogues bear freshness and liveliness. The poetry seems to be beautiful and good. In short, the drama does not come to a high level either in plot construction or characterisation or dramatic effect.

756 Sita Raghava of Ramapanivada deals again with the Ramayanastory. In describing the story of Sri Rama in the drama, the dramatist follows closely Valmiki Ramayana. But in doing so, he has not failed to introduce such features and new elements in the drama for enhancing the dramatic effect, the most importantbeing the introduction of Mayavasu. The introduction of Mayavasu in the drama has brought out not only some changes in the plot but also new and original scenes as seen in the second and fifth acts. The portrayal of the character of Mayavasu by the dramatist is very impressive and original. Pannivada presents the character in such a way that the entire action in the drama moves round him. In the second act, he comes disguised as Dasaratha to thwart the marriage of 'Sri Rama with sita. In the third act, he incites Parasurama to take action against Sri Rama for breaking the sacred bow of his preceptor. He then creates passion in Ravana for Sita. He sends a demoness by name Ayomulchi to Mithila to abort the coronation of Sri Rama. In the fourth act, he directs Surpanakha through Ayomukhi to abduct Sri Rama, sita and Lakshmana when they arrive in Dandaka. In the fifth act, appearing in the guise of Vajrangada before 'Sri Rams, Lakshmana and Sugriva he misrepresents to them the outcome of the mission of Hanuman to Lanka. In the sixth act, he tries to hoodwink sita by the magic of showing the heads

of 'Sri Rama and Lakshmana severed from their bodies. 757 Thus a study of the character of Mayavasu will disclose the fact that all the calamities that occur to Sri Rama have been caused by his mischief. Besides introducing the new character Mayavasu, Ramapanivada has tried to endow 'Sri Pama with a new and fresh feature not found in the Valmiki Ramayana. Sri Rama feels the prick of conscience in having killed Bali through covert means. By adding this novel feature, the dramatist has given a human tough to the entire characterisation of the hero. As against the super human Rama in the epic, the Rama in Sita Raghava appears essentially as an ordinary human being. As in Ascaryacudamani, Ramapanivada makes use of magic to create awe inspiring and thrilling scenes in the drama. The highly dramatic scenes in the second act of the drama such as the appearance of two Dasarathas and two Sumantras and the wordy duel between the pseudo Dasaratha and Visvamitra are master strokes from the pen of Ramapanivada and they go to illustrate his originality and dramatic skill. Unlike the various acts of Ascaryacudamani, the several acts of Sita Raghava cannot be successfully enacted on the stage, the reason being that there is very little action inthem. Only the second act is an exception to it. Ramapanivada is an adept in the usage of beautifuland ornate expressions. As against the sweet and mellifluous

words of Saltibhadra, Panivada uses compound and alliterative words. His poetry is charming and elegant. 758 Kamalinirajahemes of Furnasarasvati is unique in some respects. Itscharacters are natural phenomena.. The objects of nature are personified and endowed with human feelings and emotions. For instance, the proverbial liking of the swan (Hamsa) for the lotus (Kamalini) has been depicted as their love for each other. In the rainy season, the swans leave the lakes and the lotuses do not blossom. So the rain cloud (Kalamegha) and the wind (Puromaruta) are represented as their enemies. The desire of the elephant to eat lotus turns out to be the basis of rivalry with the swan in his love for the lotus. Since Sarat (Autumn) is the most pleasant time for the swan and the best time for the efflorescence of the lotus, itis depicted as their friend and well wisher. At the same time, it is described as the enemy of Kalamegha and Puromaruta since there will be no clouds at that time. Pampa (lotus lake) is treated as the mother of the heroine (Kamalini). The acquatic animals like crocodiles are said to be the soldiers of Pampa and they are sent to drive away the elephant chief of the Vindhya mountain. The elephants, it may be noted are traditionally said to be afraid of crocodiles. Again, Soudamini (lightning) is described as the consort of Kalamegha. The ancient conception of clouds drinking its waters from rivers etc.

759 is treated as Kalamegha entertaining illicit contacts with other women like the waves (vicimala ) whom he embrace and kiss. Though the play is thus original in conception, it is quite conventional in its execution. The hero and the heroine falling in love with each other, their longing for each other, their sufferings caused by pange of love, the intercession of friends who relieve their agony by various means, the destruction of their enemies who obstruct their union and finally their union in the presence of divine or holy persons are features generally met with in the plots of Sanskrit dramas who deal with love themes. The drama appears to be more a dramatic poem than a drame as there is much of narration and very little of action. It is therefore very difficult to be enacted on the stage. When considered as a poem, its merits are indeed high. It contains very fine pieces of poetry which have a beauty of their own. Vacunativikrama deals with the love story of king Vikrama (the author's patron king) and Vacumati. The plot follows the same pattern as met with in Sanskrit dramas having love themes like Ratnavali and Malavikagnimitra The hero (king Vikrama) loves the heroine (Vasumati). They undergo pangs of love. Several obstacles hinder their union. The hero for instance meets with stiff opposition from his first wife to his marrying Vasumati. Ultimately with the help of the

7601 The anchorite Bhadracandik, they are united. We do not find any originality either in plot or characterisation. character that appeals to us foremost in the drama is that of the Vidushaka. By his witty and at the same time subtle and penetrating remarks, he contributes considerably to the liveliness of the drama. The drama however does not cometo a high standard as for its stage-worthiness. It is marked by much of narration and very little of action. But considered as a poem, its merits are rather of a high order. The verses are beautiful and charming. Candrikakalapida is an exact imitation of Kalidasa's Malavikagnimitra. The theme, the plot, the characters and the composition are all modelled on Malavikagnimitra. Like the love story of king Agnimitra and Malavika in Malavikagninitra, we have in Candrikakalapida the love story of king Kalapida and Candrika. The characters in Candrikakalapida viz. king Kalapida, queens Lilavati and Padmini, Candrika, Prajnanavati and Calava remind respectively of king Acnimitra, queens Dharini and Iravati, Malavika, Kausiki and Gautama inalavikagninitra. Hence we do not find any originality either in plot or characterisation in Candrikakalapida. The drama is fit for enactment as there are certain scenes full of conflicts as in the fourth act. The poetry appears to be good.

761 Ratnaketudaya of Balakavi deals with the love story of king Ratnaketu and Lilavati. The plot is modelled more or less in the same fashion as seen in Vasumativikrama. There is nothing original either in plot or characterisation. The drama is unfit for enactment. Ramavarmavilasa, another drama of Balakavi deale like Ratnaketudaya with a love theme. As in Vasumativikrama, we have the dramatist's own patron as the hero of the drama. There is no novelty either in plot or characterisation. Like Ratnaketudaya, it is equally unfit for enactment. The poetry inthe two dramas do not come to a very high order. Kamalinikalahames is more or less an imitation of Kamalinirajahamsa with the difference that all its characters are not natural phenomena. There is nothing special to mention about the plot or characteriontion. In literary merito, it does not come to the high level of Kamalinirajahamsa. Balamart tandavijaya the only historical play produced in Kerala deals with king Martandavarman's conquest and his renovation of Sri Padmanabhaswany The temple. The theme it may be noted is undoubtedly unique not commonly met with in other Sanskrit dramas. Various historical facts are revealed from the drama character of Martandavarman strikes us for his valour and supreme devotion to Sri Padmanabhaswamy. The drama suffers from very little action and as such it cannot be enacted on the stage. The poetry seems to be good.

762 Purnapurusharthacandrodaya is the only allegorical play produced in Kerala.. As the name itself suggests, the key note of the drama is the attainment of salvation by the soul, symbolised by the marriage of king Delanova and Anandapakvavalli. The characters in the drama represent various philosophical tenets. The poetry in the drama though not of a high order is simple and charming. Subalavajra tunda, the only Satirical play found in the entire domain of Sanskrit literature deals with the love of Vajratunda and Subala. The plot is of the same pattern commonly found in Sanskrit dramas of love themes. But one striking feature in Subalavajra tunda is that all its characters are drawn from the animal world. A study of the drama will show that it has been written with the deliberate object of ridiculing dramatists who besides adopsing outmoded love themes for their dramas compose their work in a stereotyped manner. The vein of sarcasm running throughout the drama is brilliant and appealing. The poetry and the dialogues in the drama are also of a high order. d Thus a stury of the twelve dramas reveal many interesting features. All of them follow the common principles of dramaturgy as laid down in treatises like Natya 'Sastra, Dasarupaka and Sahitya Darpana. Many of them betray the influence of the dramas of Kalidasa, Bhavabhuti, Murari, Bhatta Narayana, Harsha, Rajasekhara etc. in their various aspects like plot, characterisation,

763 dramatic situations, diction and style. In Ascaryacudamani, the influence of 'Sakuntala, Venisamhara, Pratima and Abhisheka Natalas are seen in several dramatic situations as well as in diction. In Pradyumnabhyudaye, in the fourth act, the influence of 'Salmuntala is found in some dramatic situations. In Sita Raghava, the influence of 'Sakuntala, Venisamhara and of such well known Rama plays like Uttararamacarita, Mahaviracarita, Anargharaghava, Prasanna Raghava, Balaramayana, Hanumat Nataka and Janaki Parinaya are seen in several dramatic situations, ideas and diction. In Kamalinirajahamsa, the influence of the works of Kalidase like Meghasandesa, Raghuvamba and Vikramorvasiya is seen in ideas, dramatic situations and diction. In Vasumativikrama, we find the influence of 'sakuntala, Kumarasambhava and Ratnavali in phraseology, ideas and dramatic situations. In Candrikakalapida, the influence of Malavikagnimitra is so profound in plot, characterisation, dramatic situations and style that the former can be considered as an imitation of the latter. In Ratnaketudaya, the influence of 'Sakuntala is seen in some dramatic situations in its third act. In Ramavarmavilasa, we find the influence of Abcaryacudamani in a few dramatic situations. In Kamalinikalahamsa, the influence of 'Sakuntala and Kamalini rajahamon is seen in some dramatic situations and characterisation. In Purnapurusharthacandrodaya, the influence of Prabodhacandrodaya is seen in the theme, characterisation and a few dramatic situations.

764 In Ascaryacudamani, Pradyumnabhyudaya and Sita Raghava, the epic themes, as was seen, have been adopted with suitable modifications. These modifications have been effected by the dramatists in order to endow their dramas with greater dramatic effect as well as to impart novelty and freshness. In Abcaryacudamani and Sita Raghava, even the epic characters like Sri Rama have been subjected to change in characterisation. These changes have been brought by the dramatiste to make these traditional characters more lively and realistic. An important feature met with in the dramas under reveiw is the introduction of magic. In Ascaryacudamani and sita Raghava, we find that magic has been effectively and successfully employed to bring about thrilling and suspensive dramatic scenes. In Pradyumnabhyudaya, Vasumativikrama, Ratnaketudaya, Ramavarmavilasa, Purnapurusharthacandrodaya and Subalavajra tunda also magic has been introduced with the difference that it has been used less than what one finds in Ascaryacudamani and Sita Raghava. The characters in Kamalinirajahamsa are unique. They are natural phenomena. The objects of nature like the swan, the lotus, the lake etc. are personified and endowed with human feelings and emotions. Though the drama is cast in the conventional model or the classical Sanskrit drama like Vikramorvasiya having a love theme, it is however unique among the Sanskrit dramas in the fact that

765 its characters are objects of nature personified and credited with human elemente. In Subalavajra tunda, all the characters are drawn from the animal world. Cat, mice, lizard and chamelons freely take part in it. They however play their roles in the garb of human beings. This feature is again unique not met with in other Sanskrit dramas. The drama is very important being the only satirical play met with in the entire Sanskrit literature. Balamart tandavijaya is equally unique the theme being the renovation of 'Sri Padmanabhaswamy temple. The drama throws considerable light on the contemporary history of Travancore in the 16th century. This is the only historical drama produced in Kerala. As was seen love themes were very popular with Vasumativikrama, the Sanskrit dramatists of Kerala. Kamalinirajahansa, Candrikakalapida are some of the best dramas produced in Kerala having love themes. They no doubt bear great comparison to the classical Sanskrit dramas like Malavikagnimitra and Vikramorvasiya of lidass. But however one can find in these dramas novelty in characters, simplicity in style, elegance of poetry, great dramatic and sentimental appeal. Thus it can be found that these dramas illustrate splendidly the dramatic genius of poets of Kerala who by writing beautiful as well as different types of Sanskrit dramas made significant contribution to this branch of literature.