9. Literary estimate of the Ashcharya Chudamani

Saktibhadra has adopted in his play the well known Vaidarbhi riti which is marked by the presence of the gunas Madhurya and Prasada. Consequently like the dramas of Kalidasa, there is a refreshing grace and charm characterising the work. The diction is sweet and graceful. He uses long compounds and alliterations only seldom. The dialogues are as a rule short, simple and succinct and they have a charm and appeal of their own. The short, crisp and pithy sayings which the poet has sprinkled in the dialogues serve to heighten their grace and dignity. In the play, the important dialogues that appear highly interesting are: (1) between 'Sri Rama and Lakshmana in the first act, (2) between Sri Rama and Surpanakha in the second act, (3) between the charioteer and Ravana in the third act, (4) between the minister and Ravana in the fifth act. In the matter of simplicity and freshness, the dialogues resemble those in the dramas of Bhasa. The poetry is charming and graceful. chooses simple, appropriate suggestive words. Saktibhadra There is seldom seen in his lines an endeavour to decorate the language with stylishness. His descriptions are realistic and effective and are mostly inspired by nature. His similies and poetic facies are fine and appropriate. He uses such metres as Sardu lavikridita, Sragdhara, Indravajra, Upendravajra, Manda-Kranta, Vasantatilaka and Anushturrbh. Sastrigal observes "that Saktibhadra's poetry rises to a Kuppuswamy

76169 level and that Vaidarbhi with Prasada and Madhurya in main characterises his composition could easily be maintained by a reference to many a verse in the play" 1 154 In the following verse, the poet presents an enthralling picture of the calm and carefree life of the hermits in the peaceful forest of Dandaka and the fascination 'Sri Rama had for it. marge nirvrtimargamargana paranaradhayanto munin svairam sevitatirtha sindhupayaso duram nirastadhayah ! matra laksmana kekayendra sunaya vyajena nita vayam svamutsrjya dhuram bhuvo munivanam yatavyamivaka Sri Rama says "on our way we are paying our respects to the holy sages engaged in the search of the path leading to eternal bliss. We freely enjoy the waters of the holy rivers and we are far removed from anxieties. On Lakshmana, we have been led forward by our mother, the daughter of the Kekaya kind on a pretext to the forest of saints, the usual resort of the Ikshvaku monarchs after laying down their royal sceptre." The sentiment of peace reverberates throughout the verse. The gunas Madhurya and Prasada are found reflected in it. sri Rama's rapturous admiration for Sita's pristine 154. Ashcharya Chudamani, Introduction, p. 14. 15 155. Ibid., Act I, V. 14, p. 34

170 beauty is brought out in the following verse. carananalinasadhyam yanamaharyamambhah sayanamavaniprstha mandanam snanamatram ! tatra taruni tathapi tvam sriya caksusi me harasi puramayodhyamavasantiva citram " 156 bath. "You have to walk with your lotus feet. Your food is water. Your bed is the bare floor. Your toilet is only Still oh! young one, by your beauty, you allure my eyes appearing as though you were living in the beautiful city of Ayodhya". By the power of the boon given by Anasuya, sita's beauty never become dim although she was devoid of costly ornaments and toilet. This roused the admiration of Sri Rama and he was stricken with wonder by her unblemished beauty. The alambana vibhava is Sita and her charms are the uddipana vibhavas. The sentiment srigara aided by adbhuta is suggested. In the following verse, the poet presents a graphic and striking picture of the life lived by the young couple 'Sri Rama and sita in the forest. ayatam mamaparicitaya velya mandiram te 156. Ibid., Act II, V. 4, p. 57.

17171 coro dandyastvamitimadhuram vyaharantya bhavatya mandre dipe madhulavamucam malaya mallikanam vaddham ceto drdhataramidam bahubandhacchalena || 157 "Once in the forest when you (Sita) were alone in the hermitage, on an unusual hour, I came. Then you said in a sweet voice "Oh thief; you are fit to be punished" In the dim light on The the pretext of binding my hand with a garland of honey secreting Mallika flowers, you indeed bound my mind as now". poet has beautifully portrayed here the joy and the pastimes of the young couple. There is alliteration of words and the style ad opted is sweet and elegant. Thus one can find that the play even when considered on the basis of literary merits would be one of the best poetic compositions. Professor Winternitz says that "At any rate we can quite agree with the Mahamahopadhyaya that it is the best of the Rama plays barring Bhavabhuti's Uttararamacharits" 158.