Part 2.4 - Characters of the Padmaprābhṛtaka

The Padmaprābhṛtaka bhāṇa is full of lively and volatile characters. Every character of the bhāṇa possesses both speciality and originality that can easily captivate the spectator’s mind. The Padmaprābhṛtaka bhāṇa comprises both male and females characters. There are some characters about whom only the references found with no dialogue deliverance. 

The male characters of the play are—

1. Śaśa, 
2. Karṇīputra 
3. Mūladeva, 
4. Sārasvatabhadra, 
5. Pīṭhamarda 
6. Dardaraka, 
7. Darduraka, 
8. Vipulāmātya, 
9. Dattakalaśi, 
10. Pavitraka, 
11. Mṛdaṃgavāsulaka, 
12. Śauṣilaka, 
13. Saṃghilaka, 
14. Irima, 
15. Puṣpāñjalika, 
16. Kāmadatta, 
17. Candradhara.

The female characters of the paly are—

1. Devasenā, 
2. Devadattā, 
3. Vipulā, 
4. Aviraktikā, 
5. Avantisundarī, 
6. Vārūṇikā, 
7. Raśanāvatī, 
8. Mālatikā, 
9. Vanarājikā, 
10. Tāmbulasenā, 
11. Kumudvatī, 
12. Priyaṃguṣṭhikā, 
13. Śoṇadāsī, 
14. Magadhasundarī and 
15. Priyaṃvadikā.

Male characters,Viṭa:

In a bhāṇa, Viṭa plays the role of hero as expounded by the Sanskrit rhetoricians. He should be skilled in attending courtesans, sweet-tempered, impartial, poetic, and capable of seeing the pros and cons in any argument and be eloquent and clever.^[1]

Viṭa plays the leading role in the Padmaprābhṛtaka bhāṇa. He has all the characteristics that should have in a Viṭa as per the Nāṭyaśāstra.^[2] Viṭa’s name in this play is Śaśa, who is a close friend of Mūladeva. In the play, Śaśa makes all the necessary arrangements for the reunion of Mūladeva and Devasenā. The various events that happen in the journey of the Viṭa, form the exquisite plot of the bhāṇa.

Viṭa delivers the complete dialogues of the characters in the Padmaprābhṛtaka bhāṇa. After the end of the prologue, Viṭa enters the stage with the beautiful description of the vasanta ṛtu. Then he introduces the love affairs between Mūladeva and Devasenā.

Viṭa of the Padmaprābhṛtaka bhāṇa is an eloquent speaker as expressed from his description of the city Ujjayinī.^[3] He is familiar with the present state of contemporary literature that when he meets the poet Sārasvatabhadra, he advised him to compose the poems with originality. He has command over the contemporary religious performances and as well as the principles of Buddhism. Viṭa knows that though Pavitraka acts like a gentleman, he is well trained in hypocrisy and carries a pseudo-religious attitude. 

His knowledge on Buddhism can be known from his statement to Saṃghilaka that the teachings on Buddhism from his mouth is as defined as the ritual rinsing of the mouth with alcohol, cf.,

vinaṣṭaṃ tvanmukhād buddhavacanaṃ madabhramādivopasparśaṃ paśyāmaḥ /^[4]

From deep inside, Viṭa is a tenderhearted and sensitive kind of person. At the end of the bhāṇa, when Viṭa asks Devasenā about the reasons of her illness, she is reluctant to express her feelings. Then Viṭa gives solace to her consoling that she has been always dear to him. She used to ask for toys in her childhood and Devasenā was always fond of him^[5]. Therefore, she can freely express the reasons for her pain. This implies Viṭa’s affectionate and sensitive nature.

The characteristic of a Viṭa or parasite is prescribed in the thirty-fifth chapter of the Nāṭyaśāstra. Viṭa possesses all the qualities of the Sūtradhāra which are needed regarding the theatrical production. He should be an expert in dealing with courtesans, silver-tongued, impartial, poetic, well-versed in the śāstras. He is an expert in dealing with courtesans, capable of seeing the positive and the negative sides of any argument, quite eloquent and clever.^[6]

Mūladeva:

Karṇīputra Mūladeva is one of the leading roles of the Padmaprābhṛtaka bhāṇa. Mūladeva’s love affair with Devasenā forms the outline of the theme of the Padmaprābhṛtaka bhāṇa. In Sanskrit literature, many references can be found regarding Mūladeva, who is introduced as the master of Dhūrtas i.e., rogues and Viṭas i.e., pimps. While describing Vindhyaṭavī in the Kādambarī, Bāṇabhaṭṭa mentions the names of Karṇīsuta, Vipulā and Śaśa^[7] which are appointed as the characters of the Padmaprābhṛtaka. In the Kalāvilāsa, the author Kṣemendra mentions about Mūladeva as the promoter of Kalāśāstra. He was popularly known as Karṇīsuta, Kalāṅkura, Mūlabhadra. Kṣemendra states that the character of Mūladeva also found in the Kādambarī and Kathāsaritsāgar. Moreover, Mūladeva was also the one who belonged to king Vikramādity’s court.^[8] Mūladeva is also one of the chief characters in the Kāmaśāstra and the Vaiśikatantra. In the first chapter named Daṃbhākhyāna of the Kalāvilāsa, the author cites his mastery over different arts.^[9]

At the very beginning of the Padmaprābhṛtaka bhāṇa, Viṭa affirms his friend Mūladeva’s scholastic ability that he obtains by studying many works on science, he is an expert in kāmatantra i.e., all kinds of fine arts along with the art of love.^[10]

The Padmaprābhṛtaka bhāṇa depicts Mūladeva as the inhabitant of Pāṭaliputra, but due to business purposes, he visits Ujjayinī. This can be known from Viṭa’s words to Devasenā that Mūladeva is yearning to meet his relatives in Pāṭaliputra, and soon he will depart, cf.-karṇīputro’pi pāṭalīputravirahāt svajanadarśanotsuko bhṛśamasvasthaḥ /^[11] Mūladeva is very charming in his physical appearance as described by Viṭa.^[12]

Maurice Bloomfield in his article ‘The character and adventures of Mūladeva’ critically analyses the character Mūladeva. According to Maurice Bloomfield, the most important story of Mūladeva is preserved in Devendra’s vṛtti, a sort of commentary on the Jaina text called Uttarādhyāyana. Mūladeva is figured in an autobiographic episode of his own life, narrated by himself as a king in the Kathāsaritsāgara and Vetālapañcaviṃcati, he acts in a kind of cunning role.

Mūladeva is identified with Karṇīsuta, an author on the steyaśāstrapravartaka i.e., the science of thieving. In the Daśakumāracarita, prince Apahāravarmana narrates his adventures as to how he decided to follow the way of Karṇīsūta Mūladeva, to teach the misers of a certain city in the instability of wealth.^[13]

Bhojadeva in the Śṛṅgāramañjarī kathā, mentions that during the reign of King Vikramaditya in the city Ujjayinī, there lived an intelligent, treacherous man who was skilful in all the arts and dear to the kings, named Mūladeva.^[14]

Sārasvatabhadra:

Sārasvatabhadra is the son of Śāradvatī from the lineage of Kātyāyana^[15] who is sitting on the doorstep possessed by the spirit of the poetry. He is a famous writer as projected in the words of Dardaraka who praises Sārasvatabhadra’s scholarship. Nevertheless, Viṭa considers that Sārasvatabhadra lacks originality in his compositions and therefore, advises him to become creative in writing so that can get rid of poetic criticism.

Darduraka: 

Darduraka is the disciple of Nāṭakācārya Gandharvadatta, who is also the son of a Naṭī. Darduraka comes to visit Devasenā to deliver a letter of his master and to discuss a role in the Kumudvatī prakaraṇa. Though Darduraka delivers the letter to Devasenā, he is unable to get any reply from her because she is not paying any attention to the letter.

Dardaraka: 

The Padmaprābhṛtaka bhāṇa mentions a pīṭhamarda named Dardaraka. The Daśarūpaka describes pīṭhamarda as patākānāyaka, who acts as a supporter of the main hero. Makaranda in the Mālatīmādhava prakaraṇa, Sugrīva in the Rāmāyaṇa are the examples of pīṭhamarda or patākānāyaka.^[16]

In the Padmaprābhṛtaka bhāṇa, the role of Darduraka is not portrayed as pīṭhamarda or patākānāyaka that ought to be as prescribed in dramaturgy. As he is called as ‘Pīṭhamarda Dardaraka’, he might play the role of pīṭhamarda or patākānāyaka in any play.

Vipulāmātya:

Vipulāmātya is the expert in the art of love prescribed in the book Kāmadattā that is composed in the Prākṛt language. He also advises on issues of love to Vipulā, the ex-lover of Mūladeva.

Dattakalaśi: 

Dattakalaśi is the son of Dantasūka. Due to his expertise in Pāṇini grammar, he is addressed as Pāṇini Dattakalaśi.^[17] Viṭa considers Dattakalaśi as the storehouse of words as he can play with words. In between conversation, Viṭa finds out that Dattakalaśi is in love with a courtesan named Raśanāvatī, daughter of Nūpurasenā.

Pavitraka:

Pavitraka is the son of Dharmāsanika, pretending to possess great purity but a profligate and hypocrite. He shows his religious concerns but never feels ashamed of visiting the courtesan’s place. He is also attracted to a courtesan Vāruṇikā.

Mṛdaṃgavāsulaka: 

Mṛdaṅgavāsulaka is an actor who once played the role of Viṭa in obsolete dramas. The courtesans tease him by calling Bhāvajaradgava.^[18] Mṛdaṃgavāsulaka is a good person and friend to everyone.^[19]

Śauṣilaka:

Śauṣilaka is a gambler and while he sees Viṭa, he tries to hide behind a stone pillar. He is avoiding the sight of Viṭa as he gets scared of being chastised for assaulting Mālatikā’s dutī.

Saṃghilaka:

Saṃghilaka is a Buddhist monk who resides in Dharmāraṇya. He cannot restrain himself from going to the courtesan’s place. To elevate the spirit of Saṃghadāsikā with the teachings of Buddha, who is dejected after her mother’s death, Saṃghilaka visits her house.

Female characters, Devasenā:

Devasenā is the main female character in the Padmaprābhṛtaka bhāṇa.

She is sixteen years old courtesan and deeply in love with Mūladeva. She becomes downhearted thinking of Mūladeva’s attraction to her sister Devadattā. However, she also acts in the plays that can be understood from the event when Dardūraka offers a role to Devasenā in the play Kumudvatī prakaraṇa. This also signifies that once courtesans were allowed to act in dramas.

Devadattā: 

Devadattā is the elder sister of Devasenā. She is also a courtesan and attracted to Mūladeva. She has no idea about the relation between her sister Devasenā and Mūladeva, even she is unable to figure out the reasons behind her sister’s sickness. Devadattā’s kind and compassionate nature is evident from her concerns for sister Devasenā that she does not even visit Mūladeva’s place because of sister’s sickness, cf. -iyaṃ hi me bhaginikā caṇḍālikā kimapi asvastharūpā tadanukampayā paryuṣitā’smi /^[20]

Vipulā: 

Vipulā is the lover of Mūladeva. She handles love affairs with Mūladeva according to Vipulāmatya’s advice. However, after Devadattā’s connection with Mūladeva, Vipulā gets upset. Though Mūladeva tries to reassure their relationship, Vipulā refuses to accept.

Avantisundarī: 

Avantisundarī is the friend of Vipulā. She makes Vipulā understand to reunite her relation with Mūladeva.

Vanarājikā: 

Vanarājikā is the daughter courtesan Vasantavatī. Viṭa meets her while she is coming from the temple of Kāmadeva accomplishing her daily worship.

Kumudvatī: 

Kumudvatī is attracted to Maurya prince Candrodaya. As he has gone with an army to conquer the sāmantas, Kumudvatī laments like a married woman. She has also been fasting for Candrodaya’s longevity, the same way virtuous women practice.

Priyaṃguṣṭhikā: 

Priyaṃguṣṭhikā is the daughter of Pāñcāladāsī^[21]. She plays with bet and ball accompanying her friends. She stops playing after making a hundred scores following her bet.

Śoṇadāsī: 

Śoṇadāsī is the daughter of courtesan Nāgarikā^[22]. When Viṭa arrives at Śoṇadāsī’s house, she is playing the lute sitting on the front stairs of her house in grief over her beloved Candradhara with whom she has quarrelled.

Magadhasundarī: 

Magadhasundarī is a courtesan and daughter of Nāgarikā.^[23] She is very beautiful. When Viṭa meets her, she is humming a beautiful tone. In between conversations, Magadhasundarī said to Viṭa that she observes the rituals like Brahmacāriṇī for the welfare of her beloved.

Priyaṃvadikā:

Priyaṃvadikā is the friend and attendant of Devasenā. She arranges the necessary activities to reunite Mūladeva and Devasenā with the help of Viṭa.

Footnotes and references:

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[1]:

Nāṭyaśāstra, 35.76-77

[2]:

sūtradhāraguṇairyuktaḥ sarva eva prayoge yaḥ /
veśyopacārakuśalo madhuro dakṣiṇaḥ kaviḥ //
śāstrārthatatvavedī ca nipuṇo vaiśikeṣu ca /
ūhāpohakṣamo vāgmī caturaśca viṭo bhavet // Nāṭyaśāstra, 35.76-77

[3]:

puṇyāstāvad vedāvyāsaḥ dviradarathaturaganinadāḥ dhanurguṇaniḥsvanāḥ / dṛśyaṃ śrāvyaṃ vidvadvādāścaturaudadhisamudayaphalaiḥ kṛtā vipaṇikriyā // gītaṃ vādyaṃ dhyūtaṃ hāsyaṃ kvacidapi ca viṭajanakathāḥ kvacitkalāḥ kalāḥ / krīḍā pakṣikṣubdhāścemāḥ pracurakaravalayaraśanāsvanā gṛhapaṅktayaḥ // Padmaprābhṛtaka, p.9

[4]:

Padmaprābhṛtaka, p.33

[5]:

Ibid., p53

[6]:

sūtradhāraguṇairyuktaḥ sarva eva prayoge yaḥ /
veśyopacārakuśalo madhuro dakṣiṇaḥ kaviḥ //
śāstrārthatatvavedī ca nipuṇo vaiśikeṣu ca /
ūhāpohakṣamo vāgmī caturaśca viṭo bhavet // Nāṭyaśāstra, 35.76-77

[7]:

karṇīsutakatheva sannihitavipulācalā śaśopagatā ca/ Kādambarī,kathāmukha, p.143

[8]:

mūladevanāma kaścidatiprācīnaḥ kalāśāstrapravartakaḥ ācīt / asyaiva karṇīsutaḥ, kalāṅkuraḥ, mūlabhadraḥ, etānyapi nāmāntarāṇi santi // karṇīsuto mūladevo mūlabhadraḥ kalāṅkura iti hārāvalī’ ityādi vartate / kādaṃbarīkathāyāṃ vindhyāṭavīvarṇane ‘karṇīsutakatheva sannihitavipulācalā’ ityādysti / kathāsaritsāgare ca navāśīṃśottaraśatatame ca taraṅge mūladevakathā vartate / tatra ca vikramādityasabhāyāṃ mūladevaṃ āsīdityādi varṇitamasti /Kalāvilāsa, p.170

[9]:

sakalakalānilayānāṃ dhuryaḥ śrīmūladevākhyaḥ /
nānādigdeśāgata dhūrtairupajīvyamānamativibhavaḥ /
sa prāpa vipulasaṃpadamātmaguṇaiścakravartīva//Ibid., I.9-10

[10]:

yenānekaśāstrādhigataniṣpandabuddhiḥ sarvakalājñānavicakṣaṇo vyutpannayuvatikāmataṃtrasūtradhāraḥ karṇīputro’pi nāmaitāmavasthāmupanītaḥ /Padmaprābhṛtaka, p.6

[11]:

Padmaprābhṛtaka, p.57

[12]:

Ibid., p.6-7

[13]:

The character and adventures of Mūladeva, Proceeding of the American Philosophical Society, pp. 616-650.

[14]:

astyavantiṣu śrīmatyujjayinī nāma nagarī / ……… asti ca mūladevo nāma dhūrtaḥ / sac a premaikapātramatividagdhaḥ/damayan dakṣān, vaṅcayan vidagdhān, pratārayaṃścaturān, nartayan kitavān, ātmanaḥ priyamanyasādhāraṇāmavardhayat / Śṛṅgāramañjarī, p.84

[15]:

ayaṃ tāvat kāvyavyasanī kātyāyanagotraḥ śāradvatīputraḥ sārasvatabhadraḥ…../ Padmaprābhṛtaka, p.9

[16]:

patākānāyakastvanyaḥ pīṭhamardo vicakṣanaḥ /
tasyaivānucaro bhaktaḥ kiñcidūnaśca tadguṇaiḥ// Daśarūpaka, II.8

[17]:

eṣa hi pāṇinipūrvako dantasūkaputro dattakalaśirnāma vaiyākaraṇaḥ pratimukhamevopasthito’smān/ Padmaprābhṛtaka, p.16

[18]:

eṣa hi mṛdaṃgavāsulako nāma purāṇanāṭakaviṭaḥ bhāvajaradgavaḥ iti…/ Ibid., p.26

[19]:

sarvasakhaścaiṣa dhāntaḥ/ Ibid, p.26

[20]:

Padmaprābhṛtaka, pp.7-8

[21]:

pāñcāladāsyā duhitā priyaṃguṣṭhikā nāma / Padmaprābhṛtaka, p.41

[22]:

idaṃ hi candradharakāminyā nāgarikāyā duhituḥ śoṇadāsyā gṛham /Ibid., p.44

[23]:

eṣā hi nāgarikāduhitā gaṇikā magadhasundarī nāma……./Ibid., p.47