Part 6 - Conclusion to chapter 5

In Sanskrit literature, composition with a satirical aspect seems to be rare. It is like a tradition in Sanskrit India, to emphasise more on depicting the legendary stories and myths than portraying the life struggles of contemporary society. It seems that the poets of the Caturbhāṇī hostile to the normative thoughts of the Sanskrit writers. Ordinary persons holding different fields of interest are picked up for the characters of the plays. The main objective of the four bhāṇas of the Caturbhāṇī is to bring out the clear picture of the contemporary society and to depict the real scenario of the hypocritical excellence. Through its literary excellence, it scratches off the mask of morality and the facade of kings, princes, brahmins, government officers, merchants, poets and even the  grammarians and Buddhist monks, who were not embarrassed to go to the bar. A humourist is a man with a curious state of mind, he is intellectually very acute and usually sympathetic and warm-hearted. The combination of all these qualities produces humour which is more like an atmosphere than an approach.^[1]  

On the other hand, a satirist is a kind of self-appointed guardian of standards, ideals and truth, of morals as well as aesthetic values. The main aim of a satirist is to correct, censure and ridicule to follies and vices of the society. Śūdraka, Īśvaradatta, Vararuci and Śyāmilaka are satirist more than humourists as they emphasise on ridiculing the vices widespread in every corner of the society. All the four authors go to great lengths to expose the deception of the society. Pavitraka, the son of a judge, a fraudulent follower of Vaishnavism even does not escape from the satirical remarks of Śūdraka. In the Padmapābhṛtaka, it is evident that Śūdraka exerts materialism to ridicule most of the aspects. Saṃghilaka, a monk whose entrance to the quarters of the courtesans is also get ridiculed. The title of the Dhūrtaviṭasaṃvāda is justified by its content which provides an amusing episode of erotic laws along with some other topics. In the Pādatāḍitaka, Śyāmilaka forms a satirical theme where a stupid fellowmisunderstands his beloved’s love act as an insult. The author has presented the events of the bhāṇa in humourous ways. Comic or satiric delineation sometimes loses its import due to the excessive application of eroticism. S.K. De remarks on the satirical approach of the Caturbhāṇī that one can find the freedom of natural humour and polite irony, presentation of amusing characters, not elaborately painted but suggested with a few lively touches.^[2]  

Characters like DattakalaśI, the pedantic Panini grammarian; Sārasvatabhadra, the sky gazing poet; Saṃghilaka, the Bauddha bhikṣu who consoles courtesan Saṃghadāsika with the words of Buddha; the hypocritical Pavitraka who ignores the touch of other people but secretly visits the brothel; Kṛṣṇilaka, the son of śreṣṭhiputra and who thinks his father to be an obstruction to his enjoyment, Vilāsakauṇḍinī, the Buddhist nun; Mṛdaṅgavāsulaka, the ageing actor etc., are some of the specimens in the Caturbhāṇī which characters are exhibited with satire. The authors have shown their mastery over balancing the description of the shady lives and amorous adventures. The application of satire in these four bhāṇas reflects the author’s close observation of contemporary society and their urge to expose the contaminated areas. The authors of the four bhāṇas apply satire as a powerful weapon against all kinds of deceitful deeds to make aware all the people of such immoral deeds. The authors understand the importance of a satirical approach to direct the society in a lawful and ethical path and hence, they ridicule the unprincipled and dishonest persons.