Chapter 7 - Conclusion

The present thesis entitled ‘A Critical Assessment of the Society as Depicted in the Caturbhāṇī’ deals with the critical analysis of the society reflected in the four bhāṇas of the collection named Caturbhāṇī. In this research work, an attempt has been made to focus on different aspects of social depiction of the four bhāṇas of the Caturbhāṇī. The entire thesis has been embraced in seven chapters covering some special areas related to the Caturbhāṇī.

Chapter I viz., Introduction deals with eight units-Statement of the problem (I.1), Significance of the Study (I.2), Objectives of the Study (I.3), Hypothesis (I.4), Methodology (I.5), Area of the Study (I.6), Review of Literature (I.7) and Organisation of the Study (I.8).

Chapter II viz., Origin and Development of Dṛśyakāvya deals with four units-Origin of Dṛśyakāvya (II.1), Rūpaka and its Varieties (II.2), Bhāṇa as Prescribed in Sanskrit Dramaturgy (II.3) Specimen of Bhāṇa Found in Sanskrit literature (II.4). In this chapter, different opinions occurred amongst the scholars regarding the origination of Sanskrit drama are discussed. An Attempt has been made to analyse important theories of the origin of Sanskrit dramas viz., theory of divine origin, theory of Vedic origin, the origin of drama connected with epic, the origin of drama connected with grammar, theories of Pischel and H.Luders, theory of Greek origin. A brief description of some renowned Sanskrit dramatists and their works has been presented in this chapter. This chapter discusses the definition of rūpaka and its ten varieties. The features and specialities of bhāṇa prescribed in different works of dramaturgy have been discussed and interpreted. The definitions of bhāṇa prescribed in the works like Nāṭyaśāstra, Sāhityadarpaṇa, Daśarūpaka, Nāṭyadarpaṇa are considered. An account of some bhāṇas composed in the Sanskrit language has been incorporated in this chapter.

Chapter III viz., Introduction to the Bhāṇas of the Caturbhāṇī deals with the analysis of the introductory part of the four bhāṇas viz., Padmaprābhṛtaka, Dhūrtaviṭasaṃvāda, Ubhayābhisārikā and Pādatāḍitaka. The whole chapter has been analyses under six units-Introduction to the Caturbhāṇī (III.1), Śūdraka and his Padmaprābhṛtaka (III.2), Īśvaradatta and his Dhūrtaviṭasaṃvāda (III.3), Vararuci and his Ubhayābhisārikā (III.4), Śyāmilaka and his Pādatāḍitaka (III.5), Conclusion (III.6). In this chapter the title Caturbhāṇī, the discovery of the manuscripts and their process related to the critical edition of the four bhāṇas of the Caturbhāṇī has been analysed. The authorship of the four bhāṇas of the Caturbhāṇī, viz., Padmaprābhṛtaka, Dhūrtaviṭasaṃvāda, Ubhayābhisārikā and Pādatāḍitaka have been critically reviewed. It could be considered that all the authors of the four bhāṇas belonged to a period of contemporary range. The title of all the four bhāṇas has been critically examined in this chapter. The date of composition and features of the bhāṇas have been thoroughly examined following the canons of bhāṇa prescribed in the works of dramaturgy. All the four bhāṇas of the Caturbhāṇī, ensure the necessary characteristics to be a bhāṇa. Therefore, the Caturbhāṇī stands for the perfect specimen of bhāṇa kind of rūpaka. The subject-matters of the bhāṇas have been discussed in this chapter. The central themes of all the four bhāṇas bear the similarities in having the description of veśa i.e., quarters of courtesans. Characterisations of the male, female and other characters, appointed in these bhāṇas are analysed critically. The Caturbhāṇī is full of lively and diverse characters that have been chosen from different walks of life.

Chapter IV viz., Society as Depicted in the Caturbhāṇī deals with the critical assessment of the society reflected in the four bhāṇas of the Caturbhāṇī. The analysis of the chapter has been done under seven units-Introduction to the Society as Depicted in the Caturbhāṇī (IV.1), Society as Depicted in the Padmaprābhṛtaka (IV.2), Society as Depicted in the Dhūrtaviṭasaṃvāda (IV.3), Society as Depicted in the Ubhayābhisārikā (IV.4), Society as Depicted in the Pādatāḍitaka (IV.5), Comparison of Societies Reflected in the Caturbhāṇī, (IV.6) and Conclusion (IV.7). India is a museum of different kinds of sects, customs, religions, cultures, languages, social systems etc. The bhāṇas of the Caturbhāṇī encompass different aspects of society prevailed during that period. Except for the descriptions of royal life, all the four bhāṇas focus on portraying the city life of common people, more specifically the lives of the people who belong to veśa i.e., brothels. In this chapter, the critical analysis of the society of the four bhāṇas has been done under five dimensions viz., economic, political, religious, cultural and philosophical. In the economic condition, the systems of trade and commerce, transport, occupation, different professions carried out by the people are analysed. The descriptions of the city life of the people ensure that at the age of the Caturbhāṇī, Ujjayinī and Pāṭaliputra both were prosperous cities marked as centres of commerce. To analyze the political aspects of the four bhāṇas of the Caturbhāṇī, different features of administrative systems, foreign invasions and the existence of different dynasties have been considered. The critical assessment of religious aspects reflected in the four bhāṇas incorporates the worship of Kāmadeva, practices of sacrificial orders, the popularity of myths and stories of legends, Vaishnavism, Saivism. The analysis of the socio-cultural aspects of the four bhāṇas deals with different perspectives including dance, drama, music, literature, food and drink, dress, ornaments, hairstyle, cosmetics, sports, architecture. The authors exhibit the socio-cultural condition of the brothels as the plots of the bhāṇas are laid on the brothels of different cities. It appears that the practice of prostitution was considered normal and people from various occupations paid a visit to the brothels. The Caturbhāṇī provides important data regarding different Indian philosophical systems that prevailed at that age. It seems that ideas of Cārvaka, Buddhism, Sāṃkhya, Vaiśeṣika philosophy were extensively practised by the people.

Chapter V viz., Humour and Satire as Reflected in the Caturbhāṇī discusses the application of humour and satire in the four bhāṇas of the Caturbhāṇī. There are six units in this chapter that have critically examined a few selected numbers of events that exhibited the application of humour and satire. The six units are-Introduction to Humour and Satire (V.1), Humour and Satire in the Padmaprābhṛtaka (V.2), Humour and Satire in the Dhūrtaviṭasaṃvāda,(V.3), Humour and Satire in the Ubhayābhisārikā (V.4), Humour and Satire in the Pādatāḍitaka (V.5) and Conclusion (V.6). In this chapter, terms wit, humour and satire are analysed. A brief account of satirical content found in Sanskrit literature is also presented in this chapter. In Sanskrit literature, the composition of satirical works is seemed to be rare. Through the application of humour and satire, the four bhāṇas of the Caturbhāṇī represent the social relationship of the people of that period. The authors so beautifully delineate the elements of humour and satire in the bhāṇas, even without the eruption of the aesthetic beauty of the content. The delineation of humour and satire in these bhāṇas, reflect the authors’ detailed observation of social conduct and management.

Chapter VI viz., Caturbhāṇī and the Performing art discusses the stage performance of the bhāṇas of the Caturbhāṇī. In this chapter, four units are incorporated-Introduction to Performing Art (VI.1), Theatre as Performing Art (VI.2), Bhāṇa as Performing Art (VI.3), Caturbhāṇī and Stage Performance (VI.4). India possesses a rich heritage of performing art and theatre as a collaborative form acquires a remarkable place in the field of Indian performing art. The evidences of the practice of bhāṇa are found in Kerala and West Bengal. Nepathya Centre for Excellence in Kūṭīyāṭṭam, Kerala and Cidakash Kalalay, West Bengal have been conducting the stage performance of bhāṇa kind of rūpaka. It is to be noted that among the four bhāṇas of the Caturbhāṇī, Cidakash Kalalay, Centre of Art and Divinity, West Bengal has performed only the Padmaprābhṛṭaka. The organizers get an enormous appreciation for the stage performance of the Padmaprābhṛṭaka as spectators enjoy the distinct features, application of humour and satire engaged in the bhāṇa. The presentation of the bhāṇas could help to cultivate the diversified forms of Indian theatre as well as people could realise the social evils that have been occurring in the society. The bhāṇas could be considered as one of the best literary forms that can expose any kind of conduct, doctrines or institutions with the gentle application of satire.

Chapter VII viz., Conclusion is the last chapter of the thesis which is the review of all the preceding chapters. It is important to note here that with changing times, while the definitions of some other species of literary composition very often undergone considerable modification, the definition of the bhāṇa remained severely stereotyped in the works of Sanskrit dramaturgy. It seems difficult to draw any definite conclusion regarding the development of this species from the writings of the theorists. The poets of bhāṇa are found to be followed the conventions of dramaturgy and they tried to restrict the vulgarity. Accordingly, the poets are found to describe only the incidents of a daytime. The playwrights present the opinion that if they present the descriptions of night, it would involve the representation of vulgar and immoral scenes and actions.^[1] The elements of social criticism, attractive sentiments, artistic excellences, etc., helped in continuing the composition of bhāṇa for a period but gradually bhāṇa lost its relevance to a later age as its composition is appeared as serving the interests of the aristocratic elite. Characters associated in the bhāṇas such as Viṭas, courtesans, merchants, poets are considered as nāgarika i.e., elite citizens as they belong to the luxurious cities. S.K.De remarks that the satiric and comic tendency which should be emphasised in a bhāṇa is seen as prominent in the Caturbhāṇī, but gradually disappears in the later bhāṇas. The later bhāṇas started emphasising in showing erotic content rather than satiric and comic content. The names of the later bhāṇas such as Śṛṅgārabhūṣaṇa, Śṛṅgāratilaka, Pañcabāṇavijaya, Rasasadanabhāṇa emphasise their exclusive tendency towards erotic and their diminishing interest in comedy or satire.^[2] Bhāṇas that are composed after the Caturbhāṇī, becomes entirely erotic and little amount of satire and comic elements are found. This erotic convention overshadows the beauty of the content of the bhāṇas.^[3] The monotonous insistence on the erotic sentiment also became repulsive to the readers. Probably this stands as a reason that the bhāṇa as a dramatic composition was unable to make a permanent or popular appeal and was in course of time forgotten. Besides, the description of licentious acts and the lifestyle of courtesans, rakes, Viṭas and other vulgarities could be considered as the reasons for the degeneration of the bhāṇas. The changing society melds the attitude of the people towards the bhāṇa and so, the compositions of this variety of rūpaka came to a natural end. S.K. De offers his view that in later times, the bhāṇas became mere literary exercises and subsided into a conventional and lifeless form of art. There is a monotonous sameness of style and treatment which inevitably suggests a sense of artificiality. The bhāṇa encompassing the same types of theme, characters, elaborate description, group of conceits and system of morals; was unable to make a permanent appeal and was gradually forgotten.^[4]

Sanskrit plays generally practise stereotyped and conventional patterns in themes as well as in aesthetic applications. The analysis of the Gupta periodic society reflected in the Caturbhāṇī presents a vivid picture of the different aspects such as in religion, philosophy, socio-culture, the economic condition of the society. The age of the Caturbhāṇī has witnessed the artistic advancement of Indian art and culture. Undoubtedly, the bhāṇas of the Caturbhāṇī, have been captivating the heart and souls of the connoisseurs with its artistic delineation. Therefore, it is inspiring to find out the plays like Caturbhāṇī that provide the spectators with a clear picture of that society. The Caturbhāṇī is the repository of historical facts. It is the authors’ outstanding skill to portray work with so much historical importance and literary value. It seems that bhāṇa literature becomes incomplete without the Caturbhāṇī. The authors are successful to exhibit the storyline with vivid demonstration within a single act. While the literary forms of the Sanskrit literature are accepted to be described as fanciful, the authors of the Caturbhāṇī make the bhāṇas as historically significant. The poets are at their best to criticise the social evils and it has appeared that they have freely portrayed the occurrence without any exaggeration. Caturbhāṇī is based on a very profound philosophical outlook, a comprehensive world view and developed aesthetic content. The study and analysis of the Caturbhāṇī are essential to have an idea of the lifestyle of root level people of ancient India.

It is worth mentioning that with the changing society, the content and aesthetic beauty of the bhāṇa seem to be appreciated. The stage presentations of the bhāṇa are admired by the spectators. Apart from the depiction of stereotypical and customary patterns in themes, Sanskrit literature manifests its diverse capabilities of reflecting society through bhāṇa. The description of erotic sentiment in the bhāṇa is inseparable as per the cannons prescribed for it in the works of dramaturgy, but the gentle amount of application of humour and satire and diversified characters could establish bhāṇa as more engaging. Bhāṇa provides a wide and sensitive presentation of life. It witnesses its competency of storing historical facts of a specific period, therefore; proper analysis of the bhāṇa would help in tracing the history of India. More importantly, bhāṇa could be connected with the connoisseurs, because of the keen content to exhibit the levels of human experience, social and individual responses. Besides, the research based on the bhāṇa could mark the flourishing advancement of Sanskrit literature as well as Indian theatre.

Footnotes and references:

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[1]:

T. Devarajan, A Critical Study of the bhāṇa literature of Kerala, p.104

[2]:

Sushil kumar De, Aspects of Sanskrit Literature, p.19

[3]:

Dasgupta, S.N., & De, S.K., History of Sanskrit Literature: Classical Period vol. I, PP.488-489

[4]:

S.K.De, Aspects of Sanskrit literature, p.10