1.3. Elements of Drama (g): Characters

Characters play an important role in any type of literary composition. Specially, in a dramatic performance the characters play the lead role. Actually the dramatist projects his ideas through the behaviors of different characters.

Characters may be of two types viz.,

1. individual and
2. typical.

The individual characters are defined through the network of specialization and are portrayed along with its individual characteristics. As for example, the characters like Rāma, Lakṣmaṇa, Sītā, Duṣyanta, Śakuntalā etc. can be taken up. On the other hand, a character stands as a representative of a particular class or group of people is known as typical character in Sanskrit drama. As for example, the characters of Sūtradhāra, Vīta, Śakāra, Vidūṣaka, Kañcukī, Dūta, Naṭa etc. can be taken as typical character. Though Vedas are regarded as the forerunners of Sanskrit drama, the Sanskrit drama took an exact and concrete form under the influence of epics. Sanskrit dramas mainly depend upon the two epics i.e., Rāmāyaṇa and Mahābhārata for their theme, plot, characters and expansion.^[1] Because of being based on the epics for theme, the characters of Sanskrit dramas are mostly like king, queen, deity, demon, sage and sometimes Brahmins and merchants. In the Nāṭyaśāstra, it is stated that the first Drama was enacted with the characters of gods and demons.^[2] The qualities of characters used in a Drama are explained elaborately in the third part of Viṣṇudharmottarapurāṇa.

In the Viṣṇudharmottarapurāṇa, five types of hero are accepted. These are—

1. dhīroddhata,
2. dhīralalita,
3. dhīrapraśānta,
4. dhīrodātta and
5. uddhata.

But the Sāhityadarpaṇa accepts only four and the uddhata variety is absent in this book.^[3]

In the Viṣṇudharmottarapurāṇa, it is narrated that:

1. Gods should be dhīroddhata i.e., brave and courageous;
2. Kings should be dhīralalita i.e., firm, brave and sportive;
3. Sages should be dhīrapraśānta i.e., calm and brave,
4. Brahmins and merchants should be dhīrodātta i.e., brave and noble minded and
5. Demons are uddhata i.e., rash, brave but haughty.^[4]

Point to be noted here is that the word dhīra is associated with each of the varieties. The term dhīra means firmness.^[5] So, it can be said that according to the Sāhityadarpaṇa, all the four types of hero should be associated with the quality of firmness. The Viṣṇudharmottarapurāṇa is totally silent about other characters like the heroin, other female characters, viduṣaka etc. It can be noted here that instead of accepting the Brahmins as dhīrodātta type of hero as accepted in the Viṣṇudharmottarapurāṇa, the Sāhityadarpaṇa includes Brahmins in the dhīrapraśānta type of hero.^[6] The Nāṭyaśāstra also gives same view point with the Sāhityadarpaṇa in this matter.^[7]

Here it is to be noted that the nāyaka or hero is the predominant character of a Drama. The Rhetorics generally recommend the dhīrodātta type of nāyaka for Sanskrit dramas. The Sāhityadarpaṇa also admits it.^[8] Generally, the kings as well as heroes like Duṣyanta, Rāma, Yudhiṣṭhira etc. of Sanskrit dramas are always appreciated and people gives example of their heroism of braveness and noble nature. They are geberally regarded as dhīrodātta type of hero. But in the Viṣṇudharmottarapurāṇa, kings are included in the dhīralalita type of hero which can be marked as a speciality in this regard. Actually the dhīralalita type of heroes are generally addicted to sportive activities like dancing, singing etc.^[9] This kind of hero generally gives all responsibilities on his minister and spends times with sports and entertainment activities.^[10] This may not be the projected qualities of a king. Vatsarāja Udayana, the hero of Svapnavāsavadattaṃ [Svapnavāsavadatta] and Ratnāvalī falls under this catagory. Kings like Duṣyanta and Rāma are appreciated, instead of Vatsarāja Udayana. So the view point of the Viṣṇudharmottarapurāṇa regarding the qualities of a king can be taken for explanation and demands reason to establish the practice behind it. It may be said that the Viṣṇudharmottarapurāṇa has followed the Nāṭyaśāstra in this regard.^[11]

The Viṣṇudharmottarapurāṇa is totally silent in the discussion of other important characters of Sanskrit drama like that of the heroin, other female characters, viduṣaka etc.

Footnotes and references:

[1]:

nāṭakaṃ khyātavṛttaṃ syāt/ Sāhityadarpaṇa, 6.7

[2]:

vinodajananaṃ loke nāṭyametad bhaviṣyati/ devatānāmasurāṇāṃ rājñāmatha kuṭumbināṃ// Nāṭyaśāstra, 1.120

[3]:

Sāhityadarpaṇa, 3.31

[4]:

devā dhīroddhatā jñeyā uddhatā dānavādayaḥ/ nṛpāśca dhīralalitā dhīrāstadanujīvinaḥ/ praśāntadhīrā ṛṣayaḥ praśāntāstatpadānugāḥ// dhīrodāttāstathā viprā udāttā vaṇijo matāḥ/ Viṣṇudharmottarapurāṇa, 3.20.12-14

[5]:

dhīraḥ dhairyānvitaḥ/ Śabdakalpadruma, Vol.2, p.768

[6]:

sāmānyaguṇairbhūyān dvijādiko dhīraśāntaḥ syāt/ Sāhityadarpaṇa, 3.34

[7]:

dhīrapraśāntā vijñeyā brāhmaṇā vaṇijastathā/ / Nāṭyaśāstra, 34.20

[8]:

prakhyātavaṃśo rājarṣidhīrodāttaḥ pratāpavān/ divyo’tha divyādivyo vā guṇavānnāyako mataḥ// Sāhityadarpaṇa, 6.9

[9]:

……kalāparo dhīralalitaḥ syāt/ kalā nṛtyādikā/ yathā ratnāvalyādau vatsarājādiḥ/ Ibid., 3.34

[10]:

[...] Lakṣmīṭīkā, Ibid., p. 98

[11]:

….dhīralalitāḥ nṛpāḥ…./ Nāṭyaśāstra, 34.19