1.3. The Yogavilasita by Krishnachandra

Yogavilasita, a drama in seven acts based on the story ‘Yogam’ Vannu’. It means which destiny. Here again there is no significant change in the course of events. The different versions of characters in Sanskrit and in the original may be noted as follows.

Srikantha — Pirakkal Marutt ankottu Natuvazhi (Marnttakutaprabhu)
Mallapuresa — Mallappuratthacchan
Sastradvijas — Cattiranampimar
Divakara — Maccampillli Cakara
Nisakara — Maccamkali Cikara
Kalyani — Iccikkavu Koccukunjamma
Madhavi — Valiya Kunjamma
Kolanatha — Kollur Karanavar
Kartarinatha — Muttat kaimal

Here again the great assembly is mentioned. This time is meets at the Trkkakara temple at Cochin.

Yatrakkali

In the second act of this play Nisakra introduce himself as a professional artist of Yatrakkali—a pastime of the Namputiri Brahmins of Kerala, and it brings out the memory of a period of ancient Kerala when they were wielding weapons and ruling the country. The word Yatrakkali is derived from ‘Sastrakkali’ where Sastra stands for weapons like sword and shield. It is also referred to as Sanghakkali. Since a group is involved. Terms like Maccamkali, Panenkali etc. also refer to this pastime.

There are different opinion regarding the origin of the pastime, according to one it refers to a procession of Brahmins set out to defeat the Buddhists. The story alluded to in Keralolpatti that a sage called Jangama met these Brahmins and gave some useful hints is also hinted at in the play. Here also the sage appears and asks Divakara to recite a stanza of four lines to please the god in Ganopasana. This is referred to as Nalupadam in Yatrakkali.

The performance has a divine as well as human aspects. Among participants a vedic scholar and Kayar leader are prominent. The later is supposed to be proficient in the varieties of fishes and he carries a basket on his head containing fishes. Srikantha the Nayar leader in the play is ridiculed pointing out this aspect. Yatrakkali was used to be performed till very recently though at present there is hardly any troup to perform this interesting diversion.

Ganopasana

The second act of this play depicts a Ganopasana by Namputiri Brahmins. Divakara is the leader of the group performing this ritual. The Sastra Brahmins sit around the belt metal lamp lit with five wicks and worship Ganapati and other dieties chanting hymns using the vedic accent. This rite is intended for victory over the enemies and it is usually performed in some temples. In the play the ritual is conducted to establish virtue in the land. Formerly the function had some political aspects also.

Assemblies in Temples

In the Trkkanamatilakam temple referred to as Gunakapura in this play there is a large hall near the tank. It used to be the venue of many assemblies in old times. There the Brahmins well-versed in the vedic texts and smrtis used to pronounce their decisions.

Sastradvijas

The naturalised Nambutiri Brahmins of Kerala wanted to play a role in administration of Kerala, by entering into marriage alliances with the Nayar ladies they could secure much local influence. Then they trained themselves in the art of war in the fancing schools of the region. These Brahmins are referred to as Sastra-dvijas. Divakara of this play is a representative of this class. The Yatrakkali gave them opportunity to be in constant practice of the art. This development of Brahmins wielding weapons in Kerala gave rise to terms like Brahmaksatram. The Sukasandesa of Lakshmidasa a 14th C. message poem in Sanskrit produced in Kerala referred to their influence^[1]. These Sastradvijas acquired proficiency in all the 18 types of training in weapons according to Keralamahatmya^[2].

Mumursuvrata

In this play Srikantha states that he is going to enter the battle field restoring to this ritual. He is under the impression that his nieces has died in the battle. The ritual is in the form of fighting to death in the battle without caring for ones safety. A class of soldiers who act like this is referred to as Caver in the local parlance. These soldiers fight and die for a cause. The term under reference has some allusion to the Caver system of ancient Kerala.

Matampi

This play refers to the institution of Matampi. The term has its origin form Matanampi meaning a baron owning mansion. The Raksapurusas of Kerala is given this status at their retirement with the imposing title Soudhapati meaning Matampi. Matam in Malayalam is a derivative of Mahasandha in Sanskrit.

In addition to these mentioned above there are many small but significant items which contain reflection of Kerala culture. In short Krshnachandra has composed a trio of Sanskrit dramas reflecting the ancient historical and cultural features of his native land and he has succeeded in his attempt^[3].

Footnotes and references:

[1]:

Vide Supra -P 53 ff

[2]:

aṣṭādaśavidhaṃ prokramāyudhābhyāsaśāstrakam
dīrghaṃ ca kaṭakañcaiva cārulammaṇḍalaṃ tathā
vṛttacakraṃ sukaṅgalaṃ vijayaṃ viśvamohanam
tiryaṅmaṇḍalamanyonyaṃ gadayākheṭagahvaram
śatruñjayaṃ ca saubhadraṃ paṭalañca purañjayam
kāravṛddhiśśilākhaṇḍaṃ gadāśāstramanuttam ||

[3]:

For more details -Sanskrit plays of Krsnacandra -Ed. by Dr. N.P. Unni-Delhi 1993