9. The Dramas by Kulasekhara Varman

[Full title: The Subhadra-Dhananjaya and Tapatisamavarana by Kulasekhara Varman]

Kulasekhara Varman is credited as the author of the Cheraman Subhadradhananjaya and Tapati Samvarana and is described in the opening lines of the plays. However his identity in a problem, in that several authors share that name. Indeed several kings of Kerala who used the title Kulasekhara ruled from Mahodayapuram^[1]. Mahodayapuram identified with the modern Tiruvancikulam near Crangannore at the mouth of Periyar.

Kulashekhara Varman of Mahodayapuram was one of the few great rulers who weileded their pen as well as their sceptre^[2]. He is remembered not only as a great patron of literature but also a dramatist and as a master in the art of historians. His contribution towards enriching the Sanskrit literature of Kerala can never be overlooked. Kulasekahra is believed to have written five works in all^[3]. Three of them have been published while the other two are known only through references.

Subhadra Dananjayam

The famous story of Subhadradhananjaya^[4] is Dhananjaya Arjuna’s abduction of Subhadra provides the content of this drama. The source of the plot is the Subhadraharana episode in Adiparva of the Mahabharata. The drama tells the story in five acts, with suitable changes.

He possessed all the auspicious marks of a distinguished personage. ‘With an elevated nose, a neck that is thick and shoulders that are lofty, ear lobes decked and hence touching the shoulders, hands stretching upto the knees, his tall body with a golden complexion was indeed a solace to his people^[5]. The prologue of Subhadradhananjaya also supplies some information about the author. He claims that the lotus of his heart is purified by the dust from the feet of the ever present Visnu. He acquired the essence of knowledge by charming the ocean of Mahabharata with his brain which resembles the Mandara mountain in the act and has gathered experience by confusing Tapatisamavarnam. He is the sovereign of the whole of Kerala, rich in paddy fields and his friends are free to share his riches. He is sure that the people will welcome his work as their own inspite of the fact that they are familiar with the works of Kalidasa and others^[6].

Tapatisamvaranam

Tapatisamvarana^[7] is a drama in six acts describing the love of the heroine. Tapati and the hero Samvarana, and is the subject of this volumes.

Personal details from this work

The early history of Kerala being shrouded in obscurity it is impossible to known much about the king with any certainly. From the prologue to this drama^[8]. It is known that he was a king of Kerala and that he had his capital at Mahodayapuram. He refers to himself^[9] as “the best of the descendants of the Kerala family”. He characterises himself as an ardent admirer of the ‘Paramahamsa’ ascetics of the highest order. He compares his hands with the sun. Since they dispel the darkness of poverty of Brahmins by giving away presents in plenty. Even before writing his dramas he won recognition in the literary field by composing the prose work Ascaryamanjarikatha.

Vyanghya Vyakhya commentary

A Brahmin contemporary of Kulasekara [Kulasekhara] has commented upon his dramas with a view to bringing out the suggestions. The commentaries are known as Samvaranadhvani and Dhananjayadhvani are generally referred to as Vyanghya Vyakhya. The author of the commentaries called Vyangya Vyakhyaya was a contemporary of the royal dramatist. He was a Brahmin most probably a Namputiri. Paramesvara Mangalam, on the banks of the river Curnika (Periyar) might have been his home. Undoubtedly the royal dramatist regarded the commentator in high esteem since the latter was invited to the royal court and was asked to write commentaries upon the dramas. As already mentioned above the commentator in his introduction to the commentory gives a detailed account of his visit. Nothing more is known definitely regarding the where abouts of the author. It is suggested that the name of the commentator might be sumatin. This suggestion most probably is based on the reference of Sivarama to the earlier commentary where he also gives the information that the earlier commentator was contemporary of the dramatist. The contemporaneity of the anonymous commentator with the dramatists has been questioned by some scholars without adducing sufficient reason. Apparently they ignore the reference of Sivarama to the Vyangya Vyakhya commentory and its author. Some try to identify the author of the Vyangya Vyakhyaya with Tolan. But there is no conclusive evidence to warrant such a supposition.

From the prefatory verses to the Dhananjaya dhvani it is known that the commentator was close friend and confidant of the king. Hence the information given by him is of great importance. Moreover his statements often corroborate those of the king. For instance, in the prologue of Subhadra dhananjaya the king qualifies himself as “one who has acquired the essence of Mahabharatha”.

This is corroborated by the following statement in the Vyangya Vyakhyas.—

kulaśekharanāmnā keralaviṣayādhipena bahukṛtvaḥ bhāratasudhena dhanañjayo'nukṣaṇavardhamānamadanadaśo darśitaḥ |

By way of introduction, the Dhananjayadhvani gives the following information sage Bharata learned the art of dramaturgy from Brahman and composed Natyasastra. He introduced dramatic art in our world. King Kulasekhara following the rules of Natyasastra composed two dramas abounding in rhythm, sentiments and suggestive words. The commentory is intended to bring out their suggestive import along with the instructions of their representation on the stage.

The commentator narrates the circumstances under which the commentaries were written. It may be summarised as follows in his own words:

“Getting up early in the morning, I performed the morning rites in the river Curnika and visited the temple at Paramesvara-mangalam, dedicated to Visnu. Returning to my house I washed my hands and legs and warmed myself before a blazing fire. I was meditating and praying, when a Brahmin messenger sent by the king of Kerala presented himself before me. I received him cordially and enquired the purpose of his visit.

He informed me that the king wished to meet me. Then I travelled in his company towards Mahodayapuram by the Curnika river in a canoe provided with cot, bed and other comforts.

There I met the king seated on a throne. His natural lustre seemed to have increased owing to the radiance of the rich stones adorning his crown. An elevated forehead, a prominent nose, lofty shoulders, long eyes and lengthy shanks contributed much adorn his person. Surely, the red painted fore arms and feet betrayed the signs of a king. Since they possessed auspicious marks of a wheel, conch-shell etc. His face lotus glittered in the brilliance of the rich stones on his ear-rings. His neck surpassed the conchshell in sound and shape. His breast was anointed with saffron, camphor and sandal pastes. The blue silkon garments worn by him attracted the attention of the onlookers. He was engaged in conversation the topic being Visnu—the supreme spirit. The lotus hold in his left hand was being closed by the other. He was loved and admired by one and all with modesty I entered the assembly room. The king received me with sweet words. Hardly had I stood there for a moment when the king sought the permission of the assembly with a smiling look and retired to his private chamber along with me. Conversing humorously we entered council chamber inaccessible to others. Once I was seated comfortably, the king spoke to me in a pleasing manner.

I have brought you here, Oh! scholar, since you are a postmaster in the art of histrionics. I have decided to assign a certain work to you. I have composed two dramas, Samavarana and Dhananjaya. Both these dramas were written using suggestive words. Suggestive poetry has found acceptance at the hands of scholars.

Footnotes and references:

[1]:

Sanskrit dramas of Kulasekhara -a study -Dr. N.P. Unni, P 21

[2]:

Travancore Sanskrit Series No. XI -P 6

[3]:

Ascaryamanjari, Tapatisamvarana, Subhadradhananjaya, Vicchinnabhiseka, Mukundamala

[4]:

Travancore Sanskrit Series No. 11, 1912

[5]:

Travancore Sanskrit Series No. 11 -Pp 4 -5

[6]:

Ibid, for more details -Kerala Sanskrit Literature -P 8 -19

[7]:

Ed. by T. Ganapatisastri, 1911. Pub. the same with intro., Delhi 1987

[8]:

yasya......... mukhakamalādagaladāścaryamañcarīkathāmadhudravaḥ..... | tasya rājñaḥ keralakulacūḍāmaṇeḥ mahodayapuraparameśvarasya śrīkulaśekharavarmaṇaḥ kṛtiriyamadhunāprayogaviṣayamavatarati ||

[9]:

uttuṅgaghoṇamurukandharamunnatāṃsamasāvalambibhaṇikarṇikakarṇapāśam |
ājānulambibhujamañcitakāñcanābhamāyāti yasya vapurārtiharaṃ prajānām ||