To the first half of the seventh century belong the two dramas attributed to the famous King Çrīharsha or Harshadeva, a patron of poets, whom we already know as Harshavardhana of Thāneçar and Kanauj. Ratnāvalī, or “The Pearl Necklace,” reflecting the court and harem life of the age, has many points of similarity with Kālidāsa’s Mālavikāgnimitra, by which, indeed, its plot was probably suggested. It is the story of the loves of Udayana, king of Vatsa, and of Sāgarikā, an attendant of his queen Vāsavadattā. The heroine ultimately turns out to be Ratnāvalī, princess of Ceylon, who had found her way to Udayana’s court after suffering shipwreck. The plot is unconnected with mythology, but is based on an historical or epic tradition, which recurs in a somewhat different form in Somadeva’s Kathāsaritsāgara. As concerned with the second marriage of the king, it forms a sequel to the popular love-story of Vāsavadattā. It is impossible to say whether the poet modified the main outlines of the traditional story, but the character of the magician who conjures up a vision of the gods and a conflagration, is his invention, as well as the incidents, which are of an entirely domestic nature. The real author was doubtless some poet resident at Çrīharsha’s court, possibly Bāṇa, who also wrote a play entitled Pārvatīpariṇaya.
Altogether, Ratnāvalī is an agreeable play, with well-drawn characters and many poetical beauties. Of the latter the following lines, in which the king describes the pale light in the east heralding the rise of the moon, may serve as a specimen: —
Our minds intent upon the festival,
We saw not that the twilight passed away:
Behold, the east proclaims the lord of night
Still hidden by the mountain where he rises,
Even as a maiden by her pale face shows
That in her inmost heart a lover dwells.
Another play of considerable merit attributed to Çrīharsha is Nāgānanda. It is a sensational piece with a Buddhistic colouring, the hero being a Buddhist and Buddha being praised in the introductory benediction. For this reason its author was probably different from that of Ratnāvalī, and may have been Dhāvaka, who, like Bāṇa, is known to have lived at the court of Çrīharsha.
The dramatist Bhavabhūti was a Brahman of the Taittirīya school of the Yajurveda and belonged, as we learn from his prologues, to Vidarbha (now Berar) in Southern India. He knew the city of Ujjayinī well, and probably spent at least a part of his life there. His patron was King Yaçovarman of Kānyakubja (Kanauj), who ruled during the first half of the eighth century.
Three plays by this poet, all abounding in poetic beauties, have come down to us. They contrast in two or three respects with the works of the earlier dramatists. The absence of the character of the jester is characteristic of them, the comic and witty element entering into them only to a slight extent. While other Indian poets dwell on the delicate and mild beauties of Nature, Bhavabhūti loves to depict her grand and sublime aspects, doubtless owing to the influence on his mind of the southern mountains of his native land. He is, moreover, skilful not only in drawing characters inspired by tender and noble sentiment, but in giving effective expression to depth and force of passion.
The best known and most popular of Bhavabhūti’s plays is Mālatī-mādhava, a prakaraṇa in ten acts. The scene is laid in Ujjayinī, and the subject is the love-story of Mālatī, daughter of a minister of the country, and Mādhava, a young scholar studying in the city, and son of the minister of another state. Skilfully interwoven with this main story are the fortunes of Makaranda, a friend of Mādhava, and Madayantikā, a sister of the king’s favourite. Mālatī and Mādhava meet and fall in love; but the king has determined that the heroine shall marry his favourite, whom she detests. This plan is frustrated by Makaranda, who, personating Mālatī, goes through the wedding ceremony with the bridegroom. The lovers, aided in their projects by two amiable Buddhist nuns, are finally united. The piece is a sort of Indian Romeo and Juliet with a happy ending, the part played by the nun Kāmandakī being analogous to that of Friar Laurence in Shakespeare’s drama. The contrast produced by scenes of tender love, and the horrible doings of the priestess of the dread goddess Durgā, is certainly effective, but perhaps too violent. The use made of swoons, from which the recovery is, however, very rapid, is rather too common in this play.
The ninth act contains several fine passages describing the scenery of the Vindhya range. The following is a translation of one of them: —
This mountain with its towering rocks delights
The eye: its peaks grow dark with gathering clouds;
Its groves are thronged with peacocks eloquent
In joy; the trees upon its slopes are bright
With birds that flit about their nests; the caves
Reverberate the growl of bears; the scent
Of incense-trees is wafted, sharp and cool,
From branches broken off by elephants.
The other two dramas of Bhavabhūti represent the fortunes of the same national hero, Rāma. The plot of the Mahāvīra-charita, or “The Fortunes of the Great Hero,” varies but slightly from the story told in the Rāmāyaṇa. The play, which is divided into seven acts and is crowded with characters, concludes with the coronation of Rāma. The last act illustrates well how much is left to the imagination of the spectator. It represents the journey of Rāma in an aërial car from Ceylon all the way to Ayodhyā (Oudh) in Northern India, the scenes traversed being described by one of the company.
The Uttara-rāma-charita, or “The Later Fortunes of Rāma,” is a romantic piece containing many fine passages. Owing to lack of action, however, it is rather a dramatic poem than a play. The description of the tender love of Rāma and Sītā, purified by sorrow, exhibits more genuine pathos than appears perhaps in any other Indian drama. The play begins with the banishment of Sītā and ends with her restoration, after twelve years of grievous solitude, to the throne of Ayodhyā amid popular acclamations. Her two sons, born after her banishment and reared in the wilderness by the sage Vālmīki, without any knowledge of their royal descent, furnish a striking parallel to the two princes Guiderius and Arviragus who are brought up by the hermit Belarius in Shakespeare’s Cymbeline. The scene in which their meeting with their father Rāma is described reaches a high degree of poetic merit.
Among the works of other dramatists, Viçākhadatta’s Mudrā-rākshasa, or “Rākshasa and the Seal,” deserves special mention because of its unique character. For, unlike all the other dramas hitherto described, it is a play of political intrigue, composed, moreover, with much dramatic talent, being full of life, action, and sustained interest. Nothing more definite can be said as to its date than that it was probably written not later than about 800 A.D. The action of the piece takes place in the time of Chandragupta, who, soon after Alexander’s invasion of India, founded a new dynasty at Pāṭaliputra by deposing the last king of the Nanda line. Rākshasa, the minister of the latter, refusing to recognise the usurper, endeavours to be avenged on him for the ruin of his late master. The plot turns on the efforts of the Brahman Chāṇakya, the minister of Chandragupta, to win over the noble Rākshasa to his master’s cause. In this he is ultimately successful.
Bhaṭṭa Nārāyaṇa’s Veṇīsaṃhāra, or “Binding of the braid of hair,” is a play in six acts, deriving its plot from the Mahābhārata. Its action turns on the incident of Draupadī being dragged by the hair of her head into the assembly by one of the brothers of Duryodhana. Its age is known from its author having been the grantee of a copperplate dated 840 A.D. Though not conspicuous for poetic merit, it has long been a great favourite in India owing to its express partiality for the cult of Kṛishṇa.
To about 900 A.D. belongs the poet Rājaçekhara, the distinguishing feature of whose dramas are lightness and grace of diction. Four of his plays have survived, and are entitled Viddha-çālabhanjikā, Karpūra-manjarī, Bāla-rāmāyaṇa, and Prachaṇḍa-pāṇḍava or Bāla-bhārata.
The poet Kshemīçvara, who probably lived in the tenth century A.D. at Kānya
kubja under King Mahīpāla, is the author of a play named Chaṇḍakauçika, or “The Angry Kauçika.”
In the eleventh century Dāmodara Miçra composed the Hanuman-nāṭaka, “The Play of Hanumat,” also called Mahā-nāṭaka, or “The Great Play.” According to tradition, he lived at the court of Bhoja, king of Mālava, who resided at Dhārā (now Dhār) and Ujjayinī (Ujjain) in the early part of the eleventh century. It is a piece of little merit, dealing with the story of Rāma in connection with his ally Hanumat, the monkey chief. It consists of fourteen acts, lacking coherence, and producing the impression of fragments patched together.
Kṛishṇa miçra’s Prabodha-chandrodaya, or “Rise of the Moon of Knowledge,” a play in six acts, dating from about the end of the eleventh century, deserves special attention as one of the most remarkable products of Indian literature. Though an allegorical piece of theologico-philosophical purport, in which practically only abstract notions and symbolical figures act as persons, it is remarkable for dramatic life and vigour. It aims at glorifying orthodox Brahmanism in the Vishnuite sense, just as the allegorical plays of the Spanish poet Calderon were intended to exalt the Catholic faith. The Indian poet has succeeded in the difficult task of creating an attractive play with abstractions like Revelation, Will, Reason, Religion, by transforming them into living beings of flesh and blood. The evil King Error appears on the scene as ruler of Benares, surrounded by his faithful adherents, the Follies and Vices, while Religion and the noble King Reason, accompanied by all the Virtues, have been banished. There is, however, a prophecy that Reason will some day be re-united with Revelation; the fruit of the union will be True Knowledge, which will destroy the reign of Error. The struggle for this union and its consummation, followed by the final triumph of the good party, forms the plot of the piece.
A large number of Sanskrit plays have been written since the twelfth century1 down to modern times, their plots being generally derived from the Mahābhārata and the Rāmāyaṇa. Besides these, there are farces in one or more acts, mostly of a coarse type, in which various vices, such as hypocrisy, are satirised. These later productions reach a much lower level of art than the works of the early Indian dramatists.
1 It is interesting to note that two Sanskrit plays, composed in the twelfth century, and not as yet known in manuscript form, have been partially preserved in inscriptions found at Ajmere (see Kielhorn, in Appendix to Epigraphia Indica, vol. v. , No. 134. Calcutta, 1899).
Chapter XIV
Fairy Tales and Fables
(Circa 400–1100 A.D.)
The didactic and sententious note which prevails in classical Sanskrit literature cannot fail to strike the student. It is, however, specially pronounced in the fairy tales and fables, where the abundant introduction of ethical reflections and proverbial philosophy is characteristic. The apologue with its moral is peculiarly subject to this method of treatment.
A distinguishing feature of the Sanskrit collections of fairy tales and fables, which are to a considerable extent found mixed together, is the insertion of a number of different stories within the framework of a single narrative. The characters of the main story in turn relate various tales to edify one another or to prove the correctness of their own special views. As within the limits of a minor story a second one can be similarly introduced and the process further repeated, the construction of the whole work comes to resemble that of a set of Chinese boxes. This style of narration was borrowed from India by the neighbouring Oriental peoples of Persia and Arabia, who employed it in composing independent works. The most notable instance is, of course, the Arabian Nights.
The Panchatantra, so called because it is divided into five books, is, from the literary point of view, the most important and interesting work in this branch of Indian literature. It consists for the most part of fables, which are written in prose with an admixture of illustrative aphoristic verse. At what time this collection first assumed definite shape, it is impossible to say. We know, however, that it existed in the first half of the sixth century A.D., since it was translated by order of King Khosru Anushīrvan (531–79) into Pehlevī, the literary language of Persia at that time. We may, indeed, assume that it was known in the fifth century; for a considerable time must have elapsed before it became so famous that a foreign king desired its translation.
If not actually a Buddhistic work, the Panchatantra must be derived from Buddhistic sources. This follows from the fact that a number of its fables can be traced to Buddhistic writings, and from the internal evidence of the book itself. Apologues and fables were current among the Buddhists from the earliest times. They were ascribed to Buddha, and their sanctity increased by identifying the best character in any story with Buddha himself in a previous birth. Hence such tales were called Jātakas, or “Birth Stories.” There is evidence that a collection of stories under that name existed as early as the Council of Vesālī, about 380 B.C.; and in the fifth century A.D. they assumed the shape they now have in the Pāli Sutta-piṭaka. Moreover, two Chinese encylopædias, the older of which was completed in 668 A.D., contain a large number of Indian fables translated into Chinese, and cite no fewer than 202 Buddhist works as their sources. In its present form, however, the Panchatantra is the production of Brahmans, who, though they transformed or omitted such parts as betrayed animus against Brahmanism, have nevertheless left uneffaced many traces of the Buddhistic origin of the collection. Though now divided into only five books, it is shown by the evidence of the oldest translation to have at one time embraced twelve. What its original name was we cannot say, but it may not improbably have been called after the two jackals, Karaṭaka and Damanaka, who play a prominent part in the first book; for the title of the old Syriac version is Kalilag and Damnag, and that of the Arabic translation Kalīlah and Dimnah.
Originally the Panchatantra was probably intended to be a manual for the instruction of the sons of kings in the principles of conduct (nīti), a kind of “Mirror of Princes.” For it is introduced with the story of King Amaraçakti of Mahilāropya, a city of the south, who wishes to discover a scholar capable of training his three stupid and idle sons. He at last finds a Brahman who undertakes to teach the princes in six months enough to make them surpass all others in knowledge of moral science. This object he duly accomplishes by composing the Panchatantra and reciting it to the young princes.
The framework of the first book, entitled “Separation of Friends,” is the story of a bull and a lion, who are introduced to one another in the forest by two jackals and become fast friends. One of the jackals, feeling himself neglected, starts an intrigue by telling both the lion and the bull that each is plotting against the other. As a result the bull is killed in battle with the lion, and the jackal, as prime minister of the latter, enjoys the fruits of his machinations. The main story of the second book, which is called “Acquisition of Friends,” deals with the adventures of a tortoise, a deer, a crow, and a mouse. It is meant to illustrate the advantages of judicious friendships. The third book, or “The War of the Crows and the Owls,” points out the danger of friendship concluded between those who are old enemies. The fourth book, entitled “Loss of what has been Acquired,” illustrates, by the main story of the monkey and the crocodile, how fools can be made by flattery to part with their possessions. The fifth book, entitled “Inconsiderate Action,” contains a number of stories connected with the experiences of a barber, who came to grief through failing to take all the circumstances of the case into consideration.
The book is pervaded by a quaint humour which transfers, to the animal kingdom all sorts of human action. Thus animals devote themselves to the study of the Vedas and to the practice of religious rites; they engage in disquisitions about gods, saints, and heroes; or exchange views regarding subtle rules of ethics; but suddenly their fierce animal nature breaks out. A pious cat, for instance, called upon to act as umpire in a dispute between a sparrow and a monkey, inspires such confidence in the litigants, by a long discourse on the vanity of life and the suprem
e importance of virtue, that they come close up in order to hear better the words of wisdom. In an instant he seizes one of the disputants with his claws, the other with his teeth, and devours them both. Very humorous is the story of the conceited musical donkey. Trespassing one moonlight night in a cucumber field, he feels impelled to sing, and answers the objections of his friend the jackal by a lecture on the charms of music. He then begins to bray, arouses the watchmen, and receives a sound drubbing.
With abundant irony and satire the most various human vices are exposed, among others the hypocrisy and avarice of Brahmans, the intriguing character of courtiers, and the faithlessness of women. A vigorous popular spirit of reaction against Brahman pretensions here finds expression, and altogether a sound and healthy view of life prevails, forming a refreshing contrast to the exaggeration found in many branches of Indian literature.
The following translation of a short fable from the first book may serve as a specimen of the style of the Panchatantra.
“There was in a certain forest region a herd of monkeys. Once in the winter season, when their bodies were shivering from contact with the cold wind, and were buffeted with torrents of rain, they could find no rest. So some of the monkeys, collecting gunja berries, which are like sparks, stood round blowing in order to obtain a fire. Now a bird named Needlebeak, seeing this vain endeavour of theirs, exclaimed, ‘Ho, you are all great fools; these are not sparks of fire, they are gunja berries. Why, therefore, this vain endeavour? You will never protect yourselves against the cold in this way. You had better look for a spot in the forest which is sheltered from the wind, or a cave, or a cleft in the mountains. Even now mighty rain clouds are appearing.’ Thereupon an old monkey among them said, ‘Ho, what business of yours is this? Be off. There is a saying —
The Sanskrit Epics Page 998
