Arts

Saṃskṛta-nāṭaka - Viśākha-datta - Mudrārākṣasa (Part 5)

The nature of various characters in the play is clear. In the world of Sanskrit literature, it is rare to find such well-defined characters and sets of events that naturally progress from one to another. It wouldn’t be wrong to say that in the triad constituted by the plot, emotion, and characterisation, the last, i.e., the characterisation in the play merits the best applause; the plot naturally depends on character.

Saṃskṛta-nāṭaka - Viśākha-datta - Mudrārākṣasa (Part 4)

Because he was so smart, Cāṇakya always exercised caution in his actions; he was all eyes at all times; he was able to estimate the enemy’s strategy by merely listening to Dāruvarmā’s replies and Stanakalaśa’s poems; he gathered the kind of ploys Rākṣasa had plotted to eliminate Candragupta and came up with counter-strategies for each. He ensured that the deeds of his enemies only worked against those who had hatched the plans.

Saṃskṛta-nāṭaka - Viśākha-datta - Mudrārākṣasa (Part 3)

The Viṣṇu- and the Bhāgavata-purāṇas narrate the story of Candragupta Maurya in brief. However, as Dhanika says, it is quite likely that the seed story of the Mudrārākṣasa is from the Bṛhatkathā. We don’t have enough evidence to claim that there was another historical work which could have served as the basis for the plot of the play. The core of the play is historical; however, the poet has added a great amount of detail to the story out of his creative imagination.

Saṃskṛta-nāṭaka - Viśākha-datta - Mudrārākṣasa (Part 1)

We can gather quite a few biographical details about Viśākhadatta from the prastāvanā of his play Mudrārākṣasa; he was the grandson of Vaṭeśvara-datta and the son of Bhāskara-datta (or Pṛthu). However, it is quite difficult to ascertain who these men were and where they lived; it is also challenging to arrive at a fair estimate of the period in which they existed. The bharata-vākya of the play reads –

 

vārāhīm-ātmayonestanumavanavidhāvāsthitasyānurūpāṃ

Saṃskṛta-nāṭaka - Kālidāsa - Abhijñāna-śākuntalam (Part 6)

From the discussion carried out so far, I hope the reader does not come to the conclusion that Kālidāsa is conservative or is always other-worldly in his thoughts; he lays emphasis on family life, especially in children, as evident from his literary works; he always professes dharma to be practised at all levels; one must do it with dedication and through the proper process; all such activities are dependent on the availability of resources, especially on money; if we are dedicated and follow the right set of procedures, resources will naturally follow (7.29).

Saṃskṛta-nāṭaka - Kālidāsa - Abhijñāna-śākuntalam (Part 5)

Unlike in the epic, Duṣyanta in the play, does not seek to marry Śakuntalā in a hurry. Kālidāsa introduces Śakuntalā to Duṣyanta little by little; the poet has displayed great amount of finesse, decorum, and dignity in introducing his characters;[1] he has created an occasion for their acquaintance to gradually blossom into romantic love; having said this, we are not trying to say that the story slows down; in a short span of a few acts, Kālidāsa brings together a lot of information; many incidents take place in rapid succession.