BEGC 101 Audiobook| Block 1| Unit 1 INDIAN AESTHETICS: AN INTRODUCTION Course | English Honours

Summary

This script delves into the origins and evolution of Indian classical drama, highlighting its Vedic roots and development into a performative art form. It contrasts Indian drama with Greek traditions, noting the absence of tragedy and the integration of dance and music. The script examines Sanskrit drama's purpose, structure, and linguistic nuances, emphasizing the role of royal patronage. It also profiles key playwrights like Bhasa, Sudraka, and Bhavabhuti, discussing their contributions and the unique elements they introduced, such as romantic and tragic themes. The overview provides insight into the rich tapestry of classical Indian theater and its cultural significance.

Takeaways

• 🎭 Indian classical drama has its roots in oral tradition and religious performances, evolving from Vedic era influences.
• 🌏 Major civilizations, including India, had their own versions of drama, but the exact origin is hard to pinpoint due to the gradual evolution of the art form.
• 📜 The 'Natyashastra' by Bharata Muni is a significant text that provides insights into the nature and structure of Indian drama.
• 💡 Indian drama is distinct for its inclusion of supernatural elements and the absence of strict adherence to the three unities of time, place, and action.
• 🎭 The Greek influence on Indian drama is evident in aspects like plot structure and use of chorus, but Indian drama also incorporates dance and song, which are not found in Greek drama.
• 🏺 Sanskrit drama is one of the most prominent dramatic traditions in India, with a purpose beyond entertainment, aiming to provide instruction, wealth, justice, and spiritual liberation.
• 🌟 The concept of 'Rasa' is central to Sanskrit drama, referring to the refined emotional response evoked in the audience.
• 📚 The structure of Sanskrit drama typically includes five transitions or acts, leading to a final resolution of the plot.
• 🗣️ Sanskrit drama was bilingual, with different social classes speaking in Sanskrit or Prakrit, which limited its audience to the upper castes.
• 🎭 Prominent classical Sanskrit playwrights like Bhasa, Sudraka, and Bhavabhuti have left a lasting legacy with their unique storytelling and contributions to the戏剧atic form.
• 🌐 The decline of Sanskrit as a living language and the strict rules of dramaturgy contributed to the waning popularity of Sanskrit drama, but it continues to be studied and performed today.

Q & A

What is the origin of Indian classical drama?

The origin of Indian classical drama can be traced back to the Vedic era (1500 to 1000 BCE), where dramatic elements were found in the Vedas, dialogue hymns, and Vedic rituals. The Indian dramatic tradition was influenced by these elements and evolved over time.

What is the term 'Sanskrit drama' referring to?

Sanskrit drama refers to the form of classical Indian drama that was written in Sanskrit language. It includes various components and participants such as the playwright, actors, director, audience, costume designer, makeup artists, etc., and it was often performed for royal and aristocratic audiences.

What are the key differences between Indian and European dramatic traditions?

Key differences include the absence of tragedy in Indian drama, a more flexible adherence to the unities of time, place, and action in Indian drama, and the inclusion of dance and song as integral parts of Indian drama, which are not found in Greek counterparts.

How does the 'Rasa' theory play a role in Sanskrit drama?

Rasa, or the aesthetic sentiment, is an important aspect of Sanskrit drama. It refers to the audience's refined emotional response evoked by the play, composed of different types of emotional responses to a work of art. Rasa is seen as the highest purpose of Sanskrit drama.

What is the structure of a typical Sanskrit drama according to the Natya Shastra?

A typical Sanskrit drama follows a structure that consists of five transitions: the origin (mukhara), the incident (pratimukha), the development of the plot (gati), the crisis (upagama), and the completion (nirdeshika), leading to a final culmination of the events depicted.

What is unique about the linguistic nature of Sanskrit drama?

The unique aspect of Sanskrit drama is its bilingual nature. Protagonists from the upper castes, such as Brahmans and Kshatriyas, spoke in Sanskrit, while characters from other sections of society spoke in various Prakrit languages, reflecting their caste, class, gender, and age.

Who are some prominent classical Sanskrit playwrights and what are their contributions?

Prominent classical Sanskrit playwrights include Bhasa, Sudraka, and Bhavabhuti. Bhasa is known for his play 'Swapnavasavadatta', Sudraka for 'Mricchakatika', and Bhavabhuti for 'Malati Madhava'. Each of them contributed to the diversity and richness of classical Sanskrit literature with their unique storytelling and poetic skills.

What is the significance of Kalidasa in the tradition of Sanskrit drama?

Kalidasa is one of the best-known Sanskrit dramatists whose works have been adapted and translated into numerous languages. His poetic skills are unparalleled, and he reimagined plots from the Vedas, Puranas, and epics, creating works such as 'Abhijnana Shakuntala', which is his most popular and famous play.

How did the Greek invasion influence Indian drama?

The Greek invasion of the Indian subcontinent led to some similarities between Greek and Indian drama, such as the plot being centered on historical and mythical figures. However, Indian drama also includes supernatural figures and does not strictly adhere to the three unities of time, place, and action.

What role did Buddhist and Jain traditions play in the formalizing of the Indian dramatic tradition?

Buddhist and Jain traditions are believed to have influenced the formalizing of the Indian dramatic tradition, possibly contributing to the development of classical Indian drama alongside ancient Vedic elements.

Why did Sanskrit drama fail to become a popular form of drama like in ancient Greece or medieval England?

Sanskrit drama failed to become a popular form of drama due to its linguistic barrier and strict adherence to the rules of dramaturgy, which limited the audience to a refined circle of upper castes such as royalty, aristocrats, Brahmans, and Kshatriyas. This restriction and the decline of Sanskrit as a living language led to a gradual disinterest in Sanskritic works.

Outlines

00:00

🎭 Introduction to Indian Classical Drama

This paragraph introduces the topic of Indian classical drama, highlighting its origins, development, and significance. It emphasizes the performative nature of drama, involving various components like dialogues, gestures, and music. The paragraph outlines the objectives of the unit, which include exploring the history of drama from its oral tradition to religious performances, examining the structure and components of Sanskrit drama, and discussing major Sanskrit dramatists like Bhasa, Bhavabhuti, and Sudraka. The unit aims to provide a concise understanding of Indian drama, focusing on Sanskrit drama, given the general lack of knowledge about it. The paragraph also touches upon the history of drama as a literary genre, its evolution, and the elements that define it, such as the story told through dialogues, gestures, and other performative aspects.

05:01

🌏 Origins and Influences on Indian Classical Drama

The second paragraph delves into the origins of Indian classical drama, tracing its roots to the Vedic era and the influence of dramatic elements found in the Vedas, dialogue hymns, and rituals. It discusses the Indian dramatic tradition's divine origin, as ascribed by Bharata Muni in the Natya Shastra, and the Greek influence on Indian drama, including similarities and differences between the two traditions. The paragraph also highlights the influence of Buddhist and Jain traditions on the formalization of Indian drama. It further examines Sanskrit drama in detail, emphasizing its purpose to provide not just entertainment but also instruction, wealth, justice, and spiritual liberation. The concept of 'rasa' or the aesthetic sentiment is introduced as an important aspect of Sanskrit drama. The paragraph also discusses the types of plays, such as 'nataka' and 'prakarana,' and the idealized plot structure of Sanskrit drama, consisting of five transitions leading to a final culmination of events.

10:03

🏛 Structure and Characteristics of Sanskrit Drama

This paragraph discusses the structure and unique characteristics of Sanskrit drama, including its bilingual nature, with protagonists speaking in Sanskrit and other characters in various Prakrit languages. It highlights the stock characters and their linguistic preferences based on caste, class, gender, and age. The paragraph also touches upon the audience of Sanskrit drama, which was mostly limited to the upper castes, leading to royal patronage. It contrasts Sanskrit drama with its European counterpart, noting the absence of a ban on female actors and the inclusion of dance and song as important parts of Indian drama. The paragraph also mentions the decline of Sanskrit as a living language and its impact on the popularity of Sanskrit drama. It concludes by acknowledging the endurance of the genre through contemporary playwrights and the academic study of Sanskrit literature as an important aspect of Indian culture and tradition.

15:04

📜 Classical Sanskrit Playwrights and Their Works

The fourth paragraph focuses on the works and contributions of classical Sanskrit playwrights, such as Bhasa, Sudraka, and Bhavabhuti. It provides a brief overview of their lives and the themes of their plays. Bhasa, a 3rd to 4th-century CE playwright, is known for his play 'Swapnavasavadatta' and his departure from traditional dramatic conventions. Sudraka, a poet-king from the 2nd century CE, is famous for his play 'Mricchakatika,' a romantic and humorous story. Bhavabhuti, a major dramatist from the later Sanskrit period, wrote plays based on the Ramayana and is known for his unique combination of romance, heroism, and horror in his works. The paragraph also mentions the critical reception of these playwrights' works and their impact on the tradition of classical Sanskrit drama.

20:05

🌟 Kalidasa and the Legacy of Sanskrit Drama

The final paragraph provides a brief overview of Kalidasa, one of the most renowned Sanskrit dramatists, whose works have been widely adapted and translated. It highlights his poetic skills and his ability to reimagine plots from the Vedas, Puranas, and epics. Kalidasa's notable works include plays like 'Malvikagnimitram' and 'Vikramorvasiyam,' as well as epic poems such as 'Raghuvamsa' and 'Kumarsambhava.' His most famous work, 'Abhijnana Shakuntalam,' is mentioned, with a note that its details and aesthetics will be discussed in the next unit. The paragraph concludes by summarizing the unit's focus on the history and development of Indian classical drama, with an emphasis on Sanskrit drama, and the diversity and range of classical Sanskrit literature.

Keywords

💡Indian Classical Drama

Indian Classical Drama refers to the traditional form of drama that originated in ancient India, characterized by its rich narrative and performative elements. The script discusses the evolution of this drama from oral traditions to religious performances, highlighting its significance in Indian culture. It is mentioned as beginning with its oral tradition to later religious performances, indicating a historical depth and cultural importance.

💡Sanskrit Drama

Sanskrit Drama is a subset of Indian Classical Drama, specifically written in the Sanskrit language. The script mentions that it includes various components and is performed with specific aims such as instruction, wealth, justice, and spiritual liberation. This form of drama is distinct for its non-tragic endings and the presence of supernatural elements, setting it apart from other dramatic traditions.

💡Bharata Muni

Bharata Muni is referenced in the script as the author of the Natya Shastra, an ancient Indian treatise on the performing arts, including drama, dance, and music. His work is considered the most extended treatise on Indian drama, suggesting that it encapsulates the dramatic development of the time and provides a divine origin to the dramatic tradition.

💡Rasa

Rasa, as explained in the script, refers to the aesthetic sentiment or the refined emotional response evoked in the audience by the play. It is a crucial aspect of Sanskrit drama, aiming to provide a blissful aesthetic experience. The script describes how Rasa is composed of different emotional responses and is considered the highest purpose of Sanskrit drama.

💡Natyashastra

Natyashastra, mentioned in the script, is an ancient Indian treatise on dramaturgy, which provides rules and guidelines for the composition and performance of drama. It is noted for its influence on the structure and performance of Sanskrit drama, including the division of plays into acts and scenes, and the use of stock characters.

💡Bhasa

Bhasa is identified in the script as a significant Sanskrit playwright from the 3rd to 4th century CE. His works, such as 'Swapnavasavadatta,' are highlighted for their departure from the strict adherence to the Natyashastra, indicating a unique approach to drama that combines romance with political intrigue.

💡Sudraka

Sudraka, as mentioned in the script, is known for his play 'Mrichaktika,' which is a romantic drama ending on a positive note. His work provides a realistic portrayal of urban society and is seen as a mix of romance and humor, showcasing the diversity within Sanskrit drama.

💡Bhavabhuti

Bhavabhuti, discussed in the script, is a major Sanskrit dramatist known for his plays that are based on the Ramayana and for his unique incorporation of supernatural elements. His work 'Malati Madhava' is noted for its combination of romance, heroism, and horror, marking a distinctive style in Sanskrit literature.

💡Kalidasa

Kalidasa is recognized in the script as one of the best-known Sanskrit dramatists, with works that have been widely adapted and translated. His plays, such as 'Abhijnana Shakuntala,' are celebrated for their poetic skill and reimagining of plots from the Vedas, Puranas, and epics, contributing significantly to the richness of Indian Classical Drama.

💡Nataka

Nataka, as defined in the script, is one of the major types of plays in Sanskrit drama, typically based on myths and heroic tales. It is part of the idealized plot structure of Sanskrit drama, which consists of five transitions leading to a final culmination of events, illustrating the complexity and depth of the dramatic form.

💡Prakarana

Prakarana, mentioned in the script, refers to a type of play that is based on fictitious stories where less important characters are dominant. It contrasts with Nataka in its focus on everyday life and characters, providing a different perspective within the realm of Sanskrit drama.

Highlights

Indian classical drama has its roots in oral tradition and religious performances.

Drama is a performative art involving dialogues, gestures, movements, and facial expressions.

Indian classical drama was influenced by Vedas, dialogue hymns, and Vedic rituals.

Natyashastra by Bharata Muni is the most extended treatise on Indian drama.

Greek invasion might have influenced Indian drama with similarities in plot and characters.

Indian drama includes supernatural figures like gods and goddesses, unlike Greek drama.

Buddhist and Jain traditions contributed to the formalizing of Indian dramatic tradition.

Sanskrit drama aims to provide entertainment, instruction, wealth, justice, and spiritual liberation.

Rasa, or aesthetic sentiment, is a crucial aspect of Sanskrit drama, evoking refined emotional responses.

Sanskrit drama's plot structure consists of five transitions leading to a final culmination.

Sanskrit drama is bilingual, with upper castes speaking in Sanskrit and others in Prakrit languages.

Bhasa's plays do not strictly follow the Natyashastra, indicating poetic experiments.

Sudraka's 'Mrichaktika' is a romantic play with a happy ending, depicting urban society.

Bhavabhuti's 'Malati Madhava' combines romance, horror, and the supernatural.

Kalidasa's works, like 'Abhijnana Shakuntala', have been adapted and translated worldwide.

Kalidasa's poetic skills reimagined plots from the Vedas, Puranas, and epics.

Indian classical drama's history and development have been explored with a focus on Sanskrit drama.

The unit provides an appreciation of the diversity and range of classical Sanskrit literature.

Transcripts

foreign

1.10 questions one what do you think is

the origin

unit one indian aesthetics an

introduction structure 1.0

objectives 1.1 introduction 1.2 indian

classical drama

1.3 sanskrit drama 1.4 classical

sanskrit playwrights

1.5 bhasa 1.6 sudra 1.7 bhav bhuti 1.8

kalidasa 1.9

let us sum up 1.10 questions

1.0 objectives in this unit we will look

at drama

specifically classical indian drama and

its origin

role and significance beginning with its

oral tradition to the later religious

performances

the unit will examine drama as a

performative social activity aimed at

particular audiences

we will then discuss sanskrit dramas its

various components

and end with an overview of major

sanskrit dramatists such as bhasa

bhavi and sudraka this unit will

conclude with a brief discussion on

kalidasa

as the next unit will deal with him in

detail

the objective of this unit is to offer a

concise

idea about indian drama with a specific

focus on sanskrit place as i am sure

most of us do not have much knowledge

about sanskrit drama per se

1.1 introduction

like any literary genre drama has its

own history both in terms of its origin

and evolution the drama that we see or

study in classrooms today did not begin

as such

as a literary composition drama usually

tells us a story

but not just story but not just through

words

in the form of dialogues but also

through gestures

movements and facial expressions of the

characters

dances costumes background landscape

music stage setting etc drama is

therefore a perform performative art

that

includes many components and

participants such as the playwright

actors director audience costume

designer

makeup artists etc in the next section

we shall take a look at what is called

indian classical drama

1.2 indian classical drama

all major civilizations had their own

version of drama such as the greek

the chinese and the indians

one of the major problems in determining

an origin date for literary traditions

such as drama is that we cannot pinpoint

the exact year of its genesis rather

we can trace its influence and evolution

to arrive

6. kali dada abhijnana shakuntala at a

more or less realistic understanding of

the origins of drama

the indian dramatic tradition was

influenced by the dramatic elements

found in the vedas

in dialogue hymns and vedic rituals

thus it is in the vedic era 1500

to 1000 bce that we see dramatic

elements that will come to define drama

in the years to come and eventually

usher in a genre known as indian

classical drama as we know it

even the epics such as the mahabharata

support the

existence of performers or nata as early

as 400

ce however the most extended treatise on

indian drama is the nature shastra by

bharta muni

which emerged in third sea bharata

ascribes a divine origin to the dramatic

tradition

which highlights its vedic religious

beginnings

the very existence of such a text

suggests that it was the culmination of

a fairly long process of dramatic

development

taking place at that time the greek

invasion of the indian subcontinent has

led a few critics such as weber to

assert a greek influence on indian drama

there are certainly some similarities

such as the plot being mainly centered

on historical

mythical figures but the indian

tradition has the added element of

supernatural figures

such as gods and goddesses that populate

the world of drama

the division of the play into acts and

scenes use of the chorus

developments of stock characters

demonstrate this greek influence on all

drama

however major differences also exist

between

the two traditions specifically the

absence of tragedy in the indian

dramatic tradition

greek drama's adherence to the three

unities of time

place and action is not strictly

observed in indian drama

where the action shifts from earthly

spaces to heavenly ones

taking place across many years as well

furthermore

dance and song are an important part of

indian drama

and not found in the greek counterpart

other scholars highlight the influence

of buddhist and jain traditions in the

formalizing of the indian dramatic

tradition

thus we can conclude that there might

have been a strain of the greek

influence

along with influences from other

literary traditions

and cultures such as the buddhist and

jain traditions

that worked together with ancient vedic

ones to create the classical indian

drama

as we know it today this may be

particularly true of the tamil epic

silipatika ram which is influenced

also by the buddhist and jain traditions

as we shall see in the fourth block

in the next section we shall look at

sanskrit drama

1.3 sanskrit drama in this section

we shall examine sanskrit drama in a

more detailed manner

a vast country like india cannot have a

singular dramatic tradition

given as we discussed before the various

influences on the genre

as well as the diversity of the

subcontinent and how these

communities received an adapted drama

however one of the most prominent

dramatic traditions to have emerged

is sanskrit drama others include the

dance drama of southern india as well

the sanskrit tradition of southern india

such as the kuryatam in kerala

according to the nature shastra a

dramatic works purpose was to provide

not just

entertainment and pleasure but

instruction wealth

justice and spiritual liberation that's

why sanskrit drama does not have a

tragic ending because in hindu cosmology

death is not the end but a means to

either achieve spiritual liberation from

the cycle of life or be reborn till it

is achieved

moreover the rasa or the aesthetic

sentiment is an

important aspect of sanskrit drama and

seven can be best defined as the

audience's refined emotional response

evoked by the play

rasa is broadly composed of vibhava

anubhava

viabhitribhava and style which are the

different types of emotional responses

to a work of art

alternatively rasa can be explained as a

blissful aesthetic experience achieved

via drama

and is seen as sanskrit drama's highest

purpose

natasha also elucidates the different

types of plays

the major type rupaka or the minor type

uparupaka rupakka consists of 10

varieties out of which the nataka

our place based on myths and heroic

tales and the prakhana

are placed based on fictitious stories

and where less

important characters are dominant

sanskrit drama's idealized plot

structure

consists of five transitions that lead

to a final culmination of the events

depicted

the first is the origin mukha which

states the seeds or the beginning of the

plot

the second is the incident pratimukha

which develops the plot line further by

showing both good and bad events

the third is germ gaba where good

actions

events seem to lead towards the aim fala

the fourth is crisis

where bad actions events seem to

outweigh the good and stress away from

the

aim the fifth is completion

nirvana that brings together all

the different narratives in the play to

a definitive conclusion

one of the unique aspects of sanskrit

drama is its bilingual nature

the protagonists who belonged to the

upper castes such as brahmans and

chatrails spoke in sanskrit whereas

characters

from other sections of society such as

soldiers

servants women and children etc spoke in

the various prakrit languages

the stock characters encountered here

such as the sukradar

director the nayak hero the naoki

heroine and the viduska jester

speak either in sanskrit or prakrit

depending on their caste

class gender and age such a linguistic

construction of the player restricted

the variety of people who could watch

and enjoy it thus the audience was

mostly limited to a refined circle of

upper castes such as the royalty

aristocrats brahmans and kshatriyas

leading to royal patronages even the

nato shistra states that the ideal

spectators

should be educated and noble men all

four castes could watch a

play as long as they were seated

separately

it is no surprise then that sanskrit

drama failed to be a people's drama such

as those in ancient greece and medieval

england however

this is not to say no other form of

drama existed or evolved in india

outside of the sanskritic tradition folk

theater

and straight place new karnatak abound

even now and are a testament to the

vitality of contemporary indian theatre

another aspect that differentiates

sanskrit drama from its european

counterpart is the composition of actors

unlike the ban on female actors in

european classical drama

the sanskritic tradition did not have

such prohibitions that required male

actors

to perform the role of female leads and

drama could be performed by men alone

women alone or a mix of both depending

on the plot

despite its many unique characteristics

the major drawback of sanskrit drama

was its linguistic barrier as well as

the strict adherence to the rules of

dramaturgy that did not leave much space

for individual imagination

and experiments with the genre its

failure to transition into popular art

because of the decline of sanskrit

as a living language led to the gradual

disinterest in sanskritic works

however sanskrit plays are still being

written

and performed in india by playwrights

such as manmohan acharya

arjuna pratijna shrita kamlam

padapalavam

divyajayadevam

that are a living testimony to the

endurance of the genre

sanskrit literature may have failed to

become popular literature but it is

still studied in academia and seen as an

important aspect of indian culture and

tradition

let us look at the classical sanskrit

dramatists of

ancient times next 1.4 classical

sanskrit playwrights

sanskrit drama is defined by the works

of dramatists such as sudraka

basa bhav ghoti

to name a few they have survived through

thousands of years

because of their literary prowess in

depicting characters

settings plots in their own

individualistic way

almost all the great sanskrit

playwrights benefited from royal

patronage or were part of royal

households or even of kings

let us begin by talking about bhasa

first

1.5 bhasa bhasa

3rd to 4th ce was a sanskrit playwright

preceding kalidasa believed to have

lived in the city of ujjan

relatively unknown to sanskrit scholars

except

through references in other dramatic

works bhasa's works saw the light of the

day in 1909 when the play swap

navasvadata

vision of vaswadatta was discovered by

pandit anandalwa

of the archaeological survey of mysore

in 1913 a total

of 13 plays were discovered in an old

library in thiruvananthapuram

private room by t ganpatishastri

basar drew his inspiration from epics

such as the mahabharata

the ramayana the purana and

semi-historical legends and figures

basar's plays do not follow the nato

shishtra very strictly

even breaking dramatic conventions this

has led some critics to conclude that

bhasa's place were written

before bhartam nunes treatise others see

this as an

indication of bhasa's poetic experiments

and disregard for dramatic conventions

swapnavaswadakta is his most famous play

that depicts the story

of king udyana who must choose between

marrying for love his beloved vaswa

datta or the daughter of a neighboring

king

princess padmavati for political gain

in the play bhasa combines romance with

political intrigue creating a new kind

of drama

along with traditional dramas bhasa also

wrote

short plays one act plays and monologues

among the many dramatic conventions that

bhasa broke was depicting a tragic

ending in his place

both urubanga breaking of the thighs and

karna bharara

karna's task which deal with the stories

of du yodan and karna respectively

end on tragic notes the heroes of these

two plays are traditionally seen as

villains or anti-heroes in the

mahabharat however

basa treats them with sympathy and shows

a side of their character hitherto not

dealt with in the epic

furthermore basar does not shy away from

showing violent acts on stage

which was another natya shishtra

convention that he disregards

we shall take a quick look at sudrakar

next

1.6 sudra sudraka

literally translated as the little

servant was a poet king who lived in

ujjain in the second ce

he is well known for his prakharna play

9. mrichaktika the little clay card

which is an extended version of bhasa's

incomplete play charudaktam

the 10-act play tells the love story of

a brahman merchant

charudakta and a courts and vasantha

whose union is thwarted by a jealous

suitor

even with a few serious elements the

play ends happily and is primarily seen

as a mix of romance and humor

it also offers an interesting and

realistic picture of urban society

and the complex social structure of that

time

we will be studying sudhaka's miraca in

block 3 of this course

his other plays include vinwa swadata

and urbana

short one act monologue and padma

pragritaka

incidentally the 1984 hindi movie

observe

directed by girish karnad is believed to

have been based largely on mrajatika

bhavgooti will be examined in the

subsequent section

1.7 bhav ghoti

bhav ghoti a major dramatist of the

later sanskrit dramatic period

was the court poet of king yasho verman

of kannaj

in north india in 8th ce he too wrote

plays based on the ramayana

such as the mahavir charita exploits of

a great hero

which depicts the early life of rama and

uttaram charita

the latter history of rama which shows

the final years of rama's life as

written in the uttarakhanda of the

ramayana

both the plays consist of seven acts

written in the nataka style

his third drama malati madhava malti and

madhava

is a prakhana play centered on the love

story of malty

the daughter of a minister and madhuvia

her beloved

malty is set to be married off to

nandana in accordance

with the king's wishes the powerful

suitor as well as a mix-up with another

couple interrupts the union of malty and

madhava

which is finally resolved with the aid

of magic

the use of the supernatural makes this

play a one of a kind drama that

skillfully combines romance with horror

bhavgooti's long poetic descriptions are

seen as mere embellishment that does not

add anything to the drama

but tends to obfuscate his clear and

simple diction

he is known for completely doing away

with the viduska and thus eliminating

the comic element in his place

critics see this as a reflection of his

temperament that could not portray humor

effectively

bhavgooti instead compensates for it by

highlighting the supernatural

and the grotesque thus evoking the rasa

bibasta

disgust and rohdra anger in his works

his place have the unique combination of

heroism

romance and horror unrivalled in

sanskrit literature

the next section will deal with a brief

look at kalidasa

as we place him in the tradition 1.8

kali dasa

one of best known sanskrit dramatists in

the world

whose works have been adapted and

translated into numerous languages and

forms

kalidasa's poetic skills are

unparalleled even today

basing his works on the vedas the purana

and the epics

kalidasa reimagined and breathed new

life into the plots that he took from

these works

his works include notable plays such as

malwik nagnimitram

pertaining to malvika and agnimitra and

vikram or vasyam

pertaining to vikram and uvashi he also

wrote epic poems such as raghuvam say

dynasty of indian aesthetics

an introduction 10. kalidada

abhijnana shakuntala raghu and kumar

sambhava

birth of kumara or subrahmanya

along with kandakvya's minor poems

however his most popular and famous work

remains the abhijnana shakunthalam

the recognition of shakuntila we will

not

discuss the details of his work and

aesthetics here

this will be dealt with in the next unit

1.9 led us some up

in this unit we have learned about the

history

and development of indian classical

drama

special focus has been given to sanskrit

drama

with comparisons and differences drawing

between the indian

and european dramatic tradition to give

an overall awareness about drama

we have also been apprised of other

important sanskrit playwrights

and that has helped us understand the

tradition beyond kalidasa

and has offered us an appreciation on

the diversity

and range of classical sanskrit

literature

1.10 questions one what do you think is

the

origin of indian classical drama two

what do you

understand by the term sanskrit drama

three names some of the prominent

classical sanskrit playwrights and

attempt a critical analysis of their

works

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