BEGC 101 Audiobook| Block 1| Unit 1 INDIAN AESTHETICS: AN INTRODUCTION Course | English Honours
Summary
TLDRThis 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
- đ Indian classical drama has its roots in oral tradition and religious performances, evolving from Vedic era influences.
- đ 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.
- đ The 'Natyashastra' by Bharata Muni is a significant text that provides insights into the nature and structure of Indian drama.
- đĄ 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.
- đ 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.
- đș 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.
- đ The concept of 'Rasa' is central to Sanskrit drama, referring to the refined emotional response evoked in the audience.
- đ The structure of Sanskrit drama typically includes five transitions or acts, leading to a final resolution of the plot.
- đŁïž Sanskrit drama was bilingual, with different social classes speaking in Sanskrit or Prakrit, which limited its audience to the upper castes.
- đ Prominent classical Sanskrit playwrights like Bhasa, Sudraka, and Bhavabhuti have left a lasting legacy with their unique storytelling and contributions to theæć§atic form.
- đ 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
đ 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.
đ 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.
đ 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.
đ 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.
đ 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.
Mindmap
Keywords
đĄIndian Classical Drama
đĄSanskrit Drama
đĄBharata Muni
đĄRasa
đĄNatyashastra
đĄBhasa
đĄSudraka
đĄBhavabhuti
đĄKalidasa
đĄNataka
đĄPrakarana
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
thanks for watching
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