The Sanskrit drama : $b in its origin, development, theory and practiceKeith, Arthur Berriedale
History
The Sanskrit drama : $b in its origin, development, theory and practice
Keith, Arthur Berriedale
Sanskrit drama -- History and criticism
Ghaṭotkaca is again the leading figure of the Dūtaghaṭotkaca, which may
also be classed as a Vyāyoga, a term indicating primarily a military
spectacle. The Kurus are jubilant over the defeat of Abhimanyu,
Arjuna’s son, at the hands of Jayadratha, though Dhṛtarāṣṭra warns them
of the dangers that overshadow them. Ghaṭotkaca appears to them and
predicts their punishment at the hands of Arjuna. Of the same general
type apparently is the Karṇabhāra which deals with Karṇa’s armour; he
makes himself ready for his fight with Arjuna, and tells Çalya, the
Madra king, of the trick by which he won it from the great Paraçurāma,
though the latter retaliated for the deception by the curse that the
arms should fail him in the hour of his need. The curse is fulfilled,
for Indra comes in the guise of a Brahmin and obtains from Karṇa his
weapons and earrings. Karṇa and Çalya go out to battle, and the sound
of Arjuna’s chariot is heard. In the Ūrubhan̄ga the fight between Bhīma
and Duryodhana, greatest of the Kurus, ends in the breaking of the
thigh of the latter, who falls in agony; his son comes to him in his
childish way, but his father is fain to save him the sorrow of his
plight. His parents and wives surround him; he seeks to comfort them;
Açvatthāman swears vengeance despite his counsels of peace; visions of
his brothers and Apsarases float before him, and he passes away.
These four plays have each but one Act; the Pañcarātra, on the other
hand, has three, and may perhaps be classed as a Samavakāra, in so far
at least as it is a drama in which there are more heroes of sorts than
one, and they more or less attain their ends, which seem to be the
chief features of that dubious kind of play in the theory. It reflects
the period when efforts are being made to save the Kurus and the
Pāṇḍavas from the fatal conflict, which ends in the ruin of the former
and grave loss to the latter. Droṇa has undertaken a sacrifice for
Duryodhana, and seeks as the fee the grant to the Pāṇḍavas of half the
realm to which they had a just claim. Duryodhana promises on condition
that they are heard of within five days. Virāṭa, however, is missing
from those present at the offering; he has to mourn the loss of a
hundred [169] Kīcakas. Bhīṣma suspects that Bhīma must be at the bottom
of this illhap, and on his instigation at the end of Act II it is
decided to raid Virāṭa’s cows, as he hopes thus to bring the facts to
light. The foray, however, fails, for the Pāṇḍavas are with Virāṭa in
disguise; Abhimanyu is taken prisoner and married to Virāṭa’s daughter.
The charioteer in Act III brings back the news, showing clearly that
Arjuna and Bhīma have taken part in the contest, but none the less
Duryodhana decides to keep faith.
Public-domain text, read in full here on John Shaqi.
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