Reading section 12

The same ideas pervade the mythological language of Greece.

BHAVABHUTI.

The name of Bhavabhuti stands high in Sanskrit literature. It is perhaps the highest in eloquence of expression and sublimity of imagination. Throughout the whole range of Sanskrit literature--from the simple lessons of Hitopadesha to the most elaborate polish of Naishadha--from the terse vigour of Sankaracharjya to the studied majesty of Magha--from the harmonious grace of Kalidasa to the ornate picturesqueness of Kadambari, there is probably no writer who can come up to Bhavabhuti in his wonderful command of Sanskrit language and surprising fluency and elevation of diction.

The introductions to the Viracharita and the Malati-Madhava tell us that he belonged to Padmapura in Vidarva (Berar) and was the grandson of Gopal Bhatta and son of Nilkantha and Jatukarni. He was descended from a family of Brahmans surnamed Udambaras.

His wonderful memory and vast erudition soon procured for him the title of Srikantha or Minerva-throated. He soon removed to the court of Ujjayini, where before the celebrated Mahakala all his plays were acted.

He wrote the Viracharita, the Uttarramacharita and the Malati-Madhava.

According to Rajatarangini, Bhavabhuti was patronized by Yasovarma, king of Kanoja. This Yasovarma was subdued by Lalitaditya, king of Kasmira, who acquired by his conquests a paramount supremacy over a large part of India.

VIRA CHARITA.

The play throws some light on the condition of women. The princesses of Videha publicly go to the hermitage of Vishvamitra. Sita comes out with her attendants to dissuade Rama from meeting Jamadagnya and makes a public entry with him on his return to Ayodhya. The old queens come out to meet their children. Yet it must not be supposed that Hindu women enjoyed the same freedom of intercourse as their European sisters. As now, there used to be separate apartments for women. As now, they were not admitted to an equality with men. The princesses of Videha do not carry on conversation with the princes of Ajodhya. Sita does not come out to pay her respects to the seniors, but her salute is announced from within. There is now more seclusion of Hindu women as the result of the influence of past Mahammedan rule. The influence of British rule is now promoting the cause of female liberty.

UTTARRAMACHARITA.

The mutual sorrows of Rama and Sita in their state of separation are pleasingly and tenderly expressed. The meeting of the father and his sons may be compared advantageously with similar scenes with which the fictions of Europe, both poetical and dramatic, abound. The true spirit of chivalry pervades the encounter of the two young princes with their father. Some brilliant thoughts occur, the justice and beauty of which are not surpassed in any literature. The comparison of Chandraketu to a lion's cub turning to brave the thunderbolt is one of these; and another is the illustration of the effects of education upon minds possessed or destitute of natural gifts.

MALATI-MADHAVA.

The marriage dress of high-born females described in the sixth act is well worthy of our observation. It consisted of a corset of white silk and a fine red upper garment, besides the usual lower dress, ornaments, and a chaplet of flowers. It has received several modifications since the days of Bhavabhuti.

The sacrifice of good-looking girls, alluded to in the fifth act, was common in his time and other authors allude to it. The seventh story of Dasakumar Charita is just like it, when a prince rescues a princess from a similar Sanyasi and afterwards marries her.

The story of "Malati and Madhava" is one of pure invention. The manners described are purely Hindu without any foreign admixture. The appearance of women of rank in public, and their exemption from any personal restraint in their own habitations, are very incompatible with the presence of Muhammedan rulers. The licensed existence of Buddha ascetics, their access to the great, and their employment as teachers of science, are other peculiarities characteristic of an early date; whilst the worship of Siva in his terrific forms, and the prevalance of the practices of the Yoga, are indications of a similar tendency.

MUDRA RAKSHASA.

It must be acknowledged, that the political code from which the stratagems of Chanakya emanate, exhibits a morality not a whit superior to that of the Italian school; but a remarkable, and in some respects a redeeming principle, is the inviolable and devoted fidelity which appears as the uniform characteristic of servants, emissaries, and friends.

The play is wholly of a political character, and represents a series of Machiavellian stratagems, influencing public events of considerable importance.

The Mudrarakshasa is, in sundry respects, a very unique work in Sanskrit literature. Its plot is not a pure invention, but on the other hand, it is not derived from the usual storehouse of legends on which Sanskrit authors have generally drawn for their materials. It has no female among its prominent _dramatis personæ_, and the business of the play, accordingly, is diplomacy and politics, to the entire exclusion of love. There is, in truth, but one female character, with one little child, introduced into the play, and these are Chandanadasa's wife and son, who come in at the beginning of the last act. But even their appearance introduces no passages suggestive of tenderness or the purely domestic virtues, but only of sacrifice--a stern sense of duty.

In the minor characters we see the principle of faithfulness to one's lord, adhered to through good report and evil report. In the more prominent ones, the same principle still prevails, and the course of conduct to which it leads is certainly quite Machiavellian. And all this is brought out in a plot put together with singular skill.

In the seventh act we have a remarkable stanza, in which the conduct of Chandanadasa, in sacrificing his life for his friend Rakshasa, is stated to have transcended the nobility even of the Buddhas. It seems that this allusion to Buddhism belongs to a period long prior to the decay and ultimate disappearance of Buddhism from India. In the time of Hionen-Tsang--_i.e._ between 629-645 A.D.--it was, however, still far from being decayed, though it appears to have fallen very far below the point at which it stood in Fa-Hian's time, to have been equal in power with Brahminism only where it was supported by powerful kings, and to have been generally accepted as the prevailing religion of the country only in Kashmir and the Upper Punjab, in Magadha and in Guzerat. In this condition of things, it was still quite possible, that one not himself a Buddhist--and Visakhadatta plainly was not one--should refer to Buddhism in the complimentary terms we find in the passage under discussion.

The late Mr. Justice Telang observes:--"The policy of Chanakya is not remarkable for high morality. From the most ordinary deception and personation, up to forgery and murder, every device is resorted to that could be of service in the achievement of the end which Chanakya had determined for himself. There is no lack of highly objectionable and immoral proceedings. It must be admitted that this indicates a very low state of public morality, and the formal works on politics which exist certainly do not disclose anything better. With reference to the criticisms which have been based on these facts, however, there are one or two circumstances to be taken into account. In the first place, although this is no excuse, it may be said to be an extenuation, that the questionable proceedings referred to are all taken in furtherance of what is, in itself, a very proper end. Chanakya's ambition is to make his protegé, Chandragupta firm upon his throne, and to bring back Rakshasa to the service of the king who properly represented those old masters of his to whom Rakshasa's loyalty still remained quite firm. If the end could ever be regarded as justifying the means, it might be so regarded in this case. And, secondly, it must not be forgotten, that the games of diplomacy and politics have always been games of more or less doubtful morality. When we hear of one great politician of modern days declaring another to be a great statesman, because, as I believe he expressed it, the latter lied so cleverly, we cannot say that the world has risen to any very perceptibly higher moral plane in the times of Metternich and Napoleon, than in those of Chanakya and Rakshasa. Nor are suppressions of important passages in despatches for the purposes of publication, or wars undertaken on unjustifiable and really selfish pretexts, calculated to convince one, that even in Europe in the nineteenth century, the transaction of political affairs has been purged of the taint of immorality, however different, and I may even add, comparatively innocent, may be the outward manifestations of that taint."

VISAKHADATTA.

Visakhadatta or Visakhadeva is the author of Mudrarakshasa. We learn from the Introduction to the drama that Visakhadatta was the son of Prithu and grandson of Vatesvaradatta--a Samanta or subordinate chief Professor Wilson was inclined to think that Maharaja Prithu might be the Chouhan Prince Prithu Rai of Ajmir; but he himself pointed out that the Chouhan Prince was never called Maharaja; and that the name Nateswara Datta would present a serious difficulty in the way of identifying the poet's father with the Chouhan Prince Prithu Rai of Ajmir. It will also appear that the author of the drama lived in a century which is prior to the age of Prithu Rai of Ajmir by centuries. He was in all probability a native of Northern India. The grandson of a tributary chief and the son of a Maharaja he was well-skilled in state-craft and made a special study of stratagems and crooked policies; in consequence of which the bent of his mind was mainly directed to business and did not indulge in sentiments. The effect of it is manifest in his poetry which is business-like and vigorous, but lacks in sweetness, beauty and the tender emotions.

YAYATI CHARITA.

The author may possibly be Pratapa Rudra Deva, sovereign of Telingana in the beginning of the fourteenth century.

DUTANGADA.

It is said to have been written for the yatra of Kumar Pala Deva, by order of Tribhuvana Pala Deva, by the poet Subhata.

DHANANJAYA VIJAYA.

It is the composition of Kanchana Acharya, the son of Narayana, a celebrated teacher of the _yoga_, of the race of Kapi Muni.

MRIGANKALEKHA.

The drama was composed by Viswanath, the son of Trimala Deva, originally from the banks of the Godaveri, but residing at Benares, where it was represented at the _yatra_, or festival, of Visweswara, the form under which Siva is particularly worshipped in that city.

KAUTUKA SERVASWA.

This is a Prahasana or Farce, and is especially a satire upon princes who addict themselves to idleness and sensuality, and fail to patronize the Brahmans.

It was composed by a Pandit named Gopinath for representation at the autumnal festival of the _Durga Puja_.

CHITRA YAJNA.

This heterogeneous composition is the work of a Pandit of Nadiya, Vaidyanath Vachespati Bhattacharya, and was composed for the festival of Govinda, by desire of Iswar Chandra, the Raja of Nadiya.

HASYARNAVA.

This comic play is a severe but grossly indelicate satire upon the profligacy of Brahmans assuming the character of religious mendicants. It satirizes also the encouragement given to vice by princes, the inefficacy of ministers, and the ignorance of physicians and astrologers.

It is the work of a Pandit named Jagaddisa, and was represented at the vernal festival; but where, or when, it is not known.

RATNAVALI.

Although the personages are derived from Hindu history, they are wholly of mortal mould, and unconnected with any mystical or mythological legend; and the incidents are not only the pure inventions of the dramatist, but they are of an entirely domestic nature.

It is stated in the prelude to be the composition of the sovereign, Sri Harsa Deva. A king of this name, and a great patron of learned men, reigned over Kashmir; he was the reputed author of several works, being, however, only the patron, the compositions bearing his name being written by Dhavaka and other authors.

RAJA SEKHAR.

Raja Sekhar is the author of Prachanda Pandava, Biddhasalvanjika, and Karpura Manjari.

MURARI.

Murari composed Anargha Raghava.

VENISANHARA.

The author is Bhatta Narayana surnamed Mrigaraja or Simha, "the lion." He is one of the five Brahmins who, with five Kayesthas, came from Kanouj and settled in Bengal at the invitation of Adisura, the then king of Bengal.

PROBODHA CHANDRODAYA.

This play was composed by Krishnamisra. It is an allegorical play, the _dramatis personæ_ of which consist entirely of abstract ideas, divided into two conflicting hosts.

HANUMANANATAKA.

The play is a dramatized version of the story of Rama interspersed with numerous purely descriptive poetic passages. It consists of fourteen acts and on account of its great length is also called the Mahanataka, or the great drama.

Tradition relates that it was composed by Hanuman, the monkey general, and inscribed on rocks; but, Valmiki, the author of the Ramayana, being afraid lest it might throw his own poem into the shade, Hanuman allowed him to cast his verses into the sea. Thence fragments were ultimately picked up by a merchant, and brought to King Bhoja, who directed the poet Damodara Misra to put them together, and fill up the lacunæ; whence the present composition originated. Whatever particle of truth there may be in this story, the "Great Drama" seems certainly to be the production of different hands.

VASAVADATTA.

Vasavadatta of Subandhu is a short romance, of which the story is this.

Kandarpaketu, a young and valiant prince, son of Chintamani king of Kusumapura, saw in a dream a beautiful maiden of whom he became desperately enamoured. Impressed with the belief, that a person, such as was seen by him in his dream, had a real existence, he resolves to travel in search of her, and departs, attended only by his confidant Makaranda. While reposing under a tree in a forest at the foot of the Vindhya mountains, where they halted, Makaranda overhears two birds conversing, and from their discourse he learns that the princess Vasavadatta, having rejected all the suitors who had been assembled by the king her father for her to make choice of a husband, had seen Kandarpaketu in a dream, in which she had even dreamt his name. Her confidante, Tamalika, sent by her in search of the prince, had arrived at the same forest, and was discovered there by Makaranda. She delivers to the prince a letter from the princess, and conducts him to king's palace. He obtains from the princess the avowal of her love; and her confidante, Kalavati, reveals to the prince the violence of her passion.

The lovers depart together: but, passing through the forest, he loses her, in the night. After long and unsuccessful search, in the course of which he reaches the shore of the sea, the prince, grown desperate through grief, resolves on death. But at the moment when he was about to cast himself into the sea, he hears a voice from heaven, which promises to him the recovery of his mistress, and indicates the means. After some time, Kandarpaketu finds a marble statue, the precise resemblance of Vasavadatta. It proves to be she; and she quits her marble form and regains animation. She recounts the circumstances under which she was transformed into stone.

Having thus fortunately recovered his beloved princess, the prince proceeds to his city, where they pass many years in uninterrupted happiness.

* * * * *