The title “Mrichchhakatikam”

The title “Mrichchhakatikam”

v Introduction:-

            As regards the title of the play, “Mrichchhakatikam’ (The clay toy-cart), the poet has shown great dramatic skill in selecting it. The general convention about naming a play is that sit should names after the hero and the heroine or a prominent character as in. Sudraka defies this convention. Though the incident of the ………..He appeals  to be insignificant at  first sight it certainly the central one in every sense of the term. It occurs in the middle of the play, just in the beginning of Act- VI.

v Incident of Clay-Cart

            The first incident is connected with the little clay Cart. It is this incident which has given the tile toe play. Charudatta’s  little son, Rahosena sees the neighbor’s child playing with a golden cart and cries demanding a similar toy. Radhanika’s verbal promise does not satisfy him. Vasantsena who in Charudatta’s house at the moment is moved b the sight. The Child’s innocent  refusal to recognize her as his mother affects her heart deeply. Here maternal instincts are roused. She fills the toy clay cart with her ornaments and the little child is satisfied.

v Importance of incident:-

            Thus this small incident has a great symbolic value for the story of the drama.

(1) It brings into light Charudatta’s poverty.

(2) Vasantsena’s act of filling the cart with her ornaments is symbolical of a new prosperity.

(3) It bears a great psychological value.

(4) It significances Vasantsena’s secret ambitious not merely to be a respectable bride but a loveable mother, too. T

            his incident shows the she feel deep motherly instinct.

v Vasantsena as mother:-

            Radanika accepts Vasantsena as her mistress. She introduces her to Rahasena as ‘the mother’, but the reaction of the child is Vasantsena’s crucial test. It brings tears to her eyes. But by filling the cart with her ornaments, she has won the unconquerable heart of the child. Not only her, love but her ambition to be the mother of Charudatta’ child is also fulfilled what every may be said, her position in Charudatta’s house is now assured Thus this incident the most glorious moment in her life.

v Tragic Symbol for Charudatta

            However, this incident affects Charudatta in a very strange way. To Vasantsena, the ornaments were an approach to Charudatta, a way to reach near his heart. But the same ornaments prove to be fateful to Charudatta. They have brought him Vasantsena, but they also bring him the unfortunate charges of their and a lot of worry, too. They come once against in his house  through this incident of the Clay-cart. They bring temporary happiness to his little son, but when Maitreya drops them down in the court during the trial, they completely break the back of Charudatta’s defense. That way, they are a tragic symbol for him.

v Poetic and suggestive title:-

            Thus the love of Vasantsena and Charudatta, their union, the hopes and fear of the two lovers and the entire happiness and tragedy of their life are symbolized by the whole incident of the Clays-Cart. Sudraka has done well departing from the traditional method of the hero’s and heroine’s name for the title of this drama. A more poetic title imaginatively symbolizing the entire dramatic story could not have bee easily. 

Sudraka’s Style:-

Sudraka’s Style:-

v Introduction:-

            Style is the man. Style reflects a writer’s genuine personality. A great writer’s means of expression are diction, design and personality. The third requirement of style is ‘the should in style’. With all the unity of design, style may lack warmth, clour and perfume. The writer’s personality five this living touch. In this connection Flaubert observes, “Style is the real man. Pater considers Charles s Labe next the Shakespeare in the style on account of  the reflection of his personality. The same is the case with Sudraka whose natural love for simplicity and power of brief, effective and dramatic dialogue make ‘Mrichchakatikam” an immortal play.

v Sudraka’ unconventional and experimental style

            The special features that make this play an immortal one are the wealth of incidents, the variety of characters, the mastery of pathos, the plenty of humour and wit and the charm of this simple yet effective style. His style lifts the plays from the tradition Sanskrit play and proves it a unique quality. In the matter of style, Sudraka differs from the tradition-loving and rule observing Sanskrit writers. The unconventional realism of the malice its perfectly individualized character and the cosmopolitan world with its malice, intrigue, romance and humour appear to be acceptable on account Sudraka’ unconventional and experimental style.

v The use of long compound, simile and proverbs

            The use of long compound is a special feature of the style of this play. There is however some looseness in the formation of compound. The use of monosyllables is fairly common, simply to fill in the line. The poet has also used some striking and unusual similes and significant proverbs throughout the play. He uses epigrammatic expression very effectively. There are some expressions which can not be called purely grammatical. On the whole, how every the style is natural and simple. There are some repetitions of the same ideas now and then. This is all the more noticeable in the description of rain and storm int-V and the expression of anger against women in Act –VI. We also find several interpolations in these play.

v Use of metres

            Here Sudraka uses a large number of metres throughout the play. The (8-syllabled line) is used eighty three times in this play. It makes the style easily understandable, enjoyable and lucid. The poet has also used Vasantitalaka and Surdulavikridita frequently  with great effect. There are about a hundred stanzas in Prakirt.

v Limitations

            As a stylist, Sudraka has some limitation also. At some, places, we find needless elaboration and verbosity, as in Sarivlaka’s outburst against women and Maitreya’s description of Vasantsena’s house in Act-V. The poet refers to the sound when the time is already late evening. He describes the stormy season as ‘gleaming with clouds’.

v Conclusion:-

            On the whole, the style of this play is quit simple and effective. It belongs to the Vaidarbhi variety of which Kalidas is the recognized master.   

Humour in ”Mrichchhakatikam’

Humour in ”Mrichchhakatikam’

v Introducation

            Dr. Ryder rightly remarks, “Mrichchakatikam displays admirably three characteristic of its author, his variety, his skill in drawing to characters and his humour. As regards the characters, the poet has give us all sorts of character, high and low and they are undoubted living men and women. As regards humour, it is the heart “Mrichchhakatikam’. No other Sanskrit dramatist has given  such a wealth of humour as we find this play. While there the humour is not confined to any particular character. Dr. Ryder rightly  remarks, “Sudraka’s humour runs the whole gamut from grim to farcical, from satirical to quaint. Its variety and keenness are such that king Sudraka need not fear a comparison with the greatest of Occidental writer of comedies”.

v Humour of words

            Here we have humour of words through puns and verbal wit’. Form example, Sakara interprets the words’ “Tumum dhanne, tummum punne’ as barber, an atheist, a tank of a pot maker. Veta Vasantsena’s servant, asks two question

‘When do the mangoes blossom? Vasanta’ or springs and

What protects the cities? ‘Sena’ or army.

 We have wit through following example.

Sudraka asks, “Are all these things really in our house? 

Nati replies, yes they, in the shop:

 Ceta tells Maitreya, “I will give you a problem.” 

Maitreya says, “I will give a foot on your head!”

v Humour of characters

            We have humour of characters also. Maitreya is a source of humour on account of is ugly face head shaped like the crow’s feet and it is an unshapely as the Camel’s knee and also his timidity. Sahara is afraid of ‘Manushya’ of ‘Raksasi’, Darduraka’s humour is highly delightful. He says, “Gambling is a Kingdom minus the throne. Sharvilaka is also highly delightful. He describes different uses of is ‘sacred thread’ and proceeds to break the house wit hthe solemnity of a scientist and the tenderness of an artist?

v Humour through situation:-

            Sudraka provides humour through situations also. They have a Universal appeal because such humour is independent of language. The farcical situation in Act V between Maitreya and Ceta and the love scenes between Sajara and Vasanta are highly farcical. In Acc II Samvahaka tries to dodge his pursers and he stand in a motion less posture in the place of an ideal .with the entry of Darduraka there is free exchange of words and blows. Then Samvakaha runs to Vasantsena’s house followed by two gambler. She mistake them as beggar and says, “I have no money. Go elsewhere. In act VI, there is an amusing quarrel between Viraka and Candanaka over into a Kick, Candanaka call it’s a “karnata quarrel’. The flight between Maitreya and Sakara in the court is highly comic. All these delightful situations make this play a piece of art.

v Conclusion:-

            Thus humour is a very delightful and refreshing feature on “Mrichchakatikam”. It is neither stale nor stereotyped. It pervades almost entire play. It is enjoyable on account tits keenness and rich variety. 

Character of Maitreya:-

Character of Maitreya:-

v  Introduction & As vidusaka:-

            Vidusaka in Sanskrit dramas in generally the friend and confidant of the hero in love-matter. He supposed to be a humour character and create laughter by his dress, speech and gestures. His humour is usually based upon references to eatable. Generally, he is stereotyped and stale character. But here Maitreya is a brilliant exception to this age –old tradition. He is totally unlike the normal Vidusaka in Sanskrit dramas

v His appearance:-

            Of course, being a Vidusak, he has certain fixed traits of his class. His appearance is some why ugly. Sakara often call him ‘crow-foot-headed’, and he himself compares the shape of his head to the knee of a young camel. He is a Brahmin. He has no depth of learning. He can simple recited the Vedic mantras. While moving through the apartment of Vasantsena’s house he feels heavenly pleasure. He dislike the dull daily routine of typical Brahmin and a love of lazy life led obo other people’s food.

v a loyal friend of Charudatta:-

            His is a loyal and devoted friend of Charudatta. He stands by him through thick and think. Other so called friends leave Charudatta when his fortune declines, while he follow Charudatta a faithful dog follows its master. He is always ready to give up his life for him. In many respects, Charudatta prefers him even to his wife and the son. When the ornament are stole, Charudatta is afraid that he may commit suicide  rather than hear about his disgrace. He is very clever and practical. He warns Charudatta against his association with a courtesan. His love for Charudatta is beyond comparison, Charudatta’s poverty arouses deep sympathy and affection in his heart, he never forsakes Charudatta whatever may happen., the charge of murder against the innocent Charudatta make him hot angry. He goes to the court and defends him through forceful words. He makes a bold and wise pleas of r justice. He also attack Sakara in the court with is merciless tongue and his stick which is as crooked and the villains’ heart.

v His sharply criticism:-

            Maitreya sharply criticses every inconsistency and short-coming. He does not exclude Charudatta and even himself from criticism. Though he put on a clown’s cap, his statements are full of jest, wit, satire, parody and subtle practical wisdom, he does not make himself  a laughing stock for others. His unshaped head contains a early wise brain. His observations are rooted in deep reflection, cool intellect and practical wisdom. He reminds us of Shakespeare’s Touchstone,

…………..In his brain

He hath strange places cramm’d

with observations…….

v Conclusion:-

            Thus Shudraka has successfully and effectively presented the portrait of Mailtray,. He has tuned an ordinary and uninteresting Vidusaka into a real living personality. There can not be more appropriate description of Maitreya than Charudatta’ phrase “Sarva-Kala-Mitra.’ A friend in need, Maitreya is a friend indeed. 

Character of Samthanaka (Sakara).

Short Notes:-

 Character of Samthanaka (Sakara).

v  Introduction:-

            This creation of Sakara’s character is unique  in the whole rage of Sanskrit literature. It is a triumph of the dramatic genius of Sudraka. Prof. G.K. Bhatt rightly observes, “What brain conceived the figure of Sakara? It is impossible to meet such ac character in the entire range of Sanskrit literature. His instincts are murderous, his impulses are criminal. He has a venomous speech. He is abhorrence incarnate.

v His speech

            His speech is an outstanding feature of his character. It is given him his nick-name, Sakara. There are many sibilant making a sound like a snake, or like the letter’ ‘S’. He is very much fond of using a series of synonyms. He can not be satisfied with only ‘Kesa’; he also uses the words ‘bala’ and ‘Siroruha’ along with it. He boasts the he is Purasa Manusya’. He has made out ten made of Vasantsena. He uses them only to signify his mastery over the language. The effect of his speech is often come because he often misunderstanding  or misinterprets, the worlds of others. For example, he mistakes Vasantsena’s words’ ‘Santam for Santam’ and Sranta for Sranta’. His mythological references also indicate the pervasion of his mind.

v A great glutton:-

            Sakara is a great glutton. He is very much fond of spicy food, old, ‘ghee’ and meat. On the day of Charudatta’s execution, he takes delicious dish of meat and fish, fired varieties and sweet rice. Thus he enjoys this joyous event. There is a close parallel between Sakara’s lust for food and his physical lust for Vasantsena. He says to her, “My poor heart is burning with love like a piece of meant roasted on burning embers.” At the same time, he assumes her that he will not cut off her head. He would dance around her, lie at her feet and beg for love. Side by side, he can not forget the power of death and the male strength that he possesses. Ceta rightly says, “Even his courtesy is frightening”.

v  A coward man:-

            Basically Sakara is a coward at heart. He is abusive and arrogant in this talk, but afraid of the royal power. He always uses frightening phrases, but he never prefers straight fight. He talks of his ‘Sharpened Sword’ only before a helpless woman. He frightens a poor Brahmin like Laltreya, but is afraid of ‘brave men’ only a ma like Sakara can say, “Look at he splendind piece of my heroism. I have killed the woman.

v A Hypocrite and An evil incarnate

            When provokes Sakara becomes a victim of uncontrollable rage and cruelty. When Vasantsena kicks him, he says, “The fire of my wrath which was provoked by slighting my request is now bursting into flames by this Kick, I will kill her now.” He can bribe, bully and tell a blatant like whenever necessary. He also uses hypocrisy of a crane to remove the gullible Vita and Ceta from his path.

            Thus in this speech and behaviour, in his physical lust and in his criminal disposition which has scruples and makes. Sakara is the most inhuman of human. It will be more correct to say that he is sub-human. His gluttony and his love for destruction are in the brutal sate. He is a Caliban without master. We may stay the out of pages of ‘Panchatrantra’ a wile fox has come alive in the shape of Sakara. He is really evil and cunningness incarnate.

Character of Vasantsena:-

Character of Vasantsena:-

v Introduction:-

            Dr. Ryder rightly remarks, “Mrichchakatikam displays admirably three characteristic of its author, his variety, his skill in drawing to characters and his humour.

            Sudraka was well versed in the art of Characterization. Here he has given all sorts of chapters, high and low and they are undoubted living men and women. They represent different walks of life. They belonged to different classes and profession of the society. The real interest of this poetic drama lives in its very varied world of characters. We find people of different caste, clour and creed. We have a wide range of characters such as the Brahmin hero like Charudatta, Vadusaka like Maitreya, Villain like Sakara, revolutionary like Sharvilaka, Cultured men like the two Vitas and the three Ceteas as against the grumblers and drunkards like Mathusa, Barduraka, Dutakars and Samvahaka, loyal and diligent officers like Viraka and Candanaka and also the life like portraits of the heroines, Vasantsena, Madanika and Dhuta.

v Vasantsena; Different from other heroine:-

            No other heroine in Sanskrit literature can produce such a lasting effect on the mind of the reader as does this beautiful young jewel of a courtesan. Sakuntala, Sita, Parvati and others are undoubtedly Ideal women and worthy patterns for woman-kind, but their self-sacrifice and self denial do not produce any sensational wonder. Everyone expects them to behave nobly. But here the case is quite different. She is the most beautiful courtesan and also the wealthiest one. A host of young handsome men woo her with presents of ornaments and gold coins. Even Sakara, the king’s brother-in-laws falls madly in hove with her. We rub our eyes in wonder when every calls her Kulstree we ask ourselves a question whether such a thing could really happen. For his reason, no one can ever forget Vasantsena and her hearty love for a poor Brahman like Charudatta. He is a man whose only wealthy is his nobility of soul.

v  Her immortal love for Charudatta:-

            Vasantsena has all the qualities of an ideal lay, nobility of heart and fondness for children.. Here love for Charudatta is a sort religion to her. She worships him as a God. She has nothings to do with kings or ministers or Brahmana scholars or rich traders woo are always away from their homes. She prefers a poor Brahmana who has nobility of mind and should so that one could charge her with any low motives in loving him. She loves him so intensely that she considers any object associated with Charudatta as most sacred and holy. She is eager to get the “Parvaraka” from Karnampuraka because it is worn by Charudatta. She gives a warm welcome to Samvahaka and pays off his debt only because he is  very close to Charudatta. Vadusaka is escorted by her attendant because he comes to her as Charudatta’s messenger. She realizes the real nobility of Charudatta’ heart when Vadusaka offers her the ‘Ratnavalit’ as a substitute for the stolen ornaments. There and then she decides to offer herself to him. When Sakara insult her lover and call him poor Charudatta she becomes almost made with anger and kicks him away. She is ready to face any danger for the sake of her love for him. She faces death with the sacred name of hero lover on her lips.

v  Her presence of mind:-

            She never loses her balance of mind in the time of difficult. She is wise and cunning enough to find her own way cut of any difficult when Sakara, along with his companions, Vita and Ceta chase her in this late evening, she uses the presence of mind, puts off the flame which her garment and enters Charudatta’ house safely. Thus she overcomes a great risk by using her resourcefulness. This incident also shows the intensity o her love for him. No other heroine in Sanskrit literature except Sita has passed through such physical tortures. I do not agree with Dr. Ryder who says, “She can not be called a great character.” Really he fails to give justice to her character.

v  An ideal woman and full of humour:-

            Though she is a courtesan, she has all the qualities of an ideal woman. She always yearns to be an ideal wife of a gentleman. She hates to be at the end call of the rich. She never hankers after money. She does not want to sell her body for money only. If so, she might have married a rich prince, but She says that she wants love, not slavery. For this reason only, she falls head over the heels in love with Charudatta. The following ones of an English poet are fully applicable to her.

“Love is a part of a man’s life,

But for a woman it is her whole life.”

            She loves him eagerly and whole-heartedly. She loves everything that is associated with him. She is full humour and playfulness which make her all the more attractive. For example, while returning the same ornaments to her given to him by Sharvilaka, she humorously repeats Charudatta’s own words, “Please accept these ornaments as substitute to those which I have lost in gambling.” Both Charudatta and Vidusaka are put to shame when they they hear these wolds. Vidusak hesitatingly says, “ Yes, I have sen such ornaments’ before”. Do we ever find such a smart and lfie like- heroine anywhere else in Sanskrit literature?

v  Vasantsena’s frank nature

            Vasantsena’s frank nature wins the hearts of the almost all the charters in this play. She receives laudatory opinions of Charudatta’s household. She tries to win the hart of Charudatta’s wife also with sweet and charming words. She says, she also gives her the necklace which Charudatta’s wife Dhuia returns to her. She readily gives her ornaments Rhohasena, Charudatta’s son, to get a guldens toy-cart made out them. She introduced Madanika to Sharvilaka in a very jolly fashion. Vita offers the following tribute when he mistakes Vasantsena to be dead, “Alas ! Vasantsena! The river of courtesy ahs dwindled away. Rati has gone back to her country. The ornament of ornaments, possessing a charming face, river of noble nature poele lie, the storehouse of charm, the market of love ahs disappeared  ! Alas! oh! Alas!

v Conclusion( Immortal Character)

            Thus Vasantsena is beyond comparison in the midst of the sighing and languishing young heroines of Sanskrit play. She is not a beautiful doll like Bhavbhuta’s Malati. One possesses the initiative force and strength of character that Vasantsena display. There is a strong of beautiful young women whose patient endurance is matchless, but here is no one whose life blazes into heroic glory in the face of death. Really, Sudraka has immortalized Vasantsena on account of her noble nature and intense love on which even Gods themselves ought to throw incense. 

The character of Charudatta:-

The character of Charudatta:-

v Introduction:-

            Dr. Ryder rightly remarks, “Mrichchakatikam displays admirably three characteristic of its author, his variety, his skill in drawing to characters and his humour.

            Sudraka was well versed in the art of Characterization. Here he has given all sorts of chapters, high and low and they are undoubted living men and women. They represent different walks of life. They belonged to different classes and profession of the society. The real interest of this poetic drama lives in its very varied world of characters. We find people of different caste, clour and creed. We have a wide range of characters such as the Brahmin hero like Charudatta, Vadusaka like Maitreya, Villain like Sakara, revolutionary like Sharvilaka, Cultured men like the two Vitas and the three Ceteas as against the grumblers and drunkards like Mathusa, Barduraka, Dutakars and Samvahaka, loyal and diligent officers like Viraka and Candanaka and also the life like portraits of the heroines, Vasantsena, Madanika and Dhuta.

v A hero of the ‘Dhirodat’ type:-

            Charudatta is a hero of the ‘Dhirodat’ type. He is very handsome. He loses almost the whole of his fortune by giving away vast sums in charity. he is fond of music and extremely sympathetic towards other, even to the thief who breaks into his house. He cares for his good name above everything else and is prepared to stand by truth at any cost. He brood stover his poverty every now and then because he can not help others now. He is always against the terrorism of him except Sakara who always calls him ‘daridraChudratta’. Madanika compares him to the moon. Candanaka describes him a ‘Gunarvinda’. The judge treats him with great respect. For Candalas, he is ‘gunratnanidhi’. And last, Vasantsena the most beautiful courtesan in Ujjayni fall deeply in love with his. Though he is very poor, she speaks volumes in his favour.

v Incarnation of nobility

            The word Charudatta means the one whose manner of giving charity is always beset with nobility. Charudatta is the incarnation of nobility. He bows down before the courtesan’s mother with nobility, welcomes the smallest office of the court with nobility and also offers his necklace to Vasantsena in the place of her stolen ornaments with nobility.

v Excess of charity

            Excess of charity makes him poor. On account of his poverty, his house has lost its former beauty and luster, but his own personality is as integral as before. The proverb ‘Proverb is a crime’ has proved to be true in his case. Sakara feels jealous of him and says, “Poor Charudatta can attract Vasantsena, Why not I? If Charudatta were rich, Sakara might not have become his rival. Poverty has not made Varudatta a cynic. We do not find any distortions in his personality.

v a passive character

            Some critics find Charudatta a passive character. They ask, “Does Charudatta deserve to be the hero of this play? They are justified. At first sight, it seems that he fails to control the situation. He becomes a fatalist and helplessly accepts the authority of the ruthless ‘Fate upon’ him. But When we go deeper in this character, he proves himself in the centre of all events in the play.

v His important role in the political revolution:-

            Most of the important events develop round his character. For example, He indirectly plays a very important part in the political revolution. Most of the political leaders have high regard for him. Sakara strangles Vasantsena Sakara’s companion. Vita is so much confused than he ultimately joints the party of Sharvilaka. Sharvilaka comes into contact with Charudatta and Vasantsena through Madanika. He is deeply impressed by Charudatta’s generosity. His companion Vita has also might regard for him. The political leader, Aryaka also firmly believes that Charudatta has  played an important party in saving his life. Candanaka, a military office is so much impressed Charudatta that he does not arrest Aryaka because he feels that it may offend Charudatta’s feelings. This sows that Charudatta plays a very important part in the political revolution indirectly. Charudatta’s death sentence works as a spark to the fuel and it resulted in to political revolution. Thus Charudatta plays as a nucleus. such is the characteristic feature of his personality.

v His passiveness in love

            His passiveness in love is also illusive. Though he himself does not go toe see his beloved as Vasantsena does, yet he is always ready to undergo any risk for the sake of his love .Maitreya. the Vadusaka, tries to divert him from a courtesan’s love. At this time Charudatta’s answer to him is very significant., He tells him, “Friend, stop all your comment. I am bound to ma age. A horse tires to run fast, but his physical weakness does not help him to do so. In the same way, man’s restless mind may move here and there, but at last it will return to the heart. This woman could be won with money only. She is deserted by me because money has deserted me”. He uses these devices only to deceive Maitreya.

v  A man of strong self-confidence

            Charudatta is a man of strong self-confidence. Maitreya tells him that Vasantsena is going to demand from him something more than her ornaments. He coolly replies, “Let her come. She will return fully satisfied.” Now his love for her is beyond control. When she comes, he hugs her as the (tightening does the cloud. When Maitreya convey him Sakara’s treat, he simple says, “He is a fool.” He is ready to face any danger for the sake of her love. Dr. De rightly remarks, “The most outstand feature of is character his deep love for Vasantsena.” Keith also  observes, “He loves Vasantsena with affection free from all mere passion.

v His tragic End:-

            When Charudatta comes to know that he has lost Vasantsena for ever he is not in a condition to she a tear or two recollecting her eager love for her. He finds in himself in very critical condition. The present days of his life are full of noise and fury. When he is informed about her the court, Sakara is quarreling with him. The process of taking statements of the doubtful personas is going. Different people express their own doubts about Vasantsena’s murder. Really, it is the climax of Charudatta’s pitiable and pathetic condition. Naturally, there is no scope of him to express his heartfelt sorrow after he sad demise. At this time, the people may take him as a hypocrite. Here purely introvert man finds himself in the midst of tortuous physical event. What an irony! He can only say, “Why should I exist without Vasantsena?

v Conclusion:-

            It is said about Kalidasa’s character, “His heroines are more attractive and charming then the heroes. The opposite is the case with Sudraka. His heroes are most pleasant and charming the heroines. Dr. Ryder says, “In the case of Charudatta, his character lives in a sen win which Dushnata or even Ram can hardly be said to live.” 

Q- The Prakarna or Plot in Mrichchhakatikam:

Q- The Prakarna or Plot in Mrichchhakatikam:

v Introduction:-

            Sudraka was a king who is supposed to have lived in the Second Century B.C. He belonged to the Andrabharty dynasty founded by Simuka. The king is identical with Sudraka as referred in the Skandapurana in about two hundred A. C. Others try to identify King Sudraka with Vikramadity, the founder of the Samvat era. Keith observes that Sudraka is really a mythical king. Thus there are disputed about the time of King Sudraka.

            However we get a little account of Sudraka in the Prologue of this play. He was very handsome and was well-verged in the Rugveda and the Samaveda. He was very clever in mathematics, fine arts and sciences of elephants. He won many medals in hand-to-hand contests. He regained his eye-sight through the favour of Siva. Then he made his the king and performed the Ashvarmedha Yagna. After remarkably long life of the one hundred years and ten days, Sudraka ended his early life by entering into the fire.

            Mrichchhakatikam is one of the best dramas in ten acts composed by Shudraka with a social theme set in a realistic atmosphere. Technically it is a ‘Prakarna’ Natya. 

v Characteristic of Prakarna :-

            There are some characteristics which forms a ‘Prakarna Natya’ the following characteristics should be followed by a dramatist while forming the Prakarna Natya.

(1) The Prakarna should be based upon worldly life. It should not be imaginary.

(2) The hero must be a Brahmin or the merchant of a minister. It should not be a low character.

(3) The heroine must be a courtesan or a lady of noble birth. The heroine should be of a good nature.

(4) The number of acts usually should be ten. Not less than five nor more than ten.

(5) Sentimental love should be its prominent feature. There should not be any other theme than love.

(6) Rest of the features should resemble a ‘Natya’

(7) Plot should be divided into two parts (1) Adhikarik (main plot) (2) Prasangik (sub plot)

The Prakarna play has all these qualities otherwise it can be called as Prakarna. Now let us discuss Mrichchhakatikam as a Prakarna play.

v Mrichchhakatikam as a Prakarna play:-

            Mrichchhakatikam follows all the characteristics of a Prakarna play. It can be called a perfect  Prakarna.Let’s study Mrichchhakatikam as Prakarna play.

1.      A Prakarna should be based on worldly life. King Shudraka has chosen a subject which resembles the daily life of Ujjayni. The story also deals with the worldly life of the people of the society.

2.      The hero, Charudatta is a Brahmin by birth but a merchant by profession. He fits in the characteristic of a Prakarna.

3.      The heroine is Vasantsena a courtesan; but there is also a kulastri - the wife of Charudatta -Arya Dhuta. As required in theory, Shudraka keeps them apart.

4.      Mrichchhakatikam consists of ten acts. The formation of act is also kept.

5.      The play has the central theme of sentimental love between Charudatta and Vasantsena. It is thecore feature of the play. The story is woven around the love between these two characters.

6.      The plot has two acts which is divided as (1) Main plot (2)   Sub plot

v The Main plot:-

            The main plot refers to love of Charudatta and Vasantsena while the sub plot refers to the revolution which ultimately places Aryaka on the throne after the murder of King Palaka.  The main plot as depicted by Shudraka has a vast, canvas and presents a complex plot. The main plot presents the love between Charudatta and Vasantsena. It consists of the deposit of the ornaments; their theft and the part they play in establishing the guilt of Charudatta’s and the various occasions when the nobility of Charudatta mind and heart is revealed to Vasantsena. There are also the unforgettable characters of Sakara and Maitreya and the trial scene are all entirely original. The idea of a courtesan falling in love with a poor Brahmin is found in the story of Kumbhilaka and Rupanika in the “Bharatkatha”.

            The construction of main the plot reveals the reality of the author and mastery over plot as such. At first sight it looks complex but the way Shudraka depicts the love affair of Vasantsena and Charudatta and with together the events concerning their sentimental love is remarkable.

v Sub-plot:-

            The two sub plot refers to the love affair of the Brahmin youth Sharvilaka and Madanika-Vasantsena’s maid whom Sharvilaka is trying to buy off in order to marry her. The other sub plot concerns a political revolution in Ujjayni in which the rebels are attempting to overthrow the tyrant king Palaka and install Gopaldwarka - Aryak on the throne. Despite the complicated plot structure, the three threads are skillfully interwoven and the story is well organized and unified.

v Perfect plot construction:-

            Thus this play has two plots.  In such cases, is very difficult for a dramatist to keep the balance between the two plots. For example Malti-Madava the sub plots almost over shadow the main plot. It is also well constructed in acts. Samvahaka’s admiration for Charudatta, Charudatta’s nobility of heart; Vasantsena’s love for Charudatta every king reaches its climax in the Vth Act. The blind love of her kicks Sakara and invites trouble upon herself. In this way the two subplots are also woven skillfully by the dramatist Shudraka.

v Conclusion:-  

On account of its perfect plot construction this play is the most enjoyable of all plays in the Sanskrit language. The author himself proudly refers to the plot as something ‘unique’ the skill with which the events are constructed in the main plot and sub plot is simply marvelous.

Mrichcchakatikam Q-The state of society in “Mrichchhakatikam”

Mrichcchakatikam Q-The state of society in “Mrichchhakatikam”

v Introduction:-

            “Mrichchhakatikam stands apart as a unique play in the entire range of th eSanskrit drama. It has won a place for itself which time cannot blur, not clime can touch.”   

  - G.K.Bhatt.

            King Shudraka (2^nd Cent.B.C) was one of the best Sanskrit dramatists who was probably born in south India. The drama itself tells of him as a Brahmana who was well-versed in many sciences and as one who died by self immolation at the age of over hundred years. He was known to be the author of at least half a dozen Sanskrit works, but nothing definite can be said either about his authorship. He has written many plays like ‘Padmaprabhritaka’, ‘Vina-vasavadatta’ ‘Mrichchhakatikam’.

            Mrichchhakatikam is a play in ten acts with a social theme set in a realistic atmosphere. The play is full of varied interests which show the nobility of Charudatta’s mind and the selfless love of Vasantsena. The drama gives a faithful picture of the everyday life of the people in those days and is regarded as the most Shakespearian of all Sanskrit plays. The author’s style is simple and effective. His utterances are full of wisdom.

                 

v Description of Ujjayni : or The realistic picture of Ujjayni

            Ujjayni is described as a gay prosperous city like modern Paris. It attracts people from far and near. For instance Samvahaka comes here from Pataliputra. Trade both inland and maritime was in flourish condition. Shudraka defines the city in the following manner. “Ujjayni is known as a gay and prosperous city attracting people from all places including Pataliputra trade both inland and maritime, flourished.”           In this city many millionaire-merchant princes gave large amounts of money in charity. For example, Charudatta himself becomes poor on account of his limitless charity. The rich courtesans like Vasantsena were the objects of envy even for kings. The city was beset with gamblers, loafer parasites and dare devils; people took deep interest in music and other fine arts. 

v The caste system :-

            The caste system had a great hold on the people. The Brahmins and the cows were given high respect and they were ‘Avadhya’. The Sudras were not allowed to recite the Vedas. The kayasthas were compared to serpents. However, the people of different castes could follow various professions; Charudatta himself a Brahmin was a merchant by profession. Viraka and Chandanaka who are respectively a barber and a shoe maker occupy the responsible post of Balpati or Senapati. The Brahmanical religion was very popular along with its God and Godesses; Vows and fasts; ideas about heaven and hell. Buddhism also flourished side by side along with its beliefs in Bhiksus, their peculiar method of wearing; avoiding all contacts with women; addressing the commoner as ‘Upsaka’. The state had  the power of appointing the head of a religious order as today the states have a power to select a Sankarachaya for a math.

v Evils of society (slavery) :-

            There was the evil of slavery in this society. A slave could be bought and could be made a free person on payment. The state could also grant freedom from slavery. Samvahaka in this play offers himself for sale in Act II and Shavarka becomes free by an order of the state. There are many evils in the society like gambling, drinking etc... Shudraka describes the evils in this respect….

            “The city was infested with gamblers and loafers who fomented disturbance; gambling was regulated  under state control.”

            There are also superstitions that have a firm hold upon the people. The evil omens such as throbbing of one’s own eye; the there are other beliefs such as crowing of a crow facing the sun, the sight of a serpent; the eclipse of the sun; the belief in astrology; the influence of the stars are also referred in the play in Act V and VII The another notable thing is from the study of this play it appears that the state was very particular about the safety of the people against thefts - night patrols and sentry pasts are mentioned many times by the author. The common people of the city took part in street quarrels very freely.

v  The Judicial System :-

            We get a very clear idea about the judicial system of Hindu law from the play. The judge was appointed by the king and held the office till the king’s pleasure. Anyone could file a complaint at the court, and judge was bound to pay attention to it. As the judge says in the IX^th Act…

 “A judge is the  worst sufferer he must reserve the judgment until all the evidence is presented and sifted; nothing may corrupt him; he must project  the innocence and punish the guilty.”

            The judge’s decision was only a recommendation to the king who was the final authority to decide the punishment. When a criminal was given the punishment of hanging, he was taken in a procession. The criminals could be killed with a sword or eaten by dogs or tortured by a saw. The accused was given full liberty to argue in his favour. And his confession was necessary before the judge declared his decision.   Shudraka has depicted the realistic picture of contemporary – judicial system where no  innocent was being killed. We can find an ideal judicial system in the play.

v  Food Habits :-

            Shudraka describes the minute details of contemporary society. He also mentions the food habits, their life style, clothes in a very exalted manner .Here the author describes the food habits of the people of his age. They ate cooked food with curd or milk. They were very much fond of sweet balls and cakes. Vegetables soups were an important part of their food most of them were addicted to wine.

v Conclusion:-

            Shudraka gives a faithful description of the life and the manners of the people of his society. There is nothing improbable about them except some exaggerations which are inevitable in such plays. That way like ‘Dasa Kamaracharita’, ‘Mrichchhakatikam’ gives us a fair picture of the contemporary society in various aspects.