The Sanskrit Drama in its Origin, Development, Theory & Practice c17.s2.2

Language: English

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The character of the decline is obvious enough in the Prasannarāghava,¹ a Nāṭaka in seven Acts, in which the logician Jayadeva (c. A. D. 1200), son of Mahādeva and Sumitrā, of Kuṇḍina in Berar, endeavours to tell again the story of the Rāmāyaṇa.² In Act I a disciple of Yājñavalkya appears and repeats from the speech of two bees heard behind the scene the news they are discussing; the Asura Bāṇa is to rival Rāvaṇa for the hand of Sītā. Two heralds then appear to describe the suitors for the maiden’s hand; they are interrupted and insulted by a gross and rough arrival who casts a contemptuous eye on the bow which the suitor must bend, and would forcibly seize the prize. The heralds soothe him, but he assumes the monstrous form of Rāvaṇa with his ten heads. Bāṇa then appears, tries in vain the bow, insults Rāvaṇa and retires. In Act II we have a ludicrous scene in which Rāma watches Sītā and her friend; both he and she describe the beauties of the union of the Vāsantī creeper and the mango-tree, an allusion to their own state to be, and confronted shyly whisper love. In Act III we have an intolerable series of compliments exchanged by all the parties, Viçvāmitra, Çaṭānanda, Janaka, Daçaratha, Rāma, and Lakṣmaṇa; Viçvāmitra bids Rāma bend the bow of Çiva, though a message from Paraçurāma deprecates such an insult. The bow is broken, there is great joy, and the marriage is celebrated. In Act IV Paraçurāma himself arrives;

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his great feats are set out in a dialogue of Rāma and Lakṣmaṇa; he encounters them, exchanges harangues, is dissuaded by Janaka, Çaṭānanda, and Viçvāmitra from battle, but an insult of his to Viçvāmitra breaks down Rāma’s patience; they fight, Rāma is victor, but falls at his rival’s feet and asks his blessing. In Act V we have a new and picturesque conception and one wholly aloof from drama. The river goddess Yamunā tells Gaṅgā of her grief at Vālin’s act in exiling his brother, Sugrīva. Sarayū joins them and reports the fate of Rāma until his departure for exile; her flamingo arrives to carry on the tale until Rāma’s fatal departure in pursuit of a golden deer. Anxious, the rivers hasten to the ocean, Sāgara, to learn the news; they find Godāvarī in converse with Sāgara; she tells of the rape of Sītā, the death of Jaṭāyu, the fall of Sītā’s jewels and their transport to Ṛṣyamukha. The Tuṅgabhadrā arrives with her tale; Rāma has slain Vālin and made alliance with Sugrīva and Hanumant. Suddenly a great mass flies over the ocean. Is it the Himālaya? the Vindhya? Sāgara goes out to see and the rivers follow. In Act VI we find that sorrow has all but driven Rāma mad; he asks the birds, the moon, for his beloved. Fortunately two Vidyādharas by magic art are able to show him the events in Laṅkā; Sītā appears, saddened lest Rāma suspect, or be faithless to her; Rāvaṇa seeks her love; she despises him;

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angry, he reaches out his hand for his sword to slay her, but receives in it the head of his son, Akṣa, slain by Hanumant, who it is who has leaped the ocean and attacked Laṅkā. Sītā is desperate; she seeks to burn herself on a funeral pyre, but the coal changes to pearl, and Hanumant consoles her by news of Rāma’s fidelity. In Act VII Rāvaṇa is given by Prahasta a picture sent by Mālyavant showing the details of the enemy’s attack and the bridge; he refuses to regard it as more than a painter’s fancy; Mandodarī, his wife, enters; she has received an oracular response which terrifies her and also Prahasta, but Rāvaṇa scorns it. At last, however, he realizes that the city is attacked, sends Kumbhakarṇa and Meghanāda to their death, and at last himself issues forth to die; his fate is described by a Vidyādhara and his mate. Then enter Rāma, Sītā, Lakṣmaṇa, Vibhīṣaṇa, and Sugrīva, who all describe in turn the setting of the sun and the rise of the moon; they mount the aerial car, describe a few points of interest in the country over which they pass in their journey north, and then in turn solemnly describe the rising of the sun.