The Sanskrit Drama in its Origin, Development, Theory & Practice c17.s7.3

c17.s7.3

The *Kirātārjunīya*¹ is a Vyāyoga based on Bhāravi’s epic by Vatsarāja, who calls himself the minister of Paramardideva of Kālañjara, who reigned from A.D. 1163 to 1203. Vatsarāja is interesting as a good specimen of the poet of decadence; we have from him six plays illustrating each a different type of drama. The *Karpūracaritra* is a Bhāṇa of orthodox type; the gambler Karpūraka describes in monologue his revelry, gambling, and love. The *Hāsyacūḍāmaṇi* is a farce in one act which has as its hero an Ācārya of the Bhāgavata school, styled Jñānarāçi, who professes the possession of supernatural knowledge, enabling him to trace lost articles and buried treasure, and who carries out his professions by various tricks and fooleries. He has an irresistible pupil, who is sadly lacking in respect for his teacher, and delights in interpreting literally his remarks. The *Kirātārjunīya* has no special merit, but is technically interesting; after a Nāndī celebrating Çiva's consort, the Sūtradhāra enters, immediately followed by the Sthāpaka, who insists on his reciting a further Nāndī of the trident of Çiva, on the score that the play is heroic in sentiment and should be appropriately introduced. This play was produced later than the other five, for it came out under Trailokyavarmadeva, successor of Paramardi. The other three plays, an Īhāmṛga, Ḍima, and Samavakāra will be noticed below.