Early History of the Vaishnava Faith and Movement in Bengal, from Sanskrit and Bengali Sources c11.s3.41

c11.s3.41

In spite of an elaborate effort to bring about variety by bold and ingenious modification of the simplicity of the original legend, it will be seen that the construction of the drama, complicated as it is, reveals little originality or invention; for most of the motifs and devices, though cleverly applied, are literary commonplaces clearly borrowed from the Nāṭikā and the Kathā. Rūpa Gosvāmin certainly possesses considerable literary skill, and is always elegant, often picturesque, and sometimes touching; but the general artificiality of his style and treatment cannot be mistaken. The central idea of the superiority of the Vṛndāvana-līlā, no doubt, supplies a dramatic motive; but, in spite of the unity of action which it imparts, the works are really a series of narrative episodes loosely strung together by a semblance of dramatic form. Here, as elsewhere, most of the important incidents are reported instead of being represented. In a narrative we are told what occurs, in a drama we see the actual occurrence; in Rūpa's so-called dramas, comparatively little happens, though much is said. The poverty of action and weakness of characterisation are characteristics common enough in the later decadent Sanskrit drama, but Rūpa Gosvāmin, out of respect for texts and traditions, writes more for literary and theological, than really dramatic, effect. Even if he is a poor dramatists, he adheres laboriously and conscientiously to the prescriptions of Nāṭya-śāstra and Rasa-śāstra; but Śāstra is, of course, neither drama nor poetry.