Mrchchakatika, Pratijnayaugangandharayana 4 acts;,Svapnavasavadatta. 6 acts;
Yaugandharayana is the hidden hand directing the actions successfully with wonderful resourcefulness and undaunted courage, ultimately dedicating all at the feet of his master, the proud and aristocratic Udayana (King of the Vatsa country) who is content with his Vina Ghosavati and taming the wild elephant herds. he is content with his life and unceremoniously rejects marriage proposals. But the King Pradyota decides to have such a covetable one as his son in law even by foul means. The ever vigilant Yaugandharayana renders his efforts fruitless. But fate comes to his rescue. A wonderful machine elephant almost life like housing a hundred select warriors is made to move about in the forest just outside the kingdom of Udayana. As expected Udayana is decoyed and caught, just before Yaugandharayanas warning reaches him. Udayana might be roughly handled by his captors, but Salankayana, Pradyota,s minister receives him honourably and he is treated royally only with restrictions of movement. The scene in which Pradyota is apprised of Udayana's capture is admirable. The Vina is presented to Vasavadatta and before Udayana recovers from his wonder, he is slyly requested to teach the Gandharva vidya or music to Vasavadatta. The plan works nicely leading to gandharva vivaha. At Kausambi however, the amazed minister, in response to Udayana's mother's request, takes a Bhishma like vow for effecting the kings release. He disguises himself as a mad man and with the help of the brahmin vidushaka, begins bearding the lion in its own den by striking fifth columnist practices in Ujjain itself. At the very last moment however Udayana who is now well in the grip of Vasavadatta,s passion, refuses to escape except in the company of Vasavadatta. Undaunted Yaugandharayana's plans are immediately revised; instead of one now two elephants (one of which is Vasavaddatta) are made to run outside the stables; the mahout of Vasavadatta is bribed into getting her out as though for an outing. The other elephant Nalagiri is made to run amok; Only Udayana can save the situation; to save the city he is released. he tames the unruly elephant and suddenly elopes with Vasavadatta. The faithful minister covering up their flight and keeping at bay the guards sent in pursuit. The queen mother of Vasavadatta is completely upset and wants to commit suicide, but she is consoled by Pradyota who has two life like effigies of their daughter and her paramour prepared and the marriage is celebrated with great eclat in the presence of Yaugandharayana who is caught. who triumphantly says ne the ratne bajane ko nirodh (when the precious contents are rifled, of what avail is the preservation of the box.)
The Svapnavasavadatta continues the story from this point.
To the pleasure seeking Udayana's hobbies of music and elephant hunt, a third has been added. The indifference of the King has indirectly encouraged his enemies particularly Aruni, to gradually annex the territories of the Vatsa country of Udayana. The minister takes Vasavadatta into confidence. For the sake of the welfare of her husband and the restoration of his lost territories, she pretends to be dead for some time and puts up with separation from him for whose sake she had given up even her parents. When the King had gone for a pleasure trip to a village called Lavanaka, the palace in which Vasavadatta was left behind is burnt and Vasavadatta is reported to have perished. The faithful minister in his desire to save her has shared the same fate. This report is conveyed to the king. The disconsolate king's grief is inconsolable; he wants to put an end to his own life. with great difficulty Rumanvan succeeds in preventing his suicide. after some time they quietly persuade him to leave the village. In the mean while Vasavadatta disguised as Avantika, is entrusted to the care of Padmavati, the sister of King Darsaka, marriage with whom would lead to the restoration of Udayana's lost territories, according to the astrologers. The rumor of Vasavadatta's death has spread there also, as well as Udayana's mad passion for her even after her death. Surely such a husband is worth having, and this becomes Padmavathy's cherished ambition.{What to tell of Bana's style and imaginary how well the stories are interwoven and made interesting such great minds lived and worked in ancient times, its no wonder then that his works are even today considered unique} The stage is now set for slowly driving in the thought of a second marriage. quietly a change of climate is proposed;Udayana who has left everything to his ministers does not protest. He is taken to Darasaka's capital where he is received with all royal honours. Darsaka is charmed by the amiable qualities of the young King and slowly and surely advances his request. Here again the King does not protest all the time dreaming of his lost Ghosavati and his fair disciple who had stolen his heart. As fate would have it, the marriage garlands etc have to be strung by Avantika, who though avoiding anybody's company is particularly sought out for this task. The marriage ceremony takes place. Of course some consolation comes to the suffering Vasavadatta (Avantika) from reports about her lover's continued loyalty and fidelity to her alone. As though not satisfied the dramatist provides an opportunity for the veritable tapasvini to hear from Udayana's own lips a confession of his steadfast devotion to her alone. The two queens are in the pleasure park hidden by some thick bushes. The Vidushaka and the King also go there. The mischievous Vidushaka asks the king "whom do you love more, vasavadatta that is dead or Padmavathy that lives." The King hesitates but the Vidushika persists saying there is nobody to overhear. Udayana is forced to reply and he confesses that Padmavati does not delight his mind as intensly as Vasavadatta did.Udayana's face is bedded with tears. The senior queen manages to slip away asking Padmavati to console her erstwhile lover. Padmavati's sudden appearance is too much for Udayana; he excuses himself saying some kasa flower dust has fallen into his eyes and is causing him irksome pain. she wonder at his dakshinya and loves him even more. Now the evil dramatist wants to provide another soothing balm to vasavadatta's lacerated heart. the scene is Padmavsati is suffering from a bad headache and Udayana is very upset at the news and goes to the samudra gruha with his friend expecting to find Padmavati there. but he has come too early and padmavati does not come at all as too much fuss was made over a trivial headache.to while away the time Udayana asks his friend to narrate a story. The absurdity of the story and the cool air in the pavilion make Udayana doze off. The place gets rather chill and the vidushaka decides he must have a shawl. When he is away Vasavadatta comes in expecting to find Padmavati. she seats herself on the bed on which Udayana has laid himself, though it was meant for Padmavati. realizing her mistake she curses herself and wants to withdraw. just then Udayana cries out Vasavadatta her curiosity is roused by her realizing that he is fast asleep and is only dreaming unconsciously O beloved pupil is the next pathetic cry. She musters up courage to say I am here. Udayana refers to her miserable appearance and demands a reason for her being unornamented. he fancies of course in his dream that he has offended her and implores to be forgiven with both hands uplifted. Now Vasavadatta feels she has overstayed and wants to run away. She is gripped by an irresistable impluse to put his hands back under the quilt before departing. This action of hers sends an electric current into the body of Udayana who fully roused up, just glimpses his fleeing wife. He wants to pursue, but the door shutter inconveniently knocks against his head and he feels baffled. At this juncture the vidushaka returns with the shawl and ridicules him when he says he has seen his Vasavadatta. It might be some hallucination conjured up by some yaksini. The incident might be forgotten by others but never by Udayana, who after some time decides that with the help of his brother in law he should defeat Aruni, which he ultimately does. Padmavathi with her retinue (one of whom is the disguised Avantika) comes to Kausambi. After some time as chance would have it, the vina Ghosavati is recovered and Udayana's misery is again revived. At this juncture his Mother in law, hearing of his steadfast devotion to her daughter even so long after her death, send him the two effigies with which she had celebrated their marriage. Udayana's lacerated heart is touched to the quick that Vasavadatta's mother should have felt for him so much even after he had deliberately chosen to be somebody elses son in law. Padmavathi looks at the effigy of Vasavadatta and is struck by the striking resemblance of Avantika thereto. She remarks about it to her husband. Yaugandharayana disguised as the brahmin who had entrusted his sister to Padmavathi,s care now presents himself and demands his sister back. To legalize the restitution, the unsuspecting Udayana appoints a neutral commission Vasavadatta's own nurse and her Brahmin escort Badarayana. They at once recognize Vasavadatta, and Yaugandharayana implores the king,s pardon which is readily granted.
With infinite dramatic irony and unmatched tragic setting, Bhasa,s achievement is simply superb. Bhasha,s dramas are eminently suited to the stage, with their brief and effective conversations, very few and appropriately chosen metrical verses and excellent dramatic scenes full of dramatic irony both real and ideal with a due scence of rasa to keep the audience engaged.
Yaugandharayana is the hidden hand directing the actions successfully with wonderful resourcefulness and undaunted courage, ultimately dedicating all at the feet of his master, the proud and aristocratic Udayana (King of the Vatsa country) who is content with his Vina Ghosavati and taming the wild elephant herds. he is content with his life and unceremoniously rejects marriage proposals. But the King Pradyota decides to have such a covetable one as his son in law even by foul means. The ever vigilant Yaugandharayana renders his efforts fruitless. But fate comes to his rescue. A wonderful machine elephant almost life like housing a hundred select warriors is made to move about in the forest just outside the kingdom of Udayana. As expected Udayana is decoyed and caught, just before Yaugandharayanas warning reaches him. Udayana might be roughly handled by his captors, but Salankayana, Pradyota,s minister receives him honourably and he is treated royally only with restrictions of movement. The scene in which Pradyota is apprised of Udayana's capture is admirable. The Vina is presented to Vasavadatta and before Udayana recovers from his wonder, he is slyly requested to teach the Gandharva vidya or music to Vasavadatta. The plan works nicely leading to gandharva vivaha. At Kausambi however, the amazed minister, in response to Udayana's mother's request, takes a Bhishma like vow for effecting the kings release. He disguises himself as a mad man and with the help of the brahmin vidushaka, begins bearding the lion in its own den by striking fifth columnist practices in Ujjain itself. At the very last moment however Udayana who is now well in the grip of Vasavadatta,s passion, refuses to escape except in the company of Vasavadatta. Undaunted Yaugandharayana's plans are immediately revised; instead of one now two elephants (one of which is Vasavaddatta) are made to run outside the stables; the mahout of Vasavadatta is bribed into getting her out as though for an outing. The other elephant Nalagiri is made to run amok; Only Udayana can save the situation; to save the city he is released. he tames the unruly elephant and suddenly elopes with Vasavadatta. The faithful minister covering up their flight and keeping at bay the guards sent in pursuit. The queen mother of Vasavadatta is completely upset and wants to commit suicide, but she is consoled by Pradyota who has two life like effigies of their daughter and her paramour prepared and the marriage is celebrated with great eclat in the presence of Yaugandharayana who is caught. who triumphantly says ne the ratne bajane ko nirodh (when the precious contents are rifled, of what avail is the preservation of the box.)
The Svapnavasavadatta continues the story from this point.
To the pleasure seeking Udayana's hobbies of music and elephant hunt, a third has been added. The indifference of the King has indirectly encouraged his enemies particularly Aruni, to gradually annex the territories of the Vatsa country of Udayana. The minister takes Vasavadatta into confidence. For the sake of the welfare of her husband and the restoration of his lost territories, she pretends to be dead for some time and puts up with separation from him for whose sake she had given up even her parents. When the King had gone for a pleasure trip to a village called Lavanaka, the palace in which Vasavadatta was left behind is burnt and Vasavadatta is reported to have perished. The faithful minister in his desire to save her has shared the same fate. This report is conveyed to the king. The disconsolate king's grief is inconsolable; he wants to put an end to his own life. with great difficulty Rumanvan succeeds in preventing his suicide. after some time they quietly persuade him to leave the village. In the mean while Vasavadatta disguised as Avantika, is entrusted to the care of Padmavati, the sister of King Darsaka, marriage with whom would lead to the restoration of Udayana's lost territories, according to the astrologers. The rumor of Vasavadatta's death has spread there also, as well as Udayana's mad passion for her even after her death. Surely such a husband is worth having, and this becomes Padmavathy's cherished ambition.{What to tell of Bana's style and imaginary how well the stories are interwoven and made interesting such great minds lived and worked in ancient times, its no wonder then that his works are even today considered unique} The stage is now set for slowly driving in the thought of a second marriage. quietly a change of climate is proposed;Udayana who has left everything to his ministers does not protest. He is taken to Darasaka's capital where he is received with all royal honours. Darsaka is charmed by the amiable qualities of the young King and slowly and surely advances his request. Here again the King does not protest all the time dreaming of his lost Ghosavati and his fair disciple who had stolen his heart. As fate would have it, the marriage garlands etc have to be strung by Avantika, who though avoiding anybody's company is particularly sought out for this task. The marriage ceremony takes place. Of course some consolation comes to the suffering Vasavadatta (Avantika) from reports about her lover's continued loyalty and fidelity to her alone. As though not satisfied the dramatist provides an opportunity for the veritable tapasvini to hear from Udayana's own lips a confession of his steadfast devotion to her alone. The two queens are in the pleasure park hidden by some thick bushes. The Vidushaka and the King also go there. The mischievous Vidushaka asks the king "whom do you love more, vasavadatta that is dead or Padmavathy that lives." The King hesitates but the Vidushika persists saying there is nobody to overhear. Udayana is forced to reply and he confesses that Padmavati does not delight his mind as intensly as Vasavadatta did.Udayana's face is bedded with tears. The senior queen manages to slip away asking Padmavati to console her erstwhile lover. Padmavati's sudden appearance is too much for Udayana; he excuses himself saying some kasa flower dust has fallen into his eyes and is causing him irksome pain. she wonder at his dakshinya and loves him even more. Now the evil dramatist wants to provide another soothing balm to vasavadatta's lacerated heart. the scene is Padmavsati is suffering from a bad headache and Udayana is very upset at the news and goes to the samudra gruha with his friend expecting to find Padmavati there. but he has come too early and padmavati does not come at all as too much fuss was made over a trivial headache.to while away the time Udayana asks his friend to narrate a story. The absurdity of the story and the cool air in the pavilion make Udayana doze off. The place gets rather chill and the vidushaka decides he must have a shawl. When he is away Vasavadatta comes in expecting to find Padmavati. she seats herself on the bed on which Udayana has laid himself, though it was meant for Padmavati. realizing her mistake she curses herself and wants to withdraw. just then Udayana cries out Vasavadatta her curiosity is roused by her realizing that he is fast asleep and is only dreaming unconsciously O beloved pupil is the next pathetic cry. She musters up courage to say I am here. Udayana refers to her miserable appearance and demands a reason for her being unornamented. he fancies of course in his dream that he has offended her and implores to be forgiven with both hands uplifted. Now Vasavadatta feels she has overstayed and wants to run away. She is gripped by an irresistable impluse to put his hands back under the quilt before departing. This action of hers sends an electric current into the body of Udayana who fully roused up, just glimpses his fleeing wife. He wants to pursue, but the door shutter inconveniently knocks against his head and he feels baffled. At this juncture the vidushaka returns with the shawl and ridicules him when he says he has seen his Vasavadatta. It might be some hallucination conjured up by some yaksini. The incident might be forgotten by others but never by Udayana, who after some time decides that with the help of his brother in law he should defeat Aruni, which he ultimately does. Padmavathi with her retinue (one of whom is the disguised Avantika) comes to Kausambi. After some time as chance would have it, the vina Ghosavati is recovered and Udayana's misery is again revived. At this juncture his Mother in law, hearing of his steadfast devotion to her daughter even so long after her death, send him the two effigies with which she had celebrated their marriage. Udayana's lacerated heart is touched to the quick that Vasavadatta's mother should have felt for him so much even after he had deliberately chosen to be somebody elses son in law. Padmavathi looks at the effigy of Vasavadatta and is struck by the striking resemblance of Avantika thereto. She remarks about it to her husband. Yaugandharayana disguised as the brahmin who had entrusted his sister to Padmavathi,s care now presents himself and demands his sister back. To legalize the restitution, the unsuspecting Udayana appoints a neutral commission Vasavadatta's own nurse and her Brahmin escort Badarayana. They at once recognize Vasavadatta, and Yaugandharayana implores the king,s pardon which is readily granted.
With infinite dramatic irony and unmatched tragic setting, Bhasa,s achievement is simply superb. Bhasha,s dramas are eminently suited to the stage, with their brief and effective conversations, very few and appropriately chosen metrical verses and excellent dramatic scenes full of dramatic irony both real and ideal with a due scence of rasa to keep the audience engaged.
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