CHAPTER VI

KARUNA RASA USED AS ANGl IN SANSKRIT RUPAKAS :

DUTAGHATOTKACA ,URUBHANGA ( AND C ANDAKAUS i KA

1. DUTAOiATOTKACA:

I t is a one Act p l a y i n which the d r a m a tis t wanted

t o draw t h e p a t h e t i c and m a rtia l s p i r i t . Abhimanyu die

son o f Arjuna was k i l l e d b y th e Kauravas g e t t i n g t h i s nows

from a s o l d i e r D h r ta r a s t r a and Gandharl. f e l t very s o r r e

Bereaved speeches o f Gandharl and D h r ta r a s tr a made t. e

s p e c t a t o r s very p a t h e t i c . 1 Out o f pathos Dubsal a t h e wife

o f J ay ad rath a u t t e r e d t h a t one who made U tta r a widow J a i l ­

i n g Abhimanyu he h i m s e l f w i l l b e compelled t o make th- 3-re

_ 2
p o s i t i o n o f h i s b e lo v e d w i f e as U tt a r a. Con solin g U tt a r a

she t r i e d t o persuade t h a t tho se d r e s s e s w i l l o e f i t for

_ 3
t h a t day vh ich i s worn b y U t t a r a . From the very b e g i n n i n g

t o the end o f t h e drama sympathy and sorrow pervaded -t. t ? v

d eath o f Abhimanyu, D h r t a r a s t r a a l s o was sympathi sed for

such a mournfull i n c i d e n t as he asked Durvodhana, S ak u n i,

/_ 4
and Duhsasana ’>»hy th e y had k i l l e d t h e young c h i l d A b h im a n y u .

It is t o b e noted here t h a t among t h r e e t y p e s o f K.aruna

s o k a k r ta ty p e had been d is p la y e d by th e d ra m a tis t i n i t .

 1S6

G hatotkaca approached D h rtarastra ta k in g a

message from the lo r d Krsna he had to fa c e a g re a t

i n s u l t , meted out him by Duhsasana, dakuni and D uryojhar.

He wanted t o e s t a b lis h h i s l o r d 's message d e s tr aging a il

5
th e K sa triy a d y n a s ty . i t came t o th e

l i g h t from the c o n v e r s a t io n th a t Raksasas '--ere al'ra /s

f e r o c i o u s , b it th ey n e ith e r b u rn t t h e ir b r o t h e r s nor

tou ch ed th e h a ir o f b r o t h e r 's w i f e . In th is '-'ay the

d ra m a tist e s t a b lis h e d the g r i e f as a predominant element

which i s th e permanent s t a t e o f Karuna rasa and oth e r

l i k e v ir a e t c . are s u b o rd in a te t o Karuna ••’hieh h e lp f o r

5
th e developm ent or Karuna.

2 . URUBHAKGA:

In th e t r a d i t i o n o f .S anskrit drama t r a y : ]y

should not b e d is p la y e d on the s t a g e , but Bhasa b ro re

down the t r a d i t i o n o f S a n s k rit drama as he d is p la y e d a

death o f Duryodhana on the sta g e which was p r o h ib it e d -

th e author o f In d ia n dram aturgy. Auong a l l the S an skrit

drama i t i s a u n iqu e one '-.'here t h e death o f h e ro ha-3 >-*-n

3
occu rred .

I n th e b a t t l e f i e l d when Duryodhana's Doth

th ig h s had b een b rok en down by Bhlmasena and he moved

h im s e lf d ra g g in g th e h a l f dead b o d y , i t was a very par n
9
f u l l scen e f o r th e a u d ie n ce . VShen D h rtarastra came r.c
 137

know that the thighs of Duryodhana had seen broken . •

10
the treachery of Krsna he f e l t more bland. He was the

fath er of hundred sons, but he did not able to see the

face of his sons as they died already in t h e b a t t l e . l t

was h is only sorrow a ft e r h is death who w ill pay homage-

11
to him. "{lien Duryodhana was embraced by h is father

he was not able to salu te him as he was crippled by

12
Bhimasena. I t was also a very p athetic situ a tio n

that he was unable to pay a ffe c tio n to his child bur •••
13 _
keeping in h is la p . D h rtara stra's mind was f u l l cl
sorrow when he saw Duryodhana was s it t in g on the ground.

In such a p it ia b le situ ation Duryodhana wanted to ful­

f i l l h is la s t d e s ire touching the fe e t o f his f a t h e r . ' '

A fte r that he to ld very sorrow fully “O mother, in the

another b irth you w i l l be my mother" . ^

Duryodhana's advices fo r h is queens were also

17
very much sorrowful 1. He also advised Durjaya to
13
behave Pandavas as lik e h is fath er. Afterwards Duryo­

dhana tlie hero of the drama died m a tra g ic scene, it

is a small piece of drama where Eh as a depicted the karut.a

sentiment as a p rin cip a l one. I t w i l l be the Sokakrta

Karuna type of sentiment, because Duryodhana was the

beloved husband of his wives and they expressed Cri-- f a*

the death of th e ir husband.

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/
3 . CANDAKAUSIKA:
* t

Candakaus'ika i s a drama b a sed on a P an ran ic

le g e n d i n which H a risca n d ra was a b le t o atten d i n

Brahm aloka. I n th e f i r s t Act Ksem isvara d e p ic t e d s r h -

g a ra r a s a betw een k in g and h is qu een . I n th e second

A ct s in d is g u s in g as a p i g en tered i n t o th e h erm itage

w here V isvam itra p r a c t is e d the t h r e e . V idva , S r s t i ,

S t h i t i and Saifihara. King H a riscan d ra fo llo w e d th e p ig

as soon as e n te r in g i n t o th e h erm ita g e he heared a

c r y cf fem ale and made her fr e e . But i t was a

g r e a t o f f e n c e and h e was cursed b y visvSiTU.tra as ?

r e s u l t h e had t o pay him a l l h is kingdom alon g w ith a

19
l a c o f g o ld c o in w it h in one month. j t was a ra i nv

c lo u d th a t darkened th e l i f e o f H a risca n d ra and t h is

s i t u a t i o n i s t o b e c a ll e d th e l o s s o f w ealth ty p e Kanina.

I n th e l a s t day o f th e month V isva m itra ap p roa­

ched H arisaandra and asxed fo r h is d a x s in a . He wanted t o

s e l l h im s e lf e n t e r in g i n t o a shop w here h e found th a t

h i s w i f e and son were t a lk in g fo r s e l l i n g th e m se lf then

20
he was very much s o r r o w fu l and shaded t e a r s . Taking

fifty thousand from a Upadhvava s e l l i n g w i f e and h is son

he p a id i t v i/v a m it r a and r e s t w i l l b e p a id w it h in a

s h o r t tim e . But he was unable t o c o n v in c e him and s o ld

h im s e lf and ta k in g another f i f t y thousand from a candela

and gave i t t o V is v ir a itr a .

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In the f i f t h Act, a vary p ath etic scene was

displayed by the dramatist that j$ari^car*3ra was very

much unfortunate as h is w ife 2>aivya came to the

cremation ground taking the deadbody of her son and

lament&d that her son also l e f t as lik e as h is

21 •
fa th e r. I t spreads g r ie f in the mind of H ariscan -

d ra . t'Then h is son was going to c o lle c t flow ers for

Up-adhvaya, he was b ite n by a serpent. s ^ v y a reques­

ted to excuse her as She could, not be able to protect

22
h is son. He went to the bank of the r iv e r B h agi-

ra th i to give up so u l, but he remerrbered h is p ositio n

_ 23
-
that he was depended upon a candaie. At the end of

the drama Hariscandra passed the examination of

Pharma, he was to ld that to examine him Visvam itra

performed a l l these. Afterwards Rohitasva regained

h is l i f e and got back h is fa t h e r 's kingdom and H a ris­

candra was able to attain Brahmaloka by h is sacred

deeds. Here the dramatist making th e ir union d is p la ­

yed the death o f hero. I t w i l l be Karuna ra sa at the

death of hero or heroine when one w i l l cry. In this

drama, p rin c ip a l ra sa should be Karuna. Because H a ri-

s'candra departed to Brahmaloka fo r ev er. In the

Shakespearian tragedy the death of hero i s displayed

on the stage. So also same case of death o f H a ris­

candra was represented on the stage and i t w i l l not De

a happy ending, bu t a sorrows ending drama from that

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p o in t of view i t i s considered that dominant r a s a of

/. _
Candakausika i s Kanina and Bhayanaka, Vibhatsa e tc . are

subordinate to i t . A ll these ra s a s h elp for the develop

ment o f Karuna. T'Je have a lre ad y discussed the purpose

o f tragedy i s c a t h a r s is . I t w i l l not to be tra g e d y ,

because here c a th a rs is i s not a v a ila b le . Tragedy is

not s u b stitu te fo r Karuna r a s a . There i s no scope for

the union between hero and h e ro in e . The dram atist wante-j

to creat a new t r a d i t io n b rea k in g the old one.

NOTES AND REFERENCES

1. Dgh. Gandh'ari. ha b a ts a abhimanyu id rs e p i name p u r r s -

aksayakirake k u lavigrah e b a r t amine balabhavanima j ja n -

amasmakam fchagyakramena kurvan kutredanlm pautraka'.

g a to S s i. p. 6

2. i b i d , Duhs'ala - Yenedanirfi badhvai u tta ra y i vaidhavyam

dattam.teriatmano y u batijan aya vaidhavyamadist am, p.7

3 . i b i d . , t a t a evsm ca bhanisyami adyakalikam ca te

vesagrahanamapyupadharayisyami t i , p . 9

4. i b i d , verse No. 17

5. i b i d . , abasitam abagaccha ksatriyanam vinasam, p. 3b

 191

6. D u ta g h a to tk a ca santSlocana - I-fat ak ka pramukh r sc kai urja

h y lfy , g h a t o tk a c o ke ka th cp a :athan me v l r a r a s a ke Jhal

r n i l t i hya o a r duhkha evam v is a d k i o h a n i chava b a ra b a r

•l l

b a n l ra h ti hya, p . 2 5

CP , B3. The main se n tim e n t i s p a t h e t i c (Karuna) w hich is

e v id e n c e d b y t h e s p e e c h e s o f D h r t a r a s t r a G andhari and

D u h sa la su b se q u e n t t o t h e e n t r y o f G’n a t o t k a c a , t h e r e i s a

p l a y o f t h e m a r t ia l s p i r i t {V ir a ) b u t t h e t r a g i c n o te i s

fe lt e v e ry w h e re , p . 197

7 . C .F . S d . Ch, 6 /1 6 v iv a h o bhojan am s a p o ts a r g a u mrtyuratarn

t a t h a , p . 3 7 0 , Ed. D r. V im ala Kant a Mukhopadhva.

CP, MIL, p . 2 3 3 , V o l . I I I , P a r t 1

8. I b i d , p . 233

9 . UB. S I . 3 0 . bhlm ena b h it v a sam ayavyavasthaiad gad a

b h ig h a t k ^ a t a ja r ja r o r u h , bhumau b h u ja b h y im parikrsyam anam

svam dehamai d h opar at am vaKami,

—- , * ■
1 0 . I b i d , S L , 3 7 . vancanaruhatam s r u t v a sutam adyahave

mama, m ukhamantargatasraksamandhamandhataram k r ta l.

p .3 4

1 1 . I b i d , 3 9 , p . 35
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1 2 . I b i d , - 4 1 , Hrfcam me bhim asenena gadapatakacagrahe

samamurud vayenadya guroh, padabhivandanam, p . 37

1 3 . Ib id -1 4 4 , ty a k tv a p a ricita m p u tr a 1 y a tr a t a t r a t v ;—

vasyatam . adya p ra b h rti nastldam pur vamulct am

tavasanam ,

1 4 . I b i d , d h r ta r a s tr a h , pu tra katham avikia vo bh a v is yarn!

p . 42

1 5 . I b i d , b h o s ta ta sokanigrahena kriyatam marnanugrahah,

p . 43

1 6 . I b i d , 150, Raja-Namaskrtya vadami tvam y a d i punyam

may a krtam, anyasyamapi jatyam me tvameva jan an i

~ b h a v a .p . 44

1 7 . I b i d , verse n o . 51, 52

1 8 . I b i d , R a ja , ehamiva p and a vah s u sru sa y ita v y a h ta tra

bh avatya/can bayah kuntya ructeso b a r ta y ita v y a h ,p .4 7

1 9 . C .K . Act. 2 /2 9 , samupahrtya dasyami hemnam laksamc-

daksinam. adv-apr abhrti me masamavedhin kssr.turv:-

* ** * «i

r h a s i,

2 0 . I b i d , A ct. 3 / k r in it a mamoryah, k r in it a itc.SrddhanTul -

ye ha samayadasim, p . 64

21. I b id , a ct. 5 / p i t r a p i t e yath a p a r it y a k t a , tath a

tvamapi mam mandaohagi nirr p a r i t y a j a s i , p . 156

1 2 . I b i d , - 4 1 , Hrfcam me b h im ssen en a g a d a p a ta k a ca g ra h e

sam anurudvayenadya g u ro h , p a d a o h i vandanam, p . 3 7

1 3 . I b id - 1 4 4 , t y a k t v l p a r ic it a m p u t r a 1 y a t r a t a t r a tv,-

v isy a ta m . adya p r a b h r t i n a stld a m pur vamukt am

ta v a sa n a m „

1 4 . I b id » d h rta ra streh , p u tr a k a th a m a vik ia vo bh avisyar:

p . 42

1 5 . I b i d , b h o s t a t a so k a n ig ra h e n a k r iy a ta m manianug rah ah ,

p. 43

1 6 . I b i d , 1 5 0 , R aj a-K am askrtya vadami tvam y a d i puny am

may a lertam, anyasyam api j at yam me tvam eva ja n o n i

. p . 44

17. I b id , ver se n o . 5 1 , 52

— ~ /* / _
1 8 . I b i d , R aj a , eh ami v a pandavah s u s r u s a y r ta v y a h ta tr

bhavatya/carrfoayeh kuntya n id e s o b a r t a y i t a v y a h ,p .4 7

I S . C .K . A c t. 2 /2 9 , sarnupahrtya dasyam i hemn'am la k s a m c

d ak sin a m . advapr a b h r ti me masamavadhin k se rtu n v :-

* ** * «

r h a s i,

2 0 . I b i d , A c t . 3 / k r i n i t a mamaryah, k r i n i t a ito.Srddham u
y e b a samay a d a sim , p . 64

2 1 . I b i d , A ct. 5 / p i t r a p i t e y a th a p a r i t y a k t a , ta th a

tvam api mam mandabhaginim p a r i t y a j a s i , p . 156

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2 2 . I b i d , A ct. 5. Tvaya aham sam adista ya t prayatnena

p a lan iya h e s a t e b a la k a h , tam ca may! p a p a s ila y a

ta th a na pratipannarh, d . 153

2 3 . I b i d , A ct. 5 , b lia g ir a th i ta to p a n te s u sutaaokagnidahya

minair,at na n am ni r vapay ami , p . 166.