ROLE OF DRAMAS IN PORTRAYING REGIONAL MEDIEVAL

INDIA
Shraddha Pandey

Abstract
Indian History has always been rich in sources either Archaeological or literal. Although, the
inclination of sources in Ancient India is more towards the literary than the historical side but,
they do provide a basic understanding of contemporaries. Although the Medieval Era had a core
policy of writing subtle history as an influence of Persian Historians, yet, it can’t be denied that
the historical accounts are totally in the favour of Mainstream ruling dynasties.
During the Indian Medieval period regional historical plays were an important form of
entertainment and cultural expression. These plays were performed in various regional languages
across different parts of India showcasing historical events royal stories and legends from the
past.

Keywords
Medieval Literature , Dramas, Regional kingdoms, Socio- political History

Introduction
Ancient Dramas were so abundant in terms of grammatical, historical knowledge that they are
counted as non religious sources. Not only they highlight the literary elements but also introduce
us with contemporaneous society, the wallowing of culture, their lifestyle etc. They somehow
create a basic framework for us to understand the Ancient history better. Finest examples
constitute of Malvikagnimitram and Abhigyanshakuntalam by Kalidas, Mrichhakatikam by
Shudraka, Natyashatra by Bharat and Mudrarakshas by Vishakhadatta.
These plays were based on the foundation of basic lifestyle and portrayed the ground reality. The
count of these kind of dramas in Ancient India is no less. Other fascinating works such as
Venisanghar by Bhattanarayan, Anagraghav by Murari and Prassannaraghav by Jaidev are
connected to Mythical aspects of Ancient era. We also mark the traces of some of the finest
dramas known to mankind of the Early Medieval era. Literal gems like Ratnavali and
Priyadarshika of Harshvardhan marks the epitome.
But, when we step up to the next prime of Medieval India, we see a gradual decline mostly in the
works of Drama. The introduction of Islamic elements and the Persian influence excludes the
progress of Dramas, making it long lost in the stream of History.

Materials and Methods

Researcher has used the secondary sources of all contained information and the analytical
method has been used to meet the needs of paper.
Objectives of Study
Famous historian Nihar Ranjan Rai has propounded his views on social history in context with
Medievalism.
 Local settling of all Royalties.
 Change in monetary economy to natural (pay by work) economy
 Emergence of local dialects, language, scriptures etc.
 Formation of sects and subsects in any Religion.
 Development in the local form of art and architecture.
Through the concept of Medievalism, we can paint a very clear picture of how it focuses more
towards provincial or local and keeping the mainstreams in the periphery. The Hindu rulers of
Gujarat, Mewar, Warangal and Vijayanagar provided encouragement to peripheral literary
sources. But, on the contrary we get a close encounters of Tuzuk-e-Babri (Autobiography of
Babur) , Ain e Akbari by Abul Fazal , Tuzuk e Jahangiri (Autobiography of Jahangir) to read the
Medieval room.
This somehow scoops out the possibility of other literary sources to be a reliable part of the
accounts. For instance, works like Tabkat -e- Nasiri of Minhaj us Siraj, Tarikh-e-Firozshahi of
Ziauddin Barani and many more needs no introduction. They are rich and variant sources that
imparts our knowledge about Medieval Sultanate period, but totally blurring out the existence of
other contemporary kingdoms. One can also focus on the fact that bare minimum or Nery a
literary source was backend by the mainstream Sultanate or Mughal dynasty rulers. This carves
out the richness from literal works and diminishing their lights. The works on other art forms
like prose and poetry do highlight the finest forms on it can be, but the dramas are being
neglected since the early medieval period. The purpose of this paper is to highlight the DRAMA
WORKS and how it hold accountability in portraying the basic social, political, economic
structure of contemporary rulers of Medieval India.

Analysis of Objectives
Harkeli Natak by Vigrahraja lV of Chamana (Chauhana) dynasty is a Sanskrit drama which is
based on Bharavi’s Kiratarjuniyam. This play is also known by the name of Lalitavigrahraja. It
is said to be the only drama to be engraved in the ruins of Ajmer’s Sanskrit College and
Saraswati Mandir. It was later converted in Mosque by Qutub ud din Aibak and renamed as
Adhai din ka Jhopra.
This play depicts an attack prepared by Vigrahraja against Turkish ruler Hammir along with his
love interest Desaladevi. Historian Dashrath Sharma identifies Hammir as Khusro Shah of
Gajna and Vigrahraja managed to defeat him.
Historian R. B. Singh has other theories regarding the context of the play. He portray that no
actual battle place between Vigraharaja and Hammira. “Hammira” on the play might have been
Bahram Shah, who fled to India after the Ghurids defeated him at the Battle of Ghazni (1151).
Bahram Shah invaded the Tomara territory of Delhi after coming to India. Vasantapala might
have been a Tomara ruler, possibly Anangapala. Indrapura may refer to Indraprastha, that is,
Delhi. Vigraharaja probably decided to send an army in support of the Tomara king. But before
an actual battle could take place, Bahram Shah returned to Ghazna as the Ghurids had departed
from that city.

Hammir mada Mardana by Jai Singh Suri is another gracious drama portrays the valour of
Jaitra Singh of Mewar. It depicts the context of long lost famous BATTLE OF
BHUTALGHATI. Inscriptions of Jaitrasimha range from 1270- 1309 samvat. It somehow
revives the memoirs of furious battle fought between Rawal Jaitrasimha and Delhi Sultan
Illtutmish. Chirwa inscription- 36 lines and 51 verses dictates that – “Jaitrasimha a mighty
ruler and was like a catastrophe for the enemy rulers. The rulers of Malwa, Gujarat, Marwar,
Jangaldesh, and Sultans failed to subdue him.”
As the end of Sultanate period arrives, history was established as a separate department and it
was no longer subjected through scattered scriptures. The context of Dramas shifted towards
religion due to the contemporary influence of Prolapse (Aphramsha) languages, local cults and
Bhakti movement. Most of the dramas traced in Mughal period belongs to religious
understanding emerged in the ocean of spirituality and Bhakti. Some of the notable Dramas are :
Vidagdh Madhav by Roopa Goswami, Vijaya by Vasudev Shukla, Janaki Parinaya (Ramkatha)
by Rambhadra, 17th cen.; Mallik Maroot by Uddant, 16th cen.; Ras Sadan Bhan by Yuvraaj,
Kadambari Akhyaan by Narsingh, Keechak Vadh (in Assamese) by Raja Rajeshvar Singh, Kavi
Karnpur by Chaitanya Chandroday and Shiv Chhatrapati by Krishnaji (1694) . Most of the
mentioned works emits the influence and dept of Bhakti movement and its impact.

Conclusion
These dramas among others provide valuable glimpses into the historical cultural and social
aspects of Indian Medieval history. They offer a compelling narrative while shedding light on the
complexities and nuances of the era. Whether through the valor of Rajput warriors the political
intrigue of Mughal courts or the moral dilemmas of ordinary individuals these dramas continue
to be a source of inspiration and fascination for audiences seeking to explore the rich tapestry of
Indian history.
Since the sole understanding of actual history writing has begun from Medieval era and thus,
ancient is dependent on basic fragments of religious and non religious sources. But, we cannot
disregard the fact that many important unnoted works were been dissipated which may have
been proved a boost of historical understanding. Some long lost works or some maybe still in the
anticipation of being noticed. Dramas being the form of Literature had always been depicting
society, culture and ultimately the path to get a visual enhancement of History.

References
Books
1) Pappu Singh Prajapat – Mughalkaalin Bharat pp 514, Praachin Bharat ka Itihaas pp 8
 2) Dashrath Sharma – Early Chauhan Dynasties , 1959 pp 60
3) V.D Mahajan – History of Medieval India ( Sultanate period and Mughal period) pp 315
4) Indian Antiquary, Volume XX, 1891 pp 203 & 210-212
5) Rajasthan ke itihaas ke strot, 1983 pp 110
6) R.B Singh- History Of Chahmanas
E sources
Annual report of Rajputana Museum (1924-25) pp 2
Rawal Jaitra Singh of Mewar : A survey of his Foreign policy by M.L Mathur
Bhavnagar inscriptions pp 93
Peterson’s third report in search of Sanskrit Manuscripts in Bombay Presidency pp 130
Madhykaalin saahitya aur sanskriti ka etihaasik paridrishya by Dr. Pushpa kumari
E-pathshala; Dr. Gajendra Pathak
The Position of Sanskrit Literature in the Medieval India: an Analysis (Srajan) by Sarmishtha
Goswami