Rasa Bhava Emotion

Sringara Rati Romance

Hasya Hasa Humour

Karuna Shoka Compassion

Roudra Krodha Anger

Veera Utsaha Valour

Bhayanaka Bhaya Fear

Bibhatsa Jugupsa Disgust

Adbhuta Vismaya Marvel

The phrase "Dramatic Prakrits" often refers to the three most prominent
of them, Shauraseni, Magadhi and Maharashtri Prakrit. The prakrits
varied in intelligibility with Shauraseni being most similar to
classical Sanskrit[4] while Magadhi Prakrit being most similar to
classical Pali.
Maharashtri is a particularly interesting case. Maharashtri was often
used for poetry and as such, diverged from proper Sanskrit grammar
mainly to fit the language to the meter of different styles of poetry. The
new grammar stuck, which leads to the unique flexibility of vowels
lengths, amongst other anomalies, in Marathi.[5]
The three principal Dramatic Prakrits and some of their descendant
languages:
Shauraseni
Shauraseni was used in north-central India, later evolving into
the Hindi languages, viz. the varieties of Hindi, the Central Zone of
modern Indic, including Hindustani and Punjabi.
Magadhi
Magadhi was used in eastern India, later evolving into the Eastern
Indo-Aryan languages, including Bengali, Assamese, Odia, and
the Bihari languages (Bhojpuri, Magahi, Maithili), among others.
Ardhamāgadhī.
 Āvantī, Prācyā, , Bāhlīkā, Dākṣiṇātyā are other dialects not
known to us today.

The ‘‘Natya Shastra’’ discusses a wide range of topics, from issues of

literary construction, to the structure of the stage or mandapa, to a
detailed analysis of musical scales and movements (murchhanas), to an
analysis of dance forms that considers several categories of body
movements and their effect on the viewer. The ‘‘Natya Shastra’’ posits
that drama originated because of the conflicts that arose in society when
the world declined from the Golden Age (Kŗta Yuga) of harmony, and
therefore a drama always represents a conflict and its resolution.
Bharata’s theory of drama refers to bhavas, the imitations of emotions
that the actors perform, and the rasas (emotional responses) that they
inspire in the audience. The eight basic bhavas (emotions) are: love,
humor, energy, anger, fear, grief, disgust and astonishment. In observing
and imagining these emotions, the audience experiences eight principal
responses, or rasas: love, pity, anger, disgust, heroism, awe, terror and
comedy. The text contains a set of precepts on the writing and
performance of dance, music and theater, and while it primarily deals
with stagecraft, it has influenced Indian music, dance, sculpture, painting
and literature as well. Thus, the Natya Shastra is considered the
foundation of the fine arts in India.

Date and Authorship

The document is difficult to date and Bharata's historicity has also been
doubted, some authors suggesting that it may be the work of several
persons. However, Kapila Vatsyayan, a leading scholar of Indian
classical dance, has argued that based on the unity of the text, and the
many instances of coherent references to later chapters in the earlier
text, the composition is likely that of a single person. Whether his
Bharata was the author’s actual name is open to question;[1] near the
end of the text we have the verse: "Since he alone is the leader of the
performance, taking on many roles, he is called Bharata" (35.91),
[2]
indicating that Bharata may be a generic name. It has been suggested
that Bharata is an acronym for the three
syllables: bha for bhāva (mood), rā for rāga (melodic framework), and ta
for tāla (rhythm). However, in traditional usage, Bharata has been
iconified as a muni or sage, and the work is strongly associated with this
personage.

Since nothing is known about Bharata, any arguments regarding date of

the Natya Shastra are based solely on the text. It has been argued that
the text predates several sections of the Ramayana, since the music
terminology used in them by Valmiki follows Bharata's outlines. From
similar evidence, it is clearly later than some of
the Purana and Brahmana texts. These arguments, and others, have led
to the opinion that the date may lie somewhere between 200 B.C.E. and
200 C.E.[2][3][4] Though earlier and later dates are often postulated, this
appears to be the "broad consensus."[1]

Title and Setting

Written in Sanskrit, the text consists of 6,000 sutras, or verse stanzas,

organized in 35 or 36 chapters. Some passages that are composed in a
prose form.

The title, ‘‘Natya Shastra’’, can be loosely translated as A compendium

of Theater or a A Manual of Dramatic Arts. Nātya, or nāṭaka means
“dramatic arts.” In contemporary usage, this word does not include
dance or music, but etymologically the root naṭ refers to "dance." The
‘‘Natya Shastra’’ is the outcome of several centuries of theatrical practice
by hereditary actors, who passed their tradition orally from generation to
generation.[5]

The text is in the form of a loose dialog between Bharata and a number
of munis who approach him, asking
about nāṭyaveda (lit. nāṭya=drama,performance; veda=knowledge). The
answer to this question comprises the rest of the book. Bharata testifies
that all this knowledge is due to Brahma. At one point, he mentions that
he has a hundred "sons" who will spread this knowledge, which
suggests that Bharata may have had a number of disciples whom he
trained.

The creation by Brahma of natyaveda is associated with an egalitarian

myth about a fifth veda; since the four vedas, also created by Brahma,
were not to be studied by women and lower castes, he created this fifth
veda, the art of drama, to be practiced by everyone.[6]
Performance Art Theory

Classical Indian dance: the inheritor of the ‘‘Natya Shastra’’

The Natya Shastra discusses a wide range of topics, from issues of

literary construction, to the structure of the stage or mandapa, to a
detailed analysis of musical scales and movements (murchhanas), to an
analysis of dance forms that considers several categories of body
movements, and their effect on the viewer.

Bharata describes fifteen types of drama, composed of from one to ten

acts. Full-scale plays of five or more acts are classified as either history
or fiction. The ‘‘Natya Shastra’’ describes eight types of shorter plays,
from one to four acts: heroic, tragic or comic plays, together with the
satirical monologue; the street play; and three kinds of archaic plays
about gods and demons. There is also a secondary four-act “light play,”
a fictitious, sensitive comedy about a real character.[7] The principles for
stage design are laid down in some detail. Individual chapters deal with
aspects such as makeup, costume, acting, and directing. A large section
deals with how the meanings conveyed by the
performance (bhavas) can be particularly emphasized, leading to a
broad theory of aesthetics (rasas).

Four aspects of abhinaya (acting, or histrionics) are described: the

messages conveyed by motions of parts of the
body (angika); speech (vAchika); costumes and makeup (AhArya); and
on the highest level, by means of internal emotions, expressed through
minute movements of the lips, eyebrows, ear, and so on(sAttvika).[6]

The ‘‘Natya Shastra’’ claims that drama originated because of the

conflicts that arose in society when the world declined from the Golden
Age (Kŗta Yuga) of harmony, and therefore a drama always represents a
conflict and its resolution. The conversion of a story into a dramatic plot
is based on the single main element which ends the conflict, elaborated
in its elements and conjunctions. Each full-scale play embodies five
“conjunctions:” opening, re-opening, embryo, obstacle, and conclusion.
Each of these “conjunctions” is filled out with up to a dozen dramatic
incidents and situations which show the characters in action. A large
number of dramatic devices are available to express the causes and
effects of emotion.[7]

Rasa
Sringāra rasa by Guru Nātyāchārya Padma Shree Māni Mādhava
Chākyār.

The Nātyashāstra delineates a detailed theory of drama comparable to

the Poetics of Aristotle. The purpose of drama is to entertain the
audience. The joy (harşa) and solace experienced by the audience is
induced very deliberately by the actors through special acting
techniques.[7]

Bharata refers to bhavas, the imitations of emotions that the actors

perform, and the rasas (emotional responses) that they inspire in the
audience. The eight basic bhavas (emotions) are: love, humor, energy,
anger, fear, grief, disgust and astonishment. These are not conveyed
directly to the audiences, but are portrayed through their causes and
effects. In observing and imagining these emotions, the audience
experiences eight principal responses, or rasas: love, pity, anger,
disgust, heroism, awe, terror and comedy. Bharata recommends that
plays should mix different rasas but be dominated by one. The audience
essentially enjoys the play, but is also instructed by observing both good
and bad actions, and the motivations which inspire them.

Each rasa experienced by the audience is associated with a

specific bhava portrayed on stage. For example, in order for the
audience to experience srngara (the 'erotic' rasa), the playwright, actors
and musician work together to portray the bhava called rati (love).

The ‘‘Natya Shastra’’ discusses several aspects of musical performance,

particularly its application to vocal, instrumental and orchestral
compositions. It also deals with the rasas and bhavas that may be
evoked by music.

SANSKRIT DRAMA

Role of Sugriva in Sanskrit drama (Kodiyattam)

Sanskrit plays are rasprayas. The timing and location information can
not be found.

Drama is essentially a type of poetry in its composition. According to

Susan Langer, the play is not only poetry of theater but also poetry in
theater. There is drama poetry in the Sanskrit drama tradition and it is a
special kind of poetry. Its specialty is highlighted by calling 'Kavayeshu
Natakam Ramayam'.

From writing to presenting, there is a synthesis of many arts in the

drama - then somewhere it can create the quintessential truth of poetry
and poetic beauty. There is also a poetic creation on the stage, through
various means, from the arts, from which theater takes the form of a
work, the work. Taste and communication both go together. This drama
that gives happiness and comfort to the world through various
expressions, stages, juice expressions, actions of action, is therefore
considered to be an extraordinary work here.

Acharya Bharata has described the drama in the first chapter of the
theatrical book as the simulation of the gigantic expressions of the three
worlds and it is called the universal Vedic Vedas. According to Bharat,
such knowledge is not craft, yoga, yoga and karma which can not be
seen in the play - Neither science nor falsity nor art Neither do they
appear in any way.

Sanskrit dramatics

The development of Sanskrit drama literature was started from Vedic

period, respectively. In this context, Prof. The statement of Indrapal
Singh "Indra" is remarkable - there are indications in the Vedas which
prove the status of plays in Vedic times. The rituals of the Rig Veda
reveal the action that occurs during the moncleri. On the occasion of
Mahavrata, the girls used to revolve fire with dance songs. In the sixth
chapter of the Chapter Chapters of Shukla Yajurveda, the word
"Shailush" has come, which means - actor. It is said that a yarn should
be appointed for dance and for singing Shailush. The sources of
Samaveda are ragged and it is known that music was in complete
development in the Vedic era. In addition to music, there are signs of
dance and instrumental also. It proves that all the ingredients in the
Vedic age were found in abundance which are expected for the
development of drama.

After Vedas, there are signs of drama in Ramayana and Mahabharata

too. In the Mahabharata, the names of "Ramayana Drama" and "Kauer
Rangabhisar" have been named. In the Viraat festival of Mahabharata,
theater and nut are used. In the Ramayana, the mention of "nat",
"drama", "color" and dancer is found in many places. Panini has also
given the impression of the pre-composition of plays by 'Parashariya
Shilalibhana Bhikshunootsyyyyyro' in 'Ashtadhyayee'.
Fourth century B.C. from the study of "economics" is known that nuts,
dancers, singers, players, plankton, kushilav, soumitra and charan etc
used to earn their livelihood. In Buddhist texts, there is a story in
"Chulavgag" of "Vinaypitak" that after studying Ashwajit and rehabilitated
acting, they were mesmerizing with the dancer, then Mahasthavir had
expelled them immediately from Vihar. Hence at this time dramatics had
become universal.

Patanjali has named two plays "Consolidation" and "Balavadh" in "Maha

Bhasha". In the Mahatma, the term "Rasiko nuts:" proves that at the time
of Patanjali, there was full knowledge of the principle of the joys.

It is proved by the above statement that the plays originated in India, and
it has attained its advanced form, gradually evolving from the Vedic
period. Among the metaphors available today, the playwright is the most
antique antique rhetoric - most of these scholars believe. In other words
we can say that Bhas are the primal dramatists of Sanskrit theatrical
literature. Sanskrit drama specializations

On studying the major plays of Sanskrit literature, their following major

characteristics are visible -

1. In these Sanskrit dramas, objects, leaders and ras have been given a
prominent place. The metaphors have been divided on the basis of
these elements - "Object leader rasestas bhadak '." There are ten
distinctions of allegory in which drama is the first difference.

2. As far as the story is concerned, the story of most drama is historical

and mythological. Most drama has been written by making the story of
Ramayana and Mahabharata based on the basis of the story.

3. As far as the leader or the characters are concerned, the characters

are kept in line with the story. There are some dramas in which all
sections of the society are represented, such as the Shudrak-based
"Martyrdom".

4. In all the three elements, the juice has been given the highest priority.
The attention of Sanskrit writers is not given to the realization of the story
as much as the audience or the reader's heart to communicate any kind
of juice. The criterion for the success of the poet has been considered as
rasabhayakti. Ras was considered to be the prime target of dramatyaka.
The main juice of any one of the beauty or heroic rasas has been
considered in these plays, the remaining ones are used in the form of
subsidiaries.
5. According to the theatrical rules, the text of most Sanskrit plays has
been started from the preface (installation) and ended with
"Bharatvakya".

6. The numbers from 5 to 7 digits are of these major Sanskrit plays. Most
plays are of 6 and 7 digits.

7. Language is used in the Sanskrit plays as per the character. The best
characters use Sanskrit and other characters use the Prakrit language.

8. The main characteristic of Sanskrit plays is actuality. Their

communication plan is very attractive. But Aristotle's lack of time and
place is often lacking in these plays, because poetry is strong in many
Sanskrit plays.

9. Most of the Sanskrit plays are written comfortably. But this statement
is not rational that there is an acute lack of sadness in Sanskrit. If the
misery drama is meant to depict the bereavement, defeat and death of
the hero, then in this view, "Karnakhalka", "Urubhang", Vaishi Kehaar
and Chandakshik should be considered as a desperately tragic drama.

10. Apart from the hero and heroine, the Apesara also has an important
role in Sanskrit dramas.

11. In Sanskrit plays, close relationship with nature is visible. The end
nature and the outer nature have been made in a beautiful coordination.
For the illustration of the subtle nature of the ultimate and emotional
emotions, the outer nature acts as an illusion. Humanization of nature
has also been its characteristic of Sanskrit Rupees. In these, a close
relationship with human nature is visible. At the time of departure of
Shakuntala in the "Anthony Shukunthalam" of Kalidas, the living
creativity of the situation of natural elements is to make the heart
intuitive. - 'The deceased debutant, the deceased, the abandoned
persona Mayurah. Dissolved Panduchatra Muntanthu Nivan Lata:

Similarly, an idyllic description of the "civilized" drama of a specialty is

obvious - Ete Rudanti Harina Haritan Deimachya Hanshesh Hokshitra:
Karuna Roondanti

Such descriptions are literally unique examples of humanization of

nature in Sanskrit theater literature.

12 In Sanskrit theater is the primacy of Bhavattavata. Most of the efforts

of the Sanskrit playwriter are seen in the subtle notation of the bhavs
and the inclusion of poetic beauty in them. This is the reason that in the
acting of Sanskrit plays, it is not as easy to see, as Western characters
are easily possible. The Sanskrit playwright, poet, regards the heart as
the father of the seriousness, he does not give importance to the artistry.

13. In the Sanskrit adaptations, the plot also goes according to poetic
style. In the subsistence of storylifting, five emotions, arrangements and
treaties are planned. As a condition of acting, any one of the variants of
Bharti, Satyatti Cashieri and Rabati is adopted.

14. Efficacy is the key feature of Sanskrit dramas. The root cause of
efficacy is that the playwright in the Sanskrit plays presents the act of the
past incident in such a way as if it is directing it to the reader or the
locks. Through this presentation, the experience of direct interaction of
events from readers makes drama more effective than epic or novel.

15. In the origin of the composition of Sanskrit dramas, the main

objective is to entertain the sad, tired and mourning people, as in the first
chapter of Natyashastra, Bharatununi has written: - Sadakartaananam
Sharmartanan Shokaratanan Tapaswinam Sattarajananen Locke's
theatrical future. Vinodajananam black dramatic future ... Theater of
Sanskrit drama

Kalidas, the great playwright of Sanskrit, has mentioned very beautiful

dance-acting in his play 'Malavikagnimitra'. The picture is so impressive,
delightful and gleaming in itself that it is considered to be wonderful in
ancient literature.

In the play 'Malavikagnimitra', two dancers have a feud with regard to

their art skills and it is certain that both show the dance-acting of their
own disciples and the independents Bhagwati Kaushiki will decide who
is the best in both of them. Both Acharya got ready. The mud rang. The
spectator sat in the hall sitting in the auditorium. With the permission of
the monk, the groom's attendant, the teacher of Malvika Acharya
Ganadas Yavnika, brought the well-groomed disciple (maalvika) to the
amphitheater. It had already stabilized that the act of being accompanied
by the Chhul dancing-in which the actor returns to the role of another,
expresses his own feelings-will be shown. Malvika started the anthem. It
was that the heart of love and love for the rare person is filled with pain
once again and then he gets overwhelmed with hope, after many days,
after seeing that same fest, he has laid eyes on him. Prices were derived
directly from Malvika's heart, the gorge was his sympathy. His
incomparable beauty, acting, bodybuilding, dance of the Risham
Bhangima and the melodious music of the gorge are being done by the
King and the observer. Only after acting, when Malvika started going to
the screen, the joker stopped him from any excuse.

He stood frightened; his left hand was configured on the command; his
brace had come on the wrist, the right hand was swinging directly like
the loose skin, the tilted eyes were attached to the feet, where on the
toes of the toes Slowly laying down the flowers was flowing and
Dhanalal Dehalata was christened by dance. Malvika was standing in
the same way, it was advisable to have a man with a cleanliness and
stand in the amphitheater. Parivrajiika Kaushiki has given her ankle-
acting is absolutely innocent. Without speaking, the expression of
expression is clearly published, gesture is very beautiful and intelligent.
The interest in which the acting has been done, the tenderness in the
juice is clearly targeted. Bhaveshwara has become alive by being alive,
Malvika has forcefully pulled our mind towards acting with other subjects.
Kalidas has presented a living model of Indian culture, art, beauty and
acting in this stanza. Anyway, the Kalidas Theater is called 'Chakshush
Yagna'. His stanza is an example of that the beauty of the Sanskrit
drama is derived from Indian culture and traditions and is related to
contemplation, joy, and beauty. introduction

Sanskrit has always emphasized on good theatrical use. As much as

'play principle' is considered necessary in good theatrical use, the same
refiner and auspicious, demanding form. But anywhere he is no different
from the people, the inspiration of the people, the different expressions
of the life, the action with the business leads to the struggle, so our
Sanskrit drama is the glee of life, the symbol of joy, like the west No
simulation or tragedy. Sanskrit drama and theater have therefore
evolved from both folk and dramatical traditions. Considering the
practice of public behavior and human nature, Sanskrit drama uses
sophisticated intelligence, rich imagination and artistry. He is a definite
philosophy and a sign of culture. Indian drama and Goddess of theater
Natraj Shiva is a symbol of welfare, of self-help and demand.

The drama and theater of ours came in the form of religious acts,
religious rituals. Therefore, its nature is ritualistic. There is an entire
legislation in the whole process of Purvarang - from the recapture to the
prarokana etc. Indraja etc. All the legislation is religious and ritualistic.
This ritual atmosphere is created on the basis of many theater and
religious beliefs. Bharatmanti has said in dramatics that this drama is
'Panchamweed' in which there is a religion, somewhere sport,
somewhere meaning, peace anywhere ................. Giving public to all
people through the acting of drama, rituals, actions and actions. It
literally also expresses the social side of Sanskrit drama. Our original
voice is not of conflict but of fruit, of joy. Beginning with the story of
drama, storytelling, working arrangements and beginning with effort,
earning leads from determination to forward to falagam. Therefore, in the
Sanskrit drama there is no significance of destiny of karma and the hero
who is doing the duty is Dhirodatta Nayak, in which all the attributes of
the goal are attained. Juice base is the whole drama and theater. 'Tane
Ras and Natyam (Innovation) Rasanujuti is the screen of theatrical,
therefore our Nana Rasas have been planned for the spiritual values,
permanent values and' Rasayipatti 'and the authenticity have been given
importance. The context of 'Asur Parajay', 'Amrit Manthan' 'Tripuradah'
plays also show that the drama was related to life. And in the time of
Bharat Muni, the various components of drama were fixed- (1) Nat, (2)
dance, (3) dance-instrumental, (4) music (5) dialogue (6) narrative (7)
Theater In the 'Malvikaganimitra', Kalidas has also been called as clear
from the face of the dramatary Ganadaas. Everybody plays the role of
dramatics. On the basis of difference of interest of humans, drama is
composed. Drama is considered to be such an art which can be seen by
people of all classes without being discriminated. Devadatta Shastri also
said that 'This was the first attempt to eradicate class struggle, through
drama.'

Music plays a big role in the diversity, joy and sophistication of Sanskrit
drama. The celebration of various ragas, rituals, festivals, time and
expressions, as a relation with the rituals, plays the rhythm, rhythm,
dance, instrumental playing, and the classical law of the song creates an
entire aesthetics which are very rich and serious, meaningful, creative is.
Charan Dutt is the musician of 'Swapnavasavadatta' and 'Mrukchatikam'
himself. Mangalacharyana, singing, nandi, etc. by the facilitator, nat-nati
etc. creates such a beauty-making and before that in the prehistoric
legislative theater, creates such an environment, prepares the mind of
the observer that we reach a different people only. It does not appeal to
the music and the legislative observer, also takes the subject of drama
towards the environment related to it. Diligence, immersion and
complete psychology change itself. On the command of the facilitator to
start music in the 'Wenishahar' drama, the neighbor asks: 'How much
time can be sung on the basis of a season'? All these experiments also
express the inner relation of the season, time and music and also give
freedom in 'theatrical experiment' that the facilitator can also change it as
needed. It is also a special thing that the use of dance and playing in
Sanskrit drama is more, less of the songs. Somewhere, the creator also
indicates the popular music side of the era, as in 'Merichitikam', the
'Gandharva Shrutun Ghatya' has been used for hero Charudatta by
Shudrak, which shows the practice of Gandharva music. Lokanjan,
Kaivyanand Atmananda is an integral part of the Sanskrit drama.

Obviously, the observer was also expected to have a special interest,

ritual to reach this joy. Keith could say that 'rude, foolish, atheist and
lower class observers could not enter'. They were familiar with the
knowledge, dance and music acting of the rules of rhetoric. In the
theatrical form explicitly said that the observer should have all the
senses disturbed, in the hypocrisy, it must be true - ('Critical Attendance'
in today's language should be known and ignorant). She should be
sensitive, sympathetic. He should be virtuous, penetrating to art, crafts,
so that he can do full pleasure of complex, synthetic art like drama.
Directly the audience is directly related to the actor. In our Indian theater
tradition, not the director is the importance of the actor - the same is the
basis of all the expression, the main medium is therefore our dramatics
in such a vivid and serious description of the actor, his personality,
qualities, actions. The body of the actor gives his voice, motion, gesture,
verb and business all the new meaning, so that such points of the eyes,
head, arms, legs, etc., along with sex, reading, charity, sattvic types are
mentioned various A detailed representation of the limbs, mudra, angler,
karan, chari, etc. has been that his actual training is 'constructing' the
actor in the right values, and realizes the imagination of the creation of
without external devices. It is an amazing collection of acting which is
being used in Bharatanatyam dance but not in theater. The entire
science of acting is the basis of Sanskrit plays. He demands a
systematic method of action, practice, faith and expertise, as is required
in classical art, in the houses of music.

Although the Sanskrit dramas used to be in Rajaprasadas and temples,

but mention the architectural scriptures and theatrical boards of that time
also. Tents were erected in large temples or at other places. In theatrical
literature, there is mention of Shailguhakar. Bharat has narrated three
types of drama mandaps - Disorderly Chasuras, Trias. The distinctions
of these are also stated. The arrangement of the colors, colors, designs,
electrons, yavnika dirt, etc. on the platform, conveys a complete
presentation hypothesis, to the sense of beauty. In fact, the Sanskrit
stage was antitrusted, it was anti-truthful. Whether there is visual or a
visual work, the scene is done - the park, the flowers, the ocean, the
water, the storm, the storm, or the chariot, the bird is imagined. In
'Abdinshakkunnalam', the speed of the chariot, the running of the deer,
the duskhanta's heaven, etc., is seen by the visual actor only through his
postures and motions. This is the codification of dramatic laws, which is
human, is not mechanical and miraculous. In Sanskrit plays, scenes of
mountains, planes, darkness, sunrise, chevy etc. are often performed by
the characters. Kalidas, in the plays of Bhavabhuti Shudrak, plays the
role of rain, cloud-roaring, Chandroday deer, cubs, apes, summer and
autumn serpent snakes etc.. The etymological, apathetic, theater drama
also reflects the nature of acting and the Sanskrit drama theater.
Sanskrit Theater is a poetic drama, therefore, it is a feature of
Bhavaneunikaran, Bhavishmarma. This poem is composed by
compositing, from acting to music, with language. Theater entertains
observers and cheer them up. The juice is based solely on the
theoretical essence. The observer has never forgotten the Sanskrit
Forum Satisfying him was considered a dramatic accomplishment.
'AbhiyanShakkuntalam,' Malvikagnimitra 'and' Malatimadhav 'presently
have been told that their scholar was presented to the council. This
reveals the importance of dramatic use in Sanskrit and dramatic use and
the observer's deep connection. There is no such personal aesthetics in
Hindi. Bharatendu and Prasad had a creative endeavor but they
remained limited to them. Both playwrights based on Indian folk and
dramatic traditions based on Indian drama and western drama, were
exploring the nature of Hindi drama and theater, which remained
confined to them. Chief dramatists of Sanskrit

Q1:

According to Bharat Muni why is it necessary to use Prakrit language in

sanskrit drama

What does Bharata Muni say about the purpose of dramatic art?
It is also notable for its aesthetic "Rasa" theory, which asserts
that entertainment is the desired effect of performance arts but not
the primary goal and that the primary goal is to transport the individual
in the audience into another parallel reality, full of wonder, where he
experiences the essence of his own ...

The Natyashastra defines drama in verse 6.10 as that

which aesthetically arouses joy in the spectator, through the
medium of actor's art of communication, that helps connect and
transport the individual into a super sensual inner state of being.
The Nātya Shastra of Bharata is the principal work of dramatic theory,
encompassing dance and music, in classical India. It is attributed to
the muni (sage) Bharata and is believed to have been written during the
period between 200 B.C.E. and 200 C.E. The Natya Shastra is the
outcome of several centuries of theatrical practice by hereditary actors,
who passed their tradition orally from generation to generation. It is in
the form of a loose dialog between Bharata and a number of munis who
approach him, asking about nāṭyaveda (lit. nāṭya= drama,
performance; veda= knowledge).

Q2.

Charudatta in Sudraka’s Mricchakatika : Character Analysis

Charudatta is an impoverished Brahman, who is one of the central

characters in Sudraka’s play Mricchakatika. Sudraka presents
Charudatta as a noble and sensitive man, of respectable social position.
His state of poverty is a result of his charitable nature, which is also
shown as a positive trait.

Character Analysis
A Generous Man

A Less Intelligent Person

His Hypocrisy

Ignorance to the Wife

Vasantasena in Sudraka’s Mricchakatika : Character Analysis

Vasantasena is one of the most prominent characters found in Indian

classical drama. Sudraka’s Mrichchakatika is a realistic presentation of
characters in a unique story of love, loss and desire. His presentation of
the central female character Vasantasena as a Unique Nayika
Vasantasena does not fit into the traditional structure of women as
daughters, wives or mothers. She is a unique paradox. She is, on one
hand, an object of desire and, on the other hand, an independent person
who believes in freedom of choice.

She was well-versed in the sixty four kala-s or fine arts including music
and dance. She had access to wealth and even reverence. However
what she did not have was access to a private life. A courtesan was like
a celebrated public property who was given recognition for her service
but was denied any personal inclusion within the private world of
domesticity.

Sakara
An Abnormal

Sakara or Samsthanaka is the most wicked man in the play. He creates

problems in the lives of Charudatta and Vasantasena because he feels
jealous of Charudatta. He is passionate about her and he sees her lover
as his threat.

For Sakara, one could do anything with wealth. He is like those lovers
who think money can buy happiness. For him, emotion and respect have
no place in the relationship. Because of his lack of respect, his love turns
into hatred. When Vasantasena hits him with her foot, he feels insulted.
He immediately goes to kill her. He does not think much before
strangling Vasantasena.

Sakaara

He is abusive and arrogant in this talk, but afraid of the royal power. He
always uses frightening phrases, but he never prefers straight fight. He
talks of his 'Sharpened Sword' only before a helpless woman.

Q4:

The title Mricchakatika literally means “The Little Clay Cart”. It has both
literal and metaphoric significance in the play. At the same time, the title
bears marks of Sudraka’s originality. A detailed study of the play reveals
how the title chosen by Sudraka is both interesting and appropriate.
Sudraka’s Choice of Title Mricchakatika
On a literal level, the title Mricchakatika refers to the clay cart of
Rohasena, Charudatta’s son. The little child desires to have a gold cart
as he is ashamed of his ordinary clay one. Vasantasena offers her
jewellery to satisfy Rohasena’s wish. This episode of the little clay cart,
although a minor one, is empirically linked to the major themes of the
play.

The Clay Cart as a Symbol

The clay cart is basically a symbol. It is a symbol of domestic life, of

ordinary humble world that Charudatta belongs to. Vasantasena offers to
add value to it just as she adds value to Charudatta’s ordinary existence.
From a different point of view, Vasantasena’s offering may be seen as
her desire to be a part of the domestic, earthly world of Charudatta. It is
her way of getting her maternal yearnings fulfilled, by renouncing those
objects which symbolise her isolation and childless peripheral existence.
It is as if she feels that her jewels gain value when placed on that cart.

The clay cart, therefore, is a metaphor of the world which Vasantasena

wishes to be a part of. On the other hand, the title is a summation of the
Hindu concept of seeing life as a wheel, or chakra. Charudatta’s young
son has been playing with a gold cart that belonged to his friend, who
takes it away. Vasantasena gives him jewels with which he can buy a
gold cart. This completes the cycle. When it turns from a clay cart to a
golden cart, it becomes a symbol of triumph of poverty over riches. Many
such cyclic patterns are found in the plot of Mricchakatika . The fate of
Aryaka, the exiled prince, who gains his throne back, the gambler who
loses money and ends up receiving spiritual wealth, all follow some
circle of fortune. It is as if the frame of the story is a clay cart whose
wheels turn with the change in fortunes of the characters.
Universal Relevance of the Title Mricchakatika
The title Mricchakatika is a reference to human life, its ground realities
rooted in an interesting world. The clay cart episode of Act VI is a
metaphor of universal expanse. Rohasena’s desire for the gold cart is
the eternal human yearning for prosperity. In offering her jewels to the
clay cart, Vasantasena joins the group of characters like Charudatta,
Madanika, Radanika, Sarbalik, who are poor but act in heroic manner.
The clay cart is apparently not of any value but it serves to bring out the
goodness in Vasantasena, offering her the chance to participate in the
domestic sphere of Charudatta’s life. This makes the title establish itself
as both literally and metaphorically justified.

Q5

 Magadhi: Magadhi was an eastern Prakrit, deriving its name from

the ancient province of Magadha, the area spread across modern-
day Bihar. Grammarians list a number of its dialects, chief among
which are Shakari, Shabari, Chandali and Dhakki. Its usage has,
however, been restricted to Sanskrit dramas where it is spoken by
characters belonging to the lowest stratum of the society, the most
significant evidence for which is attested in
Kalidasa’s Abhijnanashakuntala and Shudraka’s Mrchhakatika.
 The ancestor of Magahi, Magadhi Prakrit, formed in the Indian
subcontinent. These regions were part of the ancient kingdom
of Magadha, the core of which was the area of Bihar south of the
river Ganga.
 The name Magahi is directly derived from the word Magadhi, and
many educated speakers of Magahi prefer the name "Magadhi"
over Magahi for the modern language.[15]
 The development of the Magahi language into its current form is
unknown. However, linguists have concluded that Magahi along
with Assamese, Bengali, Bhojpuri, Maithili and Oriya originated
from the Magadhi Prakrit during the 8th to 11th centuries. These
different but sister dialects differentiated themselves and took their
own course of growth and development. But it is not certain when
exactly it took place. It was probably such an unidentified period
during which modern Indian languages begin to take modern
shape. By the end of the 12th century, the development
of Apabhramsa reached its climax. Gujarati, Marathi, Bengali,
Assamese, Oriya, Maithili and other modern languages took
definite shape in their literary writings in the beginning of the 14th
century. The distinct shape of Magadhi can be seen in
the Dohakosha written by Sarahapa and Kauhapa. Magadhi had a
setback due to the transition period of Magadha administration.
[16]
Traditionally, strolling bards recite long epic poems in this
dialect, and it was because of this that the word "Magadhi" came
to mean "a bard". Devanagari is the most widely used script in
present times, while Bengali and Odia scripts are also used in
some regions and Magahi's old script was Kaithi script. The
pronunciation in Magahi is not as broad as in Maithili and there are
a number of verbal forms for each person.[17] Historically, Magahi
 had no famous written literature. There are many popular songs
throughout the area in which the language is spoken, and strolling
bards recite various long epic poems which are known more or
less over the whole of Northern India. In Magahi speaking area,
folk singers sing a good number of ballads. Introduction of Urdu
meant a setback to local languages as its Persian script was alien
to local people.

Q9.

Sudraka, as a playwright, departed from many of the conventions of

Sanskrit drama laid down by Bharata in Natyasastra. The title of his
play Mricchakatika is no exception. Traditionally, a Prakarana used to be
named after its Nayaka (hero) and Nayika (heroine). For
instance, Malavikagnimitra is the love story of princess Malavika and
king Agnimitra. Following this tradition, Sudraka could have joined the
names of his Charudatta and Vasantasena in his title. However, he
shows great inventiveness in conceiving the title Mricchakatika without
referring to the central characters at all.
Literal Significance of Mricchakatika.