365bet娱乐

[Note: Only the printed texts are noted here, quite briefly. For a full list of allegorical plays, see Dr.V. Raghavan, Number of Rasas, Adyar Library and Research Centre, Madras, 1975.]

(i) 膧驳补尘补岣峚尘产补谤补 or 峁�a峁噈补迟补苍腻峁璦办补 of Jayanta Bha峁�峁璦^[1] (10 C.A.D)

In four Acts, Jayanta presents that the exponents of the six schools (Buddhism, Jainism, N墨l膩mbara, 碍腻辫腻濒颈办补, 碍腻濒补尘耻办丑补 and the 痴补颈峁ａ箛补惫补 笔腻帽肠补谤腻迟谤补 not based on the authority of the Vedas) are defeated in debate by the 蝉颈诲诲丑腻苍迟颈峁僺 of 狈测腻测补 philosophy coupled with 艢补颈惫补 religion. In the end the 狈测腻测补-艢补颈惫补 teacher makes the pronouncement that all paths, when rightly followed, lead to the same goal.

(ii) Prabodhacandrodaya of 碍峁涐梗峁嘺尘颈艣谤补^[2] (11 C.A.D)

In this play, man鈥檚 ennobling himself is well brought out. Viveka and Sumati are the hero and heroine; the opposing side is made up of vicious qualities like 惭补丑腻尘辞丑补 and Durmati. The aim and end of Viveka and his followers is to tear asunder the veil of temptation created by 尘腻测腻 or 补惫颈诲测腻 (illusion), destroy and overcome 惭补丑腻尘辞丑补 and other degrading qualities and thus finally achieve mukti to 闯墨惫补.

(iii) 厂补峁卥补濒辫补蝉奴谤测辞诲补测补 by 痴别峁卥补峁璦苍腻迟丑补^[3] (13-14 C.A.D.)

厂补峁卥补濒辫补蝉奴谤测辞诲补测补 of 痴别峁卥补峁璦苍腻迟丑补 is an answer to 碍峁涐梗峁嘺尘颈艣谤补鈥檚 Probodhacandradaya and establishes 痴颈艣颈峁ａ弓腻诲惫补颈迟补 philosophy. The play expounds the Supremacy of 痴颈峁ａ箛耻 and projects 痴颈峁ａ箛耻bhakti as the proper means to obtain 尘辞办峁�a. It makes explicit the tenets of 痴颈艣颈峁ａ弓腻诲惫补颈迟补 even to a layman.

(iv) 惭辞丑补谤腻箩补辫补谤腻箩补测补 by Ya艣a岣�p膩la^[4] (13 C.A.D.)

This Jain allegory in five acts brings out the activities of Jainism with all its regulation during king 碍耻尘腻谤补辫腻濒补鈥檚 reign. 惭辞丑补谤腻箩补辫补谤腻箩补测补 deals with the conquest of king Delusion.

(v) Vivekavijaya by R膩m膩nuja Kavi^[5] (not earlier than 13 C.A.D.)

The triumph of Viveka over passions, is the theme of the play Vivekavijaya in ten Acts and it is chiefly an allegorical drama of bhakti cult of 痴补颈峁ａ箛补惫补s. It is a unique drama of Bhaktirasa in which Viveka (wisdom) wins over Moha (infatuation) following the path of devotion. The inner struggle between refined tendencies and vulgar tendencies forms the core of the plot of the play.

(vi) 闯帽补苍补蝉奴谤测辞诲补测补 of V膩dicandras奴ri^[6] (15 C.A.D.)

This is one of the rare dramas of allegorical type dealing with Jain philosophy in five acts. The theme of the drama reflects and resembles in many respects the drama Prabodhacandrodaya of 碍峁涐梗峁嘺尘颈艣谤补. The drama clearly depicts that the awakening of the soul results in the enlightening of the mind.

(vii) 础尘峁泃辞诲补测补 by Gokulan膩tha^[7] (16 C.A.D.)

This is an allegorical play depicting the problems of 蝉补峁僺腻谤补. The various stages of the life of 闯墨惫腻迟尘补苍 from creation to annihilation is narrated here.

(viii) 叠丑腻惫补苍腻辫耻谤耻峁�o迟迟补尘补 by Ratnakhe峁璦 艢谤墨苍颈惫腻蝉补d墨k峁�ita^[8] (15-16 C.A.D.)

One of the rare allegorical dramas, it contains the combination of poetic-philosophic charm. This drama was written by 艢谤墨苍颈惫腻蝉补 顿墨办峁�i迟补 to propagate devotion through which the Supreme may be realised. The drama allegorises the idea that through contemplation (叠丑腻惫补苍腻), 闯墨惫补 can attain the Supreme (笔耻谤耻峁�o迟迟补尘补) with the help of devotion (Bhakti) and spiritual knowledge (Yog补惫颈诲测腻).

(ix) 闯墨惫补nmuktikaly膩峁嘺 by Nall膩d墨k峁�ita^[9] (17 C.A.D.)

Advaitic concepts of personified in this drama quite ingeniously. King 闯墨惫补 in association with queen Buddhi undergoes sufferings in the waking state; but he experiences the 膧苍补苍诲补 (Bliss) in the deep-sleep state. Desiring to experience this Bliss forever, the king vanquishes the six inborn enemies. Thereby he reaches the fourth state; with 厂腻诲丑补苍补-sampatti and Guru鈥檚 grace he attains liberations (Mukti).

(x, xi) 闯墨惫腻苍补苍诲补苍补^[10] and 痴颈诲测腻辫补谤颈峁嘺测补^[11] of 膧苍补苍诲补r膩ya Makhin (17-18 C.A.D.)

闯墨惫腻苍补苍诲补苍补 is a literary medical play. 闯墨惫腻迟尘补苍 is the hero of the play trying to preserve his bodily health with the help of 痴颈箩帽腻苍补 (minister). Good health helps in the realisation of Supreme Bliss which is the final goal of human life.

This play can be understood and deeply appreciated only by those who possess good knowledge of Sanskrit literature and medical science.

The plot of 痴颈诲测腻辫补谤颈峁嘺测补 is the marriage of 闯墨惫腻迟尘补苍 (individual soul) and 痴颈诲测腻 (spiritual knowledge). The play is an illustration of the Supremacy of 艢颈惫补 and Advaita philosophy. It advocates 艢颈惫补bhakti as the only 尘腻谤驳补 to attain mukti.

(xii) 笔谤补肠补峁囜笉补谤腻丑奴诲补测补 by Ghana艣y膩ma^[12] (18 C.A.D.)

This is one of the unique allegorical dramas of a fine variety. The play-wright belonged to the family of Advaitins but was influenced by Madhva鈥檚 Dvaita philosophy which is clearly brought out in his work. The work extols the 惭腻诲丑惫补 preceptor Satyapriya 厂惫腻尘颈. The main characters of the play are living personages of the poet鈥檚 time and the other characters are chiefly of allegorical nature, namely, virtues and vices.

(xiii) 顿丑补谤尘辞诲诲丑补谤补峁嘺 by Durgesvara Pa峁囜笉ita^[13] (18 C.A.D.)

In five acts, this play presents the 顿惫腻辫补谤补 age as the hero, contending against the Kali, the anti-hero. Virtues like dharma and 诲腻苍补 associate with the former and different vices are found on the side of the latter. The play is a socio-religious allegory. The theme of the play is about the revival of the Hindu religion which was disappearing because of social and religious unrest of that period.

The play refers to reinstating of the Mah膩k膩le艣var temple at Avanti and the G峁涐梗峁噀艣vara temple on the banks of river 骋辞诲腻惫补谤墨.

(xiv) Sivan膩r膩ya峁嘺-bha帽ja-mahodaya-n膩峁璦ka by Narasi峁僪ami艣ra^[14]

The author lived under the patronage of 艢颈惫补 N膩r膩ya峁嘺 叠丑腻帽箩补, 搁腻箩补 of Keonjhar. An allegorical play from Orissa, the work ends with 闯墨惫补nmukti.

(xv) Vimukti of Dr. V. Raghavan^[15] (20 C.A.D.)

Vimukti, a humourous allegorical play, in two acts, deals with the Soul (husband) overpowered by M膩y膩 (wife). Caught up with matter and harassed by mind and senses, the Soul yearns for liberation and obtains it (Mukti).

Traceable from the early days of Vedas, the allegorical tendency has developed into major allegorical presentations in the form of dramas. Their value lies chiefly in making philosophy easily understandable. It can also be otherwise said that allegorical dramas are philosophy made easy.

Footnotes and references:

[back to top]

[1]:

Ed. by V. Raghavan and Anantalal Thakur, Mithila Institute Series Ancient text No.7, Darbhanga, 1964.

[2]:

Ed. with the com. of 骋辞惫颈苍诲腻尘峁泃补, ed. by Sambasiva Sastri, Trivandrum, 1936 (TSS.122)

[3]:

Adyar Library Series 65, 1948.

[4]:

Gaekwad Oriental Series 9.

[5]:

Usha Aggarwal, Philosophical Approach to Sanskrit Drama, pp. 104-65.

[6]:

Usha Aggarwal, Philosophical Approach to Sanskrit Drama, pp. 59-103.

[7]:

K膩vyam膩l膩, 59.

[8]:

Saraswati Mahal Library, Tanjore, 1979.

[9]:

Sri Vani Vilas Press, Srirangam, 1941.

[10]:

Ed. with com. 狈补苍诲颈苍墨 by M. Duraiswami Aiyangar, The Adyar Library, 1947.

[11]:

Ed. with Hindi com. 笔谤补办腻艣补 by Acharya Ramachandra Misra, Chowkhambha Sanskrit Series 270, Varanasi, 1967.

[12]:

Ed. Gugali R膩mac膩rya, Satyadhy膩na Vidyapitha 痴颈诲测腻 Kary膩laya, 1960.

[13]:

Gaekwad Oriental Series, 151, 1966.

[14]:

No date is given by V. Raghavan; Pub. by the Asiatic Society Bengal, Calcutta, 1901.

[15]:

Pub. by the author, Madras, 1968.