Essay name: Sankalpa Suryodaya of Venkatanatha (Critical Study)
Author:
R. Laxmi
Affiliation: Karnatak University / Department of Sanskrit
This is an English study of the Sankalpa Suryodaya鈥攁n allegorical Sanskrit drama by Venkatanatha, a distinguished philosopher-poet and dramatist of the Vishishtadvaita Vedanta tradition. This work of Venkata-natha (or, Vedanta Deshika). stands out for integrating allegory to convey moral and philosophical truths. The thesis examines its place in Sanskrit literature.
Chapter 4a - Characterisation of the play
93 (of 134)
External source: Shodhganga (Repository of Indian theses)
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"This play rich with a variety of interests representing as it does, the spirit
of war-like heroism in the person of the accomplished Viveka, revealing the
heroism of grace and mercy while treating of the dealings of the Supreme
Being with His creation, and embodying the spirit of tranquil resignation
associated with the Self of Jiv膩tma who has attained illumination, is sure to
be welcomed even by those who experience the pleasure of Samsara.
This verse indicates the presence of all nine rasas and S盲ntarasa is superior
to all. As indicated in this verve, Viveka fights against Mah膩moha with all his
bravery. This seen begets Virarasa. After the destruction of Mahamoha, the
atmosphere become calm and quiet. Puru峁 with this tranquility follows the path of
Mok峁 without any obstructions. This is the context in which 艢盲ntarasa is
developed. And in other cognated scenes other rasas like 艢峁沶g膩ra have also been
delineated. This idea is collectively brought by the dreamatist Venkatan膩tha in the
following verse:
啶侧啷嵿し啶｀じ啶啶︵啶оた啶班え啶樴ぞ 啶班じ啶ぐ啶苦お啷嬥し啶多啶� 啶膏す啷冟う啶啷嵿ぐ啶距す啷嵿く啶� 啷�
啶膏啶い啶むた 啶ㄠぞ啶熰啷囙そ啶膏啶た啶ㄠ 啶� 啶忇し 啶多啶侧啶粪じ啷佮啷冟い啶ぐ啶苦お啶距啶� [lak峁峁嘺sam峁沝dhiranagh膩 rasaparipo峁艣ca sah峁沝ayagr膩hya岣� |
sa峁僷atati n膩峁璦ke'smin sa e峁 艣ail奴峁suk峁泃aparip膩ka岣� ] II S.S. I - 21, p.52
"Faultless and rich are seen the characteristics of a dr膩ma in this play. The
development of the sentiments (rasas) is such as will appeal to men of
taste. This is indicative of the good luck of actors."
(1) S盲ntarasa :
As S膩ntarasa is delineated predominently in the dr膩ma; it is evident that
there are many references to the development of this rasa. For example :
啶︵ぐ啷嵿お啷嬥う啶椸啶班う啶多啶ㄠ啶︵啶班た啶ぞ啶ㄠえ啶え啷嬥え啶曕啶む啷嵿啶班ぞ啶оた啶粪啶犩た啶む
啶︵啶灌啶洁じ啷嵿ぎ啶苦え啷� 啶さ啶膏た啶ㄠ啶о啶ㄠぞ 啶ぐ啶苦啶む 啶︵啶ㄠぞ啶� 啶︵ざ啶距ぎ啶距じ啷嵿ぅ啶苦い 啷�
啶呧う啷嵿く啶む啶掂 啶灌え啷佮ぎ啶む啶膏ぎ啶距え啶椸啶班啶｀ぞ 啶啶班啷嵿く啶距お啶苦い啶距ぐ啷嵿ぅ啶� 啶啶ぞ啶ㄠ
啶侧啷嵿啶距ぐ啷佮う啷嵿ぇ啶掂た啶︵啶灌ぐ啶距啶むえ啶ぞ啶ㄠ啶ぞ啶啶� 啶侧ぞ啶侧啶啶い啷� 啷むイ [诲补谤辫辞诲补驳谤补诲补艣别苍诲谤颈测腻苍补苍补尘补苍辞苍补办迟补帽肠补谤腻诲丑颈峁ａ弓丑颈迟别
dehe'smin bhavasindhun膩 parigate d墨n膩峁� da艣膩m膩sthita |
adyatve hanumatsam膩naguru峁嚹� prakhy膩pit膩rtha岣� pum膩n
la峁卥膩ruddhavidehar膩jatanay膩ny膩yena l膩lpyate || ] S.S. I - 71, p. 144-45
"Like Sit膩devi crying in Lanka in her imprisonment, having been informed at
that time of the whereabouts of Sri R膩ma by Hanuman, Puru峁 is confined
