Satirical works of Kshemendra (study)
by Arpana Devi | 2017 | 60,954 words
This page relates 鈥楶rominent Satirical Works in Sanskrit鈥� part of the study on the Satirical works of Kshemendra: an 11th century poet from Kashmir, who composed three satirical works. Kshemendra himself says that in composing the satirical works his only motive is to reform the mindset of the people.鈥擧e exposes all the vices and follies prevailing in the society with the intention to reform it.
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7. Prominent Satirical Works in Sanskrit
Searching for the base of satirical literature in Sanskrit appears to be a rather difficult job. It is a fact that in satire, there is the involvement of suggested meaning which is termed 痴测补帽箩补苍腻[1] in Sanskrit rhetorics. But the meaning conveyed or supported to be conveyed by 痴测补帽箩补苍腻 are difficult to be said as similar to those suggested in a composition of satirical nature. Same is the observation in respect of Vakrokti[2] also. The meanings conveyed through Vakrokti bears importance mostly of poetic importance. However, the meanings conveyed through satirical texts become more suitable or of more importance for practical life. Of course, 痴测补帽箩补苍腻 and Vakrokti both having base on suggestion, are two different literary elements which are appealing more for literary purpose; while satire is more focused upon utility of the meanings, not for mere poetic pleasure.
Pure satirical writing in Sanskrit is not much in quantity. In fact, of satire or satiric verses in the proper sense, Sanskrit has very little to show.[3] Sanskrit composition in which vices and follies are primarily ridiculed is not much available in Sanskrit literature. Satire as a separate literary form or genre does not find its position. Early Sanskrit 膩la峁僰膩rikas also did not mention satire as a distinct form of literature. Generally, what is understood by the word 鈥榮atire鈥� such as caricature, ridicule, skit etc. all these were totally absent from the purport of Sanskrit literary compositions. Ancient literature was based on devotional themes narrating the doings of divine or semi-divine personages. Therefore, there was little scope for depicting humour and satire on the part of the poet. Most of the Sanskrit literature is based on the theme of love story of kings and queens and lacks in depicting the common life of people. Therefore, there is hardly any scope for satire. In Sanskrit literature, there are also few comic elements having erotic themes, but these works cannot be designated as satire. These works may contain satiric elements presented through the acts of the fools, cheats or rouges, but these are not portrayed with anger and disdain; on the contrary they are lampooned in mild way.
In Sanskrit literature, the works based on social topic is not much available. The works based on social topics reveal various phases of the contemporary society. These types of works depict common life of people with all their frailties. A writer, in such works may satirize such frailties incidentally or as a whole. It was 碍峁尘别苍诲谤补 who utilized satire as an effective weapon to expose vices and follies prevailing in the society. In his works namely the 碍补濒腻惫颈濒腻蝉补, the 狈补谤尘补尘腻濒腻 and the 顿别艣辞辫补诲别艣补, he depicts a real picture of the society and such narratives are not so much in volume and character in regard to most of the writers of Sanskrit literature. In Sanskrit literature there is no other work like 碍峁尘别苍诲谤补 having amusing social picture. Therefore, the works of 碍峁尘别苍诲谤补 based on social topics finds special attention of the scholars. In Sanskrit, generally there is a tradition to depict the characters of legendary personalities like 碍峁涐梗峁嘺, 搁腻尘补, 厂颈迟腻 etc. as heroes and heroines with a motive to portray their ideals in the society. But 碍峁尘别苍诲谤补 is unique in this respect. It may be said that 碍峁尘别苍诲谤补 hostiles to the tradition to which generally Sanskrit poets are attached. He introduces a new trend in Sanskrit literature. He is not ready to show the ideals only but also wants to present before the readers a real picture of the society. 碍峁尘别苍诲谤补 selects ordinary men and women from different walks of life living in the society. He depicts real like characters to represent the contemporary society.
However, if one is pinning down to a beginning of Sanskrit satire then some earliest datable 叠丑腻峁嘺 works like 鲍产丑补测腻产丑颈蝉腻谤颈办腻, 笔补诲尘补辫谤腻产丑峁泃补办补尘, 顿丑奴谤迟补惫颈峁璦蝉补峁僾腻诲补 and 笔腻诲补迟腻岣峣迟补办补尘 may be helpful in which satire is incidentally introduced. These 叠丑腻峁嘺[4] works or monologue plays prove ideal for Sanskrit satire.[5] These four oldest datable 叠丑腻峁嘺 plays are collectively known as 颁腻迟耻谤产丑腻峁嚹�. According to A.B. Keith, 鈥榥one of these plays need be older than 1000 A.D.鈥�[6] In the 颁腻迟耻谤产丑腻峁嚹�, low humour and polite satire is recognizable, which gradually disappears from the later 叠丑腻峁嘺 plays. Later 叠丑腻峁嘺s are entirely erotic.
Besides these 叠丑腻峁嘺 works, there are some other Sanskrit works of writers prior to or contempories of 碍峁尘别苍诲谤补, in which satire is incidentally introduced. Among them some prominent works have been discussed below-
Footnotes and references:
[1]:
virat膩svabhidh膩dy膩su yay膩rtho bodhyate 辫补谤补岣�/
s膩 v峁泃tirvya帽jan膩 苍腻尘补 艣abdasy膩rth膩dikasya ca// 厂腻丑颈迟测补诲补谤辫补峁嘺 ,II.12
[2]:
anyasy膩ny膩rthaka峁� v膩kyamanyath膩 yojayedyadi/
补苍测补岣� 艣le峁峁嘺 k膩kv膩 v膩 s膩 vakroktistato dvidh膩// ibid.,X.9
[4]:
Among the ten types of Sanskrit Dramas, as narrated by Bharata, 叠丑腻峁嘺 is one of them which contain a single Act and a single character. The 痴颈峁璦 is the sole character of the 叠丑腻峁嘺 play. The 痴颈峁璦 carries imaginary conversation with other characters but they do not appear on the stage. The 惫颈峁璦 is depicted as a friend of the hero in his love affairs.
[5]:
Chaitanya, Krisna, History of Sanskrit Literatre, p.354
[6]:
Dey, Sunil Kr., Aspects of Sanskrit Literature, p.1