Nirgrantha-1

SR No.: 522701
Original Sutra Author: N/A
Author: M A Dhaky, Jitendra B Shah
Publisher: Shardaben Chimanbhai Educational Research Centre
Publication Year: 1995
Total Pages: 342
Language: English, Hindi, Gujarati
Classification: Magazine, India_Nirgrantha, & India
File Size: 10 MB

Page 95

Govardhan Panchal
Nirgrantha
he had played an invaluable role alongwith his brother Tejapāla. The Ullāgha-Rāghava has a verse at the end of each of its nine acts in praise of Vastupāla's many noble qualities, particularly his generosity.
The story of Rāma is presented in the form of nataka, which was performed in the Jaganmandira of Dvārikā on the sacred day of the Prabodhini-ekādasi. It was performed before an assembly of learned brāhmana pandits. The sthāpaka enters after the nandi ślokas in praise of Sri Krsna, and tells the nati that the play Ullāgha-Rāghava is to be performed before the august assembly of the brahmana pandits who have gathered there from many places on the occasion of the sacred parva (festival).
The play begins with the departure of Sītā from her home in Janakapuri after her wedding with Rāma, a scene somewhat resembling the fourth act of the Śakuntala, in which Śakuntala takes leave of the aśrama-inmates, of course under different conditions and situation. The play is based on the nāryaśāstric rules and must have been popular among the people because of its theme. The play was written at the request of Someśvara's son. (He seems to have written one other play also, which, however, is not available).
Another peculiarity of the Ullāgha-Rāghava is that its foruth Act ends with the words
..........3ATRIETETIC age and in the 7th Act", two characters, Vakramukha and Kārpātīka, are describing among themselves the Lankā war between Rāma-Rāvana forces :
सखे ! कियदप्यन्तर्गतं मया रामलक्ष्मणयोः स्वरूपं स्वामिनो मनोविनोदाय पत्रपट्टे .. विन्यस्तमस्ति । तद् अवलोकयतु । इति पट्टमर्पयति,
काटिकः
गृहीत्वा विलोक्य च । साधु महामते ! साधु । छायानाट्यानुसारेण मनोहरमिदमालिखितं भवता ॥ इति वाचयति
Here, the words run and grenar are used. Another chāyānāțaka, named the Dutāngada by Subhata (A.D. 1242-1244), is also known. This is said to be the first chāyānātaka proper in the Sanskrit literature. It was staged in Pātana during the dolotsava in the Śiva temple by the order of the then king, Tribhuvanapāla. Subhata was also a protégé of Vastupāla". The Dharmābhyudaya of Meghaprabhācārya (A. D. 1217) seems to have been written for the puppet theatre as it is mentioned in one of its stagedirections. It has been called a chāyānātaka 2.
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