Mallikamakarandanatakam

Author(s): Ramchandra Mahakavi, Punyavijay
Publisher: L D Indology Ahmedabad

Page 15

Mallikāmakaranda
three worlds. He suggests thereby that it is perfectly legitimate for (gifted) munis who are devoted to pragama (quietitude) to take to the pasttime of writing plays and or witnessing their performance and appreciating them. Thereupon the Assistant angrily points out how there are numberless (playwrights and) poets who commit literary theft and pass others' poems as their own. The Sutradhāra firmly replies that the dramatist himself has silenced the dull-headed critics in this matter : “We are determined to take all pains and spare no efforts in writing plays and poems. It is an old 'Vyasana' (I vice 2 close or intent application or assiduous devotion) with us; and we need not at all blame others for it." The actor, playing the role of Makaranda (the hero of the play), speaks from behind the scenes agreeing with the statement of the Sūtradhāra to look sharp as all the actors are excited and that he himself is eager to let the audience have pleasure of enjoying the play. The Sutradhāra advises him not to make haste as every great success is attended with troubles. He, who bears physical and mental fatigue obtains the bride of knowledge. It is, announced from behind the scenes that this ‘upaśruti (or 'deva-praśna') indicates that he is sure to win a bride as well as great success. The Sūtradhāra and the Nața then leave the stage to attend to some other business and with their exit the Āmukha (Prastāvanā, Introduction) comes to an end.
Act 1: Makaranda repeating the words of the Sūtradhāra “When our ‘vyasana' is very old why should we blame others? -enters the stage. He informs the spectators that he is addicted to gambling since long. He is now full of repentance for this his vice as it is a great stigma on his great family, his study of scriptures and the instruction received from his preceptor. The thought of committing suicide crosses his mind. On second thoughts, however, he thinks that following the right path is the real atonement (prāyagcitta). He therefore decides to spend the night in a rather secluded garden and to leave for an altogether new place at day-break giving the slip to the gamblers, his creditors, and lead there a good life. He sees in front of him a temple dedicated to the god of love, illuminated by a bright lamp. There arrives at that time a young maiden (who later turns out to be Mallikā, the heroine of the play), supported by her maid (Bandhula) and an attendant carrying a sword in his hand. Fearing that the maiden would not act freely if she were to see him in the light of the lamp Makaranda puts off the light, and hides himself behind a mangotree in the court-yard of the temple. From the conversation of the two girls he comes to know that the maiden is overcome with terrible grief - although she comes from a rich family - and that she intends to put an end to her life in fear of an impending danger. In view of her dangerous mood the attendant requests her to return home. She, however, conceals her feelings and with a smile on her face asks him not to worry about her.