Mallikamakarandanatakam

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

Page 37

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Mallikāmakaranda
essence of a drama. Those who are fond of showing their skill in figures of word and sense even in compositions to be staged and neglect rasa way rightly be called as learned men but not dramatists :
In a dramatic composition a striking variety of incidents (and metres) does not deserve so much praise as rasa does. A mango, though lovely with ripeness, afflicts you if it be devoid of rasa (juice)".23
He strictly adheres to the well-known rules of dramaturgy : “One should not make the Subject-matter too disconnected by the excessive (use of) Sentiment, nor should one overwhelm the Sentiment with the Subjectmatter, figures of speach and lakşaņas".
One sentiment, either the Heroic or the Erotic, is to be made the prevalent sentiment; all the other Sentiments (should be made) subordinate. The Marvellous Sentiment should be employed (only) in the Conclusion".9
The Midnight scene showing Mallika's attempted suicide, Makaranda rushing to save her and shampooing her breast when she falls in a swoon in the first act and the marriage-scene between Mallikā and the idol of of Kādambaka, the chief of Yakşas in the Tamorāji valley in the last act would prove highly successful and tremendously popular even on a modern stage.
The play reveals the poet's skill in presenting lively and brilliant dialogues unfolding the traits of the speakers involved. The dialogues between Yuvati (=Mallika) and Makaranda (pp. 7-8, p. 21). Suka and Makaranda (pp. 38-40), Citrāngada and Makaranda (pp. 41-42), Capdralekha and Mallika (pp. 47-48) are instances in point.
We may now turn to his defects. The scene of the action in the first two acts of the play is the Pancasaila-dvipa whereas in the remaining five Acts it is the mountain Ratnasānu (=Meru), the region of the Vidyādharas, 23 रसप्राणो नाटयविधिः । वर्थबन्धवैदग्घीवासितान्त:करणा ये पुनरभिनेयेष्वपि प्रबन्धेषु रसमपजहति विद्वांस एव ते न कवयः ।।
न तथा वृत्तचित्री भलाध्या नाटये यथा रसः॥
fa91cqayqanufa a1277 !! - VI. 23 R macandra's statement fragu azufafu:' reminds one of Bharata's
dictum: afe tale #fast: yaaa24 न चातिरसतो वस्तु दूरं विच्छिन्नतां नयेत् ।
रसं वा न तिरोदध्यादू वस्त्वलकारलक्षणः ॥ एकी रसोऽङ्गीकर्तव्यो वीरः शृङ्गार एवं वा । अङ्गमन्ये रसाः सवे कुर्यान्निर्वहणेऽदू भुतम् ।
-Dasarupaka III. 33-34