________________
Two plays of Ramacandra : An acsthetic study
more alive in its unexpectedness and because of the promise of dramatic development it holds. It is true that the scene is narrative; and the temple attendant has no further business in the drama. But it is a good dramatic device and the diamatist has planned it with a smooth and natural touch. Draupads discovers that the forest grounds are muddy with flesh, blood and bones and imagines that they are probably near a cemetary. Bhima thioks otherwise. It is at this moment that Bliina sees the temple attendant. His appearance on the scene and his narration have therefore a realistic impact
In the epic version Kunti takes the lead in helping the Brahmin family and is confident of Bbyma's prowess, Bhima has the role only of a willing and obedient executor of a charge entrusted to him. Io the dramatic version of Rāmacandra Bhima takes the responsibility on his own initiative, although he is drawn into it by a coincidence.10 This change definitely serves to heighten the stature of Bhima, who appears here as humane and confident hero of a challenging adventure,
Yudhisthira and the other Pandava brothers are to follow Bhima who has gone ahead with Draupadi in the forest. The arrival of the brothers, which has been carefully hinted earlier in the play, serves now several drar atic purposes. The timely arrival of Yudhisthira and the Pandavas at the very looment when Draupadi is planning suicidell provides the necessary turn in the dramatic story, relieves the tension in the situation and saves her life. Their presence on the stage at this point also fills the inevitable gap in dramatic action while Bhiina is fighting with Baka off-stage and it serves to keep the story moving It is natural in the dramati construction that the note of confidence in Bhima's prowess should t sounded by some brother if Kunti is not used for this purpose. Unexpectedly this role is assigned to Yudhisthira, probably as the eldest of the Pāņdavas. He asserts this confidence not only by positive statements but also by questioning Arjuna's nuove 10 run to Bhima's help. Nakula and Sahadeva join their elder bruiber in support,19 This conversation among the brothers helps naturally to assuage Draupadi's fears about the safety of Bhima. The situation thus devcloped is, in a way, a dramatic anticipation of the end of the story. Finally, the presence of the Pandavas serves to provide the necessary audience for Blima's narration of the fight, and for bringing the finale of the dramatic story to a formal close.
Draupadi's inclusion in the Baka-vadha episode is an innovation on the part of the dramatist. Rāmacandra seems to have been goaded by a romantic motive in showing his hero perform all the very presence of the heroine. This enables him to add colour to the heroic action and work out the usual feminine reactions also.
