Sambodhi 1996 Vol 20

Author(s): Jitendra B Shah, N M Kansara
Publisher: L D Indology Ahmedabad

Page 70

VIJAY PANDYA
SAMBODHI
The play is peculiar in some respects differing from the tradition of the classical Sanskrit drama. There is a long recurring pedantic explanation of the mantra on pp. 12 and 13. Then again at the end of the play on pp. 93, 94, 98, 99 the long-winding explanation occurs in the very body of the text. This is very strange, and when this explanation is being spun out, dramatic action naturally would come to a stand-still. The learned editor Pradyumnasūri has offered some explanation of the phenomenon in his introduction to the play citing the parallel instances from the stage of Kerala. Then, in this play (rangasucana), a dramatic instruction has tended not only to be long but got mixed up with the speech of a character as has happened on the p. 60. The text runs thus : विजयेन्द्र :- प्रिये निशीथसमयः प्रवृत्तो वर्ततेऽतः
सौधतलमलकियतामिति वदन् प्रियां हस्ते विधृत्य तत्त्वप्रपञ्चेन समं सपरिवारः परिक्रामति, क्षणान्तः सोपानमलं कुर्वाणः सौधमधिरोहति ।
In this piece, narration which in fact has no place in the drama genre as such, gets mixed up with the dramatic instruction and with the speech of a character. This peculiarity in a heightened manner, is observed in the Hanumannāțakam also, age of which is difficult to determine. Was there a new dramatic form from the point of view of staging getting evolved in those days and age ? Nevertheless the play is most remarkable and would be a valuable contribution of Gujarat to the Classical Sanskrit literature which was, anyhow, getting depleted in quality and quantity as well in that age. If a literary history of this period of Gujarat is written and that has remained as acute concern of Dr. Harivallabh Bhayani, an indologist of international repute hailing from Gujarat, and who has also been connected with the editing and publishing of this play in some capacity, this play along with the other play Vilāsvati or Mānamudrābliañjana in the process of editing, would be most singular contribution of our author Devacandragani. Pradyumnasūriji has earned our gratitude by meticulously editing and publishing the play in the midst of his other numerous religious, social and literary activities. In fact, he has proved himself to be a Columnbus in discovering this play which is an island of dramatic excellence.