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Pancaratra鈥擳itle. The play gets its name from 'Five Nights' within which Drona is to bring news of the Pandavas to entitle them to their share of the kingdom according to Duryodhana's stipulation (pp. 43-44). Plot. After the benedictory stanza in which the names of the principal characters in the drama are introduced, the stage-manager hears the praise of the grand sacrifice performed by Duryodhana; three Brahmanas between themselves give a detailed description. of the sacrifice, the sacrificial fire, the Brahmanas engaged therein, etc. at great length. Towards the close of their conversation which ends the interlude, the Brahmanas announce the entry of Bhisma and Drona followed by Sakuni, Karna and Duryodhana. All those assembled congratulate Duryodhana on the successful termination of the sacrifice which was the sine qua non of the Ksatriya emperors. Duryodhana then pays his respects to Drona, Bhisma, and Sakuni, and they confer their blessings on him. He embraces his friend Karna. Then Drona introduces the kings that had come to attend the function and in accordance with their respective ages Duryodhana either salutes them or pronounces his blessings for them. Drona presents, Abhimanyu to Duryodhana but simultaneously Sakuni presents Sahadeva, son of Jarasandha, and hence Abhimanyu is placed in the back-ground and Sahadeva receives blessings from Duryodhana. Duryodhana notices the absence of Virata in the great circle of kings assembled, and Sakuni states that the king was invited and perhaps might be on his way. Then Duryodhana offers to give daksina to Drona; the latter, after much hesitation, begins to state his daksina, but his eyes are full of tears at which Bhisma says that all the efforts of Duryodhana were fruitless as his preceptor was in grief. Duryodhana gives a solemn undertaking to offer anything that Drona might be

206 pleased to choose, and Drona asks for a share in the kingdom for the Pandavas. Sakuni objects to any such gift and says that it was a deceit practised by Drona on his sisya at which Drona rightly feels indignant and an altercation follows in which Bhisma and Duryodhana also take part. When matters seem to take a serious turn, Bhisma tries to pacify both Duryodhana and Drona. The preceptor then tells Duryodhana that it was mainly to bury all the differences and disputes in the Kuru family that he had asked for a share in the kingdom for the Pandavas. Duryodhana wishes to consult Sakuni, who finds that Duryodhana does not wish to back out of the agreement but is willing to get out of it by quibbling. So Sakuni finds a way out. He suggests that should Drona bring the news of the Pandavas within 'five nights', Duryodhana would be ready to part with half his kingdom. Drona finds the condition to be impossible of being fulfilled. Bhisma, however, desires that Duryodhana should take a solemn vow, and accordingly Duryodhana declares his vow. News is brought from Virata explaining his inability to attend the sacrificial. function owing to the slaughter of one hundred Kicakas by an unknown, and unarmed person. Bhisma at once sees in that the handiwork of Bhima and knows thereby that the Pandavas, were residing in Virata Nagara. At the suggestion of Bhisma, Drona accepts the condition of five days. Bhisma then professes his private feud with Virata and proposes a cattle-raid. All agree to that and make a march against the Virata capital. (Act I). informed The next act opens with an interlude by which we get a glimpse of the life of cowherds and learn that the Kaurava forces have reached the outskirts of Virata Nagara and have begun the cattle-raid. Virata, when of the incident, orders his chariot to be made ready for the fight, and calls Bhagavan (Yudhisthira in disguise) for consultation. Virata further learns that practically all the Kauravas with Drona, Krpa and Abhimanyu were leading the army for the cattle-raid. Later on he is told by his Suta that His Royal Highness Prince Uttara had already proceeded to the battle front. Bhagavan at once advises recalling of the young prince as he was unable to withstand the great attack. Virata thereupon sends for another chariot and is worried on hearing

207 that Brhannala had gone as Prince Uttara's charioteer. But Bhagavan assures him of the skill of Brhannala. Then news is gradually brought of the surrounding of Uttara's chariot by the enemies and, later, of the ceaseless shower of arrows from the chariot, which only Abhimanyu was able to retaliate. Hearing of Abhimanyu's valour, Bhagavan advises the despatch of another charioteer; but finally the news of the utter rout of the Kauravas is brought in. Immediately on the conclusion of the war Prince Uttara is engaged in entering the names of the heroes in the annals of the state; so Brhannala is called to inform the assembly of the particulars of the war at length. Just as Brhannala is about to begin her story, a messenger comes with the news that Abhimanyu had been captured by hand from his own chariot by the unarmed cook serving in the royal kitchen. Virata orders Abhimanyu to be properly honoured and Brhannala is asked to bring him in. Abhimanyu is being carried by Bhima, and Brhannala meets them both. Abhimanyu does not recognize his father and uncle, and the scene between the three is very humorous, having no parallel in the Sanskrit literature. Abhimanyu is presented before Virata. and the latter feels pleased with Abhimanyu's proud, wrathful, and truly royal behaviour. Then enters Uttara and he reveals the identity of the Pandavas, at which Abhimanyu pays proper respect to his elders and Virata, and is suitably blessed in turn. Virata feels much concerned as to the stay of Brhannala (Arjuna in disguise) in his harem and offers the hand of Uttara in marriage to Arjuna, as if in return for his services in checking the Kaurava onslaught. Arjuna realizes the anxiety of Virata. and accepts Uttara as the bride for his son Abhimanyu, stating that he regarded the whole harem with maternal respect. Virata is pleased and he agrees to the marriage, which it is decided to celebrate that very day. Uttara is asked to approach the grandfather, Bhisma, with an invitation to all the Kauravas to attend the nuptials. (Act II). The next scene opens in the Kaurava camp. All learn of the capture of Abhimanyu and make ready to fight for his release. Duryodhana also feels much concerned, offers to go himself to free Abhimanyu, and like a true hero that he was, exclaims (III. 4)

208 mama hi pitrbhirasya prastuto jnatibheda- stadiha mayi tu doso vaktrbhih pataniyah | atha ca mama sa putrah pandavanam tu pascat sati ca kulavirodhe naparadhyanti balah || Karna praises this aspect of Duryodhana's character, but Sakuni, as usual, passes caustic remarks. Bhisma and Drona from the details of the capture told by Abhimanyu's charioteer infer that it must be Bhima that was responsible for taking Abhimanyu a prisoner of war. Sakuni, however, doubts all this and tauntingly says that Uttara also must in reality have been Arjuna. Bhisma replies by stating that the mere sound of the twang of the bow was sufficient to convince that the master-archer was none else than Arjuna. Further proof of the identity of Arjuna is just then brought in by Bhism charioteer who brings an arrow which struck the banner of Bhisma's chariot. Bhisma gives the arrow with the name of the owner inscribed to Sakuni to read the name, and Sakuni throws it away after reading the name 'Arjuna'. The arrow falls at the feet of Drona who takes it as the homage paid by his disciple. Sakuni begins by saying that the hero might be another Arjuna; but the entry of Uttara who comes as a messenger from Yudhisthira sets all the doubts at rest. Yudhisthira in his message tells the assembly of the proposed wedding of Uttara with Abhimanyu and invites them all to the wedding, asking whether the ceremony should be celebrated at Virata Nagara or at their place. Sakuni replies that the celebration should take place at Virata Nagara. Drona then approaches Duryodhana and claims the fulfilment of his part of the promise as he had satisfied the condition precedent. Duryodhana agrees to part with half the kingdom for the sake of the Pandavas. This makes Drona and all others quite happy. The normal epilogue from Drona's mouth brings the play to an end. (Act III). Deviations: The cattle-raid is found in the Mahabharata, but the poet has made it motivated, as helping Drona to get news of the Pandavas within the stipulated period. Everything else that we find in the play has been invented by the poet. Dr. Woolner states that the slaughter of the Kicakas is not mentioned,' but we have references to it 1 Thirteen Trivandrum Plays, Volume 1, p. 107.

209 on pp. 41-42 and I. 51 of the Panc. Only three Pandavas are mentioned in the play. The sacrifice performed by Duryodhana, his agreement with Drona, Abhimanyu's. siding with the Kauravas, the pastoral life of the cowherds, the scene between Bhima, Abhimanyu and Brhannala, Duryodhana's division of the kingdom with the Pandavas all these are invented by the poet, and they help to bring out the good factors in Duryodhana's character. Dr. Winternitz objects to these liberties on the ground that they do not improve the story; but the object of the poet, as stated above, is to emphasize the nobility of Duryodhana's character. Type of drama: Drs. Ganapati Sastri and Keith take the Panc to be a Samavakara which the Dasarupa defines as under (III. 62-67): karye samavakare'pi sramukham natakadivat || khyatam devasuram vastu nirvimarsastu sandhayah | vrttayo mandakaisikyo netaro devadanavah || dvadasodantavikhyatah phalam tesam prthakprthak | bahuvirarasah sarve yadvadambhodhimanthane || ankaistribhikhikapata trisrngarastrividravah 1 dvisandhirankah prathamah karyom dvadasanalikah || caturdinalikavantyau nalika ghatikadvayam | vastusvabhavadaivarikrtah syuh kapatastrayah || nagaroparodhayuddhe vatagnyadikavidravah | dharmarthakamaih srngaro natra bindupravesakau || vithyangani yathalabham kuryat prahasane yatha | The Panc does not answer the particulars with regard to the story not concerning gods and demons, and the absence of Srngara. With regard to the absence of Srngara, it may be mentioned that Srigara is not mentioned as a necessity in a Samavakara in the Prataparudriya. So the divergence is in regard to the plot, which however, can be explained away by taking Duryodhana, Bhisma and others as: as is done by Dr. G. Sastri. Prof. Mankad seems to prefer the Panc being classed as a Vyayoga but as stated by him contrary to Vyayogas it has three acts and difficult verses. We think, the minor divergence from the definition of 3 1 Bulletin of the Ramavarma Research Institute, 5. p. 9. 2 Panc, pp. 116-117; Sanskrit Drama, pp. 96-97. 3 Panc. p. 117. 4 Types of Sanskrit Drama. p. 58.

210 a Samavakara may be due to the difference between the standard text on dramaturgy in Bhasa's time and those composed later on; and hence it is better to take the Panc as a Samavakara. Sentiments etc. The main sentiment underlying the whole play is Vira in its various aspects, such as Dharmavira in Duryodhana, Dayavira in Drona and Yuddhavira in all the characters. The scene in which Abhimanyu figures along with Bhima and Brhannala is a good instance of Hasya and Vatsala with Vira in the background. Many classical metres are used in this play and there is a comparatively large number of different figures of speech. At the beginning of the play, the different particulars of the various aspects of the sacrifice are brought out in beautiful similes and metaphors. Aprastutaprasamsa is found in I. 23, 41, 53; Arthantaranyasa in II. 33; Virodhabhasa in II. 32 etc. The style on the whole is satvati (grand) and arabhati (violent). Critical remarks. The play has no real female character; Brhannala is merely Arjuna in disguise. The elaborately worked out similes while describing the sacrifice and the lengthy and tiresome description with the minute details seem quite out of place at the present day. But at the time when these plays were written i. e. in the pre-Mauryan epoch, when the newly started Buddhism was making headway against the orthodox Hinduism, the deliberate inclusion of the details of the sacrificial paraphernalia in the drama, would certainly not have failed to be appreciated by the spectators of those days especially when sacrifices were actually performed. The drama was probably written to be staged at the occasion of some sacrifice and hence it naturally glorifies the institution. A list of well-known kings is appended, who though dead in body are said to live only through the sacrifices performed hr.? iksvakusayatiyayatirama- mandhatrnabhaganugambarisah ete sakosah purusah sarastra FET: sariraih kratubhirdharante (I. 25): We learn from this play much about the sociological

211 conditions of the period, about the pastoral life, the relations between the two premier castes, the preparations. for war, etc., which will be dealt with at their proper places later on. Heavy responsibilities of a teacher are thus brought out by Drona ( I. 21 ) : atitya bandhunavalanghya mitra- nyacarthamagacchati sisyadosah | balam hyapatyam gurave pradatu - naivaparadho'sti piturna matuh || The ideal that the king should place before him is stated in I. 24 ; I. 30 : viprotsange visamavarnya sarva rajna deyam capamatra sutebhyah || 1 .24 || kim tad dravyam kim phalam ko visesah ksatracaryom yatra vipro daridrah || 1 .30 || Similarly the ideal that a man should attain is hinted by Bhisma (p. 106 rupena striyah kathyante | parakramena tu purusah | ). The evil deeds of his kinsmen naturally pain a thoughtful person and make him feel guilty (II. 9 ) : ekodakatvam khalu nama loke manasvinam kampayate manamsi | krte'paradhe yatsatyamasmabhirivaparaddham " According to Dr. Winternitz " it is funny, when .... [Uttara] in the midst of battle occupies himself with writing down the deeds of warriors in a book.... " and he takes this as indicating a later writer for the Panc. It should be noted in this connection that it is not in the midst of battle but after the conclusion of the battle that Uttara is engaged in entering the valorous deeds of the warriors. avajitam gograhanam | apayata dhartarastrah | drstaparispandanam yodhapurusanam karmani pustaka- maropayati kumarah | also, II. 28, and p. 91 - pujitah krtakarmano yodhapurusah | . Further, this seems to be an ancient practice indirectly referred to in the Arthasastra; so our poet knew the tradition and rightly incorporated it. It is only because the ancient tradition is not properly appreciated and the antiquity to which our poet is entitled on account of his 2 1 Bulletin of the Ramavarma Research Institute, 5, p. 9. 2 Kaut. Arth., X. 131, p. 368.,

212 6 correct mention of old practices is denied to him, that these particulars (as well as the boring description of sacrifices etc. referred to above) appear funny.' They were certainly seen in their proper perspective by the readers and the spectators of those days. In Dr. Woolner's opinion, the story of the drama is far inferior to the epic." But in view of the poet's specific aims of glorifying Duryodhana and the institution of sacrifice, he has changed the epic-story, and the public of his day also must have appreciated the change, especially on account. of the onslaught of the Buddhists on the sacrifices, himsa, etc., which was the feature of the day. The transverse curtain seems to have been used in the staging of this play when Brhannala, Bhima and Abhimanyu approach the Virata Sabha (pp. 80-90). The first three lines of the last verse in the first act (I. 57) are completed by four different speakers, while the last line serves as a chorus for all. dronah - tasmanme rathamanayantu purusah sakunih- hasti mamaniyatam | karnah -- bharartham bhrsamudyatairiha hayairyukto rathah sthapyatam || bhismah - buddhirme tvarate viratanagaram gantum dhanustvaryatam | sarve - muktva capamihaiva tisthatu bhavanajnavidheya vayam || 1 Dr. Woolner states that the last verse suggests the Panc being written on the ending of a feud in some royal family. It may be that the play was written to celebrate the sacrifice and this may have incidentally ended some feud.