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Avimaraka鈥擳itle. The play gets its name from its hero who is called Avimaraka though his name was Visnusena, because of his being the killer of (maraka) the demon who had assumed the form of a goat (avi). Cf. Avi, II. 9. " Plot. The stage-manager recites the benedictory stanza in praise of Narayana and calls his wife, who expresses a desire to go with him to the public garden for some religious function. That very moment it is learnt that the princess was in the garden and that the elephant was in rut. So the stage-manager tells his wife to wait till the princess left the garden as there were placed. sentries all around. Then they both leave the stage, and the main scene opens with king Kuntibhoja entering with his retinue. The king has a daughter who has attained

230 the marriageable age and hence he is always in search of a suitable match for his daughter. He sends for his queen and after her arrival opens the subject of the marriage, stating that marriages are to be entered into after considering the question from all its aspects. Some noise is heard behind the curtain and the queen feels anxious about her daughter, who had gone to the public park. Kaunjayana, the minister, enters the stage dilating on the worries and dangers of his high office, and approaches the King and the Queen. He tells of the mad elephant rushing towards the chariot of the princess and of her rescue at the hands of some unknown youth, who is then attacked by the elephant. Kaunjayana spins a lengthy yarn of the affair and is often asked to be precise and relevant. He tells that Bhutika arrived on the spot in the meanwhile and the princess was immediately rushed out to the palace. On enquiries, Kaunjayana learns that the unknown youth proclaims himself to be a low-caste person, at which the queen remarks that a low-born person cannot have such a compassionate nature. Just then, Bhutika who had gone to get particulars about the rescuer of Kurangi, the princess, enters the stage and he also feels certain that the person is concealing his identity. He confirms Kaunjayana's account and further tells that, after rescuing the princess, the youth at once left the place as if feeling shy and uncomfortable at the praise showered on him. Bhutika managed to tie down the elephant in its stable and proceeded to the residence of the youth. The divine splendour, sweet tongue, martial valour, delicacy, and strength of the youth convinced Bhutika that the young man is not low-born. Bhutika further informs the king that he learnt of the youth being yet unmarried and that the youth's father also was quite noble and royal in appearance. The king orders further investigations to be made in connection with the young man and resumes the question of Kurangi's marriage, He seeks the advice of the ministers as to what steps he should take in regard to the messenger from Kasiraja, and Bhutika advises to act as it best suits the time and occasion. Kaunjayana, however, mentions that out of the numerous suiters, Kasiraja and Sauviraraja only were related to the royal family, being the brothers-in-law of the king himself; so in the choice between the two, the

ras 231 king himself, continues Kaunjayana, is the best judge. But the king asks for his frank opinion from Bhutika and he votes in favour of Sauviraraja as the latter was, in addition, the brother of the queen. The king also indicates his preference for Sauviraraja; and on the king enquiring as to why no envoy has been sent subsequently by Sauviraraja, Bhutika informs that both Sauviraraja and his son are reported to have disappeared; no cause is known, the ministers rule there and no one is granted entry into the royal palace there. The king orders further investigations in this matter also and asks what message should be sent to the ambassador from Kasiraja. Kaunjayana says that the ambassador should be honoured and the decision should be postponed. Just then the beating of the drum announces the time for the royal bath; and the king has further to console Kurangi and meet his subjects. While he prepares to go he refers to the heavy burden and onerous duties of the king. (Act I): dharmah prageva cintyah sacivamatigatih preksitavya svabuddhaya pracchadyau ragarosau mrduparusagunau kalayogena karyom | jneyam lokanuvrttam paracaranayanairmandalam preksitavyam raksyo yatnadihatma ranasirasi punah so'pi naveksitavyah || 12 || The interlude introduces us to Vidusaka, the Brahmana friend of the hero, who informs us that Avimaraka, ever since he saved the princess from the tusker, has fallen deeply in love with her. A maidservant in the Sauvira household fools Vidusaka and disappears with his ring. The whole scene is full of boisterous humour. Then enters Avimaraka, brooding over the beauty of the princess. The more he tries to forget her the more ardently does the memory return to him. Meanwhile, the princess Kurangi also is in a similar plight and her nurse and the maid Nalinika after knowing her love-lorn condition decide to visit the young man's abode. On their way a divine voice tells them of the youth being of high noble birth, and that encourages them in their mission. They find Avimaraka alone and engaged in meditating on the princess. They tell him of the unhappy, pitiable condition of Kurangi and invite him to the Kanyapura in disguise at night, to save the life of the princess. This gladdens Avimaraka and infuses new spirit in him. He learns the details of the

232 Kanyapura, the guard placed there, etc. from them. They give him a ring to convince him of their bonafides. He asks them to wait for him at midnight, and the nurse and Nalinika depart. Vidusaka as usual comes back home at the fall of night. He has heard in the market place of the visit of the maids from the royal household to Avimaraka's house. Avimaraka informs him of the whole affair and of his appointment that night, and asks for his consent. Vidusaka presses Avimaraka not to go alone on the dangerous mission, but at last allows him to go. He suggests that they both should wait till the appointed hour in a friend's house in the city. Avimaraka agrees and decides that after meals he should enter his sleeping chamber and secretly slip out of it to the friend's house in the city. As it was sunset and time for his night bath, Avimaraka gets up on being called by his maid. The cover of darkness over the whole world presents. everything to him as if in a changed dress. (Act. II). The same evening that the nurse and Nalinika had gone to meet Avimaraka, Kurangi and her two maids, Vilasini and Magadhika, enter the stage and after some conversation which discloses that Kurangi was indisposed, they all go up the royal terrace where a bed for Kurangi has been prepared. She, however, rests on a stone-slab and learns from the conversation between the maids that the envoy from Kasiraja, who had come for asking Kurangi in marriage, has been sent back along with Bhutika, and that the marriage has been postponed as the queen feels that her daughter is still young and hence the separation would be unbearable. This is a happy news for Kurangi. Then Nalinika comes on the scene after visiting Avimaraka and tells the princess in her ears of the success of her mission, and suggests that the youth seems to be born of noble family. This satisfies the princess, who then enters the inner apartments, with Nalinika to serve her. Avimaraka in the guise of a thief, sword in one hand and rope in the other, then enters the stage and engages in a long monologue in which he describes the city at night, step by step according as he comes on different spots. Thus, in darkness he meets the city-guards on the way, hears some music, comes across the light in the market place, meets a thief, rests awhile in the gambling house, and

233 stands before the royal palace. He finds Kapisirsas at various places on the palace walls, throws his rope up which gets fixed to a monkey-head and with the help of the rope, ascends to the top of the palace wall. The same rope helps him to descend, and then he throws it in me it elephant's stable. Walking a little distance, he finds the Mandakini, Daruparvata, Upasthanagrha and finally reaches the Kanyapura Prasada. He sees much woodwork therein, finds the windows quite near the ground and ascends it. Coming across the mechanical door referred to by the nurse and Nalinika, he opens by the magic key and effects his entry into the Kanyapura Prasada. Then he throws away the thief's clothes and his girdle and dons his usual dress, and presents himself before Nalinika, who was waiting for him. The princess is half asleep and Nalinika goes to awaken her, but Avimaraka stops her. Kurangi in the same semi-drowsy state asks Nalinika to embrace her. Nalinika tells Avimaraka to embrace the princess in her stead and she herself massages the body of the princess. The princess gives a loving embrace to the person standing, but finds a second one massaging her body. She at her eyes when Nalinika utters something nice opens in in her ears. Kurangi stands abashed and exclaims that her reputation is spoilt. But Avimaraka pacifies her. The nurse then enters and informs that the beds were ready inside and asks Nalinika to direct Avimaraka and Kurangi to that place. Nalinika accordingly requests Avimaraka and leads them both to the sleeping-chamber. (Act III). The interlude explains that Avimaraka stayed in the apartment of the princess for a year. But afterwards everything was discovered. The king came to learn of the presence of some youth in the Kanyapura Prasada, stiffened the guard and restricted and prohibited the entrants to the apartments of the princess. Avimaraka, finding his stay in the palace most risky, made good his escape. At this sudden separation the princess became exceedingly disconsolate. Seized with fear and shame on the one hand and the pang of separation on the other, she was withering like a helpless creeper. All the maids shared in her sorrows and tried to consol her. The only relieving factor was that

234 Avimaraka could leave the palace in safety. The main scene opens with Avimaraka wending his way, grieving on account of Kurangi and her hapless condition. He is physically troubled by the excessive heat of the sun which was burning the whole world. Avimaraka feels much exhausted through his exertions, heat, and want of food, and is unable to proceed any further. Thoughts of suicide enter his mind but drowning is rejected as being contrary to the religious precepts. He finds a forestconflagration nearby and enters it to offer the oblation of the other his life, but, lo! the fire does not burn him; nation of hand it becomes cool like the Malaya winds and embraces him as a father does his son. Then he comes across a high precipice and decides to end his life by throwing himself down below, and engages himself in b meditation and other preliminary rites suitable for the occasion. A Vidyadhara couple enters the spot on its way to the Malaya mountain. Meghanada and Saudamini (the husband and wife) have started from Manasa lake and coming across various places descend there on the mountain to rest awhile, and collect flowers, etc. They find Avimaraka engaged in meditation, and the latter sees them when he attempts suicide. In reply to Avimaraka's enquiry, Meghanada tells all about himself and his wife and then naturally asks Avimaraka to give his own particulars. The latter's replies being not sufficiently satisfactory he resorts to his magical science and comes to know thereby of Avimaraka's parentage etc. Thereafter they become friends and the Vidyadhara offers to help Avimaraka to gain an entrance into the impenetrable Kanyapura. A magic ring is given rendering the wearer and any one touching him invisible. Avimaraka convinces himself of the efficacy of the ring and is extremely pleased. He thanks the Vidyadhara and the latter promises to help him at the mere thought. The couple then leaves for the Agastya ceremony, and Avimaraka starts for Vairantya. Feeling tired, Avimaraka rests on a stone seat, and near about under the shade of a tree he finds his friend Vidusaka asleep. The latter is searching for Avimaraka. Both are glad at meeting each other, and Avimaraka tells his friend of his recent acquisition. Without wasting any time, they decide to go to the Kanyapura and reach,

235 there in no time through the help of the magic ring. (Act IV). Ever since her separation from Avimaraka, Kurangi is feeling much grieved, and the various means by which her maids try to please her add to her discomfort. The day on which Avimaraka starts for the Kanyapura, Kurangi is again despondent and to relieve her mental pain she goes up to the terrace with Nalinika. The thunder and lightning make her long for Avimaraka, and she sits looking at the sky. Then enters Avimaraka with Vidusaka and he finds Kurangi seated with Nalinika. She appears to Avimaraka much emaciated; she has painted sandal-paste, etc. on her body and is shorn of all ornaments, etc. They both stay there invisible to the two maidens. Kurangi in the meanwhile gets disconsolate and thinks of ending her life. She sends 鉁� alinika to prepare her bath, and Nalinika leaves Kurangi only after another maid arrives on the spot. Kurangi sends that maid also on some mission. Avimaraka gets some inkling of her intention from her eyes full of tears, hot breath, etc. She expresses a desire to kill herself by fastening her upper garment tightly round her neck, and begins to do it but the terrible thunder and lightning just then thoroughly unnerve her and she cries out for help. Avimaraka at once puts the ring on his left finger which makes him visible to her and then he consoles and embraces her. Immediately she feels quite refreshed. Vidusaka tries to taunt and ridicule her in jest. Nalinika then arrives on the scene but is shocked. to find the door bolted from within. Avimaraka asks Vidusaka to open the door. Then follow some humorous dialogues between Vidusaka and Ceti, and finally Avimaraka tactfully sends them both away. Both the lovers are by themselves. Avimaraka extols the beauty of the rain clouds and when it actually begins to shower in plenty, the lovers retire inside for amorous sports. (Act V). The interlude tells us that Kuntibhoja intended to give Kurangi in marriage to Visnusena, the son of Sauviraraja, who was the brother-in-law of Kuntibhoja and also the brother of his queen. But Sauviraraja was not heard of for a year, and Kasiraja had sent an envoy on behalf of his son for Kurangi's hand

236 = out. in marriage. So Kuntibhoja at last made arrangements for Kurangi's marriage with Kasiraja's son and the marriage party had arrived in the capital of Kuntibhoja all excepting Kasiraja, who was engaged in a sacrifice. On the day of their arrival, Kuntibhoja learns from the ministers of king Sauviraraja that their master with his family had been staying in secret in Vairantya (capital of Kuntibhoja) for the last year. Kuntibhoja makes investigations through the secret service and is at last successful in finding him The main scene opens with King Kuntibhoja, King Sauviraraja and Minister Bhutika. Both the kings embrace each other, but on seeing Sauviraraja with a sorrowful face and eyes full of tears, Kuntibhoja asks him the reason thereof, which the former states to be the loss of his son. To divert his mind from the painful thoughts, the minister asks Sauviraraja the how and why of his exile. Sauviraraja then tells them the details of the curse which the great sage Candabhargava had pronounced on him. Sauviraraja was to live like a candala for one year according to the curse, and that very day marked the end of the curse. Then the story is told how prince Visnusena came to be called Avimaraka on account of his killing, when quite a boy, a giant named Dhumaketu. Sauviraraja tells them that he expected that with his efficient secret service, Kuntibhoja could easily find out the whereabouts of Avimaraka; but the minister, Bhutika, replies that all his efforts had so far been fruitless, and so it appeared that the prince was hiding somewhere through some Maya. The divine sage Narada who comes to know through his superior power of the difficulties facing Kuntibhoja and Sauviraraja by the disappearance of Avimaraka, arrives on the scene to put things right. All present pay their respects to the sage, whose feet have been washed and worshipped by the water brought on the stage. Narada then calls in Sudarsana, the mother of Jayavarman, son of Kasiraja. Narada tells them that Avimaraka at that time was staying in the same house with them and was already married to Kurangi, the daughter of Kuntibhoja. He explains that the love-marriage was already celebrated according to the Gandharva form, but for the satisfaction. of Kuntibhoja and all, it is decided to perform the

237 鈽� Dorn of ceremony in the presence of the sacred fire. Kuntibhoja then tells of his difficulty, in that he had already given his word for the marriage of his daughter Kurangi with Sudarsana's son Jayavarman. Narada asks him to wait a little and calls Sudarsana aside, and explains to her the divine origin of Avimaraka, who Agni to Sudarsana herself. Sudarsana had exchanged her child with the dead son of her sister Sucetana. Then Sudarsana is told the story of the curse, the elephant episode, the entry of Avimaraka in the Kanyapura and his escape therefrom, his attempt to commit suicide, the ring incident, and Avimaraka's staying in the palace. Narada then finds out an agreeable solution that would save both Kuntibhoja and Sudarsana from their awkward position caused by the impossibility of carrying into action the previously arranged marriage of their respective issues. The divine sage suggests that Kurangi was already married to Avimaraka, and also that she would be rather old for Jayavarman; so her younger sister Sumitra should be offered in marriage to Jayavarman. Then enter on the stage Avimaraka in his marital dress, Kurangi, and Bhutika. Avimaraka feels a bit ashamed of his conduct. All are very happy at his sight. He pays his respects to all the elders present and they suitably bless him. The usual prayers for the happiness of the cows and the Brahmins and of all the subjects, and the protection of the whole earth by the king, bring the play to its close. (Act VI). Deviations. If, as appears likely, the main story has been taken by the poet from the folklore of his day which was afterwards recorded in the Brhatkatha and the Katha Sarit Sagara, we find that the poet has effected some changes and added some particulars of a somewhat formal character, such as the introduction of Narada, th starting of Avimaraka on his dangerous mission, the description of the city at night, the entry of Avimaraka in the guise of a thief in the Kanyapura and his subsequent flight from it, etc. The ring incident is of course the creation of the poet, and it enables him to make a popular appeal by recourse to magic in which 1 See Supra, Chapter IV (2)-" Sources of the play" also Indian Antiquary, 1981, pp. 113-115.

238 the public believed in those days. The character of Vidusaka is exclusively the invention of Bhasa, which was mainly responsible for earning for him the title of TH:. It may be that Sakara is the exaggerated development of this braggart Santusta. Type of drama. The Avi is a full-fledged drama (Nataka) and it will be seen that it answers the requirements in major details. It is a perfect comedy. The Anguliyaka Katha is the secondary incident (pataka), so also is the Vidusaka Katha. Dr. Winternitz takes the Avi to belong to the Prakarana type along with the Svapna, Pratijna and Car. The Avi does not fulfil the essential conditions of a Prakarana with regard to the plot, the hero, and the presence of Vita, Sakara, Kuttini, Ceta and others as enjoined by the Srngaraprakasa. No doubt, the nurse is there but her character is quite different from that expected of the Ceti type required in a Prakarana. The Svapna and Pratijna can never be called Prakaranas as they do not answer any special characteristic of the Prakarana. Sentiments etc. Srngara and Hasya are the main sentiments, and occasionally there are employed Karuna (the descriptions of Kurangi and Avimaraka in separation; their attempts at suicide, etc.); Adbhuta (meeting with Vidyadhara and getting the magic ring from him; the story of Avimaraka's birth; etc.); Bhayanaka (various trials through which Avimaraka passes before his entry into the Kanyapura); etc. There are a number of beautiful similes in this play to be met with at many places. Special mention may be made of II. 12; III. 4; IV. 11. II. 13 is an Utpreksa describing the various-natured world, which has changed its dress as it were at the approach of night: vyamrstasuryatilako vitatodumalo nastatapo mrdumanoharasitavatah | 1 Problems, p. 113; Tatke, Maharastra Sahitya, 5, p. 165, also takes the Avi to be a Prakarana, as the plot according to him, is imaginary (f). We think the poet has drawn on the popular folklore. Taking the plot to be the poet's creation, however, the Avi does not answer many of the requirements of a Prakarana as stated above. Cf. the definition of a Prakarana given in this chapter later on under "Carudatta (d) Type of Drama." 2 Cf. Bhavaprakasana, Gaekwad鈥檚 Oriental Series, No. 45, p. 242 lines 18-19.

239 samlinaka mukajanah pravikirnacoro vesantaram racayativa manusyalokah || This is how darkness is described (III. 4): timiramiva vahanti marganadyah pulinanibhah pratibhanti harmyamalah | tamasi dasa diso nimagnarupah plavataraniya ivayamandhakarah || 721 "The poetic merit of ojas," observes Dr. Ganapati Sastri, "is here [ i. e. in the Avi] embedded with that of madhurya and prasada at suitable places. There are a number of Arthantaranyasas and other figures in prose as well as in verse; a mere glance at the list of subhasitas appended towards the end, will reveal many fine illustrations from the Avi as well as other dramas in our group. Hence references to Hence references to those passages are deemed unnecessary. Critical Remarks. The first act of this play reminds one of the similar domestic scene in the Pratijna (Act II). The queen's natural feelings are skilfully brought out. The third act consists of a lengthy monologue which supplies us with a realistic description. of the city at night. This is probably the only play in this group where there are so many verses devoted to the descriptions of nature. We get much information about the court-life, the duties of the king (I. 12) and the heavy responsibilities of the ministers (I. 5). The description of the different parts of the palace and the strictly guarded Kanyapura are found to conform strictly to the rules laid down in that respect by Kautilya. The laying out of the city as also of the market-place, residences, etc. in different quarters, the gaming-house, the city-guards and the palace-guards etc. tell us much about the life of those days. We shall deal with the sociological conditions of the period at some length later on, and the above points will be fully considered there. It is shown that there are many similarities and parallelisms between this play and the Romeo and Juliet." Kirata, however, states that the minister Kaunjayana in the Avi reminds him of Polonius from the Hamlet.³ p. 176. 1 Avi, preface, p. 1. 2 Vividha Jnana Vistara (Marathi Monthly Magazine), 1917, pp. 161-168. 3 Marathi trans., Intr.,

240 " 66 to Prof. Devdhar charges the poet with having stooped write of the importunate longings of the flesh that drive young people to illicit ways in the Avi. It is to be. noted in this connection that the nurse and Nalinika enter the residence of Avimaraka, only after they are convinced by the divine voice that Avimaraka is not in reality what he outwardly appeared to be (II. 5). The king and his ministers are also shown to be in doubt as to how a number of noble qualities could be found, in a mere out-caste youth. Kurangi is depicted as a god-fearing maiden, acting according to the moral rules of conduct of those days. She is afraid of her character and good name being spoiled (p. 40). The maids, however, tell her of the divine voice and then she consents. We are further to take into consideration that the Gandharva form of marriage was prevalent in those days. Still Avimaraka is shown feeling a bit ashamed for his conduct in not following the more recognized form of marriage in the presence of fire (107). The love that is shown to exist between the couple is not the fleeting. vagary of the flesh, but constant and everlasting. The explanations of Narada and his approval of the marriage should leave no shadow of doubt in our mind as to the righteousness of the love affair. Narada further advises the solemnization of the marriage on a grand scale with the fire as the witness. So, we have no hesitation in overruling the objections of Prof. Devdhar and we declare the Avi as a drama of pure love. The secret visit of Avimaraka to the Kanyapura at the dead of night is "preparatory to the Gandharva marriage between the lovers and could be construed as imparting the moral that even men of heroic type and of sterling character are in danger of being lured by the siren temptation of cupid, and that one should be well guarded against such temptations". The presence of the erotic element which is absent in other plays of the group may be justified on the ground that the play is the product of the poet's youth, and he was not dealing with grand themes such as the epic generally presented. Dr. Raja declares the Avi to be decidedly a weak imitation of the Malati-Madhava in diction, plot and characters. characters. The fact that 1 Plays etc., p. 64. 2. Dr. G. Sastri, Pratima, Intr., p. 36; Critical Study, p. 76. 3 Zeitschrift fur Indologie und Iranistik, 2, p. 263. 8

241 Vatsyayana's Kamasutra, which is placed not later than the fourth century A. D., definitely refers to the Avi is strongly against Dr. Raja's assertion, as Bhavabhuti, the author of the Malati Madhava, is certainly not earlier than the seventh century A. D.' Internal evidence also does not support the view; it is almost unlikely and against the nature of things and the accepted principles of human conduct and progress that the later writer should always show bad judgment. The relationship between the Car and the Mrcchakatika is an illustration in point.