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[Full title: Characterisation in 惭耻诲谤腻谤腻办峁�a蝉补 (2): 颁腻峁嘺办测补: As the Hero of the Drama]

The drama 惭耻诲谤腻谤腻办峁�a蝉补 may lead us to the question as to who is the hero of the drama.The controversy arises for no other reason than this that unfortunately there are no criteria, accepted on all hands, the possession of which undoubtedly entitles a character to the status of the 鈥榟ero鈥� of a piece. It is true that the character of a drama based on whom the subject matter runs forward can be assumed as the hero of that particular drama. But occasionally it does happen that there is no agreement to which all the readers of a play can come to a conclusion regarding the question as to who exercise the highest amount of influence on the action of the whole play. 鈥楾he character in whose fortunes the reader is interested the most is the hero of the piece鈥欌�搃s an equally unsatisfactory criterion. It is for the simple reason that if a reader is most interested in the fortunes of the character A in a particular drama, another reader would be most interested in the fortunes of character B or C in that very play. Therefore, it is an unavoidable difficulty remaining unsolved in this regard.

There are three claimants to the title of the hero of the 惭耻诲谤腻谤腻办峁�a蝉补鈥�(1) Candragupta, the sovereign ruler; (2) 搁腻办峁�a蝉补, the former minister of the Nandas and (3) 颁腻峁嘺办测补, the sovereign鈥檚 preceptor and prime minister. Starting with Candragupta, he is depicted here as a powerful king. Generally in the famous dramas like 厂惫补辫苍补惫腻蝉补惫补诲补迟迟腻 of 叠丑腻蝉补 or 础产丑颈箩帽腻苍补艣补办耻苍迟补濒补尘 of 碍腻濒颈诲腻蝉补 the powerful kings like 痴补迟蝉补谤腻箩补 Udayana or 顿耻峁�y补苍迟补 are accepted to be the hero. Therefore, Candragupta also can have the quality to be the hero of the present play.

Secondly, the subject matter of the drama 惭耻诲谤腻谤腻办峁�a蝉补 centers round Candragupta. 颁腻峁嘺办测补 also make all his effort to make the throne clear for Candragupta. And lastly he can be able to be a sovereign ruler. Candragupta鈥檚 claim is easily shown to be more apparent than real. For despite the fact that kings coming from the distant shores of the oceans bend their heads low before Candragupta, but, Candragupta is entirely guided by and dependent on 颁腻峁嘺办测补 who exercise the fullest control over 痴峁涐梗补濒补 as he calls the emperor.

Again, generally it can be seen that the hero of a play remains on the stage from the starting act. But here in the 惭耻诲谤腻谤腻办峁�a蝉补, Candragupta is introduced in the third act. Moreover, all through the drama Candragupta is found as a silent character.

And 痴颈艣腻办丑补诲补迟迟补 also has not depicted his character as a sovereign king of the Maurya dynasty as should be. Therefore, it can鈥檛 be assumed that Candragupta must be the hero of 惭耻诲谤腻谤腻办峁�a蝉补.

On behalf of 搁腻办峁�a蝉补 it has been argued or suggested that the readers and the audiences are most interested in 搁腻办峁�a蝉补 when he finally got ready to sacrifice his life to save his friend Candanad膩sa. Moreover it is a general rule that a play is named after the chief person i.e. the hero or the heroine or both, as can be seen from names like 颁腻谤耻诲补迟迟补, 础产丑颈箩帽腻苍补艣补办耻苍迟补尘 and 惭腻濒补迟颈-惭腻诲丑补惫补尘 etc. In the whole range of Sanskrit dramatic literature we can hardly find an instance where a play is named after a character who is not its hero. Again the 产丑补谤补迟补惫腻办测补 is generally put into the mouth of the hero only, rather than any other character. In the 惭耻诲谤腻谤腻办峁�a蝉补 all these considerations can be found to be in favour of 搁腻办峁�a蝉补, Therefore, the readers spontaneously acclaim him as the hero.

But the above mentioned facts are not seems to be justifiable. Because, all the efforts showed in the drama is performed by 颁腻峁嘺办测补 and not by 搁腻办峁�a蝉补. Secondly, though 搁腻办峁�a蝉补 is full of self-confidence, the long-sightedness nature is less in his character in comparison to 颁腻峁嘺办测补. Over and above these 搁腻办峁�a蝉补 could not reach his goal till the end of the drama. Therefore, such an unsuccessful person cannot be the hero of the drama.

Now, regarding 颁腻峁嘺办测补 we can say that in the drama he appears on the stage before anyone else from among the dramatic personae. Thus act-I brings before us 颁腻峁嘺办测补, while 搁腻办峁�a蝉补 consequently in act鈥揑I and III. The author thus seems to have paid greater attention to 颁腻峁嘺办测补鈥檚 character. Rather it can be said that 痴颈艣腻办丑补诲补迟迟补 is more bias in painting 颁腻峁嘺办测补鈥檚 character.

惭耻诲谤腻谤腻办峁�a蝉补 is a historical drama. The subject matter of this drama is based on purely historical background. Here, the cunning politician 颁腻峁嘺办测补, the destroyer of the Nanda dynasty arrestes 搁腻办峁�a蝉补 defusing all his plans against Candragupta, and at last totally against his will, makes him the minister of Candragupta. Therefore, it can be said that the steering is in the hands of 颁腻峁嘺办测补.

It is all accepted that 颁腻峁嘺办测补 dominates the action of the play as none else does. Right up to the end in act VII, he towers over all. It is 颁腻峁嘺办测补 who holds everything firmly in his grip, from starting to the end. The plain fact is that 颁腻峁嘺办测补 voluntarily retires on being satisfied that a devoted, sincere and brave prime minister has been secured for Candragupta as he (颁腻峁嘺办测补) wished to secure from the beginning. Therefore, 搁腻办峁�a蝉补 has no scope for himself, either off the stage or on the stage.

Again, 惭耻诲谤腻谤腻办峁�a蝉补 is a drama having the sentiment of valour as its predominant sentiment. And this sentiment is brought forth by the speeches of 颁腻峁嘺办测补 such as in鈥�

nandakulak膩labhuja峁単墨峁� kop膩nalabahalaloladh奴malat膩峁�/
ady膩pi vadhyam膩n膩峁� 惫补诲丑测补岣� ko necchati 艣ikk膩峁� me//^[1]

And so on.

Again, in the last act when 颁腻峁嘺办测补 declares about the closing of the drama in鈥�

惫颈苍腻 v膩hanahastibhyo muchyat膩峁� sarvabandhana峁�/
辫奴谤峁嘺 辫谤补迟颈箩帽别苍补 尘补测腻 办别惫补濒补峁� badhyate 艣颈办丑腻//^[2]

It proves that 颁腻峁嘺办测补 is the hero of the drama.

顿丑补苍补帽箩补测补 in his 顿补艣补谤奴辫补办补 has mentioned the characteristics of a hero 迟丑耻蝉鈥�

鈥淭he Hero should be well bred, charming, liberal, clever, affable, popular, upright, eloquent, of exalted lineage, resolute and young; endowed with intelligence, energy, memory, wisdom, (skill in the) arts and pride; heroic, mighty, vigorous, familiar with the codes, and a just observer of laws.鈥�^[3]

Now, though not all, yet some of the above characteristics are found matching with 颁腻峁嘺办测补. He is not a person of humbles nature or he is not young, yet he is a brave, intelligent and elevating politician with sharp memory.

Again, from the rhetorical point of view though the hero of a 苍腻峁璦办补 should be of 顿丑墨谤辞诲腻迟迟补 type yet the character of 颁腻峁嘺办测补 is found as a mixture of 顿丑墨谤补艣腻苍迟补 and 顿丑墨谤辞诲诲丑补迟补 type of 苍腻测补办补.

The characteristics of 顿丑墨谤补艣腻苍迟补 type of hero is found in the 顿补艣补谤奴辫补办补 of 顿丑补苍补帽箩补测补 as鈥�

鈥淭he self-controlled and calm hero (顿丑墨谤补艣腻苍迟补) is a 叠谤腻丑尘补峁嘺 or the like, possessed of the generic merits (of a Hero).鈥�^[4]

Here only one characteristic of 颁腻峁嘺办测补 is found matching with this that 颁腻峁嘺办测补 is a 叠谤腻丑尘补峁嘺 by caste. But the 顿丑墨谤补艣腻苍迟补 type of hero is generally found in the 笔谤补办补谤补峁嘺蝉.

The characteristic of 顿丑墨谤辞诲诲丑补迟补 type of 苍腻测补办补 may again be found in the 顿补艣补谤奴辫补办补 迟丑耻蝉鈥�

鈥淭he self-controlled and vehement hero (顿丑墨谤诲诲丑补迟补) is altogether dominated by pride and jealousy, wholly devoted to magic practices and deceit, selfassertive, fickle, irascible and boastful.鈥�^[5]

Here most of the characteristics are found matching with 颁腻峁嘺办测补. Therefore, 颁腻峁嘺办测补 seems to be the most unique hero in the tradition of Sanskrit 苍腻峁璦办补.

At last it can be said that the title of the play itself speaks of the hero of the drama.

The title 惭耻诲谤腻谤腻办峁�a蝉补 尘别补苍蝉鈥�

mudray膩 g峁沨ito r膩k峁�aso yasmin 迟补苍苍耻诲谤补谤腻办峁�a蝉补峁� 苍腻尘补 苍腻峁璦办补峁�

鈥淭hat in which there is 搁腻办峁�a蝉补, i.e. account of 搁腻办峁�a蝉补, won be a signet ring.鈥�

搁腻办峁�a蝉补 being won by a signet-ring is the principal theme of the play and in keeping with the maxim 辫谤腻诲丑腻苍测别苍补 惫测补辫补诲别艣补 bhavanti, 惭耻诲谤腻谤腻办峁�a蝉补m comes to be the title of the play. In this theme it is the vanquished 搁腻办峁�a蝉补, vanquished because of the 尘耻诲谤腻. Here the looser is 搁腻办峁�a蝉补 and the winner is 颁腻峁嘺办测补. Now, in the Indian tradition losers are not portrayed as the hero of a drama generally.

Therefore, it seems that none other than 颁腻峁嘺办测补 is the hero here in the 惭耻诲谤腻谤腻办峁�a蝉补.

Footnotes and references:

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[1]:

Ibid., I. 9

[2]:

Ibid., VII.17

[3]:

苍别迟腻 vin墨to madhurasty膩g墨 诲补办峁�a岣� 辫谤颈测补峁僾补诲补岣�/ raktaloka岣� 艣ucirv膩gm墨 r奴岣峢ava峁兣沘岣� sthiro 测耻惫腻// budlhyuts膩hasm峁泃ipraj帽膩kal膩m膩 nasamanvita岣�/ 艣奴ro d峁沘岣峢a艣ca 迟别箩补蝉惫墨 艣腻蝉迟谤肠补办峁�u艣肠补 诲丑腻谤尘颈办补岣�/ 顿补艣补谤奴辫补办补. II. 1,2

[4]:

s膩m膩nyagu峁嘺yuktastu dh墨ra艣膩nto dvij膩tika岣�//顿补艣补谤奴辫补办补, II. 4

[5]:

darpam膩tsaryabh奴yi峁ａ弓ho m膩y膩chadmapar膩ya峁嘺岣�/ dh墨roddhatastvaha峁僰膩r墨 cala艣ca峁囜笉o vikatlhana岣�//顿补艣补谤奴辫补办补, II. 5