Essay name: Sankalpa Suryodaya of Venkatanatha (Critical Study)
Author:
R. Laxmi
Affiliation: Karnatak University / Department of Sanskrit
This is an English study of the Sankalpa Suryodaya鈥攁n allegorical Sanskrit drama by Venkatanatha, a distinguished philosopher-poet and dramatist of the Vishishtadvaita Vedanta tradition. This work of Venkata-natha (or, Vedanta Deshika). stands out for integrating allegory to convey moral and philosophical truths. The thesis examines its place in Sanskrit literature.
Chapter 4a - Characterisation of the play
4 (of 134)
External source: Shodhganga (Repository of Indian theses)
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132
In the succeeding pages, a critical estimate of all main characters has been
taken into consideration. King Viveka is the leader of the characters promoting for
the fulfilment of the dawn of Sankalpasurya, while Mahamoha is the leader of the
characters obstructing the path of Purusa's attaining the Final Bliss.
VIVEKA
(The Hero of the Drama)
First of all, it should be understood that King Viveka is portrayed as
Dhirod膩tta type of hero, in the drama. This point however is suggested by the
dramatist himself in the beginning and at the end of the drama.虏 Dhirod膩tta or the
hero of sublime qualities, is one who is Mah膩sattva or one whose mind does not get
disturbed grief, anger, greed lust etc.), Atigambhira, (very sincere boasting),
K峁膩v膩n (Patient), Avikatthana (not given to boasting), Sthira (of firm resolve),
Nigudh膩ha峁僰膩ra (whose self-conceit is concealed due to his modesty), D峁沝havrata
(one who accomplishes the work undertaken.) 3 The Hero thus equipped may
take into his service, ministers of state and others who can help in the
accomplishment of the goal.
In the present context, the role of the King Viveka is portrayed, showing to
have possessed all these qualities of Dhirod盲tta type of hero. The dramatist gives
more prominence to the role of Viveka, because all stratagies and the actions
thereof relating to the goal i.e. the rise of the will of the Lord, find directly or
indirectly the place in him. Therefore, all the scenes in the play centre round the
2.
啶呧さ啶оぞ啶班た啶むえ啶距啷嵿く啶︵啶多た啶ぞ啶班啶椸啶班じ啶啶氞啶ㄠお啶班ぞ啶權啶啶栢啶班ぎ啷�啶た啶� 啷�
啶ぐ啶むぞ啶椸ぎ啶︵啶掂い啷堗ぐ啶苦さ啷堗し啶� 啶ぐ啶苦し啶む 啶膏啶啶班い啶苦き啶距じ啶む 啶す啶︵啶た啶� ||
[avadh膩ritan膩峁瓂ade艣im膩rgerasam墨c墨napar膩峁卪ukhairam墨bhi岣� |
bharat膩gamadaivatairivai峁Ｄ� pari峁t sa峁僷ratibh膩sate mahadbhi岣� ||
] S.S. I-4, p.19
啶о啶班啶︵ぞ啶む啶むぞ啶ㄠ啶曕啶侧啶む啶むぎ啶椸啶｀ぎ啶灌た啶ぞ 啶ㄠぞ啶啷囙し啷嵿さ啶椸啶班ぃ啷�啶膏啶む啶掂 啶膏啶掂ぞ啶о啶ㄠい啷嵿さ啶む啶膏え啶距ぅ啶� 啶膏啶い啶苦ぐ啶た啶い啶� 啶оぐ啷嵿ぎ啶い啷嵿え啷� 啶むさ啶距じ啷� 啷�
啶膏啶掂ぞ啶い啷嵿い啶� 啶氞ぞ啶︵啶� 啶膏た啶︵啶оた啶� 啶膏ぎ啶溹え啶� 啶さ啶む 啶膏啶掂ぞ啶た啶ㄠた啶冟ざ啷嵿ぐ啷囙く啶膏ぞ啶班啶ムぞ 啶班ぞ啶じ啷嵿い啷嵿さ啶� 啶� 啶む啶班た啶侧啶曕啶ぞ啶� 啶班ぃ 啶掂た啶灌啶むた啶啶栢啶班お啷嵿ぐ啶︵啶多啶ぞ啶ㄠ啶ぞ啶掂 ||
啶す啶距じ啶む啶む啶掂啶洁い啶苦啶啶啶班 啶曕啶粪ぎ啶距さ啶距え啶掂た啶曕い啷嵿ぅ啶ㄠ 啷�
[dh墨rod膩tt膩nuk奴lottamagu峁嘺mahim膩 n膩yake峁agra峁嚹玸tva峁� sv膩dh墨natvatsan膩th膩 sumatirabhimat膩 dharmapatn墨 tav膩sau |
sv膩yatt膩 c膩dya siddhi岣� samajani bhavata岣� sv膩mini岣ヅ況eyas膩rth膩 r膩mastva峁� ca triloky膩峁� ra峁嘺 vih峁泃imukhairaprad峁浥泍膩nubh膩vau ||
mah膩sattvo'tigambh墨ra岣� k峁m膩v膩navikatthana岣� |
] S.S. X-71, p.859
3.
啶膏啶ムた啶班 啶ㄠた啶椸啶⑧ぞ啶灌啷嵿啶距ぐ啷� 啶о啶班う啶距い啷嵿い啷� 啶︵啶⑧さ啷嵿ぐ啶む 啷�
[sthiro nig奴岣峢膩ha峁卥膩ro dh墨rad膩tto d峁涐笉havrata岣� ||
] Dhananjaya, Da艣ar奴pakam, Motilal Banarasidas, Delhi 1979, II-4, p. 137.
