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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—an 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

Page:

67 (of 134)


External source: Shodhganga (Repository of Indian theses)


Download the PDF file of the original publication


Warning! Page nr. 67 has not been proofread.

195
"This moon is my dear friend and this moon light is my woman friend; Vasanta
who shapes my arrows for me is my relative, worthy of the greatest regard; and you,
Krodha, with your irresistible impetuosity come to my rescue in times of adversity.
Who is there with a longing for life that can stand before me whose bow is made of
flowers?" 14
Vasanta too, is a close observer of Puruṣa's condition. Finding right time,
Vasanta promotes Krodha to enter into Puruṣa to help Kāma in his deeds.
As Krodha has pointed out, Kāma's greatness is really remarkable :
Again, what is there to wonder at in my ability to break the beginning of
meditation in Puruṣa, when I have succeeded in causing mental excitement even to
such great persons as Maheśvara? 15
"If the elephant, Airāvata, bears the King of the gods, overthrows the army of
the Dänavas, breaks down great mountain-ranges and destroys hundreds of
forests, and if, without the least effort, he bears the sphere of the earth on his head
as if it were only a bunch of flowers, is there anything to wonder at ?"
Kāma and Vasanta further get an assistance of Lobha, as delineated in the
last scene of the fourth Act. Yet, their power gets ceased before Puruṣa under the
protection of Viveka. Therefore, both Kāma and Vasanta lose their courage and
decide to quit the place for their own protection.
Again in the eight Act, Kāma makes his appearance in the battle scene.
Suggesting Kama's entrance in the battle field Nārada describes as below:
"My friend, it is Manmatha who is now advancing bow in hand with an army
consisting of women. He has arrows of different colours (flowers) tipped with honey
14.
15.
16.
ताराकान्तः प्रियसुहृदयं चन्द्रिकेय� वयस्या बाणारम्भाद्बहुमतिपदं बान्धवों मे वसन्तः �
त्वं � त्राता विपदुपगम� क्रो� दुर्वारवेग� को वा मह्य� कुसुमधनुषे तिष्ठत� जीवितार्थी �
प्ररव्यातमिदमित्थं भवतश्चातुर्यम् � तथाऽप्यत्यन्तवीतराग� � इव तवावकाशः ||
पुंसस्त्यक्तपरिग्रहस्य विषयग्राहोज्झितस्याप्यहं कन्थाविष्ट� कुण्डिकादिहरणप्रच्छादनाद्याश्रयः �
[tārākānta� priyasuhṛdaya� candrikeya� vayasyā bāṇārambhādbahumatipada� bāndhavo� me vasanta� |
tva� ca trātā vipadupagame krodha durvāravega� ko vā mahya� kusumadhanuṣe tiṣṭhata� jīvitārthī ||
praravyātamidamittha� bhavataścāturyam | tathā'pyatyantavītarāge ka iva tavāvakāśa� ||
puṃsastyaktaparigrahasya viṣayagrāhojjhitasyāpyaha� kanthāviṣṭara kuṇḍikādiharaṇapracchādanādyāśraya� |
]
S.S. IV 32, p.420
S.S. IV, p.428
अन्त� क्षोभमलीकजल्पमरादारोपरपृहा� पैशुनं संमोहादि � संमुखय्य सहसा दारय� समाधिक्षयम� � [anta� kṣobhamalīkajalpamarādāroparapṛhā� paiśuna� saṃmohādi ca saṃmukhayya sahasā dāraye samādhikṣayam || ] SS IV 41, p. 428

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