Two Plays of Ramacandra: An Aesthetic Study
By G. K. Bhat
Summary
The article "Two Plays of Ramacandra: An Aesthetic Study" by G. K. Bhat analyzes the dramatic adaptations of the Baka-vadha episode from the Mahabharata and the Nala-Damayanti legend in the Jain writer Ramacandra's plays, Nirbhaya-Bhlma-Vyayog and Nalavilasa-Nfyaka. The main argument is that Ramacandra, while adhering to the classical definition of a Vyayoga, demonstrates imaginative inventiveness by reshaping these epic narratives to suit dramatic requirements, though this sometimes results in questionable characterizations and weak causal links. In the first play, Nirbhaya-Bhlma-Vyayog, Ramacandra omits the epic context of the Pandavas living incognito, removing Kunti and the Brahmin family. Instead, he introduces Draupadi as a central figure, creating a romantic opening where she and Bhima encounter a temple priest who narrates the tale of the demon Baka. This change elevates Bhima's stature by making his intervention spontaneous and heroic. The dramatist also avoids showing the actual fight on stage, instead building tension through demon attendants who discover Draupadi hiding and develop a grim desire to eat her, mixing the sentiments of the horrific and the comic. However, the author critiques the portrayal of Draupadi as timid and defeatist, arguing it contradicts her fiery epic character. For the second play, Nalavilasa-Nfyaka, Ramacandra bases his seven-act drama on the Jain version of the Nala-Damayanti story, omitting the gods' presence at the svayamvara and changing the cause of Nala's transformation. The study examines Ramacandra's use of dramatic devices like the prologue, the spy episode, and a love scene before the svayamvara to build suspense and romantic union. The author notes that while the play is poetically interesting, its separation and reunion are melodramatic and psychologically unconvincing, relying heavily on fate. The article concludes by comparing Ramacandra to classical masters like Kalidasa, Bhavabhuti, and Bhasa, acknowledging his poetic ability and dramatic sense but ultimately judging his work as inferior due to the overpowering theory of Rasa, which subordinates character and motivation to sentiment.
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Conclusion
This study reveals Ramacandra’s strategic aesthetic modifications of epic sources, notably the *Mahabharata*, to suit dramatic requirements. In *Nirbhaya-Bhima-Vyayog*, he omits the Pandavas’ incognito context, elevates Bhima’s heroic stature through spontaneous intervention, and introduces Draupadi to add romantic colour and feminine reactions. In *Nalavilasa-Nataka*, he adapts the Jaina version of the Nala-Damayanti legend, employing classical devices like the love scene and svayamvara, though at the cost of psychological depth. While his plays exhibit structural ingenuity, poetic language, and a departure from the rigid application of Rasa theory, they suffer from melodramatic elements, unconvincing motivations, and characterization that lacks independent will. Despite these weaknesses, Ramacandra demonstrates considerable dramatic sense and poetic ability, placing him above later Sanskrit dramatists in terms of artistic merit.