Two plays of Ramachandra - An aesthetic Study
By G. K. Bhat
Summary
1. Nirbhaya-Bhīma-Vyāyoga Source & Adaptation – Based on the Mahābhārata episode of Bhīma killing the demon Baka, but with major changes to suit dramatic needs. Key Changes: Removes Kuntī and the Brahmin family; introduces Draupadī as a central character. Bhīma learns about Baka from a temple priest during a forest stroll, not through family obligation. Fight with Baka is off-stage; focus on tension, dialogue, and side-scenes (e.g., demons discovering Draupadī). Brahmin victim scene simplified—less tragic rivalry for sacrifice, more visual description influenced by Nāgānanda. Dramatic Gains & Losses: Gains unity and hero-focus on Bhīma. Loses depth of pathos from the original Brahmin family subplot. Some character portrayals (especially Draupadī) seen as inconsistent with their epic image. Style – Compact one-act structure, effective use of tension, grim humour, and conventions of vyāyoga plays. 2. Nalavilāsa-Nāṭaka Source & Adaptation – Based on the Nala–Damayantī legend in a Jaina version, with differences from the Mahābhārata: Omits gods at the svayaṃvara. Dice game misfortune not caused by Kali but reworked with other motives. Nala’s disguise comes from his divine father, not a serpent-bite. Damayantī recognises Nala via his unique cooking skill (Sūrya-pāka-vidyā), not by meat he cooks. Plot Structure (7 acts): Prologue foreshadows desertion–reunion. Nala sees Damayantī’s picture via a captured spy; attraction begins. Mission to Vidarbha; meeting with Damayantī; introduction of Lambastaṇī as go-between. Love scene in Cupid’s temple; mutual feelings confirmed. Formal svayaṃvara (spectacular but low dramatic tension). Dice loss → exile → Nala abandons Damayantī (scene modelled on Uttara-Rāma-Carita). Disguise, stay in Ayodhyā, “play within a play” (garbhaṅka) revealing Damayantī’s situation, reunion engineered via second svayaṃvara ruse, and final reconciliation. Dramatic Features: Use of intrigue (spies, rival suitors) to create obstacles. Romantic union → separation → reunion arc. Effective garbhaṅka device to connect separated lovers and build suspense. Some weak motivations (e.g., Nala’s easy acceptance of abandoning Damayantī, implausible coincidences). Critique: Strong poetic sense, but sometimes prioritises rasa over psychological realism. Characters occasionally act without convincing motivation. Influences from Kālidāsa, Bhavabhūti, and Śrī Harṣa evident in love scenes, abandonment episode, and reunion devices.
Summary reviewed by a volunteer editor.
Conclusion
Nirbhaya-Bhīma-Vyāyoga and Nalavilāsa-Nāṭaka creatively adapt epic and legendary narratives into distinct dramatic forms, balancing thematic focus and poetic elegance with varying degrees of character depth and narrative coherence, reflecting evolving theatrical conventions and audience expectations.