DEIVATHIN KURAL # 58 (Vol # 7) Dated 29 Oct 2013
(These e-mails are translations of talks given by PeriyavãL of
Kanchi Kaamakoti Peetam, over a period of some 60 years while he was the
pontiff in the earlier part of the last century. These have been published by
Vanadi Padippagam, Chennai, in seven volumes of a thousand pages each as
Deivathin Kural. Today we are going ahead from the page No 467 of Volume 7 of
the Tamil original. The readers may note that herein ‘man/he’ includes
‘woman/she’ too mostly. These e-mails are all available at http://Advaitham.blogspot.com
updated continually)
பண்பாடு – CULTURE
ART OF DRAMA – THEN AND NOW
1. God's
and Man's Creations. The whole
world is a drama and God, those who know say is the string puller of a great
drama of delusion. Shakespeare is a world
famous dramatist. He says in his drama
named, 'As You Like It' that, "All the
world's a stage, and all the men and women merely players, they have their
exits and their entrances; and one man in his time plays many parts, his
acts being seven ages." In the huge
drama that God is conducting, man has also created an art form known as Drama.
From the eerie times of the past, this has been an important form of
literature. In the Vedas here and there
the mantras are to be found in the form of conversations between Siva and
Pãrvathy or between someone as the Guru and Sishya. Researchers say that this is the very origin
of the dramatic form of art. In Tamil we
say 'Iyal, Isai and Nãdakam'; whereas in Sanskrit it is 'गद्यं पद्यं व नाटकं', for Prose, Poetry and Drama respectively. In fact the real
word for it in Tamil is 'koothu' – 'கூத்து'. In Sanskrit
there have been great dramatists whom we can lift on our shoulders and dance
around celebrating the fact that, they are world's greatest, such as Kãlidãsa
and Bhava Boothi, both of whom were greater as dramatists than simply
poets. In addition there have been Bãsa
and Visãka Dutta, of some really good and worthwhile standard.
The Special Quality of Drama
2. Drama as a medium has a special
quality. You hear a lecture or narration
of a story. To some extent it registers
in the mind. When a talk is also
accompanied by music, it adds to the receptivity of the audience. Still the scene described is only imagined by
our minds. In a cinema, however much we
get carried away, it is still shadow play.
But in a drama on the stage in front of you, there are real people
enacting the scene. It becomes that much
more interesting and gets deep into our minds.
3. Great poets use many types of
decorative devices to convey their ideas in an interesting way such as iteration,
rhyme and other figures of speech such as metaphor, simile, personification, or
antithesis in which words are used in other than literal sense, or in other
than their ordinary locations like a student talking like a teacher; for some
special effect. In Sanskrit Dandi has
systematised all such tricks in his book 'Dandi Alankãra' – 'दण्डि अलङ्कार'. There is also a
book in Tamil of the same name as 'தண்டியலங்காரம்'. This 'Alankãra' is only a cosmetic make believe and not real. All decorations are like that only. So, in classic literature that is known as 'Kãvya', whatever the decorative devices, the basic message is the
inner meaning. What gives life to
literature, is the real meanings and feelings evoked. That is known in Sanskrit as 'Rasam' that is
the meaningful inner essence. Description
of nature, depiction of individual characters with their idiosyncrasies,
feelings, emotions and responses depending upon the imagination and capacity
for expression, makes novels enjoyable for reading and hearing known as 'Sravya
Kãvyam' – 'श्रव्य काव्यं'. The same thing if written as can be enacted on the stage
with quotes of what each character is supposed to have spoken in sequence, with
stage directions, divided into a number of scenes; becomes the 'drushya kãvyam' – 'दृश्य काव्यं', that is Drama.
4. Instead
of physical scenes before our eyes with actors coming before us on stage, enacting
various scenes and expressing various scenes, some people may love to enjoy all
this more by way of their own imagination. So a good writer of Dramas or what
is known as 'Sãhitya Karta' may let the reader imagine
the nuances by the power of suggestion, innuendoes, indirect implications and
allusions known in Sanskrit for example as 'dhvani and vyangya' – 'ध्वनि व व्यङ्ग्य'. The Director of
the Drama or Cinema makes use of further tricks up his sleeve such as, background
sound effects, asides and stage-whisper.
In the dramas of Kãlidãsa use of such 'indirect suggestions' are to be
found aplenty. Just because it is drama
does not mean that everything was all on the shop-window! For example if we
read his dramas such as 'Shakuntalam' and or 'Maha Vira Charitam', like you
read any paper-back novels, you will be astounded and simply flabbergasted by
the clever tricks played by the author, that it may even be better in front of
your mind's eyes, than seeing it being enacted on the stage! Of course, this depends on individual abilities
to imagine and preferences to exercise one's mind! Generally people do not prefer to exercise
their minds by reading poetry and let one's imagination visualise the scene,
but rather opt for the easier way of going to a drama which they attend in big
crowds. So, more than a book of poetry
or a novel drama seems to be a more powerful medium for conveying the message.
Drama & Feelings
5. You take any
drama and you will find all sorts of feelings being displayed in it. Only when there is a mix of feelings and
sensations it will be interesting. If
the drama is too full of any one type of feelings, it will prove to be a boring
affair. At the same time if the
sensations are equally shared also, at the end one will wonder as to what was
the message! So in each drama, there
will be one predominant thrust and depiction of other feelings will be
complimentary to it, like the symphony in an orchestra. Like if you take the 'VeNi Samharam' by Butta
Narayana for example, the dominant thrust is about courage and bravery, while
some bit of humour and sadness will also be touched.
6. Bhava Bhuti
has written two dramas named 'Maha Vira Charitam' and 'Uttara Rama
Charitam'. True to its name, this 'Maha
Vira Charitam' has bravery as the dominant character quality of Sri Rama is
depicted in a big way. Normally if the
name of 'Maha Vira' is taken, one tends to think of the founder of the Jain
Religion and North Indians will think of 'Hanuman'. But Bhava Bhuti has depicted Sri Rama as
bravest of the braves in this drama. The
same Bhava Bhuti in 'Uttara Rama Charitam', after Sri Rama Pattãbhishekam, when
he tells Sita to go to the forest, he makes us all cry with inconsolable
sadness. As the critics say about
Kãlidãsa that he is too good in the Alankãra of Upama, the quotation being 'upama
Kãlidãsasya' – 'उपमा कालिदासस्य', Bhava Bhuti has a reputation for depicting
agony and anguish that the quotation in his case is 'kãruNyam Bhava Bhutireva'
– 'कारुण्यं भवभूतिरेव'! Normally this Sanskrit word KãruNyam has mainly been understood as
'kindness'. But amongst Navarasa, the
word 'KaruNa' is supposed to mean sadness mainly. We use it mainly to mean benevolence and
affection. For this Rasa of KaruNa from
Bhava Bhuti, let me give you an example.
7. Instead of crying out loud, beating
oneself out of sheer disgust, when someone cursing oneself speaks derogatively
about his ill-luck it touches deeper the core of our hearts. Bhava Bhuti makes Sri Rama talk like that in
'Uttara Rama Charitram'. There is a man
Sambooka: who contrary to his status in life, undertakes to do a very fierce
tapasya despite being advised not to do so.
As that would have a derogatory effect on social order, Sri Rama has
pulled out his sword to kill him. But
his hand hesitates from moving on its downward swing. It is then with the hand with the sword held
high, Sri Rama tells himself the following lines, the meaning of which is given
later.
हे हस्त ....रामस्य बाहुरसि निर्भरगर्भखिन्न
he hasta….ramasya bhaahurasi
nirbharakhinna
सिताविवासनपटो: करुणा कुतस्ते?
Sita vivaasanapato: KaruNa
kutaste? Sri Rama is telling his hand,
"Hey hand, you are Sri Rama's hand.
When Sita full with her pregnancy, was heartlessly directed by you to
proceed to the forest, isn't it? Now,
how is that you are suddenly overcome with sadness and emotion?" Though Sambooka was breaking social customs
and norms, what he was doing was a noble act of Tapasya. Rama who was an
epitome of righteousness in all his thoughts, speech and actions naturally
hesitates in executing Sambooka. So thus
as Sri Rama is shown talking to himself deprecatingly, the writer of the drama
is able to bring out extreme sense of anguish and sadness while also bringing
out how deeply he loved Sita and abandoned her only to maintain his Kingly
virtue of Raja Dharma! Through
self-criticism the author is able to bring out the nobility of the character,
while also teaching us what is right and what is wrong.
Hero
8. Though
in a drama there were many different types of characters like the jokers,
villains and side-kicks and some extras, one important part was highlighted in
whom the audience was made to get interested, through whom it was aimed to
bring home some morality points of good behaviour for the benefit of the
society. So generally the hero was
always brave, calm, cool and collected, keen on peaceful and gentlemanly
methods ever cheerful and so on. The aim
was to get the audience involved in such socially acceptable ways of behaviour.
9. The
world of drama in Sanskrit being as vast as the world outside, had a sort of an
unmentioned rule based on the common man's belief that the good will prevail
over evil eventually. The dramatists had
to abide with this unspoken agreement and so make the end always on a cheerful
note. Even in a so called tragedy such
as Uttara Rama Charitam well known for pathos, though Sita after living in the
forest and begetting Lava and Kusa is supposed to merge in the earth, as Sri
Devi merging in Bhu Devi, the author has made a twist in the story that Sita
comes back to Sri Rama, so that the drama may have a happy ending acceptable to
the common man. On the one hand the aim
is to get the audience more interested in morally righteous attitudes and
methods, for which the ending has to be pleasant and cheerful. The other side of the coin is that people go
to such entertainment to forget the problems of day to day existence. Then what is the use of making the audience
go back home with their heads hanging down in sorrow? So it was as though there was a rule, which
all writers and authors had to abide by, that in the old Sanskrit Dramas, there
were no 'Tragedy' as they were all only 'Comedy'!
(To be continued.)
Sambhomahadeva