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Sehajdeep Kaur

Indian Classical 12031101

Professor Ashwin Rajeev

19 October 2019

The Little Clay Cart: A Chronical Of Its Milieu

Sanskrit Drama derives its roots from the transcendental experience of oriental mind, shining

through the face of Indian philosophy, structured through myth and revealed in ancient texts.

The art in Indian thought is the height of experience, and that is perhaps why concept of

‘rasa’ (relishing of an elemental human emotion) is so integral a component in Indian

artforms. Bharata’s Natyasastra, composed around 2nd century B.C.E is a most comprehensive

text, survived on dramaturgy. It forms the most important source of the knowledge we have

today of Indian classical drama. Natyasastra refers to drama, as an integrated art of music,

action and poetry, capable of rendering different forms of ‘rasa’ to the audience. This

integrated approach entails highly complex set of instructions and a rigid structure which has

been thoroughly described by Bharata and beautifully delineated through the works of oriental

geniuses like Kalidasa, Bhavabhuti and Bhasa.

One of the ancient masterpieces, Sudraka’s ‘Mrichchakatika’ (a prakarna rupaka), emerges as

an outstanding source, for the understanding of ancient Indian society. Albeit, there are

several controversies about the actual period of Sudraka, most of the scholars agree that he

was an Aryaka king in the mahajanapada (city) of Ujjaini, from third century B.C, that is

during the reign of Gupta dynasty.1 Mrichchakatika is the only available manuscript of

complete ‘prakarna’ (one of the ten types of play mentioned in natyasastra). It employ almost
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all the major rasas and the type of protagonist structured is ‘dhiralalit’(an ideal hero type;

polite and virtuous). Now, what is remarkable about Sudraka is, that while staying in the basic

structure implied by Bharata and previous dramatists, he deviates, from most of the norms

stated in natyasastra. The characters which run his play, come from a vast array of different

layers of the society. His protagonists are not some high born rich leisure youths, but a poor

married brahmana and a courtesan. Every strand, of the then Indian milieu is woven with a

great care, through about thirty characters in the intricate pattern of his play.

If we try to carefully comprehend the play, from the viewpoint of understanding details of the

society, it is set in, we become aware of two major layers across which Sudraka’s society is

designed. First, the socio-political mantle and secondly, the religious one.

The characters accentuate their roles as a member of social system, through the

choices they make. Vasantasena’s decision to reject money and trade to seek true love in poor

yet virtuous Charudatta, elevates her status in the society2 and becomes a mean of aesthetic

gratification , her job being transformed into artistic experience. This theme of conflict

between bounds of duty and desire risen out of purity plays itself again and again. The

mansion of Vasantasena as described in act IV, gives an awe-striking reference to the majestic

lifestyle of courtesans in Ujjaini.

The ‘Bandhulakas’ or the bastard pages, in Vasantasena’s mansion (act IV, pg125)

display astonishing behavior, as we know from ‘manusmriti’ and other texts that they were

not supposed to speak of themselves so disparagingly. But Sudraka provides us with

contrasting details about the class of bandhulakas in society, which couldn’t have been known

otherwise.
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Charudatta’s ultimately considerate personality, always reflecting generosity, influence a

certain sort of idealism, which attracts those around him. His sensitivity towards art is

constantly visible in the play, so much so that after being acknowledged of thievery in the

house, he goes on to admire the artistically cut hole in the wall rather than being concerned

about the material degradation that could have possibly happened. What is worth noticing is

that, albeit Charudatta belongs to the caste of brahmanas, he is mentioned as a merchant who

lost all his wealth to charity. Similarly, Sarvilaka is not a common thieve, he is a learnt

brahman turned into a thieve, again representing a upheaval in the social order. He also seeks

fulfillment through the passion for aesthetic subtleties. Rebhila also, who feels a natural

disposition towards singing .

Samvahaka also is an integral character, although he is mentioned just once because

of the transformation he goes through, his turning into a gambler from shampooer and finally

realization of the transient nature of physical world and its renunciation . These instances

represent the dissatisfaction with the currently working model of caste system in Ujjainy. The

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