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Philosophical Thoughts Drama

Head of the Department, Department Enathur,

Mahkavi Klidsa a luminous star in the galaxy of Sanskrit literature. As a poet as well as a Dramatist, he has not only written the prominent poems and famous dramas just for the amusement and happiness for the people of society, but he has reflected thesocio-political status, religious thoughts and spiritual approaches of the society as well. It is also noticed that when Santanadharma or Vaidikadharmaupon a time was in crises by the influence of Buddhadharma and Jainadharma in the soil of India, by the mean time, Ancient Scholar (Vaidikamade their efforts to establish and propagate the same by highlighting the value of it. Establishment of Dharma was only possible through the writing of Kvyas and Nakas by the then scholars. As a resupoet Klidsa has not ignored the chance to highlight the concept of philosophy and religion, while writing his dramas and poems. We may discuss here few areas where Klidsa has concentrated to highlight the philosophical thoughts in his writings partdramas.

Moreover, the establishment of varavda, concept Prakti and Purua, Ivaratattvasidhanta, Vgarthavda and the concept of Yaja and Devat are discussed in detailed in this research paper with proper evidences.

Establishment of varavda It is also observed that, after a long gap of time duration, the Vedic Gods like Avinkumr, Indra, Agni and Kubera were not worshiped, in their place Brahm, Viu and lord iva became so popular among the people during the Klidsian period. Most probably due to the influence of Buddhism, the worshipers of different Gods became united by leaving their diversity. By noticing this and being a

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phical Thoughts as Reflected in Drama-S of Klidsa

Dr. Debajyoti Jena Department of Sanskrit & Indian Culture SCSVMV University

Enathur, Kanchipuram, Tamil Nadu, India

Mahkavi Klidsa a luminous star in the galaxy of Sanskrit literature. As a poet as well as a Dramatist, he has not only written the prominent poems and famous dramas just for the amusement and happiness for the people of society, but he has reflected the

political status, religious thoughts and spiritual approaches of the society as well. It is also noticed

Vaidikadharma once upon a time was in crises by the influence of

in the soil of India, Vaidika i) have

made their efforts to establish and propagate the same by highlighting the value of it. Establishment of

was only possible through the writing of by the then scholars. As a result,

poet Klidsa has not ignored the chance to highlight the concept of philosophy and religion, while writing

We may discuss here few has concentrated to highlight the

philosophical thoughts in his writings particularly in

varavda, the , Yogavichra, and the concept

are discussed in detailed in this

It is also observed that, after a long gap of time duration, the Vedic Gods like Avinkumr, Indra, Agni and Kubera were not worshiped, in their place

and lord iva became so popular idsian period. Most

probably due to the influence of Buddhism, the worshipers of different Gods became united by leaving their diversity. By noticing this and being a

strong devotee of iva, poet Klidsa made in his drama Mlavikgnimitram withof Lord iva in Mangalcaranam

He proclaims the worship of all pervaded Lord iva lends human for attainment of knowledge by removing the ignorance. It is said rightly Mlavikgnimitra -1.1 In the above said Manglcaranamvery carefully used a term as which represents Dev Prvat with lord iva. It is also denoting the Ardhanrvaraand Prvat. In Raghuvasa (1.1) while he used Vgarthau, in connection to that, he also used a term as Sapktou, which means both Lord iva and Prvat are in separable in their way. So it is understood that Klidsa has not used the term Sayuktou in state of Sapcould have written the term Sathere could have possibility to get separation of iva and Prvat but the term Sapbond between iva and Prvat which is inseparable. By realising this, Poet Klidsa has also explained the Mangalcaranam of Mlavikagnimitram by using the term Sanmiradeha to represent the term and established the concept of

The same concept is also reflected in Nandi of Abhijnakuntalam to strengthen more. To get rid of form the rebirth or Punarjanma

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SCSVMV University,

strong devotee of iva, poet Klidsa made ivastuti in his drama Mlavikgnimitram with eightfold image

Mangalcaranam.

He proclaims the worship of all pervaded Lord iva lends human for attainment of knowledge by removing the ignorance. It is said rightly-

Manglcaranam, poet Klidsa has term as Kantsammiradeha,

which represents Dev Prvat with lord iva. It is also Ardhanrvara concept of Lord iva

sa (1.1) while he used , in connection to that, he also used a term

which means both Lord iva and Prvat are in separable in their way. So it is understood that Klidsa has not used the term

pktou. It means, if he Sayuktou, in that case

ility to get separation of iva pktou denotes a strong

bond between iva and Prvat which is inseparable. By realising this, Poet Klidsa has also explained the

of Mlavikagnimitram by using the to represent the term Sampkta

and established the concept of Ardhanrvara.

The same concept is also reflected in Nandi of to strengthen more. To get rid

Punarjanma, Klidsa also

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prayed Lord iva in Bharatvkya of Abhijnakuntalam.

Abhijnakuntalam- 7.35 Further, it is understood when Buddhists had established the concept of Nirivaravda and the whole society was in wrong direction, by the mean time, perhaps Klidsa was trying to establish Ivaravda by throwing light towards the eightfold images of Lord iva.

Concept of Purua & Prakti :- Bhadranyakopaniad says . This statement is also supported by Nsadyaskta (10-29) of gveda proclaiming that supreme Brahman is one in form there is no duality. This is to be called as Ekattavda. If we have a deep vigil towards the Klidsian Society, we understood that, the concept of Dvaita or Dvaita Siddhnta was also prevailing in the then society and taking the form or line of special stra. The most prominent and oldest darana is Snkhyadarana among the adarana. We may get its tremendous impact on Bhagavatgt. This Snkhya philosophy accepts Puruatattva, there is no doubt in it, but it also accepts the Praktitattva as eternal along with Puruatattva.

It is understood that, the concept of Purua and Pakti or we may say Praktipuruavda was so powerful and sway during Klidsin age. As a result, the entity of Prakti and Purua was well treated in the form of Prvat and Paramevara. Klidsa has nicely narrated in Raghuvamsa as Vg and Artha by representing Prvati and vara. The same idea is also reflected in Manalcaranam of Mlavikgnimitram and poet used the term Sammiradeha as already discussed earlier.

Yogavicra :- Poet Klidsa has taken the term Purua from the definition of Snkhytra and the term Yoga and Samdhi from the definition of Yogastra. Not only in the Drmas but also in his poems, he has frequently used the term from Snkhy Philosophy and from Yogastra. Maharshi Patanjali says in Yogastra as , it means the Devotion towards vara many led to Mukti or Moka to the Devotees. Here in this Stra, Patanjali did not use the term Brahma but used the term as vara. In Mangalcarana of Abhijnakuntalam, Klidsa

used the term a. means the master of the whole universe ( ) is vara. If we see in general, Brahma has no connectivity with Brahma. So in this connection, both Patanjali and Klidsa accept the entity of a in Brahmda. That why Klidsa understood the eight fold images of vara which is all-pervading in the whole universe. As Klidssa says

Abhijnakuntalam -1.1

Here Klidsa has used the term Pratyaka intentionally to show his response towards the unyavda of Baudhadarana. As a result Klidsa wanted to prove vara who is Nirkra, Nirvikalpa, Nisarga, Nirdvanda, Nirupamavibhava and Paramacaitanya as per the line of Yogadarana.

Again it is also said that vara of Patanjali and Purua of Snkhya had no connectivity with Yogastra of Patanjali but Klidsa has made both in one. In the Mangalcaranam of Vikramorvasyam he says:- Vikramorvasiyam -1.1 It is to be marked that Klidsa has used the term sthirabhaktiyogasulabha ( ) in last line as an adjective to Sthu is nothing but the Saguarupa of Lord iva. We understand that Patanjali has directed two ways to achieve Moka. A Yogi gets or realises Atm through

Contemplation can achieve Moka. A Devotee keeps attention through Devotion

toward vara can also achieve Moka.

In this Mangalcaraa, Klidsa used the term Sthu by keeping the idea of Patanjali as . Sthira means concentration or Ekgrat. A devotee should have concentration on vara like a Yogi. That concentration is Ananyabhakti. Through Ananyabhakti, a devotee will get stability or Sthirat. Klidsa accepts the concentration or Ekgrata of Yogi in case of a Devotee. The term v () is represents as Vikalpa or substitute, means the second path Bhaktiyoga may be adopted to achieve Moka alternatively. Therefore Klidsa has accepted Sthirabhaktiyoga through the

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control of Chittavtti. As Patanjali defines the Yoga - . Again here the term varapaidhra denotes as Bhakti to concentrate on vara to get Moka. This is the Yogavicara or yogic concept which has been taken by Klidsa and reflected the same in his Drma Vikramorvayam.

varatattvasiddhnta :- To understand the thoughts of poet Klidsa, we must accept the contribution of Mahari Patanjali. Yogadarana of Mahari Patanjali was standing like a milestone before the Vedic & Buddhist thoughts. Mahari Patanjali has explained and defined the Samdhitattva and also accepted the same for Puruatattva as prescribed by Snkhya philosophy. Once upon a time, the existence of Purua was doubtful and the position of Prakti became so prominent. As per Snkhyadarana, Purua became Udsina. By the mean time, there was a need to establish varatattva where as Patanjali proved to achieve Moka through Yogamrga. By getting influenced by Yogadarana perhaps Klidsa has established the concept of vara in his writings. As already we have discussed that, the Mangalcarana of the drama Mlavikgnimitram, Vikromorvayam and Abhijkuntalam clearly denote the concept of vara.

In Mlavikgnimitram, poet Klidsa has explained the eightfold form of Lord iva with association of Prvat by using the term Kntsammiradeha. Again he has used the term a to denotes Lord iva. In Vikramorvayam and Abhijnakuntalam also the concept of vara is established by poet Klidsa.

Vgarthavda :- Poet Klidsa was contemporary to Mahari Patanjali. When we analyse the concept of abda and Artha of Patanjali we may come across with many issues. In general Vg means V or abda and Artha means its meaning. But apart from this, whatever the problem was occurred earlier to Klidsa on abda and Artha, by the time Poet, Klidsa was completely aware about it. During the period of Klidsa, lamkrikas also have given different opinion on abda and Artha in connection to Kvya. Adhyyi of Pnini was placed before the scholars as abdnuna and based on that, Patanjali has emphasised the importance of abda in his work Mahbhya. In Shityastra, Scholars also have given importance to abda. In this juncture, importance to the part of Artha, during that period might have neglected or influenced less. Such

problem of abdrtha was properly understood by Klidsa.

It is also noted that, during Vedic period the concept of abdabrahma was the prime thought of Vedic Seers. Vedavkya-s are ultimate truth by giving importance to abda and these abdas are eternal. Thats why Vedic Mantras are intact without having any changes there in, but in Laukika Shitya there are different Phabhedas. Moreover, due to impact of Vedic tradition, scholars like Yska, Pini, Patanjali have given more emphasis on abda. Thereafter, when Laukika Shitya took its shape and scholars have started writing Kvyas and importance of Artha came in contact with abda. It is rightly said that it means in Kvya, both abda and Artha are eternally connected each other to convey a specific meaning. Accepting this view, Acrya Bhmaha said to extend a beautiful definition of Kvya. In this connection poet Klidsa also had accepted this statement; as a result he has put his intention to mingle both in a poetic form in the Mangalcarana of Raghuvamsa. As it is said- Raghuvamsa- 1.1. In this verse, Klidsa wants to convey the eternal connectivity between Lord iva and Prvat, the divine parents of whole universe with a simile, like the relation between abda and Artha. The term Vg means abda or Vi and Artha means its meaning but here Klidsa has not used the term in place of deliberately. The term Vg signifies the feminine nature as per grammatical rule which represents the Dev Prvat and the term Artha signifies the masculine nature, represents Lord iva. Through the Vyajana Vyapra it is explained by Klidsa by emphasising abda and Artha are inseparable. This concept indirectly touched upon by Klidsa to establish the Ardhanrivara of the Divine Couple. By using Upamlankra, Klidsa tries to intensify the Dhvanitatva as abda and Artha both are equally importance for a Kvya. Again he has represented the beauty ( ) of Dmpatya Prema (Conjugal life) in form of iva and Prvat and established the position of abda and Artha in Kvya. Here we may say, the Anurakti Saundarya between abda and Artha is also reflected. As long iva and akti cannot be separated like abda and Artha cannot be separated like the relation between Guna and Gun

International Journal of Trend in Scientific Research and Development (IJTSRD) ISSN: 2456-6470

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and Dharma and Dharm. This is Saudaryavda of Vmana. Finally it may say, Poet Klidsa has explored the truth of abda and Artha in advaita form and made both united in the form of Ardhanrvara and also explained Aamurti form of iva in Vedntic perspectives in his drma-s. Concept of Yaja & Devat :- If we have a glance to the religious thoughts of Klidsa through this writings, we may confined him to the age of 2nd century B.C. Poet Klidsa tries to establish and support the Vaidika Dharma or Santana Dharma in his drma-s. During Buddha and Jaina period Animal Violence was existing in Yaja and performance of Bali was prevailing. Creating injury to the animals was considered as ill activities. Such reflection we may get in 6th act of Abhijnakuntalam through the dialogue of the fisherman. He proclaims that, due my Kaulikavtti. I used to do ill activities everyday by catching fishes like a Paita who used to provide Bali of Animal in Yaja even though he does not like to do such cruel actives. It is said by Klidsa as Abhijnakuntalam 6.1

From this verse it is understood that killing or creating injury to the animals was considered as an ill and cruel activity during Klidsian period. After Buddha, Jaina and post period of Klidsa, killing animals in Sacrifice or Yaja was prohibited due to the gradual impact of Bhaktimrga and Yogamrga. This Baliprath or killing animal in Sacrifice was prevailing during Klidsian period because of the greater influence of King and Monarchy.

Apart from this, we may recognise the position of Heavenly Gods in Klidsian drmas. When calamities occur, the kings of Klidsa were being invited by the Gods to assist them. In Vikramorvayam,(1.6) through the dialogue of Menak in first act we notice that, king Pururav was invited by lard Indra to help him war against Dnavas. The exact reference also we may get in Seventh act of Abhijnakuntalam (7.1) where king Duyanta was being invited by Indra and extended hospitality. The hospitality, which was extended to Duyanta by Indra by offering a beautiful garland of Mandrapupa. It is said in Abhijnakuntalam-

- - Abhijnakuntalam 7.2. In Vikramorvayam, after getting invitation from Indra, Pururav indulged in war and put Daityas in to ocean by his powerful arrows. It is said-

Vikramorvayam 1.19. Klidsa sometime utters the name of other Gods while composing drm-s. In Vikramorvayam he utters the name of Brahm, when explaining the extra ordinary beauty of Urvas. He says- - Vikramorvayam-1.10. In Mlavikgnimittram, Klidsa explains the name of Viu who has sifted Rukmin and got marry her. Klidsa says- Mlavikgnimitram- 5.2.

Again we also noticed that very frequently Klidsa utters the name of iva in Mangalcaranam of all three drma-s as critics described him as a aiva- a great believer of ivatattva.

Finally, in this research paper an attempt has been made to establish the philosophical thoughts as reflected in the dramas of the great poet Klidsa.

References

1. Mahkavi Klidsa Dr. Prabhu Dayal Agnihotri- Eastern Book Linkers, Delhi, 1997

2. Klidsa Vyakti tath Abhivyakti- Dr.Prabhkar Narayan Kavathekar- Nag Publication, Delhi,2009

3. Klidsa Dr. V.V. Mirashi Popular Prakashan, Bombay -1969

4. Klidsa : Afresh Prof. Satya Pal Naranga, Nag Publisher , Delhi- 1997

5. Works of Klidsa C.R. Devadhar Motilal Banarasidass, Delhi- 1984

6. Klidsa A critical study- Dr. A.D. Singh- Bharatiya Vidya Prakashan, Delhi -1976