a critical appreciation of “mrichchhakatika”

Indian Institute of Science Education & Research, Kolkata Semester III – Nov. 2008

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A critical appreciation of “Mrichchhakatika” Mrichchhakatika – The Little Clay Cart

Harsh Purwar

Roll: 07MS – 76

‘Mrichchhakatika’ or ‘The Little Clay Cart’ is an ancient Sanskrit play written by King

Sudraka (Ujjayini) in around 3rd

century A.D. It is one of the oldest of all the so far known

Sanskrit plays in Indian Literature. Concerning the life, the date and the very identity of the

author King Sudraka, we are curiously ignorant. No other work is ascribed to him and we

have no direct information about him till date beyond the somewhat fanciful and

exaggerated self praising statements in the prologue of this play. Surely there are many

tales, which cluster about the name of King Sudraka but none of them found so far

represents him as an author. A few years back the age and even the authorship of this play

was uncertain. After the unexpected discovery of the plays of Bhasa provided us with new

data and brought light to the drama Charudatta whose enlarged and completed version

Mrichchhakatika seems to be.

Mrichchhakatika is one of the most famous prakaranas i.e. a play whose plot or �� is

partly derived from the history and partly is a creation of the author’s fancy of the ancient

India that is not based on the epic material and is full of rascals. It is natural that Sudraka

should choose for the expression of matters so diverse that type of drama which gives the

greatest scope to the author's creative power. This type is the so-called “drama of

invention”, a category curiously subordinated in India to the heroic drama, the plot of which

is drawn from history or mythology. Indeed, Mrichchhakatika is the only extant drama which

fulfils the spirit of the drama of invention, as defined by the Sanskrit canons of dramaturgy.

An exaggerated tongue-in-cheek self-praise by the author begins as:

Who vied with elephants in lordly grace;

Whose eyes were those of the chakora bird

That feeds on moonbeams; glorious his face

As the full moon; his person, all have heard,

Was altogether lovely. First in worth

Among the twice-born was this poet, known

As Sudraka far over all the earth, –

His virtue's depth unfathomed and alone.

And again:

The Samaveda, the Rigveda too,

The science mathematical, he knew;

The arts wherein fair courtesans excel,

And all the lore of elephants as well.

Through Shiva's grace, his eye was never dim;

He saw his son a king in place of him.

The difficult horse-sacrifice he tried

Successfully; entered the fiery tide,


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One hundred years and ten days old, and died.

And yet again:

Eager for battle; sloth's determined foe;

Of scholars chief, who to the Veda cling;

Rich in the riches that ascetics know;

Glad, giant the foeman's elephant to show

His valor; – such was Sudraka, the king.

And in this work of his,

Within the town, Avanti named,

Dwells one called Charudatta, famed

No less for youth than poverty;

A merchant’s son and Brahman, he.

His virtues have the power to move

Vasantasena’s inmost love;

Fair as the springtime’s radiancy,

And yet a courtesan is she.

So here king Sudraka the tale imparts

Of love’s pure festival in these two hearts,

Of prudent acts, a lawsuit’s wrong and hate,

A rascal’s nature, and the course of fate.

According to its prologue, Sudraka was a Kshatriya king of some country (not mentioned)

brave and handsome in appearance knowing Rigveda, Samaveda and mathematics. He knew

the art of regarding courtesans and the science of training elephants; was a devotee of Lord

Siva and had performed the Asvamedha sacrifice. The great King died at the ripe age of

hundred years and ten days. Due to lack of information, facts and evidences the authorship

of this play is still uncertain. There are many theories prevailing about the same, but none of

them could be considered reliable.

Kalidasa – “the grace of poetry” and Bhavabhuti – “the master of eloquence” are far more

intimately allied in spirit than is either of them with the author of Mrichchhakatika. Kalidasa

and Bhavabhuti are Hindus of the Hindus; the Shakuntala and the Latter Acts of Rama could

have been written nowhere save in India: but Sudraka, alone in the long line of Indian

dramatists, has a cosmopolitan character. Shakuntala is a Hindu maid, Madhava is a Hindu

hero; but Sansthanaka and Maitreya and Madanika are citizens of the world. In some of the

more striking characteristics of Sanskrit literature – in its fondness for system, its

elaboration of style, its love of epigram – Kalidasa and Bhavabhuti are far truer to their

native land than is Sudraka. In Sudraka we find few of those splendid phrases in which, as

the Chinese say, “it is only the words which stop, the sense goes on,” – phrases like

Kalidasa’s “there are doors of the inevitable everywhere,” or Bhavabhuti’s “for causeless

love there is no remedy.” As regards the predominance of swill-moving action over the

poetical expression of great truths, The Little Clay Cart stands related to the Latter Acts of

Rama as Macbeth does to Hamlet. Again, Sudraka’s style is simple and direct, a rare quality

in a Hindu; and although this style, in the passages of higher emotion, is of an exquisite

Indian Institute of Science Education & Research, Kolkata

simplicity, yet Sudraka cannot infuse into mere language the charm which we find in

Kalidasa or the majesty which we find in Bhavabh

Dhuta (Charudatta’s wife)

Yet Sudraka's limitations in regard to stylistic power are not

love of style slowly strangled originality

proved the death of Sanskrit literature. Now just at this point, where other

are weak, Sudraka stands forth preeminent. Nowhere

dramas do we find such variety,

and nowhere else, in the drama at

The characters of the Mrichchhakatika are living men and women. It is quite evident from

the play that Sudraka’s men are better individualized than his women. The characters

include every class of individuals in the society from Brahmans to executioner to

housemaids.

Mrichchhakatika – a ten act play based on the love of Charud

inhabitant of Ujjayini (also called Avanti)

minded courtesan of the same city. The play begins with

benedictory stanza which basically is a prayer for the people of the world. Author asks Lord

Siva to protect the people from all kind

bounds of mind and body. This is followed by s

told to the audience by the director of the play in a poetic sense.

starts with a conversation between Charudatta and his poor but honest old friend Maitreya

on a very subtle and clear cut topic of poverty. Charudatta was a wealthy person a few years

back but now he has turned into a poor guy. For him honor was, much important than the

life itself. He valued wealth only because it supplied him the means of serving others.

character of Charudatta in the play is very

audience that he being so poor –

Indian Institute of Science Education & Research, Kolkata Semester III

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cannot infuse into mere language the charm which we find in

or the majesty which we find in Bhavabhuti.

Dhuta (Charudatta’s wife) giving her

necklace to Charudatta.

in regard to stylistic power are not without their compensation. For

love of style slowly strangled originality and enterprise in Indian poets, and ultimately

death of Sanskrit literature. Now just at this point, where other Hindu writers

draka stands forth preeminent. Nowhere else in the hundreds of Sanskrit

dramas do we find such variety, and such drawing of character, as in The Little Clay Cart;

and nowhere else, in the drama at least, is there such humor.



include every class of individuals in the society from Brahmans to executioner to

play based on the love of Charudatta, a prominent but poor

(also called Avanti) and Vasantasena, an exquisitely beautiful and pure

courtesan of the same city. The play begins with prologue consisting of a


Siva to protect the people from all kinds of pain and prejudice, free them from all kind of

bounds of mind and body. This is followed by some interesting particulars about the author

told to the audience by the director of the play in a poetic sense. The first act of the play


cut topic of poverty. Charudatta was a wealthy person a few years

s turned into a poor guy. For him honor was, much important than the

life itself. He valued wealth only because it supplied him the means of serving others.

in the play is very significantly designed with a message to its

– was a very rich person in qualities and moralities

Semester III – Nov. 2008

cannot infuse into mere language the charm which we find in

without their compensation. For

and enterprise in Indian poets, and ultimately

Hindu writers

else in the hundreds of Sanskrit

and such drawing of character, as in The Little Clay Cart;



include every class of individuals in the society from Brahmans to executioner to the

tta, a prominent but poor

sena, an exquisitely beautiful and pure

prologue consisting of a


, free them from all kind of

ome interesting particulars about the author

The first act of the play


cut topic of poverty. Charudatta was a wealthy person a few years

s turned into a poor guy. For him honor was, much important than the

life itself. He valued wealth only because it supplied him the means of serving others. The

message to its

moralities.


Soon after this Vasantasena enters

of King Palaka of Ujjayini. Vasantasena takes refuge in Charudatta’s house and after being

introduced leaves her ornaments with Charudatta.

in love with him. On the contrary Charudatta being innocent, honest and helpful helps her

by taking care of her ornaments given to him by Vas

character of Vasantasena who neither have the girlish charm of Shakuntala nor the mature

womanly dignity of Sita. She is in a state which is an

admirable than lovable.

To gain a rough idea of Sudraka's variety, we have only to recall the names of the acts of the

play. Here The Shampooer who Gambled and The Hole in the W

The Storm and The Swapping of the Bullock

Vasantasena. From farce to tragedy, from satire to pathos, runs the story, with a breadth

truly Shakespearian. Here we have philosophy:

The lack of money is the root of all evil.

And pathos:

My body wet by tear

My limbs polluted by the clinging mud;

Flowers from the graveyard torn, my wreath appalling;

For ghastly sacrifice hoarse ravens calling,

And for the

And nature description:

But mistress, do not scold the li

This golden c

Of great Air

Of rocky hills this banner all ablaze;

This lamp in Indra's

As telling where your most belov

And genuine bitterness:

Pride and tricks and l


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Charudatta and Vasantasena

Soon after this Vasantasena enters - being chased by Sakara (Sansthanaka), brother


introduced leaves her ornaments with Charudatta. She already knew Charudatta was fallen

the contrary Charudatta being innocent, honest and helpful helps her

by taking care of her ornaments given to him by Vasantasena. To the contrary is the


in a state which is an intermediate of the two.

draka's variety, we have only to recall the names of the acts of the

play. Here The Shampooer who Gambled and The Hole in the Wall are shortly followed by

and The Swapping of the Bullock-carts is closely succeeded by The Strangling of

. From farce to tragedy, from satire to pathos, runs the story, with a breadth

. Here we have philosophy:

e lack of money is the root of all evil.

My body wet by tear-drops falling, falling;

My limbs polluted by the clinging mud;

Flowers from the graveyard torn, my wreath appalling;

For ghastly sacrifice hoarse ravens calling,

And for the fragrant incense of my blood.

But mistress, do not scold the lightning. She is your friend,

This golden cord that trembles on the breast

Of great Airavata; upon the crest

Of rocky hills this banner all ablaze;

This lamp in Indra's palace; but most blest

As telling where your most beloved stays.

Pride and tricks and lies and fraud


sthanaka), brother-in-law


She already knew Charudatta was fallen

the contrary Charudatta being innocent, honest and helpful helps her

To the contrary is the


intermediate of the two. She is more

draka's variety, we have only to recall the names of the acts of the

e shortly followed by

carts is closely succeeded by The Strangling of

. From farce to tragedy, from satire to pathos, runs the story, with a breadth


False playground of the

The w

Epitome of

For sale! the price is courtesy.

I trust you'll find a man to buy

But a spirit so powerful as that of King Su

of the minute, and sometimes puerile, rules of the

drams, he has disregarded the rule

formed by compounding the names of heroine and hero.

hero shall appear in every act; yet Ch

(iv), (vi), and (viii). And further, various characters, Vasantasen

others, have vastly gained because they do not conform too

definitions.

Vasantasena going to Charudatta’s house

His greatest character is unquestionably Sansthanaka, this co

brutal lust, and cunning, this greater

can say:

“Oh, come!

Most attractive characters are the five c

the ten commandments.” They live from hand to mouth, ready

gem-casket or to take part in a revolution,

gentlemen and their irresistible conceit. And side by side with them moves the hero

Charudatta, the Buddhist beau-ideal of manhood,

A tree of life to them, whose sorrows grow,

Beneath its fruit of virtue bending

In Maitreya, the Vidushaka, there is an instance of the author’

the dry bones of a rhetorical defini


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Are in your face;

False playground of the lustful god,

Such is your face;

The wench's stock in trade, in fine,

Epitome of joys divine, I mean your face –

For sale! the price is courtesy.

I trust you'll find a man to buy

Your face.

so powerful as that of King Sudraka could not be confined within the strait

puerile, rules of the technical works. In the very title of the

he has disregarded the rules that the name of a drama of invention

formed by compounding the names of heroine and hero. Again, the books prescribe that the

yet Charudatta does not appear in various acts

further, various characters, Vasantasena, Maitreya, the courtier,

others, have vastly gained because they do not conform too closely to the technical

Vasantasena going to Charudatta’s house

His greatest character is unquestionably Sansthanaka, this combination of ignorant conceit,

brutal lust, and cunning, this greater than Cloten, who, after strangling an innocent woman,

Oh, come! Let's go and play in the pond.”

are the five conspirators, men whose home is “east of Suez

They live from hand to mouth, ready at any moment to steal a

casket or to take part in a revolution, and preserving through it all their character as

irresistible conceit. And side by side with them moves the hero

ideal of manhood,

A tree of life to them, whose sorrows grow,

Beneath its fruit of virtue bending low.

there is an instance of the author’s masterly skill in giving life to

the dry bones of a rhetorical definition. The Vidushaka is a stock character who has


confined within the strait-jacket

technical works. In the very title of the

s that the name of a drama of invention should be

Again, the books prescribe that the

acts like in act (ii),

, Maitreya, the courtier, and

closely to the technical

bination of ignorant conceit,

ng an innocent woman,

east of Suez and

at any moment to steal a

preserving through it all their character as

irresistible conceit. And side by side with them moves the hero

masterly skill in giving life to

shaka is a stock character who has


something in common with a jester; and in Maitreya the essential t

eagerness for good food and other creature comforts,

– are retained, to be sure, but clarified and elevated by his quaint humor and his readiness

to follow Charudatta even in death. The grosser

Maitreya is neither a glutton nor a fool,

The courtier is another character suggested by the technical

genius of Sudraka. He is a man not only of education and social refinement, but also of real

nobility of nature. But he is in a false position from the first, this

wretched court of King Palaka; at last he

all that makes life attractive, by backing Aryaka. Of all the conspirators, it is he

greatest risk. To his protection of Vasantasen

remember that he was himself in love with her.

a thought, to enter Charudatta's house, does he realize how

indeed, he breaks forth in words of the

the other characters, except to observe

each helps to make vivid this picture of a society that

Sudraka's humor is the third of his vitally distinguishing qualities.

American flavor, both in its puns

adequately reproduced in translation, but the situations are independent of

Sudraka's humor runs the whole gamut, from grim

variety and keenness are such that King Su

greatest of Occidental writers of comedies.

It remains to say a word about the construction of the play.

than this, the main action halts

almost forget that the main plot

Indeed, we have in Mrichchhakatika

forms with acts (vi) to (x), a consistent

might be combined with acts (

second act, clever as it is, has little real connection


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common with a jester; and in Maitreya the essential traits of the

gerness for good food and other creature comforts, and blundering devotion to his friend

but clarified and elevated by his quaint humor and his readiness

rudatta even in death. The grosser traits of the typical Vidushaka are lacking.

Maitreya is neither a glutton nor a fool, but a simple-minded, whole-hearted friend.

Charudatta with his son

The courtier is another character suggested by the technical works, and transformed by the

not only of education and social refinement, but also of real

of nature. But he is in a false position from the first, this true gentleman at the

laka; at last he finds the courage to break away, and risks life, and

life attractive, by backing Aryaka. Of all the conspirators, it is he

greatest risk. To his protection of Vasantasena is added a touch of infinite pathos when we

himself in love with her. Only when Vasantasena leaves him

rudatta's house, does he realize how much he loves her; then,

indeed, he breaks forth in words of the most passionate jealousy. We need not linger over

except to observe that each has his marked individuality,

each helps to make vivid this picture of a society that seems at first so remote.

draka's humor is the third of his vitally distinguishing qualities. This humor has an

American flavor, both in its puns and in its situations. The plays on words can seldom be

in translation, but the situations are independent of language. And

draka's humor runs the whole gamut, from grim to farcical, from satirical to quaint. Its

such that King Sudraka need not fear a comparison with the

greatest of Occidental writers of comedies.

It remains to say a word about the construction of the play. Obviously, it is too long. More

than this, the main action halts through acts (ii) to (v), and during these episodic acts we

forget that the main plot concerns the love of Vasantasena and Charudatta.

Mrichchhakatika the material for two plays. The larger part of act

consistent and ingenious plot; while the remaining part

(iii) to (v) to make a pleasing comedy of lighter tone. The

econd act, clever as it is, has little real connection either with the main plot or with the


raits of the character –

and blundering devotion to his friend

but clarified and elevated by his quaint humor and his readiness

haka are lacking.

hearted friend.

transformed by the

not only of education and social refinement, but also of real

true gentleman at the

nd risks life, and

who runs the

added a touch of infinite pathos when we

leaves him without

much he loves her; then,

most passionate jealousy. We need not linger over

that each has his marked individuality, and that

This humor has an

its situations. The plays on words can seldom be

language. And

to farcical, from satirical to quaint. Its

draka need not fear a comparison with the

Obviously, it is too long. More

, and during these episodic acts we

rudatta.

for two plays. The larger part of act (i)

ing part of act (i)

lighter tone. The

either with the main plot or with the


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story of the gems. The breadth of treatment which is observable in this play is found in

many other specimens of the Sanskrit drama, which has set itself an ideal different from

that of our own drama. The lack of dramatic unity and consistency is often compensated,

indeed, by lyrical beauty and charms of style; but it suggests the question whether we might

not more justly speak of the Sanskrit plays as dramatic poems than as dramas.

References:

Photos copied from:

• www.drama.uga.edu/gallery/thumbnails.php?album=6

• http://www.artscatter.com/wp-content/uploads/2008/08

• www.ovationist.com/?postid=54

• http://www.theaterdogs.net/2008/06/20/more-oregon-shakespeare-fest-reviews/

• Google Image Search: http://images.google.co.in/imghp?hl=en&tab=wi

Other context references are:

• The Mrichchhakatika of Sudraka – Edited by M. R. Kale, Motilal Banarsidass, Delhi

(2004).

• Two plays of ancient India : The little clay cart; The minister's seal / translated from

Sanskrit and Prakrit, with an introduction, by J.A.B. van Buitenen, Motilal

Banarsidass, Delhi (1971).

• The Little Clay Cart [Mrcchakatika], A Hindu Drama, Edited by Arthur William Ryder,

Instructor in Sanskrit, Harvard University (1905).

a critical appreciation of “mrichchhakatika”

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