Prakrit Apbhramsa Pado Ka Mulyankan

This article, "Vikramorvashiyam Natak ke Chaturth Ank mein Prathit Prakrit-Apabhramsa Padyon ka Kavyamulyankan" by Dr. Rajaram Jain, published in the "Z_Anandrushi_Abhinandan_Granth_012013.pdf" cataloged on jainqq.org, offers a detailed poetic evaluation of the Prakrit and Apabhramsa verses found in the fourth act of Kalidasa's play, Vikramorvashiyam.

The author, Dr. Rajaram Jain, a scholar in Sanskrit and Prakrit, extols Kalidasa as a universal poet whose works are characterized by unparalleled expression and poetic grandeur. He highlights Kalidasa's mastery in depicting nature and human emotions, noting that his observations on human nature hold timeless truth. Kalidasa's portrayal of love is characterized as sweet rather than sensual, emphasizing the supremacy of virtue over pleasure and deeming any love devoid of wisdom as contemptible due to its detrimental effect on individuals and society. The article posits that Kalidasa's characters serve as mirrors to human psychology, evoking deep emotional responses from the audience.

Dr. Jain states that while he cannot cover Kalidasa's entire literary output, this article will focus specifically on the poetic beauty of the thirty-one Prakrit-Apabhramsa verses present in the fourth act of Vikramorvashiyam (18 from backstage and 13 in general narrative context).

The analysis begins by highlighting the opening Prakrit-Apabhramsa verse which sets a mood of separation and longing. The author interprets the imagery of a swan, lamenting in the water, as a symbol of separation, while the blooming lotuses touched by the sun's rays represent the reunion of Pururava and Urvashi. This exemplifies Kalidasa's skillful use of vyanjana (suggestion or implication) to convey multiple layers of meaning.

Further verses are analyzed, where the author suggests that the two swans weeping in separation symbolize Urvashi's companions, Chitralekha and Sahajanya, lamenting her impending separation. The article emphasizes how these verses, even if seemingly similar, contribute to a beautiful poetic atmosphere, allowing the audience to grasp the dramatic content from the backstage sounds alone.

The article discusses Pururava's state of distress in the play, where he experiences separation from Urvashi in his dreams. He mistakes clouds for Urvashi and lightning for her form, chasing them through the forest. The author explains that Kalidasa uses this bhrantiman (illusion) state to vividly portray the hero's mental anguish. The verses in Prakrit are seen as effectively conveying these complex emotions that might be challenging to express solely in Sanskrit.

Dr. Jain points out that the verses often utilize symbolism, with Pururava being compared to an elephant maddened by separation, and later to a swan. He argues that these symbolic representations, conveyed through the backstage pronouncements, are essential for expressing Pururava's sorrow and that critics who deem them interpolations miss the profound artistic intent.

The article emphasizes that Kalidasa employs Prakrit verses to express intense emotions that he found difficult to convey in Sanskrit. He uses natural elements like peacocks, cuckoos, swans, and chakravakas to help Pururava seek his beloved Urvashi. The author provides an example of Pururava describing Urvashi's physical attributes to a deer, allowing for a vivid description of her beauty, akin to those found in Ajanta cave paintings.

The author quotes scholar Chandrabali Pandey, who suggests these Prakrit verses are a projection of the king's own life, bursting forth in Prakrit due to the arousal of passion. He argues that these verses are integral to the play and not interpolations, and that a close reading reveals their purpose.

The language of these verses is identified as being close to Apabhramsa, employing metrical patterns characteristic of Apabhramsa literature. While a detailed linguistic and grammatical analysis is not undertaken, the article focuses on their poetic value.

The verses are rich in similes and metaphors, contributing to their musicality and imagery. The skillful selection and arrangement of words create a sense of fluidity, likened to the flow of a river in autumn. The author highlights how the verses evoke a visceral emotional response, making the experience of separation palpable.

The article notes the musicality created by the use of words, emphasizing how sounds and rhythm contribute to the overall rasa (aesthetic experience). The specific choice of short and simple words, deviating from ordinary language, contributes to the poetic quality and musicality.

The imagery employed in the verses is also discussed, with descriptions of Urvashi's features using comparisons like "doe-eyed" (mrigalochani) and "swan-like gait" (hamsa-gai). These similes not only describe physical attributes but also convey abstract qualities like alertness and grace, giving concrete form to the hero's feelings.

The article further points out the use of adjectives, verbs, and words describing mental states to enhance the expression of separation. The author provides examples of how these elements contribute to conveying the hero's emotional turmoil.

A significant contribution of these verses, according to the author, is their early demonstration of rhyming and rhythmic patterns characteristic of Apabhramsa, suggesting their importance for studying the origins of later metrical forms, including those found in folk songs. The article lists various metrical forms found in these verses, such as Gaha, Gahu, Gathini, Singhani, Skandhaka, Doha, Rasika, Chhappaya, Radda, Madhubhara, and Duvai.

In conclusion, Dr. Rajaram Jain asserts that these Prakrit-Apabhramsa verses are as significant from a poetic perspective as they are from a linguistic one. Kalidasa's use of the Vaidarbhi style, characterized by sweet and graceful language, is evident, with the verses exhibiting qualities of prasada (clarity and ease) without any forced or artificial word choices. The article emphasizes that these verses are integral to conveying the deep emotions of separation and are a testament to Kalidasa's artistic genius.