Some Aspects Of Kaumudimitranand

This document is a summary and analysis of the Jain play "Kaumudimitrānanda" by Ramachandra, a disciple of Acarya Hemacandra, written in the 12th century AD.

The article begins by contextualizing Ramachandra's work within the broader landscape of Sanskrit drama, addressing Western scholars' critiques like Keith's, which lament the decline of Sanskrit drama due to a widening gap between theatrical language and real life, and the use of "dead languages." The author argues that such judgments are unfair, as Indian drama and poetry should be evaluated by Indian standards, focusing on concepts like rasa (sentiment) which are central to Indian dramaturgy.

The core of the article then delves into "Kaumudimitrānanda":

• Author and Context: Ramachandra, a disciple of Hemacandra, wrote three prakarana (a type of Sanskrit drama) plays. Of these, "Rohinimrgānka" is largely lost, while "Mallikāmakarandanāṭaka" and "Kaumudimitrānanda" are available.
• Plot Summary: The play is a ten-Act prakarana detailing the love story of Mitrananda, son of a wealthy merchant, and Kaumudi, daughter of a kulapati (head of a monastery). The plot involves Mitrananda and his companion Maitreya's adventures after a shipwreck, their encounter with a captive Siddha King, Kaumudi's love for Mitrananda and her revelation of deceitful ascetics and the fate of her previous husbands. Kaumudi proposes they elope with treasure. Their journey to Lanka is fraught with peril, including Mitrananda being mistaken for a thief, but he saves the crown prince, Laksmipati, from a snakebite using magical lore. Gratitude leads to Mitrananda and Kaumudi being entrusted to a minister who desires Kaumudi. Mitrananda is sent as a sacrifice, but Maitreya recognizes him. Kaumudi is expelled by the minister's wife and later encounters Sumitra and her family, who are captured by an aboriginal chief, Vajravarman. Mitrananda's friend Makaranda is also captured. A sub-plot develops with Makaranda and Sumitra falling in love. The play concludes with the reunion of Mitrananda and Kaumudi with the Siddha King.
• Ramachandra's Claims and Self-Perception: The play's introduction (amukha) highlights Ramachandra's proficiency and his claim that "Kaumudimitrānanda" is a "treasure of a thousand curiosities" and evokes all sentiments (rasas) and feelings (bhāvas). He asserts his work is superior to predecessors like Murari, particularly in his ability to create various rasas. The author notes Ramachandra's boasting nature and confidence in his originality.
• Influence and Criticism: Ramachandra seems to have been influenced by Bhavabhuti's "Malatimādhava." The article points out a perceived lack of humor and a difficulty in portraying the śṛngāra-rasa (erotic sentiment) vividly, possibly due to Ramachandra's serious nature. The hero, being dhira-praśānta (calm and self-controlled), also limits the scope for martial themes.
• Jain Devotion: As a devout Jain, Ramachandra expresses deep reverence for Lord Rishabha (Rishabhadeva), the first Tirthankara, through several references in the play. He also includes a reference to the sacred Jain mantra paying homage to the pañca-paramēṣṭhins.
• Critique of Other Religions: The play targets the Saivite school of Kapalikas and describes a Katyayani temple with disgust, likely influenced by Bhavabhuti's depiction of a similar cult.
• Definition of Prakarana: The article reiterates the definition of a prakarana as per Dhanamjaya's "Dasarupaka," emphasizing its invented, worldly subject matter, the hero's character, and the heroine's types (noblewoman or courtesan). "Kaumudimitrānanda" is classified as a śuddha (unmixed) prakarana with a noblewoman as the heroine.
• Appreciation and Style: The play is described as fanciful and rich in supernatural and magical elements, contributing to adbhuta-rasa (wonder). While the main plot characters are somewhat impressive, the byplot characters are less effectively depicted. Ramachandra's style is characterized by witty sayings, a fondness for the Vaidarbhi style, brisk dialogues, and lucid prose, although he occasionally uses obscure words. His claim of being a "treasure of curiosities" is largely met, but his claim of evoking all rasas is qualified by the absence of hasya-rasa (humor). He is ranked as a second-rate poet.
• Ramachandra's Thoughts (Subhāṣitas): The play is interspersed with subhāṣitas (wise sayings) that reflect Ramachandra's thoughts on women, love, fate, and human nature. The article provides translations of some of these insightful pronouncements.

In summary, the article provides a detailed analysis of "Kaumudimitrānanda," highlighting its plot, author's background, thematic concerns, and stylistic merits and limitations, while also engaging with critical perspectives on Sanskrit drama and the poet's own self-representation.