Philosophical Discourse in Vatsarāja’s Rūpakas

Sreya K

Research Scholar, Department of Sanskrit General, 
Sree Sankaracharya University of Sanskrit, Kalady, Ernakulam, Kerala 
Email: sreyapavithran29@gmail.com | Phone: 8281386208 

 Abstract 

This paper examines the philosophical dimensions present in the Rūpakas

(dramas) of Vatsarāja, a renowned minister and Sanskrit dramatist. Vatsarāja’s works transcend conventional dramatic themes by incorporating profound reflections on Advaita Vedānta, the philosophical tradition rooted in non-duality, illusion (Māyā), and ultimate reality (Brahman). Focusing on key plays such as Kirātārjunīya Vyāyoga and SamudraMathana Samavakāra, this study analyzes how Vatsarāja intertwines philosophical principles with narrative and character development, making complex ideas accessible to his audience. 

By analyzing his use of characters, dialogues, and plot devices, the paper highlights how Vatsarāja bridges the gap between abstract philosophy and relatable drama. The study underscores the significance of his works in disseminating Vedantic thought, showcasing their enduring relevance in the cultural and intellectual landscape of India. 

 Introduction 

Sanskrit drama has historically served as a medium for addressing profound philosophical and ethical questions. Beyond mere entertainment, these plays engage with the metaphysical concerns of their time, blending storytelling with intellectual inquiry. Vatsarāja, a prominent minister and playwright, exemplifies this tradition in his Rūpakaṣaṭkam (six dramas). His works stand out for their innovative integration of Vedantic philosophy, particularly Advaita Vedānta, into classical theatrical frameworks (Sharma, 2015). 

All these dramas of vatsarāja have been published in Rupakashadkam in the following order;

•   Kirātārjunīya Vyāyoga(pp.1-21)
• Hāsyacūḍāmaṇi Prahasana(pp.23-35)
• Karpūracarita Bhāṇa(pp.37.74)
• Rukminīharaṇa Īhāmṛga(pp.75-117)
• Samudramathana Samavakāra(pp.118-148)
•  Tripuradāha Ḍima(pp.149-191)

During Vatsarāja’s era, the teachings of Advaita Vedānta, which emphasize the oneness of reality (Brahman) and the illusory nature of the world (Māyā), were deeply influential. Śaṅkarācārya’s interpretations had established Advaita Vedānta as a dominant intellectual paradigm (Dasgupta, 2000). This paper explores how Vatsarāja’s dramas reflect this intellectual milieu, focusing on Kirātārjunīya Vyāyoga and Samudramathana Samavakāra. 

Kirātārjunīya Vyāyoga and SamudraMathana Samavakāra

The Vyayoga written by our poet showcases a unique blend of characters and themes. The central conflict between Arjuna and Siva in the form of Kirāta forms the backbone of the story. The characters such as Arjuna, Śankara, Indra, and Duryodhana are well-known and the protagonist Arjuna is portrayed as a strong and determined individual. The play lacks the element of searching for a seed, as the objective of seeing Lord Shiva through penance is clear from the beginning. Additionally, there are no hindrances or curses that impede the characters from achieving their goals, which results in a lack of a pause juncture. The play is filled with intense emotions such as Vīra, Raudra, and Adbhuta, and the combat scenes are driven by the mystery surrounding the death of a swine rather than any romantic entanglements. Spanning just a single day, the Vyayoga features a predominantly male cast including Arjuna, Śankara, Indra, Duryodhana, and others, making it a captivating and action-packed theatrical experience.

Vatsarāja’s Samudramathana Samavakara, known for its adherence to Dananjaya’s principles, draws upon themes from the Ramayana (Bālakānda, 45th canto) and Mahabharata (Adiparva, Chapters 17-19). The play encompasses all narrative junctures except the pause. The opening juncture (= mukha sandhi) begins with Sthapaka’s suggestion to seek the king or the ocean for fulfillment of desires, leading to Lakshmi’s worship of Vishnu with flowers. The progression juncture (= pratimukha sandhi) covers the gods and demons arriving with Mount Mandara for the ocean’s churning, followed by Shiva instructing Krishna to protect the churning’s outcomes. The development juncture (= garbha sandhi) involves Bali being deceived by Vaikuntha and Vainateya disguised as women, and Sukra recognizing Vishnu amidst the chaos. The conclusion juncture (nirvahana sandhi) spans Krishna’s conversation with Lakshmi to the play’s final verse.

 Similar to Tripuradāha Dima, this play also employs the grandiose, horrific, eloquent, and to some extent, gay styles, particularly in Vishnu and Lakshmi’s amorous descriptions. Its twelve heroes include Vishnu, Brahma, Shiva, Indra, Kubera, Vayu, Varuna, Yama, Vasuki, Meru-Mandara, Nirrti, and Agni, each achieving different rewards from the ocean’s churning. The play encompasses all eight sentiments – Srigāra, Raudra, Bhayanaka, Bībhatsa, Karuṇa, Hāsya, Adbhuta, and Śānta, with heroism prevailing. Three acts depict various forms of deception, from Bali and Kujambha in the first act to Vaikuntha and Vainateya’s supernatural tricks in the second act, and Sukra’s strategy in the third act.

Furthermore, it explores three types of love: worship-driven affection between Vishnu and Lakshmi, Lakshmi’s acquisition of Vishnu and the Kaustubha jewel, and the passionate love between Vishnu in his enchanting female form and Bali. The play also induces three types of excitement – the gathering of gods and demons for ocean churning akin to besieging a city, the gods’ triumph over demons in the second act, and the havoc caused by wind and fire. As the narrative flows uninterrupted, it lacks the element of expansion (= bindu).16

It is important to note the significant variations in the peculiarities of the dramas, and the skillful manner in which the author of the RS has incorporated these differences in his six plays. It is worth mentioning that the medieval dramatists, such as Vatsarāja, did not strictly adhere to ancient dramaturgical rules. Instead, they showed a preference for experimenting with different styles and techniques.

 Philosophical Context 

The intellectual climate of medieval India was profoundly shaped by Advaita Vedānta. This school of thought posits that ultimate reality (Brahman) is singular and indivisible, while the phenomenal world is an illusion (Māyā) born of ignorance (Avidyā). Śaṅkarācārya’s commentaries had popularized these ideas, influencing literature and art (Radhakrishnan, 1996). 

Vatsarāja’s plays reflect this philosophical backdrop. For instance, the concluding verse of Kirātārjunīya Vyāyoga expresses a wish that Śaṅkara’s philosophy (Śankarādvaita) may dwell in the minds of noble individuals (Vatsarāja, Kirātārjunīya Vyāyoga, Verse 61). Such references highlight the playwright’s engagement with Vedantic thought and his intent to make these ideas accessible through drama.  

Vedantic Thought in Kirātārjunīya Vyāyoga

Kirātārjunīya Vyāyoga dramatizes the mythological encounter between Arjuna and Lord Śiva in the guise of a hunter. This one-act play explores key Vedantic themes: 

• Illusory Nature of Duality

   The conflict between Arjuna and the Kirāta symbolizes the tension between the individual soul (jīvātman) and ultimate reality (Brahman). Their eventual reconciliation reflects the Advaitic realization that perceived dualities are illusory (Sankaranarayanan, 2019). 

• Ethical Dilemmas and Dharma 

   Arjuna’s unwavering commitment to his duty (dharma) illustrates the Vedantic principle of niṣkāma karma (selfless action), which purifies the mind and prepares it for self-realization (Dasgupta, 2000). 

• Union of Knowledge and Devotion

   The resolution of the play emphasizes the synthesis of knowledge (jñāna) and devotion (bhakti), aligning with Śaṅkara’s teachings that both are essential for liberation (Sharma, 2015). 

Vedantic Themes in Samudramathana Samavakāra

In Samudramathana Samavakāra, Vatsarāja dramatizes the mythological episode of the churning of the ocean, embedding profound philosophical ideas: 

•  Unity in Diversity

   The collaboration between Devas and Asuras reflects the Advaitic principle of unity underlying apparent dualities (Radhakrishnan, 1996). 

The Ocean as Consciousness

  The ocean represents Brahman, while the churning symbolizes the quest for self-knowledge. The emergence of both nectar and poison signifies the dual outcomes of human effort, highlighting the importance of discernment (viveka) (Sharma, 2015). 

• Divine Intervention

   The roles of Viṣṇu and Śiva underscore the interplay between self-effort (puruṣārtha) and divine grace (prasāda) in the path to liberation (Dasgupta, 2000). 

 Conclusion 

Vatsarāja’s Rūpakas demonstrate the remarkable potential of Sanskrit drama as a medium for philosophical exploration. By blending Advaita Vedānta with engaging narratives, his works transcend their literary value, serving as profound commentaries on life, morality, and the nature of reality. 

This study highlights how Vatsarāja’s integration of Vedantic principles into drama makes complex ideas accessible to a broader audience. His ability to merge storytelling with philosophical discourse reflects the sophistication of classical Sanskrit theater and its enduring relevance. Vatsarāja’s contributions thus hold significance not only for their artistic excellence but also for their role in the dissemination of Indian philosophical thought. 

 References 

1. Dasgupta, S. (2000). A History of Indian Philosophy. Motilal Banarsidass. 
2. Radhakrishnan, S. (1996). Indian Philosophy, Vol. 2. Oxford University Press. 
3. Sankaranarayanan, S. (2019). Essays on Advaita Vedanta. Sri Ramakrishna Math. 
4.  Sharma, C. (2015). A Critical Survey of Indian Philosophy. Motilal Banarsidass. 
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6. Social life in the works of Vatsarāja, Pūran Singh Niranjan, 1999
7. Bharatamuniyude Nātyaśāstram, K.P.Nārāyaṇapiṣāroti(Ed.), Kerala Sahitya Akademi,Thrissur, 1987.
8. Samskrta Nātaka Tarjjamakal, Vallathol Nārāyaṇa Menon, Vallathol Press, Cheruthuruthy, 1978.
9.  A Collection of Six Dramas of Vatsarāja, Chimanlal D. Dalal(Ed.),Central Library , Baroda, 1918.
10. Daśarūpakam of Dhanaňjaya, T.Venkatacharya(Ed.),Adyar Library and Research Centre,1969.