THE TWO MINOR DRAMAS
Project Gutenberg EPUB edition
Kālidāsa and Ryder, Arthur W. (Arthur William)
I.—"MALAVIKA AND AGNIMITRA"
Malavika and Agnimitra is the earliest of Kalidasa's three dramas, and probably his earliest work. This conclusion would be almost certain from the character of the play, but is put beyond doubt by the following speeches of the prologue:
Stage-director. The audience has asked us to present at this spring festival a drama called Malavika and Agnimitra, composed by Kalidasa. Let the music begin.
Assistant. No, no! Shall we neglect the works of such illustrious authors as Bhasa, Saumilla, and Kaviputra? Can the audience feel any respect for the work of a modern poet, a Kalidasa?
Stage-director. You are quite mistaken. Consider:
Not all is good that bears an ancient name, Nor need we every modern poem blame: Wise men approve the good, or new or old; The foolish critic follows where he's told.
Assistant. The responsibility rests with you, sir.
There is irony in the fact that the works of the illustrious authors mentioned have perished, that we should hardly know of their existence were it not for the tribute of their modest, youthful rival. But Kalidasa could not read the future. We can imagine his feelings of mingled pride and fear when his early work was presented at the spring festival before the court of King Vikramaditya, without doubt the most polished and critical audience that could at that hour have been gathered in any city on earth. The play which sought the approbation of this audience shows no originality of plot, no depth of passion. It is a light, graceful drama of court intrigue. The hero, King Agnimitra, is an historical character of the second century before Christ, and Kalidasa's play gives us some information about him that history can seriously consider. The play represents Agnimitra's father, the founder of the Sunga dynasty, as still living. As the seat of empire was in Patna on the Ganges, and as Agnimitra's capital is Vidisha—the modern Bhilsa—it seems that he served as regent of certain provinces during his father's lifetime. The war with the King of Vidarbha seems to be an historical occurrence, and the fight with the Greek cavalry force is an echo of the struggle with Menander, in which the Hindus were ultimately victorious. It was natural for Kalidasa to lay the scene of his play in Bhilsa rather than in the far-distant Patna, for it is probable that many in the audience were acquainted with the former city.
It is to Bhilsa that the poet refers again in The Cloud-Messenger, where these words are addressed to the cloud:
At thine approach, Dasharna land is blest With hedgerows where gay buds are all aglow, With village trees alive with many a nest Abuilding by the old familiar crow, With lingering swans, with ripe rose-apples' darker show.
There shalt thou see the royal city, known Afar, and win the lover's fee complete, If thou subdue thy thunders to a tone Of murmurous gentleness, and taste the sweet, Love-rippling features of the river at thy feet.
Yet in Kalidasa's day, the glories of the Sunga dynasty were long departed, nor can we see why the poet should have chosen his hero and his era as he did.
There follows an analysis of the plot and some slight criticism.
In addition to the stage-director and his assistant, who appear in the prologue, the characters of the play are these:
DRAMATIS PERSONÆ
AGNIMITRA,
king in Vidisha.
GAUTAMA,
a clown, his friend.
GANADASA
}dancing-masters.
HARADATTA
DHARINI,
the senior queen.
IRAVATI,
the junior queen.
MALAVIKA,
maid to Queen Dharini, later discovered to be a princess.
KAUSHIKI,
a Buddhist nun.
BAKULAVALIKA,
a maid, friend of Malavika.
NIPUNIKA,
maid to Queen Iravati.
A counsellor, a chamberlain, a humpback, two court poets, maids, and mute attendants.
The scene is the palace and gardens of King Agnimitra, the time a few days.
ACT I.—After the usual prologue, the maid Bakulavalika appears with another maid. From their conversation we learn that King Agnimitra has seen in the palace picture-gallery a new painting of Queen Dharini with her attendants. So beautiful is one of these, Malavika, that the king is smitten with love, but is prevented by the jealous queen from viewing the original. At this point the dancing-master Ganadasa enters. From him Bakulavalika learns that Malavika is a wonderfully proficient pupil, while he learns from her that Malavika had been sent as a present to Queen Dharini by a general commanding a border fortress, the queen's brother.
After this introductory scene, the king enters, and listens to a letter sent by the king of Vidarbha. The rival monarch had imprisoned a prince and princess, cousins of Agnimitra, and in response to Agnimitra's demand that they be set free, he declares that the princess has escaped, but that the prince shall not be liberated except on certain conditions. This letter so angers Agnimitra that he despatches an army against the king of Vidarbha.
Gautama, the clown, informs Agnimitra that he has devised a plan for bringing Malavika into the king's presence. He has stirred an envious rivalry in the bosoms of the two dancing-masters, who soon appear, each abusing the other vigorously, and claiming for himself the pre-eminence in their art. It is agreed that each shall exhibit his best pupil before the king, Queen Dharini, and the learned Buddhist nun, Kaushiki. The nun, who is in the secret of the king's desire, is made mistress of ceremonies, and the queen's jealous opposition is overborne.
ACT II.—The scene is laid in the concert-hall of the palace. The nun determines that Ganadasa shall present his pupil first. Malavika is thereupon introduced, dances, and sings a song which pretty plainly indicates her own love for the king. He is in turn quite ravished, finding her far more beautiful even than the picture. The clown manages to detain her some little time by starting a discussion as to her art, and when she is finally permitted to depart, both she and the king are deeply in love. The court poet announces the noon hour, and the exhibition of the other dancing-master is postponed.