Anargharāghava
Anargharāghava is a well-known play, based on the epic of Rāmāyaṇa. The life of Rāma is depicted in the play with minor changes to give a dramatic effect to the piece. For example, the length of the scene where in Rāma is sent to the forest is cut short to a simple scene without much emotions played around by several characters. Also, the speed of narration in line with this scene, is faster compared to original Valmīki Rāmāyaṇa.
Murāri’s emphasis on writing a play rather than a collection of beautiful stanzas is evident in the numerous references to plays and theatre. These allusions are intended to demonstrate the playwright’s knowledge. Still, their primary purpose is to show how many heroes are manipulated by those who plot against them, such as Viśvāmitra, Rāma’s preceptor.
Murāri follows the tradition of Bhavbhūti’s Mahvīracarita in telling the Rāma story as a story of intrigues but renews it with parallels from the world of theatre. Given that designers stage the enmity between Rāma and Rāvaṇa, it is a significant turning point in the play where, in Act 6, when Rāvaṇa is killed, Rāma is presented as the stage-manager, at least according to his monkey-ally, Sugrīva, who also includes a few technical terms of theatre in his speech. Anargharāghava, thus revolves round the life of Rāma as a central character.
Murāri’s emphasis on writing a play rather than a collection of beautiful stanzas is evident in the numerous references to plays and theatre. These allusions are intended to demonstrate the playwright’s knowledge. Still, their primary purpose is to show how many heroes are manipulated by those who plot against them, such as Viśvāmitra, Rāma’s preceptor.
Murāri follows the tradition of Bhavbhūti’s Mahvīracarita in telling the Rāma story as a story of intrigues but renews it with parallels from the world of theatre. Given that designers stage the enmity between Rāma and Rāvaṇa, it is a significant turning point in the play where, in Act 6, when Rāvaṇa is killed, Rāma is presented as the stage-manager, at least according to his monkey-ally, Sugrīva, who also includes a few technical terms of theatre in his speech. Anargharāghava, thus revolves round the life of Rāma as a central character.
Seven acts are presented starting from the prologue and introduction until Sītā is rescued from Rāvaṇa’s disgraceful dwelling.
With the much-acclaimed style of elegance, learned allusions, and mesmerising imagery, this play was a great favourite among scholars, although it received little attention in the West until recently. The well-known epic story of Rāma’s raids is presented as a series of political intrigues and battles and contrasted with various lyrical passages: about love and war, pride and honour, gods and demons, rituals and myths, regions and cities in ancient India.
Anargharāghava, as the epic story of Rāma’s exploits is told as a series of political intrigues and battles interspersed with lyrical passages about love and war, pride and honour, gods and demons, rites and myths, and ancient Indian regions and cities. It has long been a favourite of Sanskrit scholars but has received little attention in the West. Its importance shines in the literary world.
The essential details of Sanskrit poets are that the writer’s life and provenance are unknown. It is commonly assumed that he came from Orissa. Still, it is debatable whether it is the Puri festivities mentioned there. He could have come from a neighbouring territory, such as Andra, where he is revered. According to his work and references, he must have lived before the mid-tenth century, and most likely after Bhavabhūti, around the beginning of the eighth century. He names his family (gotra) in the prologue, but we need more certainty about time and place.
The essential details of Sanskrit poets are that the writer’s life and provenance are unknown. It is commonly assumed that he came from Orissa. Still, it is debatable whether it is the Puri festivities mentioned there. He could have come from a neighbouring territory, such as Andra, where he is revered. According to his work and references, he must have lived before the mid-tenth century, and most likely after Bhavabhūti, around the beginning of the eighth century. He names his family (gotra) in the prologue, but we need more certainty about time and place.
1. यान्ति न्यायप्रवृत्तस्य तिर्यञ्चोऽपि सहायताम् । अपन्थानं तु गच्छन्तं सोदरोऽपि विमुञ्चति ॥ [अनर्घराघवम् - १.४] yānti nyāyapravṛttasya tiryañco’pi sahāyatām । apanthānaṃ tu gacchantaṃ sodaro’pi vimuñcati ॥ [anargharāghavam - 1.4]
When the time comes for one who lives on the path of justice, even animals help. But if he follows an evil path in life, even his own brother will abandon him.
2. स्थानेषु शिष्यनिवहैर्विनियुज्यमाना विद्या गुरुं हि गुणवत्तरमातनोति । [अनर्घराघवम् - २.९]
sthāneṣu śiṣyanivahairviniyujyamānā vidyā guruṃ hi guṇavattaramātanoti । [anargharāghavam - 2.9]
Knowledge deployed in the right places by groups of students makes the teacher more knowledgeable, famous, and better.
When the time comes for one who lives on the path of justice, even animals help. But if he follows an evil path in life, even his own brother will abandon him.
2. स्थानेषु शिष्यनिवहैर्विनियुज्यमाना विद्या गुरुं हि गुणवत्तरमातनोति । [अनर्घराघवम् - २.९]
sthāneṣu śiṣyanivahairviniyujyamānā vidyā guruṃ hi guṇavattaramātanoti । [anargharāghavam - 2.9]
Knowledge deployed in the right places by groups of students makes the teacher more knowledgeable, famous, and better.