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The IUP Journal of English Studies :
Harsha’s Nagananda: An Appraisal in the Light of the Rasa Siddhanta
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Vakyam rasatmakam kavyam’—Rasa is the soul of poetry, says Acarya Viswanatha in his Sahityadarpana. Indeed, Rasa was accepted as the fundamental element of poetry much before even Bharatamuni, the author of Natyasastra. Taittiriyopanisad says: “raso vai sah, rasam hyevayam labdhavanandi bhavati”1—supreme is the essence of rasa and therefore wherever humans find rasa, they become immersed in it, experiencing bliss. And thus there is no wonder if Bharatamuni said, “nahi rasadrte kascidarthah pravartate”2— nothing in drama is pravrtta—attained without rasa. Bharatamuni has also explained the process of accomplishment of rasa: “yatha hi nana vyañjanausadhidravyasanyogad rasanispattih / … /tatha nanabhavopagata api sthayino bhava rasatvamapnuvanti”3—just as spices and herbs together enhance the taste of food, likewise Bhavas (emotions) and Rasa embellish each other. Against this backdrop, an attempt is made here to examine how Harsha accomplished rasanispatti in his play, Nagananda.

 
 
 

Emperor Harshavardhana Shiladitya, who ruled over the north Indian empire in the first half of seventh century, wrote three plays and two Buddhist poems. Among them, Ratnāvali and Nāgānanda are the two plays that became very popular. According to the Chinese scholar and pilgrim, Hiuen Tsang, Harsha was the most kindhearted and generous king. He was reported to be against wars as wars involved killing. He considered killing—prānivadhakraurya—as an act of supreme cruelty. Historians opine that during his last three years of life Harsha, like Ashoka, perhaps, realizing the futility of wars, gave up military expeditions. One opinion is that it is during the said period he—having made peace with himself and converted to Buddhism—might have written the play, Nāgānanda, Joy of the Serpents, which is based on a Buddhist jātaka story (Warder, 1984). There is also a feeling among some scholars that Jimutavahana, hero of the play Nāgānanda, is an exact replica of Harsha himself (Varadpande, 2005).

 
 
 

English Studies Journal, Harsha’s Nagananda, Appraisal, Vakyam rasatmakam kavyam, Taittiriyopanisad, Natyasastra, Shiladitya, Light of the Rasa Siddhanta.