IJELLH(International Journal of English Language, Literature in Humanities) Vol.

7, Issue 5, May 2019 125

Asst. Prof. Shahaji Subrao Mastud

D.A.B. Naik College, Chikhali,

Tal- Shirala, Dist- Sangli,

Maharashtra, India.

[email protected]

Humour in the Shudraka’s Mricchakatika [The Little Clay Cart]

Abstract:

Humour is genuine passion of human being. It releases the pressure and gives free and

happy mind-set to the human being. There are numerous things in life that exasperates, frustrates

and disappoints the man yet with sprinkle of humour the person become cheerful. The individual

who is content with smiling face looks extremely lovely though he/she are loathsome. The sense

of humour creates happy atmosphere and helps to illuminate precarious complications. The

gratification is the decisive aim of human being. Everyone attempt to live cheerful, for

happiness the aspiration fulfillment of the person is indispensable but it cannot be feasible for

everyone. It is necessary to be happy with some satisfying wish; here the comical inclination

helps the being. Nowadays, humour become very powerless and lost its uniqueness so in the

present research an attempt will make to concentrate on the assortments of natural humour in the

Shudraka’s Mricchakatika.

Keywords: Humour, Exasperates, Precarious, Indispensable, Uniqueness.

There are many plays that used sense of humour to comment on the contemporary

situation. The sense of humour releases the stress on the mind and body that gives pleasure. The
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classical period was full of natural humour. The humour comes from bottom of the heart that

entertains the people. There were no needs to manage the humour. The pressure of daily life was

so hard that no one is ready to live with stressfulness. They are not interesting in quarrels and

arguments regarding the rivalries of the community. It is necessary to live cool that helps to

human progress. The cheerful mind supports the creativity and imagination. Through the

creativity, there was rise of new ideas that ideas solve the problems of life and contributes to the

progress of human civilization. Today the quality of humour become very low, innocence in

humour is lost and the artificial humour has been raised in the world.

It was classical period of India that was full of Sanskrit dramas. The Sanskrit plays are

written for the court and elite people. It was also the medium of social revolution and promotion

of ideas. The Vedic tradition and puranas contributed for the rise and development of Sanskrit

plays. After the Buddhism, there was revival of Hinduism that was the core seed of these plays.

The promotion of Hindu culture and ideology was the chief phenomena of the drama. They used

the form of verse with comic elements. The social, political and economical condition of the

period has sharply reflected in this plays. In the present research, I am interesting to find out the

nature of the humour in the play of Shudraka’s Mricchakatika and how the humour contributed

for the health of the society.

Kalidasa, Bhavabhuti and Shudraka are the greatest dramatist of the ancient Indian

history. No doubt Kalidasa was the Shakespeare of India and Shudraka the master of humour.

Bhavabhuti is less celebrated but magnificent dramatist of the era.The lack of humour made him

less appreciated and popular dramatis than Kalidasa. There were no much information has been

available about King Shudraka. His only one drama is available in the Sanskrit literature. He

doesn’t follow any dramatic unity and framework of characterization. They are free flow of
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imagination but full of bone and flesh. That’s why the humour created by these characters is very

light, tender and natural. Shudraka’s humor runs the whole array, from severe to ridiculous, from

satirical to appealing. Its variety and keenness are unmatchable. Here, Dr. Ryder remarks,

"Sudraka's humour runs the whole gamut from grim to farcical from satirical to quaint".1 The

nature of the humour in the play Mricchakatika or The Little Clay Cart is under scrutiny in this

research paper.

The prologue of the play is very interesting to note that it starts with the humorous

incident. The anchor and his wife are talking about the lunch. Anchor very proudly demands the

sweet dish for lunch and his wife says that there are many sweet things, milk, sugarand fruits are

available for lunch. The anchor was very excite to enjoy the lunch and immediately demands the

dish but wife exclaims all things are available but not in home but in market. The laughter in the

audience broke very easily. The humour is related to daily routine of the people. The question of

daily bread and butter was very serious matter at the time of this period. It introduces the

problem of hunger and poverty. The poor man had no respect and has to live shameful life.

Poverty is evil than the death, death release pain but poverty gives soreness in life.

The first act ‘The Gems are Left Behind’ is very comic. It was constructed with lack of

mythological knowledge of Sansthanaka. The pursuing of Vasantasena by Sansthanaka, Courtier

and Servant are interesting peace of humour. Sansthanaka uses different kind of symbols,

images to express his love to Vasantasena but that was totally foolish and irrelevant images. It

creates huge laughter that Sansthanaka cannot express his love in romantic way. He jumbles a

lot and uses wrong mythological references to express metaphorical love. Besides, Vasantasena

makes excuses and demands help form others but Sansthanaka receives this helpful expression as

response to his love demand. Here, he looks like a fool, who receives wrongly and misinterprets
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the message. In this segment, humour becomes very enjoyable rather than the predicament of the

Vasantasena. The clue to rescue was given by himself that don’t go to the darkness and further

there was the house of poor Charudatta. It was really a madness of the character that delivers the

feast of enjoyment to the audience. In this regarded, G. H. Godbole makes remark that “the

humour of Sakara [Sansthanka] is rarely seen elsewhere in Sanskrit Literature. References to

eatables or perversions of mythological references are found in his speeches. He expresses his

weak points too but he is a coward in spite of his tall talks.” 2

In second act, The Shampooer Who Gambledis is also interesting and full of humour.

When the king become lazy the table turns down that leads to anarchy in the empire. The people

runs gambling centre and poor plays gambling to earn money. They have no other authentic

opportunity to develop themselves. The act presents humour between the shampooer and

Mathura and gambler. Shampooer loses ten gold coins in the gambling. He hasn’t money to pay

the owner and gambler so he ran away. They follow him with all might to catch and beat him.

They ran behind him for ten gold coins. Shampooer walks backwardly and stands like statue of

god. Both the master of gambler and gambler follows through footsteps but they have no

guarantee so they played the dice before the stature. The shampooer cannot control his gambling

fever and speaks forgetting as a statue. The scene is really outstanding and focuses on the mind

set of gambler. The height of the humour is that when the debt was paid by Vasantasena through

her maidservant Madanika, Mathura and gambler again invites him to play the gambling.

Madanika: You are certainly no gambler, if you talk that way.Is there anyone who owes

money?

Mathura : There is. He owes ten gold pieces. What of him?

Madanika : In his behalf my mistress sends you this bracelet. No no! He sends him itself.
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Mathura: (seizing it joyfully.) Well, well, you may tell the noble youth that his account

is squared. Let him come and seek delight again in gambling.

In fourth act Madanika and Sharvilaka has very witty and light humour. The theft is actually

serious matter but it was treated as a humorous act of Sharvilaka. The theft was not actually theft

but the circulation of the same casket of gems to the same person. Here, even the thief is also not

the thief but the intellectual noble person doing the act for his sake of love.The height of virtue

also supports to the light comedy. Everyone shows nobility and virtue to each other in the play. It

keeps light and happy mood to support the light comedy. The love is at the bottom of each

activity in the drama. Here, the theft of gems is not real but actually they are stealing each other’s

noble heart. Each one tries to convince other, it bursts the comic scene among the audience.

The next and fifth act Strom has used the different element to produce humour that is

exchange of adjectives and nouns. Maitreya and Kumbhilaka is the chief exponent of humour.

They used adjective with irrelevant nouns and changes the parts of the words that makes lot of

humour. When Kumbhilaka came to announce the arrival of Vasantasena, he not directly

announces the name but gives the hints to Maitreya that’s the master piece of the humour.

Charudatta: You fool, in spring, in vasanta.

Maitreya: [Returns to Kumbhilaka] you fool, in spring, in vasanta.

Kumbhilaka: Now I '1l give you another. Who guards thriving villages?

Maitreya: Why, the guard.

Kumbhilaka: [laughing] wrong!

Maitreya: Well, I ’m stuck. [Reflecting] Good! I’ll ask Charudatta

again. [He returns and puts the questionto Charudatta]

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Charudatta: The army, my friend, the sena.

Maitreya: [Comesback to Kumbhilaka]

The army, you jackass, thesena

Kumbhilaka: Now put the two together and say themfast.

Maitreya: Sena-vasanta.

Kumbhilaka: Say it turned around.

Maitreya: [Turns around] Sena-vasanta.

Kumbhilaka: You fool! Youjackanapes! Turn the parts ofthe thing

around!

Maitreya: [Turns hisfeet around] Sena-vasanta.

Kumbhilaka: You fool! Turnthe parts ofthe word around!

Maitreya: [After reflection] Vasanta-sena.

Kumbhilaka: She’s here.

In act six swapping the bullock-carts gives support to the development of the sub-plot

that was the revolution of the Aryaka. The scene of the swapping bullock-carts makes delight

and curiosity to the audience. Here, the exchange of objects and at the same time persons creates

humour. The dialogues are also exchanged shifting male as female and female as male that’s

very interesting. The expectations of each other and preconception make mistakes. The game of

hide and seek can be aspect of this chapter. Though the development of sub plot is here but it

was not hard and stiff treatment. The quarrel between Chandanaka and Virka is not injurious to

the humour but continues light shade to the earlier humour. Both used the free play of the

language and various dialects.

[He gets downuneasily]I saw the gentleman— [correcting him

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self-]I mean, the lady Vasantasena, and she says is it proper, is

it gentlemanly, whenI am going to visit Charudatta, to insult me

onthe highway ?”

Viraka: Chandanaka, I have my suspicions.

Chandanaka: Suspicious? How so

Viraka: You gurgled in your craven throat; it seems a trifle shady.

You said “I saw the gentleman,” and then“I saw the lady.

That’s why I ’m not satisfied.

Chandanaka: What’s the matter with you, man? We southerners

don’t speak plain. We know a thou sand dialects of the barbarians

theKhashas, the Khattis, the Kadas, the Kadatthobilas, the

Karnat as, the Karnas, the Pravaranas, the Dravidas, the Cholas,

the Chinas, the Barbaras, the Kheras, the Khanas, the Mukhas, the

Madhughatas, and all the rest of ’em, and it all depends onthe way

we feel whether we say “ he ” or “ she,” “ gentleman” or “ lady.” P. 102

Act seven of the play is very short but the line and length of the drama is continued with

modest way. Though this part focuses on the sub theme of the play but never disturbs the setup

of the play. There is the treatment of shock and surprise, Charudatta waits for Vasantasena but he

finds Aryaka the revolutionary, hiding himself from king Palaka. Here is an example for puns in

the play.

Charudatta: turn the cart around, Verdhmanaka. Maitreya, my

friend, help Vasantasena to get out.

Maitreya: Has she got fetters onher feet, so that she can’t get
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out by herself? [He rises and lifts the curtainof the cart]Why,

this isn't mistress Vasantasena— this is Mister Vasantasena. P. 137

Even in act eight, Strangling of Vasantasena is continuation of the same humour of act first.

Now here once again the entry of Sansthanaka makes bursting humour.Sansthanaka knowledge

of mythology and mismatched symbols are really amazing hint of humour. Besides, his use of

language and pronunciation of words makes more laughter among the audiences. He was totally

confusing and distrusting on his servants. He cannot express his love to Vasantasena, further he

has no courage to murder. He was brother in law of king Palaka is a topmost identity and people

must think him aristocrat is his ambition.He has lot of ignorance and indecision making power

that makes him fool, out of this stupidity the humour increases in the drama. When the power

goes in the hands of the fool, he will certainly use in foolish way. Here is a best example of the

puns and absurdities…

Sansthanaka: The old hog isafraid of a shin. Never mind. I ’11per-

shuade Sthavaraka, my shlave . Sthavaraka, my little shon, my

shlave, I ”11give you golden bracelets.

Sthavaraka: And I’ll wear t hem.

Sansthanaka: I ’11have a golden sheat made for you.

Sthavaraka: And I’ll sit onit.

Sansthanaka: I ’11give you all my leavings.

Sthavaraka: And I ’11eat them.

Sansthanaka: I 1make you the chief of all my shervants.

Sthavaraka: Master, I’ll be the chief.

Sansthanaka: You only have to attend to what I shay.

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Sthavaraka: Master, I will do anything, unless it be a sin

Sansthanaka: There’s not a shmell of a shininit.

Sthavaraka: Thenspeak, master.

Sansthanaka: Murder Vasantasena.

Sthavaraka: Oh, master, be merciful! Unworthy asI am, I brought

this worthy lady hither, because she mistook this bullock-cart for

Sansthanaka: You shlave, ain’t I your mashter?

Sthavaraka: Master of my body, not ofmy character. Be merciful,

master, be merciful ! I am afraid.

Sansthanaka: You re my shlave. Who are you afraid of?

Sthavaraka: Of the other world, master.

Sansthanaka: Who is thish otherworld?

Sthavaraka: Master, it is a rewarder of righteousness and sin.

Sansthanaka: What is the reward of righteoushness?

Sthavaraka: To be like my master, with plenty of goldenornaments.

Sansthanaka: What is the reward of shin?

Sthavaraka: To be like me, eating another man’s bread. That is

why I will do no sin.

Sansthanaka: sho you won’t murder her? [H e beats him with all his might ]

Sthavaraka: You may beat me, master.

You may kill me, master.

I will do no sin.

A luckless, lifelong slave am I,

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A slave I live, a slave I die;

But further woe I will not buy,

I will not, will not sin [P.121]

Here, Sansthanaka’s intentions to kill Vasantasena is narrated in the following way is really

hilarious dialogue.

As Sita in the Bharata

Was killed by good old Chanakya,

Sho I intend to throttle thee,

As did Jatayu Draupadi.

In last act The Trial or The End, is very comic-serious and long ending act of the

play. There are amalgamation of various issues and solution of the problems at the end. There is

very less space for the humour but it was continued with the character of Sansthanaka, who

makes comment in very comical way. His use of symbols and actions helps to release the

tensions of the plot.Sansthanaka: I am beautiful as a pot of jewels. I kill no woman!

By standers Oho! You murdered her, not the noble Charudatta.

Sansthanaka: Who shays that?

Bystanders [Pointing to Sthavaraka] This honest man.

Sansthanaka: [Fearfully Aside] Merciful heavens! Why didn’t

I chain that shlave Sthavaraka fasht? Why, be was a witnessh of

my crime. [He reflects] '1 1 do it thish way. [Aloud] Lies, lies,

good gentlemen. Why, I caught the shlave shtealing gold, and I

pounded him , and murdered him, and put him in chains. He hates

me. What he shays can’t be true. [He secretly hands Sthavarakaa

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bracelet, and whisper’s] Sthavaraka, my little shon, my shlave ,

takethish and shay shomething different.

Sthavaraka: [Takes it] Look, gentlemen, look! Why, be is trying

to bribe me with gold.

Sansthanaka: [Snatches the bracelet from him. That’s the gold that

I put him in chains for. [Angrily] Look here, headsmen! I put

him in charge of my gold-chest and when he turned thief, I mur-

dered him and pounded him. If you don’t believe it, jusht look

at his back.

Manas Saha says that “There different dialects, often comic and ridiculous are fore

grounded. The political coup and personal intrigue play a major role in the play. The desire of

Sansthanaka for Vasantasena, his failed attempts at acquiring her, all form an important part of

the play. He comes across as a buffoon and a villain. However, his villainy is characterized by

pettiness. The scene of Sarvilaka the thief also adds to the comic rubric of the play”.3 The scene

of the court trial is certainly good example of absurdities. Sansthanaka’s arguments with court

room are illogical and insincere that produced laughter’s. His excitement and self-amusement

focuses on his foolish nature that gives immense delight to the reader and audience. He behaves

arrogantly with justice of the court. Justice gives him the chair but he objected to the justice, who

are you showing my place, I am king’s brother in law, I have power. I will sit anywhere, on the

floor or on your head. Such comments are very contradictory that celebrates as feast to the

audience. He cannot manage to give the bribe to others. He always shows the golden bracelet as

a bribe but never give to others. His temptation to others on baser instinct is useless. His

soliloquies are funny and laughable.

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Sansthanaka: Hello, magishtrates! How can you inveshtigate the

cashe with such partiality ?Why, even now you let thishshecun-

drel Charudatta sabtay on his sheat.

Judge: My good beadle, so be it [The beadle follows Sansthanaka’s suggestions]

Charudatta: Consider, magistrates, consider what you are doing!

[He leaves his seat, and sits on the floor]

Sansthanaka: [Dancing about gleefully. Aside]Fine! The shin

that I did falls onanother man’s head. ShoI’ll sit where Charu-

datta was. [He does so.] Look at me, Charudatta, and

that you murdered her.

Humour was the pearl of the incomparable Sanskrit classical plays. The entire classical

dramatist used it with accomplished talents. They never lost the major sentiments of the play but

developed alternative sub-plot for elevating the central theme and advancing the sensational

impact. It releases the dramatic tension and creates overwhelming environment in the play. They

utilized distinctive sorts of humour using unadulterated Sanskrit and Prakarit language.

Sudraka’s humour was exceptionally fine, inconspicuous that portions on the mischievous side

of the human being. However, he additionally used weaker section of the human being, poverty

and loose character for his humour. His humour is not only barren but it is alive and fruitful.

Sutrdhar, Sansthanaka [Shakara] and Maitraya [vidushaka] are the significant character with

their weakness yet they are with blood and flesh character. Indeed, even today, it is a fresh and

free flowing humour in the aesthetics of the Indian classical drama. Shudraka, through his

humour pointed the weaknesses of human being and give them opportunity to reconstruct their

noble life.
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Works Cited

Ryder. A. W. “Mrichchhakatika of Sudraka: The Little Clay Cart, attributed to King Sudraka”

(Translated). Cambridge, Mass. 1905.

Godbole G. H. “The Role of Humour in Classical Sanskrit Plays”, Indian Literature, Sanskrit

Literature number, Vol. 21, No. 3, PP. 101-113, 1978

Saha Manas. “A Study of Mrichchhakatika as a Prakarana”, IJELLH, Vol. 6, No. 8, 2018

Dr. Madhukar Ashtikar. “Shakuntal and other Sanskrit Natyakatha,” Suresh Agency Shukravar

Peth Pune, 1996

Puri Govind. “Perspective on Indian English Drama,” Yking Books Jaipur India, 2017

Devasthali. G. V. “Introduction to the Study of Mrichchhakatika” Nanasaheb Gondhalekar,

1951.

Kale. M. R. “The Mrichchhakatika of Sudraka” (Edited). Motilal Banarsidass, Delhi: 2004.

Ramachandra Iyer. T. K. “A Short History of Sanskrit Literature.” R. S. Vadyar and Sons,

Palakkad: 1989.

Sekhar. I. “Sanskrit Drama: Its Origin and Decline.” Munsiram Manoharlal Publishers Pvt. Ltd.

1977.

Sudraka. “The Little Clay Cart. Trans. Revilo Pendleton Oliver,” In Wells, 1964. 45-46.
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