महावीरचरितम् (महाकवि भवभूति - वीररस-प्रधान रामकथा नाटक सम्पूर्ण ७ अङ्क सटीक)

SYNOPTIC ANALYSIS OF THE PLAY
PROLOGUE: i. 1—i. 7²
TRANSLATION, PAGES 15–17.
Scene* 1 (i. 1—i. 2). Ujjain (?): a booth at the fair of Kālapriyanātha.
The Director recites the customary Invocation (i. 1); he withdraws
upon the entrance of the Stage-manager (i. 1¹), who announces the title
of the play, with a few words about its author (i. 1³—i. 2).
Scene 2 (i. 2¹—i. 7²). Ayodhyā: a large square near Rāma's palace.
The Stage-manager, now representing one of the many bards assembled
for the coronation of Rāma after his victory at Laṅkā, inquires (i. 2³)
why the festal music in the squares has ceased. Enters an actor and
replies that it is because the coronation is over and the guests are
gone. He adds that the Queen-mothers and other persons of age and
authority have left Ayodhyā¹ to attend the twelve-year² sacrifice (i. 3)
at the hermitage of Ṛiṣhyaśṛiṅga, the husband of Rāma's sister Śāntā,
and that they did so reluctantly, as it involved their leaving behind
them Sītā, now far gone with child. The actor also alludes incidentally
to a false rumour about Sītā (i. 6), and expresses assurance (i. 6²) that
sages and deities will intervene³ in order that no evil may come out
of it. Upon inquiry they learn that Rāma is just returning home to
comfort the disconsolate Sītā (i. 7), and so the Stage-manager and his
companion go about their duties (i. 7¹, i. 4³).
* In this synopsis the play has been divided into scenes, irrespective of the canons of Hindu
dramaturgy, which do not recognize such a division. The entrances and exits and the
place of action have served as the guiding principle.
¹ This statement makes it clear that, in the
absence of persons to whose authority
Rāma owed deference (his gurus), he is
acting of his own accord when he aban-
dons his wife. Compare ii. 6¹⁰, iv. 10⁵.
² This period represents the interval between
the first Act and the rest of the action of
the play. It is alluded to more than once
later; compare ii. 6¹², iii. 34, vii. 15, &c.
³ And this in fact they do, thus bringing
about a non-tragic ending to the play.
Cp. iii. 3, vii. 17, vii. 18⁶ff.