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PROJECT TITLE
Comparative Study of William Shakespeare’s Plays: Othello
(1604), The Winter’s Tale (1611) and Govind Ballal Deval’s
Play: SaunshayaKallol (1916): A Thematic and Rasa Theory
Analysis.
Submitted to UGC (WRO)
Sanction Letter dt. 11/05/2011, file no.23-2290/10(WRO)
MINOR RESEARCH PROJECT
BY
Principal Investigator
Dr.N.R.Sawant.
Head and Associate Professor in English,
Department of English,
Shivraj College, Gadhinglaj.
2015
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PROLOGUE
ACKNOWLEDGEMENT
At the very outset I express sincere thanks and
gratitude to University Grants Commission as UGC vide its letter
dated 11-05-2011 and file no. 23-2290/10(WRO) has given sanction
to the Minor Research Project entitled as Comparative Study of
William Shakespeare’s Plays: Othello, The Winter’s Tale and Govind
Ballal Deval’s Play: Saunshyakallol.
It gives me great pleasure to mention the name of Hon’ble
Principal, Dr. D.R.More, Director, Board of College and University
Development, Shivaji University, Kolhapur who has remained a
constant source of inspiration to my brighter career.
The President of K.V.R.S.S.R, Hon’ble Prof. K.V.Kurade,
Hon’ble Principal Dr.S.Y.Kotmire, UGC Co-ordinator, Registrar, the
faculty members of Dept. of Marathi, English, Administrative staff
of our college and many more friends have guided me to complete
this Minor Research Project without whose amicable guidance this
literary endeavor would not have taken its real shape.
Dr.N.R.Sawant.
Principal Investigator
Head and Associate Professor in English,
Department of English,
Shivraj College, Gadhinglaj
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Karmaveer Vitthal Ramaji Shinde Shikshan Sanstha’s
Shivraj College of Arts, Commerce and D.S.Kadam
Science College, Gadhinglaj.
Certificate
This is to certify that Dr. N.R.Sawant, Principal
Investigator Head and Associate Professor in English,
Department of English of our College has painstakingly
completed this Minor Research Project entitled as
Comparative Study of William Shakespeare’s Plays: Othello
(1604), The Winter’s Tale (1611) and Govind Ballal Deval’s
Play: SaunshayaKallol (1916): A Thematic and Rasa Theory
Analysis.
Dr.S.Y.Kotmire
PRINCIPAL INVESTIGATOR
(Dr.N.R.Sawant.)
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Chapter Scheme of Minor Research Project
Chapter I: Introduction to Dramatists
1.01. William Shakespeare
1.02. G.B.Deval
Chapter II: Significance of Research Project
2.01. Method of Research
2.02. Paradigms in modern English and Marathi Criticism
Comparative Literary theory.
2.03. Elaboration of Significance of Research Project.
Chapter III: Thematic Similarities
3.01. Othello
3.02. Winter’s Tale
3.03. SaunshayaKallol
3.04. Suspicion and jealousy: A common thread of the
Plays.
Chapter IV: Rasa Theory Analysis
4.01. Rasa Theory: A Brief Appraisal
4.02. Karunrasa in Othello
4.03. Karun and Shantrasa in the Winter’s Tale
4.04. Hasya Rasa in SaunshayaKallol
Chapter V: Summing up
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Chapter I: Introduction to the Dramatists
1.01. Govind Ballal Deval.
1.02. William Shakespeare.
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1.01. Govind Ballal Deval (1855-1916)
G.B.Deval, a renowned playwright in Marathi literature was
born on November 13,1855 at Haripur, Karnataka. He took his education
at Belgum and Kolhapur. He served as a teacher. He also studied
Agriculture subjects at Pune and then he served as a teacher in New
English School ,Pune. He left the service in 1887 and then he became a
fulltime writer.
Deval’s works:
Deval in all wrote seven playsDurga
Vikramovaunshinya
Mruchkatika
Zunzarao
Saunshyakallol
Shapsambhram
Sharada.
Deval, himself was a veteran actor. He played the role of
Othello very effectively. Deval added a lyrical flavor to his prose plays.
Deval projects the Indian Ethos in his plays, particularly, he posits the life
and aspirations of Indian people. He deftly shows the subtle personal
and amicable family relations in his plays. His dramatic writings are a
kind of abyss of Indian tender family relations. He has dramatized the
great ancient Indian heroes like Vikramovaunshiya and revived the
ancient Indian history. His plays like Durga, Zunzarao project the ideal
protagonist.He has skillfully blended prose and poetry in his play like
Saunshyakallol. We find projection of poetic drama in G.B.Deval’s plays.
In this sense he is a forerunner of poetic plays in Marathi literature. So
he gave a new dimension, an admixture of prose and poetry to drama in
Marathi Literature. Such a creative writer died on June 14, 1916 at Miraj,
Maharashtra
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1.02. William Shakespeare (1564-1616)
William Shakespeare, the great genius of English Literature was
born on April 23, 1564 at Stratford- on- Avon. His father John
Shakespeare was the bailiff and Alderman. His mother was Mary Arden.
William Shakespeare lost his father at his age of 37 and his
mother at his age of 42. Still facing the poverty and a number of odds
and difficulties in life he mastered the knowledge of human life. He
married Anne Hathaway, eight years senior to him. They had a daughter,
Susanna in 1583 and twins –a son (Hamnet) and a daughter (Judith) in
1585.
William Shakespeare wrote nearly 37 plays. His plays are
classified into comedies, tragedies and historical plays. His playsHamlet, Othello, Macbeth, and King Lear are considered as great
tragedies. They are unparalleled and incomparable to any play in English
Literature.
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The Works of William Shakespeare
It is usual to divide the dramatic career of Shakespeare into four
periods, indicating the gradual evolution of his mind and art.
First Period (1588-1596)
Prof. Dowden calls this period “In the Workshop.” During this
period, Shakespeare is still experimenting and finding his way. But the
marks of genius are already evident. The important plays of this period
are:
1. Love’s Labour Lost (1589).
2. Comedy of Erro s (1590).
3. A Midsummer Night’s Dream (1591).
4. Romeo and Juliet (1593).
5. King Richard II and III (1593-94).
6. King John (1596).
Second Period (1596-1601)
This is also known as the “Comic Period.” His mind and art have
matured. His life is happy and prosperous and “Sunny Comedies” flow
from his pen in quick succession. The chief works of this period are :
1. The Merchant of Venice (1596-98).
2. The Taming of the Shrew (1597).
3. Henry IV in two parts (1597-98).
4. Much Ado About Nothing (1598).
5. Marry Wives of Windsor (1599).
6. As you Like It (1600).
7. Twelfth Night (1601).
8. All is Well That Ends Well (1601).
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Third Period (1601-1608)
This is the Period of the great tragedies in which Shakespeare
wrote tragedies after tragedies with all the grandeur of his art. This is
the period in which his father died and his great patron, the Earl of
Southampton, incurred royal displeasure. The gloom of his personal life
is reflected in his works. The chief works of this period are:
1. Hamlet (1602).
2. Measure for Measure (1603).
3. King Lear; Othello (1604).
4. Macbeth (1605).
5. Julius Ceaser (1603).
6. Antony and Cleopatra (1606).
7. Coriolanus (1607).
8. Timon of Athens (1608).
Fourth Period (1608-1613)
The tranquility and clam of Shakespeare’s last days is
reflected in this last period of dramatic composition. After this
Shakespeare wrote no more. The works of this period are:
1. Pericles (1608).
2. The Tempest (1610).
3. Cymbeline (1611).
4. The Winter’s Tale (1611).
5. Henry VIII (1613).
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Division of Shakespeare’s Plays into Comedies,
Tragedies and Histories.
Shakespeare’s plays are classified into comedies, tragedies and
historical plays. The division can be shown as follows:
1591
1592
1592
1593
1594
COMEDIES
TRAGEDIES
Comedy of Errors
Two Gentlemen of Verrona
Love’s Labour’s Lost
Titus Andronicus
1595
1596
1596
1597
1598
1599
1599
1601
1602
Midsummer Night’s Dream
Merchant of Venice
Taming of the Shrew
1602
1604
1605
1606
1607
1607
1608
1609
All’s Well That Ends Well
Measure for Measure
1610
1611
1611
1613
Cymbeline
Winter’s Tale
Tempest
Much Ado About Nothing
As You Like It
Merry Wives of Windsor
Twelfth Night
Troilus and Cressida
Romeo and Juliet
HISTORIES
Henry VI, Part I
Henry Part, II
Henry Part, III
Richard III
King John
Richard II
Henry IV, Part I
Henry IV, Part II
Julius Caesar
Henry V
Hamlet
Othello
King Lear
Macbeth
Timon of Athens
Antony and Cleopatra
Pericles
Coriolanus
Henry VIII
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Chapter II: Significance of Research Project
2.01. Method of Research
2.02. Paradigms in Modern English and Marathi
Criticism
Comparative Literary Theory.
2.03. Significance of Research project.
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2.01. Method of Research
In this minor project interpretative research method is
adopted while making comparative study of William Shakespeare’s
plays: Othello, The Winter’s Tale and G.B.Deval’s playSaunshyakallol. At the same time focus or emphasis is laid on the
elaboration of thematic similarities in Othello The Winter’s Tale.
Efforts also have been done to give a brief appraisal
of the rasa theory also. So Rasa Theory Analysis of William
Shakespeare’s plays: Othello, The Winter’s Tale and G.B.Deval’s
play- Saunshyakallol has been attempted. An endeavor to find out a
common thread of rasa and thematic similarities is also deftly done.
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2.02. Paradigms in Modern English and Marathi
Criticism
Comparative Literary theory
It is essential to have a cursory glance at the Paradigms in
modern English and Marathi Criticism. In this respect we can visualize
the concept of comparative literature as given by Avadesh Kumar Singh.
He states the concept thus: “Indian literature has always
been multilingual and multi-literary and so, comparative without having
any definite methodology. The comparative Indian literature after the
western school has been the model for many Indian scholars. Infact no
strong need for Indian school or even methodology had been felt. For
reasons typically Indian there has been Indian Comparative Literature
Association but there has been no concentrated speculation or
execution in the direction of proposing and establishing an Indian school
of Comparative Literature.”
Dr Anand Patil, Former Head, Department of English, Goa
University also has explained the concern in his book entitled as Literary
into Comparative: Culture Criticism in relation to Comparative
Literature.
ANGLO AMERICAN NEW CRITICISM AND MODERN CRITICAL THOUGHT
IN MARAHI.
Anglo American New Critics like Kant, Pound, I. A.Richards,
Brooks influenced the Marathi Critics like R.S.Jog, S.K.Kollatkar,
B.S.Maradekar, Gangadhar Gadgil etc..
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The comparison can be of two types – direct: one to one
correspondence and second- reception and influence on literary works.
New criticism had strongly created stormy debates in the
modern critical thought in Marathi such as Rasa Theory. Before 1920
most of the criticism in Marathi was a commentary on traditional tenets
of Indian poetics such as Rasa, Alankar and Dhawani.
So this minor research project also tries to point out thematic
similarities and attempts Rasa theory analysis of William Shakespeare’s
plays: Othello, The Winter’s Tale and G.B.Deval’s play- Saunshyakallol
so as to synthesize Anglo-Marathi culture reflected in the plays of
William Shakespeare and G.B.Deval. So this Minor Project not only
strives to show the Thematic similarities and rasa theory analysis of
the concerned plays but also tries to point out a kind of similarities of
English and Marathi cultures existing during sixteenth-seventeenth
and twentieth century.
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2.03. Elaboration of Significance of Research project.
The present minor research project comprising the
comparative study of William Shakespeare’s plays- Othello, The
Winter’s Tale and G.B.Deval’s play Saunshyakallol humbly strives to
point out the thematic similarities and makes Rasa theory analysis of
the concerned plays. This humble attempt will certainly revive interest
in comparative study of British and Marathi literature. It would
certainly give a boost to the study of Anglo- Indian or Marathi
literature. This Minor Research Project will certainly give a new
dimension and interest in the study of Shakespeare’s and Deval’s plays.
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Chapter III: Thematic Approach
3.01. Othello
3.02. Winter’s Tale
3.03. Saunshayakallol
3.04. Suspicion and jealousy: A common
thread in the Plays
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Chapter III :Thematic Approach
3.01. Othello
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3.01. OTHELLO (1604): Tragedy of Insane Jealousy
Theme of Suspicion and Jealousy of Othello Towards
Desdemona-Instigation by Iago and the tragic end.
Othello opens in the great and powerful city-state of Venice.
It is late at night. Roderigo, a young gentleman and former suitor of
Senator Brabanito’s daughter, Desdemona, is angry with Iago , soldier in
the Venetian army. Iago knew about Desdemona’s elopement with the
leader of the Venetian forces, a Moor named Othello, yet, complains he
hates the Moor, although he serves him. Iago agrees; he is burning with
jealousy and hatred, for even though he had been Othello’s ensign, he
was passed over when Othello choose a lieutenant. The post has gone
to a young man from Florence, Michael Cassio, whom Iago holds in great
contempt because all he knows of soldering he has learned out of of
books. Iago, on the other hand, is a veteran of many hard-fought
campaigns. Iago tells Roderigo to awaken Desdemona’s father and
inform that she has run off with the Moor.
The two stand before Brabantio’s house and call to him.
When he appears at a window, Iago takes great pleasure in telling him
the news. But before the old man comes running down, Iago leaves very
quickly, telling Roderigo that as the Moor’s trusted ensign, it is not right
that he should be involved. He must still pretend love and loyalty to
Othello, who is about to embark for Cyprus with the army to fight the
Turks.
A distraught Brabantio, with his servants, appears downstairs and
demands to know where he may find Othello and his daughter. Roderigo
agrees to take him to Othello.
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In the next scene we find Othello himself with Iago and
several attendants on another street. Now Iago is filling Othello’s ear
with Barbantio’s reaction to his daughter’s marriage. Iago warns Othello
that her father will do whatever he can to take his daughter from the
Moor.
Cassio enters to tell Othello that the Duke of Venice has sent
for him to come immediately, for there is news from Cyprus. A moment
later the enraged Barbantio bursts upon the scene, along with several
armed followers. But Othello will not allow his men to draw their swords
against his father-in-law. Instead they will appear before the Duke.
Barbantio is sure that the Duke will take his side against Othello.
However, the war news is urgent, and the Duke who admires
Othello needs him to lead the Venetian forces. He listens to Othello’s
story of love, and then, when Desdemona appears and makes it clear
that she now belongs to Othello. The Duke attempts to reconcile
Barbantio, his daughter, and her husband, but to no avail. Barbantio will
have no more to do with Desdemona, and will not even allow her to
remain in his house while Othello is off to war. Desdemona decides to
follow her husband to Cyprus. Othello leaves her bride in the care of her
loyal maid , Emilia, and her husband, his most trusted friend, Iago. When
the Moor and his Bride go off to spend their last few hours alone
together, Iago tells Roderigo not to give up hope for Desdemona; he still
may win her, for she will undoubtedly soon tire of the Moor. When
Roderigo, somewhat encouraged, leaves, Iago reveals in a soliloquy how
deep is his hatred and jealousy of Othello, and he mulls over some way
to destroy him, using another man he hates, Cassio, as the instrument.
The scene of the story now changes to the island of Cyprus
.There has been a great storm at sea which has wrecked the Turkish fleet
and held up Othello’s arrival. Cassio’s ship arrives first, and a short while
later Desdemona lands, along with Emilia and Iago. Desdemona is
concerned for Othello, and to take her mind off her worries Cassio
engages her in lighthearted conversation. Iago, seeing how well they get
on together, visualizes the crystallization of his plans. When the
victorious Othello arrives at last and goes off happily with his bride, Iago
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tells Rederigo he is convinced that it is really Cassio whom Desdemona
loves. Skillfully, Iago induces Roderigo to pick up a quarrel with Cassio
that same evening.
Shortly afterwards a herald appears and announces that the
night will be given over to feasting and celebration in honor of Othello’s
victory and, belatedly, for the married couple.
Later that night, Cassio is left in charge of the night watch
while Othello and Desdemona retire to their chambers. Iago plies Cassio
with wine and teases him in song until his mood becomes irritable. Then
Roderigo appears according to plan begins to fight with Cassio.
Montano, the former governor of island, tries to stop the fight and is
wounded by the drunken Cassio.
Othello appears, and when he is told what happened he
removes Cassio from his post. Cassio, now quite sober and sorry for all
the trouble, is about to plead with Othello, Iago quickly persuades him
that his chances will be better if he asks Desdemona to intercede for him
with her husband. He helps Cassio to arrange to meet Desdemona
privately, and the softhearted girl promises Cassio she will do
everything she can to restore him to Othello’s good graces.
As Cassio is leaving, Iago and Othello appear. Othello
notices Cassio’s speedy departure, and Iago quickly seizes the
opportunity to point out that Cassio seemed to be trying to avoid the
Moor. Desdemona immediately and enthusiastically begins to beg
Othello to pardon Cassio, and will not stop until Othello agrees.
The moment she and Emilia leave, however, Iago begins to
plant seeds of doubt and suspicion in Othello’s mind. Over and over
again, all the while pretending to speak plainly and honestely, Iago
subtly suggests that Desdemona and Cassio are having a love affair.
When Iago is gone, and Desdemona returns, she finds her formerly
gentle and loving husband in an overwrought emotional condition. She
tries to soothe him by rubbing his head with her handkerchief, but he
angrily throws it to the ground and leaves.
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Later on Emilia finds handkerchief, and gives to Iago. It is a
very special handkerchief, embroidered with a strawberry pattern, and
was Othello’s first present to Desdemona. Then Othello returns,
demanding of Iago some proof of his wife’s infidelity. The quick-witted
Iago, thinking of the handkerchief in his pocket, says that he overheard
Cassio talk in his sleep about Desdemona, and that he had often noticed
Cassio wiping his face with a strawberry- embroidered handkerchief.
Othello is now convinced, and angrily vows revenge against both Cassio
and his faithless wife. He promotes ‘honest’ Iago to lieutenant in Cassio’s
place.
Now Othello cannot wait to ask Desdemona where the
handkerchief is, and when she cannot produce it he flies into a rage of
jealousy. Meanwhile Iago has left the handkerchief where Cassio cannot
fail to find it. He then arranges for Othello to actually see the
handkerchief in Cassio’s possession. Othello and Iago agree that Othello
will kill Desdemona and Iago will dispose of Cassio. At this moment
Lodovico arrives from Venice with orders for Othello to return at once
,leaving Cassio as Governor of Cyprus. Events move swiftly to a climax as
Othello accuses Desdemona and refuses to believe her protestations of
innocent. He orders her to go to bed unattended.
Iago meanwhile persuades the gullible Roderigo to kill Cassio.
Later that night, they attack Cassio on the street. However, things do not
work out as Iago has planned, for it is Cassio who wounds Roderigo.
Iago rushes out and stabs Cassio in the leg. Othello, hearing Cassio’s
cries for help, believes that half the revenge is completed and hastens to
fulfill his end of things. But neither Cassio nor Roderigo is dead, and Iago,
fearful that Roderigo will talk, kills him. Emilia enters and is off to tell
Othello what has happened.
Othello, deaf to Desdemona’s pleas and prayers, has
smothered her in bed. Emilia tries to get into the room, but not until he
is sure that his wife is dead will Othello unlock the doors and let Emilia
enter. He tells her what he has done. Stricken with horror, Emilia tells
him that Iago’s accusations were all lies, and she runs for help. The
others enter and Othello, stunned, explains why he has killed
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Desdemona. Emilia tells him that it was she who took the fateful
handkerchief and gave it to her husband. Iago stabs and kills her, and is
himself wounded by the Moor, who, remorseful and heartbroken, stabs
himself, and dies, falling on Desdemona’s body.
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Thematic Approach
3.02. Winter’s Tale
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3.02. WINTER’S TALE (1611): Tragi-Comedy
Theme of Suspicion of Leontes, King of Sicilia towards
his Wife Hermione due to Polixienes, King of BohemiaReconciliation and happy end.
Leontes : His mad Jealousy
Leontes, King of Sicilia, has been entertaining his boyhood
friend, Polixenes, King of Bohemia, for nine months at his court, and
being unable to persuade him to stay a week longer, begs his wife,
Hermione, to see what she can do. When she succeeds, Leontes, quite
unreasonably, misconstrues their innocent courtesy to one another as a
guilty intimacy. His jealousy immediately becomes an obsession, and he
orders Camillo, his Faithful counselor to poison her friend and guest.
Instead, Camillo, Knowing that Polixenes and the Queen are guiltless,
warns him of the King’s insane jealousy, and escapes with him by night
to Bohemia.
His Tyranny
Believing his suspicions confirmed by the flight of Polixenes and
Camillo, Leonates wrecks his anger upon Hermione alone. Publicly, he
proclaims her an adulteress, deprives her of her young son, Mimillius,
and throws her into prison in spite of the fact that she is about to
become a mother. Throughout, Hermione bears her adversity with
patient dignity, but her protestations of innocence and the protests of
the courtiers are of no avail. Convinced himself of her guilt, Leontes
nevertheless send messengers to the Oracle of Apollo at Delphi so that
the minds of others may be set at rest. When a daughter is born to the
Queen in jail, her waiting-woman, and devoted friend, Paulina, hoping
that the sight of the innocent babe will soften the King’s heart, takes the
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Princess to him. He violently disowns the child, and when Paulina tells
him plainly what a jealous tyrant he is, he seeks first for some one to kill
the infant, and orders Antigonus, the husband of Paulina, to take it to
some desert place and abandon it there at the mercy of wild beasts.
The Trial: Its Tragic Consequences
During her public trial, Hermione, with quite dignity, declares
her fidelity to her husband and the honesty of both of Apollo. Leontes
messengers have already returned with the sealed oracle which reads: “
Hermione is chaste; Polixenes blameless; Camillo a true subject; Leontes
a jealous tyrant; ; his innocent babe truly begotten; and the King shall
live without an heir, if that which is lost be not found.” Still unconvinced,
Leontes orders the sessions to proceed, and is brought to his senses only
by the sad news that his only son, Mimillius, has died of grief at his
mother’s sufferings and disgrace. The Queen falls in a deathlike swoon.
She is carried out and soon reported dead, while Leontes bitterly
repents his blindness and goes into mourning.
The Fate of Antigonus
Meanwhile, Antigonus, instructed by Hermione in a vision to
name the babe, Perdita, leaves her on the desolate coast of Bohemia,
where she is found by a shepherd. Immediately after, he is devoured by
a bear, and the ship which brought him is wrecked, and hence no news
of fate of the little Princess reaches Sicilia. Thus, his groundless
obsession has cost the King his friend, his counsellor, an honest courtier,
his daughter, his son, and his wife.
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Perdita and Florizel: Their Love
Sixteen years elapse, and we are told that Florizel, Prince
of Bohemia, spends much of his time at the cottage of a shepherd, who
has a beautiful daughter. To verify the rumerous about the Prince,
Polixenes and old Camillo in disguise attend a sheep-shearing feast at
the cottage of the shepherd and are deeply impressed by the charm of
Perdita, the “prettiest low-born lass that ever ran on the green-sward,
”and indeed ”the queen of curds and cream.” There, too, Autolycus,
merry rogue, is peddling all sorts ofholiday trumpery, including ballads,
and there is much Arcadian merry-making. However, when Florizel is
about to enter into a formal betrothal with the shepherdess, the King
reveals himself, and threatens all concerned with dire punishments.
Perdita, who has always known that no happiness could come of being
in love with a Prince, meets her trial heroically, but Florizel really loves
her and determines to elope with her. Their ally is the faithful old
Camillo , who offers to help them escape to Sicilia, for he sees in this
escape a possibility of his visiting his old home again. Meanwhile, to save
himself from the King’s wrath, the old shepherd determines to tell
Polixenes that Perdita is not his own child, but a foundling, and to show
him the garments and jewels that were found with her. On the way to
the palace, he meets Autolycus, who is also friendly to the Prince, and so
takes the shepherd with his son abroad the ship which bears the lovers
to Sicilia.
Reconciliation: The Happy End
Pretending to come with greetings from Bohemia, Florizel and
Perdita reach the court of Sicilia and are welcomed by Leontes. They are
immediately followed thither by Polixenes and Camillio. Explanations
take place. The old friends are reconciled, Camillo is welcomed back by
his old master, and the shepherd’s evidence establishes beyond doubt
the identity of Perdita as Leontes lost daughter. Only the remberance of
his dead wife mars Leontes joy, for the wound caused by the death of
Prince Mamillius is now to be healed by the betrothal of the son of his
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friend and his new-found daughter. Paulina, then, offers to show the
company a perfect statue of the Queen which stands in the chapel. As
they gaze upon it in wonder, music gives it animation, and it turns into
the real Hermione. It is now disclosed that the Queen lived in seclusion
all these years hoping for return of her daughter. Thus, Leontes has
restored to him once more, his friend, his counselor, his daughter, his
wife, and for the son who died, he has another son in Florizel. Only
Paulina is left without her loss restored, though in recognition of their
loyalty, Leontes suggests that she and Camillo be married.
The Moral
Thus the story of the play illustrates the moral that even the
worst of sinners may hope for grace. Sin brings punishment, but
suffering purifies the soul and leads to redemption and regeneration.
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Thematic Approach
3.03. Saunshayakallol
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3.03. SAUNSHYAKALLOL (1916): A Comedy with the
Tinge of Pathos and Humour
Theme of Suspicion and jealousy of Falgunrao towards
Kruthica and that of Aswinseth towards Revati:
Plotting and scheming: Fun and humor: Happy end.
Theme of Suspicion: Motif: The main theme of the play:
Suspicious nature of Falgunrao- the hero Act I, Scene I
The atmosphere of suspicion begins at the very first scene
of the first act of the play. Falgunrao the hero is always suspicious of his
wife. He always feels that his wife is disloyal to him. Ramdasibuwa a
Bhikshuk comes to his house to beg bhiksha. But Falgunrao feels that
Ramdasibuwa has come to give letter of his wife’s lover to his wife. He
felt that his wife is shrewed in deceiving him. So instead of living in the
shabby and crowded city he lives away from city in a lonely place so that
no one should contact his wife. He desires that she should not go
outside and no one should talk with her. So he always keeps a watch on
his wife Krutika. He feels that even his servant Bhadvya is on the side of
his wife.
Suspicious nature of Krutika the Heroine
Krutika also does not believe in her husband’s natureFalgunrao. When the husband does not open the door of house, she
feels that Falgunrao has affair with some woman. Her maid servant
Rohini has a friend named Swati who visits the house of Falgunrao
frequently to see Rohini. Krutika feels that her husband has some love
affair with Swati.
Thus both Falgunrao and Krutika- the hero and the heroine are
of suspicious nature . The servant Bhadvya abhors the suspicious nature
30
of Falgunrao. So Bhadvya scolds Falgunrao for his suspicious nature and
advises him not to have any kind of suspicion about Krutika as she is very
loyal wife to him. Revati also scolds Krutika for having doubts about the
loyalty of her husband Falgunrao.
Ashwinseth, Revati episode: Act I Scene II
The second love triangle of Ashwinseth and Revati is also
full of atmosphere of suspicion. Ashwinseth is also suspicious of Revati’s
character. Fagunrao, Krutika and Ashwinseth seem to be people of
shallow mind. It shows the suspicious nature of Ashwinseth and the
atmosphere of turmoil is created by element of suspicion.
In this scene both Ashwinseth and Revati meet together.
Both exchange love to each other. Then after visiting the temple of God
Krutiknath, Revati begins to return to home. By coincidence, she
becomes unconscious and falls on the ground in front of the house of
Falgunrao. Falgunrao has come out of the house in search of his wife
Krutika. He finds the unconscious Revati on the ground. So he takes
Revati on his shoulder. By chance Krutika comes out of her house and
finds her husaband lifting a beautiful girl and asking her whether she
desires to eat some pickle/ moreawala in his house. At once suspicious
Krutika’s anger knows no bounds when she finds her husband flirting
with a beautiful woman. Krutika tries to capture her flirting husband but
Falgunrao goes with Revati to send her home.
Element of chance: The Picture/ photograph/Tasbir -motif of
suspicion.
Ashwinshet has given his photograph to Revati as a
symbol of his love for her. But in her unconscious mood, the photograph
or tasbir of Ashwinshet falls on the ground and no one notices it. But
when Krutika comes out of her house in search of her husband, she, by
chance finds the photograph. She becomes overjoyed because she feels
that the Photograph might be of the lover of the beautiful girl with
31
whom Falgunrao was flirting as she has seen the sight with her own
eyes.
Krutika- Photograph episode
Krutica brings the photograph of Ashwinshet fallen from
the hands of Revati to her own house. Then she takes the photograph of
Ashwinshet in her hand and stares at the photo. Surreptitiously,
Falgunrao comes behind Krutika and tries to see what Krutika is looking
at. He confirms that his wife Krutika is looking and speaking with the
photo of her lover and praising his handsome figure and taking the scent
of the photo of her lover clinging it to her bosom and at the same time
poking fun of Falgunrao calling him as wild person/ Janglimaharaja. He
finds his wife flirting with the photo of her lover. So he forcibly takes
photo from her hand. But Krutika, in return asks him about his flirting
with a beautiful girl on the road then Falgunrao calms down and
threatens her that he would soon find out the whereabouts of her lover.
Element of chance and suspicion in Aswinshet and Revati episode.
This episode of Aswinshet and Revati is jaded in the main plot
of Falgunrao and Krutika episode. Revati is the daughter of Magha, the
dancer, nayakin. Ashwinshet has fascination towards Revati. Both love
each other and visit frequently. Ashwinshet visits the house of Revati on
the occasion of God Satyanarayan’s pooja/ worship. It is because of the
crowd of people Revati cannot speak or behave amicably with
Ashwinshet. So Aswinseth becomes very furious and suspicious of Revati
and thinks that Revati might be flirting with other person.
Confrontation of Falgunrao and Ashwinseth: An Atmosphere of
suspicion and misunderstanding.
Falgunrao had snatched the photograph from Krutika. Then he
comes out in search of the person in the photo. Unexpectedly, he meets
Ashwinseth and confirms that the person in the photo is Ashwinseth
with whose photo his wife Krutica was flirting.
32
On the other hand, Ashwinseth thinks that he had given
his photo with the affection of love to his beloved Revati but she had
handed it to this Rascal- Falgunrao. Aswinseth thinks that his beloved is
disloyal to him and so he becomes mad with anger to avenge upon his
beloved Revati.
Falgunrao thinks that the lover of his wife to whom he was
searching is the same person-Ashwinseth. So confronting Aswinseth
Falgunrao becomes complacent and joyous as he desires to take revenge
upon his wife Krutika. He feels that the person Ashwinseth has brought
sorrow and misery in his married life.
Proof of disloyalty of Krutika to Falgunrao: Attack and counter Attack
Rohini, the maid servant has a friend called as Swati.
Krutika feels that Falgunrao has some illicit relations with Swati and so
he has given her new saree as a gift. So Krutika writes a letter to
Bharanibai, the maid mistress of Swati asking about her nature. But by
chance the letter is taken by Shravanseth, her husband as she has gone
to other place. Shravanseth, for the sake of fun gives reply to Krutika and
the same letter sent by Shravanseth is received by Falgunrao.
Falgunrao plans to get information about the illicit
relations of Krutika and Shravanseth from Swati, the servant of
Shravanseth by giving her money. So he sents message by Bhadavya that
Swati should meet him by putting cloak on her body after the sunset in
the fruit garden or Amarai near the his Bunglow. Falgunrao is very happy
as he is willing to trap his wife Krutika’s illicit relations with Shravanseth.
However, the luck was on the side of Krutika. Rohini, in the
mean time comes to meet Swati who tells the plan of Falgunrao to
Rohini and the same secret plan is told by Rohini to Krutika. So the
illiterate Krutika confirms that her husband Falgunrao has illicit relations
with swati. So instead of sending Swati to the grove or fruit garden
Krutika herself goes in the cloak to meet Fagunrao.
33
Dramatic Irony: Act IV Scene IV:
The plan of Falgunrao is topsy –turvied in the course of time.
Falgunrao as per the plan goes to meet Swati in the fruit garden after
the sunset. He speaks with Swati infact with Krutika. So a kind of
Dramatic Irony is seen in the last scene of the play as audience know
that it is Krutika and not Swati with whom Falgunrao is speaking with.
Falgunrao tells Swati, in fact Krutika that his wife is very worst so he
even does not desire to see her face.
Visit of Ashwinseth ,victory of Falgunrao and defeat of Krutika
Falgunrao takes Krutika thinking her to be Swati into
his house. But he finds that Ashwinseth has come to meet him. Rohini,
the maid servant finds that Falgunrao is coming while Ashwinseth is in
the house. So she feels that Falgunrao might doubt that Aswinseth has
come to meet Krutika. So Rohini hides Ashwinseth in the room of Krutika
and locks the door of Krutika from outside.
Krutika who is brought by Falgunrao thinking her to be as
Swati, keeps aside the cloak and shows her real existence. Krutika begins
to scold Falgunrao for having illicit relations with Swati. She again finds
her room locked from outside. So she thinks that Falgunrao might have
brought some beautiful girl and locked her in her room. So she demands
the key of her room from Rohini. But Rohini hesitates to give the key of
her room as she knows that there is Aswinseth in her room. Finally,
Rohini gives the key to Krutika and when Aswinseth comes out of her
room, Krutika is wonderstruck and shocked.
So Falgunrao confirms that his wife Krutika has ilicit
relations with Ashwinseth. However, Ashwinseth explains all the details
and tries to drive away the atmosphere of suspicion from the mind of
Falgunrao. Still Falgunrao does not believe in Ashwinseth. Falgunrao
declares that his wife Krutika has illicit relations with Aswinseth and then
he forces his wife to go out of his house.
34
Arrival of Magha Nayakin at Falgunrao’s house Act V
Revati’s mother Magha Nayakin comes to Falgunrao’s house in
search of her daughter. Revati is full of fear by the sight of her mother.
So she tells Falgunrao to hide her at some place so as to be away from
her mother. Falgunrao hides her at the side of a cupboard. At such
juncture, Krutika and Revati’s mother Magha Nayakin come in the
house. They find Revati hiding near the cupboard. So Krutika blames
Falgunrao that he has seduced Revati to dispel her/ Krutika from the
house.
Reconciliation: Happy end Act V Scene II
In the final Act, we find that Ashwinseth explains every
incident in detail. He tells that he himself has given his photograph as a
token of his love to Revati which was found to Krutika. So the suspicion
in relation to the Tasbir or the photograph is made clear by Ashwinseth.
The atmosphere of doubt, suspicion and jealousy about each other is
made clear and is kept aside in coarse of time. So in the end Krutika and
Falgunrao, Aswinseth and Revati are happily reunited in a harmonious
way.
Thus the play Saunshyakallol ends with a happy mood
after a numerous plotting and scheming events culminating in joyous,
hilarious situation giving rapturous fun, laughter and joy to all.
35
Thematic Approach
3.04. Suspicion and jealousy: A common thread in the
Plays.
36
3.04. Suspicion and Jealousy: A Common Thread in
the Plays.
Thus in all the three plays the recurrent motif of suspicion
and jealousy is seen. In fact the entire texture of Othello, The Winter’s
Tale and Saunshyakallol seems to be interwoven with the thread of
suspicion and jealousy.
The motif of suspicion and jealousy in Othello leads to
the tragic end of both Othello and the fair and virtuous Desdemona. The
atmosphere of suspicion, jealousy and hatred is wheted by the plotting
and scheming Iago. Iago spoils the personal life of both Othello and
Desdemona by his shrewd nature. So the final outcome of the play is
fatal end.
The motif of suspicion and jealousy in The Winter’s Tale
creates much complication, still at the end of the play reconciliation
between the hero Leontes the King of Sicilia and his wife Hermione
brings the happy epilogue to the play.
The motif of suspicion and jealousy in Saunshyakallol
creates turmoil of plotting and scheming against each other- Falgunrao
versus Krutika and Ashwinshet versus Revati.But finally the atmosphere
of suspicion and jealousy, plotting and scheming against each other is
subsided and reconciliation between the heroes and heroines is
established in a much hilarious way.
Thus we find that the tragic end and much complications
are created by the external force- Iago in Othello. But in the Winter’s
Tale an atmosphere of tension and complication is created by internal
force i.e. the suspicious and jealous nature of the hero, Leontes, himself.
37
The same atmosphere is created by internal force i.e. the suspicious and
jealous nature of Falgunrao and Ashwinshet.
38
Chapter IV: Rasa Theory Analysis
4.01. Rasa Theory: A Brief Appraisal
4.02. Karunrasa in Othello
4.03. Karun and Shantrasa in The Winter’s Tale
4.04. Hasya Rasa in SaunshayaKallol
39
4.01. RASA THEORY: A BRIEF APPRAISAL
Bharata’s Natayasastra:
Natayasastra is a treatise on drama and dramatics and related
subjects. This treatise or book is said to be written by Bharata or
Bharatmuni. Bharata is regarded as first writer on dramatics. However,
nothing is known about him or the time he lived in or any personal
details about him. Still Natayasastra can be placed between 100 B.C.
to200 A.D. as it is evidenced by Kane. (Kane, P.V. 2002,History Of
Sanskrit Poetics 41).
The book consists of thirty seven chapters. It is written in
metrical style.It also uses prose in a number of places particularly in
chapters on rasa, bhava and music. The total number of verses used in
this book are 5569. The author feels that a drama gives knowledge or
vibodha to the ignorant or abodha. So Natayasastra is mainly related to
art of drama and dramatics.
Significance of Rasa theory:
Rasa theory is the fruit of the critical genius of Bharata. Rasa
theory as explained or propounded by Bharata in his Natayasastra
helps to derive or understand pleasure out of many great works of
literature.If it is applied judiciously,it can bring out the subtlities and
complexities of a work of art and theory and thereby it can enhance our
sense of pleasure.It is a theory which focuses mainly on asthetic relish of
pleasure.So Rasa theory can be successfully applied to literature of
various languages.Rasa theory takes a logical, psychological and
scientific view of the asthetic pleasure.It examines and embraces all
possible aspects of poetic enjoyment.The asthetic pleasure can be
experienced only when one’s mind is free of indivisual bias.This state is
known as sadharanikaran. Abhinavagupta, the commentator on
Natayasastra calls this state of mind chamatkara as the reader or
audience is immersed in in the wonderful bliss or joy provided by
40
poetery.Until and unless the reader identifies or be one with the
emotion in the text his or her enjoyment cannot be complete.
Abhinavagupta further states that rasa is alaukica which may be
translated as ethereal or celestial.He again explains that when we enter
the theater ,we go beyond the boundaries of space and time.He
compares this literary experience to a wonderous flower which has no
beginning and will, not to end. Rasa theory thus encompasses the
entire gamut of drama and poetry.
Rasasutra: Rasnispati or the Process of Production of Rasa:
In the Natayasastra, Bharata explains in detail the famous
Rasautra or the process of production of Rasa thus:
Vibhanubhava – vybhichari – sanyoga –rasnispati (Natayasastra vi.274).
It means the rasa is produced by union of three elementsVibhava,Anubhava and Vyabhichari. The Rasa in any work of art is
produced by the synthesis of these three elements.The combination of
Vibhavas (Determinants)and Anubhavas (Consequents) together with
Vyabhichari Bhavas (transitory states). Rasa is produced just as the good
taste is produced with the help of the juice when different spices, herbs
and other articles are pressed together, in the same way Rasa
(Sentiment) is produced when various Bhavas get together. Just as
through the combination of spices, herbs and other articles a number of
kinds of tastes are produced so also the Sthayibhavas in combination
with different bhavas produce Rasa or attain the state of Rasa.
So in the process of production of Rasa the permanent
emotions are very essential because it is only with the permanent
emotions or Sthayibhavas Rasa is produced.These permanent emotions
are the principle emotions in the production of Rasa.These permanent
emotions can be perceptible or understood or noticeable through the
senses.Just as the noble- minded person after consuming cooked food
seasoned or prepared with various kinds of spices relish the taste and
become very happy or delighted in the same way the sophisticated
onlookers or theatre goers or readers enjoy or relish the Sthayibhavas
41
as shown through verbal,physical and temperamental activities and
become happy or delighted.
It is perceived or experienced that the relish or the taste of
Rasa is from Bhavas.The experts in dramatics called emotional feveror or
strong feeling or enthusiasm as Bhavas because they bring about the
outcome of Rasas. So there is not any Rasa devoid of or without Bhavas.
Rasas are the root and all the Bhavas are stabilized therein.
Rasa: The Emotional Experience of Beauty in Poetry and Drama:
Rasa prominently means taste or flavour or relish.However,
metaphorically it means the emotional experience of beauty in poetry
and drama.In this relation Mammata (1050-1100 A.D) the author of
Kavyprakash , speaks of poet’s work and compares pleasure or delight
with the pleasure in a work of art. Rasa theory thus gives importance to
the effect of poetry on the reader. The business of drama or a work of
art is to evolve the taste in the spectators or readers.Thus Rasa or
sentiments can be defined as taste, flavor or relish .It can be
experienced like the taste of food.
Bhavas or Emotional Fervour and State:
Rasa,as Bharata explains ,is the final state of relish or
satisfaction. However, that state follows many other states as after the
meal we enjoy different tastes and express our satisfaction by way of
words and facial gestures. These different tastes with their reactions,
etc. and preceding the ultimate satisfaction are called as Bhavas.Rasa is
the result of and outcome from Bhavas and not vice-versa .Thus Bhava is
nothing but what expresses a reaction ,be it by bodily gestures or by
words.Bharata also analysed the concept of Bhavas into four wordsVibhava , Anubhava, Vyabhicharibhava or sancharibhava and satyibhava.
Meaning of these four words can be explained with the help
of an example. Suppose ,X challenges Y or quarrels with Y or gives
touble to Y for something.In that case Y will get angry. Y can show his
anger with distended or swelled nostrils or his biting lips or trembling,
42
etc. Then Y in his anger would raise his hand to hit X or would shout in
anger, etc.
(a) Vibhavas
In the above example, we find three different processes
(a) X challenging or quarreling or troubling Y. It is a cause but an
external one. It can be called as Vibhavas.
(b)Anubhavas
Y’s appearance with red eyes or distended nostrils or biting his
lips etc.., is the immediate and involuntary reaction which can be called
as Anubhavas.
(c) Sanchari or Vyabhicharibhava
Y’s raising his hand to strike or tremble with anger or rage out
shout at X is a willful, deliberate or conscious reaction is called as
Sanchari or Vyabhicharibhava.
Sthayibhava
There is a total effect of Y’s reaction & behavior on himself to the
extent that he or Y forgets himself when his entire individuality takes a
different appearance .Even when all the involuntary & voluntary
reactions are not perceptible, there is a short interval during which one
could clearly understand Y as an angry man.This interval is distinguished
or referred as Sathyibhava.It is the Sathyibhava that constitutes the
rasa.The eight sathyibhavas as enumerated by Natyasastra can be stated
as follows:
Rati (love), Hasa (merriment) ,Soka (sorrow), Krodha (fury or
anger), Utsaha (enthusiasm),Bhaya (terror) ,Jugupsa (disgust) &
Vismaya (astonishment).
In the same way Natyasastra states thirty-three Sanchari or Vyabhichari
Bhavas & eight sattvika Bhavas or temperamental states.Sattva means
originating in the mind.It is caused by the mind when there is
concentration. Through the mental concentration these sattivaka rasas
are perceived.
43
Illustration of Bhavas
The Bhavas are discussed above can be once again illustrated as
follows:
Sthayibhavas
Rasa is a transfiguration of the emotions presented in a work
of art. Abhinavagupta (10 th-11 th century) in Ancient Indian Psychology
grouped all emotional activities under nine heads viz.,the sexual
emotion,amusement ,distress,anger,masterfulness(energy),fear
disgust,wonder & quietude (calmness).These are permanent emotions
or sthayins based on universal psychic depositions (vasanas) in human
nature.They are the accumulations or deposits of previous experience
inherited as well as individual.A sthayin lies latent or existing but not
very active or developed & inert or without power to move or act in
human being except when a stimulus activates it for a while. Every
individual possesses sthayins. However, only the sahrdaya or rasika or
the man or woman of inborn or trained sensibility can realize or
understand or enjoy the rasa.
So sthayin are certain permanent & dominant propensities or
basic moods in the minds of all theatre going people or readers of poetry
which are ordinarily dormant or inactive but when appropriate stimuli
such as dialogues, songs, acting & music in case of poem are
employed,they are roused and evolve a pleasurable state of the mind of
the spectator or the reader. These permanent moods are called
Sthaynibhavas.
Bharata has explained why these are called as sthayin.Though a
king & his servants are all possessed with similar limbs and physical
endowments, still one man is called as king & others as servants ,in the
same way one mood is called as sthayin & others associated with it are
called as Vibhava , Anubhava & Vyabhichari or Sanchari Bhavas.The
sthayinbhavas so accompanied with them attain the position of rasa or
Aesthetic Pleasure or Relish. The resultant aesthetic enjoyment &
44
pleasure are called as Rasas .Dasharup (974-996 A.D) illustrates that
sthayin bhavas are as like as ocean which is frequently distributed by
other currents of water, still the ocean always retains its own position.In
the same way sthayin bhava is dominant mood which is not broken up
by other bhavas and makes other bhavas subordinate to itself.
Sanchari or Vyabhichari Bhavas
These bhavas are fleeting or secondary moods that are
common to several dominant moods. They serve the purpose of
completely manifesting the permanent moods such as Niverde
(despondency) & Glani (ennui or fatigue).These may help to manifest
completely the permanent moods of Rati (love) and Soka (sorrow).These
are called as Sanchari or Vyabhichari bhavas. They show or denote a
movement or fleeting states of mind.The permanent emotions are
stable states & transient emotions are transistory states or changing
moods.
Vibhavas
According to Natyasastra,Vibhava is nothing but karan
(cause) or Nimitya or hetu (purpose). The Vibhavas are so called because
many matters such as sthayin or vyabhichari bhavas depend upon
abhinaya (acting). Abhinayas are of two kinds such as Vachik (spoken)
and Angika (bodily gestures).
This can be applied to an instance described in Adikavya:
Ramayana as narrated in Balakanda that the saga Valmika saw a hunter
killing one out of amorous krucica or krunchik birds. The parting of loving
pair by violent means, the fall and death of female bird are the vibhavas
of karun-rasa. The lamentation and piercing cry of anguish uttered by
the surviving male partner are the anubhavas of karun rasa.
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The Rasa and Bhava
The co-relation or coordination between the rasa and bhava can
be shown as follows:
Rasa or sentiments (8)
Shringara (erotic)
Originates in Rati
Bhavas or Emotional Fervour (3)
Sthayin (08)
permanently dominant)
Rati (Love)
Hasya (humour)
Originates in laughter
Karuna (pathos)
Originates in soka or
sorrow.
Hasa (merriment)
Sanchari
or Vyabhichari (33)
(moving or transitory)
Soka (Sorrow)
Raudra (impetuous anger)
Krodha (furry)
Originates in krodha or anger
Utsaha or bravery
(enthusiasm)
Vira (heroic )
Originates in uthsaha
Bhayanak (terrific)
Originates in bhaya or fear
Bibhatsa (odious)
Jugupsa Originates in
Digust
Adbhuta (mysterious)
Originates in Vismaya
Bhaya (terror)
Sattvaja (08)
Temperamental or
originating from mind
Jugupsa (disgust)
Vismaya
(astonishment)
46
The eight sathayin bhavas along with vibhava, anubhava and
sanchari or vyabhichari bhavas can be shown as follows:
SR. Sathayin-bhavas
No (Permanently
dominant
emotions)
Vibhava
(Stimulous, karan
Nimit, Hetu or cause)
Anubhava
(involuantry reaction, or
consequent)
Sanchari/Viyabhicharibhava
(conscious, willful, or
voluantry or deliberate
reaction)
1
Rati or Love
Ornaments, season,
flower, anything
beautiful, or
desirable, a bright
dress
Looking sideways, coy
glance, sweet words
Lassitude, suspicion,
jealousy
2
Hasya/humour
Peculiarity of dress or
speech
Spouting, mimicking, etc.
Smile, sniker, laughter,
guffow
3
Karuna/compassion
Soka (sorrow)
Separation from near
and dear, downfall
loss, death, calamity
etc.
Tears, fainting.
Lamentation, etc.
Sorrow, trembling, fear,
etc.
4
Raudra (horror)
Krodha (anger)
Violence, treachery,
deception
Red eyes, biting lips,
rubbing hands
Sweating, excitement,
impatience, etc.
5
Vira (heroic)
Utshasa
(enthusiasm)
Bhayanayaka (fear
or terror)
Determination,
strength, bravery, etc.
Courage, generosity, etc.
Decision, arrogance, etc.
6
Frightful things, lonely Trembling, pallor, loosing
sights, etc.
voice
7
Bibhatsa (awesome) Bad news, loud
Jugupsa (disgust)
lamentation, etc.
8
Adbhuta (wonder)
Vismaya (surprise)
Fainting, standing rooted,
hurrying etc.
Repulsion, spitting, turning Fainting, illness, death, etc
up nose, etc
Seeing unusual things, Wide or staring eyes, thrill, Standing, stunned, overjoy,
magic, achieving the
exclamations, etc.
etc.
desired thing, etc.
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Process of Production of Rasa
Vibhavas
Sthayibhava
Anubhavas
Rasas
Sanchari bhava or Vyabhichari bhava
Thus stayibhavas along with Vibhavas, Anubhavas, Sanchari Bhava or Vyabhichari
Bhava give birth to rasa.
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Chapter IV: Rasa Theory Analysis
4.02. Karunrasa in Othello
49
4.02. Karunrasa in Othello
Karunrasa means pathos. It originates in soka or sorrow. In
Othello we find the death of fair and virtuous Desdemona caused by
ill kind of jealousy wheted by Iago. So the entire texture of the play is
interspersed with the karunrasa.
Iago’s jealousy towards Othello
Though Iago is Othello’s ensign, he was not given the post
of a lieutenant. The same was given to Michael Cassio whom Iago
hated as Cassio knew less about the warfare but Iago was a veteran of
many campaigns. So Iago has jealousy towards Othello.
Iago’s Instigation to Barbantio against Othello and vice-versa
To fulfill his end, Iago instigates Barbantio, the father of
Desdemona against Othello as Othello had eloped with his daughter
Desdemona. At the same time as the ensign of Othello, Iago also
instigates Othello against Barbantio.
Scheming and plotting Iago
Rederigo, a noble man also hates Othello as he desires the
hand of Desdemona. Iago takes this opportunity to create quarrel
between Roderigo and Cassio. He gives wine to Cassio and turns
Roderigo to fight with him. Drunken Cassio wounds Montano, the
former governor of the island, instead of wounding Roderigo.
So when Othello learns Cassio’s act, he removes Cassio from
the post of lieutenant. The same is given to Iago by Othello. Iago also
turns Cassio to request Desdemona to turn Othello to retain his post.
Cassio meets Desdemona as has been arranged by Iago. He, then,
goes away speedily from Desdemona which is seen by Othello.
Desdemona requests her husband Othello to restore Cassio to his
post and leaves. Iago immediately plant seeds of doubt and suspicion
in Othello’s mind. Iago subtly suggests Othello that Desdemona and
Cassio are having a love affair.
50
After some time Desdemona returns and finds the angry mood
of Othello. So she tries to soothe Othello with the handkerchief but
Othello throws the handkerchief to the ground and goes away.
Later on, Emilia, the wife of Iago finds the handkerchief and
gives it to her husband Iago. The handkerchief was embroidered with
a strawberry pattern and it was Othello’s first gift to Desdemona.
Othello demands the proof of Infidelity of his wife to Iago.
Quick-witted Iago tells Othello that many a times he had seen Cassio
wiping his face with a strawberry embroidered handkerchief. So
Othello vows to take revenge both upon Casio and his faithless wife
Desdemona.
Othello demands handkerchief from Desdemona but she
cannot show it to Othello. Iago arranges to put the handkerchief at
such a place so that Cassio should easily pick it up. Then Iago arranges
Othello to actually see the handkerchief in the possession of Cassio.
Both Othello and Iago agree that Othello will kill Desdemona and
Iago wil kill Cassio. Iago turns Roderigo to kill Cassio. But Cassio is not
wounded. Both Cassio and Roderigo remain alive . So fearful Iago
murders Roderigo so that he should not tell truth to Othello. Othello
smoothers Desdemona though she pleads about her innocent nature.
Still Othello murders his wife Desdemona.
But Emilia, the wife of Iago tells Othello that the accusations of
Iago on Desdemona were all lies or false. She tells Othello that she
herself has given the handkerchief to Iago. So Iago stabs Emilia and
Othello stabs the treacherous Iago. The remorseful and heart broken
Othello stabs himself and dies falling on Desdemona’s body.
Karunrasa caused by the treacherous Iago
Thus we find the deaths of the hero Othello, the heroine
Desdemona, Cassio, Roderigo and Emilia only because of the
treacherous Iago. So we find karunrasa in Othello.
51
Chapter IV: Rasa Theory Analysis
4.03. Karun and Shantrasa in the Winter’s Tale
52
4.03. The Winter’s Tale: Admixture of Karun and
Shantrasa
The Insane jealousy of Leontes, King of Sicilia
Leontes entertains his boyhood friend Polixenes, King of
Bohemia for nine months in his court. He cannot force him to stay for a
while. So he requests his wife Hermione to persuade Polixenes to stay a
week longer and gets success. But Leontes misunderstands the intimacy
of his wife Hermione and Polixenes. So out of his insane jealousy Leontes
orders Camillo his faithful counsellor to poison his friend Polixenes.
However Camillo knows that both Polixenes and the Queen Hermione
are guiltless. So he warns the King about his insane jealousy. He himself
escapes with Polixenes to Bohemia.
Leonte’s tyrannical acts
Leontes knows about the flight of Polixenes and Camillo and
becomes full of rage. So he begins to torture Hermione. He publicly
declares her as an adulteress. At the same time he takes away the young
son Mamilus from her. In addition to this he puts her into prison though
Hermione is going to be a mother. Still steadfastly Hermione bears the
tortures of her husband.
When a daughter is born to Hermione in jail, her waiting woman
and devoted friend Paulina hoping that the sight of the innocent
daughter may change the heart of Leontes takes the baby to him. But he
openly disowns the child. He orders Antigonus the husband of Paulina to
53
take the Baby to some desert and leave the child at the mercy of wild
animals.
To test the fidelity of Hermione, Leontes sends his messengers to
Oracle of Delphi. In the trial Hermione innocently declares that both
Polixenes and Camillo are honest. She shows deep faith in her husband
Leontes though he has tortured her.
The judgment of Oracle of Delphi- chaste Hermione
The Oracle of Delphi declares Hermione as a chaste woman.
Polixenes as blameless and Camillo a good citizen. Leontes is declared as
a jealous tyrant. Hermione has given birth to his baby. Then Leontes
listens the sad news that his only son Mamillus has died of sorrow by the
news of his mother’s sufferings and disgrace. The Queen faints and is
declared as dead. So Leontes repents for his mad jealousy and goes into
mourning.
Antigonus leaves the baby on the desolate coast of Bohemia
naming her as Perdita who is found out by a shepherd. Antigonous is
eaten by a bear so no news of Perdita reaches to Sicilia.
Karunrasa in the Winter’s Tale
It is because of the insane jealousy of Leontes, the virtuous
Queen Hermione, his son Antigonous meet death. So the karunrasa
colors the entire structure of The Winter’s Tale.
Perdita and Florizel Cause of happy end
After sixteen years Florizel, the son of Polixenes and Perdita, the
daughter of Hermione and Leontes are brought into a happy union of
love, though Perdita lives in the cottage of a shepherd. Dead Hermione
is brought to life by chance. Polixenes and Camillo come from Bohemia
54
to Sicilia to meet Leontes. All are happily brought together. The play
ends in a happy mood.
The Winter’s Tale: An Admixture of Karun and Shantrasa
Thus we find an admixture of Karun and Shantrasa in the entire
structure of the play. The play is coloured by sorrow due to insane
jealousy and tyrannical acts of Leontes. He commits sin and is punished
for his sins. He undergoes suffering. So suffering purifies his soul. So joy
and happiness is brought in the life of Leontes and Hermione by the
happy union of Perdita with Florizel. The play ends happily. So it is a
tragi-comedy which is full of admixture of Karun and shantrasa.
55
Chapter IV: Rasa Theory Analysis
4.04. Hasya Rasa in SaunshayaKallol
56
4.04. Sunshyakallol: Hasyarasa
Double Plot in the play
The play has double plots-Falgunrao-Krutika episode the main
plot. The sub plot of the play is that of Ashwinshet-Revati episode. Both
the plots are harmoniously blended together with the thread of the
tasbir motif.
Suspicious nature of the Protagonists
The suspicious and jealous nature of both the hero Falgunrao and
heroine Krutika creates much turmoil in the play. Both the hero
Falgunrao and heroine Krutika strive to find out the proof of disloyalty of
each other which leads to much complication and plotting and scheming
against each other. The element of jealousy is dormant in the minds of
both Falgunrao and Krutika.
The Tasbir-Motif of jealousy
The tasbir-the photograph of Ashwinseth is much cause of
doubt, suspicion, jealousy, tension and conflict. It is the tasbir of
Ashwinseth which is given by him as a token of love to his beloved Revati
which creates much atmosphere of turmoil, tension and confusion.
Question of Fidelity of Falgunrao
The same tasbir of Ashwinseth falls on the ground from the
hands of unconscious Revati which is found out by Krutika while her
husband Falgunrao carries on unconscious Revati to her home which
creates a sense of doubt and suspicion in the mind of Krutika about the
fidelity of Falgunrao.
57
Question of Fidelity of Krutika
On the other hand when Krutika takes the tasbir of
Ashwinseth to her home adds the fuel to the jealous nature of
Falgunrao. Falgunrao sees his wife Krutika clinging the photo of a young
man or Jar to her bossom as if she is doting upon and pining for the love
of her jar or lover. So suspicious Falgunrao tries his best to find out the
proof of disloyalty of his wife Krutika.
Shravanseth and the letter sent by Krutika
Krutika writes a letter to Bharnibai, the maid mistress of
Swati asking about the nature of Swati as Krutika doubts that her
husband Falgunrao is having illicit relations with Swati. Unfortunately,
the letter goes into the hand of Shravanseth, Bharnibai’s husband, who
in a mood of fun gives the reply to the letter which is received by
Falgunrao.
So Falgunrao doubts that Krutika has illicit relations with
Shravanseth. So to find the proof of disloyalty he arranges a meeting
with Swati in the fruit garden. This news is discovered by Krutika. So
instead of Swati, Krutika goes to the garden much to the astonishment
of Falgunrao. Falgunrao is caught into trap by Krutika.
Visit of Ashwinseth and Atmosphere of Confusion
When Krutika is on the side of victory, the arrival of
Ashwinseth distorts her plan of victory. Ashwinseth is hidden by Rohini
in the room of Krutika which is found out by Falgunrao. So Falgunrao is
sure of illicit relations of his wife with Ashwinseth.
58
Happy end resolved by Ashwinseth
At the end of the play, Maghanayakin, the mother of Revati
arrives at the house of Falgunrao and adds the fuel to the fire of jealousy
between Falgunrao and Krutika. However, Ashwinseth explains every
incident in detail and tells all that he himself had given his tasbir to
Revati as a symbol of his love.
Hasyarasa: Dramatic irony: Homely drama
So the clouds of doubts, suspicion and jealousy come to an end
between Falgunrao and Krutika. The play ends happily both the couplesFalgunrao-Krutika and Ashwinseth-Revati. No any kind of physical harm
is done to anyone. No any kind of casualty, cruelty, death and bloodshed
take place in the play.
The audience or the readers know what is going on the stage
and in the life of characters which adds to the intensity of Dramatic Irony
and creates joyous and happy atmosphere giving everyone joy and
happiness with carefree fun and laughter. So the entire play is
surcharged with hasyarasa due to fanatic, suspicious and jealous nature
of Falgunrao, Krutika and Ashwinseth. The play teaches how to create
the homely and healthy atmosphere in a family.
59
Chapter V: Summing up
Thematic Similarities in Trilogy: Insane jealousy
Thus we find a recurrent of the thread of insane jealousy or
thematic similarity in trilogy or in Shakspeare’s play Othello, The
Winter’s Tale and G.B.Deval’s play Sunshyakallol. All the protagonist of
these plays suffer from insane jealousy and thereby bring about sorrow
and misery in the lives of many people so a recurrent motif of insane
jealousy intersperse/spreads in all the three plays.
Othello
The insane jealousy of Othello wheted by Iago brings fatal end
to the life of fair Desdemona, Cassio, Roderigus and others. So we find
karunrasa in the play. It teaches us to subdue the humor of jealousy
from human mind.
The Winter’s Tale
The insane jealousy of Leontes brings much turmoil in the
life of loyal Hermione, but she is rewarded by the time. In the end of the
play Leontes is restored with his wife, daughter, friend and his
counseller. So we find the admixture of karun and shantrasa in The
Winter’s Tale. The moral of the play is that even the sinner when
undergoes suffering, his / her soul is purified and it leads to one’s
redemption.
Saunshyakallol
The heroes Othello and Leontes suffers from insane jealousy.
But in Saunshyakallol both the hero and heroine-Falgunrao and Krutika
suffer from insane jealousy. It is because of doubt and suspicion much
60
misery and sorrow is brought in their life. Still in the end of the play the
entire atmosphere of doubt, suspicion and jealousy vanishes. The dark
clouds of jealousy and misunderstanding are vaporized in the end of the
play.
We find Saunshyakallol as a hillarous comedy ending with much
fun, laughter and happy end. Everyone gets rapturous or great joy by the
comic atmosphere in the play. So we find hasyarasa in Saunshyakallol.
The play teaches us to drive away the humor-jealousy in family life to
make our life gay.
61
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