Note 8 — III DRAMATIC THEORY XIII THE THEORY OF THE DRAMATIC ART

Of the fourteenth century in all probability are three works of unequal importance and merit. The Pratāparudrīya8 of Vidyānātha is a mediocre compilation from the Daçarūpa and the Kāvyaprakāça of Mammaṭa, covering the whole field of poetics; it illustrates the formal rules of the drama by the composition of a wretched drama in honour of Pratāparudra of Warangal, whose inscriptions show dates from A.D. 1298 to 1314. Of much greater interest is Vidyādhara’s Ekāvalī;9 like Vidyānātha, the author celebrates in his illustrations of his text his patron, in this case Narasiṅha II of Orissa, perhaps A.D. 1280–1314; as a poet his merits are negligible, but he shows a lively interest in his subject and intelligence in his views. Of greater popularity than either is Viçvanātha Kavirāja, the author of the Sāhityadarpaṇa,10 a general treatise on poetics. His handling of the drama is based largely on the Daçarūpa and its commentary, but he introduces a good deal of matter from the Nāṭyaçāstra in his sixth chapter, including details of the characteristics and ornaments of the drama, which the Daçarūpa omits. In this Viçvanātha indicates his servile character, which, however, renders his work the more valuable as an exposition of the orthodox doctrine. Of his ancestry and his own works he makes free mention, but the most definite evidence of his date is the existence in the library at Jammu of a manuscript of his work whose date appears to be A.D. 1383. The lack of order and the errors in his work are made the basis of criticism by Rūpa Gosvāmin in the early part of the sixteenth century, but his own Nāṭakacandrikā shows little improvement on the work of his predecessor, whence it draws much of its material; its real purpose is to eulogize the saint Caitanya, whose disciple Rūpa was and in whose honour he composed dramas of no merit. Equally dependent on Viçvanātha and the Daçarūpa is Sundaramiçra, whose Nāṭyapradīpa was composed in A.D. 1613. Many other treatises on drama are known by name or exist in manuscript, but none apparently of any great importance or repute. Of the fourteenth century also is the Rasārṇavasudhākara11 of Çin̄ga Bhūpāla, lord of Rājācala and the land between the Vindhya and Çrīçaila about A.D. 1330, who cites Vidyādhara.