Svapnavāsavadattam - An Analysis

Is the plot of Svapnavasavadattam political, or is it psycho­logical? Set in a politically disturbed background, the theme of the Svapnavasavadattam is essentially a study in psychological conflict. What would Svapnavasavadattam be like without this psychological conflict? It is a great study of the subtle and deep conflict and of the delicate emotions of love of the king and Vasavadatta.

In Svapnavasavadattam, no word is wasted, no technique mis­applied, no incident purposed, no character superfluous, no device abused, no jarring excess in poetic embellishment, no incursion of melodrama, and no flagging of the tempo. Every little part has a role to play in producing the impression of integral perfection. It is this phenomenal totality of perfection that had made Rajaekhara single out Svapnavasavadattam, of all the dramas and declare, that it was totally immune to all attacks of the critics' fire.

Among the other merits of the play must be mentioned its abiding human interest, with all the actions proceeding from the characters and centered on the purely human plane.

The minister Yaugandharayana unfolds the machinery of a political design in the opening act of the play, with a view to restoring Udayana back to his lost kingdom. This is a political motive which is of immense importance. And the mode of the characterisation of Udayana and Vasavadatta is truly psychological; particularly, the conflict in the mind of Udayana, his vacillation between Vasavadatta and Padmavati, are spread over throughout the play.

As we come to know from the story itself, Udayana neglects his affairs of state because of his great attachment to his beloved

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