Reviews and Nalavilasa-Nataka

Summary

The *Nalavilasa-Nataka*, a Sanskrit drama by the 12th-century Jain poet Ramacandra Sari, was first published in 1926 by Gaekwad’s Oriental Series, edited by O. K. Srigondekar and Lalchandra B. Gandhi. The work reimagines the Nala episode from the *Mahabharata*, shifting focus from divine to human agency—introducing characters like Kalahaiisa and Makarika to drive the plot, contrasting with the original’s mythological elements. The poet employs a fluid Vaidarbhi style, praised for its naturalness and humanized narrative, which influenced later works like Somaprabha’s *Kwmarapila-pratibodia*. The drama’s prologue asserts originality, denying dependence on prior sources for theme or language. While the plot follows traditional outlines, it emphasizes psychological realism and probability, distinguishing it from earlier versions. The editors’ Sanskrit introduction provides a comprehensive literary history of the Nala episode, contextualizing the play’s innovations. Separately, Saktibhadra’s *Ascarya-Coudamanti* was edited by C. Sankara Rama Sastri, with an introduction by S. Kuppuswami Sastri, who hailed it as one of the finest Rima-plays, rivaling Bhavabhuti’s *Uttararama-carita*. The author’s true identity remains uncertain—possibly a pseudonym for Sankara, a disciple of the scholar Sankaricirva, who burned his original manuscript after composition. The play’s unique merit lies in its purification through Sankaricirva’s critical oversight during oral recitation. Both works exemplify Kerala