Excerpts Quoted in the Nāṭyadarpaṇa from the Devīcandragupta: A Critique on Their Significance
By Satyavrat Verma
Summary
The fifth paper investigates a set of seven verses from the lost Sanskrit drama *Devīcandragupta* (DCG) that survive in the treatise *Nāṭyadarpaṇa* (ND), a manual on dramaturgy. Because the play itself is missing, these excerpts constitute rare evidence for its plot, characterisation and literary form. The author begins by situating DCG within the prakarana genre: according to ND, a prakarana features a hero who is a prince and a heroine of non‑royal descent and incorporates everyday themes. One of the quoted verses describes an intimate encounter between Candragupta and his beloved Mādhavasenā, reinforcing ND’s argument that DCG is a prakarana rather than a heroic play. Another verse shows the heroine pleading with Candragupta, which ND cites to illustrate *prārthanā*, a dramaturgical element involving requests and supplications. Further excerpts are used to explain *krama*, the subtle discernment of another’s emotions, and to exemplify how a poet introduces backstory through dialogue. The article notes that ND names the playwright as Viśkhadeva — generally identified with Viśkhadatta — and hints that the story revolves around the political intrigues of the late Gupta period. DCG appears to dramatise the treacherous plot in which Ramagupta, the elder Gupta emperor, plans to surrender his queen to an enemy king, prompting his younger brother Candragupta to intervene. Although the ND does not provide the full narrative, the excerpts suggest that Mādhavasenā may be a courtesan who aids Candragupta. The study assesses the value of these verses for reconstructing the lost drama and for understanding Gupta history. It also compares ND’s interpretations with those in other dramaturgical treatises, noting that later authors seldom mention DCG. By carefully analysing each verse and ND’s commentary, the article highlights how a dramaturgical manual inadvertently preserves fragments of an otherwise forgotten play and how those fragments illuminate themes of love, loyalty and political strategy in early Sanskrit theatre.
Conclusion
By examining the seven verses of *Devīcandragupta* preserved in *Nāṭyadarpaṇa*, the author demonstrates how a dramaturgical treatise can inadvertently safeguard the memory of a lost play. The excerpts reveal that the drama likely belongs to the prakarana genre, features Candragupta and Mādhavasenā as protagonists and reflects the political intrigues of the Gupta era. Through close reading, the study shows that these fragments not only elucidate technical concepts like *prārthanā* and *krama* but also offer valuable glimpses into the thematic richness of a vanished work.