Characters in Mrichchakatika

 Charudatta is described as “a Brahmana merchant who is a citizen of Ujjayini.” Two things are important in his case—one, that he is placed in the highest caste, and two, that he is a merchant by profession. The combination of these two raises his social level very high. This is a combination of qualities of heart (such as sympathy), and capability to conduct worldly activities. The realistic view shows him as a man of the world that is driven by the idea of success. He is placed in the category of a hero who is of grown sensibility, tolerance, level-headedness and nobility. He is a leader of men. As such, he would be surrounded by people and would win credit for what he might do for others. The playwright Sudraka has chosen Charudatta in preference to the kingly figure meant to rule the city. Is it not idealisation of a person? The crucial characteristic in him that draws our attention is of his being a lover. He remains a lover till the end of the play, and nothing can deter him from his chosen path. The trait of love sustains him as a human being, and increases his appeal to the audience.

Love joins Charudatta with Vasantasena, a courtesan. Her job in life is of providing entertainment to the privileged in the city. To perform such a role, she is highly accomplished in the arts, such as dancing and singing. Her youth and good looks enhance her value in society. Such a person would not be ordinarily associated with love that might align her with an individual.Lovemight take her out of the ambit of entertainment she is supposed to provide. Love is a matter of choice, and from the point of view of the profession chosen by her, she is denied such a choice. A woman of entertainment available to the collective will is supposed to consider the citizens as her clients who will buy her company and attention. As a courtesan, her concern cannot be the pursuit of virtue and morality. But she loves Charudatta and, therefore, tries to gain virtue by leaving her profession aside and foregoing money and a life of luxury. From the character of Vasantasena stems the need for ananalysis of the private space of women as society was still segregated between men and women and their respective gender roles.

THE PRIVATE SPACE OF WOMEN

As mentioned above, the action of the play reveals love as a purifying, and chastening venture. It involves self denial of good things and redefines pleasure on its own terms. This lays an emphasis on those qualities that cannot be measured by money or social standing. If we  look at a small group of women characters engaged in talking about ordinary matters of living within the private space of the home. This will give us a peep into the creative nature of women in ancient India, even as the world of that time was governed by the hierarchical power of men. The following from Act II may be the starting point of characterisation:

Vasanatsena: Friend, what next?

Madanika: Lady, you have not spoken about anything. How, then, do you ask ‘what next’?

Vasanatsena: What did I say?

 Madanika: You asked, ‘what next’?

Vasanatsena: (Knitting her eyebrows): Ah! Yes!

 Maid(approaching): Lady, the mother asks that you should take your bath and go through the worship of the deities.

Vasanatsena: Friend, tell mother that I am not going to bathe today, let therefore the Brahmana himself perform the worship.

Maid: As Your Ladyship commands. (exit)

Madanika: Madam, it is my love that prompts me to inquire, and not the disposition to find faults; so tell me, please, what all this means.

Vasanatsena: Madanika, what do you see me to be like?

Madanika: I can see from Your Ladyship’s absent-mindedness that you have fallen in love with somebody whom you have treasured in your heart.

Vasanatsena: Rightly you have guessed! Clever in fathoming the hearts of others, you are indeed Madanika.

We note that three women participate in the goings on, even as the mother in the wings (mother of Vasantasena presumably),is sending instructions for Vasantasena to follow (This adds up to four women whose job is to follow the household norms and do the chores. The rest is the conversation that gives these ladies their distinct identities).

In the beginning of the dialogue, we are struck by the mental alertness of the maid servant Madanika. She loves the use of words. Obviously, “what next” can be said only when the speaker is in the middle of the conversation. Here, however, the talk is started with the question “what next?” At the query of the maid servant Vasantasena wakes up from her daydream, and is forced to ask “what did I say?” That is an interesting way of starting a conversation. Indeed, Vasantasena is lucky that she has such a lively companion as Madanika. This would keep the mistress amused and happy all the time, particularly at a moment in time when she is lost in the thought of her lover. The next point in the exchange between Vasantasena and Madanika is the bathing ritual and being a part of the worship of the deity aspect. The instruction for this comes from Vasantasena’s mother. The carrier of the instruction is another woman not mentioned by name and is only  called “Maid.” The reply of Vasantasena to the word from the mother is that she is not in a mood of getting up from her seat. The mood makes Vasantasena say something that goes against the convention of performing the worship. Also, she suggests that the Brahmana alone do the worship and leave the house. Yet, the chat continues, this time in the direction of the mistress’s absent-mindedness, and whether she is in love. It is clear from the exchanges between the two that love is closer to the heart of both. The interesting part is that the topic draws the two near each other and establishes a sense of equality and sisterhood between them. In this way, the wall of separation between the mistress and the maidservant breaks down and they now have a space of freedom to share. An author/the playwright creates the characters and gives them life.