Basavaraj Naikar's Sangya-Balya: Betrayal: A Folk Tragedy s.JOHN PETER JOSEPH ...Suitthe action to the word.the word tothe action, withthis special observance, that you o'erstep nol the modesty of na lure. For anything so overdone is from the purpose ofplaying, whose end, both at the first and now, .....as and is 10hold. as "twere, the mirror up 10 nature, 10 show virtue her own feature. scorn her own image.and thevery age andbodyofthe time his form and pressure. (Hamll'/. Act III. Scene ii., lines 15-21] Drama constitutes an integral part ofanycivilised society.Itis true thatthe dramatic instinct is quite universal. The theatre whether in sacred or secular form hasnever failedto hold itspowerfulappeal to man.Undeniablyevery nationand every race hasits owndramatic history. Drama as the best form of literary composition mirrors the social, politicalandculturalhistoryofapeopleand thecharacteristicnature ofthegeniusofany nationcannotbe fully comprehended andappreciated withoutitsstudy.Since 'anation is known by its theatre', the impact ofdrama and theatre over the masses cannot beeasily ignored.One can learn about the character of aparticularnationmorefrom its immortal playsthanfromthepagesofaformalhistoricaltreatiseortherecordsofthenation.Drama, which istheoutcomeofhumannatureandhumancharacter,"isanimitationofpeople,their environment, emotions, feelings, situations they are found in,mental and physical states andactions"(M.L.Varadpande273).InthewordsofGB.Tennyson."Dramaisastorythat people act out on a stage before spectators" (3). Eric Bentley observes:"The theatrical situation.reducedtoaminimum.isthatAimpersonatesBwhileClookson"(150).Marjorie Boulton remarks:"Drama,atits best.isanexerciseoftheimaginationnotonly forwriter, producerand actors but also for the audience.The writerofplays createscharactersand places them in situationsthatare interesting and insome way relevanttogeneralhuman experience"(196).Therichvarietyofthedramaasanartformanditsindispensablehuman naturehave been remarkablyhighlightedandsummedupbythegreattheatricalproducer, MaxReinhardtasfollows: It isto the actorand tono oneelse thatthe theatrebelongs.Thisdoes notmean,ofcourse. the professional actor alone, but the actor as poet. as director. stage-manager,musician. scene-designer, painter and certainly not least of all, the actor as spectator. for the contribution of the spectators is almost as important iIS that of the cast.The audience StJng~tI NalGk Vol.XU, No.3, 2007 28 s.JOliN PETERJOSEPli mustlakeitspan inthe playif we areeverto see a true artofthe thearrec-tbe oldest, most po.....erfut. and mostimmediate of the arts. combining the many in one. [quoted in Hemendra Nath Das Gupta iii AccordingtoProfessorH.H.Wilson.the primaryobjectofdramaticrepresentationsis"to conveyinstructionsthroughthemeansofamusementand with this view.theymustaffect themindsofthespectatorswiththestatements which theyexpress" (ii). From theartistic pointofviewdrama andthestageindubitablypossessanethicaland ahistoricalvalueof theirown. Theartofdrama.consideredtobethefifth 'Veda'inIndia.isquiteancient.Undoubtedly Indiapossessesarichandgloriousdramatictraditiongoing back more than two thousand years.ThephenomenalgrowthanddevelopmentofdramainIndiahaditsorigininSanskrit dramas.A.B.Keithisofthe viewthat"Indiantradition.preserved inthe 'Natyasastra',the oldestofthetextsofthetheoryofthedrama,claimsforthedramadivineorigin,andaclose connectionwiththesacredVedasthemselves" (12). A.L. Basham,the well-knownhisto rian.observes:'TheoriginoftheIndian theatreisstillobscure.Itiscertain,however,that even in the Vedic period dramatic performances of some kind were given, and passing references inearlysources pointto theenactionatfestivals ofreligious legends.perhaps only in dance and mime" (434-435).Indian drama is absolutely and precisely of Indian origin.It evidently grewand developed quite independently of any occidentalinfluence. Affirming the unique and the independent nature of Indian dramas and the outstanding qualityof the Sanskritlanguage,Sir\VilliamJonesremarks that Sanskrit which is"more perfect thanGreek, more copious than Latin and more exquisite than either" (quoted in Hemcndra Nath Das Gupta 2) could easily produce dramas quite independently of the GreeksortheYavanas. Bharata,consideredtobethefatherofIndiandramaturgy,inscribes inNatyasastrathat theprimary aimofadramaisthat itshouldgive knowledge to the ignorant.Moreover,it should bothbea sourceofentertainment and enlightenment.The majorconstituentsof a drama, according to Natyasastra, are plot. actors and aesthetic taste. Though renowned dramatists like Kalidasa, Bhasa, Bhavabhuti, Shudreka. Ashvaghosha, Shri Harsha and Vishakhadatta mostlyaffirmed the viewsexpressed intheancienttreatise on drama,they startedwritingdramasinSanskritwithafewmodificationsregardingthe natureofdrama,as an art. The dramas of these great and outstanding artistic personalities are remarkably knownfortheirelegance,richandgracefulpoetry,properexecutionanddelicacyofsubtle dramatic art. They not only depicted wonderfully the human sentiments but they also re...ealed "3 deep acquaintance with the mechanism of the human heart as well as with nature"[HemendraNathDasGupta54). Though India is known for its heterogeneous culture, customs, languages, habit and outlook,thetraditionaltheatreofIndiagotampleinspirationfromgreatepics:theRamayana M~abharata andthe andthe Puranicliterature.The playwrightsdrew storiesand charac tersfortheirplaysfromthesesources.Thestoriesfoundintheseever-cherishedepicsand BASAVARAJNAIKAR'S SANGYA-BALYA 29 puranas have beenorally passed on from generation to generation and also through the artisticmediumofpuppetryandotherperformingartsandultimatelythroughwrittentexts. These stories have not lost their enduring and everlasting charm and even now serve as essentialandgenerative sourceforcreativeexpressioninliterature andart. Dramaasan extensive and acomprehensiveart delineating the variegatedsagaofhu manlifeinallitscomplexityincludestheperformingartsofdancing,singingandplayingon musical instruments.Obviously,India isoneofthegreatstore-housesofperformingarts, especiallythe traditional orclassical. folk and devotionaldramas.Thoughfolk theatre in Indiafollowsthe widelyaccepteddramaturgical traditionsofNatyasastm, ithasemerged asapowerfulmediumofsocialcommunicationintraditionalsocietiesorcommunities.Asif isspirited,dynamic and ingenious infonn and rich invarietyandcolour.itexpressesthe cultural heritage of a region very effectively. While stressing the fact that folk theatre happens to bea very powerful medium of communication in folk cultures. J.C. Mathur observes: Folktheatre freely uses songs,dances and instrumental music.blendsdialogueand acting.Thismultipleapproachresults inafonn thatisself-containedandacomplete entertainment.Itismorethanentertainment,itisacompleteemotionalexperienceand aimsatcreatinganenvironmentofreceptivityinwhichcommunicationofideasisan effortless process.[3] Asanindigenous[ann,thefolk theatremakes culturalexplorations,influencesthepsyche, and strengthens the time-honoured value systems of the people. Dissanayake makes a relevant Comment in thiscontext.According tohim,folk theatres"provideentertainment, disseminateinformation,includesociallyacceptednormsandvaluesandperformageneral socializingfunction"(12).Folktheatrerepresentsacombinationofsinging,dancing.prose dialogue and music with elements ofsocialcriticism. What Eapen saysoffolk media in generalcaneasily beappliedtofolk:theatre: There isa commonality about them.Acceptability,culturalrelevance,entertainment value.focalisedlanguage.legitimacy,flexibility,messagerepetitionability.instanttwo waycommunication.etcareamongtheirvirtues.(18·191 Every State in India has its own distinctive forms of folk theatre. Folk performance generallyfOnTISapart ofacommunityorsocialcelebration.Thevariouselementsfoundin folkperformancesinvariably appealtoboth theeducatedandtheuneducated.therichand thepoor.the youngand the old andchildren withtheir excitingthemes,melodiousmusic andsongs.Unliketheclassical theatrewhich hasrigidrules.thefolktheatreallowssponta neity.Amongseveraltypes offolk plays, religiousplays,socialplaysand historical plays are significant ones. Religious plays depict stories and characters from the puranas and epics.Social playsportraysocialevilswhichaffectpeopleintheirday-to-daylife.Historical playsdeal withhistorical characters and themes. 30 S.JOHN PETERJOSEPH The folk theatreofNorth Karnataka has a rich and glorious tradition. It is known by differentnameslikeDoddata,HireAta[Grandplay)orBayalata(open-airplay),etc.Doddata canbedifferentiatedfromSannata(smallplay)orDappinata(Dappu=littleflatdrum,ara= play)."WhereasDoddataischaracterisedbygrandthemes,grandstageproperties.grand costumes, grand songs anddances, Sannata is marked by simple themes. simple stage costumes, simple songs and dances" (Naikar,The FolkTheatre of North Karnataka 14). Dappinata is a play (Bayalata) which contains songs sung to the accompaniment of a Dappuorsmalldrum.ThelabelSannataisusedtodifferentiateDappinarafromMudalapaya (orDoddata). ThetranslationofIndiandramaintoEnglish.unlikethetranslationofnovelsandpoems, is quite scantyandinadequate.Some of the well-known dramatists who have translated theirworksfromIndianlanguagesintoEnglishareRabindranathTagorc,BadalSircar;Mohan c.c. Rakesh,Girish Karnard, R.S.Badal, Mehta, Mahasweta Devi, Vijay Tendulkarand GurujadaApparao.Many dramas written in Bengali, Hindi, Kannada, and Marathi have been translated into English. These translations have undeniably enriched the corpus of IndiandramainEnglish. BasavarajNaikarsSangya-Balya: Betrayal,anEnglishtransla tionofRayappaParter'sfolkplayinKannada.isunquestionablyawelcomeadditiontothe corpusofIndiandramainEnglishtranslation. BasavarajNaikar'stranslationofRayappaPattar'sKannadafolkplayinto Englishmarks thefameandreputationoftheSannatafrom asapartoftheglorioustradition of thefolk theatreofNorth Kamataka.AccordingtoNaikar,"Sangya-Balya: Betrayalisadappinata, inwhichsongs...playanimportantpart"tSangya-Batya. ix).Moreover.theelementof musicwhichisanintegralpartofthefolktheatreisanimpressivecharacteristicofthisfolk play.Dancealsohappens tobeanindispensablecomponentoftheplay.Theoraltextofthe playissaidtohavebeencomposedbyRayappa Pattar, a nativeof Bailawada vilIage of BasavanagoudataJuk ofBelgaumdistrict inNorthKarnataka. Whileacknowledgingthe sourcesoftheplay, Naikarobserves:"The textofthe presentplayis takenfromtheoral versionrecitedbySriBasavanagoudaPaul. GangappaMulimaniandFakirappaMadiwalar ofMutanala village(inBelgaurndistrict)andpublished by Dr.MalikarjunaLarthe,retired ProfessorofKannadaatGulbargaUniversity,Gulbarga,in 1991"(xii). Sangya-Balya:Betrayal(200+)isafolkdramawhich"dealswiththeelementalpassions ofloveandbetrayalastheyinterweavewiththedestiniesofordinarymortals'(RaviShankar Rao.75).The actionof theplayissetin North Karnataka as it is very popular there.The centralthematicconcernsoftheplayarelove,immoralsex.poverty,betrayalandrevenge. Thoughtheplaywrighthastakenthethemeof theplayfrom areal eventwhichtookplace d~~nghislifetime.hehasmadeitamemorableoneby providing"anartisticimageofhis \'1510nabouthumanrelationshipandvalues"tSangya-Balya,x).Theauthor'sfineblending offactandfictionisquiteremarkableintheplay.Sangya-Balya:Betrayal,isafolktragedy. The tragedy inthe playoccursdueto the seriousviolationof long-cherished socialand moralnorms relating tochastity, trustworthiness andloyalty. Like a typical Elizabethan BASAVARAJ NAIKAR'S SANGYA·BALYA 31 tragedy,thisfolk dramadepictscommonhumanweaknessesandtheplayexcellentlyshows how these vulnerable tendencies such as love, Just and revenge finally end in a cruel tragedyand the lossof preciouslives.The protagonistofthisplay,Sangya, is murdered ruthlessly and the lives of Ganga and Virabhadra are ruined irretrievably.The point of ruinationstarts whenSangappa(fondlycalledSangya),ahandsomeandrichyoungman,is enthralledbythe bewitching beautyofGanga.the youngwifeofarichlandlordandbusi nessmannamedVirabhadra(fondlycalledIrannaorlrya).Knowingthatherhusbandison alongbusinesstour.Sangyapersuadeshisfriend.Balya,apoormaninthesamevillage,"to brainwashGangasothathecanhaveherinhisbed"(Sangva-Balya.53).Balya,thoughhe happens to bea childhood friend ofSangya, expresses his unwillingness toactasago between. Heevenadviseshis friend: BaIya: Listentome,dearfriend,Sanganna, Ravanalost hisheart [0 another's wife And consequenlly losteverything, LeSIyou shouldsufferlikehim. Removethe ideafrom yourmind...(49] Owing to hisutter poverty and keepinginmind thegenerousnatureofSangya,Balya finally meetsGanga and revealstheintentionofhis friend toher.Butasachaste wifeofa respectable man in society Ganga rejects the whole idea at once and sends him away. Sangya's malicious plan ofbuying her with money andcostlygifts also miserablyfails. Beingobsessed withthebewitchingattractionsofGanga,Sangyahimselfdirectlygoesand meers her and expresses his uncontrollabledesire 10 possess her.Ganga censures Sangya forhiseviland unethicaldesiresand tires10 reasonoutwithhim: Ganga: Whydo youpesterme.Sangya? How shallIbearthepubliccharge? This affaircannotlastlong, Youmay receiveadangerousjolt. Don'tyourememberthestoryofKama? How Kama lusted after the woman And wasburntto ashesby LordSiva Whowasangrybeyond measure? Remembertheevilangrezigovernment, I adviseyou tobeverycareful, Lestyou should suffer likeamonkey Whichhas eatenlimepastebymistake. Youbettergobacktoyourwife. And live withherhappily, Iamsorry, man.Icannotobligeyou...[63} YetSangya is highly adamantand withoutanyscruples.Once againGangatries to point outtheevilnature ofhisintention. 32 s.JOliN PETERJOSEPH Ganga: Thisisnotthe rightthing For you todo,man Be not subjecttomaya. Lest you should ruin yourself Don't you know the story oftheten-headed Ravana? HeabductedchasteSita, Andsufferedalotoftrouble... Don't you know thestory ofDushyasanatheevilone, And what happened 10 him finally? Try to understandeverything. fool Iamdoingmybesttoconvinceyou...[65J UnabletoconvinceSangyaabouttheimpendingdangerawaitinghim,Gangafurthermoreadds: Ganga: Why are you mad aftermy form? Likeafirefly youenterthelamp. Don'tyou know myterrifichusband. Virabhadra,fearedevenbytigers? He may hack you topieces, Inbroaddaylight,fool, Unnecessarily,nincompoop?[66] Stillunconvinced, Sangya seeks advice from a koravanji and based on her advice he approachesParammawhoiswillingtotakeupthemissionofarrangingaclandestinemeeting betweenSangyaandGangaforapairofsarees.apairofblouses,apairofgoldenbangles andapairofbuffaloes.WhenshetriestopersuadeGangatoyieldtoSangya,Gangatellsher: Ganga- Ijoinmypalmsinreverence10 you Paramma,speaknotofsuchathing,lest Itshouldruin my happymarriage. Don'tburdenmyheadwithill-fame. .".Idon'tWantitatall (731 Like one of thethree witches who ensnare Macbeth into the eternal world of curse and tribulation.ParammawithherartfulandcraftywordsultimatelypullsGangaintoanirredeem abletrap.Gangaisunabletobefirminhermoralstandandeventuallyfallspreytothelustful wishesofSangya.OnecanbesurethatGanga'sfallfromherlong-eherishedtraditionalmoral code inlifewillcertainlyendinaterribletragedy.Thefollowing wordsofGangarevealher innate weakness andturpitude: Ganga; Ihaveinvitedyou,youngman, BASAVARAJNAIKAR'SSANGYA·BALYA 33 Out ofmydeeploveforyou. Letusput asidethefear ofIrya Andunitelike milkandfruit. Ihave full sympathyfor my husband. Ifeartheruinationofmymarriage...[77]. Comeon,mydearyoungman Let's ascendthebed Andhaveagreatdealofpleasure. Let'senjoyourselvesas sweetly Asmilk fermented intocurd.and As the sweetsiesta intheafternoon. ...0 dear, Godhas broughtustogetherlike Acombinationofpearlandamber...[78]. When the whole village begins to gossip aboutthe affair between Sangya andGanga. Balyarealisestheinevitabledoomofboth.Hefearsthat"Sangyawillhavetofacetheblade ofasickle"(79).TheillicitJoveaffairbetweenSangyaandGangacontinuesundisturbedtiJI Virabhadra,Ganga'shusband,returnshomefromhisbusinesstripbeforehisscheduledtime. Hebecomesfurious afterhearingabouttherelationshipbetweenhiswifeandSangya.He rusheshomeandfindsthetwotogether.Ganga'stotaldegenerationandmoraldebasement isrevealedwhenshetellsSangyathefollowingwordsevenafterknowing thatherhusband hascomehomeand isknocking atthedoor: Ganga. Ihavefallendeeplyinlovewithyou, Ourunionhasbeensweetlikemilk andghee. Fieonmybad luck,1don'tlike myhusband, Ishallsundermyrelationwithhim Tomorrowitself.Idon'Icareforwhat Thepeopleofthevillagemightsay...[82]. Virabhadra charges his wife with adultery and accuses her of bringing disrepute and dishonourtohisfamily.He,therefore,sendshiswifeawayfromhomeafterconfiscatingall thegoldornamentsandothervaluablesfromher.Moreover,heconspirestomurderSangya and inorder10 succeedin hiseffort he wants to weanaway BalyafromSangya.Hetells Balya: Virabhadra: YoumustgetSangyaforme, Ishallgiveyou hundredsofrupees, Sixteenoxenand asturdycart. Ishallevengiveyoumyhouse, Andlandedpropertyforthefavour..,[90] BalyatellshimthatsinceheandSangyahappentobechildhoodfriendsandtrusteachother 34 S.JOHN PETERJOSEPH deeply he cannotbetray his bosomfriend.But he finally agrees to betray him when Irya threatenstocuthimintopieces.Fearingforlifeandbeingavaricious.Balyafinallymakesup his mind tojoin hands with Virabhadra and hasten the tragic death ofSangya. He even stoops tothelevelofalteringaletterfrom Gangainwhichsherevealstheconspiracy ofher husband to killSangya and asks Sangya not to come to her place at any cost. But Balya changesthecontentofthelettertosnithistreacherousplan.Sangyabelieves thecontentof thelellerandgoestothevillageofGanga.GangatellsSangyaabouttheconspiracyhatched byVirabhadra inconnivance with Balya. Sangyaunderstands the wicked nature of Balya when heisleftaloneindarknessinastrangeplace after Balyatakesleave ofhimon some pretext.The pathetic conditionandthementalagonyofSangyaisrevealedinthe following speech: Sangya: Itrusted Balyafartoo much, Didyoubetrayme atlast.Balya? Didyoutalk sweetly with me Forthesakeofgold? Andleavemeatthehandsofhooligans? Didyou forsake mycompany Forthesakeofapairofbuffaloes Andkick meout? Youtook thousandsofrupeesfrom me Andsneakedawayfrom me,Balya. Youleftmealoneinthejawsofdeath...[97) Sangyaiscrueltymurdered with sickles and axesbyVirabhadra andhis brothers.They murder him to regain the honour and prestige which they had enjoyed. in society.Then Virabhadra beginstobeafraidoftheconsequencesof the murder.Hereveals hisfear tohis brothers: Virabhadra: Mydearyoungerbrothers, Wecould notsimplyguess Theconsequencesofthismurder. Whydid wemurderSangya? .. Wewerebolduntilkillinghim, Butnowarescaredofthegovernment. Mydear brothers, Icannotforesee thefuture...(99J Then(heysurrendertothemamledar(magistrate)andconfesstheircrime.Thestoryendsin a tragedy:Sangya loses his life.The illicit affair ruins Ganga's married life.The lives of Virabhadraandhisbrothersareruinedirrecoverably because of theirhasty, emotional and unbalanceddecisiontodoawaywiththeparamourofGanga.ThoughParammaisaskedby Virabeforeheleavesforhisbusinesstripto 'guard'Ganga,shehasbetrayedhim formoney BASAVARAJNAIKAR'S SANGYA-BALYA 35 withoutanyqualms.Gangaalsobelievesthat herhusbandgivesmoreimportancetomoney thantoher.She tellsParamma: Ganga: ...The wealthofthe familyiscalledgoddessLaxmi Myhusband musthave asked youtoguardthisgoddesssandnOIme...(33] When Viratellshiswife that heisgoingonabusinesstrip toseekhisfortune.Gangatriesto dissuade him by saying: Ganga; Mydearhusband,please tellme how Ishouldlivealoneinthisthree storeyedmansion.Beingayoungwife.IcannotJiveawayfromyou. Pleasetakeme alongwith you ...(301 ButVira does notaccept herideaand proceedson hisbusiness tourafter telling her: Virabhadra: Thepurchaseofpearlsandjewelswillyieldme aprofit. [31] The ironyisthat thoughhe has purchasedpearls andjewelsforprofitinthefuture, he has losthis wife.Thus the play deals with the themes ofillicit love, lust. avarice for money, betrayal and revenge. It also depicts very clearly man's moral infirmity and decrepitude excellently. Obviously the folk audience enjoys the romance that takes place between Sangya and Gangaandatthe sametime learnsalesson fromtheplay,namely,thatloosemoralsandthe violation ofestablishedsocial andmoralcodeswouldleadtoone'sdownfallandruination. Extramarital loveandsexare taboointraditionalsocie-ty.Themoralcodesofsocietycallfor appropriatejusticeandpunishment.ThatisthereasonwhySangyahas10 meetwithacruel murderand Gangalosesherhappy married life.Commentingonthe relevanceofthe play. Ravi ShankarRao observes:'TheSannataisanoperaticperformancethat, unliketheother typesofBayalata,brings folktheatretothesocialplene.Itisessentiallyasocialplaywhich takesupfordramaticrepresentationissuesandconcernsthatarecentral tothesocietyofits time" (77). The playwright points out that one should not give too much importance to moneythroughthecharactersofVirabhadra,ParammaandBalya.Theybecomecorruptand morallydebasedduetotheiravariceformoney.SangyaandGangabecomemorally corrupt and weak because they give too much importance to bodily pleasure.Though both know very wellthattheirillicitrelationship canonlybeatemporaryone, theystillcontinuetheir immoral relationship without any fear ofsociety and its moral values. Though both are married people and, in fact. Sangya has children. they do not care for the voice oftheir consciences and become mindless ofthe future consequences. \Vhilecommenting on the playNaikarobserves: 36 S.JOHN PETERJOSEPH 11 [the play]isalsoacommentonthe fallibilityofman ingeneral.Sangya'simproper attractionforGanga.heryielding tosexual temptation.and Balya'streachery towards Sangyacausedbyhispoverty andhelplessnessare severalinstancesofthefallibilityof man.Thetragicend ofSangya isaffectedbytheinexorabilityof themorallawoflife. Sangya,whotriestonegatethemoralprinciplesoflife(likethe sanctityofmatrimony), getshimselfliquidatedbythemorallawoflifemanifestedinVirabhadra's vindictiveact. [Sangya-Balya,xii] Structurally.the play comprises five acts and like any Shakespeareandrama itcontains dramaticelementslikeexposition,crisisand denouementorresolution.Theplotoftheplay issimpleand straightforward. Every eventtakesthestory forward and events fromthefirst sceneinActftothelastsceneinAclVarecoherentlyandlogicallylinkedwithoneanother. AsaSannata,theplaygivesimportance10 musicand songs.Throughoutthe playsongsare followedbyprosedialoguescontainingsummariesofthesongs.Inhisintroduction,Naikar, thetranslator,pointsout:"Almosteverysong isfollowedbyaprosedialoguecontainingthe summary ofthe song, which maylooklike unnecessary repetitiontoWestern readers.But thiswouldbeveryeffectiveonthestageinthepresenceofaliveaudience"(xiii).Thethemes dealtwithintheplayarepopularandappealingtoafolkaudience.Theplayispopularamong both villageand urban audiencesbecauseofitsstyle,language,diction, images and meta phors.AsinaGreek tragedy, theChorusplaysavital role.indicatingtheimpendingserious actionintheplay.Theplaywrightdoesnotfailtouseironyandsatire.Thescenewhichtakes place in the Marwari shop and the scene ofconversation between Pararnma and her old husbandaredeliberatelyintroduced by the playwright to satisfy the aesthetic sense of the groundlingsofthefolkaudience.Moreover.asinShakespeareantragedies,thesescenesact ascomicinterludesfollowedbyseriousactionswhich ultimatelylead tothetragicendofthe play.Whenonereads these scenesone isremindedofthe PortersceneinMacbeth andthe gravediggersceneinHamieltosomeextent.Thesongsandthe music inthe playneverfail 10appealtothespectators.Theimages whichreflecttheday-to-dayactivitiesofruralpeople have a freshness and originality.The play has severalmemorable passages which abound withsplendidimages.DescribingthebeautyofGanga,Parammasays: Seehow theyoungladywalks Fastandstraightlikeamailcarriage. Look atherbeautifulbody Herlegsarelikeplantaintrunks. She movesaboutwithsuchgrace Likea stringedpuppet,likeapuppet. Hernosestud sparkles like asplint Struck onanothersplint Andlike astar inthesky, She iscladinashiningsilkensari. Herneckisdeckedwithgoldengarlands.