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Magic in the Sanskrit Drama

1925; American Oriental Society; Volume: 45; Linguagem: Inglês

10.2307/593480

2169-2289

Virginia Saunders,

Folklore, Mythology, and Literature Studies

As MAGIC PLAYS SO important a part in much of the Sanskrit literature, it is not surprising that the dramatists used it frequently to liven up the action of their plays or to develope the plot. In considering the subject of magic at any time one is likely to find himself, upon occasions, in rather a dilemma to know just where to draw the line between magic and religious ceremonies, and I must confess I have not yet fully drawn it to my own satisfaction. But we do find in the Sanskrit drama numerous instances of unmistakable magic, to which it is the purpose of this paper to draw attention. There are, for example, several instances of the use of materials or objects which are endowed with magic power. In the third act of the Mrcchakatikdl of 9iidraka, we find the thief, before he makes the hole in the wall to admit him to the house of Carudatta, anointing himself with magic ointment (yogarochana) which has the power to render him invisible and invulnerable, at the same time chanting a mantram that insures his security from the watchman's eye and the sword. When he has gained admittance to the house and has found no visible treasure he scatters magic seed upon the floor to ascertain whether there is buried gold. As the seeds do not swell he knows there is no gold present. In Bhasa's Avimdraka we have a magic ring, given to the hero by a Vidyddhara, which makes him invisible to all but his beloved and enables him to gain access to her.2 Two other instances of invisibility through the use of an object are to be found in the sixth act of KAliddsa's gakuntalA and the second act of his VikramorvasL3 Here the celestial nymphs put on magic veils (tiraskarini) when they are upon earth and do not wish to be seen.