The Sattaka is a literary cast in Prakrit evolved through centuries from the early dramatic entertainment. The Sattakas, though found in small number, roused considerable interest among Prakrit and oriental scholars, when Prof. Sten Know, as inspired by his teacher Prof. R.Pischel, brought out a critical edition of the Karpuramanjari Sattaka in 1900 A.D., as Vol. IV of the Harvard Oriental Scrics. Eminent scholars like Dr. M.M.Ghosh, Dr. A.N.Upadhyc, Prof. N.G.Suru, Dr. R.P.Poddar etc. brought out critical editions of the available five Sattakas with their respective studies; and reputed scholars like Professors Sylvain Lévi, A.B.Keith, R.V.Jahagirdar, I.Shekhar etc. put forth their critical views and opinions on the problems connected with the Sattakas. Now Dr. C.S.Naikar has come forward to present in this book a co-ordinated, critical study of the Sattakas as a whole unit and, thus, fills up such long felt desideratum.
The origin of the Indian (Sanskrit) drama has been a hard nut to crack for scholars for the last several decades. Earlier the fact of the use of Prakrit dialects in the Sanskrit drama had given some clue to this riddle. Now the present study adds to the weight of the theory of the secular origin and the theory of Prakrit languages and popular dialects and leads us in a way to convince that the Sattaka, which was a popular form of entertainment in the form of dance-drama in oral tradition and in Prakrit language could have paved the path of the Sanskrit drama. This study also brings out an interesting parallel that what is true of the relation of the old Kannada Bayalatas (open-stage plays) to the Kannada literary form of drama, could also be true of the relation of the early popular stage to the literary Sattaka, the earliest available one being Rajasekhara's Karpuramanjari Sattaka.
On the whole this book is a worthy addition to the field of Indian and Oriental studies in general and to that of Indian dramatic literary history; and Dr. Naikar deserves to be congratulated for presenting it to the world of scholars and general readers. We can now expect from him some more works connected with this field in the near future.
The Sattakas form a unique part of Prakrit literature, for they are the only dramatic works composed entirely in Prakrit. As carly as 1879, R.Pischel, in his Preface to his edition of Hemanandra's Prakrit Grammar, stressed the necessity of a critical edition of the Karpuramanjari Sattaka for the advancement of Prakrit studics. In 1900 his own student, Sten Konow, realised it in volume IV of the Harvard Oriental Scrics. Since then, the Sattakas roused considerable interest among Prakrit and Oriental Scholars. By 1939 Manamohan Ghosh reconstructed the text of the Karpuramanjari on new lines. Then A.N. Upadhye edited half the number of the known Sattakas (1945 to 1961), and his critical edition, together with an erudite introduction, of the Candralekha gave a panoramic view of the whole Sattaka literature. This also appears to be an incentive to the publication of the second and worthy edition of the Rambhamanjari by R.P.Poddar (1976). As these scholars brought out critical editions of the various Sattakas together with their respective studies on different aspects of them, some others, in the line of Sylvain Lévi, E.P.Horrwitz, A.B.Keith, Indu Shekhar, R.V.Jahagirdar etc., put forth their own critical views on problems connected with the Sattakas. But so far there has been no co- ordinated and systematic study of the Sattakas as a whole unit. Hence this attempt aims at filling in the desideratum by presenting such a study of Sattaka literature as a whole. This study spreads over six parts, each of which sub-divided into chapters.
It is my pleasant duty to record here my deep sense of gratitude to Dr. B.K.Khadabadi for extending his valuable guidance throughout the course of this study. His genuine interest in the various problems connected with Sattaka literature and his constant help and sympathy for my sustained labour in the course of the six years of my studies have played a major role in successfully completing this undertaken work and bringing it in the form as it appears today.
I am particularly thankful to Dr. R.C.Hiremath, Ex Vice-Chancellor, Karnatak University, who kept in touch with my progress in the study and encouraged me throughout, to face this up-hill task cheerfully.
Moreover, I am thankful to the staff of the Karnatak College Central Library, Karnatak University Library for extending their co-operation whenever I approached them in the course of my studies. Similarly, I thank the authorities of the Bhandarkar Oriental Research Institute, Poona and of the Bombay University Library for timely supplying some rare books and Journals.
I am grateful to Dr. Shivaram Karant, the reputed writer and researcher for duly enlightening me on the various phases of the Bayalatas in Karnataka.
Besides, I must thank Smt.Jaya G.Dandavatimath, my colleague. Department of Foreign Languages, Karnatak College Dharwad, for doing the ardous work of Proof reading.
I have to express my gratefulness to the U.G.C. authorities for extending me some financial assistance towards the pursuit of my studies on this research problem.
I must thank the owners of Akhil Graphics Jayanagar, Dharwad, Sattigeri & family, Proprietors of Shri Sangamesh Offset Printers, Guledagudda for printing the book so neatly.
Lastly, I remain grateful to M/s Medha Publishers Dharwad, for publishing this thesis.
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