Courting Hindustan Elegantly Crafts Portraits Of Iconic Courtesans

Courting Hindustan delves into the scintillating world of courtesans who went on to become empresses, queens, prima donnas, pioneer filmmakers, music directors, ace dancers and so much more. Many of them went on to rule kingdoms, enjoyed positions of great power; many were venerated by governments and yet they lived on the fringes of society. In many ways, these were women, first of their kind, to survive an entrenched patriarchal society and break the chains imposed on them, paving the way for generations of women to come and conquer.

Courting Hindustan is a deeply researched, elegantly crafted portrait of some of the most intriguing women figures practising traditional Indian entertainment art forms such as, music, dance and poetry.

It relives 2,500 golden years of women being elite traditional performers and how, over the centuries, they have captured the imagination of the country and the world at large, their art and lives being a complex response to social forces and cultural conditions.

Here's an excerpt from Madhur Gupta's Courting Hindustan

In ancient classical Indian civilization, the role of a courtesan was a problematic phenomenon of liminality. Such varanaris were free of marital bonds, they were no one’s property and their abilities were intended for the public’s enjoyment. In this way, their liminal status served as a rite of passage into the greater role of communal service.

Their profession, of course, had the risk of putting them in a defenceless position; where they ran the risk of exploitation
and losing their ‘modesty’ at the hands of some unscrupulous people.

However, there have been iconic figures that were so well-trained in fine arts and performance, in knowledge of kavya and shastras that they were considered to be assets to particular cities and honoured by kings and nobility.

Indian classical literature showcases courtesans as colourful characters with shades of both sins and saintliness. Forced to live outside the accepted boundaries of sophisticated society, these maidens possessed immense wealth and independence. Trudging at the fringes of this society, the courtesans of classical India enjoyed advantages (and at times disadvantages) of both worlds.

Vasantasena, a renowned courtesan from the city state of Ujjaiyini, gained such acclaim that she found herself projected as the female protagonist of the Sanskrit drama Mrcchakatika or The Little Clay-Cart, possibly from the fifth century ce.

There is a fine line between history and mythical legends. While one is completely factual, the other is loosely based on reality. What remains, at the core, can possibly be called the truth. Vasantasena’s story also treads on similar ground, interwoven with facts and myths, but staying true to the indisputable portrayal of courtesans during India’s classical period (from 200 bce–1200 ce).

The play is set in the ancient city of Ujjayini during the sovereignty of King Pālaka, near the end of the Pradyota dynasty that made up the first quarter of the fifth century bce. As identified in the prelude of this 10-act Sanskrit drama by Shudraka2 who is said to be a Kshatriya king and a devotee of Siva, who lived for 100 years. A dvija-mukhyatama, Shudraka was well-versed in the Vedas
and scriptures and was also a great warrior. There exists a popular view that Mrcchakatika has been derived from an earlier play, Charudatta by Bhasa (who lived in the early centuries bce), since the first four acts of the plays share close similarities. Shudraka, it is assumed, added the chapters of the rebellion and Vasantasena’s murder to the original story. Based on this timeline, Shudraka can be said to have lived between the times of Bhasa and Kalidasa.

Mrcchakatika is innovative in many respects, since it deals with various problems that were considered peculiar for Sanskrit
tragedies, such as—a courtesan’s nuptials to a poor Brahmin or a political revolt in the background that overthrows the
Brahmin–Kshatriya dynasty. Instead of godlike men, epic champions and legendary noble kings as the nayaka and pious princesses or noble empresses as the nayika; Shudraka’s play chooses a good-natured but poverty-stricken Brahmin as the nayaka and an intellectual, resourceful and impassioned courtesan as the nayika. Gambling, adultery, property concerns, bribery, terrorism and punitive justice are among the various issues addressed in the play.

This brings us to the start of the play where Vasantasena works as a courtesan. Vasantasena has wealth and influence in Shudraka’s play. She owns a vast mansion and has a firm grip over her staff and maids. She has earned her money by entertaining people with her elegance, singing and professional dancing. She is also said to have never offered her services to anyone herself.

Her decision to pursue such a career while maintaining her honour and integrity is portrayed as impressive. 

Extracted with permission from Courting Hindustan: The Consuming Passions of Iconic Women Performers of India by Madhur Gupta; published by Rupa Publications 

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