the name or, more likely, pen name of the author of one of the most significant works of ancient Indian drama—the Sanskrit play The Little Clay Cart (Russian translation, 1956). No reliable information about Sudraka exists, although he is referred to as a legendary king in many old works of literature and folklore. It is usually assumed that the play was written no earlier than the fourth century and no later than the eighth.

The main characters of The Little Clay Cart are city dwellers; the everyday life and mores of an ancient Indian city are described with considerable accuracy, a rare feature for ancient Indian literature. The play skillfully combines romantic and political themes. It also expresses contempt for the caste system and contains elements of social satire. The Little Clay Cart has a dynamic, dramatically powerful plot with tragic scenes alternating with comical, lyrical, and farcical ones. The play is well known in India, as well as in Europe (including the USSR) in numerous translations and stage productions.


Glinianaia povozka. [Foreword and notes by V. S. Vorob’ev-Desiatovskii.] Leningrad, 1956. (Translated from Sanskrit and Prakrits.)


Serebriakov, I. D. Ocherkidrevneindiiskoi literatury. Moscow, 1971.
Bhat, G. K. Preface to Mrcchakatika (The Little Clay Cart). Ahmedabad,1953.
References in periodicals archive ?
Nanda 800, Candragupta 132, sudraka 247, saka 498, and Manadeva 304)
sudraka, the founder of Andhra Dynasty, ruled between ca.
Sudraka and his Mrcchakatika, one of the most delightful pieces of Indian literature, dramatic or non-dramatic, could not have been left out.
Schokker's view that Sudraka was the author of the "Original Carudatta" has not been dealt with by Esposito.
Loman, The Padmaprabhrtakam: An Ancient Bhana Assigned to Sudraka (Amsterdam, 1956) [section][section] 22 (1) - 24 (15); 61-62 and n.
An English translation of the Mrcchakatika of Sudraka, as adapted for the stage by A.
25-27); a verse in the most realistic of Sanskrit plays, the Mrcchakatika of Sudraka, contains the hint that the classical prohibition may not always have been in effect (IX.
Drawing on the texts of Sanskrit dramatists like Asvaghosha, Bhasa, Sudraka, Kalidasa and Mahendravikramavarman, kutiyattam was once performed by a community of male actors called Chakyars and female performers called Nangiars, assisted by drummers called Nambiars.