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15~16세기 영국에서는 우화극 형식의 도덕극이 종교적 가르침과 윤리적 善을 함양시키는 중요한 도구로 사용되었다. 인도 희곡문학에서 이것과 유사한 전통의 출발점에 Kamira의 Prabodhacandrodaya가 있다. Advaita 철학과 Viubhakti 신앙 교육을 위해 저술된 희곡은 문학적 완성도가 높을 뿐 아니라, 이후 수많은 종교철학적 우화극이 저술되는 계기가 된다. 그리고 ‘反베다학파의 축출 → 내적 불순의 제거 → Manas의 교화 → 非Vednta학파에 대한 식별 → Purua의 깨달음’의 순서로 구성된 희곡은 관객들을 자연스럽게 해탈을 위한 수행 과정으로 이끈다.


The first English medieval plays seem to have been prompted by the liturgy in the church. It is for making its lessons more graphic. Furthermore, since the majority of persons could not understand Latin(the language of the church), spectacle had long been an important means of vivifying church doctrine. Around 13th plays began to be performed outside churches. The genre was Corpus Christi Cycles, mystery or miracle plays, and morality plays. The last as the allegorical drama was an important means for teaching church's doctrine and moral in 15th~16th. Although one of Azvagosa fragments contains some personification of abstract virtues, the allegorical drama like English morality plays was not important part in the early of sanskrit drama. The earliest known allegorical drama is Prabodhacandrodaya(Rise of the Moon of Knowledge) of KRSNamizra(11th). According to a tradition, there was one disciple who was interested in kāvya but not the study of philosophy. He is said to have written his drama in order to teach him Advaita doctrine and ViSNubhakti worship. The theme of Prabodh. is “How can PuruSa, who bound by Manas assisted by ahaMkAra and deluded by MAyA, be brought back his real nature?” Just one solution is the rise of Prabodha and Vidyā. It is possible only when Manas is quit and Viveka unite with upaniSad. This can be achieved with the assistance of ViSNubahkti. On the other hand, the struggle between the forces of the two sons of the Manas namely Moha and Viveka continues throughout the play. Prabodh. has somewhat nature as morality plays in these points. ①the allegorical character, ②PuruSa as the general protagonist, ③the struggle between Viveka and Moha, ④Manas as the subject of conflict, ⑤the dramatize on practical course, ⑥the emphasis spoken word than sight.