Īn ordinary vyas -that is to say, a local expounder who does not receive outside invitations or a young performer with limited experience-will generally receive less than Rs 100 for a one-hour performance. Moreover, I found general agreement among performers and patrons as to the fees normally commanded by what may be termed ordinary, middle-level, and top-ranking (or "All-India") expounders. The ability to earn an income from Katha seemed to be interpreted by them as a mark of professionalism, a sign of public recognition of their knowledge and profound study of the Manas. In my conversations with expounders concerning the economic aspects of their art, I encountered little reticence about discussing earnings most performers spoke willingly and even proudly of the fees they were able to command. For these people, unless they are fortunate enough to be independently wealthy, Katha is indeed a livelihood, a profession by means of which they maintain themselves and their families. But this view of wealth is only one of several to be found in Hindu society, and expounders who are householders have been, at least in recent times, inclined to take a different view.
Sharan himself was a sadhu and had definite ideas about the corrupting aspects of material gain. Thus, the two thousand rupees that Ramkumar Mishra is said to have received for his month-long program at Kanak Bhavan-which would translate into a small fortune by the standards of today's devalued currency-were said to have been donated for a sadhus' feast. Whatever was offered at puja time, they would always supplement with something of their own and then immediately spend on a feast for sadhus and devotees." Anjaninandan Sharan's account of early expounders mentions instances in which an especially brilliant Katha was lavishly rewarded by an appreciative patron, but the author is careful to note that the great Ramayanis were similarly disinterested in these gifts. The list of early expounders in Lakshmandas and Chakrapani's book concludes by observing that "all these kathavacaks were noncovetous In the old days, one hears, the donation ( daksina ) might have been big or small, but it was always given, never demanded or bargained for.
If contemporary expounders are faulted for their greed, their precursors are often idealized for their simplicity and disinterest in material gain. Again, to quote the same article: "How many expounders are there in Kashi nowadays? Even if one were to have a census taken by Hanuman, that energetic seeker who found the herb of immortality, perhaps for once even he would fail in his efforts! In every lane there is some establishment for Katha and in every neighborhood, a vyas. A recent article in a popular Hindi magazine cynically observed that "no intelligent person will deny that now the whole affair is carried on solely as a livelihood." The prospect of financial gain is seen as a powerful lure and as itself explaining the great proliferation of performers in recent years. It is not uncommon these days to hear the complaint that Katha has become a business, that performers "sell" their exposition, and that the high fees they command reduce the art to just another commodity to be traded in the marketplace.