Essay name: Bhasa (critical and historical study)
Author: A. D. Pusalker
This book studies Bhasa, the author of thirteen plays ascribed found in the Trivandrum Sanskrit Series. These works largely adhere to the rules of traditional Indian theatrics known as Natya-Shastra.
Page 111 of: Bhasa (critical and historical study)
111 (of 564)
External source: Shodhganga (Repository of Indian theses)
Download the PDF file of the original publication
91
falls in love at first sight, which is, of course, pure love,
and at great risk, he meets his beloved who reciprocates
his love. An ideal courtesan, equalling if not surpassing,
ladies in their love and devotion to their husbands, is
portrayed in the Car.
Judging from Brunetiere's standpoint that drama
is nothing but the spectacle of a will striving towards a
goal and conscious of the means which it employs, many
dramas of our group would be found to stand high."
The characters of Bh膩sa are not so romantic and imagina-
tive as those of K膩lid膩sa and B膩峁嘺, not so poetic and
sentimental as those of Bhavabh奴ti, not so vigorous as
those of Bhat峁璦 N膩r膩ya峁嘺, not so unsteady and fairylike
as those of Sri Har峁, not so humorous and realistic as
those of 艢眉draka, where the latter has outshone his
master.
ii. STYLE AND DIALOGUES.
The metrical portions of Bh膩sa's works are dealt with
separately. Prose is said to be the chief factor and the
real merit in a poet so far as a dramatic piece is concerned.
In Bh膩sa, "the sentences are everywhere replete with a
wealth of ideas beautifully expressed, which cultured
minds will easily appreciate"." Bh膩sa shows his
mastery over prose by employing "short bits of prose
highly charming in sense and expression". The language.
is very simple, natural and touching, alternated with
simple figures of speech like simile and metaphor. The
verbal flow is unimpeded and limpid.
The date assigned by us to Bh膩sa also would
confirm the impression these dramas make, that Sanskrit
was a spoken language of the time. "The superior
excellence of sentences which are not subject to the
restrictions of versification is everywhere to be observed
in these R奴pakas. It really surpasses in grandeur, the
style of other works and is incomparable." The next
approach to the language of our plays is the Sanskrit
used in the epics. Bh膩sa's fondness for pithy proverbial
phrases will be evident from their large number in each
play. Prasada, Ojas and Madhurya may be said to be
the characteristics of Bh膩sa's style. There is a change in
914 1 Cf, Sarup, Vision, Intr., pp. 61-62. 2 G. Sastri, Critical Study, p. 27.
3 G. Sastri, Critical Study, p. 51. 4 G. Sastri, Critical Study, p. 33.
