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 116 of: Bhasa (critical and historical study)
116 (of 564)
External source: Shodhganga (Repository of Indian theses)
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96
啶曕ぐ啶苦さ啶班啶� 啶啶
啶ぞ啶椸ぞ 啶掂た啶ㄠ啶じ啷嵿い啶︵ぐ啷嵿き啷�
啶灌い啶椸啶氞く啶ㄠ啶氞
啶掂啶班さ啶灌啶ㄠた啶啶班う啷�啶啶む 啷�
[karivarakara y奴p墨
b膩g膩 vinyastadarbh墨
hatagajacayanoco
vairavahniprad墨pta岣� |
] vanfaaafania: farm啪ina:
啶い啶苦い啶ざ啷佮ぎ啶ㄠ啶粪啶 啶膏啶膏啶ムた啶む 啶啶ㄠ啶︵く啶溹啶炧 啷�
[patitapa艣umanu峁a岣� sa峁僺thito yundayaj帽a岣� ||
] Hanuman in the Abh supplies us with a description
of Lanka with its palaces, pleasure gardens etc.(Abh, pp.
21-24).
The description of night and darkness seems to be a
favourite one with our poet as it occurs in the Avi
(pp. 43-46), Car (pp. 25-26) and B膩l (pp. 7, 9). In all
these places, effects of darkness are artistically depicted.
All these descriptions pronounce Bh膩sa to be a
realist, pure and simple; he does not go beyond
enumeration of the facts constituting the particular scenes,
places or action; no flights of imagination are to be met
with in Bhasa. His sense of tact is much stronger than
his imagination. This peculiarity of Bhasa will be evident
when we compare Bhasa's descriptions with similar ones
from K膩lid膩sa, Harsa, etc.
v. NANDI.
MSS of Sanskrit dramas
present two
different styles in their opening portions. Most of the
dramas begin with a benedictory stanza called N盲nd墨
followed by the stage direction 啶ㄠぞ啶ㄠ啶︵啶え啷嵿い啷� 啶むい啶� 啶啶班さ啶苦ざ啶むた 啶膏啶む啶班ぇ啶距ぐ啶� 啷� [n膩ndyante tata岣� pravi艣ati s奴tradh膩ra岣� | ] But
in Bhasa's works as well as a number of South Indian
plays including the Southern MSS of the
Malavik膩gnimitra, Vikramorvasiya, etc. the stage direction
nandyante etc. precedes the benedictory stanza, generally
known as Nandi. In the latter case, some different
meaning for 'Nandi' other than 'a benedictory verse' will
have to be sought; otherwise the whole thing would
amount to this: after the performance of Nandi the
S奴tradh膩ra enters the stage and again recites Nand
(the
benedictory stanza). This is meaningless. Vi艣van膩tha, as
we have seen, has noticed this difference in the MSS, and
S膩rad膩tanaya has tried to get over the seeming difficulty."
According to him, in the first case, where
e stage
direction Nandyante etc. comes after the benedictory
stanza, the word nandyante is to be taken as
Tatpuru峁 "After finishing the Nandi (a: :)", while
1 Sahityadarpa峁嘺, p. 63 (Kane's edition); Bh膩vaprak膩艣ana, GOS
No. 40, p. 200, also Intr., pp. 45-46.
