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104
.
The audience receives another blow to its
imagination when some characters appear on the stage
quite unannounced, without any intimation, in
contravention of the specific dictum : 啶呧じ啷傕�氞た啶むじ啷嵿�� 啶�啶距い啷嵿ぐ啶膏�嵿く 啶�啷嵿ぐ啶掂�囙ざ啷�
啶ㄠ�嬥お啶�啶︵�嵿く啶む�� 啷�
[as奴citasya p膩trasya prave艣o
nopapadyate |
] Grammatical solecisms, faults in versifications, use
of such p盲dapuranas as a, a, a, a etc. very often, some
verses being quite plain and devoid of sentiments or poetic
fancy, are some of the minor defects of Bh膩sa. Some of
the former in the above may be justified on the ground of
epic usage and influence, and possibly they were not
looked as defects in those days.
4. PERSONAL HISTORY OF BH膧SA.
In this age when every one tries to blow his own
trumpet and widest publicity is sought for any third-rate
composition and the particulars about the name etc. of the
author are given, it seems rather strange that the
renowned author of this precious treasure should keep
such merciless reticence about himself, as not to mention
even his name!" We had to depend on inference for
attributing the works to Bh膩sa; and the information
about Bh膩sa as given below is nothing more than our
impressions about the author after a close study of his
works.
Prof. Dhruva says that there was a tradition to
mention the name of one's gotra, and it is in accordance
with this, that we get such names as Patanjali,-
Yaugandhar膩ya峁嘺. Bh膩峁�a is a gotra in Haimodaka
division of Agastya gotra and Bh膩sa is the corrupt form."
That he was a Br膩hma峁嘺, an orthodox follower of the
caste-system and a firm believer in the practice, utility
and efficacy of sacrifices etc., seems to follow from the
views he takes of these things. We have already shown
that Dh膩vaka is quite a distinct person from our author
and hence it follows that the description of the latter as a
'washerman' by caste, on the strength of the alleged
identity is not correct. There is no internal evidence to
support the inference.
1 Cf. Paranjape, Sahitya Samgraha, 1, pp. 18 32, at p. 27. The whole
chapter is a beautiful piece, a striking instance of Gadya Kavya in which the
celebrated Marathi writer specialized. One is tempted to find autobiographical
references in the chapter. 2 Dhruva, Svapnani Sundari, Intr., p. 14, 3 Supra,
Chapter II; Cf. Narayana Sastri, Priyadarsik膩, Intr., pp. XXI-XXIV.