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 197 of: Bhasa (critical and historical study)
197 (of 564)
External source: Shodhganga (Repository of Indian theses)
Download the PDF file of the original publication
177
The disappearance of the dialogue hymns from the
younger Vedas may seem fatal to the above view; but it
should be noted that the other Vedas were thoroughly
ritualistic, while the dialogue hymns were not used in any
ritual; and in course of time actors came to be looked
down upon. That the institution was in existence may
be inferred from the use of the word ' Sail奴峁' in the
Yajurveda (V膩jasaney墨 Samhita, XXX. 4). The Samaveda
came into existence for the purpose of putting the Rigveda
to tune and hence shows that the art of music had been
fully developed by the Vedic age. The Atharvaveda
refers to ceremonial dances (XII. 141). Thus, song,
music and dance-the main constituents of drama-
seem to be developed to some extent in the Vedic
period.
The
In the Br膩hma峁嘺s, we find a strong dramatic
element. The ritual and the attendant ceremonies thereto
were quite complex, and display amusements which are
characteristically ritual. The ceremony of buying the
soma plant affords a good illustration in point."
purchaser is a Br膩hma峁嘺 and the seller a Sudra. There
ensues a lively dialogue between the two, in which there
is much haggling; if the seller resists, the Br膩hma峁嘺
beats him and takes possession of the Soma by force.
Eventually they come to terms, the price is settled and
paid and the Soma is carried in procession.
The
Mah膩vrata festival also is another ritualistic amusement
of the period. A Vai艣ya of white complexion falls out
with a Sudra of black complexion for a piece of round
white skin. The latter is defeated and chased out of the
arena by the Vai艣ya. A Br膩hma峁嘺 and a het忙ra appear
later on in the scene and quarrel with each other using
abusive language. Hillebrandt correctly finds in the
ceremony the relic of a popular festival. As the festival
was performed at the winter solstice, Keith takes it to be a
fertility ritual and thus postulates religious origin for
Indian drama to which we shall advert later on.*
Analogy of the Greek drama is brought in support of
the contention of the religious origin of the Indian
drama.
5 8
1 Keith, SD, p. 23. 2 Keith, SD, pp. 21, 24-27, 44-45, etc. 3
Ritual Literature, p. 157; See Konow, Das Indische Drama, p. 42. 4 Keith, SD,
5 Keith, SD, pp. 36-49, Cf. Janvier, Madhyama, Intr. p. 7..
P. 24.
