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 207 of: Bhasa (critical and historical study)
207 (of 564)
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187
Vithi. Thus we find that the Dv does not conform to
the definition of Vyayoga or Vithi; it may be classed
under either of the two owing to its containing many of
the characteristics of these types () as stated by
Dr. Sastri in the Dv. (p. 31). Something akin to these
types may have been prevalent in Bh膩sa's time of which
we have neither any definition nor exact knowledge. We
are inclined to class the Dv under a Vy膩yoga.
Sentiments etc. Vira (the heroic) is the main
sentiment, and the appearance of the divine weapons
towards the close supplies with Adbhuta (the wonderful).
The style is Arabha峁璱 (violent). Simple figures of
speech are used of which Sahokti (6) and R奴paka (14)
may be mentioned. A number of similes are to be met
with.
Critical remarks. There is no heroine in this play,
nor any female character, nor is any Prakrit used,
is "only a fragment,
one act taken from some longer Mah膩bh膩rata drama
but the play is complete as it fulfills its purpose in the
single act. It does not give the impression of being
sketchy or of having something preceding and succeeding
the piece. We do not think that the wickedness of
Duryodhana is emphasized here; on the contrary he
is shown in a favourable light as a comparison with
the similar incidents in the epic will prove. Curiously
enough, Mr. Meerwarth includes the Dv, along with the
Dgh and the Uru under "a tragical trilogy A stanza
in the Dv gives us the political philosophy and the
message of Bh膩sa which deserves to be carved in letters
of gold, a guiding principle and a beacon-light that will
stand the test of time; the message of freedom to
countries in bondage, stating that kingdoms are earned
and enjoyed by the strength of one's own arms and not by
begging:
Dr. Winternitz suggests that the Dr.?
5, p. 9.
17 8 啶班ぞ啶溹啶 啶ㄠぞ啶� 啶ㄠ啶ぞ啶む啶啷堗 啶膏す啷冟う啶啶班啶溹た啶む啶掂ぞ 啶班た啶啶ㄠ 啶啶溹啶い啷�
啶むげ啷嵿げ啷嬥啷� 啶� 啶む 啶ぞ啶氞啶い啷� 啶� 啶む 啶啶ㄠぐ啷嵿う啷�啶ㄠぞ啶� 啶掂ぞ 啶︵啶い啷� 啷�
啶曕ぞ啶權啶曕啶粪ぞ 啶氞啶ㄠ啶ㄠ啶い啶苦い啷嵿さ啶ぞ啶啶む啶啶苦ぐ啶距い啷� 啶曕啶班啶掂え啷嵿い啷� 啶む 啶膏ぞ啶灌じ啶
啶膏啶掂啶班 啶掂ぞ 啶啶班さ啶苦ざ啶ㄠ啶む 啶多ぞ啶ㄠ啶むぎ啶むた啶た啶班啶溹啶粪啶熰 啶多ぎ啶距く啶距ざ啷嵿ぐ啶ぎ啷� 啷�
[r膩jya峁� n膩ma n峁沺膩tmajai岣� sah峁沝ayairjitv膩 rip奴n bhujyate
talloke na tu y膩cyate na tu punard墨n膩ya v膩 d墨yate |
k膩峁卥峁Ｄ� cenn峁沺atitvam膩ptumacir膩t kurvantu te s膩hasam
svaira峁� v膩 pravi艣antu 艣膩ntamatibhirju峁ａ弓a峁� 艣am膩y膩艣ramam ||
] 1 TSS, No. 50%; Cf. Mankad Types of Sanskrit drama, p. 73.
3 JASB, 13, p. 274.
2 BRRI
