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203
Deviations. The whole story is practically the
poet's invention. The epic does not speak of Bhima's
meeting with Hi岣峣mb膩. All the Pandavas are sent by the
poet to attend a sacrifice. To the main story of
Bhima-Hi岣峣mb膩 is tagged the subsidiary episode (pat膩k膩)
of the Br膩hma峁嘺 family with three sons vying with each
other for getting the chance to make a sacrifice for the
whole family. The latter episode was, as already stated,
suggested by the Sunahsepakhy膩na in the Aitareya
Br膩hma峁嘺 (cf. also Manusmrti, IX. 105-109).
Type of drama. Southern scribes of the MSS of
Bh膩sa's plays describe the Mv as a Vy膩yoga.
Prof. Mankad, however, states that it is not a Vyayoga
since reunion is effected in the play; and he suggests the
play to be an Tham峁沢a. But it does not conform to the
definition of an Ih膩m峁沢a, which is thus defined in the
Dasarupa (III. 72-75):
1 啶�啶苦ざ啷嵿ぐ啶�啷�啶灌ぞ啶�啷冟�椸�� 啶掂�冟い啷嵿い啶� 啶氞い啷佮ぐ啶權�嵿�曕�� 啶む�嵿ぐ啶苦じ啶ㄠ�嵿ぇ啶苦ぎ啶む�� 啷�
啶ㄠぐ啶︵た啶掂�嵿く啶� 啶ㄠた啶�啶�啶距え啷嵿え啶距く啶曕お啷嵿ぐ啶むた啶ㄠぞ啶�啶曕��
啶栢�嵿く啶距い啷� 啶о��啶班�嬥う啷嵿ぇ啶むぞ啶掂え啷嵿い啷嵿く啷� 啶掂た啶�啶班�嵿く啶距じ啶距う啶�啷佮�曕�嵿い啶曕�冟い啷� 啷�
啶︵た啶掂�嵿�� 啶膏�嵿い啷嵿ぐ啶苦く啶�啶ㄠた啶氞�嵿�涏え啷嵿い啷�啶� 啶�啶灌ぞ啶班ぞ啶︵た啶ㄠ�� 啶氞�嵿�涏い啶�
啶多�冟�權�嵿�椸ぞ啶班ぞ啶�啶距じ啶�啶о�嵿く啶膏�嵿く 啶曕た啶炧�嵿�氞た啶む�嵿�曕た啶炧�嵿�氞た啶む�嵿お啷嵿ぐ啶︵ぐ啷嵿ざ啶�啷囙い啷� 啷�
啶膏�傕ぐ啶�啷嵿き啶� 啶�啶班ぎ啶距え啷�啶� 啶�啷佮う啷嵿ぇ啶� 啶掂�嵿く啶距�溹ぞ啶ㄠ�嵿え啶苦さ啶距ぐ啶�啷囙い啷� 啷�
啶掂ぇ啶�啷嵿ぐ啶距お啷嵿い啶膏�嵿く 啶曕�佮ぐ啷嵿さ啷�啶� 啶掂ぇ啶� 啶ㄠ�堗�� 啶�啶灌ぞ啶む�嵿ぎ啶ㄠ�� 啷�
[mi艣ram墨h膩m峁沢e v峁泃ta峁� catura峁卥a峁� trisandhimat ||
naradivy膩 niyam膩nn膩yakapratin膩yakau
khy膩tau dh墨roddhat膩vantyo vipary膩s膩dayuktak峁泃 ||
divya striyamanicchant墨ma pah膩r膩dine cchata岣�
艣峁涐箙g膩r膩bh膩samadhyasya ki帽citki帽citpradar艣ayet ||
sa峁價ambha峁� param膩n墨ya yuddha峁� vy膩j膩nniv膩rayet |
vadhapr膩ptasya kurv墨ta vadha峁� naiva mah膩tmana岣� ||
] 1 The fighting in an Ih膩m峁沢a seems to have been caused by a
a Vyayoga it is
Tham hile,
; further, an
is said to contain also four acts (Sahityadarpa峁嘺,
VI. 245; Dasarupa, III. 72; Natyadarpa峁嘺, p. 131); so
it seems better to style the play as a Vyayoga.
Sentiment etc. The main sentiment is Vira; and
various other sentiments go to enhance its effect. Thus
we find Bhayanaka (in the meeting of the Br膩hma峁嘺s
with Ghatotkaca); Karuna (when each member offers his
life for the sake of the whole family); Raudra and
Adbhuta (Bhima's encounter with Ghatotkaca, the magic
noose, etc.), Vatsala (the scene between Bhima and
Ghatotkaca), and Mugdha-艣峁沶g膩ra (the meeting of Bhima
and Hi岣峣mb膩) are used in succession. The fight between
the father and the son would create an atmosphere of
1 Types of Sanskrit Drama, pp. 59鈥�61.