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 224 of: Bhasa (critical and historical study)
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204
Hasya and Virabh膩sa on the minds of Bhima and
the spectators as they know the true relationship between
the combatants; for Ghatotkaca, however, the whole
scene produces Vira. A number of similes and metaphors
are employed while describing the Brahma峁嘺 family,
the demon Ghatotkaca, etc. Rupaka and Ati艣ayokti are
found in v. 23:
啶む啶班た啶多啶傕啷� 啶ぎ 啶む啶掂ぞ啶膏啶ㄠ啶え啷嬥啷嵿啷� 啶掂啶多お啶班啶掂い啶� 啷�
啶� 啶ぇ啷嵿く啶多啶傕啶啶椸啶� 啶え啶膏啶むお啶むた 啶 啶啶多ぎ啷� 啷�
[tri艣峁涐箖go mama tv膩s墨nmanoj帽o va峁兣沘parvata岣� |
sa madhya艣峁涐箖gabha峁僩ena manastapati me bh峁浥沘m ||
] Critical remarks. The poet has handled his material
very skilfully so that the play contains many moments of
great stage effect. The scene between Bhima and
Ghatotkaca reminds one of the similar situation between
Arjuna and Abhimanyu in the Pa帽c. The play lays
down many rules of conduct according to Bh膩sa. That
the mother's order is to be implicitly obeyed irrespective
of the consequences is illustrated by Ghatotkaca, who
feels no compunction in harassing the Br膩hma峁嘺s though
sacred. It is also suggested that in a conflict between
the orders of one's parents, the order proceeding from
one's mother outweighs that of the father. The ideal of
self-sacrifice is beautifully expressed in the speeches of
the Br膩hma峁嘺 and his sons. The play is bound to
impress on the spectators the importance of M膩t峁沚hakti,
Br膩hma峁嘺bhakti and of the principles of self-sacrifice and
self-effacement. We also find in this play the recourse
to magic to bind and unbind Bhima. Is it significant
that the last verse in praise of Upendra is composed in
the Upendra-Vajr膩 metre?
With regard to the five one-act plays considered so
far, we may say in general that they were written by the
poet with a view to place certain ideals in life before all
the public in general and the princes of his royal patron.
in particular. There is always an undercurrent of Vi峁ａ箛u
worship and Br膩hma峁嘺 superiority in all the plays. The
Dv. shows the futility of "the dispossessed's desire to
recover his heritage by flattery and froth"; and its motif
is stated as Efforts win where Prayers fail." The Karna
idealizes magnanimity, incidentally laying stress on the
fact that the general satisfaction of the populace is the
key-note of the life of a successful sovereign. The
1 Dharmasila Jayaswal. MR, December 1925, p. 665.
