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 229 of: Bhasa (critical and historical study)
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on pp. 41-42 and I. 51 of the Pa帽c. Only three P膩峁囜笉avas
are mentioned in the play. The sacrifice performed by
Duryodhana, his agreement with Drona, Abhimanyu's.
siding with the Kauravas, the pastoral life of the
cowherds, the scene between Bhima, Abhimanyu and
B峁沨annal膩, Duryodhana's division of the kingdom with
the Pandavas all these are invented by the poet, and they
help to bring out the good factors in Duryodhana's
character. Dr. Winternitz objects to these liberties on
the ground that they do not improve the story; but the
object of the poet, as stated above, is to emphasize the
nobility of Duryodhana's character.
Type of drama: Drs. Ganapati Sastri and Keith
take the Pa帽c to be a Samavak膩ra which the Dasar奴pa
defines as under (III. 62-67):
啶曕ぞ啶班啶 啶膏ぎ啶掂啶距ぐ啷囙そ啶た 啶多啶班ぞ啶啶栢 啶ㄠぞ啶熰啶距う啶苦さ啶む 啷�
啶栢啶ぞ啶む 啶︵啶掂ぞ啶膏啶班 啶掂じ啷嵿い啷� 啶ㄠた啶班啶掂た啶ぐ啷嵿ざ啶距じ啷嵿い啷� 啶膏え啷嵿ぇ啶 啷�
啶掂啶む啶むく啷� 啶え啷嵿う啶曕啶多た啶曕啶 啶ㄠ啶むぞ啶班 啶︵啶掂う啶距え啶掂ぞ啶� 啷�
啶︵啶掂ぞ啶︵ざ啷嬥う啶距え啷嵿い啶掂た啶栢啶ぞ啶むぞ啶� 啶げ啶� 啶む啶粪ぞ啶� 啶啶ム啷嵿お啷冟ぅ啶曕 啷�
啶す啷佮さ啷�啶班ぐ啶膏ぞ啶� 啶膏ぐ啷嵿さ啷� 啶う啷嵿さ啶︵ぎ啷嵿き啷嬥ぇ啶苦ぎ啶ㄠ啶ムえ啷� 啷�
啶呧啷嵿啷堗じ啷嵿い啷嵿ぐ啶苦き啶苦啶苦啶 啶む啶班た啶多啶權啶椸ぞ啶班じ啷嵿い啷嵿ぐ啶苦さ啶苦う啷嵿ぐ啶掂 [k膩rye samavak膩re'pi 艣r膩mukha峁� n膩峁璦k膩divat ||
khy膩ta峁� dev膩sura峁� vastu nirvimar艣膩stu sandhaya岣� |
v峁泃tayo mandakai艣ikyo net膩ro devad膩nav膩岣� ||
dv膩da艣od膩ntavikhy膩t膩岣� phala峁� te峁Ｄ佱箖 p峁泃hakp峁泃hak |
bahuv墨raras膩岣� sarve yadvadambhodhimanthane ||
a峁卥aistribhikhikapa峁璦 tri艣峁涐箙g膩rastrividrava岣� ] 1
啶︵啶掂た啶膏え啷嵿ぇ啶苦ぐ啶權啶曕 啶啶班ぅ啶 啶曕ぞ啶班啶啶� 啶︵啶掂ぞ啶︵ざ啶ㄠぞ啶侧た啶曕 啷�
啶氞い啷佮ぐ啷嵿う啶苦え啶距げ啶苦啶距さ啶ㄠ啶む啶 啶ㄠぞ啶侧た啶曕ぞ 啶樴啶苦啶距う啷嵿さ啶ぎ啷� 啷�
啶掂じ啷嵿い啷佮じ啷嵿さ啶ぞ啶掂う啷堗さ啶距ぐ啶苦啷冟い啶距 啶膏啶啶� 啶曕お啶熰ぞ啶膏啶む啶班く啶� 啷�
啶ㄠ啶班啶ぐ啷嬥ぇ啶啶︵啶о 啶掂ぞ啶むぞ啶椸啶ㄠ啶ぞ啶︵た啶曕さ啶苦う啷嵿ぐ啶掂ぞ啶� 啷�
啶оぐ啷嵿ぎ啶距ぐ啷嵿ぅ啶曕ぞ啶啶� 啶多啶權啶椸ぞ啶班 啶ㄠぞ啶む啶� 啶た啶ㄠ啶︵啶啶班さ啷囙ざ啶曕 啷�
啶掂啶ム啶啷嵿啶距え啶� 啶ぅ啶距げ啶距き啶� 啶曕啶班啶ぞ啶む 啶啶班す啶膏え啷� 啶ぅ啶� 啷�
[dvisandhira峁卥a岣� prathama岣� k膩ryo峁� dv膩da艣an膩lika岣� ||
caturdin膩lik膩vantyau n膩lik膩 gha峁璱k膩dvayam |
vastusvabh膩vadaiv膩rik峁泃膩岣� syu岣� kapa峁乻traya岣� ||
nagaroparodhayuddhe v膩t膩gny膩dikavidrav膩岣� |
dharm膩rthak膩mai岣� 艣峁涐箙g膩ro n膩tra binduprave艣akau ||
v墨thya峁単膩ni yath膩l膩bha峁� kury膩t prahasane yath膩 |
] The Pa帽c does not answer the particulars with regard to
the story not concerning gods and demons, and the
absence of 艢rng膩ra. With regard to the absence of
Srng膩ra, it may be mentioned that Srigara is not
mentioned as a necessity in a Samavak膩ra in the
Prataparudriya. So the divergence is in regard to the
plot, which however, can be explained away by taking
Duryodhana, Bhisma and others as: as is done by
Dr. G. Sastri. Prof. Mankad seems to prefer the Pa帽c
being classed as a Vy膩yoga but as stated by him contrary
to Vyayogas it has three acts and difficult verses. We
think, the minor divergence from the definition of
3 1 BRRI, 5. p. 9. 2 Pa帽c, pp. 116-117; SD, pp. 96鈥�97. 3 Pa帽c. p. 117.
4 Types of Sanskrit Drama. p. 58.
