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 280 of: Bhasa (critical and historical study)
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2 260
We
statues of men, as distinct from images, to be one of
hoary antiquity. In the Prat, as in the R膩m膩ya峁嘺, the
whitewash, the flowers and other preparations in
connection with the statue-houses do not countenance
the southern origin and a late date for the Prat.
have discussed these points at length earlier in this book.
Prof. Pangu objects to some of the innovations by Bh膩sa
as not being skilfully executed and as being contrary to
life. The 艣raddha episode has been given as an instance.
As compared to the R膩m膩ya峁嘺 contrivance to make
R膩ma leave S墨t膩 in the A艣rama, Bh膩sa's picture is
certainly superior as it brings the two adversaries face
to face, and presents R膩ma as going out for the purpose
of securing the choicest offering to his father at the
艣raddha ceremony, emphasizing R膩ma's devotion to his
father. With regard to characterization we have shown.
that there is a substantial attempt by the poet at
elevating the characters. Prof. Pisharoti is quite right in
bringing out the noble traits in Bharata's character and
pronouncing them to be quite in keeping with the Indian
mentality.
In
Making a survey of the Prat, act by act, we are
wonder-struck by the artistic development of the plot by
skilfully presenting the familiar incidents in a different
light, and by the talent of the poet in bringing various
dramatic incidents and ironies, and in raising the passions
to high tensions and then giving them a new turn.
the first act is brought out the irony of situation created
by the valkalas, which, put on by S墨t膩 for mere fun,
prove to be the dress for herself and for R膩ma and
Lak峁a峁嘺 for a long time to come. The incident
enhances the tragic pathos in its cumulative effect. The
fruits of Kaikeyi's part in the affair, viz., the king's
swooning and his sanctioning Bharata's coronation and
R膩ma's exile, are gradually introduced, greatly enhancing
the dramatic effect. R膩ma's justification of his mother's
conduct tones down the passion in some measure, but
the entry of angry Lak峁a峁嘺 with his retort to the elders:
reminding one of Bhima in the Ve峁嚹�, again raises the
tension to a high pitch. It is calmed down again by the
natural composure with which the trio accepts the tragic.
1 Mohenjo-Daro and the Indus Civilization, pp. 44, 356-360.
2 Chitramayajagat, Poona 1927, p. 475. 3 QJMS, 13, p. 606.
