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 322 of: Bhasa (critical and historical study)
322 (of 564)
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啶ㄠた啶冟ざ啷嵿さ啶距じ啷嬥そ啶膏啶� 啶� 啶多啷嵿啶苦い啷� 啶� 啶掂た啶粪ぎ啶膏啶む啶侧啶ぞ啶ㄠ啶むぐ啶� 啶溹ぞ啶い啷�
啶椸ぞ啶ㄠ 啶膏え啷嵿ぇ啶苦し啷� 啶︵啶班啶樴い啶距ぎ啷佮お啶椸い啶� 啶多く啷嵿く啶距お啷嵿ぐ啶ぞ啶｀ぞ啶оた啶曕ぎ啷� 啷�
啶︵啶粪啶熰た啶班啶椸ぞ啶︵え啶苦ぎ啷�啶侧た啶むぞ 啶� 啶氞お啶侧 啶啷嵿し啷嵿ぎ啶距え啷嵿い啶班 啶溹ぞ啶い啷�
啶︵啶 啶氞啶� 啶� 啶ぐ啷嵿し啶啶︵き啶苦ぎ啷佮啶� 啶膏啶ぞ啶侧啶侧い啶膏啶啶む 啶う啶� 啷�
[ni岣ヅ泇膩so'sya na 艣a峁卥ito na vi峁mastuly膩ntara峁� j膩yate
g膩na峁� sandhi峁 d墨rghat膩mupagata峁� 艣ayy膩pram膩峁嚹乨hikam |
d峁涐梗峁璱rg膩danim墨lit膩 na capala峁� pak峁膩ntara峁� j膩yate
d墨pa峁� caiva na mar峁yedabhimukha岣� sy膩llatasupto yadi ||
] Some of the notable figures are: Upama and Utprek峁Ｄ�
(III. 4) describing the effects of sleep; Upam膩 and
Kavyalinga (I. 17); Kavyalinga and 弄tprek峁Ｄ� ( I. 21 ) ;
Aksepa (III. 2); Parikara (III. 14, IV. 4); Ullekha
(III. 11) Arth膩ntarany膩sa (III. 15, IV. 6); Upam膩
(I. 9, 11, 26, 27; III. 5, IV. 1, etc.).
Many of the prose passages given as subh膩峁tas
towards the end in an appendix serve as instances of
Arthantaranyasa, Aprastutaprasa峁僺膩, Anyokti, D峁涐梗峁乶ta,
etc.
Critical Study. In an earlier chapter we have
considered the relationship between the Car and the Mrcch
and have answered some of the contrary views and
criticisms on the C膩r.
The opening scene presents before us a pathetic
picture of poverty prevailing in Ujjain, which is effectively
contrasted with the subsequent scene immediately following
in which Sak膩ra, Vi峁璦 and Vasantasen膩 figure, depicting
lewdness and looseness of character. In the whole of the
first act we have alternating situations. The passion rises
to a high pitch and is then relieved by a lighter touch,
Moral character and lewdness, pathos and humour,
poverty and riches, appear by turns. Similar devices
have been used by the poet, as already observed, in a
number of plays of this group. The scented garment
introduced in this act, like the bark garments in the
Pratima, is requisitioned later on for a different purpose.
In the second act of the Car, Kar峁嘺p奴ra, a page
of Vasantasen膩, brings in the same garment, which
he has received as a gift from Carudatta, and the
garment serves to enhance the love of Vasantasen膩 for
Carudatta.
The second act opens in the courtesan's apartments,
where she has a talk about her love with her maid. The
introduction of the shampooer fans love's fire kindled in
the heart of Vasantasen膩, which receives impetus towards
the close of the act where the elephant is introduced to
