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 78 of: Bhasa (critical and historical study)
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58
'Compilations'." Thus, these Trivandrum Bh膩sa plays
cannot be called adaptations, since, though dramatic
works such as those of Kalidasa or Shakespeare "are
specially liable to recast", "they do not thereby forfeit
their connection with their original authors.
21 2 Further, the C膩ky膩rs stage only select acts after
giving different names to them, e. g. Mantranka,
Deph盲lik膩nka, Mallanka, etc. with necessary changes."
Hence the particular act would be adapted for the stage
and not the whole dramatic work; so whole dramas
cannot be set aside as adaptations. We find that all the
acts from our plays present the same features of style
and thought, which is quite impossible if a particular
act is from the stage edition and the remaining part from
the original. It is but a natural conclusion, therefore, that
our plays are not stage copies. D膩maka Prahasanam
may be cited as the best instance of a compilation.
The same argument may be used with regard to
the Ascarya. Select scenes from this play also are
enacted; so why is it ascribed to Saktibhadra? The
Mattavil盲sa, Sakuntala and Nag膩nanda also are not
called adaptations though they form part of the repertory
of Kerala actors. The Ascarya and Mrcch have different
names for different acts given by the C膩ky膩rs, still they
pass under the names of their respective authors. It
seems that our plays are called adaptations simply because
in addition to their being included in the C膩ky膩r
repertoire, they are anonymous; and being so are thought
capable of being assigned to any one as a common
property. It is really the most unhappy thing that such
should be the case with the works of the pioneer Indian
dramatist.
Though it was argued that a large number of plays.
form part of the "Kerala N膩taka Cakra", the term at present
is confined only to Bh膩sa's works in the Trivandrum
series. Why is it that in spite of diligent research no
further MSS of the so-called Kerala Nataka Cakra are
discovered? It may perhaps be that there are
separate plays that can be designated as Kerala N膩峁璦ka
no
3 1 BRRI, 5, p. 11. 2 Thomas, JRAS, 1928, p. 877. See also Winternitz,
Bhagavadajjulya, preface, p. VII, and Thomas, JRAS, 1925, pp. 106-107.
G. Sastri, BSOS, 9, p. 634; also K. Rama Pisharoti, JBRAS, 1925, p. 250;
Pisharotis, BSOS, 3, pp. 112-114.
