Bhāsa As a Dramatist
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As in Sanskrit
literature, the original poet means Balmiki that form means the original
playwright who means Bhāsa. The name of Bhāsa is first heard in the
introduction to Kālidāsa's play "Mālāvikāgnimitraṁ". Then some of the
extraordinary features of his plays can be known in Bāṇabhatta's poetry.
Finally, through Rājshekhar's statement, it is understood that there are
several plays in his Natak Chakra (Drama list), but the name of the only play known as
'Swapnabāsavadattam' is known. The misfortune and regret of the Indians are
that, before the second century of the twentieth century, we did not have the
good fortune to get acquainted with the plays of such a renowned poet and
playwright.
In 1910-1911 AD, Pandit T. Ganapati Shastri discovered a
manuscript of a Sanskrit play written in Malayalam script in two palm-leaf
manuscripts at a place called Manlikkarnatham in South India. There are ten
plays in one book – 1.Swapnavāsavadattām,
2. Pratijñā-Yaugandharāyaṇam,
3. Pancharātram,
4. Chārudattam,
5. Dutghattotkacham
6. Abimārakam
7. Bālcharitam
8. Madhyamvyāyogam
9. Karṇavāram
10. Ūrūbhangam.
Then there are three
more metaphors in the other –
11. Pratimānātakam
12. Abhishek-nātakam
13. Dutavākyam.
The period of Bhāsa -
The name of the poet first heard in the fourth century, and with
whose writings man first became acquainted in the twentieth century, it is not
possible to determine the exact date of the appearance of that poet Bhāsa.
However, since Bhāsa is mentioned in Kalidasa's plays and Banabhatta's poems, that
is why it must be said that Kalidasa and Banabhatta preceded him. According to
linguists, the advent of Bhāsa is said to be earlier than that of Prakrit, even
after Kalidasa. Kalidasa was probably a fourth-century poet, and the Aśvaghosa was in the first to second centuries CE . So the great
poet Bhāsa third century BCE appeared on it.
Bhāsas 13th Dramas -
Thirteen plays named after Bhāsa are divided into four parts in
terms of the subject matter. Such as -
A. The drama based on the story of Ramayana -
1. Pratimā Nātaka (The Statues) and
2. Abhiṣeka Nātaka (The Coronation)
B. The drama based on the story of Mahabharata -
3. Pancharātram (The Five nights),
4. Dūtvākyam (The envoys message),
5. Dūtaghatotkacha (Ghatotkacha as envoy),
6. Madhyamvyāyoga (The Middle one),
7.Karṇabhāram (Karṇa's burden) ,
8.Ūrubhangam ( The broken thigh).
C. The play based on the story of Bhagavata Purana -
9. Balacharitam (The tale of childhood).
D. The drama based on conventional ancient stories -
10. Pratigyayaugandharayanam (The vow of Yaugandharayana),
11. Swapnavāsavadattam (Vasavadatta in the dream),
12. Charudattam ,
13. Abimarakam.
The essence of the
story of the plays-
1. Pratimānātakaṁ-
This seven-act play is based on the story of Ramayana. The play
tells the story of Rama's coronation initiative by Dasaratha, Bharata's conquest
of Kaikeyi's prayer, Rama's journey to the forest with Lakshmana and Sita, and
Rama's return to Ayodhya after killing Ravana from exile, and Rama's assumption
of the kingdom.
When Dasaratha died in the grief of Rama's banishment, his idol
was placed in the idol house along with the idols of his ancestors. On his way
back from Mama's house, Bharat bows to his ancestors and sees the idol of
Dasaratha and realizes that Dasaratha has died. Then, according to the story of
Ramayana, the play ends with the insertion of events. The novelty of this play
is the house of idols and the installation of idols of Ishvaku-banshi. The play
has been named 'Pratima Natkam' with the predominance of the idol house
incident.
2. Abhiṣeka-natakaṁ-
The great poet Bhāsa composed this play based on the story of
Kishkindhyakanda Sundarkanda and Lankakanda of Ramayana. It is divided into six
digits. Rama's friendship with Sugriva after Sitaharan, the Sand massacre by
Rama, Sugriva's coronation, Hanuman's visit to Lanka, the consolation of Sita,
bridging, Indrajith's death by Lakshman, Ravana's fascination on hearing it,
Ravana's determination to kill Sita, The subject matter of the play. The play
has been named as the outcome of the play - Abhishek.
3. Pancharātram-
This three-act play is composed by mixing poetic imagination
with the story told in the great episode of Mahabharata. This play is called
the metaphor of the peer class.
As shown in the play Pancharatra, when the year of anonymity of
the Pandavas was almost coming to an end, Duryodhana performed a yajna and
asked Dronacharya to pray Dakshina as per his wish. At this time Dronacharya
prayed to Duryodhana for half the kingdom for the Pandavas. In this prayer of
Dronacharya, Duryodhana made it a condition that if he could find the Pandavas within
five nights, he would fulfill that prayer of Acharya. Then, on the orders of
Bhishma, when the Kauravas went to abduct the godhan of the great king, the
Pandavas, who were hiding in the big house, took the side of the great and
defeated the Kauravas. However, the Pandavas were found through this battle. As
a result, according to Dronacharya's prayer, half of the Kuru kingdom of the
Pandavas was given. Here "Pancharatra" has been named with the
predominance of those Pancharatras.
4. Dutavākyam-
Based on the story of
Mahabharata. This is a one-size-fits-all metaphor. The form of the messenger is
shown - hearing that Lord Krishna was coming to Hastinapur as the messenger of
the Pandavas, Duryodhana ordered that no form of respect should be shown to
Lord Krishna. Then Lord Krishna came to the assembly hall and demanded the
rightful share of the Pandavas. When Duryodhana rejected that claim and tried
to capture Lord Krishna, Lord Krishna showed the world. At last, at the request
of Dhritarashtra, Lord Krishna calmed down. The play has been named as
Dutbakyam as Sri Krishna's mission is the main dramatic object here.
5. Dūtghatotkachaṁ -
It is a one-act metaphor written by the great poet Bhāsa.
The theme of the play, which is based on the story of the Mahabharata, is -
although the Kauravas are happy to kill Abhimanyu in an unjust war,
Dhritarashtra and Gandhari strongly condemn it and are worried about a new
danger. On the other hand, Arjuna, mourning the death of his son, vowed to kill
Putrahanta. At that time, when Ghatotkach Kaurava became the envy of the
Pandavas and attended the meeting, the Kauravas insulted him. Ghatotkach became
angry and announced the immediate destruction of the Kauravas at the hands of
Arjuna. The name of the play is "Dutghatotkacham" as the mission of
Ghatotkach is a dramatic theme.
6. Madhyamvyāyogam -
It is a one-act play written by Bhāsa based on several
characters from the Mahabharata. According to the features of the play, it
belongs to the branch of Bayog. There was a fierce battle between father and
son. At the end of which no one knew anyone, Bhima showed his strength and went
with him, surprising Ghatotkacha. Later, Hiramba came to see her husband and
greeted him with joy. Brahmaputra Muktipel and father-son reunion took place.
This poetic fictional drama is composed of heroes, heroines, and comedians.
The exercise is named after the middle child - "Middle
Expenditure".
7. Karṇabhāram-
It is a one-act play based on the story of Mahabharata. The
theme of the play is - Kurukshetra War Karna Kaurava becomes the commander of
the party when he is ready to go to fight against Arjuna,
At that time Devaraja Indra came in the guise of a Brahmin and
deceived, Karna's innate kabachkundal khani praying was prohibited by the
charioteer Shalyaraj, but the giver donated the kavachkundal to fulfill Karna's
prayer. Later, Indra sent an infallible weapon named Bimala to an angel as a
gift to Karna. This form has been named Karnavaram because of the outstanding
gift that has established the burden of Karna i.e. glory.
8. Ūrūbhangam -
It is a one-act play by Bhāsa based on the story of Mahabharata.
The play shows that on the last day of the battle of Kurukshetra, Bhima
unjustly hit Duryodhana in the gadayuddha in front of Byas, Sri Krishna,
Yudhisthira, and Balarama and broke Duryodhana's thigh. Then Duryodhana saw the
dead brothers in a dream and there he left the body. Urubhangai is the only
tragic drama in Sanskrit literature.
9. Bālcharitam-
The great poet Bhāsa composed this play based on the story of
Krishna narrated in Srimad-Bhagavatam. This is a five-digit article. In the
prologue to this play, Sutradhara praises the four incarnations of Vishnu in
the four ages and says that Krishna is Vishnu. Miraculous deeds like the birth
of Krishna, childhood, Putna and Chanu's slaughter, Kalia's suppression, etc.
The play does not mention Radha and other gopis or the common tales of
Krishna's love affair with them.
10. Pratijñāyaugandharāyanam-
11. Swapnavāsavadattam -
The play shows that a vast part of the kingdom of Udayan,
occupied by the love of Queen Vasavadatta, is occupied by the enemy. Then the
minister Yaugandharayan, seeking the help of the Magadharaja spectators to
rescue Hritrajya, arranged for Udayan to marry his sister Padmavati. But in
consultation with Vasavadatta, Vasavadatta preached that he had been burnt to
death and hid him and kept his name Avantika as his sister and kept it with
Padmavati. Vasavadatta remained there under the name of Avantika. After that
Padmavati got married to Udayan due to the efforts of Yaugandharayan and Vasavadatta but Vasavadatta remained alive in Udayan's mind. At the end, when
all the states of Udayan were rescued by the diplomacy of Yaugandharayan,
suddenly one day the midwife of Mahasena sent a picture of Vasavadatta's
daughter Vasavadatta to the meeting of Udayan. Padmavati saw the picture and
realized that Avantika was the rightful dweller. At this time, Yaugandharayan
also returned in a pilgrimage. He is the one who reveals all his secrets and
reunites Udayan with Vasavadatta. The first of these is to see Udayan in a
dream and there the seeds of their reunion germinate. So the naming of
Swapnavasavadattam has been successful. Perfect characterization and
storytelling have given the play a novelty.
12. Chārudattam-
The epic poet Bhāsa composed this play based on the conventional
story. It is an incomplete drama with four figures. The story and plot of
Charudattam and Mritchakatikam dramas are almost the same. Many shot verses and
one type. The dramatic subject matter is that the prostitute Vasavadatta, who
was in love with the merchant Charudatta, took refuge in Charudatta's house one
day to escape from the hands of the miscreants and left her precious jewels in
her possession. But unfortunately, those jewels were stolen overnight
And the jewels accidentally fell into the hands of the spring
army. One day, Charudatta sent his wife's pearl necklace to Vasantasena as
compensation for stealing the stolen goods. As a result, Vasantasena's
affection and love for Charudatta increased. This time he decided to go to
Charudatta's house one day after wearing that pearl necklace.
This is where the play remains incomplete.
13. Avimārakam -
The great poet Bhāsa has composed this play based on the
conventional story. This play has six figures. Shown in the play -
Prince Vishnu was killed by a sage under the curse of sage
Abi and killed a demon named Avimaraka. One day he fell in love with Kurangi,
the daughter of a crocodile, by protecting her from an elephant attack. But
they meet secretly, knowing that a princess can't marry a lower caste.
Unfortunately, when the word came out, Avimaraka fled and tried to commit
suicide. Then a Vidyadhara kindly gave him a ring. Under the influence of that
ring, Avimaraka disappeared and went to the palace and saw that the princess was
going to commit suicide due to grief. Avimaraka then saves him. At that time
Narada came and freed him from the curse and gave him his true identity.
Avimaraka married Kurangi with the consent of all.
In Sanskrit drama, Bhāsa's place is above theearlier . Kālidāsa,
Bhavabhuti's plays are more subtle in audio-poetry than in visual-poetry. But Bhāsa's
drama is completely visual. He was a true playwright.
Later, the influence of Bhāsa can be seen in the plays of epic
poets like Kālidāsa and Bhavabhuti. So it would not be inconsistent to call the
playwright Bhāsa the first pioneer in Sanskrit literature.
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