Saṃskṛta-nāṭaka - Pañca-rātra - Bhāsa (Part 8)

Continued from the previous part ...

Virāṭa, Uttara, Pāṇḍavas and Abhimanyu constitute the third group of people. It is almost impossible to undertake an exclusive study of their characters, values, and the episodes associated with them; their nature and character are closely knit with each others. Abhimanyu’s character is noteworthy and here is a small extract from the drama.

Saṃskṛta-nāṭaka - Pañca-rātra - Bhāsa (Part 7)

The play Pañca-rātra does not contain some of the bitter episodes that are present in the original Mahābhārata; for instance, in Bhāsa’s version, Kīcaka does not molest Draupadī and neither does King Virāṭa strike Dharmarāja with his dice; the episode of go-grahaṇa took place not because of the jealousy of Suśarmā and Duryodhana but because of Bhīṣma who wanted a peaceful resolution for the dispute between the brothers.

Saṃskṛta-nāṭaka - Bāla-carita and Pañca-rātra - Bhāsa (Part 6)

The Bāla-carita is a play based on the childhood of Bhagavān Śrī-kṛṣṇa. The following is the summary of the plot: Vasudeva crosses the river Yamunā, reaches the village on the farther shore, hands over his child Kṛṣṇa to Nandagopa, and brings back the latter’s girl child, who was dead. He hands over the child to Devakī. The five āyudhas and Garuḍa serve Śrī-kṛṣṇa; Yamunā paves the way to Vasudeva on his way to Gokula and parts as he returns to Mathurā as well.

Saṃskṛta-nāṭaka - Bhāsa (Part 3)

The story that began in Pratijñā-yaugandharāyaṇa continues in the play Svapna-vāsavadatta. Yaugandharāyaṇa and Vāsava-dattā work together in order to get Udayana married to Padmāvatī. In this play too, Udayana does not come to the fore as the primary character. Though Padmāvatī plays a prominent role, Vāsava-dattā is a more important character. Every event is designed with Vāsava-dattā as the locus. Udayana feels as if he saw her in his svapna – dream and the story goes ahead to tell us the reason behind the dream and its effect on the rest of the characters.

Saṃskṛta-nāṭaka - The Upa-rūpakas (Part 2)

11. Saṃlāpaka – A saṃlāpaka has either three or four acts and the nāyaka is a pāṣaṇḍa[1], i.e., a heretic. The play evokes all rasas except for śṛṅgāra and karuṇa. The plot consists of the story of an attack on a town, a display of pride, a suggestion of war and other manmade and natural calamities. Bhāratī-vṛtti and kaiśikī-vṛttis are absent. Example: Māyākāpālika.

दत्तपदा / दत्तपदी - 2


दत्तपदीयं द्विप्रकारा सुकरा दुष्करा चेति । एतौ प्रकारौ सुयोज्या दुर्ज्योज्या चेत्यपि शक्यौ वक्तुम् । असौ तावदत्राभिप्रायः ।

सुकरदत्तपदी - यदि दत्तानि पदानि निर्दिष्टे विषये भाषायां च सुखेन योजयितुं शक्यानि तर्हि सा सुकरदत्तपदी । यथा वर, कर, चिर, सुर चेति । एषां पदानां संस्कृतपद्ये निवेशो नितान्तं सुशकः । तदाकारकाणां शब्दानां संस्कृते सहजतया उपलभ्यत्वात् ।