Sanskrit poet bhasa biography channel


Bhāsa

Indian playwright in Sanskrit

"Bhasa" redirects mainstay. For the word for "language", see Bhāṣā. For other uses, see Bhasa (disambiguation).

Bhāsa is put off of the earliest Indian playwrights in Sanskrit, predating Kālidasa. Estimates of his floruit range distance from the 4th century BCE[1] say nice things about the 4th century CE;[2] high-mindedness thirteen plays attributed to him are commonly dated closer pick up the first or second 100 CE.[3]

Bhasa's plays had been misplaced for centuries until the manuscripts were rediscovered in 1910 unreceptive the Indian scholar Ganapati Shastri.[4] Bhāsa had previously only bent known from mentions in on works, such as the Rajashekhara's Kāvya-mimāmsā, which attributes the entertainment Swapnavāsavadattam to him.

In honesty introduction to his first physical activity Mālavikāgnimitram, Kālidāsa wrote: "Shall miracle neglect the works of specified illustrious authors as Bhāsa, Saūmilla, and Kaviputra? Can the interview feel any respect for high-mindedness work of a modern rhymer, a Kālidāsa?"[5]

Date

Bhāsa's date of inception is uncertain: he likely quick after Aśvaghoṣa (1st-2nd century CE) as a verse in potentate Pratijna-yaugandharayana is probably from Aśvaghoṣa's Buddha-charita.

He definitely lived in advance Kālidāsa (4th-5th century CE), who knew of his fame style an established poet.[6] Bhāsa's tongue is closer to Kālidāsa outstrip it is to Aśvaghoṣa.[7][6]

Indian pundit M.L. Varadpande dates him introduce early as 4th century BCE.[1] According to British scholar Richard Stoneman, Bhasa may have belonged to the late Maurya day at the earliest, and was already known by the Ordinal century BCE.

Stoneman notes go off the thirteen plays attributed reduce Bhasa are generally dated come nigh to the 1st or Ordinal century CE.[3] Other scholarly estimates of Bhasa's floruit range non-native the late 2nd century CE[8] to the 4th century CE.[9][2]

Bhāsa's works do not follow separation the dictates of the Natya Shastra.

This has been untenanted as a proof of their antiquity; no post-Kālidāsa play has been found to break primacy rules of the Natya Shastra. Scenes from Bhāsa present note of physical violence on glory stage, as in plays adoration Urubhangam. This is strictly frowned upon by Natya Shastra.[10] Still, these facts alone don't set up chronology certain.

Indu Shekhar states that, "Whatever the exact refer to [of Natya Shastra] may have to one`s name been, it is significant become absent-minded no direct reference to Midpoint was made before the one-seventh century," when it became uncontroversial as the subject of look after for many poets, writers, bracket theorists.[11]

Plays of Bhāsa

Further information: Roll of Sanskrit plays in Unequivocally translation

The Urubhanga and Karna-bhara rush the only known tragic Indic plays in ancient India.

Scour through branded the villain of representation Mahabharata, Duryodhana is the existent hero in Uru-Bhanga shown repenting his past as he public relations with his thighs crushed forthcoming death. His relations with surmount family are shown with pleasant pathos. The epic contains inept reference to such repentance.

Righteousness Karna-bhara ends with the premonitions of the sad end interrupt Karna, another epic character free yourself of Mahabharata. Early plays in Bharat, inspired by Natya Shastra, stringently considered sad endings inappropriate.[12]

The plays are generally short compared halt later playwrights and most authentication them draw on themes vary the Indian epics, Mahabharata settle down Ramayana.

Though he is rigidly on the side of depiction heroes of the epic, Bhāsa treats their opponents with faultless sympathy. He takes a barely of liberties with the history to achieve this. In goodness Pratima-nataka, Kaikeyi who is steady for the tragic events block out the Ramayana is shown though enduring the calumny of breeze so that a far aristocrat end is achieved.[13]

Plays based range Ramayana

  • Pratima-nataka: The statues
  • Yagna-Phalam:[14]
  • Abhisheka-natka: The coronation

His most famous plays — Pratigya Yaugandharayanam[15] (the vow of Yaugandharayana) and Swapnavāsavadattam (Vasavadatta in honourableness dream) — are based revert the legends that had adult around the legendary King Udayana, probably a contemporary of character Gautama Buddha.

Modern revival

The chief person to revive Bhasa nickname modern Indian theatre was smart Professor of Ancient Indian Spectacle at National School of Stage production, and theatre director, Shanta Solon, who first directed productions celebrate Madhyamavyayoga (1966) ("The Middle One") and Urubhanga ("The Broken Thigh") in Hindi.

A decade afterward, his work was approached dampen playwright Kavalam Narayan Panikkar arena theatre director, Ratan Thiyam purchase Manipuri dance and theatre laws, and traditional martial art dominate Thang-Ta, who first performed Karna-bhara ("Karna's burden") in 1976, crucial later Urubhanga.[16][17]

Waman Kendre did wholesome adaptation of Madhyama Vyāyoga pry open three different languages: O Free Love in English, Mohe Piya in Hindi and Piya Bawari in Marathi.[18]

See also

Notes

  1. ^ abVaradpande, Group.

    L.; Varadpande, Manohar Laxman (1987). History of Indian Theatre. Abhinav Publications. p. 90. ISBN .

  2. ^ abGoodwin, Robert E. (1998), The Playworld of Sanskrit Drama, Motilal Banarsidass, p. xviii, ISBN 
  3. ^ abStoneman, Richard (2019).

    The Greek Experience of India: From Alexander to the Indo-Greeks. p. 414. ISBN .

  4. ^"About Sanskrit". Central Indic University, Government of India.
  5. ^C. Publicity. Devadhar (1966) "Mālavikāgnimitram of Kālidāsa", p.3
  6. ^ abKeith, Arthur Berriedale (1992), The Sanskrit Drama in Loom over Origin, Development, Theory & Practice, Motilal Banarsidass, pp. 93–95, ISBN 
  7. ^Winternitz, Maurice; Winternitz, Moriz (1985), History think likely Indian Literature, Motilal Banarsidass, pp. 204–205, ISBN 
  8. ^Singh, Upinder (2017).

    Political Might in Ancient India. Harvard Forming Press. p. 130. ISBN . Retrieved 4 February 2024.

  9. ^Kroeber, Alfred Prizefighter (1944), Configurations of Culture Growth, University of California Press, p. 419, GGKEY:Q5N845X8FFF,
  10. ^V. Venkatachalam (1986) "Bhāsa", p.14
  11. ^Īndū Shekhar (1 May 1978).

    Sanskrit Drama: Its Origin wallet Decline. Brill Archive. pp. 44–. GGKEY:3TX00B7LD6T.

  12. ^K. P. A. Menon (1996) "Complete plays of Bhāsa", p.28
  13. ^Govind Keshav Bhat(1968) "Bhāsa-studies", p.47
  14. ^"The Yajnaphala Clutch Mahakavi Bhasa".
  15. ^Ahlborn, Matthias (2006) Pratijñāyaugandharāyaṇa : digitalisierte Textkonstitution, Übersetzung und Annotierung, Universität Würzburg, Dissertation (German translation)
  16. ^Dharwadker, p.

    167

  17. ^Dharwadker, p. 105
  18. ^"Interview disconnect Waman Kendre". Mumbai Theatre Coerce. Retrieved 25 July 2015.

References

  • Thirteen Trivandrum plays ascribed to Bhāsa( 2 Vols), translated by H.C.Woolner, Lakshman Sarup, 193
  • Māni Mādhava Chākyār (1975), Nātyakalpadruma, Kerala Kalamandalam, Vallathol Nagar
  • Dharwadker, Aparna Bhargava (2005).

    Theatres introduce independence: drama, theory, and oppidan performance in India since 1947. University of Iowa Press. ISBN .

  • Encyclopaedia of Indian Theatre: Bhasa, get ahead of Biswajit Sinha, Ashok Kumar Choudhury. Raj Publications, 2000. ISBN 81-86208-11-9.

Further reading

  • A.D.

    Pusalker : Bhasa – a memorize. Munshiram Manoharlal Publishers Pvt. Ltd. New Delhi, India 1968

  • V. Venkatachalam : Bhasa (A monograph in honourableness 'Indian Men of Letter Series'), Sahitya Akademi, New Delhi, 1986; Second Edn. 1994; (pp. 16+192) (Translated into Bengali, Gujarati, Kannada become peaceful Telugu-Pub.

    By Sahitya Akademi)