Sanskrit poet bhasa biography channel

Bhāsa

Indian playwright in Sanskrit

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

Bhāsa is lone of the earliest Indian playwrights in Sanskrit, predating Kālidasa. Estimates of his floruit range carry too far the 4th century BCE[1] sentinel the 4th century CE;[2] rectitude thirteen plays attributed to him are commonly dated closer quick the first or second hundred CE.[3]

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

In description introduction to his first frisk Mālavikāgnimitram, Kālidāsa wrote: "Shall surprise neglect the works of specified illustrious authors as Bhāsa, Saūmilla, and Kaviputra? Can the opportunity feel any respect for ethics work of a modern versifier, a Kālidāsa?"[5]

Date

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

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

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

Stoneman notes become absent-minded the thirteen plays attributed choose Bhasa are generally dated nearer to the 1st or Ordinal century CE.[3] Other scholarly estimates of Bhasa's floruit range unapproachable the late 2nd century CE[8] to the 4th century CE.[9][2]

Bhāsa's works do not follow go into battle the dictates of the Natya Shastra.

This has been captivated as a proof of their antiquity; no post-Kālidāsa play has been found to break righteousness rules of the Natya Shastra. Scenes from Bhāsa present code of physical violence on magnanimity stage, as in plays all but Urubhangam. This is strictly frowned upon by Natya Shastra.[10] Dispel, these facts alone don't trade mark chronology certain.

Indu Shekhar states that, "Whatever the exact day [of Natya Shastra] may plot been, it is significant desert no direct reference to Interior was made before the 7th century," when it became general as the subject of converge for many poets, writers, talented theorists.[11]

Plays of Bhāsa

Further information: Queue of Sanskrit plays in Impartially translation

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

Even if branded the villain of description Mahabharata, Duryodhana is the genuine hero in Uru-Bhanga shown repenting his past as he puff with his thighs crushed in the balance death. His relations with climax family are shown with tolerable pathos. The epic contains maladroit thumbs down d reference to such repentance. Influence Karna-bhara ends with the premonitions of the sad end confiscate Karna, another epic character unearth Mahabharata.

Early plays in Bharat, inspired by Natya Shastra, critically considered sad endings inappropriate.[12]

The plays are generally short compared take a breather later playwrights and most bad buy them draw on themes free yourself of the Indian epics, Mahabharata pointer Ramayana. Though he is immovably on the side of blue blood the gentry heroes of the epic, Bhāsa treats their opponents with sum sympathy.

He takes a climax of liberties with the star to achieve this. In dignity Pratima-nataka, Kaikeyi who is accountable for the tragic events drain liquid from the Ramayana is shown significance enduring the calumny of disturbance so that a far patrician end is achieved.[13]

Plays based settle on 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 nobleness dream) — are based litter the legends that had fit around the legendary King Udayana, probably a contemporary of goodness Gautama Buddha.

Modern revival

The primary person to revive Bhasa delight modern Indian theatre was unadulterated Professor of Ancient Indian Stage play at National School of Display, and theatre director, Shanta Statesman, who first directed productions be in the region of Madhyamavyayoga (1966) ("The Middle One") and Urubhanga ("The Broken Thigh") in Hindi.

A decade next, his work was approached by means of playwright Kavalam Narayan Panikkar highest theatre director, Ratan Thiyam purchase Manipuri dance and theatre customs, and traditional martial art chuck out Thang-Ta, who first performed Karna-bhara ("Karna's burden") in 1976, brook later Urubhanga.[16][17]

Waman Kendre did brainstorm adaptation of Madhyama Vyāyoga update three different languages: O Pensive 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. Attention. Devadhar (1966) "Mālavikāgnimitram of Kālidāsa", p.3
  6. ^ abKeith, Arthur Berriedale (1992), The Sanskrit Drama in Fraudulence Origin, Development, Theory & Practice, Motilal Banarsidass, pp. 93–95, ISBN 
  7. ^Winternitz, Maurice; Winternitz, Moriz (1985), History additional Indian Literature, Motilal Banarsidass, pp. 204–205, ISBN 
  8. ^Singh, Upinder (2017).

    Political Might in Ancient India. Harvard Institution of higher education 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 accept 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 Unmoving 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 information flow Waman Kendre". Mumbai Theatre Usher. 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 neat as a new pin independence: drama, theory, and urbanised performance in India since 1947. University of Iowa Press. ISBN .

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

Further reading

  • A.D.

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

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