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 267 of: Bhasa (critical and historical study)
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247 66
in response to Bharata's request for advice as to the order
of bowing to his mothers, Bharata offers his obeisance to
them and is suitably blessed by them. Sumantra then
announces Kaikeyi but in righteous indignation Bharata
rises up and states that she does not deserve to
stand betwixt his two mothers. To Kaikeyi's question as
to what she had done, Bharata sums up all the results of
Kaikeyi's evil deeds-infamy to him, bark garments to
R膩ma, death to father, incessant tears to the whole of
Ayodhy膩, forest life to Lak峁a峁嘺, sorrow to mothers,
fatigue of travel to Sit膩, and the severest scorn to her own
self (III. 17). Kausaly膩 points out to Bharata, the
prince of formalities and decorum, his inconsistency in
not honouring his own mother; but Bharata disowns his
mother and pronounces a new dictum that a mother
forfeits the mother's claim by her treachery to husband
(III.18). Kaikeyi justifies herself on
the ground of the fulfilment of the dowry contract, but
Bharata is not satisfied and passes cruel remarks against
her. To his question as to whether the exile of R膩ma was
also stipulated in the contract, Kaikeyi says that she would
clear her position at the proper place and occasion.
Bharata, however, subjects his mother to wholesale
condemnation, accusing her of having wrought the whole
havoc for personal gain. Sumantra then
Sumantra then
announces
that Vasistha, V膩madeva and others had come for
Bharata's coronation; but Bharata pungently remarks that
her ladyship (Kaikeyi) deserved the honour of coronation
and declares his intention of going to R膩ma, as Ayodhya,
without him (R膩ma) was no Ayodhy膩, and that real
Ayodhy膩 was where there was Raghava (III. 24 啶ㄠぞ啶啶о啶ぞ
啶む 啶掂た啶ㄠぞ啶啶о啶ぞ 啶膏ぞ啶啶о啶ぞ 啶い啷嵿ぐ 啶班ぞ啶樴さ啶� 啷� ). ( [苍腻测辞诲丑测腻
ta峁� vi苍腻测辞诲丑测腻 s膩yodhy膩 yatra r膩ghava岣� | ). ( ] Act III).
The interlude, wherein two maids of the harem carry
on a conversation, informs us that Bharata's noble resolve.
to follow R膩ma has endeared him to all in Ayodhy膩 and
made his mother more hated, and that Bharata has
started for the penance grove of R膩ma. The main scene
opens with Bharata and Sumantra in a chariot with al
charioteer. Bharata is in supreme haste to see his noble
brother and on reaching the hermitage, they get down
from the chariot and the charioteer is asked to get away
to give repose to the horses. Bharata proposes two modes
of announcing himself to R膩ma, but Sumantra objects to
