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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 285 of: Bhasa (critical and historical study)

Page:

285 (of 564)


External source: Shodhganga (Repository of Indian theses)


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265
viz., YaugandharÄyaṇa undertakes to fulfil in order to
set free his master along with VasavadattÄ."
2. Out of sheer
Plot. Udayana VatsarÄja, the descendant of the
great Pandavas was ruling at KausÄmbi. He was an expert
in the art of music, and was fond of capturing wild elephants.
King Pradyota of Avanti, also known as MahÄsena
owing to his great army, VatsarÄja's formidable neighbour,
had a daughter, VasavadattÄ, whom he intended to give
in marriage to VatsarÄja. But, VatsarÄja,
self-esteem', had not condescended to send any messenger
for the hand of VasavadattÄ. So Pradyota had recourse
to Machiavellian methods; he placed a large blue elephant
in the forests adjoining the borders of his kingdom and
kept concealed a body of armed soldiers nearby and thus
proposed the capture of VatsarÄja, as the latter was sure
to run the risk of going alone to entice such an auspicious
elephant. VatsarÄja was out of his capital on a hunting
expedition in the Veṇuvana on the frontiers of his kingdom,
and the elephant was placed at NÄgavana, at a distance
of a couple of leagues from that place. Arrangements
had been made by Pradyota to inform VatsarÄja of this
elephant, and YaugandharÄyaṇa, the faithful minister of
VatsarÄja was also anxious to send a warning to his
master about the trap laid by Pradyota. It is at this
point that the play begins.
The stage-manager introduces the names of the
principal dramatis personae in the benedictory stanza,
and calls out to his mistress to sing a song. She informs
him that owing to an evil dream, she is anxious as to
the safety of her kin, and requests the stage-manager to
send a messenger to get news about her relatives. The
stage-manager agrees, and from behind the curtain are
heard the words addressed by YaugandharÄyaṇa to
Salaka, whom he is about to despatch to warn VatsarÄja
of the danger, before the king had left for NÄgavana.
The stage-manager and his mistress make their exit, and
enter YaugandharÄyaṇa and SÄlaka. YaugandharÄyaṇa
tells the latter of the long way and the responsibilities
and asks the female attendant to hurry with the letter
1 The shorter title PratijÃ±Ä may be taken to mean पà¥à¤°à¤¤à¤¿à¤œà¥à¤žà¤¾à¤ªà¥à¤°à¤§à¤¾à¤¨à¤¾ नाटिका-
[pratijñÄpradhÄnÄ nÄá¹­ikÄ-
]
a drama in which vow (f) plays a prominent part. As for the alternative
title Vatsarajacarita of which a great capital has been made in ascribing it to
Südraka, we have already referred to it.

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