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Sanskrit 碍腻惫测补 is divided into various classes from different points of view. According to 痴颈艣惫补苍腻迟丑补 碍补惫颈谤腻箩补, there are two groups of 碍腻惫测补. These are 顿峁浥泍补办腻惫测补 and 艢谤补惫测补办腻惫测补. 顿峁浥泍补办腻惫测补s are those known as dramas. The 顿峁浥泍补办腻惫测补 includes both 搁奴辫补办补蝉 and 鲍辫补谤奴辫补办补蝉. 搁奴辫补办补蝉 are ten in number while 鲍辫补谤奴辫补办补蝉 have eighteen varieties. The first variety of 谤奴辫补办补 is 狈腻峁璦办补. Various theories on the origin of drama, its development, forms and features and many other aspects related to it are found elaborated by the theorists, right from Bharata to 痴颈艣惫补苍腻迟丑补 碍补惫颈谤腻箩补. The imitation of the activities viz., physical and mental condition of the gods, sages, kings and other personages, by the actors and actresses, is called a drama, according to almost all the rhetoricians. A 惭补丑腻苍腻峁璦办补 is also like a 狈腻峁璦办补 but it is different from 狈腻迟补办补 only in its volume or size. The drama wherein there exist all the four 辫补迟腻办腻蝉迟丑腻苍补 and there are Acts more than ten, is called a 惭补丑腻苍腻峁璦办补. 痴颈艣惫补苍腻迟丑补 碍补惫颈谤腻箩补 has given the definition viz. 鈥�etadeva yad膩 sarvai岣� pat膩k膩th膩nakairyutam a峁卥ai艣cha da艣abhirdh墨ra mah膩n膩峁璦kam奴chire鈥� of 惭补丑腻苍腻峁璦办补 in the 6^th chapter of his 厂腻丑颈迟测补诲补谤辫补峁嘺.

贬补苍耻尘补苍苍腻峁璦办补 of 艢r墨 顿腻尘辞诲补谤补 惭颈艣谤补

As is the case with most of the Sanskrit writers, there is very little information regarding the life of the author of the 贬补苍耻尘补苍苍腻峁璦办补. The complete biographical or autobiographical note of 艢r墨 顿腻尘辞诲补谤补 惭颈艣谤补 is not available. However, some writers like Dr. Wilson have considered him as mentioned in the 叠丑辞箩补诲别惫补蝉补峁僩谤补丑补, that he is same with Maithila 顿腻尘辞诲补谤补, the author of 痴腻苍颈产丑奴峁�a峁嘺. Lak峁�min膩tha, the great composer of the commentary of 笔谤腻办峁泃补 笔颈峁単补濒补 has also treated him as belonging to the 16^th century Dr. Wilson acknowledged 艢r墨 顿腻尘辞诲补谤补 惭颈艣谤补 as a contemporary of Bhoja or of the 11^th century. This opinion is supported by the Bhojaprabandha and 贬补苍耻尘补苍苍腻峁璦办补 commentator Mohanad膩sa also.

艢膩rad膩tanaya who wrote the 叠丑腻惫补辫谤补办补艣补 in 12-13^th century A.D. instances 惭补丑腻苍腻峁璦办补 as a drama of 厂补峁僩谤补丑补 type. Therefore it can be said that the composition of the play got completed during the reign of Bhoja i.e.11^th century.

Having seen the writing skill and style of this 贬补苍耻尘补苍苍腻峁璦办补, Dr. Susil Kumar De and Dr. Keith held that the main composition of this 贬补苍耻尘补苍苍腻峁璦办补 is prior to the 9^th century, but its present edition came into surface about the 11^th century and there were made some changes till the 14th century.

The 贬补苍耻尘补苍苍腻峁璦办补 otherwise known as the 惭补丑腻苍腻峁璦办补, occupies a unique position in Sanskrit dramatic literature. The 惭补丑腻苍腻峁璦办补 has come down to us in different recensions. The West Indian recension adopted by 艢r墨 顿腻尘辞诲补谤补 惭颈艣谤补 has 548 verses in 14 Acts and is styled the 贬补苍耻尘补苍苍腻峁璦办补, while the East Indian or rather the Bengal recension arranged by Madhusudana 惭颈艣谤补 has 720 verses in 9 Acts and is named the 惭补丑腻苍腻峁璦办补. Both the recensions agree in taking the mythical Hanumat as the original author. In a sense, however, the work may be taken to be anonymous, for both are clearly descriptive. Hanumat, as the ally and servant of 搁腻尘补, is a legendary figure to whom it was probably found convenient to ascribe a traditional work of unknown or forgotten authorship; while the title 惭补丑腻苍腻峁璦办补 is apparently not a designation but a description, it being the later dramaturgic technical term which, like that term 辫谤补办补谤补峁嘺, indicates a type of play containing all the episodes and possessing a large number of acts.

Methodology

Descriptive as well as Analytical Methodologies have been followed in preparing the dissertation.

Chapter Division

In the present dissertation the topic are discussed in seven chapters. The 1^st chapter deals with a discussion on Sanskrit 碍腻惫测补, 顿峁浥泍补办腻惫测补, 艢谤补惫测补办腻惫测补, varieties of 顿峁浥泍补办腻惫测补, specialities of 狈腻峁璦办补 and there is a brief discussion of sixteen prominent 顿峁浥泍补办腻惫测补s based on the 搁腻尘腻测补峁嘺. The 2^nd chapter deals with 艢r墨 顿腻尘辞诲补谤补 惭颈艣谤补 the author and there is mentioned about another work of the author, i.e. 痴腻苍颈产丑奴峁�a峁嘺. The 3^rd chapter deals with the title of the Mahantaka, the summary of the content of the 贬补苍耻尘补苍苍腻峁璦办补, the source of the 狈腻峁璦办补, deviations and innovations etc. In the 4^th chapter, a literary assessment of the 贬补苍耻尘补苍苍腻峁璦办补 is placed. The topics discussed are: 搁墨迟颈, 骋耻峁嘺, Figures of speech, various Rasas delineated, principal sentiment, metres employed, Kavisamayas, 笔补诲补濒腻濒颈迟测补, characterization, supernatural elements, use of 笔谤腻办峁泃, examination of various elements of dramaturgy in the 贬补苍耻尘补苍苍腻峁璦办补, discussion on the prose portion etc. The 5^th chapter deals with the philosophical elements, religious elements in the play, habit and custom, social order depicted information of various flora and fauna, geographical information etc. In the 6^th chapter, there we discussed the influence of 艢r墨 顿腻尘辞诲补谤补 惭颈艣谤补 on other poets, influence of other poets upon 艢r墨 顿腻尘辞诲补谤补 惭颈艣谤补, examination of the language from literary perspectives. The 7^th chapter is the concluding chapter with recapitulations of the previous chapters which are discussed thoroughly.

It is found that the 贬补苍耻尘补苍苍腻峁璦办补 (贬补苍耻尘补苍苍腻峁璦办补) is occupying a significant position among the 搁腻尘腻测补峁嘺-based plays in Sanskrit. The dramatist possesses genuine literary skill and the play becomes an interesting one with the admixture of poetic talent and scholarship. The present dissertation has attempted to deal with some of the important aspects of this drama. It is hoped that this dissertation will be of some use for some more research works on the 贬补苍耻尘补苍苍腻峁璦办补 and its brilliant author.

Signature of the Guide
(Professor Dipak Kumar Sharma)

Signature of the Candidate
(Nurima Yeasmin)