BHASA - FATHER OF SANSKRIT DRAMA

Bhasa is regarded as the father of Sanskrit drama and is one of the oldest known classical
playwrights in the history of Sanskrit literature. He was born in the 3rd century in the
late-Mauryan period. Majority of his dramas are brilliant modifications on the stories of great
Indian epics Ramayana and Mahabharata. Bhasa’s predominance is seen in the works of great
dramatist Kalidasa. Bhasa has made his own techniques for the staging of his plays. For
example in the plays like Balacharitam and Urubhangam, Bhasa made the characters dying on
the stage. According to Bharata's 'Natyasastra', there is a rule that a play shall not end in a
tragedy. But in Urubhanga, the play ends with the death of the main character Duryodhana.

Bhasa - Nataka Chakram - 13 dramas

1. Madhyamavyayogam
2. Pancharatram
3. Dootavakyam
4. Dootaghatotkacham
5. Karnabharam
6. Urubhangam
7. Pratimanatakam
8. Abhishekanatakam
9. Balacharitram
10. Pratijnayaugandharayanam
11. Svapnavasavadattam
12. Avimarakam
13. Chrudattam.

About 13 dramas;

● Unlike other classical plays, none of them mentioned the author, with the exception of
the Swapnavasavadatta.
●
● Pratima-natakam and Abhisheka-natakam are based on Ramayana episodes.
●
● Balacharitam—describes Krishna's birth and childhood based on Harivamsa in Vishnu
Purana.
●
● Karnabharam, Duta Vakyam, Duta Ghatotkacham, Madhyamavyayogham, Pancharatra,
Urubhangam—all based on Mahabharata episodes.
●
● Charudatta and Avimarakam are semi-social dramas with original plots.
●
 ● Both Pratijna-yaugandharayanam and Svapnavasavadattam describe incidents from
King Udayana's life as drawn from Brihadkatha and Kathasaritasagara.
●
● The excellence of Svapnavasavadattam was decisive in proving Ganapati Shastri's
claim.
●
● In the Pratima-nataka, Kaikeyi, who is responsible for the tragic events in the Ramayana,
is depicted as bearing the ridicule of all in order to achieve a far noble end.
●
● Bhasa’s most celebrated works are the Uru-bhanga and the Karna-bhara. Interestingly,
both these plays focus on villainous and anti-hero characters like Duryodhana and
Karna. The Uru-bhanga is staged moments before Duryodhana’s death on the
battlefield, as he lies with his thighs crushed, repenting his actions. Such a moment of
repentance never features in the original epic. Though Bhasa is firmly on the side of the
epic’s heroes, he is very sensitive in the portrayal of their opponents, painting them in
shades of gray rather than outright black and white.

Bhasa's Writing: Unveiling the craft

The literary works of Bhasa hold significant importance for several reasons:

● Bhasa wrote in Prakrit, a language much older than that used by Kalidasa and later
poets.
●
● His use of Sanskrit, though simple, carries a powerful resonance, suggesting an era
when Sanskrit was a spoken language.

● Bhasa's works contain references to various cults and religious orders, reflecting his
deep understanding of the spiritual landscape of his time.
●
● Stylistically, his writing follows the Vaidarbhi tradition of classical Sanskrit, known for its
simplicity and effectiveness.
●
● His dramas are marked by a high degree of theatricality, captivating audiences with their
immersive portrayal of characters and events.
●
● Bhasa excelled in editing and adapting epic tales, skillfully retaining familiar elements
while presenting them in a fresh narrative context. His dialogues are concise, dynamic,
and captivating.
●
● Recognizing the dramatic potential of the Mahabharata, Bhasa innovatively reshaped
episodes for the stage, often taking creative liberties with characterizations and
introducing original sub-plots and storytelling techniques.
●
● Bhasa's portrayal of characters deviates from traditional depictions found in the Puranas,
offering audiences new perspectives and insights.
●
● By placing well-known characters within original narrative frameworks, Bhasa unveils
previously unseen dimensions, enriching classical literature with his unique vision and
narrative approach.