Bhasa
Summary
The article discusses the authorship, dating, and societal context of the ancient Sanskrit dramatist Bhasa, focusing on the discovery and translation of the so-called Trivandrum dramas between 1913 and 1915. The main argument centers on the debate regarding Bhasa's identity and chronological placement. Scholars are divided between attributing these plays to the famous Bhasa mentioned by Kalidasa or to an unknown later plagiarist. The author argues that Bhasa was a contemporary of Pushyamitra Sunga, likely flourishing at the end of the 2nd century B.C., and possibly served as the king's court poet. This dating is supported by evidence in *Balacarita* and *Dhananjaya*, which reference the political upheaval of Pushyamitra's coup and the murder of Brhadratha. The text also explores the "Rajasimha theory," which suggests the plays were written by a Kerala court poet for a Cola king, but dismisses this as unsupported. Furthermore, the article analyzes Bhasa's language, noting its natural, spoken idiom that points to a pre-Christian era, contrasting it with the more artificial style of later writers. It also examines the social life depicted in Bhasa's dramas, drawing parallels with the *Kamasutra* of Vatsyayana and Buddhist texts like the *Lalitavistara*. The author highlights the accurate depiction of contemporary society, including the joint family system, the status of educated courtesans (*ganikas*), the practice of polygamy, and the prevalence of Vedic sacrifices. Finally, the text argues that Bhasa was likely a southerner, citing specific Dravidian linguistic features, such as unique word spellings and idioms found in the *Balacarita* and *Pratijnyayaugandharayana*.
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Conclusion
The article establishes Bhasa as a highly significant yet contentious figure in early Sanskrit drama, arguing for his authorship of the Trivandrum plays based on linguistic, historical, and socio-cultural evidence. The author posits that Bhasa likely flourished in the 2nd century B.C. as a court poet for the Sunga king Pusyamitra, utilizing his works to promote Brahmanical revival. His plays are celebrated for their natural, spoken-language style and their vivid, harmonious depiction of contemporary society, closely mirroring the social structures and daily life described in the *Kamasutra* and Buddhist texts. Furthermore, specific linguistic features, such as Dravidian idioms and metrical patterns, strongly suggest a Southern origin for the playwright. Ultimately, the study underscores Bhasa’s enduring literary value, his progressive social perspectives, and his crucial role in shaping classical Indian theatre.