Svapna-nataka and Svapna-vasavadatta
Summary
Svapna-nataka and Svapna-vasavadatta are two distinct Sanskrit dramas attributed to different authors and periods. Svapna-nataka, published by Dr. Sastri in 1912 as part of the Trivandrum Sanskrit Series, was initially misidentified as Svapna-vasavadatta. Scholars debate its authorship, with some attributing it to Bhasa, others arguing it is a Kerala adaptation or unrelated to Bhasa’s work. The text lacks Bhasa’s name, and its Prakrit elements and stylistic features suggest regional influences. Svapna-vasavadatta, attributed to Bhasa, remains unpublished and unlocated in any known manuscripts or libraries. Some scholars link the two works due to title similarities, but this remains speculative. Dr. Sastri’s editions of Svapna-nataka rely on Malabar manuscripts, none of which bear the full title "Svapna-vasavadatta." Manuscripts end with variations like "Svapna-nataka-samaptam" or "Vasavadatta-samaptam," complicating attribution. Scholars like Macdonell question the Bhasa attribution for Svapna-nataka, citing stylistic consistency among the 13 Trivandrum plays and regional theatrical practices. Disputes persist over whether these works are by Bhasa, a Kerala poet, or anonymous. The confusion stems from title discrepancies, manuscript limitations, and lack of corroborative evidence. Post-publication updates [if any] would require re-verification against primary sources.
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Conclusion
The debate surrounding the authorship of *Svapna-nataka* and its potential identity with *Svapna-vasavadatta* highlights the complexities of attributing ancient Sanskrit dramas to Bhāsa. While the plays, published by Sastri in 1912, have been celebrated for their diction and plot, scholars remain divided, with some supporting Bhāsa’s authorship, others dismissing it due to linguistic and historical inconsistencies, and a third group proposing a broader timeframe for their composition. The absence of corroborative evidence, such as the verse cited by Abhinavagupta, further complicates the attribution. This scholarly discord underscores the challenges of reconstructing authorship in fragmented textual traditions and emphasizes the need for rigorous analysis of internal and external evidence. The *Svapna-nataka* thus serves as a focal point for broader discussions on the transmission, dating, and authenticity of Sanskrit literature.