Dramatic skills of Bhasa - Part II

Moreover, we should know about the details of drama which is said in AiÉnydpR[m!  that  k{Qen AalMbyet! gIt< hStenaw¡ àdzRyet!,

                          c]u_ya¡ dzRyet! Éav< pada_ya< talmacret!.

 The song should be sustained by the throat, the ideas to be shown by the hands, the feelings by the eyes and the rhythm to be kept by the feet.

Here it is to be added that    ytae hStSttae †iò> ytae †iòSttae mn>,

                                   ytae mnSttae Éav> ytae ÉavSttae rs>.

Where the hand is there follows the eyes; where the eyes goes, there the mind follows; where the minds there, the Bhava and where Bhava the sentiment follows. 

Éas>  was a great and renowned Dramatist or play-write of Ancient India.  His plays were very popular even in the days of kaildas>, kaildas> has bestowed the high praise on  kaildas   thus  “àiwtyzsa< ÉassaEimLlkivpuÇadIna<” in his  malivkai¶imÇm!, É”ba[> praised  Éas>  thus  sUÇxark&tarMÉE> naqkEbRhuÉUimkE,

spatkEyRzae leÉe Éasae devkulEirv. in his h;Rcirtm!, The merit of the works of  Éas was highly appreciated by  rajzeor thus,

Éasnaqkc³e=iSmn! DekE> i]Pte prIi]tum!,

SvPnvasvdÄSy dahkae=ÉUÚ pavk>.

kivrajjydev>  appreciates  Éas  in his book àsÚra"vm!  thus   - “Éasae has>”

If the Kavya is personified as a lady, one can treat Éas as the smile of Kavya.   

Éas ‘s contemporarians are known by the phrase of kaildas as above mentioned. They were saEim‘k and kivpuÇ,  Éas> is the author of 13 plays

 which are traced by Mahamahopadhyaya T. Ganapati Sastri.  Moreover, he  published all these plays.  Among those 13 plays, SvßvasvdÄm! , àit}a-yaEgNxray[m!  and Aivmarkm!  are based on the themes of  b&hTkwa,

Éas> has composed two dramas àitmanaqkm!  and AiÉ;eknaqkm!  based on the story oframay[m!,  With the plot of mhaÉartm! ,   Éas has produced six dramas.  They are   dUtvaKym! ,dUt"qaeTkcm!  , mXymVyayaeg>, k[RÉarm! ,  ^éɼm!   

and  pÂraÇm!,  Only one drama is based on the plot of  Éagvtm!  

is balcirÇm!.

Actually  speaking, being a stage-manager and play-write,  Éas> would 

have been composed many plays.  There is a dispute on the play 

y})lm!  among the scholars  to accept as well as to reject.

                                                                                              to be continued.,

DRAMATIC SKILLS OF BHASA - Part 1

 

Sri Gurubhyo namah!

SqeLla merIs!-klazala-mihlana< sÉa< nmn!,

ÉasnaqktNÇaOy<     ivv]e=h< ywamit.

Namaste students! Very good morning to one and all present here to listen my lecture on Dramatic skills of Bhasa.

As  you all are Sanskrit students, you will be aware of the greatness of the Sanskrit Language - the ancient of all the world languages.  Sanskrit is rich with its grammar and literature, added to it are the Vedas, Upanishads and many old scriptures.

A language can be special on its own the poets and writers of the language enhance their own skills with the support and the grandeur of the language.

Many great stalwarts of Sanskrit languages like Bhasa, Kalidasa, Magha, Bhartruhari, Banabhatta, Jayadeva, Bhoja etc., have established their fame.

Bhasa has an unique identity of his own, because of his dramatic skill with with stage-management.  

What do you mean by drama?

Drama is a medium by which one can express his/her emotions, thoughts, intentions to others.  The Indian dramas have been a combination of dance,music and mimetic representation.  Mainly these dramas were intended to give pleasure and delight to the audience.  We can find the references from kaE;ItkI äaü[m! as it is said-iÇv&d! vE izLp< n&Ä< gIt< vaidtimit,  In Vedic literature it is said that the  term izLp< denotes Musical dance performance.  Moreover, the phrase “n&Ä< gIt< c vaidÇ< s¼Itkmudaùtm! ” suggests that Musical dance performances consisting of these three elements dance, song and instrumental music.

kaildas> says in the drama titled malivkai¶imÇm!  that  naq(m!  / Theatre is a sort of visual sacrifice to the Gods, that Siva and Parvati gave two different ways ofdancing Tandava and Lasya; and  that it is full of different kinds of emotions and it is intended to be an amusement satisfying the spectators with different tastes.

”devanaimdmamniNt muny> kaNt< ³tu< ca]u;m! ,“

                                                                                                        continues

काञ्ची महिमा - भागः 2

z'!oiliotaE #it æatraE ÖaE, tyaerek> z'!o> ANx> iliotí p¼u>, %Éyaerip prmÉKTya sNtuòae Égvan! ïIdevaixraj> taE A¼hIntae pirrr], #tae=ip @k> ÉKt> mUk> AasIt!, s> mUk> ïIvrdrajSy k&pya kivÉURTva mUkkivirit naMna mNdiSmt-ztkimit ïIvrdrajSy mNdiSmtsaENdy¡ s<yk! vi[Rtvan!,

kyaeiít! sNtithInäaü[dMpTyae> ÉiKtàÉaven àsÚae Égvan! ïIvrdraj> ta_ya< puÇmuodzRnsuomnug&hItvan!, @v< svR sMpTàdand]> Égvan! ïIvrdraj> bhuiÉracayRE> àz<Sy manStwa Stutae Évit, pura ïIm*amunacayRE> ATyyaw¡ c mae]Sy isÏy> s<àkIitRta> #it k&ta< Stuit< mnis inxay ÉgvNt< ïIvrdrajimTw< àawRyte ïImTkUrÄaLvan! suNdrbahuStve

hirtvar[É&Tysmaþy< kirigraE vrdSTvmpUivRkam!,

†zmlMÉy @v ih suNdr S)uqmdaí prZztmI†zm!.

At> vy< -

ïIinix< inixmparmiwRna< AiwRtaiwRpirdandIi]tm!,

svRÉUtùdy< dyapr< devrajmixrajmaïye.

#it ÉgvNt< ïIvrdraj< sda Stae:yam>.


                   

श्रीकाञ्चीमहिमा - भागः - 1

pu:pe;u jatI pué;e;u iv:[u> narI;u rMÉa n&vre;u ram>,

         ndI;u g¼a ngre;u kaÂI kaVye;u ma"< kivkaildas>.

#Tyy< Zlaek> kaÂIngràamuOyàaxaNy< †FIkraeit, @vmev

AyaeXya mwura maya kazI kaÂI ýviNtka,

purI ÖarvtI cEv sÝEte mae]daiyka>.

#Tymui:mn! Zlaeke kaÂIngrmip %i‘iotmiSt,

"முக்தி  தரும் நகரேழில் 

  முக்கியமாம் கச்சி தன்னில்"  #it 

"கச்சிதனில் கண் கொடுக்கும் 

  பெருமாள் வந்தார்"

#it c ASmdacayRsavRÉaEmE> ingmaNtmhadeizkErip vi[RtmiSt,  pUivéNdv‘I¢amsmIpe dazriwPpe”E #it A¢hare ivrajmanae=iSt hirtvar[ #it naMna Égvan! iv:[u> itéKkiCcnMbIit ïIkaÂIpU[RSy pUvRjE> Aaraixt>. 

        

tÇEkda xmaRTmna yuixióre[ #òe y}e Égvan! ïImÚaray[> hirtv[Rmygjêpe[ svaRnnuj¢ah #it pura[kwa, At> hirtv[RnaMna tÇSwmiNdre AcaRêpI ÉUTva skljnan! palyit, tSy sevk> hirtvar[É&Ty> #it ïIkaÂIpU[RSy iptamhvyR> jNmn> àÉ&it ANxa> @te kaÂIÉgvtae ïIdevaixraSy idVym¼lsaENdyRdzRnsuoePsvae bÉUvu>, tiÖ;y< }aTva kaÂIÉgvan! ïIkaÂIpU[¡ tSy iptamhvyaRnanetu< Aaiddez, ïIkaÂIpU[aeR=ip tdadezanusar< SviptamhvyRe_y> neÇai[ dzRnyaeGyain ÉgvTprmk&pya Akaryt!, @td! v&ÄaNt> ïImdalvNdairit ïIm*amunacayaRna< jIvnsmye AÉvt!,  tdev mnis inxay ïIm*amunacayaR> -

ySy àsadklya bixr> z&[aeit p¼u> àxavit jven c viKt mUk>,

ANx> àpZyit sut< lÉte c vNXya t< devmev vrd< zr[< gtae=iSm.

#it StaEit, AiSmn! Zlaeke pura[kwa @ka %i‘iota,

                                            - भागः 2 AnuvtRte