नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

LXXXV

introduced by the dramatist in disregard of the existing rules. It is on this line of argument that the chronological relation between Bhāsa and the Nāṭyaśāstra, will be judged below.

(a) On no less than three points, Bhāsa seems to have disregarded the rules of the Nāṭyaśāstra. These are as follows :

(i) The sūtradhāra (Director) begins the plays, though according to the Nāṭyaśāstra the sthāpaka (Introducer) should perform this function (V. 167).

(ii) In contravention of the rule of the Nāṭyaśāstra (XX. 20) Bhāsa allows death in Act I of Abhiṣeka.

(iii) In the Madhyama-vyāyoga and the Dūtaghaṭotkaca, Bhāsa does not give the usual bharatavākya (final benediction) and what he gives in its stead, may be an innovation.

Hence it may be assumed that the Nāṭyaśāstra was completed before the advent of Bhāsa,.

(b) Besides this, there seems to be some good evidence in his works to show that the dramatist was acquainted with this ancient work on drama. For example, he mentions in a humorous context the Jester confounding the Nāṭyaśāstra (Avi. II 0. 38-39) with the Rāmāyaṇa. Bhāsa's mention of some technical terms as well as the acquaintance which he shows with some special rules of the Nāṭyaśāstra may also be said to strengthen the above assumption.

(i) First, about the technical terms. They are : sauṣṭhava, prastāvanā, sūtradhāra, prekṣaka, cārī, gati, bhadramukha, hāva, bhāva, māriṣa, nāṭakīyā, the root paṭha, raṅga.

(ii) The hetaera in the Cārudatta (I. 26, 38.) says within herself, "I am unworthy of being allowed entrance into the harem" (abhāiṇī ahaṁ abbhantara-pavesassa). This seems to refer to the NŚ. XX. 54. The expression, "by means of a Nāṭaka suiting the time" (kālasaṁvādiṇā nāḍaeṇa) in Pratimā. (I. 4. 7) probably points to NŚ. XXVII. 88ff.

(iii) The vocal skill of the hetaera referred to by the Śakāra (Parasite) in the Cārudatta may also be said to point to the elaborate rules regarding intonation (kāku) in the NŚ. XIX 37-8.

(iv) Besides these, expressions like "the two feet made facile in dance due to training" (nṛttopadeśa-viśada-caraṇau) and "she represents the words with all her limbs" (abhinayati vacāṁsi sarvagātraiḥ) in the Cārudatta (I.9.0, 16.0) probably relate to the elaborate discussion on dance and the use of gestures in the Nāṭyaśāstra.

On the basis of all these it may be assumed that Bhāsa was acquainted with the contents of the present text of the Nāṭyaśāstra. Hence