स्वप्नवासवदत्तम् (महाकवि भास - संस्कृत मूल एवं हिन्दी अनुवाद)

INTRODUCTION. xxix yaugandharâyana, in the case of the sloka “नवं शरावं,” I should think it is Bhâsa's own sloka quoted by Chânakya, the author of the Arthasâstra. Thus we see our Bhâsa's priority to Chânakya. In the fifth Act of Pratimânâtaka, in the passage addressed to Râma by Râvana, one Medhâtithi is mentioned, “भोः काश्यपगोत्रोऽस्मि साङ्गोपाङ्गं वेदमधीये, मानवीयं धर्मशास्त्रं, माहेश्वरं योगशास्त्रं, बार्हस्पत्यमर्थशास्त्रं, मेधातिथेर्न्यायशास्त्रं, प्राचेतसं श्राद्धकल्पं च”. This Medhâtithi ought to be an eminent Maharshi and not the commentator of Manu, for he is men- tioned along with such high names, as Manu, Mahesvara, Brihaspati and Prachetas. Thus, there is no reason for suspecting the age of Bhâsa to be posterior to that of Medhâtithi, the commentator of Manu. The characteristic merits of these Nâtakas are also in consonance with their extreme antiquity. The manner of ex- [The merits of the works.] pression in them is quite unique; for their language is so clear, lofty and majestic, as well as sweet and charming; and it is very seldom, if at all, that we meet with such excel- lences in works which are less than ten centuries old.

1. The sentences are everywhere replete with a wealth of ideas, beautifully expressed, which cultured minds will highly appreciate.
2. The varied and subtle manifestations of objects in different con- ditions and environments are graphically described, so as to be realized vividly by learned men.
3. Again, our celebrated poet who is always mindful of the Rasas, nowhere appears to be wanting in brevity or appropriateness of ex- pression, nor does he fail to use adequate words or to convey proper meaning, so as to suit the sentiments expressed.
4. It cannot be said that we do not meet with, in the works of one or two very famous poets, sweetness of expression or ease of language; but those qualities seem to have attained perfection in these dramatic works. That these dramas issued forth from the mouth of the poet as freely as breath itself, will be apparent to all learned men, on examina- tion. In every way, it appears to me that the elegance of diction as well as exposition in these dramas is only a different but a more pleasing form of Rishisûktis.