"Two plays that break the rules: both show the hero dying on stage, an inauspicious scenario forbidden in Sanskrit dramaturgy. From widely different ideological and social backgrounds, each evokes intense emotion in an exploration of love and heroism, conflict and peace, idealism and pragmatic reconciliation. Each portrays the reconciliation of hate and retaliation in love and mercy." "King Harsha's play, composed in the seventh century, re-examines the Buddhist tale of a magician prince who makes the ultimate sacrifice to save a hostage snake (naga)." "Attributed to Bhasa, the illustrious predecessor to Kali-dasa, The Shattered Thighs transforms a crucial episode of the Maha-bharata war. As he dies from a foul blow to the legs delivered in his duel with Bhima, Duryodhana's infamous character is here inverted, where he is depicted as a noble and gracious exemplar amidst the wreckage of the fearsome battle scene. An ignoble man dies a hero's death." --Book Jacket.

Two tragic plays that break the rules: both show the hero dying on stage, a scenario forbidden in Sanskrit dramaturgy. King Harsha's play, composed in the seventh century, re-examines the Buddhist tale of a magician prince who makes the ultimate sacrifice to save a hostage snake (naga). The Shattered Thighs, attributed to Bhasa, the illustrious predecessor to ancient Kali·dasa, transforms a crucial episode of the Maha·bhárata war. As he dies from a foul blow to the legs delivered in his duel with Bhima, Duryódhana's character is inverted, depicted as a noble and gracious exemplar amidst the wreckage of the fearsome battle scene.

"Two plays that break the rules: both show the hero dying on stage, an inauspicious scenario forbidden in Sanskrit dramaturgy. From widely different ideological and social backgrounds, each evokes intense emotion in an exploration of love and heroism, conflict and peace, idealism and pragmatic reconciliation. Each portrays the reconciliation of hate and retaliation in love and mercy." "King Harsha's play, composed in the seventh century, re-examines the Buddhist tale of a magician prince who makes the ultimate sacrifice to save a hostage snake (naga)." "Attributed to Bhasa, the illustrious predecessor to Kali-dasa, The Shattered Thighs transforms a crucial episode of the Maha-bharata war. As he dies from a foul blow to the legs delivered in his duel with Bhima, Duryodhana's infamous character is here inverted, where he is depicted as a noble and gracious exemplar amidst the wreckage of the fearsome battle scene. An ignoble man dies a hero's death." --Book Jacket.

Two tragic plays that break the rules: both show the hero dying on stage, a scenario forbidden in Sanskrit dramaturgy. King Harsha's play, composed in the seventh century, re-examines the Buddhist tale of a magician prince who makes the ultimate sacrifice to save a hostage snake ( naga). The Shattered Thighs, attributed to Bhasa, the illustrious predecessor to ancient Kali·dasa, transforms a crucial episode of the Maha·bhárata war. As he dies from a foul blow to the legs delivered in his duel with Bhima, Dury--dhana's character is inverted, depicted as a noble and gracious exemplar amidst the wreckage of the fearsome battle scene.

Bana holds an unrivalled position in the galaxy of India's literary stars. He is a unique artist in the domain of Embellished Sanskrit prose. Bana's Harsacarita is a historical romance which presents actual events of his sovereign--Harsavardhana of Thanesar and Kanauj who ruled over northern India in the first half of the seventh century A.D. The present work is an English translation of Harsacarita by two eminent scholars E.B. Cowell and F.W. Thomas. It is a faithful rendering of the original Sanskrit text into English language. It preserves the characteristic features of the author`s style. All the puns in the words and veiled allusions in the sentences are explained in the notes, not in the body of translation, out of consideration to the English reader. A short introduction, two appendices and an index of proper names etc. are also very useful.

This translation is of thirteen Sanskrit plays discovered in South India by the late Pandit Ganapati Sastri and edited by him in the Trivandrum Sanskrit Series. It comprises the following titles: 1. Pratijnayaugandharayana, 2. Svapnavasavadatta, 3. Carudatta, 4. Pancaratra, 5. Madhyamavyayoga, 6.Pratima-nataka, 7.Dutavakya, 8.Dutaghatotkaca, 9.Karnabhara, 10.Urubhanga, 11.Avimaraka, 12.Balacarita, and 13.Abhiseka. Sastri attributed all the thirteen plays to Bhasa and the prevailing opinion of the scholars is in agreement with him, though the available evidence is not conclusive and so the question still remains open. The translation was done by two eminent Sanskrit scholars. It was published s early as 1930 and a reprint is now issued in view of a persistent demand of scholars. Pandit Ganapati Sastri attributed all thirteen plays to Bhasa, a famous dramatist earlier than Kalidasa. Some verses are ascribed to Bhasa by medieval anthologies, but only ten with unanimity. We are told that he composed a Svapnavasavadattam (his best play) and that in another play the device of the wooden elephant was used. Characteristic features of his work are described by Bana, and other poets evidently held him in high estimation. One or two verses from his plays are quoted by writers on poetics. Otherwise, the text of BhasaÍs numerous plays had completely disappeared. The learned editor of the Trivandrum plays found that they contained a Svapnavasavadattam (the best play in the collection), and, in the Pratijna-Yaugandharayanam, a scene dealing with the wooden elephant. He noticed also certain peculiarities in the technique of the plays which he regarded as signs of antiquity. All these points confirmed the opinion that Bhasa was the author.

With reference to Jammu District, India; a study.

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