The Indian tradition of semantic elucidation known as nirvacana analysis represented a powerful hermeneutic tool in the exegesis and transmission of authoritative scripture. Nevertheless, it has all too frequently been dismissed by modern scholars as anything from folk-etymology to a primitive forerunner of historical linguistics. Eivind Kahrs argues that such views fall short of explaining both its acceptance within the sophisticated grammatical tradition of vyakarana and its effective usage in the processing of Sanskrit texts. He establishes his argument by investigating the learned Sanskrit literature of Saiva Kashmir and explains the nirvacana tradition in the light of a model substitution, used at least since the time of the Upanisads and later refined in the technical literatures of grammar and ritual. According to this model, a substitute (adesa) takes the place (sthana) of the original placeholder (sthanin). On the basis of a searching analysis of Sanskrit texts, the author argues that this sthana 'place' can be interpreted as 'meaning', the model thereby providing favourable circumstances for reinterpretation and change.

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.