Prahasanas in Sanskrit Literature – A Study of Its History

Summary

Prahasanas, or farces, occupy a distinctive place among the ten recognised genres of Sanskrit drama. This article traces their origin from the vīthi, an earlier dramatic form, and explains that the word prahasana derives from a root meaning “to smile.” Drawing on the Nāṭyaśāstra and later dramaturgical texts, the author notes that prahasanas are divided into two types: the śuddha (pure) and the saṅkīrṇa (mixed), the former featuring holy men and learned characters and the latter including harlots, rogues and servantshttps://jainqq.org/booktext/Sambodhi_1978_Vol_07_Romanized/520757. The article emphasises that prahasanas ridicule social corruption and decadence, a tendency traceable to Vedic satire. It discusses characteristic features such as simple plots with only two structural segments (the opening and the denouement), absence of heroic sentiment, predominance of humorous speech and the use of percussion instruments during performance. Examining extant examples, including Bhagavadajjukīya, Mattavilāsa and Lāṭakamelaka, the author shows that early works were often concerned with religious hypocrisy, while later compositions expanded the range of social targets. A comparative table summarises how the Nāṭyaśāstra’s classification differs from that of later theoristshttps://jainqq.org/booktext/Sambodhi_1978_Vol_07_Romanized/520757. The study concludes by surveying scholarly literature on prahasanas and noting their continued influence on regional theatre traditions.