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A so-called Convention of the Hindu Drama

By Mano Mohan Ghosh

Vol. 9 · No. 4December - 1933pp. 981-983English

Summary

The article challenges the common misconception that the *Bharata-Natyasastra (NS)* prohibited death-scenes on stage, tracing the error to early Sanskrit scholars like M. Ganapati Sastri and Prof. A. C. Keith, who incorrectly attributed such a rule to the *NS* based on the *Sahitya-darpana (SD)*. The *NS* explicitly describes death as one of the *vyabhicari-bhavas* (incidental emotions) and provides detailed instructions for depicting it, including death from wounds, poisoning, or accidents (Chapters VI.85, VII.35-80, and XXVI.96-107). Chapter XX of the *NS* further clarifies that while death-scenes are permissible in certain *Rupakas* (like *Ihampga*), they should not occur in *Nataka* or *Prakarana* where the hero is present. The *Dasarupa* largely aligns with the *NS*, permitting death-scenes in specific contexts. The confusion arose from misinterpreting the *SD* and misapplying rules from *Nataka* to all Indian dramas. The article emphasizes that neither the *NS* nor the *Dasarupa* enforces a blanket ban on death-scenes, correcting historical inaccuracies in Sanskrit scholarship.

Conclusion

This study challenges the long-held belief that the *Bharata-Natyasastra* prohibited death-scenes and tragedy in Hindu drama, demonstrating that the text explicitly permits and even elaborates on the depiction of death through detailed stage directions and thematic enumerations. By tracing the misconception to early Sanskrit scholarship—particularly the *Sahitya-darpana*'s narrow focus on *Nataka* and its misinterpretation by scholars like Wilson—the analysis corrects a historical inaccuracy that has skewed understanding of Indian dramatic traditions. The findings underscore the importance of re-examining foundational texts and contextualizing scholarly interpretations, revealing the *NS*'s nuanced approach to dramatic representation and its allowance for death-scenes within specific frameworks, thereby reshaping modern perceptions of classical Indian theatre.

Article order

In this issue

Vol. 9 · No. 4
829-834Kalidasa in ChinaLouis Finot835-853Vamana's Theory of Riti and GunaPrakash Chandra Lahiri854-865Krsna and JarasandhaSadashiva L. Katre866-871The Rise of Najib-ud-daulaJadunath Sarkar872-879The Architecture of the Taj and its ArchitectShyam Chand Mukherjee880-885The Puranic Traditions - (about earlier homes and migrations of the Indian Aryas)Narayana Tripathi886-897The Origin of the MalpahariasSasanka Sarkar898-911Some Sanskrit Texts on PaintingV. Raghavan912-922Two Types of Subjectivism in Monistic VedantaMakhanlal Mukherji923-929The Date of KarkacaryaG. B. Makoday930-933Literary Reference to SamudraguptaRamesh Chandra Majumdar934-942An almost Contemporary Account of Mahmud's Invasions of IndiaSri Ram Sharma943-947Daspalla Copper-Plate AgreementBinayak Misra948-950King Narasimha of Gaunda and the study of the Mahabhasya in BengalJogendra Chandra Ghosh951-956Early History of the Gahadavala DynastyDhirendra Chandra Ganguly957-966Epigraphic NotesDineshchandra Sircar967-968The Art of Pantomime in KeralaC. S. Srinivasachari969-972The Dasas of the Karnatak CountryS. Hanumantha Rao973-977Hindu Theatre (Part 1)D. R. Mankad978-979AryadevaVidhushekhara Bhattacharya979-980Sankaracarya and DharmakirtiVidhushekhara Bhattacharya981Sankara's Reference to a Buddhist PassageVidhushekhara Bhattacharya981-983A so-called Convention of the Hindu DramaMano Mohan GhoshCurrent article984-986Varahamihira and BuzurjmehrAdinath Neminath Upadhye987-988Syntactic Position of the Preposition in ArdhamagadhiAdinath Neminath Upadhye989-991Vainyagupta DvadasadityaRamesh Chandra Majumdar991-994Hindu Theatre (Part 2)V. Raghavan995-1003The Seventh All-India Oriental ConferenceP. C. Bagchi1004-1030ReviewsBatakrishna Ghosh, Edward J. Thomas1031-1039Select Contents of Oriental JournalsUnexhibited1041-1042Addendum: Some Sanskrit Texts on PaintingV. Raghavan

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