Miscellany – A Note on the Bharatavakya
By Chintaharan Chakravarti
Summary
In this short piece the author examines the ‘Bharata‑vākya,’ the customary benedictory verse that traditionally concludes Sanskrit plays. He begins by noting that not all dramatic works contain a separate Bharata‑vākya; some extant manuscripts end with the actor’s closing speech (prastāvanā) instead. The article surveys references to the Bharata‑vākya in early treatises and manuscripts, observing that the term does not appear in several old codices of the Nāṭyaśāstra and the play ‘Śakuntalā.’ The author cites examples from works by Bhāsa and Bhavabhūti where the benediction is absent or merged with the prologue. Exploring possible reasons for this variation, the author suggests that the practice of a distinct Bharata‑vākya may have developed gradually. In some plays the final verse performed by the sutradhāra (stage manager) or a member of the dramatic troupe served the purpose of blessing the audience, so a separate benediction became unnecessary. The essay draws on Raghavan’s theories and compares recensions of plays to illustrate how scribes and editors occasionally added or omitted verses. The article concludes by emphasising that more systematic study of manuscript traditions is needed to understand the evolution of this dramatic convention.
Conclusion
The note concludes that the presence or absence of a distinct Bharata‑vākya in Sanskrit drama depends on historical contingencies rather than rigid prescription. By analysing manuscript evidence, the author shows that early dramatists and copyists handled the concluding benediction flexibly, sometimes incorporating it into the final speech and at other times omitting it altogether. Further philological research on play recensions could clarify how and when the Bharata‑vākya became standardised.