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2. Nś
3. Asvaghosa.
4. Sudraka.
5. Kalidasa.
6. Harsa.
7. Bhavabhuti.
8. Bhatta Narayana.
9.Visakhadatta.
10.Murari
11.Rajasekhara.
Others:
Dinnaga.
Jayadeva.
Krishna Mishra.
Candraka
Rupa Gosvamin.
Saktibhadra.
Dhananjaya.
Bodhayana.
*Source: The Sanskrit Drama, A. Berriedale Keith
Bhasa
Asvagosha
That he had abundant precedent to guide him is clear from the classical form
already assumed by his dramas; the argument of Professor Konow to the
contrary on the ground that many of the standing formulae and characters
are derived from the popular drama, and show that artistic drama had not
developed yet full independence is unintelligible, since these features persist
throughout the history of sanskrit drama. Nor does any weight attach to the
argument that the Natyasastra, assumed to be same period as Asvaghosa,
shows knowledge of only a limited variety of dramas. On the contrary it is
amazing how much literature must have preceded to permit of the setting up
of main types of drama, some of which were evidently represented by many
specimens, though others doubtless rested on a small basis of practice.
The most remarkable thing regarding his other play Buddhacarita is its close
correspondence to the classical type as laid down in the Natya-sastra. The
piece is a Prakarana, and it has nine acts, which accords perfectly with the
rule of the sastra.
Shudraka
Shudraka's only existent play presents him as a king, and gives details of his
capacities; he was an expert in the Rig Veda, the Sama Veda, mathematics,
the arts regarding courtesans, and the science of elephants, all facts which
could be concluded from the knowledge shown in the play itself; he was
cured of some complaint, and after establishing his son in his place, and
performing the horse sacrifice, he entered the fire and died at the age of a
hundred years and ten days. Professor Konow finds in him the Abhira prince
Sivadatta, who, or whose son, Isvarasena, is held by Dr. Fleet to have
overthrown the last of the Andhra dynasty and to have founded the Cedi era
of A.D. 248-9. This remarkable result is held to be supported by the fact that
in the play the king of Ujjayini is Palaka, and is represented as being
overthrown by Aryaka, son of a herdsman, and the Abhiras are essentially
herdsmen.
Kalidasa
Kalidasa's Dramas: Abhijnanasakuntala, Malavikagnimitra,
Vikramorvsiya
Harsha
Three dramas, as well as some minor poetry, have come down to us under
the name of Harsa, unquestionably the king of Sthanvicvara and Kanyakubja,
who reigned from about A. D. 606 to 648. The patron of Bana who celebrates
him in the Harsacarita and of the Chinese pilgrim Hiuan-Tsang who is our
most valuable source of information on his reign. That the three plays are by
one and the same hand is made certain in part by the common ascription in a
verse in the prologue mentioning Harsa as an accomplished poet, partly by
the recurrence of two verses in the Priyadarcika and the Nagananda and of
one in the former play and the Ratnavali, and above all by the absolute
similarity of style and tone in the three works, which renders any effort to
dissociate them wholly impossible. The question of their actual authorship
was raised in antiquity; for, while Mammata in his Kayaprakaca merely refers
to the gift of gold to Bana - or Dhavaka in some manuscripts — by Harsa, the
commentators explain this of the Ratnavala, which was passed off in Harsa's
name. This is, however, not in any way borne out by early tradition; I-Tsing
clearly refers to the dramatization of the subject of the Nagananda by Harsa
and its performance, and in the Kuttanimata of Damodaragupta, who lived
under Jayapida of Kashmir (A.D. 779-8I3), a performance of the Ratndvali,
ascribed to a king, is mentioned. The ascription to Bana has nothing even
plausible in it, so disparate are the styles of the dramas and the Harsacarita,
and we have the option of believing that Harsa wrote them himself with such
aid as his Pandits might give, or of accepting them as the work of some
unknown dramatist, who allowed the king to claim the credit for them.
Harsha's Dramas: Ratnavali, Priyadarcika, Nagananda
Bhavabhuti
Bhatta Narayana
Visakhadatta
Murari
Rajacekhara
In the Karpuramanjari, probably his first play since it was produced at the
request of his wife, and not a king, he refers to himself as the teacher of
Nirbhaya or Nirbhara, who was clearly the Pratihara king, Mahendrapala of
Mahodaya or Kanyakubja, of whom we have records in A. D. 893 and 907.
The Balaramayana was produced at his request. But he seems then to have
visited another court, for the Viddhacalabhanjika was produced for the
Kalacuri king, Yuvaraja Keyuravarsa of Tripuri. But, as the unfinished
Balabharata was written for Mahipala, successor of Mahendrapala, whose
records begin in A.D. 914, we may assume that he returned to the court of
the Pratiharas and died there. In the Balaramayana he speaks of six of his
works, not apparently including the Viddhacalabhanjika and the Balabharata,
and in fact we have many stanzas from him regarding famous authors,
though of course the proof of derivation from this Rajacekara is not always
complete.
???Source
Candraka