स्वप्नवासवदत्तम् (महाकवि भास - संस्कृत मूल एवं हिन्दी अनुवाद)

INTRODUCTION. xxix
yaugandharâyana, in the case of the sloka “नवं शरावं,” I should think it is
Bhâsa's own sloka quoted by Chânakya, the author of the Arthasâstra.
Thus we see our Bhâsa's priority to Chânakya.
In the fifth Act of Pratimânâtaka, in the passage addressed to
Râma by Râvana, one Medhâtithi is mentioned, “भोः काश्यपगोत्रोऽस्मि
साङ्गोपाङ्गं वेदमधीये, मानवीयं धर्मशास्त्रं, माहेश्वरं योगशास्त्रं, बार्हस्पत्यमर्थशास्त्रं,
मेधातिथेर्न्यायशास्त्रं, प्राचेतसं श्राद्धकल्पं च”. This Medhâtithi ought to be an
eminent Maharshi and not the commentator of Manu, for he is men-
tioned along with such high names, as Manu, Mahesvara, Brihaspati
and Prachetas. Thus, there is no reason for suspecting the age of
Bhâsa to be posterior to that of Medhâtithi, the commentator of Manu.
The characteristic merits of these Nâtakas are also in consonance
with their extreme antiquity. The manner of ex-
[The merits of the works.] pression in them is quite unique; for their language
is so clear, lofty and majestic, as well as sweet and
charming; and it is very seldom, if at all, that we meet with such excel-
lences in works which are less than ten centuries old.

1. The sentences are everywhere replete with a wealth of ideas,
   beautifully expressed, which cultured minds will highly appreciate.
2. The varied and subtle manifestations of objects in different con-
   ditions and environments are graphically described, so as to be realized
   vividly by learned men.
3. Again, our celebrated poet who is always mindful of the Rasas,
   nowhere appears to be wanting in brevity or appropriateness of ex-
   pression, nor does he fail to use adequate words or to convey proper
   meaning, so as to suit the sentiments expressed.
4. It cannot be said that we do not meet with, in the works of one
   or two very famous poets, sweetness of expression or ease of language;
   but those qualities seem to have attained perfection in these dramatic
   works. That these dramas issued forth from the mouth of the poet as
   freely as breath itself, will be apparent to all learned men, on examina-
   tion. In every way, it appears to me that the elegance of diction as
   well as exposition in these dramas is only a different but a more pleasing
   form of Rishisûktis.