Part 15 - Conclusion

Bhāsa, the author of the Dūtavākya does not give any information about himself anywhere in the drama. The plot of the Dūtavākya is based on the Kṛṣṇasandhāna of the Mahābhārata, though there are some imaginary facts depicted by the poet.

The Dūtavākya consists of well-known plot and hero, but Bhāsa has added his imagination to make the plot more picturesque. The plot is full of male characters. There is not a single female character in the Dūtavākya; but it contains fights, altercations, pushing and pulling. However, there is no death of any character on the stage. Thus, the plot is appropriate for a Vyāyoga type of drama.

The Dūtavākya has used a number of male characters, but there is no use of female character, though Bharata and Dhanañjaya have not prohibited the use of female character. The hero is most suitable, because Duryodhana is a saintly king. The arguments between Duryodhana and Kṛṣṇa are excellent. However, Bhāsa has used many off-stage characters, referred them only in monologues. It should be noted that because of monologue type of conversation by the main characters, i.e. Duryodhana and Vāsudeva, the actual characters on the stage are very few. Thus, the drama adheres to the rules of the Vyāyoga, which has few characters. Only five male characters appear on the stage. Bhāsa has also applied some imaginary characters like Śārṅga, Kaumodaki, Pāñcajanya etc. but these characters, which add to the beauty of the drama.

In the Dūtavākya, Bhāsa has used grand style (sāttvatīvṛtti) which prevails over the entire drama; whereas verbal style (bhāratīvṛtti) is common to all the dramas and hence found in the Vyāyoga as well. However, there is no use of gay style (kaiśikīvṛtti) as the same is prohibited in Vyāyoga by Bharata. According to Bharata, Vyāyoga type of drama demands the use of all the styles except the gay style (kaiśikīvṛtti). On this issue, Dhananjaya is silent. The Dūtavākya follows Bharata’s rule.

According to the rules of Bharata, the Vyāyoga should consist of sentiments of excitement like heroic (vīra), furious (raudra) and marvelous (adbhuta). The Dūtavākya consists of all these sentiments. However, there are no sentiments like erotic (śṛṅgāra), pathetic (karuṇa), odious (bībhatsa) and terrible (bhayānaka), which are not necessary for the excited plot of Vyāyoga type of drama. The laughter (hāsya) is depicted very little. Thus, Bhāsa’s applications of sentiments are in tune with the characteristics of the Dūtavākya.

The three Junctures viz. opening (mukha), progression (pratimukha) and concluding (nirvahaṇa) are applied judiciously in the drama of Dūtavākya and thus, the plot develops properly and achieves the desired result.

Bhāsa has also applied necessary technical aspects in the Dūtavākya. As usual, like in his other dramas he starts the Dūtavākya with the prologue (sthāpanā), “nāndyante tataḥ praviśati sūtradhāraḥ”, without giving benedictory verse (nāndī). The Dūtavākya has not used interlude scene. However, it has used monologue dialogues (ākāśabhāṣita) frequently for various characters.

If we accept the view that Bhāsa flourished in the pre-Mauryān period, then we are subscribing to only well recognized common theory. At that time, the society was dominated by the Brahmins, though the Buddhisim and Jainism had already evolved. Like other dramas of Bhāsa, the Dūtavākya also indicates the domination of the Hinduism and Hindu tradition. The Dūtavākya reflects some of the best examples of social behavior, like the offering of seats to guests by Duryodhana. However, it does not follow the rules of the Nāṭyaśāstra The Nāṭyaśāstra states that Gods, Kings, Ācāryas should be offered “siṃhāsana” (XIII.204-5). However, Duryodhana offers “siṃhāsana” to only Pitāmaha and “kūrmāsana” to Gods.

Bhāsa’s Dūtavākya does not mention anything about women, because it does not consist of any woman character. However, it was a conservative period for women. Hence, no women, except royal women, were free and they were not allowed to do anything without permission of their husbands or elderly persons.

Over all, it can be concluded that the Dūtavākya of Bhāsa is an excellent drama, which incorporates almost all the characteristics of a vyāyoga.

[Table of Comparison]