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G. K. Bhat
Ramachandra has departed from the epic source in constructing the Brahmin cpisode which goads Bhima to intervene. The dramatist does not show that Bhíma was acting at the behest of Kunti to oblige the Brahmin family who had given them shelter during the period of their secret stay. This detail is altogether omitted. In the play, the Brahmin wbom Bhima meets is a stranger to him; and the meeting also is a chance
Baka occurrence. Bhina's gesture to help the family in their danger from appears therefore to be quite spontaneuos and worthy of a hero,
But the omission of the touching rivalry to die for the family among the members, wbich we notice in the epic story, is difficult to understand. The rivalry deepens the tragic note in the plight of the family and, at the same time, heightens the dignity of the members as human beings. Bbāsa uses this episode, though in altered context, in his Madhyama-vyayoga with a superb dramatic efl'ect.
Ramacandra is apparently concerned with a picture of normal pathos and introduces only the mother and the wife of the victim. There is no doubt that they are terribly affected; but they have accepted also the fact of inevitable death. The attendant sorrow is genuine; but it is indicative of the familiar frailty of human beings. Rāmacandra uses certain descriptive touches in constructing this incident: The Brahmin is dressed as a victim of death, his body 18 anointed with red sandal; a garland of red flowers hangs down from his neck; his hair are loose; his steps slow. He mounts tearfully the slab of stone from which he is supposed to be devoured by the demon. His young wife has put on all her ornaments, suggesting thereby that she will follow her husband in death like a Satz. These touches clearly show that Ramacandra has used Sri Harşa's Nāgānanda for his model in constructing this scene.
With the change in constructing the Brahmin episode, it is natural that the dramatist should change the mode in which the demon was to meet his intended victim. Obviously the precepts of dramaturgy have weighed on the mind of the dramatist and directed his treatment. The violence involved in the demon attacking his victim and feasting on it, as also the actual fight between Bhima and Baka culmloating in the demon's slaughter, could not be shown on the stage. Bhasa takes the freedom of art in showing violence and death on the stage contrary to Bharata's prescription. Ramacandra adheres to representation sanctioned by convention and dramatic practice. In the play, the victim is to take his seat on the stone-slab from which he is lifted and carried away to the mountain fortress of Baka. Accordingly, when Bhima substitutes himself for the victim, attempts are made to lift him away; and though Baka appears on the scene to supervise, as it were, the usual arrangements, the actual fight takes place near the mountain fortress, behind the scene.
