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G. K. Bhat
It appears to me therefore that the drainatist's construction of the Baka eraude, althought it deviates from the original, las succeeded in presentin a un ned, sulf-containing picture which is colourful with heroism. vathu excitement and grim laughter,
It is in creating the characters, however, that the dramatist's departure from the epic source appears to be questionable : It does not fulfil apy special dramanic purpose. In the altered context the nitiative and the finish of the dramatic action rest with Bliima. This is a gain for the hero's character, as said earlier. But in being required to make Bhima dszert his own invincible might before Draupadi and narrate the frush of the fight with Baka himself, as forced by the diamatic design. the drauatit could not suve Bhima from looking like a boastful giant. Som what like the Bhima in Bbatta Nārāyana's Veņāsamhāra. Yudhisthra's cuck-sureness about Bhima's prowess is inconsistent with his epic image; and his slighting rejoinder to Arjuna in order to stop him from rushing to assnt Bhima is uncalled-for. But it is Draupadi's picture that seems to bave suffered the most at the hand of the dramatist. Her note of defeatism is inconsistent with her supposed independent and fiery temperament. 14 It is strange that she holds Bhima back from interfering with the demon's activities. Her anxiety for Bhina is natural; any wife will feel such concern for the safety of her husband; but the concern is better expressed after a heroic decision has been taken, not before. Bhima is a different type of man; and Draupadi also is the daughter and the wife of a Ksatriya. Her attenupt, therefore, to drag Bhima away from the distress of the Brahmin family and her suggestion to run away from it are unworthy of the spirited lady in aguny that we know her to be from the epic and other literary compositions Her attempt to commit suicidels is equally ridiculous. It suggests that she has no confidence in Bhima. It also shows that she is an ordinary female who is guided only by the thought of self-preservation and who loses her perspective by the slightest threat to it, I think, Rāmacandra fell a victim to the temptation of painting Draupadi on the lines of the familiar leroine of a Sanskrit Court Comedy, Malavika and Ratnāvali are similary afraid to permit any unexpected adventure to their heroes and are seady to attempt suicide at the mere idea of frustration and loss of the lover But such a treatment of Draupadi's character is unjustified and also inartistic.
Strangely enough Baka makes a better, albeit un-demonaic, impression on the mind of the reader in his strict adherence to the stipulated conditigns and in his courtesy towards a woman.17 However, this touch of digarty and culture bestowed on the demon is wasted; because Baka is not given an opportunity to converse with Bhima on the stage, before the final encounter rlogs the curtain down on his life
