in this respect he sets the model for his successors. From Kālidāsa he differs in being a devotee of Viṣṇu rather than Çiva, but he is equally an admirer of the established Brahminical order. In the Pañcarātra,[1] the Pratijñāyaugandharāyana,[2] and in the character of Nārada in the Avimāraka,[3] we find clearly expressed his appreciation of the high rank of the Brahmin, and the obligations due to him from kings and other classes.
Care in the delineation of even minor characters is normally displayed; the number of these is considerable; sixteen each in the Svapnavāsavadattā and the Pratijñāyaugandharāyana, about twenty in the Avimāraka, Abhiṣekanāṭaka, and Pañcarātra, twelve in the Cārudatta, and about thirty in the Bālacarita. But there are traces of the anxiety of Bhāsa to avoid adding needlessly to the number of those appearing; in the Avimāraka neither the king of Kāçi nor Sucetanā appears on the scene despite their part in the play. The silence of Sītā, though at the close of the Abhiṣekanāṭaka she appears on the stage, is doubtless explicable by the same dramatic touch which makes Euripides refuse to assign any words to Alkestis on her return from the dead.
In technique Bhāsa does not accord entirely with the later rules of the theorists. The Nāṭyaçāstra, it is true, when it forbids the exhibition of battle scenes contradicts itself, and Bhāsa freely permits them, as must have been the case in the primitive drama in which Kṛṣṇa slew Kaṅsa. The maidens, however, he bids watch the mortal combat of Ariṣṭa and Kṛṣṇa from afar. Daçaratha's death he admits; the bodies of Cāṇūra, Muṣṭika, and Kaṅsa lie on the stage, and Vālin perishes there as well as Duryodhana, but all these are evildoers, and their death evokes no sorrow. The same simplicity doubtless accounts for the introduction of the mythological figures of the Bālacarita, whom we need not imagine to have been elaborately costumed; they announce their nature or are described,[4] and the spectator supplies the imagination requisite to comprehend them.
We find already in Bhāsa the formal distinction of introductory scenes into Viṣkambhakas of two kinds, according as Sanskrit alone or Sanskrit and Prākrit are used and Praveçakas;
