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vi
 
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<p lang="en">vi</p>
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to bear in mind that the rhetoricians themselves have no-

where associated these citations with either the name of

Bhāsa, or with any one of the plays attributed to him.

There is on the other hand a large number of verses which

are specially mentioned as Bhāsa's in anthologies of

Sanskrit verses, but are not found in the present plays.
 
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From the foregoing summary of arguments on both

sides, it will be seen that none of the arguments advanced

is absolutely convincing and, therefore, there have been

from the very first cautious critics who were sceptical about

the authenticity of the plays and held that these plays--at

least some of them-bear the evident marks of being

abridged versions of probably the original dramas of Bhāsa.
 
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And vitally important considerations were recently

revealed in this connection by K. Rama Pisharoti (BSOS. 3.

112f. 3. 641) who has shown that 'these plays form a part of

the repertoire of the Cakyārs'-the traditional actors of

Kerala. He, further, adverts to the peculiar practice of the

Cakyārs viz., that they never act a drama in full, but only

selected scenes now from one drama, and now from another

and that for every act they stage, they have their set intro-

duction. It is, therefore, possible that the prologues of

the plays are later accretions, while the main scenes preserve
to us the original plays abridged or modelled in parts to suit

to us the original plays abridged or modelled in parts to suit
the exigencies of the local theatre; so that it is possible

that much of the relative uniformity of style, dramatic

method and formal technique may be the result of this local

editing; the plays may, therefore, be the product of a

class of play-wrights who belonged to one common school

and worked under its conventions. Secondly, it is not at all

clear that the Tss. Svapnavāsavadattam is the famous Svap-

navāsavadattam attributed to Bhāsa by Rajasekhara. There
 
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