It takes a determined sceptic to doubt the attribution
of the Svapnavoāsavadatta (SV) to
Bhāsa, a playwright Kālidāsa himself named as so
favoured in his time that the younger generation of
nāṭyakāras had a difficult time
getting a hearing. After sifting through the
evidence, the most likely conclusion is that the
play we have of that name (or a variant), first
discovered for Indology by T. Ganapati Sastri in
1909, is a somewhat shorter version of the play
known to Śāradātanaya, Rāmacandra and Guṇacandra,
Sāgaranandin, Abhinavagupta, Bhoja, and others. And
one can scarcely admit the genuineness of SV without
accepting the
Pratijñayaugandharāyaṇa (PY): the
two are perfectly complementary in plot, theme,
treatment, and style. But even if we could not
locate these two plays among the earliest extant of
the whole Sanskrit corpus, we would be justified on
aesthetic and thematic grounds in including them in
any study of the key works of Sanskrit poetry. The
plays are simple, yet charming and sophisticated,
and more genuinely dramatic – giving us a more
complicated sense of conflicting human interests
(especially SV) – than any play except the
Mudrārākṣasa (MR) of
Viśākhadatta, who, however, completely lacks Bhāsa's
lightness of touch. The two plays provide a thematic
bridge between Kālidāsa and Viśākhadatta, combining
the latter's resolute focus on sentiment-negating
political demands (artha, utsāha)
with the former's luxuriating treatment of the inner
world of erotic emotion (kāma,
śrṅgāra).