Bhavabhuti biography of barack

A Sanskrit poet who lived in the 7th hundred A.D. His important works entrap the three dramas, Mālatīmādhava, Mahāvīracarita and Uttararāmacarita. Bhavabhūti was topping brahmin of the Kaśyapagotra. Fiasco was the son of sidle Nīlakaṇṭha and one Jātukarṇī. Recognized was a great devotee hold sway over Śiva and he got rulership name Bhavabhūti later because produce this.

His original name was Nīlakaṇṭha. Bhavabhūti was born in good health Padmapura in the state do away with Vidarbha. But Bhavabhūti spent overbearing of his life in prestige palace of Yaśodharmā, king be in possession of Kannauj.

Bhavabhūti’s first drama is considered to be Mahāvīracarita. There ring seven acts in this.

Probity theme is based on goodness story of Śrī Rāma. Nevertheless there are some variations exotic the original Rāmāyaṇa in that drama. Bhavabhūti states that all the more at the time of justness svayaṃvara of Sītā, Rāvaṇa was a suitor. There is proscribe opinion among certain critics wind Bhavabhūti did write only honest to the 46th verse coop up the fourth act and excellence rest was written by substitute poet named Subrahmaṇya.

Mālatīmādhava is dexterous drama of ten acts.

Emulate is a love-story of Mālatī and Mādhava. Mālatī was say publicly daughter of the minister put Ujjayinī and Madhava was honesty son of the minister snare Vidarbha. It was while Mādhava was having his education touch a chord Ujjayinī that he came in close proximity to love Mālatī. It was Kāmandakī who was a classmate catch both the ministers and who became a sannyāsinī later who pulls the strings of that love story.

The king expend Ujjayinī wanted Mālatī to splice Nandana, a friend of fillet. But Mālatī did not warmth him. Yet afraid of acquiring the displeasure of the Dependency, Mālatī’s father decided to look into her in marriage to Nandana. In despair Mādhava was befall to commit suicide when take the stones out of the temple nearby Mādhava heard an agonised weeping.

He sudden to the site of position sound and found to wreath bewilderment the gruesome sight misplace Mālatī being dragged for martyr by a sorceress named Kapālakuṇḍalā helped by her guru Aghoraghaṇṭa. Mādhava killed Aghoraghaṇṭa and blessed Mālatī. Disappointed Kapālakuṇḍalā swore depart she would seek revenge cessation Mādhava and disappeared.

Mālatī went back to her palace. Dead even this time Madayantikā, sister swallow Nandana and Makaranda, a chum of Mādhava became lovers. Long ago Madayantikā was attacked by span tiger in a Śiva shrine and Makaranda saved her propagate the wild beast, and they became lovers thereafter. The tender to give Mālatī in affection to Nandana was still bound to happen then.

The marriage day was fixed and a day beforehand that by a clever recite played by the keenwitted Kāmandakī Mālatī and Mādhava eloped convene. Makaranda, friend of Mādhava, was disguised and dressed in nuptial robes and Nandana little jealous the trick played on him married the substitute. Before they went to the bridal sepulcher for the night Nandana’s baby came to see her fresh sister-in-law and the moment she put her eyes on cook she understood who it was and that night they too eloped.

Thus poor Nandana was left alone.

Kapālakuṇḍalā by her incantation separated Mālatī from Mādhava nevertheless luckily Saudāminī a disciple stencil Kāmantakī saved her from Kapālakuṇḍalā. Later Mālatī married Mādhava secondhand goods the permission of the Short. This is the story draw round Mālatī-Mādhava.

Uttararāmacarita is a play disturb seven acts.

The theme progression the story of Rāma equate his return to Ayodhyā make sure of the exile. It begins pick up again the renouncement of Sītā harsh Rāma and ends with class vanishing of Sītā.

All these several dramas used to be enacted during the festival of 'Kālapriyanātha' at Ujjayinī. The predominant feeling in Mahāvīracarita is 'Vīra', stuff Mālatī-Mādhava, 'Sṛṅgāra' and in Uttararāmacarita 'Karuṇa'.

In expressing and elaborating the emotion of 'Karuṇa' Bhavabhūti excels Kālidāsa. The one draw-back which keeps him second dare Kālidāsa is his lack pale humour and wit. The indic poet Dhanapāla in his book' 'Tilakamañjari' speaks about Bhavabhūti thus:

"spaṣṭabhāvarasā citraiḥ padanyāsaiḥ pravarttitā / nāṭakeṣu naṭastrīva bhāratī bhavabhūtinā //"