Yasovarman the king of Kanauj ruled in the first part of 8th Century A.D. There were two famous poets by name VakpatiRaja and BhavaBhuti patronised by him, in his court.
Vakpatiraja
has written a historical poem in Sanskrit named GaudaVadham. Actually he composed at first in Prakrit
language titled Gaudavaho, later it was tran-scripted into Sanskrit. It describes the defeat of a Gauda prince
from the hands of the poet’s patron, the king Yasovarman. In this poem, VakpatiRaja recorded that the
oppressed Earth sought support of Yasovarman for her own safety as well as for
that of the Dharma; and that he like Lord Varaha protected both. “Iti
sruyate esha kila sareeratvari samsthitam bahusah prathyakshameva deveem
pruthiveem pulakayati peedaasu”. In Nalanda inscription too, Yasovarman is
described as an illustrious protector of the world “Khyato yo lokapalah”. The poet left this work incomplete probably
because of the defeat and death of his patron Yasovarman in 736 A.D. at the
hands of Lalitaditya of Kasshmir.
Bhavabhuti
a
dramatist and elder contemporary of VakpatiRaja, was the author of three plays
MahaviraCharitam, MalatiMadhavam and UttaraRamaCaritam. From the prologues of these plays it is
learnt that his name was Srikantha and that he got the title Bhavabhuti out of
devotion of Siva. He was a native of Padmapura in the Vidarbha country. He was
the son of Nilakantha and Jatukarni and the grandson of BhattaGopala. He was of
Kashyapa Gotra and belonged to the Taittiriya branch of the Krishna YajurVeda.
He was deeply learned in rhetoric, Upanishads, Sankhya, Yoga, Vedanta and
ritualistic lore. His preceptor was one J`nanaNidhi.
Mahaviracaritam
in
seven acts is the first play of Bhavabhuti. It deals with the life of Rama from
his marriage with Sita till his coronation. Ravana sends an envoy to Janaka
seeking the hand of Sita. But he is disappointed by Rama’s marriage with Sita.
At the instigation of his minister Malyavan, Surpanakha appears in Mithila in
the guise of Manthara, the servant of Kaikeyi, demanding Rama’s exile to the
forest and Valin attacks Rama who steps into Kishkindha. The wordy duel between
Rama and Parasurama is unduly long and mars the effect of the play. It is held
that the drama, which Bhavabhuti wrote up to the sloka 46 Act IV, was continued
by one Subrahmanya. No reason is however advanced to show what made Bhavabhuti
stop abruptly in Act IV.
Malatimadhavam
is
a Prakarana in ten acts depicting the course of love between Madhava and
Malati, respectively son and daughter of the ministers in two different
countries. The two ministers are thick friends. Side by side is depicted the
growth of love between Makaranda and Madayantika, friends of Madhava and
Malati. There are many beautiful but detached scenes. Makaranda dresses himself
in the garb of a woman and marries one Nandana who was promised the hand of
Malati. He saves Madayantika from the attack of a tiger which incident creates
love in them. Malati was twice kidnapped by a Kapalika woman to be offered to
the deity but was saved by Madhava on the first occasion and on the second by
an associate of Kamandaki a Buddhist nun who took interest in the welfare of
Malati and Madhava and helped in getting them married.
In
the seven acts of the Uttararamacaritam, Bhavabhuti depicts the story of
of the UttaraKanda of the Ramayana. He was influenced by the Kundamala of
Dinn`aga, Act II of the Abhijn`anasakuntalam and Venisamhara. The reunion of
the lovers is effected by the introduction of a small scene (antarnatika) of
the epic story. This play is more a dramatic poem than a drama proper.
Bhavabhuti’s
outlook of life is very serious. That is why he has made the love Rama and Sita
and of Malati and Madhava appeal more directly with a realistic touch than that
of Dushyanta and Sakuntala. Therefore his plays have no place for humour and
consequently Vidushaka character is not found in any of his plays.
Self-effacement and self-sacrifice characterised his outlook on life and
therefore the same is found reflected in his characters.
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