Poets Of The Ancient World Codexery

Bhavabhuti

Eighth-century Sanskrit playwright and successor to Kalidasa.

Bhavabhuti

Bhavabhūti, originally named Śrīkaṇṭha Nīlakaṇṭha, was a classical Sanskrit scholar, poet, and playwright who lived in eighth-century India. He is regarded as a major successor to Kālidāsa and is often considered his literary equal. His most famous work, *Uttararamacarita* (*The Later Deeds of Rama*), earned him the title "Poet of the Karunā Rasa."

He was born in Padmapura, in what is now the Gondia district of Maharashtra, into an Audumbar (Udumbar) Brahmin family of scholars. He was a scion of the Yāyāvara family, with the surname Udumbara. His ancestors were Kāshyapa Brahmins who followed the Black Yajurveda and maintained the five sacred fires. His father was Nīlakaṇṭha and his mother was Jatukarni. He was educated at Padmapawaya, about 42 kilometers southwest of Gwalior, under the guru Dayananidhi Paramahansa. He composed his historical plays at Kalpi, a town on the banks of the Yamuna River. He is believed to have been the court poet of King Yashovarman of Kannauj. The 12th-century historian Kalhana places him in the entourage of Yashovarman, who was defeated by Lalitaditya Muktapida, the king of Kashmir, in 736 CE.

His play *Mālatīmādhava* is set in the city of Padmavati. The king wants the minister’s daughter, Mālatī, to marry a youth named Nandana. However, Mālatī is in love with Mādhava, whom she first saw and then drew a portrait of; Mādhava reciprocates by drawing her portrait. Mālatī suspects her father’s motives in supporting the king’s plan. A subplot involves their friends Makaranda and Madayantikā: Madayantikā is attacked by a tiger, and Makaranda rescues her, sustaining wounds. After many difficulties, both couples are united. According to Sanskritist Daniel H. H. Ingalls, *Mālatīmādhava* combines love and horror with a skill unmatched in later Sanskrit literature. In the 14th century, Jagaddhara wrote a commentary on this play.

According to Dasharatha Sharma, both Kālidāsa and Bhavabhūti drew on Kautilya’s *Arthaśāstra* for their works. Kālidāsa used it in the *Raghuvamśa*, while Bhavabhūti employed its words and ideas in *Mālatīmādhava* and *Mahāvīracarita*. There is a notable resemblance between the strategies advocated by Ravana’s minister Malayavana and the policies recommended by Kautilya.

Based on his writings, Bhavabhūti is said to have been born in Padmapura village in the Amgaon tehsil of Gondia district, Maharashtra. In modern times, local efforts preserve his memory: in 1950, Laxmanrao Mankar Guruji named his education society the "Bhavabhuti Education Society"; in 1996, Yashodabai Rahile founded the "Bhavabhuti Mandal"; historian and principal O. C. Patle published a book titled *भवभूति अब गीतों में* (*Bhavabhuti, Now in His Songs*) along with audio CDs and cassettes; the "Bhavabhuti Ranga Mandir" was built in Gondia town in his honor; local TV channels Sahyadri and E TV Marathi have aired documentaries about him; and several statues have been erected by people and nonprofit groups in the region.

His literary works include *Mahāvīracarita* (the story of Rama’s early life), *Mālatīmādhava* (a romance between Mālatī and Mādhava), and *Uttararamacarita* (the story of Rama’s later life, covering his coronation, the abandonment of Sita, and their reunion).

field
Sanskrit scholar, poet, playwright
nationality
Indian
known_for
Uttararamacarita, Malatimadhava, Mahaviracharita

Lore & Background

Bhavabhuti was born in Padmapura, Aamgaon, at Gondia district, in Maharashtra, into an Audumbar/Udumbar Brahmin family of scholars. He is described as a scion of the Yāyāvara family, bearing the surname Udumbara. His Kāshyapa brahmin ancestors adhered to the Black Yajurveda and kept the five sacred fires. His real name was Srikantha Nilakantha, son of Nilakantha and Jatukarni. He received his education at 'Padmapawaya', a place some 42 km South-West of Gwalior. Dayananidhi Paramahansa is known to be his guru. He composed his historical plays at 'Kalpi', a place on the banks of the Yamuna River. He is believed to have been the court poet of king Yashovarman of Kannauj.

Reader's Guide

Bhavabhuti's significance lies in his three major Sanskrit plays: Mahaviracharita (depicting the early life of Rama), Malatimadhava (a romance of Malati and Madhava), and Uttararamacarita (the story of Rama's later life). The latter earned him the title 'Poet of the Karunā Rasa'. According to Sanskritist Daniel H.H. Ingalls, the Malatimadhava combines love and horror with a felicity never again equaled in Sanskrit literature. During the 14th century CE, Jagaddhara wrote a commentary on this play. According to Dasharatha Sharma, Bhavabhuti utilized the Arthashastra of Kautilya in the Malatimadhava and the Mahaviracharita, with a striking resemblance between methods advocated by Ravana's minister Malayavana and Kautilyan policies. Local TV channels have telecast documentaries on his life, and statues have been erected in the region.

Did You Know?

Frequently Asked Questions

What is Bhavabhuti's most famous work?

His masterpiece is Uttararamacarita, a dramatic retelling of the later episodes in Rama's life. This play is so tightly associated with the emotion of compassion and sorrow that it earned him the lasting epithet 'Poet of the Karunā Rasa.'

How does Bhavabhuti compare to Kalidasa?

He is widely regarded as Kalidasa's principal successor in Sanskrit dramatic and poetic tradition. Many later commentators placed him on roughly equal literary footing with Kalidasa, treating the two as the twin pillars of classical Sanskrit poetry.

What other works did Bhavabhuti write?

Beyond Uttararamacarita, he composed the narrative poem Malatimadhava and the biographical epic Mahaviracharita, which celebrates the life of the Jain sage Mahavira. Together these three texts form the core of his surviving literary output.

Why is Bhavabhuti important in the history of Sanskrit literature?

He bridged the gap between Kalidasa's era and the later Sanskrit poetic tradition, demonstrating that the classical style could still produce works of profound emotional depth. His focus on the karunā (compassion-sorrow) register set a template that influenced subsequent Sanskrit dramatists and poets.

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