महावीरचरितम् (महाकवि भवभूति - वीररस-प्रधान रामकथा नाटक सम्पूर्ण ७ अङ्क सटीक)

xxxix] Bhavabhūti, his Life, and his Date
Know ye, my dear children, that for the man his lawfully wedded
wife and for the wife her lord are, the one to the other, the
dearest of friends, the sum-total, I should say, of all relations,
the consummation of all desires, a priceless treasure, the very
life and all.
And when children come, this affection between man and wife reaches
its utmost perfection (Uttara-Rāma, iii. 18) :
As being the common meeting-ground of the father's and the
mother's affection, in a child we, so to say, tie in a common knot
of joy the several strands of their hearts.
Bhavabhūti's conception of friendship was also equally lofty. Compare,
for instance, Mahāvīra-charita, v. 59 :
To guard thy friend's interests even at the sacrifice of thy own
life; in thy dealings with him to avoid all malice, all guile ; and
to strive for his weal as thou wouldst for thy own : such is the
course of noble friendship.
Other instances of this are the relation between Mādhava and Makaranda
(Mālatī-Mādhava, ix. 40) and that between Janaka and Daśaratha (Uttara-
Rāma, iv. 13, 14). These extracts from Bhavabhūti's works will help to
make the otherwise shadowy figure of the poet somewhat life-like and
real. We now proceed to the more difficult task of determining his date.
6. Bhavabhūti's date : traditional story about Kālidāsa and Bhava-
bhūti.—Tradition couples Bhavabhūti's name with that of Kālidāsa,
grouping them with seven others as the 'nine gems' of the court of king
Vikrama or Vikramāditya of Ujjain. The story goes that, when Kālidāsa
was already a recognized 'gem' in the court of Vikramāditya, there came
to him one day a Brahman poet, and begged him to intercede with the
king and secure the royal patronage. This poet was no other than our
Bhavabhūti. He read aloud his Uttara-Rāma-charita while Kālidāsa was
half listening to him and half engaged in playing a game of sāra's (a kind
of chess). When Bhavabhūti had finished, Kālidāsa praised the work very
highly, and agreed to use his influence for the poet if he would but drop
a bindu (nasal) in the last line of one of the stanzas (i. 27. See Notes).
Bhavabhūti accepted the improvement, and became an acknowledged
'gem'.
The stanza about the 'nine gems' is late, and we do not even know
from it who is meant by 'Vikramāditya', since that is a title assumed by
several kings. The Saṁvat era which is still current in many parts of