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

lxv] Early Plays : Mahāvīra-Charita
and his wife undefended into the forest, where with the army of demons
that Khara had under command, it would not have been very difficult
to overpower Rāma and abduct his wife. The ruse succeeds.¹ Rāma
dutifully accepts his exile, and Lakshmaṇa and Sītā accompany him
(act iv).
The abduction of Sītā now follows as a matter of course (act v,
interlude). Since, however, Mālyavant did not succeed in crushing Rāma
by the help of the army of the fourteen thousand, he prevails upon the
very reluctant Vālin to undertake that task. The fight between Vālin and
Rāma which follows is a fair one, and at its end Vālin dies, commending
his son and his brother Sugrīva to Rāma's care ² (act v). This is the real
climax of the play. Mālyavant has been using one means after another to
secure his desired end, but all things work against him. Diplomacy had
been tried and in vain. Nothing now remained but to risk one last
united effort to overpower the enemy by force. This also succeeds no
better. Rāvaṇa is killed (act vi) and Vibhīshaṇa installed in his place.
Rāma thereupon recovers his wife, returns to Ayodhyā, and is crowned
king (act vii).
29. Technical significance of these changes.—Now it is quite clear
that even from the start Bhavabhūti has here taken great liberties with
his sources. His changes are deliberate, well-advised. He seems to have
had a clear conception of just what he wanted to do, and what to avoid.
He was not satisfied with a mere reproduction in dramatic form of what
the epic gave in a narrative form. He wanted to establish, as far as
feasible, a necessary sequence between the various experiences and adven-
tures through which his hero passes. But this is not all. He so selects
the incidents, and, where there was no choice for him, so modifies them
as to bring out, by contrast, all the fine points in Rāma's character.
Bhavabhūti represents Rāma as an embodiment of duty, patience, truthful-
ness, valour, and chivalry. And to set these qualities in high relief, he
brings Rāma into contact with Paraśurāma, who has indeed valour, but
valour marred by a fiery temper; with Vālin, who is chivalrous, but lacks
strength of conviction, and so is easily beguiled by diplomacy; with

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¹ Notice how by this one stroke Bhavabhūti beautiful woman (which disguise she
secures three distinct objects. 1. He could, as a she-demon, easily assume).
saves the character of Kaikeyī entirely. 3. Bhavabhūti also gains further oppor-
2. By bringing Śūrpaṇakhā thus early tunity for heightening Rāma's character.
into contact with Rāma he gains adequate ² Thus the poet skilfully avoids 1. Rāma's
motivation for her later conduct; for, if compromising conduct in relation to
Rāma could not see through Śūrpaṇakhā's Vālin, and 2. the spectacle of the un-
disguise as a nurse, no more was he ex- righteous quarrel between the brothers
pected to see through her disguise as a Vālin and Sugrīva.
i [H.O.S. 21]