भवभूति

यन्त्रोपारोपितकोशांशः

कल्पद्रुमः

पृष्ठभागोऽयं यन्त्रेण केनचित् काले काले मार्जयित्वा यथास्रोतः परिवर्तयिष्यते। तेन मा भूदत्र शोधनसम्भ्रमः। सज्जनैः मूलमेव शोध्यताम्।

भवभूतिः, पुं, (भवेन शिवेन भूतिरैश्वर्य्यादिकं यस्य भव एव भूतिर्यस्येति वा । शिवोपासन- यैवास्य विद्याद्युत्पत्तेस्तथात्वम् ।) कविविशेषः स च भोजराजस्य पण्डितः । मालतीमाध- वादिनाटककर्त्ता च । तत्पर्य्यायः । भूगर्भः २ । इति जटाधरः ॥ (यथा, राजतरङ्गिण्याम् । ४ । १४४ । “कविर्वाक्पतिराजश्रीभवभूत्यादिसेवितः ॥” भवस्य महादेवस्य भूतिरिति विग्रहे तु ।) महादेवस्य ऐश्वर्य्यञ्च ॥

वाचस्पत्यम्

पृष्ठभागोऽयं यन्त्रेण केनचित् काले काले मार्जयित्वा यथास्रोतः परिवर्तयिष्यते। तेन मा भूदत्र शोधनसम्भ्रमः। सज्जनैः मूलमेव शोध्यताम्।

भवभूति¦ पु॰

६ त॰।

१ महादेवविभूतौ। महावीरचरितो-त्तररामचरितमालतीमाधवादिनाटककर्त्तरि

२ विद्वद्भेदे।

शब्दसागरः

पृष्ठभागोऽयं यन्त्रेण केनचित् काले काले मार्जयित्वा यथास्रोतः परिवर्तयिष्यते। तेन मा भूदत्र शोधनसम्भ्रमः। सज्जनैः मूलमेव शोध्यताम्।

भवभूति¦ m. (-तिः) The author of MA4LATI MA4DHAVA and other dramas. E. भव the world, भूति increase, in wisdom, &c.

Monier-Williams

पृष्ठभागोऽयं यन्त्रेण केनचित् काले काले मार्जयित्वा यथास्रोतः परिवर्तयिष्यते। तेन मा भूदत्र शोधनसम्भ्रमः। सज्जनैः मूलमेव शोध्यताम्।

भवभूति/ भव--भूति f. welfare , prosperity AgP. Hcat.

भवभूति/ भव--भूति m. N. of a celebrated poet (who lived in the 8th century A.D. , author of the 3 dramas मालतीमाधव, महा-वीर-चरितor वीर-चरित, and उत्तरराम-चरित; See. IW. 499 ).

Purana Encyclopedia

पृष्ठभागोऽयं यन्त्रेण केनचित् काले काले मार्जयित्वा यथास्रोतः परिवर्तयिष्यते। तेन मा भूदत्र शोधनसम्भ्रमः। सज्जनैः मूलमेव शोध्यताम्।

BHAVABHŪTI : A Sanskrit poet who lived in the 7th century A.D. His important works are the three dramas, Mālatīmādhava, Mahāvīracarita and Uttararāma- carita. Bhavabhūti was a brahmin of the Kaśyapa- gotra. He was the son of one Nīlakaṇṭha and one Jātu- karṇī. He was a great devotee of Śiva and he got his name Bhavabhūti later because of this. His original name was Nīlakaṇṭha. Bhavabhūti was born in Padma- pura in the state of Vidarbha. But Bhavabhūti spent most of his life in the palace of Yaśodharmā, king of Kannauj.

Bhavabhūti's first drama is believed to be Mahāvīra- carita. There are seven acts in this. The theme is based on the story of Śrī Rāma. But there are some variations from the original Rāmāyaṇa in this drama. Bhava- bhūti states that even at the time of the svayaṁvara of Sītā, Rāvaṇa was a suitor. There is an opinion among certain critics that Bhavabhūti did write only up to the 46th verse in the fourth act and the rest was written by another poet named Subrahmaṇya.

Mālatīmādhava is a drama of ten acts. It is a love-story of Mālatī and Mādhava. Mālatī was the daughter of the minister of Ujjayinī and Madhava was the son of the minister of Vidarbha. It was while Mādhava was having his education in Ujjayinī that he came to love Mālatī. It was Kāmandakī who was a classmate of both the ministers and who became a sannyāsinī later who pulls the strings of this love story. The king of Ujjayinī wanted Mālatī to marry Nandana, a friend of his. But Mālatī did not love him. Yet afraid of getting the displeasure of the King, Mālatī's father decided to give her in marriage to Nandana. In despair Mādhava was about to commit suicide when from the temple nearby Mādhava heard an agonised weeping. He rushed to the site of the sound and found to his bewilderment the gruesome sight of Mālatī being dragged for sacrifice by a sorceress named Kapālakuṇḍalā helped by her guru Aghoraghaṇṭa. Mādhava killed Aghoraghaṇṭa and saved Mālatī. Disappointed Kapālakuṇḍalā swore that she would seek revenge on Mādhava and disappeared. Mālatī went back to her palace. At this time Madayantikā, sister of Nandana and Makaranda, a friend of Mādhava became lovers. Once Madayantikā was attacked by a tiger in a Śiva temple and Makaranda saved her from the wild beast, and they became lovers thereafter. The proposal to give Mālatī in marriage to Nandana was still pending then. The marriage day was fixed and a day before that by a clever ruse played by the keen- witted Kāmandakī Mālatī and Mādhava eloped together. Makaranda, friend of Mādhava, was disguised and dressed in bridal robes and Nandana little suspecting the trick played on him married the substitute. Before they went to the bridal chamber for the night Nandana's sister came to see her new sister-in-law and the moment she put her eyes on her she understood who it was and that night they also eloped. Thus poor Nandana was left alone.

Kapālakuṇḍalā by her sorcery separated Mālatī from Mādhava but luckily Saudāminī a disciple of Kāman- takī saved her from Kapālakuṇḍalā. Later Mālatī married Mādhava with the permission of the King. This is the story of Mālatī-Mādhava.

Uttararāmacarita is a play of seven acts. The theme is the story of Rāma after his return to Ayodhyā after the exile. It begins with the renouncement of Sītā by Rāma and ends with the vanishing of Sītā.

All these three dramas used to be enacted during the festival of ‘Kālapriyanātha’ at Ujjayinī. The predomi- nant emotion in Mahāvīracarita is ‘Vīra’, in 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 to Kālidāsa is his lack of humour and wit. The sanskrit poet Dhanapāla in his book’ ‘Tilakamañjari’ speaks about Bhavabhūti thus:

Spaṣṭabhāvarasā citraiḥ
Padanyāsaiḥ pravarttitā /
Nāṭakeṣu naṭastrīva
Bhāratī Bhavabhūtinā //



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*9th word in right half of page 127 (+offset) in original book.