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-depart without the Madhnparka-Vidhi. "Kalidasa* has more fancy ; he is a greater artist than Bhavabhuti." Truly Bhava-bhuti's art is not so very delicate, perhaps overstrained* Kali-dasa's imagination soars up to an appreciable height btitBhava-
• bhuti's fancy craves a still higher mounting. The absence of Vidushaka in Bhavabhati's plays contrasts strikingly with the
• dramas of Kalidasa. Probably the nature of the heroes and the -environments of action as depicted by Bhavabhuti give no p«rp0m to it ; whereas the heroes of Kaiidasa cannot for a moment -conlpare with Rama as 4 model husbands' with th2 highest
standard Of matrimonial ethics.
The skilful introduction of the Rakshasa ambassador, the development of Malyavan's policy, the stern heroisn? of Jarna-•dagnya and the scenes of saintly alter cat ion s-^tbese in the Viracharita ; the mutual affection of Malati and Madhava, the .strange devotion of Karnandaki, who though an ascetic with no worldly cares felt a natural interest in the ufiion of the ^mutually affianced couple, the strong attachment of Makaranda to Madbava's cause, and the grateful service rendered by ^Soudsmini against Kapalakundala — these in the Malati ; the mutual expressions of sorrow of Rama atid Sita> during their separation, the disinterested spirit of Rama when he banished his beloved wife for the preservation of the realm's peace, the meeting of Rama with his incognito sonsi Kusa and Lava— -
• these in theUttararamacharita are s6me of the happiest touches given by the master-hand of Bhavabhuti to incidents which
to the non-aesthetic and unimaginative mind as mere i places.
*$•*
cribed in
of the. court of Siladityst IJ» will be desdetail in the chapter on the prose literature*
;Vther hand is strictly devoted to Sastric precepts. He would not loose sight of the minutest ceremony. His guest would not be allowed to-hist nuns, ar