The Sanskrit Drama in its Origin, Development, Theory & Practice c14.s3.25

c14.s3.25

As regards the formal side of Bhavabhūti’s style we must unquestionably admit his power of expression, which is displayed equally in all three dramas. To modern taste Bhavabhūti is most attractive when he is simple and natural, as he can be when it pleases him. Thus in Act VI of the *Mālatīmādhava* we have a pretty expression of Mādhava’s joy at the words of love of him uttered by Mālatī when she has no idea of his presence near her: *mlānasya jīvakusumasya vikāsanāni: saṃtarpaṇāni sakalendriyamohanāni* *ānandanāni hṛdayaikarasāyanāni: diṣṭyā mayāpy adhigatāni vacomṛtāni.*