The Sanskrit Drama in its Origin, Development, Theory & Practice c14.s3.7

c14.s3.7

The *Mahāvīracarita* lacks the novelty of the *Mālatīmādhava*, but Bhavabhūti’s effort to give some unity to the plot is commendable, though it is unsuccessful. The fatal error, of course, is the narration of events in long speeches in lieu of action. The conversations of Mālyavant and Ṣūrpaṇakhā, of Jaṭāyu and Sampāti, of Indra and Citraratha, and of Alakā and Laṅkā are wholly undramatic; the word-painting of the places of their adventures, as seen from the aerial car on the return home, has not the slightest conceivable right to a place in drama. The elaborate exchange of passionate and grandiose defiances between Rāma and Paraçurāma which drags through two Acts does credit to the rhetorical powers of the dramatist, but is wearisome and a mere hindrance to the action. On the other hand, the scene where Bharata determines to act as vicegerent and that between Vālin and Sugrīva are effective, while with excellent taste Vālin is made an enemy, who opposes Rāma under bad advice, and the treachery and fraternal strife of the Rāmāyaṇa disappear for good. The characterization is feeble; Rāma and Sītā are tediously of one pattern without shadow on their virtue, and neither Mālyavant nor Rāvaṇa surpasses mediocrity.