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Years of birth and death unknown. Indian dramatist of the eighth century.

Bhavabhuti wrote in Sanskrit. Three of his plays are known: the dramas Life of the Great Hero and Later Life of Rama, both based on the Ramayana, and the comedy of intrigue Malatimadhava, on a subject from contemporary life. He departed from primary sources in his dramas on epic subjects, which are apparently linked to various folkloric versions of the story of Rama. His style is somewhat complicated and grandiloquent, in conformity with the norms of Sanskrit literature. Poems preserved in medieval anthologies are ascribed to him.


Serebriakov, I. Drevneindiiskaia literatura. Moscow, 1963.
Dixit, S. V. Bhavabhuti. Belgaum, 1958.


References in periodicals archive ?
This volume will include some two dozen studies that explore the works of major authors from the fourth to the twentieth centuries, including Kalidasa, Subandhu, Bana, Bhavabhuti, Rajasekhara, Murari, Bilhana, and Sriharsa, as well as, of course, Magha himself.
Plays by eternal stage favourites like Euripides and Bhavabhuti from ancient times to Dharamvir Bharati, Vijay Tendulkar, Girish Karnad, Shakespeare, Ibsen, Anton Chekov and Harold Pinter from more recent times populate the time- table.
Shakespeare in his late works is far more like Kalidasa or Bhavabhuti (see Pandit "Patriarchy") than he is like Marlowe or Webster.
Furthermore, for at least three centuries, the Kannauj court had been home to some of history's most celebrated Sanskrit poets: Bana, Harsa, Mayura, and, in all probability, Bhavabhuti.
9) and, with more audacity, the reincarnation of Valmiki, Bhartrmentha, and Bhavabhuti (Balaramayana 1.
Even his near-plagiaristic imitation of Bhavabhuti might have been emboldened by the Kavyamimamsa's lengthy treatment of intellectual theft (sabda- and arthaharana).
8) Ksemls'vara's relationship to Bhavabhuti is a topic worthy of a separate comparative study; in this essay, however, the best we may do is to point out these parallels as they appear in the production of unpleasurable rasas in Ksemisvara's two plays.
After all, if Ksemisvara were influenced by Bhavabhuti it would not be surprising for him to take special interest in the subtleties of karunay and to treat it differently from the other rasas (Shul-man 2001: 74--see especially Uttararamacarita 3.
La mise en abyme dans V Uttararamacarita de Bhavabhuti.
It was first attempted 2,000 years ago by Bhavabhuti who wrote Uttaramcharit .
In addition to the general introduction, the editor herself took responsibility for Kalidasa, with a general introduction and translations of all three of his plays (see her 1996 book cited above), and for Bhavabhuti, again with introduction and a translation of the Uttarardmacarita.
Grimal's edition of Harihara's commentary follows his earlier edition of Viraraghava's on Mahaviracaritam (Le Mahaviracarita de Bhavabhuti accompagne du commentaire de Viraraghava, Publications de l'Institut francais d'indologie, vol.