Bhavabhūti at his best; the plain tale of the Rāmāyaṇa makes Kuça and Lava recite the story of the Rāmāyaṇa at a sacrifice and be recognized by their father; here a supernatural drama with goddesses as actors leads insensibly to a happy ending, for Bhavabhūti again defies tradition to attain the end, without which the drama would be defective even in our eyes. Sītā and Rāma are splendidly characterized; the one in his greatness of power and nobility of spirit, the other ethereal and spiritual, removed from the gross things of earth. Janaka and Kauçalyā are effectively drawn; their condolences have the accent of sincerity, but the other characters – there are twenty-four in all – present nothing of note. It was not within Bhavabhūti's narrow range to create figures on a generous scale; in his other dramas they are reduced to the minimum necessary for the action.
As a poem the merits of the Uttararāmacarita are patent and undeniable. The temper of Bhavabhūti was akin to the grand and the inspiring in nature and life; the play blends the martial fervour of Rāma and his gallant son with the haunting pathos of the fate of the deserted queen, and the forests, the mountains, the rivers in the first three Acts afford abundant opportunity for his great ability in depicting the rugged as well as the tender elements of nature; what is awe-inspiring and magnificent in its grandeur has an attraction for Bhavabhūti, which is not shown in the more limited love of nature in Kālidāsa. He excels Kālidāsa also in the last Act, for the reunion of Sītā and Rāma has a depth of sentiment, not evoked by the tamer picture of the meeting of Duḥṣanta and Çakuntalā; both Rāma and Sīta are creatures of more vital life and deeper experience than the king and his woodland love.
We find, in fact, in Bhavabhūti, in a degree unknown to Kālidāsa, child of fortune, to whom life appeared as an ordered joyous whole, the sense of the mystery of things; 'what brings things together', he says, 'is some mysterious inward tie; it is certainly not upon outward circumstances that affection rests'.[1] Self-sacrifice is a reality to Bhavabhūti; Rāma is prepared to abandon without a pang affection, compassion, and felicity, nay Sītā herself, for the sake of his people,[2] and he acts up to his resolve. Friendship is to him sacred; to guard a friend's interests
