world the youthful prowess of my noble brother; it ceases not yet, its reverberations enhanced by its rumbling through the interstices of the fragments of the universe rent asunder by the dread explosion.' It may readily be admitted that the sound effect of such a verse is admirable, but it is attained only at the sacrifice of clearness and propriety of diction.
4. The Language and the Metres
Bhavabhūti, with his limited scope, confines himself to Çaurasenī, and models his style on Sanskrit, so that the speakers of Prākrit are committed to the absurdity of elaborate style in what is supposed to be a vernacular. For him doubtless as for later poets the production of Prākrit was a mechanical task of transforming Sanskrit according to the rules of Vararuci or other grammarians.
In metre the Mahavīracarita shows a free use of the Çloka, as is inevitable in an epic play; it is found 129 times; the Çārdūlavikrīḍita (75), Vasantatilaka (39), Çikhariṇī (31), and Sragdharā (28) are the other chief metres; the Upajāti, Mandākrāntā, and Mālinī are not rare, but the Āryā (3) and Gīti (1) are almost gone, and there are only sporadic Aupacchandasika, Puṣpitāgrā, Pṛthvī, Praharṣiṇī, Rathoddhatā, Vaṅçasthā, Çālinī, and Hariṇī. The Uttararāmacarita has the same metres, save the Sragdharā, a curious omission; it adds the Drutavilambita and Mañjubhāṣiṇī; the occurrences of the Çloka are 89, the Çikhariṇī is second (30), Vasantatilaka third (26), and Çārdūlavikrīḍita fourth (25). The Mālatīmādhava has the same metres as the Uttararāmacarita plus the Narkuṭaka[1] and a Daṇḍaka of six short syllables and sixteen amphimacers; here the Vasantatilaka takes first place (49), Çārdūlavikrīḍita (32), Çikhariṇī (21), and Hariṇī (12). The Mālinī (21) and Mandākrāntā (15) take on greater importance, while the Çloka is negligible (14). The fact that there are only 8 Āryās reflects the changed character of Bhavabhūti's versification from that of Kālidāsa.
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