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I BMATTIKXVYA
Bhatti’s pen pictures are neither exaggerated nor overdone. They are generally not detached from human activity, but rather form part and parcel of human life and thus serve to enhance a particular sentiment or to bring out the natural inclinations of a particular character. The description of autumn (II. 1-8) is rendered particularly touching by the mention of Rama’s innocent fascination for and his childlike enjoyment of the rivers, lakes, flowers and other attractive things in nature. The descriptions never obstruct the flow of the narrative, but help it to proceed speedily and effectively, through the panorama of nature bustling with multifold human activity and saturated with varying emotions. Sentiments (Rasa) The Bhattikavya being a story of the victory of the good over the evil, its inevitable principal sentiment is heroism (Vira). The fight with Tadaka (I. 25-26), the battles with Khara and Dusana (IV. 40-45, V. 1-3), Hanuman’s skirmishes with the demons (VIII. 1-7, IX. 3-45, 58-74) and the ultimate battle with the demon army (XIII. 45-48 ; XIV, XV, XVII) are all steeped in Virarasa. The heroic sentiment is intensified by the Raudra ( II. 50, V. 30-40 ) and the Bhayanaka (II. 23, VI. 33). The fighting often takes a nauseating turn, giving rise to Bibhatsarasa also (IV. 42-45, IX. 10-11). Eros (Srhgara) is depicted more in separation than in union. After all, Rama’s life, which is a story of long sepa rations, is aptly described by Bhavabhnti in the following words :
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The lamentations of separated lovers are very touching ; C/., VI. 74-85, VII. 1-13. Adverse nature acts as though plots to augment their grief. There are also tender and restrained lovescenes in IV. 15-20, V. 18-22 and 70-75. These, however, are but far between. The description of Lanka with the passionate demons and demonesses provides greater scope for Srhgara and is steeped in the diverse feelings of differently situated lovers
