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IO
CHAPTER ONE
For he is always playing in Puşpakarandaka with the women of his household, but your son, forbidden (to enter), remains outside." Angered at hearing that, the queen went to the anger-room.20 At once she was asked by the king, “What is the matter ?" and she replied: "Viśvabhūti plays in Puspakarandaka like a king; even though you are here, my son stays outside like a beggar." The king said, “This is the rule in our family, honored lady. When one prince is playing (in the garden), a second should not enter.” She, high-spirited, was not enlightened even by this explanation by the king.
Then the king, knowing devices, had the marchingdrum sounded. The king issued a proclamation, "Because our vassal, Puruşasinha, does not obey our command, we are marching against him." When he heard that, Viśvabhūti came in haste and said, “When I am here, why will our father himself go to battle?" Restraining the king by persisting in such remarks, Visvabhūti marched with an army to the vassal's country. Hearing that the prince was coming, the vassal came in haste like a servant and respectfully conducted him to his own house. Saying, “Master, what can I do?" standing in front of him with folded hands, he conciliated Viśvabhūti by giving presents of elephants, horses, et cetera. Seeing that there was some inconsistency, then Viśvabhūti returned by the same way he had come. Who can be angry with an innocent man?
Now, Visakhanandin had been allowed by the king to enter the garden. After traversing the country, Viśvabhūti came there as before. Halted by the door-keeper who said, “Viśākhanandin is inside,” he stood just there, an ocean of valor (stopped) by the shore of propriety. 21
20 120. A room to which an angry queen retires in order to gain something desired. It is referred to in the Rāmāyana II. 9. 22 as krodhāgara.'
21 131. The compound maryādāsthāmavāridhiḥ might be interpreted in several ways, but as Hemacandra often uses the comparison
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