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as I have remarked before, are always full of vigour and realistic without ever approaching the grotesque.
The story of Mayaṇallā is told with a fine touch of emotion; one almost wished, that at least for this portion, Hemachandra might have forgotten his grammar.
The episodes are arranged in such a way as always to maintain interest. The S. D. K. possesses many of the characteristics of a good and vigorous epic but they are all hidden under its uncouth and forbidding exterior. The simile of cocoanut given to Bhāravi's + Kirāta applies more appropriately to the S. D. K. as far as its exterior is concerned, and if not equally, almost equally to its inner substance.
The exterior of the P. D. K. is less uncouth. Its descriptions are good specimens of Prākṣta poetry. Of the poetic worth of the Prākṣta verses put in as illustrations in the Rayaņāvalī the following remarks of Prof. Banerjee give a correct idea.
"A careful reading of the gathās ... would lead one to discover sense and highly poetical sense in these gāthās.... In fact these gāthās...form a valuable contribution to Prākṣta lyric poetry at the same time comparable to the Sattasai of Hāla” (p. XLI). “ They will be appreciated, it is hoped, by every lover of poetry as a remarkable feat of ingenuity worthy of Hemachandra.” (p. LI Introduction. ).
A careful and systematic study of the T. S. P. C. will reveal genuine poetic qualities of description, emotion, and story-telling and prove Hemachandra to be a Mahā Kavi.
+ art ifd aat ara: etc. Afegata.
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