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INTRODUCTION
grief and stupefaction are described in a number of verses; but the lament itself is commendably brief, and its continuity is broken by Trijatā's beautiful words of consolation. With a rare artistic sense Pravarasena gives the utterances of the two women in the form of a dialogue, which avoids monotony, and makes the sequence of lament and consolation a masterpiece of poetic intensity. Trijata's concluding words are profoundly moving: 'Had it been Rama's head, it would have returned to life even in such a plight, having obtained the familiar touch of thy hands, sweet as nectar' (11,132). Her grief is strung to a still higher pitch at this mention of Rama's love for her. A new burst of grief overpowers her; and 'she wept aloud in a different manner, remembering the past, even though she was intent on death (v. 133).' Pravarasena's delineation of the inherent pathos of the scene is praised by Anandavardhana as the work of a poet of genius'.
The conventional descriptions in the
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Setubandha, though often characterized by artificial conceits, have a considerable number of verses that give excellent pictures of the scenes described, and reveal a sensitive appreciation of natural beauty. A few examples may be given. The succession of moonlit nights and brilliant days in the autumn is likened to a necklace of pearls interspersed with jewels (1.27). Flowers and birds typical of the autumn are mentioned with deep feeling 'The scent of the Saptaparṇa blossoms appealed to the heart, but the fragrance of the Kadamba flowers pleased no more. The sweet note of the swans lingered in the heart, but not the cry of the peacock, because its time was past (1.23). The descriation of the sea in Canto 2 has many mythological associations, but is not without vivid touches. 'The palm groves on the shore rustled as they were hit by sea spray blown by the
1 Dhvanyaloka (NS), p. 87,
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