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shades of colour by describing the red jaws of the Primordial Boar as having a yellow lustre. Kālidāsa's famous verse (Raghuvamsa -2.35) illustrates the poetic convention of nondiscrimination between the white and fair shades of colour as it represents the white Kailasa mount as fair or tawny. This poetic convention extends to cover cases of the identity of the other shades of colours as well. So Hemachandra winds up the discussion here by stating that instances of the other colours can also be cited.
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The poetic convention in the sense of regulation of meanings is evident when the hara and the deer seen in the moon are considered as identical; the crocodile and the fish emblems of love are identical; the moon as born of the ocean is the same as the moon born out of the sage Atri; all the twelve Adityas are identical; Nārāyaṇa, Madhava, Viṣṇu, Damodara, the Lord's incarnation as a tortoise etc., refer to the self-same Lord; the goddess of wealth and the goddess of Beauty are identical; cobras and serpants, the milky ocean and the saline ocean, the seas and the oceans, and the demons known as Daityas, Danavas and Asuras are all identical. Illustrations of such identity are available in the verses (101-108) cited in the Viveka commentary. In verse 101, the moon is called T whereas in verse 102, he is described as अङ्काधिरोपितमृगः ( चन्द्रमाः ), मृगलाञ्छन: in the Maghakavya (II. 53 ). In three verses (103, 104 and 105), the God of Love is described as मकरकेतनः, मीनध्वजः and मत्स्यचिह्नः The next two verses (106 and 107) point out the identity of the moon born of the sea and the eyes of the sage Atri. Here we have a clear allusion to the mythological story of the moon's birth from the ray of light from the eye of the sage Atri which set up in the sky and that became the moon. However, as the mythological reference is incomplete in verse 106, Hemachandra adds another verse (107) from Murari's Anargharaghava (1.58) which alludes to the birth of the moon from the ocean.
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