________________ 366 STUDIES IN JAIN LITERATURE winning the Parijata tree from Indra and planting it in front of Satyabhama's mansion). From the statements of Anandavardhana and Abhinavagupta in Dhvanyaloka and Locana respectively-which are cited above-it is evident that Parijataharana (The Carrying off of the celestial Parijata tree) and similar incidents in the Harivijaya of Sarvasena are pure inventions by the poet and that they have no basis in the Itihasa works. They are introduced with a view to developing the desired rasa--the sentiment of love (both in union and separation)-omitting incidents from the original narrative which were not favourable to depict the desired rasa. The verses from Harivijaya, cited by Bhoja, deal with Hari, his two beloveds, Rukmini and Satyabhama, the latter's sulky wrath (mana) and her appeasement by Hari by winning the heavenly Parijata tree for her. Bhoja refers to this epic in connection with the various descriptions found in the various mahakavyas and mentions, as already pointed out above, several topics described in Harivijaya. Regarding the extent and structure of Harivijaya we know very little. As mentioned above, Harivijaya was asvasaka-bandha (which is composed in a single metre, called skandhaka from beginning to end). According to one view the galitakas in Harivijaya (as well as Ravana-vijaya and Setubandha) were later interpolations. Hemacandra, however, takes them as the genuine parts of the poet's own original work. Its language was Maharastri Prakrit. Its principal theme was Parijata-harana and it was replete with descriptions of the various topics mentioned above. We may not be far wrong if we were to remark that it was descriptive rather than narrative in character. As regards its extent we might further hazard a guess that it contained as many asvasakas as are found in Setubandha which is modelled on it. * From the citations we find that Harivijaya was composed in a graceful style. Its language and style were, compared to Setubandha, more easy and less involved. Like Pravarasena, Sarvasena too shows the use of long compounds and poetic figures of speech. Kuntaka's praise for his graceful style and Anandavardhana's compliment for his imaginative handling of the theme of Parijataharana and Bhoja's appreciation of his work by profusely quoting from it and ranking it with Sanskrit and Prakrit masterpieces like Raghuvamsa Kumarasambhava, Kiratarjuniya, sisupalavadha, Ravanavijaya, Setubandha etc. while illustrating the salient features of a mahakavya-Sarvasena very well deserves. Jain Education International For Private & Personal Use Only www.jainelibrary.org