Studies in Jain Literature

SR No.: 001868
Original Sutra Author: N/A
Author: V M Kulkarni
Publisher: Shardaben Chimanbhai Educational Research Centre
Publication Year: 2001
Total Pages: 114
Language: English
Classification: Book_English, Literature, & Story
File Size: 14 MB

Page 462

444 STUDIES IN JAIN LITERATURE (karuna), love in separation (vipralamba-srngara) and calm (santa). The Gaudi style is appropriate in the sentiments of heroism, the terrible, fury and wonder (vira, khayanaka, raudra, and adbhuta). The sentiments in Mallika Makaranda are mainly those of love, heroism, horror and wonder. Excepting some passages, both in prose and in verse, and some dialogues in the Vaidarbhi style, the play as a whole is written in the Gaudi style. He has a large command of the Sanskrit vocabulary. The language is, as a rule, dignified. Whatever be his meaning, Ramacandra generally writes with force. His style is forceful and powerful and not polished or graceful. The story of Mallikamakaranda centres round the spontaneous love at first sight, between the two lovers Mallika and Makaranda. Usually the sentiment of love is portrayed by poets in the Vaidarbhi style. But as the path of love between these two lovers never runs smooth and is beset with difficulties, dangers and calamities the poet has, in the main, employed the Gaudi style. There is hardly any scope for the depiction of the sentiment of laughter. The one-sided love of Citrangada for Mallika giving rise to the comic sentiment, the ironical conversation between Citrangada and Makaranda, and the final scene of marriage between Mallika and Makaranda (representing Candralekha and Citrangada as duped) are only exceptions. Some of the passages, both in prose and verse lack simplicity and intelligibility and can be fully comprehended only after careful study and a good deal of reflection. In quite a few cases the difficulty arises on account of scribal blunders. In this regard the attention of the readers is drawn to the following verses I. 20, V. 3, V. 8, VI. 14, VI. 17. To modern taste Ramacandra is naturally attractive when he is simple and not grandiose or pompous or inflated as he can be when he chooses. The dialogues, barring the Amukha, and a good many elegant and attractive verses are simple and easily intelligible. The verbal contest between Citrangada and Makaranda (towards the close of Act I) is at once brief and brilliant. The dialogue between Candralekha, Mallika and Tamarasa (pp. 46-48) is also splendid. Ramacandra uses a large number of figures of speech to decorate his style (Vide the parisistam_7 to the present edition). He is very fond of arthantaranyasas and subhasitas. A few of these may be reproduced here : (i) Hafsfq went falas: parfasyari --P.3(I. 9) (ii) 379791 44 FNCE P. 13 (iii) 7 other trafiya II. 20