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INTRODUCTION
xxxi
people were protected by Kļşma who lifted up the Govardhana mountain on his little finger ; Krşņa coronated as Gopendra ; Kịşna's rescue of Nanda from Varuna's abode ; the graceful Rāsa sports of Krsna ; disillusionment of proud maidens; and the destruction of Sankhacūda, Arişta, Kesi, Vyoma and lastly Kamsa who invited them with the pretence of the bow-festival (iv. 10-46). The parents were pleased to hear these events from Akrūra's mouth; they embraced and blessed the princes who looked all the more graceful and glorious (iv. 47-8).
The author declares that this poem is like a ford for those who want to cross the ocean of Prakrit literature ; and in conclusion he solicits the protection of Vişņu.
iv) THE FORM, THE SOURCE AND THE MODEL.
It is clear from the perusal of the contents that our author has practically given the biography of Krsna upto his slaying of Kamsa, though the title of the work is Kamsavaho which might tempt us to expect that the poem glorifies merely the slaying of Kamsa. The whole of the fourth canto is like an appendix narrating the various events from Kışna's life including the slaying of Karsa (iv. 45) artificially put in the mouth of Akrūra. Though they afford an opportunity for the author
to exhibit his poetic skill, certain sections stand out a bit · detached and come like intruders in that context, for instance,
the elaborate description of Mathurā put in the mouth of Krşna and that of the exploits of Krşņa in the mouth of Akrūra. There are other portions which are occupying more space than usual when we compare their length with the general scope of the poem : the lamentations of the Gopis and the songs of bards. It is true that it is in these sections that Rāma Pāņivāda is seen at his best as a poet.
Rāma Pāņivāda appears to be an ardent devotee of Vişnu
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