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xxxii
KAŃSAVAHO
Kịşna and a close student of his biography. His Bhāgavatacampū, noted above, deals with the Tenth Skandha of Bhagavata which is a fine biography of Krşna. So far as the facts of the contents are concerned, Kamsavaho also is solely indebted to Bhagavata. Every detail of Krşna's life included in this work can be traced to Bhāgavata, as it is clear from the references given by me in the Notes. Though the handling of the topic and the poetic elaboration are quite independent and belong to our author, we find parallel ideas in similar contexts ; and at times the wording also is alike (see my notes on i. 4; ii. 8, 15; m. 38, 54 ; iv. 12, 21, 22, 37 ; etc.). Though the events are taken from Bhāgavata, our author shows originality and skill in narrating them with some dramatic effect, as we see in the case of his portrayal of the incidents of the washerman and the saffron girl (ii. 2-10, 11-30). The sentiment surrounding the meeting of Kțşna with the saffron girl (ii, 11-30) shows how our author is capable of creating artistic situations and weaving graceful conversations.
Apart from the fact that Rāma Pāṇivāda has composed some works in Sanskrit, the high-flowing style of Kaisavaho is sufficient to indicate the influence of classical Sanskrit writers like Kālidāsa, Māgha etc. on our author. Some of his poetic ornaments remind us of earlier Sanskrit works; and I have noted some such references in my Notes. Kamsavaho covers the same part of the life of Kịşna as depicted in the Bālacarita of Bhāsa, but I do not find any striking similarities between the two works. To me it appears that Siśupālavadha was the model before our author when he composed Kamsavaho. There are close similarities between the two works, and they are far from being accidental. There are some parallel situations in both the texts : arrival of Nārada in $. i and that of Akrūra in K. i; Akrūra's address to Krşņa (K. i. 15-16) reminds us of Nārada's address (S. i. 31 etc.);
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