________________
.
49
But the poet rarely forgets his moralistic outlook even in the midst of the erotic situation, as in :
स्निग्धच्छायापरयुवतये जाततीवाभिलाषो
ऽस्मिन्नारामे कथमपि विशन्नातपो नूनमासीत् । खण्डं खण्डं कथमपरथा सर्वथाऽप्येष कृत्वा
स्थाने स्थाने वरतरुभटैश्चिक्षिपे पत्रखड्गैः ॥१० In accordance with announced taste and technique of enhancing the Erotic with the help of the Furious sentiment, the poet takes the opportunity to delineate the latter in the beginning of the fourth ucсhvasa, where King Maniratha is shown to be proceeding to the pleasure garden with an unsheathed sword in hand in order to murder the prince. The effect of the Furious is sought to be created by the description of gradually descending darkness of the night. The wick ed intentions of the king are suggested in the following double-meaning verse :
रौद्रं रूपं धत्ते सुनिश्चितं यद्यपीक्ष्यते सोमः ।
कलयति संत्रासकरं यः कूटं कालकूटमिव ॥1 where the Moon-like peaceful appearance of the internally furious and jealously deadly king is revealed by a suggestive allusion to the god Rudra who inspite of his wearing the Moon on his forehead surely possesses the deadly poison named Kalakūta.
As in the case of the Erotic, so in the case of the Furious, too, the moralistic tenor is invariably present at every step. Thus, the act of the murder is described in the following words:
अत्रान्तरे विस्मृत्य तां सोदर्यताम्, अभाव्य तां विनीततामू, अपास्य तां स्नेहनिर्भरताम्, अनाकलय्य तामुपकारकारिताम्, अनवेक्ष्य सकलत्रिभुवनेऽपि सकलकालमपि जनापवादम, अङ्गीकृत्य तामेकामनर्थशतप्रदानप्रतिष्ठां पापिष्ठतां, पुरस्कृत्य कर्मचाण्डालताम्, आकृष्य हृदयादिव कृष्णलेश्यां प्रत्याकारादसिलताम्, उत्तिष्ठन्नेव निष्ठुरमाहतस्तेन कुमारः कन्धरायाम् । पतितश्च प्रहारवेदनाविसंस्थुलः पृथिव्याम् ।
हा ! धिक् कष्टमकार्यचेष्टितमिदं न क्वापि दृष्टं श्रुतं __ न म्लेच्छोऽपि करोति कोऽपि हतको निस्त्रींशतामीदृशीम् । हा ! हा ! दुष्ट निकृष्ट धृष्ट कुमते कर्मेदृशं कुर्वतो
वज्रं पातकप्रितस्य न पतत्यचापि ते मस्तके ॥
20. Ibid., vs. 202. 21. Op. cit., p. 94, vs. 208. 22. Op, cit., p. 95 (14-22).
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