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Language and style
55 division (Adhikaraña) does note come to an end with that of a canto it will be contiņued in the next canto. It may lead to a conclusion that inspite of abundant illustrations, Hemacandra was thoroughly conscious of the flow of the theme and tried to harmonize his illustrations with the continuity of the theme. That is why inspite of his confined motif he narrated the exploits of a number of kings in his poem.
DESCRIPTIONS : One can peither expect graphic and sentimental descriptions like those of the Meghadūta nor vivid grand portraits like those of Bāņa from a grammatical poem like the Dvyāśrayakāvya. If Bhāravi dominates in the profundity of meaning ; māgha in diction ; śrīharşa in the lucidity of expression and Jayadera in alliteration Hemacandra excels in grammatical usages. If the poetry of Kālidasa has a taste of grapes (Drākṣāpāka); that of Bhāravi as a coconut (Nārikelapāka); that of śriharsa as a wood-apple (Kapitthapāka), Hemacandra's poetry may be specified as pepper in taste (Maricapāka). Perhaps, that is why such like poems were named as burning poems (Vyoșa-kävya)'. Naturalness in the description of the Dvyāśrayakāvya has been subdued by the grammatical diction. Inspite of his intense observation of natural objects, Hemacandra's expression is not pleasant due to exemplary vocabularyo. His poetry is so
1. Puruşottamadeva quoted a few verses from the Rāvaņārjuniya, a
grammatical poem of Bhūbhātta aad named it as vyoşakāvya. See Bhâșāvýtti, ed. S.C. Chakravarti, Rajshahi, 1918, p. 432 and Cf. Rāvaņārjuniya, XX. 19. Also Chatterjee, K.C. Rāvaņārjuniya as a vyoșakāvya, I. H. Q. VII.,
P. 628. 2. Dv. II. 43.
युङ् शीकरैः प्राङ् मरुदुन्मदक्रुङ् सजू रजोभि: स्फुटमम्बुजानाम् । आदावहः स्वेष जडत्वदस्तद्रविकृताहा प्रकृताह एव ।।
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