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Dvyāśrayā. I. 200 सक्थ्नायुः पथि खेत्तृणा रिपुनृपा अक्षणासमोत्क्रान्तरं, दध्नोस्थ्नोध न जानते स्म मधुनोम्बूनां च पर्याकुलाः । अश्वीयानि सुवल्यवल्गिसुमहांस्यत्यूय॑नूजि क्षणातेषां दन्तिकुलानि चालमभवनस्मिन् रणारम्भिणि ।
Likewise he has described the sentiments of furious, disgustful, pathetic and erotic consisting of almost all the relevant objects although grammatical diction was an hinderance throughout.
Hemacandra's diciton has an extra-ordinary command on the roots, prefixes, suffixes and metre. By those instruments he can harmonize any context of poem without hurting the spirit of his theme,
Like Bhāravi, his diction becomes a hard-nut to crack. We can add to the comments of Prof Kuppuswamy Šāstrī If the poetry of Kālidāsa has a taste of grapes (Drākṣāpāka); that of Bhāravi, a coconut (Nārikelapāka); that of Sriharsa, a woodapple (Kapitthapāka) Hemacandra's poetry may be named as pepper in taste (Marica-pāka). Hemacandra is a past master in coining the new words which serve as epithets in the relevant context e. g. DV. IV. 59 the Paiśācīs have been explained which serve the object of feminine suffixes as well : नाभिमुखास्तुङ्गनासिका कानासिक्यो लम्बोष्ठय उन्नतोष्ठाः । लम्बोदर्य: कृशोदरा काजवाः पृथुजङ्घयोन्वयुः पिशाच्यः ॥४॥५९॥
Hemacandra has a full command over the vocabulary and not only the exact and appropriate use of diction but he bas also a sense of creating contrast among the shades of a number of synonyms.
