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Nayacandra himself appears to have mastered both which accounts for the plethora of learned usages that abound in his poem, 23 The reference to the Vedic hymns, performance of sacrifices, recitation of the mantras, gifts and fasts seems to indicate that Nayacandra was no mean student of Veda and Dharmasastra. As a poet Nayacandra favours lucidity of meaning (nirmalārtha) and upholds it as the basis of fame. 24 He has adhered to the precept in composing his poem. But while espousing artha he has not ignored sabda or form. Indeed he is conscious of the poetic worth of his poem. Lucidity and ornateness (vakrimă) combine to accord it a high place.25
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cikirsayatmaninasya sasmara paramatmanah, (IV 78), pacelimaphalodaya bhidelimatamayati (IV. 87), saukhyanadimdhamah (IV 115), urahpuram durvalavam (XVIII. 222), avardhista (TV. 39), upakramsta (XIII. 147).
24 HM, VIII. 9.
25 For an exhaustive critique on Nayacandra Suri and his poem, see my forthcoming book Jaina Samskrta Mahakavya.
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