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102
Biswanath Bhattacharya
spontaneity and simplicity he belongs to an early and premature stage of this literature while Kālidāsa claims the highest and mature stage. Thus the first place in the hierarchy of the ornate Sanskrit kavis must be assigned to Kālidāsa, the national kavi of India, while the second place must be apportioned to Ašvaghosa.
sri-Guru-caraña-samarpaņam astu //
I Here we find a reference to Pāṇini's "ety-edhaty-uthsu" (Aştādbyāyi, 6/1/89). 2 This reminds us of Bhämaha's illustration of avāca katva-dosa as follows :
himā-paha'mitradharair vyāptam vyomety avācakam 1 | sākşād arüdham vācye ‘rthe nābhidhānam pratiyate / [Kāvyālankāra, 1/41] [hima-pabā ragni; tad-amitra=tac-' satru jala; tad-dhara=megha.] Dapdin also illustrates pariharikā prahelikā as follows :himā-'paha.' mitradharair vyāptam vyom.ābhinandati || [Kavyādarśa, Madras
edn., 3/120 cd] This type of enigmatic composition is termed durvācaka-yoga in Vätsyäana's Kāma-8Ctra. Cf. durvácaka-yogā iti / sabdato érthataś ca duḥkhenocyata iti durvācakam | tasya prayogāḥ kridarthā vādārthāš ca yathā Kāvy ādarse [?]
damstra-'grarddhyā prāg yo drāk kşmām ambv-antaḥatbām ucciksepa | devadhruškşid dhy stvik-stutyo yuşmān so 'vyāt sarpāt-ketuḥ | |
(Vātayāyana's Kama-sutra with Yasodhara's Jayamangalā, 1/3]
[damsträ-'grasya pddhyā drāk sighram devän druhyantīti devadruho 'surās tān kşiņotīti devadhruškşit / hi pădapūrañe / rivigbhiḥ stutyaḥ sarpān attīti sarpāt Garudah sa ketur dhvajo yasyeti 11
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