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Ašvaghoşa's Kavyas : An Alankarika Appraisal
95
seka=manas; sapta=rājyāngas: sapta=rāja-dosas; pañca=upāyas; trivarga=dharma, artha and kāma; tri-varga = mitra, satru and madhyastha; dvi-varga=nīti and anīti; dvi-varga=kāma and karodha.]
Sometimes the verb-forms are arranged in a rhythmic pattern as in the following :
ruroda mamlau virurāva jaglau babhrāma tasthau vilalāpa dadhyau [ cakāra rosaṁ vicakāra mālyam cakarta vaktram vicakarșa vastram || (Sa undara-Nanda 6/34]
This verse contains twelve finite verb-forms in lit. It is remarkable that the alternate arrangement of-a-forms and-au-forms in lit-nal of the different roots obviously aims at producing a spontaneous (aprthagyatna-nirvartya) rhythmic effect.
In many cases Aśvaghoşa reveals highly sensitive wording. We might take some examples below:
srastāmsa-komalālamba-mrdu-bāhu-latābalā anstam skhalitam kācit kặtvainam sasvaje balāt 11
[Buddha-carita, 4/30] tam gauravam Buddha-gatam cakarsa bhāryānutāgaḥ punar ācakarsa / so 'niscayān māpi yayau na tasthau taraṁs tarangeşv iva räja-hamsaḥ // adarśanam tüpagataś ca tasyā harmyāt tataś cāvatatāra tūrņam // śrutvā tato nupura-ni(h) svanas sa punar lalambe hțdaye gļhitaḥ // [Saundara-Nanda, 4/42-43]
Ašvaghoşa's descriptions of the beautiful frailties of nature are exquisite in their wording and sense. Though running contrary to his professedly monastic Waltanschauung these charming descriptions are spontancus (aprthag-yatna-nirvartya) and full of literary appeal. We might quote some attractive instancs in the following :
tau deva-dārūttama-gandhavantam nadi-sarah-prasravanaughavantam/ ājagmatuh kāncana-dhātumantam devarŞimanta Himavantam āśu // (Saundara-Nanda, 10/5] bahv-āyate tatra site hi śộnge samk şipta-barhaḥ śayito mayürah / bhuje Balasyāyata-pina-bāhor vaid ürya-keyūra ivābabhāse // [Saundara-Nanda, 10/8)
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