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One's own beauty is adornment enough (7.63). As the king, so is the subjects (105.106). It is useless to hold a lamp to the sun (70.27). At the time of one's doom wisdom vanishes (53.138).
Conclusion
On the basis of the above analysis we may conclude that in the PCV there are the lingering traits of the puranic and the Agama style. The figures of speech specially of those other than the similes, metaphors and onomatopoeia are in their rudimentary stage. Even in the similes and metaphors the poet is mostly conventional, but he has decidedly excelled in bringing out onomatopoeic effects. His claim 'visuddhalaliyakkharaheujuttam' (118.01) is quite justified. The rasas frequently have failed to reach the culmination which they attain in the ornate works of classical age. The poet has not followed the style of the classical ornate poetry, rather he has deliberately adhered to the popular style so that he might catch the attention of the general people.
The work does not fulfil all the requirements of a mahakavya, but there are elements such as the theme being that of a puranic hero, charming descriptions of nature and human world; planning of systematic cantos; 'stuti' in the beginning, 'asirvacana' at the end of the work and the change of metre at the close of evry canto.
Thus Vimalasuri was the first author among the Jainas, who presented a' puranic narrative into the charming poetic style.
REFERENCES
1. See the Journal of the Oriental Institute, Baroda, Vol. XIII, No. 4, pp. 378
386 (June, 1964). 2. It is only at 1.90 & 1.18. 101 that the work is named 'Ramadevacariyam'
and 'Ramaravinda-cariyam' respectively and in the Prasasti it is called
'Ramacariyam' 118. 102 and Rahavacariyam' 118. 114; 118. 118. 3. 1.8. (Paumacariyam). 4. See above reference No. 1 5. Satta puranetha ahigara, 1.32; ettha Puranammi vinniya (Prasasti 118. 111). 6. Puratanam Puranam 1.21. 7. 2. 134. 8. 4.3. Seel also Mahapurana (20.1. 4-5) of Puspadanta. 9. Kamatthadhammamokkha ettha Puranammi vanniya savve-118.111
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