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31 THEA-86 • 11 the denotative or referential words, especially the common vocabulary or the technical jargon of the field (important though they are), but the particles etc. A clever person can imitate the common vocabulary and technical jargon, but while he is busy doing that his 'slip? in terms of particles and syntax is likely to show. Now, if with this methodological detective consideration in mind, we study BH's poems, we find that the references to ornaments are surprisingly far and few in between. Also, they are restricted to muktā “pearls,' muktā jāla "pearl strings', mostly 'necklaces,' divyāmbara or pratanu vasana 'fine garment', kundala ‘earring,' kankaņa or lilā-valaya “bracelet,' keyūra 'arm ornament,'hāra 'necklace,' mekhalā or kāñci 'girdle, waistband,' and nūpura ‘anklet' (stanzas 7, 21, 76, 80, 97, 117, 139, 147, 183, 326, 326, 349). Further, a preference for natural ornaments is seen (e.g., stanzas 54, 134, 349, 144, 297, indirectly also 141) as in Kālidāsa. For example, in a poem reminiscent of Omar Khayyam's most well-known rubai,
“Here with a loaf of bread beneath the bough, a flask of wine, a book of verse---- and thou beside me singing in the wilderness – and wilderness is paradise now.” 28 BH says: mālati sirasi jrmbhaņonmukhi, candanaṁ vapuși kunkumāvilam / . vakşasi priyatamā mudālasā, svarga eșa parišişța āgataḥ //116/1 “White Jasmine about to bloom in her hair; sandal paste mixed with saffron on her body; my dearest one, languorous in her intoxicating youth,
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