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Notes
334. The idea seems to be that when the goddess moves about in her night-forms, she is attended by the temple Divinities (), who pour out from their mouths profuse streams of blood. It then appears that she is being fanned (s) by red cloth-pieces, being waved about her in great devotion.
335. During the dark nights of the black fortnight, when the goddess moves about, the horns of buffaloes appear like shoots put out by nights and the outstretched necks of peacocks look like sprouts ( पारोह) thereof.
181
336. Sabara couples of bluish-dark (3) complexion, bowing at the feet of the goddess, appeared darker still, as they were seen reflected in the rows of bronze mirrors. Cf. : Com.
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337. Although you look dreadful and fierce as you sport about () in your destructive form as black Night, you have a heart full of compassion and affection."
99
338. तंमिदल-वस्त्रदल-Wearing leaves only to serve the purpose of a garment ( तंमि ) .
In a Kulaka of 9 Gāthās (339-347) the Poet describes the King's despondent thoughts and feelings at the sight of a dead body, rotten and reduced to a skeleton. It has no doubt a Shakespearean touch about it.
339. The bony skeleton, having remained rotting for a long time (g), has turned reddish-brown. The Poet queries that it may be due to the fact that the fire of anger, that he had felt when alive, still persists in his heart even when dead, thus giving a tawny tinge to the rotten body of bones.
340. The portion of his forehead is filled with wriggling clusters of worms. The Poet imagines that they are, as it were, lines of wrinkles drawn on his forehead, when he knitted his eyebrows in an outburst of laughter while alive.
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341. His one-time round face is now covered with thick dust, heaped up in curly patches in the absence of any oily ointment ( ओलिभाभाव ). The same, however, reminds one of thick application (faffa) of sandal paste to lessen his pangs of love-torment (f), while he was living.
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