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Kannada Literature / 147
model for the Jainapurāņa. The traditional five auspicious events, pañca-kalyāṇas in the career of a Tirthankara (the conception, the birth, the exit, attaining omniscience and the final release from bondage by mākşa) and the celebration of these events. The last quarter of the Adipurāņa is devoted to the celebrated story of Bharata and Bāhubali, that reminds and partly resembles the episode of Duryodhana and Pāņdavas. Bharata and Bāhubali respectively symbolising the lust for power and the eternal delight in renunciation.
5.6.2.1. Pampa is highly indebted Jinasēna's Adipurāna, but he soars to greater heights of poetic excellence. Jinasena is primarily a religious preceptor, an unparalleled Nirgrantha patriarch of the age, and secondarily a poet of eminence. But, Pampa is primarily an eminent poet and secondarily a Jaina śāstrakāra. Pampa has produced poetry from the tip of his quill, just as Śiva produced the Ganges from the tip of his top knot. Kannada language and the campū style reached its perfection in his hands. He has employed the standard dialect spoken around Puligere. The poet is convinced that the excellence of his diction has enhanced the power of speech of goddess Sarasvati!
5.6.2.2. Pampa is not an escapist, he does not denounce the profane life outrightly. He positively advocates a life of pleasure in the company of women, who are a moving creeper of ananga, the cupid. In one of the final benedictory verses of his epic, while enunciating the benefits or reading his kávya, he wishes the reader to derive the satisfaction of spending happy time in the company of the desired woman; but that is not the end of everything. He has greater things to say. Thus his poem is the greatest epic in Kannada literature. Pleased by his achievement and contribution, Arikesari-II, sent words, seated him by his side on the throne, granted maid servants, villages, ornaments of pañca-ratna for daily use, excellent dressess, cattle-all in plenty. Crowning all this,
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