Jinamanjari 1995 09 No 12

Author(s): Jinamanjari
Publisher: Canada Bramhi Jain Society Publication

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that they raise, the music of the trumpets and the wardrums, their fearful march which sometimes is said to throw into choas the entire earth-all these are vividly described (8.89-92, 12.82-87 and 70.63-71). There is similar description of marching soldiers of Ravana and Rama respectively (56.77-44 and 57.1-27)
There is a fierce neck to neck fight between the armies of the vanaras and the raksasas. Various critical positions arising in the battle field follow in a picturesque succession (61.32-42). Some soldier entagled in a serious fight catches his sword between his teeth and girds up his loins with both his hands. Soldiers challenge one another during their fight and pounce down upon one another with fury and rashness [61.31-41].
The operation of various weapons is described (71.23-33). Fire sparks are emitting from the striking weapons. Crackling sound is heard. The horses, elephants and chariots are seen without their riders. Banners have been torn off. It also contains a loathsome description of the soldiers wounded and killed in the battle.
There is variety in the description of hurling of missiles and counter missiles by the fighting parties (12.126-130; 59.60-66; 61.4348 and 71.60-68), but they all are described in the same pattern.
Another variety is introduced by describing individual fights between Vaisravana and Ravana (8.110-120), Ravana and Indra (12.131-137), Rama and Ravana (61.64-68). The fights between laxmana and Kharadusana (45.9-11), Indrajit and Sugriva (59.52-56) and Laxmana and Ravana (71.51-57) are usually preceded by challenge and counter challenge.
The poet has enhanced the effect of the heroic sentiment by the use of onomatopeia and rhythmic devices. The commotion in the battle field has been vividly represented by sound effects. Action and movements of soldiers, their marching and rushing at each other has been caught successfully (53.107-113) & [53.10-113].
Figures of Speech
The work is resplendant with upamas (similes) and rupakas (metaphors). Those occuring in the preceding descriptions etc. have
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