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himself blind-folded by his own smoke. Here the first two lines give an effective word - picture of the frightened heroine Ratnavali (Act IV) caught in the midst of that fire. In this verse, we are told, the word 'Te' suggests that the eyes of Ratnavali, full of charming graces are vividly remembered by the King. This suggests the intense pathos in the poem. Anandavardhana remarks that the word 'Te' in this verse illustrates how a word may be endowed with a lot of Rasa.
The next verse (82) illustrates how even a Tyadyanta or termination or a padamsa can suggest subtle senses. The verse - Mā patham etc. (Ma panthanam rundhi mama apehi etc.) means: "Don't block my way, get away you childish and shameless fellow; we have to guard this vacant house." Here Apehi (a Tyadyanta) suggests 'you are immature since you are betraying our secret (relationship) in the midst of people; (for) you should come to the vacant house'.
The next verse (83) Talaiḥ etc. illustrates how a Bahuvacana (a part of a word - Padaikadeśa) can be suggestive. The verse is from the Meghaduta of Kalidasa (2. 16), and shows that the wife of the Yakṣa was adept in various Talas (timing. beats); this word Talaiḥ, therefore, intensifies the love in separation. Similarly, in the following verse (84) in Likhannaste... the present participle (Likhat) which terminates in (At) and the locative case in Bhūmau are both highly suggestive - Likhan suggests that the repentant hero is still sitting and is bent upon sitting till he is pardoned and Bhumau suggests that he is totally at a loss. In the same way, in Anyatra vraja balaka (Annattha vacca V. 85) "Go away, do not see me when I am bathing; this place is not for those who are terrified of their wives." Here Etat sthānam is suggestive of the romantic nature of the place. Again, the taddhita termination 'Ka' (in Jayabhiru-ka) suggests that the woman utterly condemns the man who is terrified of his own wife and thus for losing the fun of secret love. Similarly in verse 86, Ayamekapade etc. from the Vikramorvasiya (Act IV. 3) the two 'Ca's
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