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112
KUVALAYAMÁLA
sāmudra-stāstra (§ 216), dhātu-vāda ($ 311) etc. He is quite conversant with traditional and contemporary philosophical tenets ($ 320 f.) and religious practices ($ 157), modes of worship (say that of Kātyāyanī, $ 32), customs and rituals ($ 286) etc. His similes are homely and apt (113.22 f.) drawn from various walks of life and different layers of literature and mythology ($ 19). His work thus reflects the entire society more than an isolated socio-religious sector to which he might belong. He has an open eye for everything, and presents the same in a catching manner. He depicts in a pleasing style a number of scenes noticed by the prince when he enters Vijayāpurī (S$ 243 f.).
Uddyotana has introduced many episodes which are instructive, engrossing and entertaining. He has a keen insight into the workings of human mind; and his experience of human relations and patterns of behaviour is realistic. The way in which Mānabhața behaves while striking a Pulinda prince who unintentionally occupied former's seat in the Durbar of Avantivardhana is typical of feudal vanity ($ 98). Kāmagajendra's love-madness is well caricatured; and he is duped in his trap for his spiritual benefit (358 f.): his love-mad mood and his transportation to Aparavideha are a fine study in contrast. The activities of kāmini-sārtha ($ 158), the conversation between the taruna and yuvati (161) and the dedicated love of a self-willed lady moving about with a purdah (§ 163) are remarkable for their erotic touch which gets diluted as it were by a fine comparison, in that context, between the behaviour of monks and courtezans (8 160). The first night of Kuvalayamālā and Kuvalayacandra and the arbitration of friends on the robbery of heart is skilfully worked out ($ 275). If the meeting of Kuvalayamālā and Kuvalayacandra in the park, even with previous appointment, depicts a tense mood of the loving parties ($ 269 f.), the scene of Vyāghradatta and Mohadatta fighting for the hand of Vanadattā has a thrilling effect: all this becomes simply tragic when the gifted monk discloses their mutual relation ($$ 151 ff.)
Uddyotana has a balanced mind for logical deduction (about the sound etc., $ 269) and a sense of humour. The latter is obvious when the king cuts a joke (15.12) even with the goddess who is sportive enough to take it as a parihāsa and bless him with the boon of a son. Likewise, Ananga's enacting a countersituation by presenting a dead body of his beloved (Māyādevī) and by declaring that she eloped with (dead) Priyamkara is at once amusing but effective enough to bring Sundarī to her senses and to herald the dawn of enlightenment about the vanity of attachment and inevitability of death ($ 349 ff.). The conversation between the Prince and Bhillapati is logical and jocular enough to bring out a serious conclusion and correct understanding ($ 228). Uddyotana has a knack of probing into the minds of his characters and then give out fine specimens of loud thinking ($ 256). To this category belong the thoughts in the minds of men and women who are witnessing the prince and the princess on the back of an elephant ($ 287 f.).
Uddyotana is primarily a religious moralist, out to teach lessons in good behaviour. He is endowed with deep learning, wide experience of men and matters, mastery over catching expression and entertaining style and earnestness of purpose. As such, he deserves to be ranked, as the author of the Kuvalayamālā, with the great classical writers of our country.
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