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(16) Murder of the hero by the villain. (17) The wife inducting religious faith into her husband during the last
moments of his life. (18) The widow of the hero fleeing to a forest to safeguard her
womanly honour and marital chastity. (19) A wild elephant and a lion becoming subdued by the power of
the heroine's chastity. (20) Birth of a son in a forest. (21) Transfer of a ring as a means of recognition in future. (22) An elegy by a wife in memory of her deceased husband at the
time of child_birth. (23) A wild elephant tossing the heroine who is caught in the air by a
Vidyadhara. (24) Ajust-born child found by a childless king in a lonely creeper
bower. (25) The heroine taking advantage of a passionate Vidyadhara in
reaching to safety. (26) A prayer to Jina, (27) Religious instruction advocating the life of abstinence. (28) Revelation of past births by an omniscient saint. (29) A god descending from heaven and saluting a woman first in
preference to an omniscient saint. (30)
Power of religious discourse in ridding a person of passion in the Power
case of a Vidyadhara. (31) Religious conduct of the heroine after she is initiated as a nun. (32) Advocacy of retirement and renunciation by parents when the son
comes of age. (33) A royal father's advice to his prince at the time of the latter's
coronation. (34) Description of the Sarad season. (35) A royal elephant going mad and running away to the forest.
A conflict between two kings for the sake of a royal elephant. (37) Intervention by the mother in an armed conflict between her two
sons who donot know each other as such. (38) Passing over the kingdom to one's younger brother and oneself
taking to renunciation. (39) Description of womenfolk madly rushing to the windows to see
the prince in procession entering the city.
Before we can decide about the originality of our poet, we should find out which of the above motifs he has borrowed from some predecessors and which he has invented himself.
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