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Review
184
- This does not of course speak for any lack or absence of charm, delicacy and some intoxicating sweetness in the muktakas in the eleven titles in which the work is divided. The principal of course is the first one in 46 pages and 405 mulitakas. It is entitled #forteat and after it the book is given the same title. As the other titles-AHETA:, festa Teat:,
starfa, qaf4T, Touaren, garšata etc. show, there is ample of variety and the reader would atonce be drawn to these muktakas.
कापिशायनी
The fact has conceded and it is clear that in both content and style, as also in sentiment and thought, the poem is influenced by the famous Rubaiyat of Omar Khayyam. He also seems to have been influenced at places by Mirza Ghalib, as also Urdu poetry of some others. It would not yet be just to call this work an imitation; it is at the most deyafaa in the words of Rajasekhara, The writer tries to keep intact the Indian values and Indian atmosphere as far as possible. We here enjoy the Kavya as being thirst for the Divine as the thirst for wine, through the pain of love; the Divine being conceived as the beloved at whose hands them after Truth seeks the cup of wine. The poem is in Vaidarbhi Riti. It is therefore to the point in development of idea, lucid, sweet, full of depth of love and spiritualism and yet simple and easy to grasp. Suggestion being the soul of poetry' is mostly preserved in the poem and in some verses the camatkāre of Dhvani attains to lofty heights. Quite properly f, faut a: and 994 etc. are punned and yield two meanings-the love of man and woman and the love of man for God, his struggle and efforts at spiritual uplift of Self and God-realisation. The difference between the dry wife and the f a af is also on the same lines.
One would wish that the other smaller poems and muktakas were of the same lofty poetic height; sweet emotional experience and lofty philosophical revelation. Unfortunately that is not so, though featured: and TSHTET are a romarkable succoss. Some of the muktakas in Harga: are enjoyable in their beautiful poetic thought and effective miniature painting, Some of the muktakas in taraf are nice.
In the titles mentioned above, the style of the poet is simplo, lucid and natural at places; his imagination now and again scales good poetic heights. His effort at writing a beautiful love poom in 'Yavanika' has not encopeded much and there is not much trace of the fino love-story of Jag appatha in it. His the fara written with great and conscious effort, fail to bring in the charm, music, delicacy and sweetness of the Gazal,
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