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12
T. S. Nandi
तथाविधं द्विजं दृष्ट्वा निषादेन निपातितं । ' ऋषेर्धर्मात्मनस्तस्य कारुण्य समपद्यत ।। १३ ॥ ततः करुणवेदित्वादधर्मोऽयमिति द्विजः । निशाम्य रुदती क्रौञ्चीमिदं वचनमब्रवीत ॥ १४ ॥ 'मा निषाद प्रतिष्ठा त्वमगम: शाश्वतीः समाः । यत्क्रौञ्चमिथुनादेकमवधीः काममोहितम् ' ॥ १५ ॥ तस्येत्थ ब्रुवतश्चिन्ता बभूव हृदि वीक्षितः । शोकातेनास्य शकुनेः किमिदं व्याहृतं मया ॥ १६ ॥ चिन्तयन्स महाप्राज्ञश्चकार मतिमान् मतिम् ।। शिष्यं चैवाब्रवीद् वाक्यमिदं स मुनिपुङ्गवः ॥ १७ ॥ पादबद्धोक्षरसमस्तन्त्रीलयसमन्वितः
। शोकार्तस्य प्रवृत्तो मे श्लोको भवतु नान्यथा ॥ १८ ॥ 'The record as is read is sufficiently clear. Valmiki, a man prone to . poetic susceptibility is confronted with a situation, an event howsoever trivial it may look to anybody else. It gets into his mind. He is immediately personally moved to the roots. This triggers his imagination and like a flash of lightening poetry is born. The poet himself is dazed at this subtler event, the birth of poetry. 'kimidam vyabrtam mayari is the enternal question a poet asks to himself whenever he becomes an instrument in the hapds of some unknown authority which almost pushes him in drafting the lines of poetry. It is a miracle ! The stimulus is provided and the response is recorded. The world at large, a wolrdly event, makes for the stimulus. The creative spirit of the poet encounters with it, reacts intensely o tthe event and embodies his reaction in words of poetry. The poet consciously or unconsciously is having his interaction with the situation. Somerset Maugham observes1, “The author does not only write when he is at his desk. He writes all day long, when he is thinking, when he is reading, when he is experiencing Everything he sees and feels is significant 10 bis purpose and consciously or unconsciously, he is for ever storing and making over his impressions". Margaret Bally1 observes : "Without the stimulus and variety offered by contact with pature and the world about him, his, (artist's) work would tend to become monotonus and devitalised and would grow too subjective in character". Sickertl emphasises the need for "cumulative and silent observation.... a manrer of breathless listening, as it were, with the eyes, a listening extending over a long series of years." Marine writes 1 "See ms to me the true artist must perforce go from time to time to the elemental big forms-Sky , Sea, Mountain, Plains-and those things pertaining thereto, to sort of re-true bimself up, to re-change the . 1. The quotations are based on Krishna Chaitnya, "Sanskrit Poetics", Chapter 2,
pp.34-37 (Edn.65).
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