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INTRODUCTION
is also fonnd in one of the Dwā. of Siddhasena also. The only difference in the description found in Kālidāsa on the one hand, and Siddhasena and A$va-Ghosa on the other, is that while Kalidasa being an advocate of the order of the four Aśramas has infused the sentiment of joy in those pictures, Siddhasena and Aśva-Gboşa, on the other hand, being followers of religions that advocate complete renunciation as the ideal of mankind in this life, created an atmosphere agreeing with renunciation and asceticism and described the tragic scenes of the abdication of home by Buddha and Mahāvīra and the consequent sadness and disappointment of the women who had gathered to have a last lingering look of these mighty ascetics
While reading the second Dwā. written in Vasantatilakā metre, the reader is at-once reminded of the famous stotras Bhaktámara and Kalyāņa-Mandira. The similarity of these two Stotras with the second Dwā. is really great in point of words, style,
1 Dwi. 5. 10, 11. The tenth verse is influenced by the sixth verse of Sau. canto. 4th:
"अपूर्व शोकोपनतलमानि नेत्रोदकक्लिन्नविशेषकाणि ।। falamigiaramhafa feargalergiqua 11" Dw&. 5.10. “सा खेदसंखिन्नललाटकेन निःश्वासनिष्पीतविशेषकेण । faana yaar met HTC#47 fangarat 11" Sau. 46. 2 Compare Dwa. faz f7 (2.87 with Bhaktămara 15
aud Kalyana Mandira 20. Dwa. Ut etc. (2/23) with Kaly&. 11, 15 For style compare Dw6. 2/15 with Bhakta. 29 & Kalya. 7 For similar ideas compare Dwd 2. 27, 28, 29 with Bhakta. 17, 18, 19.
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