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4 DWĀTRIMSIKĀS OF SIDDHASENA
171.
lucidity and imagery, but the difference is also striking. In the Dwā of Siddhasena, there is the atmosphere of philosophy. which is quite remarkable", while in Bhaktāmara and Kalyāņa-Mandira, there is no atmosphere of philosophy. If Siddhasena would have been the author of Kalyāņa-Mandira, as is. generally supposed, that Stotra would inevitably have been influenced, somewhere at least, by philosophical ideas - which is the very characteristic of Siddhasena.
The beginning of the third Dwa contains the idea of Purusottama. It is in this Dwā. that Mahā vīra. is identified with Purusottama. This idea of Purnşottama can be easily traced to the Gîtā ( Chapter 15 ) as well as to the Yoga-Sūtra, in which latter the idea of highest Paraşa occurs ( in 1. 24. )
While reading the 4th Dwa written in Vaitāliya metre, the reader is naturally reminded of the 4th Canto of Kumāra-Sambhava, and the 8th Canto of Raghu Vamsa, in which the lamentations of Rati and Aja respectively are described. It is true that the subject-matter of these three poems is different but the style and manner of the Dwā closely resembles that of Kālidása. It also reminds the reader of the 8th Canto of Saundarānanda of Asva-Ghoşa. the subject-matter of which is the murder of a woman.
All the five eulogistic Dwă. are together published one after another in the present available edition. How. ever, looking to the beginning and the end of alb these Dwā. it becomes clear that originally they were
1 Dwā. 2. 19, 22, 25, 31.
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