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INTRODUCTION Such similarities between motifs in the art of Ajanta and themes treated in Pravarasena's descriptions, though rare, bear witness to his close observation of animal life. It is noteworthy that camels are not mentioned in the Setubandha in sharp contrast to the Yuddhakānda of the Rāmāyaṇa on which the poem is based.' It is probable that camels were rare in ancient Deccan, and Pravarasena was not familiar with that animal.
As we have pointed out, the description of the eveningscene in Setu Canto 10 is followed by a portrayal of the amorous activities of the nāyikas aided by their maiden messengers, a theme introduced by Pravarasena, probably for the first time, in the structure of a Mahakavya. As a matter of fact, he brings in the spirit of the Gathasaptasati in this Canto; and for this purpose seems to draw on the rich fund of Prakrit erotic poetry from which the Gathasaptasatı itself was compiled. In any case there are some striking resemblances between certain verses of the Gathasaptašati and Setu Canto 10 in the treatment of these topics. For example, GS 2.982 is practically a variation in direct speech of the Setu verse 10.679. Similarly, GS 1.87 expresses in direct speech exactly the same idea as that conveyed in Setu 10.774. The
1 Cf. Rāmāyana 6.47.23;48,38; 53,28 etc. 2 See N. S. ed, with comm. of Gangadhara. 1889. 3 In the GS verse the duti speaks to the nāyaka about the nāyikā :
बहसो वि कहिज्जन्तं तुह वअणं मज्झ हत्थसंदिह ।
ण सुअं त्ति जम्पमाणा पुणरुत्तसरं कुणइ अज्जा ॥ Pravarasena says : 'what the messenger girls reported openly, returning after meeting
the lovers, the young women caused to be repeated again and again... ' 4 GS has 3705F3Anug TFA FIFOTOT 1937FF
पुट्ठपुलउग्गमो तुह कहेई संमुहठिअं हिअअं ।। Pravarasena says: The constant thrills of the young women assured their beloved that their anger was appeased, and their hearts favourably inclined as they sat looking straight ahead.' The South Indian reading parao-hutta-nisanno, i.e., parām mukham ni sannah for purao-hutta-brings the Setu verse into even greater harmony with the GS which has parammuhi. The commentator Madhava seems to have been aware of the parallelism of the two verses, as he uses the expression prsthapulaka corresponding to putiha-pulaa of the GS verse.
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