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The Sanskrit interaction in the literary style..
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Tevar also employs the figure of speech yamaka in his work. The first seven stanzas of the Pamakal ilampakam contain the figure of speech yamaka. For instance in the following verse,
kitar puliyu mulaik kõlarly arum orna kitar mejiyak kolai ven ninaintanaiy ettik kutara målaik kuvi men mulaik kötal mallar küçära māja mayil põlak kulliyinara.1
(The ladies who wore pearl garlands on their round breasts, gathered like peacocks on balconies and domes to praise the one (Civakan) who wielded his oppressive murderous spear against his enemies, who were like male lions and tigers in a cage.)
The first word in all the four lines is 'Küear' and this word has to be analysed in different ways to give different meanings. Thus in the first line 'Kur should be separated as katu+ar (the one in the cage); in the second line as kütar (the enemies) in the third line as katu+aram (with pearl necklace) and in the fourth line as kutaram (dome).
In such places, one is reminded of examples from the works of Bharavi, Magha and the later Sanskrit kavya writers.
There are many places where the figure of speech employed obscures the meaning and is thus at best an adornment of doubtful value to the poem. The following verse, which describes the wall of the city Iracamapuram, serves as a good example
of this.
vayira varai kan vilippa pénru malaly ukaļum vayira manit talk katavu väyin mukamāka
vayira mani hayin mulai van por kotik kintal
vayirak kitonk aṭai matir kanniyatu kavine.1
(The beauty of the lady wall was such that her face was the door that looked like a mountain with its eyes open with the diamond bolt, and on which the clouds lay, her breasts were the bastion, her hair was the golden flag, and her diamondwhite dress was the moat.).
To describe the beauty of the wall, he uses the figure of speech Rupaka, and portrays the wall as a lady. Here to understand the beauty of the wall, the reader has first to understand the figure of speech he has employed and the ideas he tries to explain. Only after that can the reader understand the beauty which the author is trying to explain
5. The discussion of the descriptions in the Cc. leads on to the depiction of sentiments, which is achieved mainly through these descriptions and through the speeches and actions of the characters. The importance of Rasa or sentiment has been recognised in Sanskrit in the statement 'vakyam rasatmakam kavyam'. The concept of the importance given to the sentiment may be traced to the popularity enjoyed by driya
1 Cc. v. 2328.
2 Cc. v. 105.
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