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92
TILAKAMANJARĪ OF DHANAPALA
accord, etc. Dhanapāla speaks of the diverse tastes of the people whereby some take delight in the speech full of prolific sense while others take delight in the tersely laden sentiments of a Kathā. Some have an appeal for the Qualities such as perspicuity ctc. whereas some have a penchant for all these.
Almost all the nine Rasas find their place in the prose romance of Dhanapāla. Srngāra in its two fold aspects forms the main sentiment of his romance which deals with the theme of love at first sight of the two couples Harivāhana and Tilakamañjarī on the one hand and Samaraketu and Malayasundars on the other hand, their subsequent separation and final reunion after vindication, through ordeals abounding in pangs of separation. Sambhoga or love in union and Vipralambha or love in separation, the two main subdivisions of Srngāra (Erotic) along with their dependent determinants and the excitement determinants, emotions and ensuants have been fully illustrated through the development of feelings of attachment between the two couples. Sambhoga Srngāra is even discernible in the mutual attachment and devotion of Meghavāhana and Madirāvatī, as also of Meghavāhana and other ladies of the harem.
Free from fears of inner upsurges and outer revolts, having devolved the burdens of his regnal duties on able minister, Meghavāhana indulged in all types of physical enjoyment, fully engrasped by Cupid. In that way he used to ensue a battlefield of sexual sport, wonderful and attractive through the employment of grand devices such as showers of flowers being sprayed on him by the mind born one, feeling the sense of horripilation saturated with perspiration caused by ceaseless exertion, having jewel bracelets resounding through stroke of the hands, with surface of his pate glistening during the process of grasping of locks, with lips clutched by biting with the tips of teeth, quite in restiveness, with impatience for (copulation) in creating through twitters of the pleasure birds as if they were the culogiums of the bards straining aloud the tunes of music, accentuated by the clanks of anklets and jingings of ornaments of the Loving maidens scanned with glee by the tutelary deities quite curiously.?
Kādambarī Introductory Verse 8. p. 5. Krishna Mohon Shasrti Chowkhamba Sanskrit Series office varanasi, 1953. केचिद् वचसि वाच्येऽन्ये, केऽप्यशून्ये कथारसे। afa TÙ WAIGIT RII:
H ll-TM Introductory Verse 37 Vol. I. p. 32. Botad ed. p. 3. L.D. Series ed. p. 5. NSPE, 1938. ed. (146) 2. आत्मनापि निश्शेषितारिवंशतया विगतशंक: स्वधर्मव्यवस्थापितवर्णाश्रमतया जातनिर्वृत्ति:
पर्यवसिताखिलप्रारब्धकार्यतया निराकुलमनास्तकालं मनःपुरीमनुप्रवेष्टुकामं कार्मुकधारणापराधविलक्षमनसं
