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Bhāgavata X.62-3 and Harivamsa II.116-28 practically cover all the events incorporated in the poem Usāṇiruddhaṁ. A close comparision of the narration of events in this poem with the versions of Bhāga. and Hari. clearly shows that our author is following Bhaga; and some of the specific events (like the reference to Gandharva marriage, the spelling Kottavi and not Koṭṭara) indicate that Harivamsa also might have been used. So far as the facts of the story are concerned, Bhaga.' X.62. 12-35 may be compared serially with Ușa.i.16-75: the two sections exactly correspond with each other. The opening setting (Uṣā.i.1-16), the dramatic and dainty addresses in the mouth of Citralekha in response to the observations of Uṣā and Aniruddha (Uṣā.i.36-8, 42-5) all these belong to our author. Bhaga. X. 63.2 to 52 supplies the events for the next two cantos; and the portion corresponding to verses Nos. 2430 of Bhaga. X. 63 is lost in our poem at the end of Canto Two as noted above. Description of Narada and his talk with Krsna (Uṣā.ii.1-8), the picture of Bāņa marching to the battle field and his conversation with Kṛṣṇa (Uṣā.iii. 3-19), description of the Avataras (Uṣā.iii.29 etc.), Kṛṣṇa's compliments to Ïśvara (Uṣā.iii.40-6), glorification of Kṛṣṇa by Bana (Uṣā.iii.50 etc.) : all these are additions by our poet. In the Fourth Canto there are no events of the story as such. The canto opens with the description of ladies and their reflections when Ușa and Aniruddha entered into Dvārāvati (Uṣā.iv.1-42); then we have an elaborate description of the amorous pleasures of the married couple (Uṣā.iv.46-52); and lastly there are the reflections of the prince on the rising moon addressed to Uṣā (iv.53-80) all these belong to our poem alone. Our author wants not to enumerate the events but to present them in a delicious manner like an artistic poet; and it must be said that
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