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INTRODUCTION
31
73,82; Sragdharā (1) iii. 61; Upajātī (76) i. 1-76; Vasantatilaka (5) iv. 74-7,79; Viyogini, also called Vaitāliya or Sundarī (58) ii. 1-58. With regard to the Yati or pause, the author is not quite rigorous; and we find such violations especially between a and b and c and d. 14 Judged in the light of classical usage some irregularities with regard to the pause in the verses of long lines are noticed. 15 As in the case of Kamsavaho no Aryā is used here, though it is the predominant Prākrit metre in early literature 8. STYLE, ETC., OF THE POEM
Usāņiruddham, like Kansavaho, belongs to the class of Kāvyas or ornate poems. The author is not satisfied with the mere narration of events in the manner of epic Purānas, but he wants to serve them in a pleasant and artistic manner. The author expresses his ideas with a remarkable ease; and in many cases natural similes automatically suggest themselves to him. Now and then, especially in descriptions, long compounds are used, but on the whole the expressions are pithy and simple. The cry of separated Usă and the consoling words of skilful Citralekhā are intelligently expressed. The march of the army and the exchange of different missiles have some epical dignity about them. Amorous love is the predominant flavour in the poem; and the details of the enjoyments of the couple, before as well as after the marriage-function, are set forth in good many details. Though the author has projected an interesting scene of the confused ladies witnessing the procession of Uşā and Aniruddha, none of the sketches has any remarkable exquisiteness about it. The description of the moon, though too elaborate for the occasion, has a classical dignity about it. Many of the conventional and mythological associations of the moon
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