·OBSERVATIONS ON SIMILES
IN THE
NAISADHACARITA
Sark
BY
18693
PRATAP BANDYOPADHYAY
Department of Sanskrit,
University of Burdwan.
SANSKRIT PUSTAK BHANDAR
38. BIDHAN SARANI, CALCUTTA-6
INDIA

·TIDA A BA
No part of tbus book may be translated or reproduced in
any form by pnnt, photoprint or any other means without
written permission from the author and the publisher
1966, by the author
BOMBAY-75
48693
LIBR
ARY
First Edition, August, 1966
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TTI
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EIL.
Published by Sri Shyamapada Bhattacharjee Sanskrit Pustak
Bhandar, 38, Bidhan Sarani, Calcutta-6, India and printed
by Sn D. P Mitra, at the Elm Press, 63, Beadon
Street Calcutta-6, India

·Dedicated
to the departed soul of my revered grandfather
the late
BANKIM BIHARI BANDYOPADHYAY
and
of my revered maternal grandfather
the late
RASIK CHANDRA RAY GHATAK
from whom came to me
the first inspiration in the line of
advancement of learning.

·उत्सर्गपत्रम्
विद्यासागरसकते विचरता पारान्तरं ध्यायता
संमूढेन मया न कापि तरणी तावत् समासादिता।
कालेऽस्मिन हृदयं भयातपुरुषो तावेव सास्मयंते
बाल्ये प्रेरणया यतः समभवद यात्रा ममास्मिन पथि ।।
वाणीपादसरोजभृङ्गमनसोः क्षेमार्थमस्मान् सदा
स्निग्धप्रेरणया प्रयोजितवतो देव्याः समाराधने ।
कालेनापरपारमापितवतोः संसारपायोनिधे
न्यस्तोऽयं भवतोः शिवाङ्घि,कमले भक्तिप्रसूनाञ्जलिः ।।
नेपा ज्ञानप्रकटनकृते जायते मे समीहा
निष्प्रज्ञत्वात् खलु परिभवः प्रापणीयः सुधीभ्यः ।
विद्यासक्ते रपि च भवतोः केवलं तृप्तिहेतोः
शङ्कादोलाविचलमनसा कर्मणीह प्रवर्ते ।।
बोधः स्वल्पो नवमथ वयो दीनता कर्ममार्गे
द्वारे द्वारे न तु भवति मे स्वेष्टसिद्धय प्रवृत्तिः ।
तस्मादाशी यदि भवति वां यातयो देवभूयं
कुन्दभ्रान्तभ्रमरसदृशो नैव विश्वग भ्रमामि ।।
कालः सर्वजयीति खल्वभिमतं प्रज्ञावतां यद्यपि
स्नेहं शाश्वतसूत्रबद्धहृदयं त्वस्मादृशो मन्यते ।
भावप्लावविलुप्तभाषणमतो दीना कृति न्य॑र्यते
स्वर्गेऽपि प्रमदाय चेद् भवति सा धन्या वयं सर्वथा ।।
एतस्माद् भुवनाद् विधे विलसितं यद्यप्यनैषीद युवा-
मात्मानं त्वविनश्वरं न हतवद व्यक्त्तव वां संस्थितिः ।
अक्षम्यै सुलभाय पुण्यनिलये शान्ति यथा शाश्वती
गौरीशङ्करपादवन्दनविघौ नित्यं तथा प्रार्थये ।।

·अवतरणिका
"वागर्याविव सम्पृक्तो वागर्थप्रतिपत्तये ।
जगतः पितरौ वन्दे पार्वतीपरमेश्वरो" ॥
भक्त्याचार्यान, नमस्कृत्य परिगृह्याशिर्ष हुदा ।
नषधीयोपमातत्त्वं किञ्चिदत्र विचायते ।।
क्व न्विदं गहनं काव्यं क्व वाहमतिमन्दधीः ।
चापल्यं मे बुधश्रेष्ठः क्षम्यतामनुकम्पया ॥
दोषाः स्यु बहव श्चास्मिन्नपाटवं स्फुटं तथा।
दिनेन्द्रस्य हि यज् ज्योति नं तद् दीपेषु लक्ष्यते ।
"संसारविषवृक्षस्य द्वे एव मधुरे फले।
काव्यामृतरसास्वादः सङ्गमः सुजनैः सह ।।"
तस्मान्मे व्यापृति पॅयं नन्दनाय सचेतसाम्
सफला सा न वेत्यस्मिन् 'विचारे प्रभवन्तु ते ॥
नाशा मां महती कापि प्रणोदयति कर्मणे।
भारतीचरणाम्भोजसेवामानं विधीयते ॥

·FOREWORD 1 The Naişadhtiyacarita or Naişadhacarita of Sriharşa has a place all its own among the Malākāvyas in Sanskrit literature. In nobility of theme, delineation of characters, perfection of rhythmic expression and depth of thought it has set a standard for others to follow. That its author was at once a philosopher and a poet is amply borne out by the wealth of wisdom it contains and the beauty of expression it manifests. Though we have gloated over its excellence and extolled it as a supreme work of poetic art, unfortunately we have not tried seriously to plumb its depths. Critical study of the works of Sanskrit poets is a rarity and hence a true evaluation or assessment of their work is hardly found. It is, however, a pleasure to find that young scholars in Sanskrit have turned their attention to intensive critical study of the great works of Sanskrit poets of the past. The present monograph of Prof. Pratap Bandyopadhyay is an instance to the point. He has made a very deep and detailed study of the famous work of Sriharsa and has tried to cull out the beauties and special characteristics of the similes employed therein by the poet. Though the scope of Prof. Bandyopadhyay's work is very limited as he concentrates only on 1 ·(x) onc alurikára, yet it holds up the poct in a new light which adds to our awe and admiration for him as we leam of the wealth of wide varicty of his similcs. Upamă, the primary of all alarkaras, is rather the soul of Sanskrit poetry and the success of a poct depends on the apt and dcft use of this alırköra. Nobody an doubt that Kalidasa cnjoys thc uniquc position among Sanskrit pocts mainly because of thc excellence of his similcs. But wc often forget that Unutú was not thc privilege of Külidása alonc. Other pocts also have cmployed ihc beauty of similes successfully and Prof. Bandyopadhyay has donc a great service in drawing our attention to thc cccllcncc and varicty of similes in thc Niisudh.scarita. This will help not only in making a new assessment of the great work of Sriharkbut also encourage students of Sanskrit litcrature to make such intensive study from different points of view of this work and similar other works of Sanskrit pocts of cmincncc. Prof. Bandyopadhyay, bcforc dealing actually with the Xisadhucgrill., has made a luablc dis. cussion about the importance of alikira in roctry. He has used the term upami in a broader 100 coscring under it all olekurus based on similarity. He has also taken pains to prove that though Sriluarga flourished in an age of declinc of Sansirit poetry when artificial construction and complet word.play happened to be criolled, he rose above the spirit of his act and made a ·distinct contribution to real poetry. Whether one agrees or not with the views of Prof. Bandyopadhyay, one would certainly be struck by the sincerity and zeal with which he has studied this great poet for a correct and genuine appreciation of his work. BURDWAN, 25.3.66. Govindagopal Mukhopadhyaya, Professor and Head of the Department of Sanskrit, University of Burdwan.

·PREFACE Sriharşa's Naişadhacarita does not require any introduction to the students of Indian literature. Though he flourished in a period of decadence, as opined by some modern critics, Sriharşa has left an indelible impress on the mind of his readers. The popularity of the poem is well indicated by the number of commentaries on it. The present dissertation seeks to study the salient features of Śriharşa's similes. The origin of the use of simile can be traced to the very early period of the history of human speech. The Vedic texts show beautiful examples of conveying ideas through comparisons. The term upamā occurs even in the gveda. Right up to the present era poets, litterateurs and also philosophers have been using 1 e.g., tram agne prayata-daksinarı narari varmiera spūtar pari päsi viśratah/ svādu-kşadnā jo vasatau sjonahri jiva-yājari jajare sopama drahl/ (R. V., 1/31/15 ) sahasrasām ágni-yesirii grmise satrim agna upaman ketum aryah/ tam má opaḥ samyatah pipayanta tasmin kşatram amavat treşam astul/ (R. V., V/34/9) ·( xiv) similes and metaphors to make their statements clear, concise and more appealing. In our everyday life also we express ideas by drawing similes from prominent objects and concepts. Instead of giving a detailed description of an object we very often compare it with another known object in order to give a clear picture of the former. Any such expression, however, does not constitute an Upamă Alam kāra. In order to be an Alarlkāra it must have a striking feature (vaicitrya) which is the sine qua non of poetic expression. The uniqueness of the work of a poet lies in the fact that it makes even ordinary ideas charming (camatkāra) by endowing them with the resources of poetic art. The modus operandi of these resources varies in each poet. We have tried to point out how Sriharşa has succeeded in this field by way of commenting on the literary appeal of the various types of simile used by him in the Naișadhacarita. The first three sections of the book act as introductory to our dissertation. If Rasa be the quintessence of poetry, the use of poetic figures, it may be contended, ought not to mark the excellence of a poetical work. We have, therefore, shown in Sec. I that the importance of Alarkāras has not been denied by the different rhetoricians since they really enhance the beauty of poetry even though its soul is Rasa. Sec. II deals with the meaning of the term upamā which is the subct of our discourse. As it is necessary to have ·(XV.) a general knowledge of the poet and his works before studying a particular aspect of a poem, a short introduction to Sriharsa and his conception of poetry has been given in Sec. III. The next section forms the discourse proper, viz., on the salient features of the similes used in the Naişadhīya, while the last section presents a general conclusion It has to be remembered that nothing said by a particular writer on a subject can be accepted as the last word on the same and it is more so in the case of a literary appreciation which is bound to be primarily subjective. Our comments may not, therefore, necessarily tally with the viewpoints of others. Disagreement is always welcome : yyākhyā buddhi-balāpekṣā så nopeksyā sukhonmukhi./A We have, however, abided by the texts and have relied less on the commentaries except when necessary to support our contentions. This will also account for the brevity of our comments. A few verses quoted and explained in the book may appear to ome to be too erotic and as such amounting to be vulgar. It needs to be remembered here that literary standard varies from period to period and it is vitally related to the radical change in society. What appears to be vulgar today did not appear so a few centuries back to the 1 Naişadhiya, XV1I/50/C-D.

·( xvi) poet who wrote it, nor to his readers. Besides the standard of vulgarity in art or literature is not the same as that in actual life. Had it been so, world literature would have left a void in its forum What is avoided or omitted in real life is beautifully depicted in art and never does it appear to be vulgar. Herein lies its uncommon charm. The basic condition of aesthetic pleasure is that the Sámājika has to be oblivious of his external bindings. The charge of yulgarism does not, therefore, stand. In presenting this humble work to my readers I would like to express my deep debt'of gratitude to those who have made it possible for me to undertake the publication. The work was originally in the form of an essay under the caption "Similes In The Naişadhacarita" read in the Section on Classical Sanskrit of the 26th Session of International Congress of Orientalists held at New Delhi in January, 1964. I gratefully remember Dr. Ludwik Sternbach, Hon. Professor of Dharmaśāstra and Ancient Indian Culture, United Nations, New York who presided over the Section, But for his whole-hearted encouragement and constant inspiration from thousands of miles afar it would not have been possible for me to begin writing this book, not to speak of finishing it. What I got from this well-reputed scholar at our meeting at New Delhi and through our subsequent correspondence will remain ever fresh in my memory.

·( xvii) My sincere gratitude goes also to my venerable teachers Principal Prabodh Chandra Lahiri, M.A., Ph.D., Kāvyatirtha Head of the Department of Sanskrit, Pali and Prakrit, Visvabharati, Santiniketao and Prof. Kali Charan Sastri, M.A., Kávyatirtha, Head of the Department of Sanskrit, Sanskrit College, Calcutta who have always inspired me with their invaluable words of affection that have given me much impetus to finish the work. My revered teacher Principal Gaurinath Sastri, M.A., D.Litt. of the Sanskrit College, Calcutta, in spite of his engagement in various academic and administrative activities, has revised the important portions of the work and has offered valuable suggestions. He brought for me manuscripts on Gadādhara and Cāņdūpandita from the Oriental Institute, Baroda and the Bhandarkar Oriental Research Institute, Poona. To him I am more than grateful. In getting those MSS active interest was taken by Prof. Biswanath Bondyopadhyay M.A. (double), Ph.D., Kõvyatirtha, Head of the Department of Pali, Sanskrit College, Calcutta and Sri Bijay Kumar Mukhopadhyay, M.A., Kāvya- Vyākaraña-tirtha, Librarian of the same college. I gratefully acknowledge their contribution. My sincere thanks are also due to the authorities of the above-mentioned Institutes who were kind enough to lend the MSS. . .. My revered father Sri Dhruba Chandra Bandyopadhyay has spared no pains to see through the ·( xvii: ) manuscripts and the proofs. My revered teacher Prof. Kalidas Bhattacharya, M.A., Kāvyatirtha, Head of the Department of Sanskrit, Hooghly Mohsin College, Chuchura and my sincere wellwisher Prof. Ramesh Chandra Chakravarti, M.A., Lecturer in English, Vidyasagar College, Calcutta, my colleague during memorable period of my life, have gladly revised the book and have given apt suggestions. No words would perhaps be capable to convey my gratitude to them. who was a Prof. Krishna Kanta Handiqui, M.A. (Cal. et Oxon.), ex-Vice-Chancellor, Gauhati University, whom I have unfortunately never met, has kindly permitted me to use his valuable book. "Naişadhacarita Of Śrīharşa". The English translations of the verses cited in my work (for the convenience of the readers) have been taken from that book except in a few cases where I have done it myself. I gladly acknowledge my indebtedness to him. Prof. Arunoday. Natvarlal Jani, M.A., Ph.D., Kavyatirtha, Head of the Department of Sanskrit, M. S. University, Baroda has kindly permitted me to use his esteemed thesis "A Critical Study Of Sriharga's Naişadhiyacaritam" wherefrom I have used profuse materials in my work. It was a real pleasure to me to have been acquainted with this respected scholar at our meeting at New Delhi during the Session of International Congress of ·( xix ) Orientalists. Subsequently he has heartilyencouraged me to elaborate my paper into a book and has gladly provided me with the information I wanted from him. It gives me ample pleasure to acknowledge my indebtedness to him. I pay my most respectful homage to the departed soul of my celebrated teacher the late Professor Sivaprasada Bhattacharya, M.A., Sāhityaśāstrī of the Department of Post-graduate Training and Research, Sanskrit College, Calcutta with whom I had the privilege of discussing some important points and got therefrom new inspiration., It is not possible for me to express in words my gratefulness to Prof. Govindagopal Mukhopadhyay, M.A., Ph.D., Sārkhyatirtha, Head of the Department of Sanskrit, University of Burdwan who has readily agreed to write a foreword to the book and has also offered some valuable suggestions to improve its worth. I beg to acknowledge the active help and the hearty words of hope and faith that I have always received from my teachers and well-wishers, specially Prof. Hemanta Kumar Ganguli, M.A., Kävya-Sārkhyatirtha, Senior Lecturer in Sanskrit, Jadavpur University, Prof. Rajatabaran Dattaray, M.A., Assistant Professor of Sanskrit, Sanskrit College, Calcutta, Prof. Bratindra Kumar Sengupta, M.A., D. Phil., Reader in Sanskrit, University of Burdwan, Prof. Siddhesvar Chatto- ·( XX ) padhyay, M.A., Kavyatīrtha, Senior Lecturer in Sanskrit, University of Burdwan and Prof. Brahmananda Gupta, M.A., Ph. D., Department of Post-graduate Training and Research, Sanskrit College, Calcutta. To my friends Prof. Panchanan Ghatak, M.A., Lecturer in Sanskrit, Krishnath College, Berhampore, Prof. Dipak Ghosh, M.A., Lecturer in Sanskrit, Anandamohan College, Calcutta and Sri Kartik Chandra Saha, M.A. I convey my hearty thanks for what I have got from. them. My sincere thanks are due to the authorities of different institutions, viz., the National Library, Calcutta, the Asiatic Society, Calcutta, the Sanskrit Sahitya Parishat, Caclutta and the British Council, Calcutta, not to speak of the Sanskrit College, Calcutta, my Alma Mater, for the various helps I have received from them. I also thankfully acknowledge the receipt of information supplied by the Booksellers' Publishing Co., Bombay. I shall be failing in my duty if I forget to offer my hearty thanks to the Organising Committee, XXVI International Congress of Orientalists for accepting my paper presented in the Section on Classical Sanskrit of the Congress and to my former employing authorities, the Governing Body, Vidyasagar College, Calcutta for giving me all facilities---far in excess of my expectations--to attend the Congress. After my paper was read in the Classical Sanskrit Section of the Orientalists' Congress, ·( xsi ) a discussion on the same was held by some delegates headed by Professor V. Venkatachalam, M.A., Vedanta-Siromani-Viśārada of Ujjain, with whom I have subsequently come in close contact. I have gladly made the best use of the suggestions offered by them as far as they are acceptable to me. I thank them sincerely for the same. I do not know how to thank Sri Shyamapada Bhattacharya of Sanskrit Pustak Bhandar, Calcutta who has taken special interest in publishing this book. My sincerest thanks are also due to Sri Devaprasada Mitra of the Elm Press, Calcutta who has been kind enough to print it and to Sri Prafulla Kumar Nath of the same press who has worked with all sincerity in publishing it. I claim to be nothing more than an ordinary student of Indology. In spite of my carefulness a number of faws might have crept in-not to speak of the printing mistakes, as I could not get an adept assistant at the time of proof-reading. I hope, my sympathetic readers will excuse me following the maxim gacchataḥ skhalanan kvāpi bhayatyeya pramada tahl hasanti durjanās tatra samadadhati saj-janāḥll 6, Cornfield Road, Pratap Bandyopadhyay. Namitā-smrti, Calcutta-19. Naya-varsa, 1373 (Bengali).

·CONTENTS Page ix xiii 1 ... 5 ... 18 Foreword Preface I. The Importance of Alamkāra In A Piece Of Poetry II. What Is An Upamā ? III. A Short Introduction To Sriharsa And His Conception Of Poetry IV. The Salient Features Of The Similes Used In The Naişadhacarita : Concrete objects compared with abstract things-a mark of Kalidasian Similes Abstract things compared with concrete objects Various objects used as standard of comparison Mythical, religious, philosophical and other scholastic ideas Ideas from social, economic and political fields Erotic ideas Humorous ideas 19 21 ... ... 23 .. ... 35 9 O. 64 84 89

·( xxiy)
105
116
Rhetorical devices
Linguistic features
V. Conclusion
Addenda
A Select Bibliography
-
126
129
137
..
***

·OBSERVATIONS ON SIMILES IN THE
NAISADHACARITA
1
The Importance of Alanıkära In A Piece Of Poetry
Though the rhetoricians of the new school of
thought have admitted Rasa or sentiment to be
the quintessence of poetry, they have not denied
the importance of Alankāras or figures of speech.
The science of poetics is known as Alarkāra-śāstra
in Sanskrit though its scope is far wider than
what appears to be from the mere term alarkāra.
The very fact that the entire science goes by the
name Alarkāra-śāstra shows the importance laid
by the rhetorician on the Alai kāras or figures of
speech.
Vāmana, the renowned rhetorician of the
8th century A.D. and the champion of the
Riti school of thought, has boldly asserted that
the very appeal of poetry lies in the use of
Guna and Alarikāra and the avoidance of Dosa.
Cf. kāryarl grähyam alankärāt, saundaryam alankan
rah/ sa dosa-gunālaukāra-lānādānabhyān. Bhämaha
-+
1. Kävrålarıkara-sătra-srtti, 1/1/1-3,

·2. Obsen ations On Similes In The Naişadhacarita also has laid the same importance on the use of poetic figures when he says : na kāntam api nirbhū. sajil vibhäti vanitū-mukham. Mammața has added the epithet analarikştī punah kyāpi to śabdārthau which speaks of the body of poetry. His own interpretation thereof is this: sarvatra sālamkārau kvacit tu sphuțālaukāra-virahe 'pi na kävyatva-hānih, that is to say, there must be some poetic figures in a piece of poetry—they are somewhere very distinct, somewhere not so. It is clear, therefore, that according to Mammața there cannot be any piece of poetry which is completely bereft of figures of speech. Rhetoricians like Jagannatha and Viśvanātha did not consider Alarkāra to be an indispensable attribute of poetry; so they did not mention it in the definition of poetry. But they could not deny that Alaukāra enhances the beauty of poetry, and consequently discussed the figures of speech at length. The role of Alarkára in a piece of poetry is comparable to that of bracelets, eardrops, etc. human body. Cf. alavikārāś ca kațaka-kurdaládivat. The real on a ·The Importance of Alankāra 3 significance of this comparison becomes clearer when we remember the remark of Bhàmaha quoted before : na kantam api nirbhūsarii vibliāti vanitā-mukhan (the face of a lady, though beautiful, does not shine without ornaments). In the scheme of Dhivani also the Alarkāras have a special function. Anandavardhana has elaborately discussed it in the second 'flash' (Udyota) of his Dhvanyaloka. The Dhvanikūra, who claims Rasa-dhvani (which is Dhvani par excellence) as the soul of poetry,' indicates in the following verse when Alarikāra should be regarded as an important factor in poetry :-- rasäksiptataya yasya handhah sakyakriyo bhavet! aprthag-yatna-nirvartyalı so 'lavkāro dhyanau matah/12 This verse clearly says that the Alaikäras are significant only in so far as they are related to the development of sentiment and for this purpose they must come out spontaneously from the poet's pen without any special effort on his part. Hence it is clear that these Alarkāras do not hamper the sentiment ; on the contrary, they contribute much to its development. Abhinavagupta is very clear when he comments :- rasa-samaradhanena vibhāvädi-ghațanāni eva 1. See Dhranyaloka, l/5 and the Vrtti thereon. 2. Dhranyaloka, l1/16.

·4 Observations On Similes In The Naişadhacarita kurvaris tan-näntarīya katayā yam āsādayati sa evālair kūro rasamārge nānyal." Abhinavagupta has, here, clearly pointed out that Alari kāras are Alarkāras only in so far as they help the development of sentiment being a very natural factor in supplying Vibhāva etc. ('tannispādaka-yatna-nispādyatvena'-says the Bāla-priya commentary). The science of poetics has no meaning at all unless it is referred to the works of the great poets. As the rules of grammar follow the actual uses in the current language, 2 so also the theories of rhetoricians are based on the great literary compositions already appreciated by critics. As a matter of fact, in the works of the great poets like Kálidāsa we find that the figures of speech have been freely used, and nowhere they appear to be a hindrance to the enjoyment of literary or aesthetic beauty.

·Il What Is An Upana ? It is claimed that Kálidăsa had perfect mastery of using different figures of speech, specially Upamū or simile. There is an oft-quoted verse which runs thus :- upamā kālidasasza bhúrarer artha-gauravam! naişadhe pada-lalityari māghe santi trayo gurāhlı Now the question is : What is an Upamā ? The figure Upamā has been defined by Viśvanātha asrācyanı araidharmyar vakyaikya saniyari upannā dvayol. .. 1. There is another reading, viz., dandinah for naişadhe in the third foot of the verse. The argument of those who accept this reading is mainly this : In the first second and the fourth feet the names of the poets, viz., Kálidása, Bhåravi and Mágha have been mentioned. So it it is quite natural that in the third foot also the name of the poet and not of his work should occur. As Naisadha(canıta) is the name of the work of Sriharsa, the reading gives rise to incongruity. But this argument rests on purely formal propriety and the reading dandia nal padalalitham does less conform to fact. Dandia can by no means be compared with Sriharşı so far as the 'elegance of words' is concerned. 2. Sahityadarpana, X/17.

·6 Observations On Similes In The Naişadhacarita When two objects are compared in one sentence without any mention of their point of difference and when the similarity is clearly expressed (not suggested), it is a of Upamā Alamkāra. As an example of this figure of speech, we may quote the following verse of Kālidāsa :- case tām arpayāmāsa ca śoka-dīnārit tad-ägama-pritisu tāpasīşul nirvista-säräsi pitrbhir himansor antyān kalāri darśa irausadlīsul/ The verse is a description of sage Vālmīki entrusting the protection of Sītā, afflicted with agony, to the female ascetics of his hermitage who were glad to receive her. The simile has been drawn from the day of new moon transmitting the last digit of the moon, whose essence is drunk up by the manes, to the herbs and plants. Here Vālmīki has been compared with the day of new moon (Darsa or Amāvāsya) ; Sita, afflicted with utmost agony, with the last digit of the moon ; and the female ascetics, receiving Sitā, with the .herbs and plants receiving the last lunar digit. The comattribute happens to be 'transmission' which has been clearly stated, the word expressing the point of similarity being ira in the fourth foot of the verse. Though there is much difference between Vālmīki and the day of newy moon, Sita and the last lunar digit, female ascetics and the mon 1. Raghuvarsa, XIV/80.

·What Is An Upami ? 7 herbs and plants, yet the purpose of the verse is not to point to that. The verse thus happens to be an example of Upamā (simile) according to the definition quoted above. Clarification of an object-described is the main purpose of using a simile. A description may be complete in itself, but when it is compared with another known object, it becomes more clear and hence better. This is why great poets do not rest satisfied with describing an object in as many words as possible, but they do simply draw a simile instead. The more appropriate the standard of comparison is, the more appealing the simile becomes. The following verse of Kálidāsa is, in this respect, a very appropriate example of simile :- puraskrtā vartmani parthivena pratyudgată părthiva-dharmapatnya tad-antare sū virarāja dhenur dina-kşapā-madhyagateva sandhyā}} Here is a description of Nandini, the female cow of sage Vasistha, followed by king Dilipa behind and received by queen Sudakşiņā in front in the hermitage of the sage. Nandini remaining in between the king and the queen has been compared with the evening twilight which also comes in between the day and the night. The point to be specially noticed here is that, the time of the 1. Ragharisa, 11/20.

·8 Observations On Similes In The Naişadhacarita incident is actually the evening twilight (sandhyā) from which the simile has been drawn. Consequently the comparison has been a very appropriate one in the sense that it does not tax the imagination of the reader. It is this appropriateness of the comparison which has made the verse so beautiful. The verse is thus an ideal example of simile for which Kālidāsa is noted in Sanskrit literature. Critics are so much appreciative of Kālidāsa's similes because they befit excellently the time, space, speaker and context of a description and thus serve best the very purpose of using similes. In the expression tipamā kālidāsasya, however, the term upamā seems to have been used in a general sense, i.e., it stands for any figure based on comparison, because the merit of a poet cannot be judged from the use of a particular figure of speech. We shall take the term in this general sense and not in its special sense as discussed before. Our object is to show that not only Kūlidisa but also Sriharşa, the author of the Naişadhacarita has proved his mastery of handling Upamā in order to embellish his poetic composition. The verse quoted above points to Kālidasa's 'simile', Bhūravi's 'profundity of sense' and Śribarşa's 'elegance of words'. Accordingly many critics hardly pause to think of the other excellences of these poets, and that is certainly a great injustice to them.

·.. UI A Short Introduction To Sriharşa And His Conception of Poetry no answer. In the brilliant galaxy of the Indian poets Sriharşa is a prominent figure, and of the post- Kälidāsian Sanskrit writers of court epic poetry we consider him to be the best. The question of his date, as in the case of most of the Indian poets and authors, still offers decisive As regards his lineage, he himself says that he is the son of Śrīhira and Māmalladevī. At the end of the Naişadhacarita and also of the Khandanakhanda-khádya the poet says that he received two betel-leaves and a seat (of honour) from the king of Kanyakubja.” Accordingly some scholars hold that Sriharşa might have flourished under Jayacandra of Kanauj in the 12th century A.D. Professor A. A. Macdonell and Dr. G. Bühler also accept the latter half of the 12th century as the date of Śrīharşa. Professor Sivaprasad Bhattacharjee places him before the middle of the twelfth century, at least a decade prior to it. According to him, Śrīharşa flourished under king Vijayacandra of Kanauj. Dr. A. N. Jani ca 1. Cf. šrihirah suçuve jitendriyacayarı mámalladevi yam/ (occurring in the colophon verse of all the cantos of the Naisadhiya). 2. Cf, tanibula-drayam āsanañ ca labhate yah kāryakubjesvarat (N.C., XXII/155/A ; also Khandana, concluding vers: 2/A).

·10 Observations On Similes In The Naişadhacarita has elaborately discussed the different views regarding the date of Śrīharşa,1 On the internal evidence supplied by the Khandana-khanda-khādya, a philosophical work of our poet, which refers to, and quotes, in many places, the arguments of Udayana, Professor Jani asserts that A.D. 1020 is the upper limit of Śrīharşa's date. On the external evidence of the quotation of the Naişadhacarita by Mahendrasūri in his commentary called Anekārtha-kairavākara-kaumudi on the Anekārtha-sarilgrala of Hemacandrācârya, the learned scholar has ascertained A.D. 1180 as the lower limit of Sriharşa's date. As "all dates given in Indian literary history are pins set up to be bowled down we do not like to dilate upon this point. For us it matters little when he was born and how long he lived. As a great poet Sriharsa lives for ever. There is a tradition that Mammața, the renowned rhetorician, generally believed to have flourished in the 12th century, was the maternal uncle of Sriharşa. Scholars like Weber and Hall rclicd much upon this tradition. Mammata was most probably a Kashmirian. Therefore, according to those who believe in the said tradition Śrīharşa was also a Kashmirian. The upholders again," 1. Set A Critical Study or Sriharşa's Naişadhiyacaritam' by Dr. A. N. Jani, Birods, 1957; pp. 123-129. 2. W. D. Whitney, 'Sanskrit Grammar', Second Edition, Lordon, 1923 ; Introduction, p. XIX.

·A Short Introduction To Sriharşa And His Conception of Poetry 11 of this view refer to the colophon verse of Canto XVI where it is stated that the Naişadhacarita was much appreciated by the Kashmirian scholars.1 Some, again, connect him with Kanauj as he is believed to have been patronised by Jayacandra, king of Kanauj. Some other scholars, on the other hand, connect him with Banaras. It has to be remembered here that Jayacandra, king of Kanauj, was also the king of Bánaras and lived mostly there. So it is not quite impossible that Śriharşa, though patronised by 'Kanyakubjeśvara', belonged to Banaras. The view appears to be more probable when find that in the eleventh Canto of his poem, while describing the tradition and sanctity of Banaras, the poet's heart overflows with emotion, as in the case of Kālidása while describing the city of Ujjayini in the first half of the Meghadīta. The verses therein are highly poetical and every expression speaks of the innermost feelings of the poet. This outburst of emotion may be due to the we 1. kašmiraır mahite caturdaśatayini vidyār vidadbhur maha-kavye tad-bhuv naişadhiyacarite sargo 'gamat sodasah// (N.C., XVI/130/C-D) 2. See 'An Advanced History Of India' by Dr. R. C. Majumdar, Dr. H. C. Raychaudhuri and Dr. Kalikinkar Datta, Second Edition, London, 1961 ; pp. 277-279. 3. Cf. N.C. XI/112-118 (etasja saianibhujah kula-raja. dhani... ... dhanje rahatyamsta-sairam aváritarthild and Meghadüta, 1/28-40 (rakrah pantha yadapi kila 12......ma sma bhūr viklaras täh/D ·12 Observations On Similes In The Naişadhacarita fact that Banaras was the home-land of the poet, though one cannot draw any such definite conclusion from this. It may be pointed out, however, that in Jaina Rājasekhara Sūri's Prabandhakośa Śrīharşa has actually been associated with Jayantacandra, king of Banaras and the recognition of his work by the king and scholars of Kashmir has also been narrated there,1 Gadādhara in his commentary on the Naişadhīya has, however, connected him with king Govindacandra of Banaras. On the evidence of a good number of Bengali customs and features of Bengali expressions3. noticed in the Naişadhacarita a group of scholars claim Sriharsa to be a native of Bengal. Professor Jani also supports this view. As he thinks A.D. 1180 to be the lower limit of Srīharşa's date, it may be that Śrībarşa graced, at least for a short period, the court of Lakşmana Sena of Bengal who patronised great poets like Jayadeva and Dhoyi and who, according to many scholars, began to rule in A.D. 1178-79.4 As regards Šribarşa's 1. Vide Prabandhakośa, 11 (Harşa-kavi-prabandha). 2. e.g., use of vermilion (XV/55), use of conch-bracelets (XV/45), ulūlu-dhvani (XIV/49), sumptuous marriage feast (Canto XVI), etc. 3. e.g., janänane kaḥ karam arpayişyari (1X/124), lit. Beng. loker mukhe hât debe ke ? bligrantaranye ruditam na me girah (IX/96), cf. Beng. aranye rodan. And so on. 4. Some scholars push back the date of Lakşmaņa Sena and regard him as the founder of Lakşmana era of A.D. 1119.

·A Short Introduction To Sriharsa And His Conception of Poetry 13 connection with 'Kanya kubjeśvara' (N.C., XXII/155) this much may be said that it is quite possible for a king, appreciative of real merits, to pay tribute and honour to a poet of the court of another king. of the works of Sriharşa only two have come down to us. One is the Khandana-khanda-khádуат, a great philosophical work of Advaita dialectics, and the other is the Naisadhacaritam (also known as Naişadhiyanı), an epic poem (Maha-kayya) dealing with the love-episode of Nala and Damayanti narrated in the Vanaparvan of the Mahābhārata. Some other works, such as Srrigărahārāyalī, Amarakhandana, Dvirūpakośn, Jāna kigītä, etc. are also attributed by some scholars to Sriharşa. The other works of the poet, which are mentioned in the epilogue stanzas of a number of cantos of the Naisadhacarita but have not come down to us, are as follows:- Sthairya-vicārana-prakaraṇa (IV/123), Vijaya-praſasti (V/138), Khandana-khanda-khādya (V1/113), Gauļorvīša-kula-prasasti (VII/109), Arnaya-varnana (IX/159), Chinda-prasasti (XVII/220), Siya-sakti-siddhi (XVIII/149), Nara-sähasā rika-carita or Nepa-sähasárika-carita (XXII(151). (See 'An Advanced History Of India' by Dr. R. C. Majumdar, Dr. H. C. Raychaudhurì and Dr. Kalikinkar Datta, Second Edition, London, 1961 ; p. 188). In that case also Sriharsa may well be placed in the time of Lakşmana Sena.

·14 Observations On Similes In The Naişadhacarita was There another work, namely Isvarābhisandhi, mentioned many a time in the Khandana-khanda-khădya. As we know nothing of these. compositions excepting the Khandana-khanda-khādya, they cannot be the object of our judgement. As regards literary criticism, the Khandana-khanda-khūdya also should be left out of any judgement, inasmuch as it is purely a philosophical work ; and Sriharşa as the author of this book is not a poet, but a philosopher. The Naişadhacarita is composed of twentytwo cantos. According to some scholars, it is incomplete, the portion after these twenty-two cantos being lost. But there is no definite proof in favour of this opinion. Whatever may be the case, Sriharşa's poctic genius is nicely revealed in these few. cantos that have come down to us and an analysis of this extant form is sufficient for our study. Before entering into the actual subject of our discussion it is wise to add a few words on Sriharsa's conception of poetry. As simplicity is the soul of language, poets like Kālidāsa always used simple language to give expression to their thoughts. Never did they veil their thoughts in gorgeous and ambiguous words. But after Kālidāsa there came a time in the history of Indian literature when poets began to lay more stress on the use of an involved style of language and a complex form of poetry. This indicated the beginning of the period of artificial poetry of which Bhâravi is said to be the father. The line was followed ·A Short Introduction To Sriharşa And His Conception Of Poetry 15 by Kumāradāsa, Māgha and other poets. Bhāravi's 'profundity of sense (artha-gaurava) received appreciation from his critics, but in most of the cases it was at the cost of the simplicity of language. Again, some of these poets were always ready to exhibit their scholarship in their compositions. Poetry, to them, did not always mean simply 'the spontaneous overflow of powerful feelings', but also some sort of pedanticism mixed with literary, art. Sriharşa being a poet of this age, his poem is likely to be marked by this feature, and if it really be so, it is not a defect on the poet's own part, but rather the influence of the age when he flourished. As a matter of fact, however, Śribarsa did not follow the line of his predecessors and tried to create something new in that age of artificiality His poem is sweet and graceful, mostly simple and lucid, and is rightly claimed to be 'the last great poem of Sanskrit literature'. Of course there is no denying the fact that Sriharşa also is hardly hesitant to exhibit the width of his knowledge in different branches of lore, and accordingly there has been a remark-naisadhari ridyad-ausadham ; but it is a unique feature of his style that even his exhibition of scholarship does rarely mar the intrinsic spirit of poetry. Even when there is a pedantic idea or expression, it has been so nicely fitted that the reader does not find anything to object to. Word and sense 1. 'Naişadhacarita of Sriharşa' by Prof. Krishna Kanta Handiqui, Second Edition, Poona, 1956 ; Introduction, p. XVII.

·16 Observations On Simles In The Naişadhacarita --these two combined constitute poetry,' and Śrı harsa was never forgetful of this poetic principle While composing verses like the one which con tains no other consonant than 11 (except at in the end) ? poets like Bharavi were so much absorbed in playing with words that they were totally heedless of the sense element Sriharsa s word plays never go to such extreme The verses in Canto XIII uttered by Sarasvati to Damayanti which are capable of more interpretations than one (even five in XIII/33), however, should not be cited to foil our contention, because, those utter ances of Saraswati had a definite purpose of confounding Damayantı Sriharsa was both poet and a scholar, but his scholarship neter got the better of his poetic genius which was inborn in hım,' it never impeded the spontaneous flow of the latter It is improper to expect the literary art of Kalidusa in the work of Sriharsa But if he be judged on his own, we are bound to find somea As Bhumaha puts it --sabdarthau salutau hånzani (Bhamal alamihara I/16) Cf Great literature is simply language charged with meaning to the utmost possible degree'.--Ezra Pound lich To Recd Part II (Literary Essays Of Ezra Pound, edited by TS Eliot London 1954 p 23) 2 \ide hurdldrfina X1/14 3 Cf Poeta roscitur, non fit (A poet is born pot mrade) - An old Latin phrase ·A Short Introduction To Sriharşa And His Conception of Poetry 17 thing novel, something unconventional in his work. The Naişadhacarita is remarkable for development of sentiment, delineation of characters, picturesque descriptions and excellent use of various poetic figures and metres. We are to judge the poet in Sriharsa and not the scholar. By no means should we criticise his scholarship if it does not belittle the real merit of his work. The scope of our study is, however, very limited, the subject being only a study of the salient features of the similes used in the Naişadhacarita. 2 ·IV The Salient Features Of The Similes Used In The Naişadhacarita The Naisadhacarita is a brilliant star in the constellation of Sanskrit poems and has been justiy included in the list of paiica mahākāyya (the five great court epics)? Of the different factors that have made the poem so prominent and popular one is the excellent use of the figures of speech, specially Upamā or simile. The similes that have embellished the poem have been drawn from various concrete objects as well as abstract ideas; and almost in each case they have been very significant and appropriate to the context. In order to appreciate these similes the critic has to be completely unbiased and impartial. Each poet has a vision of his own; and while judging him we have to see how far he has succeeded in his own way. The work of one poet cannot be adjudged or appreciated by the norm of another. So, though thc similes of Sriharsa are not always of the same nature as those of Kālidāsa, that has nothing to detract from their real excellence 1. The other four are . Kālıdāsa's Raghuvartsa and Kumāra-sambhava, Bhåravi's Kıråtárjuniya and Māgha's Sssupåla-radha ·The Salient Features of The Similes 19 We may now proceed to discuss the salient features of the similes used in the Nnişadhacarita. As it is not possible to cite all the examples within this short compass, we shall take up a few prominent number of examples and discuss them in brief. * Concrete objects compared with abstract thingsa mark of Kälidāsian similes If we consider minutely the similes of Sriharşa we shall not fail to see that many of them are marked by the characteristics of Kālidāsian similes. One of the most appealing characteristics of Kalidasa's similes is the comparison of concrete objects with abstract things in order to produce a greater rhetorical and sentimental effect. As a beautiful example of this we may quote the following half of a verse of the leghadīta where the mount Kailāsa has been compared with the occumulated laughter of Lord Siva in order to give as full an idea as possible of its white lofty peaks :--- śrrigocchrāraih kumuda-visad.sir jo ritaru sthitah khairi!

·20 Observations On Simples In The Nai adhacarita rāsībhūtah pratidinam na tryambakasy attahāsah\/ (1/61/C-D) "Which stands occupying the sky with its peaks white like lotuses, as if it were the loud laugh of Siva accumulated day by day "l In Sriharsa also we notice this feature Thus describing the city of Kundına the poet says udhu didhiti-jena yat patham pazasā narsadha sila-sitalami sası-kānta mayam tapāgame kalı tīras tapati sina nätapahl) (11/94) “At the advent of summer, the heat as severe as the Kalı age did not heat the city's highway of moonstones, cool like Nala's temper, owing to the flow of water in contact with the rays of the moon "3 Here, by comparing the heat of the sun with Kalı, whose seventy will be clear subsequently in this very poem, the poet has very skilfully suggested the severity of the heat, and similarly by comparing the highway with the character of Nala, the hero, the poet has uniquely suggested how cool the way was We can boldly assert that no 1 MR Kale 2 (of the sun) 3 Prof Kashna Lanta Handiqus ·'The Salient Features Of The Similes 21 other simile would have been more appropriate for the purpose. Again, depicting the picture of Damayantī, the heroine, who, realising her own helpless condition by the words of Nala, begins to shed tears, the. poet says :- imă giras tasya vicintya cetasā ratheti sampratyayam isasāda sā nivāritāvagraha-nīra-nirjhare nabho-nabhasyatvam alambhayad drśaull (IX/84) "Weighing in her mind these words of his, she was convinced that so it was, and with a gush of tears let loose, she then reduced her eyes to the condition of the months of Srāvana and Bhadra.”l The same rhetorical effect is produced by comparing the eyes of Damayanti, shedding tears, with the months of Śrāvana and Bhadra. Tears copiously falling from her eyes ; and the months of Śrāvana and Bhādra produce excescive rain, the simile has become very appropriate. were as Abstract things compared with concrete objects Not only is the poet inclined to compare the concrete with the abstract, but the converse is also found. In a simile of this type the main idea becomes more clear and the description more 1. Prof. Handiqui.

·22 Observations On Similes In The Naisadhacanta hero s scholarship picturesque Thus, of the the poet says amusya vidya rasanagra nartaki trayīja nitanga gunena vistaram agahatustādaśata 12 jigisaya naya diaya diīpa prihag-jara srij am// (1/5) "Learning, a dancer on the tip of his tongue became eighteenfold like the three Vedas multi plied by the (sıx) Vedāngas as if out of a desire to conquer the sovereignty of each of the eighteen islands' 1 The comparison between learning and a dancer here is a fine example of the abstract compared with the concrete The aptness of the comparison lies in the fact that both learning and a dancer attract others Then it is compared with the Vedas and the significance thereof is to indicate its vastness importance and sanctity Again of Nala s military power it is said splurad dhanur nisiana tad ghanāśuga pragalbha vrsti i ya vitasja samgare) minsja tejah sikhunah parah satā sitenur argaram nājasah parell (119) "His numerous enemies spread their disgrace, as if it were the charcoal left by the fire of their valour, Prof Handiqui ·The Salient Features Of The Similes 23 . quenched in battle by the copious rain of arrows loosed by him, who was, as it were, a cloud with the sound of his flashing bow." Here also, the infamy of the enemies, which is abstract, has been likened to the concrete charcoal for a high rhetorical effect. The black image of charcoal portrays vividly how much disgraced the enemies In this way, by comparing abstract things with concrete objects Śrīharşa has been able to make his descriptions more clear, picturesque and vivid—which is decidedly the main purpose of using a simile. were. ! Various objects used as standard of comparison Sriharşa's similes are varied. From a little straw right up to the heavenly luminaries, many things have been used as Upamāna or standard of comparison. It gives evidence of the poet's deep insight into Nature and natural objects. Thus, by way of showing that man is always under the sway of the Creator, the poet draws a simile from a straw following a whirlwind :- avasya-bhavyeşp-anavagraha-grahā yaya diśā dhūvati vedhasaḥ sprhål trnena vátyeva tayānugamyate janasya cittena bhrśāyaśātmanal! (1/120) 1. Prof. Handiqui.

·24 Obsenations On Similes In The Naişadhacarita "Just as a straw follows a whirlwind, similarly the utterly uncontrolled heart of man follows the Creator's will in the direction in which it moves, irresistible in its course in matters that are bound to be '1 A strong whirlwind takes a straw far away in a moment Undoubtedly, therefore, the simile of a straw following the course of a whirlwind expresses very nicely how helpless a man is under the control of Providence Elsewhere the poet compares the uselessness of Nala's beauty, empire and everything else without the company of Damayanti, with the fruit lessness of the flower of a 'barren tree', and the simile has become a very apt one The verse runs as follows taja rūpam idam taja vina phalam puspam naiakesinah/ I am rddha-dhana vsthavani suvanī sampravadat pikāpı kā// (II/45) "Without her this thy beauty is useless like the flower of a barren tree , (without her) this thy wealthy earth is useless, and what is thy pleasuregarden worth, though it has singing cuckoos ?" The comparison with the flower of a 'barren tree' is highly expressive of the fruitlessness of all the possessions of Nala 1 Prof Handiqui 2. Prof Handique ·The Salient Features Of The Similes 25 Again, when the swan tells Damayanti that unless wedded to Nala, she cannot obtain the pleasure arising from the flattering words regarding him, the poet draws a simile from the mango. grove which cannot obtain the pleasure brought by the bees when the spring has not yet come. The verse runs thus : tan naişadhānūdhatayı durāparit sarma tvayāsmat-krta-cātu-janma! rasāla-vallyā madhupanuviddham saubhagyam aprūpta-rasantayeral/ (III/46) "As Nala has not married thee, thou canst not obtain the happiness arising from flattering words spoken by us ; just as a mango-grove that has not received the visit of the spring cannot obtain the happiness brought by bees."! Here we find the poet's deep insight into the spirit of natural phenomena as well as human heart. The poet finds a reflection of the condition of Damayanti without her union with Nala in that of the mangogrove without the advent of spring. There is, thus, a beautiful touch of life in the Upanana which has made the simile so appealing. The lustrous sun shining in the sky has served many beautiful similes for the genius of Kálidāsa. If we consider minutely we shall never fail to see 1. Prof. Handiqui.

·26 Observations On Similes In The Navşadhacarita that all of them are very significant? It is interesting to note that Sriharsa also has drawn many fine similes from the sun and each of them has been very suitable to the context Thus Nala, occupying a seat after receiving the hospitality rendered by Damayantı, has been compared with the sun shining the Mountain of the East (Paurastya Saila, ie, Udayūcala) and receiving the offerings brought by the people in paurastja-sailam janaropanītanı grhnan jathūhnah patır argha pūjam! tathat theyım atha sa praticchan prijärpitam asanam asasādall (VIII/52) * Then, just as the sun, accepting the offerings of worship brought by the people occupies the mountain of the east so Nala accepting the hos pitality offered by his beloved, occupied a seat' 2 A splendid picture is painted here in the first half of the verse When the picture of the hero and the heroine is compared with it in the second half, it attains equal charm and dignity which is the main purpose in the present context The comparison with the sun occupying the Mountain of the East 1 CE Sakuntala V/4, VII/4, Raghunamsa 1/18 V/13, din ara sambhava 1/2 , Meghaduta, 11/20 , and so on 2 Prof Handiqui ·The Salient Features Of The Similes 27 nicely reveals the majestic appearance of the hero occupying a seat. Here lies the beauty of Sriharşa's similes that their aim is to magnify the object of description and thus they do not turn to be mere verbosity. Again, Nala's entrance into the city of Kundina has been described by drawing a nice simile from the solar and the lunar discs :- rathād asau sārathinai sanithôd rājāvatīryātha purai viveśal nirganya bimbād ira bhānarīyāt saudhākaran mandalam arsu-sarighahil (VI/7) "Just as the mass of rays, going out of the solar disc, enters the lunar orb, similarly the king then descending from the chariot, occupied by the charioteer, went into the city.”? The comparison of Nala with the mass of rays has become very befitting to suggest his royal grandeur, and similarly by comparing the city with the lunar orb, the poet has skilfully hinted at its covetable environment. Several verses may be quoted to show how the same object (as we have just quoted two verses related to the sun) has been used as the standard of comparison and each time with some 1. The reference is to the fact that the moon has no light of its own, but shines by the light of the sun reflected on it. 2. Prof. Handigui.

·28 Observations On Similes In The Narradhacarita IS novelty in them This certainly a great achievement on the part of the poet As in Kalidasa the similes drawn from oceans and rivers have also become similarly apt and charming As for example the emotion of king Bhima receiving Nala who came the worthy suitor of his daughter by stretching out his arms in great delight has been expressed by compa paring him (the king) with the ocean which carries on both sides the rush of waves receiving the streams of water coming from the Ganges in as athayam utthuya visarya dor yuga on muda pratiyesa tam atma janmanah/ sura sraiantya iva patram agatam bhrtabhito vici tatih sarit patih/ (XVI/11) Rising and stretching out his arms in joy king Bhima then received Nala now come the worthy suitor of his daughter just as the ocean carry ing a two sided rush of waves receives the flood of waters coming from the Ganga 1 The com parison with the vast ocean has been well matched with the high personality of the king and equally befitting is the comparison of Nala with the stream of the Ganges the symbol of sanctity received by the ocean which in the present context most appro 1 Prof Handiqui ·29 The Salient Features Of The Similes, priately signifies the worthiness of Nala as a suitor of Bhima's daughter." 1. Kalidāsa, in his Raghuvamsa (V/61), describes in a similar way how king Bhoja receives Aja who has come as a suitor of his sister Indumati. The verse runs as follows: tań tasthi āṁsam nagaropakanſhe tad-agamärūdha-guru-praharşah/ pratyujjagama krathakaiſikendras candrani pravsddhormir ivormi-mālill and merge Here also the king, who receives Aja, is compared with the ocean and the significance thereof is the same as noted above. But the suitor received is here compared with the moon. The reception has been painted by drawing a simile from the waters of the ocean swollen in the day of the full moon. The reference is to the natural phenomenon of high tide. The simile is, therefore, very natural, though this much is a pure fancy on the part of the poet that the water of the ocean swells to receive the moon in great delight In Sriharşa's verse the suitor is compared with the stream of water coming from the Ganges. As rivers flow towards the sea therein, the idea is very natural. But here also this much is a pure fancy that the ocean receives the flood of water coming from the Ganges with a two-sided rush of waves (bhrtā. bhito-vici-fatih--prasărita-bāhu-dvaya-sädrśyārtham idarit viseșanam -Siddhāpta-vägiša). For more affinity with Raghu V/61, see Naişadhiya, XX/2 :-- tataḥ pratyudagad bhaimi hántam ayāntam antikam! pratici-sindhu-sicira dinorkāre sudhakaram where Damayanti, going to receive Nala, has been compared with the waves of the western ocean and Nala with the moon at day-break.

·30 Obseriatrons On Similes In The Naisedhacarita The moonlight perturbing the oceanhas served a very beautiful simile in Canto II) where Damayanti, attracting Nala by her ments, has been nicely compared with it dhanyāsı vardarbiu' gunair udārair yayā samakrsyata naisadho'pıl itah stutih kū khalu candrıkuyā yad abdhm apyuttaralkarotil/ (III/116) "Damayanti, blessed art thou who hast attracted even Nala by thy noble virtues, after this, what praise is there for the light of the moon that it perturbs even the ocean 5"? The enchanting virtues of Damayantı have been nicely revealed by her comparison with the moonlight which delights everyone So also the high personality of Nala has been fully reflected by his comparison with the ocean which is the most grave and vast object in Nature It is a well known fact how the ocean water is perturbed at the time of flood tide The simile drawn from this natural phe' nomenon, therefore, is a very fit one to express to what extent Damayanti was able to stir? j The reference is to the phenomenon of food tide 2 Prof Handiqui 3 The verb uttaraliharot used with the Upamana as corresponding to samakssata used with the Upameja, is very significant in suggesting the mental perturbation of Nalz ·The Salient Features Of The Similes 31 the mind of even a person like Nala, the king of a great empire. This fact ultimately suggests the high merits (including womanly gracefulness) that Damayanti possessed which the swan, the speaker, actually wanted to point out as it was going on culogising her. Even saints and gods have not evaded the poetic vision of Sriharşa. The idea that Nala did not consider the loss of Damayanti a hindrance in carrying. out his mission as messenger of the gods, is presented thus :- a bhaimyā samam nājdgamad viyogarit sa dūta-dharme sthiradhir adhiśaḥ) payodhi-pāne munir antarāyani durvāram apyaurvam ivaurva seyahll (VI/2) "Just as the sage Agastya did not consider even the irresistible Ocean-fire as an obstacle to his drinking up the ocean, similarly the firm-minded king did not consider the loss of Damayanti a hindrance in the path of carrying out his mission."1 It may be recalled that when Agastya was drinking up the ocean, the submarine fire became a great hindrance for him. Still the firm-minded sage was able to fulfil his determination. The comparison, therefore, has clearly indicated what a heavy task Nala had to perform, and consequently the magnanimity of his character is nicely reflected here. 1. Prof. Handiqui.

·32 Observations On Similes In The Naişadhacarita As regards similes drawn from gods, there are plenty of examples and the following verse is worth quoting jagati mithune cakrav eva smaragama paragau narum ia muthah sambhūñjate viyujya viyu) a taul satatam amrtad es ahorăd yad apad arocakam tad amrta bhujam bharta sambhur visam bubhuje vibhuh/ (XIX/34) "The Cakravaka couple alone in the world is well versed in the art of love Parting and parting with each other mutually do they enjoy as new the pleasures of love Likewise the mighty Siva the lord of the gods, swallowed poison because he was satiated with nectar, the self same food from day to day Here about the Cakravaka couple it is said that they part with each other at night only to enjoy the pleasures of love anew , thus in the world they alone are skilled in the art of love They are hence compared with Lord Siva who the poet fancies satiated with nectar, swallowed venom to have the taste of nectar afresh The story of Siva swallowing venom for protecting the Creation from extinction is well known But the poet gives here a new interpretation to it on which Prof Handiqui 2 The Cakravaka couple is believed to part with each other at night cahharaka sahue amantehi sahaaram! matthia raanil (Sakuntala III, Eighth Edition by the late M R hale Bombas 1957, p 118) "1 as 1 CE ·The Salient Features Of The Similes 33 the comparison is based. This novelty of representation has made the simile more charming. Again, while describing the yellow banners over the top-terraces of the city of Kundina with which the spot in the moon comes in contact (so lofty the top-terraces are), a nice simile is drawn from Lord Krşņa dressed in yellow and lying on the serpent Seşa coiled up. The verse runs thus : cmta-dyuti-laksma pītaya militari yad-vadabhi-patākayā! valayāyita-seșa-śāyinah sakhitām ūdita pīta-vāsasali!! (II/101) "The spot in thie moon coming in contact with the yellow flags over the turrets bore resemblance to the yellow-robed Kțişņa lying on the coiled up serpent Ananta.”l Here the round white moon has been likened to the coiled up serpent Ananta. The point of similarity is that both are white and round-the one by its very nature and the other because it is coiled up. The stain of the moon bears similarity with Lord Krşna--both being black. The fluttering banner coming in contact with the moon-stain bears semblance with the garment of Lord Kļşņa-both being yellow. The point of similarity between the two pictures 1. Prof. Handiqui. 3 ·34 Obsersations On Similes In The Naişadhacarito (used as Upamana and Upameya respectively) may seem to be a bit far-fetched from the ordinary point of view, but in poetic art this does not constitute a flaw The idea is highly poetical and has got a charm of its own There are plenty of such examples in our literature and they have been highly appreciated by critics As a matter of fact, poetry and reality are not necessarily 1 Even in Kalidasa and other ets of high calibre there are many such beautiful ideas which seem to be farfetched from the ordinary point of view For instance, we may quote from the famous description of the confluence of the Ganges and the Jumna in Canto XIII of the Raghu samsa The water of the Ganges is white and that of the Jumna is black So, in describing their confluence Kalidasa draws a simile from the body of Lord Siva and says that it appears like the body of Siva decked in black serpents and bes meared with ashes used as cosmetics The verse runs thus kvacic ca krsnoraga bhuşanera bhasamangaragă Ianur istorasyal passanaladyangi i vibhati ganga bhinna pravaha Jamuna tarangarhl/ (Raghu, XII/57) Hero also the comparison of the confluence of the two streams with the body of Lord Siva is rather far fetched from the ordırary point of view, firstly, because the water of the Jumna is certainly not so black as a serpent, secondly, even if it be admitted to be so, there is no conspicuous simlarity of the confluence of the black and white streams with a body decked in black serpents and white ashes Yet it is unanimously admitted that so far as the poetic fancy 15 concerned, the idea is hughly appealing.

·The Salient Features Of The Similes 35 the same thing and the former should not be judged from the standpoint of the latter. Objects used as standard of comparison are thus endless. Mythical, religious, philosophical and other scholastic ideas. Mythical, religious, philosophical concepts and ideas related to other sciences are also not wanting. In these cases Sriharşa's similes are most unconventional. The Indian poets have got a very natural tendency to borrow materials from the storehouse of mythology. The Meghadrūta of Kūlidāsa is the most glaring instance in this respect. Sriharşa also had a good knowledge of Hindu mythology and the Naişadhaca-" rita abounds in mythical accounts. A good number of beautiful similes have been drawn from the store of mythology. For instance, about the city of Kundina it is said :- vitatarii ranijäpane 'khilari panitur yatra janena rīkspatel minineya mộkanda-sūnunā jagatâu vastu purodare harehl/ (II/91) "As formerly the sage Markandeya saw inside the stomach of Vişnu the objects of the universe, similarly people saw in the city articles of every ·36 Obseriations On Smules In The Varsadhacarita 1S description exposed for sale by eacn merchant in his shop'i The allusion to the Puranic account? that at the time of the Deluge (Pralaya) the sage Markandeya entered into the stomach of Lord Har where he saw the entire universe exactly in the same form as it had been outside before the Deluge Since the purpose of the poet IS to tell us that in the city of Kundina there were all sorts of objects the comparison of the entire universe inside the stomach of Visnu has been very appropriate Again while undergoing the pangs of separa tion (elaborately described in Canto IV) Dama yantı asks her friend to ask Rihu why he has spared the moon which is tormenting her so bitterly in this stage of separation 3 A simile Prof Handiqui 2 Narrated in the Brahma purana Chs 52 54 and in the Mahabharata, Vana parsan, Ch 188 This myth has also been referred to in N C., XXI/94 (vastu viśvam udare fara drspa etc) 3 There is a poetic convention that the moon enhances the agony of separated lovers Cf bhagayan kusumayudha! 11a3a candramasa causiasanij abhyam arisandhigare kami ona-särthah/ kutah! taia kusuma saranam sita rasmiham indor diajam idam ayathortham drs) ate mad sdhesu! yuspjatı hima garbhair agnim indur maiuhhaus tam apr kusuma banan ajrasarıkaroşı// (Sakımlala 111/3) ·The Salient Features Of The Similes 37 has there been drawn from a legend about Garuda. The verse is as follows:- dahati kantham ayani khalu tena kim garudavad dvija-rásanayojjhitah/ prakrtir asya ridhuntuda ! dâhika mayi mirūgasi kā vada vipratall (IV/71) "Has Rāhu, like Garuda, spared the moon, being under the impression that it was a rahmana, because it burnt his throat ? Rāhu, to burn is the nature of the moon ; tell me, what Brāhmana quality it has in the case of one innocent like me. ." The allusion is to the story that, on one occasion Garuda was devouring the Nişādas3 when he mistook a Bhrahmin for a Nişada and, while devouring him, felt a burning sensation in his throat. Thereby he could know that the man was a Brahmin and set him free. The significance of the allusion is that it has justified Also, padan indor ampla-siſiran jala-marga-pravişfán pārra-pritya gatam abhimukham sannivritan tathaival (Afeghadüta, II/30/A-B). 1. Related in the Mahabharata, Adi-parvan, Chs. 28-29 ; and in the Padnia-purāna, Srsti-khanda, Ch. 49. 2. Prof. Handiqui. 3. Nişada is the frame of one of the wild aboriginal tribes in India, such as hunters, fishermen etc.' (Prof. V. S. Apte's Skt.- Eng. Dictionary.)

·38 Observations On Similes In The Naisadhacarita а the act of Rahu, namely, sparing the cruel mood. Rāhu ought to have devoured the moon and thus saved the pitiable girl Damayanti. But he has not been able to do so, because while swallowing the moon he has felt a burning sensation in his throat, and apprehending the victim to be a Brahmin he has left him, as did Garuda when he came to know his victim to be Brahmin. The simile drawn from the Garuda legend has thus saved Rähu from the charge of being unsympathetic to Damayanti. But is the second half of the verse Damayantī points out that Rāhu has mistaken the moon for a Brahmin. The burning sensation that he felt in his throat was not due to the fact that the victim was a Brahmin as was the case with Garuda, but due to the fact that to burn is the very nature of the victim. Not only has it burnt the throat of Rāhu, but is burning all along the heart of the innocent girl Damayantī which no Brahmin can ever do. 1. Māgha also has drawn a simile from this story when he says about the camels of the army of Lord Krşna stationed in mount Raivataka : särdhan kathañcd ucitath picumarda-patrair asjäntarala-gatam ámra-dala mradiyah/ dåserakah sapadı sarmalitan nişādair viprami pura patagarád na nirjagaral/ (Sisupalasadha, V/66) It may be pointed out that the simule drawn by Măgha is not a very happy one. It has been said here that, while ·The Salient Features Of The Similes 39 Again, in Canto XVII, while rebuking the spokesman of the group of heretics (Lust, Wrath, Greed and Delusion) who has decried in extremely harsh words the religious beliefs of the Āryas, Agni gives utterance to these words drawing a simile from the episode of the Sun and the Mandehas putreșți-syena-kārīrimukhā drsta-phala makhäḥ na vah kim dharma-sandehamandeha-jaya-bhānavaḥ|| (XVII/93) 'Are not the sacrifices with visible results the suns of victory over those Mandeha demons, your own doubts about religion-sacrifices for the birth of children, destruction of enemies, and coming of rain ?" The demons called Mandehas are three and a half crore in number. In the morning twilight devouring the leafage of Picumarda (Melia azadirachta), a camel took a mango-leaf unawares. As soon as it had been de tected (from its sweet taste) it emitted the same, just as Garuda emitted the Brahmin whom he mistook for a Nişāda. But the Brahmin burnt the throat of Garuda and thus rescaled his real nature, whereas the mango-leaf did not cause any burning sensation in the throat of the camel ; it was detected from its sweet taste. So the semblance is not very clear here. The simile used by Sriharşa, on the other hand, does not suffer from this defect. On the contrary, as pointed out above, it is very significant and appropriate to the context. 1. Prof. Handiqui. Read et cetera (for muhha) in the end.

·40 Observations On Sumiles In The Naisadhacarita they attack the Sun to devour him, but are ulti mately vanquished by the latter There are scrip tural injunctions of making sacred ofterings thrice with the divine Guyatri metre to the Sun before he rises in the eastern horizon This weakens the demons and makes the Sun victorious: The reli gious doubts of the heretics have here been likened to the Mandeha demons and the sacrifices with visible results have been likened to the Sun What Agni means to say is this As the Sun overcomes the Mandehas by dint of his strength so also the sacrifices, by means of their visible results (ie, the birth of a child etc) ought to have overcome the doubts of the heretics about religion But unfortunately, the speaker regrets, they are not doing so The comparison of their religious doubts with the Mandehas is a very clear expression of the contempt of the speaker for the heretics, inasmuch as it hunts at their demonic nature The comparison of the sacrifices with 1 The story of the Mandehas is referred to in the Tatti Ta Aranjaka, 2/2 (rahsanısı ha va puronusake tapogram ansthanta etc), and in the Skanda purana Kasi khanda (Pur vardha), 35/vs 152 155 This myth has also been referred to in NC, XIX/41 (zad at mahatı bhaktır bhanau etc ) 2 The result of Putreşti is the birth of a child, the result of Sjena is the annubilation of enemies and that of Karırı 15 the coming of rain When these sacrifices are performed, the respective results are obtained in thus world within a short time Hence they have been called drsfa phala makhah ·41 The Salent Features Of The Similes the Sun, on the other hand, shows that the religious doubts of the heretics are simply fruitless; they cannot prove the sacrifices as futile. Can anything on earth subdue the lustre of the self-luminous sun ? It is rather strange, as the speaker says, that the religious doubts of the heretics still exist and are not being completely removed by the visible fruits of the sacrifices, unlike the Mandehas who are totally defeated by the Sun.1 Let us now come to the similes drawn from the religious field. Religion has from time out of mind exerted a great influence on the Indian mind. In the writings of our poets and litterateurs also religious ideas are frofusely scattered. Śrīharşa is no exception in this respect. Not only are there references to the Vedas, Dharmaśāstra, Smrti, the authors of Dharmaśāstra like Manu etc., and various religious injunctions, but similes drawn from the field of religion also are not wanting. Thus about the nature of Delusion (Moha), which is the root of Wrath, Greed and Lust, it is said: bralımacäri-vratasthāyiyatayo gļhinari yatha/ trayo yam upajīranti krodha-lobha-manobhaväll! (XVII/32) 1. See another good example of simile from mythical idea under Rhetorical devices, ·42 Observations On Similes In The Naişadhacanta Living" "On him depend Wrath, Greed and Cupid, all three , just as religious students, recluses and ascetics depend on the householder for their The reference is to the Asrama-dharma Our Dharmaśāstras enjoin four stages of life to be undergone by a Brahmin These areBhirahmacarza, Gārhasthya, Vānaprastha and Bhaiksa or Sannyāsa (Ksattriyas and Vaisyas can enter upon the first three stages while, according to some other authorities the fourth stage is also open to them ) Individuals entering upon these stages are respectively known as Bralımacarin, Grhastha (Grhin), Vānaprastha (Vratasthäyın) and Bhiksu or Sannyasın (Yatı) Manu assigns the highest status to the Grhastha inasmuch as those belonging to other orders (Asramıns) have to depend on him for their livelihood 2 And this has served 1 2 Prof Handiqui yasmat trajo 'p asramino jñanenannena canvaham! grhasthenania dharyante tasmas jyes{hasramo grhill (Afanu smộti, III/78) sarvesam apt callesam seda smſti sidhanatah/ grhastha ucy ale śreşthah sa trin elan vbharti hill jatl a nadi nadah sarve sagare janti samsthitim! tatharrastaminah sare grhasthe janti samsthitim!! (Vanu smrti, V1/89 90) ·The Salient Features Of The Similes 43 our poet with a simile. He compares the dependence of Wrath (Krodha), Greed (Lobha) and Cupid (Manobhaya) on Delusion (Moha) with that of religious students (Brahmacarin), recluses Vratasthāyin) and ascetics (Yati) on the house holder (Grhin). Though scholastic, being drawn from the field of religion and having a reference to the statements of Manu, the simile is very simple and distinct. 1 As another such example of simple simile drawn from the religious field, the following verse is worth quoting :- karena vāñcheva vidhurn vidhartur yam ittham ätthädarini tanı artham! pātur śrutibliyām api nādhikurve varnar śruter varņa ivāntimah kiml/ (III/62) "The matter of which thou thus speakest with fervour as something like a desire to catch the moon with the hands-have I no right even to hear of it, just as a Sūdra has no right to hear the words of the Vedas ?"2 This is answer of the swan to Damayanti's words that she is unable to express her desire (i.e., of getting Nala as her husband) which her mind can never part with ; it will be like the expression of the desire an 1. For another simile drawn from the same idea see N.C., VI/97 (10rşeşu jad bharatam arya-dhuryâh etc.) 2. Prof. Handiqui, ·44 Observations On Similes In The Nai sadhacarita of an impudent girl to catch the moon with the hands 1 The swan in its regretful reply, draws a simile from the scriptural interdiction that a Sudra (one belonging to the last of the four classes of the Aryans) has no right to hear the words of the Vedas? The speaker s purpose of using such a simile is simply to gain the sympathy of Dama yantı so that she may not put the swan in the rank of a Sudra and may frankly express her desire to it 3 осси The same skill is noticed in using philosophical ideas Sriharsa was an erudite scholar and had a thorough knowledge of all the systems of Indian philosophy His Khandana khanda khadya pies a high place among the treatises in the field of philosophy There are ample references to these systems and their tenets in his poem and apt similes have been drawn therefrom For instance in Canto IX when Nala discloses his identity to Damayantı and then realising his fault begins to reproach himself the poet says munir yathatmanam atha prabodhavan prakasayantan svam asav abudhyatal 1 Vide NC III/59 (manas tu jam nojhan jatu yatu etc ) 2 stri sudra duja bandhunam irayı na sruti gocara/ (Bhaga vata 1/4/25/A B) NB This 15 of course the orthodox view 3 For another use of Sastric injunction (Gautama s Dharmasutras 1/5/16-17) in a simile see under Erotic ideas ·The Salient features Of The Similes 45 api prapanndit prakſiin vilokya tām avāpta-sellskäramarissjad girahll (1X/120) *Then coming to his senses, he became conscious that he was disclosing his identity; and, seeing Damayanti coming to herself, he spoke these words, having recollected his past ; just as sage, on attaining right knowledge, becomes conscious of the soul revealing itself, and just as he, seeing the Cosmic Matter near at hand, makes (relevant) utterances, having recollected the impressions of his past lives." The reference is to the Vedantic theory of Moksa or Enancipation. At that stage the knowledge of the selfcvident Soul emerges and consciousness is rightly understood to be different from Prakrti or the Primordial Matter. The relevant utterances of the person realising the Self (Huni i.c, Bralimavid), viz., 'such and such were thc functions of this Prakrti in the previous births', are, however, based on the recollection of the past. This idea has served our poet with a grand simile. He compares Nala with the Self-knowing sage and superimposes on his behaviour that of the Brahmavid. 1. Prof. Handiqui. 2. Cāņģūpandita interprets the verse thus :- nalo 'tha passat praktika-bodha-yukto mohavinaše sati ärmānan siani nalanan prakāśayantam abudisyala, mayá udbhrānra dūra-dharno nášita iti nalo 'jānāt/ masau ·46 Observations On Similes In The Naiçadhacarita Some may criticise a verse like this as being meant simply for the exhibition of scholarship and as lacking real poetic charm. We, however, do not find any ground for such criticism. Poetry is for all. As an ordinary reader may expect here lataś casăpta-sarilskärataja pürya-sarskārena tam armanah praktım svábháukim avasthan prapannan praptári vilokya giro vanih aspjat uvāca nalah ha naljatha munih brahmavil aneka-janmarjita-nity ägnihotrādi-karmábhyåsena pratyavája-parthårena hamja-nışıddha-harma-parılyagena ca nütana-harmabhāvál antah-karana-suddhá bhogena kartamána-delärambha.prarabdha- $ubhāśubhan ksapayına sama-damadı-sadhana-catuştaya-sanipattyä sästräcărya-prasādāt prakrsta-bodha-yuhlo bhrahma-jñanavan almánam sia-prahásam nitya-śuddha-buddha-mukta-siabhuvam budh, ale sravana-manana-nıdıdh; asanath aham bhralmåsnili pra tipadyatel ratha janmäntarija-samskarablıyasena ca tām prasid dhaṁ prahrium saltia-rajas-lamasam samyavastham mayam anūdint avid, am prapannām prthag-bhūtari ulohja “aham manur abhaiami süryas cahanı hakşivå rşır asmi wprah/ ahanı kutsam arjuneyar nrñje 'lam havir uśana paśyatá ma" (Rgieda, IV/26/1) 197ddiha rgveda-prasıddhu peak ramaderarsi (the Seer of the above hymn)- at muhtah san pasyan sadan atha ca tām prapannám prakstim ulokzāpi prabodhe 'pi sarishardnussireh müdhavad era giro 'stjat púriavad era hanıcıt vacumsy usūcal jiran-mukto 'pi praksi-puruşa-bheda-jīäne 'pi puna-samiskära-vasat buddhlkarmendrija-v; ápärant haron/ girám sarjanam indriya-vjápåropalak şananl fada ca "age may aimet; "úrabhsa floka-pañcohasja nala-säh, anam ni siaj ani moha-mahormi-nimittam prakasanam Socatitzanenckşiptam ityapı tahliyantaram upama anuprusa-ślesärapi/" (Extracted after necessary corrections from MS no 16 of 1874-75 of the Bhandarkar Oriental Research Institute, Poona ) 1. Cf narsadham vidiad-ausadham ·The Salient Features of The Similes 47 an easy reading and a quick access to the meaning, so also a scholar may expect here something which will be congenial to his scholary mind. If, therefore, the poet inserts 'occasionally'ı such scholarly ideas in his poem, there is nothing to object to. Śrīharşa himself has. frankly admitted at the end of his poem that he has intentionally done so : grantha-granthir iha kvacit kvacid api nyāsi prayatnān mayā prăjñanmanyamanā hathena pathiri māsmin khalah khelatul śraddhārāddha-guru-ślathikſta-drdhagranthih samāsādayatıetat-kāvya-rasormi-majjana-sukhavrāsajjanar saj-janaḥ// (XXII/154) Even in Kālidisa we come across high philosophical ideas. 'Moreover, we do not think that 1. Cf. kracit kracid api in N.C., XXII/154 (quoted here). 2. cf. Sākuntala, V/2 (ramyāni viksja madhurāṁs ca nisamya sabdan etc.) where there is a reference to the theory of the transmigration of Soul ; Raghuransa, XIII/60 (payodharaih punya-janārganánām etc.) where in the last line (buddher ivaryaktam udáharanti) a simile has been drawn from the Sarikhya theory of Evolution. The opening verses of all the three dramas of Kalidāsa contain references to philosophical tenets, such as, Omnipresence of God, Emancipation, Renunciation (of Vedānta), word inhering in Ether (of Nyaya), and so on. Mustrations may be multiplied.

·48 Observations On Similes In The Naisadhacarita the use of the philosophical idea has marred the poetic charm Though the idea is highly philosophical, the simile has been quite natural and one hardly feels that the comparison has gone against the intrinsic poetic spirit of the verse To note a similar such example of knot of the poem' (grantha granth) let us take up the following verse where an apt simile has been drawn from the theory of self validity or Sia tah prāmānya of Mimänsä Nala asks the swan to stretch its helping hand to him so that he may get united with Damayantı , but diately he thinks that it is redundant to make this request to the swan, because the benevolence of the good natured ones does not depend on others request but proceeds from their own inclination, imineand says athara bharatah pravartana na kathanı pistam iyanıı pinasti nab! svata era satan parārthata grahanānam hı yatha yathörthatāl/ (11/61) "Or, perhaps, urging thee to action is like crushing a thing already crushed , for the good do good to others of their own accord, just as sense-perceptions become valid their Own account "2 The Mimāmsā view is that the validity (Jatharthata) of knowledge does not depend on 1 ie, needless (pışta pesana) Prof Handiqui 2 ·The Salient Features Of The Similes 49 on any other source of knowledge, but is inherent in the knowledge itself (syata eva). If the cognition of an object has to depend on another knowledge for the validity of its source, then the latter will have to depend on a third cognition for its own validity ; that, again, will have to depend on a fourth cognition for the same purpose and the series will thus come to no end, i.e., there will be a fallacy known as Anavasthā ('absence of finality or conclusion'). This is why the Mimārisakas admit the self-validity of knowledge. It has been discussed by Professor Krishna Kanta Handiqui, who takes the word yathārthn to mean "true', that there is a reference in this verse to the Prābhākara view that all cognitions are true, because they are cognitions, and there is no error as such. This tenet of the Mimārisakas has been eva 1. See 'Naişadhacarita of Sriharşa' Prof. K. K., Handiqui, 2nd Edition, Poona, 1956 ; Appendix 1, p. 519. Cāņdūpandita interprets the verse thus - "athava iyar bharatah no 'smakar pravartar:ā kathar piştarı na pinaștil yad ahani bhavantam pravartayāmi tat vrtha pista-pesanam era/ hi yasmåt satär mahatmanáři svata para-preranarit vinci parárthată para-kārya-kartſtiam yatha grahanânam jñānānāri pramāṇānāri yathārthata satyatá prāināļyam syata eral yad ála-svalal sarva-pramäränārı pramäiyam iha grhyatām na hi svato 'sati faktih kartum anyena sakyatell itil anmänoii ca sarve proiyayān yathörthāl pratyayatrat/ ghaja-pratyayarat/ athava grhyante ghata-paſādayah padārthā ebhir iti grahaņānindriyāņi teşam srata era yatharthatā visaya-grahaņait na tu para-preraņaya athari grahaņanår jñānānan yatha yatharthată srata era sra-praläsarvanı jñānānāın yathetyartha)/ athava grahananāṁ sabdūnāri yatha 4 ·SO Observations On Simles In The Narşadhacarıla nicely used by our poet for his poetic purpose As the validity of cognitions is inherent in them and does not depend on any other source of knowledge, so also the benevolence of the good is inherent in their very nature and does not proceed from other's request This explains very well the case of Nala that it is needless to request the swan to help him when its very nature is good Verses of this type show how highly philosophical ideas can be well fitted in poetic compositions The main idea here is not at all obscured, and as such there is no touch of artificiality Similes have been drawn from other systems of philosophy also Thus in XVII/78, when the spokesman of heretics denounces all philosophical tenets as baseless owing to the unstable characracter of all reasons, he draws a simile from the fallacy known as Sat pratipaksa ('counterbalanced cause) admitted by the Naryāyıkas, which consists in an argument which is inconclusive owing to the counterbalance of a contrary argument of equal weight The spokesman says tarkāpratisthaza saksad anyonyasya 1 yatighnatam/ nāprāmānyan matanam syat kesam sat pratipaksarat|| jatharthata vacakatram siata ena praisttaliat anupraso nidarsana kavgalingan upama/** (Extracted from MS No 16 of 1874-75 of the Bhandarkar Oriental Research Institute, Poona ) ·48693 The Salient Features Of The Similes 51 "Owing to the unstable character of all reasoning, is there any whose opinions, mutually opposed, being equal in force, will not be baseless ; like 'a fallacious inference with a contradictory reason on the opposite side'?''! The simile has got a definite purpose. The speaker wants to refute the philosophical tenets. In order to do that he shows the instance of Sat-pratipakşa. As the fallacy of Sat-pratipaksa is admitted by the Naiyāyikas themselves and is not an innovation of the heretics, the purpose of the speaker has been rightly served. When one refutes another's contentions by following the latter's own line of argument, the refutation stands on a more firm ground. There are also references to the Vaiseșika doctrine of Atom. In Canto III the swan tells Damayanti anyonya-sargama-yaśād adhunë vibhäfāni tasyāpi te 'pi manasi vikasad-vilasel srasturi punar manasijasya tanun prayttam ädāv iva dvyanuka-kſt paramānu-yugmaml/ ([II/125) "By virtue of your mutual union, let now your -minds, thine and Nala's, shine forth, blossoming with joys, as if they were two atoms forming first a unit of two atoms, about to create once more the . 1. Prof. Handiqui. 2. Of course, whether the argument of the heretics finally stands or not is quite a different question.

·52 Observations On Simules In The Naişadhacarita body of the mind-born god of love "1 The swan says that the minds of Nala and Damayanti, by mutual union, may again form the body of Cupid, who was formerly reduced to ashes by Lord Siva, and as an Upamāna of this it refers to two atoms forming a Diyanuka in the first stage of the process of atomic creation This external world is, according to the Vaiśesika theory, created by the com bination of atoms But Cupid being born of mind (Manasija), he can be created only by the combination of minds serving as atoms (It is to indicate this that the poet uses the term manasija and not madana or kāma ) In the process of atomic creation the first stage is the combination of two atoms forming a Dyj anuka Similarly, in the creation of Cupid the first stage will be the union of the minds of Nala and Damayanti Now, Cupid is the god of love And as Nala and Dama yantı are in deep love with each other, their minds are quite fit to serve as the first constituents in the creation of Cupid The simile, it cannot be denied is a very fit one, and though the idea of Cupid and his relation to human mind is very common in classical Sanskrit literature, the whole idea, viz , the creation of Cupid as compared with the atomic creation of the Vaisesika philosophy, is quite un conventional in the realm of Sanskrit literature ? 1 Prof Handiqui 2 A number of Luptopamas (where the Upamana and the Upaniej a have been compounded and the point of similarity has been dropped) have also been used with reference to atoms (Paramanu, Dyzanuka, etc) Cf. dvj anukodarı in IV/3 as ·The Salient Features Of The Similes 53 So far as the Sankhya and the Yoga are concerned, there are a few references to the doctrines of these systems. In XXII/761 where Damayanti describes the orb of the moon by drawing a simile from the sacrifice (ljyā) and says, with refernce to its stain, that the stain of the fair moon is its only foul portion, just as the killing of animals is the only impure aspect of the pure sacrifice, commentators find a reference to the Sārkhya view. that the slaughter of animals in sacrifices is blamable. In VI/46, where the wonderful phenomenon of Nala being invisible and moving about in the inner appartments of the royal palace of Kundina is described, a simile has been drawn from the Yogin and his superhuman power of assuming.. different forms. The verse runs thus :- bhavan-nadrśyaḥ pratibimba-dehayyühar vitanvan mani-kuttimeşul purarii parasya pravišan viyogi yogīva citram sa rarāja räjäll qualifying Damayanti ; paramāņu-madhyāh in III/41 as qualifying the ladies in the harem of Nala. These are the peculiar expressions of Sriharşa. They are novel, yet simple and, therefore, have got a special charm of their own. 1. ijyeva deva-vraja-bhojya-rddhih fuddhā sudha-didhiti-mandaliyam/ hinisä jatha saiya tathāngam eşā kalankam ekani malınan bibharti|| 2. See the Sārkhya-kārikā, verse 2 : drstavad anusravikah sa hyavišuddhi-kşayāti šaya-yuktah/ tad-viparitaḥ śreyān vyaktávyakta-jſia-vijñānat// ·54 Observations On Similes In The Naişadhacarita "It was wonderful that the forlorn king by becoming invisible, by spreading out a series of bodies in the shape of his reflections on the bejewelled floors and by entering the upper story of another's mansion, shone like an ascetic (who also becomes invisible at will, assumes a plurality of bodies and enters the body of another) ”I As a Yogin, owing to his mystic powers, can remain invisible whenever he likes so also was Nala by the boon of the gods, as a Yogin can assume a plurality of bodies, so also did Nala by the serie of reflections on the bejewelled floors as a Yogin can enter the body (pura) of another, so also did Nala enter another apartment (pura) , and as a Yogin Is vi ogin (detached from all wordly pleasures), so also was Nala a viyogin (a separate lover) So comments Narāyana munir api adrśyo bhajati, kāya-vyūhañ ca karoti, parasja jirāntarasja sarī rañ ca prayisatı nisayebhyo nurttanad viyogi ca bhajati The simile is thus very clear and apt There is another point to note here The king bas been said to be vogin (separated), and when he is presented as a Yogm also, which literally means ‘united , an 'apparent contradiction' (Virodhābhasa) is implied 3 1 Prof Handiqui 2 bhuj ad antardhı sıddher anus hita bhasac cittata jatra tatrall (NC, V/137/D) 3 The poet has deliberately used the word yogi only to imply this apparent contradiction CT 17ogi sa raja nalah yogna voga rahita na, atha ca munir ira Hrarajal elac citram salino rahiti abhayad ascaryam (Narayana ) ·The Salient Features Of The Similes 55 -com- In VI/4 also, where about Nala's arrival at the city of Kundina it is said, Nala's chariot Teached that city in a moment, just as a desire attains fulfilment in a moment (manorathan siddhim ir kşamena rathas tadīyaḥ puram cisasāda),- mentators find a reference to the Yogin who can fulfil his desire in a moment. The significance of the comparison with a Yogin's desire is to suggest the high speed of the chariot. Instances are thus numerous. Of course there are a few verses where reference to different philosophical tenets has obscured the main idea, For other examples of apparent contradiction blended with simile, see under Rhetorical devices. 1. CE sādharana-manorathasya ksanena siddhi-lābhasambhavad atra manoratha-padan yogi-nianoratha-param/ (Siddhānta-vägīša.) 2. Cf. manoratha-drsťantena rathasyātijaranatrant sûcitam! (Nārāyaṇa.) 3. Cf. ya soma-siddhanta-mayānanera sünyätmatā-vada-mayodareval rijñāna-sämastya-mayāntareva säkärată-siddhi-mayâkhilevall (X/88) In each foot of this verse a philosophical doctrine is referred to. The poet fancies the face of Damayanti as the doctrines of the Kāpālikas (Soma-siddhānta), her belly as the doctrine of Nihilism (Śünyatmată-rāda), her heart as the doctrine of Universal Consciousness (Vijñāna-samastya) and finally her whole frame as the doctrine of sense-knowledge being endowed with form (Säkārata-siddhi). (The last three are the doctrines of the different sects of the Buddhists, viz., the Madhyamikas, the Yogācāryas and the Sautrāntikas.) But this makes the verse apparently nonsensical unless a commentator comes forward and throws light on the real meaning. We are, therefore, unwilling to accept such a verse as an apt example of Sriharşa's simile.

·56 Observations On Similes In The Naşadhacanta in yet, leaving out these few exceptions, the instances. are appealing from the literary point of view Literature and philosophy go hand hand and the Narsadhacarita is a living example of this truth Similes from other sciences also are not wanting The poet draws new types of simile from the field of grammar (XI/115—sājujyam rcchati bhavasya bharăbdlı zadah etc, XVII/150-gatiantara nalanı bhainnin etc), poetics (XIII/53—itaranala-tula bhāg esu sesah sudhabhih etc), dramaturgy (IX/118—na kartase manmatha-ratıkā katham etc) the science of medicine (IV/2-yad atanu para blūk tanute sma să etc) the science of archery(III/126- 127_kamah kausuma-capa durjayam anum etc and tyad gucchával mauktıkūnı gulikāh etc), chemistry (1X/42—anugrahad era dnaukasănı narah etc), botany (VIII/90_ekaikam ete parırabhya pina etc, XII/96 -asyāsır bhujagah sakosa varākrstah etc), the science of birds (XVII/213—udblid yıracitārasah etc), the art of navigation (XXII/99-dināvasāne taraner akasmāt etc) and so on These similes are all scholastic, but not in the least incom prehensible and they have aptly fitted in the poem XI/115 relates the glory of Vārānasî by saying that the creatures of the ocean of this world (blatādl) are identified with Lord Siva by coming to this holy city, just as the root as is identified (in its application) with the root bhū in the aorist mood (Cf abhūt from the root as or bhū) Evidently, the reference is to the grammatical aphorism aster ·The Salient Features Of The Similes 57 blūl. But the simile is clear and simple and does not, therefore, impede the aesthetic appreciation of the verse. In XVII/1502 Indra tells Kali that it is not possible for him (Kali) to get into possession of Nala and Damayanti, just as the letter à cannot enter into the combination of letters forming the word șannām when the stem and the afflx are kept disjoined. The reference is to the grammatical provision that the final ș of the stem şaş turns into d in combination with the afflx nānı (arn) by the rule jhalari jaso 'nte. The simile is highly scholastic, but very apt as it evidently suggests how impossible it is for Kali to get into possession of Nala and Damayanti." XIII/53 is also a good example of unconventional simile drawn from a poetic figure, viz., Anuprāsa (alliteration) wherein, in spite of the similarity of letters between the first and the last words, the real charm flashes out of the last letter. The last two words of the verse, viz., anuprāsa-bhäsārt vilasaḥ, serve as an example of this. 1. Aşpadhyayi, II/4/52, 2. Some commentators think this verse to be an interpolation ; but as early commentators like Cāņdūpaņạita and Vidyadhara explain it, we have referred to it as a genuine one. 3. Aşfädhyāyi, VIII/2/39. This d, in its turn, turns into ņ by the Vārttika-pratyaye bhāṣayān nityam (read under Aşpadhyayi, VIII/4/45) and assimilates the following n by the rule sfunå sjuh (Asjådhyāyī, VIII/4/41). 4. See also N.C., III/23 (kriyeta cet sadhu-ribhakti-cintă etc.) where a grammatical idea is suggested by means of double entendre.

·58 Observations On Similes In The Naişadhacarita Here, of the three dental sibilant sounds (s's) contained in the expression, the grace of allitera tion is due mainly to the last one Similarly thinks Damayanti though there are five persons before her—all bearing the appearance of Nalait is the last one that washes her heart with streams of ambrosia The simile beautifully points out the characteristic charm of an alliteration the example of which is supplied by the verse itself The superexcellent charm of the real Nala is thereby nicely suggested here It is the novelty of this simile that strikes us most In IX/118 Nala fancies Damayantī to be Cupid's drama (Manmatha nātikā) personified, where the Sūtradhara (stage manager), Nayaka (hero), Dujarad Vidūsaka (Brahmin jester), An ga hūra (graceful gestures)--that are generally found in a drama-are all there, the words being equally applicable to Damayantſ in a different sense Though the metaphor is based genious word play, the idea not obscured 1 on in 1S 1 as Thus, prahasa roma al sutra dharını, qualifying Damayanti, means holding the string in the form of the visible unc of hair in the body, nasaha primarily means the central tem, angahara means the 'necklace, dujarad dışalah, primarily an adjective to śikha manih, means defeating the moon (in brightness)' For the complete verse and its translation, see Sec V 2 As a matter of fact ingenious play on words does not necessarily impede poetic beauty unless it goes too far This will be subsequently discussed at length ·The Salient Features Of The Similes 59 SO thereby—so prominent the words are and uniquely the poet uses them. In IV/2 it is metaphorically said that suffering from Cupid's fever (Atanu-jvara) Damayanti plunged into the pond of the story of her beloved ; but its effect was injurious to her, as it caused for a long time a burning sensation in her heart. The idea is that the story of her beloved, related by the swan-messenger, enhanced the mental agony of the lovelorn girl. The metaphor has a reference to medical science according to which a feverish person bathing in a pool is attacked by typhoid fever. The comparison of love's agony with the morbid heat of fever is very conventional, but the whole idea, i.e., the comparison of Damayanti listening to the story of Nala and getting her heart perturbed thereby with a feverish person plunging into a pool and falling prey to typhoid, is Śrīharşa's own, and its aptness surpasses any question. III/126 and 127 reveal Sriharşa's knowledge of the science of archery. Complicated metaphors have here been drawn from the bow, its target and application. The description of Damayanti as Cupid's bow makes the erotic idea more impressive, while the description itself is very vivid and picturesque. It is said there that Cupid found Nala not to be conquered with a bow of flowers and was, therefore, glad to find in Damayanti, who belonged to a pure family (avrana-vansajā) and possessed great virtues (adhi-guna), a bow made of flawless bamboo fuprana-vaniša-jā), and ·60 Observations On Similes In The Naisadhacarita ness equipped with string (adhi gunā) Damayanti was shining with a piece of silken strip, beautiful with vermilion marh, which, hanging down a little on her back, decorated her neck like a line left (by gold) on a touchstone This has been fancied as the mark of vermilion rubbed by Cupid on the back of the bamboo in order to test its sound- Further, the pearls of the nacklace of Damayantı, the beautıful bow of Cupid, have been described as the shots of Cupid's bow, Nala as a flamingo which happened to be the target of the shots, the line of hair on the body of Damayanti as the string of Cupid's bow , and her gleaming navel as the hole in the centre of the bowstring (provided for holding the shots) In IX/42 Nala makes it clear to Damayantı that by marrying one of the gods she will attain divinity through the divine grace and thus she will no longer fall under the category of mortals He supports his argument by drawing a similar instance from the science of chemistry When specially pre pared mercury transmutes iron into gold, it can no longer be included under the category of iron 1 The reference is actually to alchemy or Dhatudya to Which our poet refers in XV11/79 akrodham fiksaj ants any an krodirana je fapodhanall nirdhanas te dhanai ana dhålundy opodešinahl| In the Middle Agalchemy was regarded as a science It aimed at the production of (1) the philosopher's stone for transmuting baser metals into gold, (2) the elair for prolongation of life indefinitely and (3) the universal sokent There were many noted alchemists like Paracelsus Albertus Magnus, ·The Salient Features Of The Similes 61 The comparison here is of Damayanti, turning into a goddess through the grace of the gods, with a piece of iron turning into gold through the treatment with specially prepared mercury. The comparison is argumentative and hence gives strength to the statement of the speaker. In VIII/90 Nala begins to deliver to Damayanti the message of the gods who have requested her to act for their joy as the Višalyā creeper, as they are swooning under the shafts of the brutal Cupid. The agony of the gods is due to their separation from Damayanti. It is she alone who can make them happy by accepting them. Hence she is compared with the Višalya creeper which can cure wounds whenever applied. The reference to the Visalyā speaks of Sriharşa's knowledge of botany, but at the same time the comparison has been a very befitting one from the literary point of view. XII/96 is a very beautiful example of metaphor drawn from the science of botany. Here the black sword of the king of Magadha, drawn from its sheath, is compared with a serpent coming out of its hole. It causes terror to the opponent kings in the battle-field. In order to protect themselves from this snake in the form of his sword) they liave to act as snake-charmers. Roger Bacon, Geber, etc. Their pursuits, despite utter destruction of many invaluable lives, were the cause of many discoveries in the field of the science of chemistry.

·62 Observations On Similes In The Naişadhacarita Te- They, therefore, put their fingers in their mouth as a mark of submission, and these fingers act as the medicinal creepers which a snake-charmer quires to subdue a snake. The reference to the science of botany is made when the finger is compared with the Mahāsıddhausadh creeper that is useful in protecting a person from snake-bite and the comparison is an apt one XVII/213 draws a simile from a person living in a hut made of straw and fearing a pigeon which possesses fire in its stomach--when it is said about Kali that in the same way he feared the Ksatriya king Nala who maintained the Vedic fire and was initiated in sacrificial rituals The reference is to the high digestive capacity of a pigeon which possesses fire in its stomach and can, therefore, digest even pieces of stone Such a pigeon, sitting on the roof of a house, is an evil omen and involves risk of fire 1 Though the simile is based on pun involved in a number of words (viz, udbludviracitārāsaḥ, sūgne), dvijāt and prāpı dikşıtät), there is no touch of artificiality in it and he comparison is very appropriate By comparing Nala pigeon which is able to digest even with a Cf agnih kapota-ja[haram antah-prausto 'ta era tadbhakṣitā paşana-kanıkāpi jirjata itjaith, am sāgner angārabhakşınah kapota-uśeşo hyangaran bhakşaj atıl udbhıda trna- Lasihadıná nirmita-grhaḥ puruso 'gnyudgari-netrát siopaiešana. märrena srha-dahadyanışta-súcakad grhoparı yokitát kapotat vkät pakşınah sakāsåd jatha bhayam prăpnoti tathā sár-apıl (Nārayana ) ·The Salient Features of The Similes 63 pieces of stone, the poet perhaps suggests that Kali understood Nata to be competent enough to subdue his hostile power (viz., Kali). XXII/99 speaks of the poet's knowledge of the art of navigation, while the metaphor he uses there makes the nocturnal description more picturesque. When the sun sinks low at the end of the day, the eyes of the people traverse expansive darkness by moonlight. This is tantamount to saying metaphorically that one crosses the perilous river with the help of a raft when there is a shipwreck. These are some examples of the similes drawn from various sästras. The text abounds in a good number of similar other examples. It is clear from the examples that not only had the poet a knowledge of the śāstras mentioned above, but so fully he had digested them that he could draw an idea from any one of them whenever necessary and could fit it well in the proper context. His poetic genius and scholarship have gone hand in hand, and it is a unique achievement on the part of the poet that the natural flow of poetry has not been hampered by the exhibition of scholarship. The epithet Šāstra-kāyya, as pointed out by Professor A. N. Jani, is rightly applicable to the Naişadhacarita, and it is a great tribute to the poet in the sense that his Sastra has not marred his Kavya. 1. See his "A Critical Study Of Sriharşa's Naişadhiyacaritam, Baroda, 1957; p. 267.

·64 Observations On Siniles In The Naşadhacarita Ideas from social, economic and political fields A man is a social being and a poet is no exception He can hardly dissociate himself from the social chuironments of his time and is greatly influenced by them Though the appeal of a poets works is universal and is not for any particular sect of a particular age, it is the picture of the poets own society that is generally revealed in his works As regards our poet, almost a complete picture of the society of Sriharsa's time, along with the information of the economic and political conditions of that period, is obtained from the Naisadhacarita Professor A N Jani has thoroughly noted them So far as our subject matter is concerned, it is interesting to notc that al good number of similes have been drawn from social cconomic and political fields The custom of Sati důha (the burning of a devoted wife on the funeral pile of her husbad) was in vogue in Sriharna's time, and wr tuous wives wilfully entered into the fire It was also believed that such a devoted lady was able to bring about the resurrection of her cxpired husband by vrtue of her merits Sribar a draws a simile from this custom and the aforesaid bclicf The which goes 2 nd descripmon of the sising sun with its glow, runs as follows dlm prusamid diptir sastang110 guja-sesore prz*10!! S11171 ? promie pont!! 13 31*11 rigiri i Se- * 'A Chical SL O SA si's Na!' thly :- *it:m. Parox's 1947. Cha; e Vll und ll ·The Salient Features Of The Similes 65 kadhara-bhuvanāt soddlrtyaisā hathāt taraneh krtā mara-pati-pura-prāptir dhatte sati-vrata-mūrtitāmil (XIX/44) **The devoted Light had entered the fire, when the Sun, her husband, went down, having reached the hour of decline of the bygone day. Now she appears as the image of the vow of a devoted woman ; for she hath brought about the ascent of the sun to heaven, forcibly raising him from the world below."'1 The sun sets in the evening, but its afterglow still remains in the sky for a short time and gradually fades away. The poet fancies the setting sun to be a dead man and its glow to be his devoted wife. The fading away of the glow has been fancied as the entrance of the devoted wife into the pyre of her husband. Next morning the sun is again seen in the eastern horizon rising from the lower region while its glow comes out a little earlier, This has been fancied as if the devoted wife, by virtue of her merits, is bringing about the resurrection of the dead husband whom she had followed. The poet thus finds human behaviour in Nature and the idea is highly poetic. The society at that time, it appears, was very strict. Illegal latitude was not tolerated. Unchastity among women was a punishable offence. An unchaste woman was banished with her briad of hair cut off by a barber. The simile contained in the following verse, which describes the 1. Prof. Handiqui. 5 ·66 Observations On Similes In The Naişadhacanta morning sunshine, has a reference to this practice: dinam iva divākirtis tiksnaih kşuraiḥ savituh karnis tinira-kararı-lūnāri krivā nišāns niradīdharati sphurati paritah keśa-stomais tatah patayālubhir dhruvam adhavalarii tat-tac-chāyac-chalad avanztalam// (XIX/55) "The day, like a barber, banished the Night, lopping off her braid of darkness, with sharp razors, the rays of the sun. Verily the surface of the earth doth glisten black with masses of hair falling in consequence all around in the guise of diverse shadows." The comparison of the night with an unchaste woman is suggested here,' whereas the day is expressly compared with a barber. The rays of the sun are compared with the sharp razors of the barber. Darkness is fancied to be the braid of hair of the night. Dispelling of darkness by the rays of the sun is fancied to be lopping off of the unchaste woman's hair with the barber's razors Disappearance of the night is fancied as the banishment of the unchaste woman The diverse shadows of trees and other objects which appear in the day-time lave been fancied as the masses of hair falling all around. The vivid description of the verse has been made more picturesque by the simile drawn from the 1. Prof. Handiqui, ·The Salient Features Of The Similes 67 picture of the banishment of a woman indulging in adultery. Polygamy may be surmised from VIII/60 (teşām idônīri kila kevalan så etc.), but polyandry was an offence. The body of a woman indulging in polyandry was, it appears, cut off into pieces and given to birds for food-at least she was threatened with this severe punishment. In the following verse, dedicated by Nala to Paraśurāma, an Incarnation of Lord Vişnu, a simile has been drawn from the aforesaid practice : pārisulā bahu-patir niyataın yā vedhasāraci ruşā nava-khandāj täri bhuvan kệtavato dvija-bhuktan yukta-käritaratā tava jīyāt}/ (XXI/64) "Glory to thy assiduity in doing what is right! thou didst give the earth to the birds for food; the ever impure earth with many a husband. She kad been cut into nine pieces by the Creator in his wrath."1 The earth with many kings ruling over its different parts is fancied as a licentious woman attached to many lovers. The different spheres into which the earth is divided are fancied as 1. Prof. Handiqui. 2. The king is called the husband of the earth' (thi-pati). 3. As the Puranas inform, the earth is divided into seven dripas. (Cf. sapta-dvípa vasumati.) Somewhere the number is mentioned as eighteen. One of them is Jambű-dvipa which is again divided into nine lands of which one is Bliārata (India). It is probable that the word bhủ, in the verse under discussion, stands for Jambu-dripa only and not ·68 Obsenations On Similes In The Naisadhacarita the different pieces into which the body of the licentious woman is cut off by the angry Creator There is a pun on the word duija One meaning of the word is 'the Brahmin' The reference is to the legend of Parasurama annihilating the Ksatrijas and giving the earth to the Brahmins as a gift (dvijabhukta) The other meaning of the word dvija is 'the bird,' and taking the word in this sense the poet fancies that the earth being a lewd woman, the different pieces into which her body had been cut off were given by Parasurāma to the birds for food (dvija bhukta) Though the simile is allusive and to some extent ingenious, it has a lite rary appeal to a really appreciative mind, and we do not find anything artificial in it The society was perhaps a cosmopolitan one Men of different characters were there Cheats and thieves were also rampant People, therefore, could not always rest assured about the safety of their property So there were institutions of reliable persons most probably merchants, who used to act as deposit-keepers They were known as Nilsepa-vanık The following verse draws a simile from the deposit keeper kābhir na tatrābhinaja smarajña visiasa niksepa jane krije 'ham/ for the entire earth, and thus the division of Jambu-dupa into nine lands (rara khanda) is referred to here Cfatha ca mara bhumeh jambu-dvipasya khandani bharata harnarsa kimpuru selavsta bhadrasva ketumala ramyaha hıranmazottara Kurusaññanı (Canļūpandita) ·69 The Salient Features Of The Similes jihreti yan naira kuto 'pi tiryak kaścit tirascas frapate na tena|| (III/43) Speaking of the ladies of the harem of Nala the swan gives utterance to these words, "Who among them does not entrust me with the new mandate of Cupid as one does a merchant with one's deposit (niksep«) ? As a bird is not put to shame before. any one, nobody feels diffident before a bird." The ladies of the harem of Nala confide their love-messages to the swan (which acts as their messenger in the love-affairs); its comparison with the Niksepa-yanik has, therefore, been very appropriate." Mūdhukarī or collecting alms by begging from door to door by mendicants was probably a common practice of that period. The following verse, uttered by Nala while describing the prettiness of the different limbs of Damayanti's body, draws a simile from Mūdhukari :- tuşāra-nikseșitani abja-sargarii vidhātu-kāmasya punar vidhātuhl 1. For a similar idea of safe-keeping, sec N.C., VII/55 (divarajanyo ravi-soma-bhite) etc.) which bears resemblance to Kumarasambhava, 1/43 (candran gată padma-gunan na bhuikte etc.). 2. Madhukari=(1) 'Collecting alms by begging from door to door, as a bee collects honey by moving from flower to flower. (2) 'Alms obtained from five different places." (Prof. V. S. Apte's Skt.—Eng. Dictionary).

·70 Ohsenations On Similes In The Naişadhacarita paſcası-ihāsyånghri-karesy-abhikhyābhiksādinnā madhukarī sadȚksāj] (VII/103) "The Creator's begging of the beauty of these five limbs of hers--the face, the feet and the hands, being desirous of creating again the lotusbeds destroyed by frost, is now like the begging of those mendicants who restrict themselves to five households for their daily alms".1 As a mendicant obtains alms from five different places, similarly the Creator is begging beauty from the five different limbs of Damayanti's body in order to re-create the destroyed lotus-beds. The simile is simple, but it has a deeper suggestion It is suggested that the beauty of Damayanti's face, feet and hands excelled that of the lotus-beds, otherwise there is no justification of the Creator begging beauty from the limbs of Damayanti in order to recreate the lotus-beds. To create something one naturally takes elements from a superior object Not only so, it further hints at the everlasting excellence of Damayanti who remains a grand storehouse of beauty when even the Creator's repository is exhausted. It has to be remembered that a mendicant, unlike an ordinary beggar, would not approach a low man for alms but only the house- 1. Prof Handiqui He accepts here the second one of the two meanings of the word mädhuhari suggested by Prof Apte This is quite logical, because in that case the word pancasti Occumog la the text goes well both with the Upamana and with the Upameja ·The Salient Features Of The Similes 71 holders who are supposed to have a high status in the society. The comparison of the Creator begging the beauty of Damayanti's limbs to a begging mendicant is, therefore, very appropriate and significant in so far as the other excellences of Damayantī, viz., lier sanctity, dignity etc. also beautifully suggested thereby. Hunting was in vogue at that time. While describing the morning sky in Canto XIX the poet draws a simile from falconry? in the following are Verse: nabhasi makasarii dlvānta-dhyarikșa-pramupana-patrinām iha viharanaih śyainampātäri raver avadhārayani sasa-visasana-trāsād aśāni agac caramāri šaśī tad-adhigamanāt tārā-pārāvatair udadīyatall (XIX/12) "Concluding from the hoverings in yonder sky of those hawks, the rays of the sun, killing the crows of darkness, that the sun is going ahunting ; the moon betook himself to the west for fear of his hare being killed ; while those pigeons, the stars, flew away on receiving the news.”2 The moon and the stars do not shine in the day-time, and the poet 1. if the word patrin occurring in the verse means 'a falcon', then the picture is one of falconry; but if the word be taken in the sense of an arrow', then the verse refers to hunting (in general) with arrows. The word śyainampdtā means either thawking' or 'hunting'. 2. Prof. Handiqui.

·72 Observations On Similes In The Naişadhacarita gives here rather a humorous interpretation of this natural phenomenon The sun is described as a falconer and the solar rays as his falcons killing crows (in the form of darkness) in the sky Falcons kill liares also and hence they are known as Sasāda or hare eaters' The moon has a hare (in the form of its stain) on its lap for which it (the moon) is known as Sasänka It is fancied that the moon, when it understands that the sun is going ahunting, flies. away to the west, ie, in the opposite direction, lest the falcons of the sun kill the hare lying on its lap The nocturnal stars are described as pigeons When they come to know that the sun-hunter is chasing the crows and the moon has fled out of fear, they also fly away apprehending an imminent danger The simple meaning is that when the sun rises in the east and dispels darkness, the moon sets in the west and the stars fade away But the picture is pre sented with such a poetic fancy that the reader cannot but pause to relish. The society was prosperous and civilised The people paid much value to arts and crafts The poem gives ample evidence of this culture Large edifices with spherical vaults of gold on the top were built in the city While describing the uncommon beauty of Damayanti, the kings assembled in her bridal chamber (Svayamvara) describe her two breasts as the spherical vaults on the top of the two palaces built by her youth for Kama and Rati, 1 ideas, For more examples of humour, see under Humorous ·The Salient Features Of The Similės 73: the god and goddess of love, who were dwelling in her heart. The verse runs thus :- vyadhatta saudhe rati-kāmayos tadbhaktar vayo 'syā lişdi vasa-bhājoḥ| tad-agra-jāgrat-p?thu-śāta kumbhakumbhau na sambhāvayati stanau kah// (X/122) "Two palaces did the age that is devoted to Cupid: and Rati build for them, residing in her heart. Who does not guess her breasts to be two rounded cupolas of gold flashing at their top ?" Youth is the proper age for the advent of Cupid, and the verse is a metaphorical description of the youthfulness of Damayanti. Youth is described as a devotee of Cupid and Rati, and out of its devotion it has built two palaces for them in the heart of Damayantī. But as the palaces are inside her heart, they are not visible from outside. The only visible portions thereof are the two cupolas which are the breasts of Damayanti. The idea is that, Damayanti is a youthful girl and as such her breasts are fully developed. At the same time it is suggested that her heart is full of passionate love. It gives a vivid picture of a marriageable girl and, therefore, justifies the self-choosing ceremony (Svayamvara) arranged for her. In other words, the description is very appropriate to the context. 1. Prof. Handiqui.

·74 Observations On Similes In The Naişadhacarita Horticulture was known at that time. Trees were bred with much care with the provision of 'water-basins and pouring of water. This is clear from the metaphorical description of the following verse where the gods are presented as the garden of Kalpa (All-giving) trees :- pradaksina-prakranianâlavālavilepa-dhūpācaraņāmbu-sekaih/ iş gañ ca mrsțaſi ca phalarii suvānā devā hi kalpa-druma-kānanan nahl/ (XIV/2) *"The gods are a grove of all-giving Kalpa trees to us, bearing choice sweet fruits as a result of the provision of water-basins, namely, the ceremonial circumambulations to the right ; and pourings of water, to wit, the offering of unguents and incense."1 As trees bear fruits when bred with the provision of water-basins and pouring of water, so do the gods when they are propitiated by ceremonial circumambulation to the right (pradaksina-prakramana) and offering of unguents and incense (vilepa-dhūpācarana). In order to suggest that the gods give their devotees whatever is desired by them, they are compared with the Kalpa-druma 1. Prof. Handiqui. Some commentators take vilepa-dhūpácaraná (varaņā)-mbuseka as a subordinate Drandva compound of vilepa-dhūpăcarana varana) and ambu-seka. Accordingly, they find here a reference to the provision of incense and unguents for destroying the worms which damage trees and plants. For the idea of the provision of water-basins, see also N.C., 1/105 (karena minant nija-ketanam dadhad drumálavālāmbunivesa-bankaya/).

·The Salient Features Of The Similes 75 or 'Wish-yielding trees'l and not with ordinary trees. As the Kalpa-druma is supposed to grant all desires, the comparison is very appropriate. The people used to take various kinds of food. There is a vivid picture of sumptuous feast in Canto XVI. Various other scattered references to different sorts of edibles and drinks are also found, and a few very homely similes have been drawn from them. One of the edible items was Apūpa or Pūpa (cake) which was also offered to the gods by the devotees. This has been used in a simile in VII/61 (viyoga-vaşpāñcita-netra-padmaetc.). Here Brahmã has been said to have created the ears of Damayanti as two ceremonial cakes to be offered to Cupid and Rati with the usual water and flowers, in the form of her tears and eyes, accompanying the offering. It signifies the passionexciting beauty of Damayanti's pair of ears. Professor Handiqui rightly comments : "Here the gift is made by the Creator to Cupid to serve as one more weapon in his armoury."2 Rice-cake (Parpata) prepared with sesame (tila) was another eatable item and this was also used in a religious offering. This has served a simile in XXII/149 (upanatam udu-puspa-jātam āste etc.) where Nala asks Damayanti to worship Cupid 1. For the idea of the 'Wish-yielding tree', see N.C., 1/15 (ayari daridro bhaviteti raidhasin etc.); 1X/74 (divo dhavas tvärı yadi kalpa-śākhinam etc.). 2. "Naişadhacarita Of Sriharşa,' Second Edition, Poona, 1956; p. 97, footnote.

·76 Obsersations On Similes In The Naisadhacarita by offering the moon taking it as a rice-cake stuffed with sesame, while the stars will be the usual flowers of offering The idea lying behind the expression is that the moon is one of the Uddipana vibhājas or passion-exciting objects helping the development of erotic sentiment (Srngara rasa) out of Ratt or love As Cupid is the presiding deity of love, the moon has been metaphorically described as an offering to him, and its comparison with a rice cake stuffed with sesame is appropriate owing to the distinct similarity of the two1 Drinking was a luxury in feast In XXII/146 (sapīteh samprīter ajanı etc) the moon has been described as a jar of sun stone (dinamanı man grāja manikah) used on a festive occasion of the stars when, it may be fancied, the stars assemble round the jar and place on it a bowl of sapphire, namely, its stain, to draw (wine in the form of its) nectar By depicting the moon as a jar of drink the poet suggests its intoxi cating nature (for which it is supposed to be an Uddipana vibhava in the development of Songūra) A number of beliefs and supersitions of the people of the contemporary period have been mentioned or hinted at in the poem A few similes also have been drawn from them Some of them may be 1 The full moon with its stain appears as a round rice-cake stuffed with sesarme 2 The idea of wine is suggested by the words sapiteh (for festive drinking) and casaka (a wine glass) A drinking bout or madhu gosthi is actually mentioned in XX/80 (trayanjak hrdazan mdhye madhu gosthi ruseksitah) ·The Salient Features Of The Similes 77 exemplified here. The sight of a water-jar (udakumbha) at the time of one's departure was believed to be a good presage. In XIX/25 (raha sahacarin etārie rājan etc.) the rising sun has been likened to a golden water-jar which beauty (Sri), before going from the Kumudu (white water-lily) to the Nalina (lotus flower), desires to see. There is a poetic convention that in the morning the water-lilies close up their petals and the lotus flowers open. The poet fancies that beauty passes from the water-lily to the lotus, while the rising sun acts as the auspicious pitcher (Marigala-kumbhu) at the time of its departure. The word marigala-kumbha actually occurs in XV/74 (ajānati kāpi vilokanotsukā etc.) where such an auspicious pitcher has been superimposed on the breast of a woman of the city, the covering cloth of which was half blown away by air, as she was very much eager to have a look at Nala who was going for his marriage ceremony. The superimposition is based simply on the similarity of the two objects in shape. Some other objects like mirrors, honey, filowers (specially lotus), sprouts, etc. were also considered to be auspicious. În XV/76 (lasan-nakhādarśa-mukhān. buja-smita-etc.) it has been metaphorically described that the women of the city, assembled to have a look at Nala while he was going for marriage, served auspicious presages for the king, as they 1. Cf. ahnyambhojani nišāyān rikasati humudam (Sahityadarpana, VII/19).

·78 Obserrations On Similes In The Naişadhacarita had mirrors in the form of their flashing nails, lotuses in the form of their faces, flowers in the form of their smiles, honey in the guise of their voice and sprouts in the appearance of their hands. The metaphors are significant too. The comparison of the nails of the ladies with mirrors suggests their natural lustre ;l that of the faces with lotuses suggests their beauty ; that of their smiles with flowers suggests their deliciousness; that of their voice with honey suggests its sweetness; and that of their hands with sprouts or young leaves (pallava) suggests their tenderness. These are some of the many popular beliefs of that period which have served our poet with simple and homely similes. As regards the general economic condition of that period, we do not, however, get any details except what may be surmised from the gorgeous descriptions of streets, palaces, etc. Varāța (also known as Kaparda) or cowrie was the means of currency. Men used to purchase gold by cowries" after testing it in a touchstone. In a graphic description of the evening twilight in the last canto the poet draws a simile from this practice :- astūcale 'smin nikașopalābhe sandhya-kașollekha-parikṣito yalil vikriya tarii heli-lira mya-pindarii tară-varățūn iyam adita drauhll (XXII/13) 1. C. rakha-kirana- very favourite expression of Binabba[12.

·The Salient Features Of The Similes 79. "Selling that lump of gold, the sun, that was tested on the touchstonelike Mount of Sunset, the evening glow being the trail left by the abrasion, the sky hath taken in return cowries, the stars !". The sky has been depicted as a person selling a lump of gold, the sun (to the other hemisphere). The sun setting in the west appears as a lump of gold. The Western Mountain (Astācala) has been likened to a touchstone to test the purity of the gold, the sun. The evening glow has been likened to a mark of friction left by abrasion of the lump of gold on the touchstone. The stars have been described as the cowries received by the sky for selling the lump of gold. The idea is this, the sun has set, the stars have appeared in the sky, but the scarlet line of the evening has not yet faded away. But the simile used by the poet has given the description a highly graphic touch. Gold coin was also current and this was. sometimes forged by imposters to cheat others. This practice has been referred to in a simile in connection with a nocturnal picture in the last canto :- ädatta diprau manim ambarasya darvā yad asmai khalu sāya-dhūrtahl rajyat-tuşāra-dyuti-kūța-hema tat pāndu jātau rajatari kşanenal/ (XXII/52) "Dusk the Imposter gave a counterfeit gold coin, the reddening moon, to the sky; and took posses- 1. Prof. Handiqui.

·SO Obserations On Similes In The Naişadhacarita one. sion of the sun, heaven's radiant gem. Forthwith the coin turned out to be a pale piece of silver."l The moon, when rises in the east, appears red. But within a short time its redness fades away and it appears white. The poet fancies the rising moon as a gold coin and the white moon as a silver He depicts the dusk as an imposter (sāya- -dhūrtal) and the setting sun as a radiant gem "which the sky possesses (ambare sya diprani manim). It is poetically fancied that the dusk purchases the radiant gem of the sky by a counterfeit gold coin made by gilding a silver one. But its artificial golden hue does not last long and fades -away very soon. The sky is thus deceived by the dusk. The natural phenomenon, which is so metaphorically and graphically depicted is this : The lustrous sun, which was shining a little before, has set. The moon has risen. It was red a few moments back, but now its red hue has dis- -appeared and it appears as white as silver. So far as the political condition of the period is concerned, some glimpses are available from the poem, but no details. Similes from the political field are also not wanting. The emperor used to receive tributes from the vanquished kings and the poet has skilfully utilised this idea in a simile while describing the beauty of Damayanti's arms. The verse runs thus:-- aszā bhujābhyāni vijitās visāt kivi prthak karo 'grhrata tat-prasūnam! 1. Prof. Handiqui.

·half in a different way. There is a pun on the word kara which means (1) 'tribute' and (2) 'hand.' 'Tribute is superimposed on the 'hand' owing to the sameness of the word expres- The Salient Features of The Similes 81 iheksyate tan na gļhāh śriyaḥ kair na givate và kara eva lokaigl/ (X/123) Have her arms severally taken from the defeated lotus-stalk its flower as a tribute ? Who is there that does not find here (i.e., in these arms) this flower, which is beauty's abode, and does not praise it (i.e., this flower in the form of her hand) as her hand ?1 The poet wants to say, that Damayanti's arms are more beautiful than the lotus-stalk, and fancies that in a contest of beauty her arms have defeated the lotus-stalk and as a tribute (kara) they have taken the flower from the stalk which now shines as her hand (kara). In other words, Damayanti's hands are as beautiful as the lotus, the abode of beauty or goddess Lakşmī. In the last foot the poet simply justifies the simile by skilful use of the equivocal term kara. The import this : As people really appreciate the pair of Damayanti's karas (hands) which are as beautiful as the lotus, it is quite probable that she has received them from the defeated lotus-stalk as a kara (tribute). Employment of spies, including female ones, it seems, was adopted as a means in the machi- Professor Handiqui takes the word iha occurring in the verse to mean 'on the earth and translates the second ing them. 6 1.

·82 Observations On Similes In The Naişadhacarita nery of administration. The following verse comprises a simile drawn from espionage :- dine mama dreşiņi kādrg eşārii pracāra ityakalanāya cārihl chāyā vidhaya prativastu-lagnah prāveśayat prastum ivāndhakärah|l (XXII/39) "The darkness had employed shadows, attached to diverse objects, as its spies, in order to find out the movements of things during the day, its enemy. (Lit., How do these fare during the day, my enemy?] It hath now recalled them [lit., caused them to enter the house)l as if to question them on the work they have done).1 The verse is uttered by Nala in connection with the description of nocturnal darkness. In the day-time darkness disappears owing to its everlasting enmity with the former. As a king, though he himself keeps away from his opponent, sends spies to his state in order to keep an eye upon him and his subjects, so also the darkness, the poet fancies, sends spies in the day-time, and it is the shadows, attached to diverse objects, which are fancied 1. Prof. Handiqui. "The evening shadows", mentioned by him in the footnote, does not give a satisfactory meaning. 2 Cf diväkarád rakşatı yo guhäsu linam dnia-bhitam 1) undhakaram! (Kumārasambhava, I/12/A-B.)

·The Salient Features Of The Similes 83 to be the spies. But where do they go at night? The poet further fancies that at night they are recalled by darkness in its residence to question on how far they have discharged their duties of espionage during the day-time. In the machinery of administration also the same thing happens. The spies employed by a king or ruler to collect secret information from his opponent's state meet the king or ruler at a certain time to communicate to him what they have been able to know. The diea, therefore, though a pure poetic fancy, very appropriate. We have had thus a glimpse of the social, economic and political conditions of Sriharşa's time through a brief, study of the similes drawn from the respective fields.3 The relevant verses quoted or referred to above are of much value both from the historical and from the literary point of view. This may be discussed at length as independent subject of study which will be very interesting for a student of Indian history. But let us leave the discussion at this stage and pass on to other features of Śrīharşa's similes. an 1. As the word chāyā, meaning 'a shadow', is feminine, the shadows are described here as female spies (cări). 2. See Višákladatta's Afudrărákşasa, Acts I and II; Bhāravi's Kirátārjunira, Canto I. 3. A fuller list is available in Professor Jani's thesis.

·84 Observations On Similes In The Naişadhacarita Erotic ideas Srrigāra or erotic sentiment is the principal Rasa (Arigi-rasa) in this poem, and in its delineation Śrīharşa has proved his master hand. The poet himself has described his work as "charming with the delineation of erotic sentiment"! (in the colophon of the first canto) and as "the moon of the nectar of erotic sentiment"? (in the colophon of the eleventh canto). It is noteworthy that apart from the general delineation of erotic sentiment, the poet has drawn a number of similes from erotic ideas. Thus, while requesting Nala to act as their messenger to Damayantī, Varuna describcs Kārti or Fame as his (Nala's) beloved wife and the stream of water, which Nala pours on his supplicants' hands at the time of presenting gifts to them, as her pearlstring. The verse runs thus : üciran ucitan aksaram etarii pāśa-pāņir api pānim udasyal kirtir cia bharatūrii priya-dūrā dāna-nira-jhara-mauktika-hūrål/ (V/128) 1. irrigüra-bhangjá mahd-hurje caruni naisadhij acarite 2. Srrig&rämsta-sitagau. malia-hisse căruri nai- Fadhiyacarile 3 Befort presenting a gift it was customary to pour water on the supplicant's hand which significd the bestos er's resolve to give, Cf. Gautama's Dharmasútras : srasti-1dcza Wilso-dram af fürrans (15/16) and dodárişu calianit dhar. mrjeru (1/5/17).

·The Salient Features Of The Similes 8S "Varuna, too, raising his hand, spoke some appropriate words to him, 'Fame alone, whose pearlstring is the stream of water offered in connection with gifts, is thy beloved wife'." Thus depicting Fame as the wife of Nala, Varuņa dissuades him from cherishing the desire of getting Damayanti as his wife and persuades him to plead for the gods to Damayanti. Varuņa further clarifies his utterance :-- preyasi jita-sudhāinsu-mukha-śrīr ya na muricati diganta-gatapi/ bharigi-sarigama-kura riga-drg-arthe kaḥ kadarthayati tàm api kirtimil/ (V/131) "Fame, that dear one, the beauty of whose visage surpasses the moon, and who does not forsake her lover, even when she goes to the farthest ends of the directions, who will maltreat even Fame for the sake of a gazelle-eyed damsel, union with whom is of transient duration ?"2 The description of Kirti as one's devoted wife is very striking. She is said to have surpassed even the moon in white complexion. Unlike a low woman she never forsakes her husband, that is to say, fame attaches to one's name wherever one goes. (Nay, she does 1. Prof. Handiqui. 2. Prof. Handiqui. 3. Kūrti is poetically supposed to be white. Cf. dhavalata rarnyate hasa-kirtyol (Sahityadarpana, VII/19).

·86 Observations On Similes In The Naişadhacarita so even after the person, her husband, is dead 1) Thus describing Kırtı as a beautiful as well as chaste woman Varuna tries to make Nala attach to her and asks him not to forsake her for the sake of a worldly damsel who, though beautiful, cannot assure one of a lifelong union What Varuna wants to say is this, if Nala spares Dama yanti for the sake of the gods, he will attain immortal fame which is far more covetable than a mortal spouse 2 The poet has painted a gra phic picture to express this simple idea Again, in the assembly of the self choosing ceremony (Stayamvara) of Damayantı, when Saras vatı had tried to take her from the middle of the way to the gods, she turned her face away, and the poet describes this in the following verse by draw ing a simile from a new married bride mukhabjam ajartana lola nālam krtvālı hum hum raja laksya-la ksyam/ bhimodbhavă tām nunude 'nka palm devya nayodheva drdham in odhuh// (XIV/36) "But Damayanti repressed the close embrace of the goddess, even as a newly married bride does 1 Cf kurti šeşa (surviving or remaining only in fame) a very common expression in Sansknt literature 2 Cf api sia dehat kumutendnyarthad jaso-dhananam hi jaso garijah/(Raghuvamsa, XIV|35/CD) ·The Salient Features Of The Similes 87 that of her spouse, briskly moving her lotus-stalk neck as she turned her lotus face away (lit., making her lotus face such that its stalk grew agile in turning aside), (a face) distinguished by the humming noise (lit., marked by a symbol, the humming noise) of those bees who were her maiden friends." The comparison with a newly married wife repressing the embrace of her spouse hints at Damayanti's graceful amorous gestures by which she must have attracted the assembly. Further, a newly married wife represses her husband's embrace not out of aversion to him, but out of her natural bashfulness. The simile, therefore, sug. gests Damayanti's bashfulness also which is considered to be an excellence of a girl. While describing vividly the dark night in the last canto, Nala draws an apt simile from Abhisärikäss going to meet their lover in secret :- 1. Prof. Handiqui. The noise (huſ-humorava) made by Damayanti's friends indicated their disapproval of her dislike for the gods. 2. Cf. "salpa-gatäpi ca sutanuḥ śvāsäsangan na ya sehel samprati sa hrdaya-gatam priya-pāniṁ mandam åksipatill" ...ja nara-radhūh palyarika-sayitä śvāsasyazsarga-mătrenápi saikucad-anga-latikābhūt, sā, samprati prasthána-pürya-rajanyan praratsyat-parikā priyena sašarkena samarpitar hidi pānim napavadhi-jāti-srābhāvyåd äksipati, paran tu mandam (Jagaidātha, Rasagangadhara, I; Chowkhamba, Banaras, 1955; pp. 41-42.) 3. Abhisärika='A woman who either goes to meet her lover or keeps an appointment made by him.' (Prof. V. S. Apte's Skt.--Eng. Dictionary.) See Sahityadarpana, III/89-93 (abhisărayate käntam.... ......kracid åśrayah/D ·88 Observations On Similes in The Naişadhacarita dināntainanābliya ſitināmbarena diśaḥ śaraih sūna-sarasya tāraih mandāksa laksyā msi mām anındau sersja bhayāyāntyabhısărikābhāhl/ (XXI/33) > "Damayantī, thou mightest be jealous At this moonless hour of the night the bashful regions of the sky, looking like maidens setting out to meet their lovers, are coming towards me The dark ness is their musk paint , the blue sky their apparel and the stars the flowery arrows of Cupid hovering above them "1 The quarters or the regions of the sky (disal) are described as Abhiisārikas and Nala as their lover to whom they are coming to meet It is traditionally supposed and described in Sanskrit literature that in the moonless hour of night the Abhisūrıkūs go to meet their lovers veiling themselves in blue garments and in the moonlit night they use white garments for the same purpose They go to meet their lovers being nicely dressed In the present context darkness is fancied to be the muskpaint of the quarters, the Abhisärıkās, and the blue sky as their blue apparel 2 As the Ablusürikūs are naturally affected by passion, the 1 Prof Handiqui 2 Both the meanings, 112, 'blue sky' and 'bluc apparel* are presented by means of pun on the word ambarena, fitina telag an adjectile to it ·The Salient Features Of The Similes 89- flowery arrows of Cupid are allegorically said to hover above them, and in the present context the stars are fancied to be those flowery arrows. The verse thus gives a clear picture of Abhisūra. In the last foot of the verse the speaker cuts a joke. If the Abhisărikās approach a married man, his. wife can by no means tolerate it. Nala wilfully depicts the quarters as Abhisärikās coming to him when his wife Damayanti is present there. Hence he says in joke : sersyā bhava-o Damayanti, you get jealous, as the Abhisárikās are coming to your husband,1 These are some of the erotic ideas used by Sriharşa. Not that these ideas are absolutely novel, but the manner in which the poet presents them or uses them in the form of similes makes the verses so appealing. Humorous ideas Special attention should be paid to the similes having a touch of humour in them which we miss elsewhere. Sriharşa was well skilled in creating humour and in this respect no other poet in Sanskrit literature than Sūdraka deserves comparison with him. The Mrochakațika of Sūdraka, which is a drama of erotic sentiment, is a wonderful specimen of Hasya-rasa or the sentiment of humour as well. The humour created 1. For another simile drawn from Abhisárikās using blue apparel in darkness and white silk cloth in moonlight, see. N.C., XXII/42 (dhianie drumāntān abhisărikās tram etc.)

·90 Observations On Similes In The Naişadhacarita by śüdraka is mainly of two types : (1) humour out of comic situation' and (2) humour out of nonsensical utterances 2 To the second category belong a good number of similes used by Sakāra where the Upamāna is utterly baseless Thus, describ ing Vasantasenā coming under his control, he draws a simile from Kunti subdued by Rāvana -an idea formed of the foolish amalgamation of the episodes of the Rāmāyana and the Mahābhārata : Equally humorous is the simile when he compares the murder of Vasantasenā by himself with that of Sītā by Cânakya or of Draupadi by Jaţăyus But the humour created by our poet is not of this sort He does not create humour out of comic situations or nonsensical utterances, but 4 Vide the gambling scene in Act II ; the conversation between Viduşaka (Maitreya) and Cefa (Kumbhilaka) in Act V 2 Contained mainly in the utterances of Sakāra (Samsthanaka) Also cf ah dāsie dhie kim bhanást coram happia sandhi nikhanto(Vidusaka in Act III ; Prof V. G Paranjpe's edition, Poona, 1937 ;p 63 ) 3. cifpha sasantaśenie cifhal mama maanam anangam bammaham vaddhaanti misi a saanake me niddaam palkhnantij pašalası bhaa-bhıdā pakkhalanti khalanti mama sasam anujada lāvanassera kuntil (1/21) 4 cânakhena jadha śıdā málida bhalade jugel eviam de modai śšami jadaŭ via dovadıml/ (VIII/35) Bharata-yuga (bhalade juge") mentioned in the verse is also nonsensical. There was no such age ·The Salient Features Of The Similcs 91 his very poetical fancics are humorous. Perhaps the means adopted by Sūdraka in his drama would not have been fitting in the poem of Śrīharga. So in Sriharşa's poem wc should not expect the dramatic humour of Sūdraka. In Canto VI where invisible Nala meets the damsels in the inner apartment of the royal palace of Kundina one finds slight touches of humour in the situations described by the poet ; but the situations there, it must be admitted, are not so humorous or comic as those in the Mrcchakațika. Sriharşa creates humour mainly by skilful word-plays and offering preternatural interpretations to facts and accepted truths or traditional beliefs. The so called humorous similes, 1. c.8., IX/23 (jaladhiyas nam adisan maji dhruvam etc), V/61-64 (1ihsja tassa Tariņas tanunatram... .manjate sma Khalu kausiham erald), and so on, where the humour is based on pun on the words jaladhipa, peteta-raja, marutrar, ürdhra-mulha, jada, kala, anala, kausika, etc. The pun on the words sri and pada in VII/100 (rusăriņa sarva-gunair jayantz åh ctc.) makes its idea very humorous by way of describing the beauty of Damayanti's feet. The pun on the word culüla in XX11/36 (dhránicsfa rimorul vicáronájám etc.) speals very humorously of the soundness of the Vaisepika doctrine of darkness. In the last canto of the poem nc get a good number of hurrous ideas including humorous similes. 2. As for example, the interpretation of an aphorism of Panini, viz., grotege trii (Asfadhyāyi, 11/3/6) offered by the spolesman of beretics ia XVII/68 (ubhayi pralftih käme 'ctc.) is extremely the coas. In XXII/57 (ridhis tuşarartudiren laricm ee.) the poet gives a highly humorous ·92 Observations On Similes In The Naişadhacarita most of which have taken the form of Utpreksā, are most striking among them Professor AN Jani has rightly remarked about the use of Utpreksā in the Naisadhacarita "In fact, thus figure preponderates in the poem Most of his Utpreksas are original He derides the normal upamānas and introduces new and naive ideas The title 'Utpreksakavi' can be conferred upon Srīharsa without any hesitation " We are, however, con cerned only with those Utpreksās which are clearly based comparison and, therefore, according to our terminology, come under the category of simile 2 on 1957, explanation as to why the days in the winter season are short and the moonlit mights are cold The interpretation offered in IX/157 (svas tasyah priyam aptum uddhura dhiyah etc) as to why night is called Triyama is also very humorous There are many such examples which give evidence of Sriharşa's sense of humour 1 A Critical Study Of Sriharsa s Naisadhıyacaritam Baroda PP 244 245 The term utprekṣa kavi is mentioned by the poet himself in XXII/146 (sapiteh sampriter ajanı etc ) Cf “The Atiśayoktı in the Nat C has its ally Utprekșa which often appears as implied (gamya), and Sriharsa being a pastmaster in extravagance of fancy utilises them in a manner and in proportions hardly attempted by any other great writer" (Prof Sivaprasada Bhattacharya in his The Naişadhacarita In Its Bearing On The Alankara code Prof P K Gode Commemoration Volume Poona 1960, Part III, p 25 ) 2 Dandın defines Utprekça as a figure where the natural attnbute of an animate or inanimate object is fancied other- Wise witry ·The Salient Features Of The Similes 93 Even an ordinary idea, which is very common in classical literature, is expressed by our poet in such a way with a touch of homour that it becomes quite novel. Thus, when the poet wants to compare the face of Damayanti with the moonan idea so common in classical Sanskrit literature- he does it in his own characteristic mode of expression, and the reader can hardly miss the humour. The poet gives a humorous explanation of the stain of the moon by saying that a vital portion of the moon has been taken away by the Creator to make the face of Damayanti ; consequently a cavity is created there through which the blue sky is seen ; from the distant earth it appears to be the stain of the moon. He says : anyathaiva sthitä yrttiś cetanasyetarasya väl anyathotpreksyale yatra tām utprek şarividur budhahl/ (Kavyādarśa, II/221.) It is not necessarily based on comparison. Cf. upameye upamāna-sambhavanam evotprekseti navšair uktam, tat prācinănám anabhimatam ityagre sphuſibhavisyati (Commentary of Premacandra Tarkavāgiša on the above verse.) The following examples offered by Dandin are not based on comparison :- madhyandinärka-santaptah sarasin gähate gajah/ manye mārtanda-grhyāņi padmanyuddhartum udyatah|| snätur påtuṁ visänyatturis karino jala-gâhanam tad vaira-nizkrayāyeti havinotprekşya rarnyatel/ karṇasya bhūsanam idań mamāyati-virodhinah/ iti karņotpalam prăpas tava drstā vilanghyate! apānga-bhāga-pâtinya drster amśubhir utpalam spršate vâ naretyevaṁ kavinotprekşya varnyatell (Kāvjādarśa, 11/222-225.)

·94 Observations On Similes In The Naişadhacarita lirta-sāram ivendu-mandalan damayanti-vadanāya vedhasā/ 'kſta-madhya-vilar vilokyate dhrta-gamblīra-khanī-kha-nīlimall (11/25) 11 "The disc of the moon, the essence of which seems to have been taken away by the Creator for making Damayanti's face, is (for that reason) seen to have a hollow made in the middle, and hold the blue of the sky in the deep cavity." More humorous is the expression when the poet compares the mass of hair of Nala with that of the Camari deer and asserts that the former excels the latter in beauty. It is the nature of a Camarī to wag her tail, but the poet fancies that the wagging of her tail is meant for saying again and again to Nala that the desire of her mass of hair to be similar to his hair is a childish prank which should not be taken as an offence,-as does a mother when her child wants to challenge a superior person. Thus runs the verse :--- sva-bāla hürasya tad-uttamārgajaiḥ samani camaryeva tulābhilāșinah anāgase sarisati băla-capalarii punaḥ punah puccha-vilolanac-chalāt// (1/25) 1. Prof. Handiqui. 2. The word bála (hair) occurring in the first foot of the verse punningly means 'a child' also.

·The Salient Features Of The Similes 95 "The Camari deer, under the pretext of wagging her tail, seems to say again and again that the desire of her mass of hair to be similar to his hair is a childish prank which does not constitute an offence." In a similar context Kālidāsa, while pointing out the excellence of Pārvati's hair in comparison with that of the Camarī, says that if animals had a sense of shame the Camaris would have shaken off their fondness for hair whose excellence is superseded by that of Parvati's mass of hair. The verse is as follows:- lajjā tirścâu yadi cetasi syād asarśayan parvata-raja-putryâh/ tai keśa-pāśari prasamākṣya kuryur bāla-priyatvarı śithilanı camaryahl/ But so far as the humour is concerned, the verse. of Sriharsa is certainly an improvement upon the verse of Kālidāsa, inasmuch as in Kālidāsa we miss the humour. As the verse speaks of the beauty of Nala's hair, the Upameya, as superseding that of the Camarī, the Upamāna, it is an example of the figure known 1. Prof. Handiqui. 2. Kumarasamblara, 1/48.

·96 Obsersations On Similes In The Naişadhacarita as Vyatıreka," which is here suggested and not expressed, that is to say, it is a case of Vjatirekadhan Śrīharsa, it is curious to note, is very fond of using this figure, viz, Vyatıreka and mostly with a touch of humour While describing the excel lence of his hero and heroine he is very often inclined to assert that they superseded the prominent standards of comparison like the moon, lotus, etc, and very often the descriptions are highly humorous There are plenty of examples of which a few may be noted here The full moon shines in the sky of the full moon night, and on the head of Lord Siva shines the half moon The poet gives a good touch of humour to this idea in III/32 (dhuk tanı vdheh pānim ajūta lajjam etc) by way of pointing out the beauty of Nala's face which surpasses that of the moon The swan, which utters the verse, rebukes the hand of the Creator as shameless for making the full moon in the presence of the excellent face of Nala But it appreciates His other hand as discreet which makes the half moon of Sivas head The swan says that the second moon also was going to be made full , but having remembered the excel lence of Nala s face the hand of the Creator under stood that even a full moon would not match 1 Vjatıreka has been defined by Mammața asupamanad jad any asja vjatirehah sa ela sah (Kavzaprakaśa, X/159) anjasja upame; asya yatıreka adhikyam! (Vrtta thereon ) ·1. Cf, bhara-murdhni mahadera-mastahe, fasya jajilaniena The Salient Features Of The Similes 97 with the face of Nala ; hence it did not proceed further and left it on the head of Siva, perhaps thinking that Siva's matted hair would be able to conceal it. The idea of the next verse (nilījate hrī-vidhural sia-jaitram etc. ) is also humorous. It is believed that the moon merges in the sun on the new moon day (Amavasya) and in the ocean when it sets. It is also a natural phenomenon that clouds floating in the sky sometimes veil the moon. Of these phenomena the poet offers a humorous explanation. It is said that hearing of Nala's face surpassing it in beauty, the moon feels ashamed and conceals itself sometimes in the sun, sometimes in the ocean and sometimes behind the clouds. In VII/58 (asyā mukhenaiva vijitya nitya- etc.) the halo of the moon is humorously fancied as the rope with which the face of Damayanti has tied up the moon having defeated it in a contest of beauty. The redness of her face caused by saffron is fancied to be due to wrath against the moon, its constant rival ( nitya-spardhin ). In X/121 ( etad-drśor amburuhair višeşat etc.) we find a novel comparison between lotuses and the eyes of Damayanti where the supersession of the former by the latter is skilfully suggested in a very humorous style. Black bees, it is well-known, hover lotuses. The poet fancies the two eye-balls of about jațâblus tad-ardha-candrâvarana-sambharat ityabhiprāyah (Siddhāntavāgiša.) 7 ·98 Obseriations On Smiles In The Naişadhacarita Damayanti as two black bees male and female, placed there by the Creator thinking, as it were, "Let one ask this pair of black bees the difference of these eyes from lotus flowers Evidently the suggestion is that Damayanti's eyes have far sur passed the lotus, otherwise the black bees would not come to them leaving the natural lotus blos som More humorous is the idea contained in XXII/81 (prsthe 'pi kim tisthatı nütha nátha etc) where Damayantı tells Nala, "If you want to know whether there is a deer on the back of the moon also as there is one on its lap, ask your own face, because it saw the moon's back in (of beauty)” What Damayanti means is simply this The face of Nala is far more beauti ful than even the moon She surmises that in a contest of beauty Nala's face defeated the moon when the latter turned its back and ran away as a mark of defeat At that time, therefore, Nala's face must have seen the back of the moon. and, therefore knows well what is there on the other surface of the moon The reader can hardly miss the humour bchind the idea All these ideas are Very unconventional whereas the refined touch of humour has made them more appealing a duct to say Let us pick up a few more examples Thc following versc humorously describes the fect of Damayanti and her nails (toc nails) by comparing thc forms with the lotus and the latter with the moon (half moon) Nala says ·The Salient features Of The Similes 99 priya-naklii-blütaxato mudedari vyadhäd vidhih südln-dasarram indolu etat-padac-chadma-sarīga-padmasaubhāgja-bhāgjai katham anyathā syaill (VII/105) "It is well that the Creator joyfully made ten moons which have become the nails of my beloved's feet ; otherwise how could the moon have the luck of enjoying the beauty of those crimson lotus blossoms disguised as her feet ?" The moon cannot enjoy the beauty of the lotus for the former shines at night when the latter closes its petals ;" but the poet finds it possiblc. He fancies the pair of Damayanti's feet as two crimson lotuses (sarāgapadma) and the ten nails thereof as the (half) moon assuming ten forms. Thus there has been a unique union of the moon and the lotus. The idea is simply this : Damayanti's feet are comparable with the lotus in point of beauty and her toenails with the (half) moon in point of lustre. The comparison of the foot with the lotus and that of the nail with the half moont is a conventional 1. Prof. Handiqui, The second foot may also be translated thus : The Creator assigned a good position (sadhu dasa) to the moon. 2. Cf. süry'āpāye na khalu kamalan puşyati sram abhi- Khyamll (Aleghadita, II/20/D) 3. Nails are compared with the half moon owing to their crescent shape. Cf. the benedictory verse of the Dhranyāloka - ·100 Obsenations On Similes In The Naişadhacarita style of the Sanskrit poets, but the way in which our poet has presented it with a unique touch of humour is absolutely his own. Equally unconventional is the idea where one of the most conventional comparisions, viz., between the moon and a face, has been used to give an explanation of the stain in the moon. Nala speaks to Damayanti the following words which, the poet himself says, are full of the spirit of humour (parīlāsa-rasotkirāl) :- tavānane jätacarili nipiya gitin tad-äkarşana-lolupo 'yami hütun na jätu sp;hayatyaraimi ridhuni mrgas trad-radana-bhramenall (XXII/108) Sveccha-hesarmah siaccha-siac-chaydj åsitendarah/ tråjantūrt ro madhu-ripoh prapannārsic-chido nalhakll For the idea of crescent-shaped nail-prints compared with the half moon, see Narsalhija, VI/25 ( udsartaj anty a hrdave nipatja etc.) where such nail-prints, marked on the breasts of a woman, are humorously fancied to have driien off the eyes of Nala which fell thereon, but immediately turned aside. Cr. crdha-cardra-dóna (to seize one by the neck and turn out). Sec also VI/66 (nárd Smarah hin hara-bhiti-suple etc ). X1/120 (kündmusåsora-sate sutarán adhiti etc.) 1. Vide the preceding cose.

·The Salient Features Of The Similes 101 "Having listened to the ertswhile song of thy mouth, yonder deer in the moon, eager to hear it again, wishes never to forsake the moon, mistaking it for thy face, I know."1 The stain in the moon is traditionally supposed to be a deer for which it (the moon) is known as Mrgārika. Here Nala gives a humorous explanation as to why the deer (in the form of the moon-stain) remains in the moon. He says, formerly the deer was on the earth where it listened to the song of Damayanti's mouth. Subsequently when it had found the moon in the sky, it mistook the same for Damayanti's face and went there with a hope of hearing the music again. The idea is that, in point of beauty the face of Damayanti appears as the moon, so much so that one is at a loss to differentiate one from the other. The verse is an example of Bhrūntimān, a figure of speech where the similarity between two objects is suggested by expressing the mistake of one for the other.” Dandin gives the following example :-- Śaśītyutprekşya tanvaigi! tvan-mukharil tvan-mukhāśayā// ·102 Observations On Similes In The Naişadhacarita an as sense of indum apyanudhājāmityesā mohopamā smrtal/ Here also the moon is mistaken for the beautiful face of a lady The verse of Śrīharsa, though bearing similarity to this verse, is improvement upon it so far the humour is concerned To create humour our poet has inserted the idea of a deer getting attracted to the song of Damayanti The suggestion is that, Damayanti sings so sweet that even the deer cannot forget it and expects every moment to hear it again The idea of a deer getting attracted to a musical note is also not a new idea 2 Thus we see a combination of two conventional ideas in this verse, nevertheless the entire thing is absolutely a new one 3 1 name Kavyadarsa, 11/25 Dandın gives the Moho pama for Bhrantiman Cf etena navinair angıkstasya bhrantı mad alamkarasya pracam upamatvena sangraha it bodhyam/ (Commentary of Premacandra Tarkavagisa on the verse) 2 Deer are said to be very fond of music, so much so that listening to a musical note they often forget to take notice of even the hunters chasing them Cf the picturesque des cription of a memorable verse of Bhattı dattavadhanam madhuleh gitau prasanta cestam harınam jighamsuh/ akarnajan nutsuka hamsa nadal" laksje samadhim na dadhe mrgăull (Bhatkavya, II/7) 3 For other examples of Bhrántiman, see 1/93 (tadangam uddisa sugandhi patukah etc), 1/95 (una dvaji citta- ·The Salient Features of The Similes 103 The role of word-play in giving a simile a touch of humour should not also be ignored. Thus, the fact that Damayanti knows all the sixtyfour arts (kalā-catuḥsașțih) has been humorously accounted for in the following verse by comparing her fame, face and the two nails of her great toes with the full moon and by punning on the word kala :- yaśaḥ padangusha-nakau mukhañ ca bibharti pürnendu-catusțayan yal kalā-catuhşaşțir upaitu vāsam tasyarı kathar subhruvi nāma nāsyām// (VII/106) “Why should not the sixty-four arts find an abode in this fair-browed girl, who carries about her four full moons in the shape of her fame, face and the two nails of the great toes of her feet ?"l The verse speaks of Damayanti's fame, face and the nails of her great toes which are comparable with the full moon in point of whiteness?, beauty and lustre respectively. The nails of the great toes only are mentioned because they are bigger nimajjanocita- etc.); IV/64 (sva-ripu-tikşna-sudarśana-vibhramät etc.) ; XI/11 (vakrendu-sannidhi-nimili-dalāravinda- etc.); XI/60 (mantha nagaḥ sa bhujaga-prabhu-veşta-ghts}i- etc.);XI/83 (elattarus taruni rājati raja-jambüh etc.); XII/28 (erad-bhitāri-närigiri-vila-vigalat- etc.); and so on. 1. Prof. Handiqui. 2. Poets describe fame as white. Cf. yasasi dhavalata varnyate (Sahityadarpana, VII/19).

·104 Obsenations On Simules In The Naişadhacarita and rounder than the other ones and hence bear more resemblance to the moon. Damayantī is thus said to have carried four full moons each of which possesses sixteen Kalas or digits.1 Thus she comes to possess sixty-four Kalās or arts altogether. The word kala punningly means (1) a digit of the moon and (2) an art. The digits of the moon have been surmised as the arts known to Damayanti as both are known as Kalā.? The idea is very fanciful and the humour is also subtle. The examples of humorous similes are too numerous to be quoted. The instances cited above give a clear idea of Śrībarşa's sense of humour. There is a saying- nästjacauraḥ kari-janaḥ,' which refers to the debt owed even by great poets to their predecessors. Sriharşa is no exception in this respect. The basic ideas used by the poet, as noted above, are very common in the vast realm of classical Sanskrit literature ; but the humorous poetic fancy with which the poet presents them makes them absolutely new. His becomes the use 1. The moon is also known as Kala-nidhi. 2. Cf. kala tu sodaso bhāgah and kala silpe käla-bhede (Amara-koşa). 3. See another example under Rhetorical devices. 4. násty accurah kavi-jano nástyacauro vanig-janah/ sa nandati vină săcyam yo jānāti nguhitum/ (Rajasekhara, Kavyamīmāsā, XI ; Oriental Institute, Baroda, Third Edition, 1934 ; p. 61).

·The Salient Features Of The Similes 105 who gives it the best form and here lies the unique achievement on the part of the poet. Rightly did the Dhyanikara say ;- drșța-pūrvă api hyarthal kavye rasa-parigrahāt! sarve nayā ivābhānti madhu-māsa ira drumahl/ Rhetorical devices We have seen how skilfully various objects and ideas have been used by Śrīharsa in his similes. Now we like to point out a few rhetorical devices adopted by the poet. To paint a picture more vividly and to produce a greater rhetorical effect Kālidāsa sometimes uses more Upamānas than one and leaps from the concrete to the abstract. The same course is followed by Sriharșa as well. The following verse of Kūlidāsa is a glorious example :- anāghrātan puspasi kisalayam alūnari kararuhair anāyiddhari ratnam madhu naram anāsyâdita-rasam/ akhandam punyānārii phalam iva ca tad-rūpam anaghnut na jäne bhoktārau kam iha samupasthāsyati vidhihir 1. Dhranyaloka, IV/4. 2. Sakuntala, 11/10 ·106 Observations On Similes In The Narşadhacarita "Her flawless beauty is a flower not (yet) smelt (by any one), a tender sprout not plucked with the nails, a gem (as yet) unperforated, fresh honey whose flavour is (yet) untasted, and the Teward of collected merit not yet exhausted (by enjoyment) I know not whom Providence designs as her enjoyer The poet first compares the beauty of Sakuntalā with some concrete objects-flower, sprout, gem and honey, but his heart is not contented thereby, and at last he expresses it by comparing with the reward of collected merit which is purely abstract Similarly, while painting the picture of Damayanti beautified with ornaments, Śrīharsa says visesa-tirthair ila jalmnu nandını gunair 11ajānika rāga bhumika/ jagama bhāgs air na nītır uppalair ubhūsanais tat susamā maharghatāml/ (XV/54) "Her beauty attained a rare excellence by her ornaments, as does the Gangā with its special sites of pilgrimage, as does natural affection for someone by virtue of his merits , as does state craft by brilliant turns of luck"? Here the first line gives a picture of concrete objects But that does not satisfy the poet Perhaps he thinks that the excellence of his heroine exceeded 1 MR Kale 2. Prof Handiqui ·The Salient Features Of The Similes 107 that of any concrete object of the world. Therefore, in the second line he has touched upon an abstract idea-gunair ivājānika-rāga-bhūmikā. But even this does not satisfy him and hence he tries to give a better colour to the picture by a more beautiful abstract idea-jagama bhāgyair iva nītir ujjvalaih. This series of comparisons has certainly enhanced the beauty of the picture." Again, while relating the nature of Delusion (Moha) the poet uses a series of metaphors in the following verse :- jāgratām api nidrā yal paśyatām api yo 'ndhatā/ Śrute satyapi jādyain yah prakāśe 'pi ca yas tamalı// (XVII/33) **Delusion is sleep to those who wake ; blindness to those who see ; foolishness in the presence of scriptural knowledge ; and darkness where 1. This verse is an example of Malopama. (Cf. målopama jad ehasyopantunan bahu drspatell-Sāhityadarpana, X/36.) As another example of this figure of speech, see XIV/57 (utsrjya Scīmrajyam ivātha bhikṣām etc.) where the gods, renouncing the beautiful form of Nala and assuming their respective forms, have been compared with one resorting to begging after renouncing an empire and with one entering the old age from youth. See also X/30 (arike vidarbhendra-purasya sarike etc.) where the multitude of kings assembled in the city of Kundina is compared with the ocean in the palm of sage Agastya and with the catire creation in the stomach of Lond Vişnu.

·108 Obserations On Similes In The Naişadhacarita there is light "1 Here Delusion is, aptly likened to sleep blindness, foolishness and darkness, as it obstructs the access of true knowledge and to obstruct true knowledge is the very nature of sleep. blindness, foolishness and darkness It has been blended with a series of apparent contradictions of sleep with waking, blindness with seeing, foolishness with the presence of scrip tural knowledge and darkness with the existence of light This apparent contradiction, known as Virodhābhasa in the science of poetics, often adds an additional charm to a simile with which it is blended Banabhatta has skilfully adopted this means in his works 2 This is found in Śrīharsa. as well The verse quoted above is a good example The following verse is a bit humorous nepah purasthaih praniruddha vartmā pascăj janaih kaścana nudy amanah/ Jantrastha siddhūrtha padablisekam labdhäpyasıddhārtham aman, ata siamil (X16) "A certain king with his way barred by those in front of him, and pushed by those behind, deemed Prof Handiqui 2 Cf fisurasyäpi ripu jana santapa karınaḥ, sthiras) apjaniratam bhramarah, mirmalasápı malıni-krtarati ranita mukhahamala-duleh, atidhaalasjapi saria jana raga hannah sudhasüter 30 jalanidhar udbhaso sašasah Tðja frápido nåmabhūt(Kodambars, Puna-bhaga, Fourth Edition by Pt Haridasa Siddhintavägisa, Calcutta, Saka era 1872, p 190 ) .

·that an iti virodhabhäsah/ Mammața (who gives the name Virodha The Salient Features of The Similes 109 himself unsuccessful, though he was in the position of "Successful" seeds pressed in a machine."'1 This is from the description of the kings assembled in the Svaya uzvara ceremony of Damayanti. There was a tremendous rush of kings. This verse says one of them was crushed like mustard seeds (siddhārtha) pressed in a machine as his way was blocked by those in front of him whereas he himself was pushed by those behind him. Though he thus attained the position of siddhärtha (mustard seeds), nevertheless he believed himself to be a-siddhärtha (unsuccessful) as there was no chance for him of getting Damayanti. The verse comprises apparent contradiction of siddhārtha and a-siddhartha which is based on the double meaning of the word siddhārtha. If we take the word in the sense of "mustard seed" or "successful" both in the third and in the fourth foot, then asiddhārtha will mean just the contradictory, and hence grows the contradiction. If we take it to mean "mustard seed" in the third foot and “successful" in the fourth foot, then asiddhartha will mean "unsuccessful" and the contradiction is solved making the entire . meaning clear. This apparent contradiction has 1. Prof. Handiqui. 2. An apparent contradiction or called because here the contradiction (virodha) is only apparent (åbhāsa) and not real: virodhiasza abhâsaḥ ſāpātataḥ pratitir) for Virodhābhāsa) defines it as-Tirodhah so 'rirodhe 'pi viruddhatvena jad racah/ (Karyaprakaša, X/166.) Virodhábhäsa is so ·110 Observations On Similes In The Naişadhacarita been skilfully blended with the simile drawn from 'mustard seeds pressed in a machine' (yantrastha-siddhārtha) in the third foot of the verse There are a good number of instances of simile cum apparent contradiction in the poem 1 Some of them are plain (as the first one of the two instances cited above) and some are based on word-play (as the second instance cited above) It has to be noted that the apparent contradictions used by Srīharsa are mostly very simple, whereas those of Bānabhatta are not always so Never do they make the main ideas abstruse and add more charm to the simile with which they are used In some cases the similes have been interwoven with double entendre (Ślesaa) without obscuring their natural beauty Some of the verses already cited, particularly as instances of similes drawn from philosophical and other scholastic concepts, involve double entendre We have also seen how ingenious play on words creates fined humour matter of fact, Sriharsa has proved himself to be a past master in using this figure of speech viz, Slesa There are beautiful instances of simile cum double entendre Thus re- As a in 1 To note a few, see 1/13 ( pratıpa bhupair 11a kun tato bhija etc ), 11/73 (atha bhima bhujena palita etc ), IV/61 (asitam eka surasitam apyabhut etc), VI/46 (bhavannadssyah pratibimba deha etc) X/38 (bhusabhır uccair ap! samskyte jam etc), and so 2 Dandın defines Slesa asshstam istam anekarthanı eka rupanyamı vacah/ (Kavyadarsa, II/310|A B). 9 on ·The Salient Features of The Similes 111 the following verse, speaking of the conclusion of Nala's first speech and the commencement of Damayanti's second speech in Canto IX), the poet draws a simile from a natural phenomenon - ado 'yam alapra śikhīva śārado babhrūva taşnim ahitāpakārakah athäsya-rägasya dadha pade pade vacārsi harisīva vidarbhajādadell (IX/14) The rainy season is the time when peacocks cry joyfully," but in the autumn they stop crying. Swans, on the contrary, do not like the rainy season and enjoy the autumn when they, beautiful on 1. Cf. suklāpārgailı sajala-nayanaih svágatikriya kekā! pratyudyatah katham api bhayān gantum ášu ryarasyet // (Meghadüta, 1/23/C-D); ehyehiti śikhandināṁ pajutaranii kekābhir akranditah .meghah samurtisphatell (Mrcchakafika, V/23); sthali narambhah-prşatabhirrscā mayūra-kekābhir isabhra-195ndam|| (Raghuvaniša, VII/6/C-D). 2. Cf. harisair ujjhita-parihajair atitarării sodregam uşdrikitah ..meghah samutfisphatell (Wrochakaļika, V/23/C-D). 3. Cf. the autumnal description of the Bhaifikáiya :- sitärarinda-pracavesu linah sansakta-pheneșu ca saikateşul kunda adätäh kala-hariisa-måläh pratiyire śroira-sukhair ninādaiņ|| (II/18).

·2. athassa ragasja (atha asja ragasja) may also be analy 112 Observations On Simles In The Naişadhacarita come from the account of their red beaks Manasa lake (where they go at the time of the rainy season") with joyful cries The poet draws a simile from this phenomenon and says Saying this much the modest one (sāradah), who was the destroyer of foes (ahtāpakārakah) remained silent as does an autumnal (sāradah) peacock which oppresses snakes (ahı tapa kārakah), then the daughter of the king of Vidarbha blushing (asya ragasja dadha) as she uttered each word (pade pade), gave utterance to these words like a female swan bearing (dadhā) on each foot (pade pade) the red hue of its beaks (äsya-ragasza) Here the expressions sāradah, ahıtāpakarakah usja ragasyal and pade pade carry double meaning The idea is highly poetical and the double entendre has not been as it often happens to be in the hand of many classical poets, an arti ficial device to obscure the idea , on the contrary it has added a sauce to the sense The scene of the bearers bringing Damayanti from prince to prince in her bridal chamber is pic turesquely described by our poet The follow ing verse describes one such picture by drawing a simile from the mythical story of Bhagiratha bringing the Ganges to the earth and of the birth Cr jaladhara san ase manasani janti hamsah (Sahityadarpana, VII/19) translated as causing his (Nala's) attachment (to her) by citry word she uttered ·The Salient Features Of The Similes 113 of Bhişma as the son of the mother Gargā, whereas the epithets are skilfully applied to both the Upamāna (the Ganges) and the Upameya (Damayanti) :- bhaimin avāpayata janya-janas tad-anyaniz gargām iva kşiti-talar raghu-varśa-dīpall gängeya-pīta-kuca-kunibha-yugări ca hāracūdā-samāgama-rasena vibhūșitāṁ call (XI/93) Bhagiratha, a descendant of Raghu, brought the celestial Gargā to the earth for the salvation of the sixty thousand sons of king Sagara (who was the grandfather of the grandfather of Bhagiratha). At the time of her descent from heaven to the earth Lord Siva bore her on His head. In course of time Gargā gave birth to Bhīşma who was, therefore, known as Gårigeya ('the son of Garigā'). Bhişma, therefore, must have sucked the breasts of Gariga, his mother. The poet draws a simile from these legends and says: As the light of the race of Raghu brought to the earth the Ganges the pair of whose jar-like breasts was sucked by Bhīşma (gūrigeya-pita-kuca-kumbha-yu- 1. For the story of the Ganges brought by Bhagiratha from heaven and borne by Siva on his head, see the Mahabharata, Vana-parvan, Chs. 108-109; the Ramayana, Adihända, Cantos 42-44. For the story of the birth of Bhişma (who was one of the demi.gods or Vasus, all of whom had to come down to the earth by the curse of Vasiştha), see the Mahabharata, Adi-parvan, Chs. 96-99, 8 ·114 Observations On Similes In The Naişadhacarita gām) and who was adorned by her contact with the crest of Siva (hára-cūļā-samāgama-raśena yiblrūşitām) ; similarly the bearers brought Damayanti to another king-her two jar-like breasts were as yellow as gold (gängeya-pita-kuca-kumbhayugāmi) and she was adorned with a necklace and a diadem (hāra-cūļā-samāgama-yaśena vibhūşitām). Here the expressions gärigeya-pīta-kuca-kumbhayugān and hāra-cūda-samāgama-vašena carry double meaning. Verses like this clearly prove that double entendre does not hamper the spontaneity of poetry, nay, it enhances the poetic beauty when handled by a skilful poet. So says Dandin : śleşah saryasu puşnāti prāyo vakroktişu śriyanı! There are many such examples the beauty of which can be better realised than described. Śrīharşa, it can be definitely said, was wellacquainted with the science of poetics and his skill in handling almost all the figures of speech, including their varieties, has been fully revealed in his poem. The prominent poetic figures based on similarity or comparison have been copiously used by him. The most common of them are 1. Kärpädarśa, II/363/A-B. 2. See 1/32 Grathohramanah khalu bhoga-bhojină etc.); TUI/4 (harizsar tanau sannihitari carantam etc.); X/97 (sāmoda-puspafuga-räsitāngim etc.); XVI/119 (asau mahibhsd bahudhā tu manditaḥ etc.); XIX/8 (trajati kumude drsfrá moham etc.); and so on.

·The Salient Features Of The Similes 115 Upama, Utpreksā, Rūpaka, Atisayokti, Samasokti, Vyatireka, Bhräntimān, etc. There are also nice examples of Nidarśanā, Apahnuti, Prativas. tüpamā, Drstānta, Parināma, etc. Sometimes a single verse comprises a number of these figures. In some cases one figure depends on another one and such examples are more appealing.* Double 1. The same figure Upamā, says Appaya Dikşita, assumes many forms, as an actress plays many roles on the stage and delights the heart of the spectator : upamaika sailūşi samprăptă citra-bhumika-bhedan/ rāñjayati kārya-rarige nrtyanti tad-ridaṁ cetah|/ (Citramimāṁsā, Nirnaya Sāgar Press, Third Edition, Bombay, 1941; p. 6.) The Naişadhacarita is a glaring example of this remark, and it is more true if the term upamå be taken in its general sense. 2. The most prominent examples are the cases of Paramparita-rūpaka. Cf. nija-manah-paramānau hri-dari-saya-hari-kstant (V/29) ; apānga-rathya-pathikiñ ca helayā prasadya sandheli díſart mamopari (IX/111); pratyarthi-yauvata-ratarsa-tamála-mālonmilat-tamah-prakara-taskara-ſaurya-sūrye (XI/86) ; namra-pratyarthiprthvi-pati-mukha-kamala-mlanata-bhriga- (XII|56) ; tathorthitam bhima-vacah-pratidhvanim nipiya dütasya sa vaktra-gahvarat (XV! 10); and so on. In a good number of cases they have been blended with double entendre. Cf. daya-samudre sa tadāšaye 'rithi-cakara karunya-raşāpagă girah (I/134); yasah-pathad ašrarata-padotthât khalu skhalitrasta-h haloh ti-khelát (111784); himäſsu-varišasya hariram era mām (IX/12); bhramami te bhaimi sarasvati-rasapras āha-cakresu nipatya katyadaḥ (IX/SI); ati-bhūyas-cūda-ratnodu-patni-kara-paricaraņāmanda-nandan-nakhenduh (XII/18); and so on. For more elaborate examples, see II/49 (rad idarit sisadam saco’mętam etc.); IV/2 (sad atanu-jrara-bhák tanute sma să etc.); V/14 (präg ira prasuvate nppa-ransāh etc.); VII/45 (seyan mamaitad-viraharti-mürccha- etc.); IX/86 (dhutāpatal-puspa-silimukhāśugaiḥ etc.); and so forth.

·116 Obsersations On Similes In The Naişadhacarita entendre and apparent contradition play an important part in making them more charming. The semblance is, as we have already seen, sometimes expressed in words (vācya) and sometimes suggested (vyargya). The similes are thus extremely varied, and indeed it is the variety of imagery and expressions, marked by their aptness and clarity, which gives our poet the stamp of a Mahākavi (great poet). Linguistic features A few words may be added about the linguistic features of Sriharsa's similes. There are four constituents of an Upamā, viz., an object of comparison (Upameya or Upamita), a standard of comparison (Upamāna), the point of comparison (Sūmānya- or Sädhārana-dharma) and a word expressing similarity ( Aupaniya-vūcin). A simile where all these four elements expressly stated is known as Pūrnopanā, and if one or more of these are elided, the simile is known as Luptopanā. All these types are copiously used in this poem. Of the words expressing similarity the most common are ira and yathā. In are 1. Here we have taken the word in its restricted sense in which it has been used by the Sanskrit rhetoricians. 2. For a long list of words expressing similarity, see „Dandin's Karyadarsa, 11/57-65 (ira-rad-ra-yatha-sabdáh etc.). The líst, howeser, is not exhaustive. Even in Sriharsa we come GCTOSS many new expressions.

·The Salient Features Of The Similes 117 a good number of cases nibhā has been used and, as a rule, it has been compounded with the word expressing Upamāna. Thus we have smarārdha-candreşu-nible palāśe (on a Paläsa flower appearing as the crescent-shaped arrow of Cupid) in 1/84 ; kașa-pāṣāna-nibhe nabhas-tale (on the surface of the sky resembling a touchstone) in II/69 ; jihvā-nibhayā patākayā (with the flag resembling its tongue) in II/100 ; bali-karambhanibhani vidhun (the moon appearing as curd-rice offered at the time of worship) in IV/64 ; and so on. Similarly the word übha expresses similarity in -uda-vindu-vndābha-muktā-phala- (pearls looking like drops of water) in VII/76 ; in abhisārikābhāh disah (regions of the sky looking like maidens going to meet their lovers) in in XXII/33; and so In a good number of cases the secondary affix vati and kalpap have been used to convey the idea of similarity. Thus have garudavad dvija-vāsanayojjhitaḥ (like Garuda giving up the moon under the impression that it was a Brahmin) in IV/71; Trnavat tari jayāni (I would conquer him like a straw) in IX/146 ; grāvonmajjanavad yajña-phale 'pi śruti-satyată (the truth of scriptures proclaiming results to be obtained from sacrifices is like that of stones floating on water) in XVII/36 ; Śaśikalpan yasah (renown as white as the moon) in V/122 ; urdhrārpita-nyubja-katāha-kalpe vyomni (in the sky looking like a vessel placed above and turned downwards ) in XXII/32; and so forth. The word va (which is synonyon. we ·118 Observations On Similes In The Naisadhacarita mous with ira but rarely used) occurs, according to some, in mani ya nilau taralau vilesatuh (shone like two wavering sapphires) in IX/85, while others analyse manīva as manī ira and explain the grammatical anomaly with the help of the statement of the Kāśikā : id-ādināri pragphy atre manīvādinărit pratiședho raktavyah." We also come across the most common words like us.mā (in vāra-nāri-kuca-sañicitopaman ma- Jūra-phu lam in 1894, in calat-padāmbhoruha-11īpuropamu kalaharisa-mandali in l/127, in aśanikşatopomam vittantam in 1/139, and so on), pratimā (in na tan-mukhasja pratinā carācare in 1/23, tulană (in tūlena tasyās tulană mido in XIV 54), sama (in tasya rāna-sama-śriyah in XVII/206), sanābhi in mani-sanābhau mukurasya mardale in XV/50), anadhara (in pīzūşa-dhārānadharābhiḥ rambhādi-saubhāgya-rahah-kathābhih in III/42), etc. There are also expressions like pratibhiali, pratidvandrin, ekadhurina, bandhu, arika-kūra, stasy, sakhi, etc. for implying similarity, though these words bear different primary meaning. Thus (pratisrutin ) Śruti-pratibhafi-krtyānritakliyāpadūm (Inake your promise literally true by making it a rival of the Vedas) in V/135; anistānusupratibhrle ürānie (in the garden rivalling the moon) in XVII/218 ; rati-pratidrandvi-tamāsti nu- 1. Under Asfadhyayi, 1/1/11. For the other view, cf. maņi tosrasja lambete prijeu ratsalarau mama itzatra titärite to-fabdo ro-sabdo rd bodhyahl (Siddhanta-kaumudī, under ap!'or. No. 100, Asjådhrayi, 1/1/11.) a We ha soja tām ·The Salient Features Of The Similes 119 naut nānūșul nirnita-ratil kathancit (unable to detect Rati in any way among those ladies who rivalled Rati to the utmost degree) in VI/31 ; svara-madhvarīņa-tat- kantha - nālaika - dhuriņa-vīnahı priya-sisya-rargal (the disciples whose lutes were equal in sweetness to her throat which was full of the honey of musical notes) in VI/65 ; anurrajadbandhu-sa mīja-bandhubhiḥ puraukasări drsti-prakaraih (the looks of the citizens bcaring resemblance to a group of friends accompanying a departing person) in 1/75; rusțādrijā-carana-kurkuma-parika-rāgasarikīrna-sarikara-saśārka-kalūnika- kāraih nakha-padaih ( with nail-marks rivalling the digit of Siva's moon reddened with the saffron-paint of the feet of sensitive Parvatit) in XI/120 ; kārttiki-tilhi-nisithini-srasā kirtih ( fame resembling in whiteness the full moon night of the month of Kirttika) 1. The crescent-shaped nail-marks, reddened by the saffron of Damayanti's bosom, have been compared with the digit of Siva's moon. The reference to Siva falling at the feet of sensitive Pärvati is only a poetic elaboration and has not much connection with the main point of comparison. The simile is, therefore, marked, to some extent, by the characteristic of what is known as 'epic simile' or 'Homeric simile--so called because it was first used by Homer in his Epics. Epic simile is very rare in Sanskrit literature, because Sanskrit poets were very economic in this respect. They would not proceed further from what was necessary for bringing out the main point of comparison of objects. In Bengali literature Michael Madhusudan has used this type of simile profusely and successfully.

·120 Observations On Similes In The Naişadhacarita in XVIII/21 ; sugata-saudha-sakhānáli bhūri-sarkarakarambha-balinān of the offerings of curd-rice prepared with much sugar resembling Buddhist pagodas ) in XXI/25. There are numerous other types of expression which show how variously our poet can convey the idea of similarity : maināka-mahibhrtah "sapakşatāri tatāna' (I/116), payodhi- 'la kşmi-muși' keli-palvale (1/117), būna-puri- 'parārdhyatām ayahat (II/87), tapa-nipīta-sarah-sarasīruhai 'hasati' sma (IV/9), kiñcid-vivaksollasad-ostha--lakşmī-jitā panidraddala-parkajāsyāḥ vayasyāh (VI/101), udanvatā 'sārdhai spardhituri ahavati' (VIII/30), taditval-ʻlalitábhinetă' keśarah (X/51), kațākşa-rucic-chaļānām 'vikațāyitam anyetu', (XI/40), asasikucita-pankaja- 'sakhyaśikṣā-nişnāta'-drşți-(XI/100), pārvana-vidhu-'dvairājyasajjarii' yaśaḥ (XII/65), sarvārigojjvala-sarva-parvatasita-śrī-'garva-nirvāsi' yasah (XII/65), sandlıyayā sadhuc 'sanābhitāri babandha' (XV/21), sahasrākṣa-tanutra- 'mitratām adhat (XVI/46), sūna-sayyayā yad-bhuvah bhāla-tilaka-pragalbhatā abhāji' (XVIII/8), vidhur ‘vyaďambayar" (XVIII/97), kula-vadhūm 'avajajñe' (XXI/27)—these are only a few among many such expressions which are nothing but the different modes. of implying comparison of objects. In many cases the word expressing semblance has been elided and either the Upamāna and the Sâdhārama-dharma or the Upameya and the Upamāna have been compounded. These the cases of Upamana- and Upamita-samāsa resаге.

·121 . however, a case of Laksaná (secondary function of word); The Salient Features Of The Similes pectively in the language of Sanskrit grammar. In the case of superimposition of the Upamäna on the Upameya the compound is known as Rūpaka-samāsa. All these types have been profusely used by our poet. Apart from the numerous hackneyed expressions like pāni-paikaja (I/138), nuukha-candra (II/83), kamala-komala (IV/6), āsyendu. (VI/62), hrdayāravinda (VI/89), drg-ambhoja (VII/27), etc., we have uses like sünşta-väg-brhaspati (II/63), naisadha-śīla-sītala (II/94), phani-bhāșita-bhāşya-phakkikā-vişamā (II/95), romāvali-retra (VI/38), ekāralināka-nadi (VI/69), āpad-andhu (VI/107), kuca-śaila (VII/95), smara-bhilla (VIII/90), urri-tala-sītala-dyuti (IX/2), kuca-kutmala (IX/85), udgatvarāmſta-karārdha.parārdhya (XI/16), and so on. There are also instances of attributive compound (Bahuvrihi-samāsa) with the Upamāna. Thus we have 'amogha-meghavratar' loka-nātham (111/25), 'ardhendulilaih' nakhāri- 1. Cf. upamānāni sāmánya-vacanaih (Aşļūdhyāyī, 11/1/55 ) and upamitan vyāghrádıbhih sāmányāprayoge (Asfadhyayi, 11/1/56). 2. The followers of Pāņini include it under the mayūravariisaka class, aphorised mayura-ryarisakadayas (Asſadhyāyi, 11/1/72). Cf. avihita-lah saņas tatpuruṣo mayūravyanisakädisu drastavyaḥ| (Käſikå under the above-quoted aphorism). 3. tam urvi-tala-sitala-dyutini jagada (said this to him on the earth). This is, who was, as it were, the moon urvi-tala-sitala-djutim actually tulyant. as ca means urri-sala-sirala-dyuli- ·122 Obserrations On Similes In The Naişadhacarita kaiḥ (VI/25), karabhoru! (IX/43), sārasākşi! (IX/80), indu-mukhi ! (XI/58 ), kanaka-ketaka-gätra-gātri! (XI/59), dvipādhipati-manda-pade ! (XI/71), camatkrtacakora-calācalākşi! (X1/73), kambu-kanthi! (XI/84), rambhoru! (XI/85), mrgākşi! (XI/88, 119, etc.), khaſjana-mañju-netre! (XI/111 ), ena-locane! ( XII/15 ), aireya-netre! (XII/56), rambhā-taru-pīvaroru! (XXII/ 43), and so forth. A special feature of Śrībarşa's style is that he often expresses an ordinary idea in a cir- ·cumlocutory way and a good number of similes are of this nature. A number of verses already cited exemplify this well. There are also single words implying comparison in a round-about way. Thus he compares Damayanti's waist with the atomic minuteness (animan), which Lord Śiva can assume by virtue of His superhuman power, and describes her as išānimaiśvarya-vivartamadhiyū (111/64). Other expressions for the same idea arc dvyaņukodarī (qualifying Damayanti in IVA) and paramāņu-madhyah (qualifying the ladies of the harem of Nala in III/41), whereas an ordinary expression would be kršodarī (used elsewhere by the poet himself?) or madhye kşāmi (used by Kūlidisa“). Similarly he uses the word niśā-pali-jñāti-mukhi (XII/14 ) as epithet of Damayanti instead of a simple word like candra.mukli, pirrara-vidhu-drairūjya-sajjam (XII/65) an 1. See IX/59 (aseri yas tyahta-divå dira-nisam etc.). 2. Scc Sleghadita, 11/22 (tanvi fyámd sikharl-dasand etc.).

·The Salient Features Of The Similes 123 are as an epithet of yasal instead of a simpler expression like pärvana-vidhu-tulyam, and there are plenty of such examples. Śrīharşa is very fond of expressing comparison by using nominal verbs (Nama-dhātu). There numerous uses of nominal verbs formed with the suffix kyar, besides which those formed with kyac, kvip, nic, etc. are also found. As examples of nominal verbs implying comparison, we have expressions like sarojinī divā 'apsarāyita' (lotus-plant looked like a nymph in the day-time) in I/115; kşiti-mandala-nandanāyitani' nagaraiit kundinani yayau (went to the city of Kundina which acted as the ornament of the terrestrial globe) in II/64 ; pittena dūne rasane sitāpi 'tiktāyate' (even sugar tastes bitter if the tongue is infected with gall) in III/94 ; 'prānāyitā' nāsi kayāsya gatya (how cannot you help becoming his very life ?) in III/105 ; patrālis tvad-uroja-saila-nilayā 'tat-parra-śālāyate' (foliage designed on the mount of thy breasts acts his cottage) in III/128 ; kusumam api 'sarāyate' Sarīre (even flowers act as arrows on the body) in IV/120 ; candrūdhikaitan-mukha-candrikāņārt vindu-vrndani 'radārali-dvandvati' (the drops of beam emitted by her face excelling the moon act as the pair of the series of her teeth) in VII:44 ; ripu-rājaka-dhūma-ketu-tārāyamānari' manini paśya (look at the gem which appears as a star acting like a comet to a host of hostile kings) in XI/102; asja vakşałe 'vajrāyate' (his bosom acts like thunder) in XI/122 ; 'candrāyita'-carama-nakha-śrenih bhūas ·124 Observations On Similes In The Naişadhacarita lokasya bhartā (the protector of the earth the row of whose toe-nails shines like the moon) in XII/56 ; kāman mad-īkşa-maya-kama-dhenoh payāyatānr' abhyudayas tradiyah (may your prosperity act plentifully as the milk of my auspicious look, the wish-yielding cow) in XIV/73 ; sa svargījamirgidršām api rasi-kārāya ‘mārāyate' (he behaves as Cupid in attracting even the celestial fawn-eyed damsels) in XIV/86 ; 'sa-pallarat'radya manorathätikuraḥ (let now the sprout of desire grow into leaſage) in XV/9; āhuti-drūma-paddhatih alike' 'lakayitü' (the line of smoke arising from the oficrings given in fire looked like curls of hair on the forehead) in XVI/41'; puspa-kārda-jaya- 'dirdimăritani' pura-durika-rilasa-sūlasam (the rashness of adulterous enjoyment which acted as a drum in proclaiming Cupid's victory) in XVIII/20 ; - Śrīkutükşa-vikatārita'-korih tad-vali- srak (his garland of worship which was as wide as the endless glances 1. The entire crse, which describes the line of smoke arising from the offerings rendered in fire at the time of the marriage ceremony of Nala and Damayanti, runs thus :- laj & grhitahuti-druna-padihatir geld lepole mrga-nabhl-íobhitam! Jajcu dp for añjarat&rii frutas frita icridla-lilam alike 'laldzird'I The line of smolc arising from the offerings (rendered in Grel, which was taken up by her, assumed the beauty of ruik.sain: on her checks ; on her eyes it served as collyrium : on ter tans it allsing the charm of the leaf of Tamala, and ca he forehead it looked like curls of hair. The ·The Salient Features of The Similes 125 of Lakşmī) in XXI/41.1 In all these cases nominal bases ( like apsarāya, mandandya, etc. ) have been formed by adding suffixes to the stems (like apsaras, mandana, etc.) in the sense of 'an object acting like another' (tad iva ūcarati). The sufix added is kya ;? in all these cases except in radāvali-dvandvati and sa-pallaratu where it is kvip: (added to the stems radūrali-dvandra and sa-pallava respectively). These nominal verbs convey the idea of comparison, their agent (Kartr) being Upameya and the basic noun (apsaras, mandana, etc.) being Upamāna ; and as the common attribute (Sädharana-dharma) is elided, these are, in terms of the rhetorician, the cases of Luptopamās. Our poet has skilfully applied the rules of grammar in forming these new expressions after the model of some conventional ones. idea contained here is an elaboration of the idea contained in the following verse of Kālidása which describes the smoke arising from the fire at the time of the marriage ceremony of Aja and Indumati :- havih-sami-pallara-laja-gandhi punyah kršānor udiyaya dhumah/ hapola-sarisarpi-sihah sa tasya muhürta-harņotpalatan prapedell (Raghuvanića, VII/26.) From the fire arose the sacred smoke which was fragrant with clarified butter, leaves of Sami and fried grains (given therein as oblation). With its end coiling over her cheeks it assumed for a moment the semblance of the blue lotus ornaments of her ears. 1. Cf. also kajálsa-rucic-chajánän vikatāyitam anyetu (XI/40). 2. Cf. kartuh kyaň sa-lopaś ca (Astādhyāyī, IU/1/11). 3. Cf. sarva-prátipadikebhyaḥ kvib vă raktayyah ( Värttika under Aşpadhyayi, III/1/11).

·V Conclusion The foregoing discussion is perhaps sufficient to have some idea of the similes used in the Najsadhacarita They are, as we have seen, drawn from various objects and ideas, expressed in different modes, and beautified by many resources of poetic art including lucid language occasionally marked by alliteration Most of them are very significant and have much novelty in them with regard to the ideas and their expressions Sriharsa's wide range of experience (Vyutpattı) and original poetic genius (Pratibhu) have been clearly revealed through the use of these similes 1 Kaviraja, the author of the Raghavapāndavisa, who probably flourished about 800 AD, claimed only three poets to be well skilled in using Vakroku or poetic figures other than Siabhāvokti (which consists in natural descriptions) 2 1 CF pranbhá vulpalliman ca kauh haur isyuczatel ( Rājasekhara, harjamimamsa, V, Onental Institute, Baroda, Third Edition 1934, p 17 ) 2. CT bhinnomi dudha siabharoktur vakroktıś cent lånmasamll (Dandın, hárz ādarsa, 11/363/C-D) ·Conclusion 127 They were-himself, Subandhu and Bānabhatta." Had Kavirāja been posterior to Śrīharşa, he could never miss his name. as an Some critics have charged that Sriharsa's figurative uses are exaggerations and they have hampered the natural flow of poetry. The verses like the one where Nala describes Damayanti erotic drama (Manmatha-nāļikā) where the marks of such a drama are superimposed on her by ingenious word-play involve much artificiality. To them we may reply that those exaggerations are the very characteristic features of". poetry itself. Poetry does not aim at exact narration of phenomena as they are, but paints them in a different colour of its own. The 1. subandhur barabhaftaś ca kavirāja iti trayah/ rakrokti-márga-nipunăś caturtho vidyate na vall (Raghavapāndaviya, 1/41.) 2. na vartase manmatha-nāļika katham prakāša-romarali-sútra-dharini/ tavarga-häre rucini eti nayakah śikhā-maņiś ca dvijаrād-viduşakah// (1X/118) "Dost thou not personify Cupid's drama ? Thou dost indeed hold the thread in the shape of the clear line of hairs on thy body; well, the central gem in thy pearlstring does look teautiful, as if it were the hero of the play that takes delight in thy graceful gestures; and, the gem of thy crown, obscuring the moon in brightness, is as the jester of the play, a doble Brāhmaṇa, with a gem on the crest of his head." (Prof. Handiqui.) For the comment on the verse, see p. 58.

·in this informed me that the correct reading for kavih srejah should be a Saşil ı compound and an object to samadaj a His emendation is based on another scribal error in the first 128 Observat o is On Si les In The Naişadhacarita resources of poetic art set the objects of the world of senses to a new frame and make them refreshingly novel and hence appealing to us 1 Accordingly the poet is called the Creator (Prajapatı) of his own creation (Kavya samsara)? Śrıharsa respect may have gone a step further from the but poets like Valmıkı Vyasa and Kalidasa that is only a different way of creating charm The standard of poetic art varies in each poet and Sri harsa has certainly attained great success in his own way Rightly did Gadadhara remark anyaih kavibhir aksunnan padarabdham supaddhatim/ samudaya kavih sreyah sriman harsah pratisthatel 1 Cf Literature always anticipates life copy it but moulds it to its purpose -Oscar Wilde Tie Decay of Lying (Intentions 16th Edition London 1947 p 33) 2 cr apare kasza samsare karır ekah prajapatih/ Jathasmai rocate visam tathedam parnvartatell (Dhanyaloka III Vrh Chowkhamba Banaras 1940 p 498) From Gadadhara s commentary on the Naışadhija introductory verse 6 (MS of the Oriental Institute Baroda No 1353) Lale sresas occurring in the third foot of the evidently a sc ibal m stnke correct reading for srey ah Professor Jani has It does not 3 Verse IS sreșthah may be the however hou sreyah foot where the scribe wsites kaubhil rakṣunnam with a redun dant 1 ssarga as in the case of kauh sresah in the third foot ·ADDENDA Page 44. Philosophical ideas :- Vedāntaliterature than Perhaps no other poetical work in Sanskrit the Naişadhacarita contains so many references to philosophical doctrines, specially the Vedānta doctrines. In III/3 (netrāni vaidarbha-sutā-saklīnāni etc.) and 4 (harsair tanau sannihitani carantain etc.) similes have been drawn from the doctrine of the realisation of Brahman as propounded by the Vedāntists. Damayanti's friends fixing their eyes on the swan have been compared to an ascetic concentrating his mind on the Absolute. Damayanti standing still cautiously to catch the swan has been compared to a sage who comes to a standstill in order to realise the Absolute in him. In V/8 (sa vyatītya viyad antar agādham etc.) Nārada's arrival at the abode of Indra by crossing the vast atmospheric region has been compared to one's attainment of Brahman by crossing the ocean of worldly existence (bhavasindhu). X/63 (mudhārpitau inūrdhasu etc.) is a case of Drsļānta which speaks of the ratnam etaih 9 ·130 Observations On Similes In The Naişadhacarita knowledge of the Soul as self-revealed (sya-prakāśa). In XI/127, (sānantan āpya teja)- etc.) Damayanti, whole-heartedly devoted to Nala, has been compared to the doctrine of the Upanişads which is solely devoted to the propagation of Brahman. Nārāyaṇa finds here a reference to the enumeration of the nine Dravyas of the Vaiseșika system. The simile used in XIII/35 ( sāpturi prayacchati na pakşa-catusțaye tām etc. ) in connection with the description of Damayanti's bewilderment at the identification of the real Nala has a reference to the validity of the Advaita theory. reject the Mimāmgā, XI/62 (vedair vacobhir akhilaih krta-kīrti-ratne etc.) draws a simile from the atheism of the Mimāriiså. The Mimāriisā, according to some, does not believe in the existence of God, while according to others, the Mimāriisakas do not existence of God but they only do not believe in His corporeal form. (See Nārāyana's commentary on the verse.) Whatever may be the exact view, this idea has been used by Śrīharşa when it is said that Damayanti rejected the king of Kuśadvipa in her bridal chamber. Nyāya-Vaigoşika Page 50, verse XVII/78 (tarkāpratişthayā sāmyát etc.) :

·Addenda 131 Sat-pratipakşı has been defined by Visvanātha Nyāyapancānana asviruddhayoh parămarse hetvoh sat-pratipakşată}/" When the middle term (Hetu) of a syllogism, to which its major term (Sâdhya) bears the relation of concomitance, is counterbalanced by the middle term of another syllogism having the same relation to an opposite major term, it is a case of Sat-pratipaksa : sathii ca sva-sadhyaviruddha-sadhyābhāva-vyāpyayattā-parāmarśa - kálinasādhya-vyāpyavatta-parămarša-visaya ityarthah / Annambhatta gives the following example :- šabdo nityah sraranarrãc chabdarrarat) sabdo 'nity'ah kürzarvad ghatava:13 Here śrävaratra affirming nityarra in Sabda is counterbalanced by kūryatra afirming anilyatra, which is just the opposite of nityarsa, in ſabda. Hence both the syllogisms are inconclusive. What the spokesman of heretics wants to say is this : The different schools of philosophy ofier different arguments in favour of mutually opposite thcories. If their arguments are put in syllogistic forms, it will be found that the respective middle terms are related to mutually opposite major terms. All the arguments are, therefore, invalid. 1. Bhasdpariccheda. Arumdro-hhan,la, 77. 2. Alukturali on Bhdsdpariechedi, Amandna-kharda, 77. 3. Tarkoscritgicha, Anundna-khanda ; Third Edition, Chow thamba, Bjaaras, 1960; p. 23. - ·132 Observations On Similes In The Nalşadhacarita are This refutation, however, is not tenablc. A philosopher does not say anything with the ultimate truth in his hand, but sccks to realise the truth. To say that the philosophical tenets are untenable owing to their inconclusiveness is to strike at the very root of philosophical investigations. Placed under one hierarchy, all the tenets are valid in their respective ways : mukhyoddesje sarveşām eva samanrayāt prūmānyam itpūstikavādah. Thus from one standpoint the Vedanta says that there is only one Soul, whereas thc Nyaja admits plurality of the Soul from another standpoint. Creation, Bondage, Liberation, ctc. explained by the Vedānta in one way, by the Sürkhyu in a different way. God is admitted by the Nyāyat, but not by the Särikhya. For this they cannot be subject to the fallacy of Sai-pratipakşıl. Sat-pratipaksa actually happens to be a fallacy when a counter-argument is oficred from the same system of thought. Thus in the example offered by Annambhatta, both the arguments, viz., śrūyanarrât nityaḥ and karya tvar anital are from the Naiyāyika's standpoint and hence they are subject to the fallacy of Sat-pratipaksa. Other references to the Nyuya-Vaiseșika systems : The metaphor in VII/89 (romūrali-dardanitamba-cakre etc.) has a clear reference to the theory of causation. The verse is a description 1.- Commentary of Haridåsa Siddhāntavāgiša under discussion. on the verse ·Addenda 133: of Damayanti's youthfulness. The pet examples: of accessory materials for making a pitcher, viz., a rod, a wheel, a piece of thread and water, have been mentioned here. XVII/74 (muktaye yaḥ śilätyāya etc.) refers to Gotama's conception of Salvation where the spokesman of heretics compares Mukti to the condition of a stone, because at this stage the Soul has got no sense of pleasure, pain, etc. (See Nārāyana's commentary on the verse.) XVII/144 (si vinītatamā bhaimī etc.) draws a simile from right cognition (Pramiti) and false cognition (Vibhrama) propounded by the Naiyayikas when Indra tells Kali that he (Kali) cannot oppress Damayanti as errors cannot invalidate right knowledge. VII/75 ( etat-kuca-spardhitayā ghatasya etc. ), by way of comparing Damayanti's breast to a jar, refers to Ghața (jar) used as a pet example in philosophical works, e.g., sabdo 'nityaḥ kāryatvād ghatavat. Sankhya-Yoga- The simile in the expression išānimaiśvaryavivarta-madhye (III/64[A), by which the poet compares Damayanti's waist to the atomic miauteness assumed by Śiva, refers to Siva's Yogic power, In XXII/23 (kirit yoginīyan rajani ratišam, etc.) the night is fancied to be a Yoginį ·134 Observations On Similes In The Naişadhacarita (a woman adept in mystic performances)-giving life to Cupid, making the lotus faint and making the conch (in the form of the moon) detached, yet sticking to the sky. In the next verse also (prabodha-kāle 'hani būdhitāni etc.) the night is said to be a Yoginī who declares the world to be false. The reference here is, of course, to the Buddhist (Madhyamika) doctrine of Nihilism (Šūnya-vāda) according to which the worldly existence is sory. (Cf. N.C., X/88 ; fn. 3, p. 55.) Page 55, fn. 3. Verse X/88 (ya soma-siddhānta-mayānaneva etc.) : The verse is one of those which describe Sarasvati who is employed by king Bhima to introduce the kings to Damayanti in her bridal chamber. The verses contain many metaphorical expressions referring to different branches of philosophy and their tenets as well as other sāstras. Thus there are references to the Vedas, the Vedūrigas, prosody, grammar, astronomy, Nyāya, Minüvisa, Vedānta, Purana, etc. But the literary worth of these verses is not so commendable. They are more scholastic than charming. Page 67, fq. 3. For a detailed account of the division of the carth into various regions, see the Bhāgavata, V.

·Addenda 135 Page 76, fr. 2. Verse XXII/146 (sapiteh samprīter ajani etc.) : The nectar of the moon is fancied to be wine. In the last foot of the verse we have—sudhām abhyuddhartum. The moon is known as Sudhānidhi ( reservoir of ambrosia) perhaps because of its extreme deliciousness. By that virtue it enlivens people just as ambrosia, it is supposed, enlivens gods when they drink it. The sun and the moon, it is said, regulate the worldly existence. The sun sucks water and saves the earth from inundation. The moon, it is believed, makes the herbs and plants grow up by virtue of its animating power. To animate, according to Hindu mythology, is the nature of ambrosia (Amrta or Sudhā), and hence the moon comes to be known as the reservoir of ambrosia. Page 87, fn. 2. Verse XIV/36 (mukhābjam dyartana-lola-nälam etc.) : It should not be understood that Damayanti was not averse to the gods and that she turned away her face only out of bashfulness. Averse she certainly was, but the point is that, the simile suggests something in addition. Damayanti did not express her aversion to the gods in a rude way, and even at the time of giving expression to her ill feelings she did not lose her natural excellence.

·A SELECT BIBLIOGRAPHY
1
Abhijñānaśakuntala of Kālidása with English
translation by the late M. R. Kale, Eighth
Edition, Bombay, 1957.
A Critical Study Of Sriharşa's Naişadhiyacaritam
by Prof. Arunoday Natvarlal Jani, Oriental
Institute, Baroda, 1957.
Amara-kosa, Sixth Edition, Nirnaya Sāgar Press,
Bombay, 1944.
An Advanced History Of India by Prof. R. C.
Majumdar, Prof. H. C. Raychaudhuri and
Prof. Kalikinkar Datta, Second Edition,
London, 1961.
Blāşāpariccheda of Viśvanātha, Calcutta, 1947.
Bhattikävya of Bhatti, Part I, Calcutta, 1878.
Brahma-purāna, Anandāśrama Press, Poona, 1895.
Citramīmāṁsā of Appaya Dikşita, Third Edition,
Nirnaya Sāgar Press, Bombay, 1941.
Dharmasūtras of Gautama, Anandāśrama Press
Poona, 1910.

·138 Observations On Similes In The Naişadhacarita Dhanyaloka of Anandavardhana with the commentaries Locana of Abhinavagupta and Balapriya of Pt Rāmasāraka, Chowkhamba, Banaras, 1940 Kadambari of Bānabhatta, Pūrya-bhāga, Fourth Edition by Pt Haridāsa Siddhantavăgiša, Calcutta, 1872 Saka era Kāśikā of Jayaditya-Vāmana (on the Asțādhyāyī: of Panını), Third Edition, Chowkhamba, Banaras, 1952 Kāryādarsa of Dandin with the commentary Mälınyaproſichanī of Pt Premacandra Tarkavägiša, Calcutta, 1956 Kāryālamkāra of Bhamaha, Chowkhamba, Banaras, 1928 Käijälankära-sūtra-yrtti of Vāmana, Second Edition, Nirnaya Sāgar Press, Bombay, 1895 Karjamīnumsā of Rajasekhara, Third Edition, Oriental Institute, Baroda, 1934 Kävs aprakāśa of Mammata, Sixth Edition, Bhandarkar Oriental Research Institute, Poona, 1950 of Khandanalhandakhād; a 2018 Vikrama era Sriharsa, Banaras, 1 The Vårttikas of the Aspadhyayı conform to those read 10 the Siddhantakaumudi ·139 A Select Bibliography Kirātārjumiya of Bhāravi, Fourteenth Edition, Nirnaya Sāgar Press, Bombay, 1954. Kumārasambhava of Kālidāsa, Fourteenth Edition, Nirnaya Sāgar Press, Bombay, 1955. Literary Essays of Ezra Pound edited by T. S. Eliot, London, 1954. Mahābhārata, Vol. I, First Edition, Gită Press, Gorakhpur, 2013 Vikrama era. Mahābhāsya of Patañjali (Navāhnika), Chowkhamba, Banaras, 1954. Manu-smrti, Tenth Edition, Nirnaya Sāgar Press, Bombay, 1946. Meghadūta of Kūlidāsa with English translation by the late M. R. Kale, Sixth Edition, Bombay, 1960. Mrcchakațika of Sūdraka, Part I, edited by V. G. Paranjpe, Poona, 1937. Mudrārākṣasa of Viſakhadatta, Second Edition by R. R. Deshpande, Surat, 1948. Naişadhacarital of Śrīharşa with the tary Gadādhari of Gadādhara, MS of the Oriental Institute, Baroda, No. 1353. commen- 1. The numbers of the verses of the Naişadhacarita refer to those of Calcutta and Nakipur Editions as noted in this bibliography. There has been, however, a free choice of readings.

·140 Obserrations On Similes In The Naişadhacarita Naişadhacarita of Śrīharga with the commentary Jayanti of Pt. Haridāsa Siddhāntavāgiša, Vol. I (Cantos I to XI), Second Edition, Calcutta, 1871 Saka era. Do, Vol. II (Cantos XII to XXII), Nakipur, 1849 Saka era. Naişadhacarita of Srīharşa by Prof. Krishna Kanta Handiqui, Second Edition, Deccan College, Poona, 1956. Naişadha-dipikā commentary of Cāņdūpandita, MS of the Bhandarkar Oriental Research Institute, Poona, No. 16 of 1874-75. Naişadhiyacarita of Śrīharşa with the commentary Naişadlīya-prakāśa of Nārāyaṇa, Ninth Edition, Nirnaya Sāgar Press, Bombay, 1952. Padma-purāna, I (Srşti-khanda), First Edition, Calcutta, 1957. Prabandhakośa of Jaina Rājasekhara Sūri, First Edition, Santiniketana, 1935. Rūgharapūſdavīya of Kavirāja. Nimaya Sāgar Press, Bombay, 1897. Raghuvarisa of Kālidāsa, Eleventh Edition, Nirnaya Sāgar Press, Bombay, 1948. Rāmāyara, Chowkhamba, Banaras, 1957.

·Saka era. The Decay of Lying by Oscar Wilde : Intentions, A Select Bibliography 141 Rasaga rigādhara of Jagannātha, Chowkhamba, Banaras, 1955. Rgveda-sanihitā, Third Edition, Pāradi, 1957. Sāhityadarpana of Viśvanātha, Fifth Edition by Pt. Haridāsa Siddhāntavägisa, Calcutta, 1875 Särkhya-kärikā of Iśvarakļşņa, Banaras, 1905. Sanskrit Granimar of W. D. Whitney, Second Edition, London, 1923. Siddhantakaumudi, Vol. I, Third Edition, Motilal Banarsi Dass, Banaras, 1958. Do, Vol. III, Motilal Banarsi Dass, Banaras, 1950. ſisupālavadha of Māgha, Twelfth Edition, Nir naya Sāgar Press, Bombay, 1957. Skanda-purūna, IV ( Kāśi-khanda ), Venkateśvara Press, Bombay, 1965 Vikrama era. Srimad-bhāgavata, Seventh Edition, Gītu Press, Gorakhpur, 2018 Vikrama era. Taittiriya Aranyaka, Calcutta, 1871. Tarkasarigraha of Annambhatta, Third Edition, Chowkhamba, Banaras, 1960. Sixteenth Edition, London, 1947.

·142 Observations On Similes In The Naişadhacarita The Naisadhacarita In Its Bearing On The Alarikāra-code by Prof. Sivaprasada Bhattacharya : Prof. P. K. Gode Commemoration Volume, Poona, 1960, Part III. The Practical Sanskrit-English Dictionary, Revised and Enlarged Edition by Prof. V. S. Apte, Part II, Poona, 1958.

·अङ्क] * धर्मनीतिको प्रतिष्ठासे शान्ति, सद्भाव और विश्वबन्धुत्व- ર૬૭ %%%%%%%步步为%%%%%%步步为55%%%%%%%%%署劣先并多多多步步步步为苏省苏苏步步步步步多岁为劣55岁5岁男先步期为5%f%%%%%%% . सम्पूर्ण उदासी सदाके लिये तिरोहित हो जाती है। गये हैं। जिस प्रकार आगसे खौलते हुए जलमें झांकना भूमण्डलमें धर्म और नीतिको पताका तभी लहरायेगी असम्भव है, उसी प्रकार चित्तपर विचार-तरंगोंको उप्णतासे जब स्वस्थचित्तं एवं आनन्दित होकर लोग करुणा, मैत्री, अन्तस्में छिपे सत्य, प्रेम, करुणा, मैत्री, मुदिता, सद्भाव, मुदिताकी मस्तीमें धर्म और नीतिको अपने सदाचरणद्वारा शान्ति और अभयको मानव नहीं देख पाता। परिणामतः विस्तारित करेंगे। इसीसे 'वसुधैव कुटुम्बकम्' की भावनाका समाजका कल्याण तथा विश्वबन्धुत्वको भावना असम्भव विस्तार होगा। इसके साथ ही पापमार्गमें प्रवृत्त अनैतिक नहीं तो कठिन अवश्य लगने लगती है। आज समाजमें आचरण करनेवाले अधार्मिक व्यक्तियोंके प्रति 'उपेक्षा' की नैतिक होनेका भ्रम ही व्याप्त है जिससे 'नीति की भावना अर्थात् वह अपने पापाचारोंका स्वयं फल भोगेगा प्रतिष्ठा नहीं हो पा रही है। 'नीति' तो आनन्दकी स्फुरणा ऐसी भावना रखनी चाहिये। उसके प्रति द्वेष या घृणा करके है जो 'धर्म' के सुरम्य वातावरणमें ही पल्लवित-पुष्पित अपनेको दूषित नहीं बनाना चाहिये। ऐसे भावसे द्वेष तथा होती है। आनन्द जब अन्तस्से प्रवाहित होने लगता है, अमर्षरूप चित्तके मलको निवृत्ति हो जाती है। उत्तम नीति तब वही बाह्य जगत्में 'सदाचरण' बन जाता है। इसका तो यही है कि सबके कल्याणकी भावना रखी जाय। तात्पर्य यह है कि जब 'आनन्द' की सुगन्ध नाहर फैल ऐसी स्थितिमें साधकके जीवन में सत्य एवं प्रेमरूपी जाती है, तब व्यक्तिके जीवनमें शान्ति, सद्भाव तथा परमात्माका अवतरण होता है। पद-प्रतिष्ठाके स्थानपर कल्याणकी प्रतिष्ठा हो जाती है। 'परमात्मा', धनके स्थानपर 'ध्यान' तथा 'देह' के स्थानपर तात्त्विक विवेचन यह है कि मानवके जीवनमें 'देही' की नित्यताका अनुभव होने लगता है। परिणामतः 'महानता' नहीं 'मानवता' का अवतरण होना आवश्यक धर्म और नीतिके मणि-काश्चन-संयोगसे साधकका मन है। व्यक्तिका जीवन 'लम्बा' नहीं, बल्कि बड़ा होना एकाग्र हो जाता है, जिससे परमात्मोपलब्धि स्वतः ही हो चाहिये। धर्मके परिप्रेक्ष्य में नीतिको प्रतिष्ठासे ही मानवमें जाती है एवं जीवनकी समस्याका समाधान हो जाता है, अविरल शान्ति तथा अभयकी स्थिति हो सकती है। अशान्तिके स्थानपर अविरल शान्ति तथा अभयकी प्राति हो परिणामतः प्रेम और सत्यका आश्रय लेकर व्यक्ति 'आत्मनः जाती है। यही कारण है कि भक्त इस स्थितिको प्राप्तकर प्रतिकूलानि परेषां न समाचरेत्' के आचरणको जीवनमें कभी विभक्त नहीं होता है तथा वह 'धरमु न दूसर सत्य व्यवहत कर 'सर्वजनसुखाय' तथा 'सर्वजनहिताय' को समाना'को अपने जीवनका पर्याय बना लेता है। अपने जीवनका उद्देश्य मान लेता है जिसकी अन्तिम मानवके जीवनमें आज घोर तनावकी स्थिति व्याप्त परिणति करुणा, मैत्री, मुदिता, मानव-कल्याण तथा है, 'शान्ति', अभय और आनन्द शास्त्रोंके शब्दमान रह विश्वबन्धुत्वको भावनामें होती है। -

·A SELECT BIBLIOGRAPHY
1
Abhijñānaśakuntala of Kālidása with English
translation by the late M. R. Kale, Eighth
Edition, Bombay, 1957.
A Critical Study Of Sriharşa's Naişadhiyacaritam
by Prof. Arunoday Natvarlal Jani, Oriental
Institute, Baroda, 1957.
Amara-kosa, Sixth Edition, Nirnaya Sāgar Press,
Bombay, 1944.
An Advanced History Of India by Prof. R. C.
Majumdar, Prof. H. C. Raychaudhuri and
Prof. Kalikinkar Datta, Second Edition,
London, 1961.
Blāşāpariccheda of Viśvanātha, Calcutta, 1947.
Bhattikävya of Bhatti, Part I, Calcutta, 1878.
Brahma-purāna, Anandāśrama Press, Poona, 1895.
Citramīmāṁsā of Appaya Dikşita, Third Edition,
Nirnaya Sāgar Press, Bombay, 1941.
Dharmasūtras of Gautama, Anandāśrama Press
Poona, 1910.

·138 Observations On Similes In The Naişadhacarita Dhanyaloka of Anandavardhana with the commentaries Locana of Abhinavagupta and Balapriya of Pt Rāmasāraka, Chowkhamba, Banaras, 1940 Kadambari of Bānabhatta, Pūrya-bhāga, Fourth Edition by Pt Haridāsa Siddhantavăgiša, Calcutta, 1872 Saka era Kāśikā of Jayaditya-Vāmana (on the Asțādhyāyī: of Panını), Third Edition, Chowkhamba, Banaras, 1952 Kāryādarsa of Dandin with the commentary Mälınyaproſichanī of Pt Premacandra Tarkavägiša, Calcutta, 1956 Kāryālamkāra of Bhamaha, Chowkhamba, Banaras, 1928 Käijälankära-sūtra-yrtti of Vāmana, Second Edition, Nirnaya Sāgar Press, Bombay, 1895 Karjamīnumsā of Rajasekhara, Third Edition, Oriental Institute, Baroda, 1934 Kävs aprakāśa of Mammata, Sixth Edition, Bhandarkar Oriental Research Institute, Poona, 1950 of Khandanalhandakhād; a 2018 Vikrama era Sriharsa, Banaras, 1 The Vårttikas of the Aspadhyayı conform to those read 10 the Siddhantakaumudi ·139 A Select Bibliography Kirātārjumiya of Bhāravi, Fourteenth Edition, Nirnaya Sāgar Press, Bombay, 1954. Kumārasambhava of Kālidāsa, Fourteenth Edition, Nirnaya Sāgar Press, Bombay, 1955. Literary Essays of Ezra Pound edited by T. S. Eliot, London, 1954. Mahābhārata, Vol. I, First Edition, Gită Press, Gorakhpur, 2013 Vikrama era. Mahābhāsya of Patañjali (Navāhnika), Chowkhamba, Banaras, 1954. Manu-smrti, Tenth Edition, Nirnaya Sāgar Press, Bombay, 1946. Meghadūta of Kūlidāsa with English translation by the late M. R. Kale, Sixth Edition, Bombay, 1960. Mrcchakațika of Sūdraka, Part I, edited by V. G. Paranjpe, Poona, 1937. Mudrārākṣasa of Viſakhadatta, Second Edition by R. R. Deshpande, Surat, 1948. Naişadhacarital of Śrīharşa with the tary Gadādhari of Gadādhara, MS of the Oriental Institute, Baroda, No. 1353. commen- 1. The numbers of the verses of the Naişadhacarita refer to those of Calcutta and Nakipur Editions as noted in this bibliography. There has been, however, a free choice of readings.

·140 Obserrations On Similes In The Naişadhacarita Naişadhacarita of Śrīharga with the commentary Jayanti of Pt. Haridāsa Siddhāntavāgiša, Vol. I (Cantos I to XI), Second Edition, Calcutta, 1871 Saka era. Do, Vol. II (Cantos XII to XXII), Nakipur, 1849 Saka era. Naişadhacarita of Srīharşa by Prof. Krishna Kanta Handiqui, Second Edition, Deccan College, Poona, 1956. Naişadha-dipikā commentary of Cāņdūpandita, MS of the Bhandarkar Oriental Research Institute, Poona, No. 16 of 1874-75. Naişadhiyacarita of Śrīharşa with the commentary Naişadlīya-prakāśa of Nārāyaṇa, Ninth Edition, Nirnaya Sāgar Press, Bombay, 1952. Padma-purāna, I (Srşti-khanda), First Edition, Calcutta, 1957. Prabandhakośa of Jaina Rājasekhara Sūri, First Edition, Santiniketana, 1935. Rūgharapūſdavīya of Kavirāja. Nimaya Sāgar Press, Bombay, 1897. Raghuvarisa of Kālidāsa, Eleventh Edition, Nirnaya Sāgar Press, Bombay, 1948. Rāmāyara, Chowkhamba, Banaras, 1957.

·Saka era. The Decay of Lying by Oscar Wilde : Intentions, A Select Bibliography 141 Rasaga rigādhara of Jagannātha, Chowkhamba, Banaras, 1955. Rgveda-sanihitā, Third Edition, Pāradi, 1957. Sāhityadarpana of Viśvanātha, Fifth Edition by Pt. Haridāsa Siddhāntavägisa, Calcutta, 1875 Särkhya-kärikā of Iśvarakļşņa, Banaras, 1905. Sanskrit Granimar of W. D. Whitney, Second Edition, London, 1923. Siddhantakaumudi, Vol. I, Third Edition, Motilal Banarsi Dass, Banaras, 1958. Do, Vol. III, Motilal Banarsi Dass, Banaras, 1950. ſisupālavadha of Māgha, Twelfth Edition, Nir naya Sāgar Press, Bombay, 1957. Skanda-purūna, IV ( Kāśi-khanda ), Venkateśvara Press, Bombay, 1965 Vikrama era. Srimad-bhāgavata, Seventh Edition, Gītu Press, Gorakhpur, 2018 Vikrama era. Taittiriya Aranyaka, Calcutta, 1871. Tarkasarigraha of Annambhatta, Third Edition, Chowkhamba, Banaras, 1960. Sixteenth Edition, London, 1947.

·142 Observations On Similes In The Naişadhacarita The Naisadhacarita In Its Bearing On The Alaikära-code by Prof. Sivaprasada Bhattacharya : Prof. P. K. Gode Commemoration Volume, Poona, 1960, Part III. The Practical Sanskrit-English Dictionary, Revised and Enlarged Edition by Prof. V. S. Apte, Part II, Poona, 1958.

·अङ्क] * धर्मनीतिको प्रतिष्ठासे शान्ति, सद्भाव और विश्वबन्धुत्व. २६७ %%%%%%%%$$$$$$$$$乐分5555%h%%%%%%%紧步步实务多多万绪另步步步步步步步步步步步为55%%%%%%%%%%%步另%%%%%%%%% . सम्पूर्ण उदासी सदाके लिये तिरोहित हो जाती है। गये हैं। जिस प्रकार आगसे खौलते हुए जलमें झांकना भूमण्डलमें धर्म और नीतिको पताका तभी लहरायेगी असम्भव है, उसी प्रकार चित्तपर विचार-तरंगोंकी उष्णतासे जब स्वस्थचित्तं एवं आनन्दित होकर लोग करुणा, मैत्री, अन्तस्में छिपे सत्य, प्रेम, करुणा, मैत्री, मुदिता, सद्भाव, मुदिताकी मस्तीमें धर्म और नीतिको अपने सदाचरणद्वारा शान्ति और अभयको मानव नहीं देख पाता। परिणामतः विस्तारित करेंगे। इसीसे 'वसुधैव कुटुम्बकम्' की भावनाका समाजका कल्याण तथा विश्वबन्धुत्वको भावना असम्भव विस्तार होगा। इसके साथ ही पापमार्ग में प्रवृत्त अनैतिक नहीं तो कठिन अवश्य लगने लगती है। आज समाजमें आचरण करनेवाले अधार्मिक व्यक्तियोंके प्रति 'उपेक्षा' की नैतिक होनेका भ्रम ही व्यास है जिससे 'नीति की भावना अर्थात् वह अपने पापाचारोंका स्वयं फल भोगेगा प्रतिष्ठा नहीं हो पा रही है। 'नीति' तो आनन्दको स्फुरणा ऐसी भावना रखनी चाहिये। उसके प्रति द्वेष या घृणा करके है जो 'धर्म के सुरम्य वातावरणमें ही पल्लवित-पुष्पित अपनेको दूषित नहीं बनाना चाहिये। ऐसे भावसे द्वेष तथा होती है। आनन्द जब अन्तस्से प्रवाहित होने लगता है, अमर्षरूप चित्तके मलको निवृत्ति हो जाती है। उत्तम नीति तब वही बाह्य जगत्में 'सदाचरण' बन जाता है। इसका तो यही है कि सबके कल्याणकी भावना रखी जाय। तात्पर्य यह है कि जब 'आनन्द' को सुगन्ध बाहर फैल ऐसी स्थितिमें साधकके जीवनमें सत्य एवं प्रेमरूपी जाती है, तब व्यक्तिके जीवनमें शान्ति, सद्भाव तथा परमात्माका अवतरण होता है। पद-प्रतिष्ठाके स्थानपर कल्याणकी प्रतिष्ठा हो जाती है। 'परमात्मा', धनके स्थानपर 'ध्यान' तथा 'देह' के स्थानपर तात्त्विक विवेचन यह है कि मानवके जीवन में 'देही' की नित्यताका अनुभव होने लगता है। परिणामतः 'महानता' नहीं 'मानवता' का अवतरण होना आवश्यक धर्म और नीतिके मणि-काश्चन-संयोगसे साधकका मन है। व्यक्तिका जीवन 'लम्बा' नहीं, बल्कि बड़ा होना एकान हो जाता है, जिससे परमात्मोपलब्धि स्वतः ही हो चाहिये। धर्मके परिप्रेक्ष्य में नीतिको प्रतिष्ठासे ही मानवमें जाती है एवं जीवनकी समस्याका समाधान हो जाता है, अविरल शान्ति तथा अभयकी स्थिति हो सकती है। अशान्तिके स्थानपर अविरल शान्ति तथा अभयकी प्राप्ति हो परिणामतः प्रेम और सत्यका आश्रय लेकर व्यक्ति 'आत्मनः जाती है। यही कारण है कि भक्त इस स्थितिको प्राप्तकर प्रतिकूलानि परेषां न ममाचरेत्' के आचरणको जीवनमें कभी विभक्त नहीं होता है तथा वह 'धरमु न दूसर सत्य व्यवहत कर 'सर्वजनसुखाय' तथा 'सर्वजनहिताय' को समाना'को अपने जीवनका पर्याय बना लेता है। अपने जीवनका उद्देश्य मान लेता है जिसकी अन्तिम मानवके जीवनमें आज घोर तनावकी स्थिति व्याप्त परिणति करुणा, मैत्री, मुदिता, मानव-कल्याण तथा है, 'शान्ति', अभय और आनन्द शास्त्रोंके शब्दमात्र रह विश्वबन्धुत्वको भावनामें होती है।