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惭补峁卥丑补办补鈥檚 艢谤墨办补峁囜弓丑补肠补谤颈迟补 is a standard 尘补丑腻办腻惫测补 from the standpoint of the canons laid down for a 尘补丑腻办腻惫测补 by the 腻濒补峁僰腻谤颈办补蝉. It has been observed that 惭补峁卥丑补办补 has strictly followed the rules and regulations of the 补濒补峁僰腻谤补艣腻蝉迟谤补, regarding the definition of a 尘补丑腻办腻惫测补.

顿补峁囜笉颈苍^[1], in his K膩vy膩dar艣a, presents the salient features of a 尘补丑腻办腻惫测补 as follows鈥�

It should be divided into cantos. It should start with salutation or benediction or representation of facts. It should be based on historical events or the story of the good. Its hero should be intelligent and of the 诲丑墨谤辞诲腻迟迟补 variety. It should contain the depiction of city, sea, mountain, seasons, sun-rise, moon-rise, sports in garden and water, drinking, amorous sports, separation, marriage, battle and prosperity of the hero etc. It should be decorated by 补濒补峁僰腻谤补蝉. It should not be concise. It should be full of the rasas. It should be composed in harmonious chandas. At the end of each sarga, there should be a change in the employment of chandas. 顿补峁囜笉颈苍, further states that if, a poem continues giving pleasure to the readers, then it does not matter at all, even if, it lacks some of the afore-mentioned features.

痴颈艣惫补苍腻迟丑补 afterwards, provides the characteristic features of a 尘补丑腻办腻惫测补, wherein, he has incorporated some additions, along with some already mentioned characteristics, given by 顿补峁囜笉颈苍. They are as follows鈥�

The 尘补丑腻办腻惫测补 is a poetical composition, written in a number of cantos. The hero of it should be a deity or a 办峁�a迟迟谤颈测补 of a noble family, characterized by firmness and generosity of heart. Or a number of kings belonging to the same noble family may be its heroes. Of the erotic, heroic and quietistic, any one flavour should be the principal in it, all the other flavours being auxiliary therein. It should contain all the dramatic junctures. The story, pertaining to some virtuous character or characters, must be derived from history, such as the 惭补丑腻产丑腻谤补迟补, or from any other source. It has for its fruits (i.e. the final objects obtained by the hero or the like), all the four of the class consisting of the great objects of human desire, viz. merit, wealth, enjoyment and liberation, or it has only one of them. It begins with a salutation to a deity or a benediction, or simply with the mention of a matter, leading into the main story of the poem. Sometimes, it begins with a reproach of the malicious or the like, and a eulogium of the good. It consists of cantos, more than eight in number, neither too short nor too long, each canto comprising stanzas composed in some particular metre, but ending in those of a different one. Again, sometimes however, there is found one canto, composed in a variety of metres. At the end of each canto, the subject of the succeeding canto should be hinted in. The sun and the moon, day and night, morning and evening, noon, twilight and darkness, ocean and mountain, woods and hunting, the seasons, the enjoyment and separation of lovers, saints, heaven, city, sacrifice, military march, counsel, marriage, birth of a son etc., are to be delineated in it, according to occasion, together with their attendant incidents and circumstances. It is to be named after the poet, the story, the hero or the like, while the designation of a canto is to be after the principal matter contained therein.^[2]

Now, almost all the characteristics of a 尘补丑腻办腻惫测补 are noticed in the 艢谤墨办补峁囜弓丑补肠补谤颈迟补 such as鈥�

The 艢谤墨办补峁囜弓丑补肠补谤颈迟补 is divided into twenty five sargas. It starts with the salutation to gods and goddesses with a plead for benediction. The subjectmatter is also hinted in.^[3] The theme of the poem is based on the famous story of the 惭补丑腻产丑腻谤补迟补 and the 笔耻谤腻峁嘺蝉. The hero of the poem is of 诲丑墨谤辞诲腻迟迟补 type. It is to be noted here that, in this poem, there is the depiction of the poet鈥檚 country (III. 1-20) and of city (III. 21-30), mountain (IV), spring season (VI), swinging sports (VII), flower-plucking (VIII), water-sports (IX), evening (X), moon-rise (XI, XII), toilet (XIII), drinking (XIV), amorous sports (XV), battle (XXIII) and triumph of the hero (XXIV). Again, the 艢谤墨办补峁囜弓丑补肠补谤颈迟补 has been decorated by several 补濒补峁僰腻谤补蝉. This poem is not a concise one, rather a voluminous epic, having twenty five cantos. The rasas have been very well suggested in it. The 艢谤墨办补峁囜弓丑补肠补谤颈迟补 has been set in twenty nine chandas. Again, there is the variation of chandas, at the end of each sarga and use of chandas is varied. In the 艢谤墨办补峁囜弓丑补肠补谤颈迟补, there is the praise of the good and condemnation of the wicked (II). Along with these, the rule that a 尘补丑腻办腻惫测补 should have more than eight sargas, has also been followed in the 艢谤墨办补峁囜弓丑补肠补谤颈迟补, as it contains twenty five cantos. The title of the poem has been given by the name of the hero i.e. 艢谤墨办补峁囜弓丑补 or his deeds i.e. 艢谤墨办补峁囜弓丑补肠补谤颈迟补.

This way, it has been noticed that the 艢谤墨办补峁囜弓丑补肠补谤颈迟补 adheres to almost all the essentials of a 尘补丑腻办腻惫测补 as defined by the Sanskrit 腻濒补峁僰腻谤颈办补蝉. As stated earlier, 惭补峁卥丑补办补 strictly adheres to the norms of a 尘补丑腻办腻惫测补, however, it slightly hinders in exhibiting his creativity. However, these restrictions of rhetoric regulations could not be able to destroy the poet鈥檚 poetical calibre and it bears unmistakable mark of the expertise of 惭补峁卥丑补办补 as a composer of a 尘补丑腻办腻惫测补. His 尘补丑腻办腻惫测补 is also noticed to be based on the 笔耻谤腻峁嘺蝉 and the whole range of Pur膩峁噄c literature has left influence on his poem. The poem becomes successful in giving pleasure to its learned readers also. The 艢谤墨办补峁囜弓丑补肠补谤颈迟补 proves the hypothesis that 惭补峁卥丑补办补 had complete capability to write a 尘补丑腻办腻惫测补. Thus, it is a fine example of Sanskrit 尘补丑腻办腻惫测补, as it follows truly almost all the canons laid down for a 尘补丑腻办腻惫测补, by the Sanskrit rhetoricians.

Footnotes and references:

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[1]:

K膩vy膩dar艣a., I. 14-20

[2]:

sargabandho 尘补丑腻办腻惫测补峁� tatraiko n膩yaka岣� sura岣�/
sadva峁兣沘岣� k峁�attriyo v膩pi 诲丑墨谤辞诲腻迟迟补gu峁嚹乶vita岣�/
ekava峁兣沘bhav膩 bh奴p膩岣� kulaj膩 bahavo鈥檖i v膩/
艣峁涐箙g膩rav墨ra艣膩nt膩n膩meko鈥欋箙g墨 rasa i峁�yate/
a峁単膩ni sarve鈥檖i ras膩岣�, sarve n膩峁璦kasandhaya岣�/
itih膩sodbhava峁� v峁泃tamanyadv膩 sajjan膩艣raya峁�/
catv膩rastasya varg膩岣� syuste峁�veka峁� ca phala峁� bhavet/
膩dau namaskriy膩艣墨rv膩 vastunirde艣a eva v膩/
kvacinnind膩 khal膩d墨n膩峁� sat膩峁� ca gu峁嘺k墨rtana峁�/
ekav峁泃tamayai岣� padyairavas膩ne鈥檔yav峁泃takai岣�/
n膩tisvalp膩 n膩tid墨rgh膩岣� sarg膩岣� a峁ａ弓膩dhik膩 iha/
n膩n膩v峁泃tamaya岣� kv膩pi sarga岣� ka艣cana d峁浥泍ate/
sarg膩nte bh膩visargasya kath膩y膩岣� s奴cana峁� bhavet/
蝉补苍诲丑测腻蝉奴谤测别苍诲耻谤补箩补苍墨辫谤补诲辞峁�a诲丑惫腻苍迟补惫腻蝉补谤腻岣�/
辫谤腻迟补谤尘补诲丑测腻丑苍补尘峁沢补测腻艣补颈濒补谤迟耻惫补苍补蝉腻驳补谤腻岣�/
谤补峁嘺辫谤补测腻峁噊辫补测补尘补尘补苍迟谤补辫耻迟谤辞诲补测腻诲补测补岣�/
var峁嘺n墨y膩 yath膩yoga峁� s膩峁単op膩峁単膩 am墨 iha/
kaverv峁泃tasya v膩 n膩mn膩 n膩yakasyetarasya v膩/
n膩m膩sya sargop膩deyakathay膩 sargan膩ma tu/
     S膩hityadarpa峁嘺., VI. 315-325

[3]:

艢谤墨办补峁囜弓丑补肠补谤颈迟补., I. 56