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Sanskrit rhetoricians have discussed in detail the poetic figures which enhance the charm of the poetry. Bharata, 叠丑腻尘补丑补, 痴腻尘补苍补, 膧nandavarddhana, Kuntaka etc. are the famous rhetoricians who abundantly contributed their theories to the literary world. Rasa, 础濒补峁卥腻谤补, 骋耻峁嘺, 搁墨迟颈, Dhvani, 础苍耻尘腻苍补, Vakrokti and Aucitya are considered as the literary theories in Sanskrit.

Since 痴腻蝉耻诲别惫补vijaya comes under the category of Vy膩kara峁嘺艣膩strak膩vyas, the author gives too much attention to the grammatical perspective. However, the skilfulness of 痴腻蝉耻诲别惫补vijaya in Sanskrit language paves the way to the decoration of this poem with some poetic figures. In 痴腻蝉耻诲别惫补vijaya, there is ample scope for 艢补产诲腻濒补峁卥腻谤补蝉. Repetition in letters, words etc. can found easily in this poem. At the same time it deals with 础谤迟丑腻濒补峁卥腻谤补蝉 also, but in fact the usage of them found rare. Sometimes it feels as the author has made a strenuous effort to incorporate them in the poem.

Apart from these, the other poetic elements like Dhvani, Vakrokti etc. are to be found here, but rarely. The main intention of the author is not to compose a poetically well-versed poem, but to teach grammar through illustrations. Generally the rhetoricians have accepted the purpose of poetry as appreciation.^[1] But, here 痴腻蝉耻诲别惫补vijaya is a 艢腻蝉迟谤补办腻惫测补 and therefore the purpose of poetry cannot be limited within the frame of enjoyment but his ultimate aim will be there i.e. learning of grammar.

As it is the case, the poetic excellence of 痴腻蝉耻诲别惫补 can be scattered in the poem. These sporadic references are beautifully depicted by him. Some verses which excel in poetic beauty from 痴腻蝉耻诲别惫补vijaya are as follows.

At the time of birth of 碍峁涐梗峁嘺, the divine beings showered flowers in him to show their happiness and respect.

This incident is beautifully depicted in 痴腻蝉耻诲别惫补vijaya as:鈥�

n膩r膩ya峁噀 r膩trima峁�膩峁単an膩namas膩tayetatra jani峁�yam膩峁噀 |
尘耻办迟补峁� surair苍腻办补naga辫谤补蝉奴苍补峁� pap膩tanak峁�atrapath膩danalpam || (痴腻蝉耻诲别惫补vijaya 3.1)

Here 痴腻蝉耻诲别惫补 tries to enhance the beauty of the verse through certain awesome usages. The employment of the compound 苍腻办补苍补驳补辫谤补蝉奴苍补尘 which means 辫腻谤颈箩腻迟补 flower uplifts the charm of the verse. The word is used in the sense of 辫腻谤颈箩腻迟补 the heavenly flower. Here the word 苍腻办补 means heaven, naga means tree and 辫谤补蝉奴苍补峁� is flower. Here in spite of using the word 辫腻谤颈箩腻迟补, the usage of the compound word makes the verse more elegant. Simultaneously, the negation in the 补苍补濒辫补峁� which means plentiful is also gives too much charm to the poem. Apart from these, the repetition of words is also causes its beauty. The rhyming words 苍腻谤腻测补峁噀-箩补苍颈峁�y补尘腻峁噀 and 苍腻办补-naga are also adds the beauty to this verse.

In another context, 痴腻蝉耻诲别惫补 elucidates the bliss of the couple (顿别惫补办墨 and Vasudeva) caused by the birth of 碍峁涐梗峁嘺 in an attractive style.

kal膩nidhe岣� santamasasya hantu岣� patyu岣� sat膩m膩ttarateranante |
samudriy膩tpr膩dita modam膩bhy膩峁� vidhorbhavant墨 蝉尘颈迟补肠补苍诲谤颈办腻 s膩 || (痴腻蝉耻诲别惫补vijaya 3.10)

The meaning of the verse can be interpreted in two ways. The primary meaning apt to this context is the smile of 碍峁涐梗峁嘺 provides pleasure to the parents. The epithets used in the verse is applicable not only to 碍峁涐梗峁嘺 but also the moon. The moonlight gives joy to the couples. Here the word vidhu is meant for the moon and 痴颈峁ａ箛耻. 办补濒腻苍颈诲丑颈岣� means the treasury of fourteenvidyas when it belongs to

痴颈峁ａ箛耻. It is meant for the treasury of sixteen faces of the moon. Likewise in the epithet santamasasya hantu岣�, the word tamasis used in the sense of both the ignorance and darkness. Thus 痴颈峁ａ箛耻 is the destroyer of the ignorance and moon is the destroyer of the darkness. The portion sat膩峁� patyu岣� is meant for both Lord of noble men and the lord of stars. The word Ananta is used for space and 艢别峁�a. 痴颈峁ａ箛耻 lies on 艢别峁�an膩ga and the moon lies on the space.

Thus the sense of the poem is applicable for both Lord K峁涐箛a and the moon. 痴腻蝉耻诲别惫补 beautifully fuses these meanings in the verse through 艢濒别峁�a. The word 蝉尘颈迟补肠补苍诲谤颈办腻 means the smile of Lord 碍峁涐梗峁嘺 as according to the moon shines.

Here in the suggested sense of the verse might be on 础濒补峁卥腻谤补, as it attributes the smile of 碍峁涐梗峁嘺 to the moon shine. It can be included in the category of 础濒补峁卥腻谤补dhvani.

At the time of depicting the beauty of 顿别惫补办墨, 痴腻蝉耻诲别惫补 exaggeratedly states that she excels 艢补肠墨, 笔补谤惫补迟墨, 尝补办峁�m墨 etc. and looks like the co-wife of 搁补迟墨, the wife of 碍腻尘补.

p奴takrat膩y墨峁� ca 尘补苍耻峁� ca 尘腻苍补惫墨峁� 惫峁涐梗腻办补辫腻测墨峁� ca kari峁�yat墨 迟颈谤补岣� |
ull膩las膩m膩sa gu峁嘺irak峁泃rimairate岣� sapatn墨va sut膩sya devak墨 || (痴腻蝉耻诲别惫补vijaya 1.6)

笔奴迟补办谤补迟腻测墨 means the wife of Indraie. 艢补肠墨dev墨, manu meant for wife of Manu and 尘腻苍补惫墨 for the daughter of Manu. 惫峁涐梗腻办补辫腻测墨 is the wife of 惫峁涐梗腻办补辫颈 which is used for Hara and 痴颈峁ａ箛耻. Thus the word implies both goddess 笔腻谤惫补迟墨 and 尝补办峁�m墨. Thus the beauty of 顿别惫补办墨 excels all these goddesses. Here 痴腻蝉耻诲别惫补 exaggeratedly depicts the beauty of 顿别惫补办墨. Besides, he compares 顿别惫补办墨 as the co-wife of Rati.

Here, in spite of mentioning 顿别惫补办墨 as the daughter of Devaka, 痴腻蝉耻诲别惫补 employs some exaggerations and comparison. This makes the verse more attractive.

痴腻蝉耻诲别惫补 composes many verses in this manner, and hence the literary appreciation of the poem is not much interrupted. The abundance of the usage of 艢补产诲腻濒补峁卥腻谤补蝉 is also increase the charm of the poem. The hemstitches like 蝉腻办峁Ｄ乧肠补办腻谤补 蝉补丑补蝉腻 蝉补丑补蝉腻峁� sa 办补峁僺补岣� |^[2] is a fine example for rhyming. The same pattern is used in another verse as m膩mabhidruhattv膩峁� 蝉补丑补蝉腻 sa 办补峁僺补岣� |^[3].Simultaneously, the usages like 苍颈谤腻办补谤颈峁ａ箛耻-补濒补峁卥补谤颈峁ａ箛耻^[4] in the 惫颈箩补丑墨丑颈-箩补丑腻丑颈-箩补丑颈丑颈^[5], 谤腻箩补蝉奴测颈办别-辫腻办补测补箩帽颈办别^[6], 峁Ｄ乼惫补-峁嘺迟惫颈办别^[7] etc. found in 痴腻蝉耻诲别惫补vijaya raise the beauty of the poem.

Even though the poem primarily aims at the grammatical perspective, the literary merit of the poem is not affected. The usage of appropriate metres, figures of speech and beautiful dictions makes the poem very attractive. Along with the purpose of poetry described by the rhetoricians, 痴腻蝉耻诲别惫补vijaya has an additional objective i.e. the grammatical illustration. Thus the quality of the poem is not diminished, but excels.

Footnotes and references:

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[1]:

碍腻惫测补辫谤补办补艣补 of 惭补尘尘补峁璦, v.I.2, p.2

[2]:

abhretato nijacik墨r峁�itam膩lun膩n膩峁� sabrahmac膩rimahasa峁� navameghabh膩y膩岣� |
t膩峁� brahmav膩divimal膩tmaguhaikasi峁僪墨峁� 蝉腻办峁Ｄ乧肠补办腻谤补 蝉补丑补蝉腻 saha t膩峁� sa 办补峁僺补岣� || Prof.Vijayapal Sastri.op.cit.v.3.50.

[3]:

n膩deyatoy膩gamadurniv膩ra岣� paurastyap膩k膩hatid峁涐梗峁璦karm膩 |
办谤耻诲丑测补苍苍补丑别迟腻惫补辫颈 苍腻迟丑补 sadbhyo m膩bhidruhattv膩峁� 蝉补丑补蝉腻 sa 办补峁僺补岣� || Prof.Vijayapal Sastri.op.cit.v.3.32.

[4]:

补产丑颈谤腻箩补迟颈肠腻苍耻驳补峁単补尘耻肠肠补颈岣� 办补濒耻峁�a峁� k膩艣ipur墨 nir膩kari峁ａ箛u岣� |
ajani峁ａ弓atar膩峁僼ad膩tato'pi vrajabh奴岣� s膩 bhuvan膩nyala峁僰ari峁ａ箛u岣� || Prof.Vijayapal Sastri.op.cit.v.4.15.

[5]:

惫颈箩补丑墨丑颈 艣耻肠补峁� 箩补丑腻丑颈 尘辞丑补峁� jahihi kranditam膩艣rava峁� vijahy膩岣� |
nanu nemitha daivat膩ni dehi stanamitya艣udadu艣ca ta峁� jananyai || Prof.Vijayapal Sastri.op.cit.v.4.33.

[6]:

r膩jas奴yike p膩kayaj帽ike 峁Ｄ乼va峁嘺tvike p膩艣uketath膩 |
saupatai峁卆k膩rtai峁ａ弓hik膩rcikacch膩ndas膩峁僩avidy膩dike'pi ca || Prof.Vijayapal Sastri.op.cit.v.4.65.

[7]:

idem.