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The essence of any story theme, or central idea, is Conflict, the endeavour, in which good men face up to and overcome antagonistic circumstances. It is the motive force,

895 the seed, the genesis of the plot. The theme of Dhanapala's Tilakamanjari of Dhanapala is, likewise, the eternal inner human conflict between the good and the evil, the Preferable (sreyas) and the Agreeable (preyas), the righteous and the unrighteous. This conflict is embodied in the Tilakamanjari of Dhanapala in the two conflicting codes of conduct represented, on the one hand, by Harivahana and Tilakamanjari, and, on the other hand, by Samaraketu and Malayasundari. i Dhanapala has repeatedly emphasized this central idea on suitable occasions in proper contexts through appropriate characters. The gist of the central moral is aptly put in the mouth of Harivahana who reflects on the sudden turn of unexpected events putting him in quite unimaginable situation within a period of a few hours on the same day when the mad elephant transports him from amongst his companions in the military camp to the remote and totally foreign region of the Vaitadhya mountain where he is all alone and unknown. Dhanapala has put the idea in these words : 42 sarvvam svayamaivamprakara h samsarah | idam tu citram yadidrsamapyenamavagacchata- midrsamapi bhavanamanityatam vibhavayatamidrsanapi dasa visesananubhavata a argfagarzan' Pazzya fad, a fasiuid faroritfuator:, a bhamguribhavati bhogavancha, nabhidhavati nihsamgatam budhdih, namgi kara rauti nirvyabaghanityasukhamapavargasthanamatma | sarvvathatigahano baliyanesa samsara- mahah -- 1 which emphasize the conflict between the intellect and the mind, between the desirability of yearning for the eternal 42. Tilakamanjari, p.244(18ff.).

896 p joy of emancipation and the irresistible temtation for transitory sense-enjoyments of the world. A This same inner human conflict is further elaborated when, on seeing the portrait of Tilakamanjari with whom he instantly falls in love, he introspectively reflects on the strange irony of human existence in which one is torn between the tug of war of the good and the bad in human nature. The 42 passage runs as follows: asa punarapara vidambana yadayammatma madanadahopasamaya prasamamargamavatarito- 'pyaghogatim raginastadamghriyugalasyalocayati na pranijatasya | kucha kadali- stambhatutyatam taduruparinahasya vimrsati na dehanihsaratayah | hrdayavasibhih samgo duhkhaheturityalabdhavivaram tatpayocarabandhamavadharayati na kalatraputradivargama | This conflict results from the strange proclivity of human mind which is constantly tempted to tangible senseenjoyments so much so that one hankers after them inspite of their being predominantly painful in the end. Human, and for that even the heavenly, happiness is but transitory and this whole world is a veritable Vindhya forest boundless and full of hazards. Dhanapala has at one stage revealed the allegorical significance of the Adrstapara lake, the Manorama garden surrounding the temple of Lord Rsabha and the Jinayatana as symbolizing the profound religion, the heavenly enjoyments 44 and the state of Emancipation respectively, as in : 43. Tilakamanjari,p.176(7ff.) / 44. ibid., p.219(23ff.)+220(5).

896 (a) prathamam tavatparyatadanantasattvasamghatadhare samsara ivatiduraparamde sminmaha- kantare sarabhutam dharmmatattvamivanekabhamgagambhiram sa drstam | atha tadava- gahanaka nirmali bhutatmana trivistapamiva tridasopabhogayogyamunidrakalpa- drumamalamanohara mudhanamidam kramena capavargasthanamiva vanathatirna- mahatmyasvarupametajjinayatanama, | (Tilakamanjari, p.219,23ff.].

897 Dhanapala wants to emphasize that until one does not have a thorough dip in this Adrstapara lake of True Faith, i.e., Jainism, one does not qualify for a considerably long duration of happiness in a variety of heavens and ultimately get a chance, as a result of one's recourse to the allmerciful holy feet of Lord Jina, to emancipation by getting the last birth as a human being in the most devout family. This central teaching is exemplified in the conflicting codes of conduct of Jvalanaprabha and Harivahana on the one hand, and of Sumali and Samaraketu on the other hand. Tkns, we ### tkrangkont the TV The same is also illustrated in the totally different codes of conduct of Priyangusundari and Tilakamanjari on the one hand, and of Priyamvada and Malayasundari on the other hand. Thus, we see throughout the Tilakamanjari of Dhanapala that due to their constant unflinching faith in the teaching of Jain Munis like Jayantaswami and practice of Jainism and their devotion for Lord Jinas concretely expressed in the them that form of Jain temples that were built by both the celestial : { with beloveds get an opportunity to again get united/in their lovers in their subsequent births. In contrast to the devouts like Jvalanaprabha and Priyamvada, Sumali and Priyamvada have to suffer interminable hardships due to lack of faith in the True Religion of Jainism and due to their insatiable infatuation for sensual pleasures.

898 It is to this purpose that Dhanapala has been constantly harping on the strangely unpredictable nature of Fate that invariably awaits common souls in their sojourn through various types of births tossing them up and down, as in: akaritaduhkhasamhatirabhimukhibhuta saparijaneva garbhavasanarakagatih | (42,13ff.); sucirakalasamcitena satatanugamina sadabhrtyenaiva subhakamprna krtarapanam mahapurusanam sarvvadapi duravartinyaiva duritani (60,18ff.); duhkhaheturanurago, visopama visayopabhogavacha, vatarthaprati- panthi nyadharmmavilasitani sarvvatah sulabhavinodagabhah ka myakriyarambhah | (111,22ff.); acintya hi devasaktih | (170,11); ahom virasata samsarasthiteh, aho vicitrata karmmaparinatinama, aho yadrcchakaritayamabhiniveso vidheh, aho mamgura svabhavata vibhavanam | (244,2-5); maho purvajanmantarasamcitera subhakarmyabhirayojitah sunipunamapi nirupito payairmanisibhirani satkarah parihartumupatapah | (258,22ff.); " adrstapare samsare mamgura svabhavesu vibhavadisu sarvvabhavesu karmyaparatantra- nam praninam sarvvamapi sambhavati | (251,13ff.); aho niravadhipracaro vidhih | nastyagocarah purakrtaka TTH I asakyapratikara krtantasaktih | avyahata gatih sarvatra bhavitavyatayah | (345,22ff,); amrtavinabhutam vasturupam, | (346,16); iha hi jivah subhasubha nimitanirvacitaina svakamna nityamanusrtah

899 parivartamano mahati samsaracakre kusalakulalaparigrhita iva mrtpindamh sthalakosakalasadini sprsati vividhanyavasthantarani | (406 B,3ff.); samjatasamvegah samagro'pi parisajjanah prasantena manasa vicaraya- virasatam samsarasthitaih sthasnusu klesayasabahulesu dirghaduh khodegadayisu brhatsvapi svargabhogesvapilanamaslathyata | E } (413,6ff.). The theme is thoroughly human and widely appealing as it fully corresponds to the daily common experience of an average human being in any corner of this wide earthly planet. The hard fact of human unhappiness has been the ta< constant topic and source of philosophical discussion both inthe Orient and the Occident, and it is to point out a way out of this miserable state of transitory human happiness invariably mixed with unending unhappiness that all saints both in the East and the West have endeavoured. Dhanapala's choice of this classic theme is quite unexceptionable and thoroughly fits in with the literary classic that he has undertaken, since a great piece of art must embody an equally great theme.