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惭补峁卥丑补办补 is observed to have been influenced by his predecessors. This impact has been felt in respect of some ideas as well as in form. 惭补峁卥丑补办补鈥檚 acquaintance with the literary creations of previous poets, however, in no way stained the poetic beauty of his work. On the contrary, it enhances the literary value of his poem. It is really a tough task to appraise the impact of previous poets and their writings upon a particular poet or on his works. The two great epics viz. the 搁腻尘腻测补峁嘺 and the 惭补丑腻产丑腻谤补迟补 have exercised tremendous influence nearly on all the writers of any Indian language. The poets like 碍腻濒颈诲腻蝉补, 叠丑腻谤补惫颈, 惭腻驳丑补, 搁补迟苍腻办补谤补, Bilha峁嘺 and others have chosen their subject-matter mostly from these two sources. Like 叠丑腻谤补惫颈 and 惭腻驳丑补, 惭补峁卥丑补办补 too takes up the story of his poem from the P奴r膩峁嘺s as well as the 惭补丑腻产丑腻谤补迟补 Along with this; 惭补峁卥丑补办补 brings on some set pieces of narration and description from previous poets. 惭补峁卥丑补办补 owes to aforesaid predecessors both directly and indirectly, which may be discussed below.

惭补峁卥丑补办补 is found to be influenced much by the writings of 碍腻濒颈诲腻蝉补. He is seen employing some ideas of the former. As for example, 碍腻濒颈诲腻蝉补, in his Raghuva峁兣沘, narrates the shaping of ornaments on the bride鈥檚 face^[1], likewise, 惭补峁卥丑补办补 describes the smoke, structuring ornaments on various limbs of the idol of Lord 艢颈惫补.^[2] Again, 惭补峁卥丑补办补 presents the morning scene of awakening of the Lord by the bards in canto XVI, in a similar manner as found in 碍腻濒颈诲腻蝉补鈥檚 Raghuva峁兣沘^[3] 惭补峁卥丑补办补 portrays 艢峁涐箙驳腻谤补^[4], his brother, as the repository of learning and riches, which clearly indicates 惭补峁卥丑补办补鈥檚 familiarity with a similar description found in the Raghuva峁兣沘^[5] In the same way, there is a reflection of the Raghuva峁兣沘^[6], in the statement that, it was only due to the mountain 碍补颈濒腻蝉补 that the other mountains could be said to have a good king.^[7] Besides, in the representation of the glowing vegetables in the verse, 诲颈惫腻辫颈 辫奴迟腻蝉耻^[8] 鈥︹赌�, 辫谤补惫测补箩测补尘腻苍辞诲补谤补艣补颈濒补^[9] 鈥︹��.., there is the resonance of 碍耻尘腻谤补.^[10] There is similarity of exressions viz. 谤补迟墨辫谤补诲墨辫补 and 蝉耻谤补迟补辫谤补诲墨辫补, in the statements respectively of the 艢谤墨办补峁囜弓丑补肠补谤颈迟补 and the 碍耻尘腻谤补.^[11] In the description of the thighs^[12] of a female, said to be defeating the shaft of a plaintain tree, there is an echo of the description found in the 碍耻尘腻谤补.^[13] 惭补峁卥丑补办补鈥檚 depiction of a male holding a play-lotus in hand^[14], is again an imitation of a suitor king鈥檚 rotating a lotus in hand in the Raghuva峁兣沘^[15] Besides, under the influence of 碍耻尘腻谤补.^[16], 惭补峁卥丑补办补 employs the term 补丑苍腻测补^[17] in his poem for so many times. 惭补峁卥丑补办补 applies the term 办奴濒补尘耻诲谤耻箩补^[18], which is also the influence of 碍腻濒颈诲腻蝉补鈥檚 Raghuva峁兣沘 Some other verses^[19], also, testifiy 碍腻濒颈诲腻蝉补鈥檚 impact on 惭补峁卥丑补办补.

Thus, 碍腻濒颈诲腻蝉补 influenced 惭补峁卥丑补办补 a lot. But, it must be mentioned here that these influences improve 惭补峁卥丑补办补鈥檚 poem. Both the 笔耻谤腻峁嘺蝉 as well as the poetry of 碍腻濒颈诲腻蝉补 become beneficial for 惭补峁卥丑补办补, in the sense that his poem remains relatively simple and this simplicity resists him from exhibiting pedantry and artificiality to a great extent, in comparison to other counterparts of his time. There are so many examples of simplicity of the style of 惭补峁卥丑补办补, which can even vie with 碍腻濒颈诲腻蝉补 such as tanotu 产丑奴迟颈峁�^[20] 鈥︹赌�., vit墨r峁嘺艣ik峁Ｄ� iva h峁泃padastha^[21] 鈥︹赌�., gu峁嘺irmay奴khairiva 艣uddhimattarai^[22] 鈥�, 尘补峁噄办腻帽肠颈谤补帽肠颈迟补惫颈濒辞肠补苍补测腻^[23] 鈥︹赌�, nisargabhr奴bh 补峁単补vyatikara^[24] 鈥︹��.., and many more.^[25]

Above are the examples of similarities between the two poets. But, there are vast differences also between them, regarding style and diction. 碍腻濒颈诲腻蝉补鈥檚 style is simple, graceful and charming and he resorted to 厂惫补产丑腻惫辞办迟颈 and 鲍辫补尘腻. However, 惭补峁卥丑补办补鈥檚 style is a conglomeration of simplicity and artificiality.Though in 惭补峁卥丑补办补, there is enough of grace of expression and melody of verse and still it lacks the charming simplicity of 碍腻濒颈诲腻蝉补, as observed by some scholars. But, there is no denial of the fact that 惭补峁卥丑补办补 too possess the neatness of versification, magnificence of diction, luxury of imagery and display of erudition is there in his style. However, in lieu of 厂惫补产丑腻惫辞办迟颈 of 碍腻濒颈诲腻蝉补, in 惭补峁卥丑补办补, the reader will get Vakrokti and 础迟颈艣补测辞办迟颈, in place of 鲍辫补尘腻, one will find 鲍迟辫谤别办峁Ｄ�. Whereas, the style of 碍腻濒颈诲腻蝉补 is suggestive, that of 惭补峁卥丑补办补 is expressive. Though these are some of the points of difference between them, even then, as noticed in previously quoted examples, 惭补峁卥丑补办补鈥檚 style of composition is akin to 碍腻濒颈诲腻蝉补 in many instances. Again, though form predominates in 惭补峁卥丑补办补鈥檚 style, even then, there is the richness of suggestion of rasas, poetic fancy as well as other embellishments, which no doubt attracts the heart of the reader, contrary to the supposition that 鈥榠t fails to touch the heart of the reader鈥�.^[26] Again, 碍腻濒颈诲腻蝉补 being a poet of a much earlier period got the advantage of his age^[27], while during the time of 惭补峁卥丑补办补, the literary taste of the people changed. Therefore, to satisfy his readers and adapt himself to the changing pattern, 惭补峁卥丑补办补 had to take recourse to a bogus style, but thanks to the influence of the 笔耻谤腻峁嘺蝉 and especially to 碍腻濒颈诲腻蝉补, that he restricted himself to a comparatively simple style to some extent, inspite of the general trend of that period of time. Even 惭补峁卥丑补办补鈥檚 Vakrokti, being the root of his poetry, create strikingness and his 鲍迟辫谤别办峁Ｄ乻 too, with its inherent charm, help in relishing the sentiment. Like 碍腻濒颈诲腻蝉补, 惭补峁卥丑补办补 too is suggestive regarding the suggestion of the rasas, but 碍腻濒颈诲腻蝉补鈥檚 suggestions are concised and balanced, while, 惭补峁卥丑补办补 is more detailed and extravagant.

Regarding descriptions, 碍腻濒颈诲腻蝉补鈥檚 are more compact and connected, while 惭补峁卥丑补办补鈥檚 narrations are incorporated there in the poem to build his poem as a literary epic and those descriptions are, as if, loosely hanging around with the main plot. Though 惭补峁卥丑补办补 is accused of artificiality, but, poets like 碍腻濒颈诲腻蝉补 too have been stained by some of the faults such as the deliberate employment of Yamakas in the beginning of every last 辫腻诲补 of each 艣濒辞办补^[28], use of technical words^[29], use of difficult words^[30], astrological view^[31] and tricks on grammar.^[32] But, 碍腻濒颈诲腻蝉补 handles this rare artificiality with great skill of poetic art and his originality remained intact, with a contrast to 惭补峁卥丑补办补, who is mostly re-creative. No doubt, the poetry of 碍腻濒颈诲腻蝉补 attracts one鈥檚 heart for his simplicity, creativity and diversity, but still one can not refute the magnanimity of 惭补峁卥丑补办补 as a literary marvel. There may be a difference of degree, but the creations of both the poet appeal the heart of its readers. As 惭补峁卥丑补办补 represents himself as a poet of learnging or the period of decadence, whatsoever, he bears some of the merits of 碍腻濒颈诲腻蝉补 and some common demerits of his successors. Even then, he occupies a unique place among the post K膩lid膩sian literary figures.

It is 碍腻濒颈诲腻蝉补, in which the literary epics reaches at its zenith鈥檚 height. This is the point of saturation, from which onwards gradually the process of decline starts. Because the successors of 碍腻濒颈诲腻蝉补, although have tried their level best to maintain the norms set up by 碍腻濒颈诲腻蝉补, most of them end up by exhibiting learning. It is not that all of them do not have talent, some of them do bear evidence of that spark, but their erudition devoured the poetic talent. The intentional showing off has not done any good to them. To name a few, 叠丑腻谤补惫颈, 叠丑补峁�峁�颈, 搁补迟苍腻办补谤补 and 惭腻驳丑补 are some of them. 叠丑腻谤补惫颈 is accused of as the beginner of mannerism in his successors. His impact upon 惭腻驳丑补 is so profound that 惭腻驳丑补 excelled 叠丑腻谤补惫颈 not only in his virtues but in his vices also and thereby develops 叠丑腻谤补惫颈鈥檚 mannerism. 叠丑腻谤补惫颈鈥檚 style is characterized by use of double entendre, use of obsolete and difficult words, fondness for displaying grammatical and metrical expertise and superb control over language, as supported by various bandhas. 惭腻驳丑补 is also adorned by these features. 惭补峁卥丑补办补 too being a successor of the above poets, shares some of the above characteristics along with the K膩lid膩sian hue. Though 惭补峁卥丑补办补 accepts the format of the literary epics, however, he is seen to have maintained a kind of harmony between literary genius and erudition. Ofcourse, he bears some striking similarities with that of his predecessors. 惭补峁卥丑补办补 owes to his predecessors both for the form and matter, but the craftsmanship is his own. He is indebted to 碍腻濒颈诲腻蝉补, for his relatively easy style. Again, he is also influenced by 叠丑腻谤补惫颈, 惭腻驳丑补 and Bilha峁嘺 regarding the use of complicated terms. 惭补峁卥丑补办补 employs some uncommon and obsolete words also, out of impact of his predecessors. 惭补峁卥丑补办补 seems to have been influenced both by 叠丑腻谤补惫颈^[33] and 惭腻驳丑补^[34] in the employment of the metre 鲍诲驳补迟腻, in canto IX of his 艢谤墨办补峁囜弓丑补肠补谤颈迟补.

The influence of 叠丑腻谤补惫颈 has been noticed on 惭补峁卥丑补办补 in the employment of some difficult words, in the same meaning in which 叠丑腻谤补惫颈 uses them. As for example, 惭补峁卥丑补办补^[35] uses the term andhas in the sense of food, as it has been found to have used in the 碍颈谤腻迟腻谤箩耻苍墨测补^[36] Again, the words 艣腻谤补迟腻^[37], 艣腻谤颈迟腻^[38] etc. are also used in the same meaning in both the poems. 惭补峁卥丑补办补 makes use of some ideas from 碍颈谤腻迟腻谤箩耻苍墨测补 also.^[39] 惭补峁卥丑补办补鈥檚 familiarity with 叠丑腻谤补惫颈 has been evinced by the reference of 叠丑腻谤补惫颈, by name in the 艢谤墨办补峁囜弓丑补肠补谤颈迟补.^[40] Inspite of the above-mentioned similarities, there are much difference between the two poets. Whereas, 叠丑腻谤补惫颈 uses direct but complex language, 惭补峁卥丑补办补 opts for indirect but comparatively easy expressions. While, 叠丑腻谤补惫颈 is descriptive and argumentative, 惭补峁卥丑补办补 not only shows expertise in description and suggestion, but also seen to have been more inclined towards the emotional aspects. Besides, 惭补峁卥丑补办补 keeps a balance between literary genius and learning, as mentioned earlier. Along with these, there is limited scope of originality for 惭补峁卥丑补办补, as he has taken up a fixed format of literary epic, provided by his predecessors. However, 惭补峁卥丑补办补 donot go for the verbal jugglery, use of bandhas employed by 叠丑腻谤补惫颈 in his poem.^[41] It鈥檚 a merit on 惭补峁卥丑补办补鈥檚 part that he desists from employing the artificial wordfigures which are harmful to the soul of poetry i.e. rasa. However, 叠丑腻谤补惫颈 sustains in high position, regarding the development of plot, in comparison to 惭补峁卥丑补办补.

Like 叠丑腻谤补惫颈, 惭腻驳丑补 too is, seen to have influenced 惭补峁卥丑补办补 a lot in composition of his poem. Regarding the impact of 惭腻驳丑补, on subsequent poets, De鈥檚 observation is important.^[42]

The influence of 惭腻驳丑补 on 惭补峁卥丑补办补 is conspicuous by the use of peculiar vocabulary i.e. 惭补峁卥丑补办补 has used some difficult words in the same sense in which they are found employed by 惭腻驳丑补 in his 艢颈艣耻p膩lavadha As for example,

艢谤墨办补峁囜弓丑补肠补谤颈迟补 鈥� 艢颈艣耻
办补岣嵞乺补 XVIII. 19 鈥� V. 3
办腻谤尘补峁嘺 III. 12, 63 鈥� X. 37
kutha XXV. 19 鈥� I. 8
尘补峁卥峁�u XI. 52; XXII. 18 鈥� V. 37
苍颈产颈谤墨蝉补 XVIII. 4 鈥� VII. 20
saptatantu XXIV. 25 鈥� XIV. 6
艣腻谤颈 XXIII. 29 鈥� XV. 77
艣耻峁�m补苍 XXIV. 29 鈥� XIV. 22
tapas III. 8; IV. 56 鈥� VI. 63
tulita XXIV. 1 V. 31; VIII. 12; 鈥� XV. 30, 61
耻迟办补濒颈办腻 IX. 15 鈥� III. 70
惫颈辫谤耻峁� IV. 64; XIV. 46; XIX. 15; XXIV. 42 II. 18; VIII. 40

Again, 惭补峁卥丑补办补 takes up parallel ideas from 惭腻驳丑补, some of

which are as follows鈥�

艢谤墨办补峁囜弓丑补肠补谤颈迟补 鈥� 艢颈艣耻
IV. 2, 21 鈥� I. 4; I. 50
VIII. 36 鈥� VII. 48
IX. 12, 15 鈥� VIII. 16, 14
X. 1 鈥� IX. 1
XIII. 17 鈥� IX. 73
XIV. 44 鈥� X. 1
XVI. 1 鈥� XI. 1
XVII. 65 鈥� I. 57
XVIII. 2, 3 鈥� XVII. 3, 8
XXI. 24 鈥� XV. 88
XXII. 58 鈥� XVIII. 1
XXIII. 25 鈥� XVII. 25

Moreover, there is affinity between 惭腻驳丑补 and 惭补峁卥丑补办补, regarding the development of a plot, not only in the auxiliary descriptions^[43], but also in the depiction of the subject matter^[44] also. Again, both 惭腻驳丑补 and 惭补峁卥丑补办补 are fond of the 艢峁涐箙驳腻谤补rasa and their inclination towards this rasa is so biased that this subordinate seniment supercedes the principal one i.e. 痴墨谤补, in the poem. Besides, 惭补峁卥丑补办补 has been influenced by 惭腻驳丑补 even in case of amalgamation of the two sentiments also.^[45]

Thus, both 惭腻驳丑补 and 惭补峁卥丑补办补 have been influenced by their previous poets. But 惭腻驳丑补 tries to compose his poem upon the model of 叠丑腻谤补惫颈鈥檚 poem and thereby intentionally does tiresome labour to excel him, sometimes both the merits and demerits of 叠丑腻谤补惫颈 have been crept into 惭腻驳丑补鈥檚 poem. Whereas, 惭补峁卥丑补办补 has been escaped from the mannerism of 叠丑腻谤补惫颈, which 惭腻驳丑补 develops later on. The comparative simple style, maintaining of harmony between literary genius and scholarship as well as not taking recourse to bandhas etc. become the saviour for 惭补峁卥丑补办补. Besides, 惭补峁卥丑补办补 is also, not found to have special inclination for a particular predecessor as like 惭腻驳丑补 does. He also refrains from too much political conversation like the two poets. Regarding the use of 补濒补峁僰腻谤补蝉 also, he keeps to simple and pleasant ones and abstains from employment of pedantic and improbable figures of 惭腻驳丑补. Thus, 惭补峁卥丑补办补鈥檚 expressions are not at all extravagant, rather having poetic sensibility and those are very much touching. This way, 惭补峁卥丑补办补 too begs a position, if not surpassing, a parallel one with that of 惭腻驳丑补.

惭补峁卥丑补办补 is again seems to be indebted to 搁补迟苍腻办补谤补, who writes the Haravijaya (Haravijaya). 惭补峁卥丑补办补鈥檚 gratefulness to 搁补迟苍腻办补谤补 may be discussed regarding identical technique of development of plot, taking resort to analogous ideas, use of some words in the same meaning as well as similar mode of suggestion of sentiments. The similar manner of arrangement of plot and striking likeness in expression is very much interesting to take note of, in both the works. Regarding the contents, the following cantos and the theme inhibited therein, of both the poem, may be evaluated.

艢谤墨办补峁囜弓丑补肠补谤颈迟补 鈥� Haravijaya
III. 1-30 鈥� I. 1-23
IV 鈥� IV
V 鈥� I. 34-62
VIII-X 鈥� XVII-XIX
XI-XII 鈥� XX
XIII 鈥� XXIII
XIV-XVI 鈥� XXVI-XXVIII
XVII. 18-32 鈥� VII. 13-170
XVIII 鈥� VII
XIX 鈥� XLII
XX 鈥� XLI
XXIII 鈥� XLVIII-XLIX

惭补峁卥丑补办补 seems to have been influenced by 搁补迟苍腻办补谤补 in the selection of the theme of his poem. This is evinced by the supposition that as the theme of the Haravijaya is the vanquishment of the demon Andhaka by Lord 艢颈惫补 and there is frequent allusion of the tripuradahana legend^[46], therefore, it is very much probable that 惭补峁卥丑补办补 may get a hint from the poem Haravijaya, on the basis of which, he subsequently composes his 艢谤墨办补峁囜弓丑补肠补谤颈迟补. The borrowing of analogous ideas and expressions are noticed in the following references-

艢谤墨办补峁囜弓丑补肠补谤颈迟补 鈥� Haravijaya
I. 16, V. 24 鈥� I. 43
V. 5 鈥� IV. 28
VIII. 19 鈥� XVIII. 97
XVII. 18, 20, 21 鈥� VI. 13, 103, 18, 39
XIX. 9, 10, 12 鈥� VI. 4
XIX. 13 鈥� V. 5

Again, 惭补峁卥丑补办补 employs some words in the same meaning as they are used by 搁补迟苍腻办补谤补. As for example, 补产丑测补谤峁嘺惫补谤迟颈^[47], 补办腻峁囜笉补^[48], 蝉补谤惫补迟补岣� 艣谤耻迟颈岣�^[49] etc. Besides, there is familiarity between the two poets, regarding the delineation of sentiments on their poems. Both of them has chosen the 痴墨谤补rasa as the 补峁単墨谤补蝉补 in their poems, but gives more emphasis on delineation of the 艢峁涐箙驳腻谤补 and this subordinate sentiment surpasses the main one in their poems. That is to say that they are so much engrossed in the delineation of the subordinate one that they become forgetful to the demand of the theme and hence, there occur a fault, which however, is not only their demerit, it is a common defect, which is to be found in almost all the post 碍腻濒颈诲腻蝉补 poets. Anyway, the manner of suggestion in 惭补峁卥丑补办补鈥檚 poem makes one easily understand the impact, he had received from his predecessor 搁补迟苍腻办补谤补. Again, in 搁补迟苍腻办补谤补, one will get the bandhas^[50], which are completely absent in 惭补峁卥丑补办补鈥檚 case and the excess artificiality which the author of the Haravijaya exhibits, is also missing in 惭补峁卥丑补办补. Both gives some philosophical^[51] outlines, but while, 搁补迟苍腻办补谤补 is pedantic, abstruse and too much detailed, 惭补峁卥丑补办补 is comparatively easy going, pithy and balanced regarding this.

Bilha峁嘺 too influenced 惭补峁卥丑补办补 in many ways which is obvious from the use of some common as well as peculiar words in the same meaning, use of some identical descriptions, similar delineation of plot, employment of analoguous ideas, similar views on poetry, striking similarity in case of suggestiveness of sentiments, close affinity regarding style etc.

Both 惭补峁卥丑补办补 and Bilha峁嘺 has used the below-mentioned peculiar words in the same sense-

艢谤墨办补峁囜弓丑补肠补谤颈迟补 鈥� Vikram膩峁卥adevacarita
辫谤别峁卥丑辞濒补 I. 47; VII. 51 鈥� XI. 82
办腻谤尘补峁嘺 III. 12 鈥� II. 14
诲丑辞谤补峁嚹� III. 26; XII. 50, 95; XIV. 2; XVIII. 30 鈥� XVI. 42
丑补蝉补苍迟颈办腻 III. 29; VI. 15; XXII. 43 鈥� XVI. 48
办补峁囜弓丑墨谤补惫补 VI. 8 鈥� XVII. 17
t峁涐箛膩ya na mene VI. 41 鈥� t峁涐箛膩ya n膩manyata X. 52
补峁卥补辫腻濒墨 VI. 73; XIV. 63 鈥� IV. 47; XIII. 12
苍别迟谤补尘补颈迟谤墨 VII. 9 鈥� X. 20
箩补濒腻谤诲谤腻 X. 46 鈥� IV. 24
办补峁卥补峁璦 XII. 14; XIII. 3; XX. 59; XXII. 42; XXIII. 11 鈥� XVI. 18
腻苍诲辞濒颈迟补 XII. 52 鈥� X. 35
肠墨苍补辫颈峁ａ弓补 XIV. 22; 46; XVI. 22; XIX. 56; XXIII. 15 鈥� III. 61; XIV. 68
辫补谤颈惫峁涐笉丑补 XVI. 13; XXIV. 41 鈥� XVIII. 34
karpara XVI. 59 鈥� XIV. 30
惫补颈艣补蝉补峁� XIX. 46; XXI. 8; XXII. 30; XXIII. 51 鈥� III. 36; XIV. 16
辫峁涐梗补迟办补 XX. 40, 41 鈥� XVI. 42; VIII. 23
补驳谤补丑腻谤补 XXV. 37 鈥� XVIII. 19, 24, 39

Among the above examples, the word 办腻谤尘补峁嘺 has been employed by 惭腻驳丑补 also. But, as both Bilha峁嘺 and 惭补峁卥丑补办补 makes use of the compound word 办腻谤尘补峁嘺karma, hence, herein this case, the influence of Bilha峁嘺 is sure. Again, two words 濒补峁璦产丑补^[52] and 丑别惫腻办补^[53] have been used both by 惭补峁卥丑补办补 and Bilha峁嘺. Of these, the word 丑别惫腻办补 is probably of Persian or Arabic origin.

Some identical descriptions are found in both the poem. As for example, firstly, the description of the good and the bad^[54], may be mentioned here. The destcription of the spring season (VI), swinging sports (VII), flower-plucking (VIII), water-sports (IX) etc. are also found in the Vikram膩峁卥adevacarita, canto X. Besides, in 艢谤墨办补峁囜弓丑补肠补谤颈迟补, there is the description of evening twilight (X), the moon (XI), the moon-rise (XII), drinking of liquor (XIV), passionate games (XV), the morning (XVI), which are also to be found in canto XI of the Vikram膩峁卥adevacarita Though this type of descriptions, are available in almost all the court epics, even then the description of the good and the bad, swinging sports are exclusively peculiar to the Vikram膩峁卥adevacarita and the 艢谤墨办补峁囜弓丑补肠补谤颈迟补. In addition to that, their order of occurance is surprisingly similar in both the poems. This invariably proves that certainly, 惭补峁卥丑补办补 must have kept the Vikram膩峁卥adevacarita as a model, while composing the 艢谤墨办补峁囜弓丑补肠补谤颈迟补. Moreover, certain descriptions supplied in the 艢谤墨办补峁囜弓丑补肠补谤颈迟补^[55], such as the censure of the moon by the maidens, whose lovers are found guilty of infidelity under the influence of a similar censure of the moon by women in separation found in the Vikram膩峁卥adevacarita^[56] 惭补峁卥丑补办补 depicts the physical beauty of a female, which is similar to a description found in Bilha峁嘺鈥檚 poem.^[57]

In case of delineation of plot also, 惭补峁卥丑补办补 is grateful to Bilha峁嘺. However, 惭补峁卥丑补办补 is equally influenced by 惭腻驳丑补 and 搁补迟苍腻办补谤补 too, in this regard. Other examples of common descriptions of 惭补峁卥丑补办补 and Bilha峁嘺 are as follows-paying homage to different gods and goddesses^[58], delineation of the province of Kashmir and its city Pravarapura^[59], portrayal of the rulers of Kashmir^[60], depiction of the Murala beauties situated in Kerala^[61], reference of Gopuras.^[62] Moreover, the entreaty of Lord 艢颈惫补 to Goddess 笔腻谤惫补迟墨 for beholding the charm of the spring season may be seen as a reflection of similar behaviour of Vikrama, the king and his consort.^[63] In addition to these, 惭补峁卥丑补办补 has provided a detailed description of his lineage in similar manner with that of Bilha峁嘺.^[64]

Some example of employment of analogous ideas are incorporated below鈥�

艢谤墨办补峁囜弓丑补肠补谤颈迟补 鈥� Vikram膩峁卥adevacarita
II. 1, 48 鈥� I. 1, 6
II. 2, 7, 12 鈥� I. 11, 19, 14
II. 41 (痴补颈诲补谤产丑墨 谤墨迟颈);
II. 30, 38, 47, 49 (good expression);
II. 31, 39, 40, 55 (good poet);
II. 3, 16, 18, 21, 23, 25 (cunning people); 鈥� I. 9, 13 and I. 22, 29; I. 17, 18; I. 18; 29
III. 2 鈥� I. 99
III. 10, 19 鈥� XVIII. 5, 6
III. 22, 25 鈥� II. 14, 4
III.60, 61 鈥� XVIII. 86
V. 23 鈥� VII. 26, 37
VI. 56; VII. 55 鈥� VII. 18
VII. 10, 66 鈥� X. 21, 33
X. 12, 27 鈥� XI. 2, 23
XI. 52-62 鈥� XIV. 41-45
XIV. 52 鈥� VII. 22
XIX. 48-66 鈥� IV. 32-34

Of these, in the verse, XIV. 52 of the 艢谤墨办补峁囜弓丑补肠补谤颈迟补 and VII. 22 of the Vikram膩峁卥adevacarita, there is resemblance between the second half of both the verses, not only regarding idea contained, but, in the manner of expression also.^[65]

Bilha峁嘺 and 惭补峁卥丑补办补, both of them holds some parallel views on poetry e.g. they speak highly of the 痴补颈诲补谤产丑墨 谤墨迟颈. Rasa^[66] or the sentiment and vakrokti^[67] or the crooked speech are the favourite of both of them, both keeps high opinion, regarding intellect^[68] in a poem, opts for a erudite authority^[69] for approval of a literary piece of work and believes that the blessing of the mother of the poets (厂补谤补蝉惫补迟墨), is the cause of poems.^[70]

Regarding delineation as well as maintaining the suggestiveness of sentiments, both are quite common in the treatment. As for example, both selects 痴墨谤补 as the 补峁単墨谤补蝉补 and 艢峁涐箙驳腻谤补 as 补峁単补, but next to the main sentiment, both follows similar mode, while presenting the 痴墨谤补, at the first verse. Moreover, both keeps close to the same manner of interlinking the 艢峁涐箙驳腻谤补 with that of the 痴墨谤补, in the course of depicting the conjugal life of Lord 艢颈惫补 and Goddess 笔腻谤惫补迟墨 as an integral component of the main theme of the poem.

Regarding style also, there is close resemblance between Bilha峁嘺 and 惭补峁卥丑补办补. Both of the poets extols 痴补颈诲补谤产丑墨 and employs it in their respective works, which is generally simple, clear and free from long compounds and play on words. 惭补峁卥丑补办补 is indebted to both to 碍腻濒颈诲腻蝉补 as well as Bilha峁嘺, for the comparative simplicity of his style. However, his style is more close to Bilha峁嘺, than to 碍腻濒颈诲腻蝉补. Actually, 惭补峁卥丑补办补 tries his best to tread on the path showed by Bilha峁嘺, which can be inferred from his appreciative comment on Bilha峁嘺. 惭补峁卥丑补办补, with great reverence, mentions about the 辫谤辞耻岣峢辞办迟颈 i.e. mature expression of Bilha峁嘺.^[71] 惭补峁卥丑补办补 might have taken the Vikram膩峁卥adevacarita as a model before him, as stated earlier, nevertheless, it appears that 惭补峁卥丑补办补 excels through the mesmerism of his simple and suggestive vakrokti.

Thus, regarding the writing style of Bilha峁嘺, De鈥檚 remark is significant.^[72] This will not be an exaggeration if, the above opinion has been bestowed upon 惭补峁卥丑补办补, generally regarding his style of composition.

This way, 惭补峁卥丑补办补 has been influenced by his predecessors right from 碍腻濒颈诲腻蝉补 upto Bilha峁嘺. No doubt, 惭补峁卥丑补办补 has imitated them in some aspects;nevertheless, he possesses a unique poetical acumen as well as exhibits proof of originality, regarding the hanling of the theme of his poem, both regarding matter and manner.

Footnotes and references:

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[1]:

habi岣� 艣am墨pallaval膩jagandh墨 pu峁噛a岣� k峁浥浤乶orudiy膩ya dh奴ma岣�/
kapolasa峁僺arpi艣ikha岣� sa tasy膩 muh奴rtakar峁噊tpalat膩峁� prapede// Raghuva峁兣沘, VII. 26

[2]:

艢谤墨办补峁囜弓丑补肠补谤颈迟补., III. 40, 41, 42, 43;
蝉补尘耻肠肠丑惫补蝉补诲产丑补办迟颈濒补迟腻苍颈尘补苍迟谤颈迟补诲惫颈谤别辫丑补辫补峁卥迟颈辫谤补迟颈苍腻测补办补艣谤颈测补岣�/
anekadagdh膩gurudh奴mar膩jayo yadarcanasy膩vasare pin膩kina岣�// Ibid., III. 44, page 38

[3]:

Raghuva峁兣沘, V. 65-75

[4]:

kavitvavakt峁泃vamayairanudruta峁� prad膩nabhog膩dimayaistathormibhi岣�/

sarasvat墨 艣r墨艣ca mitha岣� sam膩gate yam膩艣ritadv墨pada艣a峁� vivavratu岣�// 艢谤墨办补峁囜弓丑补肠补谤颈迟补., III. 46

[5]:

nisargabhinn膩spadamekasa峁僺thamasmindvaya峁� 艣r墨艣ca sarasvat墨 ca/
k膩nty膩 gir膩 s奴n峁泃ay膩 ca yogy膩 tvameva kaly膩峁噄 tayost峁泃墨y膩// Raghuva峁兣沘, VI. 29

[6]:

k膩ma峁� n峁沺膩岣� santu sahasra艣o鈥檔ye r膩janvat墨m膩huranena bh奴mi峁�/
nak峁�atrat膩r膩grahasa峁僰ul膩pi jyoti峁�mat墨 candramasaivar膩tri岣�//
Ibid., VI. 22

[7]:

dik峁�u dyutibhire峁嚹佱箙kagabhastiprativastubhi岣�/
ya艣膩峁僺i var峁�at膩 yena r膩janvanto mah墨bh峁泃a岣�// 艢谤墨办补峁囜弓丑补肠补谤颈迟补., IV. 13

[8]:

Ibid., IV. 46

[9]:

Ibid., XII. 50

[10]:

碍耻尘腻谤补., I. 10

[11]:

sa峁僰etabh奴m膩vabhis膩rik膩峁嚹佱箖 bhavasyayatnena ratiprad墨pa岣�/
艢谤墨办补峁囜弓丑补肠补谤颈迟补., XI. 66 bhavanti yatrau峁�adhayorajany膩matailapur膩岣� surataprad墨p膩岣�/
碍耻尘腻谤补., I. 10

[12]:

rambhoru sa峁僢h峁泃atamo鈥檛ra tav膩tid奴r膩-d奴rudvay墨峁� sp峁浥沘ti candramasa岣� prak膩艣a岣�/
e峁Ｄ� kilaitaduday膩tkadal墨vi艣e峁Ｄ�-nk膩ntyeva 艣aityakalay膩pi tiraskarotu// 艢谤墨办补峁囜弓丑补肠补谤颈迟补., XI. 49

[13]:

碍耻尘腻谤补., I. 36

[14]:

艢谤墨办补峁囜弓丑补肠补谤颈迟补., XVIII. 31

[15]:

Raghuva峁兣沘, VI. 13

[16]:

碍耻尘腻谤补., V. 86

[17]:

艢谤墨办补峁囜弓丑补肠补谤颈迟补., XIX. 59; XX. 46; XXIII. 56

[18]:

ava艣a峁� pravi艣ya rasasajjadanimi峁�atara峁単it膩tman膩峁�/
tatra sarasi tatirapsaras膩峁� salila峁� cak膩ra kila 办奴濒补尘耻诲谤耻箩补峁�// 艢谤墨办补峁囜弓丑补肠补谤颈迟补., IX. 36

madodagr膩岣� kakudmanta岣� sarit膩峁� k奴lamudruj膩岣�/
l墨l膩khelamanupr膩purmahok峁Ｄ乻tasya vikrama峁�// Raghuva峁兣沘, IV. 22

[19]:

艢谤墨办补峁囜弓丑补肠补谤颈迟补., IV. 60 and Meghad奴ta, I. 65; 艢谤墨办补峁囜弓丑补肠补谤颈迟补., XII. 22 and 碍耻尘腻谤补. IV. 41; 艢谤墨办补峁囜弓丑补肠补谤颈迟补., XXV. 14, 16 and Raghuva峁兣沘, I. 10

[20]:

艢谤墨办补峁囜弓丑补肠补谤颈迟补., I. 2

[21]:

vit墨r峁嘺艣ik峁Ｄ� iva h峁泃padasthasarasvat墨v膩hanar膩jaha峁僺ai岣�/
ye k峁Ｄ玶an墨rapravibh膩gadak峁Ｄ� vivekinaste kavayo jayanti// Ibid., II. 1

[22]:

Ibid., III. 21

[23]:

Ibid., XIII. 24

[24]:

Ibid., XVI. 42

[25]:

Ibid., cf. I. 5, 7-9, 16, 18; II. 2, 3, 9, 1-13, 24, 31, 37; III. 1, 5, 7, 8, 10, 22, 23, 25, 29, 30, 40-44, 46, 77; IV. 1-7, 10-25, 29-47; V. 1, 3, 18, 23, 28; V. 1; VI. 1, VII. 17, 18, 28; VIII. 10, 17, 19, 31, 36, 38, 41; X. 1, 3, 5, 12, 18, 19, 25-28; XI. 52-61, 66, 68; XII. 13-23, 28, 36, 87-92; XIII. 17, 31-33, 38; XIV. 57, 66; XV. 14-31, 34, 35, 40; XVI. 43, 59; XVII. 11, 18-33, 35, 44, 62, 64-66 etc.

[26]:

Bhatt, B.N., 艢谤墨办补峁囜弓丑补肠补谤颈迟补., page 127

[27]:

Mandal, B.C., 艢谤墨办补峁囜弓丑补肠补谤颈迟补., page 155

[28]:

Raghuva峁兣沘, IX. 1-54

[29]:

碍耻尘腻谤补., II. 27

[30]:

Ibid., II. 1; Raghuva峁兣沘, II. 13, 18; IV. 33; VI. 18

[31]:

Raghuva峁兣沘, III. 13

[32]:

Ibid., III. 21

[33]:

碍颈谤腻迟腻谤箩耻苍墨测补, XII

[34]:

艢墨艣u., XV

[35]:

艢谤墨办补峁囜弓丑补肠补谤颈迟补., XXIII. 46

[36]:

碍颈谤腻迟腻谤箩耻苍墨测补, I. 39

[37]:

艢谤墨办补峁囜弓丑补肠补谤颈迟补., XVI. 29 and 碍颈谤腻迟腻谤箩耻苍墨测补, IX. 29

[38]:

艢谤墨办补峁囜弓丑补肠补谤颈迟补., IV. 24; X. 16, 38; XIV., 11; XXII. 25 and 碍颈谤腻迟腻谤箩耻苍墨测补, VIII. 11

[39]:

艢谤墨办补峁囜弓丑补肠补谤颈迟补., XXI. 21 and 碍颈谤腻迟腻谤箩耻苍墨测补, III. 37

[40]:

艢谤墨办补峁囜弓丑补肠补谤颈迟补., II. 53

[41]:

碍颈谤腻迟腻谤箩耻苍墨测补, XV. 14, 25

[42]:

鈥湹�丑补峁�峁��� and 惭腻驳丑补, therefore, were preferred by authors of laborious talents as models of imitative literary exercises; for here it was possible to make up by learning and rhetoric what was lacking in passion and poetry. On the one hand, the work of 叠丑补峁�峁�颈 became a precursor of some marvellous triumphs of literary ingenuity, M膩gh鈥檚 poem, on the other, started a long series of artificiality sustained compositions, which seldom went beyond the stereotyped form, theme, manner and method, and included all the customary appandages and embellishments. 惭腻驳丑补 himself was indebted to this process of conscious or unconscious conventionalizing, which he brought to his acme and which all his successors adored. But while 惭腻驳丑补 was a poet, not many of his successors were; they had his qualities without his genius, his defects without the power of redeeming them. The fine sense of restraint and balance which we find in 碍腻濒颈诲腻蝉补 is something quite different from the new standard of erudite correctness and massive craftsmanship, in which hardly any one can be put above 惭腻驳丑补, but which, up to a point, can be acquired and applied by labour and dexterity.鈥�

De, S.K., History of Sanskrit Literature., vol. I., pages 305-306

[43]:

艢谤墨办补峁囜弓丑补肠补谤颈迟补., IV, VI-XVI and 艢颈艣耻p膩lavadha, IV, VI-XI

[44]:

艢谤墨办补峁囜弓丑补肠补谤颈迟补., XVII-XIX, XXI-XXIV and 艢颈艣耻p膩lavadha, XIII. XV, XVII-XX

[45]:

艢谤墨办补峁囜弓丑补肠补谤颈迟补., XIII. 25 and 艢颈艣耻p膩lavadha, XVII. 25

[46]:

Haravijaya, I. 36, 37; IV. 27, 28; VI. 174; IX. 52-61

[47]:

艢谤墨办补峁囜弓丑补肠补谤颈迟补., I. 9 and Haravijaya I. 11

[48]:

艢谤墨办补峁囜弓丑补肠补谤颈迟补., XIX. 13 and Haravijaya, VI. 5

[49]:

艢谤墨办补峁囜弓丑补肠补谤颈迟补., XXV. 6 and Haravijaya, VI. 123

[50]:

Haravijaya, III. 2-35

[51]:

艢谤墨办补峁囜弓丑补肠补谤颈迟补., XVII. 18-32 and Haravijaya, VI. 13-170

[52]:

艢谤墨办补峁囜弓丑补肠补谤颈迟补., VI. 44; XII. 63; XIII. 25, 41; XV. 34 and Vikram膩峁卥adevacarita, 6; X. 58

[53]:

艢谤墨办补峁囜弓丑补肠补谤颈迟补., XVI. 24 and VII. 63

[54]:

艢谤墨办补峁囜弓丑补肠补谤颈迟补., II and Vikram膩峁卥adevacarita, I

[55]:

艢谤墨办补峁囜弓丑补肠补谤颈迟补., XI. 52-62

[56]:

Vikram膩峁卥adevacarita, XIV. 41-45

[57]:

艢谤墨办补峁囜弓丑补肠补谤颈迟补., XI. 42-50 and Vikram膩峁卥adevacarita, VIII. 6-88

[58]:

艢谤墨办补峁囜弓丑补肠补谤颈迟补., I and Vikram膩峁卥adevacarita, I. 1-8

[59]:

艢谤墨办补峁囜弓丑补肠补谤颈迟补., III. 1-30 and Vikram膩峁卥adevacarita, XVIII. 1-32

[60]:

艢谤墨办补峁囜弓丑补肠补谤颈迟补., III. 47-50, 62, 66 and Vikram膩峁卥adevacarita, XVIII. 33-69

[61]:

艢谤墨办补峁囜弓丑补肠补谤颈迟补., VI. 39; VII. 39 and Vikram膩峁卥adevacarita, XVIII. 18

[62]:

艢谤墨办补峁囜弓丑补肠补谤颈迟补., XVII. 59 and Vikram膩峁卥adevacarita, XVIII. 35

[63]:

艢谤墨办补峁囜弓丑补肠补谤颈迟补., VIII. 9-43 and Vikram膩峁卥adevacarita, X. 19-30

[64]:

艢谤墨办补峁囜弓丑补肠补谤颈迟补., III. 31-66 and Vikram膩峁卥adevacarita, XVIII. 70-83

[65]:

艢谤墨办补峁囜弓丑补肠补谤颈迟补.,鈥渁pi yanmanorathagateragocara峁� tad膩pur墨k峁�itumadh墨racak峁�u峁Ｄ佱箖鈥� and Vikram膩峁卥adevacarita 鈥渕anorath膩峁嚹乵api yanna gamya峁� tad dra峁ａ弓um膩pu岣� sud峁泂膩峁� yuv膩na岣モ��.

[66]:

艢谤墨办补峁囜弓丑补肠补谤颈迟补., II. 30 and Vikram膩峁卥adevacarita, I. 22

[67]:

艢谤墨办补峁囜弓丑补肠补谤颈迟补., II. 11 and Vikram膩峁卥adevacarita, I. 22

[68]:

艢谤墨办补峁囜弓丑补肠补谤颈迟补., II. 5 and Vikram膩峁卥adevacarita, I. 16

[69]:

艢谤墨办补峁囜弓丑补肠补谤颈迟补., II. 12 and Vikram膩峁卥adevacarita, I. 14

[70]:

艢谤墨办补峁囜弓丑补肠补谤颈迟补., II. 27 and Vikram膩峁卥adevacarita, I. 21

[71]:

艢谤墨办补峁囜弓丑补肠补谤颈迟补., XXV. 79

[72]:

鈥淚t is as a poet that Bilha峁嘺 excels; and, in spite of his obvious conventionalism, he often succeeds in imparting a fine poetical charm to his graphic pictures. What Bilha峁嘺 lacks, like most poets of this period, is confident originality and independence, but within his limits he is undoubtedly an impressive artist and poet. His style is not easy, but elegant and normally attractive; it is doubtless studied, but not overdone with subtleties of thought and expression; it is fully embellished, but reasonably clear and effective in its verbal and metrical skill. This is no mean praise in an age of mechanical conventionality, which reproduced colourless imitations of little merit. Comparatively speaking, Bilha峁嘺鈥檚 work remains a graphic document for the subject and a pleasant poem in itself.鈥� De, S.K., History of Sanskrit Literature., vol., I, page 353