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Introduction鈥擴sually, a Mahakavya consists of narrative aspect and descriptive aspect as its invariable constituents. With a view to make the theme of a Mahakavya more grand and beautiful, the poet incarporates descriptions together with connecting link of narration of the theme. But the Mahakavya like Naisadhiyacarita of Sri Harsa, are found to overshadow the narration of the theme by its long and thick descriptions. As a matter of fact, the thread of descriptions should be interwoven with the narration in such a way that the development of the theme would not be hindered. In this line of thought, Trivikrama Pandita's descriptions do not cause any hindrance to the theme; rather they can be observed as evolved out of the theme itself. It may be said that one-third portion of entire poem is covered by descriptive aspect, i.e. in toto there are 744 verses in the poem, of which 275 verses deal with the descriptions. The scope therefore given to descriptive aspect is verily balancing. As such, a reader may find it easier to keep up the thread of story of the poem without any let up. The descirptions occuring in different cantos may be seen as below:

1. Description of Milk Ocean鈥擨t occurs in the beginning section of the first canto. milk ocean is one of the objects in Brahmanda but not found on the earth. Therefore, it can be seen by poet in any of the religio-historical texts where its reference or details are available. It is said that Brahma drank too much of Amrta and vomited. From the vomit, the cow Surabhi came into being. The milk of Surabhi flowed and collected into a sea. This is called the milk-sea.¹ This milk-sea is known as the abode of Lord Hari. 1. Vettam Mani, Puranic Encyclopaedia, Motilal Banarasidass, Delhi, 1984, p. 434

115 As found in the Usaharanakavya, once all gods under the leadership of Brahma, approached Lord Narayana resting along with His consort goddess Laksmi, on His bed Adisesa spread on the milk ocean. As gods were coming to Lord Narayana, they first saw the milk ocean. And Trivikrama Pandita finds it suitable to describe the milk ocean as could be seen by the gods. As poet describes the milk ocean is the place of Moon's origin, and appears brighter due to Adisesa, the king of serpents. 2 The milk ocean is as lustrous and steadfast as a Yogin who is engrossed in meditation on Lord Narayana during which he is free from mundane ups and downs and weariness.³ 3 Moreover, the striking of lofty waves against the shores on the either sides of the ocean, looks very beautiful. This act of ocean-king is compared to a stammering talk of Vita (paramour) being hit by amorous glances of young women. 4 It is well known that the ocean is the treasure of all holy and sweet river-waters. As such it comes to be called Payonidhi. Nevertheless, the significance of the term Payonidhi hardly applies to the ocean as his water is salty. On the other hand, the name 'Ksirasagara (milk ocean) is quite significant, because He is indeed the treasure of milks.5 The poet exclaims that the glory of the milk ocean is verily majestic. 2. dvijarajodbhavam vegadvijara dadrsustada | mahemdrapramukhah simdhumahimdrapratisobhitam || (I.13) 3. sadabhyastamahanadamamtara dhrtamadhavam | vrddhihasajitayasam sphuramtamiva yoginam || (I.14) 4. amicilmiianimiici fafquiconfnid: | asramtajrmbhanodyuktam bhujamgamiva cakulam || (I.15) 5. payasam nidhiratyetadabdhisamanyagocaram | apyanayasya tanvanamarthavatpadamatmani || (I.17)

116 For, the ocean bears the title Ratnakara. He possesses within himself a huge collection of various jewels like Indranila etc. A heap of brightness of these jewels is spread all over the sky. Therefore, the clouds moving about in the sky appear blackish. Then, the peacocks living in the forest along the shore, mistake them for water-laiden clouds of rainy season, and start dancing with great joy.6 Similarly, the milk ocean is characterised as a personification of generosity. That is, the birds like crows, piegons, etc. are turned into royal swans as it were, due to white brightness of the milk ocean. This act of milk ocean suggests his generous nature. Because, high-souled persons are always affectionate to them who resort to him.7 It is further said that the milk ocean is resorted to by goddess Laksmi. Also he is the best support of Sarasvati (river), as she is the wife of Brahma whose seat of lotus is originated from the navel of Lord Visnu lying on the milk ocean. Besides, the ocean possesses Hiranya i.e. gold in his Garbha i.e. belly. That is why Brahma is called Hiranyagarbha. Thus, the milk ocean is the substratum of the qualities of Kamalasanatva, Sarasvati-parama-padatva and Hiranyagarbhatva. Hence it can be said that the milk ocean appears to another Brahma as it were.8 And, as observed by the gods, the milk ocean appears to be Adhvaryu. That is, just as an officiating priest offers (gavya-ghee, milk etc.) oblations into the sacrificial fire, the milk ocean too offers oblations 6. 7. amtasyemdramanisrenisriya syamalitembare | pravrdasamkaya nrtyadvelavanakalapinam || (I.18) ambucchayabhiracchayahamsanukaranaspadam | patatam sannikrstanam samta samsritavatsalah || (I.19) 8. kamalasanatam praptam sarasvatyah param padam | hiranyagarbhamatulam vidhataramivaparam || (I.20)

117 in the form foam, waves, sweet-water, salt-water (the modifications of water) into Vadavagni. And adhvaryu priest uttering the Yajurveda mantras, uses to hold Purodasa of the form of tortoise, in a similar way, the milk ocean makes an uproaring sound and holds in his waves-likehands the tortoise itself as Purodasa. Thus the milk ocean is endowed with perfect resemblance with Advaryu.9 The milk ocean begot many things when being churned. He presented one of them, his daughter, goddess Laksmi to Lord Visnu. But he gave away the Kalakuta poison to Lord Siva. One can raise a question: Why did the milk ocean discriminate against Lord Siva? Poet's answer to this question is quite natural : Lord Siva intrisically is endowed with white-brightness. Yet the milk ocean misunderstood that the former had stolen latter's brightness of white. Thus, being filled with envy at Lord. Siva, the milk ocean gave away the Kalakuta poison to him.' Trivikrama Pandita describes that the milk ocean offered pearlnecklace to heavenly damsels: That is, the pearl-shells being lifted up by the lofty waves, touched the sky. This is fancied that the milk ocean offered pearl-necklace to divine young women wandering hither and thither in the sky. 11 Seeing the waves of the ocean from a different angle, the poet offers its picturesque glory: Lord Visnu lying on the milk ocean had closely embraced His consort goddess Laksmi. Being pressed in embrace, Laksmi became slothful and worn out by fatigue. Yet Her face appeared quite 9. juhvatam gavyamaurvagnavanavanasvanam kvacit | dhrtakurmapurodasamadhvaryumiva samstare || (I.21) 10. dattasriyam sriyah patye haraya visadayinam | 11. svarupapraudhiharanaprapitadiva matsarat || (I.22) mauktikai rujjihananam suktinam mukhanirgataih | afunfqyaruraturi faguri qurury || (1.23)

118 pleasing. At this moment, waves of the ocean were gently touching goddess Laksmi. This act of the waves is fancied that the ocean-king was fondling goddess Laksmi with his fan-like waves, like a father to his daughter, and removed Her slothfulness and fatigue.' Moreover, goddess Laksmi was seeing opportunity for Her privacy with Lord Hari. But it was not possible for Her due to Adisesa's continuous glances at them. So Laksmi showed Her bashfulness caused by disturbance in sexual pleasure. Therefore, the ocean-king (Her father) was removing such disturbance and giving scope for privacy by continuously curtaining Adisesa's glances with his waves. 13 Thus, the poet first fancies the waves to be the fans, and then to be a curtain over Adisesa's glances. Pointing to the golden lustre of the ocean, Trivikrama Pandita describes that the Santana tress and lotus-creepers in the forest along the sea-shore, were fully blown. And the pollen of lotus-flowers being moved by the gentle wind covered the surface of the ocean. As a result, the milk ocean turned into purple colour with golden splendour. This veil over the surface of the ocean caused a doubt that whether Jambu river 14 had just arrived to the milk ocean. 15 12. harigadhaparisvamgadalasam vilasanmukhim | lalayamtam ramam hrdyairurmibhiscamaropamaih || (I.25) 13. ratipratyuhamamdaksakarinih phanino drsah | 14. pidadhanam svavicibhistanayapritaye muhuh || (I.28) Note "A tree which stands on the southern side of the mount Mahameru - This tree bears fruits and flowers throughout the year irrespective of seasons. This tree is watered by the Siddha-Caranas. The branches of this tree reach the realm of heaven. The place in which this tree stands is known as Jambudvipa. The ripe fruits as big as elephants, fall down and broken. The juice oozing from them flows as a big stream. This is called the river Jambu. It flows through the southern part of the country known as Ilavrtta. The goddess who lives on the bank of this big river is known as Jambvadini." Vettam Mani, Puranic Encyclopaedia, p. 342. 15. tirakamtarasamtanapadminipadmarenubhih | vatakirnaih paristirna jambunadyeva samgatam || (I.26)

119 In this manner, Trivikrama Pandita gives a serial-view of the milk. ocean through the gods approaching him. Various parts of the ocean like the lofty waves, white-brightness, foam, precious jewels etc. are described by the poet with the glory of divine splendour. The whole description of the milk ocean bespeaks the power of poet's imagination and depth of his observation.