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This is a highly novel spark of poetic genius of Dhanapala. It is strange in its conception and astonishing in its originality. The invecation 43 serves to bring the character of Taraka in broad relief. It also symbolizes 40. Tilakamanjari p. 380 : sakhe citramaya | -bhavata parityaktapurusarupena desah ntaraprapana ksamamalaksitam pratipadyam kimapi pranirupam raksatatmanamadarena itha nupuracakrapala kumari netavyah | tatra hi gatenanena mahati karyasiddhirasmakam | also ibid. p.387: kumara ! durghatamidam | na hi bhumigocarakarenu- rantariksena samcarati | tanna so'yam | anyah ko'pi| 41. ibid. p. 189: yuvaraja | na kevalam gamana margah so'pi dustatma payakammi bhirdrsto'smabhih | kevalam yadvyavarttanasya takhya prstha pradhavitah -sam nasti skula memdini cakracandra ma kumarah 1 : 42. ibid.p. 184: vairiyamadndabhidhanah pradhanamdanti etc.%; ibid. P. 387 : pratipaksayamadando vegadandah Dhanapala has evidently forgotten the original name of the elephant ! This is one more proof in support of the theory about the first Ms. of the work being consigned to fire by the poet's patron. 43. ibid. pp. 283-286.

315 the unsteady substratum of Malayasundari's love so far as she has not yet fastened her life-boat to the anchor of true faith at the steady shore (of Jainism) beyond the tossing waves of the ocean of mundane life. It is this device of Taraka which impels bashful and helpless Malayasundari to devise beautifully cunning womanly ways and means to give a concrete expression of her love to Samaraketu. The parting message, though indirectly conveyed, 44 45 to Samaraketu provides a clue for taking him to Kanci.