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Even before the birth of Prince Harivahana, the hero of the main plot of the Tilakamanjari of Dhanapala, the Goddess SrI, as she granted the boon of a male-child to King Meghavahana, had 63 given the following promise : bhavisyati tavasenabhuvanatrayasthamtaki tira | janaparitranamah 啶峬apati- vrndavanditacaranaravindo bandikrtastadasani pabhupalasundari sadara vidhiyamana sudhda- ntavadhucaranaparicaryascatu dadhivela siloccayasikha nikhatamani siladara mayajaya- stambho matprabhavadacirena bhokta bhumigocarakhaicara radhipatirajyayoh pratapava - nputrah (60,6-10). 60. cf. ibid., p.81(21):5cm Pace 61. cf. ibid.,pp.78-80. 62. ibid., p.426(20ff.). divyadrst 鈥�ya deva z:... | / 63. ibid., p.60(6ff.).

906 Herein she outlined the salient features of the would-be personality of the hero, who was predicted to be a famous king capable of affording due protection to the tormented people, duly obeyed by the feudatories, being served by princesses of various countries, extending his suzerainty in the whole world and ruling over the earthly as well as the Vidyadhara kingdoms. On another occasion, wailing Samaraketu refers to four outstanding qualities of Harivahana, when the latter was kidnapped by the mad elephant and could not be traced. Here Harivahana is addressed in absentia as sarvagunanidhi budhajanakavallabha prajabandhu and samastakala kusala 64 Malayasundari qualifies Harivahana with the following adjectives, viz., Paaraatiafautureggat 鈥� kimapi kusalah kalasu avasanabhumih samasta bhimavastuvistara kathayah when she declines the invitation from Tilakamanjari on the ground that an extraordinary guest had arrived at her place. Again, she introduces the prince to Tilakamanjari with the 66 following qualifying words, viz., aandag: offendant agjutatfan: antatfeautigacy MateAzyaqrayta: 1 The poet, thus, fully reveals the qualities that have gone in the making of the personality of the hero. The actions and the incidents in the Tilakamanjari of Dhanapala, bring out all 64. Tilakamanjari,p.190(2ff.). 66. ibid., p.362(5ff.). / 65. ibid., p.356(lff.).

907 these facets of his character in various contexts. The foremost traits of Harivahana's character are hia princely grandeur, his innately compassionate heart, his love for fellow human and animal beings, his uncommon valour, his deeply devout nature, his remarkable poise and introspective bent of mind, his worthiness for attainment of superhuman powers, and the essentially human touch in his personality. 67 Harivahana's is a happy life of an only prince of an 鈻� emperor who ruled over half of India. His dignified princely demeanour is seen when he touches Gandharvaka on his head as the latter bows down to him. Though Dhanapala has not emphasized the martial aspect of his character, Harivahana's brave fortitude in the midst of heavily strenuous circumstances, such as those of his precipitous fall into the Adrstapara lake, his endeavour to control the mad elephant unaided and alone on the strength of his musical skill, and his unswerving resoluteness in carrying at his mystic worship through, are sufficient indications of his inner mettle. Being a royal son, he has been thoroughly educated at the feet of best available teachers carefully selected and specially invited by his royal father, as a result maturing 67. Tilakamanjari, p.172(3-4).

908 him into a master in all the necessary fine arts and sciences. His profound insight in literary appreciation is seen when he unveils the mystery of the unidentified love-letter 69 and reveals the significance of its every detail. His extraordinary mastery in musical art is evidenced when he succeeds in pacifying the mad elephant by the music of his 70 lute. His connoisseurship in painting is exhibited when 71 he discusses the portrait of Tilakamanjari. Not only that, he is a keen connoisseur of all types of beauties, especially the human one and the female one at that. He is not all attracted by lesser beauties; only the best one of them could emamour him. And once his heart set on the best one, he 73 is no more interested in any other anymore. i His steadfastness in love, he seems to have inherited from his last birth as God Jvalanaprabha. This is the direct consequence of his thoughtfulness and sharp sense of discrimination coupled with highly introspective bent of mind. On seeing the ascetic girl at the Jain temple at Mount Eka- 75. sraga he is all humbleness to her. Even when she talks to him of her own accord he is very much cautious to speak too 76 much or too long to her. This bashfulness in relation to a lone ascetic girl is commensurate with his similar bashfulness exhibited when he asks for permission of his father, 68. Tilakamanjari,pp.78-79. 169. ibid., pp.109-110./70.ibid.,p.186. 71. ibid.,pp.166-167./72.ibid.,p.a陇搂 176(15-18). 73. ibid, p. 172 ( 21 ) : virata ko tukasca vastvantaradarsana samvrttah | /(211.). 74. ibid.,pp.175-177./ 75. ibid.,p.256(15)./76.ibid.,p. 258 n

King Meghavahana 909 to go on a trip only through the minister : But then this is quite natural, since he is but a boy of about seventeen. True to his age and education, he is highly enamoured of the portrayed beauty of Tilakamanjari and instantly falls in love with her. And he is fortunate in that he had not to undergo a series of hardships to reach the Vidyadhara region of Mount Ekasriga, where he is kidnapped by Citramaya at the bidding of Gandharvaka. 77 But he is a man of dignity even in matters of love. His remarkable impersonal attitude even in love is a result of his highly introspective tendency. He wonders at himself as to why his mind is 路 si irrestibly attracted by the matchless beauty of Tilakaman- 78. jari instead of yearning for the path of emancipation. The extraordinary beauty of Tilakamanjari does not escape his notice when he happens to see her for the first time in person in the Cardamom bower. He is so considerate and self- -composed that he takes pity at the bewildered condition of lonely Tilakamanjari, restrains the amorous effects created in him by her and puts on a dispassionate air, and even allows her to escape without snatching even a few 鈻� words 79 $ from her 8 : There is a beautiful human touch when we later on find him repenting for not having taken a chance 77. Tilakamanjari, p.380(21ff.). 79. ibid., pp.248-250. / 78. ibid.,p.176(7ff.);244(18ff).

910 80 + to talk to, to hold, to follow, to embrace and to kiss her !! And he later on reveals the cause of letting such a chance' slip, viz., that he thought she must be some other beautiful 81 princess !!! 82 The human touch is again visible when he em races his own left side which had accidently touched the shoulder of Tilakamanjari : But love has hit his heart deeply and he is all joy when he remembers the similarity between the portrayed beauty and the one with whom he came across. He is out and out a human being and does not get peace till he roams in search of her in the forest and is tired and falls asleep in the very bower where he saw her. Next morning he resumes her search. Tilakamanjari's aversion for males seems to have indirectly impelled him to win her; in her glance he finds a strange admixture of nector and deadly 83 poison : Even when he saw her in the portrait her form 84 haunted him day and night. But his sense of dignity and self-respect enables him to restrain his mind from expecting to get united with her even when he comes to know that she is love-sick on account of having seen her%;B he is not prepared to let himself be an object of ridicule of the elite. This sense of self-respect even in matters like love 80. Tilakamanjari,p.252(13ff.). 82. ibid., p.253(4ff.). 84. ibid.,p.179(10ff.). / 81. ibid.,p.357(9-10). " / 83. ibid.,p.250(2). / 85. ibid., p.357(15-20).

911 is exhibited at its height when he refuses to talk to Tilakamanjari when Malayasundari asks him to question the fam 86 former and thereby tries to introduce them to each other. Most probably this is his method of shock-treatment for the male-hating malody of Tilakamanjari. Even then his love for her is deep-rooted and genuine, as can be seen how just after his coronation as the emperor of the Vidyadharas, he immediately inquires about Tilakamanjari and, throwing his royal attire on the shoulders of Gandharvaka, rushes to meet her; to him his love for her is more valuable than the em - 87 pire of the Vidyadharas. He is an affectionate friend too and loves to be amidst companions. He is overjoyed on seeing Samaraketu even in a dream, and would not allow him to be ridiculed by other companions. By his very nature, he values good qualities in men and would be pained to have to leave the company of one with whom he enjoyed scholarly discussions and 90 light talk. He would put aside all the joys of life to meet his dear friend Samaraketu whom he valued most. 92 91 THe friendship does not suffer a sea change even after he attains Vidyadharahood. This compassionate nature compels him to urge Malayasundari to tell her tale of misery and console her. 93 Again, his subtle psychological approach is eviden- 86. Tilakamanjari,pp.363-364. 88. ibid.,p.104(24). 90. ibid.,p.172(8ff.). 92. ibid., p.231(2ff.). ced / 87. ibid., pp.403-404. / 89. ibid., p.113(5ff.). / 91. ibid., p.230(10); 427(15ff.). / 93. ibid.,p.258.

912. when he consoles Samaraketu towards the end of the novel. liang And how can such a royal personality be anything but 94 extremely handsome ? In the eye of Malayasundari he is ten- $95 derer than a flower. Gandharvaka finds that in points of beauty, sweetness ah and handsome figure he is far superior to any god, Siddha or Vidyadhara. And his being polygamous is but a proof of his divine royal handsomeness. He is highly devout and very particular about his daily 96 morning, mid-day and evening worships. Like a typical Jain householdes he goes to the group of temples just after getting up from the bed. But like a devout Brahmin he offers handfuls of water by way of 'Arghanjali' to 'Sandhya-devata' 98 too; ++ and then only does he proceed, with lotuses in hand, to 99 the Jain temple to perform dual worship of Lord Rsabha. This religious devoutness finds expression in his attitude to hunting too. Instead of killing wild life, he simply captures them and teases them to the joy of the villagers. An unexpected shock in the form of a dry letter of disaffection from his beloved Tilakamanjari drives him desperate to the point of committing suicide, from the attempt whereof 94. ibid., pp.420-421. 95. ibid.,p.393(6) 96. ibid., p.173(15); 173(19); 237(8ff.); 252(6ff.); 257(12); 97. ibid., p.238(23). 98. ibid., p.360(1) 路 99. ibid.,p.360(2ff.); 369-370. 100. ibid., p.183(2-7). / 351(20ff.).

913 he is prevented by a sense of pity for the ill-fate that had befallen the young Vidyadhara couple for whose sake he undertakes the propitiation of the mystic Vidyas. And as no good work goes unrewarded, he unwittingly finds himself bestowed with the emperorship of the Vidyadharas, which he never covetted, and actually requests the mystic goddesses to instead bless the Vidyadhara youth rather than himself. He fully deserved that honour on the strength of his uncommon resolution, steadfast devotion, unrivalled valour and total disinterestedness. It would perhaps be strange if such a lofty, devout, compassionate, self-composed and sweet royal personality, aided by superhuman poers, should ever stand in need of further exhibition of devotion to Lord Jina through the medium of a prayer. That is why Dhanapala has not put a single prayer of Lord Jina in his mouth, while Samaraketu and Tilakamanjari are made to address one each to Lord Rsabha and Malayasundari is made to worship Lord Mahavira with a dance. 101 When we remember that it was god Jvalanaprabha who was born as Harivahana, which was but the last human birth of 102 the former, and that his very body was permeated with the 103. divine elements, he sores far above ordinary human beings princes in every respect and we fully share the joyous 101. Tilakamanjari, pp.397-401. 鉁� 102. ibid.,p.412(14). 103. ibid;,p.229(10ff.); 355(7).

914 excitement of Samaraketu who instinctly supports the factual statement of the panegyric who exclaims : 104 drsyam bhumibhrto'sya deva kimiha skandhasthavidyadhara - sreniyasya vahanti yasya samatamanye'pi gotracalah | drastavyastvamananyatutyamahima madhye dharitribhrtam yenaghah krtakhaicarendratatina badhdasya murdhni sthitih ||