365bet娱乐

In the poetic descriptions there are four types of conversation are found regarding to the oceans and water i.e.

1. non-discrimination between milky and safety oceans,
2. Identical description of seas and oceans,
3. Existence of monsters in oceans and
4. Existence of mosses in all water reservoirs.

(1) Poetic conventions on non-discrimination between milky and salty oceans:

In generally the water of oceans are salted but in the K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补 says seven types of oceans, which are Lavana (salt water), 滨办峁�u-谤补蝉补 (sugarcane juice), Sura (wine), Sarpi (ghee), Dadhi (curd), 碍峁�i谤补 (milk) and Jala (water).

鈥�l膩va峁噊 rasamaya岣� surodaka岣� s膩rpi峁�o dadhijala岣� paya岣�pay膩岣� |
sv膩duv膩rirudadhi艣ca saptamast膩npar墨tya ta ime vyavasthit膩岣� || 鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-XVII, Pp- 91

There is an interesting mythological story relating to the water of oceans in the 惭补丑腻产丑腻谤补迟补^[1]. There says, the water of oceans were salty but in the time of churned between Gods and Demons than the shurning staff, trees plants and creepers fell down and with the juice spread from these trees and plants and the salty ocean become milky taste. There is also another story relating about the oceans become milky. From the udder of the mother cow 厂耻谤补产丑墨, milk flowed profusely on the earth and all the oceans become milky^[2]. In the 厂耻产丑腻峁�i迟腻谤补迟苍腻惫补濒墨 describes that the water of oceans become milky for sub marine fire^[3].

Therefore 搁腻箩补艣别办丑补谤补 also illustrated about the identity of milky and salty oceans as:

鈥�艣et膩峁� harirbhavatu ratnamanantamantarlak峁�m墨pras奴tiriti no vivad膩mahe he('bdhe) |
h膩 d奴rad奴rasapay膩st峁涐梗itasya janto岣� ki峁� tvatra(nna)啷俴apapayasa岣� sa marorjaghanya岣� || 鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-XIV, Pp- 81

Here, the sea of milk is famous as the abode of Lord Visnu and the origin of Goddess 尝补办峁�m墨 and not the sea of salt yet then the two become as one according to the description of poetic convention.

(2) Poetic conventions on identical description of seas and oceans:

The world is surrounded by the oceans and they are divided by the seas. Sometimes they both one called oceans and seas and tradition believe that the oceans and the seas are the same in nature.

To illustrate this 搁腻箩补艣别办丑补谤补 put down the Ganges to the beloved of seven oceans as:

鈥�谤补峁単补迟迟补谤补峁単补产丑谤奴产丑补峁単补颈蝉迟补谤箩补测补苍迟墨尘颈惫腻辫补驳腻岣� |
sa dadar艣a puro 驳补峁単腻峁� 蝉补辫迟补蝉腻驳补谤补惫补濒濒补产丑腻尘 || 鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-XIV, Pp- 81

Here the 艣濒辞办补 the poets seems to the oneness of the seven seas in the poeticconvention. Because the 骋补峁単腻 River falls only one sea not seven but the poets describe it as seven oceans.

(3) Poetic conventions on the existence of monsters in oceans:

In the description of poetic convention the monsters exist only in oceans but they also exist in river, seas and reservoirs. There it may be that the oceans are known as the abode of monsters. In poetic composition poets doesn鈥檛 uses this convention directly, it is presented with some other matters.

In the Raghuva峁兣沘, 碍腻濒颈诲腻蝉补 describes about the monsters in the river while kings and queens are bathing. C.f.

鈥�sa t墨rabh奴mau vihitopak膩ry膩m膩n膩yibhist膩mapak峁涐梗峁璦nakr膩m |
vig膩pitu峁� 艣r墨mahim膩nurupa峁� pracakrame cakradharaprabh膩va岣� || 鈥�

- Raghuva峁兣沘 of 碍腻濒颈诲腻蝉补: Canto-XVI/ 55

Therefore, in the K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补 given a 艣濒辞办补 discriminates monsters from other acquatic beings as the great oceans are its abode.

I.e.

鈥�gotr膩grah膩ra峁� nayato g峁沨atva峁� svan膩mamudr膩峁卥itamambur膩艣im |
d膩y膩davarge峁�u parisphu ratsu da峁冡梗峁璻膩valepo makarasya 惫补苍诲测补岣� || 鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-XIV, Pp- 80

(4) Poetic conventions on the existance of mosser in all water reservours:

In poetic composition the non-existence of mosses is considered as the beautifying factor of reservoirs and the poetic convention mosses are do exist in all reservoirs.

In the 搁腻尘腻测补峁嘺 of 痴腻濒尘墨办颈 says about this matter as:

鈥�tatra tripathag膩ma 诲颈惫测腻 艣墨迟补迟辞测腻峁兣沘颈惫补濒腻峁� |
dadar艣a r膩ghavo 驳补峁単腻峁� ramy膩m峁涐梗ini峁�evitam || 鈥�

- 搁腻尘腻测补峁嘺 of 痴腻濒尘墨办颈: II/ 1/12

Here the 艣濒辞办补 is acquatic creeper lays spread on waters. In the case of poetic beauty this has no place in poetic composition.

Footnotes and references:

[back to top]

[1]:

惭补丑腻产丑腻谤补迟补 of Vy膩sadeva: I/ XVI/25-27

[2]:

Ibid: V/100/ 1-4

[3]:

厂耻产丑腻峁�i迟腻谤补迟苍腻惫补濒墨: Pp- 123

鈥� 腻诲腻测补 惫腻谤墨 parita岣� sarit膩峁� mukhebhya岣� |
ki峁� t膩vad膩ra帽jitamanena durar峁嘺vena ||
k峁Ｄ乺墨k峁泃a峁� ca bhadv膩dahane啷�丑补迟补峁� ca |
p膩t膩laku k峁�iku hare vinirvi艣ita峁� ca ||