365bet娱乐

Most of the motifs spun by Dhanapala in weaving the texture of his narrative seem to have been so much popular among the masses in those days that no poet would normally dare to ignore them nor would he be pursuaded not to utilize them to enhance the popular interest in his romantic literary work. And we must not blame Dhanapala for that.

' 349 We of to-day, we must remember, do not read the same novel that was listened to by the audience of Dhanapala's days. Changes in manners and customs have wrought changes in our outlook. We judge the books we read by our own prepossessions and our own standards of behaviour. That is unfair but inevitable. Yet, as Somerset Maugham emphasizes, what makes a classic is not that it is praised by critics, expounded by professors and studied in schools, but that large numbers of readers, generation after generation, have found pleasure and spiritual profit in reading it. It is for this popular appeal that the Sanskrit poets chose not to deviate from the beaten track, though they did absorb new influences. And in order to secure their place in the line of great masters of high fame Dhanapala had to honour the poetic convention, which was not the conscious work of a single mind but was spread over a long pernod of time and established by degrees by the influence of several great writers commencing with valmiki down to Subandhu, Bana and Trivikrama. We shall here try to examine the popularity of Dhanapala's motifs among the Sanskrit and Prakrit predecessors and judge in contrast the extent of originality our author has displayed in roping them up into his narrative for his own purpose. 1

350 (1) Almost all of Dhanapala's motifs seem to have been popular since the days of Gupadhya whose Brhatkatha utilizes all of them and many more, as can be inferred from a perusal of its Sanskrit compendiums. Dhanapala has referred to Brhatkatha in no uncertain terms in the introductory verses of the Tilakamanjari of Dhanapala The original Brhatkatha in paisaci being no longer extant, we have to rely upon its Sanskrit compendiums like the Kathasaritsagara and others, for our purpose. Thus, the idea of a man or a god becoming a bird or a beast due to the curse of some god or Brahmin or Rsi is quite well-known in the Kathasaritsagara of Somadeva, N.S. Bress Edn-'In at least twelve cases the heavenly speech (antariksa-vani) consoles and rescues the persons who have gone desperate due to misfortune and are about to commit suicide.18 A good deed always brings good result. 19 There are a couple of references to Jainism, Jain Strange course of fate Strange and inevitability of destined events are emphasized. 20 mendicants and Jain monasteries. 22. 21 Love is known to be constant even to next births. Women are shown to be more prone to commit suicide when separated from their beloveds. The attempt by Sasankavati at 16. Kathasaritsagara of Somadeva, N.S. Bress Edn I.1.10 ab: 23, 64. 17. ibid.II.ii.68 42; VII.iii.110-111;1x.vi.101-102;XVII.i./ 18. ibid.I.ii.68; II.ii.57; II.iii.14;II.v.34;III.i.27;. III.iii.119;V.iii.258;VI.viii.242;VII.ix.171;XII.xxxiii. 35.xv.ii.69%; XII.xxxvi.55. 19. ibid.VI.i.106. 20. ibid.VI.ii.7 & 8. 21. ibid.V.iii.18%; VII.vii.109;IX.ii.211;IX.iv.135. 22. ibid.VI.ii.117. 23.ibid.VI.vii.23-24.

351 hanging herself from the Asoka tree in the Puspakarandaka garden where Mrgankadatta accidently reaches and saves her, 24 reminds us of the similar attempt by Malayasundari and her rescue at the hands of Samaraketu. Divine saints like Narada could fly into the sky with the help of their 25 'Akasacarini-vidya'. 2 Vimanas could carry thousands of persons across far off places. 26 Other mystic powers like the Prajnapti-vidya, the Mayavati-vidya, the Kalasankar- sini-vidya, and the Aparajita sword are too well-known 27 to be incredible, at least in literature. The Prajnapti- -vidya is invoked in the moments of indesision for guidance in Kathasaritsagara of Somadeva, N.S. Bress Edn VI.iv.6, which reminds of a similar incident in the Tilakamanjari of Dhanapala where Patralekha, the mother of Tilakamanjari, invokes the Prajnapti-vidya to know about the would-be suitor of her daughter. And the male-hating girls (purusadvesini-kanya) were by no means rare to meet with in the 28 Kathasaritsagara of Somadeva, N.S. Bress Edn, the hatred being due to their fidality to the lover of their former birth. Kidnapping of young girls by the 29. Vidyadharas or gods is referred to at least twice, in the latter of which case the Ganas of Ganesa carry sridarsana 24. Kathasaritsagara of Somadeva, N.S. Bress Edn XII.xxxii.42-56. 25. ibid.VIII.ii.12; VII.iii.2013 VII.iv.69. 26. ibid.VII.ix.228;VIII.i.183;VIII.ii.364;X.vii.66;XIV.iv. 27. ibid.IX.i.51;XVI.i.52; VII.viii.32;XII.ii.65. / 139. 28. ibid.VII.viii.19%; VII.ix.152%; XVIII.iii.40. 29. ibid.VIII.i.159;XII.vi.336-362.

352 to Hamsadvipa where they put him in the herem of Anangamanjari and when brought back he is convinced about the reality of the incident due to the ornaments. This incident bears close similarity to an incident with reference to Malayasundari. Portraits utilized as a means of falling and references to a young beauty busy gathering in love' 30 flowers and recognized as identical with the one formerly 31 seen in the portrait, recall to our mind the fact that Harivahana fell in love with Tilakamanjari at the sight of her portrait and later on he recognized her to be identical with the one seen in the portrait, when he happened to see her again in the creeper-bower on the shore of the Adrstapara lake. The stipulation of entering fire if the lover is not found out within six months reminds us of 32 the similar one by Tilakamanjari. The penance grove of 33: Kasyapa on Asitagiri and on Meru immediately calls to memory a similar one named Prasantavairasrama of Kasyapa in the Tilakamanjari of Dhanapala Naravahanadatta, an incarnation of Cupid and destined to be an emperor of the Vidyadharas of both the ranges (ubhayavedi)," readily resembles Harivahana who is the incarnation of god Jvalanaprabha and is destined to be the emperor of the northern range of the Vaitadhya 30.Kathasaritsagara of Somadeva, N.S. Bress Edn VI.v.18-19; IX.i.146-147;XII.xxxiv.74-77. 31.ibid. XII.xxxiv.225-229; XIII.1.92-99. 32.ibid.XVIII.iii.89. 33.ibid.XVI.i.93; VIII.ii.364. 34.ibid.IV.iii.73-74;VI.iv.67-68;VIII.i.9-10.

353 region. Not only that, like Naravahanadatta, Harivahana is also proficient in the sciences of elephant, horse, chariot, weapons and missiles, and in the arts of painting, 35 sculpture and lute-playing?" A Vidyadhara is invariably 36. able to fly in the sky. The Vidyadharahood is attained 37 by penance and worship. References to, and descriptions of, Vetala are also found? o Naravahanadatta undergoes penance`and .38 ? nce and Vidyadharas guard his place. Prayers to the gods and deities both in Sanskrit and Prakrit are conse- quently the natural features: So is the memory of past b 41 births Daily worship and discourses on transcient nature 42 of human happiness are normal routine + 2 Geographical islands like Ratnakuta, Karpura, Suvarna, Simhala and Kataha, and sea-voyage to them are also referred to%3B so are both the 43 44 ranges of the Vidyadharas in the Himalayas, which reminds 35.Kathasaritsagara of Somadeva, N.S. Bress Edn VI.viii.172. 36.ibid.IV.ii.56. n 37.ibid.V.i.16; V.ii.295; VI.viii.90;VII.i.76; VII.vi.14; VIII.ii.22; VIII.vi.163ff.; IX.ii.409;IX.v.208; XIII. iii.92-95. 38.IX.v.208;XII.viii.20. 39.ibid.XIII.iii.92-95. 40.ibid.V.iii.146-1473 VII.i.99-102; VII.iii.44-46; VIII. i.139-140; IX.iii.166-175%; IX.iv.29-38%; IX.v.125-126; IX.v.162-167%;B IX.vi.29-33; XVIII.iii.103-104. 41.ibid.VI.i.82%3B IX.ii.68%; IX.iii.392. 42.ibid.VII.iv.79; IX.i.26-28. 43.ibid.V.ii.9%; IX.vi.55-62; XVIII.iii.110. 44.ibid.XIII.iii.65-66%; XV.i.61...

354 us of the similar one of the Vaitadhya in the Tilakamanjari of Dhanapala The divine jewel capable of benumbing the army of the enemy 45 and the Aparajita sword making the holder of it invicible bear similarity to the Balaruna ring in the Tilakamanjari of Dhanapala The reference to a festival of Hari on Ratnakuta might have inspired Dhanapala for a similar one on the Pancasaila island. And lastly the names of some of the characters like Svayamprabha, Citralekha, Jvalanaprabha, Madiravati and Anangarati are also identical. 47 (2) Kalidasa: - The motif of curse is very popular with Kalidasa who utilizes it in his Raghuvamsam, Vikramorvaslyam, Sakuntalam, Kumarasambhavam and Meghadutam.In the first two of these, the curse serves to transform the 48 49 victim into an elephant and a creeper respectively. The idea of keeping, in a penance-grove of a seer, a damsel in distress is appealingly depicted in the seventh Act of SAK where Sakuntala is shown to be living in the hermitage of Marica. The use of incorporeal speech (akasaSZE鈻爖 -bhava sarasvati) prevents Rati from committing 45.Kathasaritsagara of Somadeva, N.S. Bress Edn XII.iv.135. 46.ibid.V.iii.3-4- 47.ibid.VI.iii.15; VI.v.18-19; VIII.i.18; XIII.i.26; IX.ii.91. 48.Raghuvamsha of Kalidasa V.53. 49.Vikramorvasiyam of Kalidasa IV.30ff.

50 355 suicide after her lover's immolation in the eye-fire of Siva. Similarly it is the "bodiless utterance in metre" (sariram vina chandomayi vani) that conveys to Kasyapa, i.e.Kanva, the news about the love and its consequences with reference to Sakuntala, in the beginning of the fourth Act of the SAK And love-letter is also common. (3) Subandhu:- Subandhu has utilized the incident of the parrot by making him narrate, to its beloved, the story of Srgarasekhara and Angaravati and about the love 51 of Vasavadatta for Kandarpaketu. The motif of a love-letter is utilized once when Vasavadatta's message is delivered 52. to Kandarpaketu by Tamalika? Kandarpaketu tries to commit 53 suicide due to the pangs of separation from his beloved, and the incorporeal voice (akasa-sarasvati) prevents him from that calamity. The motifs of the curse and the touch of the lover transforming the creeper into a human being 54 are also utilized. Subandhu also resorts to the use of 55 verses in order to relieve the monotony of prose. (4) Bana:- In the KAD Mahasveta's curse to Vaisampayana transforms him into a parrot. There the parrot is 50.Kum.IV.39-45. 51.Vasavadatta-katha pp.17-27. 52.ibid.p.28. 53.ibid.p.47. 54.ibid.p.53. 55.ibid.p.16;20;28. 搂6垄KA陇垄ss垄搂搂#拢拢xqp=6拢Z. 56.KAD.pp.617-618.

356 57 introduced at the commencement of the story while in the Tilakamanjari of Dhanapala it is introduced in the middle of the story, though the mystery about it is resolved towards the end in both the romances. The divine voice (assarinini vak) prevents the hero and the heroine from ending their lives abruptly The omniscient seers Jabali and Svetaketu resolve the mystery of the rebirths. Candrapida happens to meet Mahasveta in the Siddhayatana on the bank of the Acchoda lake. Mahasveta relates the story of her love. All these motifs have their close parallels in the Tilakamanjari of Dhanapala Gandharvaka is cursed to become a parrot. The divine voice helps the heroes out and the heroines/from committing suicides. The Maharsi and the Jayantaswami are made to resolve the mystery of the rebirths of the heroes and the heroines. Harivahana happens to meet Malayasundari in the temple on the shore of the Adrstapara lake. And lastly, Malayasundari relates the story of her love with Samaraketu. In the Harsacaritam, Bana utilizes the curse of .58. Durvasas to Sarasvati? He uses the verses to suggest 59 the future course of events, The same, of course, is true 57.KAD.pp.357ff.;p.627. 58.Harshacharita with Sanskrit commentary I.pp.20-25 59.ibid.I.p.41; II.p.217; IV.pp.359-360. 鈽� 1

357 about the introductory verses in the beginning of the second and the rest of the chapters. Dhanapala did not adopt this feature since his work was meant to be a 'Katha' and not an 'Akhyayika. The propitiation of Sri 50 by Bhaiavacarya for attaining to vidyadharahood is adopted by Dhanapala in his own way, though without the ritual in the cemetary. Before the appearance of the goddess there appears a terrible being which puts to test 61 the valour of the worshipper. The goddess Sri confers the boon of a male child on Puspabhuti and promises to serve the child when it grows up and assumes the office of the 62 emperor. Dream indicates to the queen about her having 63 conceived a son. Bhairavacarya helps Puspabhuti indirectly to propitiate the goddess Sri. Acarya Divakaramitra pre- 65 64 sents to Harssa a divine necklace (ekavali) which serves as an antidote to poison. There is a short philosophical discourse by Acarya Divakaramitra. The parallels to all 66, these in the Tilakamanjari of Dhanapala are very clear. 67 (5) Magha:- The motif of Narada descending from the sky seems to have appealed to Dhanapala very much, as he has adopted it in the Tilakamanjari of Dhanapala in the similar arrival of the Vidyadhara Muni. 60.Harshacharita with Sanskrit commentary III.pp.314-333. 61.ibid. III.pp.314-320. 62.ibid. III.pp.323-329. 63.ibid. III.pp.357-358. 64.ibid, III. 65XxXXXXXX 66. XpXX 908. guan 65.ibid.VIII.p.908. 66.ibid.VIII.pp.923-930. 67. Shishupalavadham of Magha I.1-13.pp.1-10 66bixx 67xxxxxxxxxxxxx 10. ji 5th L

358 70 (B) Padaliptacarya:- The whole of the Tarangavatikatha is narrated by a nun named Suvrata as an illustration of the unhappiness in this world and the inevitability of the consequences of past deeds. Tarangavati waits since seven years in expectation to fulfil her wish to be united with the lover of her past birth. Similar is the case with both Malayasundari and Tilakamanjari, though the period of separation is not specified. Tarangavati undertakes a vow of performing one hundred and eight 'ayambilas' for getting united with her lover! Padaliptacarya uses the motif of a long period of separation in order to show the greater degree of unhappiness, as compared to happiness in life. Such is the case with Malayasundari and Samaraketu and Dhanapala's motive also is similar. A mendicant lectures to the hero and the heroine on the concept of Karma, its types and their re- .72. sults in the TRNG. 71 (7-8) Jinasena and Gunasena:- The idea of divine Munis approaching a human being from the sky is utilized in the Mahapurana, where two Munis approach the minister 73 Svayambuddha on the Meru mountain. Goddess Svayamprabha 70.TRNG.p.18. 71.ibid.p.22: 73.Mahapurana of Jinasena V.283. 72.ibid.pp.64-67.

359 lived and enjoyed with her lover in the Nandisvara and other 'Dvipas' 74 When a god is about to descend to earth from the heaven he offers worship to all the images of the Jinas all over the world in order to accumulate .75 merit. Srimati asks her nurse Pandita to take her portrait and search for her beloved by showing it to people. There is a fine piece of appreciation of a portrait of Svayamprabha by Vajrajangha. This might have inspired 77 Dhanapala for the piece of appreciation of Tilakamanjari's portrait by Harivahana. Lovers meet again in the next 78 birth. Ayodhya was planned and constructed by Indra for .79. Nabhiraja and Marudevi. Dreams predicting the birth of a all divine son as in the case of the first as well as/the rest of the Tirthankaras, are a regular feature and among the sixteen dreams the first is that of the Airavata 80 elephant of Indra. An elephant seen in the dream indicates 81 the birth of a glorious son in future. Discussions of 82 poetic pieces as favourite pastime is here mentioned. This might have induced Dhanapala to depict the appreciation of the loverletter in the company of his friends in his palace garden. The procedure of worshipping an image 74. Mahapurana of Jinasena V.283. 75. ibid.VI.32;55. 76. ibid.VI.169-171. 77. ibid.VII.118-135. 78. ibid.VII.151. 79.ibid.XII..69. 80.ibid.XII.5.120 81.ibid. XII.155. 82.ibid.XII.213. BB碌驴hadn猸慫ZZ陇200.

84 360 83 of Jina is also described. Jina Vrsabha is eulogized by Indra. There is an enumeration of the Vidyadhara cities on both the northern as well as the southern slopes of the Vijayardha mountain, and the city of Rathanupuracacakravala and Gaganavallabha are mentioned. The first 86 discourse by Jina Vrsabha is described in detail. Some of the names of the principal characters, such as Megha- 87 88 .89. 85. _90 vahana, Harivahana Svayamprabha Priyahgusundari, gandhea Gandharvadatta, Vajrayudha 92 and of the mythologico- -geographical places, like Gaganavallabha, Rathanupuracaka kravala, Nandisvara-dvipa, Vijayardha and etc ?? seem to have been drawn from the joint work of epic history by Jinasena and Gunasena, though it is equally possible that Dhanapala might have drawn upon Jainisic works on mythological geography such as Tiloyapannatti and Jambudvipaprajnapti. (9) Ravisena:- The Padmapurana of Ravisena also seems to have been drawn upon as far as the mythological background of the Vidyadharas, is concerned.It is here that one learns about the four great Jainistic mythological lines of the Iksvakus, the Rsis, the Vidyadharas and 94 the Haris. Kumara Bhamandala falls in love with Sita, the 83.Mahapurana of Jinasena XIII.203. 84.ibid. XIV.22-52. 85.ibid. XIX.1-90. 86.ibid. XXIV.85-160. 87.Uttara-purana of Acharya Gupasana LXII.71.. 89.ibid.VI.55;VII.118-135. 90.Uttara-purana of Acharya Gupasana LXVIII.272. 91.ibid. LXX.263;266;267;303. 92.ibid.LIX.306-307. 93 see Appendix R. 88.Mahapurana of Jinasena VIII.228; Uttara-purana of Acharya Gupasana LXXI.254. / 94.Padma-purana of Acharya Ravisena V.2-3.

361 95 daughter of King Janaka of Mithila, on seeing her portrait. An attendant named Capalavega takes the form a horse that flies in the air and kidnaps King Janaka, who at last 96. somehow saves himself on seeing a Jina temple. It is in this work that the importance of Holy-Bath Ceremony of .97. the image of the Tirthankaras has been elaborated. Vanamala, the daughter of King Prthvidhara and queen Indrani of the Vaijayanti city, tries to commit suicide by hanging herself, as her father had decided to give her in marriage to Balamitra, while she was in love with Laksmana. The latter saves her in the nick of time 98 The names of a few characters of the Tilakamanjari of Dhanapala are also found here, as for instance, Sumali, Mahodara, and Meghavahana. (10) Sanghadasagani:- The motis of controlling a mad elephant in the episode of Dhammila 99 is noteworthy in the Vasudevahindi. The names Gandharvadatta and Priyamgusundari are also to be found here - 100 (LL) Svayambhudeva: - It is in his Paumacariya only that we come across the source of the Aparajita Vidya. Here it is called "Aparaiya" 101 Kalidasa has referred to 95. Padma-purana of Acharya Ravisena XXVIII.22. 96. ibid.XXVIII.62-80. 97. ibid.XXXII.165-169. 98. ibid.XXXVI.17-44. 99. VH.p.43ff. 100. ibid.p.162;347. 101. Paumacariu of Svayambhudeva 21.4.9; 23.3.9; 23.6.8; 38.15.6.

and 362 Fagno a "Prizagafari" named 31431fur for becoming invisible in the sech second Act of a charmed bracelet of a herb named Aparajita (avarajida nama osahi) in the seventh Act of his Abhijnana-sakuntalam. Possibly it was due to the mystic formula called Aparajita that the bracelet charmed with it was known by that name. and Thakkar Feru Monier-Williams/informs us that it is a class of divinities constituting one portion of the Anuttara divinities 102. of the Jains. The names Meghavahana and Harivahana are also to be found in the Paumacariu of Svayambhudeva 103 (12) Haribhadrasuri :- The lord of Candranana Vimana descended into the womb of queen srikanta and she saw a lion entering her womb. The son was to become an 104 There are at least two references to a wishemperor . -fulfilling precipice. The motif of a voyage is utilized here. Dhanakumara starts for a voyage, before which he 105. goes to the sea-shore, worships the ocean and gets into 106 the boat. The motifs of throwing a Bakula garland into 107 the neck of the lover, of a magic cloak which when put on 108 makes one invincible, of a row of footprints which leads 109 the hero to an ascetic girl are noteworthy. Moreover, the motifs of the Akasagamini Vidya, attempt at suicide on the part of the heroine, her stay at a penance-grove, 102. Sanskrit English Dictionay p.51 a; cf. also Vastu-sara-prakarana of Thakkara Pheru, p. 168-18: sarabhasthata svetaphalasiyara hari ||13 | 103. Paumacariu of Svayambhudeva 40.15.4; 41.11.1;53.4.1;21.2.10;21.3.4;21.4.2. 104. Samara.II.pp.60ff. ibid.II.p.87: 105. 1b 1a.11.1.87: susujaravara savvakamiyam nama, padanamati v. p. 360: atthi raheva malayapavae manarahapuracam jama siharam | tam ca kila . kamiya 106. ibid.IV.p.202. 108. ibid.V.p.329. / 107. ibid.p.303./ / 109. ibid.V.pp.333-334. 43011

363 the loss of the power to fly in the sky due to crossing over a Siddhayatana, use of portraits to find out a proper match for the princess, appreciation of the portrait of a princess, the successful sadhana of a mystic formula (mantra) for a duration of six months, the 110 panegyrics to Tirthankara, and so on are possibly drawn by Dhanapala from this work. And lastly a few names of the characters, viz., Anangarati 112 Cakrasena 1, 1 Bandhu- 113 sundari, also seem to have come from this source. The most significant, though very minor, point to be noted is that while the Jain mythological tradition as preserved in the Tattvartha-sutra, the Tiloyapannatti, the Mahapurana of Jinasena and Gunasena, and the padmapurana of Ravisena, unanimously hold that Ayodhya, the seat of the capital of Rsabha's kingdom, was originally built by Indra. It is the Samaraiccakaha of Haribhadrasuri which mentions that it was built by Prajapati, and 114 this is how Dhanapala also describes the city. Again it is Haribhadrasuri among the Jain authors, who mentions the'Rudraksamala', which, again, is mentioned by Dhanapala. 115 110.Samara.V. lll.ibid. 112.ibid. 113.ibid.IX. 114.cf.samara.VIII. P. 600 : vissakarmmavinimniya aojajha nama jayari | and Tilakamanjari of Dhanapala pp.7-11: 31RAT yatharthabhidhana nagari | utpadita prajapatina 115.cf. Samara.I.p.9%; Tilakamanjari of Dhanapala p.255 and 256. 312122717

I 364 (13) Udyotanasuri:- His Kuvalayamala-katha has been the principal source of most of the motifs of Dhanapala's Tilakamanjari of Dhanapala The very seat of the capital, viz., Ayodhya - called 116 Vinata here -; the arrival of a warrior with a message, 117 118. arrest of the son of the rival king, the king's worship 119 of the goddess to obtain a male child, the king's 120 readiness to cut off his head, the witty dialogue with 121 122. the goddess sri, the dream of the queen, 2 kidnapping of the prince by the flying animal (here a horse) 123 the deascription of the things and beings on the earth as seen from a great height, 24 checking the flying animal 125 with a dagger, description of a terrible being (here 126 a demon), description of the worship of the image of Jina 137 rescue of a girl who is attempting to commit 128 suicide by hanging herself from the branch of a tree, 129 kidnapping of a beautiful woman by devine beings, journey through a forest and the villages of Mlecchas 130 131 and Sabaras, prayers to Tirthankaras, a parrot narraa male-hating young girl, XX. 125.ibid. 132 ting a story in human tongue, 116.Kuvalayamala of Udyotanasuri p.7. 117.ibid. p.8-9. 118.ibid. p.22. 119.ibid. p.13. 120.ibid. 121.ibid. p.15. 122libid. 123.ibid. p.27. 124.ibid. 126.ibid.p.68. 127.ibid.p.95. 128.ibid.p.106. 129.ibid.p.107. 130.ibid.p.112. 131.ibid.p.115,116,123. 132.ibid.p.123ff. 133.ibid.p.151.

365 134 taming of a mad elephant, despatching a message through 135 a parrot, throwing from distance a garland into the 136 137 neck of a lover, appreciation of a love-letter, and 138 all these motifs, union of lovers of past births each of which has a corresponding similar one in the Tilakamanjari of Dhanapala, are to be found in this work. Thus, Dhanapala has started a fresh tradition of gathering beautiful motifs from varied sources and utilizing them in his tightly woven texture of the story in quite a different context to serve a totally unforeseen purpose in his plot-construction.