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! 742 IV: THE THE NARRATIVE INTEREST: (KATHA-RASA ) AND DHANAPALA'S NARRATIVE SKILL鈥擜 successful writer of a narrative must create an illusion of reality in the mind of his listeners; and a sure means to this end is to hold the audience in suspense so that it is too much interested to have any time to reason and so spoil its own enjoyment; any deviation from the legitimate unfolding of the plot is fatal as it breaks the continuity of the suspense, which is inherent in any unsolved Problem, and the solution of the problem, with its attendant removal of the suspense is the end of the story. Dhanapala, being a skillful narrator and a highly conscious one at that, seems to have been pretty aware of these requirements. He, therefore, fully employed his skill in weaving his plot in such a way as to maintain constant interest 92 of the audience in his narrative. The story of the Tilakamanjari of Dhanapala, as we have seen in a preceding chapter, begins with the description of the city of Ayodhya, King Meghavahana, his queen, his lack of a male issue, and his wish to undertake the propitiation of some deity 91. cf. A Guide to Fiction Writing ,pp.43-45. 92. cf.TMON), p. 3, vs. 18 : satka isa vandhyesu nibandhesu niyojitah | nicesviva bhavantya rthah prayo vairasya hetavah || ; also, p. 7, vs. 50cd : sphurad 鈥�bhutarasa racita katheyam |- hai 1-*

743 to ensure male progeny. So far, the interest is generally sustained by the novelty of descriptions. 93 The introduction of the flying Vidyadhara Muni who predicts the birth of a son, and imparts to that end the Aparajita Vidya, marks the beginning of the suspense, and we do not expect that we shall meet with this same Vidyadhara Muni again, till his identity is very skillfully revealed by the poet, towards the end of the story, by informing us that it was this same Maharsi who had imparted the Vidya to King Meghavahana. 94 95 The advent of the Vaimanika god named Jvalanaprabha is also very purposefully skillful, since it heralds his impending descent to the human world by his gift of the Candratapa necklace to the king. The poet has here quietly introduced the necklace which is intended to be a reminder to Priyangusundari, when she is later on born as Tilakaman- 96 jari, of her love with Jvalanaprabha. Thus the future role of the necklace has been faintly indicated by the poet well in advance in a skillfully casual way at the very outset of the story. 93. Tilakamanjari, pp.23-33. 94. ibid.,p.412 (14ff . ) mayaiva purva kalamupadista vidha radhanasya tasyaiva saketa narapate megha vahanasya 1. 95. ibid.,pp.34-45. 96. ibid.,p.44 (15 ff.) : duribhuta evaisa me svargacyutasya | grhitastu kadaci- nmanusyaloke va labdhajanmanah punaranandayati drsti mistatama darsana cainam | amaralokacyuta kalakramena devyapi mem priyan 鈥�gusundari kadacidalokayati | darsanabhyasa janita purva jati smrtisva smarati ete.

744 But the suspense really gathers strength with the sudden appearance of the Vetala who introduces himself as an attendant of the Goddess Sri. 97 who could ever expect that this same Mahodara would turn up again in the narrative to rescue Samaraketu and Malayasundari and actually inform us about it quite unexpectedly when he happens to exchange words with the erring Gandharvaka 99 Sri ? 98 The words of Goddess SrI that the Candratapa necklace, and indirectly the Balaruna ring too, was to be presented to Prince Harivahana when he comes of age and that it should always be kept with him during the battles and calamitous situations, sound very innocent and natural till we come to know quite unexpectedly that this ring enabled the commander Vajrayudha to win the losing battle and to capture Samaraketu, the hero of the by-plot, to unite him with Prince Harivahana, the hero of the main plot. The ring and the necklace later on remind Malayasundari and Tilakamanjari respectively of their past births. 101 The sudden night-attack on Vajrayudha's forces by 102 Samaraketu further enhances the suspense which is resolved only when we know that Vajrayudha had asked, as a price 97.cf.Tilakamanjari,p.49(9ff.): 98. ibid., pp.381-383. w 5442-422-914aft st:...I 99. ibid., p.60(17-23); 61(15ff.). 100. ibid.,pp.81-95. 101. ibid.,pp.404-405. 102. ibid., pp.83-93.

745 of military peace, for the hand of Malayasundari who had mentally offered herself in marriage to Samaraketu, and the later had no other go but to help her father and win her over 103 from him honourably. The poet has skillfully dropped an advance hint about it in the course of his description of 105 the battle, 104, and it is only much later in the narrative that we come to know about the connection of this deputation on military mission to Kanci with his love of Malayasundari and the consequent night-attack. 106 The enigmatic verse in the anonymous love-letter, found by Manjiraka in the Mattakokila garden, testifies to the conscious art of the poet who specifically reveals its significance through Harivahana's words that perhaps Samaraketu was reminded of his past experiences, thus rousing the curiosity of the audience as to the tragic love affair of Samaraketu and Malayasundari. 107 The interlude about Taraka, the sailor youth, and his 108 marriage with Priyadarsana, gives an unexpected turn to the smoothly sailing narrative of Samaraketu's naval expedition and provides him a companion who is meant to enable him cross over the ocean' ocean 109 but in fact he becomes instrur 110 mental in almost drowning him and consequently his beloved, 103. Tilakamanjari,p.326(6-20). 104. ibid.,p.95(7ff.). 105. ibid., p.321(15-23). 106. (contd. on p.746.)

746 by taking him, though at his request, to the island where the prince falls in love with the unknown girl Malayasandari -, and comes to grief. These fatal consequences are not at all clear till the poet unfolds the events at their proper places. The suspense about the sudden alluring music from the unfrequented island in the turbulent ocean conjures up an atmosphere of a fairy tale with its nymphs and spirits, but unexpectedly turns out to be the music of the Holy-Bath Ceremony at the temple of Lord Mahavira, a most unimaginable place for worldly affairs like youthful passion%; but it is the holiness of this place which comes to the succour of 113 the damned lovers : The poet's mastery at creating suspense is very much evident when he brings the account of Samaraketu upto a point at which the latter sees the unknown girl (Malayasundari), and he abruptly drops the account by introducing the portrait of Tilakamanjari. The consciousness of the literary artist (Ft. nts. 106 to 111 continued from p.745:-) 106. Tilakamanjari, p.109 (13-14) : gurubhiradattam vodhum vanchanmamakramattvamacirena | svatasi patrapada 鈥�paga hune tatrantikasthagnih || 107. ibid.p. 113 (14拢拢.) : kaccinna mayi jalayati jatamupatapadayinah svavrta- ntasya kasyacida kasmika smaranam ; 114 (3拢f.) :- nijacaiva prajnaya niveditaste sakalo'pi samanyena madhuhkha vrttantah | 108. ibid.,pp.126-130. 110. ibid.,p.292(lff.). 112. ibid.,pp.268-269. 鈥� / 109. ibid.,p.130(14ff.) /111. ibid., p.141(12-21) / 113. ibid.,p.319(18ff.);382(6ff.).

747 in Dhanapala becomes quite transparent here as he slyly alludes to the response of the audience whose interest in the 114 frame of the narrative has so far been well-sustained. The presentation of the protrait of a young girl, and through it the entry of Gandharvaka, has been skillfully utilized to introduce Tilakamanjari as a 'male-hater' (purusadvesini), and inweave the episode regarding Gandharvadatta. The poet confounds the audience by throwing in a number of faint suggestions about the probable causes of Tilakamanjari's 115 aversion to males, the reason being revealed at a very late 116. stage in the story. The suggestion that a human prince was the destined match for her faintly betrays the possibility 118 of Harivahana's chance. The unspecified task for which Gandharvaka was directed to go to Vicitravirya at the Suvela 1 mountain has been disclosed later on when the aeroplane of Gandharvaka is thrown away into the Adrstaparak lake by enraged Mahodara. The insertion of the confirmation of the -120 identity of Gandharvadatta rouses the curiosity which is but partially satisfied only when Malayasundari is interrogated 121 -by Vicitravirya and the determination of this identity is 114. iM(N),p.161 (15ff.) : iti katharasa ksipta celasi svavrttantama ved 鈥�yati samara- ketau niscalapadmalekha likhita iva pasyati tadiya mukhamabhimukha prahitadrsi Tata_geantsinguted sabhya loke, sladhikrtantara kathesvakarnayatsu sakutuhala mantarantara vistarita harsa- kolahalesu pradhana rajaputresu pracalita sirasi samprapanca makarnayati sarasata katha prathaka kathapanjara sya .... 51041404 -1 115. cf. ibid., p.169(11ff.). / 116. ibid.,p.410(19ff.). 117. ibid., p.169(20ff.) / 118. ibid., p.170(16ff.). 119. ibid., p.341(15ff.);378(13-14). 鈽� ;378(1 120. ibid., p.170(20ff.). / 121. ibid.,pp.271-274.

748 very essential in bringing about the union of Samaraketu with Malayasundari, as it attracts the assistance of the superhuman agency in the form of Pattralekha and VicitravI- 122 rya. In the simple casual promise of Gandharvaka to Harivahana that he will return to Ayodhya and do a portrait of i the prince, unless he is not held up on his way to Trikuta mountain, the poet shrewdly implants the seed of the incident of Mahodara's curse to Gandharvaka. The element of suspense begins to sprout when Gandharvaka does not return 124 to Ayodhya. Likewise, the casual polite promise containing the adjectives 'Sakalarthidrumasya' and 'Istaphaladayakam' by which Gandharvaka qualifies Harivahana and his feet respectively, is very pregnant with dramatic irony suggestive of the panegyric verse about Harivahana sung by 126 125. Gandharvaka, who is later on rid of the cursed state of a parrot at the hands of the prince. 127 The expression of the natural aspiration of Gandharvaka to draw a portrait of 128 Harivahana so as to allay Tilakamanjari's aversion to males is an advance suggestion about Harivahana's being her destined lover. Likewise, the usual customary remarks of Harivahana to departing Gandharvaka that the latter should not cam tamtra--- 1 122.of.Tilakamanjari, p.342(9ff.);423(9-20). / 123. ibid., pp.381-383. 124. ibid.,p.179(2):- 125, ibido, p.171(151r.) : 126. ibid.,p.222(17ff.) 127. ibid., p.376(17ff.). punarapi drastavyamista phaladaya ke sakalarthikalpadrumasya te .... carana, pravalayugalam | / 128. ibid.,p.171(17ff.).

749 129 forget the brief acquaintance is related to the task of carrying messages by the parrot. 130 The hidden purpose of the letter of Samaraketu addressed to Malayasundari and handed over by Harivahana to Gandharvaka 131 131 is disclosed when Malayasundari suddenly finds it tied to her garment, and consequently gives up the idea of committing suicide again. 132 Dhanapala betrays his consciousness as an artist when he seeks to enhance the suspense by drawing our attention to the inherent difficulties in the path of love of Harivahanaqe鈻爊dakkesaphan hana for Tilakamanjari, and almost challeges us to exercise our imagination as to the manner in which Harivahana can be made to reach the remote region 133 of the Vidyadharas. By introducing the incident of the mad elephant to be pacified by the musical powers of Harivahana, and the elephant suddenly flying and kidnapping the prince away, the poet catches us by surprise, and leaving us bewildered and 129. Tilakamanjari,p.173(1-2). 131. ibid., p.173(4-8%. 132. ibid.,pp.338-339. ibid.,p.176(20ff): 134 / 130. ibid., p.384(9-10). 133. ibid鈥�,p.176 (2011): kasya kramisyate taddesagamanopayesu buddhih | kasya sahayakena setsyati tatha saha samagamapraptih| 134. ibid., pp.184-187.

750 gasping as to what will now happen to the prince, he quietThe susly passes on to Samaraketu's search operation. 135 pense intensifies when the poet slyly drops in the news that the elephant was, of course, recovered but the whereabouts 136. W of the prince were untracable. This small detail skillfully introduced here is taken up later on to lay bare how 137 Citramaya took the form of the prince's elephant, at the 138 instance of Gandharvaka, who had promised to meet the prince again. 139 The sudden arrival of Paritosa with a message from Kamalagupta adds to the effect of suspense especially when the former reports about the mysterious arrival of the meof ssage and equally surprising incident of carrying away the reply Zmessage by a parrot . 140It is noteworthy that the poet gives out the contents of the letter only after giving the full rebackground, thus amplifying the effect of the suspense by the delaying tactics. 141 This mystery is/solved only when 142rhis 135. Tilakamanjari,p. 187(5ff.). 136. ibid.,p.189 (16f f . ) : na kevalam gamanamargah so'pi dustatma papa- karmmabhirdrsto'smabhih | kevalam sa nasti sakalamedini cakra candramah kumarah | 137. ibid.,p.387 (4ff.) : kumara, durgharamidam| na hi bhumigocara karenu (411): - rantariksena samcati | na ca pancatvagatastenaiva vapusa punah svasthanama - yati | tanna so'yam | anyah ko'pi | 138. ibid.,p.380 (21ff.) : avilambo daivayogatsamjata rutatah ksiprameva bhavata parityaktapurusarupena desantara prapana ksamamlaksita pratipadya kimapi prani rupam raksatatmanamadarena rathanapura cakravalam kumaro netrvyah | tamtra hi gatenanena karyasiddhirasmakam 17-249 (5-7) 392 (9-11 ) mayaiva gandharvaka prarthitena - amtavida rupena lauhitya taraparvatakhyah krtapaharam kumara hariya hanam mahati 139. ibid.,p.171(14-17). 141. ibid., p.193(1-18). / 140. ibid., pp.191-195.

St HANSA MEHTA LIBRARY MAPVERSI) 1. 751 Gandharvaka relates as to how he was transformed rrot and how he carried the messages. I 142, "The self-consciousness of the poet is evident in the remarks which indirectly draw our attention to the effect of the incident (of mysterious taking away of the message by a parrot) on the audience and, at the same time, the solution of the riddle is suggested in the last alternative of the remarks. 'And the poet again drives at his ingenuity as displayed in this wonderful 144 parrot-episode. To heighten the suspense about the neighing of horses heard by Samaraketu, Dhanapala utilizes the former's curiosity and poses a number of alternative possibilities of gathering so many horses in a place nearby. The poet's conscious art unfolds itself as he gives the last alternative. out The conscious artist in the poet again peeps in when Samaraketu happens to see the Prasasti engraved in the Jain temple at Mount Ekasriga, and recapitulating the strange experience that he underwent and strange places that he reached, proclaims the uniqueness of the situations so far, thus F 142. Tilakamanjari,p.384(9-13). 143. ibid.,p.195(2-7): sainyapatirapi jatavismayah sahantikasthena parthiva - samajena 'ko'yam sukah kimarthamabhyarthananantarameva tarusikharaditah ksitavavatirnah, kim nimittam ca lekho 'yamamuna grhitah, kim va vilambitagatirudicimeva disa- masritya prasthitah, kim paramarthatah suka evayamuta suka vyajena kasciddivyah ' iti krtane kavikalpah | 144.ibid.,p.195(13) :- sarva sarvajana vismaya karem sukavyatikaram -- 1 145. ibid., p.208(12-18): - ahosviyambaratsvayamevavatirnah snatum sapta- 1 -- sapti sthagandharva suravidyadharanamanyatamah katamo'pi kamaniyo desa darsana ku tuhali viharati |

1 752 indirectly directing our attention to their excellence in 146 the story of the Tilakamanjari of Dhanapala; not only that he is also conscious about the plausibility of the delineation of various incidents. 148 Dhanapala's conscious effort at enhancing the curiosity of the audience is most transparent when he poses a series of questions relating to the plot and its progress. And, when, through the reply of Gandharvaka, he comments on the parrot-episode, one can easily gather that most probably these comments are aimed at the implausibility of the parrot-episode in Bana's Kadambari in contrast to the one Dhanapala has himself utilized. The series of solutions 149 150 and their points of implausibility are skillfully employed to augument the effect of suspense. The real cause is revealed when Gandharvaka relates about his having incurred the 151 curse from Mahodara. And the conscious plan in the plot is suggested when the poet indirectly consoles us that ---- 146. Tilakamanjari,p.220 (6ff.) : samprati hi diyane darsaniya kathanam mudra | kriyate tejasvi vartanam nivrttih, vitiryyale ascarya darsanasyo dakanjalih ... | 147. ibid.,p.220 (8ff.) : katham nu namasya pranina iva ka啷塶srtsnyena karmmaparinati visesah sayante jhayamana urja api kena prakarana varnyante varnyamana api kya yuktaya parasya pratiti visaya bharopyante | 148. ibid.,p.223(22ff.). 149. ibid.,p.224 (20ff.): anupajatasi prati jhartha nirvahana yuktiyukta mapyu - cyamanam kidrsam kim punarasambhavyamanataya sisujanasthapi hasya vrddhi hetu - . sadrsam yacca visada 鈥�pratibhasa mati dirgha kalamanubhuta matmanapi na sakyate sraddhatum | tadvicararcaturam buddhah kathyamanam mahabhagasya kathamiva pratitipathama 'vatarisyati | 150. cf. ibid., p. 225 (1ff.) :- divyairasya rajyaprati kara vyasanamapanno 'smiti pratyaksaviruddham | .. 151. ibid.,pp.378-384.

753 the rest of the incidents beginning with the departure of Gandharvaka to his meeting with Samarakety at Mount Ekasrnga will be narrated in due course : 152 The hint about the attempted suicide by the princess, now relaxing by the side of Harivahana creates curiosity which is doubled by the verse of the panegyric who allegirically reminds the prince about the delay being caused in entering the city of Rathanupuracakravala. The lengthy description of the Vaitadhya mountain only serves to heighten the effect of already roused curiosity till the poet himself 154 at last feels it is sufficiently aroused, and proceeds to pick up the thread of the narrative from the point a at which Harivahana was kidnapped by the flying elephant, and indicates the missing links in the story so far. The leisurely unfolding of the story is in the manner of dangling a carrot in front of a donkey impelling it to go on and on : Likewise, the poet promises that the story to be unfolded henceforward is also full of pleasant surprises and expresses confidence as to his own capacity to hold the interest 155 of the audience by his narrative skill. 152. Tilakamanjari, p. 225 (15ff.) : pascadakhillo kolpaditascaryama samadutta ntama parama- yayodhya nirgamatprabhrti vatprstha yatsrstam tada 鈥�pi sarvvam kramena jnatasi | 153. ibid.,p.232(4ff.). tukam 154. ibid,p.241 (7 - 21 ) : tadastam tavad 鈥�sya sikharino darsana vyavarna nani | tameva vedaya yathavrttamaditah prabhrti sarvvamatmiyam vrttantam| etc. 155. ibid.,p.241(20ff.): 39214, in afa it int | avahito bhava | prabhutamidamakhyeyam | athava vrtha mamabhyarthaneyam | ayameva bhumna nirantarascaryaraso madiyavrttantah karisyatyavadhanavantam |

754 A faint indication of the solution of the mystery of the 156 flying elephant is given in the reflections of Harivahana, and the element of destiny is put forth to rationalize the accident of the flying elephant carrying the prince particularly to the region of the Vaitadhya mountain. The suspense based on the unexpectedness of the situation is fully exploited by the poet for propounding the typically Jainistic ideas about the nature of the world and worldly happiness, and this in its turn also serves to heighten our curiosity. The poet again betrays his consciousness as a narrator when he discloses the connection of the portrait of Tilakamanjari with his arrival at the Vaitadhya region which is recognized to be identical with the one seen by him in the 159 portrait. 160 The induction of the long narrative prelude related by Malayasundari with the comment that it is comprises a 161 series of tragic incidents' is a common device aimed at fanning the curiosity of the audience and preparing them for a change as the poet seeks to give a turn to the narrative mood. 156. Tilakamanjari,p.243(3ff.). 157. ibid.,p.259(1-4). 158. ibid., p.244(3-23). 159. ibid.,p.250(19ff.). 160. ibid.,pp.259-345. 16n. 1b 1d.,p.259(11ff.) ; kim nu sarvada sukhocitasya tena kincidaneka- duhkhaparampara virasena srutenanena phalam | artha kutuhalam tatah srunu|

755 The prediction by Vasurata about the marriage of Malayasundari creates the interest since it is not known as yet that she is to be the beloved of Samaraketu and is go- du ing to fulfil the conditions. The narrative purpose of the prediction is partly given out in the course of the dialogue between Vicitravirya and Malayasundari where it is connected with the identity of Gandharvadatta. Dhanapala has dexterously utilized the popular belief about the Vidyadharas that they kidnap human girls, and it is a potent means of creating the suspense in as much as the poet has made full use of the technique of surprise by making Malayasundari, who was sleeping in her palace bedchamber at Kanci, wake up quite unexpectedly, as though in a dream, in totally unexpected surroundings of a group of princesses gathered in a Jain temple situated on the remote 164. island in the midst of the southern ocean. This incident of kidnapping of Malayasundari to Ratnakuta by the Vidyadha ras has been cleverly made instrumental in bringing her there where she was to meet her lover, as was predicted 165 166 by Jayantaswami in her former birth as Priyamvada. This whole incident keeps us guessing as to whether it is an illusion or a dream. It is partly resolved when Tapanavega is 162. Tilakamanjari,p.263(5-10). 164. ibid., pp.264-265 166. ibid., p.407(22ff.). / 163. ibid., p.273(3-10). / 165. ibid., p.276-292. 167. cf. ibid.,p.265(13ff.) : 'kaccinm 鈥�ya svapno' ya manubhuyate, vibhramo vayamindriyana mind 鈥�jale va ke napyupa darsitametat ' iti punah punascintayanti ....

756 ordered by Vicitravirya to take Malayasundari back in cognito to her palace, though not fully until we are assured by the poet later on that all this was neither an illusion, 169 nor a dream, but a concrete reality. The poet's mastery in holding the credulity of the audience to his finger-tips is witnessed in the dexterity with which he keeps up the element of suspense in the dialogue between Malayasundari and Vicitravirya, wherein the problem of the identity of Gandharvadatta is kept hanging 171 170 and the audience almost forgets that the poet has already dropped the hint about its solution well in advance in the 172. talk between Harivahana and Gandharvaka ! In this dialogue, again, the poet has sown the seeds of further suspense when Malayasundari declares that her maternal grandfather was a 'hermit' (tapasa)," thus giving an advance suggestion about the incident of Gandharvadatta transportation to the Prasantavaira hermitage of Kulapati Santatapa; 174 it has been 173 S hinted at also in the words of Gandharvadatta herself. 175 The poet's skill lies in the fact that in spite of all these 168. Tilakamanjari, p.274(20ff.): 312 prapayainam pracchanna rupameva nijnasadanam | 169. ibid.,p.292 (19ff.) : upasrtasvapnadarsana san 鈥�ka ca tadavalokanena sakalamapi satrivrttantamavitathamanyamana -- *|*- 170. ibid.,pp.270-273. 171. ibid.,p.cf.ibid., p. 273(22ff.) aryah kim kromi | etadapi nisarga durvidagdha srad 鈥�dhati dagdha hrdayam | srutva na bhe 172. ibid.,p.170(20ff.): I CA > (p.t.o.)

757 advance hints, he could sustain the suspense successfully to the ultimate delight of, and consequent applause from, the audeence. And see the poet's versatile art in slyly inserting the prediction by Muni Mahayasas about the union of Gandha- 176 177 rvadatta with her kith and kin, which in turn proves to be the vital key to unlock the otherwise closed fate of the so far impossible union of Samaraketu and Malayasundari The poet is conscious enough to point out to some of the minor missing links in the story disclosed so far and to 178 the solutions thereof, and this in turn is meant to further enkindle the curiosity of the audience: And hardly would the audience remember that the result of the mission entrusted by Vicitravirya to Citralekha to verify the identity of Gandharvadatta, 179 has already been disclosed to them long bacl : 180 The faint memories of Malayasundari slightly stirred at the sight of the temple of Mahavira at Ratnakuta serve 181 176. Tilakamanjari,p.273, (1ff.) :-- tatprasida punaradisa kada bhavisyati me samagamo bandhubhih| mahabhage yada taveyamayusmati duhita - ityadi kimapyavadit | 177. ibid.,p.274(5拢拢.): yadi sa satyameva vatsa gandharvadatta tatah asya evam malaya sundaryavivaha, samayom, mayaiva prastutah sadhayita | 178. ibid.,p.273(15-19). 179. ibid.,p.274(3ff.). 180. see supra ft. nt. 172. 181. 1bid.,p.275(5拢拢.):- drstamiyabhitra pura, sevitamila bhavantare, " karitamivatmana parimalitamiva sarvvakala mavalokya prita hrd 鈥屸赌�ya prasadam-- 1 sarvakalamavalokya

758 as a sort of dramatic irony, referring as it does to the fact that this temple was actually built by her in her previous birth as Priyanvada. Similarly, the sight of the image of Mahavira arouses her longings regarding some beloved seen in past and it serves as an advance suggestion about her being the beloved of Sumali during her former birth as Pryanvada. The poet's consciousness as a narrator again comes to the surface when he assures us, through the words of Taraka, that he has some plan ready up his sleaves to bring about 185 the union of Samaraketu with Malayasundari. The poet is very much conscious, again, about the ingenious device of double-entendre based on meaning (artha- -slesa) employed in the invocation apparently addressed to 186 the boat but actually meant for Malayasundari, that a鈻燗A 187 he draws our attention to it four times, and as if not satisfied with this much Dhanapala cleverly brings out the various good qualities that went into, and the motives served by, the composition of the invocation. 182. Tilakamanjari,p.408(9-12). 188 183. ibid., p.275(17ff.): 3262116122 kasyacidabhistajanasya nirnimittodirnamanyuvega kampita kucayuga 184. ibid.,p.407(13-15). 185. ibid., p.281(20ff.): purvasamsrsta sva frana furt yatnamadh 鈥�ye va cinta yisyami ...-1 186. ibid.,pp.283-286. 187. 1bid., 286 (18ff) : yeyamabhyapurna aste sa tvadarthe mahotthama bhyarthita | 0175097 naurati rupa dharinyavanipala- ; 287 (11) nauprasadana nibhena bahulam | ; 296 (2f拢0) naustava chamana vidhaya tam (potoo.) pravarttita bahulam| -

759 The dramatic irony is again utilized when Malayasundari somewhat sharply tells the boy of the temple-priest that she would take to the principal jewel (also her beloved 189 hero Samaraketu) when the latter happens to come to Kanci. These same words have been repeated when Samaraketu relates 190 his past experiences to Malayasundari. When Malayasundari swoons on finding that the princesses accompanying her on the rampart of the temple at 191 Ratnakuta have suddenly disappeared, the poet skillfully subordinates the incident of this disappearance to the effect of it on Malayasundari whose subconscious yearnings are thereby revealed. The audience does not know for certain whether Malayasundari was first made invisible to Samaraketu for a while, 192 though even after that she was present there to witness the suicidal attempt of the love-lorn prince to drown himself, and she also followed suit there 193. and then soon after. The poet seems to have deliberately lekept certain facts uncleared in order to have the audience guessing as is clear from the remarks of Malayasundari. 189. Tilakamanjari,p.288(20-23). 190. ibid., p.320(20-23). 191. ibid.,p.290(1-3). 192. ibid., p.289(17ff.): -4429 4faviator virodhaya pasyata evam me nita kaiscidasi mayavibhih | 194 sa taba pranayini 592171441 193. ibid.,pp.290-292. 194. ibid., p.294(11ff.): 35 azna tu jata vismaya etc.

760 Future incidents are indicated by means of dramatic irony suggesting the future marriage of Malayasundari with 195 Samaraketu, and this serves to enhance our curiosity as to how the poet is going to manage this when he made both 196. of these lovers drown themselves into the ocean. The poet consciously indicates his future plan by assuring us, through the words of Bandhusundari, that though drowned Samaraketu will be saved and he would set out in search of Malayasundar ri 197 The rationality of the poet is remarkably noteworthy when he brings the hopelessly desperate lovers, very viz., Samaraketu and Malayasundari, near to each other without their knowledge when the former has been passing his night alone in the temple of Cupid in the Kusumakara garden 198 at Kanci while the latter reaches the door of the temple a bows down to and makes the deity from outside lest somebody might notice her as she is out to commit suicide. 199 The poet is highly conscious of his plot-construction an in so far as he tries to carry his audience with him by recapitulaing the past events as the narrative progresses ine from point to point. That is why takes such an opportunity L 195. in Tilakamanjari,p.295(8ff.):341 it hi tatrabhavanartha vasuratah | sef. na tadbhasito 'rthah kadacidvisamvadati | etc. 196. ibid., p.292(2-6).. / 197. ibid.,p.296(5ff.) 鈥� 198. ibid., p.324(13-14). / 199. ibid., p.305(16-17).

761 of summing up the incidents beginning with Malayasundari's transportation to the temple at Ratnakuta and ending with the end of her unconsciousness consequent to the strangling during her attempt at suicide by hanging herself. 200 Again, Dhanapala draws our attention to certain missing links through the reflections of Malayasundari to enhance the suspense and indicate the course of future events yet to be narrated. Similarly, the recapitulation by the poet about the evets after Malayasundari's attempt at hanging herself supplies the missing links in the narrative much in the manner of a veritable Viskambhaka in a Sanskrit drama. The use of identical situations in which the companion forcibly makes one of the lovers bow down to the other, as 203 204 in the cases of Samaraketu and Malayasundari would naturasort of a lly tickle the audience. So would a for telepathic instinot of both the lovers to commit suicide create tragic interest in them. The recounting of past events through the answers of Samaraketu to the question of Malayasundari, has also been used by the poet to bring a the narrative uptodate though he further keeps up the interest by leaving the problem of Samaraketu's rescue from the ocean unsolved. 200. Tilakamanjari,p.310(4-17). 202. ibid.,p.314(8-12). / 201. ibid., p.312(Ll-17). 203. ibid,p.286 (6ff.) : ityudirya kandhara nihitapanistam me nrpakumaram caranayo rapatayat | 204. ibid.,p.314 (16ff.) : ityudirya kandhara prstha luthi tapanih prathamadarsana prathamadarsanatra pavi kuncita smitai nayana tara ki tasya mam pranamamakarayat | 444742105741956qi ni 205. ibid., p.324(10-14). |

762 The dramatic irony in the doubt expressed by Samaraketu as to his future union with Malayasundari is meant to keep the audience guessing about the future hurdles that path might be coming in the man of their happy union, such as the transportation of Malayasundari to the hermitage of Kulapati Santatapa and the night-attack by Samaraketu who is thereby captured alive by the forces of Vajrayudha. The link in the path of their marriage is provided when Kusumasekhara comes to know how Samaraketu rescued hanging Malayasundarf in the garden. Dhanapala may not be taxing our credulity a little too much when, in his anxiety to summarize the past events 207 and point out a doubt, he expects us to believe that the crew sailing down below could listen to the remarks of Malayasundari apparently addressed to the temple-priest boy. The poet certainly intends here to exploit the remarks fully for the purpose of drawing our attention to his ingenuity as to the clue provided well in advance to Samaraketu for tracing the whereabouts of the unknown beloved, viz., Malayasundari. The purposefulness of this recapitulation is highly transparent in the remark with reference to the letter 208 from the father of Samaraketu, the contents whereof are 206. Tilakamanjari,p.318(21-22): esam bandhu buddhima badhanat 208. ibid.,p.321(1-5). pasaccheda vihitasmatpranarakse simhale ndra sunau ; 208, / 208. ibid., p.321(19ff.).

763 connected with the incident of the siege of Kanci by Vajra- 209. yudha. It is now only that we gather the purpose of Vajradha's episode, viz., to bring out the mahan martial nature of Samaraketu and his love for Malayasundari for whose sake 210 he mounted the night-attack. The incident is recollected again in the form of the news brought by a Brahmin at the Prasantavairasrama.211 212 The poet's minute care for gathering the threads of the narrative is evident when we notice how Gandharvadatta is made to know about her father Vicitravirya, the Vidyadhara emperor, through Bandhusundari when the latter reports to her how her daughter Malayasundari tried to commit suicide. Dhanapala's skill is again evident when he cuts short the narrative on linking the threads of it and also echoes the curiosity of the audience about the part of the narrative now left untold. The element of suspense is again introduced when Malayasundari, who swooned on the sea-shore near Prasantavairasuddenly found herself in a wooden aeroplane floating in the waters of the Adrstapara lake situated thousands of srama, 209. Tilakamanjari, p.82ff. 210. ibid., pp.325-326; also p.339(5-8): 43mm vaitalikebhyah prage, pritatkancinaradhipattava sarakhi prapyadaraprarthitam | vodhasmiti 44229 211. ibid., p.331(15-20). / STOTT 29:...etc. 212. ibid., p.327(1-3).. 213. cf. ibid., p. 332 (1-2): kirma 'kimatah param srotavyam iti cinta yitva vadharitatadarabdha varta parisamaptih .... |

764 miles away from the hermitage. 214 The suspense is resolved when we know how Mahodara had angrily thrown the aeroplane there when he cursed Gandharvaka. 215 The event is intelligently exploited to recapitulate past events under the pretext of the reflections of Malayasundari. 217 Scarcely do we remember that the letter, which Malayasundari accidently found tied to the skirt of her garment, was the one that was handed over to Gandharvaka by Prince 218 Harivahana. The mystery as to how it came to be tied to the skirt of Malayasundari's garment is unveiled only when Gandharvaka relates about his curse. 219 220 The suspense as to why Gandharvaka could not return" is resolved only when he discloses how while returning from the Suvela mountain he happened to see unconscious Malayasundari and how in a bid to search some medicinal herb to counter the effect of poison, he incurred the curse of Mahodara, and the aeroplane, with Malayasundari lying unconscious in it, was thrown in the Adrstapara lake. The poet reminds the audience about this episode of Gandharvaka when Malayasundari happens to meet Pattralekha. 222 214. Tilakamanjari,pp.336-337. 215. ibid.,p.383 (6ff.) -- ityudirya dattahumkarah sthanastha evam tadvimanam kathamcidutksipya duramadr 鈥�stapare sarasi nyaksipat | 216. ibid.,p.337(19ff)-338(3). / 217. ibid.,pp.338-339. 218. ibid.,p.173(4-8). / 219. ibid., p.384(1-3). 220. ibid.,p.170(15ff.); 179(2)./221. ibid., pp.378-383. 222. ibid., p.341(21ff.): of what 27 kevala mida na jane sam gandharvako varakah kamavastham praptah ....|

765 The relation of Gandharvadatta with Citralekha and 223. also with Pattralekha is disclosed when Citralekha introduces Malayasundari and summarizes the insident about the 224 latter's transportation by the Vidyadharas. And the poet wants us to note that the account of Malayasundari is cease- 225 227. 228 lessly tragic and is meant to illustrate the inexorability 226. of the Law of Karma. The moral of the episode of the loveaffair between Malayasundari and Samaraketu has been skillfully put forth in so many words in the form of philosophical reflections of Harivahana. While the poet has indicated that the process of reaping the consequences of evil deeds by Malayasundari is now almost over, as a result of her worship at Siddhatayana and etc., we are still deliberately left in the dark as to what was that evil deed for which she was subjected to so much misery. It is later 釒� on disclosed in the form of Priangusundari's anxiety for Priyamvada when the former entrusts the care of her temple to the Goddess Sri. 229 -- 223. Tilakamanjari,p.342(9ff.): 9499147: S&T TETEST... STOGARETTI OTTE A svasa yaviyasyasit etc. 224. ibid., p.343(19ff.). 225. ibid., p. 345 (21) : - anavasanodvega karina caritena tasyah-- 1 226. ibid, p. 345 (22ff) : aho niravadhipra carom vidhih| nastya gocarah, purakrta karmanam | asakyapati karya krtanta saktih | avyahata gatih sarvatra bhavitavyatayah| 227. ibid.,p.346(1-18): 5. etc. 228. ibid, p.346 (19-20 ) : antamupagatah samprati pratikulacari visamayah sa te visamadasavipakah | siddha sunya saiddhayatana seva ..... 229. ibid.,p.410 (11ff.) : priyasundaritva jata pani samagamapya nrtya na vidvesa sarva vidvacasi kincidutpanna rati raratibhagini bhavisyati bhavantare bara ki stokakalamiti muhurmuhuh priyamvadam socayanti --- 1 230. ibid.,pp.409-410.

766 232 The poet's conscious art is gua again to be witnessed 231 when, while summarizing the events about Samaraketu, he attempts at enhancing the suspense by pointing out the incompatibility of the situation in view of the missing links. It is more evident when Dhanapala resumes the account of Harivahana by changing the focus from one scene to another 233 in order to bring the account uptodate. A fresh element of suspense, with a seed of its solution, is introduced when Malayasundari regrets that not even a 234 and in respobird is at her disposal to carry a message, nse to that a parrot, speaking in human tongue, suddenly 235 comes down from a nearby tree and carries the message away. The typically Jainistic rationality of Dhanapala is seen when he slyly makes his parrot say "Paksi-rupi nabhascaro' ham" in which the word 'nabhascara' is a double-meaning 236 one as an adjective meaning 'the one soaring in the sky', and a substantive meaning 'a Vidyadhara'. The categorical remark of Harivahana as to the parrot's being somebody else 237. than a mere bird,' is also meant to rouse our curiosity which is allayed later on in the account of Gandharvaka. | 238 231. Tilakamanjari,p.346(23搂f.). 232. ibid, p.347 (7-9): kevalam 'anasannadesasthena kathamiha 鈥�rithatayastava samagamom bhavi bhavatyah ' ityetadeva vidita 鈥�maste | 233 cf. ibid., p.348(4-10): 47: ke valamida ksinoti cetah 234. ibid., p.348(15ff.): F' Peterson鈥檚 Reports 421149425 42TS for vidhivasadavasa 鈥�re'tra paksimatro'pi nikate nasti kascinabhasva ro yascadiya vrttanta mavedayan ! et. / 236. ibid.,p. ibid., p.348(3). 235. ibid.,pp.348-349. 237. ibid.,p.348 (6ff.) : naisa 238. ibid., pp.383-385. paksimatrah, visista jatih kascidayam|

767 The casual alliterative `manaphthusna remark, viz., "Kamalaguptasya guptena bhutva satvaramayam prapaniyo lekhah" 239 is meant to justify the incidents previously narrated as to how Kamalagupta had found the letter of Harivahana almost from nowhere. 240 The reason why Prince Harivahana first saw fresh footprints and not the ladies, 241 is revealed when he describes how they ran away as the flying elephant crashed into the 242 waters of the Adrstapara lake. "The incident of Harivahana's first meeting with Tilakamanjari in the creeper-bower is repeated briefly from her point of view, 243 the former detailed narration of it being from the prince's view point. The news about, and the narration of the cause of, love-sick, 245 condition of Tilakamanjari arouses, our curiosity especially in view of her aversion for males. The poet seizes an opportunity to summarize the events about Harivahana in the form of his reflections in response to the tragic tale of Malayasundari. Similarly, the consciousness of Dhanapala as an artist is fully revealed 248 when he recounts, of course in a quite different context, how Tilakamanjari did not show even the common courtesy of 239. Tilakamanjari,p.349(15ff.). 241. ibid., p.245(4-9). 243. ibid., p.354(10-22). 245. ibid.,p.352-355. 247. ibid., p.346(8-16). / 240. ibid.,p.194(4-6). / 242. ibid., p.354(1-3). / 244. ibid., p.250ff. / + 246. ibid.,p.169(8-16). / 248. ibid., p.364(3-7)).

768 1 speaking to him when he first happened to meet her in the creeper-bower. 249. A simple casual question from Mrgankalekha as to whether Harivahana could see the beauty of the city of Rathanupuracakravala, and his equally natural reply that it cannot be called 'seen' till he has the opportunity to see it leisurely and unobserved by anybody, is really meant to introduce the magic mantle later on, which inducts further element of suspense as Gandharvaka is relieved of the curse 250 of becoming a parrot and resumes his own Vidyadhara form; it is resolved in Gandharvaka's narration about his having incurred the curse of Mahodara. Here, the return of Gandharvaka in the form a parrot 251 is introduced at a point when Harivahana has only just arrived at Rathanupuracakravala. The message brought by Gandharvaka induces Harivahana to 252 return to Ayodhya and precipitates the rest of the events in the Tilakamanjari of Dhanapala in a quick succession. The importance of the magic mantle is consciously stressed by the poet in that it is said to be invisible and to be felt by touch only; and other divine qualities of the mantle, such as its power to make one invisible, etc., are 249. ibid.,p.366(19ff.): - madhurama pracit etc. 250. ibid., p.376. 252. ibid., p.385(12ff.). kumara, drsta nagaram ' iti / 251. ibid., p.374(18ff.).

769 also listed, the last one, viz., to rid one off a curse, 253. being skillfully put at the end of the list. We are rather amused when the poet expresses through Harivahana his satisfaction at the narrative purpose served by the magic 254 mantle in the narrative, and skillfully utilizes it to 255 introduce the tragic account of Gandharvaka as he now gathers the threads of the narrative. S Dhanapala is very particular about minor details. Thus, he informs us that Gandharvaka had tried tied the mesage 256 to the skirt of his upper garment before he set out for the Suvela mountain after meeting Harivahana at Ayodhya. The srat strategic importance of this detail is realized when we are told by Gandharvaka how he spread his upper garment over the unconscious body of Malayasundari, since it is now only that we know how Malayasundari accidently found the message tied to the skirt of her garment, and that the seeming accident was after all no accident at all: The lamentation of Tarangalekha when Malayasundari ate the poisonous fruit and swooned, is skillfully utilized 253. Tilakamanjari,p.376(2-17). 258 254. ibid., p. 377 (17拢拢): tvatprasadikrtena divyapara ratnena punarasambhavita - darsanam kuto'pyaniya darsayata parama bandhukalpa mem nam gandharvaka mabhipretartha to a 鈥�dhika jhahitya va mem sampaditamabhilasitam -- 255. ibid.,pp.378-384. 256. ibid., p.378(15):313941492252....etc. 257. ibid.,p.380 (13拢拢.): -- vidhaya ca prathiyasa nijapravarana sarvakosu-- 1 258. ibid.,pp.334-337..

770 to attract the attention of Gandharvaka who was returning in an aeroplane from the Suvela mountain. 259 Mahodara is again referred to as having assumed the 260 form of a Vetala' in order to remind the audience about 261 the identity of Mahodara, the Yaksa attendant of the Goddess Sri, and the Vetala who tested the devotion of King Meghavahana. The missing links as to the rescue of Samaraketu (along with Taraka) and Malayasundari after they tried to drown themselves into the ocean, are supplied here by revealing that it was Mahodara who saved these desperate lovers and reached them to their respective places safely. However, the little doubt lurks in our mind as to why Mahodara shou-. ld have taken this trouble. This doubt is also removed when, in reponse to the request by Priyangusundari, the Goddess Sri entrusts the task of guarding both the Jain temples, viz., the one built by Priyangusundari at Mount Ekasrnga and the other by Priyamvada at Ratnakuta island, to the 262 care of Mahodara, who therefore was naturally interested in averting the mishap in order to prevent the defilement of the wh holy premises. 259. Tilakamanjari, p.378(16ff.). aviskrta vetalarupah 1 260. ibid., p.382(4): 3 Halim Ray:... | 261. ibid.,p.382(11-17). 262. ibid.,p.410 (9-11) : bhadra, tasya priyavamda karitasyasya ca priyangu- sundari prasadasya pratanukhya pasta tandrena bhavata raksaniyah chudraloko padravah ... |

771 The end of the curse of Mahodara to Gandharvaka is stipulated to be only by the grace or gift 鉁� of the Goddess 263 J Sri.20 It is noteworthy that the element of accident is not wholly irrational and is justified by Dhanapala as in the case of Gandharvaka, who, remembering that he was a Vidyadhara, came down from the tree when Malayasundari invoked the help of a bird or a Vidyadhara to carry a message of Harivahana, who had asked him not to forget his acquaintance 265. in times of need. It is here that the mystery of the parrot who carried the messages of Harivahana and of Kamalagupta 266 is revealed.' The speech of Gandharvaka is skillfully utilized by the poet to recapitulate past events and show their 267 interrelationship.. A couple of missing links are also indicated in order to maintain the interest? 368 though the solutions to these have been indirectly revealed long back. The skill of the poet is again witnessed when we find that the contents of the letter sent by Kamalagupta as a 269 reply are revealed only after Gandharvaka is rid of Mahodara's curse, and the message is further utilized for providing a reason for sending Harivahana back to Ayodhya in 263. Tilakamanjari,p.383(5ff.): vinasmatsvamini prasada bhu - -- --- 1 na ciradapi praktanim prakrtimasadayisyasi purvajoti smrtistu niryakatve' pi 264. cf. ibid., p.385(22): If niryayatve'pi me bapayata --- 1 (9-12) . 265. ibid., p.173(1-2); 384(9-10)./ 266. ibid., p.384((. 267. ibid.,pp.384(2-16). 268. ibid.,p.384 ( 14ff.) :- kevalam ' iyam bhartrdarika malayasundari palita 鈥�matraiva riferimaju samjata, kim ca tatradrsta 鈥�yara sarasi kathamapata visavikara praktana purusa rupamapannah " iti na janami | 269. ibid., pp.194-195. nirnimittame vaha

Malayasundari's doubt about the 772 270 search of Samaraketu. 271 identity of Samaraketu is meant to rouse our curiosity to be allayed later on when the identity of him with Sumali in 272 his former birth is disclosed. 276. 277 The casual reference to the impending arrival of Harivahana and his mastery of the Vidyas is intended to suggest the incidents to be narrated shortly, viz., the propi- 274. tiation of the mystic Vidyas by him.' The incident of the portrait of Tilakamanjari, 275 which was referred to in connection with the account of Gandharvaka, is again adduced to with reference to the love-lorn condition of Tilakamanjari. The Candratapa necklace and the Balaruna ring are reintroduced in the narrative at the proper juncture towards 278 the close of the narrative in the most natural manner' al- 279. ready suggested long back. The recounting here of the events of the presentation of the necklace by Jvalanaprabha serves to remind the audience about the original thread of the narrative and prepares them for final revelation of the identities of the pairs of the lovers of past birth. The 270. Tilakamanjari,p.384(20ff.) 271. ibid., p.385(6-9). 272. ibid., pp.412-413. 385(20). 273. ibid., p. 390 (22) :- sampratyupeyuso nisvasesa vidyaparadarsinah kumara harivahanasya ... 1 274. ibid., pp.398-10401. / 275. ibid., pp.161-173. 276. ibid. pp. 378 (1-3) :--' tvamapi drsta nirvighna nihiteksanena dirgha kalamasya paramopakarinah prasadana ityudirya purvavrtta citrapata vrttantama vedayam | 277. ibid.,p.391(10-13). 279. ibid., p.60(13-23). / 278. ibid., p.395(8-10).

773 presentation of the necklace and the ring to Tilakamanjari and Malayasundari respectively by Harivahana is also justified by the poet in a very convincing manner. The element of suspense is again introduced in the message from Tilakamanjari after she is reminded of Jvalanaprabha at the sight of the necklace, and generates desperation 282 in Harivahana, thereby preparing him for propitiation of the Vidyas by rousing his sense of pity for Anangarati by referring to how the latter was rendered homeless by his cousins who usurped his kingdom. 283 The process of unfolding is skillfully utilized to further add to it by sboxing the 284. account of Vikramabahu. Our curiosity is heightened by referring to some confirmation received by Virasena fro the Munis on Astapada. The illusory aspect of the episode 286 of Anangarati is also revealed in so many words. The sad news about Tilakamanjari and Malayasundari brought by Gandharvaka 287 is but an attempt by the poet to wind up the story by supplying the remaining links of the story, while at the same time sustaining the interest right upto 288 the end.It is but a projection of past events utilized for 280. Tilakamanjari,p.395(21)-396(4). 282. ibid., p.397(1-14). 284. ibid.,pp.401-402. / 281. cf. ibid.,p.396(19ff.). / 283. ibid., p.398(4-5). / 285. ibid.,p.402(1-3). 286. ibid. p. 402 (7) :- prayuktavidya pradarsitam parasparanurakta dampatimaranacestitam ... | 287. ibid., pp.404-418. / 288. ibid., p.404(19ff.).

774 bringing the narrative uptodate by shifting the focus by means of boxing technique. The suspense is completely resolved by the revelation 289 of the riddle of past births by Maharsi, whose identity with the Vidyadhara Muni introduced in the beginning of the 290 291 prose-remance' is but slightly and carefully indicated. The poet's skill at sustaining the interest in the narrative right upto the last page of his novel is seen as we notice how he keeps the audience oscillating between hope and despair when just after the appearance of some bad 292 omens, Sandipana brings the sad news about the attempted b suicide by Harivahana and Tilakamanjari's desperate resolve re 293. to follow suit. The element of accident in the timely arrival of Prakarsa with a message from Cakrasena urging Tilakamanjari to postpone her resolve of committing suicide for 294 six months serves to enhance our curiosity, though the relavent events have already been described in detail only 295 recently. The conscious art of Dhanapala is again seen when he reminds the audience about the events right from the moment 289. Tilakamanjari,pp.406-413* / 290. ibid.,pp.23-25. / 294. ibid.,p.417. 291. see supra ft. nt. 94. / 292. ibid.,p.413(19ff.). 293. ibid., pp.415-416. 295. ibid., pp.398-402.

775 Tilakamanjari saw the necklace to the last day of six monthly 296 postponement of her resolve to commit suicide, and brings the suspense to a final end by using it as a means to rouse the memories of Harivahana about his past birth. The poet again points out to the past events beginning with the question put by Samaraketu to Harivahana and ending with his meeting the latter sitting with Tilakamanjari, just before his ceremonial entrance into the Vidyadhara city called Gaganavallabha. unt 298 Samaraketu's sorrow on listening to Harivahana's accostill leaves the audience curious. The curiosity is heightened when Malayasundari is introduced to Samaraketu 299 as a beloved of two births (janma-dvaya-pranatini) and Samaraketu refers to some injustice done by him to her without specifying what it was, also leaves us rather guessing, till we remember how, as Sumali, he had fled to Nandisvara-dvipa to flirt with Svayamprabha, vada in the lurch. 302 300 leaving PriyamAnd lastly, the poet is quite a conscious artist when he poses the question about the possibility of Samaraketu 296. Tilakamanjari, p. 418 (18ff.) :- iti nivedayati haradarsanatprabhrti purvavrttam tilaka- manjari vrttantamagrato vijayakha gandharvaka girvana sadanamvasa sukhamasmaram | sahasaiva purvajanmanubhutam sarvamapi 297. ibid.,p.420(8-10) :- iti nivedya vidyadhara giraum kutuhalakrtaprasna sya samarake to varana paharatah prabhrti purvavrttamatmiya vrttantamh 1 / 299. ibid.,p.421(15ff.) 300. ibid, p. 421 (21ft): aham tu krtavipriyah priyamvada bhavatah prabhrti tasyastrapaya na saknomi viksitum vadanam--- 1 298. ibid., p.420(10-15). 301. ibid.,pp.40-41. 302. 1b 1d.,p.407 (14ff.) : purvameva 鈥� diyantara bihara nirgatena preyasa vipra yuktaya bhartrsuhrdah sumali namno hrda 鈥�yabhutaya priyavabhidhanama pradhanadevya |

776 being known to Vicitravirya and the former's being selected as a worthy match for Malayasundari inspite of the objections 303 of the relatives, and immediately proceeds to give the solution, with reference to the predictions by Vasurata and 304 Muni Mahayasas.