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Dhanapala delineates the Heroic sentiment in all its four varieties, viz., Yuddha-vira, Dana-vira, Daya-vira, Dharma-vira. (a) The Heroic sentiment as expressed in the warriorlike qualities of the hero (Yuddha-vira) has been delineated by Dhanapala in the course of Vijayavega's report about the night -attack by Samaraketu on the forces of Vajrayudha who had besieged Kanci. Both Vajrayudha and Samaraketu, the commanders of the rival armies, are the fundamental determinants of the Heroic sentiment here, Having indirectly given 338. Tilakamanjari,p.355(1-17). 339. ibid., p.391(1-8).

I 792 out the reason why Vajrayudha marched against King Kusumasekhara of Kanci, 400 the poet draws a picture of the precautionary measures undertaken by the latter who shut himself securely in his fort and began to solicit reinforcements 401 from the neighbouring princes. This description expands the fundamental determinant, and serves as the background of the night-attack, by describing how the besieging forces daily clashed with the rival forces protecting, and fighting 402 from inside, the fort. This background is beautifully summed up by the poet in the following words: bhayanakani ca kutuhalakarani ca krodhajanakani ca hasavahani ca vinodabhutani ca 250 nirvedadayini ca pratidinamayodhana- nyabhavana | evam ca kamcigrahanaranavidha vadhirudhagadha bhinivesayorabhinaveka dhadampatikarapallavayoriva tayoh kiyanapyatipapata kalah | A brief picture of the normal routines in the camp, 鈾� such as the change of guarding duties, gaiety of the festival of Cupid and the relaxing commander listening to the 404. songs of women, during the midnight hours skillfully provides an atmosphere of carefreeness and peace calculated to enhance by contrast the effect of surprise and suddenness of the night-attack by Samaraketu. 400. Tilakamanjari, p.82(7ff.): caranatalamrdita bhujabala balipta bhupala sirah sekhara kanci manda labhimukha macalat| kusumarsa kharanamana mavanipala munmulayitukamah 401. ibid., p.82(12-23). 403. ibid., p.83(16-20). / 404. / 402. ibid., p.83(3-18). ibid., pp. 83 (20) -84 (9) 鈥�

793 The sudden hullabaloo created by the war-music, and the shouts of military officers ordering the soldiers to quickly get ready for the fight, the arrival of Kacaraka and Kandarata with the intelligence report about the exit of an attacking contingent from the fort of Kanci and Vajrayudha's 405 preparations to meet the attacking forces half-way' serve as the excitant determinants. So do the following details 406 in the description of the physical clash of the rival forces. .407. The following phrases in the description impart graphic tinges and develop the picture of a battle: --- yugapadeki bhutodara varisa siranajala visara va dhanapadatighorom, mudita- yogini mrgyamana lokapalakapalacanakah nipitanara vasa visvaravisari- sivaphai tkaradamarah iva gadapraharah, saulkapata iva nisitaprasavrstibhih, sanighatipata- sotpataravimandala iva ki lalitakara linaracamuktibhih, sarvadhuta sphurja iva javapatajjvalitasaktibhih mahapralayasannibhah ajayata samasamghattah | 鈽� | 408 The references to the following details enhance the atmosphere further : ibhaktinam brmhitena tena sutkarena vajinam hete啶縩a capayastinam tamkrtena rathaketananam katutkarena ----- syandananam citkr- naracanam rudhirapaganam dhutkarena samara merinam makarana sanandabhiva, sattahasamiva, sasphotanavimiva brahmandamabhakta, | 1 A few evanescent feelings like anger, cruelty, enmity, 405. Tilakamanjari, pp.84-86. 407. ibid., p.87(3-12). 406. ibid., pp.85-87. / 408. ibid., p.87(13-21).

794 deceitfulness and violence are skillfully mentioned by the poet thus: 409 amarsamaya srva karyamaya iva vairamaya iva vyajamaya iva himsamya iva vibhavyamane jagati 1 The atmosphere of excitement reaches the climax when the rival commanders come face to face with each other. The innate primary feeling (sthayi-bhava) of enthusiasm (utsaha) is exhibited in the energetic challenges exchanged 410 by Vajrayudha and Samaraketu. The mention of the consequents like horripilation (ro- 411manca), anger (kopa) and throbbing of the eye-brows bring out the vivid picture of Vajrayudha in this connection. A brief picturesque reference to the Goddess-of-Victory uneasily shifting her seat from Vajrayudha's shoulder to his bow, to the edge of his sword, to the parasol and Camaras, intensifies the feeling of uncertainty of his victory as he is gradually being overpowered by the irresistible onslought 412 of Samaraketu. (b) The Heroic sentiment as expressed in the generosity (Dana-vira) is illustrated in the generously herbic determination with which Harivahana undertook the mystic penance on behalf of the Vidyadhara youth named Anangarati in 409. Tilakamanjari, p.88(12-13). 411. ibid., p.89(5-9). / 410. ibid.,pp.88-89. / 412. ibid.,p.91(1-4).

795 413 order to rehabilitate the latter in his ancestral kingdom. (c) The Heroic sentiment as expressed in the merciful nature (Daya-vira) is depicted in connection with Harivahana's mercy on wild beasts of pray during his stay in the Pragyotisa region where he participated in the hunting expeditions but instead of killing the beasts he amused himself 414 by only teasing them in various ways. (d) The Heroic sentiment as expressed in the religious fervour (Dharma-vira) is exemplified in the enthusiasm of god Jvalanaprabha who enlightened his friend Sumali as to the Right Path and accumulated profuse merit for himself 415