2025-04-20 14:32:05 by ambuda-bot
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Introduction
२३
यदपि चामी श्लोकाः संभोगमीर्ष्यामानं प्रणयमानेन, प्रणयमानमभिसरणेन,
अभिसरणं प्रवासविप्रलम्भेन तिरयन्ति तदपि कवेरभिसंधानम् । अति-
निरन्तर मे कर सोपनिबन्धोऽप्युद्वेजको भवति ।
It was part of the poet's plan to give the verses without
regard to their logical sequence for the grouping of the
poems according to their Rasa would by their monotony
have palled upon the minds of men, and hence the des-
cription of the joy of dalliance or of wounded pride is
followed by that of lover's assignation, and that in its turn
by the description of the pangs of separation caused by the
lover's going abroad on a journey; the only binding thread
that the poem recognises is the thread of love, which makes
these detached verses look like a connected composition.
Already in the time of Anandavardhana, the Sataka had
been brought into its present form; and though centuries
intervene between Amaru and Anandavardhana, if there had
been any other definite tradition of any particular object
associated with the work, there is no reason why that should
not have been mentioned by Anandavardhana.
Appreciation of the Poem
The Amaruśataka is a centum of lyrical pieces, each
complete in itself, enshrining in delicate cameo-like pictures,
various fleeting emotions, moods and attitudes, couched in
language which makes for magical beauty and charm. Often
the lyrics assume a dramatic form which dynamically un-
folds the working to a climax of a set of actions and
circumstances evolved from one another (41,50). Thus these
pictures "these moment's monuments "- are not static,
though they seem to have arrested and frozen the lover's
thoughts, moods, actions and desires into the span of just
four lines. It has been aptly said that "one verse of Amaru
२३
यदपि चामी श्लोकाः संभोगमीर्ष्यामानं प्रणयमानेन, प्रणयमानमभिसरणेन,
अभिसरणं प्रवासविप्रलम्भेन तिरयन्ति तदपि कवेरभिसंधानम् । अति-
निरन्तर मे कर सोपनिबन्धोऽप्युद्वेजको भवति ।
It was part of the poet's plan to give the verses without
regard to their logical sequence for the grouping of the
poems according to their Rasa would by their monotony
have palled upon the minds of men, and hence the des-
cription of the joy of dalliance or of wounded pride is
followed by that of lover's assignation, and that in its turn
by the description of the pangs of separation caused by the
lover's going abroad on a journey; the only binding thread
that the poem recognises is the thread of love, which makes
these detached verses look like a connected composition.
Already in the time of Anandavardhana, the Sataka had
been brought into its present form; and though centuries
intervene between Amaru and Anandavardhana, if there had
been any other definite tradition of any particular object
associated with the work, there is no reason why that should
not have been mentioned by Anandavardhana.
Appreciation of the Poem
The Amaruśataka is a centum of lyrical pieces, each
complete in itself, enshrining in delicate cameo-like pictures,
various fleeting emotions, moods and attitudes, couched in
language which makes for magical beauty and charm. Often
the lyrics assume a dramatic form which dynamically un-
folds the working to a climax of a set of actions and
circumstances evolved from one another (41,50). Thus these
pictures "these moment's monuments "- are not static,
though they seem to have arrested and frozen the lover's
thoughts, moods, actions and desires into the span of just
four lines. It has been aptly said that "one verse of Amaru