2025-04-20 14:32:06 by ambuda-bot
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२६
अमरुशतकम
Much of this poetry would have, at the turn of the
century, fluttered the dovecotes of the highly sophisticated
Victorians, whose smug conventions made it difficult to re-
present such verse as in good taste. But there is a certain
healthiness in this sexuality', as Prof. Kosambi remarks,
which eschews the sordid pruriency of a vulgar liaison,
the bestialities, perversities and abnormal manifestations of
sex which now seem proper literary material in the West.
The group comprises the following verses: - 3, 4, 15, 18,
20, 25, 32, 35, 36, 39, 40, 41, 43; 51, 60, 65, 66, 67, 74, 76,
77, 80, 86, 89, 90, 97, 100.
The second group consists of poems which sing of love
in separation (Vipralambha). It can be divided into four
sub-groups according as (1) it speaks of love before the
stage of fulfilment (Ayoga), or (2) as it speaks of
separation caused by lover's tiffs and tantrums
(Praṇayamāna) or (3) more seriously of separation due
to a feeling of injured pride caused by the lover's faithless-
ness and inconstancy (Irsyāmāna) and lastly (4) of
separation impending or actual which is due to the lover's
going abroad on a journey (Pravāsa-vipralambha ).
Of Ayoga there are just four lyrics:- 5, 57, 78, 88. In
one of these (No. 5) the poet speaks of the upsurge of
passionate desire in the heart of a maiden, so eloquently
expressed by the bewitching play of her glances. In
another (No 88), the fascinated lover feels that even
though the ecstasy of passionate embraces is as yet denied
to him, yet even frequent wanderings along the road that
skirts her house yield the highest bliss.
In 57 the poet
depicts the sad plight of a maiden who laments that she
can neither hide her love nor disclose it--for she dare not
confide in her friends, is too shy to glance at her lover who
अमरुशतकम
Much of this poetry would have, at the turn of the
century, fluttered the dovecotes of the highly sophisticated
Victorians, whose smug conventions made it difficult to re-
present such verse as in good taste. But there is a certain
healthiness in this sexuality', as Prof. Kosambi remarks,
which eschews the sordid pruriency of a vulgar liaison,
the bestialities, perversities and abnormal manifestations of
sex which now seem proper literary material in the West.
The group comprises the following verses: - 3, 4, 15, 18,
20, 25, 32, 35, 36, 39, 40, 41, 43; 51, 60, 65, 66, 67, 74, 76,
77, 80, 86, 89, 90, 97, 100.
The second group consists of poems which sing of love
in separation (Vipralambha). It can be divided into four
sub-groups according as (1) it speaks of love before the
stage of fulfilment (Ayoga), or (2) as it speaks of
separation caused by lover's tiffs and tantrums
(Praṇayamāna) or (3) more seriously of separation due
to a feeling of injured pride caused by the lover's faithless-
ness and inconstancy (Irsyāmāna) and lastly (4) of
separation impending or actual which is due to the lover's
going abroad on a journey (Pravāsa-vipralambha ).
Of Ayoga there are just four lyrics:- 5, 57, 78, 88. In
one of these (No. 5) the poet speaks of the upsurge of
passionate desire in the heart of a maiden, so eloquently
expressed by the bewitching play of her glances. In
another (No 88), the fascinated lover feels that even
though the ecstasy of passionate embraces is as yet denied
to him, yet even frequent wanderings along the road that
skirts her house yield the highest bliss.
In 57 the poet
depicts the sad plight of a maiden who laments that she
can neither hide her love nor disclose it--for she dare not
confide in her friends, is too shy to glance at her lover who