हंससंदेशः /20

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<p lang="sa">18
 
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<p lang="sa">and of the external manifestations of the sorrow. Perhaps

in one or two places Venkatanatha'&apos;s efforts are marred by

the introduction of orthodox dogmas as in stanza 13, and

by over-doing the description of Sita's delicacy of
&apos;s delicacy of
frame and her manifestation of sorrow, as in stanzas 15

and 17; the Sita of Valmiki is a womanly woman and

yet a heroic Kshatriya lady, and it is only when all hope

seems to be lost and when she sees the hideous forms of

the Rakshasis approaching her almost determined to tear

her to pieces that she धैर्यमुत्सृज्य रोदिति.
 
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<p lang="sa">Coming to the style of the poem, it is easily seen

that Kalidasa easily surpasses our author. The easy flow

of words in his Sandesa, the music of his word combina-

tions, the comparative simplicity of his similes and des-

criptions, gradually gave place to the heavier and more

laboured style of his successors; and the style of

Venkatanatha is further burdened with far-fetched com-

parisons and round-about expressions of thought, which

had become, in his days, objects of admiration among

Pandits. Added to these, there is the cramping influence

of orthodox notions and the introduction of too much of

religion and philosophy in a lyric poem.
 
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<p lang="sa">Allowing for these defects, which were the fashion

of his age, Venkatanatha'&apos;s Hamsasandesa yet deserves a

high place among the Sandesa poems.
 
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<p lang="sa">S. NARAYANA IYENGAR, B.A., L.T.
 
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