हंससंदेशः /35
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<p lang="sa">33
</p>
<p lang="sa">pilgrimage. Hence the Hamsa is directed to join his
prayers to those of the devotees already assembled in
the temple of Venkateswara (of peculiar interest to
Venkatanatha, our poet).
</p>
<p lang="sa">The Sanskrit poets have always revelled in
harmoniously blending the beautiful in Nature with the
beautiful in the human and in the divine. One of the
finest of devices which they generally employ for this
noble end is what the writers on Sanskrit poetics term
as Dhwani. A suggestion is thrown out by a central
word or two in the piece, and it works itself out into
a beautiful picture in the reader''s mind, apart from, or
distantly associated with, the idea in the context. The
wonderful pliability of the words, coupled with a few
well-recognized conventions, infinitely enhances the
adaptability of the language in the hands of a skilled
poet, for such a pleasing effect. Certain objects are
always spoken of in the feminine, and certain others in
the masculine, as we already saw in the case of the Cloud
and its Lightning. And a dexterous handling of such
words does throw out a happy suggestion, here and
there, indicative of some picture or other of the poetic
experiences in the nobler sexual or other human relations.
One such happy safa we have in the description of the
river Suvarnamukhari.
</p>
<p lang="sa">Rama has no doubt that, while his messenger is
about to leave Seshadri, his eyes would be riveted on the
inviting sands of the Suvarnamukhari, which flows a few
miles to the south thereof, in a maidenly gait, carrying in
its waves fresh flowers from trees
on either of its
on either of its</p>
<p lang="sa">HAMSA-C
</p>
</page>
<p lang="sa">33
<p lang="sa">pilgrimage. Hence the Hamsa is directed to join his
prayers to those of the devotees already assembled in
the temple of Venkateswara (of peculiar interest to
Venkatanatha, our poet).
<p lang="sa">The Sanskrit poets have always revelled in
harmoniously blending the beautiful in Nature with the
beautiful in the human and in the divine. One of the
finest of devices which they generally employ for this
noble end is what the writers on Sanskrit poetics term
as Dhwani. A suggestion is thrown out by a central
word or two in the piece, and it works itself out into
a beautiful picture in the reader
distantly associated with, the idea in the context. The
wonderful pliability of the words, coupled with a few
well-recognized conventions, infinitely enhances the
adaptability of the language in the hands of a skilled
poet, for such a pleasing effect. Certain objects are
always spoken of in the feminine, and certain others in
the masculine, as we already saw in the case of the Cloud
and its Lightning. And a dexterous handling of such
words does throw out a happy suggestion, here and
there, indicative of some picture or other of the poetic
experiences in the nobler sexual or other human relations.
One such happy safa we have in the description of the
river Suvarnamukhari.
<p lang="sa">Rama has no doubt that, while his messenger is
about to leave Seshadri, his eyes would be riveted on the
inviting sands of the Suvarnamukhari, which flows a few
miles to the south thereof, in a maidenly gait, carrying in
its waves fresh flowers from trees
on either of its
on either of its</p>
<p lang="sa">HAMSA-C
</page>