INTRODUCTION ]
xxi
C f., VIII. 33, 39-41, XI. 4-37. Surpanakha1s love and advances to Rama provide a fine instance of SriigarUbhasa. Description of physical charm and graceful gestures serve as the Uddlpanavibhava ( excitants ) of Srngfira-rasa ; so do the beautiful pen pictures of surrounding nature. Karuna-rasa or Pathos is the natural outcome of battles where bosom friends and dear relatives lay down their life. Rama’s exile too serves as an apt occasion for the depiction of Pathos (I. 20, III. 20-22, 49-50) ; the cause of pathos is the intensity of affection and its resultant (anubhava) is detachment (,nirveda) exhibited in discarding all worldly comforts (XIV. 55-60). The bereaved Vibhlsana curses fate, falls on the ground, thinks of the past and compares it with the future, weeps bitterly (XVIII. 1-42 and XIX.1-6) and repents ruefully. Sita’s repudiation by Rama and consequent Agnidivya would also have served as an occasion for deep pathos ; but Bhatti has, instead, focussed attention on Slta’s undaunted spirit and challenging attitude. The Stinta-rasa has but little scope in a composition wherein the principal rasa is Vira. Yet, we do come across touches of Santa in the serenity of the hermitages of sages like Bharadvaja and Sarabhanga (IV. 4-9). Style and Diction Bhatti has himsef declared : O
p e rm prusrHt «r%?
O
11 (x x ii . 33)
Evidently, he did not expect his composition to be understood or appreciated by those who were not learned in grammar. After all, it was, they say, meant for teaching grammar and only those who knew grammar could elucidate it for the students of grammar. Naturally, Bhatti cannot be blamed for any want of lucidity or simplicity in the flow of the narrative. But strangely enough his style is not as obscure or artificial as one may expect under the circumstances. In fact, the flow of the narrative continues unobstructed, in spite of the limitations imposed by the Bhatti Intro,—3
