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246
THE CANDIŚATAKA OF BĀŅA
times by the imperative in -tät¹ (stät in stanzas 17, 19, 36, 39, 58;
avatāt in stanzas 20, 28, 48, 51, 65, 75, 89, 93, 96, 97, 99, 100).
Mention should also be made of the dramatic touch given to
nearly half of the total number of stanzas by the introduction
into them of a character speaking in the first person. There is,
however, no dialogue, since no reply is made to any utterance in
any of the stanzas. As an illustration in point, we note that Candi
is introduced as speaker in ten stanzas (viz.. 1, 20, 24, 29, 31, 47,
48, 59, 60, 61). Her utterances may be classified as (a) taunts
to the gods for having run away in the battle (stanzas 24, 29, 59,
60, 61); (b) an address to her limbs (stanza 1); (c) a rebuke
to Mahişa (31); (d) a speech to Siva (48); and (e) soliloquies
(stanzas 20, 47).
Mahisa is the speaker in 19 different stanzas. He taunts, re-
viles, or derides the gods in general, and Viṣṇu, Siva and Indra
in particular, in stanzas 23, 34, 35, 57, 62, 65, 80, 83, 85, 91, 92,
99, 100; and he heaps opprobrium on Candi and her sons in
stanzas 27, 28, 76, 77, 81, 82. Many of his taunts are coupled
with boasts of his own prowess, but in every instance his words
are cut short by the coup de grâce from the foot of Candi.
Jaya, Candi's handmaid, is the speaker in 7 different stanzas.
She at times jests with (stanza 32), or praises (89) Candi, or
consoles the wives of the gods (33); at other times, she mocks
the gods (15, 69, 86), or incites them to greater efforts against
Mahişa (38). Vijayā, a second handmaid of Candi, taunts the
gods in stanza 21.
Siva is quoted in 5 stanzas (12, 14, 16, 30, 88), and all his
speeches are either addressed to, or are in praise of, Candi. The
other speakers include Kärttikeya, Candi's son (67), the gods
(4), the gods and demons (70), the sages of the three worlds
(97), the foot of Candi (90), and even the toe-nails of Candi's
foot (11). In all, 48 different stanzas contain a speaking
character.
1 See above, p. 96, where this construction has been discussed in con-
nection with the analysis of the Saryaśataka.
THE CANDIŚATAKA OF BĀŅA
times by the imperative in -tät¹ (stät in stanzas 17, 19, 36, 39, 58;
avatāt in stanzas 20, 28, 48, 51, 65, 75, 89, 93, 96, 97, 99, 100).
Mention should also be made of the dramatic touch given to
nearly half of the total number of stanzas by the introduction
into them of a character speaking in the first person. There is,
however, no dialogue, since no reply is made to any utterance in
any of the stanzas. As an illustration in point, we note that Candi
is introduced as speaker in ten stanzas (viz.. 1, 20, 24, 29, 31, 47,
48, 59, 60, 61). Her utterances may be classified as (a) taunts
to the gods for having run away in the battle (stanzas 24, 29, 59,
60, 61); (b) an address to her limbs (stanza 1); (c) a rebuke
to Mahişa (31); (d) a speech to Siva (48); and (e) soliloquies
(stanzas 20, 47).
Mahisa is the speaker in 19 different stanzas. He taunts, re-
viles, or derides the gods in general, and Viṣṇu, Siva and Indra
in particular, in stanzas 23, 34, 35, 57, 62, 65, 80, 83, 85, 91, 92,
99, 100; and he heaps opprobrium on Candi and her sons in
stanzas 27, 28, 76, 77, 81, 82. Many of his taunts are coupled
with boasts of his own prowess, but in every instance his words
are cut short by the coup de grâce from the foot of Candi.
Jaya, Candi's handmaid, is the speaker in 7 different stanzas.
She at times jests with (stanza 32), or praises (89) Candi, or
consoles the wives of the gods (33); at other times, she mocks
the gods (15, 69, 86), or incites them to greater efforts against
Mahişa (38). Vijayā, a second handmaid of Candi, taunts the
gods in stanza 21.
Siva is quoted in 5 stanzas (12, 14, 16, 30, 88), and all his
speeches are either addressed to, or are in praise of, Candi. The
other speakers include Kärttikeya, Candi's son (67), the gods
(4), the gods and demons (70), the sages of the three worlds
(97), the foot of Candi (90), and even the toe-nails of Candi's
foot (11). In all, 48 different stanzas contain a speaking
character.
1 See above, p. 96, where this construction has been discussed in con-
nection with the analysis of the Saryaśataka.