मधुराविजयम् /91
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see slokas 16 and 25 in S. 7. Slokas 2 and 69 in S. 1 reflect
her mastery in her knowledge of the vedas and philosophy.
Slokas 33 and 63 in S. 5. evidence her scholarship in
Mantra Sastra; slokas 19 in S. 4 and 3, in S. 5 in Kamanda's
political science; slokas 53 in S. 5, sloka 60 in S. 6
in Kala sastra; slokas 45 in S. 7 and 18 in S. I in the sciences.
Slokas 30 in S. 3 of 37 in S. 9 in the science of horse riding,
breeding and in medicine; slokas 25 in S. 5 4 in S. 6, 8 in S. 3 etc.,
in poetic conventions; Slokas 12 and 13 S. 5 in the science of music;
Slokas 41 in S. 5 and 28 and 30 in S. 3 in the science of Varaha
Samhita and palmystry and slokas 79 and 80 in S. 4 in her
mastery in sword play and in the art of war. These are but a
few instances extracted for her work.
There are no worlds she knows not; no sciences she has not
read; no branch of art she is not acquainted with. In 22 slokas
(stanzas) she paid homage to real poets, discarded pretenders and
elucidated the features and characteristics of a classical epic.
No Sanskrit poet has ever dealt with the introduction in such
sweet and dignified manner. It is indeed highly laudable of
her, to have brought out the points of excellence in the poetry of
each poet, she has chosen to pay homage, with reverence. In the
16th century, poet Visweswara in his 'Arya Saptasathi' has
taken this poetess as his idea and adopted her method exten-
sively. Nevertheless, his work was full of double meanings of
and so lost and is devoid of natural grace and sweetness.
Another special feature of her introduction was her reverential
references to Telugu poet Tikkana, feeling heartily, why she should
as she had referred to the Sanskrit poets in the
beginning of her kavya. In this connection she eulogised the
her mastery in her knowledge of the vedas and philosophy.
Slokas 33 and 63 in S. 5. evidence her scholarship in
Mantra Sastra; slokas 19 in S. 4 and 3, in S. 5 in Kamanda's
political science; slokas 53 in S. 5, sloka 60 in S. 6
in Kala sastra; slokas 45 in S. 7 and 18 in S. I in the sciences.
Slokas 30 in S. 3 of 37 in S. 9 in the science of horse riding,
breeding and in medicine; slokas 25 in S. 5 4 in S. 6, 8 in S. 3 etc.,
in poetic conventions; Slokas 12 and 13 S. 5 in the science of music;
Slokas 41 in S. 5 and 28 and 30 in S. 3 in the science of Varaha
Samhita and palmystry and slokas 79 and 80 in S. 4 in her
mastery in sword play and in the art of war. These are but a
few instances extracted for her work.
There are no worlds she knows not; no sciences she has not
read; no branch of art she is not acquainted with. In 22 slokas
(stanzas) she paid homage to real poets, discarded pretenders and
elucidated the features and characteristics of a classical epic.
No Sanskrit poet has ever dealt with the introduction in such
sweet and dignified manner. It is indeed highly laudable of
her, to have brought out the points of excellence in the poetry of
each poet, she has chosen to pay homage, with reverence. In the
16th century, poet Visweswara in his 'Arya Saptasathi' has
taken this poetess as his idea and adopted her method exten-
sively. Nevertheless, his work was full of double meanings of
and so lost and is devoid of natural grace and sweetness.
Another special feature of her introduction was her reverential
references to Telugu poet Tikkana, feeling heartily, why she should
as she had referred to the Sanskrit poets in the
beginning of her kavya. In this connection she eulogised the