पवनदूतम् /20
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पास्ते सुन्दर सा सखीप्रियगिरामाश्वासनैः केवलं
प्रत्याशां दधती तया च हृदयं तेनापि च त्वां पुनः ॥
संरुहाः कथमप्यमङ्गलभयात् पक्ष्मान्तरख्यापिनोऽ
प्युत्तालोक्कतलोचनं निपुणया वाष्पाम्भसां विन्दवः ।
न्यस्यन्त्याः सहकारपल्लवमथ व्यानम्य पत्युः पुरो
धारावाहिभिरेव लोचनजलेर्यात्राघटः पूरितः ॥
However, to do justice to ourselves, it ought to be stated
here that Dhoyt, not unlike the multitude of Indian poets, is
not free from conventionalism which sometimes seems to mar the
beauty of his composition. In the pathetic description
which we get here of the heroine separated from her lord we
meet with a full display of poetic conventions. We have
here the description of lotus-stems, sandal-paste and all those
usual things which poets have made a rule to describe as objects
intended for the pacification of love-fever. But he is found to
have possessed the not very common power of being able to
create quite a new and beautiful situation with the
help of the most commonplace poetic conventions
which is apt to reveal the poet in him. Hence it is
that the description of the love-pangs of the heorine to which
thirty one verses (viz. verses 64-94) are devoted by the poet
oan surely be regarded as one of the finest products of Sanskrit
literature. The description is vivid, life-like and is full of pathos
and does not consist merely of a useless jargon of words. The
following few verses taken at random from this description
will go to prove everything that we say here.
मोसत्वं दृशमपि नयत्युत्पले बच्चकोपा
माये: कान्ता न भुजलतिकामप्यसौ संहृणोति ।
पास्ते सुन्दर सा सखीप्रियगिरामाश्वासनैः केवलं
प्रत्याशां दधती तया च हृदयं तेनापि च त्वां पुनः ॥
संरुहाः कथमप्यमङ्गलभयात् पक्ष्मान्तरख्यापिनोऽ
प्युत्तालोक्कतलोचनं निपुणया वाष्पाम्भसां विन्दवः ।
न्यस्यन्त्याः सहकारपल्लवमथ व्यानम्य पत्युः पुरो
धारावाहिभिरेव लोचनजलेर्यात्राघटः पूरितः ॥
However, to do justice to ourselves, it ought to be stated
here that Dhoyt, not unlike the multitude of Indian poets, is
not free from conventionalism which sometimes seems to mar the
beauty of his composition. In the pathetic description
which we get here of the heroine separated from her lord we
meet with a full display of poetic conventions. We have
here the description of lotus-stems, sandal-paste and all those
usual things which poets have made a rule to describe as objects
intended for the pacification of love-fever. But he is found to
have possessed the not very common power of being able to
create quite a new and beautiful situation with the
help of the most commonplace poetic conventions
which is apt to reveal the poet in him. Hence it is
that the description of the love-pangs of the heorine to which
thirty one verses (viz. verses 64-94) are devoted by the poet
oan surely be regarded as one of the finest products of Sanskrit
literature. The description is vivid, life-like and is full of pathos
and does not consist merely of a useless jargon of words. The
following few verses taken at random from this description
will go to prove everything that we say here.
मोसत्वं दृशमपि नयत्युत्पले बच्चकोपा
माये: कान्ता न भुजलतिकामप्यसौ संहृणोति ।