रामचरितम् /25
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XXV
mentions the two as separate and distinct styles and shows, by illustrations of
his own, the inferiority of the Gaudi style to that of the Vaidarbht.' The other
writers in this field who came later, strictly followed the view of Dandin
though they, in the course of time, added some more styles in addition to the
two originally mentioned. Ten Gunas are enumerated by Dandin, as the
life of the Vaidarbhi style and he states that a style which is generally devoid
of many Gunas is adopted by the Gaudas. According to Dandin, the
Gaudas are always fond of using in their compositions the compound
words, heavy letters, unnecessary repetition of words and exaggerated descri-
ptions. We have already shown that Abhinanda belonged to the Gauda
country, and it is very likely that we should expect in his composition a style
which is denounced by Dandin as inferior to the Vaidarbhf.
But contrary to our expectations as also contrary to the definition of
Daṇḍin the Râmacarita is found to be written in a very simple, charming and
bold style, which is in exact conformity to the Vaidarbhi style as defined by
Dandin. Though, occasionally, some long compounds are met with in the
Ramacarita they do not lose, however, the Prasala, Madhurya, Saukumarya,
and Audarya which are stated to be the life of the Vaidarbhi style.
Another special feature of Abhinanda's composition is that the arrange-
ment of words is extremely melodious and quite appropriate to the context.
The author cared more for the simplicity of expression than the various
kinds of Alankaras. This fact is well observed by Soddhala who states that
Abhinanda is a master of Sabda (word), Vakpati Raja and Kalidasa are respec-
tively of Artha and Rasa, while Bana is the master of all the qualities nece-
ssary for a poet. In general description, the style of writing and the
presentation of the subject the Râmacarita resembles more the Buddhacarita
and the Saundarananda of A'svaghosa among the classical poems than the
other poems of Bharavi, Magha and Kalidasa. The author excells other
poets in conversational language which is so forcible, easy and direct, as to
make it appear that Sanskrit was a spoken language in his days. This
remarkable quality on the part of the poet is responsible for a large number
of lengthy conversations introduced in the body of the book by the author.
The general plot of the poem is the same as that found in the
Ramayana of Valmiki. The Ramacarita begins from the
middle of the story which corresponds to the middle of the
Kiskindhakanda, and ends with
the Yuddhakaṇḍa.
Though the descriptions closely follow the story of
Ramayana there are many instances where the author
deliberately differs from the original story in order to add artistic beauty to
Main differences
in plot from the
Ramayana.
1. I. 40-102.
2. वागीश्वरं हन्त भजेऽभिनन्इमर्थेश्वरं वाक्पतिराजमीडे ।
càzai đíð ◄ Şíðşıė qog aðkargaaìs Udayasundarikathâ. P. 157,
mentions the two as separate and distinct styles and shows, by illustrations of
his own, the inferiority of the Gaudi style to that of the Vaidarbht.' The other
writers in this field who came later, strictly followed the view of Dandin
though they, in the course of time, added some more styles in addition to the
two originally mentioned. Ten Gunas are enumerated by Dandin, as the
life of the Vaidarbhi style and he states that a style which is generally devoid
of many Gunas is adopted by the Gaudas. According to Dandin, the
Gaudas are always fond of using in their compositions the compound
words, heavy letters, unnecessary repetition of words and exaggerated descri-
ptions. We have already shown that Abhinanda belonged to the Gauda
country, and it is very likely that we should expect in his composition a style
which is denounced by Dandin as inferior to the Vaidarbhf.
But contrary to our expectations as also contrary to the definition of
Daṇḍin the Râmacarita is found to be written in a very simple, charming and
bold style, which is in exact conformity to the Vaidarbhi style as defined by
Dandin. Though, occasionally, some long compounds are met with in the
Ramacarita they do not lose, however, the Prasala, Madhurya, Saukumarya,
and Audarya which are stated to be the life of the Vaidarbhi style.
Another special feature of Abhinanda's composition is that the arrange-
ment of words is extremely melodious and quite appropriate to the context.
The author cared more for the simplicity of expression than the various
kinds of Alankaras. This fact is well observed by Soddhala who states that
Abhinanda is a master of Sabda (word), Vakpati Raja and Kalidasa are respec-
tively of Artha and Rasa, while Bana is the master of all the qualities nece-
ssary for a poet. In general description, the style of writing and the
presentation of the subject the Râmacarita resembles more the Buddhacarita
and the Saundarananda of A'svaghosa among the classical poems than the
other poems of Bharavi, Magha and Kalidasa. The author excells other
poets in conversational language which is so forcible, easy and direct, as to
make it appear that Sanskrit was a spoken language in his days. This
remarkable quality on the part of the poet is responsible for a large number
of lengthy conversations introduced in the body of the book by the author.
The general plot of the poem is the same as that found in the
Ramayana of Valmiki. The Ramacarita begins from the
middle of the story which corresponds to the middle of the
Kiskindhakanda, and ends with
the Yuddhakaṇḍa.
Though the descriptions closely follow the story of
Ramayana there are many instances where the author
deliberately differs from the original story in order to add artistic beauty to
Main differences
in plot from the
Ramayana.
1. I. 40-102.
2. वागीश्वरं हन्त भजेऽभिनन्इमर्थेश्वरं वाक्पतिराजमीडे ।
càzai đíð ◄ Şíðşıė qog aðkargaaìs Udayasundarikathâ. P. 157,