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I;-"';GALLS, Cambridge, Mass. 1965 (HOS 44), p. 236. Cr. 23 f. One of the most important types of lovers (nayika): ""the beloved whose husband is away". D. KOSAMBI S. Lienhard . A History of Classical Poetry 38 etam mlanim upagatarp. l durvaham eiaharp sukhini bhavami na sahe tivrarp. viyogavyatham / / HOh thou beloved, thou peerless row of pearls at the heart of heavenly beauty: 111 Oh line of herons! Tell that man that he should fear for his life. Here I (now) cast down my withered (thin) body, so hard to bear, like a garland of flowers.

Observe here the reference to the sun as ahimaruci, "(having) a not cold light", a neologism contrasting with the name given to the moon, himadhaman, "place of cold~'. Note also the skilfully used figure 106 raSmirajju, "(the sun's) ropes of rays", which rounds off the image conjured up by the poet: the mountain is compared to an elephant and the sun and moon to bells, while the rays of the sun are the ropes that support the load of bells. Also worth noting is the intentional poetic ambiguity contained in the word vitata vv'hich, when referring to the sun means "widespread", "'far-reaching" but which means "put on", "spread out"107, etc.

Above all it would be wrong to think of him as being in some way related to the European idea of a Romantic poet - drunk with daemonic inspiration, his head in the clouds, writing to fulfil his artistic nature. With the exception of certain holy men belonging to later religious groups or sects in whom a burning devotion to God (bhakti), mixed in some cases with Tantric beliefs, might lead to transports of spontaneous poetry84, and also with the possible exception of the Vedic poet-seer, the concept of the undisciplined poet autoschediasticaIly composing great works with a sort of somnambulistic certainty is entirely alien to the Indian tradition.

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