By Siegfried Lienhard; Jan Gonda (Edtior)
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Extra info for A History of Indian Literature, Volume III: Classical Sanskrit Literature, Fasc. 1: A History of Classical Poetry, Sanskrit - Pāli - Prakrit
Subh. 1738; Subhdsitaratnakosa 231 (which has payodharabhdrd 73 Vallabhadeva ad Subh. 1758. 74 Sisup. 6, 3 1 . 7 5 Subh. 1758. 72 instead of °mdld). The Creative Process 25 "Now resounded the rain-cloud drum which proclaimed the world-wide victory of the (King) God of Love. " Both poems are the product of highly-developed verbal artistry and show clearly, as does other poetry, how consciously Sanskrit writers worked on the construction of a kavya. Their poems are in fact compositions and grow out of a clearly thought-out process based on a free but carefully made choice of all the elements.
V. SOHONI, Two Peacocks in the Cloud Messenger of Kalidasa, JBORS 42 (1956), pp. 164-167. 40 S. Lienhard • A History of Classical Poetry garden in the distant city of Alaka; in fact, like several other things about the house, it is one of the distinctive features that make it easy for the cloud to find its way there. He refers to this peacock as nilakanthah suhrdah, "to the peacock, the friend (of the cloud)". Now both nilakantha, literally "blue-necked", and suhrda, "goodhearted", have other very well-known meanings: "peacock" and "friend" respectively.
Clouds, rain-mites, peacocks, etc. Various words for "cloud" such as ghana, jalada, megha, etc. The order given here is not really as hierarchical as it appears. In fact, the various levels in a poem are not directly superimposed on one another; rather, they interact and thereby produce the typical density, the complexity and the structural formation of poetry. It is a characteristic of kavya that the different layers are intimately related to each other and that the unity of a text is not to be assessed as the sum of its parts, but as being due to this relationship and the complicated, often concealed interplay of the elements.