पृष्ठम्:Sanskrit Literature.djvu/१४७

BHĀRAVI 115 darçayate in the same use, anujīvisātkṛta, stanopapiḍam, the double negative as a positive, and na compounded as in nanivṛtam; it occurs also with the imperative. Most interesting in his elaborate care in the use of the narrative tenses, which Kalidāsa and the other poets treat indifferently. In Bharavi the imperfect and the aorist are not tenses of narrative use; they occur only in dealing with what the speaker has himself experienced (aparokse), and the imperfect denotes what happened in the more remote past (anadyatane), the aorist the immediate past (adyatane), exceptions being minimal; the aorist hence is extremely rare, occurring only ten times to 272 times in Mägha. The perfect is the tense of narrative, save in the case of the present perfects aha and veda. The present occurs with sma not rarely in narrative as a past; the participle in tavant is used in speeches only, that in ta in both. Both the imperative and the aorist with mã are found in interrogations beside their normal uses, and labdha is used in the passive, the periphrastic future having always its precise sense of a distant event. Errors in grammar are few, but ajaghne seems indefensible. In metrical form Bhāravi is as developed as he is in the use of the figures of speech, of which scores can be illustrated from his poem. Only once does he condescend to use a single difficult metre, the Udgatā, for a whole canto (xii), a single Praharsini terminating it. In v he uses sixteen, in xviii also sixteen different forms. The Upajäti of Indravajrā type predominates in iii, xvi, and xvii; Vançasthā in i, iv, and xiv; Vaitālīya in ii ; Drutavi- lambita in xviii; Pramitākṣarā in vi; Praharṣiṇī in vii; Svāgatā in ix; Puspitāgrā in x ; Çloka in xi and xv; Aupacchandasika in xiii. Of the other metres few save Vasantatilaka ¹ have much use; Aparavaktra, Jaloddhatagati, Jaladharamālā occur, like Candrikā, Mattamayūra, Kuțila, and Vançapattrapatita, once only. The Rathoddhatā is a good deal used in xiii; but Çālini, Mālini, Prabhā, and Çikhariņi are all rare.² In the Çloka Bhāravi conforms in general to the same rules as Kālidāsa. But he never uses the fourth Vipulā form, and in his 250 half-stanzas he uses the first three Vipulās respectively fifteen, ¹ The final syllable is in three cases in line a, in one case in line c. 2 Thus Bharavi has eleven or twelve principal metres to six of Kalidasa and sixteen of Magha. I 2