The Sanskrit Drama in its Origin, Development, Theory & Practice c16.s3.8

c16.s3.8

The demerits of the poem are obvious; there is no attempt to improve on the traditional narrative, though Vālin is honourably killed; the characters are as stereotyped as ever. The author, however, delights to overload and elaborate the theme; hyperbole marks every idea; his mythological knowledge is adequate to enable him to abound in conceits and plays on words, when he does not sink, as largely in Act III, to mere commonplace. The taste which invents the visit to the world of the moon and Sumeru is as deplorable as that which substitutes the dull dialogue between Jāmbavant and Jaṭāyu for the vigorous conversation of Jaṭāyu and Sampāti in the *Mahāvīracarita*. For dialogue in general Murāri has no taste at all, and what merit his work has lies entirely in the ability which he shows to handle the Sanskrit language and to frame sentences of harmonious sound in effective metrical forms. His knowledge of the lexica is obvious, while his love of the recondite in grammar has won him the fame of being used to illustrate rare forms by the author of the *Siddhāntakaumudī*. These linguistic merits have secured him the preference shown for him by modern taste. Nor indeed can his power of expression be justly denied : ¹