Chapter 5 - A Critical and Musical estimate of Kisora-chandrananda-champu

The last proselines and the same of verse nineteen present the profoundness of its linguistic skill.33 4.2.4: The Poetic embelishments: The poetic imagination is fruitful on the base of ornamentation Kavisūrya has given importance to the ornamentation of poetic figure than the excellence of the poetic soul. The subject matter is general and small but the style of expression gives the poet a special position among all the other poets of his age.Kavisūrya gave up the alaṃkāra-s like śleṣa, yamaka, etc. and he adopted the self-expressing alarkāra-s like upāma, rūpaka etc.By this system he enriched the major sentiment of the campu,that is erotic. Kavisūrya is a poet who is much fond of alliteration. His allitertaions of sound of letters throw the speak of poetic beauty. The anuprāsa and it's varieties are frequently found in the campu. This is the highest used alankara by the poet. 4.2.4.1The Upamālaṃkāra. In the third verse Kṛṣṇa is compared with a new by emerging cloud. 34 Kṛṣṇa is happy after seeing Lalita as a poor fellow becomes. 35 glad after getting gems. Rādhā expresses her pleasure like the newcoming
leaf of her happiness-creeper. Her pleasure is compared to the ray of light in a
dark room, droplet of rain for a dry seed, as the moonbeam for night and as the
36 realization of god for the saint. Rādhā avoids the anklet which follows the
33. श्रीमद्भ्यमन्योऽन्य लावण्यलोल.... नमोनमः ।
दम्भसम्भृतिसमुज्जृम्भण मन्तरेण विलम्बमनवलम्ब्य ब्रूहि
सविश्रम्भं जीवामि वा कतिदिनान्यथवा तापिञ्छशाखिशाखायामुवन्धनमंगी करिष्यामि ।
[śrīmadbhyamanyo'nya lāvaṇyalola.... namonamaḥ |
dambhasambhṛtisamujjṛmbhaṇa mantareṇa vilambamanavalambya brūhi
saviśrambhaṃ jīvāmi vā katidinānyathavā tāpiñchaśākhiśākhāyāmuvandhanamaṃgī kariṣyāmi |
] 34. pratyagra mudiramedurah samutkata/ KCC, v.3
35. dinaścintamaṇinam/ v.8
36. bhutiradya sakhi... yati cittavrtterbrahmananda dhareva sampratam mamatvamasi, v.21 along with the prose
passage
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