THE HARMONY OF VIRTUE

IV. 4. Notes2017. The simile is strictly in the style of Vyasa who cares little for newness oringenuity, so long as the image called up effects the purpose. The assonancerarÀja sÀ rÀjavatÈ is an epic assonance altogether uncommon in Vyasa anddue evidently to the influence of Valmiki.8. Strong, brief and illumining strokes of description which add to the naturalnessof the scene, tataÕ kathÀste samavÀyayuktÀÕ: while also adding atouch that reveals the inwardness of the situation:kÐtvÀ vicitrÀÕ puruØa-pravÈrÀÕ,TasthurmuhÓrtaÌ paricintayantaÕ kÐØÍaÌ nÐpÀste samudÈkØamÀÍÀÕ.9. SaÌghaÒÒitÀÕ — surely means “assembled” and nothing else. P. C. Royin taking it as “drew their attention to” shows his usual slovenliness. Lelealso errs in his translation. He interprets it: “as soon as the talk was overKrishna assembled the kings for the affairs of the Pandavas.” But the kingswere already assembled and seated; not only so but they were waiting forKrishna to begin. It is absurd to suppose that as soon as Krishna began speakingthey left their seats and clustered around him like a pack of schoolboys. Yetthis is the only sense in which we can take Lele's rendering. I prefer to takethe obvious sense of the words: “As soon as they had reached an end oftalk, all those lion-kings assembled by the den of Madhou in the interests ofthe Pandava listened in a body to his high-thoughted and fateful speech.”Sumahodayam — having mighty consequences.10. Ayam — here beside me. See verse 4. Yudhishthira is sitting just byKrishna separated by Virata.tt" kqaSte smvayyuKta" ²Tva ivic]a" puäzp[vIra" -tSqumRuhÒ| piricNtyNt" ²Z,' n*paSte smudI=ma,a" --8--kqaNtmasaÛ c ma/ven s'`iÈta" pa