Rāma savoured the recital amid a large group of literary aficionados: sa cāpi rāmaḥ pariṣadgataḥ (1.4.36). This is arguably the best way to appreciate art because people with a refined aesthetic sense assist one another in discovering newer and newer subtleties, thus raising the level of overall enjoyment.
Carrying with him the message of the deities, Nala entered the inner apartments of Damayantī and repeated the command of the deities. She heard those words and said, “Let the deities be how they are! Even so, Nala is my husband. I have no need for these deities!” Following this Nala introduced himself and then returned to Indra and the others; he narrated to them everything that had transpired. They said, “O noble one! You are an honest man and so we are at your beck and call. Just think of us and we shall be present at your service.” Nala then went on to Vidarbha.
After gaining some composure he decides that bowl should have been taken by either a dog or a buddhist monk. While the comparison of a buddhist monk to a dog might seem preposterous, Satyasoma has his reasons which is the presence of roasted meat! This passage already hints at the kind of degeneracy which had crept in which is confirmed by the entry of Nāgasena which happens immediately as if by cue. Also note that later there is also the mention of the dog along with Unmattaka.
Vālmīki was absorbed in thoughts about his verse when Brahmā visited him: tadgatenaiva manasā vālmīkirdhyānamāsthitaḥ (1.2.28). He was tormented by the impropriety in hunting the male bird and the consequent anguish caused to its companion. Here is a poet mulling over the incident that inspires his poetry. If worldly events do not evoke such a profound response in a writer, they cannot inspire poetry. In its highest reaches, poetry is the emotional outpour of an inspired poet, bypassing conscious thought.
In the past, when a certain sage who was wandering through a forest and sat down below a tree, a balāka bird’s droppings happened to fall upon him. He was enraged and stared at the bird angrily. As soon as his eyes fell on the bird, it got reduced to ashes. He felt proud of the strength of his tapas.
One day, he sought alms at the house of a brāhmaṇa in the city. The lady of the house said – “Please wait for a while; I will finish serving my husband and attend to you!”
When Devasomā interrupts to say this isn’t the way of buddhists or jains (अर्हन्त can apply to both), Satyasoma scolds them saying that they are fools who contradict their own stand by saying pain leads to pleasure while thinking that the nature of the effect is the same as that of the cause. During this and even later, it is evident that Satyasoma even though drunk and unsteady still has a sharp intellect which hasn’t been affected by the drinking, even while drunk his logic is incisive.
Candrasvāmin met Siṃhadaṃṣṭra, a śabara chief and asked him for a water source nearby, he called his men and said, ‘Show him water!’ They took him to their village and tied him up. He understood he had been deceived. Thinking about his children’s future if he is killed and offered as a bali he started worshipping Sūrya. A voice from the sky told him, ‘Candrasvāmin, you won’t be killed; you’ll reunite with your children!’ The children meanwhile waiting for their father, afraid, started crying.
While nothing of value is added by mentioning what has been discussed by both Dr N P Unni and Dr S Ramaratnam, just for the sake of completion, here is the list of meters and languages used. Even in a small work the author has shown versatility in usage of languages and meters which can be gathered by a cursory glance of the lists below.
Metres: Anuṣṭup, Āryā, Indravajra, Rucirā, Mālinī, Vaṃśasthā, Vasantatilakā, Śārdūlavikrīḍitā, Sragdharā.
Art appreciation begins with learned connoisseurs. Gaining breadth and vision with time, it develops into a well-structured system of aesthetics. Poets and artists often find it hard to explain the aspects of appeal inherent in the form and substance of their compositions. They have neither the bent of mind nor the competence to subject their work’s appeal to a logical analysis. Only a handful of artists can tell us what goes into the making of a charming composition and unravel the secret of its attraction.