likhati divasaṁ yātaṁ yātaṁ Yamaḥ kila mānini
vayasi taruṇe naitad yuktaṁ cale ca samāgame
bhavati kalaho yāvat tāvad varaṁ subhage ratam.
‘Hard-hearted maiden, lay aside the anger that doth impede our joy; death entereth on his register every day as it goeth, disdainful one; not meet is this in thy tender youth, for love is fleeting; rather spend in love the time we lose in this quarrel.’
The simple figures of speech are freely used by Bhāsa, and he shows as usual a marked fondness for the accumulation of similar sounds, as in sajalajaladhara, sanīranīrada, or kuladayaṁ hanti [[117]]madena nārī: kūladvayaṁ kṣubdhajalā nadīva. More interesting are instances of his power, which is specially manifest in the Svapnavāsavadattā and the Pratimānāṭaka, of expressing strong emotion adequately and forcibly. Thus we have the indignant upbraiding of Kaikeyī by the angry Bharata:[61]
vayam ayaçasā cīreṇāryo nṛpo gṛhamṛtyunā
pratataruditaiḥ kṛtsnāyodhyā mṛgaiḥ saha Lakṣmaṇaḥ
dayitatanayāḥ çokenāmbāḥ snuṣādhvapariçramair
dhig iti vacasā cogreṇātmā tvayā nanu yojitāḥ?
‘Hast thou not brought upon me disgrace and dishonour, on my noble father’s death at the hands of his dearest, on all Ayodhyā ceaseless lamentation, exile on Lakṣmaṇa, sorrow on the noble ladies, who love their children, for the cruel journey imposed on thy daughter-in-law, and on thyself the hateful reproach of a shameful deed?’ Equally effective is Lakṣmaṇa’s protest against Rāma’s acquiescence in his exclusion from the throne:[62]