As well as some sonorous verse (‘padya’), the Campū Rāmāyaṇa also includes prose passages (‘gadya’) – indeed a campū is a work which combines padya and gadya. In other traditions, poetry is by definition not prose but in Sanskrit kāvya, which is most often translated as ‘poetry’, includes both verse and prose. This, our second excerpt from Bhoja’s work, is an example of his skill in gadya.
एष मृगाङ्कोऽपि मृगयायासपरिश्रान्तिविश्रान्त्यै ससंभ्रमं नमज्जनपरिवृते मज्जनगृहाभिमुखे दशमुखे तत्रत्यविचित्रतरशातकुम्भस्तम्भाग्रप्रत्यग्रप्रत्युप्तस्फटिकशिलाशालभञ्जिकापुञ्जकरतलकलित-निजोपलमयकलशमुखादच्छाच्छामविच्छिन्नधारामम्बुधारां निजकराभिमर्शादापादयंस्तस्य प्रसादपिशुनानां शुनासीरचिरकाङ्क्षितानां विंशतिविधवीक्षणानां क्षणमात्रं पात्रं भवति ।
And as for the moon here: when the ten-headed Rāvaṇa heads hurriedly to the bath-house – attendants bent double before him – to refresh himself after the exertions of the hunt, the moon for a moment receives his blessing, as twenty eyes turn towards him (looks long longed for by Indra) for the service he has rendered the rākṣasa king in producing by way of his rays a perpetually flowing stream of water purer than pure from the mouths of the moonstone pitchers held aloft in the hands of the covey of crystal female figurines freshly fixed to the bath-house’s gem-studded golden pillars.
Campū Rāmāyaṇa – Bālakāṇḍa