1893.] G. A. Grierson — Analysis of the Paclumaivati. 173 
CANTO XVII. 
The austerities of Ratna Sena. 
Ratna Sena awakes from Lis faint. His desolation at finding- 
Padmavati gone (205). The very sandal on his chest burns him (206). 
His lamentations (207). He complains of Mahadeva not answering- his 
prayers. Mahadeva is a mere stone. There is no good in watering' a 
rock (208). Mahadeva explains that he himself was struck senseless 
at Padmavati’s beauty, and could not help (209). Ratna admits the 
justice of the excuse. He gives up, and prepares for death (210). He 
arranges to burn himself to death on a pyre lit by the fire (of separation) 
which consumes him. The Gods fear that the intense heat will con- 
sume the universe (211). Hanuman, who was the guardian of the 
mountain, goes and warns Parvati and Mahefa. 1 ‘ I, who burned up 
Laqka, am about to be burned by this Yogi ’ (212). 
CANTO XVIII. 
Parvati and Maheija. 
Mahc 9 a, Parvati, and Hanuman haste to the temple. They remon- 
strate with Ratna on the dangers of a general conflagration (213). 
Ratna accuses Maheja of wantonly causing his death, and tells of his 
hopeless love for Padmavati. As ho says this, the fire of his woe 
blazes up still more furiously, and, had not Maheja extinguished it 
with nectar, the whole world would have been burnt (214). Parvati 
determines to test his passion if it is i-eal or not. She takes the form 
of a celestial nymph, and tempts him (215). He withstands the tempta- 
tion (216). Parvati recognizes the love as genuine, and recommends 
Mahadeva to grant him his desire (217). The king recognizes them as 
Gods (or perfected ones) ( sitldha ), for flies do not settle on their body, 
they do not wink, they throw no shadow, and suffer neither from hunger 
nor from illusion. Judging from his appearance, this must be Maheja. 
Without a Guru no one finds the path, and without Goraksanatha, no 
Yogi obtains perfection ( siddhi ) (218). He falls at Mahefa’s feet, and 
weeps floods of tears (219). The universe is flooded : Mahofa consoles 
him. Advises him, — ‘ Until the burglar breaks into the house, he gets 
no booty. The fort of Simhala has seven stories, no one returns alive 
who once sets foot upon it’ (220). Description of the fort, being at the 
same time a metaphorical description of the human body. At the foot 
of the fort is a tank with subterranean gallery. Thou must dive into 
the tank and enter by this, as a thief enters a house by a mine (221). 
i The poet identifies Maheqa and Mahadeva as the same person. 
