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		<title>Jimmy6788: fixed issues</title>
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		<updated>2022-10-30T18:30:53Z</updated>

		<summary type="html">&lt;p&gt;fixed issues&lt;/p&gt;
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				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;← Older revision&lt;/td&gt;
				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;Revision as of 00:00, 31 October 2022&lt;/td&gt;
				&lt;/tr&gt;&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l1&quot;&gt;Line 1:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 1:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;{{more citations needed|date=June 2012}}&lt;/del&gt;&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&#039;&#039;&#039;Dhoyin&#039;&#039;&#039; or &#039;&#039;&#039;Dhoyī&#039;&#039;&#039; was a 12th century [[Sanskrit]]-language poet who composed the &#039;&#039;[[Pavanadūta]]&#039;&#039;.&amp;lt;ref&amp;gt;{{cite book |author=Siegfried Lienhard |title=A History of Classical Poetry: Sanskrit, Pali, Prakrit |series=A History of Indian Literature |url=https://books.google.com/books?id=E0aYeR67booC |year=1984 |publisher=Otto Harrassowitz Verlag |isbn=978-3-447-02425-9 |page=18 }}&amp;lt;/ref&amp;gt; He was a court poet of the [[Sena dynasty|Sena]] king [[Lakshmana Sena]], who ruled [[Gaur, West Bengal|Gauda]] in what is now [[Bengal]].&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&#039;&#039;&#039;Dhoyin&#039;&#039;&#039; or &#039;&#039;&#039;Dhoyī&#039;&#039;&#039; was a 12th century [[Sanskrit]]-language poet &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;from present-day India, &lt;/del&gt;who composed the &#039;&#039;[[Pavanadūta]]&#039;&#039;.&amp;lt;ref&amp;gt;{{cite book |author=Siegfried Lienhard |title=A History of Classical Poetry: Sanskrit, Pali, Prakrit |series=A History of Indian Literature |url=https://books.google.com/books?id=E0aYeR67booC |year=1984 |publisher=Otto Harrassowitz Verlag |isbn=978-3-447-02425-9 |page=18 }}&amp;lt;/ref&amp;gt; He was a court poet of the [[Sena dynasty|Sena]] king [[Lakshmana Sena]], who ruled [[Gaur, West Bengal|Gauda]] in what is now [[Bengal]].&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt; &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;== Personal life ==&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;Dhoyi was born in a Tantuvaya (weaver) caste family from [[Nabadwip]], according to [[Niharranjan Ray]]; Whereas according to PN Chopra he was a [[Baidya]]. He is sometimes referred as Dhoyi Kaviraj. He was one of the five gems of Sanskrit scholars, which was mentioned at the court of Lakshmana Sena.&amp;lt;ref&amp;gt;{{Cite book |last=Ray |first=Niharranjan |url=https://books.google.com/books?id=sEBuAAAAMAAJ |title=History of the Bengali People: Ancient Period |date=1994 |publisher=Orient Longman |isbn=978-0-86311-378-9 |pages=223 |language=en}}&amp;lt;/ref&amp;gt;&amp;lt;ref&amp;gt;{{Cite book|last=Chopra|first=Pran Nath|url=https://books.google.com/books?id=HAtuAAAAMAAJ|title=Religions and Communities of India|publisher=East-West Publications|year=1982|isbn=9780856920813|page=79|quote=The Baidyas retained among their group not only rajas and maharajas and powerful zamindars (landlords) but also scholars of great distinction such as the five gems at the court of Lakshman Sena, two of whom were Jayadeva, the famous composer of the Gita Govinda and Dhoyee Kaviraj.}}&amp;lt;/ref&amp;gt;&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;== Style ==&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;== Style ==&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;Pavanduta tells the story &lt;/del&gt;of &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;Kuvalayavatī&lt;/del&gt;, &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;a &lt;/del&gt;[[&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;gandharva&lt;/del&gt;]] &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;maiden from &lt;/del&gt;the &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;south who falls in love with king Lakshmana when she sees him during &lt;/del&gt;his &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;victory tour &lt;/del&gt;of the &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;world. She asks &lt;/del&gt;the south &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;wind &lt;/del&gt;to &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;take her &lt;/del&gt;message &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;to &lt;/del&gt;the king &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;at his court&lt;/del&gt;.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;The theme &lt;/ins&gt;of &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;all messenger poems is &#039;&#039;viraha&#039;&#039;, separation in love&lt;/ins&gt;, &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;and allusions to romance are never far away. Despite sharing &lt;/ins&gt;[[&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;Kālidāsa&lt;/ins&gt;]]&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&#039;s use of conventional romantic motif, Dhoyin’s messenger poem was much more than a mere pastiche of &lt;/ins&gt;the &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;Meghadūta. Dhoyin devoted nearly half of &lt;/ins&gt;his &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;work (48 out &lt;/ins&gt;of &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;104 stanzas) to describing &lt;/ins&gt;the &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;wind’s journey from Sandal mountain in &lt;/ins&gt;the south to &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;King Lakshmana’s palace at Vijayapura in Bengal. He spends a long time on the &lt;/ins&gt;message &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;(38 stanzas) in which the lovelorn condition of Kuvalayavatī and the wonderful qualities of &lt;/ins&gt;the king &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;are described in detail&lt;/ins&gt;.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;The theme &lt;/del&gt;of &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;all messenger poems is viraha, separation in love. Allusions to romance are never far away. Despite sharing &lt;/del&gt;[[&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;Kālidāsa&lt;/del&gt;]]&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&#039;s use of conventional romantic motif&lt;/del&gt;, &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;Dhoyin’s messenger poem &lt;/del&gt;is &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;much more than a mere pastiche &lt;/del&gt;of &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;the Meghadūta&lt;/del&gt;. &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;Dhoyin devotes nearly half &lt;/del&gt;of his &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;work (48 out of 104 stanzas) &lt;/del&gt;to &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;describing &lt;/del&gt;the &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;wind’s journey from Sandal mountain &lt;/del&gt;in &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;the south &lt;/del&gt;to &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;king Laksmana’s palace at Vijayapura in Bengal, but spends a long time on the message (38 stanzas) in which the lovelorn condition of Kuvalayavatī and the wonderful qualities of the king are described in detail&lt;/del&gt;.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;Dhoyin had aims beyond the expression &lt;/ins&gt;of [[&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;rasa (aesthetics)|rasa&lt;/ins&gt;]], &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;aesthetic sentiment, which &lt;/ins&gt;is &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;traditionally the sole purpose &lt;/ins&gt;of &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;[[Sanskrit literature|Sanskrit poetry]]&lt;/ins&gt;. &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;He devoted a greater proportion &lt;/ins&gt;of his &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;poem &lt;/ins&gt;to the &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;message because so he could pursue his aims more effectively. The Pavanadūta is similar &lt;/ins&gt;in &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;style &lt;/ins&gt;to &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;[[Kālidāsa]]&#039;s &#039;&#039;[[Meghaduta|Meghadūta]]&#039;&#039;&lt;/ins&gt;.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;Dhoyin &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;has aims beyond the expression of &lt;/del&gt;[[&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;rasa (aesthetics)|rasa&lt;/del&gt;]]&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;, aesthetic sentiment, which &lt;/del&gt;is &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;traditionally &lt;/del&gt;the &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;sole purpose of [[Sanskrit literature|Sanskrit poetry]]. He devotes a greater proportion &lt;/del&gt;of &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;his poem to &lt;/del&gt;the &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;message because he can thus pursue his aims more effectively. The Pavanadūta is similar &lt;/del&gt;in &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;style to &lt;/del&gt;[[Kālidāsa]]&#039;s &#039;&#039;[[Meghaduta|Meghadūta]]&#039;&#039;.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;== Works ==&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;Dhoyin&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&#039;s &#039;&#039;&lt;/ins&gt;[[&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;Pavanadūta&lt;/ins&gt;]]&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&#039;&#039; or &#039;&#039;Wind Messenger&#039;&#039; &lt;/ins&gt;is &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;probably one of &lt;/ins&gt;the &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;earliest surviving examples &lt;/ins&gt;of the &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;many messenger poems which were written &lt;/ins&gt;in &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;imitation of &lt;/ins&gt;[[Kālidāsa]]&#039;s &#039;&#039;[[Meghaduta|Meghadūta]]&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&#039;&#039; or &#039;&#039;Cloud Messenger&lt;/ins&gt;&#039;&#039;.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;== Works ==&lt;/del&gt;&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;The [[Clay Sanskrit Library]] has published a translation of &#039;&#039;Pavanadūta&#039;&#039; by Sir James Mallinson as a part of the volume &#039;&#039;Messenger Poems&#039;&#039;.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;Dhoyin&#039;s &#039;&#039;[[Pavanadūta]]&#039;&#039; or &#039;&#039;Wind Messenger&#039;&#039; is probably one of the earliest surviving examples of the many messenger poems which were written in imitation of [[Kālidāsa]]&#039;s &#039;&#039;[[Meghaduta|Meghadūta]]&#039;&#039; or &#039;&#039;Cloud Messenger&#039;&#039;. &lt;/del&gt;The [[Clay Sanskrit Library]] has published a translation of &#039;&#039;Pavanadūta&#039;&#039; by Sir James Mallinson as a part of the volume &#039;&#039;Messenger Poems&#039;&#039;.&lt;/div&gt;&lt;/td&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-added&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;== References ==&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;== References ==&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;

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		<author><name>Jimmy6788</name></author>
	</entry>
	<entry>
		<id>https://en.bharatpedia.org/w/index.php?title=Dhoyin&amp;diff=176770&amp;oldid=prev</id>
		<title>imported&gt;TrangaBellam: Reverted 1 edit by অভিরূপ দাশশর্মা (talk) to last revision by TrangaBellam</title>
		<link rel="alternate" type="text/html" href="https://en.bharatpedia.org/w/index.php?title=Dhoyin&amp;diff=176770&amp;oldid=prev"/>
		<updated>2021-08-08T20:08:22Z</updated>

		<summary type="html">&lt;p&gt;Reverted 1 edit by &lt;a href=&quot;/wiki/Special:Contributions/%E0%A6%85%E0%A6%AD%E0%A6%BF%E0%A6%B0%E0%A7%82%E0%A6%AA_%E0%A6%A6%E0%A6%BE%E0%A6%B6%E0%A6%B6%E0%A6%B0%E0%A7%8D%E0%A6%AE%E0%A6%BE&quot; title=&quot;Special:Contributions/অভিরূপ দাশশর্মা&quot;&gt;অভিরূপ দাশশর্মা&lt;/a&gt; (&lt;a href=&quot;/w/index.php?title=User_talk:%E0%A6%85%E0%A6%AD%E0%A6%BF%E0%A6%B0%E0%A7%82%E0%A6%AA_%E0%A6%A6%E0%A6%BE%E0%A6%B6%E0%A6%B6%E0%A6%B0%E0%A7%8D%E0%A6%AE%E0%A6%BE&amp;amp;action=edit&amp;amp;redlink=1&quot; class=&quot;new&quot; title=&quot;User talk:অভিরূপ দাশশর্মা (page does not exist)&quot;&gt;talk&lt;/a&gt;) to last revision by TrangaBellam&lt;/p&gt;
&lt;p&gt;&lt;b&gt;New page&lt;/b&gt;&lt;/p&gt;&lt;div&gt;{{more citations needed|date=June 2012}}&lt;br /&gt;
&amp;#039;&amp;#039;&amp;#039;Dhoyin&amp;#039;&amp;#039;&amp;#039; or &amp;#039;&amp;#039;&amp;#039;Dhoyī&amp;#039;&amp;#039;&amp;#039; was a 12th century [[Sanskrit]]-language poet from present-day India, who composed the &amp;#039;&amp;#039;[[Pavanadūta]]&amp;#039;&amp;#039;.&amp;lt;ref&amp;gt;{{cite book |author=Siegfried Lienhard |title=A History of Classical Poetry: Sanskrit, Pali, Prakrit |series=A History of Indian Literature |url=https://books.google.com/books?id=E0aYeR67booC |year=1984 |publisher=Otto Harrassowitz Verlag |isbn=978-3-447-02425-9 |page=18 }}&amp;lt;/ref&amp;gt; He was a court poet of the [[Sena dynasty|Sena]] king [[Lakshmana Sena]], who ruled [[Gaur, West Bengal|Gauda]] in what is now [[Bengal]].&lt;br /&gt;
&lt;br /&gt;
== Style ==&lt;br /&gt;
&lt;br /&gt;
Pavanduta tells the story of Kuvalayavatī, a [[gandharva]] maiden from the south who falls in love with king Lakshmana when she sees him during his victory tour of the world. She asks the south wind to take her message to the king at his court.&lt;br /&gt;
&lt;br /&gt;
The theme of all messenger poems is viraha, separation in love. Allusions to romance are never far away. Despite sharing [[Kālidāsa]]&amp;#039;s use of conventional romantic motif, Dhoyin’s messenger poem is much more than a mere pastiche of the Meghadūta. Dhoyin devotes nearly half of his work (48 out of 104 stanzas) to describing the wind’s journey from Sandal mountain in the south to king Laksmana’s palace at Vijayapura in Bengal, but spends a long time on the message (38 stanzas) in which the lovelorn condition of Kuvalayavatī and the wonderful qualities of the king are described in detail.&lt;br /&gt;
&lt;br /&gt;
Dhoyin has aims beyond the expression of [[rasa (aesthetics)|rasa]], aesthetic sentiment, which is traditionally the sole purpose of [[Sanskrit literature|Sanskrit poetry]]. He devotes a greater proportion of his poem to the message because he can thus pursue his aims more effectively. The Pavanadūta is similar in style to [[Kālidāsa]]&amp;#039;s &amp;#039;&amp;#039;[[Meghaduta|Meghadūta]]&amp;#039;&amp;#039;.&lt;br /&gt;
&lt;br /&gt;
== Works ==&lt;br /&gt;
Dhoyin&amp;#039;s &amp;#039;&amp;#039;[[Pavanadūta]]&amp;#039;&amp;#039; or &amp;#039;&amp;#039;Wind Messenger&amp;#039;&amp;#039; is probably one of the earliest surviving examples of the many messenger poems which were written in imitation of [[Kālidāsa]]&amp;#039;s &amp;#039;&amp;#039;[[Meghaduta|Meghadūta]]&amp;#039;&amp;#039; or &amp;#039;&amp;#039;Cloud Messenger&amp;#039;&amp;#039;. The [[Clay Sanskrit Library]] has published a translation of &amp;#039;&amp;#039;Pavanadūta&amp;#039;&amp;#039; by Sir James Mallinson as a part of the volume &amp;#039;&amp;#039;Messenger Poems&amp;#039;&amp;#039;.&lt;br /&gt;
&lt;br /&gt;
== References ==&lt;br /&gt;
{{reflist}}&lt;br /&gt;
&lt;br /&gt;
{{authority control}}&lt;br /&gt;
&lt;br /&gt;
[[Category:Indian male poets]]&lt;br /&gt;
[[Category:12th-century Indian poets]]&lt;br /&gt;
[[Category:Poets from West Bengal]]&lt;br /&gt;
[[Category:Sanskrit poets]]&lt;/div&gt;</summary>
		<author><name>imported&gt;TrangaBellam</name></author>
	</entry>
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