वृक्षायुर्वेद (सुरपाल - प्राचीन भारतीय पादप-विज्ञान, कृषि एवं वृक्ष-चिकित्सा सटीक)

anatomy might have found place in the science too.
In the absence of more texts on the subject it is
possible only to venture such a guess.
• The present manuscript definitely indicates that the
application of the "Tridhatu" theory to plants and
providing more recipes for producing horticultural
wonders must have been the lines on which the
sastra must have developed.
• It is not possible to answer these questions more
satisfactorily until some more texts on the science
are discovered.
Surapala's merits as an author of a scientific work have
been brought out incidentally in course of these
discussions. Thus a systematic unfolding of the subject,
a balanced treatment of various topics, neatly divided
sections for the respective topics with clear demarcations
of commencement and conclusion, a better and more
logical expounding of various topics as compared with
the other two texts, regard for predecessors combined
with self-confidence and independent reasoning are
some of the characteristics of his writing. Although in a
work of this nature what is said is more important than
how it is said, the writer in any field must have the
essential language skill to express himself precisely and
effectively. There is often a danger of the writer erring
on the other side and oversimplicity, plainness, and
banality in expression result. It must be said in favor of
Surapala that his language is happily free from these
traits. Throughout, he shows a full command on
language illustrating its flexibility which characterizes
the Sanskrit language. He uses the highly developed
and refined form of language used in the classical
literature. It is simple and lucid. Compound words are
used but they do not hamper the flow of expression.
The contents of the work do not give much scope for
literary embellishments. However, in the description of
the blossoming of some trees at the loving glance or a
gentle kick of a charming young girl (as per conventions
in literature), Surapala's poetic talent reveals itself fully
and can match with the best of the classical poetry in
Sanskrit (verses 147–151). Similarly, when he describes
the plan and layout of a pleasure garden (verses
293–297), the poet in him automatically takes charge of
his pen.
Surapala has also expressed the most ordinary content
in a poetic manner. Thus, he uses three beautiful
comparisons for the colors and yet another for the
softness—a soft soil of blue, white, or yellow tinge is
good for planting (verse 38). One has to read it in the
original to fully appreciate the beauty of expression.
Verses 118, 119, 129, 134, 140, 153, 248, and 249 also
illustrate this ability of the author. Occasionally he uses
simple figures of speech like alliteration and simile.
However, all these graces of language come to him
without effort. His skill in using difficult and elaborate
meters is also noteworthy. Brevity and precision of
expression is yet another asset of the author. Thus in
this respect, too, Surapala's work can claim superiority
to the other two texts.

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