Tilakamanjari

Author(s): Dhanpal, Sudarshankumar Sharma
Publisher: Parimal Publications
Catalog link: https://jainqq.org/explore/022659/1

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TILAKAMANJARI of DHANAPALA A Critical and Cultural Study Dr. Sudarshan Kumar Sharma

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The Tilakamanjarl of Dhanapala is a unique composition of Sanskrit prose literature of the 11th century A.D. which very truly follows the trail of the Kadambari of Banabhatta. Dhanapala was an inspired poet who had a mighty impact of the geniotic exuberance of the great litterateur Bhoja for the sake of whose recreation he composed his illustrious prose-romance. This Tilakamanjari presents a unique type of Katha which though inheriting most of the victuals from Kadambart has brought into being something very delicious and superb in the descriptive and narrative materials, characterisation and human psychology. By giving in it a brief genealogy of his patrons Munja and Bhoja, Dhanapala has helped the ancient Indian historians in understanding the historical links in the regnal line up of the Paramaras. The vast and panoramic review of the geographical spots amply illustrates his ubiquitous knowledge about the topography of India. The present study tries of examine the different facets of Tilakamanjari by grouping it into three major parts-Introduction, Dhanapala as a prosewriter and the cultural data in the Tilakamanjari. While in the first and second parts, the author makes an attempt to provide an evaluation of Dhanapala's life and literature, the third part gives an elaborate analysis of the geographical Date, Administration of Statecraft, Social and Economic conditions, Religion and Philosophy and Education, Literature and Art. The author has indeed done here the gigantic task of elucidating the literary as well as cultural heritages represented by Dhanapala in his Tilakamanjart with the pen of the true master and skilled artist. Price: Rs. 450.00

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TILAKAMANJARI OF DHANAPALA A CRITICAL AND CULTURAL STUDY Dr. Sudarshan Kumar Sharma Retired Principal, M.R. Govt. College, Fazilka (Punjab) Senior Lecturer in Sanskrit Rajindra Govt. College, Bhatinda (Punjab) Formerly Lecturer and Senior Lecturer in Sanskrit Govt. College Jind, Narnaul, Nabha and Dharamsala PP PARIMAL PUBLICATIONS DELHI

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Published by: PARIMAL PUBLICATIONS 27/28 SHAKTI NAGAR DELHI- 110007 (INDIA) Ph. 744 5456; Fax : 011-7862183 E-mail : parimal@ndf.vsnl.net.in (c) Author First Ed. 2002 ISBN: 81-7110-214-3 Price Rs. ..... Printed at: Himanshu Laser System 46, Sanskrit Nagar, Rohini Sect. 14 Delhi 110085; Ph. 7862183

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Dedicated to the everlasting memory of my illustrious daughter Rashmi Sharma M.A. Bed (M.A. Sanskrit 1st Class 1 st Punjabi University Patiala) Who expired on 8.11.96 in P.G.I, Chandigarh

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FOREWORD Among the Sanskrit prose works the Tilakamanjari of Dhanapala has suffered comparative neglect, though in its style and beauty of diction it compares very favourably with some of the masterpieces in the field. It is therefore gratifying to note that of late it has begun to attract critical notice of scholars. A critique on it was included in the Delhi University Ph.D. thesis "A study of Katha Literature in Sanskrit" by Miss Kamal Gogna. A far more detailed notice was taken of it by Dr. N.M. Kansara of Ahmedabad who produced two volumes on it, one containing the critical edition of the work and the other, a study of it. These volumes were in the form of a thesis that he had submitted to the M.S. University, Baroda, for the degree of Ph.D. Apiece with these studies is the study by Dr. Sudarshan Kumar Sharma. He has produced a volume of more than 900 pages on it. Dr. Sharma has worked hard and has come out with penetrating critique on the work of Dhanapala. His processing of the cultural material in it is particularly welcome. Equally welcome is his presentation of the facts and style of writing. The world of scholars would keenly look forward to seeing his study in print and profiting by it. (Satya Vrat Shastri) Ex Vice Chancellor Sri Jagannatha Puri Sanskrit University, Puri, (Orissa)

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PREFATORY NOTE The Sanskrit text of Tilakamanjari of Dhanapala was first published in full in 1930 by the Nirnaya Sagara Press Bombay kavyamala Series No. 85 in a single volume of three hundred and fifty pages. The second edition TM (N) published in 1938 A.D. being more or less a reprint preserving all the mistakes and misprints available has been reconstructed by Dr. N.M. Kansara of Gujarat College Ahmedabad in June 1991 L.D. Series ed. No. 110 published by L.D. Institute of Indology, Amedabad. This edition of 1938 in collaboration with the Botad edition (3 volume incomplete leaving the fourth volume to be reconstructed from the 1938 edition) has been followed by me in preparing the present work entitled "Tilakamanjari of Dhanapala- A critical and cultural study. It took me over three years to complete the MSS which was typewritten in 1972. This monumental project which is being followed by a complete English translation of the Text of Tilakamanjari now completed accepted for publication has been accomplished with the help of all the Critical editions mentioned in the Bibliography including now the L.D. Series ed. at typical spots. The Kavyanusasana of Hemacandra, the Historical Geography of Ancient India by Dr. B.C. Law and many others referred to in the footnotes have been taken into consideration. My special knack for classical Sanskrit Prose already fructified in the critical study of Harsacarita of Bana bearing an English translation being revised into a better accomplished form, has helped me achieve this monumental effort. "Bana Bhatta Ka Adana Pradana by Dr. A.N. Pandeya of Kashi Vidyapeeth, Varanasi deserves a special mention. I am greatly beholden up Dr. Satyavrat Shastri Visiting Professor of Sanskrit in Thailand, Vice Chancellor Puri University erstwhile Professor of Sanskrit University of Delhi, who thoroughly perused my work and was kind enough to give his expert comments on it. I am equally grateful to the Proprietor of Parimal Publications, Delhi, for having offered his sporting gesture for undertaking the publication of this work. Dr. Sudarshan Kumar Sharma HIG. Block, 61-B 3 Sector-VI 15th August 2002 PARWANOO Dated ...

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PART-I INTRODUCTION CONTENTS A. Dhanapala and his works Personal life and the personality of Dhanapala B. Works of Dhanapala- A Survey C. Date of Dhanapala PART-II DHANAPALA AS A PROSE WRITER 12 A. Emergence and growth of classical Sanskrit Prose Literature up to the time of Dhanapala (11th century A.D) 12 B. Literary tendencies of the Age 23 C. Prose Romance of Dhanapala; Act and Style 30 1. Construction of the plot; The sources of the plot and the innovations introduced by the poet 2. Descriptive and narrative element 3. Description of nature 4. Characterisation 5. Sentiments 6. Philosophy of Life 7. Poetic embellishments; Language and Diction. D. Impact of Earlier Prose writers on Dhanapala and his influence on later writers 138 1 4 7 10 PART-III CULTURAL DATA IN TILAKAMANJARI E. Place of Dhanapala's works in Sanskrit Prose, Literature, General estimate. 150 1. GEOGRAPHICAL DATA 1. Main sub- divisions of Bharatavarsa 2. Mountains and forests 3. Rivers and Lakes 30 44 53 73 91 108 113 152 152 167 186

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232 281 4. Regions, states, cities and Tirthas 199 5. Flora and Fauna; seasons II. ADMINISTRATION AND STATE CRAFT 245 1. State and the king245 2. Powers of the king 3. Military organisation 306 4. The methods of warfare 316 5. Judiciary 318 TII. SOCIAL AND ECONOMIC CONDITIONS 320 1. Social Institutions 2. Sacraments, Pre-natal and post-natal 328 3. Educational sacraments 339 4. The Vivaha Samskara 343 5. The Funeral Rites. 354 6. Family life, Social beliefs, superstitions, general customs, and taboos. 320 354 7. Food and Drinks, 380 8. Pastiness and sports 394 9. Harlotry 399 10. Economic conditions 399 IV. RELIGION AND PHILOSOPHY 415 V. EDUCATION, LITERATURE AND ART 434 VI. Fine Arts (Music, Dance, Perfumery, Drapery, Toiletry, ornaments Architecture, Sculpture and Paintings). VII. CONCLUSION 479 447

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DIACRITICAL WORDS VOWELS

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CONSONANTS Ka Kha ga gha ca cha jha tha dha na ta E OF POSEND FES EFFFFFFF EOF FF he Emo tha da dha na ra pha ba bha ma ya ksa tra jna

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ABBREVIATION Abhi. sak. Ait. Br. AKS. Astad. AV. Brhad. Up. CAI Chand. Up. Dasa-r. GCM HAI HC HGAI HCESA HSL IHQ LN KAS Kad. ESA Kad. KM Kalid. Kosa Kav. Mim. KKB KSN KSS K-Su Mahabh. Malati Malv. Mark. P. M. Williams Abhijnana sakuntalam Aitareya Brahmana Avanti-Sundarikatha Astadhyayi Atharvaveda. Bshadaranyakopanisad Cities of Ancient India Chadogyopanisad Dasarupaka Gadyacintamani. History of Ancient India Harsacaritam Historical Geography of Ancient India Harsacarita Eka Samskrtika adhyayana History of Sanskrit Literature Indian Historical Quarterly Journal of Indian History Kautiliyam Arthasastram Kadambari Eka Samskrtika adhyayana. Kadambari Katha mukha Kalidasa Kosa. Kavya Mimamsa. Kalidasa Ka Bharata. Kalidasa Special Number. Kathasaritsagara Kama Sutra. Mahabhasya Malatimadhvam Malavikagni Mitram Markandeya Purana. Monier Williams.

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MBh. MBh. Kosa Megh. Mrcch. NN NS Pr. Yaug. Prab. Cint. Prati. N. Ratn. Rajat. Kosa RV Raja-t. Rag. V. Ram. Saund SSD Skt. Engl. Dict. St. Ind. Sah. D. Sankh. Sr. Su. Taitt. Br. Tand. Br. TM URC USK Vaj. Sam. VD VIJ VS. Yaj. V. J Mahabharatam Mahabharata Kosa. Meghaduta Mrechakatikam Nagananda. Natyasastra. Pratijna Yaugandharayanam Prabandha Cintamani. Pratima nataka. Ratnavall. Rajataranginikosa. Rgveda Rajatarangini. Raghuvamsa Ramayana Saundarananda Samarangana Sutradhara Sanskrit English Dictionary Studies in Indology. Sahitya darpana. Sankhayana Srauta Sutra. Tattiriya Brahmana. Tandya Brahmana. Tilakamanjari. Uttararamacaritam. Udaya Sundarikatha Vajasneyi Samhita Vasavadatta Vishveshwarananda, Indological Journal. Visva Samskrta. Yajurveda.

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PARTI INTRODUCTION PERSONAL HISTORY OF DHANAPALA Unlike Bana who has given a detailed account of his pedigree along with a history of the personal life till he reached the court of King Hars avardhana of Kannauja and Thanesar and returned home to start with the biography of the king in the first two and a quarter of the IIIrd Ucchvasas of Harsacarita and Introductory Verses of Kadambari Dhanapala has felt satisfied in giving a very few facts about his pedigree in the last three introductory Verses of his Tilakamanjari. Besides Tilakamanjari Prabandhacintamani of Merutungacarya will also form the second source for tracing the personal account of the poet. According to Tilakamanjari' "There was a twice-born (Brahmana) born in the abode known conspicuously or popularly Samkasya in the entire range of Madhyadesa, who, even though adorned with the seerdom among the Danavas attained to prominence as a seer among the gods". "He was well versed in the Scriptures, skilled in activities or arts ( fr or Art), attained to perfection in creative faculties and interpretations or philosophical dissertation; his self-born or son came to be a great soul, the illustrious Sarvadeva a peer to Svayambhu or Brahma". "Having attained to the smattering of learning on waiting upon the lotus feet of his progenitor, his son, a Brahmana, the illustrious Dhanapala, composed this unblemished Katha. Even though unparalleled in composing sweet sayings of unrivalled import, he was spoken in the court, by the overlord of the earth, Illustrious Munja, the ocean of all the lores, the speech; like this. Therefore, according to Dhanapala himself, he was the son 1. AsIda dvijanmA'khilamadhyadeze prkaashshaaNkaashmniveshjnmaa| alabdhadevarSiriti prasiddhi yo daanvrssitvvibhuussito'pi|| zAstreSvadhItI kuzala: kriyAsu (kalAsu) bandhe ca bodhe ca girAM prakRSTaH / tasyAtmajanmA samabhUnmahAtmA devaH svayambhUriva srvdevH|| tajjanmA janakAghripaMkajarajaH sevAptavidyAlavo vipraH zrIdhanapAla ityavizadAmetAmabadhnAt kthaam| akSuNNo'pi viviktasUktiracane ya: sarvavidyAbdhinA Pin ana hafi anutya eg: 11- TM: Intro., V. 51. 53, pp. 40-42 Vol. I

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TILAKAMANJARI OF DHANAPALA of Sarvadeva, a great poet and a philosopher, who composed this Katha at the instance of Munjaraja. Sarvadeva belonged to a family of hereditary Brahmanas. His father was born in a place named Samkasya situated in the Madhya Pradesh. He married a girl named Dhanasri of a very noble family as by Kamal Gogna in 'Dhanapala, A Literary Study' p. 430 (Charudeva Shastri Felicitation-Volume-2). According to Merutungacarya ___"Formerly in the city (Puri) called Visala (Ujjayini) abounding in riches, there lived a Brahmana Sarvadeva by name and of Samkasya gotra, born in the Madhyadesa. He was inherited by his two sons Dhanapala and Sobhana after having attained to quietude owing to his adherence to the philosophy of Jina. Sometimes, Srivardhamanasuri, son of Sarvajna came to him and took shelter under him due to love for his virtues. He was cordially greeted by him. He was begged of half of the share under the pretext of a vow after querying after the previous birth hitherto defunct. By symbolic expression he was begged of one of the two sons. He was interdicted not to offer his elder son Dhanapala who was sceptic about the dicta of the philosophy of Jina. He became complaisant unto Sobhana, the younger one and started for pilgrimage to the holy banks with a view to expiating the sin accrued from showing infirmity in fulfilling the vow. Thereafter he followed that preceptor in company with his younger son Sobhana having presented the other one. Dhanapala having obtained acquaintance with all the lores prohibited the preaching of Jaina darsana in Dhara for 12 years. Ultimately he welcomed Sobhana into his home-land appreciating the tolerant attitude of the latter who had responded respectfully to the rebuke of the former (Homage to you, O Jaina monk, having teeth like those of a donkey). By that time Dhanapala had attained to the status of the foremost among the savants in the court of Bhoja. Dhanapala attended upon Sobhana having gone to the palace, with victuals and sweet words". Para 58 in the same 1. purA samRddhivizAlAyAM vizAlAyAM puri madhyadezajanmA sAkAMzyagotra: sarvadevanAmA dvijo nivasan jainadarzanasaMsargAtprAya: prazAntamithyAtvo dhanapAlazobhanaputradvayenAnvitaH kadAcidAgatAn vardhamAnasUrIn guNAnurAgAnijopAzraye nivAsyu nirdvandvabhaktyA paritoSitAn sarvajJaputrakAniti dhiyA tirohitaM nijapUrvajanidhiM pRcchaMstairvacanacchalenArddhavibhAgaM yaacitH| saMketanivedanAllabdhanidhistadarddhaM yacchaMstaiH putradvayArddha yAcito jyAyasA dhanapAlena mithyAtvAndhamatinA jainamArganindApareNa niSiddhaH kanIyasi zobhane kRpApara: svapratijJAbhaGgapAtakaM tIrtheSu kSAlayitumicchu: pratitIrthaM prtsthe| atha pitRbhaktena zobhananAmnA laghuputreNa taM tadAgrahAniSidhya pituH pratijJAM pratipAlayitumupAtavrataH svayaM tAn guruunnussaar| abhyastasamastavidyAsthAnena dhanapAlena zrIbhojaprasAdasamprApta samastapaNDitaprakRSTapratiSThena nijasahodarAmarSabhAvAdvAdazAbdI yAvatsvadeze niSiddhajainadarzanapravezena taddezopAsakaiH atyarthamabhyarthanayA gurupuruSeSvAhUyamAneSu sakalasiddhAntapArAvArapAradRzvA sa zobhananAmA tapodhano gurunApRcchya tatra prayAto dhArAyAM pravizan paNDitadhanapAlena rAjapATikAyAM vrajatA taM sahodaramityanupalakSya sopahAsam- gardabhadanta bhadanta namaste' iti prokte, kapivRSaNAsya vayasya sukhaM te (iti pratyuttarayAMcakre tatazcamatkRto dhanapAlo mayA narmaNApi namaste ityuktm| anena tu kyasya sukhaM te)

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INTRODUCTION narrative 'dhanapAlapaNDitaprabandhaH' recounts an incident from the life of Dhanapala that occurred when he was in association with Bhoja. The King went to his palace named Sarasvati Kanthabharana, had some pow-wow with the literateur as to whether there happened to be an omniscient one or was there anyone well advanced in knowledge etc.? Some discussion about the authenticity of Arhantasri, composed by Arhata etc. Ultimately the king is convinced by Dhanapala to take to the path of Jina'. Dhanapala inscribing the decision about the question of Bhoja in a birch bark leaf easily alludes to the art of writing having birch bark leaflets as the material on which the scripts could be inscribed. The whole discussion gives a clear allusion to the fact that Dhanapala having been taken to the path of Jina by Sarvajna and Sobhana tickled cunningly by Bhoja about the word Sarvajna confirms his faith in the doctrine of Sarvajna and even makes the king conform to that faith. Advancing ahead we find that Merutunga refers to the composition of Tilakamanjari by Dhanapala under the stewardship of Bhoja. Para 60 is very significant in this respect. Merutunga and Hemacandra are the only post-Dhanapala authors referring to the authorship of Tilakamanjari in the name of Dhanapala. Dhanapala gone remiss in his wordly duties was tickled one day by Bhoja and in reply he feigned over-engrossment in stringing the pearls of his Tilakamanjari. First copy presented by the Pandita, Bhoja requested him to treat him as the hero and substitute Avanti for the heroine, recount Mahakala Stotra on the shores of Sakravatara whereby he would get the cherished end of his desires. Chafed for the moment Dhanapala slept in anxiety and awakened by his young daughter redrafted his compositions and presented a fresh copy to the king after renovating it. During the course of discussion with the king Dhanapala had been decried by some one in Praksta. Bhoja ultimately quelled the dispute between the two. Other ityuccaratA vcncaaturyaanirjitosmiiti| tatkasyAtithayo yUyamiti dhanapAlasyAlApaiH bhavata evAtithayo vayamiti zobhanamunervAcamAkarNya vaTunA saha nijasaudhe prasthApya tatraiva prsthaapitH| svayaM saudhe samAgatya dhanapAlaH priyAlApaiH saparikaramapi taM bhojanAya nimantrayaMstaiH praasukaahaarsevaaprairnissiddhH| -- Prab.Cint. II, Para 57, p. 36. 1. atha kasminnapyavasare narezvaraH sarasvatIkaNThAbharaNaprAsAde vrajan sadA sarvatrazAsanaprazaMsAparaM paNDitaM dhanapAlamAlapat 'srvjnystaavtkdaacidaasiit| tatra sAmprataM' kazcijjJAnAtizayo'stItyabhihite, arhatakRte arhanta zrInAmani cUDAmaNigranthe vizvatrayasya trikAlavastuviSayasvarUpaparijJAnamadyApi vidyate iti tenAbhihite tridvAramaNDape sthitaH kasmindvAre'smAkaM nirgmH| iti zAstrakalaMkAropaNodyate nRpe, buddhimAtrA trayodazIti pAThaM satyApayatA bhUrjapatre nRpapraznanirNayamAlikhya mRNmayagolake nidhAya ca sthAgiMkAdharasya taM samarpya dev| pAdAvadhAryatAmiti nRpaM praah| nRpastabuddhisaMkaTe nipatitaM svaM manyamAna etaddvAratrayasya madhyAtikamapi nirNItaM bhaviSyatIti vimRzya sUtramRdbhirmaNDapapadmazilAtalamapanIya tanmArgeNa nirgatya taM golakaM bhitvA teSvakSareSu nirgamanirNayaM vAcayaMstatkautukottAlacittaH zrIjinazAsanameva prshshNsh| Ibid., Para 58, p.39.

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TILAKAMANJARI OF DHANAPALA Pandits also derided his talent but he remained non-chalant'. To confirm the scholarship of Dhanapala Bhoja summoned the latter to his court and challenged the rivals to outlvie him. Dhanapala triumphed ultimately as no one could stand his calibre. All these spotlights visioned in the Prabandhacintamani, when compared with the account of Tilakamanjari make one point clear that whereas Dhanapala says that he wrote the Katha known as Tilakamanjari at the instance of Munjaraja, Merutunga mentions that he wrote it at the instance of Bhoja. Both, however, are of one mind about the fact that Dhanapala was the son of Sarvadeva a learned savant. Sobhana's name is missing from the account of Dhanapala whereas Merutunga mentions it which may mean that Dhanapala did not deem it fit to mention the name of his brother who had been taken away by Sarvajna. Dhanapala mentions Samkasya as a nivesa-a particular place name whereas Merutunga refers to it as the personal gotra of Sarvadeva. A. PERSONALITY OF DHANAPALA The famous saying of Carlyle that 'Style is the man' can be recognised here to understand the personal attainments of Dhanapala who according to his own saying was unparalleled in the composition of stray but sweet sayings. He was a Vipra' i.e. a scholar or an inspired poet brought into being through the environments. He inherited the vast store of knowledge (lit. out of humility-few drops of knowledge) by virtue of his waiting upon the lotus-feet of his progenitor (i.e. sire) Sarvadeva who was a peer to Brahma or a Vedic-scholar, a great soul lofty in composition as well as the 1. kadAcidrAjJA sevAzlathatAM pRSThaH paNDita: svaM tilakamaMjarIgumphavaiyagryaM jgau| zizirayAminyAzcarame yAme nirvinodatvAttAM prathamAdarzapratimAnIya paNDitena vyAkhyAyamAnAM tilakamaMjarIkathAM vAcayaMstadrasanipAtAbhIruH pustakasyAdhaH kaccolakayutasuvarNasthAlasthApanapUrvaM tAM samApya taccitraM kavitAcitrIyamANacitto nRpaH paNDitaM prAha-mAmatra kathAnAyakaM kurvan vinItAyAH pade'vantImAropayan zakrAvatAratIrthasya pade mahAkAlamAkalayan (yadyAcase) tattubhyaM dadAmItyabhidadhAne nRpe khadyotapradyotanayoH sarSapakanakAcalayoH kAcakAMcanayoH dhattUrakalpapAdapayoriva tava teSAM mhdntrmityuccrn| domuhaya nirakkhara lohamaIya nArAya tujjha kiM bhnnimo| guMjAhi samaM kaNayaM tolantu na gaasi paayaalm| ityAkrozapare tasmin jAjvalyamAne'gnau tAM muulprtimindhniickaar| atha sa dvidhA nirvedabhAg dvidhA'vAGmukho nijasodhapazcAdbhAge jIrNamaJcAdhirUDho niHzvasan bhRzaM sussvaap| bAlapaNDitayA tatsutayA sabhaktikamutthApya snAnapAnabhojananirmApaNAnantaraM tilakamaMjarIprathamAdarzalekhanAtsaMsmRtya granthasyAr3a lekhyaashckre| taduttarArdhaM nUtanIkRtya granthaH smrthitH| Ibid. II. 7. 60, p. 41. 2. akSuNNe'pi viviktasUktiracane- TM Intr. V. 53 Vol. I, p.42. 3. upahavare girINAM saGgame ca nadInAM dhiyA vipro ajaayt| Vaj. Sam. 26.15. Svadhyayamandala Paradi ed. P. 113. Sripada Damodara Satavalekara's text. 4. vipraH zrIdhanapAla ityvishdaametaambdhnaatkthaam| TM. Int.V. 53 Vol.. I, p. 42.

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INTRODUCTION understanding of the lores, skilled in practical ways of life and a student of the scriptures'. His style and apart from that his varied understanding of the works of his predecessor poets the large number of them paid homage to by him beginning from Valmiki and ending with Kardamaraja, his deep insight into the varied characteristics of a Katha i.e. a prose romance?, his nuancing of the distinction between a Katha and a Campu abounding in verses and mixed up with prose-all these go to establish the point that he was a versatile genius having an all-round purview of the Rhetorical devices in their totem. His style is replete with a variety of syllabic denominations and is laden with impenetrable jaggery of lengthy sentences full of recondite and abstruse vocabulary being the natural urge of the age which had practically left nothing to sponsor by way of a new genre in the type of writing he was going to undertake. But his lack of verbosity ranks him as one of the great prose writers who could stand the test of time to be reckoned with such stalwarts as Bana whose faithful imitator he strikes on many parallels struck by him. His obvious homage to Amaraguru and Bhargava" (i.e. Bshaspati and Sukra) the two great authorities on Ancient Indian Polity (Arthasastra) makes it manifest that his intellect had been polished by the wisdomprovoking thoughts of these great authorities on the relevant science. Unlike Bana he has not shown much influence of Kautilya on his mode of thinking. His description of Ayodhya on the same lines as that of Dhara by Bhoja and Ujjayni by Bana testify his knowledge of the Samarangana Sutradhara and Kadambari and above all his knowledge of the science of architecture in its varied aspects. Description of Sarayu having connections with Bhagirathi and the Eastern ocean, in the Uttarakosalas, his description of the Simhalas and the Suvarnadvipa, Kanci, Vaijayanti, Anga, Kalinga, Mahakosala, Kasmira, Kusasthala and Pancala, Magadha, Saurastra, Kamarupa (Pragjyotisa) etc. testify his expert knowledge of the Indian Geography. 'vaizampAyanazApakathAprakramamiva durvarNazukanAsamanoramam' 1. 54fridutt: Harafarta-TM. Int.V. 53 2. See I above. 3. akhaNDadaNDakAraNyabhAjaH pracuravarNakAt vyAghrAdivasayAghrAto gadyAvyAvartate jnH|| azrAntagadyasantAnA zrotRNAM nirvide kathA, jahAti padyapracurA campUrapi kthaarsm|| 4. farmHICITF341470 r1445rfa zifuataz9|TM. Vol. III, p.120 5. TM Vol. III, p. 95.

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TILAKAMANARI OF DHANAPALA ! Referring to the theme of Kadambari of Bana illustrate the point that Dhanapala was a close student of Bana Bhatta. The legends of Ramayana' such as itastataH sakhIsnehadUrAkRSTamanasA trijaTayAvinoditadayitavirahakSAmamaithilIkeSa. anekazaH krIDAnimittamAg2atayApradhAnanaktaMcarImiH saha pAdacAreNa vicarantyA latAmandireSu mandodaryA savibhramAvacitavikacamandAreSu nidrAniSaNNakumbhakarNAbhinanditaziziraharicandanavIthiSu, jAnakIvaimukhyaduHkhakSAmadazakaNThAtivAhitotkaNTheSu taTavaneSu.... vicaran, 'iha nijhareSu dRSTalaMkAnirNItadazakaNTha kaNThacchedanirvRtena dazarathAtmajena snAtvA jaTAyuSe nivartitaH prathamo nivApAMjaliH, iha praharSAsphoTanasaMkrAntasarasagairikapaMkapaMcAgalairdazyamAnamUrtimatpratApAnalazikhairiva bhujazikharaiH kharvayantastrikuTagirikuTAni ghaTitasamagrasetubandhA bandhuraM vavalguraMgada purogAH plavaMgapatayaH, iyamasamaMjasAkSiptalaMkAprAkArakAMcanazilAzabalA zivirasaMnivezabhUH sugrIvasya; eSA parasparavilakSa lakSyamANarAkSasakapikaraMkAvayavA rAmarAvaNayorAjibhUmi:, iha sakaladiGmukhAntarAlavyApighoSasya triSvapi bhuvaneSu sarpataH paulastyayazaso rathasyeva pravartakaH prayatnavadbhiH kSapAcarairanekadhAkRtAdhyavasAyena prasahya mArutinA bhujabalena bhagno'kSaH, iha kandarAyAmarAtidAritapradhAnavIravidrANavijayAdhvavasAyena sAyaMcaracakravartinA taistairasukumArairUpakramairakAla eva tyAjito nidrAM mahAnidrAyaisahodaraH, iha kramAkrAntasakalAmvareNa sADambaramudaMcatA jvalanajanmanA nIlena dhUmotpIleneva nayananalineSu vistAritaH prahastapraNayinInAmazrudhArAsAraH idamupAntanirjharAsannaprarUDhaviralavizalyauSadhi lavamavadAritora:sthalasya zaktyA samiti sumitrAsutasya mUrchAnipatanasthAnam, amI neminiSpiSTakapiziraH kapAlakarparazuktikAzakalazAritAH zaravisaravarSiNi rAmabhadre punaruktamupasRtA pasRtarAvaNa rathasya kSayasamayazoSitamahAnadIpravAhAnukAriNaH (cakramArgAH), iyaM svAmibhakteragrajazakte(zca) jagati jJApanAya vibhISaNena pratiSThApitA dUtApatacchinna kumbhakarNottamAMgatrAsitasya dAzaratheryathAprathamamAyata padAntarApratIpApasarpaNa saraNiH, iha latAvezmanyapanIta rakSogRhanivAsa nirvAda kalaMkAyAH janakaduhitu-rvepamAna svedAI karakisalayena dAzarathinA kathaJcidunmocito hutAzana pravezalagnodhUmadaNDa iva dhUmra kuTilAyatazikho veNIbandhaH, ito nivartitAnuvrajatsuravrajena nijagotrarAjadhAnImayodhyAM prati yiyAsunA dazAsyadamanena savilAsamadhyAsita mahArhamaNi vAtAyana: kautukottAnanayanajAnakIvilokita-gatiranukUlapavanaprasAritaiH patAkabAhubhiH parirabdhumiva cirotsRSTadRSTAM kuberapurImambarapathena pradhAvitaH puSpakanAmA vimAnarAja:-etc. along with saumitricaritamiva vistAritormilAsyazobham. (Vol. III 73-74). illustrate his expert knowledge of the Ramayana of Valmiki. tatraiva kSaNe jvalantamantarmadanAnalaM sAkSIkRtya bhUyo gRhItapANistAM cakitamRga zAvalocanAmatyantamanurAgAndhAM yojanagandhAmiva pArAzaraH praNayinImakRta.2 illustrates his expert knowledge of the Mahabharata. 'viditaniHzeSanItizAstrasaMhatiH'3 illustrates the point that he knew almost all the schools of polity available, up to date. It included the Arthasastra of Kautilya as well. 1. TM: Vol. II pp. 288-291. 2. Ibid., Vol. II, p. 278. 3. Ibid., Vol. Ip.71.

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INTRODUCTION 7 The various love and creative sports of Meghavahana illustrated by him' and the mention of terms such as 'vidUSakAn' ' nipuNacitrAkArai' 'rAgavizeSeSu saMsthApya'.... ' zRMgAraprAya rasAni svaracitasubhASitAni' 'nikhilanATyavedopaniSadbhirnartakopAdhyAyaiH ' 'kulakramAgatavaizikakalA kalApavaicakSaNyAbhiH sAkSAdiva kAmasUtravidyAbhiH ' ,2 illustrate his thorough insight into the lore of Kama or Kamasutra of Vatsyayana. 'jJAtaniHzeSapurANetihAsasAraiH dRSTasakalakAvyanATakaprabandhaiH ' paricitanikhilAkhyAyikAkhyAnavyAkhyAnaiH pramANavibhi:,... abhyastanATyazAstraiH, kAmasUtrapAragaiH, zabdavidyAmiva vidyAnAm, kau(kai)zikImiva rasavRttInAM, upajAtimiva chandojAtinAm, jAtimivAlaMkRtInAm, vaidarbhImiva, rItinAm, prasattimiva kAvyaguNasaMpadAm, paMcamazrutimiva gItinAm, rasoktimiva bhaNitInAm, etc. all these go to establish Dhanapala's scholarship in the lores such as legend and Chronicle, Drama, poetry, Prose, Philosophy, Dramaturgy, Kamasastra, Grammar, Prosody, Figures of speech, Music and Rhetorics. 'kalAvido viditasakalazAstratattvAH kavayo vAgminaH kAvyaguNadoSajJAH vijJAtavividhapurANetihAsakathAH kathAkhyAyikAnATakAdiprabandhabaddharatayo ratitantraparamparA parAmarzarasikamanasa:..... rAjaputrAH" 5 refers to arts, sastras such as Dharmasastra, Arthasastra, Ratitantra (Kama sastra), Purana, Itihasa, Katha, akhyayika, Nataka etc. forming the domain of Dhanapala's study. The complete picture given in the cultural study (Fine Arts) amply display his knack for the understanding of all the practical lores. B. WORKS OF DHANAPALA - A SURVEY Ascription of three works to the authorship of Dhanapala goes beyond any doubts in the opinion of literary critics. Pailacchi, a Prakrt lexicon and Rsabhapamcasika, a short poem of fifty verses eulogising the Jaina acarya Rsabhadeva, also written in Prakrt hardly stand in need of a critical study within the field of our survey. Tilakamanjari, being the most celebrated of the works of Dhanapala, is a Katha like Kadambari of Bana and Gadyacintamani of Odayadeva. The classification of prose Kavya in Sanskrit into two forms such as Akhyayika and Katha is quite popularly a 1. TM: Vol. I, pp. 74-75 2. Ibid. Vol. I, p, 51. 3. Ibid. Vol. I, pp. 51-52. 4. Ibid. Vol. II, p. 328. 5. Ibid. Vol. II, p. 240.

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2 TILAKAMANJARI OF DHANAPALA topic of discussion among the literary critics like Dr. S.K.De.' and Dr. Neeta Sharma. Bana has paid a lofty mead of encomium to the Katha mode of Prose Kavya in Kadambari and to akhyayika in Harsacarita. sphuratkalAlApavilAsakomalA karoti rAgaM hRdi kautukaadhikm| rasena zayyAM svayamabhyupAgatA kathA jnsyaabhinvaavdhuuriv| 'haranti kaM nojjvaladIpakopamairnavaiH padArthairupapAditA: kthaaH| nirantarazleSaghanAH sujAtayo mhaasrjshcmpkkuddmlairiv||" 'ucchvAsAnte'pyakhinnAste yeSAM vaktre srsvtii| kathamAkhyAyikAkArAH na te vandyAH kviishvraaH||' 'sukhaprabodhalalitA suvrnnghttnojjvlaiH| zabdairAkhyAyikA bhAti zayyeva prtipaadikaiH||" Besides Rhetoricians like Bhamah', Dandin have also dealt with this topic in detail. Dhanapala has referred to Kadambari and Harsakhyayika by virtue of which Bana attained prominence Regarding the characteristics of Katha and Campu Dhanapala says "A Katha palls the listeners with series of intermittent prose (narratives) while Campu, too, loses the charm of its story being preponderant in metrical forms." Dr. S.K. De' after having examined the views of Bhamah and Dandi along with those of Rudrata and those given in the Agni Purana, goes to illustrate akhyayika and Katha as under: 1. Some Problems of Sanskrit Poetics pp. 65-79. 2. Bana Bhatta- A Study. pp. 17-18. 3. Kadambari Introductory Verses 8.9. 4. Harsacarita. Introductory Verses 10.20. 5. Kavyalankara. p. 19. by Devendra Natha Sharma, Bihar Rashtrabhasha Parishad, Patna 1968. 6. Kavyadarsa. 11, 12-15. With Jivananda Vidyasagar tika, edited by V.Narayana Ayyar, 1964 7. kAdambarI sahodaryAM sudhayA vaibudhe hRdi| harSAkhyAyikayA khyAti bANo'bdhiriva lbdhvaan| TM Verse Intr. 27. 8. azrAntagadyasantAnA zrotRNAM nirvide kthaa| jahAti padyapracurA campUrapi kthaarsm| TM Verse 17. 9. Some Problems of Sanskrit Poetics. p.78.

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INTRODUCTION Akhyayika(1) The subject matter gives facts of actual experience; (2) The narrator need not be the hero himself; (3) It is divided into chapters called Ucchvasas which should (excepting the first) open with the stanzas, preferably in arya, indicating the tenor of the chapter in question; (4) It possesses a metrical introduction of a literary character. Katha (1) The subject matter is a story generally a love story, for the most part invented by the poet; (2) The narrator should be some person other than the hero, who may sometimes take that role; (3) There is no division into chapters; (4) It should have a literary metrical introduction. As already observed Dhanapala himself denominates Tilakamanjari- a Katha.' Let us try to find out if the characteristics of this species as enunciated by Dr. S. K. De strike any similitude with the characteristics of Tilakamanjari. 1. The subject matter of Tilakamanjari is a story, a love story of two men and two women- Harivahana and Tilakamanjari and Samaraketu and Malayasundari and has been invented by the poet. 2. Narration goes first from the lips of Dhanapala who writes it and describes the affluence of Ayodhya, its King Meghavahana, the Queen Madiravati, birth of a son to both and later on we find the narrative taken in hand by Harivahana and Samaraketu at regular intervals. 3. The whole work is undivided into any chapters and is narrated in a series without any subsections even. Only paragraphs are there. 4. Its Introduction comprising of 53 stanzas is quite literary in so far as verses 1 and 2 eulogise Jina, verse 3 deals with the eulogium of the Navel born god Visnu. Verse No.4 deals with the sermons on piety of the Lord of the Jinas; Verse 5 eulogises Brahma, Verse 6 pays homage to Vira i.e., Mahavira; Verse 7 generalises the virtues of a poet and likewise the 8th deals with poets as a body; Verses 9 and 10 dilate upon the thinkers; some tirade against poetasters in verse 11; verse 12 tackles the problems of poesy; verse 13 refers to the plagiarists and their art; Verse 14 tackles the issue of a wicked person the enemy of literary muse, Verse 15 presents the hideous 1. fax: s 19167 ruftria4CET 7781141 - TM. Intro. V. 53.

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TILAKAMANJARI OF DHANAPALA figure of prose compared to a tiger; Verse 16 underrates the paranomastic composition as well as the script; Verse 17 tackles the issues concerning the Katha and Campu their pre-requisites; Verse 18 deals with a good Katha; Verse 19 offers obeisance to Munindra; Verse 20 eulogises Valmiki and Vyasa; Verse 21 mentions Brhatkatha; Verse 22 refers to Pravarasena and his Setubandha Kavya; Verse 23 refers to a Katha known as Tarangavati; Verse 24 eulogises the literary attainments of Jivadeva, Verse 25 favours Kalidasa; Verse 26 praises Bana and his son Pulinda; Likewise verse 27 refers to Kadambari as a Katha and the Harsakhyayika; Verse 28 compares and contrasts the talent of Magha and Bharavi; Verse 29 deals with the story of Caramakatha written by Haribhadrasuri; Verse 30 belauds the dramatic muse of Bhavabhuti; Verse 31 refers to Vakpaitraja; Verse 32 referring to Bhadrakirti refers to Bappa Bhatti Caritam quite symbolically; Similarly Yayavara Kavi i.e. Rajasekhara, Mahendrasuri, Rudra and his Trailokya Sundari, a. Katha, the sweet sayings of Kardamaraja and varied aptitudes of various literary artists have been dwelt upon in the verses succeeding 37; verses 38 to 50 deal with the Paramara lineage and its origin from the Agnikula, greater space devoted to a panegyric of Bhoja and finally the last three verses tackle the issue of the pedigree of the poet which though very brief is quite significant. C. DATE OF DHANAPALA Unlike Bana and like must of his predecessors and successors Dhanapala has also displayed an intentional reticence about disclosing the exact chronological line of events based on correct system of dating according to which we could find out the definite landmarks for the upper and lower limits of his career. Still there is a silver lining in the dark cloud and we find an express mention of the lineage of Paramaras starting with King Paramara of the Agnikula legend fame and ending with Bhoja who was followed by an indirect line of royal scions as evidenced by inscriptional and other literary records such as Prabandhacintamani. The main crux of the problem baffling the minds of critics is the paucity of tangible evidence plainly configurating the exact reign periods of the patrons under whose umbrage he flourished. Two types of evidence are available one of which maintains that Dhanapala flourished under the reign period of Munja (Vakpatiraja II) while the other goes to prove that he flourished under the stewardship of Bhoja. A third possible conclusion is derived which postulates that he flourished in the reign periods of Vakpatiraja Munja, Sindhuiaja and Bhoja and perhaps he ended his life when Bhoja was yet his patron and on the throne.

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INTRODUCTION With a view to arriving at a definite decision concerning the patronage of Dhanapala we shall have to depend upon the Tilakamanjari on the one hand and on the other upon Prabandhacintamani of Merutungacarya which has been quoted by Dr. Pratipal Bhatia' and Narayana Manilal Kansara's introduction to the (Pallipala) Dhanapala's Tilakamanjarisara.? According to Dr. Pratipala Bhatia, Dhanapala was a contemporary of three Paramara rulers viz. Siyaka II, Vakpati II and King Bhoja. He was awarded the tittle 'Sarasvati' by Vakpati Munja." According to Prof. Kansara Kavi Dhanapala, the author of this prose romance- Tilakamanjari Katha- was a Brahmin convert to Jainism and flourished sometime between 955 and 1055 A.D., during the heydays of the Paramara Dynasty of Dhara. A contemporary of well-known Sanskrit Pandits and poets like Dhanika, Halayuddha, Padmagupta alias Parimala, Amitagati and others, he was closely associated with the royal court of the Paramara rulers right from Siyaka Harsa to Bhoja the illustrious. The latter's predecessor Vakpatiraja Munja, highly celebrated in the folklore as 'Prthivivallabha' actually honoured Dhanapala with the coveted title of 'Sarasvati' in the midst of his imperial court. The last named poet predecessor by Dhanapala in serial order in his introductory verses is Kardamaraja preceded by Rudra (author of Trailokyasundari) preceded by Surimahendra preceded by Yayavarakavi (Rajasekhara) the correct date of the last named (i.e., Rajasekhara being known fairly certainly i. e. A.D. 880-920. Kardamaraja, Rudra and Surimahendra or Mahendrasuri might have been his living or senior contemporaries flourishing between 920 and 955 A.D. The first author to quote from Tilakamanjari is Hemacandra' who flourished between A.D. 1089 and 1173. Hence the upper limit of the period of Dhanapala comes to the beginning of the second half of the tenth century and lower limit comes to the middle of the eleventh century A.D. 1. Paramaras p. 327. 2. Ibid., p. 3. 3. Paramaras p. 327. TM. Intro. Verse 53, Vol. I, P.42. zrImuJjena sarasvatIti sadasi kSoNIbhRtA vyaahRtH| 4. Introduction to Pallipala Dhanapala's Tilakamanjari. p.3. 5. TM. Intro., Verses 33-36, Vol. I, pp. 30-32. 6. Kavyanusasana- by Rasiklal Parikh and Dr. V.M. Kulkarni V. 6. 489, p. 328. prAjyaprabhAvaH prabhavo dhrmsyaastrjstmaaH| Gai Sacha: 3TENSIS for: 1 from TM Introductory Verse 2, Vol. I, p. 10.

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PART II DHANAPALA AS A PROSE WRITER A. EMERGENCE AND GROWTH OF CLASSICAL SANSKRIT PROSE LITERATURE Prose composition in Sanskrit Literature is less numerous than the verse combinations. The reason being obvious. The verse combination being easily suited to memory and capable of being inscribed on the canvas of the reader's mind, became more popular whereas prose emerged and evolved at a steady pace at a much later time so much so that even the technical treatises came to be written in verse form than in prose. "Dr. D. K. Gupta refuses to uphold the theory of Oldenberg that prose intermingled with verses was the original form of literature in India. The theory of Oldenberg propounds that this kind of literature existed in Rgveda, the Brahmanas, the Epics and the Jatakas, the verses preserved in definite form in these writings, the prose portions required to be supplied by the story tellers were subsequently eliminated; the Jatakamala and * Pancatantra being amongst the earliest extant examples of this form". Dr. Gupta further says to refute this theory: "But the earliest form of prose with verses interspersed appears to be that where a gnomic verse is cited to corroborate what is stated in prose and this is in line with the practice followed in the Brahmanas and Dharmasutras and in some cases, in the Upanisadas. The next stage is the class of composition where the writer concludes his treatment of a subject with a few verses of his own giving a resume of the theme. Even the grammarians recognised the importance of this device which was emulated by the writers like Kautilya and Vatsyayana also in their works."" The earliest specimens of prose we notice as early as in the Vedic Samhitas, the Black Yajurveda which owes its nomenclature to the fact that it exhibits a regular blend of prose formulae along with commentaries. Vajasaneyi Samhita, likewise abounds in prose passages of no mean merits. The Taittiriya, Maitrayaniya, Kathaka, Kapisthala-katha recessions of the same Veda also contain prose passages in a larger number. 1. A study of Dandin Section III. Ch. I, p. 305. 2. CP the Karikas of Mahabh. 3 Ibid., p. 306

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Y DHANAPALA AS A PROSE WRITER Atharvaveda (about one sixth of the whole including whole of the XVth and XVIth Kanda and another thirty hymns scattered all about the remaining portions),' Brahmanas such as Aitareya and Kausitaki (of the RV), Tandya or Pancavimsa along with Sadvimsa (of the Samaveda), Satapatha and Taittiriya (of the Yajurveda) and Gopatha (belonging to the Atharvaveda), Aranyakas such as Aitareya, Upanisads such as Chandogya, Brhadaranayka, Taittiriya, Maitri etc. all go to prove a steady cultivation of prose composition in the Vedic epoch. According to Dr. D. K. Gupta "The Brahmanas are mostly written in prose; they contain, inter-alia, akhyanas or traditional stories also which may be regarded as the rudimentary form of fiction in prose"? Dr. Gupta also holds the same views as expressed by me above about the existence of prose in Aranyakas and Upanisads, Vedangas such as Chandasutra of Pingala, Astadhyayi of Panini, Rkpratisakhya of Saunaka, Nirukta of Yaska, the Kalpasutra such as Asvalayana, Grhyasutra, Paraskara, Grhyasutra, the Kauthumagrhyasutra, Apastamba Dharmasutra, Gautama Dharmasutra, Latyayana Srautasutra, Katyayana Srautasutra etc. are written in what is called the sutra style or prosc. 13 Regarding the characteristics of the Vedic prose Dr. Gupta says "The Vedic prose which is freely and extensively used in literature is simple, straight and forceful; it is unlike the classical prose, composed of short sentences, devoid of lengthy compounds and laboured diction. Poetic figures like simile and metaphor have been suitably employed with proper judgement and power. The developed form of prose in Yajurveda presupposes an earlier tradition perhaps of centuries and the conjecture is not wholly discardable that it existed in the Rgvedic period also, though of course, we cannot maintain the existence of prose in the supposed original dialogic hymns of Rgveda." 993 In the post Vedic or classical period we find prose in the technical treatises such as Arthasastra of Kautilya, Mahabhasya of Patanjali, Kamasutra of Vatsyayana, Caraka Samhita of Caraka; in the Epics (Mahabharata) Puranas such as Visnu (4th amsa) and Bhagavata (5th Skandha); Didactic Beast Fable Literature such as Jatakamala and 1. HSL McDonnell p. 157. 2. A Study of Dandin Sec. III, Ch. I, p. 306. 3. Ibid. p. 307-308. 4. Moksadharmaparva of Santiparva Ch 342-362.

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TILAKAMANJARI OF DHANAPALA Pancatantra preceded by Divyavadana and Avdanasataka in the Buddhist period; inscriptions such as Prakrt records of Asoka, inscriptional records of the Sungas, Sakaksatrapa Rudradaman; Satavahanas, Guptas, Maghas, Vardhanas etc. Dramas, of Bhasa, Sudraka, Asvaghosa, Kalidasa, Bhavabhuti, Visakhadatta, Rajasekhara etc.; and the prose romances and Campus. Dr. Gupta divides the classical prose into three modes of style the Sutra (aphoristic), Vitti (commentorial) and Bhasya (expositive). He further says "For evident reasons, a proper development of prose norm could not be possible in these forms (and especially in the first one) though we often notice forceful prose composed in a style capable of fully expressing the requisite thought material. Patanjali's prose which is possessed of elegant and forceful diction deserves a special mention in this respect!". The pidse of Kautiliyam arthasastram is equally marked by diction that though cryptic is crisp in essence and at places the narrative and illustrative data are of the classical norm. The raciness of the moral dictum and effective control over using long compounds in compressing details about the variety of materials on social and cultural topics all these show a distinct tendency towards elaboration into the ornate prose Kavya style. Kamasutra and Caraka Samhita exhibit a further simplification in expression and clarity of diction; there is greater tendency towards elaboration in descriptive and narrative aspect. The philosophical dissertations of the two authors stand predecessors to the reflective index of the prose style in later romances and Campus. Prose in the Mahabharata, the Visnu and the Bhagavata Puranas is all the more charming and effective and is amply characterised by ornate diction laden with embellishments. The perspicuity is natural and the flow of diction is admirable. Jatakamala, even though it is written in the early stages of the Brahmanical revival, is yet imbued with stylistic peculiarities of the Buddhistic age in so far as it is couched in a repetitive mode of thought content and is laden with simple and unornamental series of descriptive compounds with grammatical archaisms here and there. Nevertheless the contribution of this work towards a gradual elaboration of the ornate prose Kavya cannot be outrightly denied to it. Pancatantra's racy and vigorous narratives with simile, metaphors, fancies etc. interspersed within the frame work of the fable enhances the 1. A Study of Dandin, p. 307.

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DHANAPALA AS A PROSE WRITER charm of the didactic motive intended behind its composition. Style is very forceful, expressions short and sentences brimming with short and pithy sayings, the method of enboxed tales terms this thesaurus of narratives a storehouse of akhyayikas in the manner of Dasakumarcarita of Dandin. The prose in inscriptions tends to a natural and close approach towards the literary prose in point of style and language. The hitherto defunct though known by casual references, the contemporary prose romances might have had an impact on these inscriptions. 'sphuTalaghumadhuracitrakAntazabdasamayodAsalaMkRtagadyapadya(kAvya)vidhAnapravINena'' i.e. clarity, raciness, attractiveness, variety and aptness of expressions which have been characterised as the virtues of a good prose and metrical Kavya in line with 'utkRSTakavigadyamiva vividhvrnnshrenniprtipaadymaanaanekaabhinvaarthsNcym|" Bana's assertion easily confirms the view that by 150 A.D. the ornate prose style had a firm basis to stand upon by having many more works preceding them but unfortunately lost. The Allahabad stone pillar insc. of Samudragupta is next best specimen of long compounded ornate prose Kavya. Compared with the Ginnar insc. of Rudradama, it is highly refined and the expressions are used in the same manner as in the later romances. Lines 17 to 31 are connected by a singly independent verb, subdivided by long compounded adjectival sentences forming the chief requisites of Samudragupta as a conqueror, a warrior, a patron of letters, an administrator and a poet cum artist. Madhuban and Banskhera copper plate grants of king Harsavardhana and the Maliya copper plate grant of Valabhi King Dharasena easily stand eponymous with the style of Dandin, Subandhu and Bana. Prose in Dramas of Bhasa interspersed along with the verses is simple, racy, vigorous, flowing and couched in the simplest standard of figurative delineation, compounds hardly exceeding the mark of six or seven syllables. Upamas, Utpreksas, rupakas, along with a stray example of Virodhabhasa (Avimaraka I) P. 112. (26-2) Bhasanitaka Cakan, C.R. Devdhar oriental book Agency Puna-1, 1962. '(atha kazcid darzanIyo'pyavismitastaruNo'pyanahaMkAraH zUro'pi dAkSiNyavAn sukumAro'pi balavAn)' are easily suited to the system of dialoguing in drama. Sudraka follows the same trend. Throughout his Mscchakatikam he displays a tendency to compose longer paragraphs which contain very short and racy expressions 1. Girnar Insc. of Rudradaman. - Choukhamba S.S. Office Varanasi, 1962. 2. Kad. p. 273 L.2 Caukhamba Series. Edition. (Purvabhaga)

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TILAKAMANJARI OF DHANAPALA easily intelligible to the common reader. The vocabulary is so rich and practical that an ordinary urchin roving about the town can make out the import contained therein. Acts VI to X are all replete with the piquant narratives which are quite attractive and charming from the point of view of vigorous action. Kalidasa's prose is equally effective and polished marked by the special quality of Irony about the activities of the dramatise personae. The general poctic elements like figures of speech and excellences have been employed with proper restraint. The ornate prose Kavya comprising of Katha, Akhyayika and Campu represented by the works of Dandin, Subandhu, Bana, Dhanapala, Soddhala, Odayadeva Vadibhasimha, Trivikarmabhatta and Somadeva-contains the maturer form of prose style which is highly involved and full of three modes of diction, long compounded, short compounded and compoundless ones known to rhetoricians as Utkalika or Tandaka, Curnaka and Aviddha. This fact, however, easily gives a clue to the situation that many more romance works were written before these mature works came into prominence. These became so popular that they eclipsed the very existence of all their predecessors to which references have been made by the earlier as well as the later writers. Akhyayika has been referred by Katyayana in his varttika on a Sutra of Panini's and Patanjali on Panini iv-2-60. lubAkhyAyikAbhyo bahulam AkhyAnAkhyAyiketihAsapurANebhyazca' According to Kautilya (1.5.14. p.7) Itihasa carries within its fold'purANamitivRttamAkhyAkodAharaNam' out of these the annotator Shri R.P. Kangle says about akhyayika that it is 'divyamanusyadicaritam.' Patanjali' refers to Yavakrita, Priyamgava and Yayati as instances of akhyana and Vasavadatta, Sumanottara and Bhai-marathi as those of akhyayika. All these works are unfortunately gone to oblivion. We also know little about the Carumati of Vararuci from which a stanza has been quoted in Bhoja's Sungaraprakasa; even Sudrakakatha perhaps a 'Katha' by Ramila and Somila referred to by Jalhana and Bhoja or Tarangavati of 1. tifata:, 145fam, T :, 31ef4 arachi: HTTP:ll - Mahabh. IV. 2.60. Vol. II, p. 421. MLBD Delhi, 1967. adhikRtya kRte granthe ityAkhyAyikAbhyo bahulaM lUbvaktavyaH / AHOGHI ATTERT 7 a vafa erfil - Ibid., IV. 3.87. p.458.

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DHANAPALA AS A PROSE WRITER 17 Sripalita praised by Dhanapala in his Tilakamanjarl' and by Abhinanda in his Ramacaritam (a contemporary of Halasatavahana) (7A.D.) and not available in MSS form. Similarly Trailokyasundari a 'Katha' referred to by Dhanapala is not available in MSS form. Its author is styled as Rudra.2 Works such as Satkarniharana and Namovantikatha written at the time of the Andhrabhrtyas are also mere names to us, as also Manovati referred to by Dandi' and Bhoja and the Satakiharana mentioned by the latter. Bana has referred to Bhattaraharicandra as the author of a prose Kavya of excellent merit. Prakrit poet Vakpatiraja has mentioned Bhattara Haricandra along with Kalidasa, Subandhu and Bana in his Gaudhavaho (9 the Cent. A.D.). These works though defunct cannot preclude the possibility of the existence of innumerable works of this important branch of Sanskrit literature. Rather they vouchsafe the emergence and growth of ornate prose Kavya in a steady chain of antiquity. The forms as enunciated by Dandi and Bhanmaha certainly do not keep in view the works of Subandhu and Bana. but many more specimens existing in carlier stages of evolution marked out in respect of this literary norm. According to Dr. D. K. Gupta. "The older form of prose Kavya reflected in these early theorists seems to have been replaced by the newer one, evidently on the line of the model set by Bana in his two romances, the chief characteristics of which were generalised into definite rules to be universally followed. These specific rules, on their part, finally stereotyped the two forms of prose Kavya in Sanskrit literature." The earlier specimens gone defunct, it becomes immensely difficult to determine the precise conception and original character of this form of literature, though it is definite that it hardly stands in need of beating any standard of comparison in point of origin and development from the 1. prasannagambhIrapathA rathAGgamithunAzrayA / puNyA punAti gaGgeva gAM taraGgavatI kathA / TM Intro. V.23. p. 25 Botad ed. 2. samadAndhakavidhvaMsI rudraH kairnaabhinndyte| suzliSTalalitA yasya kathA trailokyasundarI // - Ibid. Intro. V.35 Rafa -Ask. Intro. V. 21. P. 3. 3. 4. 16. HC. Intro. V. 12. p. 3 JNVSE 5. Gaudavaho. V. 800 Rajasekhara also refers to him. Kav. MTM p. 6. 18. A Study of Dandin. p. 311.

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TILAKAMANJARI OF DHANAPALA Didactic Beast Fable. Its early connection with the folk tale literature cannot be over-ruled as is evident from the epithet 'Katha' as imposed upon the Brhatkatha of Gunadhya from which almost all the later writers have drawn inspiration for forming the basis of their plots in their raw materials. Somadeva's Kathasaritsagara which according to the author himself is the true original transformation of Paisact into Sanskrit (i avand a :) follows the device of emboxed tales with intervening stray narratives supplying the deductive motive, can easily be presumed to form the basis for weaving the thread of the plots but in conception and expression they are essentially different. To quote Dr. Gupta here 18 "For obvious reasons, the popular tale did not aspire for the artistic polish and finish which the prose Kavya stood for from the very inception and therefore, the latter cannot be traced back to the form in point of diction and style for which its direct precursor is the ornate Kavya itself. Thus the prose Kavya was evolved out of the artistic Kavya with the raw material either of the folk-tale or some historical story." As a matter of fact the historical story and the popular tale supplied sperm to the foctus of Giti Kavya of Khanda Kavya, the Mahakavya and ultimately, the prose Kavya as well. The raw material was polished and elaborated in the same manner into prose as in the Mahakavya with a series of claborate laksanas and the huge structure or prose evolved in the manner of the ornate Kavya represented by Bharavi's and Magha's works. Besides the origin of prose Kavya dates much earlier back to antiquity than the dates of the inscriptional panegyrics. The Greek origin of Sanskrit romance postulated by Dr. Peterson is also not tenable. As in the case of drama so also in the case of Romance the two civilisations originating and growing eponymously started with the same elements simply to arrive at a common goal. Ideal love and wondrous beauty along with the charming objects of nature, love at first sight and its consequences, lovers revealed in vision, affectionate letters of courtship, pathetic lamentations of lovers in affliction, fight for the forceful possession of a maiden, passion of love in inanimate objects, fickleness of fortune and women-all these inherent in both the civilisations, the forms of literature grew and evolved in their successive stages. The mutual impact on the growth of types of romance literature in Greece and India cannot be overruled after the Alexandrian onslaughts. 1. A Study of Dandin. p. 312.

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DHANAPALA AS A PROSE WRITER PREDECESSORS OF DHANAPALA As already observed the Introductory verses of Tilakamanjari styled as a 'Katha' are quite literary in character so as to justify the classification of this romance as 'Katha'. Dhanapala has mentioned a long list of his predecessors whose impact on the text of Tilakamanjari appears quite conspicuous. "The Primary persons referred to in the Introductory portions or preludes (prologue), Valmiki and Kanina. (i.e., Vyasa) as if they were peers to Sun and the Moon, (mentioned) in the lincages of Raghu and the Scions of Kuru, I bow to them." "Having picked up a drop from the ocean known as Brhatkatha and refurbished thereby in the true sense by that same, the other Kathas look like loincloths before that."2 "Like Rama, the high souled one, who, along with his efficient army attained triumph the popularity about which in the form of a bridge stands overborne on the ocean (in) the annals of speech, Pravarasena the great savant won a victory by virtue of his bright (Setu) i.e. Setubandha Kavya that stands to prominence over the occan of literature." "The sacred Katha Tarangavati recumbent upon the (story) concerning the pair of Cakravakas, marked by a diction full of prolific sense and easy of comprehension, sanctifies the earth like the holy Ganges sanctifying the carth, acting as refuge for the pair of Cakravakas (on its shores), with its beds deep and pellucid, being full of ripples at the same time." "In the Prakrta composition the words of Jivadeva gleam forth as if sprouted up, with syllables succulent with sentiments."S "By Kalidasa standing close at hand, the words of poets or talents of literateurs wilt down in entirety, like the sprouts of Malati by the proximity of a lamp.* 1. Wahyu aradrit: de arenari a - TM. Intro. V. 20. P. 23 Botad ed. 2. HITTEGHIR : HAAR : Frem: ufahifaga: 1 - Ibid. V. 21. 3. fordi vachia hura EC44|| cauf fa: Naars uaitet: 11 Ibid. V. 22, 4. WEITET T ATTI que ya Tanga 41 TM. V. 23. 5. may pag af R14::1 Tu acara fac gall TM. V. 24. 6. Taarifa hill allanma

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TILAKAMANJARI OF DHANAPALA "Springing forth alone, even Bana renders the pocts shorn of their prestige what could then be spoken of Pulinda who having brought about the connecting link had rendered help to him.""" 20 Bana attained popularity in the hearts of the learned by virtue of his ambrosial akhyaayika of Harsa the very co-uterine sister of Kadambari (the Katha) like the occan that came into prominence in the hearts of the gods by virtue of the ambrosia bespeaking their joy, the very co-uterine associate of Kadambari, the liquor." "The poets with their spunk shattered by Magha dare not advance in the composition of Padas i.e. literary expressions and remember only Bharavi like monkeys who disheartened by Magha month dare not advance a step further and remember only the brilliance of the Sun." "The quietude born from ( a study of) the (plot of) the treatise) known as Samaraditya and the mind grown amenable to that "Give up battle" etc. how can it be brought to restraint." "Moved by variety of expressions with sentiments and feelings explicit, the speech of Bhavabhuti in the dramas bears semblance of a dancing maid who moved by placement of feet in a variety, makes her feeling and sentiments known (to others)." "Having scanned the powers of Vakpatiraja carrying the mighty yoke of Gaudavadha, the intellect overcome by awe as it were fails to bring forth its action." "The fame of Bhadrakirti, the best jewel of the Svetambaras moves in the directions through the path of the constellations of stars like the gleam of the lord of the stellars." giraH kavInAM dIpena mAlatIkalikAH iva // TM. V. 25. P. 25 Botad ed. 1. kevalo'pi sphuraNa bANaH karoti vimdaankviin| kiM punaH klRptasandhAnapulindakRtasannidhiH // Ibid. V. 26. P. 26 Botad ed. 2. kAdambarI saMhodaryA sudhayA vaibudhe hRdi / zutenez zen ausfeta a Ibid. V. 27. P.27 Botad ed. 3. mAghena vighnitotsAhA: notsahante pdkrme| urf Raka 4:11 Ibid. V. 28. P. 28 Botad ed. 4. niroddhuM pAryate kena samarAdityajanmanaH / annya : TM V. 29. P. 28 Botad ed. 5. spaSTabhAvarasA citraiH padanyAsaiH pravartitA / azany azvoja vrat sayfam Ibid. V. 30. P. 28 Botad ed. 6. dRSTvA vAkpatirAjasya zakti gauddvdhoddhraam| : if 7. bhadrakIrterbhramatyAzA: kIrtistArAgaNAdhvanA / Ibid V. 31. P. 29 Botad ed.

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DHANAPALA AS A PROSE WRITER 21 "The words of Yayavara poet i.e. Rajasekhara imbued with virtues such as grace or perspicuity and other qualities and shining with qualities of etymologies, appear like the tendencies of the yogis that are ripe with circumspection and shining with the qualities of concentration." "Mahendra, the sole savant with his literary status is to be eulogised by the learned whose speech brings marvel to the poets whose maturity is suited even to the gems."2 "Like Siva (Rudra) who is eulogised, being the destroyer of Andhaka full of pride, who welcomes Rudra who destroys the posts blind with hauteur whose Katha called Trailokyasundari is full of puns and is graceful." "To whom would not appeal the sweet saying of Kardamaraja or how appealing wouldn't be the sweet saying of Kardamaraja who has his father the repertory of intellect, for the poet (author of) Trailokyasundari"4 So Dhanapala pays tributes to Valmiki, Vayas, Gunadhya, Pravarasena, the author of Tarangavati, Jivadeva, Kalidasa., Pulinda, Bana Magha, Bharavi, the author of Samaraditya, Bhavabhuti, Vakpatiraja, Bhadrakirti, Rajasekhara, Mahendrasuri, Rudra and Kardamaraja. These predecessors of his must have influenced him. He has quoted similes, metaphors and many social and cultural characteristics from the Ramayana and Mahabharata. The very description of Ayodhya is full of such allusions. Gunadhya might have supplied him the very basis for the plot of his romance. Kalidasa, Bana, Magha and Bharavi must have given him many sided views about the accomplishment of ornamentation. Gaudhavadha, Bappa, Bhatti-Caritam (Bhadrakirti) and Trailokyasundari might have supplied him greater details about claboration of descriptive and narrative materials. In verse 37 Dhanapala remarks that "Some are skilled in reflection, some in expression, while some take complete interest in the palatability of the narratives; some belaud virtues such as perspicuity etc. while some are skilled in every thing." 441 ART TERTIU: 11 TM. Intr. V. 32. 1. TUTTAT: W 41941:1 riaatti hi-fiya qay:il Ibid. V. 33. 2. E a aqEr 4: p rifcbafari :Ibid. V. 34. 3. sa madAndhakavidhvaMsI rudraH kairnaabhinndyte| Efecacafeta 424 71 HPTEin lbid. V. 35. 4. santu kardamarAjasya kathaM hRdyA na suuktyH| afacerERi PR Vate: franil Ibid. v. 36.

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TILAKAMANJARI OF DHANAPALA All these easily allude to the variety of prose existent before the times of Dhanapala. "svapadApahArazaMkitazatakratuprArthitena zatatamakratuvAMchAvicchedArthamiva pArthivAnAmikSvAkUNAmutpAditA prajApatinA ..... majjat (mAdyat) kauzalavilAsinI nitambAsphAlanasphAritataraMgayA.....kapila kopAnalendhanIkRta sagaratanayasvargavArtAmiva praSTuM bhAgIrathImupasthitayA saritA sarayvAkhyAkRtaparyantasaMkhyA sarvAzcaryanidhAnamuttarakozaleSvayodhyeti yarthAthAbhidhAnA ngrii| ___ asAvasya sakalasyApi bhAratavarSasya cUDAlaMkArabhUtA gautrarAjadhAnI raghudilIpadazarathaprabhRtInAM narAdhipAnAmayodhyAbhidhAnAM purI pradhAnabhUtA srvngriinnaam|'' all these display Dhanapala's great indebtedness to the author of Ramayana. Introductory verses 26, 27 and 30 referring to Bana the paramount sovereign of prose comp sition making other poets shorn of their prides, his censure of Magha's talent, (verse 28) praise of Bharavi's musc, culogium of Rajasekhara's words all go to illustrate that these authors above all others had cnormous impact upon the mind of Dhanapala who while writing his Tilakamanjari utilised all the qualities imbibed by these predecessors. Kalidasa's identity of nature with human being, Bharavi's arthagaurava, Magha's rich wealth of social and cultural materials, Bana's threefold prose style laden with cosmopolitan equipage of the world, Rajasekhara's ubiquitous knowledge of the world around all these seem to have a deep impact on Dhanapala as gleaned through the narrative of Tilakamanjari. That is why we find in Bana A Katha compared to a newly-wedded wife who out of attachment comes to the couch of her own accord generating passion in greater intensity being pliant through dalliance and fascinating sweet indistinct murmuringspunningly the Katha being graceful owing to dalliance of coruscating sweet indistinct expressions and brimming with sentiment, it creates interest in the mind of the person who goes through it (and). An akhyayika shines well with words forming the subject matter, being brilliant having been nuanced with fine syllables, charming owing to easy 1. fagufu ac, SR) FR anfara TU WARCTI ERI: AN TM. Intr. v. 37. 2. Ibid. Vol. I p. 43. LL. 1-2 3. Ibid. Vol. 1 p. 47. LL. 1-3 4. Ibid. p. 55. L.3. 5. Ibid. Vol. I, p. 94. LL. 1-2. 6. Ibid. Vol: I p. 6-28 Botad ed. 7. Kad. Intro. 8. P. 5 CSS Varanasi, 1953.

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DHANAPALA AS A PROSE WRITER comprehension like a couch that shines well being beautiful owing to its capability of waking up the person at case, being effulgent owing to a counterpane of well-textured placement.' In contrast Dhanapala says- "people turn their faces away from prose, moved by fright, on account of its prolixity of descriptions and attaining to the state of a forest in the form of unbroken Dandakas i.e., lengthy sentences, as if from a tiger that is pied hued and takes to the impenetrable Dandaka forest and move sover." 23 "Even though couched in series of syllables attractive for the people and terse and profuse with excessive puns, a composition does not attain to laudation like a script that consists of well connected syllables and is attractive like the unctuous collyrium and is dense with excessive emulsiveness." "A Katha palls the listeners being a series of unending prose." "A Campu also deserts its taste for the narrative being abundant in versimilitude." Hence Dhanapala is all praise for Bana's diction and shows a marked inaptitude for the existing trend of verbose style in prose diction which to a greater extent he has tried to shun in his work and has followed the middle path between Bana and Odayadeva Vadibhasimha whose Gadyacintamani is the true replica of the characteristics enunciated by Dhanapala. The very fact that Dhanapala has ignored the name of Subandhu gives a clear clue to the fact that he had a marked distaste for his diction and keeping in view that once he has made these remarks of considering prose as a tiger infesting the Dandakaranya in the form of sesquipedalia verb a of Keith's Conception. B. LITERARY TENDENCIES OF THE AGE Circumstances, characteristics and achievements of the Age. With a view to understanding fully the literary tendencies of the age i.e. the circumstances, characteristics and the achievements of the age it becomes absolutely necessary to study the conditions under which the classical prose Kavya originated and the environments under which it grew to its fuller size. 1. HC Intro. verse 20. P. 14, JNVSE suravaprabodhalalitA suvarNaghaTanIjjvalaiH / zabdairAkhyAyikA bhAti zaTyeva pratipAdakaiH // 2. TM Intro. verse 15. p. 20 Botad ed. araNyadaNDakAraNyabhAjaH pracuravarNakAt vyAghrAdiva bhayAghrAto gadyAd vyAvartate janaH // 3. Ibid. Intro. verses 16. 17. P. p.21 Botad ed.

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TILAKAMANJARI OF DHANAPALA A study of the History of Sanskrit literature reveals that in Ancient India the poets and litterateurs enjoyed the patronage of some royal personage or the other. Even in the Vedic period the Vedic Caranas and pikhas had their connections with some royal personality or the other. The prose portions in the Mahabharata and the Puranas also treat of the royal sages and seers for their characters. The earliest specimens of classical prose Kavya style available in the dramas of Bhasa flourished under the patronage of Udayana, Mahasena etc. The author of Mrcchakatika was most probably a royal person who treats of the tumult and hubbub of a royal revolt in Ujjayini in the reign periods of Palaka, the second son of Mahasena who had managed to kill his elder brother Gopalaka and kept in custody latter's son Aryaka. The Prakrt prose inscriptions of the time of Asoka Priyadarsi were also popularised by the great royal king Asoka. And likewise the prose inscription of the Sungas, Satavahanas, sakaksatrapas, Guptas, Vardhanas, Valabhi monarchs- all were got inscribed by the royal patrons. The Jatakamala of Aryasura, Pancatantra of Visnusarman and above all the original Brhatkatha of Gundhya, the Kamasutra of Vatsyayana and before that the gigantic monumental treatise of Kautilya and the Great Commentary on Astadhyayi, Mahabhasya, Caraka Samhita of Caraka, Dandi's Dasakumaracarita, Subhandhu's Vasavadatta (written in prose) and Bana's work-twain and Dhanapala's Tilakamanjari all these were written under the encouragement and patronage of some royal king or the other. The patronage of the royal sages gave impetus to prose Kavya for inculcating the norm of artificial conceits, luxuriance of fancy and fiction, proclivities of mind towards what attracts the eye in preference to what touches the heart. The theories about Ancient Indian Erotics and the Erotic literature equally played a significant role in the fructification of the ornate Kavya in which despite all the trials and tribulations natural to life the sole aim of ultimate bliss was most prominent. Reference to Gandharva Veda, Gita, vaditra,' etc. in Hathigumpha insc of Kharavela (1st Cent. A.D.), the use of cxpression' 51462 in the Nanaghat Cave insc. of Naganika (1st Cent. B.C) forceffe qarufaarfare fairytarefayatta yup 374216CH faufa ' along with " Hay ciep in the cave Insc. of Gautamiputra Balasri (2nd Cent. 1. Historical and Literary Inscriptions by Dr. Raj Bali Pandey. p. 46 L. 5. Chowkhamba Sanskrit Studies Vol. XXIII. Chowkhamba Sanskrit Series Office Varanasi, 1952 2. Ibid. p. 48 L. 4. 3. Ibid. p. 53 LL 4, 8.

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DHANAPALA AS A PROSE WRITER 25 javasureta A.D.) zabdArthagandharvanyAyAdyAnAM vidyAnAM mahatInAM pAraNadhAraNavijJAnaprayogAvAptavipulakIrtinA nizitavidagdhamatigandharvalalitaiH brIDitatridazapatigurutumburunAradAdeH vidvajjanopajIvyAnekakAvyakkriyAbhiH pratiSThitakavirAjazabdasya sucirastotavyAnekAdbhutodAracaritasya"2 all these go to illustrate the delicate lores of Erotics and Music which earned the patronage of the royal personages who created special environments for the growth of literary compositions. Even the text of Tilakamanjari corroborates the fact that in the capital of Meghavahana, Ayodhya, all types of dilettantes and the fine arts, literary concerts and compositions were patronised. "parityaktasakalavyApAreNa pauravanitAmukhArpitadazA savikriyaM prajalpatA paThatA gAyatA ca bhujaMgasamAjena kSaNamapyamucyamAna manobhavabhAvanIbhavanaiH........ makaradhvajenApi darzitAdhinA labdhahRdaya praveza mahotsavAbhiH.... suratazilpapragalbhatAvaSTambhena rUpamapi nirupayogamavagacchantIbhistAruNyamapi tRNalaghu gaNayantIbhirvilAsAnapi hAsyakoTau kalayantIbhiH aparaistu caSakairiva kadAcidAnanapraNayitAmAnIya praNunairaprasannaiH raNanmadhukaradhvaninA mandaM mandaM raNaraNAyamAnaiH kAmibhirazanyadvArAbhirnavasaretaSa baddharAgAbhirapi nIcarateSvasaktAbhi lakSmImanovRttibhiriva puruSottamaguNahAryAbhina punarekAntato'rthAnurAgiNIbhiH saMsAre'pi sAratAbuddhiM nibandhanabhUtAbhiH kulakramAgatavaizikakalAvaicakSaNyAbhiH sAkSAdiva kAmasUtravidyAbhirvilAsinI bhirvitIrNatribhuvanajigISukusumasAyakasAhAyakA, akalitADhyAnADhyavivekairagRhItapaNDitApaNDitavibhaktibhiranubuddhasAdhvasAdhuvizeSairanavadhAritadhArmikAdhArmika parichittibhiH sarvairapi udAravizeSaiH sarvairapi chekoktikovidaiH sarvairapi paropakArapravINaiH sarvairapi sanmArgavartibhiH jJAtani:zeSapurANetihAsasArairdRSTasakalakAvyanATakabandhaiH paricitanikhilAkhyAyikAkhyAnakAvyavyAkhyAnaiH........ kAmasUtrapAragairapyAviditavaizikaiH sAtvikairapi rAjasabhAvAptakhyAtibhiH pUrvAbhibhASibhiruttarAlApanipuNaiH sakalarasabhAvAbhijJairaviSAdibhiyA'yadarzanAnurAgibhiraraudraiH parAnupahAsibhirnarmazIlaiH samakaradhvajarAjyeva purandhri bivvokaiH sabrahmalokeva dvijasamAjaiH.... vicitrAkAravaidibhiraMgaNairiva nAgarikagaNailaMkRtagRhA" It becomes apparent from the above quoted passages of Dhanapala that the royal courts in Ancient India provided all facilities to the different elements of society wherein love, gaiety, rejoicing, festivities, imbued with obscenity and vulgarity within restricted means formed part and parcel of every day life which normally forms the basis of art since art is life seen through a temperament. The temperament of the nagaraka as enunciated by saMsAravilAsi 1. Historical and Literary Inscriptions., p. 64 L. 13 Girnar Rock Insc. of Rudradaman Dated AD 150. 2. Ibid. p. 76 L. 27. Prajaga Prasasti of Samudra Gupta. 3. TM Vol. I p. 45, LL 2.3 4. Ibid. p. 49. LLI-2. 5. Ibid. p. 50. LLI-2. 6. Ibid. pp. 50 to 54. P.50 LL 4-5 p. 51-LLI-6 p. 52 LLI-4 p. 53 LI 7. Ibid. p. 54. LL.1, 3. pauralokaparitoSahetozca..... etc. parAM mudamuvAha.... p. 77. LLI. 9. according to the dicta of Kamasutra Meghavahana as a nagaraka.

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26 TILAKAMANARI OF DHANAPALA Vatsyayana borrowed by him through early traditions imbedded in the Natyasastra of Bharata, easily formed the basis of inspiration to poets and prose writers to load their muse with motifs that could regale the minds of the readers and men about the town or else in absence of these things life would become a dull and monotonous affair. That is why Bharata has said in his Natyasastra that this treatise on dramaturgy was evolved by him with a view to giving relief to those who are tormented by the agonies of worldly realities. "dukhArtAnAM zramArtAnAM zokArtAnAM tpsvinaaN| vizrAma(vinoda)jananaM loke naattymetdbhvissyti|'' The Sahtdaya or the man of taste equally influenced the cultivation of a specific norm for the poet. Dr. K. Krishnamurthy in his two papers "The Sanskrit Conception of a poet" and "The office of the Sanskrit poet in theory and practice" has dealt with in details the problem of specific norm for a poet along with the environment under which he can go ahead with his literary pursuits. According to Dr. Krishnamurthy. "The social position of the poet in ancient India was a very honoured one. The poet enjoyed a highly privileged and enviable status in the assemblies and concourses of cultured classes in those days. The gift of composing poetry was considered to be the acid test of polish in speech and manners."2 He Quotes the view of Bhamah, Dandin, Vamana, Rudrata, Ananda Vardhana, Abhivava-gupta, Mahimabhatta and Kuntaka, along with those of Bhatta tauta, Mammata, Mankhaka and Nilakantha Diksita. According to him Bhamah, necessitates besides the Pratibha of poet, the study of grammar, metre, lexicography, epic, stories, wordly affairs, logic and fine arts. Dandin according to Dr. Krishnamurthy is more explicit. He quotes Dandin as follows: "So away with sloth, let Sarasvati be ceaselessly worshipped by those who would win fame. Men who have earned the capacity of composing poetry with sustained effort, though their poetic endowment be slender, are sure to shine in the assemblies of the learned. In other words genius may live and thrive without training, but it does not, the less reward the watering 1. NS I. 114 p. 11. Ed. by Manmohan Ghosh. Manisho Granthalaya, Calcutta. Essays in Sanskrit Criticism pp 167-186. Dr. K. Krishna murthy Karnatak University Dharwar, 1964. 2. Ibid. p. 167.

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DHANAPALA AS A PROSE WRITER pot and pruning knife. Labour and intent study joined with the strong propensity of nature would, no doubt, produce the best results". Loka, Vidya and Prakirnam, the three angas of Kavya according to Vamana include Pratibha in the last anga. According to Dr. Krishnamurthy Vamana says that the poet must bring to bear upon his composition a perfect concentration of mind. It is only then that he will be in a position to see through the life of things". To achieve such a state of mind, the poet must first gain access to the atmosphere congenial to his aim. The suitable atmosphere can be procured only at certain times of the day in specific places. The place must be secluded and the time perfectly the fourth watch of the night. According to Rudrata-Sakti, Vyutpatti and abhyasa are the three prerequisites which entitle a person to the status of a poet. Sakti and Pratibha according to him are synonymous, which is Sahaja and Utpadya. Dr. Krishnamurthy quotes the views of Bhattatauta whose Kavyakuntaka though not extant, is quoted by Abhinavagupta in his Dhvanyaloka locana. The definition is "Poetic imagination is that gift of mind of whose aid one can visualise myriad things anew. It is by virtue of this gift alone that one deserves the title of a "Poet". Hence it goes without saying that poetry abounds for the most part in imaginative description, Bhattatauta gives a poet the status of a Rsi "(Nantsih Kurute Kavyam)" and "Rsayah Krantadarsinah". A poet is first and foremost a seer. His alert genius penetrates all directions and he sees through the nature of every object. But mere vision is not enough. It must be co-ordinated by the creative faculty which enables the poet to translate into words the numberless things that his imagination pictures before his mind.' Dr. Krishnamurthy further remarks The correlation between the 'poet' and the 'seer' that Bhatta Tauta has instituted appears to be doubly significant. The origin of the Vedic literature is no doubt shrouded in mystery. There is also no gainsaying the fact that many works belonging to that hoary antiquity are more voluminous though by no means luminous. Granting all this, it will have to be admitted that early Vedic poetry as preserved to us in the Rgvedic Samhita, sprang from inspiration and enthusiasm. The Vedic bards must have been struck with sublime conceptions, with admiration and awe, by those great phenomena which, though repeated daily, can never be 1. Essays in Sanskrit Criticism. p. 180.

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28 TILAKAMANJARI OF DHANAPALA viewed without intense emotion. These would break forth in exclamations expressive of the feeling produced, whether surprise or gratitude, terror or exultation. The rising, the apparent course, the setting and seeming renovation of the sun; the revolution of the light and darkness; the splendour, change and circuit of the moon and the canopy of heaven bespangled with stars, must have produced expressions of wonder and adoration. In other words, the muse would be consecrated to the purpose of adoration. He quotes Rgveda III 62. 10. The Gayatri Mantra Abhinavagupta, Anandavardhana and Mammata consider the Pratibha or imagination of the poet as so flexible that the poet as a sole creator creates as and what he deems fit. Even the hardest of the substances are emolliated to tenderness by the soaring thought of the poet, his creative insight and sympathetic outlook to view things the way his fancy guides him to do. And finally Dr. Krishnamurthy remarks on the evidence of Nilakantha Diksita "The poets charm the readers and hold them spellbound by their skill and dexterity in the handling of the self same material, which one and all are wont to use in their day-to-day existence. The words employed by poets are none other than the ones current in everyday life, The meanings attaching to them also are the same as in ordinary parlance, only the magic is different:"2 Regarding the latter stages of Sanskrit literary epoch Dr. Krishnamurthy says that a rapid decline in the taste of the poets as well as the critics is discernible. More emphasis was laid on outwards embellishments and consequently they missed the essence. They began to revel in artificial fancies and conceits and were very fond of wordplay and obscure elaboration. The use of unwieldy compounds, incessant puns, alliterations and assonances, recondite allusions and other literary devices became their favourite forte.": The indication is already towards the Prose romances and Campus of Dandin, Subandhu, Bana, Dhanapala, Trivikrama Bhatta and Somadeva. These writers handle their materials as with a gloved hand; they shrink from a plain word without a decorating epithet as from something course or undignified. There is veneer and glittering gilt over everything. They speak through a muffler of artifice. They look at things through gauze and turn away their face from the simple truths. Thoughts trip through their verses 1. Essays in Sanskrit Criticism., pp. 181-182. 2. Ibid. p. 186. 3. Ibid. The office of the Sanskrit Poet in Theory and Practice p. 203.

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DHANAPALA AS A PROSE WRITER with the mincing step of a minuet. They were the victims of a convention (Kavisamaya) that sought in language a gaudy substitute for the thing instead of its close fitting garments and in the realm of pure poetry, where we look for lofty thought and vivid imagination, they were denied open vision and free soaring flights. They sang in a cage and not upon a branch. Though they wield language with such astonishing skill, they seldom work the miracles with it, that proclaim the divine poet. The most brilliant electric light is not sunshine.' Dr. Krishnamurthy quotes Bana the chief exponent of this latter staged muse. santi zvAna ivAsaMkhyA: jAtibhAjo gRhe gRhe| utpAdakAH na bahavaH kavayaH zarabhAH iv|| Even Dhanapala deserves to be quoted here "Worthy of obeisance are those poets skilled in virtuosity of the muse, shorn of spite, who calculate the qualities as well as the faults of the (poets as well as the poetry)." "That unrighteous being deserves to be kept away, who may take to the path of poetry, that is free from the faults of etymologies. Creating troubles he becomes a serpent owing to his being foremost in that." Whose words that don't even exhilarate the mind of even the dullard, brought to the sweetness of honey or brimming with sweet essence of lofty thoughts, are they really poets?" Does that deserve the gnomon of a Kavya that does not bring low the faces as well as heads of the opponents on its very melody." The meanings applied to the compositions which are irreconcilable to the sentiments contained in the fine Kathas, become a source of enmity usually like the riches supplied to the pusillanimous."? 1. Essays in Sanskrit Criticism., pp. 203-204. p.5 JNVSE 2. HC. Intro. verse. 6. 3. ART 1: 210444ffagigi: 1 fagraf 999 JUIN TYCKT: 11 TM Intr. V. 8. P.16 Botad ed. 4. arifsari: : FAGIO 2: leaf an 3 gafas-Thrifa 1401411 Ibid. Intro. V. 9. P.16 Botad ed. 5. FIGHI TH d: #9 HR971 4646777 ocala: fa asform yfall Ibid. Intro. V. 11. P.18 Botad ed. 6. Foi asfa for all hafa fa mal 94445M atafut a ferits all Ibid. Intr. V. 12. p. 18 Botad ed. 17. Het 4pm fatereg fra: Filarda Harief yr Renta: 11 Ibid. Intr. V. 18

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30 TILAKAMANJARI OF DHANAPALA To conclude this chapter it will be quite befitting to quote Dr. Gupta here "The peculiar conception of Kavya which was regarded, more or less, as a piece of literary composition, romantic in matter and sentimental in character and above all strictly perfect in form and diction, affected its nature and scope as also its growth. The fact that the term Kavya commanded a wide scope comprehending any literary piece of imagination whether it is in prose or verse results into the insalubrious tendency of developing similar art and style for the metrical and prose forms of literary composition. And as was natural, the art and style of metrical Kavya invaded the sphere of prose with the result that the prose form was unduly marked with poetic stamp. In theory it may have been a wise step to discard the metre, an external factor, as a line of demarcation of poetry, but in practice it seriously hampered a natural development of prose as prose. Prose and poetry may be essentially one in spirit, but they are entirely different in rhythm, diction and technique and hence can never reconcile with each other, judged from modern measure-stick of literary criticism, Sanskrit prose Kavya, wherein the elements of poetry and prose have been interwoven together in unnatural way, the former over-powering the latter, presents a strange type of literary form. The prose which may be regarded as such from modern standard the simple fluent and forceful prose, could never develop in Sanskrit under the circumstances described above." C. PROSE ROMANCE OF DHANAPALA; ACT AND STYLE 1. CONSTRUCTION OF THE PLOT, ITS SOURCES AND THE INNOVATIONS INTRODUCED BY DHANAPALA As already observed the romance of Dhanapala falls within the fold of a 'Katha' and unlike Dandin and like Subandhu and Bana, he has tried to utilize the traditional norm in descriptive as well as narrative moods most meticulously. Bana's description of Ujjayini in the Kadambari Katha provides a cue to the description of Ayodhya to Dhanapala in his Tilakamanjari. Tarapida, the supreme sovereign of Ujjayini having Vilasavati for his chief queen, remained issueless for a long time after his marriage and it was after a propitiatory ritual performed by the queen that he got a son. Dhanapala's Meghavahana having Madiravati for his consort suffered the same fate and it was only after propitiating Sri in the manner of Puspabhuti of Harsacarita of Bana, that he begot a son. In Harsacarita it was 1. A critical study of Dandin and his works, p. 277, Chapter-II. Mehar Chand and Lachhaman dass, Delhi

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DHANAPALA AS A PROSE WRITER 31 Bhairavacarya the Saiva mendicant who tested Puspabhuti on behalf of Sri whereas in Tilakamanjari, it is Mahodara, the close attendant of Sri garbled as a hideous vampire who tested Meghavahan. Both Puspabhuti and Meghavahana got the blessing of Sri and got their ends achieved accordingly. The introduction of the Vidyadhara sage who met Meghavahana on the roof of his palace and consoled him not to feel morose over his plight in so far as he was to be blessed with a son who was likely to be the paramount, sovereign of the Vidyadharas in case he propitiated Sri, followed by introduction of the Vaimanika, Jvalanaprabha by name, who likewise forestalls the same prediction as sponsored by the Vidyadhara sage and adds to his accounts the personal account whereby he was actually to assume the garb of his son incarnated in his next birth in the palace of Meghavahana, are the improvements made by Dhanapala as compared with the plot construction of the romance of Bana. The child in Kadambari was named as Candrapida in accordance with the psychology of the dream visioned by Tarapida, the child in Tilakamanjari was likewise baptised, as Harivahana in accordance with the dream, visioned by Meghavahana. The expedition launched by Vajrayuddha, the army in chief of Meghvahana deputed to subjugate the king of Daksinapatha, brought Samaraketu, son of Candraketu, the overlord of the Simhalas in close proximity of Meghavahana who impressed by his chivalry and appearance brought him close to Harivahana as the foster brother of the latter. He also conferred the governorship (bhukti) of Kasmira and other areas of uttarapatha on Harivahana and that of Angas on Samaraketu. While on a promenade in the Mattakokila garden on the shores of Sarayu Harivahana happened to see a billet brought by Manjira, the narmasaciva of the prince, the import whereof concerned Samaraketu who despite the fact that he was derided by Kamalagupta, the prince of the Kalingas, was prompted by Harivahana to narrate his previous account as to why he felt morose over the message purported forth by the billet. This intervening account of Samaraketu described the way he started from Rangasala, the capital city of the Simhalas, detailed as he was on duty by his sire to render succour to the King of Kanci, the way he was afforded a hearty send off by the people of his country, the way he ventured to ferry across the ocean on hearing the notes of a musical rally, the way he was discouraged by Taraka, the chief of the naval staff and ultimately encouraged to go his way etc., gets interrupted by the ushering in of Vajrargala, the porteress who brought the picture canvas bearing the portrait of a maiden, given to her by Gandharvaka, a Vidyadhara lad who himself described the genealogy of the maiden after he had been introduced to the prince. Gandharvaka described that maiden as Tilakamanjari, the daughter of Cakrasena and Patralekha, King and queen of

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32 TILAKAMANJARI OF DHANAPALA the Vidyadharas reigning in Rathanupuracakravala on the mount Vaitadhya, who grown into a youthful beauty enjoyed all the privileges available to her but never longed for a suitor. Her mother had despatched Gandharvaka to carry that portrait into the quarters in order to find out the earthly youth who according to the Prajnaptividya had been predicted as the would be consort of Tilakamanjari. In pursuit of that he had reached that spot and as he was also to go to Vicitravirya on the mount Suvela, the sire of Patralekha, he begged leave of the prince and promised to return back after doing his job and conduct him to Tilakamanjari. But as ill-luck would have it he could not return soon with the result that Harivahana's yearning for the maiden got augmented and under the pretext of a digvijaya he begged leave of his sire and accompanied by Samaraketu, Kamalagupta and others he started off from his capital and reached the country known as Kamarupa where he was welcomed by the king of Pragjyotisa. The entire host of kings of Uttarapatha welcomed him likewise and offered gifts choicest from their respective countries. Enjoying all types of sports in the forest adjoining the Kamarupa, Harivahana desisted from actual chase and just took to the vow of non-violence. The fact of Candrapida marching on a digvijaya in company of Vaisampayana in Kadambari and his subsequent adventure afford a cue to Dhanapala for creating a parallel picture. The sport, however, took a nasty turn. Puskara, the chief of the elephant corps brought news to Harivahana that Vairiyamadanda, the elephant lord had gone astray and was not coming under sway after strenuous efforts whereupon Harivahana started off with Samaraketu and others to subjugate the wicked tusker personally. He was, however, carried away by the tusker who was a different divine animal but not Vairiyamadanda. Samaraketu made all possible efforts to search out and bring back the prince but failed. Thoroughly frustrated he took upon to immolate himself and as he was on the point of doing so, Harsa, the porter brought news to him that Paritosa, a confidant courier of Kamalagupta had brought a billet that purported forth the security of Harivahana. Amazed over this Samaraketu started off on one night leaving his colleagues behind and wading through the forest close to the Kamarupa he met Mitradhara, the younger brother of the king of Pragjyotisa with whose guidance he reached a spot from where he heard the notes of orchestra accompanied by vocal music. Having reached the Adrst apara lake he crossed it and reached the spot where he was welcomed by Gandharvaka who ultimately brought him close to Harivahana who in company of Tilakamanjari was enjoying the bliss of paramountsy of the Vidyadharas. Harivahana introduced Samaraketu as the self choice consort of Malayasundari her sister, being the son of the lord of the Simhalas.

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DHANAPALA AS A PROSE WRITER 33 This much practically is the main plot of the whole romance which revolves round the adventurous exploits of Harivahana and Samaraketu who during their sojourns are led away from their proper abodes, the army encampments, one by an elephant, the other by the responsibility he owned for the security of the life of his friend turned into a brother; their encounters with maidens, their love at first sight, their separation from their beloved seeking search for their lovers, the stories of the previous births of Tilakamanjari and Malayasundari who were Priyangusundari and Priyamvada involved in love intrigues, who lost their lovers, Jvalanaprabha and Sumalt in separation like Mahasvesta of Bana's Kadambari and happened to take birth again to find Harivahana and Samaraketu to woo them in their present birth, the ultimate reunion of the two couples forming the finale of the whole romance. The motif of the elephant carrying Harivahana deep into the lake Adrst apara, the subsequent conversion of Gandharavaka into a parrot by the vile deed of Mahodara, the favourite attendant of Sri, the personal account of the parrot as narrated before Harivahana, Harivahana's first meeting with Tilakamanjari and his subsequent meeting with Malayasundari residing in the hermitages of Kulapati after she had been sent there by parents who remorseful over triplefold attempt of their daughter at self-immolation once by tightening a noose over her neck, a second time by taking the poisonous fluid of the Kimpaka fruit and third time by plunging into the Adrstapararescued in time by Bandhusundari and Samaraketu, Tarangalekha and the wet billet of Samaraketu, Harivahana's return to his camp and disgust on not finding out Samaraketu who had gone out to find out Harivahana, his meeting with Tilakamanjari and Malayasundari, the latter sending him back to trace out Samaraketu, his encounter with Anangarati who being persuaded by a princess, his acquisition of the charm from Anangarati at the instance of Sakyabuddhi, the Buddhisaciva' of Vikramabahu, the king of Gaganavallabha on the Vijayardha mountain, who made Harivahana the king of Vidyadharas, the appearance of Sri along with Mahodara assuring his reunion with Samaraketu, Tilakamanjari and Malayasundari who were none but Priyangusundari and Priyamvada the consorts of Jvalanaprabha and Sumali, knowing their true identities through a presentation of Candratapa necklace to Tilakamanjari and the ring Balaruna to Malayasundari by Harivahana, inherited by his father Meghavahana through austerities, through Gandharvaka; donning of the divine scarf 'Nisitha' as given by Citralekha to Harivahana and the subsequent regainment of the original form by Gandharvaka ere his handing over the ornaments to the two beloved's, the subsequent approval of Vicitravirya and Rama to celebrate the marriage ritual of Samaraketu and Malayasundari through

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34 TILAKAMANJARI OF DHANAPALA Kusumasekhara and Gandharvadatta and the same ritual of Harivahana and Tilakamanjari by the hands of Cakrasena and Patralekha, the subsequent demise of Meghavahana and ere to that his object of crowning Harivahana as king of the territories owned by himself, Harivahana's alliance of Kamalagupta and Samaraketu leading to a series of happy rejoicings for a long time provide a happy ending to this romance. Apart from this the account of Samaraketu narrated by himself leading to his first meeting with Malayasundari after he had started off from Rangasala in the Simhalas through sea in company of Taraka, a sailor youth, son of Vaisravana and Vasudatta and a consort of Priyadarsana daughter of Jalaketu, who had been made chief of the naval staff of Candraketu, sire, of Samaraketu, the lord of the Simhalas, the subsequent narrative recounted by Malayasundari likewise before Harivahana, also describing her first meeting with Samaraketu, the act of messenger in love performed by Taraka for the latter, the act of plunging into the ocean by Samaraketu, subsequent following into the ocean by Malayasundari, her rescue by an unknown agency, her bereavement in the house of her grandsire Vicitravirya, reappearance of Samaraketu on the scene of strangulation by Malayasundari after he had heard the doleful cries of Bandhusundari, the story of Gandharvadatta's separation from her parents in childhood and her fostering care having been taken by the Kulapati in the Prasantavaira hermitage, the prophecy about her reunion with her sire Vicitravirya after the nuptial tie of her daughter Malayasundari- all these facts go to make this prose treatise an interesting piece of literary enjoyment throwing all the time into a revelry of horripilation caused by suspense permeating each and every thread of the emboxed variety of tales. The nature of the emboxed tales throughout the whole romance resembles the nature of the emobxed tales in Kadambari and is most unlike the nature of the emboxed tales available in the Dasakumaracarita of Dandin wherein the entire galaxy of coruscating narrative diction entails a steady flow of incident following each other in a chain and not intertwined into one another like a jaggery of creepers. Drs. A. B. Keith' and S. K. De.? have postulated that the story of Tilakamanjari is a love episode of Samaraketu and Tilakamanjari whereas Dr. V. Varadacari says that it is a story of love between the princess Tilaka and prince Samaraketu. But a final reunion of Harivahana and Tilakamanjari, Samaraketu and Malayasundari clearly contradicts the views 1. HSL. p. 331.Ch.XV Oxford University, Press London, 1953. 2. Ibid., pp. 430-431. University of Calcutta, 1947 Chapter VI topic-5.

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DHANAPALA AS A PROSE WRITER of the great scholars and establishes the view that it is a love episode of the two couples who after passing through ordeals of a Vipralabhasungara or love in separation achieve their end admirably and the romance is a comedy though tragedies befall the characters ever and anon during the course of their achievements. Sri Narayana Manilala Kansara (Introduction to Pallipala Dhanapala's Tilakamanjarisara) agrees with me on this point by saying 'The Tilakamanjari (TM) of Kavi Dhanapala is a Sanskrit prose-romance depicting a love affair on the one hand of prince Harivahana with a celestial princess Tilakamanjari and on the other hand, that of another prince Samaraketu with a semi celestial princess Malayasundari." Regarding the sources of the plot it is very difficult to say as to whence did Dhanapala derive his inspiration to interconnect the main threads of his narratives. Even his characters do not afford any clues to the parallels they might have sought cues from. Still the lofty encomium offered to Gunadhya and his Brhatkatha by Dhanapala can afford us an inkling into the surmise that he must have picked up the drops of water from the huge ocean of tales making them laden with variety of coloured pearls in the form of words to make the muse of his Lavanasindhu, Ratnakara as observed by him himself during the course of his narratives. He says "Having taken verily a drop out of the ocean in the form of Brhatkatha and rendered polished, the other stories appear like the mantle of worn out rags (lit. loincloths) before that" As is well known the original Brhatkatha was in Paisaci a spoken dialect, a subdivision of the spoken Prakstas, according to some a dialect spoken round about the areas of Pratistana (modern Paithana") or a village Pothra situated on a small river of the same name which joins the Wunna, a remnant of town Supratistha as given in the Kathasaritsagara", while 1. HSL p. 178. (Hindi Ed). Ramanarayan Lal Beniprasad, Allahabad-, 1962. 2. TM p. 323, Vol. II. L.8, p. 117 (English Edition CH-XVII 3. Fire -GHIR : Hae: well: ufaufa qua: 11 TM. Intr. verse 21. 4. Dr. D. K. Gupta.p.100 Society and Culture in the time of Dandin. 5. Home of Gunadhya. V. V. Mirashi studies in Indology Pt. 1. p.69 Vidarbha Samsodhana Mandak Nagapur, 1960.

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36 TILAKAMANJARI OF DHANAPALA according to others a dialect, an old descendant of modern Kasmiri' and is now lost. We find three Sanskrit adaptations in verse of Buddasvami (8th or 9th Cent. A.D.) Brhatkathasloka Samgraha), Ksemendra (11th the Cent. A.D.) Bihatkathamanjari and Somadeva (11th, 12th Cent. A.D Kathasaritsagara), the 2nd one being very brief and the 3rd one being quite literal. We cannot draw any synchronistic parallels between these adaptations and the romance of Dhanapala, still we can bank upon kathasaritsagara, the faithful version of the original which was written in 5th Cen. B.C.) 2 Dhanapala has paid tributes to Bana and his son? Pulinda named as Abhinanda in Aryasaptasati of Vishesvara Pandta in I-57. P. 26. who played adjunct to his sire in composing Kadambari a Katha which derived the source of its plot also from Brhatkatha." He lauds Bana as an ocean who attained eminence through his akhyayika depicting the life of Harsa. Since Bana, the ocean drew out drops from the ocean of the stream of tales Dhanapala followed suit and drew out drops from the ocean of Bana as also from that of Gunadhya. In order to probe into the sources of the plot of Tilakamanjari we can take into consideration the Lambakas 4 and 16 of Bihatkathamanjari, 4, 5, 6 and 10 of Kathasaritsagara. Of the tenth Lambaka of Kathasaritsagara only the third taranga deserves a notice. Gunadhya has been referred to by Dandi', called as adbhutarha by Dandin, Subandhu and Bana, 7 He must have flourished long before the 5th cent. A.D. and since he incorporates almost all the stories of Pancatantra into his Brhatkatha, he 1. Gunadya might have had his parents belonging to Kasmira but shifted to the region of Pratisthana maintaining his own regional language or mother tongue for his medium of expression. 2. ei aeda rifach: TefR 9HF 4791 afvaali- KSS 1,1.10. p. 1 3. HIGYA119: :upefa Aracatacft :1 app asfam: ai ufa ARNAG... Aryasaptasati 1.51 p. 26 The Sanskrit Academy Osmania university Hyderbad printed 1966. kevalo'pi sphuran bANaH karoti vimdaankviin| kiM puna: klRptsndhaanpulindkRtsnnidhiH|| kAdambarI sahodaryA sudhayA vaibudhe hRdi| afe40 ufa arunstaura parar TM Intro. verse 26. 27. pp. 26, 27 Botad ed. 4. Bana and Dhanapala as Sanskrit Novelistis by Dr. N.M Kansara pp. 223-238 Vol. XIV. Pt. II, 1976. 5. Kavyadaria I. 38. P. 19. 6. VD., p. 166 L.H. Gray LL 18-19. 7. HC., I, 18., p. 12 JNVSE MLBD, Delhi.

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DHANAPALA AS A PROSE WRITER 37 must have flourished much earlier than the 3rd Cent. A.D. even. He has referred to Canakya and also to Yaugandharayana, Udayana, Mahasena, Gopalaka, Palaka and Naravahanadatta (son of Udayana) and omitted Aryaka (the son of Gopalaka and grandson of Mahasena referred to by Sudraka in his Micchakatika). He cannot be posterior to Canakya also known as Kautilya and even Sudraka. Bhasa has referred to Udayana, Mahasena, Gopalaka and Palaka' and not to Naravahanadatta and Aryaka. Bhasa is definitely anterior to both Gunadhya and Sudraka. On the basis of this we can place Gunadhya towards the last quarter or second half of the fifth century B.C. and the first half of the 4th century B.C. Brhatkathamanjari of Ksemendra illustrates in brief the point that Udayana after his Digvijaya assumed the status of Puramdara while his spouse became a female swan and as both of them were rejoicing in the bliss of conjugal felicity there came to them one day Narada in their royal court where he warned the King against over-addiction to vices such as hunting whereby Pandu of Mahabharata fame had met his doom. He, however, blessed the king that he would be blessed with son who would assume the paramountsy of the Vidyadharas after having propitiated the moon-crested one i.e. Siva who also produced Kumara. Vasavadatta would bear that child who would be an incarnation of Smara (Cupid) consumed by the eye of Hara (i.e. Siva) and brought into being by Siva pleased over the austerities of Rati.? The same account is obtained more elaborately and faithfully in the version of Somadeva which lends better incentive to our probe meant to locate the source of the theme of our romance. In the first taranga after the benediction which is the same as one given before the kathapitha lambaka we find a mention made of the paramountsy of Udayana over the entire earth held underneath by a single parasol. Having devolved all the responsibilities as well as the liabilities of his kingdom over to the army chief Rumanvan and the Prime-minister Yaugandharayana he took to a life of licentiousness enjoying music and drinking in association with his queens and many other maidens. Hunting also became his inordinate passion. Finding him given over to these habits there came to him one day the sage Narada who having seen that king, a 1. Pratijnayaugandharayana. II. 13. p. 90 by Sudarshan Sharma, (MLBD Delhi, 1965.) 2. Lambaka IV Guccha I. verses 2-10. P.102, 103. Mehar Chand Lacchmandas Delhi, 1982 Published by VVBI VSIS. 3. KSS Vol. I. Kedarenatha Lambaka IV taranga I verses 2-37. pp. 408-412. Bihar Rastra bhogh parisad Patna, 1960.

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TILAKAMANJARI OF DHANAPALA veritable peer, to the sun, spoke to him after having been greeted by him accordingly, the narrative of Pandu who was his Primeval grandsire and who had perished likewise, owing to his excessive addiction to chase by the curse of Kkndama, a sage who roaming about in company of his wife, as an antelope had been killed by Pandu and had cursed the latter to meet the same fate as he himself did. Narada even proclaimed it before the King that chase was a vice of the type that it had brought to doom many a king like the deer themselves. He dubbed chase as a demoness that could hardly do good to anyone. It involved great risk for the life of the hunter, the prey as well as the vehicle. He rather persuaded king Udayana to refrain from taking to such a vice and told him that he was dear to him because his ancestors were his friends. He also predicted that a son, a veritable peer to Cupid was likely to come as his scion in a short time. He narrated another tale that in times of yore after Cupid had been consumed by the fire of wrath of Siva) Rati, his spouse had adored god Siva who pleased over her had blessed her this way that Parvati having got down in her partial incarnation over the earth and obsessed with the idea of begetting, progeny would give birth to a son from her own womb and told him that Vasavadatta, the daughter of Candamahasena, was sprung from the partial incarnation of Gauri and was at that time his chief queen, who having propitiated the illustrious god Siva, was to give birth to a boy, a veritable partial incarnation of Kamadeva who was to be the universal monarch of all the Vidyadharas. Having heard that the king donated the entire earth to the sage who returned the same to him and went away. The sage having gone the king spent his day all in musings about the birth of a son in association with his queen who was anxious to give birth to a son. The intervening tales of a Brahmani Pingalika by name, of King Devadatta and his harlot spouse, autobiography of Pingalika have been introduced in the Kathasaritsagara with a view to bringing out some instructive motif meant to preach a sermon to king Udayana and his queen Vasavadatta. Brhatkathamanjari contains only the first tale. Verses 40-48 in the Brhatkathamanjari narrate the way Vasavadatta adored God Siva and subsequently got a boon from him for the birth of a son, the way she saw a person with matted hair handing her over, a divine fruit, in a dream and the way she recounted it to the king. Subsequently she bearing all signs of pregnancy the king fulfilled her desire of having an aerial voyage and Yaugandharayana coming to her narrated the fascinating tale of the exploits of a Vidyadhara named Jimutavahana, son of Jimutaketu. Verses 140-148 of the first taranga of the Fourth Lambaka of Kathasaritsagara, recount the tale of Narada guiding the queen to adore

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DHANAPALA AS A PROSE WRITER 39 Siva, the bestower of boons. Goaded by Vatsaraja accordingly the queen took to her resolve for that austerity whereupon the king also along with his subject folk became keen on that act of propitiation. In a dream the Moon crested one (i.e. Siva) revealed to the aspiring couple that a son claiming supremacy over the lords of the Vidyadharas would be born to them out of his benignity unto them. Having said so the Moon crested one became away from sight. Gloating over their impending fortunes, the couple became busy taking food meant to break their fast in company with their kinsfolk and after a few days, a person with matted hair having come in a dream, gave to the queen a fruit, a fact which she narrated before the king as also to the minister visualising that a son in the form of fruit had been bestowed upon her by the Moon crested one i.e., Siva. Verses 135-142 at the end of fourth Lambaka of Brhatkathamanjari narrate the actual birth of a son to Vasavadatta who was named Naravahanadatta whereas verses 131-134 narrate the birth of sons Marubhuti of Yaugandharayana, Harisikha of Rumanvan, Gomukha of Nityodita, the porter, who were to be the associates of Naravahanadatta. In Kathasaritsagara (Lambaka IV taranga II) the growth of the foetus of Vasavadatta, the environments under which she was placed accordingly being regaled by female chaperons, the narration of a tale of a Vidyadhara Cakravartti Jimutavahana, the story of the previous birth of Jimutavahana, the marriage of Malayavati and Jimutavahana, the tale of Kadru and Vinata, the mighty sacrifice of Jimatavahana for the Nagas, the ecstasy of Vasavadatta on hearing all this (verses-1-259) the vision of Vasavadatta in taranga III wherein Siva assured her not to worry about her foetus since it was to go all safe (verses 1-30), the birth of sons Marubhuti of Yaugandharayana, Harisikha of Rumanvan, Tapantaka of Vasantaka, Gomukha or Ityaka of Nityodita and the subsequent birth of Naravahanadatta to Vasavadatta the rejoicing all over the country (verses 54-93) have been described elaborately and can easily bear semblance to the description of Ujjayini in Kadambari, her Monarch Tarapida and his queen Vilasavati, both failing to get a son, getting the same through the blessings of a sage offering them to observe austerities and the parallel description of Ayodhya in Tilakamanjari, her sovereign Meghavahana having a queen Madiravati, both being issueless for a long time, getting the blessings of an acrial sage, a Vidyadhara offering them to adore Siva who could bestow upon them a boon for the birth of a son and subsequently getting a son baptised after psychology of a dream seen by the king who saw Indra riding his elephant and conjuring before him the charm of his getting a son who was to be paramount sovereign of the Vidyadharas.

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TILAKAMANJARI OF DHANAPALA The same semblance can be traced in the story of Somaprabha, son of Jyotihprabha, king of Ratnakarapura who installed as heir apparent to the throne and started off for the conquest of the quarters in company of huge army battalions and played adjunct to by Priyankara a son of his sire's minister, reached a forest after wading through the entire earth and seeing a Kinnara couple followed it up by his horse and carried to a divine region saw a shrine of Siva (Tryambaka) on the shores of a lake and finding a divine dame therein playing on lute, he happened to face her and listen to her account as to why she had been there given to austerities. Having heard from her that she was Manorathaprabha the daughter of Padmakuta, a Vidyadhara king, born in Ratnaprabha, his queen and attained to puberty in due course of time she happened to see a sage boy who responding to her reciprocal call for love through his adviser Buddhadatta questioned by her chaperon Padmalekha, narrated the tale of his previous birth (verses 196251) etc. in the Brhatkathamanjari (XVI Lambaka) which has a better and clearer elaboration in the Tenth Lambaka, third taranga, of Kathasaritsagara. There are certain variations in the two texts. "There was a king Jyotisprabha by name in a town named Ratnakara, who was the overlord of the earth extending up to the ocean, who begot a son in his chief consort Harsavati by the grace of a boon showered upon by the lord of Gauri i.e., Siva. As the queen had seen the Moon entering into her mouth in a dream ere to her having the germination of the foetus, the king named the son as Somaprabha who grew up becoming a source of joy for the populace. Grown into a budding youth, capable of bearing yoke of kingdom, a chivalrous being, his sire Jyotisprabha installed him to his throne quite pleased over him. He deputed Priyainkara, the son of his minister Prabhakara by name, to the office of a minister to Somaprbha. Anon getting down from the sky having brought a horse, Matali spoke to Somaprabha that he was an ally of Indra, a Vidyadhara got down to the earth whom Indra had gifted a horse Asusrava, son of Ucchaihsrva got upon whom he would become invincible. Having said so and presented the steed to Somaprabha with hospitality done to him Matali flew to the sky. Overjoyed over that Somaprabha told his sire that it ill became a ksatriya to keep away from the conquest of the quarters and sought his permission to move out for the same. Having heard that his sire pleased over him permitted him to go and arranged for his march. Having bowed before his sire Somaprabha started for the conquest of the quarters, on an auspicious day and conquered the kings with the help of his gem of a horse and brought gems as a recompense for that. He made the heads of his enemies bend down in line with the tips of his bow. His eclat grew up and not the heads of the enemies. Come to the vicinity of Himadri along with his army hosts he

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DHANAPALA AS A PROSE WRITER 41 took to chase, saw a Kinnara and chased him with his steed. That Kinnara grew out of sight after having entered the cavern of a mountain. Somaprabha was drawn away by that horse. Having turned round, being fatigued, he saw a huge lake and desirous of passing that night there he got down from the horse. Having refreshed and fed that horse he heard the sound of music from one side and following the track saw a divine dame quite at short distance; who was singing in front of a phallus shaped image of Siva. Curious to know as to who she was he moved ahead. She, welcoming him inquired as to who he was and whence did he come. Having heard that he also inquired as to who she was and why did she stay in that sequestered region? (Verses 1-85). Whole of this account can easily be compared to the account of Dhanapala's muse as narrated by him in his Tilakamanjari. Innovations are obvious. Having seen the great romance (Kadambari) of Bana winning laurels by virtue of her abundant merits and originality of the poet in transforming the Epicurean theme to an equally blameless prose narrative style laden with all types of literary equipments, Dhanapala could hardly think of going one better than his illustrious predecessor. Having picked up the drop from the ocean of Brhatkatha he has renovated the whole theme in his own way giving it the coating of a new creed sponsored by a sentimental urge of the Heterodox system of religious fervour commingling it at the same time with the popular beliefs of the Hinduites under whose patronage he was given to work as a literary artist. Bidding his unflinching devotion to the Jain Acaryas Dhanapala has upheld the lofty ideals of Hinduism and characterised his characters giving up all the nocuous tendencies inherited by them through a following of the Hindu polity and taking the doctrine of non-violence as being proposed by the canons of the Jaina protagonists. Description of Ayodhya is in line with the description of Ujjayini in Kadambari. In it reigned supreme a king named Meghavahana, a scion, of the Iksvaku race, who had a queen Madiravati by name. Enjoying all the carnal pleasures with her he failed to get an heir to his parental throne like Vilasavati, queen of Tarapida, who performed a ritual to propitiate the gurus, deities and the sages and Harsavati, queen of Jyotisprabha who propitiated the lord of Gauri, Madiravati, has been shown insisting her husband to associate her with him in his pious resolve to propitiate the manes in the sequestered wilds. Like a sage appearing before Tarapida in Kadambari and Narada appearing before Jyotisprabha in the Brhatkatha (Kathasaritsagara), we have a Vidyadhara sage appearing before Meghavahana and his consort Madiravati on the roof of their palace consoling the royal couple being swayed down by grief born of their

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TILAKAMANJARI OF DHANAPALA impending separation. He comes to know the cause of the be wailments of Madiravati and persuades the king not to go to the wilds. He rather instructs him to stay in his home and offers a charm of holy syllables, which could help him propitiate Sri the goddess of fortunes, who was likely to bless him with a son who was to be the supreme overlord of the Vidyadharas. A temple of Sri got constructed by the king with daily obeisance being done to the goddess by him a vaimanika named Jvalanaprabha coming to him and presenting to him a necklace named Candratapa that was to decide the fortunes of his son to be born as his incarnation, Sri one day presented herself after testing his faithfulness and courage through Mahodara, her attendant transformed into a vampire and blessed him with a boon that was to bring him a son of merits recounted above and presented the finger ring Balaruna along with the candratapa necklace he had offered at her feet. All these constitute a novel idea as compared with the boon of Kadambari and Brhatkatha though it resembles the idea of a boon conferred on Puspabhuti by Sri in the Third Ucchvasa of Harsacarita. The baptism of Harivahana in conformity to the psychology of the dream resembles its counterparts both in Kadabari as well as Brhatkatha. The idea of adoring the Sasthidevi on the occasion of the Sasthiprajagara (wakefulness ceremony on the sixth day after the childbirth) is similar to the one depicted by Bana in his Kadambari. The idea of sending Harivahana for schooling at the age of six and bringing him back after his Samavarttana at the age of sixteen resembles its counterpart in Kadambari where Tarapida does the same in case of Candrapida. Somaprabha, Candrapida and Harivahana are installed as heir apparents as soon as they grow into budding youths. All start for the conquest of quarters immediately after their installations. But circumstance varies in the case of Harivahana. Candrapida and Somaprabha start off on hereditary aims of digvjaya accompanied by the sons of their minister whereas Harivahana starts off after he gets impatient on not finding any news about Gandharvaka who has promised him to bring tidings about Tilakamanjari, the queen of his heart. He is accompanied by Samaraketu who being the son of a paramount sovereign, the king of Simhalas, is placed in the status of a foster brother by Meghavahana, but is not the son of a minister of Meghavahana abiding in the same kingdom and has come on his own way to a personal digvijaya to render succour to the king of Kanci. Whereas Candrapida and Vaisampayana, Somaprabha and Priyamkara form ideas about their loves after they have gone far away during their journeys, Harivahana and Samaraketu have been given an idea about them while yet they are in the capital (Avodhya) and have yet to start off for the conquest of the quarters which is specifically meant as a pretext to find out the maidens of their hearts hitherto lost to them.

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DHANAPALA AS A PROSE WRITER Somaprabha and Candrapida start off on the horses gifted by the divinities whereas Harivahana and Samaraketu start off on their own individual horses in search for the elephant Lord Vairiyamadanda after they receive a report from Puskara the chief of the elephant corps (karisadhanadhyaksa)" that the animal had gone astray. Somaprabha and Candrapida are taken to the lakes while pursuing a Kinnara and Kinnara couple respectively but Harivahana is taken aloft and thrown into the lake Adrstapara by the divine elephant who had been mistaken for Vairiyamadanda by him. And as is revealed by Citramaya himself in later references the elephant carrying Harivahana and flying into the sky was none else than Citramaya himself who had been detailed on duty to bring Harivahana so that he could come close to Tilakamanjari. It is here that Harivahana and Samaraketu separate from each other like Somaprabha and Candrapida separating from Vaisampayana and Priyamkara respectively. The account of Candrapida hearing from a distance the chime of the chord of a lute while standing on the lake Acchoda resembles the accounts of Harivahana hearing the same type of note from the shores of the lake Adrst apara. Candrapida meets Mahasveta who narrates her tale of woe as she had been waiting for her lover Pundarika since long under the hope that he would come to her again. Harivahana likewise meets Tilakamanjari who having seen him at first sight evades him away and trying a second time by likening her features to the portrait presented by Gandharvaka he only advances ahead to meet Malayasundari who like Mahasveta narrates her tale of woe since she, too, had been waiting for Samaraketu to come to her again. Just as Mahasveta conducted Candrapida to Kadambari who ensured her love to him, Malayasundari conducted Harivahana to Tilakamanjari who likewise assured her faithfulness to the prince. The motif of Candrapida worrying after his entourage headed by Vaisampayana and taking leave of Kadambari to search out his colleague resembles the motif of Harivahana reminded of Samaraketu and other allies and taking leave of Tilakamanjari to help Malayasundari unite with her consort. The motif of the parrot who was actually Gandharvaka cursed to that state by Mahodara, the vile attendant of Sri resembles the similar transformation of Vaisampayana into a parrot brought by the Candala maiden (Kadambari in previous birth) to the court of Sudraka, the king of Ujjayini (Candrapida in previous birth) in Kadambari. But the parrot in Tilakamanjari is resuscitated to his original state by the help of a scarf named Nisitha. Gandharvaka's presentation of the two ornaments to Tilakamanjari and Malayasundari, as ordained by Sri, reminds the two princesses that they were Priyangusundari and Priyamvada, the consorts of Jvalanaprabha and Sumali in previous births who had now taken the garbs of Harivahana and Samaraketu. Parrot transformed into

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44 TILAKAMANJARI OF DHANAPALA Vaisampayana, Candala Kanya into Kadambari and Sudraka into Candrapida, all go to make the romance a happy comedy out of a grim tragedy when Mahasveta woos Vaisampayana (Pundarika in previous birth) and Candrapida woos Kadambari. Harivahana wooing Tilakamanjari and Samaraketu wooing Malayasundari provide the comic relief the denouement of the plot after the tragic stance of the freaks of providence had been over. The incidence of Sudraka meeting the Candalakanya coincides with that of Somaprabha meeting the Nisadakanya Makarandika by name. Dhanapala's invention of the motifs of the Vidyadhara sage and the Vaimanika Jvalanaprabha are ingenious in so far as the necklace presented by the Vaimanika and the ring presented by Sri the favourite of the Vidyadhara sage constitute the deciding factor towards recognition of the two couples towards the finale of the whole romance. The introduction of the Vimanas or acrial cars of Gandharvaka, Citralekha and Tilakamanjari is the anachronistic fabrication of the mind of the poet who was perhaps reminded of the hoary past wherein science had its glory in all respects and had lost its lease due to the ravages of time. 2. DESCRIPTIVE AND NARRATIVE ELEMENT The paucity of any regular specimens of ornate prose in earlier literature before the times of Dandi, Subandhu and Bana, is a mighty handicap for the serious literary critic who can hardly probe into the circumstances and environments which led to the evolution and growth of ornate prose Kavya although casual references to the existence of such Kavyas stand imbedded in these very Kavyas of later writers, Mahabhasya of Patanjali and other literary sources. The tendency to elaborate a huge structure of descriptive and narrative elements around the nucleus of drop-size theme of the Epicurean literature, arose in the Mahakavyas of Bharavi, Magha and Sri Harsa when Asvaghosa and Kalidasa had eclipsed all the earlier efforts by their ubiquitous efforts at describing and narrating many things within the fold of seventeen to twenty eight cantos, similar might have been the case with Dandi, Subandhu and Bana who must have thrown into oblivion all the preliminary and mediocre efforts by their ubiquitous talents consuming all types of descriptive and narrative details in their panoramic compositions. That is why we find in Dhanapala, Trivikramabhatta, Somadeva, Odayadeva Vadibhasimha and Vamanabhatta Bana, the imitative recurrence of the verse combinations of Bharavi, Magha and Sri Harsa transformed into the garb of unmetrical narrative compositions which according to Dandin's dictum "The floridity and abundance of compounds form the very life of prose" misunderstood the real import of the words of the great stalwart who wrote

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DHANAPALA AS A PROSE WRITER 45 his Dasakumaracarita in the tight vein of a perspicuous diction though his illustrious successors emulating his norm went to the extent of pedagogic equivoques and brought it to the consummation of ornate verbal jugglary.' Such is the pattern set by Dhanapala in his Tilakamanjari in which he himself described prose as a multicoloured tiger abiding in the impenetrable Dandaka forest in the form of abundantly numerous descriptions seeking refuge in a forest of unbroken Dandakas (i.e., long drawn sentences), struck by terror (from whom) the people turn their faces away (with a view to escaping for life).? This highly ornamented style has been styled as Vicitramarga by Kuntaka in his Vakroktijivita'. The Vicitramarga or the chequered route entails the detour involvement's in descriptive and narrative sequence wherein equivoques form the bedrock of words and their meaning or sounds and senses; where in a multiple series of figurative expressions stranded into a circuitous noose or strung into a series of pearls like expressions render the poetic muse a veritable peer to a comely dame resounding with the clank of jingling ornaments in the form of associative expressions inlaid into a variety of material comprising of the rich wealth of imaginative descriptions of towns, gardens, men, women, seasons, religious places, rivers and streams, fakes and bowers, chivalrous deeds of the heroes, amorous dalliances of lovers given to love in union as well as in separation, festivals, processions and all types of social and cultural leanings. Dhanapala has ostensibly adhered to the path already paved by Bana in his Kadambarikatha but in his modes of delineation and arrangement of distinct imagery he has taken a cue from his Harsacarita. In his general mode of descriptive and narrative sequence Dhanapala gets lost so much in heaping of figurative embellishments that invariably he loses sight of the links of the narrative which advance the plot ahead but in doing so he was bound meticulously by the legacies of the age he inherited from Bana or else he would have failed to produce the volume of such a romance. He treats of all the constituent elements of his plot in a judicious manner and never fails to maintain the subsequent inter relation of the characters conversing during his descriptions though the reader finds it very hard to understand the correct links provided by the mutual conversations of 1. Bi: 4744HGER ifanyi Kavyadarsa I. 80 p. 43. V. Narayanan, Jivananda Vidyasagar 1964. (18) 2. gravsguaRUHI: wyraujali inca 4 Elcada 17: ITM Vol. I. Intr. verse 15 p. 20. Botad ed. (19) 3. 42741644 Karikas 34-43. pp. 124-125. Dr. Nagendra and pp. 133-136 text

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46 TILAKAMANJARI OF DHANAPALA the characters finding their way-out to solve the problems facing them in the course of their weals as well as woes. It is quite after a second or a third reading that the reader finds it more convenient to understand the main theme of the romance, a tendency which is equally discernible in the works of Dandi, Subandhu and Bana in the like manner. Dhanapala invariably loves to write in a difficult manner and his intentional efforts to evolve something original, something unusual and something provoking marvel, led him to pick up a theme he has tried to portray in a skilled artistic way. His descriptions and narratives are quite tardy and rarely and occasionally we find a swift and racy vigour in them particularly when he goes to adopt a reflective style. Unlike the slim waisted maiden-like muse of Dandi and like the obese-waisted and slothfullymoving maiden-like muse of Subandhu and to some extent of Bana Dhanapala's muse goes a step further in so far as its tense and abstruse phrascology laden with fanciful conceits and literary as well as philosophical embellishment rank her to the status of a maiden heavily overloaded with the galaxy of gaudy ornaments inlaid over her spruce costumes. The romance Tilakamanjari starts with a description of Ayodhya a nagari of appropriate appellation, in the Northern Kosalas, a repertory of all the narvels. The poet while going to tell the reader that there is a capital town of Ayodhya in the Northern Kosalas he starts with the expression f' and bringing in a huge string of qualifying epithets defining its prerequisites he covers a number of pages before ending his sentence with 'sarvAzcaryanidhAnamuttarakozalaiSvayodhyeti yathArthAbhidhAnA ngrii|' / Anon he illustrates its affluence in hyperbolic terms of fanciful flights of imagination and following on with the word ' n' etc. occurring almost in all the clauses, he establishes the prosperous state of its citizens, the physical as well as natural environments abounding in bliss, the absence of any devious tendencies among the subject folk. He concludes his description by starting with the expression 'ai' and loading it with the qualifying epithets of the Supreme sovereign Meghavahana both as a ruler as well as a man. He recounts the virtues of his personal sword, his individual radiance and all other manly qualities he possessed, his entourage consisting of the army-chiefs (Sainyanayakah), his porters (Pratiharah), his chamberlains (sthapatyah), his umbrella bearers as also the Chowrie bearers (Chattracamaragrahah), his body guards (Angaraksah), his Law-governors

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DHANAPALA AS A PROSE WRITER (Dharmastheyah), his secretaries of amusements (Narmasacivah) or the pleasure companions, his priests (purodhasah), his counsellors (Mantrinah) his espionage (Gudhapurusah), his bards (Vandipurtrah) followed by a detailed account of the Law and Order situation prevailing during his reign period marked by the figure Parisamkhya (Exclusion or Restriction) p. 70 LL 5-8/Botad ed. The four verses substantiate his excellent way of administration. In the subsequent prose-passage he goes to inform the reader that king Meghavahana who had been consecrated to the throne while being a boy, had entrusted the onus of administration to his counsellors after having become a fully fledged monarch and in doing that he had made himself free from all worries by appropriating the earth engirt by seven seas, had rendered all the quarters free from thorns, had dug up victory-columns all over the extremities of his kingdom, had a fabulous treasury, had subjugated all the vassals, had won the confidence of all his ministers as also of the allies, had stationed men of reliance in the forts and himself with mind addicted to the enjoyment of physical pleasures, had brought into being a battle field of sensual sports. The whole sentence is laden with heavily loaded compound epithets brimming with hard consonants. All types of cajoleries and pranks of erotic sports and dalliance in company with women have been described in details comprising of separate single sentences starting with 'Kadacit etc. Apart from that he attended to his kingly duties as also as opportunities offered him to do so and even took up the task of moving incognito in the city to find out the strength and weakness of his administration. His counsellors, too, took to their respective duties most carefully para 51-3, pp 43-70: 71-78, p. 78 LL1-2. Botad ed. Indulging in all these descriptive details Dhanapala ultimately brings before the eyes of the readers the fact that even though endowed with all these gifts of physical and intellectual enjoyment, he could not derive pleasure of embracing the limbs of his self born i.e. a son. The psychological repression at night coming through dreams consequent on his suppression of feelings during the day time, caused by constant reveries is thoroughly elaborated in his descriptions of the means, the scions of the Iks vaku lineage, the goddess of fortune or royal sovereignty (Sri), his youth, the code of law etc. After this simply to afford a clue to the facet that he had got a queen named Madiravati, the intervening piles of epithets of cultural importance, though they are redundant, yet they fascinate the reader to understand the leanings of the literary artist that Dhanapala was Ganga, Rati, Sarasvati, Parvati, Medini, (Earth) and Rajyalaksmi have been shown

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48 TILAKAMANJARI OF DHANAPALA having been outlived by her i.e., Madiravati. The Vidyadhara sage seen by Meghavahana enjoying the company of Madiravats while sitting at the roof of the palace named Bhadrasala, has equally been deified having been culogised in hyperbolas abounding in heaped up metaphors. Pp. 78 LL 2-7 : pp 29 LL 1-8 180 LL 1-10 p 81 LL p. 82 LL1) p 83 LL, 1-6. Dr. Neeta Sharma' has quoted Phillis Bentley's scope of narrative in fiction entailing three types i.e. description, scene and summary, forming the essence of imaginative writing in prose which has been truly and meticulously followed by Bana. In reality the western scholar must have formed the conception by a comparative study of the fiction in West as well as in the East. Bana's fiction must have, however, given a clue to this conception in the practical aspect of fiction in Europe through Greek legacies. In Dhanapala's muse this phenomenon is eventually discernible. We find long drawn descriptions advancing the narrative mode of prose diction occasionally presenting scenic delineations as in dramatic compositions and in points of inter-linking the various threads of the plot the succinct reflective moods form the basis of summary in narration's. Dhanapala has as already observed described Ayodhya, the personality of king Meghavahana and his queen Madiravati who though being ideal husband and wife and failed to beget a son. Absorbed in such a reverie the king one day saw a Vidyadhara sage who got down from the space emitting out effulgent light. The scene becomes all the more dramatic when Meghavahana in company with Madiravati gets up to offer his homage to the sage who had just assorted his feet on the floor of the roof. The posture in which the king kept gazing at the face of the sage and the way he spoke to him addressing him as 'Bhagavan', the subsequent words of ingratiating and flattery, the queries of the sage subsequent reply of the king bringing before the sage his personal dilemma, his resolve to go to the wilds to propitiate some deity, the insistence of the queen to accompany him, the subsequent advice of the sage and bestowal of charm upon the king, his devoted fervour unto the sage, the blessings of the sage on the queen, the subsequent bashfulness of the queen, king's request to the sage of seeing her in that state, the subsequent reply of the sage, blessing showered on the king and his final flight to the aerial route- all these are fairly scenic delineations depicted by the romanced in a dramatic way. Following this:- para 6, p. 84 LL 5-6, p. 85 LL 5-8, p. 86 LL 1-4, p. 87 LL 1-8, p. 88 LL 1-4, p. 89 LL 1-4 p. 90 LI-1. 1. Bana Bhatta- A Literary Study p. 115. Munshi Ram Manohar lal, N. Delhi, 1968.

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DHANAPALA AS A PROSE WRITER 'antaritadarzane ca tasmiraNaraNakadUyamAnaH zUnya iva pArthivaH sthitvA muhUrtaM hrmyshikhraadvttaar| nirvartitamAdhyAhnikavidhizca tatkAlakRtasannidhInAM gurUNAM bAndhavAnAM buddhisacivAnAM ca yathAvRttaM sarvameva munivRttAntamAkhyat devatArAdhanaviSaye caapRccht| ucchidyamAnabharatavaMzadarzananityodvignaizca tairAlocya devtaagRhmkaaryt| tatra cAtiprazaste'hani..... bhagavatyAH zriyaH pratikRti yathAvidhi pratiSThApya pratipannanaiSThikocitakriyo munipradarzitena krameNa pratidinamupAsAMcakre tathAhi prAtarevotthAya prasthitaH paricArakairanugamyamAnaH gatvA kRtrimAdiparisarasariti gRhItadantadhAvano nirvartitasnAnajapavidhiH.. mudritamukho mukhodgIrNamukharavArisrotobhiH kanakakumbhaiH sucirmenaambhyaassinyct| eNanAbhikarpUrakaNasantarpitAmodena ca... samupaviSTaH.. puSTArthAbhiH stutibhiraticiraM tussttaav| samApitamantravidhizcAtikrAntai kiyatyapi samaye vinirgatya devatAgRhAd..... gurujanaM vvnde| vihitamadhyandinAvazyakavidhizcAparAhnasamayAnujJAtadarzanena sarvadarzanagranthArthavedinA vidvajjanena sArdhaM taistaiH kthaalaapaiststhau| upasthite ca pradoSasamaye tenaiva vidhinA zriyaH pUjopacAraM ckre| anydivsessvpyetdevaanvtissttht|| all these form the summary types of narratives. Like Bana Dhanapala, too, does not allow a topic to pass unless he has got to squeeze no more out of it. He hardly knows where and when to stop except in certain passages where he has to provide the links to the chains of events occurring and recurring in the lives of the characters whose actions and reactions to the natural psychic situations rotate like a wheel, simply with a view to clearing off any types of confusions likely to mar the smooth sailing of the subsequent threads of the plot. Performing his daily routines of adoration to Sri, he saw one day having gone to the shrine of the Siddhas known as Sakravatara, a Vaimanika who was getting down in his front. The entire array of qualifying epithets strung into separate sentences inter-linked properly, form the scene type of narrative. The way he welcomed him forms the summary type. The Vaimanika, too, seeing him fascinated by him spoke to him recognising him as Meghavahana, etc. illustrates the scene type. The way the Vaimanika introduced himself as Jvalanaprabha etc. and the way he took king Meghavahana to be an incarnation of Jinavssa named Vrsabha, the Primeval god (Adideva), the way he sought permission to go to the chief island named Nandisvara brought into being by the ocean named Nandisvara etc. go to illustrate the scene type of narrative which is followed by the descriptive mode of narration comprising of the nagari named Rativisala which lay in a state of be wailment and mourning. The narratives containing the presentation of the necklace of the said description, the subsequent 1. TM Vol. I, p. 103. Para 14. LL. 6-8 Botad. 2. Ibid. Vol. I, p. 103. Para 14. LL. 6-8 Botad. Ibid. pp. 103-104. p. 103. LL. 8-9. p. 1-4 LL. 2-3 para 13. 2. Ibid. pp. 104-106. para 14. p. 104. LL. 3,4,5p. 105 LL. 1-8p. 106. LIII-3. )

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50 TILAKAMANJARI OF DHANAPALA presentation of the same necklace by Meghavahana at the feet of sri, the following description of the Vampire (Vetala) form again the scene types. And following on we can mark out the huge lot of descriptive and narrative element occurring up to the culmination of the story as a true replica of the threefold subdivision of the narration as propounded by Phillis Bentley. The other descriptions of note are: Conversation between the king and Vetala, the subsequent grasp of the scimitar by the king and his daring resort to chop his own head off in order to serve the Vetala, the failure of the scimitar to chop his head off beyond a half of it, the shrill cries of the celestial dames, the subsequent description of Sri her conversation with the king, her resultant shower of a boon wishing him the birth of the propagator of his lineage and her final exit after presenting him back the necklace called Candratapa as also the finger ring called Balaruna taken off from her own hand; king's taking to the bedstead of Kusa seated there his conversation and consultations with his counsellors as well as the subject folk, his narration of the whole account of acquisition of the brace of ornaments, the presentation of the necklace to Mahodadhi, the chief of the Lapidaries and the despatch of that finger ring through Vijayavega to Vajrayudha to help him in nocturnal warfare; the description of the Rajakula having reached where he got down from the elephant and sat on a dais made of ivory; the description of the Dining Hall (Aharamandapa) where having had his repast he went to the ivory chamber; the description of the court hall (Asthanamandapa), that of the seraglio (Suddhanta) where he saw Madiravati, the description of the vision of Meghavahrana, the subsequent narrative of the ancient state of the queen, the birth of a son at the completion of the ninth month, the subsequent revelries and rejoicing and the festal melee at the birth of the propagator of the lineage; the description of the Maternity Charnber (Prasutigrha), the satisfaction of the king, the Jatakarma and the Namakarana Samskaras, the completion of the five years of life of the child in the harem and at the advent of the sixth year, the performance of the Upanayana Samskara marking his initiation into education; completion of education at the age of sixteen and the subsequent return to the palace; the description of the Kumarabhavana; the desire of the king to consecrate the prince; the description of the portress Vetralata, her introduction of Vijayavega come from the vicinity of Vajrayudha victorious in his encounter with the king of Daksinapatha; the description of Vijayavega; conversation between the king and Vijayavega; the description of the battles (ayodhanani); the description of the appearance of a prince after a bloody battle over Kanci; the subsequent scuffle of Vajrayudha with that prince; the introduction of that

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DHANAPALA AS A PROSE WRITER prince with the army in chief, the description of the battle field; cessation of hostilities; the welcome of the prince by the army in chief (i.e. Vajrayudha), his subsequent treatment (i.e. dressing) of the wounds of the prince and his taking him to his own abode; the conversation between the two, the narration of the account of the acquisition of the divine ornaments before the prince by the army-in-chief; the king's inquisitiveness to see the prince of the Simhalas; the description of Samaraketu; the welcome ovation; instructions to Harivahana that Samaraketu was his younger brother whom he made the overlord of the Angas and the conferment of overlordship of the whole of Uttarapatha led by Kasmira and the contiguous areas through a mandate put on a scroll held by Sudrsti, the keeper of the records; description of Manjira the character of the palm-leaf-billet; the autobiographical account of Samaraketu; the description of the outer-court hall (Bahyasthanamandapa) of Candraketu in the Simhalas; the description of the naval youth; the autobiographical account of Taraka containing the description of Rangasala; the subsequent conversation between Taraka and Samaraketu- all these forming a part of the autobiographical account of Samaraketu; the reminiscences of the legends of the Ramayana epoch associated with Larkapuri; description of the sea-voyage; the description of the group of celestial kings; Description of the celestial shrine (Divyayatana); the description of the divine maid he saw being sixteen years of age; the intrusion of the portress Vajrargala, her presentation of a picture canvas and the subsequent narration of the way she got it- description of Harivahana; description of Gandharvaka narrating a tale himself; description of Rathanupura Cakravala and the king Cakrasena who bore a daughter Tilakamanjari in Patralekha; description of Harivahana's Vasabhavana; description of Kamarupa; the description of the elephant run amuck (Vairiyamadanda); description of the image (Pratima) of Rsabha; that of the shrine of Jina, description of Gandharavaka description of Pratolika; that of the horse-cavalcade (Asvavinda); description of Harivahana seated in the midst of the plantain-grove; description of Samaraketu; description of Gaganvallabhanagara; narrative of Harivahana, Samaraketu and the entourage going to the royal house and from there to the Bhojanabhavana (i.e. the Dining Hall) where they took their meals; description of the Vaitadhya mountain whereupon they rode; Samaraketu pressing Harivahana to narrate the whole account starting from his loss by the elephant and ending with his attaining to the paramountsy of the Vidyadharas, the status in which he had seen him in company with Tilakamanjari. The narrative sponsored by Harivahana contains the description of the maiden (balika) whom he had seen in the cardamom creeper-bower after

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TILAKAMANJARI OF DHANAPALA having got away from the Adrstapara lake; the narrative of his encounter with that maiden a scene type the way she looked at him meaningfully and spoke not even a single word and left off even though introduced by himself accordingly; Tallying the appearance with one painted in the picture presented by the portress he marvelled at that and returned to find her out another scene type narrative. His moving off on being unable to find her again and finding in her stead the ascetic maid whose description again is very picturesque; scenic delineation of the way that ascetic maid came in front of him after finishing her formal religious observances such as circumambulation of the original shrine or the chief shrine, the way she spoke to him after having seen him addressing him as Mahabhaga and requesting him to pay a visit to her is equally notable (vol. III. p. 116); Harivahana's relating of the account to Samaraketu while on his way to the sanctuary on the lane of which he had seen Gandharvaka, regarding his first meeting with Tilakamanjari after he had been carried afar by that mysterious elephant; his persuasion of Malayasundari to narrate the cause of hir taking to the life of an anchorite all these form the summary types. Malayasundari's personal account contains the description of Kanci (Vol. III p. 171); description of Kusumasekhara her overload whose daughter she was born in Gandharvadatta his chief consort; the description of her blooming youth; the scenic delineation of her being in the midst of maidens after she had woke up one night, the way she went to the door and asked an old lady as to where she was; Told by her finding herself on the island Pancasaila which has been described as the island of the Southern ocean where reigned supreme the sovereign lord Vicitravirya. her maternal grandsire, whom a person introduced certain princesses such as Kusumavali daughter of Pratapasila, the king of Kusasthala, (Vol. III p. 185), Malayasundari daughter of Kusumasekhara, king of Kanci, Sakuntala, daughter of Suraketu, the king of the Magadhas; Bandhumati, daughter of Mahabala, king of Saurastras; Indulekha, Lilavati, Malatika, Madanalckha etc. daughters of the kings of Kalinga, Vanga Anga, Kosala and Kuluta (Vol. III. p. 186); The scenic depiction of the art of dance, Vicitravirya's appreciation of her art; recognition of her mother Gandharvadatta as his own daughter by Vicitravirya at the instance of Viryamitra, a minister; the account of Gandharvadatta the way she got separated from her sire in a royal cataclysm caused by an enemy named Jitasatru; the way she lived in the hermitage of a sage from where Kusumasckhara brought her as his spouse; the prediction of the sage Mahayasah that she (i.c. Gandharvadatta) would meet her parents after her daughter was given over to someone in marriage Tapanavega conducting her to Kanci in vicinity of her parents; After a sight of the image of Jina and offering of homage her mounting the 52

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DHANAPALA AS A PROSE WRITER southern wall of the fortification and seeing a prince, her love at first sight, the reciprocity of the prince, Dutakarma of kaivarta Taraka; exchange of love messages; separation; Malyasundari's rescue by Bandhusundari from a strangulation, other suicide attempts; acquisition of the love billet; meeting with Tilakamanjari, reminiscences of the past; search for Samaraketu by Harivahana; the tantric ritual observed by Harivahana; appearance of Sri; prior to the reminiscences the conversion of parrot into Gandharvaka by the divinc garment Nisitha; the sight of the ornaments; the reminiscences of the past births; union of the two couples;- all these having the description of the chamber of Tilakamanjari, her Bhojanabhavana etc. go to illustrate the scenic and summary types of narratives. 3. DESCRIPTION OF NATURE Without being a lover of nature a poet ceases to be a poet. Hence it is that in accordance with the traditional instincts Dhanapala has utilized all types of natural phenomena with a view to satiating his aesthetic cravings. As is apparent from his Tilakamanjari he had a thorough acquaintance with the regions such as Northern Kosala, Daksinapatha, Kamarupa etc. and evinces close contact with the environments and outlying as well as inlaying regions of these areas associated with all types of land, sylvan as well as mountainous routes. He had equally great fascination for the seasons which have a great role to play in the working of the human minds. Above all he had a great attraction for the nature of the oceans he has tried to describe most figuratively. Nature to man has been a great source of inspiration right from the early times. The Vedic seers described it in her metamorphistic aspect and held it in great ave for fear of vengeance it could wreak in face of violations of her laws by man. Bhasa, Sudraka and Asvaghosa depicted it in her natural colours. Valmiki was most realistic in describing the variety of her aspects most vividly as well as realistically. Kalidasa identified the activity of nature with the activity of human being. Bana followed Kalidasa in this respect. Dhanapala like Bharavi and Magha has tried to screen her real nature within the frame work of embellishments which are, however, not difficult to understand as they are in Bharavi and Magha. Like Subandhu and Bana, Dhanapala has utilized all the traditional elements of punning similes, metaphors, fancies, apparent incongruities as also Parisamkhya and Ullekha in enhancing the frame of his descriptions of nature.

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54 TILAKAMANJARI OF DHANAPALA While describing Ayodhya he illustrates a hyperbole til suddaufgiftit drfor hamutarea that Ayodhya was, as it were, an ear-penduncle (of Bharatavarsa), gleaming with round luscious leaves of a lotus. "manorathAnAmapi durvilaMghenaplavamAnakarimakarakumbhIrabhISaNormiNA jalapratibimbitaprAkAracchalena jalarAzizaMkayA mainAkamanveSTumanta:praviSTahimavateva mahatA khAtavaleyena vessttitaa| that Ayodhya was engirt round by a huge moat as if Himalaya had entered into it with a view to searching out Mainaka, apprehensive as he were of the ocean, under the pretext of the rampart reflected inside its water having its surges violent with Hippopotamuses, alligators, aquatic boars dipping into it. *51424TfUgaffaelaga RHEN: Jam i.e. It had royal swans hovering over it as they hovered over the Kraunca Mount. 'mRdupavanacalitamRdvikAlatAvalayeSu viyati vilasatAmasitAgurudhUpadhUmayonInAmAsAraalfuglufi r ittura El afiat facilf14441194YHIGHET I i.e. It had drinking revelries or carousals being enjoyed by the gallants in their domestic orchards. It had been chaperoned on her out precincts by the stream named Sarayu stationed there with a view to inquiring about the account of the (descent from the heavens of the sons of Sagara consumed by the fuel of fire in the form of the wrath of Kapila, with her sides never deserted by the royal swans as if by the old chamberlains sent to her by the Eastern ocean'. Her natural environments were beautified by the saplings or small gardens as if they were her forehead marks formed out of collyrium tint made apparent on them (Ayodhya has been visualised as maiden)'. She had mirrors in the form of lakes?. In the spring season it appeared as if adomishing the Puri named Alaka that had lent opportunity to Sulapani ( i.e. Siva) for the great sin of consuming the shark bannered god (Makaradhvaja) by means of the flags made of ruddy silk cloths etc.); "where in the merited souls did not feel any anxiety for the lower storeys surrounded by orchards 1. TM Vol. I. p. 43. LL. 2-3 2. Ibid. Vol. I, p. 44. LL. 1-3 3. TM. Vol. I, p. 44. LL. 3-4 4. Ibid. Vol. I, p. 46. LL. 5-6 5. Ibid. Vol. I, p. 47. LL. 1-4 5. Ibid. Vol. I, p. 53. LL. 4-5 7. Ibid. LL. 5 8. Ibid. Vol. I, p. 56. LL. 6-7

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DHANAPALA AS A PROSE WRITER 55 and cnjoyed during the summer, while staying on the rows of the upper chambers of the mansions with their skirts surrounded by the rows of fresh clouds resonant with the melodious cries of tame peacocks hilarious (with joy) during the Rainy Season;' wherein the moon of the full moon night shone forth as if donning scarlet robes out of his inferiority complex before the Autumnal nights, suffused with the rays of the topaz gems studded into the lofty mansions cleansed of the columns of dust washed off in the Season of the clouds,? wherein the gales blew without having rendered wilted the groves of lotuses in the oblong tanks meant for sport, without having given any importance to the fire-brand taken to (for warming up,) with importance enhanced of the anointing of limbs by sandal, during the nights of Hemanta being scared away here and there by the warmths of the breasts of maidens getting stronger with the snowfall." It, therefore, appears evident that Dhanapala has illustrated five of the six seasons while describing the natural beauty of Ayodhya which had her men and women behaving according as they were affected by the relevant seasons. In that Ayodhya reigned supreme a king named Meghavahana who was as it were an incarnation in physical form of the Arunnasarathi i.e. the sun with limits of four oceans circumambulated by his sole chariot'. His fame and radiance have been metaphorically compared with Moon as well as the Sun, conch as well as the quoit, nectar as well as submarine fire and thereby he is shown as a peer to gaganabhoga or the expanse of the sky, Acyuta (i.e. Visnu or Ks sna) and Ambhasampati (i.e. the ocean)'. His series of virtues over-spreading the interiors of the quarters of the Universe have been metaphorically compared to the rows of royal swans marching off to the Manasa lake at the advent of the rainy season, being transparent as the moon". In another context Dhanapala has brought in Jaladhara Samaya (i.e., the Season of Clouds) and Sarat samaya (or the Autumn Season) into description. The sleep of the host of the guardians of the earth belonging to (different) islands, come to cessation like that of the enemy of Kamsa (i.e. 1. TM.. Vol. I, pp. 56-57. p. 5. LL. 7. p. 57. LLI. 1-2. 2. Ibid. Vol. I, p. 57. LL. 2-4 3. lbid. pp. 4-6 4. Ibid. Vol. I, p. 59. L.-1 5. Ibid. Vol. I, p. 61. LL. 1-2 6. Ibid. LL. 2-3

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TILAKAMANJARI OF DHANAPALA Krsna) getting lost even when residing in the middle of the unfathomable repertory of water (i.e. the ocean), when his hosts of armies started off in the Autumn Season on all sides, with a desire to escheat the fortunes of the opponents, creating an apprehension in the minds of the people that the erstwhile Rainy season had come back with group of rainbows formed by the tassels of rays shooting forth from the crest jewels of the kings shaken from their lion seats with fever generated among the people by the clatter of the cavities of the hoofs of the steeds vociferous on account of the fall of the heaps of hail stones scattered by the terrible squall, with the interiors of the quarters, rendered jagged by the stretches of the streaks of lightning in the form of scimitars balanced on the hollows of the palms of the pedestrians springing in hauteur, with creaking sound of the chariots reeling forth like gharghara rumble of the clouds, with divisions of the eight quarters darkened by the circles of clouds in the form of thousands of arrays of tuskers showering forth sprays of water of ichor.' 56 After the conferment of boon fulfilling the desire of Meghavahana by Sri, the king came to his regnal abode and while he was touring Ayodhya for inspection noon tide came about and the overlord of the lotuses (i.c. the Sun) mounted the middle of the sky i.e. became more sultry?. The noon tide approached as if anxious to express his own grievances being tormented by the rays of the torrid hot rayed one i.e. the Sun. The lord of the lotuses (i.c. the Sun) mounted the middle of the sky having resolved in mind for an ablution in the heavenly Ganges, with his chariot being steered by Aruna quite steadily with clusters of flowers in the form of stars blown forth, having made a search on the peak of the trees of the Eastern Horizon whitened up early in the morning with green Kusas uprooted with efforts." Meghavahana saw in a dream the elephant, the vehicle of Surendra (i.e. Indra) suckling milk drawing it again and again with his trunk having a lotus apparently placed on the pitcher like breasts, at the time when the glooms of nocturnal hours were tinged with the hue of twilight having clusters of bees anointed with the mire of honey, hovering about here and there having moved away from the sky as if it were the lotus with hollows. of its interior becoming blown up with leaves or petals in the form of eight quarters closing up in order; when the quarter creepers were deserting incessantly the group of stellars as if it were the network of drops of water of dew got into the petals formed out of the bits of darkness thinning down 1. TM. Vol. I, pp. 60-70. p. 69. LL. 4-6. p. 70. LL. 1-3 2. Ibid. Vol. II, p. 164. LL. 1-8 3. Ibid. Vol. II, pp. 164-165. p. 164. LL. 8. p. 165. LL. 1-2.

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DHANAPALA AS A PROSE WRITER being struck by the stormy breezes of the morning; when the moon with light void of any radiance and fading away quite gradually being sipped from all sides by the female cakoras of the western (lit. setting) horizon, was setting down at the reversal of the original and the upper parts held fast by the deer forming its distinguished mark having its feet gone up and the tips of its horns converged down, during the night which was left to the remnant of a small fraction.' Herein we find a graphic delineation of the nocturnal hours fading towards their close watches with moon equally shorn of grandeur. In the exclamations of Vijayavega who narrates the way Vajrayudha waged the bloody battle against the king of Kanci at the end of the rains and advent of Autumn, we find a few illustrative word pictures- 'deva! saH kRto yaM na kazcidanyaH karoti, AkarNayatu devaH, itaH samanantarAtItavarSa nivRttAsvaviralajalAsAravarSAsu varSAsu pravRtte saMvartite sindhupUrapayasi pariNamatkalamakapilAyamAnakaidArike baddhastambatRNasaMbAdhagrAmasImni janitavijigISupArthivajanotsAhe zaratsamaye senApatirarthazAstraparAmarzapUtamatibhiramAtyaiH saha kRtakAryavastunirNayaH prazaste'hani samastabalaparivRtazcaraNatalamRditabhujabalAvaliptAribhUpAlazira:zekharaMkusumazekharanAmAnamavanipAlamunmUlayitukAmaH kuNDinapurAt kaaNcimnnddlkaanycimnnddlaabhimukhmclt|' i.e., The Army-in-chief (Vajrayudha) started off facing the Kancimandala from Kundinapura, desirous as he was of uprooting the guardian of the earth named Kusumasekhara who had pressed down the diadems of the crests of the kings proud on account of the prowess of their arms, surrounded as he was by his entire host of battalions, on an auspicious day with decision of the outlay of his plans made in company of his counsellors whose intellects were sanctified by the deliberations on the science of polity, in the Autumn season which creates courage in the kings desirous of conquests, with borders of the country sides overgrown with wattle (reeds) grow into stalks, with cultivated lands growing ferret hued (or tawny) with red rice ripened up and started with currents in the rivers becoming subsided, the rains with showers full of sprays of water in continuous flow having come to a cease. 'Varsasu Varsau' is a yamaka. There is a pun on the word-AAR EITT prAvRSeNyajaladharavyUha iva pauralokAnAM mahAntamAtaGkamakarot'| with inverted commas in the above sentence which contains a simile as well. The king of Kanci dug himself into tactical warfare after having got the news from his spies that the Armyin-chief (i.e. Vajrayudha) had created a great terror for the people of Kanci having blocked all his sources of succour like the blocks of clouds in the 1. TM. Vol. II, pp. 178-179. p. 178. LL. 6-9. p. 179. LL. 1-5. 2. Ibid. Vol. II, pp. 192-193. p. 192. LL. 9. p. 193. LL. 1-5. 3. Ibid. Vol. II, p. 195. LL. 1-2

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58 TILAKAMANJARI OF DHANAPALA rainy season which also create great terror among the people by blocking all the resources of supplies or by blocking with their showers. In his encounter with the armies of Kusumasekhara the sprays from the ichor fluids of elephant gave impression of a cloudy day with clouds such as samvarttakas appearing in it. ' adalaga sa fiunt: Similarly 'satArakAvarSa iva vetAladRSTibhiH, solkApAta iva nizitaprAsavRSTibhiH, sanirdhAtapAta iva gadAprahAraiH, sotpAtaravimaNDala iva kIlAlitakarAlacakramuktibhiH, savaidyutasphUrja iva javApatajjvalitazaktibhiH sakhaNDaparazutANDava iva pracaNDAniladhUtadhvajasahasraiH, sakAlAgnidhUma iva prakupitasubhaTabhrukuTitamisrairajAyata HETYSURT4: Page: 1' in this passage the glances of vampires have been fancied as the showers of stellars, the showers of sharp javelins have been fancied as the meteor-falls, the strokes of the maces as the adamantine strokes of the thunderbolt; the release of bloodstained quoits have been regarded as the orbs of the Sun presaging a cataclysm; the burning spears falling with a thud have been presumed to be terrible crash of lightning; the flags in thousand shaken by terrible squall have been imagined as the battle fields' terrific with the frantic dance of Siva; the battle field became a peer to a deluge by the glooms of the eye brows of the soldiers flared up as it were associated with the dark smoke of fire. And likewise. 'aviralazarAsAratrAsitA haMsIva meghAgame palvalamanavalokitAzrayavisaMsthulA sainyapativakSaHsthalamamuMcad Totten: 1 Thoroughly non-plussed in battle the royal sovereignty or regnal glory took leave of the army-in-chief's chest with her resort wrested off unobserved, having been frightened by the showers of shafts like the female swan taking leave of her pristine-glory being reft of resort, quite unobserved, being frightened by the continuous showers (of water) on the reeds has a fine simile based on the motif derived from the phenomena of nature. ."upAntaketustambhavinyastadehabhAraizca nidrAdUrabhugnakaNThanAlairAtmayodhaiH parivRtaM prasuptasara: 499498afdafya yaha 44' refers to Vajrayudha's observance of Samaraketu ( i.e. Kumara) who at that time was surrounded by his own soldiers who had their stalk-like necks curved to a long extent by sleep or bent to the last corner and had their burdens of the bodies supported on the pillars of staffs of the flags fixed hard by and appeared a peer to the image 1. TM. Vol. II, 203. L. 3. 2. Ibid. Vol. II, pp. 203-204 p. 203. LL. 2-5. p. 204. LL. 1-7. p. 221 LI 3. Ibid. Vol. II, p. 211. LL. 3-4. 4. Ibid. Vol. II, p. 216. LL. 6-7

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DHANAPALA AS A PROSE WRITER of the Sun shining in the midst of the slumbering groves of lilies grown in lakes. In the narrative of Vijayavega explaining to Meghavahana regarding the encounter of Samaraketu with Vajrayudha Dhanapala has heaped up certain fine allusions from the phenomenal beauty of nature in her gloomy aspect observable during the introduction of Samaraketu before Vajrayudha by the chowrie bearing maid of Samaraketu. The poet exclaims. "The night attained to leanness with her stellars moulted away as if through grief, the surface of the sky showered forth the clusters of drops of water of frost as if it were the cluster of pearls let loose by the necklaces of nymphs (lit. the spouses of the gods) embraced ruthlessly by the soldiers gone to impartiality; the lord of the stellars (i.e. the moon) fell down with rays grown sparse and faltering on the peak of the western mount as if frightened on seeing the gore of the battlefield; the group of constellations crouched up with its strength sapped by the effect of the gleam of the rising sun like the son of the king of Simhalas having his prowess screened by the effect of the sheen of Balaruna (ring) clinging on to him; the clusters of birds hovered about undaunted in the sky having its space unfrequented by the rain of arrows of the soldiers come to a cease as if their fears had been allayed of the strokes deserted as they had their nests at that time, the twilight tint reddened the eastern quarter as if it were the effluence of blood from the solar orb pierced by the hosts of heroes marched on for the heavens or for renunciation; the quarters moved afar as if frightful at the sight of the horrible battle field; the night shone forth at that moment like the regnal glory of the king of Dravidas with drops of tear water clinging to the hair hanging, low through grief, with stars scattered with patches of darkness growing lean owing to their slipping down from the faces of the quarters; the hot rayed one (i.e. the Sun) with frame growing ruddy hued, glared forth from the fore, as if flared up at the disparagement of the son of the king of Simhalas vanquished through deceit. Further more, The dawn having appeared like that the gloom grown screened as if anxious to vanquish the foe, the splendour of the sun spreading forth in the interiors of the quarters, the army of the opponent also woke up in its entirety all of a sudden.' Samaraketu proclaimed a foster brother of Harivahana, by Meghavahana, the Angas and Uttarapatha having been given in the charge of the two respectively, they passed their few days without becoming 1. TM. Vol. II, pp. 219-221. p. 219. LL.9-10. p. 220. LL. 1-7. p. 221. LL. 1-2.

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60 TILAKAMANJARI OF DHANAPALA a prey to the viles of cupid who stayed away as if out of fright produced in due course by the irrepressible prowess of arms seen by him, with his staff like bow undrawn even in the advent of clouds (i.e. the Rains) with its fresh arrow kept in abeyance even in the time of flavour (i.e. the spring) and with its string unstrung even at the appearance of the orb of the Autumnal moon.' Enjoying a stroll with Samaraketu Harivahana went to the outer garden named mattakokoila clinging to the shores of Sarayu during the Summer season in the morning hours and having entered it he approached the vicinity of the shores of Sarayu with her waters flowing hard by with creeper bowers decked with peacocks taking to their frantic dance as also with the men about the town having erotic feelings produced in them by the noise of the tabors sounded during a revelry at drink; the canopy of the solar rays sultry in summer made cold by the dangling sprays of showers of water spurting forth owing to the breaking of breezes in the sky, of constantly undulating water spirals resonant with the shrill cries, with ketaki stalks having floral bunches come out upon them slightly, with groups of Jambu trees prone to fructification with water flourished tersely, while observing the small ' mansions white with the stucco paint, the fruits of trees fit for being collected by the hands of women seated in the windows, the Madhavi bowers having their centres encircled round by water-basins brimming with water and the floral beds prepared by the way-farers tormented by heat, the oblong tanks meant for sport having waters redolent with trumpet flowers grown overshores, the bits of leaves of lotuses supported by the stalks resorted to by the flamingos, the groves of Kadambas flourishing in spring having clusters of bees vociferous having been attracted by the fresh floral scent, having their attractive buds grown quite recently. The description of the ocean (Ambhonidhi) the adorable (Bhagavantam) as seen by Samaraketu starting on a voyage to render help to the king of Kanci at the errands of his sire Candraketu, is gorgeous as well as glamorous on account of its enchanting as well as horrifying aspects. It is long drawn picturesque and figurative. His fancies therein are imbedded with their natural hyperboles forming their indispensible part. The metaphors have been chosen for comparison from life as well as from the legends. It (i.e. the ocean) was, as it were a covering of the Hades'; a birth 1. TM. Vol. II, p. 233. LL. 3-5 2. Ibid. Vol. II, pp. 234-235. p. 234. LL. 8-9. p. 235. LL. 1-8. 3. forfita walce Ibid., Vol. II p. 261. L. 8.

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DHANAPALA AS A PROSE WRITER 61 giving lake of the lotus in the form of sky, as it were'; a tassel of sheen of sapphire bracelet of the circle of quarters as it were', the halo of lustre, as it were, of the thicket of trees in the form of the orb of the Universe'. It reated terror in the heart of even the most courageous ones, by means of the unguents in the form of the gleams of water, lustrous and having their flow, rendered free from obstacles as if by the emissions of the shadows of the groves of Tamula trees grown overshores, anointed as it were, by the loveliness of the body of the younger sister of Vaivasvata (Yamuna) residing in the heart (i.e. the interior), as if screened by the smokes of the submarine fires smouldered by the squalls, as if brought to refinement by the sheen of the frame of Acyuta (Krsna) slumbering inside it. It was hugged close by the coquettes in the form of the rivers having come repeatedly from the reverse routes during the days rendered murky by the fresh clouds hovering about, screening to long distances with the veil in the form of fresh water rendered turbid by mire, their faces smeared with the bunches of profuse musk, corals and moss and eyes in the form of fishes having their tremulous pupils reeling up this way and that way, bearing the regions of the posteriors in the form of shoals having girdle zones in the form of arrays of tumultuous Kraunca birds let loose, having the surfaces of their protuberant breasts pulsating, perforce, the swift movement, having the clank of anklets in the form of sweet noted swans blocked inside them'. It had water being drawn out of it continuously by the arrays of clouds as if by the rows of water buckets of the water machine formed out of well chiselled or carved out wood, in the form of the sky having quarters well laid down inside it from all sides, constructed by the lord of the immortals with a view to irrigating the orchard in the form of the world, having innumerable rainbows formed out of the sprays of heavy showers, getting down time and again and rising up to a considerable height once again having taken water 1. Yasalalariga actual TM. Vol. II p. 261. L. 8. 2. Vifta factuschstacar Ibid. pp. 261-62. p. 261 L. 8. p. 262 L.1. 3. Era Estate Ibid. p. 262. L.1 4. antaHprasuptAcyutazarIrAtyeva dattasaMskArAbhiranilavilitairorvajvalanadhUmairivAnuraMjitAbhiranta:karaNavAsi vaivasvatAnujA..... dehalAvaNyeneva liptAbhistaTatamAlakAnanacchAyArnigamairiva nirargalIkRtaprasarAbhirullasantIbhi-rambhasa: rafa STERTH HA H AGYT41TM.. Vol. II, p. 262. 5. mudritamukharahaMsanUpurasvanAbhiH tvaritagativazotkampamAnapRthupayodharataTAbhirmuktavAcAla- krauJcamAlAmekhalAni pulinajaghanasthalAni bibhratIbhiritastato valitavilolatArazapharalocanAbhirbahalazaivalapravAlakastUrikAstavakakalaMkitAni paMkamalinena navanIravAsasA sudUramAvRNvatIbhiH mukhAni vijRmbhitAbhinava- meghadurdineSu ferecerare F a c equel Ibid. Vol. II, pp. 262-63. p. 263. LL. 8-10. p. 263 LI.

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TILAKAMANJARI OF DHANAPALA time and again'. It had sinking and swimming being undergone by the Moon and the Sun, which had observed the upsurge of the digit of moon as also that of the divine horse (Uccaisravas) during its churning, as if with a view to searching out the sixteenth digit of his own body with disfigurement produced by its incompleteness, the eighth steed of his own chariot having its gait rendered loose by the uneven number of steeds i.e. the seven". It carried the fire named Aurva one i.e. the Submarine fire by the one side of its interiors being swollen by waters incessantly fallen from the hollows of the Samvarttaka clouds, as if it were the circle of lightning of the end of the aeon, clinging at the time of quaffing the fire, as it were, of the stomach of Agastya.60 In these three points Dhanapala has illustrated the scientific truths of clouds borrowing water from the ocean and emitting them out in the form of rain upholding there by the moral truth of Kalidasa illustrated in his Raghuvamsa. 'AdAnaM hi visargAya satAM vArimucAmiva' The Sun and the Moon have their effect on their rising as well as setting by the ebbing and tiding of the ocean while the submarine fire develops and grows through the phenomenal occurrence of the clouds, lightning and thunder etc. The ocean abounds in the rich quarry of pearls and shells, below the surfaces of its waters. Their production has been fancied by the poet through poetic conceits based on the legendary lore. As for example- It had its interiors decorated with pearls born from the wombs of the oyster shells assuming solidity and augmented as if by the drops of perspiration from the breasts of Laksmi.' They were, as it were, the drops of tears shed forth by the baby-moon dragged perforce by Siva. They were, as it were, fallen from the global pates of Airavata torn by the claws of the mighty lion. Somewhere they were released perhaps from the throat caverns of the fish of Visnu fatigued while searching out the Veda. Elsewhere they were spitted out by the bamboo-staves on the low 1. muhuravatarantyA toyamAdAya punarUrdhvamatidUramutpatantyA sAndrazIkarakSodaviracitAnekasuracApayA jagadupavanam sektumamarapatinA prakalpitasya sarvata: sughaTitakASThasya gaganAraghaTTasya ghaTImAlayeva jaladasaMtatyA satatamudacyamAnam, viSamavAhanavisaMsthulasya nijarathasyASTamaM turaGgamasamagratAjanitavairUpyasya cAtmavapuSaH SoDazI kalAmanveSTumiva mathanadRSTadivyAzvazazikhaNDasaMbhavAbhyAmahimahimagabhastibhyAmanavaratakRtamajanonmajanam agastyajaTharAnalamiva pAnAvasaralagnaM yugAntavidyudvalayamiva saMvartakAbhragalitamanavaratamAnIyamAnaM vRddhimudakairudaraikadezena dahanamaurvAbhidhAnaM ddhaanm| Ibid. Vol. II, pp. 263-264. 2. Raghu. IV. 86. p. 121 GRNE MLBD, Delhi 1971. 3. dhUrjaTihaThAkRSTazizucandramuktAzrubinduzaMkAvidhAyibhirlakSmIstanasvedalezairiva labdhakAThinyairamRtazakti-garbhasaMbhavaiH muktAphalairalaMkRtAbhyantaram, aparairapi mahApramANaiH kvacit pralayavAtavidhUtapuSkAravartakaM meghamuktaiH kvacit kulizakarkazahiraNyAkSavakSo'bhighAtadalitamahAvarAhadaMSTrAMkurocchalitaiH kvacitkamaThapatipRSThakaSaNotthapAvakapradIptamandaranitambaveNustambaniSThayUtaiH kvacidvedAnceSaNaklAntaharizakulagalarandhrojjhitaiH kvacit prauDhakezarinakharadAritairAvaNakumbhakUTabhraSTaiH.... bhinnajAtibhimauktikai: stbkittlm| Ibid. Vol. II p. 264.

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DHANAPALA AS A PROSE WRITER 63 lying regions of Mandara smouldering with fire born out of its contact with the back of the lord of tortoises. Some where they were splashed out from the lips of the jaws of the huge boar crushed by the strokes of the chest of Hiranyaksa as hard as the adamant. Elsewhere they were emitted out, as it were, by the clouds Puskaras and Avarttakas swung by the squall of deluge, being of diverse nature and huge in form.' Its spume white like Kailasa whitened the faces of the quarters, being the boisterous laughter, as it were emitted out suddenly by the Submarine fire unsated by the waters being spilled out into its mouth continuously with its tongue in the form of flames outstretched lengthwise. The Acalaraja or the king of the mountains named Suvela had an array of azure forests or groves visible on it from afar. The faces of all the quarters were scaled by the groups of peaks scraping the sky. It had its Plateau's cordoned by the mountains of rise as well as of setting or Udayagiri and astagiri having eastern and western parts joined together. It was constantly splashed over by the water spilt by the hands in the form of billows directed by the tide of the Lavana Jalanidhi. Samaraketu visited this mountain while having a sight, of the hill overgrows with groves on the shoals (of the ocean) having groups of trees being visible at intervals, with stretches of thin peaks vanishing at every shore.2 Ratnakuta has been described as the crest ornament of the island called Pancasaila, a sportive adorrnment of the ocean, a Sport venued town for the celestial couples and a field of accomplishment for the group of Vidyadharas and foremost in beauty of all the mountaines.3 The horror provoking aspect of nature is available in the description of the same ocean already referred to above. The repository of waters (toyarasih) is intractable from all sides on the circumambiatory corners of this mountain and is therefore difficult of 1. sarvataH prasAritAyatajvAlAjihvasya satatamAvarjyamAnairapi mukhe payobhiranupajAtatRpteraurvadahanasya darzanAjjhaTitini:sRtairaTTahAsacchedairiva kailAsavizadai: phenarAzibhirAzAmukhAni dhavalayantam / Ibid Vol. II pp. 264-265. 2. prativelamapasaratsAnuvistArAn nirantaropalakSyamANasAntarAlatarugaNAn.... avalokayan velAvanAcalAn... dUrAdeva dRzyamAnazyAmavanalekhamambarollekhinA zikharasaMghAtena laMghitAkhilAzAmukhamudayAstazailamekhalAmUlamilitapUrvapAzcAtyabhAgam... lavaNajalanidhivelayA vIcihastApavarjitaiH payobhiranavaratamAhanyamAnaM suvelanAmAnaM HERGHUGH Ibid. Vol. II pp. 283, 287. cUDAlaMkAra: paMcazailadvIpasya lIlAvataMsakaH sAgarasya krIDAsthAnanagaramamaramithunAnAM siddhikSetraM vidyAdharagaNAnAmagrimo rAmaNIyakena sarvaparvatAnAM ratnakUTo nAma sAnumAn / - Ibid Vol. II p. 292. LL. 6-7 3. eSa

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64 TILAKAMANJARI OF DHANAPALA ' wading through even by those possessed of navigatory vessels without hectic perseverance. It is infested with huge sea monsters who at every step immanently unconducive to wading through the maelstroms turn the movements of the vessels back and the expansive huge rocks on the shores mar the courage to advance ahead at every spot. The voyage through the ocean is still more difficult by any one amongst the navigators at night in which the regions such as even, uneven appearing alike as such when the colleagues who deserve not to be deserted even for a moment, are not hard by, the other vessels, too, being far away, on a route full of handicaps, being inscrutable with its fords uncanny by nature. When deep in the midstreams the navigator's alarms against the ravages of the sea-monsters and the precautions observed to scare them away for a smooth sailing through the waters are equally interesting. The circles of crocodiles lurking all around, the groups of alligators moving in a circular gait, the array of dolphins moving about, the rows of snakes crawling about-all these needed the raising aloft of lamps to illuminate the path in order to scare them away. The Lion faced crocodile prowling about desirous of jumping up with gaze pinioned on the banners of red silk cloth apprehensive of the succulent pork, with tail wagging tremulously, needed the precaution of spraying of spills of oil along with fire smouldering in water in front of it to make it clear the path of the vessel. The Hippopotamuses descending into water on seeing the vessels, with a view to watch guarding their cubs, needed the hand claps to scare them away. The tortoise as huge as a sanctuary abounding in pigeons, likely to stray the vessels on a wrong track and the Timingila (whale) engulping the small fish and followed by the spouses of those engulped running in quest for a prey fit to be engulped by his being a measuring rod of the ocean, as it were required to be ignored quietly, being provoked they could create a heavy wreckage.2 1. sarvataH eva durga: parvatasyAsya paryanteSu toyarAzirna zakyate mahAntaM yattramantareNa yAnapAtrikairavagAhayitum atra hi mahApramANAH saMcarintaH jalacarAH pade pade prakRtidustarAH pravahaNAnAM nivaryayanti gatimAvartA:, sthAne sthAne zithilayanti yAtrotsAhamatizayodagrAstaTagrAvANaH IdRze ca nisargadukhatAre nIradhAvanavadhArite karNadhAreSu kenApi nirapAye pathi yathAvadavibhAvyamAnasamAnasamaviSamabhAgAyAM vibhAvaryAmanukSaNamapekSaNIyasAhAyakeSvanAsannavartiSvaparayAnapAtreSu yAnamatyantasakkezamiti manyamAnasya me manAGgandAyate citam / TM Vol. II. p. 302. LL. 2-6. 2. itazcaGkramyate makaracakram, itaH parikrAmati nakranikaraH, itaH sarati zizubhAra zreNiH, itaH prasarpati sarpapaMktiH, utsarpayata dIpikAH, prakAzayata sarvato mArgam, apasArayata nikaTacAriNo dUraM duSTajalacarAn; ayamunaprasthamacalasya caTulavelliMtalAGgUlavallirArdravallUrazaMkayA raktAMzukapatAkAsu pAtita dRSTirutpitsuriva ceSTate siMhamakaraH, kirata raMhasAbhimukhamasya payasi jvalantIragnitailacchaTAH, idamakasmAdasmadavalokanakSubhitamutrasta kalabhasaMvaraNavihastayUthapaM tIrazAyi jalahastiyUthamagrapathena pAthonidhimavatitIrSati tvaritamutsArayat, yugapadAhitena hastatAlazabdena dUram / asau

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DHANAPALA AS A PROSE WRITER 65 The famous metaphor of lightning considered as the spouse of the cloud is given in "utpAtapavanadhUnanopajAtakhedAnAM garbhapAtamiva sNvrtkaabhrvidyutaam|" The lightning forming consorts of the clouds named samvarttakas feeling dismayed over their abortions caused by the tremors caused by typhoons. The divine shrine has been fancied metaphorically to be the cessation of burning power, as it were, of the submarine fire with extinction produced in it by the desiccation of waters in the ocean without a cease. "anavaratavAridhisalilazoSaNotpannajADyasya dAhazaktibhraMzamiva vaaddvaagneH|" The metaphor of white flags fluttering owing to breeze, acting the role or bearing semblance of female cranes (balakas) in the midst of the circle of sheen azure hued on a hazy day (rendered so by the clouds) is available in the same description of the shrine- " Ef&-1941 arc blaakaaymaanpvnlolsitptaakm|"' The description of Seasons also forms a prominent part of the description of Nature of Dhanapala. "The Autumnal Sun has been described as frightening". 'TakeGTAY TATA" There is a simile in the description of the divine shrine involving the 'Hemanta' and 'Sisira.' The divine shrine was decorated with wind breaking lattices prepared quite close like the season of Frost which is redolent with the emissions of breezes in the cold season (Sisira) 4 1 41414afgiferarerHrcig at The Rainy Season (Varidagamah) attended by clouds and the earth over grown with variety of plants and abounding in puddles etc. is fully elaborated in its rich wealth of descriptive details. The advent of the clouds doing good to the whole universe took descent into the Universe as if with a view to alleviating (the anguish ) having seen him (i.e. Harivahana) tormented by both the Summer Season as well as the Cupid an enemy without a cause. The clouds blue like the heaps of lotus petals hovered over the sky instantaneously with arrays of heavy showers rasAtalAt sadya evonmagno maTha iva sapArApata: saMcarati kamaTho, mA pratiSThadhvamabhimuravameva nikaSA prasthito neSyatyapathena nAvam, asAvapi vidAritagirikandarAkAratuNDo mAnadaNDa iva sAgarasya grAsIkRtAkrandajalakarijaTAlavadanairbAlUmatsyairanusRtAbhirmatsIbhiranugamyamAno mRgayate nijagrAsocitaM sattvaM satvaramitastataH stibhitatayA gatyA farsfecit, faemat odtici, f a, falania To 465 f1 TM. Vol. II pp. 305-306. p. 305. LL. 6-9. 1. Ibid. Vol. II p. 319. L. 9. 2. Ibid. Vol. II, LL.9-10. 3. Ibid. Vol. II, 320. LL. 8-9 4. Ibid. Vol. II p. 273. L. 7. para 93. 5. Ibid. Vol. II p. 321. L. 6.

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66 TILAKAMANARI OF DHANAPALA brought into being, as if to shatter his lust for the founts. The bearer of the creatures (i.e. the Earth) became viridiscent with meadows of thickset emerald, with stars gone listless on account of its waking constantly during the nights, as if to propitiate or please the gaze of that one (i.e. Harivahana). The breezes redolent with the Kadamba perfumes saturated with the floral succulence perfumed constantly, starting wafting, cool with initial showers of clouds as if to allay the torment of his limbs. The royal swans started off for the northern direction, with lust produced in them by the reminiscences of the Manasa lake, as if to report the attachment towards him of the daughter of the lord of the celestials. The lotus groves sunk into the pleasure ponds replenished with rain waters as if full of shame, by the display of the clusters of his petals incapable of alleviating the pangs of his separation from her (i.e. Tilakamanjari). The trees in the gardens shed forth a flood of tears in the form of drops of water through their eyes in the form of petals hung low afar as if aggrieved at the sight of his anguish, with their frames sprayed over by the showers from the clouds. The hot rayed one (i.e. the Sun) threw into the caverns of the clouds, having waters in the interiors, his rays naturally harsh and fit to have a touch of their limbs. The groves of Ketaki with their hollows of their palms in the form of flowers folded up, had taken birth in that, as if to ward off the shark bannered god (Cupid) with his clusters of arrows shot forth invariably. The domestic peacocks with circles of their plumes raised aloft stalk like started their hilarious dance with ditties in the form of the hums of bees clattered ceaselessly as if to regale him off his stupor. And in this manner there set in the advent of showers unbear able to a greater degree than the summer season, for the son of the overlord of the Kosalas whose mind had undergone a chagrin during the murky days of the bearers of water (i.e. clouds) overcast from all sides which had scared away in its entirety the groups of travellers turning up having been thrown into a trance by the redolence of thickly grown Kutaja trees, had wrested fortitude off the heart of a lewd man by a series of showers from the outstretched clouds; that was horrible owing to the lightning flashing about, that had cleft as-under both the heaven as well as the earth by the tumult of the rumbling of the terrible clouds; that had the sombre din of floods of the shore-less rivulets, that had cars torn by the raucous croaks of the frogs and had the warbling of the thrush as well as of the cuckoos becoming prominent promiscuously.' 1. dRSTvA ca tamakANDavairiNA manmathena gharmartunA ca yugapadupatAApyamAnamutpannAnukampo nirvApayitumiva cakre jagatyAmavatAramakhilavizvopakArI vaaridaagmH| pravartitaprabaladhArApaMktayo bhaMktumiva tasya dhArAgRhaspRhAM

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DHANAPALA AS A PROSE WRITER 67 Jaladasamaya has been construed as a lover gone out to the distant lands (only to come back in the next session), the love lorn beloved Sarad presented herself as if to make a display of her own state bearing semblance of one of the ladies doomed to separation anguished by the going outdoor of their newly wedded lords with inordinate passions produced every day due to separations (The Autumn, too, having excessive heat getting augmented by her separation from the Season of rains).' "snigdhapatralatAgulmagahaneSvanekataruphalarasAsvAdajanitanAnAzakunikulasauhityeSu lauhityopknntthkaannessu|" illustrates the groves ashore the Lauhitya (Brahmaputra) satiating the hunger of many groups of birds by a taste of the juice of the fruits of many trees impenetrable through bushes and creepers overgrown with unctuous sprouts. Strolling about in that forest situate to the Kamarupa (Pragjyotisa) Harivahana got the queer experience of listening to the horrifying exclamations such as "Here is this cluster of trees abounding in bears, here is a shore of the streams occupied by a herd of bisons, here is a hill cavern having squatted in its interior the bulky boars and here is a thicket of reed stalks having sarabhas prowling quietly within its centre. "3 kSipramevAntarikSamAcchAdayAMcakruH abjinIpalAzaprakaranIlAH pyomucH| satatayAminIjAgaraNajaDatArakAM prasAdayitumivatadRSTimaviralobhinnamarakatazyAmazAdvalA babhUva bhuutdhaatrii| prathama jaladhArAsArazizirAstadaGgatApamiva nirvApayituM nirvAtumArabhanta saMtatAmodamakarandamAMsalA: kdmbvaataaH| mAnasasmaraNasaJjAtaraNaraNakAstadanurAgamAkhyAtumiva khecarendraduhituruttarAM dizamabhipratasthire rAjahaMsAH / tadvirahadAhavicchedAkSameNa patrakhaNDADambareNa vihitApatrapANIva varSAsalilapUritAsu vilAsasarasISu nimmjjurmbhojiniivnaani| ghanadhArAbhivRSTamUrtayastadartidarzanaduHkhitA iva dUravinataiH pllvekssnnairmbuknnikaashruvisrmjsrmsRjnnupvndumaaH| prakRtikarkazAMstadaGgasaMsparzayogyAniva kartumAtmanaH karAnanta:salileSu jalamucAM kukSiSu nicikSepa cnnddbhaanuH| tasminnasakRdutsRSTabANavisaraM nivArayitumiva makaraketumAbaddhakusumAMjalipuTAnyajAyanta ketkiikaanaanni| vinodayitumiva tasyAratimanAratodIritamadhurakekAgItibhiH samArabhima taannddvmuddnnddbrhmnnddlairgRhshikhnnddibhiH|| evaM ca vikasitAkuNThakalakaNThacAtakakalakale kaThoradardurAraTitadAritazravasi vizrutApAravAhinIpUraghUtkAre ghoraghanagarjitAravijarjaritarodasi dyotamAnavidyuddAmadAruNe vitatavAridhArAdhoraNidhvastadhIrakAmukamanasi sAndra kuTajadumAmodamUcchitA gacchaducchannakalpAdhvagakalApe samantAdvijRmbhite'mbudharadudine vidhurIbhUtamanasaH koshlaadhipsutsy| ............. grISmakAlAdadhikaduHsaho babhUva vrssaasmyaarmbhH| TM.Vol. III pp. 29-31. p. 29. LL. 3-11. p. 30. LL. 1-8. p. 31 LL. 9. 1. atha proSite jaladasamaye tadviyogAdanudivasamAvirbhavatprabalAtapAyAmabhinavapatipravAsadukhi:tasya virahiNIjanasya sadRzAvasthamAtmAnamiva darzayitumAgatAyAM shrdi| Ibid. Vol. II p.32. LL. 1-2. 2. Ibid. Vol. III p. 35. LL. 2-3. 3. iyamRkSasaMkulA vRkSasaMhatiH, eSa vanamahiSayUthAdhiSThato nadhupakaNThaH, idamudaradezAsInameduravarAha-madrigahvaram, asAvantaranibhRtabhrAntazarabha: shrstmbnikurmbH| Ibid. Vol. III p. 37. LL. 2-3.

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68 TILAKAMANJARI OF DHANAPALA Spring season has been described as prolific in sweet warblings of the inebriate cuckoo.' There is a pun on the word 'Kanthirava' meaning a lion, "Kalakanthirava' meaning the 'warbling of the sweet and indistinct noted cuckoo.' 'A wild forest infested with lions imbued with pride or ferocity' is what is purported forth by the latter part of the compound. The appearance of the nocturnal hour, its culmination, the dawn of the diurnal glow, the march in that hour of Samaraketu in search of Harivahana, the Atavibhu (Sylvan terrain) through which he passed, the Ekasonga mount he mounted on and the lake named Adrstapara, he waded through all go to establish the point that Dhanapala had a peculiar eye for the minute observation of all types of phenomenal occurrence, the Beauties of Nature likely to inspire and influence the psychology of a human being working under trying and affluent circumstances. As Samaraketu resolved to start off (for a search of Harivahana), as if having come to know of his resolve, the twilight tint with glow ripened up approached the sun as if to inquire after the piety involved in his marching off. The patches of sun shine mounted the tree tops, from the surface of the earth as if to collect the leaves for the salutation wreaths auspicious at the time of march. The array of orchards accommodated inside the hollows of the nests of trees, the clusters of birds made vociferous, stretched out as if prone to scare away the evil prates. The advent of night concealed the copper vessel in the form of the pitcher like orb of the solar (disc) inside the vat in the form of the western ocean, whose capacities to sip in waters (i.e. consume waters) had been examined manifoldly with a view to sanctifying the zodiac. The quarters coalesced mutually with leaves of Kusa (Durva grass) suffused with the drops of curd in the form of gloom-spangled with stars transferred into the caldron of emerald in the form of sky as if they were the coquettes wearing silk robes of the evening glow. The group of seven sages rose up in the sky shining with an upper scarf as if to proclaim the auspicious chart (Svastyayana). And gradually as the nocturnal hour slinked away, the effulgence of the ambrosial rayed one blooming up slowly with the eastern sky shimmering forth, the quarters envying with the sylvan lakes endowed with the groves of lilies and lotuses blown up recently with glooms encircled round by the shine of the Moon, the trees owing to their interstices appearing to come closer with the intervening darkness patching up.............. Samaraketu-------- -- started off towards the Northern direction. Marching on, ----------- when the Thousand rayed one (i.e. the Sun) with faces of eight quarters brought to 1. Hraf 446 Chiclauka44144Hari Ibid. Sm. ed. p.389. LL.2-3.

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DHANAPALA AS A PROSE WRITER 69 appearance, had got up having left behind that dusty path cadaverous with dust raised up by many travellers--------- (he) started off through a different route of the forest bestrewn with clusters of leaves scared and. fallen. Having got some rest on the peak of a mountain and taken bath in a mountain spring he slept in a hill cavern. Having gotup from the bed with sleep disturbed by the cries of the wild beasts, weapon in hand and following a tract extremely intractable, he started off through a sylvan terrain that had horrible grottos deep like the Hades; that was difficult of ingress for those lacking courage like a field of battle; that had its internal recesses rendered low-levelled by the hill streams creating a tumult indistinct owing to the clarion calls of Nahals (Mlcccha tribes) lying in covert in the under woods of reeds grown over shores having been splashed across and their shores or shoals shattered at intervals by the sand of stones overcast by the bushes of thickset Nirgundi creepers, with their waters having their currents resonant issuing out from many sources owing to their slipping on the heaps of stones with their tops upraised and their shores being difficult of fording, that had screened from sight the riing and the setting of sun, by the trees that mainly consisted of Sallaki, the Karanja potherb, Arjuna, Sarja and Sarala, clinging to the tops of the sky as if to bring to the state of floral bunches the clusters of stars by means of the groups of branches not stretched forth and as if to afford space to each. other by the networks of the fragile matted tendrils of loose roots etc. Apart from this the flesh of the wild beasts was being roasted on the spits and fire brands at certain places. Somewhere the tabor sounds on a drinking revelry were heard while elsewhere the young chaps were being taught the doleful ditties meant to attract the deer. At every pond squatted the fishermen. holding their fishing hooks and nets. Every day persons meant to be sacrificed at the alter of Candi were being searched out. At places it was uneven owing to the establishments of the sabaras brought into being.. Somewhere it had the crackling noise of the bamboos being heard burning as they were in the conflagration. Elsewhere it was variegated with the sheen of the eyes of the antelopes frightened by the ceaseless growls of the lions. Somewhere the sabaris were stringing the pearl wreaths out of the Gunja berries meant to prepare necklaces of the elephants. Elsewhere the huge trunks of the trees were being made to dance by the whooping sighs of the large boas. Somewhere the groups of terriers shattered by boars were being mourned after by the groups of hunters; Elsewhere the passers-by were throwing into peels of laughter the groups of foresters by uselessly pelting stones on the monkeys and the tame birds perching on the branches of the trees. Somewhere it had the track of leopards being marked by the hunters greedy for the skins. It was full of white (wild) donkeys, white bears

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TILAKAMANARI OF DHANAPALA and Sarabhas etc.' On the west of the Astapadasaila not far away from Vaitadhya mount, was a mountain named Ekasonga of many peaks beatific and covered by creeper arbours, having its innumerable caverns reverberous 1. athAvabuddhatadabhiprAyaH prayANazuddhimiva praSTumupasasarpa pariNatajyotiSamatuSAradIdhitimasta (sa) mayUrANa: prasthAnavandanamAlAkizalayAnIva grahItumavanItalAgrazikhareSu zAkhinAmAruruhurAtapacchedAH, zubhetarAlApasaMvaraNapareva vistAritA nibaddhakolAhalAni zakunikulAni tarukulAyakoTareSvasuSUpadupavanarAjiH lagnazuddhyarthamanekazo dRSTasalilAkRSTisAmarthyamaparAmbhodhijalakaTAhe tapanamaNDalaghaTItAmrabhAjanaM nicikSepa kSapArambhaH, sandhyArAgaraktAMzukadhAriNyo vilAsinya iva gaganamarakatasthAlasaMcAritasatArakatAmisradadhilavonmizradUrvApallavAH parasparaM saMjagmire kakubha: uttarAsaGgazobhi svastyayanamiva kartumujagAma vyomni sptrssimnnddlm| TM. III. p.59 LL. 5-9. krameNa cAtikrAnte pradoSasamaye, samullAsitapaurastyanabhasi mandamandamudbhidyamAne saudhAMzave mahasi zazikaraprabhAsaMvalitatimirAsu tatkAlavikasitasakairavendIvaravanAbhiraraNyasarasIbhiH spardhamAnAsu dikSu, vighaTitAntarAlatimirasaMdhAneSu vicchinnatayA pratIyamAneSu taruSu, tarutalAstIrNaparNazayane zayAne nirbhara rAjaputrAnveSaNakAntavapuSi pRtanApadAtiloke... TM. III. p. 60 LL. 2-6. samaraketuH adhyavasitakumArAnveSaNo vezravaNavallayAM dizaM prtyudclt| udgate ca spaSTitASTadimurave dazazatamayUreve... tamanekapathikalokaprahatamutpAMzulaM mArgam, apareNa patitazIrNataruparNanikarAvakIrNena kAntAravarmanA... prtsthe| laGghitAnekasamaviSamabhUdharadharAvibhAgabdhazramazca patralalatAgulpagupile vipulasAndracchAyAzakhini sAnumatprasthe sthitimkrot| ativAhitaklamazca kaMcit kAlam... girinadI srotasi snAtvA... nItvA parAbasamayamupasthite sAyAhi kRtasaMdhyAvazyakaH pravizya parvataguhAM suSvApa kSapAvasAne ca kSapitanidraH zvApadArAvairutthAya zayanAd gRhItazastrastameva mArgamatidurgamanusaran rasAtalagambhIrabhImagahvarayA samarabhUmyeva sAhasarahitajanaduSpravezayA, zithilamUladurbalajaTAjAlakaiH parasparAvakAzamiva dAtumaprasAritazAkhAmaNDalaistArakAnikurambamiva kusumastabakatAM netumambarAgralagnaiH saralasarjArjuna karajjazAkazallakIprAyaiH pAdapairapAstadinakarodayAstamayadarzanayA, duravatAratuGgataTAbhiratkoTipASANapaTala skhalanabahumukha pravRttamukharazrotojalAbhiranatinibiDanirguNDIlatAgutmamupilIkRtopalavAlukAbahulavicchinnAntarAlapulinAbhirucchalatkUla -nalavananilInanAhalanivahakAhalakolAhalAbhiH zailanimnagAbhirnimnIkRtAntarAlayA, vanAntarAlasarpabhi stAratumulairmarudbhirivadiGmukheSu mukharitAdrikuharakuMjaiH kAhalAkujitaiH sUcitApatatsucirasaMgalitajanasaMghAtayA, yuvajanAdatirekanirvivekasthavirAbhirniSAdalokAdadhikanirdayadvijAtibhirdivAnizamavizrAntaninAdairApAnakamardalairdUrAdeva sUcyamAnasaMnivezamiH praticulli pacyamAnazUlIkRtAnekazvApada pizitAbhiH pratinikuMjamAkarNyamAnabandIjanAkrandAbhiH / prativasati vibhajyamAnataskarAhatasvApateyAbhiH, pratiDimbhapamupadizyamAnamRgamohakArikaruNagItAbhiH pratijalAzayamAsInAnAyabaDizahastakaivatAbhiH pratidivasamanviSyamANacaNDikopahArapuruSabhidhRtAdhijyadhanuSA nibhRtamuccAritacaNDikAstotradaNDakena sarvataH prahitabhaya taraladRSTinA trayIbhakteneva gADhAJcitahiraNyagarbhakezavezena dezikajanena laghutarollaGghayamAnaparisarAbhiH... zabarapallIbhiradhyAsitaviSamaparvatoddezayA, kvacid dAvadahanA zliSTavaMzIvanazrUyamANazravaNaniSThuraSThAtkArayA, kvacidakuNThakaNThIravArAvacakitasAraGgalocanAMzuzAradA kvacit terutalAsavi zabarI viracya mAna karikumma muktAyAdizabala mujAphala prAlambaya, kvacidagha: supta dRptAjagaraniH zvAsa nartitamahAtarustambayA, kvacihuda zrukaNikAzvAgaNikazocyamAna koladalita ni: spandasArameya vRndayA. kvacitra cAranirgata vanecarAnviSyamANaphalamUlakandayA, kvacicchekazAkhAmRgAcchinnapAtheyapathikaniSphalaloSThavRSTihAsitATavikavargayA, kvaciccarmabudhalubdhakAnubadhyamAnamArgaNaprahatamarmadvIpimArgayA sAparAdhavadhveva priyAlapanasaphalIbhUtapAdapAtiniSThayA, vIrapuruSatUNyeva gorakharAcchamallazarabharocitayA jaTharajInInekodivyauSadhisamUhayApi vyAdhInAM gaNairAkrAntayA gntumttviibhuvaapraavrtt| Ibid. Vol. III pp. 59-60, 62-66. TM. III. p. 62 LL.7-10.

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DHANAPALA AS A PROSE WRITER with the cries of the peacocks dancing in hilarity without a cease; having the tumult of the linns (i.e. the springs) unceasing in its borders, circumbulated by the currents of celestial stream (i.e. the Ganges) having pedestals of charming bejewelled rocks prepared at every spot by the hermits abiding in hermitages established situate to it with a view to accomplishing the act of concentration, gorgeous with the shoals expansive and white and having waters unfathomable, having auspicious ditties strained forth ceaselessly by the Siddha Couples in the groups of shrines of the Siddhas adjacent to the plateaus darkened on all sides by the sylvan arrays deeply green with open space stretched overhead, having rendered diminutive the ethereal region by the heights of its peaks.' Mounted on the Ekasonga and marching on Samaraketu saw on a summer day a lake named Adrstapara that had its out precincts quite expansive that was being indicated from afar by the breeze wafted from water quite fresh as if by a herd of wild tuskers got up from water quite afresh, with quarters besprinkled with sprays of strong showers and lotuses fresh and tremulous with the arrays of ripples splashed ceaselessly; that was surrounded on all sides by a contravallation close to the sky scraping peak, formed into a circle under the pressure of churning as if by the form of lord of the serpents (Vasuki), darkened by the sylvan arrays bearing semblance of the circles of clouds quiet being laden with water, infested with wild beasts sleeping at ease by drinking its water, having litters on swings of creepers being undulated by pert apes, having their branches breaking loose by the draggings with their trunks by the elephant cubs, having inebriate cranes reclining on the region of their tops tumultuous with the noise of the cries of the peacocks prone to hilarity, raised aloft by the Hades, as if they were the rows of gloom, bearing the gleam of the clusters of hair of the maidens of kuntala flushing with youth, being thoroughly spaccless or terse. It (i.e. the lake) was as if the water-basin brimming with water, of the creeper of the triad of worlds; the umbilical orb as it were having its interior over-shadowed by the series of gleams, the sliver plaited mirror meant for sport, as it were, of the quarters; a reflective index or the image, as it were, of the surface of the sky; the canopy made of silk meant for dalliance, as it 1. athAsti pazcimenASTapadazailamanatidUravartI vaitADhyaparvatasya, zikharocchrAyakharvitAntarikSato, nitAntavitatAvakAzaH, zirasnigdhaharitAbhiH sarvata evAndhakArito vanalekhAmiH anumekhalaM siddhAyatanamaNDaleSu siddhamithunaiH satatArabdhamaGgalanItibhiH amAdhamalilena-sitavizAlabAlUkAputtinalanizAlinA samAdhisuravasAdhanAya saMnidhAnAzamanivAsibhistApasa:sthamasthAnaracitacArumaNizilAvedikena tridazasindhusrotasA parigataH, prAnteSvavizrAntanirjharaninAdo, nityamuditanRtyanmayUrarutamukharitasaMkhyakandaro latAmandiracchannasundarAnekasAnUrekazRGgo nAma fyraft TM. Vol. III, p. 69. LL. 3-8 L.D. Seves cd. para 159 p. 117 LL. 25-31.

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72 TILAKAMANJARI OF DHANAPALA were, of the Lord of Serpents (i.e. Vasuki); a boisterous laughter, as it were of Tryambaka (Siva) abiding in the Nethers; an egress route, as it were, for the heaps of fame of Bali; an entrance door to Hades, as it were, for the current of Mandakini; It were, as it were, the tassel of sheen shot up, of the circle of hoods of the serpent Sesa; the expanse of the light of the Moon frightful owing to its being engulped by Rahu, melted down as it were, the sky melted down by the heat of the maker of the day (i.e. the Sun) of the time of destruction, as it were, the cluster of Autumnal clouds flowed forth by the contact of the fire of clouds in huge numbers, as it were, the water of the tears of Himalaya wept in grief born of bereavement from Maniaka, melted down collectively as it were: the surface of the circle of clouds transformed into water as it were; ow..g to its transparency and limpidness it had been formed as if out of the glories of the leers of the eyes of the Lata maidens, out of the rays of the teeth of the Kerala women, as it were and as if out of the gleam of the cheeks of the maidens of the Sindhudesa. It was bearing the water on its shores as if suffused with the lotus petals, tinged with moss, being rendered virid by the canopy of sheen shooting forth from the banks bedecked with rows of sapphire rocks, having rows of ripples as if despatched as gifts by the oceans vanquished by its expanses, formed as they were into series of steps. It had entry made after in its full form under the pretext of an image by the firmament surrounded by the circle of all the stars as if with a desire to wait upon, disparaged owing to its excessive expanse. It had innocent fish being duped by the image of the leaves from the trees grown ashore trumpet hued like the bits of fresh meat. It was as if having huge boas swimming across by the acreca nut palms quavering owing to their contact with the ripples impelled to motion at places under the pretext of their reflection in water. It had echoed the Universe with ripples. It was over grown with golden lotusues. 1. tasya sarvadA kusumaphalasamRddhazAkhini zikharapRSThe prasthitaH samaraketurekadA nidAghasamaye mahAbhogaparisaram aviratA, AsphAlitAtaraGgatatinA taralitavAlapuSkareNa prabalasIkarAsArasiktakakubhA vanyadviradayUtheneva sadyo jalAdUttIrNena marutA dUrata eva sUcyamAnaM nirantarAbhistaruNakuntalIkuntalakAlApakAntibhirdhvAntamAlAbhiriva rasAtalolAsitAbhirullasan mayUrakekAravamukharAbhiH zikharadezavizrAntamattasArasAbhiribhakalabhakarAvakRSTivighaTamAnaviTapAbhizcaTulavAnaravAhyamAnalatA dolAbhirambha:pAnAnandanidrAyamANazvApadasaMkulAbhirambugarbhanirbharanibhRtAbhramaNDalIvibhramAbhirvanarAjibhirandhakAritayA bhujaGgarAjamUrtayaiva mathanAyAsamaNDalIbhUtAyAbhraMlihazikharopazalyayApAlyA paritaH parikSiptam, arNaH pUrNamAlabAlamiva trilokIlatAyAH kAntisaMtatitirohitAntarAlaM nAbhimaNDalamiva bhUtadhAtryAH, vilAsaraupyadarpaNamiva dizAM, pratibimbamivAmbaratalasya lIlAdUkUlavitAnamiva phaNIndrasya, rasAtalapravezadvAramiva mandAkinIpravAhasya, zeSAhiphaNA cakravAladyutijAlamivocchalitaM vidhuntudagrAsabhayAdicandrikApaTalamiva galitaM, pralayadivasakaroSmaNAkAzamiva sutm| adabhrAbhradahanasaMparkeNa zaradabhravRndamiva dutam, mainAkaviyogaduHkharuditahimAcalAzrujalamiva sngglitm| abhramaNDalasthalamiva jalIbhUtam, avadAtatayA svacchatayA ca kapolacchavibhiriva keralIdazanakiraNairiva

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DHANAPALA AS A PROSE WRITER 73 Harivahana's first meeting with Tilakamanjari in the cardamom bower ending in separation after the exchange of mutual glances, the restless night of the prince in reveries for the maiden, the advent of the dawn marking his return to the tryst to find the maiden of his heart, has been described equally with a masterly execution of the design. "The nocturnal gloom had vacated the opening of the quarters, the sluggish morning breezes were blowing, the sylvan creepers were waving the fans in the form of their leaves, the groves of blue lotuses were blowing up slightly, the rays of the sun were descending down gradually, the arrays of swans, Krauncas (Herons) and cranes slumbering in lakes were spreading in the sky, the morning hour becoming apparent, he again started off following the track of Tilakamanjari." All said and done the rich wealth of Dhanapala's imagination in associating Nature with all types of mundane material, its mild as well as the fierce aspects, its humanising effects on the reflective moods of human nature, all stand displayed in the broad purview taken above. 4. CHARACTERISATION Dhanapala's handling of various characters acting their respective roles on the stage of this romance is equally appreciable. He certainly does not attain to the high water mark of precision as exhibited by Bana. But his characters both men as well as women are perfect types, individuals of their own calibres whom he has tried to portray with the pen of a moralist. Whereas Bana is perfectly human and he hardly swerves from the tendencies of mundane mortality, he imbues his characters with, Dhanapala is immensely idealistic and soaring to the utmost heights of idealism he at places errs on the side of becoming sentimental. His men characters are a complete picture of sobriety and large heartedness whereas women characters don't rise to the same level as those of Bana. Meghavahana bearing semblance of Tarapida in Kadambari and lATIkaTAkSacchaTAbhiriva nirmitaM, sarvatazca sopAnakramaracitAbhirAbhogavijitaiH payodhibhirupAyanaprahitAbhiriva taraGgamAlAbhirindranIlazilAzreNIbhiravanaddhasya rodhaso visariNA prabhAvitAnena haritAyamAnaM sazaivalamiva sapadminI dalamivatIravAribibhrANam, adabhravistAratiraskRtena sevAvidhitsayeva samagragrahacakraparivRttena viyatA pratimA vyapadezena sarvAtmanA kRtAnupravezaM, sa pratyagrapalazakalapATalairupAntatarupallavapratibimbairvipralamyamAnamugdhamInam, ambha: pratiphalanacchalena ca kvacitpavanataralitataraGgasaGgabhaGgaraiH pUgatarubhistaranmahAbhujaGgamiva... Bifer quit 4., 311--Glce: Brce4RETI Cear TM. Vol. III, pp. 75. 1. 371.... Justry F Grifu pot fafany... aperty TerryYG14LAS... / pracalayantISu pallavatAlavRntAni prAptavanalatAsu ISannimiSatsu nIlotpalavaneSu... avataratsu bhAskarakareSu viyati vitatAyamAnAsu sara:zAyi spaSTamAsi prabhAtasamaye bhUyo'pi tAmapragalbhamRgazAvalocanAmanveSTumanusRta TerancifthGAI TM. Vol. III p. 161. L.L. 1-2, 5, 6-8.

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TILAKAMANARI OF DHANAPALA his son Harivahana bearing semblance of Candrapida along with Madiravati depicted on the same lines as Vilasavati all stand in comparison to Bana's muse where as Samaraketu, Vajrayudha, Kusumasekhara, Gandharvadatta, Malayasundari and Tilakamanjari stand in contrast to it. The figurative elevation of Meghavahana as an ideal king of the Iksvaku descent has been planned on the same lines as that of Dilipa, Raghu and Rama in the Raghuvassa of Kalidasa and that of Tarapida and Sudraka in the Kadambari of Bana Bhatta. He has been described as a paramount sovereign (HDUTTG) who shone forth all the times with the earth come under his way (dalyaf ve vista:) constantly busy in guarding, with eminence attained in his speech (friathyfag: data:). He is further described as free from infatuation born of the acquisition of enormous eclat, un fettered by the fetters of the love of maidens, unattracted by the alligators in the form of sense objects, unharassed by the tortures of the groups of vices, not made to dance or unobsessed by morbid tendencies caused by hauteur of fortunes. (raffa hefur einnit 2147724giftighet faecufata: pramadApremanigaDairajaDIkRta: paramaizvaryasaMnipAtena)' His fortitude has been compared to the steadiness of the earth, his radiance to that of the hot-rayed one (i.e. the Sun), his speech has been likened to the very form of Sarasvati, his loveliness to that of the goddess of fortunes (Laksmi); in attractiveness, he has been likened to the sweetness of nectar, in his inventive skill to achieve his ends, he has been deemed a peer to austerity in corporeal form. His sobriety, eclat, chivalry, fame, equanimity, physical capacities or prowess of arms and dignity have been fancied to be brought into being by all the oceans, all the mountains, all the fires, the rise of all the lunar orbs, the entire host of sages, the group of lions and the entire lustre of gems, charms and herbs." He was a guardian of the four Asramas i.e. the four stages of life and had taken the responsibility to safe guard the interests of the religious resorts. He was capable of propping up the burden of the whole earth endowed as he was fully with the three Saktis (Powers of state-craft). His fame was well known and he was capable of exterminating his foes. He 1. TM Vol. I p. 64. L.L. 2-4. 2. pRthvImaya iva sthairye, tigmAMzumaya iva tejasi, sarasvatImaya iva vacasi, lakSmImaya iva lAvaNye, sudhAmaya iva mAdhurye, 79144 sa FETA. Ibid. Vol. I, pp. 63-64. p. 63. L.4. p. 64. LL. 1-2. 3. sarvasAgarairivotpAditagAmbhIryaH, sarvagiribhirivAvirbhAvitonnatiH sarvajvalanairiva janitapratApaH, sarvacandrodayairiva racitakIrtiH, sarvamunibhiriva nirmitopazamaH, sarvakesaribhiriva kalpitaparAkramaH, sarvamaNimantrauSadhairivopavRMhitaprabhAvaH / Ibid. Vol. I p. 63. LL. 2-4.

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DHANAPALA AS A PROSE WRITER 75 was of a tranquil disposition and was a scion born in the line age of Sagara. He was endowed with enormous dignity and his prowess sprang from the adventures of battles. In radiance he even outpassed the fire. It i.e. the radiance) even made him a compeer to Nala and Prthu. He was wont to wield his sword in battle and was having his disposition amenable to suavity. He was not atrocious towards the supplicants and had a naturally ruddy glow on his feet as well as hands. He alleviated the anguish of the earth (i.e. the Universe) by protection and not by dalliance or frivolity and was not an abductor of women for the sake of lewdness. He did not have the tendency of kinship towards the wives of others and was equally averse to embracing the wives of others but was addicted to hospitalities. He had sermons administered to him through his religious preceptor by virtue of his fervour not that he had his command conformed to by callosity. He was charitable enough to devote his interests and never had a knack to disparage the elders by the pride of his intellect. During extirpation of foes he used to carry aloft his bow and never used revilious tongue while deliberating over certain topic. He had sanctified the lord of the triad of worlds by his conduct gone to the upper world, being quite elevated owing to his having gratified the people once for all by means of the fame earned by the performance of sacrifices and endowed as he was with virtues such as compassion, complaisance etc. He had circumambulated the interiors of the Universe by means of his series of virtues. His fame and chivalry were both charming as well as awe-inspiring. Like Acyuta (i.e. Visnu) who carried conch and the quoit on his hands, he bore the marks of conch and the quoit on his palms (indicative of paramountsy). The fortunes of the opponents arrayed in rows came to woo him as their consort brought on to him by the portress in the form of his political acumen (Dandaniti). His intellect had the knack of discrimination about right and wrong (lit. fit to be acquired and fit to be discarded) attuned as it were to the cadence of the interpretation of all the scriptures on polity. He was a specialist in all the six schools of philosophy and had attained proficiency in all the branches of learning. He was skilled in the employment of the six expedients of state craft (Sandhi, Vigraha, Yana, Asana, Dvaidhibhava, Samasraya or Samsraya). He could understand 1. saujanyaparatantravRttirapyasaujanye niSaNNaH nalapRthuprabho'pyanalapRthuprabhaH samidvyatikarasphUritaprabhAvo'pyakRzAnubhAvopetaH, sagarAnvayaprabhavo'pyamRtazItalaprakRtiH, zatrughno'pi vizrutakIrtiH, azeSazaktyupeto'pi 45744RER07274:, Tarafa fafateraf sequin: 1 Ibid. Vol. I. pp. 62. LL. 3-4. p. 63. LL. 1-2.

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76 TILAKAMANJARI OF DHANAPALA what is done by man and what is done by Providence. He could control the inward and outward upsurges and revolts of the enemies. He was a real lord of the subject with duties towards four castes (Varnas) and stages of life (Asramas) well laid down.' Apart from this his feats of the sword subjugating his enemies, his effulgent prowess, his submissiveness, proneness to bestowing gifts, adventuresome nature, his unswerving temper under adverse circumstances, his keeping of good temper before the tense moods of his elders all these have been mentioned by the poet.? Consecrated to the throne while yet being a boy he took to all the facilities of youth available to him and devolved all the responsibilities of his kingdom on his ministers. He, however, did not allow his excessive addiction to lascivity encroach upon kingly liabilities. He gave proper attention to the grievances of his subject folk. Being issueless like Dilipa and Dasaratha of Raghuvamsa of Kalidasa, Rajahamsa of Dandin, Tarapida of Bana, he resolves to take to austerity meant to expiate the sins on account of which he could not redeem himself from the 'Naraka' called 'Pum". In this manner he has been depicted as superstitious in the opinion of the Atheists and a highly religious Saint king in the opinion of those who believe in the doctrine of metempsychosis. 1. tasyAM ca bhuvanatrayAzcaryabhUtAyAM nagaryAmavAryabhujabalArAtikaThinakaNThAsthidalanadantUrakRpANadhAraH, avatAra iva sAkSAdaruNasAratherekarathAkrAntacaturabdhisImA, samastaikaviSTapAdhipatayA tulyarekhayA vAsukivAsakyoravasthitaH, yathAvidhivyasthApitavarNAzramadharmo yathArthaH prajApatiH pratipakSANAmAntarANAmantarANAM ca vinetA, prAptadaivapuruSakArAnuguNyaH, SADguNyaprayogacaturaH, catasRSvapi vidyAsu labdhaprakarSaH, manuSya loka iva guNairupari sthito'pi madhyasthaH, sarvalokAnAm vizeSajJo'pi samadarzanaH, sarvadarzanAnAm anAyAsagRhItasakalazAstrArthayA'pi nItizAstreSu khinnayA paramANusUkSmayApi kroDIkRtatrailokyayA vyaktavivekayApi atiniviDayA prasannayA'pyasannihitamadayA vizAlahRdayAsAditasvecchAvakAzayevAtidUraprasRtayA prajJayA samyAgjJAtaheyopAdeyavibhAgaH, sannihitadaNDanItipratIhArisamAkRSTAbhiH samantataH pativarAbhirAgatya siddhamAlAbhirAzrito vipakSalakSmIbhiH, gaganAbhoga iva zazibhAskarAbhyAmacyuta iva zaMkhacakrAbhyAmambhasAMpatirivAmRtavADavAbhyAm abhirAmabhISaNo yaza: pratApAbhyAm induvimalAbhirjadalasamayArambha iva rAjahaMsapaMktibhiH pratimAnasaM prasthitAbhiH vyAptabhuvanAntarAlo guNaparamparAbhiH asaMkhyaguNazAlinApi saptatantukhyAtena sarvadA''hlAditalokenApyakedAnAnanditajanenodAttenApi svaritena caritena pavitritatribhuvanAvani: uccApazabda: zatrusaMhAre na vastuvicAre, vRddhatyAgazIlo vivekena na prajJotsekena, guruvitIrNazIlo bhaktyA na prabhuzaktyA, svajanaparAGmukhaH parabhAryAsu na saparyAsu, avanitApahArI pAlanena na lAlanena, akRtakAruNya: karacaraNe na shrnne| TM.. Vol. I. p. 58. L. 4. p. 59. LL. 1-4 p. 60. LL. 1-4. p. 61. LL. 1-4. p. 62. LL. 1-3. 2. Ibid. Vol. I, p. 65. LL. 5. p. 66. LL. 1-3. 3. Ibid. Vol. I p. 71. LL. 1-7. p. 72. LL. 1-3. 4. Ibid. vol. I p. 76. LL. 8-9.p.77. L.1. 5. Ibid. Vol.I p. 80. LL. 6-8.

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DHANAPALA AS A PROSE WRITER 77 Intent upon undergoing an ordeal of abiding in a secluded forest with a view to propitiating the deity he is dissuaded by his queen Madiravati who also insists to accompany him. The Vidyadhara sage descended down from the sky intercedes on her behalf and persuades the king to offer adoration to the deity with the charm presented by him called Aparajita the honoured lore of the Lord of the Vidyadharas. His religious disposition is further illustrated by the act of construction of a temple of the deity where by he got installed an image of Sri. His intrepid and reckless temperament is discernible in his encounter with the Vetala who nurtures the vicarious pleasure of extricating the impossible demand of the human skull for which the king himself took to self immolation with his own sword. Offering penance to beget progeny he was constrained to sacrifice his own head like "Puspabhuti' of Bana before the Saiva mendicant Bhairavacrya in the Harsacarita. The subsequent appearance of Sri both in Tilakamanjari as well as in Harsacarita and the consequent shower of a boon on both Meghavahana as well as Puspabhuti rescue the mighty monarchs from a major royal cataclysm and redeem them of the crucification. They were going to undergo and emolliate the tense and horrible odium marring the optimism of the situation and vindicate the two lordly heroes through the ordeal. They were forced to pass through cleansing that way the stigma of manly levity that could turn their efforts to a simple farce resulting in their failure to get boons for their ultimate goals.' His superstitious nature is further illustrated by his sight of a vision in which he saw the elephant, the vehicle of Indra suckling the breasts having dragged on to it with his trunk the breasts with lotus placed on them immediately before Madiravati had conceived.? This much is the portrait of Meghavahana delineated by Dhanapala absolutely in a traditional norm conforming to the ideal of Ancient Indian royal traditions. Harivahana and Samaraketu, the Hero and the side hero in their two respective romances have been depicted with a tinge of comparison as well as contrast. The former got by a boon in later age of his sire coming as a boon to his parents is obviously the more pampered one than Samaraketu who though being the only son of his sire Candraketu the king of Simhalas, has been depicted on a different plane being a hero of battles to all intents and purpose. Harivahana got his name in accordance with the psychology of the dream seen by his sire ere to the conception of his mother, on the tenth day after the birth and up to the age of five he enjoyed all the sports and 1. TM. Vol. I pp. 127-155. 2. Ibid. Vol. II p. 179. LI. 2-5.

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78 TILAKAMANJART OF DHANAPALA dandlings of the nurses and cajoleries of his mates. He was initiated to education at six and returned home at the age of sixteen when his sire performed his consecration. Being the only and the pampered son he has been depicted as accommodating and suave, serene and calm in so far as he does not decline the offer of an association with Samaraketu brought as a war prisoner by Vajrayudha from Kanci, by Meghavahana according to whom he (i.e. Samaraketu) was a little more in virtues than Harivahana and a better substitute for a reliable man amongst his kinsfolk with the result that he was made his close confidant like Vaisampayana of Candrapida. He was to treat him patiently and cordially in weal as well as woe. In teeth of opposition he was not to feel offended by him. He was to treat him as his secret counsel in matters of policy and above all he was to deem him a brother, a servant, a minister and an associate. He (i.e. Harivahana) did not feel any pinch on it when his sire, Meghavahana proclaimed Samaraketu as the overlord of the Angas a subdivision of the kingdom distributed between the two, the whole of Uttarapatha consisting of mandalas such as Kasmira falling to the lot of Harivahana himself. Rather he felt pleased over it and passed some of his days in company of Samaraketu quite jovially and pleasantly sometimes introducing him to his mother and sometimes to others and enjoying the gifts and compliments from the subsidiary vassals and other subject dignitaries. Even Samaraketu did not feel elated even the least when being seen by the king with the undistinguished love of a son.' He took after Harivahana's virtues in all respects barring aside the prowess of arms and served him day and night with unflinching devotion raised to 1. TM. vol. II, pp. 182-189. 2. vatsa! eSa samaraketurguNaiH samadhikaM samaM cAtmabandhuvarge pradhAnapuruSamapazyatA mayA tavaiva sahacaraH priklpitH| anvaham cAyamApatsvaparihAreNa, saMpatsvAdarAtizayena, samAnaguNeSu gauravotkarSeNa, vivAdeSu pakSagrahaNena, nUtanArthalAbheSu saMvibhajanena, narmasvamarmoddhiTanena mantraNeSvadUrIkaraNena, daarsNnidhaavvikaardrshnen| praNayakalikoSeSu svayamanunayena, utsaveSvagrapUjAsaMpAdanena, prArabdhavastunirvahaNeSu stutiprapaMcanena pratipannakAryaSvavisaMvAdanena, sarvatra cAtivizvAsadarzanena paraM saMkhyamAneyaH, eSa te bhrAtA ca bhRtyazca sacivazca, shcrshc| TM. Vol. II. pp. 230-231. p. 230. LL. 4-8. p. 231. LL. 1-4. 3. rAjJA samAdiSTaH sudRSTinAmA'kSapaTalikaH pravizya paTTakAropitaniravazeSamabhyarNavartibhiranekaiH kazmIrAdi-maNDalapratibaddhaiH pradhAnanagaragrAmairupetaM kumArabhuktAvakhilamuttarApathamarpayAMbabhUva, samaraketozca sarvadAyasahitAnaGga-jIvaneGgAdijanapadAn praayccht| Ibid. Vol. II pp. 231-32. p. 231. L. 10. p. 232. LL. 1-3. 4. evaM ca darzitaprasAdena nRpatinA pratidinasamApAdyamAnanavanavasatkArayoH...ekatra kalpitAzanasnAnAsanazayanayoH sadRzaveSAlaMkAradhAriNoH zAkyaziSyayorivAnupajAtaviprayogaduHkhayoH sukhamayA iva, dhRtimayA iva amRtamayA iva prItimayA ivAticakramuH katipaye divasA:~ Ibid. Vol. II pp. 232-234. p. 232. L. 5. p. 234. L. 2-4. 5. yathoktara prakaTitaprasAdena nRpotanA dRzyamAno'pi sunirvizeSamoSapi smrketurnotsekmgmt| Ibid. p. 234. LL. 5-6.

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DHANAPALA AS A PROSE WRITER 79 dignity by the group of his own virtues. Even Harivahana felt great glee, with heart gladdened by his virtues, even when Samaraketu was seen by him in a dream like an ambitious king getting overjoyed on seeing in a vision the territory of an enemy. Pulsating with youthful vigour he has been depicted as a gallant going to the outer garden named Mattakokila clinging to the shores of Saraya mounted on an elephant bearing thereby the semblance of Indra mounted on Airavata and accompanied by Samaraketu mounted on the globular pate of the tusker and acting the role of an elephant driver bearing a pointed goad with betel box bearer seated on the hinder part and a fly-whisk strung with a golden handle being waved every moment overhead balanced by a circle of a parasol made of peacock's plumes appearing thereby to be Jayanta made subservient by Samkrandana i.e. Indra wearing a limited heap of ornaments, painted with unguents, wearing a crest chaplet and donning a pair of robes transparent like the slough of a serpent shaken off.? All this is in conformity with the characterisation of the Nagaraka idealised by Vatsyayana in his Kamasutra (Book I). Dallying in the water pavilion he regaled himself with the fellow princes. Enjoying various sports and literary concourses situate to the shrine of cupid he spent his time with gaiety combined with serenity and circumspection which are apparent from the sober suggestion he gave to Samaraketu feeling malaise on hearing the import of the palm-leaf-billet. Instead of entertaining spite on understanding that the love letter from the beloved created anxiety in the mind of Samaraketu who might have been feeling perturbed on the perturbed condition of the sweetheart, he simply consoles him. "Friend : How is that you are feeling indisposed on an occasion which entails great rejoicing? Why does not the gleam of smile permeate your lips? Why don't the words of poets brimming with sentiment of love pour 1. apahAya bhujavIryamanvakRta harivAhanasya sarvAnapi guNAn AtmaguNagaNena praguNitazca paramayA bhaktyA prItyA ca ni:sAmAnyayA rAjAnamiva tmhrnishmsevt| harivAhano'pi tadguNAnu raMjitamanAH svapnadRSTe'pi samaraketau vipakSajanapada sa fring: Vi 4942141 Ibid. Vol. II p. 234. LL. 5-7. ekadA ca sa grISmasamaye prAtarevotthAya nirvartitasnAnabhojanAdividhirudadhijalavilulitavAsukimuktanirmokanirmalaM paridhAya vAsoyugalamunnidramallikAmukularacita zekharo.....zirISatarukusumakalpitakarNapUraH, karpUraparimalamucA candanadraveNa vihitasarvAGgINAGgarAgaH, tatkAlopanItaratnopalazakalazItalamamalamuktAphalaprAyamalpamudvahan bhUSaNakalApam, airAvatAdhirUr3haH sahasrAkSa iva sAkSAdupalakSyamANaH..... tatkSaNagRhItanizitasRNerniSAditAM pratipadya sindhuraskandhamadhyAsitasya samaraketoradhiskandhamarpitobhayabAhupAzaH pazcimAsanAdhyAsinA tAmbUladAyakena prativelamuqhyamAnakanakadaNDaDAmeraikacAmAraH, tulitagatvaratamAlatarukhaNDena mAyUrAtapatramaNDalena jayanta iva H ora:... paziuftici 7A GENE4":971 TM II. p. 234 LL. 8-9. p. 235 LL. 1-8. 3. Ibid. vol. II pp. 236-240.

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80 TILAKAMANJART OF DHANAPALA into your ears? Why does your cheek twain rest on the couch of your palm twain without feeling the pulsation of bristles by the heartening words of your associates? Have you got the memory of some absorbing thought? Is it that you have been pierced by the arrows of the eyes of some princess or that you have been given some tryst to accomplish your soul or that you have not been driven afar by some exacting duty while striving to obtain her?' A sincere friend as he is reciprocated equally with a concordant note by Samaraketu reminded of his fault of deserting the maiden of his heart simply by a refractory attitude. Frila sa Hudgradalayefa: Feral yer144739 and speaks of the cheering up of Samaraketu on finding s sympathiser likely to relieve him of his sorrow. He calls Harivahana as '31419 4R! Na Yayalara aid wat aan paraM me manasi vismayam, akhilajanamAnasanivAsAdiva tvayA samAsAditamidaM parAzayajJAnakauzalam' A prince possessed of superhuman instincts whose intellect was like that of Brahma, ubiquitous enough to create marvel in the hearts of others in so far as without having been told of anything, he came to understand the reality about his cause of anxiety and that he had the skill of understanding the depth of the minds of others through his own telepathy. Recounting his tale Samaraketu represents himself as an able heir to his sire. Candraketu who had detailed him on duty to lead the naval, force bound for Daksinapatha in order to chastise the wicked vassal refusing to pay off tributes of violating the law of the supreme sovereign." He is represented as skilled in the study of all lores according to his capacities, well versed in the science of polity (Nitividya) amply practised in the art of archery (Dhanurveda) and used to the working of weapons such as the sword, the mace, the quoit (disc), the javelin etc. 3fH'Igra tigoferuifay aufagtug) Marching on to wade through the ocean he is discouraged by Taraka but is courageous enough to encourage him to accede to his demand. 1. sakhe kiMnimittaM praharSasthAne'pyevamasvasthena bhavatA sthIyate, kimarthamidamatarkitAgatena tamasA samAskanditavadanamindumiva candrikA nAdrIta narmAlApeSvapi kundanirmalA te smitadyutiH kimityadhikamadhurA api parapurandhridUtIgira iva zravasi na vizanti zRMgArapradhAnazcirantanakavInAmuktayaH kena hetunA nUtanairapi suhRjjanasUkterajAtapulakodgatirubhayapANiparyaMka zaraNAdhAryate kpoldvyii| 2. TM. Vol. II p. 249. L. 10. 3. Ibid. Vol. II p. 250. LL. 1-2. 4. Ibid. Vol. II pp 250-51. p. 250. LL. 7-8 p. 251. LL. 1-3. 5. Ibid. Vol. II p. 251. L. 4.

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DHANAPALA AS A PROSE WRITER 81 'sakhe! yadi tavApyabhilASastadalaM vilambitum uttiSTha gamananiSTho bhava maikAntato vinipAtabhIrurmantrIva yAtrAbhiyogabhaMgArthamarthazAstrapradarzitena varmanA dezakAlasahAyavaikalyAdIni kAraNAnyakAraNameva darzaya, sakezamastu yadi a rfen Braha alag 7074 Tige r dal' On hearing the sound of music he ventures to pursue it and risks his life through the unfathomable and horror provoking occan abounding in seafauna. This proves his adventurous disposition. Following the music he reached a spot and saw a maiden sixteen years old and just at that time Vajrargala the portress of Harivahana brought a portrait originally brought by Gandharvaka setting thereby the stage for the initial meeting of the Hero and the side hero with their respective beloveds who put their lovers to such trials that after undergoing the perils of death and derision they emerge out successful vindicated through the ordeals. Love smitten (Samaraketu on seeing the maiden and Harivahana on seeing the maiden painted in the picture) both display a certain amount of lack of fortitude but gradually adjust themselves according to the circumstances. Harivahana unable to find Gandharvaka return back after the promise, gets impatient and unable to bear himself finds excuse to proceed on a Digvijaya and wading through the regions round about Kamarupa and the adjoining forest terrain on the banks of Lauhitya (Brahmaputra) he is lured into the clutches of Providence in so far as in trying to turn back Vairiyamadanda, his personal vehicle, he is raised aloft by a miracle tuskar who throws him into the lake Adrstapara and helps him see the face of the maiden of his heart for the first time. Failing to have a chat he returns and returning to meet her in the morning again he loses her sight and instead sees the beloved of his brother Samaraketu who narrates her woeful tale of her separation from her lord and ultimately helps him to unite with Tilakamanjari, who also suffers another separation from him due to the non-availability of Samaraketu, his friend in need and trials simply with a view to making him available to Malayasundari. The non availability of his friend impels him to have a fall from the precipice, where from he is rescued by the intervention of a youth named Anangarati who prompts him to undergo the ordeal of a secret charm and its performance in a hill cavern. A prince used to the life of luxury he ventures to undergo the ordeal of a secret charm and its performance in a hill cavern. A prince used to the life of luxury he ventures to undergo that ordeal for the sake of his friend and ultimately finds Sri appearing before him to shower the boon of reuniting with his beloved Tilakamanjari who was none but Priyangusundari in a 1. TM. Vol.II pp. 302-303. p. 302. L. 10. p. 303. LL. 1-3.

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82 TILAKAMANJARI OF DHANAPALA previous birth. Samaraketu's ordeal of maintaining his love intact in face of the torturous war, he was given to fight against Vajrayudha in favour of Kusumasekhara is all the more exacting and full of contrast. He loves his maiden but is firm in duty. He ventures to save her from strangulation at the intercession of Bandhusundari, but refuses to go the way of a coward eloping with his beloved like the wicked Vajrayudha, who wanted to abduct Malayasundari under cover of darkness. 'sUktavAdini, yuktvaadini| yuktmbhihitm| kiMtu duSkaramidaM maadRshaanaam| ahaM hi bAraMbAramabhyarthitena pratipadya mitratAM zatrugRhItasya rAjJastAvakasya sAhAyyakAya pitrA samAdiSTaH... tenAsya sarvathA sarASTrasya sapazoH saputradArasya rakSAvidhau mayA vyaapRtvym| yadA tu chalena rAtrAvupetya prANabhUtAmasya duhitaramapaharAmi, tadA tadapakArakRtyeSu nityameva niSaNNabuddhervajrAyudhasya mama ca na vyatiricyate kiMcit' His devotion and love for Harivahana are amply justified, when we find him burst into tears on not finding him return from his loss by the miracle tusker and leaving his entourage behind he wades through the sylvan terrain alone on foot and reaches the spot of the Cardamom creeper enroute Kamarupa and Adrstapara and sees his friend on the paramountsy of the Vidyadharas. The Vaimanika, the Vidyadhara sage, the Vetala Mahodara, Gandharvaka, Cakrasena, Vicitravirya, Kusumasekhara, Vajrayudha, Vijayavega, Mahodadhi (the chief royal lapidary), Citramaya, Anangarati, Vikramabahu, Sakyabuddhi, Manjira, Kamalagupta, Sudrsti etc. are the other major as well as minor characters of note playing adjuncts to the main heroes and the side hero. Vaimanika has been introduced in the romance to apprise the king of the fact that his issuelessness was not long destined and it was he who was to take birth in his house as the sole scion of the Iksvaku race. He is a celestial character and presents the divine necklace to the king. This necklace serves as the source to reminiscences of the past in case of Harivahana and Tilakamanjari, Samaraketu and Malayasundari, the latter being Sumali and Priyamvada in an earlier birth. His form has been depicted as effulgent decked with ornaments, costumes, cosmetics etc. He appears more of a spiritual being than of a mundane soul. The Vidyadhara sage is likewise a spiritual being come to inspire the king in his days of dismay and in the manner of a Siddha predicts the birth of a son in the house of Meghavahana by the ritual of propitiation of Sri. He has been described as radiant in form, pious in resolves and fit to be met with by merits. He is further described as 1. TM. Sm. ed. p. 326. LL. 6-12. L.D. Seves ed. Para 292. LL. 17-22. 2. ducir a ufa:, 3170 que:

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DHANAPALA AS A PROSE WRITER 83 being, as it were, the rite of virtuosity, the accomplishment of the vow of knowledge, the accumulation of the purity, as it were of sanctity, the right to duty, as it were, of piety, the all bestowal of compassion and a director to the path of emancipation.' The Vetala Mahodara presented as a hideous looking stupendous figure sent only to suit the opportunity of Vindication of the king through an ordeal by Sri, presents a typical figure wearing a crest wreath hanging up to the knees, wearing anklets of bones and eating a condiment of bones smacking of odium. He was actually a foil employed by the goddess to test the mettle of the king or else he was a Yaksa a semi divine being and never a vampire. His role in the latter stages is equally haughty his pride born of the special grace of Sri, his irate temper being manifest even at that stage when he checkmates the progress of Gandharvaka and throws him into the lake along with the aerial car only to find him get back with the form of a parrot. This unfolds his mysterious character of a tantric intolerant of others. His characteristic role in the caverns where Harivahana performed penance is equally of the same nature. He acts as the sentinel of the goddess guarding the cardinal point of her religious resorts. Gandharavaka is just a tame boy acting as a courier carrying the portrait of Tilakamanjari employed by Patralekha the consort of Cakrasena. He meets a mishap while performing that duty and transformed into parrot retains his memory and speech and not the form and sticks to his business of rescue work during the odd hours of Malayasundari. His resuscitation through the divine scarf Nisitha brings him to human form again and he performs his duties there even in association with Citramaya by conducting the Hero and the side hero with their respective heroines. Cakrasena is the sire of Tilakamanjari, a Vidyadhara king of Rathanupura Cakravala, affectionate towards his daughter and respectful towards his wife. Vicitravirya is the sire of Gandharvadatta and maternal grand sire of Malayasundari, sire of Patralekha as well, staying at Vaijayanti, affectionate unto his grand daughter, always pining to meet his daughter Gandharvadatta lost in his royal cataclysm. Kusumasekhara is the king of Kanci, sire of Malayasundari, consort of Gandharvadatta, who had the expanse of his cantonment extending up to the shores of the Southern ocean having his fame sojourning up to the Eastern and the Western corners. He has been depicted as a chivalrous king standing in the Van of battle to face the foe with expert war strategies but is 1. AcAramiva cAritrasya, pratijJAnirvAhamiva jJAnasya, zuddhisaMcayamiva zaucasya, dharmAdhikAramiva dharmasya, sarvasvadAyamiva dayAyAH, mArgadezakamivApavargasya | Ibid vol. I p. 89. LL. 3-4.

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84 TILAKAMANJARI OF DHANAPALA vanquished by the superior forces of the enemy, even though allied by Samaraketu the prince of the Simhalas. He preferred fighting to surrendering the hand of his daughter Malayasundari against her wishes, when persuaded by her and interceded by her mother though at the first instance he had resolved to do the same as a mark of matrimonial alliance fostering the cause of political alliance. That shows his intense love for his daughter in preference to his kingdom. Vajrayudha is the supreme commander of the forces marching towards Daksinapatha. His chivalry is imbued with callosity of conscience in so far as he wants to elope with the daughter of the king of Kanci by the force of arms and by devastating the capital in case the king did not surrender his daughter to him wilfully. He is shown as a sportsman in not killing Samaraketu caught as a prisoner of war when vanquished in the nocturnal warfare. Vijayavega is his deputy meant to communicate the happenings about Vajrayudha when away on campaigns etc. Sudrsti is the keeper of the records concerning the royal mandates (Aks apatalikah) through whom the king conducted his business of issuing the orders etc.. Mahodadhi is the chief officer incharge of the jewellery Citramaya is a courier in the harem of Tilakamanjari. Anangarati is the youthful prince, son of a kinsman of Sakyabuddhi, the Pradhanabuddisaciva of Vikramabahu the overlord of Gaganavallabha. He played a significant role in rescuing the life of Harivahana. Manjira has been described as the son of a bard, extremely zestful for the art of poetry, a close confidant of Harivahana, an object of amusement for all the princes.' Kamalagupta has been described as the son of the lord of Kalingas skilled in the arts of cajoleries, outspoken by nature, an object of veneration for the confidants of the prince (Harivahana), being in an age that had most of its boyhood gone, i.e. Being in youthful age, skilled in all the scriptures and languages, extreme favourite of the prince, being of the same status as Samaraketu.? He calls himself as, one of inacute intellect contaminated by nature and intolerant of the import of the billet finding fault with understanding of Samaraketu and that of Cupid both of whom had 1. Hocada f44: Her ficcant R 9 Hac i R 14 afys: 1 Ibid. Vol. II. p. 241. LL. 3-4. 2. samaraketunA samAnapratipattiratyantamabhimato rAjaputrasya sakalazAstrabhASAvicakSaNaH kSINabhUyiSThezaizave vayasi vartamAno mAnanIyaH kumAraparigrahasya prakRtipragalabhavAk kimapi kovidaH parihAsakeliSu kamalaguptanAmA kaliMgadezAdhIzasUnuH / Ibid. Vol. II p. 245. LL. 9-11. 3. 374fHi 1941049461 OGHI Ibid. Vol. II p. 245. LL. 2-3.

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DHANAPALA AS A PROSE WRITER shown their own influence under the circumstances, the latter having had the upper hand and instead of consoling, Samaraketu disheartens him without feeling the grain of sympathy for his pitiable condition, getting thereby the censure of being uselessly exasperated. Even though enjoying the same status as Samaraketu he bears a great contrast to the latter in so far as on the loss of the sight of Harivahana by the mysterious Device of the elephant, he does not feel the pinch of the chagrin likely to be felt on the loss of a dear friend and unlike Samaraketu in order to play adjunct to him in searching out the prince. Throughout the adventures of Harivahana and Samaraketu he remains in charge of the army battalions of Digvijaya and appears at the end when it is all happy about the Hero and the Heroine. . Of the women characters Madiravati ranks foremost. Tilakamanjari and Malayasundari come next to her. Madiravati has been called the spouse of Maghavahana, an object of love of the king, the chief among the ladies of the harem, worthy of respect for the whole lot of favourites and born in a mighty lineage of the Ksatriyas consecrated on the forehead.? She was adorned with a demeanour shining with extreme piety. Her form cooperated with her demeanour. Her youth co-ordinated with her modesty, her dignity conformed to here-quanimity." Her supremacy was at its acme, her spirit was lofty. She was above the act of falsehood and did not have the association of the want on women even in a dream. Her fidelity is beyond question in so far as she persisted to perform the religious rites in company of her lord revelling in conjugal bliss. "ityukte maharSiNA madirAvatI trapAtaralatArayA dRzA'valokya ptyurmukhmdhomukhiibbhuuv"|" Alludes to her instinctive bashfulness. As a mother her love for her child is beyond its bounds so much so that when her son brought Samaraketu along with him to her chamber after his sire had appointed him as his foster 1. TM. Vol. II pp. 246-249. 2. iyamapyupajAtajanmA mahati mUrdhAbhiSiktakSatriyAmnAye mAnanIyA samagrasyApi matparigrahasya sarvAntaHpurapradhAnabhUtA faxrac 779 999 1541 lbid. Vol. I p. 94. LL. 4-6. 3. paramazuddhizAlinA zIlenAlaMkRtA, zIlasahacAriNA rUpeNa vinayavatA yauvanena... prazamabhAjA prabhutvena... uddyfa... Ibid. Vol. I p. 82. LL. 1-3. 4. Vi af aft e r a ferai, 314614 Tang aRituti Ibid. Vol. I p. 82. LL. 7-8. 5. 31713!.... 2791 7911 GRTTIT Cal, T AG 4 Ta cuf -191 Ibid. pp. 96-97. p. 96. L. 9. p. LL. I. 6. Ibid. Vol. I p. 101. LL. 2-3.

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86 TILAKAMANJARI OF DHANAPALA brother she did not slacken her love for him and even treated Samaraketu at par with Harivahana.' Tilakamanjari, the heroine of the romance has been called the gem of a maiden being the daughter of Patralekha begot by Cakarsena, king of the Vidyadharas. Her form painted in the picture had enchanted and entranced the gaze of Harivahana. Her girlhood had passed with gaiety through sports such as celebrating the fake marital ties of the puppets, ball playing and preparation of Pancalikas (the dolls made of cloth etc.). Her youth had arrived but she did not like to come close to any youth. The 'Prajnaptividya' foreboding her union with a terrestrial prince her mother arranged a painting through Citralekha and deputed Gandharvaka to search for that coveted prince. Her beauty was so enticing that even a sober soul like Harivahana felt shaken within himself and unable to see the promise of Gandharvaka getting fulfilled he grew impatient speculating over his own prospects about winning her hand declaiming as to who shall be so fortunate as to get the self choice necklace worn over his neck etc. "anyA api prakRSTarUpalAvaNyavatyaH prAptayauvanAH dRSTAH kSitipakanyAH, anyAsAmapi zrutastatvavedibhiranekadhA fausn fact14274:, 7 7 24sf @144er tal 29157411"* These words of Harivahana extol her super-human charms. He was so much enamoured of her that he found out some excuse to get out of his house when failing to get a wink of sleep during nights and at times saw her forms inscribed on the faces of the vacant quarters. 'sarvathA gandharvakAgamananiSpratyAzaH stilakamaMjarIsaMtatasmaraNajanmanA vikUvIkRto gADhamatidAruNAvegenodvegena kathaMcanApyazakruvan gRhe'vsthaatum|" Further illustrates his extraordinary attachment unto Tilakamanjari who was a superb beauty for him. When seen by Harivahana for the first time and feeling the sprout of love at first sight she started trembling like the sprout of fresh plantain plant struck by a terrible squall.' But due to instinctive bashfulness she could not utter a word and introduced fully by 1. TM. Vol. II p. 231. LL. 6-10. 2. Ibid. Vol. III p. 11. LL. 6-8. 3. TM. Vol. III p. 21. L. 10. p. 22. LL. 1-5. 4. Ibid. Vol. III p. 24. LL. 4-6. 5. Ibid. Vol.III p. 29. LL. 1-3 6. Ibid. Vol. III p. 32. LL. 2-3. 7. sApi mAM tathAgatya dvAradeze kRtAvasthAnam... avalokya samuSajAtasAdhvasA sahasaiva prabalamArutAhatA allcharita Goleila f rom Ibid. Vol. III p. 153. LL. 3-5.

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DHANAPALA AS A PROSE WRITER 87 Harivahana left that place only to pause and pass through the ordeal of ennobling love which gets vindicated only through separation and suffering. She is the lunar line for the lily grove of his heart.' The ordeal of separation is vindicated to union by Malayasundari who arranged the meeting of the two, which casually turns into separation when he sees the plight of Malayasundari not finding her lord of the heart Samaraketu who was a foster brother to him as well. The intervening cause of impatience of Tilakamanjari bearing a mark of reaction on Malayasundari pricking the latter to recognise herself as the instrument for that separation bring in the character contrast between the two. The ultimate austerity of Harivahana, the motif of the scarf Nisitha bringing to human form Gandharavaka the parrot convert resulting in the reunion of the two couples completes the character portrait of Tilakamanjari who like wise feels a privilege to see the union of her sister heroine with her hero lord Samaraketu. Malayasundari compared with Tilakamanjari bears a contrast to the former being an epitome of a maiden exposed to the callosities of dastardly providence who making her come face to face with her lover, feels the pinch of love at first sight but is given to suffer the pangs of dereliction the moment she sees her lord who is harder pressed by the exigency of a more exacting task of helping the sire of his beloved against the cruel onslaught of a callous foe. Once thinking of putting the nuptial wreath round his neck she suffers the pangs of unceasing separation prompting her to undergo the threefold attempt at suicide comprising of strangulation, watery grave and poison cating through the Kimpaka fruit. She, however, escapes the cruel jaws of death through the sheer freaks of favourable destiny. Being the pampered daughter of her sire Kusumasekhara king of Kanci she feels embarrassed over the hasty decision of her sire in accepting the unrighteous proposal of giving her over to Vajrayudha the proud sentinel of Meghavahana who was ruthlessly ambitious to derive the vicarious pleasure of razing Kanci to the ground in case he did not accept the marital alliance with his daughter, intended by him.? Her taking recourse to asceticism after receiving the billet from Gandharvaka (Parrot) when rescued from a watery grave and waiting for long to unite finally through the assistance of Harivahana, with Samaraketu bring her in line with Mahasveta of Bana waiting for long years on the 1. EYKU R Pigiata fact443RII TM. Vol. III p. 157. LL. 4-5. 2. avijJAya macchivavRttim, anAkarNya vacanamambAyAH, anavalamvyamatyakSapAtivargamatam, tathAtyantavAtsalyanApi kiMnimitamidamanuSThitaM jhaTityeva kAryaM taaten| yadi vA na ko'pi paramArthataH preyAnanuvartanIyaH pUjanIyo vA prajArakSaNamAtra kartavyAnAM narapatInAm ko vA mdiiyaabhipraayvedne'vsrstaatsy| nahi ko'pi kanyAkAyAH priyaH tavAyamApriyo vA sfai Ibid. Sm. ed. p. 299. L. D. Series ed. para 251. LL. 26. 30.

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88 TILAKAMANJARI OF DHANAPALA shores of Acchoda lake to meet her lord of life towards the end. Malayasundari had been waiting in a shrine on the shores of Adrstapara lake. Patralekha and Gandharvadatta are the two sisters mothers of Tilakamanjari and Malayasundari respectively representing the true epitomes of fond mothers looking to the betterment of their daughters. Gandharvadatta is an obedient spouse not gainsaying the verdict of her lord Kusumasekhara even when her daughter feels embarrassed over his decision. Her words___ 'deva kaahmupdeshdaane| kiM vAbhyadhikamanyadvijJApayiSNami dvAvapi vyaMjitau devena pakSau / ya evAtmane rocate, ya wa Elu: ufayfa Tari' amply ill. trate the fact recounted above. These sane words establish her a fond mother who through a gesture made her lord come to decide upon the path that could save the life of their daughter. Bandhusundari has been described as an associate by Malayasundari of the same age as she is extremely skilled in understanding the indications about others or the special behaviours of others the sole repose of confidence, her second heart as it were, with ardent affection developed unto her right from her childood.? Being a sincere friend and an affectionate sister, as it were, she fully took cognisance of the trustful visage of Malayasundari who had given up all her regular ways of dress and behaviour and inspite of a feigned effort on the part of Malayasundari to conceal her morbid transformations of heart she did not feel duped and inquisitive to know her real heart persisted to prick her against her wishes." Being a true chaperon of her childhood she knew the working of her destiny as foretold by Aryavasurata whose words could never belie the facts. That is why in order to divert her love-smitten heart she consoled her with the 1. TM. Sm. ed. pp. 327-328. p. 327. L. 23. p. 328. LL. 1-2. L.D. Series ed. para 296. LL. 19-21. p. 191. 2. tAvadAgatA tatra zaizavAtprabhRti rUDhagADhapraNayA dvitIyamiva hRdayamekabhUmivizrambhasya paraM pragalbhA paraigitAvabodhe bandhu FA 14: Hel Ibid. Sm. ed. p. 293. 3. taifa! TEISI 3R1: sfogyud y a au fur: 1 Ibid. Sm. ed. p. 293. LL. 10-11. L. D. Series para 244p. 171 L. 21. 4. anyacca zayanIyamidamadhizayAnA pravizya prathamamavalekitApi nipuNaM mayA tvaM na dRssttaa| dRSTA ca saamprtm| ttkimett| #74 79741 3 4 A GT413Ricara fafirai Ibid. Sm. ed. pp. 293-94. p. 292. L. 22. p. 244. LL. 1-2. L. D. Series ed. p. 171. para 244 L. 30-31. 5. yaH saH ko'pi kaNThe kusumamAlAmAropya kalpito varatvenAnayA nRpakumAraH tasmAtra zakyate vAkyazatairapi fadifasfaltpadan faunasu TATRYGHANI Area : Ibid. Sm. ed. p. 295. LL. 35 L.D. Series ed. p. 172. para 246. LL. 18-20.

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89 DHANAPALA AS A PROSE WRITER words that she would certainly achieve her end in so far as her consort was likely to be a prince of great repute." Deeming her a fatalist Malayasundari strikes a note of optimism by tickling her with words full of irony that since she thought her tie with him was destiny bound, he would listen to her words and would get out of the occan even if sunk deep into it." Apart from being an affectionate friend she is also a faithful servant in so far as realising well the state of mind of Malayasundarf going against the wishes of her sire who was willing to marry her to Vajrayudha by way of a political wager in order to save his territory from the ravages of an onslaught, she tries to persuade her feeling thoroughly sympathetic towards the maintenance of the regnal autonomy of her master i.e. Kusumasckhara. It is she who not finding Malayasundarl in her chamber runs to rescue her from strangulation by a noose which the latter had prepared to immolate. herself. It is she who called Samaraketu at that spot and got that noose cut off and ultimately requested him to lend her a helping hand in her final goal. Her self censure and laments on not finding Malayasundart in her chamber display her responsible character in life.3 As a go between she acts the role of a diplomat. Having shown due hospitality to Samaraketu, she requested. him to woo Malayasundarf since it was he who was responsible for that sorrowful state of committing self immolation. And when he replied that it was not possible to divulge that secret she felt a bit annoyed and tried to provoke the prince by giving a nod to Malayasundarf that she was going to do so. 'Princess! You acted most undesirably in so far as you did not take leave of your life even at the Primary separation from him and did not go mad and 1. bhartRdArike viditaM mayA te zokakAraNam / anAkulA''ssva bhaviSyatyavazyaM tava tena narapatisUnunA saha samAgamaprAptiH / avitathAdezo hi tatrabhavAnAryavasurAtaH na tadbhASito'rthaH kadAciddvisaMvadati / Ibid. Sm ed. p. 295. LL. 6-8 L.D. Series ed. p. 172. para 246. LL. 21-23. 2. sakhi ! kimetena tava cintitena / adyApi bahu cintanIyamAste / yadi tAvadavahitastasya madvacanasyArthamavadhArayiSyati / gaf fug af ff TM. Sm. ed. p. 296. LL. 4-7. L.D Series fa ed. p. 173. para 247. LL. 3-6. 3. vigatalakSaNe bandhusundari ! jAnatyApi jIvitamutsraSTukAmA kimiyamavadhIritA tvayA nirgacchantI dhRtA ca kiM na dhAvitvA haThAtpRSThato vimohitayA ca saMkaTaprAsAdakuTyAntarAlaparisarpaNena kasmAnna kolAhalaH kRtaH / Ibid. Sm. ed. p. 308. LL. 5-8. L. D. Series ed. p. 179. para 265. LI. 30-31 p. 180 LLI. 4. mahAbhAga ! madabhiprAyoNa satyaM mahAnarthaheturasyAstvam / ata eva vAyuktamupakArodghaTTanaM mayA vihitm| kevalaM tvadabhiprAyamAzritya pRcchAbhi sarva kAlamantaHpuragatAyAH svapne'pyajAtapuruSasaMnidheradhunaiva dRSTaH kathaM mahAnarthatehurasyAH Ibid. Sm. ed. p. 315. LL. 19-22. L.D. Series ed p. 184. para 274. LL. 10-13.

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TILAKAMANJARI OF DHANAPALA took to a mighty vow and showed your attachment like this while undergoing great torture." Her complaint to the prince that ere long she had been under an impression that women by instinct were crookedly disposed while men-folk were immanently simple. And this popular saying had been free from any gainsaying. But at that time when not even inquired about, Malayasundarl had narrated the entire account, from start to the finish, about her meeting and attachment with him, but he, when asked had refused to express his true intention even when fully aware of the same.2 90 Prince, becoming silent she tried to bind her in nuptial tie by joining her hand with the right hand of the prince and performed the formal rite. The intervention of Taraka bringing a message as a courier from Candraketu disturbed the whole scene and Samaraketu assured her that he would not act like Vajrayudha resorting to the Raksasa, Asura or Paisaca mode of marriage. He was inclined to take to the Daiva type though he had already taken to the Gandharva mode. He suggested a via-media that he did not want to augment hostilities with Vajrayudha and desired to earn the goodwill of her sire Kusumasekhara. Samaraketu gone, Bandhusundari also wended her way towards her princesses' chamber and narrated the account of Malayasundarf just then. Here practically ends the characteristic role of Bandhusundari the saviour of the side heroine of the romance which but for her sagacious pluck and alertness might have ended in a tragic denouement at least of one of the love episodes of the whole plot. Vajrargala is a portress who conducted Gandharvaka and ere to that the portrait of Tilakamanjari. Citralekha was a chief shampooing maid skilled in the art of painting, who had the privilege of introducing Malayasundarf to Patralekha after the incident of poison taking of Kimpaka fruit by her." Tarangalekha was the chaperon from childhood of Gandharvadatta residing in the hermitage of Kulapati, where she had been brought up after her separation from her sire, Vicitravirya and where Malayasundari had been sent by her sire at the instance of her mother to keep her away from the 1. bhartRdArike ! kRtamatIva duSkaraM tvayA yadasya prathama eva virahe na muktAH prANAH na gRhIta unmAdaH, na pratipannaM mahAvratam / ya 3:anguatur afrin::1 TM. Sm. ed. p. 316. LL. 7-9. L.D. Series ed. p. 184. para 275 LL. 18-20. 2. kumAra! kuTilasvabhAvAH striyaH, nisargasaralaH puruSavarga:, iti janapravAdo na niravadya iti cirAdadya me sthitaM manasi yasmAdSTayApi mayA dRSTamAtrasya te janmanaH prabhRti sarvamAveditaM nijrhsym| tvayA tu pRSTena viditapUrvametAvadapi me na Ibid. Sm. ed. p. 316. LL. 10-14 L.D. Series ed. p. 184. para 275 LL. 21-24. 3. Ibid. Sm. ed. p. 340. LL. 5-11. L.D. Series ed. p. 198. para 314 LL. 26-30.

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DHANAPALA AS A PROSE WRITER inhuman guiles of the lecherous foe (Vajrayudha). She had rescued Malayasundari by providing antidote after she had taken the Kimpaka fruit. She had to run a long way in her rear to ultimately catch her unconscious. With the status of a foster mother she had the courage to even rebuke the princess by saying 91 'Pert dame! How did you come here? What reason prompted you to reach here? Who related to you, stays here for your sake? Who gave this wicked proposal to you? You did not feel ashamed while roaming at will on this sea beach abounding in ferocious fanna, derelicated from all your associates, O you inimical or sinister one. 5. SEMTIMENTS According to Dr. K. Krishnamoorthy Sentiment or Rasa is a term from diatetics, meaning taste or relish and introduced by Bharata into the field of dramatic criticism to denote the complex of aesthetic enjoyment. According to his analysis, it is a complex range of Psycho physical response man is capable of Drama or poetry is the stimulus by which multiple and even fleeting moods, feelings and responses are made to fall into a pattern around the more or less permanent nucleus of an emotion. The organised response complex of the connoisseur is termed 'rasa' and its possible varieties are eight or nine, depending on the classic number of nuclear emotions (sthayibhavas).2 3 According to Visvanatha a Kavya is that sentence the soul whereof is the Rasa (ad Turcas ) or in other words of Visvanatha 'Rasa or sentiment is the very soul as a succinct observation the very infuser of life'. 'rasa evAtmA sArarUpatayA jIvanAdhAyako yasya / " Like Bana speaking of the dominance of Rasa in a Katha' comparing it to a newly wedded wife full of sentiments coming to her lord of her own. 1. durvinIte ! kvAgatA tvamiha ? kiM tavAgamanakAryamatropajAtam ? kastavAsminnAste ? kena te durmatiriyaM dattA? hItApi na tapasvilokasya nirvivekavanacarapracAradUSite sAgaropakaNThakacche'sminnekAkinI yadRcchayA bhramantI utsAditA Briegerkar affer! re TM. Sm. ed. p. 335. LL. 14-18. L.D. Series ed. p. 196. para 309. LL. 3-6. 2. Essays on Sanskrit Criticism p. 65. Karnatak University Dharwar 1964. 3. Sah. D. I. p. 20. edited by Acharya Shri Krishna Mohon Shastri, Chowkhamba Sanskrit Series Office, Varanasi 1955. 4. Ibid. pp. 21-22. 1 5. sphuratlAlApavilAsakomalA karoti rAgaM hRdi kautukaadhikm| rasena zayyAM svayamabhyupAgatA kathA janasyAbhinavAvabhUriva //

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92 TILAKAMANJARI OF DHANAPALA accord, etc. Dhanapala speaks of the diverse tastes of the people whereby some take delight in the speech full of prolific sense while others take delight in the tersely laden sentiments of a Katha. Some have an appeal for the Qualities such as perspicuity ctc. whereas some have a penchant for all these. Almost all the nine Rasas find their place in the prose romance of Dhanapala. Srngara in its two fold aspects forms the main sentiment of his romance which deals with the theme of love at first sight of the two couples Harivahana and Tilakamanjari on the one hand and Samaraketu and Malayasundars on the other hand, their subsequent separation and final reunion after vindication, through ordeals abounding in pangs of separation. Sambhoga or love in union and Vipralambha or love in separation, the two main subdivisions of Srngara (Erotic) along with their dependent determinants and the excitement determinants, emotions and ensuants have been fully illustrated through the development of feelings of attachment between the two couples. Sambhoga Srngara is even discernible in the mutual attachment and devotion of Meghavahana and Madiravati, as also of Meghavahana and other ladies of the harem. Free from fears of inner upsurges and outer revolts, having devolved the burdens of his regnal duties on able minister, Meghavahana indulged in all types of physical enjoyment, fully engrasped by Cupid. In that way he used to ensue a battlefield of sexual sport, wonderful and attractive through the employment of grand devices such as showers of flowers being sprayed on him by the mind born one, feeling the sense of horripilation saturated with perspiration caused by ceaseless exertion, having jewel bracelets resounding through stroke of the hands, with surface of his pate glistening during the process of grasping of locks, with lips clutched by biting with the tips of teeth, quite in restiveness, with impatience for (copulation) in creating through twitters of the pleasure birds as if they were the culogiums of the bards straining aloud the tunes of music, accentuated by the clanks of anklets and jingings of ornaments of the Loving maidens scanned with glee by the tutelary deities quite curiously.? Kadambari Introductory Verse 8. p. 5. Krishna Mohon Shasrti Chowkhamba Sanskrit Series office varanasi, 1953. kecid vacasi vAcye'nye, ke'pyazUnye kthaarse| afa TU WAIGIT RII: H ll-TM Introductory Verse 37 Vol. I. p. 32. Botad ed. p. 3. L.D. Series ed. p. 5. NSPE, 1938. ed. (146) 2. AtmanApi nizzeSitArivaMzatayA vigatazaMka: svadharmavyavasthApitavarNAzramatayA jAtanirvRtti: paryavasitAkhilaprArabdhakAryatayA nirAkulamanAstakAlaM manaHpurImanupraveSTukAmaM kArmukadhAraNAparAdhavilakSamanasaM

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93 DHANAPALA AS A PROSE WRITER Literally construed Sambhoga means the physical union of man and woman. The accessories such as perspiration, horripilation, exasperation, impatience, devices such as stroking with hands and nails, embracing, kissing etc., all form the subject matter of the paragraph under consideration being in other words the dependent and exciting determinants, emotions and ensuants respectively. He (i.c. Meghavahana) even went to the extent of attracting maidens to distant regions during the dark fortnights2 and resorted to water sports.3 His pangs of separation from his beloved's is equally illustrated in a realistic norm being a pre requisite of Vipralambha. 'Disappointed in his efforts to reconcile with his beloved's playful entreats on account of their having ignored him when prostrate on their feet, on account of the exuberance of their ire, he used to palliate his anguish born of the mind born, reclining on the counter pane of louts petals, at the fountains having the crevices of their interiors darkened by the sprays of water falling ashores.4 Sometimes it so happened that envying his queen he would try to afford the fulfilment of the ardent longings of the domesticated orchard creepers that had put forth flowers out of season exciting thereby his 'alambana' Vibhava (i.e. the queen) by the parallel insinuation of the 'Uddipana' Vibhava (i.e. the creepers treated as females) to physical enjoyment and probe into the idea of her having delayed giving birth to a scion of the race." makaralakSmANamanugrAhayitumAgatena vistAritacaturoktinA dUteneva navayauvanenopadarziteSvandriyagrAmahAriSu viSayeSu paribhogalAlasaM mAnasamAsaMjayAmAsa / tathApi kadAcit sakutUhalagRhadevatAdaravilokitaH, kAminIjanAbharaNajhAtkAravaryatUryaravasaMvardhitaistArataravilApinAM vaitAlikAnAmiva zukantAnAM dhvanibhirAdhIyamAnarabhasaH, sarabhasadazanAgradaMzadalitadantacchadamadayakacagrahollasadbhrukuTI bhUSitalalATadezamAvezaparavazapravRttakaraprahAravyAharanmaNi valayamaviralodgatazramasvedatimyadromAJcakavacamanavaratamuktakausuma-zarAsAravyapadezAdupajAtatuSTineva mAnasabhuvA devena pAtyAmAnapuSpavRSTirutkRSTakaraNaprayogamaNIyamatyadbhutaM ratasamaramAtatAna / TM Vol. I pp. 71-72. p. 71. LL. 7. p. 72. LL. 1-7. para 93. L.D. Series ed. p. 10. LL. 23-32. 1. stambhapralayaromAMcA: svedo vaivarNyavepathu azruvaisvaryamityaSTau stambho'sminniSkriyAMgatA, pralayo naSTasaMjJatvaM zeSAH suvyakta lakSaNAH // Dasarupa IV 5.6. p. 266 ed. p. by Dr. Srinivasa sastri. Published by Rati Ram Shastri, Subash Bazar Meerut, 1966. 2. bahula pradoSAbhisArikA: sudUramAcakarSa / TM Vol. I p. 73. LL. 1-2. 3. jalakrIDAmakarot / Ibid. p. 732-3. 4. kadAcinmanyugauravAdatilaMghitapAdapatanavibhramANaM preyasInAM prati niSpratyAza: prAntanipatadambudhArAndhakAritodarakuhareSu dhArAgRheSu visinIpalAzasrastarazAyI manasizayasaMtApamatyavAhayat / Ibid. Vol. I pp. 73-74. p. 73. L. 5. p. 74. LL. 1-2. 5. kadAciddevyA sArdhamArabdhaspardhaH svaparigRhItAnAM gRhodyAnavIrudhAmakAlakusumodgatikAriNastAMstAndohadayogAnadAt / TM Vol. I p. 74. prasAdanaM

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94 TILAKAMANJARI OF DHANAPALA Bharata and his followers, Dhananjaya, Hemacandra and Visvanatha put forth almost the same contentions concerning the scope of a sentiment that has been put forward by Keith in the following words: "A Dominant feeling or emotion (Sthayibhava) becomes a sentiment (rasa) when it is transformed into an object of enjoyment (aniyamanah Svadyatvam) through the co-operation of the determinants (Vibhavas), the consequents (anubhavas), including the involuntary manifestation of feeling (Sattvikaih) and the transitory feelings (Vyabhicaribhih).' Love is the dominant emotion of Sangara both Sambhoga as well as Vipralambha. Love delineated by Dhanapala is sublime in both the cases (i.e. the two couples) except in the latter case wherein Malayasundari losing her patience on seeing her lover unintentionally given to make her face the ordeals of separation and suffering by the force of circumstances. Her threefold attempt of self iminolation smacks of levity and brings her down to the status of a heroine in love being 'Dhiroddhata', i.e. recalcitrant and temerous. But the bond of hope restrains the loving heart of the wincing maid in separation. It becomes sublime as well when she takes to asceticism and waits on the Adrstapara lake for long like Mahasveta of Bana waiting for her lover on the shores of the Achhoda lake. The alambana vibhava (dependent determinant) in case of Harivahana is the portrait of Tilakamanjari brought by Vajrargala from Gandharvaka, Uddipana (the Exciting determinant) comes when Gandharvaka informs that he had got out in search for the terrestrial prince forestalled by the Prajnapati Vidya to become the paramount sovereign and consort of Tilakamanjari. It also got enhanced by the environments of Mattakokila garden visited before and after seeing the portrait. The observance of the lascivious traits in the objects of nature excited him and he invariably looked at the Kesapasa (the braid of tresses), mukhasasi (moon like face), Aksipatras (vase-like eyes), Kanthakandala (stalk like neck), Stanamandala (protuberant breasts), Madhyabhaga (waist), Nabhicakrabhoga (circular navel), Jaghanabhara (obese posteriors), Urustambhas (pillar like thighs) etc. all these forming the anubhavas or consequents. The reaction in mind forming a repression to the suppression of feelings prompting him to indulge in eulogium indicative of the virtuous or involuntary (Sattvika) Bhavas is apparent from the exclamation of Harivahana when he values her charms as described by Gandharvaka i.e. the real form excelling the form in the painting by a margin of huge fractions. He even deems her slighting the pride of beauty in case of Rambha and other celestial nymphs. She even outvies Rati etc.? 1. The Sanskrit Drama by A. B. Keith p. 319. 2. TM. Vol. III pp. 21-22.

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DHANAPALA AS A PROSE WRITER 95 The evanescent feeling (Vyabhicaribhavas) become apparent when even after praising her he fails to see her actual form and losing his patience starts doubting his own conscience that due to some short coming in him he has not been able to impress upon her the necessity to reciprocate his intentions. Who will become the object of the lear falls of that Timorous lady? Who shall wear the self choice garland over his neck as put by her with her own hand? Who would descend down on to the holy dais in the wedding pavilion in order to win her in nuptial tie? Who endowed with the auspicious marks of the conch and quoit shall hold her right hand? The inferiority complex consequent upon these frivolous thoughts makes the confusion worse confounded and unable to see Gandharvaka come back he finds a lame excuse to rush in search for her somewhere and marching on the conquest of the quarters and reaching the out precincts of Kamarupa is carried through the divine agency of the mystery tusker to the Adrstapara lake and from there to the Cardamom creeper arbour where scanning her for the first time he is again struck by the involuntary emotions and rushing to sce her again and acquire her he meets Malayasundari pining in separation for the hand of her lover Samaraketu who too after enjoying the phenomenon of Sambhoga (love in union brought in by the first sight) had separated himself by the force of circumstances. Alambana in case of Malayasundari was Samaraketu and in case of Samaraketu was Malayasundari, the blooming youth of both creating the Uddipanvibhava in both through mutual reciprocity. Samaraketu being Dhirodatta is carried away by the involuntary emotion of revelry in bliss of her company but is persuaded by Taraka to take to the duty that was his foremost on which he had been detailed by his sire. He actually plunges into the evanescent mood of a watery grave when interdicted by Taraka but is soon redeemed by his expert skill in navigation. This, however, proves a shock to Malayasundari, a consequent coming upon her and she plunges herself headlong into the ocean where from she is rescued by Mahodara. Consoled by Bandhusundari she heartens up a bit from the 'glani', Sanka, the involuntary emotions, but is again plunged into discouragement, distraction, inconstancy and impatience when she hears of the impious resolve of her sire to bestow her unto Vajrayudha. She is rescued from the transitory emotions of strangulation, drowning and poison taking by Bandhusundari Samaraketu, Tarangalekha and the billet thrown by a parrot and is given to undergo the 'Nirveda' made of involuntary emotion simply to hope for a final reunion. The mutual give and take policy in point of helping each other in case of Malayasundari and Harivahana result in the permanent state of palatability of the sentiment of love in final reunion of the two couples.

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96 TILAKAMANJARI OF DHANAPALA The Vipralambha of Harivahana had its excitant determinant in the summer season which augmented his torment manifoldly while the rainy season came to alleviate that torment the green grass covering the surface of the earth, the breezes from the Kadamba trees, the sweet cackling royal swans, thc lotus groves sinking in the lakes brimming with rain waters, the water, dripping orchards, the saplings, the sun concentrating its rays into the interiors of the clouds the flower laden Ketaki groves, the hilarious peacocks switching over to circular dance all these factors played a prominent role in further augmenting the abullition of his heart brought by separation. The consequents and the ensuants such as the burning fever caused by separation and Smarana etc. Prompting him to move ahead for a journey in sarador Autumn fit for marching on campaigns he found the ray of hope of a meeting with his beloved. In the Vipralambha of Malayasundari as well, we find the evil influence of the demon of love (i.e. Kandarpa) who approached her unnoticed having obtained scope even when kept away by her anxious to have a coveted meeting with her lord. The shade of her loveliness grew doubly radiant like the moonlight reflected from the setting moon with a view to scanning the cupid comie close. Her lotus face beamed forth with eyes bristling up. The horripilation manifested itself all around. The limbs full of perspiration felt a trembling and her voice under went a change by way of sobbing - all these forming the involuntary and evanescent emotions in Vipralambha or love in separation. The pathetic or Karuna sentiment is based on sorrow its consequents being sighing, panting, weeping, paralysis, raving etc. and its evanescent emotions being sleep, epilepsy, depression, agony, death, indolence, agitation, despair, stupor, insanity etc. According to Dr. Neeta Sharma Karuna bears a close relation to the sentiment of love because it arises out of the loss of the object of love (ist anasa) or from the arrival of what is undesired (anistapti). The instances of 'istanasa' and 'anistapti' are quite numerous in Tilakamanjari. The cessation 1. TM. Vol. II p. 29. See the text under Descriptions of Nature. 2. abhimatasamAgamotsukAyAzca tasyAH sarvadA dUrIkRtaH zanaiH zanaigatya labdhAvasara iva samIpamupasasarpa kndrpH| samAgatAnaGgadarzanAgatendusaMkramitacandrikeva dviguNamullalAsa laavnnychaayaa| kAnticandrikAvatArabhItAtaparAmRSTamiva hrssttlocnptrmybhvdvdnshtptrm| aJjanarajorAgamiva nidhitsurkssaalyttrnggaaytaapaanggmkssiyuglm| AnandabASyastanAvaraNavalkalamiva tyAjayitumudagacchadacchinnasaMtatiH samantataH prakIrNakanakacUrNAbhirAmo romabhedaH / 4444544 Hria 94047 Hada Half Ibid. Sm. ed. p. 347. LL. 11-18. L.D. Series ed. P. 213 para 329. LL. 8-13. 3. Bana Bhatta, a Literary Study p. 138.

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97 DHANAPALA AS A PROSE WRITER of the progeny in the house of Meghavahana is 'istanasa' during the blooming youth which resulted in the plaints and complaints, ravings and repressions, resultant upon the sub conscious mind exposed to the admonitions of the mancs, the censure of the royal sovereignty, doleful cries of the subjects thirsting for a future king all being 'anistapti' for the ruler of the state in the later age of his life, Agitation, despair, depression and anxiety all being the subsidiary evanescent moods instrumental in this 'anist a' by virtue of the lack of progeny who cannot fill in the gap created by Providence which is hard enough to provide an enjoyer of these luxuries through inheritance. Just as sun feels hot through its own heat the king felt tormented by his own radiance. His regal sovereignty became a peer to the spouse deserted by her husband (durbhaganganeva) not liking her husband.' The indisposed state of the mind of the couple (Meghavahana and Madiravati) has been alleged as caused by the state of issuelessness. Its unbearability has become the augmentor of the sorrow. All these and Maghavahana's resolve to go to the wilds is 'anistapati' for Madiravati who feels wilted in form and weeps.1 Dhanapala has depicted pathos admirably in the love intrigues of the two couples who having initial meetings with their beloved's suffer the pangs of separations which are again the 'anistapti' resulting in sorrow for the two heroes and reciprocally for the heroines as well. Pathos is greater in the case of Malayasundari who is given to paralysis after the feigned drowning of Samaraketu. It becomes more poignant when she takes to the threefold attempts of self immolation through strangulation, poison taking and drowning etc. Her melancholy state as an ascetic maid equally evokes sympathy as well as pity when she narrates her plaintive account to Harivahana. It be-fell due to her 'anistapti' in the form of the intended resolve of Kusumasckhara to marry her to Vajrayudha as well as by the separation and the news about the supposed demise of Samaraketu. Harivahana's loss through the elephant is another 'anistapti' at the outset for Harivahana. But it became an 'istapti' for him later on. At that time it was equally an 'anistapti' for Samaraketu as well as the 'istanasa'. Samaraketu's 1. pratidivasamAsAditoddAmaprauDhinA nidAghatapana iva nijatejasA tApyamAno guNAnuraktayApi rAjalakSmyA durbhagAGganeva naarmt| TM. Vol. I p. 80. 2. asvasthatAkAraNaM cAvayorgurUpacIyamAnasakalasaMkalpitArthayo:.... prAyeNa nAlpamapyaparamasti muktavaikamanapatyatAduHkham / Ibid. Vol. I p. 94 LL. 3. Ibid. Vol. I p. 94. L. 10 p. 95. L.-I. 4. iyamapi ca kalyANI kimiti mlAnadehA pANitala - saMkrAntakajjalakalaMkapizunitAzrupramArjanA sadyo virateva rodanAt vijJAyate, kaccina sampannaH prayatnasaMrakSitasyArthasya kasyacidatarkito vinAza: / Ibid vol. i. p. 93. LL. 4-6.

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98 TILAKAMANJARI OF DHANAPALA desire to dic before he heard any cvil news about Harivahana is sorrow provoking. Samaraketu's morose state on hearing the import of the billet brought by Manjira is equally reminiscent of the pathos evoked by the pitiable condition of Malayasundari complaining of injustice. Harivahana's not finding Samaraketu for Malayasundari after having been conducted unto Tilakamanjari by her and her pious resolves to bring back Samaraketu resulting in the separation and suffering for Tilakamanjari, his impious resolve to have a fall from the precipice, the pitiable condition of Gandharayaka transformed into a parrot, all provoke the sentiment of pathos based on grief, pity, complaining and loss of the desired object or appearance of the undesired object. The pitiable plight of Samaraketu on hearing the import of the billet brought by Manjira, is described by Dhanapala as under "Samaraketu, too, with face losing colour through grief or sorrow, as if struck on head by the dry stroke of the thunderbolt, hung his face low and with long sighs emitted out, having eyes grown motionless with eye lashes unctuous with spray of tears trickling down, erased the earth with the tips of the nails of the thumb of his hand.' The comic or Hasya depends on mirth which is caused by one's own or another strange appearance speech or attire. The evanescent emotion in its case are sleeping, indolence, weariness, weakness and stupor.? Like Bana Dhanapala has resorted to the subtle and refined aspect of humour, quite different from the one available in the jokes of jester (Vidusaka) of the dramas, who according to J.T. Pariikha, stand for laughter which is the distinct physical privilege of human beings and is an expression of that aspect of human life which has a supreme biological value.? Dhanapala subtle humour is apparent in construing prose as a tiger abiding in the Dandaka forest streaked and terror provoking the prose being variegated with heaps of qualifying epithets and metaphors abounding in complex puns etc., frightening the reader from its apparent norm of sesquipedalia verb a of Keith's conception." In drawing comparison 1. samaraketuviSAdavicchAyavadanaH zuSkAzanineva zirasi tADitastatkSaNamevAdhomukho'bhavat, utsRSTasRSTadIrgha-ni: zvAsazca F yma famfetargi 19844275187aat Yachtste TM. Vol. II p. 245. LL. 5-7. 2. Sanskrit Drama-A. B. Keith pp. 323-24. 3. Sanskrit Comic Characters p. 1. Popular store, Surat Second ed. 1962. 4. TOUCGUSARVYYT: graufatal area 440 TEIcarada 11:11TM Vol. I Intr. verse 15. P. 20 Botad ed e faf-CHET: VTC4E-7 Y6 P raka #4: 4112211 TM I. Introductry verse 28 p. 27. Bitad ed.

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DHANAPALA AS A PROSE WRITER 99 between the muse of Magha and Bharavi he has given a very humorous punt by construing Magha as a poet as well as a month. Just as disheartened by the chilly cold of Magha month monkeys fail to move even a pace forward and pray for the appearance of the sun, so do the poets disheartened by Magha fail to compose an expression to pace forward in literary growth and start remembering Bharavi who gave them the way to a new path of composition in ornate style. "parAnupahAsibhirnarmazIlaiH "" Referring to the denizens of Ayodhya prone to amuse others and disposed to fun and frolic has 'Upahasa' and 'narma' as the two types of Humour mentioned in it. Meghavahana's physical privilege to amuse the ladies of the harem by provoking to laughter the jesters by the devices such as making up of the face etc. has been deemed a source of recreation.' The terror provoking laughter is depicted in the case of the Vetala (Mahodara) who had appeared in that garb, being a Yaksa originally to vindicate the king through an ordeal. There is no real character of Vidusaka in the romance but Kamalagupta's reactions to the morose countenance of Samaraketu after the latter had heard the import of the billet brought by Manjira, make him casily a counterpart of a jester tampering wilfully with the interests of both. Harivahana and Samaraketu, the hero and the side hero involved in love affairs. Manjira, on his own part has been called a source of amusement for the entire host of princes, being a bard by descent." Kamalagupta has been likewise called as flippant in speech and somewhat versed in the humorous skits or sports. He can be compared to Viharabhadra of Dandin's Visrutacaritam in Dasakumacaritam, though not in his practical way of life, at least in his innate proneness to mislead and taunt others owing to instinctive spite and intolerance to brook the pleasure of others. 'samaraketunA samAnapratipattiratyantamabhimato rAjaputrasya sakalazAstra bhASAvicakSaNaH kSINabhUyiSThazaizave vayasi varttamAnaH mAnanIyaH kumAraparigrahasya' 1. There is no footnote in book 2. Ibid. Vol. I p. 53. LL. 1- Botad ed. 3. kadAcid vaMdanamaNDanAdirbhirviDambanAprakArairupahasan vidUSakAnantaH purikAjanmahAsayat / Ibid Vol. I p. 75. LL. 1-2. 4. kulizatADita kulAcalazikharasamakAlanipatagaNDazailanivahanAdoddharo hAsadhvanirudalasat / Ibid Vol. 1p. 126. L. 8. 5. kAvyeSvatIva rasikaH sarvadA nikaTakartI kumArasya narmapAtraM sakalarAjaputrANAM maMjIranAmA bandiputraH / Ibid vol. II p. 241. LL. 3-4. 16. prakRtipragalbhavAk kimapi kovidaH parihAsakeliSu kamalagulanAmA kaliMgadezAdhIzasunuH / Ibid, Vol. 11 p. 245. 7. TM. Vol. II p. 245. LL. 9-10.

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TILAKAMANJARI OF DHANAPALA are some of the traits of his revilious character that can bear him. semblance of Viharabhadra in point of Sarcasm and piquancy of humour. He derides Samaraketu deeming him as unintelligent, undiligent, spiteful, a man lacking taste, feigning silence.' The derisive humour is, therefore, apparent here. Samaraketu with eyes steady and unctuous through water (tears) compared to an elephant caught up in water and a saint with hypocritical intentions speaks of the biting and vitriolic sarcasm he is exposed to by Kamalagupta. He indulges in ridiculous humour when trying to provoke Samaraketu through the device of mocking at first censuring cupid and later on Manjira who was actually responsible for creating that situation. He ridicules him by calling him a sinister being base born owing to his deeds, wicked souled by nature, a posier, a head of all the thieves, having a name unfit to be pronounced who being a peer to a cat having approached the pair of rats furtively, had created a separation between the two without any reason." 100 The heroic (Vira) corresponds to the emotion of energy. It may take the three forms of courage in battle as in Rama, compassion as in Jimutavahava; and liberality as in Parasurama; Assurance, contentment, arrogance and joy are the transitory states connected with it." Dhanapala has depicted this sentiment in the prowess of arms of Meghavahana whose sword had been blunted by crushing the bones of the stout necks of the enemies of inexorable prowess of arms. He had sufficient courage to wield his scimitar with which he cut the throats of his enemies thereby giving force to the consequents such as combats. He was a vanquisher of foes both internal as well as external. Internal foes can be lust, ire, greed, etc., as well as the internal insurgents." The word 'vineta' brings 'vinaya' as the dominant emotion of the sentiment in to recognition., His chivalry, liberality, indomitability, discipline, compassion, radiance, fame and dignity testifying his paramountsy are the involuntary emotions of the 1. TM. Vol. II p. 246. L. 1. anavagatArtha iva apragalbha iva matsarIvA'rasika iva mUkatAmavalambaya sthitaH / 2. azrusalilaklinnanizcalacakSuradhomukho vAribaddha iva vanakarI labdhamithyAbhizApa iva sAdhu ..... AyatoSNAn muhurmuhuH sujasi ni:zvAsAn / Ibid vol. II p. 246. LL. 4-6. 3. zocyaH punarasau pApakarmA karmacANDAlaH prakRtiduSTAtmA viziSTAbhAsaH sakalacauragrAmaNIragrAhyanAmA maMjIro yena mAriNeva mUSikAmithunamupasRtya nibhRtamatra........ bhagavatA makaraketanena saMyojyamAnasya mithunasya prayojanamantareNa fauzi Ibid. Vol. II pp. 247-248. LL. 5-8. P. 248. L.1 4. Sanskrit Drama Keith p. 323. 5. avArya bhujabalArAtikaThinakaNTAsthidalanadanturakRpANadhAra Ibid Vol. 1. pp. 58-59. LL. 4. 6. pratipakSANAyAntagaNamantarANAM ca vinetaa| (

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DHANAPALA AS A PROSE WRITER 101 heroism inherent in him. The description of the siege of Kanci by Vajrayudha, his various moves to shatter the forts of Kusumasekhara, his employment of a variety of weapons both lathe as well as mechanical, during the warfare, goes to illustrate the exquisite spunk and chivalry of the army in chief. Samaraketu's courage is equally laudable in so far as when resorting to warfare, he did not leave the field as a fugitive or coward. Instead he fought against the enemy even when left alone in the van of battle. His courage is also testified by the following words spoken to Vajrayudha. "Vajrayudha! Don't get aggrieved, advance confidently. I shall not strike till you have struck first". Vajrayudha felt amazed on seeing the courage to get up after a fall, of Samaraketu and consoled the fleeing forces to stop the cowardice by the beat of the tabor. He had his prowess beyond ali pretentions. His courage is equally commendable when all alone he started off through the forest adjacent to the Kamarupa desa, infested with beasts, bare footed and marched on undaunted wading through the lake Adrstapara and reached the destination quite casually. The sentiments of Raudra, Bhayanaka, Adbhuta, Bibhatsa and santa are the remaining five sentiments that have found their due place in the romance of Dhanapala. The sentiment of fury (Raudra) is based on anger, Its transitory states are indignation, intoxication, recollection, inconstancy, envy, cruelty, 1. uccApazabdaH zatrusaMhAre na vastuvicAre, vRddhatyAgazIlo vivekena na prajJotsekena, guruvitIrNazAsano bhaktyA na prabhuzaktyA, svajanaparAGmukho parabhAryAsu na saparyAsu, avanitApahArI pAlanena na lAlanena, akRtakAruNyaH karacaraNe na zaraNe, samidvyatikarasphuritapratApo'pyakRzAnunavopateH zatrughno'pi vizrutakIrtiH....sArvabhaumo rAjA meghanAhano naam| TM. Vol. I p. 62. LL. 1-4. P. 63 LL. 1 p. 64 LL. 4-5. 2. bAlike! kathaya ko'yam, kasya vA'patyam kimabhidhAnaH, kiMnimittamanapekSitAtmavinipAta: pataGga iva pAvake sahasaivAsmatsainye praviSTaH / kimarthamasamarthasahAyenAnena sAhasaprAyamidamatiduSkaraM krmaadhyvsitm| Ibid. Vol. II p. 217. LL. 1-3. 3. vajrAyudha! mA viSAdaM vraja, vizrabdhamahi, na tAvat praharAmi yAvacca tvayA na prhRtm| Ibid. Vol. II p. 221. LL. 3-4. 4. senApatirapi tena, tasyAtarkitenAsaMbhAvanIyenAdRSTapUrveNa pratyuJjIvanena janita vismayaH kAndizIkasya zatrulokasyAzvAsanArtha smntaadbhyprdaanptthmdaapyt| Ibid. Vol. II pp. 221-22. 5. avyAjazauryAvarjitazca etc. Ibid. Vol. II p. 226. L. 3. atha zAnto nAma rAmasthAyibhAvAtmako mokSapravartakaH sa tu tattvajJAnavairAgyAzayazuddhyAdibhirvibhAvaiH smutpdyte| tasya ) ymniymaadhyaatmdhyaandhaarnnopsvsrvbhuutdyaalingggrhnnaadibhirnubhaavrbhinyH| vyabhicAbhiNazcAsya virvedasmRtidhRti sarvAzramazIcastambharomAJcAdayaH / pp. 332-333 Gose Vol-I Oriental Institute Baroda, 1956.

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TILAKAMANJARI OF DHANAPALA agitation and the like.' The sentiment of wonder (adbhuta) is based on astonishment; its transitory states being joy, agitation and contentment. The sentiment of terror (Bhayanaka) is based on terror; its transitory states being depression, agitation, distraction, fright etc.' The sentiment of horror or odium (Bibhatsa) is based on disgust; its associated states being agitation, sickness, apprehension etc. The sentiment of calm (Santa) is based on indifference to origination of all worldly things or devices (nirveda) as recognised by later theorists. It is considered to be an evanescent emotion in the Natyasastra. 102 Raudra is apparent in the irate state of Meghavahana who took the risk of chopping his own head off in order to satiate the vicarious pleasures and inhuman crave of Mahodara. Dhanapala has given a complete picture of the 'Bhavas' in the lines "3727 bhImakarmAvalokanodbhUtabhItibhiriva sthAyibhirapi zokabhayajugupsAprabhRtibhiH parityaktadhIH, asAdhAraNadhairyadarzanAdAhitavrIDairiva sAtvikairapi svedavaivarNyavaipathustambhAdibhirapAstasaMnidhiH, avyAjasAhasAvarjitamanovRttibhiriva vyabhicAribhirapyamarSamadaharSagarvogratApuraHsarairAliGgitaH sarvAGgeSu bhAvaiH / " " referring to Meghavahana's condition in which he was fury betaken speaking of Raudra sentiment in its main aspects. But by referring to 'Sthayibhih, soka, bhaya, jugupsa, dhairya, vrida, sattvikaih, sveda, vepathuh, stambha etc., sahasa, vyabhicaribhih, amarsa, mada, harsa, garva, ugrata etc., he has illustrated the theory of these later sentiments such as Raudra, Adbhuta, Bhayanaka and Bibhatsa as also Karuna and Vira; Hasya and Srngara (Vipralambha one) also coming within its fold because bhiti, soka, bhaya, amarsa, jugupsa, sveda, vaivarnya, vepathuh and stambha, sahasa, mada, harsa, garva and ugrata all form a common factor by way of permanent, involuntary and evanescent emotions in case of all the sentiments. 'sakalarasabhAvAbhijJairaviSAdibhi:' smells of the sentiment of calm (Santa) 1. Sanskrit Drama Keith pp. 323-24. LL. 3-5. 2. Ibid., pp. 323-24. LL. 3-5. 3. Ibid., pp. 323-24. LL. 3-5. 4. Ibid., pp. 323-24. LL. 3-5. 5. Ibid., pp. 323-24. LL. 3-5. Also Anandavardhana iii, 26 (Dhvanyaloka, part li pp. 965 ML BD, Delhi-110007, 1963) zAntazca tRSNAkSayasukhasya yaH paripoSastallakSaNo rasaH pratIyata eva / tathA coktam yacca kAmaH sukhaM lokaM tRSNAkSayasukhasyaite nArhataH SoDazIM kalAm 6. TM. Vol. p. 139. 7. Ibid. Vol. I p. 52. L. 4.

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DHANAPALA AS A PROSE WRITER 103 ''nyAyadarzanAnurAgibhiraraudraiH also feels the same norm. The exchange of wrathful tempers in the case of battle between Kusumasekhara and Vajrayudha speaks of the Raudra sentiment. The irate exchange of words between Vajrayudha and Samaraketu equally pose the same point. The wrath of Mahodara shown to the king busy in the propitiation of Sri is also Raudra in character "rAjan! na kicidanyat tvadIyameva ceSTitam tvayA hi phalamabhilaSya kiJcidiyamasmatsvAminI zrIranudivasamAsevitumupakrAntA, sevakAzca phalaprAptikAmAH prathamamupacAreNa gRhItavAkyaM parigrahalokamAvarjayanti, tatastena kRtapakSaparigraheNa grAhitasambandhAH prabhUNAmasaktamAtmabhaktimupadarzayanti eSaH tAvajagati dRzyate vyavahAra: tvayA tu viparItaH prastuto'yaM sevAvidhiH'' along with 'narendra, na vayaM pakSiNaH na pazavaH, na manuSyAH, kathaM phalAni mUlAnyannaMcAharAmaH kSapAcarAH khalu vayam vyAghrANAbhivAsmAkamAtmabhujavikramopakrItamAmiSAhAraH'' Mahodara's wrath against Gandharvaka whom he threw into the lake along with his aerial car again smacks of Raudra sentiment born of indignation, cruelty and agitation. re re durAtman! anAtmajJa! vijJAnarahita, parihataviziSTajanasamAcAra, vigatapArasaMsArapalvalapaMkazUkara, mahApApakArin, akhiladuHkhitaprANivatsalamativizuddhadharmamArga viniviSTa dRSTimavinItajanazAsanAya prabhujanena niyuktaM sarvadA zAntAyatanavAsinaM mAmapi mahodarAkhyaM yksssenaadhipmdhiksspsi| re vidyAdharAdhama, na jAnAsi me svruupm| yAdRzo'haM taadRghmev| naanyH|..... kva yAsi..... ityudIrya dattahuMkAraH sthAnastha eva tadvimAnaM kathaMcidutkSipya dUramadRSTapAre srsinykssipt|' Samaraketu's fiery temper on finding his attendants returning without Harivahana lost by an elephant, displayed on receiving a great shock to his persons being hurt in his sense of responsibilities and questionability unto the sovereign Meghavahana, equally smacks of fury born of anger. ''bhoH bhoH bhUmipatayaH ! kimevamudvignamAnasAstiSThatha, kiM na kurutha prastutAni kAryANi, kRtaM bhavadbhiH kumArasya puruSakArocitaM yat karttavyam pRSThataH pratiSThamAnairanusRto dinmshessm| anveSitaH preSitapadAti tantraistatra tatrATavIgahaneSu, pratIkSita: kSutpipAsAparikSINakAyaireSyatItyAzayA maargdeshopvissttairhoraatrtritym| adhunA tu kiM kurutha, nidhanaM prApito 1. TM. Vol. I p. 52. L. 4. 2. Ibid. Vol. I p. 133. LL. 1-5. 3. Ibid. vol. I p. 135. LL. 6-8. 4. Ibid. Sm. ed. pp. 382-383. P. 383. LL. 4-10. P. 383. L. 1,6,7. LD. Series ed. P. 223 para 381 LL. 20-24. P. 224. LL. 4, 8-9.

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104 TILAKAMANJARI OF DHANAPALA va: pauruSAvalepo balavatA devena, dUraM gato'sau, tadalametaccintayA, kuruta sAMpratakAlocitaM kRtym| adyaiva kamalagupta puraskRtya yAta sAketam, arpayatAdhikAriNAmatra yatkiMcidarjitaM kumAreNa dravyajAtam ArAdhayata muktvA chadmapAdapadmadvayaM kaushlendrsy| muMcata ca sarvAtmanA mayyapekSAm ahaM hi prathama darzana eva daivena bhRtyatAM kumArasyAnIta: na tadvirahitena mayA kssnnmpiihsthaatvym|| Tarangalekha's reprimand to Malayasundari unconscious by the poisonous Kimpaka fruit smacking of fury also represents the Raudra sentiment. Adbhuta or the marvellous or wonder based on astonishment is represented by the complete plot of the romance in which the incidents of Vidyadhara sage, Vaimanika, Sri's appearance, the loss of Harivahana through the divine elephant, the conversion of Gandharvaka into parrot, the motif of the Nisitha scarf, the miraculous rites of Harivahana etc. are all full of astonishment. Meghavahana's marvel on seeing the wonder boy Samaraketu speaks of Adbhuta rasa. ''vatsa! svAgataM te, sAdhukRtaM yadatrAgato'si anena tava nisargasundareNa dRSTamAtreNa dehAkAreNa puruSa Naiva zrutena zrotramAnanditaM me kimapi netrayugmam, dhanyastvameko jagati yasmAdupajAtajanmanaH parAjayaM vijayamiva sabhAsu zaMsati prItivikasitAkSo vipakSalokaH, tokamupajanayatA bhavantamastokasaMcitasaMbhAreNa dhArito dhuri samastAnAM putriNAmAtmA mahAtmanA siNhleshvrenn| Bhayanaka has been represented by Vampire described as an example of all the terrors of the triad of worlds. ''nidarzanamivAzeSatribhuvanabhISaNAnAm' 4 The tumultuous din of the celestial dames heard by Meghavahana immediately after he had taken up his sword to chop his own head off, bursting it did the auricular passage is equally terrifying. "zravaNavivaramAdhmAyantamazrutapUrvamamarasundarIjanasya hAhAravamazRNot" Vajrayudha became a source of terror for the people of Kanci in so far as he had blocked all the sources of supplies and reinforcements and his armies were arrayed like the whirling clusters of rain clouds. 1. TM. Vol. III pp 49-50. P. 49. LL. 5-10. P. 50. LL. 5-24. L.D. Series ed. P. 179. LL. 30 31 p. 180. 2. Ibid. Sim. ed. p. 308. 3. Ibid. Vol. II p.229. 4. Ibid. Vol. I p. 127. L. 2. 5. Ibid. Vol. I p. 141. L. 5.

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DHANAPALA AS A PROSE WRITER 105 "kRtAsArasaMrodhazca prAvRSeNya jaladhara vyUha iva pauralokAnAM mahAntamAtaMkamakarot"" The vassals of Vajrayuddha came out to fight and they were engaged in terrific duels with the vassal folk of Kusmasekhara who were pitched up in battle on the turrets of the ramparts. The duels entailed the mutual reprimands. The auricular passages of the persons standing hard by were deafened by the lion roars of the soldiers given to spite. The surface of the sky had been brought to the state of a ground by throws of holeless stones (i.e. opaque stones). The weapons in the hands of the timid people were made to thwart by the calls of the trumpets beaten ruthlessly. The groups of terrible pedestrians were being scattered by the sprays of oil heated by fire and sprayed by syringes. The foundations of the ramparts were being dug up or rooted out by the persons lying in covert with helmets put on. The terrific cries of the enemy staying in the forest were being heard by the urchins biting their lips in anger. The entry into the recesses of different walls was being prayed for by the wall diggers carrying bucklers. The perturbed elephant drivers were issuing out of the trappings of the elephants smouldered by the fire of the sparks arising out of the heaps of grass. The golden diadems of the kings were melting down through the arrows burning with fire clinging through speed. The huge showers of stones were falling down following the creaking noise of the door panels of the principal roads having been struck by hoes. The arrays of tuskers fleeing being disturbed by the strokes were being seen by the vociferous villagers. In this manner the daily battles were terror provoking bhyaankaani......prtidivsmaayodhnaanybhvn| The horrifying spectacle of the ocean abounding in ferocious sea fauna and the sylvan terrain adjoining the shores of Lauhitya abounding in wild beasts is equally terror provoking." The odious or Bibhatsa (the sentiment of Horror) actuated by disgust (Jugupsa) and smacking of reeking foul smell gushing of blood, exudation of marrow and cutting of flesh etc. is available in the description of the vampire's physical structure where by his body has been described as stout and terrifying being very tall and lanky the murkiness of his radiance spreading all around he was rendering the earth as if suffused with collyrium, along with the mountains, islands and groves. The interstices of the toes were screened by the darkness of his own sheen made manifest by 1. TM. Vol. II p. 195. L. 1-2. 2. Ibid. Vol. II pp. 196. LL. 3-4. 3. See Description of Nature. TM II para 90 pp. 261. LL. 8. P. 262. L.1-10. P. 263. L. 1-6. P. 264. LL. 1-8. P. 265. LL. 1-8. P. 266. LL. 1-4. P. 267. LL. 1-2 L.D. Series ed. Para 90. P. 69. LL. 31-32. P. 70. LL. 1-32 p. 71. LL. 1-11.

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. 106 TILAKAMANJARI OF DHANAPALA the extremely fatty and glistening row of nails as if by the image of the rows of his teeth showing out afar through laughter bearing the semblance of the sheen of the rows of not very old oyster shells. He was bestrewing into the quarters the expanse of the sheen of his toe nails cadaverous like the snout of a donkey through his foot twain extremely fat with anklets of bones tied to it as if it were the dust of the ashes meant for protection during his movements in the midst of the circles of many Vatikas (charm-chanters). He was, as it were, sitting on the top of the palmyara twain constantly entwined with the net works of creepers, through his shank twain or leg twain, wading through the limits of the sky and being estimated through many measuring ropes collected together in order to ascertain the height of the upper world, stuffed as it was with the stalks of large and straight veins. His upper scarf made of the tiger skin wet and crimson with the decoction of gore inspissated by the aged python with venom exgurgitated from its mouth through furious movements. He was displaying his region of the chest as if it were the field of impiety in corporeal form, the dense sprout of poison grown out of the pathway of the plough, with young one's of serpents sleeping in the troughs within the interior of the ribs having their elevations prominent from a distance on account of the extreme leanness of the body murky with the pools of wet mire, the Hades of the cavern of his fierce stomach was divided by the creeper like (line of) hair long and broad, as if it were the current of water from the Vaitarani river; he carried hanging from his neck the skull of a charm chanter or a sorcerer (a performer of incantations) chopped off afresh, like Rahu, obtained stealing the projecting jaws white and oblique, out of the devotion for the digit of the moon or Siva (Indu Khanda). In his left hand he carried a cup of liquor of gore, stretched over a distance, hard like the bones on the global pate of the elephant of the quarters, bearing shape of the picture like dames on the pillars of the shrine besprinkled with the sprays of blood spilled having percolated from the interior of the fingers joined together on account of their heavy weight, standing aloft in the same posture, with the expanse of its arms extremely marvellous displayed by his capacities, he was eating the condiment of bones having flayed again and again with a sharp knife applied every moment with his right hand, the flesh of the limbs of a vampire harnessing person roasted by the flickering fire of the poison in the mouth of a venomous snake encircled round with useless strokes made by the poniard, crying inwardly most plaintively like the sacrificial prey on account of the emissions of sighs blocked perforce, with his neck concealed inside the left armpit, he bore his chin loose and plump as if it were the mouthful of gore trickling down from all the pores of the hair, armoured by (lit., covered all over by) the cluster of the hair on the beard bearing lustre of the fire of

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DHANAPALA AS A PROSE WRITER 107 destruction and tremulous on account of his efforts at ruminating the flesh chewed down, as if by the invocation of the ensign marked by the streaky lightnings flashing into the triad of worlds for affording distribution of the crimson hue------He bore the five fingered imprint of blood impressed recently by his expansive surface of the pate as if it were the sepulchral fire encircled round the glooms of smokes in the form of natural scowls, collected in order to roast the human flesh......... His cavern of the mouth was occupied by the array of teeth bearing bits of bones of a dead body entered within with innumerable teeth associated with it in order to engulp the entire triad of worlds. The showers of drops of blood were gushing out from the skin of the human being meant to work as a scarf as if by the cranium bowls introduced in the mouth bearing as they did the nails of deep interiors shining white, even by the toes----------He bore his limbs connected tight by the knots of the sinews as if anxious to flee away through fear of observing the extremely hideous form, consisting mainly as they did of bones. He wore a crest chaplet of corpse hanging down to his knees.' The description of the battle between Vajrayudha, his armies and the forces of Kusumasekhara also contains certain points evoking odium. It was odious with the howlings of the female jackals crying hideously having quaffed the human marrow the group of lords being searched out by many bereaved ladies in it, the water of ichor from the tuskers violent with speed, flowing on in it tumultuous as it was with the hosts of kings perturbed and running; it had the cranium bowls of the quarter-guardians being looked for by the hilarious yoginis; it was horrible with pedestrians thickly arrayed showering forth floods of water of tears; it was an ocean (lit. repository of waters) of vast expanse accumulated instantaneously; the world of creatures was perturbed at the moment when both the sides were engaged in killing one another. "parasparavadhanibaddhakakSayozca tayostatkSaNamAkulitasakalajIvaloko yugapadekIbhUtodAravArirAzirasrajalavisaravarSighanapadAtighoro muditayoginImRgyamANalokapAlakapAlacaSaka: pracalitarasAkulabhUbhRtvaccakravAlakRtatumulaH prasRtarabhasottAlagajadAnavArirAtatridazadArikAnviSyamANaramaNasArtho nipItanaravazAvisvaravisAri zivA horobk514:" The group of demons drank the water of the streams of gore mainly consisting of mire on account of their ardent lust produced in order to feed on sumptuous flesh. 1. TM. Vol. I pp 127-132. P. 127. 1-8. adrAkSIca.... AjAnulambamAnazavaziromAlamekaM vetaalm| 2. Ibid. Vol. II pp. 202-203. p. 202.

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108 TILAKAMANJARI OF DHANAPALA "prabhUtapizitAbhyavahArajanitatIvrodanyena kardamaprAyamapIyata kSatajApagAmbu kaunnpgnnen|'' The Quixotic or the Santa rasa is also available in the behaviour of Harivahana also when out for his digvijaya he roamed about in the sylvan retreats of the Kanmarupadesa and disdained killing and wild game even when it came within the range of the mark of his bow. "jAtakotukaizca mRgayA vyasanibhiH kSitipatikumAraiH kSapaNAya teSAmanukSaNaM vyApAryata, na ca prakRti sAnukrozatayA zastragocaragatAnapi tAn jghaan| kevalaM kutUhalotpAdanAya pradhAnabhUpatInAmanavaratatantrItADanAbhyAsalaghurAMgalivyApAreNa savyetarapANinA sphuTatarAsphAlitaratravINastaddhvani zravaNanizcalanimIlitekSaNAnarbhakAnapi vidheyaaNckaar|" A purview of the facts narrated above reveals that Dhanapala by treating of all the sentiments in his romance has given more of creativity to the mental faculties of his calibre which is circumambient as well as ubiquitous in understanding the human psychology. 6. PHILOSOPHY OF LIFE As is evident from the account of Dhanapala as given by Merutungacarya in his Prabandhacintamani, Sarvadeva the sire of Dhanapala was a Brahmana by caste and had a distinct leaning towards the doctrine of jina, his two sons Dhanapala and Sobhana likewise had an inclination towards the same faith. Sobhana took refuge under the feet of Varddhamana suri while Dhanapala became the court poet of Munja, Sindhuraja and Bhoja and at the instance of the last named king he finalised his romance, Tilakamanjari," which extols in the first six verses of the Introductory portion, the Jinas and among them jina Risabhadeva whom he has referred to in the text of the prose narratives as well. Like the Bodhisattva, Jina is also postulated to assume many forms of one creature and the triad of worlds stands occupied by him and he is capable of seeing it every moment. This conception of Jina as held by Dhanapala strictly conforms to the doctrine enunciated in the Isopanisad.' In the second verse Jina has been deemed a source of righteousness, immensely powerful and free from the gunas) rajas and Tamas implying thereby to contain sattva in its complete form. He is also praised as one of the accomplished souls (nivyttatma) and a Primeval being (adyah) followed by many others following thereby the doctrine of the Puranapurusa of the 1. TM. Vol. II p. 205. LL. 2-3. 2. Ibid. Vol. III p. 35. LL. 5-8. 3. Prab. Cint. pp. 36, 42. 4. Ibid. p. 41. 5. Verse I. fyraf a rma RITCI Also Yajurveda, chapter 40. verse I.

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DHANAPALA AS A PROSE WRITER creation hymns of the Rgveda ( x 129, 191) and Subalopanisad (v.1,IV). The third verse belauding Nabhisunu (the son of the king Nabhi i.c. R$ abha) has the outward covering of the Brahmanic Brahman as indicated by "attanyarupadvayah". He has been prayed to afford fortunes being the obviator of sin from the triad of worlds. Drsyangalaksmi as compared with Nami, Vinami and their scimitar, makes a covert allusion to Laksmi as the consort of Brahma and Visnu both. Viratilabha appertains to the doctrine of moksa or emancipation born of awareness to pleasure and pain (Virati freedom from pleasure) which are not alien to the quixotic disposition of Brahma. Verse four alludes to the freedom from attachment having objects of senses scared away (Vibhinnavisayam moham) abiding in the hearts of the human beings (hrdi prani nam). The Primeval Jina like the Primeval being is an embodiment of mental concentration as a shower of ambrosia on the ears when discoursing upon the Primeval way of sermonising on piety as righteousness. Verse five illustrates the conception of the goddess of speech and her form radiant like the Autumnal moon, cleansed bright by the tassel of rays from the teeth, abiding in the interior of the lotus in the form of the face of god, the scion of Nabhi, the best of men (son of Visnu or Brahma, the best of men or the highest among the human beings). She has been prayed to protect the world. 109 The sixth verse belauds the eyes of Vira-(a valiant) as also Mahavira Jina; these have been prayed to safeguard the eyes of a valiant got sore by the strokes of the circular weapons or by joltings of the chariots or by the attacks of the enemy arrays which have their bodies dug deep into the centre of the earth up to the knees whereas those of Mahavira get pained by the strokes of the circle of births and deaths having bodies dug into the earth covering the knees. Valiant gets swoons in the warfare and his eyes get swollen up.' Verse 13 allude to the dwarf incarnation of Visnu who with the stretch of three strides scaled the Universe placing his left foot on the head of Bali the demon. This verse alludes to the writer's faith in the Vaisnava cult.2 Verse 32 refers to Svetambara Siromani, the crest gem of the Svetambara sect of the Jains whereas punningly it also means the crest gem of the white firmament.3 1. puruSottamanAbhisUterdevasya vaktrakamalodaramAvasantyAH girAmadhipateH devyAH mUrtti: TM Vol. I p. 13, 14. 2. utpantyajavad vyomni kecit prAptapadatrayAH / vizantyanye prabandhe'pi labdhe baliriva kSitim // 3. TM. Vol. I p. 19.

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TILAKAMANJARI OF DHANAPALA His firm belief in the orthodox lore of legends and myths, such as the search of Mainaka from the ocean by Himalaya,' the piercing with arrows by the son of Jamadgni (i.e. Parasurama), of the Kraunca mountain, the approach of Sarayu river situate to Bhagirathi in order to inquire after the news about the ascent to the heavens, of the sons of Sagara consumed by the fire of wrath of Kapila3 etc., his inclination towards the Vaisnava faith, his attitude towards the institutions of castes and stages of life all go to establish his basic belief in the Hindu way of life and philosophical understanding. His ideal king in Meghavahana taking care of all such institutions and abiding by the tenets of six schools of philosophy is the true reflection of the personal leanings of Dhanapala. The performance of sacrifices, the way of charity known as affability, circumspective nature all being the personal traits of Meghavahana embody in reality the personal cult of Dhanapala. He also upholds the lofty ideal of devotion or faithfulness in preference to imperial awe." Unlike Dandin he evinces great respect for higher values of morality and little respect for the objectionable deeds. That is why he says. 110 "He (i.e. Meghavahana) was averse to embracing of other's wives but not to service of his own men." 270 The transformation caused by the pride of riches, the torment caused by the group of passion, shackling by the alligators in the form of the objects of senses, the bonds of attachment (lit. love) of intoxicated maidens, excessive doze of affluence etc. were a source of indignation for him." His love for the high ideals of life is reflected in his illustration of Meghavahana feeling satisfied in elevating his opponents, being a great devotee of battle and never allowing them to bow down. His Harivahana, too, maintaining perfect equanimity divorced from spite and intolerance when finding a co-suitor to the royal sovereignty of Meghavahana, imposed 1. TM. Vol. I. TM I. P. 44. LL. 2. Botad ed. 2. Ibid. p. 44. L. 4. 3. Ibid. p. 47. L. 2. P. 62. L. 4. 4. Ibid. p. 58. L. 1. vaiSNavAnAM kRSNavartmani pravezaH / 5. guruvitIrNazAsano bhaktyA na prabhuzaktyA / Ibid vol. I. p. 62. LL. 1-2. 6. svajanaparAGkamukhaH parabhAryAsu na saparyAsu / Ibid Vol. I. p. 62. L. 2. 7. anartito lakSmImadavikArairakhalIkRto vyasanacakrapIDAbhiranAkRSTo viSayagrAhairayantritaH pramadApremanigaDairajaDIkRtaH TM. Vol. I. p. 64. LL. 2-3.

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DHANAPALA AS A PROSE WRITER 111 perforce by the latter as his foster brother establishes the same fact. In describing Meghavahana and Harivahana as 'Dharmavijayins' taking to warfare only to display their Prowess of arms and releasing after vanquishing the enemies, raising the war-captive Samaraketu to the status of a foster son and a governor of the Angas, Dhanapala has displayed his belief in the lofty ideals of human disposition. Unlike Dandin's Apaharavarman who is hypocritical enough to steal wealth from others in order to distribute it among the poor proclaiming that it is futile to store it, Dhanapala has depicted Meghavahana having a penchant to take leave of his riches already stored by him as a matter of voluntary charity. dAnavyasanIjanAnAmarthitayA'prIyata na kRtArthatayA Life of hazards is the most virtuous one in the world or else there remains no charm in it if it sails on smoothly without any risks. This ideal is also established in the adventurous conduct of Meghavahana who felt joy over odds and not in evenness owing to his resourcefulness of intellect. "pritars: refuri a RAJE C T " To strive for success under unfavourable circumstances and adverse providence, to love to earn fortunes by the Sweat of the brow formed the special feature of his philosophy. lakSmIhaThAkarSaNalampaTo daivasya vaimukhyamAcakAGkSa naabhimukhym|'' Prominence born of riches and self control and awe, greatness born of circumspective action, affluence born of a healthy household, physical appearance promoting the dignity, radiance quelling (the unvirtuous elements, ubiquitous intellect taking to politic behaviour in keeping balance in law, form indicating attractiveness and amiability, piety provoking to keep away from sin, efficient discernment proving one an expert, virtues teaching restraint in face of the group of six enemies (arisadvarga) and self abnegation all these evince the author's balanced outlook on the values or Dharma, Artha, Kama and Moksa." His belief in the doctrine of metempsychosis purporting forth that it is something of divine agency known as the fruit born of one's action in a previous birth that hampers certain activity or impels it, in the present one, 1. TM. Vol. I p. 65. L. 4. (220) 2. Ibid. p. 65. LL. 4-5. 3. Ibid. Vol. I p. 65. LL. 5. 4. Ibid. Vol. I pp. 66-67. LL. 1-2. LL. 1-3.

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112 TILAKAMANJARI OF DHANAPALA is amply illustrated from his accounting of cessation of progeny in case of Meghavahana. "samagrANi hi kAraNAni na prAgjanmajanitakarmodayakSaNanirapekSANi phalamupanayanti yato'sya nUtane'pi vayasi mahatyapyanta:pure bahunApi kAlena naiko'pyudapAdi tnyH|'' The doctrine of Moksa is professed in the portrait of the Vidyadhara sage who says _ 'kevalamabhUmirmunijano vibhavAnAm, viSayopabhogagRdhnavo hi dhnaanyupaaddte| madvidhAstu saMnyastasambhAH , samastasaGgaviratA: nirjanAraNyabaddhagRhabuddhayo bhaikSamAtrabhAvitasantoSA: ki taiH krissynti|" that it is only those addicted to the objects of senses that long for wealth etc. Kamalagupta's tirade on Samaraketu brings a pessimistic attitude towards life and its surroundings, the irresistible freak of destiny marring the optimistic interests of human beings when they are on the point of fructification and his ultimate advice to face the inevitable boldly without having taken to the policy of escapism in teeth of opposition, adversity and failures. Love has been construed as a source of anguish in the world which is a cause of remorse while the desire for the enjoyment of objects of senses is a peer to poison, the freaks of unrighteous action are a barrier to cherished ends. The undertakings of the cherished objects have an innate proneness to obstacles from all sides. The inexorable providence has been compared to a wicked elephant so goadless instinctively that untrammelled even by the meshes of steel in the form of intellect extremely acute, it moves unshackled. Samaraketu averring to strike Vajrayudha only after the latter had done so speaks of the lofty and moral idea of shilling hitting below the belt in normal conduct of life (TM II p 221 LL B-4). His pious resolve not to carry Malayasundari perforce and to woo her only with proper moral and social rites again upholds the uncommon philosophy of humanism or else who would leave a beauty untouched and unmolested when set sail for the purpose it is meant to extort from its counterpart. Dhanapala's philosophy of life is, therefore, most humanistic and unlike Dandin's thought it shuns the idea of 'end justifies the means' preponderating in every day life. It evades immorality as well as unmoral attitudes. His pessimism occurs in the light of optimism and the inevitable 1. TM. Vol. I pp. 78-79. L. 7. LL. 1-2. 2. Ibid. Vol. I p. 92. LL. 4-6. 3. Ibid. Vol. II pp. 246-247. p. 246. LL. 1-8. P. 247. LL. 1-3.

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DHANAPALA AS A PROSE WRITER 113 has been deemed a nightmare that deserves to be faced boldly and persistently. 7. POETIC EMBELISHMENTS, LANGUAGE AND DICTION fee TR T' the etymology of the word 'gadya' implies the freedom of expression in speech which is not fettered by the dicta of counting of syllables in producing intonation in poetry. Still Prose is termed within the scope of Kavya in Sanskrit. Barring aside the metrical enumeration, prose follows the same traits of a Kavya as verse because it is imbued with all the literary embellishments inherent in an equivocal speech meant to be construed figuratively. This tendency of resorting to evasiveness developed gradually through a period of centuries having evolved from the straight forward narratives of earlier literature mainly consisting of the aphoristic style. Dandin, Subandhu and Bana constitute the master minds who produced prose in its consummation thereby precluding the possibility of the existence of innumerable specimens preceding them having got into oblivion perforce due to the tendency of restraining only the best of the lot earning wider popularity of the general reader. Dhanapala is a faithful follower of Bana whose Kadambari has proved the model for his Tilakamanjari. He has followed his predecessor in the outer frame work of the style and has couched his diction in such a way that the reader never gets palled while going through the epithet laden wordpictures of the scenes laid down by him and can never underrate the work as a second rate copy of an original. He was, however, self conscious about the tendency of the age. That is why he has prayed to the reader to rise above spite before meriting the values of his muse or else the real charm of it would lose its sentiment.' His bold saying that he would like to keep away the unrighteous critic who would like to move in front of the pathway to poetry immune from all faults, like a serpent, who in order to overtake by his own circuitous crawl blocks the way only to bite.? In this respect Dhanapala can be compared to Bhavabhuti who says in his Malatimadhava' that "Those who spread censure in our case, they should know that the 1. AR 2017: 91219 faxirgi: 1 faarufa n quia T4FERT: 11 TM Intr. verse 8 Vol. I p. 16. Botad ed. 2. vAryo'nAryaH sa nirdoSe yaH kAvyAdhvani srptaam| T eam and fashrifa 94914|| TM. Vol. I cerse 9. 16. 3. Act. I verse 6 p. 8 M. R. Kale's edition. MLBD Delhi, 1967. ye nAma kecidiha naH prathayantyavajJAm jAnanti te kimapi tAnprati naiSaH ytnH| utpatsyate'sti mama ko'pi samAnadharmaH kAlohyayaM niravadhirvipulA ca pRthivii||

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114 TILAKAMANJARI OF DHANAPALA present effort (i.e. Malatimadhava) is not meant for their tastes. It is only some compeer of our calibre that would be born and value it, because, the time is limitless and the earth (i.e. the Universe) is very wide". He is complacent that his muse will certainly entrance the minds of readers and shall bend the heads of the recalcitrant critics burnt with spite, when just heard of them.' He is fully confident that even the animals shall feel the sweet sentiment of melody in his muse, not to speak of the human beings. Even a wicked man is constrained to admire the virtues of a muse of gold with his head hung low like a goldsmith who values the gold even through a touch stone that is black. Before taking up his dissertation on Tilakamanjari Dhanapala wants to be conscious that he shall avoid composing that style of prose which shall be variegated with abstruse vocabulary assuming the garb of a Dandaka forest infested with chequered hucd tigers in the from of long stave like unbreakable sentences from which the people shall fear as they fear the beast. He also vindicates himself through the ordeal that he would not compose a muse stuffed with complex puns because like a synthetic script such a muse fails to earn the encomium." "ujjhitAlaMkArAmapyakRtrimeNa kAntisukumAratAdiguNaparigRhItenAMgamAdhuryeNa sukavivAcamiva sahRdayAnAM hRdymaavrjyntiim|' is another proud saying of Dhanapala which extols the muse of an illustrious poet which even when not laden with the figures of speech, attracts the hearts of the men of tastes, by virtue of its instinctive qualities such as grace and perspicuity enhancing the attractiveness of its constituent elements like a woman (here Madiravati) fascinating the hearts of the persons of concordant minds, by virtue of the natural sweetness of her limbs imbued with qualities such as suppleness and radiance, even when she is not adorned with the ornaments. This high water mark of real poetry is 1. Faigai ya hal 4-14f9 41441 madayanti na yadvAcaH kiM te'pi kavayo bhuvi|| kAvyaM tadapi kiM vAcyamavAJci na karoti yt| CH E Mi atafo a ferito all Ibid. verses 11, 12, p. 18. 2. #419410 a qe te du: IGHT TU19 af fra sa C=17:11 Ibid. verse 14. p. 19. 3. TausGuSR024141: quantai TITAN TEIG 1: 1 Ibid. Verse 15 p. 20. 4. quefo Zenify fare: 4-16 Hifa dh Paai afafctiefaledii Ibid. verse 16 p. 21. 5. Ibid. Vol. II p. 175. 1-2

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DHANAPALA AS A PROSE WRITER 115 discernible in Dhanapala's muse where he indulges in diction of aviddha' mode being compoundless altogether. This trait of composition is equally admirable in other modes as well where his muse is laden with heavily compounded and less compounded diction's known as 'Utkalika' or Tandaka and Curnaka respectively.' Homogeneous blend of sound and sense forms the essence of Pancaliriti or style which is available both in the works of Silabhattarika as well as Bana.? Dhanapala being a true pupil of Bana seems to have inherited this function from his illustrious preceptor. The style of Dhanapala is characterised by all the traits mentioned above. It abounds in lengthy sentences full of compound forms connecting the subject with its verb through a series of qualifying epithets. As for example, the very first paragraph starts with the word 'asti' and ends with 'uttarakozaleSvayodhyeti THEH PR' and intervening series of metaphors, alliterative compounds, similes, fancies etc. go to the length of three and a half pages of a small printed book. Another one page illustrates its extra store of virtues, which contains prominent allusions to the cultural data affording clues to the erudition of the poet. Parisamkhya (Exclusion or restriction) and Virodhabhasa, Atisayokti or (hyperbole), Samasokti, Utpreksa, Arthapatti, Ullekha, Visesokti, Slesa, Slesanupranitopama, are the main figures strung into the frame of this description. The description starting with 'peli 7 bhuvanatrayAzcaryabhUtAyAM nagaryAm and ending with sArvabhaumo meghavAhano nAma' also covers a page and three quarters abounding in all the three modes of style i.e. the long compounded, short compounded and the uncompounded ones. It also contains a galaxy of figures such as Upama (Simile). Utpreksa (i.e. Fancy), rupaka (i.e. metaphor), Virodhabhasa (i.e. apparent incongruity ) and Parisamkhya. In order to provide a few illustrations here are the chosen examples. 'ramyatAnirastasamastasuralokA' is an attribute of Ayodhya a terrestrial town transgressing the limits of the usage, a fabulous spot. It is gorgeous beyond the grandeur of Suraloka. Hence there is 'Atisayokit' or Hyperbole in it. 1. Kadambari cka Samskritika adhyayana by Dr. V.S. Agravala p. 12. Chowkhamba Vidyabhawan Varanasi 1-1957. 2. Bana Bhatta- A Literary study by Dr. Neeta Sharma p. 189. cf. zabdArthayoH samo: gumphaH pAMcAlI riitirissyte| Picgif at alfa runny fi ascribed to Rajsakhera house in Sukti muktavali. 3. TM. Vol. I p. 43. L. 1.

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116 TILAKAMANJARI OF DHANAPALA ! pa 4 4* has alliteration in 'T' '' and 'a' and has an associative element, the inkling of a 'Yamaka' in 'Fr',7469,' ' being repeated once. 'svapadApahArazaGkizatakratuprArthitena zatatamakratuvAMchAvicchedArthamiva pArthivAnAmikSvAkuNAmutpAditA prajApatinA" has an Utpreksa or fancy in it in so far as it has been fancied to have been brought into being by the creator for the kings of the Iksvaku race as if to satiate the desire for performing a hundred and odd horse sacrifices, challenged by Indra (Satakratu) apprehensive of the loss of his own status. 'vRttojjvalavarNazAlinI karNikevAmbhoruhasya madhyabhAgamalaMkRtya sthitA bhAratavarSasya" has an Upama or simile suffused with pun (Slesanupranitopama). Ayodhya has been qualified as the ornament of the central part of the Bharatavarsa (India) and has been compared to the pericarp of a lotus shining with gleaming glow, being robed in structure. Punningly, it is glamorous with Varnas or people of all the four castes refulgent or righteous in conduct. 'majjatkozalavilAsinInitambAsphAlanasphAritataraMgayA gRhItasaralamRNAlayaSTibhiH pUrvArNavAvatIrNe vRddhakaMcukibhiriva rAjahaMsaiH kSaNamapyamuktapArzvayA kapilakopAnalendhanIkRtasagaratanayasvargavArtAmiva praSTuM bhAgIrathImupasthitayA saritA sarayvAkhyayA kRtaparyantasakhyA'' has Utpreksa (fancy) as well as Samasokti or terseness in expression or a speech of brevity in it in so far as the Eastern ocean has been deemed a hero and Sarayu river has been deemed a heroine, the royal swans acting as chamberlains, Sarayu in itself acting as a female associate of Ayodhya or Ayodhya acting a female associate of Sarayu as Nayika. It even implies that Ayodhya consisting of the Kosala Vilasinis or the maidens of Kosala acted as heroine by virtue of her being an associate to Ayodhya. It even implies a rupaka or a metaphor in so far as the Eastern ocean supplies the royal swans to Sarayu who are none but the chamberlains conducting her to her lord or as if they were the chamberlains, implies a fancy. Sarayu has been fancied to have approached Bhagirathi or Ganga, another female chaperon in order to inquire after her account of conducting to heaven the sons of Sagara consumed by the fire of wrath of Kapila. Here there is Utpreksa obviously. 1. TM. p. 43. LL. 1-2. 2. Ibid. p. 43. LL. 2-3. 3. Ibid. Vol. I p. 47. LL. 1-3.

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DHANAPALA AS A PROSE WRITER 117 "satatagahavyApAraniSaNNamAnasAbhinisargato guruvacanAnurAgiNIbhiranulvaNojjvalaveSAbhiH svakulAcArakauzalazAlinIbhiH zAlInatayA sakamAratayA ca kacakumbhayorapi kadarthyamAnAbhiruddhatyA maNibhUSaNAnAmapi khidyamAnAbhirmukharatayA rateSvapi tAmyantIbhivaiyAtyaparigraheNa svapne'pyalaMghayantIbhiritoraNamaMgIkRtasatIvratAbhirapyasatIvratAbhiralasAbhinitambabhAravahane tucchAbhirudare taralAbhizcakSuSi kuTilAbhirbhuvoratRptAbhiraMgazobhAyAmuddhatAbhistAruNye kRtakuMsagAbhizcaraNayorna svabhAve kope'pyadRSTamukhavikArAbhiya'lIke'pyanujjhitavinayAbhiH khede'pyakhaNDitocitapratipattibhiH kalahe'pyaniSThurabhASiNIbhiH sakalapuruSArthasiddhibhiriva zarIrabaddhAbhiralaMkRtA vdhuumiH|'' Ayodhya ornamented by the house wives who were always having their minds concentrated on household chores etc. has Arthapatti, Virodhabhasa, a Samkara of Parisamkhya and Ullekha, Visesokti and Utpreksa. "pAdazobhayA'pi nyakkatapadmAbhirurUzriyA'pi laghUkRtarambhAstambhAbhiY=ryo'pi cchAyayA saubhAgyahetorupAsitAbhiH......vilAsinIbhirvitIrNatribhuvanajigISukusumasAyakasAhAyakA" contains Virodhabhasa in it with slesa and Upama playing adjunct to it. "akalitADhyAnADhyavivekairagRhItapaNDitApaNDitavibhaktibhiranavabuddhasAdhvasAdhuvizeSairanavadhAritadhArmikAdhA rmikaparicchittibhiH sarvairapyudAravizeSaH sarvairapi chekoktikovidaiH sarvairapi paropakArapravaNaiH sarvairapi sanmArga vartibhiH.... pramANavidbhirapyapramANavidyaiH adhItanItibhirapyakuTilaiH abhyastanATyazAstrairapyadarzitabhrUnetravikAraiH kAmasUtrapAragairapyaviditavaizikaiH sarvabhASAvicakSaNairapyazikSitalAToktibhiH sAtvikairapi rAjasa bhAvAptakhyAtibhi:.... nivAsilokaiH saMkulA'' contains slesamulakarthapatti along with Virodhabhasa. The inhabitants of Ayodhya had no discrimination between the rich and the poor. It automatically implies that they were all amply affluent. Punningly. They had not understood the circumspection about both rich as well as the poor. They did not understand the distinction between the learned and the illiterate. It automatically implies that all were learned, Punningly They had undergone the division among the learned and the illiterate. This is slesa mulakarthapatti ''pramANavidbhirapyapramANavidyaiH" has Virodhabhasa in so far as the citizens knew logic and yet could produce no syllogistic instance. The apparent incongruity is removed by construing 'apramANavidyaiH -- to mean. They were possessed of illimitable knowledge__ "viracitAlakeva makhAnaladhUmakoTibhi: spaSTitAMjanatilakabinduriva bAlodyAnaiH, AviSkRtavilAsasahAseva dantavalabhIbhiH, AgRhItadarpaNeva sarobhiH sakRtayugeva satpuruSavyavahAraiH, samakaradhvajarAjyeva purandhribivvokaiH sabrahmalokeva dvijasamAjaiH..." 1. TM. Vol. I pp. 47-48. p. 47. LL. 3-9. p. 48 L. 1. Botad ed. 2. Ibid. Vol. I pp. 48-51. p. 48. LL. 2. p. 49 LL. 1. p. 51. LL. 3-4. 3. Ibid. Vol. I pp. 51-53. p. 51. LL. 4-6. p. 52. LL. 1-3. p. 53. L.4.

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118 TILAKAMANJARI OF DHANAPALA etc. has Utpreksa and Samasokti and 'vitataprabhAvarSibhirAbharaNapASANakhaNDairiva / pAkhaNDairmuSitakalmaSA.... vicitrAkAravedibhiraMgaNairiva nAgarikagaNairalakaMtagRhA, savanarAjibhiH sAmasvarairiva krIDAparvataka parisarairAnanditadvijA..' Has Slesopama.' The figure Sahakoti is available in ''yA sitAMsukarasamparkAdaparisphuTadolAsu baddhAsanairvilAsimithunairavagAhyamAnagaganAntarA samantAdantarikSasaMcara tkhecaramithunasya zucipradoSeSu zobhAmadharIcakAra vidyaadhrloksy|' is so far Ayodhya has been described as slighting the glamour of the Vidyadhara world implying thereby the exchange of qualities of the Vidyadhara world Ayodhya conjunctively through the same expressions. In the Vidyadhara world the celestial couples moving about in the sky in all directions in clear nights ride the swings of marble indistinct through their contact with the rays of the Moon or ride the indistinct crystalline swings in the form of the rays of the Sun whereas Ayodhya has the aerial regions being waded through by the dallying couples seated on the swings of marble made invisible by the contact of the rays of Moon during clear nights. 'yasyAM ca vIthigRhANAM rAjapathAtikramaH, dolAkrIDAsu digantarayAtrA, kumudakhaNDAnAM rAjJA srvsvaaphrnnm| anaMgamArgaNAnAM marmaghaTTanavyasanam, vaiSNavAnAM kRSNavartmani pravezaH, sUryopalAnAM mitrodayena jvalanam, vaizeSikamate dravyasya kUTastha nityatA, yatra ca bhogaspRhayA dAnapravRttayaH, duritaprazAntaye zAntikakarmaNi, bhayena praNatayaH.... puNsaamaasn|' contains Parisamkhya in so far as it purports forth like this. "Arcades occupied the royal roads but no transgression of royal mandate was effected amongst the people. The journey to the other quarters was visible in sports of swings but no exiles to different quarters was visible among the public, on account of the violation of the regional law. The bits of lilies were plucked by all but no attachment by royal order was discernible. The arrows of Cupid had a tendency to acrimonise the vitals and no piercing of vitals by the arrows meant to pierce the limbs was effected etc." There are the figure Udatta, Ullekha and Upama in "gaganAbhoga iva zazibhAskarAbhyAm acyuta iva shNkhkraabhyaam| ambhasA patirivAmRta vADavAbhyAm abhirAmabhISaNo yazaH pratApAbhyAm, induvimalAbhirjalada samayArambha iva rAjahaMsa paMktibhiH pratimAnasaM prasthitAbhirvyApta bhuvanAntarAlo guNaparamparAbhi:' in so far as the qualities of head and heart of king Meghavahana have been 1. TM. Vol. I pp. 53-55.p.53. LL.4-5.p. 54. L. 1-4. 2. Ibid. Vol. I p. 55. LL. 3-4. p. 56. L. 1. 3. Ibid. Vol. Ip.57. LL.3-4.p.58. LL. 1-4. 4. Ibid. Vol. Ip. 61. LL. 1-3.

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DHANAPALA AS A PROSE WRITER 119 described and one man Meghavahana has been described as a peer to the expanse of the sky, to Krsna, the ocean and just as the expanse of the sky is attractive and horrible with Moon and the Sun, Krsna is attractive with conch and terrific with quoits, ocean is attractive with the nectar and terrific with submarine fire, the king was attractive and terrific on account of his fame and prowess. "uccApazabdaH zatrusaMhAre na vastuvicAre, vRddhatyAgazIlo vivekena na prajJotsekena, guruvitIrNazAsano bhaktyA na prabhuzaktyA, svajanaparAGmukho parabhAryAsu na saparyAsu, avanitApahArI pAlanena na lAlanena, akRtakAruNyaH karacaraNe na zaraNe'' etc. has Parisamkhya in it. "anivartato lakSmImadavikAraiH akhalIkRto vyasanacakrapIDAbhiH anAkRSTo viSayagrAhai:, ayantritaH pramadApremanigaDaiH, ajaDIkRtaH paramaizvaryasaMnipAtaiH"" has Visesokti in so far as King Meghavahana was unaffected by the common tendencies of the ordinary beings such as pride born of riches, harassment through catastrophes, attraction by the alligators in the form of the objects of senses, bonds of women's love and infatuation of affluence etc. ''viSayagrAhai:'' has rupaka since object of senses have been deemed crocodiles i.e. the character of crocodiles or the alligators has been Superimposed on the object of sense. ''pramadApremeva nigaDItaiH pramadApremanigaDaiH" meshes in the form of love of maidens. yasya phenavatsphuTaprasRtayazo'TTahAsabharitabhuvanakukSiH, aMgIkRtagajendrakRttibhISaNaH, prakaTitAneka narakapAlaH, pralayakAlavibhrameSvAjimUrdhasu, saMjahAra vizvAni zAtravANi mahAbhairavaH kRpaannH|'' There is Slesanupranitam rupakam in it. 'yazAMsyevATTahAsa: pralayakAla vibhramA eva AjimUrdhAnaH teSu" There is slesanupranitopama in ''yasya cAkANDadarzitasakaladigdAho vajra iva viDojaso nirdadAha mahIbhRtkulAni samantataH prjvltprtaapH| darzita.... digdAho vajra iva viDojasa prajvalatpratApaH" has alliteration in it. There is arthi Parisamkhya i.e. Exclusion derived from the sense in-- "yazca saMmara zraddhAluH ahitAnAmunnatyAnutoSaNapraNatyA, dAnavyasanI janAnAm arthitayA aprIyata na kRtArdhatayA kuzAgrIya buddhiH kAryANAM vaiSamyena jaharSa na samatayA.... dhairyavyaktikAmo vyasanAya spRhayAMcakAra nAbhyudayAya" "yasya ca pratApa eva vasudhAmasAdhayat parikaraH sainyanAyakAH, mahimaiva rAjakam anAmayat nIti: pratihArAH, saubhAgyamevAntaHpuraM rarakSa sthiti: sthApatyAH AkAra eva prabhutAM zaMzasa paricchadaH chatracAmara grAhAH' There is also Kavyalinga commingled with Parisamkhya in it. 1. TM. Vol. I p. 62. LL. 1-3. 2. Ibid. p. 64. LL. 2-3. 3. Ibid. Vol. I p. 65. LL. 1-2. 4. Ibid. Vol. I. p. 65. LL. 1-3. 5. Ibid. Vol. I p. 65. LL. 3-5.p. 66. LL.3-4.

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120 He had a devotion for fighting. That is why he felt pleased when his enemies rose and loved to subdue them at that time and did not feel happy if they continued to feel awe from him and supplicated. There is Kavyalinga when there is a reason implied from the meaning of a sentence or an expression-- yasmiMzca rAjani anuvartitazAstramArge prazAsati vasumatIM dhAtUnAM sopasargatvaM ikSUNAM divyagrahaNam padAnAM vigrahaH timInAM galagrahaH etc. has a Parisamkhya which is implied. There was the association of Prepositions with the roots during the reign of Meghavahana but there was none who died because of contagious maladies. Only sugar canes were passed and none was suppressed among the people "" etc. There is Purnopama in '" pratidivasamAsAditoddAmaprauDhinA nidAghatapana iva nijatejasA tApyamAno guNAnuraktayApi rAjalakSmyA durbhagAGganayeva naarmt|"" "paJjarazukairapi prastutavAdibhirbandibhirivoccAryamANamaGgalam antaHpurasArikAbhirapi parimitavyAhAriNIbhirArAdhyajaratIbhiriva vitIryamANarAjavanitAzIrvAdam pravINapuruSairiva nivAryamANakSudradAsIparasparakalaham vinayanibhRtaiH has rupaka in it in so far as superimposition of the character of bards and old ladies on parrots and starlings is implied in it. ``cAricAraNoccAryamANa"" is an alliteration Similarly "" "pInaparimaNDalApInabhAra"" 'kavalAnAkulazakulakulAbhiH "pizunitapazuparamparottArAbhi"" ..8 'ghaNTikAghoSakamanIyam: ' "kAkakokilakalaviMkakaNThakAlakAyaiH 'taruNakuntalIkuntalakalApakAntibhiH " 5 44 3 7 ,,6 TILAKAMANJARI OF DHANAPALA ,,, 10 1. TM. Vol. I p. 67. LL. 3-4. p. 68. L.1. 2. Ibid. Vol. I p. 80. LL. 8-9. arbhakairapi 3. Ibid. Vol. II p. 162. LL. 1-3. 4. Ibid. Vol. II p. 201. L.5. 5. Ibid. Vol. TM. II p. 257. L. 70. L.1. p. 69. L. 7. TM II. p. 273. L.5. 6. Ibid. Vol. TM. II p. 257. L. 70. L. 1. p. 69. L. 7. TM II. p. 273. L.5. 7. Ibid. Vol. TM. II p. 257. L. 70. L.1. p. 69. L. 7. TM II. p. 273. L.5. 8. Ibid. Vol. TM. II p. 257. L. 70. L.1. p. 69. L. 7. TM II. p. 273. L.5. 9. Ibid. Vol. TM. II p. 257. L. 70. L. 1. p. 69. L. 7. TM II. p. 273. L.5. 10. Ibid Vol. III p. 70. L. 2, 4-6.

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DHANAPALA AS A PROSE WRITER "ibhakalabhakarAvakRSTivighaTamAnaviTapAbhiH ' 'ambugarbhanibhRtAmramaNDalIvibhramAbhiH 'zikharopazalyayA pAlyAparitaH prikssiptm|"" ,,2 44 Have alliterations in them. 'zvAsazeSAvazeSajIvitajIvitam' ,,4 44 44 'bhUmisazaiSAvazeSabhUmigocarANAmabhUmirbhUmiH ' 44 'vindhyAdrestalparucire na vezmani navezmani " 'dRSTvA vairasya vairasyamujjhitAsro ripuvrajaH ' 4 yasmin vizvasya vizvasya kulasya kuzalaM vyaghAt / avalambitAsamakSamasya samakSamasya sAmantalokasya' ,,6 khw has Yamakas in it. All the examples quoted above have a less abstruse style though long compounded, short compounded and compoundless diction's are available therein. The instances of longer compounds are available at certain places 44 """ 'prAvRSeNyasalilapUrakSAlanApanItasakalapaMkamalAbhiH ' " prakaTitaudanAjyadadhibhANDakhaNDamodakaprAyapaNyaprasArakAbhiH "darIgRhaprastaragalitaguMjAphalakAMcIsUcitavanecarIcitraratavimardAbhiH ,,, "kusumitalatAkuMjaguMjanmadhupamadhuritamanasviIkopakuTilabhrukuTibhaMga: ' ,,10 44 1. TM. Vol. III p. 70. L. 2, 4-6. 2. Ibid. Vol. III p. 70. L. 2, 4-6. 3. Ibid. Vol. III p. 70. L. 2, 4-6. 4. Ibid. Vol. III p. 162. 5. Ibid. Vol. II p.324. L.2. ,,8 'utpAkakalamakedArakapilAyamAnasakalagrAmasImAntamAtapakkAntakAntAramahiSayUthAdhyuSitapalvalopAnta ,,11 kRSNAgurutarutalam' Apart from the descriptive mode of style in prose, Dhanapala has displayed immense skill in composing the reflective style which contains a great instructive value couched as it is all over in the usual norm of idioms pertaining.to wordily wisdom and common mode of intelligence waking the mind of a character. Samaraketu wading through the ocean finding odds on 9. Ibid. Vol. III p. 129. L.1. ' 10. Ibid. Sm. ed. p. 370. LL. 16-17. 11. Ibid Vol. III p. 34. LL. 2-3. 121 6. Ibid. Vol. I p. 70 verse 54-55 and Vol. II p. 210. L. 3. 7. Ibid. Vol. II p. 256. L. 6. 8. Ibid. Vol. II. p. 356. L. 6-7.

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TILAKAMANJARI OF DHANAPALA the way hampering his progress just tries to indulge in the compunction of a folly he committed in the manner of a child who all of a sudden, on seeing an object of amazement rushes to snatch it but fails to do so and comes to levity as he does sometimes to snatch at the moon, an object of attraction to his eyes. Samaraketu, too, on hearing the noise of Orchestra from a-far made his resolve to pursue it and while doing so came face to face with insurmountable difficulties when come face to face with the sea fauna who tried to turn his vessel down into the deep waters. 122 "hanta! kasmAnmayA mithyAkutUhalataralitena sahasaiva tUryaravamupazrutya dhAvatA zizuneva laghutAM paramAtmA nIta:, kimiyacantitAtmAvinipAtaduHkhena zikhariNeva kulizapAta bhIruNA saMcaradanekaduSTagrAhaduravagAho mahAsamudrakukSiravagAr3haH, kimanivAritendriyavRttinA bAlatapasvineva niSphalo'nubhUtaH zItavAtAdijanitaH kAyaklezaH, kuto mamedamanupadiSTamazikSitamanabhyastamacintitamevAdya cApalamAvirbhUtam, aho ! caMcalasvabhAvatA cittapariNate:, aho vikArabahulatA tAruNyagate, aho duHkhadAyakatvaM sukhAbhilASANAm, aho vyasanadAnavaidagdhyamanadhInatAyAH, aho kAryapariNatirvicAravidveSo darpoTrikavilasitAnAm, aho mativiparyayapradAnatAtparyaM daivaprAtikUlyasya tasya tAdRzasya tAtaprayatnasya tasya vidyAbhyAsasya, tasya nItizAstrazravaNasya, tasya heyopAdeyatatvaparijJAnasya, teSAM vRddhopadezAnAM tasyAH vidagdhajanasaMgateH tasya ca nisargasiddhasyendriyavargasaMyamasya kIdRzo vipAkaH saMvRttaH "" The passage has got good similes too. "sarvathA puNyabhAjo vayam jAtaM janmasaphalam, uttiSTha tUrNam, anuttiSTha sAmprataM kAlocitakRtyam, upasRtya parvatanitamvAditaH samAhAra pratyagravikasitAni saMtAnakaprabhRtIni puSpapAdapAnAM pAdazaucAH pravizya pazyAmaH pUjayAmazca bhagavantamantaHpratiSThitamasya devatAyatanasya daivam " along with "vrajAmi vaitADhyam anusarannamunaiva gajagamanamArgam, anveSyAmi tadupAntavartiSu grAmeSu nagareSu AzramapadeSu kAnaneSvapareSu ca saMbhAvyamAnatadavasthitiSu ramyasthAneSu kumAram, anujjhitAbhiyogasya satatamanviSyato bhaviSyatyavazyaM mama kvApi tadvRttAntopalabdhiH labdhanirgamA nisargavimalAbhyaH kalAbhyaH prabheva mRgalAMchanaM channamapi tamAviSkAriSyati vijRmbhamANadiGmukheSu sdgunnkhyaatiH|"" is a fine examples of short compounded and compoundless diction marked by steady glow of reflection in it. There is a simile in "prabheva mugalAMchanam" ,,4 " madgurutarucitamapi namadgurutarucitam"" "bakairavabhAsitamapi navakairavabhAsitam" 1. TM. Vol. II p. 311. LL. 2-9. 2. Ibid. Vol. II p. 324. LL. 4-7. 3. Ibid. Vol. III p. 58. LL. 6-7. 4. Ibid. Vol. III p. 74. LL. 3. LL. 3-4. 5. Ibid. Vol. III p. 74. LL. 3. LL. 3-4.

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DHANAPALA AS A PROSE WRITER 123 "viSaikasadanamapyamRtamayam" "zaMkhanidhAnamapi sthairyopetam"" has Virodhabhasa in the description of the lake Adrstapara. "It was shining with the caws of the water crows and yet was not shining with the caws of the water crows- The apparent incongruity is removed by construing the latter part as and yet was full of trees huge and bent low. It was shining with cranes and yet was not shining with cranes. The apparent incongruity is removed by saying and yet was shining with new and blooming lilies" "saumitrIcaritamiva vistAritormilAsya zobham" "vilAsinI gamanamiva kalahaMsa kalApakRtakSobham" "kulAcalakSayamiva kaisarimahApadma tigiccha bhUSitaM" "gaganamiva makaramithunAdhyAsitam" has slesopama in it. "aho draSTavyatAmupetaH saMsAraH, sAratAM gato jIvalokaH, lokottaraM phalamavAptamutsAhataruNA, prakarSo labdhaH paripAkasya zubhakarmaNA, paryantabhUmiradhiSThitA kRtArthabhAvasya janmanA, koTiradhyAsitA puNyabhAgitvasya locanasRSTyA, dRSTaH samastaramaNIyAnAM sImA, vilokitaH kautukavidhAyinAmavadhiH, vIkSito vismayanIyAnAmanta: sAkSAtkRtamadbhutAnAmAspadam, samAsAditaM mahimnAmAyatanam, adhigatamAgadhatAnAmadhiSThAnam has a compoundless diction and a reflective style indicative of marvel of Samaraketu on seeing the lake Adrstapara. There appears to be 'Ullekha' in it in so far as one object i.e. the lake has been considered and illustrated mainfoldly. "ekasyAnekadyollekho yaH saH ullekha ucyate'' "naSTazalyAkRSTikRSTibhiH"" has Yamaka "rasasamUhamAraNamahitamAhAtmyAbhizca"' has alliterations 'bhItabhItAdhvani" has Yamaka 1. TM. Vol. III p.74. LL. 3. LL. 3-4. 2. Ibid. Vol. III p.74. LL.3. LL.3-4. 3. Ibid. Vol. III p. 73. L. 7. p. 74. L. 1-2. 4. Ibid. Vol. III p. 75. LL. 6-8. p. 76. LL. 1-2. 5. Sah. D.X.37p. 696. 6. TM Vol. III p. 129. L. 5. 7. Ibid. Vol. III p. 130. L.1. 8. Ibid. Vol. III p. 131. L.8.

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124 TILAKAMANJARI OF DHANAPALA "hAsamiva hAraM hAramurasA"" has alliteration and Yamaka both "sakhe tAraka! pratIkSasva taavtkssnnmekm| atra kSaNe balavadasvasthaM me zarIram pravRttA zirasi vedanA, dRDhArambhA z2ambhA, viz2ambhate nikAmaM raNaraNakadAyI kenApi kAraNena dAruNAvego daahjvrH|" and "kumAra! yadyahaM pramANam tanna yujyate nimeSamAtramapIha sthaatum| atibahudoSamatra pradeze ciraagvsthaanm| eSa ca vyAdhiranAvedito'pi vidito myaa| nidAnaM caasy| vijnyaatm| ataeva pratIkArahetoH sthAnAntaramitastvAM naitumicchaami| yo'pi karpUracandanacchAziziraH prazamahetustvayA parikalpitaH pradeza: so'pyasya tava zarIrasaMtApasya sannipAtajvarasyeva sutarAM saMtarpakaprakArAntareNa shmyitvyH| tadalamAvegena yathA samAca'mavasare'sya yatnasahameva cintyissyaami|" Containing query of Samaraketu and reply of Taraka on the after math of love engendered in the heart of Samaraketu, is reminiscent of the reflective index of Bana's admonition of Kapinjala to Pundarika in the Mahasvetavrttanta of Kadambari, though characterised by lesser piquancy of thought. "varagItri tvamasya zaraNam, tvaM paritrANam, tvAmAzrayaH, tvaM vizrAma bhUmiH, tvamavalambanam, tvayAyaM gatimAna, tvayA ceSTAvAn tvayA karNaghAriNyasya vacane pravRttiH, tvayA vyApArita sniggha tArakathA jIvitavyam tvayAnukulaM vartamAna yAnukUlaM devam, tvayi prasAdavattyA prasannA devatA, tvayi kRtAnugrahAyAmanugrAhikA: prasIda mAnini, parihara bhramam, Alokya svakAyamalpamapi mA dolaaysv| atrevAssva taavt|" etc. reflecting upon the intercession of Taraka on behalf of Samaraketu requesting Malayasundari to help his lord in his sore-straits is again mostly a compoundless diction purporting forth the deep sympathy of a servant for his master given to the incorrigible inevitability of a love-smitten conscience doomed in youth by the ravages of Cupid. Dhanapala has also emulated Bana in the invocative mode of writing. This mode occurs even in Subandhu. Bana has adopted this style in the Vth and VIIIth Ucchvasas of Harsacarita and Mahasvetavilapavarnana and Kanyapurodantavarmana of Kadambari. Dhanapala's example is quoted here "varuNikai, vAraya nikttnaattyshaalaashailusskulsNgiitklhm| kaukile! vidhehi svaviSayAdupeyuSaH kinnararAjakulacAraNakulasya svrsNdehvicchedm| vihaMgike! prahiNuyAnAzaktiriktIbhUtacirasaMcitadraviNavidrANamadaridrIkRsya vaishrvnnyaackvRndm|" 1. TM. Vol. III p. 151. L.3. 2. Ibid. Sm. ed. p. 281. LL. 8-11. LL. 14-21. 3. Ibid. Sm. ed.p. 281. LL.8-11. LL. 14-21. 4. Ibid. Sm. ed. p. 284. LL. 4-11. 5. Ibid. Sm. ed. p. 372. LL. 6-10.

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DHANAPALA AS A PROSE WRITER 125 The reflective mode presents more of its beauteous aspect in the following few examples "aho! niravadhipracAro vidhiH nAstyagocaraH puraaktkrmnnaam| azakyapratIkArA kRtAntazaktiH avyAhatA gatiH sarvatra bhvitvytaayaaH| yena bhuvanatrayakhyAtabhUpatikulodbhavAnAmasadRzAnubhAvazubhalakSaNAzliSTa vapuSAmanusRtAnIti mArgaNAmupazamAdiguNagaNajuSAmIdRzAnAmapyAkRtivizeSaNAmevaMvidhAnyApatanti vysnaani|" purporting forth Bandhusundari's advice to Malayasundari on latter's pitiable condition born of attachment with Samaraketu. She casts a fling on the revilious character of Providence, commenting upon its irresistibility. iha hi saMsArasadmani samAsAditAvatAraH svabhAvavimalo'pijanturekatraiva janmani dazAvazena dIpAkuraivAnekAni rnpaantraannynubhvti| tthaahi| vipulezvarakulotpanno'pi nAproti nirapAyani vissyaasvaadsaukhyaani| asaMkhyaparivAro'pi kSaNenaikAkitAM yaati| niH pratyAzatAM gato'pi sarva lokAtigamaka smAdvastu lbhte| labdhAbhimatalobho'pi jhagiti viyujyteten| jAtApratividheyaviraho pi bhUyaH samAgacchati tenaabhivaaNchiten| anirAmayazarIro'pi maraNAvahAM vipdmaasaadyti| lamvApi paramakalyatAM kalyANa prmpraamdhigcchti|" refers to the same type of deliberation on the ephemeral nature of the world in which the man of diverse temperaments undergoes many transformations like the wick of a lamp. A mighty sovereign goes down from prosperity to adversity in no time. A person of huge family becomes lone without a moment's notice. A disappointed being becomes thoroughly hopeful about his success in adventures. A healthy being becomes a patient etc. Continuing the same tune Dhanapala strains forth pRSTo muniH, pragalbhayA dRSTyA vilokya tam abhaasst| mahAtman! idaM hi jIvaH zubhAzubhanimittanirvartitena svakarmaNA nityamanusRtaH parivartamAno mahati saMsAracakre kuzalakulAlaparigRhIta iva mRtpiNDa: sthAlakozakalazAdIni spRzati vividhAnyavasthAntarANi, tathAhi-nAkasamApi nArako bhvti| tiryaGapi (tiryaG api) manuSyatAmAyAti rAjA'pi bhRtytvmaavrjyti| dAso'pi svAmitAmeti sukhito'pi duHkhamApnoti, kalyo'pi daurblymdhigcchti| tathA ca-lokapAla: kInAzo'pi dhanadatvamAzrayati etc. (This portion is missing in Sm ed. p. 406 LL II on words before dAso'pi. "lokapAla: kInAzo'pi dhndtvmaashryti| dhanado'pi puruSaH kInAzatAM pratipadya kAkaNImapi na ddaati| ekavedavidvijo'pi mAtaGgajAtau jaayte| madAlasagartimAtaMgo'pi gatyA dvijatvamanilavarmanA sarvataH sNcrti| rUpavAnApi kurUpo bhavati kurUpo'pi tejomayaM kaaymaaskndti|'' That a king becomes a niggard, a niggard becomes a charitable being, a rich man abounding in riches refuses to part with even a single cowry. Brahmana learned in Vedas is born in the family of Candalas and a Candala is honoured like a Brahmana etc. 1. TM. Sm. ed. pp. 345-346. p. 345. L. 22. p. 346. LL. 1-5. 2. Ibid. Sm. ed. p. 346. LL. 8-16. 3. Ibid. Sm. ed. p. 406. LL. 12-16. L.D. Series ed. para 418 p. 238. LL. 22-30.

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TILAKAMANJARI OF DHANAPALA "kSIyamANeSu kSitipatiSu nipatatsu pAdAteSu sIdatsu sAdiSu vrajatsu vidhuratAmAdhoraNeSu prahAravikalakAyeSvitastataH pariskhalatsu zUnyAsaneSu saptiSu / krauryamaya iva vairamaya iva vyAjamaya iva hiMsAmaya iva vibhAvyamAne jagati,.... 126 mRgayumArgaNaprahAratADita iva mRgArAtiH, AkarNitadurnarendramantrapada iva mahAhiH, AghrAtavipakSavAraNamadagandha iva vanakareNuH / "" all referring to the approach of Samaraketu in the battlefield contain the aviddha mode (style), Utpreksas and Upamas " stUyamAnamiva subhaTazastrapAtaraNitena praNamyamAnamiva bhUminikSiptamUrdhAbhiH kabandhaiH, arcyamAnamiva nipatadAtapatrakusumaiH syandanaiH, kSipyamAnalAjamiva ucchalatkumbhamuktAphalAbhiH karighaTAbhiH prahAravraNaiH, dIyamAnacakrAbhighAtamiva vilolamaNikuNDalaiH kSmApAlamuNDaiH, prabalaparivAragatamiva zaracchedaiH, mUkaM mAsaMbhedaiH mandaM medasi, mukharamasthiSu, mantharaM straayugrnthissvsNkhymsRjnmaargnnvraatm| ativegavyApRto'sya tatra kSaNe prota iva tUNImukheSu, likhita iva maurvyAm utkIrNa iva puMkheSu, avataMsita iva zravaNAMte tulyakAlamalakSyata vaametrpaanniH| aviralazarAsArabAsitA haMsIva meghAgame palvalamanavalokitAzraya visaMsthulA sainyapativakSa:sthalamamuMcad raajlkssmiiH|" has Utpreksas and Upamas alike. Both the modes Curnaka and Aviddha occur simultaneously. Apart from this vijRmbhinabhinatAvameghadurdineSu dinessuutpthenaagtyaagty|' 44 " tasya jalaketoH sutAsutAravRttamauktikaprakalpitaM hAramAdAya' 1,4 Have a Yamaka each. So also "dRSTalaGkAnirNItadazakaNThakaNThacchedanirvRtena' has another Yamaka in ,,6 vipadApagAsaMtaraNasetumArga0 is a rupaka. ,,3 "praNatasuramukuTakoTicumbitacaraNaparAgamaparAgam' tribhuvanabhavanadIpamabhavanadIpam, saMsArajIrNAraNyaikapArijAtamapArijAtaM sakalabhavyalokanayAnAbhinandanaM nAbhinandanam, 1. TM. Vol. II p. 205. LL. 5-6. p. 206. LL. 1-2. 2. Ibid. Vol. II pp. 210-211. p. 210. LL. 5-8. p. 211. LL. 1-4. 3. Ibid. Vol. II pp. 262-263. p. 262. L. 10. p. 263. L.I. 4. Ibid. Vol. II p. 276. L.1. 5. Ibid. Vol. II p. 289. L. 1. 6. Ibid. Vol. III p. 61. L.2. 7. Ibid. Vol. III p. 100. LL. 4-5.

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DHANAPALA AS A PROSE WRITER 127 sakalakuladharAdharasAdhAraNaguNagrAmagarimA girireSa: "akhiladoSamukte mukteva devAraNyavaMze vaMze" "prasAdhanArAdhanavidhividheyIkRtavividhavidyAsaMpAditAtyadbhutasiddhayo'' "viralasvedAmbukaNakarburIkRtakapolapatrabhaMgA grastasahakArakokilakUjitakalpa, "anekarAjAnyajanyavijayopArjitaM kRtakaruNakolAhalaiH'' "dRSTivipriyA priyA"" "dR sakalajanaghanaprANacaureNa coreNaiva'' "utpannAratirarati bhAginI'"'" "kenApyakiJcatkarau karau saMvRttau"" "vanagajAlIsaMkulamapi navanagajAlI saMkulam'' has also a Yamaka. The language on the whole is simple and forceful though at places we find a desire on the part of the poet to strain it. It displays characteristics midway between the language of Bana on the one hand and Trivikramabhatta and Somadeva on the other. He has perfect control over the dicta of grammar which are strictly Paninian and has made all out efforts to make use of the wealth of verbal and nominal suffixes, participles, the prepositions, the denominatives, the Primary and Secondary suffixes, the tenses and moods especially Perfect and Aorist. He has a peculiar taste for the use of an expletive particle 'Jhagiti' signifying 'inajiffy' at many places such as "jhaTityadarzanamagAt"" "jhaTiti dattadarzanAm"" 1. TM. Vol. III p. 141. L.2. 2. Ibid. Vol. III p. 168. L.8. 3. Ibid. Vol. III p. 184. LL. 3-4. 4. Ibid. Vol. III p. 190. L.2. 5. Ibid. Vol. III p. 191. L.11. 6. Ibid. Sm. ed. p. 299. LL. 16-17. 7. Ibid. Sm. ed. p. 306. LL. 19-20. 8. Ibid. Sm. ed. p. 407. L.10. 9. Ibid. Sm. ed. p. 410. LL. 5-6. 10. Ibid. Sm. ed. p. 410. L.12. 11. Ibid. Vol. I p. 145. L.9. 12. Ibid. Vol. III p. 140. L.3. 13. Ibid. Vol. I p. 159, L.8. Vol. III p. 42. L.7. 14. Ibid. Vol. I p. 141. L.6.

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128 TILAKAMANJARI OF DHANAPALA "jhaTiti dIpitAzeSadigbhAga "jhaTiti vismRtAkRtrimatApasopatrArasya" "jhaTiti vinyasta bAhupAzakai'' "jhaTiti mohamagamat" "jhaTiti locanamArgavatIrNamamRtakaramiva puruSarUpamAdAya" labdhAbhitamatalAbho'pi jhaTiti viyujyate tena' "mUhUrtamapasRtaM smRterjhagiti tatpurA paramezvareNa prahitamaGgulIyakaM bAlAruNabhasmaram "jAtA api jarAmavayaveSUjjhanti jhagiti sannipAtajvarapura: sarA: rogA: "cakita mAnasA kamalinIva pracaNDa himavAtAhatA malayasundarI jhagiti vicchAyatAtmagacchata" "akhilajagadAkSepakArirUpAH kanyakA: jhagityadrAkSam"" and a variant 'jhaTityadarzanamagamat" Ojas or floridity is discernible where the poet is given to describe certain elaborate picture of a battle, some mountains, river or some holy place or even some forest resort, a garden etc. Otherwise his pen-portraits are normally couched in easy flowing lucid word pictures. "sarabhasadazanAradaMzadalitadantacchadamadayakacagrahollasaddhRkuTIbhUSitalalATadezama," "AvezaparavazapravRttakaraprahAravyAharanmaNivalayam" "viralodgatazramasvedatimyadromAJcakavacamanavaratamuktakausumazarAsAravyapadezAdupajAtatuSTineva, mAnasabhuvA devena" "akaThoravidmakandalIsaralAbhirambhojadalabhramApatabhramarasambhramAdivAnyo'nyalagnAbhiragrataH" 1. TM. Vol. III p. 92. L.8. 2. Ibid. Sm. ed. p. 416. L.12. 3. Ibid. Sm. ed. p. 279. L.5. 4. Ibid. Sm. ed. p. 290. L.2. 5. Ibid. Sm. ed. p. 310. L.21. 6. Ibid. Sm. ed. p. 346. L.1. 7. Ibid. Vol. II p. 211. L.8. 8. Ibid. Sm. ed. p. 376. L.14. 9. Ibid. Sm. ed. p. 385. L.9. 10. Ibid. Vol. II p. 328. L.6. 11. Ibid. Vol. I p. 125. L.4.Vol. II. p.55. L.6-7. Vol. III. p. 50. L.9. 12. Ibid. Vol. I. p. 72. L.5-7. 13. Ibid. Vol. I p. 108. LL.2-3.

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DHANAPALA AS A PROSE WRITER 129 "kharakhalInakhaNakhaNAraveNAnumIyamAnamAnanasrastapANDuraphenapiNDastavakatArakitabhUtalam'....... ashvvRndmdraakssiit|" are some of the important examples of the pictures full of florid norm. "tribhuvanapatAkAyamAnamiH' ' 'raNaraNAyamAnaiH" "balAkAyamAnapavanalolasitapatAkam"" kuraMgalocanAlocanalavyapadam aMjanamapi maNDanAyate'' " prAjApatyAH api parAjayante'ntaHpurikA janasya rUpam"" are some of the chosen examples of the usages of denominatives. "laghukatarambhAstambhAmiH'' "zobhAmagharIcakAra"" Have the two examples of 'abhuutdbhaavecci|' Suffixes. Also 'aMgIkurvaNam ' avu: in 'javanamacuH prabhajanAH" (Perfect from 'va' to waft-third person plural;'' 'saMjahAra (sa + ha liTa)" nirdadaSTha (ni: daha liTa)' tatoSa (taSa+liTa), jaharSa' (haSa+liTa) AcakAGkSa" (A + kAjh+liT) (reme)" (ram+liT) 'spRhayAMcakAra'" (Periphrastic perfect) mumude" (muda+liT) rarakSa" (rakSa+ liT) zaMzasa" (zaMs + liT) rurIgha (rugha +liT) praticakAra' (prati 1. TM. Vol. III pp. 115-16. p. 115. LL. 6-7. p. 116. L.2. 2. Ibid. Vol. I p. 48. L.1. 3. Ibid. Vol. I pp. 50-51. p. 50. L.5. p. 514. 4. Ibid. Vol. II p. 320. L.9. 5. Ibid. Vol. III p.91. LL.1-2. 6. Ibid. Vol. III p. 187. L.1. 7. Ibid. Vol. I p. 48. L.2. 8. Ibid. Vol. I p. 56. L.2.; Vol. II p. 110. L.3. 9. Ibid. Vol. I p. 57. L.6. 10. Ibid. Vol. I pp. 65-66. p. 65. L.2. 11. Ibid. p. 65. L.3. 12. Ibid. p. 63. L.4. 13. Ibid. p. 65. L.5. 14. Ibid. p. 65. L.5. 15. Ibid. p. 66. L.1. 16. Ibid. Vol. I, p. 66. L.1. 17. Ibid. p. 66. L.2. 18. Ibid. p. 66. L.1. 19. Ibid. Vol. I, p. 66. L.5. ) 20. Ibid. p. 66. p. 66 L.5. 21. Ibid. p. 66. L.6.

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130 TILAKAMANJARI OF DHANAPALA 3 6 8 kR+ liT), nizcikAya' (niH+ ci+ lida), AcakarNI (A+ kRSa+ liT) babhUvuH (bhU+ liT ), vijahuH (vi + hA + liT) bhejeM vabhrAma jagAda, jagoda, uvAha, (vahU); virematuH are the chosen instances of perfect and periphrastic perfect. 12 14 15 16 17 18 19 20 22 azizrayinta" (tri), udapAdi" (Passive aroist from) (ut + pada) agamat " (gama), agAt (gam), adhatta" (dhA), AyAsIt (yA) adrAkSIt asthAt (sthA), aprAkSIt (pRccha), avAdIt (vada) avikSat (viz) are the chosen example of Aorist of (luG lakAra) ' bhrAjamAnm' 'dyotamAnam are the (Present active participles) vaidyutam is a secondary suffix or taddhita suffix vicintya is a krdanta. ' vibhAnavAsamutsRjat 'utsRjat' for ' udasRjata' may be a scribal error. Dhanapala has shown a distinct leaning towards employing certain variant words meant as synonyms and instances of novel vocabulary. The word art f' has been used in imitation of Bana in 1. TM. p. 67. L.1. 2. Ibid. p. 67. L.1. 3. Ibid. p. 67. L.2. 4. Ibid. p. 67. L.3. 5. Ibid. p. 76. L.9. 6. Ibid. p. 77. L.5. 7. Ibid. p. 77. L.9. 8. Ibid. p. 77. L.6. 9. Ibid. Vol. II p. 200. L.5. 10. Ibid. Vol. I p. 67. L.3. 11. Ibid. Vol. I p. 79. L.2. 12. Ibid. Vol. I p. 107, L.1-9. Vol. II. p. 214. 13. Ibid. Vol. I p. 156. L.1. 14. Ibid. Vol. I p. 158. L.4. 15. Ibid. Vol. II p. 170. L.3. 16. Ibid. Vol. II. p. 176. L.4. 17. Ibid. Vol. II p. 201. L.3. 18. Ibid. Vol. II p. 217. L.1. 19. Ibid. Vol. II. p. 217. L.6. 20. Ibid. Vol. II p. 221. L.6. 21. Ibid. Vol. I p. 108. LL. 6-7. 22. Ibid. Vol. II p. 112. L.8. 23. Ibid. Vol. I p. 113. L.5. 24. Ibid. Sm. ed. p. 407. L.7.

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CULTURAL DATA IN TILAKAMANJARI 131 dveSAdiSu vizeSakAraNAnyamuSyAH kRto devAnAMpriyeNa praznaH''' as an epithet of reverence shown to the royal dignitaries. Here it is Gandharvaka who is addressing Harivahana as such. (vanyAndhasA vihitapAraNA vanyamandha: Has 'andhas' meaning 'anna' or food in Vedic literature. Dhanapala has brought it on to the classical usage. piret" and '3iferqi are the two unusual expressions meaning a tree. ald meaning a child, upa' meaning "battle'. '' meaning wealth, glory, possession, 4744 meaning a stall, a stable, a family member, homestead, dwelling etc. THAT meaning an army. sicaya a cloth 'ayallaka''' meaning 'kheda, kalAcikA'' meaning a wrist, hairamba" meaning "TURT Tutafika"meaning tooligi, aface" a chamberlain 'Tahful meaning a full moon night 'Th' therefore meaning "full moon'. '24" meaning a hamlet Scr" meaning a mountain, arden" variantly given as 'zarvarI, kSapA triyAmA and nizIdhinI' meaning night, 'jambhAri meaning Indra 3ta meaning a cloud, 1. TM. Sm. ed. p. 406. L.21. 2. Ibid. Sm. ed. p. 417. L.19. 3. Ibid. Sm. ed. p. 331. L.9. 4. Ibid. Vol. III pp. 117, 121. L.9. 5. Ibid. Vol. II p. 229. L.3. 6. Ibid Sm. ed. p. 99. L.16. 7. Ibid. Sm. ed. p. 301. L.5. 8. Ibid. Sm. ed. p. 343. L.2. 9. Ibid. Vol. II p. 194. L.9. 10. Ibid. Vol. II p. 123, L.9. Sm. ed. pp. 293,L. 15. 340. 366. L.9. 11. Ibid. Vol. II p. 181. L.4. 12. Ibid. Vol. II p. 190. L.5. Sm. ed. p. 356. L.17. 13. Ibid. Vol. II p. 179. L.3. 14. Ibid. Vol. II p. 179. L.2. 15. Ibid. Vol. II p. 176. L.10. 16. Ibid. Vol. II p. 175. L.2. 17. Ibid. Vol. II p. 195. L.6. 18. Ibid. Vol. III p. 67. L.2. 19. Ibid. Vol. III p. 56. L.9. L.D. Series ed para 152. p. 113. L.32 TM. III. p. 25. L. 7-11. TM. III. p. 49. L.21. IM. III. p. 44. L.8; TM. III. p. 45. L.5. 20. Ibid. Vol. III p. 61. L.5. 21. Ibid. Vol. I p. 97, L.5. Vol. III p. 140. L.5.

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132 TILAKAMANJARI OF DHANAPALA 'anIkinI an army 'patraratharAja meaning Garuda and rathAGgayANiH meaning Visnu, *zilImukha meaning a bee as well as an arrow 'kAndizIka meaning a fugitive, Gay: meaning a torment. Frantic: the orb of the earth also HEMICI: "HII meaning horse, rider, 'HHT a horse, 3440 i afen (grunting of elephant lords), afshid (neighing of horses), "syandanAnAM cItkRtena (creaking of chariots) En 281-2a (the twang of the bow staves), * T HI HSRO (the sound kadat of the chariot flags), "nArAcANAM sUtkAreNa (the swishing sound of the naraca) "FERTY THI YAROT (the "dhut noise of the streams of gore) ATTATUT HIRU (the 'bhan' sound of the battle drums) has a typical vocabulary based on onomatopoetic significance etc. Sun has synonyms in 1. TM. Vol. II p. 196. L.1. 2. Ibid. Vol. II p. 200. L.9. 3. Ibid. Vol. II p. 200. L.9. 4. Ibid. Vol. II p. 209. L.1. 5. Ibid. Vol. II p. 221. L.10. 6. Ibid. Vol. III p. 28. L.7. 7. Ibid. Vol. III p. 28. L.3. 8. Ibid. Vol. II p. 205. LL.6. 9. Ibid. Vol. II p. 205. L.6. 10. Ibid. Vol. II. p. 204. LL.1. 11. Ibid. Vol. II p. 204. L.2. 12. Ibid. Vol. II. p. 204. L.2. 13. Ibid. Vol. II. p. 204. L.3. 14. Ibid. Vol. II. p. 204. LL. 3-4. 15. Ibid. Vol. II. p. 204. L. 4. 16. Ibid. Vol. II. p. 204. L. 5. 17. Ibid. Vol. II. p. 204. L. 5.

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DHANAPALA AS A PROSE WRITER 133 'anurusArithi; 'ahimAMzu; 'caNDabhAnuH, 'taraNiH, matratsitamAlI:, "dazazatamayUkhaH, 'tigmadIdhitiH, "dinapatiH, arkaH, "aruNasArathiH, "saptasaptiH, "sUryaH, "bhAskara:, "aruNakaraH, "tapanamaNDala, "dinezaH, "tigmabhAnaH, divasakaraH, tapanaH, "marIcimAlI, "dyamaNiH. "mArtaNDamaNDalama, tapanavimbama, "aziziragabhastiH, kharAMzuH, "caNDadIdhitaH, "sahasradIdhitiH, viSamavAhanaH, 19_ 22 "vAsaramaNiH, "ahimagamastiH, "divasamaNi, "amburuhiNInAthaH, uSNarazmi:" and dinakara 1. TM. Vol. III. p. 28. L. 6. 2. Ibid. Vol. III p. 103. L.1. 3. Ibid. Vol. II Sm. ed. p. 350. L.9. 4. Ibid. Vol. II p. 171. L. 8. Vol. II. p. 324. L.10. Vol. III. p. 77. L.4. p. 79. L.3. 5. Ibid. Vol. III p. 99. L.8. 6. Ibid. Vol. III p. 62. L.2. 7. Ibid. Vol. III p. 44. L.3. 8. Ibid. Vol. III p. 44. L.9. 9. Ibid. Vol. II p. 254. L.6. Sm. ed. p. 334. L.18. 10. Ibid. Vol. III p. 135. L.6. 11. Ibid. Sm. ed. p. 387. L.10. 12. Ibid. Vol. III p. 138. L.8. 13. Ibid. Vol. III p. 161. L.5. 14. Ibid. Vol. III p. 161. L.1. 15. Ibid. Vol. III. p. 143. L. 8. Vol. II. p. 320. L.9. 16. Ibid. Vol. III p. 118. L.7. p. 28. L.1. 17. Ibid. Sm. ed. p. 302. L.3. 18. Ibid. Sm. ed. p. 368. L.11. 19. Ibid. Vol. II. p. 80. L. 8. 20. Ibid. Vol. III. p. 197. L.9. 21. Ibid. Sm. ed. p. 358. L.2. 22. Ibid. Sm.ed. p.323. L.18. 23. Ibid. Sm. ed. p. 350. L.16. 24. Ibid. Vol. III. p. 28. L. 1. 25. lbid. Vol. III p. 107. L.7. 26. Ibid. Sm. ed. p. 409. L.13. 27. Ibid. Vol. III. p.315. L.8. 28. Ibid. Vol. II p.263. L.3. 29. Ibid. Vol. III p. 82. L.4. 30. Ibid. Vol. II p. 263. L.5. 31. Ibid. Vol. II p. 168. L.3. 32. Ibid. Vol. II p. 165. L.2. 33. Ibid. Vol. III. p. 167. L.2.

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134 TILAKAMANARI OF DHANAPALA Moon has been styled as following: zItarazmiH, zvetakiraNaH, zazadharaH, candraH, induH (indumaNDala), himAMzuH, zaziH, auSadhInAtha, nakSatranAthaH," himakaraH,"mRgAMkaH, nizAkaraH, yAminIpatiH, hariNalAMchanaH," rajani jAni:, zazAMkaH, himagabhastiH ,"originally ahimagabhasti: in the text Ocean has been named in the following ways:taraMgiNInAthaH," salilarAzi:," makarAkaraH, akUpAraH, arNavaH, nadInAmIza:, vAhinIpatiH, jalanidhiH, pArAvAraH, sAgaraH, nadAdhirAjaH, amburAzi:, lavaNArNavaH, ___ 21 24 1. Ibid. Vol. I. p. 45. L.4. 2. TM. Sm. ed. p. 362. L.6. 3. Ibid. Sm.ed. p.358. L.20. 4. Ibid. Sm. ed. p. 319. LL.1-2. p.311. L.3. 5. Ibid. Vol. II p. 315. L.7. Sm. ed. p. 311. L.6. II. p. 199. L.2. 6. Ibid. Vol. I p. 107 Vol. III p. 160, L.9Vol. II p. 271. L.6. p.319. L.12. 7. Ibid. Sm. ed. p. 324. L.8. 8. Ibid. Sm. ed. p. 358. L.1. 9. Ibid. Vol. II p. 215. L.8. 10. Ibid. Vol. III p. 199. L.5-6. 11. Ibid. Vol. III p. 152. L.2. Sm.ed. p. 285. L.4. 12. Ibid. Vol. III p. 91. L.1. 13. Ibid. Vol. III p. 85. L.5. 14. Ibid. Vol. III p. 107. L.3. 15. Ibid. Sm. ed. p. 415. L.11. 16. Ibid. Vol. III p. 174. LL. 3-4. 17. Ibid. Vol. II p. 265. L.6. 18. Ibid. Vol. II p. 263. L.5. 19. Ibid. Vol. II p. 315. L.7. 20. Ibid. Vol. III p. 184, L.4.Vol. II p.279. L.4. 21. Ibid. Vol. III p. 189. L.4. 22. Ibid. Vol. II p. 304. L.1. 23. Ibid. Vol. II p. 281. L.7. TM. III. p. 199. L.6. 24. Ibid. Sm. ed. p. 285. L.13. 25. Ibid. Sm: ed. p. 291. L.17. 26. Ibid. Vol. II p.317, L.7. Sm. ed. p. 292. p. 278. L.6. Vol. II. p. 271. L.6. 27. Ibid. Vol. II Sm. ed.p. 278. L.6. p. 320, L.1. 282, 278, Sm. ed. 310. 28. Ibid. Vol. II p. 292, Sm. ed. 311, L.9. Vol. II p. 280 Vol. II p. 270. L.6. TM. II. p. 307. L.1. TM. II. p. 321. L.1. 29. Ibid. Sm.ed. p. 320. L.4. 30. Ibid. Sm. ed. p. 332, vol. II p. 280. TM. I. p.71. L.1.

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DHANAPALA AS A PROSE WRITER 135 Salt ocean also known as lavaNajalanidhiH, lavaNAbdhiH, lavaNasindhuH, lavaNajalarAziH,' jalarAziH, udanvAn,' abdhi, udadhiH, payorAziH vyayodhiH, vAridhiH, pAthonidhiH, samudraH ca nIradhiH, ambudhiH," toyarAziH," jalaprAgbhAraH, jaladhiH, vArirAzi, ambhodhi:' Cupid is given in the following terms: kusumasAyakaH," kusumAstraH, kandarpaH, makaraketuH," smaraH, manmathaH, kAmadevaH," manasijaH, manasizayaH, murmuraH, ratipatiH, manobhavaH, madanaH, viSamasAyakaH, ayugmeSuH, viSamabANaH," paMcabANaH, kusumabANaH, mInadhvajaH," kusumamArgaNaH, anaMgaH, mAraH, kusumAyudhaH, albid. Vop. 30683, Vol.ji 1. TM. Sm. ed. p.332, L.7.322, L.2. p. 363, LL. 22-23,337. L.17. 2. Ibid. Sm. ed. pp. 343. L.2. Vol. Ip.44. 3. Ibid. Sm. ed. p.334, L.14.Vol. II p.314. L.8. 4. Ibid. Sm.ed. p. 382, L.11. Vol. III p. 143. L.8. 5. Ibid. Sm.ed. p.320, p. 282. L.10. TM. p. 199. L.5. 6. Ibid. Sm. ed. p. 282. L.10. TM. III. p.71. L.6. 7. Ibid. Vol. II p. 282,283, Vol. II p. 199. L.3. 8. Ibid. Vol. II p. 306, L.1.Vol. II p. 293. L.2. 9. Ibid. Vol. II pp.311,L.4.285. L.4. 10. Ibid. Vol. IIp. 302. L.5.; pp. 307, L.7.312. L.8. 11. Ibid. Vol. IIp.302. L.2. 12. Ibid. Vol. III p. 76. L.2. 13. Ibid. Vol. II p. 279. L.8. p. 99. L.5. 14. Ibid. Sm. ed. p.286. L.4. 15. Ibid. Sm. ed. p.358, L.17.Vol. IIp.267. L.1. 16. Ibid. Vol. Ip.51, L.4. Vol.II p. 276, L.9.Vol. III p. 149. L.4. 17. Ibid. Vol. III p. 149. L.9. 18. Ibid. Vol. III p. 151. L.3. 19. Ibid. Vol. III p. 148, L.7, 151, L.1, 7. Sm. ed. pp. 313. L.8. 347, L.22. 370. L.21. p. 322. L.22. 20. Ibid. Sm. ed. pp. 369, L.11. 324, L.11.357, 391. 21. Ibid. Vol. HII p. 154, Sm. ed. pp. 278, L.18.291, L.17, 368,370,309,310,297. L.19.p. 298. L.7. 22. Ibid. Sm. ed. pp.304, L.3.315. L.8. 23. Ibid. Sm. ed. p. 363. L.2. 24. Ibid. Vol. I. p.74. L.1. 25. Ibid. Vol. I p. 80. L.7. 26. Ibid. Vol. III p. 150. L.4. 27. Ibid. Vi. III pp. 150, L.7. 152. L.10. 28. Ibid. Vol. II p. 278, L.3. Sm. ed. 310, L.22. 311, L.6.355, L.5. 303, L.6. Vol. III p.91. L.3. 29. Ibid. Vol. III p.169. L.2.; p. 199. L.5.; p. 181. L.1. 30. Ibid. Sm. ed. p.357. L.18.; p. 362. L.8.; p. 284. L.1. 31. Ibid. Sm. ed. p. 277. LL. 2-3. 32. Ibid. Vol. I p. 58. L.1., Vol.III pp. 160. L.6., 173. L.3., 174. L.1., Sm. ed. pp. 338. L.15.,347. L.12. 33. Ibid. Sm. ed. p.284. L.4. 34. Ibid. Vol. I p.77. L.5.

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16 17 136 TILAKAMANARI OF DHANAPALA makaradhvajaH, kusumaketuH, kusumazarAsanaH, citayoniH, kusumakArmukaH, ratibhartA, pradyumna:, makaralakSmA, kusumeSuH, saMkalpayoni:, kusumadhanuH," ananyajaniH" Elephant has its synonyms forstamveramaH, dantI." anekapaH / nAgara ibhaH, vAraNaH, vyAlaH," kuMjara:," kariH, dvipaH, hastI, mAtaGgaH, dviradaH, karaTI, sAmajaH, abhramUkalama: (divyhstishishuH)| 'dhvajIvI'" (an army) 'khaNDaparazu'" (siva) anAyaH" (a net) pracalAki maNDalAni having pracalAkin and kalApikekAravai: having kalApin to mean a peacock, Dhanapala has also given certain illustrations which are based on Universal truths. 20 25 1. TM. Vol. I p. 55. L.6., 56. L.6. 2. TM. Sm. ed. pp. 303. L.5. 3. Ibid. Sm. ed. p. 305. L.14. 4. Ibid. Sm.ed. p.308. L.19. 5. Ibid. Vol. III pp. 173. L.7., 184. L.10., Sm.ed.p.393. L.17. 6. Ibid. Sm. ed. p. 323. L.18., Vol. III p.3. 7. Ibid. Sm.ed. p.301. L5. 8. Ibid. Vol. Ip.72. L.1. 9. Ibid. Vol. I p. 79. L.2. 10. Ibid. Vol. I p. 82. L.4. 11. Ibid. Vol. Ip. 11. 12. Ibid. Vol. II p. 330. L.2. 13. Ibid. Vol. III p. 128. L.7. 14. Ibid. Vol. III p. 158. L.2. TM. II. p. 259. L.6. 15. Ibid. Vol. III p. 127. L.3. 16. Ibid. Sm.ed. p.370. 17. Ibid. Vol. II p. 204. L.1. 18. Ibid. II. p. 179. L.5. III. p. 146. L.7. III. p. 37. L.7. Sm. ed. p. 367. L.4. TM II. p. 186. L.5. 19. Ibid. II. p. 259. L.6 20. Ibid. II. p. 144.1.4. 21. Ibid. II. p. 144. L.1. II. p. 246. L.5. II. p. 276. L. 6. II. p. 279. L.10. 22. Ibid. III. p.46. L.9.p.42.L.2. 23. Ibid. II. p. 165. L.7. TM.III. p.39. L.8. 24. Ibid. II. p. 198. L.2. 25. Ibid. II. p. 259. L.2. 26. Ibid. III. p. 49. L.1. p. 141. L.6. 27. Ibid. II. p. 195. L.2. 28. Ibid. Vol. Ip. 147. L.6. 29. Ibid. Sm.ed. p. 388. L.9. 30. Ibid. Vol. II p.203. L.4. 31. Ibid. Vol. III verse 3p. 136, Vol. III p. 64. L.3. 32. Ibid. Vol. III p. 85. L.2. 33. Ibid. Vol. III p. 95. L.1.

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DHANAPALA AS A PROSE WRITER 137 'dhArmikajanAnuvRtyabhimukhAni hi bhavanti sarvadA dharmatattvavedinAM hRdayAni" The hearts of those who know the essence of duty or religion, are always prone to behave in accordance with the attitudes of the minds of the persons amenable to duty. "vipatpratIkArAsamarthaH kSINAyuSo'sya bhiSagiva kathaM rikthamAharAmi? alaGkAraH kSatriyakulasya yAcakadvija iva kathaM pratigrahamaGgIkaromi? gRhAbhyAgatenAmunA dIyamAnaM durgatagRhastha iva gRhNanaparaM laghimAnamAsAdayiSyAmi"' Deeming himself a high minded soul, born in a high lineage Meghavahana does not want to accept the offer of the necklace from the Vaimanika whom he deems a patient whose life is not so long and deems himself to be a physician who does not want to appropriate the property of his patient and more so does he eschew the idea of exposing himself to levity by accepting gift from a begging Brahmana being himself an ornament of the Ksatriya race. He even deems himself a penury stricken householder whom a visitor offers a gift and he accepts it and thereby exposes himself to a greater levity. "nahi viraktAH striyaH kadAcidakSigatAnAmIkSaNahAriNastAdRzAnudAraviracanA~llekhAnabhilikhya tathA'tyAdareNa gafari" "Unwilling maidens never send with utmost regard having written in that manner the import of that essence, attractive to the eyes, to those who act as sores to their eyes or who come within the range of their eyes." "vyaktaM jagatyadRSTavazAd vizAlaguNasaMpadbhirapyasulabhAH svalpaguNairapi suprApAH prasiddhayo bhavanti" Evidently in the world, the eminence becomes easy of attainment even by dint of lesser merits and difficult of attainment even by offences of greater merits, under the pressure of the unforeseen." "adRSTapAre saMsAre bhaMgurasvabhAveSu vibhavAdiSu sarvabhAveSu karmaparatantrANAM prANinAM sarvamapi saMbhavati''' In the world whose end has not been seen, when affluence and the like are naturally evanescent, every thing is possible in case of living beings who are dependent on others in point of actions. 'satatamacalaprakRtinA puruSeNa bhavitavyam" "A man should be steadily disposed in all circumstances." 1. TM.. Vol. I p. 90. LL.4-5. 2. Ibid. Vol. I p. 123. LL. 5-6. 3. Ibid. Vol. II p. 244. LL. 9. p. 245. L.1. 4. Ibid. Vol. III p. 90. LL.5. 5. Ibid. Vol. III p. 158. LL.1-2. 6. Ibid. Vol. III p. 81. L.11.

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138 TILAKAMANJARI OF DHANAPALA ___ "Atmano mahimAnamicchatA puruSeNa pUrve vayasyapUrvA sarvApi parayoSit prAyazo na bahu bhASaNIyA, vizeSata: prathamayauvanA vratasthA" "A man desirous of saving his face should avoid talking much to a maiden revelling in the bliss of her puberty, being himself in an age of adolescence at that time. He should be particularly careful in case of a maiden who is in her blooming youth and is standing on a vow." D. IMPACT OF EARLIER PROSE WRITERS ON DHANAPALA AND HIS INFLUENCE ON LATER PROSE WRITERS. Much has already been said regarding the impact of Banas muse on Dhanapala's calibre during our discussions on the Art and Style of Dhanapala and still an urgency remains to dilate upon the topic in minute details. Regarding the influence of Dhanapala on later writers such as Soddhala (Udayasundari-katha), Odayadeva, Gadyacintamani Vamanabhatt a Bana (Vembhupala Caritas) we can understand that he had some such on the analogy of Bana. Pandit Amaranatha Pandey has discussed the impact and influence of Bana on later writers in his 'bANabhaTTa kA AdAna pradAna'. In this manner this book will help us in construing the Pradana of Bana as 'adana' in case of Dhanapala while the 'Pradana' of Dhanapala shall be discussed at its due order. At the first instance, Bana's inspiration on Dhanapala is conspicuous from Harsacarita and even Kadambari in so far as in the Tilakamanjari Dhanapala has prefixed as many as fifty three verses at the beginning before the actual prose portions start. Bana in his Harsacarita as well as in Kadambari has given a good number of Introductory verses which contain the invocations to the favourite deities, to the ruling patrons, to the predecessor poets and dissertations on the special features of prose, its art as well as its style. Bana has paid a lofty tribute to Katha? in Kadambari (Intro. verse 8) whereas Dhanapala has also done so but described as palling the special type of it (i.e. Katha) that contains stretches of unending prose. Bana has belauded the prose of an efficient poet by characterising it as abounding in many and new meanings being purported forth by the rows of syllables of 1. TM. Vol. III p. 168. LL.5-6. 2. See Part 1 Section B also Part I, works of Dhanapala. 3. Ibid.

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DHANAPALA AS A PROSE WRITER 139 many and new meanings being purported forth by the rows of syllables of diverse characters, whereas Dhanapala has praised the speech of an efficient poet which fascinates the hearts of the men of taste by its sweetness permeating its limbs by characteristics such as grace and radiance being natural to it even when it is not loaded with complex) figures. Bana has paid his homage to the illustrious predecessors such as Valmiki, Vyasa, Bhasa, Gunadhya, Kalidasa, Subandhu, Bhattara Haricandra and others in the Introductory verses of his Harsacarita and has given the name of his patron in the last verse, with an autobiographical account in the Introductory verses of Kadambari. Dhanapala has paid rich tributes to Valmiki, Kanina (Vyasa), Gunadhya, Pravarasena, Kalidasa, Bana and Pulinda, Magha, Bharavi, Bhavabhuti, Vakpatiraja and Rajasekhara etc. in the introductory verses of his Tilakamanjari with a detailed genealogy of his patron following on, the autobiographical account of the poet in three last verses ending it. The Prose narrative in the Third Ucchvasa of Harsacarita describing the Janapada named Srikantha having Sthanvisvara for its Capital with Puspabhuti reigning supreme over it, having no scion for long, propitiating Sri through the charms of Bhairavacarya and getting the boon and ultimately a son, the description of Ujjayini in the Kadambari Katha (after the kathamukha) in the Avanti Janapada on the shores of Sipra having Tarapida for her reigning sovereign, having no scion through Vilasavati, the latter taking to propitiation of the deities in company of her husband, getting a son through their grace, named Candrapida have been instrumental in influencing Dhanapala in planning the description of Ayodhya in Uttarakosalas on the shores of Sarayu, having her supreme sovereign Meghavahana getting one after propitiating Sri at the instance of the Vidyadhara sage. The motifs of educating Candrapida and Harivahana between the age period of six and sixteen, their return home and marching on a digvijaya, accompanied by Vaisampayana and Samaraketu have been planned exactly on parallel lines. The Acchoda lake in Kadambari has a parallel to influence the point of the lake Adrstapara in Tilakamanjari. The loss of Harivahana through the divine tusker has its origin in the loss of Candrapida by the chase of the Kinnara couple. Mahasveta waiting for long years having taken to asceticism has a parallel in Malayasundari waiting for Samaraketu in the same garb. Tilakamanjari is also a true replica of Kadambari. 1. See Part II Section A. 2. See part II Section C

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140 TILAKAMANJARI OF DHANAPALA In point of stylistic peculiarities much has already been said by way of a comparison alluding to the influence of Kadambari on Tilakamanjari. The Nalacampu of Trivikramabhatta and Yasastilaka Campu of Somadeva also starting on the same lines, the former describing the desa Aryavartta having Nisadha as its Janapada having capital for Nisadha, a puri, while the latter describing Yaudheya Janapada-and its capital seem to have some impact on the muse of Dhanapala, Both being the senior contemporaries of the romancer. It is very difficult to say whether Dhanapala had studied the works of the two in so far as it is doubtful if the two works had attained to prominence in such a short period separating the age of Dhanapala from that of the two campu writers. But the technique of the two campu leaves no doubt to the effect that they did have some influence on our poet. To take a wider stride it will be safer to presume that Trivikramabhatta, Somadeva and Dhanapala had all the influence of Bana's Kadambari on their writings. Pandit Amaranatha Pandey has placed Dhanapala in the tenth century and has ascribed the influence of Bana to the muse of Dhanapala. According to him Dhanapala has referred to Bana, Kadambari and Harsacarita.' He has also drawn parallels between the Description of Ayodhya in Tilakamanjari and that of Ujjayini in Kadambari. The motif of Meghavahana getting a son after long pursuits bearing resemblance with that of Tarapida doing the same after propitiatory rites; Madiravati forming a true replica of Yasovati and Tilakamanjari being that of Kadambari; the descriptions of the child birth in Harsacarita as well as Kadambari finding a parallel in Tilakamanjari; Adrstapara being a prototype of Acchoda.? Apart from this Shri Pandey has drawn out many parallels from the texts of the three works i.e. Harsacarita, Kadambari and Tilakamanjari. kuruta haricandanopalepahAri mandirAGgaNam, racayata sthAnasthAneSu ratnacUrNasvastikAn datta dvAri nUtanaM cUtapallavadAma, vikiratAntarutphullapaMkajopahAram, kArayata sarvataH zAntisalilakSepamakRtakAlakSepam, Aharata bhagavatI SaSThIdevIm, Alikhata jAtamAtRpaTalam, ArabhadhvamAryavRddhAsaparyAm, gidhatta paryanteSu zayanasya sadyobhimantritAM rakSAbhUtirekhAmaM ityAdi jalpatA talpanikaTopaviSTena zuddhAntajaratIjanena kriyamANavividhazizurakSAvidhAnama... priyAyAH prstighmvisht|'' 1. TM Vol. I Intro. verses 26-27. 014EUR 77 31567 H 4-63. 2. a10145 81 36F YCF YO 63. 3. TM. Vol. II pp. 184-185. p. 184. LL. 7-8. p. 185. LL.1-6.

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DHANAPALA AS A PROSE WRITER 141 has been shown to bear semblance of the similar type of description in Kadambari of the Sutikagrha.' taraGgike! drmpsr| vighnitA gatistava jaghanabhittyA sarvato niruddhamArgasyAsya sainikavargasya; lavaGgike! parikarabandhadarzane'pi paricArakaH svinnasakalagAtrayaSTiryathaiSa kampate tathAvazyamavatarantyAstarItastava ghanastanajaghanabhAreNa pIDito vIDiyiSyati prekSakajanam; vyAghradata! dhAva, zIghrameSA vipadyate nipatitA potAt pitAmahI makarikAyAstava zvazrUH; azrUNi kiM sRjasi? visRja vArtAmapi tasya tathAvidhasthAnapatitasya dsyungrnaariikrnnbhuussnnsuvrnnsy| has been quoted as an instance of invocative style inherited from Bana and as already illustrated by me in the 'Art and Style' of Dhanapala. Regarding the 'Bhavasamya' or the parallel from ideology Dhanapala has borrowed enough from Bana. 'tigmAMzumaya iva tejasi, sarasvatImaya iva vacasi, bears sameness with 'vAci sarasvatyA, tejasi savitrA' of Bana.' 'tamapi bhuvanabhAramanAyAsenaiva dhRtAsinA bhujena yo babhAra' has sameness with 'valayamiva lIlayA bhujena bhuvanabhAramudvahan" of Kadambari 'upahasitadhiSaNasyApi' has sameness with amaragurumapi prajJayopahasadbhi' of Kadambari AtmanApi nizzeSitArivaMzatayA vigatazaGka:10 bears resemblance with 'vijitAzeSabhuvanamaNDalatayA vigatarAjyacintAbhAranirvRta:11 Some more parallels are being quoted below: tilakamaMjarI- kadAcinnIlapaTavaguNThitAMgo, lAMgalIva kAlindI jalaveNikAH pratyagramRgamadAgaMrAgamalinavapuSo bahulapradoSAbhisArikAH suduurmaackrss| 1. Kad. Pu. M. R. Kalepp 118-121. 2. TM Vol.II pp. 295-296. p. 295. LL. 9. p. 296. LL.1-4. 3. tAta cuut| pravasati te jnnii| vatsa jAtIguccha, gacchasi, ApRcchasvamAm (paMcama ucchvAsaH) by C. Sankara ___Rama Sastri. 164 Nirnaya Sagar press edition Seventh Bombay, 1946. 4. TM Vol. I pp. 63-64. 5. Kad. KM. by P. L. Vaidya, J. N. S. Cakravarti and P. V. Kane, p. 6. Also Kad. M. R. Kale p. 11. 6. TM. Vol. I, p. 69 7. Kad. KM p.7 8. TM. Vol. I, p.71 9. Kad. KM p.7 10. TM. Vol. I, p.71 11. Kad. KM p.7

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142 TILAKAMANJARI OF DHANAPALA kAdambarI- kadAcit nIlapaTaviracitAvaguNThano bahulapakSapradoSadattasaMketA: sundriibhissaar| tilakamaMjarI- kadAcit krIDAdyUtaparAjitaH paNitamaprayacchan kva gacchasi? iti baddhAlIkabhrukuTibhirvidagdhavanitAbhirAkRSya kRttaviSamapAdapAto balAdiva dattakapATasaMpuTeSu vAsavezmasu sptniismkssmevaakssipyt| kAdambarI- kadAcit saMketavaMcitAbhiH praNayinIbhirAbaddhaH bhaMgurabhrUkuTibhirAraNitamaNiparihAryamukharabhujalatAbhirbakulakusumAvalIbhiH saMyatacaraNa: nakhakiraNavimitraiH kusumadAmayiH kRtAparAdho divsmtaaddyt| puNyapariNatiriva lAvaNyasya, saMkalpasiddhiriva saMkalpayonoH, sarvakAmAvAptiriva kamanIyatAyAH, "nadItaTatarumiva sphuTopalakSyamANajaTam'' "amarazailamiva svyNtitklpdrumdukuulvlklaavRttnitmbm"|" "AcAramiva cAritrasya zuddhisaMcayamiva zaucasya, dharmAdhikAramiva dharmasya, sarvasvadAyamiva dayAyAH zAntyudakazIkarairiva dRSTipAtaidUrIkRto duritraashirsy|"" "idaM rAjyam, eSA me pRthivI, etAni vasUni, asau hastyazvarathapadAtiprAyo bAhyaH paricchadaH, idaM zarIram, etad gRhaM gRhyatAM svArthasiddhaye parArthasampAdanAya vA, yadatropayogArham' "kevalabhUmimunijano vibhvaanaam| viSayopabhogagRdhavo hi dhanAnyupAdadate, madvidhAstu saMnyastasarvArambhAH" samastasaGgaviratA: nirjanAraNyabaddhagRhabuddhayo bhaikSamAtrabhAvitasaMtoSAH kiM taiH kariSyanti? salilanirbharAmbhodharaninAdagambhIreNa svareNa mdhurmbrviit|"" "draSTA kAlatritayavartinAM bhAvAnAm''2 "upadeSTA cirapranaSTasya dharmatattvasya"13 "setubandhaH saMsArasindho"" atikrAnte ca SaSThIjAgare samAgate ca dazame'hni kArayitvA sarvanagaradevatAyataneSu pUjAm mAnayitvA mitrajJAtivargam, abhyarcya gurujanam, dattvA samAropitAbharaNAH savatsAH sahasrazo gAH suvarNaM ca 1. TM. Vol. I, p. 73 2. Ibid. Vol. I p. 74. LL.5-6. 3. Kad. Katha p. 49. M. R. Kale. 4. TM Vol. I p. 82. LL.3-4. 5. Ibid. Vol. I p. 88. L.1. 6. Ibid. p. 88. L.2. 7. Ibid. Vol. I p. 89. LL.3-4. 8. Ibid. Vol. I p.91. L.7. 9. Ibid. Vol. I p. 92. LL.1-2. 10. Ibid. Vol. I p. 92. LL.4-6. 11. Ibid. Vol. I p. 114. LL.2-3. 12. Ibid. Vol. I p. 115. LL.4. 13. Ibid. Vol. II. p. 115 L.5. 14. Ibid. Vol. I p. 185. L.5.

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DHANAPALA AS A PROSE WRITER pracuramArambhani:spRhebhyo viprebhyaH svapne zatamanyuvAhano vAraNapatirdRSTa iti saMpradhArya tasyaiva svapnasya sadRzamAtmIyanAmnazcaikadezena samudAyavAcyena cArthena samarthitAnuhAraM harivAhana iti zizornAma cakre / dRSTaH samastaramaNIyAnAM sImA, vilokitaH kautukavidhAyinAmavadhirvIkSitaH vismayanIyanAmantaH, sAkSAtkRtamadbhutAnAmAspadam AsAditaM mahimnAnAmAyatanam adhigtmaagdhaanaamdhisstthaanm| "aho pUrvajanmAntarasaMcitairazubharazukarmAbhirAyojitAH sunipuNamapi nirUpitopAyairmanISibhiranISitkarAH parihartumupatApAH yeneyamapahAya paramasaMkkezahetuM sakalasaMgamekAkinI vigatamartyasaMcAre gurUNi girikAntAre kRtasthitiranekayojanazatavyavahitamekadezenaiva saMyojya mAmIdRzyata mAnasaH duHkhabhArasya bhAjanaM kRtA mahAnubhAvA daivena iti sodvegavismayaH samAzvAsya tAM suciramutthAya taM karAMjalipuTAvarjitaM dIrghikAjalamupAnayam / sApi kiMcidviralazokAH vASpajalapariplutAradakSamA vadanabhAlaM prakSAtya tena pramRdya cobarIyapallavaprAntena dharanamutsRSTadIrghaniHzvAsA vilamvya kaMcitkAlamupacakrame vaktum / " ,3 " AjJAsiddhiriva makaradhvajasya, manorathasamRddhiriva rAmaNIyasya daivasampattiriva lAvaNyasya" nadItaTaruriva satatajalakSAlanavimalajaTa: ' " '"viTapa iva komalavalkalAvRtazarIraH " " dhAma dharmasya, pattanaM pUtatAyAH, AkaraM karuNAyA: ' 1,6 ,,7 "puNyajalaiH prakSAlayanniva mAmiti prazAntayA dRSTyA dRSTvA'' 143 " tasmai rAjA sAntaHpuraM saparijanaM sakoSamAtmAnaM niveditavAn / janmanaH prabhRti adattadRSTirasmi svApateyeSu / yataH sakaladoSakalApalendhanairdhanairavikrItaM kvAciccharIrakamasti / bhaikSarakSitAH santiH prANAH / durgRhItAni katicit vidyante vidyA'kSarANi / 1,9 10 cakAra " "santaraNasetuH saMsArasindhoH atikrAnte ca SaSThIjAgare prAptedazame'hani puNye muhUrte gAH suvarNa ca koTizo brAhmaNasAtkRtvA mAturasya mayA paripUrNamaNDalazcandraH svapne mukha kamalamAvizan dRSTaH " iti svapnAnurUpameva sUnoH candrApIr3a iti nAma 44 'atha parisamAptamIkSaNayagalasya draSTanyadarzanaphalam AlokitaH khalu ramaNIyANAmantaH dRSTa AlyudanIyAnAmavadhi: vIkSitA manoharANAM sImAntalekhA, pratyakSIkRtA prItijananAnAM parisamAptiH, vilokitA darzanIyAnAmavasAnabhUmi H ' ,,11 1. TM. Vol. II. p. 186. LL. 3-6. 2. Ibid. Vol. III pp. 75-76. p. 75. L.8. p. 76. LL.1-2. 3. TM. Vol. III pp. 169-178. p. 169. LL.8-10. p. 170. LL.1-4. 4. HC IV p. 351. LL.3-5. Cal. ed. Jivanando Vidyosoyara tika etam forth ed. 1939. Calcutta. 5. Kad. KM p. 37. M.R. Kale p. 66. 6. HC. III. p. 293. LL.2-5. Cal. ed. 7. Kad. KM p. 46. LL.13-15. M. R. Kale p. 80. LL.11-12. 8. HC III p. 299 Cal. ed. LL.6-12. 9. Ibid. III pp 297-298. Cal. ed. p. 297. LL. 6-8. p. 298. LL.1-2. 10. Kad. KM. p. 44. LL.18-19. K. R. Kale. p. 78. L.11. 11. Ibid Katha p. 125. M. R. Kale. LL. 4-6.

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TILAKAMANJARI OF DHANAPALA "aho durnivAratA vyasanopanipAtanAm, yadIdRzImapyAkRtimanabhibhavanIyAmAtmIyAM kurvanti sarvathA na kaMcana spRzanti zarIradharmANamupatApAH, balavatIhi dvandvAnAM pravRttiH utthAya prasravaNAdaMjalinA mukhaprakSAlanodakamupanitye / sAtu tadanurodhAdavicchinnavASpajaladhArA santAnApi kiMcitkaSAyitodare prakSAlya locane valkalopAntena vadanamupamRjya dIrghamuSNaM ca niHzvasya zanaiH zanaiH prtyvaadiit|' of Bana. 144 Soddhala (middle of the Eleventh Cent. A.D.) i.e. (1026-1050 A.D)2 being almost an immediate successor or even a junior contemporary of Dhanapala, follows the trail of Bana more apparently than that of Dhanapala in his Udayasundari Katha, in so far as he has quoted and paid a happy homage to him in his compiosition.' He has openly mentioned the names of Harsa and Bana, latter's Harsacarita, Kalidasa and has denominated Bana as the paramount sovereign of the poets. He has not mentioned anything about Dhanapala who can simply be counted amongst the pupils of Bana in point of inspiration, being his junior class fellow. Soddhala has followed the pattern of Harsacarita in all respects but has followed Kadambari in drawing a parallel between Sukanasa and Vibhutivardhana, the motif of the parrot singing an Arya couplet, the description of the Candikayatana (i.e. shrine of Candika) the curse motif transforming Vaisampayana into parrot having the parrot of Udayasundari Katha a victim of curse etc. Dhanapala's parrot is also a victim of curse, being Gandharvaka in his original garb. Regarding the resemblance of ideas, art and style we can postulate a better impact of Bana than of Dhanapala on Soddhala. In spirit of technique, however, Soddhala can be said to have learnt a lot from Dhanapala whom he does not refer to at all but seems to have had some knowledge of his muse. He might have ignored mentioning his name because he had not acquired that celebrity as Bana had and as two pupils vying with each other while pursuing their studies under one preceptor, try to undermine the activity of each other and produce a literary piece of similar nature, one gaining better position than the other, Soddhala might have ignored the name of his senior 1. Kad., p. 201. M. R. Kale. LL.2-5. 2. Kad. pp. 218-19. M. R. Kale. p. 218. LL.11-14. p. 219. LL.1-4. 3. p. 72. Cf. 2-6, USK pp. 2, 3, 20, 154 and 157 edited by C. D. Dalal etc. and continned by eniber Krishnamacharya adhyaks a sanskrit pathasata Vadtal. Central library Baroda, 1920 A. D. 4. vANaH kavInAmiha ckrvrtii| cakAsti yasyojjvalavarNazobhA // 5. Ibid. VIII. p. 154. verse No. 218.

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DHANAPALA AS A PROSE WRITER 145 class mate only to shroud his laurels with the better score won by him. Dhanapala's referring to Soddhala was out of question since he was senior to him and Soddhala inadvertently ignored him in order, not to acknowledge his debt of gratitude to him and simply paid homage to Bana who was the real preceptor for his inspiration. It is possible to draw certain parallels between the muse of Dhanapala and Soddhala, but the overall effect would make it apparent that it is Bana and not Dhanapala who is goading the pen of Soddhala. Odayadeva Vadibhasimha (12th Century A.D) writing his Gadyacintamani and Ksattraculamani seems to have had some inkling of borrowing from Dhanapala. The gap between the two being so apparent that it can be possible to presume that Dhanapala's fame had reached his ears by that time. According to Pandita Amaranatha Pandeya Vadibhasimha has also followed Bana in the basic construction of his text. But Dhanapala seems to have influenced him more than Bana who himself was the source of inspiration for the former. The very fact that Odayadeva has devoted ten out of the fifteen Introductory verses to the eulogium, of Jina and the Jaina sages like the first sixth, nineteenth, thirty second, of the Introductory portion of Tilakamanjari of Dhanapala, amply illustrates the influence of the latter on the calibre of the former. The remaining five verses deal with the patronage of the poet and some homage to the old predecessor poets (Suribhih). Even the descriptive and the narrative mode has been influenced by Dhanapala. The description of the Janapada named Hemangada and its Capital Rajapuri have been influenced by Dhanapala's description of Ayodhya in the Northern Kosalas. The description of Hemangada also bears semblance of the description of the Nagara Sima of the Capital of the Simhalas. Both have started their muse with the word 'f' and given the relative clauses in such a manner that the descriptions have an apparent similarity of thoughts and motifs between them. The description of Rajapuri in Gadya Cintamani has many parallels to derive from the description of Ayodhya in Tilakamanjari. "tatra cAsti samastabhuvanavikhyAtasaMpadAbhogA, bhogavatIva bhujaMgacaritodvegena bhitvA bhuvamutthitA, namuci mathananagarIva nirAlambanatayA nabhaHsthalAnnipatitA, mAdhuryakulabhUmiH phalamaMjarIva bhAratavarSabhUruhasya, bhavanavalabhImaNDanamaktAsaramarIcinicayakavacitAkarNacAmarikeva hemAMgadayamataMgajasya, marakatamaNikuTTimamayUkhapatralA padmasarasIva kamalA kalahaMsIvihArasya, pAtAlavAsibhirapyanAlokitamUlena gaganacarairaTyalakSitazikhareNa parAjitaparanarapatikaradIkRtakanakopalapaTalaghaTitena vighaTitakulagiritaTAbhirdigantadantAvaladazanakulizakoTibhirapyabhaidyasaMsthAnena stambhitajagaduparamasamayasamIrasaMrammeNa tribhuvanalakSmIkanakapAdakaTakakAntitaskareNa prAkAreNa parivRtA snAnAvataradavanIpatimadavAraNakapolatalavigalitadAnajalaveNikA vyAjena jalanidhisamutkaNThayA yamunayeva

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146 TILAKAMANJARI OF DHANAPALA vigAhyamAnena kupitasurapatikarakalpitakulizapatanabhayamagnamahAmahIdharamudadhimavadhIrayAtaparikhAcakreNa / pariSkRtA.... upavanairudbhAsamAnA.... vibhramadIrghikAbhidIdhIkRtasaubhAgyA kulagiribhiriva gurubhiH prAsAdaiH prasAdhitA..... vAravAmanayanAbhirvirAjitA rAjapurI nAma raajdhaanii| bears resemblance with asti ramyatAnirastasamastasuralokA, svapadApahArazaMkitazatakratuprArthitena zatatamakratuvAJchAvicchedArthamiva pArthivAnAmikSvAkUNAmutpAditA prajApatinA vRttojjvalavarNazAlinI karNikevAmbhoruhasya madhyabhAgamalaMkRtya sthitA bhAratavarSasya tuSAradhavalabhittinA vizAlavapreNa parigatA prAkAreNa, vipulasopAnasugamAvatAravApIzatasamAkulA, manorathAnAmapi durvilayena plavamAnakarimakarakumbhIrabhISaNormiNA jalapratibimbitaprAkAracchalena jalarAzizaMkayA mainAkamanveSTumanta:praviSTahimavateva mahatA khAtavalayena veSTitA........amarakAnanAnukAribhirArAmaiH zyAmAyamAnaparisarA .... caNDAMzurathacakramArgaH pRthulAyataivipaNipathaiH prasAdhitA..... ya adbhutAkArairanekabhUmikA bhrAjiSNubhiH saudhaiH pravartitAviratacandrodayA.... pUrvArNavavitIrNaivRddhakaMcukibhiriva rAjahaMsaiH. kSaNamapyamuktapArzvayA.. bhAgIrathImupasthitayA saritA sarayvAkhyayA kRtaparyantasaravyA,.... alaMkRtA vadhUbhiH.. sAkSAdiva kAmasUtravidyAbhirvilAsinIbhirvitIrNatribhuvanajigISu kusumasAyakasAhAyakA,... nivAsilokaiH saMkulA...... sarvAzcaryanidhAnamuttarakozaleSvayodhyeti yathArthAbhidhAnA ngrii| ____ asti khalu nikhilajaladhiparikSepavilasadanekadvIpakamalakaNikArUpasya jambUdvIpasya dakSiNabhAbhAji bhArate khaNDe puNDarIkAsanAyAH krIDAgRhamiva lakSyamANaH vRttojjvalavarNazAlinI kaNikevAmbhoruhasya madhyabhAgamalaMkRtasya sthitA bhAratavarSasya; uddaNDakamalaviSTaropaviSTakAdambakadambakaiH utphullakalhArani:SyandimakarandameduritapAthobhiH pavanoddhRtakallolapaTalakavalitaviyadavakAzaiH pAthorAzi paribubhUSaNayA sAgaramahiSImandAkinI bandIkartumantarikSamutpadbhiriva prekSyamANaiH... jalAzayaiH darzitAnekasAgaramahimA 6bhAgIrathImupasthitayA saritA sararavAkhyayA kRtaparyantasakhyA pratyArohaptitatRNakarIrakavalanamuditaiH avanilaviluThitabAladhipallavaiH agracalitabalavadukSadarzanabhayadhAvadadhvagairgatirabhasaraNitamaNikiMGkiNIravamukharita bhuvanavivaraiH smaraNa pathaviharamANatarNakavamitadugdhadhArAdhautadharAtalaiH kaThinakhurapuTakhananasamutpatadaviralaparAgapaTalacchalena gozabdasAmyasamAvirbhUtasnehatayA bhUtadhAtryeva dIyamAnAnuyAtraiH svabhAvakuNDalita zikharabhISaNaviSANavyAjena duSTasatvasamutsAraNAya kArmukamiva kalayadbhiH prazastakarmasAdhanaiH godhanaiH pavitrIkRtasImA hemAMgavanAmA janapadaH prAtareva pracAranirgatAbhistatkalamadhigatAdhikabalopacayavRMhitena svAbhAvikabhavyatAguNenadviguNAkRSTalokadRSTibhiH pInaparimaNDalApInabhAravikaTamantharagamanAbhiranaNumaNighaNTikAghoSaramaNIyamitastato vicarantIbhiH satatAnucaracATukArasvairasaurabheyAbhiracirajAtaprasavAbhiradyazvInAbhizca gobhirazUnyaparyantaiH tuhinapAtazItahaiyaMgavInavarNatanulatAlAvaNyAbhiH kSIradhavalacalatkaTAkSacchaTApratikSaNakSAlitAdiGmukhAbhirnavanItapiNDapANDuvalagatkaThinaparimaNDalastanakalazayugalAbhirgorasazrIbhiriva zarIriNIbhiH savibhramairaMgavalanaiH snehanirbharANi dadhIni 1. GCM I pp. 15-24. 2. TM Vol. I pp. 43-55. 3. LL.2-3. GCM I p. 8. L. 3-4. 4. TM. Vol. I. p. 43. L. 2. 5. GCMi p.11. LL 2-6. 6. TM Vol. Ip. 43. L.3 7. GCM I p. 13. L.7. p. 14

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DHANAPALA AS A PROSE WRITER 147 ballavahRdayAnIva nirdayamAmathnatIbhirgopalalanAbhiH sarvataH samAkulairgokulairadhiSThitakakSopakaNThAM nagarasImAmalaMghayam ....... yatra strINAmadharapallaveSvadharatAkucataTeSu kaThinatA, kuntaleSu kuTilatA, madhyeSu daridratA, kaTAkSeSu kAtaratA, vinayAtikramo mAnagraheSu nigrahaH praNayakalaheSu prArthanApraNAma: paMcabANalIlAsu vaMcanAvatAra: prmbhuut| yasmiMzca rAjanyanuvartitazAstramArge prazAsati vasumatI dhAtUnAM sopasargatvam, ithUNAM pIr3anam, pakSiNAM divyagrahaNam, padAnAM vigrahaH, timInAM galagrahaH, gUDhacaturthakAnAM pAdAkRSTayaH kukavikAvyeSu yatibhraMzadarzanam, udadhInAmapavRddhiH, nidhuvanakrIDAsu tarjanatADanAni, dvijAtikriyANAM zAkhoddharaNam..... vaiziSikamate, dravyasya prAdhAnyaM guNAnAmupasarjanabhAvo bbhuuv| of Dhanapala where in the righteous reign of Meghavahana has been fully illustrated through the exclusion of unrighteous tendencies on the part of the people. The figure Parisamkhya is a borrowing from Dhanapala who on his own part takes it from Bana. Description of Satyandhara takes its cue from that of Meghavahana. tasyAM caivaMvidhAyAM vidheyIkRtaprakRtiH, pratApavinamadavanIpatimakuTamaNivalabhI viTaMkasaMcAritacaraNanakhakAnticandrAtapaH karatalakalitakaravAlamayUkhatimirAbhisaradAhavavijayalakSmI lakSitasaubhAgyaH semarasAgaramathanasaMbhRtena sudhAraseneva pratApadahanadanachandadahyamAnapratibhaTavipinajanita bhasitarAzineva nijabhujaviTapivinirgatakusabhustavakeneva paripanthipaMkajAkarasaMkocakautukasaMcitena candramarIcinicyeneva khaDkakAlindIsaMjAtena phenapaTaleneva pANDureNa yazasA prakAzitadigantaH, dizi dizi nihitajayastambhaH kumAra iva zaktizakalitabhUbhRdvigrahaH, zatamakha iva sumanasAmekAntasevyaH, sumeruriva rAjahaMsalAlitapAdaH,duryodhana iva karNAnukUlacaritaH, candra iva kuvalayAnandikarapracAraH, caNDadIdhitiriva kamalAkarasukhAyamAnapAdaH pArijAta iva paripUrNarthijana manorathaH, rAjA rAjyAzrama guru: kurukulaghuraM gharaH satyaMdharo naamaabhuut| ___ tasyAM cAzcaryabhUtAyAM nagaryAmavAryabhujabalArAtikaThinakaNThAsthidalanadanturakRpANadhAraH,.... sArvabhaumo rAjA meghavAhano naam| yasya cArambhamabhamimatAvAptiH pusAM vidyAdhigamaH, parAkramaM paripanthiparikSayaH, parahitaniratiM janAnurAgaH, pratApaM durAkramatA, tyAgam bhogAvalI, kAvyarasAbhijJatAM kavisaMgrahatAM, kalyasaMghato kalyANasaMpattiH nyAyanetRtAM nijakRtyAnullaMghilokatA, tattvajJAninAM dharmazAstrazuzrUSA, durabhimAnahInatAM munijanapadaprahRtA, mAnanIyatAM dAnajalAdrIkRtakaraH paramadhArmitAM paramezvaraspardhA, nItinipuNatAM niSkaNTakatAnirakSaraM nirantaraM nivedyti| yazca saMgarazraddhAlurahitAnAmunnatyAnutoSaNapraNatyAdAnavyasanI janAnAmarthitayA prIyata na kRtArthatayA, kuzAgrIyabuddhiH kAryANAM , vaiSamyena jaharSa na samatayA, lakSmIhatAkarSaNalampaTo daivasya vaimukhyamAcakAMkSanAbhimukhyam,' 1. TM. VO. II pp. 257-258. 2. GCM.I p. 26. LL 3-5. 3. TM Vol.I pp. 67. LL. 3-4. p. 68. LL. 1-3. p. 69. L.1. 4. GCM I pp. 27-29. p. 27. LL.1-6. p. 28. L.4-5. 5. TM Vol. I pp. 58-64. L.4. L.4. ___ Ibid. Vol. I pp. 65-67. p. 65. LL.3-5. p. 66. LL.3-6. p. 67. L.1. '6. GCM I pp. 30-31. p. 30. LL. 6-8. p. 31. LL.1-3. 7. TM. Vol. I pp. 65-67. LL. 3-5.

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148 TILAKAMANJARI OF DHANAPALA along with "yasya ca pratApa eva vasudhAmasAdhayat parikaraH sainyanAyakAH, mahimaiva rAjakam anAmayat nIti: pratihArAH, saubhAgyamevAntaHpuraM rarakSa sthiti: sthApatyAH AkAra eva prabhutAM zaMzasa paricchadaH chtrcaamrgraahaaH| teja eva duSTaprasaraM rurodha, AjaivAnyAyaM nyaSedhayat, rUpameva manasvinI: prasAdamanayat dhArmikataiva duritAni praticakAra, prajJaiva mantrAna nishcikaay|"' of Dhanapala containing Parisamkhya which in arthi takes a cue from tasya cAbhavadadbhutAcArarUpA rUpasaMpadiva vigrahiNI, gRhiNIdharmasthitiriva sAkSAkriyamANA, samaravijayalakSmIriva puSpadhanuSaH pratinidhiriva lakSmyAH pratApapUrttiriva saubhAgyasya, samAptibhUmiriva saundaryaparamANUnAm manorathasiddhiriva pAtivratyasya, prakaSarekheva strIvasya, mUrtiriva dAkSiNyasya, kIrtiriva cAritrasya, vijayapatAkeva paMcazarasya vijayAnAma mhissii| which resembles. tasya ca rAjJaH sakalabhuvanAbhinanditodayA dvitIyAzazikalevAdvitIyA...... bhAgyasaMpattiriva saubhAgyasya puNyapariNatiriva lAvaNyasya, saMkalpasiddhiriva saMkalpayone: sarvakAmAvAptiriva kamanIyatAyAH, ni:syandadhAreva zRMgArasudhA gArasya, raMgazAlA rAgazailUSasya, jyeSThavarNikA rUpajAtarUpasya, ambhojinIvibhramabhramarANAm, zaratkAlAgatiH kelikalahaMsAnAma, vazIkaraNavidyA madanamahAvArtikasya, rasasiddhivedazca dhAtuvAdikasya samastAnta:puraziroratnabhUtA madirAvatI nAma devybhvt| kadAcitprahatamRdumRdaMgaH raMgamadhivasanvilAsinInAmaticaturakaraNa bandhabandhuramanaMga tantrazikSAvicakSaNaviTavidUSaka pariSadupAsyaM laasymvaalokisstth| kadAcidanugatavINAveNuraNitaramaNIyAM ramaNInAM gItamAkarNayana giitaamaakrnnymkrnnpaarnnaamkaarssiit| kadAcidvikaca kusumaparimala tarala madhukara kalaravamukharitaM latAmaNDape viracitanavakisalayazayane kRshodriimriirmt| kadAcit vanakarIvikariNIsakhaH saha dIrghadRzA viharanvihAradIrghikAM balavadAsphAlanabhayAdiva samutarataraMgalAMcchitaghitamaNi sopAnapathAM parasparalIlAprahAradohalAvacitanalinazayanasamuDDInakalahaMsa dhvlpksspttlmuhuurtghttitviydvitaanmtaaniit| kadAciccandrazAlAtalaprasAritazayanamadhyaM tanumadhyayA sahAgidhivasanvasantayAmi niissu| nirantaramAvirbhavadbhiramRtakarakiraNakandalaiH kandarpadantAvala karNa tAlAvacUla cAmarairnayatana cakorayorAtitheyIma nlpaamklpisstth| exactly coincides with Dhanapala's description of the sports of Meghavahana such as kadAcidvadanamaNDanAdibhirviDambanAprakArairupahasan viduusskaannt:purikaajnmhaasyt| kadAcit svayameva rAgavizeSeSu saMsthApya samarthitAni zRMgAraprAyarasAni svaracitasubhASitAni svabhAvaraktakaNThayA gAthakagoSThyA punaruktamupagIyamAnAnyanurAgabhAvitamanAH zuzrAva It will take lot of space to draw out comparisons between the two in order to show that Vadibhasimha is indebted to Dhanapala in many ways. In the construction of the plot as well there seems to be an apparent vision 1. GCMI pp. 31, 36-37. 2. TM. Vol. I pp. 81,82, 83.p.81. LL.3-4. p. 82. LL.3-6.p. 83. L.1. 3. GCM I, pp. 42-43. p. 42. LL.1-8. p. 43. L.1. 4. TM. Vol. I p. 75. LL.1-2., 4-6. 5. GCM. III. p. 153. LL.2-8.

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DHANAPALA AS A PROSE WRITER about the indebtedness of Vadibhasimha to Dhanapala. The motif of Gunamala and Jivandhara exchanging billets through a parrot takes its cue from the exchange of billets between Samaraketu and Malayasundari through Gandharvaka transformed into a parrot. Gandharvadatta being the first spouse of Jivandhara, being a daughter of Garudavega the king of the Vidyadharas reigning in Gaganavallabha on the southern range of the mount Vijayardha in the Bharataksetra (IInd Lambha of GCM) amply illustrates Odayadeva's indebtedness to Dhanapala in so far as Vijayardha mount has been described by him also along with the town named Gaganavallabha a capital of the Vidyadharas. The predictions of the sage Vipulamati regarding the future of Gandharvadatta, likely to be the spouse of Jivandhara, Gandharvadatta and Suramanjari have been depicted on the same lines as Tilakamanjari and Malayasundari. Even Gunamala strikes a parallel with Malayasundari in point of the motif of the exchange of billets through the parrot. 149 ayi bhoH zrUyatAm / iha vizrutAyAM vidyAdharadharAyAM vividhavRttidAnadakSadakSiNazreNyAM zreNIbhUtapuragrAmakAnte gAndhAraviSaye yoSAjanabhUSAlokatiraskRtadinakRdudayAloko nityAlokaitrakhyayA vikhyAtaH ko'pi virAjate kindhaavaarH| tasya patirgamane carakirITAdhirur3hazAsano garuDavego nAma / tasya ca mahiSI sakalaguNamanohAriNI dhAriNI nAma / tayoH sutA dehakAntivyAmohitacitabhUmikA gandharvadattA / tasyA: janmamuhUrta eva mauhUrttikA: kanyeyaM medinyAmatanayasAdhAraNavINAvAdananaipuNyAdenAmatizayAnasya kasyacitkumArasya rAjapuryAM bhAryA bhaviSyati iti vyAhArSuH / Dhanapala appears to be a counterpart to Vijayavega while the introduction of Sridatta to Garudavega brings to mind the similar type of introduction by Vijayavega of Samaraketu with Meghavahana.1 putri ! zrIdattenAsmAkaM kulakramAgato maitrI / gAtrAntarasthaM mAmeva tAvadamuM manyethAH / kanye, janakastavAyaM na cAsyagRhiNI / gRhANAmunA prayANe matim / alaM kAtaryeNa / gagane carANAM rAjaputrI kiM na bhavanadvArasamA / iti sAnunayaM samabhyadhata / bears parallel to the sermon of Meghavahana given to Harivahana while introducing Samaraketu to be the foster brother of the latter. " vatsa, eSa samaraketurguNaiH samadhikaM samaM cAtmabandhuvarge pradhAnapuruSamapazyatA mayA tavaiva sahacaraH parikalpitaH, asya kalpAyuSo darpaNasyeva sadvRttasya kalaMkarahitAtmano matpuraskRtasya sarvakAlamabhimukhena bhavitavyam / "2 Odayadeva like Dhanapala has employed certain uncommon vocabulary such as 1. TM. III. p. 160 2. Ibid. Vol. II. p. 230

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150 TILAKAMANJARI OF DHANAPALA 'Rincholi' meaning an 'array' 'Cikroda' meaning a Squirrel2 'Candropaka' a canopy, Kanja' a lotus, 'Camaraja' a balavyajana, 'Harivist ara' a Simhasana. 'Apasarpa' a spy, 'Uravya' a Vaisya?, 'Amburasirasana Earth, 'Nilimpa' Indra, 'Animisa' a gods etc. Vamanbhatta Bana's Vembhupala Caritam (15th Century AD) like Soddhala's Udayasundarikatha derives most of its motif from the Hars acarita of Bana whose muse has been extolled in the beginning of the text. But there is a basic scent of Kadambari in the construction of the plot. The entry of Prollabhupati into a sylvan resort, his pursuit of the deer, the smell of a scent of flower, the hearing of a sweet melodious song, the sight of the enchanting beauty, the description of the lotus lake, Vindhyatavi, Nyagrodha, the shrine of Gandika, all these derive inspiration from Bana's Kadambari katha. The style and technique have an impact of both the works of Bana. From the extracts quoted by Pandit Amaranatha Pandey Dhanapala's impact on these is fairly negligible. It was perhaps Vamanabhatta Bana who did not like his muse in so far as he did not deem its value in comparison of Bana at so short an interval of time given to him to attain to popularity. It was certainly his personal discretion to have ignored him or else he could view with Vadibhasimha in becoming a costudent of Dhanapala. E. PLACE OF DHANAPALA'S WORKS IN THE SANSKRIT PROSE LITERATURE; GENERAL ESTIMATE It is pretty hard a task to evaluate the degree of superiority or inferiority of a literary artist without being prejudiced while comparing him to the predecessors. Dhanapala as a prosc writer certainly ranks as one of the illustrious stars who proved a surest plank in the tottering structure of classical romance that had started signs of wear and tear due to decadence in tastes after the lofty and sublime muse of Bana who had produced works of the norm that exhausted all scope for originality for all those aspiring to keep the lamp of prose literature enkindled through the mansion of Literary traditions. His Tilakamanjari presents a unique type of Katha which though inheriting most of its victuals form Kadambari has brought into being something very sumptuous and delicious in point of the food stuffs 1. GCM i, p. 10 2. Ibid. p. 12 3. Ibid. p. 160 4. Ibid. p. 161 5. Ibid. p. 67 6. bANabhaTTa kA AdAna prdaan| pR089-94

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DHANAPALA AS A PROSE WRITER 151 consisting in the descriptive and the narrative materials, characterisation, human psychology and above all the superb mode of sermonising for the sake of obviating sin and spreading health and fortune in the world. A critical examination of the Literary aspects screened through Tilakamanjari makes it very clear that Dhanapala in writing his romance has conformed faithfully to the literary tendencies of the age which had an inclination towards the Heterodox cults such as Jainism reacting violently against the ritualistic performances, of the Vedic and Hindu cults which had started degenerating on account of their taking to the path of mass killing in the sacrifices as is evident from the Yasastilaka Campu of Somadeva where in king Maridatta had taken a vow even to sacrifice a youthful pair of a boy and a girl. Trivikrama Bhatta's erudition meant to display a tendency to strain language by the employment of 'Bhangaslesa' equally smacks of bad tastes leading the literary traditions towards a decadence unprecedented enough to mar the steady growth of literature. Dhanapala felt it worthwhile to get out of that rut of pretentiousness and produced a writing that lit the lamp of classical Sanskrit prose to such an extent that the years to come could never foster the feeling of Sanskrit continuing to be the living language among the literaeurs. Dhanapala's critical outlook in treating of the two love episodes intertwined within one another is remarkable in so far as he has created confusion even in the minds of literary stalwarts such as Dr. S.K. De and A.B. Keith and even V. Varadacari who failed to understand its theme properly and deemed it to be a romance depicting the love episode of Samaraketu and Tilakamanjari. (Tilaka by V.Varadacari) On the whole Dhanapala has been pretty successful in inventing a theme and carrving it out to the furthest limits from the point of view of shedding off of the old complexes such as inability to produce something superior to Bana etc. and treating off of all the modes of literary styles of prose, descriptions, narration's and reflective moods of his characters some of whom though celestial or semi-celestial beings yet act and behave on the same plane as the mundane beings given to callow indelicacies and frivolous dicacities of the physical form. The vast and panoramic review of the Geographical spots amply illustrates his ubiquitous knowledge about the topography of India and establishes him to have been a great wandering soul that had observed very minutely every nook and corner of his Homeland.

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PART III CULTURAL DATA IN TILAKAMANJARI 1. GEOGRAPHICAL DATA MAIN SUB-DIVISIONS OF BHARATAVARSA As already observed on the testimony of the Prabandha Cintamani of Merutungacarya and other literary, inscriptional and extraneous sources, Dhanapala lived and flourished in the times of Munja, Sindhuraja and Bhoja and approximately in the last two decades of the tenth and first half of the eleventh century A.D. and composed as well as completed his Tilakamanjari in the reign period of Bhoja who himself was great patron of learning, a prolific writer, an author of as many as thirty four literary pieces on all subjects, literary, rhetorical and technical, we shall have to examine the relevant geographical details available throughout his descriptions in the light of the history of the Gurjara Pratiharas and Paramaras, the latter being the very title of the lineage of Bhoja and his predecessors. Like Kalidasa (Raghu Vamsa)' and Dandin (Avantisundari Katha)? Dhanapala has also referred to the tradition of eighteen dvipas' which may have been the southern and south-eastern islands like Andaman (Indradyumna), Lanka (Simhala), Malaya, Java (Yava) and Sumatra (Suvarna) etc. described in the Geography of the Gupta age. The reference of Dhanapala is in context with Harivahana who is likely to be born to Madiravati as the son of Meghavahana, king of Ayodhya in the Uttarakosalas, a son endowed with prowess (411401 9:), an enjoyer of the kingdoms of the overlords of both the terrestrials as well as the celestials; likely to take birth very shortly by the blessings of Sri (lit. by the power of Sri), with the victory column made of wood, stones and gems dug up at the peaks of the mountains on the shores of the four oceans having service rendered unto his feet by the spouses of the harem, being rendered 1. VI. 38. 2. ASK pp 62; 161. also Bana in his HC. pp. 179, 185; of the Vikram Quarterly Research Journal of Vikram University, Ujjain p. 109. 3. TM Vol. I, p. 153, Vol. II p. 149. 4. KSN p. 110. See Also HSA p. 119 Ragh. V.VI 62 XII 63, 66.

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CULTURAL DATA IN TILAKAMANJARI reverentially, by the damsels of the kings of the eighteen dvipas (islands) made subservient (lit. captive) by him. 153 Even Candraketu, the sire of Samaraketu has been proclaimed as a king well known over the four oceans whose succour was fit to be sought by even the great kings; he has even been described as the only valiant in the entire Universe who had brought to the state of subsidiary vassals the kings reigning over the islands falling within the range of all the oceans. Samaraketu was the son of such a king.' Dhanapala has also referred to the group of kings of the islands situated in between the unfathomable oceans and the earth having the seven repertories of water i.e. the oceans for her group of zone girdles having the victory columns at the extremities made of eight quarters by Meghavahana who had proclaimed victory over them as soon as he was consecrated to the throne while yet being a boy." It obviously implies on the analogy of Dandin's conception that the globe was divided into seven continents said to be encircled by the same number of oceans. Dr. Kailasha Natha Dvivedi in his article edited "Saptadvipavati Prthvi" published in Sanskrita-vimarsah xv. 2.1987 edited by Dr. Mandana Misra and Sampannarayanacharya published by Rashtriya Sanskrit Sansthan, New Delhi, has identified Jambudvipa with Asia, plaksa divipa as North America, Salmalidvipa as African Islands, Krauncadvipa as Europe, Sakadvipa as Australia and Puskara as Antarctic region. Meghavahana has been described as the incarnation in corporeal form of the sun with extremities of the four oceans overwhelmed by his sole chariot. Hence the four oceans formed the four extremities of the land of Bharata i.c. Bharatavarsa which had Ayodhya, the capital of Meghavahana, forming the ornament of its middle portion or central part' The earth having extremities for the oceans having mountains, islands and groves in between has also been referred to in a number of places." 1. TM. Vol. II p. 227. 2. Ibid. Vol. I p. 70, p. 227, p. 402 Sm. ed. p. 402 Saptarnavi Salila. 3. Ibid. Vol. I p. 71, Vol. I p. 85. 4. Ibid. Vol. I p. 59. 5. Ibid. Vol. I p. 43. 6. Ibid. Vol. I p. 148, Vol. II p. 174, Vol. II p.204 Vol. I p. 127, Vol. I verses 40-41 p. 34. vol. III p. 178 100 vol. i.

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154 TILAKAMANJARI OF DHANAPALA Oceans encir by the entire chara beari Meghavahana yearning for progeny expresses his desire that he did not want to be the last of the Iksvakus who had outlived the splendour of the sun by their primeval person on account of their lofty prowess transferred into the faces of all the quarters, enjoying the earth (Vasumdhara) up to the shores of the four oceans (Caturudadhi Velavadhi), Vasundhara bearing as they did the conduct effulgent and eulogised by the entire Universe. This point corroborates the idea of four oceans encircling the earth.' raGgAvalIyogyaratnAnayanAya pRthvItalopAnteSupAthonidhIn babhrAma again refers to oceans surrounding the earth. Candraketu's son Samaraketu had come to Kanci followed by kings with a view to vanquishing the islands falling in between all the oceans, with consecration performed in his very boyhood." Dhanapala has also referred to the four oceans as purvarnava,* Apara Payodhi' and Dadsinarnava with a casual reference to Uttarasajalarasi", in his Tilakamanjari. He has described Ayodhya having had the friendship on all extremities of the river named Sarayu which had its precincts dissociated not even for a moment by royal swans who were as though the old chamberlains provided by the Eastern ocean, carrying straight lotus stalks for their staves. While describing Tilakamanjari as the daughter of Cakrasena, through Patralekha Dhanapala has described Cakrasena as the king who had established his command over the circle of the earth having her limits extending up to the Purva (Eastern) and Apara (western) oceans through sheer force. While showering his benevolence unto Samaraketu Meghavahana describes the array of groves on the outskirts of the Southern ocean as abounding in punnaga, lavanga (clove), ela (cardamom), Campaka, tala and tilaka trees. The childhood pranks of Tilakamanjari have been described amongst the young palmyra palms struck by the surges of the southern ocean. Meghavahana has been described as the overlord of Daks ina, Apara and Purva oceans. Kanci was a nagari abounding in gold and 1. TM Vol. I p. 151. 2. Ibid. Vol. II p. 183. 3. Ibid. Vol. II p. 218. 4. Ibid. Vol. I p. 47 Vol. III pp.11, 138, 154. 5. Ibid. Vol. III p. 11, Vol. III p. 154. 6. Ibid. Vol. II p. 230, Vol. I p. 88 Vol. III p. 171, Vol. III p. 12, Vol III p. 154 Sm. ed. p. 343. 7. Ibid. Vol: III p. 128.

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CULTURAL DATA IN TILAKAMANJARI 155 riches in illimitable quantum sprung from the southern ocean. The forest ranging between the Vaitadhya and Ekasonga mountains has been described as the road meant to get out of the northern ocean quiet at the end of the deluge. The western ocean' has also been referred to as "Pascatya Sindhu' whose banks had been battered by the weights of the armies of Mahabala the overlord of the Saurastramandala. The three oceans according to Dr. D.K.Gupta are Purvasagara (or Purvarnava of Dhanapala) represented by Bay of Bengal, Apararnava or Pascatya Sindhu of Dhanapala and Pascimasagara of Kalidasa and Dandin represented by the Arabian Sea, Daksinarnava or Daks inodadhi of Dhanapala, Kalidasa and Dandin represented by the Indian ocean.? The fourth ocean referred to by Dhanapala as Uttarasa Jalarasi was traditionally known in the ancient times and is known to the modern Geographers as Tarim Basin beyond the Himalayas. Apart from this Dhanapala has referred to Lavanasindhu", Lavanajalarasi., Lavanajaladhi, Lavanasagara, Lavanarnava, Lavanajalanidhi,' Lavanabdhi,'' etc. as synonyms for the salt ocean. "dia Jaure....37facrala i CEAIUTTGERAREA 7422 0721 714 PRI""|| clearly distinguishes the Lavanasagara from Daksinodadhi. Just as Kanci was not far away from the Southern ocean, Lanka was quite situate to the Lavanasagara. At another place Dhanapala has baptised Lavana Sindhu variantly as Ratnakara. 1. TM Vol. III p. 186. 2. KSN Vol. X p. 110. 3. Ibid. p. 110. 4. TM Vol. II p. 323. Sm. ed. p. 409. 5. Ibid Vol. II p. 273, Sm. ed. pp. 337, 378. 6. Ibid. Vol. II p. 202. 7. Ibid. Vol. III p. 171. 8. Ibid. Sm. ed. p. 382. 9. Ibid. Sm. ed. p. 322. Vol. II p. 287. 10. Ibid. Sm. ed. pp. 363-364. 11. Ibid. Vol. III pp. 323.

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156 TILAKAMANJARI OF DHANAPALA 'zaMke cAtra niSpAdyamAne tridivazilpinAmabhIkSaNamatitIkSNakoTibhiSTAMkikAbhistakSyamANAbhyaH samantataH samucchalitAni yAni sthUlazakalAni taireSa lambhito ratnAkarAbhidhAnaM lavaNasindhuH / "" "Lavanasindhu has been made to bear the name Ratnakara through those very thick slabs splashed aloft from all sides from the bejewelled rocks on the peak being chiselled with hoes of extremely sharp points, (employed by) the divine sculptors when it (i.e. the shrine) was being built up.' as This makes it clear that Lavanasindhu is a repertory of gems on account of its being called Ratnakara. It became so i.e. Ratnakara because huge slabs chiselled out from the rocks on the peak or peaks (of a mountain) were thrown into it by the ravages of the weather. It also makes it apparent that it i.e. the Lavanasindhu is quite distinct an ocean from Purvarnava as also the Aparamava which are bay of Bengal and the Arabian Sea. It is distinct from the Indian ocean, this fact has been observed already. Hence Lavanasagara or Lavanasindhu or Lavanarnava etc. is quite distinct from the three oceans, the Eastern, the western as well as the Southern ones (Purvaparadaks inarnavas). It may signify the fourth of the four oceans. Dhanapala has categorical added arnava, sagara, sindhu, jalarasi, abdhi, jalanidhi, jaladhi to Lavana and has prefixed Purva, apara or pascatya and Daksina to the arnava, abdhi, udadhi etc. and has even generalised the term Samudra or Sagara for these. He has even called Lavanasagara 'bhagavantamambhonidhim' but it is a word or adjective of rare occurrence. It cannot, however, refer to either the Purva Sagara or the Daksinarnava by any stretch of imagination. An ocean can be spiced by the variety of gems, stones and other mineral materials getting suffused into its water after having fallen from the mountains. The Lavanasindhu may be called so because of its water getting suffused with the mineral materials from the Himalaya bearing the name Tarim basin beyond the Himalaya and Lavansagara as it flowed beyond the Tarim basin and close to Lanka etc. Kusumasckhara had the expanse of his army camp stretching on to the groves on the shores of the Southern ocean like the mount Malaya having its extensions into the Eastern and the Western quarters.2 This also proves the distinctness of Lavanarnava from the Daksinodadhi. Meghavahana had the groves situate to the shores of the Southern, eastern and the western oceans. trampled by the hooves of the steeds of his army. Both preclude the possibility of their contacts with the Lavanasindhu which may in all 1. TM. Vol. II p. 323. 2. Ibid. Sm. ed. p. 176.

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CULTURAL DATA IN TILAKAMANJARI 157 probability be the fourth ocean understood by Dhanapala. He has also referred to the Sisiraniradhi in fruferrirferhoferte rifarfa fapak Faft which refers to Samaraketu's morbid transformations on seeing Malayasundari and his efforts to guard against the breeze blowing from the cold sea which may refer to the Lavanasindhu or the Northern ocean emitting out cold breezes. Samaraketu had reached Kanci by series of movements having passed through the Janapadas and after having waded through the Lavanajalanidhi.' geefsta Hattusta maafisa: weddisfaral gaui jalanidhiM janapadAMzca kapticitka meNa kAJcima gbht| "na sA gavalazikhigalazyAmalayA malaya girimUlavanamAlayA samantato mAlitA lavaNajalarAzivelA2 refers to the shores of Lavanajalarasi lined on all sides of the arrays of groves on the bottoms of the Malayagiri (Western Ghats). Lavanajalarasi may be extending up to the Western Ghats also. It is not the Southern ocean as in 30 above; the army cantonment spreading on the shores of this ocean has been compared to the Malayagiri extending in the Eastern as well as the Western directions. "dakSiNAzAvibhUSaNeSu trikUTamalayAdiSu nagendranizcalanibaddhanIr3a garuDapotodbhAsita phaNiSu lvnnaabdhirodhovnessu|" refers to Trikuta and Malaya as the mountains forming the ornaments of the Southern direction and the groves on the shores of the Lavanabdhi having snakes drawn out by the young ones of the Garudas establishing their nests calmly in the mountains. This refers to Lavanabdhi drawing close to Trikuta and Malaya the mountains. "uttarIyaMcalanibaddhanizcalasamaraketa lekhAzca laMghayitvA lvnnjlraashimuttraashaabhimukhmaaptm| prazAntavairAzrama , samIpe malayarvatopAntavartinaH pArAvArapulinAduccarantamatikaruNamAkrandazabdamAkarNya HARI+04/" refers to Gandharvaka carrying the billet of Samaraketu and wading through the Lavanajalarasi and finally soaring to the north. He reached the hermitage Prasantavaira and heard the doleful cries rising from the shores of the ocean that lay close to the Malayaparvata. This also establishes the distinctness of Lavanajalarasi and the Southern ocean. 1. TM. Sm ed. p. 322. 2. Ibid. Sm ed. p. 322. 3. Ibid. Sm. ed. p. 337. 4. Ibid. p. 378.

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TILAKAMANJARI OF DHANAPALA 'agAdhalavaNAbidhajalaparikSiptabhAno ranekasurapAdapacchannaTaMkacchi nnakaTakasya zikhariNo ratnakUTasya / "" refers to Ratnakuta connected with the Lavanabdhi. Ratnakuta has been described by Dhanapala as a fragment separated from the Meru (Hatakagiri) and thrown into the ocean by the lords of the monkey forces at the instance of Rama, Meru is Rudra Himalaya in Garhwal where the Ganges takes its rise. Ratnakuta being a fragment of Meru and falling into the Lavanajalarasi makes the Lavanajalarasi a northern ocean which extended even in the South at certain spots. "madhye lavaNasindhoritastataH prahasitaprayatnanayanayA ratnakUTAdriparisare "" 158 again refers to Ratnakuta connected with Lavanasindhu. "prArabdhaparihAsayeva lavaNajalanidhivelayA vIcihastApavarjirtaH suvelanAmAnamacalarAjamavrajam / ' 12,5 refers to Suvela mountain having its sides struck against by the hands in the form of ripples by the Lavanajalanidhi Trikuta and Suvela and accessories. The expansion of Lavanajalanidhi in the South cannot be overlooked here. Hence the purview taken above makes it clear that Lavanabdhi is quite distinct from the Eastern, the Western and the Southern oceans and it can be construed to have an affinity with the Northern or the Fourth ocean. 2 - 12 Besides these milk ocean has been referred to variantly as 6 8 Ksirasagara, Ksirajaladhi', Ksiroda, Ksirasindhu," Dughodadhi," Dugdabdhi, Dugdhasagara, etc. In all these references the mythical legend of churning of the ocean with Mandara forming the churning rod of 11. Ibid. Sm. ed. p. 408. 12. Ibid. Vol. I p. 122. payobhiranavaratamAhanyAmAnaM 114, vol. III p. 137, Sm ed. pp. 373-408, pp. 121, 142. 9. Ibid. Vol. III p. 76, vol. III p. 185, vol. III p. 137. 10. Ibid. Vol. III p.191. 1. TM. Sm. ed. p. 408. 2. Ibid. Vol. II pp. 292-293. 3. Historical Geography of Ancient India by B. C. Law p. 131. 4. TM. Sm. ed. p. 409. 5. Ibid. Vol. II p. 287. 6. Ibid. Vol. III pp. 26, 114, Vol. I p. 141 Vol. I Sm. ed. p. 313, 337, 376. 7. Ibid. Vol. III p. 33, Vol. I p. 150. 8. Ibid. Vol. I p. 73. Sm. ed. p. 421, vol. I p. 111, vol. III p. 189, vol. I p. 154, vol. III p.

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CULTURAL DATA IN TILAKAMANJARI 159 the gods as well as demons has been alluded to Gods brought out nectar as a result of that. In Mahabharata, a highly luscious island (Svetadvipa) has been established as lying to the north of the milk ocean (Ksirodadhi). Svetadvipa has been identified by Sir Monier Williams as a sacred place near Kasi, a white island, a mythical abode of the blessed. Dr. B.S. Upadhyaya on the evidence of Mahabhararta," Puranas, N.L. Dey's dictionary and the works of Kalidasa has identified Mandara as the hills of the Himalayan range which may lead to the conjecture that the fourth ocean forming the fourth of the division of caturudadhi may be the Ksirasagara which advancing ahead assumes the shape of Lavanasagara also known as Ratnakara. of the dvipas and varsas Dhanapala has mentioned Surarna dvipa;' Pus kara dvipa; Jambu dvipa;' Pancasaila dvipa;" Simhala dvipa;'' and Nandisvara dvipa;" Haimavatavarsa;"2 Harivarsa;'3 Airavartavars a, 'Bharatavarasa." Suvarna dvipa, as already observed was Sumatra which had a town named Manipura where in lived a maritime trader named Vaisravana who bore a son named Taraka in Vasudatta, who became the close associate of Samaraketu after having come to Rangasala, the principal town of the 1. XII. 336.27 Mahabharatakosa by Ramakumara Ray p. 227 Part II. 2. Skt. Eng. Dict. under Svetadvipa. 3. KKB Pt. I, p. 24. 4. Anusasana Parva = 9 Vana Parva 162, 164. 5. Styled as Vaijayanta in Mahabharata santiparva 350, p. 729. 6. TM Vol. I p. 85, vol. II p. 274. 7. Ibid. Vol. I p. 103. 8. Ibid. Vol. I p. 103, Vol. III p. 137, Vol. I. p. 116, Sm. ed. p. 407. 9. Ibid. Vol. III p. 184, Vol. II p. 292, Sm. ed. p. 310, Sm ed. p. 343, Sm. ed. p. 382. 10. Ibid. Vol. III pp. 123, 124, vol. III, p. 106, vol. III, p. 51, vol. III, p. 48, Vol. II 248, 250, 226, Vol. III p. 154, vol. II p. 229, Sm. ed. p. 382, Sm. ed. 279, Vol. I p. 93. 11. Ibid. Vol. I p.116, vol. I. p. 154, Sm. ed. p. 421 Sm. ed. p. 411, Sm. ed. p. 409. 12. Ibid. Sm. ed. p. 412. 13. Ibid. Sm ed. p. 412. 14. Ibid. Sm ed. p. 21, Sm ed. 412. 15. Ibid. Sm ed. p. 381, vol. III p. 187, Sm. ed. p. 411, 421, 356, 362, 412, 407, Vol. III p. 3, Vol. I p. 94, Vol. III p. 14, 137.

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TILAKAMANJARI OF DHANAPALA Simhalas, followed by many sailors who had travelled across many other islands with manifold riches collected therefrom. But in case Suvaranadvipa is to be construed synonymous with Suvarnabhumi it shall have to be identified with Lower Burma.' Apart from being a dvipa, Puskara has been referred to as an ocean2 as well. 160 Puskaradvipa occurs in Tilakamanjari in a context where the Vidyadhara sage got down from the ethereal regions told the king Meghavahana that he had come from the Puskara dvipa and had to go to the chief places of pilgrimage (Pradhana tirthesu) lying within the range of the Jambudvipa. Dr. B.C. Law3 has referred to Jambumarga" and Puskara forest side by side and has remarked. "The Jambumarga was situated between Puskara and Mount Abu according to the Agni Purana (Ch. 109). The Puskara forest is situated at a distance of six miles from Ajmer. At the time of Mahabharata some Mleccha tribes lived near Puskara and the Himalaya". According to Dr. B.C. Law 'Jambu dvipa' was a term evolved by the ancient Indians to denote the territory extending from the Himalaya in the north to the sea in the south. In Buddhist literature Jambu dvipa figures as one of the four Mahadvipas or the four great continents, including India, with Mt. Sineru (Sumeru) in the centre of them. A portion of Jambudvipa known as Angadvipa was inherited by the Mlecchas according to the Vayu Purana (48 14-18). Childers (Pali Dictionary) points out that when opposed to Sihaladvipa, Jambu dvipa means the continent of India. In Sanskrit Buddhist texts such as Mahavastu we have reference to Jambudvipa. The minor rock edict No.1 of Asoka mentions Jambudvipa which denotes the vast country ruled by that great emperor. In the epics and Puranas Jambudvipa is described as one of the seven concentric islands encircled by seven Samudras. Of these seven islands Jambudvipa is the most alluded to in various sources and is one which in its narrower sense is identified with Bharatavarsa or the Indian Peninsula." Dhanapala has referred to 1. HGA I B. C. Law p. 3. 2. TM. Sm. Ed. p. 421. 3. HGA. I. p. 46. 4. MBH Vanaparva 82-40 5. Sabhaparva Ch. 32.8 p. 331 MBH I. GPE 1957 6. Ibid. I pp. 9-10.

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CULTURAL DATA IN TILAKAMANJARI ``dadhimukhAbhidhAnamahAdharAdharendraSoDazaka-parikSepaNInAM 161 jambUdvIpaparimANamaNDalAkRtInAM...... mahApuSkariNInAm" " asyaiva jambUdvIpasya dvIpabhUto bhAratevarSe dUradarzitocchrAyeNa zikharavarSmaNA niruddhabhAnurathagatiH sAnumAnekazRMgo ratnakUTazca ya prkttnaamaasti|" uSNISapaTTamiva jambUdvIpa referring to Vaitadhya in above alone with jambUdvIpasya parimANaparimaNDalAkRtinAM, jambUdvIpasya dvIpabhUto bhAratevarSe..... uSNISapaTTamiva jambUdvIpasya mAnasUtramiva bhAratavarSasya, ' followed by sImantamiva bhuvaH, hAramiva vaizravaNaharitaH are significant. At the first instance it implies that Jambudvipa ranges were very vast in dimensions where in Bharatavarsa is one of the dvipa, having vaitadhya mountain for its measuring rod. The same mountain is the head wrap of the Jambudvipa, the parting line of the earth and a necklace of the Northern direction. It is an arm of the Ksiroda, a counterpart to Himalaya clinging to the Eastern and the Western oceans, deriding even Kailasa with the upshooting sheen of its body stealing the shine of moon, producing thousands of Gangas out of envy for Himalaya, feeling jealous even of Sumeru, vying even with Mandara. bAhuriva kSIrodasya, vizAlaka 'kAvaSTadhabhUtalaM pratipakSamiva himavataH pUrvAparodadhivelAvalagnamudakapAnatRSNayA jIrNasaMvartakAmbudasaMghAtamiva yugAntasamayamudIkSyamANam, indudyutimuSA dehaprabhollAsena paulastyahastollAsitaM kailAsamiva hasantam prakaTitabahusrotasA nirjharanivahena tuhinazailaspardhayA jAhravIsahasrANIva sRjantam, sumerumahimAbhyasUyayA niHzvAsAniva vimuJcantam / According to Dr. B.C. Law Bharatavarsa was just one of the nine varsas or countries constituting the nine main divisions of Jambu dvipa.3 According to Dr. Ramakumara Roy Jambudvipa is that ancient region that ranges between the area south of Nilagiri and Sudarsana to the north of Nisadha. It derives its name from the name of the tree of the same appellation. The juice of the fruits of this tree streaming down into the form of a rivulet and circumambulating the Meru mount reaches Uttarakuruvarsa on the testimony of Mahabharata and identifies it to the north of mountain called Saumanasa on the testimony of Ramayana.* 3. HGA-I p. 11. 4. Mbh. Kosa p. 277. Ram. Kosa p. 117. 1. TM Vol. I p. 116, TM 407 Sm. ed. Text seems to be faulty in so far as it has dvIpabhUto qualifying Ekasrnga. It should be a qualifying Dharatevarse. 2. Ibid. Vol. III pp. 137-138.

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162 TILAKAMANJARI OF DHANAPALA I Pancasaila has been described by Dhanapala as an island forming an intermediary to the Southern ocean. "sarvIpAnAM paMcarzalo nAma dakSiNasya salilarAzerantaradvIpa:'"" and the mountain Ratnakuta has been called the crest ornament of the Pancasaila island. "Esiciar: 4931cm Glue scadh: YTREI..... Ta 714 414467/"2 Simhala is obviously Ceylon which is associated by Trikata mountain, Rangasala its capital had Candraketu for its Lord who even had a source of consternation for the wicked vassals asking near the mountain Suvela. (TM II. p.250). Nandisvara has been described as a chief island surrounded by the Lord of the streams i.e. the ocean also named Nandisvara. "rAmaNIyakena sakaladvIpAnAmapArajalapUritAntarikSeNa sarvataH kRtaparikSepaM nandIzvaranAmnA nandInAthena nandIzvarAbhidhAnaM pradhAnadvIpam Sumali god had gone to this island to see the beauty of a shrine of Jina. Sir Monier William identifies it to a place held sacred by the Jainas. Haimavatavarsa According to the Great Epic (Mahabharata)*(55 Ir ad ad hadi 44 R ent a au madag: 1 0 fachar 4r4G-7) the Haimavata region was situated just to the west of Nepala (Nepalavisaya). It mainly comprised the Kulinda Visaya representing the region of high mountains in which the sources of the Ganges, Yamuna and Sataluja lay. It may thus be taken to include parts of the modern Himacala Pradesa and adjoining tracts and some parts of Dehra Dun. The eastern Himalayan region extending up to Assam and Manipura roughly constituted the Haimavata division of the Jambudvipa in respect of which Asoka introduced the Nabhakas and Nabhapamtis in his Rock edict XIII. The Himalaya region (Haimavatapradesa) of the Jambudvipa (continent of India) extended northwards according to the Pali accounts, as far as the south side of the Mount Sumeru (Pali Sineru). Haimavata division of India is indicated by Kalsi set of Rock edicts, the Asokan monoliths at Nigliva, Lumbini and those in the districts of camparana. The Himalayan region 1. TM. Vol. III p. 184. 2. Ibid. Vol. II p. 292. 3. Ibid. Vol. I p. 116. 4. Vanaparva Ch. 253. 5. HGAI p. 95. B. C. Law. 6. Ibid. p. 96. B. C. Law.

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CULTURAL DATA IN TILAKAMANARI 163 (Haimavatapradesa) has been identified by some with Tibet, by Ferguson with Nepala and by Rhys Davids with the central Himalayas. According to ancient Geographers the name Haimavata was applied to the entire mountain range stretching from Sulaimana along the west of Punjab and whole of the northern boundary of India up to the Assam and Arakan hill ranges in the east.' It is very difficult to define the extents of Harivarsa. Dr. B.C.Law comes to our rescue here as well. According to him Himalayan range and Hemakut are placed in between Bharatavarsa and Harivarsa. Hemakuta region is also called Kimpurusavarsa while the Haimavata region is called Kinnarakhanda. Himalayan range lay to the south of Hemakuta region. Hence Kinnara Khanda lay to the south of Kimpurusavarsa. Both these lay between Bharatavarsa and Harivarsa. Hence Harivarsa may be the region beyond the northern boundaries of the Bharatavarsa, beyond the part of Rudra Himalaya or the Kailasa range. As already observed in 66 above, Bharatavarsa is one of the dvipas of the Jambudvipa, Vaitadhya, the mountain forming its measuring rod we can fix up the jurisdictions of the entire Bharatavarsa forming the Ksetra of the Cakravartti Meghavahana as illustrated by Dhanapala during the course of his allusions to the regions coming within the fold of the administrative units of the great king. Harivahana' has been described as the sole scion of Meghavahana, the overlord of the circle of the earth divided by the four oceans and his lotus foot twain has been described as saluted by the groups of all the kings endowed with the affluence of virtues of the whole of Bharatavarsa; Harivahana' performed acts not fit to be performed by the princes of the kings of entire Bharatavarsa; The sons of the lords of the mandalas abiding in the central and half of the southern parts of the Bharata Ksetra offered homage to Harivahana and his sire Meghavahana, the lord of the earth endowed with enormous circle of the earth, enormous power born of his dignity, enormous army personal, enormous courage and enormous affluence, enjoying certain part of the Bharata on account of his regard for his contemporary lords of the earth (being a Dharmavijayi), born in the Iks vaku race and Puri Ayodhya being principal among all the towns, lineal capital of kings such as Raghu, Dilipa and Dasaratha, the Creast jewel of the whole of Bharatavarsa." 1. HGAI p. 96. B. C. Law. 2. TM. Vol. III p. 3. 3. Ibid. Vol. III p 14. 4. Ibid. Vol. III p.. 187, Vol. I p. 94.

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164 TILAKAMANJARI OF DHANAPALA Harivahana was the son of Meghavahana the king whose command was fit to be obeyed by Malayasundari's sire Kusumasekhara who to begin with was the overlord of the whole of Daksinapatha and later on became a subsidiary vassal of king Meghavahana whose commander Vajrayudha has been described as the overlord of the earth of the entire Daksinatyajanapada, reduced to the state of subsidy paying vassal by him and thereby making Meghavahana the overlord of the lord of Daksinatya Janapada (Kusumasekhara), whose expanse of the cantonment was ubiquitous enough to cover the groves of the shore of the southern ocean, who had obtained luxuriance in the east as well as in the west, like the expanse of the precincts of Mount Malaya.' And Meghavahana offering the governorship of whole of the Uttarapatha consisting of Kasmira and other mandalas including all the main towns and villages to Harivahana and to Samaraketu Janapadas headed by Anga and others along with all their estates etc. encompass the whole of Uttarapatha (the northern range ) and Anga (the eastern range of Gauda Vanga etc.)? After Harivahana became the Supreme sovereign of the Bharatavarsa on the abdication of Meghavahana, he handed over his own governorship of Uttarapatha etc. over to him.' During his sojourn for the conquest of the quarters Harivahana had reached Kamarupa visiting the insurmountable Mandaraka hill, the stream called saravati, the devagrahara foremost of all the villages of all the mandala donated by queen Madiravati at the time of the solar eclipse, being limited to the extent of ten thousand ploughs, the Dharmaranya built by minister Surananda, the border land where Nitivarma had put an end to the life of the lord of the Hunas passing through the bhukti of prince Samaraketu, visiting the village and town given in honorarium to Kamalagupta, the prince of the Kalingas (746HHHHT CITC Sierra :) and witnessing the sports of the sylvan fauna, where welcomed by the overlord of Pragjyotisa who had shown devotion day in and day out, he left his encampment in order to enjoy the chase on the out precinct of river Lauhitya (Brahmaputra) and met all the kings of the Uttarapatha who came to bid their homage as subservients after having got the news of his arrival from their spies. 1. TM.Sm ed. p. 343 Vol. II p. 192 Vol. III p. 176. 2. Ibid. Vol. II p. 232. 3. Ibid. Sm. ed. p. 426. 4. Ibid. Vol. II p. 426. 5. Ibid. Vol. III pp. 32-33.

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CULTURAL DATA IN TILAKAMANJARI 165 From this review it becomes apparent that Meghavahana followed by Harivahana had almost whole of the Bharataksetra having the four subdivisions of the four oceans, Daksinapatha including the Eastern and the Western direction surrendered by Kusumasekhara and Vicitravirya who was the supreme sovereign of Pancasaila which was an intermediary island of the Southern ocean, the whole of the Uttarapatha, the Central part (Madhyamakhanda) of Bharataksetra), Anga, Vanga, Kalinga, Kamarupa (Pragjyotisa) forming the Eastern part, Eastern and Western Videha has (aufgefasteig) the overlordships of the Pancala (Kusasthala), Dravida (Kanci), whose king Kusumasekhara the fore head mark of the Yadu kings had brought under sway the overlords of the earth falling between the mountains Mahendra and Malaya, the Magadha whose lord Suraketu reigning in Kusumapura had yielded to Meghavahana.? Even Raivataka mountain in Surastramandala and its king Mahabala who had battered the banks of the western ocean by the pressure of his armies, have been referred to.' Kalinga, Vanga, Anga, Kosala (Mahakosala) and Kuluta have been treated in the same line indicating the subservience of these to Meghavahrana. Kuluta is modern Kullu" in Himacala Pradesh. While describing the sylvan tracts of Kamarupa Dhanapala has shown distinction between the civilized and the uncivilized localities in so far as he has referred to "kadAciduttamaprakRteriva mahAjanapadAnusAriNaH zavarapallISu raNaparAjayapratipannadAsyAn dasyusenApatInitastata: preSayataH," zIghrataralaMghitAnekasundarAryajanapadasya, nikaTagrAmavAsikIkaTakuTumbasaMgRhyamANanighasayavasendhane haThanirAkRtaluNTAkakIkaTaprAyaloke" The distinction between the Mahajanapadas inhabited by the sophisticated subjects, the army-in-chiefs of the marauders taking to servitude after having been defeated in battle in the hamlets of the Sabaras 1. TM Sm. Ed. p. 428 Sm ed. p. 142. 2. Ibid. Vol. III pp. 184-185. 3. Ibid. Vol. III p. 186. 4. HGAI p. 119. 5. TM Vol. III p.67. 6. Ibid. Vol. III p. 68. 7. Ibid. Vol. III p. 68. 8. Ibid. Vol. II p. 270. 9. Ibid. Vol. III p. 298.

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166 TILAKAMANJARI OF DHANAPALA (the wild tribes) and between the handsome people of the Arya Janapadas the Kikatas (the anarya or non-aryan tribes) may allude to all types of habitations forming part of the kingdom of Meghavahana and Harivahana, which formed a definite Geographical unit in the times of Dhanapala. The Ekasunga series of Vaitadhya contains reference to Kuntala, (aburgaretcilettahlych :) Himacala, Sindhu, Kerala and Lata' (mainAkaviyogaduHkharuditahimAcalAzrujalamiva sNglitm| saindhavIkapolacchavibhiriva keralIdazanakiraNairiva lATIkaTAkSachATAbhiriva nirmitam) proving thereby the supremacy of Meghavahana over these: Dhanapala's reference to the region called Puskaravati (TM. Sm. ed. p. 407. L. 16 ( Riad A fasta) to the east of mount Meru (Rudra Himalaya in Garhwal) also alludes to the inclusion of Puskaravati, a town proper to the east of Garhwal within the Ksetra of Cakravartis Meghavahana and Harivahana. Reference to Rathanupuracakravala, the ornament of the southern range of Vijayardha, (vijayApradakSiNazreNibhUSaNam rathanUpuracakravAlasaMjJaM FERTRT)) and Gaganavallabha, the chief town amongst all the towns, foremost in unprecedented glory in the northern range of the Vijayadhara mount (astyatraiva vijayArphazirava ripuzarazreNyAmanuvAda zrokamAdyaM sarvanama saNAm bhamanavallabhAmidhAnaM pradhAnabharam) along with "bahulazo gandharvabAlikAvakRSTasphuTitataruvatkalodgIrNaghanasAram" and "vrajati viralatAmanurvIgandharvanagare skandhAvAre5 all go to make it manifest that the jurisdiction of the Cakravartiksetra encompassed within its fold the countries of the Gandhara as well apart from the regions of the southern and northern series of Vijayardha. Airavartavarsa may be the same as Airavattamandala which was included in the Patodavisaya. It may be identified with Ratagrha in the Banki Police Station of the Cuttack district." (nIlAtparataraM zvetaM zvetAddhAraNyakaM param varSamairAvatam rAjan naanaajnpdaavRtm|| uttareNa tu zRGgasya samudrAnte janAdhipa, varSamairAvataM nAma tasmAcchraGgamataH 241) or a country to the north of the mount Sringavana near the seashare as per Mahabharata? 1. TM Vol. III p. 70-71. 2. Ibid. Sm. ed. p. 366. 3. Ibid. Sm. ed. p. 401. 4. Ibid. Vol. III p. 86. 5. Ibid. Vol. II p. 270. 6. HGAI. p. 242. 7. Bhisma parva VI-37 and VIII 10-11

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CULTURAL DATA IN TILAKAMANJARI 167 2. MOUNTAINS AND FORESTS Of the mountains Dhanapala has mentioned Himalaya variously named as Himacala, Himavat, Himadari, Niharagiri, Sailaraja, Tuhinacala, Himagiri, Tusaragiri, Tuhinasaila etc.; Mainaka, Kailasa, Meru or Sumeru also called Amarasaila, Ratnasanugiri, Hatakagiri, Kanakagiri, Rohanacala, Amaragiri, Suranaga, Surasaila, Hemacala etc.; Vindhya, Trikuta, 'Suvela; Ratnakuta Ekassnga and Vaitadhya; Vijayardha;'' Astapadasaila; Mandara," Mandaraka,''Kraunca;14 Anjanagiri;' Hemakuta;' Sahya;!? Mahendra;18 Malaya' also knwon as candanagiri; Arbuda;21 Raivataka22 Besides these Dhanapala has referred to the Kulaparvatas in 1. TM verse 38 Intro.; p. 44. vol. I p. 91. vol. I p. 154 Vol. I p. 179, Vol. II p. 238 Vol. II p. 12, Vol. III p. 14 Vol. III p. 89 Vol. III pp. 137-138, vol. III p. 290 Sm. ed. pp. 410, 412 Sm. ed. p. 373 Sm. ed. pl. 120. vol. III. 2. Ibid. Intro.. V. 38. Vol I. p. 44, Vol. II. P. 227, vol. III p. Vol. II p. 295, Vol. II pp. 234-235, vol. II p. 229, Vol. II p. 266, vol. III p. 144, vol. III p. 120, vol. II, p. 327. 3. Ibid. Vol. I p. 73, 85, vol. III p. 151, vol. II p. 179, 265, vol. III pp. 137-138. 4. Ibid. Vol. I p. 85, vol. II p. 147, vol. III p. 105, 140, 94, 111, 120, 93,m 49, Vol. II p. 321, vol. III pp. 197-198, vol. II p. 292, Sm. ed. p. 421, 276-77, vol. II p. 264, 407-408, vol. I p. 88, vol. II p. 315, vol. III p. 139. vol. I p. 88. Sm. ed. Vol. II p. 319. 5. Ibid. Vol. II p. 193, vol. p.85, vol.III p. 107, 143 vol. I p. 70, vol. II p. 315, vol. I p. 86, Vol II pp. 207, 319. 6. Ibid. Vol. II p. 88, vol. II p. 218, vol. III p. 16, vol. II p. 253, 289, Vol. III p. 197, Sm., ed. p. 363, 378, 423. 7. Ibid. Vol. II p. 287, 283, 315, Vol III p. 15, 19, Sm. ed. p. 286, Vol. II p. 251, 319, Sm ed. pp. 342 and 341. 8. Ibid. Vol. II p. 292. 309, vol. III p. 15, Sm ed. p. 310 407-408, 409, 427-428. 9. Ibid. Vol. II p. 144, Sm. ed. p. 405. vol. III p. 56. 66. 72, 73, 113, 133, 184, Sm. ed. pp. 381, 414, 415, 390, 401, 352, 342. 10. Ibid. Vol. III pp. 61, 107, Sm. ed. pp. 408, 414, 415, 426, 397. 11. Ibid. Vol. III p.69, Sm. ed. 408, 405, vol. II p. 319. 12. Ibid. Vol. III p. 106, vol. II p. 313, vol. III p. 41, Vol. II p. 323, 183, 264. Sm. ed. p. 337, Vol. II p. 332, Vol. III p. 76, 138, Vol. I p. 73, Vol, III pp. 110, 93, vol. II p. 319, Vol, III pp. 40-41, Vol II p. 321. 13. Ibid. Vol. III p. 33. 14. Ibid. Vol. I p. 44. 15. Ibid. Vol. II p. 287, Sm. ed. p. 425. 16. Ibid. Vol. III p. 178. 17. Ibid. Vol. III p. 143. 18. Ibid. Vol. III p. 185. 19. TM. Vol. III pp. 12, 76, 176, Sm. Ed. pp. 286, 363, 337, 376, 378, 427, 428, Vol. III p. 185. 20. Ibid. verse L.D. series ed p. 123. L. 24 21. Ibid. Intro.. Verses 38, 39, pp/32, 33. 22. Ibid. Vol. III p. 186.

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168 "kulAcalatrayamiva kesari mahApadmatigicchabhUSitam / " with reference to adrstapara lake. "aSTamaM kulAcalaM "2 with reference to Meghavahana ``pallavitakalpapAdapalatAkuleSu kulagirinitambArAmeSu rantumabhilalASa ''3 with reference to Madiravati's encient state. "pRthupratApAvajrAgnijanitasakalArAtikulaparvatapramAthaH svarNAtha iv| M with Saumanasa'and Vidyutprabha among the hills in the interiors of other varsas other than the Himavatavarsa and Harivarsa and the huge mountains numbering sixteen known as Dadhimukhas." Himalaya also called Sailendra' (acchazizireNa zailendramiva himadraveNa ) TILAKAMANJARI OF DHANAPALA by Dhanapala has been referred to as 'Paravataraja' in Anguttaranikaya and Nagadhiraja by Kalidasa' and the author of the Kalikapurana." It stood 5 yojanas in extent. It was adorned with 84000 peaks with 800 rivers following all round. Raghu is said to have ascended this mountain." According to the Markandeya Purana ( kailAso himavAMzcaiva dakSiNena mahAbalau // Panquam) 12 Himalayan mountain (Himavat) stretched from sea to sea like the string of a bow. Mahabharata (VI. 4.3) and Kumarasambhava (1.1) support the statement of Markandeya Purana. Asvaghosa refers to Himalaya and places the Madhyadesa between this mountain and the Paripatra. " (madhyadeza iva vyakto himavatparipAtrayoH ) 13 Dhanapala has mentioned the mountain of snow (tusaragiri) having its peaks scraping the clouds or the sky (abhrankasagrasikharah) descending down from the vault of the sky through the currents of the Ganges 1. Ibid. Vol. III p. 74. 2. Ibid. Vol. I p. .69. 3. Ibid. Vol. II p. 181. 4. Ibid. Vol. III p. 176. 5. Ibid. Sm. ed. p. 412. 6. Ibid. Vol. I p. 116. 7. Ibid. Vol. III p. 120. 8. I. 152 of HGAI B. C. Law pp. 94-95. 9. Kumarasambhava. I. 1. 10. Ch. 14. 51. 11. Raghuvamsa IV 71. 12. 54. 24 p. 212 edited Manasukha Rai Mor, Calcutta, 1962. 13. Saund. Kavya II verse 62.

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CULTURAL DATA IN TILAKAMANJARI (Gangasrotasa gaganamandala davatirya),' the huge lake named Padma, the abode of Sri, having been called the silvery mirror for the array of groves on the peaks of the mountain of snow (tuhinacala).2 It has also been called Sailaraja3 by Dhanapala )as already referred to in 100 above). He calls its peaks (niharagiri sikharesu) having their cornices linked by the threads of the currents of the Ganges (Suranimnaga).* Himavat has been called as Varsadharaparvata by him." According to Dr. B. C. Law. The two loftiest mountains the Kailasa and the Himalaya (Himavan) stand to the south of the Meru mountain." 169 In the Kunalajataka Himalaya has been described as a vast region, 500 leagues in height and 3000 leagues in breadth." The Himalayan mountain is the source from which the ten rivers, namely, Ganga, Yamuna, Aciravati, Sarabhu, Mahi, Sindhu, Sarasvati, Vetravati, Vitamsa and Candrabhaga take their rise. But Puranas mention more than ten rivers issuing from the Himavat viz. the Ganga, Sarasvati, Sindhu, Candrabhaga, Yamuna, Satadru, Vitasta, Iravati, Kuhu, Gomati, Dhutapapa, Bahuda, Drsadvati, Vipasa, Devika, Ranksu, Niscira, Gandaki and Kausiki." Himalaya mountain is the only Varsaparvata which is placed within the geographical limits of Bharatavarsa. The Mungera grant of Devapala refers to Kedara which is situated in the Himalaya. According to the Kumarasambhava (I.1) the ancient Himalaya mountain stands on the north of Bharatavarsa and it is engulfed by the sea on the east and west." 10 According to Dr. B. C. Law Mainaka mountain was a part of the great Himalayana range. It was near Kailasa." According to Dr. B. S. Upadhyaya 11 1. TM Vol. I p. 91. 2. Ibid. Vol. I p. 154. 3. Ibid. Vol. II p. 179. 4. Ibid. Vol. III p. 12. 5. Ibid. Sm. ed. 412. 6. HGAI p. 95. 7. Ibid. 8. Ibid. p. 96. 9. Ibid. 10. HGAI. p. 97. 11. BHA I p. 95.

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170 TILAKAMANJARI OF DHANAPALA Mainaka is a triple fold range of hills, one being called the Sivalika range spreading between the Ganga and the Beas rivers, the second being in the north of Almoda district near the source of Ganga while the third ranging between India and Ceylon a mountain standing on the sea and a particular mountain in western India near Gujarata. This is a testimony of Mahabharata. Kalidasa's version of Mainaka places this mountain between India and Lanka on the sea. In Deccan, as also in the distant plateaus of Deccan there are deltas of Reva, Godavari , Kaveri and Tamraparni rivers. Kalidasa has referred to these also.? Dhanapala's description of Mainaka is also Pauranic. He calls Mainaka, son of Mainaka spouse of Himacala that jumped into the ocean frightened by the bolt of Indra. mainAkena mahArNave haratanau satyA praveze kRte| yenaikena himAcalo zikhAriNAM ptriitilkssyo'bhvt|| Ayodhya surrounded by a circle of moat having the reflection of a controvallation gave the look of Mainaka entering into the ocean. Even Harivahana has been construed surrounded as he was by princes as Mainaka plunged into the ocean. At another spot Samaraketu describes the scaling of the ranges of hills of the group of Mainaka while moving out of Lanka (Rangasala etc.). It can imply the range of Mainaka hills between Lanka and the sea on the seashore, Mainaka being a smaller range of the Himalaya dragged on to the ocean by the natural outrages of Indra, the god of rain and thunder." Himalaya, Kailasa, Meru, Mandara, Hemakuta, Ratnakuta and Kraunca are all varsaparvatas mentioned by Dhanapala. According to Dr. D.K. Gupta' Himalaya known variously is the great mountain range extending from Kasmira to Assam while Meru is the Rudra Himalaya of Garhwal where Ganga springs near Badarikasrama. Mandara is situated to the north of Badarikasrama and south of Gandhamadana. Kailasa is probably Svangrin pooch of the Tibetans which is situated to the east of the Niti pass twenty five miles north of Manasarovara ahead of 1. Vanaparva, Ch. 89.11 2. KKB Part I pp. 35-36. 3. TM Introductory verse 38. 4. Ibid. Vol. I p. 44, Vol. II p. 227. 5. Ibid. Vol. II pp. 234-35. 6. Ibid. Vol. III pp. 294-95. 7. KSN p. 110 and HGAI p. 131.

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171 CULTURAL DATA IN TILAKAMANJARI Gangotri. Kailasa is clinging to the well known Gangri range. Mahabharata and Brahmanda Purana recognise the ranges of Kumaon and Garhwal as the Kailasa range. Kalidasa agrees with it.' Kailasa is also called Hemakuta according to the Mahabharata.2 (Bhisma Parva Ch.6). Mainakagiri referred to above has been identified with the Sivalika range extending from the Ganges to the Beas by Dr. B. C. Law. According to him the Sivalika hills proper extend for about 200 miles from the Beas to the Ganges and are known to the ancient Geographers as Mainakaparvata. In the Uttaraprdesa the Sivalikas are known as the churia and the Dundwa ranges and lie between the Ganges and the Yamuna. Here the hills rise abruptly from the plains and slope rather gently northwards into the valley of Dehradun." Dhanapala takes Kailasa quite traditionally. He refers to the dance of - Siva with Parvati on the mountain." He even associates Vindhya in line with Kailasa where by he feels that Vindhya along with its store of medicinal herbs moved on for a residence on Kailasa out of his love for the moon on the head of Siva. Vidyadhara sage has been likened to Vindhya moving on to the roof of Meghavahana for an interview with the king." Kailasa has been called 'Rajatagiri" by him meaning the silvery mount or the snow-clad mount etc. According to Dr. N. L. Dey's evidence of the Puranas, a hill in the tehsil Banka of Bhagalpur district should be called Mandara. Kalidasa's identification differs from it. Kalidasa places Mandara in the Himalaya." Mahabharata agrees with it." Some Puranas identify Badarikasrama having the image of Narayana as Mandara. But according to Mahabharata Mandara is to the north of Badarikasrama and to the east of Gandhamadana"(southern part of the Kailasa range). Kalidasa has followed Mahabharata in this point. 10 "kanakagiriparyantacArisUryaturagAnusAreNa nayanarazminivahamiva mandAkinIM pratipradhAnavitamantakamahiSasya / " 1. KKB Part I p. 22. HGAI p. 102. 2. HGAI p. 102. 3. HGAI p. 142. 4. TM. Vol. I p. 73. 5. Ibid. Vol. I p. 85. 6. Ibid. Vol.II P.179.L.2 7. Kumarasambhava VIII. 23.59 8. Anusasanaparva Ch.19 Vanaparva Ch.162 9. KSN p. 110. 10. KKB Part I p. 24, pp. 85, 147 Vol. I.

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172 TILAKAMANJARI OF DHANAPALA "kanakagirikamdaraprabhAnuliptapAdapeSu kalpatarutalaniSaNNakinnarArabdhagAndhAragrAmagItiramaNIyeSvitastataH pravRttamukharamandAkinIsrota: srnnisicymaanbaalpaarijaataalbaalessu|"" alluding to Sumeru's association with Mandakini or Ganga agree with the idea of Sumeru or Rudra Himalaya being a source of Ganga. Hemakuta referred to by Kalidasa and Dandin? has been identified with the Bandaripucch range of the Himalaya. Krauncadricchidre referred to by Dhanapala is the same as the Krauncarandhra of Kalidasa." Krauncarandhara is the famous Niti pass of Kumaon and is a pathway from Bharata to Tibet. It is a trade route between the two countries. Dhanapala and Kalidasa refer to these two most identically. Ratnakuta as already observed has been described by Dhanapala as the crest jewel of the Pancasaila island, a sportive ornament of the ocean, a playground city of the celestial couples a field for accomplishment of the Vidyadharas, foremost in beauty of all the mountains. It has been fancied to be the peak of Sumeru brought on after having been uprooted by the overlords of the hosts of monkeys bringing down mountains at the errands of the son of Dasaratha (i.e. Rama) started off for Lankapuri bearing dart of grief from the separation of Maithili, rankling in his heart. Ocean is deemed as having deemed him a son, the sportive mound as it was. It clearly appears that Ratnakuta mountain is a part of the Himalayan ranges from where it gets separated as a beauty spot on the Lavanasindhu ranging from the north. Anjanagiri' or Anjanadri referred to by Dhanapala was situated in the Mahavana. it is mentioned in the Ramayana (Kiskindhakanda 37.5) and in the Markandeya Purana (58.11). quauis HQ HICI AHOA: It is also mentioned in the Jaina Avasyakacurni (p.516). According to the Skandapurana (Ch. I. 36-48), it was made up of gold. It is the Sulaiman range in the Punjab. The Sulaiman mountain, known to the ancient Geographers as the Anjanagiri separates the N. W. F. Province and the Punjab from Baluchistan. It overlooks the Gomal river on the north and Indus on the South. The Takht-i-Sulaiman (Soloman's Throne) is the 1. KKB. Part I p. 24, pp. 85, 147 Vol. I. 2. KSN p. 110. 3. TM Vol. I p. 44. 4. Megha Pu. verse 57. 5. KKB Part I p. 27. 6. TM Vol. II pp. 282-283. 7. Ibid. Vol. II p. 287 Sm. ed. p. 425.

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CULTURAL DATA IN TILAKAMANARI 173 highest Peak (11295 ft.). The Southern part of the main range is composed of sand stones, whereas the northern part is built up of lime stones. The range is pierced by a number of gorges through which run the main routes from India to Baluchistan.' Of the Kulaparvatas Dhanapala has referred to Mahendra, Malaya, Sahya, Vindhya, only four of them and has also referred to Kulacalatraya viz. Vindhya, Suktimat, Malaya and named them as Mahaparvatatrayam which is adorned with the Capillaments of lotuses or is adorned with the huge lakes such as Kesari, Mahapadma and Tigiccha. The reference to the cighth Kulacala implies the recognition of seven Kulacalas such as Mahendra. Malaya, Sahya, Suktiman, Rksavan, Vindhya, Pariyatra etc.? Vindhya and Sahya have been called 'gandasailas' or the hills of the extents of rocks fallen down from the bigger mountains. "(TTCTefelhayerTV) "3 According to Dr. B. C. Law Mahendra refers to the hills of this name in the Ganjam district. The Mahendra range of mountains extended from Ganjam as far south as the Pandya country to the whole of the Eastern Ghat range. The Mahendradri or the Mahendra mountain was situated between the Gangasagara sangama and the Sapta Godavari. A portion of the Eastern Ghats near Ganjam is still called the Mahendra hill. Pargitar thinks that the name should be limited to the hills between the Mahanadi, Godavari and Ganga and may perhaps comprise the portion of the Eastern Ghats north of the Godavari. According to Bana's Harsacarita' the Mahendra mountain joins the Malaya Parvata. This fact is also proved by the Caitanaya Caritamstam. The Raghuvamsa? places it in Kalinga. The name is principally applied to the range of hills separating Ganjam from the valley of the Mahanadi. Kalidasa styles the king of Kalinga as the Lord of the Mahendra. The minor hills associated with the Mahendra mountain were the Sriparvata, Puspagiri, Venkatadri, Arunacala and Rsabha. The whole range of hills extending from Orissa to the district of Madura was known as the Mahendraparvata. It included the Eastern Ghats. It joined the Malaya mountain. Parasurama retired to this mountain after being defeated by 1. HGAI p. 74. 2. See 122, 123, 124 above. also Mbh. 6. 9. 11. Mbh. Kosa by Ramakumara Roy p. 202. 3. TM Vol. III p. 143. 4. HGAI p. 205.. 5. Ch. VII, JNVSE, p. 761. L.4 614 14 gade 6. Vol. I. p. 581 7. IV. 39, 43; pp. 105, 107 VI 54, G.R. Nandargikar ed. MLBD, Delhi.

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TILAKAMANJARI OF DHANAPALA Ramacandra. The Eastern Ghats is still called by that name. They run as detached hills more or less parallel to the Eastern coast of India, which are known by different names in different parts of the country.' Malaygiri is mentioned in the Brhat Sarihita girinagaramalayadarduramahendramAlikAbharukacchA: " Kalidasa mentions it in his Raghuvamsa' A Pandya king leaving his own country sought refuge in this hill. Pargitar correctly identifies this range of hills with the portion of western Ghats from the Nilgiris to the Cape Comorin. The hermitage of Agastya was situated on the Malayakuta which was also known as Srikhandadri or even as Candanadri' or Candanagiri of Dhanapala. It was visited by Balarama. Manu performed austerities here. The southern extension of the western Ghats below the Kaveri now known as the Travancore hills, really forms the western side of the Malayagiri. According to some the mount Candaka mentioned in the Jataka (V. 162) is the Malayagiri or the Malabar State. 174 Sahyadri is a mountain lying as the western Ghats. The western Ghats were known to the ancients as Sahyadri, which form the western boundary of the Deccan and run continuously for a distance of about 1000 miles from the Kundaibari pass in the Khandesh district of the Bombay State down to cape Comorin, the southernmost point of India. Raghu crossed the Sahya mountain through Palghat gap between the Malaya and Dardura mountains." The western Ghata are known by different local names. There are important passes too. Some minor hills are connected with it, e.g. Trikuta, Rsyamuka and Gomanta. Dr. B. C. Law at a different place has summed up the seven Kulacalas as under: "The group of mountains known as Mahendra, Malaya, Sahya, Suktimat, Rksa, Vindhya and Paripatra is known to ancient Indian Geographers as the Kulacalas.' They were so called because each of them was associated with one particular country or tribe. Thus Mahendra is the mountain par-excellence of the Kalingas, Malaya of the Pandyas, Sahya of 1. MGAI p. 206. 2. XIV p. 206. 3. IV. 46. 4. Dhoyi's Pavanadutam. 5. HGAI p. 222. 6. Ragh. V. IV. 51, 52. 7. Mark p. 57. 10.

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CULTURAL DATA IN TILAKAMANJARI 175 the Aparantas, suktimat of the people of Bhallata,' Rksa of the people of Mahismati, Vindhya of the Atavyas and other forest folks of central India and Paripatra or Pariyatra of the Nisadas. Suktimat range, according to Beglar, lies to the north of the Hazaribagh district. There is a difference of opinion as to its location. Cunningham identifies it with the hills south of Sehoa and Kanker separating Chattisgarh from Bastar. Some have located it in western India and identified it with Kat hiawada range. Others have identified it with the Sulaiman range. Raichaudhuri applies the name with the chain of hills, extending from Sakti to Raigarh in C. P. (modern M. P.) to the Dalma hills in Manbhum drained by the Kumari river and perhaps even to the hills in the Santhal Paraganas washed by the affluents of the Babla." The Paripatra or Pariyatra, the Rksavat, and the Vindhya are the mountains of central India. Rksa or Rksavant is the central region of the modern Vindhya range north of the Narmada Rksavat according to Dr. D. K. Gupta is the modern Satpura range to the north of Sahyadri and south of Narmada extending in the east up to the Son valley. Vindhya, according to him, is the famous range of that name to the north of Narmada spreading as far as Mirzapur district in the east, where its old name is still preserved in the name of a place called Vindhyavala. Pariyatra is a part of the great Vindhya range running west ward from the source of Betwa river and extending as far as the Arravali range in the North. Dhanapala's reference"kulizatADitakulAcalazikharasamakAlanipatadgaNDazailanivahanAdo ro haasdhvnirudlst|' refers to the tumultuous noise caused by the group of Gandasailas falling instantaneously from the peaks of the Kulacalas struck with the bolt 1 Mbh. II 30. 5. f. Harivamsa. 38. 19, Rai Chaudhuri Studies in Indian antiquities 105-6. KGAI. p. 26. 2. Mbh. II 30. 5. f. Harivassa. 38. 19, Rai Chaudhuri Studies in Indian antiquities 105-6. KGAI. p. 26. 3. Mbh. II 30. 5. f. Harivamsa. 38. 19, Rai Chaudhuri Studies in Indian antiquities 105-6. KGAI. p. 26. 4. C. V. Vaidya Epic India. p. 276. 5. HGAI pp. 23-24 Introduction. 6. Ibid. p. 22. 7. KSN p. 111. 8. TM. Vol. p. 126.

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TILAKAMANJARI OF DHANAPALA (of Indra). He has also given 'gotracalah" a variant name for Kulacalas. He has even described Vaitadhya as a mountain whose greatness equalled the host of virtues common to all the Kuladharadharas.2 176 Even Hemakuta represented by the Bandar puccha range of the Himalaya has been included within the range of the Kulasailas.' The peaks of the Kulaparvatas have been deemed encircling the shores of the oceans. (sAgarakUlavalayeSu kulaparvatAgreSu) At another place he has referred to Kulacalas crushed by the point of the bolt shaggy with the flames of fire burning on." Somewhat mythical mountains of rise and setting have been mentioned variantly. Udayadri. Kharva parvata, Udayacala,' Paurastyabhudhara," Udayastasaila Astasaila," Pascatyasaila," Astacala" are the variant names given to the two mountains. Udayadri or Udayagiri denotes the northern part of the Kalinga range where a place called Udayagiri (in Ganjam district) retains its old name. Astasaila or astagiri or Pascimadri or Sahya range, which is now known as the western Ghats extends along the western coast as far as modern Sahyadri or Ajanta range, in the north." 12 Dhanapala has referred to the Acalaraja (the king of mountains) named Suvela being struck constantly by the waters poured (lit. splashed) by the hands in the form of tides, by the beach of the lavana jalanidhi, having its eastern and western parts joined to the root of the plateaus of the Eastern and the Western mounts or the mountains of rise and setting etc." 1. TM. Vol. IV p. 140. 2. Ibid. Vol. III p. 141. 3. Ibid. Vol. III p. 178. 4. Ibid. Vol. I p. 107. 5. Ibid. Vol. II p. 315. 6. Ibid. Vol. III p. 128. 7. Ibid. Vol. II p. 165. 8. Ibid. Vol. I. p. 90 9. Ibid. Vol. II. p. 287. 10. Ibid. Vol. III. p. 220. 11. Ibid. Vol. III. p. 44. Vol. II p. 171. 12. KSN. p. 111. 13. TM Vol. II p. 287.

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CULTURAL DATA IN TILAKAMANJARI 177 It may indicate the point that the two mountains (mythical ones) of sunrise and sun set ultimately combine at the Suvela mountain that is washed by the ripples of the Lavana Sindhu. Trikuta, Suvela, Ekasonga and Vaitadhya, Vijayardha, Astapadasaila, Arbuda and Raivataka remain to be classified and identified last of all. Nilagiri has also been referred to by Dhanapala in a solitary spot. Trikuta according to Dr. A. D. Pusalkar is of four types each ranging four different lands. Dr. Pusalkar quotes Dr. N. L. Dey who mentions Trikut a in the Southern east corner of Ceylon, Trikuta to the north of the Punjab and south of Kasmira, Junnar and the Yamnotri in the Himalaya.' According to Ramakumara Roy Trikata is a mountain in Lanka where from Hanuman took preview of whole of Lanka. Lanka was actually situated on one of its highest peaks. Suvela was the mountain at the foot of which Rama had encamped with his army on his arrival in Lanka. It seems to have been near the sea as also near the capital of Lanka.' Dhanapala's reference to Trikuta and Suvela is in the light of the evidence of Ramayana and Mahabharata. He has referred to Lanka situated on the bosom of Trikuta beyond the southern ocean. "feruarfia falcaicoat: rea6744919 Similarly he refers to the Ramayana legend of Rama establishing his encampment on its tablelands and Ravana sending his spies at night to find out the cause of trouble to his country. "trikUTakaTakabhitteravaskandapAtabhIteneva sarvadA zarvarISu vihitapracAreNa naktaJcaracakravartinA laGkezvareNApi sttmbhishNngkitotsaahsy| "fmeydalua afecta pentaktaper7,' refers to Trikuta changing its places on account of natural disfigurement. "kharvayantastrikUTagirikUTAni ghaTitasamagrasetubandhAH bandhuraM vavalguraMgAdapuroga: plavaMgapatayaH''' 1. Bhasa- a study p. 347. 2. Ram. Kosa p. 126. 3. Mbh. Kosa p. 301. Ram. Kosa p. 404, Bhasa- a study p. 349. 4. TM Vol. I p. 88. 371 fagizoheelaegaffea agreciahlaustofaaral qadig. HC. VI. p. 669 Calcutta ed. 5. Ibid. Vol. II p. 218. 6. Ibid. Vol. II p. 253. 7. Ibid. Vol. II. p. 289.

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178 TILAKAMANJARI OF DHANAPALA is reminiscent of the monkey lords reducing to diminutiveness the mount Trikata in demolishing its structure by breaking its frame in order to prepare the bridge over the ocean. "trikUTAcalakUTacUDAmaNau vicitravIryanagare"" refers to Vaijayanti, the capital of Vicitravirya situated on top of the mountain Trikuta. "dakSiNAzArNavabhUSaNeSu trikUTamalayAdiSu'2 refers to Trikuta and Malaya forming the ornament of the Southern ocean. "farctic fra VITERI TARIFET-114.3 maintains the same fact i.e. the capital of the celestials situated on the peak of Trikuta. As already observed Suvela was struck by the waters poured by the hands of ripples by the shores of the lavanasindhu it implies it was on the banks of this ocean. Samaraketu started off from Rangasala to subjugate the wicked vassals abiding on the precincts of the mountain Suvela." This he did before ferrying across the ocean. It means Suvela was on the other side of the ocean from the land of the Bharata and on the same side of the land of the simhalas. Ekassnga and Vaitadhya have been referred to by Dhanapala collectively. "370117 ufat-1914cxtct-facant cadde....... fagyifTa ufera...... MHHTGA" refers to Ekasonga surrounded by the current of Ganga, being to the west of Astapada and not far away from the Vaitadhya. According to Dr. B. C. Law Kalidasa refers to Kailasa in his Kumarasambhava.6 It is known to the Jains by the name of Astapada mountain where the sons of Rsabha and many sages attained perfection. 1. TM. Vol. III p. 16. 2. Ibid. Sm. ed. p. 363. 3. Ibid. Sm. ed. p. 378. 4. Ibid. Vol. II p. 251. 5. Ibid. Vol. III p. 69. CanticifiraT4RTR4 .... fo4444. TM Vol. II p. 319. 6. VIII. 24 7. HGAI p. 102.

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179 CULTURAL DATA IN TILAKAMANJARI Hence Ekasrnga being to the west of Kailasa and quite close to the Vaitadhya, being surrounded by Ganga may be considered being not far away from the Himalayan range. It may rather be well within its fold. The way to the Vaitadhya was rich in many streams of water very difficult to be waded through.' Having started off from Kamarupa Samaraketu reached Vijayardha to the north offering homage to the Moon in the east. From Vijayardha Samaraketu reached the Ekasrnga that was to the west of Astapada and situate to Vaitadhya. His exclamation. "vrajAmi vaitADhyam, anusarannamumeva gajagamanamArgam, anveSayAmi tadupAntavartiSu grAmeSu nagareSvAzramapadeza kAnaneSpAreSu ca saMbhAvya mAnatadavasthiti ramyasthAneSukUmAram / "2 refers to Vaitadhya being quite close to Kamarupa where from Samaraketu started off to reach it and on the way wended his way through the forest and met Mitradhara, the brother of the king of Pragjyotisa (Kamarupa). Vaitadhya had a peak 'Candagahvara' by name where Harivahana had been installed as supreme sovereign of the Vidyadharas.3 But at a latter stage Dhanapala calls 'Candagahvara' the peak of the Vijayardha mountain which means Vaitadhya and Vijayardha belonged to the same range and Candagahvara formed a part and parcel of both these.* Following on he says In Bharatavarsa, an island of the Jambudvipa, there is a mountain Ekasrnga as well as Ratnakuta of apparent appellation with the movement of the chariot of the sun obstructed by the body of their peaks having their heights visible from afar, which implies Ekasrnga and Ratnakuta belonging to the same range." And Ekasrnga has been described as situated to the south of the great mountain Vijayardha having the cries of hilarious Samaraketu over it. Marching on reached peacocks resounding 'gaganavallabha' a town being the forehead mark of the series of towns situated to the north and established on the Vaitadhya mountain,' observing the forest falling intermediate, to the mountains Vaitadhya and Ekasrnga. 1. duHkhotArasaligasaMkhyanimnagADhye vaitADhyavartmani / TM Vol. III p. 59. 2. TM Vol. III p. 58. 3. Ibid. Vol. III p. 113. devo'pi harivAhanazcaNDagahvaranAmni vaitADhya zikhare khecarairvihitamanubhUya rAjyAbhiSekamAyAto nAtibahuparicchadaH / 4. caNDagahvarAkhyaM vijayArdhagirizikharam etc. TM Sm. ed. p. 403. 5. Ibid. Sm. ed. pp. 207-08. 16. vijayArdhanagavaraM dakSiNena kSoNidharamuddharamayUrakekamekazRMgam / Ibid. Sm. ed. p. 408. 7. Ibid. Vol. III Commentary p. 133.

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180 TILAKAMANJARI OF DHANAPALA Samhara has been named a sloppy peak (Prapata Sanuh) of the peak of the Vidyasiddhi known as Candagahvara.' The expression 'like the Vijayardha mountain that was gorgeous with a triple series of ranges, the sanctuary or matha was beautiful with three storeysimplies Vijayardha being a range of triple series of hills. Of the two mountains Arbuda and Raivataka 'Arbuda' according to Dr. B. C. Law is a part of the Aravali range, but completely detached from it by a narrow valley in the south west, in the Sirohi State of Rajputana. It is known as Abu' the rock island. The Aravali range runs across Rajputana in the west easterly direction and cuts the country into two halves, being closely connected with the Vindhyan range by the rocky ridges of southern Rajputana and central India,' while Raivataka is the Mount Giranar near Junagarh in Gujarata situated beyond the Vindhyan ranges in the west in the centre of Kathiwar Peninsula. According to V. S. Apte Raivataka is a mountain near Dvarika, Magha in his sisupalavadha' has described Raivataka as a part of the Vindhya. Arbuda is actually a mountain of the Pariyatra range of Kulaparvatas. Dhanapala has also referred to 'Nilagiri hills, the range of the Malaya Kulaparvata which denotes the southern part of the western ghats south of Kaveri comprising of the Dodabetta, Nilgiri, Palni and cardamom and Malabar hills. darce YTTAT: 144fun faenert: may have a covert allusion to Girnar in Girinagara, but at the same time it may mean a town situated on the Vaitat hya mount which has been described at length by Dhanapala as being rich in lakes and steams connected with the trees of Adrstapara lake or lakes and streams connected with the trees whose other side was not visible. Harivahana accompanied by Samaraketu saw that mountain that was, as it were, the turban wrap of the Jambudvipa, the measuring tape of the Bharatavarsa, the bridge construction of the ocean of the sky, the parting 1 TUS"klefaffaire..... HERT 7TH Hochfi: Ya 74: TM Sm. Ed. p. 398. 2. farafia H ERHETTI TM Vol. III. p. 107. 3. HIGAI. p. 22. 4. Ibid. p. 22. 5. Skt. Eng. Dict. under Raivataka. 6. IV.2. 7. R eglamuurarirard-icifcercceffift:- TM Vol. III. p. 129. 8. KSN p. 111. 9. TM Vol. III. p. 184.

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CULTURAL DATA IN TILAKAMANJARI 181 line of the hair of the earth, the necklace of the northern direction; as if the ashes of the arm stave of Siva spread during the tandava dance, fallen down in the form of a line, as if the spume of the milk ocean inundated during deluge standing in accordance with the low lands; as if the Current of Ganga flown down at case out of eagerness for beholding the heavens, as if it were the variant form of Sesa capable of supporting the burden of the whole carth; as if the arm of the milk ocean occupied by a bracelet having shining gems studded into it; as if the steady joint or ligature of the orb of the earth entered up to the root of the hades; as if a counterpart to Himavan (Himalaya) with surface of the earth held fast by its expansive table lands; as if it were the old group of clouds of deluge (Samvarttakambuda) looking for the end of the acon out of greed for quaffing the water clinging to the shores of the Eastern and the Western oceans; as if it derided Kailasa swerved by the hands of Ravana by the shine of the sheen of its frame. stealing the shine of the Moon; it was creating thousands of Ganges out of spite for the mountain of snow (i.e. the Himalaya) through the cluster of linns (springs) manifesting many spurts; it emitted out sighs, as it were, out of jealousy for the loftiness of Sumeru, by means of the breezes from the openings of the caverns, circumambiating the interior of the quarters; as if it were snubbing the Mandara; Like Sival it had the flow of river Ganga issuing out of the forepart of its feet etc. Vaitadhya deriding Kailasa, being a counterpart to Himalaya, being a source of Ganga, feeling jealous of Sumeru all these go to establish its close association of Kailasa, Himalaya and Sumeru which are a part and parcel of the Himalayan range. Of the forests Dhanapala has made mention of Dandaka' abounding in tigers of many hues. Dandakaranya according to Pargitar, comprised all the forests from Bundelkhanda to the Krsna. According to the Ramayana (Uttara Kanda Ch. 81) it was, situated between the Vindhya and the Saivala mountains; a part of it was called Janasthana. Ramacandra lived here for a long time. According to the Uttara Ramacarita (Act I) it was a place to the west of 1. Trivikrama-Mahabharata Kosa p. 304 2. Ibid. Vol. III. pp. 137-140. 3. akhaNDadaNDakAraNyabhAjaH pracuravarNakAt / EkERRIBI Targada: TM. Intro. Verse 14. Vol. I. p. 20. 4. Southern boundary of the Dandaka forest which may be identified with the hills near Mahabalesvara in Surat district. 1 ( saptAhAd bhasmasAdbhUtam yadhanaM brahmavAdinA, tasyAsau daNDaviSama vindhyazaivala.... tataH prabhRti kAkutstha daNDakAraNyamucyate / )

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TILAKAMANJARI OF DHANAPALA Janasthana. Some hold this forest to be the same as Maharashtra including Nagapur. The Lalitavistara refers to the Dandakavana in the Daksinapatha. This forest remained burnt for many years. Even the grass did not grow here. According to Dr. D. K. Gutpa, Dandaka is the forest track from the Vindhya range in the north to the Krsna in the south, extending up to Chota Nagpur in East and Vidarbha in the west,2 182 There is reference to description of the 'atavibhu" of Kamarupa (Pragjyotisa) from where earlier Harivahana and later on Samaraketu had marched on, the former having been carried by the divine tusker and latter carrying himself personally on his legs ultimately to reach Adrstapara and from there to the place where both met each other to go ahead with the final mission of reunion with their beloveds. This atavi has been called "Kantara" in earlier references which also coincides with the 'durgagiri Kantara" (in 230 above). The report by Puskara the chief of the elephant corps refers to Vairiyamadanda, the elephant lord entering the huge forest that was difficult to wade through on account of its being mixed up with hard stony rocks. "kaThinakarkaravyatikarakaSTasaMcAramatimahatkAntAram praviSTaH / 7 The same forest called 'atavi' where Harivahana accompanied by Samaraketu went to look for the tusker has been described as having spots which were even as well as uneven. The route to be traversed therein was screened by the foliage of trees rendered impenetrable by the peaks of the mountains marked by him. mahuzcihnIkRtairacalasAnubhisAntarAlatarugahananihanutaM " (mArgabhUmeH samaviSamasthAnAni yAtavyadezamupadarzayatA / ) 118 The atavi or the forest was obviously situated within the jurisdiction of the Kamarupa from where Samaraketu anxious to search out Harivahana kathayatA, 1. HGAI p. 46 B. C. Law. Dr. R. G. Bhandarkar takes Dandakaranya to the same as Maharashtra. Early History of the Deccan down to the Mohamedan conquest p. 11. 2. KSN. p. 112. cp. Ragh. V. XIX. 2; XII-9. XII. 42, XIII. 22. 3. durgagirikAntAramadhyavartI parivRto vanazcApadazatairanyavaidezikapathikasAmAnyamavasthAvizeSam | TM Vol. III. p. 146. 4. TM Vol. III. pp. 62-66. 5. TM Vol. III. p. 38. 6. TM Vol. III. p.146. LL. 2-3 7. TM III. p. 37. LL 7-8 8. TM Vol. III. p. 38 LL 5-6.

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183 CULTURAL DATA IN TILAKAMANJARI starts off with a mind to go to Vaitadhya (fa etc.) and having reached the mountain Vijayardha and started from here he moved on to the north and avoiding a following of his associates he moved on through a sylvan terrain2 (a) when the sun had just risen. Having stayed there for the day on the peak of a hill he slept in the hilly grotto for the night and at the end of the night getting up through the cries of the beasts he started moving through the sylvan terrain (da) wading through which he was seen by Mitradhara, the younger brother of the lord of Pragjyotisa moving on the way come out to have a stroll in the forest at noon tide." Moved on from there he reached Ekasrnga that was to the west of Astapada (Kailasa) not far away from Vaitadhya from where he saw the lake Adrst apara and following the neighing sound of the horse cavalcade reached a shrine and ultimately seeing Gandharvaka met Harivahana who in company of Tilakamanjari had been consecrated to the throne of the Vidyadharas as the paramount sovereign. Intending to go to Gaganavallabha, his capital, Harivahana accompanied by Samaraketu saw the 'atavi' or the forest that lay between the Ekasrnga and Vaitadhya mountains. Hence Vijayardha fell within the territory of Kamarupa which had Ekasmga not away from it and Astapada or Kailasa having Ekasrnga to its west. The forest lying between Ekasrnga and Vaitadhya, therefore, lay in series not far away from the forest lying close to Kamarupa. This forest has been described as the stream of water in the form of pride having its current thick rolling on the surface of the earth of the overlord of the entire mandala or circle of the northern land." It has also been described as the egress road of the northern ocean quiet at the end of the aeon, covered by many series of moss or Saivala mountains (forming the southern boundary of Dandaka forest, being identified with the hills near Mahabaleshwara in Satara district). It has been described as glamorous with sylvan tracts deriding the peaks of the Nilagiri also known as dardura belonging to the Malaya range. 1. Cp. 210 above. 2. TM. Vol. III. P. 62. 3. vilaMghitAlaghupathaca vrajannaparAhnasamaye vanavihAravinitena mArgavartinA prAgjyotiSezvarAnujena mitra dharanAmnA smdRshyt| TM. III. p. 66. LL. 1-2 also vrajaMzca vijayArdhamUdharAbhimukhamaraNyamadhyagatena prAgjyotiSezvarA fi fr TM Sm ed. p. 388. KSN Dr. Gupta p. 112. 4. avanipIThaparyastarIvarapravAhAM madavArivAhinIbhiva sArvabhaumasya (samastottaramaNDalezvarasya) TM Vol. III. p. 128. Commentary as well. 3. Ibid. p. 128. LL. 4-5 6. Ibid. III. 9.129. LL. 2-3

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184 TILAKAMANJARI OF DHANAPALA "Tahundargeudalerratza"" has a variant in"ekazRMgavaitADhyazRMgiNo rantarAlATavIM"2 in the smaller edition which seems to be an error like so many available in this old edition. Hence "Tosif Tun TRICana" seems to be a correct variant in the latter reference than the one seeming to be misspelled there. Apart from these three major forests referred to by Dhanapala we find some more mentions made of groves and orchards of equally great prominence. He has referred to the groves situated on the precincts of the huge lotus lakes beautiful with triple fold row of steps made of huge stone slabs splashed all over by the surges of water sweet and pellucid (or limpid) having the cool savour of Pundra sugarcane, bearing forms of the orbs of the extents of Jambudvipa, surrounding the sixteen mountains known as Dadhimukha and others which now outlive the charms of the Nandana vana tree groves. atizayitanandanadumavaneSu dadhimukhAbhidhAnamahAdharAdharendraSoDazakaparikSepaNAnAM jambUdvIpaparimANaparimaNDalAkRtInAm puNDekSurasazizirasurabhisvacchasvAdusalilakalolAsphAlitavizAlamaNizilAsopAnapaMktitritayaramaNIyAnAm mahApuSkariNInAmupAntavartiSu vicitrtrukaannessu| It is very difficult to identify these groves as no correct identification of Dadhimukha and other ranges of fifteen mountains is either being given by the commentator nor do we find any parallels of these in Ramayana and Mahabharata Kosas of Dr. Ramakumara Roy. Even Dr. B. C. Law has referred to no such ranges in his historical Geography of Ancient India. Sanskrit English Dictionaries of Sir Monier William and V. S. Apte are also silent on this point. We can, however, trace the probable. As is postulated by Dr. Ram Kumar Rai in his Mahabharata. Kosa. "To the south of Nilagiri (Dardura) and north of Nisadha (Hindukush mountain to the north of Kabul river) there is a Jambu tree named Sudarsana which keeps its foliage ever green. It is a wish granting tree, sacred one and is a resort of the Siddhas and Caranas. From this very point is derived the name Jambudvipa. This huge tree or the Royal tree has a height of eleven hundred yojanas which appears touching the heavens. When succulence gets saturated in these fruits they fall down voluntarily. The length of these fruits is regarded as two and a half thousands of aratnis. These fruits fall with a 1. TM. Vol. III p. 133. L.4 2. Ibid. Sm. ED. p. 381. L.3 3. Ibid. M. Vol. p. 116. LL. 5-7

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CULTURAL DATA IN TILAKAMANJARI 185 musical sound and flow with golden fluids on the earth. The fluid collected from these fruits flows into streams and circumambulating Meru reaches the Uttarakuru varsa (It is mentioned in the Vedic and later Brahmanical literature as a country situated somewhere north of Kashmir. It is mentioned in the Bhagavata Purana (I. 16. 12) as the country of northern Kurus. Some call it a mythical region. The Kurudvipa mentioned in the Dipavansa (p. 16) may be taken to be identified with Uttarakuru. Tidasapura was city of Uttarakuru according to the Vinaya commentary. The Lalitavistara (p. 19) refers to Uttarakuru as a Pratyanta dvipa)1. Having partaken of this fluid the people of that range become immortals. Thirst and old age does not pester them. From this Jambunadi (river) the gold named Jambu is obtained which is an ornament of the gods. It is ruddy and shining like the cochineal insect (Indragopa)."2 Since Meru is Rudra Himalaya in Garhwal where Ganga springs near Badarikasrama and Uttarakuru was to the south of Nilagiri (Dardura) and north of Meru (the Rudra Himalaya), the trees called Ksiris giving milk that was naturally sweet, the sand there being gold producing, the seasons there being moderate whole the year long, we can identify these groves with pancanadaranya of Dandi extending from Nilagiri to Hindukush and spreading all over the Rudra Himalaya in Garhwal, moving finally over to Punjab (Kashmir to Simla hills) etc. Nandana vana also named amarakanana' has been referred to. It was a divine grove from where 200000 nymphs or celestial maidens had come to Bhararta for welcoming his army at the invocation of Bharadvaja. Ravana had destroyed it. It was full of trees that fructified whole the year long. When engaged in fight with Ravana and injured, Kubera had been brought to its grove. The outer garden named Mattakokila where Harivahana accompanied by Samaraketu went for a stroll on one summer morning, has been described as clung to the shores of Sarayu." 1. KSN. p. 11 2. Mhb. Kosa Part. pp.141 3. TM Vol. III. p. 11, Sm, ed. p. 421. 4. KSN p. 112 5. Ram. Kosa p. 164. 6. H o lchi 714 741791 TM Vol. II. p. 235. TM Vol. II. p. 288.

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186 TILAKAMANJARI OF DHANAPALA 1 The creeper arbours where in Maithili (Sita) regaled her mind in company with Trijata, situated in Lanka, have been referred to.' The alluvial groves having longing alleviated by Ravana lean through grief on account of refractoriness of Janaki, with cool white sandal arbour welcomed by Kumbhakarna seated there in sleep, with their precincts rendered tawny by the golden shines of their frame by fawns roaming about born from the wombs of female antelopes belonging to the forests come there in association with the deer named Marica, their progenitor, with the righteous reign of Bibhisana manifested in them, by the ascetic princes residing in the proximous hermitages, undaunted and moving about on account of the ravages of the demons gone to a cease. There is a repetition of the reference to the forest contiguous to Lauhitya (Brahmaputra in Kamarupa) river from where it was citaramaya actually who actuated by the instigation of Gandharvaka, had assumed the garb of the divine elephant and taken Harivahana away in order to make him a gift over to Tilakamanjari.2 There is also a reference to the groves on the skirts of Kanci as also to the Visranta (Prasanta) vairasrama abounding in groves full of trees' etc.. There is a reference to a 'dharmaranya' built by Surananda, the minister (of Meghavahana) abounding in bulbous roots and fruits of sweet taste available quite easily, with way farers and guests taking shelter therein.* 3. RIVERS AND LAKES Of the rivers Dhanapala has mentioned Sarayu which also occurs in Ramayana, Bhagavata Purana, Mahabhararta,' Panini's Astadhyayi," 6 1. TM Vol. II. p. 288. 2. Ibid. Sm. ed. p. 392. saH punaradhunA mayaiva gandharvakaprArthitena bhartRduhitustilakamaMjjaryAH prAbhRtaM kartumAttadviradarUpeNa lohityataTaparyantATavyA vinisRtya zivirAdasilatAmAtrasahAyo bhayAnakAnekasattva saMcAradukhatAramuttaradigantakAntAramAvizat / 3. Ibid. Sm. ed. pp. 427. kAMcInagarIparisarArAme draviDezvarasutAdu : khadRzyamAnavizrAnta (prazAnta vairAzrama) padeSu / 4. TM Vol. III. p. 33. p. 33. LL. 5-6 5 Adikanda or Balakanda, Sarga XIV Uttarakana, Sarga 123 verse 1. 6. V. 19. 18, IX 8. p. 637. 17; X. 79.9 7. Adi parva. 169-170, p 215 8. VI. 4. 174.

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CULTURAL DATA IN TILAKAMANJARI Visnusmrti, Yoginitantra,2 Kalikapurana, Padmapurana Raghuvamsa of Kalidasa, Rgveda." 187 According to Ramayana king Dasaratha performed the Asvamedha Yajna on the bank of this river. Many foremost Brahmins took part in it headed by Rsyasrnga Rama and Laksmana visited the confluence of the Sarayu and the Ganges. According to Milindapanhas this river issued forth from the Himalaya. According to Rgveda Citraratha and Arna are said to have been defeated by the Turvasas and Yadus who crossed this river. It was Ghagra or Gogra, a tributary of the Ganges, on which stood the city of Ayodhya. it is the Sarabos of Ptolemy and is one of the five great rivers mentioned in early Buddhist texts. This river joins the Ganges in the district of Chapra Bihar. At the north east corner of the district of Bahraich it receives a tributary from the north east which goes by the name of Sarayu. Ramayana places this river at a distance of half a yojana from the city of Ayodhya." Dhanapala mentions the town of appropriate appellation known as Ayodhya in the Uttarakosalas" which had association made on all sides by the river named Sarayu which had presented herself over to the Bhagirathi (Ganga) in order to inquire after the account of ascent to the heavens of the sons of sagara consumed by the fire of the ire of Kapila, which had her sides undeserted even for a moment by the royal swans as if they were the decrepit chamberlains bearing wands in the form of straight lotus stalks come down from the eastern ocean and had her surges over splashed owing to their contacts with the posteriors of the comely dames of Kosala performing ablution therein." He has also referred to Brahmanas (Srotriyas) 1 85.32. 2. 2/5. 3. Ch. 24. 139. 4. Uttarakhanda vs. 35-38. 5. VIII. 95; IX. 20.; XIII. 60. 63; XIX. 40. 6. IV. 30. 18; X. 64. 9; V. 53. 9. 7. Ram Adikanda Sarga 23 verse 5. 8 p. 114. 9. HGAI. B. C. Law pp. 142-43. 10. uttarakozaleSvayodhyati yathArthAbhidhAnA nagarI TM Vol. I. p. 55. 11 'majjatkozalavilAsinInitambAsphAlanasphAritataraMgayA 1 gRhItasaralamRNAlayaSTibhiH yafufalactof vRddhakaMcukibhiriva rAjahaMsaiH kSaNamapyamuktapArzvayA kapilakopAnalendhanIkRtasagaratanayasvargavArtAmiva praSTuM bhAgIrathImupasthitayA saritA sarayvAkhyayA kRtaparyantasakhyA' TM Vol. I. p. 47. LL. 1-3

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188 TILAKAMANJARI OF DHANAPALA having hands sanctified by the leafy cups full of sheaves of darbha grass and leaves of sesame, starting off the shores of Sarayu in order to perform ablution with phials of emric juice and mustard oil carried by the followeres.' At another place the shore of Sarayu has been called charming on account of its being situate to the garden associated with Sakravatara which according to Dr. B. S. Upadhyaya was a place a centre of political activity which included Sacitirtha a holy place of pilgrimage situated on the shores of Ganga quite close to Hastinapura. The outer garden Mattakokila has also been described as clinging to the shores of Sarayu." Ganga has been referred to with variants such as Surapaga, Bhagirathi, Amarapaga," Tridasasindhu," Jahnavi,'' Vyomajahnavi" Mandakini,"? Nakamandakini," Akasajahnavi,'4 Tripathaga (Sindhu),'' Svarganga," Gaganamandakini," along with "rasatala' tripathaga, is also known as Bhogavati." 1. anucaragRhItatailAmalaMkakateSu prasthiteSu snAnAya sarayUtaTAni tiladarbhapatrikApUrNapatrapuTapavitrapANiSu shrotriyessu| TM Vol. II. p. 166. 2. Waruniffer ut at: RTTM Vol. II. p.226. 3. Kalidasa Ka Bharata Part I. p. 123. 4. GET THE H DIETETI TM Vol. II. p. 225, See also 375 CER RAR I Ibid. Vol. III. p. 236. and arativinodasthAnabhiva sAgaraviprayoge sarayvA:- Qualifying the Jalamandapa. 5. Ibid. Vol. I. p. 83, Vol. II. p. 238, Vol. 87, Vol. III p. 87, Vol. I p. 91. 6. Ibid. Vol. I. p. 83. 7. Ibid. Vol. I. p. 47. 8. Ibid. Vol. II. p. 202. 9. Ibid. Vol. III. p. 69. 10. Ibid. Vol. III. p. 21, also Jahnukanya Vol. III p. 76. Vol. III p. 138. 11. Ibid. Sm. ed. p. 372. 12. Ibid. Vol. I. p. 147. Vol. III p. 137, Vol. III p. 143, Vol. III p. 71, Vol. III p. 79. 13. Ibid. Vol. I. pp. 120, 110, Vol. II p. 165, Sm. ed. p. 360. 14. Ibid. Vol. II. p. 237. 15. Ibid. Vol. III. p. 140, TM Sm. ed. p. 421. 16. Ibid. Vol. III. p. 175. 17. Ibid. Vol. III. p. 183. 18. Ibid. Vol. II. p. 320. 19. Ibid. Vol. III. p. 93.

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CULTURAL DATA IN TILAKAMANJARI 189 Amaranimnaga' is another variant for nakamandakini. Bhagirathi according to Dr. B. C. Law is the same as the river Ganga?. This river is mentioned in the Harivania (I. 15) and in the Yoginitantra (2, 4, 128-29). It is so called because Bhagiratha brought this sacred river (Brahmandapurana II 18. 42). A sacred spot called Hamsaprapatana lay to its east (Matsyapurana 106. 32 Brahmanda Purana IV 12.44) According to the Vayupurana (77.93) it was fit for Sraddha. It flows through Suhma in Bengal. According to Sena and Candra copper plates, the Bhagirathi is the Ganges. The Naihati Copper plate of Ballalasena pointed out that the Bhagirathi was regarded as the Ganges and the queen mother performed a great religious ceremony at its banks on the occasion of the solar eclipse. The Govindapura Copper plate of Laksmanasena states that the Hooghly river was called Jahnavi which flowed by the side of Betad in the Howrah district. Dr. Law has treated' Bhagirathi Ganga, Mandakini as a complete system known as Ganges system which includes the rivers of the Mid land (Madhyadesa). The number of its tributaries, as known to the classical writers was nineteen. Though the Ganges and the Indus' were known to them as the two largest rivers in India, the former was taken as the greater of the two. The Ganges is known by various other names such as Visnupadi, Jahnavi, Mandakini, Bhagirathi etc. The Mahabharata traces the sources of the Ganges to Bindusara. The Pali works refer to the southern face of the Anottata lake as the source of the Ganges. According to modern Geographers the Bhagirathi first comes to light near Gangotri in the territory of Garhwal. At Devaprag it is joined on the left side by the Alaknanda. From Devaprag the united stream is called the Ganges. Its descent by the Dehra Dun is rather rapid to Haridvar, also called the Gangadvara or the Gate of the Ganges. From Haridvar down to Bulandshahr the Ganges has a southerly course, after which it flows in a south-easterly direction up to 1. TM Vol. III. p. 155. 2. HGAI p. 171. 3. Dhoyi's Pavanaduta V. 36. 4. Inscriptions of Bengal Vol. III p. 97. 5. Ibid. p. 74. 6. HGAI pp. 252-53. 7. HGAI p. 35-37. 8. MC Crindle Ancient India 136 ff. 9. See 285 above.

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TILAKAMANJARI OF DHANAPALA Prayaga (Allahabad) where it is jointed by the Yamuna. From Allahabad down to Rajmahal she has an easterly course, after which it follows again south easterly direction. The Alakananda represents the upper course of the Ganges. The Mandakini is one of the tributaries of the Alakananda and it may be identified with the Kaliganga or Mandakini rising in the mountains of Kedara in Garhwal. The Ganges may be supposed to have assumed the name of the Ganga-Bhagirathi from the point where it is met by the Mandakini. The Ganges receives a tributary called Nuta just above Farrukhabad. Between Farrukhabad and Hardoi the Ganges receives another tributary called the Ramaganga. The Gomati (modern Gumti) joins the Ganges between Banaras and Ghazipura. The Dhutapapa of the Pauranic fame was a tributary of the eastern Gomati. The Tamasa or east Tons joins the Ganges to the west of Ballia after flowing through Azamgarh. The Sarayu, a tributary of the Ganges, joins the Ganges in the district of Chapra. The great historical river is now known as Gharghara (Gogra). Some unimportant tributaries join the Gharghara in the Gonda district flowing from the district of Bahraich. The little Gandaka joins the Gharghara (Sarayu) on the western border of the district of Sara. The ancient city of Ayodhya stood on the Sarayu. The little Gandak also known as the Hiranyavati or Ajitravati flows through the district of Gorakhpura and falls into the Gogra or Gharghara (Sarayu). The Aciravati, the great tributary of the Sarayu, flows through the districts of Bahraich, Gonda and Basti and joins the Sarayu or Gharghara west of Burhaj in the district of Gorakhpura. The Kakuttha was a tributary of the Hiranyavati or the little Gandak. The Gandaki (modern Gandak) is an upper tributary of the Ganges. The main stream of the Gandak flows into the Ganges between Sonpur in the Sara district and Hazipur in the district of Muzaffarpur. 190 The Ganges in its lower course is known as the Bhagirathi Hooghly in West Bengal and the Padma Meghna in East Bengal. The Ganges enters Bengal between Rajmahal and Maida and bifurcates a little above Jangipur in the district of Murshidabad. The Bhagirathi branch of the Ganges is met on the right side by the first tributary called Bansloi in the district of Murshidabad. The Ajaya, which is an important tributary, joins the Bhagirathi at Katwa in the district of Burdwan and forms a natural boundary between the districts of Burdwan and Birbhum. The Bhagirathi in its lower course receives on the right side the well known tributary called the Damodar which flows into the Hooghly

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CULTURAL DATA IN TILAKAMANJARI 191 in several streams in the district of Midnapore. The Damodar takes its rise in the hills near Bagodar in the district of Hazaribagh and flows through the districts of manbhum and Santhal Paraganas and then through the districts of Burdwan and Hooghly. The Rupanarayana, another important tributary of the Bhagirathi branch of the Ganges, flows through the districts of Bankura, Hooghly is joined on the right side by the united flow of the haldi and Kashai. The Panar which is the first upper tributary of the main stream of the Ganges in Bengal, joins the Ganges below Nawabganj. The Kamsavati and Purnabhava, are the two tributaries of the Panar in the district of Malda. The Atrai (Atreyi) and the lesser Yamuna meet together in the district of Rajashahi. These are also the tributaries of the Panar. At Goalkunda the Ganges receives the greater Yamuna which is nothing but the main steam of the Brahmaputra as it flows through East Bengal. The united stream is now known as Padma. It joins the estuary of the Meghna to the east of the Faridpur district. The Garai issuing from the Ganga above Pansa in the district of Faridpur flows down under the name of the Madhumats and reaches the Bay a little above Firojpur in the district of Backergunge under the name of the Haringhata. The Ariyalkhal river, which is a distributary of the Ganges, issues from the right side of the Padma, below the town of Faridpur and flows down into the Bay through the Mandaripur Sub-division of Faridpur and the district of Backergunge. The Ariyalkhal and the Madhumats are connected by a small river which flows from the former a little above the town of Madaripur and joins the latter a little above Gopalgunge in Madaripur subdivision. The lower course of the Padma becomes known as the Kartinasa or destroyer of memorable works from the ravages wrought amongst the monuments and buildings of Raja Rajavallabha at Rajnagar in the district of Faridpur. Besides the Bhagurathi and Padma, the water of the Ganges is carried to the sea through numerous other channels. The seaward end of the delta of the Ganges enclose the large swampy area covered with jungles called the Sundaravana. Mention of Sarasvati is understandable only by pun from the sentence where in it has been postulated that in presence of Madiravati, the chief consort of Meghavahana, Sarasvati (the goddess of speech) (and punningly the river) stood nowhere in point of purity (chastity in case of Madiravati) when holding herself extremely turbid (the goddess of speech e. More 6 m.

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192 TILAKAMANJARI OF DHANAPALA on account of her obscene syllables and the river on account of its flowing through the muddy soils).' According to Dr. B. C. Law, The Sarasvati and the Drsadvati are the two historical rivers of northern India that flow down independently without belonging to the Indus group. Manu locates the region of Brahmavarta between these two sacred rivers. The Sarasvati is described in the Milindapanha as a Himalayan river. It flows southwards through the Simla and Sirmur states forming a bulge. Manu applies the name of Vinasana to the place where it disappears from view. The Taittiriya Samhita, Pancavimsa Brahmana, Kausitaki Brahmana, Satapatha Brahmana, and the Aitareya Brahmana' mention this river. It is also mentioned in the Rgveda. This river is mentioned in the Vis nusmrti.' The Padmapurana' refers to the Gangodbheda tirtha (the same as Gangaditirtha of Dhanapala)," which is the meeting place of this river with Ganges. The Katyayana Srautasutra,"2 Latyayana Srautasutra," Asvalayana srauta sutra, and Samkhayana Srauta sutra refer to the sacrifice held on the bank of this river as of great importance and sanctity. Kalidasa mentions it in the Raghuvamsal and in his Meghaduta." The Yoginitantra (2/3; 2/5; 2/6) also mentions this river. In the Siddhanta Siromani the Sarasvati is correctly described as a river which is visible in one place and invisible in 1. 37804614IHR EUR41 year of taciti TM Vol. I. p. 83. 2. HGAI p. 143. 3. VII 2. 1.4. 4. XXV. 10.1. 5. XII. 2. 3. 6. I. 4. 1. 14. 7. II. 19. 1. 2. 8. RVI. 89.3; 164, 19; II 41, 16; 30.8; II. 54. 13; V. 42. 12; 43. 11; 46.2; V. 49.7, 50, 12, 52, 6; VII. 9. 5. 36. 6; 39.5; X. 17, 7; 30, 12; 131, 5; 184, 27. 9 85. 27. 10. Srstikhanda Ch. 32 verse 105. 11. Tm Sm. ed. p. 371. 12. XII. 3, 20; XXIV 6. 22. 13. X. 15, 1; 18, 13, 19, 47. 14. XII 6, 2, 37. (HGAI-pp. 236-237) 15. XIII. 29. 16. III. 9. pe. 68 GRNE. MLBD. Delhi. 17. Purvamegha 49. p. 33 Kalidas granthavali.

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CULTURAL DATA IN TILAKAMANJARI 193 another. The river which still survives flows between the Satadru and the Yamuna. It was known to the Vedic Aryans as a mighty river which flowed into the sea. The river issued forth from Himalayas. It rises in the hills of Sirmur in the Himalayan range, called the Sivalika and emerges into the plains at Adbadri in Ambala. It is considered sacred by the Hindus. According to the Mahabharata' people offer Pindas to their ancestors on the bank of this sacred river. There existed on its bank a forest sacred to Ambika known as the Ambikavana.? Dhanapala refers to "Vaitarni' river having the current of its waters trumpet hued like the gush of gore. According to Monier Williams, it is the name of the Hindustyx i.e. the river that flows between the earth and the lower regions or the abode of the departed spirits presided over by yama, hot, fetid and filled with blood, hair and bones etc. There is also a sacred river in Kalinga or Orissa bearing the name Vaitarani. Dr. B. C. Law has given details about the history of this river. He says This river rising among the hills in the north west of the Keonjhar state, flows first in a south westerly and then in an easterly direction, forming successively the boundaries between the Keonjhar and Mayurbhanj states and between Keonjhar and Cuttack. It enters the district of Cuttack near the village of Balipur and after flowing in a winding easterly course across the delta, where it marks the boundary line between Cuttack and Balasore, it joins its waters with the Brahmani and passing by Candbali finds its way into the sea under the name of Dharma river. The principal branches thrown off from the right bank of the Vaitarni are cross streams connecting it with the Kharsua. According to Hindu tradition Kama when marching to Ceylon to rescue his wife Sita from the clutches of the ten-headed demon Ravana, halted on its back on the borders of Keonjhar. In commemoration of this event many people visit this river every January. This river which is mentioned in the Mahabharata6 is situated in Kalinga. According to the Padma and Matsya Puranas, this sacred river is brought down to the world 1. Vanaparva 83.p. 571; 84. p. 574 2. Bhagavata Purana XI 34.2-17, p. 543 GPE 1961 3. 37140169CAO uit fufcictafuichal TM Vol. I. p. 128. See Skt. English Dr. V.S. Apte. 4. Skt. Eng. Dict. Vaitarni. 5. TM Vol. I. p. 130. Vol. II p. 216. 6. Vanaparva Ch. 113, 85.6. p.516 GPE part 1; Adiparva 169.22, p.215

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TILAKAMANJARI OF DHANAPALA by Parasurama. The Padmapurana (Ch. 21) refers to it as a holy river. The Jain literature mentions this river as Vaitarinl. It is referred to in the Samyutta nikaya (1.21), where it is stated to be the river Yama (Yamassa vetaranim). The Buddhist tradition therefore seems to support the Brahmanical tradition of the Vaitarani being the Yama's river. 194 Yamuna has been referred to by Dhanapala variously as 'Kalindi", Kalindatanaya, Vaivasvatanuja' and Kinasanuja". According to Dr. B. C. Law-5 This river is mentioned in the Rgveda, Atharvaveda,' Aitareya Brahmana.* It is known as Kalindakanya because it takes its rise from the Kalindagiri." According to the Rgveda (Vii. 18.19) the Tritsus and Sudas defeated their enemies on this river. The territory of the Tritsus lay between the Yamuna and the Sarasvati on the east and the west respectively. According to the Aitareya Brahmana" and Satapatha Brahmana"- The Bharartas are famed as victorious on the Yamuna. The Pancavimsa Brahmanam," Sankhayana Srautasutra," Katyayana Srauta Sutra14 Latyayana Srautasutra", Asvalayana Srautasutra", mention this river. Patanjali also mentions it in his Mahabhasya." The Yoginitantra and the Kalikapurana" refer to it. This river also known as the Kalindl occurs in the 17 18 1. TM Vol. I. p. 73. 2. TM Vol. I. p. 138. 3. TM Vol. II. p. 262. 4. TM Sm. ed. p. 293. 5. HGAI pp. 160-161. 6. X. 75; V. 52. 17; VII 18. 19; X 75. 5. 7. IV 9. 10. 8. VIII 14. 4. 9. Ragh. V. VI 48. 10. VIII. 23. 11. XIII 5, 4. 11. 12. X. 4. 11. XXV 10. 24; 13. 4. 13. XIII. 29. 25, 33. 14. XXIV 6.10-36. Pp. 270-272 15. X. 19, 9, 10. 16. XII, 6. 28. 17. 11. 9. p. 436; 1. 4. 2, p. 670. 18. (2-5, 139-140). 19. Ch. 15, 8.

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CULTURAL DATA IN TILAKAMANJARI Bhagavata purana' as well as in the Mahavastu?. Bana in his Kadambari1 also calls it the Kalindi because its water appears to be dark. It rises on the slopes of Bandarpunch, a peak situated on the watershed between the Yamuna and the Ganges. The shrine of Yamunotri stands at the base of the Bandarpunch. The first and great western tributary of the Ganges is the Yamuna proper, which takes its rise in the Himalayan range below Mount Kamet. It cuts a valley through the Sivalika range and Garhwal before it enters the plains of Northern India to flow South parallel to the Ganges from Mathura downwards it follows a south eastern course till it meets the Ganges forming the famous confluence (Sangama) at Prayaga or Allahabad. In the district of Dehra Dun it receives two tributaries on the west side, the upper one of which is known as northern tons. Between Agra and Allahabad it is joined on the left side by four tributaries, called Carmanvati (modern Chambal), Kallsindhu, Vetravati (modern Betwa), Ken and Payasni (modern Paisuni). Many holy places are situated on this river. Sarabhanga, a disciple of Kasyapa, was present at a great sacrifice held at a place between the Ganges and the Yamuna. The Yamuna is known to the Chinese as Yenmok-na. It served as the boundary between Surasena and Kosala and further down between Kosala and Varsa, Madura, the Capital of Sarasena and Kosambi, the Capital of Vamsa, standing on its right bank. The Yamunotri which is eight miles from Kursoli is considered to be the source of the river Yamuna. It is identified with the Greek Erannaboas (Hiranayavaha) or (Hiranayavahu). Yamuna is one of the five great rivers mentioned in early Buddhist texts. It is modern Yamuna. The Skanda Purana mentions the Vayuvahini as a tributary of this river. Dhanapala has mentioned a stream (Sarit) of shores fit to be strolled along, Saravati by name, which had water of canals spreading on the skirts of many hard by villages." 195 This stream is described as situated in the Janapadas visited by Harivahana who had started off in order to have a look at mandala of his personal charge, in company with Samaraketu etc. having got out of Saketanagara. The subsidiary vassals abiding in those Janapadas amused 1. III. 4, 36; Iv. 8, 43, VI 16, 1'6; VIII 4. 23; IX 4, 30; IX 4, 37, X 58, 22) 2. III. 201. 3. saMkarSaNapaTanIlacchAyayopahasata iva gadAdharadehacchavimaccheH kAlindIjalacchaderiva vircitcchdsy| M.R. Kale pp. 62-63. 4. asovanekanikaragrAmaparisaravisArisAraNijalA zarAvatI nAma kimapi sevyakUlA sarit / TM Vol. III. p. 33.

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196 TILAKAMANJARI OF DHANAPALA him by pointing out to him the location of an unscalable mountain (durgagiri) named Mandaraka, the sole resort of enemy kings incarcerated, with the city established over it surrounded by a thick circle of vellum, with the series of lofty peaks visible from afar and its grottoes abounding in herds of sylvan tuskers roving about undaunted; the lake made to be dug up by His Majesty (Meghavahana) come there during the course of his conquest of the quarters. In times of yore; an agrahara ( a village granted to the poor Brahmanas) cultivable enough to help them earn their livelihood) meant for the benefit of His majesty, the foremost among all the villages of all the mandalas, donated by Queen Madiravati on the occasion of the solar eclipse, having its boundaries measuring ten thousand ploughshares; a religious grove (Dharmaranya) built by Surananda, the minister, having bulbous roots and fruits available quite easily etc.; the extremities of the border land of a mountain where Nitivarma, the army in chief of the Northern region (Uttara diganta) had despatched to the city of Yama, the Lord of the Hunas, having resorted to the act of fighting; a stream having its shores miry with the shoals of overgrowing kuskuma plants, on the other side of which lay the bhukti of Yuvaraja Samaraketu and starting from that spot, to the west of it lay the group of towns and villages in its entirety made over to Kamalagupta as a means of subsistence. With the divisions of his Mandala being pointed out to him (i.e. Harivahana) from all sides, he reached the country known by the name Kamarupa charming with series of Pundraka sugarcane plants. In case the Suravati river described by Dhanapala refers to a river of the Madhyadesa then it can be identified with Salalavati in the south to the town of Satakarnika. Saketa being in northern India, Harivahana started off from there and visiting the intervening Janapadas where he saw the durgagiri, saravati, the lake, the Agrahara, the Dharmaranya, the out precincts of a hilly region where the Huna king was doomed by the Commander of the forces of the Northern direction from where moving across a stream he saw Anga and Kalinga in the cast and ultimately reached Kamarupa. This proves the existence of Saravati in Northern India. The Majjhimadesa according to B. C. Law had its boundaries extended in the cast to the town of Kajangala beyond which was the city of Mahasala in the south east to the river Salalavati (saravati) in the south the town of 1. TM Vol. III. pp. 33-34. 2. HGAI p. 14 (B. C. Law)

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CULTURAL DATA IN TILAKAMANJARI Satakarnika, in the west to the Brahmana district of Thuna (identified with Sthanvisvara)' Hence Madhyadesa had its boundaries in Northern India as well. The identification of Saravati with river Salalavati is not an impossibility. The durgagiri Mandaraka having a town over its upper regions surrounded by a circular vellum, having its grottoes abounding in wild tuskers, being in itself a resort for the enemy kings imprisoned there in creates an impression on the mind to identify it with Sridurjaya, a fortification built by Ratnapala (1000-1030) a contemporary of Bhoja of Dhara whose court poet Dhanapala was and a king of Kamarupa (Pragjyotis a) who was succeeded by Indrapala, the grandson (1030-1055), another contemporary of Bhoja, whose son Purandarpala had died a crown prince. Sridurjaya is known from the anonymous inscriptions of these kings. The capital was on the south bank of Brahamputra where as the grants were made to the Brahmanas on the Uttarakula or the northern bank. The fortified city was between modern Tezpur and Gauhati.2 But the Mandraka durgagiri being a resort of the imprisoned kings precludes the possibility of this identification to some extents. It might have been a hill fortification built by Meghavahana to keep the imprisoned kings there in.3 Lauhitya has been eminently referred to by Dhanapala. Having reached the country known as Kamarupa, greeted there by the king of Prayagjyotisa Harivahana was offered homage to by the vassals of Uttarapatha entreated by whom he had roved about the groves on the shores of Lauhitya. According to B. C. Law 197 "The Great tributary, which meets the Brahmaputra in the district of Sadiya, is the Lohit or Lauhitya. It flows from north east above the Namkiu mountains as the united flow of four streams. This river formed the boundary of Pragjyotisa or Gauhati in Assam." According to Dr. B. S. Upadhyaya "Lauhitya is Brahmaputra which according to Kalidasa forms the western boundary of old Pragjyotisa " (Sridurjaya or modern Gauhati)." 6 1. HGAI p. 14 (B. C. Law) 2. Early History of Kamarupa pp. 87-90 Rai K. L. Barua. 3. TM Sm. Ed. p. 349. kAmarUpAkhyamaNDalakhyAtanAmAnamAzritya lauhityanadam / Sm. cd. p. 357. lohitymRgyaavne| Sm. ed. p. 384. lohityataTabandhojayaskandhAvArasya / Smed. p. 394. lauhityataTavAsinaH skandhAvArAta | Sm. ed. p. 392. lauhityataTaparvatATavyA: / also Sm. ed. p. 374. 4. lohityopakaNThakAnaneSu vicAra - TM Vol. III. p. 35. 5. HGAI p. 275. Also pp. 37-38. The Brahmaputra Meghna System. 6. Kalidasa Ka Bharata Part I p. 44.

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198 TILAKAMANJARI OF DHANAPALA Of the Lakes Dhanapala has mentioned Manasa,' Padmahrada and Adrs tapara as the main figures. He has also referred to three lakes associated with the three Kulacalas Vindhya, Suktimat and Malaya known as Kesari, Mahapadma" Tigincha (fafii549) and at another place to the huge lakes (mahapuskarini) beautiful with triplefold rows of steps made of expansive bejewelled stone-slabs splashed by the surges of the sweet and limpid water redolent and cool with the juice of Pundra sugarcane, having shapes circular like the dimensions of the Jambudvipa, encircling on all sides the sixteen huge mountains known as Dadhimukhas etc. Manasa-Sarovara, according to B. C. Law is situated in the Kailasa mountain in western Tibet." King Vibhraja repaired this lake. The lotus grove associated with the Padma mahahrada situated on the peak of the mountain of snow i.e. Himalaya has been alluded to explicitly by Dhanapala. The huge lake named Padma has also been called the silvery mirror of the array of groves on the peak of the mountain of snow i.e., Himalaya. Padma and other lakes have been deemed situated on the crests of the Kuladris. Dr. B. C. Law quoting The Jambudivappannati remarks that there were tyo lakes, each called Mahapadmahrada, one connected with the western Himalayan range (Ksudra Himavanta) and the other connected with the Eastern Himalayan range (Maha Himavanta). The Himalayan lake called Chaddanta was 50 leagues long and 50 leagues broad. This lake contained white and red lotuses and white lilies and white esculent lilies. Of the two lakes connected with three Kulacalas Vindhya, Suktimat and Malaya, Kesari, Mahapadam may be the same as discussed above, Kuladriculahradas seems to be a repetition of the fact discussed above. 1. TM Vol. I. pp. 109, 111, 147, Vol. II p. 181, Vol. III p. 12, 143, Vol. I p. 81, Vol. III p. 75, Sm ed. p. 391, Vol. I p. 61, Vol. III p. 77, Sm. ed. p. 373. 2. TM Vol. I. p. 154, Vol. III p. 14, Sm. ed. p. 376. Sm. ed. p. 421. 3. TM Vol. III. pp. 69-75, Sm. ed. pp. 418, 412, 408, 394, 383. 4. galleria fua dokhelyafafegua4 TM Vol. III. p. 74. 5. dadhimukhabhidhAnamahAdharAdharendraSoDazakaparikSepANInAM jambUdvIpapramANaparimaNDalAkRtInAM puNDrekSurasazizira surabhisvacchasvAdusalilakallolAsphAlitavizAlamaNizilAsopAnapaMktitritayaramaNIyAnAM mahApuSkariNInAm TM Vol. I. p. 116. 6. HGAI p. 131. 7. fenfifter : TEHEEGI E I Vol. III p. 14. 8. Hafta ahfRTHAGYU..... ERA PETET I TM Vol. I. p. 154. 9. TINH HIf wele 4 TM Sm. ed. p. 421. 10. HGAI p. 98.

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CULTURAL DATA IN TILAKAMANJARI 199 Adrstapara has been described as the entrance door to the surface of the earth or the lower regions for the flow of Mandakini', the water of tears of Himacala be-moaned in grief over his separation from Mainaka, flown down as it were;? which implies that Adrstapara was a lake from which Mandakini (western Kali or Kaliganga which rises in the mountains of Kedara in Garhwal, being a tributary of Alakananda) passed before descending down to the lower regions. Mainaka (The Sivalika range extending from Ganga to Beas) separating from Himalaya leaving behind trails of water which flowing down from it (i.e. Himalaya) fancied as the tears again justify the point that Adrstapara lake assumed its garb as a tributary of the Ganges which latter rising up and coming down the Himalayas left her offspring in the shape of the former (i.e. Adrstapara). Regarding the huge lakes having triplefold series of steps surrounding the mountains Dadhimukha and others numbering sixteen, it is very difficult to offer the precise identification as neither Moiner Williams, nor V. S. Apte, Dr. B. C. Law etc. have given any proper situation for these mountains. 4. REGIONS. STATES, CITES AND TIRTHAS Dhanapala has described Maharaja Meghavahana as the enjoyer of earth (or land) of half of the Bharatavarsa He has also mentioned the Southern precincts of the land of half of the Bharata varsa or the southern precincts of the half of the land of Bharata." The entire range of the North and South The entire kingdom of the Northern range, Southern range governed by Cakrasena, 'Uttaragiri inhabited by human beings and consisting of villages and towns. Harivahana has been called the sole scion (lit. Son of Meghavahana, the lord of the circle of the earth full of groves on the shores of the four oceans, whose foot twain was bade homage to by all the kings well known throughout the Bharatavarsa. He has also been shown performing deeds 1. THICATOgra richiyalarTM Vol. III. p. 71. 2. Hrchfaring: fefe Ei fta infraqi Ibid. 3. TEHTHT Rauf HERTHEEPITM Sm. ed. pp. 362. 4. afu Raau a 114.0341 TM. Sm. ed. p. 381. 5. Sinatufa af TUI f ..... TM. Sm. ed. p. 426. 6. 464 RURGII TM Sm. ed. p. 426. 7. TM Sm. ed. p. 425, Vol. III p. 11. 8. Ibid. Sm ed. p. 417. 9. Ibid. Vol. Vol. III p. 3.

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200 TILAKAMANJARI OF DHANAPALA difficult of performance by the princes of the whole of Bharata varsa.' The princesses introduced by Pavanagati to Vicitravirya come to attend the Yatrotsava were the daughters of the overlord of the Mandalas inhabiting the middle portion and the southern half of the Bharatavarsa or inhabiting the middle, the half and the southern regions of the Bharataksetra. The town named Ayodhya, the chief among all the towns, the lineal capital of the kings of Iksvaku race such as Raghu, Dilipa, Dasaratha etc. has been called the Crest ornament of the whole of Bharatavarsa. Harivahana has again been called the first son of Meghavahana, the king of command fit to be obeyed even by the sire of (Malayasundari), the enjoyer of the earth of the entire Bharatavarsa." All these go to demarcate the boundaries of the whole of Bharatavarsa lying under the sceptre of Meghavahana who held sway over the entire Northern and the Southern ranges. 'Bharatavars ardabhubhuj' creates a confusion. 'Sakalasyapi' may be construed as the Bharatavarsa accompanied by her digits or the component parts. 'Asesa' and 'niscesa' may be hyperbolic suffixes. But a close study of the whole of Tilakamanjari makes it clear that a Dharamavijayi or a Righteous conqueror as Meghavahana was, he had first uprooted and then reinstated during the course of his digvijaya, the kings of the southern, northern, central and even eastern regions (kamarupa, Anga, Kalinga etc.) and certainly held sway over almost whole of the Land of Bharata, which had the Northern and Southern parts for her chief sub division which according to Dr. D. K. Gupta was called Aryavartta in the times of Kalidasa as well as Dandin. Dhanapala has not mentioned Aryavartta specifically. He has, however, mentioned Airavarta along with Bharata at two places in the later portions of the old text which compared with certain portions of the newly constructed text having a commentary, shows many contradictions consequent upon scribal errors. This Airavatta mandala of Dr. B. C. Law is recognised as belonging to the Southern and Eastern India and believed to have been included in the Patodavisaya and identified with Ratagarh in the Barki Police Station of the Cuttack district. In case this be a scribal error for Aryavastta, we may presume its mention as such which included the northern half and Daks inapatha, the Southern half, the line of demarcation being drawn by 1. TM Vol. III p. 14. 2. RESITUTE E heusaff HUSCHHICH GIT:- TM Vol. III p. 187. 3. sakalasyApi bhAratavarSasya cUDAlaMkArabhUtA gotrarAjadhAnI raghudilIpadazarathaprabhRtInAM TYHITETETT VETA TRETM Vol. 1. p. 94. 4. TM Sm. ed. 356. 5. KSN p. 115. 6. HGAI pp. 164, 242.

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CULTURAL DATA IN TILAKAMANJARI Narmada on western side and by the Mekala range and Suvarnarekha river on the eastern side,' According to Dr. Law, Aryavartta to which Patanjali refers in his Mahabhasya is described in the Dharmasutras and Dharmasastras to have extended from the region where the river Sarasvati disappears in the west, to the Black forest in the cast and from the Himalayas in the north to the Paripatra in the south. Almost all the Brahmanical sources give a description of Madhyadesa or Aryavartta, the most important division of India. The middle country was the cradle on which the Brahmanical aryans or the Buddhist staged the entire drama of their career. The five divisions, as indicated in the Bhuvanakosa section of the Puranas, are identical with those given in the Kavyamimarsa, pUrvAparayoH samudrayorhimavadvindhyayozcAntaramAryAvartaH, 3 They are as follows: (a) Madhyadesa (Middle country); (b) Udicya or Uttarapatha (Northern country); (c) Pracya (Eastern India); (d) Daksinapatha (Deccan); and (e) Aparanta (Western India)." Dhanapala has mentioned - 201 Daksinrardha and Madhyamakhandas of Bharataksetra, Uttarapatha," Daksinapatha or Daksinatya.' Pracya can be understood by his reference to Meghavahana's sway over kamarupa, Anga, Kalinga." The western part of India stands alluded to in his mention of Saurastramandala." kAzmIrAdimaNDalaprativaddhai: pradhAnanagara bhasmai rUpa taM kumArabhuktAvAkhilamuttarApatham / 1. KSN p. 115. 2. II.4.10. punarAryAvartaH 537. p. Mahabhasya part I MLBD, 1967pramAdarzAtpratyakkAlakavanAddakSiNena himavantamutareNa pAriyAtram 3. XVII, p. 93. L.17 Edited by R.A. Shastri and revised by K.S. Rama Swami Shastri Siromani, O.I.B. 1934. 4. HGAI p. 13. 5. Cp. 369 above. 6. TM Vol. p. 85, Vol. II pp. 229, 251, Sm. ed. p. 343. Vol. II p. 224, Sm. ed. p. 379, Vol. II p. 190. Dr. R. G. Bhandarkar identified Daksinapatha with Maharashtra. Early History of the Deccan down to the Mohamedan conquest p. 10. 7 TM Vol. III p. 15. 8. Ibid. Vol. III pp. 33-34, 186. 9. Ibid. Vol. III p. 186. ch:

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202 TILAKAMANJARI OF DHANAPALA Uttarapatha of Dhanapala includes Kasmira and other regions. Daks inapatha comprised of Kancimandala the principality of Kusumasekhara.? Daksinapatha as described by Dandin was divided into four parts Viz. Vidarbha, Aparanta, Dravida and Kosala Kalinga'. Dhanapala has mentioned Dravidadesa, Dravida mandala and Dravidesvara." Kusumasekhara has been called 'Dravida mandala dhipati' which implies Daksinapatha as identical with it and the word mandala may even imply the inclusion of Vidarbha, aparanta and Kalinga Kosala. But Vajrayudha desirous of uprooting Kusumasekhara the crest jewel of the heads of enemy kings, started off facing the Kanci mandala, from Kundinapura' (modern Kundanpur, about 64 Kms. east of Amraoti, the capital of Vidarbha, modern Berar and old Nisadha) makes it clear that Kanci mandala or Daksinapatha had Vidarbha out of its jurisdiction. Dravida,' however, coincides with Daks inapatha. Kosala referred to in line with Kalinga, Banga, Anga and Kuluta definitely is different from the uttarakosala of Meghavahana and must be the Kosala Kalinga or Kalinga Kosala" of Dr. D. K. Gupta. According to Dr. Law the whole tract of land lying to the south of the Ganges and to the north of Godavaril was called Daksinapatha. According to Kavyamimamsa (XVII. p. 94 --Techika 321921) Uttarapatha lay to the western side of Pethudaka" (modern Pehowa in Haryana). According to Pali literature it signified the entire northern India from Anga in the east to Gandhara in the north west and from the Himalaya in the north to the Vindhyas in the south. Bana Bhatta in his Harsacarita (HC, V.) seems to include within Uttarapatha the western part of the Uttarapradesa the Punjab and the North western Frontier Provinces of India 1. TM Vol. II p. 232. 2. Ibid. Vol. II p. 193. 3. KSN p. 119. 4. Ibid. Sm. ed. p. 325. 5. Ibid. Sm ed. p. 321. 6. Ibid. Sm ed. p. 427. 7. Ibid. Vol. II p. 193. 8. KSN p. 120. 9. Ibid. Sm. ed. p. 421.393, 365, 361, Vol. II p. 220, Vol. III p. 174, Vol. III p. 175. 10. Kalidasa Special Number p. 119. 11. Ibid. p. 116. 12. HGAI p. 177. 13. HGAI p. 14

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CULTURAL DATA IN TILAKAMANJARI and Pakistan. Since Dhanapala is a close pupil of Bana, we can easily. presume that in defining Uttarapatha he seems to point out to Bana's description. Madhyamakhanda of Bharataksetra according to Dr. Law. signifies the whole of Gangetic provinces from Thanesvar to the head of the Delta and from the Himalayan mountain to the banks of the Narmada.2 Dhanapala's reference to Pratapaslla reigning in Kusasthala (Gadhipura, Mahodaya, Kanauj or Kanyakubja)' refers to the Madhyadesa. Magadha having Kusumapura for its capital and Suraketu as its ruler, also known as Kikata' in Rgveda, III,53-54, fa a grafer flag i Pada II Atharvaveda V. 22-14 p. 100 Also C.P. Kokata on page 107 Geography of Ancient and Mediaeval Institute Dr. D.C. Sircar, 6 (referred to as looters and barbarians abiding near Simhala by Dhanapala) refers to the Eastern part of India in line with Kalinga, Anga, Vanga etc. 12 Raivataka' mountain (Girnar or Junagarh in Gujarat Saurastra) refers to has Western part of the country. Of the Janapadas. Dhanapala mentioned Uttarakosala." Purvaparavideha," Kalinga," Banga," Anga,"2 Pancala, Magadha,' Magadha, Saurastra," Gurjara, Lata," 17 Kuntala Kerala,19 Sindhu," Karnata," Kancimandala," Kamarupa, Mandala,23 Pragjyotisa,24 14 16 21 1. HGAI. p. 15. 2. Ibid. p. 16. 3. Ibid. p. 109, TM Vol. III p. 185. 4. Ibid. Vol. III p. 185. 5. Ibid. Vol. II pp. 270, 298. 6. RV III 53. 14. 7. TM Vol. III p. 186. 8 Ibid. Vol. I pp. 55, 47, Vol. III pp. 30, 50, Sm. ed. pp. 243, 395, 399, 420, 426. 9. Ibid. Sm. ed. pp. 412. 428. 10. Ibid. Vol. II p. 245, Vol. III p. 186. 11. Ibid. Vol. III p. 186. 12. Ibid. Vol. III p. 186, 232, Sm. ed. 426. 13. TM Vol. III p. 105. 14. TM Vol. III p. 185. 15. TM Vol. III p. 186. 16. TM Intro.. verse 39, p. 33. 17. TM Vol. III p. 71. 18. TM Vol. III p. 70, 79. 19. TM Vol. III pp.71, 41, Vol. I p. 85. 20. TM Vol. III p. 71. 21. TM Vol. III p. 286. 203 22 22. TM Vol. III p. 193. 23. TM Vol. III p. 34, Sm. ed. 349. 24. TM Vol. III p. 66, Sm., ed. 388.

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204 TILAKAMANJART OF DHANAPALA Kasmira,' Kuluta, Strirajya mandala 'etc. Of the towns or cities he has mentioned Ayodhya" also known as Saketa," Kanci" Kundinapura? Kusumapura, Kusasthala, Rathanupuracakravala, Gaganvallabha,'' Vaijayanti," Puskaravati,'? Rativisala," Campa,'4 Rangasala,' Lanka's Alaka," Manipura,'' and Samkasyal of the Tirthas only Sakravatara?" has been referred to specifically alongwith?' Gangaditirtha, and those forming the chief component parts of the Jambudvipa. Avanti has been mentioned as weli.22 According to Dr. B. C. Law Uttara-Kosala has been identified with Ayodhya. In the Ramayana, Ayodhya is mentioned as the earlier capital of Kosala and Sravasti as its later capital. In later times North Kosala came to be known as Sravasti in order to distinguish it from South Kosala. Hiuen Tsang called North Kosala by the name of Sravasti, which was about 600 li in circuit. There were many Buddhist monasteries in ruins. The people were honest in their ways and 1. TM Vol. II p. 232, Vol. III p. 88. 2. Ibid. Vol. III p. 186. 3. Ibid. Sm. ed. p. 372. 4. Vol. III pp. 30, 32, 49, 58, Vol. I 106, Vol. III. 23, Sm. ed. p. 378, Vol. p. 55, 94, 107, Vol. II p. 291, Sm. ed. pp. 357, 391, 386, 411,412, 378. 5. Vol. III pp. 30, 32, 49, 58, Vol. I 106, Vol. III. 23, Sm. ed. p. 378, Vol. p. 55, 94, 107, Vol. II p. 291, Sm. ed. pp. 357, 391, 386, 411,412, 378. 6. TM Vol. III pp. 279, 331, 339, 347, 338, 343, 377, 397, 378, 427, 428, 424, Sm. ed. Vol. III p. 15, Vol. 195, 185, 196, 194, Vol. III p. 16. 7. TM Vol. II p. 193. 8. TM Vol. III p. 185. 9. TM Sm. ed. p. 366, Vol. III p. 23. 10. 10. TM Sm. ed. p. 401 Vol. III p. 133. 11. TM Vol. III p. 16m Sm. ed. p. 342. 12. TM Sm. ed. p. 407. 13. TM Vol. I p. 117. 14. TM Sm. ed. p. 424. 15. TM Vol. II pp. 250, 275. 16. TM Vol: I pp. 56, 48, Vol. III p. 170, Vol. II p. 289 286, 291. 17. TM Vol. I pp. 85, 56, Vol. II. pp. 291 ( Kuberapuri) Vol. II p. 323. 18. TM Vol. II p. 274. 19. TM Introductory verse 51 p. 40. 20. TM Sm. pp. 364, 405, Vol. II p. 226, Vol. I pp. 103-104, 107, Vol. II p. 175, Vol. I pp. 125. 156, Vol. II p. 224. 21. TM. Sm. ed. p. 371. 22. TM Vol. I p. 103. TM. Sm. Ed. P. 279. L.19. 1.5-5. P. 23 I.13-26. P. 29 II.10.37 p. 97. IV.40.22 VII. P. 332 p. 107.17. p. 707).

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CULTURAL DATA IN TILAKAMANJARI 205 were fond of good work. This city was stocked with good crops and enjoyed an equable climate. Uttara Kosala was the kingdom of Raghu and his successors.' It was called Kosala by Kalidasa in the Raghuvamsa". The northern frontier of Kosala must have been in the hills in what is now Nepal; its southern boundary was the Ganges and its eastern boundary was the eastern limit of the Sakya territory. The Kosalas were the ruling clan in the kingdom whose capital was Sravasti. In an earlier context Dr. Law has remarked that the ancient Kosala kingdom was divided into two divisions, the river Sarayu serving as the wedge between the two; that to the north called the Uttarakosala and the one to the south was called Daksina Kosala. The capital cities of Kosala were Sravasti and Saketa. According to the Epics and some Buddhist works Ayodhya seems to have been its earliest capital and Saketa the next. In the Buddha's time Ayodhya became an unimportant town, but Saketa and Sravasti were two of the six great cities of India. Some think that Saketa and Ayodhya' were identical." Dhanapala has referred to Ayodhya a town of appropriate appellation, in the Uttar Kosalas, where association of the precincts was made by the stream named Sarayu." He also refers to it as the town chief among all the towns, the lineal capital of kings such as Raghu, Dalipa, Dasartha and others, the crest jewel of the whole of Bharatavarsa. In most of the later references Dhanapala has substituted the word Saketa for Ayodhya proving thereby the fact that he deems the two names identical meant for one and the same city. He has invariably alternated the words Ayodhya and Saketa while referring to the Capital of Meghavahana as for example "zakrAvatAracaityAgAraparicitAya sAketanagarAdhipataye17 1. Ragh. V. V. 31; XIII 61, 71; XIV 29; XVI 11-29; XVII 30. 2. IV 70; IX 17. 3. Raghu. XIII. 61. P. 421. XIV. 29. P. 438. XVI. 11-29. pp. 498-505 GRNE MLBD, 1971 4. HGAI pp. 52-53. 5. Hai medlem oglufte... 3TR looptezifa 22721ff4TETI F I TM pp. 4, 55 Vol. 1. : raghudilIpadazarathaprabhRtInAM 6. sakalasyApi bhAratavarSasya cUDAlaMkArabhUtA gotrarAjadhAnI RETHITEZTETH-1 YET 491 TAHTM Vol. I p. 194. 7. TM Sm. ed. p. 411.

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206 44 'nasyaiva sAketanarapatermeghavAhanasya'"" 'sarayUtaTAsaGgi mattakokilaM nAma bAhyodyAnamagacchat" 2 along with 'tadA vimucya mattakokilopavanamadhyamayodhyAnagaryyA: "3 also make it clear that Meghavahana having Ayodhya for his capital was also the overlord of Saketa and Mattakoila, the outer garden was clinging to the river Sarayu and belonged to Ayodhya. "kva bhUmi gocarasya niketanaM sAketanagaraM 'M 44 TILAKAMANJARI OF DHANAPALA referring to Harivahana as the resident of Saketa. "vidhurIbhUtamanasaH kozaladhipa sutasya'' 115 referring to Harivahana feeling distressed at heart on the inception of the rainy season along with "kapalAvileSu sAketapuraparisareSu .... khaNDitaya dRcchAvihArakautukasya'" also mentioning the lack of gaiety on the face of Harivahana even when he roved about the out precincts of Saketa turbid with the patches of mire; "adyaiva kamalaguptaM puraskRtya yAta sAketam 7 referring to Samaraketu's admonition to his followers on their failure to trace Harivahana, asking them to get back to Saketa; "nApi kumAreNa saha nirgatya sAMpratamekAkinA pravizya sAketamAtmajapravAsa vArtA zravaNaviklavasya vilapato devasya meghavAhanasya mukhaM darzayitavyam " referring to Samaraketu's self remonstration in keeping away from the idea of getting back to Saketa without the company of Harivahana and thereby tormenting the heart of Meghavahana anxious to see the face and obtain the news about his son etc. and others amply corroborate the statement made above that Dhanapala hardly discerns a distinction between the two viz. Saketa and Ayodhya. Dr. Visuddhananda Pathaka in his "History of Kosala up to the rise of the Mauryas" has affirmed the view that 1. TM Sm. ed. p. 412. 2. Ibid. Vol. II p. 235. 3. Ibid. Sm. ed. p. 378. 4. Ibid. Vol. III p. 23. 5. Ibid. Vol. III p. 30. 6. Ibid. Vol. III pp. 30-31. 7. Ibid. Vol. III p. 49. 8. Ibid. Vol. III p. 158.

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CULTURAL DATA IN TILAKAMANJARI 207 there were no two Kosalas and refuted the opinion of different scholars as under: "Certain scholars believe that there were two Kosalas in North India itself. The Primary source of their belief is Avadanasataka, which refers to a war between the kings of the two Kosalas north and south and suggest that the river Sarayu formed the dividing line between the two territories. According to them the two regions were called separately as Uttara Kosala and Daksina Kosala. According to Cunningham the northern portion was called 'Uttara Kosala' and that to the south "Banaodha". He further divided the two portions into separate sub-divisions. The real crux of the problem, however, lies in working out the details. The believers in the theory of two Kosalas in the north describe the river Sarayu i.e. Ghagra as the boundary line between the two divisions but at the same time they say that the capitals of Uttara and Daksina Kosala were Sravasts and Kusavati respectively.2 This, however, is the weakest point in their argument. As far Sravasti is concerned, it was undoubtedly the third and the last capital of Uttara Kosala. But what about Kusavati? If it is placed in the northern part of India, it can be identified only with the modern town of Kasaya, in the Deoria district of Uttara Pradesh, 37 miles east of Gorakhpur city. Kasaya has been distinguished as Kusinara in the Mahaparinbbana Sutta of the Dighanikaya and is named Kusavati, the ancient capital of king Mahasudassana in the Mahasudassana Sutta. Then how can it be said to have existed to the south of Sarayu, the so called dividing line between the two Kosalas? Its present site Kasaya or Kusinagara is far north of Sarayu and east of Sravasti. The two Kosalas then would not be the northern and southern ones. Rather one would be in the west with Sravasti as its capital and the other would fall in the east with Kusavati or Kusavati i.e. Kasaya as its capital. The distinction becomes, it is evident, completely wrong and to accept the two portions as falling west and east of each other would be baseless. That Kosala came to be later known as Uttara Kosala and was a single entity in the north of India having no internal divisions is proved from other independent reference. The Bhagavata Purana calls it both as Uttara Kosala and Kosala and points out to its single character. The Valmiki Ramayana makes it perfectly clear that Kosala extended (Nivistah) on both the sides of the river Sarayu. Kalidasa states that Dilipa was the sovereign of Uttara Kosala. (Raghuvassa III 5, p.66 GRNE 38 HITA:) The region meant is the 1. History of Kosala up to the rise of the Mauryas pp 43-46. 2. HIGAI pp. 52-53. See 44e above.

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TILAKAMANJARI OF DHANAPALA whole of the Kosala Mahajanapada, since there is no ground to contend that any other ruler in any part of it shared the monarchy with him. 208 In the days of Rama, no doubt the great kingdom of Kosala was divided into many small principalities. Not only that the new conquests, which were made for the sons of Laksmana,' were established under new ruler-ships under Angada and Candraketu with Angadiya and Candracakra respectively as their capitals but even the paternal kingdom was also parcelled out by Rama between Kusa and Lava. Kusa ruled from Kusavati, modern Kasaya in the Deoria district of Uttara Pradesh, for sometimes, but returned (Raghuvamsa Canto XVI) soon to the hereditary capital Ayodhya, which he had forsaken. Lava ruled from Sravasti. Despite this double monarchy, however, Lava seems to have accepted the suzerainty of the central Kosalan authority of Ayodhya in which the decendants and the princes of Angadiya and Candracakara perhaps followed his lead. The Kosala Janapada remained intact as a geographical unit and double monarchy was later on ended by Divakara, a king of Sravasti line, who conquered Ayodhya. Even with the emergence of the Sakyan gana of Kapilavastu, its geographical entity or political supremacy was not violated. The Sakyas accepted themselves to belong to Kosala itself. In the Buddhist days, however, Sravasti had supplanted Ayodhya as the capital of the kingdom and the latter had lost its political status. In conclusion it can be said that Kosala Mahajanapada situated as it was in the north-east region of India, was geographically speaking, one single unit forever and not divided by the river Sarayu into Northern and Southern parts at any time. The myth of its being divided into two is the result of an incorrect and confused reading of the relevant texts. it came to be known as Uttara Kosala quite later in order to distinguish it from the Daksina Kosala, which stood on the southern side of the Vindhyas and is now known as Maha Kosala. This distinction of North and South Kosala is unknown to both Vedic and Buddhist literature. In Light of these views of Dr. V. S. Pathak, the Kosala referred to by Dhanapala on page 186 (Vol. III) along with Kalinga, Vanga, Anga and Kuluta, whose princesses came to bid homage to Vicitravirya, the Lord of Vaijayanti, who on his own part was a subsidiary vassal and ally of Meghavahana, must be identified with the Maha Kosala lying on the southern side of the Vindhyas where a different line of kings descendants of the brothers of Rama might have been ruling and Madanalekha may be their daughter. Apart from this Dhanapala has baptised Kosala as Uttara Kosala 1. VR. VII Canto 102. p. 704 verses 1-7

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CULTURAL DATA IN TILAKAMANJARI 209 only in the beginning and mentioned it as Kosala alone in expressions such as " Itseala, osfera:, H arya:, ficferufaa1,4 HafetyHDRA, and others. To presume Madanalekha as a daughter of Meghavahana seems untenable. In that case Kosala lined with Kalinga, Anga, Vanga would be the same as Uttara Kosala which is distinct from Maha Kosala. Dr. V. S. Pathaka has refuted the theory of two sub-divisions of Uttara Kosala but has retained the existence of a Maha Kosala to the south of Vindhya. Hence Uttara Kosala also known in brief as Kosala and Kosala (Maha Kosala) as two entities are tenable. Purvapara videha Dhanapala has referred to Eastern and Western Videhas. (TM Em ed.p. 412, P.428) According to Dr. Law The Vajjis (or Vrjis) were included into the eight confederate clans (attha Kulaka) among whom the Videhans, the Licchavis and the Vajjis themselves became famous. He has referred to 'Pubba Videha' having been conquered by a Cakravati king of Jambudvipa, named Mandhata, along with Aparagoyana and Uttarakuru.' According to Dr. D. K. Gupta, Videha, the Tirabhukti of the Guptas, corresponds to the north western part of Bihar with a portion of Nepal valley where modern Janakapura, North of Darbhanga, represents its old capital Mithila'' According to V. S. Apte, Videha is the name of a country lying to the north east of Magadha. its capital Mithila is the same as Janakapura in Nepala north of Madhubani. Videha must have covered in ancient times, besides portion of Nepala, all such places as Sitamadhi, Sitakunda or the northern parts of the old district of Tirhut and the north western portion of Camparana." 1 TM Vol. III p. 47. 2. TM Sm. ed. p. 420. 3. TM Sm. ed. p. 426. 4. TM Sm. ed. p. 399. Vol. II p. 234, Sm. ed. p. 395. 5. TM Vol. III p. 30. 6. TM Vol. III p. 50. 7. TM Vol. I p. 47. 8. HAGI p. 53. 9. Ibid. p. 55. 10. KSN p. 119. 11. Skt. Eng. Dict.

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210 TILAKAMANJARI OF DHANAPALA Kalinga The Ancient Kalinga country seems to have comprised modern Orissa to the south, of the Vaitarani and the sea coast southwards as far as Vizagapatam. It also included the Amarakantaka range, which is said to be in the western part. This country lies between the Godavari and Mahanadi rivers.' Vanga It is the ancient name of Vengal. Banga which is the designation of Bengal proper is mentioned in the Aitareya Aranyaka? as well as in the Baudhayana, Dharmasutra. Panini refers to it as Vanga in his Astadhyayi The Bhagavata Purana and Kavyamimamsao mention it as a country. The Yoginitantra' mentions it as Vanga. Kalidasa places the Vanga in the delta formed by the Ganges and the Brahamputra. Dhanapala has mentioned it as Banga as well. (TM Vol.III, p.186, L-4) In the Tirumalai Rock inscription of Rajendra cola of the 11th century (the same period as of Dhanapala) and in the Goharwa plate of Cedi Karnadeva, Vanga country is referred to as Bangaladesam, which in the thirteenth century came to be called Bangala and in the Mohammedan times Vangla. Anga Anga was one of the sixteen Mahajanapadas of ancient India and was very rich and prosperous. It is mentioned in the Yoginitantra' and in Kalidasa's Raghuvamsa." The Atharvaveda refers to the Angas as a distinct people along with the Magadhas, Mujavanta and Gamdharis without specifying their territories. They were despised as Vratyas or people who lived outsides the pale of orthodox Brahmanism. In the Gopatha Brahmana 1. HGAI p. 189. 2. II. 1. 1. 1. 3. 1 1. 14. 4. 4. 1. 170. 5. IX 23. 5. 6. CH. 3. 9. 2. 119. 8. Ragh. V. IV. 36. 9 HGAI p. 316. 10. 2. 2. 119. 11. VI. 22. 29. 12. V. 22. 14.

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CULTURAL DATA IN TILAKAMANJARI 211 they are mentioned as Anga Magadha.' Panini groups together Anga, Vanga, Kalinga, Pundra etc. all placed in the midland. The Mahabharata makes the races of Anga, Vanga, Kalinga etc. to be the descendants of the saint Dirghatamas by Sudesna, wife of Bali. According to Zimmar and Bloomfield the Angas were settled on the river Son and Ganges in later times but their early seat was presumably there also. Pargitar regards them as a non-Aryan people that came over sea to eastern India. Enthrographically they were connected with the Kalingas and other peoples of the plains of Bengal. Anga comprised the country round the modern Bhagalpur. Angas were named after an eponymous king Anga." The capital of Angas was first called Malini which name was changed to campa or Campavati in honour of a king named Campa, Lomapada's great grandson. The city of Campa was built by Mahagovinda. It was here that the Buddha was compelled to prescribe the use of slippers by the monks. At the time of the Buddha campa was a big town and not a village. According to Dr. D. K. Gupta To the South east of Videha lay the Anga country which comprised of the modern districts of Monghyr, Bhagalpur and Purnea. Its capital campa was situated near Lakhisarai in Monghyr district on the bank of Ganga, as the epigraphic evidence suggests. Yugal Kishore Mishra in his article "Anga its name and extant (Journal of the Ganganatha the Kendirya vidyapeeth XXXIV parts 34 July Dec. 1978 pp. 1-8) has also illustrated Anga as modern districts of Bhagalpur and Munger and extended northworld up to the Kosi river and included western parts of the district of Purnea. It also included some parts of modern Bihar. Pancala Pancaladesa comprised Bareilly, Badaun, Farrukhabad and the adjoining districts of Rohilkhand and the central Doab in the U. P. It seems to have been bounded on the east by the Gumti and on the south by the Chambal. It extended from the Himalaya mountain to the Chambal river. 1. II. 9. 2. Astad. VI. 1. 170; II 4, 62. 3. I. 104. 4. Anga vairocana is included in the list of anointed Kings in the Aitareya Brahmana (VIII. 22). 5. HGAI pp. 243-244. 6. KSN p. 119. 7. HGAI p. 136.

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212 TILAKAMANJARI OF DHANAPALA Pancaladesa continued to be one of the great and powerful countries in Northern India down to the time when the Buddha lived. The great kingdom of Pancala was divided into northern and southern Pancala having Ahicchatra and Kampilya as their respective capitals. Northern Pancala included districts of the Uttara Pradesh lying east of the Ganges and north west of Oudh, while southern Pancala included the country between the Yamuna and the Ganges on the east and south east of the Kurus and Surasenas. The kingdom of Pancala passed through trouble our times after the death of Harsavardhana but from about the 9th century A.D, under Bhoja and his son it became the principal power in northern India extending from Bihar to Sind. Dhanapala has referred to Pancala in context with Pratapasila, the Lord of Kusasthala whose region of the chest was stout on account of its having been caressed by the elevation of the (or protuberance of the breasts of the spouses from Pancala flushing with Youth. Pancala being a Janapada of the Madhyadesa, had matrimonial ties with the kingdom of the Kusasthala? Janapada also known as Gadhipura, Mahodaya in ancient times and Kanauj in modern times. Magadha Kikata' was the synonym of Magadha. It was the name of a non aryan country according to Yaska." who says : Kakata is the name of a country where the non Aryans dwell. Zimmer holds the same view. Weber says that the Kikatas were the Aryan people living in Magadha. Kikata cannot be identified with certainty. Dr. D.C. Sircar in his "studies in Geography of ancient and mediaeval India" (p. 107 MLBD Delhi, 1971) places Kakata in the southern part of Magadha the northern half of which is called Magadha proper. Kakata is described as extending from caranadri upto Grdhra Kuta (modern Satagiri) situated near Rajagrha (Rajagir) in the Patna district. As already observed Dhanapala' mentions this word to mean a non aryan tribe. Panini in his Astadhyayi' and Patanjali in his Mahabhasya 'refer to it. Panini uses the form Magadha and Patanjali also uses Sumagadha. 1. TM Vol. III p. 185. 2 HGAI p. 109. 3. Nirukta VI. 32. 4. HGAI pp. 275-276. 5. See 399 above. 6. 4. 1. 170. 7. I. 1. 2. p. 56. 8. 2. 1. 2. p. 48.

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CULTURAL DATA IN TILAKAMANJARI According to Dr. D. K. Gupta To the South of Videha and East of Kasi was situated the great Janapada of Magadha comprising modern districts of Shahabad, Patna and Gaya, which region is still known as Magadha. Its capital was Kusuma (Puspa) pura or Pataliputra, near Patna, at the confluence of Ganga and Sona.' 213 Dandin in his Dasakumaracaritam has described Puspapuri, a town, the crest ornament of the Magadhadesa. In Avantisundarikatha, the author has likewise given a variant Kusumapura for Puspapuri and described it as the decoration of the Magadha Visaya.2 Dhanapala has referred to Suraketu, the Lord of the Magadhas, foremost of all the magnanimous, whose birth was successful on account of his abiding constantly in Kusumapra.3 By this also the conjecture of Mark Collins that Kusumapura in Dandin' is an older name for Kanyakubja stands refuted in so far as Collins follows Hiuen Tsangin making this assertion. Kalidasa has referred to Magadha and its capital Puspapura in his Raghuvamsa." Saurasta Saurasta mandala or Surastra country has been mentioned by Valmiki 7 as well as by Patanjalii. According to Padama Purana,' it is in Gurjara. It is modern Kathiawada in Gujarata. Dhanapala refers to Saurastramandala having its king Mahabala, whose gardens surrounding the precincts of Raivataka (Girinagara or Girnar) were enjoyed at will by the ladies of the harem sporting therein. Gurjara It was situated 300 miles to the north of Valabhi or 467 miles to the north east of Ujjain. The people of this place once dwelt in the Punjab and 1. KSN p. 119. 2. maNDanaM magadhaviSayasya.... kusumapuraM nAma..... nagaram ASK p. 19. 3. kusumapuratatavAsasaphalIbhUta janmano manasvinAM dhaureyasya magadhezvarasya suraketoH zakuntalA / TM Vol. III p. 185. 4. DKC p. 125 M. R. Kale. 5. KSN DK Gupta p. 119. 6. Ragh. V. I-31, IV 20-21; Vi 21-24. 7. Ram. Adi or Bala Kanda Ch. Sarga XII. Ayodhyakana sarga Kiskindhyakana XLI. 8. Mahabh. I. 1. 1. p. 31. 9. 190. 2. 10 krIDadavarodhasundarI svacchandopamuktaraivatakaparisarodhAnasya saurASTramaNDalapatemahAbalasya bandhumatI / TM Vol. III p. 186.

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214 TILAKAMANJARI OF DHANAPALA migrated to Peninsula of Kathiawad which is now called Gujarata after them. Dr. B. N. Puri has dealt in details with the exact location of Gurjara desa or Gurjara mandala in his "The history of Gurjara Pratiharas"? He adduces evidence which goes as under:- The Jainad inscription from Hyderabad State refers to the wives of the Gurjara warriors shedding tears in the caves of the Arbuda, as a result of the conquest of the Paramara jagaddeva who is placed in V. S. 1151. The association of the Gurjaras with the Arbuda mountain is also noticed in the Tilakamanjari of Dhanapala. An early inscription of Varmalata dated in the V. S. 682 from Vasantagarh refers to his feudatory Vajrabhata protecting Amuda. His son was Rajjila and a Pratihara is also mentioned. Rajjila was also the name might suggest that the two families probably belonged to the same stock. If we accept the suggestion and the evidence adduced above, the association of the Gurjaras with Mount Abu may be presumed. Further this mountain is also associated with the origin of other ruling families. The Panhera' inscription described the origin of the Paramaras from the fire pit on mount Arbuda. The Arthuna (Banswara, Rajputana) record refers to Vasistha creating a warrior called Paramara on Mount Abu to bring back his cow stolen by Visvamitra. In the case of Gurjara Pratiharas a different legendary colouring is given in the records. It is evident from the Jodhpur and the Sagartal inscriptions that the two families were called Pratihara because Laksmana served as doorkeeper (Pratihari) to Rama, his elder brother. The probability is that there were many pastoral tribes living in obscurity near about mount Abu. One such tribe was that of the Gurjaras. Its leader marched out in different directions and they founded Gurjara settlements called Gurjaratra. This event took place in 6th century A.D. as Varahamihira in his Brhatsamhita mentions 1. HGAI p. 335. 2. pp. 7-9. 3. This legend occurs in Navasahasamka caritam of Padmagupta Parimala several Paramara inscription such as Harsola Plates, the documents of the Cahamanas, the Prthviraja Raso of Chanda Bardai and innumerable bardic chronicles. Ancient Historians of India by Dr. V. S. Pathak. 4. This legend occurs in Navasahasamka caritam of Padmagupta Parimala several Paramara inscription such as Harsola Plates, the documents of the Cahamanas, the Prthviraja Raso of Chanda Bardai and innumerable bardic chronicles. --Ibid. 5. Also see. p. 165. Ancient Historians of India by Dr. V. S. Pathak.

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CULTURAL DATA IN TILAKAMANJARI 215 Arbuda' and not Gurjaratra or Gurjaradesa, which terms are noticed only in later inscriptions. Explaining the word Gurjaratra on the analogy of Brahmanatra and Vipratra occurring in Kasika in the light of Panini's Sutra (V.4.55) and on the evidence of Daulatpura record of Bhoja I of Mahodayta (referring to Gurjaratrabhumi having Dandavanaka visaya and its village Siva in it), Dr. Puri goes to assert that Gurjara settlements were in central and Eastern Rajaputana.? He further comments that later on this term was also used to indicate Gujarata Jinadattasuri in his Ganadhara Sarasataka, according to him, mentions Gujaratta (Gurjaratra) with its capital Anahillavada (Ana hillapataka) and with Durlabharaja reigning there. Similarly in Dharmasagaraganin's Gurvavalisutra from Ujjayini in Malavaka. In the inscriptions, the Caulukyas are styled as Gurujaras and the country ruled by them is named Gurjaradesa. Thus, we find reference to Gurjara king Bhima identified with the Caulukya Bhimadeva I and his son the Gurjara king Karna (Karna Trailokyamalla) of Anahillapataka and Maharajadhiraja Caulikya Kumarapala as the lord of the Gurjara country. The Dohad inscription speaks of the Caulukya king Jayasimha ruling over the Gurjara mandala from Anahillapataka. Similarly the Somnath Patan Prasasti of the V.E. 850 mentions the Caulukya Prince Kumarapala who is called the king of the Gurjaramandala." Dr. Puri has further illustrated the point by adducing evidence from Literary works such as Harsacarita of Banabhatta, Hieun Tsang's account, Aihola inscription of Pulakesin II, Epigraphic records such as Radhanpur plates of Govinda III. Deoli plate of Krsna III, Baroda Copper plate of Rast rakutakarka, Sanjana Copper plate of Amoghavarsa, Badal pillar insc. of the 1. V. 68. The Arbudas are mentioned in the Puranas such as Bhag. Vol. XII, 1. 36; Visnu Book II Ch. III Brahma Chapter XIX Sloka 17. The Ramayana locates the tribe in the west (Kiskindhyanda cannot XLII). They must have been the people dwelling on and around the Arbuda mountain which is generally identified with Mt. Abu. This mountain continued to occupy a dominant place in the history of the people who were formerly living in that region. The migration of such peoples- one of them being the Gujaras to other regions, where they set up kingdoms named after them, was probably a living factor and that is the main reason why the Gurjaras are connected with Mt. Abu. - The History of the Gurjara Pratiharas p. 7. note 8. 2. Ibid. p. 8. 3. ibid. pp. 8-9.

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216 TILAKAMANJARI OF DHANAPALA time of Narayanapala, Devapala, Jain Harivamsa and Rajataragini of Kalhana and proved that Gurjaradesa primarily comprised of the regions of Rajaputana and Kanauja.' Dhanapala has referred to the Gurjaras on Arbuda singing songs in praise of the king Paramara born from the fire altar (agnikunda) who brought back the cow of Vasistha from Visvamitra.? Dr. V. S. Pathaka has identified Paramaras with Agnivesa Brahmanas who belonged to Vasistha family by construing the Agni Kula legend in the light of the evidence adduced by the Puranas. Lata Dhanapala has mentioned the Ladies from Lata, Kerala Kuntala etc.(TM III P.70-71, 411-12 above) and has given no details which can help us identify Lata specifically. The Mandasor Insc. Of Bandhuvarman, the Ghat iyala Insc. Of the Paramara king Kakkuka refer to Lata desa. According to some Lata was southern Gujarata including Khandesh situated between the rivers Mahi and lower Tapti. Some hold it as lying between rivers Mahi and Kim. It comprised the collectorates of Surat, Broach, Kheda and parts of Baroda. The Rewah stone ins. of Karna refers to Lata generally identified with central and southern Gujarata. Latarastra is identical with the old Lata kingdom of Gujarata, the capital city of which is stated in the Dipavassa (p. 54) to have been Simhapura (Sihapura)". Kuntala. This is a district of the Karnata country. According to some Mysore Inscriptions the Kuntala region included the southern part of the Bombay Presidency and the Northern portion of Mysore. The identity of the Gondaloi with Kuntala proposed by Yule may be accepted. It is so called because it resembles the hair (Kuntala) of the goddess of the earth. It was ruled at one time by the kings of the Nanda dynasty. The Kuntalas of the Deccan appear to have risen to a considerable importance in historical times. The Kuntala country is frequently referred to in the inscriptions of the 11th and 12th centuries when it consisted of the southern Maratha country and the adjoining Kanarese districts. Literary and epigraphic references prove beyond doubt that there were several families of the Satakarnis of the Deccan and one or more of these families ruled over Kuntala of the 1. Pratiharas pp. 9-12. 2. Cp. 509 above. 3. Ancient Historians of India pp. 166-171 Dr. V. S. Pathak. 4. HGAI pp. 338-339.

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CULTURAL DATA IN TILAKAMANJARI 217 Vakataka king Psthvisena I, who conquered a Kuntaklesvara (Lord of the Kuntala). Prthvisena extended his sovereignty over Nachne Kitalai and Ganj in Bundelkhand as well as over the borders of Kuntala. A Vakataka king Harisena claimed victory over Kuntala. The Rewah stone Insc. of Karna refers to Kuntala, which was country of the later Caulukyas. According to some Kuntala is situated between the Bhima and Vedavati, comprising the Kanarese districts of Bombay and Madras states and the Mysore state and also perhaps a part of Maharashtra with Vidarbha having its capital at Pratis thana on the Godavari. The Talagunda Pillar Insc. informs us that a Kuntala king of Vaijayanti in Kuntala gave his daughter in marriage to Gupta and other kings. Some Mediaeval kings of Kuntala traced their lineage to Candragupta. Dr. V. V. Mirashi does not subscribe to the view of Dr. Law that Kakut Sthavarman the Kadamba king gave his daughter in marriage to the son of Candragupta II Vikramaditya because according to him Kakutsthavarman flourished about A.D. 450 i.e. about fifty years after Candragupta II Vikramaditya.' Dr. V.V. Mirashi puts forward the hypothesis that Rastra Kutas of Manapura and the Vakatakas of Nandivardhana owed allegiance to the Gupta monarch Candragupta II Vikramaditya. Devaraja of the Rastrakuta family was a contemporary of Candragupta II. It was probably to the court of this king that Kalidasa was sent as an ambassador as inferred by him from the stray references to Kuntales varadautya available in the Kavyamimamsa of Rajasekhara, Aucityavicaracarca of Ksemendra, Sangara Prakasa and Saravsatikant haharana of Bhoja. He also infers that Candragupta II Vikramaditya had married his daughter Prabhavatigupta to Rudrasena II who died young and in order to help the dowager queen run her administration, with Divakarasena yet being her minor son, he sent some experienced generals and statesmen to his court in Vidarbha. Devaraja was feudatory of the king of the Vakatakas who was called Kuntalesa and an ally of the Guptas. The Vakataka prince Naredrasena, the great grand son of Candragupta II was married to the Kuntala Princess Ajjhita bhattarika as recorded in the Balaghata plates.? Kerala Kerala is the Kamarese form of the Tamil Cerala. Panini mentions it in his Astadhyayi.? The Bhagavata Purana refers to it. This country is 1. Studies in Indology Vol. I p. 7. 2. Ibid. pp. 5-11. 3. 4. 1. 175. Neither traceable original text narepered to by Dr. V.S. Agrawal and Dr. A.D. Agnihotri and Dr. B.N. Puri Astadhyayi IV. 1.174., 1977. 4. X. 79. 19. P. 637, 642; X 82.13

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TILAKAMANJARI OF DHANAPALA mentioned by Kalidasa in his Raghuvamsa (IV 54. p. 111.), where women cast off their ornaments on hearing of the approach of Raghu's forces. This country was anciently called Ceralam or Cerala nadu. Ceralam means mountain range. The Kerala country is the same as Cera. The Kerala generally means the rugged region of the western Ghats, south of the Candragiri river. It was conquered by Rajendracoda. It is present Malabar, Cochin and Travancore.' Sindhu The river Sindhu or the Indus almost synchronises with the territory lying between the regions of its courses. The river passing through Attock, flows almost due south parallel to the Sulaiman Hills. Indus above its junction with Chenab was called Sindhu. According to Dr. Law Sindhu lent its name to the country through which is flowed.2 Karnata 218 This country figures prominently in the Tamil Classics. It is also mentioned in the Bhagavata Purana (V. 6. 7.). It has been described as a vast country (Dharamandala). It is occupied by the Kanarese speaking people. The kings of Karnata were nominally dependent on the Kings of Vijayanagara.3 Kancimandala Kancimandala is the same as 'Dravidamandala' which lay south of Andhra. In its wider conception it included, in the North, Andhra and in the South, Cola or Sibi and Pandya, besides the Dravida (or Dramila) proper. Andhra is the land between Godavari and Krsna rivers to the east of Munar river, with its capital at Andhanagara, probably the old town of Vengi. Dravidamandala was ruled over by the Pallavas, which spread as far as vegavati (Palar) river in the South, with its capital Kancipura, modern Kanjeevaram, the seat of the Pallavas on its bank.4 Kamarupamandala; Pragjyotisa Pragjyotisa according to Dr. Law included not only the Kamarupa country but also a considerable portion of North Bengal and Probably also of North Bihar. It stood on the river Lauhitya or Brahmaputra according to Kalidasa (Raghuvamsa IV. 81, 83, 84 and VII.17.) Kamarupa, Pragjyotis 1. HGAI p. 195. 2. Ibid. p. 150. 3. Ibid. p. 191. 4. KSN p. 120.

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CULTURAL DATA IN TILAKAMANJARI apura and Lauhitya Varidhi are all mentioned in the Howrahghat plates of Balavarman II of Kamarupa. The kamauli grant of Vaidyadeva Dated. 1142 AD. refers to the mandala of Kamarupa and the Visaya of Pragjyotisa, which implies that the latter was the larger administrative division including Kamarupa. This grant records the donation of lands including bhukti of Pragjyotisa Mandal of Kamarupa, vishaya of Bada and villages santi Bada and Mandara Early history of Kamarupa K.L. Baru Bahadur Ch. VIII. P. 124. In Hemacandra's Abhidhanacintamani (IV. 22) there is a mention of Pragjyotisah Kamarupah. According to Purusottama' Pragjyotisa is Kamarupa. The Brhatsamhita (XIV. 6) mentions it. According to Kalika Purana (Ch. 38) the capital town of Pragjyotisa has been identified with Kamakhya or Gauhati. The Kavyamimamsa of Rajasekhara (Ch. XVII) places Pragjyostisa as a Janapada and Kamarupa as a Parvota and Lauhitya as a nadi in the east. 219 Rai K. L. Barua Bahadur2 in his Early History of Kamarupa quotes the views of Pandit Vidyavinoda who supposes that when Salastambha founded his dynasty (having deposed Avantivar man the immediate successor of Bhaskaravarman),3 he removed the capital to Haruppeswara where all the kings of his line down to Tyagasingh ruled. When the people elected Brahmapala, a lineal descendant of Bhagadatta, as their king, he : retransferred the capital to Pragjyotisapura (Gauhati) or its neighbourhood. Ratnapala after fortifying this city called it Sridurjaya. It is clearly stated that this city was on the Brahmaputra. The lands granted by Ratnapala's first inscriptions and by both of Indrapala's inscriptions were, as stated in these inscriptions, on the Uttara Kula i.e. on the north bank of the river. From this specific mention of the Uttarakula Vidyavinoda supposes that the capital was on the south bank of the river. Between Tezpur and Gauhati there is no other suitable site on the south bank of the river where a fortified city could be built. The identification of Sridurjaya with Gauhati is, therefore, almost inevitable. Regarding Kamarupa Dr. Law writes at another place. It is bounded on the north by Bhutana, on the east by the district of Darrang and Nowgong, on the south by the Khasi hills and on the west by Goalpara. It was also called Pragjyotisa. The greater part of Kamarupa consists of a wide plain through the lower portion of which the Brahmaputra 1. Trikanda p. 93. 2. Early History of Kamarupa pp. 87-88 Ch. Vi. 3. Ibid. p. 66. Ch. 5. 4. HGAI p. 268.

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TILAKAMANJARI OF DHANAPALA makes its way, flowing a steady course from east to west. South of the river this plain is much broken hp by hills. It is mentioned in the Allahabad Pillar inscription as one of the frontier states outside the limits of the Gupta empire of which the capital was Pragjyotisapura identified with modern. Gauhati. The ancient kingdom of Kamarupa generally occupied an area large than that of the modern province and extended westwards to the Karatoya river. Devapara Prasasti of Sena King Vijaya Sena verse 20 refers to a Kamrupa bhupa (last quarter of 11th century A.D. may be Harsapala or Dharmapala) 220 Dhanapala has referred to Kamarupa charming with the series of fields of Pundra sugar cane having sprouts grown up. It has the borders of its villages getting crimson with the fields of red rice ripened up. The surfaces underneath the black aloe trees on the precincts of the puddles had bisons sitting thereon ennuied by the heat of the Sun. The wayfarers were kept away from the fields of rice by the clusters of parrots scared away by the clappings of the sylvan maids. He certainly assumes Pragjyotisa as the capital of Kamarupa where the lord of the Pragjyotisa entreated Harivahana with proper ardour and made necessary arrangements for his recreation. The vassals from Uttarapatha brought gifts and accompanied by them Harivahana strolled about in the groves, on the precincts of Lauhitya (Brahmaputra). Kasmira It was known to Panini', Patanjall. It is also mentioned in the Yoginitantra (1/3; 2/9; p. 77). The Brhatsamhita also mentions it as a country (XIV. 29. P. 122). It lies to the north of Punjab. The capital of this country on the west side was bordered by a great river which was evidently the Vitasta. The soil was fertile and hence cereals and fruits and flowers. could be grown profusely. The medicinal plants were found here. The climate was cold and stern. The people were handsome in appearance. They were fond of learning. There were heretics and believers among them. The Stupas and Sangharamas were also found here., It was included in the Gandhari kingdom.. In Asoka's time it was included in the Maurya. 1. 1075-1090, 1090-1115 AD Early History of Kamaropa p. 95 2. TM Vol. III pp. 34-35. 3. Panini p. 133. 4. Mahabhasya part-II. P. 433, MLBD, 1967. pp. 188-189. 1. 1. 6 p. 276.

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CULTURAL DATA IN TILAKAMANJARI dominion.' Its capital Srinagara was established by Asoka as evidenced by Rajatarangini. According to Kautiliya Arthasastra diamond was available here. Kautilya has given the word 'Kastira' in place of Kasmira (RR g). Dr. R. P. Kangle quotes Dr. V. S. Agrawal who has quoted 'Kasmira rastrakam'. Dhanapala has deemed it a part of the Uttarapatha.5 Kuluta Dr. Law" takes it to be the same as Kullu which also occurs as Kuluta in the Epics. The district of Kully (Kullu) in the upper valley of the Beas river exactly corresponds with the kingdom of Kiu-lu-to which is placed by Hieun-Tsang at 700 li or 117 miles to the north east of Jalandhar. Strirajya Vatsyayana in his Kamasutra 7 grAmanArIviSaye strIrAjye ca bAhlIke bahavo yuvAno'ntaHpurasvadharmANaH ekaikasya parigrahabhUtAH refers to Strirajya in association with gramanarivisaya and Bahlika. According to Sir Monier Willams Strirajya is a region perhaps in Bhutana peopled by Amazonian women. According to Yasodhara, the commentator of Vatsyayana. 8 119 " strIrAjyasamIpa eva paratau grAmanArIviSayaH' 221 which easily makes it clear that both are the contiguous regions. Dhanapala has referred to Strirajya in context with the inner apartment of Tilakamanjari surrounded on all sides by lacks of 'Kumaripuraprasadas' having seven storeys as if it were the Strirajya brought having been vanquished. kumArIpuraprAsAdalakSaiH parikSiptapArzvadRzyamAnapuruSapracAratayA saptabhUmaiH strIrAjyamaNDalamiva vijityAnItam akhilatilakamaJjarImandiramayUram 10 Ayodhya Saketa According to Dr. B. N. Puri-" samantataH 1. HGAI p. 113. 2. Raja. t. 1. 104. 124, 129, 306, IB 6. 3. KAS II. 11. 37, p. 52 Vol. I p. 115 Vol. II notes p. 115. 4. India in the age of Panini, p. 65. Patanjali Kali in Bharti verse MLBD, Banaras, 1955. 5. TM. p. 232 Vol. II. L.1. 6. HGAI p. 119. 7. II 6. 45. Vol. I p. 444. 8 Skt. Eng. Dict. Under Strirajya. 9 K. Su. II. 6. 45. (tika) p. 445. 10. TM. Sm. Ed. P. 372. LL. 3-5 11. CAI p. 12.

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222 TILAKAMANJARI OF DHANAPALA The ancient town of Ayodhya also known as Saketa, once the capital of Iksvaku kings and also of Prasenajita of Kosala, the birth place of seven Jain preceptors, seems to have withstood the ravages of time. Vinita was another name for this city. It was also known as Kosalanagara.? In the Brahmana Literature it is described as a village. According to Dr. Law it is also known as Saketa, Iksvakubhumi, Ramapuri and Kosala." At the time of the Mahabharata war, Bshadvahu was the king of this place killed by Abhimanyu.' In the Buddha's time, Saketa was the capital of Kosala. The two are identical. The history of Kosala, with its mighty rulers Prasenajit and his son Vilulabha who had extended their kingdom to include Kasi in the east and the territory of the sakyas in the north east. pales into insignificance with the emergence of the Magadhan rulers as powerful antagonists. The Nandas followed by Mauryas, assimilated Kosala in their empire. Under the Sungas, too, it had a viceroy ruling on their behalf here. An inscription found at Ayodhya (that of Dhanadeva) mentions Pusyamitra performing two horse sacrifices during his reign. Under the Kusanas the city remained more or less in oblivion. It, however, figures along with Prayaga and the country of Magadha in the Puranas as forming part of the kingdom of the Guptas. According to the Spurious Gaya plate (of Samudragupta), Ayodhya was the seat of a Gupta camp of victory. It is likely that the successors of Skandagupta had a capital there till the rise of the Maukharis.? As already observed Dhanapala has described Ayodhya, a nagari of appropriate appellation in the Uttara Kosalas, a repertory of all the marvels Hafsteifur ERCATCH za 9 9771 frati situated having adorned the central zone of Bharatavarsa surrounded by an expansive fortification having a wall white like snow. It has been called shining with varnas (the four orders) refulgent with virtuosity. It was crowded with hundreds of 1. Avassaka Commentary p. 244a. 2. Visnaupurana IV. 4. 103. 3. Ait. Br. VII 3. ff Sankh. Sr. Su. XV 17-26. 4 HGAI p. 76. 5. CAI p. 12 Dr. B.N. Puri in MBh.II Bhisma parva 45 14-18 ; Drona Parva 37. 5-6. 47. 20-22. 6. CAI B. N. Puri p. 12. 7. Ibid. p. 13. Also HGAI p. 77. 8. TM Vol. I p. 55. 9. Ibid. Vol. I p. 43. aaloudsaufenfstet... FETTItti freat wraak, ReadHAT vizAlavapreNa parimatA praakaarenn|

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CULTURAL DATA IN TILAKAMANJARI oblong tanks having easy descents from the vast steps.' It was encompassed round by a vast circle of a moat (ditch) as if it had Himalaya entered into it to search out Mainaka apprehending it to be the ocean under the pretext of the vallum or under the guise of the rampart reflected in its water. It had four lofty gates all around (gopuras).' It had its squares shining with groups of temples of gods encircled round by ramparts whitened with stucco paint with golden ewers gleaming forth on the tops of their high peaks. It had beautiful gardens on its out precincts. Vast expansive lanes and arcades enhanced its grandeur. It shone with gorgeous mansions, pleasure lakes" etc. Gay drinking revelries marked the rejoicing in the midst of the vintage creeper bowers.' It had Sarayu as an associate on all sides, the river come there to inquire from Bhagirath! (Ganga) as if, about the account of descent from the heavens, of the sons of Sagara consumed by the fire of wrath of Kapila; It had its sides undeserted perennially by the royal swans as if they were old chamberlains come down from the Eastern ocean carrying wands of straight Lotus stalks, with its ripples spreading splashed by the posteriors of the comely maids of Kosala bathing therein." The housewives therein were the true epitomes of conjugal felicity." It had succour rendered to Cupid by coquettes skilled in all types of fine arts and lores and were given to righteous intentions. 10 According to Dr. Puri, Ayodhya, as it stands now on the same Sarayu river, still harps on its association with Rama, an incarnation of Visnu and draws to its bosom pilgrims and devotees from different parts of India. This small city forms only a part of Faizabad, but it has its natural beauty and religious sanctity to offer to those who come here not as tourists but as devotees of Rama." 223 1. vipulasopAnasugamavatAravApI zatasamAkulA / TM Vol. I p. 44. 2. jalapratibambitaprakAracchalena jalarAzizaMkayA mainAkamanveSTumantaH praviSTahimavateva mahatA khAtavalayena veSTitA / TM Vol. I p. 44. 3. caturbhiratyuccairgopurairupetA Ibid. 4. prAzuM zikharaprajvalatkanakakalazaiH sudhApaMkadhavalaprAkAravalabhite ramaramandiramaNDale.... udbhAsita catvarA..... 5. Ibid. Vol. I p. 45. 6. Ibid. Vol. I p. 46. 7. Ibid. 8. Ibid. p. 47. 9. Ibid. pp. 47-48. 10. Ibid. pp. 51-53 also pp. 53-58. 11. CAIp. 15.

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224 TILAKAMANARI OF DHANAPALA Kanci Kanci,' also known as Kachchipeddu, the ancient capital of the Pallava rulers, a famous seat of learning the place of pilgrimage sacred to the Vais navites and the Saivites alike, is now represented by Kanjeevaram in the Chingleput district of Madras. The earliest reference to this place is in the Mahabhasya of Patanjali?. It is identified by some with Satiyaputta of Asokan Rock Edicts. The Brahmanda Purana links Kanci with Kasi, forming as the two eyes of Siva. It also figures in the Skandapurana' as well as in the Yoginitantra." The Dasakumaracarita of Dandin refers to the city Kanci as the abode of the rich merchants son Saktikumara. The Prayaga Presasti of Samudragupta mentions Visnugopa of Kanci among the southern conquests of the Emperor. Aihole insc. of Pulakesin II refers to the conquest of the Caulukya ruler over Kanci (634 A.D).' The Talagunda stone pillar insc. of Santivarman refers to Pallavendrapuri and Kanci' separately. The Pallava ruler Mahendrapala (Vikrama Varman) I was the author of Mattavilasa Prahasana in Sanskrit and during the time of his father flourished Bharavi, the author of Kiratarjuniyam, Dhanapala (the court poet of Bhoja) refers to Kanci as a nagari abounding in innumerable riches and unlimited gold, situated not for away from the southern ocean. It had the vocability of the languages of all the regions audible herein and appeared to have assimilated the entire host of regions. It was gorgeous with gardens on the out precincts. By the temples of gods it appeared to have inhabited the cantonments of the Autumnal Clouds. It was cordoned by long and expensive arcades. It was surrounded by a fortification having a white wall made of marble and was encompassed round by a circle of moat.'' It has further been described as rich in arbours full of arcanuts (nagavalli), philosophers and Brahmanas. It had mansions of many storeys. Naranga 1. CAI. p. 31. 2. II p. 298 HGAI p. 192. 3. Ch. 1. 19-23 HGAI p. 192. 4. HGAI p. 192. 5. Ask p. 6, L2; for Pallavas and Kanci Cp ASK pp 6, 6; DKC p. 159. also Cp. KA III 114 KSN p. 130 ff. 171. 6. Diferenfabuprite... etc. L. 19. Historical and Literary Inscriptions by Raj Bali Pandey p. 74. 7. aakraantaatmblonntimblrjsscchtrkaaNciipurH| Waraya194TET: Tahfil verse 29, p. 118 8. Ibid. HALI. p. 129 verse 10. Ibid. p. 244. verse 29. 9. Ibid. p. 129 verse 17. 10. TM Vol. III pp. 170 171.

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CULTURAL DATA IN TILAKAMANARI 225 (orange), Panasa, Kadalaka (Plantain) were the fruits pre-eminently meant for eating. The juice of the cocoanut fruit was the chief drink (nalikeriphalarasa), pearls were mostly used in ornaments. Tamala bowers were used as resting places and the clove sprouts were used as reclining couches. Kamasutra was the spiritual lore. Enhancement of virility was the cure for diseases. The worship of Cupid (Ananga) was the main mode of worship. The breezes from the Malaya mount consisted in the sighs from the mouths, wafting as they did the perfume of clove and Kakkola berries. The advent of youth was the spring. The melody of the Cuckoos was the Pancama note of music. The liquor was made out of the juice of the palmyra palm etc. Kundinapura? As already illustrated, is modern Kundanpur, about 64 Kms. East of Amraoti, situated about 12 kilo metres north west of Guntur in the Sattenapalli Taluk of this district. famous for its stupa with exquisite carved sculptures and as the seat of a temple of Siva known as Amaresvara. With Dharani Kotta, Amaravati shared importance, as the metropolis of the Andhra rulers, bearing its old name Dhanyaghata or Dhanyaghataka identical with Dhanyakata or Dhanyakataka meaning the 'corn town'. Kundinapura was the capital of Vidarbha (ancient Nisadha) and modern Bihar. Dandin has referred to Puspapuri as the capital of Magadha while Dhanapala has referred to Kusumapura as the capital of Suraketu the king of the Magadhas. Dr. B. N. Puri identifies Pataliputra with Puspapura and Kusumapura. It is modern Patna.' Kusasthal Kannauj the ancient Kanyakubja also known as Gadhinagara, Kusasthala and Mahodaya, enjoyed the position of the metropolis of the three important dynasties the Maukharis, the Gurjara Pratiharas and the Gahadvalas in ancient India. Dhanapala has referred to Kusasthalapati as Pratapasila. 1. TM Vol. III pp. 171-174. 2. Ibid. II. p.193, L-5 3 KSN p. 120. 4 CAI. p. 8. 5. DKC 1.1.p.1 M.R. Kule ed. MLBD Delhi, 1966 6. TM Vol. III p. 185. 7. CAI pp. 63, 66. 8. CAI Dr. B. B. Puri p. 27.

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226 TILAKAMANJARI OF DHANAPALA Rathanupura Cakrawala and Gaganavallabha;Vaijayanti. Rathanupura Cakravala has been described by Dhanapala as the capital town of Cakrasena, a paramount sovereign of the whole of Southern Range (Daksinasreni). It has been called a town of the Vidyadharas (a class of semi divine beings), situated on the Vaitadhya mountain, a dalliance couch for the glory of the whole of Bharatavarsa.' At another place it has been described as situated on the peak of a mountain fit for the association of the divinities.? And further on it has been described as the ornament of the southern range of the Vijayardha mountain. It may have been the capital of the Silahara prince Cittarajadeva, the nephew of Arikesarin." Gaganavallabha nagara has been described by him as bearing allusion to the town of Indra (Puruhuta) having outvied the latter, a forehead mark of the Northern range (lit. the range other than the southern one) (on the surface of the Vaitadhya mount). Yet at another place it has been associated with the Vijayardha as well. Gaganavallabha, the principal metropolis, the foremost among all the towns, of transcendental glory, situated in the northern range on the Vijayardha mountain. Vaijayanti has been described by Dhanapala as the home town of the maternal grandsire of Gandharavadata, the mother of Malayasundari and spouse of Kusumasekhara, the king of Kanci; Her sire resided on the Suvela mountain (Vicitravirya was her sire). Her maternal grandsire resided on the Vaitadhya mount.? Vaijayanti may have been the capital of the Kuntala country which included southern Maharashtra and northern Kanaresa districts of Mysore state, modern Banavasi in the Kanara district. Puskaravati It has been described as a town to the east of mount Meru.' It may be different one froin a town of the same name, an earlier capital of Gandhara, situated to the west of the river Indus, modern Charasadda or Charasada) a 1. TM Vol. III p. 10. 2. faritayfaladerire 72-742 al 14 TM Vol. III p. 23. 3. facratefcfertsanforyou479714_alhalltezi fanTER BETRY TM Sm. ed. p. 366. 4. Studies in Indology. Part I p.70-71 Dr. V.V. Mirashi 5. STATOTT fufacte49467409 460 494... THY RIE I TM Vol. III p. 133. 6. Paupereffrefulare S TARS HET HARTUT THEYRI WEHRHITM Sm. ed. p. 401. 7. TM Sm. ed. p. 342. 8. Studies in Indology part. I. p.7. (Dr. V.V.Mirashi) 9. TM Sm. ed. p. 407.

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CULTURAL DATA IN TILAKAMANJARI little above the junction of the Swat with the Kabul river or (17 miles northern east of Peshawar on the Swat river).' Rativisala It has been described by Dhanapala as a second Amaravati, (the capital of Indra) or the town of that name situated about 32 kilometres north west of Guntur in the Sattenapalli Taluk of this district,' the veritable lamp of the island called Nandisvara surrounded by the ocean named Nandisvara." Rativisala may be a variant name for Amaravati or Amaraoti having 64 kms. cast of it Kundanpur or Kundinapura, the capital town of Berar. With this the Nandisvara island left unidentified above makes a headway towards a solution and may be considered to have been situated round Amaravati. Campa as already observed was the capital of Angas." 227 Rangasala It has been described as a town in the Simhalas, having a circle of a fortification scraping the sky, glamorous with thousands of the abodes of the citizens (i. e., mansions) bearing the structure of seven storeys (Vimana taken technically means a saptabhumi prasada)." Lanka (Tm II p.289, L-4) p.91, L-4,) is obviously in the Simhalas a town contiguous to Rangsala and not the capital of Candraketu, sire of Samaraketu. Alaka (Tm II p.323, L-3; Tm I p.85, L-8, Tm I, p.56, L-6) To say anything definite about Alaka or Kuberapura is very difficult. It must have been a region in the Himalaya. This is the nearest conjecture. Manipura A town of Suvarna dvipa (Sumatra)." 1. HGAI p. 140. 2. TM Vol. I p. 116. 3. CAI p. 8. 4 TM Vol. I p. 116. 5. KSN p. 120. 6. TM. Vol. II p.232 L2. TM Sm ed. p. 424 7. siMhaleSvasti samastavasumatIbhUSaNamabhraMkaSaprAkAravalayA vimAnAkArapaurAlayasahasrazAlinI nAma nagarI / TM Vol. II p. 250. 8. TM Vol. II p. 274. } 9. KSN p. 110.

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228 TILAKAMANARI OF DHANAPALA asti suvarNadvIpe maNipurAbhidhAnanagaranivAsI bahumato rAjJaH pauravargasya ca pravINa: kimapi lokayAtrAyAM sAMyAtrika vaNig vaizravaNo nAma, Samkasya It has been identified with modern Sankisa, a village in the Farrukabad district of U. P., situated 36 miles north by west from Kudarkot, 11 miles south west-east from Aliganj in the Azamgarh Pargana of the Etawah district and 40 miles north east from Etawah. According to some Samkassa is Sankisa or Sankisa Basantpura situated on the north bank of the river Iksumti, now called Kalindi between Atranji and Kannoj and 23 miles west of Fatehgarh in the district of Etawah and 45 miles north-west of Kanoj. According to Patanjali's Mahabhasya' it is four Yojanas distant from Gavidhumat (2.3.28). According to Dr. B. S. Upadhyaya, it is very difficult to define the location of Sakravatara and Sacitirtha which have been mentioned by Kalidasa in the Introductory scene (Prelude) of the sixth act and the middle of the Fifth act of his Abhijnanasakuntalam. According to Dr. Upadhyaya Sakuntala's dhivara (fisherman) was a resident of Sakravatara which formed such a political unit that included Sacitirtha with in its fold. As is apparent from the appellation sacitiratha was a place of pilgrimage situated on the Ganges near Hastinapura. Hence Sakravatara mentioned by Kalidasa and recurred by Dhanapala was near Hastinapura where Meghavahana came right from Ayodhya to offer his homage to the shrine of the Siddhas having a fortification provided with arched gates and turrets rising high. It was well known on the earth on account of its being a primeval place of pilgrimage, an ornament of the garden on the outskirts of the capital. Meghavahana had established the temple of Sri situate to the pleasure mound and just in the centre of the Pleasure-grove. 1. Mahabhasya, Vol. I. Talynat fry HiAri Araf HR, MLBD Delhi, 1967, p. 455 2. HGAI p. 142. 3. Alaartaarteita:-and Ti a relatefeftci -HARI: getic 444- p. 202 M. R. Kale. 4. Taaraficheitar: and 7 ga a n yritet "164641241: JUHTC14 | MR Kale p. 92. 5. ROERT440schilateral yeriyera facufete GRYTER yhaar 79 fuG474TM Vol. I pp. 106-107. 6. 4462-1987 a HUT SYARI... Sadik4ARYTI TM Vol. I pp. 103-104.

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CULTURAL DATA IN TILAKAMANJARI 229 This version of Dhanapala shows that Sakravatara was a shrine of the Siddhas situated on the premises of the garden on the outskirts of the capital. At another place he says referring to Meghavahana Having entered the middle of the Sakravatara shrine and worshipped for long the adorable primeval god and having reached his own residence and performed the evening worship of Sri with excessive devotion he sat there in meditation.' Yet at another place the shore of the Sarayu has been described as charming being close to the garden connected with the sakravataratirtha (according to the commentator).? "Sakravataraditirtha" refers to the place as a venue of pilgrimage. Gangaditirtha referred to by Dhanapala may be taken to mean the holy places of pilgrimage established on the confluences of Ganga and Yamuna, Ganga and Sarayu. Dhanapala has mentioned a number of forest people like Kiratas, Abhiras, Sabaras,' Kikatas, Nisadas,' Bhillas, etc. along with" Hunas,12 Mlecchas also known as Nahalas, Lubdhakas (hunters) and various classes of Devas,'S Asuras, 16 also known as daityas and yatudhanas, 1. pravizya ca zakrAvatArayatanamadhyamArAdhya bhagavantamaticiramAdidevamAgatya sadanamupapAdya bhaktyAtizayena zriyaH sAyantanI affaty hafifeaftan HI TM Vol. I p. 125. 2. Y EHAR uite Heal: RHI TM Vol. II p. 226. 3. TM Sm. ed. p. 364. 4. KKB by Dr. B. S. Upadhyaya Part II p. 167. 5. TM Vol. II p. 291, 182, Sm. ed. 297, 290, Vol. III p. 138. 6. Ibid. Vol. II p. 242. 7. Ibid. Vol. II p. 316, Vol. III p. 68, 138, Sm. ed. p. 372, 353, TM pp. 64-65 Vol. III. 8. Ibid. Vol. II pp. 270, 298. 9. Ibid. Vol. III pp. 63, 84, Sm. ed. p. 415, Vol. II p. 289. 10. Ibid. Vol. III p. 68. 11. Ibid. Vol. III p. 33. 12. Ibid. Vol. III p. 81. 13. Ibid. Vol. III p. 63. 14. Ibid. Vol. III p. 65. 15. Ibid. Vol. I p. 116. 16. Ibid. Vol. I p. 107, Vol. III p. 81. (Sura)

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230 TILAKAMANARI OF DHANAPALA Gandharvas,' Kinnaras, Kimpurusas, Guhyakas, Vidyadharas, and even Bhutas, Sadhyas, Nagas, Apsaras, Vetalas, Vamanas," Aryas, Danavas," Vaimanikas, Siddhas Apart from these he has referred to four types of Suranikayas such as Bhuvanapati, Vyantara, Jyotiska, Vaimanikal the species of divine beings grhasthagirvanas or the tutelary deities." and variety of beings such as bearing one foot, faces of horses, necks lofty like the necks of the camel and limbs shaggy all over or having limbs shorn of shags." Urvasi has been referred to among the Apsarsas or the nymphs." A naga prince Dharana and his queen have been referred to.20 A Kirataraja named Parvataka far away from the west of the bridge, the causeway to Lanka?l, The Vaimanika Jvalanaprabha and Sumali, a deva, 22 Bali and Madhu,23 the danava have been referred to; Dasasya, 24 as Ravana a demon; Kuberaas as the Lord of the Yaksas or Guhyakas etc. also occur likewise. 1. TM Vol. I p. 117, Vol. II p. 288, Vol. III p. 81, Vol. III p. 154, Vol. III p. 86. 2. Ibid. Vol. I p. 117, Vol. II p. 310 3. Ibid. Vol. I p. 117, Vol. III p. 133 Vol. III p. 139. 4. Ibid. Vol. III p. 86, Vol. III p. 154. 5. Ibid. Vol. I p. 148, Vol. III pp. 7, 11, 81, 122, Sm. ed. 409. 6. Ibid. Vol. I p. 117. 7. Ibid. Vol. I p. 117. 8. Ibid. Vol. I p. 117. as Visadhara 9. Ibid. Vol. I p. 119. 10. Ibid. Vol. I p. 132. 11. Ibid. Vol. II p. 315, 183. 12. Ibid. Vol. III p. 68. 13. Ibid. Vol. III p. 143. 14. Ibid. Vol. II p. 175. 15. Ibid. Vol. III p. 86, Vol. I p. 117. 16. Ibid. Vol. I p. 115. 17. Ibid. Vol. I p. 117. 18. Ibid. Vol. III p. 68. 19. Ibid. Vol. I p. 119. 20. Ibid. Vol. III p. 73. 21. Ibid. Vol. II p. 291. 22. Ibid. Vol. I p. 116, Vol. I p. 115. 23. Ibid. Vol. III p. 143. 24. Ibid. Vol. II p. 291. 25. Ibid. Vol. II p. 291.

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CULTURAL DATA IN TILAKAMANJARI According to Dr. D. K. Gupta Kiratas were termed 'Sabaras," "Bhillas" and "Pulindas" in Dandin and lived at the foothills of the Himalaya. They also occupied the regions of Vindhya and Satpura ranges. The Kinnaras according to him occupied the region to the west of Kailasa and Manasa lake. Dhanapala has referred to Parvataka the Kirataraja who ruled far away from Rangasala the capital of the Simhalas (modern Ceylon, alias Srilanka) from where Samaraketu had launched a campaign against him in order to subjugate him in so far as he was proud on account of his mighty host of armies and impregnable forts and had taken to the path of looting.2 avilambitagatizca pazcimena setorgatvAtidUramUrIkRtacIryavRtterativiSamadurgabalagarvitasya kirAtarAjasya rAjadhAnyAmavaskandamapratarkitamaya...... svazipirAbhimukho'bhavam / 1. KSN p. 117. 2. TM Vol. II p. 291. 3. Ibid. Sm. ed. p. 366. 4. KKB Part I p. 108. 5. Ibid. pp. 108-09. 6. Ibid. 231 "Rathnaupuracakravala," the ornament of the southern range of the Vijayardha has been called the capital of the Vidyadharas. It was obviously on the Himalayan range as already observed." According to Dr. B. S. Upadhyaya Kiratas in-habited the foothills of the Himalaya and likewise the Kinnaras too inhabited the same regions. Kinnaras according to him, were, however, distinct from the Kiratas and were counted along with the Yaksas (Guhyakas of Dhanapala) and Gandharvas. According to Jayacandra Vidyalamkara, the abode of the Kinnaras lay in modern Kinnaur in the upper valley of Sutlej where the top currents of Candrabhaga approach very closely. Dr. Upadhyaya concurs with Dr. D. K. Gupta in establishing the habitat of Kinnaras to the west of Kailasa and the Manasa lake." Gandhara, perhaps the Gandharva Janapada of Kalidasa extended from river Kunar to Taksasila (modern-Taxila) on the south east of Hindukush.' According to Dr. Upadhyaya In the Sindhu lived the Gandharvas or the Gandharas who were defeated by Bharata. This country was divided by Bharata between his two sons Taksa and Puskala who built the capitals Taksasila and Pus kalavati after their own names (modern Taxila and Baskala).* Hence Gandharvas lived in the Sindhu region. 7 KSN p. 117 Ragh. V. XV 88. 8. KKB Part I p. 117. MBh., Sabha P. x. 14 refers Kinnaras as Gandharvas. parvatakanAmnaH

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232 TILAKAMANARI OF DHANAPALA Dhanapala has referred to Huna king killed by Nitivarma the army in chief of the Northern direction which implies that during the times of Dhanapala Hunas had advanced far into the north and established their independent kingdom.' Dhanapala refers to the forest lying midway between the mountains Ekasonga and Vaitadhya having the forest tribes mainly consisting of the Kimpurusas who have been identified with Kinnaras by the commentator. Dr. B. C. Law takes the Hemakuta region as the Kimpurusavarsa and the Haimavata region as Kinnara Khanda.? 5. FLORA AND FAUNA SEASONS Of the flora Dhanapala has menti ned the trees such as Aksa' The tree Terminalia balerica or the seed of its fruit. The seeds of its fruits appear to have been stringed together to be used as Rosaries." Mahavata druma and Asvattha-Pippala tree. Kancanara- Kondara. Aksota-? Walnut. He has also referred to- Tamala Mandara, Tambula Kokanada (red lotus)," Sirisa,2 Cuta and Sahakara (mango tree), Balakadali or Rambha (Plantain), 4 Bakula's and Mallika, Bandhuka," Saptacchada, 1. TM Vol. III p. 33. 2. Ibid. Vol. III p. 133. 3. HGAI p. 97. 4. TM Vol. I p. 86. cp Ragh V. XIII 43; Kum. S. III. 46, p. 88. Vol. III. 5. Ibid. Vol. II p. 256. Mahavatadruma., Kalid. Kosa by S. C. Banerji p. 2. 6 KKB B. S. Upadhaya p. 66. 7. TM Vol. II p. 282. 8. Ibid. Vol. I p. 87, Vol. III p. 12, Sm. Ed. p. 361, Sm. Ed. 372, Sm. ed. 418, Vol. III p. 72, 131, 139, 159, 173. 9. Ibid. Vol. I p. 112, Vol. II p. 288, Sm. ed. p. 405, Vol. II p. 87. 10. Ibid. Vol. II pp. 163, 271, Vol. III p. 12, Sm ed. p. 353, 368, Vol. III p. 121, Sm ed. p. 305. 11. Ibid. Vol. I p. 144. 12. Ibid. Vol. II p. 237, Sm. ed. p. 338, Vol. II p. 235. 13. Ibid. Vol. II p. 237, 247, 288, Sm. Ed. p. 311, Vol. III 86, Sm. Ed. p. 297. L.D. Pera 90. 14. Ibid. Vol. II p. 237, 318, Vol. III pp. 5, 121, 23, 90, 123, 23, 172, Sm ed. 311. 15. Ibid. Vol. II p. 239, p. 287, Sm. ed. 324, Vol. III p. 86, 157, Sm. ed. pp. 297, 301. 16. Ibid. Vol. II p. 239, Vol. III p. 27. 17. Ibid. Vol. II p. 253 Vol. III p. 94. 18. Ibid. Vol. II p. 253 Vol. III p. 86.

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CULTURAL DATA IN TILAKAMANJARI Kalama (red rice),' Priyangumanjari (the panic seed),2 Iksu (sugarcane), Sakasakata (the fields of green potherbs or vegetables)," Vraiheya (field of rice), Trapusa Karkaruka and Karvella (Khira, Pumpkin and Karela), Kuvalaya (blue lotus)," Malati, Asoka," Vidruma (coral tree), Nalavana or Nalastamba (The reed stalks)," Aksata (wild rice soaked in water),12 Tilaka,13 Campaka, Puga (aeronaut), Lavanga (clove) Vetralata" Candana's also Known as Srikhanda, Lavali,19 Karpura, Atimuktalata, Pankaja," Punnagapadapa," Kanakambuja or Kancanaravinda, Kanaka Pundarika- Hemaravinda, Kanakarajiva (golden lotus), Kumuda and Indivara,25 Sarasavanira Virudh,26 Patala (trumpet),"7 14 21 24 20 10. Ibid. Vol. II p. 273. 11. Ibid. Vol. III p. 63, Vol. III p. 158. 1. TM Vol. II p. 255. 2. Ibid. Vol. II p. 255, 271 Vol. III p. 86. 3. Ibid. Vol. II p. 260. 4. Ibid. Vol. II p. 260. 5. Ibid. Vol. II p. 260. 6. Ibid. Vol. II p. 261. 7. Ibid. Vol. II p. 261. 8. Ibid. Vol. II p. 271, Sm. ed. p. 297. 9. Ibid. Vol. II p. 273, Vol. III p. 157, Sm. ed. pp. 301, 297, Vol. II 287, 328, Vol. III pp. 154, 94, 159. 12. Ibid. Vol. II p. 282. 13. Ibid. Vol. II p. 287, Sm. ed. pp. 369, Vol. III p. 174, 157. 14. Ibid. Vol. II p. 287, Sm ed. p. 297. 15. Ibid. Vol. III. p. 87. Vol. III p. 71. 16. Ibid. Vol. II pp. 288, 298, Vol. III p. 85, 173, 157. 15 22. Ibid. Vol. II p. 318. 23. Ibid. Vol. III p. 12, Vol. III p. 85, Sm. ed. p. 304. 24. Ibid. Vol. III pp. 12, 72, Vol. III 78, Sm. ed. p. 360. 233 17. Ibid. Vol. II p. 294. 18. Ibid. Vol. II p. 235, Sm. ed. p. 303, Vol. III p. 87, Vol. II p. 298, Sm. ed. pp. 311, 320, 281, 405, 369. 19. Ibid. Vol. III. p. 90. Vol. III pp. 12, 84. 20. Ibid. Vol. II p. 298. 21. Ibid. Vol. III p. 2, Sm. ed. p. 301. 25. Ibid. Vol. III p. 20. 26. Ibid. Vol. III p. 26, Vol. III p. 73. 27. Ibid. Vol. III p. 27, Sm. ed. p. 297, Vol. II p. 236.

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234 TILAKAMANJARI OF DHANAPALA Kutaja druma, Ketaki, Sallaki, etc. Kamala, Kumuda and Kuvalaya* (red lotus, white lotus and blue lotus). He has also referred to Madhavi, Kimpaka (a poisonous fruit), Nalinipalasa, Dadima (Pomegranate) Rajadana, 'Tinduka, Arjuna,'Naga or Nagavelli and Nagakesara, Sala, Ambhojini, Plaksa, Picumanda, Udumbara, Sarala (a kind of pine or Devadara tree)' Sarja,''Nirgundilataao Gunja?! Balapuskara? Kalpasakhi or Surapadapa or Parijata, Lamanjaka (Virana corn)24 Vanjula, (cane), Ela (cardamen) Kakkola (berries)" Nipa (Kadamba) Rodhra (or Lodhra its pollen was used by women as cosmetic),29 Pippaliphala," Kalaguru or 1. TM Vol. III p. 30, Sm. ed. 370. 2. Ibid. Vol. III p. 30, Vol. III p. 83, Sm ed. p. 278, Sm. ed. p. 304, Vol. II p. 236. 3. Ibid. Vol. III p. 39. 4. Ibid. Vol. III p. 31, Sm. ed. p. 324, Vol. III p. 121. 5. Ibid. Vol. III p. 324, Sm. ed. p. 297, Sm. ed. p. 236 Vol. 6. Ibid. p. 338 Sm. ed. pp. 334-335 Sm. ed. 7. Ibid. p. 360 Sm. ed. 8. Ibid. p 370 Sm. ed. 9. Ibid. p. 370 Sm. ed. 10. Ibid. p. 397 Sm. ed. 11. Ibid. p. 369 Sm. ed. p. 372 Sm. ed. p. 63. Vol. III. 12. Ibid. p. 370 Sm. ed. p. 171 Vol. III p. 278 Sm. ed. p. 304 Sm. ed. 13. Ibid. p. 372 Sm. ed. 14. Ibid. p. 391 Sm. ed. 15. Ibid. p. 397 Sm. ed. 16. Ibid. p. 397 Sm. ed. 17. Ibid. p. 297 Sm. ed. 18. Ibid. Vol. III p.63, 121. 19. Ibid. Vol. III p. 63. 20. Ibid. Vol. III p. 63. 21. Ibid. Vol. III p. 65, Vol. III p. 129. 22. Ibid. Vol. III p. 70. 23. Ibid. Vol. III p. 76, Vol. III p. 87, Vol. III p. 101, Vol. III p. 119. 24. Ibid. Vol. III p. 84. 25. Ibid. Vol. III pp. 84, 85. 26. Ibid. Vol. III p. 85, Vol. III p. 174. 27. Ibid. Vol. III p. 85, Vol, III p. 173. 28. Ibid. Vol. III p. 86, Vol. II p. 235, Vol. III p. 29, Vol. III p. 100. 29. Ibid. Vol. III p. 86. 30. Ibid. Vol. III p. 86.

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CULTURAL DATA IN TILAKAMANJARI 235 Krsnaguru' (Black aloe wood), Granthiparna? (a type of grass eaten by the musk deer), Nameru (trees) Samtanaka tree,4 Tagara, Madhuka, (bassi-a Latifolia), Nilanagalata? (blue areca nut creeper), Syamalata or (Priyangu), Kimsuka or Palasa, Kataka tree,'' Kramuka," Nagarakhanda,2 ghanasaral3 (Camphor), Lakuca, Sinduvara,' Kimkirata, Karnikara,16 Kurabaka,"7 Muchukunda,'' Khadira," (Catechu) etc. and Jalajambu trees.20 Dhanapala has also referred to Naranga (orange) TM p. 172 Vol. III. Panasa ( a bread fruit), Nalikeri or nalikela (cocoanut) p. 172 Vol.III P. 293 Vo.II and Kharjurataru p. 293 Vol. II (date palm). Fauna Of the fauna Dhanapala has mentioned a number of Birds, Beasts, Fish and other aquatic beings along with the sea fauna. Of the birds, he has mentioned Peacock known variantly in Sanskrit as: Sikhandi," Mayura,22 Nilakantha,23 Pracalaki,24 Sikhi,25 Kalapi,26 Sitikant ha,21 Barhina,28 etc. 1. TM Vol. III p. 86, Sm. ed. p. 303. 2. Ibid. Vol. III p. 86. 3. Ibid. Vol. III p. 87. 4. Ibid. Vol. III p. 87. 5. Ibid. Vol. III p. 87. 6. Ibid. Vol. III p. 87. 7. Ibid. Vol. III p. 87. 8. Ibid. Vol. III p. 88. 9. Ibid. Vol. III p. 119, Sm. ed. p. 297. 10. Ibid. Vol. III p. 174. 11. Ibid. Vol. III p. 174. 12. Ibid. Vol. III p. 174. 13. Ibid. III p. 86. L.7 14. Ibid. Vol. III p. 157. 15. Ibid. Sm. ed. p. 297. 16. Ibid. Sm. ed. p. 297. 17. Ibid. 18. Ibid. 19. Ibid. Sm. ed. p. 304, Vol. III p. 45. 20. Ibid. Vol. II p. 236. 21. Ibid. Vol. I p. 73, II p. 236, III p. 298, III p. 30, 90, 133, Sm. ed. pp. 301, 361. 22. Ibid. Vol. I p. 89, Vol. II p. 238, Vol. III p. 70, Vol. III p. 95, TM Sm. ed. p. 426. 23. Ibid. Vol. II p. 320, Vol. III p. 140, Sm. ed. p. 351 24. Ibid. Vol. III p. 85. 25. Ibid. Vol. III p. 90, Sm. ed. p. 337. 26. Ibid. Vol. III p. 95. 27. Ibid. Vol. III p. 116. 28. Ibid. Sm ed. p. 329.

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236 TILAKAMANJARI OF DHANAPALA The Cuckoo known variantly as Kokila, Pika, Kalakantha, Parabhrta, etc. Hansa' also known as Mallikaksa," rajahansa,' Cakravaka" also known as Cakranama," Koka, Cataka," Garuda," Cakora," Harita," Kadamba", Kapota" also known as Parapata", Kurara, 18 Sarasa," Sarika,20 Suka2 also known as Kira,2 Madhukara also known as Ali, Madhupa, Satpada," Satcarana," 22 24 23 25 1. TM Vol. II p. 170, p. 235, p. 273, Vol. III p. 86, Sm. ed. p. 297, Sm. ed. p. 401. 2. Ibid. Vol. II p. 288, Sm. ed. p. 297. 3. Ibid. Vol. II p. 237. 4. Ibid. Vol. II p. 133, Vol. III p. 157, Sm. ed. p. 314. 5. Ibid. Vol. I p. 82, Vol. II p. 211, p. 238, p. 237. p. 300, Vol. III p. 73, p. 147, Sm. ed. p. 317. 6. Ibid. Sm. ed. p. 408, Vol. III p. 88. 7. Ibid. Vol. II p. 329, Vol. III p. 6, Vol. III p. 9. Vol. III (Kalah amsa) p. 12. Vol. III p. 29, Vol. III p. 72. 8. Ibid. Vol. I p. 144, Vol. II p. 299, Vol. III p. 45. Vol. III p. 84, Vol. III p. 160, Sm. ed. p. 311, Sm. ed. p., 351. (Rathanga TM. Vol. III p. 74) 9. Ibid. Sm ed. p. 351. 10. Ibid. Sm. ed. p. 302, Sm. ed. p. 311, Sm. ed. p. 359. 11. Ibid. Sm .ed. p. 418, Vol. III p. 84, Vol. III p. 95. 12. Ibid. Vol. III p. 139, Vol. II p. 267 (tarksya), Vol. III p. 73. 13. Ibid. Vol. II p. 170. 14. Ibid. Vol. II pp. 316, 329. 15. Ibid. Vol. III p. 95, Vol. III p. 105, Vol. II p. 255. 16. Ibid. Vol. III p. 86. 17. Ibid. Vol. II p. 325, Vol. III p. 95, Vol. III p. 105. 18. Ibid. Vol. II p. 255, Vol. III p. 173. 19. Ibid. Vol. III p. 79. 20. Ibid. Vol. II p.162, Vol. II p. 167, Vol. II p. 170. 21. Ibid. Vol. II p. 162, Vol. II p. 167, Vol. III p. 170, Vol. II p. 237, Vol. II p. 308, 316, Vol. III pp. 5, 55, 56, 64. 22. Ibid. Vol. II p. 255, Vol. III p. 34. 23. Ibid. Vol. II pp. 239, 255, 288, Vol. III p. 80, 83, Sm. ed. p. 360. 24. Ibid. Vol. II p. 237, Vol. III p. 41, Sm. ed. p. 354. 25. Ibid. Sm ed. p. 370. 26. Ibid. Vol. II p. 236, Vol. III p. 6, 21, 27. Ibid. Vol. III p. 91, Sm. ed. p. 305, Sm. ed. p. 351, Sadanghri Vol. III p. 78.

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CULTURAL DATA IN TILAKAMANJARI 237 Madhulih,' Bhrnga, Cancarika, Madhukrt, Kaka and also Vayasa, Kraunca (A Heron), Kalavinka, (Sparrow) also known as Cataka, Madguo (a water crow), Bharunda, "Uluka" (an owl) also known as Kausika, 2 Gaurakhara" (a squirrel), Krkavaku also Kukkuta (a cock),'4 Baka's (a crane), Salabha, Datyuha" (Dronakaka- a type of crow having a black neck-Kalakantha) etc. and Khanjarita (p, 86 Vol. II), Kapinjala (Ibid.), Of the Beasts he has mentioned the elephant known variantly Anekapa, 18 Dvipa,'' Nagaraja,20 Dvirada,21 Samaja, 22 Kari,23 Karati,24 Hasti,25 Gaja,26 Vyala,27 Ibha,28 Kunjara,29 Dantin, 30 Stamberama,3l Varana, 32 Sindhura and 1. TM Vol. III p. 107. 2. Ibid. Sm. ed. p. 353, Vol. III p. 148, Sm. ed. p. 401. 3. Ibid. Sm. ed. p. 351. Vol. II. p. 326. 4 Ibid. Sm. ed. p. 401. 5. Ibid. Vol. II p. 167, Vol. II p. 273. 6. Ibid. Vol. I p. 44. TM, II p. 262. L.9, Vol. III p. 85. 7. Ibid. Vol. II p. 166, Vol. II p. 273. 8. Ibid. Sm ed. p. 330. 9. Ibid. Vol. II p. 273, Vol. III p. 74. 10. Ibid. Vol. II p. 294, Vol. II p. 308. Vol. III p. 131. 11. Ibid. Vol. II p. 316, Sm. ed. p. 351. 12. Ibid. Vol. III p. 136. 13. Ibid. Vol. III p. 65. 14. Ibid. Vol. II p.316, Vol. III p. 84 (Kukkuta) 15. Ibid. Vol. III p. 74. 16. Ibid. Vol. III p. 95. 17. Ibid. Vol. III p. 135. 18. Ibid. Vol. III p. 127. 19. Ibid. Vol. III p. 35, Vol. III p. 42, Vol. III p. 46. 20. Ibid. Sm. ed. p. 370. 21 Ibid. Vol. II p. 259, p. 37, Sm. ed. p. 361, Sm. ed. p. 355. 22. Ibid. Vol. II p. 195. 23. Ibid. Vol. I p. 44, Vol. II p. 259, Vol. II p. 276, Vol. III p. 329. 24. Ibid. Vol. III p. 49, Vol. III p. 141. 25. Ibid. Vol. II p. 165, Vol. III p. 45. 26. Ibid. Vol. III p. 83. 27. Ibid. Vol. II p. 259, Vol. III p. 40. 28. Ibid. Vol. II p. 254, Vol. III p. 70, Vol. III p. 75. 29. Ibid. Vol. III p. 73, Vol. III p. 144. 30. Ibid. Vol. II p. 259, Vol. III p. 37. 31. Ibid. Vol. III p. 128. 32. Ibid. Vol. III p. 37, p. 41, p. 139, Sm ed. p. 322, Vol. III p. 235 (Sindhura).

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TILAKAMANJARI OF DHANAPALA 14 Matanga etc. Rksa' also known with a special variety white bear *acchabhalla," Gavaya' or Gavala, Aranyamahisa,' or Vanamahisa (Bison or a Yak), Karenu" (a female tusker), Camara' (a yak or a camari-deer), Karabha, Kola" (Hog) also known as Varaha, 10 Potri," Krsnasara"2 or Krs namrga, Enaka, saranga,14 Kuranga,15 Sardula" also known as Vyaghra," dvipi (a leopard), Simha, Kesari" Mrgarati," Kanthirava, Ajagar,22 (Aboa), Kapi also known as Sakhamnga,24 Sarameya25 also known as Kauleyaka (Hound), Sarabha," Kasturikamrga," Manduka also known as Prdaku (Snake) also known as ahi, Vrsa33 also 21 26 Dardura, Bheka," Bheka, 238 13 30 32 " 1. TM Vol. III p. 37. 2. Ibid. Vol. III p. 65. 3. Ibid. Vol. III p. 129. 4. Ibid.Sm. ed. p. 353. 5. Ibid. Vol. II p. 270, Vol. III p. 34, Vol. III p. 35, Vol. III p. 37, Vol p. 129, Vol. III p. 140. 6. Ibid. Vol. II p. 259. Vol. III 78. 7. Ibid. Vol. III p. 35. 8. Ibid. Vol. II p. 259. 9. Ibid. Vol. III p. 65, Vol. III p. 84. 10. Ibid. Vol. II p. 254, Vol. II p. 264, Vol. III p. 35, Vol. III p. 37, Vol. III p. 80. 11. Ibid. Vol. III p. 131. 12. Ibid. Vol. III p. 116. 13. Ibid. Vol. II p. 288, Vol. III p. 35. 16. Ibid. Vol. II p. 254. 17. Ibid. Vol. I p.135. 14. Ibid. Vol. III p. 65. 15. Ibid. Vol. III p. 26, Vol. III p. 83 (Harina), Vol. III p. 86, Vol. III p. 91. 18. Ibid. Vol. III p. 35. 19. Ibid. Vol. II p. 264, Vol. III p. 316, Vol. III p. 73. 20. Ibid. Vol. II p. 206, Vol. III p. 35, Mrgapati, Sm. ed. p. 398, Vol. III p. 139, ( Mrgendra) Sm. ed. p. 353 Kesari Sm. ed. p. 426. 21. Ibid. Vol. III p. 65. 22. Ibid. Vol. III p. 65, Vol. III p. 138. 23. Ibid. Vol. II p. 259, Vol. II p. 316. Vol. III p. 70. (Vanara) Vol. III p. 86. 24. Ibid. Vol. III p. 65. 25. Ibid. Vol. III p. 65. 26. Ibid. Vol. II p. 257. 27. Ibid. Vol. II p. 254, Vol. III p. 37, Vol. III p. 65. 28. Ibid. Vol. III p. 133. 29. Ibid. Vol. II p. 307. 30. Ibid. Vol. III p. 30, Vol. III p. 129. 31. TM Vol. II p. 256. 32. TM Vol. II p. 267, (Sarpa), Vol. II p. 273 (Uraga) Vol. III p. 128 (Visadhara) p. 129 (Prdaku). 33. TM Vol. II p. 255, Vol. II p. 259, Vol. II p. 270.

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CULTURAL DATA IN TILAKAMANJARI 239 Vrsabha known as anuduh (anadvan), Saurabheyah;? cow known as go; Horse known as turaga, Vaji, Asva;' a mule as Asvatara, a calf as Taranaka, a camel as Kramelaka,' a tortoise as Kamatha and Kurmi (Kurma).' The Fish, Aquatics and Sea Fauna Dhanapala has mentioned Ayodhya surrounded by a huge circle of moat having its ripples terrific with the Hippopotamuses, Crocodiles and long nosed ailigators." ** *FSK Uhom...... 6 Uldahl He also mentions 'timi' or 'timingila'!2 a kind of whale or a fabulous fish of enormous size. It has been described that the throttling of necks used to be most frequent in case of whales and no strangulations were possible in the reign of Meghavahana (FAHI ISUE:).14 He refers to the word 'Makara's also known as 'Graha'16 a shark in point of describing Cupid as a shark bannered god. According to M. Williams-- 'Makara' is a sea-monster sometimes confounded with the crocodile, shark, dolphin, regarded as the emblem of Kamadeva.17 Sakula!S-- a kind of fish, perhaps a gilt head." 1. TM Vol. II p. 259, Yugya Vol. II p. 270- a vehicle bull. 2. Ibid. Vol. II p. 258. 3. Ibid. Vol. II p. 258. 4. Ibid. Vol. II p. 256, Vol. III p. 116 (turanga). 5. Ibid. Vol. III p. 259, Sm. ed. p. 322. 6. Ibid. Vol. III p. 40, Vol. II p. 202 (Haya). 7. Ibid. Vol. II p. 256. 8. Ibid. Vol. II p. 257. 9. Ibid. Vol. II p. 259 10. Ibid. Vol. II p. 264, Vol. II p. 296. 11. Ibid. Vol. I p. 44 On Kumbhira-along nosed alligator (Monier Williams) Skt. Eng. Dic. 12. Ibid. Vol. I p. 68 Cp. Raghuvamsa XIII. 10, TM Vol. II p. 296, Vol. III p. 73. 13. Skt. Eng. Dict. M. Williams. 14. TM. I, p. 68 L. 1 15. Ibid. Vol. II p. 233, Vol. II p. 307, Vol. II p. 279, Sm. ed. p. 319, Vol. II p. 294, Vol. II p. 296. 16. Ibid. Vol. II p. 307, 311 17. Skt. Eng. Dict. p. 771 18. TM Vol. II p. 257, Vol. II p. 307. 19. M. Williams. p. 1046

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240 TILAKAMANJARI OF DHANAPALA Saphara'--- a kind of bright little fish that glistens when darting about in shallow water.2 Jalakari? -- A Hippopotamus, a water elephant also Jalahasti known as Kariyadas. Nakra in (Tatacara tet) qualifying Had:' -- the navigators that surrounded Taraka; means an alligator. The narrow of an alligator improved the vision and guarded it against the effect of certain poison effecting it in the sea. 'Simsumara', a porpoise. 'A Simhamakara"? -- a lion-faced Crocodile. "Dundubha"8_ a water snake-and Taksakasivisa. Seasons Dhanapala has referred to all the six season. The Summer, The Rains, The Autumn, The frost season, The Cold season and the Spring season at regular intervals in the text of Tilakamanjari. Summer has been termed 'grismasamaya' wherein it was convenient to rise up in morning and to take a bath in the early hours was not menacing. It was rather soothing. Harivahana is shown here even taking his breakfast in these hours. The clusters of fresh clouds following it have been described as darkening the foreground of the outer garden Mattakokila, situated on the shores of the Sarayu. It has also been called 'Nidagha' which torments the wayfarers who are prone to prepare the leafy couches in the arbours of Madhavi-creepers having their centres surrounded by the water-basins replenished with water. The precinct of the shores of Sarayu had canopies of the rays of the sun sultry during summer, benumbed by the sprays of the icy cold water showered by their being pierced by the breeze. 1. TM Vol. III p. 262, Vol. II p. 274. 2. M Williams p. 1052 3. TM Vol. II p. 265, Vol. II p. 279, Vol. II p. 307. 4. Ibid. Vol. III p. 189, Vol. II p. 274, Vol. II p. 307, Vol. II p. 305. 5. Ibid. Vol. II p.305. 6. M. Williams. p. 1069 7. TM Vol. II p. 305. 8. Ibid. Vol. II p. 279. L. 9 TM Vol. III p. 50. 9. Ibid. Vol. II pp. 234-235, TM Vol. III p. 89. 10. Ibid. Vol. II p. 236.

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CULTURAL DATA IN TILAKAMANJARI The water pavilion (Jalamandapa) has been described as the fort establishment of Sisira during the ruthless onslaughts of the summer." durganirvizeSamiva grISmanirdayAvaskandeSu zizirasya / 241 The anguish of Harivahana pining for Tilakamanjari carrying series of hot tear's flowing ceaselessly has been compared to the Nidaghasamaya (Summer Season) carrying a series of hot waves blowing ceaselessly.2 'Gharmartu' is another variant employed for summer scason unpretentious foe of love smitten heart, a counterpart to cupid (Manmatha), both tormenting Harivahana simultaneously; Having seen him in that state, the advent of rains (lit. clouds) obliging unto entire populace took descent on the earth,3 The wells in the summer have networks of the boughs of trees hanging over them scorched and loosened by heat or the wells in the summer have very few spots brimming with water. The current of Yamuna has been described as terrific with a couple of whirlpools having their interior the reflection of the Summer sun." The Summer days have been described as acting fuels to the fire of conflagration consuming the mountain with the flickering flames." Rainy Season It has been termed 'Ambudharagamah' the advent of clouds, which is spiteful towards the heat of the earth or which is spiteful towards the torment of the beings and is welcome to the peacocks." The array of the clouds of the Rainy season have been described as aweinspiring for the people on account of its being instrumental in blocking the communications and supplies.8 'Jaladagama" is another variant for this season which had been referred to as creating stir in the water of the celestial stream (Mandakini). Rains abound in showers of unending sprays of water." 1. TM Vol. II p. 238. 2. Ibid. Vol. III p. 28. 3. Ibid. Vol. III p. 29. 4. Ibid. Vol. I p. 88. 5. Ibid. Vol. I p. 130. 6. Ibid. Sm. ed. p. 399. 7. bhuutaapdduhmmbudhraagmsaadhumyuuraannaam| TM Vol. 1p. 89. 8. kRtAsArasaMrodhazca prAvRSeNyajaladharavyUha iva pauralokAnAM mahAntamAtaMkamakarot / TM Vol. II. p. 195. 9. jaladAgamaramakSubhitamamarApagApUrajalamiva TM Vol. II p. 202. 10. aviralajalAsAravarSAsu varSAsu TM Vol. II. p. 193.

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242 TILAKAMANJARI OF DHANAPALA Cupid or the emotive aberration of love is prone to raise aloft the arc stave (meant to entice the hearts of young men).' The water pavilion encircled round on all sides by the thick currents of water flowing out from the sluices or conduits made of moon gem stone placed thereon constantly, with groups of peacocks made to dance at the clamorous rumble of the mechanical clouds of the rainy seas on showering forth rains. (upari varSatAM ca prAvRSeNyayantrajaladhArANAmuddharaninAdanartitamayaramaNDalena...) which follow summer and prove soothing to the populace tormented by the scorching heat of the latter. The Rainy clouds are normally azure in hue. The streams in the rains carry turbid waters. which grow limpid in Autumn. The early clouds or the clouds of the early season create an untimely hazy horizen. He has also mentioned a variety of clouds and their associated phenomena. "Akalajaladhara"The ultimately clouds or the clouds that hover about out of season and normally spell disaster in the form of floods and inundations. Samvartaka clouds. The clouds at the destruction of the world. Utpatajaladhara' is another expression employed to signify the clouds at the destruction of the world. Pralayajaladhara " is another variant for the Puskara and Avartaka12 that have also been mentioned. Autumn The sportive, sweet and indistinct noted female swans have been described as welcoming the Autumn." 1. TM Vol. II p. 233. 2. TM Vol. II p. 238. 3. TM III p. 29 LL. 4-5. 4. UITER24146 TM Vol. III p. 82. 5. TM Sm. ed. p. 299. 6. 994471GI: sa may-aarafstal filstafa-1:- TM SM. ed. p. 399. 7. TM Vol. I p. 141, Vol. III p. 39. 8. TM Vol. II pp. 203, 263, Vol. II p. 319. radang gf ga afirmat 9. Skt. Eng. Dict. M. Williams. p. 1116. 10 TM Vol. II. p. 210 11. Ibid. Vol. III p. 39. See also Meghaduta verse 6 (Purvamegha). 12. Ibid. p. 143 Vol. III. 13. Framfa: afectate HATHTM Vol. I p. 82. :

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CULTURAL DATA IN TILAKAMANJARI 243 The Moon of the full moon night has been described as shining forth as if having donned the scarlet robes, out of bash fullness for his defeat before the faces of the city maidens during the nights of the Autumn season." The diurnal glory of the Autumn carries the shadows advanced ahead by the fresh sunshine.2 The Autumnal nights are normally moon lit nights where in the gloom of the dark fortnight vanishes away.' The Autumnal sky affords pleasure by its variegated texture of the glow of stellars and moon, to the people who wake up at the end of the night." Hemanta, Sisira, Vasanta Sisira, The nights of Hemanta had frost falling during their course." The fire brands or furnaces were got to be used to keep away cold. But Dhanapala describes Ayodhya having its breezes blowing without rendering the groves of lotuses grown in the sportive oblong tanks marred by frost or snow. The applications of the sandal unguents were not discarded because the breezes were being struck against by the heats of the breasts of the young maidens, accelerated by their coming into contact with the snow. Hemanta has been further described as adorned with cold windows existing hard by or adorned with the emissions of cold breezes approaching close or adorned with the emissions of the breezes of the Sisira season approaching immediately afterwards, 117 'bAlacandanavRkSakhaNDasyevAdhvagamita mArgasahasyazizira surabheH Refers to Hemanta comprising of Margasirsa and Pausa," Sisira (Magha and Phalguna), Vasanta (represented here by Surabhih) (Caitra and Vaisakha)ziraffa refers to the existence of the showers of frost 10 1. zaratkAlarajanISu paurajanIvadanaparAjayajayA pratipatrakASAya iva vyarAjata' pArvaNo rajanijAni: TM Vol. I p. 57. 2. TM Vol. III p. 5. 3. zaratrizAkarabhayAd bahulapakSakSapAndhakAramiva piNDIbhUtam TM Vol. III p. 85. - 4. zaraprabha iva svAticitrodayAnanditanizAntaprabuddhalokam TM Smed. p. 371. 5. yasyAM ca tuSAra samparkapaTutaraistaruNIkucoSmabhiritastatastADyamAnA haimanISvapi kSaNadAsvamandIkRtacandanAMgarAga gauravamadattAMgArazakaTikAsevAdaramapluSTakelivApikApaMkajavanamadhuH prabhavanAH | TM Vol. I p. 57. 6. hemantamiva samAsannaziziravAtAyanAdalaMkRtam / TM Vol. II p. 321. 7. TM. Vol. III pp. 68-69. 8. KKB. B. S. Upadhyaya p. 57. 9. KKB. B. S. Upadhyaya p. 57. 10. KKB. B. S. Upadhyaya p. 57. 11. TM. Vol. II p. 91.

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244 TILAKAMANJARI OF DHANAPALA in the Hemanta season. Sisira can be understood only from 910 above though it has been mentioned on TM p. 90, 89, Vol. III and p. 321 Vol. II. Spring has been referred to by Dhanapala as 'vasanta' Surabhi, Madhu' etc. Spring is associated with the celebration of the festival of Ananga (Cupid or Kamadeva). 'Caitra vata' has been used to mean Vasanta vata. "Caitra masatma kavasantakalika pavanasya" Spring has been described as having its army sentinels in Tilaka, campaka, Asoka, Punnaga, Nagakesara and other chief trees which clung from all sides the shrine of Cupid who was ready to militate against the triad of worlds. 1. TM Vol. I p. 77, Vol. III p. 91. 2. TM Vol. III p. 69, Vol. II p. 233. 3. TM Vol. I p. 56, Sm. ed. p. 304. 4. h 44 Tricyafai TM Vol. II p. 196. 5. TM Vol. II p. 310. also Commentary. 6 trINibhuvanAnyamiSeNayitumudyatasya viSamavANasya baladarzanAya madhunA 07441214 T r yfafa: 7417414: 44TGTG4 acara 304. sva sainyayodhairivAhataistilaka TM Sm. ed. pp. 303,

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II. ADMINISTRATION AND STATECRAFT 1. STATE AND THE KING Dhanapala like many of his illustrious predecessors inherits the conception of construing (rajya) state as a body having angas (limbs)' which have been counted as seven by Kautilya, Sukra' and Kalidasa. The covert allusion to the seven constituent limbs of the body politic that a state is, is also indicated by the fact where by Meghavahana has been construed as famous on account of his seven threads even when he was endowed with innumerable gunas (threads; resources etc.). The apparent incongruity when solved, solves the hidden meaning as well. Gunas taken technically mean expedients.. King Meghavahana was provided with innumerable expedients and was known for his seven constituent limbs (of the State he was the supreme sovereign of)'. Sukra goes to the extent of naming Amatya as the eye, allies as the ears, Kosa as the mouth, army as the mind, durga and rast ra as the two hands and two feet. That is why Dhanapala remarks in context with Meghavahana that even though he had amassed huge treasury, had subjugated all the vassals, had the cabinet of ministers amenable to him, had won over the group of allies, had his forts occupied by the guards; he made his kingdom over to (i.e. devolved the responsibilities of its administration upon the group of the amatyas who were conversant with the science of polity in its entirety, who were foremost among the intelligentsia, who by intellect had their derided even Brhaspati, who were like his arm having shoulders capable of supporting the burden of the earth (Vasundhara) and who were his heart, as it were, with utmost amity secured from their very birth and who were the object of his great confidence. Hence Kosa, 1. doi: Ta gur FU TR$45 : TM Vol. I p. 66. 2. 24640474gfahrgusfallfu yatirt4: KAS VI 1. p. 164. R. P. Kangle Vol. I. 3. FRYTTAREgadi 1 HAF HOT Gi qu1 74: Wa: 11 Sukraniti I. 61. p. 10. 4. 349717 Fra Hai ahi HOT a utenf 0414614|| Ragh V. I. 60. 5. asaMkhyaguNazAlinApi saptatantukhyAtena TM Vol. I p. 61. 6. STRI: Yo Te gai 1:1 B Y GIRTE TE Waffell Sukra niti I. 62. p. 10. 7. upArjitaprabhUtakozaM vazIkRtasamastasAmantamAyattamantrimaNDalamupagRhItamitravargamAptapuruSAdhiSThitadurgAmagramapi rAjyamA janmanaH prarUDhaparamasohRdasya hRdasyevAtivizvasanIyasya bAhoriva vasundharAbhAravahanakSamaskandhasya pragalbhamatyupahasitadhiSaNasyApi prajJAvatAM dhaureyasya viditani:zeSanItizAstrasaMhateramAtyavargasyAyattamakarot TM Vol. I p. 71.

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246 TILAKAMANJARI OF DHANAPALA Samanta, mitravarga, durga, amatya etc. form some of the limbs of the statecraft or body politic that have been mentioned by Dhanapala in this paragraph. According to Dr. A. S. Altekar the point is disputed whether Kingship was elective in Ancient India.' Dr. B. S. Upadhyaya quoting K. P. Jayaswal? remarks that it was elective in the Vedic age. According to Dr. Altekar it was quasi elective in the early Vedic period, the period of the Samhitas in so far as only the Kulapatis and Vispatis had a voice in the election of the king and not the whole populatuion. He also remarks that monarchy had become normally hereditary long before the later Vedic period. The rajaksts mentioned in Atharvaveda (III. 6. 7.) a id rajakartarah referred to in the Ramayana (II 67.2) were not the king electors but the Brahmanas who were entrusted with the duty of offering the coronation ablutions to the king. According to Dr. Upadhyaya monarchy in the times of Kalidasa had not only assumed hereditary offices but also taken on itself the air of divinity. Kalidasa follows Manu in point of king and his relations with the state. And basically Kalidasa's conception of monarchy is that it was a hereditary institution. Sukracarya deems king a source of eclat or beneficence for the populace and one who delights the eyes of the subjects, like moon that is a source of tiding for the ocean and is a delight to the eyes of the people. He further remarks that the people without a leader working judiciously are counted a peer to the boat that unguided by a sailor gets sunk into the sea. Dhanapala seems to have greater faith in the dicta of Brhaspati and Sukracarya in so far as he has mentioned the names of these two teachers in his romance. Harivahana wearing the ear peduncles of moon stone has been illustrated as having been approached near the ear lobes by Amaraguru 1. State and Govt. in Ancient India p. 75. 2. Hindu Polity. Pt. I pp. 11-16. 3. State and Govt. in Ancient India p. 75. 4. Ibid. p. 76. 5. Ibid. 76. 6. KKB Pt. I p. 128. 7. TSR M a gh quang..... 7447-4479: 71% ga teret: il Sukra niti I. 64. p. 10. 8. Of 7 PERYA: HRTE A a: WHI: 37 UERT: v eit facade Hai Ibid. I. 65 p. 10.

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ADMINISTRATION AND STATECRAFT (Brhaspati) and Bhargava (Sukracarya) who had approached him to instruct the novel way of polity (enunciated by them).' 247 Dhanapala in his introductory verses refers to Paramara, Srivairisimha, Sriharsa, Srisiyaka and Sindhuraja who had an elder brother Srivakpatiraja also known as Munja who deeming Sri Bhoja as a capable scion, son of Sindhuraja, installed him to the hereditary parental throne of the Paramaras in Dhara2 proving thereby the hereditary mode of monarchy in the reign of the Paramaras. He even calls Meghavahana a paramount sovereign (Sarvabhaumo raja) whose senses were not dazed by the lofty elevation to divination (aisvarya godheadship).3 On the analogy of Sukracarya's views1 Meghavahana had sanctified the earth of the triad of the world by his conduct that had travelled on to the heavens, being extremely virtuous, with populace made satisfied by the enormous charity having been a source of delight for them all the time." Divination has been conferred on Meghavahana by Dhanapala in so far as he deems him to be an incarnation in visual form, of the one who has Aruna for his charioteer (i.e. the Sun) who moves across the limits of the four oceans with his sole orb whereas the king over-whelmed the precincts or extremities of the four oceans with the help of his sole chariot." He has been deemed a peer to Vasuki and Vasava (Indra) in point of both governing one of the lower and the upper regions whereas the king governed the middle region.' He had been endowed with favourability of the prowess of divine disposition." Even though he was a being of the mortal world he stood midway between all the worlds i. c. Being a man of the ephemeral world he was endowed with virtues that brought him on a higher plane of the divinities. He was peer to moon as well as the sun being tranquil and fierce likewise and looked thereby the vast expanse of the sky or like the expanse of the sky he bore the Moon and Sun lines (on his palm). Like Acyuta (Vis 1. nisarganirmalAlokAbhyAmIM nayamArgamupadeSTumamaragurubhArgavAbhyAmivopagatAbhyAmindukAntakuNDalAbhyAmAzrito bhayazravaNam / TM Vol. III p. 120. LL 5-6. 2. Ibid. verses 38-43. Vol. 1. 3. ajaDIkRtaparamaizvaryasannipAtena Ibid Vol. I p. 64. 4. See 15 above. 5. sarvadAhlAditalokenApyekadAnAnanditajanenodAttenApi caritena pavitritatribhuvanAvaniH / Ibid Vol. I p. 61. 6. avatAra iva sAkSAdaruNasAratherekarathAkrAntacaturabdhisImA TM Vol. I. p. 59. 7. samastaikaviSTapAdhipatayA tulyarekhayA vAsukivAsakyoravasthitaH Ibid Vol. I p. 59. 8. prAptadaivapuruSakArAnuguNya: Ibid Vol. I p. 59. 9. manuSyaloka iva guNairupasthito'pi madhyasthaH sarvalokAnAm. Ibid Vol. I pp. 59-60.

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248 TILAKAMANJARI OF DHANAPALA nu or Krsna) who wielded conch and the disc he (i. c. Meghavahana) bore the marks of conch and quoit (on his palm).' King is also called the Lord of the subjects in the real sense of the term with his duties judiciously allocated to the jurisdictions of the varnas and asramas. He is especially a leader on account of some superhuman tendencies in him or else he would lose his eligibility in this regard. He is a subjugator of the enemies both internal as well as external.' He is prone to possess the skill of the employment of six expedients of statecraft" such as Peace, War, Campaign, deliberations, duplicity and seeking shelter etc. which according to Kautilya are 'Peace, war, staying quiet, marching seeking shelter and dual policy" or els he would throw the entire state into a jeopardy. Meghavahana was a king who was endowed with these qualities. He had also obtained eclat in the four lores such as Philosophy, the three Vedas, Economics and the Science of Politics. The Science of Politics was his close associated portress who had drawn close to him the fortunes of the enemies who had espoused him having come to him time. and again.' He always twanged his bow during the course of destruction of his enemy and never struck a discordant note during deliberations." He was disposed to parting with what had been accumulated quite through circumspection and never did he take to delirium of intellect in order to desert the elders." He devoutly listened to the sermons of the preceptor and never forced his commands ruthlessly on account of the power born of his material resources. 10 He was disposed to avoid embracing of others' wives and heartily served without becoming averse to his own men." He would 1. gaganAbhoga iva zazibhAskarAbhyAmacyuta iva zaMkhacakrAbhyAm Ibid Vol. I p. 61. 2. yathAvidhivyavasthApitavarNAzramadharmo yathArthaH prajApati: Ibid Vol. 1. 59. 3. pratipakSANAmAntarANAmantarANAM ca vinetA Ibid. Vol. I p. 59. 4. SADguNyaprayogacaturaH Ibid. Vol I. p. 59. 5. ff: KAS Vol. I R. P. Kangle. VIII 1.2 p. 168, Vol. II. p. 372. 6. AnvIkSikI trayI vArtA daNDanItizceti vidyAH / KAS Vol. I. p. 4, I. 2. 1. Vol II p. 6. catusRSvapi vidyAsu TM Vol. I p. 59. 7. sannihitadaNDanItipratihArIsamAkRSTAbhiH samantataH pativaMzabhirivAgatya baddhamAlAtrirAzrito vilakSaNalakSmIbhi: Ibid. Vol. p. 50. 8. uccApazandaH zatrusaMhAre na vastuvicAre Vol. 1p. 62. 9. vRddhatyAgazIlo vivekena na prjnyotseken| Ibid Vol. 1p. 62. 10. KAS Vol. 6. 2. 33. pp. 166 Vol. II p. 370. gefnar TM Vol. II p. 62. 11. svajanaparAGamukhaH parabhAryAsu na saparyAsu TM Vol. I p. 62.

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ADMINISTRATION AND STATECRAFT wrest the torment of the earth by protection and was not a ravisher of women by dallinace.' He never showed relentlessness unto those who sought shelter under him. He was endowed with the entire host of Saktis such as Mantra Sakti, Prabhu Sakti and Utsaha Sakti the power of knowledge being the power of counsel, the power of treasury and the army being the power of might, the power of valour being the power of energy etc. and hence was capable of bearing the yoke of the earth most strenuously. He was prone to safeguard the entire group of groves on the earth lest any one should remove and cut short the tree trunks and was such who had secured the interests of the four stages of life i. c. He was the supreme saviour of the agricultural produce and was required to safeguard the interests of the sectarian resorts. He owed his steadiness to the earth and his radiance to the Sun, his speech to the goddess of learning, his physical charms to the goddess of fortunes." He was not made to dance to the tunes of the pride of fortunes, nor was he harassed by the anguishes born of the group of passions." The alligators of sense-objects did not attract him nor did the shackles of love of women bind him; He would clash with the enemies risen to power, had a bounteous disposition and felt pleased when supplicants were large in number. He would fee pleased when problems brought him a tussle. He felt cheerful when fortunes disfavoured him. Anxious to show his powers he would face odds. He had a knack for uprooting the evil' (adharma). A king was believed to possess some inherent virtues that counted him all above the other human beings. No commoner could vie with him. That is why Dhanapala has compared his refulgent radiance to the bolt of Indra like whom he smote the circle of kings like mountains smitten by the bolt." His 1. safargi meaa a eneAt Ibid. Vol. I. p. 62. 2. akRtakAruNya karacaraNe na shrnne| Ibid, Vol. I. p. 62. 3.3 249 370. : 1 TM p. 63. Vol. KAS Vol. I. 6. 2. 33. p. 166 Vol. II p. 4. rakSitAkhilakSititapovano'pi trAtacaturAzramaH / TM Vol. 1p. 63. 5. pRthvImaya iva sthairye tigAMzumaya iva tejasi sarasvatImaya iva vacasi, lakSmImaya, iva lAvaNye | Ibid. Vol. p. 63 64. 6. anartito lakSmImadavikArairakhalIkRtovyasanacakrapIDAbhiranAkRSTo viSayagrAhairayantritaH pramadApremanigaDaiH / Ibid Vol. I. p. 64. 7. yazca saGgarazraddhAlurahitAnAmunnatyAnutoSaNapraNatyAdAnavyasanI janAnAmarthitayA'prIyata, kAryANAM vaiSamyena jaharSa, ... daivasya vaimukhyamAcakAMkSa, dhairyavyaktikAmo vyasanAya spRhayAMcakAra,... sakalAdharmanirmUlanAbhilASI / Ibid Vol. I pp. 65-66. 8. vraja iva viDaujaso nirdadAha mahIbhRtkulAni samantataH prajvalatpratApaH / TM Vol. I p. 65. ....

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250 TILAKAMANJARI OF DHANAPALA prowess brought the earth under sway, the army chiefs were just an entourage. His glory subdued the vassals, doorkeepers were a royal etiquette. His felicity protected the harem, the keepers of the harem were a tradition. His very appearance betrayed his supremacy by the chowrie bearing maids and umbrella bearers were just a paraphernalia. His innate effulgence curbed the spread of evil, his body guards were a mere limb of the kingdom. His very command put down injustice the law givers were a matter of duty. His very form gratified the high minded ladies, his ministers of recreation were a luxury. His intellect determined the counsel, counsellors were a decoration. His self evident store of merits dragged close the opponent, his spies were a legacy. His bounty spread his fame in quarters, his bards were an ornament (of the kingdom). He was deemed a second sesa, a third sprout of the jaws of the primeval boar, an eighth Kulacala and a ninth quarter tusker, by the people meaning thereby that he had transcendental virtues much above those of the common people.? He had been consecrated right in his childhood and possessed the prowess of arms that overpowered the entire Universe. That is why he was capable of bringing under sway the earth having the store of girdles in the form of group of seven oceans and had removed all the thorns from the path of quarters so that his glory could travel unto them cosily. He had dug up the pillars of his victory on the extremities of all the eight quarters etc. A king has been called Mahibhujo Jagatpati, Ksonibhrt," (Ksonipala, Ksonipati) Parthiva,' Bhubhrt,* Prajapatih, Sarvabhaumo raja,'' mahibhit," Bhupati, Prabhu,"? Avanipala,'' Deva,'^ Raja," Medinipatih,6 1. Ibid. Vol. I pp. 66-67. 2. Ibid. Vol. I p. 69. 3. Ibid. Vol. I p. 71. 4. Ibid. Vol. I p. 64. 5. Ibid. Introductory verse 3 (Interpolated) Vol. I p. 39. 6. Ibid. Introductory verse 13 Vol. I p. 42. 7. Ibid. Vol. I p 43, Vol. I p. 155. 8. Ibid. Vol. I p. 53, TM Vol. II p. 230. 9. Ibid. Vol. I p. 59. 10. Ibid. Vol. I p. 64. 11. Ibid. Vol. I p 65. 12. TM. Vol. I p. 78, Vol. II p. 294. 13. Ibid. Vol. I p. 80. 14. Ibid. Vol. I p. 77. 15. Ibid. Vol. I. 84. 16. Ibid. Vol. I p. 84.

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ADMINISTRATION AND STATECRAFT Narendra, Nrpa,2 Ksitisa,' Ksitipala, Avanisvara, Urvinbhrt" or pati." Bhupala, bhupa," Bhumipati," Nrpati or narapatih," Madhyam lokapala12 etc. While the queen has been called Devi," Mahadevi Mahisi," etc. The royal insignia was called called by the gnomons 'Paricchada" "Vyanjana" by Dhanapala. 20 251 Of the insignia proper Dhanapala has mentioned 'Cchattra" or the royal parasol also known as atapatra (Ekatapatram) rajyam" and (dhvaja or Ketu) with camara in " kSaNamArtapatre kSaNaM pAlidhvajeSu, kSaNaM caamressu|" ketucchatrakArmukam 1. Ibid. Vol. I p. 103, Vol. I 114, Vol. I p. 135. 2. Ibid. Vol. I p. 137. 3. Ibid. Vol. I p. 152. 4. Ibid. Vol. I p. 165. 5. Ibid. Vol. I p 184. 6. Ibid. Vol. II p.259. L. 8 7. Ibid. Vol. II p. 259, Vol. III p. 200. 8. Ibid. Intro.. verse 39 Vol. I p. 33. 16 paricchadazchatracAmaragrAhA: 22 asvaravarNA api paraM na vyaMjanam azizriyanta zatravaH / pArzvavidhRtacAmaracchatra dhArAdidivasaparicArakaH 22 24 He has also mentioned the 'Karyasana23 Vikata hema vistara a counterpart of Simhasana (also referred to p. 198 Vol. III. L.) etc. accordingly Krpana25 or the personal sword of the king is also an insignia 9. Intro.. verse 41 Vol. I p. 34. 10. Ibid. Intro.. verse 43 vol. I p. 35. Vol. III p. 184. 11. Ibid. Intro.. verse 42 p. 35, TM Vol. I p. 99. 12. Ibid. Vol. I p. 114. 13. Ibid. Vol. I p. 83. 14. Ibid. Vol. III p 11, Vol. III p. 122. Vol. III p. 177, Sm. ed. p. 343. 15. Ibid. Sm. ed. p. 341, Vol. I p. 151, TM Vol. III p. 73. 16. Ibid. Vol. I p. 66, TM Vol. III p. 190. 17. Ibid. Vol. I p 67. 18. Ibid. Vol. I p 66, TM Vol.I p. 150, Vol. II p. 330, Vol. II p. 211. 19. Ibid. Sm. ed. p. 427., Tm Vol. II p. 300. 20. Ibid. II p 211 L. 5 21. Ibid. I. p. 66 L.5 22. Ibid. II p. 211. L.7 23. TM. Vol. I p. 76. 24. Ibid. Vol. II p. 190, Vol. II p. 176. 25. Ibid. Vol. I p. 59, Vol. I p. 150 (Karavala).

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252 TILAKAMANJARI OF DHANAPALA referred to by Dhanapala. Harivahana going to the Mattakokila, the outer garden during the summer had a chowrie fixed to a gold wand being waved on him every moment. (TM p. 235 Vol. III. 6, 7) Sarikha' has also been referred to. The glazed ruby footstool (masrna manikya padapitha) has been mentioned with reference to Kusumasekhara, the king, of Kanci. "mahendramalayAdrimadhyavartimedinIpAla maulisaMghaTTa masRNa mANikyapAda piitthsy|12 Dhanapala has also referred to the wooden dais inlaid with corals which had its central part elevated with bejewelled slabs spread over it, was upholstered by the pillow made of Netra cloth woven in variegated texture, had on both the sides the raised pedestals inlaid with gems and had a counterpane made of soft silk cloth." Meghavahana was reclining after meals listening to music. The structure of wooden dais is no lesser a counterpart of the Royal seat of the king. Dhanapala has positively substituted the word Vistara for Simhasana is clear from the reference__ "gacchati ca kAle kadAcidanavarata saMcArakhecara paraMparAkhyAta lokottaracarita vismitaH samAhUya saha samastena samaraketu kamalaguptAdinA parivAranRpasamAjena rAjA meghavAhanaH prazaste'nhi vidhinA zAstra ca-fall-TC14 "eka hemAsanopaviSTayA muhUrtamapyarahitAntikastilaka maMjaryA dinaanyyaapyt|" refers to the Hemasana, another synonym for Simhasana. He has referred to 'Kirita' as a synonym for mukuta while construing 'Harivahana as Indra descended down to the earth, in corporeal form, whose lotus feet were being prostrated at by the overlords of the celestials with their heads radiant with the diadems (Kirita) made of gold and studded with ruby bits emitting out rays; who had attained to the status of a paramount sovereign of the Vidhyadharas and had enjoyed the consecration to the throne of the triad of the worlds etc. He has referred to the royal insignia 'vitana' while describing the harem of Madiravati who had established her residence in a gorgeous apartment which had canopies of thick cloth of the Netra variety spread overhead with 1. Ibid. Vol. I p. 61, Vol. I p. 149. 2. Ibid. Vol. III p. 185. 3. Ibid. Vol. II p. 171. 4. Ibid. Sm. ed. p. 426. 5. Ibid. Sm. ed. p. 428. 6. TM Vol. III p. 113. Hilfstupefia infall TM Vol. III p. 97.

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ADMINISTRATION AND STATECRAFT 253 attractive pillars of gold variegated with varied hued texture and had its bejewelled mosaic pliant with floral offerings' etc. Meghavahana issuing out of the Brahmana Sabha mandapa (dvijava saramandapa) is greeted by the tumultuous din of the bards (Vandinam) pronouncing his victory proclamation etc., (Jayasabda kala kalena) and while issuing out of his royal house he is followed by the attendant folk supervised by confidants holding weapons etc. who moved behind him appearing glamorous with the group of pedestrians holding variety of swords with way being directed by the porters wielding gold batons raised aloft and running ahead, with chowrie being waved by the betel box bearing man. His arrival in the 'asthana mandapa' or the Assembly chamber is marked by the pompous platitude of a different type. It had somewhere prominent ministers seated on lofty ratton seats (chairs) being served by other attendants detailed on duty according to their rights or status and some-where the atmosphere was being rendered crimson with the suffusions of vermilion meant to stamp the royal mandates being inscribed in countless number. It had its centre being occupied by the great army chiefs being helped by many attendants with their heads refulgent with the diadems (Mukuta) inlaid with gems and emitting out rays etc. It had the ingress as well as egress of the princes difficult of effect. Hence the association of bards, counsellors, army chiefs wearing diadems (mukuta) also formed a part and parcel of the regal insignia enhancing the prestige of the king. "madhyAhnakRtyAya pravartito mAgadhazlokairadhikRtaizca rAjalokai:"5 refers to Magadhas reciting eulogiums, magadha being a synonym for vandin and carana etc. meaning bards. He has also referred to the Kancukis, Kiratas, Kubjas, Kallas, mukas and vamanas (The chamberlains, the persons hailing from the sylvan tribes got into the royal service known as Kiratas, the hunchbacks, the deaf, the dumb and the dwarfs) accompanied by the venial coquettes of the harem in countless numbers marching on to the protector of the earth (bhumipala) in order to collect the basins brimming with gifts anticipating the birth of the son. It implies that these members of the entourage formed a part of the royal insignia in so far as the movement of these always anticipated the 1. TM Vol. II p. 174. 2. TM Vol. II pp. 162-163. 3. TM Vol. II p. 163. 4. TM Vol. II pp. 172-73. 5. TM Vol. II p. 168. 6. TM Vol. II pp. 182-83.

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254 TILAKAMANARI OF DHANAPALA presence of the king as is evidenced even by Bhasa in "3741 HERTHI: YER: Teftafa 21:" "Pratijnayangandharayayam" (Act-II). As to the construction of the Simhasana, Dhanapala has explicitly referred to but in the context of the image of the Mahavirajina who was sitting on a huge lion seat (Simhasana) made of gold and designed with the imprints of the wheel (of piety), lions and elephants.? "ibha mrgendra cakradhya site" may also mean that the lion seat made of gold was supported on the four pillars bearing the designs of elephants, lions and the wheel of piety or it may mean that the lion seat was placed on the circle of the elephant shaped and lion shaped supports. Dhanapala has referred to the 'Sabha mandapa' of Samaraketu where he was seated on a huge golden seat (HER EHRT) raised on the surface of a dais inlaid with pure gems (fanfu afachlygfilea) p. 252 Vol. II, L-5. At another place Dhanapala refers to the sight of Urvipatikumara by Malayasundari, who was eighteen years old, who had won over the entire Universe with the help of his supple body bearing extremely refulgent radiance and laudable expanse, shining with gold bracelets, having long arms of illimitable prowess and prominent lustre like a sovereign (Samrajeva) who endowed with virtuous princes of extremely refulgent radiance having bright or promising future and shining with virtuous varnas (four orders of society) and army encampments, bearing huge arms of illimitable prowess and generous spirit, subjugates the entire Universe; who was surrounded by three to four expert young attendants talking to him about the account that had come to pass during the night, who was attended by some who had raised aloft the betel boxes, by some who were busy dressing his hair, by some who had placed his feet on their lap, by some who had the pillar like left arm of his folded up and placed on the head of (or pinnacle of the huge gold platform placed near his back; who was sitting on a dais made of ivory bearing shine refulgent like the interior of the lily, covered as it was by a counter pane made of washed netra silk cloth upholstered by pliant pillow stuffed with cotton of the type of the swan's fur 3 1. Pr. Yang Act II p. 58-59. 2. TM Vol. III pp. 197-98. $441727zfH...... Forumi Hefa fHR bimbmdraakssm| 3. TM Vol. III p. 199-200. HR 4....31994 Yad eralforte. ....

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ADMINISTRATION AND STATECRAFT 255 Hence the semblance of a sovereign imposed on Samaraketu seated on an ivory couch provided with counterpane of Netra cloth and upholstered by the pillow stuffed with swan's fur like cotton indicates the Simhasana of the Samrat formed out of ivory. The association of three to four attendants conversing with him on diverse talks, the presence of betel roll bearers, the shampooers, the chowrie bearers, his placing of the left arm on a huge golden platform all go to indicate the royal insignia playing adjunct to the ivory seat. In the description of Harivahana seen by Samaraketu inside the Rambhagrha accompanied by Tilakamanjari, Harivahana has been described as sitting on the surface of a huge bejewelled stone slab made of ruby' clad in a pair of garments of China silk cloth embroidered with a new flank and made up of extremely thick texture,2 with person occupied on all sides by the images of the chowrie bearing maids, reflected in the gems of the ornaments inlaid over his whole body,' wearing on his broad chest the new necklace of pearls, hanging down to his navel; wearing in both of his ears the penduncles made of moon gems, wearing carried on his pate endowed with the halo of lustre like the solar orb the fine bejewelled diadem wrapped round by the forehead wrap made of gold brand and shining clinging to the surface of his pate," surrounded by attendants in the form of bees, being fanned by the chowrie bearing maids in the form of plantain trees, even placed on her lap by the earth as if carrying a parasol, even honoured by the day with golden wand wielded in the form of the solar orb. Hence Harivahana has been shown sitting on a Simhasana made of ruby with a bejewelled diadem placed on head bordered by a gold wrap wound round the pate, provided with chowrie bearing maids and a parasol along with golden wand borne by an attendant forming his rod of dignity. As evidence by Dr. B. S. Upadhyaya on the basis of the study of Kalidasa the normal insignia used to be the two chowries and one parasol 1. pRthuni kuruvindamaNizilAtaleniSaNNam TM Vol. III p. 120. 2. ativimalaghanasUtreNa..... navadazAlaMkUtena zvetacInavastradvayena saMvItam TM Vol. III p. 120. 3. akhiladehAbharaNamaNikaMkrAntAbhirAsatracAmaragrAhiNIpratimAbhiH sarvato'dhiSThitazarIram / TM Vol. III p. 120. 4. AnabhilambamabhinavaM mauktikaprAlambam vizAlena vakSasA dhArayantam TM Vol. III p. 120. 5. indumaNikuNDalAbhyAmAzritomazravaNam / TM Vol. III p. 120. 6. alikataTasaMginA vitatabhAsvareNa kanakapaTTavandhena valayitamuttamamaNimukuTa... tapanamaNDalamiva sapariveSamutta TM Vol. III p. 120. 7. aMdhipezpi... anujIvibhiriva parivRtam kadalIbhirapi cAmaragrAhiNIbhiriva vIjyamAnam dharaNyApyu paridhRtasaralakANDa surapAdapayA gRhahItAtapatrayerotsagitam, ahapi taruzAkhAntarapravezita prAMzuravikareNeva pratipannakanakabetreNava prakaTitAnibhAvaM harivAhanamadrAkSIta | TM Vol. III p. 121.

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TILAKAMANJARI OF DHANAPALA that were indispensable for the king in any circumstance; the chowrie bearing maids in case of Meghavahana, Samaraketu and Harivahana may be two in number invariably and a parasol is an explicit notion in case of Dhanapala. 256 Camara for chowries is so named because it was woven out of the shags of a Camari Cow.2 "uparivistAritatAranetrapaTavitAne vitAnakaprAntalambamAnalolamuktAkhaji... vizAlavezmani in case of Mahadevi clearly alludes to the royal canopy over the royal chamber of the king as well as that of the queen as evidenced by Kalidasa also." Apart from this " akaroca tasyAH kanakavetracchatracAmaradirAjyAlaMkArasUcitamahotsavaM mahAdevI paTTbandham "S refers to Gandharvadatta's consecration as Mahadevi by Kusumasekhara with forehead wrap wound round her head with royal insignia such as golden wand, parasol and fly-whisks forming her companions. The king's lotus foot twain has been deemed as the accomplisher of the achievement of the desires of the entire populace. The king has been deemed as always busy in protecting on account of his having acquired proficiency in the art of speaking. Even though he had been consecrated to the throne while being yet a boy he was given to strive hard to bring under his sway by the prowess of his arms overpowering the entire Universe, the earth engirt by the seven oceans, to remove the thorns in the form of his enemies and to erect his victory columns in the extremities of the eight quarters and finally to establish his kingdom endowed with huge treasury, subsidiary vassals, allies and strong forts." It implies perforce that even though the kingship was hereditary a king crowned to be the master of the masses was required to prove his mettle by displaying the prowess of his arms actuated by the other qualities of head and heart. The king" was required to be free from all 1. KKB p. 132 (Part I). 2. Ibid. p. 133. 3. TM Vol. II p. 174. 4. KKB p. 133, TM Sm. ed. p. 343. 5. TM SM. Ed. P.343, L-14-15 6. sakalapuruSArthasiddhisampAdakaM devasya pAdayugalam / TM p. 190. 7. girAbAsa pratiTho'pi satatamavanecarataH Ibid. Vol 1p. 64. 8. TM. Vol. I p. 71. 9. AtmanApi niHzeSitArivaMzatayA vigatazaMka:, svadharmavyavasthApitavarNAzramatayA jAtanirvRttiH, prArabdhakAryatayA nirAkulamanAstakAlaMmanaH purInmanupraveSTukAmaM paryavasitAkhila kArmukadhAraNAparAdhavilakSaNamanasaM

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ADMINISTRATION AND STATECRAFT 257 worries on account of having brought to a cease the entire host of his enemies by his personal (endeavours), to absolve himself of all the liabilities relating to the proper adjustment of the jurisdictions of the (four) orders of society and the (four) stages of life in accordance with his own responsibilities, to keep his mind unperturbed on account of his having taken to accomplishment the entire store of undertaking undertaken by him and to take his mind, avid of enjoyment, in association of the sense objects attracting the group of senses, brought to limelight by a courier/manifesting skilful words and come to make favoured the shark marked god (Cupid) having his mind embarrassed on account of his fault of wielding the bow and anxious to obtain his ingress into the citadel of his mind instantaneously. Dhanapala further elaborates his point with reference to Meghavahana stressing the idea of taking to all types of duties as permitted by youth, as ordained by his attitude of mind, as it pleased the skilled persons, as it created no obstacles with reference to his indebtedness to the two worlds (This one and the yonder one), as it did not deprive him of any circumspection, as it steadied the prestige of his lineage, as it brought to perfection his discipline, as it enhanced the working of his spirit and as his piety did not come to a cease, as his material gains did not suffer cessation, as his regnal glory did not lose the equanimity, as his fame did not lose its ardour, as his prowess did not suffer extinction, as his virtues did not get tarnished, as his acquired knowledge did not become an object of ridicule, as his attendants did not feel severed from him, as his group of allies did not slink away, as his enemies did not grow active etc. "svajanaparAGmukhaH parabhAryAsu, avanitApahArI pAlanena",2 in 36, 37 along with "37erisi 1446741Sifa:" in 42 above alludes to the traditional addiction to the group of four vices such as hunting, gambling, drinking and philandering from which the kings invariably failed to save themselves and hence there arose the necessity on the part of Literatures to stress the point that they should keep away from these. Dhanapala has referred to Meghavahana as undeterred by the freaks of these vices by describing him as 'untormented by the tortures caused by the circle of passions or vices'. But his reference. makaralakSmANamanugrAhayitumAgatena vistAritacaturoktinA dUteneva navayauvanopadarziteSvindrayagrAmahAriSu viSayeSa HTTC 47644Tr i Ibid. Vol. I pp. 71-72. 1. Ibid. Vol. I p. 76. 2. Ibid. Vol. I p. 74.

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258 TILAKAMANJARI OF DHANAPALA ___ kadAcit krIDAdyUtaparAjitaH paNitamaprayacchan 'kva gacchasi' baddhAlIkabhRkuTibhirvidagdhavanitAbhirAkRSya kRtaviSamapAdapato balAdiva dattakapATasaMpuTeSu vaasveshmsusptniismkssmevaakssipyt|| refers to his taking to gambling meant for the sake of fun wherein feigning the non payment of stake when defeated and being carried perforce by the ladies and thrown before the co-wives forming a part and parcel of the limited jurisdiction of his addiction of Kama which never infringed upon the jurisdiction of his dharma and artha, both. And his reference " Yfghalada al4c44fayfa-44924'2 purporting forth the excessive indulgence being the cause of his issuelessness may even be taken to appertain to loss of virility by excessive indulgence during the limited jurisdiction of Kama. His portrait of Harivahana as an epitome of innocuity is equally reminiscent of the poet's eagerness to emphasise the idea of refraining from the vice of hunting. Harivahana during the course of his sojourn for a digvijaya reached the country named Kamarupa where greeted by the king of that country he begged leave of him and welcomed on the way by the entire host of kings of the Uttarapatha he roved about in the groves on the shores of river Lauhitya (Brahmaputra) and saw the antelopes, bisons, lions, boars, panthers, the camari deer or Yaks along with beasts of diverse forms and even though prompted by the associate princes to kill them he refrained from doing so even when they were well within the reach of his weapon on account of his innate proneness to compassion. Dhanapala refers to Meghavahana occupying the Assembly Chamber (Sabha mandapa) at intervals with time distributed accordingly in order to keep up the devotion of his dependants and on account of his amenability to righteousness taking to his seat in the office in order to cater to the urgent needs of the Hermits, Brahmanas and gods* making thereby manifest the necessity for his taking to the official responsibilities more readily than slothfully. In conformity with Kalidasa's ''275119 gofali Utara." "3751 YARGI parauf:** (Raghuvamsa) whereby a king becomes so by keeping his subject pleased. Dhanapala has referred to Meghavahana's act of visiting the capital with festal melees going on in perfect order during the spring and the like, having got out in 1. TM. Vol.I. p.74, LL 5-7 2. Ibid. Vol. I p. 97. 3. Ibid. Vol. III p. 35. 4. Ibid. Vol. I p. 76. 5. Ragh V. IV. 12. 6. Ibid. VI. 21.

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ADMINISTRATION AND STATECRAFT 259 order to satisfy the citizen folk.' He further exclaims that he had innate proneness to become an inordinate favourite of the subjects much in excess in comparison of his predeceasing kings.2 That is why clung fast in that way to the pleasures of the enjoyment of sense objects, knowing well the alertness (lit. wakefulness) of the counsellors, aware fully of the effectiveness of his errands, being apprised daily of the loyalty of the subjects unto him by the secret emissaries, the group of principal functionaries of the state (departments) being very close to him on account of their extremely faithful promises and skilfulness in performing their duties, he used to rove about every house in the capital on the opening of the nocturnal hours, having got out of his own accord with 'weapon forming his second (companion) like the flower weaponed (God Cupid) moving incognito (lit. unobserved by anybody) in order to obtain the idea of weal as well as woe among (the subjects)3. He even fathomed the consemblies of the dignitaries sitting here and there in order to have a desire for listening to the rumours (taking airs promiscuously). Pratisraya is an expression denoting the Sabha or Assembly used by Dhanapala. (as per Paragatika L. 19 Hemacandra in Abhidha Cintamani IV. 66. p 247) He used to visit the wattle huts where visitors come from different quarters used to assemble (in order to attend the assembly session). During the course of talks about the affairs of the state he used to proclaim the shortcomings of the functionaries, minister, the king, having fabricated them as far as possible, in order to understand the intentions of the citizens and felt extremely pleased being censured by them in harsh words under the pretext of not being recognised, with ire roused in them on account of their listening to the false opprobrium, of the Heads of the state, ministers and the king and feeling happy always on account of the entire host of catastrophes brought to a cease or quelled down." His counsellors, too, took to the affairs of the state removing all the difficulties of the subjects in conformity with their recognition of the attitude of mind of the king, in conformity with their legacies inherited from their predecessors and in accordance with the dicta of the law codes." 1. pauralokaparitoSahetozca vasantAdiSu savizeSapravRttotsavAM nirgatya nagarImapazyat / TM Vol. I p. 77. 2. nisargata evAsya pUrvapArthivAtizAyinI prajAsu pakSapAtaparavazA vRttirAsIt / Ibid Vol. I p. 77. 3. Ibid. Vol. I p. 77. 4. Ibid. Vol. I p. 77. 5. Ibid. Vol. I p. 77. 6 Ibid. Vol. I p. 77. 7. TM. Vol. I p. 78.

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260 TILAKAMANARI OF DHANAPALA "avatAra iva sAkSAdarUsAratherekarathAkrAntacaturabdhisImA" "niryatnadhRtasamastabhuvanabhAratayA ca taM dvitIyaM yg diluakiegy... 374R 41:12 referring to Meghavahana allude to the fact that king was a peer to the Sun that yoked his chariot only once and went on moving without a pause. He was also a peer to the "Sesa" and the "Adivaraha" who supported the earth once on its hood while the other on its snout. The king supported the earth likewise toiling day and night without a moment's pause ''farniz44 za duf P3 alluding to Meghavahana as radiant as the Sun makes him a source of inspiration and activity for the populace. Meghavahana has been depicted as an ideal administrator during whose reign period there was absence of disease among the people;' no harassment was given to the people,' punished people were not subjected to torture nor were there any thefts and subsequent punishments; there were no quarrels among the people;' there was no strangulation; no dragging of feet of the culprits;' there was no degradation in the characters of ascetics or there was no visibility of degradation in the self control of the people;'deg no losses were suffered by the people;' there were no reprimands and beatings of people;12 there were no rumours about the prevalence of the law of the jungle (lit. hearing about the inefficient administration)". There were no mutual strives, no imprisonments, no injuries, no murders consequent upon the excessive indulgence in the vice of gambling. His righteous way of administration had citizens who did not discern any distinction between the rich and the poor, no discrimination as to 1. Ibid. Vol. I p. 59. 2. Ibid. Vol. I p. 69. 3. Ibid. Vol. I p. 63, Vol. I p. 64. 4. UCHI H ati Ibid. Vol. I p. 67. 5. SAU 45-41 Ibid. Vol. I p. 67. 6. Yami G auri Ibid. Vol. I p. 67. 7. YHI Fue: Ibid. Vol. I p. 68. 8. FAHHHI TUR: Ibid. Vol. I p. 68. 9. Gue AHI YIGIT: 1 Ibid. Vol. I p. 68. 10. hafa og faux cf741 Ibid. Vol. I p. 68. 11. Jet=r9 qfG: Ibid. Vol. I p. 68. 12. Fair usafi Ibid. Vol. I p. 68 13. ufaga RITERI Fell IPATUH 14. PR14742TE MICI RI DARYTI Ibid. Vol. I p. 68.

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ADMINISTRATION AND STATECRAFT 261 whether a person was literate while another was illiterate, no recognition of the significance of a virtuous or a vicious man; no stratification of the religious or the irreligious; all were bounteous enough; all were conversant with the sayings of the wise; all were prone to doing good to others; all trod on the path of virtuosity; All knew the entire store of Puranas, Itihasa along with their essence; All had studied the entire store of Kavyas, dramas and their associate treatises; all were conversant with the entire store of current legends, Kavyas and akyayikas; all the practical lores in their innumerable treatises; Even though they had studied the statecraft (lit. science of polity) they had maintained an uninsidious demeanour; they had practised the science of acting and yet had no knack for indulging in the lascivious modes of grimaces and eyes; they had gone across the lore of Kama and yet were free from the ills of the harlots; they were skilled in all the languages and had an innate proneness to sweet talks; they were virtuous and had obtained fame in the royal court; they were skilled in looking to the pros and cons of the propositions; they knew all the tastes and facts about the world and yet feit no embarrassment; they had a love for seeing the promulgation of justice and were full of equanimity; they did not ridicule and were satisfied; they were such who would stand by in woes; etc.' Even Cakrasena, sire of Tilakamanjari, has been described as a paramount sovereign having prowess of mighty arms, an overlord of the entire southern range, a peer to Bharata, Sagara and other kings, famous throughout the triad of world, with penchant shown continuously to science of polity, the threefold group of Saktis (Prabhu, Mantra and Utsaha) manifest in him, prone to subdue the group of six enemies (Kama, Krodha, Lobha, Moha, Harsa, Mada etc.), a refuge for the hundred of kings subdued by the enemies; with power of lore (of politics) undisputed, his vicinity never deserted by enemies even of mighty prowess like the precincts of the penance grove never deserted by the sages having self-control for their sole wealth. In order to run the administration the king was required to be eminently advanced in point of intellectual attainments. He was required to possess an intellect innately acute or else he could bungle with his affairs and become an instrument in the hands of his ministers. That is why Dhanapala has called Meghavahana "Kusa griya buddhih" i.e. one having intellect 1. TM Vol. I pp. 51-53. 2. Ibid. Vol. III pp. 10-11. 3. RE: grafiti at EU 444 Ibid. Vol. I p. 65.

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TILAKAMANJARI OF DHANAPALA extremely acute like the point of a Kusa stalk. That is why he dared to face the odds and never relished the circumstances when it was all a smooth sailing. Only an intellect endowed with promise can achieve success in life of a leader. Coupled with that the education made him capable of understanding the strategies of warfare. That is why Dhanapala calls Meghavahana, as endowed with transcendental dignity even when his prowess had been shining on account of his association with battles.' As regards the specific education required by him Dhanapala has followed his illustrious predecessors such as Kautulya,2 Sukra and Kalidasa who most meticulously enumerate the four sciences such as philosophy (anviksiki), the three Vedas (Trayi), Economics (Vartta) and the science of politics (dandanitih) which had been mastered by Meghavahana ( faany :). Samkhya, Yoga and Lokayata-these constitute philosophy. Investigation by means of reasoning (what is) spiritual good and evil in the Vedic lore, material gain and loss in economics, good policy and bad policy in the science of politics, as well as the relative strength and weakness of these (three sciences); philosophy confers benefit on the people, keeps the mind steady in adversity and in prosperity and brings about proficiency in thought, speech and action. Philosophy is ever thought of as the lamp of all sciences, as the means of all actions (and) as the support of al laws ( and duties)." 262 ``SADguNyaprayogacaturaH "" is a part of the 'Dandaniti' the fourth of the group of four lores which basically depends upon the expert handling of peace negotiations, warfare, campaigns, lying in wait for the suitable opportunities to strike, taking to strategic positions and creation of final schism in the 'Sargha' of the enemy (vizeSajJo'pi samadarzanaH sarvadarzanAnAm ) ' is a part of philosophy referred to above as 'Samkhya, Yoga and Lokayata' etc. Meghavahana was skilled in all these. 1. samidvyatikarasphuritapratApo'pya kRzAnu bhAvopeta: Ibid. Vol. I p. 62. 2. KAS I. 2. 1. Vol. p. 4, Vol. III p. 6 by R. P. Kangle. 3. Ragh. V. III 30. 4. dhiyA samagraiH saH guNau rudAradhIH kramAccatasrazca turarNavopamAH / tatAra vidyAH pavanAtipAtibhirdizo haridbhirhari tAmivezvaraH // 5. TM Vol. I p. 59. 6. KAS I. 2. 10-12 p. 4, Vol. I p. 7 Vol. II. R.P. Kangle. 7. TM Vol. I p. 59. 8. TM. Vol. I p. 59.

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ADMINISTRATION AND STATECRAFT 263 "anAyAsagRhItasakalazAstrArthayA'pi nItizAstreSu khinnayA paramANusUkSmayApi kroDIkRtatrailokyayA vyaktavivekayApyatinibiDayA prasannayA'pyasaMnihitamadayA, vizAlahRdayAsAditasvecchAvakAzayevAtidUraprasRtayA prajJayA samyagjJAtaheyopAdeyavibhAga:"" refers to his specialisation in Nitisastra even when he could understand the essence of all other lores. His intellect was such as could discern what is to be done and what is to be left out. ___"sannihitadaNDanItipratIhArIsamAkRSTAbhiH samantataH patiMvarAbhirivAgatyAgatya baddhamAlAbhirAzrito vipakSalakSmIbhi:12 again refers to his close contact with the science of politics. Dhanapala has made an exclusive mention of the two of the four lores danda niti and vartta in "rAjyanItiriva satripratipAdyamAna vArtAdhigatArthA" along with"arhaddarzanasthitiriva naigmvyvhaarkssiptlokaa|| which refers to the Heterodox system of philosophy obtained in the Jain canons. Ayodhya, the capital of Uttara Kosalas had the way of life of the regnal institutions covering within its fold the material gains procured by Vartta (economics) being explored by the Sattrins (i .e. the secret spies). The king actually promulgated this in the state having its capital for Ayodhya. There was a natural repulsion of the Jaina cult and hence the populace felt offended on seeing an arhat. But naigama vyavahara also relates to the trade and commerce which refers to the lore (vartta) of economics which also regulated by the king made the people perturbed or kept them over engrossed in their avocations. "kadAcit svayameva rAgavizeSeSu saMsthApya samarthitAni zaMgAraprAyarasAni svaracitasubhASitAni svabhAvaraktakaNThayA punaruktamupagIyamAnAnyanurAgabhAvitamanAH shushraav|"5 refers to the king's knach for composing certain sweet sayings and making them tuned to music getting them sung by the consemblies of akas which implies his being a poet as well like Samudragupta. Witnessing the dance shows and drama were also his fascinations. 1. Ibid. Vol. Ip. 60. 2. Ibid. Vol. I p. 60. 3. Ibid. Vol. Ip.55. 4. Ibid. Vol. I p. 155. 5. Ibid. Vol. Ip.75. 6. TM. Vol. I p. 75, LL 6-7

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264 TILAKAMANJARI OF DHANAPALA King acquiring education as a prince is exemplified by Harivahana who was named as such on the tenth day of his birth; the sacraments such as Annapra-sanaeti being performed by the priest himself he attained to the age of five just at his own residence. And when the sixth year made its appearance the king got established a vidyagrha and collected many vidyagurus in whose vicinity he initiated him into the start of education. The gurus or the preceptors taught him in due order the lores such as vyakarana and its auxiliaries. Harivahana also had an intellect acute like the point of Kusa and in a short time he became conversant with all the branches of knowledge. Within the span of ten years he acquired proficiency in all the fourteen lores along with their accessories. He e en knew all the arts with special reference to painting and playing on the lute.' When grown mature in the learning of all the scriptures and gone past all the lores concerning the play of weapons, the king brought him home when he was sixteen years old; And got built a kumarabhavana gorgeous with a mews meant to station many tuskers and steeds with the region of its doors, shining with round ewers made of gold dug up on both sides, with the pillars on its arched portal of huge dimensions, slighting down the clouds by the rampart endowed with huge turrets of clay, established on the outskirts of the capital. Desirous of performing his consecration to the status of a crown prince (Yauvarajyabhis ekam), he looked for another prince meant to play adjunct to him, through his secret emissaries, despatched through regard (for them) - the prince who could bear semblance of him in point of intellect, prowess, form, discipline, art of speech, perseverance and other virtues such as generosity, sturdiness' and sobriety the virtues suited to a Lord (of the subjects).2 Establishing him as crown prince the king used to sit in his Assembly Chamber (asthanamandapa) occupying a huge golden chair (adhyasita vikat ahemavistaram), with valiant people surrounding him on both the sides, appointed to safeguard his persons, lined in a row, standing erect having taken their positions in a chain, with swords dug in, with favourite vassals sitting quiet, with his body being fanned by the harlots having their gold bracelets dangling on their wrists on account of the flapping of the flywhisks (camara) being flapped ceaselessly and standing close to him, being waited upon by Harivahana bearing steadfast gaze pinioned on the feet of 1. Ibid. Vol. II pp. 186-89. 2. Ibid. Vol. II pp. 189-190.

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ADMINISTRATION AND STATECRAFT 265 his sire and sitting on the surface of the earth having prostrated with modesty with some more princes entered along with him.' As a crown prince the heir to the throne, that Harivahana was, a group of princes used to accompany him as his entourage in the manner of the entourage of the king himself following him in all royal formalities. And when he found in Samaraketu, a suitable associate for Harivahana he bade a homily to the latter. "Child; this Samaraketu has been ordained an associate for you by me being not in a position to find out a person exalted in virtues in the lot of the kinsfolk. It behoves you to be in front of this one who has been presented to you by me, bearing a soul as he does free from blemish. Like a guard of the harem endowed with the knowledge of polity, it behoves you to keep under your guard constantly your personal charge. It even behoves you to endow him with prosperity by deeds of charity like the enhancement of righteousness the main-spring of bliss and enjoyment. He is to be kept with you even during nights like a sword of one who is surrounded by his entourage. He is your brother, a servant, a minister and an associate who deserves to be brought to your association by providing him all the confidence, under all circumstances, by conforming to his desires when undertakings are in hand, by fostering encouragement during taking a project to accomplishment, by ingratiations incourse of playful quarrels and irate moods, by keeping him close during secret counsel, by unacrimonising attitude during humorous concerts, by taking his side when there is a dispute by enhancing his prestige when there is an equal race for honour, by showing extraordinary regard during prosperous situations and by keeping company during trying circumstances, day in and day out".2 The king used to get up from his seat after his business was over and dismiss the group of kings to take up his duties again the other day as is evident by the line. '"visarjitAsthAnarAjako nRpatirAsanAduttasthau "3 Similarly the crown prince who has been called 'Kumara' by Dhanapala went to the apartment of Madiravati being followed by the group of attendants meant to conduct him to the harem with (other) attendants 1. TM. Vol. II p. 190. 2. Ibid. Vol. II pp. 230-31. 3. Ibid. Vol. II p. 231.

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266 TILAKAMANARI OF DHANAPALA dismissed (by him) having grasped Samaraketu by hand and submitting to the king his homage as ordained by him to depart.' Given full recognition to the office of a crown prince, Harivahana was ordained as the Governor of the whole of Uttara patha including Kasmira and contiguous regions whereas Samaraketu was ordained on parallel status, as the Governor of the Angas along with estates, through the keeper of the records Sudrsti.? Both were, therefore, considered as two brothers by Meghavahana. Harivahana being the crown prince and Samaraketu as a young brother to Harivahana enjoying their respective regions of administration. 'anujIvino rAjaputrajanasya pAtratAnusAreNa saMvibhaktasvabhuktinagaragrAmanivahaninizcintayoH, duSTadAyAdasamavaSTabdharAjyairAgatyAgatya diGmukhebhyo nijapadArthabhiH pArthivakumArairanavaratagRhyamANasevayoH, narendrasevayA pratidinamavandhyIkRtobhayasaMndhyayoH...... duSTajanapadadRSTidoSasaMrakSArthamiva pauralokena svAnteSu HaaarfarTT: 193 further establish the regnal status of the two. After becoming a Yuvaraja and a governor the crown prince was required to observe the formalities of taking into account the interests of the subsidiary princes along with their activities in the countries of his administration by distributing the administration of respective sub divisions among them and safeguarding the interests of those princes who fell a prey to the unrighteous political activities of their kinsfolk. He was required to wait upon his sire accordingly and even to win the good will of the subjects who wanted the obviation of evil intentions of the wicked people of the Janapadas. His associate and foster brother Samaraketu has been illustrated enjoying the same quantum of liberty and opportunities for life as Harivahana. He was a Yuvaraja as described by himself. He was the son of Candraketu, the supreme sovereign of the Simhalas which had Rangasala for their capital. Candraketu had ordered the naval corps meant to march on to the Daks inapatha, in order to subjugate the wicked vassals abiding close to the Suvela mountain. As (he i. e. Samaraketu) had started off to annihilate the foes, (his sire) had appointed him the chief of that corps having consecrated him to the status of crown prince (37f4f924 ), after he had attained to youth quite recently and had ventured great labours in special weapons such as Prasa, Kunta, Cakra, Gada, with the art of archery practised accordingly, with science of polity studied and acquaintance gained in the scripture in accordance with his capacities, and sent him attended by vassal, counsellors 1. TM Vol. II p. 231. 2. Ibid. Vol. II p. 231-232. 3. Ibid. Vol. II pp. 232-233.

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ADMINISTRATION AND STATECRAFT 267 and chief overlords of the earth on an auspicious day with unlimited array of foot soldiers made over to him.' The consecration ceremony proper has been fully illustrated by Dhanapala neither in the case of Harivahana nor in the case of Samaraketu but in case of the ablution ritual of the sole lord of the triad of worlds (Jinendra) making a covert allusion to the consecration bath of the supreme sovereign of the triad of the worlds Samaraketu (with reference to Malayasundari) and Harivahana (with reference to Tilakamanjari)- both acting the would be chief queens (Mahadevis) respectively for each of them). "In the meantime ensued the auspicious ceremonial connected with the consecration bath of the overlord of the triad of the worlds. The lute players playing on lutes brought forth the chimes of their chords. The sons of Bharata (i.e., the followers of the school of Bharata) made ready many musical instruments with numerous marjanas distributed among themselves. The flute players keeping female singers in front took their seats with flutes drawn out of their wooden cases. The people having hands sanctified by cleansing brought on the ewers of gold brimming with water brought from all the holy places. The harlots drew near bearing breasts shining with their expanses appearing thereby as carrying the gold ewers meant for consecration bath raised aloft. Some roved about carrying bunches of flowers; some carrying vases full of unguents while others carrying ewers brimming with scented water etc.? And ultimately when Samaraketu had been united with Malayasundari and Harivahana with Tilakamanjari and Harivahana had made over administration of his region allocated to him by his sire and when sufficient time had elapsed Meghavahana summoned Samaraketu, Kamalagupta and others of the same stock and in their presence made him ( i.e. Harivahana) sit on the chair in accordance with the dicta of scriptures, on an auspicious day, meaning thereby that he abdicated the throne in his life time and departed for the other world only after that. Harivahana, too, grown into a fully fledged sovereign pleased his attendants from his boyhood, by making over in charity the circle of many lands and had his virinity never deserted by the chief princes such as Kamalagupta gratified by charities and munificence showered day in and day out. He protected his kingdom bearing one parasol for its insignia with subjects protected with efforts, with the disputes about the behaviour of the castes (lit. orders) connived at by him, with the proclamation tabor about ensuring 1. TM. Vol. II pp. 250-251. 2. Ibid. Vol. II pp. 188-189. 3. Ibid. Sm. p. 426.

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268 TILAKAMANJARI OF DHANAPALA fearlessness being made to be sounded in every direction, with adoration in the shrines built in all the holy places proclaimed without any speciality, with mutual antipathy regarding the whole administration rooted out in it, with penury of the indigents patched up by the charity of riches made in a continuity, being laudable on account of its association gifts being replenished by the extra amount of riches being donated by the subjects given immunity from taxation, with consecration to the kingdom of his own country rendered free from impediments on account of his first uprooting and then reinstating his opponent ksatriyas, with rest houses in large number meant for group of travellers lean with hunger and thirst got built in every village, with circle of shrines quiet at the outskirts surrounded by vellums of the city provided with lofty turrets established in every town, with merit, stored with ample virtue following the merit earned in the previous birth, with bestowal of lands in nuptial ties, of the gems of maidens being performed with individual offers by the kings hailing from the terrestrial terrains as well as from the celestial world, having their minds gratified by the transcendental virtues (getting accumulated) every day, he deemed himself endowed with association only through Samaraketu even when there was a host of entourage and deemed himself espoused only through Tilakamanjari.' Whole of the narrative alludes to Harivahana as a righteous king, a righteous conqueror (Dharmavijayi) and a person looking to the general welfare of the populace. Regarding the Political thought ventured by Dhanapala we find that he had displayed ample knowledge of the theoretical aspect of the science of polity by referring to it as 'nitih" 'rajyanitih" 'nitisastra', 'dandaniti" "Kusastra 'Arthasastra"? Bahya tantra's, 'nitividya", "rajanitih',' 'naya 1. TM Sm. p. 427. 2. 37eittifafrugtest: TM Vol. I p. 52. 3. Totifafa ufafayeyHalafferate TM Vol. I p. 55. 4. ilfaring fame PSEYCfaym: TM Vol. I p. 60., TM Vol. I pp. 233, 311, TM Vol. III pp. 10, 176. 5. Hafengus ifaufdere 4412fefqetenfu: TM Vol. I pp. 60-61. See also II p. 2. 6. 1981ECYF1194 SGUH TM Vol. I p. 68. 7. arthazAstraparAmarzapUtamatibhiramAtyaiH saha kRtakAryavastunirNayaH vinipAtabhIrumantrIva yAtrAbhiyoga grerefrenuafera achat Hery IGIA ARUF- TM Vol. II p. 303. LL.1-2 L.D. Series. 8. 7796RONY TER Y TM Vol. II p. 197. 9. 791916. Qella foresta-ifafaery TM Vol. II p. 251. 10. Trifafaa zefenvaeinftaufacri TM Vol. III p. 8.

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ADMINISTRATION AND STATECRAFT 269 marga',! being 'abhivava' associated with Amaraguru (Bihaspati) and Bhargava (Sukracarya) etc. whereby it implies that he had before him a large number of treatises on this lore which dealt with the conduct of kingdom at home as well as abroad. His reference to Arthasastra may allude to his acquaintance with Kautilya and his treatise whom he seems to follow meticulously during the course of his dissertations on political affairs, but his express mention of the two acaryas Brhaspati (Amaraguru) and Sukra (Bhargava) clearly stresses the point that he had got great regard for these two and perhaps his allusion to 'Arthasastra' refers to the treatise of this name composed by Bshaspati referred to by Bhasa? as well as Kautilya" as an g efir ' and '15% fa aler : 'respectively. Sukranitih' contains verses which tackle the theory of Administration and statecraft almost in the same manner as Kautilya. We can easily conclude that he had before him the Arthasastras of Bihaspatih and Kautilya as also the Sukranitih of Sukracarya while exemplifying his own political notions and beliefs. Dhanapala has referred to certain technical terms which make it evident that he had a firm grounding of the traditional lores on polity such as - 'Mahamandalapati?, Vijigisu, 'bahumalikah prakrtayah," 'Cakravartti,"7 Uttamaprakrti,"8 "Mahajanapada, 'Mandala,"l0 'Saktitraya,"!'Satrusadvarga, "12 Visamadurgabala,"13 "Pranidhipurusa,"14 'Utkhataropita, '15 Saurajya, '16 'Tantrasakti,'17 "Mantrasakti,' 18 'Nisitasastra 1. 31479 4riqaga44T1a2141414 12 14 etc. TM Vol. III p. 120. 2. Prati. N. Act V. p. 296 Bhasanatakacakram. 3. KAS I. 15.48 Vol. I p. 20. R. P. Kangle. 4. TM Sm. ed. p. 280. 5. Ibid. Vol. III p. 176. TM Vol. II p. 193. 6. Ibid. Vol. III p. 172. 7. Ibid. Vol. I p. 48, 95, 114, Vol. III p. 11, 132, 140, 8. Ibid. Vol. III p. 67. 9. Ibid. Vol. III p. 67. 10. Ibid. Vol. III p. 32. 11. Ibid. Vol. III p. 10. 12. Ibid. L. 7. P. 10 13. Ibid. Vol. II p. 291. 14. Ibid. Vol. II p. 291. 15. Ibid. Vol. II p. 291, Sm. ed. p. 427. 16. Ibid. Vol. II p. 288. 17. Ibid. Vol. II p. 284. 18. Ibid.

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270 TILAKAMANJARI OF DHANAPALA vyapara,' 'Ksaraduta vacana"? 'Raktapakarsana," "Tiksnaksuraprabheda, "4 'Ekadesa dahana,'S 'Sarva mandalopamardana," 'Abhiseka Vidhina pat abandhena,' 'Anyaisca nivsttikaraih rajya danadibhirm adhuropacaraih," 'Anikapatih,' 'Senaparichadah," Nautantrayatra,"" 'Nausadhanadhyaks a,'!2 "Kaivartta tantra, '3 "Kaya' (a Govt. office)14Baladhikrta, 'Gramapatih,"16 'Dustadayada,"? 'Bhukti,"18 'Aksapatalikah,' 'Pattaka, 20 "Rajyacintakah pradhanascivah,:21 "Sauptika yuddhamarga,"22 "Ksatra Samaraniti,923 'Cakravyuha, 24 Arikula, 25 "Vyuhaviracanam,26 'Parivarddhakas, "27 "Niyogis,28 Samantas, 929 "Bahyatantra, 430 1. TM Vol. II p. 284. 2. TM Vol. II p. 284. 3. TM Vol. II p. 284. 4. TM Vol. II p. 284. 5. TM Vol. II p. 284. 6. TM Vol. II p. 284. 7. TM Vol. III p. 285. 8. TM Vol. III. p. 285. 9. TM Vol. II p. 284. 10. TM Vol. II p. 281. 11. TM Vol. II p. 281. 12. TM Vol. II p. 274. 13. TM Vol. II p. 274. 14. TM Vol. II p. 267. 15. TM Vol. II p. 261. 16. TM Vol. II p. 260. 17. TM Vol. II p. 232. 18. TM Vol. II p. 232. 19. TM Vol. II p. 232. 20. TM Vol. II p. 232. 21. TM Vol. II p. 225. 22. TM Vol. II p. 217. 23. TM Vol. II p. 214. 24. TM Vol. II p. 206. 25. TM Vol. II p. 206. 26. TM Vol. II p. 201. 27. TM Vol. II pp. 196-197. 28. TM Vol. II pp. 196-197. 29. TM Vol. II pp. 196-197. 30. TM Vol. II pp. 196-197.

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13 ADMINISTRATION AND STATECRAFT 'Padativrnda," Senadhipa," 'Mahadandadhipatih," "Mahadandanayaka," "Sattrins," 'Pradhanamantrino' matyavrddhah," 'Murdhabhis iktanrpatayah," 'mahasamantah," 'Paurah," Saktibhiriva tisrbhih, 'Prabhusakti,'" 'Murdhabhisiktaksatriya samamnaya, "Trivarga Sampattih," 'Dharma1 and Artha, '15 'Mitravarga,' 'ascsa saktyupeto' pi bhubhara dharanaksamah"7 'Sadgunyaprayoga," 'daivapurusakaran 19 the internal and the external foes (Pratipaksanantaranamantara nugunya, ca)20, nam 'Mantra, 21 16 17 *mitramandala,"22 'tantra, 23 18 1. TM Vol. II pp. 196-197. 2. TM Vol. II pp. 196-197. 3. TM Vol. II p. 191. 4. TM Vol. II p. 173. 5. TM Vol. II p. 167, Vol. I. p. 55. 6. TM Vol. I p. 157. 7. TM Vol. I p. 157. 8. TM Vol. I p. 157. 9. TM Vol. I p. 157. 10. TM Vol. I p. 142. 11. TM Vol. I p. 94, Vol. I p. 62. 12. TM Vol. I p. 94. 13. TM Vol. I p. 94. 14. TM Vol. I p. 89. 15. TM Vol. I p. 76. 16. TM Vol. I p. 76. 17. TM Vol. I p. 63. 18. TM Vol. I p. 59. 19. TM Vol. I p. 59. 20. TM Vol. I p. 59. 21. TM Vol. I p. 49. 22. TM Vol. I p. 53. 23. TM Vol. III p. 133. ) 24. TM Vol. III p. 81, Vol. III p. 10. 25. TM Vol. III p. 81. 271 12 'caturanga," 24 'Digvijaya." Of these Vijigisu or 'the would be conqueror' has been described by Kautilya as

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272 TILAKAMANARI OF DHANAPALA 'The king, endowed with personal excellencies and those of his material constituents, the seat of good policy'.' Mandala? is the circle of smaller kings. Kamandaka' according to Dr. Upadhyaya and Kautilya* classify these kings as twelve such as- ari or enemy, mitra or ally, arimitra or the enemy's ally, mitramitra or ally's ally, arimitra mitra i.e. enemy's ally's ally parsnigraja or the enemy in the rear, akranda or the ally in the rear, pars nigrahasara or the rear enemy's ally, akrandasara or rear ally's ally, madhyama or the middle king and udasina or the neutral king. Vijigisu, the would be conqueror being the twelfth of the constituents referred to in 251 above. "Satrusadvarga' in the general sense in taken to include Kama, Krodha, Lobha, Moha, Mada, Harsa etc. but construed technically it may include the enemy, the enemy's ally the enemy in the rear, the rear enemy's ally the natural enemy and the enemy by birth (prakstyamitra and Sahajamitra).' The Prakrtis according to R. P. Kangle constitute the elements essential to make a state. Seven Praktis have been enumerated by Kautilya Svamin, (the ruler), amatya, (the minister), Janapada, (the territory with people settled on it) durga, the fortified capital), Kosa, (the treasury), danda, the army and the mitra, (the ally.) According to R. P. Kangle, "The last in this list, viz. the ally is the ruler of a different similarly organised state and forms no part of the other states internal organisation. His mention is primarily in connection with that state's foreign relations. There are thus six essential elements in a state. This analysis of the elements that make up a state's organisation is obviously made from the practical stand point of administration. There is thus the ruler, then the ministers who assist him in his rule, the populated territory over which he rules, the fortified capital from which he rules and the treasury and army that ensure the stability and security of his rule. It is to be noted that in this analysis the citizens of the state are not directly referred to. Their existence is to be understood by implication in the reference to the Janapada. For, it is stated elsewhere in Kautilya's own words that there can be no Janapada without 1. KAS VI 2. 13. Vol. I p. 165, Vol. II p. 368. 2. Kalidasa Ka Bharata Part-I B. S. Upadhyaya p. 166. 3. Ibid. 4. KAS VI 214-22 Vol II pp. 165-166, 36 Vo. II p. 369. 5. KAS VI. 2. 18. 19 Vol. I p. 166 Vol. II p. 369 6. KAS VI. 1 VI. p. 164, Vol. II pp 364, Vol. III Ch. V p. 127.

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ADMINISTRATION AND STATECRAFT 273 people living in it.' This doctrine of the Prakrtis, therefore, throws no light on the nature of the relation that may be assumed to exist between the state and the citizens.? By 'sfa vont' Kautilya means. "These are the constituents (of the circle of kings)."3 He further adds The conqueror, the ally and the ally's ally, are the three constituents of this (circle of kings). They, each individually united with its five constituent elements, the minister, the country, the fort, the treasury and the army, constitute the eighteen fold circle. By that is explained a separate circle (for each of) the enemy, the middle and the netural kings. Thus there is a collection of four circles which may coincide with the Mahamandala of Dhanapala. There are twelve constituents who are kings, sixty material constituents, a total of seventy two in all." This explains the "Edifethl: Yobt4:"(TM. III. p 172 L.2) of Dhanapala. His reference to Saktitraya, tantra sakti, Mantra sakti, sakti bhiriva, tisebhih, Prabhu saktih, asesa sakti etc. has allusion to "foafen Hari 4 :, TEIG Gas 8 :, Fan 40614646Yh:" of Kautilya. i.e. power is threefold: the power of knowledge is the power of counsel, the power of the treasury and the army is the power of might, the power of valour is the power of energy. 'Prabhusaktih' has been specifically mentioned so also the mantrasaktih. By tantrasaktih Dhanapala means perhaps the prabhu as well as the Utsaha saktis which are equally essential for the proper running of the administration, being essential for the personal asset of the ruler. Mantrasaktih, however, depends upon his deliberations with council of ministers. "Uttama prakti" referred to by Dhanapala in association with mahajanapada may allude to the collective group of mahamandalas governing the vast group of citizens. "Visamadurgabala' refers to the army 1. TE H TY 479 al wanita alle: KAS XIII 4.5 Vol. I p. 263. 2. KAS Vol. III p. 127. 3. KAS VI. 2. 23. vol. I p. 166, Vol. II p. 370. 4. faforgfira 141414 as f a: KAS VI. 2. 24 Vol. I p. 166, Vol. II p. 370. 5. tA: paMcabhiramAtyajanapadadurgakozadaNDaprakRtibhirekaikaza: saMyuktAmaNDAbhayaSTAdazakaM bhvti| anena maNDalapRthaktavaM 1 Tem P R -46141 ta qutusettiera: 1KAS VI 2.2.5. 27 vol. I p. 166. 6. GTGT T14: Go445014: 8190 farafa: KAS VI 2. 28 vol. 1 p. 166, Vol. II p. 370.

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TILAKAMANJARI OF DHANAPALA stationed in an impregnable fort. "Pranidhipurusas" are the spies whose appointment and functions have been dealt with by Kautilya in i. 11 and i. 12 wherein he says 274 "With the body of ministers proved upright by means of secret tests, the (king) should appoint persons in secret service, (viz.), the sharp pupil, the apostle monk, the seeming householder, the seeming trader and the seeming ascetic, as well as the secret agent, the bravo, the poison giver and the begging nun. 'Nisita sastra vyapara,' 'ksaradutavacana,' 'tiksna ksuraprabheda' are the technical, terms alluding to strategies of Samaraketu assisted by his army chiefs and vassals making the kings of his mandala shake off their prides by crushing the entire mandala by means of sharp lathel weapons, acerbitous words of the emissaries etc. who had become the suppurated sores affording torture to the people.2 'Raktapakarsana' added to the list of stratagems refers to the shedding of blood.' 'Ekadesa dahana" is a means of torture for the offender. The stratagems even included the acts of affording opportunities to those who could revolt, to accept certain lurements in the form of subsidiary vassals, charities etc. 'anikapatih' means an army in chief. Senaparicchada' means the army personnel and army equipage. 'Nautantrayatra' is the maritime voyage. 'Nausadhanadhyaksa' is the naval chief. 'Kaivartatantra is the avocation of sailors i.e. the navigation. 'Baladhikrta an army chief, Gramapatih the village headman. 'Dustadayada the wicked collaterals. 'Bhukit' the area meant to be governed by a governor. 'Aksapatalikah' is the keeper of the royal records and mandates. 'Pattaka' a royal mandate or the chart sheet on which the mandate is inscribed. A Cakravartti king obtains his status as such in case he possesses the horse, named 'bhupala' who has one or three ripples on its snout according to Sukra. Sarvabhauma" is another variant employed by Dhanapala for 'Cakravartti' with reference to Meghavahana. It means he had almost whole of the land of Bharatavarsa under his sway with vassals 1. KAS VI. 2.33 Vol. I p. 166 Vol. II p. 370. 2. upadhAbhiH zuddhAmAtyAvargA gUDapuruSAnutpAdayet kApaTiko dAsthita hRhapatikavaidehakatApasavyaMjanAn sattritIkSNa T. KAS I. 11. 1. Vol. I p. 12, Vol. II p. 23. 3. TM Vol. II p. 284. 4. Ibid. 5. nAsAmadhye yadAvarta eko vAyadivAtrayam / cakravartI sa vijJeyo vAjIbhUpAla saMjJakaH // sukraniti IV p. 340. 6. TM Vol. I p. 64.

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ADMINISTRATION AND STATECRAFT 275 uprooted and reinstated on their respective kingdoms. "Fifthfre 194414' refers to a Cakravartti holding sway over the earth engirt by seven oceans etc. Kautilya has referred to Vijigisu who ultimately becomes a Cakravartti. He says The conqueror should employ the six expedients of policy with due regard to his power.? "Salgunya" referred to by Dhanapala are the six measures of foreign policy according to Kautilya." Sandhi (Peace), Vigraha (war), Asana (staying quiet), Yana (marching), Samsraya (seeking shelter) and dvaidhibhava (dual policy). Among them entering into a treaty is peace. Doing injury is war. Remaining indifferent is staying quiet. Augmentation (of powers) is marching. Submitting to another is seeking shelter., Resorting to peace (with one) and war (with another) is dual policy. "Rajyacintakah Pradhana Sacivah means the chief counsellors belonging to the mantriparisad who look after the affairs of the State. 'Sauptikayuddhamarga' is the nocturnal warfare which according to Dhanapala is devised by the imbecile ksatriyas (Ksudra Ksatriya loka sutritah Sauptika Yuddhamargah). 'Ksatrasamaranitih' is the 'Parajaye sastra tyagarupa samgramanitih' according to the commentator. 'Cakravyuha' has been referred to by Dhanapala while making a comparison of Samaraketu plunging into the army of Vajrayudha as Abhimanyu plunged into the army of the Kaurvas arrayed in a Cakravyuha. Sukra defines Cakravyuha as under A battle array that is orbed in the manner of a circle and is provided with curved recesses intertwined into eight parts and has only one ingress road to the whole show is called a Cakravyuha. 1. TM Vol. I p. 71. 2. faforing: # 9: 15404 vej vita KAS VII 3. 1. Vol I. p. 171, Vol. II p. 378. 3. TM Vol. I p. 59. 4. KAS VII 1.5 Vol. I p. 168, Vol. II p. 372. 5. Ibid. VII 1.2 Vol. I p. 168, Vol. II p. 372. 6. tatr paNabandha: sndhiH| apakAro vigraha:. upekssnnmaasmnm| abhyuccayo yaanm| parArpaNa: sshryH| saMdhi vigraho pAdAnaM au yra: 1 KAS VII 1. 6. 12. Vol. I p. 168, Vol. II pp. 372-73. 7. Rob44PTT JU Tuscit gia: Sukranitih IV 281 p. 371.

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276 TILAKAMANJARI OF DHANAPALA Sukra has also referred to "Krauncavyuha,' 'Syena vyuha, 'makaravyuha,' sucimukha' Sarvatobhadra' and 'sakatavyuha." Kautilya has referred to Danda, Pradara, Drdhaka, asahya, syena, pratist ha and supratistha, samjaya, vijaya, sthunakarna, visalavijaya, camumukham jhasasya, suci, valaya, durjaya, Bhoga, gomutrika, sakata, makara, paripatantaka, mandala, sarvatobhadra, asamhata, godha, Kakapadi, karkataka slngi, arista etc. as the various vyuhas or arrays of battle.? 'Niyogis' were 'bhrtyas.' 'Arikula' has already been defined as the group of enemies or circle of enemies. 'Parivarddhakas' are the horse riders. 'Samantas' are subsidiary vassals. 'Bahyatantra' refers to the foreign political set up or the political set up of the foreign country. 'padativinda' is the pedestrians of the army. 'Senadhipa' is army in chief. Mahadandanayaka a chief of a huge force. 'Sattrins' has been taken to mean secret agents by Kautilya.' 'Murdhabhisiktanrpatayah' were subsidiary vassals first uprooted and then reinstated or even those who were given to assume that office after being consecrated in order to keep their status intact but were subservient to the paramount sovereign after having been won over as the factitious allies and being stranger in themselves. 'Daivapurusakara' is the same as daiva manusam karma of Kautilya where he says. It is acts of human and divine agency that make the world go. Caturanga has been referred to in case of the game of chess being full of the structures of 'Trikas' and 'Catuskas'. Chess is a game which is played on the analogy of the constituent limbs of the army personnel consisting of pedestrians, chariots, elephants and horses. Sometimes the threefold array of the three constituents and sometimes all the constituents moving together afford cue to the crafty brains to go ahead with their battle arrays in the battlefield. Chess may, therefore, be the theory anticipating the practical aspect of warfare where caturanga consisting of " saturaGgarathamAtaGgapArthivaM pratipakSam... etc.'can be combated like wise by the same types of counter intrigues. 1 Sukranitih. IV 279-283 pp. 370-371. 2. KAS X 6. 8.39 pp. 242-243. 3. KAS I. 20. 3. p. 111. 11.1 p. 12., 1. 11. 18 p. 13, Vol. II p. 21, Vol. II p. 23. Vol. II p. 25. 4. KAS VI 2. 7. Vol. I p. 165. 5. KAS Vol II p. 368. 6. TM Vol. II p. 207.

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ADMINISTRATION AND STATECRAFT 277 THE INTERNAL AND EXTERNAL POLICIES OF THE KING Dhanapala has laid more emphasis on the importance of the secret agents (Sattrins) in the way of working of the affairs of the kingdom (rajanitih) where in they take to all types of risks in finding out the seditious and loyal elements among the subjects as also do they take to the task of understanding the sources of income and expenditure including misappropriation and embezzlement which effect the economy of the country. This point is further reflected in the righteous way of life being lived by his subjects who never violated the traditions set by the ruler (of Ayodhya) and were never exposed to the punishment of being exiled (on account of violating the law of the land); no confiscation of their properties was effected; no spite was seen on finding a friend taking to prosperity; the exchequer of the country never suffered exhaustion; etc.? Dhanapala has also illustrated the ideal of rendering the quarters free from thorns on the analogy of 'Kantakasodhanba' of Kautilya' in order to keep the glory of the king travelling on without any obstacles. He also establishes the ideal of accumulating huge treasury, subjugating the subsidiary vassals, keeping the circle of ministers under his guard and maintaining his forts through royal guards and then and only then a king could keep his home safe from the internal insurgencies and outward revolts. A king was required to uproot his enemies and become free from fears of foreign invasions which could be done only if he made himself immune from all internal liabilities by keeping the status of orders of society and stages of life well within its normal course. As a supreme lord of the material set up a king was required to keep the spheres of Dharma, Artha and Kama within their precise limits so that none of them infringed upon the limits of one or the other or else he would face restlessness and imbalance in the proper working of the state's affairs giving rise thereby to his censure of being inefficient in handling the internal 1. Tomtaka afauferhaafatef TM Vol. I p. 55. 2. yasyAM ca vIthigRhANAM rAjapathAtikrama: dolAkrIDAsu digantarayAtrA, kumudakhaNDAnAM rAjJA sarvasvApaharaNama, anaGgamArgaNAnAM marmaghaTTanavyasanam, vaiSNavAnAM kRSNavartmani pravezaH, sUryopalAnAM mitrodaye jvalanam, vaizeSikamate care se refira TM Vol. I pp. 57-58. 3. KAS IV Vol. I pp. 129-150. 4. A: Tayariya F T: 054: TM Vol. I p. 71. 5. upArjitaprabhUtakozaM vazIkRtasamastasAmantamAyattamantrimaNDalamupagRhItamitravargamAptapuruSAdhiSThitadurgaM samagramapi rAjyam TM Vol. I p. 71. 6. F UGIR CERT Fanayic:, TautargenauiSTAR aftfa:, TM Vol. I p. 71.

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278 TILAKAMANJARI OF DHANAPALA policies judiciously. He was to look to the interests and demands of his servants as well as the allies and favourites so that he could keep them away from aligning with the enemies who are prone to get active on finding schism in the sangha herein. To sit in the royal chamber became obligatory for him by finding spare time at regular intervals so that his dependants and subordinates did not make a mess of the whole affairs by acting at will by stealing opportunities. To safeguard the interests and to listen to the supplications and claims of the religious sects also formed a part and parcel of his internal affairs or else he would earn the curses of these sects who when disgruntled would subvert the cause fostered by him. He stresses the need of alertness on the part of ministers, irresistibility of the command of the king, perfect understanding between the secret agents and the king, inalienably of the group of nobles and parasites and desirability on the part of the king to move incognito at nights in order to find out the series of affections and disaffection likely to make or mar the career of his kingdom. To attend the consemblies of the elders brought him close to the idea of investigating into the pleasures and pains of the subjects. Self censure before the public to understand their acts of loyalty and satisfaction over his administration, along with the censure of the ministers, Heads of the departments in order to find out the rumours about these prevailing among them formed a part and parcel of a king's internal policies. Regarding the foreign policy Dhanapala has enunciated the ideal of an ambitious conqueror taking to his campaigns at an improper occasion or in an untimely season in the context of the Vidyadhara sage. That means an ambitious conqueror can attack at a time when his enemy is caught napping. He is prone to inflict heavy injuries on his opponent. The sin accruing from that can be expiated by him by resorting to penance and bestowal of compassion after the war is over. This justifies the dictum of end justifying the means where in the devious tactics manipulated by him to serve his own end prove fruitful. Here again his espionage or the secret service becomes instrumental in making him take to campaigns when his enemy is inactive. 1. yathA na dharmaH sIdita, yathA nArthaH kSayaM vrajati, yathA na rAjalakSmIrunmanAyate, yathA na... parijano virajyate yathA na mitravargo mlAyati yathA na zatravastaralAyante tathA srvmnvtissttt| sevakAnurAgasaMrakSaNAya ca vitIrNa sarvAvasaramantarAntarA sbhaamnnddpmdhyaast| dharmapakSapAtitayA ca devadvijAtitapasvijanakAryeSu mahatsu kAryAsana bheje| TM Vol. I p. 76. 2. Ibid. Vol. I p. 77. 3. 3fafurarapariei 14 919114 TM Vol. I p. 88.

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ADMINISTRATION AND STATECRAFT 279 At another place Dhanapala has enunciated the idea of a natural pleasure felt by an ambitious conqueror on obtaining the Janapada of an enemy.' Even when Samaraketu has been entitled 'a foster brother' by Meghavahana, in relation to Harivahana, Dhanapala has likened Harivahana to a 'jigisu' and Samaraketu to a 'vipaksa Janapada' reminding one of the fact that the author as a true and sincere student of human psychology is not all sure about the fact that both would maintain the concord stipulated to be done so in so far as in the later stages to come Samaraketu had to face the ordeal of tracing Harivahana who had been lost in alliance with him. He in collusion with Kamalagupta and others could fain obtain the status of the crown prince and thereby that of a Jigisu too if he wanted to do so by letting go the pursuit of Harivahana lost by an elephant and giving it out to his sire his supposed death or even make efforts to get him killed by allowing his partners to make arrangements that way. It is a separate thing that he did not do so. On the other hand he himself had started on a digvijaya at the errands of his sire Candraketu who had installed him as his heir to the throne and had sent him attended by vassals, confidants and army personnel to render help to the king of Kanci an ally of his sire. In reality Samaraketu was a war prisoner brought by Vajrayudha whom Meghavahana elevated to the status of a foster brother to Harivahana so that he could remove the thorn of animosity between himself and his sire Candraketu who could never dare in future to help his subsidiary vassal and erstwhile foe, Kusumasckhara, the king of Kanci. Harivahana started on his inspection of his own mandala and was assisted by Samaraketu and other allies and moving through those and other Janapadas ultimately reached Kamarupa in Pragjyotisa (modern Assam) visiting enroute the durgagiri Mandaraka by name, a lake built by Meghavahana on his way to the conquest of the quarters, a devagrahara donated by Madiravati, a dharmaranya built by mantri Surananda, the border land on the skirts of the mountain where Nitivarma, the army in chief incharge of the North, had killed the Lord of the Hunas, the bhukti of Samaraketu i. e. Anga on the other side of a steam and the region forming the administrative resort of Kamalagupta obtained as gratification along with its group of towns and villages i.e. Kalinga. (TM. III 9 235-245) Thus it appears from this description of Dhanapala that Meghavahana enroute his conquest of the quarters had resorted to the policy of a 1.) harivAhano'pi tadguNAnuraJjitamanAH svapnadRSTe'pi samaraketau vipakSajanapada iva jigISuH parAM mudamavApat / TM Vol. II p. 234. L.7

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280 TILAKAMANJARI OF DHANAPALA Dharmavijayi having established a fort on a hill track named Mandaraka, dug a lake, donated a devagrahara, built a dharmaranya, vanquished a foreigner Huna king and even conquered the kings of Angas, Kalingas and Kamarupa. He had, however, reinstated the two kings of Kamarupa and Kalinga after having uprooted them. The same policy seems to have been adopted by him in the case of other kings abiding in the Uttarapatha who acting as subsidiaries to him having been reinstated after being uprooted, came to his son Harivahana with gifts the best ones available from their territories, with news about his arrival being communicated to him through their secret agents.1 The same policy of first uprooting and then reinstating is depicted having been followed by Candraketu, sire of Samaraketu who spent some of his days visiting the highlands contiguous to Lanka shown to him by the kings who had been first uprooted and later on reinstated and who stood close to him narrating to him all the anecdotes about the heroes of Ramayana fame.? Inspired by his secret emissaries returned having been despatched by him, he started off to chastise the capital of the Kirataraja named Parvataka and having made to flee all the marauders (dasyu loka) he came back to his camp having appropriated the booty along with the harem (of Kairataraja) including the children. "3rafusciperckifedlayer Type Fart4|19700674 qualifying "Tahtayi Toy7" of Harivahana fully illustrates the foreign policy of a Dharmavijayi or the Righteous conqueror whose regal domain bearing one parasol for its insignia had the consecration to the throne in their own kingdoms of the Ksatriyas on the opponents' side, untampered on account of their being first uprooted and later on reinstated. 1. TM. III. pp 33-35 2. pizunitAnekAramAyaNamahApuruSavRttAntaranti kasthitai statratya narapatibhirutravAta tAro pitairanupadaM pradazitAn tai RADIARIF HET 41121414: Afara fagurfag TM Vol. II p. 291. 3. Ibid. Vol. II p. 291. 4. Ibid. Sm. ed. p. 427.

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2. POWERS OF THE KING Channelisation of the administrative duties: The jurisdictions and powers of the ministers: The departments, their heads and their administration etc. Regarding the regal dignity Dhanapala has endowed his kings with powers that were irresistible as well as unalienable. His panegyrics of the Paramara kings amply illustrate the point. Vairisimha was a formidable king who had the walls in the form of the shores of the four oceans shattered by the tips of the tusks of the tuskers of his indomitable armies. And Sri Harsa was an abode of fortunes or regal glory (Sri) and was well known as a ruler of the earth having the girdle zone for the four oceans. Sri Siyaka had thwarted the height of pride of his enemies. Sindhuraja had a lofty fame, a lion to the row of tuskers of his indomitable foes, who had an elder brother in Srimadvakpatiraja who wielded a single bow strung up, who had his earth engirt by four oceans subjugated by him. Sindhuraja's son Bhoja was an abode of valour. He was consecrated to his own throne by Vakpatiraja also known as Munja, deeming that he was competent for that. This forestalls the proposition that even when the king used to assume supernatural dignity it was his personal qualities that determined his stability on the throne and whenever there arose an occasion for appointing an heir it was he himself who would determine the eligibility or otherwise of the successor. His Meghavahana has been described as wielding a sword the edge whereof had grown blunt (lit. jagged) on account of its having crushed the bones on the stout necks of the enemies, of irresistible prowess of arms. He has been deemed an incarnation of the sun having overreached the extremities of the four oceans by his sole chariot, a peer to Vasu and Vasava (Indra), a Brahma in the real sense of the term. Even when residing in the mortal world he was intermediate to all the worlds- a factor which establishes the dignity of the king transcending the mortal beings. His intellect even though small in extent has been deemed having encompassed 1. TM Introductory verses 40-43 Vol. I pp. 34-35 2. starfysaariffe audifferentia T96 410TER: TM Vol. I pp. 58-59. 3. avatAra iva sAkSAdaruNasAratherekatathAkrAntacaturabdhisImA, samastaikaviSTapAdhipatayA tulyarekhayA vAsuki arierafera:.....7e7ef: Yrafa:. TM Vol. I p. 59. 4. Uma ga tu.. Fredsfo HETI: 1714 TM Vol. I p. 59.

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TILAKAMANJARI OF DHANAPALA within its fold the entire triad of the worlds. His generosity of heart symbolising his intellect having assumed a huge stature along with his capacities to acquire or leave aside in accordance with his discriminate action easily imbues his personal dignity with the powers of superhuman tendencies.2 Like Dilipa of Kalidasa' endowed with qualities of a ruler,' awe inspiring as well as lovable," Meghavahana was "abhirama" (glamorous or enviable) and "bhisana" (terrible or awe-inspiring) by virtue of his fame as well as prowess. His radiance was effulgent or effervescent like fire making it manifest that a king's personality had an immanent glow on its mien that brought on a sense of divinity on him." Being a paramount sovereign (Sarvabhaumo raja)" his command scared away injustice.' 282 His army-chiefs (Sainya nayakah), porters (Pratiharah), the guardians of the harem (sthapatyah), the chowrie bearers (camara grahah), the body guards (anga raksah), judges (Dharmastheyah), the humorous sentinels (narmasacivah), the ecclesiastics or chaplains (Purodhasah), the secret emissaries (gudhapurusah), the bards (vandiputrah) all went to provide an upper coating of embellishment to his regal glory. The pomp and show with which the king used to move into or out of his palace in order to perform certain rights both social as well as regal, form the traditions associated with the royal dignity and powers. Being the lord of his subjects Meghavahana was issueless and as he got the boon from Sri he became an object of laudation and blessings as well as good wishes at the hands of his functionaries as well as the subjects including the social orders and religious sects the talking birds and other strata of society who all wished the birth of an heir to the throne under the belief that the continuity in the line of regal lineage would maintain the political prestige of their country as also her independence." Meghavahana proceeding towards his palace ere to reaching the harem rode an elephant that was made to move by the alert driver, with sultry shine 1. paramANu sUkSmayApi kroDIkRtatrailokyayA TM Vol. I p.60. 2. vizAla hradayAsAdita svecchAvakAzayevAtidUra prasRtayA prajJayA samyagjJAtaheyopAdeyavibhAga: TM Vol. I p.60. 3. Raghuvamsa I. 16. -: 4. abhirAmabhISaNo yazaH pratApAbhyAm / TM Vol. I p. 61. 5. nalapRthuprabho'pyanalapRthuprabhaH / TM. I. P. 62. LL. 3-4 6. TM Vol. I p. 64. 7. TM Vol. I p. 66. AjJevAnyAyaM nyaSedhayad / 8. TM Vol. I p. 66. 9. TM Vol. I pp. 157-160, Vol. II pp 161-62.

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ADMINISTRATION AND STATECRAFT of the sun warded off by the white parasol and followed by the subsidiary kings on all sides.' 283 He stationed his vehicle on one gate and got down at the other gate having stationed, the group of kings on both the sides. With retinue dispersed with the help of porters he walked just on foot surrounded by a limited number of princes and having gone to the middle chamber established himself on the ivory platform stationed in its middle portion.2 Samaraketu narrating his own account before Harivahana, under the circumstances he left the court Hall of his sire, we find a complete picture of the regal pomp with which he was given a send off by the coquettes of the harem performing lustrations for him, the ecclesiastic or Chaplain muttering holy syllables in order to ward off any evils, abrewing ahead, the group of Brahmanas showering blessings on him following the royal ecclesiastic chaplain, etc. He rode the scent elephant known as Amara vallabha brought close by the driver named Vajrankusa, having brought him facing the east. Both the flanks of his two shoulders were orbed with the quivers tucked up fast with his left hand equipped with the arrow seat i.e. the bow having its central part decorated with varied hued golden leaves. The groups of flywhisks were being waved over him quite easily. The pedestrians moved about quite gallantly causing a tremor in the earth. The jubilant bards proclaimed the victory calls quite aloud. The entire Universe was made reverberous with the sounds of the trumpets named, the auspicious victory ones, being sounded up. The faces of the quarters were being resounded by the noise of the tabors sounding up aloud. The spaces between the quarters were crowded by the group of insignia shadowing the lustre of the sun, collected for warfare by many kings, bearing marks of fish and crocodiles or crocodiles, tigers, sarabhas, boars and elephants of diverse types, with their forms appearing in the gap filled in by the breeze, revolving round the fragment of the white parasol moving on in front of the golden stick studded with bits of varied-hued gems etc. Harivahana impatient to meet the maiden of his heart found an excuse about inspecting the regions falling within the jurisdiction of his rulership or governorship and as a crown prince he observed the etiquette of informing his intentions through the Prime Minister and permitted accordingly to do the same he started off on an auspicious day, surrounded by the entire host of army-personnel, followed by his illustrious allies such as Samaraketu, 1. TM Vol. II p. 168. 2. TM Vol. II p. 169. 3. TM Vol. II pp. 252-54.

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284 TILAKAMANJARI OF DHANAPALA wearing spruce costumes and riding their respective vehicles and rides and got out of Saketa.' In Harivahana Dhanapala has depicted a crown-prince in the making of an ideal paramount sovereign, a righteous monarch who when gone to Kamarupa and greeted by the king of Pragjyotisa and welcomed by the kings of Uttarapatha, was taken to the forest on the outskirts of river Lauhitya (Brahmaputra) and even when he saw all types of wild beasts, being a lover of chase, he did not kill any of those like Dilipa of Kalidasa, even though many came within the range of his arc and instead he charmed the young ones among them by the chime of the chord of his lute.2 "Prakrti sanu krosataya" is most typical trait immanent to a righteous monarch who lets go the vanquished vassals to occupy their seats again after having uprooted them just as Harivahana did allow the fauna falling within the reach of his arc, to go their gay moods and adorned them with different ornaments and sportive actions simply to study their normal behaviours." The employment of billets (lekha) obviously marked with the royal seal mentioned by Dhanapala formed the main means of communication between the king and the princes, the king and the counsellors, the king and the army personnel. likhyamAnaniHsaMkhyArAjAjJAlekhamudrAsindUrAruNIkRtadivaM 5 The conferment by way of 'Kumarabhukti' the entire range of Uttarapatha associated by mandalas such as Kasmira and the entire region of Angas and associated janapads on Harivahana and Samaraketu, by Meghavahana has been shown communicated having been inscribed on a canvas chart specially meant for the Royal mandates, as recorded by the keeper of the royal records Sudrsti. Similar is the mode adopted by Harivahana in communicating his welfare after having been lost through the divine elephant. Almost invariably such communications start with 'svasti' which is a typical ensign meant for the royal panegyrics available throughout the ancient Indian Historical records preserved as royal mandates or royal grants etc. 1. TM. Vol. III p. 32. 2. Ibid. Vol. III pp. 34-35. 3. Ibid. Vol. III p. 35. 4. Ibid. Vol. III pp. 35-36. 5. Ibid. II, p.172, L 6 6. Ibid. Vol. II p. 232.

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ADMINISTRATION AND STATECRAFT 285 'svasti, aTavyA mahArAjaputraharivAhanaH kuzalI lauhityakulAvAsite vijayini nijaskandhAvAre yuvarAjasamaraketu kamalaguptapuraH sarAMzca rAjaputrAn saprasAdamAdizati-atraiva katiciddinAni sthAtavyam, tAtAmbayozca yathA madapahAravArtA zrutipathaM nAyAti tathA prayatitavyam iti' The billet-carrier or the courier come from the vicinity of Candraketu, sire of Samaraketu, ushered in by the cane-bearing maid presents the royal mandate issued by Candraketu. Here the word 'Svasti' is missing. But the general character of the billet is the same. ___'zatrubalapIDitena draviDamaNDalAdhipatinA kusumazekhareNa dUtamukhena kRtvA sakhyamupayAcitAH smH| pratijJAtaM pratizrutaM tasmai tdsmaabhiH| preSitazca tatsainyasAhAyakAya kiyAnapi rathAzvavAraNaprAyo dnnddH| sainyaM saMtyaktAzeSakAryeNa kalyANabhAginA svasainyaparigatena gatvA satvaramadhiSThAtavyam ityatikrAnta vArtAprakAzanapuraHsaraM piturAdezamabhilikhitamIkSitavAn The term 'abhilikhitam' denotes incised or inscribed on the analogy of 'abhilekha' an inscription or an inscribed or incised record. Similarly the consolatory message of Samaraketu to Malayasundari informing the latter about his personal welfare begins with 'Svasti'. 'svasti mahArAjAdhirAjacandraketu caraNAravindamadhukaro yuvarAjasamaraketuH kAMcyAM sakaladakSiNa kSauNipAlazikharamahArAjakusumazekharavaMzakumudAkarazazikalAM malayasundarIM sapremabahumAnamAtmIyadehArogyavArtayA sukhyti|" and finally the message of Vicitravirya to Harivahana purporting forth his resolve to arrange the nuptial tie of Samaraketu and Malayasundari likewise begins with 'Svasti'. 'svsti| trikUTAcAlAdrAjA vicitravIryaH svasaundaryatulita suralokazobhAsamRddhAvuttarazreNyAmAzritajana zaraNyamanyasAdhAraNaguNAdhAraM mahArAjaputraharivAhanamazeSapRthvIvijayalAbhAziSA saMyojya nijazarIrArogyavArtayA sukhyti| kathaMcidupajAtarSeNa jhaTiti saMjAtaghaTanaM varatvena parikalpya bhrAtaraM te samaraketumadyaiva vatsAyAH malayasundaryAH prastuto mayA vivAhotsavaH krtum|| Herein the word 'adesa' is a technical one indicating the royal mandate. Of the types of 'rajyas' or kingdoms, Dhanapala has mentioned 'rajya" whereas words such as 'maharaja'', 'Maharajadiraja Samrat and Sarvabhauma and Cakravarti;io are not wanting indicating thereby the conceptions of 'Maharajya', 'adhirajya', 1. TM. III pp. 53-54. 2. Ibid.. Sm ed. p.321. 3. Ibid. Sm. ed. p.338. 4. Ibid. Sm. ed. p. 422. 5. Ibid. Intro.. verse 43p.35 Sm. ed. p. 427, Sm. ed. p. 402. 6. Ibid. Vol. III p.3. 7. Ibid. Sm.ed. p.338. 18. Ibid. Vol. III p. 200. 9. Ibid. Vol. Ip.64. 10. Ibid. Vol. I p. 114, Vol. III p. 11 etc.

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TILAKAMANJARI OF DHANAPALA Samrajya' of Kalidasa.' The conception of 'Dvairajya' is discernible in the equitable distribution of the kingdom of Kasmira and Uttarapatha, Anga and associate janapadas between Harivahana and Samaraketu who is ultimately handed over the entire kingdom of Uttara sreni by Harivahana who himself became the Samrat (not mentioned explicitly) of the kingdom held under one parasol (Ekatapatra rajya).2 286 Rajya, maharajya, adhirajya and samrajya are practically cognate terms and the rulers of these had subsidiary vassals under them who used to be either vanquished monarchs surrendering their territories or those vanquished and reinstated simply to owe allegiance and offer tributes. For Meghavahana, the Sarvabhauma or Cakravartti Samrat, the king of Pragjyotisa (Kamarupa), the vassals of Uttarapatha, the king of Kanci, Kusumasekhara by name, Vicitravirya, the king of Vaijayanti, on Vaitadhya, the overlords of Pancala (Kusasthala) named Pratapasila, Magadha (Kusumapura) named Suraketu, Saurastra named Mahabala and those of Kalinga, Vanga, Anga, Kosala (Mahakosala) and Kuluta, etc., owed allegiance as Samantas.3 For Candraketu, Kirataraja Parvataka and many others owed allegiance. Regarding 'Digvijaya' we find Meghavahana having done that and later on Harivahana followed suit. Samaraketu had started off from Rangasala on a tour to conquer the quarters under the pretext of rendering succour to the king of Kanci at the errands of the sire Candraketu. The pattern of 'Asvamedha' is missing in the mode of 'digvijaya' illustrated by Dhanapala. Like Kalidasa, Dhanapala has deemed Autumn or Sarad, the best season suited for acquiring victory in battles. At the first instance Dhanapala quotes the instance of Bhoja whose chivalry was so awe-inspiring for the enemies that as soon as sarad (Autumn) took her strides, they grew apprehensive about the approach of the armies. The new blooming flowers on the Saptacchada trees grown in the pleasure groves and shown to them in front by the gay spouses, caused headache with their scent scattered (lit. drawn) by their sighs constant through anguish.* Referring to Meghavahana he follows the same dictum. 1. Ragh. V. II. 50 IV p. 93. XIV. 85.etc. II. 5, IV. 5. 88 etc.. 2. TM Sm. ed. p. 427. 3. Ragh. V. IV 2, 26. III 21. IV 24. 22. 23. etc. 1A A GA: D24 ARGI 4. AyAtA zaradityudIrya muditaitIraiH puro darzitAH lIlodyAnamavA: navAH sumanasAH sptcchdkssmaaruhaam| yatsenyAgamarzaki nAmasuhRdAmAkRSTagandhA iva zvAseH khedanirAyate vidIdhare sadyaH zirovedanAm // TM Intro verse 45 p. 37.

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ADMINISTRATION AND STATECRAFT 287 in the Autumn season when his armies marched off with a desire to wrest the fortunes of his entire enemy-folk-the armies, that created an apprehension of the return of the first advent of the rainy season; that brought into being the entire texture of the cluster of rainbows by means of the circle of rays from the gems on the crests of the rows of kings marching ahead; that created a fever throughout the world or Universe by the shrill patter of the hooves of the steeds resonant during their stepping up and down (or prancing) like the fall of the heaps of hailstones steered on through terrible squall; that made the interiors of the atmosphere jagged with the stretches of the streaks of lightning in the form of swords balanced on the palms of the hands of the pedestrians swooping on in hauteur; that had the creaking noise of the chariots reeling about like the grinning rumble of the clouds; that had the spaces of the eight quarters rendered dark by the whirls of clouds in the form of arrays of tuskers emitting out sprays of the water of ichor - the sleep of the hosts of kings of the islands vanished away like that of the enemy of Kamsa even when abiding in the midst of unfathomable ocean. The narration of Vijayavega before Meghavahana as to how Vajrayudha started off for his campaign against Kusumasekhara, the king of Kanci, also contains a reference to the Autumn season deemed suitable for an armycampaign. 'Desirous of uprooting the king named Kusumasekhara, the crest ornament of the enemy kings proud of the prowess of their arms, trampled under his feet, the army-in-chief started off, surrounded by his entire army facing the Kanci mandala from Kundinapura, on an auspicious day, with decision arrived at on the issue along with the counsellors having their intellects polished by their consulting the Arthasastra, on the setting in of the Autumn season affording incentive to the kings desirous of conquests, when the borders of the villages created obstacles by way of the sheaves of grass standing up, the fields of ripened red rice assumed a crimson hue and the spates of waters in the streams subsided down and when the rains having showers carrying profuse sprays had vanished away, in the year that passed by'? 1. muktamadajalAsArakarighaTAsahasrameghamaNDalAndhakAritASTadigvibhAgeSu ghanastanitaghargharaghUrNamAna rathanirghoSeSu dapotpatatpadAti karatala tuli tatagavAri taDillatA pratAna danturita ntarikSakukSiSu, pracaNDanila praNunakarakopalaprakarapAta mukhara sapti khurapuTadhvAnajanita rajagajvareSu prasarpannRpa zreNi cUDAmaNi bharIcicakraviracitendUcApaka lApeSu pratyAvRta prathamajaladharasamayazaMkAvidhAyiSu lokasya yadIyasendheSu sakala pratipakSalakSmIjighRkSayA zaratsamaye samantataH pracaliteSu fa94affen af misfo Gufe diurait faep FAST &191797 TM Vol. I pp. 69-70. itaH samanantaramatItavarSe nivRttAsvaviralajalAsAravarSAsu varSAsu pravRtte saMvartitasindhupUrapayasi pariNamatkalamakapilAya mAnakaidArike baddhastambtRNasaMbAdhagrAmasImni janitavijigISupArthivajanotsAhe zaratsamaye senApatirarthazAstra parAmarzapUtamatibhiramAtyaiH saha kRtakAryavastunirNayaH prazaste'hani samastabalaparivRtacaraNatalabhRdrita 12.

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288 TILAKAMANJARI OF DHANAPALA The adaptability of Autumn to the army campaigns as given by Dhanapala strikes true replica of the two verses of Kalidasa who says "Struck by jealousy by the ichor scented sprouts of the Saptacchada trees, his i.e. Raghu's tuskers shed forth ichor as if seven-fold. Rendering the rivulets shallow or fordable and the routes having mire getting dried, the Autumn impelled him on for a campaign, foremost as he was in point of power of counsel and might'.! Dhanapala has taken the group of Amatyas as the arms of the king without whose assistance he could hardly run the affairs of the state smoothly. He has mentioned the term mantrimandala and amatyamandala alongwith Parisad who was supposed to act in harmony with the king or else there could be anarchy and chaos in the proper functioning of the whole body-politic. Apart from this he was supposed to maintain a huge treasury, keep his vassals under his control and keep his fort well-guarded. All this could be done if his council of ministers offered full co-ordination unto him in propping up the responsibilities of the state-administration (lit. burden of the earth.) This amatyavarga, mantrimandala, amatya-mandala etc. tallies with the 'amatya parisad or mantriparisad' of Kalidasa" which was certainly an old institution known as RajakTt in the Vedas and variantly popular as Ratnin in later days. It has been discussed variously by the ancient authorities on the science of polity such as Kautilya,' Sukra, Samadeva. bhujabalAvaliptApibhUpAlaziraHzekhara kusumazekharanAmAnamavanipAlamunmUlayitukAmaH kuNDinapurAt kAMcimaNDalAbhimukha HESTI TM Vol. II p. 193. 1. prasavai saptaparNAnAM mdgndhibhiraahtaaH| asUyayeva tatrAgAH sptdhaivprsunuvH|| fa: gaat eT: 421327 CHIERDIGM : 774 al Ragh. V. IV 23, 24. 2. upArjitaprabhUtakozaM vazIkRtasamastasAmantamAyattamantrimaNDalamupagRhItamitravargamAptapuruSAdhiSThitadurga samagramapi rAjyamAjanmanaH prarUDhaparamasauhRdasya hRdasyevAtivizvasanIyasya bAhoriva vasundharAbhAravahanakSamaskandhasya W ynaftafequiifa utcai sitter fafcafa:grafai HEARafei TM Vol. I p. 71. Also p. 403 Sm. ed. (mantrimandala) p. 268 Vol. II (amatyamandala). 3. TM Vol. I p. 71. Also p. 403 Sm. ed. (mantrimandala) p. 268 Vol. II (amatyamandala). 4. Malavikagnimitram Act V. p. 188 (M. R. Kale). 5. Kalidasa Ka Bharata part I p. 200. 6. KAS I 15.47-50 p. 20. R. P. Kangle Vol. I 7. Sukranitih II 70-31, 73-74 pp. 66-67. 8. Nitivakyamsta X 71. p. 49

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ADMINISTRATION AND STATECRAFT 289 Kautilya quotes the followers of Manu, Bshaspati and Usanah who advocate the strength of the council of ministers as twelve, sixteen and twenty respectively and ultimately forms his own opinion saying that it may constitute as many members as allowed by the requirements of the situation. Sukra has termed this institution as'Prakrti'. He counts ten and eight prakstis optionally. Purodhah, Pratinidhih, Pradhana, Saciva, Mantri, Pralvivaka, Pandita and Sumantraka, Amatya and Duta. Some omit Purodhah and Duta and count eight members of the council of ministers of the king. Nitivakyamata of Somadeva who flourished in the 10th century A.D. recommends the appointment of 3, 5 or 7 councillors.? H oh: geoca:' may refer to the Prakstis as the members of the council of ministers as enunciated by Sukra who has been referred to as Bhargava by Dhanapala, along with BIhaspati termed as Amaraguru. Dhanapala has proclaimed the status of the amatyavarga as hereditary. They were supposed to be endowed with amity unto the king right from his very birth. They were supposed to be endowed with the intellect that transcended the mental capacities of the king. They were supposed to be the foremost among those endowed with political sagacity. They were also required to be adept in the group of lores connected with the science of polity.* Dhanapala has mentioned sakyabuddhih as "Pradhana-buddhi saciva' and 'Mahamantrin' of Vikramabahu, the sovereign of Gaganavallabha, a mantri Surananda by name of Meghavahana. An unnamed "Pradhanamantrin', of Meghavahana; The apartment of the huge office in 1. samAsataH purodhAdalakSaNaM yaducyate purodhAzca pratinidhiH pradhAna scivstthaa| mantrI ca praDvivAkazca paNDitazca sumntrkH|| amAtyodUtaH ityetA rAjJaH prakRtayo dsh| dazamAMzAdhikAH pUrva dUtAntAH kramazaH smRtaaH|| aSTa prakRtibhiryukto nRpaH kaizcitsmRtaH sdaa| sumantraH paNDito mantrI pradhAnaH scivstthaa|| amAtyaH prADviAkazca tathA pratinidhiH smRtH|| etA gRti samAstvaSTau rAjJaH prakRtya sdaa|| Cp state and Govt. in Ancient India by A. S. Altekar p. 159. 2. Paramara. Dr. Pratipala Bhatia p. 209. 3. TM Vol. III p. 172. 37744a HEIGHTHIRUT: TM. Vol. III. p. 67. 4. TM Vol. III p. 120. 5. TM Vol. III p. 125

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290 TILAKAMANJARI OF DHANAPALA the residence of the 'Pradhanasaciva' not very situate to the palace of Candraketu and Samaraketu of Simhala,' the keeper of the records known as SudTsti, the Pradhanasacivas being the main instruments of deliberations concerning the affairs of the state;' The Pradhanasaciva (of Meghavahana) sitting on a huge ratton seat being waited upon by the selected attendants placed on responsibility, Pradhana mantrins, amatyavsddhas,' Saciva and adhyaksa (Secretaries and Heads of the Departments), a chief Head of the jewellery named Mahodadhi,' etc. He has also mentioned Sankhapanih an officer incharge of the treasure travois. Dhanapala has mentioned Purohita,", Rajakam, Pratihara, Sthapatyah, Angaraknah, mantrinah, Gudhapurusah, Vandiputrah, Amatya, Narma Saciva," Sayyapalaka, Dauvarika, Dharmastheyas, Kancuki, Sauvidalla, Pradhanantarvamsika,"Duta." He has also mentioned Muktavali, a lady appointed to guard the entire storehouse of quarries. ( H OTICIATYRHITETUR Ham) Hence Purohita, Dharmastheya or Pradvivaka, amatya, saciva and duta are the only prakstis referred to by Dhanapala out of the ten or eight enumerated above. TOITM Vol. II p. 172. 1. TM Vol. III p. 33. L. 6 2. Yle-1415142fcta: TM Vol. II p. 232. 3. Tofa : En fal: 1 TM Vol. II p. 225. 4. af lygiferara ar f -fame aar UYET 5. Ibid. Vol. I p. 157. 6. Ibid. Vol. I p. 77. 7. Ibid. Vol. I p. 158, Vol. II p. 192. 8. Ibid. Sm. ed. p. 395. 9. Ibid. Vol. II p. 176, Vol. I p. 159, Vol. II p. 268. 10. Ibid. Vol. I pp. 66-67. 11. Ibid. Vol. II p. 167 12. Ibid. Vol. II P. 52 13. Ibid.. Sm. Ed 321. L.16 14. Ibid. Vol. II p. 125 15. Ibid. Vol. II p. 176 16. Ibid. Vol. II p. 176 17. Ibid. Sm ed.321 18. Ibid. Sm ed. p. 341 L 14.

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ADMINISTRATION AND STATECRAFT 291 The duty of a buddhisaciva, according to Dr. Pratipala Bhatia, was to give advice to the king. From this she says it may be inferred that the Paramara kings adopted the old methods of appointing two categories of ministers viz. the buddhisaciva or Matisaciva or dhisaciva i.e. ministers whose duty it was to give counsel to the king on state matters and the Karma saciva i.e. minister whose duty it was to assist the king in execution of the state policy.? The same Buddhisaciva of Vikramabahu Sakyabuddhih by name has been styled 'Mahamantrin' also styled as 'Pradhanamantri', Pradhanasaciva' in case of Meghavahana and Candraketu respectively. He easily coincides with the Mahapradhana (Chief Minister)3 of the Paramara inscriptions, who was the highest officer of the state who held charge of the royal seal and exercised general supervision over all the departments, especially the revenue. Generally he was the most trusted and influential member of the ministry. In the expression "sakaladarzanArthaparibhAvanAlavdhaprakarSAH maharSayaH zrotriyAH pradhAnamantriNo'mAtyavRddhAH mUrdhAbhiSiktanRpatayo mahAsAmantAH jJAtayaH suhRdaH samagranagaralokAgresarAzca paurA: 16 evidently discerns a distinction between a 'mantrin' and an amatya, a Pradhanamantrin and a mantrin. Amatya according to Sukra was to take out the statistics of towns, villages, forests, cultivated land, the amount of revenue obtained therefrom. He was also to find out the parts of the land that remained uncultivated. He was also to calculate the customs and duties levied on the produce of the soil and resultant revenue obtained therefrom. He was also to find out the amount of fine obtained by way of punishment in civil and criminal cases, etc.? A Mantri was to manage the promulgation of the Sadgunya i.e. Sandhi, Vigraha, Yana, Asana, Dvaidhibhava and Samsraya or Samasrays or to promulgate the dicta of sama, dama, bheda and danda. This entitles a 1. The Paramaras p. 209. 2. Ibid. pp 209-210. 3. Styled as Mahamatya Rudraditya of Vakpatiraja Munja in Prabandhacintamanl of Merutungacarya, p. 22 4. Ibid. pp 210. 5. Ibid. pp 210. 6. TM Vol. I p. 157 7. Sukranitih --II 104-107. P. 72. 8. 474 GT a 2a Cus: 731 72741 karttavyaH kiM phalaM tebhyo bahumadhyam tathA'lpakam evatsaMcintya nizcitya mantrI sarve nivedyet||

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TILAKAMANJARI OF DHANAPALA mantrin to the status of a Samdhivigrahika or Mahasamdhivigrahika of the Paramara inscriptions who was the minister for war and peace. He was to be adept in the six-fold policy, a judge of what was expedient and a diplomat. He received envoys of friendly courts and ushered them into the king's presence, dealt also with the envoys of the hostile courts, drafting threatening letters to the enemy. In addition to these he was required to draft royal charters and despatches.' 292 In view of the qualities recounted above, Vijayavega coming to Meghavahana with the gift concealed within the hem of his scarf and followed by a porter, coming to deliver the report of the proceedings of the battle between Vajrayudha, the Mahadandadhipatih and Kusumasekhara, the lord of Kanci (Daksinapatha) and later on conducting the ushering in ceremony of Samaraketu into the court hall of Meghavahana (Samaraketu being a vanquished enemy, rather an ally of the enemy come to help the enemy and captured in the process)2, strikes a true parallel to the Mantrin or Mahasandhivigrahika of Meghavahana. But he has been called by Dhanapala as his chief devotee i.e. a firm devotee of Vajrayudha (Hyeff) an accomplishment of all the material gains. It may mean also 'His ardent admirer'. A minister for war and peace can be an ardent admirer of the army in chief. The expressions: 'deva saMpratyeva dakSiNApathAdAgato dakSiNadaNDAdhipatervajrAyudhasya prasAdabhUmirvijayaveganAmA pradhAnapuruSa : 3 solve the controversy and prove Vijayavega to be a chief officer subservient to and an object of the grace of the army in chief Vajrayudha. Hence Vijayavega was not a mantrin or Mahasamdhivigrahika of Meghavahana. He was rather a subsidiary sentinel conducting the messages of war between the king and the army-in-chief. Surananda, a mantri, referred to in a later reference might have been the real minister for war and peace or even the Pradhana mantrin referred to by Dhanapala might have been the minister-in-charge of the foreign affairs (war and peace). Mantri Surananda might have been an earlier predecessor of Vijayavega who might have worked under Meghavahana and might have died by that time. The building of a religious grove by him might have been a memoir recounted by Harivahana during his sojourn for a survey of the personal Mandala. 1. Sukraitih II 96.97. p. 71. Paramaras p. 210. 2. TM Vol II. p. 190-191 3. Ibid. Vol II. p. 190. LL. 8-9

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ADMINISTRATION AND STATECRAFT The officer known as the Mahadandanayaka has been the subject of some controversy among various scholars such as Prinsep, Fleet, Auriel Stein, Marshall, Mirashi and Altekar who construe it as 'trying Magistrate', 'the great leader of the forces', 'Prefect of Police', 'the Chief Judge or Chief Officer of Police' and 'Military officer' respectively.' In Tilakamanjari Vajrayudha has been called 'Daksina dandadhipat',2 Mahadandadhipati,' 'Sainyadhipati'," Senapati," Prtanadhipa," Senadhipa,' Dandanatha, Vahinibharta," Senadhipati,' 'Sainyapati," 'Dandadhipa',12 etc. which proves emphatically that 'Dandadhipati' was primarily a military officer in the times of Dhanapala. 13 Dhanapala has referred to Nitivarma as the Dandanayaka of the Uttaradiganta or the Northern zone." (uttaradigantadaNDanAyakenaM nItivarNanA) and Vajrayudha as the 'Dandadhipati of the Southern Zone' (d)4 According to Dr. Bhatia, Paramaras, for the sake of an effective administration, had adopted the system of zonal command. The great Paramara ruler Bhoja during whose time the Tilakamanjari was written at least, might have had two Dandanayakas, one for the north and the other for the south." Apart from this Dhanapala has referred to 'Sainyanayakah' with reference to Meghavahana whose prowess brought the earth under his sway whereby the former were a mere equipage of the body politic."" 1. Paramaras p. 211. 2. TM Vol II. P. 190. 293 Drdhavarma has been referred to as leading the forces of Samaraketu from Simhala onwards' whereas he himself (i.e. Samaraketu) was the 3. Ibid. p. 191 Vol. II. 4. Ibid. Vol. II.p. 192 5. Ibid Vo. II pp. 192, 913, 200, Sm ed. p. 298. 6. Ibid. Vol. II.p. 194 7. Ibid. Vol. II.p. 192 10 8. Ibid p. 200. 9. Ibid. Vol. II.p. 206. 10. Ibid. Vol. II.p. 209. 11. Ibid. Vol. II.p. 211. 12. Ibid. Vol. II p. 22, 224. 13. Ibid. Vol. III p. 33 14. Ibid. Vol. II p. 190. 15. Paramaras pp 211-212. 16. yasya pratApa eva vasudhAmasAdhayat parikaraH sainyanAyakA: TM Vol. I p. 66.

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294 TILAKAMANJARI OF DHANAPALA "Nayaka' (The Supreme Commander). He has also employed the word'Dandanayakan' along with amatyas, Samantas and other in the army of Samaraketu. Kamalagupta has also been called a senanyah4 He has referred to the Mahadandanayakas attended by one individual attendant, sitting in the asthanamandapa. "ekaikAnucarakRtasAhAyakairmahAdaNDAnAyakairadhyAsitam"5 Baladhikrta also means an army-in-chief. Anikapati is another variant for the army-in-chief,? Anikanayaka- as well. He has also referred to Yaks apalita, the chief of the entire naval corps. He has been called an Amatya (of Samaraketu) and Taraka has been called the leader of the whole stock of navigators. It easily refers to the naval force employed by the king of the Simhalas. Samaraketu was again its Supreme Commander. The Mahapratihara (Lord Chamberlain) known also as Dauvarika has always held a very high place at the Indian courts He was in constant attendance on the king and so must have wielded considerable influence with his master. The Tilakamanjari gives a very graphic account of the duties and functions of the Mahapratiharas. It shows the Mahapratiharas'imposing a vow of silence on those who talked much', making all officials do their duty', 'turning out people who had no right to be there', 'asking those who stood to sit down', 'showing respect with folded hands to those who deserved it', 'threatening the impudent ones' and 'bearing themselves with pride every where.' As a master of ceremonies he must have taught the right mode of salutations to the novices', for this might grow into a complicated affair and then escorted them out.' 1. 3194 AGA FATHER ft yfqa coani TM. Sm. ed. 290. 2. TM Vol. II p. 251. 3. TM Sm. Ed. p. 290. 4. Ibid. p. 34 Vol. III. 5. Ibid. Vol. II, p. 173, L-5 6. Ibid. Vol. II, p. 261, L-4 7. Ibid. Vol. II, p. 284, L-4 8. Ibid. Vol. III, p. 43, L-4 9. 3fCHIRIEZI 2841ftaf yn446uera hifast Hotellfa addir 1745: ITM.Vol. II. p. 274 10. sarvatazca prakaTitAhaMkAraH puruSahuMkAraritrAsita janairuddhatAMstarjayaddhi bhInya lokaM kuMtAjalIpuTerAva jayadibharUsithatA nupavezayadibharanupayuktaniSkAsayAdbharadhikRtAn svakarmasu vyApArayadima vavidUkAna bhUkavrate dhArayadimamahApratIhAre: goal U14 TM Vol. II p. 173.

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ADMINISTRATION AND STATECRAFT 295 Dhanapala has mentioned the fact of devotion of the king unto the guru (The preceptor) who even though not included in the list of ministers, exercised a great influence in the court of the king. The Purohitas (Royal ecclesiasts or chaplains) were generally the ruler's advisers in religious matters. Well-versed in the Atharvan lore, they were expected to ward off all the evils by means of rites and incantations. The boon of Sri having been conferred on the king the Purohita carrying green Kusa in hand was spraying the sprays of propitiatory water here and there with golden ewers collected from all sides.? They were also supposed to supervise the studious stock of Brahmana students repeating their lessons vociferously. The Brahmanas headed by the Head Priest (Purohita) performed, the morning and evening adorations of the king wishing him well.4 Samaraketu ere to his departure for the conquest of the quarters, was being followed by the group of Brahmanas headed by the Purodha vociferous with the pronunciation of the chanting of the Apratiratha chants (meant to be pronounced at the time of departure).' Adhikarins or Governmental officers such as Dharmastheyas referred to by Dhanapala were judicial officers according to Dr. Pratipala Bhatia. They were of the rank of mantrins. Their main function was to advise the king in judicial matters and to prevent injustice being done. The Aksapatalika' was another high officer whose name was Sudrsti who announced to prince Harivahana the grant of all the Mandalas of Uttarapatha such as Kasmira and others and to Samaraketu, the Mandalas headed by Anga and others. He seems to have been the head keeper of the accounts who kept a full account of the income of the state and also its expenditure. The Duta of Kusumasekhara has been described as communicating the request of the former to Candraketu, the king of the 1. Tafacius 9 2. 3reT644 4 74 TM Vol. I p. 62. also see Paramaras p. 213. o angM YIOTH RESA Tasa: 4144191911-74Gsilt41 TM Vol. I p. 159. 3. fequitHUTZT44aariy da: ufuria - TM Vol. II p. 167. 4. TEST: , falleguridatriate TM Vol. II p. 176. 5. stufatetezuar Tau RYTETH Faliraq-GATHTHT: TM Vol. II p. 253. 6. TM Vol. I p. 66 Paramaras p. 213, Vol. III p. 49. Dhanapala has also mentioned the word meaning The officers in charge of various departments TM Vol. II p. 208. 7. TM Vol. II p. 232. Paramaras p. 213.

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TILAKAMANJARI OF DHANAPALA Simhalas, for help' against a campaign of the enemy. He could even convey the ruler's sanction of a charter to local officials who then had the charter drawn up and delivered.2 The communique of Candraketu was conveyed to his son Samaraketu by a Lekhaharaka or a courier (billet bearer) of the former who had been ushered in by a portress.3 He may be compared with the Kautilyan duta or Sasanahara." 296 The chief officer incharge of the jewellery (Pradhanaratnadhyaksa) may be the same as the Kosadhyaksa or Kosaraksaka' of Kautilya and the Paramara inscriptions. The superintendent of the Treasury according to Kaut ilya was required to receive jewels, articles of high value, articles of small value or forest produce, to be received into the treasury (while) presiding over bureaus of experts in the (various) lines. Hence Mahodadhi, the Pradhanaratnadhyaksa of Dhanapala was the keeper of the royal treasury (Kosaraksaka) of Paramara inscriptions. Sankhapani, (Sm ed. p.395, LL 5-6) the Ratnakosadhyaksa may be likewise the same in designation. In addition to these some other members of the royal court enjoyed close contact with the king. They were responsible for attending to the personal comforts of the king. Among them 12 Naimittika" or Jyotirganitavid10 or Grahaganitavid, Samvatsara (Vasurata) and Mauhurttika," Bhisag,' Angaraksaka, Sayapalaka,' Dauvarika, Pratihara (Mahapratihara) Narmasaciva," Vandiputras,' 1. TM Sm. ed. p. 321. zatrubalapIDitena draviDamaNDalAdhipatinA kusumazekhareNa dUtamukhena kRtvA sakhyamupayAcitAH sma / 13 2. Paramaras pp. 213-214. 3. TM Sm. ed. p. 321, Vol. III p. 50 Paritosa the Lekhaharaka of Senapati Kamalagupta kumAra! devasya candraketorantikAdAgato lekhahArakaH pratihArabhUmau tiSThati / 4. KAS I 16. 1. 13. 25 pp 21, 23. 5. Ibid. II. 28. 18 p. 83, I. 16. 4. p. 21. ( arthaguNahIna : zAsanahara : ) 6. Ibid. II. 11. 1. Vol. I p. 51. 7. Ibid. II. 11. 1 Vol. I p. 51. 8. Paramaras p. 214. 9. TM Vol. I p. 160, Sm ed. p. 403. 10. Ibid. Vol. II p. 251, Sm. ed. p. 423. 11. Ibid. Vol. III p. 178, Vol. II p. 281, Vol. II p. 219. 12. Ibid. Vol. II p. 187. 13. TM Vol. I p. 66. 14. TM Vol. III p. 52. 15. TM Vol. III p. 50. 16. TM Vol. I p. 66, Vol. II p. 227. 17. TM Vol. I p. 66, Vol. II p. 241.

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ADMINISTRATION AND STATECRAFT 297 Sthaptyas, Sauvidallas and Pradhananttarvamsikaso- deserve special attention. Purudamsa, the Rajamaimittika predicted the auspicious hour for the ingress into the capital of Vikramabahu. Vasurata the Samvatsara of Kusumasekhara predicated that his daughter Malayasundari would attain the highest bliss of fortune in marital tie. The Jyotirganitavid of Samaraketu predicted the auspicious hour for his departure for his conquest of the quarters. The Naimittikas of Meghavahana predicted the auspicious signs for the birth of a son. Ganaka and Daivajna are the other expressions used for the astrologer the group of which satisfied the curiosity of the king (Meghavahana) in finding out the auspicious ensigns attached to the birth-zodiac of the prince. Daivajna predicted the auspicious hour for Harivahana to enter the capital of the Vidyadharas. The physicians (Bhisagbhih) of Meghavahana, skilled in the entire science of medicine (Sarvayurveda paragaih) looked to the physical fitness of the prince. The Angaraksakas, were the bodyguards, the Sayyapalakas were the guardians of the bed, Dauvarikas and Pratiharas were the porters or gate-keepers while the Antarvamsikas and Sauvidallas were the inner and outer guards of the harem. Narmasacivas were the gay entertaining associates of the king for which Dhanapala has used the word Vidusakao also. Manjira has been called a Narmapatra as well as the Vandiputra (a bard's scion) who regaled the prince Harivahana in his off hours. Viradha has been called a Narmasaciva of the king of the Vidyadharas.' Harsa has been given as the Dauvarika of Samaraketu. A Sauvidalla or the keeper of the harem, has been described as skilled in the rule of the rod or the working of the science of administration. Those members together with the great sages, learned men (srotriyas), the subsidiary kings consecrated on the crests, the great vassals, kinsfolk friends, the citizens foremost among all the people of the entire capital 1. TM Vol. I p. 66, Vol. II p. 241. 2. TM Vol. I p. 66. 3. TM Vol. II p. 176, Vol. II p. 230. 4. TM Vol. II p. 176. 5. TM Vol. II p. 184, Vol. III p. 125. 6. TM Vol. I p. 75. 7. TM Vol. III p. 125. 8. TM Vol. III p. 50. 9. TM Vol. II p. 230.

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298 TILAKAMANJARI OF DHANAPALA afforded splendour to the court of the paramount sovereign sharing his weal as well as woes. Dr. Pratipala Bhatia as quoted above construes the data of Tilakamanjari as alluding to the administrative organisation of the Paramara kings and especially Bhoja among them all. She takes these Paramaras as the rulers of Malva and calls their territory as the Malavadesa, which was divided into a number of Mandalas for the sake of administrative convenience. But in reality the entire administrative organisation illustrated by Dhanapala is in the light of the organisation of the territorial jurisdiction of Meghavahana, the paramount sovereign of the Kosalas with their capital Ayodhya. Harivahana the crown prince along with his foster brother Samaraketu, the crown prince of the sovereign of the Simhalas has been described promiscuously holding sway over the entire territorial jurisdiction of his sire's regime which encompassed within its fold the Mandalas such as Saurastra,Kanci," Kamarupa, Kasmira and Strirajya. All these represent the western, southern, eastern and northern parts of the Indian Peninsula forming the four main subdivisions of the kingdom of Meghavahana. The Mandalas comprising of the kingdoms of subsidiary kings brought under sway by force and released accordingly were further subdivided into Janapadas or vijayas which were further subdivided into towns and villages. As for example Kanci mandala having Kusumasekhara, the forehead mark of the lineage of the Yadus, for its sovereign had under his suzerainty the kings reigning over the regions lying between the mountains Malaya and Mahendra, i.e. the portion of the western Ghats, the Nilgiris to the Cape Comorin; the southern extension of the western Ghats below the Kaveri now known as Travancore hills, really form the western side of the Malayagiri; or Mount Candaka in the Malabar State or the southern part of the western Ghats south of Kaveri, comprising of the Dodabetta, Nilgiri, 1. TM Vol. I p. 157. 2. Paramaras p. 215. 3. Ibid. Vol. III p. 186. 4. Ibid. Vol. II p. 193, Sm. ed. p. 321. 5. Ibid. Vol. III p. 34, Sm. ed. p. 349. 6. Ibid. Vol. II p. 232, Vol. III p. 88. 7. Ibid. Sm. ed. p. 372. 8. UGT drifastan sila: 794 Tek Hect..........44210 p. 185. LL. 2-3 9. HGAI p. 206. Hotel TM. III.

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ADMINISTRATION AND STATECRAFT 299 Anaimalai, Palni and Cardemom and Malabar Hills;' Orissa to Madurai in the south including the eastern Ghats and the range extending from North Circulars to Gondwana, a part of the range in the Ganjam district also (Mahendra). This means that the Kanci mandala comprised of the regions of Eastern and Western Ghat including Travancore Cochin, Nilgiris (modern Ootacommand), Malabar State, Orissa, the district of Madura, Northern Circulars, Gondwana, Ganjam etc. It was close to Kundinapura, modern Kundanpur about 64 kms. of Amraoti in Vidharbha (modern Berar and ancient Nisadha). Kusumasekhara has also been called the lord of the Dakasinapatha, the overlord of the Dravida mandala. This means that Dravida mandala and Daksinapatha or Daksinatya were the same representing the major division of the kingdom of Meghavahana. And Kanci mandala forming a subsidy to the Dravida mandala or Daksinapatha or Daks inatya was well within the range of the supremacy of Meghavahana and Harivahana. It comprised of the Janapadas of Vidarbha, Aparanta, Dravida KosalaKalings. According to Dr. R. G. Bhandarkar, Daksinapatha (in modern days) is almost identical with the country called Maharashtra or the region in which the Marathi language is spoken; the narrow strip of land between the western Ghats and the sea being excluded." The Uttarapatha being a counterpart to Daksinapatha, it appears that the vast kingdom of Meghavahana was divided into two bigger zones (as already observed) which were subdivided into Mandalas, Mandalas into Janapadas or Vijayas, Janapadas into towns and villages. The Uttarapatha has been described by Dhanapala as comprising of the Kasmira and other Mandalas which obviously included the whole of Punjab; Uttara Pradesh, Madhyadesa, Himacala Pradesh, north-western Frontier province etc. and most probably included the Eastern regions of Kamarupa, Anga, Vanga, Videha etc., in so far as we find Dhanapala mentioning Harivahana reaching the region of 1. KSN D. K. Gupta p. 111. 2. TM Vol. II p. 193, KSN p. 120. 3. dakSiNApathacakravartinA sakaladakSiNApathasya pArthivAya khyAtamahase kusumazekharAbhikhyAma dakSiNA-pathakSoNiyAlasya T51: F or Vol. II TM p. 224. 4. afa54uscaferfah reU TM p. 321. 5. TM Vol. II p. 192. 6. KSN p. 119. 7. Early History of the Deccan p. 10. 8. TM Vol. II p. 232.

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TILAKAMANJARI OF DHANAPALA Kamarupa in Pragjyotisas where given a send off by the king of that region he roved about in the forests adjoining the river Lauhitya (Brahmaputra) in association with all the kings of the Uttarapatha who came to offer their homage to him as subsidiary vassals gratifying him with gifts of their choice' Kamalagupta the son of the king of Kalinga2 has been described as a 'Senani' or the army-in-chief of a battalion of Meghavahana (and Harivahana) who had been given a Jagir (Vilambhaka) a region to the west of the Angas the Kumarabhukti of Samaraketu quite close to the Kamarupa. And since Vanga, Anga and Kuluta have been associated in one line meaning thereby to include themselves in one zone make the point clearer in defining the area of the Uttarapatha. Saurastra modern Kathiawar comprising of Valabhi as its capital the ruins of which were discovered at Bilbi, about 30 kms. North-west of Bhavnagar, Girinagar, Girnar in Junagarh District (Raivataka or Girnar Hills in Kathiawar), Khetakapur, probably modern Kaira and Anandapura which may be identified with the village of the same name about 32 kms East of Rajkot, its north-western parts known as Anarta having capital Dvarika (modern Dawrka) might have been a part of Daksinapatha, Pancala, (Northern having for Ahicchatra, modern Ramnagar in Bareilly district of Uttarpradesa) and (Southern having Kampilya modern Kampil in Farrukhabad district of Uttarpradesa)' having its maidens won over by the Lord of Kusasthala modern Kanauj (old Mahodaya and Gadhipura) (being in Pancala) formed a part of Uttarapradesh and therefore of Uttarapatha. Magadha having Kusumapura for its capital being in Eastern India and coming within the category of Anga, Vanga, Kamarupa, formed a part of the Uttarapatha. Strirajya" being 300 1. TM pp 34-35. 2. Ibid. p. 245. 3. Ibid. Vol. III p. 34. 4. Ibid. Vol. III pp. 33-34 Paramaras p. 217. 5. Ibid. Vol. III p. 186. 6. KSN p. 118. 7. HGAI pp 71-72 TM Vol. III p. 185. 6. HGAI p. 109. 9. TM Vol. III p. 185. 10. Paramaras p. 217. 11. TM Sm ed. P.372, L-4

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ADMINISTRATION AND STATECRAFT 301 in Bhutan automatically came within the fold of the Northern zone i.e. Uttarapatha. Hence of the mandalas mentioned by Dhanapala, Saurastra and Kanci formed a part of the Daksinapatha or Dravida mandala having Lata, Kuntala, Karnata, Kerala, Kalinga, for their Janapadas while Kamarupa, Kasmira, Strirajya with Janapadas such as Uttara Kosala, Purvaparavideha, Banga, Anga, Pancala Magadha, Sindhu, Kuluta etc. formed a part of Uttarapatha. The cities of Kanci and Kundinapura (Vidarbha) formed a part of Daksinapatha or the Dravida mandala while Ayodhya or Saketa, Kusumapura, Kusasthala, Campa, Samkasya, Puskaravati, Rativisala, Gaganvallabha, Rathanupura Cakravala, Vaijayanti formed a part of the Utttarapatha. Alaka being a mythical town, Rangasala and Lanka and Manipura formed a part of the regions beyond the pale of the Indian territory. The Paramara kingdom included the territory administered by the feudatory princes or chiefs who were known by various titles. Dhanapala has described the court of Paramara king Bhoja promiscuously stuffed with many people wherein the overlords of men (i.e. kings) came along like ordinary people in order to render service unto him with their sole persons acting the role of paraphernalia.' The feudatory princes were represented by those who belonged to the circle of allies (1451405)?; who were great kings holding charge of a huge cavalry of steeds (Herfra)' who were consecrated on the head (by his own heads but acted subservient to him i.e. the Supreme sovereign (Fufff006 2469:)," the great subsidiary vassals (HETHI4TI:) who were frivolous vassals (fachl4TI:) acquired for the court for the sake of regiment; who were the kings occupying the territories abounding in the wicked people or the revolting or treacherous people (G24147) drawn close through mandates; who stayed within the territorial jurisdictions of the t algoat frana: 41405 TM Intro.. gali 1. 311416 4a gonfiaaa aserria: ha verse 48, p. 39. 2. TM Vol. I p. 53. 3. Ibid. Vol. I p. 55. Heladeria 4. Ibid. Vol. I p. 157. 5. Ibid. Vol. I p. 157. 6. Ibid. Vol. II p. 173. 7. Ibid. Vol. II p. 193.

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302 TILAKAMANJARI OF DHANAPALA sovereign (sAmanta), who were vassals but treacherously disposed (duSTasAmanta) who were the lords of the great circle (of kings)' (HE14degCctyla) etc. In view of this classification Tilakamanjari reveals the existence of the following types of feudatory chiefs in the Paramara court (illustrated here with reference to courts of Meghavahana, Candraketu, Kusumasekhara and others). The first category consists of the chiefs who were rewarded with the grant of lands in lieu of the meritorious services rendered by them unto the sovereign.. Dhanapala refers to the grant of Kumarbhukti, the whole of Uttarapatha including Kasmira and other mandalas, along with their town and villages to Harivahana and the Angas, the Janapadas along with their constituent subdivisions to his companion Samaraketu. This was done by Meghavahana in lieu of the pleasure derived by him on seeing his son grown into a budding youth, the sole scion of his lineage and finding in Samaraketu, a fit companion to assist his son in times of crisis. He was also pleased over Samaraketu because he had gratified him by his chivalrous deeds in battle against his general Vajrayudha and had been brought as a war captive only to win the honorific title of a foster-brother to his son and ultimately to win the title of a subsidiary vassal come to take shelter under him having been uprooted and reinstated not upon his own territory but within the territory of the vanquisher. Kamalagupta, the Senani and a prince of the king of Kalingas was given a jagir (vilambhaka) in the territory lying to the west of the Angas. Both (Harivahana and Samaraketu) were given to obtain the honours due to them day in and day out after they had been afforded the benignity (or favour) of the king. In case of Harivahana and Kamalagupta the grant of jagirs seems to be hereditary in so far as the former was established by his sire on the territories of his own regime whereas the latter on the vanquished territory of his own sire i.e. the Kalinga. The crown prince and his foster brother Harivahana and Samaraketu enjoyed the status of sovereign lords under the tutelary stewardship of Meghavahana. They had, therefore, their own subsidiary vassals (the princes of the kings vanquished by Meghavahana) who in accordance with their own eligibility were conferred upon their own bhuktis (i.e. the territories meant for enjoyment) along with their groups of towns and villages and had 1. TM Vol. II p.197, 214, 284, Vol. III p. 299 2. Ibid. Vol. II p. 232. L. 5 3. Ibid. Sm. ed. p. 280. 4. Ibid. Vol. II p. 232, Vol. III p. 34, Sm. ed. p. 182, also Sm. ed. p. 103.

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ADMINISTRATION AND STATECRAFT 303 absolved themselves of all the liabilities recumbent upon their shoulders. Some feudatories were acquired won over by (both of them) desirous of retrieving their status, taking up shelter constantly, having dropped repeatedly from quarters on account of their kingdoms usurped by their collaterals. Both, however, kept away from the association of those feudatory princess who could prove treacherous unto them. Both were being waited upon constantly, by the kings of the other islands, devoted to their virtues and anxious to obtain their intended objects with clothes meant to cover the bodies, the gems and ornaments, unguents, fruits, weapons, vehicles and other unique articles produced in their respective countries. Dhanapala has mentioned the names of Bhagadatta, Bhima and Bhanuvega the kings who were born in the lineage of kings consecrated on their heads (by Meghavahana).' He has also referred to the Sainyadhipati (Vajrayudha) who has subjugated the entire host of unchivalrous enemyvassals. He has also alluded to the fact that the subsidiary vassals invariably accompanied the sovereign lord in his military expeditions. When Vajrayudha started off for Kanci in order to chastise the Lord of Daksinapatha (i.e. Kusumasekhara) he had his camp-establishment being filled in by the armies of the vassals who occupied the regions populated by wicked people and who were attracted by his command. In the van of battle the enemy i.e. Kusumasekhara made his forts stronger and made Kanci decked with mechanical instruments placed on the fortification and despatched couriers to seek the alliance of the kings who lay situate to him.' Vajrayudha lay a siege of Kanci and blocking the supply of resources and ammunition created a terrific terror for the populace. In that process the subsidiary vassals got out in arrays, dispersed by him, for effecting a break-through in the enemy-fort with arrays of intoxicated 1. anujIvino rAjaputrajanasya pAtratAnusAreNa sNvibhktsvmuktingrgraamnivhninishcintyoH| 2. GRIGORTURTIGT fasta froggieffe: wagia AETAT: TM Vol. II p. 232. 3. anges-THEATERGTERST: ITM Vol. II p. 232. 4. guNAnurAgibhirAgantukaphalArthibhizca dvIpAntaranarAdhipairvAsobhirAcchadanai ratnAraMkArairvilepanaiH phalairAyudhai- yAnairanyaizca FURG Riarydaf: H444HIRT: TM Vol. II p. 232-33. 5. mUrddhAbhiSiktapArthivakulodbhavAH bhavadattabhImabhAnuvegaprabhRtayaH saparijanAH raajaanH| 6. TM Vol. II p. 192. 7. Paramaras p. 220. 18. B eri G41477614- Tyet muhafafaet: TM Vol. II p. 193. 9. aparityaktasamarAbhilASazca sAhAyakadhiyA savidhavartinAmavanipAlAnAmanusaMdhAnAya pradhAnadUtAnaharahaH praahinnot| TM Vol. II p. 194.

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TILAKAMANJARI OF DHANAPALA tuskers made ready.' The daily onslaughts getting on, Kanci was brought under sway. On one spring day when the army arrays were moving across, the movement of the vassals was indicated by the tinkling of the bells of the elephants. The vassals were moving back to their own encampments with two or three lamp-bearers moving in front.2 Samaraketu describing his own adventures before Harivahana explains that after consecrating him to the status of a crown prince his sire Candraketu made him the leader of the whole army naval as well as territorial. And provided with a huge infantry he sent him attended by vassals, amatyas and chief feudatory lords, on an auspicious day'. Marching on his voyage Samaraketu established his own encampment with its open space made uneven by the tents of robed structure surrounded completely by the camps of the vassals (Samantas) giving thereby the impression that vassals accompanied the lord during his expedition, for rendering help to the ally (Kusumasekhara) against an enemy (Vajrayudha). Dhanapala has referred to the vassals of Samaraketu made to race off from their own mandalas in fright to inform their lord of the impending danger of and onslaught of the enemy.' He has also referred to the kings risen to power and puffed up with pride, perpetrating atrocities upon the people who were considered as the poignant wounds by Samaraketu. Some among them were subdued by the power of authority (tantrasakti) while others were brought to book by the power of counsel (mantrasakti). Some were done away with by the application of sharp weapons while others fell a prey to the acerbitous communiques of the emissaries or fell a prey to the chemical elixirs or virulent poisons at the instance of the secret emissaries. Some were put to death by shedding off blood or squeezing out of blood while others met their doom by the employment of lethal poniards (or knives). Some were tortured to death by burning one of their sides while others perished along with their mandalas. Thus did he wrest them of their fever of pride. Some were restored to their original status or state of mind by the tying of the forehead wraps with the process of consecration and other such agreeable treatment of granting estates (lit. kingdom) affording bliss, when they had lost their status, had 304 1. sAmantAzca sajIkRtasamadasAmajaghaTA vighaTanAya durgasya tena kRtavisargaH krameNa nirjagmuH TM Vol. II. p. 195. 2. puraH saradvitradIpikeSu vrajatsu nijazivirANi tAratarakareNughaNTAkvaNitasUciteSu sAmanteSu TM Vol. II p. 197. 3. arpitAnalpapadAtisainyaM ca puNye'hanipradhAnairavanipatibhiramAtyaiH sAmantaizca kRtvA sasahAyaM prAhiNot TM Vol. II p. 251. 4. parigatamazeSataH sAmantaziviraiH, .........parimaNDalAkAraiH paTAgAraiH sthapuTitAvakAzaM svAvAsamavrajam TM Vol. II. p. 267. 5. atijavena nijamaNDalebhyaH prabhAvitairanIkapatibhiH sAmannau bhayasambhrAntairanavaratamanusRtagatiH / TM Vol. II. p. 284.

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ADMINISTRATION AND STATECRAFT 305 their eclat swerved down, but had manifested their alacrity of face and had taken leave of their hot tempers (lit. heats). He has referred to the different islands occupied by the Nisada overlords brought under sway by Samaraketu, after he had subjugated the entire circle of the vassals (Samantas) prowling hard' by. The Rajaputras riding stately steeds, Rajaloka Rajakam," all referring to the subsidiary kings and princes associating Harivahana's army indicate the devotion and sympathy they held to their lord. According to Dr. Bhatia Thakkuras or the rich landlords served the feudatory chiefs in almost all the feudatory states. The villagers witnessing the army-march of Samaraketu were being driven out by the Thakkura, perforce, when he failed to find a space to move across. While viewing the out precincts of Lankapuri, Samaraketu had chief feudatory princes in his forces and with their help he chastised the capital of Kirataraja named Parvataka who was proud of his army secured in the impregnable fort, who had taken to the tactics of a marauder, having gone not far away to the west of the bridge, without waiting for any delay. And with a pack of looters made fugitives by the ruthless handi-work of arms and bringing along with him the entire bevy of the ladies of his harem (seraglio) along with children, having long hair (pendulous) through grief, he again pinioned his gaze towards his camp.o Dhanapala has mentioned a 'Bhattaputra' Atri by name who conveyed the message of the Kumarasenapati (the army-in-chief) of the prince most probably Drdhavarma by name who described the mountain Ratnakuta to him. The word 'Bhatta' means a bard, a soldier, a venerable person etc. But in view of the context it seems to mean a soldier' and nothing else or who could bring the message of an army-in-chief. 1. gatvA sthAnasthAneSu labdhodayAhitopacAraiH paramupacayaM prAptAn sarvataH sabhAsAditaprasarAn AviSkRtAne kavikArAnanavaratakRtarujo janasya duSTavraNAniva nRpAn kAMzcit tantrazaktyA kAMzcinmantrazaktyA kAMzcinizitazastravyApAreNa kAMzcit kSArai tavacanaiH kAMzcid raktApakarSaNena kAMzcit tIkSNakSuraprabhedena kAMzcidekadezadahanena kAMzcitsarvamaNDalopamardanena drpjvrmtyaajym| ujjhitoSmaNazca prakaTitaprasannamukharAgAn vigalitonnatIn avidyamAnagatInabhiSekavidhinA paTTabandhenAnyaizca nivRttikaraiH rAjyadAnAdibhimadhuropacAraiH punastAmeva ......... yufa herafen Francifera: feraf 141RIUT TM Vol. II pp. 284-285, 287. 2. 3788: TE: TM Vol. III p. 44. 3. Ibid. Vol. III p. 42. 4. Ibid. Vol. III p. 46. 5. 3121120131 f tigt: Ibid. Vol. III p. 260. 6. Ibid. Vol. II p. 291. 7. Ibid. Vol. II p. 292. 8. Ibid. Sm. ed. p. 290.

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306 TILAKAMANARI OF DHANAPALA Dhanapala's reference " C:HRUHHH14-IGUSHTR444'' again illustrates the point under purview that subsidiary vassals or feudatories formed a part and parcel of the army that led an expedition. Some feudatories could be opportunists. In accordance with the exigency of the space and time they could raise their heads aloft in pride (for revolt), could refuse paying tributes to the sovereign lord even when already stipulated, could violate the limits of time when they were required to pay fines or recompenses in cash or kind, could act in such a way as made them disobey the royal mandate, could show resentment on occasions of rejoicing of the sovereign lord, act at ease during the time of catastrophes, could act favourably in words but unfavourably in deeds. Such feudatories were crooked enough abiding as they did situate to the low lands of Suvela mount. In order to extirpate them, Candraketu, the sire of Samaraketu had ordained his naval-corps for a campaign. Samaraketu had been ordained to head that corps as the Supreme Commander. Chief subsidiary kings and vassals accompanied him as his allies in that enterprise.? An enemy feudatory named Jitasatru has been shown launching a sudden attack on the capital of the sire of Gandharvadatta, vaijayanti who was instinctively friendly towards his vassals. He was caught napping by the treacherous ally who was an acquired friend but a natural foe. He became the usurper of the kingdom of his sovereign 3. MILITARY ORGANISATION Regarding the military organisations in contemporary administrative set-up Dhanapala postulates the existence of the group of Maulas as well as Bhrtyas" (Bhrtas of Paramara inscriptions and Bhrtakas of Kautilya who illustrates the occasions for the employment of the hereditary (Maula) the hired (Bhrtaka), the banded (Sreni) the ally's (mitra), the alien (amitra) and the forest troops (aTavIbalAnAm) etc. Dhanapala has mentioned the Maulas and Bhityas of Meghavahana, who were very close to the sovereign, were reliable in speech and were 1. TM. Sm. ed. p. 290. 2. tantrasthaH pitA me candraketuH kadAcida deza kAlAdhavaSTamma saMbhRtAvalepAnAM prapannamapi pUrvadAyabhaprayacchatAM vikSepavisarjaniSu kAlakSepa kAriNAmAhavAneSu bahananAgamana kAraNavyavahAriNumutsaveSvahazTAnApatsu savilA saceSTAnAmuktayA prItimupadarzayatAM yuktayA pratilobha vyavaharatA suvela zailopakaMNThavAsinA duSTa sAmantAnAM pratikSepAya aferrifa Rhea I etc. TM Vol. II p. 251. 3. Ibid. Sm. ed. p.342. 4. pratyahamAvedyamAna prajAnurAgo'pi praNidhipuruSaiH AdezasampAdana paTIyasi kenApyanupalakSyamANavigrahaH kusumAyudha sarguferita: tana fra farmay ufauza ITM Vol. I p. 77. 5. Haya tunafhaca CHI #4679 : KAS IX. 2.1. p. 219 Part I.

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ADMINISTRATION AND STATECRAFT 307 skilled in executing the errands. They helped him find out the seditious or inseditious characters or delinquent and undelinquent persons among the subjects in collaboration with the secret emissaries. The king, however, moved incogni- to unobserved by any one during the nights, wielding his weapon in hand. Hence Maulas or Hereditary troops as well as the hired troops were prone to be skilled in executing the command of the sovereign. They were supposed to be in confidence of the sovereign and their members were likely to remain in close proximity of his person. According to Kautilya- the occasions for the employment of the hereditary and the hired troops are: When hereditary troops are in excess of what is required for the defence of the base; or when hereditary troops being over-strewn with treasonable men, might create trouble at the base; or the enemy has plenty of loyal hereditary troops or a strong army (hence) it is necessary to fight with military operations; or because on a long march or on one long duration, hereditary troops can bear losses and expenses; or when plenty of loyal troops being got together, no trust can be placed in other troops, hired and other, through fear of secret instigations by the enemy against whom one is marching; or when the strength of all (other) troops is depleted; these are occasions for the use of hereditary troops. (When he thinks), 'I have a large hired army and only a small hereditary army; or the enemy has small or disaffected hereditary army or a hired army consisting mostly of weak troops or without strong troops; or it is to be a fight with diplomacy with slight military operations, or the distance is short or duration brief, involving few losses and expenses; or my enemy is with few treasonable men in it, with secret (enemy) instigations frustrated and trustworthy; a small, raid of the enemy is to be repelled these are occasions for the use of hired troops. Because of their having the same feelings as the king and because of constant enjoyment of his regard (for them), hereditary troops are better than hired troops. Being always proximate to him, quick in 1. mUlaratraNAdatiriktaM maulabalam atyAvApayuktA vA maulAH mUle vikuvIran, bahulAnurakta maulabala: sArabalo vA pratiyoddhA, vyAyAmena yoddhavyam., prakRSTe'dhvani kAle vA kSaya vyaya sahatvAnmolAnAm bahulAnurakta saMpAte ca yAtavyasyopajApa bhayAdanyasainyAnAM mRtA dInAmavizvAse, balakSaye vA saMvasainyAnAm iti maulabala kaalH| prabhUta mai mRtabala malpaM ca maulavalam, parasyAtpaM viraktaM vA mailabalaM, phalgu prayamasAraM vA mRtasainyam, mantreNa yoddhavyamalpavyAyAmena hUsvo deza: kAlo vA tanukSayavyayaH, alpAvApaM zAntopajAyaM vizvastaM vA me sainyam, parasyAlpa: WART 104: Efa yaachac:KAS IX 2.2.3 p. 219 part I pp 474 475 Part II. 2. Ibid. 3. tadbhAvamavitvAnnityasatkAranugamAcca maulabala muutblaatcheyH|

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308 TILAKAMANJARI OF DHANAPALA rising for action and under control, hired troops are better than banded troops. According to Dr. Pratipal Bhatia, 'The Maulas were , it seems, the hereditary soldiers and chiefs who depended for their subsistence on the land grants made by the king and thus were bound to serve the overlord. The king presumably did not have direct relations with the soldiers maintained by the Maulas for he did not grant land to the army chiefs who in their turn might have bestowed land upon the individual soldiers. The Bhitas were those who were paid wages for their services; they were near at hand and ever ready for march. Of the two the Maulas were more reliable and so were preferred to the Bhstas, who changed sides when they received higher wages from the other party. The contingents of the feudatories formed the bulk of the army personnel.' Dhanapala has mentioned "Pemant 7981 74ai af;">4 the group of kings belonging to one's own side, belonging to the borders. It implies, Mitrabalam of Paramara inscriptions. Samaraketu starting off to render succour to Kusumasekhara at the errands of his sire Candraketu, attended by a host of army represents the leader of a 'Mitrabalam'.' At a different place the same fact is narrated differently. Candraketu had been requested by Kusumasekhara through a courier for help against Meghavahana who was a common foe for both viz. Candraketu and Kusumasekhara.deg An enemy chastising Kusumasekhara seeking help of Candraketu automatically becomes an enemy of Candraketu. It was only after Samaraketu had been defeated while rescuing the fortunes of Kusumasekhara already doomed by Vajrayudha, that Meghavahana turns his war captive into a feudatory ally meant to render help to Harivahana in latter's expeditions. Harivahana starting off for an inspection of his mandala accompanied by the armies of Samaraketu FRA farsitet apoi a dat studieg: IKAS IX 2. 14. 15 p. 220. Part I p. 477 Part. II. 1. Ibid. 2. Paramaras pp. 223-224. 3. TM pp 191, 194, 201, 206, 214, 232, 251, 291, Vol. II p. 285 Sm .ed. See also Paramaras p. 224. 4. TM Vol. II p. 230. Paramaras p. 224. 5. TM Vol. II p. 218. 6. TM Sm. ed. p. 321. TM Vol. III p. 74.

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ADMINISTRATION AND STATECRAFT 309 becomes attended by the 'Mitrabala' which was 'aribala' to begin with. Horses formed an important and major constituent of the army personnel in so far as Dhanapala has described the army of a huge monarch abounding in innumerable steeds' Caturanga? explained by the commentator as "gajAzvarathapAdAmI senAvizeSa:13 means to denote the elephant corps, the cavalry, the chariots and the infantry. This word is also associated with the game of chess which also comprises of the four limbs of the army personnel and deals with the theory of warfare as a matter of sport and source of recreation. 'saturaMgarathamAtaMgapArthivaM pratipakSam" again illustrates the 'Caturanga'. "sannaddhasakalakarituraMgayodhamAvaddhavIrapaTTapAdAtabhISaNamaruNanetrapatAkApaTapallavitarathanirantaram further corroborates the point. 'Nausainyam was associated with the army personnel of the king of Simhalas from where it could not be possible to cross the ocean and even launch a campaign without a naval force. The army personnel such as chariots, horses, elephants have been described as unsuitable for a maritime warfare. It has also been called 'naudanda'. Dhanapala has referred to the white curtains forming the ornamentation of the ships (lit. vessels). The vessel made out of the wood of the wishgranting tree called Priyangu having 'namgara' was made of the sapphire stone slabs. 'kRtAni sarvANyapi susUtrANi yAnapAtrANi, 'praguNitAH samAhata samagropakaraNAH potAH, puJjitaM teSvatiprAjyamazanam- ApUritAni svAdunA salilena kRtsnAnya dakapAtrANi; samAropitamapramANamindhanamaH aparo'pi dehasthiti sAdhanamadhikRtaiH yaH kazcidarpitaH so'pi sarpistailakambalauSadhaprAyaH prAyazo vinyasta: samasto'pi dvIpAntaradurApo dravyANAM kalApaH, sthApitAzca sarvataH samAropita samarthanAvikAstIrtheSu dRDhakASTha gumphaniSThurA: nAva:10 illustrates many points regarding the sea voyage. Dhanapala has employed the distinctive vocabulary for the sea vessels. He distinguishes between a 'yanapatra' and a 'pota'. He even uses the word 'navah' 1. mahApArthivavarUthinIvAnekarathyAsaMkulA TM Vol. I p. 55. 2. TM Vol. III p. 81. 3. caturaGgadyUtamiva munirUSitAtrikacatuSkaracanaM TM Vol. III p. 10. 4. TM Vol. II p. 207. 5. TM Vol. II p. 200. 6. TM Vol. II p.251. 7. rathAzca vAraNAdinautantrayAtrAyAmanupayuktaH senAparicchada: TM Vol. II p. 281. 8. uccalitasakala nodaNDazca pratyahamakhaNDitaiH prayANe: laMghayitvA lavaNajalanidhiM janapadAMzaya katicitkrameNa kAJcImaNDala TM Sm ed. p. 322. 9. ' yAnapAtrANAM sitapaTAniva navAnAsUtrayantam TM Vol. II p. 272. 10. TM Vol. II pp. 280-281.

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310 TILAKAMANJARI OF DHANAPALA separately. Sir Monier Williams construes 'Yanapatra' to mean "a vessel for going', 'a Ship', 'a boat'. 'Pota' also has been taken synonymously. The Yanapatras perhaps were propelled by ropes whereas 'Potas' were mechanically plied with fuel and fire.2 The commentator takes 'Yanapatra' to mean "Pravahana' and 'Pota' as a Laghupravahana'. Hence the distinction may be of size. Yanapatras were bigger ships whereas Potas were their. younglings or smaller vessels. 'Navah' were boats which were used at the fords provided with sailors. They were perhaps meant to carry the sea-rovers or sea-soldiers or even the pilgrims from one ford to another covering a short distance. They perhaps even assisted the inmates of the bigger or smaller vessels as rescue measures during some ship wreckage. These were normally made of hard wood and were unbreakable. They were employed on the sea to carry the chivalrous soldiers wielding diverse weapons. A boat named 'Vijayayatra specially meant for the prince (Samaraketu) has been mentioned. It was got ready in order to proceed for conquering the enemy. The series of ships were filled with helmets, armours and weapons of variety. 'zramavikalabAhavo na vAhayanti satvaramaritrANi yAnapAtreSu pautikAH, na zaknuvanti nidrAvazIkRtAH kartuvaSTammaM kUpastambhakeSu karNadhArAH, samIro'pi saMprati pratIpagatiH pravAti, nAbhidhAvanti, ziviragAminaM mArgamargalitAnIva prerya mANAnyapi puro niryAmikaiH prvhnnaani|" etc. alludes to the fact that "Pautikah' the sailors have been associated with 'Yanapatras' which implies that the romancer has employed the two words 'Pota' 'Yanapatra' synonymously indicating a distinction of size only. 'Kupastambhas' were the masts of the ships. Karnadharas were likewise sailors. The opposite wind hampered the propulsion of the ship ahead. Pravahana has been construed by the commentator as 'Potah' which means-Pota', 'yanapatra' and 'Pravahana' are synonyms of ship, boat or vessel. There was only a difference of longer number of passengers. Boats 1. Skt. Eng. Dict. under Yanapatra. 2. Hemacandra in AbhidhaHemacandra in Abhidhana cintamani Vol. III. p. 217. says: yAnapAtraM vahijakam vohittham vahanaM potaH / 3. Ibid. p. 650. 4. walya TTRC14151 ECHIPUR : fifa aksia: TM Vol. II p. 281. 5. Ibid. 6. 49a fafara a f ya ya Harta TM Vol. II p. 283. 7. TM Vol. II p. 293.

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ADMINISTRATION AND STATECRAFT 311 perhaps could carry one or two passengers. The bigger ones could carry even a naval-battalion. "paTupavanapATitasitapaTAni giritaTAghAtavighaTitaphalakasandhibandhAni yAnapAtrANi"" indicates the 'Yanapatras' decked with white cloth which could be torn as under by the violent squall and their planks could be shattered by their accidental strokes against the surfaces of the rocks. The naval force has also been called 'varuthini(r)2 which carried the insignia of a flag and a chowrie. The naval force is also described as consisting of feudatory princes (Rajaloka). 'Yanapatras' or vessels when reaching ashore were made light by making their interior empty. The group of soldiers took shelter on the landscape of the hilly rocks. The boats were harnessed by the hard wooden nails dug in firmly. The white canvas used to be closed up. The Potas rested on the huge slabs of the nangaras fastened unto them. The sailors could move away along with their equipage. The Karmakaras (labourers) could go to their resting places. The barbarian tribes could be scared away perforce (Kikata). The favourite buffoons and sycophants in regal service could enjoy the cool waters of the liens and fragrant redolence of the trees such as camphor, lavanga (clove), lavali etc. The learned could take to the bowers of creepers resonant with the cries of peacocks. The tents of the Amatyas could be spread here and there. The Samantas having abodes of the ladies of the harem being established by the quick moving harem-guards, could settle in them in resting abodes. This implies the accompaniments of the naval force automatically. Dhanapala's reference to the stately aerial car named Puspaka bearing banners and provided with very costly jewelled latticed windows fleeting through the aerial regions and his allusion to the aerial voyage of Gandharvaka and Tilakamanjari," - do not affirm the view held by some scholars that Paramaras maintained an air force as well. The existence of the aerial cars and the air force in times of yore cannot be an impossibility. 1. TM Vol. II p. 294. 2. TM Vol. II p. 295. 3. Ibid. 4. TM Vol. II pp. 298-299. 5. TM Vol. II p. 291. 6. TM p. 378 7. TM. P. 337 8. Paramaras p. 226.

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312 TILAKAMANJARI OF DHANAPALA Dr. D.N. Shukla on the basis of Samaranganasutra dhara' has postulated the maintenance of aeroplanes or aerial cars in ancient India. Some amongst them bore the shapes of elephants, birds monkeys, horses and chariots. Even Odayadeva Vadibhasimha has postulated the existence of the aerial cars made of gold 7042fahrfachafae82:2 He has also mentioned the peacock shaped mechanical aerial vehicle called 'Yantrakalapi" and 'Mayurayantra'' of king Satyamdhara of Hemangada Janapada having Rajapuri for its capital. Regarding the dress and manners of the soldiers Tilakamanjari provides some relevant information. He has mentioned the words 'Sphara's and 'Pharaka' both denoting 'a helmet' in the general sense and in particular sense they may have some variance as well. He refers to men lying in covert wearing spharas and digging out the joints of the foundations of the fortification whereas 'Pharakas' were placed on the heads by the Pharakas i.e. the persons who were digging up the basements of the fortification, who were imploring (their soldiers to enter the space created by the act of digging). The text, however, fails to denote any distinction between the two. 'Sphara' and 'Pharaka' were most probably synonyms and Dhanapala had a knack for alliteration in employing the variant expression "Pharaka' in 'Pharaka Pharaka'. The use of armours (or corselets) was the most frequent feature of dress meant for defence against physical injury. "Tanutarani", "Kavaca',' "Kalayasa', Kankata or Kalayasakavaca'-worn on the body and chest respectively have been mentioned. "Tanutrani' were most probably the iron nets covering the entire body and so were the 'Kavacas'. Kankata' a variety of armour worn on the chest and formed out of black steel has been mentioned variantly, Vajrayudha wore this corselet of black steel, held a sword in his right hand and a buckler made of gold in the other i.e. left 1. Ibid. cg. 3. 2. GCM Ist Lambha p. 9. 3. Ibid. p. 54. 4. Ibid. 5. baddhaspharatirohita puruSa khanyamAna prAkAra mUlabandhAni zirasthitapharakaphArakaprArthyamAna prAkArakhaNDI prveshni| TM Vol. II p. 195. 6. Ibid. Vol. II p. 198, Vol. II p. 206. 7. Ibid. Vol. II p. 198, Vol. II p. 206. 8. Ibid. Vol. II p. 198, Vol. II p. 206.

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ADMINISTRATION AND STATECRAFT 313 hand.' Kacaraka and Kandarata, the two hefty steed-drivers have been described as riding horses that had lost their saddles, wearing expansive corselets (Tanutranau) adjusted over their chests. They had their heads wrapped tight with the halved out hem of a scarlet scarf. They carried sharp spears fisted close in the left hand and the reins of the horses.? The feudatories of Meghavahana fighting under the command of Vajrayudha against feudatories of Kusumasekhara (both acting as soldiers) have been described as inexorable on account of their effervescence manifested thereon. Both the parties slighted down (lit. rebuked) the chivalry of either side. The warriors (Subhata) were full of spite (Samatsara) and gave out roaring like those of lions deafening thereby the auricular passages of the men sauntering hardby. The stones thrown from the catapults rendered the atmospheric regions as if like the grounds. The weapons in the hands of the timid were being scared asunder by the relentless calls of the trumpets. The strongholds of the foot soldiers were being broken by the sprays of oil decocted on fire and showered through syringes. The diadems on the enemy vessels were melting down with naracas clinging to them, being hot with fire etc. The weapons used by the solders were - gada (a mace), Cakra (a disc), Kunta, Prasa etc. and Sakti (javelin), Capayasti (a bow), Naraca (a type of arrow), Krpana (a poniard, a scimitar), Trisula (a trident), Karmuka (a bow).' The forts used to be the mainstay of warfare. A fort was resorted to by an enemy who was weak and incapable of facing his stronger foe in an open combat. Kusumasekhara chastised by Vajrayudha is shown as taking recourse to the organisation of a fort in accordance with the injunctions of the Sastra (science of polity i.e. Arthasastra), with his resources classified accordingly having deemed the biding of time the best opportune recourse to be adopted, being unable to launch an open combat on account of his lack of strength or power and unwilling to approach him on account of his 1. dakSiNa kareNAcchidya paricArakahastAt..... kRpANam itarapANinA preDDayan.... prakoSThani vissttmssttaapdphlkm| TM Vol. II p. 198. 2. uraH kapATa ghaTitAtanu tanutrANo tatkSaNavipATitakASAyapaTAghantipIDatottamAgo gRhItanizitaprAma muSTinA vAmena fofacket af 7 1... 09114GET gaftrafe Tallaghtag arti TM Vol. II pp. 199-200. 3. Ibid. Vol. II pp. 204-205, 250, 251.

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314 TILAKAMANARI OF DHANAPALA ferocity. He made his capital Kanci heaped with multi-powered mechanical instruments (or arms) placed on the tops of the fortifications and sent couriers to allies reigning contiguously seeking their succour. Vajrayudha (the army-in-chief of Meghavahana) lay siege around Kanci and created a terror in the hearts of the populace with channels of reinforcement and supply of resources blocked en route to Kanci. His vassals mounted on tuskers arrayed into battalions marched off to effect a break-through into his fort. Of the forts in particular, Dhanapala has mentioned one named Mandraka, a durgagiri with its caverns abounding in herds of wild elephants roving about undaunted. Its series of peaks being visible from afar, it was having the city stationed on its tops surrounded by a huge rampart. It was the sole abode of the enemy kings incarcerated within." As already observed? Tilakamanjari favours Saradstu as the suitable time for expedition. The march of the army of Samaraketu has been described as a colourful and spectacular affair. The march of the army has been called "Yatra" whose auspicious occasion had been marked by the ladies of the harem carrying golden vases full of unhusked rice placed in front along with curd, flowers, durva sprouts etc., who were as if the glories of victory in corporeal form. Samaraketu was followed by a group of Brahmanas led by Purodha vociferous with the noise of the chanting of the Apratiratha' hymn (sung at the time of departure) after having propitiated the silver jar placed in front and bearing the imprints of the fresh sprouts of Saptacchada plant carved on the mouth. He rode a scent elephant named A00maravallabha held by the mahamatra (driver) Vajrarkusa. The tops of both of his shoulders were elevated owing to the pearl-inlaid-quivers stuck fast unto them. His left hand was provided with a bow having its central part variegated with textures of gold-leaves. He had clusters of flywhisks Obeing waved quite gracefully. The tremor in the earth was being caused unaccounted for by the relentless stepping of the feet of the pedestrians (i.e. foot soldiers) moving with dignity. The bards were proclaiming the victory pronouncements. The Universe was being resounded with the call of the trumpets. The openings of the quarters were reverberous with sounds of tabors (Dhakkanam). The white parasol bearing the golden staff was oscillating in front. The group of insignia bearing marks of elephants, boars, 1. TM Vol. III pp. 32-33. 2. See 329-333 above. Paramaras 228. 3. sAkSAdiva jayazrIbhiH puronihitadadhi kusumadUrAkurasanAthA-kSatapUrNakanakapAtrAbhiranta purAvilAsinIbhiH saMpAdita H4674511466: ITM Vol. II pp. 252-253.

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ADMINISTRATION AND STATECRAFT 315 sarabhas, tigers, crocodiles, earned through wars with many kings were moving around the regal parasol. At every step he was being showered upon the blessing of victory by the Brahmanas and was being supplicated by the citizen-folk. The old women spraying fried grains foreshadowed the fulfilment of his cherished ends. He was being scanned affectionately by the city-women.' And gradually he crossed the border-regions of the capital that had their glory enhanced by their close acquaintance with the Autumn season (Saratsamaya), the villagers looked at the forces. They were exasperated on seeing the horse-riders and presumed that the army battalions were coming on. They were made to run by the constant cries of the people and had given up their activities. They had assembled on the walls of the temples, collected on the rows of the lakes and on the heaps of debris. Some wearing white turbans, carrying ratton-wands, bearing lovely children on shoulders full of curiosity could feel amused over the sight of elephants, monkeys and camels, courtesans riding the female-tuskers, taking them to be the queens, the bards carrying umbrellas taking them to be the great princes, a merchant having his neck carrying a rosary of golden beads taking him to be carrying regal favour. Some could derive pleasure out of the prancing of the inexorable elephant cubs, steeds and oxen and the fast racing of the elephants got into rut. Some could even bear the torture of suffering hunger and thirst on account of their zest for seeing the kings wellknown in quarters, the princes, the royal consorts, the chief courtesans, the lordly elephants. Some having obtained the close proximity of the daughter of the village head-man could even connive at the chaff that was being carried by the soldiers (Sadhanikas) from the threshing floors or barns as if they had obtained a huge treasure-trove. Some could suffer the chagrin afforded to them by the wand bearers taking away corn furtively, the taking away of corn being desired by them, out of lurement for money, busy as they used to be in protecting the grass that was being carried away i.e. the wand bearing soldiers who desired to take away corn surreptitiously harassed the villagers who could bear that loss out of lurement for money. Some derided the usual command of the king (that people deserved not be harassed) when it failed to abide by its tenets with fields of vegetables being pillaged by the unbridled men of the royal entourage. Some consoled the farmers pinched with sorrow at the pilferage of the sugarcanes from the fields. Some even greeted the king, being masters of the rice-fields. The villagers tried to conceal all they could - cow-dung cakes were carried to the 1. TM Vol. III pp. 253-255. 2. 64444fugefaasit414 TM Vol. II p. 255. 3. TM Vol. II pp. 258-261.

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316 TILAKAMANJARI OF DHANAPALA back-yard, vegetables were transferred to the house from the adjoining pleasure groves, money was put in bronze vessels and carried to the house of the Baladhiksta, to be kept as a Nyasa with his ladies.' 4. THE METHODS OF WARFARE Dhanapala has referred to the arrangement of arrays as the best method of warfare. "kRtavyUhaviracanazci samarasaMkSobhakSamAyAmupAntabhUmAvasthAt''2 in case of Vajrayudha; illustrates the point that on seeing the army-hosts ready for attack he arrayed his soldiers in typical arrays and stood in the field where he could withstand the onslaughts of the enemy. ___And 'abhimanyuriva cakravyUhasya senApatipurobhAgapuJjitasya rAjasamUhasya saMcaradanekarathasahasraduSpravezamavizanmadhyam" In case of Samaraketu refers to the 'Cakravyuha' type of array which was pierced through by him. The 'Cakravyuha' array was formed by the group of kings (rajasamuha) who collected in the vanguard of the army-inchief and was impenetrable owing to thousands of typical chariots moving all around. "anuvartitakSatradharmazca mahAbalairnarapatibhirekaikazo'bhimukhIbhavadbhiH kSaNamAtramantharita rathagatiH vjraayudh| vajrAyudha, iti sagarva vyAharan vAhinIbharturantika mdhyaagccht|4 illustrates the righteous mode of warfare in accordance with the duties ordained for a ksatriya. Samaraketu approached the army-in-chief inspecting the feudatory chiefs that came before him one by one uninjured by them and himself injuring none, even when there was a chance for an onslaught. It easily illustrates the 'Dharmayudha' in contrast with the 'Kut ayuddha' which was considered suitable only for the ignoble Ksatriyas. The army officers as already observed were called Dandanayakas. Apart from these Sadhanikas, Mahamatratantra and Baladhikrtao denoted the auxiliary leaders of the forces. 1. pazcAddhATakeSu gobhayapiNDakuTAni gopayadibhaH bhamnavRtiSu niSkuTeSu trapusakarkAruka kAravellakAdi gRhadhanaM ca kAsya pAtrikA sUtra kamcaraprAyaM balAdhikRta dhAmanya valAjanasya nyAsI kurvadimaH anekavRttAnteH gAmeyakaiH avalokyamAna actiefa: TM Vol. II p. 261. also Paramaras p. 228. 2. Ibid. Vol. II p. 201. 3. Ibid. Vol. II p. 206. 4. Ibid. Vol. II p. 206. 5. kayA pratyAzayA zaktenApi zatruvadhakarmaNi na kuto divasa evAbhiyogaH kiM phalamabhilaSya nirvyAjaporuSepyaGgIkRtaH kSudrakSatriyalokasUtritaH sauptikayuddhamArgaH TM Vol. II p.217. 6. TM Vol. II pp. 260-261.

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ADMINISTRATION AND STATECRAFT 317 According to Dr. Pratipala Bhatia, Baladhikrta construed literally denoted an officer in charge of an army. She quotes the text of Dhanapala (Tilakamanjari) which according to her differentiates the Baladhikrta from Senapati and makes him very much junior to the latter. The house of the Baladhiksta has been described by Dhanapala as the fit place where the household property such as bronze vessels, cotton and worsted yarn or yarns and blankets could be deposited with the ladies. According to Dr. Bhatia Baladhikrta was put in charge of a military town. Sadhanikas according to her were put in charge of a cavalry detachment and perhaps were stationed at important forts while the Mahamatras were the commanders of the elephant forces. Regarding the administrative set-up, state expenditure necessitating the organisation of revenue system is indicated by the term 'Sarvadaya sahitan' in granting the Janapadas such as Anga contiguous areas meant as a source of subsistence for Samaraketu, by Sudrsti the keeper of records at the errands of Meghavahana. 'Dayas' definitely means the system of taxation as the main source of revenue. These could be paid in cash as well in kind. Baladhikrta most probably was required to collect and arrange such 'dayas' in the form of utensils, yarns and other allied articles or even the money in cash which were deposited with the ladies of his harem. Dhanapala has referred to the system of 'royal' donation of lands to Brahmanas'.S (agrahara). The term 'devagrahara' mentioned by him actually refers to the village meant for the service of the king, being the foremost of the villages of the whole Mandala donated earlier by the queen Madiravati on the festal occasion of the solar eclipse. These villages were granted to the poor Brahmanas and taxes such as hiranya, bhaga, uparikara, sarva dayasameta or with bhaga-bhoga-kara or kara-hiranya-bhaga-bhoga etc. were collected from them. These taxes were normally paid in kind with the exception of hiranya which was paid in cash. Bhaga was the normal tax of payment of 1/6th of the share of the produce which could be altered as stated in the 1. Paramaras p. 230. 2. TOT DIRIY Eliteseri afeg914ROCARRIL Safe: TM Vol. II p.261. Dr Bhatia's translation has been quoted in 562 above. I beg to differ from that in the present context. That is what the text actually implies. 3. Paramaras. p. 230. 4. Ibid. 5. Uporarfo yanaftat afecanda dusdurf TAVER: I TM Vol. III p. 33.

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TILAKAMANJARI OF DHANAPALA legal texts. Bhoga was the periodic offerings of fruits, fire-woods, flowers, milk, curd etc.1 318 Dhanapala has referred to the villagers greeting the king in many ways with rice fields guarded by the arrays of guards. The sugarcane fields pillaged by the looters excited the disparagement of king because his orders had been violated. This implies that the protection of the agricultural produce needed the royal interference in point of security which means that the king had a share by way of taxes out of them. The term 'grhadhanam' may coincide with hiranya which was collected by the 'Baladhikrta' and deposited with the ladies of his harem.2 5. JUDICIARY Regarding the judiciary 'Dharamastheyas' were the outstanding officers who interpreted the law judiciously. Dhanapala has referred to Dharmastheyas as a formality when Meghavahana's command kept down injustice. This implies the supremacy of the king over the administration of justice. The punishment in case of crimes could be severe enough in the form of amputating the limbs such as hands and feet, exile, making the culprit ride a donkey and other ways suggested by the Codes of Law." 'pakSiNAMdivyagrahaNam' by Parisarkhya indicates the system of torture by exposing a culprit to the fire ordeal in order to extract the true confessions of a crime. 'fai :" indicates the absence of strangulation among themselves in case of subjects and by suggestion it can imply the absence of impalement on the stake by way of capital punishment.get : "refers to the exclusion of dragging of feet in case of those who committed theft and took to their heels. 'zArINAmakSaprasaraNadoSeNaparaspara fimplies the exclusion of incarceration, belabourment and death sentence in lieu of the mutual faults committed during the game of dice. 1. Paramaras p. 231. 2. TM. Vol. III pp. 260-261. Apart from this iRqAPRIKEqyy: ageafufaren feta: TM Vol. II p. 192. refers to taxes paid by the kings of different islands. 3. AjJevAnyAyaM nyavedayad dharmo dharmastheyAH / 4. kumArasyaivAya pramAdo yadIdRze'pyaparAdhe nainamanyAyakAriNaM karacaraNakalpanenavA svadezanivasinena vA rAsamasagAropaNena vAnyena vA dharmazAstra praNItatanItinA nigraheNa vinaya grAhayati / TM Vol. II p. 248. 5. Ibid. Vol. I p. 68. 6. Ibid. Vol. I p. 68. 7. Ibid. Vol. I p. 68.

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ADMINISTRATION AND STATECRAFT 319 Hence dice play could make a person undergo imprisonment, physical torture and even death sentence. Self-immolation was a sin liable to punishment in so far as Bandhusundari calls Malayasundari as "499ffo'l a sinful one. It is also called a temerity lacking the appreciation of any sane mind. 'tenAsthAnavihitAtma vadhasAhasa trpaavilkssvikssiptkssnnaam| It is equally shameful for one who commits it. The methods of committing suicide as described by Dhanapala, are the application of a weapon, taking of poison, strangulation by hanging by a noose on the branches of a tree, abstinence from food etc. Malayasundari has been shown immolating herself by plunging into the ocean strangling herself by a noose, taking of kimpaka fruit (poison) etc. while Harivahana is saved from a fall from a precipice by Anangarati, the youth (37 YY178) who himself going to have a fall from the same precipice. "Gramapati" and "Thakkura' were the two persons who held some importance in the administration of the villages. Gramapati was probably the village-headman and Thakkura was a rich landlord on whom the villagers could depend for financial government of the affairs of the villages. "ADhyanaigama'" or the rich Corporations have been referred to as abounding in horses and mules that formed the caravan meant to move on for conducting the business administration of the state as well as the local bodies. Beyond this we do not find any information regarding the data connected with the state administration and practical politics. at r142117 ar vifani gjafai TM Sm. ed. p. 327. 1. TM. Sm. ed. p. 308. 2. Ibid. Sm. ed. p. 328. 3. preto ar fad arguage 4. Ibid. Sm. ed. p. 397. 5. Ibid. Vol. II p. 260. 6. Ibid.

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III. SOCIAL AND ECONOMIC CONDITIONS 1. SOCIAL INSTITUTIONS The Society as depicted by Dhanapala was no stranger to the old characteristics of the by-gone days. The popular institution of "Varnasramadharma' forming the mainstay of the contemporary society gained a firmer hold on the beliefs of the individuals forming its constituent elements. . "yathAvidhivyavasthApitavarNAzramadharmo yathArthaH prjaaptiH| 'rakSitAkhilakSititapovano'pi traatcturaashrmH| "asvaravarNA api paraM na vyaMjanamazizriyanta shtrvH|' svadharmavyavasthApita varNAzramatayA jaatnivRttiH| viralavarNAzramAcArANi "rAjanItiriva yathocitamavasthApitavarNasamudAyA' srvvrnnaant:paatibhiH---naanaavidhvidyaadhraiH|' All these refer to the duties and jurisdictions of the four varnas along with the four asramas i.e. the four orders of society or castes along with four stages of life. He refers to these four orders of society and stages of life singularly as well as plurally during the course of his dissertations. Of the four orders he has mentioned the first three quite frequently while the fourth has not been mentioned expressly. It can be inferred indirectly. The stages of life have, however, been singled out directly. "AsId dvijanmA'khilamadhyadeza prakAzasAMkAzya vishessjnmaa| alabdhadevarSiriti prasiddhiM dAnavarSitvavibhUSito'pi zAstreSvadhIti kuzalaH kriyAsu bandhe ca bodhe ca girAM prakRSTaH / / 16 refers to the sire of Sarvadeva, who has been called a 'dvijanma' a twice born one who was born in Samkasya and was known as 'devarsi' or a godly sage, a receptacle of charities, a scholar of lores, adept in activities (literary as well as wordily), expert in the composition as well as knowledge of 1. TM Vol. Ip. 59. 2. Ibid. Vol. Ip. 63. 3. Ibid. Vol. Ip.67. 4. Ibid. Vol. I p.71. 5. Ibid. Vol. II p. 286. 6. Ibid. Vol. III p. 61. 7. Ibid. Vol. III pp. 132-133. 8. Ibid. Intro.. verses 51-52pp.40-41.

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SOCIAL AND ECONOMIC CONDITIONS 321 speech. His son Sarvadeva has been called a peer to Brahma (Svayambhu), the four faced god which implies that he was a scholar of four Vedas or four lores such as philosophy, the three Vedas, economics and the science of politics. The son of Sarvadeva, Dhanapala has been called a "Vipra' which means a 'sage' in the Yajurveda XXVI 15 "upahvare girINAM saMgame ca ndiinaam| dhiyA vipro ajAyata'' i.e. In the solitude of mountains and confluence of streams a sage develops his spiritual force, contemplating on God through yoga.? In a way the word 'vipra' here has been construed to mean a poet, an intellectual who creates his muse in the isolation of the environments of Nature. Dhanapala, the vipra composed his 'Katha' (Tilakamanjari). He has been called a 'Vipra' to mean a Brahmana as well as an intellectual, a poet, a prose writer. Dhanapala has taken the words 'dvijanma' and 'Vipra' synonymously to mean the first of the four orders. Ayodhya, the nagari was as though endowed with the 'Brahmaloka' or the Universe of the Vedic scholars by virtue of the consemblies of the dvijas or twice born who used to be called so after they had undergone the ceremony of Upaneyana at a specific age. "Dvija' in ancient India was fairly a wider term meaning the first three of the four orders i.e. Brahmanas, Ksatriyas and Vaisyas (Brahma, Ksatra, Vis). In later classical epoch they earned the special significance attached to the first order. The Brahmanas have been called 'dvijati', 'srotriyas'," and dviya Brahma" etc. Ksatriyas have been mentioned as such at a number of places. The third order or the Vaisya has been represented by the term 'vanig' in "watot: f4f 10ER Hilafor a un TF "7 "afu fera litraa which makes this third order skilled in worldly customs and endowed with instinctive timorousness. The fourth order is inferable from 1. KAS I 2.1. Vol. I p. 4, Vol. II p. 6. 2. Yaj. V. XXVI 15 pp 394-395 ed. by Devi Chand. 3. TM Vol. II pp. 164, 251, 254, 257, Sm. ed. p. 331. 4. Ibid. Vol. II p. 266 Vol. III p. 171. 5. Ibid. Vol. III p. 83. 6. Ibid. Vol. I p. 94, Vol. I p. 123. 7. Ibid. Vol. II p. 275. 8. Ibid. Vol. II p. 279.

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322 'durvarNajanavarNanIyavIryaizca" 'duSkulAdapi grAhyamaMganAratnam 2 'Durvarna' and 'duskula' both mean ''sudravarna". the 'nicavarna' or the 'Kikatas' or the 'Anaryajatiyas' referred to at two places indicate the barbarians or non-aryan tribes whose profession it was to collect grass and fuel. Of the Intermediary castes Dhanapala has referred to 'Nisada" which has been construed by the commentator as Candala. But according to Kautilya 44 'brAhmaNasya zUdrAyAM niSAdaH pArazavo vA "5 or a son born in a Sudra mother by a Brahmana father is Nisada or Parasava. Dhanapala has perhaps placed the 'Yacakadvija' inferior to the Ks atriya when he puts it in the mouth of Meghavahana TILAKAMANJARI OF DHANAPALA 'An ornament" of the Ksatriya lineage, how shall I accept alms like a begging Brahmana. The Brahmanas on the whole have been shown enjoying the higher status than the ksatriyas, Vaisyas etc. 'adhigatavividhapUjA ' darzanArthinaH prItamAnasairdvijanmabhiH divasam' dhuSyamANanRpatisaMtAnodayam / zra "prastAvayatA devadvijaprasAdAdihApi sarvaM zubhaM bhaviSyatIti prakRte prayojayatA rAjalokenAtivAhyamAna 119 44 sakaladarzanArthaparibhAvanAlabdhabuddhiprakarSAH - - - zrotriyA: 7 satramaNDapAjiramaNDalakasaMnidhAvAbaddhasaMnidhAvAbaddhamaNDalairmantroccAraviratau 'dvijAtInAM ca gRheSu prazastaphalAni prahiNvatIbhiH "0 'tAmbUlakarpUrAtisarjanavisarjitapurodhaH pramukha mukhyadvijAti: ' 11 'sitakusumadAmadarzanapuraHsaramAveditanijaprayojanadvijAtijanamavadhAnadAnenAnugRhNata: ''2 " 1. TM Vol. III p. 129. 2. Ibid. Vol. II p. 278. 3. Ibid. Vol. II p. 270, 298. 4. kavalitapRdIkudarruradAraNedyataniSAdanAditA nUpAbhi: TM Vol. II p. 129. 5. KAS III 7.21. p. 106. 6. alaMkAra : kSatriyakulasya yAtakadvija itra kathaM pratigrahamaGgIkarobhi ? 7. TM Vol. I p. 157. 8. Ibid. Vol. I p. 159. 9. Ibid. Vol. II p. 161. 10. Ibid. Vol. II p. 161. 11. Ibid. Vol. II p. 162. 12. Ibid. Vol. II p. 164. yugapad

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\ SOCIAL AND ECONOMIC CONDITIONS 'anucaragRhItatailAmalaMkakateSu prasthiteSu snAnAya sarayUtaTAni tiladarbhapatrikApUrNapatrapuTapavitrapANiSu zrotriyeSu / ' 323 " saMpUjya vastrAdyatisarjanena dvijAtilokam 2 'anupadaM ca praNAmaparituSTAbhirvijayAziSAbhinandyamAno dvijAtipariSadbhiH / 3 gRhArAmAzca all go to prove that the Brahmanas known as Srotriyas, Dvijanmas, Dvijas and dvijatis earned the reverence of the Rajalokas or Ksatriyas and enjoyed superior status to the latter in point of intellect, sagacity, social leanings. They could even shower blessings upon a king or prince starting on a digvijaya or taking upon himself the task of performing some religious ceremony. A king deemed it a privilege to obtain the blessings of the Brahmanas for obtaining a son or progeny in general. Brahmanas were kept in the foreground when a Ksatriya started off to perform a ritual. Brahmanas could be gratified by the bestowal of charity, clothes and costly gifts. They could be paid homage to by the kings and princes who could earn their goodwill by that medium. The term saphalajAtayaH zrotriyAH in itself explains the higher status of this order. 'saphalajAtayaH zrotriyAH 'upajAtajanmA mahati mUrdhAbhiSiktakSatriyAmnAye mAnanIyA samagrasyApi matpagrihasya sarvAntaHpurapradhAnabhUtA madirAvatI nAma premapAtraM me kalatram" referring to Madiravati, the chief consort of Meghavahana born in the huge lineage of the ksatriyas consecrated on the head etc. explains the equally honourable status of the second order i.e. the ksatriyas. " tasya sarvadA devadvijAtizramaNaguruzuzrUSAparasya nijabhujArjitaM pUrva puruSopArjitaM ca prAjyamarthamarthijanaiH suhRdbhirbAndhavairvidvadbhizca bhuktazeSamupabhuMjAnasya pazcime vayasi vasudattAbhidhAnAyAM gRhiNyAmapazcimaH sarvApatyAnAM tArako nAma dArakaH samudapAdi " 1. TM. Vol. II p. 166. 2. Ibid. Vol. II p. 251. 3. Ibid. Vol. II p. 254. 4. Ibid. Vol. III pp. 271-72. 5. Ibid. Vol. I p. 94. 6. Ibid. Vol. II p. 275, LL. 1-3 referring to Vaisravana the Samyatriko vanig a maritime trader who got a son Taraka in his spouse Vasudatta in his later age, refers to his amenability to the service of his preceptors, recluses, gods, Brahmanas and others obviously Ksatriyas and his duty to earn fabulous wealth in order to make it enjoyed by the learned, the friends, as also the suppliants. This ostensibly prescribes the third status in order of the third order i.e. the Vaisyas who used to be grocers, traders or merchants. The very mention of

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324 TILAKAMANJARI OF DHANAPALA durvarna' and 'duskula' attaches a sense of abominableness to the status of this order. His mention of 'Abhiras' "Pamari" a low-caste woman. 'Gopalalanas3 the cowherd-maids, krsibalas or tillers of the soil, hastipakas,* Kusilavas or the professional dancers or actors, Kiratas, Navikas' or sailors, Karmakaras or labourers, Bhillas,' Sabara,'' Nisadas." Mlecchas also known as Nahalas," svaganikasa'or the hunters, Dasyus' or the barbarians, and tarkaras all these refers to Dhanapala's knowledge of the tribes and clans that could be categorised within the pale of the fourth order. Mlecchas or Nahalas could even be deemed untouchables. All the four Asramas stand alluded to in "allaT4:"15 The Brahmacarya has been referred to in the place where Meghavahana has been described as taking to it after he had got a temple (Devatagtha) constructed of Sri wherein the image of the latter had been installed accordingly." He took to it ere to his getting the boon of Sri for the birth of a son. As advised by the Vidyadhara sage he would inspect the out precincts of Saketupura and spend some of his days abstaining from physical enjoyments taking to the vow of muttering the holy syllables quite punctiliously anticipating well the birth of his progeny." During the course of his vow of continence he would sleep on a couch bestrewn with Kusas. 1. TM. Vol. II p. 242. 2. Ibid. Vol. II p. 259. 3. Ibid. Vol. II p. 258. 4. Ibid. Vol. II p. 260. 5. Ibid. Vol. II p. 265. 6. Ibid. Vol. III p. 138, Vol. II. p. 182. 7. Ibid. Vol. II p. 298. 8. Ibid. Vol. II p. 298. 9. Ibid. Vol. III p. 68. 10. Ibid. Vol. III, 68, Vol. III p. 316, Vol. III p./138. TM Vol. III p. 65. 11. Ibid. Vol. III p. 63. Vol. III p. 84, Vol. II p. 289, Sm. ed. p. 415. 12. Ibid. Vol. III p. 81, Vol. III p. 63. 13. Ibid. Vol. III p. 65. 14. Ibid. Vol. III p. 68. 15. Ibid. Vol. I p. 63. 16. Ibid. Vol. I p. 104. 17. evaM ca tasyoparatarAjyacintAbhArasya viracitAbhyarNaparNazAlAkRtasthitestrikAlasthAyinaH parimitaphalAhAra paripAlitazarIrasya kuzatalpazAyino munisamupadiSTena vidhinAvratamapatyasantatinibandhanamanaticAraM pAlayato gRhItaer faah atafacfauty: ITM Vol. I p. 106.

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SOCIAL AND ECONOMIC CONDITIONS 325 Madiravati has been described by Meghavahana as the accomplishment of his three values of life, Dharma, Artha and Kama i.c. Trivarga.' With her he deems the burden of the reveries of his kingdom as unannoying or uncloying. His enjoyments are enviable over the earth, let loose by her.' He deems his youth triumphant with her. The taste of dalliance gave him no hesitations. His sports were enviable." Great occasions of joy afforded him. bliss.' The world of creatures looked attractive." The fiat of Cupid deserved compliance." The ways of the stage of the householder deserved to be adhered to." 10 Grhasthasrama has been considered as the epitome of conjugal felicity, an accomplishment of the threefold aims of human existence, a source of physical enjoyment, addiction to the playfulness of youth etc. The woman in the form of queen has been deemed the foremost source for it. "sa rUpasaMpadA tulitasurakumAraH kaumAra eva yathAvidhizrutazAkhaH kalAsu kRtazramaH kramAgatamazeSapuruSArthaM saMpattipAtramabhinavamadhiruhya yauvanaM """ refers to Taraka, son of Vaisravana of Manipura in Suvarna dvipa, who came to Rangasala, the capital of Simhalas and came face to face with Priyadarsana, daughter of Jalaketu, who wooed him with the consent of her sire. The poct says svadAraparipAlanakarmagRhamedhidharmaH nA 12 The whole situation refers to the Brahmacarya and Grhastha stages of Taraka. The spot where the Vidyadhara sage inquires about the bewailing of Madiravati from Meghavahana and gets the reply from the latter, the subsequent advice of the sage to the king embodies the three Asramas such 1. anayAsmAkamavikalA trivargasampattiH / anudvejako rAjyacintAbhAraH AkIrNAH mahIspRhaNIyAH bhogAH saphalaM yauvanam, ajanitabrIDa : krIDArasaH, abhilaSaNIyAH vilAsAH prItidAyino mahotsavAH, ramaNIyo jIvalokaH mAnanIyA manmathAjJA pAlanIyA gRhasthAzramasthitiH / TM Vol. I p. 94. 2. Ibid. TM Vol. I p. 94. 3. Ibid. TM Vol. I p. 94. 4. Ibid. TM Vol. I p. 94. 5. Ibid. TM Vol. I p. 94. 6. Ibid. TM Vol. I p. 94. 7. Ibid. TM Vol. I p. 94. 8. Ibid. TM Vol. I p. 94. 9. Ibid. TM Vol. I p. 94. 10. Ibid. TM Vol. I p. 94. 11. Ibid. Vol. II p. 275. 12. Ibid. Sm ed. p.318, LL 10-11.

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326 TILAKAMANJARI OF DHANAPALA as Brahmacarya, Grhastha and Vanaprastha. The sage spoke smilingly to the king - "King! You are extremely anxious and desirous of taking her to the forest just now. Do take to the ritual of muttering auspicious syllables and charms. May she obtain the boon for a son bestowed by the Goddess of Royal sovereignty pleased by propitiation. May she obtain by virtue of that a son of radiance circumbiating the triad of worlds by dint of her glory. May she see his boyhood gladdening the entire Universe. May she experience the bliss of service of her feet brought about by his spouse folk. Anon would she proceed to the forest in the later age accompanied by you started off having made the subjects over to him and developed the affluence of your Kingdom on him fit to bear the brunt of the Universe on the bow strung up properly."' The Samnyasa Asrama has been likewise referred to in the following lines : "Our effort, too, is here in this very regard or else what duty becomes recumbent upon the recluses (yatis) emancipated from all avocations, in point of activities dealing with the duties of a householder." 2 On seeing the divine Shrine Samaraketu's mind is thrilled with ecstasy whereupon the surge of thoughts brings to his mind the point that the religious shrines are occupied by those who renounce material life and take to asceticism. That is why he says - "Meritorious in the world are they by whom even the kingdom having been given up, even renunciation having been resorted to, even the victuals of fruits and bulbous roots having been taken up, even the torment of sylvan abode difficult of bearing, having been borne up, even the separation from the friends and kinsmen having been endured, even the associations of vertebrates having been suffered, the end is invited here with repose having been taken here." 1. munirapi manAgupajAtahAsaH rAjan ! atimAtramutkastavamidAnImeva vanamimAM netumicchasi, vidhehi tAvanmantrajapavidhim ArAdhitaprasannayA rAjalakSmyA vitIrNamApnotu putravaramiyam, AsAdayatu tatprabhAveNa bhuvanatrayakhyAtamahasamAtmajam, pazyatu tadIyamAnanditasakalasaMsArakumArabhAvam anubhavatu tadvadhujanopajanitAni caraNaparicaryAsukhAni tato dhRtAdhijya dhanuSi bhuvanabhAradhAraNakSame tatra nikSipya nijarAjasampadaM samarpya prajAH prasithatena tvayaiva sahitA gamiSyati pazcime vayasi 0441 TM Vol. I pp. 102-03. 2. asmAkamapyetadartha evAyamArambhaH, anyathA gRhasthakAryeSu karttavyeSu sarvArambhanivRttAnAM ko yatInAmadhikAra:? TM Vol. I p. 103. 3. puNyabhAjo jagati, yaiH parityajya rAjyamapi, gRhItvA pArivrAjyamapi, bhuktvA phalamUlamayAhAralezamapi, viSahya duHsahaM vanavAsakkezamapi, aGgIkRtya bAndhavasuhRdviyogamapi, prApya pakSijAtiyogamapi, kRtasthitibhiratra kAlaH preryte| TM Vol. II pp 322-323.

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SOCIAL AND ECONOMIC CONDITIONS 327 The sylvan abode has been referred to having been resorted to by the Vidyadharas for the sake of accomplishment.' They have been called falling within the pale of all the Varnas or orders, immune from all the undertakings, having purity of minds (lit. intentions) acquired by abstaining from all the objects of senses. They were jamjapukas, vacamyamas i.e. muttering holy syllables repeatedly and keeping their tongues tied. They had worn deer hide, matted locks etc. Some wielded terrific bows and yet refrained from killing of life. Some had paramours or spouses close to them and yet were abstaining from sexual sport. Apart from this Dhanapala's reference to enhTHYGI" Malayasundari taking to sylvan resort in her prime of youth, all alone in the huge hilly forest void of any movement of human being, having paid goodbye to attachment of all types, a source of great chagrin, a freak of Destiny who had made her the prey to mental agony having made her concentrate on solitary aim -refers to Vanaprastha and Samnyasa under pressure of trying circumstances. Regarding the prevalence of the Asramas or stages of life there has started a great controversy among scholars of repute. Some postulate that only two Asramas Brahmacarya and Gihastha were the most popular while the Vanaprastha and Samnyasa were resorted to by people of certain categories who were either constrained to take to them by the force of circumstances or under certain professional exigency. Some, however, believe that there were only three, Vanaprastha and Samnyasa being the two stages of one and the same period. It could be an exception with the Royal persons on account of their much married life to go to the wilds after handing over the reins of kingdom to the crown prince or sometimes to avoid conflicts among the kins born from different queens they could take to such a life. Such an instance is even seen in the BIhadaranyakopanisad wherein Yajnavalkya in order to settle the disputes between Maitreyi and Katyayani loves to go to the wilds to lead a life of a recluse. Bhasa's allusion __ "sukhaM khulu niSkalatrANAM kAntArapraveza: ramaNIyataraH khalu prAptamanorathAnAM vinipAtaH, apazcAttApakaraH khalu HEDEHU I:"S makes it evident that it was more convenient for the unmarried or widowers or those who could get no progeny to go to the wilds in the earlier 1. PIGHT OUT: ITM Vol. III p. 132. 2. TM. Vol. II pp. 132-33. 3. ibid. Vol. II p. 169. 4. Ibid. Vol. II pp. 169-170. 5. Pr. Yang Act IV p. 167 ( my sell)

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TILAKAMANJARI OF DHANAPALA or later years of their lives for the sake of earning merit or leading a life of peace and equanimity. This fact is corroborated by Dhanapala himself who says 328 "aho pUrvajanmAntarasaMcitairazubhakarmabhirAyojitAH sunipuNamapi nirUpitopAyairmanISibhiranISatkarAH parihartumupatApA: ' **] that the 'manisis' or the thoughtful persons take to renunciation under the pressing fiats of Destiny bringing forth certain sins as a result of which they are forced to undergo this way of life. All this makes it manifest that Vanaprastha and Samnyasa had nothing to do with the stipulated periods of the age of 50 to 75 and to 100 years. It was Brahmacarya till the completion of education and initiation into the life of a householder that could last up to the age of 25 to the maximum and after that a person could lead the life of a householder till his final exit enjoying all the privileges of seeing the faces of sons, grandsons, great grand sons etc. In accordance with the dicta of Hindu Law (Dharmasastra) a man could enter the life of a householder at the age of sixteen, which was normally the last stage of acquisition of education in the relevant period in case of princes in particular. Persons in royal service acting emissaries as apostate monks, wandering mendicants etc. could take to the life of Vanaprasthins or Samnyasins at the raw age of flushing youth etc. 2. SACRAMENTS OR SAMSKARAS Dhanapala has described the pre-natal, post-natal or samskaras of childhood, the educational, the marital and funeral samskaras all in accordance with the exigency of the situation required to be depicted. Garbhadhana or conception is the pre-natal sacrament described and illustrated with full background marking its urgency and inevitability of performance. According to Dr. Raj Bali Pandeya, "The rite through which a man placed his seed in a woman was called Garbhadhana. It must have taken a very long period for the evolution of this samskara. In the beginning procreation was a natural act. A human pair copulated, whenever there was a physical demand for it, without any anticipation of progeny, though it was a usual consequence. The Garbhadhana Samskara, however, presupposed a well-established home, a regular marriage, a desire of possessing children and a religious idea that beneficent gods helped men in begetting children'.2 1. TM Vol. III p. 659. 2. Hindu Samskaras p. 48.

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SOCIAL AND ECONOMIC CONDITIONS 329 Dhanapala has called the bliss born of the world of creatures (Gitariceh) as quite well-known in the world (Clasf4GH) or wellestablished in the world; necessitated by the objects of senses (faq G"); fit to be performed through religious merits (queira F ); fit to be tasted by the senses (SSRUKE); fit to be enjoyed under the affluent circumstances (haft 44); suitable for the enjoyers of the earth i.e. the kings (HEIGHT TRUM);' etc. All this alludes to the process of procreation entailing sexual enjoyment or copulations of the male and the female in so far as the following clause says "He i.e. Meghavahana failed to derive the pleasure of embracement of the limbs of the self-born i.e. the son"? Because - All the reasons do not bring about fructification unmindful of the hour of the advent of action performed in the previous birth i.e. all happenings are recumbent upon the fruits of actions performed in the previous birth. That is why inspite of his being in the new blooming age (i.e. youth) and maintaining a huge harem, he did not get even a single son even within the span of a longer interval of time. His youth having spelled out and the age of renunciation approaching close he became an object of ridicule and censure at the hands of devarsis', 'the manes', 'the progeny of the Iksvaku race meant to cling to him from behind', 'the Sri', 'the subjects', 'the youth', 'the dicta of the Vedic lore' - the fact which made him suffer from a fever of anxiety in his heart like the acrimonising Cupid. The dicta of the Vedic lore (Srutidharma) cast a vitriolic censure on him asking him to be away with protecting others when he himself deserved protection against the 'Naraka' named 'Pum24 which derives its source from Kadambari " zrutaputrANAM kila na santi lokA: zubhAH punnAmno narakAttrAyata putraH iti quoting Mahabharata taking the original from the Aitareya Brahmana." Hence the polygamous harem of Meghavahana enjoying the privileges of insemination from the king has been shown resulting in the failure of "Garabhadhana' in any of the ladies of the harem. Even his chief consort Madiravati had failed to get the satisfaction of being the mother of the 1. TM Vol. I p. 78. 2. Jachc44ftasfifa 778z"79T1 TM Vol. I p. 78. 3. TRI Tafa auf U Y THAI 4154cyfa 79:1 TM Vol. I p. 79. 4. TM Vol. I p. 80. 5. Kad. Katha p. 104 M. R. Kale (Purvabhaga). 6. Try all his trifa orta yra fag: Ait. br. V. 2. 13 p. 96.

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TILAKAMANJARI OF DHANAPALA crown prince even though she has been described by Dhanapala as the receptacle of love of Meghavahana, catering to the latter's entire affluence of Trivarga or the threefold alms of human existence such as Dharma, Artha and Kama. She had provided him with all the earthly amenities and luxuries. His youth was fruitful owing to her. His dalliance had its taste brimming to the full. His sports were enviable. The great occasions of joy brought him glee. The world of creatures looked rosy to him. He adhered to the fiat of Cupid and took to all the facilities of the life of a householder. The reason for the moroseness (a) of the queen was nothing but the anguish born of issuelessness even when she remained by his side every moment in the midst of the group of kinsfolk, performing all the religious rites meet for a housewife," 330 Too much of indulgence has been described as the main cause for the issulessness of the king as predicted by the Vidyadhara sage, who suggests to him to the austere penance of propitiating Sri who could bestow on him the boon fulfilling his cherished desire. He handed over the armour fuming a talisman to the king muttering the holy syllables of charm quite slowly in his cars. The boon by Srt conferred on the king' he observes due formalities of approaching his queen quite ceremoniously. Having reached the Suddhanta (Harem) and seen Madiravati there he made her sit on his own golden seat and indulging in all types of wheedling artifices reminding her of undergoing all the inconveniences of her separation from him he applied unguents, decked her with ornaments, applied forehead mark to her, provided car-peduncles to her and even decorated her with a crest-chaplet with his own hands." The preliminaries ere to the coition have been literally depicted. He brought her to the bed having embraced her close-her, who gave a charming look twice as before on account of those morbid transformations caused by passions born in excess from her love for her lover (i.e. the king) and manifested immediately on account of his assuming that garb looking glamorous, having seen her for long with a steadfast gaze. And slept there along with her. The night remaining very little he saw in dream the elephant, the vehicle of Indra sucking milk having drawn it again and again. with the hand, the huge lotus, as it were, placed on the pitcher-like breasts. 1. TM Vol. I p. 94. 2. bhuktabhUyiSThamadhunA vartate tavApatyasantatipratibandhakamadRSTam / TM Vol. 1p. 97. 3. TM Vol. 1 pp. 98-99 rakSAmantrAkSaramayakavacamupakarNazUlamanuccakairuccaritAkSarapadastAM vidyaanyvedyt| 4. TM Vol. I p. 153. 5. savilepanAM sAlaMkArA satilakAM sAvataMsau sazekharAM svakareNa tAM ckaar| TM Vol. II p. 178.

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SOCIAL AND ECONOMIC CONDITIONS 331 He construed the psychology of the dream manifesting the fruit of the boon conferred by Sri foreboding the birth of a son and narrated the same to Madiravati after she had woke up earlier.! All this presupposes the performance of copulation anticipating Garbhadhana or conception which has been illustrated by its distinguished marks in the following lines. She became doubly glorious as if approached by conception with limbs stuffed with horripilation terrific and over-spreading on account of the burden of joy. Very few days had clapsed when her menstrual flow stopped. She bathed and bore her foetus in her womb, the refulgent splendour which was as though the form of the Autumnal sun. She became pallid even when she had obtained immunity from menstrual discharges. Even though unable to walk she placed her paces sluggish with languor or sluggish with sportiveness. Even when emaciated she became doughty in frame. Her gaze became white. Her gait became slow. Her posteriors became obese. Her breasts bore their nipples black in hue. Her waist lost its sliminess etc. Here again the 'Garbhadhana' has been described as coming into action after the flow of the menstrual discharge and her womb conceived on some night falling between the fourth and the sixteenth day." Pumsavana or the rite quickening a male child can be understood in the application of the secret lore instructed by the Vidyadhara sage. This lore might have been the usual rite obtained in the Vedic texts whereby this rite was performed in the third or fourth month of pregnancy, on the day when the moon was on a male constellation on Tisya particularly. The pregnant woman was required to fast on that day. After bath she put on new clothes. Then in the night the sprouts of the banyan tree were pounded and the juice was inserted into the right nostril of the woman with verses beginning with "Hiranyagarbha' etc. Even Kusakantaka and Somalata were pounded with the sprouts of the banyan tree. The puerperal longings or dohadas' of Madiravati have been referred to. Simantonnayana was the third Samskara of the embryo. That rite was called Simanta, in which the hairs of a pregnant woman were parted. The purpose of this Samskara was partly superstitious and partly practical. 1. TM Vol. II pp. 178-179. 2. AnandabharavijRmbhamANoddAmapulakopacitasarvAvayavA ca pratipanneva sadyo garbheNa dviguNopajAtazobhA tatkSaNamajAyata TM Vol. II p. 180. 3. Hindu Samskaras p. 51. 4. Ibid. p. 61.

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332 TILAKAMANJARI OF DHANAPALA People believed that a woman in her pregnancy was subject to attacks of evil spirits and some rite should be performed to ward them off. The invocation of Sri required to be performed by the husband in order to keep away the evil demons lurking on to devour the foetus as ordained by the "Asvalayana smrti' can find its counterpart in the entire ritual performed by Meghavahana in order to propitiate Sri with the secret charm afforded to him by the Vidyadhara sage. The ritual performed by Meghavahana is preceding even the Garbhadhana as a special case because all the issues born to Madiravati used to be devoured by the evil spirits as can be guessed to be the psychological aspect on the whole problem. 'ujjhitAnyakartavyena vRddhasaMpradAyAgatAni vividhauSadhAni prayuMjAnena mahAnarendralikhitAni mantrakaraNDakAni vanAtA dRSTapratyayapratItaparivrAjakopadiSTanItyA snapanamaMgalAni pravartayatA zuddhAntajaratIjanena zazvakriyamANa garbhagrahaNopacArAbhiH putrakAmyantIbhiranta:purakAminIbhirvidhIyamAnavividhavratavizeSam referring to the old ladies of the harem performing typical rites foreboding the development of the foetus, the growth of the male child and security of the child against evil spirits gives a clue to the idea of the triplefold sacraments of Garbhadhana, Pursavana and Simantonnayana. Her ardent longings to bathe along with her female friends, in the water of the Manasa lake, limpid like the autumn, when she felt malaised while bathing in the water founts established in the yards of the lounging chamber; to stroll about the gardens of the plateaus of the Kulaparvatas abounding in the creepers of the blown wish-granting trees when she felt ennuied during the heat of the mid-day; to witness the dance performances played in the open by the nymphs during the eventides, in the shrines of the Siddhas belonging to different islands engirt by oceans, surrounded by the gods; and her attending to the divine tales of the kathaka ladies- all these go to illustrate the point that the foetus in her womb gave her the sublime tendencies and attitudes of mind making her certain about its fructification without the obstruction of evil spirits etc. The narrative, therefore, covers up the rite of Simantonnayana which entailed the parting of the hair of the woman in the fourth, fifth or up to the cighth month of pregnancy to keep her in good cheer and to avoid any physical shocks etc. The Jatakarma Samskara was actually the process of delivering the baby at the completion of the ninth month and advent of the tenth month of pregnancy. This Samskara has been illustrated by Dhanapala as under : 1. Hindu Samskaras p. 64. 2. TM Vol. II pp. 161-62. 3. TM Vol. II p. 181.

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SOCIAL AND ECONOMIC CONDITIONS 333 "And gradually on the completion of the nine months added by a few days (Madiravati) gave birth to a son of extraordinary form to the supreme joy of the whole subjects, born for the first time, in an hour that had raised its mouth aloft, pleased as it were on seeing the suspiciousness of the zodiac, in a zodiac free from all calamities, observed by the auspicious planets brimming with curiosity as it were, stationed in very high solstices in their respective order and in a sacred Muhuta and on an extremely beneficent day associated by the best suited Tithis, Varas and Karanas." TITHI, VARA, KARANA Tithi-a lunar day (30th part of a whole lunation of rather more than 27 solar days; 15 Tithis, during the moon's increase, constitute the light half of the month and the other 15 the dark half; the auspicious Tithis are, Nanda, Bhadra, Vijaya, Parna. Var Brs ic. 2 Gobh Sankh. Gs Mn. etc. (Monier Williams) Vara-Turn of a day under the regency of a planet or a day of the week(they are-Aditya, Soma, Mangala, Budha, Guru, Sukra and Sani)? Karana-a calculation (astronomical-one) an astrological division of the day (these Karanas are eleven;-viz. vava, valava, kaulava, taitila, gara, vanija, vishti, sakumi, catushpada, kintughna and naga-two being equal to a lunar day. The first seven are called-adhruvani or movable; and fill, eight times repeated the space from the second half the first day in the moon's increase to the first half of the fourteenth day in its wanc; the four others are dhruvani or fixed and occupy the four half days from the second half of the fourteenth day in the wane of the moon to the first half of the first day in its increase. Var. Brs. (Monier Williams) The dance revelry following the birth of the son brought the king i.e. the father of the child and husband of the queen quite into a joyous mood. The circumstances under which he entered the 'Prasutigrha' are reminiscent of the 'Jatakarma' sacrament. "The lord of the earth, too, with highest bliss experienced by him, determined the zodiac connected with the delivery of the queen along with the group of soothe sayers (Ganakas) who had placed their eyes on the *Nadika' or watch placed in the centre of the iron vat full of water and who 1. pUrNeSu ca krameNa kiMcitsAtirekeSu navasu mAseSu sAratithivArakaraNAzrite'tizreyasyahani puNye muhUrte yathAsvamuccasthAnasthiteH kautukAdiva zubhagrahairavalokite vizuddhe lagne lagnacArutAdarzanajAtaparitoSAyAmivordhvamukhyA ERRI a ta aith fear TG-1- f 4446447477474TM Vol. II p. 182. 2. Sce Sanskrit-English Dictionary by Monier Williams

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334 TILAKAMANJART OF DHANAPALA had come there (for that purpose and having listened to the efficacy of the planet of birth described quite in many ways did his performance of ablution and other acts on an auspicious muhurtta, returned his followers or entourage and entered the Prasutigrha or Maternity Chamber of his beloved with maternity rites being performed therein quite specdily by the ladies busy in their affairs quite hardby. The maternity chamber had the din of the auspicious ditties organised therein by the old kinswomen carrying the grains of unhusked rice, flowers strewn therein, having entered therein, with their feet washed freshly. It had its skirts encompassed round by the valiant people wielding swords dug up on all sides. It was glamorous with the pair of auspicious ewers clinging to the panels of the doors, having on their spouts strewn about the sprouts of holy trees. It had scared away the movement of the squint cyed ladies as well as the circle of evil spirited souls (doing harm to the life of the child) by the gloom of the smoke of incense and incense of amber cmitting out strong odour. It had rituals connected with the safety of the newly born baby being demonstrated manifoldly by the old ladies of the harem with blessing squatting quite close to the bed (of the queen) speaking out-"Render the square of the mansion attractive with the plaster of white sandal", "Prepare at various places, the Svastika- marks with the power of gems; "Hang the new wreath of mango sprouts on the gate'; "Bestrew the offering of blown lotuses in the interior"; "Arrange immediately, on all sides, the sprays of propitiatory water"'; "Present the adorable Sasthidevi"; "Paint thc plaster of jatamatrs or the goddess Gauri, Padma and others numbering sixteen and governing the food consisting of cow's ghec; "Commence the adoration of the civilized old ladies"; "Draw on all sides of the bedstead, the line formed out of the ashes meant as a protective charm spelled out quite recently," skilled as they were in the wordily etiquette in its entirety talking in laudatory terms with the ingress of outside servants interdicted accordingly. It had cups of water meant for drinking the suffusion of dry ginger being cooked down by the fans waved on continuously. It had its interior illumined by the auspicious lamps. It had its glory excelling the glory of the triad of worlds, by the people scanning the face of the baby, marvelled as it were, having got up, with their positions steadfast with their souls thrilling up all the more. 1. avanIzvaro'pi paramotpannanivRtijalakaTAhakroDanikSiptanADikAnihitacakSuSA gaNakanivahena nizcitya devyAH prasavalagnamAgatena muhUmUhuranekaprakAraiH kRtopavarNanamAkarNya janmagrahabalaM bAlakasya kRtamajjanAdikRtya zubheH muhUtte nivartitAnucaralokaH parigataprAntamutkhAtakhaGga samanto vIrapuruSaiH prazastatarupallavAstRtamukhena dvArazAkhAsaMginA maGgalakalayugalenAvabhAsitamudAragundhodAragugguladhUpadhUmAndhakAradUrIkRtaduSTacakravakrAkSIsaMcAramaciradhautacaraNAbhiH pravizya sAzIrvAdamanta: prakIrNakusumAkSatakaNIbhirbandhuvRddhAbhirAbaddhamaGgalagItakolAhalamadattabAhyaparijanapravezena

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SOCIAL AND ECONOMIC CONDITIONS 335 According to the ancient texts - "The Jatakarma ceremony was performed before the severing of the navel cord. This seems to have been the original time, but later writers state that if the time expired it was performed at the end of the ceremonial impurity of ten days or if the birth took place during the impurity caused by a death in the family the ceremony was postponed until its expiry. In later times the moment of birth was noted with meticulous care for preparing horoscope as it was thought to be a determining factor in the life of the child. Then the good news was brought to the father. Different sentiments were expressed at the birth of a boy and a girl, as different prospects were depending on them. The first born was liked to be a boy, as he freed the father from all ancestral debts. But for a sensibleman a girl was not less meritorious, because her gift in marriage brought merits to the father. After this the father went to the mother in order to see the face of the son, because by looking at the face of the new-born son the father is absolved from all debts and attains immortality. Having seen the face of the child, he bathed with his clothes on, invited the elders and performed the Nandi Sraddha and the Jatakarma ceremony. Nandi Sraddha is an auspicious one. Thereafter the 'Medha-janana', Ayusya and 'prayers for strength of the child were performed." Dhanapala has practically followed this pattern. The king consulted the astrologers regarding the hour of birth of his son and took his bath and performed other rites. The ladies of the harem performed all the charms to scare away and ward off the evil spirits and other wicked elements likely to prove harmful to the health of the child. The burning of incense and incense of amber is believed to be the means to ward off these evils. The plaster of white sandal in the courtyard, the drawing of Svastika marks, the hanging of mango sprout-wreaths, presenting of blown lotuses and spraying of propitiatory water- all these constitute the scope of the Jatakarma Samskara. The adoration of Sasthidevi, Jatamatrpanala, the drawing of lines of ashes, maintaining of the cups brimming with water suffused with dry ginger syrup etc. equally maintain the tempo of the ritual which marks the security of the health of the child immediately after birth. prazastAlApinA sakalalaukikAcArakuzalena kuruta haricandanopalepahAri mandirAGgaNam racayata sthAnasthAneSu ratnacUrNasvastikAn datta dvAri nUtanaM cUtapallavadAma, vikiratAntarutphullapaMkajopahAram kArayata sarvataH zAntisalilakSepamakRtakAlakSepam Aharata bhagavata paSThIdevIm Alikhata jAtamAtRpaTalam ArabhadhvamAryavRddhAsaparyAm, nidhata paryanteSu zayanasya sadyAbhimantritA rakSAbhUtirekhAm ityAdi jalpatA talpanikaTopaviSTena zuddhAntajaratIjanena kriyAmANavividhazizurakSAvidyAnamaviratacalattAlavRntanirvApyamANasanAgarakSodapAnodakazarAvamadhikodaJcitAtmabhiracaMcalA --vasthAnastthAya vismitairiva tribhuvanAtizAyizobhamabhaMkarUpamavalokayadbhirmaGgalapradIpa prakAzitAbhyantaramadUrasthitAtmavyApArasatvarasUtikaM priyAyA: prsuutigRhmaavisht| TM Vol. II pp. 184-185. I. Ilindu Samskaras pp. 73-77.

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336 TILAKAMANJARI OF DHANAPALA Following on Dhanapala says the king marked the distinguished lines on the palm of the child which predicted his future paramountsy. In lieu thereof he released all the captives and arranged a celebration of festal melee for one complete month.' Namakarana Dhanapala has illustrated this sacrament in as many as two cases - those of Harivahana and Malayasundari. In case of Harivahana he refers to the naming ceremony having been performed on the tenth day after the birth of the child when the Sasthijagara? (the waking on the sixth day after the birth of a child when the creator is supposed to enter the mother's chamber and write the child's destiny on its forehead). On the tenth day he arranged the adoration in all the shrines of gods to be performed, honoured the group of friends and relatives, paid obeisance to the preceptors or elders, bestowed in charity on the Brahmanas averse to wordly gains, thousands of kine accompanied by calves and caparisoned with ornaments and heaps of gold. Since he had seen the vehicle of Indra (Satamanyu) in a dream, he took cognizance of this fact accordingly and in line with the psychology of the dream gave the name, 'Harivahana' to the child supported by the limitation in sense as well as in sound in communion with the one part of his own name. Malayasundari while narrating her woeful tale to Harivahana calls herself the sole scion of Kusumasekhara and Gandharvadatta, the king and queen of Kanci. She further narrates that as soon as she was born she was addressed in plain words before the king, by the soothsayer Vasurata by name, well honoured on account of his predictions coming out true a thousand-fold, knowing well the real imports of the whole of the lore of auspicious omens, being foremost of all the fortune-tellers his eyes brimming with water of tears born.of joy over the fruit of the circumstance (prevailing at that time) 1. TM. Vol. II pp. 185-186. 2. Ibid. Vol. II p. 196. 3. Monier Williams under Sasthijagara. 4. atikrAnte ca SaSThIjAgare samAgate ca dazame'hni kArayitvA sarvanagaradevatAyataneSu pUjAma, mAnayitvA mitrajJAtivargam, abhyarcya gurujanam dattvA, samAropitAbharaNAH savatsAH sadRsrazo gAH suvarNa ca pracuramArambhani:spRhebhyo viprebhya: svapne zatamanyuvAhano vAraNapatirdRSTa iti saMpradhArya tasyaiva svapnasya sadRzamAtmIyanAmnazcaikadezena samudAyavAcyena cArthena 4fefanter Rale sa ficho C# ITM Vol. II p. 186. 5. Ty durade Haufe:.... 3114-ahi HH144914R0144archT GATI TM Vol. II p. 177.

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Y 337 SOCIAL AND ECONOMIC CONDITIONS in conformity with the planets working contemporaneously to the effect that she (lit. this maiden) being eminently meritorious would become a receptacle of abundant blissful enjoyments. She had taken birth in that type of zodiac.' In light of that prediction Kusumasekhara arranged a huge festal melee as he would do on the birth of a son, surrounded by many vassals, having come to the chamber (maternity chamber) or Prasutigrha, that had heaps of flowers strewn therein, had a dais of pearl stones established inside, had its Verandah or courtyard swept clean by the spurting sprays of extremely scented water and had white auspicious wreaths tied to the arched gate. And at the end of the tenth day when all the kinsfolk had assembled with auspicious preliminaries brought to being engrossed in traditional rituals of his heritage, gave her the name 'Malayasundari'. According to the general rule of the Grhyasutas the Namakarana ceremony was performed on the tenth or the twelfth day after the birth of the child with the single exception of the secret name which was given in the opinion of some, on the birth day. But the later options range from the tenth up to the first day of the second year.2 The Niskramana Samskara As enjoined by the scriptures, the time for performing the Niskramana Samskara varied from the twelfth day after the birth to the fourth month." The twelfth day could suit only because after the tenth day the name-giving ceremony was performed. For performing this the child was required to be taken out of the Sutikagrha or the maternity chamber. The general rule, however, according to the Grhyasutas and the Smrtis was that the Samskara took place in the third or in the fourth month after the birth."'4 According to the Muhurtta Samgraha this ceremony was required to be performed the maternal uncle, whereas the parents could do it normally." 1. jAtamAtrAyAmeva mayi samastadaivajJAgrataH sareNa sakalanimittazAstrata iva vedinA sahasrazaH saMvAditAdezatayA paraM saMmatena vasurAta nAmnA sAMvatsareNa sphuTIkRtya tAtkAlikagrahANAM dazAphalamAnandAzrujalApariplutakSaNena kSoNIpateH puraH spaSTAkSaramidamAdiSTam eSa kanyakA nikAmaM puNyabhAginI bhAjanaM bhaviSyati bhUyasAmupabhogasaukhyAnAm, IdRze ca lagne TM Vol. III p. 178 2. tAto'pi toraNabaddhaharitavandanamAlamuddAmagandhekacchaTAvicchedavirajIkRtAjiramuparacitamauktikacatuSkaM pAtitapuSpaprakaramAgatya mAturme bhavanamanekarajagolakaparivRtaH putrajanmaH sadRzamatimahAntamutsavamakArayat atikrAnte ca dazame'hani samAgatasamastajJAtilokaH pravartitamaGgalopacAraH svagotrAcArakarmaNyatisAdaro malayasundarIti me nAma kRtavAn / TM Vol. III p. 179. 3. Hindu Samskaras p. 84. 4. Ibid. p. 86. 5. Ibid. p. 87.

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338 TILAKAMANJARI OF DHANAPALA This ceremony with reference to Harivahana and Malayasundari can be presumed to have been performed at the time of the Namakarana which took place on the expiry of the tenth day after the birth of the two children as illustrated by Dhanapala. The Annaprasana For quite some time the child was nourished on the breasts of the mother but gradually as it grew it required richer nourishment when the quantity of milk in the mother's breasts also diminished. According to the Grhyasutras and the Smstis of Manu and Yajnavalkya advocated the age of six months as suited for this Samskara. But Laugaksi advocated the time when the child grew teeth or when it could digest solid food. Giving food before the fourth month was strictly prohibited. The last limit was one year, however, mixture of curd, honey, ghee, flesh of the birds Bharadvaja, Kapinjala and ghee in abundance were also prescribed.' Harivahana has been described by Dhanapala as being nourished on the breasts of the nurses who had delivered quite recently getting thereby the radiance of his physical frame. His Annaprasana and allied sacraments were performed by the ecclesiast or Chaplain (Purodha) himself, who was a second Brahman as it were and who was conversant with the entire ritual sponsored by the Vedic lore.2 The term "3242HIGHackia !" implies the performance of the "Cudakarana' and 'Karnavedha sacraments also in case these were essential for a Ksatriya also. The first i.e. 'Cudakarana' was performed in order to keep away the ring worms on the head which wore short hair. While the second or the 'Karnavedha' or the boring of ears was performed in order to escape the diseases of hydrocele and hernia. The first was performed at the end of the first year or before the expiry of the third year while the second was performed on the tenth, the twelfth or 1. Hindu Samskaras., p. 87 2. Ibid. pp 90-91. 3. krameNa ca prasavadivasAdArabhya tatkAlopajAtaprasavAbhirabhinavayauvanopacitaparimaNDalastanIbhiravyaGganIrogAGgayaSTibhiriSTa viprayogAdibhirduHkhairanupAtaptAbhirAptatayA nipuNamavadhRtAbhirdhAtrIbhiranavaratamupacaryamANasya zuddhapakSacandramasa iva pratidivasopacIyamAnadehAvayavakAnterakhilavedoktAvidhividA vedhasevApareNa svayaM purodhasA nivartitAnaprAzanAdisakala re.... etc. TM Vol. II pp. 186-187. 4. Hindu Samskaras p. 94. 5. Ibid. p. 96.

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SOCIAL AND ECONOMIC CONDITIONS 339 the sixteenth day after the birth of the child or before the teeth of the child came out. Prince Harivahana has been shown reaching the age of five before all these sacraments were performed in his case. Within the period of these Samskaras (the post natal ones) every possible care was taken by the king Meghavahana to secure and ensure the health and prosperity of the child. He arranged the lustration ceremonies to be performed thrice a day i.c. morning, noon-tide and evening by the old ladies of the harem carrying all the relevant materials of auspicious rites. He made the prince to be brought to thorough wakefulness time and again by very active and expert exercisers or sorcerers or charm-players gone to accomplishment by their skill in the exorcising of charms and by the physicians gone past all the branches of the science of medicine or Ayurveda. The ladies of the harem fondled him one and all. His lovely form had been bedecked with precious ornaments inlaid with innumerable gems of great efficacy in many places. His path was followed by the groups of palace guards, carrying weapons. Thus had he (i.e. Harivahana) spent five years of his age in the harem having his movements knowing no bounds and enjoying many types of pleasures of sports along with children of protectors of earth having their glossy curls dangling about their cheeks, on the shores of canals (lit. artificial streams), in the palaces of the Nandanagrove, on the peaks of the pleasure mounts and on the bejewelled mosaics naturally beautiful,2 3. EDUCATIONAL SACRAMENTS (Samskaras) The Vidyarambha "At the advent of the sixth year when (Harivahana) had attained to some refinements of the physical charms and had developed some leaning towards the understanding of the letters (of the alphabet), the king (i.c. Meghavahana) managed to be constructed a temple of learning of blameless nature just in his own palace in order to superimpose discipline and made a collection of teachers of learning, every now and then, who were innately opposed to the idea of taking to the path of vice, who had taken birth in the best lieges of men, who had their arguments and sayings free from fault on account of their being conversant with the vital points of all the scriptures and who had served well in the Gurukulas or various abodes of learned 1. Hindu Samskaras., pp. 102-103. 2. TM Vol. II p. 187.

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340 TILAKAMANJARI OF DHANAPALA teachers."' This easily conforms to the dicta enunciated by the ancient lores that when the child became competent to understand the preliminary exercises in alphabet, he was put in charge of the learned teachers in order to bring him trained in the world of wisdom. This Samskara was actually merged with the Upanayana which trained the child in all the proceedings connected with the study of Sanskrit scriptures, which hardly needed a preliminary training in the alphabet because Sanskrit was the lingua franca of the time. But as this language became a monopoly of the learned and subsidiary dialects came into being the necessity for the special Samskara of vidyarambha arose. This Samskara is conspicuous by its absence in the Grhyasutras and Dharmasastras whereas modern paddhatis, viramitrodaya (Samskara prakasa Vol. I, p. 321 ff), the Smrti-candrika (Samskarakanda) (p. 67 ff), the Samskararatnamala of Gopinatha Bhatta and the commentary of Apararka on the Yajnavalkya Smrti mention it accordingly. According to Viramitra the age for the performance of this Samskara was five while an anonymous Smoti quoted in the Sodasa, Samskaravidhi, has extended it up to the seventh year. Dhanapala has conformed to the dictum of Viramitra and illustrated the point of Vidyarambha in case of Harivahana at the age completing its fifth year and commencing the sixth. The Upanayana "34fe From '34 + + faz is a technical form referring to the terminology proper 'The Upanayana has been mentioned by Dhanapala who describes this Samskara pertaining to Harivahana. The version refers to the king (349f74fa) (Meghavahana) who performed the 'Upanayana' of his son through them (i.e. the Vidyagurus) on an auspicious day and in an auspicious Muhutta (moment) having accomplished all that deserved to be undertaken-the son, who had taken his bath and had donned an upper-scarf formed out of pure silk-yarn; who had his frame anointed with fragrant sandal paste; who had a cluster of pearls (i.c. a necklace) worn over his chest; who had a forehead mark applied out of rocanadye on his forehead; who had borne a crest chaplet made out of the sprouts of malati; who had shown special reverence on account of his spruce attire; who was glamorous with the lustre of his frame white like the bright 1. avatIrNe ca SaSThe kiccidupajAtadehasauSThavasya vyaktavarNavacanapravRttervinayAropaNAya rAjA rAjakulAbhyantara eva afahaufare: Rihan.............. FETIL UTEZE: TEC TM Vol. II pp. 187-188. 2. Hindu Samskaras pp. 106-110.

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SOCIAL AND ECONOMIC CONDITIONS 341 shine of Sarasvati risen up again. They, with pleasure enhanced by special honour, taught him in due course of time, all the scriptures such as Vyakarana (i.e. grammar) after he had obtained the preliminary knowledge of the alphabets. In the Vedas the meaning of the word 'Upanayana' has been construed variously as - "taking charge of a student," "initiation of the child by a teacher into sacred lore" etc. The idea of the second birth through Gayatri mantra dominated the stage later on.? The 'Upanayana' corresponds with the 'Naujat' (the new birth) of the Parsis that is performed in case of Parsi children at the age of six years and three months. This ceremony was most essential for the first three orders or else they were not allowed to continue as dvijas or twice born and enjoy the privileges of their race such as marriage within the Aryan pale etc.' In the Sutra period Upanayana was allowed at the age of eight, eleven and twelve in case of Brahamana, Ksatriya and Vaisya children respectively. To begin with this samskara was performed by the father himself who acted as the teacher of the child but later on it assumed the garb of a ritual wherein joint meal, bath, wearing of kaupina, girdle, the sacred thread, the Ajina, holding of staff, etc. along with the symbolical performances of filling the hands with water, touching the heart, mounting the stone, taking the charge of the student by the teacher by circumambulating fire, the chanting of the Savitri mantra, enkindling of the sacred fire, the rounds for alms, etc.-were rigidly and meticulously conformed to. Scriptures enjoin the performance of Upanayana in case of a Brahmana in Spring, of a Ksatriya in Summer, of a Vaisya in Autumn and of a Rathakara in the Rainy season." The intellect of Harivahana being very acute he became conversant with all the lores very shortly in so far as he had all the scriptures well within his reach, had not fallen a prey to impudence, had his sire prone to discipline and his preceptors putting their heart and soul in work. He mastered the 1. upaninye ca tebhyaH zobhane dinamuhUrte nirvatite samastetikartavyaH snAtamanupahatasUkSmakSaumakalpitottarAsaGgamanuliptAgaM mAmodinA malayajarasena pratyurasamAmuktamuktAkalApamuparacittarocanAtilakaruciralalATamuttamAGgaghaTitamAlatImukula gaNDamAlamavadAtaveSatayA savizeSadarzitAdaramabhyutthitAyAH punaH sarasvatyAH sitAMzudhavalayA zarIracchAyayeva cchuritmaatmjmvniptiH| pUjAvizeSavAdhitaprItayazca lipivizeSadarzanapura:saramazeSANyapi vyAkaraNadIni zAstrANi tasmai *444&ITM. Vol. II p. 188. 2. llindu Samskaras p. 115. 3. Ibid. p. 112. 4. Ibid. pp 117-118. 5. Ibid. pp. 127-140.

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342 TILAKAMANJARI OF DHANAPALA fourteen branches of knowledge along with their accessories well within the span of ten years. He learnt the arts in their entirety but specialised in painting and lute-playing. This covers within its fold the Vedarambha including four Vedic vratas such as Mahanamni, Mahavratam, Upanisad and Godana etc., which actually became a formality losing all importance in later times and paved the way for the proper study of the different subjects of study or branches of knowledge which grew into separate treatises having evolved from the Vedas themselves. Of the four Vratas only Kesanta the fourth one survived in later period assuming a separate entity as Samskara.' The Samavarttana or Snana (The end of Studentship) This has been illustrated by Dhanapala in the following lines wherein it is described that Harivahana was brought back to the palace by his sire, the king quite with pomp and dignity. He had prowess of arms outlying that of the gods as well as demons and had his physique robust innately like that of a lion's cub. All the scriptures finding maturation in him all the lores on weapons becoming seasoned in him, the sayings of the suave coming close to him, the flushing youth overpowering him, his limbs finding the glamour of radiance, his home return having been approved by his preceptors, when he had gone past the age of sixteen, the king immensely jubilant brought him back to his palace with full pomp being followed as he was by the chief functionaries sprucely attired and bearing dignifying looks, despatched by him in order to call him (back). According to Dr. Pandey - "This Samskara' was performed at the close of the Brahmacarya period and it marked the termination of the student life. Samavartana means"returning home from the house of the Guru" 1. kumAro'pi satatAbhiyuktatayA gurUNAM niyantraNaparatayA pituravidyamAnatayA durvinItasaMnidheH svAdhInatayA sarvagamopanibandhAnAM kuzAgrIyatayA ca nijabaDheralpenaiva kAlena teSAmabhyantaro'bhavat amuktAbhiyogazca dazabhirabdaizcaturdazApi vidyAsthAnAni saha srvaabhirupvidyaabhirvidaanyckaar| kalAzAstraM ca niravazeSa viveda, fast afatifu aturara a veturat 979 TM Vol. II pp. 188-189. 2. Hindu Samskaras pp. 141-145. 3. Ibid. p. 143. 4. bhujabalaM cAsya vismApitasurAsuraM kesarikizorasyeva sahajaM zArIramabhavat ArabdhakAryasya tribhuvane'pyazakyamavijeyamasAdhyaM ca kimapi na praayennaabhuut| evaM ca pariNatAzeSazAstramAsAditasakalAstravidyApAramupalabdhasarvabudhajanasAdhuvAdamArUDhanavatAruNyalakSmIlabdhaparipUrNasarvAvayavazobhamanumoditavidyAgurujanena harivAhanamatikrAnte SoDaze varSe harSanirbharo rAjA visarjitairAkAraNAya sAdaramudArAkAraveSaiH pradhAnapuruSairanugamyamAnamatibhUyasA vibhavena svbhvnmaaninaay| TM Vol. II p. 189. 5. Hindu Samskaras p. 146.

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SOCIAL AND ECONOMIC CONDITIONS 343 tatra samAvartanaM nAma vedAdhyayanAnantaraM gurukulAt svgRhaagmnm|' samam A vikalpAt varttanam iti smaavrtnm| "To return together optionally" with the permission of the Guru to the parents' home. It was called Snana because bathing formed a prominent part of it, signifying the washing off of the vow of continence etc. or divinity: Whereas scriptures enjoin the age limits ranging between 18 and 24 for the completion of student-life, Dhanapala following Banabhatta enjoins it at sixteen when Harivahana came back to his father's abode to enter his house hold life. Proceeding on Dhanapala refers to the LEGO trei or the auspicious rite marking the entry into the palace of Harivahana who obtained the privilege of having a 'Kumarabhavana' or the 'Prince's chamber' got built by Meghavahana, attractive with many a mews for tuskers and steeds, provided with door sides decorated above with gold ewers dug up on both sides and bearing pillars of the arched portal in the form of steady clouds bent low by the fortification decked with an expansive moat on the outskirts of the capital. 4. THE VIVAHA SAMSKARA (Marriage Ceremony) According to Dr. Pandey 'The Vivaha is the most important of all the Hindu Samskaras. The Grhyasutras generally begin with it, because it is the origin and centre of all domestic sacrifices. They presuppose that every man, in his normal conditions, is expected to marry and run a home. The Rgveda (X.85-Vivaha Sukta. pp. 696-699) and Atharvaveda (XIV. 1.2, pp. 305-314) refer to this institution elaborately. Marriage was regarded as a sacrifice and one who did not enter the married life was called "one without sacrifice", a contemptible term, indeed, for the Hindus. Taittiriya Brahmana says-"He indeed is without sacrifice who has got no wife." It again adds "He is himself a half-man, the second half is woman." Dr. Pandey further adds - "When the theory of three debts evolved, marriage gained greater importance and sanctity, as it was through marriage that one could pay off one's ancestral debt, by producing children." Prof. R.P. Kangle takes marriage to be the foremost duty of the householder. The law concerning 1. Viramitrodaya Samskaras p. 146. 2. RfITG4 FIRAR 44791 Vol. I. p. 564. cff. I. p. 146. 3. Hindu Samskaras p. 146. 4. Hindu Samskaras p. 153. 5. 374511 al Tea qu : 1 T. Br 6. 37277 37871 a yg 31644: Ayat: 1 Ibid. II 9. 4. 7.

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344 TILAKAMANJARI OF DHANAPALA marriage and the relation between husband and wife is fully stated in three chapters of Arthasastra of Kautilya.' "All transactions begin with marriage," says Kautilya.? Eight forms of marriage have been enunciated as in the Smrtis. In light of these injunctions of the scriptures, Dhanapala says - "It is the duty of the householders to protect their wives." "The fiat of Cupid deserves to be adhered to and the establishment or traditions of the household have to be honoured" as illustrated by Meghavahana with reference to Madiravati, along with - "The cause for the ill-health of both of us given to observe all the vows undertaken and getting accumulated every day on account of respect and devotion for the gods and the elders or manes, having by our sides all the time the group of kinsfolk, rendered accomplished by the effluence of riches, is nothing beyond the torment caused by issuelessness. That, by illluck, has become extremely unbearable." illustrates the point enunciated by Kautilya that women are wooed for the sake of progeny or wives are (necessary) for having sons. The king failing to get a son through Madiravati and any other of his wives, becomes disgusted with the circumstances and finds it very difficult to adjust himself with his queen even when gone to bed with her every night. He is superstitious enough to believe in the law of Providence and loves to go to the forests to propitiate some deity at the call of the royal bard. He does not forsake his queen in order to give a place to another. Rather in his polygamous harem there is no cause for him to desert one and marry a second. He has failed to get a son from any of his queens out of which he prefers Madiravati and goes to propitiate Sri ultimately to get a boon from her at the command of the Vidyadhara sage. Years have elapsed eight, ten or even more i.e. twelve etc. and yet he has failed to get a son out of any. He cannot therefore, abide by the law of Kautilya (III 2.38-41) which enjoins divorce and compensations if a wife remains barren or bears no son or bears daughters alone throughout this period or bears still born children (nindu) "3fathast Fearch TTHHI H afet: "" 1. KAS III 2-4 and the Kautiliyam Arthasastram Part III p. 151. 2. faglegat 26R: KAS Part. III. 2. 1. p. 98, Part II p. 227. 3. FAGRYRYCH TEN : TM Sm. ed. p. 318. 4. HH12 42727311 PERFET TE Tefefa: TM Vol. I p. 94. 5. Eef: fe fa: KAS III 2. 42 part I p. 100, part II p. 230. 6. TM Vol. III p. 9.

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SOCIAL AND ECONOMIC CONDITIONS 345 is another phrase which pronounces the fact that girls when grown up do require a man to approach them. This essentially illustrates the exigency of marriage in youth. "kAMcIgrahaNarakSaNavidhAvadhirUDhagADhAbhinivezayorabhinavoDhadampatikarapallavayozca" refers to the process of snapping and keeping intact the zone girdle in sexual sport or hymeneal sport and the subsequent arousal of passions in case of a newly wedded couple whose sprout like hands betray a ruddy glow. This represents the author's allusion to the practical aspect of a righteous marriage (a Dharma Vivaha). Of the eight types of marriages Dhanapala has alluded to some of them. In the marital tie of Meghavahana, a scion of the Iksvaku ksatiyas and Madiravati, a scion consecrated on the head,? we find the Prajapatya mode which has been defined by Kautilya as - sahadharmacaryA prAjApatyaH' or the + joint performance of sacred duties is Prajapatya. The Gandharva mode forms almost the bedrock of the theme of the entire prose romance. According to Kautilya 'mithaH samavAyAd gAndharva:"5 "By a secret association (between lovers) it is the Gendharva.""6 This mode is illustrated in the marital tie of Taraka, son of Vaisravana and Vasudatta of Suvarnadvipa having Manipura for its capital and Priyadarsana, daughter of Jalaketu of Simhalas having Rangasala for their capital. __ parasparopacArakarmaNA ca prauDhimupagate tatra kadAcidArUDhanavayauvanA tridazavaniteva zApadoSAnipatitA manuSyaloke nikAmakamanIyadarzanA priyadarzanA nAma tasya jalaketoH sutA sutAravRttamauktikaprakalpitaM hAramAdAya piturAjJayA gatA tdgRhm| dRSTazca sa tayA prathamadarzana eva rUpAtizayadarzanArUDhadRDhatarAnurAgayA, saspRhamupanItopAyanA ca sthitvA kaMcit kAlaM kRtapratyupacArA tena punargatA svasadanam, anurAgapreritA ca tadarzanAzayA taistairvyapadezairAgantumArabdhA prtidinm|| refers to the Gandharva mode of marital tie, between Taraka and Priyadarsana, which is secret in the sense that it has been arranged by both 1. TM. Vol. II p. 196. 2. ahamapIkSvAkukulasambhavo bhoktA'sya kiyato'pi bhAratakSetrasya vartamAnakSoNIpAlApekSayA bhUyasA vibhavena bhUyasA prabhAvena bhUyasA senAparicchadena bhUyasyA prabhuzaktyA bhUyasya ca bhuumnnddlaavaaptyaa| Ibid. I, p.94. 3. KAS III 2.3. part I p. 98, Part II p. 227. 4. Ibid. III 2.3. part I p. 98, Part II p. 227. 5. Ibid. III 2.6. part I p. 98, Part II p. 227. 6. Ibid. III 2.6. part I p. 98, Part II p. 227. 7. Ibid. Vol. II p. 275-276.

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346 TILAKAMANJARI OF DHANAPALA by means of the nuptial garland put into the neck of the lover by the beloved with the consent of the sire of the latter. The sire of the former i.e. the lover has not been illustrated as come into the picture. The following lines describe the exchange of reciprocity in love messages which are verbal and not written, which ultimately ensure the final consent of the beloved as elicited by the lover. "kumAra! tvayA gRhItapANiH kathamahaM visaMsthulIbhUtamAtmAnaM saMvRNomi, kathaM ca gehAdito gRhAntaraM gacchAmi, sAmpratamidameva me tvadIyaM sadanamAzrayaH sNvRtH"| The ideal, 'quicefa MEHTAPC44" 'i.e. a gem of a maiden should be wooed from a lower order has been deemed the basic psychological factor in the Gandharva mode. Dhanapala has illustrated, an analogous instance of Parasara i.e. Vyasa (son of Parasara) who wooed Yojanagandha, a maiden of the lower order, in times of Yore whereby he justifies the espousal of Priyadarsana, a Kaivartta maiden perhaps belonging to the lowest order i. e. Sudra or any intermediary caste, by Taraka who eschewed the rigidity of law under considerations. This implies the 'Anuloma' type or the inter-caste element permissible in Gandharva mode. Savarna could easily be permissible likewise. Even 'Pratiloma' could be a possibility. The love episodes of Samaraketu and Malayasundari, Harivahana and Tilakamanjari are such that they are absolutely based on the motif of a Gandharva Vivaha. Malayasundari narrating her tale of woe before Harivahana narrates the happy occasion on which she saw prince Samaraketu (yuraghr) from the southern wall of the fortification built round the shrine of Mahavira jina, the adorable. The prince was eighteen years old. This implies that Malayasundari was less than eighteen years at that time and hence of marriageable age which according to Kautilya could not be less than twelve. "A woman twelve years of age attains majority, a man when sixteen years of age. If after this there is a failure to carry out marital duties, there shall be a fine of twelve Panas for the woman, twice that for man.">>4 This has been entitled as the topic of marital duty. The first meeting in the form of sight-seeing of Samaraketu by Malayasundari created a sense of 1. TM. Vol. II p. 277. 2. duSkulAdapi grAhyamaGganAratnam ityAcAryavacanaM manasi kRtvA svajAtinirapekSaH tatraiva kSaNe jvalantamantarmadanAnagaM sAkSIkRtya bhUyo gRhItapANistAM cakitamRgazAvalocanAmatyantamanurAgAndhAM yojanagandhAmiva pArAzaraH prnnyiniimkRt| Ibid. Vol. II p. 278. 3. Ibid. Vol. III pp. 197-200. 4. start af M E RT yafa, us91 94: 947 KAS III 3.1 part. I p. 100, Part II p. 232.

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SOCIAL AND ECONOMIC CONDITIONS marvel in the heart of the latter who started expressing great regard and felicitations for the personality of the youth that he was- a fact which endorses the idea of 'love at first sight." 347 As did she continue marvelling in this way, the shark-bannered god (Cupid) entered her heart having taken grasp of the sentiment of love, as if spiteful, in order to present his own form.""2 The evanescent feelings of horripilation, bashfulness, hesitation etc. manifesting in her she saw that prince with a gaze beyond the ken of her own understanding. The subsequent morbid transformations of the visual complexion of the prince, his casting of wistful leers, manifestation of contortions on his body, his humour-provoking behaviour towards the chowri bearing maid, his posture to paint a picture on the canvas, his varied actions of looking at distinctive limbs of the beloved (Malayasundari) and his final resort to send the Kaivarta as a courier to negotiate the terms of reciprocal attachment and fascination, the subsequent introduction of the prince, Malyasundari's reaction and consultations with Vasantasena, the daughter of the king of Avantivisaya, who narrated the account to the prince- all these go to illustrate the point of secret association (between the two lovers) forming the main substratum of the Gandharva mode. The first sight creating a sense of dazed emotion on the brains of the lovers resorting to prostrate at the feet of the beloved, personal qualms and compunction of the lover, the subsequent reaction of the beloved acknowledging the entreaties of the lover, the action of the courier, the surge of sympathy in the heart of the beloved whom seeing the lover taking to reckless endeavour of plunging into the ocean in case of disappointment from her, condescends to take to the path of self-choice (ifaf) which was not averse to the conduct of the royal-maidens,' an ideal already established by Kalidas. But this act of self-choice actuated by the sense of mutual attraction, unapproved at the outset by the parents, has been deemed as laughter-provoking in the presence of so many people, by Malayasundari." She speculates over the 1. dRSTvA copaMjAtavismayA cetasyakaravam aho, niravadhiratnasambhArA bhagavatI bhUtadhAtrIti satyaH pravAdo'yam yena pRthupArthivopadezAtsumerumukhyaiH zikharibhiH prayatnadugdhaniH zeSaratnAyAH apyamuSyAH dRzyante IdRzAnyadyApi puruSaratnAnyutpadyamAnAni yeSAM rUpalAvaNyAdiguNagaNaH kusumamArgaNasyApi rUpagarvamapaharati / TM Sm. ed. pp. 276-277. 2. Ibid. Sm. ed. p. 277. 3. aviruddho hi rAjakanyAjanasya svayaMvahavidhi: / TM Sm. ed. p. 288. 4. gAndharveNa vivAhena bayo rAjarSikanyakAH zrUyante pariNItasvAH pitRbhizcAnumoditAH / Abhijnana-sakuntalam Act III 21. M. R. Kale p. 118. 5. kathaM punaretAvato janasya madhye vartamAnasya hAsakarametatsArahaM kartavyam TM Sm. ed. p. 288

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348 TILAKAMANJARI OF DHANAPALA idea of following her lover while taking refuge in a covert (lit. fort). She prefers, however, to take to the status of his spouse by some resort whereby she could remain unobserved by her girl-associates. She even subscribes to the view propounded by Kalidasa' that even when not in communion and union with her lord she could deem it a privilege to bear the title of a house wife of that repertory of all the virtues. Her avowal to take to continence in face of any other person further strengthens the threads of the Gandharva mode. On seeing the garland meant to be worn as a token of self-choice ( i ) the lover resented to accompany the sailor back home. He rather instructed him to take Drdhavarma and his party back home because he was not in a position to leave that spot on account of his having obtained the gem of a maiden that was very difficult of obtainment. He takes that garland forming the token of self-choice in marriage as the noose wound round the neck of a cow-elephant and even as a garland worn round the neck of a person meant to be impaled on the stake and shuns any idea of getting back home as she had him fast in her clutches of fascination and even resents any idea of losing her when she had come to his lap, accordingly.' He takes Malayasundari to be his natural beloved (374 184614) and deems the memory of her love in separation as the excision of a saw that is extremely tormenting for the heart. He, however, plunged into the ocean in spite of being made to desist from this reckless temerity. The beloved followed suit. But as good luck would have it both survived their watery grave. Given to sorrow on the supposed death of her lord the beloved suffered the aftermath of separation in bereavement. Bandhusundari, her chaperon reads her mind and says - "That same prince who has been solemnised by her as her consort by putting the floral wreath on his neck, it is very difficult to dissuade her from 1. anAturotkaNThitayoH prasidhyatA samAgamenApi ratirna mAM prti| parasparaprAptinirAzayo zarIranAzo'pi samAnurAgayoH / Malavikagnimitram III. 15 M. R. Kale p. 2.37942454419 4 49484125TRT HatufUENC 3576: 1 TM Sm. ed. p. 288. 3. 7464RA HET 944764167- ryani Ibid. 4. Ibid. Sm. ed. p. 290. 5. fechalaca RTCITY: Ibid. 6. mayA tu na pradezAditaH padamapi pratIpaM gantavyam yntrito'hmtraivaanyaa| tatkaradvayInibiDasaMdAnitayA kareNuriva kaNTharajjvA svayaMvaraNamAlayA na zakromi vadhyazrajamivodvahannimAM kandharAbaddhAM bandhulokaM drssttum| kiM DIE GENA U FTOPAXIFTERIU faqenetcare Alfa HEZI Ibid. Sm. ed. p. 291. 7. yasmAdetenApi tatrAkRtrimapriyatamAnurAgasmaraNadAruNakrakacadAritahRdayamarmaNA dvitraireva divasaiH pravAsanIyAH praannaa| Ibid.

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SOCIAL AND ECONOMIC CONDITIONS 349 wooing him even by hundreds of entreaties, firmly resolved as she is to own him. Her grief to be sure, is born of his plunging into the ocean." Acting as her go-between Bandhusundari intercedes on behalf of the courier of the lover who she believes would certainly come to the beloved in so far as the revered Vasurata could never be a man of failing words. She makes her take leave of all malaise and recounts the words previously quoted by Vasurata that she was bound to be the spouse of a paramount sovereign. Solaced by Bandhusundari Malayasundari drew the picture of her lord on the canvas and repeatedly gazed over it in order to satisfy her sense of attachment. As a Prositabhartrka she continued reclining on hope taking to variety of regalements. The advent of spring augmenting her torment, a catastrophe took its stride. Katyayanika, a maid of the harem coming from Kusumasekhara broke the news that the king had accepted as wager for peace with Vajrayudha, the army in chief of Meghavahana, the bestowal of his daughter (Malayasundari) in marriage or else Kanci along with its regions would be razed to the ground. This brought the beloved to go in for crying having clasped Bandhusundari whom she spoke-"Without having known the attitude of mind and having disregarded the opinion of my mother, without seeking the advice of kinsfolk holding opinion in my favour, what has been taken upon by my sire, even though he is extremely affectionate to me." Hence girls could express their own opinion in the choice of a husband. The forced decision of the parents could be undone by persuasions and threats of suicide as in the present case wherein Malayasundari asked Katyayanika to go since she was to make a firm decision about the acceptance of the proposal. Having eluded Bandhusundari Malayasundari resorts to the act of strangulation by a noose from where she is rescued by the former with the help of Samaraketu who happened to reach there on hearing the laments of Bandhusundari. Samaraketu is forced to leave that place as ordained by his 1. yaH saH ko'pi kaNThe kusumamAlAmAropya kalpito varatvenAnayA nRpakumAraH, tasmAtra zakyate vAkyazatairapi fadfigura fagicise LR46 APART: ITM. Sm. ed. p. 295. 2. fagene f a rrfaqera: 1 7 seatisef: Agfafsacfa i Ibid. 3. avijJAya maccittavRttim anAkarNya vacanamambAyAH anavalambya matpakSajJAtivargam tathAtyantavatsalenApi kiM Ff giftig afgri feria Ari andai Ibid. Sm. ed. p. 299.

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350 TILAKAMANJARI OF DHANAPALA sire to help the sire of Malayasundari.' Before leaving he is requested by Bandhusundari to take Malayasundari away before Vajrayudha came to elope with her perforce thereby resorting to the 'Raksasa' or 'Paisaca' modes of marriage which consist in 'by forcible seizure (of a maiden) or 'seizure of a sleeping or intoxicated (maiden).3 He believes in diplomacy in political intrigues. He wants to rank himself higher than Vajrayudha and take the 'Prajapatya'5 mode (joint performance of sacred duties) even when he has already taken to the Gandharava mode in so far as he says - 'iyamapyucitakAriNI tvadIyA sahacarI vivAhasamaye 'pazya varamukham' iti vyApAritA priyasakhIbhiH kathamAnandanirbharA me vadanamavalokayiSyati, tadalamanena karmaNA / mA tvarasva / saH kramaH ko'pi cintanIyo yena dAtumetamudyataH kAMcIviSayAdhipo'pi niSidhyate / virodho'pi sArdhamamunA na vardhate / iyamapi prItikAriNI piturbhavati / In case of resentment by the children parents could yield to the demands of the former. "Kusumasekhara, at the outset deems the resentment of his daughter a freak of wicked destiny in so far as he had desired to bestow in marriage, Malayasundari, over to Vajrayudha in order to keep the demon of war at bay (lit. to do away with hostilities), at the advice of the minister as also affording no authenticity to her (i.e. queen's) words and had apprised the principal couriers, of the auspicious hour of bestowal, despatched by him accordingly, but this obstacle has blocked the way." He easily balances the two alternatives in his mind. In case he gave her over to Vajrayudha having disregarded all filial love, in order to obtain the security of subject folk oppressed under the onslaught of the mighty foe, she could easily put an end to her life either by a weapon, by taking poison, by strangling herself by a noose or by abstinence from food, ardently addicted to attachment for some other person as she was, becoming automatically repulsive to any person other than he. She having gone to extinction the sin and bad name accruing to him till the end of the aeon, shall never come to a cease. In case he did not bestow her, the enemy brought to peace, shall come to hostilities 1. TM. Sm. ed. p. 299. 2.: KAS III 2. 8. Part I p. 98, Part II p. 227. 3. :| KAS III part I p. 98, Part II p. 227. 4. yadA tu chalena rAtrAvupetya prANabhUtAmasya duhitaramapaharAmi, tadA tadapakArakRtyeSu nityameva niSaNNabuddhervajrAyudhasya mama fff TM Sm. ed. p. 326. 5. KAS I. III. 2-3. p. 98 6. TM. Sm. ed. p. 326.

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SOCIAL AND ECONOMIC CONDITIONS 351 like an arrow strung up getting disjoined when unshot immediately. The opinion of the mother is sought. She easily agrees with the resolve of the father (i.e. her own husband) that the bestowal of their daughter be assented to nor resented openly. A via media should be evolved. The supposed rumour about the loss or death of the daughter by accident comes out to be the alternative that ultimately solves the riddle. She is subsequently made to leave her home and go to the hermitage Prasantavaira where Kulapati, the foster sire of her mother took the responsibility of her care. The prediction of Vasurata forms the basis of this decision. The vague rumour about the dubious whereabouts of Samaraketu further aggravates the agony of the beloved who takes poison by way of the Kampaka fruit but is saved. She again plunges into the lake but is saved by Mahodara. The billet of Samaraketu brought by Gandharvaka turned into parrot enlivens her hope of sustenance and her vow of continence till her union with her lord, her meeting with Harivahana who ultimately helps her unite with her lord, after having himself united with his beloved Tilakamanjari who, too, meets her lord after a series of incidents all meant to foster the cause of Gandharva mode finally approved by the parents. The billet brought by Manjira before Harivahana and his entourage, purporting forth the message of Malayasundari to Samaraketu, blaming the latter for his negligence in fulfilling the promise he had held with due formalities of a persuasive art in so far as was resenting the idea of wooing her through elopement etc. and was willing to come to her within a few days to espouse her keeping fire as his witness, with mind unattached to any other maiden,' easily illustrates the basic principle of Gandharva mode which also finds its implementation in the present of a picture board to Harivahana by Gandharvaka who promised the former an ultimate union with his beloved Tilakamanjari but failed subsequently in its initial stages by the force of circumstances i.e. the curse of Mahodara to become a parrot, prompting thereby the lover to start personally on his journey for the Gandharva - contract and meet the maiden 1. yadi tAvadavadhIryainamavadhArya ca prabalavairivRndAvaskandapIDitAnAM prajAnAM kSemalAbhamanapekSitApatyaprItirenAmamuSmai prayacchAmi, tato niyatameSA jAtyaiva puruSadveSiNI puruSAntare'varUgADhAnurAgA zastreNa vA viSeNa vA vRkSazAkhodvandhanena vA prAyopavezanakarmaNA vA jIvitaM muNcti| asyAM ca paMcatvanupagatAyAmAkalpamayazo duSkRtaM ca me nopaarmti| atha na Welfa gaiseta Territa fara sa faaed faqen: 1 Ibid. p. 327 2. Ibid. Sm. ed. pp 328 -329. 3. akAraNadviSTairmadIyagurubhiH sAmaprayogopakrameNa kathaJcidapi na pratipAditAmApamAnAsahiSNutayA prasiddhamapahAya kramamapahAradInA prakAreNa mAmuddhoDhumicchannanucitakArI tvam ato mA tvarasva, setsyati tavaiSa kAmaH, yataH kapipayaireva divasairyatra...... patraprAyatApAdapagahane nigRhito madIyadUtikayA tvamanapekSitAparavivAhamaGgalopakaraNaH kevalenaivAgninA sanAthIkRtapArzvaH sthaasysi| sthitazca tatra dvitrAbhirAptasahacarIbhiH sahAnupadameva me samupasthitAyA: YITOTUE UTH-THIRT Daffa i TM Vol. II p. 244.

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352 TILAKAMANJARI OF DHANAPALA of his heart in a bower of cardamom creepers, feel an attachment for her at first sight, lose her sight on reciprocal attachment, meet her again through Malayasundari, meet Gandharvaka brought back to the state of a human being by the scarf named Nisitha and ultimately to meet her again through the boon of Sri after having separated from her under pressure of past memories. ___ 'AsAditaH ko'pi tatrAnyatra vA rAjaputryAstilakamaryAH pANigrahaNasamucito rAjaputraH" this query made by Samaraketu from Gandharvaka illustrates the point of despatch of couriers for the search of suitable match for certain category of maiden as for example, Gandharvaka was sent by Patralekha to search out a prince for the princess Tilakamanjari who having got Harivahana for her consort, has Samaraketu introduced to her by the latter who describes him as the self-chosen consort of her sister MaLayasundari being the son of Candraketu, the illustrious lord of the island of Simhalas. Taraka's entreaties to Malayasundari to rescue the life of Samaraketu on the very first sight contains the idea of self-choice in so far as he says - ___'bibheSi bhAvino vyasanAt, apekSase janataH sAdhuvAdam, icchasi kanakapaTTabandham, tadvilAsini, mAvidhehi dvidhA rUpam, Azraya svayaMvarapatham" "unmukhadRzastasya kandharAyAmadhiropitA svahastena divyA svayaMvarakusumamAlA yathA ca tilakakriyAnantarameva kenApi hetunA samupajAtAccittaviplavAt'" refers to the act of putting the garland on the neck along with the application of the forehead mark. "kRtazirovaguNThanA tasya nRpakumArasyAM kaparyaMkAdekadeze kamalinIpalAzazayanasyopAvizam"5 refers to the traditional custom of wearing a veil on occasions of feeling some sense of reverence on the part of the wife towards her husband; otherwise the veil-bearing on the face was not a custom rigidly adhered to by women in their regular marital relations and family life. "kAlAntare ca sakalavaraguNopetena nirvyAjasuhRdA mahArAjatanayena gatvA tvayA gRhItapANiH kramAdhigatavRttAntasya piturapi parAM priitimaavhti| illustrates the point that in self choice even and in marital contrast, the virtues of the bridegroom were the foremost consideration. The Gandharva varastvadIyAyAH svasurmalayasundaryAH 1. TM Vol. III p. 3. 2. so'yamakhilasiMhaladvIpabharturmahArAjacandraketorAtmajanmA svayaMvRto sakalavIravargAgresaro yuvarAja: smrketuH| TM Vol. III p. 124. 3. Ibid. Sm. ed. p. 285. 4. Ibid. Sm. ed. p. 310. 5. Ibid. Sm. ed. p. 313. 6. Ibid. Sm. ed. p. 326.

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SOCIAL AND ECONOMIC CONDITIONS 353 mode has been categorised in the marital tie of Kusumasekhara and Gandharvadatta.' vivAhamaNDapamiva dRzyamAnAbhinavazAlAjisaMskAram refers to the wedding pavilion having a newly constructed courtyard before it. The word 'Agni saksikam' referred to above covers within its fold the rites of Agni-Pradaksina and 'The Saptapadi' associated as they are with the expression 'Panigrahana' which is preceded by Rastrabhita and other sacrifices such as Jaya, Abhyatana and Lajahoma. The Rastrabhrta, Jaya, abhyatana etc. contain prayers for victory and protection and aim at hostile powers known or unknown to the bridegroom. The last Homa (i.e. the Lajahoma) is symbolical of fecundity and prosperity. The brother of the bride pours out of his joined hands into her joined hands fried grains mixed with Sami leaves. The bride sacrifices them with firmly joined hands standing, while the bridegroom recites the verses. In panigrahana or the grasping of the brides hand' the bridegroom seizes the right hand of the bride with - 'I seize your hand for the sake of happiness, that you may live to old age with me, your husband, Bhaga, Aryama, Savits, Purandhi, gods have given you to me, that we may rule over house' etc. The stone-mounting ceremony followed by praise of woman precedes the 'Agni Pradaksina' or 'Agni Parikrama' wherein the wife treads on the stone to confirm her devotion to her lord and the latter praises her for devotion. In Agni Parikrama, the couple goes round the fire while the husband recites the formula 'To you they have in the beginning carried round surya with the bridal procession. May you give back, Agni, to husbands the wife together with offspring's'. The rites from the Laja Homa are repeated again and the bride pours the remaining fried grains by the net of a basket into the fire with," etc. In Saptapadi, the husband makes the wife step forward in a northern direction seven steps with the words 'one step for sap, two for juice, three 1. atha sa rAjA samupajAtaharSastadAsAdanena kRtakRtyamAtmAnaM manyamAnastatraivAzrame tAmupayamya samyagvihitena vivAhavidhinA Terdu Tag: HR 101417591 TM Sm. ed. p. 343. 2. TM Sm. ed. p. 371. 3. Ibid. VofII. p. 224 L.6 4. Hindu Samskaras p. 218. 5. Ibid. p. 219.

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354 TILAKAMANJARI OF DHANAPALA for the prospering of wealth, four for comforts, five for cattle, six for seasons, Friend be with seven steps (united to me). So be you devoted to me." This rite makes marriage complete. 5. THE FUNERAL RITES "AtmanAM'pi svaparasatveSu satA baddhabandhubuddhiH spardhayevAtmasUnoH samuddhRtagurukSamAbhAra: Richie aya'2 refers to the death of Meghavahana and implies thereby the 'Antyesti' Samskara. "Asannasariti nirvatitasrAnakriyazca dattvA saMgarasamAptaprANebhyo bAndhavebhyaH praNayibhyazca zokadIrghazvAsataralitatilodakaM nivApAMjalim" refers to the obsequial offering of sesames and water being offered to the victims of war by Vajrayudha. Antyesti implied carrying the dead on the bier laid upon with a deer skin (the skin being missed in modern days); the corpse covered with a new cloth having fringes on both sides; the bier carried to the burial in a procession and final burning of the sepulchral pile. The sacrifice of the Anustarani cow or goat is dropped in the present custom. It was in vogue in the ancient lore. Dhanapala has mentioned the sepulchral orbit having flames flickering above. "360eratalci fani zafa." (Farrafata:)-5 referring to the desperate deed of Samaraketu to burn himself on pyre refers to the word 'Cita' meaning a pyre which is a part of the funeral rite. There is no allusion to the Asthi Samcayana and santikarana etc. in the Tilakamanjari. 6. FAMILY LIFE, SOCIAL BELIEFS, SUPERSTITIONS GENERAL CUSTOMS AND TABOOS Dhanapala has established the ideals of a housewife, a son-in-law, a householder, quite evidently. In Madiravati he has depicted an ideal housewife. She was adorned by extremely pious character which had her beauty playing adjunct to it and her youth bearing the discipline (inherent in it). Her attractive form was an ally to her eclat. Her skill in art had been 1. Hindu Samskaras. p. 219 2. TM Sm. ed. p. 426-427. 3. TM Vol. II p. 222. 4. Hindu Samskaras pp. 234-274. 5. TM p. 49, L-3 Vol. III and TM III p.50, L-5

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Y 355 SOCIAL AND ECONOMIC CONDITIONS acquired by modesty (lit. silence). Her dignity sprang from her quietude. Her vicinity was constantly attended by her virtues that had their decorations assuming the garb of personal attendants. She had attained to the utmost height of over lordship and had attained to height of virtuosity. She was immune from lack of veracity and could never dream of the association of a wanton woman. Even though she had no progeny she was always nursed in his lap by her husband. She was the crest-jewel of the entire seraglio.' She has been depicted as a devoted wife who takes every act of her husband to be one in which she owes her duties as a co-sharer as to its performance. That is why she says "Revered lord; I do not want to stand in your way when you have started to achieve accomplishment in the act of obtaining progeny, but I want to make a request. Just as by you, so also by me the deities deserve to be propitiated; why should you take to sylvan abode having left me alone here; I dare not stay here derelicted by you even for a moment2 etc. The employment of plural in case of addressing of the venerable names or elderly persons has been described by Dhanapala as a common practice in the family life of Kanci. People, however, did not take to glib talks in achieving their selfish ends from others.3 Referring to the marital tie of Taraka and Priyadarsana daughter of Jalaketu Dhanapala makes it manifest that as husband and wife both of them developed a deep sense of conjugal felicity from their very date of marriage. Taraka took to all types of skilful cajoleries and tit bits that had their charm multiplied with the physical charms of that lovely maiden. He took to all types of wheedling artifices in order to amuse her and keep her in good humour. He did not superimpose his dignity of superiority complex upon her. He would take to momentary fits of gaiety and displeasures appearing at will. He would take to untimely but agreeable modes of restraints and releases being waited upon by his blooming youth day in and day out. He 1. paramazuddhizAlinA zIlenAlaMkRtA, zIlasahacAriNA rUpeNa vinayavatA yauvanena saubhAgyasaMginA lAvaNyena maunakalitena kalAkauzalena prazamabhAjA prabhutvena nipuNasevakairiva gRhItanijanijAlaMkArai: guNaiH satatamupAsitA... parAM koTimArUDhA svAmibhAvasya sarvadAsattve sthitA, asatyamuktA svepne'pyajAtasvairiNIsaGgA, nirapatyA satatamutsaGgena lAlitApatyA, samastAntaH puraziroratnabhUtA madirAvatI nAma devyabhavata / TM Vol. I pp. 82-83. 2. Aryaputra santAnakAryasiddhaye tava prasthitasya nAhaM pratipanthinI, kiJca punaridaM vijJApayAmi yathA tava tathA mamApyArAdhanIyA devatA evaM ca kasmAt parityajya mAmeka eva vrajasi vanam .... na ca tvayA virahitA muhurtamapi sthAtuM ... TM Vol. I pp. 96-97. 3. bahuvacanaprayogaH pUjyanAmasu na paraprayojanAGgIkaraNeSu TM Vol. III p. 172.

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TILAKAMANJARI OF DHANAPALA bade adieu to all types of extraneous enjoyments, addiction to other women and other household chores.' 356 Jalaketu belonging to Simhalas had obtained Priyadarsana as his foster daughter brought up by him having rescued her from the ocean in a naval accident. She was actually the daughter of a maritime trader. This fact was revealed to Taraka by those who knew the reality but he did not like to go back to his native land Suvarnadvipa despite the fact that he had been pressed hard by his sailor-colleagues and despite the fact that his kinsfolk had been very anxious to receive him back. Candraketu, the overlord of Simhalas, when he saw him come to the court chamber, welcomed him and offered him honour due to a son-in-law by appointing him leader of the whole naval-corps.2 Cakrasena's advice to Tilakamanjari intent upon self-immolation before she could hear the impending demise of her lord Harivahana, not to do so till she came across the real fact since he had heard about the survival of her lord and had despatched couriers to search him out, is reminiscent of the age old custom of Sati prevalent among the women of ancient India such as Mahasveta, Kadambari and many others delineated by Literature, who were made to survive under certain stipulations. The instance of Vasumati, spouse of Rajahamsa in Dasakumaracarita of Dandin is equally fit to be quoted here. Malayasundari taking to watery graves, poisonous herbs of the Kimpaka fruit (TM SM ed. p. 334, L-22), strangulation etc. is another instance fit to be quoted from the present context. (TM SM ed. pp. 333, 334 ) Sati custom was performed normally by consigning oneself to fire. In 1. tasmAcca pANigrahaNadivasAdArabhya nirbharAnurAgastayA parihAsamazrAntacitracATukramamaprakaTitasvasvAmibhAvamalpakSaNopajAyamAnAnekakopaprasAdamasthAnasaMpAdyamAnaspRhaNIyanigrahanu navayauvanopabhogamupabhogasukhamaparakAminIsuratasaMbhogAnAM sarvAMgasundaryA saha vivardhamAnavividhavidagdha -grahamanudivasamAsevamAno prAyacchadudakAJjAlim / TM Vol. II p. 278. 2. jAlaketunA kasyApi sAMyatrikasya tanayA vahanabhaGge sAgarAduddhRtya paripAliteyaddhiti tattvavedibhirAvedita tadIyavRttAnto'pi sahAgatairvaNigbhiH svadeza gamanAya punaH punarabhyarthyamAno'pi darzanotkaSThitena jJAtivargeNa sopAlambhavacanaiH sandezadAnairunmanIkriyamANo'pi trapayA sthito'traiva na gato nijasthAnam, AsthAnabhUmau upagatazca draSTumAkRtiguNAkRSTacetasA devena candraketunA nirvarNya suciraM parijanAdAkarNitatadIyapUrvAparavRttAntena cApalaM prati punaH punaH saparihAsamAbhASita madhuramAropitabahumAnazca jAmAtRpratipattyA dattvA jIvanamatiprabhUtaM kRtaH prabhurakhilasyApi nAvikatantrasya TM Vol. II. pp. 278. 229. 3. devi, madvAkyasaMkramitavacanastvatpitA cakrasenaH samAdizati sarvamucitamAcaritametadvatsayA, yadacirasaMbhAvinaM vinAzavRttAntamasahamAnayA zrotumagrata eva kartumadhyavasitaH svadehatyAgaH / ko hi nAma kulavadhUjana: prAkRtasyApi patyurapagame gamayati gRhItajIvito janma, kiM punaH pUrvajanmasaMbaddhasya sarvaguNanidherdRSTanirupadhipremasaMpadastAdRzasya | TM Sm. ed. p. 417. gRhavyApArayogAnAM ca

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SOCIAL AND ECONOMIC CONDITIONS 357 family life a woman, therefore, deemed it a sin to survive after her lord had been no more. "nidAghapatana iva nijatejasA tApyamAno guNAnuraktasyApi rAjalakSmyA durbhanAMganayeva nAramata" referring to Meghavahana refers to Laksmi running a way from him, issueless as he was, being a debtor to her (Goddess of Royal sovereignty), like a wife deserted by her husband or disliked by her husband (who also dislikes her husband in? lieu thereof). Regarding the Social Beliefs and Superstitions Dhanapala has conformed to the typical Hindu custom of implicit faith in the working of the Unforeseen or Destiny and the efficacy of omens, the fruit of action done in previous births and good or bad results consequent upon religious or irreligious observances. The prince of the king of Kalingas Kamalagupta by name making certain observations about the moods of Samaraketu who had heard the import of the billet brought by Manjira, read out by the billet- carrying maid, observes the following facts about the nature of Providence which had marred the gay atmosphere of the assembly of the youth. "Providence, being overpowering, is immanently inexorable like a sinister elephant run amuck. It moves without any restraint even when bound tight with the iron-shackles in the form of intellect, by the intelligent. The fruit-seeking men applying all forces fail to achieve their desired ends when it moves unfavourable like the wayfarers who fail to find their way out when the deer on the way move to the left." Samaraketu is feeling morose which gives Kamalagupta the impression that Providence is unfavourable to him and he is unable to find some way out of a difficult situation. "Prajnapatividya,"4 which revealed itself to Patralekha, mother of Tilakamanjari, predicting the bridegroom for the latter, may be called Premonition or precognition in para-psychology which is a natural basis for the calculated beliefs, of the people. 1. TM Vol. I p. 80. 2. KAS XIII 1.16 part I p. 257, part II p. 552. durbhagAlaMkAreNa dveSiNeti puujaaphlm| By decoration of disliked wife by one who hates. 3. nisargata eva niraMkuzaH pApakArIva vyAlo balIyAn vidhirbaddho'pi buddhimadbhiratinibiDena... niravagraho viracita, anafueig friqui gardul: pferrafa allegato alla c1414271f 319 fefa: 1 TM Vol. II p. 247. 4. TM Vol. III p. 14.

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358 TILAKAMANJARI OF DHANAPALA This Vidya predicted to Patralekha at night that her daughter Tilakamanjari was to have for her consort not a Vidyadhara prince but a prince of the terrestrial terrains, the likely paramount sovereign lord of the entire circle of kings. Despatching couriers and maids skilled in painting Patralekha feels halfconscious about her success in finding the fruit of her dream attaining to fructification. But still she bears faith by saying - "The power of Destiny is beyond cognition"! - By doing so, her (i.e. Tilakamanjari's) gaze may get pinioned on some earthly prince (better than a Vidyadhara one- a fact which seemed apparently beyond her precognition). Struck by sorrow at the loss of Harivahana, Samaraketu blurts forth a series of expressions which apparently assuming the garb of faithlessness actually pertain to his firm faith in the working of the unforeseen, the auspicious planets and the auspicious marks foreboding certain prosperity in future. His laments go as under: "Brother! that vision of the auspicious planets has slinked away. The foretelling of the soothsayers, of that type, have vanished away having taken recourse to uselessness. The effect of the auspicious marks of a paramount sovereign has got bedimmed. All that had been bestowed by the Goddess of royal sovereignty, has gone topsy-turvy on account of the fault of my fortunes void of auspicious marks that I am, in so far as you have met with an accident through that worm of a tusker, endowed with prowess known in the triad of worlds that you' were." Man proposes, God disposes, is a saying which is quite true to the fact occurring in the world. Samaraketu had got a fascination for Malayasundari for whom he became impatient to woo within a moment's notice. But Providence had different plant to ride upon. The impatience of the lover prompted the courier to carry the message of modesty before the beloved. The lover was so much swayed down by the charms of the beloved that he started seeing in her the entire store of his heart's repose whereby he made his courier speak out-"In your being favourable to him, the Providence will grow favourable. The deity will feel pleased in case you felt pleased. The 1. Bifer fe dazh: Taufuga afera hafa farfa par PI: TM Vol. III p. 15. 2. yra: fafea: : Tafeyici, a grifort au fufa: kSINazcakravartilakSaNAnAmanubhAvaH, visaMvaditamuditaM rAjyalakSmyA vigatalakSaNasya me bhAgyadoSeNa yena bhuvanatrayakhyAta vikramastasmAdapi karaTikITAdApadaM prApto'si TM Vol. III p. 48-49.

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SOCIAL AND ECONOMIC CONDITIONS 359 visions of auspicious planets would grow complaisant in case you grew complaisant" etc. Bandhusundari's assurance to Malayasundari that Vasurata was such a man whose foretelling could never go waste or untrue in so far as he had predicted her union with the prince who was likely to be a paramount sovereign and hence the loss of Samaraketu was a temporary screening of the vision of the prince, is again reminiscent of the firm belief in the sayings of the soothsayers that could forestall the Destiny of human being. Kusumasekhara intent upon bestowing Malayasundari on Vajrayudha as a wager for making peace and avoiding the massacre of the subjects at the hands of his hostile foe, finds it a miraculous freak of fate which he calls as wicked-souled one in so far as it had made his daughter disapprove of his proposal and create thereby an obstacle in his mission to save his subjects. In case he disapproved of his daughter's resolve not to subscribe to his contract of a marital barter, she could take to the path of self-immolation. The perplexity between the two alternatives is a doing of the unforeseen. According to Kautilya - (Acts) of human agency are all good policy and bad policy. Acts of divine agency are good fortune and misfortune. For, it is acts of human and divine agency that make the world go. That caused by an unseen agency is the divine (act). In that the attainment of the desired fruit is good fortune; of undesired (fruit), misfortune." The female guard Muktavali's expressions made before Patralekha about Gandharavadatta's previous identity also contain a belief in the freak of Destiny who had separated her (i.e. Gandharavadatta) from her parents in her early infancy when an enemy of her sire, a subsidiary vassal, had attacked the kingdom and razed it to the ground. The effect of certain tendencies of human mind and their reaction to what the mind observes is fairly reflected by the efficacy of omens which 1. tvayAnukUlaM vartamAnayAnukUlaM daivam tvayi prasAdavatyAM prasannA devatA, tvayi kRtAnugrahAyAmanugrAhikA grhdRssttyH| TM Sm. ed. p. 284. 2. TM Sm. ed. p. 295. also Vol. III p. 178. 3. dia 44 Gece daha fahi etc. See. 762. above. 4. daivamAnuSaM daivamAnuSaM hi karma lokaM yaapyti| adRSTakAritaM daivm| tasminnAdRSTena phalena yogo'ya: aniSTenAnaya: KAS VI. 2. 6.9 part I p. 165, part II p. 368. 5. devi, kimahamAvedayAmi mndbhaagyaa| daivamatra prssttvym| yenAsau saMbhramakAriNA nirastakaruNena dehamAtreNaiva bhinnA tavApi praznaviSayatAM niitaa| prApitA ceyamupajAtaparicayalokazokodrekahetumekapada evaatikssttmiidRshmvsthaavishessm| TM Sm ed. p. 342

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360 TILAKAMANJARI OF DHANAPALA normally consist in the activity of certain parts of the body or in the observation of certain birds or animals. Birds are called Sakunis, the former being a synonym for the omen as well, a fact which easily proves the nature of birds being symbols of certain omens auspicious or inauspicious. Dhanapala has shown Meghavahana taking to the religious duty of adoring Sri i.e. the goddess of sovereignty whose temple' he got constructed in the middle of his pleasure grove and unto whom he started offering homage the whole day long under the firm faith that she (i.e. the deity) will shower upon him the boon that would foretell the birth of a son to his queen. The intervention of the vampire Mahodara posing to be the favourite attendant of the deity and deeming himself to be the person on whose pleasure depended the pleasure of the deity, the subsequent vindication of the king through an ordeal of chopping off of his own head by the king, the appearance of Sri, the conferment of a boon by her-'all these are beliefs and superstitions which amply illustrate the point that Indians as a rule have great faith in the working of the evil spirits marring the smooth sailing of life and the efforts made to find out means to undo or avert those evils by means of propitiatory activities. Sri as deity has been deemed so powerful as to afford sovereignty to Purandra on the throne of the heavens, Vasuki in the Nethers (Patala), Kubera over the repertory of riches, She is responsible for affording the title "Ratnakara' or the 'mine of jewels' to the oceans. She is capable of raising to lofty status those who have mean mentalities. She has also been called a second 'Kamadhenu' sprung from the ocean, residing along with the heavenly tree a movable creeper granting desires, a living gem of thought, adored by the circle of paramount sovereigns etc. The same type of adoration indulged in by Harivahana' not finding Samaraketu etc. and his beloved further corroborates the above point that when a person is in trouble and is unable to find any remedy he deems the effect of the unforeseen instrumental in his getting into it and finds out some means of taking to religious observance etc., to expiate the sin performed in early days and to propitiate the deity etc., to obviate the evil effect of the sin. 1. TM Vol. I pp. 101-102. 2. Ibid. Vol. I p. 133. 3. Ibid. Vol. I pp. 134-149. 4. Ibid. pp 149-150. 5. Ibid. Sm. ed. p. 400.

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SOCIAL AND ECONOMIC CONDITIONS 361 Regarding Sri it has been further believed that she is possessed of eight arms and two forms. The efficacy of the finger ring offered by Sri along with the boon for the birth of a son, to Meghavahana has been stressed to the point that it would help Vajrayudha, the chief of the army-battalions, fight the foe safely during the nocturnal warfare.? King has been shown as superstitious enough to bestow profusely dripping cows followed by calves unto the Brahmanas pleased through adorations. The muttering of holy charms and syllables foreboding the birth of a child is equally reminiscent of the superstitions prevalent in the society. The belief in the predictions made on the basis of horoscopes and palmstudies (Palmistry) has also been laid down here. "Naimittikas'' have been construed as experts in understanding the omens. The princesses forestalling the signs of pregnancy in accordance with the sayings of the palmists have been shown as being blessed by the king to the effect that they could get good matches for the life-long journey. Karna pisaci has been construed by Monier Williams as the name of a goddess. But the commentator construes it to be a special lore indicating turpenting and past events charm whereby some invisible spirit (Pisaca) utters something quietly in the ears. Sometimes it indicates a good sign while sometimes it indicates a bad sign. King was anxious to get some clue to the good sign indicating the birth of a son. The kinsfolk of the king were even inquiring about the auspicious ensigns and their effects from the psychology of good dreams. Samaraketu narrating his experiences before starting from Simhalas for a digvijaya, in company of Taraka and other naval soldiers refers to the fact S Juy. 1. Yafa EGEGUI 15941 2. ayamapi bAlAruNAkhyo divyAkulIyakAlaGkAraH svamaryAdAtivartinAM duSTasAmantAnAM damanAya dakSiNApathamadhitiSThato vajrAyudhasya prasthApanIyaH vaktavyazca tatpradhAnapraNayIvijayavegaH eSa yAminIyuddheSu viSamazatrusainyasaMniruddhasya vajrAyudhasya uformufai ca 1004: Ibid. Vol. I pp 158-159. 3. Ibid. p. 159. 4. Ibid. 5. nRpatijJAtilokena horAkRSTiSu niyuJjAnenAGguSThakAdipraznaM prati prarvatayatA divAnizamupAsyamAnanaimittikam avitathAdezasAmu sfaciem H &MUHI TUTUITAPH14GOTE=T4 T51: Yufi : YARAHAHRT Ibid. p. 160. 5. Under Karna Pisaci 7. TM Comm. p. 160. fufferiflh1 719 Talatef acarafaga:, TEHT file: qufzui TRI Tanamaniacafati Atharvaveda V. 13-9 TM Vol. I p. 160. 8. cey/4947441f yooga I Ibid. Vol. I p. 160.

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362 TILAKAMANJARI OF DHANAPALA of deeming ocean as a deity for which a salute is offered by Taraka with folded hands before the start. The appearance of favourable omens propelling his attitude of mind towards a happy adventure,' such as the throbbing of the lower part of the lip and of the right eye in case of men has been described as indicating future happiness. This redoubled the courage of Samaraketu who in an earlier chat with Taraka had already given a cue to the latter that even when he had been apprised of by him that the voyage through the sea was not an easy job to accomplish on account of the ferocious fauna threatening life all the time, he had no fears since his intuition had been instigating him from inside not to turn back and had been impelling him to move ahead - a fact which he felt was being authenticated by the science of omens. "Prajnaptividya' or Precognition or Premonition over-showing the brooding mind of Patralekha given to reveries concerning the future marital tie of her daughter Tilakamanjari during the nocturnal hours in sleep forestalling the marital tie with a prince a paramount sovereign of all the earthly princes who would even reign over the Vidyadharas, is another belief that is based on the tendencies of human nature. Marching on in search for Harivahana carried away by the elephant and guided by the script of the latter brought by Paritosa, the special envoy of Kamalagupta, Samaraketu spent his night with immense satisfaction being given to him at every step by the prominent omens foreboding extreme beneficence, covering the movement pacing from right to the left, being made to take to that route rapidly even by the slow-blowing southern breeze blowing from behind and the breath gushing out of the cavity of the left nostril, prevailing in front. Hence the southern breeze blowing from behind and the breath issuing out from the left nostril in front, is an indication foreboding achievement in the desired object." Gone beyond the lake Adsst apara Samaraketu seated on the stone slab made of pearls reclined there and 1. praNatena mU| bavA namaskArAJjalimudanvate tatkSaNopanatAbhipretazakunapraguNitamanovRttiH pravartayAmAsa gamanAyanAvam TM. Vol. II p. 304. 2. uferari a TRT eta faryzafer YfH41efta fer aferui 779: Ibid. 3. yadi ca nimittazAstraM pramANaM tataH so'pi gacchatAmasmAkamiha nAsti, sarvatra nirapAyA pramodahetuzca yAtreyamiti bhAvaya svayaM tattvadRSTyA, nahi sanikRSTAyAmApadi durupapAdAyAM ca kalyANasampadi kadAcidIdRzI nirAtaGkatA tvarA ca Fergarafai Ibid. Vol. II p. 303. 4. anusRtadivasadRSTavA ca tatkSaNaprasRtena pRSThato dakSiNapavanena purato vAmanAsikApuTazvasanena saumyagatinApi satvaraM pravartyamAnaH, pratipannadakSiNavAmamArgaparaiH paraM zubhaM zaMsadbhiH ....pade pade praghAnazakunaiH padai padai dattAnivRttiH 2147471 Ibid. Vol. III pp 61-62.

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SOCIAL AND ECONOMIC CONDITIONS 363 with eyes closed by sleep he saw in a dream a tree of coral gems (Parijata druma), got out immediately from the Nethers' (Prasatala). When he woke up in line with the working of the dream he presumed that his meeting with his friend was a matter of smaller time.? As he marched on he found that the wild tuskers had started clapping their earflaps with the globular pates and had, therefore, started a trumpet call. The trees showered forth over his head, the grains of wild unhusked rice. The bees humming in clusters had started a Brahmaghosa (i.e. a chanting of Vedic mantras) as it were. The swans racing in front, had been directing the way, as it were. The wild antelopes standing facing the east, were, as if saluting him with circumambulations, at every step. His courage to advance ahead was being redoubled by the throbbing of the right eye and tip of the arm, at every moment. Hence the flapping of the ears of the elephants, falling of rice-grains from plants, the humming of bees during a match, the racing of swans in front, the presence of deer in the east are all auspicious omens which coupled with the throbbing of the right eye corroborate the idea of suspiciousness most eminently. Ere to the ingress of Citramaya reporting the non discovery of Harivahana gone in search for Samaraketu, Tilakamanjari speaks to Malayasundari; Sister! I don't know what to report now. My mind is awfully perturbed. This disgust has overpowered me without any reason. Even the agreeable talks of the people don't afford me pleasure. The sandal applied as unguent torments my limbs. My right eye throbs again and again as if viewing something extremely terrific. I do not know what is the reason behind this perversion of my nature that has come about without any opportunity. Has my sire started for the wilds? Has my mother started 1. FellyfeatureT44: Fan Paideig Testhai" 44.... Yifeilag44918tai Ibid. pp. 79-80, Vol. 2. GHE440 a vas: yqugavaa he 411441f44fermai fruta... Ibid. Vol. III p. 80. 3. anavaratakarNatAlAsphAlitakapolabhittibhiH sarabhasamAhanyamAnaprasthAnamaGgalatUrya iva vanakaribhiH anilacalitazAkhAgragalita sitakalikaiH zirasi vikSipyamANAkSatakaNa iva vanaspatibhiH, aGgasaGgasaMvellitalatAkhaNDoDDInairAbaddhamaMDalaM dhvanadbhirArabhyamANabrahmaghoSa iva madhukaraiH mAnuSadarzananisargakAtaraistvaritapadamagrataH palAyamAnairupadizyamAna kAtaraistvaritamagrataH palAyamAnairupadizyamAnamArga iva mallikAkSaH tatkSaNanipItArNobhiruttIrNaiH sarovarAd viralatRNastambakavalanArthamanuvelamavanamitamUrdhabhi: padepade sapradakSiNaM praNamyamANa iva prAGmukhaprasthitairvanahariNaiH pratikSaNaM ca sphuratA dakSiNena cakSuSA bhujazikhareNa ca foton4470714-ICHTE:...... YareIbid. Vol. III pp 83-84.

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364 TILAKAMANJARI OF DHANAPALA abstinence till she sees my face again? Or has any one else met with some mishap, tormented as he is because of my miseries?''! This unfolds the omen of throbbing of right eye in case of women as inauspicious coupled with all other instinctive and intuitive precognition's in para-psychology The Vaimanika (Javlanaprabha) presenting the necklace Candratapa to the king Meghavahana stresses the point before the latter that it was not proper for him to refuse that gift in so far as it was likely to bring about a reunion of the couples lost in a previous birth and corroborates his point by saying - "In this ocean of the world there came about the reminiscences of the previous births, extremely marvel-provoking and the connections get revived without any impediments, with objects, friends, kinsmen, of many types, whose relations were effected in many previous births and many a time, of the beings who act amenable to many types of actions." An unvirtuous man taking to evil deeds reaps the fruit of his actions in accordance with their performance is the same type of belief expressed by Kamalagupta while commenting upon the situation created by Manjira by bringing forth the billet that brought trustfulness on the visage of Samaraketu. The first meeting of Harivahana with Tilakamanjari in the bower of cardamom-creepers has been deemed by the former to be a maturation of the fruit after a long time affected all at one time, of the store of merits or virtuous deeds, accumulated in thousands in many a previous birth. Again on seeing Malayasundari donning the scarlet robes and wearing morose looks, he (i.e. Harivahana) recounts the effects of evil deeds performed in the previous births. 1. bhaginike, na jAne kimaavedyaami| atyarthamAkulaM me cittm| udgato nirnimitta evovegaH priyA api janAlApAH na janayanti priitim| anulepanAya prayuktamapi sAndramapi candanaM dunoti gaatraanni| pazyadiva kiMcidatibhISaNaM puro muhurmuhuH kampate dkssinnmkssi| na jJAyate kimasya kAraNamakANDa eva jAtasya prkRtivipryysy| kiM tAtena madviyogAdhigatavairAgyeNAraNya....hAraparihAra: kimanyasya kasyApi madduHkhaduHkhitasya janasya durjAtaM jAtam iti Ibid. Sm. Ed. p. 413-414. saMbhavati ca bhavArNave vividhakarmavazavartinAM jantUnAmanekazo janmAntarajAtasambandhairbandhubhiH sahadbhirathaizca nAnAvidhaiH sAdharmabAdhitAH punaste saMbandhAH smaraNAni, cAtyantavismayakarANi pUrvajAte: ato nAyamAlApo mohapralApa iti me fita:, 606-29 Reef=14&RYCH I TM. Vol. p. 124. LL-4-7. 3. FITR Rafaeftya: aa a fict: G71141044fquifai Ibid. Vol. II p. 248. 4. Cel a Haci, 37148 FERIG R hearifadhi yfir 4 11499498410 4141 Ibid. Vol. III p. 155. 2.

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SOCIAL AND ECONOMIC CONDITIONS 365 "Alas; The torments earned by the unvirtuous deeds performed in previous births are very difficult of being alleviated by the inspired beings who have devised means to that effect even most judiciously." Malayasundari bearing the strangulation-noose, Bandhusundari cried out for help. Samaraketu appeared on the scene. Malayasundari's reaction to that is the belief that he has been sent by the power of fructification of the virtuous deeds performed in the previous birth in so far as she got the privilege of getting into his lap, a privilege that could come to her only as a result of the virtuous deeds. Customs and Taboos Customs denote a wider significance. These cover within their fold the general way of behaviour on the part of the constituent elements of society, manners and etiquette's, celebrations of religious festivals, Food and Drinks, pastimes and sports. Taboos concein the field of prohibition and the social evils. Dhanapala has employed the expressions 'Upcara' and 'Acara" which mean 'custom or manner of speech4 and custom, practice, usage, an established rule of conduct,' respectively. The context in view is of the base born women of Ayodhya who took 'manner of speech' as a mark of social custom. In every society individuals are supposed to take to a set pattern of speech which becomes a model for all those who abide within a demarcated boundary of territorial jurisdiction. The base born women or the harlots of Ayodhya must have had a special way of addressing their paramours, their go-between, their customers, their tribal chaperons and all those who came into contact with them. That is why Dhanapala has defined the terms 'Upcara' and 'Acara' distinctly within the fold of a common expression. The manner of speech was taken as a type of mannerism by those women. This is what can be understood ultimately. The coquettes have a set way of talking which becomes a usual way of mannerism in society. The house wives or the brides of the same town have been described as following a way of conduct which is perfectly righteous and idealistic. They were such as would attend to their household chores every moment. They 1. BET Hikvifadeq[ 4 ferifra: aquafq-..... yeayyare: 1 TM. III. p. 169. 11.8-9. 2. cintayantI ca tadacintitaprAptamanekajanmopArjitaiH sukRtakarmabhirapi durApamAkalpAvadhikRtaistapobhirapi duHsAdhyaM gy H HICH Ibid. Sm. ed. p. 312. 3. 349R4aRqG144-14: TM Vol. I p. 50. 4. Monier William (Sanskrit English Dictionary) under Acara. 5. Ibid. pe..137

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366 TILAKAMANJARI OF DHANAPALA had a special penchant to abide by the advice of the elders. They attired themselves in spruce but ungaudy costumes. They shone forth with their skill in conforming to the connections (Acara) of their respective families. They were tormented in their pitcher like breasts on account of pliance and bashfulness i.e. their protuberance and softness made them feel shy of their sight by men owing to bashfulness forming a natural ornament of their person. They were accustomed to wear loaded ornaments and therefore felt badgered or else they had no cause of anxiety and torment born of molestations. The jingling assonance of their ornaments made them feel unnerved and no teasing by eve-teasers made them so. They pined even during sexual sports on account of their taking to refractoriness and never owing to anguish in love. They were so virtuous that they even did not cross the boundaries of their outer portals even in a dream. They had taken to the vow of faithfulness and had never taken to the vow of raucousness. They never took to bad company by nature. They did not make their faces wry even during flare of temper. Even during refractory behaviours they did not lose their patience. Even when ennuied they did not take to the behaviour of those who had been infuriated or deprecated or repudiated. During pique they did not lose their control of the tongue at the same time they were the accomplishment of all the objectives of their men.' The etiquettes to be observed by the citizens of a country have been well established in the description of the Citizens of Ayodhya who could not discriminate between the rich and the poor i.e. who could know how to accost or behave towards the rich and the poor or in other words they could neither despise the poor and love the rich invariably. They could distinguish between the learned and the unlearnt one i.e. the literate and the illiterate. In reality there is an apparent paradox in these lines. They could never understand or know the distinction between the rich and the poor which means the citizens of Ayodhya treated the rich and the poor alike or they never knew who was rich and who was poor. In other words the citizens of Ayodhya were all placed at par in economy of the society and every one amongst them was literate and no illiterate people were found therein amongst them. All were virtuous to the exclusion of unvirtuous or wicked. 1. satatagRhavyApAraniSaNNamAnasAbhinisargato guruvacanAnurAgiNIbhiranulbaNojjvalaveSAbhiH svakulAcArakauzalazAlinIbhiH zAlInatayA sukumAratayA ca kucakumbhayorapi kadImAnAbhiruddhatayA maNibhUSaNAnAmapi khidyamAnAbhirmukharatayA rateSvapi tAmyantIbhirvaiyAtyAparigraheNa svapnepyalaGghayantIbhiratoraNamaGgIkRtasatIvratAbhirapyasatIvratAbhiH...... kRtakasaGgAbhizcaraNayorna svabhAve kopepyadRSTamukhavikArAbhirvyalIkepyanujjhitavinayAbhiH khede'pyakhaNDitocitaufafafar: TESufig unfauf: 41459efHffufa praefcipal ayfa: 1 TM Vol. I. pp. 47-48.

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SOCIAL AND ECONOMIC CONDITIONS 367 All were pious to the exclusion of the impious. All were bounteous. All understood the terms of the expert educationists. All took to doing good to others. All trod on righteous path. They had studied all the lores along with their subdivisions. All were rich in righteous temperaments and had earned the goodwill of the public as well as the council of ministers meant to fight their causes. They were prone to utter words of welcome in advance and had a knack for answering questions put to them or were prone to indulge in conversations (by way of hospitality unto the guests) after having welcomed them at the inception. They were men of all tastes and were full of ideas. They were cheerful in tempers. They were prone to observe a judicious way of life or prone to favour justice come to sight. They lacked ferocity of mind. They did not deride others. They were jovial in moods. They could imbibe the virtues of all. They were never fastidious. They were never prone to leaving in the lurch (the troubled ones). They shared the weal and woes with others. They were obliging unto the others. They were given to selfpurification etc.! Vidyadhara sage getting down to the roof of the palace the welcome ovation afforded by the king along with the queen to the sage is reminiscent of the social custom that is normally prevalent in a society in point of hospitality meet for a guest. "He welcomed him along with Madiravati, facing as he was the mansion, with his face radiant to a distance, like the day accompanied by the morning glow as well as twilight welcoming the sun (lit. the maker of the day) anxious to ascend on the mountain of the east.'' The sage finding himself in a state of dignity anticipating the honour likely to be done to them got down from the aerial regions and the king approaching him in modesty brought in front the vase containing the material of worship (Argha), paid his obeisance and made him sit on a seat of gold swept clean by the hem of his own garment and brought by himself personally, With etiquettes fit to be shown to the great sage, a guest, observed in their entirety, he greeted him as he would do an elderly man or a preceptor, 1. "akalitAdayAnADhyavivekairagRhItapaNDitApaNDitavibhaktibhiranavabuddhasAdhvasAdhuvizeSairanavadhAritadhArmikAdhArmika paricchittibhiH sarvairapyudAravizeSaiH sarvairapi chekoktikovidaH sarvairapi paropakArapravaNaiH sarvairapi sanmArgavartibhiH.... pramANavidbhirapyapramANavidyaiHdhItanItibhirapyakuTilairabhyastanATyazAstrairapyadarzitabhrUnetravikAraiH kAmasUtrapAragairapyaviditavaizikaiH sarvabhASAvicakSaNairapyazikSitalAToktibhiH sAttvikairapi rAjasabhAvAptakhyAtibhiH-.... nivAsilokaiH sNkulaa"| TM, Vol. I pp 51-53. 2. abhimukhIbhUtaM ca taM prAsAdasya divasakarabhiva paurastyabhUdharAbhilASiNaM saprabhAtasanghyoM vAsaraH sudUravikAsitamukhaH samaM He i 41 Ibid. Vol. I p. 90.

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368 TILAKAMANJARI OF DHANAPALA a presiding deity and seated on the surface of the ground with eyes steadfast pinioned on his face for a long time spoke to him with modesty-"Revered sir! This palace has been elevated to heights by you, the venerable of the group of sages having got down from the circle of the firmament like the current of Ganges from the mountain of Snow. Following on you have obviated the store of sins of the entire citizen folk the object of my grace, by the castings of glances as if by the sprays of water of propitiation, limpid and cold, having observed on all sides. At the time of obeisance, the fruit of ablutions on all the places of pilgrimage or holy places has been accomplished through the dust of your own feet naturally sanctified and placed on the head. And in this way I crave your special favour for myself being performed by the revered one for the attainment of the affluence of greater beneficence even though dawned upon me from all sides, with satisfaction still not obtained by me. This kingdom, this earth of mine, these articles, that external paraphernalia (or equipage) comprising mostly of elephants, horses, chariots and the foot soldiers, as also this body this mansion, may be accepted for the sake of personal gain or the sake of the accomplishment of the ends of others, whatever is fit to be made use of. It behoves you to satiate my heart perturbed on account of grief on account of non-obtainment of a suitable receptacle since my very birth."! The reprimand of the Vampire to Meghavahana busy in the worship of Sri establishes the well-established etiquette of society that before waiting upon the master, their lackeys deserve to be gratified or else some hurdle is created by them before one can see their masters. It is only through some glib artifice or way of bribery or payment of gratification that they get humoured and help the person to reach the vicinity of the masters. The words of vampire are like this. "King:- Nothing beyond this that it is just a wanton deed of yours in so far as having desired the fruit of some (action) you have taken upon, the task of adoring every day, this Sri, our mistress. And actually it is the servants anxious to achieve the accomplishment of their ends who make fit for favour with formal observances, those who have taken stand on some vow and are an object of amenability. Anon they curry their favours constantly in accordance with the whims of their masters through their sense of favouritism with relations confirmed accordingly. This verily appears to 1. TM. Vol. I pp 91-92. 2. rAjan, na kiMcidanyat, tvadIyameva ceSTitam tvayA hi phalamabhilaSya kiMcidiyamasmatsvAminI zrIranudivasamAsevitumupakrAntA, sevakAzca phalaprAptikAmAH prathamupacAreNa gRhItavAkyaM parigrahalokamAvarjayanti, tatastena kRtapakSaparigraheNa grAhitasambandhAH prabhUNAmasaktamAtmabhaktimupadarzayanti, eSa tAvajagati dRzyate vyavahAraH tvayA tu fautta: Y ast Halfafet: Ibid. Vol. I p. 133.

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SOCIAL AND ECONOMIC CONDITIONS 369 be the prevalent custom of the Universe. But you have presented a refractory type of sense of service". The hospitality shown to a guest is marked by the king's formal flattery of Sri wherein he says- "Revered one: I am beholden unto you in so far as you have displayed this divine form of yours, which is fit to be seen, an obviator of the calamities in their entirety, of other people whose merits are scant, having approached me who am staying in this culminating age of my life. The accomplishment of the desired object has been attained." The expressions - 'yathAhameSAmazeSabhuvanavanditAvadAtacaritAnAM caturudadhivelAvadhivasundharAbhujAmakhiladiGmukhavisarpitodagrapratApatayA tulitanijavaMzAdipuruSAdityayazasAmikSvAkuvaMzyAnAmavanIbhRtAM pazcimena bhavAmi, yathA ca devI madirAvatI jagadekavIrAtmajaprasavinInAmAsmatpUrvapuruSamahiSINAM mahimAnamanuvidhate, tathA vidhehi 2 contain the equivocal way of speaking what deserves to be spoken plainly but cannot be spoken like that under cover of social and moral way of understanding. King wanted to speak to Sri to bless him with the birth of a son so that his wife could attain to bliss of being called the producer of a valiant son etc. He, however, observed the etiquette of saying "Act in such a manner that I do not become the last of the kings of the Iksvaku race and that queen Madiravati attains to the greatness of the queens of the earlier kings of our race who were adorned with the title of producers of valiant sons etc.". The reply of Sri - '"narendrA ! nijagotrasantateravicchedAyamadirAvatyAH putramicchasIti nizcitaM mayA, kevalamidaM pRcchAmikimeSavakrayA vacanabhaMgyA yuktigamyaH kuto'rtheH, putraM dehi madirAvatyAH iti vyaktameva kiMnoktam " purports forth the clear understanding of the words of the king whereby she spoke to him as to why he did not utter in clear terms that she should bless him with a son in Madiravati and why he indulged in that equivoque. In reality it was pertinent for the king to take to indirect and decorous speech or else his mission could be defeated on account of his frankness which was a profile of arrogance wanting in manners. King willing to see his subjects share his weal as well as woes had reciprocal duty to perform by way of paying obeisance to the grand old men of the towns with the result that he could get their blessings by exchange of views and obtainment of advice, a fact which can be counted within the 1. TM. Vok I p. 145. 2. Ibid. Vol. I pp 150-152. 3. Ibid. Vol. I p. 152.

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370 TILAKAMANJART OF DHANAPALA range of moral etiquettes. It was well within the moral range of the king to honour the Brahmanas by listening to their words of supplication as well as demands.' Having seen the picture- canvas bearing the image of the maiden of his heart Harivahana is curious to find out the source of its acquisition. Gandharvaka narrates the tale of the source of its acquisition and explains the full particulars attached to it with the result that the prince is so bewitched by that young lad that he deems it a privilege to have him by his side perennially and not to part company with him even for a second. That is why he cannot desist from showing the necessary etiquette of a formal observance of hospitality the situation demands from him by saying 'Gandharvaka! What should I dare to speak here? My speech fails to get down to the tip of my tongue, being made to lose its working by my intellect brought to the state of strong frequency by your virtues by the veritable ropes as it were comprising of modesty, ingeniousness and affability and others, entered into the heart in their entirety. How can I permit you the beneficent one, by saying 'go'? What should I do? That is the way of the world. The attitude of my mind does not brook the separation from even an ordinary man come to acquaintance not then to speak of a person of your class in whose close proximity this consembly of sweet sayings comes to function and numerous tell-tales come into being, proficiency is attained in arts such as music dance painting and others, the bliss of listening to the humorous skits is tasted and the time is spent with hearts free from anxiety. What wise man would miss a gem of a man procured without a toil through sheer conjunction of healthy merits? Even then, what can be done? You are such whose action is amenable to the others. It is not possible to keep you detained in my vicinity even for a day. Rise up and move off for the accomplishment of the royal mandate. My duty shall remain only to observe you in the southern direction and nothing beyond this. Thoroughly perplexed under the burden of responsibilities at the loss of Harivahana Samaraketu stoops a bit low in his behaviour whereby on receiving the news about the arrival of Paritosa the perfect confidant of Kamalagupta, the prince of Kalingas, he loses all control over his person and finding an oasis in the desert in the form of sorrow, he deems that attendant to be a preceptor, a master, one fit to be propitiated, a veritable infuser of life and a duty of one's faith etc. and having ushered him in 1. TM. Vol. II p. 164. 2. Ibid. Vol. III pp 17-18.

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SOCIAL AND ECONOMIC CONDITIONS 371 inquired about the health of Kamalagupta a fact most suited to the limits of decorum. "Nobleman : Is it all well with Kamalagupta, the great friend (of mine) a veritable ocean of ambrosia in the form of virtuous demeanour shining with unprecedented' amity?" And he as meet with his status, approached him like a servant and presented the billet after offering his homage accompanied by the expressions" He is all right today by seeing through my eyes the good health in the body of the affluent one." Harivahana's first meeting with Malayasundari staying as a hermit-maid (Tapasakanya) is again full of observance of mutual etiquettes. Harivahana is narrating the account of Samaraketu come to him through Gandharvaka. Even though a hermit maid at that time she had taken to the usual way of a host offering the honour fit for a guest accompanied by 'Argha' and other materials with the help of water deposited in a water gourd with both of her hands and feet washed accordingly. Sat on a seat made of cloth she inquired from him about his particulars whereupon he took upon himself to narrate the same. After performing her religious preliminaries she sat close to him and as her intuition worked there she took him to be one who was previously seen by her who was as though one brought up along with her and as if one who had affection mounted to heights for her and one who was like a kinsman of desires approaching her after a long time. She looked at him quite affectionately. The reply of Harivahana is full of etiquettes that suit the temperament of a civilized being, a cultured man about the town. On seeing her he spoke "Noble lady! I cannot keep silent brought to pertness (i.e. made frivolous) by this etiquette of yours that has seen its favourable disposition that creates gratification in the heart of a lover or a devotee and that bespeaks of its inner purity by itself (lit. by inner instinct or by nature) in so for as I have taken myself to the task of making queries from you even when knowing fully well "that by a person wishing his eclat a stranger lass being in this early youth of your class of matchless qualities should normally not be talked to particularly when she is in her prime of puberty taking stand upon a vow, a source of transformation born of infatuation for 1. Adaraprahitanayanayugalo gurumiva svAminamivarAdhyamiva jIvitapradabhivaiSTadaivatAmiva suciramavalokya taM puruSamAhUya saMbhAvya cAsanadAnavacanena bhdrmukh| bhadramasadRSasAMhAdaDazAlizIlAmRtamahodaghe paramasuhudaH kmlguptsy| athasatena saMbhramavatA tasya saMbhAbANena kRta kRtyAmAtmAmanyamAno bhRtyavat samupasRtya stvrkRtprnnaamH| aya bhadraM maccukSuSA ETYTTGERTRET ratta ga Hd Chri aferurgia de 1971 TM. Vol. I, p. 51. 2. Ibid. p. 51.

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372 TILAKAMANJARI OF DHANAPALA cven the persons of restrained consciences, abiding all alone and an abode of group of virtues such as loveliness of form." The queries following on are equally reminiscent of the cultural standard of the prince, a constituent of civilized society. He says - "Speak out as to who you are, in which lineage immune from all the indelicacies (lit. defects) are you born, like a pearl in the bamboo of a forest of the gods (or divine forest)? What syllables of your nomenclature, removing the burning fever of the heart like syllables of the divine charms, squeeze out ambrosia into the ears? Who, unmindful of opprobrium put on these barks of trees on your body fit for the costumes fit to be worn on the bodies of the gods? Having kept in mind what fruit of extremely tasteful sentiments do you subsist upon the distasteful fruits of sylvan trees, day in and day out? On what account do you abide in this isolated shrine of Jina, abiding in a sequestered wild, barring aside the well-known hermitages of the recluses? What type is this averseness from the enjoyment of the sense objects in this blooming age, the sole resort of the uneven arrowed one (i.e. Cupid)? What is it that you go on prying into the southern quarter hastily with glances full of devotion with your pout of lower lip throbbed every, moment as if desirous of inquiring about the welfare of some cherished being? Does some collateral colleague or a heart's repose abide here hard by? The description of Kanci details forth certain customs habits of the people as well as their etiquettes as social beings. The poet has employed the figures Tulyayogita and Parisamkhya, Equal pairing (special mention) and exclusion or (restriction) very skilfully which are equally explicit in their paranomastic signification. Kanci has been described as having rich people who were very much used to the habit of chewing betel rolls and were languoious in gait like the elephants. Even the gardeners there were fond of having creepers of betel plants grown in the orchards. The citizens tolerated the views of others and the logicians understood the view points of their opponents i.e. the Buddhists etc. The Brahmanas had their orders accomplished (by the performance of sacrifices and study of Vedas) and the orchards abounded in the fruits and Malati trees. The lovers were fond of inspissated unguents whereas the clusters of trees consisting in the bunches 1. TM. Vol. III p. 168. 2. Ibid. Vol. III pp 168-169. 3. MICHITATEA: 39141618 Ibid. Vol. III p. 171. 4. dual: U11: 41078 Ibid. 5. 4 : :21: TERTAT Ibid. Vol. III pp 171-172.

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SOCIAL AND ECONOMIC CONDITIONS 373 of golden campaka flowers had lustres bright like turmeric. The buildings had straight streets or arcades or market places whereas the quivers of the soldiers had pointed arrows in them. The palaces there were many-storeyed and subjects were used to wearing many types of necklaces. The main shops were provided with locks and keys while the lines on the pates of the intoxicated maidens bore curly locks on them. The concubines there acted in accordance with their nature (i.e. gratified the carnal longings of the lovers or men) by fresh (use of) wine while the women of the town acted in accordance with their nature being endowed with husbands standing peers to the gods.' Therein the attractiveness lay in forms and no infatuation was available for coition." Turmeric hue was plastered on the bodies and no adulteration of turmeric was seen in the oils or no fleeting nature was seen in loves like the colour of turmeric. The people loved to establish their houses near the gardens and temples. The groves of the Tamala trees served as abodes. Their couches wore counterpanes of the clove-leaves or the mats formed out of the sprouts of cloves served as couches. Love-quarrels were the only quarrels." The marks of the nail bites served as the gems decorating the body." The drinking vessels comprised of the lotus faces of the beloveds." Kamasutra formed the spiritual lore. The cure for diseases consisted in the employment of the measurement to enhance virility.!4 Their worship of 1. GRASST fitui Taufa**after ITM. Vol. III p. 172. 2. ufaferet: lefagli: 74cquasi Ibid. 3. Ehfcth: YATI: Ibid. 4. falca: WH1901: YI tara i Ibid. 5. The fenduel: queaf-a: ukyan si Ibid. 6. T ag 7 Tagi Ibid. p.172 7. EfRr6 gi Ibid. 8. yatra mandiropavanAnyAvAsanagarANi, tamAlatarunikuMjAH sadanAni, lavaGgapallavasrastarAH paryaGkAH, praNayakalahAH kalayaH, nakhadazanavinyAsAH zarIrAbharaNabhaNayaH, priyAvadanazatapatrANi pAnapAtrANi, kAmasUtramadhyAtmazAstram vAjIkaraNa 1114794964 37194 aaa , hacalah Ta a lei Ibid. Vol. III p. 173. 9. Ibid. Vol. III p. 173. 10. Ibid. Vol. III p. 173. 11. Ibid. Vol. III p. 173. 12. Ibid. Vol. III p. 173. 13. Ibid. Vol. III p. 173. 14. Ibid. Vol. III p. 173.

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374 TILAKAMANJARI OF DHANAPALA deity consisted in the worship of Cupid. The go-betweens in sexual sport formed the preceptors of the group of gallants.' The Dravida ladies employed the plaster of turmeric fluid on their bodies wet with the evening ablution. The ivory moon-chambers of the coquettes had black aloe burning all the time to render the atmosphere redolent with perfume. The expression - "3irslcorat hat! 'uttered by Harivahana before he was introduced to Tilakamanjari by Malayasundari is self-explanatory in so far as the Nagarakavrtta' of Kamasutra implies the custom of living the life of a citizen or man about the town who according to Vatsyayana was required to follow a definite line of action in life particularly when he was endowed with a household with the espousal of a wife etc. "Nagarakavrtta' here means "the conductor behaviour of a man about the town" - who could be entitled to the privileges of Vatsyayana's conception only when he took to the life of a householder or was just on the brink of taking to it. Of the festivals Dhanapala has mentioned - 'Sasthijagara', 'Yatrotsava" 'Kaumudimahotsava', 'Madanatrayodasiyatra', and Madhumasasya Suddhatrayodasi 'Madanotsava', 'Madanayatra,!!! 'Yatra', 12 'Caitriyatra',13 etc. Of these "Sasthijagara or prajagra is a festal gathering celebrated on the sixth night after the birth of a child wherein Sasthidevi (TM II. p.185, L-1) a deity is believed to protect the life of a child, the sixth of the sixteen matrkas. 1. TM. Vol. III p. 173. 2. yatra sAyantanasnAnArdravapuSAM draviDayoSitAmasAndralagnasya haridrAdravarasasya cchAyayA piJjaritatanukiraNakandalo aferentahab ufysg cinia 4GHUTAN YOU PUTIA: 1 Ibid. p. 174, Vol. III. 3. Ibid. p. 174 verse 1 Vol. III. 4. Ibid. Sm. ed. p. 357. 5. K. SU T. 4. 1-4 part I pp 125-128. 6. TM Vol. II p. 186, Vol. II p. 185. 7. Ibid. Vol. III p. 187, Vol. II p. 241, Vol. II p. 325. 8. Ibid. Vol. III p. 192, Vol. II p. 251. 9. Ibid. Sm ed. p. 298. 10. Ibid. Sm. ed. p. 300, Sm. ed. p. 310. 11. Ibid. Sm, ed. p. 303. 12. Ibid. Sm. ed. p. 324, Sm. ed. p. 344. 13. Ibid. Sm. ed. p. 322.

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SOCIAL AND ECONOMIC CONDITIONS 375 "Sasthijagara namaha" is the word used by Sir Monier Williams. It is the name of a particular ceremony; this is the day on which the creator is supposed to enter the mother's chamber and write the child's destiny on its forehead. Sasthidevi is the name of a divine mother or goddess often regarded as a form of Durga (supposed to protect children and worshipped on the sixth day after delivery). "mAtRkAsu pUjyatamA sA ca SaSThI prkiirtitaa| zizUnAM prativizveSu prtipaalnkaarinnii| tapasvinI viSNubhaktA kArtikeyasya kaaminii||" is the definition given by the commentator Vijayalavanasuri. (TM II. p.185, LL 6-7) That which is best revered among the Matnkas is knows as Sasthi. She is the protector of children in every sphere of the world. She is given to austerities and is a devotee of Visnu, a beloved of Karttikeya. Sasthi being the sixth of the Matrkas which are sometimes reckoned as seven, eight, nine and sometimes as sixteen." They are the divine mothers or personified energies of the principal deities. The seven Matnkas are Brahms or Brahmani, Mahesvari, Kaumari, Vaisnavi Varahi, Indrani or Aindri or Mahendri, Camunda; Eight divine mothers are : Brahmi, Mahesvari, Kaumari, Vaisnavi, Varahi, Raudri, Camamunda, Kalasamkarsini; Nine divine mothers are : Brahmani, Vaisnavi, Raudri, Varahi, Narasimhika, Kaumari, Mahendri, Camunda, Candika; Sixteen divine mothers are : Gauri, Padma, Saci, Medha, Savitri, Vijaya, Jaya, Devasena, Svadha, Svaha, santi, Pusti, Dhrti, Tusti, Atma-devata and Kula-devata. They are closely connected with the worship of Siva and are described as attending on his son Skanda or Karttikeya to whom the first only seven Matrs were assigned but later on innumerable number.289 Dhanapala has mentioned these Matrs in - 1. Skt. Eng. Dict. under Sasthijagara. 2. Ibid. 3. Ibid. p. 807.

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376 TILAKAMANJARI OF DHANAPALA "Alikhata jAtamAtRpaTalam'" jAtaM nAma godhRtaprAzanAdinA saMskAravizeSaH tadadhiSThAtRbhUtaM mAtRpaTalam The ritual or sacrament performed with the edibles such as ghee of a cow. Hence the sixth of the 16th divine mothers is Vijay, which may be identified with the "Sasthidevi' who was worshipped during the wakefulness on the sixth night of the child-birth. It is the name of Durga according to Sir Monier Williams. It is a usual practice even today that Durga is worshipped on any type of wakefulness known as 'Jaga' which is celebrated by waking the whole night long in order to celebrate the rejoicing in lieu of some ardent wish fulfilled or cherished to be fulfilled. In ancient times this wakefulness must have been a special feature on the sixth night after the delivery. People comprising mostly of relatives and well-wishers of the child's parents must have been assembling on that night before the image of Durga (Sasthidevi) and praises and eulogiums of the goddess (stotras in honour of Durga) must have been sung as propitiatory chants by the devotees and priests the whole night long as is normally the case in modern times as well. 'Yatrotsava' a festive procession has been referred to by Dhanapala with reference to the auspicious consecration ceremony of the adorable (god Jina) or (Jinendra) the parent both of the sensate as well as the insensate beings wherein music or orchestra played a significant role. Rejoicings (Pramoda) dance (lasyalilabhyupagamam), the stage-arena of amorous actions (srngaracesta rangabhumi), the acting of enactable themes (abhinayanti samyagabhineyarthajatam), the highest pitch of enjoyment of a show by the audience (aropayanti preksakajanasya pramodama-grabhumim) etc. forming the accessories to it. ___'madhumAsasya zuddhatrayodazyAmahamahamikopadarzitanijavibhavavicchardena nagarInivAsinA bhujaMgalokena bhaktyA pravartitaM yAtrotsavamavekSitamidameva sarvatoviracitavicitravastradhvajavitAnamAttakanakazaMgavezyAMganAbhujaMgajanaparasparArabdhajalasekayuddhaM bhagavato makaradhvajasyAyatanamAgato'smiA refers to the bright or light half of the Spring season and its thirteenth on which the gallants enjoyed a festal melee in company with the coquettes or harlots who carried the syringes made of gold with which they started a sprinkling warfare against the gallants, in the shrine of the shark-bannered god (i.e. Cupid). The citizen folk went to see this festival accordingly. This is a true picture of the Holi of modern days. 1. TM Vol. II p. 185. 2. Ibid. 3. Skt. Eng. Dict. under Sasthidevi, 4. TM Vol. III pp 187-188. 5. TM II. p.241, LL 5-8.

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SOCIAL AND ECONOMIC CONDITIONS 377 'avasite ca vAsare viralIbhavatsu kRtrimaturaMgavAraNakrIDApradhAneSu prekSaNakeSu, vighaTitAsu viTalokalocanasudhAsu vezyA-rAsamaNDalISu, kRtaparasparasekayuddheSu prasthiteSu majanavApikAbhyaH kanakadazazRMgabhaMgArapANiSu bhujaMgapaureSu, niryAte yAtrAyAtanagaranArIgaNe, kSaNena virate ratibharturAyatanarAmaNIyake jhaTiti naSTAkhilAza: svayaM mArtaNDamaNDalAbhogena vicchaaytaamgcchm| refers to shows having sports of sham horses and elephants as well as the festival of Holi.' _ 'krameNa ca samApte paramadevasya majanavidhau nirmApite savistaraM pUjAkarmaNi, pravartite savistaraM gAyakagaNena madhumadaMgadhvanimizre vizrANitazrAvakazrotramadi maMgalagItadhvanau, pranatAsa paryAyeNa tAsa kSitipAlakanyAyakAsa, kSINabhUyiSThAyAM kSapAyAmahaM citralekhayA viracitavicitraveSA prabhAbaddhapariveSaiH pralaghubhirmaNibhUSaNaiH samantAdalaMkRtamanulvaNadhRtAMgarAmaMga dadhAnA raMgamadhyadhyAsitavatI, pravattA ca sakhIbhiriva sAkaM prekSakamanovattibhiH prnrtitum| Refers to the festive occasion being charmed by the dance of Malayasundari wherein the ablution (consecration) of the great god had been performed, the adoration of the deity had been offered, the singers had sung to the accompaniment of instrumental music such as the melodious sound of the tabor, the auspicious eulogiums had been strained forth by the bards into the ears of the listeners, the princes had their dance performance displayed. The dance was performed by Malayasundars after having presented herself in the midst of the audience decked with ornaments and plastered with unguents and cosmetics. The dance being over, the audience were paid homage to (avasite ca nRtyakarmaNi kRta raMga praNAmAm) 'devayAtrAdarzanAgatAn vidyAdharapatIn again refers to the festive procession in honour of god Jinendra. Kaumudi Mahotsava or the great festival falling on the full moon of Karttika had a special significance in ancient times. "On this occasion houses and shops used to be decorated with flowers and flags and men and women also bedecked themselves with garlands and festive clothes. At night the streets and houses were illuminated with lights. Young men and women were expected to move about in all directions, singing, dancing, laughing and enjoying themselves. The festival was to be concluded with a great feast for which a number of animals were to be killed so that the Brahmanas might be fed to their heart's content. It is stated by Laksmidhara that if a person 1. TM. Sm ed. p. 323, LL-19 12. Ibid. Vol. III p. 189. 3. Ibid. Vol. III pp 189-190. 4. Ibid. Vol. III p. 196.

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TILAKAMANJARI OF DHANAPALA fails to celebrate the festival according to the rites described above, the king must award him physical punishment." 378 Madanatrayodasi yatra, Madanotsava, Madanayatra, Yatra and Caitriyatra are all more or less synonymous terms illustrating the festival of Kama mostly in the month of Caitra (Spring season). According to Monier Williams Madanatrayodasi is the name of a festival in honour of Kamadeva on the 13th day in the light half of the month caitra. Madanotsava is again the Kamadeva festival (Madanamaha), the holl or vernal' festival. Yatra means a procession or a festival. Caitriyatra therefore means the festival or procession in the month of Caitra (in honour of Kamadeva). It may refer to modern festival of Holi which is celebrated likewise as a festival of Kama in the spring season. According to Dr. Pratipala Bhatia "We have reference to the Yatra mahotsava of Madana in the Smgaramanjarikatha' of Bhojadeva. This festival according to Dr. Bhatia fell on the 14th day of the bright half of Chaitra and was celebrated with dancing songs and merry making. In continuation of this festival observed in Malva, was the Vasantotsava, which fell in the full moon day of the month of Caitra. Harsa in his Ratnavali' referring to Vasantotsava according to Profs. Devadhara and Suru refers to the festivities that hailed the advent of spring that were formerly celebrated on the full moon day of the month of Caitra but now take place on the full moon day of Phalguna and are identified with the Holi celebration." Kalidasa in his Malavikagnimitram" mentions the fresh vernal festival (Vasantotsava) wherein the flowers of ruddy Asoka tree marking the advent of early spring are sent as gifts to the loved beings and men and women (i.c. husbands and wives) take to the sport of riding the swing. In Abhijnanasakuntalam Kalidasa has referred to the term 'Rtutsava' in 1. Paramaras pp 291-292. 2. Skt. Eng. Dict. under Madanatrayadas1. 3. Ibid. 4. Ibid. p. 849. 5. Paramaras p. 290. 6. pauralokaparitoSahetozca vasantAdiSu savizeSapravRttotsavAM nirgatya nagarImapazyat / 7. sUtradhAraH / * alamativistareNa / adyAhaM vasantotsave / sabahumAnamAhUya nAnAdigdezAgatena rAjJaH zrIharSadevasya mevery-ffaren vany: Ratnavali C. R. Devadhar an N. G. Suru p. 4. 8. Notes to Ratn. p. 10. 9. nanvacaiva prathamaM vasantAvatArasUcakani raktAzokakusumAnyupAyanaM preSya navavasantotsavApadezena irAvatyA nipuNikAmukhena prArthito bhavAnicchAbhyAryaputreNa saha dolAdhirohaNamanubhavitumiti | Mali v. Act. III p. 70M. R. Kale.

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SOCIAL AND ECONOMIC CONDITIONS 379 "kiM nu khalu Rtutsave'pi nirutsavArambhamiva rAjakulaM dRzyate"" The sprout of the mango tree is deemed the all-in-all of the life of the Spring months (Season) being the auspicious harbinger of the season. 'AtAmraharitapANDuraM jIvitasarvavasantamAsasya (yoH)| dRSTo'si cUtakorakaRtumaMgalaM tvAM prsaadyaami||" Cuckoo gets maddened at the sight of the mango blossom. The maidens enjoy the privilege of intoxicated movements and raving ditties or impassioned songs. Standing on tip-toe the ladies worship the God of love with mango blossom in hand. The worship marking the celebration of the spring festival is as under : __ "Here do I offer you, O mango blossom, to the God of Love, who has taken up his bow. Do you become the most effective arrow of his fire, having for you making the young wives of men journeying abroad." The word 'Vasantotsava' also occurs following on - "kaMcukI- mA taavdnaatmjnye| devena pratiSiddhe vasantotsave tvAmAmrakalikAbhaMgaM kimaarbhse|| Dhanapala describes the glory of spring in its festal melee as under - "Spring season is the sole abode of loveliness of the entire triad of worlds, the paramount sovereign of the seasons, creating morbid transformations in the blooming youth rendered goadless, shattering the hopes of life of the wives of the journeying men, making the Cupid void of compassion, making the fresh stalks of mangoes bend low with the weight of blossoms." The advent of Spring has been associated with the festivities on the 13th of the full moon day (of Caitra) the day on which Kamadeva is honoured and worshipped. "Today there is the festival or procession, in the shrine of Cupid, ensued on the thirteenth (of the full moon day) of Madana (i.e. Kama). The entire 1. Abhi. Sak Act. Vi p. 210. M.R. Kale edition. 2. Ibid. verse 2. 3. prathamA cUtakalikAM dRSTvonmattA parabhRtikA bhvti| dvitIyA saharSaM tvarayopagamya kathamupasthito mdhumaasH| prathamA madhukarike tavedAnI kAlaH eSaH mdvibhrmgiitaanaam| dvitIyA sakhi avalambasvamAH yAvadagrapAda sthitA bhUtvA cUtakalikAM gRhItvA kAmadevArcanaM kromi| tvamasi mayA cUtAMkuradattaH kAmAya gRhItadhanuSe pathikajanayuvatilakSyaH paMcAbhyadhikaH zaro bhv| Ibid. 4. Ibid. p. 214. 5. mukulabharanamranUtanAmrastambe......niSkaruNamakaradhvaje...... jarjaritAdhvagavadhajanajIvitAze niraMkuzIkRtAbhinavayauvanavikAre cakravartini pravRtte sakalatrailokyarAmaNIyakaikavasatau vsntsmye| TM Sm. ed. pp. 297-298.

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TILAKAMANJARI OF DHANAPALA \ group of women of the town have started for the temple garden known as Kusumakara, attired in variegated costumes. You too start off having prepared all the equipage meant for worship, surrounded by your friends. Perform special adoration with devout faith for the extermination of all the hurdles." " zakrAdisuravRndArakapratiSThitasya devatAvizeSasya yAtrAvyatikareNa vA bhavitavyam 380 refers to the legend of procession or festival of the special deity brought to eminence by great gods such as Indra. In other words it refers to the 'Indramaha' or the Indradhvajocchraya a festival in honour of Indra (Indrotsava), known as 'Dhvajamaha' and 'Sakramaha' in Natyasatra." According to Dr. Bhatia - 12 "The 8th day of the light half of Bhadrapada was the day of Indradhvajocchraya or the raising of the flag staff of Indra, when the moon was in sravananaksatra and the visarjana was to take place at the end of Bharaninaksatra. It was the duty of the king to raise the flags staff with due ceremonies." "padmarAgakalazaiH prakAzitAkAladIpotsavavilAsam / " refers to the festival of Dipavali (Diwali) (TM Vol. II p.320, LL 6-7). Apart from this " sA ceyaM devI janmadinamahotsava zrIvizrANitobhaya zreNicarakhecaragaNAnandA" there is reference to a festal gathering on a birth day." 7. FOOD AND DRINKS According to the Chandogya and the Taittiriyopanisads' Food is the strength giving agent. Abstinence leads to ill-health. Food develops the 1. bhartRdArike, devI samAdizati adya adyamadanatrayodazIpravRttA manmathAyatane yAtrA / prasthito vicitranepathyadhArI samagro'pi nagaranArIjanaH kusumAkarAhvayaM mndiraaraamm| tvamapi sajjIkRtAzeSapUjopakAraNA pravartasva parivRttA sakhIjanena / nirvartaya vizeSapUjAmazeSavighnopazamAya paramayA bhaktyA / TM. Smed. p. 298. 2. TM Vol. III p. 301. 3. Monier Williams under Indra maha. 4. Paramaras p. 291. 5. NN. 6. Ramacandra Sharma. 6. NSI 1. 54. 55. 75, Vol. I pp 5, 6, 7, Manmohan Ghosh. ayaM dhvajamahaH zrImAn mahendrasya pravartate / tatastasmin, dhvajamahe nihatAsuradAnavaiH / prayoga, prastute hyevaM sphuryate zakramahe punaH / 7. TM Vol.III, p.II, LL 7-8

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SOCIAL AND ECONOMIC CONDITIONS 381 faculties of mind. It helps one become great in offspring and cattle and in the splendours of sacred wisdom. It is called Sarvausadha or panacea or healing herb of all. It is called anna because it is eaten. It is called Pitu because it provides nutriment.? Because of this all embracing importance of anna, its variety in literature has assumed numerous forms such as cereals and pulses, Dairy products, Meat Deit, oils and oil seeds. Fluids and drinks also played a significant role though their evil effects were apparent on their excessive use. Fruits and vegetables equally enhanced its variety. Dhanapala's Tilakamanjari has not lagged behind in recounting all such types of food." He has mentioned the terms 'Anna' and 'Pana' which has been explained by the commentator as - 'taNDulacUrNAdIni' and 'jldugdhaadipeyvstuuni| bhkssylehypeyprkaarm|' He has also mentioned which refer to edibles, condiments and drinks. 'Tandula' or rice and 'Curna' or flour-come within the range of cereals while 'Jala' and 'dugdha' i.e. water and milk come within the range of drinks. Of the cereals Dhanapala has mentioned 'Aksata', 'Kalama',' 'Tandula', "Vrihi', 'Sali', 'nivara',' - all these being different varieties of rice and sasya for corn as a general term. Aksata was the unhusked rice while kalama was the red rice. Tandula, Vrihi and sali were the different varieties of white rice and nivara was the wild rice. "Khandasali" and "Tandula" have been distinguished as two different varieties of rice at a different place. Tandula has been explained by Monier Williams as rice obtained after threshing and winnowing." 1. CH. Up. VII 9. 1. p. 477 Dr. S. Radhakrishnan. Taitt. Up. III 9.1. p. 559.37701 371C) bhvti| mahAn bhavati prajayA pazubhiH brahmavarcasena, mahAn kiirtyaa| 2. RV. I. 61. 7. 132, 6, 187. 1. VI 20. 4. Vajosam. II. 20-XVI. 65 etc. See also Food and Drinks in Ancient India by Dr. Om Prakash p. 7. Asvalayan Grahyasutra I. 16. 2-5 pp. 39-40 (Vinayaka Ganesh Apte) Pune. 3. Haa ..... etc. TM Vol. II p. 164. 4. TM Vol. II p. 176, Vol. III p. 83. 5. Ibid. Vol. III p. 34, Vol. II p. 255. 6. Ibid. Vol. III p. 130. 7. Ibid. Vol. II p. 260. 8. Ibid. Vol. III p. 340. 9. Ibid. Vol. III, p. 133, Vol. II p. 322. 10. TM Sm. ed. p. 305. 11. Skt. Eng. Dic. under tandual.

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382 TILAKAMANJARI OF DHANAPALA Sali according to him is any grain of a smaller character as rice or grain of rice. Vrihi is rice ripening in the rainy season.? Kalama? is the rice that is sown in May and June and ripens in December and January. Khandasali may be a variety of sweet rice or rice broken to pieces. "Laja"'4 fried grains (of rice) have been mentioned. "Priyangu's according to Monier Williams is 'Italian Millet', long pepper, saffron. Panic seed or mustard seed, but a variety of rice according to Dr. Om Parkash.' 'Odana' is the rice porridge or 'bhata' or cooked rice or grain mashed and cooked with milk or any pap or pulpy substance. Of the Dairy ProductsDhanapala has mentioned Ajya (clarified butter), dadhi (curd), in "Wahaig CETYTUS" 18 etc. meaning thereby the dishes containing the cooked rice, clarified butter and curd. It may even mean the serving of dishes containing cooked rice mixed with curd and clarified butter forming staple food. "ajiramaMNDapacchAyAniviSTagorasaparipaSTamahAkAyapaSTa kauleyakaiH19 refers to 'Gorasa' which had nourished the bodies of the terriers. 'Gorasa' is milk, butter-milk or curdled milk according to Monier Williams. The commentator construes - 'TIR -Retaile" i.e. substances such as milk, curd and ghee. 1. Skt. Eng. Dic. p. 1068. 2. Ibid. p. 1043. 3. Ibid. p. 260. 4. TM Vol. II 210, Vol. II p. 254. 5. Ibid. Vol. II p. 255, Vol. II p. 273, Vol. III p. 86. 6. Skt. Eng. Dict. under Priyangu. 7. Food and Drinks in Ancient India p. 87. 8. TM Vol. II p. 256. 9. Ibid. Vol. II p. 257. 10. Skt. Eng. Dict. Gorasa. 11. TM Vol. II p. 257 Commentary. gaurasazrIbhiriva zarIriNIbhiHTITYGGAH:- Ibid. Vol. II p. 258.

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RELIGION AND PHILOSOPHY Dhanapala has referred to the preparation of butter milk or whey by means of the process of churning with a churning stick inside the churned milk, the noise of the churning being heard with ears rapt attentive by the calves, the splashes of the drops of inspissated butter milk (M. Williams) and hot ghee apparent from the spreading odour, springing up with a noise.' 'Payasa" which literally means 'anything prepared from milk" has also been construed as a food prepared with milk, (esp.) rice boiled in milk or an oblation of milk and rice and sugar. The commentator takes it to be 'Ks iranna" i.c., food prepared with milk - 'Khira' in modern Indian languages, a combination of rice decocted in milk, ghee, sugar etc. """ refers to Haiyangavina i.c., clarified butter prepared from yesterday's milking or fresh butter inspissated by the mixing of ice. 44 18 " snehanirbharANidadhIni * refers to the curd abounding in unctuousness or greasy elements. "Sarpih" is again clarified butter i.e. melted butter with the scum cleared off, commonly called 'ghee', the fluid or solidified." "Navanita'" is the word used for butter also. 383 Of the sweetmeats we find mention of 'Khandamodaka',12 treacle, candied sugar or sweet-balls made of candied sugar - "Laddu" in Hindi. Khanda may even mean the small bits of inspissated milk and grams-flour. The balls prepared out of the congestion of these bits may be called Khanda-modakas or 'Bundi Ke Laddu'. '"phenikAzokavartikhaNDaveSTamodakaprAyapakvAnnabahulena'' 2. Ibid. 3. M. Williams under Payasa. 4. Ibid. under Ksira. 5. Comm. to TM Vol. II p. 257. 6. TM Vo.l. II p. 258. 7. M. Williams Maiyangavina. 1. sakalakalocchalatprAjyaparimalavyaJjitataptAjyatakrabindukSepairutkarNatarNakAkarNitamathyamAnamathitamanthanImantharanirghoSaiH / TM. II. p. 257. LL. 3-4. 8. TM Vol. II p. 258, Vol. III p. 59. 9. Ibid. Vol. II p. 258, Vol. II p. 296. 10. M. Williams under Sarpih. 12 11. TM Vol. II p. 258. 12. M. Williams under Khandamodaka. TM Vol. II p. 256.

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384 TILAKAMANJARI OF DHANAPALA "FAHET: AIRIGH HIGCHT: ''! Refers to - "Phenika," the same as Phenaka (Hindi Pheni)- cakes of fine wheat flour coated with sugar? - Asokavartti' or sevian (sweet tendrils soaked and cooked in ghee, sugar etc.), Khandavesta modaka' i.e. the sweet balls rounded up having been prepared from sugar candy and gram-flour etc. ___Regarding the Meat diet Dhanapala has mentioned the term - AmiSamAhAraH which literally denotes the same significance. The reference is to the context of the vetala Mahodara who in order to test the mettle of Meghavahana presents himself in a perfectly hideous garb, who distinguishes the Meat diet as the special food habit of the night-rovers who like the tigers take to the eating of flesh earned by the prowess of their arms, from the diet of the birds, beasts and men who take fruits, bulbous roots and edibles (cereals etc.). He even stresses upon the non-adaptability of Brahmanas to taking of meat-diet along with the description of the taste of wine which they do not take at all and simply manifest their aptitude for describing the real essence of the materials not fit to be eaten. It covertly implies that Brahmanas did not know the taste of wine proper and could simply describe the charm of its taste in words and even go to the extent of counting articles that were prohibited as a food." Mahodara's reference easily alludes to Meat as a diet prohibited for the Brahmanas. "Anna'' pertaining to cereals and pulses has been considered to be the special diet of men. "Ardravallura' has been employed to mean 'greasy meat "praticullipacyamAnazUlIkRtAnekazvApadapizitAbhi:16 refers to the meat of many beasts mounted on spits and being roasted on every hearth in the forest land adjoining to the regions of Kamarupa in Pragjyotisa (Modern Assam). " SIHIGH Rafetia caffet:'7 refers to fishermen carrying meshes and fishing hooks meant to catch fish from the puddles for the purpose of fish-eating. 1. TM Sm. ed. p. 305, Vol. II p. 296. 2. Food and Drinks in Ancient India p. 290. 3. narendra, na vayaM pakSiNaH na pazavaH, na manuSyAH kathaM phalAni mUlAnyannaM cAharAmaH kSapAcarAH khalu vayam, 22 :18Hyufa4141441f444ER:1 TM Vol. I p. 135. 4. 1964-19 auf greta faz FAIGHT 477 47827aadaraya Ibid. p.135 5. Ibid. Vol. II p. 305. 6. Ibid. Vol. III p. 64. 7. Ibid.

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SOCIAL AND ECONOMIC CONDITIONS 385 "TRUY191c7'' refers to 'Pala' as a synonym for meat. "kvacidAmiSAzanazyenAzyenahelAkramyamANa kRtrimvihNgm||2 refers to falcons as the eaters of meat. Of the fruits and vegetables, oils and oilseeds Dhanapala has mentioned some of the popular ingredients. Of the dry and sweet fruits he has mentioned. Puga'-(arecanut-supari in Hindi). Ela4-cardamom-(Ilayci). Lavanga'-clove (Launga). NagaR-betelnut Pumnaga'-nutmeg fruit. Kakkolaka -a type of berries. Matulinga' (lunga)-citron. Naranga"-orange-Hindi Narangi. Nalikeri!'-coconut. Jambira'2-Lemon. Dalima'?-Pomegranate-Anara in Hindi. Kadali?4-plantain or banana. Cuta's-Mango. Pippali-Pepper. A red one. 1. TM. Vol. III p. 71. 2. Ibid. Vol. III p. 95. 3. Ibid. Vol. III p. 71. 4. elaalvnggnaagpunnaagsNkttm| nAgalatAvanaddhabAlapUgaM nAgavallIdalAI pUgIphalAni kramukavRkSa lavaGgavakola Ibid. Vol. III p. 173. Vol. III p. 85. 5. Ibid. Vol. III p. 173. Vol. III p. 85. 6. Ibid. Vol. III p. 173. Vol. III p. 85. 7. Ibid. Vol. III p. 173. Vol. III p. 85. 8. Jeanetrafa 1641HGHI TM. IIII. P. 85. LL 7-8 9. 3G"1164 GHIESTE HRSHI YA 11415 TM. III. P. 85. 10. Ibid. p. 305. 11. Ibid. p. 305. 12. Ibid. p. 305. 13. 3114114214tcGfsaaifontasy TM. III p.86 14. ZEUSTIG H f747-efctareaR4 TM. III p. 85 15. Raraftahtelfacla ctia ftaafcoifadaghic14 Ibid. p. 86. 16. Hafarcitafquil4c etc. TM. III p. 172

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386 TILAKAMANJARI OF DHANAPALA "FR77474969448474'' refers to orange, Panasa or Katahal in Hindi, banana as the staple food of the inhabitants of Kanci. "nAlikerIphalarasaprAyaM pAnam'2 refers to the drink of the same people that consisted mainly of the juice of the fruit of coconut, Sahakara'-Mango. "tAlaphalarasamadhUni'" refers to the drinks of the juice of the fruit of palmyra palm. 31144961430 "Yef=14&tenfectionarerfaasilit:" yaf 3116611 lthe fruit of emric myrobalan of eastern region especially. "gustaren" white sugarcane and Jalajambu. "mAkSikekSurasakummena" the pitcher full of juice of the sugarcane having taste of honey. Kapittha (Hindi Kaith). wood apple Of the vegetables he mentions - Trapusa' - a kind of cucumber, Karkaruka' - very small pumpkin-Hindi Chotapetha. Karvellaka" - Karela or bitter gourd, Kusmanda - Pumpkin gourd Hindi Sitaphala, Tundiraka'3 - Brinjal etc.!4 (Vardaka) Oil is represented by the word-taila which is a product of tila or sesame. Madhupana has been mentioned as the expression meaning drinking of liquor. Madhu is a variety of liquor as also 1. TM. Vol. III p. 172, Sm. ed. p. 305. Narangi. 2. Ibid. and Sm. ed. p. 305. 3. Ibid. Vol. III pp 173-174 Sm. ed. p. 301. 4. Ibid. 5. Ibid. Vol. II p. 272 Vol. III p. 164. See Article of Prof. V. Venkatachalam (Ujjain M. P.) in Dr. V. Raghavan Feliction Vol. pp. 469-474. L. D. Series ed. p. 136. 1. 22 NSPE 234 1. 7. 6. Ibid. Sm. ed. p. 304, Vol. III p. 155. 7. Ibid. Sm. ed. p. 305. 8. Ibid. 9. Ibid. Vol. II p. 261, Sm. ed. p. 205. 10. Ibid. 11. Ibid. 12. 973. Ibid. Sm. ed. p. 305. 13. Ibid. 14. Ibid.

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SOCIAL AND ECONOMIC CONDITIONS 387 atinIlasurabhiSu gRhopavaneSu vanitAsakhairviAsibhiranubhUyamAnamadhupAnotsavA''' The juice of grapes is Madhu according to Kautilya.? 'Asava'' is another variety of wine referred to by Dhanapala, though it occurs here as a generic name for wine appended to the word. According to Kautilya - One tula of the wood-apple fruit, five tulas of treacle and a prastha of honey form the mixture for the asava. 'apanakamardalaih" refers to 'apanaka' as a drinking bout or carousal. " BICIG4chyar"), again refers to Madhu, the juice of fruits such as Grapes etc. Tagiyefuafectayadalanara"," refers to a drinking revelry in 'Panagosthi'. "nAlikerIphalarasaprAyapAnam",' refers to the juice of the cocoanut fruits serving a liquor for the people of Kanci. "a1c4c647f", refers to the wine prepared out of the juice of the fruit of the palmyra palm. 'Sidhu' is another type of wine referred to by Dhanapala in', 'sIdhubhaMgAradhAriNAM' 'Sidhu'lo according to Dr. Om Prakash was prepared with the juice of sugarcane and dhataki flowers. "Kapisayanam' is another expression denoting 'a kind of spirituous liquor' (M. Williams) and "TETHICH, haastat'' (also commentary Le. 28) It seems to have been a favourite drink of non-aryans. Kautilya takes as a juice grapes. Two kinds of Sidhus are mentioned one prepared from boiled juice and the other from unboiled juice. 1. TM Vol. I p. 46. 2. MARY KAS II 25. 24 part I p. 79, Part II p. 178. 3. offergany fordi jedictor PT HYA: PAHUT: IKAS II 25. 19 Part I p. 79. 4. TM Vol. III p. 64, part II p. 177. 5. Ibid. Vol. III p. 92. 6. Ibid. Vol. III p. 148, also Sm. ed. p. 324. 7. Ibid. Vol. III p. 172. 8. Ibid. Vol. III p. 173. 9. Ibid. Sm. ed. p. 301. 10. Food & Drinks in Ancient India p. 300. 11. TM Vol. I, p. 74, L-7 12. Caraka Sutrasthana XV. 6. L-18, p.126

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388 TILAKAMANJARI OF DHANAPALA "svAduphalarasairAsavavizeSai'" and vidyAdharendragRhiNIbhiH preSitAnapUrvaparimalamucaH phalapuSpAsavAn refers to 'asavas' prepared out of floral and fruit juices. Regarding the Culinary art and cooking utensils we get the relevant information. 'Rasavati, is the expression employed for the kitchen and 'Bhojanasala' for the 'Dining Hall'. The smoke in the kitchen had come to a cease, the porches were being plastered, the seats were being cleansed, the utensils made of bell metal and silver were being cleaned, the variety of dainties were being served in the Dining Hall etc.' 'Aharamandapa'is another variant for the Dining Hall which has been described in all its variety of paraphernalia and formalism required to be observed inside it. King Meghavahana went to the Dining Hall, with attire assumed at the time of having a promenade, cast aside and with his sprout like feet washed by the group of attendants having cleansed his moon-like face bearing lines of drops of perspiration caused by fatigue and cadaverous with dust raised by the tumult of the army, with cold water poured by the servant carrying ice-cold water and approaching in haste, having rinsed a few mouthfuls of water having thrown them into the bejewelled spittoon placed in front, having cleaned the face along with sprout like hands, with the soft cloth brought in haste by the towel-bearing man advancing his hand in front, fanned slowly by another attendant holding a fan wet with water and carried in esteem, having waited for a while, with water carrying servants worried and running being attracted by the harsh notes of the army standing at the door side, with the surface of the floor being turned into a layer by the offerings of flowers wilted and thrown asunder, a large number of foodserving men or dining men assembled near the courtyard, many thousands 1. TM Sm. ed. p. 394. 2. Ibid. Sm. ed. p. 373. 3. nivRttarasavatIdhUmeSu samupalipyamAnAjaribhUmiSu prakSAlyamAnAsaneSu mAya'mAnakAMsyarajatAdibhAjaneSu bhojanazAlAsaMcAryamANavividhAhArapAkeSu Ibid. Vol. II p. 167. 4. vyapAstasakalavihArakAlakalpitaveSaH prakSAlitacaraNapallavazca paricArakagaNena satvaropasRtadhRtakarakakiMGkarakarAvarjitena zizaravAriNA prakSAlya balasaMkSobhadhUlidhUsarazramasvedalavalekhaM mukhendumagrataH sthApite maNipatadgRhake prakSipya katipayAnudakagaNDUSAnupaspRzya parimRjya cAbhyagrahastazATakagrAhisatvaropaDhaukitena vastrapallavena sahasrapallavaM vadanamAdaragRhItajalArdratAlavRntenAnyatamaparicArakeNa mandamandamupavIjyamAno muhurtamiva sthitvA dvAradezasthakaTakakaravAkRSTadhAvamAnasaMbhrAntavArikam, utsAritakAntapuSpabalitalinAyamAnakuTTimotsaGgam, aGgaNopAntapuMjIbhUtabhUri jAnakalokam, autsukyataralArAlikazreNisaMcAryamANAnekakAMcanasthAlIsahasram, AdaravyApRtAkSapaurogavanirIkSyamANakSudraparijanapravezanirgamAvasthAnam, anilatADitoddaNDakANDapaTakaprastutAkANDatANDava maahaamnnddpmyaasiit| Ibid. Vol. II pp 169-170.

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SOCIAL AND ECONOMIC CONDITIONS 389 of gold-caldrons being moved across by the rows of cooks moving in anxiety the ingress as well as the egress of the lowly servants being supervised by the Head Cooks appointed through honour the untimely frantic dance being displayed by the tent canopies erected on staves and moved by the wind. The word 'Aharamandapa' (TM II. p.231, L-10) also occurs where detained by Meghavahana and accompanied by Samaraketu, Harivahana performed his activities such as taking of food etc. And sitting in the verandan of the 'Aharamandapa' or Dining Hall, he met Sudrsti, the chief officer of the Royal records. "CaRYHEITTO sferach fun!!! Here the terms "Varikam', 'Bhunjanakaloka', 'aralika', Kancanasthali Sahasra' are technical, meaning the professional water carrying servants', 'the persons meant to take food', 'cooks', 'caldrons in thousands, made of gold'. 'Caldron? has fost: , 301, ohs, FerCI, for its synonyms in Sanskrit. It means a basin in which vegetables, pulses, rice etc. are boiled and cooked, a 'Handi' in Hindi or a 'Patila' a "Kettle' in English. "vividhavitIrNavitataratnasthAlazatazakRitakSititale nRpAsanAsannAniSaNNamiSaji saMnidhApitazukasArikAcakaura krauJcakokilapramukhapatriNi- vAraramaNIbhirUpanIyamAnamano'bhilaSitAnekabhakSyapeyaprakaro yathA sthAnamapaviSTena pradhAnapArthivagaNenAnyena ca praNayinA rAjalokena parivRtaH kurvannantarAntarA saha suhadbhiH narmabhojanakarma niravartayata This narrative contains 'ratnasthalawhich seems to differ in significance from 'sthali', meaning thereby the big expansive receptacle meant to hold dishes, rice, dainties and cups full of pulses and vegetable"Thala' in Hindi and Punjabi : plate, cup, bowl, dish, caldron etc. According to Dr. Om Prakash - 'Sthali' is one of the utensils which Indians have been using at least since the time of the Yajurveda. Dr. B.N. Puri and Dr. P.D. Agnihotra and 1. TM Vol. II, p. 231, L-8. 2. The Students English Sanskrit Dictionary V. S. Apte. under Sthali Skt. Dictionary. M. Williams. 3. TM Vol. Il pp 170-171. 4. Skt. Eng. Dict. M. Williams under Sthala. 5. Food and Drinks in Ancient India Appendix V p. 258. 6. Vaj Sam XIX 27, 86. AV VIII 6. 17. 1

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390 TILAKAMANJARI OF DHANAPALA in their publication 'India in the times of Patanjali' p. 100' explained the word as 'a big earthen dish or pan now known as Sthali. It would be seen from the following references that the word all along has the sense of a cooking utensil. In the Manasollasa? it is mentioned at two places and at both the places it is used for cooking meat. In the Amarakosa sthali is given as synonym of Pithara and Ukha which are both cooking utensils. In the Dasakumaracarita a girl asks her companions to bring a sthali from the market for cooking rice for a guest." In the Nalapakadarpana a sthali is used for boiling rice. In the epics sthali is said to have a neck and is used for cooking vegetables and other food articles and storing liquids such as curds. In the Brahmanas, the Upanisads and the Sutras the word sthalipaka has very often been used and means any food article cooked in a sthali.? In view of all these references in the classical as well as Vedic literature's it seems almost certain that sthali has the sense of a cooking utensil, even in Patanjali. This interpretation is also supported by the phrase 'sthalipakanyaya' which means just as we know about the quality of rice cooked in a sthali by taking out one grain of boiled rice from it so do we judge the whole by its part." Darvi(r) is the term used for a ladle which is a utensil meant to collect cooked food from the caldrons or kettles. Kataha' - a vat or a utensil with a hollow expanse-Kadahi in Hindi. 'Ghatitamrabhajanam - a copper vessel in the form of a small ewer. Apart from this - 1. According to Dr. P. D. Agnihotri Patanjalikalina Bharata p. 210. jisa pAtra meM audana pakAte the, use sthAlI kahate the| 2. Manasollasa III 1460, 1461 and II 1466. 3. ful: Teriya qu L., Frg &41: Amarakosa II 1769 p. 81. 4. fuiquipmu ra la sfai DKC. VI p. 161 M. R. Kale. 5. p. 6. 6. Mbh. Van. 263-24. 7. Ait. Br. I. 11., Brhad. Up. VI 4. 19, Ap. Sr. Su. I. 3. 7. 7. 8, ASV. Gr. Su. II 1. 5. Khadir. Gr. Su. II 226, Par. Gr. Su. I 15.4. Gobhila Gr. Su. I 5. 20. 8. TM Sm. ed. p. 374. 9. Ibid. Vol. III p. 59. 10. Ibid.

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SOCIAL AND ECONOMIC CONDITIONS 391 "samanantarameva satvaramAgatairmAhAnasikapuruSairupanItamatihadyavarNagandharasamutkRSTamUlyasaMpadbhiH supakArazAstropalavdhairyathAvasaramupakalpitairanalpabahubhirnavairduNyatadravyavizeSairupaskRtAnekamakSyalehyapeya prakArAnAsvAdayAMcakAra parivRto rAjaputrairupavane tatraivAhAram' referring to Harivahana anguished with love for Tilakamanjari taking his food in the garden where he tasted all types of drinks, condiments, edibles prepared out of diverse articles prepared in accordance with the need of the hour and recognised under the culinary lore (lit. the sore connected with the curry-makers i.e., the cooks) having ingredients of highly priced values with tastes, flavours and colours of palatability provided by the persons incharge of the Kitchen who had come quite readily is reminiscent of the typical way the kitchen work was attached importance to. The terms 'Mahanasika', 'Supakara' and the lore connected with them, 'Bhaksyalehya' and 'Peya' are significant here. ___ "zuddhAntadAsIbhirmahAnasAdAnIyAnIya saMcAryamANAnanekaiH sUpakAraiH pratyekamAropitaviziSTatarasaMskArAnmaNDapAntaratibhUyaso bhakSyaprakArAn''2 referring to the Dining chamber of Tilakamanjari refer to the female uttendants of the royal kitchen serving food through the Supakaras or prepares of curry. Curry may be of meat or of pulses, vegetables etc. "puroniviSTarandhanadakSadAsIsaMdhukSitAnalAsujvalantISu sarvataH kvathanavAcAlasthAlIparamparAparikaritacUlAsu prAMgaNacullISu along with "makarike! mArjayasitena rasavatIcullicandanabhasmanA samastAdarzabhavanam" refer to 'Randhana' meaning cooking process taking place on the hearths in the square with their upper parts occupied by series of caldrons or kettles resounding owing to the decocting process, on all sides and burning with fires smouldered by the maid-servants skilled in cooking and sitting in front-and use of sandal wood in hearths the ashes of which were used to cleanse the mirror panels or door panels. 'Culli' may mean a frying hearth or furnace or fire-brand and sthali may mean a frying pan. "upaspRzya cAghrAtadhUpadhUmavarti" "prArabdhadhUmapAnAdhomukhaiH 1. TM. Vol. III p. 26. 2. Ibid. Sm. ed. p. 373. 3. Ibid. Vol. II p. 269. 4. Ibid. Sm. ed. p. 373. 3. Ibid. Vol. III p. 26. 6. Ibid. Vol. III p. 132.

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392 TILAKAMANJARI OF DHANAPALA "upaspRzya ca samAvrAtadhUpadhUmavarti''' gRhItvA ca tAmbUlam refer to rinsing the mouth after taking food, smoking and chewing of betel roll. According to Dr. Om Prakash, the smoking in the modern fashion using tobacco, started, in India about 1600 A.D., when Portuguese came here. In our ancient past we had other means and better ingredients, far more fragrant and health-giving, which gave the fullest satisfaction to the smoker not only without injuring his health but also improving it. Bana in his Kadambari and Damodargupta in his 'Kuttanimata' have given recipes of ingredients used in the cigar type fragrant stick meant for smoking. Of Dhumavartis, as these cigar-like preparations are called in our books, the medical works mention five types, the ordinary Prayogiki which was meant for daily use and four others which were used to cure certain ailments. Their names are given by Susruta as " rf1h, fa, , 14811, anir: The Prayogikavarti consisted of aromatic ingredients like cardamom, saffron, sandal wood, aloe wood and usira. To these were added resin and the nicely cut thin barks of trees like banyan and the pipal all of which are known to burn very quickly and have some fragrance of their own. The resulting mixture was then ground finely, made into a paste and coated on a hollow reed nearly six inches long, which when dried had the thickness of a thumb. The reed was removed when dried and the resulting cigar-like varti was smeared with clarified butter before use. It yielded one of the most agreeable smokes."4 tambula also occurs variantly as Puga, Naga Valli and Kramuka in - "pralaghuvetrakaraNDikAkroDanihitakatipayatAmbUlavITakasanAthAm / "iyamutkSiptapANDupatravITakA samupasRtya satvarAprasArite tiryagupanayati tAmbUlamasyA:' "sundarANi lavalIlatAsadanAni pugagahanAni nAgavallI patramaNDapakatalakuTTimAni ca" "FeLhahifas 1. TM. Vol. II p. 171. 2. Food and Drinks in Ancient India pp 255, 256. 3. Su. Sam. Cikitsa 40. 3. 4. Food and Drinks in Ancient India, pp. 255-256. Susruta (Cikitsastana) 40.4 5. TM Vol. III p. 6. 6. Ibid. Vol. III p. 9. 7. Ibid. Vol. III p. 8, Vol. III p. 71. 8. Ibid. Vol. III p. 285.

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SOCIAL AND ECONOMIC CONDITIONS According to Dr. Om Prakash' There is no reference to tambula in the Vedic Samhitas, the Brahmanas and the Sutras. Even the Ramayana, the Mahabharata and the Smrtis of Manu and Yajnavalkya make no mention of it. This conclusively proves that the custom was not prevalent among the Vedic Aryans. 393 According to Dr. K.A.N. Shastri the habit of eating betel leaves with lime and arecanut perhaps came into use after the Samgam Age. But the custom may be prior to 200 B.C. as there are references to it in some of the carly Buddhist and Jain works. Kautilya (II,17.6) mentions betel nut but does not refer to the custom of betel chewing. Caraka, Kasyapa and Susruta refer to the practice and Caraka mentions all the ingredients used in the preparation of betel leaves such as arecanut, cube pepper, cloves, nutmegs and cardamom. The Kamasutra (I, 5.34), the Brhatsamhita, the Kuttanimata verse 148 and Raghuvamsa refer to the custom. Dandi Subandhu and Bana mention it. The custom may be a Tantricone. J.S. Pade (JORI Baroda, Vol. VII, 1957-58) thinks that it was prevalent among the Sudras from the earliest times but was adopted by the Ksatriyas and Vaisyas when they gave up Vedic Samskaras and were initiated by the Brahmanas into the Tantric cult. According to Sri Pade, since then the use of Tambula became popular among all sections of the Hindu society. 8. PASTIMES AND SPORTS Dhanapala has referred to the swing ride entailing the journey in the different quarters as a favourite pastime of men and women of Ayodhya.2 He has referred to the diverse personal sports and sources of regalement of King Meghavahana who delegating all powers of responsibility to his able counsellors took to them in order to achieve the accomplishment of Trivarga i.e. Dharma, Artha and Kama, the three main values of life. "Sometimes he acted like Langali or the plough-shared one i.e. Balarama, with body unmasked in azure garments and attracted afar the loving maidens during the nights of the dark fortnights, with their limbs anointed with fresh unguents and deer-musk as did the latter carry after the currents of water of Kalindi i.c. Yamuna. Sometimes he took to water-sports being sprayed having come again and again by the ladies of the harem carrying a variety of conches and shells, being himself attractive with the 1. Food and Drinks in Ancient India pp 253-254. 2. dolAkrIDAsu digntryaatraa|

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394 TILAKAMANJARI OF DHANAPALA shining gold syringe. Sometimes he roved lustily in company with his queen on the pleasure-mound having a peacock vociferous, with his way directed by hilarious associates. At times he assuaged his anguish of love reclining on the counterpane of lotus leaves on the fountains having cavities of their interiors darkened by the spurts of water splashed ashore, being disappointed from propitiation of the beloved whose dalliance in prostration at feet having been ignored through irresistibility of ire. Sometimes he satisfied the ardent desires of the creepers of the palace gardens yielding florescence at an odd hour and grown as a personal hobby actuated by his mutual envy for the queen. He even painted fingered leaves tortuous with many curves on the murals of the pitcher-shaped breasts of the damsels with a view to indicating the unending flow of the toilet esteeming well the clean unguent plaster of deer-musk never taking leave of the water of perspiration born of love. Sometimes defeated in pleasure sport of gambling he would not pay the wager and was, therefore, thrown as if perforce, before the cowives in the pleasure-apartments with doors having panels joined together with terrible stroke of the feet brought about having been dragged by the clever maidens with feigned scowls woven up with the words "Where are you going?" Sometimes he used to ingratiate the beloveds irate through love, sip Kapisayana (a type of liquor prepared out of grapes) on the roofs of the palace shining with moon light, helpless in love, bearing pegs of ruby poured down personally having red lotus petals placed over them and varied hued with the leers of other women glowing with jealousy. Sometimes he amused the ladies of the harem while making fun of the jesters (Vidusakas) by varied pranks of decorating the face or masking the face etc. Sometimes he whiled his day having given up all other activities and looking upon the images of the princes excelling in beauty and brought as gifts, having placed them on the picture-canvases by the expert painters deeming him as susceptible to women. Sometimes he listened to the sweet sayings composed by his own self and abounding in sentiment of love, well admired after having been tuned to special notes of music, being rehearsed as songs by the consembly of reciters or singers (gathakas) through throats instinctively sweet. Sometimes he attracted the minds of the skilled vassals staying close, witnessing the performances of gentle dance (lasya) of the female dancers demonstrated by the dancing-teachers with the entire lore of dance expounded along with their secret parts (or accessories), with the nuancing of defects and virtues observed minutely through the medium of infallible scriptures. Sometimes he saw the faces of the lovely maidens of the seraglio taking to absolute taste of dalliance, in the oblong tanks of the palace, with zest of usnitigated inquisitiveness, holding the cloth on the posteriors, having dipped under one pretext or the other such as searching

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SOCIAL AND ECONOMIC CONDITIONS 395 for the finger ring fallen therein- the faces, that had their pupils (of the eyes) tremulous through natural bashfulness, pinioned on the faces of the other maidens standing hard by, that had words agreeable through feigned shrieks and had their mirror like cheeks blown through the sham embarrassing smile and had lines on the pate charming with the playful knitting of the brows." 'Gitagosthi' - A musical concert and 'Panakeli' and Panagosthi - a drinking revelry have been employed to cover the field of recreations. Gambling as a sport and pastime has been referred to at a number of places. 'antakakitavakautukASTApadam" / 'kvacit kitavA iva likhitaassttaapdsaarphlkaaH|| 'caturaMgadyUtamiva sunirUpitatrikacatuSkaracanam" 1. kadAcitrIlapaTAvaguNThitAGgo lAGgalIva kAlindIjalaveNikAH pratyagramRgamadAGgarAgamalinavapuSo bahulapradoSAbhisArikA suduurmaackrss| kadAcidullasitakanakazRGgasundaro mandarAdririva kSIrodajalavIcibhirAgRhItavividhazaMkhazuktipuTAbhiravarodhapurandhrIbhirupasRtyopasRtya sicyamAno jlkriiddaamkrot| kadAcinmuditasuhRdgaNopadizyamAnamArgo mRgAMkamauliriva kailAsazikhare mukharazikhaNDini krIDAgirau devI sametaH savibhramaM bbhraam| kadAcinmanyugauravAdatilaMghitapAdapatanavibhramANAM preyasInAM prasAdanaM prati niSpratyaza: prAntanipatadambudhArAndhakAritodarakuhareSu dhArAgRheSu visinIpalAzastrastarazAyI mnsishysntaapmtyvaahyt| kadAciddevyA sArdhamArabdhaspardhaH svaparigRhItAnAM gRhodyAnavIrudhAmakAlakusumodgatikAriNastAMstAn dohdyogaandaat| kadAcit dhautamRgamadAGgarAgamanurAgajaM svedajalamajasramujjhihAnaM bahumanyamAnaH pratikarmasamAptikAmyA kAminIkucakumbhabhittiSvanekabhaGgakuTilAH ptraangguliirklpyt| kadAcit krIDAdyUtaparAjitaH paNitamaprayacchan 'kva gacchasi' iti baddhAlIkabhRkuTibhirvidagdhavanitAbhirAkRSya kRtaviSamapAdapato balAdiva dattakapATasaMpuTeSu vAsavezmasu sptniismkssmevaakssipyt| kadAcidIAruNapratipramadAkaTAkSakarburamuparikSiptaraktotpalapalAzamiva kApizAyanaM svayamutkSiptamANikyacaSakazcandrikAprahAsiSu prAsAdataleSu premaparavazaH praNayakupitAH preyasIH saanunympaayyt| kadAcid vdnmnnddnaadibhirviddmbnaaprkaarairuphsnviduusskaannt:purikaajnmhaasyt| kadAcidaGganAlola iti matvA nipuNacitrakAraizcitrapaTeSvAropya sAdaramupAyanIkRtAni rUpAtizayazAlinInAmavanipAlakanyakAnAM pratibimbAni parityaktAnyakarmA divsmaalokyt| kadAcitsvayameva rAgavizeSeSu saMsthApya samarthitAni zRGgAraprAyarasAni svaracitasubhASitAni svabhAvaraktakaNThayA gAthakagoSThayA punaruktamupagIyamAnAnyanurAgabhAvitamanAH shushraav| kadAcidAveditAnikhilanATyavedopaniSadbhirnartakopAdhyAyairupadarzitAnAM nartakInAmakSuNNena zAstravarmanA kRtasUkSmaguNadoSopanyAsaH pazyallAsyavidhimAsanavartino vidagdharAjalokasya manAMsi jhaar| kadAcid bhavanadIrghikAmbhasi pravRttanirbharakrIDArasAnAmantaHpuravilAsinInAM patitAGgulIyakamudrAnveSaNAdinA tena tena vyAjena nimajaya gRhItajaghanAMzuko vibhramabhUbhaGgasubhagalalATalekhAni vyAjavailakSyahAsavikasitakapoladarpaNAnyalIkAkrozapadahRdyavAJci samAsanapratipramadAmukhaprahitakRtrimatrapAtaralatAratArakAnyaviratadi-dRkSAraso vIkSAmAsa mukhaani| Ibid. Vol. I pp. 73-76. 2. Ibid. Vol. I p. 117, Vol. III p. 37, Vol. III p. 50. Vol. III p. 148, Sm. ed. p. 324. 3. Ibid. Vol. II p. 198. 4. Ibid. Vol. II p. 208. 5. Ibid. Vol. III p. 10.

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396 TILAKAMANJART OF DHANAPALA 'dyUtarasikasurakumArakotkIrNavividhaphala kAMkitatale" 'UrdhvarekhAkAraromAvalI samavibhaktobhayavibhAgasya madhye'dhikatanorati vizAlasAriphalakasyodaroddezya'2 'apara: sarastIravighaTitazuktimuktairmuktAphalai takriyAM prAvartayat" 'akSakrIDAvinodena kSaNamAtramasthAm" 'nAyamavasaro nayadyUtasya 'kvacidadyApi prmprmaadvsrvaaritaakssprcaarhaaritsvaarthsNpdo'ssttaapddyuutsyev| all these refer to "Kitava' (a gambler), "Astapada'- Draught-play, 'caturangadyata'- game of chess, 'sariphalaka' -the chess board, aksakrida' - gambling, 'nayadyuta' - statecraft deemed a gambling, 'aksapracara' and 'astapadadyata' - the prevalence of gambling and the draught play. Out of these - Astapada, caturanga, Sari and Aksakrida are significantly important as referring to three main types of gambling viz. draught-play, chess and diceplay. astapada is 'Pasa' in Hindi. It can be played with any type of stake through lucky or unlucky throws. Chess (Caturanga and sari) is played on a board carrying figures of horses, elephants, pedestrians and chariots placed as nuts on it. Aksaknda is also played on a board with dice thrown to win a stake or to lose it. It can coincide with modern carrom-board. Astapada and Aksakrida can even be construed as identical. Ball play or Kandukakrida has been illustrated as a favourite sport of women and has been referred to in the case of Malayasundari as well as Tilakamanjari. 'viracayantyazaktamasrastamapyAdareNa daraprakAzitapInabhujamUlastanataTA punaH punaH kandukakrIDAprakame puSpApIDamatidIrghamasthAt" refers to Malayasundari who has been described by Harivahana as taking to the action of redressing her thick hair tuft inlaid with flowers while busy bumping the ball in its playing process. "pAMcAlikAkandukaduhitRkAvivAhagocarAbhiH zizukrIDAbhi: ativAhitasarvalokaspRhaNIyabAlabhAvA'' 1. TM. Vol. III p. 102. 2. Ibid. Vol. III p. 150. 3. Ibid. Sm. ed.p.353. 4. Ibid. Sm ed. p. 370. 5. Ibid. Sm. ed. p. 372. 6. Ibid. Sm. ed. p. 420. 7. Ibid. Sm. ed. p. 365. 8. Ibid. Vol. III p. 11.

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SOCIAL AND ECONOMIC CONDITIONS 397 refers to doll-playing, ball-playing, the celebration of the nuptial tie of the male and female dolls or female bracket figuresas the favourite sports of the childhood in case of Tilakamanjari. 'rudite rudite vinodyamAnA vicitrakrIDanakaiH' referring to the childhood of Malayasundari refers to the provision of variety of toys meant to divert the mind of a child when it takes to weeping. The Recreating moods of Harivahana in adolescence have been illustrated as follows "He took to many types of conversations with the chief stock of princes while seated in the water-pavilion (Jalamandapa). He took to poetry symposia abounding in variety of figures of speech, prolific in sense and elegant in style being made so by the employment of rich vocabulary. The species of riddles or literary puzzles attained to renown in the consembly of the learned were being read out. The series of questions and answers (i.e. dialogues) striking palling to the persons lacking in intelligence, were being deliberated upon. The anecdotes regarding the six-fold test of intelligence (pertaining to Dharma, Artha, Kama, Moksa, Loka and Tattvartha) bearing deep and clear imports were being examined critically. The verses lacking in Bindu or anusvara, matras (vowels) and syllables (aksara) having lacunas supplied to them by filling in the blanks were being reflected upon." "pratidolamAndolanakrIDAnanditAnidRzyante satatamanavadyaveSANi vidyAdharadvandvAni"2 "ufactanciaE HIHIGISTA PYE:"" refer to swing ride as a sport, swings were tied to the creepers or these could be made out of creepers. Gardening consisting in besprinkling the trees and plants by waters from the linns brought in hollowed cups of leaves, preparing the water-basins of the sylvan creepers growing situate to the porch of the cottage, painting of svastika marks and carving of lovely textures out of leaves in the platforms of the yards in the wattle-huts, nourishing with the morsels of grass, mown through tears, the fawns grown weak through scarcity of milk in the teats of their mothers (does) etc. has been mentioned in context with Malayasundari 1. yathAsthAnamupaviSTaizcaH taiH saha prastutavicitrakathAlApasya citrapadabhaGgasUcitAnekasundarodArA pravRttA kathaMcit tasya citrAlaMkArabhUyiSThA kaavygosstthii| tatra ca paThyamAnAsu vidvatsabhAlabdhakhyAtiSu prahelikAjAtiSu cintyamAneSu mandamatijanitanirvedeSu prshnottrprbhedessu| bhAvyamAnAsu prasannagambhIrabhAvArthAsu SaTprajJakagAthAsu, vimRzyamAneSu 1974Hygica farghada Pelag etc. Ibid. Vol. II pp 240-241. 2. Ibid. Vol. III p. 310. 3. Ibid. Vol. III p. 91.

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398 TILAKAMANJARI OF DHANAPALA who spent her time in the hermitage of the Kulapati.' Recreations of Tilakamanjari and Harivahana have been illustrated manifoldly in proper contexts. "Severed from the latter she would even embrace close through morbid emotion emitting out swishing sounds, the stone-pillars in the ruby-pavilion cool and bland. She even studied the sweet-sayings of the good brimming with erotic sentiment in a language that could be heard. She would paint the pairs of animals, birds and Vidyadharas given to ephemeral love, on the wall-sides. She even made to dance the peacocks of the shrines standing in the windows made of the creepers dangling about unevenly, with the noise of the clappings of the hands having series of bracelets resounding and moving." "Harivahana spent his days on the shores of Adrstapara lake creating marvels by the artistic performances such as preparing texture on leaves, plaster-painting, painting of pictures etc., regaling by the variety of metrical compositions abounding in figures and concerts such as Bindumati, Cakra, Yamaka, riddles (Pravahlika), questions and answers, taking to deliberations of diverse types along with hereditary acaryas endowed with dignity and sent for to remove his own doubts, taking to pride constantly by listening to or composing sweet sayings, composed with a series of erotic tales."3 Hunting as a sport has been mentioned in a couple of instances. 1. kadAcitpatrapuTakAhRtaiH prasravaNavAribhirbAlavRkSakAnukSantI, kadAciduTajAjiropAntajAtAnAM vanalatAnAmAlavAlAni viracayantI kadAcidaciropaliptAsu parNazAlAGgavitardikAsu drshitaanekllitptrlekhaansvstikaanbhilikhntii| kadAcitpranaSTajananIdugdhadurbalAnbAlahariNakAnbASpalavyaiH zaSpakavalaiH sNvrdhyntii| Ibid. Sm. ed. p. 331. 2. tatra ca pratikSaNaM mayi kSiptekSaNA kurvatI masRNazItaleSu maNikyamaNDapikAzilAstambheSu muktasItkArANi savikAraparirambhaNAni vAcayantI zravyabhASayA tata itaH zRGgArasArANi satkavisubhASitAni abhilikhantI bhitibhAgeSvabhaGgurAnurAgANi vidyAdharapakSimRgamithunAni, nartayantI calitavAcAlavalayazreNinA hastatAlazabdena viSamavelladbhUlatAvAtAyana.. brhinnaan| Ibid. Sm. ed. p. 364. 3. tatra cAdRSTapAraparisaranirUpitAvAsaH kadAcicca bahuvikalpauzcitrakarmapustapatracchedAdibhiH zilpabhedairApAdyAmAnaH, kadAcitpraznottarapravahilakAyamakacakrabindumatyAdibhizcitrAlaMkArakAvyaiH prapaMcitavinoda: kadAcitvasaMdehanirNayAya preSitaiH prasarSavadbhiH saha kulAcAroM kRtoccAvacavicAraH, kadAci.. zRGgArasaGgatakathApraJcasaMbaddhAH sUktI: sArnubandhamupajAtamAnaH....katipayAnyapi dinaanyyaapym| Ibid. Sm. ed. p. 394. 395. 4. yadivarahavedanAvihitasauhityena lauhityamRgayAvane vinA mRgagrahaNasaMkalpena kalpitaH saparivAdinIbAdanamanudinaM vinodaH / jAtakautukaizca mRgayAvyasanibhiH kSitipatikumAraiH kSapaNAya teSAmanukSaNaM vyApAryata na ca prakRtisAnukrozatayA zastragocaragatAnapitAn jghaan| Ibid. Sm. ed. p. 357.

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SOCIAL AND ECONOMIC CONDITIONS 399 9. HARLOTRY Harlotry or Prostitution as a social evil has been illustrated on many an occasion during the course of his descriptions by Dhanapala. "He calls them Vilasinis living in Ayodhya rendering help to Cupid the ambitious conqueror of the triad of worlds, who were the lores on Kamasutra in corporeal form, who were skilled in the lore of harlots come to them. through heredity. They were the very bond of knowledge about the essence even of the world. They were not solely devoted to the riches. They were attracted by the virtues of best of men. They did not take to sexual sport with the dirty people, even when they were fond of all the nine modes of physical union etc. Their doors were always crowded with lovers having bristles growing on their bodies etc." "The harlots have been described in the palace of Meghavahana having been pressed into service for serving edibles and drinks etc. They wore brilliant silken robes studded with variegated ornaments." Kanel, the capital town of Kusumasckhara has been described as abounding in prostitutes (Panyavanita) acting at will and attractive with wine. 2 ' paNyanArIgaNena" is another expression employed by Dhanapala meaning 'harlots' in the retinue of Tilakamanjari. 10. ECONOMIC CONDITIONS As already observed Dhanapala flourished in the reign period of probably the three Paramara kings viz. Vakpatiraja Munja, his younger brother Sindhuraja and the latter's son Bhoja; We can easily presume that he ventures to illustrate in his prose-romance the economic conditions of the reign of the Paramaras, the period of history ranging between A.D. 10th century and first half of the eleventh century. He describes Bhoja as a scholar versed in whole of literature and yet curious to listen to the narratives sponsored by the Jain scriptures. For the regalement or entertainment of that very king of unblemished demeanour this Katha 1. ruNaraNAyamAnaiH kAmibhirazUnyadvArAbhirnavasurateSu baddharAgAbhirapi nIcarateSvasaktatAbhiH:... puruSottamaguNahAryAbhiH na punarekAntato'rthAnurAgiNIbhiH saMsAro'pi sAratAbuddhinibandhanabhUtAbhiH kulakramAyAtavaizikalAkalApavaicakSaNyAbhiH sAkSAdiva kAmasUtravidyAbhirvilAsinIbhivitIrNatribhuvanajigISukusumasAyakasAhAyakA.... TM. I p. 50 2. citraratnAbharaNAdivyAMzukagharAbhirvAramaNIbhiru panIyamAnamanobhilaSita anekbhkssypeyprkaaro| etc. Ibid. Vol. II p. 170. and surAbhirAmabhirucitakAriNyaH paNDavanitA Ibid Vol. III p. 172. 3. Ibid. Sm. ed. p. 416.

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400 TILAKAMANJARI OF DHANAPALA (Tilakamanjari) was composed, abounding as it did in the sentiment of wonder.' Siyaka II alias Harsa being issueless for a long period adopting Vakpati Munja as his son and later on getting his own son Sindhuraja was perhaps before the eyes of Dhanapala who fabricated the tale of king Meghavahana of Ayodhya, the great scion of Iksvaku race who failed to beget a scion through Madiravati and got it later on through some propitiatory rite, naming him Harivahana who on his own part got a foster brother in Samaraketu the prince of the Simhalas, son of Candraketu both being consecrated to the two major sub-divisions of the kingdom of Meghavahana as the diacritical representatives of the supreme overlord who had subjugated the subsidiary vassals as a Dharmavijayi. The flourishing cconomic conditions of Ayodhya, the capital town of Northern Kosalas and Kanci, the capital of Daksinapatha may covertly allude to the flourishing economic conditions of the capital town of the Paramara rulers Siyaka-Harsa, Vakpati Munja, Sindhuraja and Bhoja etc. Dhanapala has referred to Madhyadesa having its chief town as Samkasya, the parent's home of Dhanapala, identified with modern Sankisa, a village in the Farrukhabad district of the U.P., situated 36 miles north by west from Kudarkot, 11 miles south-east from Aliganj in the Azamnagar Pargana of the Etawah district and 40 miles north-north-east from Etawah. "Sri Dhanapala, the Brahmana, composed this katha who was eulogised in the very court by Sri Munja the ocean of all the lores that it was the very Sarasvati or Goddess of learning."" Or Sri Munja baptised Sri Dhanapala as the person bearing title 'Sarasvati'. These words amply justify the point that Dhanapala wrote for the entertainment of Bhoja and at the instance of Munja. Ayodhya, the capital of Northern Kosalas was refulgent with righteous and bright-complexioned or brilliant Varnas (three orders of society standing as it did having adorned the central part of the Bharatavarsa." It 1. ni:zeSavAGmayavido'pi jinAgamoktAH zrotuM kathAH smupjaatkutuuhlsy| Paracaahe fHiGea : Yaka feral 27274|| TM Intro.. Verse 50 Vol. I p. 40. 2. HGA I p. 142. 3. tajjanmA janakAGgripaMkajaraja:sevAptavidyAlavo vipraH zrIdhanapAla ityAvizadAmetAmabadhnAt kthaam| 37&uuisfe falatelithaa 9: H E TI S A kradla HH 14a Ed: 11 TM Intro.. verse 53 p. 42, Vol. I. 4. qui se caufauftit.... 974714615r fer Yrdaigibid. Vol. I p. 43.

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SOCIAL AND ECONOMIC CONDITIONS 401 was circumambiated by a fortification having a broad platform and its walls white like snow.' It was provided with hundreds of oblong tanks having extensive steps conducive to descent. It was surrounded by huge circle of moat having its ripples terrific owing to existence of elephants alligators and crocodiles, being difficult to ferry across even by the flights of imagination. It had four huge gateways making egress to the quarters.' It had its squares radiated by the circle of temples of gods engirt round by the ramparts white with the stucco-paint with gold ewers shining over the pinnacles of the sanctumsanctorums. It had its out-precincts darkened by the groves having temples of Manobhava (Kamadeva). Bhava (Siva) and Bhavani not being deserted even for a second by the society of gallants singing, reciting or chanting and discoursing with amorous gestures with eyes directed towards the faces of the towns-women and having the shrill creaks of the sweet and noisy watermachines being heard every day by the tired travellers sitting underneath the thick saplings irrigated by the sluices or canals flowing with water rushing in haste. It was adorned with the market-lanes extensive and wide, accessible to the wheel of the chariot (i.e. the tassels of rays) of the Sun, the heaps of turquoise, diamonds, sapphires, emeralds etc. being visible in the open and with their both sides occupied by the rows of golden mansions of the glare of the rows of hill-tops. It had palaces glamorous with many storeys provided with ruby lettices and mural-paintings carved out on the ivory-columns supporting the roofs and had pedestals of courtyards decked with swings, had auspicious wreaths hanging over the lofty alligator shaped arched portals and had parapet-turrets scraping the sky engirt by colossal 1. qartaffel fasllagu fa turi Ibid. 2. vipulsopaansugmaavtaarvaapiishtsmaakulaa| manorathAnAmapi durvilaDena plavamAnakarimakarakumbhIrabhISaNomiNA mahatA endast feat Ibid. vol. I p. 44. 3. Ibid. vol. I p. 44. 4. 3172016-7764 Y a girdarytsaari Ibid. 5. vietaRudra +4 hotzt: Edarauf defektusch:.... JGyfareti Ibid. 6. tvarApatajjalavisarasAraNIsiktasAndrabAladumatalaniSAdinA parizrAntapathikalokana pratidivasamAkarNyamAnamadhuratAraghaTIyantracItkaraiH parityaktasakalavyApAreNa pauravanitamukhArpitadRzA savikriyaM prajalpatA paThatA gAyatA ca bhujaGgasamAjena kSaNamapyamucyamAnamanobhavabhavabhavAnIbhavanaiH.... ArAmaiH zyAmAyamAnaparisarA.... etc. Ibid. Vol. I p. 45. 7. girizikharataMtinibhazAtakumbhaprAsAdamAlAdhyAsitobhayavibhAgaiH sphuTavibhAvyamAnamarakatendranIlavajravaiDUryarAzibhiH Rata yugir : yaralafutet: wafati Ibid. Vol. I p. 45.

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402 TILAKAMANJARI OF DHANAPALA walls. It was surrounded by the pleasure-ponds. It had carousals being celebrated by the amorous persons in company with the ladies in domestic orchards abounding in coils of the Mrdvika (vintage) vines dancing in mellow breeze.? It had association made on all sides by Sarayu, the river that had come there to entertain Bhagirathi or Ganga, with its precincts never deserted by royal swans come down from the Eastern ocean. It was inhabited in its interiors by all classes of people, virtuous housewives, coquettes being the embodiments of the lore of the treatise on Kama, circumspective suave savants, well versed in the essence of legend and chronicle, skilled in drama, poetry, prose, philosophy, political science, treatises on dramaturgy and arts of acting and dancing, Kamasastra, linguistics, etc. It had sacrificial ritual performed therein, had small gardens inside, had ivory columns meant to support the roofs, had lakes acting the role of mirrors. It had learned Brahmanas turning it into a Brahmaloka. It had srotriyas, Nagarikas, Dvijas, Pauras, Gphas, Rathyas, enhancing its beauty. It had its economy regulated by the able officers. It had a huge army led by a great king. It had given proper facilities to the Arhatas (Buddhist and Jain monks). It had its political policy governed by the secret agents and had its populace engrossed in the affairs of the corporations. It had huge wells (mahakupa) and water-machines (Araghatta, Ghatiyantra, Udghataka) as sources of irrigation etc. 1. dhRtoddharaprAkArapariveSairabhraGkaSapratolibhiruttuGgamakaratoraNAvanaddhaharitavandanamAlairdolAvibhUSitAgaMNa-vedibhiH..... dantavalabhikAbhitticitrAniva...... mANikyajAlakAn kalayadbhiradbhutAkArairanekabhUmikAbhrAjiSNubhiH saudhaiH pravartitAviratacandrodayA..... krIDAsarasIbhiH saMvalitA, mRdupavanacalitamRdvIkAlatA-valayeSu... gRhopavaneSu vanitAsakhai vilAsibhiranubhU..mAnamadhupAnotsavA, pUrvArNavavitIrNaiH.... rAjahaMsaiH kSaNamapyamuktapArzvayA.... bhAgIrathImupasthitayA saritA Heleri P ihen......... Hafarif 444#kartoitezifa 792fTefal PRI Ibid. Vol. I pp 46, 47, 55. 2. Ibid. Vol. I pp 46, 47, 55. 3. Ibid. Vol. I pp 46, 47, 55. 4. mahApArthivavarUthinIvAnekarathyAsakuMlA, rAjyanItiriva satripratipAdyamAnavAdhigatArthA, arhaddarzanisthitiriva naigamavyavahArAkSiptalokA.......cItkAramukharitamahAkUpAraghaTTA..... viratAghaTTakramasamucchasatsalilamajjatsopAnAsu Yata14g Ibid. Vol. II p. 166. LL 5. YARER AR:- Ibid. Vol. ! 145. L. yafdag THREGE A T TAGECUT Ibid. II p. 263. L. 3. BUTER T RUERT Augalai Ha:..... JARHIC: Ibid. Vol. II. p. 236. L. 5. Ibid. Vol. I p. 55. Cp. SSD Bhoja XVIII 1-6, 38, X. 89-102 pp 46-47, 88, 99 originally Edited by T. Ganapatisastri and revised by Dr. V.S. Agrawal.

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SOCIAL AND ECONOMIC CONDITIONS 403 The men of the town led a life of cosiness and sophistication. They were sattvikas and had courage enough to reach the assembly of the king. They were good orators. They did not deride but amused others. They imbibed the virtues of others. They were contented. They stood by in hours of trial. They lived by the method of mutual give and take. They did good to others. Kanci, the capital of Daksinapatha, has been likewise described engirt round by a circle of moat abounding in groups of alligators, crabs and fish, like Lanka by Lavanasagara and the capital of gods by the firmament and the cordoned round by a fortification (or vallum) having a white wall of marble, partitioned on all sides by extensive and huge market lanes crowded by traders prone to maritime trade, stuffed with water in the form of tassels of sheen from the gems collected in heaps in their porches and bearing on both sides the series of mansions. It was as if the cantonment of autumnal clouds established through the temples of gods. It was, as it were, the enjoyment abode brought to incarceration, by the gardens on the outprecincts. It had the prevalence of dialects of all other countries obtained recognition. It had the chambers of the coquettes turning it into all the ncthers. It was not far away from the southern ocean and was abounding in heaps of gold and hordes of riches. It had the moneyed people fond of betel roll (Punningly- It had rich people slothful like a tusker)." It had citizens and philosophers conversant with the views of others or tolerant towards the creeds of others. The Brahmanas were true to their caste and order. It had buildings built in straight lanes. The palaces ranged in large rows." The 1. TM. Vol. I. pp 52-53. 2. asti... laMkelavaNasAgareNa tridazanagarIvAntarikSeNa kRtaparikarA makarakulIramInArAzisaMkulena parikhAmaNDalena.... sphAtimupagatena sphATika dhavalabhittinA prAkAreNa parivRttA, vidhRtataTasAdharmyahAvalIdhRtobhaya vibhAgairajirapuMjit prAjya ratnaprabhA jAlajalanibharairanavaratabahatsamudrAyAyajanivahakalakalAkrAnta dikcakraiH..... samantataH sImantitA vizAlAyatairvipaNipathaiH AvAsita zarajjaladazivirairiva suramandiraiH bandIkRta samastabhogabhUmi riva parisarArAmaiH ekIkRtAzeSaviSayAntaraiva sarvadezabhASA zrutibhiH udghATita samagrasuravivareva vilAsinIvAsabhavanaiH, anatidUravartinI afvigeR11+12 714 71 Ibid. Vol. III p. 170. 3. Ibid. Vol. III p. 171. 4. Ibid. Vol. III p. 171. 5. Ibid. Vol. III p. 171. 6. A th: 14: Ibid. 7. Peug: URI: H ai Ibid. III p.171. 8. Curry: SERI: "ERTAT I Ibid. 9. mufaferal: Efayl: Ibid. vol. III p. 172. 10. EHITAT: YRIGI: Ibid.

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404 TILAKAMANJARI OF DHANAPALA main shops bore locks and keys. The city maidens as well as the harlots took to the penchant of taking to wine or the city maidens catered to the desires of the attractive husbands while the harlots acted wantonly by their liking for the wine.? Food of the people consisted in the fruits such as orange, Panasa (the bread fruit) and plantain, while their drink consisted solely of the juice of coconut fruit. The ornaments of the people consisted in pearls and their religious duty consisted in compassion. They revelled in charity and noble traits such as truthfulness, purity etc. Their recreation comprised of learned discourses on the scriptures. Similarly the nagari named Rangasala (the capital town of Simhalas) was glamorous with thousands of mansions of the citizens bearing shapes of the aeroplanes or seven-storeyed in dimensions (Vimanakara) and was surrounded by a sky-scraping fortification, being the very ornament of the entire earth.' Candraketu, sire of Samaraketu, had a naval corps which had its jurisdiction up to the limits of the South of India (Daksinapatha) and which could hold capacity to chastise the wicked vassals abiding close to the mountain called Suvela, acting recussant through devices and betraying loyalty through argumentation, acting playfully during catastrophes, feeling morose during rejoicings, offering lame excuses for not having come when summoned, effecting delay or resorting to procrastination in offering or releasing charities or gifts and fines, refusing to pay off the tributes they had voluntarily agreed to pay and taking to hauteur by resorting to the strategies in accordance with the time and place etc. Mandala, Janapada, Nagara, Grama were the four main divisions of the country populous with the population. "anekaiH kAzmIrAdimaNDalapratibaddhaiH pradhAnanagaragrAmairupetaM kumArabhuktAvakhilamuttarApathamarpayAmbabhUva, samaraketozca sarvadAyasahitAnaMgajIvane'GgAdijanapadAna prAyacchat4 1. Higfeldicht: T11994: TM. Vol. III, p. 172 2. RT folderua: quafdal: Grydagi Ibid. 3. yatra nAraGgapanasakadalakaprAyamazanam, nAlikerIphalaraprAyaM pAnam, muktAphalaprAyamAbharaNam, kRpAprAyaM dharmAnuSThAnam, GHYRI #H, HEREURTHERUTH, H ERET Gang) faith chicken Ibid. III. p. 171. 4. Ibid. 5. Ibid. 6. Ibid. 7. Fiectata 44 dancityqu.... farm14RURI T TYC -14 T Ibid. Vol. II pp. 250-251. 8. tatrasthaH pitA me candraketuH kadAcid dezakAlAdyavaSTambhasaMbhRtAvalepAnAM prapannamapi pUrvadAyamaprayacchatAM vikSepavisarjaneSu kAlakSepakAriNAmAhvAneSu bahvanAgamanakAraNa....prItimupadarzayatAM yuktyA pratilomaM vyavaharatAM suvelazailopakaNThavAsinAM GATHI waar 411414 Phai Ibid. Vol. II pp. 250-251.

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SOCIAL AND ECONOMIC CONDITIONS 405 along with - "anujIvino rAjaputrajanasya pAtratAnusAreNa saMvibhakta svabhaktinagaragrAmanivahanizcintayoH"" refers to 'Uttarapatha' or Northern India in its entirety comprising of Kasmira and other Mandalas including all the towns and villages forming the region meant for the government of Harivahana and Anga and other Janapadas with all the sources of revenue forming the region meant for the government of Samaraketu both of whom distributed the towns and villages meant to be governed locally by some princes of their choice. The sources of revenue consisted in the acceptance of clothes, upper scarfs or counterpanes, gems, ornaments, unguents, fruits, weapons, vehicles and other gift articles produced or available in the countries of the subsidiary kings reigning in other islands, which involved a large amount of import and export duty on goods imported and sold and those exported in exchange. The cconomic affluence of the Nagara whose borders Samaraketu crossed in company with his entourage and army personnel has been amply illustrated here - "The consemblies of the twice-born i.e. the Brahmanas held in esteem by the prince by prostrations and gratified showering blessings afford an impression about the healthy economic conditions of the times. The crowds of citizen folk offering homage equally corroborates the fact that subjects had no resentments. The old women showering fried grains illustrates the contentment of the every section of society. The towns, women looking at him affectionately expresses the warmth of feeling which again is a trait of healthy circumstances prevailing in the country.". The Nagarasima i.e. the border regions of the town had breeze from the groves redolent with the flavour of the vast fields of red-rice. The waters on the shores of lakes were resonant with the notes of the sarasas, swans and ospreys exuberantly inebriate. The under surfaces of the old trees were rendered yellowish by the seeds of paniccorn (Priyangu) bitten half by aquiline beaks of parrots. It had stationed at many spots the rich caravans of traders consisting largely or crowded with mules, horses in many number, moved out for an outing as indicated by the turrets that had groups of kits (sacks) collected in the courtyards, had huge safes of riches placed in the corners of the tents made of crimson canvas tailored afresh and had servants busy continuously in preparing the trappings of the bulls such as : Ibid. 1. TM. Vol. II., 250-251 2. Tritacat fu: SITUA: Torfason: FHUTA dydakty: Hadf 1 pp. 232-233. 3. Ibid. pp. 254-255.

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TILAKAMANJARI OF DHANAPALA decorations and saddles carrying as they did the heavy loads required to be carried to the other islands. It had precincts of the huge banyan trees rendered uneven with the oblong tanks on the way, that were inlaid with well-glued steel-bricks, had plinths of the rows of steps resorted to by the groups of the consorts of the frogs with their palms spread in front as if out of fear for the innumerable pilgrims descending down being tormented by greed, had images of many deities engraved within the door-panels, had their shores encircled round by the circles of walls whitened with stuccopaint and had waters sweet and extremely limpid. It was cordoned by the sylvan rivulets having cane-groves grown ashore made capable of respite for the people at any time, being easy of crossing for the rows of animals as indicated by the channels gone afar, having groups of sakulas (a kind of fish) eager to engulp the food left out after eating being seen by the girls of the pilgrims standing ashore, had commodities such as sweet-balls, trays full of curd clarified butter spread here and there by the grocers abiding in the villages hard by and having the slush of mire cleansed by the process of washing by a flood of water of the rainy-season. 406 The precincts of the capital had forests nearby having suburbs of the cowherds having cowherds women churning remorselessly the curds as if the hearts of the cowherds. The milk maids forming the back bone of the society therein dealing with the dairy products have been depicted graphically. Revelling in the glory of the dairy products they were as it were the goddesses of fortunes incarnate of cows' milk being endowed with ewer- twains of protuberant round breasts hard and heaving or dangling white like the balls of butter. They had their leers tremulous and white like milk. The loveliness of their slim bodies resembled in hue the inspissated products of milk. The suburbs had cows that had their calving period drawn close and those who had not calved so far and had their oxen approaching them for mating. The king of the cowherds' colony invited travellers to partake of the rice cooked in milk. Hot ghee prepared out of the butter churned by the churning rods and making the calves raise their ears formed a part of the effluent economic set up. Even dogs could be nourished with the help of cows' milk sitting in the pavilions of the courtyards. The houses in the suburbs had networks of creepers overgrown with leaves adorning them having markets or streets easily accessible on account of cowdung cakes dried up and serving as a fuel material.' The grameyakas or the villagers who have been depicted in their simple and rustic instincts formed the bulk of the society and afford a glimpse of the impact they had upon the economy of the country. 1. TM. Vol. II pp 255-258.

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SOCIAL AND ECONOMIC CONDITIONS 407 The army-battalions were being seen by the villagers' who had some or the other business allocated to them or taken upon themselves by themselves.? In the villages they could only stand on the heaps of debris or refuse or dust. They could collect or gather near the rows of puddles. They could even take position on the low-levelled supports of the walls of the temples. Some of them found space to squat on the trunks of the trees.' Some even stood there while the others sat down. Some hung both of their arms low. Some placed their two hands on the posteriors. Some had poniards tugged fast in tattered rags. Some wore head-wraps made of washed white cloth. Some supported themselves on ratton wands while some had placed on their shoulders their darling lads. Most of them being curious to see everything had pinioned their gaze on tuskers, apes and camels. Cattle- rearing and cattle-trade formed one of their main avocations; that is why some were busy proclaiming the price and measure of each of the bulls fine-looking on account of weight, form and strength. The wandwielders of the villages were innocent enough to construc the IIbid.inous bawds mounting the cow-elephants as the ladies of the harem, the bard carrying on umbrella as a great prince and a merchant wearing over his neck a golc-necklace as one who was the special favourite of the king, etc. because they had seen the army-personnel only once. The village headman (Gramapati) had an enviable status in the village in so far as the villagers deemed it a privilege of the type of acquisition of a quarry on finding a piace close to her daughter. The soldiers carrying perforce the chaff (as a fodder for their horses) put them to great loss 1. 1144Haciela: TM. Vol. II p., 261. 2. uraftofTE: Ibid. Vol. II p. 258. 3. tapic taferee: Ibid. 4. TETTcing jfeld: 1 Ibid. 5. Sagtapusang parare: 1 Ibid. 6. 44*, GRYH: Ibid. 7. UrdhvazcopaviSTaizca lambitobhayabhujaizca jaghanapArzvavinyastahastayugalaizca zIrNapaTTikAgADhagrathitAsidhenukaizca dhautazATakakRtaziroveSTanaizca veNuyaSTiSu kRtAvaSTambhaizca skandhAdhiropitadayitaDimbhaiSu sarvatra sakutUhalairapi savizeSa kariSu afyy m ay auftfart! Ibid. Vol. II pp. 258-259. 8. paterni Gai MAHNGE : 1 Ibid. Vol. II p. 259. 9 sakadRSTakaTakagrAmalAkuTikaiH kareNukAghiruDhaM kSudragaNikAgaNamapyantaH puramiti dhRtoSNavAraNaM cAraNamapi mahArAjaputra iti kanakaniSkAvRtakandharaM vaNijamapi rAjaprasAdacintaka iti cintayadbhiH [bid 10. aftregtarachfarart hafarafia ibid. Vol. II p. 260,

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TILAKAMANJARI OF DHANAPALA whereby they deemed it nothing more than straw and ignored it.' Some looked after the grass out of anxiety for earning money by its sale but were given to bear the loss of grass at the hands of the rod-bearers who were anxious to lop it off accordingly as they desired. The cart-loads of green vegetables or potherbs equally formed a part of their economic resources whereby they earned money by their sale. But they suffered loss at the hands of people who looted them by violating the law of the land whereby it was enjoined that the weaker was not to be tortured or harassed by the stronger. They felt chafed and even derided the authority of the ruler.3 The tiller who tilled the soil to sow the seeds of sugar-cane in the plots felt dismayed on seeing the growth of his cultivation pillaged by the looters who when caught gave him solace. A thakkura or a rich landlord also played a role in the economy and those who could find no service under his lordship were given to wander aimlessly carrying their luggage etc. The rice fields protected by the circle of guards brought them money through the grace of the ruler." Cow dung cakes forming the main equipment for fuel were stored behind the creeper-bowers.' The fruits from the creepers of cucumber, pumpkin and karela were also stored in houses in order to send them for sale. 408 The household property of the villagers consisted mainly of the utensils made of bell-metal, worsted yarn and rugs." The Grhasthas or the householders were accustomed to wake up immediately at the advent of dawn and take to the regular routines of the day. The Karamakaras or the labourers have been described as leaving their beds quite with pains from the interiors of the wattle huts alarmed by the din and bustle (lit. cries) of the householders.10 The hearths in the courtyards put to action in the early hours with their upper portions covered by a series of caldrons tumultuous, 1. khaladhAnataH sAdhanikalokena nikhilamapi nIyamAnaM basaM busAya matvA vadhIrayadbhiH / TM Vol. II p. 260 2. kaizcit gRhyamANa yavasarakSaNa vyagrairarthalobhAdabhilaSitalaMcAnAM laMcayA lAkuTikAnAM kezamanubhavadbhiH | Ibid. 3. nigRhItaluSTAkavrAtavArtayA luNTitekSuvATaduHkhadurbalaM kRSIvalalomapazoka kurvadbhiH / Ibid. 4. kaizcidalabdhAvakAzaThakkurahaThanirAkRtairAzrayAya pratigRhaM gRhItabhANDairAhiNDadbhi / Ibid. 5. kaizcicavaprAptaparipAlakavyUharakSitasujAtatraiheyairanekadhA narendramabhinandayadbhiH Ibid. 6. pazcAdvATakeSu gomayapiNDakUTAni gopayadbhiH | Ibid. 7. bhagnavRttiSu niSkuTeSu trapusakarkArukakAravellakAdivallIphalAnyA dAyAdAya vezmani pravezayadbhi | Ibid. 8. gRhadhanaM ca kAMsyapAtrikA sUtrakambalaprAyaM / Ibid. 9. satvarotthitagRhasthanirdayAkrozakarzitanidreSu niHsaratsu tRNakuTIrakoTarAdatikaSTamuktasaMstareSu karmakareSu / Ibid Vol. II p. 268. 10. puroniviSTa randhanadakSadAsIsaMdhukSitAnalAsu jvalantISu sarvataH kvathanavAcAlasthAlIparamparA parikaritacUlAsu prAGgaNacullISu Ibid Vol. II p. 269.

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SOCIAL AND ECONOMIC CONDITIONS 409 through boiling, were burning on all sides with fires pitted into them by the maid servants skilled in the culinary art (or the process of cooking) and obtained their ingress quite in advance. Cattle rearing formed a part and parcel of the economic life wherein the oxen or bulls were most useful for purposes of agriculture. The customers holding the price-charts moving about in the market lanes stuffed with commodities formed a feature of the trade of the times. The sunrise marked the performance of the worship deities of the cherished ends, feeding of the labourers and servants, spreading of miscellaneous goods meant for consumption or sale, the tamed bulls constituting a source of vehicular traffic normally meant to bear the women carrying babies. The waters from the catasa (leather cups) (working on the well) emptied and replenished time and again by the people after they had taken their meals, in order to quench the thirst of the visitors formed a part of the social service which in its own way is subsidiary to the economic life. Nighasa (the edibles), Yavasa (grass for cattle) and indhana (fuel) formed the main necessities for the subsistence of the Kikatas (uncivilised communities) settling in the villages. Bulls and male-buffaloes or bisons were used for loading carriageable goods such as steel vats, winnowing baskets, wooden platters and phials clinging to the vessels placed on their backs."43 The buffaloes have been prefixed by the epithet old (Jaranmahisa) implying thereby the fact that the youthful ones were employed for agriculture and yoking while the old ones were employed for loading lighter goods. The term 'Yugya' in 'faria Reifa Tr evarita' refers to the bulls meant as vehicles as well as useful for yoking before the carts. Most probably the word '(yugya)' implies the bulls yoked before the carts so as to make the ride for the women-carrying babes who board the cart and not the back of the bullocks. "37711 - R edo alfonds egetrautagiraff" 1. samakAlazithilita romanthalIle sahelamutthAya carati sati puMjitamagrataH prayatnasaGgRhItaM yavasamanyadvinyatuNDatADana puifcauru fagfurc I-TM. Vol. II p. 269. 2. fraquafayfur atentraty GETA R4 mild 1 -Ibid. vol. II pp 269-270. 3. krameNa codgate divasakRti kRtAbhimatadevatA canavidhiSu bhojitabhujiSya karmakaralokeSu saMvRtaprakIrNa sarvoskareSu vinItayugyAdhiropitakRtasamAyoga purndhrivrgessvaagntukpipaasaa| pratikriyodyuktaparijanapunaruktopapAdita AHHICHICII-Ibid. Vol. II p. 270. 4. Ibid. Vol. II p. 270. 5. F irefraif ateicestaRiTURE , Ibid. 6. calitavRSayUthamArgAnulagnaniSThurajaranmahiSapRSThakaNThAlAvalambita kutupakASThapAtrI shuurplohkprssu|-Ibid. 7. Ibid. Vol. II p. 291.

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TILAKAMANJARI OF DHANAPALA refers to the employment of horses, cow-elephants and elephants meant as vehicles suited to cover a distance. They, therefore, comprised the trafficvehicles' refers to the ships meant for traffic through sea 2 implies the trade with foreign countries such 410 and maritime trade. as China from where the silk cloth was imported. suvarNadvIpe maNipurAbhidhAnanagaranivAsI pravINaH kimapi lokayAtrAyAM sAMyAtrikavaNig vaizravaNo nAma 3 refers to Vaisravana, the maritime trader resident of Manipura in Suvarnadvipa (Sumatra) taking to maritime trade with Simhala and India etc. nijabhujArjitaM pUrvapuruSopArjitaM ca prAjyamartham ' refers to the money earned by one's own sweat of the brow and the one inherited through the ancestors. Taraka the son of Vaisravana has been deemed inheriting the property of his sire in youth (kramAgatamazeSapuruSArthasaMpatipAtramabhinavamadhiruhya yauvanam ) and boarding a ship () and going to Rangasala (the capital of Simhalas) followed by the maritime traders and many other associates travelling towards the other islands and carrying enormous hoards of articles of trade. (gRhItapracurasArabhANDairbhUrizaH kRtadvIpAntarayAtraiH sahakAribhiranekaiH sAMyAtrikairanugamyamAnaH imAmeva nagarauM raMgazAlAmAgacchat) ' karNadhArANAM karma' refers to the profession of navigators. (prakRSTajAMgulika iva ) ' refers to a physician treating the cases of poisoning caused by snake bites etc. The boats, the ships meant to steer the way clear through the ocean for maritime trade were required to be equipped with ropes and other accessory materials, the edibles required to serve the provender for the voyage-period, the whole stock of water carrying vessels filled with sweet (the water of the occan being saline), the inexhaustible store of fuel meant to propel the vessel through the water." 1. TM. Vol. II p. 291 2. Ibid. Vol. II p. 272. 3. Ibid. Vol. II pp 274. 4. Ibid. Vol. p. 275. 5. Ibid. 6. Ibid. Vol. II p. 279. 7. Ibid. Vol. II p. 280. 8. kRtAni sarvANyapi susUtrANi yAnapAtrANi, praguNitAH samAhRtasamagropakaraNA: potAH puMjitaM teSvatiprAjyamazanaM, ApUritAni svAdunA khalilena kRtsnAnyudakapAtrANi samAropitamapramANa bhinghanam / - Ibid.

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SOCIAL AND ECONOMIC CONDITIONS 411 Though the context in view is the propulsion of the naval corps through the sea by the navigators headed by Samaraketu and others we can understand the same situation for the march of a caravan of traders across the waters of the ocean. The stock of materials difficulties of obtainment in other islands was cqually necessary to be arranged, consisting mainly of medicines, rugs or blankets, oil, ghee etc. All these make the special ingredients helping sustain one's life. The boats used to be made of hard wood and were very stout. They were normally stationed on the fordable 'spots or fords with capable sailors detailed on duty in them." "sajIkRtya prAjyavastrAbharaNadAnAvarjitasakalAnivakAnAvikA nAva AkatipayadivasapAtheyaH YET19EG19:"3 also refers to navigators supplied with enormous stock of clothes, ornaments and the princes provided with provender meant to last for the days of journey while on a march for a business enterprise or on an armycampaign. "svacchandalabhyacandanAdipAdapaidhAsi nirantaraphalitanAlikelakadalIpanasapiNDakharjUprAyataruSaNDe 14 refers to the fuel wood comprising of the wood from the sandal trees and fruits such as coconut, plantain or banana, panasa and dates forming the main and staple diet of the people belonging to the south. The oars (aritrani) were essential for the propulsion of the steering vessels (Yanapatras) while the officers in charge of the ships or the drivers of the ships were most essential pre-requisites during a naval-voyage (Pautikah). The canoes also had their controllers." (faciaffic UST mAnadaNDa iva sAgarasya) refers to a measuring rod meant to measure distance in different spheres of economic life such as measuring of logs of wood, measuring of cloth etc. H T: goleta " refers to the potter's wheel used in preparing clay pots from raw material. 1. aparo'pi dehasthitisAghanamaghikRtairya kazcidarpitaH so'pi sarpistailakambalobaghaprAyaH prAyasorinyastaH sto'pi dvIpAntara GRIGIMTI 5119:-TM. Vol. II pp. 280-281. 2. T Hoa: Harifa efnifalaritet 6418aefaget: 7:1-Ibid. vol. II p. 281. 3. Ibid. Vol. II p. 291. 4. Ibid. Vol. II p. 293. 5. Ibid. 6. Ibid. 7. Ibid. vol. II p. 306. 8. Ibid.

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412 TILAKAMANJARI OF DHANAPALA ____ 'kaupInamAtrakarpaTAvaraNeSu jAlikeSu" refers to the fishermen subsisting on their trade by wearing the sole garment of a loin-cloth. pralaghuvetrakaraNDikAkroDanihitakatipayatAmbUlavITakasanAthAM- utkRSTakarpaTaprasevikAm -a cloth bag accompanied by a cane-basket carrying bundles of betelrolls-refers to the articles of trade in economic life. "Yantradharagrhas' or fountains or water spurts or machines were used for the purpose of luxury or for the process of irrigation in point of enhancing the beauty of the campus by saplings and floral-vases. 'sasalilatAlabRntakadalIpatravAteSu" refers to the fans made of palm-leaves and plantain leaves used in fanning being laden with water. "asAvanekanikaTagrAmaparisaravisArisAraNijalA zarAvatI nAma kimapi sevyakUlA sarita, etadunmadacakravAkavakrAMgakurarakAraNDavAkulamuddaNDakamalinIkhaNDamaNDitatIramaMzAvatAra iva kSIrajaladheH purA digvijayAgatena devena khAnitaM saraH, eSa dazasIrasahasrasaMmitasImA sUryagrahaNaparvaNi pUrvamapavarjito madirAvatI devyA sarvamaNDalagrAmANAmagrimo devAgrahAra:, ____ idamatisnigdhasAndrasakaladumagahanamunmukhairmunibhiranudinamudIkSyamANamArgApatadatithivargamanAdaraprApyasundarasvAdu phalamUlakandaM mantriNA surAnandena nirmApitaM dhrmaarnnym|' - all these refer to the various projects of economic life such as digging of streams and canals such as Saravati meant to irrigate the villages through channels and sluices, the artificial lakes meant to collect a variety of birds and enhance the beauty of the arena round about the suburbs of the capital and towns, the Agrahara villages donated by the king or queen to accommodate the community of poor and indigent Brahmanas and the religious groves meant to station visitors and helpless people. The country known as Kamarupa (modern Assam, the region of Goalpara to Gauhati) is described as attractive owing to its rich growth of Pundra sugar cane, lofty stalks of sali rice, luxuriant vintage-creepers (Mrdvika) Saptacchada trees, black aloe wood (Krsnaguru) and ripened crimson hued red rice (Kalama) fields (Kedara)." 'turagapRSThAstaraNacarma" refers to saddles or pannels made of leather meant to make the horse ride comfortable. 1. TM. Vol. II p. 314. 2. Ibid. Vol III p. 6. 3. Ibid. Vol III p.31. 4. Ibid. 5. Ibid. Vol. III p. 33. 6. Ibid. Vol III p. 34. 7. Ibid. Vol. III p. 44.

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1 SOCIAL AND ECONOMIC CONDITIONS 413 'kuthAstaraNaparyastadeho " refers to the carpets meant for sitting or reclining normally made of yarns-being an article of trade. The prince abroad on a digvijaya was required to earn tributes in the form of cash meant to be deposited in the royal exchequer after it was handed over to the officers in charge of the Royal treasury.2 The economy of the thieves depended upon the distribution of the booty they brought by the process of pilferage. This was a social crime but was a practice in the sylvan-terrains where life had its own ways decent as well as indecent. The fishermen subsisted on the earning they received from the sale of the fish caught from the ponds where they sat bearing nets and fish-hooks.* The sylvan terrains of the out precincts of Kamarupa had Bhillapatis or the lords of the forest rcvers resorting to the bed-steads made out of the rocks where ordinary people could not dare to mount even. Their life, therefore, was harder enough to earn their bread even, because they always stood in fear of an onslaught from the enemies. There were big towns (Brhatsu Nagaresu) the smaller villages of the sabaras, the Janapadas inhabited by the handsome Arya communities, (Sundararya janapada) etc. which had their own economic growth proportionate with the population." '"kAzmIramaNDalamiva vikasatkuGkumakacchakamanIyam" refers to abundance of Kumkuma dye in Kasmira mandala which could enhance its economy by taking to commercial enterprises. 3f" refers to a measure of distance i.e. one kosa. 18 'krakacakSatakaridantakSoda " refers to the preparation of the dust of the elephant's tusks with the implementation of a saw. The ivory industry given to the process of chiselling and sculpture was a source of income by commercial enterprises. 1. TM. Vol. III p. 48. 2. arpayatAdhikAriNAmatra yAtkicidarjitaM kumAreNa dravyajAtam - Ibid vol. III pp. 49-50. 3. prativasati vibhajyamAnataskArahatasvApataiyAbhiH - Ibid Vol. III p. 64. 4. pratijalAzayamAsInAnAyavaDizahastakaivartAlyaMbhiH kaizcitaH aMsAvasaktavaDizaveNuyASTibhiH kaizcit karAva-lamvamAna Reff: Ibid. Vol. III p. 64. Vol. II p. 274. 5. vipakSa bhItabhillapateriva prAkRtaja na durArohAnupalapalkAnadhizayAnasya / - Ibid Vol. III p. 68. 6. Ibid. Vol. III p. 88. 7. Ibid. Vol. III p. 89. 8. Ibid.

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414 TILAKAMANJART OF DHANAPALA _ 'indrajAlika iva mAyApragalbhaH" refers to the professional juggler taking to the feats of juggling by mesmerism. The articles of trade? such a Manahsila (Arsenic), Haritala (yelloworpiment), jatarupa (gold), Durvarna (silver), sulva (copper), Riti (Pittala), vanga (trapu i.e. tin), Naga (Sisaka i.e. lead), Kankadiloha (iron ores), Asmasara (iron or Steel), Sparsa (a variety of gem), Padmaraga (ruby), Ks udropala (thin slates), Rasasamuha (Mercury and other liquid substances), Satadhara (diamond) have been mentioned as occurring in the forest range between Ekasonga and Vaitadhya mountains. pAnthataNDulaprasthampacaiH pratigartamAvartinAkkathanena kathyamAnaprakRtibhirdahanodakaiH' refers to Prastha as a measure of weight in case of rice. The sylvan terrain had naturally boiling waters in which the Prastha weight of rice could easily be boiled by the travellers. 'bAlaparNazAlAsu prshudaatrshstrikaadiinyupkrnnaanynvessyntiim| refers to the agricultural implements such as an axe, sickle and the scythe. Apart from the has as a technical term taken to mean as a measure cqual to a handful or a handful vegetable. 1. TM. Vol. III p. 103. 2. Ibid. Vol. III pp 129-130, 3. Ibid. Vol. III p. 130. 4. Ibid. Sm. ed. p. 307. 5. V.S. Apte-Sanskrit English Dictionary p. 551

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IV. RELIGION AND PHILOSOPHY Religion according to Indian belief comes within the 'Dharma', the first value of life, while philosophy covers the field of 'Artha' and 'Kama'. Dharma is a synonymy of piety or duty (Karttavya) in Sanskrit literature and forms the mainstay of Hindu society. Philosophy derived from the Greek term 'Philine Sophia' or 'love of wisdom' covers the fields of moral and material gains, desires and achievements. Religion and Philosophy i.e., Dharma and Darsana or duty and visual perception are the two terms interrelated in life without whose mutual co-operation the train of life becomes impossible to trail along. Dharma in reality comes within the fold of Darsana in so far as it is darsanas or visual perception that leads to action or duty. According to Kautilya - Philosophy is ever thought of as the lamp of all sciences as the means of all actions (and) as the support of all laws (and duties).' 'Samkhya, Yoga and Lokayata' these constitute philosophy. Investigating by means of reasoning, (what is) spiritual good and evil in the Vedic lore, material gain and loss in economics, good policy and bad policy in the science of politics, as well as the relative strength and weakness of these (three sciences); philosophy confers benefit on the people, keeps the mind steady in adversity and in prosperity and brings about proficiency in thought, speech and action."2 'Samkhya according to Bhagavaddatta is nothing but science. 'Samkhya conception of matter and its exposition, constitutes the Vedic knowledge. The English word Science descends from the Latin word Scientia, which again is only a corrupt form of the Sanskrit word 'Samkhya. It is, however, strange how the last two letters (ce se or ka) of the English form of the word have partly preserved in 'khya' sound of the Sanskrit original.3 Hence philosophy forms a constituent of science ('samkhya), practical application (Yoga) and visual perception (Lokayata). The power of reasoning is the basic element of samkhya, yoga and Nyaya which form the 1. pradIpaH sarvavidyAnAmupAyaH sarvakarmaNAm / 3: KAS I 2. 12. part I p. 4, part II p. 7. 2. sAkhyaM yogo lokAyataM cetyAnavIkSikI dharmAdharmAvyayAmarthAnarthau vAtrIyAM nayApanayau daNDanItyA balAbale caitAsAM hetubhirvIkSamANA lokasyopakaroti vyasamebhyudaye ca buddhirvyasthApayati prajJAvAkyakriyA vaizAradyaM ca karoti / Ibid. I. 2. 10. 11 part I p. part II p. 7. 3. The story of Creation Chapter I p. 1.

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416 TILAKAMANJARI OF DHANAPALA basic elements of philosophy. "Philine sophia' or love of wisdom is again the basic element of power of reasoning (Viveka). Duty or piety or sticking to what has become a moral necessity is Dharma which has philosophy or power of reasoning and circumspection for its basic element. Religion and philosophy, therefore, are the two similar yet dissimilar aspects of one and the same faculty i.e. the power of reasoning. They are similar because reasoning predominates in both. They are dissimilar because sometimes one has to stick to duty in the face of reasoning failing one to stick to it, because it is the strong will power that governs religion whereas philosophy is governed purely by strict adherence to right to the abnegation of wrong. That is why we find people sticking fast to their beliefs inherited through pedigree in point of conforming to the worship of deities, their images and idols without looking to the power of reasoning that disallows them to worship the insensate hard stones. Dhanapala in his Tilakamanjari has demonstrated a heterogeneous yet homogeneous blend of professional faith in the efficacy of the orthodox and heterodox systems of thought which have sponsored the cults of the Vedas, Jainas and Buddhas. Primarily being a Brahmana of traditional calibre he was forced to profess the cause of Jainism as evinced from the Prabandhcintamani' under the patronage of a Jain saint Vardhamanasuri, son of Sarvajna. He has started his work by offering obeisance to Jina, Jinapati, Jinas and Nabhisunu (Adinatha in first four of the introductory verses. In these verses Jina, the god who has vanquished the morbid tendencies such as attachment and others, has been invoked to protect the readers, Jina, who keeps an eye upon the triad of worlds every moment, pervaded as it is by the manifold forms of every being. The primeval Jina has been called as one of enormous might, a source of religion or piety, free from Gunas such as rajas and Tamas i.e. endowed with Sattvaguna, the bestower of bliss in communion with the other Jinas. He has also been called Nabhisunu (the son of Nabhi the king) the god, who after the attainment of enlightenment bore the glamour of his frame reflected in the sword of Nami and Vinami (his grand sons) moving in vicinity, who assumed two different forms in order to make the triad of worlds free from misery. He has been invoked to afford affluence to the readers. In the 1. The story of Creation., p. 36. 2. Tatar a: 1 Commentary vol. I p. 8. 3. #: a: y for: sarantera : fai t e ditt TOTH F RY4|| TM Vol. I. p. 8. 4. pyra: YuaHRt5141:1 GGTi FFISA 7 STENS F4171:11 -Ibid. verse 2 Vol. I p. 10. 5. dizatu viratilAbhAnantaraM paarshvsrpnnmivinmikRpaannotsnggdRshyaangglkssmiiH|

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RELIGION AND PHILOSOPHY 417 fourth verse, the speech of the primeval lord of the Jinas removing instantaneously the many, sided infatuation abiding in the hearts of the beings through nectar-showering meditation moving into the ears up to the distance of a Yojana, during the course of the religious homily, has been invoked, heard as it is by the groups of men brimming with sentiment of wonder. In verse 19 the Jain sage Indrabhuti has been invoked as one fit to be paid homage to by the Universe, who having assumed the three-fold nomenclature through speech pervaded the earth like Visnu.? Commentator says that Indrabhuti had a variant name 'Gautama' and a legendary name "Trivikrama', being Visnukumara originally, the son of Padmottara, king of Hastinapura, who had consecrated his other son Mahapadma to his own throne born from his queen Jvaladevi. It appears from the verse that Dhanapala had no qualms of conscience or compunction in metaphorising a Jain sage with Visnu, proving thereby his firm faith in the Brahmanical cult. Jainism has been variously alluded to in the framework of the prose romance as well. As for example-while describing Ayodhya, Nagari, he has contemplated her having her people enamoured of the dicta of the 'Naigamas' (the Jaina texts) which dealt with the faiths of the Arhats (Jain monks). The primeval deity of the Jainas 'Rsabhadeva' has been eulogised in the light of its image established by Sakra (Indra himself) in the description of the Vaimanika Jvalanaprapha who had reached there (i.e., the palace of the king Meghavahana) after having paid homage to him." The poet visualises that the image of the Primeval lord had been established by Sakra or Indra himself at the very time of the establishment of Saketapura i.e. the town of Ayodhya. This also establishes the distinct leaning of the poet towards the Brahmanic religion from where he had been made to bow over to the Jain faith. The deity Rsabhadeva has been illustrated further in frutta14 THTHP6464 59 ar a: 48 TET:I-TM. verse 3 Vol. I, p. 11. 1. dhyAnenAmRtavarSiNA zravaNayorAyojanaM bhraamytaa| bhindAnA yugapad vibhinna viSaye mohaM hRdi praanninaam| SITE 21441fell fraude arut un cercafaseadais foram yr a: 11 -Ibid. verse 4, Vol. I p. 22. 2. 74 74RI TERET ya farci ar faei fawufrar TM verse 19, Vol. I p. 22. 3. Bertafeefaka A CERCHI I-Ibid. Vol. I p. 107. 4. akhilaviSTapatrayAdhipatinA.... bhagavatA svayaM zakreNasAketapuranivezakAla eva kRtapratiSThasya bhagavato yugAdijinasya ghral 4148-774 1-Ibid. Vol. I p. 55. 5. saH eSa bhagavAnazeSajagatrAbhirnAbhikula kara kulAlaMkAraH kAraNaM sakalalokavyavahAra sRSTeH, draSTAkAlatritaya vartinAM bhAvAnAm, upadeSTAcirapranaSTasya dharmatatvasya, sarvasatvaninimitta bandhuH setubandhaH saMsArasindhoH, Adyo dharmacakravartinAm ArAdhyazcatuvidhasyApi suranikAyasya, nAyakaH samagrANAM gaNadharakelipramukhANAM maharSINAmRSabhanAmA jinavRSaH, yasya

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418 TILAKAMANJARI OF DHANAPALA the following lines wherein the Vaimanika described him accordingly. This verily is he, the Jina lord Rsabha by name, the leader of the great, all these sages such as Ganadharas and Kevalis, adorable of the group of deities of fourfold variety (Bhuvanapatis, Vyantaras, jyotiskas and vaimanikas), the foremost among the paramount sovereigns of piety, the dike-construction of the ocean of the world, undistinguished devotee of all the beings, instructor of the essence of duty hitherto forgotten, perceiver of the facts pertaining to the threefold measure of time, the source of creation of the activity of the cntire populace, the ornament of the lineage of Nabhiraja, the very central figure (lit. navel) of the Universe, before whom was performed the act of reverence by Lord Sakra personally. He has further been regarded as the cause of extirpation of sins in their entirety and has been styled the primeval deity, the adorable one. The image made of most precious gem, huge in dimensions, luminous from all sides, endowed with innumerable virtues, of Rsabha, the Primeval lord of the Jinas, the sovereign of the Primeval age, the preceptor or parent of the triad of worlds, having perceived visually the entire store of ideas only through the eye of knowledge, of steadfast gaze, consumer of the fears of the hosts of beings desirous of refuge, extremely, compassionate, an undistinguished friend, an instrument of bliss of emancipation for him whose soul has freed itself from the bonds, the bridge over the unfathomable ocean in the form of the Universe, has been well illustrated as demarcating the mode of worship of Jina deemed as a god of matchiess excellence. Tad nofortel, '2 and * TERTERYTT: " refer to the same Jina Lord Rsabhadeva. Similarly - icchAnurUparacitapUjyazca praNamya paramayA bhaktyA prathamajinabimbam' vidyAya bhuvanatrayagurorAdiyuganAthasya pUjAm gerafhat HUT kanalea: ufagfafe: 1 CEAQ Ya1797444192 Peguifeca: 1 --Ibid. Vol. I p. 115. 1. agAdhabhavajaladhisetubandhabandhanirmuktAtmano muktisukhaikakAraNasya niSkAraNabandhoH paramakAruNikasya zaraNArthijantusArtha sAdhvasamuSo nirnimeSeNa kaivalajJAnacakSuSA sAkSAtkRtasakalabhAvasya bhuvanatrayaguroryugAdipArthivasya prathamajinapate.... 3- Tu ufa: ta, HETYTT FEffifuerei waht 92471 Ibid. Vol. III p. 99. 2. Ibid. Vol. III p. 164. 187. 3. Ibid. Vol. III p. 164. 187. 4. Ibid. Sm. ed. p. 360. 5. Ibid. Sm. ed. p. 370.

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RELIGION AND PHILOSOPHY 419 kadAcitparvadivase nivizya purataH purAtanamunerAdinAdhasya' bhagavataH nAbhitanayena janitamahimAnamaSTApadAbhidhAnamacalarAjamavrajam 'bhaviSyatAM jinavRSANAmapratirUpAbhirmaNipratimAbhiradhyAsitodarANi- caityAyatanAni 'abhyarcya bhaktyA paramayA paramiva samAja saptasaptInAM saptalokImahitamarhatAM saptatyadhikazatamavalokya tatpratimAbhiradhyAsitodarANi himavandhyAdiSu varSadharaparvateSu haimavataharivarSapuraHsareSu varSeSu saumanasavidyutprabhamukheSu varSAntagiriSvapareSu paramaramyeSvadrikUTeSu zAzvatAni siddhAyatanAni"" etc. all these refer to Jina lord Rsabha and the last one refers to the assembly of the Arhatas i.e. the Jaina monks or Jaina gods comprising of a hundred and seventy in number such as - Sri Rsabhadeva, Sri Vimalanatha, Sri Ajitanatha, Sri Anantanatha, Sri Sambhavanatha, Sri Dharmanatha, Sri Abhinandana, Sri Santinatha, Sri Sumatinatha, Sri Kunthunatha, Sri Padmaprabhu, Sri Arahanatha, Sri Suparsvanatha, Sri Mallinatha, Sri Candraprabhu, Sri Munisuvrata, Sri Suvidhinatha, Sri Naminatha, Sri Sitalanatha, Sri Aristaneminatha, Sri Sreyamsanatha, Sri Parsvanatha, Sri Vasupujya, Sri Mahavirasvami etc. twenty four and others.' Apart from the Jina lord Dhanapala has illustrated the Vedic gods and the gods of the Hindu family i.e. Brahma, Visnu and Mahesa in their proper order- (trayIbhakteneva gADhAJjitahiraNyagarbhakezavezena) ___Indra' occurs numerously and synonymously as 'Satamakha Amarapati Sakra, Tridasanatha, Vasava," Purandara, '2 Sahasraksa,3 Samkrandana,'4 Pakasasana,"" Akhandala,'' Jambhari," Maghavan etc.'8 1. TM. Sm. ed.p.394. 2. Ibid. Sm. ed. p. 405. 3. Ibid. Sm. ed.p.406. 4. Ibid. Sm. ed. p. 412. 5. M. William under Ashat. 6. TM. III, p. 64 7. Ibid. Vol. Ip.48, Vol. Ip. 156. 8. Ibid. Voi. I p. 87. 9. Ibid. Vol. I p. 107, Sm. ed. p. 325. 10. Ibid. Vol. Ip. 123. 11. Ibid. Vol. I 125. 12. Ibid. Vol. I p. 149. 13. Ibid. Vol. II p. 235, Sm. ed. p. 306. 14. Ibid. Vol. II p. 235. 15. Ibid. Vol. IIIp.3. 16. TM. Vol. III p. 11. 17. Ibid. Vol. III p.61. 18. Ibid. Sm. ed. p. 305, Satamanyu Tridasanatha Vol. I p. 123 Hiranygarbha vedhasa vol. Xp. 108, Vol. IIIp.76.

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TILAKAMANJARI OF DHANAPALA Caturmukha' (Brahma) Hiranyagarbha, Sankara' also known as Sambhu," Sulayudha, Tryambaka, Kanthekala, Isana,' Visalaksa, Visamalocana", Khandaparasu, Andhakarati," Sulapani," Dhurjati," Mahakala etc." Vis nu's known as Rathangapani," Acyuta, Sarngl," Madhuripu," Katayavana"", Damodara, Kesava etc,21 20 420 Manobhava or Cupid deified as a god occurs along with Bhava i.e. Siva and Bhavani23 (i.e. Parvati TM III. P.142,) who is also named Acalakanya, Ambika etc. Cittayoni is also Cupid, a synonym of Manobhava. 25 Varuna (the god of waters and moral order), (Agni) hutavaha, Antaka" also known as Dharmaraja, Yama, Vaivasvata," and Krtanta, 28 29 1. TM. Sm. ed. p. 305 2. Ibid. Sm. ed. p. 313. 3. Ibid. Vol. III p. 178. 4. Ibid. Sm. ed. p. 397. 5. Ibid. Vol. III p. 87, Vol. I p. 122. 6. Ibid. Vol. III p. 128. 7. Ibid. Vol. I p. 85, Vol. III p. 2. 8. Ibid. Vol. I p. 85. 9. Ibid. Vol. I p. 109. 10. Ibid. Vol. II p. 203. 11. Ibid. Vol. II p. 263. 12. Ibid. Vol. I p. 56, Vol. II p. 233. 13. Ibid. Vol. II p. 264. 14. Ibid. Vol. III p. 50 Andhakarati p. 39 Vol. III Girsa p. 152, Vol. I. 15. Ibid. Vol. I p. 21 Introductory verse Visnu 19 Vol. 1 p. 22. 16. Ibid. Vol. II p. 200. 17. Ibid. Vol. II p. 264. 18. Ibid. Vol. II p. 267, Vol.. III p. 143. 19. Ibid. Vol. III p. 73. 20. Ibid. Vol. III p. 76. Kalayavana p. 128 Vol. III 21. Ibid. Vol. III p. 138. 22. Ibid. Vol. I p. 45. 23. Ibid. Vol. I p. 45, Vol. III p. 178, Vol. III p. 142. 24. Ibid. Vol. I p. 83, Sm. ed. p. 313. Vol. I p. 88. Sm. ed. p. 308. 25. Ibid. Sm. ed. p. 308. 26. Ibid. Vol. I p. 85. 27. Ibid. Vol. I p. 85, Vol. III p. 39. 28. Ibid. Vol. I p. 87. 29. Ibid. Vol. Ii p. 201. 30. Ibid. Vol. II p. 262, Vol. I p. 117 Krtanta. 31. Ibid. Vol. III p. 12, Vol. I p. 149.

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RELIGION AND PHILOSOPHY 421 Kubera, also known as Dhanapati, Vaisravana, Dhanada' etc. Saci" (Indrani), Kamala (Laksmi) also known as Sri' Laksmi? Candika, Acyuta," Vajramkusi, Manasi," Mahamanasi, Cakrayudha,'3 Vidyadevata,'* Vanadevata and Jaladevatals Yogimi (Camunda) sakini," etc. are the goddesses and demonesses mentioned by Dhanapala. Daityas such as Bali also known as Vairocani,'' Hiranyaksa,20 Madhu and Kaitabha,?' Andhaka,22 Mura,25 Vidhuntuda24 also known as Sainhikeya have been mentioned. Even the ocean has been deemed a deity in 'bhagavantamambhonidhim.26 Agastya has been called Kalasayoni?? i.e. the Jar-born god. Sarasvati, Sasthidevi, (Tm Vol. p. 6, 8) (TM Vol. II, p. 18). Gajasara (TM. Vol. III p. 3), Ratih (TM, Vol. I, p. 8) also find mention in the text. Dhanapala has evinced immense fervour for the Vaisnava cult which belicves in the myth of churning of the ocean by Visnu (Vasudeva) holding fast the mount Mandara in his hand, in order to obtain Laksmi.2 Though converted into a Jaina he exhibits partial disfavour for the cult which preached the dictum of renunciation to the utter exclusion of material 1. TM. Vol. III p. 90. 2. Ibid. Vol. III p. 137. 3. Ibid. Vol. III p. 327. 4. Ibid. Vol. I p. 122. 5. Ibid. Vol. I p. 121. 6. Ibid. Vol. I p. 121, Vol. I p. 125, Vol. I p. 133. 7. Ibid. Vol. III p. 76, Vol. I p. 54, Vol. I, p. 64. 8. Ibid. Vol. II p. 205, Vol. III p. 203- Siva. 9. Ibid. Vol. III p. 73. 10. Ibid. Vol. III p. 73. 11. Ibid. Vol. III p. 73. 12. Ibid. Vol. III p. 73. 13. Ibid. Vol. III p. 73. 14. Ibid. Vol. III p. 73. 15. Ibid. Vol. II p. 265, Vol. III p. 40. 16. Ibid. Vol. II p. 202. 17. Ibid. Vol. II p. 215. 18. Ibid Vol. III p. 71 Vol. III p. 142, Vol. II p. 264 19. Ibid. Vol. III p. 93. x 20. Ibid. Vol. III p. 93. 21. ibid. Vol. II p. 267. 22. Ibid Vol. III p. 39. 3. Ibid. Sm.. 351 24. Ibid. Vol. il p. 128. 25. Ibid. Vol. II p. 204. 26. Thid. Vol. II p. 267. 07. Ibid. Vol. II p. 315. 25. TATOUR arauf fauldu: 1 - Ibid. vel. I p. 53.

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422 TILAKAMANJARI OF DHANAPALA gains. The columns of smoke from the fires of sacrifices bore an allusion about Ayodhya being a maiden endowed with curly locks. This fact evinces Dhanapala's faith in the Vedic ritual.? He had the conception of the righteous age before him when he thought of the virtuous. Conduct of the virtuous people in Ayodhya (covertly Dhara under Bhoja). The assemblies of the Dvijas (Brahmanas, Ksatriyas and Vaisyas or Brahmanas exclusively) gave him the idea of the Brahmaloka or the world of the Vedic seers. The sages of efficacious powers as well as the heretical sects worked conjointly to obviate sin. Or the heretical sects of the sages of renowned eminence obviated evil. The professors of the Vedic lore (Sruti) had a penchant for muttering of holy syllables and hence made the country endowed with a happy reflection. The arrays of sacrifices and the recitations of the Samaveda made the Dvijas (Brahmanas) exultant. He has described the influence of the Vedic gods Visvakarman (the divine architect), Prajapati (Brahma) and the goddess Laksmi on the mansions, their inhabitants and the small chambers and even of all the gods (Visvedevas Devatasahasraih). He has referred to the exponents of the Vaisnava cult who could enter fire in order to vindicate themselves through the ordeals ordained for expiation as a result of the prevailing evil ordaining thereby the prevalence of righteousness by their sacrifice or the Vaisnavites alone took to the path of Krsna or the way of life ordained by Krsna (an incarnation of Visnu). People had a firm faith in the observance of propitiatory rites meant to obviate evil.'' The Sun is believed to have his charioteer in Aruna being a representative of the natural phenomena of ruddy glow preceding the pervasion of the actual radiance, the mark of activity for the populace, a king (here Meghavahana) believed to be a peer to him (i.e. the Sun in corporeal form encompassing the extremities of the four repositories of 1. HEYFIHH f uauhfas: 1 - TM. vol. I p. 53. 2. farfaraleicha Han f eft: -Ibid. 3. Hennyira Hry HER: marilaha furahTG: 1 -Ibid. pp. 53-54. 4. Ibid. pp. 53-54. 5. faddrafft..... Traustfugtehul-Ibid. Vol. I. 54. 6. p fef4:.... STRATA: HETATI - Ibid. Vol. I p. 54. 7. Rf6f4: 914Ra... 31 TIGHT - Ibid. Vol. I p. 54. 8. vizvakarmasahasrariva nirmitaprAsAdA, prajApatisahasrarivotpAditapaurA, Saare afrafalgacy - Ibid. Vol. I p. 54. 9. Surahisi yax: - Ibid. Vol. I p. 58. 10. GRANT 7**fti - Ibid. Vol. I p. 58. lakSmIsahasrariva parigRhItagRhA,

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RELIGION AND PHILOSOPHY 423 water i.e. occans) or the ethereal spaces with his chariot in the form of the circular orb. Indra and Vasuki (the serpent lord) the symbols of electricity or cloud and the rapacious and virulent phenomena in the nether regions have been treated at par being the over-runners of the upper and the lower strata of the Primordial egg that the earth is." The belief in the efficacy of the spells and charms, talismans and the medicinal and potent herbs was also a common phenomena. Saivites propitiating on all sides the vampires and adoring Siva taking to the virtuous as well as the vicious way of the Kapalika's or Mahavratadharins who profess to have their knowing power sharpened by drinking wine and eating carrion (or raw flesh) - have also been referred to. In the description of the scimitar (krpana) of Meghavahana the qualifying cpithets have a covert allusion to the horror provoking feats of Siva who is Maha Bhairava and is prone to spell destruction during the Universal destruction manifesting many skulls, is terrific (bhisana) with the hide of an clephant-lord and replenishes the interiors of the universe with his boisterous laughter. Faith in the performance of the sacrificial ritual is referred to in. "adhvarasvAdhyAyavidhAnAdAnaNyaM gato'si naH vitaNAmapigaccha" Dhanapala has illustrated a common belief, a popular saying as it were, by enunciating the point that the hearts of those who understand the realities about the Dharma i.e. religion or duty, are prone to go in conformity with the attitudes of the religious minded or the pious people or the dutiful persons. The pouring of propitiatory waters leads to the obviation of sins. Holy dips at the holy places led to emancipation from the sins." Virtuous, conduct prone to punctiliousness, firm avowal of knowledge, the unblamable store of purity, the legal remembrance of duty or piety, absolute 1 IM. Vol. I p. 59. Braar ga ATSTGHUHR2RC21hletelgerinti 2. A Critical study of the Rgveda ( I. 137-163) by Dr. Deo Praklash Patanjalasasti p. 81. 3. fluita Usi Ya Taun GAIRT facturatii Fzgh. XII 5. 4. 4 fagurfra Tanam aryfa aparirafera: Ibid. Vol. I p 59. 5. TUTH-ATTURATE4ta: -Ibid. Vol. I p. 63. 0. ujaradisuri TIC: u ford viure: 3TH taka va va cartare --Ibid. vol. III pp 61 62. Parimaras by Dr. Pratipala Bhatia p. 253 Ch. XIV. 7. Ibid. Vol. I. 79. 8. MT99 fa a ICT Ethardarsi ECU I Ibid. Vol. 1 p. 90. 4. PTC Pitchfita.. Gia Graufe ! ibid. Vol. I p. 90. 10. KERTEH Ibid. Vol I p. 91.

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424 TILAKAMANJARI OF DHANAPALA bounty of compassion, the direction of the path to emancipation, all these have been illustrated as the prominent traits of a sage given to religious observance and leading a life of renunciation, in the example of the Vidyadhara sage. The goddess of royal sovereignty (Rajalaksmi) has been conceived as the tutelary deity of all the kings.? Construction of a temple and installation of an image inside for the purpose of worship is illustrated in the construction of the Devatagrha wherein was installed the image (Pratikrti) of Sri (Goddess of royal sovereignty). Applications of cosmetics and unguents on the frame of the image with the sandal paste, application of perfumes such as deer-musk and camphor, decorating it with wreaths studded with pearls and crest chaplet made of Malati flowers, putting on the car-peduncles made of leaves from the interiors of the Ketaki buds and fumigating it with the pulverisation of incense and black-aloe strewn over it- formed the accessories of worship. Worship also entailed the accompaniment of instrumental music and muttering of holy syllables and sacred chants. There is also reference to the shrine of the Siddhas established in Sakravatara, provided with a fortification, arched portal having a lofty pinnacle." The image of the deity in the shrine of the Siddhas is unctuous, being adored at every place, stationed in a creeper arbour of sandal being cherished by the female snake, having tutelary deity endowed with bristles, having assemblies of Siddhas (sationed inside) and the musicians taking to music etc.? The meditation on Sri at the eventide preceded by the worship of the adorable (Adideva i.e. Jina) has been referred to in case of Meghavahana. 1. AcAramiva cAritrasya, pratijJAnivAhamiva jJAnasya, zuddhisaMcayamiva zaucasya, dharmAdhikAramiva dharmasya, sarvasvadAyamiva CURI: T af4alyani I-Ibid. Vol. I p. 89. 2. URTART Yadhafnirza Hafenferyidcaal attenty -Ibid. Vol. I p. 98. 3. Ibid. Vol. I p. 104. 4. Ibid. vol. I p. 105. 5. Ibid. Vol. I p. 105. 6. Ibid. pp 106-107. Wafagafarer TAR dari 714 645246791 7. Ibid. Vol. I pp 117-118. 8. pravizya ca zakrAvatAramadhmArAdhya bhagavantaticiramAdideva mAgatyanijasadanamupapAdya bhaktyatizayena zriyaH sAyantanI H y heffeafarei A 1 Ibid. Vol. I. p. 125.

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RELIGION AND PHILOSOPHY 425 Description of the Vetala (Vampire) having a wreath of skulls hanging down to the knees and chewing the condiment of bones and crying like the sacrificial animal (Adhvarapasoriva) refers to the Tantric mode of worship. Adhvarapasoriva' refers to the make-belief of sacrificing the animals at the Vedic sacrifices and interpretation taken by a wrong construal of the Vedic texts. Conception of two forms and eight arms of Laksmi has been held accordingly. Meghavahana's mode of worship has been graphically described by making him squat on the terrace of the courtyard in the temple promiscuously strewn with innumerable flowers, attended by the chief attendants, repose of his confidence, seated on the ground, wearing silkrobes of thick texture being clean through the process of water quite recently, who had performed the morning sacrifice and stationed quite at a distance. There came to him ambitious to meet him the great sages, the Brahmanas etc. who had attained to perfection of intellect acquired by understanding the meanings of all the schools of philosophy.' After he had got the boon from the blessings of Sri, Meghavahana underwent a large series of ritualistic performances which have been detailed accordingly. He entered the Rajakula surrounded by the chief subsidiary vassals, where special adoration of the tutelary deities was being performed; the sages were being implored; the importance of the fervour unto the elders or preceptors was being stressed upon; the group of Cintamani gems being adored; the rite of offerings unto the quarter-deities was being commenced; the act of alleviation of grief of the refugeless and the innocent was being performed; the sacrificial chambers according to desires entailing the rites of continuity of progeny had been commenced; the sprays of water concerning the propitiatory rites were being sprinkled here and there by the ecclesiast or chaplain bearing green Kusa in hand, with golden cwers held in hands; the birth of progeny for the king was being pronounced all of a sudden at the culmination of the muttering of sacred 1. TM. Vol. I pp 129-130. 2. WafailaiEGEGA : -Ibid. Vol. I p. 153. 3. aviralaprasUnaprakarabhAji devatAgRhaprAGgaNavitardikAyAmupaviSTasya nAtinikaTavartinA nirvartitaprAta:savanakriyeNa sadyo jalakSAlanavimalanirAyAmakSaumadhAriNA kSitAvupaviSTena viziSTaptaparicArakagaNenopAsyamAnasyAsya darzanArthinaH Hohedashur Tanicouarytuf: 44: T.... 144 : 1 - Ibid. Vol. I p. 157. 4. Thought gem; a fabulous gem supposed to yield its possessor all desires (Harivania 8702). Name of various treatises c. g. one on astrology by Dasa bala and commentaries Monier Williams under Cintamani. 1

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426 TILAKAMANJARI OF DHANAPALA chants by the Brahmanas collected in circles situate to the circle of courtyard (or Verandah) of the sacrificial pavilion, with their minds pleased by diverse types of adorations performed; the obsequial rites connected with the fifth zodiac' were being initiated.? The bestowal of cows in charity (Godana) was the most sacred rite best suited to the religious temperament. Hence it is that Meghavahana had the interiors of the outer-chambers being stuffed with rows of cows followed by calves with ears raised aloft, having udders orbed like the globular vessels, being brought every day with a view to bestowing them unto the Brahmanas. Referring to the Tantric element Dr. Pratipala Bhatia says - "Tilakamanjari refers to the sadhana of the Mantrika deities like Aparajita, Sri and Astavidya. King Meghavahana is said to have recited the Mantra of Aparajitavidya three times a day with the intention of having a son. He was supposed to observe complete celibacy during the period of his Sadhana. The Mantra was to be recitated before Rajalaksmi.''4 Reviewing the religious systems Dr. Bhatia says that the people had learnt to live together and recognised the truth in the religious systems of others.' Malayasundari taking to vow of continence till she met her lord, has been described as an ascetic maid (Tapasakanyaka) who was eighteen years 1. The fifth day of the half month- Monicr Williams under paccamI shraaddh| 2. pradhAnarAjalokaiH parivRtaH pravartyamAnakuladevatAvizeSapUjam abhyarcyamAnamunijanam ArabhyamANa gurubhaktigauravam ArAdhyamAnacintAmaNigaNam ArabhyamANadigdevatA bAlAruNabalikarmakramam kriyamANadInAnAthalokazokocchedam....... bhRGgAreNa haritakuzagarbhapANinA purohitena tata itaH prakIryamANazAntyudakazIkaram, upakalpyamAnapaMcamIzrAddham, adhigatavividhapUjAprItamAnasaiddhijanmabhiH satra maNDapAjiramaNDalakasaMnidhAvAbaddhamaNDalaiH mantroccAraviratau yugapad ghussymaannnRptisntaanodym| TM Vol. I p.159. 3. aharahaH zrotriyavizrANanArthamAhriyamANAnAM kuNDaparimaNDalalonInAM gavAmutkarNatarNakAnusRtAbhiH prmpraabhiraapuurymaannbaahykkssaantrm|-lbid. Vol. I p. 159. 4. Paramaras pp 271-272. XIV and TM Vol. Ipp 98-99. amUM ca bhaktipravaNena cetasA gRhANa nirvikalpamatpapuNyajanadurlabhAM tribhuvanakhyAtayazasamaparAjitAbhighAnAma zeSavidyAdharendravanditAM vidyAm, kura divasasya rAjezca bhAgatrayamazUnyaM devatArcatena avasAne ca tasya japa japyacaritasamAhitena cetasA bhktimjnaikcintaamnnimimaam| 5. Ibid. p. 272 Ch. XIV. and TM pp 163-164 Vol. III. apazyaM ca tatrASTAdazavarSadezIyAm acirasnApitasya ........ tatkSaNotkSiptadhUpavarteryugAdijinabimbasya puratA nAtinikaTe smupvissttaambhimukhiim| AbaddhapadmasanAm, atisthiratayA kAyasya likhitAmivotkIrNAmiva nikhAtAmiva vibhAvyamAnAm, AyatanabhittisaMrodhasaMbhRtasya nijarehaprabhApravAhasya upalakSyamANAvayavAm... anavaratamantroccAravighatoSThapuTaniSThyUtairamalakAntibhirdantakiraNai... AmalakIphalasthUlamuktAphalagrathitamadhomukhena cakSuSA lakSyIkRtamakSasUtramaGgaSTalatayA mantrApAThaparisamAptau dakSiNAgrakaraparigRhItamAvartayantI, divyataruvavalkalada kUlanivasAsma ekAmakhilalokatrayAtizAyirUpAM taapsknykaam|

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1 RELIGION AND PHILOSOPHY 427 old, sitting at a distance (lit. not very near) before the image of the primeval lord Jina, having a stick of incense placed over it, with adoration performed with the help of golden lotuses, bathed quite afresh, sitting in a Padma posture appearing as if paralysed, dug in, engraved and carved out, her limbs being reflected in the walls of the shrine, chanting the sacred syllables without a break, revolving, rolled on the tips of the right hand at the end of the muttering of the syllables with the creeper like thumb, the rosary of beads, spotted out with an eye having its gleam shooting downwards being strung with pearls thick like the emric fruit, clad in silk barks of the heavenly tree, excelling in charms the charms of the triad of worlds. The Vidyadhara sage teaching to Meghavahana, the secret charm in accordance with the Jaina canon actually teaches the religious philosophy of the Hinduites.who stress the point of alertness in taking to any task taken in hand, the application of mind regarding its performance whereby the intellect and perseverance being compeers to Arani and their striking agent form the sources of (lit. parents of) accomplishment of a task and the fire respectively. These two i.e. intellect and perseverance are the two complimentary agents to the activity of a man and there is nothing in the world that is not accomplished through them. Having said so he looked towards the side and with the rite of meditation on the deity connected with the sacred chant performed accordingly, placed on the body of his ownself as also on that of the king the corselet made of the syllables of the sacred chant meant as a talisman and instructed that lore (Aparajita) with syllables pronounced in a low tone near his ear-lobes. The king accepted that accordingly. The belief in the efficacy of the performance of the propitious rites accompanied by muttering of sacred syllables in honour of Sri till she got pleased and conferred a boon has been upheld in accordance with the Hindu religious fervour.2 The performance of the ritual connected with the adoration of Sri with the muttering of Aparajita lore has been ordained with the due observance of freedom from the worries of material ends (i.e. kingly duties), taking to stay in the wattle hut situate to the palace, bathing three times a day, keeping the body well-governed by the taking of limited food, sleeping on the Kusa-couch, taking to the vow ordaining the propagation of 1. kevalaM karttavyeSu dUDhamapramAdinA bhavitavyam, AlocitavyaM ca samyakprajJayA prastAvocitamanuSThAnam, prajJodyamAvaraNimanthAviva havirbhujaH pitarau kAryasiddheH tau hi puruSavyApAranugRhItau nAsti tadvastu yanna sAdhayataH ityabhidhAya kRtapArzvAvalokano vihitamantradevatAnudhyAnavidhirvidhAya narapaterAtmanazca vapuSi rakSAmantrakSaramayaM ...... karNamUlamanuccakairuccaricatAkSarapadastAM vidyAM nyavedayat / rAjA'pi savinayAbaddhakarasampuTa : zraddhAvatA hRdayena... tAM ....TM. Vol. I p. 99. 2. vidhehi tAvanmantrajapavidhim ArAdhitaprasannayA rAjalakSmyA vitIrNamApnotu putravaramiyam / Ibid vol. I p. 102.

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TILAKAMANJARI OF DHANAPALA the progency in accordance with the errands of the sage and in absolute punctiliousness, taking to the vow of celibacy etc.' The importance of the Tirthas has been stressed in accordance with the Brahmanical cult. The shrine of the Siddha (Jina gone to accomplishment) known as Sakravatara having a vallum connected with the arched gates having lofty turrets being well known on the earth on account of its being a primeval tirtha and ornament of the outer garden. It was visited by Meghavahana unobserved by the entourage after he had performed the evening adoration of Sri the goddess on a festal day with the adoration of the deity of the sacred chant performed in advance.2 There is also reference to the - 428 "gaMgAditIrthajalaprakSAlanApanItasthAvarAvasthAbhiH ' 113 the places of pilgrimage such as Ganga are considered to be the holiest according to the Hindu belief which washes off the sins of the sinners. Samaraketu has been described as the son of Candraketu, the lord of the Simhalas whose fame had been amply illustrated by the adoration of the images of the Arhatas i.e. the Buddhist sages like those performed in the towns of the gods by the denizens of the heaven attained to the status of gods, averse to the material gains opposed to the fructification of renunciation (Virati), with his own maturity being enhanced by having attained to the enlightenment of the virtuous conduct or religious duty, being a devotee of the other births or auspicious gains. The Jaina school of thought forms the main burden of the philosophical strain of Dhanapala. The triad of worlds pervaded by plurality of forms of aught being, being scanned by Jina has been illustrated in the introductory verse 1.5 The Primeval Jina and his followers have been deemed as having soul full of 4 1. uparatarAjyacintAbhArasya viracitAbhyarNaparNazAlAkRtasthitestrikAlasnAyinaH parimitaphalAhAraparipAlitazarIrasya kuzatalpazAyino munisamupadiSTena vidhinA vratamapatyasantatinibandhanamanaticAraM pAlayato gRhItabrahmacaryasya / etc. -TM. Vol. I p. 106. 2. vihitamantradevatApUrvasevaH sa rAjA parvadivase vizeSeNa nirvartya devyAH zriyaH sAyantanImAyatanapUjAmanupalakSitaH paricArakagaNena nagarabAhyArAmamaNDanamAditIrthatayA pRthivyAM prathitamatituGgazikharatoraNaprAkAraM zakrAvatAraM nAma FTM. Vol. I pp 106-107. 3. Ibid. Sm. ed. p. 371. 4. bhavAntarapraNayI saMprApya saddharmabodhimadhikAdhika pravardhamAnazubhatarapariNAmo viratipariNAmaparipanthinaM mahArhasaMpatsaM bhAramapi garhamANastridazabhAvamAtmIyamanudivasamAhitatridivavAsimAnasollAsAbhiraparAparAbhiH surapureSu pravarti.. fara pUjAbhirbhRzAvarjitayazaH kIrtinAmakarmA samaraketurnAma siMhalendrasya candraketorAtmajanmA saMjAtaH / Ibid Se ed. pp 412-413. 5. Ibid. Vol. I p. 8.

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RELIGION AND PHILOSOPHY nivrtti. The primeval Jina has been construed as an omnipotent lord, source of dharma (duty or piety), oblivious of rajas and tamas etc." The meditation or concentration dripping forth ambrosia, the obviation of infatuation of the people etc. have been stressed upon as the chief tenets of the doctrines of the Jinas.2 Bhadrakirti, the crest-jewel of the Svetambara Jainas, has been extolled as having traversed the aerial regions." 429 The denizens of Ayodhya, disregarding Jina whose mind was free from attachment, illustrates the doctrine of 'Vitaragata' among the Jainas. The dicta of the philosophy of the Arhats (Jainas) making the people inclined towards the tenets of Nigamas (doctrinal manuals) refers to the regard of the Jaina school of thought." The Vidyadhara sage attaining to the slumber of concentration refers to the yoganidra of the Jainas." Buddhist doctrines have also been referred to at a number of places and the poet has adopted a general trend of condemnation of their faith. "Like the followers of Buddha taking to argumentation even when finding no basis to stand upon." He has referred to the Buddhatarka i.e. the philosophy or the logic of the Buddhas rendering the material gains futile i.e. disbelief in the existence of the properties of matter has been illustrated. Similarly Like a Buddha deeming the world a void." " sarvadarzanagranthArthavedinA vidvajjanena' 1110 refers to the allusion of all the schools of philosophy (six schools) such as Samkhya, Yoga, Nyaya, Vaisesika, Purvottaramimansa or Vedanta. Apart from this these schools have been referred to individually as well as conjointly. Samkhya stresses upon the inalienable tie of Purusa with Prakrti. Man in his different forms is guided by his disposition innate to him which brings. 1. TM. Vol. I p. 10. 2. Ibid. Vol I p. 12. 3. Ibid. p. 29 verse 32 Vol. I. 4. khehazUnyamAnasaM jinamapyavajAnadbhiH / Ibid Vol. 1p. 53. 5. ahaMddarzanasthitiriva naigamavyavahArAkSiptalokAH Ibid, Vol. I p. 55. 6. Ibid. Vol. I p. 97. 7. bauddhAnAmanupalabdherasadvyavahArapravartakatvam / Ibid vol. I p. 68. 8. hack pantang ani vai fare: 1 Ibid. Vol. I p. 70 verse 1. 9. bauddha iva sarvataH zUnyadarzI Ibid Vol 1p. 95. 10. Ibid. Vol. I p. 106.

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430 TILAKAMANJARI OF DHANAPALA him in line with the idea of his inalienability from woman. Samkhya or the philosophy of deliberation aims at Purusartha or the main object of the human being who normally aims at attaining freedom from misery here. "Theya qafta Hierufafcia:" yofaharafeiriSf9' 2 etc. this expression of Dhanapala illustrates the point detailed above. The coquettes of Ayodhya having an extra penchant for wealth and attracted by the virtues of best of men symbolised as ones having attitudes of mind like those of Laksmi attractive of Purusottama (i.e. Visnu) again conforms to the dicta of Purusa and Prakrti being inseparable from cach other illustrating thereby the Samkhya Darsana. Meghavahana the man (Purusa) associated with Madiravati (his Prakrti) as a king had a special objective of life i.e. of vanquishing his foes and had also to keep his inner foes subdued which was again his Purusartha. Having a wife unalienable from him he could keep his internal enemies subdued. He had an innate proneness to acting in accordance with the acts of human as well as divine agencies. Heya' (i.e. the source of the birth of an affliction) and Upadaya (i.e. Hanopaya) or (the means to destroy that affliction) forming the main burden of the Samkhya Darsana which according to Acarya Bhagavaddatta is nothing but science. The English word Science descends from the Latin word Scientia which again is only a corrupt form of the Sanskrit word "Samkhya." The sense objects being extremely delicious in their very root are deemed no more than a straw. By deeming them as straw one can keep away from them and therefore 'Upadeya' or the 'Hanopaya' is the basis of Samkhya here.? The rope of virtuosity has been deemed a source of redeeming the group of beings sunk deep into the well of birth or world difficult of being over reached. The establishment of the world void of all taste has been decried, 1. Sam. D. I 1. 18 pp 1, 8, edited by Swami Darshanananda. 2. Ibid. Sm. ed. p. 278. 3. 781 haffufa 441Lubrif: 1 Ibid. Vol. I p. 51. 4. way2MM 4mTi a falta una qual agua: I Ibid. Vol. I p. 59. 5. Pencerayfilla RTErfat: 1 Ibid. p. 311. Ibid. Vol. I p. 60. 6. The study of Creation I p. 1. 7. Hastaycare facilita a quel cel Ibid. Vol. I p. 80.. 8. GFR 4 yf tufayfursteiguft: Sardiaquepata Ibid. Vol. I p. 87.

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RELIGION AND PHILOSOPHY 431 the fructifications of the actions has been lamented, the knack for wantonness on the part of the providence has been regretted and the cphemeral nature of the material gains has been marvelled at. Purusa unalienable from his Prakrti (the primary category being the primordial cause of the Universe) has been deemed cherishing some end and the advice is given in his case that he should not be exclusively devoted to the act of politic behaviour. He should take to a task wholeheartedly by affording authority to Providence since that is instrumental in the accomplishment of the cherished end. The action of a courageous man flourishes when he is aided by the favourable providence. The attachment unto the world being very powerful and extremely deeprooted, the lack of sense of detachment from it has been demurred. This is also an idea nourished by the Samkhyas. World has been construed as having no furthest limit. It has its material gains ephemeral in character. The living beings are susceptible to any type of decency or indecency.' There is reference to the Yoga practice of Kumbhaka "Pranayama' in the restraint of the movement of the breath through the nostrils of the coquettes (vilasinis). According to Patanjali (Yogasutra) (Samadhipada I.12) Yoga is the restraint of the attitude of mind whereas in view of Srivyasa it is a synonym of Samadhi or mental concentration. A supreme Yogi has been defined to be one who inculcates the desire to probe into the parent source of the object that has come to sight all but in a 1. aho virasatA saMsArasthiteH aho vicitratA krmprinntiinaam| aho yadRcchAkAritAyAmabhinivezo vidheH| aho Rayton Fayar141-TM. Vol. III pp. 145-146. 2. Story of Creation of Bhagavadatta I p. 1. 3. phalAbhilASiNA puruSeNa naikAntato nItiniSThena bhavitavyam abhimate vastuni daivaM pramANIkRtya sarvAtmanA pravartitavyam, 36clafefafegir.407 HERE H erfanfarrifafy fai Ibid. Vol. II p. 322. 4. kiM caikamiha zocyate, sarva evAyamevaprakAra: sNsaarH| idaM tu citraM yadIdRzyamapyenamavagacchatAmIdRzImapi bhAvanAmanityatAM vibhAvayatAmIdRzAnApi dazAvizeSAnanubhavatAM na jAtucijantUnAM virajyate cittm| na virzIyate viSayAbhilASaH, na bhaMgurIbhavati bhogavAJchA nAbhidhAvati ni:saGgatA buddhiH, nAGgIkaroti FITFTC 4THHICHI Cena 9: HRHB: 1 Ibid. Vol. III pp 146- 147. 5. GUYR HAN Saya favailey aulag Mui fumi yang syafari Ibid. Vol. III p. 158. 6. 31 421405 HHf fa 794414: 1 Ibid. Vol. I p. 49. 7. Pat. Y. P. pp 140, 141, 147. TH17974-4001THYCERERUTAHHATTISZTASI

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432 TILAKAMANJARI OF DHANAPALA moment. The control of the group of senses being innately accomplished forms the basis of yoga. Dhanapala has also referred to an application of eye-unction meant to provide special vision of a special object. Of the Nyayasutras Dhanapala has mentioned 'Pramana, Prameya cxplicitly in - warfaf faa:"3 'kadAcitpramANaprameyasvarUpanirUpaNena" In afara acau he has referred to 'logic' (Vakya) which is again Nyaya. According to Mahamahopadhya P.V. Kane, Pada means 'an inflected word' and stands for Grammar which deals with words Vakya' a sentence. Logic deals with sentences and the fallacies that lurk in them. Pramana according to Mahamahopadhya Kane means "authoritative means of knowledge'. It has been construed by Mahamahopadhya P.V. Kane as 'Mimamsa' (both Purva and Uttara) which deals with Sabda and other Pramanas. According to others Vakya' stands for Mimamsa (because Mimamsa helps one to understand Vedic passages which often appear contradictory) and Pramana for Tarka (logic). Pramana according to Nyayasutra are- the words of comparison estimated from visual perception) while Prameya is the redemption from grief born of the fruit of death, vices such as attachment of mind, intellect, the objects of senses, body and soul.' "Viveka', 'Vibhakti', 'Paricchitti etc. are the expressions employed to illustrate the points of Logic whereby the citizens of Ayodhya have been described as discerning enough to understand the quality of the rich as well as the poor, the learned and the illiterate, the virtuous and the vicious, the religious and the irreligious, etc.' 1. ita 207415144uladac4aGEtaG: ITM Vol. II p. 300. 2. nisrgsiddhsyendriyvrgsNymsy| Ibid. Vol. II p. 311. also taistairaJjanairaMjitekSaNasamupajAtayogijJAna iva fazlafragran: Ibid. Vol. II p. 280. 3. Ibid. Vol. I p. 52. 4. Ibid. Vol. II p. 233. 5. Ibid. Vol. II p. 233. 6. Text ( 4 1941031:) p. 4. P. V. Kane and C. D. Joshi Notes p. 4. 7. Ibid. Notes p. 4 8. WEA11991-YIGT: WHAI Ny. S. I. 3 p. 6. 9. 314YRRA :YafecTr14194079: UIYAHISI 9441 Ibid. I 9 p. 12. 10. akalitADhyAnADhyavivaikairagRhItapaNDitApaNDitavibhaktibhiranavabuddhasAdhvasAdhuvizeSairanavadhAritadhArmikAdhArmika uffagfef4: Ibid. Vol. I p. 51.

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RELIGION AND PHILOSOPHY 433 They knew logic and had enormous stock of lores to their credit. They were endowed with the Sattvaguna and had a knack for understanding the Primary argument and replying to it accordingly. They were conversant with all types of manly qualities and kept cheerful. They had a penchant for the Nyayadarsana i.e. the observance of justice or logical statements and were equanimous.' Nyayadarsana? has also been termed Tarkavidya which takes to the examination of many arguments of blameless nature abhimatAgamagranthArthasamarthanena kadAcidasaddarzanoktayaktinirAkaraNena" also alludes to the science of logic (Nyaya) wherein the illogical statement is refuted by the logical one. 'paramANusUkSmayApi kroDIkatatrailokyayA4 refers to the Vaisesika system wherein a dravya consisting of an atom has many sided activity emanating from its parts. Intellect of Meghavahana acute like an atom had brought within its fold the triad of worlds i.e. it had supremacy over the three worlds through knowledge. "tribhuvanasRSTimiva prakaTopalakSyamANabrahmasUtram refers to Brahmasutra, the main treatise on Vedanta wherein are obtained the speculations connected with the triad of worlds, their creation, growth etc. waif ff 446 Infu: 1. V oye..... Hilarra Talheriff.... catariefauft: ZPCHATUTURIS: TM. vol. I p. 52. 2. Hafafya fareftfYGHEMU Ibid. Vol. I p. 86. 3. ibid. Vol. Ii p. 233. 4. Ibid. Vol. I p. 60. 5. Ibid. vol. I p. 86.

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V. EDUCATION, LITERATURE AND ART Dhanapala has followed Kautilya' and Dandin? in recognising the number of lores as four. These four lores (i.e. philosophy, the triad of Vedas, economics-agriculture, animal husbandry etc. and the science of politics) form the basis of the secondary lores which actually emanate through them. He has referred to Kamasutra Vidya" as another lore which actually emanates from the sections dealing with Kama also known as ratitantra, the third of the values of life, available in Purana' and itihasa" (Ramayana and Mahabharata) which derive their source of inspiration from the triad of Vedas. He has further emphasised the specialisation of the science of politics particularly for the king' in whose case it acts the role of a female porter (Pratihari). Natyavedal the science of histrionics has also been referred to (most probably alluding to the Natyasastra of Bharata and his followers). Science of Logic'" (Tarkavidya) forming part of philosophy has been referred to as a special branch of knowledge and subject of study. Ayurveda" or the science of medicine as an auxiliary branch of lore, deriving its source from the fourth Veda (i.e. Atharvaveda) which also contains the dicta connected with the secret lore of charms and spells. Naupracaravidya'!2 the science connected with the sailing of boats and ships. 'Nimittasastra's or the science of omens has also been referred to as a special subject of study. 1. 311-aferari aici gustilfaafa fau: Philosophy the three Vedas, economic and the science of politics. KAS I 2. 1. p. 4, part I, p. 6 Part II R. P. Kangle. 2. T el:, Radiofa custifa DKC VIII p. 191 M. R. Kale 3. Tycaf faare $494:1 TM Vol. I p. 159. 4. TM. Vol. I p. 51, 52. 14PER Ufafcadira: 5. Ibid. Vol. II pp 51, 240. 6. Ibid. Vol. II pp 51, 240. 7. BARRTED H ellatif fairy farm... Part Ibid. Vol. I p. 60, Vol. II p. 311. 8. ufafangustifa TERTUTU91:1 Ibid. 9. Ibid. Vol. I p. 75.3afcaffe HTCHURC: 1 10. #funfa fafeffa HEAT Ibid. Vol. I p. 86. 11. Harydayri 41-HGHautafG149 EHS: Ibid. Vol. II p. 187. 12. Ibid. Vol. II p. 279. 13. Ibid. Vol. II p. 303.

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EDUCATION, LITERATURE AND ART 435 Citravidyal the science of painting also known as 'alekhyasastra', sastravidya' in company with sastravidya' - have been mentioned as covering the field of educational curriculum. Apart from the enumeration Dhanapala has illustrated certain salient fcatures connected with these lores displaying thereby his personal scholarship and emphasising the point of prevalence and practice of these among the people. As for example - "abhyastanATyazAstrairapyadarzitabhrUnaitravikAraiH "" referring to the practical aspect of the treatise on dramaturgy ("Natyasastra of Bharata) having formations of eyes and brows in acting. "kAmasUtrapAragairapyaviditavaizikai:14 referring to Kamasutra the treatise on science of love having Vaisikam' for one of its books (Adhikarana) i.e. the 6th one. "udAttenApi svaritena caritena''5 "uccApazabdaH na vastuvicAre' "dhAtUnAM sopasargatvam- padAnAM vigrahaH" and lipivizeSadarzanapura:sarANi "azeSANyapivyAkaraNAdInizAstrANi' "AtmAnaM trAyasva puMnAmno narakAt'"" "padavAkyavicAreNa110 "rUpAntaragrahaNamiva shbdraasheH'|| "zabdavidyAmiva vidyaanaam||2 "zabda iva saMskRto'pi prAkRtabuddhimAdhatte" prasiddhapuMbhAvo'pi napusaMkatayA vyvhriyte| sarvadA strIliGgavattirapi parArthe pravartamAnaH pNstvmrjyti|' 1. TM. Vol. III p. 26. 2. Ibid. Sm. ed. p.35. 3. Ibid. Vol. I p. 52. 4. Ibid. Vol. I p. 61. 5. Ibid. Vol. I p. 62. 6. Ibid. Vol. I p. 62. 7. Ibid. Vol. I p. 67. 8. Tbid. Vol. I p. 68, Vol. III p. 188. 9. Ibid. Vol. I p. 80. 10. Ibid. Vol. II p. 233. 11. Ibid. Vol. II p. 262. 12. Ibid. Vol. II p. 328. 13. TM. Sm. cd. p. 406.

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436 TILAKAMANJART OF DHANAPALA - all referring to one or the other aspect of grammar and ctymology (Nirukta) are the valuable-contributions of Dhanapala testifying his versatility. Udatta and Svarita are the high and circumflex accents of the Siksa Kalpasutra. Uccapasabda refers to discordant note in pronunciation. Roots prefixed by prepositions, dissolution of the Padas in compounds, etymology of the word 'Putra' i.e. he who protects from the Naraka named Pun. Pada is grammar synonymous with Sabdavidya which deals with the sentences and words, compound-words assuming varied and variant forms, discrimination of Samsksta as well as the Praksta words, masculine, feminine and neuter genders. "asiliah viral HGHETallafe and "rasasiddhirvaidagdhyadhAtuvAdikasya'' refer to the Aupanisadikam (i.e. VIIth) Adhikarana of Kamasutra as well as of Arthasasta of Kautilya (XIVth Adhikarana) wherein serpent charmers and alchemists, druggists are ordained to prepare spells and recipes for proper damage or cure. "rifua ef lYIHERUTH'2 refers to the triad of Vedas having their Caranas (i.e. schools) occupied by thousands of great sages acting as teachers. "kSetragaNitamiva lambabhujakarNodbhAsitam" refers to the science of Geometry (Ksetraganita) wherein Rectangles, triangles etc. are most prevalent. "saMkhyAnazAstreNeva navadazAlaMkRtena"" - the numerology in Arithmetic having Nine, Ten etc., as figures. E-cifarfagrafia TEST F T YIG 'S - refers to the Vedic metre BIhati and Jagati. Dhanapala has mentioned the treatise on political science composed by Bihaspati and Sukranitih. In Ayurveda mercury cure is useful for the removal of gout which creates a burning sensation in the body." 1. TM. Vol. I p. 82. 2. Ibid. Vol. I p. 86. 3. Ibid. Vol. I p. 88. 4. Ibid. Vol. III p. 120, Vol. II p. 321. 5. Ibid. p321. Vol II, LL 5-6 6. 11y Tal : TM. Vol. III p. 120.

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EDUCATION, LITERATURE AND ART 437 A physician conversant with quick modes of treatments prescribing the application of a cold treatment in case of a burning fever has been suggested.' Regarding the teacher and the taught, education and educational institutions also Dhanapala has made some casual remarks. He has referred to the 'Vatharacchatras' reciting the benedictory verses in the beginning of the granthas (Manuscripts connected through folios) in context with the circle of lecturers working in the educational institutions wherein the books of personal possessions were being covered up by the groups of pupils studying in the caranas (schools professing the dicta of Vedic lores) of the revered Acaryas. The words 'Vatharacchatra', 'Acarya', 'Carana', 'Sisyagana' and Vidyamatha Vyakhyananandalisu' arc significant Mathas used to be the sanctuaries and more widely the institutions where the process of delivering lectures used to be most prevalent. The students as well as the teachers assembled in these 'Mathas' to discourse upon or listen to the discourses delivered after concentrated studies. Caranas used to be the private institutions of the Acaryas where the students obtained instructions in private. 'Vathara' has been construed by the commentator as well as the dictionary to mean a stupid or dull student. But the context demands its meaning as 'diligent' or 'mature' and not stupid or dull. The 'Bhiksacaras' (i.e. students roving about for alms) from the houses of the landlords, in the outer-orchards, roving about hither and thither, being vociferous in studying-have been referred to. The sacrificer's chambers have been described as crowded with the Brahmanas wide awake or alert enough to read aloud when being examined by the ecclesiasts or chaplains (Purohitas) mounted on the tops of the "turrets on the parapets." There is reference to the Gandharvikopadhyayas i.e. the music teachers having their pride gone afar in their perfection of the lore of music;" who practised in the instruments such as flute and the lute etc. 1. kvacidvAtikA iva sUtamAraNodyatAH / TM Vol. II p. 208. 2. suprahaSTabaTharacchAtrasatvaroccAryamANagranthAdigrathitadevatAstutizlokAsu vanditAcAryacaraNaziSyagaNasaMkriyamANanijanija pustakAsu... vidyAmaThavyAkhyAnamaNDalISu / Ibid Vol. II p. 166. 3. adhyayanamukharaSvitastatoH bhramatsu gRhapatibhavanavanakhaNDa bhramareSu bhikSAcareSu / Ibid Vol. II. p. 167. 4. pratAlIzikharAdhirUDhapurohitaparIkSyamANAdhyayanamukharonmukhadvijeSu sarvataH saMvRteSu satriNAM bhavaneSu / Ibid. II p. 167. Y 5. KAS II. 3. 11. part I p. 36 Glossary p. 53. 6. gautazAstraparijJAnadUrArUDhagarvegandhivikopAdhyAyaH saha veNuvINAdivAdyavinAdana dinshepmnyt| Vol. 11 p. 171.

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438 TILAKAMANJARI OF DHANAPALA 'Vidyasattrasalantevasimandalani'' has been construed by the commentator to mean - "the groups of boarders staying in the charity home of education." Sattra' in the technical sense may mean a session also. The groups of boarders abiding in the hostels where the educational session was spent by them- this may be a better sense. The Age for the commencement of a child's education has been recognised as six, his five years required to be spent at home moving at will in playful moods in association with the playmates of the age as is evident from the case of Harivahana' whose advent of sixth year prompted his sire Meghavahana to call for the preceptors innately inimical to treading on the unrighteous path, born in the best of the lineages, endowed with blameless sayings ordained by all the scriptures, who had served in the Gurukulas quite judiciously, after having got established an educational institution just within the premises of his own palace in order to bring him under discipline or training, with the tendency to pronounce expressions of letters becoming apparent in him, when a slight polish had come up to his personality. The Upanayana or initiation into education has been illustrated subscquently. After inviting an assembly of Savants he (i.e. the king initiated him with the investiture thread (marking the beginning of cducation) through them, on an auspicious day and Zodiac after he had performed all that was required to be done so, had performed his ablution, had enscarfed himself in a white cleansed and fine silk garment, had anointed his body with fragrant sandal, unguent, had worn a necklace of pearls, had applied the forehead mark of rocana dye, had worn on his head a crest chaplet of Malati blossoms etc. And they (i.e. the Savants) taught him 1. kRtAdhyayanabhaMgavidvajjanavisarjitAni praSThIkRtaikaikavaTharacchAtrahastArpitavizAlapUrNakalazAni yugapaduccAritAzI: PERCETAK yere fecift fERHATI-af440Scifi Ibid. Vol. II p. 183. 2. kSitipAladArakaiH saha krIDAsukhamanekaprakAramanubhavato niraMkuzapracArasya paMcavarSANi tasyAnta:pure'ticakramuH avatIrNe ca SaSThe kiMcidupajAtadehasauSThavasya vyaktavarNavacanapravRtervinayAropaNAya rAjA rAjakulAbhyantara eva kAritAnavadyavidyAgRha: samyagAsevitagurukulAnAmavagatAkhilazAstramarmanirmaloktiyuktInAmuttamAnnAyalabdhajanmanAmasanmArgagatinisargavidviSAM vidyAgurUNAmaharaha: sNgrhmkrot| 3. Cp. Bana in his Kadambari the case of Candrapida, 324454ad1 H ORARI funeraha: 1 uragist 1994-04ui ta infusdal UETA YAETA Kad. Pu. M. R. Kale p. 128. 4. upaninye ca tebhyaH zobhane dinamuhUrte nirvartitasamastetikartavyaH snAtamanupahatasUkSmakSauma kalpitottarAsaMgamanuliptAGgamAmodinA malayajarasena pratyurasamAmuktamuktAkalApamuparacitarocanAtilakaruciralalATa

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EDUCATION, LITERATURE AND ART gradually all the Sastras such as Vyakarana (Grammar) preceded by the demonstration of specific scripts.' The sincerity of the teachers, the disciplinary temperament of his sire, the paucity of evil-associations, complete facility of all the branches of knowledge available at hand; and the precocity of his own intellect, made him conversant with them in a short time. With interest unflagging he mastered all the stock of fourteen branches of learning along with their auxiliary lores quite within the period of ten years. He learnt the entire stock of arts obtaining skill especially in the art of painting and lute playing. When all the scriptures obtained maturation in him and he went past the lores of weapons with blessings of the intelligentia showered upon him who had attained to the glamour of flushing youth with limbs attaining to radiation who was as permitted by the teachers of learning (Samavattana Samskara) the king brought Harivahana back to the palace, after he had gone past the sixteenth year of his age.2 This proves the fact that in Ancient India as corroborated by Bana's evidence above, a child's education started at six and ended at sixteen whereafter specialisation to attain to a-caryadom continued in case of Brahmanas etc. But in case of Ksatriyas it was an obligatory way to go through the period of ten years to understand and obtain training in fourteen branches of knowledge. In fact it was obligatory for every individual to undergo this must period of training in order to adjust himself in the educated and civilized society. 439 Regarding the fourteen branches of knowledge, the commentator says Four Vedas along with the Vedangas (numbering six), Mimamsa, Anviksiki, Dharmasastra and the Purana are the fourteen branches of lores.' muttamAMgaghaTitamAlatImukulagaNDamAlamavadAtaveSatayA savizeSadarzitAdaramabhyutthitAyAH punaH sarasvatyAH sitAMzudhavalayA zarIracchAyayeva cchuritamAtmajamavanipatiH / Ibid Vol. II. p. 188. 1. pUjAvizeSavardhitaprItayazca te lipivizeSadarzanapuraHsaramazeSANyapi vyAkaraNAdIni zAstrANi tasmai krameNopAdikSan Ibid. Vol. II p. 188. 2. kumAro'pi satatAbhiyuktatayA gurUNAM niyantraNaparatayA pituravidyamAnatayA durvinItasaMnidheH svAdhInatayA sarvAgamopanibandhAnAM kuzIgrIyatayA ca nijabuddheralpenaiva kAleva teSAmabhyantaro'bhavat / amuktAbhiyogazca dazabhiraNDezcaturdazapi vidyAsthAnAni saha sarvAbhirupavidyAbhividAMcakAra / kalAzAstraM ca niravizeSaM viveda, vizeSatazcikarmaNi vINAvAdyaiH ca pravINatAmApa / evaM ca pariNatAzapazAstramAsAditasakalastravidyApAramupalabdhasarvabudhajanasAdhuvAdamArUDhanavatAruNyalakSmI jaladhipUrNasavAvayavazobhAnumoditavidyAgurujanai na harivAhanamatiM krAntepoDaze varSe harSanirbharo rAjA... svabhavanamAninAya Ibid Vol. 11 pp. 188-189. ' 3. paDaGgavedAzcatvAro mImAMsAnvIkSakI tathA / dharmazAstrapurANaM ca vidyA etAzcaturdaza / Commentary to TM Vol. II p. 188.

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440 TILAKAMANJARI OF DHANAPALA Samaraketu has been described as acquainted with the Sastras studied according to his capacity, taught in the science of polity, trained well in the lore of archery without any flaw, exercised well in the special weapons such as sword, mace, disc or the quoit, a poniard, a javelin etc. Strijana or the womenfolk had their due right for the acquisition of education in so far as Dhanapala has mentioned them as skilled in all the arts and scriptures, conversant with the dialects or languages of all the countries, adept in the (narration of) the legends from the Puranas and aware of the variety of folk lores. They could learn Dharmasastra from the specialists in this lore and could be taught by the male teachers. Citralekha has been referred to as skilled eminently in the art of painting.Malayasundari has also been described as having a knack for the art and lores. Even the encaged birds like parrots taking to the medium of philosophical expositions pronounced aloud the auspicious chants. Even the starlings of the harem showered blessings on the royal ladies in the manner of inadorable old women.' LITERATURE According to Dr. Pratipala Bhatia 'Under The Paramaras Malva rose to a high level of greatness and fame. In fact no other part of northern India can claim such a rich galaxy of literary giants in so short a period as Malva in the days of the Paramaras. Dhara was the Mecca of the poets and Pandits in the days of Bhoja the Great. And only a little less was the reputation enjoyed by Malva in the days of Vakpati II. Their enlightened patronage of scholars made Ujjain the literary capital of India in the spirit of the traditions current about it as the capital of the great Vikramaditya."? Dhanapala while acknowledging the patronage of Bhoja for whom he wrote his Katha (i.e. Tilakamanjari) recognises him as one conversant with whole of literature, who had a zest for listening to the parables enunciated 1. yathAzaktikRtazAstraparicayamadhItanItividyAmabhyastaniravadyadhanurvedamasigadAcakrakuntaprAsAdiSu prAsapraharaNa-vizeSeSu 1994 TM Vol. II p. 251. 2. HAHARAPICHA HOC241911 der Hallefu 14714440tura 2151-741 Ibid. Vol. III p. 13. 3. Tarih 14: TEZAHIY TARafale: 1 Ibid. Vol. III p. 13 referring to Tilakamanjari. 4. fai factaira fe ferafu TE Natuiti Ibid. Vol. III p. 14. 5. fascia c rafHigh Ibid. p. 181. 6. paMcarazuMkairapi prastutavAdibhirvandibhirivoccAryamANamaGgalam antaHpurasArikAbhirapi parimitaH vyAhAriNIbhirArAdhya gafa fa r turaftarziatcri Ibid. Vol. II p. 162. 7. Paramaras Ch. XVI. p. 315.

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EDUCATION. LITERATURE AND ART 441 according to the expositions of the doctrines of the Jinas, and who as a man of blameless demeanour. He has called Sri Munja also an ocean of all the lores.? He calls himself as the son of Sarvadeva and grandson of Devarsi who was a scholar of the Sastras, adept in the activities (dealing with the religious and expository lores), sublime in the composition and construal of the speech. His son Sarvadeva, the magnanimous one was a veritable peer to Svavambhu (i.e. Brahma or the savant versed in the Vedic lore). Dhanapala, the Vipra (a Brahmana or a scholar or an intellectual), being his son derived the source of knowledge from him was unparalleled in the composition of strong stock of sweet sayings and enjoyed the patronage of Sri Munja also who had graced him with his speech (Sarasvati).' Vakpati II is said to have written a geographical description of India known as 'Munja-pratidesa Vyavastha.' '(Asiatic Researches IX, p.176) Dhananjaya in his Dasarnpaka (IV. 316) has assigned the verse to the authorship of Sri Munja.' (Vakpatiraja IV.310, 316) According to Dr. Bhatia Sri Bhojadeva was first and foremost a man of great learning, a versatile scholar, a polymath indeed, for he has been credited with works in almost every branch of knowledge. According to Ajada, who wrote a commentary named Padakaprakasa on Bhoja'a Sarasvatikanthabharana, Bhoja wrote 84 works giving them names with his own titles or birudas. The Prabhavakacarita refers to Bhoja's works in several branches of learning. Of the works ascribed to him the authorship of 1. ni:zeSavAGmayavido'pi jinAgamoktAH zrotuM kathAH smupjaatkutuuhlsy| tasyAvadAtacaritasya vinodaheto rAjJaH sphuTAdbhutarasA racitA kthaiym|| TM Entro.. verse 50 Vol. I p. 40. 2. sarvavidyAbdhinA Ibid. verse 53 Vol. I 3. AsId dvijanmA'khilamadhyadeze prkaashshaaNkaashmniveshjnmaa| alabdhadevarSiriti prasiddhi yo daanvrssitvvibhuussito'pi|| zAstreSvadhItI kuzalaH kriyAsu (kalAsu) bandhe ca bodhe ca girAM prkRssttH| tasyAtmajanmA samabhUnmahAtmA devaH svayambhUriva srvdevH|| tajjanmA janakAghripaMkajarajaH sevAptavidyAlavo vipraH zrIdhanapAla ityavizadAmetAmabadhnAt kthaam| akSuNNo'pi viviktasUktiracane yaH sarvavidyAbdhinA zrImuJjena sarasvatIti sadasi kSoNIbhRtA vyaahRtH|| Ibid. verse 51,52,53, pp. 40-42. 4. Paramaras p.316 Cf. 2. 5. Das. r. p. 374 ed. Srinivasa Sastri. praNayakupitAM dRSTvA devoM sasambhramavismitastribhuvanagururbhItyA sadyaH prnnaampro'bhvt| narmitAziraso gaMgAloke tayA caraNAhatA bhavatu bhvtstryksssyaitdvilkssmvsthitm||

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TILAKAMANJARI OF DHANAPALA Rajamartanda, a commentary on Patanjali's Yogasutra, Sarasvatikant habharana (grammar) and Sarasvatikanthabharana (Poetics), voluminous works, Srngaprakasa, Tattvaprakasa Bhujabalabhima, Brhadrajamartanda, Rajamrganka, Samarangana Sutradhara, Yuktikalpataru, Vyavaharamanjari, Campuramayana or Bhoja Campu, Avanikurmasataka, Vidvajjnanavallabha, Namamalika and Salihotra can be established as factual. 442 Apart from this Dhanapala has referred to enormous data on Sanskrit literature prior to his times and has alluded to certain special characteristic themes and sayings of different poets. As already observed he has referred to Valmiki and Vyasa (Kanina), the author and compiler of Ramayana and Mahabharata, Brhatkatha, the popular tales-thesaurus of Gunadhya, Pravarasena, the author of Setubandha, Tarangavati, a prose romance, Kalidasa, Bana and his son Pulinda Pulindhra actually Abhinanda as per Arya Saptasati of Visvesvara Pandeya verse 51 page 26 their works Hars acarita and Kadambari Purva and Uttara bhaga, Magha, Haribhadrasuri and his Samaraditya, Bhavabhuti, Vakpatiraja, Bhadrakirti, the Svetambara lord, Yayavarakavi (i.e. Rajasekhara), Suri Mahendra, Rudra and his Trailokya Sundari, Kardamaraja etc. The legend of the boar incarnation of Visnu supporting the carth on its snout has been referred to at a number of places.' The legend of the birth of submarine fire from the thigh of the Aurva sage has been mentioned, its scientific implication being different. The legend of the churning of the ocean resulting in the war between the gods and the demons also occurs at few places. The legend of Visnu sleeping in the ocean and waking up after a stipulated period of time symbolising the natural phenomena of ebbing and tiding of the ocean etc. The legends of the war between Nivata and Kavaca (the daityas of the race of Hiranyakasipu), the Vrtra-Indra fight symbolising the release of waters from the barriers through the power of cloud and electricity;" the legends of Ramayana such as regalement of Sita by Trijata in the Asokavana (Lanka), the strolls of Mandodari and the long slumbers of Kumbhakarna also called Sahodara, the character of Laksmana (son of Sumitra) associated with 7 1. TM Vol. I p. 69, Vol. II p. 264. 2. Ibid. Vol.II p. 262, Vol. III p. 263. 3. Ibid. Vol. II p. 264, Vol I p. 142. 4. Ibid. Vol. II p. 264. 5. Ibid. vol. II p. 266 6. Ibid. 7. Ibid. Vol. II p. 288.

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EDUCATION, LITERATURE AND ART Urmila as his spouse are also referred to.' The discomfiture of Prahasta at the hands of Nila, the fainting of Laksmana (son of Sumitra) with the Javelin of (Meghanada), devotion of Vibhisana unto Rama (Dasarathi i.c. son of Dasaratha) etc. are reminiscent of the various legends of Ramayana following the loss of Sita; the return of Rama to Ayodhya in the aerial car named Puspaka also completes the story of Ramayana in recapitulating the history of memoirs. Description of the army of Sugriva having Nila and Angada for its sentinels again is a legend referring to the Kiskindha and Yuddha Kandas of Ramayana." Abhimanyu the leader of the Cakravyuha refers to the Mahabharata.' Ravana obtaining his powers through the grace of Siva (Nilalohita) refers to a legend of the Puranas." '"vaizampAyanazApakathAprakramamiva durvarNazukanAsa manoramam " - refers to the story of Kadambari as narrated by Bana wherein the effect of curse showered on Vaisampayana by Mahasveta led to the remorseful plight of Sukanasa and Manorama, his sire and mother. Dhanapala has also mentioned kauzikImiva rasavRttInAm upajAtimiva chandojAtInAm jAtimivAlaMkRtInAm -Theory of Rasa. -Prosody. -Figures. -Styles. -Prasadaguna (Perspicuity) -Sweet sayings. - Rhetorics which also covered the domain of literature proper. vaidarbhImiva rItinAm prasattimiva kAvyaguNasampadAm rasoktimiva bhaNitInAm 1. TM. Vol. II p. 288, 289, Vol. III p. 74. 2. Ibid. Vol. II p. 290. 3. Ibid. 443 4. Ibid. 5. Ibid. Vol. II p. 291. 6. Ibid vol. I p. 144. sugrIvasenAmiva sphurattAranIlAGgadAm / 7. abhimanyuriva cakravyUhasya senApati Ibid vol. II p. 206. sugrIvabalamiva salIlamArutigavAkSagavayopanItakupitarAmAvalepam / Ibid. Sm. ed. p. 371. quafya afuxinifa Ibid. Vol. III p. 107. 8. dazAsyamiva nIlalohitaprabhAvAptizrayam / Ibid Vol. III p. 107. 9. Ibid. Vol. III p. 95, Vol. II p. 328.

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444 TILAKAMANJARI OF DHANAPALA ARTS: Arts such as knowledge of skilful speech (Chekoktikovidaih), the compositions of Kavyas and natakas (poetry and drama), the dissertations about the Akhyayikas and Akhyanas (Legends and Chronicles);" practice of physical movements such as knitting of eye-brows in accordance with the Natyasastra (of Bharata);4 skilfulness in understanding all the languages; and the sayings prevalent among the latas; the art of composing the fourth quarter in a verse, where three quarters are well-known;" the display of lack of caesura in the poetry of bad poets (or poetasters);? the poetry of the good poet liked by the virtuous;* Evasive speech (Vakraya Vacana Bhangya)' giving out the logical meaning Samudrika' i.e. palmistry as an art also known as 'Hastarekha Vijnana'10 referred to in 'samudravid' foreboding the signs of the embryo (akhyataprasava laksanam)." The art of recitation of a variety of anecdotes by the kathakanarijana (i.e. the women used to narrating the reciting)." The 'Preksanatya' or a dance performance shown in an open arena (or theatre) as a trick of sight seeing and art." Prediction of auspicious dates, days and zodiacs in astrology has been hinted at while describing the birth of the son of Meghavahana." 'kalAvido viditasakalazAstratattvAH kavayo vAgminaH kAvyaguNadoSajJAH vijJAtavividhapurANetihAsakathA: kathAkhyAyikA nATakAdiprabandhabaddharatayo ratitantraparamparAparAmarzarasikamanasaH parihAsazIlA: pradhAnarAjalokAH15 1. TM. Vol. I p. 51. 2. 960H128-:1 3. Ibid. Vol. I p. 52. wffeafferreichen : 4. 37972HARIRA Uriayaaaart: Ibid. Vol. I p. 52. 5. 49faaruffaldstezifef4:Ibid. Vol. I p. 52. 6. I EqEHHI Y 9 :1 Ibid. Vol. I p. 68. 7. Pfalou fayyayfa Ibid. 8. Hafa hafta 1949 Ibid. Vol. I p. 147. 9. Ibid. Vol. I p. 151. 10. sAmudraM nAma hastarekhAdinA zubhAzubhapratipAdakaH, samudranAmnA maharSiNA praNIto granthavizeSaH / 11. 31faaralgfagrell H EMI Ibid. Vol. I p. 160. 12. wealaute 945R1791 Ibid. Vol. II p. 181. 13. Ibid. Vol. II p. 181. 14. Hraferach Unfastarief goe TM. Vol. II p. 182. 15. Ibid. Vol. II p. 240.

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\ EDUCATION, LITERATURE AND ART 445 refers to poets, orators, critics, persons conversant with the literature on tale and fable, legend and chronicle, drama etc. the erotic lore and the like. Art of writing and the writing materials Tadipatra' or the palm leaf meant for writing in place of paper has been described. as a billet sent by Malayasundari to Samaraketu with an inscription contained in a verse-couplet. The Tadipatra was lying at the root of a mango tree grown in the courtyard. Its region of the neck was wound round by a thread of lotus fibre. It had an imprint of the style of the nipple of a breast attractive, impressed on its middle parts. Both of its sides were cordoned by a circumferential pedestal of the sandal mire hardened by drying, bearing a sheen white like snow and slightly unctuous, being pallid like the cheeks of an Abhira lady. The sole arya couplet inscribed on it had its purport difficult of cognizance and was endowed with syllables (Aks aras) having their characters (lit. limbs) very soft and thin elevation of their maturation obtained accordingly (i.e. their legibility had been completely secured), being not capable of touching each other even when they were very thickly inlaid and were promiscuous from all sides, with camphor powder emitting out sacred odour having its colour effulgent like the fresh pearl powder suffused with illimitable fragrance of incense and black aloe and were decorated with the leafybits of fresh Kumkuma (dye) inscribed as they were with the mire of ink prepared out of inspissated deer-musk and characterised in charming letters.2 'yat tadAsAditaM tvayA tathAvidhaM tADipatrakam, asAvanaGgalekhastAvat " again refers to the palm-leaf the letters inscribed on which purported forth the import of a love-billet. veNukarpUrAvaraNakRtarakSeSvasaMkIrNakharatADaparNakotkIrNakarNATAdilipiSu pustakeSu saMskRtAnuviddhasvadezabhASAnibaddha kAvyaprabandha viralamavalokyamAna refers to the poetical compositions made in the languages of the local country interspersed with Sanskrit being observed in the books bearing 1. prAMgaNasahakArapAdapasya mUle mRNAlasUtravalayitagrIvAvibhAgamadhyabhAgavinyastamugdhastanamukhamudreNa styAnatuhinapANDuratviSA zoSAdhigatakAThinyena candanapaMkavedikAbandhena saMdAnitobhayAntamabhimataviyogavidhurAbhArakAminIkapolapANDu tADIpatrakhaNDamavalokitam / TM Vol. II pp 241- 242. 2. lalitapadasaMnivezA sAndramRgamadamaSIpaGkalikhitaiH pratyagrakuGkumapatrabhaMgazobhibhiH kRSNAgurudhUpavAsasaMbhRtasaurabhAtirekairabhinavamauktikakSodavizadavarNena puNyaparimalamucA... revAptapariNatiprakarSairapi sukumArasarvAvayavairakSarairupetA duravabodhatAtparyavasturekaivAryA / Ibid. vol. II p. 242. 3. Ibid. Vol. II p. 243. 4. Ibid. Vol. II p. 286.

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446 TILAKAMANJARI OF DHANAPALA scripts such as the Karnata one and others inscribed on the thickset palmleaves preserved in the coverings of cane-caskets. - atipRthulatADIpatrasaMcArita surekhAkSaraM lekham' refers to the billet inscribed in well-designed letters transcribed on extremely thick palm-leaves. - pratyagralipinA divyapaTapallavAgranthilekhena saMdehita dayita jIvitA refers to a billet inscribed on knotted sprout of divine cloth bearing fresh script. svahastasaMcAritA lipiH saH te svakuzalodantalekha:' refers to a billet bearing script prepared with one's own hand. samAsannatADItarutale karAMgulinakhAgra lekhanyAsurekhAkSaraM likhitvA lekhm|| also refers to the palm leaf manuscript inscribed with a pen in a beautiful handwriting. ajarjaraMbhUrjalekham' refers to birch-barks employed to inscribe the writings on them. "parisphuTotkIrNanAkalipivarNAnupUrvikA pUrvAntena' -refers to the scripts prevalent in the naka i.e. the divine world. One can easily presume the existence of variety of scripts in various regions high, middle and low. tasyAmayIha prazastAvASTAdazalipivyaktivyatiriktaH ko'pyaparolipi vinyAsaH refers to eighteen types of scripts known to Dhanapala as existing and in use in various parts of the country of the times. 1. TM. Sm. ed. p. 338. 2. Ibid. Sm. ed. p. 344. 3. Ibid. Sm. ed. p. 347. 4. Ibid. Sm. ed. p. 349. 5. Ibid. Sm. ed. p. 375. 6. Ibid. Sm. ed. p.419. 7. Ibid. Vol. III p. 105.

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VI. FINE ARTS (MUSIC, DANCE, PERFUMERY, DRAPERY, TOILETRY, ORNAMENTS, ARCHITECTURE, SCULPTURE AND PAINTINGS.) There is reference to the sixty four fine arts in case of Harivahana.' Tilakamanjari was likewise skilled in all the arts. Apart from this 113 "nRtyagItacitrAdikalApAradRzvA along with 114 "kalAsu zAstreSu zilpeSu' 115 116 " kalAzAstrakuzalasya kauzalikam " and " gItanRtyAcitravidakalAsu vyutpattiH ' "nivRttagItanRtyAdi sakalaprAktanavyavahAraH' " gItanRtyagoSThI' 118 117 refer to the fine arts such as Dance, Music, Painting, Sculpture etc.. which come within the scope of sixty four fine arts. Tilakamanjari's skill in painting, instrumental music such as luteplaying, gentle and frantic dance forming a part of histrionics the division of Svaras such as Sadja, the art of plastering pictures or sculpture, the Dravidian arts such as preparing of leaf-designs etc." again form a part of the sixty four arts which have been counted elaborately by Vatsyayana in his Kamasutra, 10 'Natyakarma" or the art of acting, drama and dance accompanied by vocal and instrumental music (Gita and Vadya) has been referred to as a special feature of art on religious as well as social occasions. Gita (vocal 1. avikalacatuH SaSTikalAzrayatayA caturguNenAdhikaH kumAro harivAhanaH / TM Sm ed. p. 362. 2. iha labdhapatAkA kalAsu sakalAsvapi kauzalena vatsA tilkmNjrii| Ibid. Sm. ed. p. 363. 3. Ibid. Vol. III pp 3, 4, 17, 53, Sm. ed. p. 302. 4. Ibid. Vol. III pp 3, 4, 17, 53, Sm. ed. p. 302. 5. Ibid. Vol. III pp 3, 4, 17, 53, Sm. ed. p. 302. 6. Ibid. Vol. III pp 3, 4, 17, 53, Sm. ed. p. 302. 7. Ibid. Vol. III pp 3, 4, 17, 53, Sm. ed. p. 302. 8. Ibid. Vol. III pp 3, 4, 17, 53, Sm. ed. p. 302. 9. yadi ca kautukaM tatazcitrakarmabhirvINAvAdye lAsyatANDavagateSu nATyaprayogeSu SaDajAdisvaravibhAganirNayeSu ca vidagdhajana vinodayogyeSu vastuvijJAneSu pRcchenAm / Ibid. Smed. p. 363. 10. Ksu Part i. I. 3. 15. 1, 2, 2, 5, 6, 7, 9, 10, 14, 24, 27, 28, 29, 32, 38, 39, 40, 44, 47, 48, 49, 50, 51, pp 87-89. 11. atyantadhArmikA iva vidhRtavidyAdharAkArAH puro vidyAdevatAnAmanavadyagatirvAdyanATyakarmakartuM praakrmnt| Smed. p. 399.

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448 TILAKAMANJARI OF DHANAPALA pava. music) and Vadya (instrumental music) have been referred to separately as well as conjointly with notya etc.' Regarding the Svaras in vocal music we find the implication or the mention of all the seven in the line. 'Sadjadisvaravibhaganirnayesu' / (above) - explaining thereby the recognition of Sadja, Rsabha. Gandhara, Madhyama, Pancama, Dhaivata and Nisada. Gandhara, Pancama and Sadja have been mentioned exclusively too. The word 'Ruginah' refers punningly to the singers straining forth to the dance given by Hari i.e. Visnu.2 Vaditra,' Vadya and Atodya' have been employed to mean 'musical instrument' in general.. Vaipancikas' also called Vainikas' i.e. the lute players playing upon lutes to strain forth melodious Pancamara-gas, the terms 'Tantri' and 'Vallaki' being employed to mean the lute string and the lute itself. In other contexts 'Tantri' means a 'lute' in itself as well. The 'Patahika's (i.e. the 1. nikaTanATyazAlA shailusskulsnggiitklhm| vidhehi svaviSayAnupaiyuSaH svrsndehvicchedm| rAtrau dvijaiH saha sahacaraiH sevate tvadvipakSa: kiM saGgItaM nahi nahi mahinAtha hemntshiitm| virtsnggiitkrsaavesho| pratiDimbhamupadizyamAnamRgamohakAri karuNa gItAbhiH / kimapi sundaraH gItaniSyandaH zrutiviSayabhavasArasakulakkANa iva nirjalAraNyapathikamadhikAdbhutaharSamAkarSati mmaant:krnnm| vandivRndajayazabdakolAhalazAlinA zakunapAThakazlokakalakalabahalena gRhItatArasvAnagAyanIgItaravataraMgiteNa gItanRtyAdika: prekSaNakasamucito vidhiH| ekdeshaarbdhmdhurgaangaathkpettkojussttm| prAbhAtikAni gnggaastotrgiitkaani| kadAcit svayameva rAgavizeSeSu saMsthApya samarthitAni zRGgAraprAyarasAni svaracitasubhASitAni gAthakagoSThayA punaruktamupanIyamAnAnyanurAgabhAvitamanAH shushraav| Ibid. S. ed. p. 372, 358; Vol. III p. 196, 54, Vol. II pp 300-301, Sm. ed. p. 310, Vol. III p. 119. Sm. ed. p. 358, Vol. I p. 75. 2. haridrAsAndrarucayo rAgiNaH. Ibid. Vol. III p. 172. 3. dhvanantyamunivAditrANi; virate ca vaaditrsvnaiH| _ vitIrNa vividhamArjanAni sajjAnyakriyanta nAnAvAditrANi bharatapUraiH / TM Vol.II pp 301, 308. 4. vAdyazabdaM kadAcit tAraM kadAci mandamuccarantamacchinnasantAnamAhvAnazabdamiva sNjhaar| Ibid. Vol. II p. 308. 5. vizrAnta eSa tAvadatraiva pradeze mArgadeza ko'smAkamatodyadhvani: Ibid. Vol. II p. 309. 6. TM. II p. 172. L.5. 7. vyadhIyanta vaiNikairitastataH prahatatantrI parIkSitakaladhvanibhirnizcalAH kalAH vllkiissu| Ibid. Vol. III p. 188. 8. atizayachekapATahikatADitapaTahanAdapaTutaraveNa khurputtdhvninaa| Ibid. Vol. II p. 199.

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EDUCATION, LITERATURE AND ART 449 taborbeater) striking the hide of the tabor with the stick in order to produce a shrill patter, has also been mentioned. The Bharataputras playing on various musical instruments mean the followers of the school of Bharata's Natyasastra specialising in the lore of instrumental music. The 'Vamsikas'' or Flute players have been described as seated in front of the female singers wielding flutes drawn out of the leather-cases. Of the musical instruments proper Dhanapala has mentioned the Lute known as Vina,? Vallaki, Vipanci, Parivadini, tantri etc;' Flute-known as Venu, Tabor known as Mrdanga, Pataha, Murajavadya," Kahala," Bheri," Nandi and Dhakka,"2 Dindima, Clarion known as Turya;' Trumpet (Dundubhi),'' Conch (Sankha)' Jhallari (an instrument of bell-metal), Kamsyatala' (a bell-natal platter meant to strike with hands for a patter). The commentator construes Dundubhi as a synonyms of Bheri." Panava (a water-vessel used as a musical instrument). 1. facto gaual ett vara aiferat: 1 Ibid. Vol. III p. 188. 2. TM Sm. ed. pp. 372, 362, Vol. III p. 117 Also akarui alun14 ral fti farfadh argu-auty Sm. ed. p. 358. 3. TM Vol. III p. 188, p. 42, Vol. I p. 118. 4. TM Vol. II p. 172, Vol. III p. 36. 5. TM Sm. ed. p. 357. 6. aftaafdheafro TM Vol. II p. 327. 7. TM Vol. I p. 105. 8. TM Vol. I p. 118, Vol. II p. 165, 199, 198, Vol. III p. 181. Sm. ed. pp. 370, 360. AHHHEGHEREAFTER T442811414a: TRAHI Elinta alam | Ibid. vol. II p. 183. 9. TM Vol. II p. 183, Vol. I p. 155, Vol. II p. 300. 10. fatigugas yiah ECHICHES: ITM Vol. II p. 300. ARHIECHI waarde che leaf ESA HEYZETTfca: Tec Ibid. Vol. II pp 197 198. 11. Also p. 183. TM Vol. II pp 201, 204, 295; Sm. ed. p. 402. 12. 1466. TM Vol. II p. p. 201, 202, 254, p. 183 (Nandi). 13. TM Sm. ed. p. 367. 14. TM Vol. III pp 189, 179, Vol. II pp 254, 268; Sm. ed. p. 360. 15. Tm Vol. II p. 200. Vol. III p. 101, Sm. ed. p. 370. 16. TM Vol. II pp 282, 183, Sm. ed. p. 360.370. 17. TM Vol. II pp 282, 183, 300; Vol. III pp 134, 181, Sm. ed. p. 360. 18. TM Vol. II p. 300. 19. Commentary to TM Vol. III p. 101.

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450 TILAKAMANJARI OF DHANAPALA Regarding Dance we find references to its three forms known as 'Nstta,'' Notya.' and 'Natya' - the first two being treated synonymously in classical literature and the third meant to mean drama'. In reality Nitta is 'Angikabhinaya' or physical movement, Nstya is that which contains Nitta or physical movement in it i.e. dance proper while Nat ya is a Praksta form of Notya coming from Nata the Praksta forms of Nittaincluding physical movement, dialogue, sentiments etc. A dance hall is called 'Rangasala' while 'sailusa' is the word employed to mean a dancer or actor. 'Lasya" is the gentle dance performed by ladies such as Rambha the celestial nymph-the dance sponsored by Parvati to begin with. Sairandhri" - a dancing maid named Citralekha has been referred to. There is allusion to the Jamboree enjoyed by harlots in the company of gallants, with girdles tremulous through stepping of feet, being petulant with liquor. The 'Karanaprayogas' referred to in 919 above and the Angaharas referred to in another context along with Samajikas and 'Karanaprayogah' forming a prominent constituent of the Natyaveda, deserve, a detailed reckoning. The word "Ranga' occurs here as well. Marvelling at the dance-performance of Malayasundari Vicitravirya makes queries of her as to whence did she learn that art whereby to entrance the hearts of the audience (Samajikas). In Natyasastra Nrtta or dance has been described as adorned with * Angaharas' linked with many 'Karanas.' It was Tandu' who described the Angaharas to Bharata as thirty two. 1. TM Vol. III pp. 17, 189, 139, 140. 2. Ibid. Vol. III p. 53, 190. 3. Ibid. Vol. III pp 190., 191; Sm. ed. pp 363, 372. 4. TEACH TIRILURI 3194 1:1 TM. Vol. I p. 82 5. Ibid. Vol. I p. 120. TAARIYAT: 6. Ibid. Vol. III pp. 14, 15, 186. 7. Harajec1963TTENHA 41948 4644717771415V Tucal: Ibid. Vol. III p. 179. 8. vatse malayasundari! dUramAvarjitAnitvayA sAmAjika manAMsi, kathaya kutastavedRzasya.... sakalakhecaracamatkAraNo nATyavedasyAdhigatiH, kathaM zikSitA svalpena kAlena lalitAnetAvataH karaNa prayogAn, kena saMkramitA kRtinAmbaraNa samastaraGgarAgaheturiyamaGgahArANAM gatiH, atimahat kutUhalaM me, na hi kadAcit kSiticAriNISvabalAsu dRSTA zrutA a ndfast aresta t Ibid. Vol. III p. 190. 9. ada augut i FERT: HETSHA1 Ibid. Iv. 18 p. 33. 10. GOCA TROFERRI 7748:1 Ibid. IV. 27 p. 34.

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EDUCATION, LITERATURE AND ART 451 Sthirahasta, Paryastaka, Sucividdha, Apaviddha, Aksiptaka, Udghattita, Viskambhaka, Aparajita, Viskambhapasrta, Mattakrida, Svastika, Recita, Parsvasvastika, Vrscika, Bhramara, Mattaaskhalitaka, Madavilasitah, Gatimandala, Paricchinna, Parivrttarecita, Vaisakharecita, Paravrttaka, Alataka, Parsvaccheda, Vidyudbhranta, urudvrtta, Alidha, Recita, Acchurita, Aksiptarecita, Sambhranta, Apasarpa and Ardhanikuttaka.' Natyasastra illustrates the prayogas depending on the Karanas in the following verses. In the Angaharas the hands and feet are required to be moved and the Angaharas achieve their accomplishment through Karana. The simultaneous movement of hands and feet forms the Karana of Nrtta i.e. Dance. Two Karanas of Nrtta i.e. Dance are known as 'Nrttamatrka". Angaharas is completed by two, three or four matrkas. The Karana of three fold matrkas is called Kalapaka, of four matrkas is Sandaka, of five is called Sangataka; Angaharas even consist of six, seven, eight or even nine matrkas. The postures of dance (Karanas) have been counted as hundred and eight such as Talapuspaputa, arttita, Calitoru, Apaviddha, Samanakha, Lina, Swastikarecita, Mandala, Svastika, Nikuttaka, Ardhanikuttaka, Kat icchinna, Ardharecitaka, Vaksasvastikam, Unmattam, Svastikam, Prstha Svastikam, Diksvastikam, Alatam, Katisamam, Aksiptarecitam, Viksiptaks iptakam, Ardhasvastikam, Uddistam, Ancitam, Bhujangatrasitam, Urdhvajanu, Nikuncitam, Mattalli, Ardhamattali, Recakanikuttam, Padapaviddhakam, Ghurnitam, Lalitam, Valitam, Dandapaksam, Bhujangatrastarecitam, Nupuram, Vaisakharecitam, Katibhrantam, Lat avrscikam, Chinnam, Vrscikarecitam, Vrscikam, Vyamsitam, Parsvanikutt akam, Lalatatilakam, Kuncitam, Cakramandalam, Uromandalam, Aksiptam, Nisumbhitam, Talavilasitam, Vivrttam, Vinivrttam, Parsvakrantam, Vidyudbhrantam, Atikrantam, Vivartitakam, Gajakriditakam, Gandasuci, Parivrttam, Parsvajanu, Grddhavalinakam, Sannatam, Suci, Ardhasuci, Sucividdham, Apakrantam, Mayuralalitam, Sarpitam, Dandapadam, Harinaplutam, Prenkholitam, Nitambam, Skhalitam, Karihastakam, Samarpitam, Simhavikriditam, Simhakarsitam, Udvrttam, Apasrtam, Talasamghattitam, Janitam, Avahitthakam, Nivesam, Elakakridam, Urudvrttam, Madaskhalitam, Visnukrantam, Sambhrantam, Viskambham, Udghattitam, Vrsabhakriditam, Lalitam, Nagaprasarpitam, Sakatasyam, Gangavataranam, etc. 1. NS IV 19-27 pp 33-34. 2. eteSAmapi vakSyAmi hastapAdavikalpanam / talapuSpapuTaM caiva vartitaM calitoru ca / / gaGgAvataraNaM caivaityuktamaSTAdhikaM zatam. Ibid. IV, 34-55 pp 34-36.

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452 TILAKAMANJARI OF DHANAPALA Lasya and Tandaval dance i.e. the gentle and the frantic ones sponsored by Parvati and Siva respectively and propagated by Rambha, Urvasi and Tandu etc. have been mentioned. The whole of the Fourth Adhyaya' of Nat yasastra deals with the Tandava dance, called so because of its being inherited and propagated by Tandu through Siva. There is allusion to a Preksanttya" a dance in the open and a dance in a theatre before the audience.. "vistAritaraMgaiH" kuzIlavairivA vArasundarI vRndasya rAsavibhramabhramaNam' 'abhinavamamlAnayAvakapaGkaGkAni pdmudraapripaattimnnddlaani'|' tANDava prasRtakhaNDaparazubhujadaNDabhasmeva rekhA kAreNa ptitm| nikhilanATyavedopariniSadbhi nartakopAdhyAyairUpadarzitAnAM nrtkiinaam| akSuNNena zAstravarmanA kRtasUkSmaguNadoSopanyAsaH pazyallAMsyavidhimAsannavartino vidagdharAjalokasya manAMsi jhaar| kuru saphalAni raMgazAlAsu lAsikAjanasya nijAvalokanena lAsyalIlAyitAnyaparANyapi niyamagrahaNa kaaltyktaani|' 'kadAcidrasAbhinayabhAva prpNcopvrnnnen| vanazikhaNDibhizca yugpdaarbdhtaannddvairmnndditltaamnnddpmsryvaastiirprisrm|" gRhNanti mahAjanasamAjalajjAstambhitaM lAsyalIlAbhyupagamam avatarantyanAkulAbhiraMgayaSTibhiraMgIkRtazRMgAraceSTA raMgabhUmim, abhinayanti samyagabhineyamarthajAtam, Aropayanti prekSakajanasya pramodamagrabhUmin12 nRtyakarmaNi kRtrNgprnnaamaam| - all these refer to the audience having actors dancing before them, the Rasa' dance of the venial coquettes, the Tandava associated with Khandaparasu (Siva), the female dancers, the dancing teachers, dancing lore along with its esoteric doctrines, Lasya mode of dance. Rangasala, Lasikajana (i.e. dancers) and Lasyalila (the sport of dance), acting through lokapAlapariSadamAdizaniva 1. lAsyatANDavagateSu nATyaprayogeSu TM Sm. ed. p. 363 also 1479 above. 2. NS IV 1. 329 pp 32-59. 3. TM Vol. II p. 181. L.5 4. nartanAya vyomni vaimAnikavRndamAkArayanniva mahotsavAlokanAya dikSu raGgAvalIyogyaratnAnayanAya pRthvItalopAnteSu paathonidhiin| Ibid. Vol. II p. 183. 5. Ibid. Vol. II p. 265. 6. Ibid. Vol. II p. 325. 7. Ibid. Vol. III p. 137. 8. Ibid. Vol. I p. 75. 9. Ibid. Vol. I p. 155. 10. Ibid. Vol. II p. 234. 11. Ibid. Vol. II p. 236. 12. Ibid. Vol. III pp. 187-188. 13. Ibid. Vol. III p. 190.

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EDUCATION, LITERATURE AND ART 453 sentiments as a source of drama and dance, the frantic dance of a peacock, Rangabhumil (the Audience Hall), Preksakajana (the spectators), etc. PERFUMERY, DRAPERY, TOILETRY AND ORNAMENTS Perfumery Incense and Black-aloe? (i.e. Dhupa and Kalaguru or Krsnaguru) have been mentioned as fumigating agents emitting out perfumes meant to scare away rodents spoiling the atmosphere of a room in the house. These were also used for certain other purposes such as adoration of a deity. The jewelled vessels full of black aloe were also placed in windows for the purpose of fumigation. The trees of black aloe were also grown for their shade to be utilised by the camari deer couples to recline underneath. Deermusk known as Mrgamada, Enanabhi, Kasturika, Mrganabhi, Kurangamada, meant for preparing leafy designs, perfumes in medicines, face-unguents flavours, cosmetics and anointment for the body etc., Camphoro known as Karpura, Ghanasara also employed in medicines, unguents, perfumes and flavouring agents, have also been mentioned at many places. Sandal paste known as candana drava, candanarasa, Gosirsa candana, Hari candana, Malayajarasa, etc. employed for painting the body creating a soothing effect, painting the art-galleries, preparing water for the purpose of perfuming, etc. Kasmira" or Kumkuma dye also serving as an unguent for the body, the suffusion of sandal paste or unguent with camphor dust, both producing an invigorating scent for cosmetics' and even the deermuck mixed with camphor and sandal paste have been mentioned accordingly. There is also reference to the scented water contained in ewers meant for spraying and drinking after or during lunch or dinner placed side by side with the ewers full of curd and clarified butter etc. Cardamoms, cloves, nutmegs, also served as perfumes (the edible and esculent ones). 1. 34CAC.FTER ART F 41441 TM. I TM. 149. LL. 1-2 2. TM Vol. I, p. 46, 105; Vol. II pp 163, 237-238, 331; Vol. III pp 34, 86, 174, 198, Sm. cd. pp 398, 416, 3. Ibid. Vol. 1, pp 73, 74, 105; Vol. II p. 262, Vol. III pp 84, 151. 4. Ibid. Vol. I pp 105. 111. Vol. II p. 163; Vol. III pp 26, 27 86, Sm. ed. pp. 312, 353. 5. Ibid. Vol. I pp 105, 109, 111, 118, Vol. II pp 163, 317, vol.III pp 31, 107, 78, 198, Sm. ed. p. 373. 6. Ibid. Vol. II p. 163, Vol. III pp 27, 33; Sm. ed. p. 313. 7. Ibid. Vol. II pp. 253, 239, Sm. ed. p. 361. 8. lbid. Vol. III p. 85.

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454 TILAKAMANJARI OF DHANAPALA Drapery Costumes made of cotton and silk yarns, woollen or worsted yarns, tapestry and tent cloth, skins and Hides cover the domain of Drapery. Dhanapala has mentioned the buntings or flags made of ruddy silk cloth, raised aloft on every mansion. Vidyadhara sage wore his lower-garments made of silk barks. King Meghavahana wore a pair of silk garments (upper cloak and a lower Pyjama etc.) The term "Tatkaladhaute Kaladhaute 'refers to silvery white, washed garments. The 'Uttariya" or an upper scarf referred to in case of Meghavahana must have been the upper silk-scarf. A woman could be clad in a blue-garment.* Karpata is the term used to mean a cloth. This very word gives 'Kapada' in Hindi. The cane-caskets have been described as carrying floral wreaths of diverse variety, covered with a cloth wet with water. Precious cloth bundles of diverse shades carried on shoulders by the servants in the royal house of Meghavahana have also been referred to.' An ivory-table (lit. plank) covered with a pellucid white washed silk cloth. has been referred to. Before going to the Dining Hall (Aharamandapa) there is reference to the preliminary of rinsing the mouth and washing of hands and cleansing them with the hem of a towel which has been termed as 'Sataka'. The tent-canvas erected on bamboos constituting the dining chamber refers to tapestry cloth employed in the process. The coquettes have been described as wearing the divine silk cloth." There is a description of the couch (Paryanka) made of coral wood, having its scat made of broad bejewelled rectangular-counterpane upholstered by a pillow woven out of the netra (silk) yarn, placed on either side, with an elevated pedestal placed on both sides (downwards on the ground) made of jewels, having its upper cover made of white clean and soft or placid silk-cloth." 'Uttariya' has been employed to mean an upper scarf 1. TM. Vol. I p. 56. 2. Ibid. Vol. I p. 88. 3. Ibid. Vol. I p. 125. 4. 1742 aufuonis Ibid. Vol. I p. 73. 5. Gazanfuegraf477 146147477 U5411 octeau i Ibid. Vol. II p. 163. 6. EGYRI Ni a fafes & T reat Ibid. Vol. II p. 163. 7. 3173ECTAYET?]+421 145HEZITI Ibid. Vol. II p. 169. 8. ufqug 1799|| E HORTY Cifah 277494 Tata 2674 Ibid. Vol. II p. 169. 9. SEVSAY209 alcuSSISCHERAUST I Ibid. Vol. II p. 170. 10. fli Ferrarchuif: 1 Ibid. Vol. II p. 170. 11. sitasvacchamRdudukUlottaracchadamudagraratnapratipAdukapratiSThamubhayapArzvavinyastacitrasUtritanetra TTSTY9919 rafagicTefufricacich faghai HERTH: 1 Ibid. Vol. II p. 171.

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EDUCATION, LITERATURE AND ART 455 carried by a follower of Vijayavega carrying a gift covered by it. There is also mention of an upper scarf shining like fire ferret-hued through the flames of fire, as it were.? 'Svetavasana'- a white cloth, the scarlet-hued cloth serving the role of a head-wrap in case of Kacaraka and Kandarata, Netra' variety of thickset cloths ruddy in hue used for preparing flags have been mentioned. Harivahana was dressed in the pair of robes (upper and lower ones) untainted like the slough of Vasuki (the serpent lord). The water-pavilion (Jalamandapa) was provided with canopies of China-Silk cloth (tapestry). The garden-deities were covered with upper scarfs woven out of the lotus-fibres, 'Samvyana has been employed as a synonyms of "Uttariya'. The villagers wore turbans made of washed rough-cloths. The poniards were tied tight to their persons with the help of tattered cloths. The tapestry sewn afresh was used in the preparation of tents (small huts). Cotton and woollen yarn have been described as the domestic wealth of the poor people." Yellow and crimson dyed sheets of cloth coiled round the cane-bamboos were carried for sale to the different lands." The ocean has been fancied to be the bed-cover of the couch of the earth." Amsukas i.e. the silk cloths have been given as bearing manifold textures. The labourers having their beds within the hollows of the wattle huts have also been referred to. Samstaresu refers to the beds.!4 The tents supported with fourfold ropes were spread on the uneven series of huge nails (or tie-posts), held fast by the bamboos raised aloft. The harems of the vassals were stationed in the canvas-tent-pavilions having canopies 1. 3114427114fdcm Tangan Tu h ri fautea 1499491 Ibid. Vol. II p. 191. 2. ffaftaraffufa afuffraifftzitafH TURRITH i Ibid. Vol. I p. 110. 3. Terufanifesta1979 YTf741STEHSt Ibid. Vol. II p. 199. 4. 3PM 34410114246faa etc. Ibid. Vol. II p. 200. 5. arfauftutafirhafur artist 1 Ibid. Vol. II p. 234. 6. Tiafia zilnicana: Ibid. Vol. II p. 238. 7. EITGEinfraca Ibid. Vol. II p. 258. 8. silufufcircuffage Ibid. Vol. II p. 258, 9. Aurrerapenfua praefaut querda: Ibid. Vol. II p. 256. 10. ETI .... Y ola yri etc. Ibid. Vol. II p.261. 11. Termi apareg 54ccharu diluauifga 1 Ibid. Vol. II p. 266. 12.4cyfira TESTERP1 Ibid. Vol. II p. 262. 13. 317: afachiti Ibid. Vol. II p. 268. 14. F: JUCERATICUTTER 440 I lbid. Vol. II pp. 268-269. 15. Jedefusary filtrufaundig afgPARTY... aftat aquuldayam.. reagi Ibid. Vol. II p. 268.

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456 TILAKAMANJARI OF DHANAPALA folded together.' The navigator-youth wore a pair of silk-cloth fresh and fine bearing the hue of a white-couch chiselled down. "Ksauma' is another texture of silk cloth woven out of 'Ksuma' reed yarns (i.e. linseed yarns). It is white in colour and the cloth woven out of it is also white. The silk cloth covering of the breasts in case of Priyadarsana is also referred to. The woollen blanket meant for security against cold on a voyage has also been mentioned. Woollen yarn mixed with wax could be employed to stop leakage from the vessels (ships). The ruddy silk cloth was used in preparing the buntings or flags.' The fishermen bearing nets resorting to the shores of the streams wore nothing beyond a loin-cloth. Description of Malayasundari by Samaraketu on his first sight of her has a graphic description of her dress. She was wearing a silk undergarment from the wish-granting tree, which even though it had been put on with effort looked as if non-existing there, on circular posteriors having their hips rounded off with the tightened knot of the cincture as well as the fastening strap dividing the orbed thighs from both the sides. Her umbilical orb was visible every moment owing to the fluttering motion of the front-hem of her cloak (Kancuka) white like the fledge of the bird Harita, with the dimple trio on he belly covered by it.' The old guards of the harem used to clad themselves in a china silk cloak hanging down to the feet. The shrine of Cupid had flags made of ruddy silk cloth." Gandharvaka drew out the painting from inside the bag 1. Ipfetay yusu fuusta 145420 493 14T11: gti Ibid. Vol. II p. 269. 2. fffanyiaracagfast a Ta G ar 24141 alfanart i Ibid. Vol. II pp. 271, 274. 3. rugfa... franzfra 7914 71 Ibid. Vol. II pp. 271-272. 3PR148114f4e fouetzay Ibid. Vol. II p. 313. 4. qu... [941 Ibid. Vol. II p. 276. 5. Afectachtainer: yr fari: His for GT GU (114: 1 Ibid. Vol. II p. 281. 6. F etal qurquifitae egyfa fadisz: 1149740741 Ibid. Vol. II p. 305. 7. #Y#44aly Ibid. Vol. II p. 305. 8. ethany 1947 HE TRUTY... 4419487 achterhaft wifctag Ibid. Vol. II p. 314. LL. 6-7 9. ubhayathApi parimaNDaloruNA dvidhApi niviDakakSAbandhabandhureNa nitambinA jaghana bimbena prayatnanivasitabhavya dRzyatvAdavidyAmAna kalpaM kalpapAdapAMzukaM... kaMcukAgrapallavasya caMcalatayA pratikSaNa mavekSyamANa vipula nAbhi HUGGI... feeau ar f i PT HG121 | Ibid. Vol. II pp. 329-330 and 332. 10. 3119961-1-claran ayu.. G- 10467.... Ibid. Vol. II pp. 318-319. 4675 FR austaaf | Ibid. Sm. ed. p. 372. 11. Thighest puuruuna gruzija 461 Ibid. Vol. III p. 4 and p. 36.

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EDUCATION, LITERATURE AND ART made of a fine China silk cloth.' He was clad in a fine silk robe green like a parrot and fastened tight (to his frame) and was wearing a cloak (Kurpasaka) made of Netra (a variety of silk). He was glamorous with a cluster of hair wrapped in a turban made of fine silk cloth.' The saddle hide on the back of a horse," an upper scarf,' a carpet made of skin or hide or even tapestry have also been mentioned." The coquettes clad in ruddy robes like the twilightglow,' Samaraketu clad in a pair of fresh-white silk robes," the heaps of divine silk raiments," the golden-hued barks,"" the flags made of China silk cloth," Gandharvaka wearing a fine robe," Adrstapara lake compared to a sportive canopy of silk or a double-hemmed canvas," of the serpent lord. Harivahana seated on a huge slab of topaz (kuruvinda) stone covered with a white silk cloth' and clad in a pair of white China silk raiments, embroidered by a new border. and woven out of a white thick yarn;" Hem of an upper scarf worn by Harivahana; The Vassals in the following of Harivahana and Samaraketu wearing head wraps of turban-cloths and clad in cloaks;" A head wrap or turban; Malayasundarf wearing swan-white robe of divine silk;"" An upper 18 457 1. prakRSTacInAMzukaprasevikAyAH sayalamAkRSya citrpttmenmupvniitvaan| utkRSTakarpaTaprasevikAm / Ibid Vol. III p. 4 and p. 6. 2. gADhAvanaddhazukaharitapaTAMzukanivasanaH dhRtanetrakUrpAsakena Ibid Vol. III p. 5. 3. paTTAMzukoSNISiNA.... keshbhaarnn| Ibid Vol. III. p. 6. 4. turagapRSTAstaraNa carma Ibid Vol. III p. 44. 5. Ibid. Vol. III p. 47. 6. Females: Ibid. Vol. III p. 47. 7. sandhyArAgaraktAMzukadhAriNyo vilAsinya iva Ibid Vol. III p. 59. 8. nivasitapratyagrasitadUkUlayugalaH Ibid Vol. III p. 59. 9. Reiger: Ibid. Vol. III p. 92. 10. refay Ibid. Vol. III p. 92. 11. Fievement| Ibid. Vol. III p. 95. 12. utkRSTavasanadhAriNam, gandharvakamapazyat Ibid. Vol. III p. 108. 13. lIlAdukUlavitAnamiva phaNIndrasya Ibid Vol. III p. 71. 14. amalAMzukAcchAdite... pRthuni kuruvindamaNi zilAtale nissnnnnaam| Ibid Vol. III pp. 119-120. 15. ativimalaghanasUtreNa saMkhyAnazastreNeva navadazAlaMkRtena zvetacInavastradvayena saMvItam / Ibid Vol. III p. 120. 16, zuhafazatze Ibid. Vol. III p. 123. 17. uSNISapaTTakRtaziroveSTanAH dRDhAkRSTakaMcukakazAdhikakRzodarazriyaH pArthivAH yathAsvamazvAnAruruhuH Ibid Vol. III p. Y 126. 18. uSNISapaTTamiva jambUdvIpasya Ibid Vol. III p. 137. 19. paridhAya haMsadhavalaM divyataruvalkalAMzukaM Ibid Vol. III p. 167.

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458 TILAKAMANJARI OF DHANAPALA scarf made of silk;' tightening of the fastening knot of a worn-robe;- the ruby pavilions (Manikya mandapa) having its centre covered by a tapestry of canvas engraved with an image of god or used for covering a deity;' A canopy made of silk-cloth;* An ivory-couch-counterpaned by a washed Netra silk-sheet and upholstered by soft plump pillow stuffed with the downy fluff of swan;' The upper and the lower garment (Parikaaband;" Kantha (a loin cloth) covered by an upper silk scarf. The long sticks or scolls of antelopc-hide, the front hem of the tremulous cloak," the pair of silk robes;' the flags of China-silk-cloth;'2 the upper silk-scarf rolled round and placed on the head as a wrap." Fine barks worn as lower garments;'* Samaraketu wearing a precious costumes;'s Tapanavega wearing a spruce garb and clad in a ruddy robe;" a pair of robes cffulgent like fire and clean like the sun-shine of the Autumn season; the China silk robe of the line of a parrot;' the supper silk scarf of the hue of a cochineal insect (Indragopa);19 Precious garments;20 The China silk robe of thick texture being of the dimensions of an aprapadina (Lahanga) tied in a tight cloth;?' The upper silk scarf;" are some more references alluding to the terms and types of garments used by men and women. 1. 314 TM. Sm. Ed. p. 277. L. 11 2. fafafslufyrrifa: Ibid. Vol. III p. 182. 3. calyuzfagierauro H &URE HIFUPT405471 Ibid. Vol. III p. 183. 4. Eixafari Tera Ibid. Vol. III p. 185. 5. Renauge HGSITTETA LIGY TEGIESIS..... G-T95YRA Ibid. Vol. III p. 199. 6. Ibid. Vol. II p. 296. 7. Ibid. 8. Fractalferit.... rarereteigle: Ibid. Vol. III pp. 82-83. 9. Ch a stele2: Ibid. Vol. III p. 126. 10. ISHTE 489 Ibid. Vol. III p. 279. 11. Gedarte Ibid. Vol. III p. 145, Sin. ed. p. 394. 12. Ethiya 4614: Ibid. Vol. II p. 325. 13. HHA Ibid. Sm. ed. p. 311. 14. 37fETTE HARTE 14 Ibid. Vol. III pp 122-123. 15. Fahahahati Ibid. Vol. III p. 134. 16. Brauitcraqur..... farm... Ibid. Sm. ed. p. 288. 17. Pracufz ufTER214 Ibid. Sm. ed. p. 293. 18. Tag ferita it-arti ibid. Sm. ed. p. 293. 19.5 au yraf partic# Ibid. Sm. ed. p. 301. 20. HETER 48 Ibid. Sm. ed. p. 301. 21.gfagfas--et: 3119947 ufua Yangat eithiY[=431 Ibid. Sm. ed. p. 302. 22.321411421 Ibid. Sm. ed. p. 303. Ibid. Sm. ed. p. 312. ER GashegfahcttGIA | Ibid. Sm. ed. p. 419.

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459 EDUCATION, LITERATURE AND ART Malayasundari feeling the impact of love describes her own carnal transformation in the effect produced on her dress. Even though her knot of the lower garments was tight she again made it tighter and even though her cloak was quite tight fitting her body she still prepared a tightening strap by fastening it with the Gatrika strap over her breasts;" 2 'Nivinivasana" is a term used to mean an undergarment having a knot, got down from its proper position. 'Stanamsuka" was a silk covering for the breasts. Regarding the Hides and Skins Dhanapala has mentioned a fresh leopard's skin meant to cover the earth in order to occupy a seat.4 5 The scabbard of the sword made of Karmranga leather dappled hued with many gems. Bana Bhatta mentions Kardaranga." According to Dr. V.S. Agrawal Kardaranga was an island bearing variant names as Karmaranga, Carmaranga and Nagaranga in the Indian-Asian Archipelago." Camaranga according to Sir Monier Williams is a name of the people in the north-west of Madhyadesa. Mahamahoupadhya P.V. Kane also construes Kardaranga to be the name of the country." Nisitha the divine garment changing the form of Gandharvaka from parrot to the human being also seems to have been a tapestry cloth fine in 10 texture. Toiletry Ayodhya construed as a youthful maiden has been described as having her hair composed by the columns of smoke from the sacrifices, her 1. prAtaH pramItAmasamyagAvRtavapuSamavalokya mAM naralokastrapAmeSyatIti zaGkayA nibiDanIvibandhanamapi punaH punargADhIkRtya nivizitamazithila kaMcukAvRtasyApi kucamaNDalasyori vidhAya ciramuttarIyeNa bandhuraM gAtrikAbangham / TM. Sm. ed. p. 306. 2. fazifafa Ibid. Sm. ed. p. 364. 3. Ibid. Sm. ed. p. 354. 4. nimnonnatavibhAgavizrAntatimira raktAtapacchedA nUtanadvIpi carmAcchAditena zabalA ziloccaya kSitiralakSyata / Ibid. Sm. ed. pp. 350-351. 5. anekaratnAkirmIrakArmaraGgAsipaTTapraNayaramaNIya bhISaNAbhi: Ibid. Sm ed. p. 361. 6. nicolaka rakSitarucAM cArucira kAMcana-patra bhaGgabhaMgurANAmatibandhura piravezAnA kAryaraGgacarmaNAm sambhArAn bhUrjatvakkomalAH sparzavatI: jAti paTTikAH cAmUrukopadhAnAdIn vikArAn HC VII p. 775. CC 2-5. 7. harSacarita eka sAMskRtika adhyayana / pR0 156. 8. Skt. Eng. Dictionary under Carmaranga. 9. HC (P. V. Kane) Notes p. 192 CC p. 175 CC-12.. 10. nizIthAmnA divyapaTaratnena prAvRtAGgaH / Ibid. Sm. ed. pp. 376, 377.

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460 TILAKAMANARI OF DHANAPALA forehead marks and collyrium paint provided by the young orchards and her mirror provided by the lakes.' Meghavahana has been described as preparing leafy figures oblique and consisting of many designs on the walls in the form of the pitcher-like breasts of the loving maidens with a desire to see the act of toiletry unfinished. "Pratikarma' is the term employed to mean 'toilet'? Parikarma and Prasadhana' are the other variants for the same. Anjana" and Anjanavarti and Kajjala are the two synonyms for the collyrium used to paint the eyes. The marrow of the aquatic animals could -be used to prepare collyrium for the eyes to ward off any evil effect to them from the climate or any injurious element causing damage to the eyes in a sea-voyage. A crest chaplet made of coral flowers (Parijatakusuma) has also been referred to. Manahsila? or the red-arsenic was used as a paint in the toilet for the body. Gosirsa sandal unguent provided a toilet to the body of the vaimanika. Vilepana (anulepana) is the term used to denote unguents or cosmetics. The group of hair on the beard of the vampire was shining like the fire of destruction.'' Angaraga" is another variant for "toilet', 'unguent' or cosmetics'. So also is the word 'Parikarma'. Sindura or Vemillion paint was employed in colouring or painting the parting of the hair. The cosmetics or unguents were kept in bejewelled vases. The breasts were painted with the sandal unguents." Srngaravesa't donned by Meghavahana refers to the toilets performed by him; meant for the love-sport. The coquettes working 1. farfetcaa Tartuff, Pfegicafecafarsfa alcan, 3NETGUA : TM Vol. I p. 53. 2. HIHIRRT H igh aigreff 1945 fecit: iucikiye Ibid. Vol. I p. 74. 3. Ibid. Vol. I p. 146, Vol. III p. 186. 4. Ibid. Vol. II p. 274, 286, 320, 347, Vol. III p. 91, p. 130. 5. TM. I p. 112. noliagaratu 6. Ibid. Vol. I p. 112. 7. Pfann: Frauedgadt Ibid. Vol. I p. 113. 8. siqareta gahuhai142014 Ibid. Vol. I p. 111. 9. Ibid. Vol. I p. 111, 133; Vol., II p. 317, 268, 328, Sm. ed. p. 311, 398. 10.49 Maefat greit 144197... Schlageri faga ya I Ibid. Vol. I p. 129. 11. Ibid. Vol. I p. 144, Vol., II p. 238; vol. III p. 186, 121, Sm. ed. p. 313, 416. 12. Ibid. Vol. III p. 171 13. Ibid. Vol. II p. 253. 14. Ibid. Vol. II p. 238, i p. 146.

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EDUCATION, LITERATURE AND ART 461 in the water-pavilion were decked in crest chaplets made of unwilted mallika blossoms. Samaraketu, before he started on his sea voyage, decked himself in crest-chaplet of white floral wreaths, painted himself with sandal unguents smeared all over his body and wore over his chest a necklace (Ekavali). He even wore a beard having black curly, soft and sparse hair.? The navigator youth (Taraka) wore a crest chaplet made of small jasmine blossoms.. Haritala or the yellow orpiment was also a toilet paint. Deermusk was used for the preparation of forehead marks. Harivahana had his toilet performed by the toilet-maids, with the Kumkuma dye and had his crest chaplet made of the blossoms of trumpet and Mallika flowers. His hands (i.e. palms) and face had been painted accordingly and he had his cosmetics performed with the sandal unguents, perfumes supplied by the deer-musk and camphor. Harivahana is shown anointing the bodies of wild animals with the layers of Kumkuma dye.' Men normally wore hair on the head as well as on the beard.? While on the search for Harivahana, Samaraketu wore a crest chaplet of blown Malati(r) blossoms. Even sandal paste could serve the purpose of a forehead mark.' Women applied lacquer dye on their palms as well as on feet. Yavaka was a synonym of alaktaka meaning the lacquer dye. Anghrilepa means the same thing. Even Kumkuma could serve the purpose of this unguent." Laksaraga also meant the lacquer dye.!Haridra or turmeric was also used as a toilet paint." Tilaka and visesaka meant a forehead mark while the latter also meant a 1. sitakusumadAmagrathitazekharaH, sparzAhlAdinA candanAGgarAgeNa sarvAGgINena zobhamAnaH sthUlasvacchamuktAphalagrathitAM... ... Tola GEA: TM. P 251. 2. 4 faca-sorgusfacicni gorus 741 Ibid. Vol. II p 272. Bryttingar feattery 1 Ibid. Vol. II p. 271. 3. Ibid. Vol. II p. 316, Sm. ed. p. 297. 4. #fanfictigati9194: 1 Ibid. Vol. II p. 328. 5. udvartitavadanakaratalaH kuraMgamadakarpUrAmodinA candanadraveNa.. prasAdhikAbhiradhimAtramaticireNa nirvatitakuMkumodvartanakramaH forfa ufauren T arif 14YUSHIT: Ibid. Vol. III pp 26-27.. 6. Jigacsora Streeri Ibid. Vol. III p. 35. 7. quciqat: 14*09111 Ibid. Vol. III p. 35. 8. fashidige feraster: 1 Ibid. Vol. III p. 60. 9. PACU.... FOSC 4610 factal Ibid. Vol. III p. 60. 10. FENERTERU I Ibid. Vo. III p. 85 eta ar iCHECHTER Ibid. Vo. III p. 67. 11. HTFUSHTR4145146114: 1 Ibid. Vo. III p. 107. 12. erunt AlferohaliacerTraffa GTA arifa RTTI Ibid. Vo. III p. 149. 13. ERGHESSERT ITT: 1 Ibid. Vo. III p. 172.

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462 TILAKAMANJARI OF DHANAPALA face unguent. Simanta was the parting of the hair of the ladies.? Earth construed as a maiden Vaitadhya mountain has been fancied to be her parting of the hair. The term 'karkata' for the Hair-comb occurs in T.M. p. 166, L-4 part II. (Botad edition). Ornaments Abharana, Ratna and Upala such as Rajatopala, Indranilaprastra sakalar or silver stones and bits of sapphire stones are the expressions employed to denote ornaments, gems and stones-all the three representing the various species of decorative material, which were employed in the preparation of ornaments for ears, neck, crest, waist, chest, breasts, ankles, hands (wrists) etc. Galvarka' or the Agnipasana was a fire-stone i.e. a stone which emitted out heat or fire under certain pressure or contact. Suryopala or Suryakantasma, was the Sun-stone while Indumani or Candrakanta Mani was the moonstone gem. Both these have been categorised within the fold of gems and stones. Vaikaksaka strap or garland worn crosswise over the chest and passing over the one of the shoulders and under the two armpits has been mentioned as an ornament worn by the Vaimanika. Zone-girdle as an ornament for women worn on the waist has been referred to. It was also worn by men as is apparent from its mention in the context of the Vaimanika, whose girdlestring was studded with bits of topaz and sapphire-gems. Mekhala, Kanci and Rasana (or Rasana) are the terms employed to denote it. The sylvandames could prepare these out of the gunja berries strung into a thread. 1. TRAH erg fica691071 TM. Sm. ed. p. 289. Faetafenrage: Ibid. Sm. ed. p. 289, Vo.. III p. 130. 2. 14-a1cARHITURYHI Ibid. Vol. II p. 327. 3. 4 fa 4a: Ibid. Vol. III p. 137. 4. TM Vol. I pp 50, 54 56; Vol. II p. 317; Vol III pp 92, 172. 5. TM Vol. I p. 56; Vol. II pp 161, 268; Vol. III p. 52; Sm. ed. pp. 311, 322. 6. TM Vol. I p. 58, Vol. II pp 161, 272, 266, 315, Vol. III pp 72, 133, Vol. III p. 76, Vol. II p. 318. Vol. III p. 102. 7. TM. III. p. 133. L.3 8. Tafadharghyff RM14: TM Vol. I p. 108. 9. TRT-Sicousefeat EGIGIH: ITM Vol. I p. 108. har el -HEMII Ibid. Vol. II p. 262. OMIGIRUTA: Ibid. Vol. III p. 72. POLEG RITAT51148491en regata fejle etc. Ibid. Vol. III pp 129-31. practura Arjoni Ibid. Sm. ed. p. 368.

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EDUCATION, LITERATURE AND ART 463 Keyura' or an armlet decked with topaz gems in the same context occurs likewise as an ornament for the hand or arm. Necklace? strung with pearls as thick as an emric fruit has been referred to in case of the Vaimanika. Its name was Candratapa. Samaraketu wore an ekavali i.e. a necklace strung with pearls, white and thick. 3 A trader has been described as wearing a gold necklace (Kanakamiska). The coquettes wore over their protuberant breasts the necklace of snowwhite beads and their girdle zones could be made of bakula wreaths,' - provided with circles of bells. Their bracelets could be made out of blue lotus stalks. A bracelet made of sapphire has been referred to. Nisadas wore bracelets on their wrists, made of black steel. The gold bracelets worn on their wrists by coquettes have been mentioned in the harem of Meghavahana. The Nisadas wore ear-peduncles made of palm-leaflets tucked up into their ear-lobes. O Nupuras or anklets made of bones were worn by the Vampire, while those made of metals and gems were worn by the ladies." Maninupura is the typical word employed by Dhanapala denoting the bejewelled anklet or the anklet made of gems. 020 1. TM. Vol. I pp 109-110, Vol. III p. 31, Sm. ed. pp 311, 404. 2. pariNatAmalakIphalasthUlanistalAni muktAphalAnyAdAya kautukenasvayaM taM hAramuttarIyaikadeze babandha, hAra rtnm| TM Vol. I pp. 121, 125, 126; Ibid. Vol. II p. 272. 3. Tattoo#14caferai..gaalasi 1:, TM Vol. II pp 251-252. 4. kanakaniSkAvRtakandharaM vaNijamapi rAjaprasAdacintaka iti cintydbhiH| knntthkndlaamukthimgulikaahaarbhaasitotrtstnklshaabhiH| UTAHYAGIC FUITES HICHOAMU YETHETAGET..... af stufe: 1 TM Vol. II pp. 259.239 5. Bfar Maidasterfufay18 TUETTA: ITM. Vol. II p. 239. 6. Schaca TM. Vol. II p. 262. 7. Ge rif familierigefur 18 Taf refu..... Fra: TM Vol. II p. 287. 8. Theffafciflasiet ocefarfadiftify: 1 TM Vol. II p. 190. 9 3764a4disgyrcuffers: 1 TM Vol. II p. 287. 10. TM. Vol. I p. 131; Vol. II pp. 262, 329, Sm. ed. p. 347. 11. Hifua afanygy6120716741TM Vol. II p. 224. alcunfHET TM Vol. I p. 155.

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TILAKAMANJARI OF DHANAPALA The gem of the finger-ring having its imprint studded with ruby gem' and the pearl-leaflet serving as the ear-peduncle. A finger ring (Urmika) made of emerald (marakata) has been referred to.2 464 Padmaraga and Pusparaga (Topaz), Manikya (Ruby), Vajramani (Diamond), Vidruma (Coral)," Vaidurya (Lapislazuli or turquoise),' Garuda stone (Garudagrava), Mahanila stone (Mahanilasma)", Sphatika (crystal or marble) have been mentioned as variety of gems and stones. A finger ring made of topaz gem," a bracelet made of gold inlaid with diamond stone worn on the wrist by Malayasundari,2 who also wore a necklace having a central gem and strung on the top-stick of emerald. 13 She also wore an ear-peduncle of white pearls worn on her ear-lobes.14 A crestgem (sikhamani) has also been referred to. Lofty floral wreaths forming the crest-chaplets and the variegated flywhisks forming the ear-ornaments and the resounding golden-bells forming the ornaments of the neck have been mentioned with reference to the animals found in the forest situate to the Kamarupadesa.16 1. nisargasnigdhena karNapUramauktikastabakena TM Vol. II p. 227. 2. zukacchadazyAmamarakatAMzuvarSiNA divyAMgulIyena / Ibid. Sm. ed. p. 396. 3. TM Vol. II p. 316, 320, Vol. III p. 92, 72, 111, 163. 4. TM Vol. II. p. 320, Vol. III p. 102. (Sm. ed. pp. 291; 322, 329.) 5. TM Vol. II p. 320. 6. TM Vol. II pp 316-329; Vol. III pp 72, 138. 7. TM Vol. II p. 320. 8. TM Vol. II p. 320. 9. TM Vol. II p. 320. Vol. III p. 103. 10. TM Vol. II p. 321, Vol. III p. 133. 11. aGgulipraNayipadmarAgormikA TM Vol. II p. 329. 12. pratyuptavajropalagaNaiH kanakakaGkaNairadhiSThitakomalaprakoSThakandalAm TM Vol. II p. 330. 13. nAbhicakracumbino hAranAyakasyAMzulekhAM... romarAjimarakatadaNDikAzikharalagnAmudvahantIm TM Vol. II p. 330. 14. acchamuktAphalastambamubhayazravaNazikharAvalambinaM bibhrANAm / TM Vol. II pp. 330-331. 15. TM Vol.III p. 8. framf 16. viracitodyakusumazekharAn karNalambitavicitravarNacAmarAn kaNThaghaTitavAcATakanakaghaNTikAbharaNAn TM Vol. III pp. 35-36.

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EDUCATION, LITERATURE AND ART 465 ART AND ARCHITECTURE, SCULPTURE AND PAINTINGS Sutradhara, Silpin? Visvakarma (Primarily meaning the divine architect and through generalisation meaning an architect), Vatika" are the expressions employed to mean an artisan, an architect, a sculptor etc., individually as well as conjointly in so far as all the four expressions have been employed to mean a sculptor apart from meaning an architect. 'Vatika', however, has been employed to mean a sculptor in its specialised sense. Meghavahana ordained the Sutradharas to start the work for repairs in the shrine of gods. The Sutradharas even carved out image to be placed inside the shrines. Tridivasilpin and Visvakarma primarily are synonymns meaning the divine architect and secondarily, an architect in the general sense. 'tIkSNakoTibhiraSTaMkikAbhistakSyamANAbhyaH zikhA maNizilAbhyaH'5 refers to the art of carving out or chiselling out the bejewelled stones meant to form the images. 'Tankika' is the chiselling hoe while 'taks anakriya'in 97827410477227:' means the act of chiselling or carving. Even 'Visvakarma' and 'Silpinah', have been employed synonymously meaning artisans or architects. Vatika has been construed by the commentator to mean "Dhatuvadika' or one who works on ores, mineral substances, metals etc. and Kuttaka has been construed to mean 'Chedanasilaih' i.e. prone to dissector chisel out or carve out while itanka' means a hoe. It appears, therefore, that Dhanapala has treated Artisanship', Architecture and Sculpture as the mainsprings of the same art or science or branch of knowledge. As already observed Dhanapala in describing the temple, house and miscellaneous architecture of Ayodhya has very much kept in mind the architecture of Dhara illustrated in the Samaranganasutradhara of Bhoja. Ayodhya has been described as surrounded by a fortification having a broad plinth and a wall white like snow. It was provided with oblong tanks in hundreds having steps easy of descent and huge in (dimensions). It was 1. Geferatury piufcaaran HTIYTY.... ERT 1984: TM Vol. II p. 164. Toale Gif a refrTEHAIR: E yfeira FR41 Ibid. Sm. ed. p. 297. 2. fafcaffc4-19 stronifaciucchiefweifach auf4467741022: Fyra uffTCITAZT: TM Vol. II p. 323. 3. Chri fa gauri Hura fa 1941 10 TM Vol. II p. 323. 7 fax a quriliuage forfeqa: HATI TM Vol. III p. 105. fa ge f a fafayeti Ibid. Vol. I p. 54. 4. aifea &1928 19 ftalashforafasITM Vol. III p. 131. 5. TM II p.323, LL 7 LDSE para 116 page 90 L-26 6. SSD. I. XVIII 1-6 Cg. Paramaras p. 297.

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466 TILAKAMANJARI OF DHANAPALA engirt round by a huge circle of moat difficult of being ferried across owing to the terrific ripples caused by the aquatic-boars, crocodiles and Hippopotamuses (either kept as a measure of security in the form of living beings or placed inside the water as a feature of art in an artificial garb). It was provided with four lofty gates veritable peers to the Kraunca apertures. It had its squares englamoured by the circle of temples of gods engirt round by vallums white with the stucco paint, with golden ewers shining at the tops of their lofty pinnacles. It was provided with the ivory-chambers effulgent with gorgeousness. Its houses had quadrangles having platforms of varied types. Its mansions were constructed by thousands of artisans. The pinnacles of its fortifications were sky-scraping. 'Rangasala or the Audience Hall as a variant for 'Natyavesma', 'Natyamandapa', double storeyed Natyamandapa, 'Preksagrha' of Bharata? who enjoins its three types known as Vikrsta or Rectangular, Caturasra or square and Tryasra or Triangular, also formed a part of building architecture. The mansion named 'Bhadrasala' of Meghavahana having its squares provided with pigeon holes has been described as consisting of many storeys.' 'Harmyal' is another synonym for "Prasada' meaning mansion. 'Pramadavana' or the pleasure-grove of Meghavahana has been described as situated on the pleasure mound (Akridaparavata), where the king got a temple constructed. The temple's dimensions have been described most accurately. It was neither very expansive nor very short, dimensioned by small pillars, engirt by a small (lit. nottall) rampart, having squares expansive and provided with bejewelled pavements amply placid and spacious, with their joint segments unobserved between themselves. There 1. TM Vol. I pp 43-44. tuSAradhavalabhittinA vizAlavapreNa parigatA prAkAreNa, vipulasopAnasugamAvatAravApIzatasamAkulA... plavamAnakari makarakumbhIrabhISaNormiNA....mahatA khAtavalayena veSTitA...krauMcAdricchidrairiva... caturgopurairupetA, prAMzuzikharAgrajvalatkanakakalazaiH sudhaakdhvlpraakaarvlyitairmrmndirmnnddlaiH...udbhaasitctvraa| 2. fasearamiheda GT44:Ibid. Vol. I p.53. 3. faferraffungu:..... 3tciahayati Ibid. Vol. I p. 54. 4. faf afhafa fariigi TM. I p. 54. LL 4-5. 5. THTOIATU Yarfrazu Ibid. Vol. I p. 56. 6. GAH T U.4 Ibid. Vol. I p. 82. 7. NS. II, Vol. I verses 3, 4, 6, 7, 8, p. 13, Manmohan Ghosh. 8. 56 TJET Ethat fa 40 dai if f yri hezi a2750241 Ibid. verse 7, p. 12. 9. Tragat41401... frarraioafat YG PERLICHTITM Vol. I p. 84. 10. Ibid. Vol. I p. 103.

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EDUCATION, LITERATURE AND ART in he established with due rites, the image of Sri the goddess, prepared out of the wood inlaid with extremely luscious pearl stones, with its creeper-like frame bedecked with all the ornaments, endowed with all its limbs.' The shrine of the Siddhas named Sakravatara has a fortification having very lofty pinnacles and portals. A golden-pillar engraved or sculptured giving out a shining glow with its form chiselled out formed a feature of sculpture in architecture. The Vaimanika has been described as having his frame as luscious as the chiselled frame of the golden pillars.3 His limbs had been given a polished finish as if by the dusts formed out of the atoms of topaz gems. There is reference to the solar orb or the halo of lustre (Suryamandala or Chayamandala) encircling round the head of the celestial being (Vaimanika), a feature of art becoming popular during and after the Gupta hegemony. The Lamps erected on staves held in hands by the nymphs representing maidens formed a feature of art." Sri or Laksmi i.e. Goddess of royal sovereignty and fortunes bearing two forms and eight arms seated constantly on the corner of a foot-stool made of gold and inlaid with variegated texture of leafy designs-forms another feature of art in Ancient Indian Sculpture.' Ayodhya has been described as promiscuous with Puraprasadas, Surasadanas, Kupas, Udyanas and Vapis, i.e. the residential mansions, temples, wells, orchards and oblong tanks in thousands. The locks clinging to the latches forming the closing-instruments for the doors of shops having wooden-panels also formed a feature of architecture." The buildings could have oblong tanks situated to them, having steps sunk in water spurting forth from the water machines when stopping to function.10 1. pramadavanamadhya eva sannidhAvAkrIDaparvatasya nAtikharvaH nAtivistIrNamalpastambhAparikaramaprAMsuprakArakRtaparikSepamanupalakSitAnyonyasandhibhAgairAbhogazAlibhiH prakAmamasRNaiH maNizilAtalairavanaddhavistIrNAGgaNam.... devtaagRhmkaaryt| tatra cAtiprazaste'hani....paripUrNasarvAvayavAM sarvapratimAlakSaNopetAM sarvAlaMkArabhUSitavapurlatAM... atyudAramuktAzailadArusambhavAM bhagavatyAH zriyaH pratikRtiM yathAvidhi pratiSThApya / TM Vol. I pp 103 104. 2. atituGgazikharatoraNaprAkArazakrAvatAraM nAma siddhAyatanam / 3. ullikhitazAtakumbhastambhavadAtadeham / Ibid. Vol.I p. 107. 4. puSparAgaparamANumRttikAbhiriva dattopacayAnAm... aGgAnAm / Ibid Vol. I pp 107-108. 5. utpAtasUryamaNDaleneva sakIlena kalitottamAGgam / Ibid Vol. I p. 111. 6. karasaMzliSTayaSTidIpikAkiraNapaTalapallavitadehalAvaNyAbhiH..... amarAGgaNAbhiH / Ibid vol. I pp. 143-144. 467 7. utpannabhaMgacitrASTApadapAdapIThaprAntasatataniSaNNaH prakaTitASTabAhudehadvayo jano'yam / Ibid. Vol. I p. 153. 8. puraprAsAdasurasadanakUpodyAnavApIsahasrasaMkulAm ayodhyApurIm | Ibid Vol. II pp 163-164. 9. kapATadArupAzakanirdayAsphAlanavAcAlAni gRhonmukhApaNikasaMvRtapaNyAsu vipaNivIthiSu kAlAyasatAlakAni / Ibid Vol. II p. 165. 10. viratAraghaTTakramasamucchvasatsalilamajjatsopAnAsu... bhavanavApISu / Ibid Vol. II p. 166. pratyarpaNadvAramaghadanta

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TILAKAMANJARI OF DHANAPALA Rasavati (kitchen ), Ajirabhumi ( Verandah), Bhojanasala (Dining Hall), Pratoli (the vestibule) or the front apartment), the chambers of the Sattrins (the sacrificers or the secret agents) formed a part of the residential abode of the king as well as the commoners. The groups of parrots and starlings nibbling tree fruits pale through ripening were kept in cages hung in the upper-galleries susceptible to air.2 The Rajakula or the residential arena of the king possessed white chambers or white mansions sky-scraping and numbering many hundreds having many rooms or apartments within. 468 A dantavalbhika or an upper-ivory-chamber, situated at the corner of the roof of the residential mansion pleasant in the afternoon having gunja berry creepers hanging over the bejewelled windows or lattices resounding with the flutters of squall pouring in every moment, with centre of its walls collided by the sprays of showers of scented water. Madiravati's apartment in the harem was a spacious abode (Visalavesma) which had a bejewelled mosaic extremely placid and dappled with offerings of flowers strewn constantly, was glamorous with the construction of the pillars of gold designed with fine-leafy sprouts, had an awning overhead of a huge Netracanvas, pendulous pearl wreaths hanging by the corners of the canopies; the wall paintings become luscious with the lamps steady on staves and burning, burnished slumber-ewers made of gold placed at the head of the couch shining with counterpanes stretched over nicely. Madiravati was surrounded by the coquettes of the harem, who had placed expansive raised planks made of gold on the seat in the form of the surfaces of the bejewelled platform in the beautiful pavilion raised on four pillars prepared afresh." The golden seat was placed on the surface of the bejewelled dais." 1. nivRttarasavatIdhUmeSu pratolIzikharAdhiruDha samupalipyamAnAjira bhUmiSu... bhojanazAlAsaMcAryamANavidyAhArapAkeSu purohitaparIkSyamANAdhyayanamukharonmukhadvijeSu sarvataH saMvRteSu satriNAM bhavaneSu / TM Vol.II p. 167. 2. pravAtapaTTazAlAvalambitapaMjare pAkapiMjarANi zakalayati taruphalAni saMvRtAlApe zukasArikAkalApe / Ibid Vol. II. p. 167 3. gandhasalilacchaTAsekazizirIkRtasakalabhittikSaNAmanukSaNApatatpavanapuMjaguMjan maNigavAkSaguMjAmaparAhnaramyAmAvAsaharmyazikharaprAntavartinIM dntvlbhikaamgccht| Ibid Vol.II p. 171. cAviralaviprakIrNapuSpabalizabalitAtimasRNamaNikuTTime vikaTapatrabhaGgacitritacAmIkarastambhaviracanAcAruNyuparivistAritatAranetrapaTavitAne vitAnakaprAntalambamAnalolamuktAsraji jvaladakampayaSTipradIpaprakaTitaprazastabhitticitrasukalpitAstaraNatalpatalopazobhini zayyAzirobhAganihitadhautanidrAkalazo vizAlavezmani kRtAvasthAnAm / Ibid Vol. II p. 174. 5. pratyagraviracitacatuSkacAruNimaNivitardikApRSThapIThe pratiSThApitavitatahemapaTTAbhiH... antaH puravilAsinIbhiH parivRttAM / 4. tatra Ibid. Vol. II p. 176. 6. maNivedikApRSThavartini hemaviSTaraiH / Ibid.

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EDUCATION, LITERATURE AND ART 469 Asthanamandapa or the court hall of Meghavahana had a golden seat. It may mean even an Assembly-Hall.' The mansions white with stucco-paint and provided with tree-fruits easy of access of the hands of the maidens sitting in the windows also illustrates the point that white mansions were provided with gardens. The Sabhamandapa or the Assembly Chamber or Court Hall of Samaraketu was designed in such a way that it was crowded with attendants come from outside given to talking ceaselessly being dispersed by the guards on duty, had coquettes moving about clad sparsely, had its courtyards void of dust through sprays of showers of strongly scented waters and had its arched-portal rippled with the rows of decorative wreaths tied to the sandal sprouts.' His golden seat (hemasana) was huge placed on the surface of a pellucid bejewelled platform or dais. A porch (Dvarabhumi) adjoining the first chamber of the court Hall has been referred to. There is reference to the Howdah made of gold placed on the back of an elephant named Amaravallabha. The white parasol bearing its rod made of gold and inlaid with bits of varied-hued gems, with wreaths of pearls circular in shape dangling about and the thickset ewer made of ruby or topaz shining at the top also formed a feature of art in architecture." "Kutt ima' is typical word denoting a pavement or mosaic Mattavarana' or 'Mattavaranaka' means an elephant corniced pedestal" or aisle supporting the expansive dais of a room or a pavilion meant for the presentation of a show (in a theatre ). It is the same as the 'Mattavarani' of Bharata. An 10 1. AsthAnamaNDapopaviSTamadhyAsitavikaTahemaviSTaram / Ibid Vol. II p. 190. 2. vAtAyanAsInavanitAkara praceyataruphalAca sudhApaMkadhaklAn prAsAdakAn [hid, Vol. 11 p. 236, 3 baddhacandanapravAlacandanamAlAtaraMgitatoraNamuddAmagandhodakacchaTAvicchardavirajIkRtAjiramAgRhItojjvalaveSasavizeSacArusaMcaradvAravanitAjanamavahitaMpratIhAra nirdhAryamANAni baddhabhASi bAhyaparijanaM sabhAmaNDapamagaccham / Thid, Vol. II. p. 252. 4. pavitramaNivedikApRSTAnihite mahati hemAsane prAmukhopaviSTaH Thid. 5. prathamakakSAntaradvAra bhUmim / Ibid Vol. II p. 253. 6. zAtakumbhazArIparikaritapRSThapITham Ibid. 7. zikharavisphuratpadmarAgasthUlakalazasya dolAyamAnAvacUlamuktAphaladAmnazcitraratnakhaNDakhacitacAmIkaradaNDasya ... zvetAtapatra khaNDasya | Ibid vol. II p. 254. 8. Ibid. vol. II p. 276. 9. mattavAraNamadhyamadhyAsya tatra mattavAraNotsaGgasamarpitAGgabhArazca tasya vAtAyanasya pAzcAtyabhittigarbhavinyaste styAnacandrikApaTalatviSi sphATikazilApaTTe nikuTTitAmatispaSTavarNatayA tadvinotkIrNAmiva marakatadutipUritanikhila rekhArandhrasalAbhiratyacchattayAzrayasya nirAlambAbhirivAmbaratalotkIrNAbhiriva samatayA prAMjalatayA ca yantrAkRSTAbhiriva sarasvatIkaNThamaNikaNThikAnukAriNIbhivarNapaMktibhirudbhAsitAM prazastimaikSata | Ibid Vol. III p. 103. ' zilAmaNDapadvArasya maNizilAdArumattavAraNe dvAramattavAraNakAda Ibid Vol. III p. 163. Ibid. Sm ed. p. 323. 10. raGgapIThasya pArzve tu karttavyA mattavAraNI / catuH stambhasamAyuktA raGgapIThapramANata NS I1. 63.64

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470 TILAKAMANJARI OF DHANAPALA elephant corniced support provided with four pillars having images of elephants beside the pillars, on which the main dais of the stage or any other surface of a chamber is required to be stationed. Dhanapala refers to Mattavaranas in the context of a panygeric (inscribed on a marble stone slab placed or fixed in the interior of or the centre of the western wall of the window after Samaraketu had supported his body on the surface of an elephant-corniced-pedestal. He also refers to an elephant-corniced pedestal made of sticks of gem-stones, at the gate of a stone-pavilion and one just at the gate. The boats and canoes were hard made having been prepared out of hard wood. The wooden pillars supporting the boats were called "Kupastambhakas?.? A window made of gems being very costly and the grotto abodes made of jewels have also been referred to.* The divine shrine seen by Samaraketu after he had finished his sea-voyage is also a fine description of architectural specimen. The shrine had its path of descent at the door of the pavilion expansive and shining on account of the series of steps made of the slabs of the moonstone-gem. It was decorated with many elephant-corniced-pedestals made of ruby. It had the tops of its pillars made of topaz-stones scraping the sky and occupied by the puppets or dolls or bracket female figures made of gem stones as if they were the celestial nymphs come down from the celestial world in order to supervise the architectural get up outlying the skill of Visvakarma. It had an untimely sport of festival of lamps organised by the ewers of topaz having their tips upraised and getting illumined by the acts of collyrium wicks performed by the rows of fresh-clouds darkened byconsuming water from the ocean and reeling about on high. It had peacocks concealed being guessed from the cries of the lattices made of the sticks of diamond gems with their plumes covered up by the rain-bow shining constantly. It had white buntings waving by the breeze assuming the garb of female cranes at the halo of lustre azure like the nebula nubilous with clouds, of the Amala-Saraka (Sanctum-sanctorum) born of i.e. made of the Mahanila stones and circumambiating the faces of the quarters. It had the tips of the sky scraped (lit. kissed) by its lofty pinnacle gone up to reduce the solar orb to the state of an ewer. It was engirt round by a circle of vallum of apparent expanse or breadth, made of marble of pure species having rows of steps of stones with series of tops stretched out. It was surrounded on all sides by the mansions of gods (i.e. temples) made of gold, as if by the peaks 1. 564184pfaget: 19:1TM Vol. II p. 281. 2. 74740144: Ibid. Vol. II p. 286. 3. HET Uaai47: Ibid. Vol. II p. 291. 4. HOTJET Ibid. Vol. II p. 298.

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EDUCATION, LITERATURE AND ART 471 of Sumeru. It was charming owing to many forms of 'Kali' shining in the interior. It was adorned with cool-windows. It created marvel in the observers by its variegated texture of leafy designs, the variety of slabs made of gold and inlaid with many bits of rubies.' The door of that shrine provided with a turret had the movement of the chariot of the sun screened by the arched portal erected on bejewelled columns, blocking the sky. The descent from that door was, as it were, covered by a rampart, clinging to the top of a hillock chiselled with hoes, stretched on both sides. And those that were the smaller doors by its side in the barracks or lanes, were also brought to obscurity by the refulgent aspect attained to sublimity, of this rampart serving an undistinguished wall for the firmament.3 The decorative wreaths made of sandal sprouts having jagged refulgence were there on the arched portals with sufficient breeze penetrating into them owing to their being lofty. The swinging machines were made of gold and having their tops sprouted with buntings or flags of China silk cloth prepared afresh. On the platform of the surface of the Dance-Hall (Gunanikaprasada), made of sapphire, the circles of the rows of the foot-imprints of decorative and unsunk paints of the lacquer-dye indicated the recent performance of a dance by the group of coquettes. The emerald conduits at the root of the vallum percolated in sparse drops kumkuma-ruddy water of the lakes meant for sport. 1. candrakAntamaNizilAsopAnamAlayA virAjitodAramaNDapadvArAvatAramArgam, anekamANikyamattavAraNakabhUSitam / svargaramaNIbhiriva maNizilAzAla atizayitavizvakarmakauzalazilpanirmANamavalokayitumamaralokAdupAgatAbhiH bhaJjikAbhiradhyAsitAbhraMkaSapuSparAgapASANastambhazikharam, upari ghUrNantIbhirarNavodakapAnakAlIbhirbAlajaladharalekhAbhirApAditAJjanavartikRtyairjvaladbhirucchikhaiH padmarAgakalazaiH prakAzitAkAladIpotsavavilAsam, aviralodgIrNasuracApacakrakRtakalApApalApeSu vajramaNizalAkAjAlakeSu kUjitAnumitanilInanIlakaNTham, AzAmukhavyApini mahAnIlAzmayonerAmalasArakasya ghanadurdinazyAmale prabhAcakravAle balAkAyamAnapavanalolasitapatAkam AbhogadUrotsApitadizA tapanamaNDalamivAtmanaH kalazatAM netumutthitena cumbitAmbarazikharamatiprAMzunA zikhareNa vitatazikhara zreNinA.... zuddhajAtisphaTikanirmitena sphuTasphAtinA prAkAramaNDalena kuNDalitam / amaragirizRGgairiva sarvataH parivRttaM hiraNmayaiH suraprAsAdaiH, vilasadanekarUpakAlikAntaM smaasnnshishirvaataaynaalNkRtm|... ativiSamapatrabhaGgavismAyita prekSakajanam / anekamaNikyakhaNDakhacitakAMcanazilAsaMghAtam evaM divyamAyatanam TM. Vol. II pp 320 p. 320 LL. 3-9 Vilasayantra putrika Ibid. Sm ed. p. 60. L 11 p. 3741 Camikara sita yantraputrika 2. gopurapratibaddhamambarotambhinA maNistambhatoraNena tiraskRtataraNirathasaMcAradvAram / Ibid. Vol.II p. 324. 3. anena yo'vatAraH saH dUramubhayataH prasRtenaTaMkacchinnaparvatakaTakasaMginA prAkAreNaiva vAritaH yAni tvasya pArzvataH saMbhavanti pratolikAsu kSudradvArakANi tAnyapi nabhastalanirvizeSabhiterasyaiva prAkArasya prakarSaprAptena svacchatAguNena durupalakSyatA nItAni / Ibid Vol. II p. 324. LL. 10 4. atra tuMgatvAdadhikasaMsRjyamAnasamIraNeSvapi dvAratoraNeSu sAndrarucayazcandanapravAlavandanamAlAH pratyagraracitAbhizcInAzuMkapatAkAbhiH pallavitazikharANi cAmIkaracakradolAyantrANi guNanikAprAsAdasya ca pRSThavedikAyAmindranIla

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472 TILAKAMANJARI OF DHANAPALA "Pradosasthanamandpa' is the sleeping pavilion or a lounge. 'Bhavanavalabhigavaksa'2 - the windows in the roof of a mansion. "dUravitatastambhanizcalaM ca krameNa nijamiva prAsAdamatituMgamapyudagravikaTena dntsNkrmennaadhyaaroht|"52 'tuMgamapyudagravikaTena dntsNkrmennaadhyaaroht|" refers to a place steady with columns stretched far away and being lofty having a series of ivory ladders meant to mount its roofs. Mahanila (Indranila or sapphire) Vatayana-a window made of sapphire has also been referred to.4 The Matha or sanctuary that Samaraketu saw in that divine shrine was somewhere white and somewhere cadaverous, somewhere bluish red and attractive on account of having three storeys. It was adorned with refulgent pinnacles decked with an ewer, had pigeon-holes, was built by special species of bejewelled slabs, had its gate towards the north; was huge and recently built.' 'Catussala' is a term meant to denote a square or a four-roomed mansion the character of which has been superimposed upon the plantain-grove (Rambhagrha). The pavilions of the shrine of Camunda established on the peaks of the hillocks and occupied by men taking to abstinence, being desirous of boons, have been referred to. He has referred to Prasadakas containing the images of Jina. Prasadakas may mean small chambers. The sleeping-chamber of Malayasundari has been called Sayanasala that was sanctified having been broomed afresh on its floor, having an upholstering pillow raised up and placed at the root of a wall and having a mayyAmAsAditaprakaTaparabhAgAni pizunayanti vArasundarIvRndasya rAsavibhramabhramaNamabhinavamamlAnayAvakapaGkaGkAni pdmudraapripaattimnnddlaani| TM. Vol. II. p. 325. and etAnyapi kSaranti viralavirAlairbindubhi: kuMkumAruNaM kelipuSkariNInAM vaaripraakaarmuulmrktpraannaalaani| Ibid. Vol. II p.326. 1. Ibid. Vol. III p. 20. 2. Ibid. Vol. III p.31. 3. Ibid. Vol. III p. 42. 4. Ibid. Vol. III p. 103. 5. kvaciddhavalatAkrAntam, kvacitkapi zatAnvitam, kvacinIlalohitaprabhAvAptazriyam, mAlikAtrayamanoharam sakalazazi kharAMzubhUSitam, kapotapAlIkalitam, azeSamaNizilAvizeSakRtanirmANamudaGmukhadvAram... alaghiSThamabhinavaM mtthmaikssisstt| Tbid. Vol. III pp 107-108. 6. ArAmalakSmyAH sAkSAdiva catuHzAlam.... rmbhaagRhmpshyt| Ibid. Vol. III p. 119. 7. vraarthinirshnnropruddhgirishikhrcaamunnddaaytnmnnddpaiH| Ibid. vol. III p. 131. 8. AyatanaparyantavartiSu prAsAdakeSu pratiSThitAH jinapratimAH Ibid. Vol. III p. 165.

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EDUCATION, LITERATURE AND ART 473 bed-counterpane made of thick barks hanging by an ivory-peg.' She had placed her rosary of beads in that. ufafyral: Efag:"2 alludes to the residential abodes abounding in Straight lanes while' bAhumAlikAH prAsAdA: refers to mansions comprising of many storeys vAsadantavalabhISu' refers to the ivory chambers meant for an abode. 'maNi fiche Frag: 069 faqoutra" refers to the shrine of Jina made of bejewelled stones. An image of Mahavira Jina made of diamond gem-stones and a sleeping gallery' '4-ERICI (sayanacitrasala) has been mentioned at a different place. There is description of the central pavilion (Madhyama-mandapika) in the centre of which there was a dais meant for the court-business. King Meghavahana sat on an ivory plank placed on the backside of the dais, that had broad elephant-corniced pedestals joined to it from both the sides, made of moon-stone wood, that had a raised seat of gold and was covered with fine silk cloth white and clean like the ripe old sprouts in the interior of a lily. "Saudha' is another term employed to mean a palace. The alligator-shaped water-outlets attached to the roofs of a palace where from the rain water could be carried down in a stream through the pipes, in the reservoirs or refuse-carrying channels, is also referred to as a special feature of Ancient Indian Architecture. The description of the shrine named Sudarsana also contains important architectural data of the age. Samaraketu entered through the turret-corniced 1. nAgadantAvalambitaniviDavatkalAstaraNAyAM bhittimUlaghaTitottAnagaNDopadhAnapaTTAyAmacirapramRSTakuTTimazucau P ORTRAIT 12HTC TM. vol. III p. 166. 2. Ibid. Vol. III p. 172. 3. Ibid. 4. Ibid. Vol. III p. 174. 5. Ibid. Vol. III p. 181. 6. 3fCHETAHUTCHTHU FTATARI HErarfurarea fapteli Ibid. Vol. III p. 198. 7. Ibid. Vol. III p. 135. L-2 Sayancitra sala also Sm. ed. TM NSPE p. 302 L. 15 and Sayanacitra Salika Ibid. p. 327. L. I. 8. gatvA madhyamAM maNDapikAM tanmadhyabhAge tatkSaNopaliptAyAH... AsthAnavedikAyAH pRSThabhAge pratiSThApitamubhayataH saMyojitamRgAMkamaNidAranirmitodAramattavAraNakamanupRSThamAhitoccakAMcanapIThamISajaraThakumudagarbhadalAvadAtamacchadhavaladhautapaTTA 44420gif di G-774HEZITETI Ibid. vol. II p. 169. 9. Raceface sa te falfa hyea: 1 Ibid. Vol. II p. 279.

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474 TILAKAMANJARI OF DHANAPALA gate made of emerald gem having its lower part occupied by a series of rundles made of moon-stone; and saw an image made of Cintamani gem, huge in form of Primeval Jina Lord Rsabha (Deva), having his supremacy over the triad of worlds manifested by the triad of parasols white like the lunar orb, surrounded by groups of images of gods adorned on the sides by the nymphs of fine and varied forms and mounted on various vehicles and aerial cars, refulgent with a halo of lustre of extremely luscious form, having its right as well as the left sides adorned by Indra bearing fly-whisks white and pendulous unto the shoulders, the backs of both the shoulders occupied by the creeper like curls, the creepers of leafy designs as it were, formed out of the black-aloe paint, clinging fast thereon the middle portion of legs sprouted with the hand-twain, raised aloft in posture, assuming a lotus posture on the huge lion-seat glamorous with a lion attended by two) antelopes, adorned by the clusters of stellars; adorning the interior region of the central chamber having bells resounding tied with-chains of gold hanging by a cloth-noose of the screen canvas screening a part of the body of the deity, hanging by one side of the charming wall decorated by the white chowries sticking to the ivory-pegs, having its door-side accompanied by the idols of Yaksas and devatas stationed inside them.' A bath-room (Snanamandapika)- has also been mentioned. A rampart made of marble surrounded by the shrine of Jina. Sayanacitrasalika was a sleeping gallery.* Darubhavanam' - a wooden House actually a House Boat capable of swimming as well as flying. A sanctuary made of bejewelled stones consisting of three storeys had its middle portion comparatively nice. The uppermost storey of the sanctuary had a ruby-chamber decked with moon 1. tatazcandrakAntasopAnaparamparAkrAntatalabhAgena.. varIyasA marakatamaNigopureNopavizya... pratiSThitayakSadevatA pratiyAtanAsanAthadvArabhAgasya nAgadantAvasaktadhavalacAmarArcitAcArubhitterekapAvilambamAnasaMkocitadevAGgajavanikApaTasya jayantikAvalambijAmbUnadazRGkhalAkalitavAcAlavajraghaNTasya garbhavezmano garbhabhAgamalaGkarvANAM, grahacakrAlaMkRte mRgAbhAji siMhodbhAsite.. siMhAsane nibadbhapadmAsanAm, uparyupari viracitottAnakarayugalakisalayitAkaM madhyAm AbhaGginIbhiH kRSNAgurupaMkalikhitAbhiriva patrabhaGgalatAbhiH kezavallarIbhiradhyAsitobhayAMzapIThAm.. aMsIvalambidhavalacAmarasurendrasevitasavyApasavyapA.,.... bhAsvateva prabhAmaNDalenodbhAsitAm.... indumaNDalasitAtapatratrayIprakAzitatribhuvanaizvaryAm, azeSatazca vividhavimAnavAhanAdhiruratyudArAkRtibhirapsarA..... aff : uffany... Familifornelli 149847 ITM. Vol. III pp 97-99. 2. Ibid. Sm. ed. p. 300. 3. mifeaftr a fta ichi Ibid. Sm. ed. p. 310. 4. Ibid. Sm. ed. p. 327. 5. Ibid. Sm. ed. p. 337.

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EDUCATION, LITERATURE AND ART 475 stones.' 'Sasikantamandapika" is another term meaning a moon-chamber. Many gorgeous mansions with lofty pinnacles and surrounded by very lofty fortifications have also been alluded to. There is reference to a huge Sofacouch made of gold even though soft-covered all over by an uppercovering-cloth below the bejewelled pavilion in the square of the sleeping gallery having an expansive open space endowed with a row of lofty golden pillars, having the surface of the lotus-pavement on the roof consisting of its approach through a series of steps made of plane bejewelled slabs shining with the movement of steps.3 Similarly A sleeping gallery clinging to the top of mansion, having a couch of lotus leaves in the moon-stone-window in the corner of the bejewelled storey or floor attached to the portion of the left wall with northern side becoming apparent owing to recent opening of the door, in the mansion of Tilakamanjari has been described having all the accessories detailed here. It was endowed with flags, parasols, flywhisk forming its decorative materials placed within its chambers that had many diadems, accoutrements, couches having surfaces of pannels, all the equipments suited to the occasion of a promenade. These chambers were spacious and huge enhancing the beauty of the outer apartment. The central door attached to the turrets of the fortification was occupied by the vehicles of the Vidyadhara-maidens come to have a sight of that having assumed the garbs of peacocks, parrots, antelopes, lions, Garudas, suitably caparisoned. It (i.e. the mansion of Tilakamanjari) was crowded with water pavilions, reservoirs and oblong tanks adjoining the associate-chambers. Its precincts were engirt by the seven storeyed chambers of the harem cordoned by the fortification of fructified Sarala and Arjuna trees, having sparks of fire of the thunderbolts spreading out, as if on to the tops of the Himalaya, with their pinnacles lofty - 1. tisRbhirbhUmikAbhiruparacitanirmANasya maNizilAmaThazvAM ramyataramadhyAM mameyabhUmikAmAzrayAya maiM vizrANitavatI / suzliSTasaMdhAna maNizilA talaghaTitayA zikharaparipATyA samantataH parikSipta pIThAM maThAgrabhUmikApRSThavartinImindukAnta Ibid. Sm. ed. pp 344, 352. 2. Ibid. Sm. ed. p. 356. 3. nirantaranyAsazAlinA maNizilAtalasaMkrameNa krameNAdhirUDhamAnIya mAmuparitalakamalakuTTima talasyottuGgakanakastambha rAjIvirA: prakAza vipula vAtAvakAzasya zayanacitrazAlikAgaMNaratna maNDapasyAdhasyAt sva hastasaMcAritenAciradhautena zucinA samantAdutaracchad paTenAcchAdite mRdAvapi tApanIye mahati paTTaparyaMke nyavezayat / Ibid. Sm. ed. p. 367. 4. saudhazikharAgrasaMginI zayanacitra zAlAm / Ibid Sm.. ed.p. p. 368.3 tasyAM ca tatkSaNoddhATitakapATaprakaTitottarAze dakSiNerabhitibhAgazriyiNi suzliSTamaNi bhUmikAnte zazikAnta vAtAyane citajJana viracita vicitravinyAsaizcaturaparicArikA janena sarojinIpatrazayanIya madhizayAnA / Ibid.

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TILAKAMANJARI OF DHANAPALA and expansive occupied by circles of gold ewers emitting out tassels of sheen.' Paintings : According to Dr. Pratipala Bhatia Dhanapala's Tilakamanjari contains very useful and interesting references to technical terms used in this art (i.e. painting) as well as the conversations of princes and painters and Chitracaryas. Painting as an art and a pastime has been referred to in case of Meghavahana. He kept scanning the whole day long having given up all other avocations, the images of the princesses endowed with matchless charms, bestowed on him or brought as gifts to him through regard, having painted them on the picture canvases by the skilled painters deeming that he was susceptible to women.3 Madiravati has been described as the superior painting brush made of gold in the form of her beauty. The picture-canvas (of Tilakamanjari) brought for the first time before Harivahana by Pratihari (Vajrargala) was exquisite (Divya) and was wrapped in the hem of her upper scarf. It was an ambrosia for the eyes. On that picture-canvas was seen portrayed a painted puppet (or a doll) assuming the garb of a maiden. Being an expert of that art he for long deliberated over the glamour of her physical charms. And intermittently he continued looking at her braid of tresses, Moon-face, sprout like lower lip, eye-cups, soft throat, protuberant breasts, middle portion i.e. waist, the circumference of the orbs of her navel, posteriors, pillar-like thighs, lotus feet etc. Harivahana has been called as skilled in (lit. gone past ) the arts and lores such as dance, music and 476 1. AlokyamAnavividhadhvajacchatracAmaroDDAmarAbhiranekaparyANapIThaparyaMkakaMkaTakirITagabhIbhirvihAra kAlopayuktavastunikSepakSa mAbhirubhayato vizAlagambhIrAbhiH zAlAbhirupazobhamAnabAhyakakSAntaram AropitAnuruparalaparyANergaruDorUkuraGga vakrAGgabardhiNa pramukhAkAradhiribhirvidhAvalakRtaidarzanAyAta vidyAdharavadhUvAhanAvizeSarazUnyamadhyamaprAkAragopugadvAram..... abhaMguraprAsAdadIrghikAkuNDajalamaNDapairakhaNDitam... udaMzukAMcanakalazacakrAkrAntavikaTodagra kUTaistuSAragirizirobhiriva lagnasphAravajrAgnivisphuliMgairadabhrasaralArjunasAlaguptibhi: saptabhUmaiH kumArIpuraprAsAdaiH parikSiptatArzvam... tilakamaMjarImandiramapazyam / TM. Sm. ed. pp. 370, 372. 2. Paramaras p. 348. 3. kadAcidaGganAlola iti matvA nipuNacitrakAraizcitrapaTeSvAropya sAdaramupApanI kRtAnirupAtizayazAlinInAmavanipAla kanyakAnAM prativimbAni parityaktAnyakarmA divasamAlokayat / Ibid Vol. I p. 75. 4. jyeSThavarNikA rUpajAtarUpasya | Ibid Vol. I p. 82. 5. uparitanavasanapallavaprAntasaMyataM citrapaTamupaninye. Ibid Vol. II p. 332. samantataH tathA tatkSaNameva vistArite purastAt tatra.... kanyakArUpadhAriNImekAM citraputrikAM dadarza / Ibid Vol. II p. 1. vimamarza ca asyAH zarIrAvayavasamudAyacArutAmaticiram / anuparatakautukasya mUhuH kezapAze muhurmukhazazini, muhuradharapatre, muhurmadhyabhAge mudurUrustambhayoH muhuzcaraNavAriruhayoH, kRtArohAvarohayA dRSTyA tAM vyabhAvayat / Ibid Vol. III pp. 1-2.

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EDUCATION, LITERATURE AND ART 477 painting etc. The citizens as well as the foreigners came to him to venture his expert opinion on their skill in that art as well as other crafts and lores.? Vajrargala the portress (Pratihari) had invited Gandharvaka the courier to conduct him to Harivahana and had obtained the picture-canvas (Citrapata) from him after he had brought to the fore having brought it out of a bag made of a fine China silk-cloth.' 'Painting' denoted by 'Citrakarma'-and Citrasilpa-Citravidya occurs in many contexts. It has been considered to be a matter of fun (narma)* Appreciating and commenting on the merits of the painting of Tilakamanjari brought by Gandharvaka, Harivahana as an expert in the art of painting, finds every aspect in its budding form except one fault being an intentional omission that she was not surrounded by forms of men naturally graceful in so far as in budding youth the company of men with women was a necessary evil.' Here Sarvavastu-Visayam Citrakarmakausalam' is significant. Citralekha, the personal attendant (Dhatri) of Patralekha and a nurse of Tilakamanjari has been considered extremely skilful in the art of painting and Tilakamanjari has been called as having great love for the art. Moreover, all the shampooing maids in the harem of Patralekha were skilled in the art of painting Gandharvaka begged leave of Harivahana in so far as his more exacting task of meeting Gandharvadatta and Vicitravirya encroached upon his privilege of adding the forms of men to the painting. Even Gandharvaka praises the skill of Harivahana in the art of painting." Pining for a meeting with Tilakamanjari, Harivahana grew impatient after he did not see the return of Gandharvaka and intending to move away for a Digvijaya making it a pretext to search the maiden of his heart he spent long 1. nRtyagItacitrAdikalAzAstrapAradRzvA harivAhano nAma kumaarH| TM. Vol. 111 p. 3. 2. prastuta vicitra kathA vinodaM cainamAmatyAgatya nagaranivAsino vaidezikAzca lokAH kalAsu zAstreSu zilpeSu ca prakAzayitumAtmano vicakSaNatAmanukSaNaM pshynti| Ibid. Vol. III p..4. 3. prakRSTacInakarpaTaprasevakAyAH sayatnamAkRSya citrpttmenmupniitvaan| Ibid. Vol. III p. 4. 4. citrkrmnrmnirmaannm| Ibid. Vol. III p. 5. 5. yadyadavalokyate tat tatsarvamapi rUpamasya citrapaTasya caarutaaprkrsshetuH| eka eva doSo yadatra puruSa rUpamekamapi na prkaashitm| anena ca manAgasamagrazobho'yaM tadadhunA'sya zobhAtizayamAdhAtuM prekSakajanasya ca kautukAtirekamatpAdayitumAtmanazca sarvavastuviSayaM citrakarmakauzalamAviSkartuM yujyante katicidasyAH narendraduhituH prakRtisundarANi puruSarUpANi parivAratAM netum| aviruddho hi kanyakAvasthAyAm maMganAnAM mnussysNnidhiH| Ibid. Vol. III p. 9. 6. sarvAntaH purapratibaddhasairandhrIgaNapraSThApreSThA prakRtyaiva jananI me bhartRdArikAyAH dhAtrI citralekhA nAma sAdaraM samAdiSTA.. sakhi citrlekhe| tvaM hi citrakarmaNi paraM pravINA, citradarzanAnuragiNI ca vatsA tilkmNjrii| Ibid. Vol. III p. 14. dakSAzcitrakarmaNi samastA api svapratibaddhAH shuddhaantsairndhriidaasyH| Ibid. vol. III p. 15. upadarzitabahuvikalpacitra zilpena ca sthiratA divasamekamekAgramanasA tathAbhilekhitavyaM yathAvasthitam mahAbhAgasya rUpaM yathA citrapaTavartinA tena purato dRSTamAtreNa siddhagAruDamantreNeva bhartRdArikAyAH prazamamupayAsyati samastabAndhavavargaduH sahodvegaH purussdvessvissvegH| Ibid. Vol. III pp 16-17.

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478 TILAKAMANJARI OF DHANAPALA hours deliberating over the 'carutatattva' of the picture painted on that canvas in company of the town folk well-versed in the art of painting (alekhyasastra) with curiosity provoked in them by a series of men and in association with the teachers masters of the art of painting who stood hard by squatted on the precincts of the shores of the oblong tank in the shrine of Cupid. Even the murals or wall-paintings were in vogue.2 Tulika-a painting brush, Citraphalaka-a painting board, Citravalabhika-a picture-gallery-are the technical terms pertaining to the art of painting.' Citrakara and Citrakst are the terms used to mean a painter. Even Samaraketu had a fascination for this art in so far as he has been described as having spent his days in company of Taraka (in Kanci) looking constantly at the excellent forms of the princesses of renowned forms, brought having been drawn by the skilled painters. Tilakamanjari skilled in the art of painting sometimes had the painting brushes and the painting boxes (Vividhavartika Samudgaka) by her sides brought by the attendantmaids, placed on a picture board, used to paint the excellent form of the illustrious one (Harivahana) pierced by the groups of the arrows of Cupid, after having thought over time and agiain." Varttika means a painting brush. Samudgaka, a painting box and Citraphalaka-a painting board or canvas etc. The picture of Tilakamanjari painted on the picture-canvas was shown to Harivahana, the painting was painted by Citralekha on the canvas. "Citrasala' refers to an art-galley or a Painting-Hall having a smearing of sandal-coatings all over its frame.' makaradhvajAyatanadIrghikAtIraparisare niSaNNaH sannidhAnavartibhizcitravidyopAdhyAyairanyaizca janaparamparAjanita kutUlahaizcitramavalokayitumAgatairAlekhyazAstravidbhiH nagaralokaiH saha vicArayannavicArya cArutAtatvaM tasyAzcitrapaTaputrikAyAH rUpamapasAritAparavinodaH pUrvAhvamanayat TM. Vol. III pp 25-26. 2. nvcitrbhittiiH| Ibid. vol. III p. 29. 3. AviSkRtAnekabhAvavibhramANi likhitAnIva kenApi nipuNacitrakareNa dibhittiSu divAnizaM dadarza tasyAH pratimbAni. jIvamiva citrkrmkhcitprdeshm| Ibid. Sm. pp. 29,95. matsamAgamadhyAnamIlitAkSaH puraH sthApite vRthaiva tUlikayA citraphalake rUpamalikhat Ibid. Sm. ed. pp. 278-279 and 302. 4. tatra ca tvadupalambhAzayA diGmukhakhyAtarUpasaMpadA rAjakanyAnAM viddharUpANyAdarapravartitaizcitrakRdbhirabhilikhyopanItAnya jasramavalokayataH.... savantI pulineSu dvidhApi saMcAritatArakasya me gatAH katipaye'pi divasAH Ibid. Sm. ed. p. 322. 5. kadAcidantikanyastavividhavartikAsamudgakApraguNIkRtya paricArikAbhiH puro'vasthApite pRthune citraphalake nipuNamAlocyAlocya makaraketubANadAtAviddhadevasyaiva rUpaM viddhmbhilikhntii| Ibid Sm. ed. p. 363. 6. kathaM darzitAsya citrapaTe matpratikRtiH Ibid. Sm.ed. p. 391. 7. citrAzAlAsvasaMpAdyamAnaharicandana pNkoplepm| Ibid. Vol. I p. 118.

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VII. CONCLUSION The gigantic task of elucidating the literary as well as cultural heritages represented by Dhanapala in his Tilakamanjari being over, there remains a necessity to provide an epilogue to the whole show. But for this composition the luminous lamp of the 11th century A.D. Prose literature, our knowledge of the Literary History, the Historical traditions of the age as well as the cultural leanings of the people of the age would have suffered a cessation and the continuity in the effluence of the literary stream of Sanskrit Prose would have marred the career of many a literary genius following the trail of Bana, suffering thereby an oblivion. Dhanapala practically showed the path to Odayadeva Vadibhasimha who produced his Gadyacintamani in a new holocaust of mental sacrifices whose smoke passed through the screens of Vamanabhatta Bana and Ambikadatta Vyasa. 96 Dhanapala by giving a brief genealogy of his patrons Munja and Bhoja has amply helped the Ancient Indian Historians in understanding the Historical links in the regnal line-up of the Paramaras.95 Dr. Pratipala Bhatia and Dr. V.S. Pathak97 have derived much from these data in completing their Theses. Dhanapala was an inspired poet who had a mighty impact of the geniotic exuberance of the great litterateur Bhoja for the sake of whose recreation he composed his illustrious prose-romance. The Agnikula myth referred to by him in imitation of Padmagupta alias Parimala (Navasahasankacarita) has provided food for thought to literary critics like Dr. V.S. Pathak who has ventured to prove the very fact that Paramaras were no scions of an alien-tribe. They were very much a produce of the Brahma Ksatra anuloma type of combination and assumed Ksatradharma by virtue of their regional profession. They were actually the Agnivesa Brahmanas whose literary heritage Bhoja possessed in his own person. The age of Orthodoxy losing face and that of Heterodox cult attaining to exuberance Dhanapala took to both in order to please the exponents of both. He did not give up the cult of Brahmanism because his patron Bhoja was a staunch protagonist of that. Both, however, gradually reconciled to the changing order of the day and did not demur the beliefs of the followers of Jina though they did not deem it their sole object of fervour. Bhoja being a great rhetorician had immaculate impact upon the intellect of his court-poet who in his romance has tackled all types of figures with the pen of a skilled master. His learning in the lore of histrionics is amply illustrated by his numerous references to the dicta of Natyasastra and its auxiliaries.

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480 TILAKAMANJARI OF DHANAPALA His romance is certainly a fiction based on the covert allusions to the lives of his patrons. As postulated by some such scholars as N.M. Kansara, Tilakamanjari was most probably his daughter and he perhaps by idealising her has idealised the fair and square dealings in the demeanour and deeds of his patron who might have had an eye of affection towards her. Or it may be so that aspiring a relation with the royal sage he might have anticipated a theme and characterised it in the mode of an immortal reminiscence. His Meghavahana might have been Munja or Sindhuraja whom he has characterised so elegantly as well as vivaciously. His Harivahana appears to be a peer to Bhoja as established by me in my Paper entitled 'Historical Data in the Tilakamanjari of Dhanapala'.99 His Candraketu and Samaraketu refer to Raja raja and Rajendra Cola, the Cola monarchs who had a sway over Ceylon (Simhala) during the days of Dhanapala. Viewing a matrimonial tie through his personal knowledge he might have fabricated the theme. Apart from the theme he has woven on the analogy of Bana's Kadambari also taking cue from Gunadhya and secondarily from Katha Saritsagara he has thoroughly justified his claim to be ranked a master-artist from the point of view of literary equipments. He has fostered the cause of the four-fold aims of human existence and the theory of Karman, that of the origin and growth of orders of society and stages of life. He had a humanistic approach to life and upheld the doctrine of virtuosity and piety to the exclusion of depravity and levity that deserved to be faced and counteracted. His descriptive and narrative materials, his dialogues all go to establish him a successful poet and a literary artist who could view life from very close quarters. His descriptions of nature amply establish his task for romanticism. His romantic characters of Harivahana and Samaraketu are his true personal prototypes. The dark side of things observed in life has also been depicted but no severing of efforts through frustration born of pessimism is shown. 'satatamacalaprakRtinA hi puruSeNa bhavitavyam' (TM Vol. III, p. 81, L-11) i.e. A man should always possess a nonchalant disposition' is what seems to be the bedrock of his philosophy. Harivahana, Samaraketu, Malayasundari and Bandhusundari are the true epitomes of this factual trait of disposition. His reflective moods are equally true to his calibre and personal leanings. His idioms and illustrations equally testify his skill in the wisdom of the world and practical way of life. Apart from the Literary norm Dhanapala has kept his tempo of supremacy in depicting lofty cultural heritages of the Age. His vast and figurative illustrations regarding the Geographical topography amply

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CONCLUSION 481 establish the fact that he was a widely travelled man or at least he had learnt a lot from his preceptors and favourites as well as associates. His depiction. of King Meghavahana as an ideal king with all types of technical details on administration and statecraft, warfare, judiciary etc. exhibit his mastery over the treatises on polity such as Arthasastra of Brhaspati and Sukraniti as also of the Athasastra of Kautilya which latter has not been referred to by him. His mention of details regarding the social institutions, Samskaras, marriage law, Gandharva, Prajapatya, Daiva modes etc. speak of his knowledge of Manu and Yajnavalkya Smrtis. The Dharmasthiyam sections of the Arthasastras etc. He has detailed the principal festivals along with other classified customs and processions of the days such as Diwali, Holi, Kaumudimahotsava etc. He has also illustrated the Food and Drinks habits of the people of the day including vegetarian and non-vegetarian diets, syrups, spirituous liquors as well, the culinary art and cooking utensils, the Dining Hall, the Dining etiquettes etc. Dance, drama and Music were popular among the people. Large temples and shrines dedicated to the worship of Hindu and Jaina gods were built by the kings. Every possible care was taken to guard against the evil effects of the wicked exploiters, food-poisoning, incendiary activities of the enemy etc. Education was a popular institution. It normally started at the age of six and ended with the age of sixteen. The country ruled over by the Paramaras was economically stronger and prosperous enough to sustain the aggressive foreign policy of the rulers. The soil was fertile with rich and luxuriant fields and gardengrowth. Trade and Commerce were also flourishing. People lived a simple life but happy one. Middle classes enjoyed a comfortable life and no suppression of the poor by the rich was visible. Literacy was wide-spread and almost all the subjects of study including various arts and sciences were taught. The Karanas and Prayogas of Dance, the instrumental music with instruments such as flute, lute, tabour were used for playing to the accompaniment of classical as well as light vocal music. People used cosmetics and unguents. They wore normally a pair of clothes but woollen garments were used in winter. Skins and hides were also used to prepare certain articles of trade. Kardaranga or Karmaranga leather used to prepare scabbards has been referred to.. All these go to establish the fact that Dhanapala has given a very clean and clear picture of Literary, Social and Cultural heritages of his age i.c. 11th Century A.D. with the pen of a true master and a skilled artist.

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