________________
.
28
प्राकृतसर्वस्वम् ।
to attribute this poem to his patron king, or at least to the king under whom he lived and not to Puruşottamadeva who was already dead and gone by the time of the completion of his work if at all such attribution was made. This presents a problem which can be solved either by taking Dasagrīvia-vadha of Puruşottamadeva to be a different work or by pushing the time of the composition of DVM back to the reign of Puruştottamadeva which is obviously not the case as we have seen
now.
(iii) There is sufficient reason in taking Dasagrīvavadha of Purușoitamadeva as a different work. For, it is enumerated in the line (see above ) as one among the vividha-rūpa-rūpakas composed by Puruşottamadeva. Now rūpaka in Sanskrit rhetorics means drama in general. It is a generic term for any dramatic representation'. As such the line clearly suggests that Dasagrīva-vadha of Puruşottamadeva is a rūpaka (Dramatic work ) and in fact it was so for being called sahodara of the Abhinava-veņīsamharana-nătaka in the same line. It cannot, therefore, be presumed to be a mahākāvya and identical with DVM. Vividha-rūpa-rūpakas would hence mean various types of dramas. This is a point which has altogether been lost sight of by Shri MAHAPATRA under the bias of identifying the two works as one. Moreover, works bearing the same title but composed by differant authors in different times are not rare in Sanskrit literature. For example, we have two works bearing the same title Satasloki, one being a philosophical work ascribed to Saṁkarācārya and the other a medical work written by Hemādri. Similarly we possess
9 See Sanskrit Drama, Keith, p. 296.; also SD. VI. 2.
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