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INTRODUCTION
35
sentiment. He introduces, possibly as an element of popular Sattaka, a carcari which indicates a group-dance accompanied by songs and poses, described by him (IV. 10-19).
Nayacandra and his Rambhā-mañjari Looking at the common verses of biographical interest in the Hammira Mahākāvga' (XIV. 46, 46* 1, 46* 3, 46* 4) and the Rambhā-mañjari (I. 15–18), it is plain that it is the same Nayacandra that composed these two works. He gives some details about his spiritual predecessors. In the famous Krşņagaccha, there was one Jayasimhasūri who defeated in dispute Sāranga, an outstanding poet among those who composed in six languages and a great logician (prāmānika), and who wrote three works: Nyāyasāra-tīkā, a new grammar, and a kāvya of Kumāranrpati. Sāranga's identity is uncertain. Of the three works, the first is a commentary on Bhāsarvajña’s Nyāyasāra (c. 900); and the third is the Kumāra pāla-carita, in ten cantos, finished in Saṁyat 1422 (1. D. 1364-65). Jayasimha's pupil was Prasannacandra, respected by kings. Our author, Nayacandra, though a pupil of Prasannacandra, calls himself a veritable successor of Jayasimha in poetic merits. He mentions his labours in the field of poetry and refers to the blessings that the goddess of speech bestowed on him. He makes reference to earlier poets like Kukkoka, Śrīharşa (the author of Naişadhiya), Vātsāyana, (Veņikspāņa-) Amara i. e., Amaracandra. He styles himself a second Amaracandra in poetry. This Amaracandra* is the author of Padmānanda Mahākāvya (following which the Hammira-kāvya also is vīränka) and flourished about the middle of the 13th century A. D. The Hammīra-kāvya is a poem of great historical interest, and
1 Ed. Kirtane, Bombay 1879. 2 Ed. Rāmacandra Dinänātha, Bombay 1889. There is a fine ms. (dated
Sathvat 1535) of Rambha-mañjari, Text and Sanskrit Gloss, No. 335 of 1884-86, in the Bhandarkar O. R. I., Poona. For some details about it, 808 Descriptive Catalogue eto. by P. K. Gode., Vol. XIV: Näțaka, Poona 1937, p. 246-47. The above ed. is possibly based on this ms. For some observations on this play, see Chakravarty's paper Characteristic Features of the Sattaka form of Drama' Indian H. Quarterly, Vol. VII, pp.
169-173. 3 Jinaratnakośa by H. D. Velankar, Poona 1944, 4 M. D. Desai: Jaina Sähityano Saṁkşipta Itihāsa, Bombay 1933, pp.
378-81; M. B. Jhavery: Comparative and Critical Study of Mantraśāstra, Intro. p. 222-23, Ahmedabad 1944.
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