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No. 44.]
Verse 11, which is the first existing stanza eulogizes the continence of some one. The next verse indicates that the king at the time was the illustrious Bhōjadēva.
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The next verse (V. 13) tells us that there was a leader of the Pasupata sect named Ratnarāši, who was intensely devoted (V. 15), had conquered Kama, was spotless like a multitude of the rays of the Moon, purified by the current of the celestial river (the Ganges) and [resplendent] like Śiva himself. Of verse 16 only the last foot has survived and appears to indicate that this saint did something like the husband of the daughter of the mountain Himalaya, i.e., Siva. The next verse (V. 17 ) relates something of the summit of the snowy mountain (Himālaya ) and of the mountain Malaya. Verse 18 continues the praise of the saint mentioned above or of one of his successors, who is extolled as the Moon of the earth, who had come down to show the way leading to Sankara, which is free from the dangers of mundane existence and which has destroyed the cause of birth and death. His disciple was another whose name is missing (V. 19), whose mind had been purified by his having acquired the knowledge of all that is worth knowing. This saint had a disciple (V. 20), whose name is also missing. The next two verses (Vv. 21 and 22 ) state that considering the worldly happiness to be of no use, youth to be worthless and life itself to be unstable like the ripple of the sea, he did something the nature of which cannot be ascertained. His commands were carried out (V. 23) with devotion by the multitude of kings with folded hands. (His disciple) was Nilakantha (V. 24), who was the lord of the rulers of the earth, an orator among speakers, who, though one, assumed various aspects of Siva. He made (Vv. 25 and 26) & magnificent temple (bhavana) of Yögiśvara or Siva with burnt bricks and thick slabs of stone. This temple (V. 29) was as high as the sky and attained the height of the summit of the Kailasa mountain. Verses 30 and 31' appear to state that this temple was adorned with (images) of Krishna, the enemy of Mura, united with Lakshmī and with the images of other gods, demons, gandharvas, yakshas, kinnaras, siddhas and thus emulated, as it were, the universal form of the lord of Lakshmi.
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SIX INSCRIPTIONS IN THE LAHORE MUSEUM.
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TEXT.
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तुरङ्ग
चञ्चत्पत्तिव्रजः
भुवनं येन । परमहेलया । चेतसापि न यचक्रे । सङ्गं परमलया ॥ [ ९९० ॥ श्रीभोजदेवे गुण ] '
[१२]
य सितांशग्रचः कलवमुक्तः परभागभागी
.
113.
.
295
भुवि रत्नराशिस्त [पो] मय पाशुपताग्रणीच
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। बभूव नान्ना
. [च] येकनिष्ठो जितमन्मथस्तथा ममाङलेखा करजालनितः । सुरस्रवन्तीवहनातिशोभितस्स्वयं पिनाकोव विरा[जमानः ] [ ॥१५॥ *].
हिमशैलसुतापतिवचसदा [ ॥१६॥] हिमवच्छिखरे मलये च [ग]रौ कनकाभविशालशिलानिचये । सरसोप्सरसां
[ ॥ १७ ॥*] 5
[1] Metre: Anushtubh.
* Metre: Indravamsa [The metre of this verse has been taken as Indravamia but the reading is Bhojadeva
which would show that possibly the metre was Vasantatilaka.-Ed.]
Metre: Upendravajrā.
• Metre Varisastha. Metre: Totaka.
