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172/The Raṣṭrakūṭas and Jainism
6.3.2. Svayambhu had the model of Raviṣeṇācārya's Padmacarita (C. E. 676) in composing Paumacariu. Since he could compose upto canto 82, his son Tribhuvana Svayambhu continued from canto number 83 till the last canto number 90. His second Apabramsa work Ritthanemicariu olim Harivamśapurāņa was a voluminous poem. Here again Svayambhu could author only 99 cantos and the rest was composed by his son Tribhuvana Svayambhu. Both the poems are works of greater merit. Svayambhu respectfully remembers Bharata, Pingala, Bhamaha, Dandin and Bāņa. Svayambhuchandas deals with meters.
6.3.3. H. C. Bhayani has epitomized the contribution and place of Svayambhu : "Swayambhu should be counted among those fortunate writers who achieved during their lifetime recognition and literary fame that was amplified by subsequent generations. He was well known as kaviraja (king of poets) during his life time. ..His name was spoken along with Caturmukha and Bhadra, celebrated names in the field of Apabhramsa letters. He is even said to have excelled them. Whether you talk of the beauty of ideas or of expressions, whether you weigh knowledge of rhetorics, proficiency in Apabhramśa grammar or skill in handling varied metres, Swayambhu is recognised as an allround master" [Bhayani, H. C. (ed): "Intro" Paumacariyu, part. I. p. 29].
6.4. Puspadanta (C. 925-74) has the rare distinction of being the sui generis of Apabhramsa poetry. Puspadanta's parents. Kesava and Mugdhādēvi, śaiva Brāhmaṇas of Kāśyapa gōtra, proselytized to Jainism, like the parents of poet Pampa. Puspadanta a contemporary of Ponna and Sōmadēvasūri, had dark complexion and a lean frame. He started as a court-poet of king Virarāja alias Bhairava and composed a poem to glorify his patron. Because he was offended, Puspadanta abandoned Viraraja's support and left
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