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THE INDIAN ANTIQUARY.
(OCTOBER, 1904.
to become ornaments over the tusks of the guardian elephants of the distant regions, 11 and with the title Jagajjanakanthabhûsbana," ornament of the throats of mankind," having become his own title, descriptive of his attributes, - Vijayaratha shone out as Kavitamanôbara ; verse 1 of canto 2 says that Abhinava-Pampa became famous, having caused Fortune to abonnd excessively in liberality, and Speech in the display of gentleness, and Fame in promoting the welfare of the Jain scriptures; and the action is then taken up again by a prose sentence, which sayg: -“When that same king Vijayaratha was, on a certain day, holding a public darbár ; at that time;" and so there is introduced verse 2, which proceeds to narrate that there came in hurriedly a doorkeeper, and so on. Here, from one point of view, the appellation Kavitamanôbara certainly means "he who charms the mind with his poetry," and denotes the poet ; while, from another point of view, it must in some way or another have such a meaning that it denotes also Vijayaratha.12 And thus, at this point again, though not in so dramatic a fashion, the author has certainly again introduced himself into the action of the narrative, by identifying himself with the hero of this part of it through the appellation Kavitamanobara.
In these two passages of the Pampa-Ramdyana, and in all the similar nes, the author of that work has distinctly referred to himself, and not to any god named after himself. In not one of them is there to be found, nor can I detect anywhere else, the slightest shadow of a basis in fact for the assertion, made by the editor of the Kavirdjamdrga, that Abhinava-Pampa, in his Pampa-Ramdyana, transferred his own titles to a god whose aid he invoked. And there is not the slightest shadow of a basis in fact for the editor's assertion, or suggestion, that, in the first two verses of the Kavirajamárge, Nřipatunga-Amoghavarsha I., as the alleged) author of the work, praised a god mentioned, after himself, by the names of Nộipatunga, Nitinirantara, Křitaksityamalla, Viranârîyaņa, (and Atisayadhavala). Those two verses embody requests made by the author of the work. The first of them prays for the welfare of a person, mentioned as Nripatunga and Nitinirantara, whom he has marked as a person of high rank and has most distinctly indicated as his patron. In the second of them he has asked a person, whom he has mentioned as Atiba yadhavala, Viranarayana, and Kritakrityamalla, to inspire him with ability to perform the task lying before him. And, even apart from the colophons, the first of these two verses is sufficient to prove that the author of the work was not Nripatunga.
11 The original saya, -tanda kirtti diggaja-radanakke kirttimukhavage, -" with his own fame becoming a kirtimukha to the tusk(e) of the region-elephant(e)." In dictionaries, I can find the word kirtimukha in only Molosworth and Candy's Marathi Dictionary, where it is given as meaning 'an ornamental head of a rákshara carved over the doon of temples dedicated to Siva, Ganapati, &o. Bat such decorations are not confined to the doors of temples. And the purport of the text seems to be that Vijayaratha's fame became ornaments on the lintels of the doors of the stalls of the elephants, where the elephants were standing with their heads and tusks projecting out through the doors.
In Burgess and Cousens' Architectural Antiquities of Northern Gujarat (Arohæological Survey of Western India, Vol. IX.), 1909, p. 25 f., it seems to be indiosted that the kirtimukha is rather to be found in the lower courses of buildings and on the thresholds of doors; and an instance of the ornament on the threshold of a ahrine may in fact be seen in Archaol. Sury, West India, Vol. II. Plato 61, the illustration on the right hand, where it seems to be rather curiously combined with part of the Buddhist triratna-symbol. But Ferguson and Burgesa' Cave Temples of India, 1880, p. 506 1., describes it as a grinding face in the centre of a törana, and so tends to agree with the Marathi Dictionary which place it on the tops of doors.
Burgos and Cousons have referred (loc. cit.) to the Padmapurina, as purporting to socount for the architectural kirtimukha by rociting that Kirtimukha was the name given to a certain demon, created by Sive, who at the god's command devoured himself, leaving only his head.
19 It may be said that the various attributes, - the power of satisfying all the desires of the Earth, and the possession of Speech and Fame, - belong both to poets and to kings, and that thus, as a poet is certainly to be atyled Kavitamanohara, a king may be spoken of by that same appellation. And, underlying the whole comparison, there seems to be the idea, used in the verse Rachita sitapata-guruna, &o., given on page 199 above, that a necklace is an ornament on the throat, and poetry is an ornament in the throat. But it would seem that we ought to find two distinot meanings for kavita here, as for adhitya in the other case. And I am inclined to think that, in the case of the king, Kavitámanohara may have been intended to mean "ho who charms the mind by his state of being Ka, KanthabhUshapa (in the title Jagajjanakanthabhushana ; 800 above), and Vi, = Vijayaraths; compare, in the Kiratarjuniya, 1, 34, tavdbhidhånát, which means from one point of view "at (the mention of) thy name," and from another "at (the mention of the spell with) the names T., Tárkshya, and VA, = Visuki."
