Indian Antiquary Vol 42

Author(s): Richard Carnac Temple, Devadatta Ramkrishna Bhandarkar
Publisher: Swati Publications

Page 146

138
THE INDIAN ANTIQUARY
[MAY, 1913.
2. A poetic description of the guild of the silk-weavers of Daéapura-Mandasor, verses 4-32, in which, descriptions of their early fatberland Låta or Gujarât, and of their later home Dasapura, are interwoven.
8. A poetic picture of the suzerain Kumaragapta, verse 23.
4. The same of his vassals Visvavarman and Bandhuvarman, the rulers of Dasapura, verses 24-28.
5. A short description of the temple built by the weavers, verses 29-30.
6. The mention of the date of its constraction with a poetio description of the winter season, when the temple was consecrated, verses 31-35.
7. A postscript narrating a restoration of the edifice demolished in parts, with a men.. tion of the date of this event and a description of the season when it took place, verses 36-42.
8. A wish that the temple may last for ever, verse 48. 9. The name of the poet, verse 44.
If one compares these contents of the composition in question with the sample I have presented in Wiener Zeitschrift für die kinde des Morgenlandes, Vol. II. pp. 86 and ff, it will be seen without doubt that this composition belongs to that class of prasastis (oncomiums or panegyrics), of which the recent epigraphical researches have brought to light such a large namber. The composition itself provides us with a clear indication that the poet also wished to have his work called by that name. For verse 44 says-"By the order of the guild and owing to their devotion, was built, this temple of the San ; and the above was composed, with great troubles, by Vatsabhati."
The above' (párva) is an expression which occurs frequently in later inscriptions of this type and which must be supplemented by the word prasasti as Mr. Fleet also remarks in the note to this verse. The fact that the actual title of the composition is not mentioned, but is only indicated, proves that in Vatsabhatti's time there were many such prasastis and that it was a familiar custom in the 5th century, to glorify the erection of temples and other edifices, by means of such occasional compositions.
Another interesting point in the foregoing verse is Vatsabhatti's assurance that he composed his work prayatnena with a great effort. By this he means to say, no doubt, that he utilized with care the best samples and strove to observe very carefully the rules of poetics and metre. This careful study and this effort to do justice to the pretensions of the art of court poetry are to be marked in every verse. The very eagerness with which the author takes advantage of every little circumstance to bring in poetic details and descriptions, shows that he wished to do his best to make his composition resemble a mahakávya. The science of rhetorica prescribes that a mahak dvya should contain descriptions of cities, oceans, mountains, seasons and so on. Thus Vatsabhatti is not dissuaded from devoting one verse (4) even to the early home of his patrons, the Lâța country, casually mentioned as it is. The city of Dabapura, of course receives more space and is glorified in nine verses (6-14). The descriptions of the two seasons, of winter in verses 31-33 and of the spring in verses 40-41, also find a place, as, to give the date completely, the month must be mentioned, and this naturally serves as an occasion for an excursus on the season in which the month falls. The examination of the metres used by Vatsabhatti and of his style would likewise show what great troubles he had taken, though, of course, the product is only of a mediocre type.
Next to proceed to the versification, there is a frequent change of the metres, which are sometimes very artificial. We have the following metres used-1. Anushtubh 34-37, 44; 2. Áryd 4, 13, 21, 33, 38, 39, 41, 42; 3. Indravajrd 17, 26; 4. Upajdti 10, 12, 128 ; 5. Upendrarara 7-9, 24 ; 6. Drutavilambitá 15 ; 7. Mandákranta 29 ; 8. Malini 19, 43; 9. Vasastha