Indian Antiquary Vol 42

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

Page 204

.192
THE INDIAN ANTIQUARY
[JULY, 1913.
Cantorantr ai rar and a faint attempt at Slesha in 1. 8, where it is said that the lake had become atibhriban durdda[réanam]. For the rest, the author neglects the numerous opportunities which are offered to him, for instance, in the description of Rudradaman, of showing his skill in bringing out similarities. He relies more on the effect of a representation of facts marked with strong outlines, than on the conglomeration of more or less conventional figares of sense. It must be conceded that he sticceeds quite well in individual descriptions, though he fails in the fineness of execution and the elaboration of details, which are found to be present in Harishena. The passage in l. 8-7 describing the destruction of the lake, reads best notwithstanding many important lacunae. Freely rendered, the passage would read thus
In the year seventy-two, 72, (in the reiga)56 of the king and great Strap Rudrad Aman whose name is uttered by the worthy (praying for purity)-the 'son [of the king and great Satrap, Lord Jayadâman] .....- the grandson of the king and great Satrap, Lord Chasbana-the mention of whose name brings purity-on the [fifth or fifteentb] day of the dark half of the month Mârgasirsha........ ...... a storm with great streaming showors, as it were, reduced the earth to one single ocean; the terribly augmented force of the Suvarnasikata, the Palabini and other rivers of the mountain Urjayat broke through the dam ........ although proper remedial measures were taken, the water agitated by the whirlwind which (raged) with fearful violence as if at the end of the world-age, and which shattered down mountain-peaks, trees, rocks, terraces, temple-turrets, gates, abodes and triumphal columns, the water scattered about and tore to pieces [tbe......and] this (lake) [orammed) with stones, trees, bushes and circles of creepers that were thrown down, was broken up, down to the bottom of the stream.'
The small number of the Arthalankáras is richly counterbalanced by the fourth word in 1. 14, which praises in all probability Rudradêman's skill in poesy, and contains, without question, the views of the author regarding the requirements of a good composition. Unfortunately, the word is mutilated. After स्फुटल घुमधुरचित्रकान्तशइसमयोरालंकृतगचपथ, eight letters have . been obliterated, followed by 4. The last letter shows that the expression ended with the instrumental of an a-stem. Immediately after TOTO, only the word can come, as it is absolutely necessary to complete the two expressions and to. The remaining six letters should then have been aphrase like विधानप्रवीणेरचनकुचले, रचननिरते or like (भा) स्वावननिरतः Now if we consider what is said of Rudradêman in l. 18, viz., that he had acquired great renown by the complete study, the preservation, the thorough understanding, and the skill in the use of the great lores, such as grammar, politics, music and logic, we must go in for one of the first series of expressions proposed. Because, the practising of classical poetry is the natural complement of the cultivation of the abstruse sástrat in the case of the Pandit, and both these have been very frequently extolled as the qualifications of Indian kings. These considerations make it quite probable that the compound in question, when completed should stand ag Fengania
y a90 [piraletata 7 Now, if we take the author on his word, and suppose that he is stating only facts, nothing more nor less, then it would follow that Radradêman must have devoted himself to the cultivation of court poetry like Samudragupta and Harsbavardhana. Then the passage in question would further prove that the Kavga literature, in the second century, had been developed to such an extent, that even the grandson of a foreign Satrap like Chashtana could not escape its influence. On the other hand, if it is thought more advisable to understand the expressions of praise in the prasasti, with a qualification, and to think that these expressions regardless of actual facts, only concern themselves with representing Rudradåman as an ideal Indian prince-88 the poet's fancy was pleased to depict, even then we would be justified in drawing this conclusion at least, that during the second century it was the custom at Indian courts to oocupy oneself
The words printed within small brackets are necessary to complete the song while thone in rectangalar brackets are renderings of the broken words as restored by mo.