Indian Antiquary Vol 42

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

Page 205

JULY, 1913.]
INDIAN INSCRIPTIONS AND THE KAVYA
with kavya. Even this result in itself is of no little significance inasmuch as it proves that the invasions of the Scythians and other foreign races had extinguished the national art as little as the sciences. Further, as regards the characteristics which the prasasti prescribes for gadyapadya 'the compositions in prose and metrical form', it is to be noted, that they essentially agree with those which are given by Dandin for the Vaidarbhi riti, in accordance with an old tradition. In Kavyadarsa, I. 41-42, we have :
श्लेषः प्रसादः समता माधुर्ये सुकुमारता |
अर्थव्यक्तिरुदारत्वमोजः कान्तिसमाधयः ॥ ४६ ॥ इति वैदर्भमार्गस्थ प्राणा दशगुणाः स्मृताः ।
Of these ten fundamental attributes of the Vaidarbhi style, the prasasti names three, viz., madhurya, kanti and uddratva, and there is no reason why the madhura and kanta of the inscription should be interpreted otherwise than as rasavat full of sentiment,' and sarvajagatkanta 'pleasing to the whole world' or 'lovely', respectively. On the other hand, the word uddra elevated, grand' can scarcely have the meaning which Dandin attributes to it, in Kavyadarsa, I. 76.58 The preceding sabda-samaya specially enters into compound with udara at any rate, and the expression sabdasamayodara can not but be translated as 'grand through the conventional (with poets) use of words.' Accordingly, our author, following those who are referred to by Dandin, as kechit (Kávy. I. 79), means by udára, that language in which are used proverbial words and attributes commended by poets, e.g., kriddsarah, lilambuja, and similar words. A fourth characteristic mentioned by Dandin, the arthavyakticlearness of meaning', can be easily recognized in the synonymous expression sphuta of the inscription. A fifth characteristic ojas, the force of expression' may probably be meant by the adjective chitra wonderful, exciting wonder.' In favour of this we can quote Bharata's definition (Chap. XVI)
193
समाथि प
सातु [ साधु ] स्वरैरुदारेश्च तदाजः परिकीर्त्यते ॥
Even in the epithet laghu which is wrongly rendered by translators as short', we may find hidden a reference to the sixth attribute of the Vaidarbha style. Laghu here, no doubt, means beautiful, pleasing' and it very possibly stands for prasáda or sukumdratá, both of which are conducive to loveliness of composition. The last adjective alamkrita leaves no doubt about the fact that the author of the prasasti was acquainted with some theory of Alamkaras. In accordance with the proposed filling up of the lacunae and the explanations offered so far, the whole clause may be thus rendered:
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(by the king and the great Satrap Rudradâman) who [was expert in the composition of] prose and metrical kavyas, which are easily intelligible, charming, full of sentiment, capable of awakening wonder, lovely, noble with the conventional use of words, embellished (with the prescribed figures of speech).' Thus, whatever we may say about Rudradâman busying himself with poesy a fact which is very probable, though of course we can not be absolutely sure about itso much is certain that the author of our prasasti lays on poets conditions very similar to those prescribed by Dandin, that in the second century there must have been already in existence romances and other works in high prose as well as compositions in the Vaidarbha style, which in no way differed from the samples of classical composition preserved to us, and that there also existed an Alashkara-sastra.
(To be continued.)
5 The same are mentioned in Bharata's Natyasastra, oh. XVI:लेषः प्रसादः समता समाधिर्माधुर्यमोजः पदसौकुमार्यम् ।
अर्थस्य च व्यक्तिरुदारता च कान्तिच काव्यस्य गुणा दशैते ॥ उत्कर्षवान्गुणः कश्चियस्मिन्नुक्ते प्रतीयते ।
तदुदाराद्वयम्
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5 Dr. Bhagvanlal's translation, 'remarkable for grammatical correctness,' is not right for several reasons. 'Grammatical correctness' would be sabdabuddhatva, and this quality does not make a composition udara. Besides, the king's ability to write oorrectly is mentioned in 1. 13. I explain sabda samayodara thus:सद्वविषये यः कवीनां समयः संकेत आचारो वा तेन उदारम् ||