Indian Antiquary Vol 47

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

Page 178

168
THE INDIAN ANTIQUARY
Kuvalayakalika-karṇaptrådarena; out of regard for her ear-ornament, an imitation lotus bud 'an ear-ornament in the shape of a lotus.' (Ta e commentary explains 'Nilotpala-kalika-rupaḥ Karnaparah'; here rúpa does not mean shape but indicates identity of the two, i.e., the lotus tself is the ear-ornament. For lotus ear-ornament, of..... Bhavani putrapremni Kuvalayadalaprapi karne karoti. Meghadûta I, 48). (3) p. 109-Dr. Quackenbos identifies the Mountain of Sunrise' (Udayagiri) with Mt. Meru. But these two are, according to the Puranas, different; Udayagiri is located to the east of Bharatavarsa, the southernmost country of the Jambudvipa in the centre of which is Mt. Meru. Thus Udayagiri is to the east of India, whereas Mt. Meru is to its north. (4) pp. 234-5-Bhapala sasi-bhaskarânvaya-bhuvaḥ ke, nama nå"saditu Bhartaram punar eka eva hi bhuvas tvan deva manyamahe; Yena'ngam parimṛśya Kuntalam atha'kreya vyudasyâyatam Colam prâpya ca madhyadetam adhuna kañcyam karaḥ pâtitaḥ. Dr. Peterson supposed that this sloka refers to the conquests of Harsavardhana, Mayura's patron. But as his conquest never extended to Southern India, Dr. Ettinghausen believes (and Dr. Quackenbos also seems to believe) it to be a stanza written before a campaign, forecasting what Harsa intended to do. But it cannot be a forecast. The suffix ta (kta) of patitah refers to past tense only. Here it has been used with adhuná (now) and thus the past sense is modified a little so as to mean immediate past or in other words Present Perfect Tense. It cannot refer to future. Hence we must take the stanza not as a forecast but as Praise in the conventional exaggerated style of a poet given up to punning and without any reference to historical accuracy.' SURENDRANATH MAJUMDAR SASTRI.
subject matter is the parakrama of Pârtha (Arjuna) in defeating the army of the Kauravas and recovering the cows of Virâța. The author is Prahlâdanadeva, the younger brother and Yuvaraja (A.D. 1162-1207) of king Dhârâvarsa, the Paramâra ruler of Chandrâvati and Mount Abu. Prahladana was famous as as warrior, philanthropist and poet. The author of the Kirtikaumudi says that this royal bard made the Goddess of Learning, who was afflicted with sorrow on account of the death of Muñja and Bhoja, again delightful by dramatizing a beautiful story. He also describes our poet in a prasasti as the incarnation of Sarojasanasambhava (Goddess of Learning) or of the heavenly cow. Though these descriptions have been prompted by what Visakhadatta refers to (in his Mudrârâksasa) as "Stuvanti érantasyah kṣiti patimabhatairapi gunaiḥ prabha rastrinayaḥ sa khalu," this Vyâyoga exhibits our royal bard's skill in drawing word-pictures and in delineating the Svabhavokti alankara as an example of which I quote:
Gopan-astravranitavapusaḥ preksya başpayi
PARTHA-PARAKRAMA VY YOGA OF PARAMARA PRAHLADANADEVA, edited with introduction by C. D. DALAL, M.A. Baroda, 1917. Price Annas six.
It is the fourth volume of the Gaekwad's Oriental Series which was welcomed, a few months ago, in my review of the first volume-Kavya-mimdmed. The work under review is a výdyoga or an one-act drama on military spectacle. The
[JUNE, 1918
taksyo
Hambharâvair-mukharitama ho kudhrarandhra
rudatyaḥ;
Udhorodhad-alasagatayo'pyasu bhitya vrajaniyasTamyanty-etah Kurupatihata (hrta ?) mátarastarṇakanam.
It contains many fine passages some of which reminds the reader of similar incidents described in the Venteamhåra and the Dhananjaya-vijayavyayoga which treats of the same subject. Though our poet is skilful in writing fine verses and is thus really a prahladana (gladdener), he is not very artistic in the manipulation and develop. ment of the plot. His style is Gaudi He introduces, in his Prastavaná, a Sthapaka in addition to the Sutradhara. The Prakrit passages insert y to avoid hiatus (the Ya-śrui of Jaina Prakrit a peculiarity probably due to the fact that the MSS. belonged to Jaina Bhandaras. The editor has performed his duty very satisfactorily; his introduction is learned, and there are only a few printing mistakes (e.g., read hrta for hata in the slo ka quoted above, varsavara for varsadhara in p. 13, Acarya, vicaryatám for Acaryavicaryatâm.)
SURENDRANATH MAJUMDAR SASTRI