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142
THE INDIAN ANTIQUARY
(JULY, 1924
The Arthakrama is one of the six requisites of & writing (lekhasampad): arthakramak (disposition), sambandhah (subsequent connection of the same), paripurnata (correct and conscious completion), (987) madhuryam (unartificial, happy ideas and expression), aydaryam (choice language), and spagtatvam (easy intelligibility). With these merits, we must enumerate the faults to be avoided (lekhadopáh, p. 75), viz., akántih (clumsiness, see below), vydghdtah (opposite of sambandha), punaruktam (repetition), apasabdah (grammatical mistake, see above), and sav plavah.30 The ideas which find expression here, are further developed at great length in the Alashkarašastra : madhurya and audarya under identical names, spastatva as prasdda (ot. Bhamaha, II.3), vydghatah = apakramam (ibid., IV. 20). punaruktam (ibid., IV. 12), apababdah + sabdahina (ibid., IV. 22). The definition of pari. půrnata : Hanafunt a corgeraitafar a riqual, excludes by its first part, the våkyadoņa
974 (Kavya prakåsa, VII. 53), and by its second part, (hetao), opens up a question which Bhamaha treats at great length in his fifth Pariocheda. but which Dandin (III. 127) would rather leave undiscussed, as being irrelevant to the Alam kåra. From the parallels quoted above, it follows that there existed a stylistic method at the time of Kautilya, which has later probably merged in the corresponding portions of the Alam karaśdstra, and which, in so far, can be regarded as precursor of the latter. Be this as it may, the stylistin requirements as they are specified in the sasanddhikara can. in any case, be laid down, only with reference to a language, which by long literary use, has been brought up to no small perfection, and this was indeed the classical Sanskrit ; it would bo absurd to expect a stylistio fineness of that sort in a popular dialeet, as it is to be had in the inscriptions of Asoka.31
The conolusion at which we have arrived on the strength of the foregoing considerations, viz.. that the classical Sanskrit was the official, if not perhaps the only language in the king's office, seems to stand at variance with the fact mentioned above, (968) that the classioa) Sanskrit is first used in inscriptions from the second century A.D. onward. In order to remove this conflict, we cannot urge that there might have been two entirely different categories of royal decrees, sinoe Kautilya mentions among the eight kinds 37 of Sasanas also the parihara, documents of royal favour. I however think that the difficulty can be carried nearer to
30 The meaning is not quite clear. The definition is - T race of r e frater. FÅRT: A varga is explained (p, 72) T T TTTT: T utach : ara: Probably the fundamental idon is similar to that in Vamana : To treat year it on IT, 2. 2. in connection with the property belonging to ojas. Vamana understands by udkya here connected words which express an idea. Varga soome to signify something similar—the expression of an idea by words ranging betwoon one and three. The samplava is a fault in the true mode of writing, but if managed with art, is a quality of pathetic poetry (oompare also ekartham, Vamana, II. 2. 11).
31 What rense there can be in laying down audaryam (= agrdnyadabdabhidhanam) M requisito of popular dialoot? According to Vamma, (I1. 1. 7) gramyam = lokamdaraprayuktam ; under this would fall in all likelihood all words of the popular dialect ! 89 They are :
प्रज्ञापनाज्ञापरिसवलेलाः। तथापरीहारनिवृष्टिलेली ॥ प्राकृतिक प्रतिलेख एव।
सर्वचगतिहासमानि॥ The definition of parthara runa thua
जातर्विशेषेषु परेषु चैव ।। पामेषु देशेषु च तेषुतेषु.॥ भनुमाही बोनपतनिधान । EXT: TOER VERTHI (Page 73.)
