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INTRODUCTION
11
ns and pupily draws ou give us a simpoint he reaction
Unlike Puşpadanta who was a highly sensitive and lonely spirit reminding us of Bhavabhūti, Svayambhū appears to have fully basked in the colourful sunshine of the family happiness, the affection of relatives, the adoration of pupils, the patronage of leading Jain magnates of his time and the appreciative admiration of the contemporary literary circles and in this point he recalls to our mind Kālidāsa whose writings give us a similar impression. But Tribhuvana repeatedly draws our attention to the fact that none of the sons and pupils of Svayambhū came forth to continue his literary tradition. As he puts it, others accept wealth as their paternal inheritance; he, on the other hand, inherited the poetic faculty and carried on the great literary traditions of his family.
PC. was composed at the request and under the patronage of one Dhanañjaya', while during the composition of RC., Svayambhū was patronized by Dhavalaïya'. Tribhuvana wrote his supplement to PC. under the patronage of Vandaïya. Who was his patron when he completed RC. is not stated, but it is probable that Dhavalaïya extended his patronage to Tribhuvana also for that purpose. Whether there was any relationship between these Dhanañjaya, Dhavalarya and Vandaïya we simply do not know. From the similarity of the phonetic pattern of the last two of these names with that of the names like Ammaïya, Dangaïya, Santaïya and Silażya mentioned by Puşpadanta and from the -avvaending feminine proper names mentioned by Svayambhů (Amiavvā, Svayambhu's wife) and Puşpadanta' (Kundavvą, the mother of Puşpadanta's patron Nanna) we can safely infer that these two flourished in the same region. Further in view of the fact that avve, abbe are Kannada words meaning 'mother' 'woman', that masculine proper names ending in -aïya and feminine proper names ending in -abbe, -avva were common in old Kannada, and that Puspadanta lived and wrote at Manyakheta modern Mālkhed in Hyderabad State, we can assume that Svayambhū carried on his literary activity staying in a Kannadaspeaking territory. It is true that we have no direct statement from the poet relating to his domicile. But the above inference finds indirect support from the following facts:
(1) In a simile in RC. the five Pāndavas, Draupadi and
from the follcile. But the direct statema
(1) Appendix I, 1-5, 13-15, 49; Puşpadanta refers to Svayambhú as 'surrounded by
thousands of friends and relatives' (Mahapurana, 69/1/7). At PC. 1 3 96, according to the reading rayadavuttu in P., S. and the gloss thereon in P. Svayambhū undertook to compose PC. at the instance of some merchant
prince (rājaśreşthi). (2) Appendix I, 46, 48, 49, 68, 84.
(3) Appendix I, 7, 8, 9 etc. Appendix I, 58, 66, 68 etc.
(5) Appendix I, 20, 25 etc. Mahapurāna, 1 4 7a, 102 13 7; Nayakumaracariu 1 3 12; from the Kannada inscriptions of the 8th-10th cent. cf. Atavarmmayyam, Kannayam. Kolgalivarayya, Govannayyam, Govindayyam, Cathayya, Devayyam etc. (Gai, 1946, 230) and Charengayya, Chavundayya, Viddepayya etc. (Narasimhachar, 1923,
Inscription Nos. 4, 39, 42). (7) Ņayakumaracariu, 112, stanza 2. (8) Kittel gives avve 'A mother, used also as a title of respect and love, 2. a
grandmother; 3. any elderly woman' and abbe 'mother'. Kal-abbe, Kanci-abbe, Nāgiabbe are attested from the Kannada inscriptions of the 8th-10th century (Gai, 1946, 24) and Gunamati-avve (C. 700 A.D.), Saviyabbe, Vaijabbe (C. 950 A.D.) and numerous others from old Kannada inscriptions (Narasimhachar, 1923, inscriptions Nos. 112, 139, 68). -abbe is a latter development of avve; the change of v to b was in a transitional stage in the 9th century A.D. (Gai, 1946, 16).
(9)
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