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126 ANDHRA KARNATA JAINISM: prose paragraph , quoted from the Korumilli grant composed by Chettanabhatta.
(e) Next as regbirds diction
We have noticed if the epigraphic“excerpts how panegyrical poetry even where it is Telugu delights in using a large element of Tatsama words to be in, keeping with directly Sanskrit portions to which Telugu prose compositions ha've been attached. The other important feature is an anxiety to secure sonorousness by. using literary forms (often archaic) of popular inords. The same tricks of style ‘are noticeable also in the diction of Nannaya'and of his Karnāta predecessor Pampa. In fact, the latter poet delighted in similating the music of his style to that of the ocean. This influence accounts largely for the very high proportion of Tatsæma element in Nannaya's composition. He must have modelled it on the style and diction of Pampa's Adi Purana, the style of which was more celebrated in his day than that of Pampa Bhārata. I just take one passage of panegyrical prose which seems to have been the result in the Telugu Inscriptions and Kavyas of the panegyrical poetry of Pampa and other earlier Kannada writers.
The passage runs thus : a “ Upanata samasta samanta cudamani prabha manjari punja ranjita carano”-E. G. grant of Indravarma.
Compare with this the following from the E. Ch. grant of Ammią II :-“ Sakala ripu nrpati
