CHAPTER - II CHAPTER II A NOTE ON MAGHA AND HIS SISUPALAVDHA
II. 0 Sanskrit poetry is a vast treasure of icnowledge that gives us immense information about ancient thought and principles. Some of the best works in ancient Sanskrit Uterature are written in the form of Sanskrit poems. Some of the most famous and respected poets have given us the treasure of poetry in Sanskrit. Most Sanskiii poems are followed by the name of the poet. Maghas Sisupalavadha is one amongst such great creations, which enjoys a very importance place in the history of Sanskrit literature. We present here few important reflections on text of Magha.
II. 1 MAHABHARATA AS THE SOURCE OF INSPIRATION AND THE PLOT:
The story of Sisupalavadha is taken from the Sabha Parva of Mahabharata where the killing of Sisupala by Krsna at the Rajasuy sacrifice of Yudhisthira is described. Magha as developed the plot in such way as to suit the purpose of a Mahdkdvya in twenty Cantos. The work begins with the arrival of the sage. Narada to Krishna in order to convey a message from Indra.
The story of this Mahakavya relates to the killing of the great king Sisupala. Sisupala was the king of Chedi country. Sisupala was the enemy of Krsna, the divine incarnation, and he was Ravana, the enemy of Rama, in his previous birth.
The episode is taken from Mahabharata; Sisupala was a cruel king and he was harassing not only men on the earth but also the gods in heaven. Narada went to Krsna to represent the grievances of the world to him so that he could save the world from his harassment. At the time, Yudhisthira, the eldest of the five brothers
14 CHAPTER II A NOTE ON MAGHA AND HIS SISUPALAVDHA
who came triumphant in the Great war of the Mahabharata, and king of Indraprasta, had arranged for the performance of great sacrifice called the Rajasuya, which kings after their coronation perform to assert their sovereign status. Krsna was his cousin. He had some difficulty in coming to a decision between proceedings to Sisupala to kill him and going to his cousin Yudhisthira to attend his sacrifice. He and his brother Balarama sat in council and Minster Uddhava. Krsna naturally wanted to go his cousin but concealed his intention to please his brother and advocated immediate action against Sisupala; Uddhava made the final choice by suggesting that if he went to the sacrifice, Sisupala too would be there and Krsna would get the change to kill him there. Krsna proceeded to the sacrifice of Yudhisthira, and there all the kings including Sisupala were assembled as guests. It was the custom on such occasions to receive a particular king as the chief guest, and Bhisma, the grand- uncle of Yudhisthira suggested that the honor should be done to Sri Krsna.
Sisupalavadha objected to this and claimed the honor to him. He reviled Krsna for all his crimes and sins in his life. This gave the occasion for Krsna to challenge him and to kill him in the fight.
^ II. 2 The main focus of Sisupalavadha:
(i) Political discussion (ii) Marching of Army (iii) Description of the mountain (iv) Drinking parties (v) Battle field (vi) Description of the mountain (vii) Description of the Sunset etc.
15 CHAPTER II A NOTE ON MAGHA AND HIS SISUPALAVDHA
II. 3 TITLE OF THE SISUPALAVADHA
Sisupalasya vadhah is called Sisualavadhah. By transference of epithets (Laksana) this is taken to denote the Kcivya of which the subject is Sisupalavadhah. Kavya being in the neuter we have Sisupalavadham in the neuter.
If we interpret like a Bahuvrihi compound with the Vakya - "'Sisupalasya vadhah asmin" should be avoided; first because this is a vyadhikaranabahuvrihi and such a Bahuvrihi is allowed only when the leading word is saptamyanta, never when Sathyanta; Secondly, the book does not contain 'vadha' but Vadhavarnanam. Hence to get a sense out of it vadha must take in the sense of Vadhavarnana by Laksana. If then after all Laksana cannot be avoided, why all this trouble? Why do not have Laksana at the very beginning and avoid the Vyadhikaranabahuvrihi?
A Taddhita in the sense 'Sisupalavadham adhikrtya krto granthah' is also undesirable because this gives ana and we get Sisupalavadhah. Nor does 'lup akydyikabhyo bahulam' help much because Sisupalavadha is not a prose work and cannot be called a dkhydyikd. Even if this point were concerned, the hip gives us Sisupalavadhah in the masculine by the Paninian rule Hupi yutktavadgunavacane' P. 1. 2. 51
Hence the best way to expound seems to be by Laksana with a sasthitatpurusa samdsa.
16 CHAPTER II A NOTE ON MAGHA AND HIS SISUPALAVDHA
II. 4 MAGHA'S STYLE:
Magha's style is throughout dignified and moves majestically, especially when the nature of the subject requires it. Otherwise it is simple generally, in that sense of the word as it understood with reference to works written in a literary language. It is embellished with picturesque figures and imaginative touches. The descriptions of situation and the narration of events are in general poetic, but there is occasionally some exhibition of pedantry. It is probably more a fault with the age than the poet.
Magha is possessed of luxuriance of expression and great imaginative power. He was deeply read in the Kamasutra. His love stanzas generally abound in sweetness and prettiness. Sometimes however the details are given in a manner that appear tedious to western mind. He is very fond of Alamkaras, which are generally happy and create effect on the reader. His alliterations are beautiful and clear. Often times he fond of slesa.
' Then having uttered the disagreeable speech Sisupala become vary angry ; he desires fearlessly to come before you aud kill you.
17 CHAPTER II A NOTE ON MAGHA AND HIS SISUPALAVDHA
On the whole his style is elaborate and in the grandeur of sense and sound he vise with Bhatti and Kumara dasa. Magha is very skilled in use of meters. In canto four he has used 22 metres.
Magha's style has been called Gaiidi or Pancall by different scholars. Those in favour of calling it Gaudi, justify their stand by the long compound in the Sisupalavadha. Magha frequently used double negative connotations. His alliterations too are over - wrought and produce monotony instead of charm. Sometimes they result in a harsh sound effect. In verse 1.62^ he adds two alliterating syllables, clearly with the intent of surpassing a cluster of alliteration of the same syllables in Bharavl. Magha's vocabulary is sometimes obscure. It can also become unpleasant to hear. He even uses grammatical terms in images of double entendre more than once. Quite frequently he uses 'hari' in the sense of both Krsna and lion, Kausika for both Indra and owl, or naga for an elephant and a snake. He has used peculiar type of Yamaka. Magha relies on Yamakas more than on slesa, which he seldom employs. He uses the same sound cluster for different meanings. Magha uses all the conventional epic meters. He also uses unfamiliar meters.
According to the circumstance, the style of Magha is terse, graceful or vigorous. In the second canto it is terse and it suits well the subject matter described. As regards the use of suitable
18 CHAPTER II A NOTE ON MAGHA AND HIS SISUPALAVDHA
grammatical forms excels all other poets. HT ^jfk^ I ^f^ R. V I
Another specialty of Magha is that he does not use as far as possible, a word for the second time to denote the same meaning. His vocabulary is so rich that he can easily find synonyms to express the idea. For example he uses the words '^ I cIMtH I ^ I
^^IdlR I W(R I to denote Yudhishthira. The sun is denoted with so many words as 3^ I m- I ^^^T^^l ^fR- I IR: I RR^I m^' etc.
For Krsna he uses the words ^ fg^l ^ I ^TN^ I ^l^: I
Magha's description too is vivid and beautiful. In a way he has combined in one work the special merits of Kalidasa, Bharavi and Dandin tough he cannot be said to excel them in any one of these merits.
19 CHAPTER II A NOTE ON MAGHA AND HIS SISUPALAVDHA
II. 5 MAGHA'S ENCYCLOPEDIC KNOWLEDGE:
The critical point about Magha's poetry is that, he is remarkable and unique for his creative mastery and literary usage of many different and key disciplines of knowledge. These include the fields of astrology, politics, Vedic accent, grammar, dramaturgy, astronomy, zoology, ('gaja sastra' and 'asva sastra'), music, erotic, puranic literature, poetics, and philosophy. In his poetry, one encounters almost every known discipline; he is in fact an encyclopedic writer par excellence. There is a universal scope in his writing that transcends limitation and division of knowledge. Magha uses his vast understanding and familiarity with these different areas of knowledge to heighten the meaning of the human experience that he describes in his poetry. Indeed, Magha is a universal poet not only for his profound understanding of the human heart but also for his integration of different fields of learning. This mastery does not make him only a scholar's poet; he is also full of pathos and intimacy. However, this living connection to human experience comes through, and from a universal approach that allows him to utilize many different disciplines.
There seems to be no branch of learning that is left untouched by Magha. He exhibits deep learning in some of the Sastras in particular. He had specialized in Sabdavidya. He uses all kinds of grammatical peculiarities with ease and refers to the important works on grammar with reverence. Panini's sutras, Pataiijali's Mahabhasya, Jayaditya's Kasikavrtti and Jinedrabuddhi's Nyasa are the major Vyakarana works mentioned.
20 CHAPTER II A NOTE ON MAGHA AND HIS SISUPALAVDHA
His mastery over Chanakya's Arthasastra is quite evident from the conversation of Balarama and Uddhava. As a poet he is expected to be well versed in Alamkara Sastra. Magha seems to have a special liking for Ayurveda. The science of Music is another branch in which he seems to be equally proficient and interested. He refers to the wonderful play of seven Svaras and the notes produced by other musical instruments contributing to heighten the dominating note of the flute.
II. 6 Magha : Conversant with Vedic lore
His knowledge of Vedic lore is worthy to praise. He nicely described 'agnihotra' sacrifice and also revealed the significance of the Rajasuya sacrifice. He also mentioned the material, which is needed for sacrifice. Magha was conversant with Vedic accent is evident from the following verses:
M^-c^(i<^:^ '^ ^ ^3^ra: f^n^?^ II R. "IH II
"Do not you treat with contempt the ruler of the Cedis, for he quells his foes at once like the udatta accent that suppresses the other accents in the same word"
He has also mentioned the importance of Vedic accent in the following verse.
M=lj[d^HMN'llHlf^iislRj4<-d ii4 21 CHAPTER II A NOTE ON MAGHA AND HIS SISUPALAVDHA He also mentions that due to difference in accent meaning also changes in the following verse: ^K^II^HN<: HJTRl^RHf ^^^^' ^^ % II ^V. RV II II. 7 Magha: Conversant with Philosophy Magha is also quite familiar with the various system of Philosophy. He described Samkhya tattvas in many places of his poetry. While describing the Rajasuya^ sacrifice he also given hints to Samkhya philosophy. In the first canto Narada praise krishna with following verse. "^ 'clF7 HP?^ ^^ ^^m %lcl: W^H^<:(d: f^: I ^KP d^q^JTvets^f^^^frmTR ^ WU ^kMM II ISi. I'K II 22 CHAPTER II A NOTE ON MAGHA AND HIS SISUPALAVDHA "The sages, conversant with the past, know thee to be the Purusa (Primeval Sprit), who takes no part in the creation of the universe, who is beyond all vikdras (transformations), who is quite distinct from the Prakrti, and who is realized with great difficulty by the self- controlled by means of spiritual insight." The dialogue of Balaram in second canto also support the idea lies in Sarnkhya philosophy as follows: 4^c "Let the victory of the army be attributed to you while you remain a mere observer but reap the fruit as the experience of the intellect (^l^aclT^lH), is attributed to the soul in the Samkhya system of Philosophy." He refers to Nyaya system in the following verse as follows ^^JTRT gTRTmr: 51i^ ^ ttfFW: II ^ <^? II "Benefits created by others become helpful (attain the state of subservience) to a powerful lord even if he does not do anything like sounds created by other objects become the special qualities of the ether." 23 CHAPTER II A NOTE ON MAGHA AND HIS SISUPALAVDHA He was expert in Yoga Philosophy also seen in his poetry from following verse. V.HH II "Here, men engaged in yoga contemplation who employ the means of purifying the mind such as maitri (good will) &c. and who, having brought about the destruction of the klesas (sources of pain in the world), have attained the Sdlambana yoga (a form of contemplation is which a yogi tries to bring before his mind the gross from of the eternal), desire to keep off even the knowledge of the Purusa (the soul) being different from Prakriti (Nature), although they have attained it already. He also established the tattvas of Vedanta Philosophy^ in many contexts. For instance: =t^iil+^'^+»c!.HlJHMd sNmgifh^ i^: II ?V. \^ II 24 CHAPTER II A NOTE ON MAGHA AND HIS SISUPALAVDHA ^3%^ Wf«l ^HIHHfr^^i^HWkKi^N^*^^ II I V< II "Thou art the final goal, affording permanent shelter, of the steady-minded man, who has reached the path of absolution, which is beset with obstacles in the form of impetuous passions (also, infested with violent robbers), and which is exceedingly difficult to traverse not being frequently trodden by men." He also drawn beautiful similes from Buddhist philosophy as follows: ^FIcTHlteciFqt ^^ W=^ H^IH^IH.11 R. R\ II "Just as the Buddhists have no separate soul in all the created bodies a pert from the five types of consciousness (skandhas), there is no separate counsel (mantras) to the kings apart from the five constitute parts (angasf. His knowledge of Purva Mimamsa system revealed while estimating the value and significance of the Rajasuya sacrifice^ ' ^IKdlHHI^KHJ^^-^^c|lcH 25 CHAPTER II A NOTE ON MAGHA AND HIS SISUPALAVDHA II. 8 Magha : Conversant with Purana He had good command on the puranic system of that time as follows: 5f#iSP^l^^?P7 ^: MskKNIK^m* N^ld^: II S^d^'^id^W^'^dfil^^: MflKW^^Ifl'till NHlf^H: II ^ V^ II " Who, wishing to become the master of the three worlds, when about to cut off his tenth head in excessive zeal, considered, reckless that he was, Siva's favor, answering his desire, as an obstacle." ^^•^NKli^tidWfiJ-^^^H^^^^I^^'Hti^^H H'^^H.II ? .^o II "Who, by heaving up the best of mountains (Kalidasa), requited the Trident-holder for his gift of a boon by (affording him) the pleasure of a voluntary embrace by the frightened ParvatI (lit. the daughter of the mountain of snow" rs rs •\ ^l^^l ^vHH^hHIuiiSc'^^j^cii^lldHMKii^ ^^^TIH. II ?y. ?p 26 CHAPTER II A NOTE ON MAGHA AND HIS SISUPALAVDHA ^^^^^ ^ W H^lidil: W^- II R .\ "O Hari, the king of Chedis has been offended by you who carried away Rukmini. Indeed women are the main roots of the deep-rooted tree of enmity" ^ ^ 1^ ^^mic^'^rH 3^^mi^l MINdNVl ^ili-y+K^^dlfHc^ II ;^. ^<^ n "When you went to conquer Narakasura (son of the earth), he (Sisupala) besieged this city (Dvarika) Uke darkness (would envelop) the slope of Mahameru Mountain when the sun had gone, away." ^^sfq ^ MNHIHc^^^^ ^: II ^ Vo II "Better not to mention (the fact) that he took away (by force) the wife of Babhru, for, even the talk of sinners leads to evil indeed" ^ i^KHKJi'JII w1?Tf^ # I N^^ m^ra^ g^ ^TNt^q^: II ^ ^o II "When king Jarasandha (one born of two mothers) was killed in battle by Bhima (the enemy of Hidimba), the son of Damaghosha 27 CHAPTER II A NOTE ON MAGHA AND HIS SISUPALAVDHA (Sisupala) who is bereaved of his friend after a long time, has become easy to subjugate." i>.\^m\ ^5i^KU| ^ H:51fJ^ H^ "Where Karma (lit. the fish-bannered God of love) of victorious shafts lived fearlessly in a physical form, having obtained (i.e., as he had) the close contact of Janardana (Krsna) who had repelled (struck at) the might of Sambhu in the fight with Bana." II. 9 Magha: Conversant with Politics His mastery over Chanakya's Arthasastra is quite evident from the conversation of Balarama and Uddhava. Mdi-d^^cl ^T?^ ^TOdtW^: II R .^^ II " Gentle words of conciliation will, on the other hand, only inflame him who is furious like drops of water suddenly poured into well- heated ghee." ^ fl Rit'iilHIdl ^cf^-dNW^: ^ =^ II ;^. ?o || 28 CHAPTER II A NOTE ON MAGHA AND HIS SISUPALAVDHA "But a rising enemy should not be ignored by one who wishes his n good; for he and a disease which are gaining strength are spoken as equals by the wise" 3TH^fe ^n^ ^F^n^ ^TFJTHt 1?TT ^ "The elaborate speech of an eloquent speaker who has not come to decision about the action to be taken is in vain like the boasting of a archer whose arrow misses the mark" ^H^I^fd^mlH c^l^ic^N^ld 5^11 R .H^ II "Some hold that a military expedition is proper when one's own is at its height while others (hold that it is proper) at the distress of the enemy, both these induce you, who are sitting quit to start." II. 10 Magha: Conversant with Ayurveda Magha seems to have a special liking for Ayurveda. He draws many illustrations from it. ^^^MW^It-q 5 ^ ^kc= f^tl^W^rcli 5n^: ^srviHT WJ^m II ^HV II 29 CHAPTER II A NOTE ON MAGHA AND HIS SISUPALAVDHA "Towards the enemy who could be subdued only by the fourth expedient (punishment) conciliation is a wrong remedy. Which wise man will give a bath with water to that fever which requires sweating? " ^M^T^"^ d^rMt HT|^: 5Fr ^^HdiH.11 ^ ."^^ II "Do not think that this king of Chedis (Sisupala) is single and can be conquered easily. He represents a group of kings like consumption which is a combination of a number of diseases." f?:n^ w^^ 5i^c^ ^w^ i\kmi\-\\\\ W:(^M^^mP^ H^ ^^^H<: II R ."^V II "To those kings (possessing all the seven limbs of the state) who remain patient where it is possible or desirable and exert in keeping with their strength, prosperity accrues (is assured). An undertaking (exercise) out of proportion to one's own strength is the root cause of his ruin (decay)" 4^HNHM qRWFFTFnTT^Il^qFTTfWRRTi II ^ .^R II 30 CHAPTER II A NOTE ON MAGHA AND HIS SISUPALAVDHA "He suspected the husband of rivers (the ocean) who touched the land, who roared loudly, whose high waves had the appearance of trembling hands, and who threw out foam, to be a person suffering from epilepsy who lies on the ground, who cries out loudly, who throws up his hands, and who gives out forth his mouth " II. 11 Magha: Conversant with Jyotisa 3^t [^^Hlki ^ H ^f|^5g^5^H^|| ^ ^ "How can there be happiness as long as even a single enemy is alive? The son of Simhika (Rahu) torments the moon in the very presence of the enemies of demons (gods)" ^STOT F^^%1^ f^ ^ I RHI^HI^ m^ d^yRH: ^ TJ^ II R. V<1 II "Though the guilt is equal, Rahu devours the Sun only at a long interval while he devours the moon quickly (at short intervals). This is the clear result of softness." ^I^^lt-^: H^r^^l >M'1tl'^lcl^*:j^: I "Wmi ^^^- 5^- ^sfq qrm: || :^. 31 CHAPTER II A NOTE ON MAGHA AND HIS SISUPALAVDHA "A wise king who knows the time), through wronged by the enemies, remains without exhibiting his passions and, becoming irrepressible Hke a disease, exhibits his wrath when the time comes". "The great warrior armed with (carrying) the discus and seated in a pleasure chariot, which (always) brought about the fulfillment of the desired object, the path of which was unobstructed in all directions and which was fast (in speed), shone like the lord of the Night (the moon) when he is in the Piisya constellation" II. 12 Magha: Conversant with Dramaturgy He had a very good command on the Dramaturgy. We can know from the following verse as follows: r^tj]: WM Hld^n^f^ ^^: II R. <: II "My speech (word) is just for giving and opportunity, for you speaks. A prologue is just to introduce the plot of the dram" 3^^Mci|Hch<•^|^mMN"^<^^i|H^J^|iJM«-HH4^9: I 32 CHAPTER II A NOTE ON MAGHA AND HIS SISUPALAVDHA NHl " On this (mountain), pictorical decoration, painted without any ground in the sky with the variegated rays rising from flawless new jewels lovely on account of or blending with one another, fills the aerial spirits with wonder. " II. 13 Magha: Conversant with Grammar: Magha has a good command of Grammar as follows: 5T^#^ JTt TO "That state-craft in which no spies are employed would never succeed, thought no step is taken in it that is not in accordance with maxims of politics, thought it may give good salaries and grants of property (to the king's servants), just as the science of grammar, with the paspasd removed from it, would lose its importance, even thought it may have the Nydya brining all words under the sutras, the excellent vritti, and the learned Bhcisya. ^RMMH^VIT cnrr^^ f^^^: ii R. \ ii "Then, the learned Hari explained to his two elders the conflict between the two important duties" 33 CHAPTER II A NOTE ON MAGHA AND HIS SISUPALAVDHA ^WMIN^<"J^' H d^l^dW<4): ^: II R. ^^ II "Different is unfettered strength and different is that regulated by Sastra (PoUtical Science). How can there be co-existence of Ught and darkness?" q^^ Hl MHNc?Qt>c^H.^W^ "Murari (Krsna) behold, beyond, beyond the water of the ocean, long stretches (lit. Rows) of forests which, with their masses of bluish leaves, had the appearance of mosses through up every moment by a thousand waves 4<^l^kdl^<<=ld<=^^l^^l^^ f^Tf^ ^!^jg?^5^TO II ^ ^^ II "(The city) Which, in the midst of the sea, making the quarters tawny by the splendor of its golden rampart, had sprung up in splendor having broken upon the water, as if it were the flame of the fire in mouth of vddava (i.e. the submarine fire) " ^ ^M^dl^c^M^^^k^ ^df^misldM^'dl^dl I 34 CHAPTER II A NOTE ON MAGHA AND HIS SISUPALAVDHA Hdfd<^ gFRTe^ ^HR^ " The people had not yet seen these two standing up (and looking) like the mountain of snow (Himalya) and mountain of collyrium (Nilagiri), when the Ancient sage (Krsna) made the sage sit on a seat placed by him with his own hands" II. 14 CHOICE OF DICTION As regards depth of meaning, there is no dearth of it in Magha's poem. ^ ^' ^lc*^4 ^T^ ^: ?inTcW^=^n'I^5TT^5^ ?m: II t \<^ "Thou alone, O sustainer of the Universe, art competent to save the world from the oppression of the tyrants who are puffed up with pride. For, who else but the sun can brighten the face of the sky that is tarnished by the nocturnal darkness." ^^^Tf^TT^q^NFTT^sfq ^f|^?T^^ ^- II ^ V^ "Dust, which when kicked with the foot rises to one's head, is far superior to a person who remains quiescent even when subjected to an insult." 35 CHAPTER II A NOTE ON MAGHA AND HIS SISUPALAVDHA "A lion roars in response to the thunder of a cloud, but not to the howling of jackal" The charm of diction lies in the choice of words, soft and sweet, set in a musical rhythm that chimes like the gentle ripples of a stream. Here are a few instances of the dulcet sounds of Magha's poetry. 5^nlN c^WdMl ^ fl 1^ WWfi'' II ^^V II "The sun rises and the moon goes down; the lilies of the night lose their luster but the day-lotuses expand in bloom; the owl forgets his joy, but the ruddy goose feels rejoiced. Oh, what a queer effect of the caprices of the cursed fate" ^kdlc^^kdl ^^^' ^m\ ^#K^^^ti^^"^H,ll V. ^ 36 CHAPTER II A NOTE ON MAGHA AND HIS SISUPALAVDHA "The mountain on which the bees hovered over the beds of lotuses, on which the clumps of trees mitigated the great of the sun, and the divine damsels with the lovely ringlets of hair roamed unmolested by the demons" "He saw before him the vernal season fragrant with flowers in galore, in which the palasa trees were glorious with fresh foliage, the full-blown were flush with pollen, and the delicate tendrils of creepers were spreading their net all around" II. 15 ALLUDED TO GODDESS SARASVATI Magha has also alluded to Sarasvati at some places. At one place, he refers to her in the sense of an interior court, {sabhabhyantara): "The speech of Krsna whose teeth resembled the tips of jasmine (kunda) buds, appeared as if washed (bathed) by his smiles that brightened the inside of the council of pure words" The word Sarasvati stands for the interior court of Heart. He uses the word BharatI in order to denote the sense of speech. 37 CHAPTER II A NOTE ON MAGHA AND HIS SISUPALAVDHA II. 16 EPITHETS USED IN SISUPALAVADHAM Epithet of Moon ^^NH^^^q^ 9. 42 ip^R 9. 34 H^lc^k^M 2. 53 WTTjM 4. 42 dH^ 3.60 Epithet of Surya: ^T^J^^Tm 1.2 Epithet of Indra: mm- 1.41 HJiNf^t^l. 51 gd^ 4. 13 Epithet of Vishnu: irs!,\i^ 5.12, fe» 1.23 =ll^HMti16.27 TTlfH3.12 ^^Rm 7.25 ^^T^^TN^ 7.28 ^HMlfiJI 1.21 ^?#H,3.22 ^^TFFRJ 3.36 Epithet of Brhaspati: ^J^^^n^ 2.69 rs__rs rv rs Epithet of Sri krishna: ^5^T^ 1. 16, T^HtidNld4.8. 15, ^l^W^ 2. 69 ^^^^Xd 1. 13 ^1^15^ 3. 82 g?^3. 65 ^UR 3. 19 Epithet of Naraka: JW^ 8. 15 Epithet of Siva: m\mM 9. 27 ^^5WT 4. 65 Epithet of Sisupala: %f2[TR 2. 96 %f 1.75 ^H^lti^ 2. 60 flMdli^i 2.11 Epithet of Parvati: ^NKlf^tidl 1.50 Epithet of Laxmi: HJKMtidl9. 30 38 CHAPTER II A NOTE ON MAGHA AND HIS SISUPALAVDHA Epithet of Garuda: HH^IIK 3. 23 WRR 1. 7 Epithet of Maruti: 'T^^TQ^ 4. 59 Epithet of Uddhava: MCIH=^|RT 2. 15 Epithet of Madana: ^HW^N 7. 2 ^«H)^«-H<6. 74 ^^^jfcP^e. 9 Epithet of Narada: [^< Epithet of Bhima: R^HK^i 2. 60 Epithet of Balaram: ^ftM. 2. 60<=ldl^lM 3. 60 ^Hc?!.Mlfu| 2. 70 II. 17 GRAMMATICAL CONSTRUCTION He is expert in grammar and gives numerous example of the use of grammatical rules, very possibly under Bhatti's influence. His periphrastic perfects passive such as bibharambadhuva are frequent; rare uses are madhyasamuclram and parejlam; vairayitaras is from the denominative, vairayate ;aghartate, nisedivan and nyaddhyisatm are recondite forms purely borrowed from Panini. Magha used all the Sanskrit vocabulary of that period as well as his own vocabulary. We can assume his ability of creating a scholarly poetry. Magha is possessed his great imaginative power in his poetry. His alliterations are beautiful and clear. 39