Samudra Gupta. (A Specimen Chapter of the Projected Ancient History of Northern India from the Monuments.) by VINCENT A

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Samudra Gupta. (A Specimen Chapter of the Projected Ancient History of Northern India from the Monuments.) by VINCENT A 19 ART. II.—Samudra Gupta. (A specimen chapter of the projected Ancient History of Northern India from the Monuments.) By VINCENT A. SMITH, M.R.A.S., Indian Civil Service. PREFATORY NOTE, THE following history of the reign of the great conqueror, Samudra Gupta, who was emperor of Northern India, and made extensive, though temporary, conquests in the south, about the middle of the fourth century of the Christian era, is offered as a specimen of the author's projected " Ancient History of Northern India from the Monuments." Though that projected historj' may never be completed, I venture to think that fragments of it may not be altogether valueless, and that they may suffice to prove that even now the materials exist for the construction of an authentic and fairly readable " History of Ancient India." The general plan of the projected work requires the exclusion from the text, so far as possible, of all dry archaeological dust, and the banishment of such unpalatable matter to footnotes or separate dissertations. Candid criticism and helpful suggestions will be welcomed by V. A. SMITH, Gorakhpur, India. 12th July, 1896. Samudra Gupta, circa A.D. 345-380. The conjecture may be permitted that at the time of the death of Candra Gupta I his favourite son Samudra was absent from court, and that this circumstance had enabled Kacha to seize and hold the throne for a short period, Downloaded from https://www.cambridge.org/core. INSEAD, on 14 Sep 2018 at 15:56:19, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/S0035869X00024217 20 SAMUDKA GUPTA. which probably did not exceed a year or two. The accession of Samudra Gupta, " the son of the daughter of the Licchavis," may be approximately dated in A.D. 345. The young monarch was fully convinced of the truth of the Oriental doctrine that a king who desires the world's respect cannot rest upon his father's laurels, but is bound to extend his borders, and attack and subdue neighbouring powers. To this task of " kingdom-taking " * Samudra Gupta devoted his long reign and great abilities. He was evidently a ruler of exceptional capacity, and skilled in the arts of peace no less than in those of war. Though the impartial historian cannot accept as sober fact all the magniloquent phrases of the courtly poet Harisena, who was commissioned by the filial piety of Samudra Gupta's successor to celebrate the victories and glories of the conqueror, it is manifest that the hero of the panegyric was a prince of extraordinary accomplishments, and that his career was one of almost uninterrupted success and military glory.2 The laureate's commemoration of the musical accomplish- ments of his hero is curiously confirmed by the rare and interesting Lyrist coins struck early in the reign of Samudra Gupta, which depict the king seated on a high- backed couch playing the Indian lyre. 1 mulkglrl in Persian. 2 This panegyric (prafastt) is engraved on.the pillar now in the fort of Allahabad, on which a copy of the edicts of As'oka is also inscribed. "The inscription is non-sectarian, being devoted entirely to a recital of the glory, conquests, and descent of the early Gupta king Samudragupta. It is not dated; but, as it describes Samudragupta as deceased, it belongs to the time of his son and successor, Candragupta II, and must have been engraved soon after the accession of the latter [i.e. about A.D. 3§0]. Its great value lies in the abundant information which, in the conquests attributed to Samudragupta, it gives as to the divisions of India, its tribes, and its kings, about the middle of the fourth century A.D." The historical portion of the record is in nearly perfect preservation. The inscription consists of thirty-three lines, of which the first sixteen are in verse and the rest in prose. The language is good classical Sanskrit. The inscription possesses special literary interest, because I it is one of the earliest long compositions in classical Sanskrit to which a definite date can be assigned with confidence. The panegyric was composed by Harisena, who held several high offices at the court of Candra Gupta II, and the inscription was engraved under the superintendence of an official named Tilabhattaka. The metres of the metrical portion are Sragdhard, Cdrdulavik- rtaiia, and Mandakranta. (Fleet, " Gupta Inscriptions," No. 1, pp. 1-17, pi. i.) Downloaded from https://www.cambridge.org/core. INSEAD, on 14 Sep 2018 at 15:56:19, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/S0035869X00024217 SAMUDRA GUPTA. %\ The allied art of poetry also claimed the sovereign's attention, and, if we may believe the panegyrist, the numerous compositions of the royal author were worthy of a professional poet.1 The works of several princely Indian poets are extant, but unfortunately not a single line of Samudra Gupta's poems has been preserved to enable the modern critic to judge how far they deserved the favourable verdict of the laureate. We are also told that the king delighted in the society of the learned, and employed his acute and polished intellect in the study and defence of the sacred Scriptures, as well as in the lighter arts of music and poetry.2 These statements the historian must be content to accept as they stand, and, while recognizing that they are coloured with the flattery which kings love to receive, and courtly poets love to bestow, he will admit that the panegyric has a basis of fact, and that its subject was a sovereign of no ordinary merit. Whatever may have been the exact degree of skill to which Samudra Grupta attained in the accomplishments which graced his leisure, it is evident that the serious occupation of his life was war and conquest. At an early period of his reign he set up a claim to be the paramount sovereign of Northern India, and revived the ancient and imposing ceremony of the Sacrifice of the Horse, the successful celebration of which proved the validity of the celebrant's claim to universal sovereignty. According to accepted tradition, the termination of the great war of the Mahabharatas, and the final victory of the Pandavas, had been signalized by the celebration of this solemn rite, and no Indian monarch could have a higher ambition than to renew in his own person the legendary glories of the heroes 'LineS. " The fame produced by much poetry." Line 15. "And even poetry, which gives free vent to the mind of poets; all these are his." Line 27. " Who established his title of king of poets by various poetical compositions that were fit to be the means of subsistence of learned people." 2 Lines 5, 15, 27, 30. Downloaded from https://www.cambridge.org/core. INSEAD, on 14 Sep 2018 at 15:56:19, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/S0035869X00024217 22 SAMUDRA GUPTA. of the national epic. The ceremony was after this manner: —" A horse of a particular colour was consecrated by the performance of certain ceremonies, and was then turned loose to wander for a year. The king, or his representative, followed the horse with an army, and when the animal entered a foreign country, the ruler of that country was bound either to fight or to submit. If the liberator of the horse succeeded in obtaining or enforcing the sub- mission of all the countries over which it passed, he returned in triumph, with the vanquished Rajas in his train; but if he failed, he was disgraced, and his pre- tensions ridiculed. After the successful return a great- festival was held, at which the horse was sacrificed, either really or figuratively." 1 The fact that Samudra Gupta successfully renewed this ancient rite, which had long fallen into desuetude, is abundantly proved both by the inscriptions2 and the coins; and is probably commemorated by the statue of a horse now in the Lucknow Museum, and inscribed as being " the pious gift of Samudra Gupta." Possibly the sacrifice took place in the north of Oudh, where that statue was found.3 The commemorative coins, though of the same weight as the pieces issued for ordinary currency, are evidently medals struck on the occasion of the great festival which celebrated the conclusion of the sacrifice, and were probably then distributed to the officiating Brahmans. Samudra Gupta is recorded to have given away vast numbers of cows and great sums in gold, and it may reasonably be assumed that the Horse Sacrifice occasioned an exceptional display of his habitual generosity. The medals exhibit on the 1 Dowson, "A Classical Dictionary of Hindu Mythology," etc., S.Y. Aswa- Medha. 2 The restoration of the practice of the horse sacrifice is referred to in three inscriptions, viz. the Bilsar pillar (No. 10); the Bihar pillar (No. 12); and the Bhitari pillar (No. 13). The passage in line 2 of the last-mentioned record runs thus: " Who was the giver of many millions of lawfully acquired cows and gold ; who was the restorer of the asvarnedha sacrifice, which had been long in abeyance " (" Gupta Inscriptions," p. 54). 3 V. A. Smith, " Observations," p. 97, and frontispiece. The image was found near the ancient fort of Khairigarh, in the Kherl district, on the frontier of Oudh and Nepal. Downloaded from https://www.cambridge.org/core. INSEAD, on 14 Sep 2018 at 15:56:19, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms.
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