69 Chapter III Sources of the Data which are Mainly Used Having elaborated in the previous chapter different devices of external embellishments of Kdvya, in this chapter some Inscriptions are selected for the study of over-all poetical aspects. This chapter is formulated with the material from the texts of the Inscriptions. It forms a basis for the study of peculiarities of language and styles of different Inscriptions. The present study is based on the analysis of both primary and secondary sources. Sanskrit Inscriptions of the Post-Maurya period and of the Gupta period in India and Sanskrit Inscriptions of the Funan period in Cambodia have been used for the purpose of our present study. The study is limited to 21 Sanskrit Inscriptions of the Post-Maurya period and the Gupta period in India; and 48 Sanskrit Inscriptions of the Funan period in Cambodia. A. Selected Sanskrit Inscriptions in Indja 1. Allahabad Stone Pillar Inscription of Samudragupta 2. Eran Stone Pillar Inscription of Samudragupta 3. Udayagiri Cave Inscription of Chandragiipta-ll 70 4. Meharaulr Iron Pillar Inscription of Chandra 5. Bilsad Stone Pillar Inscription of Kumaragupta-I 6. Dhanaidaha Copperplate Inscription of the Time of Kumaragupta-I 7. Damodarpur Copperplate Inscription of the Time of Kumaragupta-I 8. Damodarpur Copperplate Inscription of the Time of Kumaragupta-I 9. Tumain Fragmentary Inscription of Kumaragupta-I and Ghatotkachagupta 10. Junagarh Rock Inscription of Skandagupta 11. Kahaum Stone Pillar Inscription of Skandagupta 12. Indor Copperplate Inscription of Skandagupta 13. BhitarT Stone Pillar Inscription of Skandagupta 14. Samath Buddhist Stone Image Inscription of Kumaragupta-II 15. Samath Buddhist Image Inscription of Budhagupta 16. Damodarpur Copperplate Inscription of the Time of Budhagupta 17. Eran Stone Pillar Inscription of Budhagupta 18. Damodarpur Copperplate Inscription of the Time of the Budhagupta 19. Gu^iaighar Copperplate Inscription of Vainyagupta 20. Eran Stone Pillar Inscription of the Time of Bhanugupta 21. Damodarpur Copperplate Inscription of the Gupta Year 224 B. Selected Sanskrit Inscriptions in Cambodia 1. Neak Ta Dambang Dek Stone Inscription of the time of Jayavarman 2. Neak Ta Dambang Dek Schist-plaque Inscription of KulaprabhavatT 3. Proasat Pram Loven Stone Inscription of Gunavarman 4. Ta Prohm Stone-slab Inscription of Rudravarman 5. Phnom-Penh Stone Inscription of Bhavavarman-II, Saka 561 (639A.D.) 6. Prah That Kvan Pir Inscription of Pushkara, Saka 638 (716 A.D.) 71 7. Prali Khan Temple Inscription of Suryavarman, Saka 924 (1002 A.D.) 8. Phnom Bantay Nan Rock Inscription of Bhavavarman 9. Phnom Prah Vihar Hillock Inscription of Bhavavarman 10. Han Chei Temple Door-pairs Inscription of Bhavavarman 11. Veal Kantel Stone-slab Inscription of Bhavavarman-I 12. Thma Kre Rock Inscription of Citrasena 13. Phu Lokhon Inscription of Citrasena 14. Sambor Prei Kuk Inscription of Isanavarman 15. Vat Pu (Ang Pu) Sandstone Inscription of Isanavarman 16. Svay Chno Stone Inscription of Isanavarman 17. Phnom (Nui) Ba-The Inscription of Nfpaditya 18. The Vat Chakret Temple Inscription of Isanavarman 19. Kedei Ang Temple Stone Inscription of Jayavarman 20. Inscription of Bhavavarman 21. Toul Kok Prah Stone Inscription of Jayavarman-I 22. Vat Prei Var Stone-slab Inscription of Jayavarman-I 23. Kedei Ang Temple Stone Inscription of Jayavarman-I 24. Vat Prei Var Stone Inscription 25. Tuol Prah That Inscription of Jayavarman-I 26. Tan Kran Inscription of Jayavarman-I 27. Vat Phu Inscription of Jayavarman-I 28. Tan Kran Inscription 29. Prasat Prah That Inscription 30. Prali Bat Stele Inscription of Yasovarman 31. Loley Inscription of Yasovannan 32. Eastern Baray Inscription of Yasovarman 33. Eastern Baray Stele Inscription of Yasovarman 72 34. Eastern Baray Stele Inscription of Yasovarman 35. Eastern Baray Stele Inscription of Yasovarman 36. Loley Door-Pillar Inscription of Yasovarman 37. Prasat Ta Keo Inscription 38. Phnom Prah Vihar Stele Inscription 39. Phnom Dei Temple Inscription of Yasovarman 40. Phnom Sandak Stele Inscription of Yasovarman 41. Phimanakas Inscription of Yasovarman 42. Angkor Thom Inscription of Yasovarman 43. Angkor Thom Inscription of Yasovarman 44. Vat Thipedi (adhipati) Inscription of Isanvarman 45. Vat Chacret Temple Inscription 46. Prasat Thom Inscription of Jayavarman-IV 47. Baksei Camkron Inscription of Rajendravarman 48. Pre Rup Stele Inscription of Rajendravarman The Indian and Cambodian Sanskrit Inscriptions throw light on the different aspects of Kavya, such as language, style, Alankdra, metre. Rasa etc. Various Inscriptions on stone, sandstone, rock, etc., display a variety of poetical usages, i.e. Junagafh Rock Inscription of Skandagupta. Nidarsana : Illustration is illustrated in Junagayh Rock Inscription of Skandagupta Line 9, Verse 13, Metre : <m^M (1=^^ + ^{^'l^^l) -''^DC. Sircar,/A/J., p. 310. 73 R3^ TJ^ ^M^W^ II (Insc. 10.13) As the gods, after appointing god Varuna to guard the western direction, felt at ease and became free from anxiety, similarly the king became content after appointing Parnadatta in the direction other than the east A figure of speech in which the connection of things implies a relation of type and prototype and that connection may either be possible or impossible, e.g., Kahdasa, at the very outset of his book Raghuvamsa before beginning to describe the Raghu dynasty, says, "Where is the solar race, and where is my meagre intellect? Thus out of ignorance I have been desirous of crossing the impassable ocean in a raft." Here the description of the solar race by one possessing a poor intellect and the reference to the crossing of the ocean irl a raft are unconnected but they have been brought together. Ananvaya : Comparison of an object with itself or its own ideal form is illustrated in Junagarh Rock Inscription of Skandagupta Line 12, Verse 19, Mefre : ^MMIIH (I^^^ + ^^'^'=«^l) ^^i^M^ll ^TFT ^: f^»^ I H ^ +lr^H ti'JHI^dMi ^^ jpngq^TR - ^: II (Insc. 10.18) 1 e the west himha and pratihimha ^^^D.C. Sircar,//?/</., p. 311 74 There is no one in the entire world with whom he can be compared. He alone was the standard of comparison for all people who were endowed with good qualities. Line 12, Verse 20, Metre : Upajati ^^^\k\ (ir^^^l + ^J'^'l^^l) RRT^ ^^i^^r^^JR ^FF^ II (Insc. 10.19) These and, more than these, other qualities having been examined, he was appointed by his father himself for the protection of the city particularly in the east. Thus having examined all such qualities and other merits that had appointed for the protection of the city by the father himself did that property. Line 13, Verse 21, Metre : Indravq/m (^«^q^rj^i) ^^^ HI-^4-M ^?K^ ^^ I i#R^ ^ 5RTRT 5^:^^^ II (Insc. 10.20) Having depended fiilly on the prowess of his two hands, not on the pride of some one else, he did not inflict pain on any one, but punished the wicked ones in the city. 263 ,, Upamana Read viryam. Read dustdn 75 A figure of speech in which, in one sentence, the same object has been conceived of as both, the subject^^^ and the standard of comparison^^^ e.g., with the full advent of the autumn season the lotus became as brilliant as the lotus. Here the lotus has intentionally been compared to itself in order to convey the idea that nothing else can match it. Svabhavokti : Natural description is illustrated in Junagarh Rock Inscription of Skandagupta Line 15, Verse 26, Metre : ^51PT ^c[5R ^ R^ ^M<l< II (Insc. 10.24) Now, in due course, when the rainy season arrived, the clouds rent asunder the summer season and continuously rained plentiful. Suddenly there opened up beautiful sights^^^. Line 15, Verse 27, Metre : I^^^ mrfej^N^npi^ i gc^ - 5RJT^ TTURt f^\:M II (Insc. 10.25) 266 upameya. 267 upamana. ^''*^D.C. Sircar,/A/(/.,p 312 269 by way of herbs, plants, and shrubs growing up from the earth 76 In the Gupta year 136, on the 6th day of Bhadrapada (August-September) by count... A figure of speech in which such actions and characteristics of an object are described as are not easily perceived by all, e.g.. Oh! Wavy-eyed woman, the deer looks you at with their ears standing erect. This verse describes the inborn nature of the deer, which look at every new thing with curiosity with their ears standing erect. Bhava: Gesture or expression of sentiment is illustrated in Junagarh Rock Inscription of Skandagupta^^^ Lines 16-17, Verse 29, Metre : ^5R=«T r\<^HM\ 1^ ^ 5R#H: II (Insc. 10.27) Looking at the deep and large whirl-pools in the ocean produced by the on­ set of the rainy season, the trees full of flowers, grown on the shore of the ocean stretched their hands in the form of rivers as if having a strong urge to meet their beloveds. One of the twenty Sdttvika Alankdras of the heroine, as enumerated by Bharata, and the first among the three Afigaja Alankdras. It has been defined as the first touch of erotic emotion in a mind which had no such experience in the past, e.g., it is the same spring season, the same Malaya breeze; and the maiden is also the same; but she looks as if she is now quite ^^"DC Sircar,/6/fif., p. 313, 77 different. As is evident, the maiden is having her first experience of the erotic feeling. This is Bhdva. Vyaghata : Frustration is illustrated in Junagafh Rock Inscription of Skandagupta^''" Line 17, Verse 30, Metre : ^51^ MN«-d'Ml =^ ^^*ry*|: II (Insc. 10.28) "What! What should be done!" People thus talking among themselves all day and night and feeling sad and dejected became reflective and piqued. A figure of speech having two forms : (i) in which a certain thing which is done by someone by certain means is undone by the same means, e.g., we adore these beautiful-eyed women who beat lord Siva by reviving with their eyes the god of Love (Cupid) who was reduced to ashes by His (third) eye.