Chapter - 4 LITERARY STUDY OF SELECT SANSKRIT...

Chapter - 4

LITERARY STUDY OF SELECT SANSKRITINSCRIPTIONS

4.1. Vr/tta (metres)

4.2. S~abda=lan?ka=ras

4.3. Artha=lan?ka=ras

4.4. Rasa (sentiments) and Dhvani (suggestion)

4.5. Contribution of Sanskrit Inscriptions to Stotra Literature

4.6. Chronograms in Inscriptions

4.7. Some Technical Terms used in Sanskrit Inscriptions

Chapter - 4

LITERARY STUDY OF SELECT SANSKRIT

INSCRIPTIONS

So far, a large number of Sanskrit inscriptions have been

discovered in India. Many of them are worth mentioning on

account of various literary merits. There are even a number of

Sanskrit inscriptions which are simply prosaic and nothing to

write home about on the literary point of view. Leaving aside

such, a literary analysis of Sanskrit inscriptions endowed with

substantial poetic charisma, has been carried out here, which

enlightens the contribution of Sanskrit inscriptions to Sanskrit

literature. The study necessitates testing out, how far these

Sanskrit inscriptions meet the requisites of successful poetry

and the standard of literary elements such as vr/tta, alan?ka=ra,

guna/, rasa, etc.

Vr/tta (Metres)

In Sanskrit, vr/tta or Metre is an essential part of the poetry.

To apprehend and appreciate any poetical composition the

knowledge and a feel of Chandas is essential. Says the poet

Dan/d/i, in his Ka=vya=darsa, “the lore of Chandas is the boat for

those who desire to cross the deep ocean of poetry”.

116

“xÉÉ ÌuÉ±É lÉÉæÎxiÉiÉÏwÉÔïhÉÉÇ aÉqpÉÏUÇ MüÉurÉxÉÉaÉUqÉç |”

To express or describe any experience, feeling, emotion

or action, the choise of the appropriate metre is very important

in poetry, because every metre has its own mood and movement.

Ks/emendra, in his Suvr/ttatilaka, says that “while using a

particular metre one has to contemplate the Rasa, the mood, the

nature of the description and the context.” Therefore one should

have the knowledge of Chandas.

“MüÉurÉå UxÉÉlÉÑxÉÉUåhÉ uÉhÉïlÉÉlÉÑaÉÑhÉålÉ cÉ |

MÑuÉÏïiÉ xÉuÉïuÉ×¨ÉÉlÉÉÇ ÌuÉÌlÉrÉÉåaÉÇ ÌuÉpÉÉaÉÌuÉiÉç ||”

In Sanskrit as well as in all Indian languages, the Chandas

is determined by the arrangement of short (laghu) and long

(guru) syllables. The large number of possible permutations and

combinations have given rise to a large variety of metres.

Sometimes the name of the Chandas gives a clue to its

movement. As for example, ‘Manda=kra=nta’ means ‘slow

moving.’ Most of its syllables are long and heavy and it is said

to be ideal for expressing pathos. Similarly, another metre

‘Tvaritagati’1 means ‘fast gait and contains many short

syllables.’ Another metre Drutavilambita2 means ‘fast and slow.’

This metre begins with short syllables at a fast pace and later

adopts a slow and tardy rhythm using long syllables. Some

metres are named according to the nature of their movement.

For example, Bhujan?gapraya=ta,3 is named after the serpent and

Literary Study of Selec t Sanskrit Inscriptions

its rhythm has a zig-zag movement. Thus there are many

interesting insights into Sanskrit metres but there is no hard and

fast rule. The same metre is often used to depict different moods

and different metres can express the same mood. It all depends

on the inspiration and the mastery of the poet.

The composers of the inscriptions have also used a number

of different metres so as to make their compositions a tiny poem.

The metres used in the selected Sanskrit inscriptions of India

are given below with their rule and examples.

1. Sa=vitriÇ :

This is a small varn/vr/tta, containing six letters in each of

its four quarters. May be this is the smallest metre used in

Sanskrit inscriptions. The rule for this metre is –

qÉÉæ xÉÉÌuÉ§ÉÏqÉÉWÒûÈ |4

The scheme of Gan/as (groups) is – qÉ-qÉ

For example,

A§ÉÉrÉæïÈ £qÉÉlÉÉjÉæÈ ÉårÉÉåjÉïÇ SåWûxrÉ |

xÉÇxÉÉUÇ SØwOèuÉÉåŠæÈ MüiÉïurÉÉ xÉ¯ÒÎ®È ||

This verse is from an undated pras`asti from the reign of

Dharmapa=la of Kanauj.5

2. Anus/t/up:

This is also known as S~loka. This metre is most widely

used in the Sanskrit literature. The greater part of the

117Literary Study of Selec t Sanskrit Inscriptions

Maha=bha=rata, the Ra=ma=yan/a and the Pura=n/as are written in this

metre. In the Sanskrit inscriptional literature too, it stands in the

first rank for its frequent use. Perhaps, it is because of the great

freedom it allows in the use of long (aÉÑÂ) and short (sÉbÉÑ) syllables.

All the same, in its usual form, the fifth syllable of each pa=da

should be short, the sixth long and the seventh alternatively

long and short.

“mÉÇcÉqÉÇ sÉbÉÑ xÉuÉï§É xÉmiÉqÉÇ Ì²cÉiÉÑjÉïrÉÉåÈ |

aÉÑÂ wÉ Ç cÉ eÉÉlÉÏrÉÉiÉç vÉåwÉåwuÉÌlÉrÉqÉÉå qÉiÉÈ ||”6

The Ba=da=mi diff inscription7 of Pulakesi I is a good

example for the use of this metre. The whole inscription is written

in two ans/t/up verses except a line mentioning the date.

AµÉqÉåkÉÉÌSrÉ¥ÉÉlÉÉÇ rÉeeuÉÉ ´ÉÉæiÉÌuÉkÉÉlÉiÉÈ |

ÌWûUhrÉaÉpÉïxÉqpÉÔiÉ¶ÉÍsÉYrÉÉå uÉssÉpÉåµÉUÈ ||

kÉUÉkÉUålSìuÉÉiÉÉÌmÉqÉeÉårÉÇ pÉÔiÉrÉå pÉÑuÉÈ |

AkÉxiÉÉiÉç EmÉËU¹ÉccÉ SÒaÉïqÉåiÉScÉÏMüUiÉç ||

As in the classical Sanskrit literature this metre retains its

first rank in the frequency of use, in the case of inscriptional

literature also.

3. Indravajra= :

Each pa=da of this metre contains eleven syllables. Here

the 1st, 2nd, 4th, 5th, 8th, 10th and 11th syllables of each pa=da

are long and the rest short. There should be a pause (yati) after

the 5th and last syllables of each pa=da. The rule for this metre is –


xrÉÉÌSlSìuÉeÉëÉ rÉÌS iÉÉæ eÉaÉÉæ aÉÈ |8

The scheme of Gan/as (groups) is – iÉ-iÉ-eÉ-aÉ-aÉ

For example,

MåüÍcÉixuÉMüqÉïhrÉÍkÉMüÉxiÉjÉÉlrÉæ-

ÌuÉ¥ÉÉrÉiÉå erÉÉåÌiÉwÉqÉÉiqÉuÉÌ°È |

A±ÉÌmÉ cÉÉlrÉå xÉqÉUmÉëaÉspÉÉÈ

MÑüuuÉïlirÉUÏhÉÉqÉÌWûiÉÇ mÉëxÉ½ ||

This verse is from the Mandasor stone inscription9 of

Kuma=ragupta and Bandhuvarman, dated Ma=lava sam?vat 529

i.e. 473 A.D. It is composed by Vatsabhat/t/i.

4. Upendravajra= :

As the name itself indicates it is like the brother of

Indravajra=. It also contains eleven letters in each of its quarters.

Except the first letter being guru the metre is completely identical

with Indravajra=. The rule for yati is also as same as that of

Indravajra=. The rule for this metre is –

EmÉålSìuÉeÉëÉ eÉiÉeÉÉxiÉiÉÉå aÉÉæ |10

The scheme of Gan/as (groups) is – iÉ-iÉ-eÉ-aÉ-aÉ

For example,

ÌSuÉÉMüUxrÉåuÉ MüUæÈ MüPûÉåUæÈ

MüUÉÍsÉiÉÉ pÉÔmÉMüSqoÉMüxrÉ |

AÍvÉÍ ÉrÉÇiÉÉmÉWØûiÉÉåÂiÉÉmÉÇ

rÉqÉÑ³ÉiÉÇ mÉÉSmÉuÉeeÉlÉÉæbÉÉÈ ||


This verse is also from the Bijapur inscription11 of Dhavala

of Hastikundi, dated Vikrama sam?vat 1053 i.e. 996 A.D.

5. Upaja=ti :

Upaja=ti is said to be a mixture of two analogous metres

and usually takes the form of a combination of Indravajra and

Upendravajra, or of Vam?sastha and Indravam?sa=. Places of pause

here are the same as in the above two. The rule for this metre is

–

AlÉliÉUÉåSÏËUiÉsÉ£qÉpÉÉeÉÉæ mÉÉSÉæ rÉSÏrÉÉuÉÑmÉeÉÉiÉrÉxiÉÉÈ |

CijÉÇ ÌMüsÉÉlrÉÉxuÉÌmÉ ÍqÉÍ´ÉiÉÉxÉÑ uÉSÎliÉ eÉÉÌiÉÎwuÉSqÉåuÉ lÉÉqÉ ||12

For example,

iÉxrÉÉlÉÑMÔüsÉÈ MÑüsÉeÉÉiMüsÉ§ÉÉiÉç

xÉÑiÉÈ mÉëxÉÔiÉÉå rÉvÉxÉÉÇ mÉëxÉÔÌiÉÈ |

WûUåËUuÉÉÇvÉÇ uÉÍvÉlÉÇ uÉUÉWïû-

uÉUÉWûSÉxÉÇ rÉqÉÑSÉWûUÎliÉ ||

This verse is from the inscription of Vis/n/uvardhan13 found

at Mandasor, of the corresponding date 532 A.D.

6. S~a=liniÇ -

This metre has eleven syllables in each pa=da. Here except

the sixth and ninth syllables of each pa=da, all other syllables are

long. There should be a pause after the fourth and last syllables

of each pa=da. The rule for this metre is –


vÉÉÍsÉlrÉÑ£üÉ qlÉÉæ sÉaÉÉæ aÉÉåÅÎokÉsÉÉåMæüÈ |14

The scheme of Gan/as (groups) is – qÉ-iÉ-iÉ-aÉ-aÉ

For example,

xÉuÉÉïlÉåiÉÉlÉç pÉÉÌuÉlÉÈ mÉÉÍjÉïuÉålSìÉlÉç

pÉÔrÉÉå pÉÔrÉÉå rÉÉcÉiÉå UÉqÉcÉlSìÈ |

xÉÉqÉÉlrÉÉåÅrÉÇ kÉqÉïxÉåiÉÑlÉ×ïmÉÉhÉÉÇ

MüÉsÉå MüÉsÉå mÉÉsÉlÉÏrÉÉå pÉuÉÌ°È ||

It is a common benedictory verse that occurs in the Sanskrit

inscriptions of Karnataka.

7. Ratho=ddhata= :

This metre also has eleven syllables in each of its pa=das.

Here the 1st, 3rd, 7th, 9th and 11th syllables of each pa=da are

long and the others short. There should be a pause after the 4th

and last syllables of each pa=da. The rule for this metre is –

UÉå lÉUÉÌuÉWû UjÉÉå®iÉÉ sÉaÉÉæ |15

The scheme of Gan/as (groups) is – U-lÉ-U-sÉ-aÉ

For example,

iÉxrÉ lÉÉqÉ SkÉiÉÏ rÉvÉÉåqÉiÉÏ

aÉåÌWûlÉÏ mÉëhÉÌrÉlÉÉå rÉvÉÉåqÉiÉÏ |

ÍcÉ¨ÉqÉÑimÉjÉaÉiÉÇ ÌlÉÂlkÉiÉÏ

xÉÉ oÉpÉÔuÉ ÌuÉlÉrÉÉSÂlkÉiÉÏ ||


This verse is from the Udaipur stone inscription16 of

Apara=jita, dated Vikrama sam?vat 718, i.e. 661 A.D.

8. Do=dhakam :

This is also a metre consisting of eleven letters in each of

its quarters. The rhythm of this metre is attractive due to the

occurrence of three same gan/as i.e. Bha. The rule for this metre

is –

SÉåkÉMüuÉ×¨ÉÍqÉSÇ pÉpÉpÉÉSè aÉÉæ |17

The scheme of Gan/as (groups) is – pÉ-pÉ-pÉ-aÉ-aÉ

For example,

AÉåwÉÍkÉmÉirÉÑmÉqÉÉÌrÉiÉaÉhQûÈ

iÉÉåwÉhÉÃmÉÎeÉiÉÉxÉqÉMüÉhQûÈ |

mÉÉåwÉhÉÌlÉpÉïUpÉÔlÉuÉZÉhQûÈ

iÉÉåwÉM×üSÍjÉïwÉÑ rÉÉå UhÉcÉhQûÈ ||

This verse occurs frequently in the inscriptions of the

Vijayanagara dynasty. Sometimes the third quarter of the verse

is replaced with a Kannada expression – Bha=s/ege Tappuva

Ra=yara Gan/d/ah/.

9. Sva=gata=:

This metre also contains eleven letters in each of its

quarters. There should be yati after the fourth and seventh letters

of each pa=da.. This metre is also used time and again by the

composers of Sanskrit inscriptions. The rule for this metre is –


xuÉÉaÉiÉåÌiÉ UlÉpÉÉªÒÂrÉÑaqÉqÉç |18

The scheme of Gan/as (groups) is – U-lÉ-pÉ-aÉ-aÉ

For example,

mÉÌ§ÉÍpÉxxÉ pÉÑuÉlÉ§ÉrÉuÉÏU-

xiÉÉlÉç lÉ×mÉÉÇ¶É xÉMüsÉÉÎluÉÌlÉWûirÉ |

WûÉåqÉaÉÉqÉÑmÉÌlÉlÉÉrÉ iÉiÉÉåxqÉæ

qÉÉlÉÍxÉÌ®ÍqÉuÉ qÉÔÌiÉïqÉiÉÏÇ rÉÈ ||

This verse is from an inscription found at Hot/t/u=l19 in

Maharashtra.

10. Vam?sastham:

This metre contains twelve letters in each of its quarters.

The first, third, sixth, seventh, ninth and eleventh syllables of

each pa=da of this metre are short and the remaining are long.

There should be a pause after the fifth and last syllables of each

pa=da. The rule for this metre is –

eÉiÉÉæ iÉÑ uÉÇvÉxjÉqÉÑSÏËUiÉÇ eÉUÉæ |20

The scheme of Gan/as (groups) is – eÉ-iÉ-eÉ-U

For example,

xTÑüUlqÉrÉÔZÉæUÍxÉSÏÌmÉMüÉxÉiÉæÈ

urÉÑSxrÉ qÉÉiÉÇaÉiÉÍqÉxÉëxÉgcÉrÉqÉç |

AuÉÉmiÉuÉÉlrÉÉå UhÉU…¡ûqÉÎlSUå

MüOûcNÒûËU ÉÏsÉsÉlÉÉmÉËUaÉëWûqÉç ||


This verse is from the Aihol/e prasasti21 of Pulakesi II, dated

s`aka 556 i.e. 634 A.D.

11. Drutavilambitam :

This is also a metre that contains twelve letters in all of its

four quarters. There should be yati after the ninth and the last

syllables of each quarters. The rule for this metre is –

SìÓiÉÌuÉsÉÎqoÉiÉqÉÉWû lÉpÉÉæ pÉUÉæ |22

The scheme of Gan/as (groups) is – lÉ-xÉ-pÉ-U-xÉ-sÉ-aÉ

For example,

£ÉhÉqÉkÉÈ £ÉhÉqÉÑimÉÌiÉiÉælÉïpÉÈ

mÉuÉlÉsÉÉåsÉiÉrÉÉ kuÉeÉmÉssÉuÉæÈ |

WûUhÉmÉÉsÉlÉrÉÉåÂÍcÉiÉÇ aÉiÉÏ

MüjÉrÉÌiÉ xuÉrÉqÉåwÉ qÉWûÏpÉÑeÉÉqÉç ||

This verse is from Laks/man/a Mandir inscription23 of

Ra=jama=ta= Va=sat/a=, found at Sirpur.

12/ Sragvin/iÇ :

This is also one of the metres containing twelve letters in

each quarter. Because of having four same gan/as the rhythm of

the metre is symmetrical and sounds good. The rule for this

metre is –

Uæ¶ÉiÉÑÍpÉïrÉÑïiÉÉ xÉëÎauÉhÉÏ xÉqqÉiÉÉ |24

The scheme of Gan/as (groups) is – U-U-U-U


For example,

rÉxiÉmÉÉåuÉÎssÉÍpÉuÉåïÎssÉiÉÉaÉSìÓqÉÉå

uÉiÉïrÉÉqÉÉxÉ xÉÉU§ÉrÉÇ pÉÔiÉsÉå |

rÉÑÌ£üvÉÉx§ÉÉÌSMüÇ cÉ mÉëM×ü¹ÉvÉrÉÈ

vÉoSÌuÉ±ÉqoÉÑkÉåuÉ×ïÌ®M×üccÉlSìqÉÉÈ ||

This verse is from a beautiful inscription composed by

poet Man?gara=ja in honour of a Jaina saint S~rutamuni, found at

S~ravan/abela/gol/a.25

13. Pramita=ks/ara= :

This metre also possesses twelve letters in each of its

quarters. No rule about yati is said for this. The rule for this

metre is –

mÉëÍqÉiÉÉ£ÉUÉ xÉeÉxÉxÉæÂÌSiÉÉ |26

The following verse from the Tevara stone inscription of

Gaya=karn/a, is an example for this metre -

MüsÉkÉÉæiÉzÉÑÌ£üËUuÉ cÉlSìMüsÉÉ

eÉrÉÌiÉ xqÉUÉliÉMüÍzÉUÉåÌuÉkÉ×iÉÉ |

AÍsÉMüÉÍ£ÉuÉÌ»ûeÉÌlÉiÉÉåaÉëiÉ×wÉÉ

xÉÑiÉrÉÉ ÌaÉUåÈ xÉÑUxÉËUimÉrÉxÉå ||

14. To=t/akam :

Tot/aka is also one of the metres enjoying twelve

letters in each quarter. It has a captivating rhythm as it is


constructed by four same gan/as i.e. ‘Sa’. No rule for yati is

imposed. The rule for this metre is –

CWû iÉÉåOûMüqÉqoÉÑÍkÉxÉæÈ mÉëÍjÉiÉqÉç |27

The scheme of Gan/as (groups) is -xÉ-xÉ-xÉ-xÉ

For example,

cÉiÉÑUxÉëmÉOû‹lÉbÉÉŒûûÌlÉMüqÉç

zÉÑpÉzÉÑÌ£üMüUÉåOûMüzÉÑ£üÍqÉSqÉç |

oÉWÒûpÉÉeÉlÉUÉÎeÉ ÎeÉlÉÉrÉiÉlÉqÉç

mÉëÌuÉUÉeÉÌiÉ pÉÉåeÉlÉkÉÉqÉxÉqÉqÉç ||

This verse is from the Bijapur (Rajasthan State)

inscription28 of Dhavala of Hastikund/I, dated Vikrama sam?vat

1053 i.e. 996 A.D. The verse, however its language is not lucid,

duely follows the rules of this metre.

15. Bhujan?gapraya=tam :

This metre also contains twelve letters in each of its

quarters. The place of yati is not regulated here. Having all same

gan/as i.e. Ya, the metre has a fascinating rhythm. The rule for

this metre is –

pÉÑeÉ…¡ûmÉërÉÉiÉÇ pÉuÉå±æ¶ÉiÉÑÍpÉïÈ |29

For example,

M×üiÉÉliÉÉå ËUmÉÔhÉÉqÉlÉ…¡ûÉå uÉkÉÔlÉÉqÉç

AsÉXçbrÉÉå oÉsÉÉlÉÉqÉlÉÔlÉÉå aÉÑhÉÉlÉÉqÉç |


zÉUhrÉÈ mÉëeÉÉlÉÉÇ xÉiÉÉÇ MüsmÉuÉ×£ÉÈ

M×üiÉÏ lÉÎlSuÉqqÉÉï mÉÌiÉÈ mÉssÉuÉÉlÉÉqÉç ||

This verse is from the Udaye=ndiram Copper-plate

inscription30 of Nandivarma= II, belonging to Pallava dynasty.

16. Prahars/in/iÇ :

This metre contains thirteen letters in each of its

quarters and here the 4th, 5th, 6th, 7th, 9th and 11th syllables of

each pa=da are short and others are long. There should be a pause

after the third and the last syllables of each pa=da. The rule for

this metre is –

qlÉÉæ eÉëÉæ aÉÎx§ÉSvÉrÉÌiÉÈ mÉëWûÌwÉïhÉÏrÉqÉç |31

The scheme of Gan/as (groups) is – qÉ-lÉ-eÉ-U-aÉ

For example,

iÉxrÉÉpÉÔSuÉÌlÉpÉ×iÉÉqÉkÉÏµÉUxrÉ

mÉëZrÉÉiÉÉå eÉaÉÌiÉ xÉÑiÉÉå rÉjÉÉ ÌWûqÉÉSìåÈ |

U¦ÉÉlÉÉÇ uÉxÉÌiÉUZÉÎhQûiÉÉåÂmÉ£ÉÉå

qÉælÉÉMüÉå ÌaÉËUËUuÉ rÉÈ xuÉpÉÉuÉiÉÑ…¡ûÈ ||

This verse is from the Sirpur inscription32 of Ra=jama=ta= Va=sat/a=.

17. Man#jubha=s/in/iÇ :

This vr/tta is also of the kind of metres possessing thirteen

letters in each quarter. The metre is also called as Kanakaprabha =.


There should be yati after the eighth and the last letters of each

quarter. The rule for this metre is –

xÉeÉxÉÉ eÉaÉÉæ pÉuÉÌiÉ qÉgeÉÑpÉÉÌwÉhÉÏ |33

The scheme of Gan/as (groups) is – xÉ-eÉ-xÉ-eÉ-aÉ

For example,

kÉ×iÉÌuÉµÉoÉÑÌ®UrÉqÉ§É rÉÉåÌaÉÍpÉÈ

M×üiÉM×üirÉpÉÉuÉqÉlÉÑÌoÉpÉëSÒccÉMæüÈ |

ÎeÉlÉuÉ¯pÉÔuÉ rÉSlÉ…¡ûcÉÉmÉWØûiÉç

xÉ ÎeÉlÉålSìoÉÑÌ®ËUÌiÉ xÉÉkÉÑ uÉÍhÉïiÉÈ ||

This verse is from the eulogy34 of S~rutamini composed by

Man?gara=ja, belonging to the Vijayanagara period.

18. Rucira= :

This metre also contains thirteen letters in each of its

quarters. The rule for yati is given as Caturgr/ha i.e. 4 and 9.

Thus there should be a pause after the fourth and the last letter


cÉiÉÑaÉëïWæûËUWû ÂÍcÉUÉ eÉpÉÉæ xeÉaÉÉæ |35

The scheme of Gan/as (groups) is – eÉ-pÉ-xÉ-eÉ-aÉ

For example,

AËUgeÉrÉÉSeÉÌlÉ mÉÑUÉliÉMüÉåmÉqÉÈ

mÉUÉliÉMüÈ mÉUlÉ×mÉcÉ¢üqÉSïlÉÈ |

AmÉÉsÉrÉ‹sÉÌlÉÍkÉqÉåZÉsÉÉÇ qÉWûÏqÉç

xÉÑZÉålÉ rÉÉã ÌlÉeÉaÉÑhÉUÎgeÉiÉmÉëeÉÈ ||


This verse is from the larger Leiden copper-plate

inscription36 of Ra=jara=ja Co=l/a I.

19. Vasantatilaka= :

This metre contains fourteen syllables in each of its

quarters. Here the 1st, 2nd, 4th, 5th, 11th, 13th and 14th syllables

are long and the rest are short. There should be a pause after the

eighth and last syllables of each pa=da. The rule for this metre is –

E£üÉ uÉxÉliÉÌiÉsÉMüÉ iÉpÉeÉÉ eÉaÉÉæ aÉÈ |37

The scheme of Gan/as (groups) is – iÉ-pÉ-eÉ-eÉ-aÉ-aÉ

For example,

rÉÑYirÉÉaÉqÉÉ³ÉuÉÌuÉsÉÉåsÉlÉqÉlSUÉÌSìÈ

vÉoSÉaÉqÉÉqoÉÑÂWûMüÉlÉlÉoÉÉsÉxÉÔrÉïÈ |

vÉÑ®ÉvÉrÉÈ mÉëÌiÉÌSlÉÇ mÉUqÉÉaÉqÉålÉ

xÉÇuÉ®ïiÉå ÉÑiÉqÉÑÌlÉrÉïÌiÉxÉÉuÉïpÉÉæqÉÈ ||

This verse is from an inscription38 found at S~ravan/abel/gol/

a, belonging to Vijayanagara period.

20. Ma=liniÇ :

This metre has fifteen letters in each of its quarters.

The 1st, 2nd, 3rd, 4th, 5th, 6th, 10th and 13th syllables of each

pa=da are short and the others long. There should be a pause

after the eighth and last syllables of each pa=da./ The rule for this

metre is –


lÉlÉqÉrÉrÉrÉÑiÉårÉÇ qÉÉÍsÉlÉÏ pÉÉåÌaÉsÉÉåMæüÈ |39

The scheme of Gan/as (groups) is – lÉ-lÉ-qÉ-rÉ-rÉ

For example,

Í´ÉrÉqÉÍpÉqÉiÉpÉÉåarÉÉÇ lÉæMüMüÉsÉÉmÉlÉÏiÉÉÇ

Ì§ÉSvÉmÉÌiÉxÉÑZÉÉjÉïÇ rÉÉå oÉsÉåUÉeÉWûÉU |

MüqÉsÉÌlÉsÉrÉlÉÉrÉÉÈ vÉÉµÉiÉÇ kÉÉqÉ sÉ£qrÉÉÈ

xÉ eÉrÉÌiÉ ÌuÉÎeÉiÉÉÎ¨ÉïÌuÉïwhÉÑUirÉliÉÎeÉwhÉÑÈ ||

This is an invocatory verse of Vis/n/u, in the Girnar Rock

inscription40 of Skandagupta; of Gupta sam?vat 138 (457 A.D.)

21. Tu=n/akam :

This metre contains fifteen letters in each of its quarters.

Except Hemacandra’s Chandonus‘a=sanam, this metre is not

illustrated in any other Sanskrit prosodic works and more over

it is very rare to Sanskrit literature too. But it is time and again

used in Kannada literature and the prosodic works of Kannada

have identified this metre by the name Utsava41 as a ma=tra=vr/tta.

Perhaps owing to the influence of this this metre can be found

only in the Sanskrit inscriptions of Karnataka.

The scheme of Gan/as (groups) is – U-eÉ-U-eÉ-U

For example,

SåuÉ mÉÎhQûiÉålSì rÉÉåÌaÉUÉeÉ kÉqÉïuÉixÉsÉ

iuÉimÉSmÉëxÉÉSiÉxxÉqÉxiÉqÉÎeÉïiÉÇ qÉrÉÉ |


xÉ±zÉÈ ÉÑiÉÇ uÉëiÉÇ iÉmÉ¶É mÉÑhrÉqÉ£ÉrÉqÉç

ÌMÇü qÉqÉÉ§É uÉÌiÉïiÉÌ¢ürÉxrÉ MüsmÉMüÉÇÍ£ÉhÉÈ ||42

This verse is from an inscription found at S~ravan/abel/gol/a

of Karnataka; dated s‘aka 1355 i.e. 1432 A.D.

22. Mayu=ralalitam :

This metre also contains fifteen letters in each of its

quarters. It is very rarely found used in Sanskrit literature.

The scheme of Gan/as (groups) is – eÉ-xÉ-lÉ-pÉ-rÉ

For example,

iÉSÏrÉiÉlÉÑeÉÈ ÉÑiÉqÉÑÌlÉaÉïÍhÉmÉSåzÉÈ

iÉmÉÉåpÉUÌlÉrÉÎl§ÉiÉiÉlÉÑÈ xiÉÑiÉÎeÉlÉåzÉÈ |

iÉiÉÉåÅeÉÌlÉ ÎeÉlÉålSìuÉcÉlÉÉxiÉÌuÉwÉrÉÉzÉÈ

iÉiÉÈ xuÉrÉzÉxÉÉ pÉ×iÉxÉqÉxiÉuÉxÉÑkÉÉzÉÈ ||

This verse is from an inscription43 found at the Siddhara

Basadi in S~ravan/abel/agol/a, composed by Arhadda=sa, dated saka

1320 i.e. 1398 A.D.

23. Pan#caca=maram :

This metre possesses sixteen letters in each of its quarters.

Its rhythm is best suitable for viÇra and raudra sentiments. The

rule for this metre is –

eÉUÉæ eÉUÉæ eÉaÉÉæ cÉ iÉgcÉ mÉgcÉcÉÉqÉUÇ uÉSåiÉç |

The scheme of Gan/as (groups) is -eÉ-U-eÉ-U-eÉ-aÉ


For example, half a verse is found in this metre which is

from the Kuruspal stone inscription of somesvaradeva.44

—lÉSÏiÉOû²rÉå ÌuÉpÉÉÌiÉ UÉeÉWÇûxÉuÉiÉç

xÉ uÉåÌaÉSåzÉZÉÉhQûuÉÇ urÉSÏmÉrÉÎiMüUÏÌOûuÉiÉç |

24. Manda=kra=nta=:

This metre contains seventeen letters in each of its

quarters. The 1st, 2nd, 3rd, 4th, 10th, 11th, 14th, 16th and 17th

syllables of each pa=da are long and others are short. There should

be a pause after the 4th, 10th and last syllables of each pa=da.

The rule for this metre is –

qÉlSÉ¢üÉliÉÉqoÉÑÍkÉUxÉlÉaÉæqÉÉåï pÉlÉÉæ iÉÉæ aÉrÉÑaqÉqÉç |45

The scheme of Gan/as (groups) is – qÉ-pÉ-lÉ-iÉ-iÉ-aÉ-aÉ

For example,

bÉqqÉÉï¢üÉliÉÉ CuÉ qÉ×aÉaÉhÉÉ uÉ×£ÉUÉÎeÉÇ mÉëÌuÉvrÉ

cNûÉrÉÉxÉåuÉÉqÉ×ÌQûiÉqÉlÉxÉÉå ÌlÉuÉ×ïÌiÉÇ mÉëÉmlÉÑuÉÎliÉ |

iÉ²eeÉÉrÉÉå ÌuÉÌWûiÉaÉiÉrÉÉå oÉÉlkÉuÉÉÈ xÉÉlÉÑoÉlkÉÉÈ

mÉëÉmÉÑvvrÉqqÉÉï urÉÍjÉiÉqÉlÉxÉÉå rÉxrÉ pÉÔÍqÉÇ mÉëÌuÉvrÉ ||

This verse is from the Ta=l/agunda stone pillar inscription46

of Ka=kusthavarma= of Kadamba dynasty. (circa 5th cent. A.D.)

25. S~ikharin/iÇ :

This metre also contains seventeen letters in each of

its quarters. The 1st, 7th, 8th, 9th, 10th, 11th, 15th and 16th


syllables of each pa=da are short and the others long. There should

be a pause after the sixth and the last syllables of each pa=da.

The rule for this metre is –

UxÉæ ÂSìæÎvNû³ÉÉ rÉqÉlÉxÉpÉsÉÉ aÉÈ ÍvÉZÉËUhÉÏ |47

The scheme of Gan/as (groups) is – rÉ-qÉ-lÉ-xÉ-pÉ-sÉ-aÉ

For example,

xuÉrÉqpÉÔpÉÔïiÉÉlÉÉÇ ÎxjÉÌiÉsÉrÉxÉqÉÑimÉÍ¨ÉÌuÉÍkÉwÉÑ

mÉërÉÑ£üÉå rÉålÉÉ¥ÉÉÇ uÉWûÌiÉ pÉÑuÉlÉÉlÉÉÇ ÌuÉkÉ×iÉrÉå |

ÌmÉiÉ×iuÉÇ cÉÉlÉÏiÉÉå eÉrÉÌiÉ aÉËUqÉÉhÉÇ aÉqÉrÉiÉÉ

xÉ vqpÉÑpÉÔïrÉÉÇÍxÉ mÉëÌiÉÌSvÉiÉÑ pÉSìÉÍhÉ pÉuÉiÉÉqÉç ||

This verse is from the Mandasor stone inscription48 of

Yas`odharman, dated Ma=lava sam?vat 589 i.e. 532 A.D.

26. Pr/thviÇ :

This metre also contains seventeen letters in each of its

pa=das. Here, the 1st, 3rd, 4th, 5th, 7th, 9th, 10th, 11th, 13th and

16th syllables of each pa=da are short and the others long. There

should be a yati after the eighth and the last syllables of each

pa=da. The rule for this metre is –

eÉxÉÉæ eÉxÉrÉsÉaÉÉ uÉxÉÑaÉëWûrÉÌiÉ¶É mÉ×juÉÏ aÉÑÂÈ |49

The scheme of Gan/as (groups) is – eÉ-xÉ-eÉ-xÉ-rÉ-sÉ-aÉ

For example,

£ÉrÉÉÀûrÉMÑüuÉixÉUå Ì²iÉrÉrÉÑ£üuÉævÉÉZÉMåü

qÉWûÏiÉlÉrÉuÉÉUMåü rÉiÉoÉsÉ£ÉïmÉ£ÉåiÉUå |


mÉëiÉÉmÉÌlÉÍkÉSåuÉUÉOè mÉësÉrÉqÉÉmÉ WûliÉÉxÉqÉÉ

cÉiÉÑSïvÉÌSlÉå MüjÉÇ ÌmÉiÉ×mÉiÉåÌlÉïuÉÉrÉÉï aÉÌiÉÈ ||

This is an epitaph50 of the Vijayanagara king Devara=ya II.

This is the inscription found at S~ravan/bel/gol/a, containing the

only verse.

27. Harin/iÇ :

This metre also contains seventeen letters in all the four

quarters. The rule for yati is denoted as Rasa-Yuga-Haya i.e. 6-

4-7. It implies that there should be yati after the sixth, tenth and

the last letters of each quarter. The rule for this metre is –

UxÉrÉÑaÉWûrÉælxÉÉæï pÉëÉæ xsÉÉæ aÉÉå rÉSÉ WûËUhÉÏ iÉSÉ |51

The scheme of Gan/as (groups) is – lÉ-xÉ-pÉ-U-xÉ-sÉ-aÉ

For example,

´ÉuÉhÉxÉÑpÉaÉÇ kÉÉlÉÑuuÉåïkÉSØRûÇ mÉËUÌlÉÌ¸iÉÉÈ

xÉÑcÉËUiÉvÉiÉÉxÉÇaÉÉÈ MåüÍcÉÌ²ÍcÉ§ÉMüjÉÉÌuÉSÈ |

ÌuÉlÉrÉÌlÉpÉ×iÉÉxxÉqrÉakÉqÉïmÉëxÉ…¡ûmÉUÉrÉhÉÉÈ

ÌmÉërÉqÉmÉÂwÉÇ mÉijrÉÇ cÉÉlrÉå £ÉqÉÉ oÉWÒû pÉÉÌwÉiÉÑqÉç ||

This verse is from Mandasor stone inscription52 of

Kuma=ragupta and Bandhuvarman.

28. Narkut/akam :

This is also a samacatus/padi containing seventeen letters

in each quarter. This metre is also known by the names Avitatha


and Kanaka=bjini as such. There should be yati after the seventh

and the last letters of each quarter. The rule for this metre is –

rÉÌS pÉuÉiÉÉå lÉeÉÉæ pÉeÉeÉsÉÉ aÉÑÂ lÉMÑïüOûMüqÉç |53

The scheme of Gan/as (groups) is – lÉ-eÉ-pÉ-eÉ-eÉ-sÉ-aÉ

For example,

ÌrÉÂaÉmÉShQûlÉÉjÉqÉjÉ oÉÑYMühÉqÉmrÉlÉÑeÉÉæ

xuÉqÉÌWûqÉxÉqmÉSÉ ÌuÉUcÉrÉlÉç xÉÑiÉUÉÇ mÉëÍjÉiÉÉæ |

mÉëÌiÉpÉOûMüÉÍqÉlÉÏmÉ×jÉÑmÉrÉÉåkÉUWûÉUWûUÉå

qÉÌWûiÉaÉÑhÉÉåÅpÉuÉeeÉaÉÌiÉ qÉ…¡ûmÉShQûmÉÌiÉÈ ||

This verse is from a beautiful inscription of Irugapa Dan/d/

ana=tha54, belonging to the Vijayanagara period.

29. S~a=rdu=lavikriÇd/itam:

This is also one of the amply used metres in Sanskrit

inscriptions. This metre contains nineteen letters in each of its

quarters. Here, the 1st, 2nd, 3rd, 6th, 12th, 13th, 14th, 16th,

17th and 19th syllables of each pa=da are long and the others

short. There should be a pause after the twelfth and the last

syllables of each pa=da. The rule for this metre is –

xÉÔrÉÉïµÉæqÉïxÉeÉÉxiÉiÉÉÈ xÉaÉÑUuÉÈ vÉÉSÕïsÉÌuÉ¢üÏÌQûiÉqÉç |55

The scheme of Gan/as (groups) is – qÉ-xÉ-eÉ-xÉ-iÉ-iÉ-aÉ

For example,

AÉrÉÉåï WûÏirÉÑmÉaÉÑ½ pÉÉuÉÌmÉvÉÑlÉæÂiMüÍhÉïiÉæ UÉåqÉÍpÉÈ


xÉprÉåwÉÔcduÉÍxÉiÉåwÉÑ iÉÑsrÉMÑüsÉeÉqsÉÉlÉÉlÉlÉÉå²ÏÍ£ÉiÉÈ |

xlÉåWûurÉÉMÑüÍsÉiÉålÉ oÉÉwmÉaÉÑÂhÉÉ iÉüÉåÍ£ÉhÉÉ cÉ£ÉÑwÉÉ

rÉÈ ÌmÉ§ÉÉÍpÉÌWûiÉÉå ÌlÉUÏ£rÉ ÌlÉÎZÉsÉÉÇ mÉÉ½åuÉqÉÑuÉÏïÍqÉÌiÉ ||

This verse is from the famous Allahabad prasàsti of

Samudragupta56, composed by Haris/en/a. Another interesting

example is here where the composer uses the name of the metre

in the verse. It is as follows –

mÉÔuÉïÇ mÉÉOûÍsÉmÉÑ§ÉqÉkrÉlÉaÉUå pÉåUÏ qÉrÉÉ iÉÉÌQûiÉÉ

mÉ¶ÉÉlqÉÉsÉuÉÍxÉlkÉÑPû‚ ÌuÉwÉrÉå MüÉgcÉÏmÉÑUå uÉæÌSzÉå |

mÉëÉmiÉÉåÅWÇû MüUWûÉOûMÇü oÉWÒûpÉOÇû ÌuÉ±ÉåiMüOÇû xÉƒ¡ûOÇû

uÉÉSÉjÉÏï ÌuÉcÉUÉqrÉWÇû lÉUmÉiÉå zÉÉSÕïsÉÌuÉ¢üÏÌQûiÉqÉç ||

The meaning is – “oh king, at first the drum was beaten by

me in the city of Pa=t/liÇputra, afterwards in the country of Malava,

Sindhu and T/hakka, at Ka=n#ciÇpura and at Vidisà=. I have now

arrived to Karaha=t/aka, which is full of soldiars, rich in learning

and crowded. Desirous of disputation, I exhibit (zÉÉSÕïsÉÌuÉ¢üÏÌQûiÉqÉç)

the sporting of a tiger.

30. Matte=bhavikriÇd/itam :

This is a metre having twenty letters in each of its quarters.

Its rhythm is very much similar to S~a=rdu=lavikriÇd/ita. It is very

rarely used in both the classical and inscriptional literature of

Sanskrit. But it is very famous in Kannada literature as the


S~a=rdu=lavikriÇd/ita in Sanskrit. In this metre the yati comes after

the thirteenth letter of each pa=da. The rule for this metre is –

xÉpÉUÉlqÉÉæ rÉsÉaÉÉx§ÉrÉÉåSzÉrÉÌiÉqÉï¨ÉåpÉÌuÉ¢üÏÌSiÉqÉç |57

The scheme of Gan/as (groups) is – xÉ-pÉ-U-lÉ-qÉ-rÉ-sÉ-aÉ

For example,

uÉUSÉiÉÑ…¡ûiÉU…¡ûU…¡ûÌuÉsÉxÉ®ÇxÉÉuÉsÉÏqÉåZÉsÉÉÇ

uÉlÉuÉÉxÉÏqÉuÉqÉ×SèlÉiÉÈ xÉÑUmÉÑUmÉëxmÉÍkÉïlÉÏÇ xÉqmÉSÉ |

qÉWûiÉÉ rÉxrÉ oÉsÉÉhÉïuÉålÉ mÉËUiÉÈ xÉgNûÉÌSiÉÉåuÉÏïiÉsÉÇ

xjÉsÉSÒaÉïÇ eÉsÉSÒaÉïiÉÉÍqÉuÉ aÉiÉÇ iÉ¨Éi£ÉhÉå mÉvrÉiÉÉqÉç ||

This verse is from the famous Aihol/e prasasti of Pulakesi II58,

dated A.D. 634.

31. Utpalama=la= :

This is also a metre containing twenty letters in eachof its

quarters. It is also rare to the classical and epigraphical literature

of Sanskrit. The rule laid down for this metre is –

MüÉqÉsÉiÉÉ lÉpÉÉæ lÉpÉpÉUÉÎsaÉÌiÉ cÉÉåimÉsÉqÉÉÍsÉMüÉ |59

The scheme of Gan/as (groups) is – pÉ-U-lÉ-pÉ-pÉ-U-sÉ-aÉ

For example,

mÉssÉuÉUÉ¹íMÔüOûMÑüÂqÉÉaÉkÉqÉÉVûuÉcÉÉåVûsÉÉsÉxÉÇ-

uÉssÉcÉsÉÑYrÉuÉÇzÉeÉqÉWûÉlÉ×mÉÌiÉmÉëqÉÑZÉæUÍkÉÌ¸iÉqÉç |

uÉssÉpÉxÉælrÉqÉÑ³ÉiÉqÉiÉ…¡ûeÉuÉÉÎeÉpÉOûÉMÑüsÉgcÉrÉÈ

iÉssÉsÉlÉÉÍ£ÉuÉÉËUÌlÉuÉWåûlÉ xÉqÉÇ xÉqÉUå lrÉmÉÉiÉrÉiÉç ||


This verse is found in the Kerego=d/I Ran?ga=pura (Tumkur

district) Copper-plate inscription60 of Ra=jamalla.

32. Sragdhara=:

This metre contains twenty-one syllables in each pa=da.

Here, the 1st, 2nd, 3rd, 4th, 6th, 7th, 14th, 15th, 17th, 18th, 20th

and 21st syllables of each pa=da are long and the others short.

There should be a pause after the 7th, 14th and the last syllables


qÉëplÉærÉÉïlÉÉÇ §ÉrÉåhÉ Ì§ÉqÉÑÌlÉrÉÌiÉrÉÑiÉÉ xÉëakÉUÉ MüÐÌiÉïiÉårÉqÉç |61

The scheme of Gan/as (groups) is – qÉ-U-pÉ-lÉ-rÉ-rÉ-rÉ

For example,

´ÉÏqÉÉlxÉ ¢üÉåQûÃmÉÉå eÉrÉÌiÉ uÉxÉÑqÉiÉÏqÉhQûsÉÉsÉÏRûSÇ·íÈ

mÉÉå§ÉÏ MüÐhhÉÉïÌSìcÉ¢üÈ ZÉÑUrÉÑaÉÍvÉZÉU£ÉÑhhÉmÉÉiÉÉsÉmÉƒ¡û- |

uÉåaÉurÉÉÍ£ÉmiÉÌuÉµÉmÉësÉrÉeÉmÉuÉlÉærÉïxrÉ ÌlÉÈµÉÉxÉuÉÉiÉæ-

pÉÔrÉÉå pÉÔrÉÈ mÉëiÉÉqrÉÍ¨ÉÍqÉqÉMüUMÑüsÉÉÈ mÉÏiÉqÉÑ£üÉÈ xÉqÉÑSìÉÈ ||

This verse is from the Pus/pabhadra= grant of Dharmapa=la62,

of circa ninth cent. A.D.

Ardhasamavr/ttas (half equaled metres)

33. VipariÇta=khya=nakiÇ :

VipariÇta=khya=nakiÇ is nothing but a kind of Upaja=ti itself. If

the constituent metres of Upaja=ti are arranged in order to form

an Ardhasamacatus/padi (half symmetrical verse) then it is called


as VipariÇta=khya=naki. For this the metre of first and third quarters

should be same, and similarly that of second and fourth quarters

should be same. The structure may be exemplified like this-

Upendravajra= - Indravajra= - Upendravajra= - Indravajra=

For example is a verse from an epitaph of

S~ubhacandradeva, the preceptor of a chief called Gan?gara=ja.

(1123 A.D.)

ApÉÔSÒqÉÉxuÉÉÌiÉqÉÑlÉÏµÉUÉåÅxÉÉ-

uÉÉcÉÉrÉïvÉoSÉå¨ÉUaÉ×kÉëÌmÉcNûÈ |

iÉSluÉrÉå iÉixÉSØvÉÉåÅÎxiÉ lÉÉlrÉÈ

iÉÉiMüÉsÉMüÉvÉåwÉmÉSÉjÉïuÉåSÏ ||63

34. Bhadravira=t/ :

This metre is an Ardhasamacatus/padi. If in the odd quarters

the gan/as are Ta-Ja-Ra followed by a guru, and in the even

quarters the gan/as are Ma-Sa-Ja followed by two gurus, then it

is said to form Bhadravira=t/. Here the odd quarters contain ten

letters whereas the evens eleven. The rule for this metre is –

AÉåeÉå iÉmÉUÉæ eÉUÉæ aÉÑÂ¶ÉålqxÉÉæ eaÉÉæapÉSìÌuÉUÉOèû pÉuÉåSlÉÉåeÉå |64

For example,

ÍcÉliÉÉqÉÍhÉYsÉ×miÉzÉÑÌ£ürÉÑaqÉ-

¢üÉåQåû xrÉÉ±ÌS MüÉqÉkÉålÉÑSÒakÉqÉç |

SØzrÉåiÉ SØzÉÉåxiÉSÉxrÉ SÉiÉÑÈ

pÉÉåÈ xÉÉSØxrÉÇ kÉuÉsÉÉÂhÉã £ÉhÉxrÉ ||


This verse is found in the Khairaha= copper-plate inscription

of Yas`ah/karn/a.

35. Viyo=giniÇ :

This is also a half equaled metre containing ten letters in

the odd quarters and eleven in the evens. The structure of gan/as is –

In odd quarters - xÉ-xÉ-eÉ-aÉ

In even quarters - xÉ-pÉ-U-sÉ-aÉ

A verse from an inscription found at the Pa=rsvana=tha Basadi

in S~ravan/abel/gol/a65, composed by a poet called Madana

Mahesvara Mallina=tha, is an example for the epigraphical use

of this metre. It is as below –

SÒËUiÉaÉëWûÌlÉaÉëWûÉ°rÉÇ

rÉÌS uÉÉå pÉÔËUlÉUålSìuÉÎlSiÉqÉç |

lÉlÉÑ iÉålÉ ÌWû pÉurÉSåÌWûlÉÉå

pÉeÉiÉz´ÉÏqÉÑÌlÉÍqÉlSìlÉÎlSiÉqÉç ||

36. Ma=labha=rin/iÇ :

This metre also belongs to the class of Ardhasamacatus/

padis. It contains eleven letters in its odd quarters and twelve

letters in the evens.

The scheme of Gan/as (groups) is –

In the odd quarters (1 & 3) - xÉ-xÉ-eÉ-aÉ-aÉ

In the even quarters (2 & 4) - xÉ-pÉ-U-rÉ


For example, a verse in the Velvikud/I copper-plate

inscription66 of a Pa=n/d/ya king, Ned/un#jad/aiyan, is composed in

this metre. It is as follows –

kÉUhÉÏuÉsÉrÉÇ xÉqÉxiÉqÉåiÉiÉç

ÌlÉeÉSÉåSïhQûqÉWûÉåUaÉåhÉ kÉ¨Éå |

AWûUixÉ pÉÑeÉ…¡ûqÉÉÍkÉpÉiÉÑïÈ

ÍcÉUMüÉsÉÉå²WûlÉ ÉqÉÇ kÉUÉrÉÉÈ ||

37. Pus/pita=gra= :

This metre is also an Ardhasamacatus/padi , containing 12

letters in the odd quarters and 13 letters in the evens. Here the

gan/as in the odd quarters are Na-Na-Ra-Ya and in the even

quarters Na-Ja-Ja-Ra and a guru. The rule for this metre is –

ArÉÑÎeÉ lÉrÉÑaÉUåTüiÉÉå rÉMüÉUÉå rÉÑÎeÉ cÉ lÉeÉÉæ eÉUaÉÉ¶É mÉÑÎwmÉiÉÉaÉëÉ |67

For example,

kÉuÉÍsÉiÉMüMÑüpÉÉ rÉSÏrÉMüÐirÉÉï

pÉÑuÉlÉqÉpÉÔixÉMüsÉÇ ™iÉÉlkÉMüÉUqÉç |

UÌuÉiÉÑÌWûlÉMüUÉæ iÉÑ xÉÉjÉïMüÉæ xiÉÈ

MÑüqÉÑSxÉUÉåÂWûSÉåÍkÉïMüÉÇ mÉëoÉÉåkrÉ ||

This verse is from the Pat/t/ata=l/aman?galam copper-plate

inscription68 of Nandivarman II of Pallava dynasty.

Ma=tra=vr/ttas

38. A+rya=:

Next to anus/t/up, this metre is abundantly used in the

Sanskrit inscriptions. This metre is a ja=ti-vr/tta, i.e. the quarters


are regulated by the ma=tra=s or syllabic instants. And a=rya= is the

most widely known metre of this type, which has many varieties

like pathya=, vipula=, capala=, mukhacapala= etc. Howeve, a

common rule for this metre is;

sÉ£qÉæiÉixÉmiÉaÉhÉÉ aÉÉåmÉåiÉÉ pÉuÉÌiÉ lÉåWû ÌuÉwÉqÉå eÉÈ |

wÉ¸ÉåÅrÉÇ cÉ lÉ sÉbÉÑ uÉÉ mÉëjÉqÉåÅkÉåï ÌlÉrÉiÉqÉÉrÉÉïrÉÉÈ ||69

For example,

xÉMüsÉÈ MüsÉÇMüUÌWûiÉÈ £ÉiÉÌiÉÍqÉUxiÉÉårÉkÉåÈ vÉvÉÉƒ¡û CuÉ |

iÉxqÉÉSÒSmÉÉÌS xÉÑiÉÉå SåuÉÈ ÉÏWûwÉïaÉÑmiÉ CÌiÉ |

This verse is from the Aphsad stone inscription of

Adityasena70, of abou seventh cent. A.D.

An invocatory verse from the Narasim?hara =japura

(Chamarajanagar district) plates71 of S~riÇpurus/a, is also a good

example for a=rya= metre.

eÉrÉÌiÉ eÉaÉSåMüpÉÉlÉÑÈ xrÉÉ²ÉSaÉpÉÎxiÉSÏÌmÉiÉÇ rÉålÉ |

mÉUxÉqÉrÉÌiÉÍqÉUmÉOûsÉÇ xÉÉ£ÉÉiM×üiÉxÉMüsÉpÉÑuÉlÉålÉ ||

39. GiÇti :

This metre is also one of the kind of ma=tra=vr/ttas. This is

one of the metres devised by keeping A+rya= as the base. If the

second half of the A+rya= is totally as same as its first half, then it

said to be GiÇti. The rule for this metre is –

AÉrÉÉïmÉëjÉqÉSsÉÉå£Çü rÉÌS MüjÉqÉÌmÉ sÉ£ÉhÉÇ pÉuÉåSÒpÉrÉÉãÈ |

SsÉrÉÉåÈ M×üiÉrÉÌiÉzÉÉåpÉÉÇ iÉÉÇ aÉÏÌiÉÇ aÉÏiÉuÉÉlÉç pÉÑeÉ…¡åûzÉÈ ||72


For example,

CÂaÉmÉShQûÉÍkÉmÉÌiÉxiÉxrÉÉmÉUeÉxxÉqÉxiÉaÉÑhÉzÉÉsÉÏ |

rÉxrÉ rÉzÉ¶ÉÎlSìMürÉÉ qÉÏsÉÎliÉ ÌSuÉÉmrÉUÉÌiÉqÉÑZÉmÉ©ÉÈ ||

This verse is from the S~ravan/abel/gol/a inscription73 of

Irugapa, a chief during the Vijayanagara reign.

40. UpagiÇti :

This is also a ma=tra=vr/tta coming under the group of A+rya=.

If the first half of A+rya= is same as its second half then it is said

to be UpagiÇti. In both of its halves it contains five gan/as of four

ma=tras, a laghu and again a gan/a of four ma=tras followed by a

guru. The rule for this metre is –

AÉrÉÉïÌ²iÉÏrÉMåüÅkÉåï rÉªÌSiÉÇ sÉ£ÉhÉÇ iÉixrÉÉiÉç |

rÉ±ÑpÉrÉÉåUÌmÉ SsÉrÉÉåÂmÉaÉÏÌiÉÇ iÉÉÇ qÉÑÌlÉoÉëÔïiÉå ||74

For example,

qÉlÉxÉ CuÉÉÌiÉÌuÉzÉÑ®ÉiÉç oÉÉåkÉ CuÉÉpÉÔiÉç oÉÑkÉxiÉxqÉÉiÉç |

pÉÑuÉlÉÉqÉrÉM×üSè pÉÔpÉ×iÉç uÉÇzÉxiÉålÉÉeÉÌlÉ xjÉårÉÉlÉç ||

This verse is from the Karan/avela stone inscription of

Jayasim>ha.

41. A+rya=giÇti :

This is a ma=tra=vr/tta coming under the group of A+rya=. To

simplify, it is an extended form of GiÇti, i.e. if a guru is added at

the end of both the halves of metre GiÇti, then it is said to form


A+rya=giÇti. To express in another way, there should be eight gan/

as of four ma=tra=s in both the halves. The rule for this metre is –

AÉrÉÉïmÉÔuÉÉïkÉïÇ rÉÌS aÉÑÂhÉæMåülÉÉÍkÉMåülÉ ÌlÉkÉlÉå rÉÑ£üqÉç |

CiÉU¨É²³ÉÎZÉsÉÇ SsÉÇ rÉSÏrÉqÉÑÌSiÉæuÉqÉÉrÉÉïaÉÏÌiÉÈ ||75

For example,

lÉærÉÉÌrÉMåüpÉÍxÉÇWûÉå qÉÏqÉÉÇxÉMüÌiÉÍqÉUÌlÉMüUÌlÉUxÉlÉiÉmÉlÉÈ |

oÉÉæ®uÉlÉSÉuÉSWûlÉÉå eÉrÉÌiÉ qÉWûÉlÉÑSrÉcÉlSìmÉÎhQûiÉSåuÉÈ ||

This verse is from an epitaph76 set up by a minister named

Na=gadeva commemorating a Jaina saint NayakiÇrtideva.

42. San?kiÇrn/a-Skandhaka :

This is a ma=travr/tta of the Ga=tha = category of Prakrit.

In a sense it is a mixture of GiÇti= and A+rya=giÇti. San?kiÇrn/a-

Skandhaka, is formed if the first half of the verse is GiÇti and the

second is A+rya=giÇti or the vice versa. The rule for this metre is –

mÉÔuÉÉïkÉåï xMülkÉMüqÉmÉUÉkÉåï aÉÏÌiÉxiÉjÉÉ mÉÔuÉÉïkÉåï aÉÏÌiÉUmÉUÉkÉåï |

xMülkÉMüqÉÌmÉ xÉÇMüÐhÉïxMülkÉqÉÌmÉ xMülkÉÉåmÉsÉ£ÉhÉÉ ¥ÉårÉqÉç ||77

For example,

ÌuÉiÉUhÉsÉiÉÉuÉxÉliÉmÉëqÉSÉUÌiÉuÉÉÎ®ïiÉÉUMüÉMüÉliÉÈ |

xÉÉ£ÉÉixÉqÉUM×üiÉÉliÉÉå eÉrÉÌiÉ ÍcÉUÇ pÉÔmÉqÉÑMÑüOûqÉÍhÉUãUãrÉ…¡ûÈ ||

This verse is from an inscription of the time of Narasim?ha

I of the Hoysal/a dynasty78. The letters UãUã at the end of the above

verse should be considered hrasva, as there is a Kannada name

Ereyan?ga and there is no hrasva form of L and AÉå, in Sanskrit.


Ma=tra=-Varn/a-mis‘ravr/ttas

43. Vaita=liÇya :

This metre is one of the ma=tra=-varn/a-mis`ravr/ttas i.e.

thefusion of ma=tra=vr/ttas and varn/avr/ttas. In the odd quarters

there should be 6 ma=tras in the beginning and then a Ra-gan/a

and a laghu and a guru. And in the even quarters there should

be 8 ma=tras in the beginning and then a Ra-gan/a and a laghu

and a guru. There should not be continuous use of laghu or guru

in the even quarters. The order of syllables used in the odd

quarters should not be completely same with those of even

quarters. The rule for this metre is –

wÉQèûÌuÉwÉqÉå¹Éæ xÉqÉå MüsÉÉxiÉÉ¶É xÉqÉå xrÉÑlÉÉåï ÌlÉUliÉUÉÈ |

lÉ xÉqÉÉ§É mÉUÉÍ´ÉiÉÉ MüsÉÉ uÉæiÉÉsÉÏrÉåÅliÉå UsÉÉæ aÉÑÂÈ ||79

For example,

MüUuÉsÉiÉqÉÉsÉmÉssÉuÉÈ

MüUxÉgcÉÉrÉïÌmÉ rÉxrÉ pÉÔmÉiÉåÈ |

mÉËUqÉ×erÉ UeÉÉåxÉëuÉ×Ì¹ÍpÉÈ

mÉËUcÉxMüÉU UhÉå eÉrÉÍ´ÉrÉqÉç ||

This verse is taken from the Karan/ave=la stone inscription

of Jayasim?ha.

44. Aupacchandasika :

This metre is nothing but an extension of the

Vaita=liÇya. Aupacchandasika can be formed by just adding a guru


at the end of each quarter of the Vaita=liÇya metre. The rule for

this metre is –

mÉrÉïliÉårÉÉæï zÉåwÉqÉÉæmÉcNûlSÍxÉMÇü xÉÑkÉÏÍpÉÂ£üqÉç |80

For example,

lÉsÉqÉÉærÉïMüSqoÉMüÉsÉUÉÌ§É-

xiÉlÉrÉxiÉxrÉ oÉpÉÔuÉ MüÐÌ¨ÉïuÉqqÉÉï |

mÉUSÉUÌlÉuÉ×¨ÉÍcÉ¨ÉuÉ× Éå-

UÌmÉ kÉÏrÉïxrÉ ËUmÉÑÍ´ÉrÉÉlÉÑM×ü¹É ||

This is the ninth verse in the Aihol/e stone inscription81 of

Pulakes I II. The twenty-sixth verse of this inscription is also in

this metre.

Some non-Sanskrit metres are also found in Sanskrit

inscriptions. Two such are here to illustrate.

45. Manda=nila-Ragal/e :

It is a type of a Kannada-Telugu metre called Ragal/e. it is

a desi pattern of ma=tra=vr/ttas. There should be four gan/as of four

syllables (ma=tra=s) in each pa=da. There is no restriction for the

number of pa=das. They may be even more than four. Alliteration

should be there either in the beginning or in the middle or at the

ends. A verse found in the S~a=l/uvam?guppam inscription82 of

Pallava Narasim?havarma=, is in Manda=nila-ragal/e, which is as

follows -

AÌiÉUhÉcÉhQûÈ mÉÌiÉUuÉÌlÉpÉÑeÉÉ-

qÉÌiÉUhÉcÉhQåûµÉUÍqÉSqÉMüUÉåiÉç |


CWû ÌaÉËUiÉlÉrÉÉaÉÑWûaÉhÉxÉÌWûiÉÉå

ÌlÉrÉiÉM×üiÉUÌiÉpÉïuÉiÉÑ mÉvÉÑmÉÌiÉÈ ||

46. Lalita-Ragal/e :

This is another type of the above said Ragal/e containing

total of twenty ma=tra=s in a pa=da. If there are four gan/as of five

syllable in each pa=da then it is said to be Lalita-Ragal/e. A Sanskrit

verse from the Ko=ramilli (Andhra Pradesh) copper-plate

inscription83 of about 1022 A.D., is found to be written in Lalita-

Ragal/e. It is as below –

iÉxqÉæ xÉqÉxiÉeÉlÉiÉÉÌuÉzÉåwÉaÉÑhÉÉrÉ |

UæxÉÑiÉÌmÉïiÉqÉWûÏSåuÉSåuÉaÉhÉÉrÉ ||

The first editor of this inscription, J.F. Fleet perceived it

as a prose of rhythmical alliteration. But later it is Dr. P. B.

Desai who identified it as Lalita-Ragal/e.

Figures of Speech

Alan?ka=ra or the ornament of the sense or the sound, is an

important element in the Sanskrit literature. Says Dan/d/iÇ in his

Ka=vya=dars`a, “The attributes of sense or words which cause

elegance to a poetical work are called as Alan?ka=ras and they are

limitless as they can be innovated by any poet at any time.”

Alan ?ka =ras are of two kinds, namely, the

S~abda=lan?ka=ras (Figures of words) and the Artha=lan?ka=ras (Figures

of Sense). The Sanskrit inscriptions of Karnataka replete with


both the S~abda=lan?ka=ras and Artha=lan?karas. In many verses and

prose passages both are used with equal interest. Some examples

of these alan?ka=ras employed in the Sanskrit inscriptions of the

chosen period are furnished below;

S~abda=lan?ka=ras

Anupra=sa:

This is a figure of words and happens to be widely

adored by the Sanskrit poets. It is defined as;

AlÉÑmÉëÉxÉÈ zÉoSxÉÉqrÉÇ uÉæwÉqrÉåÅÌmÉ xuÉUxrÉ rÉiÉç

xuÉUqÉÉ§ÉxÉÉSØzrÉÇ iÉÑ uÉæÍcÉ§rÉÉpÉÉuÉÉ³ÉaÉÍhÉiÉqÉç |84

The resemblance between the words is called anupra=sa.

There are several types of anupra=sa like Cheka=nupra=sa and

Vr/tyanupra=sa etc.

In a verse or prose passage, if there are many sets of

words resembling in consonants (not necessarily in vowels),

then that is said to be Cheka=nupra=sa.

NåûMüÉå urÉgeÉlÉxÉ†¡ûxrÉ xÉM×üixÉÉqrÉqÉlÉåMükÉÉ |

If there is resemblance between the words, once or many

times and regularly or irregularly, then that is said to be Vr/

tyanupra=sa.

AlÉåMüxrÉæMükÉÉ xÉÉqrÉqÉxÉM×ü²ÉmrÉlÉåMükÉÉ |

LMüxrÉ xÉM×üSmrÉåwÉ uÉ×irÉlÉÑmÉëÉxÉ EcrÉiÉå ||85


There are plenteous examples of such anuprasas available

in the Sanskrit inscriptions. A few of them are given below;

pÉSìoÉÉWÒûUÌaÉëqÉxxÉqÉaÉëoÉÑÎ®xÉqmÉSÉ

zÉÑ®ÍxÉ®zÉÉxÉlÉÇ xÉÑzÉoSoÉlkÉxÉÑlSUÈ |

C®uÉ×¨ÉÍxÉÎ®U§É oÉ®MüqqÉïÍpÉ¨ÉmÉÉå

uÉ×Î®uÉÎ®ïiÉmÉëMüÐÌiÉïÂ¬kÉå qÉWûÍkÉïMüÈ ||

This verse is from an inscription86 found at S~ravan/abel/gol/

a of Karnataka; dated s‘aka 1355 i.e. 1432 A.D.

The Pat/t/adakallu inscription87 of the Calukya king

Kirtivarma II, contains a beautiful example for Vr/tyanupra=sa.

AÍsÉMÑüsÉsÉÉåsÉsÉÏsÉÉsÉMüÉuÉsÉÏÌuÉkÉ×iÉMüUÉaÉëqÉhQûsÉÉå... |

A verse in the Girnar rock inscription88 of Skandagupta is

marked for good pa=da=nupra=sa where the word AÉiqÉÉ is used

frequently in different senses. It is as below –

iÉxrÉÉlÉÑeÉÉå ½ÉiqÉeÉpÉÉuÉrÉÑ£üÉå

Ì²kÉåuÉ cÉÉiqÉÉiqÉuÉzÉålÉ lÉÏiÉÈ |

xÉuÉÉïiqÉlÉÉiqÉåuÉ cÉ U£ÉhÉÏrÉÉå

ÌlÉirÉÉiqÉuÉÉlÉÉiqÉeÉMüÉliÉÃmÉÈ ||

Some other examples –

mÉëÉå°ÉxÉÉå MüÍsÉMüÉsÉiÉxMüUÌiÉUxMüÉUÉrÉ xÉ³É½ÌiÉ |

(An inscription from Hot/t/ul in Maharashtra89 - Ch.K.d)


MæüuÉsrÉmÉSuÉÏ²ÉUMüuÉÉOûÉå«ÉOûMüqÉïÍhÉ

MüOûÉ£ÉÉÈ MÑüÎgcÉMüÉ rÉxrÉ MüÉXç£ÉiÉÉÇ iÉ§É ÌlÉuÉ×ïÌiÉqÉç ||90

(Bitragunta grant of Sangama II of VJN.d)

AMÑühPûÉåiMühPûuÉæMÑühPûMühPûmÉÏWûsÉÑPûiMüUÈ |

xÉÇUqpÉÈ xÉÑUiÉÉUqpÉå xÉ Í´ÉrÉÈ ´ÉårÉxÉåÅxiÉÑ uÉÈ ||91

(Machalishahar copper =plate inscription of

Haris‘candradeva of Kanauj)

Yamaka:

This is also a s`abda=lan?ka=ra and here there should be a

continuous use of a same word giving different meanings.

xÉirÉjÉåï mÉ×jÉaÉjÉÉïlÉÉÇ xuÉUurÉgeÉlÉxÉÇWûiÉåÈ |

¢üqÉåhÉ iÉålÉæuÉÉuÉ×Ì¨ÉrÉïqÉMÇü ÌuÉÌlÉaÉ±iÉå ||92

A verse in drutavilambitam metre, from the Aihol/e prasasti

of Pulakes`i II93, is a fine example for Yamaka.

UhÉmÉUÉ¢üqÉsÉokÉeÉrÉÍ´ÉrÉÉ xÉmÉÌS rÉålÉ ÌuÉÂahÉqÉzÉåwÉiÉÈ |

lÉ×mÉÌiÉaÉlkÉaÉeÉålÉ qÉWûÉæeÉxÉÉ mÉ×jÉÑ-MüSqoÉ-MüSqoÉ-MüSqoÉMüqÉç ||

“Who, having secured the glory of victory by his valour

in war, being a scent elephant of a king of great strength, at

once completely broke down the multitude (Kadamba) of the

braod Kadamba trees the Kadambas.”

Following verse is another fine example for

Yamaka=lan?ka=ra, which is found in a copper plate inscription of

a Ra=s/t/raku=t/a king Kr/s/n/a II94.


xÉ uÉÉåurÉÉ²åkÉxÉÉ kÉÉqÉ rÉ³ÉÉÍpÉMüqÉsÉÇ M×üiÉqÉç |

WûU¶É rÉxrÉ MüÉliÉålSÒMüsÉrÉÉ MüqÉsÉÇM×üiÉqÉç || 11

i.e. May he (Vis/n/u) protect you, from whose navel (rises)

the lotus flower which Vedhas (Brahma=) has made his abode,

and may Hara (protect you), whose head is adorned by the

comely crescent of the moon. The word MüqÉsÉÇM×üiÉqÉç of the latter

half of the verse, should be split as MüqÉç AsÉÇM×üiÉqÉç where ‘MüqÉç’

means ‘head’.

A+dipra=sa:

This is also a sàbda=lan?kara where the first word of each

pa=da in a verse is rhymed. This is widely used in Kannada poetry

and it is compulsory in certain Kannada metres like S/at/padi,

Kanda etc. It is more seen in the Sanskrit inscriptions of

Karnataka compared to those of other parts of India.

For example,

AQ ûqÉUÏM×üiÉÌSauÉsÉrÉÉåÎ®iÉ-

Ì²Q ûqÉUÏmÉËUaÉÏiÉqÉWûÉrÉzÉÉÈ |

qÉ×Q ûqÉËU¹M×üiÉÇ qÉlÉxÉÉå²WûlÉç

ÌlÉQ ûqÉUÏÍ£ÉÌiÉmÉÉåÅeÉÌlÉ iÉixÉÑiÉÉiÉç ||95

4. Antyapra=sa:

This is also a sàbda=lan?ka=ra. Here the last word of each

pa=da in a verse should be rhymed. A verse from the Aihole

prasàsti is a nice example for antyapra=sa.


aÉ×ÌWûhÉÉÇ xuÉxuÉaÉÑhÉæÎx§ÉuÉaÉïiÉÑ… ¡ûÉ

ÌuÉÌWûiÉÉlrÉÍ£ÉÌiÉmÉÉsÉqÉÉlÉpÉ… ¡ ûÉ |

ApÉuÉ³ÉÑmÉeÉÉiÉpÉÏÌiÉÍsÉ…¡ ûÉ

rÉSlÉÏMåülÉ xÉMüÉåxÉsÉÉÈ MüÍsÉ…¡ ûÉÈ ||96

“The Kalingas, along with the Kosalas, who were eminent

in the pursuit of the three (objects of life) because of the proper

qualities of their house-holders and who could effect the

breaking of the pride of other kings, were made to evince signs

of fear, by (the power of) his army.”

Arthalankaras:

Upama= :

A large number of artha=lan?ka=ras are used by the poets of

inscriptions to embellish their works. Of all these alan?ka=ras

Upama= happens to be widely used. Upama= or simile is an

expression making a comparison between two objects using

the words CuÉ (like) uÉiÉç (as) etc. There are several varieties of

Upama=. The general rule for Upama= is,

xÉÉqrÉÇ uÉÉcrÉlÉuÉækÉqrÉïÇ uÉÉYrÉæYrÉ EmÉqÉÉ ²rÉÉãÈ |97

xÉÉkÉqrÉïqÉÑmÉqÉÉ pÉåSå |98

The Mandasor inscription of Kuma=ragupta and

Bandhuvarman caontains a beautiful verse describing the beauty

of the city Dasapura, which is a fine example for Upama=. It is

as below -


rÉ°ÉirÉÍpÉUqrÉxÉËUSè²rÉålÉ cÉmÉsÉÉåÍqÉïhÉÉ xÉqÉÑªÕRûqÉç |

UWûÍxÉ MÑücÉzÉÉÍsÉlÉÏprÉÉÇ mÉëÏÌiÉUÌiÉprÉÉÇ xqÉUÉ…¡ûÍqÉuÉ ||

“the (city) looks beautiful by being surrounded by two

charming rivers, with tremulous greed as if it were the body of

the cupid embraced, in secrecy, by (his wives) PriÇti and Rati

possessing high breasts.”

There is a fine example for ma=lopama= in the Maha=ku=t/a

pillar inscription99 of Mangales‘a.

qÉWåûlSì CuÉ SÒkÉïwÉïÈ UÉqÉ CuÉÉmÉUÉÎeÉiÉÈ ÍzÉÌoÉUÉæzÉÏlÉU CuÉ mÉëSÉiÉÉ

rÉÑÍkÉÌ¸U CuÉ xÉirÉxÉlkÉÈ qÉÉlkÉÉiÉÉ CuÉ MüÐÌiÉïxÉqmÉ³ÉÈ ÍkÉrÉÉ oÉ×WûxmÉirÉÑzÉlÉxxÉqÉÈ

xÉqÉÑSì CuÉ aÉqpÉÏUÈ £ÉqÉrÉÉ mÉ×juÉÏxÉqÉÈ .........

“(King Mangales`a) is unassailable like Mahendra,

unconquered like Ra=ma, generous donor like S~ibi and Ausinara,

truthful like Yudhis/t/hira, Wealthy and prosperous like Va=sude=va,

famous like Ma=ndsha=ta=, equal to Br/haspati in brilliancy, earnest

like the ocean and like the earth in benevolence.”

Another example for ma=lopama= can be seen in a verse

from the Ratnapura inscription100 of Ja=jalladeva I. It is as below –

LiÉ±ÎluÉmÉÑsÉÇ kÉlÉåµÉUmÉÑUmÉëZrÉÇ qÉWåûzÉÉÎluÉiÉÇ

lÉÉlÉÉuÉhÉïÌuÉÍcÉ§ÉU¦ÉÌlÉÍcÉiÉÇ U¦ÉÉsÉrÉÉpÉÇ rÉiÉÈ |

lÉÉlÉÉSåuÉMÑüsÉæ¶É pÉÔÌwÉiÉÍqÉÌiÉ xuÉaÉÉïpÉqÉÉsÉ£rÉiÉå

´ÉÏqÉSì¦ÉmÉÑUÉå ÌSÍzÉ ÉÑiÉrÉzÉÉå U¦ÉåµÉUÉå rÉSèurÉkÉÉiÉç ||


The invocatory verse in the Aihole prasasti101 of Pulakesi

II is also a good example for Upama=.

eÉrÉÌiÉ pÉaÉuÉÉlÉç ÎeÉlÉålSìÉå uÉÏiÉeÉUÉqÉUhÉeÉlqÉlÉÉå rÉxrÉ |

¥ÉÉlÉxÉqÉÑSìÉliÉaÉïiÉqÉÎZÉsÉÇ eÉaÉSliÉUÏmÉÍqÉuÉ ||

“Victorious is the Lord - Jinendra - he who is exempted

from old age, death and birth in the sea of whose knowledge,

the whole world is comprised like an island.”

Ru=paka:

In this alan?ka=ra, the two objects of comparison are said

one and same. It is defined as;

iÉSìÖmÉMüqÉpÉåSÉå rÉ EmÉqÉÉlÉÉåmÉqÉårÉrÉÉåÈ |

xÉqÉxiÉuÉxiÉÑÌuÉwÉrÉÇ ÉÉæiÉÉ AÉUÉåÌmÉiÉÉ rÉSÉ ||102

In the Ta=l/agunda inscription of Ka=kusthavarma103, there is

a charming verse in ru=paka-alan?ka=ra.

aÉÑmiÉÉÌSmÉÉÍjÉïuÉMÑüsÉÉqoÉÑÂWûxjÉsÉÉÌlÉ

xlÉåWûÉSUmÉëhÉrÉxÉqpÉëqÉMåüxÉUÉÍhÉ |

´ÉÏqÉlirÉlÉåMülÉ×mÉwÉOèmÉSxÉåÌuÉiÉÉÌlÉ

rÉÉåÅoÉÉåkÉrÉiÉç SÒÌWûiÉ×SÏÍkÉÌiÉÍpÉlÉ×ïmÉÉMïüÈ ||

Here the king Ka=kushta, is compared to the sun and his

daughters as sun-rays, through which he made the lotuses (Gupta

kings) blow. This means that the king Ka=kushta made the Gupta

kings happy by giving them his daughters in marriage.


Artha=ntaranya=sa=lan?ka=ra is found in the following verse

from the Bates‘vara stone inscription of Paramardideva104.

Ì§ÉpÉÑuÉlÉqÉWûlÉÏrÉuÉ×¨ÉuÉ×®Ç ÍzÉzÉÑqÉÌmÉ rÉÇ mÉUqÉÌ¬ïmÉÉÍjÉïuÉlSìÈ |

AlÉrÉiÉ xÉÍcÉuÉåwÉÑ qÉÑZrÉpÉÉuÉÇ eÉaÉÌiÉ aÉÑhÉÉ ÌWû mÉÑqÉÉÇxÉqÉbÉïrÉÎliÉ ||

“Whom, old in conduct that deserves to be glorified in the

three worlds, thought still a youth, the king Paramardin has

appointed to be chief of his ministers; for that which makes a

man valued in the world, is his qualities.

Virodha=lan?ka=ra is used in a verse from the Khajura=ho

stone inscription of Dhan?gadeva105. It is as follows –

ÌuÉ¹mÉÌuÉMüOûuÉOûÉlÉÉqÉeÉÉrÉqÉÉlÉÉrÉ oÉÏeÉpÉÔiÉÉrÉ |

ÂSìÉrÉ lÉqÉÈ mÉÉsÉlÉÌuÉsÉrÉM×üiÉå ÌlÉÎw¢ürÉÉrÉÉÌmÉ ||

“Obeisance to Lord Rudra, who is birthless and is like the

seeds for the worlds which are like banyan trees, and who is,

though idle is the creator, protector and destroyer (of these

worlds).”

PratiÇpa=lan?ka=ra is used exquisitely in a verse from a stone

inscription106 found at Kudarkot. It is as below –

AÌuÉcÉÍsÉiÉU¦ÉxÉgcÉrÉqÉ£ÉÉåÍpÉiÉpÉÔpÉ×SuÉRØûiÉpÉÑeÉ…¡ûqÉç |

mÉÑÂwÉÉå¨ÉqÉxrÉ ÌuÉxÉSØzÉqÉÉxÉÏssÉ£qrÉÉeÉïlÉÇ rÉxrÉ ||

His acquisition of wealth (Laks/miÇ), at which no hoard of

precious stones was disturbed, no price agitated, (and) no notice


taken of dissolute people was quite different from the acquisition

of Laks/miÇ, by Vis/n/u.

Parin/a=ma=lan?ka=ra can be exemplified from a verse in the

same inscription107. It is as follows –

iÉxrÉÉpÉuÉixÉÑiÉlÉrÉÉå WûËUuÉqqÉïlÉÉqÉÉ

´ÉÏqÉqqÉ CirÉmÉUlÉÉqÉM×üiÉmÉëiÉÏÌiÉÈ |

rÉÎxqÉlÉëuÉÉÌuÉuÉ iÉmÉirÉÎZÉsÉxuÉoÉlkÉÑ-

x§ÉÏuÉY§ÉmÉƒ¡ûeÉuÉlÉÉÌlÉ ÌuÉMüÉxÉqÉÏrÉÑÈ ||

“He had an excellent son, named Harivarman, widely

known by his other name Mamma, at (the sight of) whom the

faces of all his relatives and women became radiant with joy,

just as the groups of lotuses expand before the shining sun.”

Sasandeha=lan?ka=ra is found used in an inscription from

Hot/t/ul in Nanded district108 of Maharashtra, belonging to the

reign of Kalya=n/a Chalukya dynasty. it is as follows -

ÌMüÇ qÉÉsÉÉÈ MÑüqÉÑSxrÉ ÌMüÇ vÉÍvÉMüsÉÉÈ ÌMüÇ kÉqqÉïMüqqÉÉïÇMÑüUÉÈ

ÌMüÇ uÉÉ MügcÉÑÌMüMügcÉÑMüÉÈ ÌMüqÉjÉuÉÉ pÉÔirÉÑSèaqÉÉ pÉÉlirÉqÉÏ |

CijÉ³ÉÉÌMüÌuÉiÉÌMïüiÉÉÈ ÍvÉuÉÍvÉUxxÉgcÉÉËUlÉÉMüÉmÉaÉÉ-

ËUXçaÉ²saÉÑiÉUXçaÉpÉÎXçaÉiÉiÉrÉÈ mÉÑhrÉmÉëmÉÉÈ mÉÉliÉÑ uÉÈ ||

i.e. may those founts of holiness, the lines of the creaping

and leaping tortuous waves of the river of heaven (Gan?ga=)

meandering on the head of S~iva, protect you – (these waves)


about which the celestials are doubting whether they be lotus-

garlands or lunar digits or sprouts of righteous deeds or skins of

serpents or (the God’s) majesty bursting into view.

Aprastutapras‘am?sa=lan?ka=ra is found in a verse from the

A+moda= copper plate inscription109 of Pr/?thviÇdeva I. It is as follows –

SåuÉÈ ÉÏMüÉiÉïuÉÏrÉïÈ Í£ÉÌiÉmÉÌiÉUpÉuÉ°ÕwÉhÉÇ pÉÔiÉkÉÉ§rÉÉÈ

WåûsÉÉåÎi£ÉmiÉÉÌSìÌoÉprÉ¨ÉÑÌWûlÉÌaÉËUxÉÑiÉÉvsÉåwÉxÉliÉÉåÌwÉiÉåvÉqÉç |

SÉåSïhQûÉMüÉhQûxÉåiÉÑmÉëÌiÉaÉÍqÉiÉqÉWûÉuÉÉËUUåuÉÉmÉëuÉÉWû-

urÉÉkÉÔiÉ§rÉ£ÉmÉÔeÉÉaÉÑÂeÉÌlÉiÉÂwÉÇ UÉuÉhÉÇ rÉÉå oÉoÉlkÉ ||

Utpreks/a=lan?ka=ra is found in a verse from the Batesvara

stone inscription110 of Paramardideva. It is as follows –

mÉëcÉsÉÌiÉ MüMÑüpÉÉgeÉrÉÉrÉ rÉÎxqÉlWûËUZÉÑUkÉ×iÉkÉUÉmÉUÉaÉmÉÑgeÉÈ |

MüuÉÍsÉiÉUÌuÉUÎzqÉiÉÏuÉëiÉÉmÉÉÌSuÉ ÌmÉoÉÌiÉ xqÉ mÉrÉÉÇÍxÉ iÉÉårÉUÉzÉåÈ ||

i.e. when he marched out to conquer the regions, the clouds

of the dust raised by the hoofs of his horses, suffering from

intense heat as it were because they had devoured the rays of

the sun, drank the water of the sea.

Artha=patyalan?ka=ra is used in a verse from the Udepur

Prassti111 of the kings of Malava. It is as below –

rÉålÉ kÉUhÉÏuÉUÉWûÈ mÉUqÉÉUåhÉÉã®ØiÉÉå ÌlÉUÉrÉÉxÉÉiÉç |

iÉxrÉæiÉxrÉÉ pÉÔqÉåÂ®ÉUÉå oÉiÉ ÌMürÉlqÉÉ§ÉÈ ||


“Lo ! How easy was the rescue of this earth for that

Parama=ra, by whom the primeval boar was restored without a

difficulty. (i.e. the king restored the temple of Vis/n/u, in the boar

incarnation)

Tulyayogita=lan?ka=ra can be identified in a pras`sti

inscription112 from the reign of Mahendrapa=la of Kanauj. The

verse is as follows –

iÉxrÉ xTÑüUÌSlSÒÂÍcÉÈ zÉÉæUåËUuÉ eÉsÉÍkÉMülrÉMüÉ eÉÉiÉÉ |

lÉÉqlÉÉ qÉ…¡ûsÉSåuÉÏ eÉÉrÉÉ ÌaÉËUeÉåuÉ ÌaÉËUzÉxrÉ ||

“He married a wife, charming like the coruscating moon,

by name Man?galadeviÇ, just as S~auriÇ (Vis/n/u) wedded the daughter

of ocean (Laks/miÇ), and Girisa (siva) the daughter of the mountain

(Pa=rvatiÇ).”

Nidars‘ana=lan?ka=ra is found in a verse from the Bilahari

stone inscription of Ke=yu=ravars/a113 (CE. d). It is as follows –

uÉÇzÉåÅ§É xÉÉåqÉxÉqpÉÔiÉÉæ uÉÉcÉÇ ÌlÉÍ£ÉmÉiÉÉ qÉrÉÉ |

WûliÉ WûxiÉæÂmÉ¢üÉliÉÉ qÉÉåWåûlÉ ÌuÉrÉiÉÉå ÍqÉÌiÉÈ ||

“Applying my speech to this family which is descended

from the moon, I, alas! vainly attempt to measure the empyrean

with my hands.” The verse looks as if a facsimile of the famous

verse in the Raghuvam?s`a of Ka=lida=sa.

YuÉ xÉÔrÉïmÉëpÉuÉÉå uÉÇzÉÈ YuÉ cÉÉsmÉÌuÉwÉrÉÉ qÉÌiÉÈ |

ÌiÉiÉÏwÉÑïSÒïxiÉUÇ qÉÉåWûÉSÒQÒûmÉålÉÉÎxqÉ xÉÉaÉUqÉç ||


Tadgun/a=lan?ka=ra is found in the following verse which is

from a cave inscription at Tris`ira=palli114.

vÉæsÉålSìqÉÔkÉïÌlÉ ÍvÉsÉÉpÉuÉlÉå ÌuÉÍcÉ§Éå

vÉæsÉÏliÉlÉÑÇ aÉÑhÉpÉUÉå lÉ×mÉÌiÉÎ³ÉïkÉÉrÉ |

xjÉÉhÉÑÇ urÉkÉ¨É ÌuÉÍkÉUåwÉ rÉjÉÉjÉïxÉÇ¥ÉÇ

xjÉÉhÉÑÈ xuÉrÉgcÉ xÉWû iÉålÉ eÉaÉixÉÑ eÉÉiÉÈ ||

i.e. when king Gunabhara installed a stone-figure in the

wonderful stone temple on the top of the best of mountains, he

made in this way, Stha=n/u (S~iva) stationary and became himself

stationary (immortal) in the worlds together with him.

In a temple inscription at Baijana=th115, the poet called

Ra=ma, invoking S~iva and Pa=rvatiÇ, composed the GauriÇs‘vara

stotra in 18 verses completely couched in S~les/a=lan?ka=ra. Each

verse produces two meanings one for S~iva and another for GauriÇ.

Anuma=na=lan?ka=ra is used in the Ranganathapuram

inscription116 of Sundara Pa=n/d/ya.

S¨Éæ³ÉæïMüiÉÑsÉÉÍkÉUÉåWûÌuÉÍkÉlÉÉ UXçaÉåµÉUxrÉÉsÉrÉqÉç

SåuÉÈ ÉÏqÉkÉÑUÉqÉWåûlSìlÉ×mÉÌiÉeeÉÉïqoÉÔlÉSæÌlÉïqqÉïqÉå |

AxrÉÉå ÉÑXçaÉpÉÑeÉÉÌSìpÉÉxÉÑUrÉvÉ¶ÉlSìÉåSrÉurÉÎgeÉMüÉ

xÉlkrÉåuÉÉÌlÉvÉqÉÏ£rÉiÉå lÉuÉeÉmÉÉU£üÉ rÉSÇvÉÑcdOûÉÈ ||

The king who was the Mahendra of the glorious (city)

Madhura=, built for the Lord Ran?ga, a temple with the gold which


(he) had given during his frequent tula=bha=ras. The mass of its

rays, red like fresh roses, appears to be the dawn which indicates

perpetually the rise of the bright moon of the (king’s) fame from

the mountain of his (the God’s) raised arms.

Parisan?khya=lan?ka=ra is found in a verse from S~ivaka=s‘i

copper-plate inscription of ViÇra-pa=n/d/ya (PN.d). It is as follows –

ÌuÉµÉÇ aÉÑhÉÉåbÉæeÉïlÉiÉÉÇ mÉëqÉÉåSæUjÉæïÌ²ïeÉålSìÉlÉç AÌWûiÉÉlÉlÉjÉæïÈ |

oÉlkÉÔlxÉÑZÉæUÉ´ÉrÉiÉÉåÅÍpÉsÉÉwÉærÉïÈ mÉÔUrÉirÉmÉëÌiÉqÉmÉëpÉÉuÉÈ ||

“He with matchless excellence pleases the world with his

virtues; his subjects with pleasures; bra=hman/as with gifts;

enimies with harm; relatives with happiness and supplients with

their objects of desire.”

Ka=vyalin?ga=lan?ka=ra is found in a verse from the S~riÇran?gam

inscription117 of Jat/a=varman Sundara-pa=n/d/ya I (PN.d). It is as

follows –

cÉæ§Éå qÉÉÍxÉ cÉMüÉU UÉeÉiÉmÉlÉÉå rÉÉ§ÉÉåixÉuÉÇ UÌ…¡ûlÉÈ

zsÉÉbÉÉÇ MüÉÎliÉqÉrÉæxiÉjÉÉ°ÒiÉqÉrÉæxxÉqmÉlqÉrÉæiuÉÉxÉUÈ |

lÉlSirÉåuÉ ÌWû iÉålÉ ÌuÉxqÉrÉmÉSÇ rÉå ÌoÉpÉëiÉå cÉåiÉlÉÉÇ

rÉåÅcÉæiÉlrÉpÉ×iÉÉåÅÌmÉ rÉ§É SkÉiÉå uÉ×£ÉÉ ÌuÉMüÉxÉÇ mÉUqÉç ||

“In the month of Caitra, the sun among kings celebrated

for the Lord of Ran?ga, the carnival, which is praiseworthy on

account of bright, wonderful and prosperous days. It is usual

that those who possess the power of discernment would rejoice


but it is really wonderful when even the trees which are devoid

of the power of discernment are in high glee (in full bloom).”

Ullekha=lan?ka=ra is used in a verse from the Vel/an#jeri

copper-plate charter of Para=ntaka I (CL.d). The verse describes

that how the king appears to different people in different rapports.

qÉ×irÉÑÇ ËUmÉÑÍ£ÉÌiÉpÉ×iÉÈ ÍkÉwÉhÉÇ oÉÑkÉålSìÉÈ

ÍcÉliÉÉqÉÍhÉÇ mÉëhÉÌrÉlÉÈ ÌmÉiÉUÇ mÉëeÉÉ¶É |

xÉliÉxxuÉrÉÇ aÉ×WûÌlÉÍkÉÇ xÉpÉlÉxuÉSåWÇû

rÉqqÉluÉiÉå qÉMüUMåüiÉÑqÉkÉÏUlÉå§ÉÉÈ ||

“The opponent kings considered him as death incarnate,

learned men as Br/haspati, beloveds as cinta=man/i, the subjects

held him as their father; good people as a treasure house; and

damsels as the lord of love (Ka=ma).”

A+s‘iÇralan?ka=ra is found in many inscriptions. For example

is a verse from an inscription of the time of Somesvara II, found

at Hot/t/u=l118 in Maharashtra. (Ch.K.d). It is as follows –

ÌuÉmÉëÉÈ mÉuÉïÍhÉ mÉuÉïÍhÉ Í£ÉÌiÉiÉsÉÇ MÑüuuÉïliÉÑ rÉÔmÉÉƒ¡ÓûUÇ

pÉÔmÉÉsÉÉÈ mÉËUmÉÉsÉrÉliÉÑ xÉMüsÉÇ sÉÉåMÇü xuÉkÉqÉåï ÎxjÉiÉÉÈ |

aÉÉuÉÈ xÉliÉÑ xÉÑZÉÇ xÉÑlÉlSiÉÑ eÉlÉÉå qÉÉ pÉÔiZÉsÉmÉëÉå°uÉÈ

mÉÔerÉliÉÉÇ MüuÉrÉÈ xÉÑMüÐÌiÉïaÉÍhÉMüÉlÉÉšmÉëÌiÉ É pÉÑÌuÉ ||

“May the bra=hman/as make the earth as the base for the

sacrificial post in auspicious occasions; may the kings protect


the whole world performing their duties properly; may the cows

live happily; may there not be the raise of iniquitous people;

and may the wise men be worshipped on this earth.”

Another example for A+siÇralan?ka=ra can be seen in averse

from the Pat/t/an/akudi copper-plate inscription of Avasara

belonging to the S~ila=ha=ra dynasty of south Konkan.

eÉrÉiÉÑ iÉUÉÇ xÉuÉï¥ÉÉå lÉlSliÉÑ eÉlÉÉ¶É UÉeÉaÉÉåÌuÉmÉëÉÈ |

xÉ®qÉÉï uÉ®ïliÉÉqÉç AÌuÉlÉÉÍzÉ cÉ zÉÉxÉlÉÇ pÉuÉiÉÑ ||

Parya=yoktyalan?ka=ra is can also be found used in many

inscriptions. To illustrate is the following verse from the Sirpur

inscription119 of Ra=jama=ta= Va=sat/a=.

iÉrÉÉ ÌlÉeÉÈ mÉëåirÉ mÉÌiÉrÉïjÉÉÌuÉkÉÇ

uÉxÉirÉxÉÉæ ÌlÉirÉqÉÑmÉÉÍxÉiÉÉcrÉÑiÉÈ |

mÉëMüÉÍzÉiÉÑÇ iÉÉSØzÉqÉåuÉ MüÉËUiÉÇ

ÌuÉpÉÉåËUSÇ kÉÉqÉ WûUåÈ xÉlÉÉiÉlÉqÉç ||

“She caused to built a shrine of Lord Hari (Vis/n/u) in order

to display that how her husband, who always worshipped

Acyuta, after his demise would be living.”

Samuccaya=lan?ka=ra can be observed in a verse from the

Anbil copper-plate inscription120 of Para=ntaka II (961 A.D.)

(CL.d). It is as follows –

zÉÉærÉïÇ xÉÉuÉÍkÉ ÃÌmÉhÉÏ cÉiÉÑUiÉÉ xÉÉsÉqoÉlÉÉ kÉÏUiÉÉ

xÉÉæeÉlrÉgcÉ xÉlÉÉjÉiÉÉqÉÑmÉaÉiÉÇ UÉeÉluÉiÉÏ qÉåÌSlÉÏ |


xÉÇxjÉÉlÉÉ MüÌuÉiÉÉ MüsÉÉMÑüzÉsÉiÉÉ eÉÉiÉÉ xÉqÉåiÉÉ ÉrÉÉ

rÉÎxqÉÎluÉxqÉrÉlÉÏrÉiÉÉqÉÑmÉaÉiÉÉ MüÐÌiÉïÌ¬ïaÉliÉåµÉpÉÔiÉç ||

“In him valour achieved its goal, skill was incarnate,

courage gained a steady hold, goodness found a protector, the

earth had a good king, poetic art attained a proper seat, skill in

the fine arts found a common shelter and his fame caused

astonishment in all quarters.”

Uda=tta=lan?ka=ra can be noticed in a verse from the Ta=l/agunda

inscription121 of Ka=kusthavarma= (KB.d). It is as below –

lÉÉlÉÉÌuÉkÉSìÌuÉhÉxÉÉUxÉqÉÑŠrÉåwÉÑ

qÉ¨ÉÌ²mÉålSìqÉSuÉÉÍxÉiÉaÉÉåmÉÑUåwÉÑ |

xÉ…¡ûÏiÉuÉsaÉÑÌlÉlÉSåwÉÑ aÉ×WåûwÉÑ rÉxrÉ

sÉ£qrÉ…¡ûlÉÉ kÉ×ÌiÉqÉiÉÏ xÉÑÍcÉUÇ cÉ UåqÉå ||

“Laks/miÇ, the Goddess of wealth, exulted constantly in his

houses, which were full of wealth, the towers of which were

perfumed with the smell of rutting juice of elephants and were

resonant with melodious music.”

Bhra=ntimadalan?ka=ra can be distinguished in a verse from

the Candrehe inscription of Prabodhas‘iva. It is as follows –

eÉQûiÉUqÉÂcNûÉåhÉxrÉÉqpÉÈ MühÉæUrÉqÉÉ ÉqÉÉå

qÉ×aÉmÉÌiÉqÉWûÉkuÉlÉæ UÉ§ÉÉæ mÉëÌiÉkuÉÌlÉiÉÉqoÉUÈ |

ÍzÉZÉËUÍzÉZÉUmÉëÉliÉmÉëå„¡ûÌ²UåTümÉrÉÉåkÉUÉå

eÉlÉrÉÌiÉ eÉlÉå ÌuÉ±ÑcNûƒ¡ûÉÇ qÉWûÉæwÉÍkÉUÉåÍcÉwÉÉ ||


Describing an a=s`rama, the verse says that the effulgent

medicinal plants in that a=srama, created, in the people, a feeling

of lightning

Prativastu=pama=lan?ka=ra is found in a verse from the

Bilahari stone inscription122 of Ke=yu=ravars/a (CE. d). It is as

follows –

uÉÉcÉÉqÉÑeeuÉÍsÉqÉÉÌmÉ lÉÉÎxiÉ rÉÌS qÉå iÉiMüÏirÉïqÉÉlÉÉå³ÉiÉåÈ

UxqÉÉSåuÉ qÉWûÏrÉxÉÈ zÉzÉpÉ×iÉÉå uÉÇzÉÉixÉ xÉqmÉixrÉiÉå |

rÉ²É mÉzrÉ ÌlÉxÉaÉïMüÉÍsÉqÉpÉÑuÉÉåÅmrÉÉzÉåpÉSÉlÉcNûOûÉÈ

£ÉÏUÉåSluÉÌiÉ ÌMü³É xÉ…¡ûÌiÉpÉ×iÉxiÉcNûÉrÉiÉÉÇ ÌoÉpÉëÌiÉ ||

“And yet, even though I possess no brilliant speech it will

surely come to me from this great family of the moon whose

rise I celebrate. Or do not mark! The steams of rutting-juice of

the elephants of the quarters though by nature the seat of black

colour, acquire the bright hue of the milky ocean when brought

into contact therewith ?”

Parikara=lan?ka=ra is used in a verse from the Dewal Prasasti

of Lalla the Chhinda123. It is as below –

irÉÉaÉÏ kÉqqÉïmÉUÈ mÉUÉ¢üqÉbÉlÉÈ xÉirÉÌmÉërÉÈ MüÐÌiÉïqÉÉlÉç

xÉlqÉÉaÉÉïlÉÑaÉiÉÈ zÉÑÍcÉSØïRûqÉÌiÉqÉÉïlÉÉå³ÉiÉÉå lÉÏÌiÉqÉÉlÉç |

uÉÏrÉÉåïSÉrÉïÌuÉuÉåMükÉærÉïÌlÉsÉrÉÉå rÉÈ xÉ…¡ûiÉÈ xÉ‹lÉæÈ

rÉÑ£üxxÉuuÉïaÉÑhÉÉåSrÉålÉ qÉWûiÉÉqÉÉUÉkÉlÉÏrÉÉåÅpÉuÉiÉç ||


“Who (ViÇravarman) being liberal, pious, energetic, fond

of truth, famous, a follower of the path of the virtuous, pure, of

firm intellect, the abode of valour, munificence and discernment,

an associate of good people, endowed with all virtues, became

worshipful for great men.”

And also various moulds of mis‘ra=lan?ka=ras can also be

found in Sanskrit inscriptions. A verse from the Tiruva=lan?ga=du

inscription124 belonging to Col/a dynasty, is a fine example for

Sam?sr /s /t/i, a kind of mis`ra=lan?ka=ras. The verse contains S~les/a,

Ru=paka, Parin/a=ma and Vibha=vana= alan?ka=ras.

iÉæsÉxrÉ xÉliÉÌiÉqÉuÉÉmrÉ iÉSÏrÉMüÉåmÉ-

uÉÌ»ûxxÉqÉÑeeuÉÍsÉiÉuÉÉÌlÉÌiÉ lÉæuÉ ÍcÉ§ÉqÉç |

ÍcÉ§ÉÎliuÉSÇ pÉuÉÌiÉ xÉuÉïxÉqÉÑSìuÉÉUÏ-

hrÉÑssÉÇbrÉ rÉÌ³ÉUSWûÎSè²wÉÌSlkÉlÉÉÌlÉ ||14

i.e. it is no wonder that the fire of his wrath burst into a

blaze as it came in contact with the descendent of Taila (the

pioneer of the Kalya=n/a Ca=lukya dynasty and oil), but it is strange

that it (the fire of his wrath) burnt the fuel of enemies despite

crossing the great waters of the ocean.

Rasa :

Indian concept of aesthetic flavour is an essential element

of any work of visual, literary or performing art, that can only

be suggested, not described. It is a kind of contemplative


abstraction in which the inwardness of human feelings suffuses

the surrounding world of embodied forms.

The theory of rasa is attributed to Bharatamuni, who may

have lived sometime between the 1st cent. b.c. and the 3rd cent.

A.D. It was developed by the rhetorician and philosopher,

Abhinavagupt a (c. 1000), who applied it to all varieties of poetry

and theater. The principal human feelings, according to Bharata,

are delight, laughter, sorrow, anger, energy, fear, disgust,

heroism, and astonishment, all of which may be recast in

contemplative forms as the various rasas viz. erotic, comic,

pathetic, furious, heroic, terrible, odious, marvelous, and

quietistic. These rasas comprise the components of aesthetic

experience.

ViÇra-rasa happens to be widely permeated into the poetic

compositions of Sanskrit inscriptions, as the description of the

king’s heroism and adventures, was their central aspiration.

Numerous examples can be seen for vi Çra-rasa in Sanskrit

inscriptions. For instance –

rÉxrÉÉå²iÉïrÉiÉÈ mÉëiÉÏmÉqÉÑUxÉÉ zÉ§ÉÔlxÉqÉåirÉÉaÉiÉÉ-

luÉ…¡åûwuÉÉWûuÉuÉÌiÉïiÉÉåÅÍpÉÍsÉÎZÉiÉÉ ZÉ…åûlÉ MüÐÌiÉïpÉÑïeÉå |

iÉÏiuÉÉï xÉmiÉ qÉÑZÉÉÌlÉ rÉålÉ xÉqÉUå ÍxÉlkÉÉåÎeÉïiÉÉ oÉÉÌ¿ûMüÉÈ

rÉxrÉÉ±ÉmrÉÍkÉuÉÉxrÉiÉå eÉsÉÌlÉÍkÉuÉÏïrÉÉïÌlÉsÉæSïÍ£ÉhÉÈ ||

ÎZÉ³ÉxrÉåuÉ ÌuÉxÉ×erÉ aÉÉÇ lÉUmÉiÉåaÉÉïqÉÉÍ´ÉiÉxrÉåiÉUÉÇ

qÉÔirÉÉï MüqÉïÎeÉiÉÉuÉlÉÏÇ aÉiÉuÉiÉÈ MüÐirÉÉï ÎxjÉiÉxrÉ Í£ÉiÉÉæ |


zÉÉliÉxrÉåuÉ qÉWûÉuÉlÉå WÒûiÉpÉÑeÉÉå rÉxrÉ mÉëiÉÉmÉÉå qÉWûÉ-

A±ÉmrÉÑixÉ×eÉÌiÉ mÉëhÉÉÍzÉiÉËUmÉÉårÉï¦ÉxrÉ zÉåwÉÈ Í£ÉÌiÉqÉç ||

These verses are from the Meharauli posthumous iron pillar

inscription125 of Candra, of about 340 A.D.

BhiÇbhatsa-rasa can be seen in Sanskrit inscriptions usually

during the depiction of a battle fields, post-battle plights etc.

For example,

lÉÉaÉqÉSÍqÉÍ´ÉiÉzÉÉåÍhÉiÉMÑüƒ¡ÓûqÉbÉlÉÍsÉmrÉqÉÉlÉpÉÔÍqÉiÉsÉå |

ÌuÉUÌWûiÉÌlÉmÉÌiÉiÉoÉÉWÒûaÉëÏuÉÉeÉ†¡ûÉåÂMüÉhQûSliÉoÉsÉÉæbÉå ||

(Kuram copper-plate inscription126 of Paramesvaravarman

I, of Pallava dynasty. v. 15)

Karun/a-rasa is seen in Sanskrit inscriptions here and there

usually while describing some tragedic events. An example can

be seen in a verse from the Bha=ndak inscription of Bhavadeva

Ran/akesari127. The verse describes, in artha=ntaranya=sa=lan?ka=ra,

the death of a prince due to falling from the terrace of the palace.

pÉuÉlÉÍzÉZÉUÉ ÉÑ…¡ûÉimÉÑ§Éå ÌlÉmÉirÉ qÉ×iÉå ÌmÉërÉå

aÉÑÂiÉUzÉÑcÉÉ xÉqqÉalÉÉåÅpÉÔiÉç xÉ pÉÔÍqÉmÉÌiÉxiÉSÉ |

mÉëoÉsÉqÉjÉuÉÉ eÉlqÉÉprÉxiÉÇ eÉaÉixÉÑ M×üiÉÉxmÉSÇ

oÉÑkÉqÉÌmÉ eÉlÉÇ MüiÉÑïÇ mÉëåqÉ mÉërÉÉxrÉÌiÉ oÉÉÍsÉzÉqÉç ||

Ha=sya-rasa is rarely seen in Sanskrit inscriptions. An

invocatory verse from the Khajuraho stone inscription128 of

Dhan?gadeva can be given as an example for Ha=sya-rasa.


MüxiuÉÇ ²ÉËU ÌSaÉqoÉUÈ £ÉmÉhÉMüÈ MüxqÉÉSMüxqÉÉSWûÉå

oÉÉsÉå zÉÔsÉkÉUÉå ÍkÉaÉÉrÉÑkÉÌuÉÍkÉÇ oÉWûÉïxiuÉSWûÉï lÉlÉÑ |

qÉÉÇ eÉÉlÉÏÌWû qÉWåûµÉUÇ xTÑüOûÍqÉSÇ uÉx§ÉåmrÉpÉÉuÉÉÌSÌiÉ

mÉëårÉxrÉÉ mÉËUWûÉÍxÉiÉÉå ÌuÉWûÍxÉiÉÇ zÉqpÉÉåÈ zÉÑpÉÉrÉÉxiÉÑ uÉÈ ||

Another example for the exudation of Ha=sya-rasa can be

pointed out in a verse from the Kosgai inscription129 of Va=hara.

It is as follows –

eÉlÉMü MüUiÉsÉxjÉÇ qÉÉåSMÇü SåÌWû qÉ½Ç

lÉ iÉlÉrÉ iÉÌSSÇ ÌMüliÉÔ¨ÉqÉÉ…¡Çû Ì²eÉÉiÉåÈ |

CÌiÉ ÌuÉsÉmÉÌiÉ ÌuÉblÉåzÉå cÉ zÉuuÉåï ÎxqÉiÉÉxrÉå

pÉ×zÉqÉWûUWûUurÉÉiMüÉæiÉÑMÇü uÉÉåÅÎqoÉMüÉrÉÉÈ ||

Bhaya=naka-rasa can be perceived in a verse from the

Aihol/e inscription of Pulakesi II, while describing the prowess

of king Pulakesi.

AmÉËUÍqÉiÉÌuÉpÉÔÌiÉxTüÏiÉxÉÉqÉliÉxÉålÉÉ-

qÉMÑüOûqÉÍhÉqÉrÉÔZÉÉ¢üÉliÉmÉÉSÉUÌuÉlSÈ |

rÉÑÍkÉ mÉÌiÉiÉaÉeÉålSìÉlÉÏMüpÉÏpÉixÉpÉÔiÉÉå

pÉrÉÌuÉaÉÍsÉiÉWûwÉÉåï rÉålÉ cÉÉMüÉËU WûwÉïÈ ||130

Raudra-rasa can be noticed in Sanskrit inscriptions while

describing the military expeditions of the king etc. For example

in the inscription131 of a chief Irugapa Dan/d/ana=tha belonging to

Vijayanagara period, a verse exudes Raudra-rasa like this –


oÉë¼lÉç pÉÉsÉÍsÉÌmÉÇ mÉëqÉÉ‹ïrÉ lÉ cÉåiÉç oÉë¼iuÉWûÉÌlÉpÉïuÉåiÉç

AlrÉÉÇ MüsmÉrÉ MüÉsÉUÉeÉlÉaÉUÏÇ iÉ²æËUmÉ×jrÉÏpÉ×iÉÉqÉç |

uÉåiÉÉsÉuÉëeÉuÉ®ïrÉÉåSUiÉÌiÉÇ mÉÉlÉÉrÉ lÉurÉÉxÉ×eÉÉÇ

rÉÑ®ÉrÉÉå®iÉzÉÉ§ÉuÉæËUÂaÉmÉ£qÉÉmÉÈ mÉëMüÉåmÉÉåpÉuÉiÉç ||131

Different forms of Dhvani (suggestion) such as

Vastudhvani, Alan?ka=radhvani etc. are also observed in Sanskrit

inscriptions. For example, an inscription from Tris‘ira=palli

belonging to the king Mahendravarman I of Pallava dynasty,

has a beautiful verse containing Vastudhvani.

MüÉuÉåUÏÇ lÉrÉlÉÉÍpÉUÉqÉxÉÍsÉsÉÉqÉÉUÉqÉqÉÉsÉÉkÉUÉÇ

SåuÉÉå uÉÏ£rÉ lÉSÏÌmÉërÉÈ ÌmÉërÉaÉÑhÉÉqÉmrÉåwÉ UerÉåÌSÌiÉ |

xÉÉvÉÇMüÉ ÌaÉËUMülrÉMüÉ ÌmÉiÉ×MÑüsÉÇ ÌWûiuÉåWû qÉlrÉå ÌaÉUÉæ

ÌlÉirÉÇ ÌiÉ¸ÌiÉ mÉssÉuÉxrÉ SÌrÉiÉÉqÉåiÉÉÇ oÉëÑuÉÉhÉÉ lÉSÏqÉç ||132

i.e. being afraid that the God who is fond of rivers (or

river Gan?ga=), i.e. S~iva, having perceived Ka=veri, whose waters

please the eyes, who wears a garland of Gardens and who

possesses lovely qualities might fall in love with her; the

daughter of mountain (Pa=rvatiÇ), has, I think, left her father’s

domicile and resides abidingly on this mountain, calling this

river (Ka=veriÇ) the beloved of the Pallava king.

Here the fourth line suggests that with the grace of

Goddess Pa=rvatiÇ, the Pallava king reigned the entire Ka=veriÇ

region unremittingly. This is an elegant verse having many other


poetic merits. It is adorned with anupra=sa and Yamaka. The verse

enjoys the prasa=da-gun/a.

One more example for the application of dhvani can be

observed in the following verse which is from an inscription

found at Kudarkot133.

xÉUÉaÉrÉÉÌmÉ rÉxrÉÉxÉÏSè²rÉÇ Sì¹ÒÇ lÉ mÉÉËUiÉqÉç |

rÉimÉ×¸qÉËUuÉÉÌWûlrÉÉ rÉŠ uÉ£ÉÈ mÉUÎx§ÉrÉÉ ||

Another example for dhvani can be seen in a verse from

the Pras`asti of the temple of Lakkha= Man/d/al at Man/d/ha=. The

verse is as follows –

´ÉÏrÉ¥ÉuÉqqÉïlÉÉqÉÉ iÉS…¡ûeÉÉåÅpÉÔlqÉWûÏmÉÌiÉrÉåïlÉ |

rÉ¥ÉÉerÉkÉÔqÉeÉsÉSæÌlÉïirÉÉåiMåüMüÉÈ M×üiÉÉÈ ÍzÉÎZÉlÉÈ ||134

Contribution of Sanskrit Inscriptions to Stotra Literature :

No doubt Sanskrit inscriptions contribute a lot to stotra

literature. Pretty nearly all Sanskrit inscriptions commence with

at least one invocatory verse. There may be even more number

of invocatory verses in the beginning of inscriptions. In the

tradition of Sanskrit literature the texts open with either A+siÇh/

(benediction) or Namaskriya= (salutation) or Vastunirdes‘a

(indication of the theme). All the three types are found in Sanskrit

inscriptions.

Keeping aside a few exceptions, the kings of India were

tolerant of all religious thoughts and philosophical schools in

order to maintain harmony among the people having different


faiths and worshippers of different pantheons. An invocatory

verse in the inscriptions itself is an evidence to this fact, which

is as follows –

ÍzÉuÉÉrÉ kÉÉ§Éå xÉÑaÉiÉÉrÉ ÌuÉwlhÉuÉå |

ÎeÉlÉÉrÉ iÉxqÉæ xÉMüsÉÉiqÉlÉå lÉqÉÈ ||

A famous verse of the Prabodha-candrodaya of Kr/s/n/mis/

ra, which accentuates the principle of unity in Indian thought

and culture, is engraved in an inscription of King Harihara

(VJN.d). it is as below –

rÉÇ zÉæuÉÉ xÉqÉÑmÉÉxÉiÉå ÍzÉuÉ CÌiÉ oÉë¼åÌiÉ uÉåSÉÎliÉlÉÉå

oÉÉæ®É oÉÑ® CÌiÉ mÉëqÉÉhÉmÉOûuÉÈ MüiÉåïÌiÉ lÉærÉÉÌrÉMüÉÈ |

AWïûÍ³ÉirÉjÉ eÉælÉzÉÉxÉlÉUiÉÉÈ MüqÉåïÌiÉ qÉÏqÉÉÇxÉMüÉÈ

xÉÉåÅrÉÇ uÉÉå ÌuÉSkÉÉiÉÑ uÉÉÎgNûiÉTüsÉÇ ´ÉÏMåüzÉuÉåzÉÈ xÉSÉ ||

Thus, pretty nearly all prominent deities of India are

invoked in Sanskrit inscriptions. Some of them are illustrated

as follows;

Gan/esa :

MüsrÉÉhÉÉrÉÉxiÉÑ iÉ®ÉqÉ mÉëirÉÔWûÌiÉÍqÉUÉmÉWûqÉç |

rÉªeÉÉåÅmrÉaÉeÉÉå°ÕiÉÇ WûËUhÉÉÌmÉ cÉ mÉÔerÉiÉå ||

(Commonly found in Vijayanagara inscriptions)

xÉMüsÉSÒËUiÉWûiÉÉïpÉÏ¹ÍxÉÎ®mÉëMüiÉÉï

ÌlÉaÉqÉxÉqÉÑmÉaÉÏiÉÈ zÉåwÉrÉ¥ÉÉåmÉuÉÏiÉÈ |


sÉÍsÉiÉqÉkÉÑMüUÉsÉÏxÉåÌuÉiÉÉå aÉhQûmÉÉsÉÏ-

iÉOûpÉÑÌuÉ aÉhÉUÉeÉÈ mÉÉiÉÑ uÉÉå ÌuÉblÉUÉeÉÈ ||

(Khala=ri inscription of Brahmadeva, dated 1413 A.D.)135

Vis/n/u :

rÉxqÉÉŠ¢üaÉSÉÍxÉzÉ„¡ûkÉlÉÑwÉÈ ÉÏuÉixÉiÉÉ£rÉÉïuÉÌmÉ

±ÉåliÉå rÉå ÌSÌiÉeÉÉÍkÉlÉÉjÉuÉÌlÉiÉÉuÉækÉurÉSÏ£ÉÉM×üiÉÈ |

xÉÉåÅrÉÇ pÉ£üeÉlÉÉrÉ qÉÉå£ÉTüsÉSÈ ÉÏpÉgeÉuÉÇzÉÉå°uÉÉlÉç

mÉÉrÉÉ²È MÑüsÉSåuÉiÉÉ mÉëÌiÉÌSlÉÇ lÉÉUÉrÉhÉÉå pÉÔpÉÑeÉÈ ||

(Jurada inscription of Net/t/abhan#jadeva, circa 12th cent. A.D.)

Kr/s/n/a :

rÉssÉ£qÉÏuÉSlÉålSÒlÉÉ lÉ xÉÑÎZÉiÉÇ rÉ³ÉÉÌSìïiÉÇ uÉÉËUkÉå-

uÉÉUÉ rÉ§É ÌlÉeÉålÉ lÉÉÍpÉxÉUxÉÏmÉ©ålÉ zÉÉÎliÉ…¡ûiÉqÉç |

rÉcNåûwÉÉÌWûTühÉÉxÉWûxÉëqÉkÉÑUµÉÉxÉælÉï cÉÉµÉÉÍxÉiÉÇ

rÉSìÉkÉÉÌuÉUWûÉiÉÑUÇ qÉÑUËUmÉÉåuÉïssÉ²mÉÑÈ mÉÉiÉÑ uÉÈ ||

(Gauri copper-plate inscription of Va=kpati Mun#ja, 981 A.D. )

Narasim?ha :

AlrÉÉålrÉmÉëÉliÉUÉliÉÌuÉïcÉsÉSÒÂqÉÂimÉÑgeÉaÉÑgeÉÉUuÉÉåaÉëæ-

U…¡ÓûsrÉaÉëæÂSgeÉ³ÉZÉÌMüUhÉÍzÉZÉÉxmÉ¹SÇ¹íÉMüUÉsÉæÈ |

¢üÉqÉluÉÈ mÉÉiÉÑ mÉgcÉÉlÉlÉ CuÉ cÉUhÉ¶ÉÌ¢ühÉÈ ZÉå bÉlÉÉæbÉÉlÉç

ÌuÉkuÉxrÉ kuÉÉlÉkÉÉqlÉÈ MüËUhÉ CuÉ ÌMüUlqÉÉæÌ£üMüÉpÉÉÌlÉ pÉÉÌlÉ ||

(Tintin/i copper-plates of Chalukya Jagadekamalla)136


Laks/miÇ :

mÉ©É mÉ©ÉxÉÏlÉÉ mÉ©ÉåeeuÉsÉmÉÉÍhÉmÉssÉuÉrÉÑaÉsÉÉ uÉÈ |

mÉëÏirÉÉ mÉzrÉiÉÑ MüËUhÉÏMüUkÉ×iÉMülÉMübÉOûxÉÑxlÉÉlÉÉ ||

(Kasakkud/i copper-plate inscription of Nandivarman II of

Pallva dynasty)

S~iva :

xÉÔcÉÏmÉÉiÉålÉ xÉ±È mÉëcÉsÉÌiÉ uÉxÉÑkÉÉ MüqmÉiÉå lÉÉaÉUÉeÉÈ

mÉÉSÉå®ÉUåhÉ lÉÏiÉÉå kuÉeÉ CuÉ kÉuÉsÉÉå SÒakÉÍxÉlkÉÑÌuÉïpÉÉÌiÉ |

SÉåSïhQæû¶É pÉëqÉÎ°È mÉÑlÉUÌmÉ ÌaÉUrÉÉå eÉÉiÉmÉ£ÉÉÈ mÉërÉÉÎliÉ

rÉÎxqÉÍ³ÉijÉÇ mÉëlÉ×¨Éå pÉuÉÌiÉ eÉaÉÌSSÇ xÉÉåÅxiÉÑ pÉÔirÉæ pÉuÉÉå uÉÈ ||

(In an inscription of RK.d)

Su=rya :

rÉÉå uÉ×irÉjÉïqÉÑmÉÉxrÉiÉå xÉÑUaÉhÉæÈ ÍxÉ®æ¶É ÍxÉSèkrÉÍjÉïÍpÉÈ

krÉÉlÉæMüÉaÉëmÉUæÌuÉïkÉårÉÌuÉwÉrÉæqÉÉåï£ÉÉÍjÉïÍpÉrÉÉåïÌaÉÍpÉÈ |

pÉYirÉÉ iÉÏuÉëiÉmÉÉåkÉlÉæ¶É qÉÑÌlÉÍpÉÈ zÉÉmÉmÉëxÉÉS£ÉqÉæÈ

WåûiÉÑrÉÉåï eÉaÉiÉÈ £ÉrÉÉprÉÑSrÉrÉÉåÈ mÉÉrÉÉixÉ uÉÉå pÉÉxMüUÈ ||

(Mandasor inscription of Kuma=ragupta and

Bandhuvarman)

SarasvatiÇ :

SìÓÌWûhÉuÉSlÉmÉ©å UÉeÉWÇûxÉÏuÉ zÉÑpÉëÉ

xÉMüsÉMüsÉÑwÉuÉssÉÏMülSMÑü²ÉsÉMüljÉÉ |


AqÉUaÉhÉlÉiÉÉÇÍbÉëÈ MüÉqÉkÉålÉÑÈ MüuÉÏlÉÉÇ

SWûiÉÑ MüqÉsÉWûxiÉÉ pÉÉUiÉÏ ÌMüÎsuÉwÉÇ lÉÈ ||

(Raypur inscription of Brahmadeva, dated 1401 A.D.)137

uÉåSÉlÉÉUÉkrÉ uÉåkÉÉÈ mÉPûÌiÉ pÉaÉuÉiÉÏ rÉÉqÉlÉÉrÉxrÉÍcÉ¨ÉÈ

´ÉÏMühPûxrÉÉÌmÉ lÉÉSæUmÉWûUÌiÉ qÉlÉÈ mÉÉuÉïiÉÏ ÌMü³ÉUÏÍpÉÈ |

WûÉUÉ lÉÉUÉrÉhÉxrÉÉåUÍxÉ UWûÍxÉ UhÉiMüƒ¡ûhÉÉ rÉ°ÒeÉÉÈ xrÉÑÈ

xÉ±È xÉiMüÉurÉÍxÉSèkrÉæ xTÑüUiÉÑ MüÌuÉqÉÑZÉÉqpÉÉåÂWåû pÉÉUiÉÏ xÉÉ ||

(In the Raypur inscription of Brahmadeva)138

Buddha :

uÉåSÌ¢ürÉÉqoÉÑUÌWûiÉÇ MüÂhÉÉiÉ×hÉÉæbÉ-

cNû³ÉÉlÉlÉÇ xÉÑaÉiÉSzÉïlÉÌlÉqlÉMÔümÉqÉç |

mÉÉiÉÉrÉ rÉÈ MüÍsÉrÉÑaÉæMüxÉÑ™ŠMüÉU

sÉÉåMüxrÉ oÉÑ® CÌiÉ U£ÉiÉÑ uÉÈ xÉ ÌuÉwhÉÑÈ ||

(Ajmer stone inscription of about 12th cent. A.D.)139

Jina :

´ÉÏqÉ³ÉÉpÉårÉlÉÉjÉÉ±qÉsÉÎeÉlÉuÉUÉlÉÏMüxÉÉækÉÉåÂuÉÉÍkÉïÈ

mÉëkuÉxiÉÉbÉmÉëqÉårÉmÉëcÉrÉÌuÉwÉrÉMæüuÉsrÉoÉÉåkÉÉåÂuÉåÌSÈ |

zÉxiÉxrÉÉiMüÉUqÉÑSìÉzÉoÉÍsÉiÉeÉlÉiÉÉlÉlSlÉÉSÉåÂbÉÉåwÉÈ

xjÉårÉÉSÉcÉlSìiÉÉUÇ mÉUqÉxÉÑZÉqÉWûÉuÉÏrÉïuÉÏcÉÏÌlÉMüÉrÉÈ ||

(In many Jaina inscriptions at S~ravan/abel/gol/a)


Parabrahma :

ÌlÉaÉÑïhÉÇ urÉÉmÉMÇü ÌlÉirÉÇ ÍzÉuÉÇ mÉUqÉMüÉUhÉqÉç |

pÉÉuÉaÉëÉ½Ç mÉUÇ erÉÉåÌiÉxiÉxqÉæ xÉSèoÉë¼hÉå lÉqÉÈ ||

(In the inscriptions of the Kalachuris of Ratnapura)

Apart from such solitary verses many stotras like pan#cakas,

as/t/kas etc. are also found in Sanskrit inscriptions. For example,

the Jva=la=mukhiÇ stotra in the Kangra Jvalamukhi Pras`asti

composed by a vedantic ascetic named Ra=ghavacaitanya, Ve=n?kat/

e=s`a=s/t/aka in an inscription found near CakratiÇrtha in Hampi,

Gan?ga=dhara=s/t/aka in a Pallava inscription, Dasa=vata=rastuti in the

Ajmer stone inscription are worthy of note in this regard.

Certain compositions of Na=ma=valiÇ kind of stotras are also

found in Sanskrit inscriptions. For example the Puja=riÇpa=li

inscription140 of Gopa=ladeva contains a na=ma=valiÇ-stotra of

Goddess S~akti with her different forms such as Laks/miÇ, SarasvatiÇ

and Durga=, in 37 verses of anus/t/up metre. A couple of verses is

for example –

zÉ„¡ûcÉ¢ükÉUÉ SåuÉÏ uÉæwhÉuÉÏ aÉÂQûÉxÉlÉÉ |

LålSìÏ aÉeÉuÉUÉÃRûÉ uÉeÉëWûxiÉÉ qÉWûÉoÉsÉÉ ||

lÉÏsÉÉåimÉsÉSsÉzrÉÉqÉÉ cÉÉqÉÑhQûÉ mÉëåiÉuÉÉWûlÉÉ |

Ì§ÉMüsÉÉ Ì§ÉmÉÑUÉ SåuÉÏ ÌlÉwMüsÉÉ xÉMüsÉÉ mÉUÉ ||

Chronograms in Sanskrit Inscriptions

Chronogram is a coded form of expressing the dates.

As in many of the manuals of prosody, mathematics, astronomy,


in many inscriptions and manuscripts also the numerals are

expressed by the names of things, beings or ideas, which,

naturally or in accordance with the conventions made in the

s`a=stras, connote numbers. The application of this method of

denoting numerals is found as long ago as in the S~rautasu=tras of

Ka=tya=yana, Veda=n?ga Jyautis/a and the Chandah/sa=stra of Pin?gala.

It seems to have become popular by the time of Vara=hamihira

as one can find a numerous instances in his Pan#casiddha=ntika=.

The general features of chrnograms are as follows –

a) Usually a numeral is attributed to an object, personality or

an idea etc. on the basis of its quality, or any mythological

or other background, or any artificial conception. For

example the numeral 1 can be denoted by Candra (the

moon), as there is only one moon. Similarly the numeral 0

is denoted by a=ka=s`a (the sky) as the sky is the unoccupied

space.

b) Any synonym may be used for the words expressing

numbers.

c) Sometimes the same word may be used for different

numbers. For example, the word Sa=gara (ocean) may be

used to denote both 4 and 7, according to the composers

requirement or wish. Because there are to traditional

concepts viz. Catussa=gara and Saptasa=gara. Another

example is Rasa which may be either taken as 6 for there


being six tastes (s/ad/rasa) in the world, or as 9 for the

concept of nine sentiments (navarasa).

d) If the words are compounds they may be represented by

their first or second part.

e) In cases of multi-digital numbers, to get the actual value,

the numerals expressed by the individual words should be

arranged in the reverse process i.e. from right side towards

the lift side. This is famously known by the rule ‘Aƒ¡ûÉlÉÉÇ

uÉÉqÉiÉÉå aÉÌiÉÈ’. This formula is first stated by a mathematician

named Lalla, in his commentary on a mathematical work

Vyaktagan/ita.141

Perhaps the main reason behind the invention of this

system of numeral notation is to facilitate the metrical

compositions. In Sanskrit, as there is an availability of large

number of synonymous words, one can choose words according

to his metrical or alliterative requirement. The most important

words employed to express numbers are given below –

The cipher ‘0’ is denoted by a=ka=sa and its synonyms such

as ambara, gagana, kha, ananta, vyoma, suravartma etc.

Sometime it is directly stated as su=nya.

The numeral 1 is expressed by (a) Candra (the moon) and

its synonyms such as indu, sasI, s`as‘a=n?ka, siÇtaras`mi, vidhu, etc.

(b) Bhu=mi (the earth) and its synonyms like bhu=h/, rasa=, dhara=,

dharani, ks/on/i, ks/iti, vasudha=, pr/thviÇ, mahiÇ etc.


The numeral 2 is expressed by (a) Yamala (twins) (b) Paks/

a (two wings or two fortnights) (c) nayana (two eyes) and its

synonyms like netra, aks/i, caks/u, locana etc.

The numeral 3 is expressed by (a) Agni (three sacrificial

fires viz. A+havaniÇya, Ga=rha=patya and Da=ks/in/a) and its synonyms

like vahni, s`ikhi, hutavaha etc. (b) Ra=ma (the three Ra=mas viz.

Ra=ma, Balara=ma and Paras`ura=ma) (c) gun/a (three gun/as viz.

Satva, Rajas and Tamas), (d) Haranetra (the three eyes of Lord

S~iva) etc.

The numeral 4 is expressed by (a) veda or s`ruti (the four

vedas) (b) yuga (the four yugas viz. kr/ta, treat=, dva=para & kali)

(c) samudra (sea) and its synonyms like sa=gara, jaladhi, abdhi,

ratna=kara, makara=laya etc. (d) varn/a (the four varn/as viz.

bra=hman/a, ks/atriya, vais‘ya, s‘u=dra) etc.

The numeral 5 is expressed by (a) Ba=n/a (the five arrows

of Ka=ma) and its synonyms like is/u, sara, sa=yaka, patri etc. (b)

Indriya (the five organs of sense or work) (c) Bhu=ta (the five

elements), (d) Pa=n/d/ava (the five sons of Pa=n/d/u) etc.

The numeral 6 is expressed by (a) Rasa (the six flavours)

(b) R/tu (the six seasons), (c) An?ga (the six auxiliary sciences of

vedic studies), (d) Ari (the six internal foes of men viz. ka=ma,

krodha, lobha, moha, mada & matsara) etc.

The numeral 7 is expressed by (a) R/s/i (the seven seers)

(b) Svara (the seven musical notes), (c) As‘va (the seven horses


of God Sun) and its synonyms like haya, va=ji, turaga etc. (d)

Giri (the seven mountains), (e) Dha=tu (the seven elements of

the body) etc.

The numeral 8 is expressed by (a) Vasu (the eight Vasu

Gods) (b) Diggaja (the elephants guarding the eight points of

horizon), (c) siddhi (the eight supernatural powers, an/ima=,

mahima=, garima= etc.).

The numeral 9 is expressed by (a) Graha (the nine planets)

(b) Randhra (the nine holes of the body), (c) Nidhi (the nine

treasures), (d) Nanda (the nine Nandas) etc.

This much was enough to represent the numbers. But the

ancient men of letters continued to assign single words for

decimal numbers also. For example 10 is ciphered by the words

Avata=ra, Ra=van/asira etc. Similarly 11 is expressed by Rudra, 12

by A+ditya, 13 by Vis`vedeva=h/, 14 by Manu, Indra, loka etc., 15

by tithi, 16 by kala=, and so forth.

A few examples of chronograms used in the inscriptions

are given as follows,

An inscription found at the Viru=pa=ks/a temple of Hampi142

mentions its date in a chronogram as below –

zÉÔlrÉoÉÉhÉÌ§ÉzÉÍzÉ - zÉÔlrÉ - 0, oÉÉhÉ - 5, Ì§É - 3, zÉÍzÉ - 1

Thus the date of the record is 1350 (s‘aka sam?vat)

Another inscription143 at a Jaina Basadi in Hampi speaks

off its date by a chronogram in anus/t/up metre, as below –


zÉÉMåüÅoSå mÉëÍqÉiÉå rÉÉiÉå uÉxÉÑÍxÉlkÉÑaÉÑhÉålSÒÍpÉÈ - uÉxÉÑ - 8, ÍxÉlkÉÑ - 4,

aÉÑhÉ - 3, ClSÒ - 1

Thus the date of the record is 1348 (s`aka sam?vat)

A chronogram in sa=rdu=lavikriÇd/ita metre, is very famous in

the inscriptions of the king Acyutar=ya of Vijayanagara dynasty,

which is as below –

zÉÉMåü cÉlSìUxÉÉqÉUålSìaÉÍhÉiÉå - cÉlSì - 1, UxÉ - 6, AqÉUålSì - 14


A Ra=s/t/raku=t/a inscription records its date by a chronogram

in campakama=la= metre, as below –

uÉlÉÍkÉlÉpÉÉåÌlÉÍkÉmÉëÍqÉiÉxÉÇZrÉzÉMüÉuÉÌlÉmÉÉsÉMüÉsÉMüqÉç -

uÉlÉÍkÉ (the ocean) - 4, lÉpÉÈ - 0, ÌlÉÍkÉ - 9


Some Technical Terms used in Sanskrit Inscriptions

1. Sa=ndhivigrahikah/ - A royal officer who handles the foreign

affairs such as negotiations, alliance, war etc.

2. Vijayaskandha=va=rah/ - A military camp. Many Sanskrit

inscriptions, after the invocation, commence with the term

ÌuÉeÉrÉxMülkÉÉuÉÉUÉiÉç which means ‘from the military camp’.

These may be generally the inscriptions issued by the kings

to record the grants made etc. during the marches.

3. Paribhoga – The enjoyment of property, grants etc.


4. Tula=pu=rus/am – A type of donation. One amongst the sixteen

maha=da=nas. The donor is weighed down with precious

things like gold, silver etc. and that everything is donated.

5. A+yuktaka – According to Prof. Bhadkamkar144 the word

appears to be very old found in Pa=n/ini (11,3,40) where it

signifies a person appointed to some small work of a special

character, and from the nature of the example given in the

KaumudiÇ, to illustrate the rule, it seems probable that these

may be Bra=hman/as employed for religious or charitable

purposes, such as the pu=ja=riÇs or the worshipers at temples

etc.

6. Viniyuktaka – Prof. Bhadkamkar suggests that (E.I. XI,

p.176) he might be the officer in charge of the village like

Pa=t/il (the head man), Kulkarn/I (the clerk of the village) or

some such village officers.

7. Samadhigata-Pan#camaha=s`abdah/ - The person who is

deserving to be honoured with the sound of five musical

instruments such as sr/nga, bhe=riÇ, mr/dan?ga, s`an?kha and

jayaghan/t/a=.

8. Dra=n?gika – The word Dre=n?ga, means ‘frontier outpost’

and Dra=n?gika, may therefore, denote an officer in charge

of a ‘frontier outpost’, a warden of the marches.

9. Mahattara – A man of special respectability in a place such

as the heads of particular communities.


10. Ca=t/a – According to Prof. Buhler (I. A. IV, 106) it probably

means fortune teller. Prof. Bhadkamkar (E.I. XI, p.176)

says that Ya=jn?avalkya speaks of Ca=t/as alone with thieves

etc. as men who are likely to be injurious to the public. In

Mr/cchakat/ika V, the friend of the hero, remarks that even

dogs won’t go to a place where the Ca=t/as, courtesans etc.

reside. The similarity in sound with Ca=t/u ‘flattery’ which

this word presents, is so close as to lead one to translate

the word by flatterer; and the word may in that case denote

the attendants of the king who are very likely to misuse

their position by being harmful to others. Or they may be

the servants whose duty is to sing the praises of the king

and his forefathers. According to Prof.. K.B. Pathak (E.I.

IX, 296) the expression AcÉÉOûpÉOûmÉëuÉåvrÉqÉç means, not to be

encroached upon by Rogues and servants who tell lie. The

expression also been taken to mean, ‘not to be entered by

irregular and regular soldiers’, which is probably the best

possible interpretation of that phrase. When an army was

passing, the soldiers used to extract all kinds of dues from

the owners of lands lying on their route.

11. S~aulkika – This title might be rendered by some such terms

as superintendent of tolls, customs (sulka). etc.

12. Vis/yapati – The officer over a Vis/aya or territorial division

probably corresponding to the present collector.


13. Ra=jastha=niÇya – one who belongs to Ra=jastha=na or king’s

court; or perhaps ‘one who occupies the position of Ra=ja=

is a technical official title; the precise conclusion about

which is yet to be arrived at. The explanation of the word

in Ks/emendra’s Lokapraka=s`a is given as mÉëeÉÉmÉÉsÉlÉÉjÉïÇ E²WûÌiÉ

U£ÉrÉÌiÉ cÉ xÉ UÉeÉxjÉÉlÉÏrÉÈ i.e. a state officer over a district or

province.

14. Uparika – He is assumed to be an officer appointed for

survey.

15. Kuma=ra=ma=tya – According to Prof. Bhadkamkar, the word

denotes the princes of the royal blood who formed a council

and were consulted by the ruling chiefs on points and issues

of imperial importance. But it is better to suppose that it

means a counselor of the prince. He had probably to act as

a guardian or companion of the prince.

16. S~riÇbappapa=da=nudhya=tah/ - One who meditates at the feet of

his father (Bappa). Though it is generally used to signify

the relation between the father and the son, some scholars

suspect that, in some cases the term ‘Bappa’ might have

been used as a proper noun. (Diskal p. 118)

17. So=dran?gam – In Sanskrit inscriptions it is an adjective to

the village or land being donated. It means ‘along with

‘Udran?gas’. According to Prof. S.G. Buhler, Udran?ga is

equivalent to Udva=ra which means ‘the share of the

produce collected usually for the king. Whereas Prof.


Bhadkamkar opines that Udran?ga is synonymous with

Dran?ga (a town) and the expression So=dran?gam means

together with the hamlets.

18. So=parikaram : In Sanskrit inscriptions this term is also used

as an adjective to the grant village or land. So=parikaram

means ‘along with ‘Uparikara’. The conjecture of Prof.

J.F. Fleet about this term Uparikara is that it is ‘a tax levied

on cultivators who have no proprietary rights on in the

land. According to Prof. Bhadkamkar it possibly means

the appurtenances of timber, trees etc. standing on the land.

Dr. Buhler supposes that all the attributes signify the

different sorts of land and other revenue. In that case this

adjective So=parikaram means ‘together with munciple

taxes levied on tradesmen etc. for the management of the

town’, in accordance with Manu. (Manusmr/ti VIII, 137).

19. Sabhu=tava=tapratya=yam : In the opinion of Dr. S.G. Buhler

(I.A. IV, p.106) va=ta means, in a technical sense, dry grass

and wood. The expression means certain dues from the

village. According to Prof. Bhadkamkar (E I XI, p.177) it

means ‘as determined by wind and other marks of the

boundaries of a place.

20. Samastara=jakiÇya=na=m Ahastapraks/epan/iÇya : When a village

is granted to certain beneficiaries it is assured with the

privilege of not being interfered with by any of the king’s

people.


21. Bhu=micchidranya=yena : The meaning of this expression is

conspicuous. Many Indologists have tried their level best

to arrive at its actual meaning. Dr. R.G. Bhandarkar (I. A.

I, 46) suggests that this expression may have some

reference to the circumstance that the holes in the earth

are not permanent but are filled up in the course of time.

This ia shown from the story that Indra transferred the sin

he incurred by killing Visvaru=pa, the son of Tvas/t/r/, among

other objects and persons to the earth and in consideration

of her having taken it, gave her a boon that all holes made

in her would be filled up in time. The sense of the

expression then is that a grant is to survive all revolutions

etc. and last unchanged forever, as the holes in the earth

are filled up in time and the earth is whole again.

According to Prof. Buhler (I A IV, 106) the expression

means ‘the reasoning from the familiar reference of the

ground and the clefts therein, is the inference that the whole

includes the parts, just as a piece of land includes the clefts

therein. If it is declared that a village or the like is granted

with bhu=micchidranya=ya, then it means simply that it is

made over with all its appurtenances, produce, rights etc.

22. Divirapati : Dr. Bhadkamkar suggests that the word signifies

the head-clerk or at the most the chief secretory of the

king. The word divira presents a close similarity with the

modern word ‘dabira’ and it may be a sanskritised form

of the latter.


23. Du=takah / : The word literally means ‘messanger’. In the

inscriptions it is the technical title of an officer employed

in connection with formal grants. The term most commonly

appears in copper-plate grants and sometimes in stone

inscriptions. His office was to carry, not the actual charter

itself, for delivery into the hands of the grantee, but the

king’s sanction and order to the local officials whose duty

then was to have the charter drawn up and delivered.

24. Udaka=tisargen/a : It means ‘with the pouring out of water.

Sometimes udakapu=rvam? or sapa=niÇyapa=tam are the

expressions found used in Sanskrit inscriptions. It is a well

known ritualistic formality while making donations.


Notes and references

1. Vr/ttaratna=kara of Keda=rabhat/t/a, pub. Usmania University,

Hyderabad, 1969 III, 110

2. Ibid op. cit. III, 135

3. Ibid op. cit. III, 140

4. Ibid, op. cit. p. 135

5. E.I. Vol. I p. 246 l. 20 v. 25

6. Chandoman#jariÇ, IV, 258

7. E.I. Vol. XXVII p. 4

8. V.R. op.cit. p. 157

9. Fleet J.F. Gupta Inscriptions, pp. 79 ff.

10. V.R. op.cit. p. 157

11. E.I. Vol. X, No. 2 pp. 17 ff. v.14

12. V.R. op.cit. p. 158

13. Fleet J.F. Gupta Inscriptions, No. 35

14. V.R. op.cit. p. 168

15. Ibid. op.cit. p. 162

16. E.I. Vol. IV pp. 29 ff.

17. V.R. op.cit. p. 167


19. Inscriptions from Nanded District, ed. S.H. Ritti Nanded,

1968 , No. 33 p. 64 v. 9

20. V.R. op.cit. p. 178

21. E.I. Vol. VI pp.1 ff. v. 12 ll. 5-6

22. V.R. op.cit. p. 180

23. E I Vol. XI p. 184 v. 22 l. 15

24. V.R. op.cit. p. 184

25. E.C. Vol. II No. 364 p. 228 ll. 51-53


26. V.R. op.cit. p. 188


28. E.I. Vol. X, pp. 17 ff. v. 16 l. 18

29. V.R. op.cit. p. 184

30. T. V. Mahalingam, Inscriptions of the Pallavas, New Delhi,

1988 p. 228 v. 4

31. V.R. op.cit. p. 196

32. UtkiÇrn/a-Lekha, ed. Balchandra Jain, Raypur, 2005 pp. 36 ff.

33. V.R. op.cit. p. 199

34. E.C. Vol. II No. 364 pp. 227-28 ll. 30-32

35. V.R. op.cit. p. 197

36. E.I. Vol. XXII No. 34 p. 238 v. 24

37. V.R. op.cit. p. 204

38. E.C. Vol. II No. 364

39. V.R. op.cit. p. 210

40. J,A,S,B. Vol. VII pp. 347 ff. v. 1

41. T.V. Venkatachalashastri, Kannad/a Chandah/-Svaru=pa, pub.

D.V.K. Murty Prakashana, Mysore, 2012 pp. 223-224

42. E.C. Vol. II No. 364 pp. 230 ll. 116-118

43. Ibid No. 360 pp. 215-220 ll. 64-66

44. E.I. Vol. X pp. 29-30 ll. 17-18 v. 9

45. V.R. op.cit. p. 221

46. E.C. Vol. VII SK 176

47. V.R. op.cit. p. 217

48. Fleet J.F. Gupta Inscriptions, No. 30, pp. 142 ff.

49. V.R. op.cit. p. 218

50. E. C. Vol. II No. 445, p. 273

51. V.R. op.cit. p. 220



53. V.R. op.cit. p. 222

54. E.C. Vol. II No. 357 pp. 209 ff. ll. 12-15

55. V.R. op.cit. p. 228

56. J A S B Vol. III, p. 118 ff. v. 4

57. T.V. Venkatachalashastri, Kannad/a Chandah/-Svaru=pa, op.cit.

p. 150

58. Supra note 21


p. 151

60. I.W.G. No. 113 pp. 340 ff.

61. V.R. op.cit. p. 232

62. I. A. Vol. VIII p. 43

63. E.C. Vol. II No. 135 pp. 38-39 ll. 14-17

64. V.R. op.cit. p. 260

65. E.C. Vol. II No. 77 pp. 45 ll. 72-74

66. E.I. Vol. XVII, No. 16 p. 229 v. 7

67. V.R. op.cit. p. 265

68. E.I. Vol. XVIII, No. 14 p. 120 v. 8

69. V.R. op.cit. pp. 44-45


71. I.W.G. No. 71, pp. 253 ff.

72. V.R. op.cit. p. 63

73. E.C. Vol. II No. 357 pp. 209 ff.

74. V.R. op.cit. p. 65


76. E.C. Vol. II No. 73 p. 35 ll. 56-59


p. 254

78. E.C. Vol. II No. 481 p. 295 ll. 10-11


79. V.R. op.cit. p. 71


81. Vide. Supra note 21

82. E.I. Vol. X pp. 12 ff.

83. I.A. Vol. XIV pp. 54-55

84. S. D. X, 3

85. Ibid X, 5

86. E.C. Vol. II No. 364 p. 227 ll. 15-17

87. E.I. Vol. III pp. 1 ff.

88. J,A,S,B. Vol. VII pp. 347 ff.

89. S. H. Ritti, Inscriptions of Nanded District, Nanded, 1968,

N0. 33

90. E I Vol. III, p. 26, v. 15, ll. 57-59

91. E.I X p. 95 v. 1

92. S. D. X, 8


94. E.I. Vol. I p. 53 v. 1 l. 1

95. M.S. Nagarajrao & K.V.Ramesh, Copper Plate Inscriptions

From Karnataka- Recent Discoveries, Department of

Archaeology an Museums, Mysore, 1985 No. 6 pp. 48 ff.


97. S.D. X, 14

98. K.P. X, 1

99. I.A. Vol. XIX pp. 7 ff.

100. E.I. Vol. I p. 33 v. 11 ll. 11-12


102. K.P. X, 7

103. E.C. Vol. VII SK. 176

104. E.I. Vol. I p. 211


105. Ibid Vol. I p. 140 v. 1

106. Ibid Vol. I p. 181 v. 3

107. Ibid Vol. I p. 181 v. 4


N0. 33


110. E.I. Vol. I p. 209 v. 12

111. Ibid Vol. I p. 236 v. 22

112. Ibid Vol. I p. 246 v. 10

113. Ibid Vol. I p. 254 v. 5

114. Ibid Vol. I p. 60 ll. 1-4

115. Ibid Vol. I p. 104 vv. 1-18

116. Ibid Vol. III p. 11 v. 2

117. Ibid Vol. III p. 13 v. 20


N0. 33


120. E.I. Vol. XV No. 5 v. 30

121. E.C. Vol. VII SK. 176

122. E.I. Vol. I p. 254 v. 6

123. Ibid Vol. I p. 78 l. 5

124. S.I.I. Vol. III, No. 205, p. 399 v.101

125. J.A.S.B. Vol. III p. 494

126. T.V. Mahalingam, Inscription of the Pallavas, New Delhi.

1988. P. 155 v. 15 ll. 31-33

127. UtkiÇrn/a-Lekha, ed. Balchandra Jain, Raypur, 2005 No. 8 p.

31 l. 6 v. 13

128. E.I. Vol. I p. 140 v. 3

129. UtkiÇrn/a-Lekha, op.cit. pp. 139 ff. v. 2



131. E.C. Vol. II, No. 357 pp. 209 ff. ll. 12-15

132. E.I. Vol. I p. 59 ll. 1-6 v. 1

133. Ibid. Vol. I p. 181 l. 5 v. 7

134. Ibid. Vol. I p. 12 ll. 6-7 v. 10

135. Ibid. Vol. II p. 228

136. M.S. Nagarajrao & K.V.Ramesh, Copper Plate Inscriptions

From Karnataka- Recent Discoveries, op.cit. p. 38 v. 1 ll. 1-3

137. C.I.I. Vol IV p. 569

138. C.I.I. Vol IV p. 569 v. 2 ll. 2-3

139. E.I. Vol. XXIX pp. 180-182

140. C.I.I. Vol IV pp. 588-94

141. B.L. Upadhyaya, Pra=ciÇna-Bha=ratiÇya-Gan/ita (Hindi), New

Delhi, 1971

142. K.U.E.S Vol. III No. 30, p. 14

143. Ibid Vol. III No. 327 p. 240

144. E.I. Vol. XI, p. 175


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