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field in the disguise of his sword red with the blood of the heads of his enemies that he had severed. In the field of battle when the martial bands were playing, and the gods in the heavens viewing the performance, the king caused the goddess of victory to dance in the guise of his quivering sword. Does not the sun, surpassed by this prince in brilliancy, drown himself in the deep, and—alas! for the pain of dying—come every day above the waters in his struggles?”
III. Naradeva —“Väsudeva begat Naradeva, this to be praised by Brahmā himself; the delight of the eyes of woman - his body surpassing in beauty that of Cupid himself. When this king went out into the world, the other chiefs, to protect their possessions, did not take the sword out of its sheath, but only took wealth from their coffers. In the battlefield his arms, bearing the brilliant while sword, bore the beauties of the Eastern Mountains, destroying the freshness of the lotuses of the faces of his enemies. It is but natural that the fire of the king's valour should have burnt down the forests of iniquity, but it is strange that the rare fire should have filled his enemies with cold shakings. Methinka the sun, with his progeny, in token of submission, had fixed this abode in the toe-mails of this prince.”
IV. “ Chandrarāja by his fame and the beauty of him countenance, achieving a double conquest over the moon, vìndicacated the appropriate significance of his name, which means ‘Lord of the moon.’ Strange was the power of the fire of valour, for it burnt bright in the enemy in whom the stream of bravery flowed, while it was extinguished in that enemy who was destitute of this stream,” &c.
The above paragraphs may suffice to show the style of false eulogy used by the poet in disposing of those princes of whom be had no historical imformatiom to give. The same similes occur again and again, and often the language is stiff and artificial.
I subjoin a list of the Chohan princes up to Hammira as
