50 ORIGIN" AND DEVELOPMENT OF KAVYA LITERATURE
admires is decidedly instructive. Simplicity and clearness may well be equivalent to the arthavyakti and prasdda which he mentions ; sweetness is his mddkurya which includes richness in tasteful sound and sense (rasavai) ; variety is probably akin to the strength or force (oj'as) prescribed by Dandin, and he recog- nizes that in the view of some authorities elevation was induced by the use of the stock terms of poets such as kridasaras, a lake for sport.
The evidence of this inscription is confirmed and strengthened by that derivable from a record 1 of Siri Pulumayi at Nasik, written in Prakrit prose. There can be no doubt of the familiarity of the writer with Sanskrit ; it is even possible that he wrote his» text in that language and then, in order to comply with the usage of the- day, rendered it into Prakrit for purposes ot publication. Siri Pulumayi may be identified with Siro-Polemaios of Baithana, Pratisthana on the Godavarl, of Ptolemy and the date of the inscription is not far removed from that of the Girnar record. It begins with an enormous sentence of eight and a half lines, long compounds fill lines 2-6, then a brief rest is given by the insertion of short words, and the whole ends with a compound of sixteen words and forty-three syllables. This is deliberate art, however little we may admire it, and the same technique is found in Bana, used perhaps with greater skill. Alliteration is freely used ; the queen is mahddevl tnahardjamdta mahdrajapatdmahi. What, however, is specially interesting is the appearance of mannerisms of the later Kavya, used in a way which implies . current familiarity with the themes. Thus the king is of like strength with the mountains Himavant, Meru, and Mandara, a brief allusion to the view that the king, like the Himalaya, possesses abundant treasures, like Meru is the centre of the world and overshadows it with his might, and, like Mandara, which the gods used as their churning stick when they churned the ocean, can produce and preserve LaksmI, the for Uma regum. The king again is compared with the heroes of the epic in a manner which preludes the frequent use of this theme made by Subandhu and Bana. Finally, he is described as winning
1 EI. viii. 60 ff. ; S. Levi, Cinquanlenaire de Vicole pratique des Hautes Etudes (1921), pp. 91 ff., who holds that its hero Gotamlputa's, death in victory is described.
