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BHATTLKAVYA A STUDY :

<^f»....^^ySs}i
an Mi

By
Satya Pal Narang
M. A., Ph.D.

M
tawWiMffi»SSSBW«**M&

MOTILAL BANARSIDASS
Delhi :: Patna :: Varanasi
1. MOTILAL BANARSIDASS
BUNGALOW ROAD, JAWAHAR NAGAR DELHI-7
2. CHOWK, VARANASI (U. P.)
3. ASHOK RAJPATH, PATNA-4 (BrHAR)

&«&. 2*0— "^v^iryb

/s* Edition
1969
Price Rs. 15/-

Priated in India by H.M. Printers, Delhi-7 and Published by Sundarlal

Jain, Motilal Banarasidass, Bungalow Road Jawahar Nagar, Delhi-7
Dedicated to
the sacred memory of
Late Dr. D. R. Chanana
with affection and respect.
M
TABLE OF CONTENTS
Pagei
foreword i — ii

Abbreviations and Transliteration iv

iPreface v—vi
Introduction vii— ix
Chapter I 1—8
Summary
Chapter II
Changes and innovations 9—15
Chapter III 16—24
Titles 16
Identity and life 16—19
Date 19—24
Chapter IV

Commentators 25-32
Chapter V 33—42
Erudition

Chapter VI Literary study 43—84

As a Mahakavya 43—47
Language and style 47—52
Figures of speech 53—67
Characterization 68-79
Metrical analysis

(alphabetical) 80—81
(Canto- wise) 82—84
^Chapter VII

Grammatical study 85—96

Chapter VHI
Grammatical Discussions 97 — 116
Bibliography
Index of the words discussed in
grammatical discussions.
Index
Abbreviations

Bhatti Bhatti or Bhatti-Kavya

B. S. S. Bombay Sanskrit Series

Chp. Chapter (s)

Comm. Commentary or Commentator

G. O. S. Gaekwar Oriental Series

LA. Indian Antiquary

J. B. B. R. A. S. Journal of Bombay Branch of

Royal Asiatic Society

J. R.A. S. Journal of Royal Asiatic

Society of Great Britain and
Ireland

MS(s) Manuscript(s)

Pan Panini's Astadhyayi

Vik. Sam Vikrama Samvata

Transliteration

a, a, i, 1, u, u\ r, e, o, ai,
, au
k, kb ;. g, gh» A
c, ch, j 5 jh, n (n)
t> th, d, db, n
t, th, d, dh, n
P= ,
pb > b, bh, m
y= r,1I, v,
, (w)
fi, s, s ,h
Anusvara = : th Visarga*=fe
FOREWORD
The poem of Bhatti, popularly known as Bhatti-kavya, sets
a new pattern for generations of later Sanskrit poets to follow.
Oae may dispute regarding the genuine poetic value of the
kind of writing introduced by Bhatti but its utility as a book
teaching linguistic usage and rhetorics in a non-technical manner
is universally acclaimed.

Scholars differ on the question regarding the place of

'Formalism' in poetry. Formal elements can be introduced at
two different levels. A poem may be perfect, charming and
provoking from the point of view of its literary style, diction,
figures of speech and sound- pattern but its content or theme
may not arouse our imagination. It is futile to expect any
lasting effectfrom such poetic creations. When Sanskrit poetry
got itself well-established, this kind of formalism was intro-
duced and in course of time any deviation from the set
formulae was frowned upon. Tflis kind of composition derives
its inspiration not from any vision or experience of the sublime
or beautiful but is based on skill and labour. Laboured display
of scholarship rather than spontaneous outflow of sentiments
marks the tone and temper of such compositions. Magna and
Bharavi can be cited as representatives of this movement of^for-
mal poetry.

Formalism has found its ground at the level of content as

well. Here emphasis is not so much on the style or diction as

on meticulous presentation of some branch of learning or

gastra (e.g. grammar or rhetorics or metaphysics). Such writ-
ings are distinguished from metrical works on those very
subjects in so far as they present their theme in the guise of a
running story and u se of suggestive expressions. Adaptation
of this devise is more often an obstacle in clearer undertsanding

of abstruse subjects where plain speaking rather than pithy say-

ings would have been in order. Their style prevents them rom
(»)

being classified among the works on Sastras and their content

and purpose stand in their way of being recognised as poems.
But since later Indian mind accepted form rather than the
content as the sole criterion of poetry such works were labled
as kavyas rather than the sastras. The special category was
evolved to accomodate such works. The Bhatti-fcavya is.

historically the first known representative of the s'astra-kavya

category,

A student of Sanskrit literature may feel tempted to inves-

tigate into the reason for the fascination the Indian mind had
developed for formal poetry. A possible line of investigation
may take into account the strict social order and rigid socio-
economic pattern of life prevalent in Indian society. Sensibility
of man was conditioned by a set pattern of life in every aspect.
Deviation of any kind in social, political, economic and even
in personal life, was not only not appreciated but also punished.
Royal courts which patronised poets being entrusted with
the administration of the country had naturally to be more
formal than the society and poetry written under their roofs
had naturally to reflect this rigidity. This conditioning of
sensibility through the ages resulted in identifying poetic
genius with pedantic expression and the idea of beauty con-
fined itself to neat geometry— like patterns of sound and
meaning.

Dr. Satya Pal Narang has done a great service to the world
of Sanskrit scholarship by drawing our attention to various,
aspects of the Bhatti-kavya. Though the kavya is not very
popular with the scholars today but in good old days it formed
a necessary part of primary education. Its study is rewarding
in many ways. It abounds in historical, social and political
data. But above all its value as an illustrative compendium
to Paninian system of grammar is high and Dr. Narang has
done justice to this aspect. Deviation of Bhatti from earlier
and later interpreters of Panini shows the dynamics of language
and various stages in the development of linguistic scholarship-
(HO
can be discerned having the Bhatti-kavya as a standard re-

[Link]. Narang has been able to point to these facts in

unambiguous terms though within a limited space.

i am proud of the fact that I have in my company a sound'

scholar like Dr. Narang whose first work I have the privilege

of introducing to the world of Sanskrit scholars. I hope, Dr.

Narang will continue the tradition of study which he has just,

inaugurated in the present small but highly valuable work.

R. C. Pandeya
Professor and Head of
June 17, 1969 the Department of
Buddhist Studies,
University of Delhi,
Delhi.

f-
PREFACE
This book is based on a part of my
thesis entitled 'A Study

of Sastra-Kavyas in Sanskrit Literature' which was presented and

approved for the degree of Doctor of Philosophy in the Univer-
sity of Delhi, Delhi in 1967. A few amendments have been made
in it. The importance of the Bhatti-Kavya lies in the fact that
it was responsible for changing the sentimental appeal of the
poetry to that of the intellectual and hence began a new epoch
in the history of Sanskrit literature. Embellished expressions
are not rare in Sanskrit literature from the very remote period.
Grammatical accuracy is also an important factor to be ob-
served by a poet. But Bhatti taught both the grammar as well
as the figures of speech through the story of thr Ramayana.

The Bhatti-Kavya is a source of inspiration for poets like

Bhatta Bhima, Hemacandra, Vasudeva, Halayudha, and Nara-
yana Bhatta, who adopted new trends in illustrating gramma-
tical aphorisms or roots. The influence can also be observed
on later Sanskrit poets like Sri Harsa, who blend £astra in
their poetry frequentlyand are thus named as Sastra-kavis.
Ksemendra in his Suvrttatilaka named the works of such poets
as '&astra-kavyas.' Thus Bhatti is a poineer in the Sastra-kavya
literature in Sanskrit language.

The Bhatti-kavya is an important document in the history

of Sanskrit poetics being an important clue of missing literature
between Bharata and Bhamaha. Moreover, it is an important
treatise of grammatical rules and roots both in theory and
practice. So, I preferred to publish this part of my thesis as

early as possible.

I am thankful to the University of Delhi, Delhi for

granting me a research scholarship during August, 1963 to
December, 1964 and the University Grants Commission for
awarding me the All-India Research Fellowship during 1965.
1 am equally thankful to the Librarians of the Royal Asiatic
(vi)

Society Bombay, University of Bombay, Bombay: Bhandarkar

Oriental Research Institute, Poona; Varanaseya Sanskrit Visva-
vidyalaya and Benares Hindu University, Varanasi ; National
Library, Calcutta and the University of Delhi, Delhi for provid-
ing me all the necessary facilities for the collection of material
for my thesis,
I have no words to express my gratitude for my Supervisor
Dr. R.V. Joshi, Ph. D. D
Litt. (Paris) who constantly inspired,
initiated and helped me in the accomplishment of my work.
I am highly grateful to Dr. R. C. Pandey Professor and
Head of the Department of Buddhist Studies, University
of Delhi, who was kind enough to write a foreword.

At this occasion, I express my deepest sense of gratitude

towards late revered Dr. D.R.
Chanana, who left us for good
but whose words of affection and inspiration still ring in my
ears as an evergreen memory. I can never forget his informal
and lovable method of persuasion to work for something good
and great. As a token of affection and admiration this minor
work is dedicated to that great man on his first death
anniversary.

In the end, I thank my wife, Sudesh Narang, who

helped me and co-operated with me with her keart and soul.

Satya Pal Narang

May, 1969
19
Ramjas College
Delhi-7
INTRODUCTION
The Bhatti-kavya is a prominent Maha-kavya in the
history of Sanskrit literature for the interpretation of Sanskrit
poems and purpose. Being anterior to the
in their structure
defined characteristics of a Maha-kavya by Bhamaha and
Dandh, the Bhatti-kavya is a model for the later poets. This
poem exhibits an important change to intellectualism in poetry
following the flavourous genius and inspired poetry of Kalidasa
which culminated in profundity of meaning of Bbaravi, ever-
new vocabulary of Magha, tedious scholarship of Sri Harsa
and punning diction of Dhanafijaya, the author of the Raghava*
pandaviya.
The Bhatti-kavya introduces strict grammatical accuracy,
minute artificial figures of speech, bio-lingual diction
and usage of roots and tenses in series. Thus it was a
challange to scholars and a thunderbolt for the less-learned.
The spontaneity in poetry was suppressed under the weight of
'Project-poetry.' Bhamaha, a contemporary rhetorician regret-
ted and deplored this trend of the scholar poets.

No serious been accomplished of such an

analysis has
important poem The trends and technique of com-
as yet.
posing poetry have not been seriously observed. The present
work is an attempt for the same. The division of chapters,,
observation of problems and technique of their solution is as
follows :—
The first chapter is nothing but a summarized presenta-
tion of the Bhatti-kavya. The Bhatti-kavya owes its inspiration
from the great epic Ramayana.
In the second chapter a comparison and contrast with
the Ramayana as regard to theme, characters, descriptions,
changes and their causes, innovations in the story, etc., are given.
In the third chapter, an attempt has been made to give
some of the titles other than the 'Bhatti-kavya' on the basis of
a study of the various lists of manuscripts. Bhatti
(viii)

has been oft indentified with Bhartrhari or Vatsabhatti. His

identity is established in the light of the historical perspective.
He has been identified as a different person from that of Bhar-
trhari, the author of the three Satakas and the Vakyapadiya.
A glimpse of his life as reflected in the Bhafti-kavya has been
given. Bhatti is placed in the reign of Dharasena II, which is
supported by internal and external evidences. Thus title,

identity, life and date are the main contents of this chapter.
In the fourth chapter, commentators and commentaries on
the Bhatti-kavya have been enlisted in an alphabetical order.
Aufrecht in his Catalogus Catalogorum noted thirteen com-
mentaries on the Bhatti-kavya. But by examining various
catalogues of manuscripts, I have come to know about twenty-
two commentaries. The commentators together with their
dates and works have been given in this chapter.

The fifth chapter beals with the erudition of Bhatti. In

this chapter, Bhatti's knowledge of the vedas, rituals, metrics,
grammar, Artbas'astra. Dharmasastra, poetics, music, dance,
omens, psychology, etc., as gleaned from the Bhatti-kavya has
been reviewed. Sometimes, similarities of the ideas with the
old treatises have also been noted. Similarly mythological
characters together with their characteristics and antequarian
parallelism have been given.

The sixth chapter presents a literary study of the Bhatti-kavya.

The characteristics of a Maha-kavya as found in the Bhatti-
kavya have been analysed * The language and the style have
also been observed. Next-few pages deal with the figures of
speech of the Bhatti-kavya. The Bhatti-kavya can be said to be
the first treatise which contains bulk of Alankaras for exemplary
purposes. Many times the commentators differ in naming these
Alankaras. Bhatti appears to be an immediate predecessor of
"iJhamaha and Dandin, so while classifying these alankaras
observations especially the changes in the concept have been
noticed. Alankaras have been classified alphabetically and some
of the Alankaras like Utpfeksa, Upatoa, Rupaka and Svabha-
vokti are also classified subject-wise. Then the salient chara-
•cteristies of the characters of the Bhatti-kavya follow. Metres
are classified alphabetically as well as canto- wise.

The seventh chapter deals with the detailed arrangement of

•of the grammatical illustrations. Then follows the technique
of in the Bhatti-kavya. Here omissions of the
illustrations
sutrasand the style of illustrations namely Sanjana, Pratyahara,
Adhyahara, Ganas, Nipatanas, etc., have been given.

The eighth and the last chapter discusses some gastric prob-
lems of the Bhatti-kavya. The Bhatti-kavya has been quoted
by Saranadeva, Ksiraswamin, Sayana, Bhattojidlksita and some
other grammarians. They tried to justify or reject the forma-
tions used in the Bhatti-kavya. Therefore the problems and
their rejoinders have been discussed in the order cf the Bhatti-

*kavya.
.

CHAPTER I

SUMMARY
C^anto I. A virtuous, valorous and learned king Dasaratha?
was ruling over Ayodhya (1-8). Being desirous of a son he

brought Rsyasraga to his city and after a sacrifice four sons

were born to hirri (9-14). All of them were given education in

various fields (15-16)". Once Visvamitra came to take Rama for

the protection of the sacrifice which could not be tolerated by

the King. Being consoled by Visvamitra, the King sent his sons
with him.(17-26).

Canto II. After the winter season had set in (1-20), Visva-
mitra taught them Vijaya and Jaya Vidyas to kill demons. They
killed Tadaka and having entered hermitage accepted the-
Arghya and appreciation of sages (21-29). Marica came making
a noise and Rama warned him against killing the sages. But
fight began and Marica was thrown away from the battle-field.
(30-35). Sages were happy and praised Rama as an incarnation
of Visnu (36-39). They went to attend the sacrifice performed!'
by Janaka. When Janaka gave him the bow of Lord &va, it
was smilingly broken by Rama (40-42). Janaka sent his messen-
gers to Ayodhya. DaSaratha came and SIta was married to Rama.
(43-47): ''
While returning, Paras"urama challenged 'them m the

way. When he did not accept Dasaratha*& request, Rama toolc '

up his bow and vanquished territories won by him. AlFof

'

them hastily returned to Ayodhya on tne '.departure 'of

'-
ParaSurarna (48-55),. ,
v ,, .; ;
n
* •
!
- -J) -*

Canto, m. The king announced the installation ceremony

qf Rama and preparations were made (1-5). Kekayi on being;
simulated by the women of harem could not tolerate it. She
asked for the exile of Rama (6-9). The subjects lamented, fled

(1)
'2 bhatti kavya

upon Kekayi and determined to follow Rama (10-1 1). Rama con-
soled them and wanted them to go back. But he had to remain
with them for a night and having cheated them, went away
(12-16). The subjects returned but the king could not tolerate
the sorrow and died (17-21). Bharata was brought to Ayodhya
where he rebuked Kekayi and after the cremation ceremony of
the King with due rites went to bring Rama back (22-36).
Bharata reached Citrakuta, where Laksmana misunderstood
him and became ready for a fight (37-47). When Bharata broke
the news of the death of their father, Rama and Laksmana paid
water-oblations to their deceased father (48-50). Rama again
advised Bharata to rule over Ayodhya and on the frequent
insistence of Bharata, Rama asked him to take his Padukas
<51-56).

Canto IV. When Bharata returned, Rama along

•with Laksmana and Sita went to the hermitage of Atri. After

killing Viradha, they went to the hermitage of Sarabhanga and

.Sutiksna (1-13). One morning a sensual Raksasi in the form
•of a beautiful woman came
to Laksmana and proposed to marry
her (14-20). Laksmana sent her to Rama and when Rama sent
her to Laksmana back, the latter cut down her nose (21-31).
She went to Khara and Dusana and after a fight fourteen
thousand Raksasas were killed (32-45).

Canto V. When Khara and Dusana were killed,

^flrpanakha went to the court of Ravana to stimulate him
(1-22). Ravana consoled her and explained the affair to Marlca
who him not to fight against Rama
argumentatively advised
<23-38). Ravana rebuked him and made him to accept the
proposed task on the cost of death (39-46). Marlca manifes-
ted himself in the form of a golden deer and aroused curiosity
in the heart of Sita. Rama entrusted Sita to Laksmana and
followed the deer (47-51). When pierced with an arrow, Marlca
made a noise and Sita sent Laksmana forcibly to help Rama
<52-60). In the absence of Laksmana, Ravana appreared in
the form of a sage ; rebuked Rama and took away Sita (61-95).
Having heard her cries, Jatayu challenged Ravana (96-100)*
SUMMARY 3

He fought with courage hut Ravana cut down his feathers and
Jatayu rolled on the earth. (101-108).

Canto VI. Ravana tried his best to persuade. Sita to

accept him but could not do so (1-4). Rama saw bad omens
on seeing Laksmana. He saw Sita missing and began to lament
(5-20). He became unconscious. Then he somewhere noticed
the blood stains and thought her to be murdered (21-31). Rama
got angry and took up his bow to destroy the universe but was
prohibited by Laksmana (32-40). They saw Jatayu who related
the story of Sita (41-43). Being caught by a demon Dirgha-
bahu, they cut down his hands. He named Sugrlva as the
medium of winning Sita back (44-56). After he flew up in
the sky, Sabari met them and gave them Arghya etc. Having
told that Sugrlva will make a friendship with them, she dis-
appeared (57-71). They reached Pampa and Rama gave vent
to his self-expression having seen stimulating natural objects
(72-84). They reached RsyamQka. Sugrlva thought them to
be a representative of Bali and sent Hanumat to them (85-91).
On being asked they told Hanumat that they were seeking for
the woman taken away by Raksasas (92-98). Hanumat made
friendship with them and Rama assured their victory by cutting
seven tall trees (99-116). After a fight between Bali and Sug-
riva, was killed by Rama (117-122). Women lamented
Bali
and [Link]. Bali rebuked Rama and argumentatively
fied
propounded that he did not deserve death (123-133). Rama
justified hk murder (134-136). Bali entrusted his son Angada
WMti£*lUma ; gave kingship to Sugrlva and breathed his
last (137-141). So all of them returned Kiskindha (142-
143),

Canto VII. Rama became intolerant and emotional having

Seen various actions of nature rainy-season (1-18).
in the
Rama asked Laksmana to remind Sugrlva of his promise (19-
23). Sugrlva, enjoying with beautiful women, accepted his
negligence and sent monkeys in the search of Sita (24-46)
Monkeys having taken the ring went in the sky, the mountain
and entered the gate of a cave (47-61). They saw there a
beautiful woman who welcomed them. She was Svayamprabha
4 BHATTI KAVYA

who put them out for their protection (62-70). They could not
find Slta. so Jambavati decided to commit suicide (71-78); They
saw a vulture Sampati who told them about Lanka and advised
them to go there (79-97). They went to [the mountajn
Mahendra ; saw the ocean and sent Hanumat across. (9,8*

'
108).
.. i

Canto [Link] Hanumat was flying, over the Oceania

Raksasi came in the way whose belly was pierced by Hanumat
(1-6). The Mainaka requested him to rest over its peaks- but
Hanumat told him^ 'about RSvana and resumed his journey/0
22). After defeating another Raksasi, he reached Lanka. (2h
26). Description of Lanka (27-34). Deceiving Raksasas,- -}&t
entered Lanka (35^44). He saw sportive actions of Ravana

and Puspaka but could not trace out Slta (45-58), Later he saw
SitS in the A£oka-garden (59-72). In the meanwhile Ravana
came there and requested Slta again and again to be [Link]^
but Slta disgraced, him (73-93). Ravana and all the Raksasi
challenged and rebuked Slta but a Raksasi Trijata consoled he£
(94-99). Hanumat appeared and disclosed his identity by
giving the token-ring of Rama (100-121). When sent back by
Slta, he destroyed the A§oka-garden ( 1 22- 1 3 1). i:
i

Canto IX. Hearing the destruction of ASoka-garden.

Ravana sent eighteen ,
thousand fighters who were defeated by,

Hanumat (1-14)^ h Ravana sent his friends and ministers wfyo.

were defeated after a fight (1 5-£2), Ak§ayakumara was a,lso kille$
Again ,on tk& destruction of all that? [Link]) sejn^
(£3*38). , ,

who, by a Brahmastra bound him and took him to Ravana,^{-

96). Ravana announced his murder but was argumentatively
apposed by Viibhisj^a (97-1Q8). IJanumat ..reque^te^. .R,avana

to; leaye Slta an4,justified his actions in. Xa^ka (I0£42 6 )A$
Ravana; ordered [Link] hjm (U7), ;/ ;, ^./j
<•'•'•
Canto X. Hahumat set Lanka to. fire, %ent to SXta a'hl

sought her permission to go (l-tf)."„ He flew over the 'cio£$ft

and thus reached the other bank of the ocean, Monkeys'* Wefe
[Link] happy (1840), Hanumat came to Rama, gave the^.
SUMMARY.

from Sita and described the state of Lanka (3 1-40). Rama

went to Mahendra mountain after the return of Hanumat (41-50)
T&ey went oa the shore of the ocean from Mahendra mountain
and there the description of the ocean is given (51-63). Rama
was consoled by Laksmana and,slept on the shore (64-75).

I. Canto XI. After the description of the setting of the moon

'..

and the stars, the amorous descriptions of the women of Lanka

are given (1-18). Morning eulogies, rising of the Sun and
description of women (19-39). Ravana worshipped Brahmarak-
sasas and took his royal seat (40-47).

The mother of Ravana asked Vibhisana to

Canto XII.
convince Ravana to give back Sita (1-4). Vibhisana went to see
Ravana in the Sabha (5-12). Ravana consulted his Counsels
about the fight but Vibhisana refuted it (13-54). The grandfather
£f Ravana seconded Vibhisana (55-fifo). But Kumbha-
also
expressed
jcarna offered himself for the fight. Vibhisana again
some bad omens but was hit by proud Ravana by foot (61-80).
Vibhisana rebuking and challenging Ravana, went to
Rama
(81-87).

Canto XIII. In the morning, Rama took up his bow

angrily. The ocean came in the form of a human being and
requested Rama to control his bowand arrow (1-10). Monkeys
began to collect stones to make a bridge (11- 15). The descrip-
tion of the ocean (16-20). The
bridge' was being constructed

and monkeys rejoiced (21-28). Again the description of the

otean (29-43). 'Description of the army of Rama and its gait
(44*50).

Canto XIV. Ravana exhibited an artificial head of Rama

to Sita and she became senseless. The description and tb£
activities of the army preparing for the fight (1-13). Prahastai
MahaparSva, Mahodara, Indrajit and -Ravana took up their
positions (14-16). Monkeys also prepared. Ravana came
him*
self for the fight (17-26). Description of the battle-field (27- 30)*
Sampati killed Prajahgha ; Nala killed Pratapana ;
and
Jambumali. Similarly Vibhisana, Sugriva,
Hanumat killed •

Mtainda, Nila,Laksmana and Dvivida killed Praghasa, Vajra-

musti, Vikumbha, Virupaksa and Asaniprabha respectively.
O BHATTI-KAVYA

Aiigada broke down the chariot of Indrajit (3 1-38). Concealing

himself, Indrajit called Sarpastra. Rama and Laksmana came,
under the influence of the missile and
fell down on the earth

(39-47). away to his father and Raksasas were

Indrajit fled
happy (48-53). Ravana showed the death of Rama and
Laksmana to SIta in Puspakavimana but SIta was consoled by
Trijata (54-61). Rama came to know about Nagastra and when
Garutman arrived, both of them were restored back their senses,
and the fight was resumed (62-70). Ravana sent Dhumraksa,
Akampana and Prahasta but they were killed by Hanumat and
Nila respectively. Thus monkeys were happy and Ravana was
frustrated (71-113).

Canto XV. Raksasas awakened Kumbhakarna who was

made acquainted with the situation. Kumbhakarna rebuked
Ravana for the critical situation but was'convinced by
him to
fight (1-25). Bad omens appeared and Kumbhakarna 'killed
thousands of monkeys (26-51). Kumbhakarna threw a Saktt
towards Sugrtva but Hanumat obstructed it. He again threw
a mountain towards Sugriva and in responce Sugrlva cut down
the ears and nose of Kumbhakarna (52-65). Kumbhakarna
threw a mudgara towards Rama but he cut down his hand (66-
68). Rama gave a stroke with Aindrastra and Kumbhakarna
fell on the earth and died (69). After the death of Kumbha-
karna, Ravana sent Devantaka, Trisiras .and Narantaka who
were killed by Angada, Hanumat and Nila respectively. Atikaya
was killed by Brahmastra (70-94). Indrajit fought with Brahma-
[Link] saw Rama and Laksmana losing their senses and
sent Hanumat to bring medicine from the Himalayas. Hanumat
brought the medicine and the Vanaras together with Rama and
Laksmana were revivified (95-111). Nikumbha and Kumbha
were killed (112-114> Angada killed Yudhyakampana* and
Kampana. Then Prajangha, Ytipaksa and Lohitak§a etc. were
also killed (115-123).

Canto XVI. Ravana lamented the death of his warriors

and thought over the situation of Lanka (1-27). He had never
predicted such a situation and angrily made up his mind to
SUNNARY 7
fight (28-34). Indrajit consoled him and offered himself for the?
fight (35-41).

Canto XVII. Inspite of thebad omens, Indrajit went to-

fight (1-18). He called Brahmastra but Rama and Laksmanas
obstructed it (19). Indrajit killed an artificial Sita in the sky
and on the lamentation of Rama and Laksmana, Vibhisana dis-
closed the secret (20-25). All of them went to Nikumbhika
and obstructed Indrajit there. Indrajit rebuked Vibhisana who-
in turn rebuked Ravana (26-40). In a fight with Laksmana,
Indrajit was killed (41-46). The monkeys were happy and,
when Ravana took a vow to kill Sita, others prohibited him,
(47-49). Again after preparation, the fight began where Rama
killed ten thousand charioteers, fourteen thousand horsemen and:
two lac pedestrians (58-75). Viriipaksa was killed and Ravana.
began to fight fisrwly (76-91). Laksmani lost his senses then.
Ravana fled away from the battle-field. In the meanwhile Laks-
mana regained senses (92-96). With the order of Indra, Matali
came in the battle-field and the fightjwas resumed again (97-106).
Ravana spread his hundred and one artificial heads but Rama,
cut them down (107-108). Matali made Rama remember
his missile which was devised to kill Ravana (109). By that
missile Ravana was killed (111-112).

Canto XVIII. Vibhisana, having seen Ravana dead, could

not himself.
resist Having remembered his prosperity
valour and attachment towards him he expresse his sorrow
,

(1-36). The whole of the harem began to lament (37-42).

Canto XIX. Rama advised ministers to go to Lanka and
coronate Vibhisana. All the preparations were made accor-
dingly (1-13). They consoled Vibhisana and requested him to<

rule over Lanka (14-30).

Canto XX. Hanumat went to Sita, congratulated her

and requested her to order to kill the Raksasis. But Sita
prohibited him to do so. She asked Hanumat to convey a
message to Rama that she wanted to see him (1-7). Rama
requested Vibhisana to bring Sita. (8-18). As she approched
Rama, tears came out of her eyes (19-20). At once Rama
questioned her character and asked her to go anywhere or
marry Sugriva, Vibhisana, Bharata or Laksmana (21-25). She
"8 BHATTI-KAVYA

invoked all the deities to sanction her chastity and asked

Laksamana to prepare a funeral-pyre (26-37).

Canto XXI. The fire took Sita and propounded her chas-
tity argumentatively (1-9). Dasaratha came in the sky. Siva,
Brahma and Indra were present there to acknowledge her purity
(10-23).
Canto XXII. Rama described a path to Ayodhyfi, viz. the
ocean, the Malaya mountain, Kiskindha, Malayavat forest,
Sutlksna, Ganga, Tamasa, Sarayu and Ayodhya. (1-17). Rama
predicted the happiness of Bharata and asked Sugrlva arid
Vibhlsana to accompany him to Ayodhya(18-21). They went by
Puspaka to Ayodhya where Bharata received them with tears in
his eyes (22-31). Then follows the Mahatmya of the Bhatti-
Kavya( 32).
CHAPTER II
CHANGES AND INNOVATIONS
JL he source of the Bhatti-Kavya is the Ramayana. In the

Bhatti Kavya the story of the Ramayana, consisting of 24000

Verses has been reduced to only 1650 verses. Bhatti has avoided
the detailed decriptions and the inter-related stories which are
to be found in the Ramayana. The flow of the story of the
Bhatti-Kavya is very rapid. Although the language of the Bhatti-
Kavya is grammatical and cumbersome, yet it manifests poet's

poetic genius, It stands in contrast to the language of the

Ramayana which is simple and lucid.

Through the perusal of both the works we find a number

of points of comparison and contrast. The points are as
follows :

RAMAYANA BALAKAlSPA bhatti-kAvya

L The story of Rama as na- 1. Omitted in the Bhatti-

rrated to Valmiki by Narada ; Kavya.

the story of Valmiki;

poetical characteristics of
ihe Ramayana; its teaching

to Lava and Ku£a.

2. The story of the Rama- 2. First Dasaratha is des-

yana begins with the cribed and afterwards
description of Ayodhya Ayodhya is described.
followed by the descrip-
tion of DaSaratha.

3. Description of Ayodhya 3. Ayodhya is described m

in eighteen verses. four verses only.

(9)
.

10 BHATTI-KAVYA

4. Detailed characteristics of 4. Dasaratha described very

Dasaratha, his policy and briefly.

administration.
5. Dasaratha is not depicted 5. Dasaratha is depicted as
as a Saiva. a Saiva.
6. Dasaratha proposed for 6. All these details are not
a putrestiyajna ; second- given.
ed by his ministers ; sent
courtesans to Rsyagrnga ;

married him with Santa

and performed a sacri-

fice.

7. A divine person emerging 7. Hutocchista was taken by

from the sacrifice gave the queens.
Payasa which was taken
by the queens.
8. Character of Santa. 8. Omitted.
9. Visvamitra was angry on 9. Vasistha is not introduced,
the refusal of Dasaratha
and Vasistha told Dasa-
ratha to send his sons.
10. No description of Sarad 10, Sarad introduced in the
while going to the hermi- Bhatti-Kavya.
tage of Visvamitra.
1 1 Vidyas styled as Bala and 11. Vidyas called Jaya and
Atibala" are imparted to Vijaya are imparted to
Rama and Laksmana. Rama and Lak§mana.
12. Visvamitra gave the 12. Missiles were given be-
missiles to Rama after fore her death.
the death of Tao'aka.
13. All the four brothers 13. Only Rama was married.
were married simultan-
eously.
14. Parasurama, when defeat- 14. Parasurama did not go to.
ed went to Mahendra Mahendra mountain.
mountain.
AYODHYAKAtfpA
15. Dasaratha consulted his 15. Dasaratha directly dec*,
Council about the corona- lared the coronation.
CHANGES AND INNOVATIONS n
Rama.
tion of
16. Manthara stimulates _
16. Manthara is not mentioned.
Kekayl but Kekayi re- Kekayi herself is not
futes her. able to tolerate the
coronation ceremony of
Rama.
17. Derailed description of 17. All these details are omi-
the entrance of Kekayl tted.

into the Kopabhavana

and her heated dialogue
with DaSaratha.
18. Laksmana contradicted 18. Laksmana followed Rama,
the exile of Rama. silently.

19. Sita and Laksmana re- 19. Both of them simply

quested Rama to take accompanied Rama.
them along with him.
20. Nisadarajaguha was 20. Not introduced at all.

requested to bring the

boat.
21. Lamentations when 21. Omitted in the Bhat^k
Su mantra came back. Kavya.
22. Bharata demanded for 22. Rama gave himself away
the pair of the carana- his pair of the Caranapa--

padukas from Rama. dukas.

23. Sarabhanga immolates his 23. Sarabhanga's event is,

ownself in the fire. omitted.

24. Agastya gave some missiles 24. Omitted.
to Rama.
25. Descriptions of all the sea- 25. Omitted.
sons in Pancavatl.
26. Surpanakha does not 26 She is beautiful first but
appear as beautiful even in when her nose and ears

her first meeting with were cut off, she mank

Rama and Laksmana. fested her real form.

27. As Surpanakha came to 27. Laksmana cut down her

assault Sita, so she was de- nose and ears when she

formed by Laksmana. came to Lak§mana after-

her rejection by Rama.
12 BHATTI-KAVYA

28. Rama sent Laksmana 28. Both Rama and Laks-

along with Slta to a cave mana fought against them.
for protection. Rama
fought alone against

Khara and DGsana.

29. While taking away Slta, 29. Ravana took her in his
Ravana took her in his arms and fled away in
arms and then put her in a the sky.
golden chariot.
30. Slta threw away some [30. Omitted.
ornaments and clothes.
•31. Indra came to Lanka and 31. Omitted
gave the divine drink
(Kslra) to Slta.

32. Rama expressed his anger 32. Rama met Jatayu and
towards Triloki for his then expressed his anger
inability to trace Slta but towards Triloki.
on meeting Jatayu they
could know something.
•33. Rama met a Raksasa 33. Raksasa named Dlrgha-
named Kabandha who bahu revealed the secret
did not reveal the secret of Slta to Rama.
of Slta.

KJSKINDHAKAtfPA
34. „ Vanaras showed the 34. No ornaments were
ornaments of Slta to shown.
Rama.
35. The cause of the enmity 35. Omitted.
between Sugrlva and Ball
is given in details.
36. Lamentations of Tara on 36. Omitted,
the death of Bali.

"SUNDARAKAljjpA
37. FirstMainaka mountain 37. Raksasi met Hanumat
met Hanumat. first.

38. The name of the Raksasi 38. No name of "the Raksasi

... is Surasa. has been referred to.
CHANGES AND INNOVATIONS 11

39. Two Raksasls named 39. Two Raksasls are mention-

Surasa and Simhika are ed but their names are not
mentioned. given.
40. Hanumat met Mainaka, 40. Hanumat met first Simhika,
Surasa and Simhika. then Mainaka and then
Surasa (although the names,
of the Raksasls are not
given.

41. Fight between Hanumat 41. Omitted.

and Lanka.
42. Description of the 42. Omitted.
Moon and Puspaka—
Vimana.
43. On meeting Sita Hanu- 43. Hanumat directly declared
mat eulogized the family himself to be the servant of
of Das'aratha. Rama.
44. The story of a crow 44. Omitted.
related by Hanumat.
45. Hanumat killed Prahasta 45. Eighty thousand warriors
son of Jambumalin; the and ministers came to
seven sons of the minis- fight against (
him. He
ters of Ravaria ; his five killed Aksayakumara andt
senapatis and Aksaya- after that Indrajit came.
kumar came. Indrajit
came later on.
46. Description of Sita 46. It is given artificially.
after burning Lanka is

spontaneously, : intro^ ,

duced.
47 v Nq , description .of the 47, •In the Bhatti-KaYya, :m\
ocean after burning description of the
artificial

Lanka. ocean has been inserted in

T
Order tb illustrate some
.figures of speech.
No description of Lanka 48. It is introduced in order to
and amorous sports of illustrate the sentiment of
the Raksasls during the Madhurya.
morn.
u BHATTI-KAVYA

yuddhakAwa
49. Ravanamet his ministers 49. Ravana's mother advised
to discuss the situation. her another son named
Vibhlsana to request
Ravana not to fight and
to hand over Sita back to
Rama.
50. Vibhlsana left Ravana 50. He argumentatively sugges-
as he was rebuked by ted Ravana not to wage a
the latter. war. Ravana hit him
with his foot and he went
away.

•51. No description of the 51. The description of the

ocean after it. ocean to illustrate Bhasa-
sama Alankara.
52. Suka and Sarana, the 52. Omitted.
ministers Ravana
of
informed Ravana re-
garding the army of
Vanaras.

53. In the Ramayana, Sita 53. Directly preparations are

got infatuated on having made for fight after the
seen the cut-head of infatuation of Sita.
Rama. A council follows
including the speeches
of Malyavat etc.

54. Wrestling between Sug- 54. Omitted.

rlvaand Ravana.
55. After Dhumraksa, Vajra- 55. Akampana was sent direct-

damstra was sent. ly.

56. Mahendra told Kum- 56. Omitted,

bhakarna about Ravana
and about the technique
of killing him.

57. The fight between Rama 57. Omitted,

and Makaraksa.
CHANGBS AND INNOVATIONS 15

58. No lamentations by 58. Bhatti introduced such

Ravana on the death lamentations in order
of Kumbhakarna. to illustrate 'Lrt' lakara.
59. When Indrajit was 59. No such event is related.
killed, Ravaria desired
to kill Slta but was pro-
hibited by a minister
named Suparsva from
doing so.

60. Susena cured Laksmana 60. Susena is not introduced.

as he was senseless
with the arrow of
Ravana.
61. At the time of Agnipa- 61. Slta invoked the deities
rlksa Kubera,
of Slta, Vayu, Vasundhara, the
Yama, Indra, Varuna, night and day, the sun and
Mahadeva, Siva and then Agni who acknow-
Brahma came. ledged her chastity.
62. Agni told that Dasa- 62. Lord Siva told that Dasa-
ratha, lord Siva and ratha had appeared in the
Brahma had appeared in sky.
the sky.
UttarakAnjpa
The stories given in the Uttarakanda of the Ramayana
are not given in the Bhatti-Kavya. It comes to an end only
after the Yuddhakanda.
CHAPTER -IJI

TITLES, IDENTITY LIFE AND DATE

TITLES

1 he most popular title of the poem is t he Bhatti-Kavya,

This title is in most of the books in the history of

found
The commentators Mallinatha\Pundarikaksa2
Sanskrit literature.
4 5
KandarpaSarman, Jayamaiigala and Kumudananda, call it
3

Bhatti-Kavya. The other titles of the poem are Bhartrkavya,

8

8 9
Raniakavya 7 Ramacarita and Ravanavadha.
,

IDENTITY AND LIFE

The title of the Bhatti-Kavya appears to be following the

name of its author. So many names are given to the author of

\. Trivedi, K- P., Ed- Bhatti-Kavya, (Two vols) Bombay, 1897.

2. Eggeling, Catalogue of the Sanskrit Manuscripts in the Library of

India Office, Part II. p. 259, No. 920.

3. Ibid., No. 920 (IV).

4. gastrin, Vin&yaka. Ed. The Bhatti-Kavya, Bombay. 1912 and Siva,

datta. Ed. The Bhatti-Kavya, Bombay, 1928.

5. Mitra, Rajendralal, Notices of Sanskrit Manuscripts, Calcutta, 1878,

Vol. IV, p. 209.

6. Gode, P. K-, Descriptive Catalogue of the Govt. Collection of

Manuscripts deposited in the Bhandarkar Oriental Research
Institute Vol. XIII. No. 447 and folio 9b. 9mr/T<k
y

7. Dalai, CD; Catalogue of Manuscripts in Jaselmere Bhandara. G.

O. S. XXI, Baroda, 1923. p, 24, p. 214.
8. Sivadatta, op. cit, Title.

9. (a) Aufrecht, T : Catalogus Catalogorum, Leipzig, 1962, p. 595,

(b) Jayaswal, K. P., A descriptive Catalogue of Manuscripts in

Mithila, Patna, 1933. p. 101.

(c) §astrl, H. P. , A descriptive Cataldgue of Sanskrit Manuscripts

in the collection of the Asiatic Society of Bengal, Vol. VII,
Calcutta, 1934, p. 61 ; and No. 5058.

(16)
TITLES, IDENTITY, 1IFE AND DATE 17

the Bhatti-Kavya. Some of them are Bhatti, Kavibhatti, :

Bhatti-Brahmana 1 Bhatti-paridita 2 and Bhatta Mahabrahmana.*

,

Kavi, Brahmana, Pandit and Mababrahmana are his epithets.

He is called Bhattaswamin, Swamibhatta and Bhartrswamin. 4
The commentator Kumiidananda calls him Swamistinu 5 He is .

also called Bhartrbrahmana. 6 Mugdhabodhinl by Bharata-

mallika calls him Bhartrhari. 7 By commentators Kandarpas"-
arman, 8 Vidyavinodacarya 9 and KeSavaSarman^o as well as in
some of the manuscripts 11 he is known by his name Bharfrhari.
According to N. L. Westergaard, the author of (he Bbatti-
kavya is Bharfrhari but he derives the nominal
form Bhatti from
Bhartr. 12 Rudolf Roth and Otto Bohtlingk 13
also derived Bhatti
from Bhartrhari and they think that Bhatti and Bhartrhari
are

1. Mitra, Rajendra Lai : Notices of Sanskrit Manuscripts, Calcutta,

1871-90. Vol. VIII. pp. 220-21.
2. Jayaswal, K. P. : A
desriptive Catalogue of Manuscripts in Mithila.
Patna, 1933, p. 101.
3. Devasthali, G. V. A descriptive catalogue of the Sanskrit and
:

Prakrit manuscripts in the library of University of Bombay.

Bombay, 1944. Book II. p, 746.
4. (a) Sastrl, H. P. : A
descriptive catalogue of Sanskrit Manuscripts
in the collection of the Asiatic Society of Bengal, Vol. VIL
Calcutta, 1934, No. 5058.
(b) Gode, P. K. Descriptive Catalogue of the Govt. Collection of
;

Manuscripts deposited in the Bhandarkar Oriental Research

Institute, Poona .Vol. XIII. No. 446, 447 (In Jayamarigala Co-
mmentary, folio 21 1). •

(c) Aufrecht, T. Catalogus Catalogorum. p. 395.

5. Mitra, Rajendra Lai. op. cit., Vol. IV, p. 209.
6. Gode, P. K. op. cit. Vol. XIII. p. 75, No. 442.
7. (a) ^astri, Kuppuswami, Descriptive Catalogue of Sanskrit
Mss. in the Govt. Oriental Mss. Library, Madras, No..
11617.
(b) tfastrl, H. and Gai, S. A
Descriptive Catalogue of the Sanskrit
manuscripts in the Library of the Calcutta Sanskrit College.
'
Vol. VI, Calcutta, 1913, p. 75, No. 76.
8. Eggeling, Catalogue of the Sanskrit Manuscripts in the Library of
the India Office, Pt. II, p. 259 No. 920 (IV).
9. Mitra, Rajendra Lai, op. cit., Vol. IV, No. 1637.
10. Slstrl, H. P., op. cit-, p. 65, No. 5066.
11. (a> Eggeling, on. cit., pt. II, No. 920 (V), and (VIII).
(b) Jayaswal, K. P. op. cit., p. 103, No. 99.
12. Westergaard, N. L.
P- VIL
: Radices Linguae ^
Sanskritae, Bona, 1841:

13. Roth, R and Bohlingk, Otto Sanskrit Worterbuch St. Petersburg

1868, Vol. V, pp. 190 and 217.
18 BHATTI-KAVYA

%ut the names of one and the same person. According to

Aufrecht, Bhatti, the author of the Bhatti-Kavya and Bhartrhari,
the author of three Satakas are two different persons. 1 Accord-
K. T. Telanga, the identity of the two Bhartrharis rests
ing to
on the [Link] ground and he states that there is a sli-
ght probability of any connection between the two. 2 According
to Hoernle 3 and A-B. Keith, 4 the ascription of the Bhatti-Kavya
»to the author of three Satakas is hopeless.

R. C. Majumdar ascribed the Bhatti-Kavya to Vatsabhatti

on the basis of the similarity of descriptions found in the Bhatti-
Kavya and the Mandsore inscription. 5 But A. B. Keith severely
6
refuted it and called it the most unfortunate suggestion. Again
R. C. Majumdar 7 defended himself by assigning Bhatti under
the patronage of Dharasena -
I. This appears to be a futile
•effort because the author of ihe Bhatti-Kavya has been placed
in the reign of Dharasena II.

So, it appears that Bhatti, the author of the Bhatti-Kavya

•and Bhartrhari, the author of the three Satakas and the Vakyap-
•adiya weretwo different persons. The confusion was created by
the commentators of the Bhatti-Kavya who derived Bhatti from
and hence confused the real authorship of the poem.
..Bhartrhari
The becomes more clear from the fact that all the
distinction
later grammarians quoted the Bhatti-Kavya after the name of
Bhatti while they quoted the Vakyapadlya and the three Satakas
after the name of Bhartrhari. Hence, Bhatti, the author of the

1. Aufrecht, T. A Review on Bhatti, Indian Antiquary, Vol. XI, p.

236.
.2. Telanga<> K. T\ Bhartrhari's Satakas, Bombay, 1874, pp. XVII-
xvnt '

"3. Hoernle, some Problems in ancient Indian History, J. R. A. S., 1909

p. 112, f. [Link]. 1.

*4. (a) Keith, A. B. : Catalogue of Sanskrit Mss. in the Bodelian

"Libitty, Oxford, 1901, p. 32, No. 246.
(b) Keith, A. B. A note on the Bhatti-Kavya, J. R. A. S., 1901, p.

434. f. n. no. 1."

<5. Majumdar, R. Con the Bhatti-Kavya, J. R. A. S., 1904, pp. 395
397.
6v Keith, A. B. Vikramaditya and Kalidasa, J. ,R. A* S., 1909, p-
*
434.
"/,, Majumdar, R C. The/author of the Bhafti-Kavya, J, R. A.
. S. 1909
p. 759.
TITLES, IDENTltY , LI&E:

AND DATE 19

Bhatti-Kavya cannot be identified with the author of the three

Satakas and the Vakyapadiya.
Bhatti was a Brahmana by caste and his father's name
was Swamin. He was initiated in various branches of
learning especially in the Artha£astra and the Vyakarana. He
did a detailed study of the Alankaras and metres.
It appears that he was patronized by the King of Valabhi,
SrTdharasena II as he has mentioned his name in his poem. 1
Bhatti seems to be a follower of Lord Siva (Tryambaka). He
has shown his inclination towards Siva-worship by presenting
£>a£aratha as a Saiva. 2

DATE OF THE BHATTI-KAVYA

The date of the Bhatti-Kavya depends upon the identity
of the author of the Bhatti-Kavya. As the author is identified
as a different person from Bhartrhari, the author of the three
S"atakas and the Vakyapadiya, it appears that although they
are two different persons, yet their date is not so different.

First of all, P. A. Bohlen gave the identity of Bhatti as the

brother of Bhartrhari and established that both of them were
contemporary. 3 H. T. Colebrooke 4 followed the commentator
named Vidyavinoda while differentiating Bhatti and Bhartr-
hari. But he did not say anything about his date. Bohtlingk
and R. Roth in their glosses identified Bhatti with Vikrama-
ditya's brother Bhartrhari, the author of the Vakyapadiya and
the three §atakas besides the Bhatti-Kavya5 These earlier schok .

ars confused the identity on the similarity of the word Bhartr

and Bhatti. R.&othwas wrong in !

identifying Bhartrhari, the

1- Bhafti-Kavya. XX. 35.

'
,

2. Ibid. 1.3.
3. Trivedi, K. P. Ed. Bombay, 189S,
Bhatti-Klvya, (Vol.1) Intro-
duction, p. xvi.
4. Colebrooke, Henry Thomas, Miscellaneous Essays, second ed. 1872
Vol. II, p. 115.

5. Bohtlingk, Otto and Roth, R. : Sanskrit Worterbuch, St. Peters-

burg, 1868, Vol. V, p. 217.
Bharrhatri "Ernes Bruders, des Konigs Vikramaditya, dem die
:

Autoschraft dreirer Satakas (S>ngara, Niti und Vairagya Sataka),

grammatischer Karik| des Vakyapadiya und von Einigenauch des
Bha^i-Kavya Zugeschrjeben wird."
;

20 BHATTI-KAVYA

author of the Bhatti-Kavya with a brother of Vikiamaditya and

hence placing him in 57 B.C., because Bhatti himself has menti-
oned the name of Dharasena of VallabhI. 1 This is an important
clue to fix Bhatti's date.

There are four Dharasenas in the history of Valabhi. Here

the use of the words Karendra, Nrpa and Ksitipa by
Bhatti is interesting. The date of the first Dharasena is 495A.D.
second Dharasena is placed in 571 A.D. ; third in 620 A.D. and
2
the fourth Dharasena in 641 A.D.

Bombay Gazetteer tried to prove that it was in the reign

of Dharasena IV that the Bhatti-Kavya was written. 3 It is

argued there that Dharasena IV styled himself as Paramabha|t-

araka, Mabarajadhiraja, Parame^vara and Cakravartin because
he was the most powerful king. The word 'Narendra' used by
the Bhatti-Kavya also shows the same. 4 K. P. Trivedi, 5
C. V. Vaidya 6 and R. C. Parikh 7 are also of the same view.

But the titles enjoyed by Dharasena IV show that he was

an emperor while ihe Eh&ttiKavja rss ujed the word
'Narendra' only.

1. Bhatti-Kavya xx. 35.

crafts father *rar w-Tri

2. Duff, C> Mabeli The. Chronology of India, Westminster, 189?, p,

308.
3. Gazetteer of the Bombay Presidency, Vol. I, pt. I, Bombay*
1896- pp. 90-91 •
•
•

4. Ibid. p. 91.
5. Trivedi, K, P. Ed. Bhatti-Kavya, Introduction, p. xxii.
6. Vaidya, C. V. History of Mediaeval Hindu India, Vol. I Poona,
1921, p. 247.
7. Parikh, R. C; Ed. Kavyanu$'asana of Hemacandra, Bombay, 1938
Pt. II, Introduction, p. XXVII.
.

TITLES. IDENTITY, LIFE AND DATE 21

Charasena himself as Senapati. Dharasena II

I sfyled
styled dimself Maharaja, 1 Samanta 2 and Mahasamanta. 3 First,
Dharaseua II took the title of Samanta, and later resumed the
title Maharaia and again restored to the title of 'Mahasamanta'

in 588-589 A.D.*
Moreover, one of his epithets shows that he was a patron
of learning. 5 It is to be found in the colophon of the Bhatti-
Kavya that he was a popular king which speaks volumes of his
said quality.*

Nothing is known in detail about Dharasena III except

that he ruled between 621-627 A. D. in peace. 7
was Dharasena IV who assumed the imperial titles like
It
Paramabhattaraka, Maharajadhiraja, Paramesvara and even
Cakravartin and might have extended his power over a consi-
derable part of the Northern India. 8
So, one fact is clear that the Bhatti-kavya belongs to a
period when Maitreyas of Vallabhi had not attained the epithet

1.-' (a) Fleet, F. Sanskrit and old Canarese Inscriptions, 'Indian Anti-
quary', Vol. VIII, pp. 301-302.

(b) A grant of Dharasena II, LA. VII, p. 70,

(c) Diskalkar, D. B. Two Unpublished Valabhi grants, E. I. XXI

p. 180.

1. Diskalkar, D. B. Bhadva Copper Plates of Dharasena n, Annals

of Bhandarkar Oriental Research Institute, IV, p. 40.

3. Argrant of Dharasena II, I. A. VII, p. 72.

-
4. Virji, Krishnakumari, J., AncientHistory of Saura§tra, Bombay, 1952
p. 45.
% Fleet, F. Loc. tit., LA. VIII, p. 302.

€. Bhafti-Kavya, XXII. 35.

7. Virji, K. J. '
History of Saura§tra, Bombay, 1952, p. 65.
*. (a) . Fleet, F, A New grant of Dharasena of Valabhi, I.A XV* p
.

187.

(b) Fleet, John Faithful, Corpus Inscriptionum Indicarum, Vara-

nasi, 1963, Vol. III.p. 134. f, n.
.

22 ,,, _
BHATJI KAVYA

Cakravarti and they were merely styled as kings,. Hence, most

probably, it was of Dharasena II.
in the reign . i. e. before 588-
89 A. D. that the Bhatti-Kavya was written.

Moreover, the author of the Bhatti-Kavya appears to be*

a ^aiva. 1 Maitreyas of Vallabhl were also $aivas.: From
Senapati Bhattaraka onwards, the kings of Vallabhl styled
themselves as Paramamahes'vara. Dhruvasena styled himself
as Paramabhagavata and [Link]#a as Paramadityabhakta.
Dharasena II was a 3aiva. This becomes quite clear from
most of his inscriptions where we find the use of the epithet
Paramamahe£vara 3 for .birn.t and his, inclination to give dona? ;

tions to the Brahmanas to meet their expenses of the ritual'

performances 3 Perhaps, this was due to the influence, of his.
.

patron that Bhatti was so, much inclined towards Saiviism.,'

We do not find any trace of. Buddhism in the Bhatti-Kavya '

while it became so predominant in the time of Dharasena IV.

There is an account according to which one hundred Buddhistic
monasteries were found in Vallabhl which were next to those" of
Kapilavastu in their statistical account. More than 6000 mendi-j
cants were living there. This centre belonged to the Sammatlya
school of Buddhism.
4
'
" •
>'

'

In one of the inscriptions of Dhruvasena (A. D. 621),- we

find the account of land gifts made to a Bauddha monastery. 5

So it appears tbj,t f^pni..Dhr uva,[Link] onwards the Buddhism

1
!

was given royal patronage andlju tbe time of pharasena iy, it'
was on its climax in Vallabhl. ,
(

But the argumentum-ex-silentio shows that the Bhatti-

Kavya was written in a period when only 3aivism was domi-
''-' """
1. Bhatti-KavyaI.3'and'XXI. 16!
'

" f

;,

2. Buhler, G. Further Valabhi Grants, I. VI, p 1.7.

r
.,,'*/ ;'' , ^ >t
,

3. Peterson, P. A
Collection of Prakrit" and .Sanskrit Inscriptions '.M
Bhavanagar Archaeological Department Bhavailagar, 1,390. pp.
'

30-32. < .r. : ,;•

.;'.."
j;
.
; ,,

4. Lamotte, Etienne, BlstoiEe,dutBQUddhisnie Indjen, r^ouvain, 195^, p., j

,

• !
599. •
vs.. f .; v.,,,, ,..,-• ,
.,; A :, _...-!.. .'._. ,,

5. Peterson, P. op. cit-, pp. 40-41 ,,

I
TITLES, IDENTITY, LIFE AND DATE 23

uatingv This again supports the view that the Bhatti-Kavya was
written in the reign of Dharasena II.

Another factor in determining the date of the Bhattw

Kavya is its relationship with Bhamaha, the author of the
Kavyalankara. There is a similarity between two verses in the
1 2
Bhatti-Kgivya and Bhamaha's Kavyalankara.

A great deal of controversy was amongst the scholars as

to who was the borrower. The editors of the Kavyalankara
Batuk Nath Sharma and Baldeva Upadhyaya placing Bhamaha
in 400 A. D.. refuted the opinion of the priority of the
5
Bhatti-Kavya. 3 But S. K. De* and P. V. Kane put Bhamaha
after 700 A. D. and before 750 A. D. which proves the priority
of the Bhatti-Kavya
It appears that by the word 'imani', Bhamaha is referring,
to a poet who has written a difficult poem which is to-
be explamed like a Sastra and that can only be the Bhatti-
Kavya.
A comparative study of the Alankaras of the Bhatti-
Kavya and Bhamaha's Kavyalankara shows that the technical'
Yamakas like Sandastaka, Samudga, Cakravala and KancI which
are found in the Bhatti-Kavya, were incorporated by Bhamaha
in Adi, Madhya and Anta Yamakas. 6 Some of the Alankaras
like Prativastiipama, Vakrokti, Suksma and lega seem to be in-
novations of Bhamaha which are not found in'thc Bhatti-Kavya.
This again shows the priority of tin Bhatti-Kavya,.

1. Bhatti-Kavya, XXII. 34.

2. §arma, Batuk Nath and Upadhaya/ Bjildeya, Ed, Kavyalankara b f

Bhamaha, Benaras, 1928, T- 20.
3>T^Jf^fa 2!<ftarfa ^f^FFZTTfa ^Tl^^ct I

-v3wr: *tftRjr£TGr ^t .^wtfT ^n: n

3. Ibid- Introduction, pp. 35, 55-
4. De, s. K- ; History of Sanskrit Poetics, Calcutta, 1960, pt. I, p.
50.
5. Kane, P. V- History of Sanskrit Poetics, Delhi, 1961, p. 118.
•...:...:.
•6. Bhamaha* Kavyalankara, II, 10
24 BHATTI-KAVYA

1
One expression which is found in the Bhatti-Kavya has
2
clearly been taken by Bhamaha as an example of Upama.
Moreover, a verse in the Kavyalankara appears directly referring
to the Bhatti-KSvya where Paninian Sutras are used in their
3
order and the event related is that Hanurnat crossed the ocean.
Hence, we can conclude that Bha$ti was prior to Bhamaha, the
author of the Kavyalankara.
Jinendrabuddhi, the author of the Ka&kavivaranapanjika
alias Nyasa has mentioned Bhatti, as an exponent of the Sutras
of Panini. 4 If we identify Bhatti as an author of the commentary
on the Sutras of Panini (although the work is not found)
with the author of the Bhatti-Kavya, Bhatti can be put before
700 A. D.
Srlsh Chandra Chakravarri says that Jayaditya who
died in 661 A. D. had the knowledge of the Bhatti-
Kavya5 .

All these internal and external evidences show that

Bhatti might have lived in the reign of Dharasena II, and wrote
his Kavya before 588-589 A. D. when Dharasena II acquired
the tittle Maharaja.

1. Bhatfi-Kavya, V. 18.

> Kavyaladkara H, 31.

3. Ibid. VI. 62.

Ka$ikavivaranapanjika, Rajshahi,
4. Chakravarti,Srish Chandra, Ed-
1913, Vol. I, P. 2.

5. Ibid- Introduction, p. 17.

. : .

CHAPTER IV
COMMENTATORS
Aufrecht had noted thirteen commentaries on the Bhatti-
Kavya. 1 But by examining various catalogues of Mss., I am
able to find out the names of twenty-two commentators. Their
description is as follows

1 ANIRUDDHA
His commentary Bhatti-Kavyalaghutika. 2
is called the
Nothing is known in detail about Aniruddha. His another work
is Bhasyavartikatlka. 3 But V. Raghwan4 differentiated him
from the writer of the Bhasyavartikatlka and put him under
another author Aniruddhapandita.

2 KANDARPASARMAN
The name of his commentary is Vaijayantl5 . In the ex-
planation of the Bhatti-Kavya, he has followed Supadma
grammar of Padmanabha. He has prayed to the Lord Krsna
and Siva in the beginning of the commentary. The commen-
tator is called Kandarpacakravarti also 6
His date is after 12th .
*

century A. D. as he has quoted KavyaprakaSa (Uth century

A. D.), Dandin (8th Century A.D.), Ksiraswamin (1 1th Century

1 Aufrecht, T-, Catalogus Catalogorum, p . 1 35

2. Dalai, C. D. A Catalogue of Mss. in Jesalmere Bhandara, Baroda,
1923, G. O. S. XXI, p. 9, no- 83.
3. Ibid., p. 10, No. 93 (J).

4. Raghavan, V., New Catalogus Catalogorum, Vol. I, Madras, 1949, p.

155.

5. Eggeling, Julius, Catalogue of Sanskrit Manuscripts in the Library of

India Office, [Link]. no. 920.

'6. Ibid, Colophon.

(25)
26 BHATTI-KAVYA

1
A. D.) and th% Durghatavrtti. According to Renou, the date
of the Durghatavrtti is 1172 A. D. 2
So his date must be after
12th century A. D.

3 KESAVA^ARMAN 3
His commentary is incomplete and comes to an end at
the tenth canto whereas the text continues. In his commentary
he has followed the Durghatodgbata.* This Vyakaranadur-
ghatodghata is a glossary on Goyicandra's Sanksiptasaratlka" by
Kes"avadeva.
fi
So Kesava^arma is the writer of both the Dur-
ghatodghata and the Bhatti-Kavyatika.
4 KUMUDANANDA 6

His commentary is called Subodhinl. He has followed the

rules of Panini in the explanation of the text.

5 JAYAMANGALA
His is the oldest commentary called Jayamangala on the
Bhatti-Kavya. 7 He is also called Jatis"vara and Jayadeva. In his
commentary, he has based himself on Panini's Sutras. He has
explained rhetorical portion of the Bhatti-Kavya on the basis of
Bhamaha's Kavyalankara. According to P. V. Kane, 8 "He
flourished after 800 A. D. and before 1050 A. D." because he
mentions Bhamaha and Dandin but not Mammata. He is
quoted by Purusottamadeva in Varnadesana.
9
A commentary
on the Bhagavata Parana is written by one Jayamangala, but

1. Eggling, Julius, Catalogue of Sanskrit Manuscripts in the Library of

India Office, pt. II, no. 920,

2. Renou, Louis, La Durgafa-Vrtti de sWijadeva. .Vol I, Paris, 19-40,

p. 48.
3. 3astn, H. P. A Descriptive Catalogue of the Sanskrit Mss. in the
collection of the Asiatic Society of Bengal, Calcutta, 1934, p. 65, no,.
5066.
4. Ibid. p. 65.

VZ€f% ^^I^i^^P^S^jrt I

5. Eggeling, Julius, Cat. of Skt. Mss. in the Library of India Office, no.
822.
6. Mitra Rajfendralal, Notices of Skt. M<ss. Calcutta,, 1886, Vol. IV,.
no. 1636.
7. Shastrin,N. V. Ed. Bhatti-Kavya, N. S. P. Bombay, 1928.
8. Kane, P. V., History of Sanskrit Poetics, Delhi, 1 960, p. 77.
9. Aufrecht, T., Catalpgus Catalogqrum, p. 201.
COMMENTATORS OF THE BHATTI-KAVYA 27"

Aufrecht 1 has not ascribed it to Jayamangala, the commen-

tator of the Bhatti-Kavya. Another work Kavisiksa is.
ascribed to Jayamangala by P. Peterson. 2 According to Kri-
sbnamachariar, Jayamangala flourished in the court of king,
Jayasirhha and wrote Kavisiksa. 3

6 NARAYANA VIDYAVINODA4
His proper name is Narayana. His commentary on the
Bhatti-Kavya is called Bhatti-Bodhini. He was a devotee of
Ramacandra and a resident of Purvagrama. His brother was.
Jatadhara and father Banesvara. Vidyavinoda is a scholarly
epithet for him. In the explanation of the Bhatti-Kavya, he has
followed Paninian system. He has mentioned Jinendra, 5 the
commentator of the Kasika-Vrtti. So his date is evidently after
7th Century A. D.

7 PU^PARlKAKSA 6
His commentary is called Kalapadlpika. He was the son
of $rikanta. This commentary belongs to the Kalapa school of
grammar. The manuscript belongs to Saka Sarhvat 1650. His
other work is Katantra-Parisistatlka on Katantra-paribhasa by
Snpatidatta.

8 PEDPABHATTA7
His work is written in Telugu character and is under the
possession of SaraswatI [Link], Melkota. This is an incom-

1. Ibid, p. 201.

2. Peterson, P., Detailed Report of operations in search of Skt. Mss...

in the Bombay circle (Aug. 1882-March 1883) Extra-number of JBB-
RAS 1883, Appendix I, p. 78, No. 120.

3. Krishnamachariar, M. History of Classical Sanskrit Literature, Mad--

ras, 1937, p. 762.
4. Mitra, R. L-, Notices of Skt- Mss- IV, No. 1637.
5. Mitra, R. L., Notices of Skt- Mss. IV, No. Colophon.

3TSI mfxiTft^cTfi^-SgTi^^^ri ^^Kfa^^Pifa- •

6. Sastri, H. P., descriptive Catalogue of the Skt. Mss. in the collee<

A
tion of the Asiatic Society of Bengal, Vol. VII,
Calcutta, 1934, no.:

5070. , „

7 . Rice,,Dewis, Catalogue of Skt. Mss. in Mysore and

Coorg, Banga-;
.

lore, 1884, p. 234, no. 2161.

•
.
28 bhaTti-kavya

plete work. Aufrecht 1 identifies him with Mallinatha but Kri-

shnamachariar 2
says "He was the son of Kapardin and grandson
of Mallinatha of Kolacala family."
His other commentaries are on the Kiratarjumya, 3
4 5 6
•&£upa!avadha, Suktivaridhi and on the Naisadhlyacarita.
9 BHATTI-KAVYA TlKA (Anonymous).
This commentary is quoted by the Madhavlyadhatuvrtti.
7
Aufrecht has mentioned it.

10 BHATTI-KAVYA VIMAR^A 8 (Anonymous)

The author of this commentary is also not known.
11 BHATTI-KAVYA TlKAo (Anonymous).
G. Oppert has mentioned it with the following comments:
"By an anonymous author in the possession of Annaswami
£astri of BhavanL It has 79 pages and its age is 300
years. 10
12 BHARATASENA OR BHARATAMALLIKA.^
His commentary on the Bhatti-kavya is called Mugdhabo-
dhinl. Bharatasena was the son of Gaurahgamallika. He was
a descendent of the family of Vaidya Harihara Khan, who was
a client of Kalyanamalla. He has been dated as in A. D. 1790
by Aufrecht12 and A, N. Jani. 13 His works are the Upasargavrtti

1. Aufrecht, T., Catalogus Catalogorum, p» 345.

2. Krishnamachariar, M. History of Classical Sanskrit Literature, p.^
183.
3. Sastrl, Kuppuswami, Descriptive Catalogue of Skt. Mss. with Govt.
Oriental Mss. Library, Madras, XX, 7873.
4. Ibid. 7893.
5. Ibid. 8117.

6. Jani, A. N-, A Critical study of Srlharsa 's Naisadhlyacarita, Baroda,

1957, p. 63.
7. Aufrecht, T. : Catalogus Catalogorum, p. 395.
8. ^astrl, P.P. An alphabetical Index of Skt. Mss. in the Govt.
S-,
Oriental Library, Madras, 1938, p. 532, no. 14077.
9. Oppert, G., Lists of Skt. Mss. in private Libraries of Southern In-
dia, Madras, 1880-85, Vol. I, p. 134, No. 1517.
10. Ibid. No. 1517
11. Tarkaratna, J. N., Ed. Bhafti-Kavya with the.'.comm. Jayamangaia
and Bharatamallika, Calcutta, 1871-73.
12. Aufrecht, Catalogus Catalogorum, p. 390.
13. Jani, A. N., A Critical study of the Naisadhlyacarita, p. 135.
COMMENTATORS OF THE BHATII-KAVYA 29-

Bkavarnarthasangraha, Karakoliasa, Kiratarjuniyatlka, Kumara-

sambhavatlka, Ghatakarparatlka. DriUabodhavyakarana and its
commentary Drutabodhim, Dvirupadhvanisangraha, Nalodaya-
tika, Naisadhiyacaritatlka, Mugdhabodhim, a commentary on
AmarakoSa, MeghadCitatika, Vaidyakulatattva, Sisupalavadha--
tlka and sukhalekhana1 .

In the explanation of the Bhatti-Kavya, he has based him-

selfon the Mugdhabodha grammar and his roots are taken
from Sabdakalpadruma of Vopadeva. In the explanation of"
the rhetorical portion he has based himself on Bhamaha like-

Jayamangala.

13 MALLINATHA2
Mallinatha is very popular as a commentator and his,
;ommentary on the Bhatti-Kavya is called Sarvapathina. He is
also called Kolacala Mallinatha and according to T. Aufrecht 3
and K. P. Trivedi, 4 his name was Peddabhatta. In a Ms.
of Aroarapada-parijata, a commentary on the Amarakosa*
he is said to be the son of Bollapininrsimhasuri of Srivat--
sagotra. 5

His works are Aninyantam, a work on vowel-ending i»

the Taittirlyasarhhita; Amarapadaparijala, Udarakavya,,
EkavalitTka, Kiratarjuniyatlka, Kumarasambhavatika, Tarkika-^
raksatlka, Naisadhlyatika, Bhattikavyatlka called Sarva-.
pathlna, Meghadutatlka, Raghuvamsatlka, Raghuvlracarita,
and SiSupalavadhatika. 6 Krishnamachariar 7 has enlisted
another work called VaiSyavams^sudharnava. Two other
works named Svaramanjariparimala and PraSasta-Padabhas'ya-
tlka are mentioned by K. P. Trivedi. 8

1. Aufrecht, Catalogus Catalogorum, p. 396.

2. Trivedi^ K. P. Ed. The Bhatti-Kavya, B. S. S. s Bombay, 1898 (Two.
volms).

3. Aufrecht, Catalogus Catalogorum, p. 434.

4. Trivedi, K. P., Ekavall of Vidyadhara, Bombay, 1903, Introduction,,
p. xxvii.

5. Raghavan, V., New Catalogus Catalogorum, vol. 1, p. 244.

6. Aufrecht, T. Catalogus Catalogorum, p. 434."

:

7. Krishnamachariar, History of classical Sanskrit Literature, p. 182,

8. Trivedi, K, P. Ed. Ekavall of Vidyadhara, Introduction, p. xxiv

30 BHATTI-KAVYA

R. G. Bhandarkar, 1 K. B. Pathak 2 and Krishnama-

3
chariar put him in the later half of the fourteenth century
A. D.
In the explanation of the Bhatti-Kavya, he follows Pani-
nian Sutras and explains each and every important word. He
•quotes other authorities wheresoever necessary. He, some-
times, differs with Jayamahgala in his explanation of the
rhetorical portion of the Bhatti-Kavya. He quotes frequently
Dano!in in the clarification of the figures of speech.
14 RAGHAVA4
Many Raghavas have been noticed by T. Aufrecht and
Krishnamachariar. Aufrecht noticed sixteen Raghavas. 5
According to Jayaswal, the commentator is Raghava JM,
This commentary was written in Nepal under the patronage of
7
the king Ranendra in Saka Samvat. 1721.
15 RAMACANDRA
The name of his commentary is Vyakhyananda. 8 Ninety
weight separate Ramacandras are noticed by Aufrecht 9 and
it is difficult to say exactly as to who is the commentator
•of the Bhat^i-Kavya. Nothing is known about his other
works.
In the beginning he has paid his obeisance to 5rlnaya«
manandacakravartl. 10 He belonged to Varendra family. 11 The co-
'

mmentary only extends upto sixth canto.

1. Bhandarkar, R. G. -Ed. MSlatimadhava of Kalidasa, Bombay

1905, p. xxi.
2. Pathak, K. B., The Meghaduta of Kalidasa, Poona, 1916, p. xxii.
3. Krishnamachariar, History of Classical Sanskrit Literature, p. 182.
-4. Jayaswal, K. P. A
Descriptive Catalogue of Mss. in Mithila, Patna,
1933, Vol-. II, p. 102.
5. Aufrecht, Catalogus Catalogorum, p. 499.
«6. Jayaswal, K» P-, op- cit., p- 102.
"7. Ibid. Colophon :

8. Eggeling, Mss. in the India Office Library, Pt. II, No. 921-22.
"9. Aufrecht, T, Catalogus Catalogorum, pp. 510-13.
10 Eggeling, Mss. in India Office-Library, No. 920, VII, verse 1.
11 Ibid., verse 2.
COMMENTATORS OF THE BHAT7I-KAYYA 31

16 RAMACANDRAVACASPATI
The name of his commentary is Subhodhanl. 1 The writer
"was a follower of Candika and the Lord Siva. 2 He read all the
commentaries on the Bhatti-Kavya and then commented thereon.
Kone of his other works is known.
17 VIDYAVINODA
The name of his commentary is Bhatti-Candrika. 3 He
was a follower of Ramacandra and Slta. His other works are
tjanaprakasa,* Vyakaradlpika, 5 Sabdarthasandipika, 6 and a co-
mmentary on the Amarakosa. He has mentioned Ksiraswamin
<1 1th Cent.A.D.) and Jayamahgala 7, etc. So his date is after 12th
Cent. A. D.
18 VIDYASAGARA
The name of the commentary is K>lapadrpika. it is
oftenly quoted by Ramanatha on the Amarakosa and by Bharata-
•sena (1790 A. D.) on the Bhatti-Kavya. 8 So his date
-
is before
•seventeenth Cent. A. D.
19 VAtJAYANTl
It is an anonymous commentary which follows Supadma
.grammar. This is informed by Aufrecht. 9 Nothing else is
known.
20 SR?DRARA
This is a Telugu commentary on the Bhatti-Kavya. 1 Srl- *)

dhara has also commented on the Naisadhiyacarita. 11 A. N.

Jani 12 has identified Srldhara with Vidyasridharadevasuri but
Krishnamachariar has differentiated them. 13

1. Mitfa, Rajendralal, Notices of Skt. Mss. Calcutta, 18£6, Vol. VIII^

pp. 220-21, Colophon,

2. Ibid, verse 1-2. , . .

3. Eggeling, Mss. in India Office Library. No. 920.V.

4. Ibid No. 838. . .

5. Ibid. No. 830.

6. Ibid. No. 964.
lf , .
,Ibid. No. 920.
8- Aufrecht, Catalogus Catalogorum, p. 395.
9. Aufrecht, Catalogus Catalogorum, p- 395.
"10.' Sastrl, Kuppuswami, A Descriptive Catalogue of the Skt. Mss. in
the Govt. Oriental Mss. Library, Madras, No. 11616,
'11. Ibid. No. 4720.
A. N-., A Critical Study of the Naisadhiyacarita, p. 71. '_'
'

"12* Jani, -

13- Krishnamachariar, History of Classical jSanskrit "Literature,

p. 183.
32 BHATTI-KAVYA

21 ^RlNATHA
The name of his commentary is Bhatti-rupaprakasa. 1 He
2
was the son of Snkaracarya. He also wrote a commentary on
3
the Naisadhlyacarita the Raghuvamia 4 According to
and
5
Krishnamachariar "he probably the same as the Telugu poet
is

Srlnatha who translated Naisadha in Telugu in the 15th Cent.

A.D. He was in the court of Vembhtipala who passed away
about the year 1420 A. D. But A. N. Jani quotes the opinion of
Sesagiri Sastrl that he flourished in about 1330 A. D. 6

Other works ascribed to him are : Bhoginldandaka,

Krtyatattvarnava, a commentary on the Naisadhlyacarita, and a
7
commentary on the Raghuvarhsa.
According to K. P. Jayaswal, 8 this Srinatha appears
to be an ascetic on the $nratnakaratirtha and a follower of
§auri.

22 SRTNIVASA 9
His is an incomplete commentary extending from four-
teenth to the twenty-second cantos. The commentary belongs
to the Kalapa school of grammar. His commentary is called
&rainivasl. He was in the reign of Dharasiriihadeva. 10

Krishnamachariar 11 has noted many Snnivasas. One of

them is the commentator of the Naisadhlyacarita. The co-
mmentator may be identified with the commentator of the Nai-
sadhlyacarita.

1. Jayaswal, K- P., A Descriptive Catalogue of Mss. inMithila, Vol-

H, p. 103, no. 99.
2. Jani, A. N- A Critical Study of the Naisadhlyacarita, p. 71.
3. Ibid. p. 71.
4. Krishnamachariar, History of Classical Skt. Literature, p. 117.

5. Ibid. p. 182.

6. Jani, A. N. A Critical Study of the Naisadhlyacarita, p. 71.

7. Ibid. p. 7 2.

8. Jayaswal, K. P. A
Descriptive Catalogue of Mss. in Mithila, Vol.
n,p. 103, no. 99.
9. .Sastrl,H- P. A
Descriptive Catalogue of Skt. Mss. in the collection
of the Asiatic Society of Bengal, Calcutta, 1934, no. 5067.
10. Ibid. Post Colophon.

11. Krishnamachariar, History of Classical Sanskrit Literature (Index),

P- 1092.
—

CHAPTER V
ERUDITION
X he main object of Bhatti was to write a poem whicfe

could illustrate grammar. By laying more emphasis on the

grammatical illustrations, Bhatti could not show his know-
ledge of various s"astras. Besides grammar, he has illustrated

an extensive number of AlankSras in the tenth canto of his

Kavya. He had a good knowledge of Prakrit also as the
thirteenth canto of the Bhatti-Kavya which is written to illustrate
'Bhasasama\ consists of the verses which can be explained both
by the rules of Sanskrit as well as Prakrit. He has exhibited
some other aspects of learning which are as follows :

VEDAS
Bhatti knew the Vedic literature together with the
Vedangas. He has referred to the three Vedas and the six
Vedahgas (I. 2). Bhatti has alluded to the sages who are
studying the Rgveda and the Yajurveda (IV.9). Some of the
recensions of the Vedas which are mentioned by Panini in
his sutras are referred by Bhatti in the Bhatti-Kavya while
illustrating the sutras of Panini in his verses. Recrtaion of*
the Samaveda is mentioned (XIX. 13).

RITUALS
As author has presented some
the ritualistic ideas
which can be traced to the Grhyasutras, so it can be
concluded that he had knowledge of the Grhyasutras. He
has referred to Madhuparka being given to an Acarya1 and the

1. (i) Asvalayana Grhyasutra 1. 24 (1-4). Ed. V. G. Apte, Anania

A^rama Series, Poona, 1936.

(ii) " Baudhayana Grhyasutra I, 2, 65. El R. Shima Shastri,

Mysore, 1920.
^€TcT ^ezrt: ^cf^R? tz^R: fa^pi: hi^tt: siranff tjsti ^r ^Rr*rar:

firat ^Ttsf^fiifrfcr i

(33)
34 BHATTI-KAVYA

worship being made with Vistara, Padya, Malya, Madhuparka

and Asana 1 (I 17; II. 26.). Bhatti has referred to the rituals
•of the installation ceremony of Rama. Golden pitchers full of
the water of various pilgrimages were brought by pedestrians
4). The same custom of bringing water from various
*(III.

pilgrimages is mentioned in the Samavidhana Brahmana 2 and

3
the Valmlki's Ramayana. Bhatti has referred to the Pintfo-
daka and the Antyesti Samskara of Das"aratha (III. 34-36).
Bhatti has referred to those sacrifices which must be performed.
Such sacrifices are called AvaSyasavya. The oblation to gods
and Brahmanas extracting Soma Juice in the sacrifice is
mentioned (VI. 64). Moreover, he has referred to the ritua-
listic Brahmanas called Kundapayya and Agnicityas (VI. 67).

Even the kings performed sacrifices and extracted the Soma

juice in the sacrifices. Dasaratha is called Agnicit and

Somasut (VI. 45). Amongst long-lasting sacrifices, the poet

Jias mentioned Agnistoma and Jyotistoma (1X.79). Amongst

other rituals Suryapuja (VIII. 13) and Devatatarpana occur in

,the Bhatti-Kavya (XIV. 18).

has described the Antyesti ceremony of

Bhatti-Kavya
DaSaratha and that of Ravana in detail. After the death of
Dasaratha all the ministers prepared themselves for Antyesti Sams-

(iii) Paraskara Grhyasutra, Ed. GaAga Vi§iju Krishnadas,

Bombay, 1933, p. 17.

"
i. Asvalayana Grhyasutra XII .4. 11. Narayana has commented

.2. Kane, P. V, History of Darmasastra, Vol. Ill, p. 76.

3, The Ramayana, Ed. Poddar, Hanuman Prasad, Glta Press Gora-

khapura, Vik. Sam 2017, pp. 6C5-607. (Yuddhakacda Chp. 128;.

vsrFWcrf^ ^prt^xr ^Nresff ^ sht: i

^THT^ .
*F5Rlt s5TcT^f^R^. 1UUU

S3l^ W&Rl fm ^WtfWZR 11*311

^tf ^tSpnxr,3 s^nvrvsrepffirarc imsii

ERUDITION" 35

kara. Sacrificial utensils were put in their proper places. Some

of the people waged Dukiila flags while others played on Venu,
Mrdanga and Kamsya. Gold was put in the ears, eyes,
nostrils and the mouth of the dead-body." The head of the
body was placed towards the east. (Ill- 33-35). Similarly
Havana's dead-body was given a bath and all the decorative
ceremonies were performed like those of Dasaratha's. As the
fire was enlightened, well-versed sages recited the Satnaveda
(XIX. 13).
METRICS
Although he has not mentioned any independent treatise
•of metres, yet he has employed a variety of metres in the
Bhatti- Kavya. He has used twenty-six metres in the poem.
In the tenth canto, the variety of different metres can be

observed.
ORAMMAR
Bhatti wrote his poem following the rules of Panini.
His intense knowledge of grammar can be observed from
the fact that he not only made an effort to Jblend grammar
with Mahakavya without destroying the spirit of the latter
his
'but alsobecame an authority in the field of grammar. He is
frequently quoted by later grammarians as an authoriiy on
the controversial grammatical usages. He is a past-master in

the use of befitting grammatical diction which usually does noc

obstruct the flow of the poem. Jayamahgala has quoted
Katyayana's vartikas to explain some forms of the Bhatti-
Kavya.
Besides, he had a full command over roots. The consis-
tency in the use of several roots in a Canto is a proof to his
-erudition in the use of roots. This can be observed in the
Tinanta-kanda of the Bhatti-Kavya*
ARTHA&ASTRA
Bhattihas shown an extensive political erudition in
various argumentative speeches dealing with the elements
of politics. Bhatti has used the word ArtbaSastra in plural
,

which indicates to various aspects of politics. (XV. 88).

In the speeches and dialogues of Hanumat, Vibhlsana, Ravana,

Sugriva and Indrajit, he has shown his political insight. He
36 BHATTI-KAVYA

has referred to the five elements of politics viz. the initiative-

in the activities like constructing forts ; having subjects ; the

exact knowledge of time and space ; facing the calamity and
completion of the object l Bhatti has propounded Sandhi and
Vigraha (XII. 26-30). Danka and Ko^a are other means of
winning the enemy (XHi 43). The same concept is found in
the ArthaSastra of Kautflya. 2 The construction of forts is.

referred to (XII. 32). The killing of enemies by poison etc.

called Upanisatprayoga has been referred (XII. 30). Such

Upanisatprayogas found in the Arthas"astra in details.*
are
According to Bhatti, a messenger who performs something
more ibesdes the task he is entrusted with, is called an uttama-
dtita. (VIII. 127). Bhatti has referred to fraud (Maya) in the-
battle-field (IX. 27).

DHARMA^ASRA
on the Dharma-
Bhatti has not referred to any treatise
gastra But DharmaSastric concepts are frequently-
directly.
alluded to by him. (Vf.60). Performance of Sandhya both
in the morning and in the evening and worship of guests is
mentioned (VI. 65)
There is an injunction that meat of animals having five-
nails may be taken 4 The idea can be trace d to the Ramyana
where the same concept together with the names of the animals
is found
s
He has referred to three ends of human life viz.
Dharma, Artha and Kama (IX i 15). The duty of a son is to.
obey his father (III. 52). Besides, Bhatti has a belief in the-
theory of rebirth also. /(T. 18).

Bhafti-Kavya XII. 62.

2. Arthakstraby^aujilya/[Link], Ramtej Shastri, Kak gam.,

xuio. l A. pp. 12-13.
cfSTT *W% <FTC«f ^ *RTtetffcT <^r^n>TjpT I Sn^ftraferafaTcTfa

^eramraf wrfarfepft sferafs<w;ft ?sro tf)«fr s^raf^t ^ u

•
3. [Link]. 1-4. pp. 683-702.
4. Bhatti -Kavya VI. 131.

% Ramayapa, Kiskindhaka^da XVHI. 39, p. 303.

tf=ar q^rroT vim wirsrem tter i
EfctJDjTiOtf 37

OMENS
The omens seen in the dawn are thought to accurate
(VIII. 106). In the Bhatti-Kavya mostly ill-omens are

referred to. Falling of the sun from the sky indicates the
death of a great man (III. 24). A deer running by the right
side (XI. 14) and a black one running by the left, are thought
to be inauspicious (XVII. 10). The weeping of the
Jackals (XIV. 14; XV. 27) and the intense noise of. the
birds were also thought to be inauspicious (XV. 26). Throbbing
•of limbs on the right side (XV.26), and the throbbing of the left
eye were inauspicious (XV. 27). Vultures falling on an
object comet falling from the sky explosion in the orb of
; ;

the Sun clouds giving forth red rains and

; fierce winds
(XVII. 9). were thought to be bad and resulting in death.

PSYCHOLOGY
Bbatti is a past-master in depicting emotions and their
reactions. Such instances can be found throughout the Bhatti-
Kavya. He has expressed the psychological state of ladies, sex
and animals.
A woman tolerate her husband's relations with another
woman (II. 6). Similarly a lion, hearing his re-echoed
A'oice, cannot tolerate it and becomes ready to fight (119).
He has described the psychological state of Rama when he was
separated from Sita (VI. 73-84, VII. 1-21). He has missed no
place to express sexual reactions. Knowing that the partner
will separate in the morning, sexual emotions increase. He
nas described all these emotions in Canto XI. Finding the
intense desire of Rama Ravana gets angry out of jea-
for Sita,
lousy. (XVI. 21).
Bhatti has described the mental slate of a hero also. No
warrior wants to die like a coward man (XVL 29). The anger
increases on the death of a hero which gives a stimulation to
fight (XVII. 50). He has beautifully described the mental state
of Rama who repudiates Sita only on thinking- that she might
have embraced Ravana (XX. 22).
POETICS
Bha|ti is not only a grammarian poet but he is an Alankarika
poet as well. In the tenth Canto, he has illustrated Alankar-
•as just as the sutras of Panini have been illustrated elsewhere.
,

38 BHATTI-KAVYA

About the importance of the Alankaras of the Bhatti-

Kavya, K. De has remarked, 'The treatment of Alankaras in

S.
the Bhatti-Kavya, may, therefore be presumed to supply one of
the missing links in the history of rhetorical speculations anterior
1
to Bharaaha'.

Moreover, the Bhatti-Kavya as a Mahakavya fulfils all the

conditions laid down by Sanskrit rhetoricians. Hooykaas has
appreciated theKavya that inspite of the fact that the poet dis-
plav therein twenty yamakas and fifty three Arth alankaras, no
2
serious damage has been caused to the epic story.

MUSIC
Musical gatherings were held in the harem of Ravana.
Bhatti has compared music to honey. Catching of the deer

with the help of music is also Amongst

referred lo (II. 7).

musical instruments, he has mentioned Venu, Gunja Kambu,

Bheri (XIV.2). phakka, Panava, Kahala, Pera (XIV 3),

Mfdanga and Gomukha (XIV.4).

DANCE.
Bhatti has referred to the naked
dance-dress viz.

He has Dhvani
referred to
limbs and* beautiful Angahara.
and Tala accompanying dance (II. 6). Rfiga and gestures (Hava)
1

also accompanied dance. Bhatti has referred to the amorous

movements (Vibharma) in dance (111.43).

MISCELLANEOUS.
Upanisads (V.63), Sankhya
He had a knowledge of
Yoga (1.18-19) and Ayurveda also
(HI 23).
(1.18),

MYTHOLOGICAL ALLUSIONS
Bhatti has not given rare or
unimportant mythological
mythology is mostly influenced by the
interrelated
allusions. His
the Ramayana^ Some
stories as given in the Uttarakanda of
with merely Panmian
of the words have come in connection
detailed characteris-
illustrations. Usually Bhatti has not given
ticsof a particular defty. Here is a brief mythological account
as reflected in the Bhatti-Kavya.

Calcutta, 1960, pt.l, p. 51.

1. De, K. Sanskrit Poetics, second Ed-
S.
the Bhatti-Kavya. Bulle-
2 Hooykaas, C. On some ArtMlankaras in
and African Studies, 1957, Vol. XX,
tin of the School 'b¥ Oriental
p. 351.
ERUDITION 39'

AGASTIN
Agastin is said to be residing over the peaks of the Vind-
hyas (XII.71). ;

AGNAYI OR AGNAYI
She is merely referred to in the illustration of the:

Paninian sutra (IV. 1.37). be the wife of Agni She is said to

(V.22). In the Bhagavata Purana, the marriage of Agni with sl
daughter of Daksa has been alluded to. 1
A^VINAU
ASvinau is used in dual here. They are described as=
desirous of drinking soma (11.41).

INDRA
Tndra is frequenty referred to in the Bhatti-Kavya. His:
epithets are as follows :

(i) Mahendra (VIII.20), (ii) Hari (1.5), (iii) Trida-

sendra (XVI.34), (iv) Sankrandana (VI. 109), (v) Putakratu
(XVIII. 13), (vi) Satakratu (XVII.) i. e. He performed hund-
red sacrifices, (vii) Maghavau (1.6 ; VIII.52), (viii) Duscya-

vana (V. 1 1 ), (ix) Sahasradrk (who has hundred eyes) (VIII.

53), (x) Sakra (V. 7; VIII.84), (xi) Satamanyu (1.5), (xii)
Gotrabhid (1.3) (who pierced forth the wings of the mountains).
Indrajit defeated Indra, is frequently alluded to in the
poem (IX.73, XVIII. 13 ; XV[. 1 1).
2
Indra was afraid of Ravana
3
(VIII. 53; VIII. 84). Indra cut down the wings of the Mainaka
mountain who was saved by the 'wind' (VIII. 8).* Indra had
an Apsara with him called 'Mudra' (X. 19). Indra pierced the
head of 'Asura' with his thunderbolt (XII. 58). Jayamangala
explains 'Asura' as Narauci. But in the Bhagavatapurana,
Namuci was killed by Visnu called Upendra. 5 Matali is said
to be the charioteer of Indra who remembered weapons to. kill
f

Ravana (XVII. 97 ; VII. 110). Airavata is the elephant of Indra

(V. 26). 6 Indranl is his wife (V. 22). 7

1. The Bhagavatapuraim, Ed. Glta Press Gorakhapur Sam. 2010,

IV.l. 47-48.
2.
3.
The Bhagavatapurana IX. 10. 18. ~ . ..,_.,_
Poddar, Hanuman Prasad. Ed. The Ramayana of Valmlki, Glta
.
_^
Press, Gorakhpur, Sam. 2017, Utt. 27.
4. Ibid: Sundarakanda, 1.122-127
5. The Bhagavatapur'ana, VII. 2. (4-5).
6. fa) Ibid. X. 59.37. .

(b) Visiju Purana Ed. Glta Press Gorakhapur Sam. 1990, V. 12. 2.
7. The Bhagavata Purana VI. 7.6; VI. 13. 16; X. 59. 38. '
40 BHATTI-KAVYA

JNPRA^I
She is described as very beautiful (V. 22).

KAMA
He is called Smara (V. 72 and X. 71). He has soft but
piercing arrows. They are as cool as the water (X.64).
His arrows are made of flowers so he is called Puspesu (VIII.
<53). His flag has sign of a fish so he is called 'Jha^adhvaja'
(V11I. 48). His wife is called Rati (V. 71).
KUBERA
Kubera is said to be defeated by Ravana. 1 He is called
here Yaksendra (XVI, 37 ; XVI. 31). Ravana took away the
Puspaka of Kubera (V.87). 2
GARUTMAN
. Garutman touched ?Rama and Laksmana as they became
senseless. Both of them were restored" to their senses by his
touch only.
BRAHMA
Brahma is described as sitting on a lotus flower and is

called Padmasana (I. 6). He is called Aravindasat (one who sits

•on the lotus flower)(XXI. 12). The facuty of creation is ascribed

•to him so he is called ViSvasu (XXI. 12).

PARA^URAMA
He is called Jamadagcya having a bow in his hand (I. 50).
Para strain a is said to be the winner of Kartavlryarjuna.
(V. 23). 3
BRHASPATI
He is said to be the priest of Indra (Indra-purohita)i
<XIX. 19).

MANAVl
She is the wife of Manu. But this use is meteJy, tojillustrate -„

grammar (V. 22).

1. TheRamayauaofVaimflei. Uttarakanda,.XlV.
2. Ibjd. Uttarkagda, XV.
3. (a) Jalana, G. D. Ed. The Matebharata. Glta Rress^ Gorakhpur,
Sam. 2014, Vol. Ill, Santiparva, 48-49, pp. 368-371.
(by TheBhagavatrptira#a> XT, 15, 27-36,
ERUDITION 41

talTRAVARUiSAU
Mitra and Varuna are mentioned together. They are
•described as desirous of drinking the Soma (ft. 41).

He is called Narayana ( VI IL 89 ) and Sanatana

HA). Vi?mi incarnated himself in the form of Rama, son of
Dagaratha to protect the earth (1.1). His other incarnations
are in the form of binding of Bali; 1 the churning of the
3
ocean f taking away ihe nectar ;
winning the group of
5
demons 4 and saving the earth from deluge (11.39, X. 45, 60).

He pierced open the chest of Hiranykasipu in his Simhavatara

(XIL59) 6 . He killed the demon Mahisa (VI. 114). His wife is

called &ri who is very beautiful (V.71).

YAMA
He is called Krtanta (IX. 54). He has
an abode called
Yamaloka (XVII. 69). Yama is said to be afraid of Ravana
(V.88) and was controlled* by Raksasas (XVIII.20). 7
RUDRA^I
She is the wife of Rudraand is described as very beautiful
(V.22).

ROHI1SI

She is the wife of Candra (V.22).

1 (a) The Bhagavatapurarja VIII. 18 (21-32); XL 4.20,

(b) The Mahabharata, Vol. I. pp. 338-339. Sabhaparva (XXXVIII

afterwards),

2 (a) The Mahabharata, Vol. I. pp, 35-36. Adi Parva (XVII-XVI1I)

(b) Vi§iju Puraija, 1. 1. 9. 80-111,

3. The mahabharata, Vol. I. pp. 35-36, Adi Parva, XVIII.

4. Ibid. Vol. I. pp. 35-36. Adi Parva, XVII-XVIII.
5. (a) Ibid. Vol. I. pp. 338-339. Sabhaparva, XXXVIII afterwards,
(b) Bhagavatapuraija II. 7. 1.

6. (a) The Mahabharata. Vol. I. pp.338 -339, Sabhaparva XXXVIII

afterwards.

(b) Bhagavatapuraija VTT. 8.1-66.

7. TheRarrayariaof [Link], Uttarakarda, XXII. pp. 631-714,
42 BHATH-KAVYA

VARUNA
Ocean is said to be the abode of Varuna and is .herefore-

called Varunalaya (XIII. 16). Varuna has a Pas"a with him

(XVIII.20). His wife is called Varunani (V 22).

SOMA
It is also alluded merely to illustrate some formations
e. g. AvaSyapavya and Savya. Soma juice is extracted during

the sacrifice to offer as an oblation (VI. 64).

£lVA
He is called Sthanu, having a §ula. He rid on aq
ox (V73 ; VIII.91 ; XXI II). He is depicted as though he
has destroyed the city of Demons with the bow called Pinaka,
so he is called pinakin. That bow was preserved with DaSaratha
(11.42). &va is also called Tryambaka (having three mothers
1.3). He was worshipped in Lanka (X 7).

So we see that Indra, Visnu and Siva are given more-

importance and some of the deities are alluded to illustrate

grammar only.
CHAPTER VI
LITERARY STUDY
(As a MahaKavya)
Characteristics of a Mahakavya are laid down by the-
rhetoricians like Bhamaha, 1 Dandin, 2 Bhoja, 3 Hemacaadra 4
and Visvanatha. 5 The general characteristics are as follows :

(i) It should be divided into cantos.

(ii) It should begin either with the indication of the-
subject-matter or with the blessings or benedic
tions.

(iii) The story should be taken either from the epics or it

should be of an exalted personality.

(iv) There should be the descriptions of various natural
and worldly objects like the sun, the moon, and
drinking etc.

(v) It should consist of various sentiments where one of

them should be dominating,
(iv) It should aim at the four great objects of human life

viz. Dharma, Artba, Kama, and Moksa.

(vii) There should be a variety of metres and the last verse
of each canto should have a different metre.

(viii) It should be named after the poet, the story, the

hero or the like.

The Bhatti-Kavya is divided into 22 sargas. The

highestnumer of verses is in the ninth canto which

1. Bhamaha, Kavyalarikara. Ed. Sharma, B. N. and Upadhyaya.

Baldeva, Benaras, 1928, 1. 19-23.

2. Dandin, Kavyadark. Ed. Ramacandra Misra. Veranasi, 1958,1.14-22'

3. Bhoja, Sarasvatikanthabharana, Ed. Sarma, Kedaranatha and W.L.
Paniskar, Kavyamala 94, Bombay, 1934, V, 103-104.

4. Hemacandra, Kavyanusasana, Ed. R. C. Parikh, Bombay, 1937, Vol..

I. VIII. [Link]. 449-462.

5. Visvanatha, Sahityadarpana, Ed. with Vimala Tlka by Salagrama ; .

3astri, Varanasi, 1956, VI, 315-324.

44 BHATTI-KAVYA

ha* 137 verses. The least number of verses are in the twenty-
first sarga having twenty-three verses. In eight cantosviz. V,
VI. VII. VIII. IX. XV. and XVII, the verses are more than
hundred but on whole the proportion is maintained and the
cantos never appear to be very lengthy.

The poem begins with the subject-matter directly but in

the first verse the incarnation of lord Visnu is also mentioned
which is auspicious.
The story is taken from the Ramayana and its hero is
Rama. Rama is both a divinity and a human being and tech-
nically can be put in the category of a Dhlrodatta hero. The
predominant sentiment in the Bhatti-Kavya is heroic (Vlra)
which is found in the descriptions of fight.
Both Ravana and Rama are propounded to be possessing
qualities such as valour, fame, popularity, etc. But in the last,
the victory of the good over the bad is shown. That is the
purpose of this poem. In six cantos viz. I. IV. IX. XII. XUI.
XII. the metre is changed in the last two verses while in the
rest sixteen cantos the metre in the last one verse is

changed.
DESCRIPTION
-CITY

In the Bhatti-Kavya both the cities viz. Ayodhya and

Lanka are not described in detail. (1.5-8 ; V.89). The objects
there in are : all the seasons as well as the prosperous state of
affairs. These descriptions of cities are proportionate and
balanced.

REASON
Winter is described in the Bhatti-Kavya (II. 1-6). None
of the other seasons are described like those of Bharavi and
Magha. Descriptions have a vividness and a speed in expre-
ssion. Creepers, rivers, directions, Lotus flowers etc. are des-
cribed in Sarad.

The march of Bharata to bring Rama back is found in

the Bhatti-Kavya (111.37). M^ssterfgers are sent by Janaka to
fcring DaSaratfca as Rama broke the bow of Lord Siva (11.43).
UTERARY SJUDY 43

MISCELLANEOUS
These descriptions arc never exaggerated or over-described.
Hermitage- descriptions are found in lhe rcem (II. 24-26 ;

III. 37-43). The objects of these descriptions are the sacrifices*

trees, birds, confidence of animals, creepers, the sages,
the study and guest-worship etc. Description of the jungle
(II. 7-20) consists of hunting, peaks, lion, flowers, water,
crops, dances of cowherds and ascetics elc. Ocean is described
(VII. 103-108, XIII. 4-7) along with its banks, cool breeze, rep-
tiles, trees and rivers mixing with it (VII. 103-108 XIII. 4-7). ;

Description of dawn is bassed on the natural objects viz. the

Moon-set, the star-set, blossoming of lotus and also on some
fundamental feelings such as sexual and others (XI. 1-3).
Similarly, birds and height of the mountain Citrakuta is des-
cribed (III 46). Some of the ritualistic descriptions are also
found (III. 34-36). The whole ritualistic apparatus and proce-
dure is described.
We find a frequent number of fight-descriptions in the
Bhatti-Kavya. The fights are very natural and speedy. The
of Khara and Dusana with Rama and Laksmana
fights are those
(V.l-3) between the army of Ravana and Vanaras (XIV.24-30)
;

Sampati and Prajangha Nala and Pratapana Jambumali and

; ;

Hanumat Mitraghna and Vibhisana, Sugriva and Praghasa,

;

Vajramusti and Mainda Mia, Nikumbha, Virupaksa and Lak~

;

smana ; Angada and Indrajit; Indrajit and Laksmana (XLV. 31-

53).' Again the fight of Dhumraksa (XIV. 73-81) ; Akampana
(XIV. 82-87) and Prahasta (XIV. 88-112) with Vanaras and
their deaths are described. The main topics in all these fights
are the preparations ; the instruments of fighting and the actions

of both the aggressors and the aggressed ones.

SENTIMENTS
SRtfGARA . .

—It found in the description

(Erotic Sentiment) is

of the beauty of Surpanakha as a beautiful damsel

(IV. 15-20),-

(V. 18-22; 71-76). Erotic sentiment in

in the desciiption of Sita
separation (Vipralambha Angara) is found in the poem VI. 73-
J
84 ;V1I. 1-18) when Rama was seperated from Sita and in
union it is found in the descriptions
of the sexual intercourses

enjoyed by the Raksasis in Lanka (XL 4-47).

In the description
physical beauty viz. ears,
of both Sita and gurpanakha, their
-46 BHATTI-KAVYA

eyes, foot, nose, hand, thighs,gait and desires are described.

During separation their emotions are identified to and intensi-
fied by natural objects viz. flowers, air, lightening, Catakas,
Kraunca and swans. While in union their physical reactions
such as egoism etc. are described.
KARUtf A RASA
(Pathos). It is generated when DaSaratha became senseless
on hearing the separation of Rama and Laksmana (I. 20 ;

III. 20-22) ; when Bharata broke the news of the death of his
father to Rama (HI 49-50) in lamentions of Sita when
;

Ravana was taking her away (V. 95-96) in the descrip- ;

tions of Rama when Sita was taken away (VI.8-31) and in the
lamentations of Sita in the Puspaka when Rama was shown
rolling on the earth (XiV. 55-60). The cause is the intensity of
attachment everywhere. Reactions are depicted as giving off
necessary and luxurious things of life, falling on the earth,
beating one's own body, weeping bitterly, having previous
reflections, and fying upon the causes of pathos etc. So pathos
appears as a natural sentiment in the Bhatti-Kavya.
RAUDRA
(Fierce). It is found in the description of Jamadagnya
(II. 50) ; of Bharata, when he came to know about the
exile of Rama (III. 20) in the anger of Ravana (V.
; 46);

and of Rama, when he saw the vulture Jatayu fallen on the

ground (V. 30-34). Two-fold reaction is found. First physically
having a fierce expression as and eye-brows
: fierceful red eyes ;

anger and speed in breath and second taking some instruments

in hand to challenge the enemy.
BHAYANAKA
(Horrible). This sentiment is found in the physical
description of Tadaka (II. 23), Raksasas and Surpanakha after
her ears and nose were cut (VI. 33). Long hair, thighs and
fierced eyes generate it.

BlBHATSA
(Disgustful). This sentiment is found in thr battle-fields

where bodies were fallen on. the earth. The blood, dead-
bodies falling on the earth, injuries on the body are the objects
«of generating this sentiment (IV. 42-45 ; IX. 10-11)
LITERARY STUDY 47

"VIRA
(Heroic) —This sentiment is dominant in the Bhatti-
Kavya. It is found in the following contexts. Laksmana
prepared to fight with Raksasas (I. 25-26) ; killing of Raksasas
ill. 31)Laksmana's preparation on seeing Bharat (III. 47) in
; ;

Ravana's description (V. 23-29) fight of Jatayu and Ravana ;

(V. 101-108) Rama seeing Jatayu (VI. 35-40) ; Hamimat

;

flying over the ocean (VIII 1-7) ; when Indrajit came to impri-
son Hanumat (IX. 3-6) ; in the of the army of
description
Rama (XIII. 45-48) and the fight (XIV. 1-13) fought by. the
army.
It is mostly generated in this poem by the physical des-
cription and battles with the help of weapons. The death of the
enemy ; exhibition of anger and manifestation of power ;

various musical and fighting instruments stimulate heroism in

the Kavya.
-SANTA
This sentiment is found in the description of the hermi-
tages of sages (IV. 4-9).
The object of the poem is to propound virtue (Dharma)
by showing the death of Ravana at the hands of Rama. It has
a variety of metres.
The poem is named after the poet Bhatti.

Thus, we can conclude that though the BhattI- Kavya

•does not fulfil all the stereo-typed characteristics laid down oy
later rhetoricians, yet it is not altogether lacking them as
well. Hence it served as a model for later Mahakavyas and
rhetoricians.
LANGUAGE AND STYLE
As had a motive to illustrate grammar, Alan-
the author
karas and tenses poem, so one should not expect a
in his
lucidity from a grammarian poet. The poet himself claims that
the work is like a lamp for those who have grammar as their
eyes. But without grammar, it is just like a mirror in the hand

of a blindman. 1 Moreover, it is a hard nut to crack without the

"1 Bhafti-kavya, XXil. 33,
'48 BHATTI-KAVYA

instrument of explanation. Since the post displays his scholar

ship, the work is inaccessible to less-learned 1 people. Bhamaha
also criticized the poem which could only be
under-
stood with the help of an explanation like that of a $astra. a
However, the poem presupposes the study of grammar to
understand it.

Bhatti cannot be blamed for want of flow in the theme be-

cause he had a definite object to illustrate the Astadhyayi. Altho-
ugh Adhikarakandas appear to be an obstacle in the flow of the
theme, yet the poetappears to be striving to preserve the flow
by adding Prakirna verses to it. It is rare that the theme
has
to face some
obstacles for illustratinos 3 The genuine obstacle
Prasanna-Kanda where one has to face the obs^
arises in the
tacle in exploring artificial Alahkaras and the Bhasasama
(in
Sanskrit as well as in Prakrit) verses. On the other hand Bhatti
has successfully carried on the theme in the Tinantakanda,
Even in the Bhasa-sama Kanda, he is conscious of the theme
and gives it a push by adding 'Asankirna' verses to it. Some-
times, he has to create circumstances to illustrate a particular
tense in the whole of a canto. Rama introduced predicatory
verses to illustrate lut lakara4 . As a whole, Bhatti successfully
dealt "with, his theme besides his illustrative motive.

Due to explicity, clarity, evenness, exaltedness and high

ideas, Bhatti can be said to be a follower of Vaidarbhl school.

He has no craving for longcompounds but rarely makes use of
them. 5 Bhatti a great follower of Prasada guna and intro-
is

duced it as a separate guna in the- Prasanna kanda. 8 Not to

1. Bhatti-Kavya, XXII. 34

2. Bhamaha, Kavyalarikara, IL20.

3. Bhatti-Kavya, VII. 36, onwards.
4. Bhatti-Kavya, XXII Canto.
5. Ibid. IV. 45 and XIII. 12-15 where his compounds are extending

to two padas. fc. XIII. 12.

6 Ibid. Canto. XI-

LITERARY STUDY 49

speak of Prasanna-kanda, he is not lacking lucidity even in the

Tinanta-kanda. Ojas guna can also be frequently observed in

the poem.
1
Thus, we can conclude that due to his simple, ex-

plicit and uncompounded style of

writing, he is a follower of

the Vaidarbhi school.

There is a flow in the thoughts of the poet. He can create

or search words befitting the rapid flow of the story or in

the expression of a particular sentiment. He shows his adept-

ness in the use of harsh vocabulary for the fierce sentiment*

Eleventh Canto is a beautiful example of erotic sentiment. 5
He uses the language according to the characteristics of a
character. For example Kumbhakarna speaks harsh, rapid and
4
forceful language according to his characteristics.

Although Alankaras used by Bhatti are artificial, yet the

language due to the variety of Yamakas is very pleasant. 5 In
the pleasant descriptions of various objects, the parallel words
are also used frequently. 6
But still some of the descriptions are

introduced artificially to illustrate some examples only. 7

1. Bhatti-Kavya, VIII. 131.

2. Ibid. II. 50.

fesfast qafa *nwfa: ^Fq^icneisarcr: greeny |

Similarly III. 23; XIV. 2.

3. Ibid. XI. 11.

^RTigtf ^ <pfrr site: trofcercir sfcr ^ft farcr n

4. Ibid. XII. 61.

5. Ibid. X. 6.

6. Ibid. II. 3-5, 31 ; XII. 9; V. 18, etc.

7. Bhatti-Kavya, VI. 58
50 BHATTI-KAVYA

Most of the epithets in the Bhatti-Kavya are employed to

illustrate grammar. Bhatti takes the examples and adjusts them
according to his characters 1 Sometimes the suffix which
. is used
in the Adhikara
is repeated to appear beautiful and serves as
an epithet of the object. 2 Such suffixes are used in series and
constantly. 3 Moreover, he uses a series of roots with one
suffix and tense and thus they appear very pleasant. 4 Such
usages are technically called 'AkhyStamala'. 6
Bhatti is a past-master in coining language for his thoughts
which may serve the grammatical purpose also. 6 Besides, he has
a command over the language, therefore, there does not arise
any difficulty for the expression of his thoughts. He has used
some rare words which show his command over language and
grammar. 7
1 Ibid. IV. 25

^'TTi^r tf^nffioft Trot ^^"to^i^ ii

Similarly VI. 55, and almost in the whole of the Adhikfirak-

Sndas.

2. Ibid. V. 1.

3. TOH (II. 45); T&fc* (III. 42); 'm (IV.37); &%* (1V.43);

and ^OTf3 (VII.4) etc.

4. Ibid. III. 23."

fW^FWi: otto! ^*q^TO^^H

Similarly VII. 57, VIII. 125; XIV. 101 etc.
5. Ibid. XIII. 28.

€. . Bhatti-Kavya, VI. 58.

7. Here is a list of the some of rare words :

mud (XIII.4),
srenB' srfefc^ The peak of the mountain (1.8),

Wnfc* Sages who take fruit only (11.33), WR bettle-field

(IX.46), wmrfftr inexperienced (V.85), tswx devourer
(11.38), ^JfaciT The moon-stone (XL 15), UTfa^ A deplo-
red relative (XII.78), t^TCH bearer of a gourd-vessel
— 1

LITERARY STUDY 5

1
He has used some rare roots also. Besides all these,
Bhatti's language preserves some of the idioms which are not
found elsewhere. He tries to make his language simple and still

idiomatic. 2

Some rhetorical defects are to be found in the Bhatti-

Kavya. Bhatti takes some of the words in their etymological
sense neglecting the prevalent sense. 3 Other rhetorical defects are

full of holy earth (V.61), tt High places (XIII.22)

snfasta A mixture of boiled and Coagulated milk (V.12),
sircrafrrawThe time when cows approach (IV. 14), wtfa
flowing (XIII.4), ^snftgqftrp^n Having buttocks like

Nyagrodhra (V.18), ^T^fTO Power ( V.27 ), fasfas

extensive (11.50), sra^w Valiant (1.25), etc.

1. ireW%^5T Approached (XV.49), *Fg?rfa restless with jealo-

usy (V.73), ^siftj. was enough (XV.40), \5p3t crushed
(XI.8), znre^: fled away (XIV.9), wtfpss Suntered
(XV.46),, -3efa^ lied (XV.32), fa^T deprived ^r^s
supressed(XV.88) fsifsrfat resounded (XIV A), ^rqf^ra
smelt (XIV. 52),
?f? heard (XIV.72), w&%: shrank

(XIV. 105), etc.

2. Some of the idioms of Bhatti are as follows :

fa^T^f^ *Tcft ftxR^ ( I II. 8 ), fasjcWsf tf ^ SR ^:

1

( III. 14 )5 wu^ ^re ( IV.31 ), ^Tmrprrt^i (V.5),

Wn^^^WlrTrR'T (VI.9), W^V *. cT^lfTcT W^FFSt' ^pfP^R
(VI.54), vjfaRRT 5RT5I (XIV.31), ^Q^T ftsfirgpSftft^ (XV.22)"

3. ^srar (1.26), Bhatti takes it in the sense of a Raksasa.

Similarly xpeRTf^ one who lives on fruit (11.23), if*T:
enhancer (V.78), WIT: doer (VII.28), ^tot approach
(VII.61) and afgg remover (VII 8 !)

Cf. Sastri, Charmdeva, Bhat|;i-Kavya-Vimarsak,

ViSvasarhskrtam Vol. Ill, May, 66, pp. 226-240,

48143
52 BHATTI-KAVYA
2
Prakramabhangadosa, 1 Punaruktidosa ( Repetition ), Vyava- f
haratikramadosa, 3
Samskaracyutidosa, 4 and Srutikatutva-
do§a. 5

Hence, we can conclude that the Bhatti-Kavya is a poem

not meant for public but only for scholars.

1. Bhatti-Kavya, 1.14.

2. Ibid. 1.20 ; XIII.

3. Ibid. V.24.,27,48.
4. Ibid. 1.23 ; III.5 ; VII. 72, etc.
5. Ibid. XIH.21.
FIGURES OF SPEECH

In the Bhatti-Kavya, there is a naturality in the figures ot

speech. The author has no tendency to overload the Alankaras
on the theme except in the tenth canto where they have been
used with some object in mind. Here is an attempt to enlist them
alphabetically and some of them, viz., Utpreksa, Upama,
Rupaka and Svabhavokti are classified subject- wise also. Because
Bhatti-Kavya is an important link between Bharata and Bha-
maha, so, sometimes their historical and critical observations
are also given.

1. ATISAYOKTI (X.43).

Jayamangala calls it Atisayokti while Mallinatha

calls it Svabhavokti. Jayamangala has tried to justify it on
-the basis of Bhamaha. 1

Similarly VIIL2 ; IX.63.

.2. ANANVAYA. (X.69).

3. ANUPRASA. V.66, 71; VUI. 26, 65, 71, 131; IX. 99,

[Link].
4. ANUPRASAVAT.
(X.l) Bhatti has enlisted it as a separate Alankara.

5. APAHNUTI-(X.58).

•<6. ARTHANTARANYASA. (ft. 6)

Similarly VI.20, 24 X.37 XI. 11 *<

; ; ; XII.74.

1. Bhamaha, Kavyalaukara, n.81.

(53)
54 BHATTI-KAVYA

7 ARTHAPATTI. VII. 10 : VIII. 37.

8. AKSEPA. (X 38,39).

sefaFRH TWJRft *&{&& TOft ^f^Scf: 1

vfRTTfq^T^r ?i^cg^i^ TOT ^i^tt wrfa: s*Fg: I

Here Jayarnaiigala has followed the opinion of Bhamaha

whiJe giving two categories of Aksepa. 1 In his opinion, the
first i. e. X.38 is an example of 'Uktavisaya' Aksepa while the
other i. e. X.39 is an example of 'Sesarthapratisedha' Aksepa.
But according to Mallinatha, the former is not at all an
example of 'Aksepa'. It has a mixture of Arthantaranyasa and ,

Kavyalinga.
9. A&H. (X. 72.)

Bhatti has accepted an Alankara. But Bhamaha does

it as

'not appear to accept it an Alankara and hence uses the

as
2
word 'Kesancit. It is possible that by the word 'Kesaficif

he is referring to Bhatti. Later on Dandin also accepted it as

3
an Alankara.
10. UTPREKSA
Amongst Utpreksas, 'Kriyotpreksa' is dominant in the

Bhatti-Kavya as compared to its other categories -viz. 'Jati*,,

guna or Dravya.
(0 Jatyutpreksa : II.6 ; VIII.50, 68;[Link].
(ii) Gunotpreksa : XI.3, 16.
(iii) Dravyotpreksa : 1.8.

(iv) Kriyotpreksa : I. 6 ; II.4, 12 ; III. 19 ; VI. 9, 90, Vti.31;

VHL15, 18, 23, 29, 35, 40, 49, 61, 72, 74 ; IX. 24, 42,55, 56„

1. Bhamaha, KavyalafikSra, II. 68.

1. Ibid. III. 55.

3. Daij4in» Kavyadarsa, II. 357.

;

FIGURES OF SPEECH 55

64, 92 ; X.45 (Mallinatha calls it 'phalotpreksa') ; X.70 (Jaya-

mangala calls it utpreksavayava while Mallinatha calls it as San-
kara of Rupaka and Utpreksa) ; XI. 19 ; XVII.69. '
11. UDATTA (V.27).

12. UDARA (X.52).

The heading given in the text is 'Udara', but Jayamangala

has not distinguished udara and udatta. Here, Mallinatha
differs. He names those examples as that of Svabhavokti' and
not of Udara. Bhamaha has accepted it as an Alankara. 1
Similarly

X.53 (Mallinatha calls it udatta)

X.54 (Mallinatha calls it Udatta with Atisayokti again).
13. UPAMA
Upama is the most important figure of speech in the Bhatti-
Kavya. In the Alankara portion, Bhatti has illustrated Ivo-
pama(X.31), Yathopama (X.32), Sahopama (X.33), Taddhito-
pama (X.34), Luptopama (X.35) and Samopama (X.36). The
following words are used to express the comparison in his
similies.

i. Abha (IX.59).

it Iva :—I. 9 II. 30, 47 IV.30, 34, 45 ; V.18, 49, 54,

't' ; ;

70, 99 ; VI 5, 22, 88, 110, 118 ; VII.34; 52, 70 ; VIII.51, 54,

103 ; IX. 5, 6, 11, 46, 55, 85, 96 ; X.31 ; X.7, 15, 19, 34, 39,

45,46;[Link], 61.

Hi. Upama : —IX.4.

iv. Kalpa :-XI.33 ; XII.13-

v. Tulya :—IX.54, XII.40.

vi. Pratima: — 1.5.

Yatha :-L4 VI.52 ; VII.4* ;

VIII.3» ; X.32 ;
Mi. ;

XII.70.

VII.45, 49 VIII.18 IX.43 X.34

vill Vat :-L3 VI.61 ; ; ; ; ;

XV.90. :

ix. Sadrk :—VI.120.

x. Sadrsa :~XXlI.t2.
— .

56 BHATTI-KAVYA

xi. Sannibha :—VL57 } 59 ; XV.50.

xii. Sama :—X.36.
xiii. Luptopama :•— X.35.
His Upamanas are very simple, natural, apt and related
with day-to-day life. We can classify his similies in accordance
•with Upamanas as follows :—
i. Religious :

Sanctity = Sacrificial altar (VII.45).

Lustre of the King = Sacrificial fire (1.4).
Moon-set = good deeds coming to
an end (XI. I).
it. Mythological
Valour = destructive wind (£ 36).
Speech = nectar (VI1I.39).
King = Indra (1.5).
Ravana = Yama (IX.54).
4U, Educational :

Woman = Education (V1I.70).

Controller = Teacher (VII.34)
Enjoyment with women = Enjoyment in
education (1.9).
iV. Geographical :-—
Stomach = Patala (XV.50).
*i Social :— to go out = mercandisement (VII.49).

Released = Debt-released (VIII.103).

Obligation = obligation upon a servant(VIII.18).
To weep = weeping while meeting a
friend (IX.55).
vj. Grammatical :
—Only one grammatical simile is found in
the Bhafti-Kavya (VI.61).

vii. Fauna and Flora :

Sita = Lotus (Arvindini) (V.70.) I.

Syama = Durvafcan^a (V.18).
'
Flickering — Sala Creeper (IL47).
FIGURES OF SPEECH 57

Eyes = deer (V.49 VL120).;

Valour = lion (VI. 11 8 ;IX.1I 3

XII.70). ;

Hanumat = Elephant (VI.88).

Intoxication = Elephant (IX.46).
Enjoyment = Intoxicated Elephant (IX. 43)
Voice = Donkey (VI. 5).
Yiii. Natural :

Beauty = Sky (II.47J.

Sita = Susamni ray (IX.85).

Lustre = Sun (V.99; VI.57, 110).

King = Moon (X 32).

Beauty = mountain (VIII.51).
Crowd of people = river (XI.39).

14. UPAMA.-RUPAKA (X.61).

It has been enlisted as a separate Alankara in the

text of
Jayamangala. But Mallinatha mentions it as a
Sankara of Utpreksa and Rupaka. Bharatamallika also correspo-
nds to Jayamangala.
15. UPAMEYOPAMA (X.65)

Both Jayamangala and Mallinatha have accepted it to

be a separate figure of speech.

16. URJASVI (X.49).

According to Jayamangala, it is urjasvl because it pro-

pounds egoism. Bhamaha1 and Dan^in 2 also give such egositic,
examples and accept it as an Alankara. But later on Bhoja
transformed the urjasvl Alankara to Uddhata Rasa. 3

1. Bhamaha, Kavy alankara, III. 7.

2. Dandin, Kavyadarsa II. 293-294.

3. Raghavan, V., Bhoja's ^rngaraprakasa, Madras, 1963, pp. 412-13.
!

58 BHATTI-KAVYA

Mallinatha does not accept it as an Alankara. He calls. **-

it Kavyalinga with Utpreksa.

17. EKAVALT (11.19).

*\ TTSvjPT' W^ \3fl5TT cF*R : I

;
1

18. KAVYALINGA (V. 42 ; XIII. II.)

^
19. TULYAYOGITA (X62).
Mallinatha calls it Saman) alankara.
20. DlPAKA.
Bhatti has given three examples of Dlpaka.

Adidipaka (X.23) ; (ii) Madhyadipaka (X.25)

(i) (iii) ;

Antadipaka (X.24). Jayamangala has explained the classifk

tion on the basis of the place of the verb, e. g. Adidipaka
(X.23).
Jayamangala has categorized 'Adidipaka' in two, viz,
Ekatin and Anekatin.
But Mallinatha differs regarding the figures of speech here,.
He has named X.23 and X.24 as Karanamala and Kavyalinga |
respectively.

21. DRSJANTA (XIII.83.)

22. NlDARiANA
VIII.92; XII.77; XVI.18 ; XIII.43. According to. >

Jayamangala (X.63), it is also an example of Nidar^ana. But

Mallinatha has not accepted it as NidarSana.
';;'

23. NIPUtfA (X.73). ;i

orsqFsncra w^T^^5T'¥t
FIGURES OF SPEECH 59"

found only in the Bhatti-Kavya. On the

This Alankara is

basis of compactness in its meaning, Jayamangala incorporates.

it in the Udattalankara. 1

But Maliinatha names it 'Preyas' and quotes Dandin's.

Kavyadars"a (11.275) in his support. So, the 'Nipuna' is

found only in the Bhatti-Kavya which the later rhetoricians

omitted.
24. PARIKARA (XII.14, 49).

25. PARIVRTTI (X.67).

Here Jayamangala has accepted this Alankara following

the definition of Bhamaha through 'Apoha' and Arthantara-
nyasa, 2But it is not parallel with the later concept of Parivrtii
where 'exchange' is dominating. 3
Maliinatha also names it Utpreksa with Arthantaranyasa.
26. PARYAYOKTI (X.50) and (XI.43).
Maliinatha does not accept (X.50) as Paryayokti Alankara.
In his opinion, it is the Bhrantiman.
27. PREYAS (X.47).

According to Jayamangala, it is Preyas because the most

is described here (Priyatama vastu).
desired object But accor-
ding to Maliinatha, it is the Pratlpa Alankara and not the
Preyas.
28- BHRANTIMAN n.9 ;
X1.36 ; XIII. 42.
29. YATHASAttKHYA f.5 ; X.44 ; XI.5.

1. Bhatti-Kavya. X.74,

fagtJTftffa WjfonT3<*n3TO xftSIIccfS^clirfeft ^S^J: I

2. Bhamaha, Kavyalankara, III.41.

3. Mammata, Kavyaprakasa. Ed. Sharma, Harisarikara, Benaras, 1951,.

X.H3.
trfT^rfgfwit tfrssfai tots *ram: \
—

60 BHATTl-KAVYA

30. YAMAKA
In the tenth canto of the Bhatti-Kavya, a variety of
Yamakas is found. Bhatti has classified them according to the
position of the Yamakas occurring in padas. he has
Besides,
used some technical names like Cakravala, Samudga, etc. Those
Yamakas are as follows :

(i) Yukpadayamaka :— (X.2).

The illustration shows that there is a Yamaka in the

even Padas.

(ii) Padanta-yamaka :— (X.3). It is occuring in the

last of all the Padas.

(Hi) Padadi :— (X.4). It is in the beginning of all the

Padas.

(iv) Padamadhya :— (X.5). In the middle of all the

Padas.

(v) Cakravala :—(X-6). The last letters of all the

Padas have a Yamaka. According to Jayamangala, it is like a
wheel of Yamakas so it is called Cakravala Yamaka e. g.

*? *TO51: 3R3T IScRTtiRl: "gtffcft fafaft 1 ^tf^R II

(vi) Samudga —(X.7). In this Yamaka, the first and

the third ; second and the fourth Padas are of the same nature.
According to Jayamangala, it is called Samudga because it is

like a casket (Saraputa).

(vii) KancI :— (X.8). If the last Pada ofthe first Pada

and the first second pada the last pada of the
pada of the ;

second pada and the pada of the third pada ; the last pada
first

of the third pada and the first pada of the fourth pada are the
same, it is called KancI Yamaka,

^TcJT vi^ TOCT ^ftri ^ftct *ng?9tfi$ct *JS?TT II

FIGURES OF SPEECH 61

According to JayamangaJa, because it is entangled like a.

girdle, so it is called KancL

(viii) Yamakavali: — (X. 9). It is found in each two
successive padas.
(ix) Ayukpadayamaka: — (X.10). A yamaka whichls.
found in two odd padas is called by this name. It is contrary to
Yukpadayamaka in even Padas (X.2).

(x) Padadyantayamaka :— The Yamaka is found in alt

the beginning and ending padas of a pada e. g. (X.l 1).

(xi) Mithuna- Yamaka :— (X.12) It is found in the third

and fourth pada of a verse.

(xii) Vrnta :— (X.l 3). When similar words are occurring

in the beginning of all the Padas, it is called vrnta yamaka.
(xiii) Puspa :
— (X.14). In this Yamaka, all the ending
words of all the padas are the same.

Padadimadhyayamaka
(xiv) If a yamaka : — is occurring
in the beginning and middle words of a pada, it is called pada-
dimadhya e. g. (X.J 5).

(xv) Vipathayamaka :— (X.l 6). It is occurring in the first

and the fourth pada.

(xvi) Madhyantayamaka— (X.l 7). In all the padas the

words in the middle and in the end are the same.

(xvii) Garbhayamaka :
—
(X.18). In this Yamaka, the
second and the third i. e. the central padas are the same so it is
called Garbhayamaka.
(xviiij Sarvayamaka :— (X.19). In it all the Padas ar&

the same.
(xix) Mahayamaka :— (X.20-21). When two verses are-
similar but convey different meanings, it is called Mahayamaka.
X.20 and X.21 verses are of the said kind so, there is a
e. g.

Maha-yamaka.
62 BHATTI-KAVYA

(xx) Adyantayamaka :— (X.22). If the Yamaka is given

in the initial and closing words of a verse, it is called Adyanta-
yamaka, e. g.

STOt tTTTM^T W3*ift *&*[%'• II

Besides these examples of Yamaka having a rhetorical

purpose, we find Yamakas in the following verses of the Bhatti-
Kavya.
11.17, 32 ; 1V.17; VI.35 ; VHI.65, 131 ; IX. 1 ;
XIII.7 ;

XVII.74.
The Yamakas of the Bhatti-Kavya do not agree to any of
the later rhetorician in their classification. Bhamaha has how-
According to S. K. £>e,
ever, a great similarity with them.
'probably he is drawing upon some old author whose, work is

1
not known to us'.

31 RASA VAT (X. 48).

are
Jayamarigala reads because the sky and the mountain
treated like a man and a woman so there is the Rasavat Alan-
kara in it. The author of the said commentry has quoted
Bhamaha to support his stand. 2 The example of the Bhatti-
Kavya seems to be related to inanimate objects.

32 RUPAKA
canto of the Bhatti-Kavya, five verses
In the tenth
devoted to illustrate Rupaka. Bhatti
(X.26-30) are.

has given some technical names like Avatamsaka and Lalamaka

also,

i. Rupaka :— (X.28).

^jraTfa^aigrm to* ^m^T^r^et n

Mallinatha categorizes it as Savayavarupaka.

Visistopamayuktarupaka :— (X.27). Mallinatha calls it Ut-
ii.

preksa.

1, De,S.K. History of of Sanskit Poetics, Vol. I. p. 54.

2- Bhamaha, KSvyalaftkara HI.6.

FIGURES OF SPEECH 63

in. Avatamsaka :
— (X.28). It is called Sesarthanvavasita. No
'explanation is given about its name Avatamsaka. Jayamangala
names it 'Khandarupaka' also. But Mallinatha calls it a San-
ikara of AtiSayokti and Rupaka.
Bhamaha calls this type of Rupaka as EkadeSavivarti 1 .
While Dandin names it as Avayavarupaka 2

iv. Ardharupaka :
— (X.29).
v. Lalamaka;— (X.30). According to Jayamangala, it is blen-
ded with Upama.
vi. Upamarupaka :— (X.61). It is accepted to be a separate
Rupaka in the Bhatti-Kavya. Mallinatha calls it a Sankara of
Utpreksa and Rupaka.
Besides these technical varieties of Rupakas, Rupakas are
found frequently in the Bhatti-Kavya. 1.20, 26 11.28 III.8,
; ;

51; VI. 103, 117 ; VII. 32 ; VIII.51, 54, 62, 66 ; IX.8 ; Xl.5, 19,
26, 32 ; XII.41 ; XIV.27, 28.
I he following objects stand in comparison with his
Rupakas.
i. Ritualistic .—Bali = Sacrificial animal
Rama = a priest. (VI.H7).
ii Natural :— Arrows = Rains (IX.8.)
Battle-field — River (XIV.27.)
Breathing = Wave (VIII.54.)
Blood = Mud (X1V.28.)
Rama = Kal pa-tree
(VI.103 ; VII.32, XI.5
Valour = lion (1.26).
iii. War-instrument .—Eyes = Arrows
Hair = Nails
Ears = Pasa
Breast = Wheel
Brow = Arrow (XI.26 32)

1. Bhamaha, Kavyalankara, II. 22.

2. Dajjdrn, Kavyadar&a, II. 72.

54 BHATTI-KAVYA

iv. Domestic :

Enemy = Fuel (11.28)

Rays of the sun = Rope (XI.19)

Forest = Cart (111.51)

Sorrow = Nailpinch (III.8)

fatraTftsft t^ft^s^r fia^sra: qfcreetoiM i

Thus it can be observed that his Rupakas are mostly nattK

ral and domestic.
33. VAKROKTI- VIII. 81 XV. 11, 41, ;

Kaku Vakrokti. (V. 26).

34. VARTA. (X. 46).

This Alankara is called Varta because it describes nature

of Mahendra mountain.
Jayamangala has divided Varta into two. The first is
Visista and the second is Nirvis'ista. The first is called Svabha*
He has quoted Bhamaha to support SvabhavoktL But
vokti.
Bhamaha has not Categorized varta as Ja3amangala has done. It
changed to Svabhavokti in later rhetorical works.

Mallinatha names it as AtiSayokti.

VIBHAVANA (X.41).
35.

Mallinatha calls it Kavyalinga.

36. VIRODHA- (X.64).

37. VIRODHABHASA- 1.16 ; XI.31 ; XII. 10.

But Mallinatha names it as 'Virodha'.

38. VI&ESOKTi. (X. 59).

39. VYATIREKA. (V.65 ; X.40 ; XI. 3.

40- VYAJASTUTT. (X.60).

But Mallinatha calls it AtiSayokti with Upama,

I. Bhamaha, Kavyalafikara, H. 8 .
FrGURBS OF ^F^CH £§
41. HETU (XJ3).

Because Hetu is given here so ft is called Hetvalankara.

Bhamaha has not accepted 'Hetu' as an Alafikara.

Mallinatha also ddeS not accept it as ait Alankara and

names it as 'Drstanta'.

42. ^LI$TA (X. 55.)

Jayamangala follows Bhamaha and calls it Slista. But

Mallinatha names it 'Tulyayogita'.

43. HETu3li$ta (x.57).

. It is also called Tulyayogita by Mallinatha.

44. SAMAHITA (X.51).

According to Jayamangala, because all the directions are

observed with a concentrated mind, therefore, it is called Sama-

hita.

But Mallinatha calls it Svabhavokti.

45 SAKtAsOKTi (X.42).

According to Mallinatha, it is Atisayokti with Ruplka.

Similarly Samasokti is found in XI. 14.

46. SAMOCCAYA 1.2 ; Ml.22 ; V.l ; XIL81.

According to Mallinatha, the whole dl" the seventeenth

canto is the example of 'Kciyasamuccaya'.

47. SAHOKTI (X.66)-

iwwcf&i mtft I^hIsh ^ftreFra ?&^tn wrtI^ i

0. S&&PAM& (X.33)

According to Mallinatha, it is an example of 'Sahokti'.

66 BtfMTI-KAVYA

49. sAMANYA (H.18).

50. SANSAYA (XI.10, 32).

[Link] (X.68).

Mallinatha names it 'Sandeha' only.

52. SVABHAVOKTI
Bhatti is very adept in observing various physical
and mental conditions of the described objects. The realistic

'descriptions of actions and qualities of a person are

•depicted in a quite natural way. We can divide the 'Svabhavoktf
of the Bhatti-Kavya in three categories.

i. Physical : The physical descriptions as found in the

Bhatti-Kavya appear like a portrait. The following objects are
•described physically.

The Simhasana (III.3) ;

the earth serving the purpose of

the battle-field (IX. 10) ; Lak§mana and his posture while

fighting (11.31 ; 111.47) ; Hanumat's physique (IX.7, 47), facial
•expression of Bharat when in anger (111.30) ; Vibhlsana (XII.-
21) ; Malyavan (XII. 5 5) ; Physique of Raksasas (11.30) Ravana ;

(XII.9, 13) and Indrajit (XII.76).

Other realistic descriptions are those of the sun (XIL 70) ;

blossomed surface of the earth (11.13) a deer (V.51); Garden ;

of Ravana (VIII. 86) and its description after its destruction

(VIII.131).

ii. Mental : Mental reaction of Raksasas after a fight with

Hanumat (IX. 11); physical and mental fierceness of Indrajit
•against Rama and his army (XVI.42).
iii. Action : Mostly these actions are related to the battle-
.field. Some of them are natural objects also.

Actions of a lion (11.9), a lotus flower (II. 6), a bee (XI.36),

Rama and his battle- activities (1.27), sportive activities
ofRaksasis (XI.8, 11; XII.37) and the dance of Gopls
{11.15, 16).
FIGURES OF SPEECH 6?

Actions in the battle-field are pertaining to the weapons

<XIV.9 ; XV.62) ; army (XV. 114) ; Vanaras (XIV.9) ; animals
(XIV.5) and birds (XIV.40). ....

Fighting persons described realistically are Prajangha

(XIV.31) ; Rama (XIV.42) ; Indrajit (XVII.81). Actions after
being hit in the battle-field are described (XIV.30 ; XV. 56
'

etc.).
(

Canto-wise enumeration, of the Svabhavokti Alankara is as

follows :

I. 27;II.6, 9, 13, 15,16, 30, 31., III.3, 30, 47, V.51,

VIIL66, 131, IX.7, 10, 11, 40, XI.8, 11, 12, 36, 37, XII.9, 13
21, 55, XLV.5,
70, 76, 9, 19, 30, 31,40,42, XV.56, 62, 114;
XVI.42, XVII.60, 81.
CHARACTERIZATION
The main characteristics of the characters of the Bhatti-
KSvya are borrower* from the Ramayana. Hardly any change
or innovation can be observed in the characters of the Bhatfit
Kavya as compared to the characters of the Ramayana. Bhafi-

has neither created epithets and characteristics like the autho

of the Naisadhlyacarita nor they can said to be breathing in the
fresh breeze of spontaneity and individuality like the characi-
terization of K&lidasa. Some of the characteristics are changedr

by him according to the naiurei of his grammatical illustrations.

But the change is nominal. It can be observed that his charac-
ters are not suppressed under the weight of grammar. Here is.

a brief analysis of his characters.

RAMA
Rama belongs to a high (Mabakullna) Ksatriya family
which is praised even by the opponents like Bali (VIL88 ; IX.81
VI. 127). In the Bhatti-Kavya, Rama is depicted as an ordinary
human being and withemotions who laments over the loss
all

of Slta and worries to meet her by vanquishing the enemies (VI.

11-23, VI 47). He has his abode in the northern part of India.
He is not depicted as an omni-present Ultimate Reality (VIII.
107).

There are a few instances where Rama is said to be the

incarnation of Lord Vi§nu. ,£ankara reminded him of his incar-
nation of Narayana. Ocean praised him as an incarnation of the
Supreme Reality and ascribed his potency (Maya) to be the
cause of the universe (XXI.16-17; XIII.9). His incarnation in the
from of Vamana, Visnu and Varahaare described (11.39). The
story of Npimha depicts Rama's divinity as Visnu (XII 59).

He is depicted as an intellectual who can

heroic personality
kill ten thousand elephants, fourteen thousand cavalry and two
million pedestrians in a day (XVH.67-68). By his valour he can

68
CHARACTERIZATION 69

face Yama, the ocean, deities, Serpants, Raksasas, Yaksa,

His strength is appreciated

by
Indra or the sky (VI.36-38).
Even his opponents like
Vis"vamitra (1.22) and Laksmana.
Manca and Malyavat advised Ravana not to wage a war against
Rama (V.58 ; V.32-38 ; XII.56).
political phi-
He an administrator, a politician and a
is
about die he asked him
losopher. When DIrghabahu was to
far-sightedness can be
about his secrets (VL46). His political
one should
observed in his teachings to Vibhlsana such as
res P^ct
pacify the angry man bestow wealth on greedy
;
;

those who want respect and console the afraid. (

*
'^: XX "£
seen elsewhere also (X1X.Z0-
similar political teachings can be
30).

As a social character, Rama serves as an idealin every

He is an obedient son who can
des-
sphere of the Indian life.
upon him such as
troy himself to fulfil the duties entrusted
etc. (HI. 14, 51).
the protection of the sages, going for exile,
for long
He has an intense affection for his father and wept

when he heard of his death (111.50).

Rama has an intense love for Hefeels as if squeezed in-

Slta.

ternally, loses his consciousness and burns in

her separation (VI,
Without ^r hefeels
X.64) Rama calls himself adevotee of SUA.
(VI. 11-23 X***h
anxious, weeps and laments for a long time ;

day and gives up aftthe

He remembers her hundred times a
materials in her absence (VML
decorations and luxurious
received a signet-ring
117). He attains afresh life when he
from Sita (X.33).
and foUowed
Laksmana thought Rama to be his master
Even Sugrrva and
him in every distress in the jungle (IV.24).
of their master and
Vibhlsana cannot tolerate the separation
were very happy when Rama invited
them to Ayodhya (XXIL
fast and good friend
23). According to Vibhlsana, Rama is a
affection **
<XIX.4). Rama also had the same respect an4
them (XX.20).
Rama is a great refuge of the week and the poor so heis
VI.103). His humanltamn
described as Kalpataru (IV.26 ;
70 BHATTI-KAVYA

attitude is depicted when he abstains Laksmana from setting a

Brahmastra(XVII.19).
Rama is tender by heart but cruel towards enemies. He has
self-respect and confidence (VIII.90). He has no hesitation in

the expression of any thought. He repudiated Slta when she

returned from Ravana (XX.25). Rama's faith in omens shows
his respect for the Aryan culture (VI.6). As a ruler, he does
not fight for the extension of his territory but his object is
self-defence (IX.117). He has a practical social intellect

to advise Bharata to fulfil the will of his father <III.52).

Besides his exalted character, he has some natural lacunae in,

his human form. He is afraid of his personal fame and prestige

of his family so, he is not ready to accept Slta (XX.24). Due to

his suspicious disposition he doubted the character of Slta and

that is why he did not accept her readily. He asked her to marry
either Sugriva or Vibbisana (XX.21-22).
Thus, Bhatti has analysed the character of Rama very su-

ccessfully although most of his epithets are bound by gramma-

tical illustrations only.
SITA
The character of Sita as depicted in the Bha#i-Kavya is

almost the same as found in the Ramayana.

She is born in a high family and is proud of herself and her
in-laws (VII.88 V.77-82). She is called a
;
Syama heroine
having slim body, beautiful eyes, gait like a swan, hips like.
Nyagrodhra and flickering movements like the creeper of a.
Sala tree (V. 18, 11.47). Her lustre is like the moon and the
beauty of her eyes is compared to lotus flower. StilJ. she excels.
all these objects (V1I.22 X.15 V.65 11.47). According to
; ; ;

Ravana, her beauty is an everlasting memory and according to

Hanumat she appears to be Susamni, the most glittering ray in
the galaxy of stars (V.67 ; IX.85). She is much more beautiful
Ithan Indranl, Rudrani, Manavl, Rohini, Varunani, Agnayi„
!§rior Rati (V. 22; V.'/l). She is so beautiful that even.
Lord Siva may be bewitched on having seen her (V.73).
She is an ideal woman and preserves her chastity by rebuk-
ing Ravana several times (VIII.85). Her intense love for Rama
is apparent as she misses no opportunity of singing the feats of
CHARACTERIZATION 71

his valour and other characteristics. Without Rama she feels

stumbled ; her heart being broken
thousandfold ; and she
ejaculates, sighs and laments simultaneously (XIV. 55-60). She
always remembered Rama and practised penances in his separa-
tion (VII.44; IX.87; X. 15-16). She is a faithful wife and
avoids talking with Ravana ; who had bad intentions (V1I.70 ;

VI. 1).

She is a virtuous lady excelling even sages in their virtue

(VII.46).Her respect for unknown guests like Ravana, motherly
affection for birds and beasts in the jungle, and meicy even for
Raksasls shows her exalted and humanistic character (V.76 ;
VI.26 ; XX.5).

She has a fearful, nervous and emotional disposition. Blam-

ing the character of Laksmana, she sends him after Rama
(V.59). Repudiated by Rama, she invoked various deities and
asked Laksmana to prepare a funeral-pyre for her (XX.29-34).
Then, all the deities defended her (XX.26-36 and XXI). Accor-
ding to Ravana, she is responsible for the whole of the strife,,
and according to the mother of Ravana she is a terrifying star
fallen from the sky and a mass of poison (XII.4).

Thus, she is described as a beautiful, chaste, virtuous, ideal

and faithful lady.
*

HANUMAT
Physical, heroic and devotional characteristics of
Hanumat are depicted in the Bhajti-Kavya. He is the son of
'Air' called Vayu, Prabhanjana, Marut-vat or Pavana
(VI1.55 ; VII.72 ; IX.24 ; X.14 ; X.27).

Physically he is like a mountain, having lustrous chest

like luminaries (1X.59 ; IX.92). He is portrayed like fire and
his eyes are glittering like a gem (IX.40 ; X 27).
Even the ocean cannot surpass him in courage (VII 1.4).
With his physical power, he can fly over it (VIII. 1 ; XX.2). He
can assume horrible forms and manifest his powers according
to the valour of his opponent. He is confident of his power
and knows no defeat (1X.8-66).
12 BH^TTJ-KAVYA

Hanumat is said to be an uttamaduta in the Bhatti-Kavya.

He is very clever in finding out the secrets of the enemy. Sug-
a|va is said to, be rid of his worries on having appointed him as
•adnta. (VIII. 127; VIII.115 ; VI.88).

Hanumat is a devoted and faithful servant of Rama (VIII.

110). He was greatly enraged when he saw Ravana talking to
Sita (VIII. 1 13). He is always thinking in terms of making Rama
happy (VIII.57). He worships Rama like a deity and does not
tolerate the insult done to Rama. He refutes all the arguments
forwarded by Ravana in ^is Sabha to humiliate Rama (IX. 130-
36). Besides, he is equally devoted to Sita (XVII.21).

Hanumat is very true, forceful and argumenta-

In his speech,
tive (VI4Q1 IX. 129). He is an intellectual spy and saves
;

himself from tfye sharp eyes of the R^ksasas (VIIL26). While

entering Lanka he passed on unnoticed by all the Raksasas
{VJIJ 27). As a politician, although being capable of destroying
Raksasas he |did not jfight with them because he wanted to save
Slt,a (VIII.56). Hanumat is a past-master in investigating the
secrets pf the enemies in the [Link] j, hours of night (IX. 82). He
is expert in accomplishing his own object so he spoke to Ravana
very modestly and declared himself to be a messenger rather
than an aggressor (IX. 109 ; IX. 128). He is a peace-loving
Duta and advised Ravana to give back Sita an4 enjoy pros-
perity.

So, thff$ characteristics qf $anu»at, viz., "as powerful mon-

, a messenger ,an$ a 4§yokW pf Rama are depicted in the

HAVANA
^cpprding tp Vanaras, Ravana belonged Jo a low-
fCanpily ar^d is caljied Dausjculeya (VJIL88), ]fte has a very
stout physique. Jpte has his head like the peak of KailaSa and
l^s a$n£ like that of a tree (VIiI.51). His complexion is dark:

Aajnd horrible like

a serpant (2£EI.10). Once he is described as
attractive as Meru (VIIL54).

s
4s a jyajrjor, lie is very oj>pressjve and cruel towards his
enemies (VI.51 ; XVHI.40), He has controlled the deities like
CHARACTERIZATION 73

Iqdra,Kubera, Yama, Visnu, Yaksa, Varuna, the moon, the

Sim and the air (VIII.53 ; V.7 ; VII.94 V.86-88 XVIII.20 ; ; ;

VIIT.62 ; XVHI.19). He is in fact, very proud of having

controlled all these objects (IX. 107).
drunkard
According to Surpanakha, Ravana is very lazy and
Hanumat, his adminis-
in the peace-time (V.10). According to
tration because his s">ies are not dutiful (VIII.44).
is loose
Vibhlsana compares him to a foolish patient not ready to

take the medicine (XI1.82). His policy is not always very

fertile.

He is very bold, argumentative and clear in his political

philosophy. He refuted the arguments put forth by Vibhlsana
that Hanumat should not be killed (IX.121 1X.101 1X.119). ; ;

He always humiliated Vanaras and human-beings and did not

Want to have any type of alliance with them (IX. 123). He be-
lieves in killing an enemy and never excuses a person who has
killed his commander (IX.102). But according to Kumbhakarna,

he never acts upon the advice of a good-man.

Ravana is mad after Slta and wants to get her by fair or foul
means (VIII. 82). He flattered her, spoke lovingly and sacri-
ficed all the three
worlds for her although she disgraced him at
al occassions (VIII 83 ; 75). According to Slta, his love is
merely sexual (VIII.88).

His behaviour is not good toward* others. According to

Vibhlsana he is stupid, proud and appreciated the cheap
flattery done to him. He hates those who speak frankly (Xn.
83 ; XH.36), yet he is popular and his virtues are talked in the
streets of Lanka (VIII.28). When he died, people of Lanka
bowed their heads with tears in their eyes (XVII1.39).

Ravana was very sensual by nature always admiring and

'craving for the wives of others (VIII.73; VII.8/-88). He flattered

Slta and expressed his sexual desires although the latter rebuked
•and disgraced him (VI. 1-3 VIII.78-79).
;

He has no favourable behaviour towards the good and always

wanted to imprison deities, disgraced virtuous, doubted his
74 BHATH-KAVYA

friends and relatives and insulted elderly persons (XVII.39),

He is very angry by nature. He always humiliates his enemies
and never appreciates their virtues (IX. 105 ,* IX. 122). He is

very proud and immodest (XII. 80).

Besides all these characteristics, he has some

virtues too. He is a religious man and
never forgets to worship
Brahmaraksasas. He possesses qualities such as valour, virtuoues*
ness and religious bent of mind. Besides his harshness, he has
a tender and humane nature which compelled him to lament,
shed tears and remember the virtues of dead warriors.

In brief, he is portrayed as very cruel, oppressive, sexual,

egoistic and obstinate.
DA^ARATHA
Dasaratha belongs to a high family and is a friend
of deities; an oppressor of enemies and the father of Rama,-
an incarnation of Visnu himself (1.1). In the Bhatti-Kavya
DaSaratha is depicted as the worshipper of Tryambaka Siva
(1.3). He performed many sacrifices so he is called Agnicit and
Somasut (VI. 128). He respects the sages and is afraid of their
anger so he offered his sons to ViSvamitra (1.23).

As an administrator, he had controlled six internal enemies,

loved politics and could manage to uproot his enemies (1.2).

According to Janaka, he partook the seat of Indra. He is a
great intellectual (11.46).

In brief, he is depicted as a high-souled being. He is admired

by the Brahmanas and is said to have taken birth for the pre-
.

servation of the world.

BHARATA
Bharata is the son of Kekayi. In the Bhatti-Kavya, his.

love for his brothers and for duty as well as devotion towards
Rama is depicted.
He has a great sense of affection for his brothers and is,

never greedy for the kingship (111.54). He rebuked and blamed,

his mother Kekayi for bidding exile to Rama (111.30-31). After
tfce cremation ceremany of his father, he went along with his.
rriifiisters to bring Rama back (111.36).
CHARACTERIZATION 75

Bharata is afraid of his fame and fears that the exile of

Rama may not be interpreted as a conspiracy (III 32).

Infact, he is a devotee of Rama, dutiful and modest.

LAK§MA!sTA

The character of Laksmana is portrayed together with

that of Rama. All the characteristics of Rama are attributed
to Laksmana too. His individual characterstics are his
valour and his obediency.

He compared to Vanma and Mitra or two ASvins (11.41),

is

He is very obedient to bis father and

Rama. His thoughts are
very high yet modest (TIL 13). He killed the Raksasasvery
courageously and disgraced &Qrpanakha for her self- pride
(11.31).

KEKAYI
Shean intolerant queen who could not tolerate the
is

coronation of Rama and in the absence of Bharata com-

pelled his husband to send Rama to exile (III.6). This wish of
her is only due to back-biting by women (111.7). She is blamed
for the death of the king and the exile of Rama.

SUGRlVA
Sugrlva is a noble, powerful and irreproachable vanara

residing on the Rsyamiika mountain (VI.50, 51, 102 VII.20), ;

On having resumed the throne, he indulged in sexual plea-

sures and neglected his duty and the vow of assisting Rama to
acquire Sita. His greatness lies in the fact that he frankly admi-
tted his fault later on (VII. 19 ; 25-26).

J
a tolerant friend called 'Sarvamsaha (VI. 102)^
Sugrlva is

lie realized the negligence of his duty at once and thus became
ready to assist Rama (VII. 22, 32).

He is a peace-loving and friendly king. He is a conscious,

and wise politician to declare Angada to'be his successor. Like
other monkeys, he is described as sexual and remembers his
wife when she was taken away by Bali. In brief, he is noble
and friendly. (VI. 50).
76 bhatti-kavya

VlBHl§AtfA
Although Vibhlsana is a Raksasa, yet he is not arrogant
and Papakula (XVII. 36). In fact, he is absolu-
calls his family
tely contrary to the conduct and etiquettes of the Rak§asa
family. Due to his high moral character, he again and again
prohibited Ravana from bad activities (XVII. 37). He is self-
confident, religious-minded, righteous and intellectual fXII.-
2;85).

He is a friend of Rama consoling him many times by re-

vealing the secrets of Raksasas (XVII.25). According to

Ravana he is a man who cannot tolerate the progress of his
own family (XII. 74).

Vibhlsana does not hate any one. He hated the misconduct

of Ravana (XVII.38) After the death of Ravana he appreciated
his good-qualities, shed tears and wept for a long time like
an orphan (XVIII. 10, 28, 29, 30).
He has studied Artha^astra and is very argumentative as
a politician (XII.22-60). His policy is, 'one should be
lenient towards his enemies to destroy them' (VII.31), But
throughout he is a follower of Sama and is not in favour of
killing a messenger (IX. 100 ; XII. 41).

As a- whole he is gentle, peace-loving, friendly and argu-

mentative.
^URPAtfAKHA
In the Bhatt-Kavya, Surpanakha appears in two forms, viz.,

in her beautiful form and in her fierce appearance like that of a

Haksasi (IV. 17-18 ; IV 23). She is immodest and egoist and
challenged Lak§mana and as a result w$s punished by the latter
(IV. 32).

She is marry her (IV. 19)

very sensual. She asked Rama to
According to Laksmana, She is lustful and is very immodest
(IV. 22-23). Again she went to Laksmana as she was distur-
bed by Kama. (IV. 30).

&uxpanakha is responsible for the whole of the strife as

she, persuaded Ravana to take away SIta and flared him up for
the battle (V. 16 ; V. 5-22).
CHAftACfERIZATION 7?

In brief, she represents the culture of the Raksasah

women.
OTHER MINOR CHARACTERS
AKSAKUMARA
He is the son of Ravana and knows Maya. He came to
fight against Hanumat but was killed by him (X.28).
INDRAJIT
He is also the son of Ravana having some divine acquisi-
tions like Brahmastra. (XV. 97). He is a great warrior who
won Indra and resisted the missiles of his enemies (XVIII. 13 «

1X.49). He and his father both are confident of their power

(IX. 47, 52). He knows Maya and with a gfeat pride came to
defy Hanumat (IX. 52).

He has respect for his father and humiliated Vibhlsana

for his insincerity towards the family of the Raksasas
(XVII. 33). He does not believe in ill-omens (XVII. 11). The
philosophy of his life is to manifest heroism and to torment
the enemy (XVII. 22).

r£yasb&GA
He is portrayed as a great sage, a ritualistic scholar hav-

ing a mature intellect (1. 10).

KUMBHAKARNA
His appearance is fierce like a thundering cloud in the sky
(XII. 6 1). He and Ravana had to engage
sleeps for a long time
many servants to awaken him (XV.1-2).

He feels very hungry and is never satisfied even with deafd-

bodies (XV. 29). He has an intense love for Ravana, and,
the latter also appreciates his power (XV. 12).

He rs self-confident and is never afraid of even Ravana

He declares Ravana' s mistakes on his face (XV. I?- 18); Accord-
ing toVibrugana, he bad won Indra,, was an eneaqr of Kubera
and was not afraid of even Yama (XV.- 39-40). Pehasnio
belief in omens while going to battle-field (XV. 28i
78 UHATTI-KAVYA

KHARA AND Dt)$ANA

They are the brothers of Havana and Siirpanakha. They

eat human-flesh (IV. 39). They are depicted as hateful, aggres-

sive, capable of flying in the sky and tolerant (V.l). They were
killed by Rama in the battle.

JATAYU
Jatayu is the brother of Sampati belonging to the race of
vultures and is capable of flying in the sky (V.10). He is very
powerful and is not afraid of even Ravana (V. 104). He broke
down the chariot of Ravana and frightened him, fied and
challenged him (V.97;V. 103-104). At last he fell down on
the ground (V. 100)

JAMADAGNYA PARA^URAMa
Paras"urama is very powerful having a broad chest and
stout physique (IL50). He is very rude by nature and without
any intellectual discussion challenged Rama to fight (11.51). He
had won Ksatriyas many times (11.52). His rude nature was
subdued by Rama only (VIII.99).
TRIJAJA

Her sympathy for Slta is described in the Bhatti-Kavya.

She rebuked Raksasls as they threatened Slta to accept Ravana
as her husband. Thus, she defended Slta (VIII. 99).
BALI

Bali is depicted as a Vanara who can control even the

sun by his valour (VI.99). He got a boon and attained power
to kill Dasyus. His power is like the rays of the sun (VI. 110).
He took away the wife of Sugriva and enjoyed with her.
VASISIHA
He is the foremost of the self-controlled sages (1.15).

VIRADHA
Viradha is a fierce and strong "demon who .met Rama and
Laksmana iri the jungle (IV. 2). His head is downwards ancl feet

upwards. Even Yama cannot suppress him.

CHARACTERIZATION 79

Vl^VAMITRA
ViSvamitra is an intellectual and discriminative sage (1.22).
He took Rama and Laksmana with him and initiated them in

the sciences called 'Jaya' and 'Vijaya' (11.21). He is respecated

both by DaSaratha and Janaka.
^ABARI
She is as gentle as a pragrhypada retaining 'Prakrti
Bhava' insandhi. She is impartial, irreproachable and balanced
Throughout day and night she is
(VI.61). busy in the service of
ascetics performing religious duties and sacrifices (VI.65, 67).
;

She welcomed Rama and Laksmana and offered them a

Madhu parka.
SUTIKS^A
He lives in the forest, sleeps on leaves and entertains all

the guests coming in his hermitage (IV.8).

SAMPATI

Sampati is the brother of Jatayu and has a great

respect for his brother. He has a fierceful neck and appears to
be an incarnation of hell (VII 82). Although his actions are
inauspicious, yet he speaks very sweetly (VII.84-85). Although
he bslongs to a vulture-class, yet he is intelligent enough to
advise vanaras to keep up courage for the sake of their master
(VII.92.)
—

METRICAL ANALYSIS
In the Bhatti-Kavya mostly simple metres like Anu^ubh,
Upajati, Indravajra and Upendravajra are used. But it shows
a variety of metres. As a whole, twenty-six metres are used
in the Bhatfi-Kavya. la the tenth canto, a variety of metres
is used. An alphabetical analysis of these metres is as
follows :

1. Anustubh : IV.1-43 ; V.(l-!07), VI. (1-142) ; VII. (10-107),

VIII IX (1-136) X7, 10, 20, 21, 21
(1-130) ; ;

XIV (2-1 12); XV. (1-122) XVI (1-41) XVII ;

(1-111), XVIII (1-41), XIX (1-29) XX. (l-36j;

XXI (1-20) XXII (1-23) (33-34). ;
;

2. Asvalalitam : VIII. 131.

3. Arya : VIII. 14.

4. Aryagiti : XIII (1-25 ; 29-50).
5. Indravajra : I. 18, 24, II. 32,48, III. 16. 23. 26, 30, 35, 38,
42 X. 23, 39 XI. 4. 24, 33, 35, 39
; ; ; XII. 7, 14,
30, 35, 51, 52,53,54,56,70, 72.
6. Upajati : I. 2-17, 19-23, 25 ; II. 1-5, 7-18,20-23, 25-31,
32-37,38-46, 49-54; III. 1-15, 17-22, 23,25,
26-29 ; 31-34, 36-37, 39-41, 43-55 ; X. 35-36 ;
XI. 1-3. 5-23, 24-32, 34, 36-37, 40-45 ; Xlt
1-6, 8-13, 15-20, 22-26, 28-29, 31-34, 36-50,
55, 57-59, 61,63-69,71,73-82, 84-85 ; XIII.
27-28 ; XIV. 1,113 ; XVIII. 42 ; XXH 24, 25.
7. Upendravajra : II. 6, 19, 24, 38, 47 ; X. 19 ; XI. 37-38 ;
XII. 21, 27, 60, 62, 83.
8. Aupacchandasika : X. 26, 28, 33, 34, 40, 41, 43 44
XXH. 31.

9. Citracamatkrti : XXII. 35
10. Tanumadhya : X. 12, 16.
11. Totaka X. 4, 5, 9.
:

12. Drutavilambita : X. 1, 6, 15, 18 ; XXII. 30.

(80)
MBTRICAL ANALYSIS
81
13. Nandana. X. 37.
14. Nardataka XXL : 21.
15. Puspitagra. IV. 44-45 ; V. 108 ; IX. 137 ; X. 31, 32 ;

45-73 ; XXII. 32
16. Prthvi; VII.108.
17. Pramitaksara : X. 2, 3, 8, 27.
18. Praharanakalita : XII. 86, 87.
19. Praharsi^i. X. 75 ; XVII.
13, 74, 112 XX.37 XXI.
; ;

22-23 ; XXII. 26-27.

20. Mandakranta : VI. 143 ; XIX. 30.
21. Malini : I. 26-27 ; II. 55 ; III. 56 ; X. 17-30, ; XI. 46-47 ;

XV. 123.
22. Rucira:*I. 1.

23. Va±sasthaX. 11.

24. Sardulavikndita : XVI. 42 ; XX. 29.
25. Sundari : X. 24, 25, 29, 42.
26. Sragdhara : XXII. 28.
METRICAL ANALYSIS
CANTO-WISE
Canto J
1 Rucira 24 Indravajra
2-17 Upajati 25 Upajati
18 Indravajra 26-27 Maiini
19-23 Upajati
Canto II
1-5 Upajati 32 Indravajra j

6 Upendravajra 33-46 Upajati j

7-18 Upajati 47 Upendravajra j

19 Upendravajra 48 Indravajra
'20-23 Upajati 49-54 Upajati
24 Upendravajra 55 Malini
.25-31 Upajati
Canto III
1-15 Upajati 31-34 Upajati
16 Indravajra 35 Indravajra |
!

17-22 Upajati 36-37 Upajati :!

.23 Indravajra 38 Indravajra j

24-25 Upajati 39-41 Upajati j

26 Indravajra 32 Indravajra j

27-29 Upajati 43-55 Upajati '

t
30 Indravajra 56 Malini .*

Canto IV
1-43 Anu§tubh 44-45 Puspitagra j
Canto V 1
1-107 Anustubh 108 Puspitagra ;|

Canto VI
;|
1-142 Anustubh 143 Mandakranta f
Canto VII
1-107 Anustubh 108 Prthvi '|

Canto VIII * . !*

1-130 Anustubh 131 Asvalalitam 1

Canto IX *}'i

1-136 Anustubh 137 Puspitagra %

(82)
METRICAL ANALYSIS 83

Canto X
1 Drutavilambita 23 Indravajra
2-3 Pramitaksara 24-25 Sundari
4-5 Totaka 26 Aupacchandasika
6 Drutavilambita 27 Pramitaksara
7 Anustubh 28 Aupacchandasika
8 Pramitaksara 29 Sundari
9 Totaka 30 Malini
10 Anustubh 31-32 Puspitagra
11 Vaihiastha 33-34 Aupacchandasika
12 Tanumadhya 35-36 Upajati
13 Praharsmi 37 Nandana
14 Arya 38 Anustubh
15 Drutayilambrta 39 Indravajra
16 Tanumadhya 40-41 Aupacchandasika
17 Malini 42 Sundari
18 Drutavilambita 43-44 Aupacchandasika
19 Upendravajra . 45-73 Puspitagra
'20-22 Anustubh 74-75 Prahar§im
< Canto XI
1-3 Upajati 35 Indravajra
4 Indravajra 36-37 '
Upajati
5-23 Upajati 38 Upendravajra
24 Indravajra 39 Indravajra ,

.25-32 Upajati 40-45 ! Upajati

33 Indravajra 46-4"I Malini
.34 Upajati , \

< Canto XII

1-6 Upajati 55 Upajati
7 Indravajra 56 Indravajra,
8-13 Upajati 57-5S) Upajaii
14 Indravajra 60 Upendravajra
15-20 Upajati 61 Upajati
.21 Upendravajra 62 Upendravajra
22-26 Upajati 63-69 1

Upajati
27 Upendravajra 70 Indravajra
28-29 Upajati 71 Upajati
30 Indravajra 72 Indravajra
31-34 Upajati 73-82 Upajati
35 Indravajra 83 Upendravajra
36-50 Upajati 84-87 Praharanakalita
51-54 Indravajra
u BHATTI-KAVYA

Canto XIII
1-25 Aryaglti 29-50 Aryaglti
26-28 Upajati
Canto XIV
1 Upajati 113 Upajati
2-112 An§tubh
Canto XV
1-122 Upajati 123 Malini
Canto XVI
1-41 Anustubh 42 Sardtilavikridita
Canto XVII
Mil Anu§[Link] 112 Prahar§ipi
Canto XVIII
1-41 Anu§tubh 42 Upajati
Canto XIX
1-29 Anu§tubh 30 Mandakr3nta
Canto XX
1-36 Ami§tubh 37 Prahar§ifll

Canto XXI
1-20 Anu§fubh 22-23 Prahar§ini
21 Nardataka
Canto XXII
1-23 Anu$$ubh 30 Drutavilambita
24-25 Upajati 31 Aupaccandasika
26-27 Prahar§irjl 32 Pu§pMgra
28 Sragdhara 33-34 Anu§tubh
29 SardQlavikri4ita 35 Citracamatkrti
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(85)
86 BHATTI-KAVYA

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GRAMMATICAL STUDY ST

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TECHNIQUE OF ILLUSTRATIONS

As the Bhatti-Kavya is the first poem of the kind of the

grammatical Kavyas, the poet has neither shown any rigidity
in the illustrative portion nor any craving to illustrate each and
every example like the author of the DvyaSrayakavya. Through-
out the Bhatti-Kavya mostly one example of one sutra is found
in the Adhikara-kang*as. A complex or an obsolete example
which could have been an obstacle in the poetical flow of the
poem, is omitted in the BhaJti-Kavya. Bhatti is conscious of
poetical flow and he has not burdened his poem with the
b ulk of illustrations. But the technical and grammatical lan-
guage in such poems is unavoidable. Moreover, Bhatti took up
only a few Adhikaras and in between he introduces the Pra-
klrna-kan<las to maintain the spirit of the poem. Here is a
stylistic study of the illustrations in relationship with the sutras
of the AsfadhyayL
""

1. OMISSIOns
*
In the Bhatti-Kavya all the Vedic sutras are omitted. The
author has not given any counterexample throughout the
poem. Vartikas of Katyayana are omitted throughout but the
commentator! ri^me d Jayamangaja has used a few vartikas to
explain some forms. Bhatti seems to have no intention of
illustrating vartikas.

All the indicatory consonants used as 'it' for accent are

not illustrated in the Bhatti-Kavya. 1
In the Adhikara-Kang!a, the following sutras are omitted.
The y appear to be omitted for the preservation of the poetical
:
spirit. f

1. BhattiVL46. Pan. 3.1.96. do^tio^i^l :

Here ^zr and cR*r^ differ in accent only. But only k\*q
is illustrated.

(88)
GRAMMATICAL STUDY 89

Pail..

J -2- 14 ^t: ftra

1-3-47 *rr8nifmHHi^n»Ho
1-4-96 ?rfq: TO«feF*rflRTo
2-3-43 wgl^p-Tn^rf^
2-3-51 tfTsfawfai 3^
3-2-34 f*RR&^
3-3-34 BF^falfcR ^
3-3-35 Tjfe 55:
'8-3-86 srinfttfRR: ^THRn'T
8-3-99 ^^raPPW
'8-3-100 ^ffcJTST

-2, APPLICATION OF SANJNAS t ,

In the application of the Safijnas in the Sutras, Bhatti

1
illustrates only the most suitable examples.
'

3. PRATYAHARA APPLICATIONS
Like Sanjna sutras, wheresoever Pratyabaras are to be
illustrated, only one example out of the whole of Pratyahara
is given. 2

1. Bhatti VIT. 102 ; Pan. 1.2.17: ^tfcfrfrsT Here ^ means

5

the roots 5T and QT by the sutra wneWr (Pap: 1.1.20).

But Bhatti has illustrated only one example of the rooWT

2. Bhatti V. 106 Pfin.3.1.36.:!5n^3*'EJtsT5ff: *•

Here only one example of f out of the Pratyahara T*Us

(1
given.- '
- ' :

Similarly Bhatti VI. 16 Pan

3.1.45 5ioT ^rarefe ^t;
VI.* 46 .3.1.97 ^?m
'

VIT. 107 f.2.2j5 B5M«ii«r5: *i^r

vn. 99, 1.3.9 stfrnsr <

IX. 8. 7.2.3 w^vS^FcfRira:

£Pg?F:fofo "'
IX. 13 7.2.11
IX. 23 7.2.35 TOeng^F^^^:
IX. 93 8.4.2 ^fsdi^oiUtfsfa
IX. 105 8.4.01 sar^gTOTcT
and IX. 106 8.4.32 SmII&M W&:
90 BHATTI-KAVYA

4. ADHYAHARA
In most of the cases, Bhatti avoids the recurring applica-.
tion (Adhyahara) of the sutras to avoid the repetition of exam-
ples. Sometimes, only recurring application is given1 while,,
2
rarely, both the forms are given.

5- GAtfAS
Some of the groups of roots which are indicated in the stitr a.

by the indicative letters as 'it', when taken to be illustrated, only

one representative example out of the whole of the group is
given. 3 Rest of the examples are omitted. Similarly if in the
group the root indicated by the word Adi is %o be illustrated,
only one example is given. 4 While illustrating the groups of
words expressed only by one word, only one example is
given. 5

1. Bhatti VI- 104 Pan. 3.2,43. « HfWTlf $"T ^

Here only recurring suffix kh&i by the word 'Ca\ is

given while 'An' is omitted.

2. Bhatti VHI. 104 ; Pan. 2.3.27 ^*^#ST ^
Here both ^tai and recurring qs€t are given.
3. bhatti VI. 2« k Pan. 3,1.57 *ft?ft <rr
Here ?C is an indicatory amibandba incorporating so-
many roots of its category. But in the Bhatti-Kavya
only one example of ^nx: foot is given.
Simitarly Bfratti IX. 27; Pao 7.2.44 f^C^^fe^"
m Here *8rfeT group
,
ist presented by one exampfe only.
4. Bhatti VI. 71; Pan 2.1.134.
In ^f^jf^rf^it cgfor^rxr: out of the group of wm^-
roots, only initial tpg is given.
Exception :~0h^ once in $he sutra -frvrz ^tj:
(IX.54 ; P£ti. 712.75),. out of five roots, three are illustra-
ted. *

5. Bhatti VIIi2$ ; t*an, 3.3.22. &*#% W:

Heie tlpasafg&iiicorpoiates a long 1 1st of words but in<
the Bhagfe^avyt, only/one is illustrated.
I^af^ ^^^?t^ Bhatti VII. 28. Pan 3.3.1 only ,

qne example out of the whole of the unadi group

In tjje wpftp of words like qmtf&l ^ Bhatti IX.85 ?;

Pan. 8.2.98, only the initial word is illustrated.

GRAMMATICAL STUDY 9!

6- SYNONYMS
Like other factors, even the synonyms indicated by the-
word 'Artha' are not given. Only the initially given word is

illustrated in the Bhatti-Kavya.1

7. OPTIONAL EXAMPLES
Leaving aside a few cases optional examples are not
given in the whole of the Kavya. The sutra injuncting a defi-
nite operation is illustrated while its other usual form is not
given. 2

The optional forms, due in the sutras attributed to some

ancient grammarians, are omitted in the Bhatti-Kavya. 3

1. Bhatti VII. 14 ; Pan. 3.2.148, ^^^late^na,^

Here out of the synonyms of 5T«3 injuncted in the sutra,

only one example T^: is given. Similarly in all the follo-

wing only one word is illustrated and not their synonyms.

Bhatti Pan
VII. 16 3.2.151
VII. 83 3.3.126
VIIL 70 1.4.25
VIII. 71 1.4.27
VIIL 73 1.437
VIIL B2 1.4.52 etc.

Bha$|i VI. I, Pan. 3.1.38

^fa^rn^s^^n^ i Hete only siimx wiuoh is espe-
cially injju|u;te4 is illustrated whije the absence of ^rpr
is not given here. The absence of the optional form can
be observed almost in all the optional injuncting
sutrds.

Bhatti VI. 28 Pan. 3.1. 57

VI. 32-33 3.1. 66
VI. 63 3.1.122

Bhatti. VILIQ6; Pan. 1.2.25. ^ftpTftr£$: ^r^TR

Here the examples in the name of Kasyapa are, omitted;
while the examples in the opinion of Panini are?
quoted.
92 BHATTI-KAWA

Only in the case of the short sutras, befitting examples of

all the optional forms related to the poem are illustrated 1 .

Only in one case, in a long sutra injuncting out of as many as

2
twenty optional examples, fifteen are given in the Bhatti-Kavya.

Such cases are very rare.

8- NTPATANAS

Bhatfi-Kavya has not illustrated all the nipatanas like

later poems. Out of the group of the Nipatanas, only one
most befitting in^ the poem is illustrated while the rest are omi-
3
tted. If two Nipatanas are to-be illustrated in one sense, only
4
-one of the Nipatanas is illustrated. Only in a few cases,
5
Nipatanas upto the'' number of three out of six or nine are

illustrated. 6
The Nipatanas consisting of only one word are
illustrated and none of them is omitted. 7 Some of the Nipatanas
which belong to an unasual long category, are not illustrated

1. Bhatti. VL 83 Pan. 7.1.143. fSwronrp

IX. 24 7.2.38' Icfr^T

IX. 26 7.2.41 ^s tffa 3T

IX. 3Q 7.2.46, m:^f:

2. Bhatti IX. 32-37 ; Pan. 7.2.49.

3. Bhatti VI. 66 ;'Pan. 3.1 .129. wim : w v fomwumo

Only one word out of this group is Illustrated. ,

4. Bhatti VI. 67 Pan 3.1.130 ?F^Yf*^rto

VI. 67 3,1.131 *t^ qfTrri^tf-
M ^134*1 Ji$JT:l

VII. 59 3.3.68 yn^^cA gg

5. Bhatti. VI 69. 3.3.97.

6. Ibid. IX. 17-18.

7. Ibid. IX. 83 8.1.90 ^' sfaWcR

GRAMMATICAL STUDY 93-

fully. 1 Only one example is given there. If one Nipata is in

many senses, only one sense is illustrated.
2

9. ROOTS
The roots, to which a particular suffix is injuncted in the
sutra, are not necessarily given completely.
Rarely used and
obsolete roots are omitted while illustrating them. 3 Of one root
used in many senses when a suffix is injuncted to it, rarely all'
examples are given, 4 while mostly the inapplicable sense ia.
it's

omitted. 5 If many roots are injuncted in one sense, only one-

6
root in that sense is illustrated.

10. PREFIXES AND ROOTS

If one prefix is injuncted to two, three or four roots, only,

one example is given. 7 Similarly if two, three, four, or five

1. Bhatti. IX. 94. Pan. 8.4.5,

sftT^r: sitstcreirao
Here by permutation and combination twenty one examples are.
possible, but only one example is given in the Bhafti-Kavya.

2. Bhatti- VI. 30 Pan. 3.1.103.

IX. 84 8.3.93

3. Bhatti. VL30 Pan, 3.1.58.

Here thje roots ^3 and t^ are omitted.

4. Bhatti. V. 30 pag, 2.2.20.

5. Ibid VI. 42; 3.3.41

Here "vjqrcmraR's example is omitted.

6. Bhatti- VII- 68 ; Pap. 3-3.95.

7. Bhatti- VIII. 15; Pan. 1.3.28.

Similarly Bhatti. VIII. 37 Pan. 3.3.27

VII. 46 '
3.3.49
VII. 57 3.3.64
94 bhatti-kavya

prefixes are injuncted to one, two or three roots, only one

example throughout a Sutra is given,.
1
Only in two cases, two 2
3
and three examples are given respectively.
11. ROOTS AND SUFFIXES
If more than two roots are injuncted with one or more
than one suffix or its operation4 Bhatti avoids the bulk of examp-
les possible by their combination and hence only one example
throughout is illustrated. Only in a few cases, more than two
5
examples upto the number of five are illustrated. If more than

two roots are used in a sutra in their brief form while illustra-
ting, the most befitting out of those two roots is illustrated while

the other one is omitted. 6

12. UP AP ADAS, ROOTS AND SUFFIXES
When many upapadas having one root and injuncting one
or more than one suffixes are to be illustrated, mostly only one

1. Bhatti VII. 37 Pan 3.3. 26

VII. 41 3. 3. 38
VII. 43 3. 3. 45
VIII. 26 1. 3. 47
2. Ibid. VIII. 17 Pan. 1. 3. 30
VIII. 11 1.3.22.
3. Ibid. IX.49 „ 1. 2.7C. *arft:&
IX.81 8. 3 116 FcTRjffrlW *atfe

•4. Bhatti. VI.71 ; Pan. 3. 1 133. tr^^ only

initial suffix "O"^ is illustrated.

Similarly Bhatti. VII. 17 ; Pan. 3. 2. 153

VII. 18 ;
3. 2. 154 etc.

5. Bhatti. IX. 42 ; Pan. 7. 2. 57. Ssftfa f^rsff^cfiST^

Here out of ten possible examples, only two are given.
Similarly in VII. 22 Pan. 3.2.161. ;

Three examples are given in Bhatti-Kavya VII. 18.; Pan.

3. 2. 154 and VIII. 26; Pin- 3. 2. 117
Four examples in VII. 23 3. 2. 167 and five
; examples
out of eleven in in VI. 80 Pan. 3. 1. 141. ;
'
•
- :

6. Bhatti. VI. 85 ; Pan. 3.1. 148. 5T3 aJf^reEft;

Here? is used for ^T5T%; and f^ffa. Here in the Bnafti-
Kavya only the initial is illustrated. '
GRAMMATICAL STUDY 95

•example b g'tvei whichsoever may be the most applicable.1

2 3 4
Rately two, three or four examples are also given.

13. LONGStJTRAS
While illustrating the sutras which consist of a number of
examples viz. upto the number of eighteen, Bhatti tries his best

to give the least number of examples. 5 But in a few cases,

examples upto the number of seven 8 are also given. Only in
one case fifteen examples out of twenty eight are given in the
7
Bhatti- Kavya. In the long lists of roots also, only suituble
examples are given 8 while in a rare case, all the examples are
given.

1. Bhatti. V. 97 ;
Pan. 3. 2. 17.
faSrfl^RTSjSrc ^
V. 97 3. 2. 18
iTtsTRftstf \ *m:
Similarly VI.98 3. 2. 35
VI. 102 3. 2. 41
VI 88. 3. 2. 5 etc.

2. Bhatti. VI. 103 ;

Pan. 3. 2. 42. sHfewrarajffa!. 3^:
3. Ibid. VI. 109 Ibid. 3. 2. 48. *l*-dkil-die*o

4. Ibid. VI. 78. Ibid. 3. 1.138. irgwif fctf h r«Fc;o

5. One, two or three examples are given in
Bhatti. VIII. 21 Pan. 1.3.36
VIII. 126 2. 3. 69
Two VIII. 16 1 3.29
There V. 100 3. 2. 23
Four VIII. 18 1.3.32.
6. Bhatti. VIII. 61. Pan. 1. 3. 89,

In one case only four examples out of eighteen are

given while in another only two m
exa gd e g. out of twenty
six are illustrated. ...
Bhatti. IX. 99. Pah. 8.' 4. 17.

V..99 3.2.2L.
"

7. fftp&t VII. 6-13 ; Pan. 3. 2. 142. • . ;/

'. .'

«,. Bhatti VII. 95 Pan 1. 2. 7 •- •

9. Bhatti DL 50. Pan. 7. 2. 73. . .. i-i.- i

96 BHATTI-KAVYA
j
f

.41 CASE ENDINGS !

In all the sutras injuncting the ending of a case, only one

example is given throughout the Bhatti-Kavya. 1 Such examples !

which require a further explanation with the help of the ,

vartikas, are not treated fully in the Bhatti-Kavya. In such

cases also, only one example is eiven. 2 i

1. Bhafti VIII.94 Pan. 2. 3. 4.

VDI.95 2.3.7. etc.

2. VIII.82 1.4.51. ttftm ^

which requires an explanation by the vartika ^^^rsq^rr^o
etc., only one example with the root ^?is given in the
Bhatti-KSvya. All the other examples are omitted.
CHAPTER VIII
Grammatical discussions

The Bhatti-Kavya is an authentic text on the grammatical

usages and roots. While explaining Paninian sutras or their
applications later grammarians have frequently quoted the
Bhatti-Kavya. Sometimes they quote the Bhatji-Kavya to
support their opinion while sometimes they contradict the
examples given in the Bhatti-Kavya. The Durghatavrtti by
Saranadeva and the Sabdakaustubha by Bhattoji Dlksita freque-
ntly quote the [Link] problems and their rejoin-
der as propounded by these grammarians are discussed below
in the order given in the Bhatti-Kavya.

i. ^pj=^q : fa^rcra : (Bhatti. 1.1).

Here by the Paninian sutra 'Parokse Lit/'Jit was due. But

in the Bhatti-Kavya. lun is used instead of lit. While discus-
sing the problem both Saranadeva in his Durghatavrtti 2 and
Bhattoji-diksjta in his &abdakaustubha, 3 have commented that
the use of lun is only in Samanyabhuta here.

ii. f^rap^: (Bhatti 1.2).

Sayanacarya in his Madhaviyadhatuvrtti 4 has quoted the-

Bhatti-Kavya while discussing the meaning of the root .'Trp-
Prinane'. He explained the word Prinana both as Trpti and

1. 3astri, Sankara Rama. Ed. AstadhyayMtrapaiha. Madras, 1937„

3.2.115.

2. ^astrl, T. Ganapati, Ed. The Durghatavrtti by ^aranadeva, Trivan-

drum, 1942, p. 67, Pap. 3. 2.115.

3. Nene, Gopal Jsastrl, Ed. The Jsabdakaustubha by Bhattoji Dlksita.

Vol. n, Fas. 5 to 10 ; Benaras, 1 929, p. 465, Pag. 3. 2. li5.

4. &astrl, Dwarikadas, Ed.' The Madhaviyadhatuvrtti by Sayaiiacarya^

;
> Varanasi, 1964, p.* 432.

•
•'..-. '
.
• • (97)
,

^ BHATTI-KAVYA

Tarpana. 1 In the support of the meaning Tarpana, he has

quoted the Bhatti-Kavya. The same view has been accepted by
Bhattoji Diksita in the Siddhanta-Kaumudl. 2

W*V0tcft TR^F5raVs^ (Bhatti. 1.14).

a it B$Te } S
^scu^ion^is on theword 'Kekayi*. By the
e

S!$ D
M$&»^ is due and the form

##* bfiWty. ^jkeyf and npj; 'Kekayf because the suffix is

4°MW te% ed s
4
§fra (fcW78\ which mentions Kekaya in
"% ft^rgadi ,group. , Recording to Bhaftpji Diksita in his
%fifefe? ub^ a » ^Ithough^^here is Janyajana^abhava (the ,

re,at on sWp« pf. the

! e s
.
jp^
yet it adds
jqIs to the crude form by Pumyoealaksana.

^tLsr^Bjv^l^W^^^P^^ .while,, explaining, ,the word ,

Pumyoga, Bhaftojidlksitaj.^i^t^^cco^[Link] some scholars

JPurhyoga is applicable in the case of the wife and the husband
only. But according to Bhattoji Diksita,, it is applicable in ,
;

the case of the progenitor and the progeny also 6 He has .

supported his statement by quoting the above verse of the

Bhatti- Kavya where the suffix 'nis' has been added to the word
Kekaya in .the. sense of progenitor and the progeny. Moreover,
he has accepted the other form 'Kaikeyi' by quoting the
RaghuvarMa of Kalidasa'. 7
1. Madhavlyadhaturvrtti, p. 432.

„
2. SastrvA<£yiitanancJa, Ed.
, Mm^mm ,
Siddhantakaumudi by Bhattoji Dik§ita,
.
.. ..<-.,.

KSfS, 1948, p. 2' 6.

3. Pan. 4.1.168.

4. Pan. 4.1.178.

ry ,?4 ,
.

> h ,.,,.,.
'.•*.
si^waffeflfciifipaj: i . . . ....... ».

5. Dvivedin, Vindhyesvan Prasad and Mokhte, .(janapati £atjr?, The

^ibjdakauiiubha by Bhattoji Dlk§ita, Vol. II, Fa s. I to II, Banaras,

«L. Sastrr;- ISllaf amat* Etf. Thfe Praudamanorama of Bhattoji Dik§ita.

Varanasi, 1964, VoMrP-5^*~ ' *
{ rf |M .,,,,„. ..-,,., ,
n ,.,?, _,,

7. Ragtravamsa of Kalidasa Ed. Acarya, lama Narayaoa, Bombay,

1948, XIH. 59.
SASTRIC DISCUSSIONS 99

iv. Tiwfa§?r ^gq^qjk: (Bhatti 1,17) and

<N:tf5lT: SJFripfWT^T: (Bhatti 11.20).

Here, the commentator Jayamangala has expounded the

form as =$TF?3^pwft s^ct S^ra But by the P^ninian rule, 1
later i

the word 'Hasta* ~ should have been placed first. But it, is
not found in the Bhatti-Kavya where it has been used later
on.

While explaining the problem, 3aranadeva has commented

that theword will be categorized in 'Ahitagni group' and ,bo#i
the forms are correct by another sutra. 2 Since this [Link], am
Akrtigana where all the forms are not specifically enumerate^,
hence the form will be correct by this group. Similarly,the; other
form of Bhatti (1.17) is correct on the same lines.

v. ?<f€f ^q: WreTcTciHr (Bhatti 1.23).

Here the objection arises in the use of the Bhatti-K&vya's

Nrpah instead of Nrpena. Bhattoji Diksita in his '£abdakaus«
tubha' 3 and Siddhantakaumudi 4 has answered that it jis the
He has suopprted his
change in the case (Vibhaktiparinama).
view basing himself on the commentary Jayamangala on the
Bhatti-Kavya. 5

But the use appears to be wrong,

vi. S^jRfa T^ftfj* <?^TO ftratsft (Bhatti 1.26).

Sayana in the pa^h^yiyadhatuvrtti, has quoted ^this-veise

,pf the Bhattj-K^yya while explaining the meaning of the root
Kharda Dandasuke 6 .

1. Pan, 2.2.35._ . . .

2. Pan. 2.2.37.

3. Ne-ne, Gopal
Sastrl, Ed. ^abdakaustubha, pp. 89-90 Pan. U 3. 76
4i Sastrl,Acyutananda, Ed. Siddhanta kaum'udl, p. 272
5- BhatU-Kav^.1. 23
6. MadhavJyadhatuvrtti, p. 73

rf*t\
100 BHATTI-KAVYA

Here word Dandasuka in the

the Bhatti-Kavya has used the
sense of a demon or a violent being. The Bhatti-Kavya has
neglected the etymological meaning of the word which means
one who bites u e. a serpent. Jayamangala has also explained
the word as a demon.
Hence in the opinion of Sayana, Bhatti-Kavya has ignored

the etymological tradition of words,

vii. wn^^R^HS-ERfa* (Bhatti II. 49)

Saranadeva in his Durghatavrtti ha& discussed the word

Sarajam of the Bhatti-Kavya. 1 There is no possibility of the
2
compound in the word Sarajam by Pacinian Sutra (2. 1.21),

because the word 'Nadibhi§ca' is continued from the previous

sutra 2.1.20.

If we accept the compound as 'Bahuvnhi, there is no

possibility of the ending suffix Tac by (Pan. 5.4.108 Anasca)
because it is Avyaylbhava compound
possible in the case of an
only. Hence according to Saranadeva, the word has an Avya-
ylbhava compound in the sense of Yaugapadya by Paninian
sutra 2.1.6. conveying the sense of 'simultaneously with the
King'. *

viii. ^i^irgxt g^FFcR ^F^ (Bhatti II. 20),

Here the word Yayavara is not correctly used because

when the suffix 'yan' is added to the roots having the sense of
gait, it means crookedness. 3
But Saranadeva- has by explaining that all the
justified it

roots in the sense of 'gait' convey the meaning of 'knowledge'

4
also. Hence the word Yayavara is used not in the sense of
crookedness but it is used in the sense of intensively learned.
Hence the suffix 'Yan' is justified.

1. tfastrl, T. Ganapati Durghatavrtti p., 33, Pan. 2.1.21.

2. Pan. 2.1.21.
^^ •*. ,

3. Pan. 3.1.93.

4. ^astrl, IT. Ganapati, op. cit., p. 60, Pan.. 3. 1. 24.

.

SASTRIC DISDUSSIONS 101

ix. .SFSn^' TW SFHTOtfT vSHTTS

^TTT^^: *re# TSTsprfBhafti II. 32).

c
While explaining the sutra Akathitam Ca' (Pan. 1.4.51)
and especially whether the bio-accusative is applicable to the
enlisted roots or their synonyms also, Bhattoji-Diksita in the
Praudamanorama 1 and in the Sabdakaustubha2 has quoted
this verse of the Bhatti-Kavya supporting his thesis that it is an
Arthanibhandhana Saiijna (applicable to synonyms also) and
not Svarupasraya (the specified form). The word enlisted in the
list of the roots is 'Br-Q' while the root used by the Bhatti-
Kavya is 'Gad' which is enjoined by two accusatives viz.
Marica and Vacana. So, it appears that in the opinion of the
Bhatti-Kavya, it as an Arthanibandhana Saiijna.

Hence, Bhattoji Diksita proved that the sutra 'Akathi-

tam Ca' is applicable to the enlisted roots as well as their
synonyms,
x. ^m^^g^q^^ (Bhatti. II. 33).

while explaining the meaning of 'Graha

Sayanacarya
upadane/ (Apos)has quoted this verse of the Bhatti-Kavya. 8
In the Pacinian stitra, 4 Phalegrahi is a Nipatana in the
sense of a tree which holds fruit. 5 But Bhatti-Kavya has used
it in the sense of the sages
who take fruit only. Hence in the
opinion of Sayanacarya, the root 'Graha' is used not only in the
sense of holding but is also used in the sense of eating as it is
used in the Bh4£i-Kavya
x. ^^fg^^^ft^: (Bhatti II. 34).

Here by the Paninian rule, 6 genitive case was due in the

word 'DevayajT because it is in Conjunction with the root

1 • S asm, Sxta Rama, Ed. Praudamanorama,

p. 658.
2- Nene, Gopal Sastrl, Ed. ^abdakaustubha, p. 131, Pan. 1. 4. 51.

3. Madhavlyadhatuvrtti, p. 536.
4. Pap 3. 2-26

5. Ed. Kasikap. 173. Pan. 3. 2. 26.

6. Pan, 2.3.17.
102 bhatti-kavya

'Han'. But according to Bhattoji Dlksita, it will take the

accusative in the Karmavivaksa (when accusative is to be used)
because there is a recurrence of the word Sesa. 1 He has quoted
the above verse of the Bhatti-Kavya to support his view-
point.

xii. cmm -R^] T^^F^ftsfq

•srm> t«t: TrcraTfcmwm (Bhatti II. 36).

By the Paninian rule, dative case was due here. * 5

But
according to Vartikakara, it should be used only in the
sense of intensive censure. Another view given in the
Sabdakaustubha is that the dative case will be used only
in the prohibitive application of Apranisu 3 and not in the said
use as per given in the Bhatti-Kavya.
But the application is justified by another explanation
that the optional form is injuncted to be the prohibitive word
only. It is not applicable to the dative case of the Bhatti-

Kavya.
xiii. ^fvsrasri 3f^t W3FSFB
iri^fe^' Wft : i (Bhatti , II. 42).

A problem has been raised by Sayanacarya. He says

because the root 'grah' cannot be 'dvikarmaka' so its usage in
4
the Bhatti-Kavya is not justified.

In rejoinder, he has quoted an unknown commentator

Sankaracarya on the Bhatti-Kavya who explained the" word
'Ajigrahat' as 'Bodhitavan' and hence justined the use of the
accusative case by the Paninian sutra 1.4.52.*' The commentator
'"

Jayaffiangala has also explained the woni * oh "tlie same: '

lines.

1. Nene, Gopal Sastn op, cit, 241. Pari 2. 3. 56

3. Nene, Gopal 3astrl, op. cit., p. 228, Pap. 2.3.17.

4. Madhavlyadhatuvrtti, p. 54.
5. Pan. 1.4.52.
SASTRIC DISCUSSIONS 101

Praudamanorama has quoted the

Bhattoji Dlksita in his

opinion of an unknown grammarian Sudhakara in* whdse

opinion the root ^brah' will be dvikarmaka. He has also given,
1
the explanation of the word 'Ajigrahat' as 'Bodhitavan'.
'

xiv. *t'fani * ^cwroafiwH (Mattf ' Si. "52)1

The controversy is on the gana of the root 'ksip'. Bhatti-

Kavya takes it as tnat offcivadigana."

Deva, the author of tie Daivam

(1100-1150 A. D.) has.
2
accepted the root in Divadigana in the sense of Prerana. |fe '

commentary styled as Purusakara on the DaiVam* ^ys Ittiat

Jayaditya has accepted both in Divadi and Tuda^i ^aMougt
it

Parayanakas do not accept it.

3 Here, in -order ac^fjfii
J
>
root ksip as Divadi, Purusakara has' quoted 'the MahalMalriatk
and the Bhatti-Kavya. Sayanacarya has also* ac&rkel "W|
4
Prerane' as Divadi root.

But the commentator Jayamangala has explained it

differently. He has explained the Wortf-Wnksipya' a¥^asam-

hara'. So Jayamangala has accepted $e root^ksfp'
in' 0Ffflfc
gana with the meaning 'Upai^mhara .

xv. 'f^ff^TH M ^s ii:

''

(fihatti'ni. 22).
to the use of the
HereSaranadeva has raised an objection
word 'Mahisi'. 5 According to him, the plural is used in Jhe
6
case of many persons by the
Paninian Sutra^.4.21), But
the king is ,ca|ed Jjahuf
the queen regularly coronated with
and she is only one. Hence the use is hot
correct in £rrafa

facie.

667-668.
1. Sastri, SItarama. op. cit. PP-
2- jfefi&ififtWadflftfltfra
J
*a. $>%Ma by Deva with a commentary
>
'•$#ra$ka& by *?r§namasUkamuiifc
::
Ajraer;' Sain. *#19, P#5p

3. Ibid. p. 85.

4. Madhaviyadhatuvjtti pp. 405-406.

& Durghatavrtti, p. 26

6. Pau- 1. 4. 21.
104 BHATTI-KAVYA

In his rejoinder he has propounded that by the Paninian

1
Sutra. (1.2.58), the plural is used in the sense of Jati and not
in the sense of individual. Hense he has justified the use.

xvi. ^ xftqfliT crfwf m]m (Bhatti HI. 27).

Here the controversy is on the use of the word 'Panayan'

where Bhatti has used the 'Ay a' suffix in the sense of 'Vyava-
2
hara'. By the Paninian Sutra (3.1.28), Aya Suffix is added to
the root Pani. But according to Ka&ka, 3 Nyasa4 and Ksfras-
wami, because the root Pani is used in the sense of 'praise' so,
'Aya' is here added to the root Pani also in the sense of 'praise*

arid not in the sense of Vyavahara. According to Ksiraswamin,

this usage of the Bhatti- Kavya is wrong. 5 But according to

6
Maitreya Raksita, the suffix is injuncted in general and is appli-
cable in both the meanings. He has quoted this verse of the
Bhatti-Kavya in support his opinion. Likewise, Bhattojipiksita
has also accepted the suffix 'Aya' in the sense of Vyavahara. 7

According to Yuddhi§thira Mimarhsaka, the editor of the

TCsiratararigini, Aya suffix is added in the sense of Vyavahara

also according to the grammar of Ka£akrtsna. 8 So, it appears

that the addition of the Aya suffix in the sense of Vyavahara
is accepted by Bhatti.

1. P^j. 1.2.58.

2. Pag. 3. 1. 28.

*rraqftf%Bqf«raf'TO *ro; i
""""
*
3. Kalia, p. 148, Pan 3. 1.28.
(Nyasa)
4. Chakravarti, 3rlsh Chandra Ed. Kasikavivaranapanjika
by JinendraBuddiii, Rajashahi,. 1913-1916, Vol. I, pp. 520-21,

Pag. 3. 1.28-

5. Mimamsalca, Yuddbisihira, Ed. Kslrataradgini by Ksiraswamin,

Amritsar. Sam. 2014, pp. 66-67.
6. Chakravarti, &Ish Chandra. Ed. The Dhatupradlpa by Mait-
reya Raksita, Rajshahi, 1919, p. 362.

NT a e, Gopal iSastrf, op. cit., p. 362.

aiiglol, p. 67, f.n.

SASTRIC DISCUSSIONS
* 05

(Bhatti III. 43).

xvii. ?m\ TOX#ra^qi^:
was due by a
Here in the word 'Upasthuh', Atmanepada
8 Piijakarana. But since
Vartika1 on Pan (1.3.25), in the sense of
to the Madhaviya-
Atmanepada is not used here, so according
'upasthuhMs other than worship.
dhatuvrtti, the meaning of
Parasmaipada in the
But it appears that Bhatti intends to use
sense of Pujakarana.
4
Jayamangala has explained it in the sense of 'presence'.

OTftpsa^^rn^Fe^ipr (Bhatti. IV. 14).

xviii.

By the Paninian Sutra (2.1.17)/ the words incorporated in

the group 'Tisthadgu' etc. are called Avyayibhava.
6
According to Kaslkavivaranapanjika or Nyasa, Durgha-
tavrtti, and Sabdakaustubha
7
8
there is no possibility of further
,

compound in the words like 'Tisthadgu', Further compound is

prohibited by the word 'Ca' which checks the scope of succe-

ssive compounds. Hence the use is not correct according to
Saranadeva and Bhattoji Diksita.
But they quote here Jayamangala, in whose opinion
further compound other than Avyayibhava is not possible by
Paninian Sutra (2.1.13), which is injuncting an Avyayibhava
9

compound. Thus he justifies this use of the Bhatti-Kavya.

1. Pai?. 1.3.25.

2. Pag. 1.3.25.

3. Madhavlyadhatuvrtti, pp. 238-249.

4- Bhatti-Kavya. III. 43,

5. Pan- 2.1. 17.

6. Chakravarti, Srish Chandra, Ed. The Kasikavivarapapanjika hy

Jinendra Buddhi, Rajshahi. 1913-1916, Vol. I. pt. I. p. 348.
7. tfastrl, T. Ganapati, Ed. Durghatavrtti., p. 33, Pa*. 2. 1. 17.

•S. Nene, Gopal Sastrl, op. cit., p. 168.

9. Pan. 2. 1. 13.
106 BHATTI-KAVYA

xix. w^fW^: S^Wl (Bhatti IV. 20).

Sarariadeva1 has raised the problem that the word Sahacarl

cannot take 'Ta'suffix by the sutra 'Carestaht* Pan 3.2.16 because
there is a recurrence of, (Apos) 'Adhikarane* from the previous
2
sutra (3.2. 15) In the absence of 'Ta' the suffix 'Ac* should be
added by another sutra. 3 When 'Ac
1
will be added it should
become Sahacara by Pan 4
(4.1.4) instead of Sahacarl. But he
has himself justified the use of the Bhatji-Kavya following the
commentary Jayamangala, according to which the form can be
proved by the sutra Pan 3.2.17 5 where the word 'Ca' indicates
that the group taking 'ta» suffix, is incomplete (Anuktasamu-
?
ccaya). Hence <ta suffix will be added to make it «Sahacafi\

xx. <Rft snTOraRI *TT TFTTSTTcri ?gfaasra (Bhatti. IV. 28).

In the Dhatupatha of Panini, there are two successive

roots viz. Tapa AiSvarye'; va Vrtu vkrane. Here the con-
troversy lies in the conjunction of 'Va' with Aisvarye or
vrtu.

6
Except Kslraswamin, all the Dhatuvrttikaras read it
vrtu varane. Kslraswamin reads it vavrtu varaiie. Maitreya
7 8
Raksita, Sayana, Puru§akara,* Kslraswamin on Namalrngltiu- .

1. 15.
1. Durghafavrtti, Pan- 4.

2. Pa*. 3. 2. 15. -

3. Pa^.3. 1.134.

4. Pap. 4. 1. 4.

5. Pajj. 3. 2. 17,

6. KiftataraAgiiji, p. 207.

7. Dhatupradipa, p. 9l 5

8. Ma^havlyaaMuvrttl, p. 418.
9. Mlmathsaka, Yudhi§thira, Ed. The Daivam of Deva, Ajmer, Satii
2019, pp. 85-86. ,
* * .*. *' i ,*
.

SASTRIC DISCUSSIONS 107

sasana 1 and Bhattoji Dlksita 2 have quoted the Bhatti- Kavya„

in whose opinion the root is vavrtu instead of vrtu.

Hence, hoth the roots viz. vrtu and vavrtu are accepted by
all the Dhatuvrttikaras.

xxi. *p&5" ^ra fiRPRf fircsn ScraperaT (Bhatti V. 8).

3
Saranadeva has criticized the use of 'vinasa' in the Bhatti-
Kavya which should have been changed to 'vigra' by a varlika
on Pan 5.4. tl9. 4 Fie has quoted here a lexicon Cairn ara in
whose opinion, the use should be vigrah or vigatanasika instead
of vinasa. But Saranadeva himself has justified the use on the
5
basis of the Paninian stitra (1.1. 8) , which indicates that the
change 'vigra' is not essential. In the opinion of Maitreya
Raksita also the use of the Bhatti-Kavya is correct. The word
'Nasa' is used in the varahanaksatraprakasa also. 6 Sayana has.
Verse 6f thfr Bhatti-Kavya 7
1

also quoted "this and justified its

* ''• •'
•>
....... .

tiSe.

xxii. wgtffr: tftarai: gcg* 3$ sflWH (Bhatti. V. 8).

8
According to Sayanacarya, the use of the word 'Yatha-
sutfa (5^.3), 9 the^
5

mukhlna* is not correct. By the Panlhiah "

Oka Krishnaji Govinda, Ed. The Namalmganusasana byAmara-

1.
with the commentary of K§iraswamin, Poona, 1913, K£o4%~
sirhha

m.92.
2. Sastrl, Acyutanada, Ed. Siddhantakaumudi, pp. 224-225-
3. Durghatavrtti, p. 101. <

4. Paii. 5.4.119.

5. P5n. 1.1,8.

^5«HlRl<t)|c|x|7fts^Rlt^^: I

6. Dhatupradlpa. p. 36.
7. Madhavlyadhatuvrtti, p. 164.

8. Madhavlyadhatuvrtti, pp. 225-26.

9- Pan- 5. 2. 3.
:

108 BHATTI-KAVYA

suffix 'kha' will be added only in the sense of Darsana i. e. the

1
opposite reflection etc. like that of a mirror.

xxiii. crafra^fcTTI'ftssft ^W^t [Link]: (Bhatti. V. 48).

In the word 'Citriyamana', the suffix 'Kyac' is added by

the sutra (Pan 3.1.19). 2 Bhattoji Diksita has raised a problem
that why 'kyan' suffix should not be added to the word
3
'citra'by incorporating it in the Paninian sutra (3.1.17),
where the problem of its Atmanepada will also be solved by 'n'
as 'it'.
l

In the rejoinder, he has propounded that if Kyan' is

added to ihe word 'citra', there is no possibility of T in

citriyamana by the sutra 'kyaci Ca'. 4 Hence 'kyac' ^should be

added and should be injuncted as 'nit'.

On the meaning of the word 'Citriyamana', Sayana has

propounded that it means 'wonders' but following the meaning
6
of the Bhatti-Kavya, it will mean 'makes others to wonder.

xxiv. snctef wj tffasf *rcr^ 3i3rre ^TW[ (Bhatti. V. 54).

discussed by Saranadeva and

6
Here the word 'Saumitre' is
8
Bhattoji Diksita.
7
By the Paninian sutra (4.1.120), the form
should become 'Saumitreya'.

1. Kasika, p. 394.

2. Nene, Gopal^astrl, op. cit., p. 335.

TRfaf^rf^ra^
3. Pa?. 3. 1.17- ,,

4. Pan. 7.3.33.

'5. Madhavlyadhatuvrtti, p. 598,

!

'6. Durghatavrtti, p. 85, Pan. 4, 1. 120.

7. Dvivedin, Vindhyesvarl Prasad and Mokhte, Ganapati £astrf,

Ed. £abdakaustubha, p. 77. Pan. 4. 1. 122.

3. Pati. 4- 1. 120.
SASTRIC DISCUSSIONS 109'

But the justification is given that since the word 'Sumitra

is enlisted in Bahvadi group, so by the Paninian sutra (4.1.

96) the suffix 'in' will be added and the form will become
1
,

'Saumitri'.

xxv. ST facT: 3F<nfa $ ^ ! (Bhatti. VI. 1 1).

The controversy is on the word 'subhru' here. By the

Paninian sutra (1.4.4), 2 the word will not become 'Nadi' and
there is no possibility of shortening it.

Parana deva3 has quoted a grammarian &rlkantha in whose-

opinion the shortening is possible because it becomes 'Vyavas-
4
thita vibbasa, by the sutra 'Vami'. Morecver, adding a suffix
'un'tothe from by Paninian sutra 'umitah' (4.1.66), there is.
5
no possibility of 'uvaristhana'. Hence the form is correct.

But Bhattoji Diksita has severely refuted it propounding

that the opinion of the author of the Durghatavrtti carries na
weight. 6 If 'tin' is no harm to uvansthana
suffix is added, there
because it becomes a stem (Anga) and 'un' becomes a part of
Bhru. Moreover, the forms like 'Subbruvau' are accepted
Bhatti-Kavya is not
by all. Hence the form used by the
correct.

Another problem raised in the Durghatavrtti

7
is, as tawny
when the word 'Ha' is used
accusative case is not used here

and accusative case is used in conjunction with 'Ha' by a

Va
8
tikaon'Pan(2.3.2).

1. Pan. 4. 1. 96.

2. Pan. I- 4. 4.

3. Durghatavrtti. p- 23.

4. Pan. 1.9.5.

5. Durghatavrtti, P- 23.

Nene. Gopal Sastrl, op. cit.» p. 103.

6.

7. Durghatavrtti, p« 44; „ ,

8. Pan. 2. 3. 2. and the vartika. ,

> ;
110 BHATTI-KAVYA

The rejoinder given , is that the word 'Ha' is denoting

sorrow and invocation of some relatives in the jungle etc. Due
to its implication of invocation of a person, here vocative case
is due which takes nominative by Paninian sutra 2.3.47. 1 Hence
it will take nominative case.

Moreover,, in vocative, the notion that the case is stronger

than an upapada2 will apply and the nominative case will sup-
ress the accusative. So, the use of the nominative in the vocative
case in the Bhatti-Kavya is justified,
xxvi. qrcfcpfte^FR (Bhatti. VI. 79).

By a Pfninian sutra (3.3-65), genitive case would have

been used .here instead of. accusative. But all the grammarians
viz. Saranadeva, 3 Puruso,ttamadeva/ Sayana, 5
.
and Bhattoji
Dlksita6have unanimously agreed that by the, Paninian sutra
'Tadarham? (5.1.117), it is indicated that, in the sutra 2.3-^5.
the use of the genitive case is not a,, compulsion and hence the
•accusative case can also be used here.

xxvii.
t
35toN$f gft ^fclT^ta*[T%fa: ftm: .
(Bhatti. VIII. 38)
.Xh^ objection is &aranadeva on the word
raised by
*Kasancakre' which is derived from the root (Kasr sabdakut-
savam) and not from 'Kas"r Dlptau'. Hence the use of the root
is wrong. 7

xxviii. TmrctfftntF^T: (Bhatti. VIII. 72).

According to Sayana, the use of the .[Link] in con-

junction with 'Adhlta' is wrong because the ablative case is

1. Pan. 2.3.47.

2. Siddhantakaumudl, p.63 on the sutra w. ^ftcrc^r.

reads ^trtrefaW: ^R^f^^r^r^'o^znat I

3. Durghatavrtti, p.51, pan. 2.3.65. .. ,, .

4. (i) Bhattacharya, Dinesh Chandra Ed. The ^iblp^yrtti by

Purusottamadeva, Rajshahi; 1946. JnSpaka ,Samuccaya,
p.79. (ii)Chakravarti, Srish Chandra, ,$d. The Bhasavrtti by
Purusottamadeva, Rajshahi, 1918, $.95.
5. Madhaviyadhatuvrtti, p s394.
6. Sastri, Sftarama, Ed. Praudamanorama, pp. 723*24.
7., Durghatavrtti. p, 6 1-62.
SASTRIC DISCUSSIONS 111

ft. spd only in the relationship of a teacher and a taught. 1 Hence,

the use of the Bhatti-Kavya is wrong.
xxix. ?sjre*TH: qr^ftw?: (Bhatti. VIII. 73).

Sayana has quoted the above verse of the Bhatti-Kavyawhile

2
explaining the root word 'Slaghr Katthane'. In h|s opinion
c
Slaghr means to praise'. But he has interpreted here the use of
the Bhatti-Kavya as to praise one's ownself so that the listener
mayjcnow it 3 Bhattoji Diksita has also interpreted the use of
this word in the same sense. 4

xxx. ^Pl'fir reja^ fvfpfa smyrf*TC*fNr3rgi (Bhatti. IX.67).

By Paninian sutra (1.4.52), 5 there is no scope of
the
'Karmatva' in 'Ayumsi' because it is only applicable in the
sense 'to go'.
To this problem Saranadeva 6 has replied that here the
root 'muc' is a secondary gati (Gunabhtitagati). Hence this
secondary gati is the .cause of Karma here. It is indicated

by another 7
vartika. Hence the use of the Bhatti-Kavya is
justified.

xxxi. w^' *r TmfecT: ^reR, (Bhatti. X. 2).

In the word 'Ramamabitafe', there js no possibility of the

compound because it is prohibited by, the Pacinian sutra (2.2.-
8
12). 3aranadeva9 has justified the instrumental compound by

1. Pan. 1.4.39 ^n^tfPTOffi Kasika pp.67-68.

2. Madhaviyadhatuvrtti, p.80.

3. Ibid. p.80. \?>x- .

W i v
>(

4. Nene, §astri Gopal, op. cit, p.123, Pan. 1.4.34.

5. Pan. 1.4.52.

.6 Durghatavrt,ti, p.29. ,

7. Pan. 1.4,5£ and Vartika.

3fawt: ^rflnfeit ?w&i: i

8. Pan- £.242, '<

\. ,. asfo-xr tj^tt^tpt

9. Durghatavrtti, pp.39-49.
112 BHATTI-KAVYA

1
the sutra (Pan. 2, 1. 3 2) is possible and hence 'Mahita' will be-
placed later, or the compound is possible by 'SesesasthP by the-
sutra sasthl (Pan. 2.2.8).

xxxii. ^im*rc2fcm%fr»T (Bhatti. X. 34)

According to Saranadeva, if compound will occur by the
2
Paninian sutra 2.1. 38, the word 'Maithili' should be placed
first. Hence the use of the Bhatfi-Kavya will become inco-
rrect.
Therefore, he justified
it by explaining that it
is a Bahu-.

vrihi compound. Since the compound- ending suffixes are 'ani-

tya' so the suffix 'leap' is not added to it by the sutra Nadyar-
tas"ca (Pan. 5.4.153).
Hence it is the Bahuvrihi compound with an abnormal
case- ending.

xxxiii. ^T33nT t^-Ti:

w^f^^^r (Bhatti XIV. 18)
3
By the Paninian sutra (2.3. 16) , here the dative case is,
applicable only in upapada. But by the notion that case is
stronger than an upapada, accusative was due and hence the-
form became Another similar use is found in the
controversial.
4 5
Bhatti-Kavya. Saranadeva has explained it in two ways on the
basis of the Mahabhasya on Pan. 2.5.16. 6 He gives the example

of 'Alam' which is a synonym of 'capacity'.

7
Because Patanjali
has accepted both the accusative and the dative case in the use
of the word 'Alam' hence both accusative and dative will be
injuncted with the word 'Namas* hlso in Upapada.

1. Pari. 2.1.32.
tfr^RTir fen mm. i

2. Pan. 2.1.38.
^nmtfrewqftmo i

3. Pan. 2 3.16. TOWftcK-SHp •.-?_.

4. Bhatti-Kavya V1II.98. *re«rro ?*K-$q f ;

5. Durghatavrtti, p.48 Pan. 2.3 16.

6. Patanjali, Mahabhasya, Ed; Vedavrata, Vol. II, pp.78^

788. Pan. 2.3.16.
•7 Ibid, pp, 787-788. vmfafa vuk?q&&( wpi' VTO^ i
S ASTRIC DISCUSSIONS * i3

But Siiyana 1 has explained the form on different lines.

"Since the word 'Namas' is enlisted in Saksatprabhrti group, by

Pan. (1.4.74), 2 it will become optional Gati. When it will be
Gati', it will be treated like an upasarga and the form will
take accusative case.

But when it will not be 'gati', it will take dative case.

Here Bhatti has used it in the sense of absence of 'Gati' and
hence the use is correct.

But Bhattoji Diksita has refuted the opinion of Sayana-

•carya. In the absence of 'gati' there is no scope of visarga
:j

being changed to *S' because it is applicable only in the case of

gati by (Pan. 8.3.40).*

Againfhe has justified it on the basis of the Mahabhasya

cited above.

xxxiv. *pft£ iff TTT? (Bhatti. XIV. 62)

Here the discussion arises regarding the word 'iihe' which

6
should take 'Am' suffix in 'lit' by the sutra.(3. L36).

While discussing it 'Saranadeva 6 has quoted the 'Nyasa,

according to which 'Am' is not always operating since it is
7
indicated by 'Kitva* in the Paninian sutra (1.2.6).

1* Madhavlyadhatuvitti, p. 5 17.
2. Pan. 1.4.74.

3. Nene, Gopal Sastri, op. cit, p. 227., Pan. 2.3.16.

4. Pan. 8.3.40.

5. Pan. 3.1.36.
?v5Ti^T^ ^^Tcfrs^rSf:

6. Durghatavrtti. p.62, Pan. 3.1.36.

7. Pan. 1.2.6. ^f^H^n-^lt ^ Kasikavivaranapanjika (Nyasa),
(Vol. I, p. 145) reads thereon :
114 BHATTI-KAVYA

Since the operation of 'Am' is optional, so the use of the

Bhatti-Kavya is correct.

xxxv. Tra^ngq: eFF?im (Bhatti. XV. 16)

Sayana has given the root as 'Mus KhandaneV la the

1
opinion of Sayanacarya all the Dhatukatas read it dental
except 'Atreya' on Katantra grammar who has read it 'Mus.
Khandane'.
The Bhatti-Kavya has also read it as ending in a cerebral
letter in the above example. Hence both Mus and Mus roots
are correct in the sense of Khandane.

xxxvi. ^qr^HSr^tfaftTTr^r^gT: (Bhatti. XV. 21.)

Bhatti has used the word 'upayamsta' in 'Atmanepada.

By the Paninian sutra (1.3.56), 2 Atmanepada is due only in
Svakarana which has been explained by Kasika as marriage. 3
Hence the form appears to be incorrect.

garandeva 3
has justified it basing himself on Maitreya
Raksitaand the Bhagavrtti, in whose opinion 'Svakarana'
means to accept for ever. 4

According to Jayaraangala, here Svikarana* is a secondary

sense (Aupacarika) and hence Atmanepada is used. He has
given another explanation of it. The root 'Yam' is preceded

by the prefixes 'upa' and 'A,' and the form is proved by

5
Pan (1.2.75),

1. Madhaviyadhatuvrtti, p.439.
2. Pan. 1.3.56.

WWW. W?^ i

3. Kasika, p.55., Pan. 1.3.56.

'

4. Durghatavrtti, p.20. Pan. 1.3.56.

5. Paft. 1.2.75,
SASTRIC DISCUSSIONS 115

1
Bhattoji Dlksita has accepted 'Svakarana' as 'Svlkarana
raatra' on the basis of the Mahabhasya. Hence, in his opinion,
the use is correct. Another such use is found in the Bhatti-
Kavya. 2

xxxvli. wfem: fWff fftm jpvnFW I ?cnn ffrq (Bhatti. xvi. 24)..

Here in the word 'Kinkrte', there is no possibility of

compound because it is prohibited by the Pacinian sutra
3
(2.2.1 1) .

While replying to this objection, Saranadeva has explained

that Panini himself has used such a compound in his sutra*
and hence he indicates that such compounds are used every
where. Thus he justifies the use of the Bhafti-Kavya, or so to

say such case-endings can depend upon the will of the narra-
tor. Hence the compound is possible in &esatva-vivaksa-
sasthi.

xxxviii. ^fa^g?rfr^sr^\gfw %tf

(Bhatti. XVII. 30)

5
By a vSrtika'on (Pan. 2.3.13), the above use of the Bhatti-
Kavya is incorrect because it uses genitive case instead of the
dative case.

Replying to the question, Saranadeva8 says that since the

1. Nene, Gopal Sastri, op. cit., p.77, Pan. 1.3.56.

2. Bhattf-Kavya, VII. 101.

^rqratf? to tftanr i

3. Pan. 2.2.11.

4. Pan. 2.1.15.

5. Pan. 2.3.13 and Vartika.

%Rft*f T^gT mum

6. Durghatavrtti, p.47
BHATTI-KAVYA 116

Paainian use (4.4.65)/ takes the recurring of the sutra (4.4.-

51), it indicates that the genitive

2 case may also be used with

the word 'Hita'

3
It is further clarified that the following sutra
indicates that the use of 'Tadasya' is correct with Hita and not
necessarily with the genitive case. Hence the use of the Bhatti
Kavya is correct,

ixl. w^-foinrer: (Bhatti XIX. 21).

3
Dhatupatha reads 'Svas Praiiane in 'Adadigana. 4 But in

the use of the Bhatti-Kavya sap is not elided4 . Hence the form
is not correct.

5 8 7
According to sarairidivi, Miitreya Raksita and Sayana
the grouping of the roots in ganas is not fixed. Many indica-
tions show that it is Anitya and hence in their opinion the use

of the Bhatti-Kavya is correct.

In short, tha Bhatti-Kavya is an authentic work on the

usages of Panini, different roots and the Alankaras. The Bhatti-

Kavya can be claimed to be the first poem which introduced in

tellectualism in Sanskrit poetry. It not only influenced and
ponry but influenced the poetry of the
impelled later Sanskrit
far-east as well. According to Hooykaas, 56% .of the old
Javanese Ramayana was influenced by the Bhatti-Kavya.*

1. Pan. 4.4.65.

2. Pan. 4.4.51.

3. Pan. 4.4.66.

4. Pan. 2.4.72.
5. Durghatavrtti, p.58, Pan. 2.4.77.
6. Dhatupradfpa, p. 83.
7. Madhaviyadhatuvrtti, p.375.
8. Hooykaas, Christiaan, Old Javanese Ramayana, An exem-
plary Kakwin, New Holland. 1958, pp. 2,3, 68-70.
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Sahityadarpana of Vi^vanatha Ed. Sastrl Salagrama, Varaaasi,

1956.

Siddhantakaumudl of Bhattoji Ed. gastri, Acyuiananda, KasJ,

Dlksita 1946.

Subhasitaval! of Vallabhadeva Ed. Peterson, P. Poona 1961.

Suvrttatilaka of Ksemendra Ed. Peterson, P, Poona, 1961.

Kavyaraala, Pt.H. Bombay,
1932.

Suktimuktavall of Ed. Embar, Krishnamacharya

Jalhana Baroda, 1938.
MODERN WORKS

Aufrecht, T. Catalogus Catalogorum, Le ipzig

1962.

Do Catalogus Cadicum Sancri-

corum Bibliothecae Bodlei-
nae, oxford, 1864.

Belvalkar, S.K. Systems of Sanskrit grammar,

Poona, 1915.

Bhandaikar, R.G. Report on the Sanskrit Manu-

scripts in the Bombay Presi-
dency during ( 1880—82 ).

1882—83, Bombay: 1889

1883-84, Bombay, 1887
1884-87, Bombay, 1894.
1887—91, Bombay, 1897

Colebrooke, H.T. Miscellaneous Essays, Vol. IP

Sec. Ed. 1872.

Dalai, CD. A Catalogue of Manuscripts,

in Jaselmera Bhandara G.O.S.
XXI. Baroda, 1923.

De, S.K. History of Sanskrit literature

Calcutta, 1947.

Do History of Sanskrit Poetics

Calcutta, 1960.

Devasthali, G.V. A descriptive Catalogue of Sans-

krit and Prakrit MSS. in the
library of university of Bombay,
Bombay 1944.

Duff, [Link] Chronology of In dia. West-

minster, 1889.

Eggeling, Julius Catalogue of Sanskrit manus-

cripts in the library of India
office Vol. H. Pt. II, London*
1935.
122

Gode, P.K. Descriptive Catalogue of Govt.

Collection of Manuscripts
deposited in the Bhandarkar
oriental Research Institute, Vol.
XIII, Poona, 1940-42.

Hooykaas, Christiaan Old Javanese Ramayana; An

exemplary Kakwin, New
Holland 1958.

Jani, A.N. A Critical study of Sriharsa's

NaisadMyacarita, Baroda, 1957.

Jayaswal, K.P. A descriptive Catalogue of

Manuscripts Patna,
in Mithila,
1933.

Kane, P.V. History of DharmaSastra Vol.

Ill, Poona, 1946.

Do History of Sanskrit Poetics,

Delhi 1961.

Kathavate, A.V. Report for the search of Sans-

kritManuscripts in the Bom-
bay Prsidency during 1891 95, —
Bombay, 1901

Keith, A.B. Catalogue of Sanskrit Manu-

scripts in the Bodlein library,
oxford, 1909.

Do History of Sanskrit literature

oxford, 1961.

Kielhorn, F. Lists of Sanskrit manuscripts

Collected in 1887-78 Bombay,
1883.

Kxhh namachariar, |vl. History of Classical Sanskrit

lit erature, Madras 1937.

Lamotte, Etienne Histoire du Buddhism Indien,

Louvain, 1958.

Mimarhsaka, yudhistnira Vyakarana Sastra ka it ihasa

vol. I—HjAjmer Sam, 2019-
20
123

Mitra, Rajendralal Notices of Sanskrit Manus-

cripts Vol. 11,1V. VIII, Calcutta
1871-90

-Oppert, G. Lists of Sansjcrit Manuscripts

in the Private libraries of
Southern India, Madras, 1880-
1885

Peterson, P* A Collection of Prakrit and

Sanskrit inscriptions Bnavnagar
5

1890

Do Detailed report of operation

in search of Sanskrit Manus-
cripts in the Bombay Circle
(Aug. 1882-March 1883). extra
No. of. J.B.B.R.A S. 1883.

Do Second report during 1883-84

J.B.B.R.A.S. 1883 (extra No.)

Do Third report during 1884-86

JBB.R,AS. 1887 (extra No.)

Do Fourth report during 1886-92

J.B.B.R.A.S. 1894 (extra No.)

Do Fifth report during 1892-95

Bombay. 1896

Do Sixth report during 1895-98

Bombay, 1899.

Do Catalogue of the Sanskrit

Manuscripts in the library of
H.H. Maharaj of Alwar, Bom-
bay, 1892.

kaghavan. V. New CatalogusCatalogorum

Vol. Madras, 1949* Vol. II.
1.

Madras, 1966.

Do Bhoja's Srngara Prakaia, Mad-

ras, 1963.
A Catalogue of Sanskrit and
Hiralal Prakrit manuscripts, Nagpur
1926.
124

Rertou, Louis La Durgkatavrtti de Sarana-.

deva Vol.1 Paris, 1940

Rice, Dewis Catalogue of Sanskrit manus-*.

cripts in Mysore and Coorg,
Banglore, 1884.

Roth, R. and Bohtlingk, Ctlo Sanskrit worterbuch, Peter-

sburg, 1868 vol. V

A descriptive Catalogue of the

£astri( H. and Gai , S. skt. Mss. in the library of the
Calcutta Sanskrit College, vol,
VI, Calcutta, 1913.

Sastri, H.P. A descriptive catalogue of

Sanskrit manuscripts in the
Collection of Asiatic Society
of Bangal, vol. VII. Calcutta,
1934.

Sastri, Kuppuswami A descriptive Catalogue of the

Slct. Mss. in the Govt, oriental
Mss. library Madras, Vol.
XVI—XXVI.
Westegaard. NX.. Radices Linguae Sanskritae,
Bonn, 1841.

Winternitz, M and Keith, A.B. Catalongue of Sanskri Mss. in

the Bodlein library Vol. II.
oxford, 1905,
Winternitz,M. History of Indian Literature,
Vol.111. Pt. I. (Tr. into Eng-
lish by Subhadra Jha), Delhi,
1963.
Journals.
1. Annals of Bhandarkar Oriental Research Institute.
2. Bulletin of the school of Oriental and African studies.
3. Bpjgraphia Indica.
4. Indian Antiquary.
5. Indian Historical Quarterly.
6. Journal of Brmbay Branch of Royal Asiatic Society.
7. Journal of Oriental Research Baroda.
8. Journal of Royal Asiatic Society of Ireland and Great Britain*
9. Poona Orientalist.
10. Visvasarhskrtam.
1

Index of the words discussed in grammatical discussions

Wvjto^ 102 ^P^ftngfa 101

^cfmfl^ 97 W^tJTfa: 99

W^97 TffifhEfw 101

"W&: 114 Hfe^: 103

^cwfaifirm 112 srargtffa: 107

'^cfT^elH 99 ^rare^T: 100

^lTTf^Htm^ 110 TT*rcfi*?j: 111

^ro'ftfmfrg^ 111 ^PlRtoEF^si: 110

wre?$?J: 116 ^xRH 101

^mf^ 114 ^I^r^RTnT 106

t%^j>fr 115 f&m 107

^mmm q^^«r: 1 1

^rcif^ 115 *pftt 113

fa^terarro: 108 mra\ 100

^m ?rrm 102 W^ft 105

c?=53TcFFT 99 *ife«ro 103

^RT^FT 101 *3* 109

SRTWT ^w&: 112 <ritt*ref 108

tmwn.104
j
1 1

INDEX
Abha 55 Aniruddhapandita 25
Acarya 33 Antadlpaka 58
Adhyahara, application of, 90 Antyesti 34
AdhikarakandaS, 48, 85, Anuprasa 53
Adidipaka 58; two forms of, Anuprasavat 53
58 Anustubh 80, 82, 83, 84
Adiyamaka 23, Apoha 59
Adyantayamka, 62 Apsara 39
Agastin 39 Apte, V. G. 33 n
Agastya 1 Aravindasat 40
Agnayi or Agnayl 39, 70 Ardharupaka 63
Aj^ni 15, 39 Arghya 3
Agnicityas 34 Arthantaranyasa 53, 54
Agniparlksa of sita 15 Arrangement of grammar 85 ff

Agnistoma 34 Artha 36
Ahitagni Group 99 Arthantaranyasa 59
Aindrastra 6 Arthapatti 54
Airavata 39 Arthasastra 19, 35, 76 ; of
Akampana 6, 14, 45 Kautilya 36
Akyatamala 50 Arya 80, 83
Aksayakumara 4, 13, 77 Aryagiti, 80, 84

Aksepa 54 two Categories of

; Aryan Culture 70
54 Asana 34
Am 85 Asankirna verses 48
Amarakosa 29, 3 AslJi 54
Amarapadaparijata 29 Asoka-garden 4.

Amaraparijata 29 Asniprabha 5
Anabhihita 86 Astadhyayi 48, 85, 88
Ananvaya 53
Anekatin Adidipaka, 58
Asura 39
Asvalalitam 80, 82
Angada 3, 6, 45
Angahara 38 ASvalayana Grhya Sutra 33 n>
Aninyantam 29 34n
Aniruddha 25 Asvinau 39, 75
128

Atibala vidya 1 Bhartr .17

Atikaya 6 Bhartrhari 17-19, 19n

Atmanepada 86 Bhartrkavya 16
Atreya 1 14 Bhartrbrahmana 17
Atri 2 Bhartrswamin 17
Atisayokti 53, 55, 63, 64, 65 Bhasa-sama (alankara) 14, 33
Aufrecht T. 16 n, 18n, 25, 26 48,87
n, 27, 28-30. Bhasyavartikatlka 25
Aupacchandasika, 80, 83, 84 Bhattaswamin 17
Avalamsaka 62, 63 Bhatti 17, 18, 20, 33, 48;
Avayavarupaka 63 ,
Date of 19 ff ; Erudition of
Ayodhya 1, 2, 8, 9, 44, 69 33 ff; Identity of 16 ff;

Avayavarupaka, 63 Life of 19; Names and epithets

Ayodhya 1, 2, 8, 9, 44, 69 of 17; and Painin sutras 24.
Ayodhya Karida 10 Bbatti-bodhim 27
Ayukpadayamaka 61 Bhatti-brahmana 17
Ayurveda 38 Bhatti-candrika 31
Bahvadi aroup 109 Bhatti- Kavya, 16, 22-25,29-31,
Balakanda 9 44-47,50,51,74,88,91,95,96,
Bala vidya 10 AsaMaha-
103, 107, 111, 114;
Bali 3, 12, 41, 63, 68, 75, 78 kavya, 43 ff; Changes and
Baudhayana Grhyasiitra 33n innovations of the story

Bhagavata Purana 26, 39, 40 9 ff; commentators of 25 ff;

1
n s 41 n. Characterization* 68 ff; Des-
Bhagavrtti 114 criptions in 44 ff; Dosas in 51
Bharaaha 23, 24, 26, 29, 38,43 ff; Figures of speech in 53 ff;

48, 53-55, 57, 59,62,63, 64, Gammatical discussions on 97

65 ff; Grammatical study of,85 ff;

Bhandarkar, R. G. 30 Some idioms in 51 n. Lang-

Bharata 2, 7, 8, 11,44,46,47, uage and style 47 ff;

53, 66, 70 ; Characterization Literary study 43 ff; Mahatmya

of 74, 75 of 8; Metrical analysis of 80 ff;

Bharatamallika 17, 28, 57 Mythological allusions in 38

Bharatasena 28, 31 ff; rar& words in 50n;rare roots
Bhairavi 44 in 51 n; Rituals in 33; senti-
129-

merit in 46 if; Source of the Cakravarti, S.C. 24

story, 9;
Camara 107
Summary of 1 ff; Titles of 16.
Candika 31
Bhatti-Kavya-laghu-tika 25.
Candra 41
Bbatti-Kavya-tlka (1)
Caranapaduka 11
(anonymous) 28
Case-endings 96
Bhatti-Kavya-tika (2) Characterization in the Bhatti-
(Ancnymous) 23 Kavya 68 ff.

Bhatti-Kavya-Vimarsa, 28 Citracamatkrti 80, 84

Bhatti-pandita 17 Citrakiita 2, 45
Bhatti-rtipa-prakasa, 32
r
Colebrooke, H. T. 19
Bhattoji Diksita 98, 99, 101,
Da 86
104; 107-11; 113,115.
Daivam 103
Bhave, 86
Daksa, 39
Bhavikatva 87
Dalai, C. D. 16n, 25n
Bhayanaka Rasa 46
Bheri 38
Dance 38
Dandin,25 26,30, 43, 54, 57»
Bhoginldan^aka 32 s

59, 63.
Bhoja 43, 57:
DaSaratha 1, 8-10; 13, 15, 19,.
Bhrantiman 59
41, 42, 46, 79; as a Saiva
Blbhatsa Rasa 46 of 74
10; Characterization
Bohlen, P.A. 19 De, S.K. 23, 38, 62
Bohtlingk, Otto, 17, 19 Deva 103
Devantaka 6
Bollapininrsimhasuri of 3rl-
Devasthali, G.V. I7n
vatsagotra 29
Devatatarpana 34
Bombay Gazetteer, 20 Dhakka 38
Brahma 8, 15, 40 Dharapatta 22
Brahmaraksasas 5, 74 Dharasena of Vallabhl 20
Dharasena I, 18, 20, 21
Brahmastra 4, 6, 7, 70, 77
Dharasena II, 18, 19, 20, 21n
Briiaspati 40
22, 23; Epithets of 21
Buddhism 22 Dharasena III, 20, 21
Buddhistic monasteries 22 Dharasena IV, 20, 22; Epithets
of 20, 21.
B&hler. G. 22n
Dharasimhadeva 32
Cakrayala 23, 60
Dharma 36
Cakravartin 20-22
Dharmas'[Link] 36 ff.
1 30

Dhatupatha '
of Pacini 105, Garulman 6, 40
116. Gaurangamallika 28
Dhlrodatta 44 Ghatakarparatika 29
Dbruvasena 22 Gode, P.K. I6n, 17n
Dhtimraksa 6, 14, 45 Gomukha 38
Dhvani 38 Gotrabhid 39
Dipaka, Categories of 58 Goyicandra 26
Dirghabahu 3, 12, 69 Grammar, in the ^Bhatti-
Diskalkar, D.B. 21n Kavya, 35
Drstanta 58, 65 Grammatical Discussions, on
Drutabodha Vyakarana. 29 the Bhatti-Kavya, 97 ff.
Drutabodhinl 29 Grammatical illustration s
Drutavilambita 80, 83, 84
Technique of 88 ff.
Duff, CM. 20n
Grammatical study, arrange-
Puhyadi 85
ment 85 if.
Durghatavrtti, 26, 97, 100,
Grhyastitras, 33
109
Durghatodghata 26 Gunja 38
Du§ana 2, 12, 45, 78 Hanumat3, 4, 6, 13, 24, 35,

DuScyavana 39 45,47,66,70,72, 73, 77;

Characterization of 71 ff.
Dvirupadhvanisangraha, 29
Hari 39
"Dvivinda 5
Harihara Khan 28
Dvyasrayakavya 88
Hava 38
Eggeling, Julius, 16n, 17n,
Hemacandra 20n, 43
25n, 26n, 30n, 31n,
Hetu 65
'Ekadesavivartirupaka 63
Hetuslista 65
Ekatin Adidipaka 58
Himalayas 6
Ekavali 58 Hiranyakasipu 41
Ekavalitika 29 Hoernle 18
Ekavarnarthasangraha 29 Hooykaas, C. 38, 1 16

Figures of speech in the Bhatti- Hutocchi§ta 10

Kavya 53 ff.
India 68
Fleet, F,21n
Indra7, 8, 12, 15,42, 56, 69,
Ganas 89
Ganapraka§a 31 73, 74, 77; epithets of 39.

Ganga 8 lndrajit4-7, 13, 15, 35, 39,45,

Garbhayamaka 61 47,66, 67,77.

1

131

Indrani 39, 40, 70 Kal pa-tree 63, 69

Indravajra 80, 82, 83 Kalyanamalla 28
Installation Ceremony 34 Kama 36, 40
it. 87 Kambu 38
It-pratisedha 86 Kampana 6
Iva 55 Kailci 23, 60, 61
Ivcpama 55 Kandarpacakravarti 25
Jalan, G.D. 40n Kandarpasarman 16, 17, 25
Jamadagnya 40,46 Kane, P.V. 23, 26, 34n
Jambavan 4 Kapardin 28
Jambumall 5, 13, 45 Kapilavastu 22
Janaka 1, 74, 79 Karaka 86
Jani, A.N. 28. 31, 32 Karakollasa 26

Jatadhara 27 Karanamala 58
Jatayu 2, 3, 12, 46, 47,78, 79. Karmapravacamya 86
Jatisvara 26 Kartavlryarjuna, 40
Jayadeva 26 Karuna Rasa 46
Jayaditya 24, 103 KaSakrtsna 104
Jayamangala 16, 26, 27, 29, KaSika 104,114,
30,31,35,39,53, 54, 57, Kasikavivaranapanjika, 24
59-65, 88, 99, 100, 102, Kasikavrtti 27
103, 105, 114. Kasyapa 9 In

Jayasiraha 27 Katantra 114

Jayaswal, K.P. 16n, 17n, Katantra-paribhasa 27
30,32 Katantra-parislstatlka, 27

Jaya (Vidya) 1, 10, 79. Katyayana 35, 88

Jhasadhvaja 40 Kautilya 36
Kavibhatti 17
Jinendrabuddhi 24, 27
Kavi£iksa'27
Jyotistoma 34
Kavyalankara 23, 24, 26, 48n.
Kabandha 12 Kavyalinga 54, 28, 64,
Kahala 38 Kavyanusasana 20n, 43n
Kailasa 72 Kavyaprakasa 25
Kaku Vakrokti 64 Keith, A.B. 18
Kekayll, 2, 11, 98;
Kalapadipika 27, 3
charcterization of 75
•Kalapa grammar 27, 32 Kesavadeva 26
Kalidasa 18n, 68, 98 KesavaSarman 17, 26
132

Khac 86 Lalamaka 62, 63

Khandarupaka 63 Lamotte, Ettienne 22n
Khara 2, 12, 45, 78 Lan 87
Khas 86 Lanka 3-7, 12,13 42, 44, 45:„
Kiratarjunlya 28 72,73
Kirafarjunlyatika 29 Lat 87
Ki?kindha 3, 8
Kiskindhakanda 12 Lin 87
Kit 86 Lit 8
Kolacala family 28 Lohitak§a 6
Kolacala Mallinatha 29
Long Sutras 95
Kopabhavana 11
Lot 87
Krishnamacbariar, M. 27-31
Lra 87
Kriyasamuccaya 65
Lrt 15, 87
Krsna 25
Lun 87
Krt (Niradhikara) 86
Luptopama 55, 56
Krt (Nirupapada) 85 Lut 48,87
Krt (Sopapada) 86 Lyut (Bahula) 86
Madhavlyadhatuvrtti, 28, 97'
Krt (Tacchllaka) 86
99.
Krtanta 41
Madhurparka 33, 34, 79,
Krtya 85
Madhurya guna 13, 87
Krtya (Bahula) 86
Madhyadipaka 59
Krtyatattvarnava 32
Madhya-yamaka 23
KsTra, divine 12
Madhyanta->amaka 61
KsTraswamin 25, 31, 104, 105. Magha 44
K§iratarangini 104 Maghavan 39
Kubera15, 40, 73, 77 Mahabharata 40n, 4 In, 103,

Kurnarasambhavatlka 29 112, 113, 115,

Kumbhakarna 5, 6, 14, 15, 49, Mahabrahmana 17

73, 77,
Mahadeva 15
Kumudananda 16, 17, 26 Mahakavya, Characteristics,

Kundapayya 34 of 43
Laksmana 2, 5-8, 10-12, 15, MahaparSva 5

45-47, 66, 69-71, 76, Maharajadhiraja 20, 21,

40,
78-79; Characterization of Mahasamanta21
Mahayamaka 61
75
133.

Mahendra mountain 4, 5, lo Misra, Ramchandra 43n

14, 39, 64 Mithunayamaka 61
Mahisa 41 Mitra 41, 75
Mahodara 5 Mitraghna 45
Maitreya Raksita 104, 105, Mitra, Rajenderalal, 16n, 17n,.

107, 114, 116. 26n, 27n, 3 In

Maitreyas of Vallabhi 21, 22 Mitravarunau 4
Mainaka 4, 13 Mrdanga 38
Mainda 5, 45, Mugdhabodhini 17, 28, 29
Majumdar, R.C. 18 Mugdhabodha grammar, 29
Makaraksa 14 Mudra 39
Malaya mountain 8 Music 38
Malaya van 14 Nadi 109
Malayavat t? Nagastra 6
Malya 34 Naisadhiyacarita, 28, 31, 32,.
Malyavan 66,69 68
Malini 81, 82-84 Naisadhiyacarita tika 29
Mallinatha 16, 28, 29, 53-55, Nala 5, 45
57-59, 63-66; works of 29 Nalodayatika 29
Mammata 26, 59n NamalinganuSasana, 105
Manavi 40, 70 Namuci 39
Mandakranta81,82, 84 Nandana 81, 83
Mandsore inscription of Vatsa- Narada 9
bhatti 18 Narantaka 6
Manthara 11 Nara5ana34n, 41, 68
Manu 40 Narayana Vidyavinoda 27
Marica 1,2, 69 Nardataka 81, 84
Marutvat 71 Nepal 30
Matali 7, 39 Nidarsana 58
Maya 68 Nikumbha 6. 45

Meghadutatlka 29 Nikumbhika 7
Nila 6, 45
Metrics 35
Nipatanas, illustration of 92 ff:.
Metrical-analysis
(alphabetically) 80ff. Nipuna 58, 59
Meru 2 Nirvi&sta Varta 64 •

Mimarhasaka, Yudhi§thira,104 Nisadarajaguha 11

2

134

Sit 86
Parikara 59

Niti Sataka 19n Parikh, R.C. 20, 43n

Northern India 21 Parivrtti 59
Nrsimha 68 Paryayokti 59
Nyagrodhra 70 Pas"a 42, 63
Nyasa24, 104, 113 Patala 56
Ocean, description of 5 Patailjali 1 1

Ojas guna 49 Pathak, K.B. 30

Old Javanese Ramayana 116 Pavana 71
"Omens, in the Bhatti-Kavya 37 Paya^a 10
Omissions of the sutras. 88 Peddabhatta 27,29
Oppert, G. 28 Pera 38
"Optional examples 91 Peterson, P. 22n, 27
Pinaka 41
Padadimadhya-yamaka 61
Pinakin 48
Padadi-yamaka 60
Pindodaka Sariiskara 34
Padadyanta-yamaka 61
Poddar, Hanumat Prasad
Padanta-yamaka 60 34n,39
Padmanabha 25
Poetics, in the Bbatti-Kavya 37
Padmasana 40 Prabhafijana 71
Padya 34 Praghasa 5, 45
Pampa 3 Praharanakalita 81, 83
Prahars ni 81, 83, 84
!

Pariava 38
Pancavati 81 Prahasta 5, 6, 13, 45
Pandey, Ramtej Sastri, 36n Prajangha 5, 6, 45, 67
Panini24, 26, 27,30, 33, 37 Prakirna-Kanda 85, 88
38, 39,85, 91n, 115, 116
Prakirna Verses 48, 85
Paniskar, W.L. 43n Prakramabhanga-dosa 52
"Paramabhagavata 22 Prakrit 33

Paramabhattaraka 20, 21 Pramitaksara 81, 83

Paramadityabhakta 22 Prasada guna 48

Paramarnahesvara 22 prasanna-Kanda 48, 49, 85, 87
ParameSvara 20, 21 Prasastapadabhasyatlka 29
-Paraskara Grhyasutra 34n Pratapana 5,45
>Parasmaipada 86 Pratima 55
JParasurama 1, 10, 40, 78. Pratipa 59

^Parayanakas 103 Prativastupama 23

135

Pratyahara, application of 89 Ramayana 9, 14, 34, 34n, 36,

Praudamanorama 98, 101, 103 38, 40n, 41n, 44, 68, 70;
Prefixes and roots 93 fit.
source of the Bhatti-Kavya

Preyas 59 9; Uttara-kanda and the

PrthvI81 ,82 . Bhatti-Kavya 15

Ranendra 30
Psychology, in the Bhatti-
Rasavat 62
Kavya 37
Rati 40, 70
Punaruktidosa 52
Pun4arlkaksa 27
Raudra Rasa 46
16,
Ravana2-7, 12-15, 3S, 37, 38-
Purusakara 103, 105
Purusottamadeva,26, 110 41, 44-77, 56, 66, 69-73,

Purvagrama 27 76-78; Characterization of

Puspa 61 72 ff.

Ravanavadha 16
Puspaka 4, 6, 8, 13, 40, 46
Renou, L. 26
Puspesu 40
Rgveda 33
Puspitagra 81, 82-84 Rice, Dewis 27
Putakratu 39 Rituals in the Bhatti-Kavya,
3 Iff.
Putrestiyajfia 10
Raga 38 Rohinl41, 70,

Raghava 30 Roots illustration of 93

Roots and suffixes, 94
Raghava Jha 30 Roth, Rudolf 17, 19
Raghavan, V. 25, 57n Rsyamtika 3, 75
RaghuvarhSa 32, 98 [Link]"rnga 1, 10, 77
RaghuvarhSatika 29 Rucira 81„82
Raghuvlracarita Rudra 41
Raksasas 3 RudranI 41, 70
Raksasis 7 Rupaka 53, 55, 57, 63, 65;
<Rama 1-14, 37, 40, 41, 44-46, Categories of 62 ff.; objects of

63, 66, 70, 71, 72, 74-76, comparison 63 ff.

78, 79; an incarnation of Sabari 3, 79

Visnu 1; Characterization Sabdakalpadruma 29
of 68 ff. Sabdakaustubha 97,99, 101,102
Ramacandra 27, 30, 31 Sabdarthasandipika 31
- Ramacandra Vacaspati 3 Sabha of Ravana 5
Ramacarita 16 Sadrk 55
Ramakavya 16 Sadrsa 55
Ramanatha 3 Sahasradrk 39
136

Sanity adarpana 43 n Bhatti-Kavya 10

Sahokti 65 Sarana 14
Saranadeva 99, 100, 103, lo5,.
Sahopama 55, 65
107, 116
Sakra 39
SaraswatI Bhandara, Melkot,,
Saksatprabhrti group 113
27
Sala tree 70
Sarasvatikanthabharana 43 n
Sama 55
Sarayu 8
Samabita 65
Sardulavikndita 81, 84
Samanta 21
Sarma, Kedaranatha 43n
Samanya 66
Sarpastra 6
Satnanyabhuta 97
Sarvapatbma 29
Samanyalankara 58
Sarvayamaka 61
Samasokti 65
Sasandeha 66
Samaveda 33, 35
AnnaswamI 28
Sastri,
Sanoavidhana Brahmana 34
Sastrl, Carudeva 5 In
Samopama 55
Sastri, H and Gai, S. 17n
Sampati 4,5, 45, 78, 79
Sasri, H.P. 16n, 17n, 26n-
Sarhsaya 66
27n, 32n
Sarhskaracytitidosa 52
Sastri, Kuppuswami 17n, 28n»-
Samuccaya 65
31n
Samudga 23, 60
Sastrl. N.V. 26n,
Sanatana 4t
Sastrl, P.P.S. 28n
Sandastaka 23
Sastri, R. Shama 33n
Sandeha 66
Sastri, Salagrama 43n
Sandbya 36 Sastrl, Sesagiri 32
Sanjna, application of 89
Sastil, Vinayaka 16n
Sankara 63 Satakratu 39
Sankara 68 Satamanya 39
Sankaracarya 102 Satva S'
7

Sankhya 38 Satva 87
Sankrandana 39 Saumitra 108
Sariksiptasaratika 26 Saurastra 21n
Sannibha 56 Sauri32
Santa 10, 47 Savayavarupaka 62
Sarabhanga 2, 11 Sayana97, 99. 101, 103, 105,.
Sarad 44; introduced in the 107, 110,111,113, 114,116,
137

Senapati Bhattaraka 22 Sthanu 42

Sesarthanvavasita 63 86
Strftinga

Sesarthapratisedha Aksepa, 54 Subodhini 26, 31

Sharma, Batuk Nath 23, 43n Sudhakara 103

Sharma, Hari Sankara 59a Sugrlva 3, 5-8, 12, 14, 35, 45,

Sic 85 69, 70, 72, 78; characte-

SiciVrddhi 86 rization of 75 ff.

Siddbanta Kaumudl 98, 99 Suka 14

Simhavatara 41 Sukhalekhana 29
Simhika 13 Suksma 23
Sisupalavadha 28 Saktivaridhi 28
Sisupalavadhatlka 29 Sula 42
Slta 1-8, 11-15. 31,37, 45, 46, Sumantra 11
56,57,68-70, 72, 73, 75, Sumilra 109
78; Characterization of 70 Sundarakanda 12
ff. Sundari81, 83
Siva 1,8, 15, 19, 25,31,42,70 Supadma grammar 25, 31
Sivadatta 16n Suparsva 15
£ii§ta 65 Surasa 12,' 13
Smara 40 Surpanakha 2, 11, 45,46, 73,
Snam 85 75, 78, characterization of 76,
Soma 34, 39, 41, 42 Suryapuja 34
Sragdhara 8 J, 84
Susamnl 70
Srainivasi 32
Susena 15
Sri 41, 70 Sutlksna 2, 8, 79
Sridhara 31 Svabhavokti 53, 55, 64-66 ;

Srikanta 27 Canto-wise, 67;

Srikantha 109 Classification of 66.

Srlkaracarya 32 Svaramanjariparimala 29
Srioaitha 32 Svayatnprabba 3

Srinayanananda 30 Swamibhatta 17
Srinivasa 32
Swamin 19
Swamisimu 17
Sripatidatta 27
Syama 56, 70
Snratnakaratirtha 32
Synonyms 91
Srngara 45 ff.
Ta85
&nigaraprakas"a 57 Tadaka 1, 10, 46
'

SmgaraSataka 19n Taddhitopama 55

£rurtikatutvado§a 52 Taittiriyasamhita 29
138

Tala 38 Upendra 39
Tamasa 8 Upendravajra 80, 82, 83
Tanumadhya 80, 83 Orjasvl 57
Tara 12 Ulpreksa 53, 54, 55, 57, 58, 59,,
Tarkaratna, J. N. 28n 62, 63; Dravya 54; Guna 54
Tarkikaraksa 29 phala 55.
Jati 54; Kriya 54;
Telang. K. T. 18 Utpreksavayava 55
Tinanta-kanda 35, 48, 49, 85, Uttamaduta 72
87
Uttarakanda 15, 38
Totaka80, 83 Uvansthana 109
Tridasendra 39
Vaidarbhl48, 49
Trijata 4, 6, 78
Vaidya, C. V. 20
Triloki 12
VaidyakuJatattva 29
Trisiras 6
Vaijayantl 25, 31
Trivedi K. P. 16n, 19n, 20,29.
s

Vairagyas"ataka 19n
Tryambaka 1 9, 42, 74
Vaisyavam^asudharnava 29
Tulya 55
Vajramusti 5, 45
Tulyayogita 58, 65
Udara 55 Vajradamstra 14
Vakrokti 23, 64
Udarakavya 29
Vakyapadiya 18, 19, 19n
Udatta55, 59
Vallablu J 9-22
Uddhaia Rasa 57
Valmiki 9, 34
Uktavisaya Ak§epa 54
Vamana 68
Upadhyaya, Baladeva 22n, 43n
Vams"astha 81, 83
Upajati 80, 82, 83, 84
Vanaras 6
Upama 24, 53, 55, 63, 64;
Vasistha 10, 78
Categories in the Bhatji-kavya
Vasundbara 15
55ff; words of expression Vat 55
55
Vatsabhatti, 18
Upamanas in the Bhattikavya Varaha 68
(classified) 56ff.
Varahanaksatraprakas'a 107
Upamarupaka 57, 63,
Varendra family 30
Upameyopama 57
Varriadesana 26
Upanisads 38 Varta 64; Categories of 64
Upanisatprajoga 36 Vartikas 88, 96, 107, 115
Upapada 110 Vartikakara 102
Upapadas, roots and suffixes Varuna 15, 41, 42, 73, 75
94ff- Varunalaya 42
13*

Varunanl 42, 70 Visnu 1, 39, 41, 42, 44, 68,.

Vayu 15, 71, 73,74

Vedas 33 Visnu Purana 39n, 4 In
Vedanga 33 Vistara 34

Vedic Sutras 88 ViSvamitra 1, 10, 69, 74, 79.

Vembhupala 32 ViSvanatha 43
Vopadeva 29
Verm 38
Vrntayamaka 61
Vibhakti 86
Vyavaharatikramadosa 52
Vjbhavana 64
Vyajastuti 64
Vibhlsana 4-8, 14, 35, 45, 66,
Vyakaradlpika 31
69, 70, 73, 77; Characteri-
Vyakaranadurgafodghata 26
zation of 76.
Vyakhyananda 30
Vibhrama 38
Vyatireka 64
Vidyasagara 31
Water-oblations to deceased 2
Vidyasrldharadevasuri 31
Westergaard, N.L. 17
Vidyavinoda 19, 27, 31
Yajurveda 33
Vidyavinoda" carya 17
Yaksa 69, 73,
Vijaya(Vidja) 1,10,79
Vikramaditya 18n, 19, 19n, Yak send ra 40
Vikumbha 5 Yama 15, 41, 56, 69, 73, 77,
Vindhyas 39 78
Vipathayamaka 61 Yamaloka 41
Vipralambha Srngara 45 Yamaka 49; Categories of 60 ff
Viradha 2, 78. Yamakavali 6
Vlra Rasa 44, 47 Yatba 55
Virji, KJ. 21n Yatbasankhya 59
Virodha 64 Yathopama 55
Virodhabbasa 64 Yoga 38
Virtipaksa 5, 7, 45 Yuddhakanda 14
ViSesokti 64 Yudhyakampana 6
ViSista Varta 64 Yukpadayamaka 60, 61
Visistopamayuktarupaka, 62 Yupaksa 6
ERRATA
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3 17 Rsyamtika
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7 25 expressed
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