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Mysore and Coorg from the Inscriptions c13: VI. Literature

Mysore and Coorg from the Inscriptions c13

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VI. Literature

c13.1

Of the notices of authors in the inscriptions, some are of the first importance, especially for the history of Karṇāṭa or Kannaḍa literature. The earliest relate to Ganga kings, among whom Mādhava II is invariably mentioned as having written a treatise on the *dattaka-sūtra* or law of adoption (see Mr 73, DB 68, etc.). This work may be assigned to the third century. In what language it was composed does not appear, but probably in Kannaḍa. Then Durvvinīta, another Ganga king, who began to reign at the end of the fifth century, is said (Tm 23) to have had as his preceptor the divine who was the author of the *Śabdāvatāra*, that is, the celebrated Jaina grammarian Pūjyapāda; and he is also said (Mi 110) to have walked according to the example of his guru. Moreover, Durvvinīta, in most of the Ganga inscriptions (see Gd 47, etc.), is said to have written a commentary on fifteen *sargas* of the *Kirātārjunīya*, which is a Sanskrit poem by Bhāravi. This commentary was no doubt in Kannaḍa, as we know that the Jains were the first cultivators of that language for literary purposes, and Nṛipatunga, in his *Kavirājamārgga*, names Durvvinīta as one of the early distinguished Kannaḍa authors.

c13.2

In the works of the principal old Kannaḍa poets, Samantabhadra, Kaviparimēṣṭhi, and Pūjyapāda, invariably in this order, are named at the beginning as the earliest and most illustrious trio among the authors who preceded them. From Jaina traditions it appears that Samantabhadra may be placed in the second century. Regarding him SB 54 supplies the following list of countries and places to which he travelled, and where he beat the drum,¹ as a challenge to any opponent who would meet him in public disputation. They were Pāṭaliputra (Patna, on the Ganges, the capital of the Mauryas or Guptas), Mālava, Sindhu, the Ṭhakka country (in the Punjāb), Kāñchīpura (Conjeeveram, near Madras), Vaidiśa (Bhilsa, in Central India), Karahāṭaka (Kolhāpur, in the South Mahratta country or Karṇāṭaka Prānth). Nr 46 refers to the Bhāshya composed by the great brati, in allusion to Samantabhadra’s *Gandahasti-mahābhāshya*, a commentary on Umāsvāti’s *Tattvārtha*.

c13.3

¹ Fixed in a public part of the city for the purpose.

c13.4

Of Pūjyapāda, SB 40 says that his name was Dēvanandi; that on account of his great learning he was called Jinēndrabuddhi; and that from his two feet being worshipped by the deities he was known as Pūjyapāda. It adds that he was the author of the incomparable grammar—the *Jainēndra*; of the *Sarvvārthasiddhi*, and of the *Samādhi-śataka*, and describes him as a critic in prosody. Nr 46 also mentions as works composed by him,—*Nyāyakumuda-chandrōdaya*, a Nyāsa on Śakaṭāyana’s sūtras, the Nyāsa known as *Jainēndra*, the Nyāsa called *Śabdāvatāra* on the sūtras of Pāṇini, Vaidya-śāstra, and a ṭīka to the *Tattvārtha*. In Sk 124 Rāmasēna is said to be in grammar Pūjyapāda, in logic Akalanka, and in poetry Samantabhadra. In SB 47 Mēghachandra is said to be in logic Akalanka, and in all grammar Pūjyapāda. In SB 55 Jinachandra is said to be Pūjyapāda in the *Jainēndra*, in all logic Bhaṭṭākalanka, and in poetry Bhāravi. SB 105, again, compares Śrutamuni with Pūjyapāda in grammar, Dēva (Akalanka) in rhetoric and logic, Gautama and Koṇḍakunda in the two siddhānta, and Varddhamāna in spiritual philosophy.

c13.5

To revert to SB 54. It mentions Vakragrīva as the author of *Navaśabdavāchya*; Vajranandi of *Navastōtra*; Sumati of *Sumati-śatakam*; Chintāmaṇi of the *Chintāmaṇi*; Śrīvarddhadēva of the *Chūḍāmaṇi*; and Śrīpāla as having expounded the tattva. But the most valuable of its statements is in connection with Śrīvarddha, for in relation to him a couplet is quoted in which Daṇḍi highly praised him as a poet. And as Daṇḍi belongs to the sixth century, this supplies us with a definite period for Śrīvarddha, the author of the *Chūḍāmaṇi*. Now, this work is mentioned in Bhaṭṭākaḷanka’s great grammar, the *Karṇāṭaka-Śabdānuśāsanam*, as if the finest work in the Kannaḍa language, and it is described as a commentary on the *Tattvārtha-mahāśāstra*, containing 96,000 verses. It is also mentioned in TN 105, where it is called a poem, and the author is said to have been named Chūḍāmaṇi from his work, in which he had displayed all the ornaments of composition. In the *Rājāvali-kathe* he is styled the Tumbalūr-āchārya, and this place may be the Tombalūr, now commonly known as Dommalūr or Domlūr, immediately to the east of Bangalore; or, more likely, the Tumbala of TN 106-9.

c13.6

It is evident that a work of such extent could neither have been produced nor required there not already existed a considerable literature in Kannaḍa, together with a widespread cultivation of the language. And a eulogy by Daṇḍi indicates that Śrīvarddha flourished in or before the sixth century. But, both in SB 54 and TN 105, the mention of the *Chūḍāmaṇi* is preceded by that of the *Chintāmaṇi*, the author of which has the same name as his work. It is described as a lucid exposition of merit, wealth, love,¹ and salvation. That this was a Kannaḍa work is evidently implied, and one older than the *Chūḍāmaṇi*. But of neither, unfortunately, has any trace so far been found. On the other hand, there is a *Chintāmaṇi* in Tamil, which Dr. Caldwell describes as a Jain work by an unknown author, containing 15,000 lines, and little known on account of its difficult style. He adds, however, that it is without doubt the greatest epic poem in the Tamil language, and may be the oldest Tamil composition of any extent now extant.

c13.7

¹ Dharmm-ārttha-kāma, the three chief objects of human desire.

c13.8

Later Gaṅga kings are also credited with authorship. Thus,—Śrīpurusha, who reigned in the eighth century, is said (Nr 35) to have written a *Gaja-śāstra*, or work on elephants.

c13.9

[Figure: SPECIMEN PAGE OF MS. OF THE KARNĀTAKA BHŪSHANA. Actual size.]

c13.10

His son Śivamāra-Saigotta, who had already mastered the difficult *Phanisuta-mata*, the yōga of Patanjali (Nl 60), next made a profound study of the system of elephant management as expounded by the great yati born from the mouth of the female elephant, that is, in the *Pālakāpyam* of Pālakāpya or Karēnubhu,—to which there is a commentary in Kannaḍa,—and then wrote the *Gajāṣṭaka*, which, it is said (Nr 35), was so conspicuous for poetical genius that, if it could be imparted to a deaf mute, it would force him to speak. Būtugēndra, the younger brother of Rājamalla II, is also said (Nj 269) to have been like the son of Karēnu in knowledge of the great science of elephants.

c13.11

Additional information regarding Jaina authors is contained in the following inscriptions.—SB 40, 42, and 43 mention Umāsvāti, also known as Gridhrapinchhāchārya, who had no equal in his time in discerning the *padārtha* or categories in logic. They also state that Guṇanandi was skilled in logic and grammar, and lord of the learning of poetry. SB 40 says that Śrutakīrtti wrote with great skill the *Rāghava-Pāṇḍavīya*, reading forwards or backwards. Bl 17 informs us that Śrīpāla, with a second name Vādibhasimha, wrote commentaries without number in prose, verse, and precept. Ak 141 and Kd 69 likewise refer to him. Nr 35 says that Anantavīryya wrote a *Vṛtti* to the *Akalanka-sūtras*, and Dayāpāla a *Prakriya* to the *Śabdānuśāsana*. Of Lōkāchārya, Ak 55 says that in the science of language he was a Kaumāra incarnate, being conversant with the branches that follow (or are studied) after grammar; and that in astrology he was well versed in the *Śrīkaraṇa*, *Laghumānasa*, and *Karaṇaratna*. In SB 42 we are told of Sampūrnnachandra that he was proficient in solar and lunar astronomy, and of Śrīdhara that he was skilled in mantras and medicine. TN 105 says that Indranandi was the author of *Pratiṣṭhā-kalpa* and *Jvālinī-kalpa*.

c13.12

Brāhmans come into view in Sk 92 and 96 in describing the attainments of Vāmaśakti, the learned head of the Kōḍiya maṭha at Balligrāme. In grammar (they say) he was Pāṇini, in drama and music Bharata, in poetry Subandhu or Māgha, in siddhānta Lakulīśvara or Nakulīśvara.

c13.13

Going back to Jain authors.—SB 105 states that Samantabhadra’s disciple Śivakoṭi-sūri illustrated the Tattvārtha-sūtra, and that Śrutamuni composed new poems, and excelled in all advanced learning, especially in grammar. Nr 46 says that Vidyānanda’s sayings were ever cherished in the mind like the great Bhāshya (of Samantabhadra), and his irreproachable reasoning was ever pleasing to the minds of poets, appearing like Bāṇa’s prose-expressed poem (the Kādambarī). It farther says that Umāsvāti was author of the Tattvārtha-sūtra; Akalanka of a Bhāshya to Samantabhadra’s Dēvāgama-stōtra; Vidyānanda illustrated the Āpta-mīmāmsa, and composed the Ślōkavārttikālaṅkāra; Prabhāchandra wrote the Mārttaṇḍa; Nēmichandra was the author of Trilōkasāra and other works; and Vidyānanda made many commentaries, including the Budhēśabhavana-vyākhyāna.

c13.14

Kālidāsa is praised in the yamaka verse Mk 39. Mb 42 mentions the Pōdiyam (mountain) where the three forms of Tamil (prose, poetry, and the drama) flourished. Ck 40 extols the attainments of a pandit named Mallikārjjuna, and describes him as highly versed in the five pratiṣṭes, namely, the Māya, Bhūpāla, Yōga-pārāyaṇa, Pratiṣṭe, and Pratiṣṭārṇṇava, as well as in logic, grammar, and the Vṛtti, Paji, Byōma-ṭiku, and Durgga-ṭiku śāstras. Vaijaṇṇa appears as a poet in Bl 238. TN 23 refers to Patañjali’s Padastōma, and to Rāmānuja as the author of the Bhāshya (the Viśiṣṭādvaita-vēdānta-bhāshya). In Dg 25 we are informed that the Hoysala general Pōlālva composed a Hari-charite in shaṭpadi verses. Sōma is said in Mb 158 and Gd 46 to have been a successful poet in eight languages, and to have acquired much wealth by his profession. Unfortunately we are not told what languages they were. In Sb 375 is an account of the Vijayanagar prince Mārapa, who, with his minister Mādhava, having collated the three vēdas and examined the text of the purāṇas, compiled the Śaivā-gama-stōtra. The Vijayanagar king Harihara II is expressly stated in Kp 34 to have been a cultivator of Karṇāṭaka learning. Ādityāryya is said in Pg 69 to have been the author of *Bhāshya-bhūsha*. Sr 94 contains an account of the recitation of the Mahābhārata before the Mysore king by Alasingar-aiyangār.

c13.15

Other notices of authorship may be drawn from the distinguished composers of various inscriptions. Thus, the fine and learned Kadamba record in Sk 176 was composed by the poet Kubja. The Chalukya inscriptions Sb 571 and Dg 66 were composed by the great minister for peace and war, Rāma-punyavallabha, and Kl 63 by the like minister, Anivārita-Dhananjaya-punyavallabha. The elaborate eulogy of Gomaṭa in SB 85 was composed by Sujanōttamsam, the poet Boppana, who has the distinctive title *Kannaḍa-kavi-bappa*. Ak 48 was composed by the ornate poet Śāntinātha, grandson of the southern Sōma, and known as *kavi-kula-tilakam*. Ak 118 was composed by Umēśadatta and corrected by the great poet Trivikrama. Ak 123 was composed by Sōmanātha, known as *su-kavi-kaṇṭhābharaṇa*. Sh 69 was written by the kavīśvara Brammadēva. The composer of Sk 281 was the learned Phaṇīśitu, son of Viśvanāthāryya.

c13.16

There are several of the eloquent and elaborate Vijayanagar inscriptions composed by the court poet Sabhāpati (Sh 1, Hn 6, Gu 30, Pg 4, Cn 167, Pg 75, Hk 132, Md 55) and his descendants. Tm 1 is by his son Kaviśāsana Svayambhu; Ck 39 and Sh 83 by his grandson Krishnakavi Kāmakōṭi; and Mb 60 by his great-grandson Rāma, the son of Kāmakōṭi. Another accomplished author was the minister Tirumalārya, son of Alasingārya, who composed TN 23 and Ch 92. Then Sr 64 was composed by the poet Tirumaleyācharya, skilled in Karṇāṭa, Āndhra, and Sanskrit poetry, and in singing; constant reader of the *Rāmāyaṇa* and *Bhārata*.

c13.17

The latest notice of authorship is in Ch 154, where Dēvachandra is said to have caused the genealogy of the fathers to be written. This probably refers to the compendium of Jaina traditions called the *Rājāvali-kathe*, compiled for one of the Mysore queens.

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