History of Sanskrit Poetics c6.28.2

c6.28.2

*काव्य* had been divided into *गद्य* and *पद्य*, that some of the *guṇas* that figure in later works had been already named (*vide* स्फुट,¹ मधुर, कान्त, उदार, which correspond to प्रसाद, माधुर्य, कान्ति and उदारता of the काव्यादर्श), both *गद्य* and *पद्य* were required to be *अलङ्कृत* (that is endowed with figures of speech). The नाट्यशास्त्र 17. 102, 106, 107 (K. M. ed. 16. 103, 107-108 and GOS. ed. 16. 104, 110, 112), define माधुर्य, उदात्त, कान्त. The composer of this inscription was evidently trying to come up to the standard of a good poet laid down in the works on Poetics of his day and therefore this inscription represents at least a mediocre attempt at what a *kāvya* was in those days required to be. The Nasik Inscription of Siri Pulumāyi, which is somewhat earlier than that of रुद्रदामन्, though in Prakrit, exhibits the same traits (Bombay Gazetteer vol. 16 p. 550 and E. I. vol. 8 p. 60 No. 2). In the first two centuries of the Christian era both Sanskrit and Prakrit inscriptions were engraved and followed the same pattern of literary style. The Ayodhyā Śuṅga Inscription of धन (देव or भूति), who was the sixth from Senāpati Puṣyamitra is in Sanskrit (E. I. vol. 20 p. 54) and the Inscription of रुद्रदामन् has been cited above already. The Inscription of Khāravela (referred to above on p. 19 and n 3) is in Prākrit, shows all the traits of the Ins. of रुद्रदामन् and mentions गन्धर्ववेद, नट, गीत, वादित्र and उत्सवसमाज. A quotation from it and one from the Nasik Ins.