Chaudhuri - Muslim Patronage To Sanskritic Learning PDF

MUSUI PATRONAGE TO SANSKRITIC LEARNING
PART I
BY
DR. JATINDRA BIMAL CHAUDHURI. PH.D. (LONDON).
SUPPLEtvIENTS:
I. Text and Translation of
SOtvfE LAUDATORY VERSES
on the Mahomcdan Patrons of Sanskritic Learning
2. THE XSAF.VILXSA XKHYXYIKA
by Jagannadla Pal.l<.litataja
(cd. for 'he firs' time)
w
~ e
t.
. ,;, \ .
I.. ~ .
IDARAH-I ADABIYAT-I DELLI
1009 QASIMJAN ST
DELHI (INDIA)
r
n
PREFACE TO THE SECOND EDITION
l The first edition of I of the Muslim Patronage
to Sanskritic Learning was exhausted within a few
t nlOnths of its publication in 1942 Since then, I had
been. contemplating to bring out a second edition; but
thIS did notrnaterialise of my other pre-
occupations, particularly because, new works were cons-
tantly being undertaken and published in succession.
I must, however, acknowledge my gratitude in this
connection to the Government of United .Bengal for
purchasing a large number of copies of the first edition
for distribution allover India and outside. Numerous
requests from aUquaners.creached me in the mean time
for bringing out a second edition; so I do hope, though
belated, this edition will receive the same appreciation
as the first one did.
This edition has been thoroughly revised and all
up-to-date informations incorporated into it, parti-
e cularly, on the basis of myown researches into the sub-
" ject at hand and allied subjects. However, as So many
r:-- new and important materials could not be utilized in
this volume, two more volumes will be published soon
K. in the same series.
The Pracyavani is extremely grateful to MAULANA
,1"'- ASUL KALAM AZAD Minister of ,Education, Govern-
ment of India, for kindly extending his benign helping
hand for bringing ouf the publications of the Institute.
The Government of India have very kindly borne half
tHe cost of public;ation of the present ,vork as of several
other works to be soon published by the Pracyavani.
lAD ORIENTAt (REPRINT) SERIES NO.51
!"'l\

. Cc:,ti3
First Published 1942
Reprint 1981
Price R.. 60.00
PRINTED IN INDIA
PUBUSHID BY MOHAMMAD AHMAD FOR IDARAH-I
ADBIYAT.I DELLI, 2009. QASIMJAN ST.., DELHI-6 AND
ft1NTm AT JAYVEe PRESS. BALLIMARAN. DILHI-6.
Pracyavil,li,
'9
th
February, 195'1'
J. B. CHAUDHURI
I .
I
PREFACE TO THE FIRST EDITION
This work presents for the first time a systematic
history of the contribution of Mahomedan rulers and
scholars. to Sanskritic Learning and the manIfold attempts
of rulers to spread the san1e
during their rule in India. A large number of Sanskrit
MSS. has been used: for collecting and authen-
tic informations about the poets and their royal patrons.
Some of the anthological works used for this purpose
are being edited for the first time in my Series NO.4:
The
The Supplement ccnsists of the Sanskrit .Text of
some of the .laudatory vetses on the Royal Moslem
patrons of Sanskritic Learning (along \vith their tran-
slations) and also of the Asaf-vilasa Akhyayika of
Jaganllatha edited here for the first time.
Thanks are due to Mr. P. K. Gode, Curator,
Blwlandarkar Oriental Research Institute, for kindly
lending for my use the unique MSS. of the
haravali of Hari Kavi, by Vel)idatta, Sabhya-
by Jagajjivalla, the of
Haribhaskara, the Asaf-vilasa of Jagannatha anq so on.
As these are the only MSS. of the respective works that
are known to exist, my gratitude to the Bhandarkar
Oriental Research Institute is indeed yery great.
Vll-XV
1l1-1V
PACES
... '!
SEVFRAL OTHER SANSKRIT POETS PATRONISEn BY
RULERS
I. Amrtadatta, court-poet 0/ Shahbudtlin ... 73-75
2. Pundarika Vitthala, court-poet of Rurhan Khan ]6'
3. H:;ri'niriyal)a .Misra, court-poet of Shah lahan 7
6
4. Valllsidhara Misra, court-poet of 'Shah laban
tlneZ great favourite of tbe Queen 77
5. Caturbhllja, patronised by Shayasta Khan ... 7
8
-80
6. of the COtlYt" of Maharnmad Sh,th 80-
8
4
PROPAGATION OF SANSKRlTlC LEARNING DURING

Moslem rulers of Bengal :-
J. Nasir Shah of Bengal
2. Husain Shih
POETS:
J. Bhanllk:lra, court-poet of Sher Shah and
Nizarn Shah
2. Akbariya-K:ilidasa (Govinda C'ourt-
poet of Akbar .... ...
3. Jagannitha court-poet of
Shah lahan
CONTENTS
, SUBJECTS
Preface
Introduction
J. B. C.
PreSidency College,
Calcutta,
'94
2
INTRODUCTION
Comll1Ullal fraternity nlay be of two kinds Scnti-
1l1ental and intellectual. The former implies religious
fusion and the latter mutual love for the languages and
literatures of ea(;h other. Both these interrelated aspects
of COlllnlunal hannony hecanle manifest during Moslem
rule in India. The object of the work is to give
an authoritative account of the second aspect only. .So,
only a brief outline of the firs.t aspect is given below.
Power of- assimilation is the characteristic feature of
Indian people. Whatever be the creed, it is by and by
absorbed by the great assimilating force of Mother India.
The consequence in the Mediaeval ages has, therefore,
been the fusion of and Hindu Culture and
.'\
Civilization. The innennost heart of the Indian people is
always alert to receive the Truth, whatever be the source
and in doing so, it knows no barrier,--<>f caste and creed.
This is cxclllplied best in the grand intermixture of
Hinduisnl and in Mediaeval times.
Even to-da.y the Hindus honour 110 less than the
Mahoillcdaus the reformer saint Makhdiim
Alial who was originally an inhabitant
of Ghazni. His disciple Muinuddin Cltishti (1142-
12
36), brought very close together both the Hindus and
in their (Illest of the SUprcll1C Soul. As a
86
86
8688
&.r9o
90

93-1 It
120
117-1J9
121-124
12
4
12
5-
12
7
128-134
. 112 116
VI
I. Text d T I'
an rans atlon of some budatory
verses on the Mahomedan patrons of
Sanskritic LearninO'
n .. . .
2. Asaf-vilasa Akhyayika by
]agannatha Pal)9
itara
ja
APPENDICES
....
I. Alphabetical Index of verses quoted in the
work those in the Supplement) ...
2. AlphabetIcal df verses quoted in the

3 Alphabetical Index of the verr ... o'f' RI - k'"
.., Uflll ara
quoted in the Padva-racani
4. Abbreviations J
5 Bibliography
6. General Intle%
SUPPLEMENTS
SUBJECTS
3 Parigal Khan
Khan
Imperial rulers of etc.
I. Bibar
...
2. Humayiin
3 Akbar ...,
4 Dara Shikoh
5 Shayasra Klmn
Concluding remarks
\'111
consequence of this intcnl1ixture of both the crceds, the
Husaini Brahmanas of Rajputana are found following
practices though mostly they follow
Hl11du custonlS and rituals; again, the Inlam-Shahi sect
are found following the authority of the Atharva-veda
of The great saints advocating Sufi..
Ism. such as Nlzatnuddin AuIia, Fariduddin Shakarganj,
KarIm Shah, Shah Inayat Shah Kalandar wen: either
initiated to religious life by Hindu saints or themselves
initiated a large number of Hindus to religious life; as a
consequence, Hinduis
1ll
or Maho111cdallislll as a creed
luatt<:red little to thclll. The cckbrated saint Baba
Fattu of Kangra was a disciple of Hindu saint Gulab.
He was worshipped alike both by the Hindus
and of the Punjab. The Khojas &lnd the
followers of M
usa
Suhiig arc tremendously influenced
by Hinduism while the Piran Panthins worship Nif-
kalallka. The Muslim lady Tiij was a "11.'3t devotee of
K 0 ..
'Hl)a and wrote many songs on Him as Supreme Soul.
In spiritual life there was thus a great synthesis between
and Mahomedanism-Hindus being the
diSCIples of Muslims and vice versa-all caring for Truth
and Sadhana, nOt for the external superfluities of
Religion. This was the time when new' "saints like "'
Satyapira were worshipped by both the comnlunities.
And this was the time when caste-system was abhorred
and wilfully violated.
IX
In former times A!)eJa!, a woman of low caste, was
worshipped by the followers of the Alvars in the
The works of Pariahs like Thirupam, author of the Tlru
'Vayamoli, were recognized by leaders like
Ramanuja. Later on Caitanya in Bengal, Saqtkaradeva
in Assam, Tuka Rama and Nimadtva in
and similarly, other great religious leaders never cared
for caste-system or bothered about distinguishing bet.
ween Hinduism and Mahomedanism. Among the
famous pupils of Ramananda were Ravidasa, a shoe-
maker Sena a barbar and Kabir a Mahomedan
, .
weaver. Kabir's life-long mission was a syntheSIS
between Hinduism and Mahomedanism and his noble
precepts were translated into by _
Dadu, Jlvana Prema Dasa, BIJh Khan, RaJJab
and others.. Ban Saheb, Binl Saheb, Yari Saheb,
Bulla Saheb-whether Hindu or Moslenl;-all took
. . b the
up one great mtsslon.......,vlz. unity .
Hindus and Moslems in religious as well as SOCial hfe.
Women, too, at this time, came to the forefront of reli-
gious rejuvenation as is evidenced by and
Bai, (daughters of Dadii), Mira, Jana. Bal.
Ksema. or Ksemasri, Taj and others.
. This urge for fraternity between the two
leading communities in India became manifest in
Literature as well-Vernacular and Classical. The
Dohas, etc. in Hindi of great religious leaders-both
II
and Hindus, are sources of inspiration
and devotion in religious life of the members of both the
communities.
Bengali in particular was much enriched by this
inner urge for a true religious life-irrespective of caste
and creed. Quite a large number of Mahomedan
of them poets of a high order--contributed
substantially to Bengali Literature. They were mostly
inspired by the cult as preached by Sri Caitanya;
again, there 'were many who wrote on other subjects.
Sri Caitanya disdained racial or social distinction.
1
The result was that even rulers like Husain Shah
soon became attracted to him'. Mahomedans all
over Bengal not only enjoyed the Padavalis but
I.. Yavana Haridisa was one of his favourite disciples.
Again, Buddhimanta Khin became a personal attendant of
Srf Caitanya. Vrndivanadisa in his Caitanya-Bhigavata
.a)'8:-
mn ".M,,,,
8TtR crfiI IIi'r-f II 10th chapter
The Caitanya-caritimrta, chapter 10. record. 1-

tI':Q\1 fait 6qSNTWIII
Buddhimanta accompapied him to Niliicala as well :-

IJttTt n 9th chapter
2. it p;r 9TtT

themselves became the votaries of the Muse.
Nasir Mihmud/ Fakir Habib':' Saiyad Martuji,'
I. NaslrrMihmud dedicates himself to the holy feet of
811 Krt9a 1-
VPPf Arm it ,
;pjft "TV, .- II
His Pada of which the above i. the end has been inclu-
ded in the Pada-kalpa-taru of Vaifl)avadisa.
2. He, too, cannot live without Kr'l)a :-

.... .
t;wn-Rftqr,

3. The following Pada -of Saiyad Martuii included in
the Pada-kalpa-taru ()f Vai'l)avadisa is indeed grand 1-
q, CR"I nm I

qp.rft8;rm WTfit "

..ml
II\1TtfR m[ ..

.... 'RnI1IT!I ,

II !J'IT fit! ..
Here the poet himself becomes a woman for -higher
spiritual and one is naturally of
Cardinal Newmans statement -"If thy .oul wante to
attain the higher spiritual blessedness. it must
woman, yea.' however manly thou mayst be among men
j
XII
Fatan,l <:and Kiji,:a etc. have sung the- praise of
and Ridhi as enthusiastically and religiously, as gracefully
CPt also-St, Juan - "Make myeelf thy brid e. I will
rejoice in nothing till I am in thy Hie Padae on
the description of Kr'Qa. Mina, Bhiva-sammelana, etc! too
are very beautiful.
I. Fatan in one of his Padas depicts Ridhi in separation.
Ridhi saye : -
'lilt 'tfiI I
cit ftqr "'liTqt ,"''fl
fc6 ftI'fl fcRr q 1I
1iR;nf( 9rc1
fiRlr qy. 3'fcIRn I
q;r;r iRtI mt, iI6lJ{ ifTft WR,
ilT qyft 'IT{ 1m'1ft fA 'ITt,

.J1 !Ill WtRN
"'" UW:T qrq 6Ii II
2.. The picture of Ridhi in love ae found below i.
indeed beautiful:-
arbft- Cf'mi1 GrPIIiT
cmn.n 'IfJJl lIT i
q;r "Tmm 'fIfiI; lit.I
11m cn:m1JliT l!IrTt wrfir II
('6 qm(.aPr I
'!liT{ 'MTfiNr ,"u t mart;nf( 'ftTf.f "
i\' ff'rn cdVT, nq qi.n I
,Q. m9f..n II
11m.- ilfm all' '1ft I
lIT Ql1g en 'RlMiff mII
I
i
X1l1
and sweetly as possible. Alitija/ Akbar Saha,' Kabir,'
I He 80uriehed somewhere near Feni in Chittagong.
One of his Padivalis ende ae follows: -

- "fin.-I.' 1111 "
2. One of his Padas ie devoted to the deecription of the
phyeical charm of Caitanyadeva :-

l1tu "

l1iRI f6lfil f$fipn "
I' lif1ft .. III I
fQ{ ;nf( "
-rTI I
"" m"" "
3" He depicte an excellent picture of Ridhi. followed
by Krf.,a in eouree the eports during : -
-m1 "6tg fin8 q: I

t;+niR q- It
..,g tm11ft me -'tft
fiIR itn:UI I
QI mii em;I tNr4t'
tift "
IJft
\'I IITS ;p.nll I
fmit Ii "'I '.tR
WItS CI'ITif "
..mtt'I ""w ..n

IIWft 'II!I Q, ;mil iR

XIV
Sekh Bhikhan,l Sekh lala}, Sekhlala, etc. are also poets
of no mean order. They have written on various Mood-
types of women as described in the Alaf11kara and Kama
Sastras with particular reference to Radha, and also on
as Supreme Soul and Sri Caitanya as an incarna-
tion of God.
J. RAdhi in her "Kha9Qitl" mood is depicted nicely
in one of his Padas. KffQ8 palsed the night somewhere
else and naturally-Radhi's wrath. knows no bounds. She
lake. Kr'Qa to task: -
em- tNm q{nI( $ATI ,
.Ad(IIRU
vr, .WCIit
iIR P
'" 'IT IIfft til fA itf8/
'ITf\Ir II
'IlTt,
fW.R ,
.,
" (ft (T mem. mfjp.n Am

e. q I=- tr(iR JA,

'IImYt emf tn'I 'P'f n
'" mm fiIftRt "
XV
Just as, on the one hand, many Moslems helped the
spread of the Hindu Culture and Civilization by
honouring their religious sentiments and ideas, by
following many of their rites and rituals, by patronising
and contribut;ng to Sanskritic Literature-so, on the
other hand, many Hindu devotees and scholars, too,
were the torch-bearers of Islamic Culture and Civiliza-
tion, by preaching the innermost truth of Islam and
paying homage to the Prophet and Moslem saints, by
observing many Moslem practices and by
and contributing to, Persian and Urdu Literature.
Thus, .there was a great synthesis of Hindu and
Moslem Cultures and Civilizations during Moslem rule
in India. It was possible in those days for individuals
of different leanings and capacities to follow the creeds
and pursue the course of studies that suited them best,
without conununal bias and social bar. Otherwise,
could not have been so many Moslem devot(es of Hindu
saints, etc. and so many Mahomedan - scholars in
Sanskritic studies just as there could not have been
numerous Hindu disciples of Moslem saints and yotaries
of Islamic Learning. If this could happen even during
- an age when the relation between the two communities
was that between the ruler and the ruled, there is no
inner reason why it should not be the case to-day also,
when no such relationship exists.
MUSLIM PATRONAGE TO SANSKRITIC
LEARNING
It is well-known that the Moslem rulers of India
were great patrons of Learning and Fine Arts. But the
fact that filany of them liberally patronised Sankritic
Culture and Learning as well, is not generally known.
Their courts were adorned with Sanskrit scholars and
writers of high repute who got every encouragement,
monetary and otherwise, fronl their royal patrons.
Unfortunately, many valuable records of their scholarly
achievements are irreparably lost to us and the surviving
literature also is available only in MSS. scattered all
over ~ d i a and outside. Fortunately, however, the
literature that has outstood the cruel ravages of time is
not meagre and it enables us to have a clear idea as to
how in spite of linguistic and religious differences, many
Moslem rulers of India were prone to extend their best
support to the development of Hindu Culture and Civi-
lization. This spirit of mutual tolerance and reverence
for the culture anQ creed of each other alone can ensure
a permanent bond of friendship and collateral progress
of the two principal cOlnmunities of India. That is why
it is essential for us to investigate into the cultural
advancement of the Hindus during Mosleln rule in
India.
Of ~ h e Sanskrit poets 'who adorned the courts of the
:I MUSLIM; PATRONAGE rro SANSKRITIC LEARNING
Moslem rulers, three of the greatest are Bhanukara,
Akbariya-Kalidasa and Jagannatha Pat)gitaraja. In
this work I shall nrst give brief accounts of their
lives and literary activities on the basis of the informa-
tions collected from the various unpublished MSS. of
their works, anthologies preserving some of their
verses, etc.
Of the Mohomedan rulers who liberally patronised
Sanskrit poets and scholars, the foremost are Shaha-
buddin, Nizam Shah, Sher Shah, Akbar, Shah lahan,
Muddafar Shah, Burhan Khan and others. Some of
the poets patronised by them are,-apan from
Bhanukara, Akbariya-Kalidasa and Jagannatha Pat)git-
raja,-.Amrtadatta, PUl)garika Harinarayat)a
Misra, Val11sidhara, and so on. Short
accounts of the lives and literary activities of these
poets also are given below. 1
The arrangement followed here is chronological.
BHXNUKARA
Bhanukara is not only of the earliest of the poets
mentioned above but also seems to have enjoyed the
widest pc as a poet. The Rasika-jivana of
Gadidhara Sabhyalatpkarat)a of Govindajit,
Padya-vet)i of Vet)idatta, Padyamrca-tarangiJ].i of Hari-
bhaskara, of Hari Kavi and Subha-
1. See also the second volume of this Serie. which will
lOon be published.
BHANUKARA
the last two of which have not been
published as yet contain about 160 verses of Bhinukara.
The Padyaracana published in the Kavya-mali Series
alone contains 180 verses many of which are not found
in the above six unpublished anthological works.
LIFE AND DATE
Bhanukara us. Bhanudatta and personal history
The evi4ence of the anthological works is in support
of the identity of Bhanukara and Bhanudatta, author of
the Gita-GauriSa and its Kavya-dipika, Rasa-
manjari and its commentary as well as Rasa-tarangit)i
all of which are available in print and also of the
Kumara-bhargaviya based on the Purat)as),
Alaqtkara-tilaka gnd Srngara-dipika which are as yet un-
published
1
Quite alarge number of verses quoted under
the" name of Bhanukara are traced in the Rasa-manjari,'
1. Kumara Bh., IndiltOffice Liprary MS. 1540. Alatp-
kara T., Tanjore MSS. Catalogue, IX. 1407 and Mysore,
295. Srngara D Cat. Cat. I. 661.
2 etc.=SA. 234=RM. 21, p. 50;
fW, etc. =SSS. 836= RM. 4. p. 9; etc. =SA
270=RM. 29, p. 65; .. etc.=SA..327=RM.
112, p. 138; etc.=SA. 303;;::5SS. 178=RM
79. p. 141; twil'idl6t, etc. =SA. 326r v. II I. p. 188; Eft tM
fiRq{:, etc. =SSS. 606= RM. 33, p. 75; etc. =SA,
G\
312=RM. 100, p. 166; etc.=SA. 246=RM. 24,
p.57; etc.=SHV. 1944=RM. 39. P. 91; t'ft
m2'a1'llRl'c=sss. 177=RM. 75, p. 136; etc.=SA.
-n..
I. etc.
2. aHit mi[J8{:
im I
qiA q)fiiRtl
;rmlll
3. The otMithila furnish the following lineage
of Bhanucandra :
as cGal)apatiputra-Bhanukarasya'l and from the
verse of the etc. as well as from the PanJis
of Mithila,3 we come to know that Bhanudatta was
the son, of Gal)apati. (4) Moreover Bhanudatta refers
to in verse 121 of his Rasa-man-
jari' and in the anthologies several verses ascribed to
Bhanukara are devoted to the eulogies of Nizanl Shah.
Thus it seems that Bhanukara is really identi-
cal with Bhanudatta. I-lis father's name was GaJ)apati
as given in the Padya-vel)i, Rasa-mafijari as well as
the Panjis of Mithila, etc. Unfortunately, however,
nothing is known about his n10ther, early life etc.
BHANUKARA
5
I
Dise Miera
Devanatha Miera
I
Bhase Misra
Ratnesvara i\'iiera
I
Sureevara Miera
I
Ravinatha Misra
I
I .
Bhavanatha MIsra
I
I I
Sarpkara Misra Misra
I
Ganapati Misra
. I
Bhinudatta
4. P. 190, Benares edt
Gita-Gaurisa,
1
and Rasa-tarallgil
f
i of Bhanudatta
2
(2) The same verses are found in different important

anthologies under the names of Bhanukara and
Bhanudatta. (3) One of Bhanukara's verses (Serial no.
7
8
9) has been quoted by Vel)idatta in his Padya. vel)i
.. MUSLIM PATRONAGE TO SANSKRITIC LEARNING
273=RM. 32. p. 752=RM.II.
p. 25; wmtpM, etc.=SA. 690=RM. 86. p. 149;
etc.=SA. 267=RM. 28. p. 63;4h.l::a1it5qf41t'" etc.=SA. 189=
RM. 5. p. II; qd'itl+iNq('Oij, etc. =555. 181 =RM. 81, p. J42;
ilI6I
1
t'St
0
, etc. =555. 582=RM. 41, p. etc. =
SA. 292=RM. 78. p. 239; etc.=SA. 206=RM.
12. p. 30; . etc.=PV. 464=RM. 105. p.172;
etc.-PV. 361=RM. 56, p. 144;
SSS. 20=RM. 10. p.22; GT6 288=PV.
363=RM. 62, p. 121; mmsfil, etc. =555. 825=RM. 7.
p. 15.
I. .. p. 72, v. 3= Ra!la-
III AI njarl, I=Gita-Gauripati, p. 90. 2; Q_
ilf4t+ili{, etc. = Padya-racana, p. 53. x. 5=Rasa-manjari. v.
51 = Gita-Gauripati, p. 146; tm, etc.=Padya-
racana, p. 42, v. J8=Gita-Gaurisa. p. 18, 4';
etc, = Padya-racana, p. 7, v. 38-with slight alterations in
reading = Gita-Gaurisa, p. 48. 7.,
2. RiiT m'-i ciTsti etc. = Rasika-jivana, fo!' =
Padya-racana, p. 33. v. 25 v. 89=
Rasa-tarailgiQi Benares ed., p. 14; etc. =
Padya-racana, p. 72. v. 21=RT. p. 42;
etc. =Padva-racana, p. 21, v. 32=Siikti-sundara, =
RT. p. 45a; IA{iIT, etc. =Rasika-jivana =
RT., p. 53; etc. =PR. p. 86, v. 19=
RT., p. 77; etc.=PR. p. 2, v. 10
"', etc. =PR., p. 87, v. 26= RT. p. 81a.
I. See under the heading Patron' 0/ Bhanu1(ara.
In several verses
l
Bhanukara eulogises one Nizam
Shah. Either of the two Nizams who were ruling in
India in the first half of the sixteenth century may be
referred to by Bhanukara in his verses. One was
Boorhan Nizam Shah I and the other Nizam Khan,
later on known as Sikander Lodi (14
8
9- 15
1
7 A.D.).
It is more likely that the former is meant as in some
of the verses the Nizam is also addressed as Nizam
Shah. Now, Nizam Shah was a general title of the
rulers of the Nizaln Shahi dynasty whose ruling pe-
riod extended from 1497 A.D. to 1637 A.D. The
particular Nizam Shah who was ruling during the
period of Sher Shah's reign was Boorhan Nizam Shah
I who ruled from 1510 to 1553 A.D. As he ruled
about 43 years, probably the majority of the verses
of Bhanukara referring to Nizam Shah would refer to
him. The poet referring to Sher Shah as ruler (194-
45 A.D.) cannot be young in age as he professes in
the same verse that he himself composed a very large
number of verses by that time. Boorhan Nizam Shah
already ruled for 39 years when Sher Shah was crown-
ed king. He ruled for 1 3 years more after the acces-
sion of Sher Shah to the throne. Unless the poet was
long-lived, he could not probably praise any
other living ruler of the Nizam dynasty except
Boorhan Nizam Shah I.
6 MUSLIM PATRONAGE TO SANSKRITIC LEARNING
Bhanudatta himself gives his own genealogy in the
Kumara-bhargaviya which is quite in agreement with
the evidence furnished by the Pafijis of Mithila ex-
cept that in the fornler Visvanatha is represented as
the son of Suresvara and Ravinatha as the grandson
of Suresvara, not his son.
1
Date.
In one of his verses Bhanukara Sher
As Sher Shah ruled from 1540 - 1 545 A.D.,
It IS evident that Bhanukara in the first
half of the sixteenth century, if not a bit earlier.
Again, two verses of Bhanukara devoted to the
praise of one mighty ruler are preserved in the
Padyaracana of Bhana Ankolakara.
3
This
was, most probably, emperor Raya
of Vijayanagara who ruled from 159- 1 53 A.D.
p. India Office Catalogue of Sanskrit MSS. Vol. vii,
2.

qiI"U:
CiT (rR: It
3. (a)
[lllfe:a] "
(b)
'INCU4iN
fii 'if
fciJm)sN EfTi(11
BHANUKARA 7
I .
lU3: uifta I
2. ImperialCezeteer of India, vol. XXI, pp. 279ff.
In a MS. of Somadeva's copied by
RiipaQi who enjoyed the patronage of Bhavasirpha. one
of the descendants of Vaghela Virabhanu of Rewah, the
lineage of Virabhanu is given; vide MM. Haraprasad
Shastri's Catalogue of Sanskrit Manuscripts, vol. VII. For
a further reference to Virabhanu of Rewah. see Pradyo..
tana-Bhattacharya's commentary Satadagama on Candrii-
10ka (Kashi Sanskrit Series. No. 75). The account given
here is slightly confusing.
2
and Manasi111ha. Madh'avasi11lha as the patron
of author of the Raga-mafijari has
been referred to by him in his work.
1
The same work
also mentions that Madhavasi11lha the patron and his
brother Manasi11lha were great favourites of emperor
Akbar who ruled fronl 1556 to 1605 A.D. So chro-
nologically there is not nluch difficulty in Bhanukara's
referring to the grandfather of Madhavasif!1ha, favour-
ite of Akbar. But it is more probable that by Vira-
bhanu, Bhanukara really refers to Vaghela Virabhanu
2
of Rewah (I 555 A.D) who was married to
Sukumaradevi and father of Ramacandra who ruled
from 1555 to 1592 A.D. and was a contenlporary of
Akbar. There is no chronological difficulty; again,
reference to Vaghela kings in the verses of Sanskrit
poets of the sixteenth century A.D. and the liberal
In three of his verses
l
Bhanukara refers to one
king Virabhanu who is represented as lording it over
the kings of Delhi, Orissa, Bengal and Gujrat. There
were several kings of the saine nanle who before
the time of the poet hitnsele and therefore he could
not refer to them as living rulers in his verses. The re-
ference may be to king Bhanu of Kacchapa dynasty,
father of Bhagavantadasa and grandfather of Madhava-
I. (a)
!4i4l
i
Udhih:-;ft,('31.n I

f8Mfu II
Padya-veQi. Ms. v. 64 and Siikti-sundara, Ms . v. 102.
(b) F41..
8Cf I

Padya-veQi. Ms. v. 114; Siikti-sundara, Ms . v. 150.
(c) Ilmt
I

em: Wtcc'hflitt II
Sira-sftlpgraha of Sambhudasa PaQc;lita. Ms. of RASB.,
31A.
2. See List of Inscriptions and sketch of the Dyna8ties
of Southern India by Robert Sewell. Madras. 1884. p. 47
(Virabhinudeva inscriptions are dated 1335, 1237-1240 A.D.).
Inscriptions of Madras Presidency by Rangacirya. vol. III.
p. 2055. etc. The Ganjam (274) and Vizagapattam inscrip-
tions (96-97) of Virabhinu are dated Saka 1275 (1353 AD.)
and 1298 (1376 A.D.) respectively.
BHANUKARA
9
Shah, Therefore, he seems to nave been wandering
from place to place, from one court to the other,
although we have no means of knowing the exact
period of his stay in each. .
He appears to have a very great respect for N1zam
Shah as he devoted as nIany as nine verses to his
eulogy. Most probably, he wrote many nIore verses
in his praise which are now lost to us. In his verse
devoted to the description of the physical chann of
the Nizam\ the poet fancies that the eye of the
lovely-browed one, unable to distinguish between
Kama and Nizam, approaches the ear for its help in
the matter. In another, 2 he declares that the beauti-
ful foot of the Nizam was nlade by the Creator for
being placed upon the head of the wife of his enenly;
the parting line of the hair, the vermilion-dust and
the kundas on the head represent the foot of the
Nizaln with shooting rays and beautiful nails.
In one verse
3
he praises Nizam Shah for making
magnificent gifts. In order to keep a record of his
gifts, Brahma used the Mandakini as a piece of chalk
and drew a long line on the Roor of his house
Puskara. Brahma was on the look out for another
person at least who would be Nizam's rival in the
award of gifts. As he could not find out any, he
1. Padya-racana, 17.6 2. 16.4
3... Padya-veQi. MS., V. v. 100
J9 MUSLU"l PATRONAGE TO SANSKRITIC LEARNING
patronage extended by Vaghela kings to Sanskrit
scholars, confirnl our conjecture.
All the above evidences lead to the conclusion
that Bhanukara or BhanLldatta flourished during the
first half of the sixteenth century A.D. Patrons of
the poet were Raya of Vijayanagara, Vira-
bhanu or Rewah, Nizalll Shah as well as Sher Shah.
Another evidence helps the positive determination
of the lower linlit of the date of Bhanukar or Bhanu..
datta. In connection with showing that sonIe poets
wrongly use "Puratal)." in the sense of "in front of",
Jagannatha quotes in his Rasa-Gangadhara
1
the very
first line of the Rasa-nlafijari of
I Jagannatha Pat).4itaraja,
author of the Asaf-vilasa was connected with the
court of Shah Jahan who ascended the throne in
1627 A.D. Therefore, Bhanukara quoted by Jagan..
natba must have flourished before that date.
Patrons of Bhanukara
Bhanukara was liberally patronised both by Hindu
and Molem rulers of his titl1e. As we have seen, he
adorned the court of king Raya of Vijaya-
nagara, Virabhanu of Rewah, Sher Shah and Nizam
I. etc., pp.
271-272 of the Rasa-Gangadhara With Nagesa ShaUa's
commentary, Benares edt
BHXNUKARA
n
BHXNUKARA
put a dot by the side of that line which is nothing
but the 0100n.
In one verse
1
Bhanukara gives a glorious descrip-
tion of the march of Nizam Shah for conquest. When
he marches out, the earth faints away under the pres-
sure of, and on account of the physical torture caused
by, the hoofs of horses. Therefore the sea terribly per-
turbed and agitated in roaring waves, sprinkles water
on her. The Lady presiding over the quarters Rutters
the Rag, generating violent wind; and the dust-storm
dashes towards the sky in order to ask the divine
physician Asvina about remedy for recovery from
swoon.
In the verse on the sword of the N izam
2
, the
king is highly praised for his military skill. His
sword is so handled that it instantaneously kills in-
nUlnerable mighty elephants of his enemies who are
consequently vanquished in a moment.
In the verse devoted to the victory of Nizam in
battle,3 the poet says that when the Nizam casts his
angry look at his enemies, they all break atwain;
even the sun high above begins to tremble and in
order to save his oWn skin, has recourse to the
banner of the all-conquering Nizanl.
I. P.dyamrla-tarangiQi, MS. v. 91 ; Padya-veni MS
v. 113; Rasika-jivana, MS. fol. 18. . .
2. 85; Sukti-sundara v 134
3. Padya-veQi. Ms., v. 132. ,. .
13
In the verse on the Rag of the Nizaln
1
the poet's
fancy takes a lofty Right. He assumes that the Rag
of the Nizam is nothing but the tongue of the earth
stretched out o.n account of the heavy pressure of the
army on the same. Similarly, in the verse on the
prowess of the Nizam.
2
On account of the excessive
heat of the king's prowess, the gold all over the uni-
verse, even of the Sumeru, melts; as a consequence,
the stairs of Indra's palace situated on it fall down,
even the sun sinks within the melting gold again and
again and the women there are terribly terrified.
In one versre
3
Bhanukara describes the world-wide
fame of his patron. Brahma is engaged in tnaking
verses on the glorious deeds of the Nizam with the
help of a chalk. The long syllables in the verse
stand for the curved lines representing the lunar disc,
the conch, the jasmine and the swan and the short
ones for the lotus-stalk, the snake, the Mandakini
and the tusks of an elephant.
Unfortunately, only one verse of the poet in
I. Padyamrta-tarangiI}i.. v. 15; Siikti-sundara. v. 143
and Padya-veQi, v. 15 I.:
2. Padya-veQi, v. 69 and Siikti-.undara, u. 105; Ralika-
jivana, MS. No. 140 (Kavya) of Calcutta Sanskrit College,
fol. 13.
3. 10 8 and Rasika-jivana, M. No. 140
(Kavya) of Calcutta Sanskrit College, fol. 15.
3
4
5
6,
praise of Sher Shah is left to us.
1
Here, he says that
it matters little to apoet of his standing who has to his
credit innumerable verses if in a verse, or one half of
it, the fastidious manage to find some fault or other
just as it matters little to Sher Shah if out of crores
of horses vying in motion with wind, some five or six
happen to be lame or one-eyed.
BHXNUKARA AS A POET
The verses of Bhanukara collected from unpublish-
ed anthological works' may be classified as follows:-
I. Gods and incarnations of (6 verses).
I. Gat:lapati ... SA. I (See also Bhanu Misra for
another verse on GaJ)apati, PT. v. 7, p. 3).
2. Siva SHY. 27
Krsna PY. 866
PV. 853 =SHV. 46
Parasurama ... PV. 858
Buddha ... PV. 894 = SHY. 74
, II. Kings (16 verses)
Nizam or Nizam Shah ... 6 verses:; PT. 85 =
I.
SSe 134 (description of sword); PV. 69 = SSe
105 (description of prowess); PV. 100 (descrip-
tion of gifts); PV. 132 (description of the Aag);
1. SHV. v. 468.
For additional verses in the Padya-racana. Verses
of Bhanukara quoted in the Padyaracana, p. chu of the
Padyimrta-tarangiQi.
2.
3
3
4-
I.
2.
3
BHANUKARA
PT. 84 = SSe 143 = PV. 131 (description of
the flag); PT. 91 = SSe 198 (description of
the battle-field).
Sher Shah I verse: SHY. 4
68
Virabhanu 3 verses: PV. 64 =SSe 102 (descrip-
tion of prowess):' SSe ISO= PV. I 14 (descrip..
tion of the marching of the king). The former
reads and the latter gives the reading
lOne verse in the Sara-sarrgraha of
Sambhudasa, ctc.
Contd.? ... 2 verses: PY. 16 I (the Right of the
enemy etc. may refer to
SSe 163 (description of the battle);
the word in the verse may .have a bearing
upon the name of the king.
Kings in general ... 3 verses: PT. I 07 (the Right
of the enemy); S5. 172 (the city of the
enemy); PT. 95 = S5. 156 (description of the
battle); S5. 131 and 132 (the assertion of a
hero vanquishing others).
III. Sentiments (5 verses)
PV. 793
Raudra PV. 810
Santa PV. 8I 2
Santasys pascattapa ... PV. 8 I 5
Santas)'a... PV. 8 19
"<-,--<, .,............_ "-r-'" --"
f
,
16 11UsLUvl PATRONAGE TO SANSKRITIC LEARNiNG
IV. Women
3
a. \' ... 3 verses: SA.
18
9; SA.
192; SSS. 799 and SSS. 79
8
b. Tarul)af!l .. 4 verses: SSS. 8 I 7,
82
5,
835; SA. 199,83
6
Beauty of features ... (12 verses)
a. Face ... 2 verses: PT. 136 =SHV. 1637;-
. SHY. 1647
b. :tv1ark on the forehead ... SA. 74
c. Eyes ... SA. 80
:4. Arm-pit SA. I 15
e. Romavali 2 verses: SA. 137 and SA. L39
f. The nliddle ofthebody... 2 verses: SA. J34;
SA. 135
g. Thighs ... PV. 199
h. General description... 2 verses:,SHV. 1749;
SA. 62; SA,. 53 (suppleness of the body).
Types ... (3 I verses)
a. Paro4ha...SA. 234
Samanya-vanita... 2 verses: SA PV . 273; .
3
21
Ativisrabdha-nav04ha ... PV. 305
Prema-garvita ... 2 verses: SA. 278 and
SA. 279
Virahil)l ... SHV. 1944
" -anutapa ... SHV. 1933
l
BHANUKARA
Virahil)l avastha-varl)ana ... SHV. 195
2
" pralapa ... SA. 697
Mapini (heading in the
SA.; it is really a verse 011 Manini) ...
SA. 222
Vasaka-sajjita ... SA. 402
Karkasa ... PV. 387
Kalahantarita SA. 75
6
Vipralabdha PV. 36 I
Utka ... SA. 288=PV. 3
6
3
Madhya SA. 206
Kriya-vidagdha SA. 24
6
Vrtta-surata-gopana...SA. 23
6
...SA. 23
8
...SA. 240
...SA. 258; SHV.,
18
5
1
...SA. 260
Bhavi-sthanabhava-sarrkaya...SA.
26
7
Bharturgalllananuluancna...SA. 270
Anusayana...SA. 264
Abhisarika: sarrcara-kathana...SSS. 177
Jyotsnabhisarika...SA. 303 = SSS. 17
8
Divabhisarika...SSS. 181
Dud :j
(a) Nayakasyagre ...SSS. 5
8
1. .
(b) Diity-upahasa...SSS. 606
3
18 MUSLIM PATRONAGI: TO SANSKRITIC LEARNING
BHXNUKARA
Darklless...SSS. 152
v. Men (4 verses)
I. Splgara-rasopayogino tatra Anu-
...SA. 3I 7
2. Splgara-rasopayogino tatra. Oak-
...SA. 3I 8
3- ...SSS. 564
4. ... PV. 766
VI. Love (14 verses)
Vacana-vya6ga-salnaganla SA. 326
Cega-vya6ga-samagama 2 verses SA. 327
and SA. 328
Gamana-vighnopaya ..SA. 690
verses:, SA. 469 =SSS.
,7
1
3; SA. 470; SSS. 714; SSS. 727
Rataranlbha 2 verses: SSS. 706 and SsS. 707
Ratavasana 2 verses: SSS. 751 and SSS. 752
Viparita-sllrata...SA. 478 =SSS. 737
Parakiya-rata-prasaq1Sa...SA. 464
Sama...SA. 672
VII. N attire (8 verses)
Morning 2 verses: SSS. 13 and SSS. 20
Midday SA. 529
Evening SA. 348; PV. 560; SSS. 148
Moon-risc PV. 573
"
" ... 2 verses: SSS. 192 and SSS. 193
YIII. Seasons (13 verses)
Summer ... 3 verses: SSS. 327; PY. 615 and
rV.6I6
Rainy-season ... SY. 574
Autumn SSS. 404 = SA. 591
Hemanta 2 verses: PV. 649=SS5. 423=
SA. 599; PV. 65
o
=S55. 424=5A. 601
Winter ... 3 verses: SA. 6 10; SSS. 451; PV.
65
6
Spring... 2 verses: PV. 602; SA.
61
7
IX. n.eligion:. Vevotion (I verse)
Kirtana ... PT. 266
X. Holy places. rivers, etc. (4 verses)
(T ... PV. 877
... PT. 42
Lake...PV. 726
Tapovana (attributed to both Gal)apati and
Bhanukara) ... PV. 665
XI. Anyoktis (3 verses)
uckoo PV. 690
Parrot PV. 691
Lion PV. 707
Cloud PV. 717
Moon",PV74 1
a trident (really on the top of it) and the dot began to
shine in the hand of as the disc Sudadana.
1
Here the poet suggests that Siva and
came into prominence as gods after the wane of
Buddhism in India. His picture of the earth as it
was when it emerged out of the ocean and hung on
the teeth of the Boar, is also interesting.:1
His verses on the Nizam
3
are of paramount interest
establishing as they do a good relationship between
the poet and his patron. This, among other eviden..
ces, shows that Mahomedan patronage for Sanskrit
learning was not lacking in India in the sixteenth
century A.D.
In a verse on the flag of the Nizam the poet
assumes that it is nothing but the tongue of the
I. etc.; MS. v! 74;
Padya"vel)i. MS. v. 864. The Padya-vel)i reading is:-
I
2L BHANUKARA

..
fC(l[Tq I

II
[ CRr(..
[(aTq wrft:
I
aRT (Rm
II
MS. v. 46; Padya-veni, MS. v. 853.
3. See supplement.
2.
XII. Miscellaneous (6 verses)
Khadyota ... SA. 558.
Bhramari-kri4a ... SA. 173 =SSS. I I 3
Vana-keli ... 2 verses:. SSS. 82 and SSS. 83
Kavi-varl).ana ... PV. 789 (Here Bhanukara is
expressly stated to be the son of Gal)3pati).
Vidya...PV. 88 I (Here his nanle is given as
Bhanukara Misra; PT., however, attributes
the to Bhaskara).
'Bbanukara as a poet
That Bhanukara or Bhanucandra Misra was a
poet of a high order can by no means be doubted;
that he was very popular is manifest from the evi..
dence furnished by the authors of the anthologies
composed after the sixteenth century A.D- This
extreme popularity enjoyed by him is due to his
depth of thought and analytic power. He was a great
rhetorician and naturally, his writing is very rich
from the rhetorical point of view. He has dealt
various subjects as shown above; in almost every
subject, there are beautiful verses which at once arrest
our attention. Only a few are noticed below.
In his verse 011 the Buddha, he says that when the
Buddha stood against the Vedas (Vedic rituals), the
OI!1-kara fled off, leaving aside its dot (bindu). Then
it had come into the possession of Siva who used it as
2tl MUSLIM PATRONAGE TO SANSKRITIC LEARNING
PV.812.
8HANUKARA
2.
The poet demonstrates the sentilnent of tranqui-
lity well in one of his verses on the same. Nothing
appears substantial, he says, when one looks back upon
life from a very advanced stage; thus the roanling
about of the past appears to be al1 waste of energy,
acquisition of knowledge nothing but provision for
wrangling about and love for women all worry due to
final separation and nothing more; nloreover, a man
at that time whole-heartedly cares for a religious life
and pines for the past part of life that appears to
them almost void.
l
In another verse he longs for
worshipping Dalnodara in a 2creeper bower at Benares,
undisturbed by any woman.
All the verses under secticns 4-5 could well have
been placed under the heading 'Love'. But as the
Nayakas or Nayikas are the main objectives of the
poet in the verses in question, they have been group-
ed under the headings-'Women' and 'Men'. Woman
is almost synonymous with Love and therefore, it is
only natural that out of a collection of 130 verses of
a poet, only four verses are devoted to Men in love.
I.
a I

WWT-Vftit ifTSSuN II PV!' 815.

I
W
.. (1C{ II
qnmr:
I
qW:r '!Jm
II
PT, 95=55. 156.
etc.

cr;TN I
mrr-
fimffi:<f qyfQq-oem VPifi:a =i.t II PV. 161
2.
3.
4.
earth stretched out on account of the heavy pressure
of the army on the samet. In another verse also on
the king, Bhanukara' s poetic fancy takes a lofty flight.
The enemies of the king in heaven feel like fighting
on hearing the violent blowing of the conch ; they
swing about their hands on the arrows in the form of
the eye-brows of the divine7'dall1sels who present them-
selves for embracing them.
2
' In the verse on the march
of Virabhanu for conquest ; the poet says that the
world had a crack in between 011 account of the
sound of drums, neighing of horses and trumpeting
of elephants when be started; (then) the resultant
crack was removed by means of borax in the iorm of
the Mandakini, the moon and stars heated on the
fire of the king's prowess.
3
The pun employed by
the poet in the verse on the plight of enemies" much
enhances its beauty.
1. I
n
PT. 84=PV 131.
2.
4.
BHANUKARA
..
'.:I
lltKlttt 'fiN: I
M' qftw;i
;fT fcfilffq 1I SA. 756.
if)
uq;f I

"SHV. 1944.
QT(f qTm
I
iflm liaT
aa' Ft if ifmTftI 1I
PV. 363=SA. 288.
4
1.
3.
2.
Various types of heroines-Svakiya, Parakiya, etc.
and their mood types such as Kalahantarita,
Utka, Vipralabdha, etc. have also been successfully
depicted by the poet. A lady-love separated r0111 the
beloved as a consequence of a quarrel takes it for
granted that a man is restless and a woman, on the
other hand, steady and sincere and moreover, she
argues, there is no reason why two youthful persons
should not from time to time quarrel, but why should
these wretched creatures-the bee, the Moon, and
Madana-be tormenting her all along? 1 The pangs
suffered by a separated woman eat into her vitals and
she presents a really painful sighe but a lady-love
longing for reunion at any cost whatsoever presents
in herself a much 'nlore pitiable object; she indeed
aoes to any lenoth to recover her lost love
3
and even
b b
a stone tnust tneIt at her solicitations.
2.J MUSLIM PATRONAGE TO SANSKRITIC LEARNING
A beautiful woman at the advent of youth
is a marvel and the poet says, even the god of Love
on rare finds the Venus influencing his fate
l
and only a person with Brhaspati in the eleventh
zodiac sign can expect to dally with her.
2
The eye is a predominant feature of the beauty
of a woman; it is more beautiful than a lotus because
when God weighs them ill a balance, He is required
to place Masas (Phaseolus Radiatus) on the scale of
the the bees representing thenl as such.
3
Again, a verse on the middle of a woman's body
assigns a fine reason why the Iniddle region is appro
priately called a vacuunl. <1
I. !:fT(f:
,

+rTmw: n
SA. 198=555.817.
qTtQl
I
;r)
CR=q II
SA. 199=555.835,
q: I
II
c\,
SA. 80.
!mTmrt {=
I
qtrt
aa: gifa: II
SA. 135.
MUSLIM .PATRONAGE TO SANSKRITIC LEARNING
The psychology and doings of a fallen type of
woman, a lady on tryst in broad day-light or at night
etc. etc. have been nicely analysed by the poet.
Fallen women care for money alone and are the very
antithesis of love
l
and do not believe even in the
syn1pathy of God for them; they simply exclaim that
He has done absolutely nothing for them.
2
They
go to the length of inciting even their daughters-in
any case, those who are very much like daughters to
them-to evil acts.
3
I . (a) q:
lIitt I

m It
PV.321.
(b)
I

m: fcIiiJ CRrtfi:aCli II
2. mfi:a qqfra
if I
liIifTWI.
'ella: fc1i II
SA. 258-SHV. 1851.
3.
I

sm (r6 II
SA. 960.
I
I
I
I
I
I
I
I
I
BHANUKARA
The messenger-maidens engaged in love-intrigues
are always very clever fello'v.,s. One of them repores to
the lover that ever since he was away the unfortunate
girl got rid of the garland of budding lotuses, pearl-
necklace and waist-girdle but that was not all; her
bracelets slipped down fron1 her arms to the wrist as
if to ascertain whether she had lost her pulse too.
1
The poet has also drawn good pictures of men, as
distinguished from women. Howsoever, a woman may
decry that a man is insincere in love-matters, the poet
shows that a man also may love to the extent of
madness. Almost like a woman, he piteously bewails
that he is in no wayan enelDY of the kunda Rower,
honey, bee, waves of nectar, cloud, lunar disc, and
lotus, but they all have turned out hostile to him
simply because she puts then1 all to shame by her
teeth, melodious voice. sweet gaze, laughter, hair, face
and breast respectively, while residing in his heart.
2
I. mm
Clirm 1.(ffl trtt mt CI: I
fci"fq '=1irill CIT lf6
"
555,582.
2.
I
.
fm=ctT 6r-f. 6if a f['tf;:(! II
SSS.564,
A lady-love does not always explicitly speak out
that the beloved one must not go; but she has her
own ways to do things. She tells him that even after
death a woman never recovers fronl the fever of separa-
tion she once contracts; before she departs fronl this
world she must know whether the betel-nut, Rowers,
sandal, water, etc. which act like poison in this life
would be so painful in the other world as well. 1
Bhanukara's verses on nature are novel in concep
tion and enchanting in expression. The night, the
poet says, leaves its bower, the sky, having arranged i.ts
hair in the form of darkness that scattered all over In
course of its dalliance and having worn its earring, viz.
the lunar disc, as soon as the dawn appears.
2
Again,
the morning would, no doubt, appear to many as very
pleasant but it is most unpleasant to some at least. The
poet draws a beautiful picture of a lady-love conceal-
incr in the morninO' the blue lily on her ear so that her
b b
1. gma mil
I

f$ij II
SA. 690
2. lfTf;MT
,401 II
- Sss. 13,
BHXNUKARA
beloved one may not be disappointed.
1
Herself know-
ing that the lnorning is there to torment them by
separation she somehow conceals the faded lily in order
. to save him from a rude shock and violent despair.
In one verse Bhanukara depicts the evening as a
chaste wife who enters the room for having a light as
soon as she sees the nloon
2
The poet explains the moon-rise as follows. The

night is a lady, the sky a bower, the 11100n extends
his 'kara' out of love.
3
Again, he thinks that the.
moon-rise is due to the machination of Kaluadeva who
intends to find out the stolen Sun. In order to detect
the real thief, he performs a luagical rite, viz. setting
a dish (moon) to motion. For this purpose, Kamadeva
scatters all around uncooked rice in the fornl of stars;
I.
I
mit
fit; aII
sss-
2. 'ltTlIl'TfRt" I
fififoaWfIJ. II
rv. 560=SA=SSS. 140,
3. I
lQ'm II
sss. 193.
I.
This is a good example of the figure of speech Virodha.
Here the devotee means to say that he has really attained
the state of Siva on account of his bath in the Manikarnika
though the wording is such that the second part of each
piida may be interpreted otherwise.
of the Gita-Govinda of Jayadeva, and had certainly
some leaning towards religion. The authors of the an-
thologies consulted have not, however, cared to quote
his verses on religious topics such as Sraval)a, Manana,
Kirtana etc., the PT. being the only work to preserve
one verse on the utterance of the holy name of
NarayaI).a. Through a figure of speech known as
prativastiipalna, the poet states that just as the digging
and the levelling of the earth, etc. are useless if no
seed be sown, the perusal of the holy scriptures, the
PuraI).as etc. are all in vain if the sacred name of
Kamalakanta be not uttered.
1
The anthologies preserve a few verses of Bhanukara
on the holy places, etc. In a verse on MaI).ikarl)ika, he
suitablyelnploys the Virodha alalpkara in showing how
a bather in the same attains the state of Siva
2
and in a
3
1
P f. 42.
BHANUKARA
etc. PT. 266.
CfTR! :.iITa:
I
Cll;:fq: qAAar: $r;:a: cIiit
slm: n
I.
2,'
the sky; 2. the cloth. The idea is that in
the Hemanta the day is very short and the night is long.
the cooing of the cuckoos is nothing but the chanting
of mantras by him and the moon is the dish houses.
l
In one of his verses on the summer Bhanukara
has elnployed a pun very effectively. 2 Of
has been the use of a happily chosen word VIZ. Kanya-
rasi in a verse on the description of the Autumn.
3
In
his description of the Hemanta the poet strikinglyatri-
butes the husband-wife relationship to the Day and
the Night, during this season. The Day offers the
major portion of sky (or the cloth) to the beloved
night and himself shrinks for her _,
Bhanudatta was the author of the Glta-Gautlsa
with the on the same work that is a prototype

I
cmmiEi
II PV. 573.
aRT =1. a star: 2. pupil of the eye.
bright: 2. restless. Ci(-1. rays; 2. hand.
This magical rite is performed even today in some parts of
the country for detecting thieves.
2. SA, 529. 3. PV. 650 - SSS. 424. =SA. 601.
qTfi:t;:q enm: I 4.
n
PV. 650-555. 424=SA. 601
2.
PATRONAGE TO SANSKRITIC LEARNING
verse on the Trivel)i .he assigns some reason in his
poetic way why its water should be darkish.
l
In his Anyokti on the Lion he illustrates how
heredity works. No sooner is a cub born than it exhi-
bits a tendency to jump upon the tenlple of an elephant
even before sucking its mother's breast.:I Thus, in his
other Anyokri verses too he hints at some truth or
other.
One outstanding feature of Bhanukara's composi-
tion is his great liking for the employment of figures
of speech.
3
The lofty flight of his poetical fancy
couched in the garb of idiomatic language reaches
at times the maximunl height of poetic excellence.
particularly with the aid of rhetorical perfection.
I.
I
sttii cp;rf(=J
II
PV.877
{=6;:Q it ,
pif II
PV.707
3. in PT. 266; in a large number of
verses; anQ in 555. 564;
in PV. 815; mf.:t:mT'l in SA. I ;
in PV. 573; in SSS. 606; in
555. 193; etc. etc.
AKBARIYA-Ki\LIDASA
His date
Akbariya-Kalidasa composed a work entitled Rama-
in praise of Vaghela Ramacandra
.of Rewa who was a contemporary of Akbar and tuled
from 1555-1592. We published for the first time
a critical edition of this valuable work
1
as vol. 3 of
Pracyavani Gopal Chunder Law Memorial Text
Series in 1946. In the introduction in English to
this work, we discussed about the date of the work
and came to the conclusion that the work ll1USt have
been composed by 1580 A.D. Here we also dealt
with the Fatuily of the patron of the author viz. the
Royal Family of Rewa and the inlportance of Ranla-
as a Sanskrit work, patti.
cularly, about its style which has a unique grace and
beauty of its own. The authors of the Padya-
racana, Sukti-Sundara and the Padyavel)l have quoted
verses from this work (see Appendix to this work).
From the colophon to this

it is clear that Akbariya-Kalidasa's real nanle was
Govinda Bhana. !-).s a contemporary of Ramacandra
and Akbar, Akbariya-Ka1idasa must have flourished
about 400 years ago.
I. For MS. see p! 85 of Mm. HarapratBd Shastri's
Catalogue of Sana. Maa. belonging to the A.iatic: Society
of Bengal. Vol. IV, p. 85, Calcutta 1923
.s
1.
I

,. tlPV.77.
2. iHIm VtfinqrtWf fcmat ..
.... qfct(litI(-qi fiMfa I

I
"
SSe 174; PV. 168; 4th line missing in the latter MS.
3. For details about the kings of Rewa,see Dr.Hirananda
Sastrin's Memoir on the Vaghela Dynasty of Rewa. 1926.
4. See under Bhinukara.
35
AKBARIYA-KALIDA-SA
I. mI I
tiM II PV. 96
2. Padyimrta-tarangiQi. 72=HV. 67=55. 121
3.
cR: (fC(

if ;(iffir "
4. ( ri\ft II f( (1=lt m_-
<:\ ...
p? tJllTRr ?

.. II
PV.65
5.
I

Rfim): II
PV.76
One of his verses is devoted to the praise of king
Rama for his charitable acts,l particularly the gift of
elephants. The king of Kabila who is said to have
invaded the country of Vaghela was repulsed by the
latter in spite of the former's very strong army2. In
another verse he describes the sword of the Vaghela
king; to him it appears like a swarm of bees emerging
out of the calyx of his hand-Iotus.
3
In a verse in the
form of a colloquy between Gaud and Rambha he allud-
es to the mighty prowess of the son of king Virabhanu
i.e. king Ra-macandra of Rewah. He praises the queen
of Dalapati in one verse. 5 He describes Akbar as an
His patrons
MUSLIM PATRONAGE TO SANSKRITIC LEARNING
34
Akbariya-Kalidasa was one of the greatest Sanskrit
poets of his age. Though he had had other patrons,
the' name of the poet itself shows that this Kalidasa
of the sixteenth century A.D. was a great favourite
of Akbar. Nothing about his parentage is, however,
known. He praises in his verses several kings who
must have extended patronage to him in some fonn
or other, and he avowedly acknowledges the patro-
nage of Akbar by assuming a nanle after him. Thus,
he refers to Gurjarendra, Jallala, Vaghela, Dalapati"
Virabhanu-putra or Ramacandra of Rewa and Akbar.
He praises the king of Gurjara as one whose fame has
pervaded the whole world.! King Jallala is referred
to in a beautiful verse 011 the wife of his el.lemy.
The Vaghela King praised by Akbariya-Kalidasa was
Ramacandra of Rewa who was responsible for sending
Tanasena to the court of Akbar.
3
His father Vira-
bhanu was the patron of poet Bhanukara.
4
37
No. of verses
I: PV. 611 =5SS. 309
... I
AKBARIYA.KALIDXSA
PV. 620=55S. 330; and SSS,
3
2
9
b. Malaya-breeze... I: PV. 609
c. Moon-rise . I: PV. 58o; S55. 25
Cb) RllT
illl: I

mIT II PV. III
(c) etc. S5 63. see 5iihitya Parishat Patrika
1. Ft;:n' ,
C6: Ii
V.786
A kbariya..Ktilidtisa as a poet
Akbariya-Kalidasa was proud of his achievements
as is manifest from one of his verses preserved in the
Pa,dya-vel}i. 1
The verses of Akbariya-Kalidasa that are traced
may be classified as follows:-
Subject
Personal
Deities
a. Bhavani 6: PV. 16, 36-38; SHV. 27)-274
Bhavanicchatra... I: PV. 46
Devicchatra I: PV. 47
b. Sambhu 3: PV. 25, 14- 1 5
c. Ganesa ... 2: PT. 6=PY. II; 5HV. 124
d. 3: PV. 33-35
Animal
The horse
Love
VirahiI)i
5. Nature
a. Summer-wind ... 2:

I
Clim'- ..
"
PV.53
2, etc.=PT. 97=55.158
-.;l
3. PT. 89=PV. 138= Rasika-jivana. 14a, 29=
Padya-racana, 29.27. Probably, }a1151a praised by Akbariya-
Kalidasa (p. 34) is the same as Akbar.
4. V. 168 (see Sahitya Parishat Patrika)
5. V. 191-
6. et. =PT. 01
133 168 ('ifCfiqUo)
7. (a) mfi muqllCl qlqct1
t qa: I

ii4i: II PV,l 67
outstanding ruler wno possesses the might of a lion.
l
The emperor he says, is so powerful that he extirpates
all his enemies instantaneously and terrifies even the
king of Ceylon.
2
In another verse his sword is
beautifully compared with various objects.
3
The
Siikti-sundara( preserves a verse in which the poet
describes the march of the Nizam for conquest. But
as both the Padyamrtatarangil}i5 and the Padya-vel}i
6
attr;.bute the verse to Bhanukara, the attribution of
Sundaracarya does not seem authentic.
There are a few other verses which he presumably
composed for pleasing some king or other.
7
he praises the umbrella of the goddess as a wonderful
thing. No sooner is it seen than it enters the head.
1
Again, he pays homage to the goddess in her Jvalamukhi
in two verses. Very fortunate are they, exclaims
the poet, who worship the holy feet of Jvalamukhi
with bodies horripilated, eyes tearful, and heads rolling
011 the ground-muttering prayers in faltering
accents.
2
Again, the poet worships her for dispelling
all the gloom of his miseries by means of the shoot-
ing rays of her toes.
3
He has depicted Siva in a very pleasant as well as
angry mood. In one verse he intends to deceive
Parvati and replies accordingly to her questions re-
garding the identity of the person on his head. It
is really the goddess Ganga, traditionally, the co-wife
I. I
...(i'6ilfa n 46.
The significance is that it is very pleasant to the eye ;
and ,secondly, it remains long in the memory of the visitor.
_the verse is designed to contain the figure of speech
Vlrodhabhasa.
2.
I

II
" ... ---".. PV.38.
3. -
I

'lR II
PV.37
39
AKBARiYA-Ki\LIDi\SA 38 MUSLIM PATRONAGE TO SANSKRITIC LEARNING
6. Description of kings 12.: PV. 53; PV. 67; PV. 76;
PV. 111; PV. 168 =55.
174; S5. 63 = PRe IP. 14;
55. 168 =PT. 91=PV.
133; PV. 77 =55.80; PT.
97 =55. 15
8
; PT. 7
2
=
PV. 66=55.121; PT.89
=PV. 138=PR. 2J.27;
PV. 65
Sword of a Vaghela king I: PV. 139
Gifts of king Rama I: PV. 96
7. Anyapadda I: PV. 73 2
8. Features: Hair I : PV. 259
9. Kavi-varl)ana 1: PV. 786
Akbariya-Kalidasa did not professedly belong to
any religious sect such as Sakta or
He pays homage to Siva, Bhavani and
Gal)esa. Three of his verses are devoted to
(including one on three to Siva, eight to
. Bhavani and two to Gal)esa.
In a verse on goddess Durga he prays to her for pro-
tecting him from all evils ,in that majestic form in
which she is worshipped by Indra with the Mandara
flowers that attract a large number of bees. As they
.,sit on the golden umbrella of the goddess, they cons-
titute another umbrella as it were and the goddess
appears like wearing two umbrellas.
1
In another verse
L
I

II PV. 47

"._.. - -_.__...._..,._,.__ ... ..,.
I
AKBARiYA-Ki\LIDi\SA
of Parvati, but Siva tries to explain away the questions
of Parvati.
1
In the verse describing Siva in his destruc-
tive mood, he is seen with one leg lifted up for the
dance and Aparl)a clinging to his body in
fear; the terrible sounds of his anklets are piercing
the whole world as it were.
2
In the third verse he
describes the neck of Siva with its dazzling bluish
colour resembling various dark objects such as the
waves of the Yamuna, the bed of blue lotuses, etc.
and earnestly prays for getting rid of aU evils.
3
Gat).esa has been praised in two of Akbariya-
Kalidasa's verses collected by us. In one he is found in
a very happy mood, and in the other, rather in a terrific
I. fCfi mfitfit fiti
Mi ,
t.
fuR-uat qTrj WI: II
PV.16
2.
,

llir n
PVo 14
3,
fi "".. "'>
q{ I

WltC41 "
PV.25
form. In the fOrIller he is found pulling the foliage,
placed on the ear of Durga as adornment, with his
trunk; consequently, Mahadeva goes on s111iling,
I\artika enjoys the fun; the confidantes and the Ganas
also are amused.
1
In the latter he is found dancinO"
o
with such high junlps that Paulollli shrieks out in fear
at his sight from the top of the prelnises and Indra conse-
quently begins to worship hinl with a view to appeasing
hinl; the poet prays to such Gal)eS3 for h is grace.:':
In two out of three devoted to the poet
ploays to for his blessings' and warding off all
evils. In one, his dazzling blue colour is con1pared to
the waves of the Yanluna, a new patch of cloud and
a cluster of the leaves of the T an1Jla.:I In the other,
is detected by the poet-devotee in a very happy
l1lood when he is enjoying the cOlllpany of his consort
I :qo::tro:tai-t
I
liT itfa filft
"
SHY. 124
2, etc. =PT. 6
3. da
I

WI: II
PV.33
6
4
2
and the poet oilers his prayers for protection.
l
In his verse on the poet prays to him for un-
flinching devotion alone; nothing else matters to hin1.
2
We have only four verses of Akbariya-Kalidasa
on nature which has a pern1anent bearing on the
sentinlent of Love. These verses nlight as well be
termed Love-verses. Unfortunately, we have only one
nlore Love-verse of the author-a verse on a separated
ladylove. Out of the four verses on nature, two are
devoted to the description of summer-wind. In one
the sumtner-winds arc stated to be the elephants of
king Madana who are rushing on after roanling about
on the outskirts of the Golden nl0untains in the form
b
of the breasts of the Ladies of junlping in
the Pampa Lake, scattering the pollens of the Malli
flowers-and followed by swarnlS of bees throughout.
3
I . FIiliH.:;i{
l

QTi1! II
PV!! 34
43
Winds
a. Wearing garlands in the
form of bees
b. Full of the pollens of
lotuses
Scattering tiny parti-
cles of water. etc.
d. Passing through various
sorts of flowers
AKBARIYA-KALIDASA
Boys
a. :-wearing gar-
lands of tigers' nails, etc.
b. :-covered
with dust
c. Wi!fi(lQ((..gm :-emitting c.
saliva
d:ll :-passing
from one lap to the
other
J. I
'fc1W1T: II
PV.329
2.
.. .. I

trnI-.mn: ..
PV.609
The pleasant summer-winds towards the end of the
day joyously passing through the Campaka forest and
accumulating honey drops and consequently, slowing
down its gait, are sufficiently capable of relieving
people of all fatigue.!
The verse on Malaya-breeze attributes the nature
of a boy to it and all the adjectives are so used that
they may be interpreted with reference to the
Malaya-wind as well as a boy. The poet really des-
cribes the advent of the spring and chooses
happy metaphor for the purpose.
2

l
I
if {1m' II PV. 35
filA:
qJ=qJ l

"
..:)
PV. 620=555, 340
2.
3.
Rower that can outdo the lotus by rivetting the
lit' attention of the bees evenJor a while.
1
Akbariya-Kalidasa is indeed a great Sanskrit poet.
His verses are inspiring and really enjoyable. Almost
every verse has some figure of speech or other in it,
such as the metaphor including the Malarupaka,
Atisayokti, and so 011. Nowhere in
his composition, is there any looseness. The style of
Akbariya-Kalidasa reminds one of the excellent styles
of his illustrious predecessor whose name he shares-
though at a much later period. One is apt to think
that his name Akbariya-Kalidasa is really a pen-name
so designed as to please both Akbar as well as to suit
his own capacity as a supposed rival of the best poet
of Hindu India.
44 MUSLH,,1 PATRONAGE TO SANSKRITIC LEARNING
In the verse devoted to moon-rise, the poet says
that the evening is the time for the god of Love to
proceed for the conquest of the world and accord-
ingly, the ceremonial for die purpose is to be observ-
ed; a copper-plate, therefore, floats on the sea in the
form of the setting sun and East, too, bears on her
head a pitcher in the form of the moon.
l
The pursuit of a horse is beautifully described by
the poet. It stretches forth its head as it intends to
n1easure the earth and its feet are raised up as it con-
siders the sky as nothing but a stage to dance on.
2
The poet has left us to the legacy of ot11)' one
Anyapadesa or Anyokti. It is on the lotus. There is no
AKBARIYA-KXLIDXSA
45
1.
fqrna- l1T3: ,
iitrnfil
11
PV.580
v, r. in 555. 205a. ,
Floating copper-plates and holding pitchers on the
head are parts of the auspicious rites observed as )'atra
mangala.
2.
I

PV. 126=55.124.
I. t
if 8T!tft wafq
;r\T..m
.,
II
PV.732.
. The Raaika.Jivana records etc. as a verse
of Akbariya-Kalidisa. But see KVS p. 34, ...m,
etc. ascribed to Kalidisa in tWo M5S. of the SP.
I. Rasa-Gangadhar'a, I. 2 :-

iillIIT<O('itlr<{nfq f1tilmu ;j{..q I
vm;f
9c1!'!F.lUT\1tt q: II
2. Cpo (ct "rf.:a ;fen;1It
ijilffl f. ita) I
m flat
if fmHn II
in Piirva-lnimarpsa and in the Maha-
1 taught Jagannatha Par:t4itaraja
as well.
Ie is said that Jagannatha started a school at
Jaipur. He as well as other Pat:l4itas of Jaipur were
once challenged by a Kazi to an open debate in
matters concerning Islam. It was only Jagannatha
who took up the challenge, studied the religious
literature of the Moslems as much and as quickly as
he could within the fixed date and defeated the Kazi.
This creditable performance had such a telling effect.
upon the ruler of Delhi that he at once invited
Jagannatha to his court. Jagannatha accepted the
satne and a fresh chapter in his life's history began.
There is a tradition that he fell violently in love
with a Muslim girl called Laval1gi whom he married.
Probably, he was unmarried when he came to the court
of the ruler of Delhi.
2
That he was much enanl0ured
..
JAGANNXTHA
Court-poet of Shah lahan (1628-1658) and great
admirer of Dara Shikoh (d. .I 659)'
Personal history
Jagannatha was the son of Perubhanal or Perama-
bhana2 and of the village Mungundu in the
Godavari district. He was a Tailal1ga brahmin
3
of the
Veginada community. 4
He was very fortunate in his training as a student,
his father himself being the teacher. His father in his
turn was the disciple of Jfianendra in Vedanta,
of Mahendra in Nyaya and of Khat:l4adeva
h Rasa-GaIigadhara. 1. 3 : -
qr"'4(1f(N q'\q. I
8
In commenting upon Nagesa Bays,

2.. Concluding verse (52) of the Pral)abharal)a (No. 53)
is an interpolation:-

FciiitlWIz;:aq: I
:mamAi1Pf
II
3. Ope cit.
4.. See colophon to the Bhamini-vilasa.
JAGANNAXHA P ARAJA
47
4
8
tdUSLIM PATRONAGE TO SANSKRITIe LEARNING
of this Musli111 girl is evidenced by several verses
attributed to him.
l
.
. Probably Jagannatha had a son by Lavali.gi whose
loss he mourns in one of the verses of the Rasa.Gali.ga-
dhara.
2
Jagannatha, probably, first came to Delhi
during the rule of Jehangir to whonl he refers in a
verse of the Rasa-Gali.gadhara.
3
Jagannatha himself states in the introductory part
of his Asaf-vilasa that he got his title Pal).4itaraja rOIn
enlperor Shah Jehan. His work on Asafkhan, coun-
sellor of Shah Jehan and brother of Niirjahan, mani-
festly shows his reverence for hinl and also for Raya
1. u;rtf) ctiil;ftttal1T ,
iilllal{ U
l{f:qiffit
iI;:lt if qift i{Nq;t n
" if ';T if I
"
2.
trT 6iftt cti'-tfitq n
P. 42. 5th NirJ1aya-Si"igara Press ed.
3. :qsjTqq'la (lCl wa.WtilHl P iilTa:
(=fTs?t I
..
(P. 703).
The full name of Jehangir was Nuruddin Muhammad
Jahangir!
}AGANNATHA
Mukunda of Kashmir at whose instancc he composed
the same. The verse attributed to Jagannatha PaQ4ica..
rija declaring that only two Isvaras or Lords, either
thc Lord of Delhi or of thc Universe, are to be
approched for help, the rest being simply
f("om the point of viewof real patronage
l
, would probab-
ly, refer to Shah Jahan during whose reign he passed
the longest period of his life at the court of Delhi.
In sonle MSS. of his work Jagad-abharaQa there
is a reference to his enjoymcnt of the patronagc of'
Dara Shikoh (see below: under the works of Jagan-
Moreover, Dara Shikoh was
luurdered in 1659, only one year after the imprison-
11lent of his father Shah Jahan.
The tradition is that Jagannatha Par:t4itaraja left
the court of Delhi in sheer disgust after the lllurder of
Dara Shikoh and came to Benaras where he was severe-
ly reprimanded by Appayya apparently for
luarrying a Muslimgirl. This was, most probably, only
retaliating for Jagnnatha's severe criticism of his work
CitraminlarpSa in the Citra-mimarpsa-khaI)4ana. Jagan.
natha. however, took the insult so terribly to heart
that he is said to have comluitted suicide along with
1. ((T ((T ,
qfl(\(4iilii {:ii'...., .. V
__;" __,,..., .,' .... _.;: .. .
,
so MUSLIM PATRONAGE TO SANSKRITIC LEARNING
his beloved Lavangi in the holy water of the Ganges.
There is a tradition that the Ganga-Lahari of Jagan-
natha was composed for this purpose; 'as he stepped
down and down, he recited one after another the 53
verses of this stotra after which he and Laval1gi
were drowned.
But this incident must have taken place not
immediately after his leaving the court of Delhi. He
says in the Santa-vilasa, part IVof the Bhanlini-vilasa,
v. 32, that after leaving Delhi, he resided at
Muttra.!
The third canto of the Bhamini-vilasa, viz. the
Karul)a, apparently appears to have been composed after
the demise of Jagannatha' s partner in life. But really if
the Karul)a-vilasa as a part of the Bhamini-vilasa were
composed with the express intention of having ready
illustrations for the Rasa-Gangadhara as Nagesa says, no
personal loss need be taken into consideration with re-
I. QI.'4lilICiMdrfil risN tNTmr
"'" ,
M'S'MNa-cmR tf(: W

2. Jagannatha says in the Rasa-Gangadhara. v. 6 :-
r.."iq
C5l'Ri if tm=q I
fCl iP':l:
II
Nigesa 8ays, I
JAGANNXTHA PAt:-lPITARAJA
gard to the composition of the verses. Moreover, as
there is no evidence Whatsoever that Jagannatha
Pal)4
i
taraja married a second time, the above supposi-
tion distinctly goes against the tradition that he and
Lavatigi died together in the holy waters of the Ganges.
Date.
The Rasa-Ga6gadhara contains n verse
l
which refers
to Nurdin. Nurdin is really the forename of Nurdin
Mahammad Jahangir, father of Shah Jahan. Most pro-
bably our poet came to the court of Delhi when
Jahangir was the ruler. Internal evidence shows that
Jagannatha Par:t4itaraja enjoyed the full confidence and
patronage of Shah Jahan.
2
If 'Jagat' of the work
1, etc., p. 703. NSP. 5th ed.
2. 'Qtl
..qa. t

aUatiijq

fitUlltm I
Introductory of the AsaE-vilasa.
Again, the word in v. 32 of the Sanla-vilasa,
Part lV of the Bhamini'vilasa, most probably. rders to
Shah
53

I
JAGANNXTHA
I r
1II1nr 'Jrn: (discipleP ..Tt:'n: (Ion)
I I

I (disciple)
I r
(Ion) (disciple)
I (wrote in 1641 A.D.)
-.rim-\1I: (disciple)
I
(disciple)
[For the date of Vaidyanatha.
See Introduction to my edition of
Vol. I]
Nagesa Bhana Rourished towards the end of tne
17th century and therefore the date assigned by us to
Jagannatha PaI;l4
i
taraja who Rourished two generations
earlier must be about 50 years earlier still.
In the Kula-prabandha composed in the seventeenth
century, which is now included in the of
the Sahirya-vaibhava of Mathuranatha Sastrin
Garden, Residency Road, Jaipur, Rajputana), it
is stated that one Narayal)a who was a student of Jagan-
natha PaI;l4itaraja succulhbed to death at an early life in
the seventeenth century. 3 This also helps the exact
I. Bhattoji's disciple NilakaQtha Sukla composed a
work in 1635 A.D.
2. There is a tradition that Hari-Dik,ita challenged
)aganniitha PaJ].Qitariija in debate in which our poet 6r8t
defeated his opponent but later on Was himself defeated.
3. AUT I
II
(son)
I
(disciple)
(wrote in 1635 A.D.)
.. .. --
I
I
I

I
author
of the
52 !\1USLI!\f PATRONAGE TO SANSKRITIC LEARNING
JagadabharI;la may be taken to refer to Dara Shikoh as
some MSS. ShOW, Jagannatha Pal:t4itaraja may be sup-
posed to have continued to enjoy the patronage of the
Mughal Raj till the murder of the eldest son of Shah
Jahan. Therefore, our poet appears to have enjoyed
the patronage of two Mughal emperors and one Mugh.al
prince. It is only likely that Jagannatha was In
the second half of the sixteenth century and contlnued
to contribute to Sanskrit literature till the murder of
the unfortunate Mughal prince Dara Shikoh (
16
59
A.D) as a court-poet of Delhi. Subsequently to his
leaving the Royal court he resided at Muttra and
piled the Bhan1ini-vikisa and necessarily the Rasa-
Gangadhara, if the word 'kavya' in v. 6 of this work
really refers to the Bhamini-vilasa as NageSa says it
does.
Other evidences also he1t' the deternlination of the
date of Jagannatha Our poet is connected
with the celebrated School of Grammarians headed by
His exact relationship is best seen in
thl: following table :;-
I. See p. 72 of my edition of the Padyimrta-tarangi\1f.
55
JAGANNAtHA
A of the writings of Jagannatha Pal).4itatija at
once shows that he wrote on various I) Stotras
such as thOSe of Lalqmi, Ganga and Yamuna;
(2) Panegyrics of Pral.lanarayal.la of Kamariipa, Jagat-
sitpha or Dara Shikoh and Asaf; (3) Nature, e.g. the
sun-rise (see Sudha-Iahari below); (4) Sanskrit Grammar
such as Prau4ha-manorama-kuca-mardini; (s) Sanskrit
rhetorical literature, e.g. the Rasa-Gallgadhara, a com-
mentary on the Kavya-praka$t and Citra-mimiqui-
kha99ana. Again, the Bhamini-vilasa which was com-
posed for the purpose of having ready illusn-ations for
the Rasa-Gangadhara i$ a monumental work. It con-
tains, among many lyrical stanzas, a large number of
Anyoktis which have been amply quoted by the
karas in their anthologies.
. Some accounts of the extant works of Jagannatha
Pal).Qitarija are given below.
tarangif)i is dated at 1674 A.D.
I
and was composed
only fifteen years after the murder of Dara Shikoh.
From the above evidences we may come the 000-
elusion that the period of Jagannatha's literary activities
.continued from the beginning of the seventeenth cen-
tury up to about -1660 A.D.
aetermination of the date of Jagannatha Pat:tgitaraja
irrespective of the above evidences.
Again, the of Hari Kav! preserves
a verse of Jagannatha Pal).gitaraja in which he praises
one Gangadhara.
1
Nagesa refers to one Ganga-
dhara as his guru in his commentary on the Rasa-
Gangadhara.
2
It may be that these two Gangadharas
were identical in which case Gangadhara must have
taught Nagesa in his old age.
ftmay further be added that the commentary of
Nagesa on Rasa-Gangadhara \vas composed by
beginning of the eighteenth
self severely criticised Apprayya as a slaVish
tator of earlier rhetoricians. Appayya was probably ahve
up till the end of the first quarter. of the seventeenth
century and was, in any case, a senIor
Jagannatha. Haribhaskara, whose
was composed in 1676 A.D. includes In his Padyamr
ta
-
ttarangil).i two verses of Jagannatha. The Padyamr
ta
-
1. -lfll-
.t 1
The Lak,ani-lahari of Jagannatha seems to refer
f
in v.
the lame poet by means 0 pun on n
1I11If.:tt I"
2. 1IJTift' d-fi1V 81a the openinc line of
the commentary. 84
3. Bhandarkar, Reports. 1877-91, p. lxii and 1883- ,
p.6O.
54 MUSLIM PATRONAGE ,TO SANSKRITIC LEARNING
1. Greek ed. in 1845. Many Indian edition. without
commentaries since 1870. Ed. with commentary bhii,aQa of
Mahadeva in the Grantha-ratna-mila. 1890; with the com-
mentary of MaQirama by Victor Henry, Paris. 1885; with
the vyakhya by Yadunatha Tarkicarya. Calcutta. Sarpskrta
Press, 1862 and with Kavya-marma-praki8a by Lak,ma1)a
Rimacandra Vaidya. Bombay, BhiraU Pr 1887.
8
3. also called PafJ4ita,aja-sataka.1
The work consists of foyr vilisas, viz. Prastivika-
vilasa, Spigara-vilasa, Karul.la-vilasa and Santa-vilasa.
.Vl' in some editions the total number of verses
found are 129, 183, 19 and 45 in the four vilasas res-
pectively, in others, again, there are 101, 102, 19 and 3
2
or 33 verses. This great discrepancy in the number of
verses in a comparatively recent book is, no doubt,
puzzling. It shows, however, that the work enjoys
great popularity. In all, 121 verses are left out in several
editions. Out of these about 100 are found in the Rasa-
Gangadhara; and therefore, there is no doubt that these
100 verses were composed by Jagannatha
though it may be doubted whether the author himself
selected them for inclusion in his Bhamini-vilasa. The
remaining 2 I verses also bear the distinctive stamp of
Jagannatha's poetic excellence and are, most probably,
his own.
Nagcsa in .his commentary on the Rasa-
Gangadhara says that the Bhamini-vilasa was composed
57

I. Edited by Pandit Durgaprasadand Kashinath Pandu-
rang Parab. Kaoya-mala, Part I. pp. 99-101. Bombay 1886.
Verse no. II: -.i I
MO....qa ..
2. 'tit qdi=a it _-ll8T-
qyq ilt4l 1!'Mtf'f8 II V.IO.
3. The MS. ueed for our edition belongs to the Bbandar-
kar Oriental Research Institute; lee P.K. Gode'e Catalogue
of San.k. MSS., Kivya volume.
s6. MUSUM PAtRONAGE, TO SANSKRITIC LEARNING
I. Amrt4-lAh41'i.
The hymn of the Yamuna
1
in only eleven verses is
meant for daily during the bath.
2
Here the
poet eamestly desires to pass his days on the banks of
the Yamuna as a mendicant (v. 3) and prays to
for salvation,
2. Asal-vililsa.
This work is devoted to the praise of Nawab Asaf
Khan, brother of Nur Jahan and minister of Shah Jahan.
It is being published for the first time as an Appendix
to this work.
3
As Asaf Khan died in 1641 A.D. as is re-
corded in the chronogram Zihe afsos Asaf Khan, this
work must have been composed before that date; and after
the accession of Shah }.ahan to the throne in 1628 A.D.,
as he is described as "Sarvabhauma" in the work itself.
TIle work deals with Shah Jahan'so visit to Kashmir
and Asaf Khan's whole-hearted endeavour to pronlote
royaC happiness. No historical account about Shah
Jahan or Asaf Khan is found in it.
See Introduction to my edition of the Bhramara-dfita.
Ed. in the Kivya-mili.
Reprinted from the Kava!,.-kaumudf, (Kottakal],
59
JAGANNATHA
aet1Vltles during the first half of the seventeenth
century.
1
His Bhava-sataka was composed at the
instance of Bhavasil!1ha, son of I
The Prasravika-vilasa is really a collection of
. Anyoktis. This vilasa is also found printed under the
title Anyokty-ullasa with a Malayalam metrical version
by M. N. Sisttin.'
The Anyoktis here are all grand in conception as
well as expression. The Padyamrca-tarangil).i which
was composed a few years after the death of our poet
Jagannatha quotes a few of these Anyoktis, viz. verses
I, 5, 7 and 14 of .the Prasravika-vilasas! The first one
dwells upon the majesty of the great who .justly terrify
the rivals, take pity for those who are meek and humble
and do not cause any 'harm to the lowliest. In verse
no. 5 the poet establishes that a respectable person must
not be dishonoured. In the next verse the poet resorts
to the figure of speech for bringing out the fact
that a poor man 'must not feel discontented or be des-
paired; love and appreciation of others' merits are sure
I.
2.
3.
1916.
4. P.dyimrt.-raraAIi:oI, verlel 200, 213, 252 and 194
relpectively.
sa MUSUM. PArRONAGE ro SANSKRITIC LEARNING
earlier. than the Rasa-Gangadhara with the object of
having ready illustrations for his Magnum opus.
1
Jagannatha Pal).9itaraja says that he compiled the
Bhimini-vilasa as a selection of his verses in order that
nobody dse could claim them as his own. 2 But a com-
parative study of his Bhamini...vilasa with the Bhiva-
sataka
3
of Rudra Nyayapaficinana or the Anyokti
mukcalati
4
of Sambhu Mahakavi reveals that Jagannatha
was indebted to both of them for his thought and
imagery of a good many verses. Sambhu Mahikavi was
the court-poet of king of Kashmir (1088-1100
A.D.) and flourished towards the close of the twelfth
century A. D. And Rudra Nyayapafical1ana, son of
KiSinitha Vidyanivasa of Bengal and brother of Visva-
natha Paficinana flourished in the .second
half of the sixteenth century and continued his literary
). See Nigasa commentary on the liztb
Introductory verle of the Rali-Ganaidhara.
2. At the end of the lalt part of the BhiminI-vilila, the
poet .ayl:-
Q'IT ,
pr II
0.
3. Cpo Bhimini- vilisa. ). I with Bhiva-vilisa, 140:
BhiminiviJila 9 with Bhiva-vilila 41 and 41 of the former
with 26 of the latter. etc.
Cpo Bhiminl-vilila, 1.2 with Anyokti-mukti-Iati,
14; Bh!minl-vilu, I, 19 with AM. 72; BV. 20 with AM.
26;BV. 47 with AM. 12 and 10 on.
J. Both the Citra-mimirpsa and the Citra-mimalpla-
khaJ)Qana have been edited in the Kivya-mila. No. 38,.
Bombay, NirJ;laya-sagar Prel.
to be his sustaining forces. In verse no. 34, the proverb
HCarrying coal to Newcastle" has been happily substan-
tiated with an illustratieo..
61 JAGANNAnIA
.. I
l!f: m U last verse.

-..: '-.I
il18T: II
qfit
Pft,Q,U tT S{: IItu

,

8 mt amra til
2.
4.
3.
I. Printed in the Brhat-stotra-mukti-hira. part II. srotra
no. 395. pp. 401-409; Bombay, Gujrati Printinc Presl, 1916.
5. Ganga-Iahari,l .lso c"lleJ .nJ
G4ngAmrt4-1.hari.
Several editors call Sadasiva's com'mentary pn the
.Ganga-Iahan, as The India Office Library
possesses 45 editions of this work, but none is a critical
one. This important wE>rk badly needs a critical edition.
The Gangi-laban of Jagannatha is a very sincere out-
[,urst of the of a real devotee in S2 stanzas.
The poet here remarks with child-like simplicity that he
cares little for any other gods and goddesses as he feels
sure of the affection of the Ganges for him; if she now
becomes careless about him, who else would come to his
rescue, who else would care to console him?" Her
holy water must put an end to his cycle of births."
MUSLIM 'PATRONAGE TO SANSKRITIC LEARNING
2. fcoosq
I
..
qtfi:r tI
fQ..fft..l"I'f1 I
it fqp n
The MS. from which the Citra-mimarpsi'khandana was
edited in the Kivyamili i. dated 1652 A; D. and was.
probably. written durins the Iifetime of the author himself..
4. Citr4-mimA'!Ju-kha1J4ana.
1
Our poet expressly statets that the defects of the
of Appayya thoroughly dealt
with in the Rasa-Gangadhara are collected in an abbre-
viated form in this work.' Appayya another
outstandingly great Sanskrit scholar of the South, was
a sworn enemy of our poet and responsible for his
unnatural death. Unfortunately the Citra..:mima1'!lsa as
well as the Rasa-Gangadhada are both incomplete, no
definite reasons for which can be assigned at the present
state of our knowledge.
60
liz MUSLIM PATRONAGE TO SANSKRITIC LEARNING
Brahma, and Siva may safely cease to function
if only the Ganges is alert about the welfare of the 1
The lovely big eyes or the ears are simply usekss if they
do not see her or hear the sweet sound of her sportive
waves.
2
Many people resort to many austerities, but
the poet knows only one way out for avoiding all
troubles.
3
6. /agad-itbhara1Ja.
From the introduction of Durgaprasada to the Rasa-
Gangadhara, it is known that he came across a MS. of
the JagadabharaJ)a which had the readings Dara or some
epithets such as referring to him instead of
So it is certain that a MS. of the poet's
in that form was found devoted to the praise
I. """" f.r:q' f<m1m
(R(fqui f{: ,
t56:
ffi'mTiri 1m'i
2. "fJ 'Itif
81 flr+t4'it.Mi' 8Cf I
.. ..
",RiA"._:
3.

..!I

JAGANNATHA
of Dati Shikoh. The late lamented S. M. Paranjape,
however, says in his edition of the Bhamini-vilas
a
that
he came across a MS. of the JagadabharaJ)a which had
the concludinK verse and the colophon as follows:-
a'"""'q4lW,QlIQlq....
ftlinit"flq: I
.,t(I41i.M.....

.m
iI,+(w...a.. fCff.lfiRi II
son of was the of
Udaipur and reigned from 1628-1654 A.D. Chrono-
logically, there is no difficulty in the poet's composing
the work in praise of Dara Shikoh or and as
it was he, who praised as lone cannot
be sure to whose praise the work was really devoted by
the poet himself.
7 Karu1Jit-lahari, also called
In some MSS. the name KaruJ)a-Iahari is replaced
by 2 It is a hymn of or in 60
J.
VTIfilQ '"' II
2. Ed. in Kivya-mili, part II by Pandit Durgipralida
and Kisinith Pindurailga Parab. pp. 55-61. see fn. 2, p.
55, Kivyamili 2.
6.t MUSUM PAl:RONAGE TO SANSKlUTIC LEARNING
verses and is outstandingly lyrical throughout. The poet,
as is clear from his other as well, was most reli-
giously minded and in this hymn he declares that he
cares for nothing else than the Lord.
1
A child falling
into a is saved even by a passerby; the poet fallen
into the sea must be saved by the father, the Lord.
1
The mind of the poet, a cakora in quest of moon-
beams, is terribly scorched by the wild fire of the forest
of Universe; the face-moon of the Lord must now save
it by the award of what it so badly needs. S
8. Kavya-prakasa-(ika.
No MS. of this work could be availed of. Stein
notices one MS. in his Catalogue of Sans. MSS. be-
longing to Raghunath Telnple Library in Kashmir and
Jammu (60. 1-2).
I. .. l
;m II verse 4.
2. aRt: tq: AQ1'1ia ,
... iI f.rcn'qf .t II verse 26.
3.
I

... II "erie 59.
JAGANNXTHA
9.
The consists of 41 verses in Sikharit:Ji
metre and is a hymn of the goddess The poet
prays to her for removing all his sins and for her kindness
. to him. He considers it superfluous that in a hand that
is matchless in fragrance as well as tenderness adored
by all poets, a lotus should bloom again; it is from this
that the well-known figure of speech Simile of the
kavyas originated. 2 The necklace of the goddess that
represents the assemblage of all the beauties in the world
and puts to an end all the troubles of the devotees should
find out the means of the poet's sal:vation.
3
10. Manorama-kuca-mardana.
4
[also called Prau4ha-manorama 0 ]
This work that has not as yet been published is
I. Published Kavya-malii, part II. pp. 104. III.
2. .
am-fq

\I verse 25.
3. mnm: sittJIt
I

oti (I{T 1I verse 27.
4. List of M58. pelonging to Pt. Radbakrishna ....,f
Lahore. 9 : Classified index to the Sans. MSS. in the Palace
at Tanjore by Burnell. London, 1880, 40b ; Lists of Sans.
Mas. in Private Libraries of Southern Jndid by Gustav
Oppert, 1\155. 4339 and 4499 ; etc.
9
66
MUSLIM PATRONAGE TO SANSKRITIC LEARNING JAGANNXTHA
devoted to a scathing criticism of Manorama [Prau4
ha
-
manorama], s commentary on his
Siddhanta-kaumudi.
II. Pra1'}abhara'f}a.
The poet composed this panegyric in 53 verses for
expressing his heart-felt delight on hearing verses. of
Prir)anarayat:la, king of Kamariipa.
2
He htghly praises
Pcit:lanarayat:la for his vast learning, particularly in verses
16 ;. d 50. There is a on this work com-
posed by the POet himself for bringing out. the
rical excellence of each verse. Every stanza 15 deSigned
to be an excellent example of one or more rhetorical
figures of speech. Grand indeed is the verse (no. 52) con-
taining a pun on the word 'Varna's and the adjectives
are soused that they may be interpreted both with
reference to the enemies of the king as well as his wife.
By means of a pun on the word 'Arjuna'4 the poet
I. Ed. in the Kavya-miila. Part I pp. 7990.
2. See the last verse (no. 52). No. 53 is an interpolation.
The name of the king is given in verse no. 5. His designa-
tion is given in verses 2. 15 and 22.
3.
cmat 6iOfit ,
. -;'
cmnwrt llCIa: tlHI(f+tl.. U Verle 1.
4, I
Verse 43.
charmingly describes the fame of the king extending all
over the world.
l
The MS. of the Prat:tabharat:ta belonging to the
.Tanjore Sarasvati Mahal Library (no. 3828) gives the
name of the poet's father as Raghunatha and has
the reading 'Kamaladh'ipasya' instead of 'Kamatadhi-
pasya' in verse 53. Again, at the end of this MS. there
is a long prose passage which is not found in the printed
edition.
12. Rasa...Gangadhara.
Jagannatha Pa94itaraja was not only a great poet but
also one of the best rhetoricians India has ever produced.
The Rasa-Gangadhara of Jagannatha Pat:t4itarija is one
of the best rhetorical works of India from every point of
view, viz., clarity of expression, superb judgment, depth
of insight, wide range of learning and so on. AU the
examples of the work are Jagannatha's own composition.
Unfortunately the work is available in an incomplete
form, breaking off in the middle of the Uttara
No definite reason for its incompletion is known. His
shows that it was composed
after the Rasa-Gangadhara and one would naturally think
that Jagannatha Pat:t4itaraja really completed the work,
I. qqit .Pit" ,
Verse 48.
1. Ed. in the Kiivya-miilii, Part 1. pp. 16-22.
2. rnm

... lllwt):
though the ren1aining portion of it is not available to-
day even in MS. form. Or, it may be that in his
to oppose vehemently his greatest rival Appayya
he really undertook the work 0 khal)4ana even
before the Rasa-Gangadhara was completed. The tra-
dition that the learned s<;.holar courted death along with
his wife Lavangi o\ving to the deliberate insult meted
out by Appayya probably furnishes a clue as to
why both the Rasa-Gangadhara and Citra-mimaqtsa'-
l<haI).9ana are found incqmplete.
JAGANNXTHA
14. Yamuna-var1Jana, a prose work.
No complete MS. of it is as yet traced. Only
two quotations from it are preserved for us in the
Rasa-Gangadhara.
4
Jagannatha Pary4itaraja Rourished at a time when
even the vernacular poets were excessively fond of intra-
ducingalliteration in composition. Several Hindi verses
of Viharin and Sanskrit verses of Jagannatha Pary4ita-
raja are very much alike in style as well as thought.
There are traces of the inRuence of his age upon Jagan-
natha Pal)4itaraja; e.g. it was customary amongaristo-
Indra by the Eastern horizon as it were and therefore,
it appears as though the birth-rites are performed in
the morning.
1
The drops of water offered as oblation to
the Sun appear like so many in course of their fall
to the ground.
2
The Sun is ever merciful to all men in-
asmuch as it seeks the aid of the Fire-god for their pro-
tection during its absence at night.
3
1. See v, 8, iIl4l'wti, etc.
2. See v. 13, etc.
3. CliT-

4. NirJ)aya-Siigara ed., p. 21,
m"; p.
159. I
uenfuI-srcntT ,,,
13. Sudha-lahari.
1
The Sudha-Iahari presents a grand description of sun-
rise in 30 verses in the metre Sragdhara. The Sun rising
in the East from the causes iounense delight
to all-particularly, to the lotus. It is the be'st healer of
all diseases and inspirer to all' devotees. Its rays, shoot-
ing through trees and falling on the earth, appear to
young parrots like sticks and they, therefore, try to put
their legs on .t.hem; the dew-drops on leaves, n1ixed with
them, resemble' the pomegranate-seeds in order to eat
which they open their, beaks.
2
The Sun is the son of
68
crats during Muglial rule to maintain a couple of
pigeons. There is a verse in the Rasa-Gallgadhara
which refers to a pair of these love-birds.
1
Jagannatha Pat)4itaraja is undoubtedly one of the
greatest rhetoricians in Sanskrit, if not the very greatest.
If he could have completed the Rasa-Gallgadhara, he
would have undoubtedly eclipsed the -glory of all the
rhetoricians of India. It is only unfortunate that such
an outstanding personality should have faced such a sad
end of life. I-Je was a great poet as well as a good prose-
writer. It may be taken for granted that his Kavya-
bears the same stamp of rhetorical perfection
as the Rasa-Gal1gadhara does. It is a great pity that
such an important work should still be known in name
only. We implore to the authorities of the Raghunath
Temple Library, Kashmir and Jammu, to undertake the
publication of this work. at the earliest opportunity. It
may also be presumed that the work of our Par:t4itaraja
I. Cpo e.g,
I
II P. 258 of RG.
with Vi harin's verse: -

'fit) ;fR II
qP6f tmn cRnft sU I
mil II
P.97ofR.G.
JAGANNATHA PAl':'lI)ITARAJA
on Sanskrit Grammar, the Monorama-kuca-mardana,
would be also a work of outstanding merit. Trained in
the school as that of and probably,
his contemporary too-in any case, a direct disciple of
Viresvara, son of s guru-Jagannatha
Pai)4itaraja was eminently fit for this critical work. Jagan-
natha's panegyrics of the then kings of India and
hymns on various deities are also quite up to the
standard of the author of the Rasa-Galigadhara.
SEVERAL OTHER SANSKRIT POETS
PATRONISED BY MUSLIM RLTLERS
was the court-poet of Shahabuddin who
severely threatened Mirasaha planning for the invasion
of Kashmir.
l
Shahabuddin must have flourished in or
before the twelfth century when 5ridharadasa, author
of the Sadukti-karJ.:lamrta, adorned the court of
as is evident from the fact that one of
the verses of Amrtadatta is quoted in the Sad-ukti-
kal1)amrta.2 This verse and several other verses
3
quoted
73
Subjects

1

..:]

.
[Q!i$f:]
[N:]

[ " ]

No. 2454: 6Cf
50:
e
" 949: qct
" 72: Cfi'{-:st,lil+4'i4c
" 148: CfiCil..t
" 6U9:
" 940: fifi qyrq
" 2457: mao
" 2291:
" 156: ma
" 1030:
" 2458:
" 989: ii ..fiTift
., 853: if
" 796:
" .34:
" 966:
" 73:
" 2477:
" 718: (04ijfS;<tM fCfi
" 2453:
" 2574:
I. 5S\'. 1032, etc.
Suktimuktavali. p. 61, v. 6.
.. 1143... etc.
SiiktimuktavAli, p. 27. v. 64.
This second verse has been quoted by Mammata also
in his Kavya-prakasa.
in the are not found anywhere else. Two
of his verses are found in the Subhasitavali as well as the
Sllktimuktavali of
10
Subjects

...

I. Verse 608 and of the :-
,
II
fctAEC+4fQ(ffP:
qRtfiftia+t1\a-

...

2. II. 20. 3, p. 81. Lahore ed., etc.
3. Verses of Amrtadatta quoted in the SSV.
No. 805:
" 2455:
" 429 :
t 2456:
I. 91 I
fitm; II
mo II S5V. 429,
2.
qr;q if oeftU I
qiff
ilRl(rcrif II S5V.949
3. I
qMlRfT n S5V.2291.
AmFtadatta is a good poet. Some of his verses. are
really enjoyable. Thus in censuring the wicked, he
says that neither the nectar was drunk by the gods,
the poison by Siva but they persist still in the world In
the honeyed speech and the heart of the wicked
.1
Again censuring the desert, the poet says he censures
it not because it cannot be of any service to anybody
but because it deceives the thirsty people by deluding
them through mirage.
2
In his verse on the sentiment of Laughter, is
said to be fond of the dull-witted (go-buddhi) because
her husband used to play with the cows (gO-s). As a
chaste lady, she is intensely devoted to those who have
some semblance with the favourites of her husband.:
J
This refers to the traditional enmity between the two
co-wives the goddess of Fortune and Sarasvati,
75
S5V.853.
VAMstDHARA MISRA
91 I
;qmsqma1itltNd ..
I.

\i41iffl&lAlifar I
Iq44t>.4 _ (!Iit+ft,,,ti
II SSV. 43.
In this verse the poet prays that either the eyes of
Hari or his body may remove all the sorrows of the
people due to the cycle of births. From the available
verses, however, AmFtadatta does not seem to have
possessed a very fertile imagination and novelty of
thought. His verses are rather stereotyped.
the goddess of Learning; is said to favour the
dull-witted while scholars are destined to suffer from
poverty. It is not i'mprobable that the verse has a
,personal significance. .
In his verse on the sea, he says the sea may at times
transgress its coastal limit (maryada) but never violates
the self-imposed rule (marya&i) that it would not be
of any service to the thirsty. I In the verse
etc. he exhibits his skill in intellectual exerCIses.
He uses all the adjectives to Netre (neuter-dual) and
(feminine-singular) as well as the verb in such a
way that they qualify both Netre and without
any alteration in form: r-
74
I. v. 200. p. 49 :-

'"
,
flTiif ..i
f1fE:+cwt
i
.4fa: It
"
Gp. cit., v. 201. p. 49 :-

I
ff4ttil;:flMCfi't q ;n1f
"
"
wmfinn:q I'
The Padyamrta-tarangiIfl preserves one verse of
Misra who was a great favourite of the
queen of Shah Thus in one verse Jagganatha
PaIf4itaraja, favourite poet of Shah Jahan, says that he
is a Lion who does not find anywhere even an elephant,
all that he sees him are really deer who are easily
assailable. Misra, however, retorts him by
saying that Jagannatha as the favourite of Mahadeva
(Shah Jahan) is really a bull. It is he, nor Jagannatha
PaIf4itaraja, who as a favourite of Durga (the queen) is
really the Lion and is capable of vanquishing all others. I
t\1USLIM PATRONAGE TO SANSKRITIC LEARNING
PUNDARIKA VITTHALA
. . . .
mainly wrote on Music. He belonged
to the court of Burhan Khan of the Pharuki family
which ruled between 1370-1600 A.D. at Anandavalli
in Khandesh. Burhan's father and grand-father were
Taj Khan and Ahmed Khan respectively. Subsequently
PUIf4arika came to the court of of the
Kacchapa dynasty, son of Bhagavantadasa and grandson
of Bhanu and composed his Raga-mafijari at his instance.
PUIf4arika was a favourite of Akbar as
As the Raga-mala of the san1e author is dated Saka
149
8
(1576 A.D.), PUIf4arika must have Aourished in
the middle of the 16th century A.D. I
HARINKRKYANA MISRA
The Padya-veIfl preserves two verses by this poet in
one of which he praises Emperor Shah Jahan (1628- I 658
A.D.) and therefore, he Rourished about three hundred
years ago. The last line of this verse presents some
difficulty in sense; probably, the readings of both the
MSS. 2re corrupt; still, the verse
2
is a good one.
VAMS1DHARA MISRA
VAMSIDHARA MISRA
77
I. Bhandarkars Reports, 1884.87, No 1026.
2. etc. PV. 144=55. 138. For the com-
plete verse, See Supplement: Shah Jahan.
Commenting on the second verse, Jayarama. author of
Sopana. commentary of the Padyamrta-tarangiQi of his
father Haribhaskara. says :-
wm-wmn

U\ifTif: it mf;t;t: ,
'N'(Ok'q3'ij{T
attit mSi6: nit"

I

"c.. (' ..
IICIi
q't1T: I
1I.1i
I
i1+n Rqa. q{dir II
This work consIsts of Caturbhuja's verses as well as
those of other poets, viz. Acalarudra, Aniruddha,
Avilamba, ISvaradasa, Ugragraha, Ka111sanarayal).a,
Kavindra, Kulapati,
Gadadhara, Gau9ayadava, King Jaganmal).i(?), phakka-
rava, Dasavadhana, Dhanadeva, Navina-Kavindra,
,Nathamisra, Paiicanana, Parasurama, Bharaci-Kavi
Bhiipati-Misra, Mal).9ana, Mati,
Mohana-Misra, Raghupati, Rantideva, Ramacandra-
Sarasvati, Ramarama, Ruci, Vasanta, VaI)irasala, Vahini-
pati, Vidyanidhi, Shayasta Khan,
Sarpjaya(?), Kaviraja, Sarvadasa, Svasthana-Misra, Hari-
pati and Harindra. Besides these, the verses of
three women have also been quoted, viz. Madhura-
valli, Lakhya and Vidya. The pratikas of their verses
are given below:
CATURBHUJA
This poet and rhetorician composed his Rasa-kalpa-
druma for the gratification of his patron Shayasta Khan,
Aurangzib's 'maternal uncle and General. Unfortu-
nately, this valuable work has not as yet been published.
l
It was written in Sarp.vat 1745 or 1689 A.D.
i.e. the 31st year of
Alamgir's reign. Herein he gives the genealogy of his
patron :-
Itamaddoula
I
Asak Khan
I
Shayasta Khan
2
mii;n;:qrCi(fQG.. ... I
fiEf!R: atn
wo-ti8T ;\c( !l11..
\;iEfip.RfT( " I
I. Me. belongs to the Ulwar Maharaja MIs. Library;
see Peter Peterson's Catalogue of Sanek. Mes. No. 1067.
2. emu:
I

...'

'Pf.t
lit"
CATURBHUJA
79
I. Madhuravalli-(i) (ii)
(iii) u-; (iv) (v) ;
(vi) ; (vii)
2. Lakhya: -(i)
3. Vidya: -(i) aTt!
There are sixty-five Prastavas or chapters and one
thousand verses in the Rasa-kalpa-dntnla.
LAKS:rvUPATI
The lineage of the poet
1
as given by himself in the
Abdullah-carita,2 published as Vol. I of Sanskrit His-
tory Series from the Pracyavani, Calcutta, 194
8
is as
follows:--
jayadeva
I
Visvarupa
I
I
Srinivasa Viresvara Vidyapati Lak,mipati
The date of the composition of the work is
16
43 of
the oSaka era i.e. 1721 A.D.
composed the work with the object of
bringing to the notice of his ruler-patron how mischief-
mongers bring about th,: destruction of great people as
well as of the poor; particuiarly, \-'lith the object of seCl1r-
1.
Sf1=: tJar: II
I
II
I
II
2. Prepared from the only.I\1S. belonging to Calcutta
Sanskrit College Library, No. 2484.

ing his own position against all the odds that might
befall him.!
Mahammad Shah ascended the throne in
1
7
20
The historical incidents dealt with in the work mostly

took place between 177 when Alamgir died and 17
2
I ,
the second year of the reign of Mahammad Shah.
2
I. See p. 71. vv. 1798-1804
,
daQ''6E'C1 41"1 "
.. fi'd\ apuT a.. 8m: ,
qt11' n
...
Wi'Qft4E'C*f "
Wi ftt;n' mum CI'U ,
fcAr fm6 if "
&11'(Q11 OO;f: I
"

am tm "
f.nntftotqRt GlTiRIT ,
w.n fi4MNn, "
1\'1$wIFQ mftmd $I I
mn I
.. ;mTCfi: II
2. Cf. the Later Mughals by William Irvine. edt by (Sir)
Jadunath Sarkari vol. I (1707-1720) and vol. II (1721-1739).
Calcutta, M. C. Sircar and Sons. 1922..
11
.' .
This work contains copious references to Akbar,
Jehangir, Shah Jahan and particularly Aurangzeb.
1
deals, in this campti Abdullacarita with
the events leading to the campaign against Mahammad
Shah, son of Aurangzeb, launched 'upon by his
minister Abdullah and the reinstatement of the latter
to the post of minister of Delhi. Abdullah, Husian
Ali Khan and Surphadi Saiyed Khan were three
brothers of whom Abdullah was the minister of Delhi.
Husain Ali Khan was also a very inAuentialman.
Mahammad Shah was much indebted to Abdullah for
many rtasons; still, as he became apprehensive of the
tremendous power of Abdullah, he decided to assassi-
nate Hasan which he actually did. As a consequence,
Abdullah led a vast army against him but was subse-
quently defeated. Mahammad's army did not kill
Abdullah because he was a Saiyad. Mahammad himself
reinstated him to his post of minister as a token of his
previous gratitude to Abdullah. It is clear from the
I. E.g. p. 32, v. 897-
I
I
P. 33, v. 842-
I
I
p. 35, v. 947-Mahammad Shah is here addressed '!R'ttw-
I m:r .
For all references to these names. See General Index.

work that was a good Sanskrit scholar,
showing here as he does his thorough acquaintance with
various branches of Sanskrit literature, particularly,
. Nyaya,t and Tantra.
3
He also profusely
<Juotes many maxims, verses from the Bhagavad-gita,
the Bhagavata and so on. He shows his proficiency
in the Koran as
That was thoroughly conversant with
Arabic and 'persian is evidenced by his use of a large
number of Arabic and Persian words in his composition.
Although the value of this sort of admixture of different
languages may be questioned, it must be said to his credit
sense and the metre are not in any way
Jeopardlsed E.g.
v. 34 .m 1f.Uf(t (
v. 36 ( iG:
v. 66 (lIl_U)7 Cliitffl )8 I
( r0 II
-
V. 35 :q ()/::. )9 I
V. 69 ... r-..; I
.---
I. E.g. v. 1313. if CfiI{4[H.iN I
etc.; p. 104. etc. v. 777.
2. E.g. vv. 436-463.
3. V. 716, also ref. to
4. E.g. v. q qm I
5. Flesh... (here. beef) 6. poison.
7. Without vice. 8 In the soul.
9. Like a lion. 10. Sinner; unfortunate. 11. Repy.
V.135
v. 73 ()O,)l :q
V. 79 51(1 ( lJ-Ji/;.,. y'
V. 83 (y',tr' ;m.....tt4: ( )5
V. 84 ( )'1 ete.
V. 91
V. (yti"A)8 wre'
V. 92 ( J.-C )' ...
V. 600 fRlE1;;:;; (JUa)10 :qr{ ()....1)1
1
;r
" 13 ;r H

V. 608 ( )U it ...
was also thoroughly conversant with the
political conditions of the whole of the North India of
his time as copious references to many places and per-
sonalities show. 15 He was not only a poet but also a
good historian. It is, however, regrettable that he some-
times lets his imagination get the upper hand with the
result that the facts stated are at times exaggerated.
I. Vizir. 2. Enmity.
3. Jupiter!' 4. Wine. 5. Eyes
6. Elephant. 7. News. 8. The moon
9. Bath. 10. Crescent. Sky.
12. Bond; evidence. 13. Anger. 14. Tolerance.
15. E.g. cmm ,
fita a.. if 6qn
tm'ifT i1(;i 1.1. eClqlt=dt1j
1m: n V. 131
lIanf{=8 ,
msN ilT'4Tf8 U V. 852.
PROPAGATION OF SANSKRITIC LEARNING
DURING MUSLIM RULE
In Mediaeval ages the 1{9horn.edan rulers devoted
much attention to the spread of Sanskritic knowledge
and Culture. In this respect the attention of the Moslem
rulers of Bengal was first drawn to the two great Epics,
the and the Mahabharata. Nasir Shah of
Bengal (1282-1325 A.D.) to whom our great Vidyapati
dedicated one of his padas, 1 ordered the first Bengali
rendering of the Mahabharata. It is not exactly known
whether Krttivasa undertook the executi(ltl of the
Bengali verliion of the RamayaI).a at the instance of a
Moslem ruler or of KarpsanarayaI).a. Even though the
latter might have ordered the same, the initiative was
certainly obtained from Nasir Shah. The Bhagavata-
pural).a was translated into Bengali by MaJadhara Basu
at the instance of Emperor Husain Shah. Kavindra
ParameSvara translated up to the Stri-parvan of the
Mahabharata by order of Paragal Khan, general of
. Husain Shah. The encouragement Paragal gave the
poet is unique. Every evening he and his courtiers con-
gregated in his palace at Paragalpur in Feni for listening
I. In one of his Padas. Vidyapati respectfully refers
to another ruler of Bengal. viz. Sultan Ghiyasuddin II
(13611313 .A.D.).
J. Erskine'. Memoirs of Babar, pp. 50. 51. Ulugh Beg
Mirza entrusted the charge to QazIzadah Riimi; on his
death, to Maulana Ghiyasuddin Jamshid; and subsequent-
ly to Ibn' Ali Muhammad Koshji.
to Kavindra's translation. His son Khan also
encouraged Srikara Nandin for carrying out a similar
work. When he became the Governor of Chittagong,
he ordered Srikara to translate the Asvamedha-Parvan
of the Mahibharata which he did.
Not only the rulers of Bengal but also the Itnperial
rulers of Delhi encouraged the propagation of Sanskritic
learning in various ways. Babar was a firm believer in
Hindu Astronomy which, consequently, became a very
popular subject for studies fhroughollt his kingdom.
He makes significant remarks about this science in con-
nection with the observatory at Samarqand the calcula-
tions of which were followed by all Indian Maho-
medans.
l
Nothing much about Humayiin's enterprise
for the spread of Sanskritic learning or his encourage-
ment to Sanskritic scholars is known. But his great son
Akbar compensated enough for this lack, if any, on his
father's part. In 1582 A.D., he ordered Naqib Khan
to translate the He evinced much Per-
sonal interest in this work. He personally explained to
N aqib nigla:: after night the procedure to be followed for
its successful execution. He ordered Abdul Qadir,
author of Tarikh-i-Badaiini, to assist Naqib in this
SHAH MUHAMMAD SHAHBXDI
.. , ... ,.:;. __ __ __. . . -, ..... ',:'1... '..___
work. Two parvans were translated within a few
months. Then Mulla Sheri and Baji Thanes-
wari coll.aborated. Shaikh Faizi was engaged in versifying
the rough. translation, but he progressed only up to the
second Book. Baji who was engaged in revising Faizi's
work was dismissed after he had finished only a fraction
of the work. This work was not a literal translation but
really a summary of this great epic. This condensed
version was named Razm-Namah or Book of War.
l
Subsequently it was highly decorated with pictures.
For the MS. of this work Akbar spent 4,000. The
preface to the work was written by Abul Fazl and copies
of the work were distributed among the nobles.
2
By
order of the emperor, Abdul Qadir began the translation
of the Ramayat:J.a in 1585 A.D. and completed the same
in 1589 A.D.3 At his instance, again, a converted
Mahomedan of the South and Abdul Qadir began the
translation of the Atharva-v,eda. On account of their
failure in doing the work properly, it was entrusted to
Shaik Faizi. Subsequently, however, the duty devolv-
ed upon Baji Ibrahim Sarhindi.
4
I.. Martin notices in his Miniature Painting and Pain-
ters of India, Persia and Turkey, vol. I, P. 127 that the
MS. is at present at Jaipur.
2. Gladwin's Ain-iAkbari, p. 85; and Tarikh-i-
Badaiini; Elliot, V, p. 537538.
3. Tarikh.i-Badauni. Elliot V, p. 539.
4. Lowe's MuntakhabuI-Tawarikh, Vol. II. p. 216.
86
1. Elliot V, p. 478; Asiatic Researches, vol. XV, p. 2;
and Blochmann's Ain-i-Akbari, vol. I. p. 106.
2. Gladwin's Ain-i-Akbari, p. 87.
3. Faizi"s collection was in possession of 101 copies
of this work; Tiirikh-i-Badiiiini. Elliot, V, p. 548.
4. Also called Sirphiisana-dviitrirpsat, Vikramiirka-carita,
DViitrirpsat-puUalikii-sirphiisana. DViitrirpsat-puUalikii and
Sirphiisana-dviitrirpsikii.
5. Tiirikh-i-Badiiiini, Elliot, V. pp. 483. 484 and ;13.
6. Blochmann's Ain-i-Akbari, p. 104.
Faizi translated into Persian the Lilivati and Mukam-
mal Khan Gujrati the astronomical work Tajak.
Maulana Shah Muhammad Shahbadi translated the
History of Kashmir in Sanskrit into Persian. This
history translated is, probably, to be distinguished from
the as Maulana Imamuddin is the reputed
translator of this work
1
A Persian version of the
Hari-vaI!1sa was made by and of the
Pancatantra under the title Kalilah-Damnah by Maulana
J:Iusiani Waiz. An easier adaptation of the latter work
was also made under the title 'Ayar-Danish.'2 The
model of Layala and Majniin was followed in the Persian
version of the famous story of Nala and' Damayanti
under the title Nal-Daman.
3
The Emperor ordered
Abdul Qadir to translate the Dvatri.l1lSat-Puttalikar
Sil11hasana4 with the help of a learned under
the title Khirad-Afza-Namah.
s
The Gangadhara and
the MaheSa-Mahananda were translated under the
general supervision of Abul Fazl.
8
88
MUSLIM PATRONAGE 'TO SANSKRITIC LEARNING
DAM SHIKOH
Shikoh was a great Sanskrit scholar. He
patronised a very large number of Brahmal)a Pa94itas
hailing from all over India, particularly, Benares and
.with their help, he translated into Persian several
under the name Sirr-ul-Akbar or the Great
Secret. He states in the preface to the work that he
became a disciple, while at Kashmir, of a great Siifi
called Mulla Shah and studied a lot about Siifi-ism. His
labour was in vain; Sufi-ism could not give the peace of
mind he was ean:estly seeking for. This, however, he
obtained frool a study of the Vedas and the U
On account of his very deep interest in Sanskrit and
great respect for Hindu Culture, he always engraved
the word "Prabhu" or Lord on his Diamond-rings and
other valuable articles. His Sirr-ul-Akbar was coolpleted
in 1657 A.D.
2
He also translated the
though two earlier Persian translations of this already
existed, one being executed under the patronising care
of his great-grand-father Akbar. In order to demonstrate
a real harmony between Sllfi-ism and Hindu pantheism
he COIl1posed in 1654 A.D. a v,ery valuable work caUed
the Samudrasati.gama
3
on the technical terms of Hindu
pantheism and their equivalents in Siifi phraseology. In
I. Alamgir-Namah. Elliot, VII. p. 179.
2. Anquetil-Duperon published a Latin translation of
this work in 1801 ; see Constable's Bernier, p. 323 n.
3. For a critical edition and translation of this work,
See Contributions of Muslims Sanskrit Literature. vol 111.
12
r..ttJSLUvf PATRONAGE TO SANSKRITIC LEARNING
his grand work Mukalamah-i-Baba Lal Das he deals
with, in course of a dialogue between himself and Babi
Lal Dasa, the ideals of Hindu asceticism.
Dara Shikoh, probably, got much encouragement in
his Sanskritic studies from his maternal uncle Shayasta
Khan who was so well-versed in Sanskrit that he used
to compose verses in it. Six of them are quoted in
Caturbhuja's Rasa-kalpa-druma which is not as yet pub-
lished and a MS. of which is in the possession of Ulwar
Maharaja's MSS. Library.l The Pratikas of die verses
arc given below:....-.
1. 1v
ii. Cftg(f: v.
111. ;r;:ijO=!JTnJrfcr::ti VI.
This was indeed a great age when the Mahomedan
aristocrats, Princes, etc. not only cared whole-heartedly
for Sanskritic studies but themselves contributed to
Sanskrit Literature.
The Mahomedan rulers helped the spread of Sans-
kritic learning in another way as well. That is no less
important than their personal initiative in having import-
ant Sanskrit works translated into Vernaculars or 'Arabic
and Persian. The Hindu nobles and Chiefs followed the
I. Catalogue of Sanskrit Manuscripts in the Library
of His Highnesl the Maharaja of Ulwar by Peter Peterson,
Bombay, 1892, MS. No. 1067. For details. see pp. 78-80.
FUSION OF HINDU AND MOSLEM CULTRE
noble example set by them. Thus, the noble initiative
of the Mahomedan rulers gained in momentum in course
of time and a great enthusiasm for Sanskritic learning
. prevailed throughout the country. It is during the
Moslem rule in Bengal that she came to the fore-front of
Sanskritic learning and two new important branches of
Sanskritic studies, viz. the Navya-Smrti and the Nav}'Cl
Nyaya, came into existence.
Thus we see, many Moslem rulers of India, Chief-
tains as well as Emperors, contributed to spread of
Sanskritic learning in the following main ways1l (I) by
liberally patronising many scholars in various branches
of Sanskrit Literature such as poetry, astronomy, philo-
sophy, etc.; (2) by themselves composing Sanskrit verses,
etc.; (3) by themselves composing works, in Arabic and
Persian, on Sanskritic learning and Culture; (4) by
slating themselves various Sanskrit works into Arabic,
Persian and Vernaculars; (s)by making great Sanskrit
scholars translate well-known Sanskrit works into Arabic
- ,
Persian and Vernaculars. From the evidences adduced
above, we can at once trace the fusion of Hindu and
Moslenl culture from the eleventh century A.D.
SUPPLEMENT
I
TEXT AND TRANSLATION OF SOME
LAUDATORY VERSES ON THE ~ I IOMEDAN
PATRONS OF SANSKRITIC LEARNING.
PATRONS
I. Akbar
2. Emperor of Delhi
3. Jahangir
4. Muddafar Shah
5. Nizam Shah
6. Shah Jahan
7. Sher Shah
NO. OF VERSES
... 5
.. . I
I
10
2
.. I
21
1. PV.53,
3. P.T. 89= PV. f38=PR. 21. 37
TEXT AND TRANSLATION or: SOME
LAUDATORY VERSES ON MUSLIM RULERS
OF INDIA
I. AKBAR
I. ]

,

1
II
II II
[DESCRIPTION OF THE KING]
As regards your forearm, you arc a tiger; 3S regards
your shoulder, a Reshy intoxicated elephant; as regards
your pillar-like arms, a noble elephant; as regards your
voice, cloud; as regards your waist, a lion; in your sword,
there is immense darkness; as regards your mind, you are
an ocean; as regards your eye-brows, the staff of death;
there is no doubt, 0 scion of the family of Humayiin,
that you are more terrible than the terrible one (Yama).
2. l ]

I

II
,
2. V.r.
PATRONAGE TO SANSKRITIe LEARNING
His sword compared to
1. swarm of black beea.
2. dark spot on the moon
3. smoke issuing from it,
4. ichor flowing from
5. plaited hair
6. duck-weed.
1.
91
AKBAR
4' ]
tel
I
fi It;mr
:q 2 II
The Emperor on tbe btlttle-field.
o Akbar the hero! when yOll carry the bow with a
terrible twanging sound,the stain-like Kings reduced to
skeletons imn1cdiJtcl
y
recede to a great distance. The
o Gazl Jallaluddin, the foremost of all kings, as
soon as your beloved ones are convinced of your march
for conquest they,-moving to and fro in confusion-
begin to perform the auspicious rites; their children are
the tendcr leaves on the tops of the breast-pitchers
filled up with tears and they go on scattering fried rice
the pretext of falling pearls and the Rowers dropp-
Ing down from their breasts.
1
i . For the performance of auspicious rites. new rnang"o-
I(;aves are placed on the top of pitchers filled with holy
water. Further, fried rice is scattered all around. Here
the.. breasts of the ladies of the harem soaked with their
tears are conceived as pitchers filled with holy water and
the Buckling babes as the fresh leaves covering the top of
the pitchers j aod the pearls and flowers. torn asunder in
distress. a8 fried rice scattered all around.
2. Pf. 97::0:55. 158.
D
3' ]
stara
I

It
.,
1. This implies the generosity of the King.
2. I.e. the emperor is pulling the hair of Lady Fortune
of his enemy. This implies that his rivals are constantly
under his strict control.
3. The sword is here compared to various dark objects
Thus:
Hand of Akbar compared to
1. lotus
2. moon (finger-nails)
3. fire
4. elephant of Gift
5. x
b. lake of beauty
The sword shines in the hand of Emperor Akbar
(as it were) like a swarm of bees on the hand-lotus, the
agreeable and dark shade of the moon-like nails, the
column of smoke of the fire of prowess, the Row of ichor
on the temple of the elephant of Gift,l the stuff-like
plaited hair of the Fortune of the enemy,
2
the young
duck-weed (Blyxa Octandra) growing in the lake of
sword which is as graceful as (the dark)
doud.
3
quarter-elephants
l
and having come into contact with
all the forests In the world and the deep caves
in mountains.
2
2. EMPEROR OF DELHI
<\T..
Gl'sqTf(;ftqf6f<f I
(fa fcrif2
crTifcb II

As a king
3
the paramount lord of Delhi puts the
Moon to shame ana the Airavata that is exquisitely
beautiful on account of shedding ichor,4 challenges the
sea which is the lord of many rivers,5 rivals,
I. I.e. the King-s fame spread over the quarters. It
implies that the Kings fame spread far and near on all
aides.
2. I.e. just as a lion has access even to a deep and
remore forest. caves etc., 80 the king's fame now rules
lupreme in every nook and corner of the world.
3. Here the pun is on the word Rajan: -I king; 2
Moon.
4. The pun here is on the In the case
of the king. it means 'his fortune has increased immensely
by the practice of charity while in the case of the elephant.
it means 'whofJe beauty has increased immensely by the flow
of ichor.
S. Here the pun is on the word Bahuvahinipati. In the
case of the king it means the lord of many armies while
in the C!H#e of sea, it means the lord of many riven.
king of Lanka seiz'ed with terror, shunning his pride as
a consequence of his mind being- besmeared with the
mud of confusion about the (real) cause, abandons his
if
1
W e.
5. ]

,
f((:{;:'T4JT(;Q
II
[ ]
Fame.
o Lord of Kabul, the great lion of your fan1e is again
and again roaming about, having spread out its manes
in the form of transparent and big waves of the Manda-
kini, and having coiled up its tail on its lofty head in the
form of the Moon,1 and having jun1ped upon the
I. The king of Lanka is unable to determine the cause
of the terrible sound of the Emperor's bow and of the im-
mediate destruction of the enemies of the Emperor. This
confuses his mind which again mnkes him give up his pride
and run away, leaving even his wife behind.
2. v.r. 5S. 3. v.r. 55.
<''''
v.r. 55. , 5. v r. 55.
6. PV. 76=55. 80.
7. Here the fame of the king is conceived as a mighty
Hon as high as the sky. 50 the manes of the lion are said
to be the Waves of the celestial river Mandiikini while the
coil of its taiL the moon.
EMPEROR OF DELHI
99
King's phYSical charm.
. this is Nizam or Cupid-what do you
th:nk-lfi order to ask this as it were the eye of the
lovely-browed (ladies) approaches the ear.
3
l'
101
NIZAM SHAH
5. NIZAM SHAH
I. [ ]
'illi CTT "CfCJ'lIR<iJJ,. I
i"WllJJ,.2 II
'0
II II
I. The sense i. that the earth, etc. witnessed glory of
former king. such a8 VeI}a but they did not burl then.
The fame of Muddafar Shah is such that the earth is unable
to bear it and i. on the point of bunting asunder, 80 to
speak.
2. Padya-racana. 17.6.
3. I.e. the eyes of these damsels are so large that they
are conceive.d a8 stretching up to the ear (akarI}aviltrta).
The sense II that even exquieitely beautiful damsels are
enamoured of the physical charm of the king and taking
him to be Cupid incarnate.
o sky, widen yourself; 0 quarters, you too extend
yourselves; 0 earth! You too be larger; you (all) have
witnessed the glorious upheaval of the fame of Vena. The
. Universe will' attain the plight of a burst-
. 0
lng on account of the swelling up of the seeds due to
the wide ,extension of the fame of king Muddafar Shah.
l
openly the enemy of the (three) cities i.e.
lord of Durga
1
and torments Vasuki possessing a
supremely beautiful hood
2
on account of his fame.
3. JAHANGIR
({CI fiifl{f(f ilr:frtTlJT<I
,
...!)
-f(!J
ewitij3 II
Why is your sacred thread black?.. On account of

its contact with ink. Wherefrom isit?.l From the
water of the Narmada. How did its water become
tinged with collyrium? Onaccoul1t of its union with
all around, the rivers originating from the ceaseless blow
of tears of lakhs of the (beautiful) ladies with long eye-
lashes (of the courts) of the hostile kings of the infuriated
kino- Niirdina.
t:t 4. 11UDDAFl\R SHAH
r;n 'lutT l1CT
,
(.0

II
-i(
t . Here the pun is on the word Durgadhisa. i. The
lord of many fortresses; ii. Siva, Lord of Durga.
2. Here the pun is on the word meaning in the
case of the Emperor of Delhi-i. Whose great fortune in-
creases enjoyment: and in the caae of Vtisuki-ii. whose
bt"auty is enhanced by its hood.
3, Ra$a-Gangadhara. p. 703.
NIZAM SHAH
13
1
[ - ]

I
CflTSN
<fiQJT f1i(Q)f: ... i{;:lt i{@r: 1 II
II II
o Nizam Shah longed for by the world, the Creator
made your foot and placed the same on the head of the
beautiful wife of your rival king shining with vermillon
and a garland of kundas.
2
The parting of the hair (of
that lady) shines as the shooting upward lines of your
feet; the particles of vermilion (looking like rays)
triun1ph (too); and methinks, the kttndas are the nails
(of your feet).
[ ]
Cfl f:q Slf,t:qrstTt
I

mI: ftF. II
[ ]
I. Padyaracana, 16.4
2. 50 it turns out that the rival of the king is alway.
under his control.
3. Rasamafijari, Senares ed., v. 12i, p. 190.
Bhanudatta gives this verse as an illustration of all the
or bodily signs due to amorous sentiments
manifesting themselves all together. The idea is that some
lady has been subject to a II the 5attvika-bhavas all at once;
this i, only possible if a handsome and plea!ant personality
Personal charm.
The choking of the voice, water in both the eyes,
perspiration of breasts, tremulation in the lower lip;
cheeks white, (entire) body horripilated and the mind
(is) merged; the dimness of the beauty of the eyes and
the motionlessness of the fee-t are on the increase. Is it
then that the Nizam is seen on the high street?
[ 'ltJ ]
I
tit'lr It
II II
The sword.
o King Niza1l1 Shah, the terrible cobra in your
hand, the sword, slIcks in the vital breath of your ene-
mies, attains obesity and leaves off its skin, your fame,
on all sides.
l
like the Nizam be seen by her. A lady, therefore, ask, her
friend or the lady undergoing the Sattvika-bhavas whether
ahe has actually seen the Nizam on the High Street.
"iff{ QtEf Q'ij
R r=v::rT qC( I

t"
1. The sword is here compared to a terrible cobra. A
snake is conventionally supposed to live on air (Vayubhuk).
In the same manner, the sword is conceived as sucking in
the life-breath (praI)8vayu) of the enemies, that is why it
becomes fat, and its old skin is torn asunder as a result,
104 PATRONAGE TO SANSKR1TIC LEARNING

iKTWfl,,: r...; I

!Is: 1 II
II n
The sword of the Nizam
o Nizam longed for by the whole werId, evidently
your sword, a felnale-serpent, came into contact with
your hand, lord of serpents, and became pregnant. Flash-
ing again and again, she (the sword) is producing bright
eggs one after another, in the guise of gems quickly
dropping down from the shattered temples of (the)
elephants (of rival kings
2
).
Description of bis flag (a).
I
II
It \I
This cast off skin, white in colour, is conceived a8 the fame
of the king (fame too is traditionally white in colour) spread
far and wide. The sense is that the king'. heroism gaine
a world wide repute.
1. pro 85=55. 134.
2. Here the sword of the king is conceived as a female
serpent. King's hand as a male one. The king by means of
his sword is mowing down the huge elephants of rival kinge
and the pearls from their heads are dropping down lIke
eggs.
3. PTe 84:255. t43=-aPV.I3I.
NIZAM SHAH
Immensely pained on account of the placing of the
feet of the soldiers of Nizam the ruler, the earth throws
out its tongue under the pretext of (the Nizam's) red
. banner,l
Description of his flag (b).
fiJtlfu rot
I

II II
When the Nizam, ruler of the earth, casts his angry
look (at them), the rival fighters, very skilful in the
battle-field, break atwain. The banner (of the Nizam)
touches (wraps up) the body of the lover of the lotus
i.e. the Sun shivering violently with the apprehension
of contracting fever due to sores.
3
I. The earth is conceived as a lady who being trampled
down by the huge army of the Nizam puts out her tongue
in exhaustion. The triumphant red banner of the Nizam is
here conceived as the tongue of the exhausted earth. The
sense is that the huge army of the Nizam conquered the
entire world and unfurled their flag all over.
2. PV. 132.
3. The glance of the King is conceived as a sharp arrow
.capable of causing sores and fever even to the sun. r 0
save the sun from this plight, the King's banner wraps it
up as it were. The sense is that the triumphant banner of
the King is tremendously high.
14
NIZAM SHAH
17
[ 3Hnq ]

I
fl::f -JlTilfqr
f;r&JaaM 11
2
II II
0, Nizam Shah, longed for by the whole world, as
the masses of gold (of Mount SUlneru) are transformed
I. In Sanskrit scanning long and short syllables are
marked with curved (8) and vertical lines respectively.
Brahma is here represented as scannig"the-verse which he
composed in of the Nizam i.e. marking the syllables
with curved and vertical lines. Now, the poet artistically
represents the curved neck of the Swan, etc. as the curved
lines of Brahmu's scanning while the straight lotus-stalk,
etc. as the vertical lines. The sense is that all animate
and inanimate beings. not only human beings but also
birds and beasts. etc., like elephant, swan. serpent and
inanimate objects like Lotus, Jasmine, Kunda etc.. are
singing the praise of the King in unison.
2. PV. 69=555. 105.
appears that the lotus-born God (or Brahma) composed
a verse in praise of you and (now) goes on counting
the syllables i.e, ascertains the long and short syllables
with a chalk. The moon-digits, the conch, the jasmine
" and the swan are the curved marks (of long syllables)
and the lotus-stalk, the snake, the Mandakini and the
teeth of the elephant are the vertical marks (of short
syallables).l

(fCf ,
SUN (Rf:

1
II "
[ -ct1 f<l: ]
-ifftg !fiit:
.. <!i(qf Cffl:Rr mu-fcrf1:i CfifQr(IT ,
9'61
1
3
II
0, Nizam, the most venerable one in the assembly
of the learned, the vanquished of (all) rivals, it then
1. PV. 100
Here Brahma is described as creating the celestial
river Mandakini and the Moon respectively by way of
recording the bountifulness of the King and the absence of
equally bountiful ruler. The Bhagirathi is conceived here
as a white chalk-mark representing the liberal disposition
of the King while the moon is conceived as a full-stop
excluding the possibility of any other equally liberal King.
3. Padya-racana 8. p. 10.
Nizam's bounteousness.
Nizam, 'a long series of (your) gifts continuing,
Brahma secretly drew a line on the wall of his
Puskara with a chalk, Mandakini; then nowhere did
he "find a second to you, and therefore, he, stupefied, put
in a full stop (by the side of that line) in the form of
the moon.
2
I
I
____________..l J
into a liquid form speedily on account of the mighty
fire of your prowess, the Meru or the golden mount,-
bereft of the stairs of the abode of Indra/ with the
foremost planet (i.e. the Sun) frequently setting,2 all the
women trembling, the forests gradually disapPearing,-
is becoming fully expanded.
a

Cf;mWT-
, ....;+
f<!f'ifr: @If clifT: I
(!lTeT: tJf{-lf+lWJ-m: :q)(ffT
(7) II
March for vict 9ry.
0, Nizam engaged in severe fight, the inhabitants
of Anga take to hiBs; the Kalingas take delight in resi-
di'ng in dense forest; the Tailangas feel like bathing in
the 1tfandakini; the Bengalees becom.e emaciated; the
perspire on their forehead; the Colas (grow) deter-
1. According to Hindu mythology. the golden mount
Meru or Sumeru forms the centre of the Universe round
which all the planets revolve. It is supposed to be the
abode of Brahma and other gods. That is why, with the
melting of the mountain, the stairs to the abode ot Indra
came to be destroyed.
2. The Sun being frightened of the prowess of the King
thought it best to go on setting once and again.
3. As the melting gold scattered all around.
NIZAM SHAH
mined to walk about and (consequently) breathe heavily
--due to the roaring sound of your departure.
l
Description of the battle-field.
Cfi;ral
P.lm ftNfa I

fttci II
II II
Having seen the earth unconscious on account of the
sores caused by the hoofs of arrays of horses, the sea
sprinkles water-restless in mind (as is evidenced by) the
loud sounds of trumpets} The quarter-damsel
4
fans
(the earth) with the clothes of the banners of the Nizam
5
and masses of dust dash towards the sky in order to ask
the son of Asvini
6
(about the remedy for the recovery of
the earth).
J. The sense is that the very preparations for Nizam's
march for victory frighten all his rivals. not to speak of
actual encounters with him.
2. PT. 91 =55. 168=PV. 133.
3. I.e. the roaring sound of the waves dashing against
the beach.
4. The quarter is deified as a damsel.
5. I.e. the triumphant flags of the King are fluttering
all
6. The Asvini-kumara4J are divine phYSicians. This
implies that the King had innumerable horses.
6. SHAH JAHAN
SHER SHAH
7. SHER SHAH
III
cpffu
I

II
II II
When the dense cloud pours rain on the summits
of the mountains, 0 king, the Sarasvati becomes
triumphant, sonorous and sanctifying. 0 Shah Jahan,
I am teHing you of her greatness-how the head of a
person plunging her in water, is turned into a lotus and
his hairs bees. 'I
1. PadyaveQi. 141 = 55. 138.
The PV. preserves ahother verse of the same author,
viz. No. 872 (on the Ganges).
('Iif'.ld.... ,

2. The sense is that (i) the Sarasvali swells up if there
Is heavy rain in the mountains; (ii) if the Emperor behead.
the Kings, the red-coloured Saralvati cornea into existence
out of the blood Howing from them.
The first meaning that the water of the Sar81vali
enhances the beauty of the bathers; the second meaning
is that the destruction of the enemies by the king ensures
the permanent peace and hapiness of the inhabitants.
For Jagannatha's verse referring to Shah Jahan, lee
p. 50 f.n. l.
( ;t1a ijiftii cpJ: I )
crT f(
fc6 <m I

CfiT (Tf.n - 111

If the critics find some fault with one-half of a verse
(of mine) or even with one-half of that (i.e. one-fourth
of the whole verse), what harm to me, the most
learned of all poets and the composer of millions of
poems. What is the harm accruing to the paramount
lord Sher Shah if out of his million of horses, only five or
six, speedier than air, happen to be one-eyed and lalue.
J. SHV.468
ASAFVILXSA
113
SUPPLEMENT
II

.. ..;;w1t((hl(
I.,-Wil<q 1<,\-
1ft I It1Cfi-il

I (01 I fPii I., IfiN-

I

.
t'

I
snmn..
m

" "..:.
I

S41.. Ill-II
film .1311....,((1 I
:;:sqallqRt q'fi.... ....","M( IIVII
E611 N
ff4i1t;si@i:,
...
..i fbmt ildal3l1.,i
.
(OIft ...q -!fffi

Mf4U!i-W&$iii1i qlf3t...i ufitfim
EiilldI feI'Ui(i(I(\'Iq<t'IfiI[:]

i'iallil II
...
..:.
qfta: mRr-Si fCiffftRoil

... i 4MS1ii1i
..
At:

ItldNt Iqitlfq,q- ..
EiRlt;sIii1Iii I",t: q.aQd(1
hT fUlif41C1 f4\1i1alll
aw
-
-
15
114 MUSLIM PATRONAGE XO SANSKRtXIC LEARNING
"" "" A-. __ I:::...-&::..
"+t.... I .. ..

- -
+ti'U\Fa<iT( ....
(1)

\qf;r:
,....
..... .. +tTmT
ifGlIl 11E1Q'i\i'l16..1.
-
- -
"
- Tql.,.,a- .... .... ..... - \i'lq

'(lIft..... .... .. .,"" .....
flm Pt\lialqlil"
S4f4\Ir (?)

M(fldlr.. ;wqiI-
ficq
..
_
iilu-
um-C6{-f4\\I<!5qlfili<I:i'"!lih-

I
ASAFVILASA

-

" 011. d EI!ldletli-

(j gomri

...
f;ttlifIA

mm- -
Ndli(ifqfiroR-
_ f',....
Elql 1'4fi'dltlgitl'4ld:
a4le4:S<.iI fittialiid I"liiiticit Iii,
. q:{qilq.nlitl I i(11qqillqtd(i
O
n'4aq I
m [ [ 11
aN I
Si l'UilCfi-Nm-Nti\Mdia:-
tid3.ft+hd' (101311(;5-
-
itaalaaleChVTii-RJlElI\.. "'p-
I. It is surprising that the MS. having the colophon
alright should have such an abrupt conclusion" Evidently.
lome portion is milsing here.
I
I,
I
\
,.6 MUSLIM PATRONAGE TO SANSKRITIC LEARNING

- ...
qm-'!i4''ii
I etEt
f
4l9i'i4?X-

ua IU-
II
ALPHABETICAL INDEX OF VERSES QUOTED
IN THE WORK (EXCEPT THOSE IN THE
SUPPLEMENTS).
Verlel Page. Verle. Page.
81 '5
'IWIlUQl 37
39
48 41
wm tcrI 66 40
m
74
72
0
30 ... 72
56

27
!IIR iRf: 64
... 42
65 6
_ 79
ifiTfw8cwt 74
'IT 26
78
"
66 23
.:
q
61 67

61
V

44
.. 42
-
Iff
3'1 -iO=ift 0 31
.
35

26 2S
74 43
56
26
ALPHABETICAL INDEX OF VERSES
QUOTED IN THE SUPPLEMENTS
101 .nre(Ja1s
108 lfTR
100
1OZ
104 ffift
107
96
I06
liZ m(if.
-.a
13
I05
110
104
112
Verses
'fiTII)
(nIT(f-iffn(:)
51q{

"
"

ifitJl(f:

M'3IllfiClI(

f.I1!qrrsfq

0
..
Pagel Verle. Pales
110
10Z
113
99
114
109
106
98
97
95
100
111
96
APPENDIX III
ALPHABETICAL INDEX OF THE VERSES
OF BHANUKARA QUOTED IN THE
PADYA-RACANA
The first figure againet each Partilta refers to the pale
of the Padya-racani and the second to verse number a.
given in that page.
Verses Pages Verse. Page.
53'S
!!lTm 57'25
30'40
80'20
!tlt.J 83'39
'IlTf4fl?i 7Z'3
fl{fi(l' 784

59'42
2128

8233
!SI;rClTR-CAf
...0
74'14
74'17
84'7

... 11991
... 64'30

56'22
... 7911
0 9"47
.
,a' ... 10049
73 5

...0
79 12
ClTft 51"32
'f,fq)
.. , 176
81'21
...
UT-P: 50'26
... 103'69
,., 61'12
S'28
!Slit
... 3220
0 5 24
llit 27'66
46 17
65'38 0
5623
Claf"
.,.
f78
&:l ... 11463
28'68 CfiTJl(JI'( 0
.. 59'41
wit 78'3
... 82'32
16
..
" , ... .--........... _ .. , .....-... -. _. +" -,.(,....."..... ''',' ',. . .... _ --.l--..- .. ''''','_
_.",,', .........,
PAtRONAGE to SANSKRt-rtC tEAltNtNG
I
INDEX OF VERSES OF BHXNUKARA IN PADYARACANA }23
Verses Pages Verses
Pages
I
Ve18es Pages Verse.
Page.

4620
99'44
27'63

82'34
...
...
I
...
...

5'24
14'32
... 114'64
68'55
.,.
... 16'3
51 '34
I
51T=ift ;r{l \oR- 1739 -crRTQ'fij 0
2"30
iRr: 5"31
49'22
51T((: 0 31' IS
3'14
...
'" .l)
31'51
51 '30
I
92'61
ifiRA 30'9 ..:,
86'18

...
5027
Q 14'15
IS 38

16'39
.,. 48 15
51Rr: 0 84'1
qJ(T1:TTilf.t 13'23
fimJi 13'24
44'13

22'34
41"16
...
R:j(J;r 16'4 ...
13'70
12'21 0 53'3
2026
70'10

2'10 cr'il):j[. 0 72'4
q'(-lflRlf ... 103'70
.,. 43'15
18"16
ijCf 53'2
=iii
33'29
Co
II
... 46'4

58'34
CfT1tft 31'16
0 67'51
...
47'8
0 ... 108'17 em{ 19"19
...
53'4 ;:rr(Ruf
.,.
52'38
57'1
18'14 ..,:,
73'6 iill
... 114'62
q'CfifO .,. 83 41
fqt\ 10'8
42'11
19"18
0 ... 54 7
fq-n 33'25
..$
52'39
4'19
... 22'35
i1i'lii 53'6
\5fTYfT;') 39'66
38'60
!Ii" ... 65'37
0 ... 116'71
:j[TiftlI) 0 39'(,5
70'9
17'22

'" 1815
42'18 QTif'
99'43
fi.:l: ... 8'46

.. ,
3961 ., ,

30'8
21'32
3im il;:;rtT ... 6'32
'" 6'94 ...
24'41 iJijiO
... 105"86
... 116"72
'iflt
o
... 41"14
37"52
50'23

...
67'50
m{fui ., . 51'33

80'18
19 17 0 ... 19'20
7'40
(if ct.fu 54'12 Wf) mern:. 21'29 fcrf\i ... 27'85
97'34
0 13'25 64"29

7.38
6'33
28'69 q:q: ... 114'61 15'33

51'29

24'50
78"2 ... 119'90
86'19
0 2870 ... 77'38 l{"t ... 38'59
36"47
...
Lilt of Abbreviations
PRo = Padya-racani
PT. = Padyamrta-tarangiQi
PV.=Padya-veQi
RM. = Rasa.maiijari
RT. =Rasa-IaraIigiQi
SA. =SabhyalarpkaraQa
SHV. = Subha,ita-haravali
55. =Siikti-sundara
SSS. =Subhisita-sara.samuccaya
Verses
I
6f(f
I
6f1mr I

ri

6TtI!'q'1lT:
l'ttu
Pages
... IIZ50
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BIBLIOGRAPHY
AbduHa-carita. No.6_ Kavya section. Calcutta Sans-
krit College MSS. Library. Suhltance: Country-made
colourlels paper. 16 x 5 inches. Foliol 7G. Line. 9-10 in a
Character: Nagara. Date. Saka 1643. Appearance
very old; worn-ont, llightly worm-eaten throughout.
and written . by different hands. Compoled partly in
prole and partly, in versel- Generally correct. Complete.
Edited by Dr. J. B. Chaudhuri. See p. &l above.
Ain-i-Akbari, by Gladwin.
----by Blochmann.
Alamgir-Namah. See Elliot'l Hiltory of India (al told by
its own Historians).
Aiarn!eiira,tila!ea by Bhanudatta. Tanjore MS. 5314. Sub-
stance; paper; size 8Y2 x 5 inches. Sheets 28. Line.
15 to a page. Script Devanigali_ Complete: FiIJe
Paricchedas.
Anyokti-muktilata by Sambhu Mahikavi. Published in
Part II of the Kivya-mili.. Pp.61-791' Znd ed.
It
1932.
AsaE-vili,a (MS) Ed. here lor the first time from a MS.
of the same belonging to Bhandarkar Oriental Research
. 732 (iii)
Institute. Poona_ No. 1886.92. Size 8 x inchel.
Extent 19aZ3b leaves; 8 lines to a page; 30 letters to a
line.
Bernier by Conltable.
GUa-Gatlr;sa by Bhinudatta: tippa1)a by the lame.. Pub-
lished in the Grantha-ratna-mila, vol. I, pp. 32. 1887
and vol. II, pp! 33-92. 1888.
1%6 MUSLHvi PATRONAGE TO SANSKRITIC LEARNING
History of India (as told by her own Historians) by Elliot.
Kathi-sarit.sagara by Somadeva (MS.), copied by
See MM. Haraprasada Sastrin's Catalogue of Sansknt
MSS., vol. vii..
Kavindra-vacana-samuccaya. Ed. by Dr. F. W. Thomas.
Bibliotheca Indica. New Series, No. 1309. Calcutta,
Asiatic Society of Bengal, 1912.
Kiivya-dipi1{ii by Bhanudatta.. New Imperial Press ed.,
Lahore, 1885.
Kumiira-bhiirRaviya by Bhanukara. India Office Library
MI. No. 1540, vol. vii.
Lipi-miilik,ii, also called Abdulla-carita, (MS) by Lak,mipati
belonging to Calcutta Sanskrit College Library. See
Abdulla-carita above.
Memoirs of Babar by Erskine.
Miniature Painting and Painters of India, Persia and Turkey
by Martin.
Muntakhabul-Tawarikh by Lowe.
Padyamrta-tarangil)i by Haribhaskara: Sopana by jaya-
rama. There are six MSS. of this work in the
Oriental Research Institute, Poona. For detaIls, see my
ed. of the Padyamrta-tarangiI)i. Ed. by Dr. j. B. Chau-
dhuri. Calcutta, 1941.
Padya-racana by'Lak,maI).a BhaUa .A nkolakara. Kavyamala,
89. Bombay. Nirnayasagar Press, 1908.
For an alphabetical Index 0/ the verses 0/ Bhiinuk,ara quoted
in the Padya-racanii, See pp. 121-124.
Padya-veni by Venidatta (MS.). Foil. 1-76. 27 x 12 Cm.
See Reports o( Search for Sanskrit MSS. in the years.
1884-1887, No. 375. Ed. by Dr. J. B. Chaudhuri. Cal-
cutta, 1944.
Rasa-manjari by Bhanudatta: Surabhi by Badarinatha
Sarman. Hari1(rft;la-Nibandha-mat;timiilii, No'!. 4. Bena-
res, [19301.
Ra8a-kalpa-druma by Caturbhuja (MS). This belongs
to the Library of His Highness the Maharaja of Ulwar,
No. 1065.
Rasa-tarangir:ai by Bhanudatta: Nauk,ii by Gangarama.
Bena'res, I885'!.
BIBLIOGRAPHY
Rasa-:..Garjgiidhara by Jagannjtha Par:t.c.:litaraja: by
Nagesa BhaUa. 5th ed. Bombay, NUI)aya-liagara Press.
8931. See also Benares ed.
Rasik,a-jivana by Gadadhara (MS.). Calcutta Sanskrit
College Kavya Ms. No. 140. Substance: Paper. Hand-
writing rather old. Condition: fairly good. Edited by
Dr. J, B. Chaudhuri. CalcuUa, 1944.
(Ms,). MS. No. 10566-15-C. 7.
Royal Asiatic Society of Bengal. Substance: paper.
Only the Piirviirddha is available.
by Hari Kavi. MS. No. 92 of 1883-84.
Bhandarkar's Heports. Pagination very careless and
not continuous. Several parts wiitten more than once;
wholly rearranged in my edition. (In the Press).
Sabhyiila7pkaraT)a by Govinda;it See Bhandarkar's Reports,
1884-1887, No. 417 and 1887-90, pp. Foil.
37. x 12cm. 11,12-19. Hand-writing bad. Ed. by
Dr. j. B. Chaudhuri. Calcutta, 1947.
Siirngadhara-paddhati by Sarngadhara. Ed. by Peter Peter-
son. Bombay Sanskrit Series. Bombay, 1888.
by Vallabhadeva. Ed. by Peter Peterson,
Bombay, 1886.
Siik,tisundara by Sundara Acarya(MS.). Bhau Daji's
Collection deposited at the Bombay Btanch of the Royal
Asiatic Society. MS. No. 1237. Ed. by Dr. J. B. Chau-
dhuri. Calcutta, 1943.
Siira-sa7pgraha by Sambhudasa 'Pal)c;lita (MS.) Kiiv}'a MS.
of the Royal Asiatic Society of Bengal.
Srngiira-dipik,ii by Bhanudatta. See Oudh Cat. 12
Tiilikh-i-Badiiur,li. See E:lliof"s History of India (a8 told by
her own Historians).
Vrtta-ratnakara: o!ikii by Haribhaskara (MS). See Bhandar-
kar's Reports, 1877-91, p. Ixii and p. 60.
N. B. Full Biblio,raphicallnformations about some Printed
wor1(s and MSS. have been ,ioen in loco, and, there-
fore, nof been repealed here in the BibliografJhy.
GENERAL INDEX
caMERAL INDEX
Abdul Qadir, translator of
Ramiiyal,la and Atharva-
veda" 87
Abdullah, Minister of Muham-
mad Shah, 82
Akbar, Moslem ruler, 2; Naqib
Khan translates Maha.bha-
rata at the instance of,
86; patron of Govimla
Bbatta otherwise known as
'33ft.;
praise by GpY;illda Bh.a\\a,
30; text and translation
of Sanskrit verses in praise
of, 95ft
Akbariya-Kilidisa j
tion of verses of, 3if. ;
patrons of, 34ff.; real
name of, 33; relig,ioll of,
38 . Sanskrit poet, date
of,' 33 j verse on Anyokti,
44f. j ,'erses on gods and
godde6&es by, 38f..; '"er-
on nature by, 42ff.;
works of, 37ft.
Alamgir, death of 81
Ahupkiira.tilaka work of,
Bhiinudatta, 3
Amrtadatta court-poet of
. 72ft.; Sans-
krit poet 2
Amrtn-lahnri, work of .Jngnn-
natha, 56 ,
Anyoldi-ll1uktn]atn, work of
Sambhu l\IahiikuYi, 58
Aparl.tu goddess, 40
ApllaY3 l'Olltelllporary
of Jagannathn. PaJ;l(lita-
raja, 49, 54. 00; rival of
J agannatha Pn1,1t,i ita-
rajn, 68
.l\lSnf-Khiin, counsellor of Shiih
Jilhan and brother of Niir
tTahan, 48, 56
work of Jagaulliitha
Pal}(Jitariija, 10, 48; 00
nabal', Hindu Astronomy and,
86
Oughcln. Riimacnll(lra, ruler of
Uewa and contemporary of
Akbar, 33
llengnl, Sanl!\kritiq learning en
couragcd by Mus-lim rulers
of, 85
Dhallu. kiug, father of Bhaga-
\'8ntadisa and g1'l\udfatbcr
of lfiidhavasiJ}lha and
)liin8shllba of Kaccbapa.
dynasty, 8f.
llhumini-viHisa, work of Jugall-
llatha, 50, 55, 57ft.
UbiilludaUa, author of Gitn.-
Gaurisa and its t.ippal)a,
3 ; , gel\ealogical table of,
5fn.;, identical with Bba-
nukara, 3ft.; identity of
Bhiinukal'a and, 3ft.; 80n
of 5
Bhiinukara, of
yerses collected fro,m un-
works ns<'.ribeu
to, Uff. j date of, GfL, 10;
eulogy to Nizam, 11ft.
identical with Bhanudatta,
3H.; patrons of, 10f.;
poetio excellence of verses
composed by, 20ft.; Sans-
krit poet, 2, 14ff.,
verse on Buddha by, 2Of.;
verses dealing with simi-
lies by, 19, 32, verses on
de,-otion by, 19, 3Of.; vel'
ses on gods and incarna-
tions of Vili!l}.u by, 14;
verses on Iqings by, 14f.;
,-erses on love by, 18, 28 i
verses on Mal}.ikarl}.ika by,
31; verses on nature by,
19, 28, 31. ; verse on
Nizam Shah by, 21"; \"er-
on seasons by, 19, 30;
verses on sentimentl;l by,
]5, 23; verses on
by, 15, 17, 23ft, 27; Vira-
bhanu's march for con-
quest described by, 22
BhnUoji contemporary
of Jagannatha Pal).Qita-
raja, 71 ; grammarian,
table showing Jagan-
natha's relationship with,
52f
Bhliva-sataka, work of Rudra
Nyayapancanana, 58
nhiivnsilpha, patron of Soma-
9; son of Mana-
sirp.ba. 59
Durhan Khan, PUl}.Qarika Vi-
tthala at the court of, 76
Caturbhuja, t\Uthor of Rasakal-
pad1"11 mn.. 7Rf. , go: Banill-
17
krit poet patronised by
Shayasta Khan, 00
Chuti Khan, son of Para.gal
I{han. 86; translation of
As'"anmedha Parvan of
Mahibharata encouraged
by, 86
Oitra-mimaIJlsa, work of Appaya
49. 60
Oi tra-n1\imaIJlsa-khaJ;lQana, causes
attributed to ita incom,-
pleteuess, 68 j Jagan-
natha's criticism of Oitra,.
mllllarp.sa, 49 55. 60;
priority in composition of
Hasa.-gangadhara and1
67f
Dnlapati, queen of 35
Darii. Shikoh, author of Sirrul-
Akbar and disciple of
Mullah Shah, 89 j Samu-
dra Sangama romposed by1
89 j murder of, 49; SaIl&-
kritiQ studies of, 90; son
of Shah Jahan and patron
of J agannatha, 59 j Yago-
translated by89
Durga., goddess, 38
Gadadhara BhaHa, author of
Rasika-jh"ana, 2
praise by Aklbariya
Kalidasa,
Gangi'l, goddess, 39
Gailgadhara, teacher of
BhaHa, 54
Ganga.-Iahari, same as Gangli.-
mrta-Iahari, work of
.Tagannatha P., 50, 6lf.
1]0 MUSLIM PAT;RONAGE TO SANSIQUTIC LEARNING
GENERAL INDEX
GaJigimrta-lahnri, same as
Oangi-Iahari.
Oita-Oauriga, work of Bhinu-
datta, 8, 30.
Govinda BhaUa, real name of
Akbariya-Kilidisa, 33
Goviud.ajit, author of Sabhya-
lalpkar&l)a, 2
Haji Ibrahim Sarhindi, transla-
tor of 87
Haribhiskara, author of Padya-
mrta-tarangini, 2, Mf.
debate between
Jagannitha P. and 53fn.
Hari author of
hiral"&1i, 2
Harinariyal.1a Misra, date of,
76 j Sanskrit poet, 2
Hindu Civilization, Muslim pat-
ronage to development of,
1
Hindu Culture, Muslim patro-
nage to development of, 1
Hosain Ali Khan, brother of
Abdullah ,82
Husain Shah. Bhigavata Pu
ril)a into Ben-
gali at the ins!tance of, 80
J work of J agan-
nitha, 49, 62..
Jagannitha ap-
pointment as court-poet
at Delhi, 476. ; RaBa-
manjari of Bhinudatta
quoted by, 10 j court-poet
of Shah J ahan, personal
of, 466 j date of,
511f. j death of, 50; debate
on Islam won by, 47 j hon-
oured with title of Pal.1-
<Jit&rija by Shah J ahan,
48 ; insulted by Appaya
49; patronised as
court-poet of Delhi, 47. j
51if. ; patronised by Shah
J allan, 10 j period of lite-
rary acthities of 55, Sans-
krit poet. 2 j son of, 48;
time of, 69ff.; works of
55ff.
J ngatsirpha, son of Karl)RSilpha'
ruler of Udaipur, 63
.Jahangir, full name of, 48 fn.,
51 j and translation
of Sanskrit verse in praise
of, 100
Jfiallendra t{>acher of
PerubhaHa, 46
JvaHimukhi, goddess, 39
Kilidisa (Akbariya), Sanskrit
poet, 2
Kalilah-Damnah, Jfnuliina Bu-
siani Wniz's translation
of P8olicat.antra, 88
Karul)a-Iahari, work of Jagan-
nitha, 63f.
Katha-sarit-sagara, work of
Somadeva, 9n.
Kavindra Paramelh ara, tran-
slator of Rtri Parvan of
Mnhabharata, 8.5
work of Bhinu-
datta, 3

of, 55 j of Amrta-
datta quoted in 73fn.
Kit ,ya-prak;aaa-tiki, 10
KhaJ:lQadeva, ieac6er of Peru-
bhat1ia, 46
Khandesh, Pharuki faroil,. of,
76
Khirad-Afza Namah, Abdul
Qadir's tran91ation of
DvatriJTlM.t-Puttalika-Sitp-
hasana, B8
K as depicted by Akbariya-
Kalidasa, 4If.
Kr':it:tlt Riiya), rll-
ler of Vijayanagara, 6
Ril.ya, king of
Vijayanagara, patron of
Rhiinl1kara., 10
Kula-prnb:lndha. date of. 53
Kumara-bhiirga\'iya, work of
Bha.nndatta, 3
JJakhyii. poetesR, 79f.
JJalqmHI.t:ta DhaHa Ailkolakara,
author of Padya-racana, 6
IJak,:,mi. mother of Jagannatha
Pnt:t<litaraja, 46: nature of,
7,t.
work of .Taganna-
tllR .54fn., 65
TJnkr:;mipati, RR historian, R4;
knowledge of Arabic &
'Perf;ian of,
8M.; lineage and work of,
80ff.; Sanskrit poet, 2
La"arlgi, Muslim girl married
Jaga.nnatha Pal].c;lita.
raja, 47f., 68
LipimiiJika, pomposed by LakF}-
mipati, 80fI.; references
to :.\fuslim in, 82ff.
){a.dhavasi111ha, patron of
ViHhala, 9; 76
Madhuravalli, 79f.
Jfahamma-d Shab, Abdullah"s
campaign against, 82;
13
1
son of Aurangzeb, date of
accession of, 81
Mahendra, teacher of Peru-
bhatta, 46
Majma-ul-Ba1,lrain, i.e. Samu-
dra-Sailgama, work of
Diira Shikoh, 89
Basu, translator of
Bhiigavata-puril)a into
Bengali, 85
:Manoramii-kuca-mardana, Jags-
nnatha's criticism of Dha.
ttoji Diklllita's oommen-
tary on Siddhanta Kau-
mudi, 65f., 71
Maulana Imimuddin, transla-
tor of Rijatarailgil].i, 88
Maulanfi Shih Muhammad
Shihabidi, translator of
Sanskrit history of Kash-
mir into 88
Jfuddafar Shah, Moslem ruler,
j text and translat.ion of
Sanskrit "erses in pra.iae
of, lOOt
Mukalamah-i-Baba-Lal Das,
work of Dara. Shikoh, 89f.
Mukammal Khan Gujrati, tran.
slator of Tajik in Per-
sian, 88
Muslim Rule, propagation of
Sanskrit learning during,
'856.
Muslim Rulers, text and tran-
slation of some laudatory
verses on, 956.
NageS8 Bhatta, Sanskrit poet,
53f.; 57
Naqib Khan, translator of
Mahabharata, 86f.
1
13
2
MUSLIM PAllt0NAGE TO SANSKRlTIC LEARNING
GENERAL INDEX
133
Niriya"a, student of Jaganni-
tha Pa"Q.itarija, 53
Nasir Shah, ruler of Bengal,
Bengali translation of
Mah8.bhirata at the in-
stance of, 85
Mustafa, translatot
of HarivaI!llla, 88
Navya-nyiya, existence of, 91
Nav,ra-smrti , existence of, 91
Nizam Khan, otherwise known
as Sikandar Lodi, 7
Nizam Shah, eulogy by Bhinu-
kara, llff. j identical with
Burhan Niz&m Shah 1, 7;
Moslem ruler, 2 j reign-
period of dynasty of, 7 ;
text and translation of
Sanskrit ,erses in praise
of, l011f.
Pa.dJriimrta-tara.ngi"i, date of,
54f., 59 j work of Hari-
bhaskua, 2
work of Laklilma-
"a Bhatta A.ukolakara, 6
Padya-ve"i, work of Ve1).i-datta,
2
Pa'1J.Q.itarijHataka, same as
Bhfimini-viJasa.
Para.gal Khan, general of Hu-
sa.in Shah, 85
Parva.ti, goddess, J9f.
(or Perambhatta)
father of Jagannitha
Pa1'}(1itarija, 46
same &8 G&!iga.-
lahan
Prii"abharaJ;la, work of J agan-
nat.ha, 66f.
Pra"aniraya"a, king of l{i-
mariipa, 66f.
Prastiviks-Yilasa, work on
Anyoktis, 59

ni, Sanskrit grammar of
Jaganl)itha P., 55, 651.
PUl).Q.arika Vitthala,. authot of
R.aga-maiijari and Riga-
mala, 9, 76; Sanskrit
poet, 2, 76
Rajjab, ix
Hiimacandra, praise by Akbari-
ya-Kalidisa, 34f.; SOIl of
Virahhanu, 9
R.aga-mili. musical work of
PUl).(1arika Vitthala, 76
workt
of Akbariya-Kalidasa, 33
Ramil.nanda, xii
Rasa-GaJigadhara, causes attri-
buted to its incomplete-
ness, 68 j rhetorim) work
of agannii.tha Pal).(Jita.-
raja., 10, 48, 671.
Rnsn.-Garigadhara.-tiJdi date of,
541., 60
Rasa-kalpa-druma ,poets and
quoted in" '19;
work of Oaturbhuja, 78ff.,
90
Rasarmafijari, work of Dha.nu-
)mra, 3, 10
Ra.sa-tarangi1).i. work of Bhinu_
datta, 3
Rasika-jIvana, work of Gada-
dha.ra BhaUa, 2
Ravidii.sa., vii
Riya Mukunda, ruler of Kash-
mir and patron of JagaD-
natha, 48.
Razm-Nimah, Faizios versified
translation of Mahabhi-
rata, 87
Uudra Nyayapaiicinana., author
of Bhiva-Sataka, 58.
U.upa1).i, patronised by Dha.Ya-
sitpha, 9fn.
SabhyilaI!lkara1).a, kork of
ndajit, 2
Sad-ukti-karI:lamrta. ('omposed
by Sridharadisa. verse of
Amrtadatta Quoted in, 72
Sahel!, Dawri. viii
., Riru, viii
,0 Rulla, viii
, Yiiri. vi ii
Rniynd Ali aJ Hlljwiri. vii
F::ti.vltd )fndu.ia. xi
Mnhi'ituwi. :lnth,)r of
Aynokti-mllkHi-1nUi.. t'Sg
ix
S:lmudra-F:mignma. of
n;i Til
nature of. 74'.
pira. viii
S('kl, 'Rhilthnn. xiv
S('kh ,Jalan. xiv
TJii1a xiv
ix
teacher of nhAHoji
71
tea.('her of Peru-
bhaHa. and hi!': son
nflt.hn. P .. 46
F:llnh. Husain x
.Tahan, dnt.e of
of, 10; Jagannitba's TO
verence for, 48; Moslem
ruler 2; text and trall8la-
ilion of Sanskrit ,"fOrses in
praise of, 110
Shahabuddin, date of, 72; Mos-
l('\m ruler, 2
Shaikh Fai?'i, trnn!"lation of
Atharvaveda undertaken
nnd left to Ibrahim
hindi by. 87;
of Lilarnti in 88
Rhayn.sfn. Khan. gen('nlogy of.
78; patron of poet CatllT-
hhuin. 78: Ranskrit know-
l('<lge of. 90
Sher Shah. Mo!':lC'm rll)('r. 2;
patron of Rhanulmrn.. 10:
t.ext and tram::lation of
veTSeR in
of. 111
in.. Jr,od. as depreted by Ak-
bariya-KiHidiisa. 31ff.;
tfil1c:'iaya dnllC'(\ of. 40
Aridllaradiisa. :tuthor of Sad-
ukli-kart:tamrta nnd
COllrtpoet of
nn. 72
riknrfl Nandin. of
Pnryan of the
86
pi gara-dipildi. , 'Work of llhfinll.
datt.a. 3
"'ork of
Hnri Kavi. 2, .')4
verses of Arprta-
daft.a t!uotRl'l in. 72.
Sudha-1nhari. work of Jagan-
natha. 68f.
8 h
-g l\Iusa, viii
u a ,
S
-1 t' uktiinJi, work of JaI-
u,l-m
hnna. ,rerses of Amrta-
do.tt8- quoted in, 73
SukU.Sunda
ra
, author of, 36
Sukumaradevi, wife of Vira
bhiinl1, 9
Tai, viii j"
Tanasenu, court-musician of
Akbar, 34
Tbil'upanl, ix
Tirn Vayrn
o1i
, ix
Tukaram. ix
Ya.islla,'adiisa, xi
Misra. ('.ontempo-
. rary of Jl:1gaullitha PaJ.1-
ditarlja, 77
VeJ.tidatta, author of Padya-
'eQi, 2, 4
Vidyii , poetess, 79f.
VirRbhanu, father of Rama-
candra 34 . identity of,
8f. ; of Bhinu-
kara, 10; same as Va-
ghela Virabhii.nu of Re-
wah. P
Vire!f\'Rra, teacher of .lagan-
natha 71 .
V as Karnni-
laharL .
date of,
1)<1
Women Bhallukara's descrip-
tion of, 1618 j tYPes of, 25
Yamuuii-varl)ana, proS(.. work
of Jagannitha PaJ;l<lita
raja, 69ft

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