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The Indian Analyst
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South Indian Inscriptions |
LITERATURE From a subhāshita of Rājaśēkhara, we learn that Surānanda was a contemporary of the Chēdi prince Ranavigraha.1 As shown before, Ranavigraha was a biruda of Śankaragana II, son of Kōkalla I, who flourished in circa 890-910 A.C.2 This prince is probabaly identical with the poet Śankaragana, some of whose verses are included in the anthologies Subhashitāvali and Sūktimuktāvali.3 One of them is also cited in Bhōja’s Sarasvati- kanthābharana,4 which lends colour to the identification. The poet Surānanda, patronised by Śankaragana, is described as an ornament of the Chēdi country. Unfortunately, none of his kāvyas has come down to us. The anthologies also do not contain any subhāshitas composed by him. About Tarala and Kavirāja, two other ancestors of Rājaśēkhara, we have no information. From a subhāshita or Rājaśēkhara we learn that Tarala’s poetry was known for its excellent alliteration.5 About Rājaśēkhara himself, we know much more, thanks to his garrulity. His father was Durduka (or Duhika), who held the post of Mahāmantrin probably in the Chēdi court. His mother’s name was Śīlavatī. His wife Avantisundari was born in the Chauhana lineage.6 She was a learned lady. Her views on rhetorical matters are cited in Rājaśēkhara’s Kāvyamīmāmsā.7 In his early career Rājaśēkhara was attracted by the prosperous court of the Pratīhāras in Kanauj. Before he went there, he had written six prabandhas and earned the title of Bālakavi.8 These juvenile compositions, not even known by their titles, have long been lost. At Kanauj he received a high honour and the title of Kavirāja from the illustrious Prathīhāra king Mahēndrapāla, who regarded him as his guru.9 Rājaśēkhara composed there three playsâthe Bālarāmāyana during the reign of Mahēndrapala, and the Bālabhārata alias Prachandapāndava10 and the Karpūramañjarī during that of his son and successor Mahīpāla. The first two of these, to which he has prefixed his title Bala, are in Sanskrit, and the third, which was staged at the instance of his wife Avantisundarī, is in Prakrit.11
During the reign of Mahīpāla, the power of the Pratīhāras declined owing to the
invasion of the Rāshtrakūta king Indra III, who advanced up to Kanauj and devastated
the Imperial capital. Just about this time, Yuvarājadēva I of Tripuri rose to power. He
made extensive conquests in all parts of India and dealt a staggering blow to the Pratīhāra Empire during the closing years of Mahīpāla’s reign. Rājaśēkhara then returned to Tripuri,
where he composed the Viddhaśālabhañjikā and other works. This Sanskrit play was
staged in the Kalachuri capital to celebrate the victory of Yuvarājadēva I over a confederacy
of southern kings headed by the reigning Rāshtrakūta Emperor Govinda IV.12 The
Kāvyamīmāmsā, which was planned to be a comprehensive work on poetics, has remained
unfinished. This was evidently his last work, since it contains quotations from all his
1 See above, p. lxxvi, n. 5.
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