North Indian Inscriptions

INSCRIPTIONS OF THE PARAMARAS OF MALWA

of the verses, we may divide the whole composition into section ; thus, vv. 1-10 speak, in a general way, of the splendour of the deity ; vv. 11-15 show the different actions thereof ; vv. 16-20 still further mention the same, and vv. 21-23 are devoted to praise the deity in various ways. It may be stated here, however, that this classification is not very rigid.

...The first two verses are completely lost with the portion of the stone which has peeled off. The third verse, which has retained only its fourth foot and a few other letters, is too fragment. ary to be made out ; it probably means to say that the eulogy is composed without any selfish aim. The next verse, which has lost its first half, is apparently intended to say that the Sun does not tolerate even the name of anybody who is powerful or bright. Verse 5 refers to Agastya, who sipped all the seven oceans instantaneously, and the other powerful stars who all beg of the Sun to supply them lustre; i.e., they are all dependant on him.[1] Verse 6, which is fortunately wholly preserved, says that the Sun’s younger brother, i.e. Vishṇu who is also known as one of the Ādityas, only beheaded Rāhu when the latter bore malice to him (the Sun) for his brilliance (and sough to assail him).=[2] Verse 7 informs us that the Sun’s rays appear mild (assume a mild form) in mild objects, whereas in fierce objects they appear fierce. The latter half of this verse is again lost ; but from what we find in its former half, it seems to cite the instances of the moon and fire which are beautiful and brilliant to look at, respectively, though with the same type of lustre falling in them from the Sun.=[3] The next verse refers to the Sun’s splendour shining on the hood of the Śēsha-nāga, on the pearls in the ocean, and on the stars in the sky.

...The following verse again refers to the sun-light, which is variously known, such as moonlight, the evening and the rain-bow, when it enters (comes into contact with) the moon, the horizon and the cloud, respectively.=[4] Verse 10 is intended to show how the Sun’s splendour appears differently as decorating the different limbs of the West, e.g., as a mark on her forehead (kuṁkuma), lac on her feet, affection of lasciviousness on her cheeks, and as drippling saffron on her precipitous breasts.

... Verses 11-15 refer to the Sun-god’s amorous actions. In the first of these verses the poet addresses the Sun and says that Rāhu (who too is called bhānu) is able to catch (do harm to) the moon but not you,[5] as you hide yourself in the lotus-creeper ; for love’s way, is tortuous.[6] Verse 12 again addresses the deity and states that he (the Sun), as a true and faithful lover, makes bloom (only) the day lotus but not the night-lotus (as the later is parakīyā). Oh Sun, you are indeed vikatthana (self-illuminating) though vikartana by name. Verse 13 points to the deity as connected with a number of objects (which are all so chosen as to be in the feminine gender), but in spite of this, the lustre of the day (dina-śrī) like a faithful housewife, is devoted to him. We are further informed, in v. 14, that as she has herself wooed him as her husband, she approaches him when the day closes ; and getting up before him, she retires later, like a devoted wife (v. 15).

... Verses 16-22 again praise the Sun in different ways. The first of these is intended to pay him regards ; the second (v. 17) to praise his brilliance ; and the third (v. 18) to say that simply when he touches the sky (div, in feminine), with his rays (as a lover touches his beloved by hand),
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[1] It is well known that all the stars get splendour from the Sun. Rāga-vyājēna means under the pretext of radiance (aruṇima-chchhalēna), and bhartuṁ means ‘to fill up (their bellies). A beggar is known to show the various forms of entreaties and feelings. There is a pun on the word rāga, the other meaning being ‘made’ or ‘emotion’.
[2] The skill lies in sparing Rāhu’s life and thereby make him feel the pain more rather than to end his life and thus deprive him altogether of the feeling.
[3] For the fire shining due to the Sun’s lustre, see Raghuvaṁśa, IV, 1.
[4] That the rainbow is nothing but the Sun’s rays reflected in a cloud was known to ancient Indian writers ; cf. Mēghadūta, Pūrva-mēgha, v. 15, where the poet says that the rainbow generates from the cloud. The word used here is valmīka, which, according to the Śabda-kalpa-druma, is sātapa Mēgha. As regards the Sun’s rays falling on the moon, Dr. Sircar gives some references, of which the following are noteworthy- khaṇḍa-khādya (Ch. VIII), the Sūrya-siddhānta quoted in the commentary of Utpala (966 A. C.) on Varāhamihira’s Bṛihatsaṁhitā.
[5] Cf. Śiśupālavadha, II, 49.
[6] This is as the verse is interpreted by Dr. Sircar. To me the latter half of the verse appears to express an altogether separate idea, vi., the Sun, though making the lotus-creeper (abjinī) bloom, remains aloof from her ; and this is not the straight way of love, as lovers generally like to live together, quite close to each other.

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