336 F. S. Growse —A Metrical Version of the Prithiraj Pdsau. [No. 4, 
metre, which it is quite impossible to preserve in a translation, but primari¬ 
ly it denotes the serpent God, Sesh-n 6 g ; blmjanga being a common name 
for a serpent. Sudhdri, like every other word with the same termination, has 
not a passive but an active signification, and means ‘ the good arranger as 
mantra-dhari means ‘ a layer down of counsel,’ and ras-dhari 1 a composer 
of dances.’ It will be observed that the poet is giving a brief catalogue of 
all the great authors of earlier date, and places at their head the god Sesh- 
nag, the first artificer or 71 - 0177 x 7 /$ of the universe. He then passes on to 
the Yedas, which he represents as directly inspired by Vishnu, and thence 
to the Maha-bharat of Vyasa, the Sri-Bbagavat of of Suka-deva, and so on, 
in each case either mentioning by name or describing the author’s principal 
work and eulogizing his genius. Thus in the fifth line we are forbidden by 
the context from taking the obscure word bambham to represent the £ Brah¬ 
mans’ as the authors of the Veda, which has already been distinctly ascribed 
to Vishnu himself. I would rather consider it as a corruption of babJiru , a 
title of that god, and couple it with the word Hari which immediately 
follows it. 
In line eight, utta would seem to be an abbreviation for uttam , 1 the 
best;’ while Parathth is simply the Hindi form of the Sanskrit Partha, 
meaning ‘ the son of Pritha,’ a very familiar name of Arjun, the great hero 
of the Malia-bharat. In lines nine and ten, the reference is to the Sri 
Bhagavat, which was recited by Sukadeva to king Parikshit when at the 
point of death, as the best means for procuring the 1 salvation’ (uddhara) 
of his soul. 
In the following couplet, I have corrected the unmeaning word shaddha 
to suddha. The allusion is to Sri Harsha’s famous poem, the Naishadha, 
which narrates in twenty books the adventures of the hero Nala, king of 
Nishadha, and concludes with the description of the Svayam-vara, where 
Damayanti in token that she had selected him for her husband * dropped 
upon his neck the wreath of flowers.’ 
Lines thirteen to sixteen are eulogistic of the great poet Kalidasa, to 
whom Chand ascribes, not with perfect accuracy, the composition of the 
Bhoja-prabandha, a work in mixed verse and prose.* A literal translation 
of line fourteen would be “ whose voice Sarasvati made a charming voice,” 
rag being not £ speech’ but the £ queen of speech ;’ and rani not £ a poet’ 
but £ voice.’ In line fifteen, vdsam is not £ fragrance,’ but 1 an abode ;’ 
and in line sixteen the words setu bandliyau mean simply £ composed,’ 
having been selected with alliterative allusion to the prabandha which forms 
part of the title of the work under mention. It may be noted upon lines 
seventeen and eighteen, that Danda-mali’s great work, the Dasa-Ku- 
* Tlio prose frame-work is known to liave been composed by Ballala Misra, 
but many of the peotical extracts may with great probability be ascribed to Kalidas. 
