Phanom Rung Inscription

padyam 1 {vasantatilakavrttam } ... mahe trinayanaprabhrtipra vidita ekakalo (S) pyaneka kacid yathativitatais siva e padyam 2 [vasantatilakavrttam } (3) [asi } n nrprsriddhahiranyavarmma hiranyagarbhena vibhu (4) hiranyagarbhandahiranyabhanda vibhusanarthan nu ya padyam 3 [vasantatilakavrttam } (5) [a] dityalaksmyo praka [kr } tih ksitindagrame sthirayasya ....... (&) - tsthapya tatsthanakulamvujani tabhyam krtaniva lasanty padyam 4 { vasantatilakavrttam } (7) hiranyalaksmyam avanindradevyam mahidharam srijayavarmma de [vam ] (8) mahipatisso janayad yathagryam kalakalapamn divi 6 i

padyam 5 {vasantatilakavrttam } (6) tasyam varasridharanindravarmma vanisvaram sriyuvaraja .... | (10 ) paraparau srijayavarmmanamno jagajjayo so' janayajjanesah | | padyam 6 [vasantatilakavrttam } (11 ) hiranyavarmmadbhutamanyanapta hiranyalaksmyasca sutasutayam | (12 ) srisuryyavarmmavanipam ksitindra- dityaksitiso' janayad varenyam padyam 7 {vasantatilakavrttam } (13 ) nanadvipendradi karakaradi- vastunyanekani tadiyarajye | (14 ) ekam yadekan dhruvamatapatra (tram ) satamata {ti } bhyekasitatapatram || padyam 8 {vasantatilakavrttam } (15 ) bhubhrdbhavanvayamava bhuvi bhupatindra- laksmirvabhuva bhuvanabhimata bhavani| (16 ) srisuryyapitranubhava caturan narendra- dityabhidham [ta} masrjajjagadinduvimvam || padyam 6 {vasantatilakavrttam } (17 ) srisuryyalaksmirvijayarkadeva- .s srivijayarkanamna [mna } padyam 10 {malini }

padyam 11 { vasantatilakavrttam } [vasantatilakavrttam } I ----------- (2) evam vicintya bhavinam iva ya ..bhavo vibhutyai | | | padyam 12 {vasantatilakavrttam } (3) nirmaya nirmalamukham vidhuvad va ...yugam yadiyam | (1) kali (of) (4) tarendratarakakrta karanam vivaksu .tanute nu tadiyam urvyam | | padyam 13 {vasantatilakavrttam } (5) yah kamininikaraniscalamanasastho [S] pi sthatumarhati hrdi sma mahakavinam | (6) dutivara samavala kavitarucisca sakta vinetum ubhayatra yatastadamgam || padyam 14 [vasantatilakavrttam } (7) vanyanavadyasudhayadhikaya dhiya va vijneya esa sutaran nayanabhinandah | (8) asmakamasu rucidarsanamantarene- tyevam dhruvam ksananimesagatasstriyastah | | padyam 15 [vasantatilakavrttam } (6) kamo (S) pi gaditasadgunalesa esa bhavyavyapetavapuso bhavatabhibhutah | (10 ) ityukta isa iva yad bhava eva gauryya naryyaryyahrdyakrta kamasahasrakotim || (5) (MP) () (3)

padyam 16 {upajativrttam ] Sanskrit Inscriptions of Thailand / 373 (6) suradhikam yam smrtameva dhata srastum dhruvam yatsrjati sma kamam | (90) bhavam vasana bhave dadhavanyadrsah sudure|| padyam 17 {vasantatilakavrttam } (00) rupy (13 ) ..............strajagatah prayataprayas vam ................ | (c) (14 ) sasvatsamam samucitah priya esa eva kamo pra ......... padyam 18 {vasantatilakavrttam } || (15 ) samke na somatapasadhikasadhitam prak praptah kalamaviphalam sasamkat | (16 ) yassrastusrstikrpaya khalu yena somo nanyesu nitasurucih parakantihinah | | padyam 16 {vasantatilakavrttam } (17 ) kancidvina nijavadhussamuparjita [5] pi yai raksakam virahita hi sasamkantih | nasta tathavidhataya nu punah punaryyad vidyayutananaruciscirasamgata nu || padyam 20 {malinivrttam } (16 ) rudhirarucilavancandrastadasye tadiye sakalamalamapi amghridvaye bham vibhartti | (20 ) yadi divi bhuvi lokanam mato niskalamko yadanukaranabhutarcyamaranam nrvandya || (21 ) iti saundaryapatalam samaptam || zhe

padyam 21 [upajativrttam } (22 ) namassivayastu sivaya vo yassamke sasamkanalasuryanetrah | (23 ) usnatvasitatvasamatvamipsus svasye vibhartsyadbhutajanujatam || padyam 22 {upajativrttam } (24 ) bhujadvayan nirjitavairivrndan drstad rdhabhagan dhrtavarmmayuktam | (25 ) yasya sma deharddhagirindhrarandhra- niryatabhogindravibham vibhartti || padyam 23 [ upajativrttam } (1) yo sau paran dhamabhujena jetum ajau vina savyabhujan nu saktah| (2) punarjayan savyabhujena karyyam savyapasavyahitamicchati sma || padyam 24 [ indravajavrttam } (3) jato vijatiyabhavan bhavesu jetum samarthah kvacideva kascit | (4) ksattranvayo yad dhruvamanyadesan jitva rarajajisu tejasa ya } padyam 25 {upajativrttam } (5) nikrttavidvidviradottamangah raktarnave yena rane nimagnam | (6) sinduradigdhamvunidhau ratasya ji [ji ] vadgajasyeva siro raraja || padyam 26 {upajativrttam } (7) yenodvibhinnau rudhirarunau na CC-0. Prof. Saty savyapasavye satavairivirau | sila (ep) (41 ) jisaka (c) op edi (09) (S) New Delhi. Digitized by S 3 Foundation USA

(8) japavimau viksya visankya yuddhe prasadamedam sma caranti vighna [] padyam 27 {upajativrttam } (6) yasyarimekam sarasighranitam urdhvam drutan drag valamandalebhyah | (10 ) mrtamrtanam gananaya nunam yuddhe [S} nayadvairivaladhipendrah || padyam 28 {vasantatilakavrttam } (11 ) nitah saro [S} ripatirasisirassu sadyas svasyasane sthitikaro viraraja ramge | (12 ) yenanaveksitavijivitavairina ced asamkito sphutagatirvaravairimurdhnam || padyam 26 [vasantalikavrttam } (13 ) utkrttamurddhaddhatavidvisam yac cakrena jayasmaranasca nitah | (14 ) vyomotpatan bhumigato vabhau nu dyustrinirastas svavadhusmaratvat | | padyam 30 [ malinivrttam } (15 ) ranabhuvi suripunam nirvvijityantakale lalitanisitasastragre viyatyutpatan yah | (16 ) jvaladanalanibho dhamnanyadantindrayato saniriva sa {su } bhavan saddharmmavrstya sahadrau | (17 ) iti sauviryyapatalam samaptam padyam 31 (vasantatilakavrttam } CC-0. (P). (9) (18 ) padmasanabjanayataikyagato 53 pi drstai zed by S 3 Foundation USA ko {5} han drsanyakathito [S} nyavida dhiyaivam

(16 ) asamkya yastrinayanan trividhanumanan nunam dadhati vidhudharyyanisam sa .......vyat padyam 32 {upajativrttam } (20 ) pragagamah prag guruna pranitah prapurita yena hrdi svakiyam | (21 ).........karo na sahas susastram marttandadiva vi ...... 5 (3) Irming (or) || mu bu padyam 33 (khandito 'yam bhagah pathitumasakyah ) kala padyam 34 {vasantatilakavrttam (9) ------------------ (2) gamga tvadhogatigata giri ((PP) di (AP) || 3 pp padyam 35 {vasantatilakavrttam } Mosisyog (of) (3) | (4) I (4) vidvamsamevamiva sabdavido [S] rtha sabda samga ......... padyam 36 [vasantatilakavrttam } II (UP), (5) guhyo [5] pi sasituratulyamukhopade sa [sa } t sastrena vahrdrsa ..............! (6) vam gabhira hrdaye paramassivo yam yasyavasat samadhikan nu nigudhadehe || padyam 37 {vasantatilakavrttam } (7) sarvagame paturatulyatamani tani Big (e) PE Sater rate Shastri Sollersion. New Delhi. Digitized by S 3 Foundation USA Satva CC-0. Prof. sarvvavatani ca sivadimatanyasesam |

(8) yatnaissamanamakarodyadayam tato yad devan na vetti vata devavidam vinanyah || padyam 38 {upajativrttam } (6) (asyena } nasakila sannikrsta jagatpratita nu mukhasya karnah | (10 ) atyantamatyantikata [tam ] gato syasye sphutastat srutisavdasabdah | | padyam 36 {upajativrttam } (11 ) (manu ] syabhutena yadananena ......... ramyam [nu } [pa] dyam | (12 ) yasyartham asyasa ma sadhvivodgacchati tena sasvat | | padyam 40 {malinivrttam } madha [dhu ]ramadhurasam yasyadhikam padya 8 FIR (95) | | FIVE vandham sahitasahita sabdartha [rtham ] maha [ha ]} ntah pivantah | (14 ) sakalasakalamatmiyan tyajantyeva yatva paramaparamapi striva tyajatyatmavandham || (15 ) iti sarvvavidyabhyasapatalam samaptam padyam 41 {upajativastam } (16 ) namadhvamarddhendudharantamardha- ngasarginomarddhakalevaram yam | (17 ) saurisca gauri ca sisussasi ca nu sevitum tyaktakalevarorddhah || padyam 42 {upajativrttam } (18 ) ramye girau ramyagiripratite CC-0. Prof. nanadrumaih pelavapallavayaih New Delhi. Digitized by S 3 Foundation USA

(16 ) vratam cakararunadhamabhiryyah kailasasaile giriso yatha prak || padyam 43 {upajativashattam } (20 ) pratassamutthaya vidhaya yogam yo brahmano dvaramidam vimeda (21 ) brahmandabhedan nu bhiyatmayoga- ssanaissanairyyogamimancakara || padyam 44 {upajativrttam } (22 ) yassaptamase phalapatrabhojyam bhujan vabhau bhojanapanabhajam | (23 ) tulyan dhruvam yogigane [5] nuyate khedanniraharamanapta esah | | padyam 45 {upajativrttam } (1) bharttesvaro [s] bhud divi bhutasanghe (2) bhumyudbhavo yo yamabhutamartta | (3) tena dhruvam dhurjatito nu purvvat (4) tato [5] dhikam yam bhajate sma bhutah || padyam 46 [ indravajavrttam } (5) ga {gu ] hagrhe dhvantaghane dhiya yo (e) (da) (bag) (9) (or) ma () kuि ि (87) (c) (6) rasmipratanam vitatana tisthan | (7) adityanamnaiva samanamano (8) (bha ] nurguhadhvantajitau nu tasya || () padyam 47 {upajativrttam } (6) pur } vva [rvvam } gabhiro (S) vdhiratah prakarsa (10 ) durabhustaddhadayayamanah (11 ) (hr } dadhayagamavdhibhiyeva yoge Sa CC. (12 ) [ya] syorvavad vahnivimauddhavabhuta Pigitized by S 3 Foundation USA

padyam 48 {upajativrttam } Sanskrit Inscriptions of Thailand / 379 (13 ) yo [S} pyastamuttirvidito [S] tabhurttes (14 ) tulyo nu yenastadine nivrttau (15 ) vrtteranuccaritamutramatra - (16 ) dau divyalilammavapa sakala || padyam 46 [upajativrttam } (17 ) saunaganagassphuta esa bhasye (18 ) sabdarthavitsarvvabhujancham gasacha | (16 ) .......tpra ( pre ) rayatyatmagana ......... .tyatra tavatya ..... CONNO .......dhyapaka ........ Love (20) Of(29) (21 ) padyam 56 [anustubvrttam } ElafiteaseY IBSHE as odms (1) nanavidhesu devesu (2) nanavidhadhanani yah | (3) nanagunavinitani (4) nanagunigururdadau | padyam 57 [vasantalilakavrttam } (5) ‍[si } syassutasca svapitussugurornarendra- (6) da di ] tyasya yo [S] yamudito varunarkava | (7) vimsatyatitavayasa samatisthipat tad (8) rupam hiranyajanakam sa hiranyanama | | padyam 58 [upajati } (6) suvarnalimgesalaye sa yato (10 ) navam vayah pancadasa sphutam yah | (11 ) trtiyasastharnavabhasyasara- (12 ) pare {S} gamad yajnaganodupena padyam 46 ( aryavrttam } ( CC-0. Pro (13 ) krtasandesas sodasa- 12

(14 ) vayasa castadasasphute vayasi (15 ) danebhendro ganito (popisnope) v po (16 ) (vi } carakairyyo vica auryyah (4) to (969) vamvadya (9 C) hp (0) Stanza 1 Vasantatilaka (1) ......... mahe trinayanprabhrtipras (2) ............vidita ekakalo py aneka kacid yathativitatis siva e........... Translation: ........ One (Siva). (SP) ............ beginning from the Three-eyed ..... (just as) though He (Siva) is well-known to embody only one time He is many, even so the inexplicable allpervasiveness is Siva Himself........ Stanza 2 Upajati (3) [asi]n nrpas sriddhahiranyavarmma sriddhahiranyavarmma UFF (6) hiranyagarbhena vibhu [h]....... (4) hiranyagarbhandahiranyabhandas] or m vibhusanarthan nu yal Translation There was a king named Hiranyavarman radiant in glory who was {equally to} Hiranyagarbha (Brahma). Apparently, (King Hiranyavarman?), in order to be the ornament of the golden pedestal vessel supporting the golden cosmic egg, indeed, have [Shows] Stanza 3 Indravajra Klopp 01 (os) (5) [a]dityalaksmyoh prak[r]tih ksitindra grame sthira yasyane wibo (re) (6) tsthapya tatsthanakulamvujani tabhyam krtaniva lasanti .............|| fr (se) Translation: The image of Aditya and Laksmi which had set up at Kisitindfagramaection. NeHaving set it (it?)up, the quality

lotuses of that place appeared [in the world] as if they were by both of them. made.... Stanza 4 Upendravajra (7) Hiranyalaksmyam avanindradevyam mahidharam srijayavarmmade [vam] | vibiol (8) mahipatis so' janayad yathagryam bra kalakalapan divi......... || do Translation: On Queen Hiranyalaksmi, the king (Hiranyavarman) begot Srijayavarmmadeva, who was (also) a king and who was comparable, in excellence, with the moon in the sky.......... Stanza 5 Upajati (9) tasyam varasridharanindravarmmavanisvaram sriyuvaraja...... (10) paraparau srijayavarmmanamno jagajjayo so janayaj janesah || 8 S 18 Translation: On her (Hiranyalaksmi), the king (Hiranyavarman), who was the conqueror of the world, begot the esteemed lord of the earth named Sridharanindravarman and Sriyuvaraja, who were elder and younger brothers of King Srijayavarman. Stanza 6 Upajati (11) hiranyavarmmadbhutamanyanapta hiranyalaksmyas ca sutasutayam | (12) srisuryyavarmmavanipam ksitindradityaksitiso janayad varenyam || P Translation: King Ksitindraditya, King Hiranyavarman's marvellous and honourable grandson, begot the most distinguished King Suryavarman on Queen Hiranyalaksmi's granddaughter

Stanza 7 Upajatie (13) nanadvipendradikarakaradivastuny anekani tadiyarajye | (14) ekam yad ekan dhruvam atapattra[m] Satam at[i]bhyekasitatapattram || ed to anot Translation: In his (Ksitindraditya's) kingdom, there were such various kinds of things as multitudes of trunks of lordly elephents [come to him] by way of tribute etc. and mines. Undoubtedly, the only unique thing must have been his parasol, the white parasol which afforded (protection) against great fear for the good. Stanza 8 Vasantatilaka (15) bhuhrdbhavanvayabhava bhuvi bhupatindralaksmir vabhuva bhuvanabhimata bhavani | (16) srisuryapitranubhava caturan narendra dityabhidam [ta]m asrjaj jagadinduvimvam || Translation: Bhupatindralaksmi, who was born in the royal family, was, as it were, Goddess Bhavani on earth that was revered by the worlds. She, who bore the characteristics of King Surya (varman), her father, gave birth to ingenious Narendraditya 'who was, as it were, the orb of the moon on earth. Stanza 9 Upajati / Indravajra (17) srisuryyalaksmir vijayarkadeva- ..............s srivijayarkanamn [a] | || Translation: Srisuryalaksmi......... Vijayarkadeva........ Sri Vijayarka by name.

Stanza 10 (Malini) Sanskrit Inscriptions of Thailand / 383 The newly found/discovered part Stanza 11 Vasantatilaka (1) (2) evam vicintya bhavinam iva ya............ bhavo vibhutyai || Translation: Thus having thought, (he) who was born as if........ for the prosperity....... Of those that will exist in the future ....... Stanza 12 Vasantatilaka (3) nirmmaya nirmmalamukham vidhuvad va yugam yadiyam | (4) tarendratarakakrta karanamm vivaksu tanute nu tadiyam urvyam || Translation: Having created his (Narendraditya's) untainted face like the moon ............ by (Brahma?), the creator of the moon and stars. Undoubtedly, He (Brahma), who wanted to explain his action must have given his.......... to the earth. Stanza 13 Vasantatilaka (5) yah kamininikaraniscalamanasastho pi sthatum arhati hrdi sma mahakavinam | (6) dutivara samavala kavita rucis ca sakta vinetum ubhayatra yatas tadangam || Translation: Even though he remained in the firm minds of the host of lustful ladies he also deserved to be in the minds of great poets. For, his poetry and beauty, having equal force, were the efficient excellent envoy [s] that brought his body to both.places.

Stanza 14 Vasantatilaka (inila) 01 esame (7) vanyanavadyasudhayadhikaya dhiya va vijneya esa sutaran nayanabhinandah | (8) asmakam asu rucidarsanam antarenety evam dhruvam ksananimesagatas striyas tah || Translation: These ladies must have gone through each moment and each nimesa (the measurement of time equal to the twinkling of an eye) thinking thus: "He (Narendraditya), who is pleasing to the eyes, apart from (being known) through our quick look at his beauty, can be known also either through his nectar-like unblemished expression or by his great wisdom". Stanza 15 (9) kamopi me gaditasadgunalesa esa W bhavyavyapetavapuso bhavatabhibhutah | (10) ity ukta isa iva yad bhavameva gauryya asnet? (E) nayyaryyahrdy akrta kamasahasrakotim || Translation: It looks Gauri told Isa (Siva) that "for me, the hapless one, even Kama who is said to possess a modicum of good qualities is destroyed by you. That is why the women in their noble heart created Bhava (Siva in the present context the King) himself in the form of millions of Kamas. Stanza 16 Upajati (9) suradhikam yam smrtam eva dhata srastun dhruvamm yat srjati sma kamam | (10) bhavam vasana bhave dadhav anyadrsas sudure || Translation: Undoubtedly, the Creator must have created Kamadeva, god of love, in order to create him (Narendraditya) who had been regarded by him as greater than the god. That was why he (Narendraditya) bore ........... in the state of no longing in the place very far from the eyes of others. ascaly des

Stanza 17 Vasantatilaka to (13) (13) ........strajagatah prayataprayas vamka T ......... | to asora et (14) sasvat samam samucitah priya esa eva To giden kamo pra Translation: ............. || chons fr aid to Stanza 18 Vasantatilaka: (15) sanke na somatapasadhikasadhitam prak praptah kalam avikalam sasankat | (16) yas srastrsrstikrpaya khalu yena somo nanyesu nitasurucih parakantihinah k (19) Translation: Methinks the austerities of Soma had not been able to achieve much in that he (the king) had achieved through the grace of the creator who fashions creation a digit in excess of that of the moon with the result that its (moon's) lustre shifted to others (and) it lost much of it. Stanza 19 Vasantatilaka (17) kancid vina nijavadhus samuparjitapi yai raksakam virahita hi sasankakantih (18) nasta tathavidhataya nu punah punar yyad vidyayutananarucis cirasangata tu || Translation: That the lustre of the moon disappeared that way regularly again and again must have been due to the fact that the lustre which was actually his own wife was destitute of protecting knowledge of any kind in spite of its having been completely earned by him. On the contrary, the beauty of his (Narendraditya's) face, endowed with knowledge, continued attached to it for a long time. Stanza 20 Malini cc-(19) rudhirarucilavan candras tad asye tadiye Fat Shasti Collection, New Delhi. Digitizam sakalakamalam api anghridvaye bham vibhatiin USA

(20) yadi divi bhuvi lokanam mato niskalanko te yad anukaranabhutarccamaranan nrvandya || Translation: The moon appears in the form of a bit of sheen of blood (redness) in his face; all the lotuses shed their lustre on [his] feet. If the moon in the sky the people on the earth were to think of spotless, (it is the king). The worship of the gods adored by the people would just be replication of that of his. Stanza 21 (21) iti saundaryapatalam samaptam Translation: Thus ends the chapter on beauty. (22) namas sivayastu siyaya vo yas bezite sanke sasankanalasuryanetrah | (23) usnatvasitatvasamatvam ipsus to sang odi riguos svasye vibhartty adbhutajahnujatam || Translation: May you all salute Siva for your prosperity. I fancy, He, whose eyes are the moon, the fire and the sun, wishing to bring about the equilibrium in the heat and the cold, carries on his head the daughter of the fabulous Sage Jahnu (Ganga). Stanza 22 Upajati dsnug on Bystedbi To steal of tarT moltalainT (24) bhujadvayan nirjitavairivrndan Mags halogen yaw to sturizes drstarddhabhagan dhrtavarmmayuktam |ento d (25) yasya sma deharddhgarindrarandhra-comi gritusion aid to niryatabhogindravibham vibhartti || Translation: His two arms that had conquered the host of enemies, that were covered with armours and (thus) halves of which were visible, gave the appearance of two lordly snakes halves of whose bodies were emerging from their holes.

Side B Stanza 23 Upajati (1) yo sau paran dharmabhujena jetum ajau vina savyabhujan nu saktah | (2) punar jayan savyabhujena karyyam savyapasavyahitam icchati sma || Translation: He was the very person who, apparently, could conquer his enemies in battle with the arm of righteousness without using his left arm. But, while conquering them, he sought the work that was (normally) done by both left and right arms to be done by using his left arm. Stanza 24 Indravajra (3) jato vijatiyabhavan bhavesu jetum samarthah kvacid eva kascit | (4) ksattranvayo yad dhruvam anyadesan jitva rarajajisu tejasa ya[h] || Translation: A person who is able to conquer the different kinds of worlds is born in the (three) worldly existences only sometimes (and) somewhere. Certainly, that was why, he, who belonged to the warrior-caste, after having conquered other countries shone in battles with his majestic lustre. Stanza 25 Upajati (5) nikrttavidviddviradottamangam raktarnave yena rane nimagnam | (6) sinduradigdhamvunidhau ratasya jivadgajasyeva siro raraja || Translation: The elephant's head of his enemy, that was cut off by him and immersed in the ocean of blood in the battlefield, appeared like the head of a living elephant sporting in the ocean, the water of which was reddened with sindura, red-leadof. Satya Vrat Shastri Collection, New Delhi. Digitized by S 3 Foundation USA ction, New Delhi. Digit

Stanza 26 Upajati (7) yenodvibhinnau rudhirarunau nu uz savyapasvye satavairivirau | (8) japav ibhau viksya visankya yuddheug prasadabhedam sma caranti vighnah || ES smere Translation Undoubtedly, in the battle, the obstacles, noticing the two elephents, the japas (sacred chantings) (incarnate), one to the right and one to the left, as powerful as the hundred enemy soldiers that were torn apart by him and were red with blood were breaking into palaces (to take shelter in them). Stanza 27 Upajati verbal asunt (9) yasyarim ekam sarasighranitame od (E) urdhvam drutan drag valamandalebhyah | (A) (10) mrtamrtanam gananaya nunam mubb yuddhe nayad vairivaladhipendrah || T Translation: Unmistakably, the commander of the enemy army must have brought to the battlefield, one enemy soldier who was led swiftly away by his (Narendraditya's) arrow, who (as if) ran with great speed \above the entire army, in order to count the soldiers who had died and who were still alive. Stanza 28 Vasantatilaka (11) nitas saro' ripatirasisirassu sadyas plin ((C)) svasyasane sthitikaro viraraja range onia (0) (12) yenanaveksitavijivitavairina ced vil awarasankitosphutagatir varavairimurdhnam ||f Translation: In the battlefield, the arrow that he shot at the heads of lords of enemies, came back and appeared in its original position because of the doubt it entertained in its not having had a close look at the enemies won because of the unclear situation/state of the heads of the good (-Strong)" CC-0-Prof Shastri Digitized by S Foundatenemies. USA

[What the poet wants to convey here is: when the arrow struck the heads of the rows of enemies-it just struck; it could not have the idea as to how many of the heads it had severed; but when it was back, it was time for it to count them.] Stanza 29 Vasantatilaka (13) utkrttamurddhoddhatavidvisam yaccakrena jayasmaranas ca nitah | (14) vyomotpatan bhumigato vabhau nu zoveel dyustrinirastas svavadhusmaratvat || Translation: The head of the proud enemy that was cut off by his (Narendraditya's) discus was moving away while it was still remembering its wife. The head that was moving in the sky dropped to the ground. It appeared as if it was cast down by the celestial damsels on account of it remembering the wife. Stanza 30 Malini (15) ranabhuvi suripunan nirvvijityantakale lalitanisitasastragre viyaty utpatan yah | (16) jvaladanalanibho dhamnanyadantindrayato sanir iva s[u]bhavan saddharmmavrstya || Translation: In the battlefield, at the end of the complete victory over the good (= powerful) enemies, he, who was like blazing fire on account of his majestic lustre, while flying in the sky above the tips of gracefully wavering sharp weapons, moved on to another lord of elephants like lightning that flashed on the mountain, with concomitant rain resulting from his righteousness. With this ends the Chapter on Valour (17) Sauviryyapatalam samaptam Stanza 31 Vasantatilaka (18) padmasanavjanayanaikyagato'pi drstai ko 'han drsanyakathito 'nyavida dhiyaivam |

(19) asankya yas trinayanan trividhanumanan W dwy nunan dadhati vidhudharyy anisam sa[a]vyat || Translation: Even though I have attained oneness with the one whose seat is lotus (Brahma) and with the Lotus-eyed One (Visnu) I, who am the only one that has been seen with physical eyes, has been described as some one else through the knowledge that perceives something else other than God": thus suspecting, he (Narendraditya) must, surely, have borne the three eyes, that is, the three kinds of anumana, means to acquire knowledge, so that he who is the bearer of the moon may protect you all the time. Stanza 32 Upajati (20) prag agamah pragguruna pranitaha prapurita yena hrdi svakiyam [ye?] | (21) karo na sahas susastram marttandadiva vi ................. Translation: The ancient religious scriptures composed by the masters of yore have been filled (=imbibed) completely by him in his own heart. (So) the author of ....... did not..... his brightness and learning in sciences ..... the ...... of the sun. Stanza 33 Stanza 34 Vasantatilaka (1) I (2) ganga tv adhogati gata giri || Translation: ....... But Ganga which moved along the downward path Shastri mountainw Delhi. Digitized by S 3 Foundation USA

brolinaT Sanskrit Inscriptions of Thailand / 391 Stanza 35 Vasantatilaka Stan (3) I (4) vidvammsam evam iva savdavido rthasavdasanga ........... || Translation: ......... in the same way .... of the learned like the persons who know well about words....... the (inseparability) of meaning and words. Stanza 36 Vasantatilaka Stanze (5) guhyo pi sasitur atulyamukhopdesat sastrena vahadrsa .| (6) vam gabhirahrdaye paramas sivo yam yasyavasat samadhikan nu nigudhagehe || Translation: On account of the incomparable oral instruction be of the master though secret........... the arms, eyes ..... the ...e most exalted Siva must, surely, have dwelt in the secret house, that is, his profound heart. Stanza 37 Vasantatilaka Sta (7) sarvvagame patur atulyatamani tani sarvvavratani ca sivadimatany asesam | (8) yatnais samanam akarod yad ayan tato yad devan na vetti vata devavidam vinanyah || Translation: Being well-versed in all sorts of scriptures, he practised all the most incomparable austerities and put into practice, with great efforts, all the teachings of Siva and others in their entirety and on equal footing. Therefore, no one except the devavid (the one who studies about gods and the prayers for each god or the one who practises dharma to attain the godliness) knows god.

Stanza 38 Upajati (9) (asyena) nasa kila sannikrsta jagatpratita nu mukhasya karnah | (10) atyantam atyantikata[m] gato syasye yat sphutas tat srutisavdasavdah || Translation: In fact, it was well-known the world over that the nose is close to the mouth. Because the ears were too close [closer] to the mouth the sound of the Vedic words were clear (to his ears). Stanza 39 Upajati (11) (man)usyabhutena yadananena ................ tumsluts luts dials i ovdug (2) rtharamyam [nu] [pa]dyam | (12) yasyartham asyasa ani tema sadhv ivodgacchati tena sasvat ||T Translation : With his human mouth the versified poetry must, surely, have become beautiful on account of........ meaning. Thus the meaning ......... (through?) his mouth ....... Rises perpetually like good (poem does).... Stanza 40 Malini (13) (Madh)u (ra)madhurasam yasyadhikam padya vandham sahitsahitasavdarth(m) mahantah pivantah| (14) sakalasakalam atmiyan tyajanty eva yatva paramaparam api striva tyajaty atmavandham || Translation: While drinking (enjoying) a great deal of his poetic compositions, of sweet taste like that of honey, of which the words and meanings were replete with wholesome advice, great men abandoned the entire perfect poems of their own like a married woman, having gone (to her husband's house) abandons her relatives, both great and small.

With this ends the Chapter on all sorts of learnings. Stanza 41 Upajati (16) namadhvam arddhendudharantam ardhangam sarngnomardddhakalevaram yam | (17) sauris ca gauri ca sisus sasi ca nu sevitum tyaktakalevarorddhah || Translation: Salute you all, him, the bearer of the crescent moon, whose half of the body belongs to Visnu and the other half to Uma. Apparently, Visnu, Gauri and the crescent moon must have sacrificed the halves of their bodies to serve him. Stanza 42 Upajati (18) ramye girau ramyagiripratite nanadrumaih pelavapallavagaraih | (19) vratan cakararunadhamabhir yyah kailasasaile giriso yatha prak || Translation: On the mountain, known by the name of Ramyagiri, which was pleasant on account of there being many kinds of trees that had sprouts with tender tips of crimson hue he (Narendraditya) practised austerity in the same manner as did Siva in ancient times on the Mount Kailasa. Stanza 43 Upajati bell (20) pratas samuttaya vidhaya yogam yo vrahmano dvaram idam vibhedal (21) vrahmandabhedan nu bhiyatmayogais sanais sanair yyogam iman cakara || Translation: Early in the morning, he woke up and after practising yoga (self-concentration) broke open the door of Brahman (Brahmadvara). He must have, surely, practiced yoga slowly for fear lest the universe were to be destroyed by his yoga-0. Prof. Satya Vrat Shastri Collection, New Delhi. Digitized by S 3 Foundation USA

Stanza 44 Upajati (22) yas saptamase phalapatrabhojyam as aids diw bhujan vabhau bhojanapanabhajam | (23) tulyan dhruvam yogigane nuyate khedan niraharam anapta esah || Translation: Among those who ate normal food, he partook only fruit and leaves as food for seven months. The reason that he did not abstain from food altogether was the feeling on his part that the host of yogins that would follow his routine may not be put to trouble. Stanza 45 Upajati (1) (2) (3) (4) bharttesvaro bhud divi bhutasanghe bhumyudbhavo yo yamabhutabhartta | tena dhruvam dhurjatito nu purvvat tato dhikam yam bhajate sma bhutah || Translation: In heaven, Isvara (Siva) was the lord among the host of beings (=ganas) whereas he (Narendraditya), born on earth, was the lord of the beings of the god of death (the mortals). That appears to be the reason why, beings (on earth) worship him (Narendraditya) more than the old Dhurjati (Siva). Stanza 46 Indravajra (5) (6) (7) (8) g[u]hagrhe dhvantaghane dhiya yo rasmipratanam vitatana tisthan | adityanamnaiva samanamano [bha]nur guhadhvantajitau na tasya || Translation: While staying in the cave which was filled with total darkness, he stood radiating rays of light through his intellect whereas the sun, aditya, who considered himself as equal to him merely on account of the similarity of the name, did not do so. He was no measure to him in conquering ignorance which was like the darkness in the cave. 1

Stanza 47 Upajati Sanskrit Inscriptions of Thailand / 395 (9) pu[r]vva[m] gabhiro avdhir atah prakarsam (10) irabhus taddhrdayayamanah | (11) [hr]datyagaddhavdhibhiyeva yoge (12) [ya]syaurvvavad vahnivibhordhvabhuta Translation: The ocean in the earlier time was deep but the ocean of the size of his heart was deeper still. In yoga, with the far too deep an ocean in the form of his heart, the fire that resembles Aurva, the subterranian fire in a normal ocean, had the flame going upward. Stanza 48 Indravajra (13) yo py astamurttir vidito stamurttes (14) tulyo nu yenastadine nivrttau | (15) vrtter anuccaritamutramatra- (16) dau divyalilam sakalam avapa || Translation: In spite of the fact that he was known as having eight forms, he was, surely, equal to Astamurti (Siva). For, he attained on the eighth day the entire divine grace when he stopped the physical activities such as passing urine, excreting etc. Stanza 49 Vasantatilaka (17) saunaganagas sphuta esa bhasye (18) savdarthavit sarvvabhujangasangham | (19) tpr[e]rayaty atmagana (20) ty atra tavatya || || Translation: It is him, who knows the grammar in the Mahabhasya, who, verily, is the Naga of the School of Sunaga, that instigates the host of all the Nagas his own it-Prof. Satya Vrat Shastri Collection, New Delhi Digitation USA qualities. Thus of this much

Stanza 50 Vasantatilaka (21) (22) (23) (24) dhyapakadhi (e) (OTY (11) Translation: Stanza 51 Vasantatilaka paraprabhutvam | yataro vividhavratena bhudharadayamrtam antarena || 8 b sz Translation: ....... the stake of Supreme God. .......... By means of various austerities ..... except (or apart from) the nectar in the form of the sympathy of the king...... Stanza 52 Malini (4) (5) (6) dayanayarccanayanavadyo nagaranaracayair yyatas sanaryyasyuthaih | taranakarajanan tam sarppadastan taratya (7) ksatam ativisato mantrais sma mandakinistham || Translation: He, who was irreproachable went with multitude of citizens including the throng of honourable men and their wives ..... to worship.... He crossed over the people who........ were in the Mandakini river and who were bitten by snakes without being hurt by the deadly poison on account of his using mantras (magical incantations). With this ends the chapter on knowledge, supernatural accomplishment and Yoga practice. Stanza 53 Sloka (9) nidragramabhidhane sri- (10) trigurun trijagadguruh |

(11) dese so tisthipad yas sriStar (12) (na)r(e) ndradityanamabhut || Translation: He, the teacher of the three worlds, whose name was Narendraditya, erected the [statues of] three teachers at the place named Nidragrama. Stanza 54 Sloka Hov (sen(13) indradolakhyadolam yato (14) s sribhadresvara isvare | S (15) dadau tatra dadau naga- (16) pattram sthuladrisambhave || (D) Boug Translation: He gave a palanquin named Indradola to Lord Sribhadresvara. There he also gave the leaves of Naga plant (Musua Roxburghii, Rottlera Tinctoria) to Lord Siva of the Great Mountain (Sthuladri). Stanza 55 Sloka (17) devyam rajaguhayam yo (18) yanayatam satam matam | (19) hemadolam vilasitam (20) manyamatur adan muda || Translation: He, with joy, gave his revered mother's glittering golden palanquin that was fitted on a vehicle and was honoured by good people, to the goddess in the royal cave. Stanza 56 Sloka (1) (2) (3) (4) nanavidhesu devesu nanavidhadhanani yah | nanagunavinitani nanagunigurur dadau || Translation: He, who was the foremost among the many people endowed with various virtues, donated various kinds of his assets which were lovely on account of their good qualities to various gods.

tell oe seeb (1) Stanza 57 Vasantatilaka nital T (5) [si]syas sutas ca supitus suguror narendra- (6) d[i]tyasya yo'yham udito varunarkkava | (7) vimsaty atitavayasa samatisthipat tad (8) rupam hiranayajanakam sa hiranyanama || Translation: It was he, Narendraditya's son as well as pupil, whose name was Hiranya, who rose (to such prominence) as Varuna and Arka (Aditya) and Vata (?) on account of Narendraditya being good father and good teacher, that erected the image of Hiranyajanaka when he had completed 20 years of age. Stanza 58 Upajati (9) suvarnalingesalaye sa yato (10) navam uayah panchadasasphutam yah | (11) trtiyasastharnavabhasyasara- (12) pare 'gamed yajnaganodupena || Translation: At the temple of God Suvarnalingesa, he (Hiyanya), who was merely 15 years old, crossed, with the boat in the form of multitude of sacrifices (serious study), to the other shore of the ocean in the form of the contents of Book Three and Six of the Mahabhasya which was as extensive as an ocean. Stanza 59 Arya (13) krtasandesas sodasa- (14) vayasa castadasasphute vayasi | (15) danebhendre ganito (16) (vi) carakair yyo vica[ras]auryyah || Translation: By the age of 16 he still had some doubts but when he completed 18 year of age he was considered by the literary critics as the lord of elephants in rut as he was [so brave with regard to his critical thoughtbelhi. Digitized by S 3 Foundation USA

bleas a bad si blub Sanskrit Inscriptions of Thailand / 399 Stanza 60 (17) Stanza 61 (1) ktya (2) vidha Notes vam vadya The inscription under reference is one of the comparatively better preserved Sanskrit inscriptions of Thailand. It is in the case of this inscription only that the editor of the present volume has made bold to restore some letters or syllables more on the basis of his instinct strengthened by his flair for writing poetry. It is only a guess. It is not always that the guess is not correct. Even if the readers may not accept the restoration, they may well relish it as an ingenious attempt. In verse 1, second half the lost portion may be restored as Siva eva sakstat. Similarly in verse 4 after nu ya it could be ujjagama, came out appeared. In the same strain in verse 5 after yasya it could be bhrsam cakasti and in verse 6 tsthapya could be tat sthapya. In verse 8 Sriyuvaraja might have had the word samjnam coming after it. In verse 2 the compound sriddha is to be dissolved as sriya iddhah, radiant in glory, iddha is from √ niindhi diptau, indh+ta, shining, flaming. In lines 13 and 14 (verse seven) karakaradi poses a problem. What the poet purports to say here is that in the kingdom of the king there were many kinds of things like karakara etc. of a number of lordly elephants but one thing that was surely only one was the white parasol that was no cause for the good people for fear, atibhyekasitatapatram; atibhi+ekasitatapatram, the one thing, the parasol, ekasitatapatram which was atibhi-atikranto bhiyam (iti atibhin), bhimfear, ati beyond, atikranta. Now, kara

has many meanings, it could be tax, it could be hand, it could be trunk. In the present context it is preferable as my friend Dr. Satya Vrat Varma suggests, to render it as tribute and akara as multitude, the whole sentence meaning that there were many things in the kingdom such as different types of lordly elephants (come) by way of tribute and so on. In verse 2 the missing portion after vibhuh could be samanah. In verse 18 in the line praptah kalam avikalam sasankat three syllables are short. They had probably comprised the word adhikam, which goes well with the sense of the text. In verse 21 the poet-composer makes a departure from the accepted tradition in speaking about Siva carrying the Jahnavi (Ganga) on asya, the mouth or the face while tradition has him carrying it on his head. The verse otherwise is a beautiful example of symmetrical intervals. In verse 25 nimagnam cannot go with yena. It will have to be nimajjitam, this type of construction is not unusual in Sanskrit with the sense of causation denoted by nic being ingrained in the word itself even when ni (nic) is not used with it: antarbhavitanyartha. Drutam in verse 27 is the Past Participle form of the root meaning motion, dru gatau, drutam = carried off. In verse 30 there is yatibhanga, wrong caesura, in the second line. The break is at sastra, with gre remaining with the following matter. In the last line of the same verse there is shortage of three syllables needed to complete the requirement of the metre. laide The use of su meaning good with ripun, the enemies is rather interesting: by good enemies probably what the composer means is 'powerful enemies'. bod yn In verse 57 in line 2 one syllable towards the end is missing. Could it be tah: varunarkkavatah? The inscription is remarkable for its fancies, Utpreksas, that abound in it. They bear testimony to the poet's fertile imagination.

The king he imagines to be stationed in the hearts of lovely damsels and the great poets. There are two of his messengers who are equally strong, one of them is his poetry and the other one is his beauty, the latter draws the king to the hearts of the lovely damsels, the former to the hearts of the great poets (verse 13). The king the poet imagines to be Bhava (Siva) himself who recreated himself in the form of millions of Kamadevas resting in the hearts of the noble ladies to answer the jibe, as it were, of his consort Gauri that he had destroyed Kama who had a modicum of good qualities (verse 15) The poet imagines that the austerities practised by Soma (Candra) had not been able to achieve much in that the king could have a digit in excess of him. This resulted in her lustre being transferred to others such as the king with her own lustre diminished (verse 18) The two arms coming out of the half covering of their armour, give the appearance, according to the poet, of two lordly serpents issuing out of it (verse 22) The head of the enemy severed and tossed up by the arrows of the king the poet imagines to have been hurled down by the celestial damsels because of its still carrying the wife (verse 29) memory of his Lord Siva has only half the body, arddhangam, the other half of him comprises half the body of the moon, Visnu and Uma. Here the composer has the poetic spin. He fancies that it is to serve him (Siva) that all these worthies have surrendered half of their bodies: sauris ca gauri ca sisus sasi ca nu sevitum tyaktakalevaro 'rddhah (verse 41) The cave in which the king practised penance was pitch dark. It was lighted only by the rays of the king's intellect. It were the rays that Shastri Collection, New Delhi. Digitized by S 3 Foundation USA that could conquer the darkness and not the sun (verse 46)

The ocean is very deep. To keep the level of water it has the Aurvva, the subterranean fire which is constantly burning with its flame upward. Just as it is with ocean, the same way it is with the heart of the king which is deeper than the ocean. It also has the fire of it with flame up (verse 47) The poet imagines the king to practice yoga slowly lest it were to rend asunder the universe. For seven months he subsisted on fruits and leaves. Well, he could have given up food altogether. That he did not do, imagines the poet, because he knew that the host of yogins in imitation of him would also forego food. He did not want to put them to trouble. So no total abstention from food (verse 43) The composition furnishes a number of charming Similes too a more noteworthy of which is where the poet compares the austerities practised by the king to those of them by Siva on the mount Kailasa in days of yore, kailasasaile giriso yatha prak, the austerities in the form of subsisting on the tender leaves of crimson hue of trees (verse 42) The favourite Sabdalankara, the figure of speech of word, of the poet is Anuprasa, Alliteration which he employs with telling effect in his composition, a few of the more interesting examples of which are as follows: (1). jagajjayo 'so' janayaj janesah (2). bhubhrdbhavanvayabhava bhuvi bhupatindralaksmir vabhuva bhuvanabhimata bhavani (3). ity ukta isa iva yad bhava eva gauryya naryyaryahrdyakrta kamasahasrakotim (4). namah sivayastu sivaya vo yas sanke sasankanalasuryanetrah/ usnatvasitatvasamatvam ipsus svasye vibhartty adbhutajahnujatam// (5). prag agamah pragguruna pranitah prapurita yena hrdi svakiyam (ye)/ mid vase o al

(6). ganga tv adhogatigata giri... (7). bharttesvaro 'bhud divi bhutasanghe bhumyudbhavo yo yamabhutabhartta Here and there the poet uses Yamaka too, e.g., (1). kalakalapan divi (2). ekam yad ekan dhruvam atapattram satam atibhyekasitatapattram// (3). madhuramadhurasam yasyadhikam padyavandham sahitasahitasavdartham mahantah pivantah sakalasakalam atmiyan tyajanty eva yatva param aparampi striva tyajanty atmavandham// (4). trigurun trijagadguruh