Page:The Indian Antiquary Vol 2.djvu/237

 July, 1873.] MISCELLANEA. 213 aham niam geharh g amiss am, it would be doubtful whose house was meant. With keraka it is very different; in many instances it is absolutely super¬ fluous ; as in kassa kerakam edam pavahanam, tical with kassa edam -pavahanam. I am indebted to Dr. Pischel for pointing out the inaccuracy in tho word hhramarkao, which of course ought to be lhamarako. It is inexplicable to me how it escaped me. Such slips will happen to most writers. Db. A. T. Rudolf Hoernle. Benares, May 1873. 3r'i HARSHA, AUTHOR OF THE NAISHADHA. As a slight contribution to tho discussion that has arisen regarding the date of the poet &ri H a r s h a, it may be interesting to note the place assigned him by tho Hindu bard Chand, writing at tho ond of tho 12th century after Christ. At the commencement of his great epic poem, the Prithirdj Bdsa, ho gives a list of tho most eminent writers, his predecessors, with brief allusions to their principal works. The catalogue includes only eight names, which are evi¬ dently arranged in what is intended to be chrono¬ logical order. First comes is the great mythical 7roir)TT]s, S e s li n a g, the author of tho universe; second, Vishnu, who revealed the Veda; third, V y a s a, the composer of the Mahdhhdrat; fourth, Sukadeva, who recited tho Sri Bhdgavat; fifth, Sri Harsha, author of the Naishadha; sixth Kalid&sa, to whom is ascribed the popular work, in mixed verse and prose, entitled tho Bho- japrabandha*; seventh, Dandam&li, without reference to any special work, though doubtless the Dasa-Kumdra-Charita is intended ; and eighth and last, Jayadova, who wrote tho Gitd Govinda. From this it is clear that Chand regarded the Naishadha as a poem of considerable antiquity ; and writing in the twelfth century ho is presum¬ ably so far a better authority than R d j a Bok¬ hara, who wrote in tho fourteenth. Mr. Beames has attempted a translation of the pas sago to which I refer (reprinted in tho Ind. Ant. vol. I. p. 318), but it is not very accurate; and he has omitted a9 unintelligible the line in which & r i Harsha’s name occurs, adding in a note that ho does not know what the allusion is. The couplet is : BTC ^ || which may be thus literally done into English: 6ri Harsha fifth, preeminent in arts of poesy, Who on King Nala’s nock let fall the wreath of victory— an appropriate reference to tho Naishadha, which concludes with the description of Damayanti’s Svayamvara. F. S. Growse. Mathurd, May 11,1873. DISCOVERY OF DIES. A Soni at Umreth, a town in the Kaira Zilla, was charged with receiving stolen property. The police in searching his house found four dies : two of them Muhammadan, impressions alone of which havo been forwarded to us. They are from 0'98 to 1 inch in diameter. Tho legend on tho obverse one, as read by Professor Biochmann, is— Bhdh ’Alam Pddishdh i Ghdzi; on tho one for the roverso is f®A v Struck in the year 48 of the auspicious accession. As Prof. Biochmann remarks, they represent “ a coarse type of modern Shah ’Alains as still struck by native princes, chiefly in Rajputana. As Shdh 'Alam was the last (historical) Mughul em¬ peror, his name is continued on coins.” The other two when first found were so encrusted with rust and dirt, it was not clear there was any engraving on them, but a little washing and brushing revealed figures and le¬ gends. Wo aro enabled to print these directly from the dies thomselveB. They represent clumsy imitations of tho impress on Venetian sequins. The legend round the Madonna ought to be— REGIS - ISTE • D V CA¬ SH • T • X • PE • D AT • Q -T V • That down behind the Apostle on the other side of genuine coins is— s •M•VENE T • And behind the ( Doge’ ought to be his name : one before us reads * pet • gbimani.* Prof. Bioch¬ mann mentions a forged one in tho Calcutta Mint cabinets reading ioan-cohnel- and a genu- composed the chronicle of King Bhoja’ by ‘ who firmly bound tho dyko of threefold enjoyment.’
 * whose is that carriage’ P which is absolutely iden¬
 * No allusion to this work can bo traced in Mr. Beames’ translation, who renders the lino meaning simply * who