U8
really epic material is but scantily treated, narrative way for long descriptions and lyrical effusions. Thus second and longest of the four cantos of the poem is lyrical, describing only the basis of newly-wedded pair, all kinds of irrelevant additions."
Ghatakarpara is traditionally known to have flourish e-c* along with the nine gems at Vikrama's court, probably in /^^ sixth century A.D. His small poem bearing the same namo as himself is extremely artificial in its nature. The idea.3 however are fanciful. Owing to the employment of Yam& the freedom of the language is impeded. His Nitisaram a short didactic piece in the form of an interesting di between the hog and the lion. Most of the verses are imaginative and the ideas exceedingly amusing.
Bhartrihari or Hari was an elder brother of Vikrama of Ujjain. The prefix Brartri denotes the royal descent. He was a great grammarian and his Vakyapadiya and Sara are two standard works in grammar. The first is in the form of" karikas and the second is a commentary on the Mahabhashy ar~. Tradition says, he renounced all worldly ties, having suffered " much at the hands of a wicked shrew in his younger years. The identity of Bhartrihari with Bhatti has not been provedL Some make the latter a son of the former. The confusion arose* <mt of the fact that Bhatti is zprakritised form of Bhariri. Sqmo -ftS^ffcsre is the coincidence that both of these were good gram-mariam. The name Bhartrihari is mentioned in an inscription of the eight!* century. According to the account of T-sing, lie* fiourished before the middle of the seventh century^ died J||
in A.D. s tfoee satakas on mt^ $rmgara, and -
have come down to us. They are a collection of sensible-icks of style exhibited in tb£ latest Kavyas. Rhyme even is introduced, and that, too, not only at the end of, but within metrical lines. Theart an4 im^naacts, describing the* f