Outstanding Linguistic Features of the Sattakas
Summary
The article examines the outstanding linguistic features of the six surviving Sattakas, Prakrit dramatic compositions by authors such as Rajasekhara, Nayacandra, Rudradasa, Markandeya, Visvesvara, and Ghanasyama, who are considered lesser poets compared to classical Sanskrit dramatists like Bhasa, Kalidasa, and Bhavabhuti. The main argument is that the linguistic characteristics of these Sattakas evolved over time, shifting from a living, natural Prakrit influenced by regional vernaculars in the earlier periods to a more artificial and grammatically constructed language in later centuries. The evidence is analyzed through the lens of the six Sattakas. For the *Karpuramanjari* by the 10th-century Rajasekhara, the author argues that its Prakrit is an admixture of Maharashtri and Sauraseni dialects, heavily influenced by the living Prakrit tongue of the Vidarbha (Kuntala) region. The text highlights the incorporation of Desi and provincial words, many of which resemble current Marathi, alongside popular proverbs and colloquialisms like *dosolah* and *bhamaratente*, demonstrating the language's natural vitality. In contrast, the *Rambhamanjari* by the 15th-century Nayacandra, composed after Prakrit ceased to be a living tongue, is shown to rely on grammar rather than oral tradition. Consequently, its language is described as artificial, lacking provincialisms and Apabhramsa influence, though it exhibits some Desi words like *chailla* and *madapphararo*. The linguistic profile of the *Candralekha* by the 17th-century Rudradasa is noted as artificial yet fluent, based on grammatical works and earlier texts by Pravarasena and Hala. It features Desi words such as *phulla* and *chukkha*. The *Srngaramanjari* by the 18th-century Visvesvara, a prolific Sanskrit author, is characterized by extreme artificiality, with Prakrit words like *Samatta* and *Pamma* arbitrarily altered from Sanskrit. It contains rare Desi words but no provincialisms. Finally, the *Anandasundari* by the 18th-century Ghanasyama, the last extant imitator of the *Karpuramanjari*, displays considerable artificiality and a lack of lively expression. However, it uniquely features an abundant use of Marathi words and roots with Prakrit inflections, such as *kodana* and *ghodo*, which remain in use in modern Marathi. Sources discussed include the editions of the Sattakas by Sten Konow, Charles R. Lanman, N. G. Suru, R. P. Poddar, and Dr. A. N. Upadhye, as well as comparative grammars by R. Pischel and scholarly works like *Dasarupaka* and *Malavikagnimitram*.
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Conclusion
The study of the six surviving Sattakas reveals their distinct linguistic characteristics, which reflect the evolving nature of Prakrit literature from the 10th to the 18th century A.D. The earliest Sattaka, *Karpuramanjari*, composed by Rajasekhara in a living Prakrit environment, exhibits a natural admixture of Maharashtri and Sauraseni dialects, enriched by provincial words and popular expressions. In contrast, later works like *Rambhamanjari*, *Candralekha*, *Srngaramanjari*, and *Anandasundari*, composed after Prakrit ceased to be a spoken tongue, display increasing artificiality. These later authors, relying on grammatical texts rather than oral tradition, demonstrate a "promiscuous use" of Sanskrit and Marathi, and their Prakrit often appears mentally drafted in Sanskrit. While some authors like Rudradasa achieved fluency, others, particularly Visvesvara and Ghanasyama, show rigid, artificial formations. The most significant feature is Ghanasyama’s abundant use of Marathi words and roots, highlighting the regional vernacular influence on the later, decadent stage of Prakrit literary production.