(a) Charitas:

Charitas were meant to be accounts of the lives and achievements of ‘great men.’ Most of the surviving examples of Charitas are in Sanskrit, and, like the Prasastis, the style of these compositions is extremely ornate. Given the length of these texts, it seems likely that these were composed entirely for elite consumption. Somewhat paradoxically, one of the earliest charitas that survive is the Buddhacharita, composed by Asvaghosa (1st century ce).

Although purporting to be the life of a world renouncer, the author dwells at length on the luxuries of courtly life, including elaborate descriptions of women. It is possible that this was meant to serve as a representation of life at the Kusana court. Perhaps the best-known of the Charita genre is the Harsacharita, composed by Banabhatta. This is an account of the early years of Harsa’s reign.

Bana’s composition contains some of the most complex prose sentences in Sanskrit literature, carefully crafted so as to lend an aura of exclusiveness to the ruler who was eulogized. The writers of Charitas adopted other strategies as well. Sandhyakaranand in composed the Ramacharita in such a way that each verse could be interpreted as referring either to the life of the epic hero or to that of his patron. It is likely that both Parasites and Charitas were especially valuable in situations where rulers were somewhat insecure.

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In the case of all the four rulers we have mentioned, it is evident that their claims to the throne did not rest on primogeniture. In Samudragupta’s case Ha raise states that he was chosen by his father, ignoring the claims of rivals.

Pulakesin was the nephew of his predecessor. Harsa succeeded to the throne on the sudden death of his elder brother, and claimed the kingdom of his deceased brother-in law as well. Rama Pala, too, had no direct claim to the throne. It is possible that these elaborate texts were to some extent visualized as strategies for exalting rulers who might otherwise have been vulnerable.

(b) Parasites:

The categories of texts that were probably meant for circulation amongst a more restricted, elite audience. These were associated with the royal court, and were usually written in ornate Sanskrit, with prolific use of similes, metaphors, and other strategies to render the text weighty. Examples of these texts are found in Parasites or eulogistic inscriptions as well as in Caritas.

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While some of the earliest examples of Parasites are in Prakrit, the best-known examples are in Sanskrit. Such inscriptions become particularly common from c. 4th century CE. These were often independent inscriptions, but could also be part of votive inscriptions, commemorating the generosity of the royal donor.

Perhaps amongst the best-known of such parasites is Samudragupta’s Prayaga precast, also known as the Allahabad Pillar Inscription (it is inscribed on an Asoka pillar). It was composed by Harisena, who evidently was a skilled poet, apart from holding several offices.

The inscription describes how the ruler was chosen by his father, his numerous exploits, and the strategies whereby he won the allegiance of rulers of distant lands, his heroic qualities and his boundless scholarship. In short, the ruler is idealized as an all-rounder, someone who excelled in just about everything. It is likely that some of the descriptions of the ruler’s exploits are true.

Nonetheless, the element of poetic exaggeration is also more than apparent. To cite just one example: the ruler’s body was described as having become even more handsome as it was adorned with the wounds caused by axes, arrows, spikes, spears, darts, swords, clubs, javelins and other weapons.

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Such elaborate descriptions, couched in Sanskrit, were probably meant to impress the ruling elite. While the inscription was literally visible, its contents would probably have been accessible only to a relatively limited audience. Another famous Prasasti is that of Pulakesin II, the Chalukya ruler of the 7th century ce.

The poet who composed this particular Prasasti, Ravikirti, compared his skills to those of Kalidasa and Bharavi. Once again, we have a description of Pulakesin’s accession to the throne, and his military exploits, which included pushing back the contemporary ruler of north India, Harsa, when he attempted to cross the Vindhyas. Ravikirti’s composition is part of a votive inscription that also records how the poet donated a house for a Jaina teacher.