18 SANSKRIT, PRAKRIT, AND APABHRANQA
han, fulfil one's longing, celaknopam vrstah, 'rained until the clothes were wet'; many words are no longer used, such as anvavasarga, allowing one his own way, niravasita, excom- municated, abhividhi, including, utsaiijana, throwing w^,abkresa, equitableness. The pronominal base tya disappears ; in the verb the infinitive tavai is lost, many formations such as jajanti dis- appear, and the perfect participle middle in ana is disused. The adverbial form in tra, as in devatra, and the old VQrd parut are lost. Many nominal derivatives are not exemplified, and the^use of such phrases as quklisyat disappears. Many syntactical rules are obsolete, such as the use of the accusative with adjectives in uka ; the instrumental with samjnd or samprayam ; the dative with gldgh and stha ; trnam man or fune or gvdnam man ; the ablative with words denoting far or near ; the genitive with verbs of remembering other than smr, with naih, hope, with jas and other verbs denoting injury, and impersonally with expressions of illness, caurasya rnjati; the instrumental with prasita and titsuka ; uta in simple interrogations, and many other usages.
It is, however, true that beside this feature we have the deliberate employment by poets of usages, prescribed in the grammar, but so rare as to reveal themselves as purely learned reminiscences. From Acvaghosa on, the great authors are fond of displaying their erudition; Kalidasa has anngiram, 'on the mountain', though this is given by Panini 1 merely as an optional form, and sausndtaka, ' asking if one has bathed well ', from a Varttika. 2 Magha is adept in these niceties; he has khalu with the gerund to denote prohibition ; ma jivan, ' let him not live ' ; he distinguishes vi-svan, eat noisily, and vi-svan, howl ; he affects the passive use of the perfect, revives aorist forms and gerunds in am, including vastraknopam, and uses klam as a finite verb. Qriharsa, author of the Naisadhiya, is responsible for the solitary example of the first person periphrastic future middle, dar$ayitdhe, yet cited. 3 The case is still more extreme with Bhatti, whose epic is at once a poem and an illustration of the rules of grammar and rhetoric, and who has imitators in Bhau- maka.' s RdvaHdrjunlya and Ha) ay udha' s Kavira/tasya (10th cent.). Even in writers of the folk-tale knowledge of grammar sometimes
1 v. 4. 112 (Senaka). 2 iv. 4. 1, v. 3.
3 Cf. grammatical similes ; Walter, Indica, iii 38.
