Vikramorvasi Sanskrit English Notes

P. adds

;

P.K.

U.P.B.A.N.N2. For rff%. G. has

om. after

A.N.N2.

6.

P.

.for f^aj.-

^Tf.

JJWbef.faT

K.G.P. om. 3W.

G.

.

U.

W T

*^T.-U. bas fat

after

after

the

i

3Tisr OT


rnt

.

TOOT

i

f&reflrc

i

i

n4"

|

after rt. A.

U.B.P. fa$?>Gr. inserts ^f before sri^.B^ deest from

K.

up to 3WHR.-A.N. N2. 8T^RnW f.-A-N. in-

G. qre^r

1.

.-N. om.

5fTT

5.

N.U. Rlt.

P.

om.

fffi.

rtq-.-Gr.

tfiJjfr;

K.U.

P. ^T^iTR^^ff which ft a?;

*T3TT;

G.N.

-P.

i^rrf;

it

for ;

reads

";

P.

HrTO; K.

B.P. ^o^T for srwf.

4.

Jftlnr.

K.U.B.

.

B,P. fffff.-A.N.Nz.ins.

7.

^Ta>

PTl'flr?;

FT^ ?;

B. .

To*f.

K.

K.P. 34

om. 7 5T.

3"

Wf^ K.

G.U. rT

G. ^f^.

6.

U. faf C.

A.N. t for

for

B. R53T.-A.N.

U. om.

3.

)

for WF3-3T; N.

A. 3'fr%f; P. N. 3 alr^ *FTO^fr. A.

W

A.

before

= g^t

;

after

4

_*ff?

WCRTOJ K.

A.N.N2.

G. (

J^

.

G.

after 7T.-U.P.A.N'.

serts

2.

^

for

ft?

Tnlr

^

i

1.

K.

2-3.

deest

A.

1ST.

1-3.

11.

f

.

P.

?T? ,

3T

T^T. K.

and has ins. afl^

lC .-A.

[*-.

?5ff for

^[fiT^fr.-A.N.

r

before

T15T

B. om.

4.

before

*wr

and U. ^

P.

^r

C

J.

for ff.-A.

N.U.B.P. read PT3t^nr beforef4r."U. reads

.

before

A.N.U. om.

fi^rfrrf T.

tlie

speech

thus:

fr].

A. Hf for HC. B.Cff

H'^fff 7r J? aror. i?r

5.

1fK7 ^fff [apparently miswritten for T *^ff

;

P.K. A.B.

B.P.U. om. ,

.

N.U.

ins.

r?.

T

A.

G.K.

haveisTf-

P.B.U.

iris.

ffiW bef.

r.-P. B.

-rR

after after

T.

jf^T

A.N.N2.

P.

G. ins. ^^rrff before

.

K. U.

^f.

ff.-A. ins.

TOT

U.

6.

For

*Tf5J(f?r

P.

G. reads *TW-

om. f ?r. N.NS. %*

AJff for

,

P, om.

i

*rrr

Pr-

-i*

r

i

1.

ffWpnr-G.

P.B.

T^.-P. om.

for

B.A.U.

^T 2.

T

fff

before

itf

frff.-P.

T-^.-P.

adds

f^T;

^rf^F^^j

!

^dl^; *TTOfa; P.

4.

tJ.B.

gff,

N.N2.

[

K.

TR[ K.

If ]!?

^^

for f%

W

om.

^SU [G.

5.

w^w.

U.

A.

B. fct

^ ^K.

f'Ft

before

f%f

&c. U.

r*.

57

sfft'T

^W.

for RTt

^^"T

for

N.N2. rafr

for ^^f^R'.-B.

.

R

Tf

-

e.

G.K.

?rr

srw

iwr

H^

irifr

U. faz

P.

A.B,

i?7.

W? i??

adds Iff after 3"*ff6R, and Jus.

G.P.

?.

G. ^f^R'T for

rf^r^r

rrJTFrT^r

P.

fl^lK;

N.Na. THI^1ft5lr, and B. for r^ffT .-^. , ;

K.G.


^RK.-P.B.

G.

N.N2. om.

3-wrftafr.

K. ^frir

?); A. ;

K.

G. P.

B.

G.E. om.

;

3.

rrr

f*r-

for r*.

U. CrffPT^rT^^Q

B.

.

after tnr>T^f.-A.N.N2.

insert

3$

*W

fr^fr^r.-p.

^.-B. fRiT^ bef. ^7 T^W for After ^TOT% U. ins. Ro for

?t for

^t. B. om. *T?.-K.N.N2

**-

OT-

?? ir-

10

FTC.

i

viri

sc^nfrfir

I

i

3.

Inr for

I^W.-A. r

wrongly 1-2.K.

.

u.

Tr?rrfR,

r^r.

U.

G. T*ft

5.

ora. ^T^vsf

3f^ i5T^5

wlr. P.B.U.

A.N.N2.

A.

FT R:^r^r.

for

N.N2.U.

B.

N.Nsj.

7.

and P. 8IRW, for

after

^

-"P. fflfSJW -P.

WPT?frfl[

^

for

for *:.

A.N.N2.U.K.

8.

with G.P. for 5T5 f,

9.

^T.-G. K.

.

q;

N.

Tvsr3^ for

which A. puts before R^M -A. f^J^S, B. r?

A. 3WW.-N.

B.N.N2.P-

.

N.N2. ? .-a.

rf?f

for

*tff.

10-1 1. *tf Z^tt ora.

by G.-A. V

and G. ^i^T, for 7GT.-G om. sftfr. N.U. 3-r^^r. K.B ^,

:

I

u

T.

^

H

i

I

i

T f.

f;

-A.K.N.N2. U. reads the TT^T after N. Tff. A. TWT^ff, B. TWTK^^T; P. ;

ins. 1.

^Tf

a

6.

A.

ins. arrrrKJTR!>J,

U.P. T^r, before

and B. N.

^.

7.

U.

fi?.

.

N.

before

K.

:^T^ before

before *wr
G.K.

the speech thus:

om. WTiffi'T

G.

ins. Jfl^nr,

* , .

B.

and U. fTOFPTR. P.reads

P.

We

.

with K.A.N.

qrir

N2.-B.P. 8. A.N.N2. r

*T for 5T?.-B.

.K,

B. C

%

and and N.N2. ft before ^fr which A.B.

.

Twr?r.

JT

*[ after

before

1*1*31,

they read for 2pr.-P.A. ,

for 3 j-

I


i

f.

u

ararjpU

ITT fr*rfcr?r

or^fk

I

^

i

'

R|i

f?.-U. for ^T^'^r &c. thus ST^Tff

:

U.P. om.

2.

A.N.N2.

.

P.

^T

before

ins.

^ after ins.

^.-B.P. PRrft^r, U. mfo?r, G. i^sir^Tr, A. f&r^sr.-B.P. fsrfr, G.U. f?r,

bef.

and P.

p. om. the speech. 7-8.G.K.B. inse 6.

T^.B.

K. om.

5T? ,

5f.-pN.N2. XJ.

tt.-U.

4. P.

3^

for

vsf.-K. oin.

N.N-2.

.

B.U.

for

reads

om. fj*

.

and N.Na. ^'JT^*^, before U. after Tr-

^R^

.

G.

.

of JR

1.

J5,

N.N2

,

N.

for

K.

jfr^rr.

^Tl. .

G.

A.

P. .

P,

I

Bfrtt*

I

Wfa:

w ^Tre

of

i

f frW iraras

1

:

-

-

I

J.

i

RR

.

G.K. om. *-

before

7-8. K. om. Tl^. P. .

u.

om. ^gr. B.P. U.P.B.

2.

G.K.

3.

jiifq-

*& for

TI%H.-A. Ptnr5^r, K. ?n?^STT, G. srr^'^^r, B. *TTW-

^.-A.

*r

before

iTT^r.

for irt

*?r, N-N*.

*fl*,

U.

B. y-

TO

1

.

K.

fnr.-G. i ^fl?. P.

and U.

^5f,

4.

N.N2

6.

A.N.N2.

f* W:.

.

ins.

iff.

^ff 5-.-P.K.U. J^ar.

-A. -before T.B.

w. G.K. r g l[om. K.] ^fTf[RT om. G.]. B.

^r^r

for

P. 5tflTjpG.K.B. f.-U.

6.

T^TrrTrT^

^rwrfcrm.

P.B.

TW.-G.

^[U.

We

N2.B.P.-A.N.N2.

For R>' &c. U.

^>-

for

r

B.P. ins. Cfa after

K.U.

^tW

.

om.]

with A.N. ins.

^t

I

We

with G.K.U.

:

n

\

u

10

-^

i

^

|

3Tcr:

^rr ifit:

and Katavema. 1.

A.N.N2.

^ I

8.

be-

insert

B.A. N.N*. tTW.-P.B.

.

jtflr.-

^1 bef.

ins.

N.Nj. TTl^nT.

10.

u. |

K.

*&

B.

U.G.om.

f K. TfK. P.

.

P. arr^JT.

.-B. .

U.

does

not repeat ?"3t.-A.N.N2. ins. before ^T.

W

after Tf?t. B. .

om.

it.-U.om. r^ffir

A. and read

for 3tT

P G.

K.

.

We 3 omit 3 with G.U.P.B.K.

f^nr-

after

B.

A.

after WRRRT:.

N.HT*.

*z.

A.N.N2.U.

TFnr-P.A.N.N2. *^S:

after

7.

f

rlRHTTrT.-N.N2. ?f^: for

fore rlw.

rrcri

11.

U.

C

WT. K.^FKH

N.Ns.U.

and

r

ssi gfcfr 8

u

Vftsr

I

.

We

with

.frT. .

N.

c ^g^rfr, u.* TfnRr.

-A. Tr^T^

A

K.om

r.

G

.

f.-We with B.and P. except that they add ?fj after * TTOT^7.-P.K.B.

for

,

^;

N.N2. n?^f*; G. B. K. om. -^. P. rrWB?r, 1. K.G.U. ora. .-K.A.

N.Ni.

*
for

?rr ^r-

-G.

for T-

2.

K. om.

^4

ff.

B. J?r*trfa[ fr

? ],

for

P.

6.

E.A.N.NS.

7.

B.P.

^

8.

G.P.

ins.

".

,

P.

^

f=^5fr

J

^^J^

qfafo^T,

We

G.

with

G.

sftfil

bef.

Tff-

3-ft.

m^

before

G.^" inserted

ft.

after Tf-

A.

^"5T:,where ^TJRW

is

correct-

ed from *TOf%

i.

e.

^fO

(

ffW-

N. like A., only it omits and has ff'T5iri^rt: and

WW

K.U. 4.

W 7? &c. U.

and om.

.

corrected into

A-N.Ng.


U. R-

rM.-p ^m*r:

*.

.

u.

CK

K.

7^

?

STWWW

A.

never

had

^f%:

and has

frvnfrfcftar

<\ 1

'

fw

\i

I

10

1.

G.N.N2.P.

P.B. ?TrT5TFT. :.

P.B.

2.

K. XTftwi^. A.N.N2.

m5f^fTR^.-A.N.N2. K.

P.

7.

f 51

^F

N.

*s

ft

for JTCrL

^

;

t.-^'2.

into

coi-rected

JT-

era

where

too

great an attempt to be easy and intelligible Las quite spoiled

the

9-10.

B.A.N. om. t.-G.K. K.

*r

s[f

text.

T .

I

B. srar3TTfi?. P.

U.

.

1

U. reads:

*T-

B. ins. t bef,

*

f&ftfr

j

l

us*

?rr

1.

10

O N. N2. Wf^T^^Tt. U. TK>T

IJ.

om. stage-direction

alto-

K

T.

G. 2.

4.

N-2.

A. N.

5.

A. ins.

G. K.

T.

.-0-.K. ins.

^r^

G.

7.

K. rr

8.

A. N. N2. ins.

U.

before

.k.

iTK^r^r^JT'fr? 6.

for

^ff?R,

^

after

P. B. A.

?r.- P.JTfffr JT^fr, A.N

G.

fiJT*3^T.

t, K. G. K. ins.

9.

bef. iff .

om.

.

P.

ins.

T^i bef. Tfl

N.N.

.

om. f

irmr^TiTT. B. TT.

om.

^ and I

P.

om.

reads

and om.

.


U.

G- jf

srfrif

iffrr*r-

1

U.

U.

B.

rlr

^T

and K. %*T, for f rlrfr'Tf rO, B.U. adds

iTf^l after

B.U.P. Tf%sr. 10.

B.U. om. -.

rff

-K

A.

^7

i

10

HP

N.N2. om. TO.-. and om after 5TT,

6. .

A.N.N2.

B.

read

simply reads

the.

padas 1.

2. 3.

and second

&.!

B.

A. N. G.

first

thus:

K

N-2

^5T for ^K^JT. for

5yTf5?frJTST

TKJ. 7.

K.

ForrT<% G.K.read

tffa.i

5J*fff5frW*T. G. B. om.

P. reads

W before

A.N2. r*

for

9-lOrB.N.Na. U/ora.

^?^.G.K. C'^"^, N.N-2.

Cf.-G.K. insert

IT|?T^.P.G.K.U. ^^f. G. K. ins. tfMf after 3*^1. A.

*ft

before ^fr^n?.

N. Na.


4. 5.

N.N2

B.K

.

P.

tf ,-GK

before ff.

A.N-Na. insert

N.N2.

^^f.

ins. Tf T a fter f stfr.-A T,

K,

.

B.

W-

T*^fraTW B.P. ;

I

TOT

i

*r TUT qf

ff f?T. U. A-N.Na. ^f^ftfo -U. fPT before fa^f

Pfy?, P.B.

U.

,

3.

(>.

-U.K.N.N2. =at

O.K. U. *Tf fo 3. A.N.N^.P

and

T^T,

oin. ^|7f

and N.N2. om.

.

ff

for

N.Na.P.

B.P.A. f'R^T. N.N2.

A. reads the 2nd ptula thus: and ,

$Jf.

P. r^^rJT.-A.N N^. J4 after K. ^ray [K. 5fr] ^Tifl"?. A.

6.

for

K.

A

G.K. om. G.K. T

before

before ^fl.U.^B. om. ^f. 2.

5.

4.

for

om .W. U.

W.-A.N2. W'T N.

.

We

with G.K.U.

for the fourth pada

!

corruption further go

Could I

.

A.N.Na.

[G.

GK.

.

m3

oin.

*$w

[G.

[K.

^I^^5Tl B.G.K. ins. ^FT afetr ^T2. ff. We omit it with A.N.Na. P.U.-K. f* for *R.-A.N.N2. K^. G.K. nf^rfft for 5T]

f^rOT, ^l^.

13.

^RPTS

reads:

IT. f

.-G-.

?5JF

w?r?. p

.

P.om.

JT

fl?l[K.

flRSff ]

r

P4r

[G.

W

^^r

and

|

We

because

reads

'T.-U. Hi n H: 3'o

|

^fl

the

Ifl^Tflf-

it

reading therefore

the

NT ^rTf.

thus: fJK

G.K. tlie

And G. and K. [K,

?iR0

] ^?T.

gentle

Lo

shorter

and

reading, the

decause

and

less

by more

conveyed

the shorter reading

^r

first t

given adove, and not likely to be

original

secondly

AVe reject

-

appeurs

open allusion

r

A.N.N2.P.B.

Katavemji, reading of

explanatory of

whole

ffiEW [K.

om.]

.

corruptly f> with

ef?-B.P.

iT-

K?

r

the 3-1.

corruptly] G. om.]

I

more

is

fitted

to

be made by the heroine than

crercfrff

the long quotation contained in the longer one.B. after

A.N.^.U.B.

i.

.-6 G.

oni.

.

B.

fir

Cfiarrfw

[ ffff 7 ]. K. sr r pr^tfT so jrooft ^ ^ r^^ftRr and omits the rest.

ffl

for

*r

^i

3^r

|

|

I

'

P.

P. T-

B. adds

2.

Tf t 5rr7. .

N N2.P.B.

TV.

bef.

is

3T

far

l7

T

for

/|rf ? ^T_ aild oniB

tle rest

N Ni

wholly omit speeches forming these lines. B. *?*> ?-:? ^r?

two

the

JR

^

after

and U. after 6? I7.-U. K.

H2T7, B.P. 4.

Ka-

also

as

for qf^ff. P.B.ins.

^

J

concerned.

A.G. ^T

3.

^fFf

f

K. TT?a>TT^JTf. A. q-^I'Hr. We with

BO

the rest. U.

T^r 5"P.

B.

A.N.N2.G.K.IL, as taveinu

U.

A.

JJi?,

G.

q^.

G.K. insert ^r? bef ff'T*f. ;

tfr

|

and om. the rst. P.H-

T

urfs*T r

IT*

I

Irfr

-

I

flrwf

i

TFH

;T( Differ

\

|

We

with the text

of Kuta-

venia. 1.

G.U. T

^Tf^rrlff, N.N-2.

om

rrJT.-N.Na. 8

T?r

3PK. fc

A.

.

*T5^TrJT Pf

fr^.

^T"r

Trfrfl

for 5ff,

vsTIC

go on: A. ^T

and

om.

B.

U ^r

N.N2.

R*ff,

have fam~*f. K.

P.

? 3^<.

2-3.

U.P.

T

rj

&?[^tif?

and then T*rT^rfl'

T.

q^ir

ffl

ff

N

,

K.

.

f%Trif

Na .

.

P.B.

G.K.

.

saiiW^ before

^fl. fl .

[G. 3^ Tr

T

*T^

B. p.

reads the

speech ^T;

]

;

fww -G. wr

^OTF.

thus:

N.N2. ^~ G.

K. H-

?fH ^?5f

[G.

4-G. P.G.K. om.lfl. N-N->. ^^r. u.

7. A.

G.

B,

ff-

.

,

P.

W^

B.

^5.

flff ^rsf

rf.

i

mm

*nnrr%

i

5551

|

U. is

WH,

W

Tf

one

of

those

corruption.

It

sible to decide

.

much

is imposwhich is the

-T

B.

K.

passages

have suffered

which

This

^

for 8?

p.

P.

original reading. U. appearsmost natural and, therefore,

P. .TTfff

^ N.N2.P.U.

.

B.

N.

.

forms the authority for our text,

though

it is

unsupportKata-

ed by the other Mss. ff vema reads

^

m,

lo^r at

ment

of the

the commence speeh. Cr. *?
K

and A.N N2. om- JT^'Tf^.-A. ,

2.

K

by

K.U.

|f

T.-X.

IJ

B.Wr?^r.-A.N.Ni. G.K.P. om. 5.

for

N.Ni.TJ. om. ^.-P. ?fiT.

A.

Tr-T^rq^Hr

for sr sTff^r^r

&c.

read

U- ^

Mf.-U.K. om. of. U.B. SPU before ^t. P.witli us. K. TO for ^[.-A. i^, N.Na.

SFfT

P.

which

A. lates

5f ^^r

U.A-B. ^JTTrC for

P. iJT^i?. N.Na. 4.

for and U. &c. K. as we. 1. P. OTTp?? *n^rf7. A.N.Na.

insert

3.

it

trans

U.N.N*

ns.

1.

before

?5^r

G.

^TP%, read

K.

.

after

,

.-P. ,

4-5. K.

and

Jgr,

B.P. read

for tlie

?5JT[P. oin ]

We

with

and

A.N

NJ. Ui!R ^r. P. U. K. rf5Jrwssrvr.-G. rc-

^ff

6-7.

O.

f-?r

ff-

*T.-U. reads

G.K.

G.K.

reading.

speech

whole

for the

*2\

simply

\

*&t

f ,

om,

&o.

Kafavenm's

]

Wfeff

A.N.JST2.B.P.

speech thus: [ B.P.

7W

H^rr

q

for CfT-

.

B.

f^nlf.

flT T-

omitting

^-

8 P.K.B.U. I

[p.

7fjf,

om.

[B.

[for ff TT

R-^^ff

r.

[B.P.

[P. om.]

P.

.

fq^^f A.3ST.N*. om. p. ^TO ^ ^^5- foi

f fT.-A.N N2.

for

N.N"2.

3f

^^ irfr, c

all after JfRsTf 7^r 7]

for

u. K.

P.

7^-

i

ar*r I

l

-

^

ft:

K.B.i ns

&c. B.

K.

have

.K"3.

before

|-

^

K. ,

P.B.**Tr

B.

G. K. om.

^

before

and have

5.

2.

U.B.P. om.

after .

iTl

P.TT-

all.

6-7. G. and K. begin with the N.N-2.U.

-B,P.

Rrr?.

.

G.

stage-direction &ftfcpw. A. B. 5

K. f% for

-B.P. RTK. B. fa

after

fa-

A.N.Ns. om.

3.

K.

5f^f

this speech.

T (N?. U.B.P.

[B.I] CT*. G.K.P.B. fore 4.

after

^

If*.

u.

arJT

f

r

3

be-

for

frr^

^rw r^

HIint

|

A.NN-2.

.

4.

U.om.RT.

5.

B.A.N.^.U.g

WRPT^T .

K.r*'

J

?f

aw

nr

.

and B.

A.U.

nrarrft[)T?3Trft

rfr?

ins.

OTrfl

G.K.

.

p. f%

B.

A

^MfT. 2.

before

lj

after 3TT?7r% as also before

B.f^

r.

i

.

u.

U.]

N.N2. 6.

K.

r

p.

P. 3.

A.N.N*. HF before

T.-N.

for

for ^f*ffl%. U.

without thef^f.

B.G.K.

W after Nft7.

B.

for r%? 7.

.

:

i

\o

ITTT

mr.

i

->

? ^ or

i

ITU

A.

1.

q

er

10

omit ^l?. P. has

corrected into

after 2.

B. wrongly

3.

P.A-

9.

K.

,

fro

12.

A.N.N-'.ins. 5f? before

7.

?5Jf

?

A.N.Nj. A. q'WR.

8.

N.Ns.

B. and

havenr^R.

4.

U.

A.N.N2.

-G.T: forer. For fTKrTR 11.

R-Tr (?).

G.

A.N.

G.*Wf.

10.

G.K.

B. for

3
?5yf

Trarfor

JTT.

before

jf

-

K.TW^f.

Rafter

qf^r4f.

13.

B.P.

N.Nj.

for

1 I

&

r^r. g-f .

.

g^ J7

.

I

i

|

before

A.N.N-.sf!

1.

A.N.N2- om. 2-

^t.ins.

if.-B.W

for

before

^.-G.fff

I

T(

JT^^T. Before

?

^

)

rw

for ff.

B. flTTR'g^'c 3^*7. P. wrongly

37.

K.B.P. f^ir^.-U.B.

?5JT

and K. have

5.

A.N.Na.?OT before


&c. G.

and K. ins. S3JT. N.N2. for ^.-U.T'^. K.4PT. P.

^ r-

5T.-A.N.N-2- ins. 9T5*s>t before

7.

A.N.N2.

K. ins ^?f^r afP. no stage-direction. J|f. K.om. ^FT ?r qF*r fr,

U. /or

J5f.

ter

f.

U.

for

J?

.-. om. ins.

^

JT5f.

K.

A.N.N2.U. .

f^^. A.l3fr after W f% J ^ 7-t..

3f"Tff 8.

off

W. N.N2 om. before

B. om.^rg.-P.r*T^7f, omitting J';Jf.

am. G.

A.N.Nj^

c

fTOf*. B.P.

IT. P. 4,

U.G.K.

before ff^ G.

8.K.

.

G.K.B.I

for

Wl. N.Na. .

1.

P.

fK

'ffjfl^f for

before

recommend itself on account

K.

of its shortness, but the other reading, given above, is not only the reading of

Hgt

fr.

A.B.U. ^TOT before P. fT^T for

G.

.

*T.

T^.

B. om.

2-3.

HW^.

U.N^.BA.

six independent

also of

P.reads'Ff

6.

wi. u. .

in

f*

fore

B. ff*5T?rr. G. reading

W:

&c. So N.Ns., only omitting Jfff*" and inserting T be-

T^?i^rf B. TT

K. agree

If ff

for

^?>T

wr. N.N2. 73T?

^T.

A.

jnrflvT:

aj&T'CT f FF^T

rarrf .-A.

Pr for

but

G. ins.^T after

4.

flffo-U.

.N.N-2.

Mss.

two commentators.

"T r

[K. TK-

&c.

*pnj.

B.

G]. This readicg would

We wth

G.K.U.P and

the two commentators. B.

P.u.^^ref^f HT & c

.

.

s

errnro

*\$

TTO

TO

I!

II

A.

1.

\

?

H

H

II

K.TF-

G.

life for fa.

G.K.P. om.

2-6.

[K. After

W1W B. lias i?^ |

.

I

Tf-

JjfrTWi^Ff anP. ins. ^*T be-

G.

]

[K.

fore ^rTf.-A.N.Na. read the Bhurjapattra thus: ^FW ^T*Wfft3TT

not

[ it is

w is

or erw

^wr,

cordingly] ^ (T

flffasT

but A.

and translates ac-

clear

.

[G.

Ns.

ins.

I

]

t]

r^[

K.

om.

fr]

a?f [N-2. a?f] 3-

for a TF.

^K

sfrfrr

8T^r[G.

TT[aar?T[N.N2.

[ N.N-2.

ir-

certain

mean

Avh ether 'N.Ns.

3?

f{ G.

]

^ R

[N.

B/s second Hue ff?

is: ?

^JT 3? 3?fr

second stanza

is

:

r

V


3-r.

i

wrwrcnrfafir

^ fewr

-'

i

(r*Tr.

reads 5^*rr

for

and reads tlie second line and the following ^5 'T thus :

TriT

f

^

^K

us

U.5 for

1.

H 5 ^; K.

q.-U.

wrongly JTf^^K. B.P. JTrri^. G.^r and P. "W for ^sf.

2.

I

.K.om. T'^.-K.

U. reads

3.

be f might 3T

copied for ^ITC Khtha-matra Ms.

)

after

and N.Ns. 17. -P.

<^f Jf ^f-

||

The

va-

riety of reading shows that the passage has been misread and misunderstood. The

large

number

Mss.

has, however, nearly

of our good

enabled us to rescue

it

K.reads

.

4.

^

A.N.N2. om. f?f|^r.-K.U.

^,

^ ( misfrom a priT

5T?

G.N.

ft,

for

KH

fr*T

after

after

i

for

w^r. G.K.U.

K. B. wrongly om. W?f. ejn^^if. p. ri wrwf. 5.

A.N.Na.

ins.

5:4

B*t before H-

G.K. (notU.)

from

corruption. Kutavema reads:

R55T-

after

5

rf.

W*l on

1

:

I


I

I

l^r

?TIT

/

I

10

I

1.

G.K.

3.

TJ.P.

4.

N-Na-^TRt^T for

5.

B. ^^[for

for .

B.

.

G.

P.

G.K.^T^f

f%,

TFrfrfr,

,

A.U.B.

G.K.sr^ifffr.-A.

N.N*.[Sr.

U.K. Na.

7^ ?].

ff>rrJrr,

^f^r

,

JTff.

P.^|.

B.fwr, U.

JTff,

G.

N.

K.

B.%T.-P. assigns the speech to Vidushaka and

Tff,

G.K.

P. OTif .

9.

K, U.B. fowfe, G. K.om. 55JT and P. has

10.

instead.

A.

has

reads

G. K.

6.

W

for

addition to 7.

.

P.

K.

8. B.ins.

before Rf for

and P.^FPt, om. 3*f.

A. 11,

for ?[f.

A.K

TOUT 3 r.

or

i

N.

.

u.

A.N.N2.U.

1.

ff%.

K. S.

^Tf7

B.P.

fMT,

fT-

G.U.K.

(!).

5f3T? 3f3?f.

4.

B. e^r^r. K.

5.

B.P.

A.

^ 3 ^.

A.G.K.

G.N"2.

-J.

for

K.^T

N.N"2. ^ff

T.

A.

r

is

P-^fsr^r.

om.

Vidushaka

know

Cliitralekha

before.

P.

amrJ.

K.

speech thus

w

G.

U.

lias :

the

3Tt <J

?r^frfi^ 3Tron

whole

7W ^f-

ef

?Cf.

^I^T for tffw. B.^r? G. ^rrcr for 3Tf|iT'?r. A.U. l*KT. G. q%f8T.

8.

Na. have simply 'TOR" rFI

fT^

7flf

A.' s addition

spurious, as

drd not

m

A. adds

ff 3?Cf

r^^T^r. But

B.rT^^w?F. N.G.A.B.P. T^r. N-2.U.Vr^t. a. CtefT. 6.

5FTC

^r. G. ^^mrtnr. P.

After

N. fST before ^fjf ^,N.N2. ?T^^. B.om.

J3TIT,

T.

for

3T?f

K.

G.

ffest

^F after

^

B. a^^R

^.-Iir.N2.

K.

ifr,

&G.

P.

ST^T.

1ST.

for

wwc

.

i

10

P.G.K.

1.

W,

N.Ns.

?^. ?.

u.

W.

A.

*

P. TSRTH 7^".


2.

P.

Q-.

T^T

B.G.K.A. ^ffU G.

^

U.B.K.

t,

G.P. om.

.

A. om.

for ST.

K.U.

f?.

93$$, K.

So N.Na. which, however, have

P.T.

rr^.

for

read

they

A.

8.

w

&c. K.

.

that

G.

and G.

^,

GK.

555T.

If. fTrffff.

K.B. om.

tft.

A.r^T*TC. G. for fWf. U.

for g?.-G.A. JT^^T. A.U.B. ,

.

3.

N.N2.

P.B.

t

for

and

A.N.N2 .U. .

6.

^fW,

B.

P.

K. p. has

10-11.

A.B.P.

f.-U.

except

.

ffr

omits

^pr, and G.

f fe


N -'

i

55

Pr

both

i

leaving witkout

2.

G.U. tffcra^ before

jTiRfr sTcTf

1.

U.

3"

fore ??r. K.*T?r

I

5lT

J-

&o.-A.5J^TTfr. G.U. for C-fr. N.N2.^f7 be-

p^7.

B.P.

^rjfTf.-G.K. ^ after JFrTr5f. For ^H^r^R- G. reads :

?r

-a.

for .

&c.

P.f

it

.

renders

^

(which

T^^rf^T

Katavema: 7 sitsRfj?

w?r ar

I

ff-

3.

A.B.P.

quite

which

clear.

^rer

rfi

is

not

The passage somewhat

appears to have suffered

We

from

with B.

B.

4.

U.

R?^,

and

K.

?55f ^T-

,

=Cr 1

5F ?:,

&c.

W

37

%%IrTr).

U.

corruption.

for *T?Kf*f.

after

N.N-2.

before tffr J-

B.ins.

^f^ff.

6. N.N-2.

=r

fprr^rrlr^

&c

.

U.K. wrongly ?PTf: [=5TTT?T:?], and B. P. TPH:, for

7.

far.

q

:

10

ftwafre

:

.

A.N.N*. P. ,

G.K.

Na.

^JT^,and

T*.

for

8

<M

frfr.

3?f after wRr.

N.

.lWfr:,

and K.

for

11

B.U.P. omit

^.reads the

P.om. lif 4. A.B.U.^f

?rr

f^ before

fr.-G.

B.lffr^r.

0.

B.

for

N.om.

.

2.

fsnrwft ^r^r^: F%

for

12

.

B.U.

^ P.

P.^li^

ff-

P.

U.

om.

K.

before

W.

TOT

\

T

I

-

cr

G.

1.

^rT^T

-A.U. ^r^T

ftffl,

1

and N.N2.

ffHTq frf^T,

^r^T.-B.R^"^ G.

2.

^

T^r-

for

|

,

before

T*f.-P.

P.A.TJ. om.

N.N-2. rTflRSr^r,

^ n^.

for

f

after

5.

N.N^.^^Tf

om.

for

P.


6.

A.N.N2.U.P.

7.

A.N.N2.

for

rff.-A.

and P.B.

fftf-

for

r.

B om .

.

R:^^. K. om.

r-

R^r^W.-A.N.^.ins. Rafter 5*.

3.

A.B.P.read ^fr:.

8. A.IST.X2.P.

U.

N2.

KTJ. 4.

U.

and P. JT8,

om.

JT^fT,

CT5-.

B.P. om.

C?W%

for

U.

f

TT after fv

^T-

^.-A.N.

^rfSTRTTTWiFfflr.

B.P. ?ftT

TPsi for

om. .

W

(sic.)

P.

I^.-G,K,

A.

"ins.

or

forefa TO* snr r? *.

:

5^5

1-2.

A.N.N2.

^^^,

*i PT.

reads ^mff WTF. U. P. om.

c

'TWT|[lr

omits reads

*TW

simply J?rlT

fir

N.

G"gf

for

K.Kf

T?.

.N2.

T

^f for

ft.

A.N.N-2.U.om.f*-A.N.N2. *T3T. U. omits *T5T and

3.

A.^^rc. N-2.

3f.-N.N2. and omits

B.bas

instead.

|

ST'T-

P. 6.

U.

.

fjr^nTrftr. K.P.r^r-

^^?rr*T:, also

*r^

P.^rr

".

N2. omits T*TKr, and

oqrf.

.

i

U.

B. t JJ^T^ST T A.N. TOif^ f irf! i^ri

f

TOT

I

omitting

.

G.

K.

p.^rsr-

:.

for TO.

K. om.

inr.

4-5. U. R"o

|

^4

ITT

^T^rt Jor| ^r

.

G.K.B.

before TF &c. A.N.

*TF

g- Jit.

B. reads

?rr

I

q

?3f

7.

8.

G. :.

B.K.P.

U.

.

G.

3T-

A.ins. ^[ after ^ff.-t for

JT5I

ffTr

G.E.

for 5?.

PTT

^1^.

iT^.

om.

B. cHT-

U.^TT .!!. om. ^TW. B. for ^t^f.

E.^T^

T

>J-

A.N.N2.

6.

2. .

P.

ft

ITT

for

B. has JT?

.

ins. 9TT:and

U.

before S'f^.-A.Ns.P.

G. om.RT. .

A.N.N2.

J5F,

G.K.

J U. f^T^W for jE^f. TJ.P. 5rq^ W^rfT. G.K. ins. before ,

^TF;

W

ST^J.

W

before

???f.-A. CW^T.

for .

U. has for f

.

|

^

T.

N.^f

K.N.N2. &c.

*4

j

after !*fa:.

A.N.N2. om. f I for

^. B.

T.

om.

not repeat ??r

A.U. =rrrr^r for TOqiTr -A.

N2. ins.

ff o

U. ins.

H[fr.

IT?.

the 2nd H?.-U.

f

and does

G. Hf? for

f?

I

.

Iff

nftajffi

|

nr

5

^

.

i

If

-

i

f if^t

i

G. om.

1.

U. Pro .

2-3. G. speech

STT.-N'.Ns. read

in

the

r

I

u. the

r

G.

5.

following

unsatisfactory way: f^" PT-

r.

Ir.

K.

omits

r. 1ST.

r.

p.

6, A.N".]N"2.B.

B.

3WT, K.

for 4.

7.

A.N.N2.K. after

^. G.

ff.

G.K.om.

A.N.N2.r^^CTf^T5rR:. U.

for

K. om. rf. A.U.B.P. [U.B.P. ?].

G.K. fto-

ff 9wr^f5rr.

sTf^TOt, and P.

i

*ar

^

*rimri|

8 G. inverts the order of *-

1.

frl CT.

^RT

after

qrT^wr.-G.om.f^ ROTU.B. cm. f *t.-G.K. ins.

?

reads

G.

T.

B.

P.U.r>-

.

ftfF'jr^ .

it

Tf7.

after r4,-.-A.N.^.

for

which

which reads

5\% 51

the only Ms. that the question a pa it is

makes

B.T-

of the following speech of A.N.Nu. read 1$-

^

Devi. ?Tt.

A.IlT for

3-4:.

qfi:-?^ r

N2.RJ o

A.U.B.

.

A.K P.om.f.N.N2.rR'

Tff.

.

for

|

5TTT.

B.U.K.^f^.

for 5i7jT^. 6.

^

^'^T

I

after

3-f ^5^T.

& f (T

&c.-U.WTTTf and goes on

ftSFiJt.

:

wl^ff

"t-

B.^T^. K.

K.oin. f*T, but reads 4

before Wl^flT.

A.

puts V*f

A .N.Na .^r^T for 3'<]\ f fff, which shows that they read G.K.P. T3*Ttff, wrongly. WlTT. K.^I^FT^t.

oni.

for

?f

-

U.74

\

RT. i

,

i

^

f fa<m

Hi

\w 1-2. N.Na.

.

G.

B.

.

V

ins.^f

before

N. .

A.U.P.'go T-

After

:RJo| T-

: |

ting

So N.Ni., only omit-

^fiffi:.

P.too o

N.Ni.om.f^r after 3.

G.K.ifT r?.-A. 7-8.

4.

B.u

A.B.f before <W. B. W? before ^T. A.N.Na.U.

5-6.

A.N.N2.f'^

before

the speech, which A. gives thus : 3*1*3 3 Tfrwnw Cf-

:

i

%
fif

f fr

^ H[

K. OTIW

(to

6.

A. gives the speech thus

^ fT-

So N.NS., which

.

only om.

:

U.R^>

*?**.

I

^r

?T

vvritWW 3Z*. B.ins.

K.

after

T^5T and om.

fr. K.3T a5 tar.

.-X.N2. B.oin.

P.om.

and reads 2.

G.K.^fiT 15 for

3.

G. rff

s/c.

?Tf

.

U.om. the

speech. 8. .

B.

^ra

A.

The da and

d/ia

ins.

T

for nf^f, wrongly.

|

f T ftff before

iff.

are

very similar in the southern al-

phabets. B. was copied from for a Granthi Ms.-K.*T3T

.

fore

A.ins.?WTr be-

B. wsrrwror

.-A.

6.

A.

ins. a

iff

before for

reads the

JTT and oin.

^^. P. tlie

|

like B., only it oui.

second

aTc?

and

7.

G.K.U.

before

insert

&c. K.U.om.^f, A.N.N2.U.^T*T.After *rwFf G.K. go on: =T fore

l^f.

A.N.XJ.B.P. assign speech to Vidiisliaka,

4.

P.ins.f^

.

U.

G.K.om. tbe stage-direction and A.N.U.ora.iT^ before

for

lias *Ts5jT.

3.

T^TW. A.

after

3T

?Rr

however. this Avliich

Although G.K. U. assign the same to Devi, none of them have never-

Ave adopt.

;, :.

theless

*mtf. 5.

the stage-direction U.5*Rt. B.om.TfPt.

G.K.om.

6^T.

N.

for

c

only 8.

A.^T

^>

So X.Xj

.,

^ Ipfrf.WewithB.

A.^. B.f ifJ

IJ

i

U.spTr. Hi"

U/-T?5f

STRRT ^f^3t

.

7-

HPT*

I

\

: i

ProNrft

:

?'4r

A.5I fTrfff ^EWTW ?ffT after

?f.-After fr^r G. has

^flT efi WK,

5^7 and

Hif

.

it

iff-

f? T

tlie

reads

B. like our-

selves, only omitting

5f.

T.

A.

A. om.

flfc

before

the

for

ff

We

whole

speech.

withN.N^.P. G. inserts

J

fT^fr-

and K.

same, except that

2-

wf

P. ^o

TUfrEr

1.

n^Rr

We

3.

read

tliis

speech with

^. nr

?Cf

WfefT ? fll ed into

T

(

correct

W!$\). Na.

|

(M

(rorff

|^f[^ ^Tr^wff Bauanfitha:

q"6*r

ff

I

B.

Kata. rlr?

I

Pwrer

CrHr T

;R

Pcffr

4.

Fftrnarfr

A.N.Na.B.f-5rf^. G.rt. K. om., and A.N.Ns.TO'T'T for, for

^T-

:

\\

Tf^^t:

10

1%

|

?f?eT

.^ for

Hf fr.-O.

cf

Of

for

ora.

U.

U/TIJ

B.adds

.

speech and B. has

for 5ff.Tf

after

fr.

8.

9.

P. ins. 3? before Tfrs^ ..-After HfgT-

2.

the

commencement of the King's

-N.N2. om. .^Tr,

at

N.^.U.PW?^

4.


10.

U.^

for J.

A.K.U. om O.K. om.

.

B. and

G.U.K.P. om.

A. goes on

HT.

.

N.N3.f 3 r3f s nr TIT

rfi JT^I?.

^

I

*?![B.om.]

:

u.

*fT 5frrw?f r

JT?rr

|

for r-

&c. and P.

5T

.

3.

P. ift inserted before %TT.

)

r*

(omitting

I

ftr.

r

10

for a?3TT?nT. K.^TTvTif.

5. 6. 2.

om.

.

u.

A.N.

U.K. K.

3. 9-10. N.

B. 3.

fl'tiTr

for

A.N.N2.P.

^r?e

.

ins.

>ff

N.N2. have

^f5 before

*ff

before

^W RRT-

for the

whole

speecli.*"

A. ora.^^T Wff^. P.K.7-"ffor

which they

insert at the begiuning.""B.

.U.

for

a?fl

.-U.5Rraft H-

T.-B.*f for f for Ifr,

and .'Jf

ins.

before


before

fr.

51 .-K.SIK. P. ins.

.

B

K.fRs^-

B.TiTf . K.^rff ji P.T. G.ttfRr.

1% before

"A

W.

fq10

1.

A.om.

qrijTJT.--A.oin. ^fr.

P.om. R

arid reads

**![:.

4.

G.

A.N.N2.P. read

8T-T5FHT

for 2.

N.N2.fr3ffor

IST.Ns.K.

N.2

T??rr:

read

after 3.

u.

^Wf for

lias

^sy^T.-A.N.

for

TWW.

i.

G.

N.

and G. TfT K.P.add

^.

A.N.N-J.

B.

f^.

aTT5Jfa*^

W5OTPT^.

m.

5.

of

A.N.N-j. introduce

b 3^

3?^T:

*&$.

tli

e stanza

IMJ.B. ^f! I

ftZZW %

^TOT. K.

U.

FT-

^T^:

.

i

nfrstfr

ajft nrr:

-

1

1.

N.N^.

2-4. N.N2.^rr^f: for for

^^ TT^

5.

and K.

.

A.K.

*TWf

before

A.B.K.P.

for

T

^Tf.-G.K.have *t, and A.U.

W, B.adds

iSTfof

^5Tf. G.K. have iftRW for

before aTf<^?T.-U.om,

R". P.reads: JFroJT

T ^Tf^ ajf

?rcrft5iTr.-B.3r for 9rr.

6-7.

A.N.N2.om.r^.

B.

.-A.N.N2. ,

omitting the Tf at the i. B.

om. .

om. for

[miswritteu for
corrupted from

U.reads the passage thus

iOTT^ ?fflf6=t

[wrongly and corruptly peated?]?^ STfW. P. fl .

G.

re-

9rc
? Rr

I

A.G.U. aTrfT. A.N.Ni.B for .

TJ.

Our authority for the addition of f^ J is

for

3.

4.

G. and the commentary of Katavema, and that for omitting 9*3 tff from our text is B. Another reason for the

omission

is

position

it

it

5-6. A.N.N2.B.*WWrr. ^r
p.er?

occupies in the

which shows

has been interpolat-

B. begins the speech with

f

p.

before ^TST^.-

&c. A.G.

,.

ed. 1.

om. r.

T

uncertain

the

different Mss.,

that

.

and P. with 3r4.-K.3faffor ?^,

and

om. T

*1W.

B,

for

U.^

for V*.

K.om

fcfa:

I

i

1-3. G.ora. 2.

U.om. riff ?IfT,

3fr.

K.?fr7

-

the 57 before

^

for

which P. altogether

o5fffr.

for

W.

G.5%fr. G.B.K.IT A-RSfOT. N.N2.B.

B.N.

rr

for

.

A. ^^.

^rfr

U. ^ .

ins. 33: after

A.

for

^.-

W. B.P. JR: forV^": .

K.G.U.P.om. if

r.

A. B.

B.P.

iff

for

W.

&o. iJf-

!.

N.N2.

6. 7.

rr

N.N-2.^

irr

17

j

T.

^r

G.U.read

B.

ft

ft4

ei

i

TO

? d

5

^R:

^^

^557^

i

e

i

g i

m

TOT

5-6.P.

T*^

HfKf%. P.

qr? .

f,

B.U.

Tf^,

KB .

.

for

N.N2.

^f.

.

.

U.

U. omits

G. ^B5ffr-

after

c

for

*T[^ff.-

forr

&c.-A.N.Ns.snf for

K.

fif.

In fact N.N*. read

vr Rr.-G.om.

*fJf.

for

4.

7.

N.

8.

Nj.om.

W

thus: B.'Hf

rfr^iror^^r

n

sftj

TOTO^

I

w

1

1

B.

1.

before

10

|

1

f^

nrR^JT, and P. the stanza as

A. N.

tlie

N.

N

a

n

has

U. ins. >W before B.N.N2. Wff P. ?Wi^, and

margin against

for

2

.

8.

W9.-U.

%

W^.

G.

4. 5.

P. om. irc*. B.K.P. 10. G.

B. G.

^rr^:.

and P. 7.

N.

rw,

*T^f, for

U.

U.

N

.

K,P.

^fc

'

om. the ins.

^

fr5J for

K

?fr.

2 .Wf after which N.N 2 .B. read

B.A.N.

A

for

9. A.

U^Tf?T for TTfT P.c^for rw.-p.

N. Nj. flRfBT? ("with in the margin) for 5TCKJT. U. 6-

Cf?rq-.

*W. U.

om.

.^.U.

N W% for

have

K.

a

stage- direction. 3.

n

11.

U.

12.

P.

stage-direction.

before

\Qo

u

:

1.

P. G.

:.

G.7T:

K.

^ 2.

G.K. frf^JT^r: for with A. N. N. U. B. P. For 9TR*r A.G.N.N2. P.

We 3.

read ?f^T. A.

after 5^:. U.B.

G. 5W*rrw: for flf^w.-.

8.

N.Na.

9.

NNa. :,

8T?T

J^jr^

after .

H>ir

B. T-

irilfTlsyirw.

B.K.r.

after nR7r^urw. U. .

10.

A

G.K.

wPrgf and B.

qR7, and P.

B. T^ f^- K.

r

^MTc5 clK'T, Cr

>

for

N2. om. for the

whole

P. om. the

stage-direction. A. wliole stage-direction. om. *&. P.ins. *TTJ? before C?f:.

.

f>^:; and A.

f^f

Jr7 5f?T:. except P. read and P. with Kataveina We

A..

have

6.

ed into f^TI^, and N. Ns. W?T^j for f^TST^. All our Mss.

4.

\\

?T: after tf :.

Kf Tff correct-

See notes.

^

A.N. have

11.

P.A.N- N*. om.

direction

give 13.

it.

the stageir?J?iFTiT; B. G. K.

K.iiis*

^Tf:

after

I

8

11

I

11

|Tf

TOT 3^

?ll

10

for the

1.

third pada. 3.

6.

A.N.N2. B.P.

.

B.P. om.

fS for o^f-

do not repeat insert

^

om. 4-5. From

P. om.

fl*f.

B. f.

before

ttr.

U. om.

N.Na.

G. om. ff r.

?f^.

For ^rin^Tf^ tr rr% A.N. Na.G.K. read wr. 9. K. om. WW.N.N2.2f:, and 7.

?T^"

G. reads thus

:

?f r ^r

A. tfr

for

Jf

^, after f4r.-G.!

^RRTf:. N.N2- om.

K. tfr :.

P.

agrees

with us except that it reads *T^Tf for tfo. G. is some-

what

A.B.P. f,

,

for

and

K.

II

ii

.*

I

fer

p. 1.

q^in?

.

G.B.K. insert ^TfW before B.P. om.

3.

.

UJ?

^T^T I?.

.

K. f^f

for

2. .

U.

A.

V-

.-P.

K. om.

4.

5.

for

6.

for .

-8.

9.

for for

Hf. K.^J 7J for

Cfl Cif

K

i

HT

5

CT sr

I

m

|

?. I

for

1-2.

RstW. K.om.

W

.

and

H

5.

has

Cl Ct

I

'ft

A.B.K.N.N2.P.5TR?T:

^r

for

We

,

^

is

letter

ble to

make

out.

?

G.^rerer

.

where the corrected from some which it is impossi-

with A.KK.N.Ns.P.

7.

8-9.

at

B.A.KNa. have commencement of

the

the

speech,

omit tfr.A. fore

1&&

and

A.N.Na.

inserts

^

be-

-A.

G.A.U.tr-

K. and .

N.G.P.K.

speech thus

[N2, f

:

fr If

.

read the

crff|

sreft

10

's

.

.

A.

Nz. om. the whole of Vidu-

isrr.

shaka's speech ^J^ &c. and so much of the stagedirection of the following

K.

speech as ends with 1.

.

P.^fw for

:

P

2.

.

om.

for

.

G.U. om.tft. ^^fRTT^i3t r.-B.3f for nor 5? P. lias neither li

qr.

for

R; B.TORW.

A. after ffcrjftT

goes

.

on

with A.N.

&c. p.snir^ jarrcr?r%. B.P. a U. ll^ u NI'{l.U.^ar for 5fT^.

and Kataveina. U.

B.P. 8 ?? ff.-B.WfT forffW.

fl

We

S.

N2.B.P.

10-11. A. 4.

for

N.N-2.

6.

:.

U-B.om.

t.

7.

8-9.

^Tf^

A.B.P,

rTCf

r^Tf

P.

R3jr*

3^9" for and have

TK5R:

^

i

10

.

T:.

In

Thus

all

f

for

|

neither.

except U. which has and Kataverna

fact

N.N-2.read

U.f%

^^

;

T.

G.

of

to

fWT^. K

1.

A.N.N2.JT?f

2.

U.Ri^rr

forVl

also

A.N.6%

W which P.altogether

have

T

T.

the previous " with the B.P.

in

We

"

referred to

by Bollensen in (Anmerkungen

his Edition

and Gale. Ed.

.

5JrW.

8 T^3fl

speech.

3-4. G.B.K.U.ins. after

Mss- read

But they are doubtless all wrong as the flf in 1. 5 refers

and P.f^

%^T, instead 3

our

Ranganatha

G.K.read &c.,

'T

for ^T'

G.K.ins.

*

S.

after

40, 6).

A.

TT-

N.N2.

oniits.

for

5-6.

.

G.K.

[K.fWf iTW. P.B. .] i&m -G.K.rlf J. and have ?TO3T for TOJPT. P.

7.

A.N.N2.*for

P.TT^r cirT:.

9.

ft

mi:.

B.P.:

A.

10-11. corrected into

JUT.

B. after

for

1-2. A.N2.W before BTff&o., and vsT'-Tf

for^fff. TJ.5RF,

for

rer. p.fir

for

^Tfr.

and P.W,

5ffT

&c. B.jff forSfff.

3T

fTff

B.W7-

&c. A. has: ?Rr ^'s^lf^.

for a?f*aT,

5.

N.rn ^rr

^

N.K2.

and

go

on:

:.

And

G.

reads

(^JFS^:?).

We

with B.K.P. 6.

N.^

for A.Ns.qarwTOr. B. PWr T ^[. K.PWf.w(Br. K-2 ^fI^aTT. U. om.| and .

.

reads $(fe after B.^fwit.

B.^rr

for

8.

&c. G. [G. fr-

&c. B. 3.

U.

p.

?r?r:

B. ^r

4.

srl^ :

corrected from T-

with G.K.

] ^r.

We

:

isre?

i

1

i

arPr

reads thus

1-2. B.A.N.N2.

U. r^7

for f 55f

:

Tfaf

^ Rf S

.

.

K.^ff

e.-A.U. 7t. B.om. J. N.N .^ ^r for 3Tf. U.

4.

2

^T tr

&o. P.f 5Jr 5.

A.B.P.

I5FT

for Sff

^ before ^?Tr

^

&c.

We with A.B.N.^2.

^aff

and Katavema. N.Na.B.om. for ^.

G. 9W;
3.

A.N.N2.

ins. .

Wf

G.B.

f.

reads

^|. A.om.

K.^ rw(sic) for for

.

-GUns.

wliicli it

fe^j.

P.

^rff.

B.

3Y-

before T-

.

om. ^

G.K/TforTOT. For G.K. Lave

6.

G.U.

.

!

JTO

TST^

^*PT fe

ml ^ifsres

*nr

ft

>o

>o

-o

before
1-2.

r^r.

u.frar

B/rj. K.WRr.-G.N.

G.K.U.

ins. ^ff after

N.N2. read .

G. fraraJTO.

q^T. A.

:

And

A.reads f7TTiRH. A.G.t? U-

^^

for

I Hff. U.

fc T-

'T

JRIf K. .

for Tff^ff.

3.

G.K. Rff

TO

Rtr

U. C TG.

.

B.N.N2.5Trafr-

fl.N.N2 om. ZF and read JTf for JW. U.om.^R and lias $ .

for

5-7.

W.

P.^f

spff for ^f.

.

We

with A.N,N"2.and Katavema.

IffW

f rn

1-2.

The Mss. read

U.^o

as follows:

|ajtff ff 3T7 :

for to 3.

FT o

11.

ma

r^fo

3^4 ^r

1

(

R

i7

rr

7^

flf

^T

fr

translated

^rr

ST

ar^rr

^f%^r

3.

I

OTT^

Tr

f-

4.

erw.

A.

ff-

A.ET.N2. ins.

f

after

7^.-

G.jST.N2.U.K.fT^r. O.K. om. ^T.-B. c wr4r. A.N.

N. I

^rr?

for r"^?cTr

I

some corruption. for

K.sft

f

[wrongly

B.W

fr*f-

^-fr.

[l ?.]

5*-^

suffered

7^

n"Tr pf-

RarewraT^g. B. ^r

^l

N2.

:

|

WfaTJTgf W. It is not unlikely that the passage forming Chitralekha's speech has spiff 3r vsT^r

Tf

1

Ko|

I

I

I

Kanganatlia'a

.

cbhaya f^o 51^ ^T J^T^m f^T^ RrTOWFTOT, Katave-

[ins.

5.

for

&c. P.B.om. .

G.


I

.

5

i

r?.

i

10

for

G.K.Kf%i;mi. U.

2.

4.

A.Crarr?.

B.P.inr for

P.OT?.

3^ff. K.^fC for 5.

G.K.TRSTT'iTW^^rTT %ff-

and K.

.

^n^rr &,

for ^ar^FT.

u.B.sf^

^sf.

K.T

for

'T.

and

P.

N.N2.

A.

N.N2.^rnR ^ and G.K. 3

BTf^TT

ff ^T,

for 3TT^fPT^ ^.

B.Wfor^. A.N.N2. insert *TT \^^. P.*tt*Wtffe for

6.

A.om.

after

3.

,

8. r.

G.

10.

'*

G. for

A.N".N..

B.^W TO

^^f before ^f

&c. A.N.N->. om. ^

,

,

oin.

flT.

the whole speech.

U.K.

*TTIT

f

*r

of

|

2.

G.*rrwr. U.B.P.

3.

A.N.Na.f

N.Na.^l r

*rf fT

T.

srfr

3T-

r

JU.

That Vidushaka

is

averse to animal food fr,

which

\ve adopt, but we add 7 from a tavern a

K

the

who

seen

Act

II.

from

speech

natural that

S'akuntala 1.

It is

very

modern Brah-

mans should make Vidushaka more fond of the

reads

4-5.

be

not

may

G.^TTJT r

ffT STTf

5yT

?i5r ITT.

ft|f ?wir

u'tf

A.^rnr: r

S'ikharini than of venison, though in reality he only cares for the

should

former, and

have changed the

reading accordingly. Kata.

u.*rw

vema and Eanganatha too have apparently yielded to the same prejudice against

_

5

is

FT*.

.

i

10

I

i

animal

and

food

to

the

8.

nized reading.

9.

1-2.

B A.N.N-'.

om. the two

U.
B.^ for B.rT^(^. A.N5Jifw^, and wrongly assigns the speech

Vidushaka.G.K. make

to

speeches. 2.

for

:

to

change the correct or prefer the moder-

temptation

f* ^TPT ffoJi^w

f?

the

thus making it part of the speech ^TW &c.

following

Urvas'i. U.^o

|

a

part of

speech f%

of

',

3.

A.B.^^T Tf

^ JT^.

|

U.JT'^.

K. om.wt. 4.

B.A N.Nj.gmif

10-11. in

^rq-

P.B.U.om. the second ST. K.Wjt J'T jPT. places.

Na.W.

7.

ForrfW:. K.U.^T and

w

^T7

for G.?T-

P.B.fi-

r.

'

6.

for

both

^ W,

fore

for

HH

IKFT.

and inserts

K.JR7

^

be-

i

wr

f ft^

ftnr^r 1.

B.555T

before

*?R"

which For

reads

it

ns.

.

before

?ft

^f

&c. A.

N.Na. om.

frrf.

^f

and read

.-U. for

P.

*r

ditto,

omits

except

that

it

rjf.

B. has for

55Jf

G.

A.N.Ni.^r

^rf ^T^Fr*?.

8 [K. T[]W. Kfitavema

also U., only

having

2.

P.

S.

For

4.

P.

5.

For

8-9.

OT ^Rr P.G.K.

^Ffff WJTf.

have

G.K. have

&c.

So

^T and

for

for


Hf I

f^t

|

r

3T3T

r

B.s ftR

.

B.

I

rr

ft*sK.

4.

G.K.^f .

w .

We

r

with G.K.

and Kataveina. 1.

G.

KB.

T.

T

u. ^ 1

iTflff

irffgr

-A.N.N-2.

tf^^^r^ff iTT.

^ff

23.

Before

G.B.A. give

W

We

with P.

and Katavema. P.B.tff ?K^.

this speech, P.

%T

|

C^r

?
?-

for the

stae-direction

TK

&c. B.

THpnr.-P. A. B. 3T1T, .Na.*nt, for TOT.

and

P.A.N.K'.

r.

N.

mm

^

11

11

tfr

latter,

however, omitting

frf

and inserting ft before 3T, and Laving ^T^rT5^r, and reading the HTafter

^T

before Tf^rf

instead

^T. has ^WTf

of before

5^ T (

3-4. A.

HT?rr

1* s

HT

f

has

Ifr.

&c.

U.

for

p.

U.f-

w

er

t

for

G.K.U.W fov

8.
We

E..U.

generally with G. and Katavema, the

A. 9,

B.

for

uPr.

We with

*\

TKSR:

I

5T

K. do not repeat

ifj.

U.

r?

G.K. om. G. wrongly reads 1.

G.

for

B. om.

Rf ?ff.

tliis

P. does not repeat 2.

A5?j

jfrfr.

speech.

^reVr. .

5TT.

r

N.NS ^15

*n?r.

for

G.W

B.fo^r 3T5r

and

?5tt l"fr

for

of.

qRfRf

comparison omitting tlie ft about S'aclii. K.^o |

&

P.

3.

and A.N.Ns. read .

.

K.

N.Na.fefflT for r

6.

fc for "r

B.om.flff

flrfir.

and adds JT affer

4-5. A.f5yr

Tanc^. So serting

^

%w

TT

&

N.N2., only in3W .U.reads

after

fcrf.

A.

^T.-N.Ni.

G.K.U.^f?

IT?

W TTW

I

iff RoyNi"

|

I

3RTC:

|

10

|

1.

B.P. 8 ToBTTTf.

U.^^J 8?.

B.

[corrected

from

J^WK^T. A.^ for JT
2.

5.

G.K.om.?^ U.

A.K.J

line, Iff

A.B.Cfr

.

inserts

R-

TOJT[stc]^^W before HRffl and omits the following

N.N^.K

f^K^fRf^, which

Lowever

all

other

MSB.

agree in giving. 6.

3.

B.P. for T.

4.

N.N2.om.

B.RJPT^W^iT. fT.K.om.

T?f.

A.

A. fT.

with

Ir. N.Nii.

Tr

VW\. Ir.

us,

Eanganatha's chhaya,

G.

^

rr

8.

10.

KAtavema reads and translates *rf:

B.P.^T?.

rc

G.K.

?%

.

II

?

^

II

I

tifari

: i

1.

.

u.has

for ?F^"rr.

2.

U.

3.

ins.

flfowriwi

at

the

G.B.K.om.
6-7.

beginning of the speech."!!. for

^

^T.

|

P.om.%.G.K.

for the

for WfcQ.

f

[K.%5T]

om.]

T^TT

whole speech.

.K. c Wff

[G. .

ain^fr

G.K.

-For i?=?fr-

liave

&c. 8.

4.

P.r G.

&c.

j

ins.

3
and

have

*T3<",

repeated.

K.^r^T

before

T^^KJ. A.

A.P.N.N 2 .om. ^TfP.

tfflflj.

U. C T.

the reading

N.N2

.

Mss. and two commentators,

of seven of our of the

:

Pr

I

I

.

G. *i

&c.

for

N.N^ .sffTf rrt^rr

.

.

G. has

for eriT.

Ti

N.N2.

8. A.N.N-2.^ ir?

.

STTTO? 7^

win*bt. U.sf trel

I

^5^.

*Trtfr

A.rfir.

fT

aT

awrar?.

^fr

s^rtr. B.^rfl-

B.P.A.N.N2.rM

6.

for f ft.-

G. *Tfr^ B.^ToBTO. 5f^.

at the

end

f^r

B.J? for

.

for 3F53T &c.

to ?.

up

7.

B. fa*. K.P.U.

5Tm.K. . N.

^TT^ &c. A.N. ins. before ^Tf^ -A.B.P.JWTOK. iF*om. n^T.

(ste.)

[=^J57IWW:. :.

N.N-2.

A.

N-Ns. om. ?.

of the speech. 4-5. U.S^and

fH: for

Bora.

P.Wrt ^d-

PT^PTf.

U.

.

frj

P.

TOT

3? g?^r. B.lfnr for t.

N.Nz.S for

^.

A.W^fW. N.

tqforfoft .

i

N2.*frj.

After this

K.U. have %ff

speech rr

I

for T^-W. A.1ST. ins. 2.

S.

B. wrongly A.^sTJJfT^. .

WT for

fftW

after

rr.

P. om. Uff :

'JJTr.

P. om. TOT. U. om.

for 6.

^^r

A.frr^prrf

?

] .

A.

4-5.

A.

and N.

N.N2. A.

B.

K.

.

.

r^.

G.

T.

om

tnar^rf.

B.P,r-

K.A.N.N2. read

7-8. N.Na. om. I.

B.^l. For .

P.Hor.G.K.liave

ffi'K

G. CfK-

U. om.

ft after .

B.

raranrj

i

tfr

fls

ififflf

i

fr^rft

or

i

i

TTfir

f%

^ J^r.

P.om.

J=Tf.

We

^^f?.

*wfr

with

K.N.Na.P.

P.N.N2 .B.

.

O.K.

.

N.N2.om.

.

f.

2.

G.H? for Wff .

3? K.

K.P.A.U.

BT. P.B.K

3?

3-5. U. after

6-7.

|

IT*

i

A.N.

.

N.N2.om. .Hi^r. G.

And G-K.

read

P.

for

for

<<8 T

ST *rr

*rr ifr.i

sr^s

n

?

a

in *n i^m*rri[g

sire

i

H^

we

fr TF ^r

I

T^T JT^PT:

I

Hforar ifr

i

*rqr

2-5. A.B.P. make an anush

tubh of the stanza,

thus

7.

for ?T?^^r^r &c. re ^^r JJM

N2-,

but

FT^tf. So N. have f'J 1? for

.

and then has for

om.

For fffl, U.

ffj,

iff*,

U.K. omit

.

and B.P.G. before

Hf.

for 5f=nr%Cf.

N.

ff

ins.

m

after

U. '.

-'.

ias.

TrT after

p. c

7-

T^r.

om.

l^WI

^?r.

B.


W.

N.N2.^ ning. U. om. for 3Pf. G.^^. A.1R" [corrected from SR"]. U. wrongly om. *H?.N.N*.3TR for

B.P.^Piftt. P.

G.K.

for

B.T^r^t 3pr^ at the begin-

8.

6.

G.K.^r

e

N.N2.

G.

ff.

and

om. the btae-direction. B.

9.

B.P.^oST ^Tt f^sTflf B.

.

U.T for 3T5J&

^STf^jMT ^ f.

P. ^ for

5 f

!^?^?.

JJT.

&c. A.

:


I

i&rarerre

I

ajft

:

i

U.3"W^, and

4.

1.

ora.

^ff. .

B.P.

.

N.

after

T.

ora. .

B.

ins.

$

T^^j for

'T

and reads

T

.^fr

T

no

W

or

&c. A.

T .

5T.

5-6. A.N.N2.fT9^ and put

T

&c.

^.

^f

A. om.

U.r

f=J^fR[W.

stftf

^=5-

P. Las

*?(%.

G.K.A.N.N^.

.N2.

om. ft]

qfc-

fnw 3.

AiN.Na.t3f* .

ns.

for ^iR'.

P.fr 3? 7* .

G.K.f*

We

FTT

T^. So also KAtavema.

with B.

with B. P.

vema.

We 7.

P.G.K.

^W.

and Kuta-

.

I

Stir

*TT

%

10

OTI

*T<

|

G.nt*f. P.U.Jtf* both read-

1.

ing 3f ^TI in the previous speech. N.N*. wrongly as-

before after 9.

U.

.

sign this speech to Cliitralekhu.

10.

A.N.N2.P.

ins.

as follows

before the King's speech

3.

:

2.. om.

4.

".

Our

authority for omitting this 5.

speech of Vidushalca

G.fJT.

7-8. N.N^.

^

1

?JT.

U. gives

the speech to Chitralekha and reads thus: f^o f 5Ff |

which follows

Cr^^H


uift

reads thus.

B.

We

do not, besides, quite expect Vidushaka to ask the question, after

after

is

G.K.U. and Katavema.

the sign inado

him by Chitralekha.-Gr. K.U. ins. ^T ^5 after ^B?l. to

:

i

.

.

N.N2. om- the stage-direction as also <ENt. P. om. ^^.

G.K. om. ?^\and have 7f .-B. inserts

instead.

it*.

I

at.

gfftf

ftftyraw

|

j

r

3TJ

10

PT r.

U. om.

4 and has

*f-

1.

A.W.

2.

U.tPTJT.

B.om.Snd &J. om. the whole of .

8.

N.N"a.

this speech.

for

9.

B. inserts

1.

G. om.^fc-For from 9 U. reads as follows

7 to

1.

:

^lo|

before F%. P.

T

4.

f^srlf

7.

I

P.A.N.Na.make TOf &G. a

stage-direction for the King,

and read T.

B

.P;>roceed^r,

.

3-f o|

om.

After T

10.

it

I

f^r&c.

P. &c.

u.

I

I

[B.jfofr

^r

*n

1

5

tf

y

inf

l

10

TI

I

1.

B.Rf after T^.

whole

have

5-6.

A. OT^'iKff?.

P.

T

for

A.N.Na.

.

A.P.Cf re

stage-direction.

^


7-8. P.U.tfT: for

K.m

U.?? %5f. For

N.N*. have

which they read

om.

?ft

after

.

9.

^.

U. wrongly ire

&c.

.

A.P.

w^ 7?

4.

A

B.

P.^JT. G.U.om.?TI?.

for SUTTK. U. wrongly

.

3.

O.K.

wrUH7.

K.U. c irT. For

N.N->. 2.

i

.

N.Na. om, the

F? .

m

rft^rr crsrr

1.

G.

is

reads

corrupt here and SraWflT. N.Na.

WWT

^^rT-rT^e

.

J^K. P.

U.

A.N.N2B.P.3^W7.

For ^r

3C. 4.

G. has

G.K.P. insert wRr before f%

^f.

The other Mss. omit

it.B.

We with

K.U.-A.N.Na. om. TTf. U. W. B.Jo^f. B. om* H
for

T

&o. .

G.K.

B.?RW G.om. W. U.K.sref

2.

.

forSfff.

G.^IJT^ and has ^5^IT for vsT^r. N-2.^ 5 ^r and om. f 3?.

Iff?,

and P.

,

for

^ff.-G. om.

G.om. ftn. U.PW.-A. N.Na.

ins-

ar^T^f?

before

flrT. B.3R. B.^T^e^r serted before

*sf.

U.

.

B.^f for

6.

U. om. T? and reads

instead. P. om. ^?. 7.

for

ffff.

U.

oiri.

G.K.P.

in-

^f- B.K.

fr

\t

II


II

i

10

a fessn

T^W

1.

N.r>

2.

K.A.N-2.^iirf^f. P.N.U.

N

,

nr 4.

K. om.

.

U. inserts ^^^*r

after

and has

anfawr.

T?r

p.^r

W 4

IKfor

K. om.

^Ff.

before

U.W. N.N2

USfr^T.

G.PT:-

r^ .

5.

P.

TOT.Ns.*5J. B.

G. om. Sltf?^^

,

and reads

the speech thus:

which N.Na. read thus

:

8.

G.K.U.f^i

[U.^^WIS" Hflr~] for

^rr. U. oin.

^

reads JR 5pf L. ins. flft before

9.

N.Na.

instead of

f^ &c. B. om.

.

I

^i vm$<

^rfaj IT ft^*rr

f nrrer

^

||

o

||

10

^r:

fiR?rt

N.Na.^TOT for *F?nT.

1.

I

6.

K.U.P.*Hf?*>5Jr:

for

2. 3.

rft

4.

.

U. reads .

B.n-

.

G. 3 ?fr

K. be

also

it is

,

.

T-

doubtful)

.

QF.il5*tJT.

U. and Kanganatlia. 9. P.A.N.Nz.A. insert

&G.

A.

.

.

adds <W\

We fC

N.Na.

G.K.-B. ^R.

Avith

after

We

r.

For

Na.U. have

K.

with

^| after

c c

fe

5

IK.

\\\\\\

I

10

-^

?
\

I

for

6.

i.

2-3.

W

G.U.tflfc for

B.

iff.

mrr.

after T.

m^TT.

for r.

A.G.

.U. insert 3f

before for

^W

*K.

-A.N.N-2. ^T

7.

B

A.N.N^.^T for ^t. U.Cf-

w

rW( 9.

for

^t

for

U. om.

5. A.P.frfr.

IT.

^

ff.

A. om.

We

with A.N.N*.

for

10.

B.

N.Na irirm. B.5r?T5f & r?frfw

,

U.FT:5FTITW, :,

u.

.

.

G.K.^ff

[?.

pjlr KH.

U. om. g.-U.'tC-

^ 4.-

rr*r.

G

for *

^T

P.w We with G.K.

and

B.P.

for C

and K.

.

.

fl

A.P.5Triyr^RT ^

We

TW JTrff

with Bollensen.

2.

U.W^R

for

JKWT. G.K.

read the following forgery after Stanza 22 :

flw i

2-4.

m

forfl*-

.

P. omit

N.Ns.P-IT

B.

raPr

|

tr

tsrw. A.

ins.

before

for

5-6. A.N.N-2.

for .

om.

[B. i.-U/ir

tfl

[P.

om,

A. N.N2.

?.

.

*u

tf

i

i

^ff

afnwiw

JTRTST

i

f^rcrcr

and B.P.^F7 inserted Ka-

after T?. IJ.has neither.

We

with

G.K. and

tavema reads the fff7. We omit the and elf? with U. and Bollensen, for this rea-

Kfita-

vema, the latter, however, reading 3&l for ^?Kf%. 1.

B. inserts

Wit

before

flf

son that some of our Mss-

^sfr^

JO

TJT^ W7^. So N.Nz., which, however,

&c. A.N.IS"2^?

insert

I55T

lTl3

read

fflif, others ?TW (or ff^f ) and others again fH^f, and that if and fff
f!'

before

3fTT.

B.

ginally

in the

text,

should have found B. ora. 2-3. N.

tff

we the

pronoun instead of 3*T(-Tf in

?T?r

the next speech of Chitralekha, 9"-^ f^SJ &c.

om.

1

4.

g. A.B.P. ins. ^T bef. butG.N.Nj.K.U. omit it. A. f^r

rlf &c.

N-

N.Na. om. Wnnr. A.N.N2.

6-6.

for

^R

swim

Iff

sTi

mrofrr *^wr

1

rm

3

I

31^5

T flr

Rj .

(sic)

N-2

.

K.

.

j.-G-.adds

and K.

,

before

5, G.K.?5yf

o^rjTq^] 1.

A

flf

^

repeat

?Tff.

N.Na.^[ for mr. G.P. do not

B. om.

2-4. A.N.Ni.^T

rfff rT^T.

for *|

which

B. omits.-B.P.^nt T[B.om.]

^ [B

.

aTfrfTr

frf?

|

[K.om.] W^^Tf ^5Ffft ?Fff rfir [ G^m.fffr rffr]. B.P. 15 8 Tr?^2T, o-raifeting ^. B. in|

serts 6.

flft

before

^F

G.^ !^ for Wtfr 11

^TF.

^^4. N. B.T-

r.

.

P,

f firoi

i

1.

A.N.N-J.

for

.

r.

N.N2. 2.

8 T for ^T.

B.

^T

B.

?^t for 7-

P.

for ^.

6-7.

N^.

N.Ns. for

.

u. ^ f.

3-4.

P.^T

for ditto.

G.A.P.

A.N.N2. insort

before T[^ &c.

.

For

^^ &G. N.N2.

ns.

for for

P.

after

K

ikft

ftro

rr:

i

.

ftrar

ir

for

1ST.N-2.

for flTOafa.

We

read

^T !-

with A.N.Na. After

f-

K. has the following

:

3.

G. om. m. K.

ins.

before

A.

^Tf.

B.

1.

B.P.om.w?. P.

B.ff5Tf. G.

P.omfaC T.

W

B.W.

A.N.N2.

before 2.

0111.

read

for

ftt

G.

om.

the

T

P.TK^f f^r^T

A.fWT^*r. for

B.P.

at

the

ginning, and goes on tftf

rTHCFr.

B.ffirt.

8.

for

^ aTf:

repeat

Rff.

be-

tfl"

^f-

B.A.N.Na.^l

f

" ^f^^

:

G. does not

HU.-A.

-tq

i

gr

10

for iJ^Jfa

we

which

read with A.N.N^.B.P.

8.

K.^TK for *W.

9.

K.f? for ^.

U. 1.

G.K.U.W for ?*T which we read with A.N.N2.BP.

10.

B.T^f*T

N2.JK"fl:

We

for

for Rf^T:.

KJ^^W

flPT'^TH^,

sr^. G. om. and G. as well as

and B.^T-JJ:, before ^R:.

B. read

*Tf for

Mfr.

9T? for

with G.N.N2.U -A,

B.^f after

^H.

B. ins.

ins.

N.Na.^T*?-

^T, and

P.

11-12.

G.^T:. G.K. have J2

for

Jff

.

3.

B.^TTW for

5.

P.w

6.

W.

w^fr.

G.K. om. Prfa'HT and read ^instead. A.B.P.om ^: and N.N2. om.

T^.

N.N2.

N.Na. inter-

polate two stanzas after

?t, after friTF*.

2.

?^.

fa:

tf-

.

G.ifyjl .A. 3*TT for

I

B. om. qfr

ir 5-^ .

N.N-2.

6.

P.^f^tf for

s

^f.

P.om.

for

A. om. ^'T.

2.

B.^f, P.^^Tr?, for J?T:.and

and reads

B.A.N.N2.5^fff: for ^5: which we read with G.

om

fl?:

and have

K.P.U. 3.

A.

&c. G. om.

*n\*<: [=^c: for

margin]

in

the 5rrw

G.

firw:.

We

ff

for

*T.

B.K.

P.^^Tf^iq:

read fTO^Tft

8.

^T

B.^W and om.

with G.

for

f?fW.

|

^f*lr. B.

ft

for

om. vrfiW

and reads ^>r%

fl".

viruma after

^fT^r^: and

reads

B.f^Tf

K.^'^f ^. A. N.N2.B. f^Tfor J'5f. A.B.

^^

(1

G. puts a

for


and P-ifiT after 13$. N. but om. Na. have

fl^f

37

for

P. om. *wfr. K.^R^f

Wf?T

(ic).

and Kfitavema. 6.

JTTF

For fet;. G.K.P. f^:! G.

A.

l5:.

K. inserts

7.

^

B. 4.

for

W

9.

G.

.

N.Na.W

for

m

10

15 1.

N.N2.

2.

P.N-2.B.C^^r for ^RRT.

S.

K.N.N2.^rari"?7.

4.

A.N.Ni.HT $ for f^f. B.

8TW

for

7. A.

and P. Sf,

Jr

G.

T? after

B.

and

P.^fTSf HT5[(.st'c),

for

.

|,

.

for tffrHfa? i,

c.

A.

and B.P.-

^". K.

G.*T-

&c.

P.

corrected

from 9.

P. T.

om.

,

:

a.^f^r

ins. J-

^r-T^T.-

(sic).

G.

8.

?i G.^F^^. P. .

:

TKTfT. N.

for

14.

A.N.N2. om. fl^f.

B. om.

B.f^r

^ ,

J.

reading

3".

v

|

f

I

er

n

^rflT

5

ajq

1

:

i

10 n

1.

i:.

K.lf?

^

n

.

*W*t. P.

omitting

"%'jr^fT

.

B.

om.

^JTR 7.

.

A

for

G.

^.

K.

omits.

altogether. 6.

N.N-2.

om.

^.

B.P.

.iTjM^ for ^ir^T ( !

)

.

.

sf.

12.

for

K.

N.Nf. it

for JST wliicli for

rfri^

J^STfa.

T^r.

(sic)

W, for sfcr &c.

We

N.N*. and

but A.N.Ni

P.,

read 3^?T o/Ver 13.

P.WWSW

for

.

G.K.

^nrji^^JTw? I, and B. Hj

for ^ff^m"-

P. omits. G.K. 3R

for

9.

11.

with

A

\

H

?

o

||

3TFRKqrr

10

JTO 1.

i.

:,

si

imply

For

G. has

:

ffjpf:,

A.N.N2.B.P. 6.

B.P.TOJ,

1.

B. om.

and A.P. JT^We with .

B.P. om. and read the the following

ffiFfrJirrT ].

K. reads the

pada thus

3.

:

ff

For

8.

?^.

G. has

TT?nF?r

?f-

p. f

^J N.

9.

WW^.

A.N.Ns.fWf

to *Ti^^^. G.

inserts *fi before

first

ff ^WfJT-A.

JTfqr

for

:

and P.irfHrfi?, for K. orn. the prose

from *4 up pada of stanza thus

[P.

K.trtT, for

r, .

2.

and

N.N2.

G. rTSfff

after

for

4.

(sfc). K.^T-

5.

U.G.K. read %5nr5T, for which wo read with

10.

for

11.

for 12.

B.P.^^W

for

.

K.

\\

\\

\\

i


10

1.

A.

13.

B.N.NS.

2-3.

ora.

B.7f

m^ for ^W

5Tfl J

K.

Tf ff.

adds 5.

7.

r

B.

K.A.B.^r^

B.

:.

for

r?.

A.

.

K.

K.
P.A.R^f^ before *'^ G. K.^^N' w*n. N.^.^rerfrr.

8.

9.

K. adds ^rt

10.

^

^[

before

W-

For

^TPTjr^^T

G. has 3^^ W. 14.

11. N.N2.7T for ^f. 12.

^H" ).-A. ( omitting Na. om. ^. P. om. TT^

&c.

For

8?M^

G. K.

Lave

N.N^lFOTfH^^.

33

G.Kiiis.

after SFOTT, but

N.Na, omit

it.

B.P.A.

JJT

TOTC9Rf

II

\tt

I!

mif

nnr-

5

^far

:

10

We

with G.K. and also U. which however reads ^T'^ftf. 1.

A.P.K.

WT

G.

K.

^f:.

B. adds

^

&G.

and

N.^WW

.

5T^:

read

for r.

for

B.W

W

P. ff t^rsr.

after 53-

fikA

after

7.

N-Na. do not repeat

8.

G.K. NT G.R5TlTfTr^.

B.

2.

9.

S.

10.

K.TC

for

for

T?ff.

for 11. 4.

A.N.N2. om. HTJ.

P.

om.

K. adds fore T vr

B.

qrlr.

^, omitting

^

for

.

for

P. om.

.

be-

K .T$r-

r"

B.

wro*

n

10 ^ n

n

*?.-

1.

3.

N-3 3 G.

n

for

f.

5ff.

A.

for

4.

6.

.

,

for

P.Tf 55ftT

m

B.om.

^r

^ after ^K^rw.

andA.N.

T^. P.om. .

B.P.^f^'

6.

12. 7.

G-N.N2.do nbt repeat *T:.~ G.K.^T^ for

for fq" &c.B.

8-9.

B.A.N.Na.fgr before which B.P.omit. G.ins.

fr-

f^

^

before

^.

A.N.Ni.^^T.

U. G.P.

falfl:

^trff

WJ

|

I

spira

??r

HPT :

I

10

Tff

G.om.^T

1.

Wf

and B.W, for

ft*FT:. ^T'4.

I

&c. B.A.N.N2.om.imT.

B.

A.N.Na.

for

^T:

2.

*%.

G. Las f^

4. B.P.ff for ^T.

for 6.


after

B.om.^T. G.bas

8. P.

K.Cw

P.J for ^.

for

for

10-11. A.

.

6-7. A.JTRrfT^Rt ipTR: for :.

f

:,

for the

:

for

.^jf ^r4

Ft

.

i

N.

N. FfT-

same.K.SW qff-

PTSnRf

:.

fT.

for JJ^rfa.

J^.

-cff

iris.

.

om. from

?cff

up

to

A.N.

wpft.

U.

f^WT iWf ?Tf-

rffo

ii

r irirrf ir^r^r:.

irfr^Rf

P.[omittixjg

&c.

\

Jts

WJ

1

for

&c.

We

1.

P.

2.

P.B. om.

3.

G.K.U. have

4.

N.N2.

with G.K.

G,

For ?f cr ^r" G.K. Lave If^JWrf

8.

*fr,

^

^r

for ^.

N.N2.

9.

10. P. (sc).

For

JT^ G.

lias 6.

m^JT.

N.Na. read tlie and 4th padas thus

11-12.

3rd

:

G. for

13.

P.

OT

om. from

G.

has

srfrT

for ifoft.

G.

for

2Jrt?r.

??*T to

N.Ns.oiu. HfJ.

B.P.

^R.A.

5
^8

II

C

II

*v

*s

wim:

f

1.

N.N2. Hf$0$Wlitl^; for

the

first

puda.

We

N*

II


A.N.

10.

N.N2.

11. >Tf?f:

be-

om. q\q

JTT^r.

G.

for

and

&

.*ra for

?q-.

P.A.N.Na.om.

B?f

B.

P.om.^^. G.

^

after

and

ora.

JgTT.

*T,

B.P. ins.

K.\OT^

for

and B.

W 13. A.N".

.

after .

7. 8.

lias

qr

A.om

12.

reads

HTW ^\

with G.

A.B.P.K. 5-6. A.N.N2. insert

I

U. A.T^T for

?fT.

After ^

G. p.

II

10

WTOTTRT

I

n ^^> n

10

i

&c

.

N.Nj.fr:

for

K.

:.

WRW

3.

for

g

6-7. 1.

.

O.K. read

: .

N.

and for

^r.

N.N2.om.'?^'T. N.

.

&c.

(sic)

c

into .

jer

^r

U.TOTft RT^f-

PprR

1

^

(fc.).

introduce

the

stanza with the stage-direction ^5^ f>^r. B. reads tlie

as

fourth pada (j? &c.) the second, and the

second

(TCf
fourth.-A.N.N2.B. for

J^r^^r.

)

BT ^T

K.om.

5T

^'frf^.-G. om. W1. A.

N.N^.K.efTrT for

which A. reads the word

3*^*

^7 before

JTTJ.

G. has

before

for 9.

as the

grf^
10.

G.K.

ins.

W ^TT before

;

which P. omits.

ur

inmm

I

*:

far

st

1

i

i

i

rs

&c

fore gr

.

?ifl

3.

B.om.rfK

G.oin. T,

4. :

?

f

.

G.K.

insert

after

HfJ

G.K.^T^T: T^ fqq for

^raff.

and

B.K.JTretfJT.

K.fl^r

B.G.ffit and

^fCf

for ^rtr^t.

B.

*prr, after

N.N2.

G.K.C^t

STfT:

A.N.N2. also insert the

^ after

A.B.

1.

t

W.

finraur for gr

TPI for

B. a?fr

.

^ &c.

A.N. B.

^T^ rT^^r^C

A.

for

?f.

A.B.K.

ins. J?T: after

N.N-2. |r ft

^T^ ^.

for

N^.J^T^ ff

T?I:.

for

It

N.N2.om.

5.

A.N.N2.P.

A.N.N2.P.1W5J, and B. ^fTO, for rerTO which we

7.

read

Cf

with.

K.U.-P.iri^. B.

altogether. 2.

N.om.

A.B.3WIRr

8.

for

We a. and K.

e-fr.

ins. *r

3-fer sfr,

ins. ?f

5T tflf ,

be-

9.

with G.N.N2.K. For in%8g rirf ^ G.K. liave

irRrir^. P. oiu.

B.K.TO

for

10

v P.A.N.Nj. om. the stagewhich B. has

8.

1.

3.

5.

G.5T|F&for<Wfa. K. A.B. ins. f^^, and K. ,

t.

before 3?^

^1

&c.

om.

direction for

only/wnar. K.

^

W. B.P. om.

f'tf.

13.

A.B.TfW^T and SFPJf^r^fl^lW

which P.

&c.

after

N. for

omits.

&c. T

6-7. A.N.lS -2.iT^

N.N2. before

for

K. om.JT^J. A.B. ins. ^TTfT after Swfttf For ,G.K.read

f^f.

.

W

f^. For ^, G.K. have IT^ For =T^Rr, G,K, read H^

.

read as follows

&o.

\\\\\\

;

m:

OTtT:

I

jjr

I

w

10

\\

ti

:

For K.

&.

G.K. read

4.

We G.^^:

The Mss. fTOK:

1.

with

Katavema.

for

^5ff:

.

G.K.55*^

f?^. N.N2. rend the thus

^

A.^T

a

apparently into

JTfff.

P.om

58T.

W

before

7.

for

TW.

6.

K.^f for

G.WfHfrfr.-For RoJf%*C?f,

stanza

Tf?frf:,

hopeless corruption 2.

*F after

G. om.

7.

for

TO& in both] rr

correction

ins.

K.

?ff.

for

RX

B.A.N.N2

8.

B.^Tff

9.

A.^^f, and G.H$, for

12.

G

arecSfarefrf.

cor-

:

rected from

B.P.A.

G.K. 3"TWT. B ft&m. N.N-2. om.J

B. ins.


with

ftsyfaT,

P. om.

For

I

We

>

3.

ii

^.

K.^WJH. N-KTa.W ^7^.

for GIM

!

13,

For f?^,G. has

nC(4.

A,N.

10

'

G.K. insert after

^.

for

T.

A. ins.

ins. fl after

1. P. ins. $ after

A N.rlh'wt

2.

for

A-N.Na.

l

WoffW.

and Na. ff
G.K.

and

N.

N2.

A.N.

ffTTO:,

,

before 3.

N.N2

4.

Q.K.Tt:

fr-

after :

after .

P. TO before

.-N. bef. tit

*W

for

TR:.

*T*T-

lias:-

5.

N.N2.om.

6.

N.NsMf for

^^.

N-N2 K.P.'BJ^JTfor

7.

3jT.-For

s^^:,

m?f: .-A. N-2.^rfer^?T 8.

10.

B.ins.W

G. has

nef^r?T ,

*

K.P.^^f: for

,

for

before

T-

and N.

:

I

\\

II

n I

II

\?

II

r

10

:

1.

.

B.WfT

n

\

n

K.

.

. N.N2 and read *fW-

om. 2.

and

A.N.N2.B.U.oin.^e,

G.K. do not repeat ^ B. reads ^f^mf 7.. 3- K.U.^PTKf for ? 6.

U.*Tf5T

for

sTWr

^ref:.

G.K.omit

A. goes on thus: ^fOT:, and B.

N.N2.

7-9. A.*T

G.* B.

5hT

and N.N2.

J 10.

5rrr^]r

^

r

;

ff

Ws

12.

13.

omits

JTf.-After Tf

IT

i

cr?f

10

15

H'RS" G.K.ora.

1.

f4r

^.

5

T^.

N-N2.P. om.

G.N.N2. om.

5J?Trff. K.om. CTt. For q^?l7 3 tf^T555% G. K. have T^^r ^^q5J^t HIT. A.N.N2.R s Tf^4 W, and

P.B.C^f 2.

K.*RT

^,

for

rr^'T^

H^^IT

ff .

ST^T

:

for

for

10. *

B.P.^R

.

11.

wlrw

B. JT^Rirr I

8.

rfr.

^w^. N.

for 12.

P.om.

flf

before 5TCK. G.5T-

4.

N.N2. 0( rawir.

CK 5

6.

A.B.P.^TPT^r, and N.

B. TnT, for 5TCK. G.K.om.

for 7.

T,

^rr^t. P. ins.

TTT>Wr.

K.^'fr for ^fr. For

G.K. read

Rf^Tff.

14.

P.WT

for

5.'B.P.^*r for

?

for

N.Ns.K.

$ before

f^^,

i

i

i

ir*i

rww

ir?

i

*

3f

10

T5KPT:

1

for

6.

for .sfr:.

7.

B.

K.om.

before

G.K.tiTiT.

.

and read

om. for

.

B-om. ^4.

.

B.

8. fif.

U.aW^^TWfr.

A.-A.P.

and A.fJ?T, *

P.1?Hir, for


A.r B. ins, ^ITR-

after

9.

We 5.

We with

ff JIxisrR for

K. reads the

after S.

P.

^ET-

read ?4 with

B. and Katavema. The other Mss. omit

5T

it.

A.K.TflPT. B.

om. before ?f? &c.-A.N".N2.P.^-

10.

B.P.C4 for ?f. r,

G. K,

For

ERF at

I

$Vr?

i

rro

f *r

1-3.

er

For

G. K. have A.N.N-2-^:

before

B.N.Na.P.om.

.

7f.

K.^TJ^flr.

G. and K. some-

what desirably N.

tlie

A.N.

the

.

N2.

^W^TC

(sic).

N2.B.TIT before

K.

insert

^

T^^rarr.

before

Tlie order is differeut

insert

former before latter

T

before

;r

r

^

and

T^JT.

But the other Mss- omit

G.

it.

3r*T*T.

inN. |F. T.

B.f^f. B.om.T.

K.^for

G.K.P.W.

7. .

B.

8.

for

rr

f^=rr ",

4-6. G.H'rrj. K.ins .

.

JU

before

A.N.^.B.^W^for G.^fH for ^WT.

K.

fwr

&c. A.ift-

and G.K.TW?6rt,

frlr

r

1

iftjr

i

:

d

10

I

(t

<$^ri

^r

.

6

N.Na. om.

*T^.

A.N.N2

ff-

4.

K.ins.W

6,

G.deesi

:

before

^f

R'W up to

in the fourth pada. 7-8. .

1.

A. ins.

T

9.

.

A.N.Na.?f

7^

B.PWSF

m.K.

for

after

G.K.om. stf.N.Na.'W for f^for R. A.N. &

?f for

B. om. ^ri

Sim.A.

for

for

^75JW,

and

for VI. c.

A. 10.

3.

.

A.N.Ni,wr

r?.

K.W.

flW^^

|

for J^:.

UFTWM

A.N.N2.^^fr ,

&c.

for

aud B. om.

.

.

10

ii

i

i

U-JTT

i

:

i

.

i

:

I

the stage-direction. 1. N.N2.P.*T*fr for

for

serts rnft.

B.

.

K.

2. .

N.Na.WK.^T ^r-

oin.

?T.

&C.-A.P. 9.

.

A.Tf^ff^f.

BTlt jfr.

3.

G.J^lt precedes A.5w: and N.N2.^: before

4.

.

10.

the stanza. 8.

A.UfKPT, N.N2.Tfr^MT, and f,-a. in-

N.Na. RT^nfr. G.

i? p.tfc fsrgrfif for

rrr

K.Tff for TrSTTSft. B. om. r.

K.

ins. 5?fas?f:

after

1.

A.N.N2. om. ^fbef.

N2.^. K.^T*

W

a'T.

^. A. B.^

4.

A.N.Ns.fK

5.

K.iW^T

6. 3.

A.

.

For

7.

B. S

^

for JTff?^.

sff^T,

K.ft=f.

N-N2 .B.

for

G. reads

I

?nr:

few:

flftsrft tffrer ^*

:

%\i

j

I

TOI!T-

U.TRcgr. K.5HT.

1.

U.lrfrHf: before RfSTTfor

2.

which

it

reads

fefr*TT.

ins. Ir^fHT: bef.

*ra=f.

K. too

after

A.

4.

r

,

and

,

N.N2. For

'

for

B.f

P .

A.wfr

&o. up to .

G.

U. for

inserts

and

,

after .

3.

.

for

U.r-

for ^Fi 5. .

U.Tf before

G.TJ.K. om.

P. om.

r^H. U.

.

.

A.

.

P.

r

for

f[f.

T

for

for fpf

frr.

for

r

.

^

f%ff

for ditto.

it frrirr.

1. .

A.G. have .JUT.

.

N.N2.^^lffM. .^T^K^t. G.om. and has STOTK inG.B.P. om.

U.K.om.^iTffr. For To5qhK8TJTr and Na. hav

cff.

*TST

a

lacu-

and goes

A. sT T T*nf 3Trarc7

ff-

the stage-direction ?r% &c.

K.N.

stead. B.T^TT.

U.

fa.

U. foffiwNt. B. P. K.

2.

^ and

na instead of on

FT.

4.

oin.

N.N2. give

the

speech

thus [stc

?rr.

B.P.?Rifr-

TW

iJ

&c. N.

^?J

for IfflT

|

TK-

.

K.?-

for 3.

For

^TTOfTI^ G. reads

nrrj^^Tfr^T

Tlrg.

with A.N.N2. and nia

who

reads

We

Kiitave-

.

p.

1


JTR

i

or

&c.

of

A.N.N2. ^Rr^r

A.N.N2. A.N.lSr2.

7W

insert

^fflfr,

U.K.'IWfPfifr, for Tt

B.om.

TJTff. U. *^f.

&c. t.

and

before

A.

Ng.

after

7.

IWTWree.

%

N.

G. and B.

After ,

A. goes on

:

9T-

"ffsWPf!

A.N.N8.P. om.

4.

WRr^T. TTT.

m

U. reads the passage

from ?fr &c. thus

:

U.TO".

after f.

^T. G.

G.

ttf f 3ff

r

W*f,

B.

inserts

^W.

B.

T^TiTf.

K.

and P.^T^r, for

r

r.

G.

5.

K*?T O for

U.

TWTT7. .

and ^Rf^^f for 3.

U.IOW^ for

imply

read sT^ffi twice. | ^rff
T^lTf5-.

and

15. reads

P.

T.

N.^. P.

3lf*r for

U.

ff

So K.

TI^

goes on

3Tf?T.

.

3T-

for

N.

:

ufrsrft

<J

i

Ts TOT

J^

v

g-

10

After

U.K.P. om. one om.

G.

and B.

.

U.

&o. U.K. after the end of Vidusliaka s speech

.

:

K for

U.K.

C.

But A.N.1ST 2.

-fr for

STO?

G.

7.

9-11.

B.P.

.

B. P. and G. agree in giving no stage-direction indicating that there is the end of a praves'al'a here.

S

.

For

5-6,

T*flrf?fr

G. has r-TO ^f.

For fWff G.K.U. read

for 12.

For

f4r,

P.orn, 13&.

G. B. and

G.

fr.

I

r -

B.

^T 5frf [B.om. *FT U. altogether omits the speech *TW &c. K.

ins.^tff bef. tfra^fP

fliww TO

.

*wrrfc

A.N-Na. read

and A. reads the thus

speech 5.

:

A.inserts

^ t *?Trr4r q-^r erer-

off

r^r4f [K. Ir]

2.

G.WWTRTS.

before

SKFTrafr.

C^T,

and

N.Na.

fffNf f onvTrarW^rMT WTwaT^. U.

corruptly ^f

U.K.om. 3fal and have

.

iff

before

for

trfr

^wsFFrf

Bi.

B.om.

A.N.Ni. om.

?]

B.K.P. do not repeat

rT.

6. .

4.

A.N.N-2.B.

om.

WW

and

read the rest of the speecli *T ^^T'T ^ 'T 13&f thus ',

i

P. om.

U.K.om. the stage-direction and om. ^S*T, simply

B.TK-

reading f|T bef. 7.

8.

I

10

r?

.

i

for

8-9.

B.

G.K.U. insert 1.

U.

for

.

n

before

U. after 3JR5^, inserts

A. 2.

B.iT?.

(*). B.

:

for for ditto. 3.

For FrefA.N.N2. read 5TCW%^ whioli appears to be an

improvement upon the ginal reading. :,

K.

r?r

for

i&f RfTT:

.

N.N2.ffiff-

(7) for

ori-

A.B.P.^fa-

.

:,

and N.N2. r:,

for

10.

12-13. N.N2. read the

6-7.

. ;

for

G.=Cr-

omitting

A,N.

thus

:

speech

:

nfrsrrar

JT?[ *c

and

for nnTf which we read with P.A.N.N 2 .-G.iW'T*r fir-

We

9.

B.P.om.STB.

*f.

B.U.

ins. If

after

ins.

bef. tffr^.

T

3Tf

f*T:,

N.N-2.

[f?W

U.KJft-

2.

omitff with G.K.U.A.N.N2.

and

with G.K.U.A.N.

4.

N2.HB.3? %(3*f for^Tf^Wffff. P.<| and A. 31, for JTf-

6.

P.,

T

,

G.K.U.^

for t?T.

We read

^ with A.N.N^.B.P. A.^fr. B.ffTf. N.N3.

'

G. speech of Vidu shaka altogether ("f &c.) 7. G.K.W5:. U.has simply ITU.oui. the

P.^T before

for

A.

u.

and adds C

ft $T

omitting the stage-direction in the following speech.

A.N.Nu.^g before

1. T

^Tf

&c.

for the

whole

stage-

direction.

3',

ff^rlr-

N.Na.U.f^W

after

8.

U.TO^

not re-

peated. A.N. 2.

A.N.N-2

,

U.K.P.'T

and

after 9.

,

and G.l.U.

B.P.

*:.

^:

for

P.B.Ff-

i

I

sffi

10

7.

and P.B.TP^, for KfitaYema have 6.

u.^TKnr

B. om/RPT

2.

for ^*f.

^

be the

first

shtup (see

whole stage-

direction.

u

TL5JR-4 Vft for

8.

meaning

irfr^fiT,

FPW^:. P. K.?^ qK-

JTff^r.

for the

^Sfrf^f

A.^K^, and

G.K.B.Ifr for

:.

>m.

it

om.

to

half of an anuinfra).

after

TfT.

B.

5yr^T5JT:.

P. reads

5JR5}f.

U.f>T for

OT^Ts^

*Tft.

U.

5T^: for TPT:.

B.irffa^.

9. u.^rnr 6.

K.G.r

for

^

wrr^. B.

&o.

om. torr^ and reads

f fir

^r?iT5- irtSFT.


lias

3m.

p. om

^fflH5n:

.

,

^\

A.^ffTflT for for

and N.Na.

for

G.om. 10.

^.

G. om. this and

the

line on the next pnge. I

v ||

the second

[Tfvr*F
U. for

and omits the

lalf(see svprd). A.^f for

first

following

three

speeches

5

TTT.

^

n

11

^v~ 10 : i

ending with

9. .

.

. I

1

B.P.fT^ for

2.

^Tfft?^:

K.

om.wRtWT.

B.U.r^ri^r. p.

p.

.

^t. .

*TJfr^T. P.ins.

P.H-f

10-ll.G.K. read tle word after

TO

^*T?T. TJ.^r^^T. N.

N.N2.^ff U.

6.

B.

before

AJTOKfT.

6.

U.

ik

:

P. reads the

speech thus

K.

.

:

f.

K. om. before

.

U. inserts as

follows

G.K.have

U.

TO

I

?T-

iM.

(Pifffe

after

P.om.

:.

8.

(then

after a lacuna

d K. read

,

for

G.K.

TORT?

I

P.BA.N.]ST 2. read the 3rd and 4th Farias thus

.4.

:

5-6.

[B.P.

A.N.N*.

have

on.

Tf

*U.

U.

after

If

and om.

K. A.N.N2.

but unsupported read 3TiR with We reading. B. P. and with Katavema,

an easy

who, however,

Tff^T.

.

comments

upon 3JTRR^F. I do not see how he accommodates the f^'T. Here is his explanation. I

G/WFf

.

N.Ns.

.

N.Na.

K.

for ffK.

P. om.

7.

TO?

W

^R for

N2.frwr?r for flhW. P.om.fT. 8.

U.^W:

forT5RT^Wir:.

P.B.U.K.

add

twp

N-Ni.

more

fi.

OTHTT 5

Tfsir

I

ir

epeeches after
3.

5T*H

before

u. ins.

The is

1WJ

first

bef.

of these Bpeeclies

rehd by U.K. thus

IT:.

^^r

om.

G.

IT.-.

B.P.U.snj

U.ins.

W

B.P.om.

.

G.K. P. ins. 3TrfT before W$\. U K. om. ^fRT. 5. B.P.Tm for WW. K fT5T-

4.

ni before

:

&c.

5T*T

B.

6. 7.

and by B.

tlnis

:.

:

y,

,

But A. G. and Kaiavema omit them. A.N.N*.

1.

q,

TW, and

B.

J A.N.N>.B.^-

^fFT. U.K. Tfcr&. 2.

G.W:

W^

&o.

and

not repeat *"^Cf. B. ^;.

P.

N.N.-.B.P.

J?r"rg::.

Una speech of KanG.P.Wrf. A.WirflT. B. om. >T^%. P/TfarwfiT for U.oin.

.cliulcl.

ins.

after *T.

8.

for

B. ora. ^. A.

and

9.

does

P.ffTKf^W. U.

reads the

whole speech thus:


?|

:

i

q-: .

<> if

i|

i

10

?

r

G.KJfrH^f^ for we read with A.N.

5.

and f,

\vliich

for f^ for T.

A

6.

,

and

for 1-2.

P. inserts

and

(?), ,

before

G.K.P.WW. U. om.

8.

9.

altogether. G.K. insert

^f

and

U.

TOfr?f before T^W. P. omits

for

the whole stage-direction.

T.

N B.

A.N.N2.U.B.WPT

11.

B.r?ruv7

.

rff,

for .

10.

and om.

,

om

^T.

and

for ,

for

for

and

TfWIr. N.Na.^Tt

U.HT

5

f

Jtf.

I

10 .

i

i

for

TO. B. om.

A. 8?fr

1.

4.

^PJT^TO^ rt^rfr

r-

before G.K.B. insert and N.Nz. read ,

:

for

TT.

5.

or 6.

G.K.

.

B.flff^f. So

P.

K. but correct-

ed into 8.


T[6f

T

before

U.

jfr

We

9.

N.

10.

P.U.B.>?^

11.

G.^J.

U.

for T6T.

K.P. om.

with P.

G. B.P.

?T3:.

f.

t.

for

for

N.N2.

om. T'T

1ST.

^. for

iro

*nrnr

.

\

I

G. ft

1.

B.P.

for

P4;

3.

fifrft.

fro^

r?3T.

U.

for

G.K.B. ^ar, A. P.ST?rf, and N.Na. *f^T. for ltf^3T. A. ins. TOiTWtf, N.N-2. TfTfrTW, and G. K. B. P. flff^TW, after ar^sT^T. AVe omit tlie word with

.

G. Rff^ff. N.Na.

Rafter

4.

A.N.Na.U.rT%^

and Eanganatba. B.*Kf, and P. Rf, for W. G.A. ^F-

for

.

^

?3T%TW

U.

.

*l

K. for

rK. .

U.

and P.T*SfJ, for

A.N.N2. read

P.

A.

om.

ar?T,

G.

3"11!

before

&c. A.N.N2.

for

.

.

A.

8T5f.

for

A.N.jSTi.

5f.

6-7.

PrtRpfr.

A.N.Ns.5T

for r.

IT.

ff^. B.

B.^fcf.

.

TfK.

2.

K. om.

Tt(^.

G.

.

f.

P.

p.

.

.

.

.

G.

N. A.

'ft

1


?R

fir

G. K. om. the stage-direc-

1.

tion

U.w

^r^-iTff.

for

G.

2. G.riRfTrr^r. K.^rfrTfifr^r.

K. om. v^r.

NT5T.

G.K.

ins. 3f after

for

N.N2-

7.

^

%

f

prrr^

for

IJT-

A. K.N2.B.if^reft. U. .

3.

U.Tr7

r.

r^-.

A-N.N^.P.

B.

5ff-

.

A.

.

A.G. pr^fTf? G.

.?
.

^^f. N.N

3 .

^W. P.B.K.^^df.A.N. r.

TJ-om.

.

P.arJ3, and N.N-j. 5.

G.P. do not repeat 33:.

8.

U. om.

9.

A.N.^.K.

sfrr=ff3

B.3lnT P. oin.

3ff.

P.^qjv-f

.

A.N.

.

.

u.t-

rnsrr

|

L 6

\\

II

ll

10

.

p.

the

^^^(szc). 3.

U.^RT R:F^T:.

4.

U. om. stage-direction

11. g-

N.Ni

N.Na. om.^T. U. has simply

TO?RI

for the

whole stage-

direction.K.G.B.omit TW.

.

7.

A.N.N2.U.

9.

G.K.omit ,

into a

speech. G.K.a-frsroft for SSTT^.A.

*ff^& 6.

stage-direction

,

5TR".

and P. ^?Rff, for

N.N2. read

and U.T?tfl, for

*{

for

^Tf-

13.

G. P. have

10.

for

(f.

^Him and om.

f

changing

iT

,

K.fl'fr(irf?.

before for

TW

G.K-U. &c. A.

ins.

5

A I


js

u.t

r.

omitting .

K.

for ^f. G.

K.

B. ^JTTfT, and for ^5f ^rf rrWr.

.

.

G.

for ^??. for f?.

K. ^Nifrfr. 3.

G.^r^rjjt ^T^hPT^. K.

4.

afsft.

G.K.om.tfr. tJ.Hf

^^t.

tlie

word 3T^W B T.

^wre^r.

"
U.om.

A.wC. U.om.

5". A.B.P.^Tlff.

P. rfr ffr ifr. 5-6.

U

A. inserts after

om.

^ET

^r

TJ.*T*f?. r,

and

P

N.Na.RTW. U.TK^^^f.

B.om.

Jflft

and has R-

for

.N.N2 give the speech ^rrwfr TFthus: ^f .

w

&c.

*pmwrf

(sic)

for

Tr3r.

B.K.G.in-

er

rr.

I

sf sff Jrgr^fr

I

10 TIC Pr

I

-

sert

K.A.U.P.

U.arssr, for 8?IT.

J^ before

U.om.TK^ft.

^art for

and

for

ins.

TTrft.

B.

c

TTrit,

bef. ^ffT.

*ff

P.

for J^r.

A.N.N2.U.

2.

B.P.

3.

N.N-2.

u. for 4.

A.srr^r.

G.K.om.^|. 8.

IST-N2-

'Hf.

p.

N.Ne

twice.

fT^r.

K.om.J"TrWv and reads ,

B.^.

G.K.TRT.

^.Na.^f^B^r, and U.


6.

*m

for

G.^vTR^r^ f?f

9.

.^^T.

5.

B/T.

U.^x^.

N.Na.Cff.

repeat

U.?^WOT^^

N.m.om.T.

and B.*TW, forHT

A.N.Ns.-

7.

iT^RW^fr.

for in^y^Sl^.

G.K.N.N2. insert ^rwir before

M. A.W, and N.Na.

10.

for

G.

?TT

I

I

G.^J

unrepeated.

N.N2.B.P.ffr before

J.

^JT.

.

U.om. the stage-direc-

tion arafa^r

Wf. 3"o

3?-

|

f.

^

K.bas 3-oj and P. lias ^o 8?o4r f,

B.P. om.

HVT,

and

.

.

A.N.N-2. ins. R7 after

for ^qR^rw. tffaj,

and

31

B.

.

J

lf ,

and

G5f3T,

.N2.arnT, for

^rw.

2: For ^f>5Tf^, B. has

,

m

.

A.N.N2.

and

A.N.

.

assign the speech to ViduBhaka. 3.

Before

G.

ins. .

r^5Fff.

B.P. A. N.

for

w

[B.adds

P.B.

ir

4-6. turr.

as oftenjff. N.Ns.

B.

W

^^fr. for

A.arrcw before R.

.

G.

*r.

K.

A.

ins.

A.

or

i

l

I

*T<j*r*r

Irr?

1-3.

for

j

a

T^

U.^TR

4. fr

.

K. omits *f.

A.N.N2 for 9Tfi

ofnlr

if

r

[^^TIT or some

a^r

such word ^frj

^

l

left

JT^J

out?]

.

Wr-

N.N2. WT-

for

r5rf ifffa

r

after

7-8.

A.N.N2. om.

P. and for

J]

|

We

iff

ari

.

P.B.-B.P.ToT B.WlT^^f. B.ff^T-

.^fT

with

for a?sf.

^. B. ins.

Tff

before

*T-

om. 9.

T.

B.ar??T:.

after

.

N.

P.U.

Vs 1

fff.

ft

I

isn^JT^ I


3xm ^f^ |

nrj

10

i%

1.

N.Na.om. P

2. 3.

G.K.wrf. U.KU?T for

4.

N.N2.

^

8.

1

for

U.

&o.

.

irrlw

If*

^[TCW

I

it

reads

fC.

K.W^ff

U.

-5??rt

?Ifm=Tr,

A.l^:

A.wprr

A.^iW^

for 8TJ5rr.

I

^7

T4r or

]ST2.P.ertJTi^ before

has

iTflf. f*"

tlie

B.ffsrw

?[f|

$ft

&c. N.

J

&c.

^ffTTiT

be-

NfT

&o. N.Na. T^T?. U.

speech tlms:

W, and reads

fffPT

U. for

CrnrRr.

12.

fore

before flfar whicli

?r

11.

G.

If f

^T^rPT.

3-|sal nfrf

G. reads ^?T^
9.

W

^tfW. P. om.

om. P.

for ^f'^rrr.

for

G.K.^nT. U. 6. K.G.U.^. A.N.Na ff for ^f^ &o. After

5.

lias: 3*0

N.Nz.K.

^r^ff^R.

P.B.

WTt.

Hf f*

-'

I

:

ii

\\

10

J^lC. A.H^Jwr^ft. N.N2. 2.

&o.

for

^ir^T

PT

irfl^

up

to STr*rrf

.

(! fff.

U.

^m^.

B.P.^MJT^ for and TOl for TOf. 4. For rlrRr^:, G. K. have 3.

g rr

P.

RTrrFfW:. U. 5.

U

P.U.

G.f

A.^Tf,

and N.

Na.^T?, for 3?3R^r.

A.N.N2.

N.N2.

in fact

7-8

.

U^Jf^W.

read the speech thus:

A.

.

for

&c.

to 9.

10.

A.N.N2.^: before

.

P.

K.

.

thus omitting

,

A.N.Na. om. ff

.

G. om.

U-W

1.

for

ff

after

W.

B.Hf for

T.

2. U.SRTJTflT

i

For

fTSTfOT^r.

G.K.

4.

for

aveBf. A.N.N2. for

Hf for

om.

W.

U.^RT

*reflf. ,

R3Tf

3TJT

.

B.

and

TfiT

P.Sf'?!

for

f,

B.K.w

r.

W

H
B.P.^fT^

freTr7.

^T K3T-

HfT^afr

5RT

G.B. read the

7.

N.N2. ^ffr. U.

after

B.


P. insert ^^ffr, and A.frtf-

Tf

=?

after

7^. U. om. fi5nRTff

fl^T

for ^r.

.

.

5ff-

A.

N.N2 .r>5iTJrfor

fr

for

JT*

^TW

B. adds

after

A.

5. .

G.

U. before

.

3.

B.P.

6. .

G

A.B.K.

N.Na.^lt for for

arefr

5

gn^ft

K.om. K. om. U. *r3-T, B. and K.^K^T ff7, for

1-2.

'fff.

G.

ins.

after ^of-

*T

|

and B.

.rT^rr^, ,

For ^FT^fT, G.K. have ff WF?f. After the stage-direc tion U. adds U5ff

3.

1

6

for

T, and B.

om.

P. RPTl r3:,

into after Tf

for

?ir,

then

it

goes on, ^TWRfflT &c. rr3r,

for

For flOTTO^ G. K.

4.

corrected

U. has *ffj B.P. om. W. A. which U. altoge-

T.

%

^

For SpnsWTr ^^i^s^r. A.U.B.P.K.

5.

liave

ther omits. B.
and G. tf%fr, for ^*ff. U. reads
P. ins.

7.

U.r^r

for

read

ff after

G.N.N2.

W

with

CT:,

G.A.

-Ira

$

TOT

HI

I

ft

1-2.

.

,

for .

.

G om.

^'JH^fr. B. K. ins. IrT after

Katavema

this

as regards

speech. 3-4. B.Rif.

N.

G.fr?rtorrar.

U.

After 6J^7 A. differs

with G-considerably;

on

T-

and K.F^>ir,

it

goes

:

flT? &c.

and altogether omits N- reads the whole

.

A.B.

N.

epeech thus: |

the latter

being

evidently

a

marginal gloss copied into for

P.

the text. P. reads

&o.

after

vsfr

G.K. 6.

G.K.

5f f.

.

We with G.

K.

K. and

6,

G

ins.

before

*T3TR?qi5irlfe
11

1

fir

10

:.

l.

U.TT:, and P.T:, for

2.

9-10.

P.B.^ntfa

3.

K.

ft

U. *Tf

&c.

G.K. and U. insert

follows ^:

J

:

^(5fr,

after

ply afRn-W N-2.

G.K.

ofl^q-

|

5CRIT.

AVe omit

B.P.N.

^JT

q^

.

A.B.

U.W^M?Ttf

A.Wf?^ corrected from some reading which it is difficult to make out. N-Na.

5T.

B. clearly 8.

ag I".

|

oin.

after ^fT 6.

*ti

G.K.

*9f TfirrTiTJ and A.N.Ns. sim.

the additions with

4.

ins.

before ^f^T. K.^RJ^.

tft.

11-12.

U.

^:

and om.

G.K.^frT for wf :. U. om,

^

10

:

and

lias

N2. om. from 8T?f

:

:

B. om. 1.

G.l

2.

A.

i

for

and read padas 2, and 0/ce versa.

:

v-

oin.

U. after the

U5ff.

stage-direction

King's

gives

the

3 speech thus: Trff

up

to ?^

2, 3, as

:

,

1,

5fR: for 9.

B.fT^R'T before *Jt%. N. and U.^^i^f

N-j.TqiT.

J

om. ^5":

and goes on

omiting

:

-

c.

10.

B.ir^Cr rrfrr.

Urvas'i's

speech P.B. om. stagedirection. N.Na. ora.'S'^. G.

U.

K.B. insert fT

which

r,

K wrcr.

and T
after ^TW:. P. 11.

3.

O.K. om. ftsJm. A.B.Wf. for amfr. K.TKtr.

K.^ 4.

P.om.

zf:.

G.^T^f^T:, N.

12.

reads it

U.W^

assigns to IPCf:.

G.r^w. Kfrafor >..

A.

and N.^.^T^^rf, for

U. also repeats

f m. ^rrr.

I

I

!T

for

10

I

rr-

:,

f5, Avhich N.Na. altogether omit. U. also om. the stage-

r

direction wholly. for rrf4.

U. wrongly

^Ts'J.

-.

WT

for

and omits ^W.

B.P.

K.omits this and

the following three lines. BT* TTg^JT. P.(t2CV, omit-

8.

ting 2. 9.

3.

4-5.

&c. up to ^iff STfccT.

for

K.U.^fr^^

1?Tfl.

P.^JTW. For

10.

P.ora.

^, G.K.simply f f JTRLW^^. K.U. om.TO. JTT^.

G.'N.^. and om. T:

for

3^^ ^OT: ^rj:.

a?if3W

f^. For A.^f lines 9 and 10 N.N^.B.have simply 3*ir ^T4 ^qflr^rF^. p.om. *H"

(sfc),

A.B.^tff^fS T^:,

U.ora,

A.oin.^K^^

.

U.W

for

U. after the stagedirection and before the

sfT^ff.

King's speech ,adds T

|

:

wft :

i

i

eg .

us

I

f q-

>

*re<>in(

I

10

2.

A.G.N.N2.IOTR

,

and B.P.

*T'^R, for ^TT. K.om. this and the following speech. .

.

p. T5^.

3.

P.adds

.

A.N.

N.N2.G.K.B.

?Tff?r

for

W.

after


4-6.

N.N-2 .^rf j iTRff ? r^r^ -

.t,

and P.STJR, for

rm5, and both B. and P. om.WTf. G.K.om.*TTTrt. K.

B.

A.

Wfrt. U.om.

stage-

direction and reads

FfT?]

? 8. 9-

10.

for

fl narrfr aTrfli.

rf?rc.

P.^^"

^^

&c.

^ ftrcfa

$T^fir fM^r-'

rar

5 -cf

mmftrarr O.K.

B.fTrT:

5.

2-3.

P.A.N.N2. JTR^TO^:, and ifff^r^^W: (sic), for

4.

for

^

i

the whole stage-direction. A.N.N-2.^ for ^. P.N.N2 .

for

P.B.T^ftT

.

P.A.N.

and read

6.

.^^p?]5?

for

In

fact N.

speech

A.B.P.

and Na. give the

insert

before

thus:.

B. has

7.

^

after

N2. assign this

s A.N.

1**,

speech to

the King. 8. P.sifr for ftr^r.

^. thus omitting all ^I't'T in 1. 2 up T?f

in

1.

7.

from

P.^Tt^T. P.B.A.N.N2. before 5TU K. rlw. G.K. ins. 3^^Tf?5rf^r insert *TC7

B.om. :

after f^R:.

for

9.

U w4.

A.TOTT.

p.

N.N8.K.WRf. A.N.N2.

in-

sert

JTfr^r

U.^^T.

after HTf?ff.

G,B,

rf.

i

\\\\\\

10

.

G.

G.^m^fTT: for

7.

T^r.

U.^S: P.B.

3.

U.^fi^for I'WOT^.

3.

U.^STT-r for

4.

Q.K.iroWK4r]^ and N.

for

for iftr:.

N.N2.

8.

for

U.^

9.

10.

for

W.

A.N.N2.?H'naT%, and G.

P.B.W-

,

fr. .

5.

We with K.U.-

and

6.

For^T(5f:, G. reads JTSKTST:.

IT.

puts the greeting after

12.

K.^vTfff

?Tf,

13.

P

for

U.^fR'T'', for ^f,

and N.Nz.

1.

been

G.ar^tfftf.

G.K.fi^rw

2-3.

om.

Tc

W

for

a^:

of

with the

P.

that

G.

by the Mss.=B.P. assign from JTK up to *?f*T^!ft P. om. f^RiT. to ^Wf. For 5ffJTr?r, G. K. have ?. K.

before

31 before for 2=TOT.

confounded

easily

U.

K.W befor

last

syllable

word and thus omitted

U. for B. 7

K.

)

insert

:

5Tf

G.

T^^IT.

for ^T

has

&c.

U. om.

after

J

T

N.1S 2 ^RT. B.^ 4-5.

B.G.K. insert

^ffROTt.

f

^

A. inserts

before before

7W. K.G.^Rr^qr. N.N-2. ins. 'ff before W, and make the speech a part of the

pre-

7.

U. assigns this speech to King and reads faff H-

the

rT^fr?rr:

&c.

in

P.rrff

ceding speech of

SPWff 3T^ Have not we

to

after ^rfKfr? It

might have

for

f

read

fiflft

W-WTf-

nd puts the stanza the

^TT-

mouth of

OT. A.N.Na.T*

iT^sTa. iJ.B.

fr

if after

have

T

.

)

i

10

srfr

(I

:

(|

reads the benediction

1.

(

2.

1

3.

G.K.

&c., ins. ^T^ after

^*T

G.

f^

N.N2. read the speech

*T^f. tlins

:

iJ^iT^Tiffflf

^T .

Jffiqf.

B.ins.

Tf

after

U. simply reads *R^.^t'T^r for

^ and

words ^T.

B.

for

ftxisrw,

(sic)

for

for

omitting the P.K. om. .

I

P.

T^

ST^ :

J^^rffT for

3T?T:

G.K. om. the words

6.

the whole for

speech. 4. 8. .

K.

U.HT

for vft

5.

For ^

iTJTfRx for

G. reads

=TriT.

P.

OT. U. reads

the speech tlms: 5f?f:

^T^

and then

^Tnf

for

After this stanza

^?f.

U.K.add

:

APPENDIX

I.

Act IV.

WITH THE ADDITIONAL PASSAGES AS READ BY TWO

n I

]

\

11

ffi:

r n

^

n ]

m

J.

U. 7T^. 6fl I

itfT is

the

reading of both K. aud U. u.

2.

U.

.

K.

f. 3.

MSS.

U.oni.

and reads

\o\A

5

f^r.

I

fa^.

|

:

^

prof f^rcw

ft

I

35

?rlr

:.

On ^TrfeRtw,

IT.

the following marginal note

lias

.

gn

K.

lias

in the

mar-

:

:

:

I

U. om.

APPENDIX

fe *im

^|c^

i

.

swft

jit

mfMfcr

I.

^3

i

i

i

|

^i^^ ^v

:

13

*^

iFRn*:

I

w.

irr ara^rso

i


r^T.

I

Sft^t

nrm

I

^T^

I

^TTO

^TO^T^H

^r^ir

fwrcwt

1% i

10

ii

\

ii

j -

I

3T*T

* K. omits the stage-direction *F&1\ B &c. Tft the whole Prakrit stanza

^

^mn^r

together with

$

APPENDIX

w.

I

I.

6T%
*r

ii

|

i

]

r TT

sir:

11.

for

K.

12. U,

om

ii

]

fa

I

i

***$

I

ssr

n

10

^

u

u ]

is

Rt

faforar]

f

i

3.

4. 11.

K.U. U. U.

rprRr

12.

for

U.

[

wwr

u

.

U.

^

it

At

APPENDIX

im

firofar:

I.

fairer

^

.-**?

:


irr Pr^Rr

*w%

i

v

n

:

11

snr PT^T q

\\

11

]

10

n

i

4.

For

]

]

tlie first

K. Las

pfida

.

Kangauatha actually for

reads

where the omission of


apparently accidental, the words ^nfa appear to stand

is

for

^Rfr and

Tf<

;

I^r

for

form

m

The

or ^fafsr (the f^T representing the anusvara 3>il*

elongated on the T ) appears to be the accusative singu-

15

:

i

n

\\

few*

u

ai

ff

v

|

]

10

HI

15

:

j.-f^r^r :

W

OT. Tlie reading read *TC by Lenz and the Calcutta prints appears to owe its origin to- a wrong lar of

emendation of 3?H^ Tf3T).

-U.

U. reads

^^^.

(

3TTT

for

G.

U.

or


3vf-

II

u

rlt &c-K.rT3T.

U. ^8T5C7l7. U.

K. 7.

for

*f

which

read

with

K.

8.

from

^'rt

up

U.

?ff

to

we

K. om.

APPENDIX

I.

[ v*

i

I

jrsr

it

5 TO

ftrcfr

i

i

[

^ft^ 10

i

u

V

15

II

?rf 10.

O

U.K. R^[K.<]JT 11. U. *FltT.

W.

K. om.

?*T,

.

K.IT-

with Eanganatha. U.Jfl for

12. U.

which we read

r.

U.

ft

5irr

for

*

w.

WR [

i

10

*nr

15

13.

U. forthe2ndpada:

f^roof liT?T?^

^'
from

9.

U. TO^fTw

U. f^?^.

to ^f^Tf as

.

U. ^*prf.

U. considers the verses ^*flr

11.

U. writ. 10. K. wrongly om.

up and what follows

We with Lenz.

12.

as a separate one. 14. U. PT-

wrongly reads

*TfT

full stanza

K.

one

JR?

for the fourth pada. TJ. ^5T-

1.

K.U. U.has 8.

U.

;

we with Lenz. after

F^^rr

for ^r^^^r.

(see footnote on

1.

Both K.

7 atp. 11

and U. omit the words

1.)

W>

APPENDIX

I.

*r S

\\\<\\\

fffagfosrr

ftm

sroij

I

10

I

i

]

I

7.

After

has

.

|

which the other Mss. read before Wt ^fR^ff &c. (see p. 1 1 l.)But after J^ffa and before the words aT^T^K ^T^": in

1.

7 U- inserts the follow-

ing, viz

.

K

If

qWT

f. U. has for 5^1 read by the other Mss.

(see p. 112,

1.

14)

|

*

I

11

11

\t

n

fffir

IR ^

H ]

15

\\\\\\

20

.*

I

after

4. U. adds

6.

HrT^r. U.

K. wrovgly

APPENDIX

:

I

I.

w^* I

fsrn^r-

i

10

[

r

1

5

20

:

nnt

i

iRr for rfsrcarar. 12.

tlia.

d

for .

^fe^^.

We

20. U.*T<*.

with Bangana-

8.

U. ^T TC WI^TT, and K.^T &c. After '3JRJ^ U. reads J

Pror wr:

n : i

i

T3F?K K^-^r I

i

]

10

n

15

f

.

U.

for

r

\

n

]

|

9.

U.

1.

U. after
adds:

3^r

bef.

c. .

13.

14.

U.T
16.

U.

.

14.

K

.

Neither K, norlJ. has be-

APPENDIX

r

3TT

I

[

*

I.

jTSTT

fi^fr^i ]

5RftoftOTP? r

incr^^rrinr v*

L

I

,

ii

10

fastar

]

I

H^J

15

f R^rsrr

: 1

rf:

I

WJ

I

fore

tbe

iftxf*

in the second line,

^ which

is

read by Lenz

and the Calcutta TJ.ircp for 9.

r^^

is

prints. 15.

3-fc
what Lenz and

the Calcutta prints as well

as our read.

own Mss. U. and K. But

does

not

the

metre require the f to be

long? usual

Wfrfwr would mean ^"KTOTSW.

as 11.

II

l

88

It

]

10

HUT

15

i

:

1.

U. has

W,

T*$, andK.ff ^r ?C TI^T which we

for

read with .

,

Bollensen.

2. K.5j(oyr^rt. 3.

K.*

|

.

4.

u.far.

14.

U.

ns.

^R

U.

after

U.

if^r'T^

and omits

and the following

etPgc-directioii.

APPENDIX

I.

v

SRrgr u

sper wer

u]

^5 enr

it

H ^

I)

10

II

K

:

3.

U.'wfOT u.TRrjrsr. 4.U. K. TOI^C. K.SJFT. .


TJ.^w* u.

for

f*pfr?:

IfR 8flr^^'.

5g?. .

and the Calcutta

that

we

with

ftpfrwith Lenz

prints, ex-

ftraerc.

read the ? in

Ranganatha. 12.

K.^ra. 11.

K.

We

cept

15

II

for .

U.

Jf^

RT9m.

U. ^%fattrmwf for

.

K. 13.

?r^ 7ft-

30

1

5

\\

4.

U.

W

line.

ins.

It read at first

H^-

K. read TW 3?, but the metre

3*JT*TWT^T and then seems to have corrected it into *HI

requires the fa to be long. U.

^TfffWT. U. reads the line

*r

before

^nr*T. o U.

13.

K. j

^*fr. 14.

^r. K. W3?. 15.

K.

&c. 10. U.

**Tt

is

U.

16.

U.

r^^T

for

^e-

K.

somewhat uncer-

tain about

^

the end of this

T. 17. K.6(55^[5yaT. om. the line wholly. I

18.

K.

APPENDIX

I.

-

5

10

fi

15

-

I

srsr ar. 1 9.

8.

u.

From f

H. T

up

to

here om. by U-. and read after qfl^^RET? ^Trf^7. (1.

12)

1: at p.

is

122A,

U.

1.

1,

below.

Rf

IS.

&c.

K. omits the word

:

||

<m%?r.

a

^

11

10

q?

wwnrftr

15

9.

U. om.

K. 10.

K.

H*.

U.

11.

12.

K. K. U.

.

U.

for

APPENDIX

I.

10

ii

^

|

^

II

ire i sirrmir ]

.*

I

II

n^PT

9.

U.

11.

K.

12.

Both K.

.

K.

c

wliick

with Lenz. K.

5T?i?*fr.

aucl

*T? for ttflT,

U. have

we

read

\\

10 Pf

\

11

APPENDIX

I.

ff^rr

10

rfar <Ti1

15

cTI

9.

10.

U. RTfrT. K. U. 5f? fffl^rq-r

*

11.

fr

K. Fr[odrreoted into JiTtf for fW'fl which

we

read for

the

metre.

the

sake of

T]-

-'

I

:

II

ir

if?

n

^^

H

10

7-8.

U. omits lines

reads

the

last

7,

8 and of

speech Urvas'i (viz. 3JW*J &c.) as follows ffWJ 1KTJ JTrCf*Tf :

5T fl?

^Tf

&c. It will b

observed, however, that U-

reads on the following page after

1.

two speeches in two that it on this page. K5,

place of

omits reads

11,

the

7,

8

the other MSB.

along with

APPENDIX

fsRT H^tfr

*R*K

I

I.

^ *ro

1*53?

^oH

arer:3rcorfoi?r

ftrft

10

K. u.

6-7.

i

WT
for

U. tffr.-U.

-U.

U. ^R?ir ^^r. ^Tr

r

]

i

:

5

i

5

for

has already read them once before on the previous page

K.

? TfeH ^

g These two speeches

given here according to K., which it will be observed

(see footnote

"

are

on

11.

7, 8.)

10 Rr

TFT

APPENDIX

I.

i

I

'

r

5* I

i

^rr 5^ ^giTT

m ^n% Prj^5

Tism^wr

:

i

HFTORTO

Hr?fr

i

rTn^H

I

^

I

lo

io

|

8.

U.

9.

U.

I

10.

U.

]

NOTESP.

1.

This

1-4.

11.

the audience.

All

known works

tlie

with the

him,

which invokes Vishnu

single

bless

may

of Kalidasa open with a

of that

verse that invokes the blessing tation to

that S'iva

a benediction

is

god or contains a

exception

salu-

of the Setukavya,

That poem, however, was begun by King Pravarasena Avho might have had his in its

introduction.

own

reasons

for preferring the aid of

From

the

however, that

fact,

commencement of

Vishnu

to that of S'iva.

Kalidasa invariably invokes S'iva

would be wrong to infer His veneration for Vishnu appear* to have been even greater than that for S'iva. For his works abound with passages extolling the attributes of the former

at the

his works,

it

that he was a strict S'aiva.

god,

whom

head of the Hindu pantheIn language used by Vaishnava works he describes Vishnu

on.

he seems

to consider the

as the Deity of

whom

but

diiferent

so

many

hand, assigns

as are assigned to 'a,

the

other

gods

manifestations.

including S'iva are

See

Eaghuvains'a X.

The second Canto of the Kumdrasambhava, on the

16, 17 fgg.

other

all

to

Brahmadeva the same high

Vishnu

in the

attributes

tenth Canto of the Baghuvam-

which would show that Kalidasa was no more a S'aiva than

he was a Vaishnava or a worshipper of Brahmadeva. In one See Kumdrasambhava place he says all the Three are- one. VII. 44.

Construe

:

ffT

r

*W3 rl^^^TC^f 4

=3t UTS?

J literally means standing, not moving.

Hence

a post.

NOTES.

Immoveable came

an

be

to

Eternal.

:

It is in this latter sense that the

epithet

Sthariu because he always

Banganatha says

i.e.

in

'stands' in

^:*WK the

Some

of S'iva.

say the god

practising his

fl^Rf ^ irgt 5pf

Vedas both

as

word called

penances.

j

These are

Upanishads.

because they form an end of the

U^f

is

called

their

regards

with reference to the composition of the position chronologically Samhitas, the Brahmanas and the Aranyakas, and as regards the doctrines which they inculcate, which

essence of the contents of those

were supposed

On

works. "

Ran ganath a quotes

:

J^f ?

^5T:

re^^^^f^^T^ti^t^tlf^Cr^ :

51; f

after is,

he

q

T^r

JT^e^

;rrlrr3ir usizw.

who remained without

Cr-TtTf,

occupying the whole of the earth is

contain ifj^rfi

ft*j
I

him.

Jrfr

Conf. Purushasukta S'iva

?t^RffC5rr^^JT.

nighest conception of

God

all

i

i

\

space to occupy even

and

the

suffice to

(Rigveda X. 90)

being

identified

the attributes

of

That

heaven.

and the heaven do not

so great that the earth

be the

to

t-fl

1

fl

with

God are

gffi

the

applied

to him.

W

iflffTO="

^

R3T>

T*4r

K^f '

'Not signifying anything else/

qfft JTW JTrr^: "

not applied

to

Katavema.

any other god or

power.' '

who

restrain

the

five

winds beginning with mr.' The five winds are HfT, &TTR, ^JTf^, The last four are intended by the word Wtf in TIR and ^TR. mn^r*T:.

'3?-^^'-'

is

sought

in the

mind/

i.e. is

sought

by contemplation. '

:,

ewy

to

be

obtained by firm faith and

ACT " contemplation.'

KTO

iTRfrW

i.

WR ^

"

ff^jffjf scT^:

who

Ranganfitha,

says

ffWt gOT:

|

quotes as follows from

the Kaivalyopanishad on the accessibility of Sthatm by contempla" ^wfa^RSfar^fe. " He goes on tion ( Wtf) :

:

jrlr^r

|

'He whom

Translate: as the

Supreme

fifter filling

[the

^

sages] describe in the Vedantas

Spirit that remains

[without

the earth and the heaven

the word Is'vara literally true

;

he

(Ruler),

who

desirous of salvation

is

ff%3-Cr

;

space to

he with respect

having no other person sought within

occupy] to

whom

to denote, is

themselves

by means of restraining the

by

those

five

winds

commencing with prana may that Eternal One, easily obtainable through firm faith and contemplation, grant you salvation.' Ranganatha quotes a definition ofNandi from Matrigupta

i.e.

the

the benedictory stanza plot

of

the

as

and then

plot

to

the

referring

of

the .

fT

our

So

play.

the commentators

should contain

sf

I

to

in

Nandi too r

S iva iu

play.

it

is

the

I

an allusion to explained first

by

instance

Ranganatha observes

:

SOTEi

But Katavema

P.

1.

1.

f^R^T

7.

of

that the assistant

doing anything

On

the

better

is

:

soil.

armwrriT.

the

manager

The is to

of

siitnidhara

hibited called

now To

the

be

I

has

to

The

dfd

to

dance by a

mdduvaru

dramatic

only

and

in

correct etymo-

be derived from

class

of

Canarese,

performances

purposes the

:

a thread, and dhdra,

from sutra,

The name appears

and

all intents

were befora

of dolls

and made gombi

it

and paper-figures called in gombi dtd in Canarese, which are

of an exhibitor Siarfrff ^f|r-qf

as

Ranganatha


bolder or puller.

come

See our note on Ragltuvams'a XIV. 55.

else.

etymology

logy, however,

force of *Tra?Uiere is

that

Marathi still

ex-

itinerary persons

and that form even

of village populations. the dolls and

of

exhibitions

paper-figures are dramatic representations, only the speeches are

delivered by the thread-puller nnd his assistant, and the characters are represented

by

the dolls and figures

instead of by men.

The figures and dolls dance, they fight, they stand, they sleep, and do all that tilings of their kind can be made to do by men so as to suit the scenes that

may be intended

to be produced.

These exhibitions of dolls and paper figures must have preced-

And

ed dramatic performances. puller

(

it is

natural that their thread-

f[^"^C) should have afforded the name of a

a regular dramatic representation in which

manager of characters were re-

presented by men. P.

'

1. 1.

9.

JpfuPF*:,

plays,'

singular for

plural.

*

rally compositions which are Conf, Katavema :

represented

[on

the

Lite-

ACT. L P.

1.

IftflJ.

P.

Ranganatha reads frr*Wv

10.

1.

Tema with

for

us.

* .

'I

.infa^T*

2. 1.

will

therefore

aTrffWR=TnfR. Mis'ra

1.

on

bring

the

stage.'

simply an honorific

is

addition.

P.

n. 3-4.

2.

17 it srftf

imfrj

^

through your regard towards through your

"JTTfrj WPraiftttf

Katavema

says,

is tlie plot

of a drama.

p.

of

" and faWT*r

3CTtfjJ3%TNrririT,

this

play.'

ufawftj W?W."

Conf. Bfdtavilcdgnimitra,

"

22

^fr

Either

humble servants or

your

[us]

'

JTTRR^.

the excellent hero

for

respect

^w^f

r<m

^J

our Edition,

WT*J

p.

65

1.

1.

Katavema too has JT^^V^RwTK'Tr^ explaining flS^JJ^rWRf^

On p. 1.

*fow;!:

14.

1.

P.

use of ffcn

this

2.

11.

5,6.

g^T^^^ffr

T^

volved in

Tirf

^r

(work,

conf

opus)

Mdlavikdguimitra

:

^rrarTr^^r f^f^t ^'4 iK'rff ^fJTR:.

Ranganitha reads ^5TT TK^raT'^ TK^arv-r ff &c. and remarks on the change of number in-

TK^r*M and '

r,

^ff *T'

T^^Tffr as

follows

in the space of heaven'.

the surface of heaven,' as opposed to

T*ffa$,

:

Literally 'on

'on the surface of

the earth.' P.

2. 11. 7-8.

contained in in

Mara thi

is

Ti^SfrT^R"^.

^TT=f

iT^W'tff^: in

The 1.

I

WfT^r referred

It generally

called the Tifavi.

on the banks of rivers, tanks &c. and makes a noise,

and

is

to scare it

enough

ff

fRR^rqr OT. 3. 11. 1-4.

away with

J>

Bhdgavata Translate

X.

Adh. 90

The

goddess

sk. '

:

shrill cries.

thigh of the sage, the friend of Kara,

is,

what

is

found near water

shrill

and frequent

very timid, so that the slightest approach of

is

P.

is

to is that

This

frC F^iT.

4.

Conf. st.

danger

"

J^K

ff5nf<J

15.

born

from

tho

while returning after

attending on the Lord of Kailusa, taken prisoner on the road by

NOTES.

$

That

the enemies of the gods.

why

is

this cluster of Apsarases is

crying for protection.

=KWJ 5^f:

^WWT.

scil.

two hymns

are only

Tliere

which are

13)

in the Rigveda

attributed to

named

a Rishi

But

Nfiniyniia.

(viz.

Rishis.

VI. 12

and

named Nara

a Rishi

(Rigveda X. 90)

celebrated Purushasukta

the

Born of the thigh of the sage

Nara and Narayfma are two ancient

the friend of Nara'.

VI.

'

is

and

attributed to

Nara and Nara-

in later writings

yana are constantly mentioned together as 'Rishis,' as 'most eminent ancient Rishis' (Purfinavrishisattamau), as great asce'


even

and as

tics'( fHlflfy

'

gods' and

'

original gods'

(


and

Sometimes Narayan-i is represented as God and Nara as man among men. Subsequently Nara came to be identi-

).

the wisest fied

with Krishna, and in this con-

with Arjima and Narfiyana

nection the combination Nara-Narayana

is

well known.

Idols of

Nara-Narfiynna are not unknown.

from

of

Naruyana the ancient Rishi or mythical personage and not from that of Vishnu that Urvas'i was born. The Harivatus'a mentions the thigh-birth of Urvas'i It

is

and

(4601

the

^fCRTO HW?T

8812)

f*-53Tf

thigh

And ^HWIW

|

but ^frj^^fi^TW. does not here

flJTff

^MRf

accordingly

See also p. 10,

mean

'

1.

|

faw

does

4 and

the wife of a god,' but

tftf] Zll

not mean, 11.

ilie

9,10.

female

of a god, a female god, a goddess. %55l*Hr?T

may

See p.

latter.

4,

^*Z\3 3iwr^. is

better as

it is

This,

text,

it

1.

mean fa?

or

ffc

But

here

it is

the

5.

Perhaps

the

other

reading which has

certainly easier.

that

you

see entering on the stnge.

^rTORf^rm-Tf^JT. What the 3TO7FT was and was performed and why, does not appear from the con-

P. 3.

liow

either

1.

But

11.

it is

certain

it

meant attendance

on, service.

Part

of

ACT

i.

a Brahman's evening prayer or Sandhyopasana is c which consists of reciting the first ten couplets of the fifth

hymn

fe 5

f?3T(

ad

VW

IT

twenty-

Book of the Kigveda begining with WIf q-^-T srw ffRWfa Slff Sri*. See Veddrtliayatna,

of the

first

I

loc.

The reason why

king mentions his name and

the

the

fact

on his way back from the sun is that he wishes to inthe His name is a sufficient spire Apsarases with confidence. that he

is

guarantee that he

a friend

is

of the gods

having been to the sun to

fact of his

(

wait

HTOnf'fr

and the

)

that

upon

divinity

shows that he has the power of travelling in the air ( ^T^rTSf *M*Kcf ). The Apsarases are well aware who Pururavas is. his prowess (see p. 6,

They k^ow

of his chariot and

know who them

to

P.

its flag (p.

the ladies are

7,

1.

3

1.

8 &c. ).

hence the way he introduces himself

;

in their distress-

4.

1.

*T'TOTit.

Kanganatha explains this by Tfl^ But the word *TOT is used here in a

1.

and Katavema by rftf. somewhat more aggressive sense than T

'

as

and even the name

)

But the king does notyefc

'

'

insult

that of

mere

pride,' viz.

35 and our note

Conf. Raghuvams''a VIII.

outrage.

'

thereon.

P. 4. ticiple

P. 4.

Indra

2.

1.

^TOffT^aTTU'^: pf:.

The

and not a noun. 11.

3-7.

TTO5T[^

construction

is

frightened

[practised by any one].'

Tapas

'

Of

is 'austerity',

King of the gods

is

human being

degree of excellence in

one of the

celestial

great

of tapas

'religious it

pri-

produces

by supernatural powers.'

Indra

represented as becoming jealous

when-

religious merit accompanied

ever any

the

by the excellence

vation voluntarily undergone under the belief that

the

a past par"

Bhdve-Prayoga.

3f[freTKtfff ZW J?t=WT.

when he becomes

here

is

is

reported to

him

as

his practice of tapas,

damsels

to

tempt

(

approaching a high

and he then sends

ROTHTJ^)

the man, so

8

NOTES.

as to

mar the

the austerities

effect of

idea being that a

man

by him, the becomes

practised

that attains perfection

of tapas

so powerful as to supersede Indra and usurp his throne. belief appears to have arisen from

This

the

mythe that Indra performed one hundred sacrifices and thereby became Indra, and that whoever succeeds in performing an equal number of sacriand

fices will

overthrow Indra

heaven.

This mythe of Indra having performed a hundred sa-

succeed

his

to

in

authority

and the belief connected therewith that whoever performs

crifices

a similar number will supersede Indra, arose originally from

misunderstanding of the epithet s'atakratu which applied to

was

frequently *

Indra in the Vedas.

of hundred wisdoms'

is

a

Though

it

only means possessed

in post-vedic times,

owing to its a to come sacrifice, singnify misinterpreted to mean one having and the mythe of Indra having who lias a hundred sacrifices,' See Veddrthayatna, note on invented. was then them performed it

'

Big.

I.

4. 8. '

l^rc^f

proud

^r*Tf*r?r
her

of

Rtffa

obscurer

the

beauty.'

orders back/ that one of two or

which orders hind owing account of

(

B

its

own '

8*?faf^rS
we

Tff?5Tft)

to their

who was

Mdlavilcdgnimitra p. 58

1.

Hence

it is

that

heaven through

demon

Kes'in.

itself

(

in a line

or remain be-

)

comes

forward

on.

whom See

5. is

in

the

the Apsarases the

sudden,'

came and took Urvas'i prisoner.

Hiranyapura

be situate

to

and

*TC
is

which

that

more things standing

seen [by us] all of a

MahdbMrata Vanaparva Adhs. believed

l

excellence.

did not see before he

fC^rorawfaTr.

means

the rest to go back

inferiority

Lakshmt who

of

IFT^ST: literally

a town

223

Asuras.

of the

and 173.

Hiranyapura

atmosphere and while

atmospheric

See is

not on earth.

on their way back from

space

were attacked by the

ACT *T6

'

5Crl ar,

(7

Tf

i.

by the demon

the

exist-

words 'EWNR'RI'T flt^ff^fftpif

But besides the authority of

^TW^F.

None of

Kes'in/

ing editions and reprints give the

all

our Mss.

we have

that

of the commentator Katavema for the reading. '

ARMF3$*f|;

'

with Chitralekha for another,'

together

with

Chitralekha.'

It will

Katavema

fJlff^r.

rj

the words

observed that

be

"

observes,

ifc

W3V

ilf^ are read

by

All the existonly two of our Mss. and those not the besting editions and reprints have inserted them. Katavema knows

nothing about them. P. 4.

1.

a'S

'

5Tf<-rT:,'

that

heightens the contempt of the terrogatory

King

this

It is

particle.

villain.*

The

addition

for the Asura.

of

H

TPT an in-

particle that appears to have

given rise to the reading of the Calcutta and European editions ^ftT fTf'TOJR *ffi: * 5TTW:
Monier Williams, and the Calcutta edition of 1830 published under the authority of the Committee of Public Instruction.)

None

of our Mss. omit

addition of

?H

5.

1.

1.

3

explains

that

the reading of the passage.

by the north-east.' Katavema explains, " 7

3J^TCr,

Bays Kanganatha.

P.

The

instead).

'

**ffl&

tion

*Tf*T

end, which we give on the authority of

much improves

six of our Mss.,

P.

(only one reads

?fT

the

at

flrfiTiTf":

why

t=T.

"jf^f

"

the north-east

Neither of the two commentators

is

chosen by the poet as the

direc-

from which the demon came. 5.

1.

it is

taken a

2.

easy

fa to

safety.

Then/

overtake

north-easterly

direction to look

vasTs

'

fl".

for

The King does not mean demon because of his having but that as it is known in what

the

route,

him, there need be no

anxiety about Ur-

NOTES.

10 P.

5.

3.

1.

^

flfttf

the descendant of the

Moon

vema, who reads with

3W

S:

only one

us, says

is

mentator and as

is

son

like

[said]

removed.'

Stafl^FW*!
and Pururavas was the son of Budha. the note thereon. See also infra p. 74

Our reading

That

degree

J'*:

Kataqf

T^ffC

the

son

q^

The

of Brahmadeva.

Budha was

the son of Atri.

Moon was

:

was the

Atri


tf

'

re-Wff.

rnrcfr

Moon

of the

See p. 160 11. 7-10, and 1. 8 and note ad loc.

supported by five of our Mss. and one com-

it is

a

more

difficult

reading

than that

of

*frftfaW*S adopted and followed by the European and Calcutta editions it is most probably the original reading.

Soma

originally

meant the drink or wine offered

their

to

by the early Aryas of India. It then came to signify the moon and it is in this latter sense that it is used here. How Soraa which meant a drink became a name of the moon is fully o-ods

our note on Baghuvams'a II. 73, which see. explained in ' But where will you await P. 5. 1. 4. ^ 2^*5 &c. P.

5.

6.

1.

TRfHHTC.

Construe with

^fT^.

me

'

?

'Drive the

horses fast towards the north-east.'

P. 5.

7.

1.

WWR

The use of

this

word

the relation of the speaker to the addressed to a

is

signifies

that

that of an elder-

young man though

in high autholy and respected person The profession of driving a chariot, like that of an atrity.

tendant ancient

dant

3^Cf) of a harem, was a very respectable one ia And both a chariot-driver and such an attenIndia. (

address a king

elders and

whom

they

not mere servants.

serve

To be

as

able

they

were his

to drive

a chariot

if

a fact that

spoken of as a

may great accomplishment when it is imagined what kind of roads understood be easily times. Even and what kind of chariots they had in ancient well

is

Krishna himself became the charioteer of his friend Arjuna. P.

5.

11.

8-9.

^3w,

K^rjt

I^FUffir

'even

the

son of

ACT '

Laving carried

^T^fK

of Vishnu.

the bearer

Vinata,

11

i.

as

to

serve

him and

The demon

i?qfr:.

who belong-

that as

Indra, the

The

of that deity.

Kes'in was a thief and that

stolen a girl belonging to to escape

!

one of the damsels of heaven

off

ed to Indra was an offender or enemy

means that

11

Icing

who had

one

too

Indra will not have power

enough was going after the asura in order was sure to aid him in overtaking

lie

latter

him. P.

5.

1.

W

10.

mfcT &c. Construe

:

tiirRSJPT

Tflf

]

Translate: 'By the wind [produced] through the [great] speed these heavy clouds pulverized [ by the wheels ] are flying before

by the wind produced through the great speed the revolution of the wheels is, as it were, producing an additional row of spokes in the intervals of the spokes by the

the chariot like dust

;

;

wind produced through the great speed the chowrie [though long

picture;

by the wind produced through the great speed the

banner-cloth

ween

the

is

standing

chariot

a very

must look

in a straight line bet-

[lengthwise]

point of the flagstaff and

The poet draws vas'

]

standing on the heads of the horses as motionless as in a

is

like

the

end of the chariot.

accurate picture

when

it

of

was driven

'

what Purtirafast.

In

the

place he says that the action of the wheels and of the horses hoofs reduced the heavy (and hard?) clouds through

first

which the chariot was passing '

WT

'

TRtftr JTrTftflrf

where the clouds fore

it

owing

is

we must remember

passing through the

lie) to dust

to its

(

and that

that the king

region

of the sky

this cloud-dust

flew be-

great speed; secondly, the action of the wheels

quick revolutions which they were making appearowing ed to make another series of spokes iu the intervals of the to the

NOTES.

12

spokes

',

heads of the horses as ornaments, fore liable to

wave from

which

it is

motionless as

figures of horses

bannercloth stood without a fold in

it,

tied

on the

long and

though

are,

side to side, as

were drawn on the heads of

to

which are

thirdly, tlie cliowries or streamers,

and

thereif

they

lastly,

the

straight between the

staff

;

attached and the rear-end of the chariot.

by us the reader will find on comparision with the older editions and reprints two important variaWe tions both based on the authority of the very best Mss. In the stanza

read

ma )

as read

^T^fft (with six Mss. and one commentator, viz. Kataveand ISSJiT ( with seven Mss. and the same com-

for ^"TOTr

mentator

)

for

Both the changes very much improve On the idea that the wind either

3?flV7.

the passage in our opinion. natural the

or

same

by the speed of a car and blowing

produced direction as

Bogliuvams'd

I.

the car

The reading

42.

the dust before

drives

T

IJTTff

read by

in see

it,

Bollensen,

Lenz and the Calcutta editions can only be taken with In that case there qrfrT

is

meant I'jiw^

wrong

either a tautology with

Wt

3T qrF'fl,

(and

there

^FWf^T:, if would also be

a

location of the action, for the clouds are reduced to dust

rather below the chariot than before it) or hardly at all if cyisTr

^WT

Wff meant

upwards, backwards, or sidewise

which he does not do in

as

IffcT

unless

this instance.

any

the ^T?fr

the

poet

Besides

meaning may bo

specifies

we cannot

gine that the King's chariot, which was being driven in

it

ima-

the re-

gion of the skies spread with clouds and not along the ground on the earth below, could have any dust or tT^:, so that there could

be no Cyrsfr on his path. (liniculties. What would

we pay any

^

refer to ?

regard to the rules

would be absurd. " ^:

he,

The reading *FW$ r

is

also beset with

WT

Certainly not to

of syntax.

To

Ranganatha was aware of the

^T*K*T

?

difficulties.

if

That Says

ACT

13

i.

"

A

.

however,

,

net of makeshifts

W

worth quoting.

is

!

1Ffr?*rrfT

|

wrf

[

Observe

:

^WC

that

we

horse, as

(wf

]

j

the singular

used

is

P.

6.

1.

5.

TOPir'f I

P.

6.

1.

7.

?R TTR

7T^

soil.

would indicate a

known

each

Ifl^ftT^JT.

'

May


the royal sage, you think, be

from our hearts?'

able to extract this dart [of anxiety] itself

for the plural,

Inust suppose, having a chamara on his head.

to the person questioned, but the

addition of

*?fT

by

which

simple question the answer to

is

makes

"Tf^

the question rather an expression of doubt than anything else.

The

answer

affirmative

as

questioned

This mood

is

Prakrit, in

it

*M. Marathi P. 6.

liero

1.

:

^

^ffTeTWf

8.

by making him but only

Asuras, races.

*TC

&o.

select

few princes

hero

ff*T*Tfl&jrJji,

the

army which becomes

head

the

to

potential. tlie

almost entirely lost in it.

Conf.

Guz

:

fi

3>?

The poets do not honor every

the gods

a

the

ff&T.

in their fight against the

of the solar and lunar

of the S'dJcuntala so

As regards Pururavas himself 'at

it is

assist

Dushyanta the

gods.

^-^^,

future does duty for *~<'RJ

be as doubtful

and in the same form as in

Guzerathi, whereas

the

to

expected

entirely preserved,

Marathi, where the ft

is

the questioner.

to

is

assisted

see Act V. p. 158,

of his victorious army,'

victorious because of Pururavas

1.

the

4.

t. e.

of hig

becoming

its leader.

P.

7,

1.

3,

^[^^flT%^7

?

Svith the deer-flag spread out

stiff.'

KOTE3. intended

is

not

that a chariot goes

can

better design

than

cloth

^K *rf of

q-crfa

whom

deer

a

than

on

in

a deer.

^RTgsiff

the '

FTT(%OTf.

has

Kalidasa

s

chariot

but also

S'akuntala Act

&c.

where the poet

describes

WT^rft

as

flies

I.

To

full

indicate

no

in the air,

T

1

in sight

;

the speed

to

more

flying

is

T^Tf^iJ^rrlqfa

7,

refers

RW?

^?7

Somadatta

chariot

at

coming

mind be put on the banner-

See

lie

is

been achieved.

fast

only

ground.

His

that the

success

sign that

speed, a

show

to

in

*f

the

air

*Ti^Wr

*Tf

and of course

he will not return without achieving his end.' Kanganatha and says 8fa$*T: iiT^T ^StT 3"-

takes Somadatta as an adjective =rT:

|

fKTWSTrTJTPT

*f?fWPrr$r

P.

4, 5.

8. 11.

modest

to take to himself,

credit of

rescuing

success to the

mm

ftWTOTr

Urvas'i

moon

are deer.

^r^

fC

The King

:

is

too

though he very properly might, the from the demon, but attributes his

power of the Thunderer.

'

the notion of

referring to

jrffT,

Sanskrit poets that the spots on the

^WWT

rPT/ therefore.'

'

Literally

large eye.'

p. 19,

1.

Observe that the singular

8.

as ^rr*K^ in

P. 8.

2 p.

1.

that

6.

3-Wfasfcrarifcr,

SxdNjffi is

hard through

Conf. infra

here used for the dual

alive only because she is breath-

not the same

indicates

it

is

6. '

1.

ing out. this

long eye,' eye

as long as to reach very nearly the ear.

is

describe,

that, as the poets love to

as

^IKJ,

but

differs

the process of breathing out

fright, or extreme fatigue,

from

it

in

somewhat

breathing out which

would just make the heart palpitate. See 1. 10. Chitralekha means that Urvas'i is as motionless, cold and stiff as if she were and the only sign of

showing is that she is The reading ^rfl^^flVrif^fri^Tr found breathing out a little. in the existing editions is only countenanced by two of our Mss. dead,

not the best. necessary,

she

Katavema reads with

and

periphrastic.

life

ours appears

more

is

us.

However

poetical

easy

it

is nofc

and certainly

less

ACT <

P.

'tft^TW

8. 1. 8.

same way

the

in

P.

8.

irc*
[

9 5 10.

11.

f^

f

sfiSr

though

still,

existence

]

a

as tender as

of which

blow a flower

anxiety that she

throbbing long

it

may

from

is

the

ifilN-^,

ft'T^i?'^.

Urvas'i's heart

her heart continues

fragrant

The former

is

if

life,

to

chalky earth but yeilo|v in colour. similar yellow pigment.

body

its

King could have seen

a kind

have given

is

also

example

soft chalk,

It is

tilaka

on

the

the fore-

which they have forThe f?T^ '? ;T is a similar to

r

:

The sK^T^fJT of our passage besmeared over certain parts

cooling and scented

qualities.

the harichandana that was

rise to the

for

of white

mark the

and between the breasts of Urvas'i to

only, but

earths as

much used by widows who shave

is

and pass an ascetic

for

is

burst,

feited oil the death of their husbands.

is a

a

For

head instead of the kunkuma the right

of the

]

suffices

fright.

frightened.

of certain

somewhat fragrant and head

breeze

^cRfMf^Tf^Rf SK^-T^FF. Yellow and therefore called ^*tt. For the word

may

name

breasts.'

Hence the King's

pigment, perfumed chandana is not the name of the sandal tree used as

not

[tender] like [that of

stem, so

its

break under

is still

does

up the trembling [the

that as even a gentle

off a tree

it

(

by the yellow pigment-be-

'the stalk of which

,

so tender that

*fa?f

Lo, her heart

flower, give

indicated

is]

5,

1.

WTF:

T^,

:

throbbing up between the two

is

The poet means

flower/

'

Jjqaff.

)

50

p.

sR^T^

wfr^jft^r

(=^17


smearing that

to

*T

Construe

&c>

JT^fr

^f

[ *T

]

TfH^f

Conf> also SWfiT,

p. 4,

3.

1.

3K strengthens the sense in. Latin prefix ex (Conf. exasperate). Conf,

frightened.'

the

as

15

i.

emendation

is

How

the

besmeared on

a question that appears

f^RF^T ^tf^H^^Mr^rffRf

For all by the European and the Calcutta editions. our Mss. give the reading T^T itc^^T as given. S^Vff^BIWfi

ns read

by

us,

NOTES.

16

The poet in the first half of the stanza simply says that the tender heart of Urvas'l does not yet give up its trembling. The Becond half

intended to justify this assertion.

is

King, the trembling

For, says the

seen by the throbbing action of the yel-

is

low pigment between the interval of the

As the heart

breasts.

palpitated through fright, the yellow pigment showed a corres-

ponding motion. P.

9.

1.

1.

be frightened like a

to

liable

i.e.

K*T,

*TTgfl

mortal.

P. 9.

11.

4-7.--^fwfa&c. Construe

Translate

night that

is

left

being

by the

darkness on

the moon, or like the flame of a nocturnal

' :

Like the

the appearance of

fire

from

which the

smoke has mostly been removed, this fair-limbed one almost freed in her mind from her swoon appears [slowly] to regain

Gangu after her waters by the fall of her bank.* The words Jfffr JTflrffT like as the

her clearness [of senses]

have been soiled are to be taken with every the the

means

flame

nocturnal

Urvas'l

that

night slowly clears

is

darkness,

or

freed from all

up the

as its

line

of

and

and

fire,

slowly

be

to

referred to the night,

the Ganga.

regaining

after the rising

nocturnal

moon

flame

the

muddy by

regains the clearness of her waters conf.

below

p. 12.

sT(R"iT^, i.e.

the force of

fall

which

is

surrounded

the Ganges

of one of

only gradually.

by whose

her banks

On W?"*?

3.

*pWRF. '

sive participle. is

1.

that has just

brightly shining.

fire

smoke, nevertheless, appears

become

have

as the

has dispersed the

of

darkness and slowly to shine brightly, or as

waters

The poet

consciousness

That

made

its

Mark

appearance, not yet fully and the force of this present pas'

is

being

left,'

not 3*W

left.'

The same

ACT Katavema *Utffa Wife

Conf.

P.

STTSTR

:

9.

TOWTT

8-

1.

Gods, have

\

'

^|.

ifcCTTTFSPfr '

opponents of the thrice

thirty.'

the Gods taken collectively. The correct etymology of the

and not

the gods

See

thirty.

Kumdrasambhava triple

existence

are

P. 10.

1.

order

word

frUfW

standard,"

Urvas'i,

1.

qff?tr6rr

Jrft^.

a

name of

to

Mallinatha "

mean

the

8.

The poet puts question

(011

On

S5ir qfaTPT^rfWra. 1.

In

having a

the

question

name of Pururavas prominently

and Urvas'i asks

imagine who

is

of as thirty- three

31. 11.

I.

the

means 'the

perhaps doubtful.

is

generally spoken

Veddrthayatna

to bring the

literally

thrice thirty'

word

III. l) explains

or

The

5Tror conf. note to MdlaviJcdgnimitra p. 50,

in

Wl&i iffiTftft 6f
For the wretches, the enemies of the

been defeated.'

the Rigveda

^

<

T5rr:

:

17

i.

because she

before

cannot

have vanquished the asuras. Nor can she think that Indra could have done so as he had not seen her else could

and her friends carried away by the demon. But he might have known of the rape by virtue of his being a prablidvadarbelow s'in, seeing through his supernatural power.' See '

P. 78

1.

1.

Katavema, however, has

^

Tl^:^.

P. 10.

1.

This 3.

:

WFT

JttfF*4

sskt TOOTfrfr S

3'>$W:

doubtless chintyam.

is

33"[%t.

For had

it

king would never have been seen by her. Conf. Kfitaveina I

the

not been for the outrage,

^T^r^r^: inmrTOft

fl'^w^

i

'

*tt

18

NOTES. P. 10.

offlffi

1.

(

4.-

Construe 5ffi

:

of Leal tli before the

Act IV.

MdlaviJcdgnimitra

mwtfWr

Also p. 69

^KfWT

ifrcft

^

I

quite riglit that Urvas'i

thigh

of Narayana, but

should have forth

there

that felt

p. 4.

P. 10.

11.

illness

5 3TKPT

qfrRttjr

T

mfi

The king does not mean should

see

old

ascetic,

whom

^

&c.

that

it is

have been produced from the

what he says

thigh.

conf.

q;[3fs*r?;.

tTTSWTrrwt f SI

is

that she is really so

the Apsarases

all

as she

was brought

Conf. Kanganatha
supra note on

3.

7-10.

'In the creation of her

sTOf: &c. Translate:

was the moon of lovely brightness the pro-creator Madana himself that excels in the graces of love? the Month that

this sense

began)

qfar?

^T sjf.

was no wonder that

On HoWTC^T: 1.

1.

ashamed when they saw her

by Narayana's

||

p. 87.

Fram???:

[*RTf: ?FT] **TR

beautiful

On

UJ.'HW'T, 'completely recovered.'

tlie state

is

a treasure of flowers ?

made stupid by

[For]

the study of the

[or]

was

[or]

was

how

could

it it

an

Veda and from

had departed, have produced this beauty that enraptures the mind ? ^TF^W: must be taken with all desire

for pleasure

'

^?T

:

,

in the sense of

is Chaitra,

'

of loved beauty.'

the best part of spring. Conf.

The Month

Katavema

:

alluded to

ACT :

19

i.

J

I

^7

^

Hlff

3T'4

||

Katavema

it

will be observed takes ^TfVTfflKsR: in the sense of

'

study of the Veda.'

squalid by the

understand the epithet in that

Whether,

sense

or in

sense of 'stupid, deprived of intelligence,

Veda'

Veda

apparent that

is

it (i.e.

probably the learning

any more edifying

At

sent.

Vedic texts

are

as he

1.

the

numerous

the study of the

was not regarded

body than it is Brahmans who

afterwards

as

at pre-

spend

repeating the

with much intelligence or much

not credited are

spoken of as

contemptuously

speaks of Karayana.

King

P. 11.

rote)

by rote and

appreciation of beauty, and as the

by

mind or

to the

the present day the

their lives in learning

it

we

by the study of the

Kalidusa's time

in

however,

more apparent

its

2.-W*Tfrt This

commanded them (our

is

at^ffRtPWT. 'The king knows,

friends) not to be afraid/

We

must

understand that Chitralekha being less frightened than her friend 7 Urvas !, had heard the King when he cried aToffRWRTF?^ *T 7fJ

I

q^RRnf^frf p. 3,

11.

1.

P. 11.

11.

1.

iWT

3.

4-7.

*$T

Tr^TT,

8.

soil.

HZ^sm

Katavema

Banganatha.

On

wi:

wi?rt jft

urgfor

qftsrrasqr

ifi

\

(

see

11, 12.)

P. 11.

P. 11.

2*5^

accidentally.

:

fit

If^OTfr?

to be

the exact meaning of this

Kuvalaydnanda

:

SRfSR:.

\

%?$: Wl

&W

R^Tf

spoken by a

word

rfr

nobly born man.

conf. the following

from the

20

NOTES.

flf JT

'

what wonder

^=

<jwf= is

3

that the head of a

Moon with Soma,

P. 12.

11.

eclipsed

but right

is

;

for

owes

elephant

its

Moon

produces pearls.

It is

origin to the identification of the

the favourite drink, the ambrosia of the Gods.

!!?*Tr*T?lJWif

3,4.

notion that the

as prevalent in Sanskrit literature as

wfRR:

because the

viz*

tf'Sf:

is

great

T

^ff^a,

scil.

Moon when

The

^^WraTFJT^

being in

regarded as

is

is

high-caste

likely that the notion


it

fRRPp^WflW. The

TK*T^viz.

the source of ambrosia

s?ft

And

there that ambrosia should drop from the Moon?'

is

The people

distress.

therefore get on the top of a prominence in order to get a sight

of her as soon as she

show

spectators

P. 12.

5-8.3^

11.

of Urvas'i to

ward

freed

.

from the

and the

spot,

as they

by

anxious

shouts.

Chitralekha means to direct the attention

Rambha and

them

to

is

their gladness at her liberation

the other friends

were

who

are looking for-

Urvas'i, however,

approaching.

though she understands Chitralekha, nevertheless looks at the 11^1 ff ^^r? a speech that may apply King and says equally to the King and to her friends. This she does in order

WJ^

to attract Chitralekha's

In this she succeeds

King.

of looking at their asks

8Tfa

3ff

?

friends

'

the friends

P. 12.

11.

fers to the

}

to her feeling as

regards the

marks

that instead

looked at the

King, and

for Chitralekha

Urvas'i

a question indicating that she (Chitralekha) has be-

come aware of UrvasTs tfrfSHf

attention

9, 10.

',

state of

mind.

Urvas'i at last answers

meaning Eambha and the

frerfrcnfrfjtft.

moon accompanied by

In

others.

another place the poet re-

the Chilli constellation,

See

ACT ftagliuvams'a

I.

Both Chitra and Vis'akha, are constellations

46.

when

which appear near the moon

the

is

sky

bright

shine brightly, viz. during the months of April and

they

there is a

Possibly

which may that

so

21

i.

double meaning intended

mean accompanied by the

also

like the

Moon

the

shining Chitra.'

less

who

him Urvas'i

taking with

with

rising

May.

fWTT^f^ff*?,

constellation

Chiti-a" ;

'Here comes the Royal Sage

whole may mean,

the

in

and

is

accompanied by

Vis'akha which

Chitralekha",

is

accompanied by means a phase of the moon, a

oft^T

streak of light.

The

constellations

Chitra

and Vis'stkba supply two of the

modern names of the twelve months stellations

in Sanskrit, as other con-

These names may be The ancient names

of the others.

supply those

names of the months.

called the astrological

of the twelve months are the following and in their order, be-

ginning from chaitra Rtf^,

3^t,

?
S*,

H*

(

^

),

SfW,
WFT,

5TSfT,

37**T,

ing couplet of S'ripati in his fiatnnmdld 1

srf^rrq gtfppreSt P. 13.

1.

3.

CTO*?ftr

|

ef

JT^TfW

tf?:sf*?r

5Ti%, ^Wtf (or

embodied :

W

),

in the follow-

TTO^f Rf^TOIT^^

fm^nw'fra t

*tfpi

&c. 'you speak rightly; for the

5T^:

\\

demons

are difficult to defeat.' Suhnjanya

means that the demons are so

powerful that there is reason to

rejoice that the

king has re-

turned unhurt. P. 13.

1.

^T5Pt

6.

^Tf^fr.

'

Showing

that

he

(

the king

Observe that the stage-directions in Sanskrit jolted.' not for the characters but for the actors who represent

was

characters.

jolted

Thus we have

^T^rSTrfT

instead of ^rSHJTJJJJT.

^FTR^f

showing

f ?f &c. 'Ah,

this

as if he

)

are the

was

descent on a

has compensated ine,' viz. by bringing ( ) rugged bis shoulder in contact with the shoulder of Urvas'i. Bollensen's surface

is

frTff

the only one of the existing editions that correctly

passage with

us.

All the others wrongly read

read the

NOTES,

22 r. 13. 11. "

'

8, 9.

fWf^f

riage.'

to the

owing

^H-rSftTR,

Sl?%qr3FT

" f

of the car-

jolting

Translate

Kanganatha.

'

:

Be-

cause owing to the jolting of the carriage this [my] shoulder round middle, in such is touched by the shoulder of her of the a

manner

as to cause

Couf.

many young Katavema ^fo^rfc

[with the emotion.

sprouts of the tree of love.'

:

^W^m-JTSte: OWOTH WT ^F [ Wf 7 or TRfaff 7]

|

......
IRRTSJT^^m (

stand erect

hair to

my

of love] like so

he appears to have read differently the second pada)

^*:

eft

s

CrRls^

I

And

an adverb.

*fl*ff

|

so is

Sf^'r, which, however, The words

being a participle takes an instrumental of agency. *TJ[ft
JT^W^T

describes

refer to the conventional figure of

Love (Madana)

as a tree the seed

quoted before has called

it

)

its

place. See Mdlavikdgmmitra Act IV.

P. 14.

1.

3.

flfir?T

,

as

Katavema

is

flowers

it

speech which

^fcf

sown when the parsprouts wlieii they come in

of which

ties meet, which puts forth closer contact, and so on till

(

the

when

the union takes

St. 1.

because she came in violent contact with

the king through the jolting. P.

H.

'

1.

8.

vernal beauty.

*fifl'7n?fi

like

the beauty

The comparison

is

of the

season,'

t.

e.

that as before the arrival of

spring plants and creepers are leafless and floweiiess, arid there-

by appear faded but are clothed

in freshness

again at the re-

turn of that season, so the appearance of Urvas'i whose loss had distressed her friends will

now

be

rejoiced

at at

meeting

again.

P. 14.

1.

10.

KTPTf ..... 33T?. Conf. 6

"

Kanganatha

:

ft2

her

ACT P. 15.

no hope

3r

An

.

adverb.

f

!

'

%

*TR?f

TrPer.

For I bad

that.*

P. 15. long.'

WT

1.

1.

23

i.

4.

1.

OTS'TrC qfGWcff *

c

7'?T?

is literally

'

ftj. i.e.

may Your Majesty

hundred kalpas/ a 1000 yugas.

for a

lialpa

live

being

a fabulous period of time equal to P. 15.

lies

Indrapuri

f^T

^flf

5.

1.

TTOt

because Indra resides in the east and

fera",

As

in that quarter.

Siddhdnta-S'iromani, Bliuvanakos' a.

||

P. 15.

1.

7.

sTWfFT

It will

ffonTir.

be remembered

that tho

king and the Apsarases are on the Hemakuta. Chitraratha comes up where they were. Hence *TTU?K stetW^ P. 16.

1.

2.

The name

i^rr^X

of the

the protectors

rescue

the

are the husbands and

And hence

of the Apsarases.

that Chitraratha

the Gandhar-

King of

In later mythology the Gandharvas

vas.

it

is

probably

King was commissioned by Indra to The Gandharvas are also the guards of

their

nymphs.

Heaven, P. 16.

1.

6.

saluting or congratulating

times touching or

mode

X. 65. 5

P. 16. still

like

11.

;

f^

I.

events at Baroda were after they occurred.

in the songs

The

defines

Last year's not lon^

^T^rftTfT.

some such word

thus

Chfirnnas are

of the Chararws

and containing the it

BMgavata

singing eulogistic songs,

Conf. Raghuvams''a II. 12.

alliterations

For the Pratdpamdra

ancient

Conf. ^JncTfJi

Bhfirotyas or Bhats.

panegyric in verse beginning with

ornamented with

in

hand was such a

11. 22.

who go about

brother-caste the

mode of

qqqpTcfr:.

^rwwifR ;*rfamf gm.

a caste in Guzerath, their

by

the

friends met.

^JWTT^:.

also ibidem SJc.

7-11.

But

among the Hindus.

when two

of expressing joy

a

not at present

is

shaking or holding

TFfTraFfR^^ffKW: Sic.

This

f*?T *T5T?T:.

:

as

A

SRHf and

eight cases,

NOTES.

24?

P. 17.11. 1-2.

a?fig2T

Marutvftn because he

-^TT.

*re*ft=renr. Vedic poets

as the

Indra

called

is

say in their

is, hymns, accompanied by the Maruts certain gods, the gods of storms. The Maruts aid him according to the Vedic hymns in achieving

In later Sanskrit the powers of darkness. common name of the become any god, and is synonym JT^^has his exploits over

ous with ST. P. 17.

4-7.

11.

Ranganatha

?7?
:

TO: w^lwtBrwraiPWSi^iftil? RFFPST fr

Fwff (he appears

|

P. 17.

to read

VR\:
fg?^: sr^-r

^^ifWi

TO^^K:

*TgfoT: *$&

8.

1.

|

7&

I

)


T^W:

i

TWrrsFfoJ:

'For modesty

T^T: |

is

|

|

m^T-

the

ornament of valour.' P. 18.

1-3.

11.

JTfKWW

J?ff^W ^J

rlKffir

'to

Majesty's fame to the world presided over by the i.e.

Your

take

great Indra/

to return to heaven.

P. 18.

them

4.

1.

This

JTWt J^lsfaR.

him again

to see

not an

is

invitation

as the words, if literally rendered,

for

would

only a form equivalent to 'good bye.' It is both See p. 149 1. 2 and rude and ominous to say simply *T**W*.

show, but

is

note thereon. P. 18. obstacle

1.

6.

OT^FW^f ^Tfrar Urvas'i

to

taking a last and
up

(

=^(Wf )

is

'

3T*S% &c. to give

The poet

her

And

very delicate, Urvs'i shows

this

neck-lace reaching

on the large statues of gods in consisting of literally means

The word

scilicet mdld.

causes

an opportunity of

the king.

a long gold or pearl

to the feet, such as is seen

single links

|

parting glance of

the caves of Badami.

is

in order

'

as such a single-linked neck-lace

anxiety to extricate

it

from the

ACT Tn a figurative sense

brambles.

which there

speech in

I\ 19.

1.

1.

JHTfSTT

55 5Jt;zT^T

K*T

a-f

is

:

be observed Chitra-

It will

She means jokingly to in love with Pururavas. Kafavema

fallen

^w^w

1.

3.

7T

P. 19.

1.

4.

5RR^T ^Tr^RT,

The

TfrffK.

R-

P. 19.

tricate.

a figure of

tfRflW 'smilingly.'

say that Urvas'i

1

signifies

I

lekha says this

K?

eJcdvali

a congeries of single terms one running

Thus the Kuvalaijdnanda has

into another. r

is

25

i.

:

(

I

)^J?

TTfft 3*T*f soil.

not 'pretends to

'extricates'

direction is to the person

who

ex-

represented Chitra-

lekha, not to the character of Chitralekha.

P. 19.

11.

anrcf^T

6-9.

'

'

'

having

eyes.

large

large-eyed.'

This is one of those exLiterally 'whose eyes reach the ears.' aggerated expressions which abound in classical Sanskrit. Conf.

JWrRT, water

'

'having breasts

where however

as

all that is

breasted.' 3nr^^T does not

kumbha

large as a

meant

'

to

is

large-

mean 'looking back towards

the ear,'

signify

or ogling, but simply large-eyed, ^r^r^T. Conf. 'TOTHKf p.

On

this

stanza

of

pitcher

Katavema observes

:

*T3"

8.

1.

5.

Cr5f**T

H

P. 20.

1.

2.

fRSini^.

^chRTR^RT

^r?T5?TTr^iT,

'your missile

presided over by the god Vayu.' Probably a missile that was sent off with a mantra or incantation from the Veda addressed to the

god Vayu.

dressed as

simple

In post-Vedic prayers

to

times

charms and incantations, and were effect

under

verses

originally

the gods came to believed to

the powers of the deity to

ad-

be used as be of magic

which they

referred.

NOTES.

26 P. 20. (

*TiT

7.

1.

&c.

he apparently reads

P.

20.

8-11.

11.

Kaiavema

<W

JTWWflPTEFiTr,

middle region of her father, to the

referring

i.e-

the slcy

'into

hymns

np

'flying

the

(^STR

sun-god

these

being

mid-day

evening.

(

T^tf

1+\) and

the

first

horizon, second the ascending on at

is

rise

of the

the highest

part

only a

name

the

poeti-

or

sun on the

heaven

of

west in the

third t\iQ setting in the

Vishnu was originally

T^T,

For

traversing the universe in three strides

as

);

rj

the third region of Vishnu.

is

1

paces

into the

TTU1

sky.' PPT:,

of the Rigveda the sun or the

cally described

JR

JobrrWR^ST

of the sage Narayana with

identification

And

God Vishnu. in the

^

5

for

fR":

fTJ:

Tlr

:

of the

sun,

and

merely a figure of speech to speak of the firmament as Vishnu being being the middle stride or pace of the sun. subsequently elevated into an independent deity he naturally

it is

retained lie

the poetical

all

was only

a

concepts that belonged to

him when

form of the sun-god. Hence he came to be called is, three-paced,' an attribute which as we have '

Trivilcrama, that

already seen, belongs the

Then the

sun-god.

Narayana having been identified with Vishnu

and poetical concepts of the

all

ancient Kishi

the attributes

latter are assigned to

him. Hence

be spoken of as the middle pace (*T l-W ^^O of Urvas'i's father. See Veddrthayatna Mandala I. hymn 22

comes the sky

vers. 16-20

On

to

and notes ad.

the periphrastic

vams'a XIII.

loc.

name

Ffa:

T? '

I,

TfWT:

where, however,

fies the sky without the adjective gee our note ad!, loc. Srs^yrj-jT^

Conf. Katavema

:

W\

T^f C^rff

r?

|

U^W

v

-WT,


for sTr^rSTJT see Eagliu(

-= ff*fN

)

ISffl'

signi-

but with the adjective

ACT

27

ii.

ic

^ front

?

(?)

^r] ^riff

JT^W

flip?:

|

3\

^w

5*1%

wrfliR^r

This long quotation

is

^ w*r

I

intended by Katavema to show that conventional

our poet has followed the

drama

down by

laid

however,

be more

the

that

It

would,

the hard and fast rules

like ours than that the poets slavishly

laws arbitrarily laid

down

for their guidance

by

critics. '

this goddess.'

So the film

of composing a

authors on dramatic literature.

correct to say

were derived from plays followed the

rules

See note supra to too flies

USftRlf

from the stalk

up

of the waterlily.

intended to make the comparison

fit

p. 3.

1.

1.

into the air carrying the

The

epithet

*3fazwr^

by rendering the

stalk

is

of

the lily resemble the

Act T. 21. tally

11.

1-5.

s !

II.

m^ f$ reref ^fffr 5

i

(far,

'like a

Br&hman

to-

engrossed in the thought that he has received an invita-

NOTES.

28 to dinner.'

tion

Vidushaka means that the secret

which

the

king has entrusted to him threatens to burst out ( lit. he is going to burst with the secret) just as the fact of a Brahman

having received an invitation to dinner bursts out from him. Brahmans of the class to which Vidushaka belongs in fact all

Brahmans except such

as are not priests

by profession

lead a

dependence and generally live upon others. They will daily wait sometimes two or three hours after the usual life

of idle

any one invites them. And when there is no hope of any one calling them they then have their meal prepared at home and eat it late in the after-

hour of the

noon.

ineal is

Many men,

at

home

is

a

special

if

to the

leads

a feast

to

these generally

And when

and poorest kind.

the coarsest

invitation

acquisition of reli-

The food

such Brahmans.

an invitation such as

they receive .

of

to seo

it

thinking

gious merit, invite eat

passed

referred to in this passage

is

where the food

is

rich

and

a feast given for instance on the occasion of an annual plentiful,

the good

municate vited

ten

it

to others.

The

Br.ahmans

fifty

And

it is

the meal-time. the door

knows no bounds. They then cannot connews within themselves but must perforce com-

their joy

S'raddha, tain

result

that

where a man has

to his

(

feast

is

to

be

given

of houses

the doors

in-

door hours before

by no means a rare sight

of a house where a

from a very early hour

is

will flock

to see that is

closed

inhabited are

never shut usually in India as in Europe) and strongly watched to prevent the uninvited intruders battering it and forcing their entrance

as they often do

the

into

house,

where they

would be safe after once entering as it is thought impious to send away a Brahman without dinner when he comes into your house.

Katavema ^frTtSRl *TfUKWT :

fr Cr

HI

FTJ^mwsi ^f?r

m

:

u*K?<

rj

r

3*nfsaro[ffrr

ACT a?^

sfrc

gRtfire

^f^jrf

......

||

frfnt frf^-ffriKr: frfr

He

I

reads

it is

name

of a

it is

alrCpT

palace.

is

used

in

a substantive in the sense of 'crowd.

our passage as *

the

for our ItorTTfyspS'TitSK JTn3P?W ffHT. Whether

W

and observes JTT^'S C^ or ff*TFlW^",

29

ii.

'

'going about/ having walked about.' This means that Viddshaka moved about on the stage in order to show that ^farwf

'

he proceeded the

to the palace called f^TRf^lF,

spectators

were

to

imagine

that he

and when he stopped, has reached

it-

It

must not be inferred that the way from where Vidtishaka found himself in the crowd to that palace was a circuitous one ;

but the particle TK has reference to the necessarily small size of the stage on which he could only walk about to show that

he proceeded to the palace. P. 22.

11.

of the king of Kas'i.

WT 3TOPT

'by Her Majesty the daughter The Queen is meant of course. H^Tf^f

Iff? SCTfaUSTJ^riF

1-6.

%'ftar

1

iffffryrTr/

?W

fWT3TWl7 ^WT^TflT Manavaka.' 3*3 - 8Tr3rTO. ^Tf 5|

w ^i?^

'

'

p. 3.

1.

11.

from his dear friend the Brahman

'

Tr?^l^fr.

wretch of a Br&hman'; here in contempt

See note to

But how

shall I overreach that

trick the secret out of him.'

of Viddshaka.

^If'^is said

All Brahmans following what

occupations soever were not equally honoured even

in

ancient

times. TftJFWT

This

is

intended to show that she

is

looking

about

and searching for him. sTrfoftff

ffTO fTf

f.

e.

the picture of a monkey.

like a

monkey drawn

in a picture, like

So motionless.

'

f%rt ffhT^,' 'sitting silent owing to some cause or other.' f%fr does not mean See below p. 35. 1. 7 and our note ad. loc. '

somewhat,' because he was so perfectly silent and

quiet

as to

NOTES.

30

resemble a picture and not a living being. Of the word which the European and the Calcutta Editions all read after

no trace in Katavema nor in our eight Mss. except one not the best, and which may have had it inserted from one

f%ft there is

simile 9Trrl5rfff

3PTO r?*T ought of itthrow suspicions of spuriousness on the addition of that word, which may have been suggested by the words Ri'fT.

The

of the printed texts. self to

P. 23. 1

king,

form

3",

*UWTf^

3-5.

11.

*

secret of

^nSTCf^'that

the

which the king has communicated to me. Mark the formed from the more frequent forms of tff such as ^ &c.

analogy of neuter adjectives from masculine adjectives, instead of being derived or corrupted from rT^. This
on the

must have been pronounced originally as 3 the accus. sing, of and then simply 3 with a nasaliza*rf mas. before -C or tf or ?, origin of the Manithi neuter

tion, is the direct

of which out of the latter pronunciation

when we

instead of

3

^JfteWK;

much P. 21.

as to atteucL f*f

1.

Her Majesty

understood

easily 3\

in

as


Nipunika was not a mere

gff5T*T 3tft if^TTfrtf.

1.

the evolution

IP1!!

TPff.

but a servant girl whose duty as

is

our aid the Koukani neuter

to

call


it

was

to learn to sing

slave,

and dance

upon her mistress the Queen.

^tffr WltfT,

'

what are

the

commands of

may be

a request, the message of a rank is spoken of as a command. of The high person question What does Her Majesty say ?' In our own really means

Though

?'

it

'

day

we have

like

expressions

Honor commands subordinate

^TIT

1.

1.

|^?T

ef^f?r

%q

'

t

as

y 0ur

'

i.e.

says.

Correspondingly the words of a rank even when no request is

or of one of lower

meant but a simple statement of arja i.e. an humble petition: p. 18.

flrtf

35f 3f

ff aoj%f5.

instead

facts

is

always spoken of as an

f^T^ ^T^F ^. of 5TCC or

manner the presence of a great man

is

WK

( ).

Conf.

supra,

la a similar

expressed

by a high

ACT word winch means that of a

IfWf

TF

Si

it.

'shines brilliantly' (firntf,

KUt*

low man by a

word which means

OT

Ttf

caste, a

sweeper)

exist a

Bhangi

t

*rer

ifflf

'

there a Bliangi

Is

?

in this village or not

'

not ?'=

in this village or

dead

Guz.) while

'is dead'! (

E.g. an out-

Does

there

?'

vm't &G. None of our Mss. give the readm^ 5NF aT**f*fl *T*T SfR aT^rWT. ing of the existing editions l^f P. 24.

11.

4?

2, 3.

This use of the particle W3\ does not appear to be quite SansThen krit, certainly not to accord with the style of Kfilidasa. again nearly the same for

Katavema has

3t*3*sT(f.

^r(T

*r

may be

*?|TOftT'T

'

said of 3T9"5$I*TfT

WrY

Iff

flf^r* a^rWsfsr

which they read ^WTffi T

STff? %Tsf(

^

\

'

Her Majesty says you have always been her friend and that you never neglect her when she is in distress owing to any unusual suffering.' Nipunika" Translate as

the

means that the Queen

tress (

the

was

s

now

is

that he ought to assist

wholly Nipunika

stands

reading

suffering from such a distress,

her on this

own, as

occasion too.

she was

all

to learn the cause of the

Queen

:

told

to

The

and

trick is

do by her mis-

King's coldness towards

her

and she was only a while ago thinking how best

)

she might deceive Vidushaka out of his secret. P. 24.

anything P. 24.

This too P. 25.

by

1.

4.

far?r

to offend 5, 6.

11.

is

'

&c.

May

make

be that

= Wf RW%^f

SJfafrTf,

Nipunika's

own

1-4.

sfrfrSFrR

!;

secret.

Vidashaka means that

much

owing

on account of whom.*

by restraining my tongue* i.e. which I have to make in order to

averse to recreation he very

the duty

'

lit.

the

'

friend has done

'

11.

the necessary effort to keep

"fftf?

my

trick.

making the strong effort

keep the

it

Her Majesty?'

of

Vidushaka

Hence

causes

him pain

fHJRT^Jtlf

troubles

mo

too.'

tffT

to

RT

It is

keep the king in good humour, but

to

to the latter's love for

can do pleases him.

it

secret.

Urvas'i

his trouble.

nothing that Vidushaka

NOTES.

32 P. 26.

11.

ftwftft

1-2.

and

existing editions

It

is

'

'I

am

pear

I

tired

am

reprints

to

by trying

sends would be

that

almost

not that the

face as

Vidushaka gallant-like puts

cold consolation, therefore, to the

her that

when

Kfitavemi

RWflF^WSr rV-^fj

it)

;

does

in,

that of

not

ap-

message Vidtishaka

the

see

that

of the

complaint

her

(

but that he

Queen

either

her

lotus-like

is cold.

It is

Vidftshaka should

her he will give up King None of our eight Mas. countenance

his chase of the mirage.

the reading.

back,

since

King does not

:

back,' or in

the

Secondly, absurd,

is

to

him

bring

Queen

send word

TK^^ff^f frf^TRT

him

Tlie

Majesty.'

this speech thus

too tired to bring

be correct Sanskrt.

to

inform Her

read

necessary only to observe

the sense of

<

^HfK,

lias

the

'l?*ff

?rar

:

sees

Frarr
Iff

fr^f?!? ^Tfirff?

qfed^l^, which

|

5TK^

3T?

almost wholly

agrees with our text. P. 26.

11.

6-9.

*TT

?m*Hf^fl[^rTr^r6[ UvsfRW

^FTF^H. Observe that the words

must bo referred both

where

JIW^T?T^rjncT:

means

wrong/ Conf.

Katavema

Wr^KF^T.

the sun and

the former case and figuratively in tha

to the king, literally in latter

to

*?F

:

TW[ mrHf

'

having suppressed crime

and

ACT 5*rrrrcfa
'

Translate to

:

^r^r

jsr

g^ *WT IN

Thy power and

do similar work

thine

33

n.

the criminal tenden-

away

driving

sun appear to us

of the

that

confines of the kingdom thy subjects beyond in which the darkness the as that of the sun drives away peoThis lord world. of the of limits are the splendors, beyond ple

the

cies of these

moment

a

stands,

(the sun),

own

thou too folio west thy

in

sixth

the

at

will,

middle of the sky, and

the

division of the

day/ P. 27.

*

11.

saw

I

ever since

was made,

Construe

3-4.-

[

her.'

:

JrTfPffT

= fr^Tf?

as if for her to enter ],

l

which a

in

the unmissing

by

breach shaft

of

the Makara-bannered [Cupid]/ -

P. 27.

King of

5.

1.

frerlfldfr

3rrfaUT3 Cr,

'the

poor

See MdlaviJcdgnimitra p. 67

Kas'i.

1.

daughter of the 2 and

our note

ad. loc. '

P. 27. '

rally,

1.

eaten

re
11.

T^PTf^f.

7-8.

Conf.

iT^iTr^OT^^TRr^H^.' (

the secret

entrusted to you.'

Lite-

the deposit of the secret.*

P. 28. ff^qr

6.

*T**T

)

like bread

(*frT), such

Katavema

1

Things

"

7^^f?K^ TQ^be chewed and then

to

2 Things to be eaten

:

without chewing

rice. 3 Things to be licked (^5T ) like thin condiments such what are called ^R^f in Marathi. as liquid

as

4 Things to be sucked be drank ( fa ) such

to '

to

be driven away,'

P.

29.

11.

1-2.

ing an object the root

l^k'T

(^m)

such as mango-pickles.

as milk.

'

to

rWff J

be removed.'

infinitive used

passively,

Conf. Eanganatha

:

= f&iiiPR JTW SFR: ?T^ ^r: 'desirWitf my self. obtain.' Mark that

jSwrHfa:

'

difficult to is

5 Things

used in the sense of

'

to divert, to entertain, to

NOT FA

Si whereas in

please,

tlie

of driving, removing

sense

P. 29. '

ally,

f JT?

3.

1.

'

&c.

Has not Urvas'i seen you

is

shaka means

to

lovable.

that if

say,

jnust have fallen

Liter-

*TW?rsr ^

'

asking the question ViduUrvas'i has seen the king she

By

with

in love

rfirsfffT

him, as he

3OT^rpfr

j

so

is

good,

great

PlN^&ffelffrt

*FT$\

o To this the king replies that Vidtishaka's kindness and love for him ( the king) only rj

Tff:

ij&Tfr

|

him think him a

that makes fact,

however, he

^^ =

'y u must

is

'

?

the range of Urvas'i's sight ? suggested to Vidtishaka by the epithet jrihr-

previous speech.

it is

its literal

Have you not been within

This question

f-Tfr

used in

(^p^f^)

W3^[' in the

and

it is

previous speech

is

not,

know

lie

o

object of Urvas'i's

fit

worthy

thinks,

that this

viz.

that

desire;

in

of her. *3

T

you say

[suggested by] your affection for me.' P. 29.

11.

3^

7,8.

Vidushaka means he highly, of Urvas'i.

is

a?l

q

'

^FfTf^r,

R^^IT &c. Svhat?

am

See infra

p. 145

1,

vikdgnimitra Act p. 87. f *pf

P. 30.

Vidushaka is always has already told us, he Nipunika

himself says he looks like a monkey.

7^ TOfWr. See also Mala^ f7f VIM* ^ff tfC^rff 3V 67W,

6ff

I

The

note thereto.

8 fl^TfR'

text from

exceedingly corrupt in

is

including Lenz and

1.

all

3,

the

The speech

Bollensen.

and that which follows are especially corrupt there.

11.

impossible

Hear me,

1.

editions

'WTfrl: &c.,

P. 30.

to

up

&c.,

existing

IV.

He

so

Is Urvas'i with-

T*e*TTOqm%'fr

11, 12 and our

11.

increased.'

is

in ugliness ?'

so ugly and deformed that, as

13

curiosity

astonished to hear Ptiruravas speak f^T

out a peer in beauty as I

looks like a monkey.

my

1-2.

to

*Trnrei~

describe

5-6.

fj: ^TfiT^'T^

'

Mnnavaka, I

her beauty fully

therefore, I will 11.

&c.

fRl'i^r^WCT

Katavema

WJW

assure to

it

you,

her

all

I

:-" aTOTCTWUn'l-

(T^W^T

(i.e.,

is

limbs.

as a whole.'

describe her

aTW*
as

}

ACT r

{ i.e.,

35

IT.

sTwrarrT 5fwn

)

-

Translate

'

Her form

:

coration of decorations, and

my

mean the

does not

Jrar^Tfaisr

a thing that

made use

is

the ornament of ornaments, the de-

is

friend, the standard of standards.'

act of decorating

of

but a decoration,

The

decoration.

as

decorations

alluded to are such as sandal -wood paste besmeared on the person or yellow pigment or

saffron

the person, and the application of cellence of decoration' :<

ftQ&lKINRtr,'

and decorations

herself beautifies those very girls

one

are fair is

the

like

of

parts

JTOWffHfa:

'

the ex-

frfSTSW*^ W^flH: = TOP^zr beautify

of decorations.

other girls,

'

IT-

That

but this

ornaments and decorations.

moon and

is,

one

Other

soft like the flower, but

to which the

standard

the

particular

scents.

excellent decoration

t1ife

ornaments

e.

f.

to

applied

this

moon and the flower are

compared. P. 30.

TOW

1.

frsTOflf SHftTf errwsrc Jlfff

7.

.

^ar^nf means,

'

the

Chdtaka,' which even when exceedingly thirsty will never drink any water lying on earth, but will look up towards the sky and continue crying piteously till it should rain

of a

and the rain drops

fall

CMtaJca bird K5TOr(lsffi

and as referred love,' Urvas'i

to

1ms a long the white.

tail,

it

a celestial damsel.

is

and combines in

It has a

long crest

The CMtaka

prevent

it

itself the black, the

on

stretched on

from bending

thereby to

As applied

mouth.

to the

is

not a

a small bird, smaller than the smallest dove,

bow with an arrow vent

its

means 'yearning for heavenly water* the King it means 'yearning for heavenly

being

fabulous bird. It

into

aTr

its

it,

head,

which

of is

the

yellow and

shape of a

supposed

to

pre-

head by coming opposite the beak and from drinking water on the ground or

its

NOTES.

36 any water

to

crest village

drink which the

mythology says

it

beak

be lowered, and which

is to

obtained as a punishment for hav-

from

ing in a former life cruelly prevented her daughter-in-law

drinking water because of some trivial mistake. The village myth and punished her sons' sa} s she was a harsh and cruel mother-in-law 7

wife for every

little

One

fault.

of the punishments

allow her daughter-in-law to drink water

when

was not

thirsty.

while panting with thirst the daughter-in-law was ordered

water

to the

house

cattle in a

Kolambi

(a

long portable

to

One day to

give

wooden

trough) but not to drink the water herself. She went to the cattle-

shed and after giving water to the cattle she was drinking the remainder herself, when the mother-in-law, who was watching her secretly, observing her suddenly came up, and Kolanibi broke

it

on the

The

girl's head.

and the curses of her departing

spirit

seizing

condemned her oppress or

The cruel moth er-iu-law was

to a life of perpetual thirst.

the

girl died on the spot

instantly

metamorphosed into a bird and the Kolambi into a crest to prevent her from drinking water. Hence it is the Chdtalca has remain thirsty for nine months and anxiously watch for raindrops falling from heaven. The Chdtalca has a shrill but not un-

to

pleasant cry which resembles the words Tariff rain

!

Oh

rain

!

inythology the idea not, drink earthly

rainy

!

TITOf

*ff

!

Oh

In the present passage and generally in poetis

that the ChdtaJca will not, not that

The

water.

Chdtalca

is

it

can

heard crying in the

season.

Eanganatha quotes Tr^fr^flRlf^rWSrfW: tf JTF %ft nwfr. additional words fTf 3Tf j4 3Tr? qrwRT are given only by two of our Mss. and omitted by all the others. Katavema has them: :

The

flf

3rit

Sfiffir

Tf^-rerfa.

The King does not mind VidflsLaka's RffrFrj^ & " remark, and asks him to go with him to the Pleasure-Garden," P. 30.

to

1.

8.

which he asks him

.

to lead the

way.

*TrWT*RJ does not

ACT n. mean

iliat

the

King

37

know

did not himself

the

way

thither

;

but

Kings and great men never go out alone and their attendants go forth before them to clear the'wny for them. And *TrfocT5nftf the means to clear the Pramadavana/ simply way go with '

me

'

to &c.'

On

P do

'

JTJT^T^

Ranganatha quotes

30.11. 10-12.

so.

:

'what escape

*FT irfl

[is


meet you, its guest' clear and beautiful, have given way

vana, comes mifrpfr-j so

forward

corrupt reading

in

to

the existing editions

all

I must

there]'?'

&o. 'This breeze, as if deputed

by the PramadaThe words *TT to an exceedingly

except Bolleuseu's

(who however misreads ^T^JTf for *OTP^"^); The simple word Mr has been miscorrected into *fi (-H^Tj ). Ktitavema however reads with us.

All that Vidushaka means the south (

;

it

seems

to

me

as

from the direction of which

come us P. 31.

The

its 11.

:

here

is

a cool breeze from

though sent forward by the garden it comes) to meet us and to wel-

guests into

it.

STTTJ &o. 'That is a

fit

(the garden's) 1-3.

is this

epithet for this breeze.'

epithet referred to is 'STOT in the previous speech, of

who himself

shaka,

natha

:

uses

Sf^TKmJT-fa" ^TPpfr

it

double sense

in a

^Ff^T ^

)

attentive to ladies,'

ally applied to lovers (ST^FIT:

do not

really loving one

their kindness

and

Ranga;

civil or

being an epithet usuare

please another sweet-heart

by

attention (371%^*?.)

The King understands the adjective 3TOT in the latter being in a condition of mind not fitted to understand it wise, and says that the epithet '

Impregnating

Vidu-

who even when they

3iTffR": )

fail to

Conf.

of 'southern/ and

'

courteous' especially

(

this

is

a proper one.

For says he

sense,

other-

(11.

2,3),

Madhavi and making the Kaundi creeper

dance, he(VAyu) appears to

me like a lover on account of his coinbin.-

NOTES.

38

ing in himself love [to one] and kindness

[to another].

a creeper, also called Vasanti, or (as both the

is

W

Hadhavi

names

signify*

'

=fff?-f

)

the spring-creeper, the creeper flowering in spring/

The poet means

when

that

southern breeze

the

blows

the

Madhavi begins to get drops of sweet nectar in its flowers (see below note to p. 33 11. 8-10 on ^TKJ^f ) and the Kaundi, tall and thin, shakes

nomenon

is

The former

about with the breeze.

natural

invested by the poet with the poetic garb are

nectar drops

phe-

that the

semen drops, and the motions of the Kaundi are the movements of a

with the poetical notion that they

The

dance.

whom grown up

one of

a

allusion is to

Kami who has two

and somewhat

sweet-hearts,

elderly, and the other

very young, and who therefore impregnates the latter and The Mklhavi pleases the former only by dancing with her. still

is

here compared to the young sweet- heart and the Kaundi or

Maghi

( i.

e.

and therefore 5fntf a T*T

heart.

Magha, two months before spring, somewhat old in spring ) to the elderly sweet* in

flowering

is

defined

by the Sdhityadarpana

as

=tg^r

^rrfcPnf

'

TU^TR^fcrfl^ so conducting one's self in action and speech A Kami who pays all kind of attentions as to please another.' 3T3T

lady and tries

a

to

to

whatever his failures or

her,

please

offences in the shape of his love to another lady,

Conf. infra Act III. p. 88 ajit 8 ?

ST^U

11.

When

|

^^ ^

4, 5.

a K^rni has

more sweet-hearts than

on, so as to

There

is

a

be agreeable

^RPT

(

)

to all.

somewhat objectionable play on the word ^f

which means both softness, love, and also semen. referred to RiqWflp*?r*tarJT and

ing

to

called

sings with one, dances with another, dines with a third

one, he

and so

tff^T

is

the combination

of.

1

3W^JT

are the chief qualifications of a 3.W.

Goaf.

Katavema

:

to

W?f

%!" (in both its

frfa^rv^rr?

|

Hence

^fo^.

^

is to '

^fJIKT

senses) and

be

ow-

ACT 'fr

^

5Hf

q^

3

Conf. Ranganatha rt-ff

^

^:

%?:

I

P. 31.

11.

P. 31.

ing that to enter this to

my

T^

^T&R

si )

I"

5H?W:

JfTflrfr rrr^Cr

ITR*^

I

'

aTFcWef.

I

fc

Such

is

your devotion

this breeze.

'

*nw.

7,8.

|

?ff&
I

you are just like

is

11.

oJRHWT ^fo^T

IfaTr

4,5.

That

too/

iinr

for


:

3afr

55crt

what he reads

(that is

}^

39

IT.

was not right iu imaginGarden of Pleasure would be a remedy I

Friend,

distress.'

P. 32.

11.

^IF^ftl -T ] rplf

&c.

fifr*T:

1,2.

'

Translate

I

construe:

:

The garden which

ous of entering [so] quickly does not afford

I

[was] desir-

[me]

peace,

more than does swimming-against-tho-current with great to him who is being carried down by the stream.'

any

effort,

(i

ufaTOSFRRf," Kanganatha. P. 32.

"

^TJT &o.

5-8.

11.

T*RNTJT ^'f^fr^T

TOWrfttfctf: &c. cult to object.'

now

be

^r

?g5yj^rgR

withdrawn from

fa^

that the

&c.

3

mango

J|$TJ

^

^H

aTrcrfftnr: ||"

nr^r its


sprouts ?'

the gentle breeze from the

which

desire

an

for

on entering th i.e.,

but what

from which the Malaya-

leaves,

means that he

Malaya,

is diffi-

inaccessible '

The King ;

Ranganatha.

jR^rr^

trees of the garden,

under the shafts of Love

|

liere a locative absolute.

breeze has plucked the slightly gray

new

W

are is

already suffering

garden the

showing forth

lie

South,

sees

is

that

blowing

40

NOTES.

gently, the slightly gray (because old) leaves are dropping from

the

Mango

trees,

and these trees are showing forth

new

their

the

appearance of these things the young leaves and the southern breeze, young Mango sprouts which gentle of to be exciters are well known passion (^Wrfn^TfR ) will make sprouts of

:

r Malaya- \ ata

more miserable.

Jiim

It is the

the south in spring.

the breeze that blows from

is

same

as the TRs^TfTf^T of

Vidu-

1.)

and has

nothing to do

with the violent gales of the south-west

Monsoon

(see Bollensen)

shuka

p. 30.

11, (see also p. 59.

1.

which do not blow Act

W?R

TO^rWf

P. 33.

See also

p. 97.

breeze

is

this

called

where Chitra-

11.1-3. J?
^^RK^MT. words of a Brah-

to the

Refering

a blessing and to the

man being

the gentle

S^tfff? H^Tf Ffi^f

flTTSmWT.

1.

1.

where

1.

1.

?ramPI:.

W^FT^C

lekha says

which time the scene of

in spring, at

See p. 59.

is laid.

1.

belief that they are sure to

be

Mark

the force of the participle JFnljpfa^ which profulfilled. perly applies to the receipt of a largess at the hand of a patron.

The King means he

under great obligation

is

to

Vidushaka for

blessin.

liis

P. 33.

1.

a?f^TK is

val of the spring season.

shape of an incarnation they

still

P. 33.

say 11.

birth

'TSRrTrrtfSTBf ''indicating the

2.

t5T3fi?

W

4-7.

hence

;

^R 3 ^

'

birth as

birth

i.e.

the

arri-

of a god in

generally.

the

In Guzerath

a child was born.'

&c. Ranganatha

:

T?T

j

:

I

rrlr

i

reads

l^^rf^r fe^rirT: |

f ^^

K^Jbf4l:

^r

for

)

I

J^^^J'^w *m ^rwiif

^m

irii^T^r:

^f

........

I

r

=fi

^ir

i

^Tfrr^rr^

And Katavema ^r=T^Tr^5J

:

*CROT-

^RRffT^J'gJTi^

j

(he

ACT

41

n.

TO (be reads

and

for ^ft^ir

*rran5T

for

Translate

' '.

the nails of a

The KurabaJca-fiowev

as red in

is

the forepart as

young woman, and black in the sides. The new handsome with its redness, stands ready

flovverhud of the Amelia,

On

to burst.

the ends

Vernal Beauty stands, P. 33.

11.

marble.'

my

7*TtfR

*T:

are used in the hot weather,

ing down by the fafTPTSTKT,

'as if

it

into collision

about the

with

king by offering

Your

flowers

the

The

bower

is

by

them.'

intentionally

the

R^F

honoring at-

bower came

perching upon them and

flowers thereupon

are falling

tf B f

guest.

R"*T. ft"*T

down

shows that the

not really causing the flowers to drop, but

were doing

fall-

tf*T

The bees

Majesty.'

sprouts on

calls

which are

Vidushaka says the bower is receiving the him the seat and strewing flowers as a man does

receiving an honored

when

if it

bower)

and young

hovering about them. seat.

*HKfWFlf&fif,

receiving

a seat of

Vidtishaka

why

in contact with,

were

(the

by the flowers

is

it

seats being cool

'

'

is

Marble

and that

coming

yellow iu

formed.

'possessing in

SFTTO:.

to the seat.

bees

>Tf^ Tfi^F'T

tracted

stands

[Tims] between infancy and youth/

friend,

WW^fT^Tfl'W

8-10.

?Pr^7f5raror

Pururavas' attention

you.'

new blossom

the chuta tree the

by the pollen as yet only imperfectly

it.

The

flowers

in reality are

it

seems as

dropping

down

by the action of the bees.

Katavema reads

Iff

W?r

1^:

for ^rT^SJ-rR^fr. And Ranganatha WfgRT^f Hf*fr 55^T f^pfr If this is

*ltf^: the fact that bees then correct, quotes

:

a confirmation of our 1.

2 which see.

||

were attracted

interpretation

of

to the

bower

RfT^f^JTRfr^r^

p.

is

31

42

NOTES.

P. 34.

1.

qfrWT.

2.

This

is to

indicate

that they

proceeded

to the seat.

P. 34.

11.

charmed by

who

is

^TSJTlfaafc^WW?

3, 4.

The

this beautiful creeper.'

dressed in her best

Vidushaka

her charms.

attire

'

and

with your

,

allusion is

is to

eyes ena

captivating a

means the creeper

woman man by

just as good as

is

Urvas'i, which the king denies in the speech following. " *T P. 34. 11. 6-8. JW &c. Comp. Katavema :

jtf

Eanganatha observes

(sic)

t?*

:

|

P. 34.

who

11.

9, 10.

&c. 'Yes, the physician to the great Tiulra

*fr

loved Ahalyti and I to you

madmen

are both

in

this

who

affair.'

are yearning after Urvas'i

So may the passage

be

Vidushaka seems to complain that he is conliterally rendered. sidered an idiot and used as an instrument by his friend to accomplish his desires. as

Vidushaka

what

his

The King

denies

this,

most intimate friend he

is

explaining that likely

to

know

to do.

AYlio is

meant

easily found. iii

is

by ^sff requires explanation which

The Indra-Ahalya myth mentions no

the intrigue.

is

not

third party

ACT P. 35.

1.

1.

knows what Vidushaka

to

P. 35.

4.

1.

*sf5J

do.*

This

What omen

^r^5Tf 'great

Like

RTJ?^ 5R^R^r.

who

meant

is

is

all

felt

in

given

omen must be

the

to

left

or the pitation of the right eye

man

shoulder

is

the

you

see,

he

tells

why

if the palpitation is in

a

an omen.

be

Katavema

conjectured,

such as the pal-

c.

i.

Even

shoulder.

of the right

the

or

eye

right

omen leading

to

an

woman

But

shoulder.

left

this

to

dear one, and the same in a

the left eye or

What

to the spectators that

universally believed to be a good

unexpected meeting with

stage-direc-

he saw

if

show

right

palpitation

this

stanza following.

the

Rfa^f ^r^TfRn^-^rfr,

observes, however,

day in a

others

behave as

is to

the acting was that was required to

he

intimacy,

reason

the king's

is

means.

devise a

the Actor,

is to

tion

*lftW: to

43

n.

it is

a sign of an impending unexpected departure (may be from this life)

of a beloved one, if the palpitation

or shoulder or a

See below

p.

P. 35.

5-8.

frRfr

Kama

11.

woman's right eye or shoulder.

7G

and

though

yet.'

and yet here

is (i. e.

I feel

The

act of

Kama

some reason or felt.

2, f%ft ?pfr *Tfr

1.

'

%*JHirrW^,

of twitching that he 23,

4, 5.

11.

^^T

'

for

in a man's left eye

is

other.'

On

this

sense

and our note ad

heart suddenly feels a sense

of

it

^HR".

The

1.

P. 36.

11.

?rr*T.

P. 37.

1.

3,

On 1,

arffiRTCpfar, 4.

should

&c,

'

when fiSflf

My the

?

1


plural used probably metrl causa.

this stanza Kfitavema observes

P. 36.

omen

the

is

see above p.

*lfefalr*=$TrlRCT <1

On

this act of

loc.WWm*m

of gladness as

fulfilment of a desire were near.'

ftfflft

)

im

wft:

'flying in the

&c. tf?

tfwN

SIT't:

*f

f

sky/

frlTFTflwt

the allusion here see above p. 19,

2.T*r

5TJT

*mirfijfr *wnff.

11.

1-4.

'

Yes, that

is

my

ad-

44

NOTES.

venture, and I have laid aside 67**ft

f^m:,"

P. 37.

proper for

not

tell

*W

That

beforehand.' is

Katavema.

5, 6.

11.

you

is,

to

are not yet gonesidered ? I '?)>

am

I ask

in

go

'

*

replies,

P. 38.

1.

:

to

tfwfcrnr flflwNw

befel Urvas'i at the beginning

was

it

I need

yourself,

go |

is

while you there to be con-

accord.

Do

not you

see

?'

a?Rf smiH

of

the

^f sllc h

iT7.-T^^r?r

sc i].

Ixfjrfrqr

2.

whether

(<TI?
tf*f

what

my own

of

Madana commands me

Katavema

manner.

this

think well

to

you yourself

beforehand,' IRf^^f l^ifl

Urvas'i

not going

"

it.'

^T^rff |jff *TF," Kanganatha.

'

&o.

shame about

all

think well beforehand

3T3 'just/

you.

"

first

Act

r

^

which

as that

in

RSff-

3fr

which

she

carried off by a demon. '

Do not you remember we are made from the proof against injury enemy of the Gods by His Holiness P. 38.

11.

T

4-6.

&c.

the celestial Preceptor tery called Apar&jita

of the gods p. 77.

1.

is

?'

who

initiated us into the hair-tying

The

Brihaspati.

celestial

Preceptor or the

On the word

mys-

teacher

aT^fplPT see Mdlavikd

6 *r5Jrar*T5Ts3TW TBnrfa *Kfr

Neither Katavema nor Kanganatha throws any

The idea appears, however, to be that charms which they were to repeat and certain were taught they As long as as they repeated them they were to tie their hairs. light on this Vidyd.

remained undisturbed they were to be invisible to others though they themselves were not deprived of the power of Tying certain parts of tho body with charms seeing others. the

tie

is still

practised and with

remains certain

undisturbed

the

supernatural powers.

instance, of cotton

is

belief that as long

the person

tied

A

enjoys

as

the

tie

certain immunities or

black or

round the arm

green thread,

for

under charms and

ACT of

believed that the force

it is

43

ii.

as the case

The

be.

may

the hair by collecting

or against

thread round

h

P. 38.

my

it

P. 39.

'

Oh

who

as it

I forget

ST^PP?

rT>T

were looks

looks

it

tying

it

Lit.

!'

Oh!

how

i.

^T^r^f

e.

in &c.'

itself

(

Mr-

Tlie allusion *TFfTR*?K5f 8 TT-

Pratishthana was re-

conjoined rivers at the junction

of

stood on the bank.

Ranganatha explains place

P. 39.

either

tying a piece of

a looking-glass

into

flected in the waters of the

What

how

Chitralekha saw that the city of

SiRT^R).

which

!

afrsfr'T^fl

which

person

may be

or simply

it.'

1-3.

11. '

is to a

&c.

7.---8T*?

T*3TO fr*T,

certain diseases

round the arm.

as

heart forgot

S'iltli&bandliana

into a knot

it

makes the person

charms

the

wearing the tie proof against ghosts

11.

is

this

JJjfr

On

4,5.

"

TOSTW

by

TOl^

?

this speech

Katavema observes

:

11. 1,2.
P. 40.

portion of the celestial garden of Indra where she and her friend are accustomed to stroll. P. 40.

'

11. '

Literally,

is

ifH^ff,

4,5.

'

expecting.' ^4iPf3l

that has risen first/

viz.

just risen.'

before the Kaumudi, or the

moon's light. '

P. 40,

1.

6.

33TT^Trlr

than

when

I

saw him

first.'

flfrtftf

Pi*r?'fl a ff,

more loveable because formerly he looked indifferent, but now his love for Urvas'i lias given him an appearance which she loves to look P. 40.

1.

8.

at.

3pW^

Chitralekha means

time

to

that

no

wonder

as he

had had

it is

more agreeable now think of Urvas'i since he lust met her-

that the king should appear

46

NOTES.

P. 41.

11.

To

1,2.

Chitralekha's

proposal to

into tlio

go up

presence of the king, Urvas'i does not assent, but says she will for a while (^^J remain hidden by her tiraslcarini though in

He

his presence.

speaking with

is

friend

his

in

a retired

has a desire to hear the conversation without place, and she For her tiraslcarini (which ordinarily herself. manifesting veil) is such that

means simply a

others under

is able to see

fa^KTr ^^Rpf^JV'

''

Eanganatha:

But see note

unseen.

infra

on

a

being

celestial

without being seen

it

the

p. 49.

1.

power

others.

by

of

she

nymph

remaining

1.

1. 3. S^ffitfHrlfg^:, v iz. that they go up close to the remain unseen by virtue of their tiraslcarini but king

P. 41.

P. 41.

^^Rft^, because he

5.

1.

is

in thinking

so engrossed

of Urvas'i that he does not hear what Vidushaka says. P. 41.

11.

*nrrw fta^fr,

6,7.

v iz.

by holding

byre-

out,

maining inaccessible. P. 42.

11.

imitate, act the

that

&*I

PIT

1,2.

part

Urvas'i can by

powers (sfW, see note girl

is

lot of

that

is

flr
of a

human being f

to p. 78.

1.

Not

mortal,

and

to

is

the damsel herself, in

find

be able to

for a

do you

Chitralekha

easily

3.)

so is to act the part of such a mortal.

that she

But why

consulting her supernatural

so holding out.

an ignorant

<

frmr*TfT?

celestial

To

or

out

means divine

who

do so

is

being not

the

the

to

do

this Urvas'i replies

by means of her divine power who might turn out that she is some other than

afraid to find out is,

for

it

Our

which case she might be greatly disappointed.

well answers the objection that critics might raise as poet here behaves like a mortal. Urvas'i to why Conf. Katavema

P. 42.

:

'

1.

3.

of ^Tifff,

devised a means

do not you hear I '

'

?'

^TJ H'Tffa,

dont I say

?'

tell

you that

I

have

do you not hear that

ACT I say

f

47

ii.

intended to show

Tliis is

said that he has devised

a

that Viddslialca has already

means but that

the king has

not

noticed him. P. 42.

5.

1.

P. 42.

f

'

fPTOrT

7.

1.

thou heart, that

ftW,

art

void of

courage-'

P. 43.

11.

&c. Construe

finished

to

may be

distich

come

drawing

into

in

as to

meet Urvas'i in

as to

see her

Kama

impossible.

my

thus

eyes,

the picture

O

' :

one with the

beloved

that

nor shall the

even before I have

friend,

that he can neither

sleep so

dream, nor draw a picture of her BO

a

likeness

He

waking,

do the former

cannot

incessantly pierces his heart with his

on the board, the

and then dropping down on

it

shall

tears

shafts,

nor

he should draw a part

can he do the latter, because as soon as of the picture

'

are

translated

The king means

beautiful face.'

because

'Both

C* K*

:

The second tears fail

WW3RTT5W.

1-5.

would

come

spoil

it

into his

eyes

by wetting the

make any drawing on it impossible. ^^WITPT, even before completing the drawing it.' Mark the force of the

surface so as to '

negative

^T here.

ing of, so

As

^WT

BTCWW means

Katavema ^IRBTrfr

would mean

'

after finishing '

before finishing

:

|

3
(he reads

I

?rf

'

'

*FT:

the drawing for

H^

the drawof.

48

NOTES.

Ranganatha says: R^rfl^r^TO^K-mfafcrt

The wrong

editions

existing iii

reading

that

including

WTR

for

STS*?!

1

of Bollensen are

In the

^.

eight Mss. and both the commentators have

even notices

commentator reading

ing that would make the

much an

with

tears.

of

impossible.

it

P. 43.

1.

But

8.

as

the

picture

&c.

this

Secondly,

Eanganatha says and

kings

then they might, without


^, and neither

1

For we want a read-

W1W

as the author says) as the getting of sleep.

that on finishing the

^TfliTr

making of a picture by the king

(^TIR":

impossibility

all

our

first place, all

the other reading.

does not suit the context.

tf JT^RT

|

would mean filled

making the drawing

I can suggest no other

i.e.

^FJTTvf JJ

would be

eyes

as

means then

than the two I have suggested. P. 43.

next page.

JWftT

1

1.

Construe

frfacfffir

On

PffiF^ &e.

10-13.

11.

the previous page, and

TfT

JTmwtf. Translate with

shafts of

Kama

that

The king

fruitlessness.'

K^ma,

quite

vain

person

says,

unable

to

do

so.

see

rfr??^T.

he

is

to cope

Failure to obtain

5R

in

1.

12)

WfT

RTFTOS^f ^TOT^T

7^F7:

|

fTR^f

m^l

fCr (that

(7)

is

*ff

a poor


'

STR^

May

my

that

by killing him, he

his desired

Sff^fi

ffR^RUJfr

what he reads

:

victim before the

with him, and

*t

3

on account of their

object

|

is

would

shafts.

^

3W 3

for g*ff

if

from

5FT: (he takes this

* t*

1.

by making

end in his death and that would be achieved by Kama's

Katavema TOF?T^r3^frr^rfT

2 on

1.

Also

aj^f JTfTFKPT

e,

f.

he likes]

[if

desires to regard himself victorious

welcome

WK

the second distich thus

the five-shafted [Kama] be happy

wishes for union

word

the

on page KHf^f^nrr with SJTrw^RrUJTJT;

)

rWRT:

f

W

ff

Hf 3

||

ACT

But Ranganatha explains JWTfT on

gmRUfr

:

*Tr*T?

3^3

49

ir.

better

arffFTCR

wT

*T

3T*4

|

"

by "ft^fafSTOT

1

and goes

W TRT

!R*r

RT.

0;fTO for (lie reads

r

w RTRJTJ ^R ^ TO

II

:

P. 44.

2-4.^

11.

viz.

Katavema wlio appears

.

w^r

l. 6.

throws

e.

t.

,

P, 44.

1.

7.

P. 45.

1.

1.

*TyUTT

11.

*f.

is

plural

ral is

" :

*

May

it

in

love

is

simply means a

letter,

or

sion

*

viz.

as

inform lady

to

your eyes.

an epistle.

The plu-

individual signs

commit plural

simply

to

Invisible

the Latin

the

however,

possible,

the character of the letter letters

:

'

?'

manifesting herself

letter or epistle consists. Conf.

It

11.

Eanganatha

complaint,

with you

litteris dare, to larly used in phrases like

record.

st.

not be a writing sent by the

who heard your

equally

T*s*p;r?;

w% ^f[f^=^Trr?fr^f

TFT^rRfr5f."

used with reference to the letters

which a

On

some writing on a birch -leaf.'

Urvas'i'^by Urvas'i without

The

:

11.

wtFrffri ajfrra*.

Katavema

Urvas'i, is

1.

soil.

T *f &c.

2,3.

that she

*& remarks

for

as a reply to the charge contained in

'This

invisible lady

you

it

fa

H^F'T.

P. 45.

^

Because none natural was at hand then.

see note above on p. 43.

P. 44.

to read

litterce

of

simi-

to writing, to

may

consisting

scribbled on a birch-leaf or bark improvised

point of

to

a few-

for the occa-

not a regular letter. '

P. 45.

11.

4,5.

^r^JrnT&;fK*JRr*r.

desires can not go,

1

f.

e.

when

a

man

There

is

nothing to which

has a desire for a particular

NOTES.

50

which he

object, there is nothing

come down on earth remark

He

fulfil his desire.

order to

thinks

will even think

him what he

to give

refers to Vidushaka's suggestion,

^T^r^T, 'reading to himself,'

possible.

that a god

which he thinks

t.

e.

8

T^TR"W which

reading

is

im-

by the

eye,

This sense

passages where

in all the

clear

is

may

The king's

desires.

not reading out so as to be heard by the bystandersof

in

may not happen

it

occurs

in Kalidasa, I find noticed neither in Mouier Williams' valuable in the

nor

Sanskrit Dictionary

krit-German Worterbuch. See 138.

1.

infrd. note

to p. 57.

and

4.

1.

p.

2.

P. 45. P. 46.

a clever

6.

1.

'

Tfe. That

be pleased to read

is,

l.Sff ar3T
is

1.

read the letter out. that

Petersburg Sans-

St.

gigantic

Vidushaka is*a

good,

^TTJIK^ literally

gallant.

'

to the town' as opposed to STRTT,

you are

Sir,

request to the king to

means that the

Urvas'i

it out.'

request

means

belonging

which belongs

that

shows

'

to the

'

rustic.'

country/ P. 46.

11.

Hence, cultivated,

*fffW &c. Construe f

3-6

Translate

rr^f ?

am

as indifferent about you

you, then

how

urbane.

civil,

is it

that

come excessively hot to

who

rR

(

my

)

love

'

person

about

rolling

loved me,

strewn

Ptirijtita I roll about restlessly

breezes of the ..Bandana as

is

much

are as

supposed by

on

then

over it,

how

with flowers and a cool breeze are

rest-

with

and how

her.

A

viz. indifferent

is

it

that

flowers is it

exceedingly hot to

he loves

through

be-

?'

If I were as supposed by you

even when I knew you when I lie on a bed

She loves him

as

[me]

even the Nandana-breezes

lessness even on a bed of jpar/jata-flowers

Urvas'i means,

Lord, if indeed I

'My

:

of

even the

that even the

my

person?'

bed strewn over

the (stock) remedies of per-

ACT

51

n.

But the flowers

sons suffering from unrequited or absent love.

of the heavenly Parijata and the breezes of the Naridana must be

unequalled in their powers to cool and make such persons happy.

And

supposed

,

l

vsfC

I

if at all'

rr*T)

in St. 11. at p. 43 above.

viz.

imagined,

^*TTff 3Tf

her love distress.

yet, saysUrvas'i, neither alleviates

am

not, in fact.

But

if I

am, then

Karmadharaya Samasa.

Or a

baliuvrilii

qualifying

^W.

But

pound must be supposed to be an in Prakrit

as

to

equivalent

$rej*rrc

this case the

in

irregular one and


why

com-

good only where the

past participle must be taken in an active and not passive sense.

Katavema reads a as regards

little differently

two words, *ftWFrf 3TT and WFT^Tf. His chhaya

(he divides SFft *TWrr?*Tr)

R ||

For his text of the :

f

W?

is

:

^

^^qntsffisrww mfo?

He goes on to explain ^m *mm* ^\ arsinR^r ^ f

and explains differently only

Prakrit see

Wlf^T |

3?ffr

?rr>T

footnotes at pp. 46, 47.

Wft &W *imi

^T^^q-

rtfnfc

C^t

CCTT^^TU-

?w ^3\\ u&

^rn

irr-

^

Urvas'i can hardly

be allowed to

know

that the

king loved

For throughout her behaviour up moment she shows the greatest anxiety to learn whether he loved her. All If I did not care for that she can be made to answer is this. to

her.

this

'

you how is it that things that all regard as the greatest enjoyments in paradise do not please me ? It is not therefore true that I know you love me and yet do not care for you (faR^R^nf j.

On

the contrary I

do not

know whether you

love

52

NOTES.

me, and loving you I pine away among flowery beds fanned by heavenly breezes.' P. 47.

flrj &c.

1.

1.

That

is,

will

will he say that he does not love P. 47.

swer

is

*T

1. 2.

JTf^R

lie

say that

&c. why, do not you


his limbs

given already by

lie

me

loves

or

me ? an-

see that the

which have become

as

thin

through his yearning for you as a stalk of the lotus

arid flaccid

Katavema

aliter

?

:

tfifr

P. 47.

A present given

flrf^rw.

3.

1.

our note to Mdlavikdgnimitra

when

sion

the

Brahman

p.

17.

1.

such as

is

2 (which see)

described in

on an occa-

Brahmans pronounce blessings by

or

re-

citing verses from holy writs.

P. 48.

11.

1-4.

?pr

& c K&tavema .

: j

T f

II

Kanganatha too says SfTtf^^ft.

But neither commentator which does not simply mean

He

goes on

correctly explains '

*

saying/

a piece of poetry. Conf. Supra, p. 16,

:

tlie

word

expression, but a song,

1.

9

^K^lWrrftt

5RrTTrcf

'

g^f and note ad loc. &1HW\ with ray eyes fully staring at it as I would if actually kissing her. ^fr^fcP^T^KUOT. RN^fcFT or i?f^T

i

j"r*g

is

from a

thus defined

work named

'

quoted, in

a verse

by Hemadri on

EagJiu-

by S'auryaditya SangitaJcalilcd,

as

va^s'a VIII. 67: <w\

|

T^-ifT

^W^TF^r P. 48.

nfffirr^r

ffE^f^r qftCfforr 1.

o.

W

ft

&c.

I

See our note ad

loc.

'Now

is

our love

Addenda

p. 5.

of equal shares/

ACT

53

ii.

now I can safely say we love each oilier equally. Urvas'l means that after this avowal of the king she has no doubt that t.

'

he loves her as much as she '

here'; hence

of our word P. 48. ^ff??f:

'

at this stage. '=' wow;.'

11. 8,

Vidtishaka objects

9.

and misunderstands him

the etymology

On

appoint him as to their fruit. II. p. 21.

words Rnprf

to the king's

mean

he should preserve evidence of Urvas'i's avowal, and asks whether to

that

having shown the blossom of the king

1.

be

s

she

desires

The king simply means

loc.

a valuable

preserved as

will dis-

see MdlaviJcdgnimilra

rfflffSK

10 and our note ad

should

the letter

means

literally

It contains

3TRT.

the writing as

Act

?r

him.

loves

of

autograph

Urvas'i.

P. 48.

Urvas'i

Mark

10, 11.

11.

first

so very natural that Urvas'i gives

once and

first

of

it

1.

and mark the reason

not coming forward

for

at

all. '

P. 49.

1.

forward

that the poet does not bring

into the presence of the king,

TTO^Ntfnmfa,

taking off the

appears that Urvas'i and Chitralekhd

veil.'

were

From

this

the time stand-

all

ing on the stage with their veils on, but were not, owing to the

power of

their veils, supposed to be visible

the spectators saw them in the same

hear speeches made

supposed

to

,

that they

would

*n3r5 or 5PTfF33Wv which are not ,

be heard by persons standing by on the stage.

P. 50,11. 1-3.

sr *rt

pray that

therefore

*TF*IJffiJT

But

any one.

to

manner

on

-Jjr7[f

this

occasion

w^rmr^,

jf^Knrr

'I

Your Majesty may

also

take compassion on me.' It should

avoid

all

P. 50. fair

one

be observed how our poet causes

Chitralekha

to

reference to the Ihurjapatra. 11.

is

is afflicted

5-8.

T*jrerr*r

&c.

Translate

' :

exceedingly restless, but do not

on her account,

you

know

This love-longing

is

say

that

that

that Pururavas

equal in us both.

NOTES.

54

The Lot

deserves

iron

^

stronger than

*J3T.

|

(that is

what he reads

^

37*%

flfFT

^^rfeqrw>ifr

Madana

11.

f3 ^

^?^R

rfRW

ffl^ c^^rr^

flf^:

^W 1TW he

^rfT rTf9T^

9,10.

??

I

iron.' s?r4 is

Rnws

|

1

with our

Mss.

u?^3?r n

Eanganatha reads QnflC^ihgttfh For very differently from ours.

P. 50.

hot

TrJRJTWc*irrt

for

(he appears to have read B. P.) a?T

be united with

to

Katavema

?

has

and

lf^T

^SPT

the last line

*TWT*it:

:

'

finding

that

[to him] even more merciless than to you' I have become the messenger of thy beloved. "When Chitralekha says is

she finds Pururavas a greater victim is and, therefore, invites

her

to

of

Kamadeva than Urvas'i

accompany

her, she is at

once

truthful and in keeping with delicacy.

P. 51.

1.

'Ah, you have cruelly and suddenly given

1.

wP^r

HW?Tfr=*ftOT out kindness,

and coming P. 51.

11.

viz-

by

to call 2, 3

W ^fW,

telling the

WF\:

*Tf3TK

terprets '

TWrt

regard

me

up.'

me, with-

king that I am longing for him

'

Tf^sST,

The dchdra

Meantime

as 9 Tr^fW in

offer

referred to is in

your salu1.

4.

On

Ragliuvanis'a II., 10 "I^^P
vfoSW. and our note ad

meantime compose

From

5N

dcMra Conf.

&Tf^r^55ff Kf

to

me.

tation' soil, to the king.

this meaning of

without

which case

loc.

Kanganatha

in-

the speech would mean,

yourself.'

the circumstance that Chitralekha

finds

it

.

necessary to

ACT Urvas'l to salute

tell

tlie

it

king,

55

ii.

must be inferred

was confused and forgot such a simple formality

that Urvas'i

as saluting the

king. '

P. 51.

Translate

6, 7.

11.

you utter this

'

word

:

I

am

indeed victorious, of

which does not

'

victory

fall to

whom of a

the lot

person other than the thousand-eyed [Indra].' The king slightly plays upon the words '

means,

literally

so saluted

is

!',

and

'

in Urvas'i's salutation (H^R'),

and

he

says,

is

by Urvas'i, who being a

the habit of saluting in only,

^J

may His Majesty be

Majesty be victorious

he

fj

no

other.

which has not gone

that

way

celestial

nymph

the

J^FcTC*^

person other than

may Hig

victorious since

really

her master

Sf^RJfSiffi:

to a

victorious,

which

great

literally

in

is

Indra

means

the thousand-eyed

1

[Indra]

The

.

existing editions even including Bollensen's are all

in reading S^rtfP?Rffi: for

1

which has not

See footnotes.

the mythological origin of the tff^faj which Indra obtained

as a punishment (commuted into

with Ahalya,

But

TOsfrajETTTif:

person other than Indra.

to a

On

'

arisen from an original

may have come

wrong Sf^fSTR:. The misreading fl^RJKTJR:

applied to the

ornament) for his intrigue

Somadeva's KatJidsaritsdgara XVII. 137-47.

see

it is doubtful

an

whether the epithet,

which

is

in

the

Purusha, or the great soul of the universe,

Veda

may

not have been applied to Indra on accouut of his identification

with that Purusha.

Katavema: JT^IfK

P. 52. first,

B

i

1.

Vidushaka claims

2.

that he

ah man.

Katavema:

\

is

to

the king's friend

;

be greeted on two grounds:

and secondly, that he

is

a

NOTES.

56 P. 52.

7-10.

11.

*pRf

mentions Bharata, (who called

From

&c.

known

is

to

Kalidasa here

be the author of the work

therefore, the

Bharatandfyas'dstra, and,

Drama and

the fact that

Acting,) as the preceptor

who

founder of the

teaches

acting and

nymphs and brings them before Indra, dancing it is to be inferred that the poet must have regarded him as havto the celestial

ing lived in that antiquity before his time, when men went up to the svarga and other worlds to assist and otherwise serve the gods,

and when the gods came down upon earth

battles of their mortal friends,

to

to

the

fight

have lived in fact as

a

con-

temporary of Pururavas.

Katavema:

'

P. 52.

1.

13.

'

jesty'.

Literally

to our departure.

P. 53.

way of

11.

2-8.

Let His Majesty be made "

WWm"

W

5ffr.

OT:

That

indicating the speaker Chitralelchfl

this speech

Take your leave of His Ma-

TyfPffTJ Wr^Pff,

is

"

Katavema

as

is,

Urvas'i.

like faTiff in

flhe

wishes to

She wishes of offending

make

to go, so

^^T,

W 5R: our

herself blameless that she

way

therefore, to

is

an humble

In

vernaculars.

who

is

made

permitted by Your Majesty

not

towards the gods,'

t. e.

incur the responsibility

the gods by disobeying their

please Your Majesty,

says.

speaking for Urvas'i '

peecliless.TCITripT qwyrcTET

to give his consent'

summons

permit her to go.

;

may

it

ACT P. 53.

6-7.

11.

54:.

W

4

1.

*ti

if

Vidushaka,

would have

in his hand,

P.

T
57

ii.

said

V**^

ti

f

he had the

5

'Do not

*TWK JWf.

Bhtirjapatra

Tfr

despair.

Literally,

do not drop your limbs through despair.' Throwing down the head and remaining speechless, letting down the arms and lie 1

is

motionless,

Katavema has

is

7*f *J

Tf -TJ^Wfif before

'

P. 54.

6-8.

11.

8

be expressed by

what

intended to

W

For when starting

Tlprc

JQ^T.

See footnotes.

&o.

she, not mistress

of her

person, seemed to leave her free heart in me through her palpitations which were indicated by the trembling of the flowera

own

[on her breasts].'

RT5Wq[(?

Katavema:

wCftW

I

what he reads apparently

is

?q^Rf

RfeffWf

^

^?)^fl7P^4|f^l]fi to

whom

person belonged Urvas'i was obliged to go, ("STlfW

T^f5mr

P3rnfRi*rt?3n}:

own

[*r]TO5i

[I

The King means lier

for

$lw WRPT Q *W (that

FfrWff

I'fann

K^5T

(he seems to read TTTORfr) IPH^T

that being

f'

n attendant of Indra

But though she did not own her

Banganltha).

person, she did her heart, which,

him.

This

the king

is

an

utpreJcslid

saw when Urvas'i

the

left, viz.

farTffr ( R-^f

palpitations

the palpitations were towards

)

of her

Purtiravas

shook towards him, he thinks the its

with

the wreath of flow en on htr (^Jttf^)

heart that

the flowers on the breasts, below which the heart

the heart in

left

on what actually happened and what

The King imagines

breasts shook as she went.

was

she

therefore,

passage from

because

tremulation

its seat

that

And

lies.

the

it

shook as

flowers

was caused bj

below UrvasT*

breasts to

him.

There

which reading

is

an antithesis

latter the existing

m?j

which has

between T^STf SrffOT and editions

the same

have

meaning

ft*5f, for

the apparently as

easier

58

NOTES.

The

^WT

existing editions have also

of the letter *3 and

ing the shape

tf

in

reading may have arisen from the other It

the copyist. as

it is

not natural that a woman's

round and goes,

she turns flowers

but

11.

would shake when

natural that a wreath

it is

2W$^ *TFT^i%,

1,

either

an error of

to

the correct reading,

is

breasts

worne loose on the breasts should do

P. 55.

Consider-

Sanskrit Mss.,

owing

probable, however, ours

is

for tffTOT.

of

so.

'will be

taken.'

Mark the

future, used in the sense of the potential, with the future parti-

VW*Wt.

ciple, equivalent to JTfri

P. 55.

1.

JOTT

S*Rfi?

5.

t.

See infra p. 154, has

e.

11.

after

gone

1, 2.

Urva'sl,

has

followed her. P. 55. latter

1.

t^i:~ <( fnf:,"

6.

quoting

P. 56.

1.

and

Kanganatha,

4.

'

before untruthfully p. 76.

below, P. 56.

Act

11.

11.

1.

^iFTCf

?

'

untruthfully,'

3
[?,

'if

Queen

says,

out, peruse it.'

W^ST

it

read

r

'how?

is

some writing/

Shall I read it?'

3TC

The

'

it

to yourself,'

with your eyes. If

appears to

rumour about Urvas'i'

'aTJTRV it is

;

'I will

for it

the rumour.

hear

t.

.

'do not read

it

not scandalous, I will hear

be used here in an

passage can hardly mean,

if it disproves

^^ TOffTlf ^^r j ^IJT

round, there

it

*nfr*TT? ("^rcraffi JT$" Katavema), '

loc.

Cjf ^FTWf ^i^C^Rf

3-5.

'on which, as I find on turning

See MdlaviJcdgnimitra

so, then.'

7 and our note ad

1.

See

incorrectly.'

6. 6.

5,

II. p. 22.

P. 57.

Katavema, the

JJ^WW^rr *sm: [[ What ? have I ever informed your Ladyship

absolute

it if it is

sense.

The

not opposed to the

would imply that she We must not suppose

will hear

it

that she

is

anxious that the rumour should turn out true, but just the reverse.

The

between ^T^Tri and TJff^Rf^ is clearly brought out here as indeed it is in all passages where the two verbs difference

occur in the same context.

See infrd

p,

138

11.

2-6.

ACT P. 58.

1.

tT

3.

contents.'

ft

%

frrfte^ir

59

ii.

for the future *T(^lfr.

fffo

know

its

She now desires her

at-

'If so,

flW,

wish

I

to

tendant to read out the bhurjapatra. P. 58.

1.

4.

W,

P. 58.

1.

6.

tfV

'here,' 'on the spot,' 'just

&c. Vidushaka

is

now/ be

to

supposed

searching

for the Bhurjapatra*

P. 59.

some

1-5.

11.

distance, the

He

out.

patra.

SBiro

|

King

As the

&c,

JT*T^T

finds

it

artificial

necessary

imagines the breeze has carried

Hence his address

Katavema: TretffJRrfr

I

to

the

away

bhurja-

it.

JKWTf TO?fa 3*3 HTf^

f^

is at

hill

get up and look

to

f FT

|

R^f

f
5W

?f
f^T aTTfR

^T Sftrfr^fBT \

ot

5TRf^ ff

^n^^rt

13*5

II

Translate the second half thus

your

for Anjana,

desire

' :

For you, who have known

are aware that

man

the love-afflicted

preserves himself by such means intended to console his mind.'

The King

says

that

means of such memorials sole his

mind

love-sick

the

man

preserves his

as the bhurjapatra

in his distress

experienced the truth of this

;

life

by

because they con-

and that Yayu must himself have when he made his love to Anjana".

Anjana was the mother of the monkey Maruti by Vayu, the god of wind. Though speaking to the breeze the in language

But

this is

properly

applicable to the

common among

poets of

Ranganatha reads the passage notes) and comments accordingly. ft

all

presiding deity of

it it.

times and countries.

like our

He

addresses

king

Ms. U.

says fai^T

t fitarorewifi

Hfrwiffi

%fa |

(see

foot-

Ro

wstw

5

60

NOTES. [5] 5JR

P. 59.

1.

8.

P. 60.

1.

4

33TJR1

Katavema Zlftt

jpFffi

P. 60.

1.

Vidushaka plays upon the word

flj^f.

means

wliicli literally

,

^

:

'

well come.'

make

Vidtishaka must be supposed to

6.

this speech

SRrf^WT, for he of course does not wish that the Queen hear

The Mss. do not give the usual

it.

the speech

a reply to another which

is

is

should

stage-direction, but

said !Rlf5cW*[,

as

we have

probably to understand that a reply to a speech so made must ofcVT soil, fl*. ff is simply a particle itself be made SFfff^ffiJT. indicating a question. '

P. 60.

1.

7.

that searching

rFf*w :

j

ST^T

I

^r

It is not

was

this writing

fftwcw:

that

Katavema

another.'

for

I '

inipN
siffTrr:

*%r^ir ^wnFj^

^rru^3[^r^

was searching fT

VSfT^

*rif

nw ^"wi*?! ww

||

;

T

jtf-

The King

admits that he was searching for a bhurjapatra, but urges that it

was another.

it is

That

The Queen

that he

of course all right is,

replies in the speech following, that

should conceal his

good luck.

she does not admit the king's plea that he was search-

ing for another bhiujapatra, and

says that

he should conceal his good fortune,

it is

but natural that

which consisted

in his

now

so late

being loved by a heavenly damsel. P. 61.

1.

1.

Vidushaka means

that the

P. 61. a dinner.

1. 1

3.* Even This refers

suffer

to

King is likely at once. him given

a ghost to a

posed

it

in the

Konkau.

from

it is

bile unless his

meal

is

made favourable by means of

A

kind of yellow dinner of rice ia with prayer, and the ghost then sup-

to let its victim alone.

pecially

is

say that

method of exorcising a ghost that has

taken possession of a person.

prepared and offered to

to

This practice

is still

Vidushaka implies

in vogue, es-

that even an in-

ACT may be put

exorable ghost

more

by means of

to rest

a

much

dinner,

possible that if the king gets his mid-day meal now,

is it

will

lie

61

ii.

about

all

forget

That

Urvas'i.

what he thinks

is

is

probable from the very high estimate in which he himself holds a dinner. '

P.

61.

4.

1. '

'forcibly/

TOR^

when

fSRT,

forcibly,'

I do not admit.'

'falsely/

m^Kf^TO,

Literally

make me

'will

confess.'

P. 62. g-fa
$rT*T

ITT

11.

I

Katavema

5-8.

IfJTT^cwf

^W

srmtffa

:

aiWJIf

TOT

I

I

|

P. 62.

1.

10

f?r

'

?f &o.

Not

that I

that I will care for this supplication, shall

be caused to

Queen

me through

his

am

so

light-hearted as

but I fear the regret that

humility.'

As she goes the

says, she is not afraid to disregard the supplication itself

(because

she

knows

it is

insincere),

but she

afraid her

is

conscience will bite her for disregarding the humility

with whicli the king has made

it.

Katavema reads wSSffflWOT and explains

good reading ness,

viz.

prostration

King

3T3TfV a *Rffi:

that of going (flpnffi),

in

calls it further on.

T^RfT:

l

as

follows

remorse caused by

away without taking any committing in

fact

:

s

a very

my

unkind.

notice

t^ttEfajT

of his as the

62

NOTES,

The Queen

what

says

contained in this speech in order to

is

justify her haughty conduct

in

husband

her

leaving

l

knees and departing without taking his leave.

mn

cause I

know

hereafter I

She

is

it

let

me

fears she will regret taking

See

below

p. 64.

9,

1.

means she

is

supra p.

river/

On

3.

1.

gone

1.

P. 63.

no notice of the prostration of

as applied '

tffaTO-

11.

to a

2-5.

river

turbid and rapid.'

dissatisfied.

7f3"{jrfr

'a

see

He

monsoon

weather are quite empty

But when the

knowing

11.

4-8.

that the

&c.

%Z\ not

Queen

'And

improper.*

and

plenteous showers

first

is

gone.

that

is

=

5T1T

'

not unreasonable. ireOTfr f?T

1

3FWTf

^"WTWT

TOff^," Kata"STJTTSrS^rt: ?T5J^T That is, she is justified in going away dissatisfied. The

C%T.

vema. is

given in the stanza that follows.

conduct has justified the Queen's anger.

fer to

what she means.

2. ffrr UFTTTflfflrf ^fTfJTWf

WOTT

rivers in the dry

Literally, 'that is

all

is

^Sfr.

knees, not

are

away be-

monsoon swell them, they are extremely muddy and For we must suppose the King is still on his

of the

reason

Ra?

off greatly

expose their rocky beds.

rapid.

only

That

go.'

word aTWvTr

1f3cI
7.

Many

the

sure I

a little afraid that

See also infra p. 72,

f*^, and the note thereon. P. 63.

am

his

regret that I did not take notice of his

may herhaps

the king.

JJZt

I

insincere.

But nevertheless

humility.

supplication and walking

rejecting his

in

right

on

am

I

The king means, his The existing editions

wrong in reading SIT^fl^for aTJTTvTff. ?3TT can only rewhat immediately precedes and that is the ariHJR'JTJET^riT O f

the Queen.

This being

&o. Katavema

so, ajjTT5T*Tx is

tne only correct reading.

:

rir^fffT

:

(that

is

^r^ wr ff ^r what he appears

ACT to rend for ^ffapf:

Mark ness

the double sense of the word (

nml

love,

P. 63.

11.

time.'

n?fr

But I

tf

1, 2.

11.

via.

WT'fr

?T,

that the

Queen

UT*M

Ti^rr

?rr
fanfare- mjtf

fl*rj:

P. 64.

V%

10.

9,

'

(

and

affection,

to

red-

a precious

my

taking notice of

Urvas'L

she

See above

K&tavenm:

P. 64.

1.

8.TrT

by the King P. 64.

will

11.

lie fell

will

come

p. 62,

hm >

gone away unre-

&^.

her

1.

the

as


before.

because

'

at this

she

f*"J
will take courage,

Queen

at her feet.

left

dis*

which

him without

This means

that,

regret her haughtiness and then to consent

10:

to his

making love

to

f*"J

OfT

'just yet,' 'for sometime.' ifiOT

in his preceding speech. 6-9.

soil.,

regards

the fact that

him when

he hopes that the Queen relent so that

same,

That ii he

prostration.*

be will derive from


^1tW%^ry:fi^r^^ ftSwji

'the

will take courage aa

regarded

Conf.

rfJT

water as applied

)

conciled.

1

J

)

and of TO

)

stone

63

ii.

="35*^" used

64

Act III

P. 65. seat.'

PWfR WW?^: Yon '

1-3.

11.

That

is,

'our preceptor took

The

carry his seat in your hand.' tiger

s

skin

a black

of

or

on such a seat; and they carry, or one of these

dasa's time as

it

if

have been is

certainly

now.

Brahmans

skin.

with

the seat

carries,

This practice appears to

to carry Hie

seat consisted probably of a

buck's

orthodox

or rather

strictly religious

were made

you with him that you might

life

living

it-

down

can only squat

they have any pupils, then them when they go out.

vogue as much

in

1

ffRffl !

tffrwTfcW:

in Kali-

gives

two

was taken with him by his preceptor, and ; first, Both Lenz and Bollensecondly, the reason why he WHS taken. that Pallava

facts

sen have misinterpreted

"you were

ordered to

in vehiculo ejus

with him

that

the

take a seat

capere jubaris),

lie

might go

in

and

translating

His carriage"

(til

sedem

"

the

to Indra's

nahm er

Pallast Indra's zu begeben

former

the

passage,

latter,

palace"

dich mit)

he took you (urn sich den

made you drive

his carriage ?

TftRT^WtfTW


k ee p

W atch

over the place where the sacred

fire is kept.'

Conf. Mdlavikdgnimilra p.

ad

SWT

T/T loc. jfr ence pleased ?'

Conf.

K*gr TfwnaP^Tf

Ranganutha

**J3?

^JT

(

so

*

J

106,,

1.12 and our note

was the

celestial audi-

)

'

P. 65.

whether

11.

it

5-7.

was

11(55*

Translate

&c.

pleased, but in

vara composed by Sarasvati

ed with interest in

whom

Galava,

I

know

not

that play of LalcsJimi-Bvayam-

(the celestial audience)

it

eorbed in the several sentiments. divine assembly before

:

But'.

was ab.

Pallava means, that the

the play was enacted was engross-

the several sentiments at expressed and re-

ACT

But.

presented in the acting. is

his Criend,

interrupted by

65

in.

Here, as he stopped a

little,

who asks him why he wished

he to

qualify his statement.

The

^?

existing editions have all

3"WCn

Tfl-TTJ

described

Urva'i she can not be

haps

the

From what

*TFfa.

wrong reading

page 3HST7 fFT TRIT.

blunder throughout the pluy

Besides she did not

*Tfffl).

or S^Trn but per-

as S^fffitt

as JHFTF, blundering, (see below, next

^^T^?"

srmaf Ite

further on stated about

is

but oivly as regards one small matter, namely, ( ^5 33 ra^fCg the taking the name of I'urdravas instead of that of Puruehottama 1

).,

on one occasion, for which she suffered an imprecation

at once.

If she had blundered throughout the play she might have had to

many more

bear

curses

and

ignominy than she ac-

a greater

tually had.

Considering the similarity of the Mss.

I

editions

3W.

1. '

T

in Sanskrit

must have arisen from

was

it

corruption of

natural

to

add

instead of i.

The

Wrffrf mfr as read

TrT *r4

also wrong.

is

flftfl ff

P. 66. Tf

i"fJT*lf

3"

See our foot-notes.

The reading had

how

make which give any sense

to

3"HTrK*Tf,

ff

understand

T and

and afterwards further corrected into the

cf*JT*TI

3" 5

easy to

it is

letters

For

of

rest

uttered], appears

to

3T which they

rjftfl

^Kfanr^rsr

if it

by the existing were correct, we should have

tfec.

IT^T

till

tff?*r:

your sentence,

read.

^TOT: ^^f^ rm?^

[which

you

have not

imply a fault.'

P. 66.

1.

4.

5JfifasTr
P. 67.

1.

4.

T

Kananatha:

^"J &c. 'Did

not our

preceptor

get angry

with her f

"vfcl&WffiVWfo P. 67.

11.

7,

8.

" JT^^erfrf^T.

Eanganfitha.

n*T5Pf, 'divine residence

go and dwell among mortals,

'

;

i.

e.

thou shaft

NOTES.

(36

P. C8.

4.

WF^fTff Rf^l,

'That

is

becomingtot.be than himself/ t. e. other who knows who Indra persons great 1.

flfat

'

knows

the

hearts of

He

others.'

Urvas'i committed the blunder.

means

Purushdntaravid *

knowing what

literally

Mark

reason

why

the use of purusha here.

'knowing other persons

mind of

in the

is

perceived the

others.'

By

itself

'

i.e.

purusha

can hardly be used of Urvas'i. 68.

11.

time of bathing.'

'the

TU$W5Jr,

5, 6.

They mean

that while talking about this matter, they are so late as to have

almost passed the time when their preceptor bathes. They ought to be present at the bathing and give him water, fresh It is to be remembered that clothes, his wooden slippers &c. the manner in which

from being present

;

Asiatics

bathe does not prevent others on the contrary, servants, or in the case of

a holy personage his pupils who are his servants, are required for assisting in the way just indicated.

Mark

that the

word

*TT*v*r, implies a slight personification of

lF?H15Jf. Conf. flWflftHI and similar expressions regarding the morning and evening times which are spoken of like personified deities

P. 68.

1.

8.

Rnnganatlia reads simply rfW>T

ff

5FST: *^r?^

5 tf*FJf

(.

fj?*TH'*W^: because

m*T:

e.

)

(

||

a

by

and says

sic

CR?TTO7?I?T:

conducted

is

it

Tr^mf

:

The present

is

madhyama patra

GAlava, and a ntcha patra Pallava, as speaking Prakrit.

p

(^9.

j

i._Conf. Rangunatha: *'^r*5I frfr j'Trf*^^:

P. 68.

1.

I-

3-6.

I

^nirflwrwjrsT^:

*"^

*ft:

I


*T>TR

^^T^T^ffr

f

ir^r^W'-fw^

Katavema

Conf.

^rR sw

ri

ffr

i

:

^irnf^

T^:-

1

*ft

||

*^

t:

i

ACT

foww

urn

tttf tfisH

67

in.

r.

|

:

do not agree with

c?w$

icr

i^f

|

*

Translate*.

^i*ri**rr:R
is

body,

But

such that

this

employment of

has

ifc

below

)

liis

youth

Afterwards

life.

ours, daily wasting the

incarceration for

its

Alas for

!

duties of the

contrasts the

end.

'

harem

the duty of watching over the

The Kanchukin

pleasures

we

sj^pfltf *aw::|l

hard in

of

(

by his sons of the burden of family cares

(in old age) relieved rest.

I

*g 3

Every married man works

with the object of enjoying the he takes

interpretation, see

part of his

this

|

class of servants

which he belongs with those of other men. These work in their and rest in their old But youth vigorously enjoy age. in the Kanchukins, though working equally hard youth, end their

to

watching over the harem, and die therefore as it were For the older the man the better is lie fitted to be in prison. in

days

a Kanchukin, and he has therefore no prospect of retiring from life

and die

life

of the

full of trials

man who commands

HW:

qftTR: lRrrift

r.

MWW,

and

3>"mW TR: 7

ihe sense

ago of ours

There are two objections will not,

we

to

is

this, in

such that

our

be a correct

think,

the

^f*r

VW

subjective genitive.

can hardly so divide the line as to read of 'this old

difficulties is

the harem.

Like Dilipa, Aja and others.

gWfW;. We

For

in peace-

^'Tf^fff it

has to serve-' 1st that tf-

opinion:

form

in

iR'TH: in

the sense of

which will give us, if anything, the form ?r*fand 2nd that ^KTft by itself can hardly mean 'old age/ 8F,

Kfr

;

Kanganutha explains 3TKTWTH:

as

^STRR^T:.

This agrees

very nearly with our explanation. P. G9. toiight

11.

7-11.

be such

as,

flfrwrr

not to

'

who

eat

is

observing the rules'

more than once a day,

;

not

which to

go

63

NOTES.

out of

The

here

rules (R"*J*Jf:)

referred

were

to

be observed in connection

to

prescribed

without worshipping,

not, to eftt

house,

t.lie

'

83.

1.

8)

were,

ceremony she

rules tliey were,

to perform (TO). particular however, can not exactly be described. (See however

infra p.

performing the cere-

for

JHSir^pJ,

*Wf, *Tf5Kr*rr5iir.

on.

so

those which

witli the

What

was going

and

rnony or vow,' which was to be done in the presence of and by

^-^fPHT RTfW*^

propitiating the king.

tfl.

IWfTTRT^ &G. I will therefore now wait upon His Majesty who must have finished his evening prayers.' '

p. 69.

TfCrof rr &c.

12.

i.

*

Translate

:

The peacocks, overcome with nightly

on the perching rods [figures]

the

j

[as motionless] as if they

smoke of

the

incense,

widows, causes to be confounded with neath the projected eaves

and the

;

it

sleep, nre

were sculptured

coming out through the the wild pigeons under-

matrons of the female

old

apartments, clean by the performance of the customary acts of the hour, are honouring the

ment of the Eve,

auspicious orna-

the

brilliant lights,

in places

strewn over with

offerings of flow-

ers and other things.'

This

a description of

is

close of

and

the day

are dull with sleep at

peacocks

motionless like lifeless figures

when

ed in the halls, and

of the house at the

the appearance

the setting in

the night,

when

the

the approach of night and are

when

*,

of

incense begins to be burn-

the matron ladies of

the house place

and honour the lights in their appointed places which have been strewn over with flowers and other materials of worship. 3" ;

*

CRf:

spersi'

'

carved/

Lenz) nor

It neither

engraved.'

'

like

nailed*

but fashioned into figures by

('

wie

throwing

means inverted

angenagelt' tip

i. e.

(

in-

Bollensen),

cutting or

carv-

ing chips from a solid block. -

(

trerif

91K)?3

*U TS*r-

WCT:)

are iron or

wooden rods

ACT

rn.

69

Innig horizontally for the tame peacocks to perch on.

necessity of .supposing' MS

Peacocks

posts.

generally.

are

^^i

Katavema does

mean

not

by

There

*J??*J:

are

is

no

meant

with other than such rods " perching rods of their

not provided

does

licit

houses" (Bolleiisen). R5TfR575JW, RSTWf

^f

such a slumber as the

midday,

might have

peacock

kinds of incense, but the same of

fumes

the

window,

through

see Raghuvam$'tt VII. 5

meant

above

the (

windows and

1^T*T

On

network

5TF*, a

On

loc

13 and our note ad

^1W:

take

to

out from

mean the

^1*?^:

loc>

In

the s-form-

wall

close

propping up the projecting eaves of "

Conf.

).

to

different

to signify

and our note ad

ed wooden supports or struts jutting

the roof

opposed

7).

windows-

St.

we

the present passage, however,

is

the heat of the

in

incense coming out fn the shape

several

MdlavtJcdgnimitra Act II

Conf.

1.

It is not

the plural.

RSHRfr

*T
(see Mdlavikdyirimitra p. 29

Mark

gll.

W

R37

'TTTRflr

" J TOTTSTT^ ^Tl^fa f^R<:.

These s-curved props are the usual resorts of the TfrfT?ir: (parvas in Marathi), and these being ash-coloured are easily confounded with

thick

from the windows

at

volumes

of incense fumes

an hour when owing

forth

issuing

to the close

approach

Even

of darkness things begin to lose their distinctive features. in the passage in the Mdlavikdgnimitra

TTUT

here taken appears very

referred to

suitable.

The

the sense of

^KfTrf is

not an

ordinary white or gray pigeon, but the wild pigeon of the ash or smok-colour met with in temple, old wells, and even in inhabited houses, on and

underneath

the eaves of whose roofs

they may be seen in the morning and evening. vides any quarters for them as is done for the pigeons, which are tame and are taken care

were

sitting

of.

body

pro-

white or

gray

ISTo

The wild pigeons

on the struts supporting the eaves of the roofs at The SfiW^ or network is speaking.

the hour that the Kauchuki

70

NOTES.

windows of

are just underneath the

incense tliroiigh

tlie

them

diately above

;

whether what

out

*WI:, and send up

part of the roof which

tliat

so that

was

it

difficult for

saw was the

they

imme-

lies

nwke

to

people

wild

fumes

tlie

or

pigeons

tlie

fumes. TT

v fTr!l*R:.

clean

^r^KT y*

acts

owing to their having done the customary The acts referred to are such as washing

the hands, the feet and the faces with pure

changing

bathing),

This

clothes

tlie

the evening TRTC

is

water,

fresh

for

and

ones,

The morning *TfW

:.

not even

(if

so on.

of the females

washing, putting on fresh, clothes, combing the hair, decorating tlie person with such articles as are considered auspicious is

for

women

married

like sandal <&c).

wear

to

Tlie reason

^TCinif:, is that

All

J.

The

This, I think, is

where

Rangoli

why

tlie hair,

'i.e.

the poet says they were for

performed

is

dotie

worship

clean and pure

in a

lights are

placed

the

in

evening

flowers,

drawn

epithet.

by means of

sympowder of

auspicious

in white

stone or ashes of the husks of rice-paddy and

is

*Tf-

vogue of decorating the places

in

bols and signs such as the svastika,

tion

to

meaning of the

the correct

now

even

lines, figures of men, Gods,

lines of red

them

the evening lights) in an unclean

be

to

perfumes

body.

practice

daily

has

worship

state of the

JlpTj oil in

would have been improper

it

or honour the sacred flame state.

(

with

variegated

powder or yellow pigment. This Rangoli decoraon occasions of festive ceremonies round the seats

and the dishes of honoured guests and are considered as offerings or articles of

worship

light in the house

picious and

is

at

(

TSIfTfrU:

the

hailed with

Wf

)

The presence

commencement of great

bers of a family saluting each

joy

other.

the night

expressed

of the is

by the

aus-

mem-

It is this idea of auspici-

ACT ousness

tli.it

explains the

71

in.

decorations \vbich

compained by wreaths of flowers placed

which generally

basin at the top for holding

The

ground.

light

be

is

kept

it is

for an

prepared as

the room which

forms

house, and

placed on

is

that the place

the

where

where

it ia

The sqRlfr such

lights are kept,

the sanctum sanctorum of

the house-

the veranda at the entrance of the

idols, the principal hall,

hold

Lamp

of brass with a

honoured guest.

here meant are the several places as

ac-

considered as the embodiment of anspici-

is

ousness and prosperity, and hence to

made

The lamp

oil.

further

at the foot of the

solid stand

consists of a

are

also other parts that

require lights or that the

pant can afford to provide with lights.

occu-

Besides the Kangoli and

flowers, akshatas or entire grains of corn are also strewn about

the places occupied by the lamp stands. T^JT

not only

inauspicious

lighted in the evening at

but even

all,

And

an hour or two after nightfall. afford a light will have

it if it

The

idea

is

among

the

lit

poor people

oil in the

people

tf-


auspi-

the fact that

up

a

light

is

that

it

is

not

late,

say

who cannot

be for a few moments even

will burn something else but he must have least.

The

if the light

if it

If there be no

beginning of the night.

time at

nf ^fff'r^r:

may be understood from

ciousnoss of the lights

considered highly

w

the evening.

lights of

Auspicious

is

JTWfrffi3r: fl^rtf

sffrfar

at the

house a for

man

a short

Lakshmi the

goddess of wealth and prosperity, always fickle and always arbitrary, enters

and

wo

any house she likes

if she finds there

to the

no

at the

light in

it,

beginning of the night, she

man whose house Lakshmi wished

which she went away

for '

'

fWsf^,

is

worships'

want of a

to enter

light therein

When

honours/

will go back,

!

the light is placed the

females, generally the elder ones in the house join in reverence and address

it

thus

:

and

but from

their

hands

NOTES.

72

1 '

May we have

auspicious prosperity, of

flame

Salutation to thee,

enemy may be removed

!

is

way.

a

lamp says

placed by another person the lady of the

house will then go and do

The reverence

places

and relamp on at every time she lights the

peats the same there, and so

If the lamp

riches.

in another place,

so arid proceeds to put another

lamps.

and

the lamp, that the hatred of the

The lady who

'

1|

wealth

is

reverence to the light

generally done

first

in

the

same

by the matrons

who

This does

not

put the lamps in their respective places. '

the matrons

STSTFcTOrSFT: >

of

the house.'

e.

necessarily

mean matron-servants, but 1

house.

of the house which

has

the elderly ladies of the

not exactly a harem in

STST'fl is

the

ladies

and

a single wife

apartments occupied by the wife with, sister, her the SRTRT or

law

and

Fff:3^ of the

aunt would be the

Pururavas too

place.

it

will

The reading STS^'j^T *H: tions and

is found in

Even when

occupy.

man

a

have but one, the

can

in-law or mother or mother's is

Sanskrit but the part

it

sister,

or

sister-in-law,

The mother, mother-in-

house.

57^| 5M*T: spoken of in this be remembered had only one wife. 5T

;

;

the one met

is

apartment or may be, her mother-

seven of our Mss.

with in existing ediIt

would mean

'

the

of the house' and not people grown up in the female apartments * Lenz and Bollensen as both of the the old servants harem/

wrongly

translate.

W\'.

is

used

at

the end of a

compound

to

but not, I think, separately from the noun to signify the plural,

which

it refers.

sraTRTySTSFT:

might

vants of the harem,' but TOFtlfift ple

grown np

Both

owing

mean

'

the old (male) ser-

R: can only mean

'

the peo-

in the harem.'

and Bollensen have misinterpreted this stanza apparently to their ignorance of the household life of a

Lenz

ACT Hindu.

do

has nothing to

tfT^RIoFJ **[RPT

S?RKR"^:

73

in.

STSTF^Jst SR": can. never

with

'

and

'

altars

'

mean

the faithful

old

ser-

'

vants of the harem,

Katavema

differs

and

ffi?ft.

from us only as regards two words, viz. 3rfft l*mft Here is his explanation :

is

:,

not quite correct)

D very correctly explains 3r%T Tr: by

Eanganatha '

\

whose forms had been fashioned by the

He

chisel.'

also

quotes theTrikandi '
11.

5-8.

7fcR

This phrase

being destroyed.' epithet

JTf^ffir^

&o.

as applied

^TT^JrTR, is

to FlK:.

added in order

That

in order to justify the comparison, the is

The mountains

noteworthy.

the

'without

wings

to justify

used

epithet itself is

of which

extravagance

had wings

the

formerly,

which

were subsequently clipped off by Indra. The King appeared like such a mountain before the clipping took place. ^pRKRlrfl

is

a thin and tender Karnikara

female attendants

and tender.

The

are

here compared

is

to

which the

because these were thin

lights in the hands of the girls appeared like

the bright red flowers of the Karnikara. der form

tree,

much admired by

A

thin,

Sanskrit poets

tall

and ten-

and compared

to

a yashti or stick. P. 70. its

11.

12, 13.

long hours owing

Tfr5fRff$TrJTf, 3?PRP?f^frcfr

to there '

P, 71.

11.

3-5.

iTfwSjJj,

being nothing

ITM TOT: to

'

8F,

with

engage me.'

on the top of the Maniharmya/

i.e.

NOTES.

74 from the

called.

tt^T scil. SC.

fdtR:, sfrtFFfiH:.

OTJT:

*m^f.

soil.

P. 71. is

on the top of a palace so JTMTORrf^t. e. ^J*T.

situated

terrace

1.

going

'WT

9.

do

to

think there

no

is

P. 71.

other

it

meaning to

anything

10, 11.

11.

Friend, do you think what the

Devi

really on account of a vow? 'i.e. do you

is

or has

the vow,

'

&c.

rr

'

&c.

the

in

do with

coming fulfilment of

my

conduct?

Her Majesty

I think

struck

with

make amends

for the contempt with which she under the pretext of performing a treated your prostration, ceremony in fulfilment of a vow.' See supra p. 62, 1. 10 and p.

remorse wishes

64,

11.

to

notes ad

2 and

1,

P. 72.

l7

T

= *T??f:

:

W. ^rw^V^^TT^

TOcfl^WTfHflfK

||

'Self-respecting

having contemptuously treated a prostration at

though

they are subsequently

first

TPJTF^f

TT
>-*?TOro<3roi?lf: &c. Construe

11.

women,

loc.

stung with remorse, become never-

ashamed by the conciliatory acts of their beloved The version which reads f? for TTT, fff?^: for Fw^:, aTJW^

theless secretly ones.'

for

^T^T^

version

of

stanza

and

',

and *R5T4:

for

TJpft:,

may be

easier,

therefore, impossible to say

it is,

but

is

not the

Katavema has no comment on the

our best Mss.

what

his reading

was.
in

1.

1

explains

f

T^^aT

in

the

previous speech

of

Vidushaka.

The meaning is that though women may feel remorse after having shown contempt, they would not show openly that they feel the remorse, but would feel too bashful at heart to come forward and openly show their regret. Take R"^- either as an adverb or as an adjective in the sense of 'acting silently.' P. 72.

11-

the Ganges,'

7, 8. i,

e.

^TWnKff SMS
'

gently rising ono

as beautiful as the

waves of

above another, not abrupt

ACT

Like the waves of the Ganges, which

and high. ary

regard as white, the flight of steps

to

P. 73. 11

must be very near, P. 73.

also white be-

is

^afrsiTT

The

Tf.

rise of the

"

&o.

Kanganatha

3T*T1RT:

:

'

SvTF:

Trf*rorf<3

I

The East

East.'

Indra,

who

They

?Kir^r?f*snT

ffrj?T."

is jff^W-if'v^?

has the Hari

because

f

of the

face

over

presided

f

his horses.

for

the

,

is

it

3T3R5R

by

(literally yellow,

are a pair of horses so called, and belonging to

tawny or ruddy) Indra.

moon

&c.

since'

3^JR

4-7

11.

'

^*p3pr

1, 2.

custom-

it is

marbles.

consisting of

cause

75

in.

more than two and even then they

are sometimes

are called Hari

The East

(plural fOH).

is

here compared to a

young woman, who during the absence of her husband in a distant place lets down her hairs uncombed and untied which hang about her

and who

face,

face thereupon becomes

impliedly referred

to

or WTPq-, see p. 74

here as the husband of the

1.

8, 9.

11.

made

and called Ord e.

the moon.

T^OT)

What

it is

moons King

modaka

of 'modaka' see

Here,

however,

ball of sugar

in

(

^" !7 ?,

our

modaka'

Guzerathi

favour at Benares,

'

of the twice-born,' " Conf. Harivams'a Adh. 25 st. 21 ?H*^t ( i. e. sreriftf 3T: is

why

King

J*TfffT,

the

|

Crtrr^Rf RUT^rrTTf

moon

ths first three orders,

called the

is

may

^

STT^ST^.

King

of the

perhaps be uncertain.

very likely the epithet has something to do with the

identification

in the

109. 2.

e.

OTF

(pi. ore).

the real reason t.

2.

snow-white and much

u^ wr


'twice-born

But

as a

'

1.

equivalent to a Iddu or round is

as beautiful

For a description

of sugar.'

khanda) which

f.

^^RRTi

2).

J^Rrareftstfaft,

note to MdlaviMgnimitra p. 17, is

(

East

'

P. 73. or ladu

them up at his arrival, and whoso and brightened. The Moon is

ties

visible

hymns

with

of the

In. I. 91. 5 occur

the

Soma which

Rigveda. the words

is

often

See Rig. VIII. 79.
$W *m

S^T;

?r

called 8,

X.

76

NOTES. P. 74.

11.

3-6

Rf??:

Kanganatha UTirr^^

:

%3\

Brdhmana

Conf. Attar'eya

$F?R'm

I

and

fices are offered

MRF^

^r^

|

certain Vedic rites

The amdvdsyd

or

day into the body of the sun

Adh.

|

40. 5. Sacri-

are performed on the

(

ifffTIW^

moon

entering

which

),

if

lie

on that did not

would be no amdvdsyd and consequently no performance

of the sacred rites by the pious

(

?F3: ).

'

rRT, with

:

the night without any moon-light

believed to take place because of the

do, there

||

flfg-

^?Tf f^TF^.

^r^ir^RrrTrqifjTrffsrR

is

TO

r^:

1

amdvdsijd.

Conf. Katavema

&c.

drink

ancestors)

gratifying

Gods

the

The Gods and the Fathers

nectar/

different parts of the

and the Manes

(souls of departed

moon and

are thereby

That drinking is the cause of the gradual waning of gratified. The Mddhaviya Kdlanirnaya lias the the moon from day to day. following

:

JnJTt (soil. ^ci5t)

All

being drank by

the

this

to

childish

sacrifices,

&c.,

owes

its

fWT

^ff

:

|

myth about

HT

the

moon

and thereby losing one

again restored

day in the bright fortnight

ed to Agni in

ffJsfsSfaf

various gods

phase each day, and being

day

IWf

to

his

phases from.

through the oblations origin to

the

offer-

identification of

ACT the

Moon with

our note ad

loc.)

(See Eaglmvams' a V. 16 and

beverage.

Moon

of the

said

the gods and

'gratifies

77

After the identification, whatever could be said

Soma was

of the

Soma

the

in.

hence

:

Manes with

the

that the

it is

Moon

the nectar' contained

in him.

P. 74.

8, 9.

11.

and says that the salutations

P. 74.

whom

to

he

(the king)

to is

sit

down

offering his

speaking through him whom he (the moon) has the purpose because he is a Brahman. PT
p. 5-

1.

3 and the note ad

$T

10, 11.

11.

light of these lamps

who now

the

says

loc.

flnWlfasitfsf

We

?'

'why

the superfluous

must suppose that the maidservants

held portable lights in their hands king,

King

is

selected for

See Supra

Vidtishaka asks the

iff.

Moon

lights

while

in attendance on the

be taken

may

as

away

the

moonlight was bright. f'T^TPR^ IT'TRT: shows that the girls held the lights in their hands and stood which the King implies is a trouble to them.

It is

be noted, how the poet withdraws

to

the girls from the scene where they are no longer required. P. 75.

11.

to the eye ? '

5, 6.

tC

that the state 11.

is

Literally is

'

75 T

'

'

that of course

next page

f

SF,

to

tion of his condition

the

King's health

1, 2) as to (

is

it

not

too

not that apparent indeed

perceptible

of the

why,

eye.' (

aTf*'4f

)

i.e.

to

apparent

That

is,

Viduslvaka means

flf="*?f3W)

make unnecessary

?'

is

him any

his sufferings.

such (see descrip-

True (
and pale appearance does not sufficiently indicate the sufferings of his mind ( 'HflrwrPT: ), which are very great, ^o537T. The existing editions have failed to find out to what tff properly refers and the Calcutta Edithe King, but

replies

(TR"-' )

his poor

None Lenz actually read S^flt after the pronoun of our Mss. nor Katavema nor Ranganatha ILKVQ the addition.

tion and

!

All the corruption has been doubtless

omission of the auusvara over the

T

caused by the too natural

before

NOTES.

78 P. 75.

1.

tiR; HTfiRrr

T.

7.

Katavema

^rrir

jfranw

75.

11.

8-11.

P. 76.

11.

1,

:

'fl-m: R*tr^r:',

Ranganatha.

\sr?r-'-
2.

means that the king with his drooping limbs should appear dejected and in low

(

Vidushaka 8T^T?

TKCf^TRRfl

)

Such, however, he does

spirits.

not appear, but on the contrary in spite of the drooping limbs

him the more

and cheerful

Vidushaka

finds

From

he concludes that the fulfilment of his desires

this

This refers to an idea

proaching. is

lively

additional

auspicious

tokens

^fa) is

.

ap-

that unexpected cheerfulness

This

a precursor of approaching good luck.

the

(*T??*T

that

befal

is

the

confirmed by the

in

King

shape of the sudden twitching of his right arm ^ftfTOlKKT^TJT (See the stanza following). the

following of the

King

the sudden

audience for

By

of

this speech

Vidushaka and

the poet prepares the minds of arrival

the

on the stage of Urvas'i and

Chitralekha in a celestial car. P. 76.

3-5

11.

Such

UaTrsf-T^T:

as

Rf^

tfjftrfr.

11.

6 on the

5,

See note on

p. 35.

1.

4.

^ffa-

previous page and the speech

preceding the present one.

Ranganatha imagines he perceives a play on the word and observes, STOTSTJU ft ^fi^WrflTRT.

Katavema

P. 76. true.'

1.

6.

Mark

^ffrK^ ^T^q-

sfsff

mf^J^rT^fTR

*0f course the words of the sense of

H

1711

^!,

Brahman

a

and compare

=Tr?T


3^1?-

are not un-

page 56

1.

4.

Vidushaka

is emboldened by the auspicious signs the King oband boasts that his serves, words, viz. that the King will soon

have Urvas'i, will turn out true P.

76.

1.

8.

as

he

a Brahman.

is

^fa^f^T^rr, Ranganatha

:

?!^Wifi?W5WBPT J,

fifff

ACT Katavema

P.

77.

11.

amTHrfc*M

Tf5fsrft*ft*r

:

W

3,4.

79

in.


T*

w

J*FW

rr ift WIT: sr

'I wish I were

tffrar,

Purtlravas.'

7TJtf%t &c.

P. 78.

11.

1, 2.

P. 78.

11.

3-4,W*?T.

P. 78.

11.

5-7.

See above

means

1

p. 42,

;

1.

company

(for

which in

construction

2.

The words

Chitralekha

pun.

wishes

of his beloved (some

which he has obtained according

,

1.

to

jealousy by suggesting to her that the

happy enjoying the

lowable

p. 10,

*T?t55V*nTOTaTrrf?.

fr^TWfMiT are intended as a

her friend with

^^TK^

to his

vex

King

is

other girl)

wishes

^If^^f^Tiewril^f T^?-fr is an alPrakrit), whereas what she really

that he is happy enjoying his beloved's [Urvas'i's] which he has obtained by means of his imagination*. company is,

which

)

is

an exact rendering

of

Katavema: P. 79.

1.

5^

2.

3TT

^T

r^rr r^r^rr Rrref?rni7W, 'Child,

other thought about the company of the beloved

you

ITT:.

^T

Eanganatha, '

unworthy thought regarding company of (ro rr T On have spoken of? Katavema adds ?ff

TOnfero^f

^rflt

*R^PnTfnNF*^

improper.'

Conf. '

76,

1.

6.

why do

e.

the

'

unworthy/

f.

'

entertain an

the beloved' I

?

but what

'

Urvas'i replies, fl'TH

).

?>

3 T tTO Tf

^T^ff

Because

my

appears to at p. 56.

mean 4.

'untrue,'

and

at page unkind heart doubts him' 1.

80

XOTES. P. 79.

and

is

P. 80.

4, 5.

&c.

<Jflf

11.

2, 3.

Chitralekhu

TLei'Q

longing

P. 80.

it is

P. 80.

11.

He

not clear from the

some other

Urvas'i or

it is


This

$3.

is

girl that

proposed as a remedy against the

madanabadha that the King complains of

says.

speaks seriously

for.

o.

1.

because

TI^WFrttrr,

speech whether

King's lie is

11.

no longer joking.

6-9.

TJTTOT

goes on

:

9Tf**T:

incurable,

*Hm

*TR|ft UJT:

in his speech.

as

Ranganatha

3\

I

|

Lying on beds of

flowers, enjoying the

cool

moonlight, bes-

mearing the whole body with sandal, wearing strings of cooling crystals round the neck, are some of the chief remedies of love-sick people against P. 81. ^f

K^r

1.

3.

madanabddhd,

the preceding stanza takes courage and congratulates

in

her heart that

and gone over

has gained

it

to the

^F^ = '

11.

4, 5.

MT^&o.

a dinner consisting

console myself by

gested to

the fruit of

Take

King.

Ranganutha.

P. 81.

Urvas'i on hearing the words Sf

ffT*T ^fHr &c.

Oh

Tfffi

RffgJT.

yes,

it.'

Conf. p. 74.

I too,

of dainty venison,

speaking about

its having left her " with STOv^. ?-fr f^T:

when a

feeling

This

is

I

do

11.

riot

get

desire for it

remark

a

8, 9.

sug-

Yiddshaka by the words

P. 82.

1.

1.

fcTOT

P. 82.

1.

3.

7f

^

^^,

'

Hf^T:

but you get

'I think

does not refer to the previous

that,'

this.'

'I say

'

'

Look here/

speech of Vidushaka,

ACT which

,

tlie

contents of the stanza ^*T stands the words

Tf^r


*fi

not satisfied

is

P. 82.

)

3W-

mean

to

notice

but to the

of,

&c. Chitralekha, however, under-

'

the preceding

yes I think

*T^fT

speech,

'Yes

so,' i.e.

I think

and asks Urvas'i reproachfully (for she

her,'

to hear them.

%t

5.

1.

king takes no

*P4 to refer to

and

qrffWr?,

I shall soon have

81

in.

'

frsT

what

that

is it

We

'

you think

?

must

imagine that the King instead of at once finishing his speech, 8 by saying Ti TOf:
and on the other gives the poet an opportunity for of course

)

addressed to her P. 82.

burden

JPT

to the earth*.

Wffr >Tr:

does not

the rest

;

mean

is

a

only

mere

dead clump of

a

a burden to the earth

t.

.

existing

vain.

in

Katavema:

^H

||

^


On ^^^riTRN

P. 82.

11.

P. 83.

1.

1.

P. 83.

1.

7.

STTJT

11.

1.

jesty looks

|

see above Act

?^r >r-Tmr

:

I.

8,9.

4.^

ft'

&c.

St.

iHPTT RH?q^

12-

[W|

See above p. 41

Katavema

:

11.

1, 2.

*T^

n

3WePlTJ^Sf.

On

PT^TR

see

snprd p. GO.

II.

loc.

^76Fffr

'

iTfl

ff%tfOTFrff.

Of course His Mx-

more handsome when Your Ladyship

So does the Moon, she means, Eohini.

^ fTW^W

^fa^fa^rc'fhTrftf.

11 and note ad. P. 84.

C^FFf

Katavema

10, 11.

^ffJffr

P. 83. 7,

T^jl

to the jolting of the carriage, is the

this person that exists with reason

(see Bollenseu) but

earth

J

'This shoulder of mine, that was struck against

by her shoulder owing limb of

not unsought

friend.

7, 8.

11.

(

of interpolating Chitralekha's speech

in

the

is

company of

near him.' his consort

82

NOTES. P.

cause she

Wf &c.

o.

84: 1.

is

going

'I say, I do not

to give us

a

know whether

present of sweetmeats,

of the ceremony

cause using the opportunity

it is

be-

or be-

lay aside her

to

anger she wishes to make amends for her contemptuous treatprostration, but Her Majesty to my eyes appears

ment of your

What Vidushaka means

well-pleased to-day.

He

Aus'inart looks well pleased this time.

that

to assert is

account

wishes to

she does so either because she is two ways going to give Vidushaka a Svastivayana though she is not really reconciled to the King, or because she is really no more angry

for

it

in either of

;

wishes to make

with the King and

with which she has treated

his

amends

prostration,

for the contempt which she wishes

ceremony in fulfilment of a vow. both reasons are possible, but that what he "

to do under the pretext of a

The King says

says,

last

fW^flT

(viz.

TFTTTT^ff
5**TCff

)

is

what he

believes. For 'though wearing only plain white clothes, and having only such scanty ornaments as she must wear as a married lady, her hair decorated with nothing more than sacred

Ddrvas

offered to the gods,

has given up her

anger

of the solemn observance

King means,

even with

ostensibly

she

that simple as

sucli person,

to the

owing

because she

requirements

appears pleased with me.' The her dress is and scanty as her

ornaments are she appears pleased with him by her very nppearance, t. e. he wants no further proof than her cheerful appearance.

Though she might have been expected

to

come

into

his presence in her best attire and with her richest ornaments, if

she had been reconciled, he nevertheless reconciled.

plicity of dress

and paucity of oraments

that she

is satisfied

Her very appearance, simple

as

is

it is

owing

to

her having

given up her anger under the pretext of an observance) to him that she is reconciled.

When serving

a vrata or

it is

observance

enjoined to abstain

is

undertaken the

from the

six.

so

is

(and this sim-

shows

person

spiritual

ob-

enemies

ACT 3>R, ^fa,

*T?,

?"WT

*TW,

and

83

in.

And, therefore, in order

55?*?.

to avoid

Queen has taken advantage of show that she has laid aside her anger, which

the appearance of fickleness the the observance to

she really has.

tfrf^lTW to

given

= ^f^fRFnr,

Brahmans,

of

presents

and virtuous married

priests,

officiating

These are

sweetmeats.

women

(HTfftfflT) on the occasion of the fulfilment of a vow, or the completion of certain ceremonies undertaken to be perform-

ed within a certain time (^ran-T), or on certain religious holi-

The vdyana,

days.

by women and

for so it is generally called, is mostly given

consists

of sweetmeats such as ladus, or fruits

The name is now corrupted into member of one's own family

such as mangoes or plantains. vdna.

A

is

vdyana

not given to a

but to strangers.

The Queen could not

to the King, but

she gives

to

Vidushaka and

Women

it,

therefore give a vdyana

will be

as

apparent further on,

Kanchukin because they

to the

Brahmans*

are

give vdyanas on the occasion of the Mangald Gauri puja,

on the Tuesdays of the month of S'ravana, on the Jyeshthas'uddha-paurnimd when the sacred banyan tree 3%: is wort.

e.

shipped iu commemoration of the revival well

known the

called

consists

of

dry

dates,

return

make

fruits,

similar

cucumber which has

mans and

on

plantains,

is

and

On

the

chiefly

the

being

vdyana

mangoes and

to married

the

husband

rite

women who

6th of the

light

of Khichadi (rice

and in fried muga pulse with ghee) and It is given to Brahits stem unremoved.

Suvasinis.

give vdyanas

sesamum

Savitri's

occasion

given consisting

On

the day of the Makara-Sankrdnti, or

the day on which the Sun enters

men

this

presented

presents.

half of S'ravana y a vdyana

cooked in jaggery

;

of

Mahabharata

of the

Vafasdvitri-vrata

and jambu

jack-fruit

in

readers

to

to

the Capricornus, married

Brahmans and Suvasinis,

wo-

consisting of

seeds, carrots, pieces of sugarcane, green peas or gram,

and wheat,

all

put in a new earthen pot covered with a new eathern

84

NOTES.

The pot

basin

and given is called sugada (=su-ghata). Bralimans and to married women. Widows

so used

Vdyanas are given

to

can neither give nor receive a vdyana, which privilege of married

may owe

its

whom

to

given give blessings

seems

to

alone they (^Hflff)

be different from

on

might

Women

have been

originally

receiving a vdyana. in this that

*TfWRR^

nouncing of a blessing with Vedic verses mans.

man

occasions of S'raddhas a

The name ^R^f^nRfif may that the Brahmans to whom they are

to the fact

origin

and

given

On

an exclusive

is

vdyana to a Brahman.

a

give

women.

and

^'Tf^HT^JT

it is

the

pro-

done by Brah-

is

cannot give a svastivachana as they cannot bless

and are debarred from reading, reciting or hearing the Veda. Construe

JT^fr

with TFTTr^l70 and not with ^^ff^TT because !"

Vidushaka does not yet know what vrata it was that the Queen was going to perform f. e. whether it had any reference to the

He

King.

will

know

later on, p. 87

it

The simplest

Rffitepil.

dress of a

Hindu lady

or patala, so called probably because of

be derived from pntala colour

'

of a

7.

1.

its

a white sari

is

or

thinness; '

pink colour

which

is

may

it

the usual

of a pdta\a.

JT^JTTrsrowr.

There are

ornaments and

certain

decorations

which a married woman must wear howsoever poor and how To wear and have urrwilling soever she may be to have any.

them

is

a sign

mangala, to

and

to

mangala.

to

absence of them

is

of glass

These then were

all

beads

is

the ornaments

a

is

a

it

to

had.

- WCT3T1W.

Kanganatha prefers to take signifying certain decorations only and does not refer SF

is

a mangala,

round the neck

that Aus'inari

of

that

apply the red mark on the forehead

have the arms besmeared with saffron

have a wreath

gWR- WX\ as

of wifehood, as the

Thus

widowhood.

J?

indicated by us.

He

says

ACT

when women

85

in.

On

occasions

fine

ends of the Durva grass are offered to the

remnant

the

worship,

and profane

per

or

is

scanty

follows that

it

enjoined,

from

Gods

in

of ceremonies calmness

passions and pleasures

all

the person

is

not then ornamented or

is

so

simple

and ornaments.

decorations

vow

or

flowers.

Hence Aus'inari was

in her

God

in their hairs, the pro-

occasions of the performance

decorated.

in wfiicli the

ornament of which consists of gold

gay

abstinence and freedom

and

ceremony

put by them

as well as choice

and other jewelry

As on

perfoitn a

If

in her dress

and

were not

for

it

been more splendidly dressed and ornamented, as she was reconciled with the King.

this observance of a

Her appearance

nevertheless

^TWmWf

1.

6.

SFf

1.

7.

rtarryTOrT'T

satisfactory that

so

is

him and

foriven

feels sure she has

P. 86.

she would have

reconciled

is '

that is

flf^re,

the

King

with him.

well said, without

jealousy.' P. 87.

pond

to 9T^R IT ;T*T,

^WRTO

rr3T -

the former applied to a

appears

woman who

please or reconcile her husband or lover after giving

and the

latter to a B

mistress.

T3*T*T,

man who

however,

3TR^JR%

^

3t RffiRlfr

P. 87.

1.

10.

3T*Kr*T

P. 88.

11.

1,2.

P. 88.

11.

6, 7.

7^4

'

is

to

offence,

also found

used of a woman-

As

Kirdtdrjuniya IX.

:

See

above,

note

on

p.

78.

11.

3, 4.

so much,' not in quantity but in quality. 1.

8.

PJT*Tf &c.

oppose auspicious words.' the

tries

adverb qualifying

'

P. 88.

him

similarly towards his wife or

wR^-pfa:

-Construe

T3r
acts

corres-

to

Queen

says,

Be you

That

is,

Say nothing more.

You ought

not to

you should not deny

what

silent.

The auspicious words ap-

NOTES.

86 pear to be

forming the previous speech of the Queen that

tliose

has

observance

the

for his

the sentiments and language of the

Vidushaka

result.

good

Brahman and draws

speaks like a

upon

a

produced

utterances

sapient

men

class of

which

to

he belongs. P. 89.

the

qrafflWtff

"

P. 89.

'

SffT

Maniharmya.'

1

WTffWWlt 'which

?.

that

so

'

OTfra?

7.

The question has fasted

arises

There

day.

which may justify the

accompanied by that the vrata

was

appears nothing

should be eaten

after

moon-rise

shortly sankashti (the 4th lunar

observers of the SanJcashti

require

P. 90.

11.

1.

dT

3-6.

vrata

soil.

day of the dark fortnight) the take no meal till they have

^fa^

|

UTJtf

r

w

the

^reeRKfrf

this is not

who

passage

flffrofa

he could),

erf

P. 90.

11.

7, 8.

fa

'TC

after

moon-rise

arm^S.

of the devi but to the person

Katavema reads

all

food

and the performance of the

worshipped Ganapati, which they can only do on that evening. 1.

And

that no

For instance on every Sankashta chaturthi, or

rite that follows.

P. 90.

one

is

think, lies in the fact

by moon-light.

now performed

Queen

in the play

the vrata

assumption that

be performed

are

till

has found out that the

The answer, we

to

such vratas which

as best

are

ff7irTC*

your fast,' i.e. this observance of the which you have been fasting to-day.

how Vidushaka

on the

a fast.

^

"

I may.'

Rangauatha.

1.

ceremony on account of

so far

Accusative plural, which

nouns ends in

in Prakrit masculine

here on

^TTf.

TTOwr*T*fy

1, 2.

11.

&o.

|

a direction to the character

represented that character. thus

:

(clearly a

7flr

t

3"

ttlft

\

^TO

<3\

bad reading explained

ACT ,V

Katavema. Urvas'i means

Aus'inari or

and reproachful.

does not

know whether

to propitiate the

Bollensen


by

translating

slie

and wishes

really sincere

is

sarcastic

is

87

in.

by *wr:.

King

not correct

is

iu

Lenz, the Calcutta

Editions, Kanganatha and Katavema have correctly Win.

because

locative absolute. frftrr, J?gq6ni, with a broken hand/ 'armless,'

P. 91.11. 3-5.

he

is l% TO Tfi'
P. 92.

^3^>

II.

3T-W.

2-5

SH^only and

Construe with

not with

as this requires an ablative in Sanskrit. '

P. 92.

be

'

11.

6,

Iff! ff

7.

*ir

be so or you

you may

3F,

may

not

'

so.'

as prescribed.'

Sfifri^rftt,

This speech would show that Aus'inari ciled,

make amends

but only wished to

as her fault, viz. her having

reproachful consent given

Urvas'i

is

not really recon-

is

what she considered treated the

contemptuously

But the passive

stration of the King.

for

to the

by her

pro-

and sarcastic and almost

King making

love to

regarded by the author sufficient to satisfy the King's

conscience and justify the rest of his proceedings. P. 92.

'

1.

9.

lord, I

have never broken a sacred

Staying with him any longer

rule before.

which

a breach of the rules

with the

my

^T^sTTTf

would amount

she has to observe

to

in connection

observance, and she wishes that he should not tempt

her.

P. 93.

1.

3.

i*

W

&c.

'

But why should you despair and

withdraw your heart from him P. 93.

1.

7.

5 Tri

^W, '

tion, equivalent to

?'

particles

would

Kf ^PTK'

wishful supposi-

implying a "

that.'

3TfT

R 3T*T.

scil.

^Rfr eHR" ^nrra^," Kanga-

natha. P. 91.

day had

!'

1.

1

H5T {fa&R

Urvas'i as

it

tinio to finish his

were

JTf

!

'that Urvas'i

interrupts the

sentence and

may be happy

to-

before

lias

King

puts in her

lie

own wish

after

NOTES.

88

Conf. Banganatha

the particles.

sjpni

P. 91.

3-6.

11.

Urvas'L

^fi ^RrfSfJH

:

I

*K

a?r?n*r
herself

'being

*T2T,

because of fear,

T-TRTfTRF

tff

TR^

invisible.'

1

-? flfsrrcT.

'

^3RHR
soil.

were

brought forcibly,' because she ( Urvas'i ) would be R'TRffRT, after step,' slow to move.' T^T^ step step by step,' TT*^ '

'

'

'

after aTHRtf.

accusative of motion

by her

tf^F,

^"J^f

clever

friend/ Chitralekha. P. 95.

3-6.

11.

K&tavema

'

P. 95.

the

:

8.

1.

King took her on the same

ing, so that they

3%

Jiff,

11.

officious'

1, 2.

SfaiJ%

virtues of another,'

the

is,

was occupy-

sees

one

who

e.

speech).

lexicons

who

she .

UrvasTs

'

7 CW^PT SWi^ff,

JT

as

is, '

plain

&

iTf

jfflTliWr

it,

seat as he himself

were in close contact with each other

see below, next page,

P. 96.

That

on the same seat as himself.'


do not regard

only the faults and is

me

as

and commentators oxnot the she will

that

so officious

run down the accomplishments of another and attract attenThe same is true of JUJflilt as applied to tions to herself.

Hence the word

a man. peoples

affairs',

making

comes

to

love to

a

*

mean

man

meddling in other

or a

woman

married and that does not love her or him,' as the case

Compare Baghuvams'a S'dlcuntala, ^f:

P. 96.

1.

you here?'

3.

note ad.

is

be.

may

See also

loc.

qxwrfJTR f*WT SIFT^warwj, Act V. Cf

5fa

rpfR 3?^wff

Are you going

you forgetting that gested to

XII. 22 and our

that

it

is

Vidushaka by

'

^rsifr.

to act as if the

not night yet?

what

Has the sun sun were set

The question

Urvas'i says in

the

set

to

?

Are

is

sug-

preceding

ACT

speech, especially

W*W,

^CwrcFr

89

in.

words $ TWTfr

tlie

which

to

his

fT=>?

mind seem

SKfWT* TTmf to

'

wrong

obviously

from sun

set

?'

wie seid ihr schon

(

But there can

it.

also be

little

past sunset as Vidushaka

would have been a proper one

to

is

if

it

is

sev-

The question

speaking.

ask

doubt that

For the time

of the whole of this Act commences from sunset and eral hours

hier ?)

Sonnemmtergang

memoriae on the part of the poet.

a lapsus

is

seit

Bollensen

you been here

is

our Mss. with

ing editions have it

have

how,

H

genuine there CHU be no doubt whatever as two commentators read it and all the exist-

That the speech all

in translating,

f

convey a warning

that they (he and .Chitralekha) should leave the room. is

Tf

\

scene had

been

reads srjfWT.

Chi-

the

laid in day-time.

P. 96.

11.

5-8.

Katavema:

P. 97.

11.

1-3.

T J ?*nT7.

*T

Katavema too

tralekha mentions the fact that she

is

to

going

attend upon the

See note further on to p. Sun (TT^RT^T: = tfr?^:, ST*>jr^: which in the hot season succeeds the spring in order 102, 1. 5) j

to

show

that she

will not be

able to

see

them

Urvas'i

not

Chitralekha were able to see her from

if

Hence

for

some time.

therefore likely to yearn for Svarga, which she

is

that the

it is

King

time to

asked so to behave

is

as to

would time.

avoid

giving cause to Urvas'i to yearn for Svarga.

On

WtfT

?ffr

P. 97.

1.

5.

3JTT*f conf.

Kananatlia

%^3TFTWff "TTOl

done

is that fishes

The

allusion

is to

never shut their

are

word

[f

^PH R^Cr^TFT.

mocked by means of

the belief that those that

I^NFT

'All that

twinkleless live in the

is

eyes.'

Svarga always open, and are as There is an amount of satire in

eyes but have them

twinkleless as those of fishes.

the

:

which deserves

to

be noted.

NOTES.

90 P. 97.

7.

1.

P. 98.

11.

^

SW^T

10

9,

TO

&c. Construe: ?

&c. '

n?ff %ftffr !

distinguished by

many

potentates

obeying my order held on their heads and thereby brightening it with the rays of the jewels worne by them in their crowns/

The

allusion is to a letter containing a royal edict, the humblest

way

of

obeying which

receive

is to

on the head; and when

it

a crowned head receives such an order cious

the crown

in

stones

are

on the crown the pre-

on the

reflected

'

The sense

thereby becomes brightened (U^r.)

is

letter

which

which

is ac-

knowledged by many crowned heads.'

How

'

wonderful

is

of one's wishes, giving rise to contraries

!*

P. 99.

P. 99.

^rTf^

^

4.

1.

*

P. 99.

1.

the

now

&c.

TKRrf

6-6.

11.

&c.

pained me,

Wf"

*Tf r

v


same

z>

which used

arrows

of

to

burn

me

before.

which formerly

Madana,

please me.'

ewFajwr =

7.

j

the accomplishment

"^rsRTOTrjfr."

^R^

Eanganatha.

P. 99.

P. 100.

11-

2,

would appear P. 100.

WfTTC "CTtf ----

11.

1.

The

Tra?K r ff*T. r

-

the palace

4.

1.

3.

I

W un

Maniharmya was not

where the King

wfarT3P7

tf^Rt

^-TT

it

lived.

'

lielp

friend out,'

your

i. e. '

lead her out.

your friend P. 100.

fl*M:

in the

genitive

sense

of

the dative

.

11.

9, 10.

Kafavema: ^TJT^f^rff

(

that is

I

how he

reads

to

ACT

91

iv.

Act IV.

P. 102.

1.

1.

P. 102.

11.

2-4.

Katavema

:

rqwaTJTrT^TfTr^

appearance of your face, which R*? connects to the

fflpHOT^W^f

I^*T

with

t

5??H s^Tf

JfW

and

In fact foftpnnTOCTTOr

verb g%fT.

'tlie

poor

like that of a fading lotus.'

is

is

not to be referred

ff^T

Pf^

is

equiva-

lent to

P. 102.

11.

5,6.

argrrirCTssrrTT,

the Apsarases have to perform.' ^^T.

^[^T is

a

time, an

'by the turn of service which 9l c TOtt

appointed time

^ -^iTTru: ^f r

?Kf:

of service

or

7*ff-

of doing

any task or of the regular return of a recurring event. The is still found in Guzerathi which has preserved it almost

word

intact (^fCf),

:

is

in 7PfR?

as

sffO,

^R^Tf ffU

&c.,

the turning or rotation of the

especially

the

turn,

in.

coming

round of the turn. ffiVTO OTflflB^STO l

Surya,' is

'there

is

the

service

the Venerable Surya has to be served.'

the service

way

fiftj

of

of speaking

of

feet of

the

'

there

Literally,

of Surya.'

This

is

of a person held in great reverence.

The

foot

the

soles

of the

feet

a

NOTES.

92

being the lowest- part of the body (and that

Divine Person q^Jf 5Tf 4fflWl

may

be referred

to

by

thought the

is

)

It is not

inferiors.

S"ft

5RTniTr:, '

of the venerable S'ankara,'

Rdmdyana

JssTW TnW.

sic.

IX. Adh. in the St.

quoted

95Tf

qTTflr5Jr?fTt

What

this

upastMna

is is

tlie

opinion

the opinion of the venera-

is

reverence than

greater

fJTW Bhdgavata as

is

limb that

meet with

to

Padamdla being lower than pada

ble Acharya.' to indicate

fittest

such

P^RT^IR!:,

such

the famous

why

rare

'

expressions like

is

S'udras from the feet of the

so called

Pnrnshasulcta derives the

is

then used

Conf.

pada.

TRW

Also sfirwrRSJfJFT

Petersburg Worterluch, wliich therefore equivalent

to

see.

friWrWJR

appears from the Bhdgaoata Parana.

It says

'

Every month

in

the TCishis

Surya's progress

praise

him

in

such of the hymns of the three Vedas as are addressed to him

and the Apsarases

the Gandliarvas sing

Nagas

him

(snakes) serve

accompany

the car

as ropes

dance

to tie

as harnessers;

before his car

;

j

his car; the Yalcshas

mighty Rakshasas push the

car from behind, and the sixty thousand holy Brahmarshis called

Valakhilyas go forth before him, the praises.'

Each

The names of the

month

forth with the

these six Ganas

Rishis, of the

of the Yakshas, &c., that

month

in

Lord Surya, singing

attend

do

service

Gandliarvas, of the

upon and

which they

serve,

by

his

turns.

Apsarases,

serve Surya are set (Stt. 33-43).

We

ACT

93

iv.

learn tliere that the Apsaras Kritasthali attends ami serves R9ffi

)

MenaM

iii

month of

the

in Jyestha,

pada, Tilottamd in As'vina, gas'irslia, Purvachitti in

jlt(l) in

PMlguna.

Chaitra,

Eambhd

Punjikasthali

in Ashddha,

BambM

in

in

AnumlocJtd

(

3"T-

Vais'dkha, in

Bhddra-

Kdrtika, Urvas'i in Mdr-

PausJta, GhritdcM

The month of S'rdoana

in MdyJia and Sena~ is

omitted doubtless

A

commentary on the Bhdgavata ( Bkdodrthadiaccidentally. pihd) quotes from the Karma Purdnci certain verses which give all

the seven Ganas that form Surya's train of attendants

twelve months.

fr:

in the

94

NOTES.

-fr

Here

fflr

flf^f

too tbe attendance

Cliaitra but the

and service begins

order of the Apsarases

is

from

apparently

slightly different.

It will be seen that our Chitralekha is not among the Apsarases enumerated either by the BJtdgavata or by the Kaurma unless she is identical with one of those there enumerated. According

what Chitralekha says ( p. 97 I. 1 ) she has to attend upon the Sun in the hot season which comes after the spring i. e. to

;

Ashddha

which months according to the Bh'iJi/esJttJta attendant the gavata Apsarases are Menaka and Rambha, and Chitralekha according to the Kaurma Menaka and Sab aj any I.

in

or

in

can be identified with none of these as they are separately mentioned in the play.

It

is

probable

therefore either that Chitra-

lekha and her turn of service in the hot season of our author,

or, if not,

he has refused

to

are

a creation

follow slavishly

the

order of service of the Puranas arid assigned her the month that suited

liis

purpose best, being indebted

for the idea that the Apsarases

to

have to

the attend

Purana

upon

simply the

Sun

rotation.

by

P. 103.

she

is

11.

2, 3.

faring just

covered a great Tflft

'Then

in order to find out

how

put myself in

contemplation and

dis-

tft ?*nc &c.

now

I

calamity.'

Accusative of duration,

ACT P. 103

5, G.

11.

D5

iv.

'accompanied by Rati, or

tfftffrfcf,

love,

unaccompanied by any other female than Rati. That is, no other females with him except Urvas'i and except Rati

Rati.

is love,

lie

t.

e.

took

indeed

The reading SF&KFTTf found in to recommend it. Why should

pleasure.

the existing editions has little

And what does Lakshnu King take Lakshmi with him ? mean here ? He did not require either wealth or beauty to be

the

taken to Gandhamadana from his capital.

yixiWK'nW rf?Kf

^

rp-jr

(

corrected

into

jirrctfiTT

$13

*T

^T-W^ TW fW?KTO ^m^r TO HJrr>*fcw-

Katavema

Conf.

*Kr.

)

|

This

||

:

where Kalidasa sends a newly married pair

moon

to

his wife

Uma.

1.

1.

equivalent to *TtT P. 104.

11.

Mandakini.'

rrT

flT

had in places like

The

those.'

Wr^T

tfiftil

2-4.^^^^ jr^ff^

is

That indeed


the

force of *tf

'

Jfotfg,

that

space

dakini,

only the name of

originally

the

natural

valleys

Himalayan

range, the

See th

lies

between the

Covered with

bank

Man-

sand.

an arm of the Ganges like

are,

we

II. 6 ;

folio wins;

name it

of a heavenly

river,

or

ot*

rathel*

descended from Svarga upon earth.

for Cr^fTRf.

F9$?n??'&&lrf CfOTPrr.

Meghaduta

^T5tj MFT^.

of the Himalaya, afterwards became

Katavema has Ct^^f

in

is

is

that the words are

ttJT is

objects situated within the geographical limits

of the Ganges itself before

referred to

enjoyment wliich

on the sandy bank of the

river,

and

is

^W 3^3 T^rjOT

and the bed of a

in one of the

See also Mahdbhdratto

117. '

P. 104.

same with S'ankara and

the

See Kum. VIII. 20 fgg.

Adh.

Udyogaparv.

many

place

to enjoy their

honeya retired but delightful place like Gandhamadana, bub

Kumdrasambhava he does

in the

not the only

is

The heaps

of sand

(

foffTPT^T

)

here

think, the same as the ftf^WZT: spoken of

on which see the commentary note.

of Mallinatha*

96

NOTES.

As Mandakint

tlio

it

region, clhara

girl

tie a

is

Vidyddltaras are a

heavenly river

but proper that

is

exact nature of the

But we think

game

is

it

is

that

following stanza in the Mcghaduta

tavema, P. 104.

Ranganatha renders Rltifr f5H." 1.

indeed intense love in two

ways

What

may

l>e

that alluded

as

the

doubtful.

the

to in

:

is

this

'^-^f^RRf."

by

qiTfr *Tflfff

'That

|

Ku-

And

is fate.

Sahajanya wishes to account

intolerant.

what has happened

for

and so

^

fa-J IJf^fr

5.

heavenly

Prakshipta VIII. Stenzler's Edn.

.

"

in a

river.

referred to

is

Gods and

should make a Vidyii-

poet

same game

the

situated

bank of that

upon the

play

the

of

class

'

1st that fate

would have

so, happened, nobody would expect such an event, and 2ndly it is also true that the love between Pururavas and Urvas'i being intense the latter could not brook even a it

for

it

glance by Purdravas

at

another

This somewhat modifies

girl.

the proposition lfaf by admitting partly a fact of Urvas'i

having taken offence

Katavema reads the speech thus ff

fr^

|

omitting ^fT^f

somewhat P. 104.

7.

cause for

the

Pururavas' conduct.

3%.

which

\

5jrF?t it

^

1^

*W-

must be admitted

simplifies the reading. 1.

6.

Hfrtf

of her husband.' 1.

altogether,

:

at

human

lianganatlia,

m*T

W

anr^ssrWTr, 'rejecting the apology

!"*? see On note above, on Act "^PT7?mRr ST^fi^fiTf." 7

III. p. 87,

the curse of her ipQff^WJt^Wf, 'deprived of her memory by Chitrulekha means that though Uivus'i was not inpreceptor.'

ACT formed that

was forbidden

it

97

iv.

women

to

enter the

to

forest,,

she

so soon as she approached would nevertheless have perceived that forest, if she had not been deprived of her divine nature by ifc

the curse.

See above p. 67,

7, 8.

11.

See page 126,

1.

'

TKTT % ^f

|

into that of a creeper,

restoration from

some unknown

if any.'

event

slightly

phrase

ll

3

own human

does not

know what

is

to

go

to

know

III. 54. 4,

used even in Marathi in the '

The

not

i

rr

or other be re(

Chitralekha-

)

will bring about

T^) means some distant cause,

cause I do

XIII. 31, Edmdyana

Ichijcma

( 35TC

a

the

*"rcr^T^TR 8 TR'

By

).

the reading

is

latter reads

but that she

cause or event

cause or other, some

lf

may some day

form,

WTT-W^

the restoration.

which will depend on

Katavema (the

WT W
Chitralekha implies that Urvas'i stored to her

Her form was changed

^SK^rfrTK^rfrFIT

of seven of our MSB. as also of

varied

8 fgg.

what.

IV.

9.

somo

See Nalopd-

The word

28.

same sense in the phrase

some distant country.'

existing editions are

apparently wrong in

qrf^KRJTRr^T (^R%F?fTl%^Rr^). that Urva'i was changed into a creeper

This

reading

may mean

either

that already existed

and

became a creeper which then stood in the vicinity of the forest. Urvas'i, howalready existed, the ever, did not enter into a creeper which stood in the vicinity of the forest,

words 5J?(W (

see

besides

creeper into

(3"TRT

tj

)

r


%

*?f not favouring such

an interpretation

page 124 1. 10 and note ad. loo. ) which she was transformed stand

of the forest, but within

had entered

or that she

it

before

;

in

the limits thereof,

her metamorphosis.

nor did the the vicinity

since she

SWWfof TKTt^wRF-

5HKT*FT*f TT^JT. Chitralekha does not refer to any ff^JT IKTrt will that cause restore Urvas'i to her own form nor particular does she

know

it

probably,

For Sahajunya's words on the next

98

NOTES.

w

-jTtwr

pn.ge,

*%f

rpWf'3lWt

SW^T

r

r

\

OTTinrawf ?ffffT show that Sahajanya has not

understood her to refer to any

And

particular cause.

Chitra-

would have, on hearing the part of Sahajanya's speech, referred to the SWTRTCrT: ( see p. 123. 11. 3-6 ) had she had

lekhft

any idea of it. P. 105.

!

'

&c.

ffrt-ifr


[

TOT

T*f

7^1

ifCr

is

8 T^T

result of that love.

at

its

Katavema altogether omits

sMr,

5-7.

11.

this'

*W

^KW.

Chitraleklui and ^J5Tf to

P. 105.

*

was

excel-

so

WMT.

calamity being

the

^T ST.

among

us.'

who

r^TFriT

^^WK%

are happy,' referring to

poets and dramatists,

of the

of rain-clouds on lovers separated from their

appearance

"TrflT

refers to the calamity related

'this before

conventional

demonstrative

painful nature.

'causing uneasiness to those even effect, so

Fate

for

naught

^i, e

(TW)

means

literally

Understand WTT or

aT^i-'lT.

shows horror and surprise

the

nothing that Fate

here means 'that well-known,' 'that which

lent.'

by

'there

STTO^fl.


it ].'

by

is

Tf^T Rfl^f ar^fPTlsT

there is naught that Fate respects,'

indestructible

There

dire calamity should suddenly

that this

attachment!'

befall that *

Alas

not injure.

may

rfcT

3, 4.

11.

wives

or mistresses. P. 106.

11.

,

Katavema reads *TpTf1^4

1-4.

and the rest of the speech like

&c. as follows

us.

(

*T-T3TfR^

He

)

for

remarks on

:

some event for reunion, caused by

The understanding remedy ( lit.

is

the

antidote

that as every disease has

so every imprecation (5TrT:) lias its

compassion

)

against

popularly called 3xUf7

its

the curse.

own

1

specific

own solution, ^J^Tf:, = ^^TCT ). On the (

ACT use of 3" ij r

affifff in tin's -J

^ojfifffTr p.

curse of

G7

Kumara

1.

(

sense conf. above

consequence

of

?

tff

S3

Sahajanya means

5.

see the

last

Urvas'i has been turned into a in

99

iv.

speech

page 126

plant must have

which some event

means the

that by nil

at

WT

(

)

whereby some antidote )

will occur that

will bring about a reunion between Urvas'i and Pururavas.

All the existing editions including that of Bollensen read the before the last speech of Sahajanya in

following interpolation the interlude

And

:

they then go

on

much

(

like

frfcr

But were not such,

I

?rr

us

what we

if

to read

)

*TTO call

speech of Sahajanya would be

this last

since after ChitralekluVs declaration that there

is

than the ^TTflPT which will restore Urvas'i, there in Sahajanya imagining

an interpolation

(

TO^

other that will bring about

)

the

no other means

no propriety that there will be some means or is

Besides the poet

restoration.

can only be justified in giving in the

Praves'aka just a hint

and not a broad declaration in anticipation of what place

in the

forthcoming Act.

It

drama

degree that the author of a

absurd,

is

like

is

to

take

improbable in the

last

this will so recklessly

whole of the soliloquy them, even before the Act

lessen the interest of the audience in the

of the fourth Act by at once telling

commences and without any Urvas'i

is to

P. 106.

1.

P. 107.

11.

necessity,

that the restoration

be brought about by means of the 7.

Katavema

2-5.^

*

:

^f ?fr $ft fainT:

|

of

NOTES.

100 ?f

TTTK'Uf '

late

:

W ^OTR^KWf *$ W PTTHJT

|

This one that

a proud Rakshasa

shower of

tins greatly

;

bow;

not an (archer's)

girded in armour

is

ing, not

is

not

the rain-bow,

a

and

this thing here that

touch-stone

the

is

lightn-

dear Urvas'i.'

*ffRr'4T: 'a

ginning

Trans-

ST^fr.

a new-cloud,

bent thing, here

rain, not a volley of arrows,

my

is

this thing here too that is so sharp is a

bright as a line of gold on

is as

*W VWl

new-cloud

t.

e.

a cloud that appears

rainy season in which

of the

be-

the

at

the scene of this Act

is

laid. ^f

The

^TR 5KRRIT. '

equivalent to

a

bow

as

not a

it is

of this =TR

force

bow

as

'

you may imagine,

is

it

is

not

I have imagined.'

^R^'R^K^'fl'.

The touch -stone

as the cloudy sky in

:

is

nearly of the same colour

which the King sees the

The King thought at first that Urvas'i and was shooting arrows

K&tavema

that the phrase

is

flash of lightning.

Kakshasa was carrying away at him (Pururavas) as he fled. a

^SRW ^rft &&: *tar?*R4 "T^Wf |

(sic)

P. 107.

1.

6.

Wfe.

'

Literally

she whose thighs are as

round and white as the inner part of the plantain P. 107.

11.

7-10.

-The sense

ing near me, but concealed

power

May

?

That can not

'May

is:

from

my

be, for her

is affected

eyes through

become quite invisible

to

my

is

her

But that cannot

with love towards me.

of the gods carry her off from

be that she

stand-

divine

anger does not remain long.

she have fled up to the Svarga ?

her heart

it

full,

tree.

be,

for

Nor can the enemies

my

presence.

eyes.

What an

And

yet

she has

act of Fate is this

' !

ACT &c.

It

natural

is

knew

such a supposition as he fif

& c<

fj

This

been reminded

observes

P. 108.

Pururavas should make

that

she was a celestial being.

once of the Asuras

at

her

to

sHWr!

1-4.

11.

not enough that he

On

is

heat

line

^R

deprived of his

suddenly

Katavema

fl'-^TO Wff^

The King means,

&c.

as if

it

\\

were

beloved one, a

on account of the ex-

the new-cloud making the day pleasant

gone

having

and must thereby cause him

off,

pain by making him think of Urvas'i.

WT-

Katavema:

Gonf.

this

he cannot bear, but that there must perforce be

separation that

cessive

he must have

having- carried off Urvas'i

rescue.

?fflfar
3\

:

101

also a natural supposition as

is

when he came

before

iv.

See note to

-qwr

.

JJ^h

105

p.

11.

5-7.

The

full

WnTTi

|

WIFT

P. 108.

verse

is

%75JT ^f

:

fRqifr 5qr?*fcr TOff ^ra^T ^.K^frf.

5-8.

11.

^F^

MaMbMrata

||

'This being rainy season

But

?

the rainy

signs of

force of ^Trfrsnw

^ftHT lias

W

7

!^ he

Udijoga

so,

why

^^

|

p. ^Id7*.

do

season

I not

is this,

takes

me

are doing

he has to counter-order

(

it

st.

If

^ ^^ x

16.

countermand the

so, as

royal

that with reference

for granted that

5T*ff

132,

no, I will rather not do

these very

honour.

to the

1

maxim

The ^fSTf

was he himself that

come

ordered (KT5T) the rainy season to

this therefore it

^Tf^^KW

^flff ^r*rr ff

JJc*TK5T

To prevent

on)

that season,

and

will then cease its course.

P. 108.

'

1.

9. fgg.

H J'^JsTT &c.

Conf.

This cloud bedecked with the

ning

is

the ceiling of

lines are not rare

my

hall.'

Katavema

gold of the

Ceilings

:

streaks of light-

ornamented with gold

even now in royal palaces.

102

NOTES.

:.

Iff^JTJ^iftSW

Indian

||

Eanganatha.

readers,

especially

those

from Guzerath, need not be reminded how the peacocks welcome the 'new-cloud' with joyous cries at the end of the hot season. ,

because the voices were not so during the heat.

P. 109.

1.

P. 109.

11.

The stanza

9-14.

1$C?Jf

there being a

FrRfJTfjt.e., instead of

5.-

---- JW

3P-T

^ffr^r, 'how should the

&c., indicates

I trace

possibility of meeting

signs which might give a trace of Urvas'i,

and

with

which

to

T he

should therefore direct his attention. P. 110.

11.

1-1.

Construe

:

not particularly

may

:

C

also be taken as a

Bahuvrilu compound.

The belly of the parrot on this side of India is dark-blue any more than the rest of its body.

The poet apparently

refers to a

species of the

bird

not found

in the Deccan.

P. 110.

11.

*

5

^J

5-7.

fernfr.

This adjective

intended to account

is

dark-blue (^JT) appearance of what the

for the

&c.

[And that

is

right,] for

how

is

King saw. J-ff any news about my

beloved one to be obtained in this lonely forest

8-11.-^^^ *^,

P. 11011.

P. 110.

11.

13, 14.

Katavema ......

\

P. ill. HIT

ftsftw 'who has long

See note to

eyes'.

11.

:

I

3-6.

fpRdfrsfr &c.

fffTOTTRnf^i7^P^

with

raised far

6-9.

11.

Conf.

^l^

neck

"^'wrgraOT ffRf" Katavema.

high.'

p. 19,

'with his

?'

IR:.

I^W,

I

^rrsr:

yq

'excellent

Katavema

wCr^r^r

hair.'

^w:

||

:

Take

WTiWfl^

when

they

ACT

when they hang down though

i.e.

get loosened,

'

*

the form of braids. :

Kanganatha

103

iv.

T
JJ^T^RK

if it

existing,'

still

remaining in

were forthcoming.'

TOPT:

|

^

T?t

That

I

and

to

show

he would have

is,

proudly as he

so

nothing

His

doing now.

is

of

to boast tail

would

then sink low by the comparison. p. ill.

111.

P. (sic)

7-9." 7^wfR|?T

rcf :*3Rjwwj sgf&RTT SfotFfcwn" Katavema.

fW*

11.

11.

Katavama

10. fgg.

R'JT^^w

l

tft

:

spsrar 5;*r^F^Tfef

when

because

lovers

I

^Rlfa^ffr

^T^r

fall

out she

negotiate and bring about a reconciliation,

when

the cuckoo

|

^Hr vvit

is

I

supposed to

the fact being that

sings, lovers forget (so say

the poets) their

quarrels and return to each other.

IjnwntfSppW, 'able

to

break down pride.'

This refers to

a

mistress who, offended at something done by her lover, has be-

come angry and has proudly gone away, but who immediately on hearing the cuckoo sing gives up her pride and flies back to her lover. Such is the convention among the poeti. P. 112. '

side,'

JTiJ^F

11.

as far as I

&c.

c

WJJ JffiiT

4-7.

am

'

existing

in me,'

'

arising

on

The ascendancy

of

young women over

their lovers

does not require any deviation by the latter from faithful for

them

to get

angry.'

That

is,

age in which they (young women) hold them.

Katavema

:

love

they get angry without any

offence on the part of their husbands, so complete

Conf,

my

concerned.'

is

the

bond-

104

NOTES.

(that is

fl

f

how he

reads)

^TOW J

in Ihe fourth pada explains to be understood after

fqRff

P. 112

1.

*f

*Wft

I

some such

Wft ^ITOtf

words as

**j

f-

cr


WUWfl^ i.

8^-WF^Rreft^,

e.

him in

rudely interrupting

his story.

P. 112.

Katavema

9-12.

11.

ff^^r ?fi

I

OT:

|

:

w^TfTjr^^

JTJT

^

jrrwiFTRpn

*?-

EajajambA must be a jambu tree of the best Conf. Eayaavala, and Kajarambha (the domestic

species.

IX.

&

2.

l.

^JrR?rr

jfr*^5prr^|

wrgtf TffTO^^TJT

P. 112. P. 113.

11.


T^R^:

7-10.

11.

'

H.

13,

provision for

one.

cant

me from For

Even though

&o.

Translate:

sorrow by giving

iu the

it is '

it

so/

Thou

throw away that

;

thy journey, thou shalt have

lotus-stalk,

again

me some news

shalt go to

of

:

tha

meanwhile

my

beloved

estimation of the good, service to the suppli-

more important than

is

TRN

Rajam&sha (*HZQ\), Eajasarshapa.

)

the Lake Manasa presently

save

plan-

Also Kajahainsa, Eajavidya, and Rajaguhyam (in Gita 3 3 yiTrf 4 iff Km^ipt irr^[?rR^r?cf m^rr^r

tain tree).

ftffj^f, for the bird

their

own

affairs.'

can not with the stalk in

its

beak

speak so as to give the King the news he wants. '

'

meanwhile,'

before going.'

TOW*hf. titioner is S3T*;.

more important

The

a man that

is

Lit.

Ho

the good the business of a pe-

[of the two]

figure implied

is

and not their own

borrowed from the

being diowned in water.

affairs.'

condition of

ACT Kfitavema

^4

:

1W

F?

105

iv.

wftSHB^jSfc*

|

*ft

tt WT:

\

" Eangauatlia

P. 114.

11.

:

1-4.

Construe:

3 " " )

not necessary to

it is

^

is

rnPr

( Kanganatha who quotes T^FR But TT^JT.

^ ^^

Lave a double

baliuvrihi

in the epithet.

used as an adjective J?^ ^55 ^raTfc^ (or R5T^^) be a better mode of interpreting.

7?

^^W5n^will On

this stanza

P. 114.

11.

6,

Kataverna observes

7.Katavema

:

:

f frw?

a

I

I

?e |

'

2^,

he who

gards a part [of the property claimed] of what

is

P. 114. [the

ii

(

proved guilty as

||

re-

should restore the whole

claimed.' 11.

name of

fww,

is

rrw?^^R e^:

10, 11. a]

^^

Wf U. ^fr^CT*. for

his

''^rarWPTlWTf "

name/

Literally, 'having

C^WWrftrf If =

Banganfitha).

An

^JRxgjfor-

epithet expressing

an exaggerated way the roundness of the middle.

106 P.

NOTES.

1H.

12-H.

11.

*:

Conf.

3T 53TT?.

Tt tflffoSlft (be differs slightly

Purtlravas was

he

is

mother's

hence the Sun

Ila the daughter

his

See also p.

5,

2-5.-JW? ...... HW^T

Conf. Katavema

hining in

11.

^

6,

11.

^'4^Tr

will

make

done so

11.

1

op-

wife.'

^

|

^^W-5:

|

R'^t ffj% ffW J

(tliis

he

'

s5*fr &c.

In every

respect

That

my

fortune

is

no where

is,

do I

slightest hope.

8, 9.

^TTST, 'stops me,' 'prevents

10, 11.

me from going

:

*wft iT^r^^R^^^^rjOTf^rijr^, 'i

a request to this bee, lest I should regret having not

after I

P. 116.

'

*T'^Fi?jr%T^rf'^':

not correctly) OT:

Conf. Ranganatha

P. 115.

21

loc.

fltfff

|

full force adversely to me.'

meet with the P. 115.

my

st.

11.

:

1

S^arwrR

:

reads for the second

P. 115.

His

^?f

I

tf

hence

'Although ...... yet.'


very frequent construction in Sanskrit.

posed to [giving me] any news of

:

See p. 160

ad

\

side.

of Mitra or the Sun-god

3 and not

1.

Moon

father's

his maternal grand-father.

is

loc.

P. 115.11.

A

Moon on

of the

name was

and note ad

sou of Budha the sou of the

tlie

the grandson

from our reading)

am gone from

1-5.

ifrUNCT:.

this place.'

See note to p. 246

of Addenda to our edition of the

where you are

sitting.

Baghuvams'a.

st.

67 at page 5

*TK^

on

this

ACT Conf. Katavema

P. 116.

11.

P. 116.

1.

P. 117.

11.

HJ^arn?

:

TO*

|

TiMfaRTi?nnT

9-12.

*

13.

fffllto HfTT:,

Katavema

1-4.

:

107

iv.

ETTT^'H

ir?53N

Ranganatha:

be has Lad his meal. 1

JT^ojairr?

|

(he apparently

reads

JT?"*5y^3y*T^Q^: )

........ I

,

passion, as is the '

means

beauty among young young moon among the stars.

whose speech

sionateness.'

which are

3^

as

damsels sweet with

distinguished for her

is

is

sweet because of

r5^WTjrf

its

literally

in pas-

the words

like

Trff,

T3~3loJ

utterance

of a

child

and through the very indistinctness sweet, or like the speech of a parrot which is sweet for a similar reason. And so the words of a young woman uttering indistinct expresindistinct

Conf. Ranganatha

sions in passion. ^FftJT

|

SriST^cq^R

^ Ri^SFJ^fT

seen on the young moon, but

when

P. 117.

11.

5,

(

when

she will cease to be a WSTTOT)

5fra5TP5RioFf^^f

:

?fr^t

she |

JT^Rf


because the spots are not is

full

f^WRFT

or nearly full

J If^TRr^

||

We must imagine that the which the King takes for a cry here,

6.T^r...lfffcr.

elephant gives out

a

favourable reply to his question.

= '^Wiwfel^

flr<wfav

Eanga-

natha.

P. 117.

11.

7-10.

^fTirW'OT

WR,

gang of elephants that the king

Mark

the double sense of the

is

because

it is

the leader of a

addressing as l^rgJTT.

word

W?

here.

As applied

NOTES.

108 to

the

King

temporal

and

to

King

:

'liberality

As applied

to the

without interruption and in plenty of which

flow

the elephant,

'the

juice.'

TsgfessfjsplRf. is

1

means

it

is

au elephant P. 117.

is

11.

uninterrupted

strong and

The flow

and broad

ffrWW^griT.

11-14.

line

It

is

the

of the

shows that

Purana, or some story in one of the epics.

TKmr: which would

author

the

likely

here refers to some authority for his statement

to JT?RRf JKflRf

'

elephant

be the leader of his herd.

to

fit

;'

and broad.'

in an uninterrupted

temporal juice

'the action of which to the

perhaps

some

to

JTCRj-KJnWWT: equal

have, been the poet's con-

^K
struction if

of a compound one. of his to

show him

the way.

P. 118.

2-5.

11.

Conf. Katavema:

T?i jrerert

*rft

j^frwwrir:

wr:

flf

This

I

obvi-

is

>

ously a better reading

than

*T?7*pfr??ro as

read

by the existing

editions.

<% This

is

&m

(conf.

fswH[fr:

was apparently suggested ittf

no,

p.

an epithet which, though

furnished with

T'f^T.

epitheton ornans,

Adjectives p. 114, 1.

5,

1.

10,

fw^rfo: p HO, .

The bones

as

much

tfrfKiTROT^ 2,

at

The

flesh.

or as little

like this (Conf.

1.

10).

the joints such

wriits did not show themselves

covered with

and has

1.

meaning, by the alliteration that The sense of
elbow and the

ont, but were fully

gijrfr p. 109,

of significant

to the poet

limbs were full and not jejune. as the knee, the

2.

1.

full

ysfafW

107,

applied to the 1.

an

propriety here as

Wf^ p.

109,

is

adjective

1.

6,

OtfW-

hair, p.

Ill,

12, fsifaft flatbellied

ACT 1.

p. 153,

109

as they are as referring to particular

objectionable

6),

iv.

parts of the body, are rather badly frequent in the writings eveu

of the best Sanskrit authors.

That

ar^TKfll'T the property of Ananga.

Manmatha

takes

pleasure to

is

the place where

which must therefore be

dwell,

beautiful.

On

There appears no allusion in this epithet

J*lft
to the

buttocks of Earth or to her breasts (see Raghuvams''a IV. 51 and, I.

Meghaduta

18).

P.

118.

P. 119.

11.

adjective is merely an epitheton ornans

large-sided.'

8, 9.

11.

The

*

in the sense of

5-8.

KUavema:

Corif.

Construe

SWf?

|

:

er

Translate

*

:

Having the waves

for the

broken eyebrows, the

series of frightened birds for the jingling

foam

on

like

foot

fault

the garment

much

this

one here

ed into the

?

&c.

is

Katavema

in anger

up

to

the

thought

of

my

river.'

following one after

raised

owing

surely that offended (Urvas'i) transform-

:

The sense

when

collecting the

through hurry, and going

disordered

interruptedly

zone,

iTClNirf

is

I

m fr\

that the river with its

another seemed to

resemble

would have her eye-brows

ia frown.

TRrf(sic)

gently

waves gently Urvas'i

who

and slowly

NOTES.

110

The water birds white

r.

ing themselves in a line

The

bells.

make

appeared

propriety of Wf*fa is that

of small silver

being frightened the birds

rattling noise and that noise resembles

a

when

a woman's zone

The

in colour and arrang-

like a zone

she walks

in anger.

away

new

river being swollen with the

the jingling of

rain water has waves,

which the King imagines are the eyebrows of the offended Urvas'i owing to the violence of the stream the line of hamsa ;

birds,

which are frightened and are therefore

noise, appear to the

King

making a

rattling

like the zone of Urvas'i jingling

be-

cause she must be walking away hastily through anger; owing to

the

of the stream running on a rocky

violence

a quantity of foam, which

throwing up

disordered garment of the angry Urvas'i walking

the stream

and the imaginative King

sees

steps of the offended Urvas'i,

in its

it is

in hurry

away

repeatedly by the rocks

obstructed

is

bed

his imagination the

is to

;

in its bed,

interrupted motion the

who wholly

engrossed in think-

ing of the offensive conduct of her husband,

is

repeatedly trip-

ping and stumbling. It

is

some corruption.

Neither

Besides,

factory.

applies

the third line

likely that

there

to the river as

TW5" is

there

nor T3T

nothing is

stanza h as suffered

of this

in

apperrs very satis-

PF5T

the

line

that clearly

in the epithets in the previous

lines.

P. 120.

same as

1-4

JPTWIfHTf^^w:

WTflSffiFTlW in

P. 120. is

11.

11.

5-8.

a play on the

with the

mind

7 at page

that flj^

aTfaflrKfr,

which, while

which see supra note

*s

meant the

112.

sea), signifies also the

latter application of

is

not an apparent one only. There

TOT'-J, real,

word

flowing (towards the to the sense of

1.

By HTW3F

5

to p. 76,

WarfC>T(

uiasculiue gender.

it

it

means going or

same as ^TfiwrK^T, as 1.

8.

In connection

should be

borne

in,

ACT

to

equivalent '

Good fortunes

Ill

iv.

without sorrowing,'

are obtained

it is

e.

.

no

lamenting any more the loss of Urvas'I and that if I without any lamenting

use

my

am

ever to get her bade, I shall do so

on

my

part.

P. 120.

11.

*T^W:

9-12.

natha adds "C^Stft

f?

e.

'.

'WR

whose flowers

<jWfWr

are red.

And

Jtfft."

Eangawas yet

as it

only the end of the hot season the flower was not completely

formed and was therefore WHftetfrOT*.

Mark

fsraWTTJT.

that fsnir

crown of a woman's head infrd p. 122.

P. 120. for

13 fgg.

some news about

who with

The

Conf.

man's,

dark

his

my

'But

Translate:

&c.

?JT rHTiT

beloved one

to this

let

me pray

squatting antelope

colour appears

variegated

thrown out by Forest Beauty splendor

on a

as well as that

10 TOF: ($Rinn*nW$drW: &c.

1.

1.

used to signify the hair on the

is

a

like

glance

the purpose of seeing

for

the

of the woods.'

sense

is

that the dark antelope that

is

squatting ou

the

ground and looking about at the forest appears to the King as if he were a solidified glance of the presiding deity of the beauty of the poet,

forest.

The eye

also dark but

compares

it

qfffa:

ttw

it

the concrete body of the antelope.

to

Contrue the couplet thus sjfaw

of the Kdnanas'ri being dark the

somewhat boldly perhaps, not only makes a glance of

^Tflf

:

?T pitf.

^pTSITC^Sf?:, ^FR^rsfar

STOWIT-

$rw=5%w==i:2ttf3f. -Taka

relate to 3R3f: in the previous line.

i:

to

Conf. Katavema, however

^

:

wfavw % ^FTJT: *|u [ ^TOrc ?Rir T: ^Klfr f^^t ?Sr ^R^mr w&nm ^^rrR7^R (that is what he reads for fTOW-T^W Tfffa: Wfto: ^STW & c ? 3r

I

jwrr ^rar

srrcr

? ]

*ft:

all

our

)

The reading existing of dark

^W^^T?:

editions

(**TO

might mean

flK:

f^flK:

[\

found in

^f

'

MSB.

he whose colour

uR^q

is

and in the the

essence

1

:

),

t.

e

.

extremely dark.

112

NOTES.

On

Kunanas'ri see Mdlavilcdgnimitra Act

*R$fWff55f$r*J.

is

Everything

season, and there is no verdure

with

forest (the

*R5fW

returns, at

)

arid and burned

up

that the eye

rest on.

verdure and

rainy season the

the

III. St. 5.

may

the

hot

in the

But

freshness of the

which the Flora Sylvestris

casts

her dark glance. P. 121.

4-7.

11.

IX. 55, and Preface P. 121.

P. 122.

SRqfer

f^T^r to

Translate

3-7.

11.

:

Katavema. 'Surrounded with lustre this

not a piece of the flesh of an elephant it

But

be a cinder of fire?

lias just

had

killed

Ah

yes, this

red as a cluster of the Red-as'oka's flowers, the sun

is

Mark

to time than to space.

the force

The sense

cannot be a cinder of burning

^J'^J

^&

c'

gem

may

;

a ruby

it

as

which

up '

of ?*ff which more

refers

having just rained there

as the

fire,

to the

Owing in

it

lustre

lines,

straight

would have ex-

rain

the

of

not

)

gem

the

too brilliant. (

rays

because

visible

distinctly

that the rays appear like the hands

means both hand and ray the

is,

atmosphere was cloudy and

figure is

is

it.

radiated from

the

is

to take

endeavouring by stretching forth his hands.

JfiH*IWfg J^frfiT.

tinguished

by

a lion

[that can not be because] the sky

(He examines).

rain.

See Kaghuvanis'a

our edition of that poem p. 65.

8."^ ^r^eFT"

1.

yft ^sr.

And

the

observe that 3>C

of the sun stretched

forth

to

take

up.

Katavema

:

WfofnWf

|

\\

*T

7

)


OT"T

(

wfafi WRi ^WrT(sic)^WreffKf ^f

^

Hffcf

(

does he read l7

|RT 7tf Fi

^ww mark

(sic.

his

various reading

^fw iw s wmi ^4

jClrf^r

)

TI^T:

q?rcr*r:

II

ft

ACT

P. 123.

my

'

The King means

that

burst into tears because Urvas'i

put

gone, and thereby soil

it is

P. 123.

11.

'why should

frfRJT^TT^ 3TOT,

1.

1.

tears ?

OTRfPT

3-6.

113

iv.

Sft

I soil it

takes

it,

with

would

he

whose hair he might have " ST?^

in

fN^"

it.

=

if lie

tfiHRffr

^.

Ranganutha.

fRWRTOTOfl^-

RW.

S^tfWO'nft OTRfR^Mr^ tf:, produced from the red which the daughter of the Mountain applies to her feet. We must suppose that some mountain rivulet bathed the lac off 1

lac

and deposited it in the crevice of a rock, so that ultimately became the brilliant gem that it now is. See p.

Parvati's feet it

127.

1.

JTKWTOTf

1.

On

this stanza

P.

123.

living the ascetic

life

who

3T

Kutavema has:

'

TOFariJ^rCr

7-9.

11.

&c.

JRHiffR,

of a Mrigacharin.'

lives like a deer,

and roams about in the

.

e.

some holy

^T^TCf appears to

ascetio

mean au

feeds

upon grass, drinks water, The derivation of the word

forest.

seems analogous to that of Brahmachdrin.

Katavema reads and remarks thus SfftfTO tft

STOW:

I

'the

the father of Urvas'i.

Lave

noticed

him

tradition

is

Jpr^'-TO WTPgR": a T*f that this was Narayana' :

If this were so the poet

further than

lie

would certainly has done not only owing to

the celebrity of that Rishi but also to his Urvas'i.

The poet had

being the

a good opportunity at p. 127,

father 1.

9,

of

where

however he only says ^T^ToJ^T. U^T'T^T

charin

&c. after

We

must suppose that the King sees the Mrigaff5frfo5R9' and does not, probably owing to his

ignorance of the name of that ascetic, take further notice of him

than render his thanks

to

him

for

his

advice,

NOTES. T. 123.

'

TOfRuror

10-13.

R^TTT OT: *M*ft TOF:

waist.'

were

11.

who

SF.

an

lias

so near each other that they stuck to each other, as if the

part between

the sides did not exist

gerated mode

of

at all.

saying that the waist

is

FTiripf^W found in the existing editions

joints of the knees or of the elbows, but

when used

of a

woman's

it

waist.

think, bad.

R*J3T

text. '

Tfj

P. 124.

For he has JTO^CT

can have hardly any

Kafcavema too like our

Mss. reads ftelPWJr, though he reads the

from our

exag-

The reading

proper epithet to bo applied to the ndbhi or to the

a very

sense

we

On

thin.

very

is,

an exag-

Tin's is

gerations of this kind see supra note top. 19 St. 17.

is

tliiu

exceedingly

attached, as if the sides

5J5T is

first

'

having a waist as small as a ring 11.

4-7.

Ktitavema

:

^ftarfr

differently

p
ffeTCSftRyftwrf*' (

|

^fr.

)

3-ff

|

STRRrffqr fc

The King creeper has

||

w^^riftfM

ST^

1

fancies that the creeper

its

leaves wetted

Urvas'i shedding

tears

time of flowering and

is

^nr

like

is

his Urvas'i.

by the rain water

of remorse.

now

The

flowerless

;

^^mp^^ wi^

j

he thinks is

creeper

the

King

Urvas'i without ornaments, remorse preventing her

ing well and decorating

her person.

As

The it is

past

fancies

II

its

it is

from dress-

there are no flowers,

no bees are humming about the creeper he thinks it is Urvas'f dumb with anxiety. Thus he sees Urvas'i, who having disdain',

ed

to

be reconciled

P. 124.

1.

is

now

IK * ipronTr

struck with remorse. '

1

8.

^ffa,

let

me pay my

TOf

SRTCf 7? ^Rf.

respects to

her by an embrace.' P. 124.

1.

Urvas'i came

10.

rR*TFT 7*

out of

t.

e.

the creeper,

but the

latter

Not

that

vanishes and

ACT Urvns'i

manifests herself in

speech and P. 124.

11.

See note to p. 101 last

stead.

its

2 p. 105-

1,

12.

1.

115

iv.

^ WffcUWtf:


TOfT

|

here apparently

is

strengthened by J^:. P. 124.

Katavema

13 fgg.

11.

^sfnTJWW ^^RTO^rpJ^ 1.

1, p.

fr

|

117

1.

118

5, p.

1.

wfa

:

(see p. 107

119

10, p.

WMWfrrl: ^^irftsr I

tf

5

firir ^^r

TMT^CTrr7 W.

7.

1.

st.

st.

1,

p.

28, p.

*m

|

jt

110

st.

7, p.

120

st.

29)

*rc

^r

P. 125.

tfrf

Though Urvas'l had

11.

9,

to the

lost all t. e.

the

King.

10.^^

5W OT &c.

may Your Majesty be pleased to pardon me who gave myself up to anger put Your Majesty in this neuter accusative singular, of

Mean-

'I will relate.

while

**?

113

even in the shape of the creeper she was able to

so that

what happened

see

W1

w

rT'
her organs of sense she had her internal sense of organ

mind

m\

^ OTJT^T

fa Tfrr% wmfrf

P. 125.

C^fK

A


this that I

condition.'

frequent form in the

Gaudavadha.

The I

tli

existing editions are not a

corruption, interpolation

P. 126.

little

confused about this place.

Mss. have enabled us to rescue this passage from

ink our

11.

and reduction.

TO^fWT:,

1-3.

referring

to

'JTR"' in the previ-

ous speech. P.

126.

11.

Katavema: P. 127.11.

by

which

my

Had

preceptor.'

see p. 67.

Katavema.

R?f.

11.

1,2,

T

it

fr~ rel="nofollow">t

my memory

not

3W

stupefied

been for the fFraftRr)

curse

Urvas'i, a

would have known without being informed that was not permitted to females to enter the Akalusha, -

celestial being, it

3OTW="TO^5*raiT"

l-S.^WrenjjrflWff, 'with

the curse of

(for

4-6.

"ftfafrw:."

NOTES.

116 l

this rule

*7*T

had

it

flt^T:

7.

1.

P. 127.

and not with

potential,

not happened as you 9, 10.

11.

power of the gem,

was

to lead, as

123,

11.

55"

ifrff

'

P. 127. soil

Katavema reads 3

the god,'

Construe with

.

'

made by

'I

*T &c.

how

could you have borne'

?

relate.'

have

obtained

from the

having learned

tliee

ascetic

thou sayst, to union with thee.'

the

by

that

this

See note to p.

7-9.

demons, pron. referring to

ffr^qJTRl'^Trff.

rf^'that,' demonstr. prou. referring to as related

"

by

thee,

scil.

RUTrf ^KTfT.

tff'T.

ifffr^

!^^

J?if if "If

A JcarmadMraya

^T

and not

lalmvrihi.

P. 128.

former

1,2.

11.

state.'

P. 128.

1.

P. 129.

The

TW^^f J%

See p- 9 ;

S.^fnTfifr.

11.3-6.

1.

3-

on

'I have been restored to

my

this sense of fljf^.

Eanganatha has the following on

this

:

Katavema:

lightnings were to serve as the banners

of

the vimana,

and the rain-bow as the new pictures on the sides of paint pictures are not

quite

unknown on

it.

Oil-

the sides of carriages

even in the present day. In making the request the poet

is

contained in

obviously desirous that

this

stanza

the audience

to Urvas'i

should not be

ACT allowed to forget that Urvas'i able

to use a cloud for a

is

v.

]

a celestial

being and as such

and do

conveyance

17

such wonderful

things.

Act V.

'

P. 130. it is

1.

5.

frtefaflflfR", '

a sacred clay

because

a holiday.

it is

a special day/ 'because

Sacred streams

acquire special

holiness on special days. P. 131.

1.

L

rararf?fl*fr=ffr5RR:.

But Ranganatha has the singular

the plural.

P. 131.

1.

2.

3WfR3t

P. 131.

1.

3.

ar^TUt

qftfr,

Iff?.

'has entered his tent.'

arwwmr

the remnants of the perfume. the

Katavema too has

^Crfif.

^-

'

Let

me

Vidushaka seems

to

be

first

mean

for

that

King who was perfuming and dressing himself after his some of the perfumes unused and that he

ablutions, will leave

will get them if he

fume

presents himself

like sandal, or yellow pigment,

first.

5 STJcffT ?

is

any per-

saffron &c. reduced to the

and then bedaubed on certain parts of the body such as the forehead, the arms, the breast, and tho state of a thick

neck.

The

liquid

thick liquid of a perfume

(and not used out chiefs),

of small bottles

is

prepared for the occasion

as in

Europe on handker-

and hence whatever remains after use becomes useless

for the next day,

may happen

to

and

is

be present.

therefore

given to the servants

who

118

NOTES.

P. 131.

p^RgT tfra-I^Rfc frf^faa? ofhTflRt

4.

1.

5TW

as JSijj SrK^i"

It

carrying.

The servant

servant for safe custody.

which might mean used to

little

keep

in

things (this

"^piNK q^wNfi")

she put a piece of red

that

gem

off at a

flesh,

it

put

to her

in a tdlavrinta

such as perfumes &c.

and

interpretation, he

the jewel in.

On

the

jewel

which the bird kenning from and descending all of a sudden

The servant mentions

swoop.

she was carrying the

must suppose

bathing it

or a fresh tola leaf plucked for

silk cloth

mistook for a lump of

carried the

had a bath in

basket of tola leaves as

Katavema's

is

the occasion by the sevant to hold

high.

and was

silk-cloth,

ladies before

girl

either such a small

used in bathing places,

having

Construe

ornament the Sangamamya, and gave

she took off her

is

Hindu

JT?.

which I put in a

that Urvas'i too

usual with

is

woven

of red

must be supposed

the river and that as

rfiW?TOf<:


basket covered with a piece

'

the fact

of course to Urvas'i's tent

gem

in a tdla leaf, in order, ag

it

we

were, to justify the

mistake of the bird, flesh being usually brought from the bazars in such leaves or baskets.

P. 132.

which

is

1.

1.

dearest wife.' P. 133.

tffM 3TW^FraffCTtfrfo^T^>tf, 'fit to be (t. e. the jewel in the crown of His Majesty's

used as)

11.

^ttifWflrl^r, o, G.

because

*?rf^FK

it

looked red like

if*T 3Tl*TW,

'as

if

flesh.

drawing lines in

the sky.'

P. 133.

11.

Katavema

8-11.

TO

t*Tfrr

P. 134.

bow.'

1.

3.

^sfffoFr

There can be

little

or Greek servant girl.

of

Greek

girls as

^f

arerf^m*

:

tf

:

Wtt:


' r

exit the

I

T6T

JTFT

Yavani

to

bring the

doubt that the Yavani was an Ionian

The employment

attendants

clearly

in ancient Indian courts

points

to a

very

much

ACT closer intercourse than

we

v.

]

are ordinarily disposed to

which the Hindus lived with the Greeks when themselves

blished

19

admit, in

these had

esta-

on the North-west of our country.

The

Ionian girls might have been taken into their service by Hindu princes for their personal attractions or their

superior

intelli-

gence. Such a preference given to the foreigners requires no explanation if we call to mind that even in our own days rich

men

in

Bombay, Parsls and Hindus, have English coachmen

drive their

carriages

and English nurses

Such a preference

children.

to

to take care of their

to foreigners

could easily

become

fwR"

Banga-

a fashion in royal households. P. 134. iiatlia.

Jwrcsrffd^.

7.

i.

however, JWf

Better,

is

figure implied

*pr raiifo

"ir-rer <pr

gem

Dis'a

is

flowers

which

are,

here spoken of as a that

to

referring

The


The red rays round

young red leaves round a nose-gay

are compared to the

of ns'oka

ff

taken from a nosegay of flowers that has leaves

in the centre. (75MT:) around and flowers

the

W

tfsrR:
like the jewel,

woman and

themselves red.

is to

be considered as

of the globe whither the

quarter

bird was

flying.

P. 135. P. 135.

1.

WnrnrW.

2.

11.

4-7.

K&tavema

&c.

arwrrlr

:

rar*F
^RPTOKW^.

UTO5ta: the excel-

W:.

atffflff f

'

WFfW^tlfyiS

lent gem. cloud.'

T^T, because

if it

closely attached to a

were thin

it

clump of thick would not be sufficient-

resemble the black bird. ly black to P. 135.

fr^^t

Tfflftfmr of a bird

when

P. 135.

gem go

^UTto

8, 9.

11.

it

the Kotv&l, the Police

officer.

fltf

R.

FfffFfWR", 'that he should search for that thief shall resort to its perching tree in the evening.'

12-13.

W

iRt &c., 'where

and escape chastisement from

can the robber of the

you

escape.

Katavema reads the speech thus

:

Sffrflj

*

?

'

i. e.

go so

as to

120

NOTES.

P. 136. told

me

qftiR^ftfe fa%\ HPfT,

of the

We

tion of Urvas'i.

P. ]36.

11.

^urc:

gem

have already seen

9,

T T2"JJ

When

(p. 132, second speech)

well.

f

WRfrfo

friff W-TTF

Katavenia

fgg.

:

RR^(sicXj: fr^?: ^^r^r^rr^

I

Ka^a-

7*f qfriKttFrfo f*"*T

rw^^ sf^^srlifJT^:

reads)

informed

having brought about the restora-

'have I not [already] been informed by you?'

in fact reads

*f[Rfr:

that he has already

knows the gem

that Vidushaka

vema

him but

tells

king

him (Vidushaka)

literally,

'

Yea, you have already Vidushaka does not mean that he now understands

so.*

what the

^

6.

1.

the Kanchukl says,

how he T^KRW?r:

(that is

mr wrfsy: ^reflrf:

|

||

was the King's puissance

it

formed into an arrow that had shot the

bird,

he

is

trans-

paying only

a courtier's compliment to his Master.

m -q7T^pfcwT r

'

having come to

other than that from which

i.e.

WT

with 71^:.

Jn

it

another tent*

had originally

or Dharms'ala,

Construe

fled.

^rT^RVf[^ gives the place where the bird

c

fell.

P. 137.

water

by

fire

P.

to

;

5, 6.

11.

whom

and keep

13Si.

1.

9.

the Kanchuki

is

^TfiT:

'The gem has been washed with

&c.

shall I give it ? it

*

'

arfaSTJT^&c.

Purify

^ 3 $ ^[ff^KOTr

fit:.

We

have already seen

See Act IV. ad.

an old man.

init.

It should

be observed how adroitly the poet avoids the discovery by other person than the

arrow

is

it

in the box.'

of

King

inscribed with the

Kanchuki been allowed

to

the

important

name of

make the

his

own

discovery,

any

matter that the son.

Had

the

not only should

"we have lost a great interest attaching to the discovery, but the

poet would have cut away from underneath his feet the ground he was standing upon as regards that part of the play that

immediately

Kanchuki.

follows

this

speech of

the old and nearly blind

ACT P. 138.

*R^*T.

2.

1.

It is difficult to say

audience that

the

121

v.

See note to

how

p.

was done,

this

45

sr

4

1.

so as to indicate to the

King had suddenly known that he had

al-

ready become a father. P. 138.

1.

command*

just go and do your

the box after purifying

i.e.

with

it

that of keeping the

fire,

or

business,' no particular business being case.

On

mode

this

'

This means either

cjftrfa.

5.-^flfa*friPT-pT

'

I will go

I will

gem

about

in

my

alluded to in this latter

of withdrawing a character from the stage,

See Mdlavikdgnimitra Act

II. p.

22

1.

7

and note ad

Zoc.

in our

edition.

P. 138.

11.

Katavema

7, 8.

:

P. 138.

J^TTF:

'

aiijlflfjOTi

been separated from Urvas'i

at

formed the

Niraisha

name fice

and

epics.

sacrifice in

the

of a forest sacred to

great

any time other than forest.'

all

narrator

Puranas in the Naimisha.

readers

I

have

when

Naimisha

not

I peris

the

of tapas and sacri-

the performance

well-known to

is

The

|

TO" *RT:

ft$reW

SJ-W

10.

1.

slsfrWW^rfr

:

of the Puranas and the

of the Puranas, Sdta, related his

Conf.

the beginning

of the Bhdga-

vata Purdna

Pururavas means that he only remembers Urvas'i was separated from

him and when

one occasion

therefore she might

have given birth

to this

about the event

and that was when he performed a

in the Nimisha

',

forest.

canons of the vedic

child without his

A

sacrificer

ritual, live

when

shall,

knowing anything sacrifice

according to

single during the

the

performance

of the sacrifice.

^T^ffRWfrWJ^fTrTTfjTf^OT is no improvewhat the older editions read b'RT ^t^fwftpnft &c.

Bollen sen's

ment over

122

NOTES.

appears like a misconceived

Jr, *

emendation suggested by

wink/ and the word fl'Su^R^ would show that the emendawas not as Bollensen reads but what his Ms. P. rends, viz.

a

tion

and

V^fesi^W has no

Mark

aTRfa^R^frifarT^,

e.

<

But a

sacrifice

called

Conf.

sense.

the author's skill in

res*TRf

TRWfre

Kanganatha

is

not

^[f^<] known

TRfW

I

making no more than

a

Iff.

mere

al-

which has nothing to do with the plot of The the play. simple allusion gives an appearance of reality which a distinct statement that it was performed would have lusion to a sacrifice

failed to convey.

P. 139.

1-4.

11.

P. 139.

'

P. 141.

?HTtfr

3, 4.

11.

4-7.

11.

On

7? rrfajRr

11. 6, 7.

P. 140.

W1&

Ranganatha:

*f5Rij

T^TT see note suprd to p. 10,

1.

1.

a female ascetic/

Katavema

(he appears to read ^ff^

:

TOT

for

R":

P. 141.

out

1.

even without

Wfl WffW fwfrif

He

*v

my

'

&c.

telling

Ah

him

genitive of agency, or '

f^ aarf^f,

Tapasi finds her.

11 fgg.

by

This royal sage has found

!

his

subjective

the King's

looked

cheerful

she brought was his son. st.

connection.' sprr^T-

genitive.

known even without being communicated.' appearance that he

and

9 is

has

The

anticipated

almost to expect her with the

boy, and made out on their appearance

cribed in

paternal

before

The condition

him

of the

that the

King

as

boy des-

certainly such as to justify the exclamation of

ACT the lady ascetic QT*ff

v.

]

WRfe^fffr RU?r

not be proper to interpret

that

.afatfr

ef^f

\

Jt

would

exclamation refers to

this

23

the

boy having found out himself that the King was his father and that for two reasons, first there was nothing in the boy's conduct, so far as we see from the play, to call for the excla;

mation, and secondly the boy must have left the

hermitage that

besides, note

The

below on

11.

p. 142,

tended to justify the direction

Katavema reads thus

1.

I

to his

when he

father.

See

as will easily be seen, in-

is,

sTPT

TTR

J*T

|

WRf^fff rVlRt*[Xlr

itf

^rWTJTo^f^ 3TW, 'joins

3.

already

G-9.

sflwrrfl^part of the speech

P. 142

known

he was being taken

his

hands in rever-

bow in his hands.' This is intended to show that the boy knew how to behave like a Kshatriya, who should never keep aside his weapons, even when doing obeisence

still

holding his

This

ance to his father.

Indian princes,

who

sentiment

will never

is

still

prevalent

aside their

lay

among

sword or

their

dagger wherever they may be and whatever they may be doing. P. 142.

11.

soil,

6-9.

Katavema

:

from the Tapasi's words

This stanza-the words Tf? clearly

did not

shows that before

tlie

make out who was

those words.

P. 142.

1.

for doing so.

11 fgg.

^f^W-J

^r

PTfW

ffaj

rr^

TTT ^ TC

father, but he did so

ft^KT

we have

l^ff

ffaf

sif

T^past said

his

This shows that

taken and interpreted as

*OT

*U? *P?R3I[r?

W^r W^f

the boy

on hearing should be

done. a?ff5*cr*T,

'seeing some reason'

Katavema reads badly frfrWTT

(sic) 3f *rifa*f

See note below to

p.

152

J?|f1.

4.

NOTES.

124?

The books on Samskaras and Prayo-

.

gas do not make a difference between the birth ceremonies of

Brahman s and ghuvams'a III

18 and our note ad

St.

'

P. 144.

TffSrfJrer

1, 2.

11.

On

those of the Kshatriya caste. loc.

is

say account

as

'

sen

who

indicated

translates

it

by the

who

Neither Lenz

I hear.'

n'amlich has understood

145

to p.

1.

6.

ordered.*

flUlfrfT,

that Chyavana was somewhat annoyed

indeed for his

11.

force

5-8.

here understand

at the boy's conduct,

the bird but for having

having shot

they say,' nor Bollen-

the proper

We may

'

P. 144.

sangamnfya. '

particle f%sr,

renders f%oJ by nempe

See below note

of the particle.

gem

have

what she herself saw but a hear-

relating not is

We

with a piece of flesh/

seen that this piece of flesh was in fact the red

The Tapasi

Ra-

STTrT^ see

not

done so in

the As'rama. P. 144.

1.

7.

FTiiTrcr?.

Katavema

:

iM^R

?nrcrr$m

only knows that

Observe that Chyavana the boy

is

a trust but does not

note below to p. 152,

1.

know who

his

|

parents are.

See

4. '

P. 144. '

1.

8.

"TraFTJHJSFTJ HJpnfr,

may you favour P. 145.

1.

1.

P. 145.

11.

5-8.

sit

down.' Literally

the seat.'

Katavema

:

Katavema

F,

the whole body**

kindly

:

'they say the touch

Kangauiitha yery properly

of a son observes

pleases

ACT

On

this force of f%

fFWfa Tf*KW.

125

v.

above, note to p. 14:4,

see

'Therefore come and gladden

11.

be rendered as 'at once' though Katavema takes


it

may

meaning 1

Its literal force is 'before'

'wholly.'

2.^ m~

1,

me.'

doing anything

else, 'first

'

immediately.' P. 145.

nT?*ff

9.

1.

soil.

him and

to

by going up

3
him.

embracing

'without being frightened.' Viduehaska's appearance and behaviour is always such as to be likeP. 145.

ly

to

ararfj^,

His dress

a child.

frighten

artificial

of

12.

1.

is

quaint and strange, and

shaggy hair all over his person make him a mixture This refers to his appearance on the stage. beast.

man and

'

P. 145.

In

f%Pf the

13.

1.

f%fr

Goanese

fli|^K

will

why

I

he be frightened?' origin of his fadl and

will

recognise the

the Malvan Konkant his fa^r, both meaning

TSWTOtfWSt V*

'

$\* rfa%

1.

12

why

he has of course

'

'

what.'

known

a

monkey

See Mdlvikdgnimitra our Edi.

while he lived at the hermitage.' tion p. 87,

'

where Vidushaka not only

here compares

as

himself to a monkey, but speaks of himself as one of the brother-

hood of that P. 146.

See note ad

species.

11.

5-7.

^ TOKOT

loc. '

WlJWff'rf&f***^,

whose

s'ikhfc

is

being tied into a knot by the Maharaja himself.' S'ikhandaka

is

the

long hair on the crown of the head, also called S'ikha.

The tying

it into a knot is the duty of servants, sometimes done by parents especially the mother out of affection. The

King's doing

it

speech Katavema has

TW

1

S^ffff

On

implies his love to the boy. *T^T

:

^ ^ ^ff

must therefore be

my

boy

this part of the

^WTOlM ^1 fl^TO '

*?rs,

Ayu.'

ah

!

that

is

JTf W.

Satyavati and this

WffrfrfNff,

literally,

cated by Satyavati.'

OQ

this

part of the

speech Katavema observes

:

'indi-

NOTES.

12G

P. 147.

tins is

By

.

P. 148.

1.

*pfeTJT

1.

occupied. P. 148. frft

11.

a

e.

t.

Mark

King.

See atiprdp. 30,

of

part

to the

going up

W ...... mi *wfr

4-6.

fiqFIwff.

1.

11.

the seat

he himself

?rr

...... frurr-

sj'rfr

|

shown by the Urvas'i what the true

the delicacy of feeling here

poet in not making the reason was

is

If*Tg, 'go forth to meet.'

4.

1.

meant that she

to

say

Tfipasf

she was delivering back her trust.

why

Passive infinitive. if

This

is

a

by her absence from

TCtnretift, viz.

remark intended

to

show

that

the hermitage.

not

she wishes

to

be

detained.

This appears to be the time when Urvaa'l

*fo? ^f*T?ff tfj^t.

had told Satyavall that the latter should return the boy See note below to p. 152, 1. 4. P. 149.

11.

^i^T.

T5T

PTC*ff

1-3.

This shows and

tended by the poet to show that after Urvas'i left the As'raraa she had not met Satyavati nor the boy. See suprd p. 18, P. 149.

11.

7, 8.

P. 150.

11.

2-5.

thaka when he

4 and note ad

1.

Jjf^vrrw

gets

is in-

the boy at Jft

loc.

i. e.

Translate: his

to her.

tail,

'Send me that peacock Maniknnthat Manikantaka who feeling

happy by my scratching him about his crest used to go to sleep on my lap.' *T|f literally means on the thigh/ the thighs when '

the legs cross each other in the attitude of squatting. JtffR.

This does not refer to any particular time alone, but

refers to the habit of the peacock.

Conf. Katavema reads

flM*

P. 150.

^

11.

9,

:

says

10

best of wives, so

flPra^f

^fff

W

felR^ 3l&VW

JT^q" ^T. Kanganatha rTvTRR

ftamWHW gR^T 1^:. her

son

Jayauta

is

who

^T.

As

S'nohl

is

the

described as the best of

ACT

Paulomi because a mythe

S'aclii is called

sons-

127

v.

with the daughter of

Demon

a

described to have slain.

See VdlmiJci

identifies

her

Puloma whom Indra

called

is

Rdmdyana Uttara Kanda

8

Adli. 28, St. 20. '

P. 150.

11.

1.

Vtftf,

She does not

weeps.'

cry, for Vidti-

shaka only sees her WrTfT^' P. 151.

11.

Ktitavema

1-6.

:

1%

fp^Rffr

(BJC)

:

'

rf, '

Literally if^fTvffi

tears

when

I

am

exceedingly

when great delight has come '

&c.

|

delighted.'

me.

to

causing another neck-lace of pearls by means of

dropping down over thy

over the breasts.

It

and high hi easts. There round her neck hanging down

full

\vas already a neck-lace of pearls

was superfluous (jTC^ 1^ jw^rsfr

;

)

to

have another.

^rFr^r ftr^Rr^T

JTC^ is

r.

here a sub-

stantive and not an adjective or participle.

P. 151.

11.

PTjqfttfl? soil.

7, 8.

W**

'

condition/ to be under-

stood from the following sentence. ^fl^WrrT'T'T by the mention of the great Indra. The mention referred to is the line

P. 151.

by the

King

condition P. 152.

(

arr.

10.

1.

WT 4.

i.

Observe how

anxiety and

in his

Urvas'i

impatience

is

interrupted

to hear

what the

was.

)

n
^mwrr4r*TWv?r

RwirimRrw

...... Rf^^r.

Here Urvas'l explains both the true reason as also the pretext under which she kept her boy in trust with the ascetics the former was that she wished to put off the des:

tined

separation

from the King

as

long

as possible,

and the

128

NOTES.

latter that she

wished the boy

be educated in the ds'rama of

to

the Rishi.

means that Urvas'i took the him with Satyavati. Her true

Tliis

boy

to

the

and

ds'rama

reason she did not

left

communicate even

The

trust

was made

secretly

charged not to divulge to Urvas'i was

secret that

^FTTKJ

(

tire lie

(p. 144:

1.

communicated ere

7)

to it

he

if

H4

at p.

what severely taken Satyavati

knew

to,

that

the Rishi

that

this with his father,

age already referred

),

is,

who was

Urvas'i's

(

).

Satyavati was

was a Kshatriya boy.

parents of the boy are, for

would have referred

Satyavati,

any one, not even to Chyavana, the the mother of the boy, and Pururavas

the father, further than that he already seen

to

the boy was hers

only admitted to the secret that

We

have

know who

had known his parentage 11. 6,7, and would have

and would not have some-

to task,

for the

the boy as belonging

does not

as he does in the pass-

boy's misconduct.

to Satyavati as a trust

(

He only R&T ) from

some Kshatriya parents. That Satyavati did not know the true reason why Urvas'i had left her boy with her is evident from the fact that she brings the boy at once into the King's presence, which she

have done

if

she

had known

that the

would

not

meeting of the father

and the son was inevitably to be followed by the separation for she would have studiously ever of Urvas'i from Pururavas ;

and delivered back the boy direct to his enable her to conceal him from the King's sight by

averted the meeting

mother, to

keeping him in some other place for the purpose of prolonging life with her earthly husband.

her married

We

to

must suppose, however, that Satyavati was charged not was bring the boy back to his parents until his education

finished

;

a request

that appears

what strange and made

her,

to

we may

have struck her as someimagine, somewhat scepti-

ACT

120

v.

education

cal as to the trueness of the reason

entrusting the

given her for

boy

opinion, for Satyavati's words

(p.

H3

1.1)

we

Satyavati on suspecting the reason which Urvai'i gave her when en-

might have expected her insufficiency in

FTfTffi

ffwrwrfrPR- ...... mfrr%fr, as

of

instead

had

This accounts, in. our ?TPW*T ...... TOlf^ff

to her.

W

that Urvas'i

If

to say.

feel curious and endeavour trusting the boy to her care, did not

to

know by

questioning Urvas'i

we must remember to

be

(hat she

is

or otherwise

the true reason,

an ascetic and as such enjoined

charitable in all her thoughts.

P. 153.

11.

I comforted

5-8.

aTF^ri^WT

by the obtaining of a

force of this particle,

which 'has

commenced/

only just

name and not yet begun to p. 118,

11.

to

'

*TJT ^FJT

is

No

JTOJS^r.

son

than/

that 'the

commenced

be enjoyed,

when.'

it

am

Mark the

^Tr^RHJ?

JRrTSJsSr:

yet, as

sooner

^W.

has

were, only in

^5fKK~, see note

2-5.

The word WflftWT

implies that there was immediately pre-

3 Thesuffering which required consolation ( TP*KHJT). suffering alluded to was the absence of progeny that we havo

vious

seen Vidushaka refer to as the only thing that

unhappy feeling of

(

W^PT^

tfssp?

T

fl'K

%

IFF p. 130,

want of children (^H-RPRR)

to the 3MT5"*r, the

a shower of the

^fto5*fc[WWR*rx to

first

that

is

made the King L

5).

It is this

impliedly compared

iTWsrjfS (the dropping in

rain-cloud after the end of the burning hot

season) and the ffW*T to the stroke of lightning that suddenly and almost immediately after the shower falls upon the tree. Indian students require no note on the phenomenon here referred to which takes place in the early part of the rainy season. P. 154.

11.

good fortune

1, 2.

is

^

of

'awt ar-Wrw^r BJ^t,

turned into a chain

that of the g^hsftft.

the loss

*ff

Urvas'i

'

see

of misfortunes.'

The chain of misfortunes

how

that

^T ^r^TT is

referred to

is

followed by the King's retirement to the

130

NOTES.

The

forest.

idea of 'chain*

S7i

?f%fa

*

succession

I. 22.

ffWfTT

m&

Jlf^T

^ffroT

as

*T^?

is

'now

ir^rTf,

Majesty will put on a bark of a tree of penance.'

'

of one misfortune be derived from the particle *TJ in ^sp-eft.

after another is to

See EagTiuvams a

or

I believe

used in the sense of a future

finite verb,

2 where, however, the participle panied by a future verb. at p. 55, flFCp?

P. 154,

King

1.

WT

3, 4.

'

&o.

Unfortunate

will think that I have done

satisfied

who

11.

)

when

I

now go

into

my

that I am, the

am

business (and

now

Urvas'i means that

son has returned from the hermitage

Ka^avema, however, who

^Frf'TOf, observes

%

?n? (sic.

1

JffiT

W

^RJ

Wtf^'RWOT:.

)

sff^r

But

that her

will think that

she has obtained her end and does not care for him

any longer.

great

selfishly

on finishing his education

Heaven the King

into

accom-

is

Heaven on getting back my sou

has finished his education.'

and now that she will go

His

and will go to the forest

(

the

King

)

reads

Wtf ?W

Ufa

not well

that does

accord

with the sense of the following stanza.

The

particle it

of what the

King

in

*ift

shows that Urvas'i mentions her fear

will think of her as another link of the chain

of misfortunes that Yiclushaka speaks of in the previous speech; as if she were to say,

King

'

this too is

will think that I have done

P. 154. f

f

11.

6,

[ ^:

I

7.

Construe

5hKTWj rf:

another misfortune that the

my

business &c.'

:

5Tf^

m

||

The King here

Urvas'i that he will not think unkindly of

her

from

blame, consoling her that

all

a

position as

it

is

assures

her but will free t

the fault of

her

dependent of Indra and not of her will that she

has to go away. P. 155.

1.

3.

Katavema reads and observes

as

follows

:

JT-

ACT

131

v.

( I )

Mfsrfrj fa^JI

P. 155. fsrar:

:

11.

Svtft

:

aFaFWFH^rftJMFr

sraifr

(sic) nCrT

Kanganatha f ip 8T^ >T^:

*

:

?i4

II

Katavema

5-8.

?

^^T

^^T^ir

^T

^^

^T

I*C

3F

which enables the young

This pre-eminence,' viz.

Gandliadtipa, to overpower other elephants though grown up, which makes the poison of a young snake exceedingly deadly, and which enables the young King to rule over the earth. P. 156. 1. 2. Rf J &c. The splendor of Narada is so great

that his appearance strikes

all

present blind as that of a sudden

flash of lightning.

J ^foc^

Katavema

:"

P. 156.

3.*?TRr.

1.

f

in

is

it

is

!

^TW fl^JT^T vnft

Urvas'i that

\

first re-

a heavenly being and Narada is

heaven than on earth.

P. 156.

11.

5-8.

Ranganatha

:

f

f

from

^q^f

Tfr[r4qrff

Observe that

cognises Narada, because she

more

9

jfrff^RRf

m?T 5^*53?^*?^ tt\

e.

^T

3Ra3R*ffjfao]-5fter

this part of the explanation, see

%.

ROT: ^^Tmrr: TOTO

below)


f r?TTffTfTcf

TWl (we differ

tff

bright yellow like a streak of gold drawn

on a touchstone. '

ajf^rSfRoJffal^f!

as the

new moou

lunar month.

whose sacred thread was

'

i. e,

tho

thin

moon

of

as

the

white and pure first

day

of the

NOTES.

132 '

w hich

n

j

of adornment

beauty

collected by means of wreaths of the best of pearls

The poet does not mean

*JfWT.

by any one

so adorned t.

e.

On

heaven.

but

artificially,

^TfrWI see infra p. 160,

J

kalpavriksha

only makes

For such are

an epitheton ornans.

it

gives

that a

a

is

ever

*fJTrfri%

kalpavriksJias in

10 and note ad

1.

is

'

loc.

'having golden branches* hanging down like the

fJTTO':

goldhewed hair-braids of Narada. P.

156.

sTsfo.

9.

1.

in his

Gargya Narayana

on As'valayaua

Vritti

says

Grihya-Sutra

11.

24.

I.

"^wrr-qfasJ^rginriTefa CSraKT''

snr**

This adjective

.

is

added not to show

that the

kalpa-

but to

vriksha ever goes about

imply that the only difference between a kalpavriksha and Narada is that the latter is mobile

and the other '

is

you have only

goes

about

i.

immovable

tween Narada and that *?7OTTr^p. 70 P. 156.

Urvas'i

1.

1.

10.

that the

to say,

Icalpavriksha

Couf. supra f*IKK?

tree is perfect.'

rt

We

WfTf.

*T 3Tf?

be-

JMRR

must here imagine that

Narada some flowers or other tokens of

water principally (see p. 157

worship

were

as if the poet

7.

offering to

is

;

moment

a

mobile like Narada, and the similarity

is

c.

(^TTT^)

imagine for

to

1.

1)

that lay

at the

by

moment. Narada does not say 5P7J His blessing takes the form of a command to the vsHTJ *Tf[<M:. course of the universe and is not a mere wish, for the gods P. 156.

consider

the

King

1.

12.

frsnFft q^TJTofarTRJ:.

an honor to

it

is

only u

give

^^^1(0*:,

worlds and assigns to the P. 157.

1.

1.

The King puts

W5, his

effect

hand

King

'letting to

as

to his wishes

he has access

;

and

to

him

to all the three

his proper place-

down

UrvasTs

'

scil.

on Narada's

that held

the

water

feet.

and

ACT lets

to

down

show

v.

1.33

contents on Narada's feet.

tlie

The gods and demi-gods

refuse to

woman unaccompanied by may be.

the wife or

P. 157.

1.

3.

This

reception was by both

that the

Katavema:

9

done in order

is

King and

the

be received by a

Urvas'i.

man

a

or

the husband as the

case

TI^[ff]^ff^l^ (?)

Mark again

T.

See note

to p. 156,

P. 157.

1.

4.

arfWTW. one who

the

is

blessing.

12.

1.

'Would

3?fT sffRf Wfi[.

This

of the

imperative force

the form of salutation

is in the position of a

Guru.

On

^IWffT^ see Apastamba's Dharma Sutra

were

that this

a

to

fulfilled

Guru

the manner of

I. 4.

14.

or

!'

to

making

and passim, par-

'

fcSflWffFT*

ticularly

ad

20.

I. 2. 5.

P. 157.

1.

8.

ffSfRar^R. See above, note

P. 158.

1.

2.

Wl^Tr. On TOT

to p. 144,

see supra p. 10,

1.

1

1.

8.

and note

loc.

Mark

the

latter the

difference

between

9FT5TTf%

King, interrupting Narada, substitutes for the former.

P. 158.

1.

4.

predicate and

P. 158.

6.^

1.

In this sentence

&c.

fr^rarcf5TW:

sTfiT2:

an adjective of

Construe

perhaps

7.

1.

f^ 9 T

it is

8 refte T^T.

your partner

more correct to say '

after the sentence

a dart from

Katavema:

immediately after

my

$&

heart.

*T1fp

'

is

the

^" l^:.

'

f^^fKIf,

*Tffr

ir

arice of religious duties.'

P. 158.

and aiWrTTM", which

3& and

^

in

the perform-

?:^ftRWfr

not after

9 Tf ^fT

(sic.

though

that the particle should be taken '

he has, as

it

were,

extracted

NOTES.

134?

P. 158.

Katavema

8.

1.

'

am dependent

I '

i.e.

I

am

:

on the King of the Gods,'

servant and will obey his

his obedient

command

not

to retire to the forest.'

P. 158.

11.

Katavema

10 fgg.

^K[fr

day because is

irfflllr:

its

The notion

||

bright at night because the sun part of

at sun-set leaves

:

3 U*4

his

P. 159.

1.

on

^

Jirmrfa*"

Tf^r

quoted ad

2.tt*rr5THfafa7.

daring day-break and it

and brightness in the

light

J^'Tr

dull

is

when going down the horizon

IV.l, and the s'ruti H[lr5Ifi as

Rambha though

ffarcm'^: (sic.

g5:

that fire

is

brightness enters the sun

Conf. Raghuvaws'a

|

^Hsr

Rang.inatha observes: r?

wtorf?

:

We

present like a spirit

^

^Hf H?f

|

fire.

Pf^f'3 RffH"

^[J^^K5Tf^

|

by Mallinatha.

loc.

must

here

was not

imagine

visible.

that

She was

and presents which Indra himself

the bearer of the provisions

procured and collected (^^l) for the occasion. 159.

1.

5.

Ranganatha who

[^T^mOT^KflRlfr

||

To

may

all juices, all seeds, all flowers, all

It

is

possible there

may

^wff observes

reads

these

be added

all

sacred grasses

be a difference

:

*WKt

food grains,

and so

forth.

between the provisions Us^rfa^ra ) and that of 1

required at the coronation of a

King

an Heir Apparent ( JWTTWfo.) and our notes ad loc. P. 159. ^fhs-

1.

^fru^

6.

14

Ranganatha

:

(

See Bagliuvams'a XVII. 9-28

ACT '

159.

.

8.

1.

*TTC*,

pouring the contents

does personally because that

is

9-28 and our notes ad P. 159.

and

has to be done

by

See Itaghuvams'a XVII.

ftfa:.

loc.

This

iJRTrfec

9.

1.

wff

Brahmans.

of

holiest,

This Narada

of.'

the principal part of the cere-

real essence of the abhishelca,

mony, the the

135

v.

the accusative plural used for

is

the dual, which does not exist in the Prakrits.

P. 160.

Brahma

The

7-10.

11.

divine

sage

Attri

was the

Indu or the Moon was the son of Attri

;

the son of Indu

Each resembled

and King

\

his father

"

Kanganatha

(

that

how he

is

'

&c.

5

Pururavas was the son of Budha. his qualities.

by

W

fR=ff

:

son o

Budha was

|

fceR*qfr

reads

q<<m: S

STfiOT:

)


iEFcilfa

Iff

|

3N:

"

* |

Be

like thy father by thy qualities which For in thy family, highest of all, all blesThe speaker sings have indeed attained their highest pitch.' means that the highest blessing he can wish to the young prince :

are dear to the people.

.

is

that he should

become

father, because all the

like his

bles-

sings he can think of are already in the family. '

arftSTfafr

sense of

3 TI^5nT

P. 160.

'

'

excellent,'

highest,'

conf. supra p. 156,

12 fgg.

11.

1.

the best of

all.'

7 and note

ad

Construe

^T pfaft &o.

:

With

this

loc.

SSffiRf

JTOKT

Conf. Raglmvams'a III. 27,

and our note ad

loc.

STRRt 3^rr^ftT?T: with

Ffar

and

flJTTrl

le. 35T?TRt

and

r>-Tr^^R

WW (

=

"

V?rt:,

should be taken both

JTWfr^: "

see Malliuatlia

on the passage in Eaghuvms'a already referred to) and ^T^f^f^tr with both ^Flr and T5j5r. STO^hr 5T1T, i.e. as opposed to the Sarasvati which never reaches the sea.

136

NOTES.

P. 161.

11.

2, 3.

P. 161.

11.

4,

-were of Urvas'i,

common

to

Katavema

1.

P. 162.

11.

4.

on

this

passage

:

The Apsarases were sisters as and the good fortune ( TW^T: ) was therefore 5.

tfriTCff.

them with

P. 161.

observes

her.

tpret.

1, 2.

ifc

This was doubtless Aus'inari. JTfT4 %^fT^ ?T^rT^r.

aTfalTC

See Kumdra-

sambliava canto XIII.

P. 162.

1.

3.


by pouring

his head with his own hand.

with

water on

WffiC.

Construe

1.

8.

^frjnrfr^t.

P. 162. that

the coronation

See p. 159,

1.

5.

Maghava

is

aKT:


pleased.

'more than this/

viz.

than the fact

APPENDIX

II.

NOTES TO APPENDIX P. 102 A.

It

1.

1.

are

additional passages

Kanganatha .

He

He

may be

observed

I,

once for

included within brackets.

all that the

&c.

R*Tef!

flf^rfr^OTTOf^W^"?

:

reads

goes ou

flftflfr^r

= TOreit^f

for

flf?

f ?.

:

|

mi

flfsrof

m?

*rcfr

P^OTT ^^i^ri

?Rr

^rr

|

^ffrrlf

}:

t|

P. 102 A. as

1.

f^^^rr

4. 1

It is indeed possible to separate

IT^OT^? rlnfc^r &o., so as to turn the stanza

&G. into a speech to be delivered

observe here that this speech, which there

was

to

by is

ChitralekhS,.

Bufc

to indicate

nothing be delivered aside so that Sahajanya might not hear

does not attract Sahajanya's attention,

who

addresses

it,

Chitrale-

2

NOTES.

kha

as if tlie latter

had said nothing.

on the stae.

if genuine the au unseen by person not

Therefore,

stanza must be supposed to be spoken

[lifter

ffR":

i

srer

|

t

I

r

|

nathaP. 102 A.

P. 105 A.

1.

1.

5.

Ranganutha

SaR'fK

&o.

ing after the

is

Conf. also the Guzerathi

*1W, wet.

P. 105 A.

Eananatha

Conf.

This 3&*f

|

tlii

:

11.

Observe here

9-12

prose

spoken by

:

the origin of the Mard-

^j

also,

'

wetted.'

that though as com-

stanza

Clutraleklia the

may be

supposed to form part of the same speech, the following speech of Sahajanya seems to take no notice of the stanza, which must, therefore, be either spurious

or

sung by some one not on the

stage.

P. 106 A.

11.

5-7

Ranganatha |

^I^rUW

3[3ft *\

^

7 ?'^r^r

ifrfrfrOT;

wfe^

|


ir^fflT^H

I

|

iw.

P?^r &c. P. 106 A.

11.

Mark

it

that

stanza, but the

10-12.

is

same

Kananatha

not the king is

that gives

sung aud hoard on the

utterance

to

this

stage before the

APPENDIX king enters the stage, and must, to be

there.

n.

3

therefore, be

supposed either

sung by him just behind the curtain or by some one else In the latter case, however, the usual direction ^T^J

might be expected. 'The forepart

?T5"J0JT &G.

of whose person

trees, flowers, and twigs gathered

decorated

is

and borne

on the

by

forehead

as he proceeds in the forest.

P. 107 A.

"

4


11.

3,

:

I

'

,

with his eyes drenched in

tears.'

Like the Prakrit stanzas that will follow in one

is

how

part of the

little

pose that

s

King

connection

Prakrit

these

long

soliloquy.

bears with the context.

it

this

Observe,

verses have to be

this

however,

Unless

sung

Act

we

by a

sup-

person.

standing behind the curtain, and not being a character appearing

on the

stage,

is difficult

it

to

see

how

they could well

form

parts of the Act.

P. 107 A. that

it

We may

11, 12.

11.

contains nothing but a

Sanskrit

stanza immediately

observe as regards this stanza

repetition

preceding.

of the contents of the

This

is

peculiarly a

characteristic of spurious interpolations.

P. 108 A.

3-7

11.

Ranganatha

)qr (?) ft

ft i

This stanza

^JT^ ^

it

*TO Ttfqrf

I

I

s^F^ %3

:

fr

\

|

Sft^

&c.

^f ^ ^j^Twr? T^f 4

must be admitted has a place of its own, as it where it occurs, though we could very

were, in the context

well do without

it.

It also has

a claim to

liloquy, containing one of the King's

P. 103 A,

11.

ll-lo

ipptt?*T &c,

own

be

part of the so-

sentiments.

Ranganatha:

W^

f

3T

"

NOTES.

The connection

of

stanza with the

this

except the general one that the

King

is

context

is

not clear like the

madly dancing

kalpa-tree.

P. 109 A.

5-7.

11.

TOT:

wvT^r OTflshr:

I

*?:

R^^T

:

|

^r^r^:

^T

He

ff^r

: |

11.

?T*OT j

|

^

|

j

||

^RfK^p

Jr^^nrlrj^r

JT^fr-iTiTf^r

^TOirorc

^tf

zwt

|

is

8-16

&G.

I

T...

:

doubtful.

Kanganatha

fkfsqry^

faw

|

gives the purport of the stanza thus

This, however,

P. 110 A.

:

??T[iT (sic.)

^^q-ft^Tf

I

sic.)

:

Kanganatha

^r

j

:

R'
Wtt fft

(sic-! ff^fsqrj^i tf

5

\

?)

&c

:

(sic.)

|

iff^rfr

is

however, Kauganatha

He

^ ^^

wrong and

ri^}

9*f

??qy^qf*i^

:

I

mW-rf^

S'S

SF^f^Tgt (I)

Observe that there

is

to tsF^^T: in

refers

goes on ^Hfapfaft^Nr'Sf =^4R^r ^[f^T:

T^Ti? ^f

it is likely,

||

?fr?f

|

^oo,

^7

^00,

no connection between the

|

^r

o%

|

|

8.

1.

WFT o

o |

last Sanskrit

1

phrase fnrf^ Jr^fW lines

^Trrff

HJCT^TT

(1.

8)

which

refers to the

peacock,

which are about an elephant

four lines beginning with ^FfT

;

and the

and that the

&c. referring to the peacock are

merely a repetition of the Sanskrit s'loka 3ffi3\w

Wfavar &c.

APPENDIX n. The t^T

and immediate connection

direct

T^rfa and ^fSra * 17

silent

the time

all

verses, and then

dressing the peacock by P. Ill A.

11.

that

of a sudden

all

7-13.

3^^*

his

soliloquy

by ad-

:

573^4

||

where the King

who

re-

&c.

is

of must be some part

reads

f^RT^Tr

so

roaming.

Rangan&tha has the following on the tautology in

Kanganatha

that tbo

mind

somebody repeats the Prakrit

The VidyddharaMnana here spoken called of the forest

between TR"-

we suppose

resumes

Ranganatha

........

clear only

distressed state of his

\

&c.

is

&c., unless

to fatigue or to the

King owing mains

JW^ST

5

^f^Tf

for

TO 3?

says

:

and

^55f?ei^

sic

P. 112 A.I.

?R*^T.

2.

Ranganatha: rli^r

P. 113A. I

11.

v*

AT?*? &c. Ranganatha

2-7.

:

fSfl

&o. I

:

1

^W^UJt^T 7* ^ swiff ........

5t^: 5rfrcfrf^ (?)

&c.

iTCrFf

|

I

rT^r?r4lr 5tt

Mark how abrupt is the introduction ^K^^ &c. after imnr l^lft I

additions appear here, so far

|

as the

ff

%

of the Prakrit verses I

In

fact the Prakrit

context goes, quite out of

NOTES.

6

The

place.

that

context requires

should follow immediately after P. 114 A%:

11.

11-15.

sfonJi

1

I

^rmr^w^:

TU^JTT

(sic.)

I

how

is

(that 5TC:

irtr

fNwWR^f%^f

q?R[

Rr^re^r^^Rf

ft tr^riT

I

^"^

^

It should be noticed that the lines

^

lie

(sic.)

reads)

tf^fl^ir^a^

^^qyrJTrf

OJHRR'T

are so connected with the words arewSRf

&c.

(11.

no connection with the

context, and

least suspiciously anticipatory before

the

36

&c

is

\

to

.

18)

17,

WtKB^Wmtftt:

(11-

35 has

5"?Tr

|

ifr<>ior

10, 11) that they might naturally be expected without the intervention of any more words. low them

J^FR

&<j,

tff?f

aifcroirwr

I

S^RF

\

iR'STET in line 1.

ffcFOT. Ranganatha:

rcrorj d(sic. uO'fa

\

fa*

^Tff fa*r

'^^ fol-

Stanza

to say the

introductory

address

contained in stanza 37. P. 115 A.

11.

12-15.

Kanganatha

^^Rr^frir^j^^r^: 5

:

r-

i

i

Observe that the

words included in brackets have

little

connection with the context and intervene between two portions of the King's speech intimately connected with each other. P. 116 A.

11.

flowing down

8-11.

B a T'*ryj roj T3.

This means that the juice

the elephants' temples attracted to itself by

its

APPENDIX n. winch then hovered about them.

smell the bees

Tho two

line*

do not form a complete stanza by themselves but must be taken

with the

four verses on

first

the next page ?

Wi

&c.

The

compound ^K^fK^f^rjT'ptf should either be taken as a vocative or some such verb as (*WfrJ or Tfwr has to be understood.

*W

P. 116

A.I.

F. 117 A.

11.

?'-4R*^.

17.

1-4.

it

to

Ranganatha appears

He

ia reading ^T for ff.

4 and explains

Rangnnatha:

by ^

1<

also reads Tliis


be more correct

and line

for T* in line 1

'i

may

*M

no more

after all be

than the particle, so frequently met with in old Marathi poetry, where it early ceased to bear any meaning. Thus :

irror

|

i

^

^

jjf

||

^5Tf^rrf r

XI L ^T

Id.

J|

||

3.

-Tt

|

13.

3

srsr T

qf

H 3\

Mukundardja, Vivelcasindhu Adhs. ,

*by a sportive blow;'

t

e

II. III.

by a blow

dealt

with-

out exertiou. '

W}F^F*T*T*W^"?3T'
who

[hy means of her beauty].'

"

Ranganatha takes ^*TfFrfr latos

2^fr ifFCf.

has by far vanquished "

|5T^^^" as being

moon

Eanganatha.

^^

^5?t ^F^f appears to be

the

Fff.

For he trans-

quite correct.

3

NOTES. P. 118 A.

2-4.

11.

Ranganatha

Wf T^r (sic.)

^r^ri: TKH'TK

(sic

J

qfrf

u?^

HW &c.

|

I^Iark that stanza

47 does not

form a necessary part of the

context. P. 110 A. this as

10, 11.

11.

follows

^MPK^fTfim?.

^WUPRr

:

* ,

Rangruiatha

explains

^frHrffT^^^iT^ TOT?"!

whose banks are

as noisy (with the cries of

birds) as those of the heavenly river.'

F, 119 A.

11.

13-18.

Ranganatha

:

In his madness the King supposes that he sea instead of by

from the of the

east,

feed,

and

a ,the

.causing

waters were running

waves

is

standing by the

The wind was blowing

river.

to

rise

fully in

violently

the whole

and strike the banks.

APPENDIX n. made the

The waves

river-birds cry aloud.

rain-clouds

the

e.

t.

is

performing

monsoon clouds are spreading

tions and giving the sky a

Tims

dance.

Meanwhile

a dance.

bank

striking the

time to a

at regular intervals appear to beat the

the sea, he says,

9

in

the

new

all direc-

gloomy appearance.

&c. A dancer throws up hi* hands. So does the sea 2*3NSr throw up its huge waves which are raised by the violent eastern

wind.

We

R? 3?^.

must here suppose

that the

King

appearance of the supposed sea before him, and ing that the clouds over his head that if^t-

body

that

is,

is

refers to the

not

suppos-

the limbs of the sea

are

in our opinion, equivalent, to ^"fifTS 8?^

;

so

'with a

of azure colour.'

is

A

fsfrf^JTf l^fl^aTRrtjT.

dancer

ties to his feet

small bells

or hollow round globules of bell-metal containing small pebbles, that

in

make

a jingling sound as

the course

of his

lie

strikes the enrth with his feet

In the case of the sea the

dance.

feet-

ornament was the flamingo and the conch-shells. It is doubtful what is meant by J'^JT if it is not some bird or some shell that

makes a jingling or rattling

noise.

A

^f^^r^^flOT^iW^TrT^.

dancer

flowers and covers himself with wreaths

of

wears garlands

of

young sprouts

or

In the case of the so-called sea the garlands and wreaths consisted of the black lotuses in the river, at the bottom green leaves.

of whose stalks in their

there were alligators that resembled elephant*

colour.

^fffaspfsT^f "-Tr^Wf
*TW

free

lOTt Tjf fiPT SfOT 3

This seems to

tf:.

incomplete

=

be superfluous,

repetition of the

from the suspicion that

does not seem

first

it is

to refer to the

line.


TO: fo

being

5rT-

merely an

The following

line, if

a later addition (see footnotes),

dancing sea but to be an indepen-

deut description of the cloudy sky that accompanied the dancing.

NOTES.

On

the whole the stanza does appear to be somewhat difficult.

P. 120 A.

14-18.

11.

Ranganatha:

wi ww^v

?rfa*n
the reading of K. It

is

^^JHW^HttTC*W 7FW

that

val phrase qualifying Trf^ffffa and

A.

P. 121

9-12.

11.

I

P. 122 A.

:

.

mm

^ :

9-12.

11.

^r

........

jmrVsr ^:

I

|

1 I7T?rTr

(?)

Jprr^Rl^rarrw*' ?r%

I

^r

i

Kanganatha:

'

,

|

Pianganatha: W'*rnfrR J^fff y *rar5 8 ir?, bufc renders it

He reads like us He adds w^fasrKW^T

P. 121 A.

^fRJf

:

I

i

T:

*rr*Rf J*TJT-

=

Ranganatha

9-12.

11.

There

an adjecti-

is

equivalent to

is

being a bahuvrihi

,

not possible to say what

he does not give the whole stanza.

read, as

Ranganatha is little doubt

is

\

*

fortunately.' literally

by an encounter with [good]

fortune/

With

^*

P. 129 A.

compare the Gujeratht 11.

'

^*,'

'lie puts.'

&c. Trff^T Ranganatha: ?6F^FTh[Rr? whose person is decorated with the hairs that

8-12. '

^^iT^rfer^:,

|

stood on their ends through joy.'

^rRTORsfr 3

W

'

to

whom

ia OrST refers to the

a vimdna

came of its own

vimdna and not to the

v5

Ou ?sPiwr

see note to p. 106 A.

11.

5-7,

accord.'

Tha

LIST OF CORRIGENDA.

At

Page

Line

5

17

For

For (left -hand

Itoful .

prefixes

prefix

column) 6

17

13

10

18

6

00 O

J

omit

S^PfF^

10

28

10

34

14

47

7

.,

33

(left

hand

flrfa*T

column)

.

58

6

^^

59

4

JT=frw

65

5 ]2, 13

81

7

81

29

5

74

(ri glit

HF

hand

column) former

84

9

87

12

100

11

120

13

133

7

103A

12

113A

20

22 A

17

1

.

latter

q^fVRJT

........ T5WHJT

JlIT^} ^

........ JTTfMfl

l

S.ii6k.i i' .

.The YLVrekor-vas

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THE UNIVERSITY OF CALIFORNIA LIBRARY

.

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