Chandralekha

Author(s): Rudradas, A N Upadhye
Publisher: Bharatiya Vidya Bhavan
Catalog link: https://jainqq.org/explore/001860/1

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2
नाम सट्टकम्
तच्च संस्कृतच्छाया - आंग्लप्रस्तावना- पाठान्तरादिभिः सह
डॉ० आदिनाथ नेमिनाथ उपाध्ये, एम्. ए., डी. लिट्.
भारतीय विद्या ग्रन्थावली, ग्रन्थाङ्क ६
रुद्रदास - विरचितं
चन्द्र ले खा
विदुषा संपादितम् । भारतीय विद्या भवन, मुंबई
द्वारा प्रकाशितम्
A. D. 1945 ]
विद्या

अपने दुवि
RUDRADASA'S
CANDRALEKHA
(A Drama in Prakrit)
The Prakrit Text and Sanskrit Chaya authentically edited with a Critical Introduction, Notes, Appendix, Select Glossary, etc.
BHARATIYA VIDYA SERIES; No. 6
BY
Dr. A. N. UPADHYE, M. A., D. Litt.
( PROFESSOR OF ARDHAMAGADHI, RAJARAM COLLEGE, KOLHAPUR )
PUBLISHED BY
BHARATIYA VIDYA BHAVAN
[ Price Rs. 6-0-0
BOMBAY

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भारतीय विद्या ग्रन्थावली
- [ग्रन्थाङ्क ६]>
रुद्रदास-विरचितं चन्द्र ले खा
नाम सट्टकम् तच्च संस्कृतच्छाया-आंग्लप्रस्तावना - पाठान्तरादिभिः सह डॉ० आदिनाथ नेमिनाथ उपाध्ये, एम्. ए., डी. लिट्.
विदुषा संपादितम् ।
मुंबई - स्थित भारतीय विद्या भवन
द्वारा प्रकाशितम्
विक्रमान्द २००.]
[मूल्यं रू. ६-०-.

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BHARATIYA VIDYA SERIES [ Critical editions of rare and important texts, treatises and
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RUDRADĀSA'S CANDRALEKHĀ
(A Drama in Prākrit)
The Prakrit Text and Sanskrit Chaya authentically edited with a Critical Introduction, Notes, Appendix, Select Glossary, etc.
Dr. A. N. UPADHYE, M. A., D. Litt.
(PROFESSOR OF ARDHAMAGADHI, RAJARAM COLLEGE, KOLHAPUR)
V. S. 2001]
BY

་་་
PUBLISHED BY
JAYANTAKRISHNA H. DAVE, M. A., LL. B.
HONORARY REGISTRAR
BHARATIYA VIDYA BHAVAN
BOMBAY

[A. D. 1945

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VI VII 1-66
9-64
11 12 19-53
19
arly Indina : Sattalhe Play
20
21
24
28
CONTENTS General Editor's Preface Preface Introduction
1. Critical Apparatus 2. Constitution and Presentation of the Text and Chäyä 3. Candralekhä: A Critical Study
i) Dramatis Personae ii) Story of the Play iii) Synoptic Analysis of the Play iv) Prākrit Drama : Sattaka
a) Early Indian Drama 6) Rūpakag and Uparūpakas c) Năţikā and Sattaka d) Prākrits in the Drama e) Sattaka in the Evolution of Drama f) Sattakas known so far
Rajasekhara and his Karpüramañjari Nayacandra and his Rambhāmañjari Mārkaņdeya and his Vilāsavati Vigveśvara and his Śrngäramañjari
Ghanaśyama and his Anandasundari g) Candralekhă: A Sattaka v) Karpūramañjari and Candralekhā vi) Candralekhā, as a Literary Piece vii) Prākrit in the Candralekhā
viii) Metres in the Candralekhā 4. Rudradāsa : the Author Caṁdalebā: Text with Sanskrit Chāyā and Variants Siloa-sūs Notes Appendix Saddasūi Corrigenda
31-52 32
9-16

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Preface by the General Editor EXCEP'TING the Karpūra-manjarī of Rājas'ekhara and the Rambhămañjarī of Nayacandra, no other plays of the Sattaka type were published so far. This edition of Camdalehä, which has been brought out, for the first time, with remarkable critical acumen and praiseworthy labours, is a valuable addition to the wealth of our Rūpaka literature. So far, very few Prākrit works of non-Jaina authors have seen the light of day : the result has been that most of the scholars are accustomed to look at Prakrit as a sectarian language cultivated only by Jainas and that there is a general neglect of Prākrit studies, as a branch of specialised and higher research, in our University circles. But now from the view-point of the history of linguistic evolution in India, it is abundantly clear that, without critical study of and researches in the Prākrit literature and languages, we cannot get a true picture of our entire medieval Indian culture. There is no doubt that Jaina authors have rendered yeoman service to the cause of Prākrit languages and literature; but now it is becoming more and more clear that others also have tried to contribute their mite in this direction. Through political vicissitudes and foreign attacks, much of the riches of Prākrit literature is lost in course of time. What little from this vast literature has come down to us lies seattered in various old Mss. libraries, and some of the works are almost on the verge of extinction. They could be immortalised by the efforts of learned researchers solely devoted to the cause of Präkrits like Dr. A. N. Upadhye. It is mainly through Dr. Upadhye's efforts and researches that we have become lately acquainted with many Prākrit compositions which were being neglected in the MSS. libraries of the South where Dravidian languages are in vogue; and for this, I offer my sincere congratulations to this dear and modest friend of mine. His Introduction, it will be seen, is a piece of solid research. He has thoroughly reviewed the various problems connected with the Sattaka form of drama; and special attention may be drawn to his critical study of some new Sattakas discovered by him. He has collected and presented the material with remarkable industry; and his study is characterised by systematic thoroughness and sobriety of judgement. We believe, and we have great hopes that in the near future Dr. Upadhye will give us many valuable Prākrit works with learned Introductions which are usually the results of his extensive study and mature scholarship.
It has been one of the chief aims of the Bhäratiya Vidyā Bhavana, Bombay, to bring to light such valuable and important Prakrit works ; and we hope, the learned and the wealthy of our nation will extend to us full cooperation in this direction.
Bharatiya Vidyā Bhavana
Bombay: April 1945.
1
JINA VIJAYA MUNI

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PREFACE
THE present edition of the Camdaleha(Sk. Candralekha) of Rudradasa (c. 1660) is based on rare MSS. from the South, the transcripts of which I could procure with great efforts. Though the material was meagre and unsatisfactory, I have exercised utmost care and scrutiny in presenting the text and Chaya in an authentic manner. Even as it is, it should be a welcome addition to the published Prakrit literature, especially when there has been such a deplorable dearth of Prakrit plays belonging to the Saṭṭaka type which has been all along illustrated only by the Karpūramañjarī.
In the Introduction, after describing the MS. material and stating the procedure of text-constitution, the various aspects of Candralekha are subjected to a critical scrutiny; and a biographical note on Rudradāsa, the author, is added at the end. The Saṭṭaka, as a type of drama, is elaborately studied in the background of the evolution of Indian drama. Further, I have presented here a detailed study of half a dozen Saṭṭakas most of which were mere names to us so far. The entire art gallery of Saṭṭaka in Indian literature is no more to be appropriated by a solitary play of Rajasekhara, because now there are half a dozen members to occupy it, and some of them quite worthy. It is by such studies, I hope, the bounds of our knoweldge of Prakrit literature would be widened and its land-marks seen in a clearer perspective.
While working on this text, various scholar-friends helped me with suggestions etc.; and it gives me pleasure to remember them with thanks: Mr. K. J. Dikshit, B. A., B. T., Sangli; Dr. A. M. Ghatage, Kolhapur; Dr. T. G. Mainkar, Sangli; Prof. M. V. Patwardhan, Sangli; and Dr. V. Raghavan, Madras. I am specially grateful to Prof. K. V. Krishna Ayyar, Calicut, for his valuable notes on Zamorins and Rudra.
I record my regards to Professor B. H. Khardekar, Principal, Rajaram College, Kolhapur, whose silent sympathy for academic studies has given me the necessary peace and encouragement in my research pursuits.
I cannot adequately express my sense of obligation to Acharya Jinavijayaji, Hon. Director, Bharatiya Vidya Bhavana, Bombay. He has an inborn zeal for Indian learning; and if the Candralekha

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CANDALEHA
VITT
appears today in a stately form, much of the credit should go to him. His willing co-operation and guidance, his kindly interest in my studies, and, above all, his akārana-vătsalya towards me have made even my heavy toils smooth and joyful.
My thanks are due to the Regency Council of the Government of Kolhapur for the kind aid given to me in my work on the Candralekhā. I also acknowledge my indebtedness to the University of Bombay for the grant-in-aid given towards the cost of the publication of this work.
karmanyevádhikäras te:
Kolhapur: 1 25th March, 1945)
A. N. UPADHYE

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INTRODUCTION
1. CRITICAL APPARATUS
The Prākrit text and the Sanskrit chayā of the Camdalehā (Sk. Candralekhā), presented in this edition, are based on the material from the following Mss.:
This stands for a Devanāgarī transcript of ms. No. 597 of the University Mss. Library, Trivandrum; and it was so kindly made available to me by Dr. L. A. Ravivarma. I am informed that the Ms. is in charge of the Curator's Office, Trivandrum. It is a paper Ms. written in Devanāgarī characters, measuring 131 by 83 inches and having 152 pages with 18 lines on each page. It was prepared some twenty years back. The original source from which it was actually copied cannot be traced now, nor is the age of it recorded. It is, however, surmised that the original source might be out of the three under-mentioned palm-leaf mss.: 1) Candralekhă Sattakam, obtained from Govind Pisharody, Kailasapuram, Vaikom; 2) Ibid., obtained from Brahmadattan Namburippad, Kudallur Mana, Nagalasseri, Pittambi; 3) Ibid., obtained from Narayanan Vasudevan Namburippad, Poonnurkottu Mana, Kunuattunad. I understand that all the three sources, and particularly Nos. 2 and 3, are homes of hereditary scholarship, and Mss. from them are almost always trustworthy. I have had no direct access either to the Trivandrum Ms. or to any of these three palm-leaf mss. ; but all my readings are taken from the transcript ka supplied to me. It contains both the Prākrit text and Sanskrit chāyā, written above and below on a page. There are some minor lacunae in a few places: they are quite negligible, and could be easily filled with the aid of the Sanskrit shade. In some places the text treats a few verses as running prose. It opens thus: sft: ethn (at the beginning of the Prākrit text) and ends with ill arbeter Fri Fa: Arar 11 (at the close of the chāyā).
@-At the bottom of the pages of the transcript ka, described above, certain variant readings are noted in red ink and are assigned to kha about which the following information is supplied to me.

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2
CAMDALEHA
It belongs to the Palace Library, Trivandrum, and bears the No. 1497. It is a palm-leaf Ms., 8 by 2 inches in size and containing 42 leaves. It is written in Malayalam script with 9 to 11 lines on a page. Nothing could be ascertained about the age of this Ms. which is noticed as No. 3207, D.C.S.M., Vol. 4, Part I A. I have neither used the palm-leaf Ms. kha, nor have I got a complete transcript of it; all my readings of kha stand for the entries (at the bottom of the pages of ka) which are about 135 in number and record variants of different length. They are usually connected with the Prakrit text and rarely with the chāyā.
This is a transcript of a MS., No. R 3207 (a), belonging to the Govt. Oriental MSS. Library, Madras (war-time camp, Tirupati ); and I got it through the kind offices of the Curator, Dr. A. Shankaran. This Madras MS. called Candralekhā, I am informed, is in Grantha characters, on paper and in good condition. The size is 10 by 9 inches, and the work covers 43 pages. The actual title of the Ms. is 'Manaveda-caritam'. It was copied in 1920-21 from a мs. of M. R. Ry. A. Karunakar Menon Avl., B. A., B. L., High Court Vakil, Chalapuram, Calicut, Malabar Dt. Following the Madras MS., the transcript supplied to me contains only the Sanskrit chaya and no Prakrit text at all. It gives the Sanskrit rendering of the Prakrit speeches assigning them to different characters but omits the stage-directions obviously because they are in Sanskrit. The prose and verses are not in any way distinguishable. It is full of lacunae, small and big; some passages at the beginning are misplaced; the contents are not well preserved; by itself it is not of much value, but when read with ka it gives help in many places. It is full of scribal errors. It uses
for here and there. The transcript opens with the title: मानवेदचरितम्, and ends thus : इति चतुर्थं यवनिकान्तरम् । समाप्तोऽयं ग्रन्थः ॥
C-My friend Dr. V. Raghavan, Madras, drew my attention to the fact that the text and chaya of Candralekha was being published in the Samskṛta-sahitya-parisat-patram, Calcutta, for 1932. I procured the numbers (Vol. XIV, Nos. 10 and 11, February and March 1932) and found that the text and chaya of the first Yavanikantara and a few lines of those of the second one (ending with pekkhadu dāva maharão at II. 1. 5) are printed so far. Still it remains incomplete. These numbers reached my hands after the first forme of the text and chaya was struck. I learn from Dr. S. K. Chatterji that it was being edited by the then Editor, Prof. Kshitis

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Chandra Chatterji himself, and that he gave it up as the Ms. material he had in hand was very bad. The description of the MSS. used by him is not given. But after comparing the actual corrupt readings, some of which are noted by him also, I find that his text appears to be based on a copy of the Ms. ka described above. He also records a few readings of kha. As our sources are nearly identical, I have not noted down the readings of this printed text, called c here; but some of them I have discussed in the Notes. With the help of c I could check some uncertain readings in the 2nd and 3rd formes.
INTRODUCTION
This is all the material that was accessible to me after good many efforts. For editing the Prakrit text, ka is the only MS. available with a few readings of kha. The Curator's Office does not suggest any immediate relation between ka and kha, though they belong to one and the same locality. The Ms. kha does show independent readings; it contains some passages not found in ka; and here and there it shows different arrangement of speeches and stage-directions. They show some mutual independence: one is not the direct copy of the other. The full copy of kha is not before me; so the siglum kha just stands for 135 entries of various readings. The editor, therefore, had to constitute the Prakrit text mainly on the basis of ka. The readings supplied by kha are sensible and at times superior to those of ka; but, as their number was limited, their advantage could be taken only in a few places. In all the cases where the readings from both are available, they are clearly indicated in the foot-notes. Whenever a reading of ka is noted, it does not mean, unless specifically mentioned, that the text presented in the body agrees with that of kha: it only means that the editor, for reasons elaborated below, had to improve upon the actual readings of ka which, in important cases, are recorded in the foot-notes with all care and fidelity. If the reading of kha has been accepted in preference to that of ka, it is made quite explicit by giving the readings of both in those places.
As the Prakrit text is primarily based on the мs. ka, we have to scrutinize its nature more carefully and note some of its important traits. First, it contains many evident blunders which can be unquestionably attributed to indifferent copying; some of them could not be called genuine readings. Secondly, the Ms. exhibits consistently certain peculiarities which deserve to be explained before they are correctly emended without noting the variants: at times short

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CANDALEHĀ
and long vowels are not rightly distinguished, for instance, niara for ņiara, pāara for pāära, turiaṁ for turiam; a short vowel with anusvāra and a long vowel are often mutually confused, for instance, dāni for dāni, ki for kim; a duplicate consonant is not properly distinguished from a consonant preceded by an anusvāra, as in, samimdha for samiddha, tassa for taṁsa, viňkhambha for vikkhambha; conjunct groups are written, almost regularly, as khkh, thth, dhdh; very often aspirated and unaspirated consonants serve each other's purpose; more than once ţ and th stand for ļ and ạh, 1 for i, ph for bh, k for t, d for dh, nn for nh, mm for moh; sometimes ļ is used for 2 (also in the chāyā, though rarely); some consonants are indiscriminately written, one for the other, p & v, b & v, and I & n. Such lapses are found scattered all over the Prākrit text in a bewildering quantity. Some of these, no doubt, have arisen out of the peculiarities of the Malayālam and Grantha characters and the mode of writing Prākrits adopted therein. Copyists, who were not quite well-versed with Prākrit phonology, have not been able to read correctly the ādarsa from which they prepared the copies. Lastly, we have another set of scribal lapses in this text as written in our MSS.: what looks like ya-sruti is seen in words like sayala, loya, samaya etc.: this may be partly due to the influence of Trivikrama's Prākrit grammar which has been quite popular in the South and partly to the preservation of Sanskrit medial y; more than once m is retained at the end of a metrical foot; nasal conjunct groups are often written as in bhingi, bhañjiā rather than as in bhimgi, bhamjiā; usually conjuncts are written like hm and hn, and not mh and nh; cch rather than ch is written at the initial of a word ; in some words, here and there, we find ai, au, s, pr and a visarga retained as in their Sanskrit counterparts; and we get declensional forms like meinim, lilām etc. It is true that in many respects the dramatic Prākrits, as contrasted with Ardhamāgadhi and even Jaina Māhārāstrī. are moulded after the model of classical Sanskrit from which later on even ready-made forms were subjected to phonetic corruption and imported into Prākrit. The above lapses are definitely due to Sanskrit influence which was working on our text too, for obvious reasons: the contiguous presence of the Sanskrit chāyā with the Prākrit text, the neglect of Prākrit passages in preference to the chāyā in studying the drama, constant checking and correcting of the Prākrit text with the aid of the chāyā, and lastly, the confirmed habit of copyists to write Sanskrit works usually and Prākrit works rarely. We come across these lapses in a greater abundance especially in those texts

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INTRODUCTION
which are preserved in the South or in southern scripts. The readings, noted in the foot-notes, are sufficiently exhaustive. Apparent scribal blunders are ignored; but the two other categories of misreadings are sufficiently illustrated. If it is felt that some of them do not deserve to be noted, I can only add that I have erred on the safer side.
2. CONSTITUTION AND PRESENTATION
OF THE TEXT AND CHAYA
Though classified here according to a slightly different plan, similar scribal errors were found in the Mss. of Kamsavaho and Usāņiruddhas which have been already edited by me. As in them, the Prākrit text has been presented here in a standardised form with regard to orthography and other external details; and the method of text-constitution is nearly the same. The Camdalehā is a late work, to be assigned to the closing period of Prākrit literature; so the grammatical standards, elaborated in earlier Prākrit grammars, cannot be altogether ignored. On the whole, when correcting the threefold scribal lapses, it is expected that the language of the text should conform to the recognised linguistic tendencies of Prākrits and to the rules laid down by Prākrit grammarians. This is a broad principle, though every detail has to be scrutinised on its own merits, at least in some cases. The tendencies of scribal errors being once detected, minor corrections could be made with the
the chāyā, in view of the metrical needs in verses, in the light of illustrations noted by Pischel?, and after comparing the forms with those in the text and variants presented by Konow in his edition of the Kappūramamjarī which has served as a model for the Camdalehā. Utmost fidelity to the ms. is my guiding principle,
1 Kassavaho, Hindi Grantha Ratnākara Kāryālaya, Bombay 1940;
Usāṇiruddham: A Prākrit Kävya, Journal of the University of Bombay, X, 2, Bombay 1941. The latter is also edited by Sastri and Raja, Adyar Library, Madras 1943. All the references to Pischel, unless otherwise stated, have in view his Grammatik der Prākrit-Sprachen, Strassburg 1900; a complete Index of the Prākrit words in it is prepared by Wickremasinghe and published in
the Indian Antiquary. 3 Harvard Oriental Series, IV, Cambridge, Mass. 1901. The Präkrit
text is edited by Konow and an English translation is added by Lanman.

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6
CAMDALEHA
and my corrections do not go beyond the threefold lapses which are sufficienly evident even from the select readings. No genuine reading is consciously sacrificed in the interest of some editorial discipline, a stray rule of grammar, a certain dialectal theory, or some linguistic expectation. Whenever I entertained even a slight suspicion that it is not unlikely that others might have some other alternative correction to suggest, I have carefully noted the actual readings, exactly as they are in my transcript, in the foot-notes.
Both Kappuramamjarī and Camdaleha are Saṭṭakas. The former is edited in a superb style by Sten Konow; and it is quite natural that these two plays should be compared with regard to their Prakrit dialects. It is necessary to note Konow's method of text-constitution and also to indicate how I have proceeded. Pischel points out (§ 12) that Mahārāṣṭrī, the phonetic structure of which was largely determined by the fact that it was above all used in musical stanzas, has been employed in the Gathas and allied songs which lie scattered in the writings of authors on rhetorics and are grafted also in the dramas. According to Viśvanatha (14th century A. D.), women not of lowly origin should speak Śauraseni in drama, but in their songs (āsām eva tu gāthāsu) they should use Mähārāṣṭrī (Sahityadarpaṇa VI. 159). This application of Māhārāṣṭri', Pischel concludes, 'in lyrical poems destined for musical purposes is doubtless the oldest, and the dropping of consonants in such large proportions is primarily to be attributed to this cause.' In another context he remarks (§ 22): The Sauraseni occupies the first place among the Prakrit dialects which are used in the prose the dramas.' Pischel and Konow were almost simultaneously working on the Grammatik and Karpuramañjari; Pischel introduced a genuine order in the study of Prakrits by his monumental grammar; and, taking their mutual relation into consideration, it is no wonder that Konow wanted to carry with zeal the theory laid down by Pischel into practice. Konow distinguished the dialect of the prose from that of the verses in the Karpūramañjarī (p. 202). This is put by Lanman in plain terms: The Sauraseni is used as the conversational dialect, that is, in the prose passages; while the Mahārāṣṭrī is regularly used in the stanzas' (p. 200). Acceptance of this rule with universal and retrospective applicability has led Konow beyond the limits of readings supplied to him by nearly a dozen MSS.; and here is his frank confession: The chief aim of this edition then is a linguistic one. But besides, I have also
of

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INTRODUCTION
been guided by another consideration. I often had to regret that no chrestomathy of the Prākrits of the plays exists, and it was my hope that the Karpūramañjarī might be used as such one. This consideration has also, to some extent, influenced my work. Thus I have, in some places, introduced the peculiar forms of the two dialects, even against the reading of all mss. (pp. xxi-xxii, Italics mine). Some of the subsequent editors of dramas have not been able to agree with Konow's practice. Hillebrandt remarks thus in his Preface (p. iii) to Mudrārākşasam (Breslau 1912): "In plays Māhārāștri is restricted to songs: this in an old rule the correction of which I see no reason of doubting; but the restriction of Saurasenī to the prose passages of dramatic works is an assumption to which I cannot accede. He further points out how the best mss. admit Sauraseni verses. The greatest reaction against Konow's procedure comes from Dr. M. Ghosh who has re-edited the Karpüramañjari.?
A text-critic is not open to adverse criticism, if his grammatical standards are upheld by the readings of his genuine mss. Systematically collated by him; but when, in spite of a large number of mss., he has to emend his text against the best readings, simply because he has set before himself certain dialectal standards, one begins to suspect the universality of the standards and the soundness of his procedure. The zeal for scientific thoroughnesss, textual uniformity and strict editorial discipline is allright; but when it is satisfied at the cost of genuine readings, without a word of apologetic explanation, the text-critic is cutting the very sand under his feet.
In editing the text of Caṁdalehā, the threefold scribal lapses only are corrected; and no genuine reading is silently tampered with to fulfil any dialectal convention. It is a modest and conscientious effort to record faithfully the text of Camdalehā available to the editor from a single ms. after judiciously eschewing the scribal lapses. In discarding, discriminating and determining the readings I have tried to be as careful and cautious as possible. It is quite likely that critical judgment may vary on minor details. I have, however, given the actual readings in all crucial cases, so that others may be able to correct my errors and build a better text when some more MSS. are available.
In presenting the Prākrit text I have followed nearly the same principles adopted in the Kamsavabo and Usāņiruddham. . 1 Published by the University of Calcutta, Calcutta 1939.

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CANDALEHA
One point, however, I may touch upon here. This text uniformly reads kií vi; some variant readings are ki vi; and as far as I remember, only once the reading is kiñ pi. ki for kim is only a misreading belonging to the category that a long vowel often
ensates a short vowel with a anusvāra in this MS. It is true that the ms. confuses p and v; but on the basis of this general tendency I have not corrected kim vi into kim pi, because the ms. uniformly, with one stray exception, writes kim vi. According to Hemacandra's grammar (VIII. ii, 218) the Sanskrit particle api is to be replaced by pi and vi. Pischel ( $$ 143, 171, 180) looks upon vi after an anusvāra as a mistake; and his view is backed by the authority of Mārkandeya (Prākṣta-sarvasva, VIII. 17). I do appreciate, in this context, the grammatical authority, linguistic justification and the general practice of earlier texts on which his view is founded. But all this is not enough to emend the uniform reading of a ms. in view of another consideration. The Camdalehā is a late work in which the author used the Prākrit dialect in a mechanical manner; and once vi got equated with the particle api, it would be used mechanically wherever api was to be put. This practice has been in vogue from a pretty long time. Some of the mss. of Mudrārākşasam, both from the South and North, collated by Hillebrandt do show vi after an anusvāra (see the readings on pp. 12, 17, 38, 66, 109, 132 etc.). In the mss. of the Mahāvīra-caritam (London 1928), as observed by Todar Mall (Intro., p. XXXIX), the word api always appears as vi, even after an anusvāra. He thought, following Pischel, that the correct form should be pi and emended accordingly. All this means that i was, for our author, just a substitute for api without any reservations, and not behaving differently (i. e., becoming pi) after an anusvāra because of its enclitic nature. So I have retained the substitutes of api as they are given in the ms.
I have retained the Daņdas almost as they are found in the Prākrit text, at times checking them with the help of the chāyā. For facility of reading and understanding I have added a comma in some places, after the vocatives ( after the last, if there are many) and interjections and in separating small sentences that follow in quick succession. Minor lacunae of a syllable or two are silently supplied; but if the reading is not definite or the passage is long, then it is put in square brackets. The corresponding chāyā is shown by the referential Roman figures I, II etc. The prose lines of the Prākrit text between two verses ( which are separately numbered in each Yavanikāntara) are numbered by threes. The letters a, b, c and d stand for the pādas of a verse. Thus I. 17. 22 means First Yavanikā.

Page #18

ntara, prose line 22 after the verse No. 17; and I. 206 means the second pada of verse No. 20 of the First Yavanikäntara. This would help the reader to refer to any Prakrit portion conveniently. The actual variant readings of the Prakrit text are noted immediatly below the same.
INTRODUCTION
The chāyā is based on two Mss. ka and ma, and only genuine and significant variants are noted just below it. If the chāyā agrees in both, but disagrees with the Prakrit text in any place, it is marked with an asterisk to indicate that it is not sanctioned by our text. Often the asterisk implies that the chāyā possibly presupposes a different reading in the Prakrit text. Good many lacunae are found in ma; the longer and the smaller but significant ones are duly noted in the variants. For the benefit of readers that they might easily equate Prakrit and Sanskrit words, the rules of Samdhi or phonetic combination are not strictly enforced on the readings, which are allowed to remain as they are in the Mss. If the two MSS. disagree, the reading that is looser in Samdhi is accepted without noting the other reading. The chaya does not repeat the names of characters and stage-directions, the omission of the latter, when they come in the middle of a line, being indicated by three dots within brackets. It is presented in a running form with Roman serial numbers (corresponding to those put in the Prakrit text) put for successive speeches on a page. Though verse Nos. are given, the lines are continuously printed, because they are no more metrical in the chaya. Commas are added corresponding to those in the Prakrit text; they also separate some of the lines of a verse. In some cases, for instance kasmin for kahim when kutra would be better, one is tempted to correct the chaya, but I have not done so. Some such suggestions are made in the Notes. The readings of the chaya, whether they are phonetic equivalents or sense equivalents, are allowed to remain as they are in the Mss.
3. CANDRALEKHA: A CRITICAL STUDY
i) DRAMATIS PERSONAE
Cakoraka, see Vidūṣaka.
Camara-grāhiņi, a female Door-keeper who carries a chowrie in
her hand.
Candanika, a maid-servant. ३ चं. ले.

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10
CAMDALENÁ
Candralekhā, see Nāyikā. Candrikā, a maid-servant, attending on Candralekhā. Cetī, a maid-servant, Candanikā by name. Cintāmaņi-devatā, the Deity presiding over the jewel Cintāmaņi
which was presented to Mānaveda by Sindhunātha
through his minister Susruta. Devī, the Queen, the first wife of the King, Mānaveda. Gosamjña, see Vidūşaka. Kalabhāṣiṇī, a female Door-keeper. Mänaveda, see Rājan. Mañjubhāṣiṇī, a female Door-keeper. Naktamālikā, a maid-servant. Nāyikā, Candralekhā, the Heroine. She is introduced on the stage
first as Adbhuta-kanyakā, Cintāmaņi- or Ratna-sabhavā, because she was brought forth miraculously by the jewel Cintāmaņi. She is the daughter of Candravarman, the king of Angas. Her mother and the mother of the Queen are sisters; so she is a sister to the Queen. She has a brother Candraketu by name. It was prophesied that she would be the wife of a universal monarch. Cintāmaņi-devatā brought her to the palace of king Mānaveda to whom she was married at last
with Queen's consent. Pāripārsvaka, the Assistant of the Director (sūtradhāra). Pratihārī, a female Door-keeper, Mañjubhāşini. Rājan, the King, Mānaveda, the Hero, who marries Candralekhā and
acquires universal sovereignty. Sumati, a Minister of king Mānaveda. Suśruta, the Minister of Sindhunātha. He brings the jewel
Cintāmaņi as a present from his master to king
Mānaveda. Sūtradhāra, the Director of the play. Tamālikā, a maid-servant, attending the Queen. Vaitālika (I and II), Bards, Mañjukaņtha and Madhurakaạtha
by name. Vidūşaka, the Jester, a Companion of the King, also called Cakoraka,
Gosamjña.

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INTRODUCTION
ii) STORY OF THE PLAY
The Queen of Manaveda had her aunt married to Candravarman, the king of Angas. Candravarman has a lovely daughter, Candralekha by name. She had auspicious marks on her body; and it was prophesied that she would make her husband a universal monarch. Naturally she was an object of attraction for various kings.
11
During spring, one day, the king Sindhunatha sent to Manaveda a pleasure gift of the jewel Cintamani, well-known for its miraculous potency to fulfil any desire. Manaveda accepted the gift. It was one of his ambitions that he should become the monarch of the earth surrounded by seven seas. Knowing from the King that the jewel is presided over by a Deity, namely, Cintamanidevata, who grants any object of desire, Vidūşaka entreated the jewel Cintamani to bring before them the most lovely girl on the earth.
That day Candralekha was sporting in the park at Campā. She was, through the power of that jewel, straight-way brought to the palace of Manaveda. Her identity, however, was not known to any one excepting the Deity. She was so beautiful that her presence was a matter of surprise to all. The Queen welcomed her as a noble-born girl. From the moment the King saw her, he fell in love with her. Candralekha also felt attachment for him. Once he attended her singing entertainment, and a second time he met her in the Plantain Arbour. Their passion for each other reached almost a fatal point. The Queen suspected and came to know about their love; and hearing about their secret meeting, she kept that poor girl under guard: she was not aware of her personal relation with her. The sudden disappearance of Candralekha from Campā was a matter of great concern to the family. Her brother Candraketu came to the court of Manaveda for Vișuvotsava. He gave out the distressing news to the Queen (of Manaveda) how her cousin sister Candralekha, who was destined to be the wife of a Cakravartin and who was betrothed to king Manaveda, had disappeared to their great sorrow. The Queen immediately appealed to Manaveda to inquire from the kings gathered there as to who had kidnapped princess Candralekha. They all solemnly pleaded innocence in the matter.

King Manaveda, seeing no other way out, prayed to that Cintamani-devata who consequently brought forth the same lovely

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CAMDALEHA
girl as Candralekhā. It was a surprise and joy for all. The goddess told the Queen that Candralekhā was destined to be the wife of a Cakravartin and that, therefore, she should consent to her being married to Mānaveda. She assented to it. Mānaveda and Candralekhā were duly wedded; and thus all the ambitions of the king are fulfilled.
iii) SYNOPTIC ANALYSIS OF THE PLAY The scenic division, which has no special reference to the canons of Indian Dramaturgy, is primarily meant for the convenience of following the events of the play. The entrances and exits, the place of action and independent episodes, narrated or acted, have served as the guiding principle.
The play is enacted possibly in the Natyaśālā attached to the palace of king Mānaveda, the audience consisting of the learned people in the royal court at whose instance it was being performed.
Manager's Prelude (sthāpanā) Scene 1 (I.1). Recitation of the benediction (nändi). Scene 2 (I. 1. 1-). Enters the Director (sūtradhāra), salutes
Pärvati and Siva, and hears the commencement of the play. Scene 3 (I. 4. 7-). Enters the Assistant (pāripārsvaka); both of
them discuss the nature of Sattaka, its author Rudradāsa of the Pāraśava family (described), his teachers Rudra and Srikantha (described), the flavour of Prākrit, enactment of the Sattaka at the instance of the learned assembly of king Mānaveda (described elaborately) and the gist of the plot that in this play Mănaveda marries Candralekhā, the daughter of the king of Angas, who brings to him universal
monarchy. Entrance of King and Queen announced. Exeunt.
[The seasonal back-ground of the play is Vasanta or Spring, i. e., the two months, Caitra and Vaišākha. There is a reference to breezes of Caitra at I. 24; and Vișuvotsava, at the beginning of the year, is being celebrated (IV. 1.1 etc.). ]
Yavanikāntara I [The action in this Yava. begins possibly late in the afternoon. The bard announces evening at I. 37. 9, and the King also refers to it, I. 40-41.] Scene 1 (1. 13. 5-). Metropolis, possibly a hall in the palace.
Enter King and Queen with retinue. The King broods

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INTRODUCTION
13
over his ambition to become the lord of the earth bounded by seven seas, and requests the Queen to enjoy the beauty of the town at the advent of spring. Both of them describe it. Vidūşaka also joins them with his florid description. Candanikā draws their attention to the hospitable invitation of Emerald Park (marakatárāma); she almost competes with Vidūşaka in offering a beautiful description; and both want to win royal approbation. Vidūşaka proposes a visit to the Emerald Park. King's right eye is throbbing, and Vidūşaka prophesies that the King would win the earth
sealed with seven seas. The Queen amens it. Scene 2 (I. 18. 8-). Emerald Park: All enter it.-Behind the
stage, two bards, Mañjukaņtha and Madhurakantha, glorify and greet the King drawing his attention to the charms of the Park.-At Vidūşaka's request to enjoy the wealth of its beauty, the King describes the Park. They all sit to enjoy its charms. The King and Queen congratulate each other on the beauty of the season with its refreshing breezes.- Vidūşaka says that he forgot his learning at home; and when he demands something on loan, Candanikā is ready to give it. He feels offended. She sings a fine verse fulfilling his conditions and to the approval of the King. Vidūşaka quietly transfers his own defeat to the
King, and announces the arrival of minister Sumati. Scene 3 (I. 27. 5-). Enters Sumati with Suśruta, the minister of
Sindhunātha. After mutual welfare-inquiry, Susruta requests the King to accept Sindhunātha's pleasure-gift, namely, the jewel Cintāmaņi, which was acquired by his master from the Ocean and which would fulfil all the desires. It was put in a gold tray under silk cover.
Sumati is asked to look duly after Susruta. Exeunt. Scene 4 (I. 27. 27-). Vidūşaka removes the silk cover, and the
King praises the lustre and power of that Cintāmaņi. Finding Vidūşaka cold about its potency, the King tells him that such jewels are presided over by invisible Deities who can bestow any gift. Thereupon, with King's consent, he entreats, with his eyes closed, the Jewel to bring on
the stage the most lovely girl. Scene 5 (I. 29. 16-). Enters the Heroine (mentioned as Adbhuta
kanyakā, Cintāmaņi-, or Ratna-sambhavā, later on as

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CANDALENA
Candralekhā). The King admires her beauty in rapturous stanzas. She also feels regard for him. The Queen recognises her as noble-born. Vidūşaka hints that she would be the queen of a Cakravartin. The King expresses his deep passion for her. The Heroine also is affected with love, and finds the situation unbearable. The Queen, noting that she was new to the place, offers her a seat. The Heroine appreciates her as a matching Queen for the King.-Behind the stage, the Bard glorifies Mānaveda and announces the evening in a couple of descriptive stanzas. The Heroine recognises the King about whom she had heard from her father. The Queen loves her like a sister; and with King's ready consent, she conducts her to the harem while she (i. e., the Heroine ) looks at the King affectionately.-The King welcomes evening with slight dejection. He insists on the Jewel being respectfully preserved, when Vidūşaka tells him that it may by thrown away now because it has already served its purpose. Exeunt All.
Yavanikāntara II [Some days appear to have elapsed after the King saw the Heroine (II. 15.3). The action here begins in the morning, after the King has come to the hall of audience. At the end there is a reference to snāna-velā, and midday is announced by the bard. ] Scene 1 (II. 0. 1-). Asthāna-maņdapa or the hall of audience:
Enter the King and the female Chowrie-bearer. He remembers the Heroine, her charming limbs, the cupid and his armoury etc., and sings enamoured stanzas. The Chowrie-bearer, however, is trying to divert his attention
by describing the spring. Scene 2 (II. 8. 2-). Enters Vidūşaka to find the King pining with
passion for the Heroine. The King assures him that his partiality for the Queen continues. Vidūşaka narrates to him his mission thus: “Being appointed by you to get some news from the harem, I went thither early morning. On my way I met Tamālikā, with a statue in her hand, who avoided me. I too proceeded indifferently. The maidservants (described) asked me severally about the episode of the Emerald Park. Somehow I managed to escupe them and entered the harem where the Queen received me

Page #24

INTRODUCTION
with utmost hospitality. I was seen by the Heroine (the King passionately broods on her). After spending some time happily, I took leave of the Queen. On my way back I met Candanika who made a truce with me and gave me this letter in Heroine's hand-writing. Here it is." With thrill the King.reads the love letter as well as the stanzas from Candanika and Candrika. Further Viduşaka conveys to the King that Candanika told him how the Queen has come to know Heroine's skill in singing, how she has fixed her musical entertainment in the Ruby Park (padmarāgarāma) nearby so that the King might not know it, and how the King (and Vidūṣaka, of course at Candanika's request) might witness the same secretly from a secluded spot. As they found the Queen and Heroine going to the Ruby Park, they also proceeded to the Park and took their seat on a sapphire slab under the Tamala, not being visible to others.
Scene 4 (II. 33. 1-).
Scene 3 (II. 16. 7-). Ruby Park: Enter the Queen and (lovestricken) Heroine with retinue. The King feels happy to have a glimpse of Heroine's beautiful face; while she, reminded of the Emerald Park, is feeling love-sick.The Queen, Heroine etc. take their seat on a dias of lapis lazuli. The Heroine begins to play on the lute and sing. Vidūşaka appreciates her specialised skill, and the King is simply amazed at it. Vidūşaka describes her various limbs etc. in one line, and the King adds the other line of the stanza interpreting the description with some fanciful imagery. The musical entertainment is over, and the King feels sorry. Exeunt Queen, Heroine and retinue.
15

On way back from the Ruby Park: The King and Vidūşaka stop for a while to hear what Naktamālikā and Tamālikā, the latter with a statue (salabhañjikā) in hand, are talking as they are going towards them. It is evident from their conversation that the Queen has suspected King's affection for the Heroine. She had received, as a present, a Śārikā bird, Bandhumati by name, of retentive Sarada of Kaśmīra. from memory She placed the bird within the throat of a statue which was trickily put in the assembly hall where the King and Viduaşka conversed. The bird has heard all that the King
queen

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16
CANDALERA
spoke, and now Tamālikā is carrying back the statue finding the King absent from the hall. The maid-servants go, as it is the time for Queen's bath.-Behind the curtain, a bard announces midday and greets the King. The king feels anxious about the Sārikā episode which might enrage the Queen; but Vidūşaka assures him that his (i. e., King's) generosity would soon bring her round. Both go to the harem. Exeunt All.
Yavanikāntara III [Some days (III. 4. 19) have elapsed between the II and III Yava. The action here begins early in the evening (pradosa). There are clear references to the passing of evening (III. 5, 3), the spread of darkness (III. 9) and the rise of moon which is elaborately described in different stanzas. ] Scene 1 (III. 0. 1-). Enter the King and Vidūşaka. The King
feels dejected because the fate is not favourable. Vidūşaka tries to divert his attention, but the King feels quite helpless. Vidūşaka holds some hope for him, because he learnt from Candanikā the following details: The Heroine is suffering from acute pains of passion; she is physically weak; and for a change she has been taken to the Plantain Arbour near the lake. The various cooling remedies have no effect on ber; she is almost nearing the end of her life; anyhow the day has passed; and somehow that orphan girl must be saved from death. This report moves the King ; and as suggested by Vidūşaka, both of them start towards the Plantain Arbour: it is late in the evening and the Queen is away to salute Sthaliśvara. It is announced from behind the curtain, as the moon is rising, that the cooling measures are of no avail for the Heroine against the burning sensation of body; and no one knows who would
save her. Scene 2 (III. 12. 1-). In order to save her, the King (with
Viļūşaka) approaches the Heroine, lying on bed of leaves and attended by Candanikā and Candrikā who are using refrigerants. The Heroine tries to get up to welcome the King, but he sits with her holding her hand: at his touch she feels a sudden change, from conflagration to nectar-ocean. Both of them feel quite happy. The King

Page #26

INTRODUCTION
17
welcomes the rising moon.-Behind the stage, the two Bards, Mañjukaņtha and Madhurakantha, greet the King with elaborate description of moonlight. All of them vie with each other in giving poetic descriptions of the rising moon.-As the Queen is returning to the Plantain Arbour after saluting Sthaliśvara, the noise of the retinue was heard; Candanikā requests the King to see that this meeting is not disclosed to the Queen; he consents. Exeunt All.
Yavanikāntara IV [The action here begins in the morning, and we have clear references to prabhāta or prabhāta-velā, IV. 1. 3, IV. 2. 1, IV.5. 3.] Scene 1 (IV, 0.1-). The hall of audience (ästhāna-mand apa):
Enter the King (dressed for the occasion), retinue and two female Door-keepers, Mañjubhāşiņi and Kalabhāṣiṇī. The King is feeling sorry that his contact with the Heroine was shortlived and unfruitful. The Pratihārīs congratulate him on the occasion of the Vișuvotsava.-Behind the stage, the Bard wishes that morning might bring welfare to
the King. Scene 2 (IV. 6.1-). The King gives audience to various feuda
tories who have come to pay respects to him. With suitable descriptions Kalabhāşiņi and Mañjubhāşiņi alternatively announce the kings of Vidarbha, Ujjayani, Maņalūra, Cola, Anga, Magadha and Karņāța, and the rulers of Nepāla, Kāmboja, Pāñcāla, Turuşka, Cedi, Nişadha, Vārāṇasī, Pārasīka, Mahārāştra, Vanga, Madra, Mathurā, Matsya, Kāśmīra, Kāñci and Dravida. They were treated with due respects, and they were about to start back to their
respective places. Scene 3 (IV. 25. 4-). The King is anxious to see the Heroine, and
he is waiting for Vidūşaka from the harem. Enters Vidūşaka. He informs the King how, after receiving due hospitality, he happened to talk in dream about the meeting of the King and Heroine in the Plantain Arbour near the lake. This enraged the Queen very much. Consequently she has put the Heroine in chains and guarded her
with an army of maid-servants (who are enumerated). 3 .

Page #27

18
CANDALEHA
Scene 4 (IV. 26. 31-). The King feels sorry that the Queen is
very angry. But Vidūşaka tells him how her anger would disappear on account of her fresh sorrow. Vidūşaka discloses the following facts: After paying respects to the King, prince Candraketu, the son of her aunt's husband, Candravarman, the King of Angas, visited the Queen. He conveyed to her that his sister Candralekhā, her aunt's daughter, while she was playing in the park, has disappeared from Campā; and as yet she has not been traced. Candralekhā has been betrothed to the King (viz., Mānaveda) knowing from an interpreter of marks on the body that she would make her husband a universal monarch. And all this, added Vidūşaka, has made the Queen sorrowful.- The King became enraged and passed orders to investigate from the kings, gathered there, as to who had kidnapped Candralekhā. -Enters the Queen shedding tears, with Tamālikā, and requests the King to search out her sister Candralekhā. All the kings solemnly declare their innocence. The King appeals to the presiding Deity of the jewel Cintāmaņi
to bring back Candralekhā. Scene 5 (IV. 27. 23-). Enters Cintāmaņi-devatā. She presents the
Heroine, hereafter called Candralekhā. All are surprised. The Queen meets her bashful sister with joy. Cintāmaņidevatā announces that Candralekha's husband would be a universal monarch and that therefore the Queen should consent to her marriage with the King. The Queen expresses her consent. Candralekhā is decorated for the occasion. All the kings, who had assembled for the Vişuvotsava, are asked to stay for the wedding festival. The King and Candralekhā are wedded to the joy of all, especially of Vidūşaka who dances with glee.-The goddess wants to know what more can she do. The King felicitates himself; and the play closes with the usual benediction, in which he prays that kings should have stainless fame, that men should recognise mutual obligation, that the learned should be free from jealousy, and that the blessings of Sarasvati should flow for ever. Exeunt All.

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INTRODUCTION
19
iv) PRAKRIT DRAMA: SATTAKA
a) EARLY INDIAN DRAMA? Even in the hands of early play-wrights like Bhāsa, Śūdraka and Kālidāsa, the dramatic compositions exhibit such a perfect form and finish that one is forced to postulate a long period of evolution and extensive experimentation prior to these authors. Aśvaghoşa's plays, though found in fragments, are quite mature products, Turning to treatises on dramaturgy by Bharata and others, we are faced with a bewildering mass of theoretic details about the various aspects of drama: it is more an attempt at systematic collection and compilation of the then known materials. This plethora of details, howsoever useful for practical purposes and for understanding the dramatic technique, will not give us a historical sketch of the origin and gradual growth of the drama. The Indian tradition claims divine origin for the drama: Brahman drew elements like recitation, song, mimetic art and sentiment from the four Vedas; Siva and others contributed dancing etc.; and it was Bharata who brought it down to the Earth. Such an explanation cannot satisfy modern scholarship. Consequently the scholars took the drama almost in its final form and tried to trace back its various constituent elements in the different strata of ancient Indian literature, arranged according to relative chronology. The conversation has its counterpart in the dialogue-hymns of the Rgveda which were repeated at a sacrifice perhaps by two parties with musical modulation, which, as an art, was fully developed as seen in the Sāmaveda. Ethnologically music, dance and drama have developed together among many peoples. The rituals of the Mahávrata ceremonial, too, possess elements from which the drama might develop. The literary form and the themes of the drama are heavily indebted to the recitations and the contents of the epics like the Mahābhārata and Rāmāyaņa. Pāṇini (c. 4th century B. c.) speaks of națas and nceta-sūtras, i. e., dancers and their hand-books. The Mahābhāșya of Patañjali (c. 140 B. c.) refers to a dramatic performance of some kind connected with the legends of Krşņa, Kamsa and Bali. All these references presume and would indicate a religious origin of drama. The drama, in its finished form, has much of the palace-life in it and can amuse only an audience
1 Sylvain Lévi: Le Théatre Indien, Paris 1890; A. B. Keith: The Sanskrit
Drama, Oxford 1924; D. R. Mankad: The Types of Sanskrit Drama, Karachi 1936.

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20
CAMDALEHA
of intellectual aristocrats; but that need not preclude us from recognising its popular elements which are closely connected with the lives of common people. There are, then, other scholars who hold different theories of the secular origin for the drama, say, from a popular mime which was introduced into the religious ritual and which, later on, with the epic, forms the fore-runner of the early Indian drama. The Indian life was so much permeated with religious spirit that it is difficult to demarcate exclusively the religious from the secular. The presence of non-Sanskritic technical terms, the use of Prakrits, simplicity of the stage, the combination of music and dance, the mixture of prose and lyrics, introduction of a character like Vidūṣaka, etc. are adduced as proofs for the popular origin. Bits of evidence are studiously sought in the drama to trace back its source to puppet-play and shadow-play. Some scholars have tried to trace the origin of Indian drama to the influence of the Greeks; but sober scholars feel convinced that its development can be satisfactorily explained by indigenous antecedents.
b) RUPAKAS AND UPARŪPAKAS
A critical study of the basic terms and of the types of dramas, unfolds altogether a complicated picture of the evolution of early Indian drama. Though etymologically they are quite akin, it appears that nṛtta stands for mere dance, nṛtya means dance with gesture or mimetic art, and natya signifies dance, gesture and dialogue (in prose and verse). It is the natya that incorporated the essentials of a drama proper. The dramatic entertainments based on natya have been designated by a general term Rupaka which originally connoted 'representation,' and those based on nṛtya by Upa-rupaka.1
When they are mentioned as Rupaka, there is much unanimity among theorists about the number ten and about the types, namely, Nāṭaka, Prakaraṇa, Bhāṇa, Vyayoga, Samavakara, Dima, Thamṛga, Aňka, Vithi and Prahasana." Hemacandra classifies pathya-kāvya into twelve types which are the same as ten Rūpakas with the addition of Naṭikā and Saṭṭaka; and Ramacandra recognises twelve, i. e., ten Rūpakas plus Națika and Prakaraņi, as the famous
1 See Mankad's book noted above, p. 23.
2 For more details see Mankad's book noted above, chaps. II-VI.
3 For the necessary extracts see the Appendix.

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INTRODUCTION
varieties of abhineya-kavya. About the exact number and enumeration of the so-called Uparupakas, there is no agreement among theorists. Perhaps different lists, as seen from the Bhava-prakāśana, were current in different parts of India; and it is only the select ones that received recognition at the hands of different authorities. Putting all the known sub-types together, the number of Uparūpakas comes to about twentyfive. About these Keith remarks thus:1 "The later theory as seen in Viśvanatha adds descriptions of eighteen minor forms of drama, Uparūpakas, which represent refinements on the original scheme. Needless to say, though omitted in the Natyasastra, quotations are found ascribing to Bharata the doctrine, though he mentions in them but fifteen with several variations of name; the Agni Purāņa mentions eighteen with some variants of name, while a verse cited by Dhanika names seven forms of mimetic dramas, which it classes in conjunction with the Bhāņa. The age of these divisions is, therefore, uncertain; the Dasarupa condescends to mention only the Națikā, but obviously knows of the existence of others, confining its scope to the main forms, as its title indicates."
The four types Nați or Națikā, Prakaraņi or Prakaraṇikā, Trotaka and Saṭṭaka are treated by some as derivatives from or as allied to Rūpaka types and by others as Uparūpakas. The names of the first two are closely akin to Nataka and Prakarana, and the definition of Saṭṭaka is made very much dependent on that of Nātikā. The Natyasastra describes Nātikā as a mixture of Nāṭaka and Prakarana; Dasarūpaka includes it under Naṭaka; Hemacandra and Ramacandra treat it on par with ten Rupakas; Bhāvaprakāśana follows the Natyaśāstra; and the Sahitya-darpana includes it under Uparūpakas. The Saṭṭaka is not mentioned by the Natyasastra and Dasarupaka, which, however, mention Natikā.; Hemacandra mentions Națika and Saṭṭaka separately. Abhinavagupta, Śāradātanaya, Sāgaranandin etc. mention and define Saṭṭaka. Viśvanatha calls Saṭṭaka an Uparūpaka. Almost everywhere the tendency is to define Saṭṭaka in terms of the description of Nāṭikā.
21
c) NATIKA AND SATTAKA
In order to understand what Saṭṭaka is, we must first note the salient traits of Națikā. According to the Nāṭyaśāstra (XVIII.
1 The Sanskrit Drama, p. 349.
2 Dafarüpaka i. 8.

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CAMDALEHA
58-61)," Nātikā is a variety of Nātaka-Prakaraņa; its subject-matter is invented; the hero is a king; the heroine is either a girl from the harem or the samgita-śālā, and an object of attainment; it has many females, four acts, graceful histrionics (lalitábhinayatmikā), well-arranged angas, royal (or love) affairs, conciliation, anger and trickery (dambha). It has a hero (nāyaka), a queen (devi). a go-between (dūtī) and attendants (parijana).
The Dasarūpaka, however, adds that there is an endless variety of the forms of the Nātikā; and it may have one, two, three or four acts, with various combinations of characters and the like. Its subject matter is taken from the Prakaraṇa, and its hero, a self-controlled and light-hearted (dhira-lalita) king, from the Nāțaka. Devi is the elder queen, of the type known as experienced, of royal lineage, serious; and it is through her consent, the hero is united with the heroine. The heroine also is of royal descent, of the type known as inexperienced and is charming and exceedingly fascinating. Being connected with the harem, she is in the vicinity of the hero whose passion for her develops step by step by seeing and hearing about her. The hero is apprehensive through fear of the queen. There are four elements of kaisiki or gay style, as if respectively joined to the four acts. The principal sentiment is the erotic with its various characteristics. The Sahitya-darpaņa practically covers all that is said in the Nātyaśāstra and amplified by the Dasarūpaka. It is silent about the endless variety of Nātikā and varying number of acts, but plainly calls it catur ankikā. The additional points of Bhāvaprakāśana are that a Nātikā can have a Vidūşaka but not Vita and Pithamarda.
The Nātyaśāstra and Dasarūpaka do not mention Sattaka.? It is but an accident that Rājasekhara's Karpūra-mañjarī is the earliest known Sattaka; and so far we know, he is the first to record its definition. According to him, Sattaka much resembles a Nātikā; but it does not possess Praveśakas, Viskambhakas and Ankas. It is a composition in Prākrit (pāüda-baṁdha) and it is a representation to be danced (sattaań naccidavvam). Let us see what the subsequent authors have to say in addition to and amplifying Rājasekhara's remarks. Abhinavagupta says that Sattaka is like Nātikā; and possibly to explain Bharata's silence
1 The Sanskrit extracts are given in the Appendix. 2 For the information about Sattaka in original extracts from different
sources, see the Appendix at the end.

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INTRODUCTION
23
about it, he adds that it is defined by Kohala and others. Hemacandra quotes perhaps an earlier verse which specifies that Sattaka is written in one language (eka-bhāṣayā) which is a-Prākrta-Saṁskrtā. It is a knotty term to explain; but I think, it implies that in a Sattaka both Sanskrit and Prākrit are not used as in a Nātikā. Rāmacandra-Guņacandra quote the same; they spell it Sātaka, and attribute its definition to Kohala. Kohala is an ancient celebrity connected with dramatic theory. Mārkandeya mentions him along with Śākalya, Bharata, Vararuci, Bhāmaha, Vasantarāja etc. in the opening verses of his Prākrit grammar: thus his name is associated with Prākrits as well. It is but natural, therefore, that he is credited to have recognised and defined Sattaka, which was entirely in Prākrit.
According to the Bhāvaprakāśana, Sattaka is a variety of Nātikā based on nrtya. It possesses Kaišiki and Bhārati Vịtti, i. e., Gay and Eloquent styles, and has no raudra, furious sentiment. There are no saṁdhis; and corresponding to the division of Ankas, there are Yavanikāntaras. There are no chādana, skhalana, bhrānti and nihnava. It uses Sauraseni and Māhārāştri languages: elsewhere he describes it as prakrsta-Prākrtamayt. Some opine that the king should not speak in Prākrit, while others hold that he might speak Māgadhi or Sauraseni. According to some authors, Saţtaka is a variety of Rūpaka, similar to Nātikā, but its language is Prākrit.
Sāgaranandin states that Sattaka avoids the vira heroic, Thayānaka terrible, bibhatsa odious sentiments, besides the raudra furious. It has Sauraseni, Prācyā and Mahārāștrī. The king, like women, is to speak Prākrit. Though Bādarāyaṇa and others prescribe for the king usually Sanskrit and occasionally Prākrit, still the king is to speak Prākrit. The Sāhitya-darpaņa states that the Sattaka is to be entirely in Prākrit ( Prākrtasesa-pāthyam) and to possess plenty of adbhuta, marvellous sentiment. Rudradāsa makes it clear that it is in Prākrit and it is to be danced. Ghanaśyāma remarks that the whole of it is in Prākrit, and therefore it is called Sattaka. Whenever an illustration is noted in the above sources, it is that of Karpūra-mañjari.
1 It may be noted here that Vasudeva notes sandhyangas like kärana,
avamaría, vidhāna in his commentary on the Karpūramañjarī, pp. 27, 55, Nirnayasagar ed., Bombay 1900.

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d) PRĀKRITS IN THE DRAMA The extensive population of Indian sub-continent has been, especially in early days and all along, divided into linguistic units and sub-units according to the languages and dialects. The linguistic compartments are due partly to geographical area, religious grouping, social strata, race-clan distinctions, professional guilds etc.; and naturally there has been ample margin and definite scope for crosscurrent influences. The population presents a veritable m of languages and dialects. When viewed historically, we see further a cleavage between popular speeches and literary languages; at times the same language may present these phases side by side. The literary languages under grammatical restrictions get fossilised and become stagnant as book-languages: they are now and then imitated in writing by men of letters who otherwise use popular languages for their day-to-day use. The popular dialects flow along their own currents; and now and then some of its stages are raised to a literary status which survives as a book-language. This process is going on for the last few thousand years over a vast area, as evidenced by literary records of different ages and places, beginning with Veda and upto modern times.
The Indo-Aryan speech,' to put in broad terms, has flowed in two beds, Samskrta and Prākrta which have constantly influenced each other at different stages. The term Prākrta (spelt as Prākrit) meaning, natural' .common' etc. primarily indicates uncultured popular dialects, existing side by side with Saṁskṛta (spelt as Sanskrit), the accurately made,' polished' and refined' speech, The Prakrits, to begin with, are the dialects of unlettered masses used by them for their secular communication in their every day life: while Sanskrit is the language of the intellectual aristocrat, the priest, pundit or prince, who used it for religious and learned purposes. The language of every day conversation of even these must have been nearer the popular Prākrits than the literary Sanskrit. The former is a natural acquisition; and the latter, the principal literary form of speech, requires training in grammatical and phonetic niceties.
Contemporary with the Vedic language, which is an artistic speech employed by the priest in his religious songs, there were
1
Here I am quoting a few remarks from my essay on Prăkrit Literature, contributed to the Cyclopedio History or Dictionary of World Literature which is being edited by Mr. Joseph T Shipley, U. S. A.

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INTRODUCTION
popular dialects probably due to tribal groups, social strata etc. and arising out of literary and home usage or the use of Aryan speech by indigenous groups. The book-language has often to be distinguished from the spoken dialects. The Vedic literature gives some glimpses of popular speeches, the primary Prakrits, but no literature in them has come down to us. The classical Sanskrit, as standardised by Panini and his commentators, respectfully shelves all that was obsolate in the Vedic speech and studiously eschews all that belongs to the popular tongue: the such a rigorously standardised language was the job for selected intelligence; it is the language of the hieratic academy and not of the populace at large; and its fine specimens are seen in our Kavyas, Nāṭakas, Campus and Nyaya treatises.
use of
25
The ancient Indian drama presents a striking picture of the mixed use of language, different characters speaking different languages and dialects in the same play. This is looked upon by some as something analogous to the use of Doric ond Aeolic in certain parts of Greek plays. If we look at the drama in the light of the above remarks, we find some explanation for the use of different Prakrit languages. It bears resemblance, so far as its beginning is concerned, to the natural use of local or vulgar forms of speech in the mouths of uncultured persons. Broadly speaking Sanskrit is spoken by men of high rank and by religious personages, while women, queens not excepted, speak one kind of Prakrit with ordinary characters, minor dialects being used by inferior or special classes.
According to their advocacy of secular or religious origin for the Indian drama, scholars hold that it was entirely either in Prakrit or Sanskrit in the beginning. Neither the earliest treatise on dramaturgy nor the oldest specimens of drama bear out the exclusive claim of one or the other: they admit Sanskrit and Prakrit side by side.
The details about the use of Sanskrit, Prakrit dialects and other languages by different characters look more like a compilation of stray practices and prescriptions than a systematic codification of rules: one feels all the more convinced about this, when the details

1 Keith: The Sanskrit Drama, pp. 72-75, 85-89, 120-22, 140-42, 166, 181, 185, 203, 211-12219. 286. 257. 334-38.500.c. 4 चं. ले.

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CANDALENA are judged in the light of subsequent practices in dramas and grammatical description of Prākrits. Bharata's details (XVII. 26-64) may be interesting for their own sake, but later writers on dramaturgy have become more concise. The Daśarūpaka? gives the following rules: 'Actions are to be characterized by the language, gesture, and costume of a [special] region; (the dramatist] is to employ these suitably, taking them from common life. Sanskrit is to be spoken by men that are not of low rank, by devotees (krtātmanām), and in some cases by female ascetics, by the chief queen, by daughters of ministers and by courtezans. Prākrit is generally [to be the language ] of women, and Saurasenī in the case of male characters of low rank. In like manner Piśācas, very low person, and the like are to speak Paiśācī and Māgadhi. Of whatever region an inferior character may be, of that region is his language to be. For a special purpose the language of the highest and subsequent characters may be changed.” Some of the prescriptions of Bharata that Bhikṣu and Sramaņa are to speak Prākrit, that a Śrotriya is to use Sanskrit and that Cāņdālī is resorted to by Pulkasa etc. are certainly significant; and they may by looked upon as reflections of social facts, existing perhaps long before the age of Bharata. What were simple facts once became stereotyped conventions, growing obscure as time passed on. The theory and practice put together clearly show that these conventions are often analogical extensions, right or wrong, and were not quite strict and rigorously applied. The prescriptions from different sources and practices of different places and ages have intricately commingled to create a highly complicated situation; and no single hypothesis, howsoever, ingenious, can easily explain all the details in a satisfactory manner.
The Indian drama, there are reasons to believe, had its preliminary aspect in a popular pantomime; and this would easily explain such dialectal practices that all women, including a queen, are to speak in Prākrit, and so also Vidūşaka, a Brāhmaṇa, of high social rank. The actresses who played the female rôle perhaps came from the lower strata of society, and naturally it is befitting for them that they spoke in Prākrit, or Saurasenī, the normal
1 Dasarūpakam, Gujarati Printing Press, Bombay 1927, II. 63-66; The
Dasarūpa, Translated into English by G. C. 0. Haas, Columbia Univer
sity Press, New York 1912, 2. 96-99, pp. 74-75. 2 Sten Konow: Das Indische Drama, Berlin und Leipzig 1920, pp. 16-18;.
Keith: The Sanskrit Drama, pp. 334-38.; etc,

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INTRODUCTION
prose dialect of the plays. The case of Vidūşaka stands on a slightly different footing. He is essentially a creation of the popular theatre, whence, just for mirth and joke, he was received and retained, even in court plays, as a conventional figure crystallised into a permanent type. Whatever may be his other traits, Vidūşaka is a king's companion and guide through thick and thin. I think, he represents a caricature of the learned Purohita who was the sole adviser of the king in almost all home-affairs. The king depends on this confidant in all his affairs of the heart; and Vidūşaka claims that he is a learned Brāhmana. This claim is confirmed by his name also. The name Vidūşakaḥ is just a hyper-Sanskritic back-formation of Prākrit viuso or viusao ( with k-suffix) which is to be connected with vidvas. There could be no better proof for his being a popular creation than the Prākritic basis of his name ; and it is in the fitness of things that he speaks in Prākrit.
We need not hesitate to believe that the origin of the mixed usage of Sanskrit and Prākrit in the drama might have started as a reflection of the actual practice in real life. Conversations in simple Sanskrit and Prākrits could be easily understood by all : this points out to a period long before the rise of the form of court-poetry which assumed an artistic, dignified and elaborate style in the hands of authors like Kālidāsa, Bāņa and Bhavabhūti. This style was first evolved in epics, lyrics, Kāvyas and prose romances; and side by side with them it cannot but affect the drama too. Even by the time of Bharata's Nātyaśāstra the use of Prākrits had become just a matter of conventional fixing; and it was mechanically followed by most of the authors. In view of the characters introduced therein and the society for which they were meant, plays might have been composed by certain authors solely in Sanskrit or Prākrit. The Sanskrit plays like the Dūtavākya of Bhāsa and some of the early Bhānas have come down t but natural that the early specimens of entirely Prākrit plays have not survived: they were popular creations of unlettered masses; Prākrit compositions have been uniformly neglected all along, and even some of the best Prākrit poems, only the names of which are known to us, are lost beyond recovery; and the orthodox theorists perhaps never liked to give a status to them among the recognised types of drama.
1 Words like ajjukā, dauvärika, bhattidārikā, märsa or mārisa eto, definitely
possess a Prăkrit tinge; and ama is a Deśi word of Tamil origin.

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QANDALEHA
e) BATTAKA IN THE EVOLUTION OF DRAMA The treatises on dramaturgy elaborately describe Nātaka first, and subsequently they just note in what respects the other types are similar to or different from it. This does not mean that all other types are just the variations of and derived from Nāțaka. The theorists adopt this procedure for convenience of treatment. They are not presenting these types and sub-types according to their historical evolution: perhaps they never had such an approach in view. They have conveniently classified the information and presented the topics in a suitable manner without worrying when and where the types and sub-types of drama arose.
Various forms of dramatic representation, from just simple to the most complicated, have been in vogue since long in different parts of India, and some of the primitive types survive even to this day in out-of-the-way villages enacted by village folk in their own way. The recognition of only ten Rūpakas by theorists indicates that these were standardised types worthy of the attention of cultured classes and court circles. Later theorists do recognise certain Uparūpakas. What is subsequently recognised is not necessarily later in age. Some of the popular forms of drama could not be easily and bodily recognised by orthodox theorists: that easily explains the attitude of theorists towards the so called Uparūpakas.
It is one thing to trace the early prototypes of dramatic conversation, recitation and action in the Ķgvedic dialogues, epic poetry and Vedic ritual, and also try to detect similarities with Greek drama and indigenous mimes; and it is another to trace the possible evolution of Indian drama by arranging its types and sub-types in a logical and evolutionary sequence, after thoroughly studying all the theoretical details and available plays.
Lately Prof. D. R. Mankad' has tried to trace the history of the evolution of Indian drama. Though one may not agree with him in all the minor details, the method adopted by him gives interesting results. He starts from nytta which branches off into two currents: 1) tāndava (uddhata)>nrtya>Bhāņa>Uparūpakas like Preksaņaka, Ullopyaka, Sallāpaka, Silpaka>Rūpaka types : Vyāyoga>Samavakāra, Thāmrga, Dima; 2) lāsya ( masrna)>nrtya> Bhāņikā> Uparūpakas like Bhāņa, Dombī, Nartanaka, Prasthānaka,
1
The Types of Sanskrit Drama, pp. 147 etc.

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INTRODUCTION
29
Hallīsaka, Kāvya, Goșthi, Kalpavalli, Śrīgadita, Durbhallikā, Mallikā, Vibāsikā>Rūpaka types: Bhāņa>Vīthi>Prahasana, Anka; and both these currents once more conflow to produce the finished types, Nātaka and Prakaraņa. In his opinion (p. 164) Bhāņa seems to be the first dramatic type to evolve; and he states four characteristics of the first drama: 1) It was entirely in Sanskrit, 2) it was descriptive in nature, 3) it was monologous in form, and lastly 4) it was secular in matter. In the light of the gradual evolution of nrtta, nộtya and nāțya types outlined by him, Prof. D. R. Mankad distinguishes between certain stages of growth or periods in the nātya types themselves (p. 165): 1) The nātya, in its earliest phase, had a form which required only one actor and one act; 2) then it required many actors but had still only one act; 3) thereafter it came to be represented by less complicated types with many acts; and lastly, 4) the fourth phase is represented by the full-fledged Nāțaka and Prakaraņa types, which, when fully developed, gradually sent the other lesser types into oblivion.
The problem of ascertaining the position of Saţtaka in the evolution of drama is faced with many a difficulty; still an attempt is worth making. The term sațţaka itself is a riddle; variants of spelling like sätaka, sātaka, sāļika are known, but they do not improve the situation. The word is undoubtedly un-S
in-Sanskritic in etymology like some other names of Uparūpakas such as Dombi. Hallīšaka, Şidgaka. Perhaps it is to be traced back to a Deśī word possibly of Dravidian origin. Stripped of its k-suffix, it shows elements like sa+atta or āta; and perhaps it stood originally as an adjective of a surpressed term. There is a Dravidian word ātța or āttam, dance, play, from the root ātu or ādu meaning to dance, gesticulate, to act a part or play. If the basic meaning was dance', the suppressed term may be rūpaka: one can postulate a phrase sattaań rūvaań= a dramatic representation accompanied by dance. Or if the basic meaning was 'play', the suppressed term may be nartana: one can postulate a phrase sattaań attanań (or naccanaṁ or naccidavvaṁ) = a dance accompanied by dramatic representation. Perhaps for brevity only the term sattaam has come in vogue. That Sattaka is closely associated with dance' is an accepted fact. In the Barhut Inscription' the term sõdika occurs in the record below a bas-relief of the dancing scene; and the theorist Śāradātanaya describes Sattaka as nrtya-bhedātmaka. Turning
1 See the extract in the Appendix.

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CAMDALEHA
to the prologues of Sattakas, Rājasekhara uses the expression sattaań naccidavvaṁ; Nayacandra remarks aho prakrāntameva nartakaiḥ; and Rudradāsa says paattaha sattaa-nattane.
About the theme, format and language of the Sattaka some broad outlines are available. It is a love intrigue, as suggested by its Gay and Eloquent (kaisiki and bhārati) styles. It is preeminently associated with dance. It does not possess the orthodox, standardised divisions of anka, introductory scenes like praveśaka and viskambhaka and various technical junctures seen in Nāțaka etc. The whole action is divided into four pauses indicated by the intervention of curtain (yavanikāntara or java"). It is replete with Marvellous (adbhuta) sentiment. It is agreed that it was composed entirely in Prākrit: Bādarāyaṇa, however, allowed an option of Sanskrit in the case of the King.
The popular character and origin of Sattaka are obvious from its close association with dance, its loose format, its unceremonious construction and division, its sentiment of marvel, and above all its composition in Prākrit. An orthodox theorist like Bharata could not recognise and condescend to describe Sattaka, because its mould and format were not of the accepted frame-work. It is only Hemacandra, who must have been favourably impressed by such an outstanding comedy as the Karpūramañjarī of Rājasekhara, that recognises it on par with other Rūpakas. All others would include it among the related or subordinate types. Though Bharata silently passes over Saţtaka, other earlier authors like Kohala, whose works have not come down to us, did give due recognition to it.
Bharata's Nāțyaśāstra represents only one of the many schools of dramaturgy; and if Bharata does not mention Saţtaka, it is no evidence at all against the antiquity of Sattaka as a form of drama. The Indian drama has its roots in dance: dance was its basic and primary element; and the association of Sattaka with dance is quite clear. Further, its loose technique, unconventional form and Prākrit language point out to its high antiquity in the evolution of Indian drama. It is further confirmed by the fact that an ancient theorist like Kohala gave due recognition to it. The Barhut inscription (circa 200 B. c.) mentions sādika, a form of dance, which appears to be a forerunner of sațţaka. Being popular in vogue and language, earlier specimens have not come down to us. In all probability Rājasekhara was aware of some of them, for

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INTRODUCTION
31 nowhere does he claim that his is the first creation?. His definition only indicates that it was not quite familiar to his court circle.
Bharata's treatise has left a great influence on subsequent authors. He recognises Nātikā, and later theorists define Sattaka in the back-ground of Nātikā. This does not mean that Sattaka is a popular and subsequent remodelling of Nātikā. But it is the reverse that appears to be true and historically justified. As a dramatic representation with dance, depicting love intrigue, enacted by a troop of girls, replete with marvellous sentiment and composed in popular Prākrit, the Sattaka has something graceful and attractive about it. The theorist may not have liked to admit it as it is, but it was bound to attract his attention. The cultured classes and court circles would certainly enjoy it; it is to satisfy their craving the Sattaka was made to conform to the orthodox canons of Nataka; and the result of such an effort is the Nātikā which is duly described by Bharata and others. Thus Nātikā is an orthodox edition of the popular Sattaka. The variety of the forms of Nātikā, as suggested by the Dasarūpaka, perhaps indicates different attempts to raise the popular Sattaka to a status acceptable to a court audience. Once Nātikā was evolved and defined by an authority like Bharata, subsequent authors simply followed him; and Saţtaka was, for a while, say during the period between Kohala and Rājasekhara, superseded by Nātikä. Under such circumstances Bādarāyaṇa and others wanted a bit of Sanskrit also to be introduced, through the royal mouth, in the popular Sattaka which was, in the biginning, entirely in Prākrit.
f) SATTAKAS KNOWN SO FAR Ancient specimens of Sattaka have not come down to us. Prior to Rājasekhara, the Sattaka, though recognised as a type of drama by Kohala etc., never received a literary status among the accepted forms; it is only his Karpūra-mañjarī that became a classical example of Sattaka. The Prākrit had assumed a static form by Rājasekhara's time; and a play entirely in Prākrit was bound to be a rigorous task for average poets in subsequent centuries : it is only some poets of rare or erratic genius that were tempted
1
Prof. Chakravarty holds somewhat different view; see his paper Characteristic Features of the Saţtaka form of Drama', Indian Historical Quarterly, VII, pp. 169-73. For the extracts about Nātikā and Sattaka, see the Appendix.
2

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OAÚDALEHA
to compose Sattakas. That would explain, to a certain extent, why we have a small number of Sattakas of a late period. There are possibilities of discovering more by exploring mss. libraries. So far I have been able to list half a dozen Sattakas: 1) Karpūramañjarī of Rājasekhara; 2) Rambhā-mañjarī of Nayacandra; 3) Candralekhā of Rudradāsa; 4) Vilāsavatī of Mārkandeya; 5) Sțngāramañjarī of Viśveśvara; and 6) Ananda-sundarī of Ghanaśyāma”. The analysis etc. of Candralekhā have been already presented; so some important details about the rest of them may be given here. These details, I believe, would be useful not only for a comparative study of different Sattakas but also to a student of Indian literature, especially in Prākrit.
Rājas'ekhara and his Karpūra-mañjari Rajasekhara belonged to the Yāyāvara family. Akālajalada of great virtues was his grandfather, styled as mahārāstra-cūdāmaņi; his father was Darduka or Duhika, a great minister; and his mother was Silayatī. He had married Avanti-sundarī of the Cāhuāņa family. He reached eminence as a spiritual teacher or upādhyāya of Mahendrapāla or Nirbhara-rāja, through the stages of bāla-kavi and kavi-rāja: he was thus connected with the court of Kanauj at the time of both Mahendrapāla and his son Mahīpāla. The dates available for these kings from epigraphic sources range from 903 to 917 A. D.; so it is evident that Rājasekhara lived about A. D. 900. It is probable that he wrote some poems like the Haravilāsa. At present only five of his works have come down to us; four plays and the fifth, an incomplete encyclopedic treatise on different aspects of poetry :- 1) Bāla rāmāyana, 2) Bāla-bhārata, 3) Karpūra-mañjarī, 4) Viddha-śālabhañjikā, and 5) Kāvga-mīmāṁsā. The Karpūramañjarī is a Sattaka, entirely in Prākrit and in four Javanikāntaras; and it was brought on the stage at the desire of the author's wife, Avanti-sundari.
I. In this excellent Saţtaka, which is a stream of poetic flavours, king Caņdapāla, which name reminds one of Mahendrapāla, takes to wife the Kuntala princess, Karpūra-mañjarī, really a cousin of queen Vibhramalekhā, in order to achieve the rank of an emperor. After the Nāndī and the Prastāvanā in which the author is introduced and
1
Two more Satta kas, as noted below, are attributed to him; but without inspecting their mss. nothing can be definitely said about them. See the eds. of Karpüramañjari referred to above, pp. 5, 7.
2

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INTRODUCTION
33
the theme is suggested, the king and the queen describe the advent of spring. The bards also greet the king by elaborately depicting the scenes of spring. Vidūşaka and the maid-servant Vicakşaņā dwell on the same theme; they fall out in their poetic competition and begin abusing each other; her superiority being recognised by the king, Vidūşaka is about to quit the royal company. But he gets a pretext to come back with a magician, Bhairavānanda, who praises the Kaula religion and parades his miraculous ability to achieve any feat. At the king's suggestion and Vidūşaka's request, the magician brings on the stage the lovely Vidarbha princess in her bathing dress. The king falls in love with her and grows eloquent about her physical charms; and she also glances him affectionately. She discloses to the queen that she is the daughter of Vallabharāja and Saśiprabhā of Kuntala country; the queen finds that she was her cousin sister Karpūramañjarī, and takes her into the palace for dressing and toilet.
II. The door-keeper tries, by describing nature, to divert the king who is passionately brooding over the charms of that heroine. Vidūşaka enters with Vicakşaņā with whom he has a truce and who has brought from Karpūramañjarī a love-letter describing her passion for the king: therein a stanza depicting heroine’s pangs has been added by her friend. Vicakşaņā describes how the heroine was dressed and decorated; and the king frames the details with his own fancy. Both the king and heroine are suffering equally. At Vicakşaņā's hint, the king accompanied by Vidüşaka sees the heroine gracefully playing on the swing. Vidūşaka offers a poetic description, and the king continues his amorous plaints. It is learnt how she is suffering love-fever. Later the king sees her in the garden while she is embracing the Kurabaka, glancing the Tilaka and kicking the Aśoka tree: all this only heightens king's passion for her.
III. The queen has grown suspicious and has kept the heroine in a guarded room, but the king has got prepared an underground passage from it to the palace garden. The king broods over her charms and narrates to Vidūşaka a dream in which he met the heroine; Vidūşaka mocks him by narrating a fantastic counterdream. Both of them have a discussion about the philosophy of love. Karpūramañjarī is suffering excessively, and she discloses her pangs to her companion Kurangikā. The king, with Vidūşaka, hears it, approaches her to her pleasant surprise, and leads her to the pleasure
5 . .

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garden happily holding her by the hand. Two bards describe in long stanzas the moon-rise; the lovers under shining moon-light are in a mood of supreme felicity. The queen's arrival is announced. All disperse in haste, and the heroine retires to her room through the under-ground passage.
IV. The king and Vidūşaka describe the summer and its effect on love-stricken persons. Vidūşaka tells him how the queen discovered the under-ground passage, closed it, and appointed an army of maid-servants to guard the heroine. The king is requested by the queen to attend the vața-savitri festival. After Gauri is worshipped, the magician demands from the queen by way of daksinā that Ghanasāra-mañjarī, a daughter of Candasena of Lāța, should be married to the king who thereby becomes a universal monarch. The queen consents to this and announces her intention to the king. By playing the trick of hide-and-seek, to the great confusion of the queen, the magician produced Ghanasāramañjari on the scene. The marriage function goes on merrily; but soon the queen, to her regret, is made to realize that Ghanasāramañjarī was only another name of Karpūramañjarī. The king thanks Bhairavānanda for fulfilling all his desires.
We do not possess today earlier definitions and specimens of Sattaka in the light of which Rājasekhara's performance could be judged. Rajasekhara defines Saţtaka as analogous to Nātikā with certain reservations, and there is nothing in this play which is contradictory to Bharata's definition of Nātikā which perhaps he had in view. He has not specified the number of Javanikāntaras, but he has four; there are no Pravesaka and Viskambhaka: and excepting the stage-directions and names of characters, everything is in Prākrit. The abuses in an involved style, the series of names of female guards and the hide-and-seek scene may be interesting, but they lack effect in a play to be enacted; one wonders how that scene can be managed at all on a simple stage excepting through make-belief. Rājasekhara is more a poet than a playwright; and like those of some of his predecessors his play Karpūra-mañjarī is more worthy of being read and studied than staged. He is a consummate master of language and expression, rich in vocabulay, idiomatic usages and metrical forms. His descriptions of the spring, moon-rise, swingscene, the carcari dance, etc. are admirable pieces of poetry testifying to his rigorous training in the niceties and conventions of poetics. Some of his pictures are vivid, and his love-lorn songs full of

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INTRODUCTION
35
sentiment. He introduces, possibly as an element of popular Sattaka, a carcari which indicates a group-dance accompanied by songs and poses, described by him (IV. 10-19).
Nayacandra and his Rambhā-mañjari Looking at the common verses of biographical interest in the Hammira Mahākāvga' (XIV. 46, 46* 1, 46* 3, 46* 4) and the Rambhā-mañjari (I. 15–18), it is plain that it is the same Nayacandra that composed these two works. He gives some details about his spiritual predecessors. In the famous Krşņagaccha, there was one Jayasimhasūri who defeated in dispute Sāranga, an outstanding poet among those who composed in six languages and a great logician (prāmānika), and who wrote three works: Nyāyasāra-tīkā, a new grammar, and a kāvya of Kumāranrpati. Sāranga's identity is uncertain. Of the three works, the first is a commentary on Bhāsarvajña’s Nyāyasāra (c. 900); and the third is the Kumāra pāla-carita, in ten cantos, finished in Saṁyat 1422 (1. D. 1364-65). Jayasimha's pupil was Prasannacandra, respected by kings. Our author, Nayacandra, though a pupil of Prasannacandra, calls himself a veritable successor of Jayasimha in poetic merits. He mentions his labours in the field of poetry and refers to the blessings that the goddess of speech bestowed on him. He makes reference to earlier poets like Kukkoka, Śrīharşa (the author of Naişadhiya), Vātsāyana, (Veņikspāņa-) Amara i. e., Amaracandra. He styles himself a second Amaracandra in poetry. This Amaracandra* is the author of Padmānanda Mahākāvya (following which the Hammira-kāvya also is vīränka) and flourished about the middle of the 13th century A. D. The Hammīra-kāvya is a poem of great historical interest, and
1 Ed. Kirtane, Bombay 1879. 2 Ed. Rāmacandra Dinänātha, Bombay 1889. There is a fine ms. (dated
Sathvat 1535) of Rambha-mañjari, Text and Sanskrit Gloss, No. 335 of 1884-86, in the Bhandarkar O. R. I., Poona. For some details about it, 808 Descriptive Catalogue eto. by P. K. Gode., Vol. XIV: Näțaka, Poona 1937, p. 246-47. The above ed. is possibly based on this ms. For some observations on this play, see Chakravarty's paper Characteristic Features of the Sattaka form of Drama' Indian H. Quarterly, Vol. VII, pp.
169-173. 3 Jinaratnakośa by H. D. Velankar, Poona 1944, 4 M. D. Desai: Jaina Sähityano Saṁkşipta Itihāsa, Bombay 1933, pp.
378-81; M. B. Jhavery: Comparative and Critical Study of Mantraśāstra, Intro. p. 222-23, Ahmedabad 1944.

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CAMDALEHA
it celebrates the heroic career of Hammira (incidentally that of his predecessors) who bravely fought against 'Alau'ddin and died on the battle field in 1301 A. D. Nayacandra is aware of the standard of poetry laid down in Kavyaprakāśa etc.; and he tells how he has tried to make his poem full of matter with flavour: the critics should not mind his faults of expression (for which, if any, he wants to be forgiven) which have not been altogether avoided even by authors like Kalidasa. He composed this poem full of amorous, heroic and marvellous sentiments to silence the court circle of Tomara Virama which asserted that no one at present could compose a Kavya like earlier poets. He claims that his poetry possesses both the lalitya of Amaracandra and vakrimā of Sriharṣa. As to Nayacandra's age, he must have flourished between A. D. 1365, the date of Kumarapalacarita of his grand teacher Jayasimhasūri, and A. D. 1478, the date of the Poona Ms. of Rambha-mañjarī. The exact identification of king Tomara Virama would help us to bring these limits nearer. The editor of the Hammira Kavya has added a remark like this: King Tomara Virama, whoever he was, appears to have lived seventy years before Akbar.'; but no evidence is given. In the list of the Tomara princes of Gwalior,' there is a king Virama; and the dates available for his grandson, Dungarendradeva, are 1440-1453 A. D. Deducting 50 years or so for two generations, we get about 1400 as the date of Virama. So we might assign Nayacandra to the beginning of the 15th century A. D. Nayacandra, as indicated by his spiritual genealogy, is a Jaina monk; but his mangala verses in the Hammira kavya are applicable to both Jaina and Hindu deities, and the nandi of Rambha-mañjarī invokes Vişņu as Varaha. The Rambha-mañjarī of Nayacandra is a Saṭṭaka; so we might analyse its contents and study some of its aspects critically.
I. After the nandi in which Varaha is saluted and Madana is greeted by referring to the amorous glances of grown-up girls, Sutradhara invokes god of love and glorifies Isvara and Parvati. He introduces in elaborate expressions the king Jaitracandra or Jayacamda, alias Pangu, who is the son of Malladeva and Candralekha, who usurped the kingdom of Madanavarman, who defeated Yavanas and who was ruling over Benares; and announces his intention to Nata that they should enact a prabandha in order to entertain the
1 C. M. Duff: The Chronology of India, p. 306, Westminister 1899; D. R. Bhandarkar: A List of Inscriptions of Northern India, p. 404.

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37
gathering of good people assembled at Benares for the yātrā (or annual festivity) of Viśvanātha at the time of summer solstice. The subject matter, full of amorous flavour and with the great king Jaitracandra as the hero, would prove to be of quite absorbing interest. The prabandha to be staged is a Sattaka, Rambhā-mañjarī by name, which is in a way superior to the Karpūra-mañjari of Rājasekhara; its author is Nayacandra who, being blessed by the goddess of learning, is a skilled poet in six languages, and who has described himself by comparing his poetic gifts with those of Amaracandra and Sriharsa. In this Satta king Jaitracandra, who has already seven wives, marries Rambhā as the eighth with a view to become the lord of earth.
The king Jaitracandra, praised by bards in Sanskrit, Prākrit and Marāthī, enters with his queens; and he is greeted by a cuckoo from a mango tree with blossoms. The king and queen greet each other and are greeted by the bard on the advent of spring. There ensues an abusive quarrel between Vidūşaka and Karpūrikā; she laughs at his inheritance of scholarship from his wife's side and slights his poetic skill; both of them present their composition before royalty. Karpūrikā proves superior; Vidūşaka feels insulted and bids good bye to the palace. The queen describes moon-rise etc., and the king is anxious about Nārāyaṇadāsa who was to bring some news about Rambhā. Nārāyaṇadāsa accompanied by Rambhā in her wedding dress is brought in by Vidūşaka. The king received the name Jaitracandra, because, on the day of his birth, his grandfather defeated the Kharpara army which came to the Daśārņa country? Nārāyaṇadāsa has some happy news to convey : it is announced to the king from behind the curtain that Rambhā, born in the Kimmīra varsa, the grand-daughter of Devarāja and the daughter of king Madanavarman of Lāța, who is as beautiful as Pārvatī, was betrothed to (?) Hamsa, but is carried off by her maternal uncle Siva and has been brought here with the wedding kankana on her hand. The king receives her who comes in a palanquin; he begins to describe her limbs with an amorous eye; Vidūşaka and Nārāyaṇadāsa only switch on his appreciation for her; and his passion reaches a higher degree. The bard announces that it is an auspicious moment; the priests mutter the holy mantras; Vidūşaka declares that the king Jaitra and Rambhã are duly
1 The relevant lines stand thus: 4 afin qurta T8 #Carojas, fogo
FATHEUT TEV S a atá 1 I. 43,

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CANDALEHĀ
married; and there are jubilations for the occasion. Morning is announced by the bard; along with other queens Rambhā is sent to the harem by the king who retires for his morning duties.
II. Being separated from Rambhā, the king is pining for her by remembering her physical charms; and the door-keeper is trying to divert him by describing garden scenes. He is anxious to hear about her. The maid-servant Karpürikā informs him that Rambhā is quite happy in the sisterly company of the harem where she is personally taken care of by the queen Rājīmatī; and by assuring him of Rambhā's deep attachment, she reads to the king her love-letter, despatched secretly, which only heightens his
assion. Vidūşaka narrates to him his dream in which he was a bee; later on he was changed into sandal wood the paste of which was applied to Rambhā's breast, and pressed by king's embrace he woke up. He interprets it that the king would soon meet Rambhā. The king is nervously anxious to meet her immediately. Karpūrikā, taking support of an Asoka branch, manages to bring down Rambhā through the window. Both king and Rambhā enjoy amorous pleasures. The queen arrives, and they have to disperse.
III. The love-lorn queen welcomes the king; and after hearty amorous pleasures, the king asks her permission to meet Rambhā like this to which she consents and happily retires to bed. Rambhā comes to the king who receives her affectionately. Singing passionate lines alternatively, both of them go on happily enjoying arnorous sports through different conventional stages. The night is easily spent and the dawn is announced by bards. Rambhā is sent to the harem, and the king attends to his duties after morning formalities.
More than once Nayacandra hints that the prabandha of Jaitra-, Jaya, or Jayanta-candra is being enacted; and therefore, it is quite likely that he draws his story from some Prabandhas. There is an old, anonymous Prabandha', some important facts from which are: The Rāstrakūta Jaitracandra, son of Vijayacandra, ruled at Benares in the country of Kānyakubja. He had a queen Karpūradevī; and he married also Subāgadevī, the daughter of a śālāpati. He overpowered Lakşmaņasena of Bengal and Paramarddi of Kalyāņakațaka. He was highly praised by the poet Canda. He refused to give his kingdom to Suhāgadevi's son;
1 Purätana-prabandha-sangraha, ed. by Jinavijayaji, Singhi Jaina Grantha
mālā 2, Calcutta 1936, pp. 88-90.

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39
so she invoked the aid of Suratrāņa Sahābadina who was faced by Přthvīrāja and halted at Yoginīpura. Jaitra-candra felt happy when his adversary, viz. Přthvīrāja, was defeated, but his minister realized the danger to his kingdom. In his second campaign, the Suratrāņa entered Benares in Samvat 1248, Caitra śu, 10, and was victorious against Jaitracandra who died in the river Yamunā and whose eldest son, in the battle. That Suratrāņa treated Suhāgadevī with disrespect for her treachery against her husband and her son was converted into a Turuska.
According to the Prabandha-cintāmaņi of Merutunga', the great monarch (prājya-sämrājya-laksmir pālauan) Jayacandra of Kāśi had a title Pangu; he married Sühavā, the wife of a Sālāpati; he refused to recognise her son as the heir-apparent; she invited the Mlecchas or Turuşkas to attack Vārāṇasī; when it was beseiged, the king put her son on his elephant and plunged himself in the stream of Yamunā.
In the prabandha about Sriharşa, the author of Naişadhīya, the Prabandha-kośa of Rājasekhara' gives some facts about Jayantacandra, the son of Govindacandra and the king of Benares, who was famous as Pangula. He married a young, beautiful widow, Sühavadevī, the wife of a Sālāpati from Anahilla-pattana on which Kumārapāla was ruling. To the displeasure of Sūhavadevī, he decided to give the kingdom to prince Meghacandra and not to her son. She managed to invite the Suratrāņa of Takşaśilā to attack Benares. The king was ruined in the battle, and the town was taken by the enemy.
About the name of the father of Jayacandra, the Prabandhas do not agree among themselves, nor does anyone agrees with Nayacandra's version. Modern historians: give this genealogy: Govindacandra (c. 1114-1155), Vijayacandra (c. 1155-1170) and Jayacandra (c. 1170-1193); that means Prapandhakośa has either confused Jaya- and Vijaya-candra or more probably the name of the latter is skipped over in the text; and according to Rambhāmañjarī we will have to admit that Malladeva was another name of Vijayacandra. The Prabandhas have no reference to his seven
1
2
Edited by Jinavijayaji, Singhi Jaina Granthamālā 1, śāntiniketan 1933, pp. 113-14. Edited by Jinavijayaji, Singhi Jaina Granthamālā 6, Santiniketan 1935, pp. 54-58. H. C. Ray: The Dynastic History of Northern India vol. I, Calcutta 1931, p. 548,
3

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CANDALERA
wives and to the eighth wife Rambhā noted by Nayacandra. In one Prabandha, Karpūradevī figures as a queen, but in our play there is a maid-servant Karpūrikā by name. The hero Jaitracandra is a brave king of Benares, and he had a title Pangu: these two facts are unanimously accepted by two Prabandhas. The first Prabandha is silent about this title, though some other details are common. The two Prabandhas and our play explain the title Pangu almost similarly, So it is plain that Nayacandra's hero is the same as Jaitracandra of Prabandhas; but our author appears to have added certain details to make the plot suited for a Sattaka the model for which was the Karpūra-mañjarī. Our hero, then, as already hinted above, is the same as Rājā Jaichand, almost the last king of the Gahadavāla dynasty, who had made Benares his principal residence and who was overthrown by Muhammad of Ghör (Shihābu-ddin). It is not clear who this Madanavarman of Lāta is; but it is not unlikely that Nayacandra had in view a Chandel ruler of that name. Nayacandra's statement that Jaitracandra brought under control the kingdom of Madanavarman is based possibly on the account of the Prabandha according to which he overpowered Paramarddi who had inherited the kingdom of Madanavarman.
Nayacandra refers to the Karpūra-mañjarī (Km.) of Rājasekhara, and he claims that his Rambhā-mañjari (Rm.) is in a way superior to it. Rm. imitates Km. in many respects. The scene of spring that is being described by the king, queen and bards, the quarrel between Jester and maid-servant in which the former claims hereditary scholarship, and the diversion of the love-lorn king with the description of nature by the door-keeper: all these remind us of similar situations in Km. Some ideas, too, are common, at times with slight variations: in both the Jester has a fantastic dream; the trees like Asoka, Bakula and Kurabaka are introduced to heighten king's passion; and the contents of the love letter are almost identical. We come across even some common expressions in both the texts (Km. II. 11 & Rm. I. 40; Km. I. 32–34 & I. 49).
If the plot is scanty in Km., there is not even the semblance of it in Rm. Nayacandra's Prākrit verses are not as fluent as those of Rājasekhara. Nayacandra has, however, a pedantic mastery over Sanskrit expression; and a couple of his Sanskrit verses (III. 3-4) are really beautiful and testify to his potential poetic ability.
1 This name reminds me of the name Candravarman of Lata in the
Viddhaśālabhanjikā.

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As a play, Rm. does not leave a favourable impression. One wonders how a cultured audience would receive the love dalliance of a king with his two queens, one after the other, on the stage. The tone of the amorous sentiment is devoid of depth and dignity: the depiction of it is more an exhibition than suggestion. In some places, strangely indeed, without making the characters speak and act, the author begins to describe their behaviour outside the stagedirections (II. 18-20; III. 7, 21).
Though the Poona мs. and, perhaps following it, the printed text of the Rambha-mañjari call it a Naṭikā: samāptā Rambhāmañjarī nāma națikā, Nayacandra has plainly called Rm. a Saṭṭa or Saṭṭaka (I. 19). The play comes to a close within only three Javanikāntaras, so far as the present documentary evidence is concerned; but the ambition of the king to become the lord of earth is not explicitly fulfilled, though the King marries Rambha in the very first Yavanikāntara and sports with her in the second and third. Either the play is incomplete, or the author has overlooked what he has put in Sutradhara's mouth': the abrupt ending of the play just in three Javanikāntaras and the absence of Bharata-vakya go to strengthen the former alternative.
INTRODUCTION
Nayacandra employs both Sanskrit and Prakrit in this play, and the use of them by different characters is interesting. The Nata, the queens Vasantasena and Rambha, Pratihārī, Vidūṣaka and Ceți speak Prakrit, and their verses also are in Prakrit excepting one (II. 14) in the mouth of Ceți (with the phrase samskṛtam asritya) which is in Sanskrit. The Sutradhara, king, Nārāyaṇadāsa and Mangala-pathaka have their speeches in Sanskrit, but their verses are in Sanskrit as well as Prakrit. One bard has a glorificatory prose passage in Prakrit, while others have their songs both in Sanskrit and Prakrit. The Nandi verses are in both the languages.
The Dasarupaka, as seen above, admits a varying number of acts in a Națika which has been a model for later Saṭṭaka; but whenever the number of Javanikāntaras is specified, it is necessarily four; and in this respect, the Rambhā-mañjarī, as a Saṭṭaka, does not conform to its description. Further in the use of languages too, it does not satisfy the accepted condition of Saṭṭaka: it is not
1 इक्खागूण नरेसवंसतिलओ सो जेत ( ०.८. जयत ) चंदप्पहू, जुत्तीए परिणीय सत्त घरिणी रूवेण जा अच्छरा । एयाणि भवितुं जहुत्तविहिणा भूमंडलाखंडलो, रंभं तं परिणेदि अट्ठमतियं एयम्मि सट्टे वरे
॥ १-१९॥
6 चं. ले.

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entirely in Prākrit. The Bhāva-prakāśana and Nātaka-lakşaņa-kosa record an opinion that Sanskrit was allowed for the king in a Sattaka; but this play allows not only the king but also some other characters to speak in Sanskrit. It is really a note-worthy convention that Nayacandra is making even his Sanskrit-speaking characters utter some of their verses in Prākrit. When a Prākritspeaking character, the Cetī, utters a Sanskrit verse, the apologetic saṁskrtam āsritya is there. Unless some more Sattakas of the type of Rm. come to light, the promiscuous use of Sanskrit and Prākrit cannot be satisfactorily explained, nor is it confirmed by the views of any theorists so far known.
Nayacandra makes the bards sing the glory of Jaitracandra in three languages, Sanskrit, Prākrit and Marāthī; the Marāthī passage deserves our special attention. I am reproducing it below from the Poona ms. (folio No. 3a) without any corrections:
जरि पेखिला मस्तकावरी केशकलापु। तरि परिस्खलिला मयूरांचे पिच्छप्रतापु ॥ जरि नयनविषयु केला वेणीदंडु । तरि साक्षाजाला भ्रमरश्रेणीदंड ॥ जरि दृगोचरी आला विसाल भालु । तरि अर्द्धचंद्रमंडलु भइला उर्णायुजालु ॥ भ्रूजुगल जाणु । द्वैधीकृतकंदर्पचापु। नयननिर्जितु जाला षंजनु निःप्रतापु ॥ मुखमंडलु जाणु शशांकदेवताचे मंडलु ॥ सव्वांगसुंदरतामूर्तिमंतु कामु।
कल्पद्रुम जैसे सर्व्वलोकआशाविश्रामु ॥ This is a specimen of literary Marāthī of the age of Nayacandra or, to be more definite, of the period of the ms., Saṁyat 1535 (A. D. 1477-78). Perhaps a line rhyming with the ninth is missing. The passage is certainly in Marāthī of an archaic type but not very old. It shows the full development of the characteristic features which belong to the language in its New IndoĀryan stage and which cannot be traced to the Middle Indo-Aryan, for instance, the formation of the past tense in -1 : pekhilā, pariskhalilā, kelā, jālā, ālā and bhailā, with its agreement with the subject; secondly, the formation of the Genetive in mayūrāṁce and devatāce, both sing. and pl.; and lastly, the form jālā, twice used without the present-day aspirate which came into use some time in the beginning of the 19th century.

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INTRODUCTION
Mārkaņdeya and his Vilāsavati Mārkaņdeya is the author of the Prākṣta-sarvasva' which occupies an important position among Prākrit grammars. Very • little is known about his personal history. He composed his grammar in the reign of Mukundadeva who ruled over Utkala or Orissa. There was a king of Orissa of this name during the second half of the 17th century A. D. to which period Markandeya may be tentatively assigned. Prohibiting the use of Genetive for purposive Dative, he remarks thus in his grammar (V. 131):
क्वचिन तादर्थे । तादर्थे विहितायाः चतुर्थ्याः षष्ठी न स्यात् । 'पाणाअ गओ भमरो लब्भइ दुक्खं गइंदेसु ॥' 'सुहाअ रज किर होइ रण्णो ।' इति मम विलासवतीसट्टके ॥
The remark is quite plain, and we learn that Mārkandega composed a Sațțaka, Vilāsavati by name, Viśvanātha (c. 14th century A. D.) mentions in his Sāhityadarpaņa (VI. 277-79, prose remark) one Vilāsavati, a Nätya-rāsaka, which obviously must be an earlier and different work. The name of Vilāsavati as a heroine is pretty old and figures in the stories composed by Haribhadra (8th century A. D.), Sādhāraṇa (11th century A. D.) etc. If we can discover a Ms. of the Vilāsavati Sattaka, composed as it is by an eminent Prākrit grammarian like Mārkandeya, it would be of great value to assess the nature of Prākrit in a Sattaka.
Vis'ves'vara and his S'rngāra-mañjari Visvešvara, the son of Lakşmīdhara, belonged to Almodha or Almora, and flourished during the first quarter of the 18th century A. D. The editors of Kāvyamālā have recorded that his eighth descendent, Deveśvara (Cunilāla) by name, lived some time earlier than 1910 at Anūpasahara on the Ganges. It is said that Viśveśvara began his literary enterprises at the age of ten and died prematurely at about forty. He is a voluminous writer, and there stand against his name more than twenty works of which Navamālikā is a Nātikā and Sủngāra-mañjarī is
1
2 3
Edited by S. P. V. Bhattanatha Swami, Vizaga patam 1927; L. NittiDolci: Les Grammairiens Prākrits, Paris 1938, pp. 89 etc. Jinaratnakośa by H. D. Velankar, Poona 1944, p. 358. Kávyamālā VIII, pp. 51-52; M. Krishnamachariar: History of Classical Sanskrit Literature, p. 355.

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a Saṭṭaka. I could get two MSS.' of the latter; and its contents are analysed below.
I. After the nandi verses, in which are invoked Parvati and Madana, the Sutradhara, who is out to please the audience, hears the Nati describing the spring behind the curtain. As she compares spring with Saṭṭaka, he takes a hint and decides, in consultation with her, to enact the same, depicting amorous sentiment, especially in separation. He explains to her that the Saṭṭaka to be staged is the Simgara-mamjari (Sk. Śṛngāra-mañjarī) which gives rise to great wonder, which has well-shaped characters, and the limbs of which are set at various places (vihaa-samthavia-saalamga, p. 2). Its author is Viśveśvara, the son and disciple of Lakṣmidhara of great learning; and it is being staged at the behest of the learned assembly which has rightly judged its merits. Sutradhara feels highly pleased that his beloved well suggested what he had in mind.
In a park, then enters the king, Rajasekhara, praising sleep which acquaints one with abnormal experiences (in dream). He is yearning for an unknown person. Inquired by Vidūşaka and with intervening remarks from him, the king narrates to him his latest dream. He saw therein a girl of exquisite beauty, and felt very happy almost like Indra; the girl appeared to be in a mood of disappointment; Vasantatilaka, maid-servant of the queen, led her in saying that it was time for royal assembly; and she went out with heavy steps, looking at him. The king, who is suffering from pangs of separation, expresses his fear that the queen might come to know about this. He is assured by Viduşaka that he might soon meet that girl; but he is pessimistic, for he knows neither her name nor place. He has now come to the park where he had seen her. Vasantatilakã comes there; the king suspects whether she overheard his talk; Vidūşaka holds a subtle and shrewd conversation with her; and therein it is disclosed that she did overhear the passionate expressions of
1 The colophon of the мs, reads saṭaka.
2
Both of them belong to the Government collection in the Bhandarkar Oriental Research Institute, Poona 4; their Nos. are: 810 of 1886-921 and 435 of 1892-95. The latter is a good Ms. containing the Prakrit text which has interlinear Sanskrit chaya in red ink on some three pages at the beginning and some six pages in the middle. It is dated Saka 1639, i. o. A. D. 1716-17, and thus almost contemporary with
the author.

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the king. The king admires her sharp grasp, takes her into confidence, and tells her his vision in the dream. She realizes that he might have seen her friend Śṛngara-mañjarī; she requests him to paint her portrait; and from that she discloses that it was that of her friend S.-mañjarī. She writes on it a verse from her friend who, she conveys to the king, is also in love and pining for him helplessly. She takes king's permission to convey all this to her. Evening is announced.

45
II. With that painting-board in his hand, the king is brooding over Ś.-mañjari's beauty and poetic skill, Now and then Vidūşaka is adding his comments. Both of them discuss how queen Rūpalekha is jealously guarding the heroine, S.-mañjarī, whom, consequently, they are not able to see. The king tells Vidūsaka that a woman is always unhappy at the presence of a co-wife. While the king is conveying his plan to Vidūsaka, he receives an invitation from the queen, through Madhavikā, to attend the worship of Madana in the park; he goes thither immediately, being led by Vidaṣaka; he is reminded of the heroine seen in that park; both of them wax eloquent on the scenes of spring, visible in the park. They halt under a Madhavi bower awaiting the queen who arrives with her retinue and begins describing spring. They all proceed to the spot of worship, and the king takes seat with the queen. Vasantatilaka taunts Vidūṣaka on the throbbing of his left eye: he feels offended and talks of his learning. He has a quarrel with her. He feels defeated and wants to quit the royal company caring a fig for the prospect of dakṣinā, because his merits are not recognised. At queen's request, he stays there; and with great reluctance, she had to call S.-mañjarī to act as a judge, expert in sentiments, to settle the dispute between the Jester and maid-servant. Madhavikā brings S.-mañjarī who is quite happy at the opportunity of seeing the king. The queen does not want King and S.-mañjarī to see each other for long; she requests the king to begin with her Madana's worship, so that the dispute might be decided in the mean time. Vasantatilaka and Vidūṣaka begin their dispute about sṛngāra in the presence of the judge; Vidūşaka feels that the real purpose, namely, that the king might see the heroine, is served; he gives no replies, and thus loses in dispute. As the business of arbitration is over, the queen asks the heroine to go back; and she, along with the love-lorn king, continues her worship. The blessings of all-powerful Madana are invoked from

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behind the curtain. At queen's suggestion, king retires, to the
terrace.
III. After a little discussion with the king on some aspects of love, Vidūṣaka informs him how the queen is strictly guarding the heroine, and how even Vasantatilaka's movements are restrained, lest she might bring about a meeting between king and heroine. Still Vidūṣaka managed to see Vasantatilaka. He learnt from her that the heroine is terribly suffering from separation; and every cooling measure is having an adverse effect on her. She is almost ready to end her life in order to get rid of this anguish of passion by hanging herself with a creeper-rope. To save her, she has been assured of a meeting with the king under the Madhavi bower. She is living on that hope; and the king, if he is sincere, should kindly save her. Seeing that pradosa is announced, Viduşaka requests the king to go to that spot and save her. Both of them proceed thither, describing various scenes, It is getting late at night, and they are wending their uneven way in thick darkness. They reach the rendezvous. There enters Śṛngāramañjarī with a blue veil and accompanied by Vasantatilakä: they are chatting about darkness in which the heroine's face is a moon indeed. The king is happy to hear their sound. With auspicious omens they reach the appointed spot. The king catches the opportunity, goes ahead, and leads the heroine to the bower; and they are left to themselves. The bashful heroine is patronisingly consoled by him; and he solemnly assures his whole-hearted love to her, and further confirms it by falling at her feet. As she is ready to go, the king requests her to continue her love: Vasantatilaka expects the same from him. The king assures that for him, as for a bee, she is a lotus in preference to all other flowers.
IV. The king remembers his meeting with the heroine and thinks about her beautiful limbs. He feels sorry at the cruel behaviour of the queen who has, by this time, imprisoned Vidūṣaka and Vasantatilaka and kept S.-mañjarī in a guarded dark room, under solitary confinement. Vidūşaka enters lamenting over his lot especially in the prison. He approaches the anxious king and tells him how he has been luckily free. Inquired about the heroine, he narrates the following details: To-day the queen went to worship Pārvati; immediately after the jubilations, a divine voice discoursed to the queen about the duties of a devoted wife; taking the hint, she decided to bring together S.-mañjarī and the king; and she

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A
released all.' The king felt happy and surprised at this sudden development. The penitent queen comes along with heroine and attendants; and the king welcomes them all. She presents Sạngāramañjarī to him, and hestows on her the status of equality, that of a co-queen. He accepts her according to Gandharva marriage; he gives a gift of jewelled wristlet to Vidūşaka. Vidūşaka is going home but returns with minister Cārubhūti who greets the king as a Cakravartin and discloses the following details : Srngāra-mañjarī is the daughter of Jaţāketu, the king of Avanti; her husband would become a Cakravartin; she was being carried away by Maņimālin who had become a demon according to some curse which came to an end on the way, and she was dropped down in a hermitage; thence she was brought to the palace and kept with the queen. The queen regretfully realized that S.-mañjarī was the daughter of her brother-in-law (āvutta), and she apologised to her for the treatment so far given. The heroine thanks her in return. The king prays for an all-round welfare.
As Sattakas, shaped according to the definition of Nātikā with certain reservations, both Karpūra-mañjari and Sệngāra-mañjarī have much in common; and they inherit good many motifs, with or without minor changes, from the earlier plays' of Bhāsa, Kālidāsa, Harșa etc. In certain details Km. and Sm. have close resemblance: their titles, the names of queens, the quarrel between Jester and maid-servant, a philosophical discussion between king and Jester about love, etc. But everywhere Visveśvara handles the situations and contrivances more skilfully; as constrasted with parallel situations in Km., the quarrel in this play is devoid of bald abuses; and the author is not tempted to give a dry list of names of female guards. Visvesvara does not slavishly follow Rājasekhara's special ideas and expressions, though in a few places we are reminded of certain verses and idioms in Km. The king sees the heroine in a dream; he paints her in a picture; then her identity is ascertained : all this reminds us of the plot of Viddha-śālabhanjikā of Rājasekhara and the development of love-relation between Uşā and Aniruddha, and between Kandarpaketu and Vasavadattā. The idea of bringing the heroine as an arbitrator is well conceived and managed with dignity: thus she is proved to be a veritable śrngāra-mañjari, as her name connotes. Viśveśvara shows a good deal of poetic
1 Especially Svapnavāsavadattā, Mālavikāgnimitra, Ratnávali, Priyada
rsikā.

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talent, smooth and flavoury presentation of details, and lucidity of expression. Some of his discussions are stiff. All his characters speak Prākrit, and there are four Yavanikāntaras. One of his remarks indicates that sandhyangas may be admitted in a Sattaka; and it is already noted above that Vasudeva detects some of them in the Karpūra-mañjarī, though some theorists explicitly prohibit them.
Ghanas'yāma and his Ānanda-sundarī The poet Ghanaśyāma', who calls himself mahūrāstra-cūļāmani and who possessed epithets like Kanthīrava, was the son of Mahādeva and Kāśī, and a grandson of Cauņdāji Bālāji. Īsa was his elder brother; Sākambarī, his sister; Sundari and Kamalā, his wives; and Candrasekhara and Govardhana, his two sons. He was born in 1700 A. D., and lived as far as 1750. At the age of 29 he became the minister of Tukkoji I (1729-1735) of Tanjore. He was a voluminous writer, starting his literary career at the age of 18. As he himself reports, he composed 64 works in Sanskrit, 20 in Prākrit and 25 in vernacular; a detailed list of his compositions is already prepared by Prof. Chaudhuri in his paper; and he covers various branches of literature : plays, poems, anthologies, Campūs, commentaries and treatises on technical subjects like grammar, rhetoric, philosophy, etc. Ghanaśyāma was offensively self-conceited, and he paraded his learning in various quarters. He looked down upon earlier authors, even of established eminence; and he held poor opinion about their literary achievements. He styles himself sarva-bhāṣā-kavi, with a mastery over seven or eight languages and scripts. He feels himself quite competent, almost equal, if not superior, to Rājasekhara, in composing a Sattaka which is entirely in Prākrit. His attitude towards Prākrit is well expressed in the conversation between Vidūşaka and Sūtradhāra. In his opinion, an eminent poet need not be ashamed of composing works in Prākrit. A heretic shuns a sacrifice; a voluptuory, virtues; a block-head, learning : one vainly condemns whatever is impossible for oneself. Those who are skilled in only one language are part-poets, while he who can compose in many languages is a full-blown poet of renown. According to Prof. Chaudhuri's list, Ghanaśyāma appears to
1
For the life and works of this poet, see Prof. J. B. Chaudhuri's paper
Sanskrit Poet Ghanaśyāma', Indian H. Quarterly, vol. XIX, 3, pp. 237-51.

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have composed three Sattakas: 1) Vaikuntha-carita, 2) Anandasundarī, and 3) an anonymous one. Two Mss.of Ā.-sundarī have been accessible to me; and its contents are summarised below.
1. After benedictory verses invoking Vişņu-Lakşmi etc., Sthāpaka or Sūtradhāra and Vidūşaka discuss a letter from an Association (sāmājika-lekhah) for staging an interesting play; and it is decided to enact a Sattaka, the Ananda-sundarī, composed, at the age of 22, by Ghanaśyāma (described ) who is as competent as Rājasekhara, who has won a title Kaņthīrava, and who can compose works in various languages. Sūtradhāra, who is wishing for a son, suggests the plot by a simile: Sikhandacandra marries the daughter of Caņdavega; he has a son from her; and he becomes a universal monarch.
The king reflects on his fortune and discloses certain details : The minister Diņdiraka has been sent out to subdue Vibhāņďaka of Sindhudurga who refused to pay the tribute; and he is expected to come back victorious. The king hopes that his anxiety for a son would soon disappear: the king of Angas has sent his daughter Anandasundarī to win his affection; fearing that the queen might know this, A.-sundari has been dressed as a man, with a name Pingalaka, and given in charge of the chamberlain Mandāraka; and as foretold by an astrologer, she might have a son. Bards greet the king with morning prayers by describing the advancing day. Vidūşaka has offended unwittingly another Brāhmaṇa Maņdūraka; and the king settles the quarrel by a present to the latter. The king wishes to see a nāțaka staging how Ānandasundari was brought etc. composed by Pārijāta-kavi. Pingalaka and Mandāraka are also invited, and a garbha-nāšaka is introduced. It depicts how
1 It has to be seen whether this anonymous play can be the Navagraha
carita which, though put by Keith under Nāțaka (The Sanskrit Drama, p. 345), is described by M. Krishnamachariar (History of Classical Sanskrit Literature, p. 248) as Sattaka in Prākrit. It is necessary that MSS. of Vaikunthacarita and Navagrahacarita should be inspected and seen whether they are Sattakas. One complete ms. containing Prākrit text and Bhattanātha's Sanskrit commentary belongs to the Government collection at the Bhandarkar Oriental R. Institute, Poona, No. 432 of 1899-1915; and another & transcript of a ms. No. 683/4681 from The Tanjore Sarasvati Mahāl Library, Tanjore. The latter is wanting in some portion at the beginning. 7 * .

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CAMDALENA A.-sundarī was dressed as a man and brought to the harem. As the characters of the spectators are there in the garbhanātaka, a good deal of fun is created by Vidūşaka who often misunderstands the situation. The king broods over A.-sundari's beauty while the play is going on. The time for midday meals is announced, and all get up for bath.
II. The king tells Vidūşaka that Hemavati divulged their secret to the queen with the result that Mandāraka has been chained and Anandasundarī is confined in the ornament box by her. He reflects over the miserable lot which has befallen that beautiful girl on account of queen's jealousy. Vidūşaka blesses him with good luck. Then to divert king's mind, there enters the poet Pārijāta, alias Kaņķhīrava, vaunting his poetic abilities. In a high-flown style, full of long compounds, subtle allusions and mythological references, he praises the metropolis Sråkhalāvati and its specialities, the palace Damaruka, and the king Sikhandacandra of great glory and his virtues. The king is highly pleased and is ready to give any present, even his kingdom, to the poet who declines the offer by saying that he already possesses the kavita. mahā-sämrājya. To divert himself the king proposes to Vidūşaka that they should describe the various limbs of the heroine A.-sundarī; and they do so by singing the lines of a verse alternatively. The king is suffering acute pangs of separation which are heightened by midday announcements of bards: he realizes that the real remedy is to win queen’s favour.
III. The king feels happy now, because he has been able to win queen’s favour. With sly interpellations Vidūşaka wants to know how this could be achieved. The king narrates the details how he met her in the bed-room, how she was angry with him, how he lay prostrate at her feet like a servant, and how thus finally her heart was won over and she promised to celebrate his marriage with the heroine Ānandasundarī. The queen enters with the heroine and attendants, the former in wedding dress: the king must have an issue, so the marriage is approved by all. The queen bestows the heroine on the king, and the wedding ceremony is celebrated. The couple is blessed and greeted by all; and Vidūşaka exchanges a few bitter jokes with maid-servants. The king, heroine, Vidūşaka, etc. come to the Sủngāra-vana where the heroine is made acquainted with various trees etc. The evening and rising moon are announced by bards; the king and heroine retire to the bed-chamber.

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IV. Vidūşaka finds the king anxious about heroine's worries whether king's love for her would remain firm, whether she would have a meritorious son, and whether she would deliver happily. The king has assured her duly. Vidūşaka cuts a few jokes with him, and getting the necessary details he assures him that the period of pregnancy is full and that she would certainly deliver a son. The victorious minister Dinḍīraka arrives. A garbha-nāṭakā composed by Pārijāta-kavi is staged. It is shown how Dindiraka leads a fleet, how the demon Vibhaṇḍaka is overpowered and made to run away by a sudden terrific uproar, and thus the victory was won. The king is highly pleased with this triumph, and is almost ready to give his kingdom to the brave minister. Just at that moment the report of the birth of the prince is conveyed to the king. By eating a miraculous herb sent by her father Candavega, Anandasundari is quite hale and hearty. The queen enters accompanied by heroine with the child and attendants, and congratulates the king on the birth of a prince. The queen names the prince Ananda-candra and puts him on king's lap. Bards greet the king; and the play ends with a significant Bharata-vākya.
INTRODUCTION 14 $42000

Ghanasyama almost vies with Rajasekhara in composing a Saṭṭaka; it must be said to his credit that he has a sufficiently independent plot; and excepting a few echoes of expression, he borrows very little from the Karpūramañjarī. The introduction of two garbha-nāṭakas is a peculiarity of the A.-sundari, especially because they represent episodes which are a part and parcel of the theme of the play itself. It appears from a casual remark of Vidūşaka that Ghanasyama believed that a Saṭṭaka without a garbha-nataka is positively faulty (apahasa-bhajana). Ghanasyama is more a Sanskrit poet; and some of his forms and expressions are so artificial in Prakrit that at times his verses become intelligible only after they are rendered into Sanskrit. That only shows that later authors lacked close touch with the genuine style of early Prakrit works and still finished their compositions mainly by studying Prakrit grammars. In this respect Visvesvara's expressions are more natural in Prakrit than those of Ghanaśyama. Rajasekhara and other authors do use certain Desi words. In a way the same tendency is carried to its logical extreme when Ghanasyama freely and studiously uses a number of Marathi nouns and roots: some of his usages are current even in present-day Marathi. To a great extent the interest of the reader or spectator of this play is sustained by the
51

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light humour with which many of the conversations and remarks, especially of Vidūṣaka, are replete. The author creates humour by words of double meaning, stray pricky remarks, caricature of holy things, exaggeration, innocent tricks and slips, sly jokes, somewhat vulgar references, outspoken frankness and by light remarks on serious occasions. Ghanaśyama is well-known for his pride and show of learning; and it is not surprising that the poet Pārijāta, alias Kanthirava, is only his own replica. The entire play in four Javanikāntaras is in Prakrit: Sutradhara, however, once quotes a Sanskrit verse which brought to Ghanasyama the title Kanthirava, and a second time repeats the request of the Association in Sanskrit. The king also speaks in Prakrit; only once in the fourth Yavanikäntara, he sings a verse in Sanskrit (Samskṛtam asritya). This sporadic use, I think, has nothing to do with the view of some theorists that the king is to speak in Sanskrit.
52
9) CANDRALEKHĀ: A SAṬṬAKA
It is but inevitable that a late author like Rudradāsa has in view the earlier definitions1 of Natika and Saṭṭaka, and that his Candralekha is influenced by the existing models of the same. The characters of Manaveda, Devi and Candralekha are of the time-honoured mould and quite suited for a Saṭṭaka. The principal sentiment in the Candralekha is erotic or sṛngara presented in its various aspects and through suitable styles or vṛtti. The marvellous sentiment, as stated in the Sahityadarpaṇa, is supplied in this play by introducing the jewel Cintamani. Other sentiments like raudra, vira, bhayanaka and bibhatsa are absent. We have a Sthapana at the beginning with Sutradhara and Paripărávaka. There are no Praveśaka and Viskambhaka, and instead of Anka we have Yavanikantara. All the characters have their speeches and verses in Prakrit. It is only the names of characters and stage-directions that are in Sanskrit. It is natural that they should be in the same language in which the characters speak: this rule was observed by Asvaghosa; but after him the practice appears to have fallen into disuse and replaced by the convention of using Sanskrit for them. None of the Saṭṭakas has reverted to the practice seen in Asvaghosa's plays. The adjective bamdhuraṁgo perhaps indicates that Rudradasa has no objection for introducing Samdhyangas which are prohibited by Saradatanaya. Thus the
1 See pp. 21-3 above.
2 Keith: The Sanskrit Drama, p. 86.

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Candralekhā fulfils the essentials of a Sattaka; and most of the motifs on which its plot is built are found in the Karpūra-mañjarī as well as in some Nātikās.
v) KARPŪRAMAÑJARĪ AND CANDRALEKHA Reading side by side the two Saţtakas, Karpūra-mañjarī and Candralekhā, one is struck by the remarkable similarity between them. Some of the scenes and their sequence in Cl. closely resemble, if not imitate, the parallel scenes in corresponding places in Km; and a few instances may be added here. I. The Prastāvanā of Km. and Sthāpanā of Cl.; the king, queen and Vidūşaka offer descriptions with the seasonal back-ground of spring; the heralds greet the king ; Jester quarrels with a maid-servant; a beautiful heroine is described; Bards announce evening; and the characters retire from the stage. II. The attendant tries to divert king's mind; the king broods over heroine's beauty; in Km. the king sees the heroine on the swing and in Cl. at the singing entertainment; both king and Vidūşaka sing alternative lines of a verse and describe the maiden with fanciful imagery. III. The king and heroine meet in a park; the rising moon is described; and the meeting is dispersed by the queen's arrival. IV. The heroine is put into a prison by the queen and guarded by a battalion of maid-servants.
Then there are many ideas and expressions common to both; and the prologue at the opening is a good illustration: therein Isvara and Pârvati, quarrelling in love, are referred to; Sațţaka is defined; the author introduces himself, informs the audience at whose instance the play is staged, and gives the gist of the plot; and in all this even some sentences are identically worded. A few common ideas may be noted here. The Caitra breezes touch the Cola girls, and they are enjoyed by cobras on their way (Km. I. 15, 20 & Cl. I. 23-4); Viļūşaka claims hereditary learning (Km. I. 18. 1 & Cl. I. 26, 2); the entrance of a heroine with moon-face (Km. I. 25. 6 etc. & Cl. I. 30, 31); musk cannot be sold in a village (Km. I. 18. 18 & Cl. II. 9. 26 ); Jester has a truce with the maid-servant (Km. II. 6. 14-15 & Cl. II. 10. 15); the king requests the heroine not to stand up lest there might be physical pain to her (Km. III. 21 & Cl. III. 12. 11-12); the king with horripilations resembles a Kadamba plant
1 Konow puts both the lines of a verse in the mouth of Vidūşaka. He
has recorded some mss. which put one line in the mouth of the king and the other in that of Vidūşaka. Rudradāsa appears to have had before him such mss. of Km.

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(Km. III. 24 & Cl. III. 13); the appearance of earth at moon-rise (Km. III. 25 & Cl. III. 15); the achievement of the king in this play (Km. IV. 23 & Cl. IV. 29); etc. There are also a few common or nearly common expressions, besides those in the Prologue, between the two works: see for instance, Km. I. 19. 7 & Cl. I. 26. 13; Km. I. 36. 1 & Cl. I. 47.7; Km. II. 1. 3 (note the variants) & Cl. II. 1. 4; Km. III. 24. 2 & Cl. III. 14. 2; Km. III. 26. 1-2 & Cl. III. 16. 2-5; Km. IV. 9. 2 & Cl. IV. 26. 1; etc. Some verses have a similar ring, at times with certain common words; and some of them have the same metre in corresponding contexts: for instance, Km. II. 10-11 & Cl. II. 14-15; Km. II. 32 & Cl. II. 23; Km. III. 29 & Cl. III. 21; etc. and Km. I. 1-2 & Cl. I. 1-2; Km. I. 17 & Cl. 24; etc. Even some of the stage-directions are nearly the same at similar contexts: see for instance, Km. I. 25. 10-12 (see the variants) & Cl. I. 27. 16-17; Km. III. 20. 24-25 & Cl. III. 12. 9-10; etc. In giving the list of maid-servants (Km. IV. 9. 8 etc. & Cl. IV. 26. 7 etc.) Rudradāsa, somehow setting aside his sense of moderation, mechanically follows the model of Rajasekhara. The opening words bhaddam hou or deu, with some symbolic auspiciousness, are common to both; and it is not unlikely that the title Candralekhā, which in the case of Natikā and Saṭṭaka should be the same as the name of the heroine, has suggested itself to Rudradāsa from the title of the Mrgaňkalekha Katha of Aparajita to which Rājasekhara has made reference in his prologue. Some of the motifs and situations are common; in a way they are found, with or without minor changes, in most of the Natikās and Saṭṭakas. The king becomes a Cakravartin after marrying a princess who is brought to his palace through some miraculous means; he falls in love with her, and she also loves him; the fever of love increases on both the sides; she sends a love letter to him; he sees her and also meets her; the suspicious queen watches her movements and finally imprisons her; at last the queen becomes favourable; and the wedding ceremony is celebrated.
There are certain aspects of Km. which have not got their counterparts in Cl.: the round-about abuses exchanged by the Jester and Ceți; King's dream and Viḍūṣaka's counter-dream; and the discussion about the philosophy of love between the king and Jester. Whatever is ostentatious, excessive and extreme in Km. is often toned down and presented in a sober form in Cl. The vaunting Bhairavananda with his licentious creed is replaced by the jewel

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Cintāmaņi presided over by a patronising and benevolent deity; the swing and Aśoka scenes have their purpose served by a singing entertainment. Rājasekhara, as a young court-poet and having his play staged at the instance of his cultured wife Avantisundarī, shows a youthful buoyancy in depicting the amorous sentiment; his descriptions of womanly beauty are frank, and pining plaints of separated lovers are outspoken. Rudradāsa, however, shows a great deal of self-restraint without sacrificing the flow of sentiment: he fully describes his heroine, but she is not half-naked, brought before the king in her bathing dress; he gives fewer opportunities for the king to see and describe the heroine. In fine his amorous sentiment is characterised by a subdued spirit and presented with moderation.
Rudradāsa has his innovations and improvements. The episode of the Sārikā bird, which is placed in the throat of a statue put in the drawing-room of the king and which overhears king's talk to divulge it to the jealous queen, is not found in Km.; but it is well used in Cl. to heighten queen's anger. A similar motif is employed by Rājasekhara in his Bālarāmāyaṇa (V.6). The scene of various feudatories paying respects to the king, introduced in Cl., has nothing dramatic about it; but possibly it is intended to tickle the vanity of Mānaveda who is not an imaginary hero but a ruler contemporary with the author. In Km., the heroine gives all her personal details to the queen, and their relation is clear almost from the beginning : this has forced Rājasekhara, through the mouth of Bhairavānanda, to give non-factual or imaginary names of the parents of Ghanasāramañjari which is only another name of Karpūramañjarī whose parents are already once mentioned, and also to introduce that hide-and-seek scene so hard to manage on a simple stage. Rudradāsa has successfully improved on this. The heroine, when she comes first, is recognised only as noble-born; and her real identity and relation with the queen are disclosed almost at the end. In a way all this can be managed better on the stage.
Rudradāsa makes no reference whatsoever either to Rājasekhara or to his Karpūra-mañjarī as for instance Nayacandra has done. The above observations make it abundantly clear that Cl. is primarily based on Km. and inherits many of its details. But the Candralekhā, it has to be admitted, distinguishes itself mainly on account of its author's individuality which is that of a rigorously trained poet who is endowed with a sober mind, pious temperament amateur skill, uncreative but orderly genius and subdued zeal.

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vi) CANDRALEKHĀ, AS A LITERARY PIECE
When the spring season is bathing the earth with beauty, the miraculous jewel Cintamani brings to the palace of king Manaveda a lovely girl, of noble descent and winning appearance. The king falls in love with her, and she also feels attraction for him. The queen is suspicious and guards her movements. The king suffers pangs of separation, and his mind is being diverted by Vidūşaka and attendants. Once he gets an opportunity to see and hear the heroine singing in the Ruby park. Along with the passion of lovers, the jealousy of the queen increases. The lovers meet each other in the Plantain arbour. The queen now keeps the heroine in chains. The lovely heroine, it is disclosed, is Candralekha, the cousin sister of the queen; and she was already betrothed to Manaveda whom she would make a universal monarch. The queen consents to the marriage, and Manaveda is wedded to Candralekha. This is the outline of all that we get in the Candralekha by way of plot. The story is neither engrossing, nor are the threads of the plot complicated. This is all quite in keeping with the spirit of most of our dramas; and the subject-matter is just of the pattern dictated by theory for a Naṭikā, and consequently for a Saṭṭaka. In working out the development of the intrigue and some of the details of the plot (for instance, the Sarika episode, Vidūṣaka talking in dream, keeping the heroine unrecognised almost upto the end, etc.) Rudradāsa shows some cleverness. The characters are of timehonoured mould; their words, movements and acts have nothing extraordinary about them that they might get individualised and capture the attention of readers or spectators: in short there is no attempt at characterisation. Due to want of action, the Candralekha is more a dramatic poem with a set of florid and poetic extracts than a play; it deserves to be read, nay studied, rather than witnessed; and its author stands before our eyes more prominently as a poet.
Rudradasa has created many an opportunity for descriptions in which he could exhibit his poetic ability: the king Manaveda, his metropolis, the spring scenes in the park etc., physical charms of a maiden, the condition of separated lovers, the singing entertainment, the evening, moon-rise, the feudatory kings etc. He takes peculiar pleasure in presenting long metres and prose passages loaded with lengthy compounds. These long speeches rumbling with compound expressions would certainly torture an audience.

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What could have been gracefully acted in sharp conversation is described there at length. Racy conversation with pithy sentences pushing on the plot in a brisk manner is a thing perhaps unknown to our author. Even the Jester's quarrel with the maid servant has nothing particularly light and hurnorous about it. The pining plaints and the passionate outbursts of the king in the presence of Jester etc. afford nice occasions for the poet to introduce lyrical stanzas describing beauties of nature, graces of women and caprices of cupid. Rudradāsa's depiction of love or amorous sentiment lacks buoyancy and is presented under much restraint.
Apart from the artificiality of his Prākrit dialect, Rudradāsa's style is forceful but heavy. His descriptions present a flurry of high sounding words; and there is little of originality and subtle touch in the imagery projected by him. Some of his ideas in the description of moon-light and heroine's graces have an air of novelty, but it is often obscured by heavy and elaborate expression. His rushing composition often reminds us of the style of Bhavabhūti and Rājasekhara; the latter, of course, is his immediate model. Though he does not possess much case of Prākrit.expression, he can nearly rank with Rājasekhara in his love for long metres and his mastery over Prākrit versification. Some of his gāthā varieties are quite happy in their sound and sense; and here and there, though to a less extent when compared with Rājasekhara, he shows some inclination for sound effect and alliteration.
This play, as the author tells us, was composed for the pandita-mandala, the Learned Circle, in the court of Mānaveda. Rudradāsa thus sought the approval of men of learning who were intent on discerning poetic merits and beauties in his play. He has strained every nerve to give elaborate descriptions, highly decked prose passages and high sounding verses; it is a fine exercise in cultivated style through literary Prākrit; but the result has fallen short of what a drama should really be.
vii) PRĀKRIT IN THE CANDRALEKHA In estimating the cultivation of and the composition in a literary language, three factors are to be mainly considered: the grammatical mould, the literary nourishment and incidental influences. To be more explicit, in judging the composition of an author in a classical language we must try to ascertain what grammatical system he had studied, what tract of literature in that language
84. a.

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he was acquainted with, and what incidental influences on his language have been there from contemporary regional languages, from the author's mother-tongue and from his specialised knowledge etc. A post-medieval Jaina author from Gujarāt and round about writing in Prākrit shows sufficient mastery over Hemacandra's Prākrit grammar. His language shows that he is acquainted with Ardhamāgadhi canon, post-canonical treatises and Prākrit (or, as we call it to-day, Jaina Māhārāștrī) works of authors like Haribhadra. The Sanskrit language in which he is normally adept, the popular Apabhrmśa poetry with its various peculiarities, the vernacular idioms and words, and the Jaina technical terms-all these, in some degree or the other, leave their stamp on his language and style. Many post-medieval Prākrit authors from the North not only show, like earlier authors, traces of popular Apabhraṁsa in their language but also add, without any hesitation, their songs and specific descriptions in Apabhraíśa almost in continuation of their Prākrit composition. For us, from a distance, this is rather strange; but for them, and really speaking, composition in Prākrit and Apābhraíía, side by side, was but natural and inevitable in the North in post-medieval times.
The South Indian authors like Līlāśuka, Śrīkaņtha, Rudradāsa and Rāma Pāṇivāda, who come from the extreme South, have contributed their mite to Prākrit literature under great handicaps which we may try to appreciate. They belong to the decadent period of Prākrit literature; Prākrit had no attraction for them as the language of their religious scriptures; they lived in a part of the country where the current languages were of Dravidian stock and unconnected with any stage of Prākrit; and their acquaintance with the Indo-Aryan languages was mainly through the study of classical Sanskrit grammar.
In the light of the above remarks, a study of Candralekhā shows certain facts. Rudradāsa is following the Prākrit grammar of Vararuci, the first nine chapters, as available in southern Mss. About the Prākrit literature which he had studied there is very little direct evidence in his style and language. He does not appear to have studied any Prākrit and Apabhramsa works of Jaina authors from the North : their influence is not seen at all. The Karpūramañjari of Rājasekhara, as preserved in South Indian mss., was there before him; and he has closely followed it, even reproduced some sentences from it. It is quite likely that he studied Prākrit

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59
portions of plays, gāthās from Hāla's Kośa and poems like Rāvaņavaho. His strength as a Prākrit poet is mainly based on his thorough grounding in Sanskrit language and literature, his ability to corrupt Sanskrit words into Prākrit, directly or analogically, by applying the rules of Vararuci's grammar, and lastly, on his facility of handling various metrical forms including the varietes of gāthā. It is but natural that the Prākrit of Candralekhā sounds artificial, much different from the lively expression in genuine Prākrit literature.
Minor dialectal differences apart, the classical Prākrit stage, as distinguished from Sanskrit, characterises itself by certain phonetic peculiarities: the loss of vowel sounds ?, ?, ai and au; the reduction of three sibilants to one; the final syllable to be necessarily a vowel, at times with anusvāra or nasalisation; simplification of conjunct groups through processes like assimilation; and the law of quantity which brings about shortening of long vowels before double consonants, reduction of several consonants to two and sometimes loss of one of the two consonants after an original long vowel or after a vowel which was originally short and has only been lengthened at the same time.
Speaking about its phonetic aspect, with Sanskrit at one end and the rise of Modern Indian languages at the other, the intervening stage of Prākrit in its wide sense or Middle Indo-Aryan can be split into various consecutive sub-stages : Old or Early Middle Indo-Aryan (Early Prākrit Stage ), Transitional Middle Indo-Aryan, Second Middle Indo-Aryan (Prākrit Proper), and Third or Late Middle Indo-Aryan (Apabhramśa). The first stage keeps the intervocal single stops intact; during the transitional period they get voiced or spirantised; and in the Prākrit Proper they drop off from the speech. Apabhramsa presupposes almost entirely the Prākritic vocabulary; and then it is an attempt at the grammatical approximation to the language of the people. These sub-stages can be roughly illustrated by various Prākrit dialects : Inscriptional Prākrit, Pāli, Paiśācī; Saurasenī, Māgadhī; Māhārāştrī; and Apabhramśa. This marking of sub-stages is true so far as theoretical evolution in concerned; but once these stages are given a
1
H. Jacobi: Ansgewählte Erzälungen in Māhārāştri, Intro., p. XII, Leipzig 1886. S. K. Chatterji : Indo-Aryan and Hindi, p. 84, Ahmedabad 1942.
2

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literary status and used in literature, they may be cultivated as literary languages side by side and even with cross influences and regional colouring. The chronological sequence can no more be maintained. According to Dr. Chatterji: "This spirant pronunciation appears to have been in force for the entire Aryan speech-area during a century or two both before and after Christ-roughly, from 200 B. C. to 200 A. D. Orthography in inscriptions, and hesitancy about intervocal stops are an indication of this spirant pronunciation: also some evidence is obtained from the employment of the Indian alphabet for an extra-Indian language like Old Khotanese, which possessed these spirants. The Indians did not care to invent new signs for these new sounds."
60
Turning to the evidence supplied by literature, that phase of Prakrit or Middle Indo-Aryan, which shows the general tendency of dropping intervocalic stops, appears to have come into a literary prominence and was used in an artistic style sometime in the first two centuries of the Christian era. It had its blooming expression through its favourite gatha metre; and the collection of seven centuries of gathās attributed to Hala does presuppose a large body of lyrical songs. In general these gathās are elastic in sound, natural in expression and fresh in outlook. A continued literary cultivation was bound to give such a language an artificial appearance. Perhaps it was Mahārāṣṭra, with its area round about Pratiṣṭhāna and under the Andhrabhṛtyas, that was the original cradle of this dialect; but soon it gained ground and popularity, as a literary language, elsewhere too. The phonology of Ardhamagadhi of the Jaina canon, which was rearranged at the Valabhi council in 453 A. D., came under its influence. The literary Prakrit cultivated by Jaina authors does possess elements of earlier stage as seen in the Vasudevahinḍī; but even that (which we call Jaina Māhārāṣṭrī), in the works of Haribhadra etc., began to approach very near the dialect of lyrical gathās. Even learned Sanskrit writers felt attraction for it. A highly trained poet like Pravarasena, who possessed a remarkable mastery over Sanskrit vocabulary and metres, chose this Prakrit dialect for a learned kavya, and we have his Setubandha today. Danḍin (earlier than 700 a. D.) compliments it as being written in the best Prakrit current in Mahārāṣṭra. This Prakrit has been called by the name Māhārāṣṭrī. The artistic poems like the Gauḍavaho, Lilavatī etc. in gāthā metre, are also written in the same. Its popularity can be guaged by

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some more facts.: Prākrit grammarians give it an elaborate treatment, and accepting it as a standard, note the deviations from it in the case of other dialects; rhetoricians quote plenty of verses in this dialect; and many more Kāvyas, than those available today, were written in it. Delineating its back-ground, Jacobi' has suggested its influence even on Sanskrit poetry: “It was probably through its contact with a popular poetical art, the one in Māhārāștrī, that the Sanskrit poetry of the Renaissance' also gained those qualities of freshness and naturalness which are praised in the case of Vaidarbhī.” The Prākrit metre Gāthā appears as Aryā in Sanskrit; and Somadeva in his Yaśastilaka and Jayadeva in his Gītagovinda imitated some popular Apabhramsa metres.
According to early dramatic theory, to a very great extent confirmed by the Prākrit speeches in plays, Sauraseni was put in the mouth of ladies etc. Saurasenī is mentioned by Bharata (c. 3rd century A. D.) who does not mention the name of Māhārāştri. The dramatic tradition of Bharata gives a place of recognition to Saurasenī. Phonetically it belongs to the transitional stage in the evolution of Middle Indo-Aryan; but with the gradual popularity of Māhārāștrī, it was sure to be affected by it as a literary language. Jacobi has already detected a Pre-classical Prākrit, which was used in place of Māhārāștri in early days, in the Dhruvas of the Nātyaśāstra. In some respects it is akin to Saurasenī,a name already given to it by Bharata himself. It possesses many a trait of transitional character. The dialect of the sūtras of Dhavală etc., the Prākrit prose commentaries therein, and of the Pro-canonical texts of Digambaras is more akin to Sauraseni than to classical Māhārāştrī. Any way Saurasenī, possibly a literary language based on the popular speech of Sūrasena country, has to be accepted as an eminent Prākrit of the plays.
The Indian dramas, almost from the beginning, contain both
1 Ausgewählte Erzälungen in Māhārāştri, Intro. p. XVII. 2 See Jacobi's discussion in his Essay on the Younger Literary Prākrit,
Bhavigattakahā (München 1918), Intro. pp. 81-89. M. Ghosh : Präkrta Verses of the Bharata-Nătya-śāstra, section 4, Indian H. Q., vol. VIII, 1932; The Date of the Bharata-Nātyaśāstra, p. 29,
Journal of the Department of Letters, vol XXV, Calcutta 1934. 4 A. N. Upadhye: Pravacanasāra (Bombay 1935 ) Intro. p. 124 f.

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Sanskrit and Prākrit,' and are written in prose and verse. The dialect of the Prākrit prose can be Saurasenī, or Māgadhi or something approximating to it according to conventions which had at their basis actual facts in the society in earlier times. In early days the songs too must have been in Sauraseni like the Dhruvas of the Nātyaśāstra. But with the rise of lyrical gāthās in Māhārāștrī, the preeminent Prākrit of poesy, the plays were sure to admit some of them for the entertainment of the audience. Though they are absent in the plays of Bhāsa, their traces appear in the Mrcchakaţikam and Sākuntalam. The Prākrit language of the plays in general and of the verses in particular was bound to be influenced by Māhārāştri tendencies. It is in this back-ground that we have to understand the remark of Viśvanātha in his Sāhityadarpaņa (VI. 159): (that women not of lowly origin should speak Sauraseni in drama, but in their songs they should use Māhārāştri. The verses used in plays could not escape the influence of that elastic dialect so happily perpetuated in the gāthās of Hāla etc.
Saurasenī and Māhāraştrī might have had their basis in popular speeches in two different regions; but it is almost beyond detection now. Once they became literary languages and were imitated in literature, all the while evolving side by side, mutual contamination, especially in the plays, was inevitable. When grammarians use these terms, we must try to grasp their limitations. The grammatical tradition they themselves followed and the literature which they had in view give a specific significance to all that they add about them. Though it is true, to a certain degree, that they have a basic common tradition about Prākrit grammar, almost all our Prākrit grammars are partial attempts: their sphere of influence is often limited and the literature which they have taken into account is meagre, Naturally we face a complicated situation today in distinguishing Sauraseni and Māhārāștri as described by different Prākrit grammarians. In the plays some influence is weilded by Sanskrit also on the Prākrit passages, because the passages in both of them are preserved side by side. Pischel, it is true, has attempted a comprehensive Prākrit grammar which is admirable; but by rigorously applying his standards to earlier texts we are faced with grave difficulties. A good illustration to the point
1 See the discussion above pp. 24-27. 2 Grammatik der Prākrit Sprachen, Strassburg 1900.

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is seen in Pischel's 2nd edition of Sākuntala brought out by Cappaller. Without important new ms. material, dialectal changes in Prākrit passages were effected in view of grammatical demands. With a zeal for thoroughness and uniformity Konow had to correct many forms, even against the readings of all mss., in order to make the prose thoroughly Sauraseni and verses thoroughly Māhārāștrī in the Karpūra-mañjarī. If the best mss. do not sanction a form, the editor, I think, has no right to restore it, simply because he holds a certain grammatical discipline as his standard. In his edition of Karpūra-mañjarī Konow has put all the verses in Māhārāştri and prose in Saurasenī, following the definitions of these dialects mainly as given by Pischel. But in this edition of Candralekhā, as explained above (p. 5 f.), I have been faithful to the ms. I believe, neither the standard of Hemacandra nor that of Pischel can be rigorously applied to the Candralekhā. It is true, in a general way, that the verses here show some tendency to use the verbal terminations -i, -u rather than -di, -du; but not that they do not at all use the latter in verses and the former in prose. Rudradāsa writes both his verses and prose in the same language; the terms Sauraseni and Māhārāştri as defined by Hemacandra, Mārkaņdeya or Pischel need not be applied to it; it should be called Prākrta as the author calls it; it is nearly the same as the one described in the grammar of Vararuci, current in the south; and it is much influenced by the expressions of the Karpūra-mañjarī.
viii) METRES IN THE CANDRALEKHA The Candralekhā contains (41+34+24+30=) 129 verses, in different metres, distributed over four Yavanikāntaras. They are arranged below according to Devanāgari alphabets, with necessary references to Yava. and verse-number. Aryā (2): II. 32, III. 22. Udgīti (1): II. 26. Upagīti (1): I. 11. Giti (27): 1. 7, 8, 9, 10, 12, 25, 26, 31, 32, 33 and 37, II, 6, 11, 12,
17, 18, 22, 24, 25, 27, 28, 29, 30, 31 and 33, III, 1 and 7. Dodhaka (1): III. 21. Puşpitāgrā (3): I. 2, III. 2 and 13.
1 Kālidāsa's Sākuntala, Harvard Oriental Series, 16, Harvard University
Press 1922, Preface p. 15 f., and also p. 250 etc.

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CAÚDALER Pșthvi ( 10 ): I. 17, 21 and 30, II. 23, III. 17 and 18, IV. 7, 25, 26
and 30. Mandākrāntā (2): II. 8 and 13. Mālini (4): II. 5 and 9, III. 4 and 5. Rathoddhatā (2): I. 18, III, 23. Vasantatilaka (16): I. 5, 13, 16, 35, 36 and 40, II, 16, III, 3 and 6,
IV. 10, 12, 14, 16, 18, 20 and 22. Sārdūlavikrīdita (26): 1. 1, 3, 6, 14, 20, 22, 23, 24, 28, 34 and 38, II,
1, 7, 10 and 21, III. 8, 11, 12, 14, 15, 16 and 20, IV. 1, 2,
5 and 17. śikhariņī (3): I. 4 and 41, II. 15. Sragdharā (27): I. 15, 19, 27 and 39, II. 2, 3, 4, 14 and 34, III. 9, 10,
19 and 24, IV. 4, 6, 8, 9, 11, 13, 15, 19, 21, 23, 24, 27, 28 and 29. Hariņī (2): II. 19, 20.
It is in the fitness of things that our author has included many Gītis etc. which are the verieties of Aryā, the same as Gāthā, the preeminent Prākrit metre. One Gīti is short by two mātrās in the 3rd pāda (II. 12). There are some cases of the violation of yati, for instance, I. 19 ( 4th line), I. 38 ( 3rd line), II. 5 (4th line), II. 8 ( 4th line), III. 4 (1st line), III. 19 (2nd line), III. 20 (4th line), IV. 1 (1st line), IV. 9 (first three lines), 11 (4th line) and 13 (3rd line).
4. RUDRADĀSA: THE AUTHOR The information which the author of Candralekhā gives about himself in the Sthāpanā (1. 5. 4 etc.) of the play is quite meagre. His name is Rudradāsa; he belonged to the Pāraśava community (vamsa) the members of which took pride in their devotion to the feet of Brāhmaṇas, were far famed, and diverted themselves by literary compositions; and he was a disciple (sisya) of Rudra and Śrīkantha who were eminent in giving instructions.
We may try to shed some light on the above points from other sources. According to the Manusmrti (IX. 178), Pāraśava is an issue of a Brāhmaṇa from a Sūdra lady. Yājñavalkya says that she is a wife by marriage. Such a son, though living, is as good as dead, i. e. he does not possess all the rights and privileges of a son; and hence his name pūrasava (pārayann eva savaḥ). Kullūka allows srāddha etc. for him. The Pāraśavas have a pretty

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high antiquity.1 "An inscription from Bengal, belonging to the seventh century, describes a certain individual as 'paraśava' and makes him the issue of a Brahmin father and a Śūdra mother, which is in conformity with rules of the sacred laws. Bāņṇa, in his Harshacharita, also tells us that his father, a Brahmin, had a Śudra wife besides a Brahmin one, and describes her issue as his 'paraśava brothers'." In the Kerala province Pārasavas are known as Variyaras (also spelt, Warrier) who form a subsection of the group of Ampalavasis (literally, temple-residents) whose hereditary occupation is temple service. The duties of the Variyaras are to sweep the temple premises, cleanse the templeutensils, collect flowers and make garlands. They hold a rank below the Ksatriyas in the social hierarchy of Kerala. They are believed to have had their origin in the union of Nampütiri (Kerala) Brahmanas with Nayar women; and like the Nayars they follow the matrimonial system of inheritance. The text of Candralekha (I. 5. 4 etc.) makes a reference to their menial service in the temple, and perhaps hints that they were not duly respected in the society. Our author, however, would not like them to be condemned, because they render service to Brahmanas, they are devoted to literary pursuit, and among them has been born Rudra, of pure character (suddha-vutta suhao). Parasavas are renowned for Sanskrit scholarship in Kerala from very early times.
65
There is no doubt that Rudradasa had worthy teachers in Rudra and Srikantha, the former definitely and the latter probably of the Parasava community. Considering their association with Zamorins of Calicut, it appears that this Rudra is the same as the author of the commentary Bhaktapriya on the Nārāyaṇīyam (A. D. 1585) of Narayana Bhaṭṭatiri (1560-1646 A. D.). Further this Srikantha, it is likely, is the same as the author of the Prakrit Kavya, the Soricaritta, in which he mentions Rudra as his fellowstudent.3
Rudradāsa, like his teachers, enjoyed the patronage of the Zamorins of Calicut; and Manaveda, whose marriage is celebrated in the Candralekha, was his contemporary Zamorin. The Zamorins of Calicut were not only great warriors, but they were also great

1
G. S. Ghurye: Caste and Race in India, London 1932, p. 91.
2 M. Krishnamachariar: History of Classical Sanskrit Literature, p. 254.
3
See my paper The Soricaritta: A Prakrit Kavya', Journal of the University of Bombay, XII, ii, pp. 47-62.
9 चं. ले.

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patrons of poets and philosophers. Every member of the royal family, prince and princess alike, took keen interest in Sanskrit learning; and some of them hold a high place in the history of Sanskrit literature in Kerala. Every year they convened a grand assembly of the learned, and extended patronage to scholars of outstanding talent and ability. Their generosity bestowed gifts not only on Brāhmaṇas but also on Vāriyars or Pāraśavas. In fact the hereditary tutor of the family was the Vāriyar of Deśamangalam. It is on account of his commentary on the Nārāyaniyam that Rudra became a special favourite of the Zamorin Mānaveda (A. D. 1655-58 ), the author of Krşņa-nāțaka. Mānaveda I showed great regard for Rudra by putting in his charge the education of his nephew and successor, Mānaveda II, known as Aśvati Tirunāļ from the asterism under which he was born. Mānaveda II came to the throne in A. D. 1658 and ruled for four years. He was a man of learning and a lover of the learned. In his court flourished the east coast poet generally called Cidambarakavi who extolled the glories of his patron in his play Lakşmi-Mānavedam. In all probability it is Mānaveda II who was the patron of our author Rudradāsa and who figures as the hero in the Candralekhã. Thus possibly Rudradāsa wrote the Candralekhā some time about 1660 A, D, No other work of his has come to light so far.

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[1]
"भई देउ गआणणो भगवई भासा मुहे भाउ सा भूदेवा कुसलं कुणंतु कैइणो स पसीदंतु णो । आणंदाउल - माणसा सहिअआ सज्जंतु णिम्मच्छरं अच्छे परिकीलिडं रस - सुहा- सोत्तेसु सुतेसु णो ॥ १ ॥ (नान्द्यन्ते, ततः प्रविशति सूत्रधारः । )
सूत्रधारः -
अवि अ ।
"पणमह सुइ-राअ-हंसएसुं हर - णअणेसु मुहंबुऊसुएसुं । पअ-कमल- पहाविअं उमाए पढम-इम्मि अवंग भिंग-मालं ॥ २ ॥
देवे चंद-सिहामणिम्मि पणए सल्लोअ - कल्लोलिणि चूडा मंडणं- लालिअं णिअ - पहा -रत्तंसुअग्गेण जे । सिग्धं छादिअ होंति पेम्म- कलह-च्छेदे दुवे दक्खिणा पाआ अ कण्णआऍ पउरं लच्छि अच्छंतु वो ॥ ३ ॥
अवि अ ।
1 x opens thus : श्रीः चन्द्रलेखासट्टकम् ॥. 2 Kh भअवई. 3 कुलणो 4 K सुत्तंसु. 5 K सुल6 x पठमणइद्दिअपाङ्गभिङ्गिमालम्. 7 x सिखाम 8 xh मण्डल. 9 Kh गिरिकण्णआअ. 10 K पअच्छेदु, but Kh पअच्छन्तु.
[ संस्कृतच्छाया ]
*3
I) भद्रं ददातु गजाननो भगवती भाषा मुखे भातु सा, भूदेवाः कुशलं कुर्वन्तु कवयः सर्वे प्रसीदतु ते । आनन्दाकुलमानसाः सहृदयाः सजन्तु निर्मत्सरं, अच्छेषु परिक्रीडितुं रससुधास्रोतस्सु सूक्तेषु नः ॥ १ ॥ II) प्रणमत शुचिराजहंसकेषु, हँरनयनेषु मुखाम्बुजोत्सुकेषु । पदकमलप्रधावितामुमायाः, प्रथमनतावपाङ्गभृङ्गमालाम् ॥ २ ॥ अपि च। देवे चन्द्रशिखामणौ प्रणते स्वर्लोककल्लोलिनीं, चूडामण्डर्न लालितां निजप्रभारक्तांशुकाग्रेण । शीघ्रं छादयित्वा भवतः प्रेमकलहच्छेदे द्वौ दक्षिणौ, पादौ पर्वतकन्यकायाः
१t has the opening title मानवेदचरितम्. २ M * भूदेवः कुशलं करोतु *. ३ से, but corrected as ते. ४ x निर्मत्सरा. ५ DM सूक्ष्मेषु. ६ M सुचिराय हंस ७ हरवैदनेषु. ८ KM मण्डलला. SM येन. १० भगवतः ११ x पादौ तौ गिरिकन्यकायाः.

Page #79

चंदलेहाए
दर-म्हेरे येरे ' गहिअ - बहुमाणे महुमहे सुणासीरे धीरे सुर-अण- मुहे पत्त-वडणे । घणाणंदे खंदे पणइ- समए भूद-पइणा खणं दिण्णे पुण्णे पणमह कंडक्खे बहुविहे ॥ ४ ॥
(नेपथ्ये कर्ण दत्त्व )
कह आढतो एव सण्णहिज्जंत मुरव - रवम्मंसलो कंसत्ताल• सज्जन जणि झणझणाराव पिचरो ओअरण-पअट्ट णट्टई-करामुश्चंत मणि कंकण झंकरण-संकुलो
·
9
पत्त-विसेस - विणिउज्नंत सज्जंत
कुसल - कुसीलव- कलकल बहलो णट्टण-कोलाहलो । ता पुच्छिस्सं दाव
6
• किं दिवं ति । (परिक्रम्य नेपथ्याभिमुखमवलोक्य) मारिस, इदो दाव । ( प्रविश्य पारिपार्श्वकः )
पारिपार्श्वकः - "आणवेदु भावो ।
II)
सूत्रधारः - "कस्स णट्टणं आढप्पर तुम्हहिं । पारिपार्श्वकः सदृओ पट्टिदव्वो ।
[ I.40
सूत्रधारः - ( सहर्षम् )अअं अवसरों अम्हाणं पओअ - विण्णाणं दंसिदुं । णिहसो खु सट्टओ णट्टआणं कईणं च विअड्ढदाएँ । (विचिन्त्य )
12
1
दरन्येरे न्यरे. 2 K कन्दे पणद, but Kh खन्दे पणइ 3K कटक्खे. 4 Instead of this stage direction, which is found in Kh, we have परिक्रम्य नेपथ्याभिमुखमवलोक्य in K. 5 x gives this direction above, but Kh adds it at this place. 6K अयं. 7 x णिअओ. 8 K विअदाए.
प्रचुरां लक्ष्मीं प्रयच्छतां वः ॥ ३ ॥ अपि च । ईषत् - स्मेरान् ब्रह्मणि गृहीतबहुमानान् मधुमथे, शुनासीरे धीरान् सुरगणमुखे प्राप्तपतनान् । घनानन्दान् स्कन्दे प्रणतिसमये भूतपतिना, क्षणं दत्तान् पूर्णान् प्रणमत कटाक्षान् बहुविधान् ॥ ४ ॥ ( ... ) कथमारब्ध एव सन्नह्यमानमुरजरवमांसलः कांस्यतालसज्जनजनितझणझणारावपीवरः अपकरणप्रवृत्तनर्तकीकरामुच्यमानमणिकङ्कणझङ्करणसंकुलः पात्र विशेषविनियुज्यमान सज्जत्कुशलकुशीलवकलकलबहुलः नर्तनकोलाहलः । तत् प्रक्ष्यामि तावत् किं नर्तितव्यम् इति । (--) मारिष, इतस्तावत् । I ) आज्ञापयतु भावैः । II) कस्य नर्तनमारभ्यते युष्माभिः । III) सट्टकः नर्तितव्यैः । IV) अयं अवसरः अस्माकं प्रयोगविज्ञानं दर्शयितुम् । निकषः
१ ईषद् ब्रह्मणि स्मेराम्, M दरं स्थद्वरे स्वरान्मागृहीत २ मुरवरव, M मुरपरव. ३ M खणखणाराव hereafter M has a long gap upto the last pada of verse No. 9; a major portion is misplaced further rather irregularly; so only some readings could be noted. ४ भवान्, M भाव: ५ Komits this sentence,

Page #80

पढमं जयणिअंतरं
सो सट्टओ सहअरो किल णाडिआए ताए चउज्जवणिअंतर- बंधुरंगो । चित्तत्य - सुत्तिअ - रसो परमेक-भासो विक्खंभआदि-रहिओ कहिओ बुहेहिं ॥ ५ ॥ मारिस, कस्स उण सरस्सई-णीसंदो सट्टओ णट्टिदव्वो । पारिपार्श्वकः–“किं वि अच्छरिअं सुणादु भावो । वाअस-वअणादो पंचम-राओ उदंचइ, बि-विडवादो मोअं उप्पज्जइ, कारक्खरफलादो पीऊस - रसो पसरइ, जं देव मंदिर - बाहिरालिंद-संमज्जणादि-वावार-मत्त-पराअणाहिंतो पारसव-पसूहिंतो संझा-समअ-संफुलमलिआ - महुर-मअरंद-णीसंद-गन्भो संदभो पहवदि ।
-1.6d]
सूत्रधारः - मारिस, मा एव्वं । ण खु णिंदणिज्जा तत्थ भवंतो पारसवा । जदो
जाणं बम्हण लोअ-पाद-जुअली सुस्सूसणं भूसणं जाणं णिम्मल - कव्व - चव्वण-कहा- संसीलणं कीलणं । वंसे जाण असुद्ध - वुत्त-सुहओ सो रुद्द मुत्ता - मणी जाओ ताण थुईसु कस्स भुवणे जीहा णिरीहा भवे ॥ ६॥
1 x ताणिं चरज्जवणि, but Kh ताए. 2K सुत्तित, but Kh सुत्तिअ. but Kh gives it. 4 K विटपादो. 5 x पापरिणाहिंतो. 6 पवहृदि. but xh has it. 8 तत्तभवन्तो. 9 K पादु· 10 K थाण.
खलु सट्टको नर्तकानां कवीनां च विदग्धतायाः । (...) स सट्टकः सहचरः किल नाटिकायाः, तस्याश्चतुर्यवनिकान्तरबन्धुराङ्गः । चित्रार्थसूत्रितरसः परमेकभाषः, विष्कम्भकादिरहितः कथितो बुधैः ॥ ५ ॥ मारिष, कस्य पुनः सरस्वती निष्यन्दः सट्टको नर्तितव्यः । I) किमपि आश्चर्य शृणोतु भावः । वायसवदनात् पञ्चमराग उदञ्चति, निम्बविटै पान्मोचमुत्पद्यते, कारस्करफलात् पीयूषरसः प्रसरति, यद्देव मन्दिरबाह्यालिन्दादिसंमार्जनादिव्यापारमात्रपरायणात् पारशवपशोः संध्यासमयसंफुल्ल मल्लिका मधुर मकरन्दनिष्यन्दगर्भः संदर्भः प्रभवति । II) मारिष, मैवं । न खलु निन्दनीयास्तत्रभवन्तः [पारशवाः] । यतः येषां ब्राह्मणलोकपादयुगली शुश्रूषणं भूषणं येषां निर्मलकाव्यचर्वणकथासंशीलनं क्रीडनम् । वंशे येषां च शुद्धवृत्तसुभगः स रुद्रमुक्तामणिर्जातस्तेषां स्तुतिषु कस्य भुवने जिह्वा निरीहा
१ M बन्धुरानं. २ M सूक्तिकरसः ३ x omits मारिष given by M. संमार्ज ( मात्र )नादि ६ गर्भाः सन्दर्भाः प्रभवन्ति ७ x omits मारिष.

3x omits मारिस, 7 x omits मारिस,

४ M विटपान्मौक्तिकमु . ५ K ८ K शुद्धवृत्ते सुभगः.

Page #81

चंदलेहाए
[I.6.1___ पारिपार्श्वकः -"तस्स रुदस्स सिरिअंठस्स असिस्सो रुद्ददास-णामहेओ किल तस्स कई। । सूत्रधारः-"तं उववज्जई । तरणि-किरण-जाल-णिरत्थ-तंदादो एव्व अरविंदादो महुअराणंद-कंदो पसरइ मरंद-णीसंदो।
पारिपार्श्वकः - किं तारिसो ताणं रुद्द-सिरिअंठाणं सिक्खा-विसेसो। 6 सूत्रधारः-IV किं भण्णई।
वड-दल-गओ वि रुद्दो वक्खाणं जाण सुणिअ सिर-अपं।
मंदंदोलिअ-चंदं फंदंत-फणिंद-कुंडलं देइ ॥ ७॥ पारिपार्श्वकः- णमो महप्पाणं । तेणं आवज्जिआ सज्जणा। सूत्रधारः- "कहं। पारिपार्श्वकःVI"पञ्चुव्वज्जइ पुलओ हिअ उवणेइ आसणं सुहअं।
उवहरइ अग्घमच्छी सज्जण-कण्णादिहीण सुत्तीणं ॥८॥ किं च ।
कव्व-णिबंधे कइणो धम्म-अलं ओहरंति मुह-लग्गं । आणंद-बाह-सिसिरा सिर-अंप-समीरणा खु सूरीणं ॥९॥
1 K ता उपपजई. 2 : किं फणइ. 3 xh वडअलगओ. 4 rh भाव तेण. 5 : कलणो. 65 विबुहाणम्, but Kh has सूरीणम्. भवेत् ॥ ६ ॥ I) तस्य रुद्रस्य श्रीकण्ठस्य च शिष्यो रुद्रदासनामधेयः किल तस्य कविः । II) तदुपपद्यते । तरणिकिरणजालनिरस्ततन्द्रादेवारविन्दान्मधुकरानन्दकन्दः प्रसरति मकरन्दनिष्यन्दः। III) किं तादृशस्तयोः रुद्रश्रीकण्ठयोः शिक्षाविशेषः। IV) किं भण्यते । वटतलगतोऽपि रुद्रो व्याख्यानं ययोः श्रुत्वा शिरःकम्पम् । मन्दान्दोलितचन्द्रं स्पन्दमानफणीन्द्रकुण्डलं ददाति ॥ ७॥ V) नमो महद्भ्याम् । तेन आव. र्जिताः सज्जनाः। VI) कथम् । VII) प्रत्युद्वजति पुलका हृदयमुपनयत्यासनं सुभगम् । उपहरत्यय॑मक्षि सजनकर्णातिथीनां सूक्तीनाम् ॥ ८॥ किं च । काव्यनिबन्धे कवेः धर्मजलमपहरन्ति मुखलग्नम् । आनन्दवाष्पशिशिराः शिर कम्पसमीरणाः खलु सूरी
१ पूरिणाम् for सूरीणाम्.

Page #82

-I.12.6]
पढमं जवणिअंतरं अब्भत्थिअं च ण । जह
अगणिअ णवं ति दोसं अणिरूविअ णिअडदा-कअं 'णिदं ।
पम्हुसिअ तं असूअं रसिआ ओदंसअंतु किदिमेअं ॥१०॥ सूत्रधारः-"किं अण्णं । पाअड-बंधो एव्व रसिआणं आणंद कंदलेइ । जदो
जह होई अवर-माला मालइ-माला अ महुआणं।
तह होइ अण्ण-भासा पाअड-भासा अ रसिआणं ॥११॥ पारिपार्श्वकः - Iणं तेण चिअ भणि।
भासा खु पाअडमई विसओ सिरिमाणवेअ-चरिअ-सिरी। रस-गब्भो संदभो सज्जण-पीदीण जोव्वणं एअं ॥ १२ ॥ सूत्रधारः --केण णिजुता पुण पअट्टह सदृअ-णणे । पारिपार्श्वकः-1 तस्स एव्व णिरंतरोणमंत-सिरिमंत-सामंत-विअडमउडंत-णिवडंत-माणिक-मणि-समह-मोह-लेहा-पल्लविअ-पाअपीढस्स खंड-परसु-सिहंड-ससि-खंड-पंडुर-महमहंत-महिअ-जस-पूर-कप्पूर-णिअर-पव्वआअंत-भुवणंतरालस्स अदि-धवल-हिअअ-फलिह-पडिफलंत-परमेसर-पअ-पलवस्स समर-मुह-बलामोडि-गहिअ-जलच्छी-6 ___ 15 दिदम्. 2 पम्मुसिअ. 3 K यंसूअं. 4 K होल, but xh होइ. 5 x 'माणचरिअसिरी,
but Kh has माणवेअचरिअ. 65 सज्जपीदीणं, but rh has सजण. 7 K जोख्खणं. 8 K सामन्त. विअमउडन्त. 9 5 णिपडन्त, 10K पण्डरमहामहन्त. 11 K omits पूर. 126 णीअर13 Kजयलच्छी.
णाम् ॥ ९॥ अभ्यर्थितं चानेन । यथा, अगणयित्वा नवमिति दोषमनिरूप्य निकटताकृतां निन्दाम् । प्रस्मृत्य तामसूयां रसिका अवतंसयन्तु कृतिमेताम् ॥ १०॥ I) किमन्यत् । प्राकृतबन्ध एव रसिकानामानन्दं कन्दि)लयति । यतः, यथा भवति अवरमाला मालतीमाला च मधुपानाम् । तथा भवति अन्यभाषा प्राकृतभाषा च रसिकानाम् ॥११॥ II) ननु तेनैव भणितम् । भाषा खलु प्राकृतमयी विषयः श्रीमानवेदचरितश्रीः। रसगर्भ: संदर्भः सजनप्रीतीनां यौवनमेतत् ॥ १२॥ III) केन नियुक्ताः पुनः प्रैवर्तध्वे सट्टकनर्तने । IV) तस्यैव निरन्तरावनमच्छ्रीमत्सामन्तविकेंटमकुटान्तनिपतन्माणिक्यमणिसमूहमयूखलेखापल्लवितपादपीठस्य खण्डपरशुशिखण्डशशिखण्डपाण्डुरसर्वतःप्रसरन्महितयशःपूरकपूरनिकरपर्वतायमानभुवनान्तरालस्य अतिधवलहृदयस्फटिकप्रतिफलितपरमेश्वरपदपल्लवस्य समरमुखबलात्कारगृहीतजयलक्ष्मीमाल्यधम्मिल्लपर्यस्तमल्लिकामाल्य
१M प्रमुष्य; it has minor gapg in this speech. २ र 'मानवेतचरित'. ३ ॥ प्रवर्तध्वं सभिकनर्तने. ४ M निरन्तरोपन. ५Komits विकट.

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Page #83

वंदलेहाए
[I.12.7मल्ल-धम्मिल्ल-पल्लन्थ-मलिआ-मल्ल-बहल-परिमलासंग-संगअ-भिंगरिछोलि-संसइअ-लोलुदंड-मंडलग्ग-मंडिअ-पअंड-भुअदंडस्स रिउ. , बल-सलह-लेहि-चडुल-जाला-जाल-जज्जलंतअ-पआव-पावअ-पाआर-परिरक्खिअ-सअल-भुवणअलस्स अच्छिण्ण-दिण्ण-सुवण्ण-रअण
सामिद्धि-समिद्ध-मणि-मंदिर-वलही-जाल-कीलंत-सअल-दरिद्द-लोअ. 12 स्स सव्व-भदाणुकंपिणो संपअंकअ-करणिज्जदाए जोव्वण-सुहं अणंहोतस्स राआहिराअ-परमेसरस्स सिरिमाणवेअस्स अस्थाण-मंडवमंडणेण पंडिअ-मंडलेण । किं च ।
अस्सि खु सट्टअ-वरे णिों-भतुअस्स चकेसरतण-कराण गुणाण ठाणं । चारुं समुव्वहइ तं किल चंदलेहं
अंगेसरस्स तण सिरिमाणवेओ ॥ १३ ॥ सूत्रधारः- अहो, आअदा एव्व जवणिअंतरे महाराअ-देवीणं कादूण भूमि अय्यो अय्यवल्लहा अ । ता अम्हहिं अवसेस-करणिज्जं सज्जीअदु । ( इति परिक्रम्य निष्कान्तौ ।)
1 K पल्लन्थ. 2 Komits बहल. 3 5 रुच्छोलिसंसलअ. 4 K पावपाअपार. 5 K दअण, but Kh रअण. 6 K ततअकरणिजदाए. 7 K°होंतस्स राणनकृत्वा राआहि. 8 K मण्टप. 95 कीच. 10 K णिजभत्तअसकेसर', but xh णिअभत्तुअस्स चक्केसर. 11 K सिरिमाणमेओ. 12 F अविसेस. 13 K संजीवअदु. बहलपरिमलासंगसंगतभृङ्गश्रेणीसंश्रितलोलोद्दण्डमण्डलाममण्डितप्रचण्डभुजदण्डस्य रिपुबलशलभलेहिचटुलज्वालाजालजाज्वल्यमानप्रतापपावकप्राकारपरिरक्षितसकलभुव. नतलस्य अच्छिन्नदत्तसुवर्णरत्नसमृद्धिसमृद्धमणिमन्दिरवलभीजालाक्रीडत्सकलदरिद्रलोकस्य सर्वभूतानुकम्पिन: सांप्रतं कृतकरणीयतया यौवनसुखमनुभवतो राजाधिराजपरमेश्वरस्य श्रीमानवेदस्य आस्थानमण्डपमण्डनेन पण्डितमण्डलेन । किं च । अस्मिन् खलु सट्टकवरे निजभर्तुश्चक्रेश्वरत्वकराणां गुणानां स्थानम् । चारुं समुद्वहति तां किल चन्द्रलेखामङ्गेश्वरस्य तनयां श्रीमानवेदः॥१३॥ I) अहो आगता एव यवनिकान्तरे महाराजदेव्योः कृत्वा भूमिकामार्यः आर्यवल्लभा च। तदस्माभिः अवशेषकरणीयं सज्य.
१ M has a long lacuna here upto the beginning of verse No. 17. २ इषु for रिपु. ३ मानवेतस्य. ४ मण्टप. ५E omits खलु. ६K मानवेतः. ७ र अविशेष, lacuna.

Page #84

-1.15.2]
पढमं जवणि अंतरं
( स्थापना )
( ततः प्रविशति राजा देवी विदूषको विभवतश्च परिवारः । ) राजा - (स्वगतम् ) "अहो किअ-करणिज्जाणं पि आसाए अणवसा • • दा । जदो
सव्वे साहु पट्टिदा खु पंउरा संतोसिआ बम्हणा वित्तेहिं कंउ-संचएहि विहिआ देवा पसादुम्मुहा । पत्ता चेअ चउस्समुद्द रसणालंकारिणी मेदिणी दाणिं सत्त समुह - मुद्दिअमिमं पत्थेइ मे माणसं ॥ १४ ॥
( प्रकाशं समन्तादवलोक्य सहर्षम् ) देवि, इमस्सि सुरहि- समए समारंभसंभरिज्जत - सिरि-मणहर धरणि-कमलिणी - कमलाअंतम्मि अम्हाणं महाणअरम्मि मअरंद-गंडूसणं संपादेहि हिच्छमुच्चलंत - छप्पअ - रिं छोलि-लंभिणं अच्छीणं । एअं खु
3
लोलंताणंग-तुंगं-इअ-वड-पवणंदोलिआआस गंग
खेलंतुद्दाम-रामा चलैण-हअ - सुहाअंत-कंकेलि जालं । कीलंतासेस-लोअं-प्पअडिअ - मुरवाडंबरं तंब चूडकोड-ग्घोलंत - कोलाहल- मुहल- दिसा - अंक्कमेकं विभाइ ॥१५॥ देवी - ( सर्वतो विलोक्य सहर्षम् ) अय्यउत्त, किं वण्णीअदि इमाए णअरीए सुरहि- समअ-समारंभ - जणिअं सोहग्गं । एसा खु
1 x omits स्थापना, but xh gives it. 2 x किंअरणिजाणं. 3 K पवुरा. 4 x कभिसञ्च एहि ० 5 x पेथेइ. 6 rh समअसमारम्भ.. 7 अ अम्हाणं for अम्हाणं. 8 K दहिच्छमुच्चलततच्चव्वअ रित्तच्छालिलं भिणं अंहच्छीणं. 9K तुग्गडुंएवधववणंलो लिआआस. 10 x गेलंदुद्दाम 11 x चलणअं - सुहाअतं. 12 K लोअंपडिअ 13 x तंमचूडं कोडबोलत. 14 x अंकमेक्कं.
ताम् ॥ I) अहो कृतकरणीयानामपि आशाया अनवसानता । यतः सर्वे साधु प्रवर्तिताः खलु पौराः संतोषिताः ब्राह्मणाः, वित्तैः ऋतुसंचयैः विहिताः देवाः प्रसादोन्मुखाः । प्राप्ता चैव चतुस्समुद्ररशनालंकारिणी मेदिनी, इदानीं सप्तसमुद्रमुद्रितामिमां प्रार्थयते मे मानसम् ||१४|| (...) देवि, अमुष्मिन् सुरभिसंमये समारम्भसंध्रियमाणश्रीमनोहरधरणिकमलिनीकमलायमाने अस्माकं महानगरे मकरन्दगण्डूषणं संपादय यथेच्छमुश्चलच्छट्पदश्रेणिर्लक्ष्यैः अक्ष्णोः । एतत् खलु, लोलदनङ्गतुङ्गध्वजपटपवनान्दोलिताकाशगङ्गं, खेलदुद्दामरामाचरणहत सुखाय मानकङ्केलिजालम् । क्रीडदशेषलोकं प्रकटितमुरजाडम्बरं ताम्रचूडकोर्डे घूर्णमानकोलाहलमुखरदिक्चक्रमेकं विभाति ॥ १५ ॥ II) आर्यपुत्र, १ सृष्टिसमयसमारम्भ for सुरभि otc, M lacuna, २ K लोकं for लोक. ३ मुरवाडम्बरं. ४] क्रोढं घूर्णमान.

Page #85

चंहलेहाए
[I.164तारुण्णएण रमणि व्व सुरूव-रम्मा जोण्हा-रसेण रअणि व्व फुरंत-चंदा । फुल्लुग्गंमेण लदिअ व्व पवाल-पुण्णा
रेहेइ हंत णअरी महु-संगमेणं ॥ १६ ॥ राजा - अहो सव्वदो रमणीअतणं णअरीए । तह अ।
भमंत-भमर-च्छडा-कल-विराविआ वाविआ फुरंत-मअणचणा-विहव-णंदिरं मंदिरं। लसंत-णव-णट्टई-ललिअ-णदृणं पट्टणं
वलंत-मलआणिलाअम-सिलाहिणो साहिणो ॥१७॥ विदूषकः- "भो वअस्स, पेक्ख । मंद-मंद-फंदंत-मलआणिल-केलिघोलिरुप्पडिअ-विसरंत-बिसिणी-धूलि-पाली-विउल-कंचण-विआणसोहिणी भुअंग-लोअ-कर-कमल-संगअ-गंगेअ-सिंग-मुह-संगलंत-संतद-कुंकुम-वारि-धारा-सिञ्चंत-सअॅल-पहिअ-लोआ व॑म्मह-करप्फालिअ-धणुहअ-कोलाहल-मुहल-कउहा-मुहा दिस-विराअ-वेग-मुझंतसंचरंत-मुद्धाहिसारिआ-चलण-झणझणाअंत-णेउर-विराव-मुहुराविअ
1K सुरूप.. 2K पुरन्त. 3 'ग्गमेण इदि एच, but Kh अन्व for एव्व. 4 K रमणीयत्तणं. 5 5 डुमंतभमर for भमंत etc. 6 K फरन्तमअणच्छणा. '7 K इलअ for ललिअ given by Kh. 8K फंदमलआणिल. 9 K विसंत, but rh विसरंत. 10 रविउल्ल. 11K लोलकरकमळसङ्गअंगगेअसीग-, but kh लोय for लोल. 12 xh चिरिचिरिआसिंचंत for घारासिंचंत. 13 r omits सअल,' but rh has सयललोया. 14 K पम्मह. 15 5 दिवविराअ. 16 K झणझणायन्त.. किं वर्ण्यते अमुष्या नगर्याः सुरभिसमयसमारम्भजनितं सौभाग्यम् । एषा खलु,तारुण्येन रमणीव सुरूपरम्या, ज्योत्सनारसेन रजनीव स्फुरच्चन्द्रा। फुल्लोद्गमेन लतिकेव प्रवालपूर्णा, राजते हन्त नगरी मधुसंगमेन ॥ १६॥ I) अहो सर्वतो रमणीयत्वं नगर्याः। तथा च । भ्रमद्भमरच्छटाकल विराविताः वापिकाः, स्फुरन्मदनार्चनाविभवनन्दनशीलं मन्दिरम् । लसन्नवनर्तकीललितनर्तनं पत्तनं, वलन्मलयानिलागमश्लाधिनः शाखिनः॥ १७ ॥ II) भो वयस्य, पैश्य । मन्दमन्दस्पन्दमानमलयानिलके लिघूर्णनशीलोत्पतितविसरद्विसिनीधूलिपालीविपुलकाञ्चनवितानशोभिनी भुजङ्गलोककरकमलसंगतगाङ्गेयङ्गमुखसंगलत्संततकुङ्कुमवारिधारासिच्यमानसकलपथिकलोका मन्मथकरास्फालितधनुःकोलाहलमुखरककुन्मुखा दिशाविराव वेग]मुह्यत्संचरन्मुग्धाभिसारिकाचरणझणझणायमान
१ K omits मधु. २ M भ्रमत्प्रवरच्छटा'. ३ ॥ पश्य पश्य. ४ : मुखरकुङ्कु...खादिलाविरागमु', M ककन्मुखादिसविरागवेगभज्यमानसं . ५ ॥ चरणन्थणन्थणायमान.

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Page #86

-I.17.21]
पढमं जवणिअंतरं मार-वीर-विजअ-भेरी-मणहरा म विमएदि रई वि रमेएदि आगंदं वि आणंदेइ दप्पं वि दप्पेइ ई महाणअरी।
चेटी-"इदं वि पेक्खदु महाराओ। एसो खु मंद-मरुअंदोलिअ-प., लथ-पल्लव-हत्थ-सण्णा-मिस्सेहिं महुर-महु-रस-महमहंत-परिमलंधमधुअर-माला-मंजु-सिंजिआरावेहिं मरगआरामो महाराअस्स महुमासोदार-वड्डिअं अतणो समिद्धिं ओदंसेदुं विअ आआरं करेइ। ॥
राजा -(विलोक्य ) "साहु भणि चंदणिआए। विदूषकः -"भो वअस्स, जह दासीए धीदाए वअणं तुझ सिलाहणिज्जं तह मह वि चओरअस्स बम्हणस्त जइ सिलाहीअदि वअणं ।। ता कहेमि। राजा-वअस्स, को संदेहो । कहेहि । विदूषकः-'सुणादु वअस्सो । एसो जहामिट्ठ- जंत-बम्हण-लोअ-॥ कोलाहलो विअ कोइल-कोलाहलो पमोदं उप्पादेइ । महाणस-धूमप्पसरो व्व कुसुमुप्पडंत-महुअर-गगो अण-पीदिं करेइ । बहलज्जभजत-सरिसव-गंधो विअ {प्फ-गंधो घागं आणंदेइ ।
___1K विरमएदि for रमएदि. 2K आणन्तं वि. 3 5 लई for इअ, but xh इयं. 4 पेक्ख, but xh पेक्खदु. 5 K पदल्लास्थ for पल्लस्थ. 6 : सण्णोमिस्सेहि. 7 5 परिमलंधमधूधमधुअर. 8 मञ्जरी for मंज. 9 समिन्ध for समिद्धि. 10 ओसेदविअ. ll K omits तुज्झ. 12 K चओरस्स, but rh चओरअस्स. 13 K कहेहि।. 14 K भो वअस्स. 15 र कुसुमप्पडंत. 16 K णयण. 17 K पुष्पगन्धो. नपुरविरावमुखरीकृतमारवीरविजयभेरीमनोहरा मदमपि मदयति रतिमपि रमयति आनन्दमप्यानन्दयति दर्पमपि दर्पयति इयं महानगरी॥ I) इदमपि पश्यतु महाराजः । एष खलु मन्दमारुतान्दोलितपर्यस्तपल्लवहस्तसंशामिथैः मधुरमधुरससर्वतःप्रसरत्परिमलान्धमधुकरमालामञ्जशिञ्जितारावैः मरकतारामो महाराजस्य मधुमासोदारवर्धिता. मात्मनः समृद्धि दर्शयितुमिव आकारं करोति । II) साधु भणितं चन्दनिकया । III) भो वयस्य, यथा दास्याः पुत्र्याः वचनं तव श्लाघनीयं तथा [ममापि चकोरस्य ब्राह्मणस्य यदि श्लाघ्यते वचनं तत् कथयामि । IV) वयस्य, कः सन्देहः । कथय । V) शृणोतु वयस्यः। एष यथामृष्टभुजानब्राह्मणलोककोलाहल इव कोकिल कोलाहलः प्रमोदमुत्पादयति । महानसधूमप्रसर इव कुसुमोत्पतन्मधुकरगणो नयनप्रीतिं करोति । बहलाज्य
१KM omit पर्यस्त. २K मरतकारामी. ३ र 'मासोदारवत्तिता, मासोदारप्रवधिता. ४ ॥ आकारण करोति. ५ र चन्द्रिकया. ६ एष खलु यथा . ७॥ प्रमोदमुपपादयति. CK महुलाज्य.
२चंद.

Page #87

चंदलेहाए
[I.17.22राजा-(सस्मितम् ) "सच्चं एदं। विदूषकः -दासीए धीदे, उच्छिह-भक्खिणि, ण तुज्झ एव्व अणं “अहिणंदगिजं मह वि वअणं अहिणंदीअदि वअस्सेण ।
चेटो -(सावझं हसति ।) विदूषकः - भो वअस्स, गच्छम्ह मरगउज्जाणं । (इति सर्वे परिकामन्ति ।) राजा-(दक्षिणाक्षिस्पन्दनं सूचयन् ) देवि,
फंदए पअल-पम्ह-मालिअं दाहिणं महमिदं विलोअणं । किं फलं अह वितक्किएहि किं
केण देव-सरणी मुणीअदि ॥ १४॥ देवी-(सहर्षम् ) अज्जउत, देव्वेण चिअ जाणीअदि । विदूषकः-"किं च मए वि एकेण बम्हणेण । देवी-VI"अय्य चओरअ, किं तुए जाणीअदि। विदूषकः-VII"होदि, पुव्वं एव्व वअस्सस्स चउस्सिधु-बंध-बंधुरं वसुंधरं देऊण वि अपरिनुढेण विहिणा पुणो सत-समुद्द-मुद्दि एअं • वअस्सस्स भुमअंचले बंधिउं अअं आरंभो कीरइ ति।
wwwmarwa
lrh उच्छरण for उच्छिद्र. 2K वलअणं, but rh वअणं. 3rh चन्दनिका for चेटी. 4 K पद्म for पम्ह. 5 6 मह मितं. 6 पढ़ for फलं. 7 विचिन्तिएहि की, Kh वितङ्किएहि किं. 8 देवसरणिम्मुणीअदि. 95 चउरस्सिन्धु. 10 K दाऊण, but Kh देऊण वि. 11 kh अकि. दस्थेण for अपरितुदेण. 12 The following speech, which is put in the mouth of देवी by Kh, is just added here by K.
भय॑मानसर्षपगन्ध इव पुष्पगन्धः ब्राणमानन्दयति । I) सत्यमेतत् । II) दास्याः पुत्रि, उच्छिष्टभक्षिणि, न तवैव वचनमभिनन्दनीयं ममापि वचनमभिनन्द्यते वयस्येन । III) भो वयस्य, गच्छामो मैरकतोद्यानम् । IV) देवि, स्पन्दते प्रचलपद्ममालिकं, दक्षिणं मम इदं विलोचनम् । किं फैलं अथ वितर्कितैः किं, केन दैवसरणियिते ॥ १८ ॥ V) आर्यपुत्र, देवेनैव ज्ञायते । VI) किं च मेयाप्येकेन ब्राह्मणेन । VII) आर्य चकोरक, किं त्वया ज्ञायते । VIII) भवति, पूर्व एवं वयस्यस्य चतुस्सिन्धुबन्धबन्धुरां वसुंधरां दत्त्वापि अकृतार्थेन विधिना पुनः सप्तसमुद्रमुद्रितामेनां वयस्यस्य ध्रुवांचले
१M वचनमभिनन्दयति । ममापि etc. २ र मरतकोद्यानम्. ३ M छलं. ४ र अथवा वितर्कितैः, M अथवा तकीयते. ५ ॥ मयाप्येतेन. ६ Ki omit एव. ७ M After writing पूर्व व there is a long lacuna in upto भआदो (I. 26. 3); and this is indicated by the transeript with a remark: (अत्र पत्रत्रयपरिमिनो मन्थपानः). ८ Ka omit बन्ध.

Page #88

-I. 206]
पढमं जवणिअंतरं
देवी - "भो' भअवं विहे, पुणो वि एव्वं एव होही ।
बेटी' - "एसो मरगआरामो । पविसदु महाराओ। (सर्वे उद्यानप्रवेशं नाटयन्ति । )
( नेपथ्ये वैतालिकयोरेकः )
III)
वैतालिक:-जअ जअ महाराज, राआहिराअ परमेसर, पाअपारिजाअ-पल्लव-च्छाआ णिच्च-विहार-निरत्य संदाव, पंअंड -पआव, 12 पंडिअ जण कप्प- पादव, वम्मह-मणहरंग लावण्ण-गुण- णिगलिअसअल-महिला- माणस, सिरिमाणवेअ, सुह-दाइणी होउ महाराअस्स आराम-लच्छी । तह पेक्खदु दाव महाराओ । अत्ताणं वित्थरंतो मैंहु णरवइणो पाण-गोडी- णिएओ लोलंबाणं विडाणं सअल पिअ-महेलाण संगीअ-साला । कीला - ठाणं पडीराअल-पवण-किसोराण सेणा - णिवेसो एसो तेल्लोक्क वीरस्स हुँ र इ- वइणो भाइ आराम - देसो ॥ १९ ॥ द्वितीयः किं च । एत्थ सणिहिदे महाराए
IV
-
पञ्चुव्वज्जइ चंचलीअ - णिवहो फुलुप्पडतो जवा कूअंता अ कुणंति कोइल-उला सोत्तामिअं साअदं ।
११
1 K भे, but Kh omits it. 2 होहि 3 Kh चन्दनिका for चेटी. 4 xh रूपयन्ति. 5 x नैपथ्ये. 6 K पाअपारिजअ 7 K वअंडपआव 8 x वादप, Kh वाअप for पादव 9 x अथथाणं विथ्थरन्तं. 10 महुरवअणो, but Kh महणावद्दणो. 11 Kh लोलंबालीविडानं. 12 अ for हु. 13 x omits द्वितीय:, but it is added by Kh. -14 K फुलंफडतो.

15
बुद्धमयमारम्भः क्रियते इति । I) भी भगवन् विधे, पुनरपि एवमेव भवति । II ) एष
कतारामः । प्रविशतु महाराजः । III ) जय जय महाराज, राजाधिराजपरमेश्वर, पादपारिजातपल्लवच्छाया नित्य विहार निरस्त संताप, प्रचण्डप्रताप, पण्डितजनकल्पपादप, मन्मथमनोहराङ्गलावण्यगुणनिगडितसकलमहिला मानस, श्रीमानवेद, सुखदायिनी भवतु महाराजस्य आरामलक्ष्मीः । तथा पश्यतु तावन्महाराजः । आत्मानं विस्तृणन् मधुनरपतेः पानगोष्ठीनिकेतः, लोलम्बानां विटानां सकलपिक महिलानां संगीतशाला । क्रीडास्थानं पटीराचलपवन किशोराणां सेनानिवेशः, एष त्रैलोक्यवीरस्य खलु रतिपतेर्भाति आरामदेशः ॥ १९ ॥ IV) किं च । अत्र संनिहिते महाराजे, प्रत्युद्व्रजति चञ्चरीकनिवहः फुल्लोत्पतञ्जवात्, कूजन्तश्च कुर्वन्ति कोकिलाः श्रोत्रामृतं स्वागतम् । शीघ्रं
१ K उत for इति. २ Komits भो. ३ K मरतकारामः. ४ K श्री श्रीमानवेत. ५ Komits तथा. ६ x omits सङ्गीत... किशोराणां, but this is supplied by Kh. ७ K चञ्चलीक'.

Page #89

चंदलेहाए
[I.20cसिग्छ अग्धमुवाहरंति मअरंदुग्गारिणो पाअवा
दाणि पल्लव-चामलेहि लदिआ वीअंति वाआहआ ॥२०॥ विदूषकः-"साहु गीअं मंजुअंठ-महुरकंठहिं बंदीहिं। पेक्खदु दाव वअस्सो महु-समअ-विस्थारिअं मरगआराम-समिड्ढेि । , राजा - (समन्तादवलोक्य )"वअस्स, साहु नुए भणिदं । इह हि
विभाइ महिलंगुली-किसल-पाडलं पाडलं समुल्लसइ फलिआ पवण-णोलिआ मलिआ। दिसाओं सुरहेइ णं दर-विआसरं केसरं
समुव्वहइ संप पहिअ-कंपअं चंप ॥२१॥ अवि अ।
पक्खंदोलण-मारुएण भसलो आणंदअंतो महुं पल्लाथा कुसुमाउ पास-गमिअं पाएइ पाणेसरिं। उग्गाउं महुरं च माहव-महा-बंदी जैसं कोइलो
माअंदाण मरंद-सार-लहरी-सारस्सअं सेवएँ ॥ २२ ॥ विदूषकः-"'भो वअस्स, आमूल-पुष्फिअस्स बाल-रतासोअस्स मैरगअ-वेदिआ जवविसिअ मलअ-महीहरादो उवागअस्स महु. ___ 15 अग्धं उपाहरन्ति. 2 F वाअवा. 3 5 दाणी. 4 5 वन्देहि. 5 F समय. 6 xh महरसो. ल्लिआ for पवणणोल्लिआ. 7 K वहि अकंपअं. 8 K वासगमिअं. 9 वाएइ वाणेसरी. 10 K उग्गलं. 115 वसंकोललो, Kh जसंकोइलो. 1:2 K सेवहि, but rh सेवए. 13 मअरगवेदिआअं. 14 K मलय'. अर्घ्यमुपाहरन्ति मकरन्दोद्गारिणः पादपाः, इदानीं पल्लवचामरैर्लतिका वीजयन्ति वाताहताः ॥ २० ॥ I) साधु गीतं मझुकण्ठमधुरकण्ठाभ्यां बन्दिभ्याम् । पश्यतु तावद्वयस्यः मधुसमयविस्तारितां मरकतारामसमृद्धिम् । II) वयस्य, साधु त्वया भणितम् । इह हि, विभाति महिलाङ्गुलीकिसलयपाटलं पाटलं, समुल्लसति फुल्लिता पवननुन्ना मल्लिका । दिशः सुरभयति एतत् दरविकस्वरं केसरं, समुद्वहति संपदं पथिककम्पदं चम्पकम् ॥ २१ ॥ अपि च । पक्षान्दोलनमारुतेन भ्रमरः आनन्दयन् मधु, पर्यस्तात् कुसुमात् पार्श्वगमितां पाययात प्राणेश्वरीम् । उद्गातुं मधुरं च माधवमहाबन्दी यशः कोकिला माकन्दानां मरन्दसारलहरी सारस्वत सेवते ॥ २२ ॥ III) भो वयस्य, आमूलपुष्पितस्य बालरक्ताशोकस्य मरकतवेदिकायां उपविश्य मलयमहीधरादुपागतस्य मधुसमयस्फुट
१ करकेन्दार्गाभिणः for मकरन्दोद्गारिणः. २ र वीजन्ति. ३ र मरतकाराम'. ४ र फुल्लता. ५ र बहल: for भ्रमरः ६ पर्यस्तान् कुसुमान् पार्श्वगतान् पाय. ७ र मरतक. ८ र महीधरमुपा.

Page #90

-I.250]
पढमं जवणिअंतरं समअ-फुडंत-णव-कुसुम-परिमल-पाहुड घेतूण परिसरे ठिअस्स: मलआणिलस्स दे परिसरं पतस्स सेवावसरं देहिं । पेक्खम्ह मरगआराम-लच्छि।
राजा -"तह । ( इति सर्वे यथोचितमुपविशन्ति ।) देवी-"दाणिं अहं वड्ढावइस्सं अय्यउतं ।
एदे चूसिअ-चोल-बाल-महिला-भालिंदु-सेआअमा पिजंता जण-णासिआहि णलिणी-णालीअ-केली-अरा। लीला-लालिअ-केरली-चिहुरआ-आणंद-णीसंदिणो
रोमंचुग्गमणाणुमेअ-चलणा कीलंति वाअंकुरा ॥२३॥ राजा-अहं वि नुमं वड्ढावइस्सं ।
अताणं वि बुभुक्खिदाण पुढमं दाऊण पाआण तो तुंगा मंगल-चंदणद्दि-भिउणो कादूण पाअं खणा । एहि गण्हिअ सोरहेक्क-णिलअं कंदप्प-मितंतरं तं आलिंगिउमूसुआ परिसरं पता अ चेताणिला ॥२४॥ देवी-IV पेक्खदु दाव अजउत्तो सोहग्गं कालस्स । जओ किसलइदासोअ-लदा कीर-मुहाभोअ-कीसुअ-च्छाआ।
कीलंति के वि दिअहा केसर-खलमाण-बाल-पवमाणा ॥२५॥ 1K बाहुलs for पाहडअं. 2 Kh देसु. 3 r omits दाणिं which is given by Kh. 4K
फालिन्द. 5 चंदणन्दि. 6 K एण्णी गणिअ.7_K omits this word, but Kh has जतो. 86 केऽपि दिवसा, but kh has दियाहा for दिवसा of K.
नवकुसुमपरिमलप्राभृतं गृहीत्वा परिसरे स्थितस्य मलयानिलस्य तंव परिसरं प्राप्तस्य सेवा : देहि । पश्यामः मेरकतारामलक्ष्मीम् । I) तथा । II) इदानीमहं वर्धयिप्यामि आर्यपत्रम। एते चषितचोलबालमहिलाभालेन्दुस्खेदागमाः, पीयमाना जननासिकाभिः नलिनीनालीककेलीकराः । लीलालालितकेरलीचिकुराः आनन्दनिष्यन्दिनः, रोमाञ्चोद्गमनानुमेयगमनाः क्रीडन्ति वाताङ्कुराः ॥ २३॥ III) अहमपि त्वां वर्धयिध्यामि। आत्मानमपि बुभुक्षितानां प्रथमं दत्त्वा नागानां ततः, तुङ्गान्मङ्गलचन्दनादिभूगोः कृत्वा पातं क्षणात् । इदानीं गृहीत्वा सोरमकानलयं कदमित्रान्तरं, त्वामालिङ्गितुमुत्सुकाः परिसरं प्राप्ताश्च चैत्रानिलाः ॥ २४ ॥ IV) पक्ष्य तावदार्यपुत्रः सौभाग्यं कालस्य । यतः, किसलयिताशोकलताः कीरमुखाभोगकिंशुकच्छायाः। क्रीडन्ति केऽपि
१ K omits तव परिसरं प्राप्तस्य. २ मरतकाराम'. ३ 5 केलीकरम्. ४ K तुङ्गामङ्गल. ५ र भृङ्गा for भृगोः .

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3
9
१४
राजा - "देवि, किं भण्णइ ।
महुअर - कलकल- मुहले मलआणिल-भंगि- संगअ-तरंगे । महुमास ई-सोते मअरंदमए निमज्जए भुवणं ॥ २६ ॥ विदूषकः-वअस्स, किं वंचिदो म्हि । जदो पुरुवं एव्व अम्हाणं घरैए परंपराए समागअं पंडिअत्तणं कर्त्तणं च पहिसु पडिरोहअभआदो अम्ह-बम्हणी-सअणिज्जेक्क-पास संठविआअं मंजूसिआअं णिहाविr लोह- सालाए गाढं बंधिन मुद्दे वि दाऊण साडम्मिं समद्दे संगहि आउदो । ता अज्ज तुवं तुज्झ कइत्तणस्स अद्धं मे देहि • जेण अहं वि तुम्हाणं कण्ण-पुडस्स पीऊस- गंडूसणं करिस्तं । ( हस्तौ प्रसारयति । )
12
चंदलेहाए
चेटी' - अय्य, पडिगण्ह । अहं दे देमि ।
IV)
विदूषकः - आ दासीए धीदे, को उण पंडिओ पारिआअं उज्झिअ एरंडादो अहिलसिदं कामेई । अहव तुमं तुज्झ कत्तणं दंसेहि । तदो पडिगहिस्सं ।
1
देवी - चंदणिएं, दंसेहि अत्तणो इलणं । किं च । सा पडिहा जा ठाणे पसरइ । सा णीदी जा काले उज्जलइ । सा इत्थिआ जा भट्टमणोरहे वइ । सा मेती जा अणत्थे ओलंबइ ।
[I. 25. 1
1 omits देवि 2 K फणइ. 3 K मलयाणिल 4 K निमज्जहि, but Kh णिमजए. 5 x खरए. 6 K कलत्तणं. 7 K पावसट्टविजअं. 8 K साडं वि. 9 Kh चन्दनिका for चेटी. 10 K कामिज्जदि, but Kh कामेइ. 11 K कलत्तणं. 12 K चन्दिणिए. 13 K च्छउत्तणं. 145 की च पडिहा. दिवसाः केसर स्खलद्वालपवमानाः ॥ २५ ॥ I ) देवि, किं भण्यते । मैधुकरकलकलमुखरे मलयानिलभङ्गिसंगततरङ्गे । मधुमासनदीस्रोतसि मकरन्दमये निमज्जति भुवनम् ॥ २६ ॥ II) वयस्य, किंचिद्वैञ्चितोऽस्मि । यतः पूर्वमेव अस्माकं गृहे परम्परया समागतं पण्डितत्वं कवित्वं च पथिषु प्रतिरोधकभैयादस्मद्ब्राह्मणीशयनी यैकपार्श्वसंस्थापितायां म षिकायां निधाय लोहसालया गाढं बद्ध्वा मुद्रामपि दत्त्वा शाटके समुद्रे संगृह्यागतः । तदद्य त्वं तव कवित्वस्यार्धं मे देहि येनाहमपि युष्माकं कर्णपुटस्य पीयूषगण्डूषणं करिष्यामि । III) आर्य, प्रतिगृहाण | अहं ते ददामि । IV) आः दास्याः पुत्रि, कः पुनः पण्डितः पारिजातमुज्झित्वा एरण्डादभिलषितं कामयते । अथवा त्वं तव कवित्वं दर्शय । ततः प्रेतहीष्यामि | V) दैनिके, दर्शयात्मनो वैदग्ध्यम् । किं च । सा प्रतिभा या स्थाने प्रसरते । सा नीतिः या काले उज्वलति । सा स्त्री या भर्तृमनोरथे

१ K मन्यते for भण्यते. २ मधुरकल ३ K सङ्गतरङ्गे. ४ K भयादन्यस्मिन् ब्रह्मणि शय, M भयादस्मद्ब्राह्मण्याशय ५ K वाटामपि, M साटामपि. ६ x सङ्गत्यागतः ७ तदन्यत्वं ८ x करिष्ये ९ x कामयति, १० x प्रतिगृह्णामि
११ K ह चन्दिनिके.

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-I. 27.9]
पढम जवणिअंतरं चेटी -"जं भट्टिणी आणवेदि। विदूषकः- "जइ अतणो छइलणं दंसेतुं ववसिदा सि ता जमअं कादव्वं, मलआणिलो वण्णिदव्वो, सद्धरा अ वुतं । चेटी -"तह । सुणाहि नुवं ।
बाला वालालि-तण्हा-पसमण-कुसला चंदणदिस्स तुंगा सिंगा सिंगार-विदा-विअरण-गुरुणो मंथरं विप्फुरंतो। लोलं लोलंबआलं परिमल-अरलं भामअंता हरंता
माणं माणंसिणीणं णव-सुरहि-सिरी-बंधवा गंधवाहा ॥२७॥ राजा-"साहु चंदणिए साहु। जदो जमए वि सुहओ सद्दो सुअमो अत्यो।
विदूषकः -'जइ एव्वं जिअं देवीए पराजिअं वअस्सेण । (पुरो: विलोक्य ) अहो अमच्चो सुमई दुवारे ।
राजा -"किं सुमई । पवेसेहि णं । विदूषकः-(परिक्रम्य, सुमतिना सह प्रविश्य ) VI'एसो सुमई। [सुमतिः] - VIIIजेदु देवो। राजा-सुमदे किं। सुमतिः-देव, सिंधुणाहामच्चो सुस्सुदो दबुकामो चिट्टइ। , ____1_kh चन्दनिका for चेटी. 2 K च्छइत्तणं ।. 3 Kh चन्दनिका- तह पठति ।, but x has
जह for तह. 4 K सीगा सीगारविन्दा 5K लोलम्बओलं. 6 K adds विदूषकः- again before this sentence. 7 Kputs this speech in the mouth of Vidusaka.
वर्तते । सा मैत्री या अनर्थ अवलम्ब्यते । I) यद् भट्टिनी आज्ञापयति । II) यदि आत्मनो वैदग्ध्यं दर्शयितुं व्यवसितासि तद् यमकं कर्तव्यं, मलयानिलो वर्णयितव्यः, स्रग्धरा च वृत्तम् । III) तथा। शृणु त्वम् । बाला व्यालालितृष्णाप्रशमनकुशलाः चन्दनाद्रेस्तुङ्गात्, शृङ्गात् शृङ्गारविद्यावितरणगुरवः मन्थरं विस्तृणन्ति । लोलं लोलम्बजालं परिमल तरलं भ्रामयन्तो हरेन्तः, मानं मनस्विनीनां नवसुरभिश्रीबान्धवाः गन्धवाहाः ॥२७॥ IV) साधु चन्दनिके साधु । यतः यमकेऽपि सुभगः शब्दः सुगमः अर्थः। V) यद्येवं जितं देव्या पराजितं वयस्येन । (...) अहो अमात्यः सुमतिरेि । VI) किं सुमतिः। प्रवेशय ऍनम् । VII) एष सुमतिः । VIII) जयतु देवः । IX) सुमते किम् । X) देव,
१॥ भी for भट्टिनी. २K व्यालालितृष्णाः, M व्याळाळिकृष्ण'. ३ र चन्दनाद्रेस्सतुङ्गाः शृङ्गाः, M मलबास्तगात, ४ . विस्तरन्ति. ५ र वमन्तो for हरन्तः. ६॥ श्रीबन्धवो ग. ७ M omits एनम्.

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चंहलेहाए
[I. 27.10राजा-"ता अविलंबिअं आणेहि णं । सुमतिः-I) देवो आणवेदि । (इति निष्क्रम्य सुश्रुतेन सह प्रविश्य) [सुश्रुतः] -'जेदु देवो। राजा - सुस्सुद, अवि कुसलं सिंधुणाहस्स।
सुश्रुतः-संपदं देवस्स कुसलाणजोएण । किं च महाराअ, देवस्स सिंधुणाहस्स चिर-सेवा-पसादिएण समुद्देण दिण्णो चिंतामणि-जाई
ओ को वि महामनी । तं च सअल-जण-चिंतिअत्थ-दाण-कुसलं महा-रअणं महाराअ-प्पसाद-तितरण सिंधुणाहेण महाराअस्स सि"रिमाणवेअस्स पाहुदीकरेहि ति दाऊण पेसिओ अहं । ता जिणउ वंसो चिंतामणीणं महाराअ-सण्णिहि-लाहेण । होउ अ महाराअप्पसाद-ग्गहणेण सिंधुणाहो सअल-महिवाल-मंडल-सिलाहणिज्जो। 21 ( इति चीनांशुकनिचुलितचिन्तामणि काञ्चनभाजने निक्षिपति ।) __ राजा-"सुमदे, नुवं एव्व तुज्झ सहि सुस्सुदं जहोइदं संभाविदूण
पेसेहि सिंधुणाह-सआसं। ५ सुमति: - VIजं देवो आणवेदि।
राजा - VII"सुस्सुद, एवं करेहि । __puts this speech in the mouth of Sumati. kh महामणि for चिंतामणि. 3K जातीओ. 4 K वित्त एण. 5 एसो for वंसो. 6 Rh महामणि for चिन्तामणीण. 7 K महाराअस्स णिहि 8 मंसल for मंडल.9 K सही. 10 K सहाअ for सआसं. ll r adds (इति निष्क्रान्ती) here. 12 This and the next speech are found only in kh which does not put this sentence in the mouth of the king but adds it in continuation of Sumati's speech जं देवो etc., and puts the next speech in Susruta's mouth. सिन्धुनाथामात्यः स्तुश्रुतो द्रष्टुकामस्तिष्ठति । I) तदविलम्बितमानयैनम् । II) यद्देव आज्ञापयति । III) जयतु देवः । IV) सुश्रुत, अपि कुशलं सिन्धुनाथस्य । V) सांप्रतं देवस्य कुशलानुयोगेन । किं च महाराज, देवस्य सिन्धुनाथस्य चिरसेवाप्रसादितेन समुण दत्तः चिन्तामणिजातीयः कोऽपि महामणिः। तं च सकलजनचिन्तितार्थदानकुशलं महारत्नं महाराजप्रसादतृप्तेन सिन्धुनाथेन महाराजस्य श्रीमानवेदस्य प्राभृतीकुरु इति दत्त्वा प्रेषितोऽहम् । तज्जयतु वंशः चिन्तामणीनां महाराजसन्निधिलाभेन । भवतु च महाराजप्रसादग्रहणेन सिन्धुनाथः सकलमहीपालमण्डलस्लाघनीयः । VI) सुमते, त्वमेव तव सखायं सुश्रुतं यथोचितं संभाव्य प्रेषय सिन्धुनाथसकाशम् | VII) यद्देव आज्ञापयति । VIII) सुश्रुत, एवं कुरु ।
१ र कुशलानुवादेन. २ महाराजस्य देवस्य, । किञ्च देवमहादेवस्य. ३M lacuna, K प्रसादवित्तेन. ४ र मानवेतस्य, M मानवेदस्य. ५ र एष चिन्तामणिः for वंशः चिन्तामणीनां found in M. ६ u assigns this sentence to the king and the next to Suśruta ; but they are not found in K,

Page #94

-I. 296]
पढमं जवणि अंतरं
सुश्रुतः - "जं देवो आणवेदि । ( इति निष्क्रान्तौ ।
विदूषकः - भो वअस्स, आणवेहि अस्स महामणिणो णिउलं "
अवणेदुं ।
राजा अस्स, जं दे रोएइ ।
III)
( विदूषको मुद्रामवमुच्य निचुलमपनयति । ) राजा - ( सकौतुकम् ) अहो पहा-पसरो । अज्ज हि अच्छेरं अमुअस्स अच्छ मणिणो दीहेहिं मोहेहि णं तेलोकं णव- पोमराअ-रअणुक्किण्णं व लक्खिज्जए । ऐसो वासर- दीव- धूसर-छई सूरो विदूरोसिओ संझा कवली-किदो व्व सहसा गट्ठो अअं आदवो ॥ २८ ॥ विदूषकः - भो वअस्स, अगणिएहिं अणग्घेहिं उम्मीलंत - बहलदीह- मोह- लेहुज्जोअ - खज्जोआविअ सहस्सरस्सीहिं महा-रअण-सहसेहिं पूरिअं खुदे कोस-घरअं । किं ताणं पि अहिओ से पहाओ ' जेण अच्छरीअं करेसि ।
१७
VI)
राजा - वअस्स, एसो खु चिंतामणि त्ति पसिद्धो असाहारणो एव्व । जदो
पत्थेइ जं जं सअलो जणो वि हत्थे अअं तस्स खु देइ तं तं । मंदार कप्पहुम-कामहेणू-संताणआणं गणिओ अ मज्झे ॥२९॥
30
1 Breads विदूषकः- and puts the stage-direction ( in round brackets) in his mouth. 2 x देहेहि 3 xh interchanges the places of the last two lines. 4 K सन्धाए. 5 x अहिदेवहाओ, but Kh अहिओ से पहाओ 6K हुम आमहेण.
"
I) यद्देव आज्ञापयति । II ) भो वयस्य, आज्ञापय अस्य महामणेर्निचुलमपनेतुम् । III) वयस्य, यत्ते रोचते । IV) अहो प्रभाप्रसरः । अद्य खलु, आश्चर्य अमुष्याच्छेमणेदीधैर्मयूखैरेतत् त्रैलोक्यं नवपद्मरागरत्नोत्कीर्णमिव लक्ष्यते । एष वासरदीपधूसरच्छविः सूर्योऽपि दूरापसृतः, संध्यया कवलीकृत इव सहसा नष्टः अयमातपः ॥ २८ ॥ V) भो वयस्य, अगणितैरनयैरुन्मीलद्वहलदीर्घमयूखरे खोद्यतखद्योतीकृतसहस्ररश्मिभिः महारत्नसहस्रैः पूरितं खलु ते कोशगृहम् । किं तेषामप्यधिकः अस्य प्रभावः येश्चर्य करोषि । VI) वयस्य, एष खलु चिन्तामणिरिति प्रसिद्धः असाधारण एव । यतः, प्रार्थयति यद्यत् सकलो जनोऽपि हस्ते अयं तस्य खलु ददाति तत् तत् । मन्दार

१ K अथ खलु, M अस्य हि. २ याच्छिमादीप्तैर्मयू ३ K सूर्यो विदूरापसृतः, M सूर्यो वि lacuna. ४ K अगणणीयैर, M अगुणितैरोधैरु 4 K *धिक: अर्घ्यप्रभावः, M °धिकोऽस्य प्रभावः . ६ M येन त्वमप्याश्वर्यं. ७ प्रार्थयते; and some lacuna in this passage.
३ चंद•

6

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चंदलेहाए
[I.29.1विदूषकः-"अहो पंडिआणं वि बुद्धी अंध-परंपरं अणुवट्टइ, जदो तुए एदाए सिलाए दाण-विअडआ वण्णीअदि। परमत्थदो उण • ससस्स विसाणुब्भवो, आआसस्स पसूणुग्गमो, मिअतिण्हिआए सलिल-रूवतणं, एदस्स सिला-विसेसस्स अभिमद-दाण-पंडिच्चं च अणत्यंतरं। • राजा-"मा मा एव्वं भण। अचिंतणिज्जो खु मणि-मंतोसहीणं पहावो। __ विदूषकः-"भो वअस्स, जइ एव्वं इदं में कहेहि । कहं पुण एदस्स , अचेदणस्स उवल-विसेसस्स दाणं संभवइ ।
राजा-वअस्स, एआरिसाणं अप्पञ्चक्ख-चारिणीओ अहिदेवआओ विजंति । ॥ विदूषकः-जुज्जइ । ता अहं किं वि पत्थेमि णं महारअणं । (विचिन्त्य, अपवार्य ) भो वअस्स, एण्हि इह महिअले जा कण्णआणं रअण-भूआँ कण्णआ तं पुरदो दंसेहि ति पत्थेमि । ॥ राजा-"जं अहिरुइदं वअस्सस्स । (विदूषकः प्रार्थनामीलितलोचनस्तिष्ठति । ततः प्रविशत्यपटीक्षेपेण
नायिका । सर्वे सकौतुकमवलोकयन्ति ।) 18 राजा-(सविस्मयम् )II)अहह ।
1K omits अहो. 2 बुद्धीए अंध. 3 एदाहि. 4K विअद्वभा. 5 K पसूणुब्भवोगमो. 6_K omits one मा. 7 r omits मे. 8 अचेदणं उवल. 9 K भूता. 10 r writes these stage-directions as if they form a speech of Vidüşaka. कल्पद्रुमकामधेनुसन्तानकानां गणितश्च मध्ये ॥ २९ ॥ I) अहो पण्डितानामपि बुद्धिरन्धपरंपरामनुवर्तते, यतः त्वया एतस्याः शिलायाः दान विदग्धता वर्ण्यते । पर. मार्थतः पुनः शशस्य विषाणोद्भवः, आकाशस्य प्रसूनोद्गमः, मृगतृष्णिकायाः सलिलरूपत्वम् , एतस्य शिलाविशेषस्य अभिमतदानपाण्डित्यं च अनर्थान्तरम् । II) मा मा एवं भण । अचिन्तनीयः खलु मणिमन्त्रौषधीनां प्रभावः। III) भो वयस्य, यद्येवमिदं मे कथय । कथं पुनरेतस्याचेतनस्योपलविशेषस्य दानं संभवति । IV) वयस्य, एतादृशानामप्रत्यक्षचारिण्यः अधिदेवता विद्यन्ते । V) युज्यते । तदहं किमपि प्रार्थयामि एतन्महारत्नम् । (...) भो वयस्य, इदानी मिह महीतले या कन्यकानां रत्नभूता कन्यका तां पुरो दर्शयेति प्रार्थयामि । VI) यदभिरुचितं वयस्यस्य । VII) अहह ।
१ x laouna here. २ ॥ संभवः for 'रूपत्वम् . ३ . हि for खलु. ४ भो वयस्य. ५ ६ अपि देवता for अधि', । 'चारिभ्योऽधिदेवता.

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-I. 336]
पढमं जवणिअंतरं
अहो महिअले कहं अविरलुज्जला विज्जुला तहिं फुरइ पुण्णिमा कहमहो वहंती कहुँ । अहो कणअ - कुंभए अवि कहं दरिद्दत्तणं घणे पुलिण-मंडले कह गई ण संदीसइ ॥ ३० ॥
अवि अ ।
सुह-गंधो तम-बंधो सविलासा णील-णीरअ-वलासा । अअलंको हरिणको अदिट्ठ-पुव्वं खु दीसए सव्वं ॥ ३१ ॥ कुह वि अहो पल्लविओ कोरइओ कुह वि कुह वि मंजरिओ । को एस संपदाओ कुसुमाउह - विअअ - सिद्ध-विज्जाए ॥ ३२ ॥ नायिका - (स्वगतम् ) "अहो, वम्मह-लोअं आरोविद म्हि का वि देवआए । एसो खु भअवं वम्महो। एसा अ देवी रई । एसो अ परिअणो ।
१९
देवी - अभिजाअ-कुल- संभवा की वि कण्णआ ।
विदूषकः – ( सावधानं निरूप्य ) भो वअस्स, पेक्ख पेक्ख चक्कवट्टि - महिसी पद-लाह- इंध-बंधुराइ इमाए अब्भुद कण्णआए अंगाइ । राजा - ( अपवार्य) वअस्स, णं एव्वं भण ।
6
अहमहमिआ - गएहिं पेम्माउँलिएहि लक्खणेहिं वि । जह-ठाण - संठिएहिं आलिंगिअमंगअं किसंगीए ॥ ३३ ॥
1 K अविरलज्जुला. 2 K णीरणीलअविलासा. 3 K मुज्जविओ. 4 K लोहं for लोअं. 5 x मम्महो. 6 x कापि for का वि. 7 K लब्भ for इंध. 8 K पेम्मउलाएहि. 9 K संदठिएहिं.
अहो महीतले कथमविरलोज्ज्वला विद्युत्, तस्यां स्फुरति पूर्णिमा कथमहो वहन्ती कुहुम् । अहो कनककुम्भयोरपि कथं दरिद्रत्वं, घने पुलिनमण्डले कथं नदी न संदृश्यते ॥ ३० ॥ अपि च । सुखगन्धस्तमोबन्धः सविलासा नीलनीरजपलाशाः, अकलङ्को हरिणाङ्कः अहटपूर्व खलु दृश्यते सर्वम् ॥ ३१ ॥ काप्यहो पल्लवितः कोरकितः क्वापि कापि मञ्जरितः, क एष संप्रदायः कुसुमायुधविजय सिद्धविद्यायाः॥ ३२ ॥ I) अहो मन्मथलोक मारोपितास्मि कयापि देवतया । एष खलु भगवान् मन्मथः । एषा च देवी रतिः । एष च परिजनः । II) अभिजातकुलसंभवा कापि कन्यका । III) भो वयस्य, पश्य पश्य चक्रवर्तिमहिषीपदलाभ चिह्नबन्धुराणि अमुष्या अद्भुतकन्याया अङ्गानि । IV) वयस्य, नैन्वेवं भण । अहमहमिकागतैः प्रेमाकुलितैर्लक्षणैरपि । यथास्थान संस्थितैरालिङ्गितमङ्ग कृशाङ्ग्याः ॥ ३३ ॥
१ M कुम्भम् for कुहूम्. २ M कुत्रापि for कापि in this line ३ ॥ अहो अभिजते कुल ४ M पश्य is not repeated. ५ M एनदेव for नन्वेवं; some lacuna in the following verse,

3

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[1.33.1
नायिका - ( राजानमवलोक्य स्वगतम् ) किं णु खु एदं पेक्खिअ अदिट्ठपुरुवस्स अवत्थंतरस्स पत्तं होइ मे चित्तं ।
3 राजा - वअस्स,
3
२०
तंदोलण घोलिदो व गलिओ ईसीसि कण्णेउरो लावण्ण-द्दम-मंजरि व्व लसिओ सेओ पिंडालंतरे । सोहा - संगहणोसुआइ व करे लग्गीइ पुरफाइ से तं मण्णे कुसुम - ग्गहम्मि मणिणा णीदा इअं एदिणा ॥ ३४ ॥
( स्वगतम् ) अहो इह द्विदाएं वि से आढत्त- णिव्वहणे अहिणिवेसो । जदो
पुणे पसूण- णिअरेहि तहिं लुएहिं
खिoणे सिरीसअ - सिरी हसिरे करम्मि । णेत्रेण किंचि परिकुंचिअ - चंचलेणं
आदेइ मज्झ मण फुलमिअं रसोलं ॥ ३५ ॥ (इति सस्पृहमवलोकयति ।)
III).
नायिका – ( अधोमुखी ) कीस उण अअंडे ऊरू मे वेवंति ।
राजा - (स्वगतम्)
"पत्तेसु मज्झ णअणेसु मुहं अं से
पाअंबुअं परिगआ खु अवंग - माला ।
1 x घोलिद व्व. 2 K मञ्जरिंग्व. 3 K ललाडंतरे. 4K संगह आसु 5 x लग्गाल, but लग्गाइ. 6 K पुप्फाल. 7K इयं. 8 K दिए. 9K अढत्त. 10 K वेषन्ति.
kh
I) किं नु खल्वेतं प्रेक्ष्य अष्टपूर्वस्यावस्थान्तरस्य पात्रं भवति मे चित्तम् । II ) वैयस्य, नेत्रान्दोलनचालित इव गलित ईषदीषत् कर्णपूरः, लावण्यद्रुममैञ्जरीव लसितः स्वेदो ललाटान्तरे शोभा संग्रहणोत्सुकानीव करे लग्नानि पुष्पाण्यस्याः, तन्मन्ये कुसुमग्रहे मणिना नीता इयमेतेन ॥ ३४ ॥ ( - ) अहो इह स्थिताया अपि अस्या आरब्धव्यापारे अभिनिवेशः । यतः, पूर्णे प्रसूननिकरैः तस्मिन् लूनैः, खिन्ने शिरीषक श्रीहसनशीले करे । नेत्रेण किंचित्परिकुञ्चितचञ्चलेन, आददाति मम मनः फुल्लुमियं रसार्द्रम् ॥ ३५ ॥ III) कस्मात् पुनरकाण्डे ऊरू मे वेपेते । IV) प्राप्तयोर्मम नयनयोर्मुखाम्बुजमस्याः, पादाम्बुजं प्रतिगता खलु कटाक्षमाला | हंसाकुलात् कमलात् कमलान्तरे, भृङ्गच्छ टेव
१K अननुभूत for अदृष्ट given by M; M some lacuna. २ K वयस्य पश्य, M a short ३ x मञ्जरीविलसितः, M मञ्जरीव लळितरस्वदो निटालान्तरे. ४ K इहागताया. ५K पूर्णैः, ६ निकरैरस्मिन्, M प्रसूनकरैः तस्मिन् ७ शिरीषश्री, शिरीषक श्री भासुरे करे. ८ रसानम् ९
lacuna.

M
पूर्णे. वेपते,

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-I.37. 10]
पढमं जवणिअंतरं हंसाउलाउ कमला कमलंतरम्मि
भिंग-च्छडा व परिरेहइ धावमाणा ॥३६॥ विदूषकः-(राजानं निरीक्ष्य, निर्वर्ण्य, अपवार्य)'भो वअस्स, ण केवलं लक्खणाइ नुज्झ णअणाई वि किं वि पेम्म-परवसाइ से अंगं आलिंगंति।
राजा-(अपवार्य)वअस्स, केवलं इमाए जोवणुब्भेद-तरंगिणं पुलोएमि । पेक्खदु दाव।
उदंसिअ-यण-कुंभं उम्मजतेण जोव्वण-गएणं ।
कूलंकस-रस-भरिआ सरसि व्व तरंगिआ पवालंगी ॥३७॥ नायिका-(सविषादम् ,स्वगतम्)"किं करोमि। ण सकुणोमि एत्थ ठाउं।
देवी-(निर्वर्ण्य, स्वगतम्) अदिह-पुरुव-जण-दंसणेण इमाए विसादो विअ लक्खीअदि । ता एव्वं दाव । (प्रकाशम्) भद्दे एहि, एत्थ उव-' विस (इति नायिका हस्ते गृहीत्वा स्वासनार्धे उपवेशयति ।) __नायिका-(उपविश्य) अणुग्गहीद म्हि देवीए रईए। (स्वगतम्) अहो, सुहओ एदाणं समवाओ।
_(नेपथ्ये) वैतालिक:-"जअ जअ तिभुवणेक-णाह, लोअ-लोअण-चंद, सुंदेरंमंदाविअ-कंदप्प-माण, माणवेअ, सुहाअ सायंतण-संझा होउ। देवस्स । अज्ज खु
1 R भिंगझडा. 2 - णअणालुं वि. 3 5 जोव्वर्णभेदतरङ्गणं पुणेएमि. 4 गईणम्. 5 The stage-direction (स्वगतम), which I have put at the beginning of the next sentence, is put by K immediately after (उपविश्य). 6 सुन्दर. 7K omits माण. 85 सम्छा होइ. परिराजते धावमाना ॥ ३६॥ I) भो वयस्य, न केवलं लक्षणानि तव नयने अपि किमपि प्रेमवशे अस्या अङ्गमौलिङ्गतः। II) वयस्य, केवलममुष्याः यौवनोद्भेदतरङ्गिणं प्रलोकयामि । पश्य तावत्, अॅदर्शितस्तनकुम्भमुन्मजता यौवनगजेन । कूलंकषरसभरिता सरसीव तरङ्गिता प्रवालाङ्गी ॥ ३७॥ III) किं करोमि । न शक्नोमि अत्र स्थातुम् । IV) अदृष्टपूर्वजनदर्शनेनास्या विषाद इव लक्ष्यते । तदेवं तावत् । (...) भद्रे एहि, अत्र उपविश । V) अनुगृहीतास्मि देव्या रत्या । (...) अहो सुभग एतेषां समवायः। VI) जय जय त्रिभुवनैकनाथ, लोकलोचनचन्द्र, सौन्दर्यमन्दीकृतकन्दर्पमान, मानवेद,
१. परिराजति. २ र 'मालिङ्गितः, M 'मालिङ्गति. ३M 'तरङ्गणं. ४ ॥ अवलोकयामि. ५ आस्तां for तदेवं found in . ६ भद्रमुखि for भद्रे. ७ मानवेत, 4 मानवेद.

Page #99

3
6
२२
चंदलेहाए
एसा बंधुर-बंधुजीअ - कलिआ सोहा णिदाहंसुणो रिंछोली पडिविंबआण लहरी - बुंदेसु संदीसए । सिग्धं ओदरिउं हाउ दिन लच्छीए समुद्दोदए माणिक्केहि मणोहरेहि रइआ सोआण-वीहि व्व से ॥ ३४ ॥
किं च ।
सेरं सेरंधि- सत्यो विलिहंड सिहिणे चित्तलं पत्र-लेहं रामाणं णेत्त - लच्छी - कसणिअ-रमणाआण मग्गंतराणं । आलक्खिज्जंत-कालाअरु- बहलअरुद्दाम - धूमंधआरो गेहेसुं देइ मेतिं रअणि मुह-महंतुग्गमाणं तमाणं ॥ ३९ ॥ नायिका – ( सानन्दं स्वगतम् ) "अहो, सो एव्व एसो जस्स जसं सव्वदा तादो वण्णेदि । ( सस्पृहमवलोक्य) सरिसं खु तादस्स वण्णणं ।
[ I. 38
देवी -"अय्यउत्त, इमाअं अब्भुद-कण्णआअं बहिणिआअं मिव मे हिअअं सिणिज्झइ । किं च, अभिजाओ खु एसा, ता अंतेउरे एव्व ठाउं उइदा | अणुजाणादु अय्यउत्तो अंतेउरं दुं ।
1
राजा - देवि, एत्थ किं अहं पुच्छिदव्वो । जं अहिरुइदं देवीए ।
1 K ओदरउं. 2K विलहल for विलिहइ. 3 x दमाणं for तमाणं. 4 K तदो. 5 B सरिदु for सरिसं 6K अहिरुहिदं.
सुखाय सायंतनसंध्या भवतु देवस्य । अद्य खलु, ऐषा बन्धुरबन्धुजीवकलिकाशोभा निदाघांशोः, श्रेणी प्रतिबिम्बानां लहरीवृन्देषु संदृश्यते । शीघ्रमवतरितुं नभसः दिनेलक्ष्म्याः समुद्रोदके, माणिक्यैर्मनोहरैः रचिता सोपानवीथी वास्याः ॥ ३८ ॥ किं च । स्वैरं सैरन्ध्रीसार्थः विलिखति स्तने चित्रवत्पत्रलेखां, रामाणां नेत्रलक्ष्मी कृष्णीकृतरमणायानमार्गान्तराणाम् । औलक्ष्यमानकाला गरुबहलतरोद्दामधूमान्धकारः, गेहेषु ददाति मैत्रीं रजनीमुखमहदुद्गमानां तमसाम् ॥ ३९ ॥ I) अहो स एव एष यस्य यशः सर्वदा तातः वर्णयति । ("") सदृशं खलु तातस्य वर्णनम् । II) आर्यपुत्र, अमुष्यामद्भुतकन्यकायां भगिन्यामिव मे हृदयं स्त्रिह्यति । किं च, अभिजाता खलु एषा, तदन्तःपुर एव स्थातुमुचिता । अनुजानातु आर्यपुत्रः अन्तःपुरं नेतुम् । III) देवि, अॅत्र किमहं प्रष्टव्यः ।
१ K एषो. २ M रिच्छोली for श्रेणी ३ x धन for दिन. ४ x रुचिरा for रचिता. ५K वीथीव यस्याः ६ सार्थ. ७ K दह्य for आलक्ष्य ८ K तमोद्दाम. ९ x मुखे महदुमानन्दमासाम् १० K अथवा for अहो. ११ x अस्या' for अमुष्या. १२ K कन्यायां १३ M अनुज्ञापयतु. १४ Komits अत्र, M किमहमत्र for अत्र किमहं .

Page #100

-1.41.3]
पढमं जवणि अंतरं
देवी - (उत्थाय ) "एहि भद्दमुहि, अंतेउरं पविसम्ह ।
नायिका - आर्म । ( इत्युत्थाय आत्मगतं नायकं सानुरागं तिर्यक् पश्यन्ती सप
रिवारया देव्या सह निष्क्रान्ता । )
राजा - ( सनिर्वेदम् )
(III)
"मज्झम्मि हंत पडिऊण पमोअ-वंझा संझा कराल- मुह-भीसण-सण्णिवाआ । देवाण दाणव-घेड व्व दिसाण मज्झं पीऊस-पाण-विहदिं सहसा करेदि ॥ ४० ॥ ( समन्ताद्वलोक्य) अहवी ।
मुहे राउन्भेओ अण-सुहओ दीसइ फुड णिडालग्गे लग्गे अणुसरइ सेए उडुगणो । सरोणं दाणिं अणुकुणइ कोसे सिहिअं पिओ-सारिणं मह फुरइ संझा सुहअरी ॥ ४१ ॥
२३
विदूषकः–(निरूप्य ) भो वअस्स, ऐतो खु अम्हाणं तिभुवण-लोहणिज्जा रूविणी अब्भुद - कण्णआ समासादिआ । पुणो किं णिस्सारेण इमिणा मणिणा कज्जं । गहिएस तंडुलेसुं किं तुसेहि करणिज्जं ।
9
1 omits आम and adds (उत्थाय ) etc., while rh reads आं (इत्युत्थाय etc.) 2 K घटं पदिसाण मंझ 3 x omits अहवा. 4K सरोआणि 5 x माणि, but Kh दाणिं. 6 x सिहिणिअं. 7K विआ 8K पुठइ. 9 K सुहहरी 10 K एत्ता. 11 x पुणो की णिस्सारण, Kh पुणो चि किं. 12 K तंसुलेसु. यदभिरुचितं देव्याः | I) एहि भद्रमुखि, अन्तःपुरं प्रविशावः । II ) आम । III) मध्ये हन्त पतित्वा प्रमोदवन्ध्या, संध्या करालमुखभीषणसंनिपाता। देवानां दानवघटेव दृशोर्मम, पीयूषपानविहति सहसा करोति ॥४०॥ ( - ) अथवा | मुखे रागोद्भेदः नयनसुभगः दृश्यते स्फुटं, लैलाटाग्रे लग्नाननुसरति स्वेदानुडुगणः । सरोजानामिदानीमनुकरोति कोशान् स्तनं, प्रियासादृश्येन मम स्फुरति संध्या सुखकरी ॥ ४१ ॥ IV) भो एतस्मात् खलु अस्माकं त्रिभुवनलोभनीया रूपिणी अद्भुतकन्यका समासादिता पुनः किं निस्सारणीमुना मणिना कार्यम् । गृहीतेषु तण्डुलेषु किं तुषैः करणीयम् ।
वयस्य,

१ K प्रविशामः २ omits आम. ३ K श्रीमोद for प्रमोद. ४ M निटाला for ललाटाग्रे. ५ ४ कोशस्तनम्, M कोशसूनं. ६ K श्रिया for प्रिया. ७ K सुखहरी ८ K इत: for एतस्मात् ९ M लाघनीया for लोभनीया. १० M 'णानेन for णामुना.

Page #101

२४
चंदलेहाए
[I. 41.4__राजा-"गोसण्ण, मा मा एव्वं । किं इंदिरा गहिआ मुउंदेण
णाहिणंदीअदि दुद्ध-वारिही। ता उद्धरेहि णं। मणिराअं पुणो वि 'अम्हाणं अणगहिउं देवाराहण-मंदिरे अच्चणत्थं ठाविजण गच्छम्ह संझं वंदिर।
(निष्क्रान्ताः सर्वे ।) ॥ इअं चंदलेहाअं पढमं जवणिअंतरं॥
1xणन्दिअदि. 2 K इ. 3 5 पठम.
I) गोसंश, मा मा एवं । किमिन्दिरायां गृहीतायां मुकुन्देन नाभिनन्द्यते दुग्धवारिधिः। तदुद्धर एनम् । मणिराज पुनरपि अस्माकमनुग्रहीतुं देवाराधनमन्दिरे अर्चनार्थ स्थापयित्वा गच्छावः संध्यां वन्दितुम् ॥
॥ इति चन्द्रलेखायां प्रथमं यवनिकान्तरम् ॥ १ KM put the Dapda after मणिराज.

Page #102

[IT] (ततः प्रविशति राजा चामरग्राहिणी च ।) राजा -(निश्वस्य साशंसम्)
लज्जा-जंतण-लंछिआ वि सहसा तंसांवलोजसुआ तं देसं णव-पुंडरीअ-णिअर-च्छण्णं कुणंता खणं । संचारा चउरं भमंत-भुमंआ मुद्धा सिणिद्धा अ मं
आणंदंतु पुणो वि केअअ-सिहा-लच्छीणमच्छीण से ॥१॥ चामरग्राहिणी-(स्वगतम्)"अहो, अज्ज वि महाराओ तं मरगअउज्जाण-वुतंतं एव्व चव्वंतो पव्वायंत-वअण-पंकओ रुअ-रुइअच्छितेण चितेण किं वि किं वि जंपंतो उल्लिहिओ विअ चिहइ ।। ता वसंत-वण्णणेण अण्णस्सि णेमि से माणसं । (प्रकाशं) पेक्खदु दाव महाराओ।
सूणाहिंतो पिबंतो भमइ महुअरो मंदमंदं मरंदं चूआहिंतो पडतो महमहइ स-भंगाणुबंधो सुअंधो। मलाहिंतो हसंतो विलसइ पहिउक्केर-सोओ असोओ सिंगाहिंतो वलंतो मलअ-सिहरिणो वाइ सीओ अ वाओ ॥२॥
___1_r begins this Scene with this sentence: अथ चन्द्रलेखायां द्वितीयं यवनिकान्तरम् । 3 Kलच्छिआ. 3K तस्साव. 4K भमआ for भमआ. 5 : सिणिद्धाअमामण्डंदन्तु. 66 वकुओ for पंकओ. 7 5 जप्पंतो उल्लिखितो. 8 K दुमइ महुररो. 9 F चूडाहितो, 10 K सोगाहितो, but Kh सिंगाहिंतो.
[संस्कृतच्छाया] I) लज्जायन्त्रणलाञ्छिता अपि सहसा त्र्यसावलोकोत्सुकाः, तं देशं नवपुण्डरीकनिकरच्छन्नं कुर्वन्तः क्षणम् । संचाराश्चतुरं भ्रमभ्रुवः मुग्धाः स्निग्धाश्च माम्, आनन्दयन्तु पुनरपि केतकशिखालश्मिणोः अक्ष्णोः अस्याः ॥ १॥ II) अहो, अद्यापि महा. राजः तं मरकतोद्यानवृत्तान्तमेव चर्चयन् शुष्यद्वदनपङ्कजो रणरणिकाक्षिप्तेन चित्तेन किमपि किमपि जल्पन उल्लिखित इव तिष्ठति । तद्वसन्तवर्णनेन अन्यस्मिन् नयाम्यस्य मानसम् । (...) पश्यतु तावन्महाराजः। सूनेभ्यः पिबन् भ्रमति मधुकरो मन्दमन्दं मकरन्द, चूतेभ्यः पतन् सर्वतः प्रसरति संभृङ्गानुबन्धः सुगन्धः । मूलात् हसन् विलसति पैथिकोत्करशोकः अशोकः, शृङ्गेभ्यः वलमानः मलयशिखरिणः वाति शीतच
१ . लक्षिता for लाञ्छिता. २ र स्निग्धागमा for स्निग्धाश्च मा. ३ र 'शिखालक्ष्म्या . ४ Komits अस्याः. ५ Komits शुष्यद्.६ किमपि only once. ७K प्रसङ्गानुबन्धान् गन्धमूलात्, M भृङ्गानुबन्धेस्सुगधैर्मूलाइसन् for समृङ्गा' etc. ८ र पथिकोरकशोकः शृङ्गाद. ९ र मातरिश्ववातः for वाति etc.
४ चंद.

Page #103

२६
चंदहार
राजा - ( अनाकर्ण्य ) "अहो रूव-सिरी । तह अ ।
णेत्तं कंदोट्ट - मित्तं अहेर - मणि- सिरी बंधुजीएक्क-बंधू वांणी पीऊस-वेणी णव- पुलिण-अल-त्योर बिंबो णिअंबो। गतं लाअण्ण-सोत्त्रं घण- सिहिण-भरच्चंत मुज्झत-मज्झं उत्तेहिं किं बहूहिं जिणंइ मह चिरा जम्म फुलं फलिलं ॥ ३ ॥ एहि च ।
·
सामंतो सो वसंतो लसइ पिअ वह काहलेहिं कैलेहि आसण्णो एव्व पुण्णा उण सइअ वरो णड-तंदो अ चंदो । णासीरो सो समीरो चलइ मलअदो णेत्त कोणो अ बाणो सणsो सो सिणिडो जिणउ तिहुवणं ता असंगो अणंगो ॥ ४ ॥ ( विचिन्त्य ) अहव जिअं एव्व अणेण अम्हारिस-मैंम्महणणुम्मुहेण वम्मण तिहुवणं । जदो
[II.2.1
महुर-महुरमेदे हंत गाअंति कित्ति
दिसि दिसि कलअंठा "बंदिणो णंदिणो से । अवि अ गहिअ-गव्वं सव्व तेल्लोक्क-हेलाविअअ अ - वडाअंदोलिआ बालिआ सा ॥ ५ ॥
1
अहरसिरी. 2K पाणी. 3 x भरंचन्त. 4 x जणइ for जिणइ. 5K हलीलम् for फलिल्लं. 6 x omits कलेहिं. 7 x सइअणहृदन्तो अ. 8 K सो जअउ तिहुवणं, but rh सो सिणिन्धो जिणउ तिहुवणं. 9 x व but xh एव्व. 10 x सम्महेणणं मुहेणं मम्महेण 11 x गायन्ति 12 x वन्दिणे से. 13 K असिअ 14 x केलोक्क. 15 K डअ for धअ.
वातः ः ॥ २ ॥ I) अहो रूपश्रीः । तथा च । नेत्रं नीलोत्पलमित्रम् अधरमणिश्रीर्बन्धुजीवैकबन्धुः, वाणी पीयूषवेणी नवपुलिन तैलस्थूलबिम्बो नितम्बः । गात्रं लावण्यस्रोतः घनस्तन भैरात्यन्तमुह्यन्मध्यम्, उक्तैः किं बहुभिः जयति मम चिरात् जन्मफुलं फलवत् ॥ ३ ॥ इदानीं च । सामन्तः स वसन्तो लसति पिकवैधूकाहलैः कलैः, आसन्न एव पुण्यात् पुनः सचिवपरो नष्टतन्द्रश्च चन्द्रः । नासीरः स समीरश्चलति मलयतो नेत्रकोणश्च वाणः सन्नद्धः स स्निग्धो जयतु त्रिभुवनं तदसंगो अनङ्गः ॥ ४ ॥ ( --- ) अथवा जितमेवानेन अस्मादशां मर्महननोन्मुखेन मन्मथेन त्रिभुवनम् । यतः, मधुरमधुरमेते हन्त गायन्ति कीर्ति, दिशि दिशि कलकण्ठाः बन्दिनो नन्दिनोऽस्य । अपि चं गृहीतगर्व सर्व

१ M वायुः for वातः २ K पुलिनस्थूल ३ M 'भारात्यन्तो मु ं. ४ M बहुना ५ वधूहाहाकलैः कालैः. ६ K आसन्ने and lucuna upto पुनः, M "सन्न and lacuna upto नः सचिव ७ K तदङ्गसङ्गम्, M देशमे - कोऽनङ्गः for तदसंगो eto. ८ x मधुरमेके. ९ च निगृहीत .
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-II. 8. 1 ]
दुदिअं जवणिअंतरं
चामरग्राहिणी – ( स्वगतम् ) "अहो, णिअ - सासणेक्क- वसंवदाविअ-सअल-महिअलो हविअ अप्पणा कुसुमसरासणस्स सासणं अणुवट्टमाणो ण किं वि जाणादि महाराओ । सव्वहा
हरि-हर- सरसिरुहा सण - हरिहय पमुहा मुहा कहिनंति । णाहो खु णवर एक्को मअणो भुवणाण चोदहाणं वि ॥ ६ ॥ राजा - अच्छेरं ।
II )
जं जेहिं णअणंचलेहि तंइआ मंदाणिलंदोलिए पिऊसण्णव-सीअलंबु -लहरी - मज्झम्मि णिम्मज्जि । तेहिं महमेहिमुह - विसमे कप्पंत वादाहए घोर - खेड अ-पूर - पूरिअ-ई-सोत्तम्मि छितं मणं ॥ ७ ॥
किं च ।
जाला हेला - विहसिअ -रई लोअणागोअरे सा बाला ताला - पंहुदि परुसा चंदिआ - मंद-वाआ । जाला - माला पैलअ सिहिणो पलवाली मुणालीमाला हालाहलमवि अ कोलाहलो कोईलाणं ॥ ४ ॥ ( विचिन्त्य ) किं णु खु वअस्सो में चिराअदि ।
२७
1K महिअले, but rh 'लो. 2 x वट्टमाणेण की वि जाणादि. 3 छ सुरवण एक्को for खु etc. 4 आआ मन्दा. 5 x तन्तेही महमेहिं 6 K वादाहते. 7 K च्छत्तं. 8K बहुदिवरुचा for पहुदि परुसा. 9 x वलय. 10 x कोइदाणम् 11 x omits मे which is given by Kh
त्रैलोक्यहेला, विजयध्वजपताकान्दोलिता बालिका सा ॥ ५ ॥ I) अहो, निजशासनैकवैशंवदीकृत सकलमहीतलो भूत्वात्मना कुसुमशरासनस्य शासनमनुवर्तमानो न किमपि जानाति महाराजः । सर्वथा, हरिहरसरसीरुहासनहरिहयप्रमुखा मुधा कथ्यन्ते । नाथः खलु परमेको मदनो भुवनानां चतुर्दशानामपि ॥ ६ ॥ II) आश्चर्यम् । यद्यैः नयनाञ्चलैः तदा मन्दानिलान्दोलिते, पीयूषार्णवशीतलाम्बुलहरीमध्ये निमज्जितम् । तत् तैः मम इदानीमुष्णविषमे कल्पान्तवाताहते, घोरक्ष्वेडकपूरपूरितनदी स्रोतसि क्षिप्तं मनः ॥ ७ ॥ किं च । यदा हेलाविद्देसि तर तिर्लोच नागोचरे सा, बाला तदाप्रभृति परुषाश्चन्द्रिकामन्दवाताः । ज्वालामालाः प्रलयशिखिनः पल्लवाली मृणाली, माला हालाहलमपि च कोला
M वशपदीकृत ५ x किमपि विजानाति ६ x वरमेको for तदा. ८ पीयूपं नव ९ K विषमेकान्तवान्तवाता जळे झटित्यव क्षिप्तं मनः । ११ विलसिता रति lacuna,
१ M विभि for विजय. २ x लोलिता लालिका सा for 'दोलिता etc. ३ M बालका. ४ " वशंवन्दीकृत, ७K यद्याभ्यां नयनाञ्चलाभ्यां मन्दा, M lacuna १० K घेरक्ष्येलपूरित, M घोरक्ष्वेड lacuna तार्णव

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२
चंदलेहाए
[II, 8.2(ततः प्रविशति विदूषकः।) । विदूषकः-(सहर्षम् )"हंत साहि कजं । तं वअस्सस्स णिवेदेमि । (परिक्रम्य, पुरोऽवलोक्य) एसो वअस्सो अहिणव-पिअंगु-सामलंगो वि पच्चूस-ससि-मंडल-पंडुर-महुरोहिं अवअवेहिं णिदाह-गंगा-पवाहो • विअ कमेण विमुक्क-गभीरतणो बहुल-पक्ख-चंदो विअ दिणे दिणे विमुच्चंत-कला-समुदओ तुहिणाअलो व्व विजंभंत-मअणो तं एव्व
अब्भुद-कण्णसं झाअंतो थिमिओ चिट्ठइ । (विचिन्त्य) अहो एआरि, साणं वि महापुरुसाणं माणसं मअणेण कीलामिओ कीरइ । सव्वहा मअण-मारुअ-विलोलिअस्स माणसस्स ण को वि पंडिआरं करेइ । ता कुसुम-सरासण-सरासार-झरंत-हिअअं वअस्सं सूर-इरण-विसू"रंत-कुमुव कुमुआअरं सरदिंदु-सुंदर-मुहीए वुत्तंत-चंदिआ-णीसंदेण आणंदेमि । (उपसृत्य) जिणउँ भवं ।
राजा-वअस्स, किं दिहा देवी। 15 विदूषकः -IIकिं दमिलमंडआए पवट्टो सि । उज्जुअं एव्व पुच्छ । किं दिहा तत्थहोदी मणिसंभवेति । किमिणं मूलं मुणंतस्स मम पतं
1 Fता for तं. 2 5 णिवाह, but Kh णिदाह. 3 5 लोवंभंतमअणो. 4 5 अब्भुदंण, but Kh अब्भुदकण्ण. 5 r omits अहो. 6 6 किलामिओ.7 परिआरं. 8 जणउ भव्वं. 9 F उजणीएव्व. 10 K तत्तहोदी. 11 K मूणं मूलत्तस्स. हलः कोकिलानाम् ॥ ८॥ (...) किं नु खलु वयस्यो मे चिरायति । I) हन्त साधितं कार्यम् । तद् वयस्याय निवेदयामि । (...) एष वयस्यः अभिनवप्रियङ्गुश्यामलाङ्गोऽपि प्रत्यूषशशिमण्डलपाण्डुरमधुरैः अवयवैः निदाघगङ्गाप्रवाह इव क्रमेण विमुक्तगम्भीरत्वो बहुलपक्षचन्द्र इव दिने दिने विमुच्यमानकलासमुदयः तुहिनाचल इव विजृम्भमाणमदनः तामेवाद्भुतकन्यकां ध्यायन् स्तिमितस्तिष्ठति । (...) अहो एतादृशानामपि महापुरुषाणां मानसं मदनेन क्रीडामृगः क्रियते । सर्वथा मदनमारुतविलोलितस्य मानसस्य न कोऽपि प्रतीकारं करोति । तत् कुसुमशरासनशरासारसंतप्यमानहृदयं वयस्यं सूर्यकिरणविशुष्यत्कुमुदमिव कुमुदाकरं शरदिन्दुसुन्दरमुख्याः वृत्तान्तचन्द्रिकानिष्यन्देन आनन्दयामि । (...) जयतु भवान् । II) वयस्य, किं दृष्टा देवी। III) किं मिलमण्डकया प्रवृत्तोऽसि । जुकमेव पृच्छ । किं दृष्टा तत्रभवती मणिसंभवेति । किमिदं मूलं
१ M वयस्यस्य. २ 'यामि इति. ३ r omits प्रियङ्ग, प्रिय तु. ४ र वदनः for मदनः. ५K omits वयस्थ, M laonna. ६ ( किं चन्द्रमिलमण्डकया, M lacuna जया प्रवृत्तोऽसि. ७ बज्ये पप्रच्छ for जुकमेव etc. CM अत्र भवती.

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-II. 9.]
दुदिअं जवणिअंतरं दंसीअदि, रअण-वेदिणो मंदिरे माणिक-मणि ति का विक्किणीअदि, अणुभूद-बम्हाणंदस्स पुरंदो इंदआल-परमत्थदा समत्थीअदि। किं मए ण मुणि मरगआरामादो एव्व तुए देवी-पक्खवादस्स सतिला सलिलंजली दिण्ण ति । राजा-'मा मा एव्वं ।
जइ वि मणमिमस्सि कण्णआणिबद्धं तह वि गलइ देवी-पक्खवादो कहं मे । स-रइ कमलिणीअं दिण्ण-केली-पआरो
विसुमरइ खु णो सो माणसं राअहंसो ॥९॥ ता आदिदो पहुदि कहेहिं ।। __ विदूषकः -"सुणादु वअस्सो। एसो अहं अंतेउर-वुतंतं जाण ति तुए पेसिदो गोसम्मि एव्व पत्थिदो फलिहंकणेणं गंतुं पवुत्तो। ।
राजा-तदो तदो। विदूषकः -- तदो दूरादो एव्व दिहा मए के वि कीला-सालभंजिअं गण्हिों आअच्छंती तमालिआ।
राजा-तदो तदो। विदूषकः- "तदो सा मं अपेक्खंती विअ अण्णेण मग्गेण गआ।
राजा-(स्वगतम् )किंणिमितं । (प्रकाशं) तदो तदो। __ 11 वित्तीणिअदि. 2 घुरदो. 3 K सतिलो. 4 K पख्खपादो. 5 x कहेदि. 6 x फलिहङ्करेण. 7_K किं वि. 8 x 'भञ्जिआं गृह्निअ आअच्छिती. जानतः मम पत्रं दयते, रत्नवेदिनो मन्दिरे माणिक्यमणिरिति काचो विक्रीयते, अनुभू. तब्रह्मानन्दस्य पुरतः इन्द्रजालपरमार्थता समर्थ्यते । किं मया न ज्ञातं मरकतारामादेव त्वया देवीपक्षपातस्य सतिलः सलिलाञ्जलिदत्त इति । I) मा मा एवम् । यद्यपि मन अमुप्यां कन्यकायां निबद्धं, तथापि गलति देवीपक्षपातः कथं मे। सरति कमलिन्यां दत्तकेलीप्रचारः, विस्मरति खलु नो स मानसं राजहंसः॥९॥ तदादितः प्रभृति कथय । II) शृणोतु वयस्यः । एषोऽहं अन्तःपुरवृत्तान्तं जानीहीति त्वया प्रेषितः प्रभाते एव प्रस्थितः स्फटिकाङ्गणेन गन्तुं प्रवृत्तः। III) ततस्ततः। IV) ततो दूरादेव दृष्टा मया कामपि क्रीडाशालभञ्जिकां गृहीत्वा आगच्छन्ती तमालिका। V) ततस्ततः। VI) ततः सा मामपश्यन्तीव अन्येन मार्गेण गता । VII) किनिमित्तम् । (...) ततस्ततः।
१r omits मम, M perhaps lacuna. २ र दृश्यते. ३ KM मरतकारा . ४ नृत्त for दत्त. ५ मनो बन्धो for नोस.६K omits प्रभाते. ७ ॥ स्फटिकाङ्कणेण.८ K पश्यन्तीव भन्येनैव मागेंण, 'पश्यन्ती चान्येन मा.

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चंदलेहाए
[II.9. 10__ विदूषकः-"मज्झ अदंसणं अहिलसंतीए किं दसणेणं ति अहं वि
नुण्हि एव्व गंनुमाढतो। ॥ राजा-"तदो तदो।
विदूषकः -तदो तहिं संमज्जणादि-वावार-केलि-लग्गेण दासेरईवग्गेण णव-णिहुवण-केलि-सिढिल-बंध-विगलिअंस-घोलंत-पज्जुसि15 अ-मालई-माला-महमहंत-बहल-परिमल-भर-भमंत-भसल-मंडलेहिं
धम्मिल्लेहिं सुरअ-भर-किलम्मत-चंचलेहिं णअणंचलेहिं थोआवसिह-पुराण-कत्थरी-पत-भंग-लेहाहिं गंड-लेहाहिं रमण-दिढ-दिण्ण-बिं। दु-मणहरेहिं अहरेहिं मंडल-किअ-माणिक-मणि-सअल-विण्णाससंका-अर-तंबराअर्माण-मणि-माला-दिण्ण-उकंठेहिं कंठेहिं वल्लहणव-णह-दल-विलिहिअ-चंदलेहा-मणोहरोहिं पओहरेहिं मोहण-वेअ। खंडिअ-कंची-गुण-सिढिल-णिअसणेहिं जहणेहिं नुरिअ-विण्णासमहुर-झणझणाअंत-णेउर-कलकल-सुहअ-संचलणेहिं चलणेहिं आअ. च्छिों पाडिकं एव्व मरगउज्जाण-वुत्तंतं अहं पुच्छिदो। 2. राजा-IVतदो किं तुए पडिवण्णं ।
विदूषकः - इमिणा अत्याण-रअण-खंभेण किं पडिवण्णं । किं ___ 1 सिडिल. 2K भमल. 3 धम्मल्लेहि. 4 K तोयावसिद5 'राअमण्णमणि. 6 F उकण्ठेहिं. 7 K तुरिय. 8 K आयच्छिअ. 9 5 अत्ताणरअणभेण. I) ममादर्शनमभिलषन्त्याः किं दर्शनेनेति अहमपि तूष्णीमेव गन्तुमारब्धः। II) ततस्ततः। III) ततस्तत्र संमार्जनादिव्यापारकेलीलग्नेन दासेरैकीवर्गेण नवनिधुवनकेलीशिथिलवन्धविगलितांसघूर्णमानपर्युषितमालतीमालासर्वतःप्रसरद्वहलपरिमलभरभ्रमर्दै भ्रमरमण्डलैर्मल्लैधुम्मिल्लैः सुरतभरथमक्लाम्यच्चञ्चलैनयनाञ्चलैः स्तोकावशिष्टपुराणकस्तूरीपत्रभङ्गलेखाभिर्गण्डरेखाभिः रमणदृढदत्तविन्दुमनोहरैः अधरैः मण्डलीकृतमाणिक्यमणिशकलविन्यासशङ्काकरताम्रायमाणमणिमालादत्तोत्कण्ठैः कण्ठैः वल्लभनवनखदलविलिखितचन्द्रलेखामनोहरैः पयोधरैः मोहनवेगखण्डितकाञ्चीगुणशिथिलनिवसनैः जघनैः त्वरितविन्यासमधुरझणझणायमाननूपुरकलकलसुभगसंचरणैश्चरणैरागत्य प्रत्येकमेव मरकतोद्यानवृत्तान्तमहं पृष्टः। IV) ततः किं त्वया प्रतिपन्नम् । V) अनेन आस्थानरत्नस्तम्भेन किं प्रतिपन्नम् । किं कस्तूरी पंकणे विक्रीयते । किं पुरोडाशं शबरीणां दीयते । किं
१K मम दर्शन. २ KM ततस्तस्मिन्. ३ र दासीवर्गेण. ४ M भ्रमद्भसळम. ५ . "यनानिलैः. ६ ॥ omits पुराण. ७ र लेखाभिः for रेखाभिः. ८K omits दल. ९ ॥ ततस्त्वया किं प्र. १० र वक्रणे, A पट्टणे for पकणे. ११ K समराणां for शबराणां, u lacuna.

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-IT.9. 42]
दुदिअं जवणिअंतरं कत्थरी पक्कणे विकिणीअदि। किं पुरोलासं समराणं दिज्जइ। किं पंचगव्वं वाअसाणं पडिवज्जीअदि।
राजा-(सस्मितम् )अहो विअड्डदाए विलासो। विदूषकः-"किं एत्थ अच्छरीअं। को उण वासस्स लिवि-विण्णासे चितीअदि । को वम्मीइणो पद-बंधे कोदुअं करेदि । को बुहप्पइणो" छग्गुण्ण-दंसणे विम्हअंगण्हइ ।
राजा -"सच्चं । तदो तदो। विदूषकः-Vतदो ताणं ईसा-रज्जु-भमाडिज्जंत-भुमआ-कवणुच्छि-" तेहिं चडुल-चडुलेहिं कर्डक्ख-मरगअ-पासाणेहिं तालिओ। कहं कहं वि तदो संकडादो णिकमिअ पदुमराअ-सज्ज-वण-परिअंतेण गदुअ पलित-फलिअ-मणि-सिलालिंद-बहल-जोण्हा-जाल-धवलाअंत-दस- 6 दिसा-मुहं माणिक-मणि-मंदिरोल्लसिअ-मंसल-मऊह-माला-बालौदवपल्लविअ-णहंतरं विविह-वावार-नुवरंत-विलासिणी-महुरालाव-कोलाहल-मणहरं अंतेउरं पविट्ठो म्हि ।
राजा-तदो तदो।
विदूषकः- "तदो विद्दम-मणि-मंडिअ-मंडव-मज्झे पोमराआसणणिसण्णा देवी, अणंतर-णिहित्ते फलिह-मणि-सिलासणे चंदादेवम्मि
15 पङ्कणे. 2K देअहृदाए for विअढदाए. 3 K व्वासस्स. 4 K थग्गुण. 5K ककवणु. 6 Kखडख्ख. 7K संकटादो. 8 परतंतेण.9 K omits मणि. 10 मऊलह. 11 र पालादव. 12 omits मंडिअ. 13 ( चन्दादिपम्मि. पञ्चगव्यं वायसानां प्रतिपाद्यते । I) अहो विदग्धतायाः विलासः। II) किमत्राश्चर्यम् । का पुनर्व्यासस्य लिपिविन्यासे चित्रीयते । को वाल्मीकेः पदबन्धे कौतुकं करोति । को बृहस्पतेः षाड्गुण्यदर्शने विस्मयं गृहाति । III) सत्यम् । ततस्ततः। IV) ततस्तासामीारज्जूभ्राम्यमाणभ्रूकवणोत्क्षिप्तः चटुलचटुलैः कटाक्षमरकतपाषाणैस्ताडितः । कथंकथमपि ततः सङ्कटान्निष्क्रम्य पद्मरागसर्जवनपर्यन्तेन गत्वा प्रदीप्तस्फटिकमणिशिलालिन्दबहलज्योत्स्नाजीलधवलायमानदशदिङ्मुखं माणिक्यमणिमन्दिरोल्लासिमांसलमयूखमालाबालातपपल्लवितनभोऽन्तरं विविधव्यापारत्वरमाणविलासिनीमधुरालाप कोलाहलमनोहरमन्तःपुरं प्रविष्टोऽस्मि । V) ततस्ततः। VI) ततो विद्रुमैमणिमण्डि. तमण्डपमध्ये पद्मरागासननिषण्णा देवी, अनन्तरनिहिते स्फटिकमणिशिलासने चन्द्रा
१M lacuna हे ते विदग्धताया. २ लिपिज्ञाने नि', 4 कि lacuna विज्ञानेन चि'. ३ र करोति for गृह्णाति. ४ M has a long lacuna after ततस्तासां upto हारीतपक्ष etc. (p. 32,149). ५ र 'रज्वा for रज्जू'. ६ Komits जाल. ७ Komits मणि'.

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३२
चंदलेहाए
[II. 9. 43
बालादव लच्छि व्व समासीणा सा अब्भुद कण्णआ, ताणं तंबोलदाणं कुणंतीओ चंदणिआ - चंदिआओ मए दिट्ठाओ ।
राजा - "तदो तदो ।
45
48
विदूषकः -"तदो दूरादो एव्व मं दद्दूण चओरओ आच्छदिति देवीए कंचणासणं उवणाइअं । तहिं च सुहं पिसण्णो अहं देवीए " विअंभंत चारु-तारुण्ण सण्णाह सुहअ णव भूसण-वहू- कवोल पालीकोमलेहिं तंबोलेहिं हारीद - पक्ख-हरिअ - णिम्मलेहिं पोफलेहिं मणहर-वाएहिं पसुवइ जडा-चंद - खंड - धवलेहिं कप्पूर - सअलेहिं च " संभाविओ ।
51
राजा - किं भण्णइ संभावणा णिवणत्तणं देवीए ।
IV)
विदूषकः - ( सेर्घ्यम् ) " किं एव्वं भणसि । किं णारदे संपत्ते महोण"हिसी ण बहु मण्णइ । किं वसिट्टे पविट्ठे महुमह महिला ण सिलाहेइ । किं अरविंद-मंदिरे अब्भागए चंद- सेहर - सुंदरी णाहिणंदेश |
1
57
राजा - जुत्तं एव्व । तदो तदो ।
VI).
विदूषकः- दो ताए अन्भुद कण्णआए चंदिआ धवलं मंद - हसिअ- चंदण चच्चि दाऊण णीसंदंत- बहुमाण-मअरंद-सोत्तेहिं णेत्तेहिं कंदोट्ट-मालिआ - मंडणं लंभिओ ।
-
1 आदिट्ठा, but rh मए दिट्ठाओ. 2 K सण. 3 K फोफलेही. 4 x वाही, but rh 'वाहिं उवाएा पसु 5 K उवलेहिं. 6 K मिहिसी. 7 K णी सन्तबहु.
तपे बालातपलक्ष्मीरिव समासीना सा अद्भुतकन्यका, तयोस्ताम्बूलदानं कुर्वन्त्यो चन्दनकाचन्द्रिके मया दृष्टाः । I ) ततस्ततः । II) ततो दूरादेव मां दृष्ट्वा चकोरक आगच्छतीति देव्या काञ्चनासनमुपानीतम् । तस्मिंश्च सुखं निषण्णः अहं देव्या विजृम्भमाणचारुतारुण्यसंनाह सुभगनवभूषणवधूकपोलपालि कोमलैः ताम्बूलैः हारीतपक्षहरित निर्मलैः पूगफेलैः मनोहरपाकैः पशुपतिजटाचन्द्रखण्ड धवलैः कर्पूरशकलैश्च संभावितः । III) किं भण्यते संभावना निपुणत्वं देव्याः । IV) किमेवं भणसि । किं नारदे संप्राप्ते मघवन्महिषी न बहु मन्यते । किं वसिष्ठे प्रविष्टे मधुमैथमहिला नश्लाघते । किमरविन्दमन्दिरे अभ्यागते चन्द्रशेखरसुन्दरी नाभिनन्दति । V ) युक्तमेव । ततस्ततः । VI ) ततस्तया अद्भुतकन्यकया चन्द्रिकाधवलां मन्दहसितचन्दनचर्चिकां दत्त्वा निष्यन्दमानबहुमान
१ Komits] पूगफलैः and 'चन्द्रखण्ड' which are given by M. २ M मघोनो महिषी. ३ M माधव for मधुमथ ४ चाद्भुत for अद्भुत'.

Page #110

-II. 10.13]
राजा - ( तामनुसंधाय )
तं
तं तह दीहरं जह भवे अण्णो ण कण्णेउरो बिंबोद्वाण पहा तहा जह थणा ढिल्लीअरा कुंकुमे । वच्छोए तह पंडिमा जह पुरो सुण्णप्पणो दपणो लाअण्णं तह अंगअम्मि जह जो गज्झं णिओलंसुअं ॥ १० ॥ अयि पुणो विदिट्ठ- गोअरे भवे ।
विदूषकः - "भो वअस्स, जावं ण पम्हुसिमि ताव सव्वं वृत्तंत- सेसं सुणिअ पच्छा जहिच्छं चव्वेहि ।
राजा-नदो तदो ।
IV)
विदूषकः - दो तक्कालोइदेहिं [आलावेहिं ] कंपि कालं विणोदिऊर्ण देवीए अणुमदो पत्थिदो म्हि ।
राजा - (स्वगतम् ) ण लडो को वि दंसणोंवाओ ।
VII)
राजा
विदूषकः - किं तदो तदो त्रिण पुच्छीअदि । "वअस्स, चिंतेमि णत्थि दंसणोवाओ ति । विदूषकः पुणो वि किंचि सुणिअ णिरासो होहि । राजा [[X] कहेहि |
VIII)
-
दुदिअं जवणिअंतरं
-
दयित्वा
३३
X)
विदूषकः -- तदो मम णिग्गमादो पुरुवं एव्व चंदणिआ जं किंचिं " भणिअ णिग्गमिअ मग्गे फलिह-पडोहरुप्पर - अग्गे लग्गा आसि ।
१ K लीलादरौ for शिथिलादरौ. २ ५ M किमपि for किंचित् ६
५ चद०
1K अण्ण कण्णे. 2 K डिल्लाअरा 3 K सुखप्पणी, Kh सुनध्पणो. 4 K गझण्णिओलो सुणम्. 5 x पंमुसिमि 6 विणोदऊण 7 दस्णोवाओ. SK चि. 9 x पलिहपडोहरप्पर. मकरन्दस्रोतोभ्यां नेत्राभ्यां नीलोत्पलमालिकामण्डनं लम्भितः । I) तन्नेत्रं तथा दीर्घ यथा भवेत् अन्यन्न कर्णपूर, विम्बोष्ठयोः प्रभा तथा यथा स्तनौ शिथिलादरौ कुङ्कुमे । वक्षोजे तथा पाण्डुता यथा पुरः शून्यार्पणो दर्पणः, लावण्यं तथा अङ्गके यथा नो ग्राह्यं निचोलांशुकम् ॥ १० ॥ अयि, पुनरपि दृष्टिगोचरे भवेत् । II) भो वयस्य, यावन्न प्रस्मरामि तावत् सर्व वृत्तान्तशेषं श्रुत्वा पश्चात् यथेच्छं चर्वय । III ) ततस्ततः । IV) ततस्तत्कालोचितैः आलापैः कमपि कालं विनोद्यं देव्यानुमतः प्रस्थितोऽस्मि । V) न लब्धः कोऽपि दर्शनोपायः । VI ) किं ततस्तत इति न पृच्छयते । VII) वयस्य, चिन्तयामि नास्ति दर्शनोपाय इति । VIII) पुनरपि किंचित् श्रुत्वा निराशो भव । IX) कथय । X) ततो मम निर्गमात् पूर्वमेव चदैनिका यत्किचित्

तथा रेणुके यथाग्रेण ग्राह्यं. ३ x 'लोचितैर्देव्या आलापैः ४ K विनोचन्दनिकया य

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३४
15
3
चंदलेहाए
राजा - ( सप्रत्याशम् ) " तदो नदो |
विदूषकः- दो मए सह किद संधी गआ सा ।
III)
राजा - ( सस्मितम् ) केरिस स संधी |
IV
विदूषकः - एरिसो । ( इति पत्रिकां दर्शयित्वा ) एसो तत्थहोदीएं अ"ब्भुद कण्णआए सरस्सई- विलासो अक्खर - विण्णासो अ । राजा - ( सहर्षमादाय वाचयति । )
को उण कुणइ णिरोहं अवगाहि झति पक्खवाद - धुअं । इह को विराजहंसो उक्कलिअं माणसम्मि वड्डेई ॥ ११ ॥ ( सरोमाञ्चम् )
सवण- उड- गोरो विं अ फास- सुहाइ व्व झत्ति मह दंतो । उप्पुंलइअमंगं उप्पल-णअणाअ कुणइ संदेसो ॥ १२ ॥ ( पुनरपि द्विचयति । )
विदूषकः - भो वअस्स, किं चव्विअ चव्वणेण । पुणो वि पेक्ख । चंदणिआए वि एत्थ एव्व दुवे सिलोआ कटुअ लिहिआ ।
राजा - ( वाचयति । )
VII)_
तासोअं वहइ सुरहिं सा वि तं दक्खिऊणं चंदो मोहं वहइ भुवणे सा विं तेणं णअंगी ।
1 K तत्तहोदीए. 2 K वट्टेइ. 3 x विअषससुहाइ 4K उप्पुलअमंगं. 5 x चन्दिणिआए. 6 सोयं. 7 K सुरही. 8 K वियोणं for वि तेणं.

[II. 10.14
भणित्वा निर्गम्य मार्गे स्फटिकपश्चाद्भागगृहाये लग्ना आसीत् । I ) ततस्ततः । II) ततो मया सह कृतसंधिर्गता सा । III) कीदृशः स संधिः । IV) ईदृशः । (..) एष तत्रभवत्या अद्भुतकन्यकायाः सरस्वतीविलासो अक्षरविन्यासश्च । V) कः पुनः करोति निरोधं अवगाह्य झटिति पक्षेपातधुतम्, इह कोऽपि राजहंसः उत्कलिकां मानसे वर्धयति ॥ ११ ॥ ( ं) श्रवणपुटगोचरोऽपि च स्पर्शसुखानीव झटिति मम दर्देत् । उत्पुलकितमङ्गमुत्पलनयनायाः करोति संदेशः ॥ १२ ॥ VI) भो वयस्य, किं चर्वितचर्वणेन । पुनरपि पश्य । चन्दनिकयापि अत्रैव द्वौ श्लोकौ कृत्वा लिखितौ । VII) रक्ताशोकं बिभर्ति सुरभि सापि तं दृष्ट्वा चन्द्रो मयूखं वहति भुवने सापि तेन नताङ्गी ।
१ K कन्यायाः २ पक्षवाते धुते, M पक्षपात lacuna ३ वर्धयति ॥ इति. ४ ५ रक्ताश्लोकं विभक्तः ६ K सुरभितं, M सुरभिः ७ मयूखं मोहमिति च वहति ८

दम्भम् for ददत्. सापि नताङ्गी.

Page #112

-II. 15. 2]
दुदिलं जवणिअंतरं सो जीआदो णिवडइ सआ पंचबाणस्स बाणो
पच्छा तेणं दलिअ-तणुआ सा वि बाला खणेणं ॥ १३ ॥ अवि अ।
चंडा ते सास-दंडा तह जह सुहआ गिम्ह-वादाण वादा बाहा तिव्व-प्पवाहा तह जह सअला दिण्ण-मुद्दा समुद्दा । देहो वढंत-दाहो तह जह पलउदंड-सूरो उ मारो
कामो किं कादुकामो ण अ उण मुणिमो दूमिआए इमाए॥१४॥ को उण अप्फंदइ चंदणि संदभ-सरणीए । विदूषकः-"चंदिऔ अप्फंदइ । तिस्से वि सिलो पेक्ख । राजा-(वाचयति ।) "ण चंदो आणंदं कुणइ ण अ कंदोट्ट-कलिआ
ण माअंद-स्संद-प्पअलिअ-मरंदो वि पवणो । ण संदो णीसंदो" मलअअ-रसाणं वि विसमं
वसंतीए तीए किमिह मुणिमो किं च भणिमो ॥ १५ ॥ अहो सुहओ संदब्भो चंदिआए। (विचिन्त्य ) वअस्स, कहं पुण अदिड-पुरुवासुं चंदणिआ-चंदिआसुं से चंदमुहीए विस्संभो। - 1 K पञ्चौ. 2 Kगीषवादा, but xh गिह्म. 3 K पादा for बाहा. 4 K वलउ'. 5_kh सुरो तुसारो. 6 5 अप्फुन्दइ. 7 - चन्दणिआ. 8 : किस्से. 9 K माअंदंषद. 10 Kणीसंदे. 11k मलअसरसाणं. 12 K चन्दणिआए. 13 5 चन्दिणिआ. स जीवातः निपतति सदा पञ्चबाणस्य बाणः, पश्चात् तेन दलिततनुः सापि बाला क्षणेन ॥१३॥ अपि च । चण्डास्ते श्वासदण्डास्तथा यथा सुभगा ग्रीष्मवातानां
पाः तीव्रप्रवाहास्तथा यथा सकला दत्तमद्राः समद्राः। देहो वर्धमानदाहः तथा यथा प्रलयोद्दण्डसूर्यस्तु मारः, कामः किं कर्तुकामः न च पुनर्जानीमः दूनाया: अमुष्याः॥१४॥ कः पुनराकामति चन्दनिकां संदर्भसरण्याम् । I) चन्द्रिका आक्रामति । तस्या अपि श्लोकं पश्य । II) न चन्द्र आनन्दं करोति न च नीलोत्पलकलिका, न माकन्दस्पन्दप्रगलितमरन्दोऽपि पवनः। न सान्द्रो निष्यन्दो मलयजरसानामपि विषमं, वसन्त्यास्तस्याः किमिह जानीमः किं च भणामः ॥ १५॥ अहो सुभगः संदर्भश्चन्द्रिकायाः । (...) वयस्य, कथं पुनरदृष्टपूर्वयोः चन्द निकाचन्द्रिक
१K सापि जीवातः जीवादिति च नियतति, । सभ्यातः for स जीवातः. २ र पश्चात् तौ दलित'. ३ र 'वाता न वाता. ४ & सूर्यस्तुधारः, ५ . दुनयानया. ६ र निकासन्दर्भसरण्याः. ७ चन्दनिकामाका'. ८ र 'स्पन्दः प्रग. ९ र र्भश्चन्दनिकाया.
Awaren

Page #113

चंदलेहाए
[II. 15.3, विदूषकः-"चंदणिआ भणादि। भट्टिणीए तस्सि एव्व दिअहे मह बहिणिआ चंदिआ ताए रअणसंभवाए सहितणे णिउता। तदो तं
एव्व सव्वदा अणुवढेती चंदिआ ताए अप्पणो हिअअं विअ विस्सं'भदैहाणं आसी । अहं च तिस्से भइणि ति सिणेह-पतं जाअ ति ।
राजा-''जुज्जइ।
विदूषकः - IT'पुणो वि ताए किं वि पत्थिअं च । अज्ज खु चंदिआ• मुहादो अदिसइद-सुर-सुंदरी-गीअं रअणसंभवाए गीअं ति सुर्णि कोदुएण वट्टमाणाए भट्टिणीए महाराअं संकिअ णादिदूरं पोमराआरामं गमिऊण गीअं सोदव्वं ति समओ किदो। ॥ राजा -IVतदो तदो। _ विदूषकः-'तदो दाणिं भट्टिणी रअणसंभवा अ पदुमराआराम
गमिस्संति । तहिं च तुम्हेहिं पेरंत-ठिअस्स बाल-तमालस्स पसरंत" हरिणील-सिला-वेदिआ-मजह-मालंधआर-मज्झे ठाअव्वं ति ।
राजा - (सप्रमोदम्)"अम्हाणं ईंअं अभत्थणा ।
विदूषकः-(कर्ण दत्त्वा ) जेण णूउर-णिणादो सुणीअदि तेण पत्थिआ 1 देवी रअणसंभवा अ पोमराआरामं । ता गच्छम्ह ।
____ 1 5 णिवुत्ता. 2 K संवदा. 3 5 °दठाणं. 4 5 किस्से. 5 K omits च. 6 K सुणुअ.7K कओ, but kh किदो. 8 वाम for बाल. 9 5 मऊहवालंडआर. 10 K इयं. 11 K सुणीहदि. योरस्याश्चन्द्रमुख्याः विश्रम्भः। I) चन्दनिका भणति । भट्टिन्या तस्मिन्नेव दिवसे मम भगिनी चन्द्रिका तस्या रत्नसंभवायाः सखित्वे नियुक्ता । ततस्तामेव सर्वदा अनुवर्तमाना चन्द्रिका तस्या आत्मनो हृदयमिव विनम्भस्थानमासीत् । अहं च तस्या भगिनीति स्नेहपात्रं जाता इति । II) युज्यते । III) पुनरपि तया किमपि प्रार्थित च । अद्य खलु चन्द्रिकासुखात् अलिशयितसुरसुन्दरीगीतं रत्नसंभवाया गीतमिति श्रुत्वा कौतुकेन वर्तमानया भहिन्या महाराज शङ्कित्वा नातिदूरं पद्मरागारामं गत्वा गेयं श्रोतव्यमिति समयः कृतः। IV) ततस्ततः।।) तत इदानीं भंट्टिनी रत्नसंभवा च पद्मरागारामं गमिष्यतः। तस्मिंश्च युवाभ्यां पर्यन्तस्थितस्य वालतमालस्य प्रसरद्धरि• नीलशिलावेदिकामयूखमालान्धकारमध्ये स्थातव्यमिति । VI) अस्माकमियमभ्यर्थना । VII) येन नूपुरनिनादः श्रूयते तेन प्रस्थिता देवी रत्नसंभवा च पद्मरागारामम् ।
१॥ भगिनिका च. २ र हृदयमिवात्मनो for आत्मनो हृदयमिव. ३ वर्तमानायाः. ४ Komits भट्रिनी. ५ गमष्मति. ६साल for बाल. ७ र लेखालेख for वेदिकामयूख.

Page #114

-II. 17.1]
दुदिशं जवणिअंतरं राजा-"तहा । (उभावुत्थाय परिक्रामतः।) राजा-(नूपुरश्रवणमभिनीय सहर्षम् )
"सोदूण णेउर-रवं दइआअ पाणा उज्जीविआ मह मणोभव-बाण-खिण्णा । आरावमंबुअ-कुलाण णिदाह-दाह
जूराविआ विअ मजर-गणा कुणंति ॥ १६ ॥ विदूषकः - भो वअस्स, इमाए विलुलिअ-मुउल-कुल-परिमल-भरतरलअर-भसल-पडल-कलकल-सुहआए बाल-बउल-वाडिआए गच्छम्ह पोमराआराम-पेरंतं । ( उभौ परिक्रामतः ।)
विदूषकः- 'पत म्ह पदुमराअ-उज्जाणं । एसो तमालो, एसा इंदणील-वेदिआ, मजह-मालंधआरे ता एत्थ उर्वविसिअ ठामो। . राजा-तहा । (तथा कुरुतः ।)
(ततः प्रविशति देवी नायिका विभवतश्च परिवारः।) देवी-भद्दमुहि, पविसम्ह पउमराअ-उज्जाणं । नायिका-(सनिःश्वासं स्वगतम्) VIविसमो माहव-मासो विलक्खणो एव्व विसमवाणो सो।
अदि-दुलहे अपेम्म अहह परं मज्झ ईरिसं ° कम्मं ॥१७॥ (प्रकाशम् ) तह । (सर्वा उद्यानप्रवेशं नाटयन्ति ।)
15 सेदण. 2K उग्गीविरं मह. 3 3 पाण for बाण. 4 झराविआ. 5 K पधल. 6K मालंधारो. 7K उपवि.8 Kadds no consent of the king, but puts the stage direction तथा कुरुतः at the close of Vidusaka's speech. 9 : विलणे. 10 ईसिसं. 11 K कम्म. 12 Rh रूपयन्ति for नाटयन्ति.
तद् गच्छावः। I) तथा । II) श्रुत्वा नूपुररवं दयितायाः प्राणाः, उज्जीविता मम मनोभवबाणखिन्नाः । आरावमम्बुदकुलानां निदाघदाह-, संतप्तीकृता इव मयूरगणाः कुर्वन्ति ॥१६॥ III) भो वयस्य, अमुया विलुलितमुकुलकुलपरिमलभरतरलतरभ्रमरपटलकलकलसुभगया बालवकुल वाटिकया गच्छावः पारागारामपर्यन्तम् । IV) प्राप्तौ स्वः पद्मरागोद्यानम् । एष तमालः, एषा इन्द्रनीलवेदिका, मयूखमालान्धकारे तदत्रोपविश्य तिष्ठावः। V) तथा । VI) भद्रमुखि, प्रविशावः पनरागोद्यानन् । VII) विषमो माधवमासः विलक्षण एवं विषमबाणः सः । अतिदुर्लभे च प्रेम अहह परं मम ईदृशं कर्म ॥१७॥
१ M दयितयो. २ र उज्जीवितं, M उद्रीवतां. ३ M चूर्णी for संतप्ती'. ४ अनया. ५ र भरण or भर. ६ Kी भसल for भ्रमर. ७ M एष. ८ KM वेदिकामयूखमालान्धकार: ९ तत्रोपविश्य, M तदत्र प्रविश्य. १० F omits तथा. ११ र इव for एव.

Page #115

३८
3
चंदलेहाए
राजा - ( आलोक्य सहर्षम् ) "हंत ।
पुण्ण हरिणंक- वअणा फुडंत - णव पुंडरीअ-दल-णअणा । फुरइ मह एत्थ पुरदो पुप्फा उह - पुरुसआर - सामग्गी ॥ १४ ॥ नायिका - ( अपवार्य)हला चंदिए, मरगआरामो मणोज्जो । अभं । तहिं खु भसल-माला लोअण- रसाअणं उवणेइ, कोइल• जालं कण्णामिअं णीसंदेइ, मलआणिल परिप्फंदणं चंदण-चच्चं
दुक्ख
3
करेइ । एत्थ उण
असल-पडलं उप्पादरिंग पअच्छा लोअणे गरल-कवलं कण्णाणं मे कुणंति अ कोइला । दिसइ विसमं देहे दाहं चलो मलआणिलो पिअसहि णतं एकं जं मे ण भिंदइ जीविअं ॥ १९ ॥ चन्दनिका - ( अपवार्य)विहिणो अणुकूलत्तणे सव्वं ममाणुऊलं, विवरीअतणे सव्वं विवरीअं ।
राजा - ( सावधानं निरूप्य ) व अस्स, पेक्ख । दलिअ - णलिणी-कंदाभोआ कवोलअ-वालिआ थिमिअ- भुमआ-लेहं तं पसुत्त - कणीणिअं । किमिह बहुणा तिस्से लोलं मिलाण- मुणालिआलुलिअ - लुलिअं गतं णेत्तूसवं पैंसवेइ मे ॥ २०॥
[ II. 17.2
एत्थ उण.
9K लुलुलुलु गेत्तं.
1K हरिणपङ्कअवअणा. 2K मणजो 3K 'अरो खु तर्हि खु. 4K रसायणं. 5 x नायिका6K हसल for भसल. 7 K उप्पादङ्गी. 8 K लेत्तं for णेतं. 10 K वसवेइ. ( - ) तथा । I) हन्त । पूर्णहरिणाङ्कवदना स्फुटन्नवपुण्डरीकदलनयना । स्फुरति ममात्र पुरतः पुष्पायुधपुरुषकारसामग्री ॥ १८ ॥ II) हला चन्द्रिके, मरकतारामो मनोज्ञः । अयं दुःखकरः । तंत्र खलु भ्रमरमाला लोचनरसायनमुपनयति कोकिलजालं कर्णामृतं निष्यन्दयति, मलयानिलैपरिस्पन्दनं चन्दनचर्चा करोति । अत्र पुनः भ्रमरैपटलमुत्पातानं प्रयच्छति लोचने, गरलकवलं कर्णयोः मे कुर्वन्ति च कोकिलाः । दिशति विषमं देहे दाहं चलो मलयानिलः, प्रियसखि न तदेकं यन्मे न भिनत्ति जीवितम् ॥ १९ ॥ III ) विधेनुकूलत्वे सर्व ममानुकूलं, विपरीतत्वे सर्व विपरीतम् । IV) वयस्य, पश्य । दलितनलिनीकन्दाभोगा कपोलकपालिका, स्तिमितभूलेखं नेत्रं प्रसुप्तकनीनिकम् । किमिह बहुना तस्याः 'लोलं म्लानमृणालिका, लुलितलुलितं गात्रं नेत्रोत्सवं प्रसूते मे ॥ २० ॥

१ K दुःखतरः २ Komits तत्र, M कस्मिन् for it. ३ भसल, M भसळ for भ्रमर. ४ K 'निलस्पर्शपरि. ५ KEM भसल for भ्रमर. ६ K कल्याणं for कर्णयोः ७ M puts this sontence in the mouth of Candrika. CM पश्य पश्य for वयस्य पश्य ९ तस्यापि for तस्याः १० M मुग्ध for लोलं. ११ x वर्धते for प्रसूते.

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-II. 22.2]
दुदिअं जवणिअंतरं देवी-भद्दमुहि, अस्स बाल-बउलस्स वेलुरिअ-मणि-वेदिआअं उपविसम्ह । (सर्वा उपविशन्ति ।)
देवी-"हंजे चंदणिए, विवंचिं उवणेहि । चन्दनिका -II)जं भट्टिणी आणवेदि। (विपञ्चीमुपनयति ।) नायिका-(आददाति ।) विदूषकः-"'भो वअस्स, पेक्ख । विवंचि-ग्गहणं एव्व कहेइ गीए । परिअअ-णिवुणतणं। पोत्थों-कवलिआ-परिग्गहो एव्व पिसुणेइ गुरुकुल-वासं। असि-लेहुद्धरणं एव्व सूएइ खुरली-सिक्खा-विसेसं। (नायिका विपञ्ची यथास्थानं विन्यस्य तन्त्री ताडयति ।) नायकः-(अवलोक्य) "तंतीणं हणणेण पाणि-कमलं लोलंगुली-पल्लवं हेलुण्णामिअ-कोमलेक-भुमआ-लेह मुहंभोरुहं । थोरो वाम-थणो विपंचि-तइआलावुतणं पाविओ
मण्णे पंचसरस्स पंचम-सरो एदं खु से आसिअं ॥ २१ ॥ नायिका-(गायति ।) V"कुसल-वसंत-सहाओ कुंडलिउदंड-कुसुम-कोदंडो।
कुणइ णिअ-विक्कमेणं कुसुमसरो एक-सासणं भुवणं ॥२२॥ नायकः-(सविस्मयम् )VIअहो गामाणं विवितदा । अहो सराणं विसुद्धआ। अहो सुदीणं विणिओअं-कमो। किं च । कदिवअ-गुण___1 Kणिपुण'. 2 R पोत्त. 3 खुरुली'. 4 K दोलंगुली'. 5 K कोमलक'. 6 x वामथणे. 7 K विसुद्धता. 8 K ओजक्कमो. 9 कदिपअ. I) भद्रमुखि, अस्य बालबकुलस्य वैदूर्यमणिवेदिकायां उपविशामः। II) हँले चन्दनिके, विपञ्चीमुपनय । III) यद् भट्टिनी आज्ञापयति । IV) भो वयस्य, पश्य । विपञ्चीग्रहण. मेव कथयति गीते परिचयनिपुणत्वम् । पुस्तककवलिकापरिग्रह एव पिशुनयति गुरुकुल. वासम् । असिलेखोद्धरणमेव सूचयति खुरलीशिक्षाविशेषम् । V) तन्त्रीणां हननेन पाणिकमलं लोलाङ्गुलीपल्लवं, हेलोनामितकोमलैकधूरेखं मुखाम्भोरुहम् । स्थूलो वामस्तनो विपञ्चीतृतीयालाबुत्वं प्रापितः, मन्ये पञ्चशरस्य पञ्चमशरः एतत् खल्वस्या आसितम् ॥ २१॥ VI) कुशलवसन्तसहायः कुण्डलितोद्दण्डकुसुमकोदण्डः । करोति निजविक्रमेण कुसुमशरः एकशासनं भुवनम् ॥ २२ ॥ VII) अहो ग्रामाणां विविक्तता । अहो
१ साल for बाल . २ ॥ वैडूर्य. ३ M हण्डे for हजे. ४K भर्तृणी. ५ खलूरी for खरली. ६॥ भ्रलेख. ७ र 'स्तनं...प्रापितं. ८ र सनाथ: for सहायः. ९ M विक्रमैः for विक्रमेण.

Page #117

चंदलेहाए
[II. 22. 3 • गहण-गव्व-वंचिदे विपंचिए, अगणिज-गुणं अमिअ-गुणाअं इमाए अणुराअंती कहं ण लज्जसि त । अहव परिवादिणीणं अवआसो णस्थि संकाए । (निर्वर्ण्य ) अहह इमाए कंचण-कमणीअंगीए
चलंत-कर-पल्लवं कल-रणंत-नंती-गुणं वलंत-णअणंचलं मुह-गलंत-दंत-प्पहं । ललंत-मणि-कुंडलं परिलुलंत-लंबालअं
मणं हरइ माम महुर-गीअ-लीलाइदं ॥२३॥ विदूषकः-(निर्वर्ण्य )"भो वअस्स, अच्छरीअं इमाए चंपअ-दल-कोमलंगीए एकमेकं वि अंगं लोअण-पीजस-पूरणं । तह अ।
परिलसिअ-चिउर-माला तिस्से णव-फुल्ल-मल्लिआ-सअला।
राजा
I"लावण्ण-णि-सिरीए रेहइ पच्छा स-तारआ रअणी ॥२४॥ विदूषकः
"कुडिला अकुरल-माला परिलोलइ सललिअंणअंगीए । राजाI'मअणेण तरुण-माणस-बंधण-हरिणील-सिंखला चलिआ ॥२५॥ ____1K गणिज for अगणिज. 2 K omits तं given by Kh. 3 K परिलुठन्त. 4 K पारणम् for पूरणं. 55 किस्से. 6 K सिल for दिण. 7 K कुटिला. 8 K बण्डण. 9 K सीखला. खराणां विशुद्धता । अहो श्रुतीनां विनियोगक्रमः । किं च । कतिपयगुणग्रहणगर्ववञ्चिते विपश्चिके, अंगणनीयगुणामेनामनुगायन्ती कथं न लजसे त्वम् । अथवा परिवादिनीनामवकाशो नास्ति शायाः। (...) अहह अमुष्याः काञ्चनकमनीयाझ्याः, चलकरपल्लवं कलरणतन्त्रीगुणं, वलमाननयनाञ्चलं मुखगलद्दन्तप्रभम् । ललन्मणिकुण्डलं परिलुलल्लम्बालकं, मनो हरति मामकं मधुरगीतलीलायितम् ॥ २३ ॥ I) भो वयस्य, आश्चर्य अस्याश्चम्पकदलकोमलाङ्ग्याः एकैकमप्यङ्गं लोचनपीयूषपूरणम् । तथा च । परिलसितचिकुरमाला तस्या नवफुल्लमल्लिकाशवंला । II) लावण्यदिनश्रियो राजते पश्चात् सतारका रजनी ॥ २४ ॥ III) कुटिला च कुरुलमाला परिलोलति सललितं नताझ्याः । IV) मदनेन तरुणमानसबन्धनहरिनीलशृङ्खला चलिता ॥२५॥
१५ किं च अयि कति. २ र अगणितगुणामेतां अनुगुणा अन्मनयन्ती कथं, for अगणनीय etc.given by M. ३ M°वादीनां for वादिनीनाम्. ४ ॥ लसन्नयना for वलमाननयना. ५ र उप्तलन् for ललन्. ६ र परिस्ट for परिलल'. ७ M पश्य for आश्चर्य. ८ र एकमेक'. ९K शकला. १० M कुटिला बकुलमाला. ११ । परिमलति, । परिलोलकिसलयितं.

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-II. 306]
विदूषकः
सरसिअ -दल-णअणाए सललिअमुण्णामिआ भुमआ ।
राजा -
कालिंदी - लहरीणं कंदलिओ एव्व परिभवंकूरो ॥ २६ ॥
विदूषकः -
III)
"ओदंस- कुवलअं से अवगलिअं किं वि गंड-फलअम्मि ।
राजा - VI).
राजा -
IV)
" तरल-णअणंचलेणं तर्जिअमेअ खु होइ हेट्ठ मुहं ॥ २७ ॥ विदूषकः -
V)
किसलअ - मिदुलंगीए गीएण वि लोअणं किलम्मदि से ।
विदूषकः -
VII.
दुदि जवणि अंतरं
कण्णंत दीह-अत्तं खणेण काढूण दूमिअं एअं ॥ २४ ॥
"उप्पल-विलोभणाए उम्मिसिअं सम- अलं कवोलेसुं ।
उज्जल पीऊस कणा उदंचिआ किंचिं पंचमी चंदे ॥ २९ ॥
परिमलअंति दिसाओ पल्लव-गत्ती सुरहि-णीसासा ।
राजा -
X)
" तारुण्ण- सुरहि समए ता पत्ता मलअ - सेल - पवमाणा ॥ ३० ॥
राजा -
विदूषकः
IX)
-
કર
1 K तझिअ. 2K भूमिअं for दूमिअं. 3 x उम्मिसभं. 4 x सअलं for समअलं. 5 x कञ्चि. 6K मलयन्ति 7 K मलय.

I) सरसिजद्लनयनायाः सललितमुन्नामिता भ्रूः । II) कालिन्दीलहरीणां कन्दलित एव परिभवाङ्कुरः ॥ २६ ॥ III) अवतंसकुवलयमस्या अवगलितं किमपि गण्डफलके । IV) तरलनयनाञ्चलेन तर्जितमेतत् खलु भवति अधोमुखम् ॥ २७ ॥ V) किसलयमृदुलाङ्ग्याः गीतेनापि लोचनं क्लाम्यति अस्याः । VI) कर्णान्तदीर्घयात्रां क्षणेन कृत्वा दूनमेतत् ॥ २८ ॥ VII) उत्पलविलोचनायाः उन्मिषितं श्रमजलं कपोलयोः | VIII) उजवलपीयूषकणाः उदश्चिताः किंचित् पञ्चमीचन्द्रे ॥ २९ ॥ IX) परिमलयन्ति दिशः पल्लवगात्र्याः सुरभिनिश्वासाः | X ) तारुण्यसुरभिसमये तत्प्राप्ताः मलयशैलपवमानाः ॥३०॥ मुन्नावमितभ्रूः . २ K परिमलाङ्कुरः for परिभवाङ्कुरः of M. ₹ K' नयनां चालन, M नयनाञ्चलैस्तजित ४ x omits अस्याः ५ कृला एतत् ६ x omits अमजलं. ७ M विपरिल ८ तस्मात्प्राप्ता.
१
६
चंद ०

Page #119

चंदलेहाए
[II. 31aविदूषकः
"तरलोहर-विवरादो गलंति दंताण चंदिआ-लेसा।
"गीअ-सुहंबुहि-लहरी-सीअर-णिअरा स-हेलमुल्लसिआ॥३१॥ विदूषकः_Iमह ण णिवइ दिही मणहर-वअणंबुआ किसंगीए। राजा
IV)को उण हरेइ णेतं सचेअणो पुण्णिमा-चंदा ॥३२॥ देवी-भद्दमुहि, किलम्मए दे वदणं, ता विरमेहि । नायिका- "तहाँ । (विरमति ।) राजा-(सविषादम् )VI"हंत, अवग्गहो सवण-पीजस-वरिसाणं किदो। देवी - VII भद्दमुहि, उठेहि गच्छम्ह । नायिका-'तह ।
(उत्थाय निष्क्रान्ता देवी परिजनश्च ।) राजा -हंत, किदो णेत-पीजस-वरिसाणं च । वअस्स पेक्ख ।
पदुम-वदणाअ दाणिं परिरहिओ पदुमराअ-आरामो।
अत्थमिअ-चंदलेहो गअणाभोओ व्व होइ णट्ट-पहो ॥ ३३ ॥ विदूषकः- "भो वअस्स, उद्धरिअ-णिहाणं महिं व इमं उज्झिअ ___1 K हरविवराओ for तरला etc., but Kh तरलाहरविवरादो. 2K सुहम्बुलहरी. 3 दिट्टी. 4 K विदूषकः- for देवी. 5 K omits तहा given by Kh. 6. परिसाणं. 7 K परिसाणं. 8 F has no च. 9K उद्धारि. 10 मही इमं उझिअ. I) तरलाधरविवराद्गलन्ति दन्तानां चन्द्रिकालेशाः। II) गीतसुधाम्बुधिलहरीशीकरनिकराः सहेलमुल्लसिताः ॥ ३१ ॥ III) मम न निवर्तते दृष्टिः मनोहरवदनाम्बुजात् कृशाङ्याः। IV) कः पुनर्हरति नेत्रं सचेतनः पूर्णिमाचन्द्रात् ॥ ३२॥ V) भद्रमुखि, क्लाम्यति ते वदनं, तस्माद् विरम । VI) तथा । VII) हन्त, अवग्रहः श्रवणपीयूषवर्षाणां कृतः। VIII) भद्रमुखि, उत्तिष्ठ गच्छावः। IX) तथा। X) हन्त, तथा नेत्रपीयूषवर्षाणां च । वयस्य, पश्य । पद्मवदनया इदानी परिरहितः पद्मरागारामः । अस्तमितचन्द्रलेखः गगनाभोगो भवति नष्टप्रभः ॥ ३३ ॥ XI) भो वयस्य, उद्धृतनिधानां मही.
१k keeps blank space for this line. २ ( सुधाम्बुलहरी. ३ र चन्द्र: for चन्द्रात. ४ M 'नं तद्विरम. ५ K omits तथा. ६ अन्तरपग्रह for हन्त अवग्रहः. ७ . जातः for कृतः. ८ K गच्छामः. ९ ॥ omits तथा. १. K सहीमिव उज्झित्वा, M निधानमिममुज्झित्वा.

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-II. 33.18]
दुदिअं जवणिअंतरं
गमिस्साम । ( विलोक्य) वअस्स, एदाओ णत्तमालिआ सालभंजिआ- हत्था तमालिआ अ किं वि सल्लवंतीओ इदो एव्व आअच्छंति । ता एत्थ वि मुहुत्तं णिलुक्का ठाऊण सुणम्ह इमाणं आलावं । राजा - "तह |
( ततः प्रविशतश्चेट्यौ । )
II ).
एका "तमालिए, किमत्था एसा सालभंजिआ । द्वितीया-सहि णत्तमालिए, सुणाहि आदिदो एव्व । नकमालिका - तमालिए, अवहिद म्हि ।
V)
तमालिका - " णत्तमालिए, पुरुवं मरगआरामे चिंतामणि संभवाअं कण्णअं किं विसिणिद्धं पेक्खिअ महाराअस्स दिट्ठि जं किं वि आकमाणा भट्टिणीए अज्ज पहादे पेसिद म्हि |
विदूषकः–''वअस्स, पहादे दिट्ठस्स सुत्तस्स विवरणं होइ ।
VII)
राजा - अवहिदा सुणम्ह । नक्तमालिका –
VIII)
कहं ।
तमालिका -हंजे णत्तमालिए, इमं कस्सीर - णाह वल्लहाए मह पहुडीकिदं तत्थभवंदीए सारआए पसादेण समासादिऊँ धारणाववहार- पंडिचं बुद्धिमदिं णाम अम्हाअं कीला - सारिअं इमाए साल 19
१ M भो मयस्य. २ omits च. ३ M तदत्र. ४ K एव मूका ६ x किमेषा for किमर्था एषा found in M. ७ Momits कन्यकायां. भविष्यति found in M.
१०
शृणुमः ११
४३
1 K तमालिआ हरिणन्तमालिआ अ. 2K सलपंतीओ. 3 K आअच्छदि. 4 K किं एसा, but Kh किमत्था एसा. 5 x णत्तमालिए सहि for सहि otc. 6 x संभवाकण्णआअं. 7 K सुणसुणा. ४ K पालडी, but Kh पाहुडी. 9 x तत्तभवदीए. 10 x समासादिआ धा. 11 K पाण्डिचं. 12 K बुद्धिमदीणाम. मित्र इममुज्झित्वा गमिष्यावः । (..) वयस्य, एते नक्तमालिका शालभञ्जिकाहस्ता तमालिका चं किमपि संलपन्त्यौ इत एवागच्छतः । तस्मादत्र अपि मुहूर्त निर्लक्ष्यं स्थित्वा शृणुवः अनयोरालापम् । I ) तथा । II ) तमालिके, किमर्था एषा शालभञ्जिका । III ) सखि नक्तमालिके, शृणु आदित एव । IV) तमालिके, अवहितास्मि । V) नक्तमालिके, पूर्व मरतारामे चिन्तामणिसंभवायां कन्यकायां किमपि स्निग्धां [प्रेक्ष्य ] महाराजस्य दृष्टि यत्किमपि आशङ्कमानया भट्टिन्याद्य प्रभाते प्रेषितास्मि । VI) वयस्थ, प्रभाते दृष्टस्य सूत्रस्य विवरणं भविष्यति । VII) अवहितौ शृणुवः । VIII ) कथम् । IX) हजे नक्त मालिके, इमां काश्मीरनाथवेल्लभया मे प्राभृतीकृतां कथमंत्रभवत्याः शारदायाः प्रसादेन समासादितधारणाव्यवहारपाण्डित्यां बुद्धिमतीं नाम अस्माकं क्रीडाशारिकां अस्याः शाल

स्थित्वा for मुहूर्त etc. ५४ शृणुमः. ८ M भो वयस्य. ९ K वदिष्यति for वल्लभायाः १२ बुद्धिमतीनामस्माकं.

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चंदलेहाए
[II. 38.19भंजिआए कंठ-विवरम्मि ठाविजण चओरएण सह सल्लवंतस्स अय्यउत्तस्स अत्थाण-मंडवे सण्णिहिम्मि जह कुह वि छलेण ठावेहि ति । ॥ नक्तमालिका-"तदो तदो।
तमालिका -"तदो मए जाव भट्टा देवाराहण-मंदिरादो ण णिग्गओ ताव चिअ एसा सालभंजिआ तहिं एव्व अस्थाण-मंडवे सण्णि24 हाविआ।
राजा-"वअस्स, वंचिद म्ह ।
विदूषकः-IV किं एतिएण। ७ नक्तमालिका-''तदो तदो।
तमालिका-Vतदो दाणिं महाराअं तत्थ असण्णिहिदं जाणिअ सालभंजिअं घेतूण आअद म्हि । ७ नक्तमालिका-Vकिं सुदं अवहारिअं वा महाराअस्स वअणं बुद्धिमदीए सालभंजिआए। तमालिका -VII'सव्वं सुदमवहारिअं च।
(उभौ हसतः।) विदूषकः -IX)आ दासीए धीदे बुद्धिमदि, तुह कंठं भिंद । तमालिका-णतमालिए, तुमं पुण कहिं पवुता । नक्तमालिका-भट्टिणीए ण्हाण-वेला आअद ति पत्थिद म्हि । तमालिका-XI"ता गच्छम्ह । (इति निष्क्रान्ते ।)
1K सपिणहम्मि. 2K च्छलेण. 3K मन्दिराहो. 4 K तावच्छिअ. 5K मण्टपे. 6 सालभfe37.7 K does not present this as the speech of Tamālikā, but adds it to that of Naktamalika above. 8Khछीद for भिंद. 9 Kसंवत्ता for पवत्ता. भञ्जिकायाः कण्ठविवरे स्थापयित्वा चकोरकेण सह संलपतः आर्यपुत्रस्य आस्थानमण्डपे संनिधौ यत्र कुत्रापि च्छलेन स्थापय इति । I) ततस्ततः। II) ततो मया यावत् भर्ता देवाराधनमन्दिरात न निर्गतः तावदेय शालभञ्जिका तस्मिन्नेवास्थानमण्डपे संनिधापिता। III) वयस्य, वञ्चिताः स्मः। IV) किमेतावता। V) ततस्ततः। VI) तत इदानीं महाराज तत्रासंनिहितं ज्ञात्वा शालभञ्जिकां गृहीत्वा आगतास्मि । VII) किं श्रुतमवधारितं वा महाराजस्य वचनं बुद्धिमत्या शालभजिकया। VIII) सर्व श्रुतमवधारितं च । IX) आः दास्याः पुत्रि बुद्धिमति, तव कण्ठं भिन्दै । X) नक्तमालिके, त्वं पुनः कस्मिन् प्रवृत्ता। XI) भट्टिन्याः स्नानवेला आगता इति प्रस्थितास्मि । XII) तद्
१M कण्ठसिख lacuna ; some lacuna in this passage. २K तावत्, M lacuna. ३ तावदेवैषा साल'. ४ ॥ वञ्चितोऽस्मि. ५ ॥ अहमेतावता for किमेता'. ६ र च for वा. ७ M puts this speech in the mouth of शारिका. ८॥ बिन्धि for भिन्द. ९ M a short lacuna.
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-II. 34. 9]
दुदिअं जवणिअंतरं
(नेपथ्ये) वैतालिकः-"मुहा मज्झम-संझा होइ देवस्स । अज हि
लोलेहिं उप्पलेहिं हिम-जल-मिलिअं चंदणं मंदमंगे पावंतीओ सुवंते मणिवर-रइए मंदिरे सुंदरीओ। तिव्वेहिं आदवेहिं विहुरिअ-हिअओ संस राअहंसो
उदंडाणं फुडाणं पविसइ सणि पुंडरीआण मूलं ॥ ३४ ॥ विदूषकः - भो वअस्स, किं चिंति मज्झण्हे वट्टइ। राजा-वअस्स, णं इमं एव्व सारिआ-वृत्तंतं चिंतेमि । विदूषकः- एत्थ का चिंता । णिसग्गदो एव्व दुम्मइणी हु देवी। अज्ज उण सारिआ-वअणं सुणिअ अहिअअरं किं वि पणअ-कलहं करेइ । सा अनुह दक्खिणदाए मिहिर-पहीए तिमिर-पडल-पणासं पाविहिइ। राजा-सव्वहा अंतेउरं एव्व गच्छम्ह ।
(इति निष्क्रान्तौ ।) ॥ इअ चंदलेहाअं दुदिअं जवणिअंतरं ॥ _1K सुहाय. 2 लोलोहिं. 3 पावन्तीए, but Kh संदंतीओ. 4 संसि सोअहंसो. 55 चिन्तीअ. 6 K omits f given by Kh. 7 K दुम्मइणि उ देवी. 8 K तुठ. 9 दख्खिणदाए. 10 K वहाए for पहाए. 11 भणासं for पणासं. 12 K जुदिअं, rh द्विदीयं. गच्छावः। I) सुखाय मध्यमसंध्या भवतु, देवस्य । अद्य हि, लोलैरुत्पलैहिमजलमिलितं चन्दनं मन्दमङ्गे, प्रापयन्त्यः स्वपन्ति मणिवररचिते मन्दिरे सुन्दर्यः। तीवैरातपैर्विधुरितहृदयः संश्रयं राजहंसः, उद्दण्डानां स्फुटानां प्रविशति शनैः पुण्डरीकाणां मूलम् ॥ ३४ ॥ II) भो वयस्य, किं चिन्तयित्वा मध्याह्ने वर्तसे। III) वयस्य, इममेव शारिकावृत्तान्तं चिन्तयामि । IV) अत्र का चिन्ता । निसर्गत एव दुर्मतिः खलु देवी। अद्य पुनः शारिकावचनं श्रुत्वा अधिकतरं किमपि प्रणयकलहं करोति । सा च तव दाक्षिण्यतया मिहिरप्रभया तिमिरपंटलप्रणाशं प्रापयिष्यते । V) सर्वथा अन्तःपुरमेव गच्छावः।
॥ इति चन्द्रलेखायां द्वितीयं यवनिकान्तरम् ॥
१M has good many gaps upto the close of this scene. २ . खलु for हि. ३ र पातं. ल्ययन्त्यः, M lacuna. ४ KM सुन्दर्याः. ५ र पुटानां. ६ ॥ चिन्त्यते म. ७ Komits अधिकतरं किमपि, u lacuna 'तरां कलहकोटिं करोति. ८ पटैलीव नाशं.

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[ III' ] ( ततः प्रविशति राजा विदूषकश्च । )
राजा - (स्वगतम्)
"मह खण-संठविओ सो देवी- दिढ - को सेउ - बंधेणं । 1 उकंठा-इ-सोतो भिण्णे तस्सि सुदूसहो वहइ ॥ १ ॥ ( निश्वस्य ) हंत पडिऊलत्तणं भअवदो देवस्स । जदो उभअमिणमहो समं खु जाअं
मह विरहो अ जणेण वलहेणं । मदकल-कलकंठ - कामिणीणं कलकल-हालहलाउलो अ कालो ॥ २ ॥
विदूषकः - भो वअस्स, किं वि ऊससिअं होउ दे हिअअं । अइवाहिओ खु सो कहं कहं वि पडिदिस - पलित्त-रत्त-कमल-पलआ• णल- जाला - जाल-दुरालोओ जुअ-सहस्स- दीहअरो वासरो, पत्तो अ पप्फुल्ल- विमल-मलिआ - फुल- धवलो विअंभणारंभ-णीसरंत सरसेसीअलामोद- सुहअ - कुमुअ - कोसो पओसो ।
3
भो पेक्ख सच्छ - महुरो दर मुल्लसंतो फुल्लुम अह-पल्लव-मलिआणं ।
1 x begins the Scene with this sentence : अथ तृतीयं यवनिकान्तरम् 1. 25 घणसट्टविओ. 3x ends the first line thus : कोपसेउबन्धउक्कण्ठा ।. 4 K तस्सी. 5 x अवहमिण 6 K वल्लहेण. 7K सारसिअं, but Kh ऊससिअं. 8K अतिवाहितो. 9 K पलआणिल. 10 K 'वलो. 11 K सरसी. 12 K फुलङ्गमोअणपअल्लमल्लिणं.
[ संस्कृतच्छाया ]
(I) मम क्षणसंस्थापितं तत् देवीदृढको सेतुबन्धेन । उत्कण्ठानदीस्रोतः भिन्ने तस्मिन् सुदुस्सहो वहति ॥ १ ॥ ( ) हन्त, प्रतिकूलत्वं भगवतो दैवस्य । यतः, उभर्येमि - दमहो समं खलु जातं, मम विरहश्च जनेन वल्लभेन । मदकलकलकण्ठकामिनीनां, कलकलह लहलाकुलश्च कालः ॥ २ ॥ II) भो वयस्य, किमपि उच्छ्रेसितं भवतु ते हृदयम् । अतिवाहितः खलु स कथं कथमपि प्रतिदिशाप्रदीप्त रक्त कमल यँलयानलज्वालाजालदुरालोकः युगसहस्रदीर्घतरो वासरः, प्राप्तञ्च प्रफुल्ल विमलमल्लिका फुल्लधवलः विजृम्भमाणारम्भनिस्सरत्सरसशीतलामोदसुभगङ्कुमुदकोशः प्रदोषः । भोः परय स्वच्छमधुरो दरोल
१ क्षणं for क्षण. २ ८ कोपबन्धनोत्कण्ठा नदीस्रोतसः विभिन्न तस्मिन् ३ KM देवस्य ४ M उदय for उभयौं ं. ५ x हृल' for हाल ६ K आश्वासितं for उच्छसितं. ७ K प्रलयानिल. ८ M दीर्घो वासरः ९ ४ प्रोत्फुल. १० कुमुदाशोकः. ११ पश्य सकलासु, so it has a lacuna ; M 'फुलोत्करळप्रचलति मल्लिकानाम्

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४७
-III. 4.8]
तइ जवणिअंतरं दिण्णो दिसासु सअलासु भविस्स-जोण्हा
सण्णाह-बीअ-णिअरो व्व पओसएणं ॥३॥ राजा-(सोद्वेगं) किं एव्वं भणासि । पअखंत-मअ-रोस-दूसह-दुहदुग्घुट्ट-विसाण-कोणादो कहं वि मोइदस्स कराल-दिढ-दाढा-वेढसंकंड-विसंकड-सीह-मुह-कुहर-विवर-प्पवेसो किं पाण-रक्खणोवाओ। पेक्ख दाव।
कुमुअ-णिअर-घोलंतालि-रिंछोलि-पासो दलिअ-धवल-मल्ली-फुल्ल-सोहट्टहासो । अहिसरइ पुरिल्लो मं पओसाहिधाणो
घणतम-तम-कालो हंत कालो करालो ॥४॥ किं मे सरणं। विदूषकः-"वअस्स, चंदणिआए वअणं सरणं ।
राजा-(सप्रत्याशम्)"वअस्स, किं तं चंदणिआए वअणं । विदूषकः-सुणादु वअस्सो। अहं खु एण्हि नुए पसादिआए देवीए सेवणं कादूण णिवट्टमाणो मग्गे तत्थहोदीए रअणसंभवाए मअण-वेअणा-विणोअणत्थं चंदणारविंद-कंदोट्ट-चंदोजअ-चंदमणि-. मोतिों-मुणाल-वलअ-कअली-कप्पूर-पुरस्सरं सिसिरोवआर-सामगि संपादअंतीए चंदणिआए घडिदो म्हि ।
1 R जोसलाह. 2 F पिअट्टत. 3 : दुब्बट्ट, 4 K संकठविसकद. 5 F फुरिलो. 6 r often reads चन्दिणिआ for चन्दणिआ. 75 पसादिआहि. 8 तत्तहोदीए. 9 Lविणोअणवर्थ. 106 चन्दजोअचन्दमोणिमोख्खिअ. 11'रोपसारसामग्गी. सन् ,फुल्लोद्गमो अनघपल्लवमल्लिकानाम् । दत्तः दिशासु सकलासु दिशासु भविष्यज्योत्स्ना-, सन्नाह बीजनिकर इव प्रदोषकेनं ॥३॥ I) किमेवं भणसि । प्रवर्धमानमदरोषदुस्सहदशवारणविषाणकोणात्कथमपि मोचितस्य करालढदंष्टावेसंकटविशंकटासिंहमखकहरविवरप्रवेशः किं प्राणरक्षणोपायः । पश्य तावत् । कुमुदनिकरघूर्णमानालिश्रेणिपाशः, दलितधवलमल्लीफुल्लशोभाट्टहासः। अभिसरति पुरतो मां प्रदोषाभिधानो, घनतमतम:कालःहन्त काल: करालः॥४॥ किं में शरणम् । II) वयस्य, चन्दनिक णम् । III) वयस्य, किं तत् चन्दनिकाया वचनम् । IV) शृणोतु वयस्यः। अहं खल्वि. दानीं त्वया प्रसादितायाः देव्याः सेवनं कृत्वा निवर्तमानो मार्गे तत्रभवत्या रत्नसंभवाया मदनवेदनाविनोदनार्थ चन्दनारविन्दनीलोत्पलकुमुदचन्द्रमणिमौक्तिकमृणालवलयकदलीकपूरपुरस्सरां शिशिरोपचारसामग्री संपादयन्त्या चन्दनिकया घटितोऽस्मि ।
१. प्रदोष एनम्. २ र वयस्य किमेवं. ३ ॥ गज for वारण. ४ । कथं कथमपि for कथमपि. ५ वज्र for वेष्ट. ६ ॥ पुरस्तान्मां. ७ KM भो वयस्य, ८ र चन्दि निका'. ९ Momits शरणम्, १० वदनम्.११ विनोदार्थ.

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चंदलेहाए
[III.4.9राजा-"तदो तदो। विदूषकः-"तदो सा मं दटूण दीह-दीह-णीसास-धूसराविआहरउडा पल-पम्ह-जालग्ग-लग्ग-णिवडत-बाह-बिंदु-संदोह-संदाणिआ"पुव्व-हार-लहि-मंडिअ-सिहिण-मंडला तत्थ एव्व ठिआ।
राजा-तदो तदो। विदूषकः-'तदो चंदणिए, कीस परुण्णा सि ति मए पुच्छिदाए ताए भंणि।
राजा- किं वि। विदूषकः-Vअयं चओरअ, ण-आणामि किं भणामि तस्सि अदि"-पुरुवाअं दिढ-बर्द्ध-सिणेहा। पुरुवं एव्व मुणि खु तुए पिअसहीए रअणसंभवाए दिणे दिणे विभंत-मअणाएस-दूसहत्तणं । अज्ज उण सा दूसंहाआस-दूमिआ णिसग्ग-दुब्बला बाला अणणुभूअ॥ पुरुवं अवत्थंतरं अणुहोंती मअण-संताव-विणोदणत्थं अम्होहिं अविरल-मोतिअ-जाल-वालुओं-सीअल-सुहअ-तीराए तुहिण-जल-दीहि
आए पच्छिम-तीर-परिसर-बालुज्जाण-कदली-वणं पाविदा । तहिं च "पलअ-समुदिअ-चंड-मतंड-किरण-दूसह-संदाव-बाहिआए तिस्से णव
1Kधूना for धूस. 2 x omits some portion here, पअल etc. to किं भणामि (line17); but it is given by Kh rather in such a corrupt form that only important variants aro noted. 3 Kh पंम for पम्ह. 4 Kh किं स वरुण्णा. 5 Kh फणिअम्. 6 Kh अअ चओर ण. 7 तसिं , but kh तस्सि. 8 K बंध. K reads thus : दूसहामञ्जएसमच्छो कलएदे कास्सिरं कचीदमिलपइमुहा भूमिपआसदूमिआ. 10 K omits वालु in वालुआ. 11K तुदिणजतुदी. 12 च किस्से पलअ. 13 K किस्से.
I) ततस्ततः। II) ततः सा मां दृष्ट्वा दीर्घदीर्घनिःश्वासधूसरीकृताधरपुटा प्रचलपक्ष्मजालाग्रलग्ननिपतद्वाप्पबिन्दुसंदोहसंदानितापूर्वहारयष्टिमण्डितस्तनमण्डला तत्रैव स्थिता । III) ततस्ततः । IV) ततश्चन्दनिके, कस्मात् प्ररुदितासीति मया पृष्टया तया भणितम् । v) किमिव । VI) आर्य चकोरक, न जानामि किं भणामि तस्यामदृष्टपूर्वायां दृढबद्ध
हात् । पूर्वमेव ज्ञातं खलु त्वया प्रियसख्या रत्नसंभवाया दिने दिने विजृम्भमाणमदनायासैदुस्सहत्वम् । अद्य पुनः सा दुस्सहायासदूना निसर्गदुर्वला बाला अननुभूतपूर्वमवस्थान्तरमनुभवन्ती मदनसंतापविनोदनार्थमस्माभिरविरलमौक्तिकजालवालुकाशीतलसुभगतीरायाः तुहिनजलदीर्घिकायाः पश्चिमतीरपरिसरबालोद्यानकदलीवनं प्रापिता । तस्मिंचं प्रलयसमुदितचण्डमार्तण्डकिरणदुस्सहसंतापबाधितायाः तस्याः नवनवपल्लव
१धूसरायिताधर'. २ र 'स्नेहा for लेहात. ३ मदनयादुस्सहं. ४ x निस्सहत्वम् for दुस्सहत्वम् । ५४ अन्य lacuna पुन'.६ uomits पूर्व. ७ सन्तापिनो विनों. ८ र तस्मिंश्च तस्याः प्रलय. ९K omits तस्याः

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-III. 4. 39 ]
तइ जवणिअंतरं णव-पल्लव-पलंक-णिम्माणेहिं [पालेअ-सलिल-णीसंदणहिं चंदणचच्चा-दाणेहिं] चंदमणि-चुण्णुच्छरणेहिं कप्पूर-रेणु-पाडणेहिं कदलीदल-वीअणेहिं च दूमिऔओ संतद-परुण्ण-मुहीओ सहीओ किलम्मति । दंड-सेस-बिसिणी-संड-णट्ठ-भमर-संचार-णिलुकाइ दुक्खाउलाइ व सअल-सरसि-जलाइ, लूण-सअल-किसलअ-गलिअ-सोहाणि संदाव-जणिअ-विवण्णतणाई व पमद-वणाई, उच्छिण्ण-पवाल- 30 दल-मुंडाइ कदली-काणण-संडाइ होति । तह वि णिरणुक्कोसो एव्व महुमासो, णिक्करुणो एव्व णिसाणाहो, णिग्घिणो एव्व मलआणिलो, णिरणुकंपो एव्व वम्महो, जं एदाए बालिआए बंधव-विरहिदाए। विदेस-द्विदाए तवस्सिणीए कण्णआए दीह-वेरं कुणंतो जीविअ-हरणे पवद॒ति । तहाँ दूसहेहिं तेहिं वम्मह-विसिहहिं बाहिआणं सहस्सइतं आढत-णिग्गमाणं तिस्से पाणाणं आसासण-कारणेण तेण वअणो-36 वण्णासेण कह कह वि णिवारणं [कुणंतीहिं अम्हहिं अइवाहिओ दिवसो । अओ परं ण सकं अम्हाणं । ता सा] बाला जह ण मरि. हिई तह उवाओ चिंतीअदु ति।
ww
___ 1K चुण्णच्छु. 2 K omits च. 3 K दूमिआएओ. 4 K omits सहीओ. 5 संचारि. 6K दुःखाउताएव. 7 K जलाल for जलाइ. 8 Kलूअ for लूण. 9 K दलमण्डालदलकदली. 10 x पालिआए. 11 वैर. 12 K धरणे. 13 K तत for तहा. 14 K वाहिआणं. 15 K णिवारणं कुणंति बाला. 16 K मरीहिइ.
पर्यङ्कनिर्माणैः प्रालेयसलिलनिष्यन्दनैः चन्दनचदिानः चन्द्रमणिचूर्णोच्छुरणैः कर्पूररेणुपातनैः कदलीदलवीजनैः च दूनाः संततप्ररुदितमुख्यः सख्यः क्लाम्यन्ति । दण्डशेषबिसिनीषण्डनष्टभ्रमरसंचारमूकानि दुःखाकुलानि इव सकलसरसीजलानि, लूनसकलकिसलयगलितशोभानि संतापजनितविवर्णत्वानीव प्रमदवनानि, उच्छिन्नमवालदलमुण्डानि कदलीकाननषण्डानि भवन्ति । तथापि निरनुक्रोश एव मधुमासः, निष्करुण एव निशानाथः, निघृण एव मलयानिलः, निरनुकम्प एव मन्मथः, यदेतस्याः बालिकायाः बान्धवविरहितायाः विदेशस्थितायाः तपस्विन्याः कन्यकायाः दीर्घवैरं कुर्वन्तो जीवितहरणे प्रवर्तन्ते । तथा दुस्सहैश्च तैर्मन्मथविशिखैर्बाधितानां सहस्रकृत्वः आरब्ध. निर्गमानां तस्याः प्राणानामाश्वासनकारणेन तेन तेन वचनोपन्यासेन कथं कथमपि निवारणं कुर्वन्तीभिरस्माभिरतिवाहितो दिवसः। अतः परं न शक्यमस्माकम् । तस्मात्
१ वलमणिचूर्णच्छुरणैः for चन्द्र oto. PF "षितायाः स'. ३ यासका'. ४ ॥ तत् for तस्मात्.

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चंदलेहाए
[III. 4. 40राजा-(सकरुणम्)"भअवं तिभुवण-महणिज्ज-सासण कुसुम-सरासण,
गहिअ-चलणमेअं कं वि पत्थेमि अत्थं परुसअर-मुहहिं मग्गणेहिं इमहि । किसल-मिउलमंगं छिंद मा सुंदरीएं
णवर मह पहारं एव्व तेहिं पदेहि ॥ ५॥ विदूषकः-'भो वअस्स, उवहिदे पाअस-भोअणम्मि किं तं इदं पलविअ कालं खिंवसि । गच्छम्ह नुरिअं तुहिण-जल-दीहिआ-परि। सरं । अदिक्कामिआ अ संझा। राजा-(समन्तादवलोक्य)'साहु दिदं वअस्सेण । तह अ ।
रतीअ णाह-विरहेण सुदूसहेणं उत्तम्मिरी अ उडु-मोतिअ-चुण्ण-पुण्णा । बाल-प्पवाल-सअणिज्ज-णिहा खु संझा
देहुम्हएण विअ सा मिउला मिलाइ ॥६॥ किं च।
राई-वासरएहिं आढताअं दिढंकपालीअं । कुंकुम-रसो व्व गलिओ संझा-राओ पओहरालग्गो॥ ७ ॥
1 F किसलअमि. 25 छिंदमाणा सुं. 3 एणपरमअपहार. 4 K भो वअस्स एवं गए कज्जे पुणो वि किं पलवसि गच्छम्ह, but the reading of Kh is adopted. 5 Kh विवसि. 6 संज्ञा. 7 K देहम्मएण. सा बाला यथा न मरिष्यति तथा उपायश्चिन्त्यतामिति । I) भगवन् त्रिभुवनमहनीयशासन कुसुमशरासन, गृहीतचरणमेतं किमपि प्रार्थयाम्यर्थ, परुषतरमुखैर्मार्गणैरेभिः । किसलयमृदुलमङ्गं छिन्द्धि मा सुन्दाः , नवरं मम प्रहारमेव तैरपि देहि ॥ ५॥ II) भो वयस्य, उपस्थिते पायसभोजने किं त्वमिदं प्रलप्य कालं क्षिपसि । गच्छावस्त्वरितं तुहिनजलदीर्घिकापरिसरम् । अतिक्रान्ता च संध्या । III) साधु दृष्टं वयस्येन । तथा च । रात्रौ नाथविरहेण सुदुस्सहेन उत्तमनशीला च उडुमौक्तिकचूर्णपूर्णा । वालप्रवालशयनीयनिभा खलु संध्या देहोष्मणा इव सा मृदुला म्लायति ॥ ६॥ किं च । रात्रिवासराभ्यामारब्धायां दृढाकपाल्याम् । कुङ्कुमरस इव गलितः संध्यारागः पयोधरालग्नः॥७॥
१K चरणमेकमपि. २ ॥ 'मुखैस्तादृशैः शरैः. ३ रच्छिन्दमाना सुन्दर्याः. ४ ॥ परि° for अति'. ५ ६ राव्या. ६ Kमनःशिलाचा, A उत्तमनशीलायाः मौक्तिक. ७ मणालमा मृ. ८r omits किं च. ९ 'धरे लना,

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-III. 9.7]
तइअं जवणिअंतरं विदूषकः-'भो वअस्स, पेक्ख ।
तेल्लोकस्स कराल-काल-फणिणा दहस्स णहम्हणो मुच्छंतस्स मुहुतएण अ पुणो मीलंत-सूरच्छिणो। संझा-सोणिम-सोणि पसरिअं अंगम्मि कालप्पहं
काओलं व तमिस्स-मंडणमिणं णिप्फंदमप्फुदएँ ॥ ७ ॥ राजा-"वअस्स, सच्चं एव्व ।
कत्थूरी-पंक-दिण्णो णह-सिरि-वअणे भंगुरो पत्त-भंगो विस्थारिल्लं वरिलं जलहर-पडली-मेढुंरं मेईणीए । ओलंबंतो पुरतो पिअ-विरह-दसा-दुक्ख-हेटागआणं
आसाणं वेणि-बंधो पसरइ णिबिडो एस कालंधआरो॥९॥ विदूषकः -II"ता गच्छम्ह इमिणा फलिह-मणि-सउह-दाहिण-भाअबाल-बउलाराम-पेरंतेण तुहिण-जल-दीहिऔ-परिसरं । एहि च गआ देवी भअवंतं थलीसरं दद।
राजा-IVवअस्स, आदेसेहि तुहिण-जल-दीहिआ-परिसरस्स मग्गं। विदूषकः - भो वअस्स, इदो इदो एदु भवं । (उभौ परिक्रामतः ।)
राजा-(स्वगतम्) अच्छेरं, अपुव्व-वल्लहा-दसणत्थं पत्थिदस्स मे • अपुवो परिवारो अपुव्वं वाहणं च । तह अ।
1 Kणदृह्मणो. 2K मुझन्तस्स. 3 ( सूरम्भिणो. 4 K पसरअं. 5 Fणिप्पन्दमफुन्दए. 6 K मेहुरं. 7K मेभुणीए. 85 लम्बन्तो पुरतो विआवि. 95 हेहाणसाणं वेणीबन्धो पसरइ. 10K कालन्धराओ. 11 र दीसिआ. 12 K थलीसरओट्टम् , but Kh °सरं दट्टम् । 13 K आदेहि. I) भो वयस्य, पश्य । त्रैलोक्यस्य करालकालफणिना दष्टस्य नष्टोष्मणः, मूर्च्छतो मुहूर्तेन पुनर्मीलत्सूर्याक्षस्य । संध्याशोणिमशोणितं प्रसृतमङ्गे कालप्रभं, कापोलमिव तमिस्रमण्डलमिदं निष्पन्दमाकामति ॥ ८॥ II) वयस्य, सत्यमेतत् । कस्तूरीपैङ्कदत्तो नभःश्रीव. दने चित्रकः पत्रभङ्गः, विस्तारवनिचोलः जलधरपैटलीमेदुरो मेदिन्याः। अवलम्बमानः पुरतः प्रियविरहदशार्दुःखाधोगतानां, आशानां वेणीवन्धः प्रसरति निबिडः एष कालान्धकारः॥९॥ III) तद् गच्छावः अनेने स्फटिकमणिसौधदक्षिणभागवालबकुलारामपर्यन्तेन तुहिनजलदीर्घिकापरिसरम् । इदानीं च गता देवी भगवन्तं स्थलीश्वरं द्रष्टुम् । IV) वयस्य, आदेशय तुहिनजलदीर्घिकापरिसरस्य मार्गम् । V) भो वयस्य, इत इत एतु भवान् । VI) आश्चर्यम् , भपूर्ववल्लभादर्शनार्थ प्रस्थितस्य मे अपूर्वः परिवारः अपूर्व
१ ॥ पश्य पश्य for पश्य. २ कोकोकलमिव, M काकोलमिव. ३ ( सत्यमेतत्. ४ र पको दत्तो, ४ पडूदत्तनभ'. ५ र चित्रभकुर: for चित्रकः of M, ६ र धरपटलं मेदुरं. ७ ॥ पुरस्तात् प्रिय. ८ र दुःखाधोगताननां वेणीबन्धः, M दुःखाय आननानामाशानां. ९ Komits अनेन. १० M तदादेशय for वयस्य आदेशय. ११ Momits मो वयस्य.

Page #129

चंदलेहाए
सव्वेहिं इंदिएहिं सह चलइ मणं अग्गदो मग्ग - देसे
संगो अणंगो अणुसरइ करासज्ज - कोदंड-दंडो । वाहिज्जंतीअ तीए गहिअ - रअमणप्पेहि संकप्पएहिं उक्कंटंदोलिआए पिअ जण संविहे एस गच्छामि दाणिं ॥१०॥ विदूषकः - "वअस्स, अदूरे दाणिं तुहिण -जल-दीहिआ । ( नेपथ्ये ) कप्पूरेहिमलं नुसार- सलिलासारेहि सिंचेहि मा दूरे कीरउ दूसहं सरसिअं घोरेण हारेण किं I दाणिं होहिं देह- दाह- चउरो चंदो खु मज्झे पहं ता घेतु निरंतराइ भिसिणी - पत्तादवत्ताइ मे ॥ ११ ॥ विदूषकः - ( आकर्ण्य ) भो वअस्स, किं गंडूसिअं सवणेहिं पीऊसं, ता दाणिं णअणाणं वि कुणउ सुहा - कर्वल-ग्गहं ।
राजामा जंप, जं पुणो वि किंचि सुणीअदि । विदूषकः - एसो तुम्हीओ म्हि ।
(नेपथ्ये ) किं करम्ह ।
५२
फेणाअंत-मुहा सुणाल-लदिओ पत्ता मिलाणत्तणं सेना - पलव-संचओ वि सहसा संकोईदो दीसइ ।
1K बन्धासङ्गो 2 K करासंज्ञको 3 वाहिजकीअ. 4 x सविए एस. 5 K दोहिइ. 6 K घपंतु. 7 K कबल. 8. 9 किंपि अ सुणी 10 K इदिआ for लदिआ. 11 " सेज्जो. 12 K सङ्कोइदं.
[III. 100
वाहनं च । तथा च । सर्वैरिन्द्रियैः सह चलति मनः अग्रतो मार्गदेशे, बद्धासंगः अनङ्गः अनुसरति करासक्तकोदण्डदण्डः । उद्यमानया तथा गृहीतरयमनल्पैः संकल्पैः, उत्कठान्दोलिया प्रियजन सविधमेष गच्छामीदानीम् ॥ १० ॥ I) वयस्य, अदूरे इदानीं तुहिन जलदीर्घिका । (...) कर्पूरैरलं तुषारसलिलासारैः सिञ्च मां, दूरे क्रियतां दुःसहं सरसिज घोरेण हारेण किम् । इदानीं भविष्यति देहदाहचतुरश्चन्द्रः खलु मध्ये नभः, तस्माद् गृह्यन्तां निरन्तराणि बिसिनी पत्रातपत्राणि मे ॥ ११ ॥ II) भो वयस्य, किं गण्डू - षितं श्रवणाभ्यां पीयूषं, तस्माद् इदानीं नयनयोरपि कुरु सुधाकवलग्रहम् । III) मा जल्प, यत् पुनरपि किंचित् श्रूयते । IV) एष तूष्णीकोऽस्मि । (...) किं कुर्मः । फेनायमानमुख्यः मृणाललतिकाः प्राप्ताः म्लानत्वं शय्यापल्लवसंचयोऽपि सहसा संकोचितो
१न्दोलिकायां प्रिय. २ भो वयस्य ३ K सिल्लेथ मां. ४ K इदानीं तु भवि ५ तद् Mlacuna ७ x किमपि for किंचित् of M.

for तस्माद.

Page #130

-III. 12.15]
तइअं जवणिअंतरं लाजाइ व्व फुडंति मोतिअ-गणा देहस्स दाहग्गिणा ।
एत्थाणस्थ-भरो इमाअ सरणं किं वा ण जाणिजए ॥ १२॥ राजा-"अअं अवसरो उवसप्पिदुं । ( उभावुपसर्पतः।) विदूषकः -"किं सअल-भुवणेकणाहे महाराआहिराए धरणिअलं परिरक्खमाणे माणवेए कि सरणं ति चिंतीअदि। (ततः प्रविशति पल्लवशयनशायिनी नायिका शिशिरोषचारव्यापृते चन्दनिकाचन्द्रिके च।)
नायिका-कप्परेहिमलं [III. 11 ] इत्यादि पठति । चन्दनिकाचन्द्रिके-किं करम्ह [III. 12 ] इत्यादि पठतः । विदूषकः-पिअसहि, अब्भुहाणेण संभावेहि भट्टारं ।
नायिका -IVत है । (अवलोक्य स्वगतम्) हिअआदो णिग्गओ लोअणंपहे ठिओ। (उत्थातुमिच्छति ।)
राजा-(हस्ते गृहीत्वा सहोपविश्य) पिए चंदमुहि, मा करेहि नुह मारदूमिअंतणुमिमं पुणो वि तं, तुज्झ एरिस-दसावलोअणं मज्झ जुतमुवआराडंबरं।
नायिका-(स्वगतम्)"अच्छरीअं, कहं एसो एक्को एव्व हिअआवहारणे पलआणिल-जालंतरे मं भर्जिअ संप सरीर-फंसे उण अमिअ-समुद्द-मज्झम्मि मज्जावे।
1K दाहग्गिणो. 2K puts this in the mouth of the king after (उभावपसर्पतः), but Kh assigns it to Vidusaka. 3r puts तह after the stage-direction. 4 K लोअणपगे ठिओ. 5F उपविश्य for सहोप. 6 5 दसोवलोअणं. ?r 'मुपहारंडंबरम्. 8 K भझिअ. 9 5 मशावेइ. दृश्यते । लाजानीव स्फुटन्ति मौक्तिकगणाः देहस्य दाहाग्निना, अत्रानर्थपैरोऽस्याः शरणं किं वा न ज्ञायते ॥१२॥ I) अयमवसर उपसर्पितुम् । II) किं सकलभुवनैकनाथे महाराजाधिराजे धरणीतलं परिरक्षति मानवेदे किं शरणमिति चिन्त्यते । III) प्रियसखि, अभ्युत्थानेन संभावय भर्तारम् । IV) तथा। (...) हृदयानिर्गत्य लोचनपथे स्थितः। V) प्रिये चन्द्रमुखि, मा कुरुत तवं मारदूनां तनुमिमां पुनरपि त्वम् , तव ईदृशदशावलोकर्न मम युक्तमुपचरावडम्बरम् । VI) आश्चर्य, कथमेष एक एव हृदयावस्थाने प्रलया. नलज्वालान्तरे मां भर्जयित्वा सांप्रतं शरीरस्पर्शे पुनर् अमृतसमुद्रमध्ये मज्जयति ।
.१ . मौक्ति a long lacuna upto "शोकानन्दकारिणा otc. on the next page. २ र मानवेते, . laouna. ३ Komits तव. ४ र प्रलयान्तरज्वाला.

Page #131

५४
चंदलेहाए
[III.12.16राजा-(स्पर्शसुखमभिनीय स्वगतम्)
"मम वहइ विलोळ-लोअणाए करअल-फंस-सुहा-रसेणमंगं । णव-जलहर-तोअ-बिंदु-विंद
प्पसरण-नुह-कअंब-लटि-सोहं ॥ १३ ॥ नायिका -'सहि चंदणिए, किं वसंतं अइक्कमिअ पतो गिम्हो जेण सिज्जति गताई। । चन्दनिका -(सपरिहासम् )पिअसहि, णं कालोवगएण समीवे वसंतेण राअंहंस-तिलएण असोआणंद-कारिणा कंदप-मितेण णेणं चिअ दे अंगाइ सिज्जंति । (नायिका लजां नाटयति ।) • राजा-(सस्पृहम् ) हंहो हरिण-लंछण, ।
मा पुवदि-सिरे तिरोहिअ-तणू चिढेहि उद्धेहि तं अम्हाणं अणुगहिउं कुण खणं जोण्हा-पआसुग्गमं । दीणि जेण पिआअ से पिअ-सहि-च्छेउति-संसूअणे संलैक्खिज्जउ णं विलक्ख-हसिअ-च्छाआ-वलक्खं मुहं १४
(नेपथ्ये) वैतालिकः-सुह-दाइणी होउँ देवस्स चंदुज्जोअ-लच्छी । अज्ज खु
एअं अंजण-पुंज-पंजर-दरी-लीणं व लक्खिज्जए
तेल्लोकं ण खु जाव दाव किरणंकूरो तुसारंसुणो। ___1K बिन्दुबिन्दु'. 2 यदि for लट्रि. 3 K अतिक्कमिअ. 4 K समीपे. 5 K राजस'. 6 x कदम्बमित्तण. 7 K सिझन्ति. 8Kलंझण. 9K'तआ for तणू. 10K दाणी. 11K सल्लख्खि. 12 होइ. 13 K दरीणीलं व. 14 K भुसारंसुणो. I) मम वहति विलोललोचनायाः, करतलस्पर्शसुधारसेन अङ्गम् । नवजलधरतोयबिन्दुवृन्द-, प्रसरणतुष्टकदम्बयष्टिशोभाम् ॥ १३॥ II) सखि चन्दनिके, किं वसन्तमतिक्रम्य प्राप्तो ग्रीष्मः येन विद्यन्ति गात्राणि । III) प्रियसखि, ननु कालोपगतेन समीपे वसता राजहंसतिलकेन अशोकानन्दकारिणा कन्दर्पमित्रेणानेनैव ते अङ्गानि विद्यन्ति । IV) हंहो हरिणलाञ्छन, मा पूर्वाद्रिशिरसि तिरोहिततनुस्तिष्ठ उत्तिष्ठ त्वं, अस्माननुग्रहीतुं कुरु क्षणं ज्योत्स्नाप्रकाशोद्गमम् । इदानीं येन प्रियायाः अस्याः प्रियसखीच्छेको क्तिसंसूचने, संलक्ष्यतामिदं विलक्षहसितच्छायावलक्षं मुखम् ॥ १४॥V) सुखदायिनी भवतु देवस्य चन्द्रोद्योतलक्ष्मीः । अद्य खलु, एतदञ्जनपुअपञ्जरदरीलीनमिव लक्ष्यते,
१ : गात्राणि for अङ्गानि. २ . उत्तिष्ठत for उत्तिष्ठ त्वं. ३ अस्माकमनु. ४ : 'शोधमम्. ५ र प्रियायां. ६॥ कस्याः for अस्याः, ७ संलक्ष्यते इदं. ८ पचरशालीन,

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-III. 186]
तइ जवणिअंतरं मुच्छं उज्झिअ उडिआहि कुमुअ-च्छाआहि पञ्चुग्गओ
सिंगारग्गिम-पल्लवो उवगओ सिंगम्मि पुव्वद्दिणो॥ १५ ॥ अवि अ।
कंदप्पोजल-किति-कंदल-दला चंदोज-जीआदुणो राई-हास-लवा पुरंदर-दिसा-मल्ली-पसणुग्गमा । उव्वेलंत-तमस्समुद्द-लहरी-लीणच्छ-फेण-च्छडा
पुव्वदिम्मि कमेण मुद्ध-धवला वडंति जोण्हंकुरा ॥१६॥ राजा-"सअल-जण-कण्ण-उड-मअरंद-णीसंद-वाहिणा सुभासिअकीला-सुअ-पंजरेण मंजुकंठेण बंदिणा उवसिलोइदा चंदुज्जोअलच्छी । संप पुण सरस्सई-चलण-सरसिअ-महु-सलिल-पूरिअ-, हिअआलवाल-वर्ल्डत-बाल-पडिहा-वल्ली-पल्लवाअंत-सुति-रत-कंठस्स महुरकंठस्सावसरो।
(नेपथ्ये) विपंडुर-मुह-च्छई गहिअ-गब्भ-पुण्णोअरी पुरंदर-दिसा खणं भविअ लोअणाणंदिणी । तदो पुण जणेइ णं हरिण-लंछणं णंदणं
असं कुणइ तक्खणं अहिणहंकणं रिंखणं ॥१७॥ अवि अ।
दिसा-चिउर-चूलिआ धवल-मालई-मालिआ
णिरंतर-विलंबिआ णह-विआण-सुती-लआ। 1 . उडिआइ. 2 पसूणग्गमा. 3 5 उब्वेलन्त. 4 सुध. 5 x 'सिलोलदा. 6K प्रतिहा' for पडिहा. TK कण्ठंस सावसारो. 8 K विपण्डर. 9 विलंखिआ. 10 K मुत्तालिआ. त्रैलोक्यं न खलु यावत् तावत् किरणाङ्करस्तुषारांशोः। मू मुज्झित्वा उत्थिताभिः कुमुदच्छायाभिः प्रत्युद्गतः, शृङ्गाराग्रिमपल्लवः उपगतः शृङ्गे पूर्वाद्रेः॥१५॥ अपि च । कन्दपोजवलकीर्तिकन्दलदलाः कुमुदजीवातवः, रात्रीहासलवाः पुरन्दरदिशामल्लीप्रसूनोगमाः। उद्वेलत्तमस्समुद्रलहरीलीनाच्छफेनच्छटाः, पूर्वाद्री क्रमेण मुग्धधवलाः वर्धन्ते ज्योत्स्नाकुराः॥ १६ ॥ I) सकलजनकर्णपुटमकरन्दनिष्यन्दवाहिना सुभाषितक्रीडाशुकपारेण मञ्जकण्ठेन बन्दिना उपरलोकिता चन्द्रोद्योतलक्ष्मीः । सांप्रतं पुनः सरस्वतीचरणसरसिजमधुसलिलपूरितहृदयालवालवर्धमानवालप्रतिभावल्लीपल्लवायमानसूक्तिरक्तकण्ठस्य मधुरकण्ठस्यावसरः। (...) विपाण्डुरमुखच्छविः गृहीतगर्भपूर्णोदरी, पुरन्दरदिशा क्षणं भूत्वा लोचनानन्दिनी। ततो पुनर्जनयति इमं हरिणलाञ्छनं नन्दनं, अयं
१ दिमझी. २k omits वर्धमानवाल. ३ ॥ गरुक for गृहीत. ४ र पुनर्जयति.

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५६
चंदलेहाए
पिवासिअ चओरिआ वअण- दुद्ध-धारा करा गलंति रअणी-वहू - तिलअ-बिंदुणो इंदुणो ॥ १४ ॥ चन्दनिका - तह पअट्टा एव्व चंद इरणा । तह अ । जा पुव्वद्दिस सिंगे कह वि पसरिआ तिन्ह तिन्हाउलाणं चंचूर्ण पूरणेसुं पि ण चवल-चओराण पारेदि पुव्वं । vive पत्थेहि मेज्जा परिलसइ मुणालंतरालेहि पेज्जा हज्जा हत्थंजलीहिं भरिअ - तिहुवणा सा खु जोण्हा सु-सन्हा १९ नायिका - पिअसहि चंदिए, तुमं वि वण्णेहि चंदिमा - उज्जोअं । चन्द्रिका-जह आणवेदि पिअसही ।
II)
चंदादो किरणकुरा अलिआ चंडं चओर छडाचंचू- संचअवेअ- खंडिअ मुहा मुंडणं पाविआ । सं धवला अमाण- कुमुअ च्छाआहि संवडिआ एहि उल्लंसिअद्द-पल्लव- सहस्सुव्वेल्लिग्गा इव ॥ २० ॥ राजा - ''अहो अहमहमिआए पत्तो कइतण- कलहो ।
-
1 विपासिअ 2K बन्धूणं for चंचूर्ण 3 K चन्दिमदुजाअम् 4 K दीसन्दे. 5 K ओयुलसिअदबल्लव 6K "अङ्गा for "अग्गा.
[ III. 18c
करोति तत्क्षणमभिभोऽङ्गणं रिंक्षणम् ॥ १७ ॥ अपि च | दिशाचिकुरचूलिका धवलमालतीमालिकाः, निरन्तरविलम्बिता नभोवितानमुक्तालता । पिपासितच कोरिकावदनदुग्धधाराः कराः, गलन्तिं रजनीवधूतिलैकविन्दोः इन्दोः ॥ १८ ॥ I ) तथा प्रवृत्ता एव चन्द्रकिरणाः । तथा च । या पूर्वाद्रेः शृङ्गे कथमपि प्रसृती तीक्ष्ण तृष्णाकुलानां, चञ्चनां पूरणेषु अपि न चपलचकोराणां पारयति पूर्वम् । इदानीं प्रस्थैर्मेया परिलसति मृणालान्तरालैः पेया, हार्या हस्ताञ्जलिभिः भरितं त्रिभुवना सा खलु ज्योत्स्ना सुलक्षणा ॥ १९ ॥ II) प्रियसखि चन्द्रिके, त्वमपि वर्णय चन्द्रिकोद्योतम् । III ) यथा आज्ञापयति प्रियसखी । चन्द्रात् किरणाङ्कुराः प्रगलितीश्चण्डं चकोरच्छटा-, चञ्चसंचयवेगखण्डितमुखाः खैर्वत्वं प्रापिताः । दृश्यन्ते धवलायमानकुमुदच्छायाभिः संवेधिताः, इदानीमुल्लसितार्द्रपल्लवसहस्रोद्वेल्लिताग्रा इव ॥ २० ॥ IV) अहो अहमहमिकया प्रवृत्तः कवित्वक लैंहः ।

१ K "मधिनभोऽङ्गणं. २ M विलुलिता for विलम्बिता. ३ K मुग्ध for दुग्ध. ४ K लसन्ति for गलन्ति ५ KM तिलकविन्दोरिन्दोः ६ म प्रस्मृता. ७ तीक्ष्णतीक्ष्णाकु ८ बन्धूनां for चक्षूनां SM भृत for भरित. १० x प्रगलितास्यं प्रचलिता. ११ संमेलिता. १२ प्रवृत्ता. १३ निपुणता for कलह:.
of M.

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-III. 23.2]
तइ जवणिअंतरं _ विदूषकः-"अहं वि मह कइतणं पअडीकरिस्सं । सुणह मज्झ सुन्निसोहग्गं।
चंदण-चच्चिअ-सव्व-दिसंतो चारु-चओर-सुहाइ कुणंतो। दीह-पसारिअ-दीहिंइ-बुंदो
दीसइ दिण्ण-रसो णव-चंदो ॥२१॥ चन्द्रिका -"महाराअ, चंदुजोए पिअसहीए किदो सिलोओ। राजा-IIIचंदिए, वरिसेहि सवण-पीजसं । चन्द्रिका -IV पिअसहि, किं पढिस्सं । (नायिका लजते ।) चन्द्रिका-(पठति ।) ''वहइ कलंक-मिसेणं काल-भुअंगं ससी णिउच्छंगे।
किरणाली-णालेहिं किरइ कहं अण्णहा गरलं ॥ २२ ॥ राजा - अहो संदब्भ-चाउरी रस-णीसंदो अ। पिए,
आणणेण तुह णिज्जिओ ससी लोअणेण पुण तजिओ मिओ। ताण जुज्जइ दुवाण संगमो
अग्गदो विचरणं अलज्जदा ॥२३॥ (चन्द्रं प्रति) हंहो हरिण-लंछण, तुमं खु इमाए णिअ-रूव-णिज्जिअलच्छीए कोमलच्छीए . 1K सुहण मझ. 2 दीहिवुन्दो. 3 K महाराअ (हिजो) चंदु. 4 K पठिस्सम्. B F अणेण.
65 निजओ.
I) अहमपि मम कवित्वं प्रकटीकरिष्ये । शृणुत मम सूक्तिसौभाग्यम् । चन्दनचर्चितसर्वदिगन्तः, चारुचकोरसुखानि कुर्वन् । दीर्घप्रसारितदीधितिवृन्दः, दृश्यते दत्तरसो नवचन्द्रः ॥ २१ ॥ II) महाराज, चन्द्रोद्योते प्रियसख्या कृतः श्लोकः। III) चन्द्रिके, वर्षय श्रवणपीयूषम् । IV) प्रियसखि, किं पठिष्यामि । V) वहति कलङ्कमिषेण कालभुजङ्गं शशी निजोत्सङ्गे । किरणालीनालैः किरति कथमन्यथा गरलम् ॥ २२॥ VI) अहो संदर्भचातुरी रसनिष्यन्दश्च । प्रिये, आननेन तव निर्जितः शशी, लोचनेन पुनस्तर्जितो मृगः । तयोः युज्यते द्वयोः संगमः, अग्रतोऽपि चरणमलज्जता ॥२३॥ (...) हंहो हरिण
१M वर्ष श्रव. २ M वक्ष्यामि for पठिष्यामि. ३ र निजकरोत्सझे ४ र अनेन for आननेन. ५ Kलोचनेन मृगोऽपि तर्जितः, M लोचनेन च मृदो विनिर्जितः. ६ तस्मात् न for तयोः ७ र लज्जताम् ।
८ चंद.

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चंदलेहाए
[III. 24चुंबतो बिंबएणं रमसि बिस-लआ-पंडुरं गंड-रेहं दिण्णाणंदो कुणंतो विहरसि सिहिणे तक्खणं अंकपालिं।
आलोलेहिं करोहिं कुणसि अरंसणा-फंसणं संस णं मे किं णं पुव्वं खु पुण्णं किदमहह नुए जेणमेमेअ होमि ॥२४॥
(नेपथ्ये कलकलः, सर्वे ससंभ्रममाकर्णयन्ति ।) विदूषकः-"होदि चन्दणिए, जाण को एसो कलकलो ति। । चन्दनिका-(उत्थायावलोक्य ससंभ्रमम्)"एसा खु देवी थलीसरं दट्टण इदो एव्व आअच्छदि ति से अंतेउर-चारिणो कुज्ज-किराअ-वरिस
वर-वामण-पुरस्सरस्स परिवार-जणस्स एसो कलकलो । ता जह • देवीए ण जाणिज्जइ एसो वुतंतो तह करेउ महाराओ। अम्हे वि अंतेउरं एव्व तुरिअं गमिस्सामो। राजा -"तह ।
(इति सर्वे निष्क्रान्ताः।) ॥ इअ चंदलेहाअं तइअं जवणिअंतरं ॥ 1 K बिम्बणेणं. 3 6 दिण्णाणन्तो. 3 5 अंकपालीम्. 4 K रअणासणं. 5 पुण्णं पुव्वं खु for
किंणं etc. 6 K परिसवर. 7
जाहिजए.
लाञ्छन, त्वं खल्वस्याः निजरूपनिर्जितलक्ष्म्याः कोमलाक्ष्याः, चुम्बन बिम्बेन रमसे बिसलतापाण्डुरां गण्डरेखां, दत्तानन्दः कुर्वन् विहरसि स्तने तत्क्षणमङ्कपालीम् । आलोलैः करैः करोषि च रशनास्पर्शनं शंस ननु मे, किं पूर्व भूरि पुण्यं कृतमहह खलु त्वया येन एवमेव भवामि ॥ २४ ॥ I) भवति चन्दनिके, जानीहि क एष कलकल इति । II) एषा खलु देवी स्थलीश्वरं दृष्ट्वा इत एवागच्छति । तस्यान्तःपुरचारिणः कुजकिरातवर्षवरवामनपुरस्सरस्य परिवारजनस्यैष कलकलः। तस्मात् यथा देव्या न ज्ञायते एष वृत्तान्तः तथा करोतु महाराजः । वयमप्यन्तःपुरमेव त्वरितं गमिष्यामः। III) तथा ।
॥ इति चन्द्रलेखायां तृतीयं यवनिकान्तरम् ॥
१ K omits कोमलाक्ष्याः . २ . चुम्ब बि. ३ ॥ गन्धरेखां. ४ ॥ विसरसि. ५॥ स्तनेन for स्तने. ६K स्पर्श for स्पर्शनं. ७ । सिजन्मे. ८K कि पूर्व पुण्यं कृत, ९ परिवारस्यैष. १० तद for तस्मात. ११ र गमिष्यावः.

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[IV]
(ततः प्रविशत्यलंकृतो राजा विभवतश्च परिवार ः प्रतीहार्यौ च । )
-
राजा – (सानुशयं स्वगतम् ) " हंत, कहं वि संपादिए मुहुत्तं दआलुणा देव्वेण चिराभिलसिए चंपअ-दल- कोमलंगीए खण-संणिहाणे इमिणा अविस्संभ-भअ- कारिणा दक्खिण्ण हदएण वंचिदो म्हि | जदो
तुंगाणं सिहिणाण ताण खु अमीअंताण वच्छ-त्थले दूरे चिट्ठ अंकपालि-कहणं फंसो वि णासादिओ । ओत्तीस सहीए किं वि णमिअं मुद्धं मुहं भोरुहं
तं उण्णामि दक्खिअं वि ण मए का वा कहा चुंबणे ॥१॥ प्रतीहारी -( अन्यां प्रति )''मंजुभासिणि, एहि विसुवोसवे सअललोअ-लोअणाणंद - पुण्णिमा-चंदं मही- महिंदं माणवेदं पेक्खिअ संवच्छरं सुप्पभादं करेहि । एसो खु महाराओ पदीव - मणि दप्पण-सा-१ अकुंभ- पुण्णकुंभ-पहुदीहिं मंगलेहिं अलंकिदे महत्थाण-मंडवे छत्तेणं णव- पुंडरीअ-रुइणा डिंडीरिआ पंडुरे पल्लेकम्मि पलित्त-भूसण पहा पिंगेहि अंगेहि अ ।
-
1 x संपादए वि मुहुत्त हआ 2 K कोमलंगाए. 3 K अयमाअंताण. 4 K च्छेओत्तोसु. 5x often मञ्जुभाषिणि 6 K महीन्दं 7 K करेदि.
[ संस्कृतच्छाया ]
I) हन्त, कथमपि संपादिते मुहूर्त दयालुना दैवेन चिराभिलषिते चम्पकदलकोम - लायाः क्षणसंनिधाने अनेनाविस्रम्भभयकारिणा दाक्षिण्यहत केन वञ्चितोऽस्मि । यतः, तुङ्गयोः स्तनयोस्तयोः खलु अमातोः वक्षःस्थले, दूरे तिष्ठत्वङ्कपालीकथनं स्पर्शोऽपि नासादितः । छेकोक्तिषु सख्याः किमपि नमितं मुग्धं मुखाम्भोरुहं, तदुन्नमय्य दृष्टमपि न मया का वा कथा चुम्बने ॥ १ ॥ II) मञ्जुभाषिणि, इदानीं विषुवोत्सवे सकललोकलोचनानन्द पूर्णिमाचन्द्रं महीमहेन्द्र मानवेदं प्रेक्ष्य संवत्सरं सुप्रभातं कुरु । एष खलु महाराजः प्रदीपमणिदर्पणशातकुम्भपूर्णकुम्भप्रभृतिभिः मङ्गलैरलंकृते महास्थानमण्टपे, छत्रेण नवपुण्डरीक रुचिना डिण्डीरिकीपाण्डुरे, पर्यङ्के प्रदीप्तभूषणप्रभापिङ्गैः अङ्गैश्च । संभावितेऽपि मु. २ KM मुहूर्तदयालुना. ३ लागयास्तस्याः क्ष. ४K अमुना for अनेना. ५ x अयमात्मनि for अमातो: of N. ६ M तदुन्नाम्य. ७K मानवेतं, M मानवेद. ८ K कुरुते ९ K च्छत्रे, M चित्रेण. १० M डिण्डीरापाण्डुरे.
१

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६०
चंदलेहाए
णिते णव भम्म- पंकअ - मुहाराओ अनंतासणे छत्ताअंत-विसल- मज्झम-फणे णाराअणो व द्विओ ॥ २ ॥
मञ्जुभाषिणी – ( सानन्दम् )”अव्वो सुप्पहाअं इदं । अज्ज सुप्पहार्द संवछरं । ( विलोक्य) अहो विसुवोसव- विसेसालंकिदस्स अन्याणस्स सिरी । एत्थ हि
3
णीलंसु उल्लोअ - विलंबिआणं मुत्ता-लदाणं णिविडंतराणं । रेहति माला णव - पावसम्मि जीमूअ लंबा इव वारि-धारा ॥ ३ ॥ कलभाषिणी - "मंजुभासिणि पेक्ख ।
पत्ते कंचणेसुं इह कुह वि इमे पोमराआण पुंजा एदे मुत्ताफलाणं पुण तह अ इमे इंदणीलोप्पलाणं । संके बालादवाणं अवि गहिअ - रसं चंदिआणं तमाणं संघा सेवेदुमेदं तिहुवण-सुहअं आऊंदा णिव्विरोहं ॥ ४ ॥ मञ्जुभाषिणी-कलभासिणि, इमं वि पेक्ख ।
वीअंतीण वहूण कंकण - झणक्कारिल - दो- वल्लरीमंदंदोलिअ - चामलाणिल-कला-विच्छोइअग्गी इमे ।
[ IV. 20
1K णवसम्बुपङ्कअ 2 K fa for a. 3 अंबो. 4 इहं. 5 K संव्वहरं. 7K पावुसंमी. 8K लम्पालअवारि 9 आअदाणं विरोहम्. 10 K विच्छोलिअंगा. निद्रान्ते नवस्त्रर्णपङ्कजमुखारागः अनन्तासने, च्छत्रायमाणविशालमध्यमपणे नारायण इव स्थितः ॥ २ ॥ I) अवो सुप्रभातमिदम् । अद्य सुप्रभातं संवत्सरम् | ( ... ) अहो विषुवोत्सव विशेषालंकृतस्यास्थानस्य श्रीः । अत्र हि, नीलांशु कोल्लोचविलम्बितानां, मुक्तालतानां निविडान्तराणाम् । राजन्ति माला नवप्रावृषि, जीमूतलम्बा इव वारिधाराः ॥ ३॥ II) मञ्जुभाषिणि प्रेक्षं । पात्रेषु काञ्चनेषु इह कापि इमे पद्मरागाणां पुञ्जाः, एते मुक्ताफलानां पुनः तथा चेमे इन्द्रनीलोपॅलानाम् । शङ्के बालातपानां अपि गृहीतरसं चन्द्रकाणां तमसां, सङ्घाः सेवितुमेतत् त्रिभुवनशरणं आगता निर्विरोधम् ||४|| III ) कलभाषिणि, इदमपि पश्य । वीजन्तीनां वधूनां कङ्कणझंणत्कारवद्दोर्वल्लरी, मन्दान्दोलितचामरा

१.
निद्रान्तेन प्रसन्नचारुवदनाम्भोजः अनन्तासने. २ K अम्बो, N अहो. ३ K नीलांशुकालोल वि. ४K लम्बा लकवारिधारा: ५r omits प्रेक्ष. ६क्कासि इमे च पद्म, M कचित् for क्वापि ७ K 'नीलोत्पलानाम्८ K आहता नितिनिरोधः ९ त्वमपि for इदमपि १० झणत्कारट्टदावरी, कङ्कणकणत्कार..

6K उल्लेअ .

Page #138

-IV. 70]
चउत्थं जवणिअंतरं दीवा दीह-सिहा महिंद-पइणो अस्थाण-रित्थाण से सामग्गीऍ सिलाहणं खु परिदो रेहति दंता विअ ॥ ५॥
(नेपथ्ये) सोत्थि, जअ जअ महाराअ परम-माहेसर सिरि-माणवेअ, सुहं देउ पहाद-वेला महाराअस्स । अज्ज हि
आआसे पंचसाई परिणमिअ-पलंडु-च्छडा-पंडुराई ताराई चंचलीआ कुमुअ-महु-सुहा-पाण-मता पसुता। जाओ णीसास-कण्हाविअ-मुउर-समो मंदिमो चंदिआए।
पुव्वासा-सोअ-साहा लहइ कुसुमिआ पाअ-संगं उसाए॥६॥ कलभाषिणी-"महाराअ, संणिवडिआ अ सअला चउसिधु-रसणा-बंध-बंधुराअं वसुंधरा राआणो, उवहिदा अ दुवारुद्देसं, महाराअस्स पसादं पडिपालंता चिट्ठति । राजा-"कलभासिणि, तेण खं पवेसिज्जउ । मञ्जुभाषिणी- एसो पुढम उवागओ वच्छोम-णाहो।
जहिं किल सरस्सई लसइ साहु-रीदिं गआ
जहिं कुणइ अप्पणो भुवणमेक-रज्जं सरो। ___ 1 K रेहङ्किदंता. 3 - नैपथ्ये. 3 K आएसेप्पञ्च. 4 K च्छटापाण्डुराइं. 5 R काणाविअमुउरतमो. 6 K चिट्ठदि. 7 . हि for खु given by Kh. 8 K उपागओ. 9 रीदी for रीदि. निलकलाविक्षोभिताना इमे। दीपाः दीर्घशिखा महीन्द्रपतेः आस्थानदीनामस्याः,सामय्याः श्लाघनं खलु परितो राजन्ति ददत इव ॥५॥ (...) खस्ति, जय जय महाराज परम. माहेश्वर श्रीमानवेदै, सुखं ददातु प्रभातवेला महाराजस्य । अद्य खलु, आकाशे पञ्चषाणि परिणतपलाण्डुच्छटापाण्डुराणि, ताराणि चञ्चलीकाः कुमुमधुसुधापानमत्ताः प्रसुप्ताः। जातः निश्वासकृष्णितमुकुरसमः मन्दिमा चन्द्रिकायाः, पूर्वाशाशोकशाखा लभते कुसुमिता पादसंगं उषायाः॥६॥ I) महाराज, संनिपतिताश्च सकलाश्चतुस्सिन्धुरशनाबन्धबन्धुरायां वसुंधरायां राजानः, उपस्थिताश्च द्वारोद्देश, महाराजस्य प्रसादं प्रतिपालयन्तस्तिष्ठन्ति । II) कलभाषिणि, तेन खलु प्रवेश्यन्ताम् । III) एष प्रथममुपागतो वैदर्भनाथः। यस्मिन् किल सरखती लसति साधुरीतिं गता, यस्मिन् करोति आत्मनो
१ क्षोभिताङ्गा इमे. २ M आस्थानन्धीनाम'. ३ 'मानवेत. ४ ॥ परिणमन्ति for परिणत. ५
omits लभते, 4 शाखालुब्धा lacuna पाद'. ६ M द्वारोदेशे.

Page #139

चंदलेहाए
जहिं च पुढमो रसो जअइ दे पसादेण णं अअं अवइ मेईणी- जुवइ - मंडणं कुंडिणं ॥ ७ ॥ एसो अ गंभीर - महुरेहिं चरण- संचरणेहिं उवगमिअ, अच्छोलंबत- चूडा-मउडअ - घड माणेक्क- माणिक्क छाआरिछोलीहिं घणाहिं तुह उवंरि गुरुं उव्वमंतो व राअं । विच्छोहिज्जत-हार च्छइ-कुल- धवला अंत - सच्छोह-वच्छो वेदव्भाणं अहीसो पणमइ णिहुअं तुझ पावीट- मूले ॥ ८ ॥ कलभाषिणी - " एसो खु उज्जैअणी वलहो । अअं खु
-
हेडला अंत-सग्गाण खु सइ वि महा-काल-चूलेंदु - लेहाजोहाहिं अन्त कित्तीहि वि तह धवलाअंत-रच्छा मुहाणं । सिप्पा - वादंकुराचुंविअ - सुरअ किलम्मंत रामाणणाणं दाणं सासणेणं तुह णवर अवंतीण रक्खं करेदि ॥ ९ ॥ एसो अ
६२
औरख- पाअ- णमणो सवणोव्वलंतकण्णेउरं तुह पुरो णह- दप्पणम्मि । ओलोइऊण गलिअं जह-ठाणमेअं ठावे संपइ करेदि अ दे पणामं ॥ १० ॥
4 K उपरि
1 x मेइणिजुवई 2K बरमाणेक 3 K रिच्छोलीहिं. 5 K विच्छोलिजन्त. 6 Kh वच्छोभाणं for वेदव्भाणं. 7 पावीड. SK उझअणी. 19 K हेट्टीणाअंत, but Kh हेटीला. 10 K सुधापादंकुरा. 11 आरण्डपाज. 12 K णोवलन्त.

[ IV. 7c
भुवन मे राज्यं स्मरैः । यस्मिंश्च प्रथमो रसो जयति ते प्रसादेन ननु, अयमवति मेदिनी - युवतिमण्डनं कुण्डिनम् ॥ ७ ॥ एष च गम्भीरमधुरैश्वरणसंचरणैरुपगम्य, अच्छावलम्बमानचूडामकुटक घटमानै कमाणिक्यच्छाया, श्रेणिभिः घनाभिः तव उपरि गुरुमुद्रमन्निव रागम् । विक्षोभ्यमाणहारच्छविबहुधवलायमान सच्छोभवक्षाः, वैदर्भाणामधीशः प्रणमति निभृतं तव पादपीठमूले ॥ ८ ॥ I) एष खलुज्जयिनीवल्लभः । अयं खलु, अधोभवत्स्वर्गाणां खलु सदापि महाकालचू डेन्दुलेखा, ज्योत्स्नाभिरात्मकीर्तिभिरपि तथा धवलायमानरथ्यामुखानाम् । सिप्रा वाताङ्कुराचुम्बितसुरतक्लाम्यद्रामाननानां, एतेषां शासनेन तव नवमवन्तीनां रक्षां करोति ॥ ९ ॥ एष च, आरब्धपादनमनः श्रवणोपरिभवत्, कर्णपूरं तव पुरो नर्खदर्पणे । अवलोक्य गलितं यथास्थानमेतं, स्थापयति संप्रति करोति च ते १ K सुरश्च for स्मरः. २ x प्रसादेन ननु (तद्), M प्रसादेन तदपतिमेदिनी ३M रिछोलीभि: for श्रेणिभिः ४ ८ उज्जयिनीवल्लभोऽयं सलु for एष etc. खलु. ५ M रथ्यामुखां. ६ KM सुप्रा. ७ नपरम lacuna रमवन्तीनां. ८ K दर्पणे.

Page #140

-IV. 130]
चउत्थं जवणिअंतरं मञ्जुभाषिणी-"एसो रिवु-मंडल-खंडण-प्पअंडो पंडो, कहमस्स सुह. अतणं वण्णिदव्वं ।
लोवामुद्दा-सहाओ स हि मुणि-पवरो अस्थि से सोस्थिवाई मंदहिं मारुएहिं कुणइ अ मलओ चामल-ग्गाहि-लीलें । कोसो सा तंबपण्णी मणि-गण-जणणी किं व एहिं बहूहिं
णणं अंसंस-मतेण वि ण खु सरिसा अस्स भूवाल-लोआ ॥११॥ तारिसो वि एसो।
चूलंत-सत-णव-मोतिअ-सार-जालघोलंत-दीहिंइ-मिसेण पलित-रूवं । कितिं णि सवदि पाहुडिऊण तुज्झ
पाअंबुअं पणमए मणलूर-णाहो ॥ १२॥ कलभाषिणी-"एसो महिला-बाल-णह-लेहा-फालिज्जत-बहल-कप्पूर-खंड-पंडुर-जस-मंडल-दिण्ण-तेल्लोक-सअलंगिअ-धवल-दुऊल-णिओलो चोलो । जो
आलोलिज्जत-णिच्च-कदु-दहण-सिहुद्दाम-धूम-च्छडाहिं घोलंतीहिं कुणंते मिअ-मअ-मअअं पत्त-भंगं दिसाणं ।
1 K सो for से. 2K 'लीलाम्. 3 सोत्तम्ब for सा तंब. 4 K किं वयेहिं. 5 विसेसो for वि एसो. GK दीहिहि. 7 सपदि. 8 पालिजन्त. 9 °च्छटाहिं.
प्रणामम् ॥ १०॥ I) एष रिपुमण्डलखण्डनप्रचण्डः पाण्ड्यः, कथमस्य तु सुभगत्वं वर्णयितव्यम् । लोपामुद्रासहायः स हि मुनिप्रेवरः अस्ति अस्य स्वस्तिवादी, मन्दैः मारुतैः करोति च मलयः चामरग्राहिलीलाम् । कोशः सा ताम्रपर्णी मणिगणजननी किंवा एभिः बहुभिः, नूनमंशांशमात्रेणापि न खलु सदृशा अस्य भूपाललोकाः ॥ ११॥ तादृशोऽप्येषः, चूडान्तसक्तनवमौक्तिकसारजाल-, घूर्णमानदीधिति मिषेण प्रदीप्तरूपाम् । कीर्ति निजां सपदि प्राभृतीकृत्य तव, पादाम्बुजं प्रणमति मणलूरनाथः ॥ १२॥ II) एष महिलाबालनखलेखापाट्यमानबहलकर्पूरखण्डपाण्डुरयशोमण्डलदत्तत्रैलोक्यसकैलाभिकधवलदुकूलनिचोलेश्चोलः । यः, औलोल्यमाननित्यक्रतुदहनशिखोदामधूमच्छटाभिः, घूर्णमानाभिः
१K प्रमाणम्. २ र प्रवरः अगस्त्योऽस्य. ३ र वातैः for मारुतैः. ४ . किंबहुभिरेभिः. ५ सदशः ...' लोक. ६ रमणलूरुनाथः. ७ M साल for बाल. ८K पाल्यमान. ९K a short lacuna after बहल. १० ॥ सर्वाङ्गीण for सकलाङ्गिक. ११ M दुकलं. १२ र निचुलश्चोल:. १३ र आलोक्यमानं.

Page #141

६४
चंदलेहाए
[IV. 13cओलंबंतग्ग-तंबोलअ-दल-कसणाअंत-दिच्चकवाले चोले पालेइ हेला-विहुणिअ-णिवई नुज्झ कारुण्णएणं ॥१३॥ सो एसो
माणिक्क-मोलिं-मणि-मोह-परोह-लेहापंज-च्छलेण जलिअंणिअअं पआवं। दंतो व्व नुज्झ चलणं सरणं जणाणं
णं ओणमेइ णरवाल-मणे खणणं ॥ १४ ॥ मञ्जुभाषिणी-"एसो पलित-पआव-पावअ-ज्जाला-दिण्ण-दिसंगणाकुंकुमंगराओ । जो खु
जपंतो बंधवाणं अभअमहिम मग्गणाणं कुणंतो कंपतो दुह-लोअं अवि सअल-छइल्लाण पीदि दिसंतो। लुपंतो सत्तु-रामा-सिहिण-मलअ पत-नुम्हाणुकंपं चंपं संपण्ण-रिद्धि णिअ-भुअ-सिहरे रक्खए चुक-हीणं ॥१५॥
पावीढअस्स सविहे पडिअस्स तस्स सोहंत-सार-मणि-पप्फुरिओ किरीडो। लंबेहि पलंव-णिहेहि करंचलेहिं
संवाहणं कुणइ दे पअ-पंकआणं ॥ १६॥ ____1K दस for दल. 2 दिक्चङ्कवाले. 3 F रिवई for णिवई. 4K मौलि. 5 जाणा दिण्ण. 6 Kजप्पंतो. 7 अपि. 8 K च्छलंलाण. 9 7 लम्पन्तो. 10 चुंखहीणम्. 11 F पावीडअस्स. 12 K फंफुरिओ. 13 K वण्णव but rh पल्लव. करोति मृगमदमयं पत्रभङ्गं दिशाम् । अवलम्बमानाग्रताम्बूलकदलकृष्णायमानदिक्चक्रपालान् , चोलान् पालयति हेलाविधूतनृपतिः तव कारुण्येन ॥ १३ ॥ स एषः, माणिक्यमौलिमणिमयूखप्ररोहरेखा-, पुअच्छलेन ज्वलितं निजकं प्रतापम् । दददिव तव चरणं शरणं जनानां, नन्ववनमति नरपालमणे क्षणेन ॥ १४ ॥ I) एष प्रदीप्तप्रतापपावकज्वालादत्तदिगङ्गनाकुङ्कुमाङ्गरागोऽङ्गराजः । यः खलु, जल्पन् बान्धवानामभयमभिमतं मार्गणानां कुर्वन् , कम्पयन् दुष्टलोकमपि सकलविदग्धानां प्रीतिं दर्शयन् । लुम्पन् शत्रुरामास्तनमलयजं प्राप्तयुष्मदनुकम्पां, चम्पां संपन्नई निजभुजशिखरे रक्षति प्रमादहीनम् ॥१५॥ पादपीठस्य सविधे पतितस्य तस्य, शोभमानसारमणिप्रस्फुरितः किरीटः । लोलैः पल्लवनिभैः कराञ्चलैः, संवाहनं करोति ते पदपङ्कजयोः ॥ १६ ॥
१ आलम्बमानाग्र. २ M हरितायमान for कृष्णायमान. ३ K omits चोलान्. ४ र हेलाविधृतं. ५ ॥ लेखा for रेखा. ६ र विदण्डानां. ७ प्रीति दिश lacuna. ८॥ संपन्नधिः. ९M किरीटलम्पैः पल्लव'

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-IV. 19d]
चउत्थं जवणिअंतरं कलभाषिणी-"एसो सअल-जण-वल्लहो मअह-वल्लहो । जो खु
लाहिल्लो रिवुणो सिरी-करघरी-केस-ग्गहेसुं बला छाँइल्लो पुर-सुंदरीणमुदिओ घेतूणं मुतिं सरो। एकल्लो सअलम्मि भूमि-वलए वीराण धीराण वा
तकिल्लो तुइ एस पुप्फणअरं रक्खेइ सोक्खाअरं ॥ १७ ॥ पुलोअदु महाराओ।
एसो पडंत-मउडत-समप्पिएहिं मुताहलेहि धवलेहि णिरंतरोहिं । तारावरोहण-वहू-णिबिडंकपालिं
कारेदि पाद-णह-बिंब-णिसेसरं ते ॥ १७ ॥ मञ्जुभाषिणी-"एसो समर-मुह-मुहुत-दिण्ण-पुण्णमंत-वल्लहंकपालीतूसिअच्छरा-चंचलच्छि-कोण-लच्छी-रिंछोलि-विच्छरण-सामलंगो कलिंगो।
एहि एदस्स वीसैकर-सिरमणिणो किति-जोण्हाहि ताहिं थोराआरा चओरा ससहर-मणिणो णिच्च-णीसंदमंती। उज्वेल्ला सिंधु-वेला सइ कुमुअ-गणा होति णिद्दा-दलिद्दा थेरादो णह-लज्जा विहरइ हरिणा चंचलच्छी अ लच्छी ॥१९॥ 1 K सकल. 2 K करमरी. 3 K च्छालल्लो. 4 K पत्तण मुत्ती. 5 K फुप्फ. 6 K रख्खाइ, but Rh रख्खेइ. 7K समंपिओहिं. 8 णिबिडन्तपाली. 9 K पादणबीब, but kh णहबिह. 105 दिण्णमन्तवल्लहंक'. 11 K तूसिञ्चिअच्छरा. 12 K omits कोणलच्छी. 13 वीरुंकरसिरमहिणो. 14 K णीसन्तमन्ता. 15 K हान्ति, but rh होन्ति. 16 K णिन्तादलिन्दा for णिद्दा etc... I) एष सकलजनवल्लभो मगधवल्लभः । यः खलु, लाभवान् रिपोः श्रीवन्दिकचग्रहेषु बलात्, छायावान् मृगलोचनानामुदितः गृहीत्वा मूर्ति स्मरः। एकाकी सकले भूमिवलये वीराणां धीराणां वा, तात्पर्यवान् त्वयि एष पुष्पनगरं रक्षति सौख्याकरम् ॥१७॥ प्रलोकयतु महाराजः। एष पतन्मकुटान्तसमर्पितैः, मुक्ताफलैर्धवलैर्निरन्तरैः । तारावरोधनवधूनिबिडाङ्कपाली, कारयति पादनखविम्ब शेश्वरं ते ॥ १८॥ II) एष समरमुखमु. हूर्तदत्तपुण्यवद्वल्लभाङ्कपालीतोषिताप्सरश्चञ्चलाक्षिकोणलक्ष्मीश्रेणिविच्छुरणश्यामलाङ्गः कलिङ्गः । इदानीमेतस्य वीरोत्करशिरोमणेः कीर्तिज्योत्स्नाभिस्ताभिः, स्थूलाकाराश्चकोराः शशधरमणयः नित्यनिष्यन्दवन्तः । उद्वेलाः सिन्धुवेलाः सदा कुमुद्गणाः भवन्ति निद्रादरिद्राः, स्थविरात् नष्टलजा विहरति हरिणां चञ्चलाक्षी च लक्ष्मीः ॥१९॥
१K भवो for रिपोः. २ M श्रीकेशग्रहणेपु. ३K omits बलात्. ४ एकः for एकाकी. ५ र त्व lacuna हृष्टनगरं. ६ ॥ विलोकयतु. ७F 'मुकुलान्तःसमुत्थितः. ८॥ रिज्छोळी for श्रेणि. ९ र ब्रह्मणः for स्थविरात्..१० हरिणाः.
९चंद.

Page #143

चंदलेहाए
[IV. 200एसो अ तुज्झ करुणा-रस-लालसेण चितेण चित्त-रअणं णव-पाद-वीढं ।
ओलीकरेइ णइ-घोलिर-मोलि-माला
णीसंदमाण-मअरंदअ-सारणीहिं ॥ २०॥ कलभाषिणी-"असं सअल-रिवु-कुल-विलासिणी-लोअ-कालमेघ-जल-वरिसं-पाउस-सण्णाहो कण्णाड-णाहो।
उच्छण्णे सतु-सेण्णे सवदि णिअ-घरे जस्स सोऊण णामं चंडासि-च्छिण्ण-वीर-तिअंस-पअ-करं संगरं अंतरेणं । जुत्ताणं संभमेणं पर-वरण-समारंभ-जंभालएणं अंगालंकार-लच्छी किल सलिल-लिवी होइ सग्गंगणाणं ॥२१॥
(सकौतुकं निर्वर्ण्य ) णक्खेसु नुज्झ सअलेसु फुडं इमस्स चूडामणीसु वि अ छोलण-णिम्मलेसुं। बिंबा दुवाण वि नुहाण बहुतणेण
सोहंति जोग्गदर-ठाण-पडिट्ठिअंगा ॥ २२ ॥ मञ्जुभाषिणी
"एसो हेपाल-पालो पणमइ चलणे नुज्झ कारुण्ण-लोलो कलभाषिणी
कंबोएसो वि एसो पणिवडइ सिहा-लीढ-पावीढ-पासो। - 1 K एसो तुझ. 2K पादपीठम्. 3 Kघूरइ for घोलिर. 4 K णिस्सन्द but rh णीसन्द. 5 K धोरणीहिं, but rh सारणीहिं. 6 परिस'. 7 उझंणे. 8 त्तिसअप. 9 K वरवरण. 10 K सलदलिदि होइ संगंगणाणम्. 11K मणिस्सुडिअच्छों. 12 5 जोग्गदठाण, but Kh जोगदर'. 13 K omits कंबो. 14 K पाविद्य. एष च तव करुणारसलालसेन, चित्तेन चित्ररत्नं नवपादपीठम् । आर्दीकरोति नतिघर्णनशीलमौलिमाला-, निष्यन्दमानमकरन्दसारणीभिः ॥ २० ॥ I) अयं सकलरिपुकुलविला. सिनीलोककालमेघजलवर्षप्रावृट्सन्नाहः कर्णाटनाथः। उत्सन्ने शत्रुसैन्ये सपदि निजगृहे यस्य श्रुत्वा नाम, चण्डासिच्छिन्नवीरत्रिदशपदकरं सगरमन्तरेण । युक्तानां संभ्रमेण परवरणसमारम्भजृम्भितेन, अङ्गालङ्कारलक्ष्मीः किल सलिललिपिः भवति स्वर्गाङ्गनानाम् ॥ २१॥ (...) नखेषु तव सकलेषु स्फुटमस्य, चूडामणिष्वपि चे शोधननिर्मलेषु । बिम्बो द्वयोरपि युवयोबहुत्वेन, शोभेते योग्यतरस्थानप्रतिष्ठिताङ्गौ ॥ २२ ॥ II) एष नेपालपाल: प्रणमति चरणौ तव कारुण्यलोला, III) काम्बोजेशोऽपि एष प्रणिपतति शिखालीढ.
१M कण for रस. २ M लोचन for लोक. ३ M सलिललविर्भवति. ४ ( °ममुष्य for °मस्य. ५ K omits च. ६ गोपन for शोधन. ७ । प्रतिष्ठिताङ्गेन. ८ र एष विशेषः प्रणिपतति शिखा एषः for काम्बोज etc.

Page #144

६७
-IV.24d]
चउत्थं जवणिअंतरं मञ्जुभाषिणी
"एसो अच्चेदि चूडामणि-किरण-पसूणेहि पंचाल-णाहो कलभाषिणी
I"एसो भूमि पवण्णो विलसइ विहिआमित-दुक्खो तुरुक्खो॥ मञ्जुभाषिणी___"एसो चेदि-प्पवीरो कलभाषिणी
I'अअमिह णिसढो मञ्जभाषिणी
"एस वाराणसीसो कलभाषिणी
VI'एसो सो पारसीओ मञ्जुभाषिणी
VII'अअमवि महरहेसरो कलभाषिणी
VIII एस वंगो। मञ्जुभाषिणी
IX एसो मद्दाहिराओ कलभाषिणी
अअमिह महुरा-वल्लहो मजुभाषिणी
XI'एस मच्छो कलभाषिणी
XII एदे कस्सीर-कंची-दमिल-पइ-मुहा भूमिपाला णमंति ॥२४॥ TRATHmm पादपीठपार्श्वः। I) एषोऽर्चयति चूडामणि किरणप्रसूनैः पाञ्चालनाथः, II) एष भूमि प्रपन्नो विलसति विहितामित्रदुःखस्तुरुष्कः ॥ २३॥ III) एष चेदिप्रवीरः, IV) अयमिह निषधः, V) एष वाराणसीशः, VI) एष स पारसीकः, VII) अयमपि महाराष्ट्रेश्वरः, VIII) एष वङ्गः, IX) एष मद्राधिराजः, X) अयमिह मथुरावल्लभः, XI) एष मत्स्यः, XII) एते काश्मीरकाञ्चीद्रमिलपतिमुखा भूमिपाला नमन्ति ॥ २४ ॥
१K मधुरा.

Page #145

६८ चंदलेहाए
[IV. 24.1मञ्जुभाषिणी- कलभासिणि, पेक्ख ।
गलंत-कणअंगदो गल-दलंत-हार-च्छडो चलंत-मणि-कंकणो चलण-गुंजि-मंजीरओ। वलंत-मउडंतरो णरवईण दाणिं असं
अहं-पुढमिआ-कओ णमण-संभमो जिंभए ॥ २५ ॥ कलभाषिणी--"अहो णमणाणंतरं एव्व महाराएण जहोइदं संभाविआ जंभाअंत-णिब्भर-हरिस-वल्लरी-पल्लवाअंत-धवल-हास-पंडु3 रिअ-गंड-रेहा-रेहंत-मुह-पुंडरीआ महाराअ-प्पसाद-लाह-किदत्था णिव-सत्था पत्थाएं एव्व आढता।
राजा -(स्वगतम् )III अवि णाम पुणो वि भवे तिस्से हरिणंक-वअ6 णाए दंसणं । (विचिन्त्य) किं णु हु हिज्जो एव्व देवीए अंतेउरं णाइदो वअस्सो विलंबइ।
(ततः प्रविशति विदूषकः।) , विदूषकः-(सरभसमुपसृत्य) 'भो वअस्स, दिहिआ वड्डसि इमिणा विसुवूसवेण । राजा-(दीर्घ निःश्वस्य) ''दहंति मलआणिला परितवंति मं कोइला
अअं हरइ जीविअं पहरणुम्मुहो वम्महो । __ 1K पुठमिआ. 2 K डवल. 3 इज्जो. 4 K णालदो. br तपन्ति. 6 R बहरणंमुहो. I) कलभाषिणि, पश्य । गलत्कनकाङ्गदः गलदलद्धारच्छटः, चलन्मणिकङ्कणः चरणगुञ्जिमञ्जीरकः । वलन्मकुटान्तरः नरपतीनामिदानीमयं, अहं-प्रथमिकाकृतः नमनसंभ्रमो जृम्भते ॥ २५॥ II) अहो नमनानन्तरमेव महाराजेन यथोचितं संभाविताः जृम्भमाणनिर्भरहर्षवल्लरीपल्लवायमानधवलहासपाण्डुरितगण्डरेखाराजन्मुखपुण्डरीकाः महाराजप्रसादलाभकृतार्थाः नृपसार्थाःप्रस्थातुमेवारब्धाः। III) अपि नाम पुनरपि भवेत् तस्या हरिणाङ्कवदनाया दर्शनम् । (...) किं नु खलु ह्यः एव देव्या अन्तःपुरमानायितो वयस्यो विलम्बते । IV) भो वयस्य, दिष्ट्या वर्धसे अनेन विषुवोत्सवेन । V) दहन्ति मलयानिलाः परितपन्ति मां कोकिलाः, अयं हरति जीवितं प्रहरणोन्मुखो मन्मथः ।
१ गलगलहार. २ K omits इदानीं. ३ r omits अहं. ४ ॥ रेखाः राज'. ५ र omits महाराज. ६ ॥ निवासार्थ for नृपसार्थाः, ७K omits पुनरपि. ८Kखलु अन्तःपुर'. ९M वर्धस्व for वर्धसे. १० अमुना for अनेन of M.

Page #146

- IV. 26. 15. ]
चउत्थं जवणिअंतरं
हा कह विसा खणं हिअअ वल्लहा दुलहा कहं णु पुण दिट्ठि कहेहि दाव तग्गअं कं विवृत्तं ।
विदूषकः - "भो वअस्स, सा किल देवीए अंतेउर - गन्भ-घरअम्मि aur - सिंखलेहिं बंधिअ ठाविआ ।
राजा - "अहो णिक्करुणत्तणं देवीए ।
विदूषकः- पुणो वि सुण देवीए णिक्करुणत्तणं । राजा-कहि ।
_IV
विदूषकः - विहंगिंआ कुरंगिआ तरंगिआ सारंगिआ पदंगिआ अ पंच चामल -ग्गाहिणीओ पुव्व दुवारम्मि तिस्से रक्खं कादुं ठाविआओ । मंदारिआ माअंदिआ मदअंतिआ अरविंदिआ सिंदूरिआ ' अ पंच संवाण-कारिणीओ दाहिण - दुवारम्मि णिओइदाओ । तमालिआ णत्तमालिआ णोमालिआ तरलिआ कदलिआ अ पंच ण्हाणोवअरण- संपादिणीओ पच्छिम दुवारम्मि पेरिदाओ । कलहंसिआ 12 कदर्लिंआ कमलिआ कदंबिआ कलपिंगिआ अ पंच सेरंधीओ उत्तरदुवारम्मि पेसिदाओ । पत्तलेहा चित्तलेहा मअणलेहा विलासलेहा मअलेहा अ पंच तंबोल- दाइणीओ सरीर रक्खाअं संठीविआओ । s
भण वअस्स वड्डामि हा ॥ २६ ॥
1 x omits दाव given by Kh. 2 x विहिङ्गिआ. 3K दुव्वारमितिस्सो. 4 K खादु 5 K दाहिणि for दाहिण. 6K णत्ततमालिआ दन्तमालिआ णोमालिआ. 7 x पश्चिम. 8 K omits कदलिआ and adds कादम्बिआ after कदम्बिआ 9 K कलपित्तिआ. 10 K सट्टाविआओ.

६९
हा कथमपि सा क्षणं हृदयवल्लभा दुर्लभा, कथं नु पुनर्दिष्ट्या भण वयस्य वधे तत् ॥ २६ ॥ कैथय तावत्तद्गतं कमपि वृत्तान्तम् । I) भो वयस्य, सा किल देव्याः अन्तःपुरगर्भगृहे कनकशृङ्खलाभिः बद्धा स्थापिता । II) अहो निष्करुणत्वं देव्याः । III ) पुनरपि शृणु देव्या निष्करुणत्वम् | IV) कथय | V ) विहङ्गिका कुरङ्गिका तरङ्गिका सारङ्गिका पतङ्गिका च पञ्च चामरग्राहिण्यः पूर्वद्वारे तस्याः रक्षां कर्तुं स्थापिताः । मन्दारिका मौकन्दिका मदयन्तिका अरविन्दका सिन्दूरिका च पञ्च संवाहनकारिण्यः दक्षिणद्वारे नियोजिताः । तमालिका नक्तमालिका नवमालिका तरलिका कदलिका च पञ्च स्नानोपकरणसंपादिन्यः पश्चिमद्वारे प्रेरिताः । कलहंसिका कलिका कर्मलिका कदम्बिका कलपिङ्गका च पञ्च सैरन्ध्रयः उत्तरद्वारे प्रेषिताः । पत्रलेखा चित्रलेखा मदनलेखा विलासलेखा मद१ K हाहा. २ K वर्षामि तव ३ K omits this remark. ४ K मकरनिका ५ K तमालिका नक्तनमालिका नव, तमालिका नव ७ K कलहंसिका कमलिनीका कद . कमलिका कलवङ्गिका कादम्बिका च.
६ M कदलिका नक्तमालिका च.
< M

3

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चंदलेहाए
[IV. 26. 16राजा-"कीस उण देवीए अअं संरंभो।
विदूषकः-भो वअस्स, जइ ण को करेसि ता कहेमि । 18 राजा-I"को एत्थ कोवावसरो।
विदूषकः -"'सुणादु वअस्सो। एअं खु जाणि एव्व वअस्सस्स जं हिज्जो एव्व णिसीहिणीअं देवीए आणाइदो म्हि ति । ॥ राजा-तं जाणिअं। पुणो कहेहि।।
विदूषकः -I'पुणो अंतेउरं गओ अहं अहिअं कंचणासण-दाणादिणा देवीए संभाविओ। तहिं आढते सव्वाहिं पुर-संदरीहिं महंते अंते५ उर-संगीअ-कोलाहले विरमिए तत्थ एव्व तमालिआए पत्थरिए पट्ट-पल्लंक-अले गम्भ-घरए अ पन्भारे वल्लही-मुहम्मि जहिच्छं पासुतो म्हि। 1 राजा-VI"तदो तदो। ___ विदूषकः-VIIतदो मए सिविणए पलविअं किल ।
राजा - किं पलवि। 38 विदूषकः-तुहिण-दीहिआ-परिसर-वुतंतो।
राजा-अहो पमादो। (विचिन्त्य) पुणो वि गहिओ एव्व रोसराहुणा देवीए हिअअ-चंदो। तदो एव्व एसो संरंभो। ____ 1 r कोपं for कोवं. 2 पट्टवलंकसले. 3 : पसुत्तो, but rh पासुत्तो. लेखा च पञ्च ताम्बूलदायिन्यः शरीररक्षायां संस्थापिताः। I) कस्मात् पुनर्देव्या अयं संरम्भः। II) भो वयस्य, यदि न कोपं करोषि तत्कथयामि । III) कोऽत्र कोपावसरः। IV) शृणोतु वयस्यः । एतत् खलु ज्ञातमेव वयस्यस्य यत् ह्यः एव निशीथिन्यां देव्या औनायितोऽस्मीति। V) तत् ज्ञातम् । पुनः कथय । VI) पुनरन्तःपुरं गतोऽहमधिकं काञ्चनासनदानादिना देव्या संभावितः। तस्मिन् आरब्धे सर्वाभिः पुरसुन्दरीभिः महत्यन्तःपुरसंगीतकोलाहले विरमिते तत्रैव तमालिकया प्रस्तुते पट्टपर्यङ्कतले गर्भगृहे च प्रोग्भारे वलभीमुखे यथेच्छं प्रसुप्तोऽस्मि । VII) ततस्ततः। VIII) ततो मया स्वप्ने प्रलपितं किल । IX) किं प्रलपितम्। X) तुहिनदीर्घिकापरिसरवृत्तान्तः। XI) अहो प्रमादः । (...) पुनरपि गृहीत एव रोषराहुणा देव्याः हृद्यचन्द्रः। तत एवैष संरम्भः।
१ वयस्य कलात्. २ . आशापितो for आनायितो. ३ M adds सबहुमानं before प्रस्तृते. ४ र omits प्रस्तुते पट्टपर्यङ्कतले. ५ र प्रारद्वारे, M प्राग्भारवलभीमुखे. ६ र यथेष्टं प्र. ७ M तुहिनजलदी.

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-IV. 26. 49 ] चउत्थं जवणिअंतरं
७१ विदूषकः - भो वअस्स, मा उत्तम्म। संप अम्हाणं अणुऊल-देवतणेण देवीए ण कोवावसरो।
राजा-"वअस्स, कीस उण तं । विदूषकः-"दूसहेण दुक्खावेएण पराअत-चिता खु देवी। राजा-(ससंभ्रमम् )" कहं कह देवीए दुक्खोवणिवाओ। विदूषकः-'अज खु विसुवूसवे नुमं पर्णमिऊण देवीए माउसिआवइणो अंगेसरस्स चंदवम्मणो पुत्तो कुमार-चंदकेदू अंतेउरं पविट्ठो ।
राजा-सिग्धं कहेहि। विदूषकः-VI"दो देवीए जहोइदं संभाविओ पुच्छिदो अतणो परिअणस्स अ कुसलं।
राजा-VIT'तदो तदो। . विदूषकः-'तदो देण चंदकेदुंणा देवीए अप्प-मौउसीआ-पूआए चंदलेहा-णामहेआए कुसलं पुच्छिदेण भणिअं। जह । सा खु चंदलेहा चंद-लेहा-मणहरंगी सअल-कण्णआ-कुल-तिलअ-भूदा मे वच्छा तत्थ चंपा-णअरीअं कदाइ कीला-रसिआ अण्णाहिं अणुरूवाहिं कुमारीहिं सह बालुजाणं गआ ण दिट्ठा, ण जाणामो कस्सि गआ केण वा णीद ति। सा अम्हहिं एसा खु कुमारी णिअ-पाणिग्गाहिणो
1K कोपावसरो. 2 K has only one कहं. 3 5 दुःखावणिवाओ. 4K विसुसूसवे. 5K पणिमिऊण. 6 K omits तदो given by Kh. 7 K केतुणा. 8K मालसीआ. 9 जण for कल. 10 कदाणि. 11K दिण्णे, but rh दिट्रा. I) भो वयस्य, मा उत्ताम्य । सांप्रतमस्माकमनुकूलदैवत्वेन देव्याः न कोपावसरः। II) वयस्य कस्मात् पुनः तत् । III) दुःसहेन दुःखावेगेन परायत्तचित्ता खलु देवी। IV) कथं कथं देव्या दुःखोपनिपातः। V) अद्य खलु विषुवोत्सवे त्वां प्रणम्य देव्याः मातृष्वसृपतेः अङ्गेश्वरस्य चन्द्रवर्मणः पुत्रः कुमारचन्द्रकेतुः अन्तःपुरं प्रविष्टः । VI) शीघ्रं कथय । VII) ततो देव्या यथोचितं संभावितः पृष्टश्चात्मनः परिजनस्य च कुशलम् । VIII) ततस्ततः। IX) ततस्तेन चन्द्रकेतुना देव्याः आत्ममातृष्वसृसुतायाः चन्द्रलेखानामधेयायाः कुशलं पृष्टेन भणितम् । यथा । सा खलु चन्द्रलेखा चन्द्रलेखामनोहराङ्गी सकलकन्यकाकुंलतिलकभूता मे वत्सा तत्र चम्पानगयों कदाचित् क्रीडारसिका अन्याभिरनुरूपाभिः कुमारीभिः सह बालोद्यानं गता न दृष्टा, न जानीमच कस्मिन् गता केन वा नीता इति । सी चास्माभिः एषा खलु कुमारी निजपाणिग्राहिणः - १K omits तत्. २ ॥ सुदुःसहेन. ३ ॥ भवति for खलु. ४ K omits one कथं. ५ दु:खावनिपात:. ६ कुमारश्चन्द. ७ K omits ततो. ८K omits सा. ९ K reads जन for कुल. १० र तस्मादस्माभिः for सा otc.

Page #149

७२
चंदलेहाए
[IV. 26 50सत्त-समुद्द-मुद्दिअ-महिअलेक-णाहतणं करिस्सिदि ति लक्खण॥ वेदिणो जणादो जाणिअ महाराअस्स वअणेण दिण्ण ति।
राजा-(ससंभ्रमं खड्गमादाय) "मोतूणं जो खु संकं हरिअ कुमरि मज्झ दिण्णं णिवालो बालो भू-लोअ-गोले णिवसइ णिभिरं तस्स वेएणमेसो। सतूणं णिहुरहि-क्खुडण-चडचडाराव-वाआल-हारो
खग्गो रावेइ णणं रण-सिरि-चलणं सोणिआलतएहिं ॥२७॥ कलभासिणि, गच्छ । णिवारिजंतु णिवाला सव्वे, पुच्छिज्जंतु अ केण चोरिआ सा कण्ण ति । 3 कलभाषिणी- देवो आणवेदि । ( इति निष्क्रान्ता ।)
विदूषकः -"देवी अतं अवत्थं सोऊण हा बहिणिए चंदलेहे कहिं गआ सि देहि पडिवअणं ति पलवंती अविरल-पडतेहिं बाह-प्पवाहेहि • अंतेउरे महण्णवं विरईजण वअस्सस्स णिवेदइउं आअमिस्सिदि।
(ततः प्रविशति मुदिता देवी तमालिका च ।) देवी-(सवाष्पम् ) हा तवस्सिणि चंदलेहे, कहिं गआसि । पुव्वं वि , सा बाला मंदभाइणीए मए ण दिट्ठा ।
1K मुदि. 2 F मेकातूf for मोत्तणं. 3 K सक्नुअरिश. 4 अझ. 5 K भृअन्तस्स वेओण'. 6 R नूणं. 7 K पुल्लिंजन्तुए केणं, but Kh पुच्छि. 8 K अन्तअपथ्थ सो. 9 भिहिणिए. 10 F विरलऊण. ll Kणिवेदअउं. 12 K omits बाला. सप्तसमुद्रमुद्रितमहीतलैकनाथत्वं करिष्यतीति लक्षणवेदिनो जनात् ज्ञात्वा महाराजस्य वचनेन दत्ता इति । I) मुक्त्वा यः खलु शङ्कां हत्वा कुमारिकां मम दत्तां नृपालः, वालो भूलोकगोले निवसति निभृतं तस्य वेगेन एषः। शत्रूणां निष्ठुरास्थित्रुटनचटचटाराववा. चौटधारः, खड्गः रञ्जयति नूनं रणश्रीचरणं शोणितालक्तकैः ॥२७॥ कलभाषिणि, गच्छ । निवार्यन्तां नृपालाः सर्वे, पृच्छयन्तां च केन चोरिता कन्यका इति । II) यद् देव आज्ञापयति । III) देवी च तामवस्थां श्रुत्वा हा भगिनिके चन्द्रलेखे कुत्र गतासि देहि प्रतिवचनम् इति प्रलपन्ती अविरलपतद्भिः बाष्पप्रवाहैः अन्तःपुरे महार्णवं विरचय्य वयस्यस्य निवेदयितुमागमिष्यति । IV) हा तपखिनि चन्द्रलेखे, कुत्र गतासि ।
१. च्छित्वा (मम) for हृत्वा. २ र भूगोल' for भूलोक. ३ M वाचालधारः. ४ रगयति, M राजयति. ५ र रणशिरः श्री. ६ M लोहिता' for शोणिता. ७ ॥ निवार्यताम्. ८M भगिनि. ९M विलपन्ती. १० M अन्तःपुरं.

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Page #150

७३
-IV. 27.25.]
चउत्थं जवणिअंतरं तमालिका-भट्टिणि, जाव एदे विसूसव-संगमिआ णरवइ-लोआ णं गच्छति ताव गदुअ भट्टिणो णिवेद॑म्ह ।
देवी-"तह । (उभे परिक्रामतः।) तमालिका -भट्टिणि, एसो भट्टा । ता उवसप्पम्ह ।
देवी-(उपसृत्य)'जेदु अजउत्तो। अज्जउत्त, मज्झ बहिणिआ चंदलेहा णाम कीला-णिमितं सह सहीहिं लीलुंजाणं गआ ण जाणी-15 अदि केण णीद ति।
(प्रविश्य कलभाषिणी) कलभाषिणी- जेदु महाराओ। महाराअ, सव्वे वि णिवा महा-16 राअ-पाआणं संवंति अम्हहिं ण जाणिज्जइ ति।
राजा-(विचिन्त्य) भअवदी चिंतामणि-देवदा एव्व एत्थ सरणं । (अञ्जलिं बवा) भअवदि चिंतामणि-देवदे, एसो अंजली । संणिहिं। देहि । उद्धर इमादो अणत्थादो"।
(ततः प्रविशत्यपटीक्षेपेण चिन्तामणिदेवता ।) चिन्तामणिदेवता-VI"अलं संभमेण। मए णीदा एन्थ एव्वाणीदा। एसा असा। (इति नायिकां दर्शयति ।)
1 Kणरपइ. 2 Kणाअच्छंति. 3 K णिवेदमि. 4 भहिणीआ. 5 K इलज्जाणं. 6 K सम्वन्ति. 7 K जाहिजइ. 8 K puts this speech in the mouth of Kalabhasini in continuation, but Kh assigns it to the king. 95 देवता. 10 उडर, but Kh omits it. 11 K has a stage direction : (इति निमीलितलोचना तिष्ठति), but it is not given by Kh. 12 एवणीदा.
पूर्वमपि सा बाला मन्दागिन्या मया न दृष्टा। I) भट्टिनि, यावदेते विषुवोत्सवसंगता नरपतिलोका न गच्छन्ति तावद् गत्वा भर्नुर्निवेदयावहे । II) तथा। III) भट्टिनि, एष भर्ता । तदुपसर्पावः। IV) जयत्वार्यपुत्रः। आर्यपुत्र, मम भगिनी चन्द्रलेखा नाम क्रीडानिमित्तं सह सखीभिः लीलोद्यानं गता न ज्ञायते केन नीतेति। V) जयतु महा. राजः। महाराज, सर्वेऽपि नृपा महाराजपादान् शपन्ति अस्माभिर्न ज्ञायते इति । VI) भगवती चिन्तामणिदेवता एवात्र शरणम् । (...) भगवति चिन्तामणिदेवते, एषो. ऽअलिः। संनिधिं देहि । उद्धर अस्माद् अनर्थात् । VII) अलं संभ्रमेण । मया नीता
१ र मन्दभाग्यया मया. २ ॥ निवेदयामः. ३ K भर्तृदारिके for भट्टिनि. ४ ( पादात् शान्तिरमा ५॥ भगवति चिन्तामणिदेवदत्ते पात्ररत्नम्। ६K माममुष्मादू for अस्मादू.
१०चंद.

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चंदलेहाए
[IV. 27. 26(सर्वे ससंभ्रममवलोकयन्ति ।) _n देवी-(सविस्मयमञ्जलिं बद्धवा) अय्यउत्त, कि एअं।
राजा - देवि,
धम्मिल्लो इंदणीलं फलिह-मरगअं लोअणं लोल-तारं माणिकं ओह-बिंबं णव-डसंण-गणे संपओ मोतिआणं । सोआई पोमराअं कर-चरण-अलं सव्वमंगं पवालं
ता मण्णे हंत चिंतामणि-समहिकिदा देवदा णूणमेसा ॥२७॥ ता पणमम्ह । (सर्वे प्रणमन्ति ।) चिन्तामणिदेवता-III) उच्चिद्य।
(सर्वे उत्तिष्ठन्ति ।) देवी-(बद्धाञ्जलिः नायिकामवलोक्य सहर्षम् )भअवदि, णं एसा सा मह बहिणिआ चंदलेहा। • चिन्तामणिदेवता-''एसा सा। देवी-V"वच्छे चंदलेहे, आच्छ आलिंगेहि मं ।
(चन्द्रलेखा राजानं तिर्यक्पश्यन्ती लजानतमुखी तिष्ठति ।) चिन्तामणिदेवता -VI"वच्छे, गच्छ । तुह जेह-भइणी दुक्खं वइ ।
देवी-(बाहू प्रसार्य)VIअदि-णिग्घिणे, एहि आलिंगेहि। (कण्ठे गृहीत्वा सहर्षम् ) हंत, जीवंत-वच्छा मे माउसिआ। वच्छे चंदलेहे, सहसु मह अवराह-सव्वस्सं। ___1_r omits देवि, but xh has it. 2 Kधम्मल्लो. 35 पुलिह for फलिह. 4 K सडण for डसण. 5 Kh सञ्चओ. 6 K सोमाई. 7 समकिदा. 8 Kआणमेसा for णूण. 9 K आयच्छ. 10 K लज्जानमित. अत्रैवानीता। एषा च सा। I) आर्यपुत्र, किमेतत् । II) देवि, धम्मिल्ल इन्द्रनीलं स्फटिकमरकतं लोचनं लोलतारं, माणिक्यं ओष्ठविम्वं नवदशनगणः संचयो मौक्तिकानाम् । सौम्यं वा पद्मरागं करचरणतलं सर्वमङ्गं प्रवालं, तन्मन्ये हन्त चिन्तामणिसमधिकृता देवता नूनमेषा ॥ २८॥ तत् प्रणमामः। III) उत्तिष्ठ । IV) भगवति, नन्वेषा सा मम भगिनी चन्द्रलेखा। V) एषा सा। VI) वत्से चन्द्रलेखे, आगच्छ आलिङ्ग माम् । VII) वत्से, गच्छं । तव ज्येष्ठभगिनी दुःखं वर्तते । VIII) अतिनिघृणे, एह्यालिङ्ग । (...) हन्त, जीवद्वत्ला मे मातृष्वसा । वत्से चन्द्रलेखे, सहस्व ममापराधसर्वस्वम् ।
१ M नीता च. २ K omits च. ३ ॥ धम्मल्ल. ४ M omits वा. ५ र प्रणमावः. ६ सा (भगवती) चन्द्रलेखा. ७ पश्य for गच्छ. ८K आलिङ्ग मां for एटालिङ्ग.

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-IV. 28. 27 ]
चउत्थं जवणिअंतरं
७५
नायिका - (स्वगतम् ) "कहं अहं एव्वं सिणिड्डाए जेई भइणीए वि एत्तिअं कालं रोस पत्तं किद म्हि मंद-भाइणी देव्वेण ।
चिन्तामणिदेवता - "महाराअ-महिसि, सुणेसु दाणिं । एसा खु चंद 15 लेहा णिअ-पाणि-ग्गाहिणो सत्त-साअरालंकरणं मेईणिं करे समपेइ । ता अणुमण्ण भट्टारं से पाणिग्गहणत्थं ।
देवीजं भअवदी आणवेदि । तमालिए गच्छ, अंतेउरादो " चंदलेहोइदाइ अहिणवाहरणाइ उवणेहि ।
तमालिका - जं भट्टिणी आणवेदि । ( इति निष्क्रान्ता । )
विदूषकः - ( सहर्षम् ) "सुहु संजाअं ।
देवी - "कलभासिणि गच्छ, विसूसव-समार्गआ अंगेसर- पमुहा राआणो हिज्जंतु विवाह-मंगल-दिअहे अदिवाहिअ गंतव्वं ति । कलभाषिणी -जं भट्टिणी आणवेदि । ( इति निष्क्रान्ता । )
VII)
24
VIII).
चिन्तामणिदेवता – IIT केवलं इमे ण गच्छति किंतु सत्त-दीव - वासिणो वि सव्वे संपअं एत्थ संणिवडिहिंति ।
राजा - किं किं ण फलइ भअवदीए पसादो ।
IX)
1 K जट्ट for जेटू. 2 K दब्वेण 3K महिसी. 4 Rh सुणादु 5 R मेइणीं. 6K समाग आएओ अङ्गे. 7K कहिज्जतु 8 सणिपहन्ति. 9 x किं किं ण भणइ भअ, Kh किं ण भलइ भअ.
१ भाग्या दैवेन. २ x महाराजमहिषी, M महाराज ! करे. ५ K आभरणानि for अभिनवाभरणानि ६ K उपनय. omit किंतु. १० M सर्वेऽत्र सां. ११ K भणति for न फलति.
21
I) कथमहमेवं स्निग्धाया ज्येष्ठभगिन्याः अप्येतावन्तं कालं रोपपात्रं कृतास्मि मन्दभागिनी दैवेन । II ) महाराजैमहिषि, शृणु इदानीम् । एषा खलु चन्द्रलेखा निजपाणिग्राहिणः सप्तसागरालंकारिणीं मेदिनीं कैरे समर्पयति । तस्मादनुमन्यस्व भर्त्तारमस्याः पाणिग्रहणार्थम् । III) यद् भगवत्याज्ञापयति । तमालिके गच्छ, अन्तःपुरात् चन्द्रलेखोचितानि अभिनवाभरणानि उपानय । IV) यद् भट्टिन्याज्ञापयति । V) सुष्ठु संजातम् | VI) कलभाषिणि गच्छ, विषुवोत्सवसमागताः अङ्गेश्वरप्रमुखा राजानः कथ्यन्तां विवाहमङ्गलदिवसानतिवाह्य गन्तव्यमिति । VII) यद् भट्टिन्याज्ञापयति । VIII ) न केवलं इमे नं गच्छन्ति किंतु सप्तद्वीपवासिनोऽपि सर्वे सांप्रतमत्र संनिपतिष्यन्ति । IX) किं किं ने

महिषि ! ३ K शृणोत्विदानीं. ४K omits ७ M सुष्ठु जातं. ८ KM omit न. ९ KM

27

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चंदलेहाए
[IV. 28.28(प्रविश्य तमालिका) तमालिका-"इमाइ आभरणाइ। ॥ देवी-(आभरणान्यादाय चन्द्रलेखामलंकृत्य)"अय्यउत्त, परिघेप्पउ एसा मह बहिणिआ चंदलेहा ।
राजा -कस्स वा देवीए पसादो णाहिणंदणिजो। 33 देवी-IV'अय्यउत, जह एसा बंधवाणं ण सोअणिज्जा तह करेहि ।
राजा-'जं देवी भणादि ।
देवी-(उपसृत्य चन्द्रलेखां समर्पयति ।) 6 राजा-(सारं प्रतिगृह्णाति ।)
विदूषकः-(सहर्षमुत्थाय) 'हंत सफलो मे मरगअ-उज्जाण-पत्थणापरिसमो। ता सोस्थि होउ वअस्सस्स, सिवं होउ देवीए, सुहं होउ " देवीए चंदलेहाए। किं च। मह विभवं होउ, कल्लाणं होउ वम्महस्स, भदं होउ महुमासस्स, कुसलं होउ मलआणिलस्स, मंगलं होउ हरिणलंछणो, जअउ पुढमो रसो, वड्डउ वम्मह-परकम"सिद्धी । (इति नृत्यति।)
चिन्तामणिदेवता-VI"चिंतामणि-संभवाअं किमण्णं पुण देवीअं संपादणिज्जं।
1K परिष्वउ, xh परिपब्वउ. 2 : भहिणीआ. 3 Rh आणवेदि. 4 K परिम्मोत्तो सोत्थि, but xh परिसमो ता. 5 होइ. 6 लन्छणो मङ्गलं जअउ. 7 K मम्महपरिकम. फलति भगवत्याः प्रसादः। I) इमान्याभरणानि । II) आर्यपुत्र, परिगृह्यतामेषा मम भगिनी चन्द्रलेखा। III) कस्य वा देव्याः प्रसादो नाभिनन्दनीयः। IV) आर्यपुत्र, यथैषा बान्धवानां न शोचनीया तथा कुरु । V) यद् देवी भणति। VI) हन्त, सफलो मे मरकतोद्यानप्रार्थनापरिश्रमः। तेत् स्वस्ति भवतु वयस्यस्य, शिवं भवतु देव्याः, सुखं भवतु देव्याश्चन्द्रलेखायाः। किं च । मम विभवं भवतु, कल्याणं भवतु मन्मथस्य, भद्रं भवतु मधुमासस्य, कुशलं भवतु मलयानिलस्य, मङ्गलं भवतु हरिणलक्ष्मणो, जयतु प्रथमो रसः, वर्धतां मन्मथपराक्रमसिद्धिः। VII) चिन्तामणिसंभवायाः किमन्यत्
१M भट्टिणि इमा. २ ॥ अस्या for कस्य वा. ३ र बन्धूनां for बान्धवानां. ४ र मरतकोद्यान', M मरतकोद्याने. ५ र तस्मात् for तत्. ६ र ममापि भवतु कल्याणं, M ममापि भाव्य भवतु. ७ कुशलं for भद्रं. ८M भद्रं for कुशलं. ९ र लक्ष्मणो मङ्गलं जयतु. १० र देव्याः किमन्यत् for किम' to 'देव्याः, M omits चिन्तामणिसंभवायाः and reads this remark thus: *किमन्यत्पुनस्ते प्रियं संपादनीयं ।

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-IV. 30. 2]
चउत्थं जवणिअंतरं राजा-(अभिनन्द्य )अदोवरं किं मे पिअं।
आणंदं चंदवम्मा कह वि अ गमिओ णंदणा-दंसणेणं पत्ता चिते पसादं णिअअ-बहिणिआ-संगमेणं च देवी। लद्धा मुद्धा अ सतण्णव-लसिअ-मही-पति-संपत्ति-मूलं
हत्थे मे चंदलेहा भअवदि तुमए तं ण जंसि च्छुहा मे ॥२९॥ तह एति होउ।
कुणंतु कुमुअ-प्पहं तिहुवणम्मि कितिं णिवा मुणंतु इअरेअरं उवकिदिं घणा माणुसा। सुणंतु गअ-मच्छरं सहिअआ कईणं किदिं जिणंतु कइणो चिरं वहउ भारई-मंगलं ॥३०॥ '
(निष्क्रान्ताः सर्वे ।) [॥ इअ चंदलेहाअं चउत्थं जवणिअंतरं॥]
1 Kणंदणं दंसणेणं. 2 हिअअबहिणिआ. 3 अत्थों for एत्तिसं. 4 K पुणन्तु गअमझरं. 5 < omits this stage-direction given by kh. 6 K has a Sanskrit colophon: gfa q . लेखायां चतुर्थ यवनिकान्तरम् ॥ पुनर्देव्याः संपादनीयम् । I) अतः परं किं मे प्रियम् । आनन्दं चन्द्रवर्मा कथमपि च गतो नन्दनादर्शनेन, प्राप्ता चित्तप्रसादं निजभगिनिकासंगमेन च देवी । लब्धा मुग्धा च सप्तार्णवलसितमहीप्राप्तिसंपत्तिमूलं, हस्ते मे चन्द्रलेखा भगवति त्वया तन्न यस्मिन् स्पृहा मे ॥ २९ ॥ तथाप्येतावद् भवतु । कुर्वन्तु कुमुदप्रभा त्रिभुवने कीर्तिं नृपाः, जानन्तु इतरेतरमुपति घना मानुषाः । शृण्वन्तु गतमत्सरं सहृद्याः कवीनां कृति, जयन्तु कवयश्चिरं भवतु भारतीमङ्गलम् ॥ ३०॥
॥ इति चन्द्रलेखायां चतुर्थ यवनिकान्तरम् ॥ ॥ चन्द्रलेखा नामेयं कृतिः समाप्ता ॥
१ many gaps in this and the next verse. यवनिकान्तरम् । ४ M concludes thus : समाप्तोऽयं ग्रन्थः.
२ ( संप्राप्ति, M संपत्ति. ३ इति चतुर्थ

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७८
चंदलेहाए
'अणुदिअहं विफुरंतो मणीसि-जण-सअल-गुण-विणासअरो। रिततण-दावग्गी विरमउ कमला-कडक्ख-वरिसेण ॥'
कप्पूरमंजरी, IV. 24. " May the forest-fire of Poverty, which day after day gleams far and wide, which brings to naught all the excellences of men of learning, be quenched by the rain of the side-long glances of Fortune !"

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अगणिअ णवं ति अच्छेरं अमुअस्स अच्छोलंबंतचूडा अत्ताणं वित्थरंतो अत्ताणं वि बुभुक्खिदाण अस्सि खु सट्ट अहमहमिआगएहिं अहो महिअले कह आआसे पंचसाई आणणेण तुह णिजिओ आणंदं चंदवम्मा आरद्धपाअणमणो आलोलिजंतणिच उच्छण्णे सत्तुसेण्णे उइंसिअथणकुंभं उप्पलविलोअणाए उभयमिणमहो समं एअं अंजणपुंजपंजर एम्हि एदस्स वीरुक्कर एदे चूसिअचोल एसो अतुज्झ एसो चेदिप्पवीरो एसो पालपालो एसो पडतमउडंत एसा बंधुरबंधुजी ओदंसकुवल से कत्थूरीपंकदिण्णो कप्पूरहिमलं तुसार कव्वणिबंधे कइणो कंदप्पोजलकित्ति किसलअमिदुलंगीए किसलइदासोअलदा कुडिला अ कुरलमाला कुणंतु कुमुअप्पर कुमुअणिअरघोलंतालि कुसलवसंतसहाओ कुह वि अहो पल्लविओ
सिलोअसूई I. 10 को उण कुणइ I. 28 गलंतकणअंगदो IV. 8 गहिअचलणमेअं
I. 19 चलंतकरपल्लवं I. 24 चंडा ते सासदंडा I. 13
चंदणचच्चिअसव्व I. 33 चंदादो किरणंकुरा I. 30 चुंबंतो बिंबएणं IV. 6 चूलंतसत्तणव III. 23 छत्तणं णवपुंडरी IV. 29 जइ वि मणमिमस्सि IV. 10 जइ होइ अवरमाला IV. 13 जहिं किल सरस्सई IV. 21 जं जेहिं णअणंचलेहि
I. 37 जंपतो बंधवाणं II. 29
जाणं बम्हणलोअ III. 2 जा पुवदिस्स सिंगे III. 15 जाला हेलाविहसि IV. 19 णक्खेसु तुज्झ
I. 23 ण चंदो आणंदं IV. 20 णीलंसुउल्लोअ IV. 24 णेत्तं कंदोमित्तं IV. 23 णेत्तंदोलणघोलिदो IV. 18 तरलाहरविवरादो
I. 38 तं णेत्तं तह दीहरं II. 27 तंतीणं हणणेण III. 9 तारुण्णएण रमणि III. 11 तुंगाणं सिहिणाण
I. 9 तेल्लोकस्स करालकाल III. 16 दरम्हेरे थेरे II. 28 दलिअणलिणीकंदा I. 25 दहंति मलणाणिला II. 25 दिसाचिउरचूलिआ IV. 30 देवे चंदसिहामणिम्मि III. 4 धम्मिल्लो इंदणीलं II. 22 पक्खंदोलणमारुएण I. 32 | पञ्चुव्वजइ चंचली
II. 11 IV. 25 III. 5
II. 23 II. 14 III. 21 III. 20 III. 24 IV. 12 IV. 2 II. 9
I. 11 IV. 7 II. 7 IV. 15
I. 6 III. 19
II. 8 IV. 22
II. 15 IV. 8 II. 3
I. 34 II. 31 II. 10 II. 21
I. 16 IV. 1 III. 8
I. 4 II. 20 IV. 26 III. 18
I. 3 IV. 28
I. 22
ke
I. 20

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पञ्चुव्वजइ पुलओ पणमह सुइराअ पत्तेसु मज्झ णअणेसु पत्तेसु कंचणेसुं पत्थेइ जं जं पदुमवदणाअ दाणि परिमलअंति दिसाओ परिलसिअचिउरमाला पावीढअस्स सविहे पुण्णहरिशंकवअणा पुण्णे पसूणणिअरेहि फंदए पअलपम्ह फेणाअंतमुहा मुणाल बाला वालालितण्हा भई देउ गआणणो भमंतभमरच्छडा भसलपडलं उप्पाद भासा खु पाअडमई भो पेक्ख सच्छमहुरो मज्झम्मि हत मम वहइ विलोल मह खणसंठविओ मह ण णिवट्टा दिट्टी महुअरकलकलमुहले महुरमहुरमेदे हंत माणिकमोलि मा पुवद्दिसिरे मुहे राउन्भेओ
चंदलेहाए I. 8 I. 2
I. 36 IV. 4
I. 29 II.33 II. 30 II. 24 IV. 16 II. 18 I.35
I. 18 III. 12
I.27 I. 1
मोत्तूणं जो खुसंकं रत्तासोअं वहइ सुरहिं रत्तीअ णाहविरहेण राईवासरएहिं लज्जाजंतणलंछिआ लाहिल्लो रिवुणो लोलंताणंगतुंग लोलेहिं उप्पलेहि लोवामुद्दासहाओ वडदलगओ वि रुद्दो वहइ कलंकमिसेणं विपंडुरमुहच्छई विभाइ महिलंगुली विसमो माहवमासो वीअंतीण वहूण सरसिअदलणअणाए सवणउडगोअरो सव्वे साहु पट्टिदा सव्वेहिं इंदिएहिं सामंतो सो वसंतो सुहगंधो तमबंधो सूणाहिंतो पिबंतो से सेरंधिसत्थो सोदूण णेउररवं सो सट्टओ सहअरो हरिहरसरसि हेट्ठिल्लाअंतसग्गाण
IV. 27 II. 13 III. 6 III. 7
II. 1 IV. 17
I. 15 II. 34 IV. 11
I. 7 III. 22 III. 17
I. 21 II. 17 IV. 5 II. 26 II. 12
I. 14 III. 10 II. 4
I. 31 II. 2
I.39 II. 16
II. 19
I. 12 III. 3
I. 40 III. 13 III. 1 II. 32
I. 26 II. 5 IV. 14 III. 14
I. 41
5
II. 6 IV. 9

|

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NOTES
Yavanikāntara I 4) 6 Looking now at the reading of o(i. e., the Calcutta ed. of a portion of Candralekha. published in the संस्कृतसाहित्यपरिषत् पत्रम् , February and March 1932 ) and in the light of the chāyā of K, we can even read दरत्धेरे म्हेरे = दरं स्थविरे स्मेरान् ; see the corrupt chāya of M. दरं or दर = ईषत् is not unknown to Sanskrit, दर being usually used in a compound : दरस्मितसमुल्लसद्धनकान्तिपूरामृतैः etc. in the गङ्गालहरी 49. In d पुण्णे may be better rendered as पुण्यान् holy.-l. 2 रवम्मंसलो, कसत्ताल show spontaneous doubling of म and त.-l. 3 ओअरण = अवतरण, waving of light?l. 4 बहलो= बहलः, copious, thick.-1. 6 नृत् and नट् are treated as synonyms by the छायाकार. 5). 3 Here the figure of speech is निदर्शना.-. 6 The मनुस्मृति explains the term पारशव thus : यं ब्राह्मणस्तु शूद्रायां कामादुत्पादयेत्सुतम् । स पारयन्नेव शवस्तस्मात् पारशवः स्मृतः ॥ ९-१७८. Kulluka's commentary on it runs thus : 'विपन्नस्त्वेष विधिः स्मृतः' इति याज्ञवल्क्यदर्शनात्परिणीतायामेव शूद्रायां ब्राह्मणः कामार्थं पुत्रं जनयेत् स जीवन्नेव शवतुल्य इति पारशवः स्मृतः । यद्यप्ययं पित्रुपकारार्थं श्राद्धादि करोत्येव तथाप्यसंपूर्णोपकारत्वाच्छवव्यपदेशः ॥. 6) A pun on the word वंश is implied ; cf. तुहिनकिरणवंशस्थूलमुक्ताफलानां etc. चम्पूभारत I. 2; and thereon the commentary remarks : वेणुषु मौक्तिकोत्पत्तिर्लोकप्रसिद्धा ।.--.2 Can we have a danda. after किल, and take तस्स कई = तस्य कृतिः? 7). 1 महप्पाणं = महात्मभ्याम्. 8) b सुहरं = सुभगम्, even सुखदम्. 10) a Better read णव त्ति = नवा (कृतिः) इति.- पम्हुसिअ = विस्मृत्य, cf. Hema. VIII. iv. 75 : विस्मुः पम्हुस-विम्हर-वीसराः ।. 11) a Or even अपरमाला, a garland made of any other flower. 12) ८. 4 खंडपरसु = °परशु, an epithet of Siva.-महमहंत, cf. Hema. VIII. iv. 77-8 : प्रसरेः पयल्लोवेलौ । महमहो गन्धे ।.-.. 8 Rather संसइअ = संशयित; the idea is that the sword (मण्डलाय) in his hand created the illusion of a row of bees. 13) 1. 1 जवनिकान्तर is quite usual in Sanskrit: यवनिकान्तर looks like hyperSanskritisation.-.. 6 Here is perhaps the only पि after an अनुसार, otherwise we have वि. 14) 6 Can it be that वित्तेहिं = वृत्तैः = वर्तितः, performed ?-l. 1. Looking at 15. 2, here also we may read सुरहिसमअ-समारंभ etc.--. 3 Rather read छप्पअ-रिंछोलि-लच्छीणं अच्छीणं = षट्पदश्रेणिलक्ष्मीकयोः अक्ष्णोः ; and thus we have alliteration too. 15) c तंबचूड-कोड, bosom or the chest of the cock from which starts its shrill note; o reads तम्मचूडकोडं घोलन्त etc. 16) e फुल्ल = पुष्प, see verse I. 35 also. 17) 1.6 0 reads मुहराविअ.-~-0. 7-8 The text uses both the terminations, इ and दि, quite indiscriminately.-l. 11 The chaya is not quite
11 चं. .

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satisfactory; it may be read thus : मरकतारामः महाराजस्य मधुमासावतारवर्धिताम् आत्मनः समृद्धिम् अवतंसयितुमिव आचारं करोति ।, i. e., the मरकताराम is observing hospitality (Bar) towards your Majesty as if in order to crown (अवतंसयितुमिव) its glory which is enhanced by the advent (अवतार) of spring.–1. 13 After this remark of the king, according C, there follows the passage I. 17. 23 to I. 18 (included) and thereafter comes I. 17. 15 to I. 17. 22.-1. 16 जहामिट्ठ = जहा+इट्ठ = यथेष्ट may be an illustration of Samdhi-consonant, see Pischel $ 353. 18) 4 पम्ह-मालिअं= पक्ष्ममालिकम् , पक्ष्मन् an eyelash; it also means a filament of flower.-l. 6 भुमअंचले = भ्रुकुव्यञ्चले or भ्रुवञ्चले. 19) There is यतिमा in the last line. 21) b णोल्ल is connected with नुद् by Vararuci VIII. 7, but with क्षिप् by Hemacandra VIII. iv. 143. 22) d Perhaps there is a pun on the word सारखत meaning a stream, or the सारखत grammar, or even the worship of सरखती. 23) b Should we read नालीअ केलीअरा? 24) : सोरहेक्कणिलअं= सौहृदैकनिलयम्? 26) 1. 4 णिहावित्र etc. = निधाप्य लोहशलाकया etc.-]. 12 ओलंबइ = अवलम्बते, supports. 27) 1. 16 तं = तत् ?-7. 2 The figure of speech is निदर्शना.-29) 1. 6 This appears to be a well-known saying; compare Dasakumāra-carita, p. 76, 1. 9 (Agashe's ed., B. S. S.): अचिन्त्यो हि मणिमन्त्रौषधीनां प्रभावः, इति प्रसूतेषु लोकप्रवादेषु etc.; also समराइच्चकहा, p. 413 (Jacobi's ed., B. I.): सच्चो खु एस लोयवाओ, जं अचिंतो हि मणिमंतोसहीण पभावो त्ति।.-1. 12 = पत्थेमि = प्रार्थये. 30) The figure of speech seems to be अतिशयोक्ति. 35) d आदेह = आदत्ते. 36) ८. 4 For तरंगिणं are we to read तरंगे णं = तरङ्गान् ननु. 39) d महंतुग्गमाणं - महोद्गमानां.-1. 6 देवीए = देव्यै. 41) Rather कोसो for कोसे, and then construe: सरोजानां कोशः स्तनम् अनुकरोति ।.-1.6 अम्हाणं = अस्मान् ; गच्छम्ह, पविसम्ह etc. appear to be used with the sense of Imperative.
Yavanikāntara II 1) तंसावलोअ = व्यावलोक means looking horizontally, with side-glances'; cf. Km. II. 1 d: i godtar #l. c reads afir233155HBTT = तस्यावलोकोत्सुकाः.-. 2 चव्वंतो = चर्वन् ; पव्वायंत = म्लान, cf. Hema. VIII. iv. 18 : 'म्लेर्वा-पव्वायौ'1. 3) d Also जणइ = जनयति, 'makes the flower of my life fruitful'. 4) d असंगो = अशङ्कः, fearless? 8) l. 7 विजंभंत-मअणो has a double meaning ; ha is a kind of plant when construed with Himālaya.-1.9 कीलामिअ = क्रीडामृग is an animal kept for pleasure.-l. 15 दमिलमंडआ apparently means 'roundabout way', though the etymology is not clear. It indicates the way of putting things in the fashion of a द्रविड ; cf. द्राविडीप्राणायाम in मराठी. 9) स-रइ = सरति, रत्या सह यथा स्यात् तथा, सरति = सहर्षम् , सानन्दम्.-1. 14 विगलिअंस = अंसविगलिअ?-l. 25 Perhaps he wants to suggest that he remained silent like a jewelled pillar in the palace-hall.-0.26 पक्कण, a house of a low-born person, a. village

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83
inhabited by gavages.gtare=yttert, any oblation, the leaving of an offering, Soma juice, a sacrificial oblation made of ground rice and offered in Kapālas or vessels. Of Course it cannot be given to a low-caste man. qroq = qaroc, the five products of the cow taken collectively: viz., milk, curds, clarified butter or ghee, urine and cow-dung (aftt for at vi ha hapaha 1).- 30 छग्गुण्ण = पाहुण्य, this refers to the six expedients to be used by a king in his foreign policy, namely, i sifa, peace or alliance; 2 faar, war; 3 1a, march or expedition; 4 Fina or , halt; 5 संश्रय, seeking shelter; 6 द्वैध or द्वैधीभाव duplicity; see मनुस्मृति VII. 160: ift a fage namaia a antara #MY # aguiat TI I . 36 ferenc = fer fra, er standing for B?.. 47 59011331 = 54 H
was ordered to be offered'. 10) I. 3 99, perhaps so also, is an apart for 54, see Hema. VIII, iv. 2.-l. 13 EET is explained as TEYATHIFT, ao 4-; 3447-3777, however, is not quite clear. The chāyā gives just a suitable rendering. 11) The sense is somewhat obscure: some words are used with a double meaning. 12) Two 1718 are lacking in the third pāda; perhaps a word like मे or मह is required between अंगं and उप्पल. 13) a Rather read yet; and the first line may be explained thus: The year (i. e., 1 ) bears the red ita (i. e., turns red through shame) at the sight of the king (who is superior to arī in point of benevolence); and the lovelorn (77) damsel too bears (suffers) sorrow (fe) at the sight of the king (whose love she has not yet won):-b मोह = मयूख as well as मोह.-c can there be a pun here also ?: starct=i stara: from the bow-string', ii fara 'from life'; star agata falls from life' or 'dies', i. e., "suffers death pangs'. 14) l. 1 934-ecoft, the path of literary composition. 15) c what is the wrong (gri) with her that we should know and speak out?1. 6 Obviously विस्संभदा = विश्रम्भता is doubly abstract; or it may be rendered as faxUSHAH. 20) l. 7 falser = 797r, a piece of cloth over a sore or wound, a bandage; here it appears to signify something like a cloth-bag for books. 22) 1. 1 TH=914 means 'a number of notes, gamut'.-. 2 gu = virtue, as well as string.--. 3 Are we to read matyot, Voc., qualifying fagfærg? Shayaran STRATÆ 2157779 (= erti gadt), attaching yourself to this lady possessed of innumerable yurs (also singing after this lady.).—I. 4 graient = lute, as well as slanderer. 23) ll. 1-2 have a metrical ring here and there. 32) 1.7 Bpartiet is to be understood with arteru 7. 33) l. 4 forset=astar, see Hema. VIII. iv. 55.-I. 13 What event façge has in view for

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the term is not quite explicit: perhaps he thinks that he would get an explanation why his carried a statue this morning (II. 9.5), or why the Queen arranged the singing entertainment without inviting the King (II. 15. 10).--. 31 Áferong = 3578112117.-I. 35 कहिं = कुत्र.-. 39 होउ or होदु would be the normal reading. 34) 1. 1 Either the subject H (= #917) is understood, or read art . 5 afaaourate= TTET, greeg is doubly abstract; margs = Arrufat.
Yavanikāntara, III 4) l. 35 Rather WERTEH. 5) I. 3 Rather BERTRÆBTT = of Aar. 6) The verse may be construed thus: 9E: Ha aret (i. e., moon)विरहेण उत्तमनशीलायाः रात्रयाः देहोष्मणा इव उडुमौक्तिकचूर्णपूर्णा बालप्रवालशयनीयनिभा मृदुला TEA Forefa e l 8) data: ya 'dark as the raven'?; rather FIRATET-HEMAUI forcaighdeg. 9) 1. 3 HT = Piet, a tutelary god presiding over some particular. spot. 11) c HEUTE = HEA: is an 374ffata compound. 12) ss is Mas., 80 GET $39.-. 10 Ar e etc. has a metrical ring... 13 Can it be RetaETROT?; as it stands, it can be equated with EATAETTU, while I was trying to know his mind'. 19 7 gitt fat see to VIII. iv. 86. d o 9. 20 ) a TOTEST TESTI: or प्रचलिताः. 23) d Read विचरण = संचारः; and the two lines may be rendered thus : That the two (i. e.. the moon and the deer should unite in friendship is in the fitness of things (because both of them are your enemies, being defeated by you); but that they (your vanquished foes) should move at large in your presence is a shameless affair on their part.' 24) a The reading factor would do; fracta quedat at, i. e., kissing her beautiful cheek b getting yourself reflected in it'. para or fit also means reflection: fara a ffatur: fra 5 Huseid:.-d Better ett = Hafa for Ea; the line then may be rendered thus : 'Pray tell me what righteous deeds have you performed in your former birth, so that you should be so (i. e., should have the pleasure of doing the aforesaid acts )?'; this reminds us of a line of Bhartrhari: तन्मे ब्रूहि कुरङ्ग कुत्र भवता किं नाम as 49:1.
Yavanikāntara IV 1) a naty = year.-. i fanga is the equinoctial point. This play has the back-ground of the 4a season, and the author has specifically mentioned the sanaa (I. 24). So fagalcuna is a festivity connected with a day when sun enters the vernal equinox, say about the 20th of March. Apparently the #TFT is . During this festivity, it is suggested in the play, the imperial king holds

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something like a Durbar and the feudatories pay respects to him. 2) ० मुहाराओ== मुखरागः, and the lengthening of the vowel is metris causa? 4) d एदं तिहुवण-सुहअं = एतं त्रिभुवनसुखदं ? 6) c ef. निःश्वासान्ध इवादर्शश्चन्द्रमा न विराजते । Ramayana.-d Read [लहिअ] for [लहइ]; the line means: The branch of 14 in the form of the East has put forth flowers having received the touch of the feet of '; cf. the poetic convention : पादाघातात् स्त्रीणाम् अशोकः विकसति ।. 8) अच्छावलम्बमाना चूडा यस्य तादृशः मुकुटकः ।. 9) There is यतिभङ्ग in the first three lines.- हेछिल्लाअंत = अधस्तनीभवत्स्वर्गाणां.- Should we read व for वि?—bc Compare बाह्योद्यानस्थितहरशिरश्चन्द्रिकाधौतहा, and यत्र स्त्रीणां हरति सुरतग्लानिमानुकूलः सिप्रावातः प्रियतम इव प्रार्थनाचाटुकारः । मेघ० 7, 31; also रघु० VI. 32-34. 10) a The chāya श्रवणोपरिभवत् presumes a reading like सवणोवरिल्लं ; सवणोव्वलंत = श्रवणोद्वलत् ; or it is a wrong reading for सवणोजलंत = श्रवणोज्वलत्. 11) a Compare सौनातिको यस्य भवत्यगस्त्यः । रघु. VI. 61.-d Note the usual यति is violated. 12) d. मणलूरनाथ is apparently the पाण्ड्य king, of. चम्पूभारत III. 38-9 and the remarks of the commentary of रामचन्द्र. 13) a आलोइजंत-?-d Should we read विवई for णिवई?-1.2 We want कुंकुमंगराओ अंगराओ. 17) d Read better तत्तिल्लो for तकिल्लो, and it stands for तत्परः. 20) 6 चित्ररत्नं or चित्ररचनम्. 21) ० वरवरण = choosing of husband'? Construe : निजगृहे यस्य नाम श्रुत्वा चण्डासि......करं संगरं विना एव शत्रुसैन्ये उत्सन्ने (सति) वरवरणसमारम्भजृम्भितेन संभ्रमेण युक्तानां स्वर्गाङ्गनानां सलिललिपिः (खेदकणमाला एव) अङ्गालंकारलक्ष्मीः भवति किल।. 25) ८. 6 अंतेउरं णाइदो = अन्तःपुरं नायितः. 27) 1.7 Context requires रुदिता for मुदिता.८. 10 संगमिआ = संगमिता; rather भā for भर्तुः in the chāya.-. 19 Rather °पादैः शपन्ति is the chaya. 28) b गणो संचओ, that would correspond to other Nominatives in that verse.-- सोआई = श्रोत्रे-८. 16 °सागरालङ्करणां in the chaya?-l. 43 Read the chaya °संभवायां किमन्यत् पुनर्देव्यां. 29) ८. 1. The chāya presupposes तह वि एत्ति होउ ।. 29) d स्पृहा of the chaya presupposes च्छिहा in Prakrit. 30) d Either चिरं वहउ भारई-मंगलं = चिरं वहतु भारती-मङ्गलम् , i. e, Let or may the blessings of Sarasvati flow for ever.'; or चिरं हवउ भारई मंगलं = चिरं भवतु भारती मङ्गलम् , i. e., 'Let or may the Speech fare well for long'.

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APPENDIX
REMARKS AND EXTRACTS ON SATTAKA
AND NĀȚIKA The नाट्यशास्त्र of Bharata (XVIII. 2-3) does not mention सट्टक, nor is it specified in describing the Natikā. (XVIII. 58-60). -The अग्निपुराण, of uncertain date, mentions सट्टक (338. 2) as one of the various types of drama.-Neither the दशरूपक of धनंजय (10th century A. D.) nor its commentary by his contemporary fat makes any reference to सट्टक.
___ अभिनवगुप्त (close of the 10th century A. D.) refers, in his commentary on the नाट्यशास्त्र of भरत, to सट्टक more than once : उक्तव्याख्याने तु कोहलादिलक्षिततोटकसट्टकरासकादिसंग्रहः फलं नाटिकायाः उदाहरणत्वादिति । (नाट्यशास्त्र Vol. II, p. 407, G. O. S., LXVIII, Baroda 1934); and अत एव न दशसंख्याविभागार्थो येन सट्टकादीनां त्यागः स्यात् । (Ibid. p. 408). The description of नाटिका is given by him on p. 435, and is quoted below.
हेमचन्द्र (1089-1172 A. D.) refers to सहक in his काव्यानुशासनम् thus : पाठ्यं नाटकप्रकरणनाटिकासमवकारेहामृगडिमव्यायोगोत्सृष्टिकाङ्कप्रहसनभाणवीथीसकादि। (८-३) तथा च नाटकादीनि वीथ्यन्तानि वाक्यार्थाभिनयखभावानि भरतमुनिनोपदर्शितानि, सट्टकश्च कैश्चित् (p. 432, ed. R. C. Parikh, Bombay 1938); further on p. 444 we have a quotation : विष्कम्भकप्रवेशकरहितो यस्त्वेकभाषया भवति। अप्राकृतसंस्कृतया स सट्टको नाटिका. प्रतिमः ॥ इति, and the विवेक commentary runs thus : सहके च नाटिकायामिव रतिफलं वृत्तं व्युत्पाद्यते। एवं नाटकादीनां स्वरूपं तत्फलं च दर्शितम् । तच्छरीरभूतसंधिसंध्यङ्गादिलक्षणविस्तरस्तु भरतादेवावसेयः ।.
रामचन्द्र and गुणचन्द्र (middle of the 12th century A. D.), the pupils of Hemacandra, do not include het in the 12 types of dramas described by them; but there is a casual remark in their commentary : कियतोऽपि लक्षण विधावभिप्रेतस्य, तेन कोहलप्रणीतलक्ष्माणः साटकादयो न लक्ष्यन्ते । लक्षणीयबाहुल्येऽपि हि यावत्येव भागे लक्षयितुः श्रद्धा तावानेव लक्ष्यते।. Specifying other रूपकs, there is a quotation like this on p. 213: विष्कम्भकप्रवेशकरहितो यस्त्वेकभाषया भवति । अप्राकृतसंस्कृतया स सट्टको नाटिकाप्रतिमः ॥ (नाट्यदर्पणम् I, pp. 25-26,G.O.S.XLVIII, Baroda 1929).
The भावप्रकाशनम् (G. O. S., XLV, Baroda. 1930) of Saradatanaya (c. 1175-1250 A. D.) refers to सट्टक which is considered to be one of the so-called उपरूपकs. It is interesting to note that in some

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places the reading सदृक shows variant readings तोटक and नाटक ( p. 180, 1. 12, p. 181, 1.1 ). In this context some extracts from the Intro - duction (pp. 52-3) may be given here: "The systematic treatment of all the twenty kinds of Uparupakas, however, is found only in the Bhavaprakāśana. The list of seventeen Uparūpakas, as supplied by the Agnipurana, cannot be considered as very early as the Purāṇa itself contains quotations from the Dhvanyaloka and displays remarkable similarity with the Bhoja's theory of Śṛngārarasa. Considering all these facts we can conclude for the present that these Uparūpakas were unknown when the Natyaśastra was composed, but originated before the time of Dhanika, and probably Kohala was responsible for inventing these Uparūpakas. Among the lists of Uparūpakas supplied by several writers beginning from Dhanika to Viśvanatha the heaviest is perhaps that of Saradatanaya who mentions two lists each having twenty names ( pp. 221, 8; 255, 1 ). But in the first list Saṭṭaka has an independent place while Bhāņa is omitted and in the second list which seems to be more accurate Bhāna is mentioned instead of Saṭṭaka as the latter is included in the Natikā." "Saṭṭaka also is mentioned here as a different form of Natikā (p. 244, 15 ), but once again this subject is brought for discussion at the end of the section dealing with the Uparūpakas ( p. 269, 1). Here following Bhoja Sāradātanaya gives the Sattaka an independent place thereby increasing the number of Uparūpakas." The relevant passages may be given here. After the description of the नाटिका, we have the following lines on p. 244 : सैव प्रवेश केनापि विष्कम्भेन विना कृता । अङ्कस्थानीयविन्यस्त चतुर्यवनिकान्तरा । प्रकृष्ट-प्राकृतमयी सट्टकं नामतो भवेत् ।. In another context, after a remark ते नृत्यभेदाः प्रायेण संख्यया विंशतिर्मता (p. 255 ), the सट्टक is thus described on p. 269 : सदृकं नाटिकाभेदो नृत्यभेदात्मकं भवेत् । कैशिकी भारतीयुक्तहीन रौद्ररसादिकम् ॥ सर्वसंधिविहीनं च नाटिकाप्रतिरूपकम् । शूरसेनमहाराष्ट्रवाच्यभाषादिकल्पितम् ॥ अङ्कस्थानीयविच्छेदचतुर्यवनिकान्तरम् । छादनस्खलन भ्रान्तिनिह्नवादेरसंभवात् ॥ न वदेत्प्राकृत भाषां राजेति कतिचिज्जगुः । मागध्या शौरसेन्या वा वदेद्राजेति केचन ॥ नाटिकाप्रतिरूपं यद्विशेषो रूपकस्य तत् । सट्टकं तेन तस्याहुर्भाषां तां प्राकृतीं परे ॥ राजशेखरकृतं तद्यथा कर्पूरमञ्जरी ।.
The नाटक लक्षणरत्नकोश (ed. Dillon, London 1937 ) of Sagara - nandin (c. 13th centerry A. D. ) describes सट्टक thus on p. 133 : अथ सट्टकम् । तच्च नाटिका - [ pp. 113-4] प्रतिरूपकम् । कैशिकी-भारतीप्रधानम् । रौद्रवीरभयानकबीभत्समवमर्श संधिशून्यम् । यथा कर्पूरमञ्जरी । अन्तर्यमनिकान्तम् । यथा यमनिकयावच्छेदा भवन्ति तथात्रापि । शौरसेनीप्राच्यामहाराष्ट्रीयुक्तम् । स्त्रीवद्राज्ञोऽपि प्राकृतपाठः । यद्यपि बादरायणप्रभृतिभिरुक्तं राज्ञः संस्कृतपाठः कार्यात् प्राकृतपाठः । तत्र रूपकमेवेदं कार्यमिति राज्ञापि प्राकृतपाठः कर्तव्यः । In another context (p. 90), about the language of the , there is a remark: सट्टके स्त्री प्रधानत्वाद्रूपकस्यानुरोधतः । नृपः स्त्रीवत्पठेदेष पाठस्य नियतो विधिः ॥

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CAMDALEHA The प्रतापरुद्रयशोभूषण (ed. K. P. Trivedi, Bombay 1909) of विद्यानाथ (1st quarter of the 14th century A. D.) mentions ten रूपकs in which is not given any place; so the commentary Tancut remarks thus on p. 101 : दश रूपकाणीति । नाटिकासट्टकादीनामत्रैवान्तर्भावादिति भावः । तत्प्रकारस्तु दशरूपके द्रष्टव्यः।
___The साहित्यदर्पण (ed. P. V. Kane, Bombay 1923) of Visvanātha (between 1300-1384 A. D.) includes सट्टक in the list of 18 उपरूपका (VI. 4-6); and it is described thus (VI. 276-7): अथ सट्टकम् । सट्टकं प्राकृताशेषपाठ्यं स्यादप्रवेशकम् । न च विष्कम्भकोऽत्र प्रचुरश्चाद्भुतो रसः ॥ अंका जवनिकाख्याः स्युः स्यादन्यनाटिकासमम् । यथा कर्पूरमञ्जरी ॥.
The definition of नाटिका is thus given by the नाट्यशास्त्र (XVIII. 58-61): प्रकरणनाटकमेदादुत्पाद्यं वस्तु नायकं नृपतिम् । अन्तःपुरसंगीतककन्यामधिकृत्य कर्तव्या ॥ स्त्रीप्राया चतुरङ्का ललिताभिनयात्मिका सुविहिताङ्गी । बहुनृत्तगीतपाठ्या रतिसंभोगात्मिका चैव ॥ राजोपचार(७. ८. कामोपचार-) युक्ता । प्रसादनक्रोधदम्भ-(५. ८. शृङ्गाराभिनयभाव-) संयुक्ता । नायकदेवीदूतीसपरिजना नाटिका ज्ञेया॥[अन्तर्भावगता ह्येषा भावयोरुभयोर्यतः । अत एव दशैतानि रूपाणीत्युदितानि वै॥]. The commentary of Abhinavagupta is interesting and deserves to be noted; it runs thus : प्रकरणनाटकाभ्यां भेदात् लक्षणान्यत्वान्नाटिका ज्ञेयेति दूरेण संबन्धः । उत्पायं वस्तु चरितं च नायकं च नृपतिम् अन्तःपुरकन्यां संगीतशालाकन्यां वाधिकृत्य प्राप्यत्वेन अभिसंधाय कर्तव्या। स्त्रियः प्रायेण बाहुल्येन यत्र । चत्वारोऽङ्काः । यस्याः कस्याश्चिदवस्थायाः सरसोऽवस्थासमावापः कार्य इति यावत् । ललिताभिनयात्मिकेति कैशिकीयं बद्धेत्यर्थः । सुष्ठ पूर्णतया विहितानि चत्वार्यपि कैशिक्यङ्गानि यत्र । 'अङ्गगात्रकण्ठेभ्य' इत्यत्र स्वाङ्गविशेषणाभावात् छीषू प्रयोगः । एतदपि न मुनित्रयमतमित्यनादृत्यमिति त्वन्ये । रतिपुरस्सरः संभोगो राज्यप्राप्त्यादिलक्षण आत्मा प्रधानभूतं फलं यस्याम् । अत एवाह राजगतैरुपचारैः व्यवहारैर्युक्ता, अन्यां चेदुद्दिश्य तत्र व्यवहारः, तत्पूर्वनायिकागतैः क्रोधप्रसादवञ्चनैरवश्यं भाव्यमिति दर्शयति प्रसादनेति, आर्यानुरोधात्क्रोधस्य पश्चात्पाठः ॥ ननु यस्याः क्रोधो भवति सा न काचिदुक्तेत्याशंक्याह नायकेति । नायकस्य येयं देव्याद्या नायिका तथाभिलषितनायिकान्तरविषये दूतीकृतं सपरिजनं परिजनसमृद्धिर्यस्याम् । एतदुभयप्रधानं सर्वं तत्रेत्यर्थः । अन्यत्संध्यङ्गादि सर्व तत्रेत्यर्थः । अन्यत्संध्यङ्गादि सर्व पूर्ववदेव । तत्रैकानायिका तावद् व्याख्याता भवति । षट्पदेयं नाटिकेति संग्रहाणुसारिणो भट्टलोल्लटाद्याः । श्रीशकस्तु अयुक्तमेतदित्याभिधायाष्टधेति व्याचष्टे । तथा हि देवी कन्या च ख्याताख्याताभेदेन द्विधेति । घण्टकादयस्त्वाहुःनायको नृपतिरित्येतावन्मानं नाटकादावुपजीवितः न तु प्रख्यातत्वमपि तद्भेदद्वयादन्येऽष्टाविति षोडशभेदा इति। नायको नृपतिरिति ये प्रथमां पठन्ति तैर्यत्रेत्याध्याहृत्यैकवाक्यतायां तूभयस्य कार्यम् । अन्ये प्रथममार्याधू पृथगेव च वाक्यं योजयन्ति प्रकरणभेदात्प्रकरणलक्षणांशात् उत्पाद्य वस्तु नाटकलक्षणांशाच्य नृपतिर्नायकः स्थिते यत्रेत्यभिप्राये नाटिकैवंभूतेति ॥ अन्ये तु प्रकरणनाटकभेदात् नाटिका भिद्यते नाटकशब्देनाभिनेयं रूपकमात्रं तस्यां सौकुमार्यप्रदर्शनाय स्त्रीत्वेन निर्देश इति प्रकरणिकापि सार्थवाहादिनायकयोगेन कैशिकीप्रधाना लभ्यत इत्याहुः ॥.
The दशरूपक (III. 43-48) defines Natika thus : लक्ष्यते नाटिकाप्यत्र संकीर्णान्यनिवृत्तये । तत्र वस्तु प्रकरणान्नाटकानायको नृपः ॥ प्रख्यातो धीरललितः शृङ्गारोऽशी सलक्षणः । स्त्रीप्रायचतुरङ्कादिभेदकं यदि चेष्यते ॥ एकद्विव्यङ्कपात्रादिभेदेनानन्तरूपता । देवी तत्र भवेज्येष्ठा प्रगल्भा नृपवंशजा ॥ गम्भीरा मानिनी कृच्छात्तद्वशान्नेतृसंगमः । नायिका तादृशी मुग्धा दिव्या चातिमनोहरा ॥ अन्तःपुरादिसंबन्धादासन्ना श्रुतिदर्शनैः । अनुरागो नवावस्थो नेतुस्तस्यां यथोत्तरम् ॥ नेता तत्र प्रवर्तेत देवी

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APPENDIX
89
त्रासेन शक्षितः । कैशिक्यङ्गैश्चतुर्भिश्च युक्ताङ्करिव नाटिका ॥. My friend Dr. A. M. Ghatage expects the reading एकद्वित्र्यङ्गपात्रादि etc.; and thus he would remove the possibility of variation in the number of the acts of a Nātikā.
The साहित्यदर्पण describes नाटिका thus (VI. 269-72): नाटिका क्लुप्तवृत्ता स्यात्स्त्रीप्राया चतुरकिका । प्रख्यातो धीरललितस्तत्र स्यान्नायको नृपः ॥ स्यादन्तःपुरसंबद्धा संगीतव्यामृताथवा । नवानुरागा कन्यात्र नायिका नृपवंशजा ॥ संप्रवर्तेत नेतास्यां देव्यास्त्रासेन शंकितः। देवी पुनर्भवेज्येष्ठा प्रगल्भा नृपवंशजा ॥ पदे पदे मानवती तद्वशः संगमो द्वयोः । वृत्तिः स्यात्कैशिकी स्वल्पविमर्शाः संधयः पुनः ॥.
Turning to Satļakas themselves, Rājasekhara (c. 900 A. D.) uses the term more than once in his कर्पूरमञ्जरी (ed. Konow, Cambridge, Mass. 1901): सट्ट णच्चिदव्वं । (p. 4); कधिदं जेव छइल्लेहिं । सो सट्टओ त्ति भण्णइ दूरं जो णाडिआइ अणुहरइ। किं उण पवेसविक्खभंकाई केवलं ण दीसंति ॥ (विचिन्त्य) ता किं ति सक्कदं परिहरिअ पाउदबंधे पउत्तो कई। (p. p.4-5); चंडवालधरणीहरिणको चक्कवट्टिपअलाहणिमित्तं । एत्थ सट्टअवरे रससोत्ते कुंतलाहिवसुअं परिणेइ ॥. The chāya gives साटक as its Sanskrit equivalent and even शाटक is used by the Ms. of शृङ्गारमञ्जरी. The commentators quote a definition of Sudhakara : सैव प्रवेशकेनापि विष्कम्भेण विना कृता। अङ्कस्थानीयविन्यस्तचतुर्जवनिकान्तरा ॥ प्रकृष्टप्राकृतमयी सट्टकं नामतो भवेत् ।.
The following casual references to सहक in the रम्भामञ्जरी ( Bombay 1889), besides the verse quoted in the Intro., may be noted here: तदर्थ सट्टकमाश्रित्य (p. 8); नटः-ता किं पयोजणविसेसं पडिवज्जिय एस सट्टयप्पबंधबंधप्पारंभो। (p. 10); the word is used in two more places where the passages require slight emendation as shown in square brackets : शार्दूलविक्रीडित [विक्रीडितं] सट्टक (७. ८. शाटा)-बन्धमधिकृत्य । (p. 7), and संदेशसट्टयं [संदेस-पट्टयं] दाइय etc. (p. 33).
What Rudradasa has to say about Sattaka, we get at चंदलेहा I. 4. 10-5. 1.
Further I could spot some remarks about Saţtaka in the आनन्दसुन्दरी of घनश्याम (middle of the 18th century A. D.): अत्थि एत्थ आणंदसुंदरीणामहेअं तारिक्खं सट्टअं तं जेव्व इमस्सि महासमाए जोग्गं । वि०-पाउडं खु तं सव्वं । सू०- अदो जेव्व सट्टअं ति भणिजइ । वि०-को णु खु तस्स कई । सू०-को अण्णो पुराअणकईणं वि दुक्करम्मि सरस्सईभासाणिबंधणम्मि राअसेहरकइणो परं णिउणो । वि०-अवि सो महरट्ठचूडामणी घणस्सामकई । (B.0. R. I., Ms. p. 2). On this passage the commentator Bhattanātha. remarks thus : अनेन सर्वप्राकृतं सट्टकमिति स्पष्टमुक्तं भवति । तथा चाहुराचार्याः। सैव प्रबेशेन विना विष्कम्भेण विना कृता । अङ्कस्थानीयविन्यस्तचतुर्यवनिकान्तरा ॥ प्रकृष्टप्राकृतमयी सट्टकं नामनामतः । सैव नाटिकेवेत्यर्थः इति ।.
Turning to epigraphic records, the Barhut Inscriptions (c. 200 B. C.) have a line like this : साडिक-संमदं तुरं देवानं । and it accompanies bas-relief which represents a dancing scene. Some read it sädika,
12 .ले.

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90
CAMDALEHĀ
sädikasa. It is translated thus: The jovial ravishing music of the gods, joyous with dancing'. Barua and Sinha have a note on it thus: “Hoernle No. 14-translates Music of the gods, gay with dancing.' Sadika may be taken to be a somewhat irregularly formed equivalent of Sk. Sātika, a kind of dramatic performance, applicable to the dancing of apsarasas. Sk. Sārika means gambling with dice (Tawney). Sammada is both an adjective 'gay' and a substantive gaity'. Here it forms a compound with sādika. Turam=tūryam, musical instrument, music. It is also likely that the three words sādika, sammada and tura refer respectively to three groups of dancers, singers, and players on instruments as seen in the amusement-scene below which the label stands. Hultzsch [refs. omitted ] translates: the music of the gods, which gladdens by (i. e., accompanied with) acting.' Sāšaka, a nātaka-bheda (Bharata-Nātya-Šāstra)”. (Sée Barhut Inscriptions, p. 48, Calcutta 1926).

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सदसूई
This Glossary gives a few important words which deserve the attention of the students of Prakrit vocabulary. Some difficult words with their meaning are also included.
अच्छरीअं I. 28. 4
अच्छेरं II. 6.1
अजउत्त ( आर्यपुत्र) I. 24. 1 अदिहि (अतिथि ) I. 8d. अदोपरं ( अतः परम् ) IV. 28.45 अपुण्व III. 4. 12
अय्य (आर्य ) I. 13. 2 अय्यउत्त ( आर्यपुत्र) I. 22. 6 अवग्गह, draught, II. 32. 3 अहव II. 4. 1
अंकण II. 9. 3
अंकपाली, embrace, III. 7b
आढत (आरब्ध ) I. 34.1, IV. 25. 4 आरद IV. 10a
आलिंद m, a raised place or terrace for sleeping upon, I. 5. 4
इत्ति II. 816
इथिक्षा I. 26 13 उज्जुअं II. 8. 15
ओदार (अवतार) I. 17. 12
कीसुभ (किंशुक) I. 256
कुज्ज III. 24, 4
कुते IV. 136
कुह (कुत्र) II. 33. 20
कुहू, the new moon, I. 306
( ग्राह्मम्) II. 10d
गहि I. 240
कणेर (कर्णपूर) II. 100 कदुभ II. 12. 3
कवण, sling, II. 9. 33
कंसत्ताल (कांस्यताल), a cymbal, I. 4. 2 कारक्खर (कारस्कर m ), name of a poiso- | nous medical plant, I. 5. 3. किसल ( किसलय ) I. 21a, III. 50 कीस III. 4. 14

गदुअ
II. 9. 35
गंगेअ ( गाङ्गेय), gold, I. 173. चंचलीअ IV. 66
चंदिमा (चन्द्रिका) III. 19. 1 चंदिआ (चन्द्रिका) IV. 4c चंदोज्जअ, a kind of lotus that blooms at moon-rise, III. 4. 6, III.
16a
चामल (चामर ), I. 20d, IV. 56 चुक्क (for प्रमाद ) IV. 15d चोह II. 6d
छइलणं I. 26. 12, 16
छित्त (क्षिप्त ) II. 7d छुहा IV. 29d
छोलण (तक्षण), trimming, IV. 226 जाला II. 8a
जहा ( जिह्वा) Iod णिडाल I. 416
णिहित्त II. 942
तस्सि (for तस्याम्) III. 4. 17 तंबोल ( ताम्बूल ) IV. 26.15 ताला II. 86
तुहि II. 9. 11
धेर ( स्थविर ), Brahman, I. 4a; IV. 19d
थोर (स्थूल) IV. 196
दक्खिऊणं II. 13a दमिल IV. 24
दलिद्द ( दरिद्र ) IV. 19
दंता ( = ददत: ) IV. 5d, also IV. 14e दंतो ( ददत्) II. 126
खुरली, military exercise, practising | दिह I. 250
archery, II. 22, 8
दीर (दीर्घ) II, 10

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92
CANDALERA दुग्घुट्ट, an elephant, III. 3.2 | मरंद (मकरन्द) I. 6. 4, I. 22d, II. 2a देव (देव), fate, I. 18d.
मिव I. 39. 3 धीदा (दुहित) I. 17. 14
मुरव (मुरज), a drum, I. 4.2 पडीर (पटीर), sandal, I. 190
मुहल (मुखर), noisy, I. 15d. पदुमराअ II.9.35
मोअ (मोच n), a plantain, banana पल्लत्थ (पर्यस्त) I. 17. 10
fruit, 1. 5. 3 पंचमराअ, one of the Ragas or musi-मोह (मयख) I. 28c
cal modes, I. 5.3 • पाअड (प्राकृत) I. 11d, also 12a
वच्छोम (वैदर्भ) IV.6. 5 पाडिकं II. 9. 24
वलक्ख, white, III. 14d. पादवीढं IV.20b
वल्लही (वलभी) IV. 26. 25 पारसव (पारशव) I. 5. bf., see Notes
विआसर (विकस्वर), blooming, I. 21c पावीढ (पादपीठ) IV. 8d, IV. 16a
विद्दा [विजा] (विद्या) I. 270, I. 32d पाहुड II. 33. 17
विसंकड, dreadful, III. 3. 3
विसुवोसव IV. 1.1 पाहुद (प्राभूत) I. 27. 18 पिव्वर (पीवर), abounding with, I. 4.3
विसूसव IV. 27. 10, IV. 28. 222
वेलुरिभ II. 20. 1 पुढम (प्रथम) I. 24aa
सइ (सदा) IV. 19c पुरत्तो III. 90 पुरिलो (for पुरतो) III. 4c
सइअ (सचिव) II 4b
सहअ I. 5, see Appendix and Intro. पुरुव II. 15. 2. पुरुवं (पूर्वम्) I. 26. 1, I. 33. 2,
| समर (शबर) II. 9. 26 I.37.2
| सर (सर) IV. 7b, 176 पुरुस II. 8.9
सरदिंदु II. 8. 12 पुव्वं I. 31d.
सहस्सइत्तं (सहस्रकृत्वः) III. 4. 35 पूआ (पुत्री) IV.26.44
संके (शङ्के) IV. 40 पेक्खंती II.9.8
संदब्भ (संदर्भ m), a literary or muपेरंत II. 15. 13
sical composition, I. 5. 6, पोमराभ I.286, II.9.41.
I. 120 फंस III. 12. 14, III. 130
संदाणिअ, bound together, tied, III. फास II. 126
4. 12 बलामोडि D, force, I. 12. 6. | संदाव (संताप) III. 4. 30 बुहप्पइ II. 9. 30
सारिच्छ I. 41d. भट्टा (भा) IV. 27. 13
साला (शलाका) I. 26. 4 भसल (भ्रमर) I. 22a
सिहिण I. 41e, II. 30 भिउ (भृगु), the level summit of a सिंखल (शृङ्खला) IV. 26.3 of a mountain, I. 246
सुप्पहा (also °हादं) IV.2.1 भुमआ II. 10
सेवेदं IV. 4d. मऊह II.9.37
सोत्त (स्रोतस्) I. 260. मणोज II. 18.1
हज्ज (हार्य) III. 19d. मत्त (मात्र) I. 5.5
हिजो (ह्यः) IV. 25. 6, IV. 26. 20

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Corrigenda
Readers are requested to make some corrections from the correct readings that are given below. According to the Yavanikäntaras they are divided into four paragraphs; and references are to verses and successive lines. The correct readings from the Prakrit text are printed in black and those from the chaya in ordinary types.
I. 4. 2 संगहि 54 बाह्यालिन्दादि ; 12. 4 खंडपरसु; 12. 9 जालक्रीड° ; 13. 3 सज्यताम् ; 150 तंबचूड - Page 8, head line चंदलेहाए; 17 5 ककुन्मुखा; 18 6 बन्दुम'; 230 चिहुआ द; 27. 19 संणिहि ; Page 16 head line चंदलेहाए; 36. 2 प्रेम [पर]वशे; 38d वीथीवास्याः ; 39c आलक्ष्यमाणका; 406 संणिवाआ; अणुसरह; 41.6 अणुगहिउं
416
II. 46 सचिववरो; 4d संणद्धो ; 4d संनद्धः; 933 रज; 9 48 संणाह; 116 पक्षपातधुताम्; 156 माकन्दस्यन्द' ; 15 4 सखीत्वे; 33d भोगो [इव] भवति; 33. 20 संणिहिम्मि; 33.23 संणिहाविआ; 33. 28 असंणिहिद ; 33 34 भिन्द्धि; Page 44, foot-note 8 chāyā, 8 M बिन्धि, K भिन्द.
III. 3 कलासु भविष्य; 3d संणाह... पओसएणं; 3d प्रदोषकेण ; 4.35 दुस्सहैः तै'; 5a °चरणमेकं कमपि ; 66 उत्तम्मिरीअ; 8d काकोलमिव ( and omit the . ८. of M) ; 96 विस्तारवान्नि; 9. 5 ऐतु; 10ळ अग्गदो ; 110 मज्झेणहं; 110 मध्येनभः; 12.8 हृदयान्निर्गत्यै; 12. 12. युक्तमुपचारा° ; 12. 14. पलआणल; 130 विलोल ; 14. 2 चन्द्रोद्द्योत ; 16c ; उद्वेल्लत्त'; 16. 2 चन्द्रोद्द्योत ; 19 1 चन्द्रिकायोतम्; 21 1 चन्द्रोद्द्योते ; 23d विचरणं.
IV. 5a वीजयन्तीनां ; 56 विच्छोलिअग्गा; 6d पुव्वासासोअ; 90 महाकाल - ; 10. 1 तैं; 11. 1 Remove Danda after एसो; 130 दिक्चक्रवालान्; 20. 2 संणाहो ; 25. 6 मानायितो ; 27. 10 संगता.

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BY Dr. A. N. UPADHYE
1. Pamcasuttam of an Unknown Ancient Writer: Prakrit Text edited with Introduction, Translation, Notes with copious Extracts from Haribhadra's Commentary, and a Glossary. Second Ed., Revised and Enlarged, Crown pp. 96, Kolhapur 1934.
2. Pravacanasara of Kundakunda. An authoritative work on Jaina ontology, epistemology etc.: Prakrit text, the Sanskrit commentaries of Amṛtacandra and Jayasena, Hindi exposition by Pände Hemaraja: Edited with an English Translation and a critical elaborate Introduction etc. New Edition, Published in the Rayachandra Jaina S'astramālā vol. 9, Royal 8vo pp. 16+132+376+64, Bombay 1935.
3. Paramatma-prakas'a of Yogindudeva. An Apabhrams'a work on Jaina Mysticism: Apabhranis'a text with Various Readings, Sanskrit Tikā of Brahmadeva and Hindi exposition of Daulatarama, also the critical Text of Yogasara with Hindi paraphrase: Edited with a critical Introduction in English. New Ed., Published in the Rayachandra Jaina S'astramālā vol. 10, Royal 8vo pp. 12+124+396, Bombay 1937.
4. Varangacarita of Jatasimhanandi. A Sanskrit Puranic kavya of A. D. 7th century: Edited for the first time from two palm-leaf Mss. with Various Readings, a critical Introduction, Notes, etc. Published in the Mānikachandra D. Jaina Granthamala No. 40, Crown pp. 16+88+396, Bombay 1938.
5. Kamsavaho of Rāma Pāṇivāda. A Prakrit Poem in Classical Style: Text and Chaya critically edited for the first time with Various Readings, Introduction, Translation, Notes, etc. Published by Hindi Grantha Ratnakara Karyalaya, Hirabag, Bombay 4, 1940, Crown pp. 50+214.
6. Usaniruddham: A Prakrit Kavya (attributed to Rama Pāņivada), Text with Critical Introduction, Variant Readings and Select Glossary, Published in the Journal of the University of Bombay, Vol. X, part 2, September 1941, Royal 8vo pp. 156-194.
7. Tiloyapannatti of Jadivasaha. An Ancient Prakrit Text dealing with Jaina Cosmography, Dogmatics etc.,: Authentically edited for the first time (in collaboration with Prof. Hiralal Jain) with Various Readings etc. Part I, Published by Jaina Samskṛti Samrakṣaka Samgha, Sholapur 1943, Double Crown pp. 8+38+532.
8. Brhat Kathakośa of Harisena. A Thesaurus of 157 Tales in Sanskrit, connected with the Bhagavati Aradhana of S'ivarya: The Sanskrit Text authentically edited for the first time, with Various Readings, with a Critical Introduction (covering 122 pages), Notes, Index of Proper Names etc. Published in the Singhi Jaina Series, No. 17, Bharatiya Vidya Bhavana, Bombay 1943, Super Royal pp. 8+20+128+406.

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9. The Dhurtākhyāna: A Critical Study. This is a critical essay on the Dhurtakhyāna (of Haribhadra) which is a unique satire in Indian literature. Included in Acharya Jinavijayaji's edition, Bharatiya Vidya Bhavana, Bombay 1944, Super Royal pp. 1-54.
95
10 Candralekha of Rudradāsa: A Drama in Prakrit. The Prakrit Text and Sanskrit chaya authentically edited with a critical Introduction, Notes etc. It is an important Sattaka resembling Karpuramañjarī in various respects. The Introduction presents a study of Sattaka in the back-ground of Indian theory of dramas and also a critical survey of some half a dozen Saṭṭakas, most of them brought to light for the first time. Printed in graceful types at the Nirnayasagara Press, Bombay, Bharatiya Vidya Bhavana, Bombay 1945, Royal 8vo pp. 8+66+96.
Brhat Kathakos'a of Harisena
Brhat Kathakosa of Harişena (A. D. 931-32): A Thesaurus of 157 Tales in Sanskrit connected with the Bhagavati Aradhana of Sivarya. The Sanskrit Text authentically edited for the first time, with Various Readings, with a Critical Introduction (covering 122 pages), Notes, Index of Proper Names etc. Published in the Singhi Jaina Series, No. 17, Bharatiya Vidya Bhavana, Bombay, 1943, Super Royal pp. 8+20+128+ 406.
Select Opinions and Reviews
Dr. S. K. CHATTERJI, The University of Calcutta, Calcutta: 'It is really magnum opus for which any scholar may feel proud. The learned introduction is a model of what such an introduction should be. Your extensive learning and your prodigious industry both elicit unstinted admiration;...the subsection... on the language of the text is a very valuable addition to our positive knowledge of Sanskrit, Prakrit (and Bhasha) philology.'
The Adyar Library Bulletin: as a source of information on social conditions, religious history, cultural elements, linguistic data, historical and geographical side-lights etc., the work is indeed valuable and would pay amply a detailed study; and for such a study, Dr. Upadhye has already contributed much in his critical apparatus in this volume. (V. RAGHAVAN)
Journal of the University of Bombay: His [i. e. Dr. Upadhye's] erudition and his knowledge of the editorial technique coupled with the speed with which he works are the things, very rare and most covetable.......The Editor has adorned the work with a brilliant and an exhaustive Introduction in which he has discussed with a scholarly grasp all possible aspects relating to the work'. (A. S. GOPANI)
Indian Historical Quarterly: In a long Introduction the learned editor besides drawing attention to the critical apparatus and the method followed in the presentation of the text, gives a comprehensive account of the narrative tale in old Indian literature with special reference to the literature of the Jains which can boast of a rich store of this material'. (C. CHAKRAVARTI).

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तथा भवन भारतीय अबुन श्रीकलाससागरसूरि ज्ञानमन्छि श्रीमहावीर जन आराधना केन। कोवा (गाधीनगर, पि, 302000 Printed by Ramchandra Yesu Shedge, at the Nirnaya Sagar Press, 26-28, Kolbhat Street, Bombay 2. Published by Jayantakrishna H. Dave, Hon. Registrar, Bharatiya Vidya Bhavan, 33-35, Harvey Road, Bombay 7. Jaio Education yojainelibrary.org